„Der Gott der Stadt“ by Georg Heym was written between 1910 and 1911. Methode Wie in der Einleitung schon angerissen, versucht diese Arbeit anhand einer Gedichtanalyse die Frage zu beantworten, wie Berlin in expressionistischen Gedichten aus der Periode 1910-1918 dargestellt und bewertet wird. The poem’s subject is the dark sides of the town, which ‘Gott der Stadt’ is a symbol for. Images of the underworld are created by means of vivid colours running through the poem. Fertige Biographien und Interpretationen, Analysen oder Zusammenfassungen zu Werken des Autors Georg Heym. The chimney smoke, the clouds of manufacture. This fire was made by Baal symbolising the town’s sacrifices. (Fume roars and eats everything up). 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. Example: Peter Piper Picked a Peck of Pickled Peppers. The “laut[e]” (line 10) (loud) music that “dröhnt” (line 9) (roars) through the streets is produced by millions (“Millionen” line 10). Not only are the colours black and red a symbol for hell but also they are associated with apocalypse. Vom Abend glänzt der rote Bauch dem Baal. At the same time the greatness and omnipotence of Bale is stressed (line 13ff.). Content-wise not order but chaos and missing controllability are dominant. Baal, however, is only described as “Gott der Stadt” (see title), his territory, hence, only being the town. The poem’s subject is the dark sides of the town, which ‘Gott der Stadt’ is a symbol for. 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 poem consists of five stanzas, each stanza is composed of four lines. Numerous employees were unqualified, which led to exploitation. Er streckt ins Dunkel seine Fleischerfaust. Das Gedicht „Berlin II“ stammt von Georg Heym. From out his great locks, in his wrath all horrid. Another example: The stars danced playfully in the moonlit sky (the stars cannot dance but they get human attributes). Schnell durchblicken 10,181 views. Thus, the god of the town is more likely to be an anti-god, the opposite of the god created in Christian-occidental moral concepts. Personifications are often used in fables where animals act as humans. While his name refers in the Old Testament to a great number of local deities, Christianity sees him as a demon. The greatest cities kneel to him like choirs. Heym’s poem describes the spectrum of threats that people in cities had to face. Ziehn auf zu ihm, wie Duft von Weihrauch blaut. Some houses “verirrn” (line 4) (get lost) in the direction of the countryside, which gives the town almost human features. With reference to the syntax, it has to be mentioned that many enjambments6 are used (line 9, 11). Hence, the poem seems to be short and concise, highlighting the dynamics of the events. Rhythmus) Sonstige Auffälligkeiten Makroebene Hauptteil Mikroebene „Das Gedicht besteht aus 2 Quartetten und 2 Terzetten. The existence of great threat is conveyed by Baal’s emotions, too. Unto him cling, blue scent of incense sweet. Moreover, expressions from the word field of religion are used. Stanzas one to three describe Baal’s position and impressions of the town. It can be divided into two units of meaning. Society was on the move and new lifestyles that were previously unknown developed. He is a symbol for norms and values that control the town. The colour black is mentioned several times (line 2, 8) and darkness in general is a consistent motif (line 14, 17). Hence, it seems obvious to see the disruptive events at the end of the poem as apocalypse. As Baal is a god that demands human sacrifice, these stylistic devices have a significant effect. 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). Heym, Georg - Berlin (Gedichtinterpretation) It was often taken up by poets of the literary period Expressionism such as Trakl or Lichtenstein. This contrast between form and content aims to unsettle the reader and to give the poem a special character. Wir haben in unserem Hausaufgaben- und Referate-Archiv weitere Informationen zu Georg Heym und seinem Gedicht „Berlin II“ zusammengestellt. In the Old Testament Baal was god of the town Tyros, who was depicted as an evil and human scarifying creature. The most significant lines in the final stanza are “ein Meer von Feuer (…) durch eine Straße [jagt]” (line 19) (a sea of flames hunting through the street and that is eaten up by fumes of embers). The number of churches is enormous (“ungeheu[…]er” (line 7) and the masses of houses is stressed by the words “schwarzer Türmer Meer” (line 8). These expressions ascribe the town to spread and occupy a great area. Due to these personifications, natural forces appear as basic and disruptive powers that cannot be stopped. At the mere sight of his surrounding he feels “Wut” (line 3) and “Zorn” (line 16) (rage/fury), which motivates him to burn down a street (line 5). Urbanization was a significant problem of those times. 