Daniel of the blooming valley

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Scene from Stricker's 'Karl', from the St. Gallen manuscript

Stricker's Daniel of the Blooming Valley is a post-classical Arthurian novel from the first half of the 13th century and tells the fictional story of the hero Daniel, who wants to stand by Arthur in the fight against the enemy King Matur. His goal leads him through the wondrous and exotic kingdom of Cluse, where he has to face various monsters and monsters in order to protect the people of the threatened village.

Literary meaning

Just like other post-classical Arthurian novels , e.g. B. Garel of the Blossoming Valley of the Pleier , Daniel of the Blossoming Valley was also long regarded in research as inferior in quality. The independence in terms of material and motifs was not recognized for a long time.

However, through comparisons with classic Arthurian novels such as Iwein by Hartmann von Aue , it was possible to work out specific generic characteristics. Daniel von dem Blooming Tal, the most important post-classical Arthurian epic, shows at least two important and striking deviations:

  • Daniel's Aventiurs are a puzzle of material motifs from different genres and epochs, they differ in many places from the classic Arthurian novel.
  • Often borrowed from the Greek mythological fabric tradition, above all the Homeric epics and the Perseus saga , the monsters and monsters cannot be killed by brute force and muscle power, as is the case with the classic Arthurian novels, but can only be killed by cleverness , as with Odysseus and cunning to be defeated.

In addition, love has a completely different status than in the classic Arthurian novels.

Daniel thus represents a unique character in the world of Arthurian novels.

Daniel and the motive of the ruse

Stricker's 'Daniel' is an innovation, especially in relation to Arthurian epic. If the original ideal hero was strong and brave, Daniel's intellect is in the foreground. It should be emphasized that the Middle High German word list does not have the same meaning as the corresponding New High German word. The Brothers Grimm defined it as follows:

Cunning what one can do, knowing a thing and using it; with the old art d. Author] identically and specifically also used in the meaning of today's science. [...] Cunning, in a narrower sense, the individual trick, clever attack, the clever measure [...] cunning, the cleverness, wisdom itself, also the divine [...] but often the cunning, the underhanded calculation in favor of one's own advantage, a meaning that is already gaining ground in the ancient language. "

Thus the term experienced a narrowing of meaning. Today one connotes a rather negative attribute with cunning , which the Brothers Grimm deal with in the last sentence. It is important in this context that cunning is understood to mean cleverness, wisdom and art that includes a certain kind of cunning. By having strength and intellect, Daniel becomes a new breed of ideal knight .

In Stricker 's 'Daniel', however, this new ideal is not exclusively aimed at Daniel. The other knights also show cunning features, such as Gawein when he points out to the knights that they should gouge the giant's eyes out. The knitter thus created an innovation in the genre of the Arthurian novel. Ingeborg Hendersen wrote in her interpretation of 'Daniel' in 1976:

The way in which he changes key contents of the classic Arthurian novel point him beyond any epigonism in the sense of uncritical imitation, because they reveal a confrontation with the Arthurian world of values ​​and a position on contemporary problems. "

So Stricker's 'Daniel of the Blooming Valley' does not belong to the classical, but to the post-classical Arthurian novels.

