P 171 LE RAMEUR I ENcl ENcW CONTRE UN qRANd flEUVE, ÍnHniMENT MES RAME5 MarracNent Rtqütr AUX RIANTE ENVÍRONS; Ame aux pesantes mains, pUiNES des avírons, H fAUT QUE ÍE Cíe! Efíif AU T|Ias dfs ¡ENTES ¡AMES. Le ceeur duR, real distRAÍr des bEAuTÉs oue jE bAis, UiSSANT AUTOUR dE MO¡ MURÍR des CERClB d'ONdE, jE VEUX ÍARqES coups ROMpRE i'ÍÜUSTRE MONdt De fEuilks 6T de feu qué je cNante tout bAs. ARbRES SUR QU¡ JE pASSE, AMpÍE ET NAÍVE MOÍRf, LaEí dE RAMAJES p£ÍNT£, ET pAÍX df !'aCCOM|)Í¡, DÉcbÍRE-te, MA ¿ARQUE, ¡MpOSE-lEUR UN pli Qui COURE du t,RAN<1 caIme aLkíÜR Ia MÉMOÍRE. JAMAIS, cllARMES du jOUR, jAMA¡S vos q RACES n'ont TANT SOuffERT d'üN REbEÜE ESSAyANT SA déÍENSE Maís, comme Ies soIeiIs m'ont tiré dE I'eníance, Je REMONTE i. Ia source ou cesse méme un nom. PauI VAlÉRy Abbildung 3. Betonung der asthetischen Komponente (Aus einer franzosischen Schriftprobej Italic type that, perhaps, expresses rhyth» mical moves better than any other type. However, hints like these should never be taken as being available for all cases, for it will be necessary to make an individual choise of tbe best suitable type to be adapted to each particular case. It is the fineness and differenced variety of nuances that require our careful attention in order to be able to fully utilise the expressive power of the type, rendering thereby a really valuable service to the author. It is true, the choice of type is most im< portant to both the compositor or publi» sher's printer in their endeavours to inten< sify the expression of the author's inten¡ tions. Notwithstanding that there are still many more points of the composition» technique which, from a psychological viewpoint, present new aspeets with regard to thevisualisation of poetry, aspeets worthy of being hereafter discussed in extenso. The question as to whether each line of the verses is to be set in capitals or lowencase letters has been hitherto mostly considered from the standpoint of the aesthetic im< pression only - taihpieces in capital letters on the left edge of the composition - or arranged according to Duden's rules. Far more judicious is a cióse study of the poet's work as to whether there be frequent "enjambement" (where a composition or part of it runs across several lines so that the verse terminates without marks of punctuation or often in words without any stress. Here it is quite obvious that in verses like these the capitals spoil the current rhythm, and it often suffices to divide the lines so as to illustrate the slight, hardly perceptible faltering in the conveyance of the sense of the verses as intended by the poet. On the contrary, if the lines of the verses, (as it is usually the case), coincide with closed sentences or parts of them, and this refers also to periods which are by their meaning parts too, even if they are not provided with marks of punctuation- it will be always better to use uniformly capitals for all lines. This applies to many species of verses, such as iambi having five metric feet, hexameters, distichs, Cíe. It is a practice frequently observed that in Román type compositions the first word of the poem is set in large or sma.ll capitals. This is merely done for aesthetic reasons, but this habit should be dropped, as it is unnecessary to emphacise in excess the first word which is often unimportant in its literal sense. Besides, an unjustified ex» aggeration like that of a word has mostly a displeasing effect on the reader. The same applies to the whole first line being comí posed in capitals though this may be sometimes justified when, for instance, these poesies are without titles. The first line then replaces the latter, though there is always a possibility of very awkward solutions, that cause displeasures for reasons associated with the contents of the book, but this is not to be discussed in this article. The heading itself is a factor both the poet and the compositor are very much con» cerned about, for often its relation to the text is so problematic that it is very hard to find a satisfactory solution for it. Rilke suggested to always get the title of a poem printed on a sepárate leaf, similar to the former get»up of books in France, but this is for economical reasons hardly feasible. Neither is it advisable to place the titles on the left and the poems on the right side in the book, as this produces the somehow unpleasant impression of table» work. After all, there seems to be no alter» native but to set the title over the poem with ampie space in»between. As every poem is an integral work of art, it requires of course a page by itself, exceptions being admissible in exceptional cases only. Nothing can be said against initials with regard to the text, provided they con» stitute puré strokes of the pen, ñor against initials with illustrative ornaments especi» ally designed by the graphic artist for the poem. Initials with cottages, trees and flower»tendrils (H.Vogler's style) are no longer patronised hy modern book artists. One factor requiring particular care, is the spacedine, for nothing is more apt to impair the tone of a lyrical poem than incorrect, mostly too narrow spaces between the lines. That inexpressible feeling delicately hinted at by the poet's words vibrating between the lines and forming lastly the very essence

Archiv für Buchgewerbe und Gebrauchsgraphik de | 1938 | | page 19