Terzines
The terzine is a rhyming form of poetry of Italian origin consisting of any number of stanzas . Each stanza of terces consists of three verses. In terza rima the Italian word infected terzo "third", which this poem is referred to the structuring principle.
shape
The verse used in the Terzine is the hendecasyllable . A terzinen stanza consists of three such verses and has the structure of rhyme[aba]. The second verse without rhyming within the first stanza finds its rhyming expression in the second stanza, its rhyme scheme[bcb] is, and according to this pattern all other stanzas then rhyme before a single final verse at the end of the poem rhymes with the middle verse of the last stanza: [cdc, ded,… yzy, z]. The last four verses can be used as a regular terzine stanza with a subsequent closing verse, but also as a four-line stanza with cross rhyme [cdc, ded,… yzyz]understand and represent. Since a rhyme is only continued in the following stanza, an inner dynamic develops. There is no predetermined number of stanzas; the terzine is characterized by the fact that it flows on and on and only comes to rest through the closing verse.
In German, the iambic five-lever is used as a verse . In contrast to the Italian model, the verses can be both feminine-unstressed and masculine-accentuated; but mostly the original form is used, i.e. only feminine-unstressed closing verses.
example
By Hugo von Hofmannsthal a group comes from four poems in terza rima , the second as follows:
| 1 | The hours! where we hit the bright blue | A. |
| 2 | To stare at the sea and understand death | B. |
| 3 | So light and solemn and without horror, | A. |
| 4th | Like little girls who look very pale | B. |
| 5 | With big eyes and always freezing | C. |
| 6th | Looking in front of you in silence one evening | B. |
| 7th | And know that life is now theirs | C. |
| 8th | Sleeping limbs flows silently over | D. |
| 9 | In trees and grass, and adorn themselves with a faint smile | C. |
| Final verse: | ||
| 10 | Like a saint who sheds her blood. | D. |
Literary historical development
The origins of the terzines are controversial in research today. Dante Alighieri is considered to be the inventor of the shape , but this is not clearly proven. The Divina Commedia is the first work that consists of terzines; but Italian humanists also shaped the poem form significantly in the 14th century, for example Francesco Petrarca or Giovanni Boccaccio . In humanism , the terzine has primarily didactic intentions, it criticizes or praises. However, it is also used in satire , for example by Salvator Rosa . In Italy the shape almost completely disappeared for a few centuries and was only revived in the 19th century by Giovanni Pascoli and Gabriele D'Annunzio .
German speaking representatives
The terzine was introduced into German poetry by Paul Melissus . In the 17th century it was used by Martin Opitz and Hans Assmann Freiherr von Abschatz , but the terzine only came into use in the course of the Dante reception of Romanticism and was then used in different ways and in different genres, including in drama (An example can be found in August von Platen's The Romantic Oedipus ). Johann Wolfgang Goethe , who was initially skeptical about the form, wrote In 1826 On Viewing Schiller's Skull and thus provided the model for numerous other thoughtful reflections in the form of turtles. Another line of content began with Adelbert von Chamisso , based on whose model (between 1827 and 1838, among other things, The Ruin , Speech of the old warrior Bunte-Schlange , The Spirit of Mother ) the terzine was used for ballads and poetic stories. Even before Chamisso, Friedrich Rückert had written important Terzinen poems of this kind between 1812 and 1817 (including Edelstein and Perle 1–22); a later representative of the epic terzine is Gerhart Hauptmann's Der große Traum , an epic terzine in 22 songs completed in 1942, while in Detlev von Liliencron's Poggfred. A motley epic in 29 cantusses in terzines alternate with parts in other verse forms (often punches ). Friedrich Raßmann used the terzines for a heroid in Winkelmann an Arcangeli ; with An Gustav Jacobs , August von Platen gives an example of the Terzinen epistle in general . Paul Heyse wrote in Der Salamander. A travel diary the individual diary entries in terzines. The terzine form was also often chosen for dedication and festival poems; In the context of the fin de siècle , the terzine was taken up by Hugo von Hofmannsthal, among others. In more recent times Robert Gernhardt has used the parodic form of Hofmannsthal's famous terzins "Über Vergänlichkeit" in his terzins about forgetfulness . Gernhardt used the terzines in DU independently .
Occasionally the terzinen form was also modified in German poetry: Bertolt Brecht begins Die Liebenden with five terzinen stanzas, but then uses different verse and rhyme forms for the end of the poem; For Die Aschanti Rainer Maria Rilke chooses the trochaic five- pointer instead of the iambic and adds a double-cross-rhymed eight-liner to four stanzas and the final verse; Josef Weinträger designs An A Dead in dactylic five-siphon (including two six-siphon) into which troches are occasionally mixed. Ludwig Braunfels , who also wrote actual Terzinen ( The Right to Corsica ), treated the form in Des Knaben Reichtum in an unusual way by adding a refrain to each Terzinenstrophe .
