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208                   MODERN   GERMAN   LITERATURE

find MOnck and Munde as the plural otMund. His love of substantive
-f adjective or verb he caught, probably, from J. P. Jacobsen:
angstwarm, kinderkuhl> waldeigen, marchenallein, blutdttrchgluht, duKind-
gewesem. Typical of his early work is the use he makes of present
participles to indicate hidden movement or growth: wachsende
Nacht, weekender Regett, bleichendes Nuhn, ^pgerndes Erleben. In the
New Poems^h substantivation of past participles amounts to man-
nerism: die Aufgetane, der mit Umriss Angetane. He shares George's
omission of the antecedent pronoun: Und auch, die lieben, sammeln
fur dich ein. He skilfully substitutes mr for jemand and wo for
irgendm: Alle Madchen erwarten mn, \ wenn die "Baume in Gluten stehn;
mil eine Kircbe wo im Qsten stebt. His syntactical tricks serve him to
veil the meaning in his last Duino and Muzot phase: phrases such
as nicht dass du Gottes entrugest die Stimme and Manihe, des Todes,
entstand rubig geordnete Regel read like transliterated Latin.

The Viennese poet RICHARD VON SCHAUKAL (1874-1942) is, to
begin with, in the line of Stefan George: he has no finesses of
rhythm or diction and his meaning and intention are clear; but he
does adopt George's pose of hostility to the decayed style of his
day. He sketches his own personality and opinions in his aphorist-
ically shaped disquisitional 'novel' Leben und Meinungen des Herrn
Andreas von Balthesser, eines Dandys und Dilettanten (1907), recalls
the mellow culture of a past period in his nostalgic Grossmutter
(1906), hallows style in another imaginary portrait, Kapellmeister
RreisJer (1906), and supplements these confessions of artistic faith
in the witty dialogues o£Literatur (1907) and Giorgione (1907), and
in the essays of Vom Geschmack (1910). This cult of culture marks
the finely phrased style of his short stories: Eros-Tbanatos (1906),
SMemihle (1907), Die Mdrchen von Hans Burgers Kindheit (1913). It is
as a lyric poet, however, that he has created a little genre of his
own: like Rilke in the New Poems he blends impressionism with
Parnassian precision in his 'malerische Moment-Gedichte\ the best of
which (collected in BiUer: Der ausgewahlten Gedichte syveiter erweiter-
ter TV//, 1909) are transpositions of real or imaginary pictures or
delightfully wicked sharply outlined portraits which, in the Par-
nassian way, characterize at a glance a period or a class (Empire,
Salome^ Portrat eines spamscben Infanten von Diego Velasque^ La
Duchessede.,.,HuldigungdesCbevalierde. . . an die Duchesse de . ,.,
, Mwsef). A good example is Portrat des Marquis de ... :