A MARIENSEQUENZ (HanOfchrlft aue Murl) 12. JahrhunOert oe olí llehter merco óteme eln Iteht í>er criotenlieit María allermagefce eln lúceme' Fróroe í)lch gotee zelle beelozzenlu cappellc í>o í>u fcen gebaere Oer Olch uní) al ble roelt geocuof nu elch role reine eln oaz«bu maget bo roaere Senbe In mine olnne bee hlmelco lúinlglnne toare rebe eüeze baz Ich ben oater unb ben oun unb ben olí heren gelot gelouben müeze Jemer maget an enbe muoter ane mleeeroenbe frouroe bu haet oereüenet baz Eoe zeretorte blu got überhorte Hllf mlr frouroe liere« troeet une armen bur ble ere baz bln got oor alien rolben ze muoter gebahte - alo blr Gabriel brahte» Do bu In oernaeme roie bu oon ero erhaeme bln olí relnlu ecam erecrac oon bem maere role maget ane man lemer Mnt gebaere 52 172 Abbildung 4. Vollstándiger Einktang zwischen Sinngehalt und Wortbild (Aus: „Álteste deutsche Dichtungen". InsebVerlag, Leipzig) of the poem, necessitates space for its effectiveness. A poem must, so to speak, breathe, or it is suiibeated, for it is a very delicate structure. Of course, the choice of the spacedine depends ón the type applied, yet the thought of lyric valué must at all times be first and foremost. Narrative epo> pees may and must be, of course, more closely spaced. Here the poet narrates and does not admit so much the reader's con* currence, as the free flight of thought might be confined. This almost seems to be materialism, but is for all that right, any attentive reader observing himself scrupub ously during the lecture will be convinced of that truth. In a letter addressed to his publisher, Rilke said once that lines, and spaces between the lines, must act "as if they had been projected from loud<spoken sentences", and here he wishes to convey the same idea. The spaces between each strophe should, to a certain extent, also be made dependent on the materiahsensual events of the poem. In practice, however, this is no task of the book<artist as variebility, which is always necessary according to the exigencies of the text, is not disirable for aesthetic reasons. Concerning the use of punctuation marks it is (though not always) the author or the publisher who has to say the last word. Whenever the printer is allowed a greater latitude, he should not be too narrow» minded in this. Poetry means lastly glorb fication, and embellishment of life; there is no room here for meanness or non* importance. It is thus obvious that the usual rules cannot be strictly adhered to, for everything must be seen here from higher viewpoints. If possible, there should be no apostrophes, no semicola, and short dashes only. No attempt should ever be made to rectify the author's own principies if they deviate from the customary rules, bearing in mind Rilke's reproachful criticism on "the always arbitrary phantastical printer's intelligence". The poet knows the valué of punctuation far better than the printer. Particularly long lines in poetry are usually divided, the last words being spaced out backwardly in a special line. This practice has often been subject to objections on pretense of formal aesthetic reasons. The fact that the drawback is far more due to the components of expression, has hitherto not been sufficiently emphacised. Our eye and feeling separates, through the apparent blank line, those elements that belong together, so the strophe is split and the rhythm severely impeded. It is then useless that intellect sanctions afterwards the tech< nical necessity of such a measure, for the disturbance will always be felt while read¡ ing and enjoying the poem. The only solution however is to widen the com< position of several pages so that too long lines do not project into the gutter*stick or side<stick respectively, but this practice is not at all popular in the printing technique, ñor from an aesthetical view<point. Yet, it is really advisable to apply this method. When perusing poetical works page by page, we come across many a characteristic peculiarity in their typographic appear¡ anee, e. g. in Stefan George's works we see

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