The litigation book
The Klagebüchlein , also called Klage or Büchlein , is the first work by the Middle High German poet Hartmann von Aue . It was created around 1180 and is only handed down in the Ambraser Heldenbuch . The 1,914 verses, mostly rhymed in pairs, stand for an experimental work that cannot be assigned to any template or any clear genre. At the time of Hartmann, the complaint book was a new and individual creation.
The work is about a quarrel between heart and body. The subject of the dispute is the torment of high love and the overcoming of such suffering. The heart, which acts as an advisor, develops a doctrine of virtues for high love and thus a path to happiness. Heart and body form opposing characters that find their intersection in their soul and have to stick together despite all difficulties in order to cope with their suffering.
The complaint book ends with a final poem in which an unspecified speaker sends a love greeting to a noble lady. Through the change of speaker and also through the formal means, the final poem clearly stands out from the main part. Nevertheless, the conclusion does not form a break, but underlines once again the individuality of the work.
To date, the text of the complaint book has been published in six different critical editions.
Lore
The resulting 1180 lawsuit booklet is handed only in the Ambras Book of Heroes, the Hans Ried by order of Emperor I. Maximilian wrote. This manuscript was written in the early 16th century and contains a number of Middle High German stories. Hartmann's complaint booklet stands between Iwein, also from him, and his so-called second booklet . The work is titled in two sentences: “Eine ʃchŏne Diʃputatz. Of the love that one had against a beautiful face and did ” . (A nice argument. Of a man's love that he possessed for a beautiful woman and that he gave her.)
For a long time the complaint book was only to be found in the Ambraser Heldenbuch and therefore only in Vienna. In the last 150 years the text has been re-edited more frequently and made available to a wider audience, in six different critical editions between 1842 and 1986 .
content
The complaint book is about a conflict between heart and body. The focus of this dispute is the resulting pain of unrequited love.
Verses 1-32
A speaker introduces the story of the lawsuit with a short prologue . The prologue describes the almighty power of love that spares no one. These lines also make it clear: The following complaint is that of a certain man. It is Hartmann von Aue's complaint:
even violent clique
(7) betwanc sî a jungelinc
daz something from Ouwe Hartman,
(30) who started ouch dirre complaint
So mighty did
she [love] overcome a young man
that was Hartmann von Aue,
who also started this complaint
This young man loves a woman who, however, does not return his love. But since he is not allowed to express his pain in public ( “Disen kumberlîchen strît / entorste he does not say to anyone”, v. 18f.), He now begins to lament his suffering inside.
Verses 33-484
The body is the first to have its say in this battle between body and heart. He immediately begins to blame the heart for its pain. He would like to take revenge on the heart ( “daz sî me revenge on you” v. 39), even prefer to kill it ( “and if it were too much for me, / for I would kill you” v. 40f.). The reasons for these accusations are obvious: the heart has power over the body ( “wan des violence is sô vil” v. 46). So it was also the heart that told him to love that woman and now to endure the resulting torments of unrequited love :
Unz daz nû dîn bad rât
vil insensitive hât seduced
me poor lîp
(80) with dînem violence to a wîp
so that so far your bad advice
has brought a lot of mischief with you that
burdened me poor body with suffering
with your power over a woman
After the body has described its adored wife and complains that it has given women a bad image through her, the body finally asks the heart for advice: "heart, nû speak, waz ist dîn rât?" (V. 180)
Despite asking for advice, the accusations don't stop. The body constantly alternates between insight and accusation. An example of this can be found in vv. 434-440:
but I have to say Iemer dâ bî
(435) who wîle I live miracles,
and wold ez like to say
about you, trût my heart,
whether I grieve iedoch sô even forgiven stê
(440) that you dâ € ™ ve never been
But I
have to ask myself as long as I live
and would like to know
from you, my dear heart,
whether you don't care about my pain so much
that it doesn't hurt you.
Verses 485-972
After the body reveals its complaints, the heart begins to refute all of the body's accusations. The heart rejects guilt by saying:
you didn't want to talk about it,
that you talk to me about it
(544) that I never owe.
