The word “Knittelvers” has been used since the eighteenth century to describe four-stress rhyming couplets which seem to be rather simply and awkwardly constructed, and whose content is frequently comical, course, vulgar or obscene. Today German Knittelvers is perhaps best known from the works of Goethe and Schiller, as well as other late eighteenth and early nineteenth century writers. Well-known examples occur together with other verse forms in Goethe’s Faust and Schiller’s Wallensteins Lager , as well as in ballads and occasional poems by both poets. While literary critics have shown considerable interest in Knittelvers written from the fifteenth to the eighteenth century, there has been almost no discussion of the further use and development of this verse form from the nineteenth century to the present, despite the fact that it continues to appear in both humorous and serious works by many contemporary German writers. This article focuses on an example of dramatic Knittelvers in a late twentieth century play, namely Daniel Call’s comedy Schocker , a modern parody of Goethe’s Faust . Among other things, Call’s play, as well as other examples of Knittelvers in works by twentieth and early twenty-first century poets, demonstrates that while this verse form has undergone some changes and variations, it still retains metrical characteristics which have remained constant since the fifteenth century. Today these four-stress couplets continue to function as a means of depicting comic, mock-heroic and tragicomic situations by means of parody, farce and burlesque satire.

中文翻译：

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丹尼尔·卡尔（Daniel Call）的肖克（Schocker）：20世纪后期的德国编织者

自从18世纪以来，“编织针”一词就被用来描述四重押韵对联，这些对联看起来相当简单和笨拙，其内容通常是可笑的，粗俗的，粗俗的或淫秽的。如今，歌德和席勒以及其他18世纪末和19世纪初的作家也许最出名的是德国的Knittelvers。歌德的《浮士德》和席勒的《华伦斯坦的啤酒》以及其他两位诗人的民谣和偶尔的诗歌中都出现了许多著名的例子。尽管文学评论家对从15世纪到18世纪的克尼特尔诗人表现出极大的兴趣，但几乎没有人讨论从19世纪到现在这种诗歌形式的进一步使用和发展，尽管它继续出现在许多当代德国作家的幽默和严肃的作品中。本文重点介绍二十世纪末期戏剧性的Knittelvers的示例，即Daniel Call的喜剧Schocker，这是歌德《浮士德》的现代模仿。卡勒的戏剧以及其他二十世纪和二十一世纪初诗人的作品《尼特尔》的例子表明，尽管这种诗歌形式经历了一些变化和变化，但它仍然保留了自古以来保持不变的格律特征。十五世纪。如今，这些四重对联继续通过模仿，闹剧和滑稽讽刺讽刺画来描绘喜剧，模拟英雄和悲喜剧情境。本文重点介绍二十世纪末期戏剧性的Knittelvers的示例，即Daniel Call的喜剧Schocker，这是歌德《浮士德》的现代模仿。卡勒的戏剧以及其他二十世纪和二十一世纪初诗人的作品《尼特尔》的例子表明，尽管这种诗歌形式经历了一些变化和变化，但它仍然保留了自古以来保持不变的格律特征。十五世纪。如今，这些四重对联继续通过模仿，闹剧和滑稽讽刺讽刺画来描绘喜剧，模拟英雄和悲喜剧情境。本文重点介绍二十世纪末期戏剧性的Knittelvers的示例，即Daniel Call的喜剧Schocker，这是歌德《浮士德》的现代模仿。卡勒的戏剧以及其他二十世纪和二十一世纪初诗人的作品《尼特尔》的例子表明，尽管这种诗歌形式经历了一些变化和变化，但它仍然保留了自古以来保持不变的格律特征。十五世纪。如今，这些四重对联继续通过模仿，闹剧和滑稽讽刺讽刺画来描绘喜剧，模拟英雄和悲喜剧情境。以及二十世纪和二十一世纪初诗人在作品中编织的其他例子，都表明，尽管这种诗歌形式经历了一些变化和变化，但仍保留了自十五世纪以来一直保持不变的格律特征。如今，这些四重对联继续通过模仿，闹剧和滑稽讽刺讽刺画来描绘喜剧，模拟英雄和悲喜剧情境。以及二十世纪和二十一世纪初诗人在作品中编织的其他例子，都表明，尽管这种诗歌形式经历了一些变化和变化，但仍保留了自十五世纪以来一直保持不变的格律特征。如今，这些四重对联继续通过模仿，闹剧和滑稽讽刺讽刺画来描绘喜剧，模拟英雄和悲喜剧情境。