eJournals Colloquia Germanica 56/2-3

Colloquia Germanica
cg
0010-1338
Francke Verlag Tübingen
111
2023
562-3

Popular Songs Disguised in Prose: Short Forms in Johann Fischart’s Geschichtklitterung

111
2023
Jodok Trösch
This paper will explore the effects of integrating short poetic forms into a prose text. It examines Johann Fischart’s Geschichtklitterung (1575), a German adaptation/translation of François Rabelais’s novel Gargantua that incorporates various citations to produce an intricate text in prose. Among them are over one hundred excerpts from contemporary popular songs that contain both verse and rhyme. Instead of arranging them as a prosimetrum with clear separations between prose and poetry, Fischart fits these songs seamlessly into his prose fabric, leaving no formal features that instantly distinguish them as non-prose. As a result, he obliterates the distinction between poetry and prose. This paper will argue that there are no concepts from humanist poetics capable of explaining this way of mixing poetry and prose. Through extensive formal analysis, it will reconstruct Fischart’s particular technique of incorporating short poetic forms into a prose text, arguing that this technique produces an original form of hybrid textuality.
cg562-30273
Popular Songs Disguised in Prose: Short Forms in Johann Fischart’s Geschichtklitterung 273 Popular Songs Disguised in Prose: Short Forms in Johann Fischart’s Geschichtklitterung Jodok Trösch University of Basel Abstract: This paper will explore the effects of integrating short poetic forms into a prose text� It examines Johann Fischart’s Geschichtklitterung (1575), a German adaptation/ translation of François Rabelais’s novel Gargantua that incorporates various citations to produce an intricate text in prose� Among them are over one hundred excerpts from contemporary popular songs that contain both verse and rhyme� Instead of arranging them as a prosimetrum with clear separations between prose and poetry, Fischart fits these songs seamlessly into his prose fabric, leaving no formal features that instantly distinguish them as non-prose. As a result, he obliterates the distinction between poetry and prose� This paper will argue that there are no concepts from humanist poetics capable of explaining this way of mixing poetry and prose. Through extensive formal analysis, it will reconstruct Fischart’s particular technique of incorporating short poetic forms into a prose text, arguing that this technique produces an original form of hybrid textuality� Keywords: François Rabelais, Johann Fischart, Gargantua, Geschichtklitterung, popular song, prose, incorporation, hybrid textuality A trope in formalist literary theory holds that long literary texts can be analyzed as being composed of short forms (Tynyanov 31)� 1 This argument is particularly prevalent regarding long prose texts that evade any attempt at formal classification. These texts are conceived as being constructed of various components. While each of the components is thought to have a defined literary form, the resulting combination constitutes an entity that appears to be more or less amorphous� This procedure of combining several short forms into one larger text can both be used to emphasize and to conceal formal differences between the constituents. One major formal difference is the one between po- 274 Jodok Trösch etry and prose, understood as the (premodern) distinction between texts that use metrical language, possibly with rhyme, and texts that do not (Barck 87). This poses the question of what happens to a text when it is composed of both poetic and prosaic forms. Both poetry and prose possess specific properties that are inseparable from their textual structure� These structural characteristics are not lost even if only a short section of text is used in a quotation. Therefore, the integration of short poetic forms into a prose text leads to formal ruptures in the resulting text. This paper will explore the effects of integrating short poetic forms into a longer prose text. More specifically, I will examine one case in premodern German literature, in which verses are so seamlessly integrated into the fabric of a prose text that the differences between them are difficult to notice� Johann Fischart’s Geschichtklitterung , first published in 1575, is a long prose text that is not bound by any formal convention� Two further editions were published during Fischart’s lifetime (1582, 1590); both of them expanded the text considerably� 2 Although the text presents itself as the translation of the French novel Gargantua by François Rabelais (only to promptly retract that claim), it includes a multitude of other literary texts from various sources (Seelbach, Ludus lectoris 291—391), including over a hundred excerpts from contemporary popular songs (Williams, “Liederpoesie” 397). This paper will try to show that these verses are incorporated into the prose text in such a way that no external feature makes them immediately recognizable as non-prose� Considering the historical context of Geschichtklitterung , a time when the distinction between poetry and prose was the central dichotomy of Renaissance poetics (Kleinschmidt 168), the concealment of these differences raises some questions regarding how this harmonization or leveling of poetry and prose is implemented in the text and what its function is� Are there any historical concepts addressing such phenomena of convergence between poetry and prose? Or is Fischart’s Geschichtklitterung an exceptional outlier? More generally, one could ask what the effects of such an interaction between verse and prose are and how they possibly change the fundamental characteristics of both. The central question, however, is what formal techniques are used in Fischart’s Geschichtklitterung to combine short verse and prose forms into a coherent and integral longer text� 3 This paper first will consider an example from Geschichtklitterung that demonstrates how Fischart unnoticeably integrates various short poetic forms into his prose text, virtually disguising them within it. Based on this initial evidence, I will then attempt to understand and evaluate this phenomenon in more theoretical terms. Once this baseline has been established, the focus will be on the text’s self-referential statements about its status as a text pieced together from shorter