Pentameter

Pentámeter is a technical term of the metric for a sechshebigen verse from dactyls, which follow after the third and sixth uplift no cuts. The name ' pentameter "(from Greek pente " five "and metron " measure " ) is thus a literal translation, misleading. The pentameter has been used since ancient times, especially in Strophenmaß the distich in combination with the hexameter.

Classic pentameter

The classical pentameter, which occurs a few exceptions only in conjunction with the hexameter consists quantitierenden, i.e., on the regulated succession of long and short syllables based meter of Greek and Latin from six dactyls, of which the third and the sixth each " monosyllabic katalektisch " are, that is, only one long syllable without subsequent short syllables exist and the verse thus rhythmically into two parallel, divided ( Tripodien ) by diaeresis separate three-legged half- verses:

This may be replaced during the first and the second dactyl each by a spondee (two long syllables spoken ).

In accentual verse of the German classical meter is simulated by a corresponding sequence of stressed and unstressed syllables, but which are used instead of spondees, which are accentuating difficult to replicate, but trochees ( a stressed syllable followed by an unstressed ):

The counting of the classic Pentameters as " fünffüßiger " verse should have arisen in ancient times by the fact that the verse as two "half hexameter " ( Hemiepes ) considered and in this case the two catalectic feet as each "half " foot were tallied, or by false measurement in which summarized in disregard of the diaeresis the two consecutive lengths as a spondee and the subsequent syllables than two Anapäste (two short syllables followed by a long ) were interpreted.

Iambic Five lifter

Although Versnamen be in the German metric normally reserved by the term " meter" the classicizing poetic meters, is called pentameter sometimes fünfhebiges a meter, which is not formed by the antique pattern, the iambic pentameter Five lifter or fünfhebigen. It occurs in German on the one hand absurd as blank verse primarily stage seal, on the other hand, as a rhymed verse on. The iambic five- lifter is in German since the second half of the 18th century in the wake of the rediscovery of William Shakespeare and medieval or perceived as a medieval Romanesque models, especially of Dante and Petrarch, thereby one of the most commonly used, have become as Bühnenvers virtually unrivaled German verse forms and has the Alexandrians displaced, which was still the dominant meter in the German Baroque modeled after the French poetry of the Renaissance and classical music.

Is the iambic five lifters regularly or mostly broken after the second elevation, that is divided by caesura, and ( stressed on the last syllable ) on the Send with alternating male and female ( stressed on the penultimate syllable) provided rhymes, he follows the example of the French vers commun, which, even without regular alternating rhyme, already in the French poetry of the Middle Ages was widespread, then in the French Renaissance, there gradually with regularly alternating rhyme, as one against the Alexandrians subordinated meter was further used and after the model of the French Renaissance was then adapted by the German seals and poetics of the Baroque and there are also downstream of the Alexandrians. Example ( Johann Christian Günther, Abschiedsaria ):

Freedom in the handling of the watershed, however, characterizes iambic five lifters who follow the example of the Italian hendecasyllable. The latter is set in Italian on the female rhyme and is in German pronounced in italianisierender sealing or resealing Italian documents, such as the sonnets of Petrarch, also restated with exclusively female rhymes. Example ( Johann Wolfgang von Goethe, Reisezehrung ):

Since the German in contrast to Italian provides a much more limited supply of female rhymes, but also this verse in German is usually without specifying the feminine rhyme, and then usually with alternating feminine and masculine rhymes, used.

The blank verse, which had developed in English from the French vers commun or perhaps was also under Italian influence, had been solved already in English from the rigid handling of the watershed, while the French custom of alternating cadence in English blank verse no and also in the English rhyming poetry only isolated precipitation was. In the German blank verse the freedom of the watershed and the Verskadenz is adopted and also, more freely than in rhymed iambic five lifters, as in the English model, also the prelude and the iambic filling of the verse, so that the first syllable of the verse also be emphasized and the regular follow- stressed and unstressed syllables can be relaxed within the verse. Example ( Ophelia in Hamlet translation by August Wilhelm Schlegel, II.1 ):