You haven't chosen your words well
when you
blame me for something I was never to blame.
It is the body that shows the world to the heart through its eyes. It is these impressions that the heart receives and thus advises the body to take certain actions.
The heart, as an adviser to the body, emphasizes that it has only always been good ( “I advised you to do good things” v. 565). He advised him to love this woman because he saw her through the eyes of the body and knew that there is no better woman. If the body manages to win its adored lady through its wooing, it will be happy. But this includes fighting for the woman and not just watching idly ( “dâ hœret work zuo” v. 613).
Finally, the heart also begins with a counterclaim: the body can find rest in sleep, can distract itself from its pain during the day. The heart, on the other hand, cannot rest, pain is always present. But in order to spare the body, it hides its suffering from it. In addition, there is the mockery of the body and the bad reputation that the heart has to endure through the body.
Here is some important advice:
sô can I
humbly for you what a man should enjoy:
virtues and senses,
(780) sô sint ez pure minne .
So I can probably teach
you what a man should enjoy:
virtues and senses
together are pure love.
What a man needs to be happy and to receive perfect love are certain virtues and his senses. If he is ready to use the virtues and work for love, he will be rewarded.
Since the body has so far only been noticed by its laziness, the heart describes the body as virtuous. He lacks the will to accept the advice of the heart and above all to implement it. The heart then commands the body to obey it ( “dû must be obeyed to me:” v. 896) and concludes its address with the suggestion of cooperation. With heart and body working together, you will have the opportunity to achieve everything you want:
wil ab dû you rehtes muotes
still join me,
(968) we end swaz we wave
But
if you want to
connect
to me with your true mind we will accomplish whatever we want
Verses 973-1644
The body takes over the word again. After a brief indignation over the accusations of the heart (in his eyes he is treated as a servant: “nû strâfest dû me as dînen knight” v. 985), the body realizes that an interplay of heart and body can bring both an advantage . God has given them both a common soul, which they must also maintain together. Once again the body asks the heart for advice. He is ready to obey the heart's ordinances when they lead him to happiness.
The heart rejoices in these words and, above all, in the certainty that its advice will be followed in the future. Heart and body now speak alternately and at short intervals. The heart has a special piece of advice: a magical spell that it brought from Karlingen (France) ( "so learn a zouberlist / ... I brâhte in von Kärlingen." V. 1275, V. 1280). His suggestion is as follows: For the magic art the body needs three “herbs” of divine origin: “milte, zuht, diemout” (v. 1303, mercy, modesty and condescension in the sense of submission to God). In addition, five more herbs are to be added: "truiwe and stæte ... kuischheit unde schame ... gewislîchui manheit" (v. 1311-1317, loyalty, constancy, chastity, shame and reliable masculinity). These herbs are to be placed in a vessel. The heart would like to serve the body as a vessel and the body agrees to take the advice. Despite the agreement, the tension between heart and body, between accusation and advice, remains until the end of the lawsuit.
Verses 1645-1914
The complaint book ends with a separate address to a noble lady. The speaker speaks to the lady directly and offers her any service as soon as she requests it ( “I would be ready for you / what I have served” v. 1663f.). He has wanted the lady since they first met. However, due to the lady's repellent behavior, he suffers agony and asks the lady for help and attention. Otherwise he would be on the verge of losing his mind ( "help, ê I even devastate" v. 1796).
The lament ends with verses 1911–1914:
I hold
the sêle zuo dem lîbe by force.
die enphâch: jâ müezen sî dir Leben
(1914) and mê deheinem wîbe.
I have given you the soul with its body
due to your power
Receive them: They will only live for you
and for no other woman
analysis
Central aspects
At first glance, the complaint book could be divided into five sections:
- The lament of the body
- The heart's counterclaim
- Reconciliation
- The teaching
- The final poem with the greeting to the noble lady
It is still common practice to break the complaint into these five sections. According to the latest findings, however, the designation of the third part "Reconciliation" is controversial: If you look more closely, the heart and body do not solve their problem through love. "Again and again in conversation a solution conflict is reached (the insight into the interdependence of heart and body), which leads to new aporias." So it is an endless argument that turns in circles until the end. The “reconciliation part” is built up in a stichomythical part, which with this formal means represents the climax of the dispute. While the body has consented to obey the counsel of the heart, for example, vv. 1245-1247 says:
wâ mite am I in debt to show you?