forms� The text employs two poetological metaphors to describe Popular Songs Disguised in Prose: Short Forms in Johann Fischart’s Geschichtklitterung 275 the composition of the text from a multitude of different elements: the stuffed pie and the melting pot� Both of them portray the text as a conglomerate or mixture of various literary forms. After that, I will look at theoretical concepts related to the composition of longer texts based on shorter forms� I will identify two concepts from early modern poetics that correspond with the autopoetical metaphors and concern transgressing the boundary between poetry and prose� In the final part of my paper, I will closely study one further example. Through a detailed description and reconstruction of two pages of Geschichtklitterung , I will show that it employs at least two ways of integrating short poetic forms into prose: One works by contrasting poetry and prose while the other disguises their difference. What does “poetry disguised in prose” mean? This is best illustrated by an example. It shows how passages of verse and rhyme first evade notice and can only be gradually discovered in the progressive act of reading and understanding. For example, the seventh chapter of Geschichtklitterung describes a massive feast hosted by King Grandgousier, the giant father of the protagonist, before the onset of Lent. In the following passage, Grandgousier is happy about the indulgence and tries to encourage it� Der gut Man Grangusier hett sein herzliche freud darmit/ wann er also gutherzig sah die Platten raumen/ vnd die Becher schaumen: und that nichts anderes, als das er sie auffmunteret, auff das sie jm nicht inn der predig entschlifen: Frisch auf jr gesellen/ die Hüner praten schon/ Trinken wir Wein/ so beschert Gott Wein/ seit frölich bei den Leuten/ vnd wer dan ain Hadermann will sein/ der mach sich weit von Leuten/ und far in Wald nach scheuten� [The good man Grandgousier heartedly enjoyed watching the plates go around and the cups foam: and he did nothing but encourage them so that they would not fall asleep during his sermon: Freshen up, my friends; the chickens are roasting. When we drink wine, God gives us wine. Be merry among people. And if you want to be a troublemaker, then stay well away from people and go into the forest.] (Fischart, Gsch H5r) 4 This passage quotes from a sixteenth-century drinking song. Typographically, the song cannot be distinguished from the rest of the text� There is no visual indication that it is a quotation, as quotation marks or similar typographical characters were not yet in common use in literary texts in the sixteenth century (Houston 200—01; Godart 283). But neither is the song set off by a line break, as is typically done with cited verse (Bland 94) even within Fischart’s Geschichtklitterung . As a consequence, it takes reading every single word to realize that it might not be a mere prose text� 276 Jodok Trösch The excerpt from the song takes up most of Grandgousier’s address to the party� The sentences beginning with “Trinken wir Wein” and ending with “Wald nach scheuten” can be found in several collections of songs from the sixteenth century with only slight variations (Williams, “Liederpoesie” 434, no. 57). 5 It is included in Der vollen brüder orden [The order of drunk brothers] by Hieronymus Bock 6 as well as in the fifth volume of Georg Forster’s song collection Frische teutsche Liedlein [Fresh German songs] (1566) 7 and in Antonio Scandello’s Nawe und lustige Weltliche Deutdsche Liedlein [New and amusing secular German songs] (1570). 8 Parts of this song are also cited in other texts by Fischart� 9 In addition, the first two lines of the song (“Trinken wir Wein/ so beschert Gott Wein”) form part of a widely used proverb that is included in Sebastian Frank’s humanist collection Sprichwörter � 10 But just as there is no indication that the lines are verse, there is nothing to mark that they represent a quotation. The colon, which could serve as a kind of indicator for a shift in textual levels, marks the beginning of Grandgousier’s direct speech. But it does not directly precede the beginning of the quotation of the lyrics. The two opening clauses of his speech do not belong to the quotation. In their brevity, they blend in with the rest of the song, but they have never been transmitted as part of the song in other sources. Unlike the song, these two sentences do not rhyme. The verses of the song, on the other hand, do indeed have end rhymes, using the rhyme scheme aab abb but they are exceptionally plain and consist twice of simple word repetitions (Wein-Wein-sein; Leuten-Leuten-scheuten)� A much more sophisticated rhyme can be found in the opening sentence, even though it is written in the ordinary prose ductus of Geschichtklitterung: the “raumen” [going around] of the plates at the table is thus parallelized with the “schaumen” [foaming] of the glasses and beer jugs in a rhyme that also exists with the etymologically equivalent words in English, roam-foam� With this rhyme and the lack of any clear gap between it and the song, the lines of the song are seamlessly woven into the text’s prose texture. The transition into the song is so fluid that only a reader who already knows the song will be able to pick it out. Hence, in this section of Geschichtklitterung , the boundaries between prose and poetry are blurred� Aside from recognizing the song from another source, one has no clear way to distinguish poetry from prose, contrary to contemporaneous poetics that posited a rigorous distinction between them� This initial evidence warrants further examination� The following section deals with a series of self-referential poetological statements and metaphors in Geschichtklitterung . Fischart’s text has been compared, somewhat hyperbolically, with works by James Joyce (Hörner 9) due to its wild experiments with Popular Songs Disguised in Prose: Short Forms in Johann Fischart’s Geschichtklitterung 277 language and the amorphous structure of its prose, which can be seen as a unique example of mannerist artificiality (Zymner 163). Modern scholars have repeatedly shown how heavily it is shaped by intertextuality (Seelbach, Ludus lectoris )� This has been understood as an attempt to incorporate all the knowledge and discourse of its time in a parodistic encyclopedia that particularly seeks to compile a comprehensive