170 DER TEPPICH Híer schlingen menschen mtt gewachsen tieren Sich fremd zum bund umrahmi yon seldner franze Und biaue sioheln wsisee storne zieren Und queren sie In dem erstarrxen xanze. Und nahla linien ziehn ¡n reich-gestiOKten Und xail um xeií isx wirr und gegenwendig Und Kefner ahnt das f&xsel der versiricKxen Da eines abends wird das wern lebsndig. Da regen schauernd aioh día toxen Sste Die wesen eng von sxrich und «reía umspannei Und trexen idar vor die geKnüpfxen qudsxe Die Idsung bringend Ober die ihr sannaxl Sie isx naoh willen nichx: isx nicht ftlr jeda Gewohne stunde: isx Kein schaxz der gilde. Sie wird den vielen nie und nie durch rede Sie wird den seitnen seíxen im gebilde. Abbildung 2. Betonung der asthetischen Komponente (AusStefan George, Der Teppich des Lebens. Georg Bondi Verlag, Berlín) given limits, its intrinsic substance in some way or other. We commence here with lyrical poetry. 1. HyrícalH>oeticalUDortó It is the choice of the type where tbe comí positor of a book has his foremost and best chances for psychological cooperation. Unisonous with the script, sounds are vibrating and tuning, symbolizing the wording of the poet's work and conveying its tendencies irrationally to the reader's soul and mind. Multifarious as lyricism in its psychological character is, the palette of the typographic artist, too, must comprise a copious variety of letteritypes. In this connection, due credit must be given to the active Germán typeifounders and to the excellent achievements of our letter* artists. Above all, what actually is required in poetry, is to harmoniously combine the sentient and intellectual, irrational and rational elements of the script with those of the poetical work. This seems at first sight more difficult than it actually is. The book artist who must at all times penétrate into the spirit of the work he is entrusted with, will instinctively choose that way and will then nearly always he within the mark. A few examples given below will prove this- Popular songs, lyricism of the Period of Storm and Stress and other irrational poesies, appealing to the sentiments of the reader rather than to the intellect, require of course the use of irrational types. In fact, in recent years we have been enriched with some wonderful collections of that catei gory in Rudolf Koch's "Claudius" who illustrate this in a most remarkable manner, splendid specimens of that art known by any bibliophile. Other letteritypes of this kind are the "Frühling"type, the "Post< Fraktur" (PostiGothic), the 01d"Schwa< bacher", "KochiAntiqua", Nicolaus Cor chin's "Antiqua for Special Prints and many others. In all these types sentiency and, partly, even illogical features which predomínate in popular songs, are peri ceptible. The sketchdike way of execution, the partly paradox strokes of the pen are syrnbols for the "throws and leaps" as Herder called these illogical associations and combinations of the popular song. The opposite extreme to these are poesies appealing particularly to the human in< tellect, thus rational cool classical poetry which avoids outbursts of passion and is mostly dressed in historical forms such a sonnets, elegies, Ge. The subjection of the poetical ímpetus by the form cannot be better represented than by a subjected, perfectly fashioned letteritype. The best representative of this category is the Sansi ceriph type, and it is therefore quite natural that Stefan George, a poet who cultivated the cool dispassionate style of poetry in the extreme, ordered for his works the use of the a Sansceriph letter though somewhat characteristically modified for his purposes. The number of other austere types, both Germán and Román characters, is so ex* tensive that it seems superfluous to give examples here. All other kinds of lyricism can be classed within these two limits, and it is but a mere question of intuition to hit the mark. The compositor will be very pleased to get the chance of passing his own opinión on the qualifications of the type prescribed for a poetical book, unless he has even been entrusted to determine himself the style of printing and the gebup of the book. The stze of type, which depends, to some extent, upon the size of the book and on the face of the type, also, is by no means without concrete relativenesses. Solemn songs, hymns, Ge. require, for instance, a largerisized type than idyllic lyricism or personal tunes. Abstract eternal truths of a more transcendental nature, ciad in poetry, are greater in their spiritual amplitude than poems celebrating individual situations and scenes. After all, is there anything that could express this better than the style of script chosen which lends body and voice to the mute thought? Most appropriate for poetry is also the

Archiv für Buchgewerbe und Gebrauchsgraphik de | 1938 | | page 18