ba0 &ínb, bas ím fernen, acf) fo fernen íupinen= blüí)enben geíb fpielf, 3ff gejroángf in bíe ©ífferffñbe ©eíner 2Iugen. Dt>- ©eíne 97arf)fe, ©eíne ©raunmadffe Derjroeífelfe Jparíe= Eínaben. ©eíne Ttcigeí Eraren am ©argbeifel f auber 23eríaffenf)eíf DTírgenbs bíüfd bas 2Bunber. DTÍufíf íff TBalber fínb granen fínb @0 bliif)f ¡rgenbtPD bíe ©eberbe eínes fanff fící) biegenben TíacEena ©0 tnarfef irgenbtt>D eine Jpanb, bíe feíjr ¿arfííd) íff unb pdU füfeffer 2Bárme Ulírgenba blül)f ba0 2Bunber. 7 Jilotea referíng to tyt apecímena reprobuceü 169 Abbildung i. Hervorhebung der Ausdruckskomponente. (Aus einer Gedichtsammlung aus der Verfallzeit um 1923) Specimen 1 dates back to the time of decay after the war, it shows an exaggeration of the expressive components revealing utterly irregular dimensions of composition and pages and give a quite disharmonical ap< pearance to the work. In specimen 2 and 3 the estetic components are rather promb nent, but especially in Stefan George's poe< try, this is not merely due to the exterior and formally estetical factor, but to the in* ner spiritual and moral standing professed by thepoet. A perfect harmony of contents and lettertype as well as an efficacious assb stance given to the irrational in the poetry by the design ofwords is shown in speci* men 4 and y. The latter belong to a collec¡ tion of folklore songs printed with Claudius; lettertype and the otheroneto a collection of old< and mediurmhigh<German poetry printed with Rudolf Koch's Wallau" letter* type. Specimen 6 represents a page from the "Phantasus". The middle>axis position aci cording to the theoryofArno Holz is claimed to assure rationally and phonetically the best r.esults and to procure the best position for the expression of rhythm. "L."

Archiv für Buchgewerbe und Gebrauchsgraphik de | 1938 | | page 17