inventory of short forms such as songs, examples, and proverbs (Bulang 356—60). Geschichtklitterung features fragments and excerpts from dozens of other texts in various languages� Besides excerpts from popular song texts, the short forms the text incorporates include exempla and proverbs� The linguistic scope of the material is not limited to German and French. Besides Latin, it also includes - to a lesser extent - other European vernacular languages. These passages are often translated into German, but in some cases, they remain in the original language. The result of this process of blending diverse elements is a hybrid text, both culturally (Schulz 147) and linguistically (Hess 228)� The word Geschichtklitterung , the designation most commonly used in modern scholarship, does not in fact figure in the title of the first edition, which starts with the words “Affenteurliche vnd Vngeheurliche Geschichtschrift” [Ape-venturous and outrageous (hi)story], only to continue for another three full sentences, taking even the norms of early modern title pages, which allowed for extensive titles, to their limits. The change in title from Geschichtschrift to Geschichtklitterung in the second and third editions reflects the composite and intertextual character of the text. The first term is nothing more than a German translation of the Latin historia , a genre designation denoting both factual and fictional narratives in prose (Rusterholz 246). The word klittern , which was inserted into the title of the second edition, means “to piece together (a text)” and “to copy hastily” (Grimm 1213). As such, the new title reveals the underlying nature of Geschichtklitterung as a prose text hastily pieced together from various sources� The paratexts at the beginning of the work employ two poetological metaphors that further outline and specify the status of Geschichtklitterung as a mixtum compositum , a text composed of a mixture of other texts and genres. One metaphor is prominently featured in the first preface, which, in the intricate interplay of opening paratexts, is attributed to the translator, who appears in the disguise of one of Johann Fischart’s various pseudonyms� In defending the text despite its offensive nature, the translator references many renowned texts in the vernacular. He argues that despite some inappropriate words, the value of these texts is not in doubt� Employing a stylistic device typical of Fischart, the preface presents an extensive catalog of such books. Headed by Boccaccio’s Decameron , it assembles many texts from the narrative and satir- 278 Jodok Trösch ical tradition of the Upper Rhine, establishing an anti-classical counter-canon (Müller)� The preface also provides a long list of genres of entertaining literature� It contains genres as famous and respected as Greek tragedy but also shorter literary forms such as the Latin “Fescennine verses,” the German “Freihartspredigt” and “Pritzenschlagen,” as well as the “quodlibet” used in the context of university culture (Fischart, Gsch 4r)� The list is characterized by the dissimilarity of its elements� All possible forms and genres are included: high and low genres as well as lyrical, dramatic, and epic forms. And they are taken from four distinct literary traditions: Greek, Latin, German vernacular literature, and university life. At the conclusion of this list, it is explicitly stated that all these forms and genres had a formative influence on Geschichtklitterung � The work combines them all� This is expressed by the following metaphor: “So pringen wir nun hie aus allen forgedachten arten ain gebachenen kuͦchen” [We thus present here a pie baked from all the genres mentioned above] (Fischart, Gsch 4r)� While the German word Kuchen can also be translated as “cake” in English, all occurrences of the word in parallel passages within Fischart’s Geschichtklitterung 11 suggest that it is more appropriate to think of it as a hearty pie with a filling here. The image of the pie (or for that matter: cake) made up of different literary forms is significant. With this image, Geschichtklitterung situates itself in a satirical tradition of using dishes as metaphors to characterize the diverse ingredients of a literary work. Metaphorically, it is structurally similar to a farcimen , a coarse sausage or pâté, which is an emblematic symbol for Menippean satire (Knoche 5—12), for its lack of form and its tendency to devour and incorporate all other genres (Dell’Anno 93)� It is also reminiscent of the image of macaroni that Teofilo Folengo uses to characterize the structure of his macaronic poetry (Wiegand 527)� His texts infuse the Latin language of scholars with barbarisms from the vernacular, exposing scholarly language to ridicule. The resulting cacophony of languages is, according to Folengo, similar to “quoddam pulmentum,” that is, to some sort of a stew made of “flour, cheese, and butter mixed together, crude, rough, and rustic” (Coccaius 19). 12 Situating his work in the tradition of Menippean and macaronic literature, Fischart thus portrays his text as a heterogeneous product made up of various components� The title page of the second edition of Fischart’s book introduces another metaphor for the mixing of components� This is the edition that completes the shift from Geschichtschrift to Geschichtklitterung . Overall, this version shows a heightened self-reflective awareness of the work’s exceptional textual makeup� The title claims that the French original was poured into a German mold (Hausmann 43)� This describes the fundamental changes the text was subjected to during the translating process, which left nothing of the original form. To Popular Songs Disguised in Prose: Short Forms in Johann Fischart’s Geschichtklitterung 279 cast a metal object, the original object must first be completely molten and dissolved� The use of melting and pouring as metaphors for the production of a text implies a strict dichotomy between form and matter� Through melting down, an object is completely stripped of its outer shape. It is transformed into a molten mass, a state of pure matter with no apparent form. By pouring the mass into the cavity of a mold, the metal takes on a completely new shape when it cools. If different ingredients are used to make the text, these metals are all fused into an alloy� This implies that the individual components are