Consequently we find an extraordinary development of strophic forms corresponding to the many new "tones" which every Meistersinger regarded it as his duty to invent - tones which bore the most remarkable and often ridiculous names, such as Gestreif tsaf ranblumleinweis, Fettdachsweis, Vielfrassweis, geblilmte Paradiesweis, &c. The verses were adapted to the musical strophes by a merely mechanical counting of syllables, regardless of rhythm or sense.
Is of the simplest, consisting only in the arrangement of the discourse in lines of uniform length - usually heptasyllabic (Ephraim's favourite metre) or pentasyllabic. A more complicated arrangement is found in other poems, such as the Carmina Nisibena: these are made up of strophes, each consisting of lines of different lengths according to a settled scheme, with a recurring refrain.
Whole strophes of the m Lths can be turned into good old Sanskrit by the application of Ia rtain phonetic laws; for example as mat vo padaish y frasrfltk izhayao F pairijasai mazda ustnazast, as at vo ash aredrahyaca nemangha at vo vangehush mananghO hunarett, ~comes in Sanskrit mana vah padaih y pracruta ihayh it parigachai medha uttanahastah at va rtena radhrasyaca namasg m at v vasor manasah sun~-tayA.
His comrades adored him for his liberality, and the frequent visits of Icelandic skalder to his court testify to a love of poetry on his part, indeed one of his own strophes has come down to us.
It was first seriously assailed by Adolf Holtzmann (Untersuchungen fiber das Nib., Stuttgart, 1854), who argued that the original could not have been strophic in form - the fourth lines of the strophes are certainly often of the nature of "padding" - that it was written by Konrad (Kuonrat of the Klage), writer to Bishop Pilgrim of Passau about 970-984, and that of existing MSS.