'I know that.' nû tell ez to me.
(1247) 'with an immodest muote.'
Why do I deserve this [the conduct of the heart] from you?
'I know that for sure.' Then tell me.
'Because of your stupid thoughts.'
This is just one of many examples that make it clear: Despite an agreement, heart and body do not understand each other. There is no reconciliation in the classic sense.
An important aspect that is taken up in the lawsuit is the dependence on heart and body. Heart and body understand that they have to work together if they are to achieve their goals. The essential reason for the interplay of heart and body is the soul given to them by God. Both have the task of maintaining the soul.
In the Middle Ages there were many texts in which a dispute between body and soul was discussed. The soul here stood for the supernatural part that connects man with God. Hartmann was the first to choose not a body-soul dispute, but one between body and heart. Gustav Ehrismann saw Hartmann's complaint as a profanation, i.e. the transformation of a supernatural, divine act into an earthly one. He spoke of the fact that the soul was replaced by the heart and thus the divine was brought onto earth. A profanation like Ehrismann saw it seems unlikely with Hartmann. The soul appears as a third factor in the text. It is hardly conceivable that Hartmann wanted to replace the heart with the soul when he explicitly lets it appear as the third factor.
The section on teaching the heart with the help of the herbal magic deserves special attention. With this topic, Hartmann sets up a virtue system for high love. Thus a doctrine of virtues emerges from the ministry teaching. Even at the beginning of the lawsuit, the heart says that love can only be achieved with work . That means that you have to do something for love. The laziness, i.e. the laziness that the body possesses, must be put aside. Keeping these work done, one will Sälde and healing reach, which means as much as the earthly and unearthly happiness of man. Through sælde , the disharmony that prevails between the heart and the body can also be removed . This is where the magical herbs come into play, which the heart mentions: the three divine virtues milte , zuht , diemut and the five other virtues triuwe , stæte , kiuschheit , schame and gewislîche manheit give the text a religiously motivated character. So love can be achieved with God's help. By using the virtues one does work and in the end one will achieve heal and sælde .
The virtue of the stæte in particular is a theme at Hartmann again and again. The body asks how long it should serve its wife and the heart replies that only constant and permanent, but not rash service will lead to the goal. Susanne Köbele sums up the principle of the paradoxical stæte in Hartmann's text when she says: “One recognizes that the complaint implements the time dilemma of high love: the rapid success and immediate affect should be distanced (temporally, spatially, linguistically), but at the same time remains uncertain: If the time (my stæter service) is too long for her or me, she may forget about me (then I would have wasted my stæte , missed or lost my time) or the double or, on the contrary, the time is running out , because maybe I'll die before it's worth it. "
The final poem
The final poem stands out formally clearly from the rest of the text and is reminiscent of a corpse. The affiliation of this section has long been disputed. In fact, there are many differences between the final poem and the rest of the part, but the affiliation is now considered proven. Especially the verses 1903f. give a textual proof of belonging:
jâ muoz mîn lîp dîn eigen sîn
(1904) after tragiuwe's hearts lêre.
Yes, my body must be your own
According to the teachings of my faithful heart.
The content of the main part is clearly taken up again here. Proponents of affiliation ask the doubting critics a crucial question: Why was the final poem passed on with the rest of the complaint if there is no connection between the two sections? Franz Saran says: "Coincidence" and Hans Bayer says "Re-poetry, for example created as a polemic against the 'lawsuit'". However, according to Heinz Kischkel, these statements are not sufficient to view the final poem as a separate text.
Motifs
heart
In the lament book, the heart functions not only as the seat of passions, as was customary in the Middle Ages, but above all as the seat of the spirit, the mind, the will and the mind. So it is not about the "physical organ", but about "the spiritual and cognitive powers of man". The heart takes on the role of advisor, leads, directs and wants, but does not force. There is advice. Whether these are followed is not in his power. Almost thirty passages point to the role of the advisor and impressively underline the role. Here are some examples:
(561) sît dû mich ze râte erwelet hâst
(647) wilt dûs have mînen rât
that he help ande rât
(1011) from the heart take sol.