action

Contents overview

verse content
prolog V. 1-142 The author introduces himself and gives the reason for writing and the source of this work.
At the Artus Court V. 143-1001 Daniel approaches the Artus Court and is caught by the knights. He defeats anyone who gets in his way. Only the fights with Gawein, Iwein and Parzival remain undecided. Because of his knightly ability, Daniel is immediately accepted into the round table . A giant comes as a messenger on behalf of his lord King Matur von Cluse to the Arthurian court and tells Arthur and his knights that they should submit to King Martur and that this would be an honor. Gawein uses the first trick by asking the giant messenger to give a week's deadline to gather subjects and then follow him into the kingdom of Cluse and pay homage to Matura. The messenger agrees and Arthur prepares an army campaign against Matur. However, Daniel can't wait and wants to be in Cluse before the other knights, so he secretly sets off.
The Juran episode V. 1002-1786 Daniel follows the giant's trail and on the way meets the daughter of the Duke of Trüeben Berg, who is being harassed by the dwarf Juran. Juran has an all-cutting miracle sword and since Daniel knows from the giant that the entrance to the land of Cluse is guarded by his brother, who is invulnerable through his impenetrable skin, Daniel decides to defeat the dwarf. Daniel convinces the dwarf Juran to take off his miracle sword in order to impress the duke's daughter with a fair duel. When the dwarf threatens to lose during the duel, he runs to the miracle sword, but Daniel reaches it earlier and beheads the dwarf with his sword. The duke's daughter offers him her hand and a duchy as a reward, but Daniel refuses and rides on.
The bellyless V. 1787-2701 When Daniel rides through the county of Liehten Brunnen, the county mistress asks him for help against a flock of blood-sucking cephalopods that tyrannize the country. The leader procures human blood with the help of a head which he carries in his hand and which can kill people by the mere sight of it. Daniel has the countess give him a mirror, with the help of which he avoids direct eye contact with the deadly head and thus kills the leader. He then uses the deadly head to destroy the other monsters, but does not keep it because he does not expect any honor from its use. He frees the compatriot who was in captivity of the monster. He now accompanies Daniel out of gratitude. In an idyllic place they meet a knight with a prisoner who rides past them without a greeting. The sovereign takes up the pursuit up to the entrance to the country to the Grüenen Ouwe . The compatriot accidentally triggers a flood mechanism, which now makes the entrance impassable for Daniel and he remains locked out. Daniel is waiting for the Count to return. But when he does not return after a week, Daniel rides on to Cluse, because he wants to defeat the guard giant before the Arthurian army arrives.
First maturity battle V. 2702-3936 Arrived at the entrance of the land of Cluse, Daniel defeats the guardian giant with the miracle sword Jurans. The Arthurian army arrives and they can pass. Matur opposes them at the head of the first of the seven armies of Cluse. Matur is killed by Arthur in a duel. This also excels in the ensuing mass battle, as does Daniel, who now also kills the messenger giant with the miracle sword and thereby contributes to the victory of the Arthurian army. On the night after the first battle, Daniel stole again from the circle of companions, this time to look for the Graf vom Liehten Brunnen.
The sick one V. 3937-4968 Daniel rides back to the entrance of the country to the Grüenen Ouwe , which is now passable again. He meets the knight whom the count had pursued. A fight ensues that Daniel cannot win despite the miracle sword, as the knight wears the impenetrable skin of a sea ​​woman under his armor. However, he manages to incapacitate him. After Daniel walks through the entrance passage, he gets caught in an invisible net that the sovereign's daughter, Sandinose, had put there. As a condition of his release, she demands that Daniel help her. A bald, red-skinned man trying to heal himself from an illness bathes in man's blood weekly. He renders his victims mindless with his hypnotic voice. Daniel mingles with the infatuated by imitating them. When the sick man is about to stab the first victim, Daniel beheads him with his sword, which has been kept hidden until then. This also freed the Count from the Liehten Brunnen, who was among the hypnotized. The knight with whom Daniel had fought before turns out to be the sovereign. This, the count and Daniel are now going back to Cluse.
More maturity battles V. 4969-5714 Three more battles follow. In the description of the first, the heroic deeds of individual fighters are emphasized. In particular those of Artus and Daniel as well as Gaweins, Parzivals and Iweins and also the comrades-in-arms won by Daniels. The second battle is only briefly described. The fighting morale of the Ritter Maturs is now gradually waning. The description of the third is a combination of representations of individual and mass struggles.
Victory list and politics of the winners V. 5715-6884 The victory of the Arthurian army was brought about by a trick by Daniel: The giant messenger had told them about a golden animal statue with a banner in its mouth. If you take out this banner, the statue emits a scream that stuns every knight and lets them fall from their horses. Daniel now tells Arthur's knights to stuff their ears with wax and then removes the banner from the beast's mouth, so that all enemy knights fall to the ground and surrender. After a detailed discussion with her advisors, Matur's widow Danise decides to make peace with Arthur. At Gawein's suggestion, Daniel and Danise are married. There is a big festival at which hundreds of widows and virgins are married to single knights. Since there are too many women, 600 squires are knighted and also married to the women of Cluse.
The giant father episode V. 6885-7888 The festival is disturbed by the appearance of the father of the two killed giants. He wants revenge and appears to propose a game to Arthur for which space must be made for him. When everyone step back, he grabs King Arthur, tucks him under the arm and runs with him into the mountains. Daniel, Gawein, Parzival and Iwein ride after him but cannot catch up with him. The giant father sets Arthur down on a cliff top. He then asks the best fighter to compete against him. Because of the prohibition of self-praise that exists among knights, they get into a dilemma that Parzival breaks. This is now also placed on a rock. Daniel sets off for the Grüenen Ouwe to ask Sandinose for support: With the help of her net, the giant father is captured. Daniel manages to convince the father that the murder of his sons was only self-defense. In return for the handing over of the net and an eye ointment with which this can be made visible, he finally declares himself ready to free Arthur and Parzival from captivity.
Enough V. 7889-8483 After the safe return of Arthur and Parzival, the festival begins again. Ginover and the other ladies of the Arthurian court from Britain also join. Sandinose is married to Beladigant. The giant father receives the land that he had as a loan from high school. Finally, there is a brief look at Daniel's reign in the Cluse kingdom. The work ends with the collective desire to enter God's kingdom.

