Lyric poetry

as lyric poetry (Greek λυρική (ποίηση) - the seal belonging to the play of the Lyra) one designates the third poetic kind beside the Epik and the drama TIC, which already differentiated Aristoteles in its “Poetik”. The defining argument “lyric poetry” becomesonly since that 18. Century as Gattungsbezeichnung uses. The term is relatively indefinite and becomes since that 19. Century often synonymously with the word 'poetry '(Greek ποιήση - the seal) uses.

Table of contents

criteria of the linguistic form

lyric one Texts are called also poems. They differ from the Prosa by its bound form (verse, verse measure, Strophenbau). The verse form alone cannot be however decisive criterion, there the verse form also in epischen and dramaticSeems to texts. The bound form loses in the course of generic history, particularly in 20. Century, their meaning, so that lyric poetry defines itself only rarely today over the metric form. Lyric texts nevertheless linguistic-formally differ from epischen and dramaticparticularly by their shortness, their stricter form, its density (expression strength) and linguistic economics, its subjectivity and its purchase to a “lyric I”. All linguistic and formal means are made usable thereby as expression means. None of these criteria is however sufficientor necessarily. The modern lyric poetry does frequently without the classical poetic means of Reim and verse measure and uses the free verse, which was developed in the 19.Jahrhundert in France as verse libre. By the complete renouncement of the rules thatMetrik approaches the free verse of the Prosa on.

While in a novel or a further longer Prosaschriften the statement of the text is distributed on a larger area, it stands with lyric texts closely pushed, has thus a far more enormous effecton the reader. In a poem a contentwise statement can be coded quite linguistically, however not as comprehensively and facet-rich as in a large-scale epischen work. The poem concentrates thus more on the instant and individual impressions.There short, spontaneous impressions are frequently connected with strong feelings, play the emotional component in the lyric poetry an important role.

Lyric poetry was originally spoken to the Lyra (sung). Still in the Middle Ages lyric poetry was sung fundamental. The lyric poetry stands thereby in onecertain relationship with the music and with the song. Most lyric texts should be therefore loud spoken, in order to really become effective. Particularly in the newer lyric poetry however the graphic shape became ever more importantly (“Augenlyrik”). Becomes most obviousin the concrete poetry.

empirical anchorage in the present

on the occasion of the world daily of the poetry to 21. March 2005 gave the German press agency a representative inquiry in order, those for Germany the purchase to the lyric poetryin the population to measure should. Meinungsforschungsinstitut “polis” determined:

  • each second German read few with lyric poetry in the sense and already longer no more poem;
  • 58 per cent of the men for a long time no more had not come with poems into contact;
  • 43 per centthe women are outlawing gutters, 40 per cent give themselves as current readers of verses;
  • in the age group of the 20 - to 29-Jährigen 63 per cent already longer no more lyric poetry had read.

It is unclear whether the occupation with Songtexten (English: lyrics), those particularlyin pupil and fan circles much likes is, expressly into these results flowed. Because each asked one it is not clear at first attempt that song texts are a special form of the poems, whose Vertonung makes them more easily accessible.

For the comparison of the cultures is upalso in 21. To refer to century unbroken supremacy of the lyric poetry within the range for instance the Arab literature.

In the course of the time the lyric poetry in the German linguistic area (whole contrary to other countries) for the most diverse reasons has itself ever more ina niche withdrawn, to which only few humans entrance find. Hans Magnus Enzensberger some time ago presented and thus on pointed way made the number of 1354 Lyriklesern in the German-speaking countries clear for discussion, where thoseGerman-language lyric poetry in the comparison to the Prosa today stands. Apart from few large publishing houses, which have still Lyriktitel in the program, there is primarily the small publishing houses, those for approximately 3000 new publications per annum. ensure. Typical edition numbers for after 2000 publishedPoem books are 20, 50, 100 (with the artist book) and 250, 500 and 1000 copies with the usual paperback and/or. firmly bound editions.

for the history of the kind

the lyric poetry is one of the early literary forms, written lyric poetry gaveit already at the times of the old Chinese, Babylonier, Perser or Jew (Psalmen, high song of the Salomon), verbal lyric poetry might decrease/go back into the earliest times of mankind history. Our term of lyric poetry is rooted however in the antique Greek culture area. There was thoseLyric poetry first the song sung to the Lyra, which had its “seat in the life “in the choir singing of the antique dramas and in the religious Kultus. Important poets of the antiquity are z. B. Sappho, Horaz.

The German lyric poetry of the The Middle Ages was first coined/shaped by Christian thought and conception property (Marienlyrik). The lay lyric poetry of the höfisch knightly Minnesangs and the saying seal pushed itself since the center 12. Century strongly into the foreground and a variation-rich literary system of high culture prestige formedout. Also impulses from central latin Vagantendichtung, the Rezeption of classical-Latin poets worked (v.a. Ovid) and the MON-Arab lyric poetry of Spain also.

By Martin Luther, the increasing influence of the Italian and French Dichtkunst and the renewed resort uplatin lyric poetry (Horaz) began a new tradition of various and form-strict seal (Andreas Gryphius) in the German baroque time.

Between the emptiness of the Zen - mystery and the racing rhythm of the video tie-clip a form is to be discovered, which hear themselvesto leave can. Only so literature can to react, wants it to changed medialen conditions and the realnesses produced by it, receive an innovative impulse and in the long run a further right of existence. With the digitization the age of the literature tie-clip in the lyric poetry begins of the21. Century.