Ever since you chose me to be your counselor
Would you like my advice
That he [the body]
should accept help and advice from the heart.
The heart can distinguish good from bad. The heart, however, only advises good, never evil. It embodies the inner sense of the human being, since it lies in the middle of the body. Seen in this way, the heart is “the vessel of the senses”.
body
The body offers the opposite pole to the heart. He does not embody the willing, judging power, but the executive. The body sees itself as the servant of the heart, but ultimately the body is the follower of the heart. Even if there is a hierarchical order between heart and body, the heart is dependent on the body. Without his explanation, his advice will not lead to the goal; the heart remains powerless. The body possesses the external senses of man. He is able to perceive impressions through his eyes and to pass them on to the heart.
soul
The soul is the third motif in Hartmann's text; it is guided by heart and body. It does not speak explicitly, but it is mentioned by both the body and the heart and acts as a central role in their relationship. It is given to man by God and is the "life-giving principle". Through the soul there is an interlocking of “poetry and knowledge” and of a “spiritual and worldly perspective”. It describes the point of intersection between heart and body, between man and God.
shape
The lament book contains 1914 verses. These are four-part pair rhymes that correspond to the "usual form of the narrative verse". Several scientists have tried to find a shape in the lawsuit book. Most of them, however, failed at the task. Hertha Zutt was most likely to have succeeded in this task: She took the final poem as a starting point. This clearly stands out formally from the main part. It is highly structured and therefore Hertha Zutt also concluded that there was a structure in the main part of the lawsuit. The final poem flows seamlessly into 15 stanzas of cross-rhymed verses. The first stanza of this section is 32 verses. But each stanza is shortened by a pair of rhymes, so that the last stanza only consists of 4 verses. It is probably no coincidence that the prologue is also 32 verses. So here a connection is established between the beginning and the end of the text. It stands to reason that the number 32 is considered to be the base number of the poem.
However, it remains questionable whether one should look at the litigation book analytically. The latest research, at least, is increasingly focusing more on the content-related aspects of the lawsuit than on the “numerical proportions and compositional structures”.
Surname
In addition to the now popular title, Das Klagebüchlein , the work is also known in literature under the name Klage or Das (first) booklet . Since the work does not have a relevant title in the tradition, these three different names have developed over time.
However, there is a risk of confusion with the names Klage and Das (first) booklet : Klage is often the short title for the Nibelungenklage. When one speaks of the booklet, the so-called second booklet is usually meant. A distinction must always be made between the first and the second booklet .
Roswitha Wisniewski finally introduced the title Lament Booklet and thus offered literature a good compromise.
Classification in literary history
The complaint book is an early work by Hartmann. It is regarded as his first work and, according to Schirokauer, demonstrates "an early work with all the characteristics of the unfinished". A work that Hartmann had his first experiences with. There is no indication of a historical situation to which the text could be linked.
Even if little is known about the poet Hartmann von Aue, one can assume that he identified himself completely with the love culture. The lament book, which is seen as the Minnedidax, fits into the image of the love culture at the end of the 12th century. In contrast to the Minnelong, which was performed in public, one is not clear about the usage situation of the litigation booklet. It can be concluded, however, that “the [complaint] had its place in the public discussion of love in front of society and not in the privately limited education of love”. Thus, the lament book would have joined the minnesongs and served public entertainment. A broad audience could have made use of it.
Scholastic reference
Hartmann falls into the early scholastic period with his lament book. The poets of the period were expected to know the philosophy of early scholasticism. They should pass on the values and norms of this philosophy to the recipients through their works. With his little complaint book, Hartmann clearly shows that he was trained in scholastic philosophy. In this context, the heart is still valid well into the high Middle Ages, next to the seat of passions, as the center of the spiritual and cognitive powers of man. Above all, the heart as the motif of the good advisor in this poem is exemplary evidence of Hartmann's scholastic training. The heart never acts as a bad advisor. In v. 563f. the heart says clearly that it cannot do anything other than advise the body for the better: "sô points out that I never let you / bœsiu dinc be geminen." The aspect of inwardness and outwardness, which is thematized between heart and body in the lament booklet, is also based is based on early scholastic epistemology.
swell
The question of a (possibly French) model for Hartmann's work is controversial in literature. The critics have long been in favor of submitting the work, but nowadays one finds more and more opponents of this view. You believe in an independent work by Hartmann.
