Physical poetry
The Dörperliche seal (also Dörperdichtung , Dörperliche poetry , Dörperlieder ) is a genus of minnesong . The word bodily comes from Middle Low German, body ; Corresponding sound forms in Middle High German are dorfære, dörfer, dörfler , from which in the 16th century “boobies”, in the sense of stupid people, developed (presumably receded from frequent doridity ). Middle Low German dorper is itself a loan translation from Old French vilain . Neidhart is considered to be the founder of the body songs .
The songs that revolve around the body are called body songs. They occur mainly in Neidhart's winter songs, although there are exceptions here. In doing so, a certain topic (e.g. dance, life of the body or with body) is filled in a constantly changing way. Neidhart's bodily poetry appeared in the 13th century as a counter-image to Hohen Minne and was written not for a peasant but for a courtly audience.
The body
Günther Schweikle defines the body as “fictional characters who act outside the court”. So bodies are fictional people and thus largely free of the social conventions of their time. As a result, they can easily function in their fictitious community as farmers, administrators or the like and still have atypical characteristics for the real equivalents. This includes B. the carrying of swords, colorful clothes, etc. Basically, the body can be seen as a contrast to the courtly figures, such as the fictional knight Neidhart.
The most frequently described properties of the body are listed below and provided with the most representative text passages possible.
Properties of the body
Conceited demeanor
I gevríesch bî mînen never give birth alsô geile,
sô the same zwêne sint and etelîcher mêr.
[...]
he mac sînen merz vil wol sold.
but not at first, he quarrels sînen hiubelhuot.
- [Winterlied 11, IV]
Splendor with weapons is
sîn long worth with a flared button.
- [Winterlied 11, VI, 6]
Splendor with clothing
Wear tight skirts and smale schaperûne,
red hats, rinkelohte shoes, black trousers.
- [Winterlied 24, V, 1-2]
Disputes among each other
I like to west, as the torpers seek among each other.
They wore pekkel bonnets, which were valuable for too long.
ir spottigkait, ir vice brought
you to vice by the goller mer than half valued.
they argued with each other for a whole summer long day.
Mr. Neithart said that he was in the vas with the wine.
- [Winterlied 24, Va]
Disputes with the singer
- Hier unterliegt meist der fiktive Sänger.
how should I parry.
I'm laid by engelmaren.
vngemach
he Friderûnen
to the Mirror of the seyten broke
- [c 26, IX, 4-8]
Raw behavior at the dance
[...]
daz he saz
bî ir unde ouch etewenne cross
with hant
out dâ we suochen daz,
dâ with us us bî the minne fame
no closer he wanted.
- [Winter Song 6, IV]
The raw behavior during the dance extends to hitting the woman or cheeky (sexual) assaults ("cheeky grip")
Classification
Summer and winter songs
In research, the body songs were divided into summer and winter songs. The song Der Spiegel and ist ein Raye (c 26), classified as a summer song, shows that this classification is not always unproblematic .
Summer songs
The summer songs are characterized by a natural summer entrance and are typically in travel stanzas. But there are also summer songs written in tunnel verses (e.g. SL 14). A joyful attitude to life, dance and love affair are usually discussed. In some summer songs, however, the conflicts with the bodies are also taken up.
I prisset yourselves zen lancken
and strauffet from the risen.
we fill it up on the anger hewr.
vrayen to the lindten.
My happiness is with the children.
woll berait.
Dauon Wirt Manger Alter
Hewr Ir Foot Wakes
- [c 26, IV]
The summer songs are set in the allegorical Riuwental (Jammertal), where the fictional court singer lives.
Winter songs
The winter songs are also characterized by a (but wintry) natural entrance, which is often realized as a complaint about the past summer. Formally, the winter songs are mainly kept in stollen verses. The content is shaped by the fictional singer's longing for love, dance requests and, above all, reports about the bodies and their goings-on. The singer reports either as a figure involved in drifting with the body or from a neutral observer position. It is important that the singer does not have a firmly established role. The spectrum ranges from court knights and dancers to poor residents. He also changes his habitat from the Riuwental to the Tullner Feld.
Body-conforming or body-controversial songs
A second possible division of the body songs is the classification into "body conform" and "body controversial" songs. Songs that conform to the body do not show the singer, i.e. the lyrical self, in contrast to the body. Rather, the singer contributes to the joy and social activity of the body. Roughly speaking, the body-conforming songs can be assigned to the summer songs.
Dody controversial songs, on the other hand, show the lyrical self excluded from drunkenness and are determined by the description of the dbodies disregarding the courtly mâze and trying to keep the singer away from the village beauties or the dance floor under all circumstances. In these songs, the singer is portrayed as a courtly recruiter, which is in clear contrast to the body-conforming songs, where he is usually the courted one.
Friderûn
A special subgroup of the body-controversial songs consists of the subject area around Friderûn and the robbery with the accompanying destruction of her mirror by Engelmâr , who thus "outshines" the singer. In the above-mentioned song c 26 this incident is described:
how should i park.
I'm laid by engelmaren.
vngemach
he Friderûnen
the Spig of the seyten broke
- [c 26, IX, 4-8]
Consequences of the mirror robbery
A large number of songs by Neidhart refer to the momentous event of the mirror robbery. The lyrical self, a courtly singer, is "snatched away" by a rude character named Engelmar (-mâr: Meier), who is known as a "torczscher payer" [c 26, X, 4]. This event is metaphorically referred to by the “mirror robbery”. However, the attempts to interpret this incident, which was so formative for the fictional singer Neidhart, are manifold, not least because the singer does not resolve the deed, but always resorts to it.