Lore and research situation

As far as is known, there are three codices in Germany : one in Dresden, the second in Frankfurt and the third in Munich. Two more are archived in Copenhagen and Krakow. The first Middle High German edition of Daniel von dem Blühenden Tal was published with extensive comments by Gustav Rosenhagen in 1894. Almost a century later, in 1992, the first edition by Helmut Birkhan, which was translated from Middle High German into New High German, was also given an introduction and notes. Michael Resler's revised edition was last published in 1995.

With the first analysis of Rosenhagen's text, the scholarly opinion of Stricker's work was of secondary importance for a long time. For a long time, Stricker's Daniel of the Blooming Valley was dismissed as an “ adventure story without spirit and purpose ”. This opinion was based on the fact that Stricker's 'Daniel' did not correspond to the formerly prevailing ideal of originality, as very many references to Hartmann von der Aues 'Iwein' could be determined. This ideal, which stems from the Renaissance, states that only the original should be regarded as 'first class' and worth striving for. Werner Schröder also wrote that “all efforts to look at the novel with profoundness are [an] attempt on the unsuitable object” .

Apart from the rating of the 'Daniel' initiated by Rosenhagen as an inferior Arthurian novel, research quickly agreed that the knitter knew the 'Iwein' and must have referred to it. Nevertheless, according to Ralf G. Päsler, these findings were not pursued for a long time. Researchers like Uwe Meves deal with the relationship between medieval poets and the historical-sociological conditions of their work. However, since there are hardly any records about this and due to the unsecured biographical data, according to Päsler it cannot be determined whether the knitter and Hartmann von der Aue really knew each other.

It was not until the contributions from the 1970s that attempt to grasp the uniqueness of the novel and, in particular, to examine the otherness in love and cunning. Ingeborg Henderson sees the 'Daniel' for example, "a testament to the amazing formation of the poet and his conscious turning to the current topic." . The poet's peculiar way of working is based on traditional narrative material, only to then consciously deviate from it and thus set new accents.

Markus Wennerhold shows in his remarks that the prologue in particular has attracted the interest of science. By comparing the 'Iwein' and 'Daniel' prologues, Peter Kern, among others, worked out that 'Daniel' can only really be understood by referring back to its sources.

"Already in the prologue the knitter sets a generic signal by taking over the 'Iwein' prologue in the mode of interpretation and thus arouses certain expectations in the audience."

Most recent research agrees that Stricker's 'Daniel' is by no means an inferior or second-rate Arthurian novel. The fact that the 'Daniel', as u. a. Rosenhagen also confirmed in his observations, a very stringent and can record deliberate construction, speaks loudly Päsler already that the borrowings and " literary allusions are used as functional and purposeful." . It is now assumed that the knitter was a first-class poet whose messages in his texts were long misunderstood.

In addition to the fact, which cannot be mistaken from today's perspective, that there is a relationship between the 'Iwein' and the 'Daniel', other points are much discussed in research. Rosenhagen already noted so-called generic deviations in 'Daniel'. Although Stricker's 'Daniel' can be clearly assigned to the genre Arthurian novel, elements from folk tales ( vampirism ), antiquity ( Perseus myth ), iconography (the bellyless monster) and contemporary genres such as the Alexander novel and Arthurian novel can be found.

Greco-mythological influences

With the various currents that flow into the wonderful world of Clûse, it is particularly noticeable that - in contrast to the motifs from contemporary literature - those from Greek mythology interweave several episodes. The mythical creatures in 'Daniel' are conspicuously largely derived from the material tradition of the Mediterranean and Greek mythology and not from the Nordic cultures , which include dragons , basilisks and fantastic animals that were part of the classic medieval novels.