Friedrich Panzer saw the Visio Fulberti as a template for the complaint book. The dating of this work is not known, however, and it is therefore difficult to fully recognize this model. Nevertheless, there could be much to be said for it, since some features of the action can be found in the Visio Fulberti . As in Hartmann's lawsuit, there is a debate there, between body and soul, however, which ends with a final poem. Body and soul are also dependent on one another. It is precisely because of these similarities that the Visio Fulberti found a firm place in literature as a possible template.
The poem “Ain mynn red von hertzen und von leib” also applies to the frequently mentioned templates . In addition to this poem, there are a few other potential templates, but the same applies here: They are all based on individual hypotheses. None can be proven as Hartmann's template.
The generic problem
When it comes to the question of a uniform genre of lawsuit, one encounters different opinions in the literature. There is no clear assignment. If you examine the question of the genre of the complaint book , you come across four big terms: salut , complainte , litigation and débat .
According to the usual classification, the complaint book belongs to the French genre of saluts (d'amour) or complainte . The salut is referred to as a love letter, the complainte as a minne lament. In fact, both terms are often used as synonyms. There is only one crucial difference between these two terms: The salut has a “greeting”. At the beginning of the poem, the adored woman is addressed directly. This greeting is missing from the complainte . If one proceeds from this distinction, one would rather classify the complaint book in a complainte , since the complain book lacks a greeting.
Anton E. Schönbach introduced the term litigation as a generic type for the lawsuit. There are actually numerous legal terms such as gulte (v. 42, guilt), lament lâzen (v. 492, let sue) or obedient (v. 925, obedient) to be found in the text. However, this proposal was criticized. Roswitha Wisniewski forms the point of intersection of the opinions in the literature because, although she recognizes the legal language in the lawsuit, she does not see a complete legal dispute in it. Wolf Gewehr, on the other hand, speaks out completely against the legal dispute as a generic type, since, according to him, the legal peculiarities in the litigation book are too minor.
Since the complaint book in its external form also represents a débat , a dispute dialogue, all of the generic types shown here are conceivable for the complaint book. In summary, the lawsuit could be a hybrid of débat and complainte . Since no work with such a mixed form is known, Hartmann von Aue should be seen as the author of a new genre as long as no model has been found. Hartmann interpreted a lot, but then created his own creation and thus developed a new literary genre.
Edition history
The six different critical editions of the complaint book appeared in the following order:
- 1842 Moritz Haupt: The songs and the poor Heinrich von Hartmann von Aue .
- 1891 Fedor Bech: Hartmann von Aue. Second part. Songs. The lawsuit. Booklet. Grêgorius. Poor Heinrich .
- 1968 Hertha Zutt: Hartmann von Aue. The lament and the (second booklet) from the Ambras book of heroes.
- 1972 Ludwig Wolff: Hartmann von Aue's lament booklet and the second booklet.
- 1979 Arno Schirokauer / Petrus W. Tax: Hartmann von Aue. The booklet .
- 1986 Thomas L. Keller: Hartmann von Aue. Lawsuit book. Edited, Translated, and with an introduction by Thomas L. Keller.
Despite the same template, the tradition in the Ambraser Heldenbuch, there are considerable differences between the individual editions. Since the lawsuit in the Ambraser Heldenbuch was handed down in poor condition, the text gives the editors reason to change the text again and again. In the course of contemporary history, more and more research was carried out on the litigation book, which was then incorporated into the later editions.
Hertha Zutt, for example, drew heavily on research into the language in Hartmann's work Iwein and transferred this knowledge to the language in the litigation book. So she changed the traditional text by Hans Ried in her own way and adapted it to the new research. What makes Hertha Zutt's edition so special is the precise transcription of the manuscript that is enclosed with her edition. In this way, you can compare at any time where changes have been made.