no longer recognizable as separate segments in the product and that a new, uniform entity has been created from them. While the ingredients are diverse, the product is homogenous� To conclude this section, one can identify two different metaphors in Geschichtklitterung , both of which describe how this text is composed of shorter forms. The two concepts stand, however, in a certain tension with one other. They represent the two ends of a spectrum. As has been shown, one extreme is represented by the pie made up of various literary genres� It has a distinctly heterogeneous structure. The other is symbolized by the mold or melting pot, which stands for a new, homogeneous entity made up of different ingredients. The next step is to identify concepts from early modern poetics that allow us to apply these metaphors to the dichotomy of prose and poetry� How can we conceptualize homogeneous and heterogeneous mixtures of short forms in texts like Geschichtklitterung that are partly written in prose and partly in verse? Humanist poetics was founded on a sharp distinction between poetry and prose� Poetry was commonly defined by formal criteria, by meter, and - to a lesser extent - by rhyme� These formal attributes were often seen as preconditions for poetic language. As a consequence, most forms of prose, even though they were widespread in vernacular literature, were completely ignored by poetic treatises. Nevertheless, two rather minor poetic concepts can be found in the Latin poetic tradition that both deal with texts occupying a middle position between poetry and prose: prosimetrum and art prose. If one applies the image of the melting pot to the distinction between poetry and prose, one expects a product that seamlessly absorbs elements of both poetry and prose simultaneously and effaces the border between them. This is the case, for example, if the prose text is subjected, despite its character, to extensive rhythmization or if there are individual rhymes (or at least assonances) in it. And indeed, the prose of Geschichtklitterung is marked by these specific characteristics, at least in certain sections. We have already seen such a manifestation of poeticized prose in the opening example in which the narrator depicts the festival held by Grandgousier, king of the giants. In this passage, the 280 Jodok Trösch two verbs raumen and schaumen rhyme with each other: “sah die Platten raumen/ vnd die Becher schaumen” (H5r)� But this prose sentence contains more than just a prominently placed rhyme. On closer inspection, one notices that the two clauses both contain the same number of syllables. Furthermore, the six syllables have precisely the same alternating stress pattern. Rhythmically, these two parts of the prose sentence are identical, which is a characteristic feature of verse. Nevertheless, the contrast between this sentence and the song that follows, which is clearly in verse, demonstrates that it is still a part of the prose text� The poetic mode that most closely corresponds to the fusion of verse and prose is that of rhetorical art prose (Till 232, referencing Norden’s “Kunstprosa”), like rhythmic prose and rhymed prose (Amstätter 257). These concepts refer to a form of overstructured prose that was already known in ancient rhetoric as a specific register of speech. Of course, ancient prose used assonance and not end rhyme� Quintilian labels this rhetorical register oratio vincta (bound speech) and opposes it to both poetry in the strict sense and to free, unregulated prose called oratio soluta (unbound speech). In rhythmical prose, some parts of a sentence - especially its finishing clause - were subjected to certain rhythmic schemes while the rest of the sentence could be constructed at will (Asmuth 611)� Quintilian’s concept of oratio vincta was partially misunderstood in early modern poetics. Based on the distinction between bound and unbound speech, the constraints imposed by this form of speech were understood to be a kind of metric form only found in poetry� Yet the concept survived to some extent in sixteenth-century rhetorical discourse (Till 245), while at the same time the humanist neo-Latin style of writing letters in prose borrowed these features from Cicero (Tunberg 108)� The rhythmical prose of Geschichtklitterung , which has also been enriched with rhymes, fits perfectly into this specific historical tradition. Here, the idea of the melting pot is applied to the difference between poetry and prose. But it cannot contribute to answering the question of how the short poetic forms in question are integrated into the prose text. The concept of oratio vincta does not fit such cases since the sentences produced by the integration of song texts are subjected to verse and rhyme not only in part but in their entirety� On the spectrum between prose and verse, they are still closer to the latter. So let us consider the other concept proposed above� The term prosimetrum describes texts that exploit the great contrast arising from the juxtaposition of verse and prose in the same text (Pabst 350)� Since it represents a departure from classical aesthetic values, the prosimetrum was particularly associated with Menippean satire, which sought to produce a comic effect from the contrast between the high pathos of verse and its banal context in prose� In the Popular Songs Disguised in Prose: Short Forms in Johann Fischart’s Geschichtklitterung 281 prosimetrum , the contrast between prose and poetry is turned into a sign of a comprehensive dissociation (Koppenfels 26). Insofar as the prosimetrum juxtaposes heterogeneous elements, it fits well with the metaphor of the filled pie discussed above� And Fischart’s Geschichtklitterung can undoubtedly be placed in the tradition of the Menippean satire, mediated by the proximity of Rabelais’s work to this anti-genre (Renner 21) but also reinforced by Fischart’s additions of Menippean motives and techniques and explicit references to Menippean intertexts (Seelbach, Ludus lectoris 241; Bässler 293). It thus comes as no surprise that elements of the prosimetrum can be found in the Geschichtklitterung . For example, a German adaptation of Pierre de Ronsard’s famous “Epitaphe” (Ronsard 10) dedicated to François Rabelais is inserted into the translator’s preface� The prosimetric character of the text manifests itself more clearly still in the second