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.) It is interesting to note that the strictly consistent form of the poem contrasts to its apocalyptic-seeming content. The outward appearance of the towns was unattractive, dominated by industrial plants, traffic and dirt (line 11). The length of one street. „Berlin II“ von Georg Heym und trage ein, zu welchen der unten genannten Stichworte der Text Informationen enthält. Numerous hyperboles2 put emphasis on this impression, too. On an external view the town is characterised by church towers (line 7) and industrial plants (line 11) making it appear threatening. When the poem was written, at the beginning of the 20th century, as a result of the industrial revolution three decades ago, first cities of over a million inhabitants arose in Germany. Its music is compared to the dancing of Korybanten, who adore the rites of Kybele, the Greek goddess of nature and fertility (line 9). This word choice creates a threating atmosphere and an impression of violence evoking the images of hell and apocalypse. Methode & Korpus 2.1. God Baal can refer to either Jewry or Christianity. Und frisst sie auf, bis spät der Morgen tagt. Von seinem Haupthaar, das im Zorne sträubt. In German the term “Gott” is mainly referred to the god of Christianity. The character of Baal, god of the town, is the basis of the interpretation of the poem. Wild, rituell und ekstatisch tanzende Priester der Göttin Kybele. Personification: figure of speech that gives objects or animals human qualities. Alliteration: repetition of identical or similar sounds at the beginning of a few succeeding word. These vivid colours as well as the word fields of fire and fume create images of hell and apocalypse in the readers’ minds. The rhyming scheme as well as the poem’s metre are regular, it is written in crossed rhymes and in iambic pentametres. Die Reime in den beiden 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. Stray beyond the fields some last few houses. The caused noise was intense and many suffered by it (line 9f.). The storm winds flutter, like great vultures gazing. Of millions ambling loudly through the streets. Up to him swells from dark a sea of spires. Wogt auf zu ihm aus schwarzer Türme Meer. Hence, people had to make huge sacrifices as can be seen in Heym’s poem. Gott der Stadt von Georg Heym Verfilmung - Duration: 2… 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.). Er schüttelt sie. 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. 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. The chaos within the town supports this assumption. Die Überschrift lässt vermuten, dass der Autor Berlin in verschiedenen Gedichten verschieden darstellt. The impression of greatness and threat is also visible by the use of stylistic devices. The dark of evening unto night is dulled. Die Stürme flattern, die wie Geier schauen. 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. The weather smolders in his eyebrows twain. In the poem these features are emphasised by Baal’s fury (“Wut”, “Zorn”) as well as by his destruction of a street (line 5). Several houses “kniien um (…) [den Baal] her” (line 6) (kneel in front of Baal) stressing the greatness of Baal. 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. However, they are never across stanzas. Enjambment: incomplete syntax at the end of a line, the meaning runs over from one line to the next without terminal punctuation. Furthermore, there is nothing sacred about the town that is described in the poem. 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. Due to Heym’s wording, a gloomy atmosphere is created. The town appears as an ungovernable, wide spreading entity and its god as a furious and cruel creature destroying human life. It can be assumed that the common laws do not exist within this town. Strophenbau Reimarten Reimfolgen Versbau (Metrum bzw. This regularity creates a consistent rhythm when reading the poem aloud, creating a certain kind of gravity and threat. The wind encamps all black around his brow. Stanzas four and five are about his reaction, namely rage, which leads to the destruction of a street by means of fire. Ein Meer von Feuer jagt, Durch eine Straße. Und der Glutqualm braust. „Der Gott der Stadt“ by Georg Heym was written between 1910 and 1911. schwelt; langsam, ohne Flamme verbrennend. Pagan gods have taken over the control over the town and its people. The alliteration4 of Baal’s belly (“Bauch (…) Baal[s]) (line 5) as well as the neologism5 “Fleischerfaust” (line 17) underline the brute violence of Baal. “Kirchenglocken” (line 7) (church bells) and “Dunst von Weihrauch” (line 12) (incense) can be associated with Christianity. 12:10. The more personifications3 in the context of the town are used the more this entity ‘town’ seems to be multitudinous. Diese Dokumente könnten Dich interessieren. 2. 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). Die Gedichte sollen dabei nicht in chronologischer, Beim Lesen vermittelt es eine geschäftige Stimmung, die aber (vielleicht wegen Wörtern wie „Wogen“ und „Wellen“) nicht hektisch wirkt. A monstrous heap of church bell after church bell. Nevertheless, the poem’s sentences are rather short and simple and are mostly only within one line (line 13ff.). 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. By this exaggerated depiction the town is illustrated as a gigantic, multitudinous and out-of-control entity that awes respect to foreigners. Baal’s belly is red (line 5), the flames are supposed to be orange and red although this is not directly mentioned (line 5). It is a place of unleashing, both spatial as well as social. 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.). (a sea of flames hounds through the street), “Glutqualm braust und frißt sie auf” (line 19f.)