Some passages in Stricker's 'Daniel' are strongly reminiscent of the fabrics and motifs of Homeric epics . For example, some mythical creatures are made up of episodes of the ' Odyssey ' or other Greek myths such as the Perseus saga.

The Polyphemus motif (Daniel v. 432-504 and 3146ff.)

Cyclops and Odysseus vase painting

Gustav Rosenhagen was the first to recognize that the knitter had adopted the Polyphemus motif in his 'Daniel' . Johanna Reisel is also of the opinion that the Polyphemus of the 'Odyssey' can easily be rediscovered in the blinded giant. Like Odysseus, Daniel does not kill the messenger giant at the beginning. In both cases the reason is a pragmatic one, because without Polyphemus Odysseus and his men cannot get out of the cave, and without the giant messenger it is difficult for the Arthurian knights to get to Cluse. As in the 'Odyssey', the entrance to the Land of Grüenen Ouwe is blocked by a boulder (Dan. V. 2481–2484). The first battle and the fight with the giant proceeds like the polyphema episode. The commonality between Polyphemus and the giant in 'Daniel' is that they are overpowering opponents who cannot be killed in conventional ways. Therefore the heroes have to resort to a ruse to overpower the giant and save their life (Dan. V. 3158-3170 and Od. V. 331-375). Like Polyphemus, the messenger giant lashes out blindly with rage and anger and kills numerous knights Arthur. The image of the dazzled, raging giant in particular is broadly painted in both 'Daniel' and 'Odyssey'. Similar to Odysseus, the Arthurian knights are forced to use a trick and mix with the enemy. In this scene, as in the 'Odyssey', the name-hiding list is used. Odysseus intentionally gave the Cyclops a false name in order to mislead him and thereby protect himself from the other Cyclops. The Arthurian Knights also pretend to be someone they are not made of, in order to protect themselves from the enemy. The enemies, i.e. the knights Maturs, take on the role in 'Daniel' that the goats played in the 'Odyssey'. In both cases, the men mingle with the giant's "friends", so protectively stand behind those whom the giant would not touch. Since the giant is under the service of King Matur and fights for him, he is not allowed to kill his men and the Cyclops from the 'Odyssey' cannot kill his sheep because he needs them to provide for himself. He strokes their backs as they leave the cave. Since the men are under the bellies, they can escape him (Od. 440-446).

The bellyless monster (Daniel v. 1870ff.)

Perseo by Benvenuto Cellini. Bronze on a marble base. 1545-1554. Under the Loggia dei Lanzi, Florence. The sculpture shows the episode in the Perseus legend in which he chops off Medusa's head.

The bellyless unites different material motifs. On the one hand, he takes a "houbet an die hant swenn he die liute tœten wil" (Daniel v. 1902f.). This severed head, which he carries with him to kill his enemies, is a clear parallel to the Gorgon head of the Perseus myth. The legend is about the young Perseus, who is sent to be eliminated by the king Polydektes , who To get the head of Medusa . Because everyone who looks at it will be petrified. However, Perseus receives help from the gods Hermes and Athena and, equipped with a magic hat, a magic bag and a pair of wing shoes, sets off to behead the only mortal of the Gorgon sisters, Medusa. Because Athena shows him the reflection of Medusa in his shield, Perseus can look at her without becoming petrified. He cuts off her head, puts it in the magic bag and with the help of the invisibility cap and wing shoes he can flee from the other gorgons Stheno and Euryale . He uses the head to kill Phineus , who wants to steal his promised bride Andromeda , and then gives it to Athena.

The mirror motif is used in the 'Daniel' in a similar way: Daniel asks the women of the village for a mirror so that he can see the bellyless person without being killed by his head. He cuts off the monster's arms and legs and takes the head of Medusa to kill the army of the bellyless. Then he throws it into the sea (Dan. V. 2075ff.). In contrast to the Perseus legend, the monster in 'Daniel' is defeated by its own weapons. The mirror has the function of protecting against the fatal look, but also that of the weapon, since the bellyless kills himself by looking in the mirror. Perseus, on the other hand, only uses the mirror to protect himself. Through him he can see and defeat Medusa without looking at her. Like Perseus, Daniel rescues a lady from the hands of a tyrant who has a whole retinue with him.