chapter, which contains, among single prose passages, an enigmatic prophecy written in verse and rhyme, a figural poem, and two fragmentary samples of hexametric verse in German. In all these cases, the boundaries between the individual textual units are very clearly emphasized. Still, as a concept, prosimetrum fails to fully capture the specific feature of Geschichtklitterung this paper intends to study: imperceptible transitions between short forms of poetry and prose� Precisely because it operates through contrast, the concept prosimetrum is ill-suited to explain the hidden transitions between prose and poetry discovered above� To come closer to answering the question asked from the outset, I will devote the following part of the paper to one exemplary passage� A closer look at two consecutive pages taken from chapter one of the first edition of Fischart’s Geschichtschrift (B2v—B3r) shows that different modes of assembling short forms of poetry in a prose text are used without privileging any one of them� I will show that both metaphors, the filled pie and the melting pot, are applicable to combinations of poetry and prose in this text� There are sections in which the short forms incorporated into the text are presented as a heterogeneous patchwork, a prosimetrum , and there are larger sections of prose that give an impression - at least superficially - of homogeneity. 282 Jodok Trösch Fig. 1: Fischart, Johann. Affenteurliche vnd Vngeheurliche Geschichtschrift � Strasbourg: Jobin, 1575. Bayerische Staatsbibliothek München, ESlg/ P.o.gall. 1769d, fol. B2v-B3r, urn: nbn: de: bvb: 12-bsb00047235-2 (CC BY-NC-SA 4.0). A visual assessment of the verso and recto pages reveals clear differences in the presentation of the text� The text on the recto page has the appearance of any regular page of the Geschichtklitterung � It is set in a medium-size Schwabacher blackletter font spreading over the full width of the page in justified alignment with no breaks between paragraphs. The text fills the printed page completely up to the margins; there is no white space� The whole page looks very uniform� The verso page is different. 13 In comparison, its layout looks much more uneven. The text is broken into many smaller pieces� There are indentations on both the recto and verso pages and various paragraph breaks. Different typefaces are used� These are all effects of the use of prosimetrum ; here the transitions from verse to prose are clearly marked in the typography� It is the two neo-Latin poems integrated into the text as quotations that cause the distorted appearance of this verso page. According to the printer’s custom, all Latin lines are set in Anti- Popular Songs Disguised in Prose: Short Forms in Johann Fischart’s Geschichtklitterung 283 qua. They are followed by German translations that are printed in the common Schwabacher typeface used throughout the book� This reiteration of the verses in two different languages leads to further typographical anomalies and renders the two poems even more distinctive from the rest of the text� The way in which the two Latin lines of the second poem are turned into six German lines, namely by including an interpretation in verse form, further strengthens this effect. The Latin verses contain two epigrams in distiches written by Peter Schott the Younger (Worstbrock 831) and Jacob Wimpfeling (Mertens 1289), German humanists from the second half of the fifteenth century. Both Schott and Wimpfeling are mentioned by name before their poems are quoted. Such emphatic references to an author’s name, which tacitly declare them to be authorities, are quite rare in Fischart’s Geschichtklitterung � Their poems seem to be highlighted in the arrangement of the text because they enjoy a fair degree of prestige� Both poems can be found in Schott’s collection of letters titled Lucubraciunculae ornatissimae [Most ornate night thoughts] and published in 1499 (Schott 154v, 185v; see Seelbach, Ludus lectoris 369, 374). 14 Both contain proverbial maxims concerning what kind of people it is better not to have in the home or in the parish. Fischart uses them because of their antimonastic tendencies, as he wants to satirize the fact that monks’ behavior is pernicious to the morals of society� On the verso page, the way that poetry is integrated into the prose text is a prime example of the principles of the prosimetrum � The text is divided into different sections; the poem is clearly highlighted as something else. In this case, the image of the pie filled with various, heterogeneous ingredients is very fitting. The recto page, by contrast, filled with text from margin to margin, gives the appearance of containing only prose� But this is a typographical illusion� On this page, there are not only two, but many more passages quoted from several song texts� These passages contain both verse and rhyme� But the short forms in poetry used here are not highlighted in the presentation of the text at all� Instead, only by careful analysis can one identify a specific passage as a proverb, an excerpt from a collection of exempla, or a song text. Consider this excerpt: der Betler heyaho: der Augspurgisch Spinenstecher/ der der Betlerin den Pflaumenbaum schütt/ vnd in eil jren Bettelsack für den Fischsack erwischt� Schlaf Töcherlin/ du weckest mich/ schlaf müterlin/ die deck lang ich/ O wee der leidigen decken/ die du gelanget hast/ ich sih vir füs da stecken/ du hast gewis ein gast/ vnd was dergleichen sauberer lider meher sind/ die man singt vnd getrukt find/ darin man die tägliche gedachte wechselung der Kinder gründ. Eins morgens frü/ that ich mich zu/ zu einer Meid/ schmuckt sie zu mir/ was schaffet jr/ laßt mich kehren/ man möcht vns hören/ 284 Jodok Trösch [the beggar’s heyaho, the spider stinger from Augsburg who shakes the beggar woman’s plum tree and, in a hurry, mistakenly grabs her beggar’s bag instead of her fish bag. Sleep daughter, you wake me up! Sleep mother, I grab the blanket! Alas, the wretched blankets you have taken; I see four feet lying there; you certainly have a guest� And there are more such neat songs that are sung and printed in which one explains that children are swapped daily. Early one morning, I went to a maid and she snuggled up to me: What are you doing? Let me turn away, someone might hear us.] (Fischart, Gsch B3r) A first impression of the hidden poetic structure can