i&t cWmtec íft uecgangen,/ítb fef) besTHaíen ©cheín,/ích fet) bíe2!Hümleín pcaiv gen, bes íft meín fte eefreut. 0o fecn ín íenemTTale, ba íft gar luftíg feín, ba fingí bíe rractjtígalle unb rnanttj HBalboógeleín. Jú) get) benTHaíen bauen /toobl bucdj bas geüne Cü*eas//unb ftbenF íbn meínem Nublen, bíe míe bíe íüebfte toas. Unb euf ích, toíeb fíe Fommen an ítjrem $enftee fían, empfangen 25aum unb 2!Mumen, bíe fínb gae tooblgeían. <3e nabm líe fonbee TTeaueen ín feíne 2leme blanF. ^>ee W acbtee auf ben THau^ een bub an eín iüeb unb fang: íft femanb nocb baeínnen, bee mag balb beínv tuáeís ganJá) fet) benXTag bee beíngen fcbon buetb bíeHJolFen Fiar. 3be, meín 3lleclíebfte, abe, fcbóns 3lümleín feín, abe, frijón Kofenblume, es muf? geftbíeben feín! 3ís bas ídj toíebeeFomme, bleíbft bu bíeüíebfte meín, bas f>eej ín meínem £eíbe gebórt ja all^eít beín 33 173 Abbildung f. Vollstandiger Einklang zwischen Sinngehalt und Wortbild cAus: „A11 mein Gedanken, die ich hab". Rainer Wunderlich Verlag, Tübingen) lower.case letters used for all words that are in no way concerned in the contest about the application of majuscules and minus» cules. On the contrary, here the minuscules are to link the phonetical entirety of the verses together. Another example is given in Amo Holz's "Phantasus" by the typical médium position of the shoulders for which the poet presents a theoretical explanation. In general, every author supplies for each of his works the necessary directive lines which in their integral profundity can be contrived by the creative artist only. Fin» ally, it may safely be said that nothing is more apt to prove the justification of what has been exposed in this treatise than the very fact that even great poets never dis< dained from adopting and utilising typo» graphical forms of expression. Tobe continued. (Translated by L. Beringer)

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