What is ripe in these lines

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Clemens Brentano (after 1833)

What is ripe in these lines is a poem by Clemens Brentano . It was written around 1835 and was published in November 1837 in the expanded version of the Gockelmärchen by Schmerber in Frankfurt am Main. In it Brentano had dedicated the verses to his childhood sweetheart Marianne von Willemer .

Enzensberger , who took "entrance" as the title of the poem from the writings , provides information about the long, labyrinthine history of this prosodic and unique monument to the German language.

structure

The poem consists of six iambic three-line lines and one two-line line . Two four-lifters are followed by a third verse with only three lifts. Thus the structure of the song , which is common in minnesang, of up and down song can be found in this three-liner.

The poem closes with the famous two-line "O star and flower, ...".

text

Elevations are in italics in the first stanza. The spelling follows Enzensberger.

What ripe in the sen Zei len is ,
What lä SMILING waving and sin Nend pleads ,
This should no child be Trü ben,
The simplicity sown it
The melancholy has blown through
Longing drove it;
And once the field is mowed,
Poverty goes through the stubble
Looking for ears that stayed
Seeks love that goes down for her
Seek love that rises with her,
Seeks love that she can love
And made her lonely and spurned
Throughout the night in thanks in prayer
The grains rubbed out,
When the rooster crows early, she reads
What received love, what sorrow is gone,
Written on the field cross,
O star and flower, spirit and dress,
Dear, sorrow and time and eternity!

interpretation

Numerous studies are available. Sometimes the title makes you sit up and take notice. For example, Tunner has titled her work “The Secret Sacred History of the Heart” . The author sees the poem as something like Brentano's lyrical testament and takes the “ripe” in the first verse as perfectly formed. In its tone cheerful and thoughtful at the same time, Brentano appeals to both the senses and the mind of the reader. The conjured up image of the child is ultimately meant to be children of God in the sense that in contrast to the sentimental , Brentano propagates the naive. The romantic Brentano believed in the creative power of longing. Accordingly, the three-part poem culminates, after the seed sprouted as melancholy in longing. The quintessence: The search will be redeemed. Incidentally, the late Brentano had nothing to do with intelligibility. The reader must come to terms with the poem himself.

reception

  • The last two verses of the poem reflected the source of all human existence between heaven and earth.
  • “Speech music” is used in the poem to articulate the “unimaginative” - proof of the legitimacy of poetry.
  • Riley, Schultz and Tunner name further investigations: K. Togawa (1966), A. Bennholdt-Thommsen (Bonn 1967), Maria Schmidt-Ihms (Acta Germanica 3,1968, pp. 153-165), Elisabeth Stopp (Modern Language Review 67, 1972, pp. 95-117), G.-K. Kaltenbrunner (1978), Ricarda Winterswyl (Blätter für die Deutschlehrer 24, 1980, pp. 33–38), Grete Lübbe-Grothues (Yearbook of the Free German Hochstift 1982, pp. 262–276) and Emil Staiger's book (Die Zeit als The poet's imagination, Zurich 1939).

literature

sorted by year of publication

  • Kurt May (ed.), Walter Höllerer (ed.): Hans Magnus Enzensberger: Brentanos Poetik (Diss. Erlangen 1955). 157 pages. Hanser Munich 1961. Series of publications Literature as Art
  • Erika Tunner: The secret sacred history of the heart. On Clemens Brentano's poem What is ripe in these lines. S. 421–433 in: Wulf Segebrecht (Ed.): Poems and Interpretations. Volume 3. Classic and Romantic. Reclam UB 7892, Stuttgart 1984 (1994 edition). 464 pages, ISBN 3-15-007892-X
  • Helene M. Kastinger Riley : Clemens Brentano. Metzler Collection, Vol. 213. Stuttgart 1985. 166 pages, ISBN 3-476-10213-0
  • Gerhard Schulz : The German literature between the French Revolution and the restoration. Part 2. The Age of the Napoleonic Wars and the Restoration: 1806–1830. 912 pages. CH Beck, Munich 1989, ISBN 3-406-09399-X
  • Horst Joachim Frank: Handbook of the German strophic forms . Francke Tübingen 1993 (2nd edition). 885 pages. ISBN 3-7720-2221-9
  • Hartwig Schultz (Ed.): Clemens Brentano. 1778–1842 on the 150th anniversary of his death. 341 pages. Peter Lang, Bern 1993, ISBN 3-906750-94-9

Web links

Individual evidence

“Source” means the quoted text edition.

  1. ↑ Enzensberger, p. 95 middle
  2. ↑ Tunner, p. 421, 8th Zvu
  3. ↑ Tunner, p. 422 above
  4. ↑ quoted in Enzensberger, p. 155: Clemens Brentanos Collected Writings. Published by Christian Brentano . Frankfurt am Main 1852/55. IX volumes
  5. ↑ Enzensberger, pp. 95-105
  6. ^ Frank, p. 57
  7. ↑ Frank, p. 30
  8. ↑ Emphasis: emphasis on a syllable or a word.
  9. ↑ Enzensberger, p. 94, 4th Zvu
  10. ^ Schulz, 466, 8th Zvu
  11. ↑ Schulz, p. 759, 7th Zvu
  12. ^ Riley, p. 93, first entry
  13. ↑ Schultz, p. 319
  14. ↑ Tunner, p. 433
  15. ^ The first edition was published by Hanser in Munich.