be obtained by marking all the rhyming pairs in this passage� There are a large number of rhymes: Töchterlin-mich-müterlin-ich; decken-hast-stecken-gast; mir-jr; kehren-hören� Under the reasonable assumption that these rhymes each mark the end of a verse, line breaks can be inserted at these points to isolate the individual verses. Such a rearrangement of the text results in a much more familiar textual composition� It makes it easier to see the individual elements contained in the text� der Betler heyaho: der Augspurgisch Spinenstecher/ der der Betlerin den Pflaumenbaum schütt/ vnd in eil jren Bettelsack für den Fischsack erwischt� Schlaf Töchterlin/ [a] du weckest mich/ [b] schlaf müterlin/ [a] die deck lang ich/ [b] O wee der leidigen decken/ [c] die du gelanget hast/ [d] ich sih vir füs da stecken/ [c] du hast gewis ein gast: [d] vnd was dergleichen sauberer lider meher sind/ [e] die man singt vnd getrukt find/ [e] darin man die tägliche gedachte wechselung der Kinder gründ� [e] Eins morgens frü/ that ich mich zu/ zu einer Meid/ [x] schmuckt sie zu mir/ [f] was schaffet jr/ [f] laßt mich kehren/ [g] man möcht vns hören/ [g] Popular Songs Disguised in Prose: Short Forms in Johann Fischart’s Geschichtklitterung 285 We find a structure in which prose and poetry are tightly intertwined. The indented lines are taken from two popular songs. The first eight lines are taken from a song with the title “Es wolt gut jäger jagen, wolt jagen die wilden schwein” [A good hunter wanted to hunt, wanted to hunt the wild boar]. In the sixteenth century, this song was widely recorded in various versions; there are also spiritual contrafacta � This means that it was apparently very popular around 1600 for melodies to be used for other songs, including sacred ones (see Fischer; Zillmann). The final five lines - including the one line that does not contain any rhymes - come from a second song beginning with the words “Eins morgens früh” [Early one morning] (Williams, “Liederpoesie” 418—19, nos. 13— 14). In this new arrangement, the lines that comment on the texts, which were previously concealed, stand out, especially since they have more syllables per line. Indeed, this is the only feature that distinguishes them from their immediate surroundings� For even these lines contain rhymes: the three words sind , find , and gründ link these lines together as one� 15 Despite the rhymes, the lines are supposedly in prose, as they have the function of a commentary. They point out that the lyrics quoted here are taken from songs commonly sung and printed in the community, and they indicate their purpose in the broader argument the narrator makes. This means that while they are formally similar to the quoted lyrics, they are functioning on a completely different textual level. At the same time, the first three lines of the following song do not contain any rhymes at all, and hence are more like prose� Prosaic metalanguage and poetic object language converge. Once again, we are operating in a strange intermediate zone between poetry and prose� Extending the scope of the inquiry to the whole page, it is possible to identify sections in verse as quotations from popular secular songs that can also be found in various other sources from the sixteenth century� Charles Williams has identified the sources of most of the songs. 16 His catalog reveals the sheer number of songs that have been included on this single page (the one on the right in Fig. 1 above): twenty, at least (Williams, “Liederpoesie” 415—22, nos. 1—21). 17 Handwritten markings, as can be found on many copies of this text and not only the one digitally reproduced here, indicate that readers may have been able to recognize some of the songs (Bulang 359)� Williams’s catalog indicates that direct allusions to key expressions from popular songs can be found even outside of rhymed sections. For example, the words “der Betler heyaho” in the prose section at the very beginning of the cited passage refer to a song in which this phrase can be found with slight variations in the one-line refrain at the end of every stanza of the song, as for example in verses 39—40: “ein betler, | das heyaho” [a beggar, the heyaho] (Bergmann 102—04, no. 98; Williams, “Lieder- 286 Jodok Trösch poesie” 418, no. 11). The very short extracts of these songs in Geschichtklitterung are stripped of the characteristics that lend them their poeticity� Fischart’s text operates with a large amount of intertextual material that is collected and arranged in some sort of assemblage� His strategy is heavily influenced by the humanistic practice of collecting memorable sentences in personal notebooks in order to use them to improve one’s stylistic expression while writing (Zedelmaier 22; Keller 54). At the same time, his literary techniques bear similarities to the principles of the late-antique cento (Glowa 18; see Verweyen and Witting 293) and the vernacular quodlibet (Kühne 210). All these techniques aim to assemble short excerpts and fragments from other (poetic) texts in such a way that the old sense of the text is erased. Sometimes, this allows for new and unexpected meanings to emerge, but in places it produces sheer nonsense. Fischart uses different strategies to integrate these song fragments into his text. In some cases, like those seen above, the extracts are short but still long enough to contain their original rhymes and metric structure� In other cases, the excerpts are shortened even more. By extracting only parts of a verse, most often striking images and iconic expressions, the excerpts lose their underlying poetic character� Their metric structure becomes distorted; their rhyming words are torn apart� The humanistic practice of collecting excerpts is thus capable of fundamentally changing the poetic code of the message from poetry to prose. At the same time, the short forms integrated into the prose text change the characteristics of the prose text, too. This is an example of Fischart’s peculiar way of combining poetry and prose� As the phenomena of sound and rhythm encountered in the prose sections affect the structure of the sentences in their entirety, they cannot be adequately explained with the rhetorical concept of oratio vincta . Instead, these oscillations between poetry and prose should be viewed as a characteristic feature of Geschichtklitterung � The same technique of hiding