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-,                    MUJJJbRN   GERMAN   LITERATURE

tern is (and it does correspond to the German EHotismus of todavV
put the stress where the sense needs it, and that will give 'Ewen-
bewegung'; every poem will then have its own rhythmic movement
just as every separate thing - a train, a clock, a wave - has its own
rhythm, and division into lines is then illusory, for there is one
continuous wave of rhythm. The individual poem reproduces
undulations of feeling in the poet, and these undulations of feeling-
constitute the rhythms - not the rhythm - of the poem; no rhythm,
therefore, is fixed, but follows this flux of feeling; rhythm, there-
fore, being unfixed, is infinite, and verse is to be measured by the
intensity of the poet's feeling, which may swerve and vary and
rise and fall in any individual poem. But the conceptions, and the
ideas, which inspire the poem, also float and flash and vary: in an
individual poem we have a flux of things seen and visioned; and
the vision is intimately wedded to the dynamic rhythmical flux.
Rhythm is phonetic in the sense that it reproduces the actual
voice of the individual poet, with the rising and falling stress and
the melodic colouring fashioned physiologically. But the words of
the poem themselves change their sense and import as the vision
and the rhythm change; there is no fixity of meaning in words
and no fixity of meaning in a concept; for inspiration is instantly
creative. Here zur Linde's technique, his 'Wort-Magie\ is the very
secret of Dylan Thomas's word-worship - 'die Magie des Etymolo-
gischetf, such as we find it here and there in Klopstock; zur Linde
has an urge, as Rudolf Pannwhz puts it, cto extract words with
their roots'; that is, he pierces to the mystic meaning in the very
sound. It is really the asso^iatives Denken of a later period (p. 471),
Zur Linde's principles of verse structure - and at the same time
his philosophy of life - are laid down in Die KugeL Erne Philosophie
in Versen (1906, 2nd ed. 1923) as well as in Arno Hofy und der
Charon (1911). His Gesammelte Werke, which had begun with Thuh
Traumland (1910), followed in eight volumes till 1925. Very helpful
is: Otto zur Linde: Charon. Auswahl cms semen Gedichten. Einfuhrung
von Hans Hennecke, 1952. As to the matter of his verse zur Linde
is the first of the cosmic Mythiker - Pannwitz, Mombert, Daubler
follow - who concentrate aeons into a moment of time; and what
these aeons have created is re-created in a flash in their mood of a
moment; what rolled around them as chaos takes close-seen tele-
visionary form in the moving mirror before them and is fashioned
in phases with its inner meaning sung into words. Chaos is cos-