The lyric poetry is affected and again and again also by the popular music culture. So for example the RAP /Hip hop movement has the idea of Poetry Slams lively, to a form of Lyrik performances, with those the speaking as with a duelin the direct comparison along or successively begin and the public a winner shorten. Also linguistically and formally lyric poetry stands and popular music in an exchange ratio.

meaning German-speaking poets

roll ago of the bird pasture (the Middle Ages), Andreas Gryphius (Baroque), Johann Wolfgang von Goethe (storm and urge, classical period), Friedrich Schiller (classical period), Friedrich Hölderlin, Eduard Mörike (romance), Joseph of Eichendorff (romance), Annette of Droste Hülshoff (conventional Meier), Friedrich back ore (conventional Meier), Heinrich Heine (Vormärz), Theodor Storm (realism), Stefan George (classical modern trend), Rainer Maria Rilke (classical modern trend), George Trakl (expressionism), Christian morning star (20. Jhd.), Joachim Ringelnatz (20. Jhd.), Bertolt break (20. Jhd.), Gottfried Benn (20. Jhd.), Peter Huchel (20. Jhd.), Erich Kästner (20. To Jhd.), Inge-borrow brook man (20. Jhd.), Thomas's Bernhard (20.Jhd.), Paul Celan (20. Jhd.), Ernst Jandl (20. Jhd.), Rolf Dieter Brinkmann (20. To Jhd.), Jürgen Becker (present), Hans Magnus Enzensberger (present), Friederike Mayröcker (present), Thomas sound, (present), Peter Rühmkorf (present), Günter Kunert (present), Sarah Kirsch (present), Durs green leg (present), Marcel Beyer (present).

forms of the lyric poetry

Ballade, Elegie, freirhythmisiertes poem, Haiku, hymn, lyric collage, Kanzone, song, desert, Pro-legend-closely, RAP, sonnet

see also

Wiktionary: Lyric poetry - word origin, synonyms and translations

Anthologien

  • Hans Bender, in this country live we, Munich 1978.
  • Hans Bender, which are for times, Munich 1988.
  • Michael brown/Hans Thill, the lost alphabet, Heidelberg 1998.
  • Theo Breuer, northwest southeast. Poems of contemporaries, Sistig/the Eifel 2003.
  • Christoph Buchwald, Jahrbuch of the lyric poetry, Frankfurt/Main 2005. (Appears approx. once a year since 1979)
  • Karl Otto Conrady, the new Conrady. The large German poem book. From the beginnings to the present, Duesseldorf 2000.
  • Karl OttoConrady, in highest heights. A poem revue, Berlin 2005.
  • Klaus Peter Dencker, poetic language plays. From the Middle Ages to the present, Stuttgart 2002.
  • Hans Magnus Enzensberger, museum of the modern poetry, Frankfurt/Main 1960, 1980, 2002.
  • Harald hardening, century memory,Stuttgart 1998.
  • Harald hardening, air freight. International poetry 1940 to 1990, Frankfurt/Main 1991.
  • Walter Höllerer, transit. Lyrikbuch of the century center, Frankfurt/Main 1956.
  • To Thomas sound, language memory. 200 poems on German from the respected to the twentieth century,Cologne 2001.
  • Björn Kuhligk and January Wagner, lyric poetry from now, Cologne 2003.
  • Axel Kutsch, the moon is come up. German-language poems with moon from the baroque to the present, Weilerswist 1995.
  • Axel Kutsch, flashlight. German-language Kurzlyrik from 1100 years,Weilerswist 2001.
  • Axel Kutsch, time. Word. German-language lyric poetry of the present, Weilerswist 2003.
  • Gregor lax, beautiful Babylon. Poems from Europe in 12 languages, Cologne 1999.
  • Anton G. Leitner, words come to word, Duesseldorf 2002.
  • Axel Marquardt, 100 yearsLyric poetry. German poems from ten decades, Zurich 1992.
  • Briefly Pinthus, mankind dawn. A document of the expressionism, Reinbek with Hamburg 1920 and 1955.
  • Joachim Sartorius, Atlas of the new poetry, Reinbek with Hamburg 1996.
  • Wulf Segebrecht, the German poem. OfThe Middle Ages up to the present, Frankfurt/Main 2005.
  • Alexander Stäheli/Florian Vetsch, sample, flowering. Collection of contemporary poetry, CH woman field 2000.

literature

  • Heinz Ludwig Arnold (Hg.), lyric poetry 20. Century (special volume text+kritik), Munich 1999.
  • Hans Bender(Hg.), my poem is my measurer. Poet to its poems, Munich 1964.
  • Theo Breuer, from the hinterland. Lyric poetry to 2000, Sistig/the Eifel 2005.
  • Manfred Enzensperger (Hg.), the Hölderlin ants. Of finding and inventing the poetry, Cologne 2005.
  • Hugo Friedrich, the structure of the modern lyric poetry. Of the center of the nineteenth up to the center of the twentieth century, Reinbek with Hamburg 1956 and 1985.
  • Michael Hamburg ones, Wahheit and poetry. Tensions in the modern lyric poetry from Baudelaire to the present, Vienna and Bozen 1995.
  • Holznagel, Kemper, Korte, Mayer, fast, ensure, history of the German lyric poetry, Stuttgart 2005.
  • To Thomas sound, messenger materials, Cologne 2001.
  • Joachim Sartorius (Hg.), minima Poetica. For a Poetik of the contemporary poem, Cologne 1999.
  • Raoul scrap iron, The invention of the poetry, Frankfurt/Main 1997.

Web on the left of

Wikiquote: Lyric poetry - quotations

see also

 

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