Although Fedor Bech's edition was created over a hundred years ago, it is still considered the best template for explaining the text. He gives sufficient sources for his explanations, which are therefore all verifiable. His text output also includes a reading aid: He introduces accent marks and elision points, which make it easier to read verses with accented accents or hyposyllables.
Ludwig Wolff's edition is also considered the "ideal basis for a new edition", thanks to the comprehensive consideration of research into Hartmann's usage of language and medieval spelling.
Thomas L. Keller is the only editor who ever completely translated the Middle High German text into a newer language. An English translation of the Middle High German text is enclosed with its edition.
Here is an example of the different realizations of the text:
Tradition
... that
got a tail done to him: the ẛullen we
vngeniously lan: When what the
body of white tale: whether He speaks of
(765) ýmmer ẛ: it comes from ẛeiner
frǔmbarkait: daz ẛý In even againstẛait:
He ẛage im ẛelbs nýmmer des danck:
(768) I get the ẛind kranck in the freǔd:
Fedor Bech
dem had daz got enteil.
den sule we ungenîdet lân,
wan swaz love happens,
whether he des iemer giht
ez kome from sîner fruits,
daz sî in fact contradicts:
he never says danc in the same.
I give in fröude di sint kranc.
Ludwig Wolff
dem had done that.
the sulen we ungenîten lân,
wan swaz love happens to,
whether he des iemer giht
ez kome from sîner fruity,
daz sî in all contradicts:
in the same no one says danc.
I'm happy to give the sint kranc.
New High German
That [the preservation of virtues] God has given him.
We should spare him jealousy
when joy happens to the person,
whether he always maintains it
results from his efficiency
which completely contradicts him:
He does not have to regard it as his own thanks.
I will give him joy that is weak.
literature
Primary literature
- Moriz Haupt (Hrsg.): The songs and books and the poor Heinrich von Hartmann von Aue . Weidmannsche Buchhandlung, Leipzig 1842.
- Fedor Bech (ed.): Hartmann von Aue. Second part. Songs. The lawsuit. Booklet. Grêgorius. Poor Heinrich. 3. Edition. FA Brockhaus, Leipzig 1891.
- Hertha Zutt (Ed.): Hartmann von Aue. The lawsuit. The (second) booklet from the Ambras book of heroes. Walter de Gruyter & Co., Berlin 1968.
- Ludwig Wolff (Hrsg.): The lament booklet Hartmanns von Aue and the second booklet . Wilhelm Fink Verlag, Munich 1972.
- Arno Schirokauer, Petrus W. Tax (Eds.): Hartmann von Aue. The booklet . Erich Schmidt Verlag, Berlin 1979.
- Thomas L. Keller (Ed.): Hartmann von Aue. Lawsuit book. Edited, Translated, and with an introduction by Thomas L. Keller. Kümmerle Verlag, Göppingen 1986.
- Kurt Gärtner (Ed.): Hartmann von Aue. The lawsuit. De Gruyter, Berlin / Munich / Boston 2015.
Secondary literature
- Christoph Cormeau, Wilhelm Störmer: Hartmann von Aue. Epoch - work - effect . 3rd, revised. Edition. Beck, Munich 2007.
- Gustav Ehrismann : About the final poem . In: Journal for German Philology . Volume 36, 1904, pp. 406-408.
- Gustav Ehrismann: The basics of the knightly virtue system . In: Journal for German Antiquity . Volume 56, 1919, pp.
- Kurt Gärtner: The editions of Hartmann von Aue's 'Klage' . In: Christiane Ackermann, Ulrich Barton (Hrsg.): Bringing texts to speak . Niemeyer, Tübingen 2009, pp. 273-292.
- Wolf Gewehr: Hartmann's lawsuit as a problem of the genre . In: Journal for German Philology. Volume 91, 1972, pp. 1-16.
- Wolf Gewehr: Hartmann's "Lament Book" in the light of early scholasticism . Alfred Kümmerle, Göppingen 1975.