song fragments within the prose text is broadly used in other chapters of Geschichtklitterung , especially in a chapter called “Trunken Litanei” [Drunken litany]. It reproduces the conversations of a group of drinkers getting heavily intoxicated after feasting on large quantities of tripe. In this chapter, the voice of the narrator is completely absent. This technique turns the text into a disordered mix of voices, particularly because it is often hard to recognize transitions between speakers� This cleverly orchestrated collective babble is composed of an assemblage of idioms, proverbs, and drinking songs� Transitions between prose dialogue and verses are not explicitly highlighted. Throughout the chapter, rhymes break up the prose speech into shorter parts and form something resembling verses in the midst of the prose� Only some of the sections with rhymes actually contain song texts; only some of them are indeed poetry. As a result, the “Trunken Litanei” becomes a Dionysian tap- Popular Songs Disguised in Prose: Short Forms in Johann Fischart’s Geschichtklitterung 287 estry of sound (Kaminski 157). This leads to a further blurring of the boundaries between versified and prosaic speech. In this text, any sort of definite categorization is abolished, be it the distinction between the voice of the narrator and the voices of characters, the attribution of a particular speech act to a particular character, the distinction between prose and poetry, or the attribution of rhyme and verse to poetry alone� As a satire, Geschichtklitterung sets out to be a confused and disfigured representation of the confused and disfigured world. For this purpose, intertextual techniques of writing are used that seize short literary forms of any kind and shuffle them around. This turns even the most fundamental categories upside down. If the satirical non-form (Dell’Anno 93—94) of Fischart’s Geschichtklitterung abandons the distinction between poetry and prose, it also plays with the question of its poeticity, which was, in sixteenth-century poetics, inseparably bound to the presence of verse (and rhyme)� In their oscillations between poetry and prose, these sections we have studied are neither one nor the other. They call into question the strict distinction between the two categories. At the outset of this paper, I posed two questions. With regard to Fischart’s Geschichtklitterung , I asked if its amorphous form could be conceptualized by analyzing it as a product of several short forms. Second, I asked about the interplay between poetry and prose (understood in the premodern sense as the presence or absence of verse and rhyme) in Geschichtklitterung . I used the first example to illustrate one form of this combination - and to show what it might mean to disguise short poetic forms in a prose text. I then identified two poetological metaphors for the incorporation of short forms into the text, marking the ends of a spectrum� They were then linked with two concepts from the contemporary humanistic discourse on poetics: oratio vincta and prosimetrum � By working with further examples from the text, I demonstrated that the concept of oratio vincta does not fit the phenomenon at hand. By contrast, there are passages from Geschichtklitterung that can be understood as prosimetrum � There are, however, striking differences between, on the one hand, the overt juxtaposition of prose and poetry in such passages and, on the other, the phenomenon of songs hidden in prose that is in question. It seems that new types of textuality emerge through this particular mode of incorporating short poetic forms� These modes can no longer be described in traditional poetic terms� Studying these short forms shows that the textual multiplicity of Geschichtklitterung , the amorphous entity that emerges from them, is greatly influenced by their diverse characteristics� 288 Jodok Trösch Notes 1 In Tynyanov’s essay “The Literary Fact” from 1924, the idea that ‘large’ forms are composed of various short forms is a necessary premise for defining literary genre as a concept that fluctuates and develops evolutionarily. Rosengrant (382) summarizes Tynyanov’s point: “If a work is acknowledged as a ‘large’ form, it is because its elements relate to one another in a particular way that is characteristic of a specific genre, although it may be that all of the other features of that genre have been drastically changed� A genre evolves at the expense of its ‘basic’ features; if its ‘secondary’ features persist, the genre will persist” (382). A similar consideration regarding the composite character of longer literary texts is already present in Friedrich Schlegel’s thought, most prominently in Athenäumsfragment 116. In this conception, Campe (161) argues, the Romantic novel is “the framework for the mixture of genres” [der Rahmen für die Mischung von Gattungen]. 2 Johann Fischart, who was born around 1545 in Strasbourg, is one of the central authors of German literature in the second half of the sixteenth century. He acquired a comprehensive humanistic education at the universities in Paris and Siena, finally receiving a doctor-of-law degree in Basel (Seelbach, “Fischart” 358). From over twenty years of collaboration with Bernhard Jobin, an important printer in Strasbourg, Fischart gained an intimate acquaintance with the book market and the intellectual community of his time (Brockstieger 27)� 3 This paper is not concerned with the difference between epic and lyric texts, as it focuses on the difference between poetry and prose as two fundamental modes of literary language, and not on the difference between literary genres. 4 All translations are my own� A note regarding these translations: Because of the ubiquitous wordplay and the many improvised compounds, no one has ever attempted to translate this text into any other language� For this reason, my translations into English are merely crutches intended to make the German text accessible for English readers� They cannot stand for themselves. Among other formal aspects, the text’s rhyme and verse, which play a central role in this paper, could not be reproduced. 