ICH. ICH. ICH. ICH. (Witold Gombrowicz)
Tooooor! Tooooor! Tooooor! Tooooor! (Herbert Zimmermann)
So! So! So! So! (Kleist)
Hossa! Hossa! Hossa! Hossa! (Rex Gildo)
L’Azur ! L’Azur ! L’Azur ! L’Azur ! (Mallarmé)
Нет!.. Нет!.. Нет!.. Нет!.. (Tschaikowski, Eugen Onegin)
Well, well, well, well (A Clockwork Orange)
É devagar, é devagar, é devagar, é devagar (Martinho da Vila)
wo, wo? wo, wo? (Omar Khayyam)
du! Du, du, du! (Martin Buber)
Der Schwan! Der Schwan! Der Schwan! Der Schwan! (Lohengrin)
Dr. Lecter? … Dr. Lecter? … Dr. Lecter? … Dr. Lecter? … (Jodie Foster)
Lachend, lachend, lachend, lachend (kommt der Sommer)
stille! stille! stille! stille! (Schikaneder/Mozart)
Mai, mai, mai, mai (Fritz da Cat)
Who, who, who who? (The Who)
Wafna! Wafna! Wafna! Wafna! (Carmina Burana)
Ça va? Ça va. Ça va? Ça va. (The Flight of the Conchords)
Sophie! Sophie! Sophie! Sophie! (Frances am Ende von »Frances Ha«)
That’s all, that’s all, that’s all, that’s all (T. S. Eliot)
(Vgl. auch die Doppel- und Dreifachrufe.)
„Bücher, Bücher, Bücher, Bücher“ ( Karl Wolfskehl )
„Alright, alright, alright, alright“ (Matthew McConaughey)
„Why, there, there, there, there.“ (Shakespeare. The Merchant of Venice, 3.1.71.)
(Und wenn wir schon dabei sind, gleich einen Fünffachruf: „Never, never, never, never, never.“ (King Lear, 5.3.irgendwas, je nach Ausgabe.))
„Der Goldberg und der Hirsch / Der Goldberg und der Hirsch / Der Goldberg und der Hirsch / Der Goldberg und der Hirsch“ (Friedrich Liechtenstein)
»calling, calling, calling, calling« (Paula i Karol)
»Howl, howl, howl, howl!« (King Lear)
« Au voleur, au voleur, au voleur, au voleur ! » (Molière, Les précieuses ridicules)
»HHhH« (Laurent Binet)
»U u, u u, u u, u u –« (Chris Morgenstern, Des Galgenbruders Gebet und Erhörung)
Eine Art Sechzehnfachruf der Kulturgeschichte:
„The telephone rang …
‚Hullo‘ – I gasped.
There was no answer. But I could hear that the receiver was off at the other end: distant voices seemingly in a violent argument, with a background of wireless music.
‚Hullo?‘ I repeated.
The voices moved away a little.
‚Hullo!‘ I yelled.
Perhaps they heard me. The sounds of talking and music were suddenly cut right out, as though a hand had covered the mouthpiece.
‚To hell with you all,‘ I told them.
The mouthpiece was uncovered long enough for me to hear a man’s voice, with a thick, growling accent, say: ‚It’s all too idiotic for words.‘
‚Hullo!‘ I yelled. ‚Hullo! Hullo! Hullo! Hullo! Hullo!‘
‚Wait,‘ said the foreign voice, very curt, as if speaking to a nagging child.
‚I bloody hell won’t wait!‘ I shouted ad him, and this sounded so silly that I started to laugh.
The hand came off the mouthpiece again, releasing a rush of talk and music which sonded as though it had been dammed up during the interval, it was so loud.
‚Hullo,‘ said the foreign voice, rapidly and impatiently. ‚Hullo, hullo!‘
‚Hullo?‘
‚Hullo? Here, Dr Bergmann.‘
‚Good morning, Dr Bergmann.‘
‚Yes? Good morning. Hullo? Hullo – I would like to speak to Mr Isherwood, please, at once.‘
‚Speaking.'“
(Christopher Isherwood, Prater Violet)
Eine Art Achtfachruf der Kulturgeschichte:
„[N]ennen wir uns offen Defaitisten! Vereinigen wir uns im Defaitismus! Seien wir Flaumacher! Soyons défaitistes! Siamo disfattisti! […] Seien wir Flaumacher in der eisernen Zeit! Soyons défaitistes! Siamo disfattisti!“
(Stefan Zweig, Bekenntnis zum Defaitismus)
»Lügen, Lügen, Lügen, Lügen« (Blumfeld: Die Diktatur der Angepassten, 2001)
Boom, boom, boom, boom (John Lee Hooker)
Heilig, heilig, heilig, heilig (Schubert, Deutsche Messe)
Olé, Olé, Olé, Olé (~)