- Hedwig Gross: Hartmann's little book, presented in its psychological, ethical and theological relation to the entire work of the poet. Triltsch, Würzburg 1963.
- Heinz Kischkel: Critical to the final poem of the lawsuit . In: Journal for German Philology . Volume 116, 1997, pp. 94-100.
- Susanne Köbele: The paradoxical fall of the self. Hartmann von Aue's lawsuit . In: Katharina Philipowski, Anne Prior (Ed.): Anima and sêle . Schmidt, Berlin 2006, pp. 265-283.
- Matthias Lexer: Middle High German pocket dictionary . 38th, unchanged edition. Hirzel, Stuttgart 1992.
- Friedrich Panzer: Review by F. Piquet. Etude to Hartmann d'Aue . In: Journal for German Philology . Volume 31, 1899, pp. 520-549.
- Anton E. Schönbach : About Hartmann von Aue. Three books of investigations. Leuschner and Lubensky, Graz 1894
- Horst Wenzel: Women's service and worship. The studies of minneideology. In: Philological Studies and Sources . Volume 74, 1974, pp. 155-179.
- Roswitha Wisniewski: Hartmann's Lamentation Booklet . In: Euphorion . Volume 57, 1963, pp. 341-369.
- Hertha Zutt: The formal structure of Hartmann's 'Klage' . In: Journal for German Philology . Volume 87, 1968, pp. 359-372.
Individual evidence
- ↑ See also author's lexicon , 2nd ed., Volume 3, Col. 1152 f. ( 'Heart and Body'. Minnery speech in paired four-beats).
- ^ Rifle: Hartmann's "Lament Book" in the light of early scholasticism . 1975, p. 16.
- ↑ Quoted from the Ambraser Heldenbuch in: Gun: Hartmann's “Klagebüchlein” in the light of early scholasticism . 1975, p. 15.
- ↑ All Middle High German quotations follow the Ludwig Wolff edition; Wolff: Hartmann von Aue's lament booklet and the second booklet . 1972.
- ↑ Köbele: The paradoxical case of the ego. Hartmann von Aue's lawsuit . 2006, p. 274.
- ↑ Köbele: The paradoxical case of the ego. Hartmann von Aue's lawsuit . 2006, p. 274.
- ↑ Köbele: The paradoxical case of the ego. Hartmann von Aue's lawsuit . 2006, p. 273.
- ^ Cormeau, Störmer: Hartmann von Aue. Epoch - work - effect . 2007, p. 102.
- ↑ Gun: Hartmann's complaint as a problem of the genre . 1972, p. 14.
- ↑ Ehrismann: The basics of the knightly virtue system . 1919, p. 176. See also: Wisniewski: Hartmanns Klage-Büchlein . 1963, pp. 357f.
- ^ Rifle: Hartmann's "Lament Book" in the light of early scholasticism . 1975, p. 91.
- ^ Rifle: Hartmann's "Lament Book" in the light of early scholasticism . 1975, p. 222.
- ^ Basement: Hartmann von Aue. Lawsuit book. Edited, Translated, and with an introduction by Thomas L. Keller . 1989, p. 8. See also: Lexer: Middle High German Pocket Dictionary . 1992, pp. 175, 83.
- ↑ Wenzel: Women's service and worship. Studies on the ideology of love. 1974, p. 172.
- ↑ Köbele: The paradoxical case of the ego. The lawsuit in Hartmanns von Aue . 2006, p. 275.
- ↑ Köbele: The paradoxical case of the ego. The lawsuit in Hartmanns von Aue . 2006, p. 276.
- ↑ Gross: Hartmanns Büchlein, presented in its psychological, ethical and theological relation to the entire work of the poet . 1963, p. 8.
- ↑ Kischkel: Critical to the final poem of Hartmann von Aue's 'Klage' . 1997, p. 94.
- ↑ Kischkel: Critical to the final poem of Hartmann von Aue's 'Klage' . 1997, p. 100.
- ^ Wisniewski: Hartmanns Klage-Buchlein . 1963, p. 359.