The rhyme scheme has also been modified, especially in the shorter terzinen poems; Hugo Salus takes in terza rima rhyme the first verse in the last stanza and in the final line again, the rhyme scheme is:[aba, bcb, cdc, eae, a]. The poem concludes with the word "Terzinen":
My eye reveled in the blue expanse,
Now it waves downhill with the serpentines;
Singing my heart accompanies them
And descends into the valley in tinkling terzines.
The final verse is rarely omitted; it is missing, for example, in August von Platen's So luck has led me to this point . A foot shorter, so four beats, it appears in Ricarda Huch's funeral I .
Very short terzines from only three terzine stanzas, which together with the final verse makes ten verses, are not uncommon; With only two stanzas of stanzas including the final verse, the actual ordering principle of the form no longer comes into its own. One example is Wilhelm von Scholz 's Wandering Voice :
My voice wanders
loudly through valleys, through cool steam one evening I scream, '
which is foggy over damp meadows.
In
front of my eyes I spread the confused soul that fills my breast with discontent;
and I glide over her dark images,
which she drinks back into herself and covers.
Christian Morgenstern chooses the same structure, but with exclusively male-emphasized closures, in Evolution . Further short sestines can be found in August Sturm's 52 Terzinen collection of Terzinen in Waffen , including:
Question
Did you never caught the deep horror:
What's all this? How? What for? Where from?
What's all this rolling in the wild hurry?
Then life was alien to you too, never difficult.
As a terzine, this poem can only be recognized by the typeface (blank line after the third verse) and the context (part of a collection of terzines); the structure is that of a cross-rhymed quatrain.
International representatives
The terzine has also been reproduced in the other European national literatures, for example by John Milton , Lord Byron , William Carlos Williams , TS Eliot , Juan Boscán , Garcilaso de la Vega , Andrés Fernández de Andrada, and Stéphane Mallarmé .
Further examples
Dante Aligheri, La divina comedia, start:
Nel mezzo del cammin di nostra vita
mi ritrovai per una selva oscura
ché la diritta via era smarrita.
Ahi quanto a dir qual era è cosa dura
esta selva selvaggia e aspra e forte
che nel pensier rinova la paura!
Tant'è amara che poco è più morte;
ma per trattar del ben ch'i 'vi trovai,
dirò de l'altre cose ch'i' v'ho scorte.
Io non so ben ridir com'i 'v'intrai,
tant'era pien di sonno a quel punto
che la verace via abbandonai.
Percey Shelley , Ode to the West Wind (I):
O wild West Wind, thou breath of Autumn's being,
Thou, from whose unseen presence the leaves dead
Are driven, like ghosts from an enchanter fleeing,
Yellow, and black, and pale, and hectic red,
Pestilence-stricken multitudes: O thou,
Who chariotest to their dark wintery bed
The winged seeds, where they lie cold and low,
Each like a corpse within its grave, until
Thine azure sister of the Spring shall blow
Her clarion o'er the dreaming earth, and fill
(Driving sweet buds like flocks to feed in air)
With living hues and odours plain and hill:
Wild Spirit, which art moving everywhere;
Destroyer and preserver; hear, oh, hear!
Johann Wolfgang Goethe, Looking at Schiller's skull, V1-V9:
It was in the solemn ossuary where I looked
How skulls, skulls fit arranged;
I thought of the old days, they turned gray.
They stand in a row 'clamped' who otherwise hated each other,
And rough bones that fatally beat each other,
They lie crosswise, tame to rest here.
Dislocated shoulder blades! What they wore
Nobody asks any more, and gracefully active limbs,
The hand, the foot, scattered from the joints of life.
See also
literature
- Horst Joachim Frank : Handbook of the German strophic forms. Hanser, Munich & Vienna 1980, pp. 64-69.
- Bernheim, Roger: The terzines in German poetry from Goethe to Hofmannsthal. Düsseldorf 1954.
- Burdorf, Dieter : Introduction to poem analysis, Stuttgart 1995, pp. 104-106.
- Leuschner, Pia-Elisabeth : Terzine. In: Reallexikon der Deutschen Literaturwissenschaft. Revision of the Real Lexicon of German Literary Studies. Vol. 3. Ed. By Jan-Dirk Müller u. a. Berlin, Berlin and New York 2003, pp. 590-592.
- Otto Knörrich: Lexicon of lyrical forms (= Kröner's pocket edition . Volume 479). 2nd, revised edition. Kröner, Stuttgart 2005, ISBN 3-520-47902-8 , pp. 235-237.
Individual evidence
- ^ Robert Gernhardt: Gesammelte Gedichte 1954–2004, 3rd edition, Fischer, Frankfurt am Main 2006, p. 113.
- ^ Robert Gernhardt: Gesammelte Gedichte 1954–2004, 3rd edition, Fischer, Frankfurt am Main 2006, pp. 179–180.
- ^ Wilhelm von Scholz: Collected Works, Volume 1, Poems, Hädecke, Stuttgart 1924, p. 97.
- ^ Dante Alighieri: La divina comeddia. Retrieved December 19, 2016 (Italian).
- ↑ Percy Shelley: Ode to the west wind. Accessed December 19, 2016 .
- ↑ Johann Wolfgang von Goethe: When looking at Schiller's skull. Retrieved December 19, 2016 .