Doggerel

The doggerel is originally a German verse from the 15th to the early 17th century (Hans Sachs), which in all not sung poetry, so in poetry, epic and dramatic, equally was used, and translates to " Reimvers " ( knittel says in the Early New High German " rhyme" ). Because of his alleged irregularity, he was sometimes disparagingly called " Knüttelvers " (after Knüttel for " stick, cudgel" ). In the (Latin written ) Verslehren the time he was Usitatissimus ( " the allergebräuchlichste [ verse] "). It is a mistaken assumption that the doggerel after the Cistercian abbot Benedict Knittel (1650-1732) was named.

Form

The only regulation for the doggerel was that always two consecutive lines that must rhyme ( rhyme pair ). Man since Andreas Heusler three-volume German Versgeschichte (1925-1929) between the strict doggerel, which (depending on the cadence ) of 8 or 9 syllables per line of verse is, and the free doggerel, which may vary in the number of syllables is different.

Contrary to a long cherished opinion of doggerel in the 15th and 16th centuries was neither free nor four beats still filling written in alternating rhythm. This misunderstanding is due to an altered handling of Knittel verse by Goethe and his contemporaries. They counted now - according to the prosody of the NHG - no more syllables than ever in Early New High German ( just like the French metric ), but - according to the Opitz'schen Versreform - elevations. The strict doggerel was rebuilt according to an iambic alternating four- lifter. This resultant irregularities in rhythm and Verslänge led to the concept of filling freedom. This principle of filling freedom now retroactively apply also to the Early New High German doggerel would, however absurd, because a silbenzählendes metric system has no relevant metric accents, so no rise and fall.

The thus created modern German doggerel as it is used in Goethe's Faust, for example, however, has established itself as a separate meter in the German metric. In contrast to the old doggerel rhyme not only the couple but also cross rhyme, tail-rhyme, rhyme hugging, so-called " orphans " and other forms of rhyme are in it also allowed.

Use

In the 15-16. Century was the doggerel verse in the usual drama in the (then versified ) narrative seals (see verse epic ) and not sung, mostly didactic or satirical poems. Early (in sung poetry, however, relatively free verse and verse forms were common, which were received in the Madrigalvers later so designated. ) Was used the doggerel of the Nuremberg Shrovetide play poet Hans Rosenplüt ( 1400-1460 ). In Sebastian Brant (1457-1521) satirical didactic poem The Ship of Fools ( 1494) and in the works of Hans Sachs ( 1494-1576 ) and Johann fish Arts ( 1546-1590 ) dominates the strict doggerel.

The poets of the Baroque fought in their opinion, artless form of Knittel verse, whereupon the doggerel for a long time was used almost exclusively in folk poetry or humorous works. This changed again with the Sturm und Drang, when authors aware of classical models turned towards starting and German forms. Become classic is the use of Knittel verse in Goethe's Faust, where he illustrates the setting of the old German Faust substance. Since the second half of the 19th century doggerel is hardly any, and if so, used almost exclusively for comic poetry. Accordingly, he often can be found eg in lively speeches. Theodor Fontane, however, used it in his later years as a sign of a simple, content -hugging poetry without pomp and due to the freedom of its filling.

Examples

Example of the strict doggerel:

One abents late as I look out to eim windows in my house, darvor I saw a shapeless, eineugig zerhaderten old with a big wide mouth hold on a plow horse. Hans Sachs, the beginning of Hans Unfleiß

Example of the free doggerel:

Also, you do not let diß grieve When the terrible end grimm roaring Loew will slide along. Andreas Gryphius Absurda Comica or Mr. Peter Quince

Knittelversdichter

• Nicholas Ganter (1809-1886), German painter and local poet