- ^ Rifle: Hartmann's "Lament Book" in the light of early scholasticism . 1975, p. 77.
- ↑ Gross: Hartmanns Büchlein, presented in its psychological, ethical and theological relation to the entire work of the poet . 1963, p. 7.
- ↑ Gross: Hartmanns Büchlein, presented in its psychological, ethical and theological relation to the entire work of the poet . 1963, p. 6f.
- ^ Rifle: Hartmann's "Lament Book" in the light of early scholasticism . 1975, p. 114.
- ^ Cormeau, Störmer: Hartmann von Aue. Epoch - work - effect . 2007, p. 99.
- ^ Rifle: Hartmann's "Lament Book" in the light of early scholasticism . 1975, p. 93.
- ↑ Köbele: The paradoxical case of the ego. Hartmann von Aue's lawsuit . 2006, p. 266.
- ^ Rifle: Hartmann's "Lament Book" in the light of early scholasticism . 1975, p. 96.
- ^ Cormeau, Störmer: Hartmann von Aue. Epoch - work - effect . 2007, p. 100.
- ^ Basement: Hartmann von Aue. Lawsuit book. Edited, Translated, and with an introduction by Thomas L. Keller . 1986, p. 10f.
- ^ Zutt: The formal structure of Hartmann's 'complaint' . 1968, p. 361.
- ↑ Köbele: The paradoxical case of the ego. Hartmann von Aue's lawsuit . 2006, p 275. And cf. also: Schirokauer, Tax: Hartmann von Aue. The booklet . 1979, p. 30.
- ^ Wisniewski: Hartmanns Klage-Buchlein . 1963, p. 341.
- ↑ Köbele: The paradoxical case of the ego. Hartmann von Aue's lawsuit . 2006, p. 268.
- ^ Wisniewski: Hartmanns Klage-Buchlein . 1963, p. 341. She introduces the name with her title.
- ↑ Schirokauer, Tax: Hartmann von Aue. The booklet . 1979, p. 17.
- ^ Cormeau, Störmer: Hartmann von Aue. Epoch - work - effect . 2007, p. 108.
- ^ Cormeau, Störmer: Hartmann von Aue. Epoch - work - effect . 2007, p. 108.
- ^ Rifle: Hartmann's "Lament Book" in the light of early scholasticism . 1975, p. 58.
- ↑ Gross: Hartmanns Büchlein, presented in its psychological, ethical and theological relation to the entire work of the poet . 1963, p. 7.
- ^ Panzer: Review by F. Piquet. Etude sur Hartmann d'Aue . 1899, p. 525.
- ↑ Gun: Hartmann's complaint as a problem of the genre . 1972, p. 8f. See also: Ehrisman: About the final poem . 1904, p. 406.
- ^ Wolff: Hartmann von Aue's lament booklet and the second booklet . 1972, p. 11.
- ↑ Gun: Hartmann's complaint as a problem of the genre . 1972, p. 3.
- ↑ Quoted from Paul Meyer in: Gun: Hartmann's 'Klage-Büchlein' as a genre problem . 1972, p. 3.
- ^ Schönbach: About Hartmann von Aue. Three books of investigations . 1894, p. 232.
- ^ Wisniewski: Hartmanns Klage-Buchlein . 1963, p. 357.
- ^ Rifle: Hartmann's 'Klage-Büchlein' as a genre problem . 1972, p. 5.
- ^ Rifle: Hartmann's 'Klage-Büchlein' as a genre problem . 1972, p. 16.
- ^ Zutt: Hartmann von Aue. The lawsuit. The (second) booklet . 1968.
- ↑ Gärtner: The editions of Hartmann von Aue's 'Klage' . 2009, p. 279.
- ↑ Gärtner: The editions of Hartmann von Aue's 'Klage' . 2009, p. 279.
- ↑ Gärtner: The editions of Hartmann von Aue's 'Klage' . 2009, p. 283.
- ↑ Gärtner: The editions of Hartmann von Aue's 'Klage' . 2009, p. 285.
- ↑ after the transcription of: Zutt: Hartmann von Aue. The lawsuit. The (second) booklet . 1972.