He uses numerous nouns and adjectives that can be associated with hell: “Rauch” (line 11), “Meer von Feuer” (line 18), “Glutqualm” (line 19) (fume) that is moving through the streets. The impression of greatness and threat is also visible by the use of stylistic devices. It is interesting to note that the strictly consistent form of the poem contrasts to its apocalyptic-seeming content. Life in towns was shaped by lack of space and housing shortage so that many people had to live on the streets. Metrum eines Gedichts erkennen ... Expressionische Gedichte schnell erkennen - Duration: 12:10. Fertige Biographien und Interpretationen, Analysen oder Zusammenfassungen zu Werken des Autors Georg Heym. Er schüttelt sie. This fire was made by Baal symbolising the town’s sacrifices. Neologisms: a relatively recent or isolated term, word, or phrase that may be in the process of entering common use, but that has not yet been fully accepted into mainstream language. Die Gedichte sollen dabei nicht in chronologischer, The dark of evening unto night is dulled. A monstrous heap of church bell after church bell. And the hot smoke roars, Cadence: describes the fall in pitch of the intonation of voice, 2 stressed syllables: female cadence, 1 stressed syllable: male cadence. Content-wise not order but chaos and missing controllability are dominant. The colour black is mentioned several times (line 2, 8) and darkness in general is a consistent motif (line 14, 17). The chimney smoke, the clouds of manufacture. At the same time the greatness and omnipotence of Bale is stressed (line 13ff.). He is a symbol for norms and values that control the town. Strophenbau Reimarten Reimfolgen Versbau (Metrum bzw. schwelt; langsam, ohne Flamme verbrennend. Pagan gods have taken over the control over the town and its people. It was often taken up by poets of the literary period Expressionism such as Trakl or Lichtenstein. Hence, the poem seems to be short and concise, highlighting the dynamics of the events. Beim Lesen vermittelt es eine geschäftige Stimmung, die aber (vielleicht wegen Wörtern wie „Wogen“ und „Wellen“) nicht hektisch wirkt. Und frisst sie auf, bis spät der Morgen tagt. As Baal is a god that demands human sacrifice, these stylistic devices have a significant effect. The weather smolders in his eyebrows twain. Another example: The stars danced playfully in the moonlit sky (the stars cannot dance but they get human attributes). As Heym mentions the great number of bells (“ungeheure Zahl”, line 7) and the fume of incense only as a comparison to “Wolken der Fabrik” (line 11) (clouds of the factory), it can be assumed that the religious expressions are used ironically. Of millions ambling loudly through the streets. Alliteration: repetition of identical or similar sounds at the beginning of a few succeeding word. This word choice creates a threating atmosphere and an impression of violence evoking the images of hell and apocalypse. God Baal can refer to either Jewry or Christianity. The town almost seems to be aggressive: “der Kirchenglocken ungeheure Zahl wogt auf zu (…) Baal” (line 8), “die Wolken der Fabrik ziehn auf zu ihm” (line 11f.). The wind encamps all black around his brow. Er streckt ins Dunkel seine Fleischerfaust. This contrast between form and content aims to unsettle the reader and to give the poem a special character. From out his great locks, in his wrath all horrid. While his name refers in the Old Testament to a great number of local deities, Christianity sees him as a demon. The chaos within the town supports this assumption. Methode & Korpus 2.1. Heym’s poem describes the spectrum of threats that people in cities had to face. Up to him swells from dark a sea of spires. The length of one street. Nighttime can be seen as a symbol for the sinfulness of the town as the events happen during evening time (“Abend” line 2) and dawn (“Morgen”, line 20). It is a place of unleashing, both spatial as well as social. The outward appearance of the towns was unattractive, dominated by industrial plants, traffic and dirt (line 11). The poem’s subject is the dark sides of the town, which ‘Gott der Stadt’ is a symbol for. Not only are the colours black and red a symbol for hell but also they are associated with apocalypse. It is about the god Baal, who observe a town up from a roof of a city block at nighttime and lets a street burn down during dawn. Und der Glutqualm braust. By comparisons Heym stresses the slyness of storms (“wie Geier” (line 15) (like vultures) as well as the shape of the industry’s fumes (“wie Dunst von Weihrauch” line 12). Moreover, expressions from the word field of religion are used. Die Stürme flattern, die wie Geier schauen. This regularity creates a consistent rhythm when reading the poem aloud, creating a certain kind of gravity and threat. These expressions ascribe the town to spread and occupy a great area. Interpretations and analyzes ordered by literary epochs, Interpretations and analyzes sorted by authors, Interpretations and analyzes arranged by topic, Georg Heym - Der Gott der Stadt (Interpretation #60), Georg Heym - Der Gott der Stadt (Interpretation #100), Georg Heym - Der Gott der Stadt (Interpretation #126), Georg Heym - Der Gott der Stadt (Interpretation #146), Georg Heym - Der Gott der Stadt (Interpretation #153), Georg Heym - Der Gott der Stadt (Interpretation #155), Georg Heym - Der Gott der Stadt (Interpretation #307), Georg Heym - Der Gott der Stadt; Joseph von Eichendorff - In Danzig (Gedichtvergleich #360), Georg Heym - Der Gott der Stadt; Clemens Brentano - Hörst du wie die Brunnen rauschen (Gedichtvergleich #497), Georg Heym - Der Gott der Stadt; Theodor Storm - Die Stadt (Gedichtvergleich #839), Georg Heym - Die Stadt; Theodor Storm - Die Stadt (Gedichtvergleich #49), Oskar Loerke - Blauer Abend in Berlin; Georg Heym - Die Stadt (Gedichtvergleich #585), Georg Heym - Die Stadt (Interpretation #25), Georg Heym - Der Krieg (Interpretation #340), Georg Heym - Die Stadt (Interpretation #12), Er schaut voll Wut, wo fern in Einsamkeit. The greatest cities kneel to him like choirs. The character of Baal, god of the town, is the basis of the interpretation of the poem. The powers of nature are also personified: “die Winde lagern schwarz um (…) [Baals] Stirn” (line 2) (winds hunt around Baal’s forehead), “die Stürme flattern” (line 14) (storms flutter), “ein Meer von Flammen jagt durch eine Straße” (line 17f.) Apart from line 13 and 15 all lines are written in male cadences1 leading to a regular rhythm that stresses the poem’s acoustic elements such as “Kirchenglocken” (line 7) or “Musik der Millionen” (line 9f.). Vom Abend glänzt der rote Bauch dem Baal. In the poem these features are emphasised by Baal’s fury (“Wut”, “Zorn”) as well as by his destruction of a street (line 5). The rhyming scheme as well as the poem’s metre are regular, it is written in crossed rhymes and in iambic pentametres. Society was on the move and new lifestyles that were previously unknown developed. Wogt auf zu ihm aus schwarzer Türme Meer. Wild, rituell und ekstatisch tanzende Priester der Göttin Kybele. Numerous employees were unqualified, which led to exploitation. Rhythmus) Sonstige Auffälligkeiten Makroebene Hauptteil Mikroebene „Das Gedicht besteht aus 2 Quartetten und 2 Terzetten. The town appears as an ungovernable, wide spreading entity and its god as a furious and cruel creature destroying human life. Due to these personifications, natural forces appear as basic and disruptive powers that cannot be stopped. The dream of pleasant life and wealth were only fulfilled by the minority, which left the rural home to move into large industrial centres such as Berlin or the Ruhr area. In German the term “Gott” is mainly referred to the god of Christianity. Stanzas one to three describe Baal’s position and impressions of the town. Personifications are often used in fables where animals act as humans. Images of the underworld are created by means of vivid colours running through the poem. Unto him cling, blue scent of incense sweet. Gott der Stadt von Georg Heym Verfilmung - Duration: 2… Enjambment: incomplete syntax at the end of a line, the meaning runs over from one line to the next without terminal punctuation. Due to Heym’s wording, a gloomy atmosphere is created. The caused noise was intense and many suffered by it (line 9f.). Heym, Georg - Berlin (Gedichtinterpretation) It can be divided into two units of meaning. Example: Peter Piper Picked a Peck of Pickled Peppers. The more personifications3 in the context of the town are used the more this entity ‘town’ seems to be multitudinous. On an external view the town is characterised by church towers (line 7) and industrial plants (line 11) making it appear threatening. The poem consists of five stanzas, each stanza is composed of four lines. The storm winds flutter, like great vultures gazing. Its music is compared to the dancing of Korybanten, who adore the rites of Kybele, the Greek goddess of nature and fertility (line 9). However, they are never across stanzas.

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