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    "source_title": "Encyclopaedia Britannica (1911)",
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    "chunk_id": "1911:geibel:cc24df46598f",
    "title": "GEIBEL",
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    "verified_text": "geibel, emanuel (1815-1884), german poet, was born at lubeck on the 17th of october 1815, the son of a pastor in the city. he was originally intended for his father's profession, and studied at bonn and berlin, but his real interests lay not in theology but in classical and romance philology. in 1838 he accepted a tutorship at athens, where he remained until 1840. in the same year he brought out, in conjunction with his friend ernst curtius, a volume of translations from the greek. his first poems, _zeitstimmen_, appeared in 1841; a tragedy, _konig roderich_, followed in 1843. in the same year he received a pension from the king of prussia, which he retained until his invitation to munich by the king of bavaria in 1851 as honorary professor at the university. in the interim he had produced _konig sigurds brautfahrt_ (1846), an epic, and _juniuslieder_ (1848, 33rd ed. 1901), lyrics in a more spirited and manlier style than his early poems. a volume of _neue gedichte_, published at munich in 1857, and principally consisting of poems on classical subjects, denoted a further considerable advance in objectivity, and the series was worthily closed by the _spatherbstblatter_, published in 1877. he had quitted munich in 1869 and returned to lubeck, where he died on the 6th of april 1884. his works further include two tragedies, _brunhild_ (1858, 5th ed. 1890), and _sophonisbe_ (1869), and translations of french and spanish popular poetry. beginning as a member of the group of political poets who heralded the revolution of 1848, geibel was also the chief poet to welcome the establishment of the empire in 1871. his strength lay not, however, in his political songs but in his purely lyric poetry, such as the fine cycle _ada_ and his still popular love-songs. he may be regarded as the leading representative of german lyric poetry between 1848 and 1870. geibel's _gesammelte werke_ were published in 8 vols. (1883, 4th ed. 1906); his _gedichte_ have gone through about 130 editions. an excellent selection in one volume appeared in 1904. for biography and criticism, see k. goedeke, _e. geibel_ (1869); w. scherer's address on geibel (1884); k.t. gaedertz, _geibel-denkwurdigkeiten_ (1886); c.c.t. litzmann, _e. geibel, aus erinnerungen, briefen und tagebuchern_ (1887), and biographies by c. leimbach (2nd ed., 1894), and k.t. gaedertz (1897). geige (o. fr. _gigue_, _gige_; o. ital. and span. _giga_; prov. _gigua_; o. dutch _gighe_), in modern german the violin; in medieval german the name applied to the first stringed instruments played with a bow, in contradistinction to those whose strings were plucked by fingers or plectrum such as the cithara, rotta and fidula, the first of these terms having been very generally used to designate various instruments whose strings were plucked. the name _gige_ in germany, of which the origin is uncertain,[1] and its derivatives in other languages, were in the middle ages applied to rebecs having fingerboards. as the first bowed instruments in europe were, as far as we know, those of the rebab type, both boat-shaped and pear-shaped, it seems probable that the name clung to them long after the bow had been applied to other stringed instruments derived from the cithara, such as the fiddle (videl) or vielle. in the romances of the 12th and 13th centuries the _gige_ is frequently mentioned, and generally associated with the rotta. early in the 16th century we find definite information concerning the geige in the works of sebastian virdung (1511), hans judenkunig (1523), martin agricola (1532), hans gerle (1533); and from the instruments depicted, of two distinct types and many varieties, it would appear that the principal idea attached to the name was still that of the bow used to vibrate the strings. virdung qualifies the word _geige_ with _klein_ (small) and _gross_ (large), which do not represent two sizes of the same instrument but widely different types, also recognized by agricola, who names three or four sizes of each, discant, alto, tenor and bass. virdung's _klein geige_ is none other than the rebec with two c-shaped soundholes and a raised fingerboard cut in one piece with the vaulted back and having a separate flat soundboard glued over it, a change rendered necessary by the arched bridge. agricola's _klein geige_ with three strings was of a totally different construction, having ribs and wide incurvations but no bridge; there was a rose soundhole near the tailpiece and two c-shaped holes in the shoulders. agricola (_musica instrumentalis_) distinctly mentions three kinds of _geigen_ with three, four and five strings. from him we learn that only one position was as yet used on these instruments, one or two higher notes being occasionally obtained by sliding the little finger along. a century later agricola's _geige_ was regarded as antiquated by praetorius, who reproduces one of the bridgeless ones with five strings, a rose and two c-shaped soundholes, and calls it an old fiddle; under _geige_ he gives the violins. (k. s.) footnote: [1] the words _gige_, _gigen_, _geic_ appear suddenly in the m. h. german of the 12th century, and thence passed apparently into the romance languages, though some would reverse the process (e.g. weigand, _deutsches worterbuch_). an elaborate argument in the _deutsches worterbuch_ of j. and w. grimm (leipzig, 1897) connects the word with an ancient common teut. root _gag_--meaning to sway to and fro, as preserved in numerous forms: e.g. m.h.g _gagen_, _gugen_, \"to sway to and fro\" (_gugen_, _gagen_, the rocking of a cradle), the swabian _gigen_, _gagen_, in the same sense, the tirolese _gaiggern_, to sway, doubt, or the old norse _geiga_, to go astray or crooked. the reference is to the swaying motion of the violin bow. the english \"jig\" is derived from _gige_ through the o. fr. _gigue_ (in the sense of a stringed instrument); the modern french gigue (a dance) is the english \"jig\" re-imported (hatzfeld and darmesteter, _dictionnaire_). this opens up another possibility, of the origin of the name of the instrument in the dance which it accompanied. 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