Starting with biographical interpretations, the interpretations of the deed range from the defloration of the desired person to the successful penetration of outside forces into the courtly sphere. As a result, they serve as a sign of the ineffectiveness of courtly shaped minne service and singing, or of the destruction of courtly customs and thus of the dissolution of established orders supported by the fictional singer. It is also noteworthy that the robbery of the mirror is always associated with the defeat of the singer.
It is also noticeable that the Friderûn stanzas in particular are written in the style of high singing, which is probably an intensification of the contrast between Dbody and Singers and thus extracourt vs. courtly world should act.
The literary consequences are confrontations with the bodies or the end of the fictional singer's happy life. Again and again he resorts to this one event in order to discuss the (fictional) recipient about the origin of his misfortune. The songs that conform to the body, which are characterized by joy and harmony, are largely replaced by the songs that are controversial with the body, which are marked by violence and dissatisfaction.
Literary aftermath
Neidhart's summer and winter songs influenced contemporary singers and those who followed him, both formally and in terms of content. Through his songs, the line stanza was constituted as a acceptable stanza form and also used for other song types as summer songs. The body theme is based on the Neidhart song tradition passed down into the late 15th century. The swing songs have a decisive effect on literature. In MHG. Epik the dörperliche world is clearly set in a rural area, which is also reflected in the replacement of the word Dörper by gebûre reflected. The most prominent example of an adaptation of the bodily theme is probably Heinrich Wittenwîler's " Ring ".
In the Neidhartspiele the protagonist is portrayed as an enemy of the farmers. The outcome of these games is the violet swank , the popularity of which is undisputed and has even been represented graphically. This extreme popularity led to the dramatization of the material. The following are preserved:
- The St. Pauler or Swabian Neidhartspiel
- The great (Tyrolean) Neidhartspiel
- The small (Nuremberg) Neidhartspiel
- The Sterzinger Neidhart scenario
- The Sterzinger Neidhartspiel
In addition, the Schwankbuch Neidhart Fuchs must be mentioned here. This fictional biography - a rogue vita - has been published in several prints since the end of the 15th century. These independent episodes were mostly provided with woodcuts. The Schwankbuch is based on the late medieval image of the peasant enemy Neidhart and follows the constitutive contrast between farm and village or knight and farmer.
It is important that the bodily poetry was written not for peasant, but for courtly recipients who knew the minstrel and could recognize the content as humorous and socially critical.
literature
- Hans Dieter Mück : A "Political Eroticon". On the function of the “mirror robbery” in Neidhart's songs from manuscript c (mgf 779). Kümmerle, 1986, p. 176 ff. (= Göppinger works on German studies. 440.).
- Albert Bielschowsky : History of German village poetry in the 13th century. Berlin 1891.
- Ferdinand Mohr: The rude element in Middle High German poetry from Walther on. Tübingen 1913 (dissertation).
- Erhard Jöst: hostility towards farmers. The histories of the knight Neithart Fuchs. Göppingen 1976, ISBN 3-87452-328-4 (dissertation).
- Petra Giloy-Hirtz: Deformation of Minstrels . Change in literary communication and social loss of function in Neidhart's songs. Heidelberg 1982, ISBN 3-533-03212-4 , (dissertation).
- Petra Herrmann: Carnival-like structures in the Neidhart tradition. Göppingen 1984, ISBN 3-87452-628-3 , (dissertation).
- Neidhart songs. In: texts and melodies of all manuscripts and prints. Walter de Gruyter publishing house, 2007.
- Von Reuental, Neidhart: The songs of Neidhart. Max Niemeyer Verlag, 1999 (= ATB 44).
swell
- ↑ body. In: Jacob Grimm , Wilhelm Grimm (Hrsg.): German dictionary . tape 2 : Beer murderer – D - (II). S. Hirzel, Leipzig 1860, Sp. 1301 ( woerterbuchnetz.de ).
- ↑ Boobies. In: Friedrich Kluge: Etymological dictionary of the German language. Arranged by Elmar Seebold. 24th, revised and expanded edition. de Gruyter, Berlin / New York 2002, p. 919.
- ^ Günther Schweikle: Neidhart (= Metzler Collection. 253; Realien zur Literatur ). Metzler, Stuttgart 1990, p. 81.
- ↑ Hans-Dieter Mück: A 'Political Eroticon'. On the function of the 'mirror robbery' in Neidhart's songs from manuscript c (mgf 779). In: Minne is a swaerez spil. New studies on minstrels and the history of love in the Middle Ages. With contributions by Peter Dinzelbacher [and others] (= Göppinger works on German studies. 440.) Kümmerle, Göppingen 1986, p. 176 ff.
- ^ Günther Schweikle: Neidhart (= Metzler Collection. 253; Realien zur Literatur ). Metzler, Stuttgart 1990, p. 71 ff.
- ^ Günther Schweikle: Neidhart (= Metzler Collection. 253; Realien zur Literatur ). Metzler, Stuttgart 1990, p. 82.
- ^ Günther Schweikle: Neidhart (= Metzler Collection. 253; Realien zur Literatur ). Metzler, Stuttgart 1990, p. 34.
- ^ Günther Schweikle: Neidhart (= Metzler Collection. 253; Realien zur Literatur ). Metzler, Stuttgart 1990, p. 85.
- ^ Günther Schweikle: Neidhart (= Metzler Collection. 253; Realien zur Literatur ). Metzler, Stuttgart 1990, p. 134 ff.