5 In two studies from 1909 and 1911, Charles Williams uncovered the folk songs cited in Geschichtklitterung and the rest of Fischart’s oeuvre� Williams’s studies still provide a solid foundation for investigating the German-language lyrics cited in Geschichtklitterung � Based on parallel traditions in folk-language songbooks and single-sheet prints, Williams identifies a total of 139 song texts quoted in Geschichtklitterung alone. The citations are of different lengths, ranging from single words to the reproduction of several stanzas. Popular Songs Disguised in Prose: Short Forms in Johann Fischart’s Geschichtklitterung 289 6 Bock’s text, probably published in Strasbourg in the second half of the sixteenth century, is not a songbook with musical scores but a collection of speeches by various “wine fools” praising the benefits of drinking (Strauch 90—97). In a section called “Affen wein” [monkey wine], the following lines can be found: “Wer mit will vns ein guͦt gsell sein/ | Der drink mit vns den besten wein/ | Will er dann ein huderbutz sein/ | Sauff er wasser verlob den wein | Dar zuͦ pack sich bald von leuten/ [in the margin: “ Aut bibe aut abi �” J. T.] | Far ins holtz noch buͦchen scheiten/ (Bock D3r). 7 In Forster’s secular songbooks (see Brunner), the German text in question is only used in one of the five voices of the polyphonic song called vagans , while the other four voices have a different Latin verse (Marriage 202). In the vagans voice of this song, the lyrics begin as follows: “TRinck wein/ so bschert dir Gott wein/ sei frölich bey den leuten/ wilt du den ein hauder butz sein/ so fahr in wald nach schreyten/ ” (Forster no� 39)� 8 Scandello’s German-language songbooks (Scandello no� 18; see Classen 185—89) are an important source for song texts in Fischart’s Geschichtklitterung (Williams, “Liederpoesie” 410), so it is quite conceivable that this is the direct source for the texts used in Geschichtklitterung � 9 In his Aller Practic Großmutter [Grandmother of all prophecies], a parody on astronomical calendars with their prophecies, we read the following lines: “Trinken wir wein/ so beschert der Wirt wein/ vnd wil auch inn der zäch sein” (Fischart, Practic C4r). Here, God is substituted by “Wirt” [landlord] (see Williams, “Liederpoesie” 434 with erroneous page numbers; corrected in Williams, “Weiteres Zu Fischarts Liedern” 263). A further instance can be found in Fischart’s Podagrammisch Trostbüchlein [Podagra’s consolation book] with an explicit reference to its proverbiality: “Es geht da/ wie man sagt/ Trincken wir wein/ so beschert Gott wein/ Tränken die Gäns wein/ so beschert jhnen Gott kain Wasser” [It is as they say: If we drink wine, God will give us wine. If the geese drank wine, God would not give them any water] (Fischart, Trostbüchlein D6r; see Williams, “Liederpoesie” 434). 10 “Trinck wein/ so beschert dir got wein. Faul hend verarmen” [Drink wine, and God will give you wine. Lazy hands become poor] (Franck 163r; Wander 103)� 11 The most relevant passage in this regard is the “Maisterlos Fladensiglid” [authorless flatbread victory song] (Fischart, Gsch V5v), a song Grandgousier’s people sing after their victory in a fight against the bakers from Lerne, who didn’t want to sell them their “Käsefladen” (an open-faced pie with cheese filling). This marks the beginning of the picrocholine wars. The song contrasts hollowing out the pie to reach its tasty filling and avoiding the dry crust by devouring the dish completely (V5v)� 290 Jodok Trösch 12 “Ars Macaronica a macaronibus derivata, qui macarones sunt quoddam pulmentum, farina, caseo, butyro compaginatum, grossum, rude et rusticum” [The macaronic art has been derived from the macaroni. Macaroni is some sort of stew, flour, cheese, and butter mixed together, crude, rough, and rustic] (Coccaius 19). 13 Transcription of the central passage: “Vnd Peter Schott reimt: Inveterata peti non simia debet in aedes, | Vrsus silvestris, presbiter & iuvenis. | Alt Affen/ jung Pfaffen/ darzu wilt Bären | Soll niman in sein Haus begeren. | Vnd Jacob Wimpfeling verbeißt es/ vnd spricht: | Fœlix Plebanus, fœlixque parochia, subqua | Nec Naam, Abraham, nec Sem, nec vivit Elias. | Die Pfarr ist glückhaft/ lobesamm/ | Jn der Naham noch Abraham/ | Noch Sem/ noch kein Elias ist: ” [And Peter Schott rhymes: Inveterata peti non simia debet in aedes, Vrsus silvestris, presbiter & iuvenis. Old monkeys, young priests, and wild bears - nobody should wish them in his house� And Jacob Wimpfeling can’t stop himself from saying: Fœlix Plebanus, fœlixque parochia, subqua, Nec Naam, Abraham, nec Sem, nec vivit Elias. The parish is blessed and praised, in which neither Naham nor Abraham nor Sem nor Elijah live] (B2v). 14 According to the Lucubraciunculae, the second poem is by Jacob Wimpfeling: “Distichon Iacobi Vuimphelingi Sletstatini” (Schott 185v)� 15 The last word, gründ , only rhymes if pronounced in the Lower Alemannic dialects of the Alsace. There, the rounded ü sound has shifted to an i sound (Besch 1103), resulting in the last word probably being pronounced “grind.” 16 Though it was often impossible to identify the specific source, it has been plausibly claimed that most of the song texts were copied from single leaflets (Bulang 358)� 17 Here, the narrator argues that it is pointless to conduct genealogical studies, given that humans are constantly begetting children outside their legitimate lineage. Throughout the history of mankind, various factors have led to the fact that there are constantly more “bastards” conceived than legitimate children. All the songs collected on the page are “Schwankballaden,” a genre of obscene, facetious ballad (see Brednich 181). They describe lustful, extramarital encounters that violate moral norms of chastity and sexual fidelity. Fischart calls these songs “Gäuchlieder” (B3v), that is, songs of fools in love� They are used to prove a point: that it is common for illegitimate children to be passed on to the husband as his own� The narrator therefore provocatively concludes that it is pointless to study genealogy� In an estate-based society centered on the notion of noble descent, this is a radical satirical attack on the dominant social system� Popular Songs Disguised in Prose: Short Forms in Johann Fischart’s Geschichtklitterung 291 Works Cited Amstätter, Mark Emanuel. “Reimprosa.” Reallexikon der deutschen Literaturwissenschaften . Ed. Georg Braungart et al. Vol. 3. Berlin: De Gruyter, 2007. 257—58. Asmuth, Bernhard. “Gebundene/ ungebundene Rede.” Historisches Wörterbuch der Rhetorik . Ed. 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