The bald-headed sick man (Daniel v. 4375ff.)

Illustration of the Siren Myth in Homer's Odyssey

Daniel meets the bald and red sickly during his Aventiure von der Grüenen Ouwe . After getting caught in an invisible net, Sandinôse, the daughter of the count of the land mentioned, approaches. She tells him about the suffering that Grüene Ouwe suffered a year ago. A red and bald man who looked like the devil came to a festival in the village. With his voice he could hypnotize all people and render them mindless. He explained to them that he would have to take a bath of the men's blood every week for a whole year to cure his infirmity, his illness. In addition to his beguiling voice, he has the ability to turn people into stones or animals (Dan. V. 4376-4425). Here references to the siren myth from Homer's 'Odyssey' can be established. He takes Sandinôse's advice on how best to kill the sick man without becoming stupid and willless himself through his words. Odysseus also takes advice from Kirke on how to drive past the sirens undamaged:

Take wax from honey and knead it
Plug the ears of the companions with it! It may from the others
Not even a single one heard anything. But you, if you wanted
Hear them! Stand up straight at the holder of the mast boom,
Let your hands and feet be tied in the swift vehicle,
Then knot the ends on the mast again: then you will hear
Indulging in the song of the sirens. But do you ask or do you command
That the companions release you, then let them bind you even more. (Od. XII, 37-55)

Like the sirens, the sick person has the ability to take people away solely through their words, willpower and decision-making power. However, Daniel has to get close enough to the sick man to be able to kill him, but also fears that he will be hypnotized and killed. For this reason he tells the young lady about the idea of ​​plugging her ears with wax:

I seem to behave like this / that he can't work with me, / how much he gape, / that I can't stand up, / I push for me / a vil wolgebertez wahs. / sô hân i have a guot saw it, / mac i sewing, / he must do the damage. / I hân a swert alsô guot / and hân also alsô guoten muot / daz ichn wol verhouwe. (Dan. V. 4572-4583)

The young lady, however, says that this is a bad idea, because the sick person can not only hypnotize people, but also turn them into stones or animals (Dan. V.4593-4605). References to Greek mythology can be found for both abilities. From Ovid's 'Metamorphoses' (Met. V. 779), Hesiod's 'Theogony' (Theo. V. 270-274) and Homer's 'Odyssey' (Od. XI, 634), the Gorgon sisters are known, who people can see by simply looking at them can turn into stones (in the case of the 'Odyssey' it's just a gorgon). The sorceress Kirke from the 'Odyssey', like the sick man, is able to turn people into animals. In Canto 10 she transforms half of Odysseus' men into pigs (Od. X, 230-260). For the reasons mentioned, Daniel dismisses the idea of ​​ear plugging again. He decides to mingle with the hypnotized and imitate their movements and words, only to cut off the sick man's head at a favorable moment. The imitation ruse is successful and the knights are released from the ban (Dan. V. 4792-4809). One recognizes the parallels to the 'Odyssey' on the one hand in the idea of ​​plugging the ears with wax so as not to hear something that could harm one, on the other hand in the figure of the sick man himself, who resembles the figure of the siren. The purpose of their singing is the same as that of his words. Both want the death of the people they beguile. In order not to be discovered by the sick, Daniel imitates the foolish movements of the victims (Dan. V. 4759-4769). This behavior is reminiscent of the scene from the 'Odyssey', which tells of the arrival of the ambassadors of Agamemnon and Menelaus. Like Daniel, Odysseus pretended to be out of his mind so as not to have to take part in the Trojan War. But the emissaries saw through his plan (Od. XXIV, 155ff).

What is striking about the mythical creatures in 'Daniel' is that they are made up of different material traditions. The three selected monsters from 'Daniel' mainly mix material motifs from Middle High German epics , legend poetry and folk mythology . Above all, however, all three combine Greek and mythological elements. The ancient motifs run through the individual vents and interweave them. For example, the motif of the dazzling is already prepared at the Artus Court of Gawein and taken up again in the first battle. The ear plugging motif is also addressed in the Aventiure with the sick, but is only used in the fourth battle.

The many intertextual references suggest, on the one hand, the knitter's profound knowledge of the text and erudition, which not only refer to Middle High German epics, but also include knowledge of ancient sagas. The genre mixes seem to be very carefully and well constructed, which suggests a deeper meaning. The thesis of Gustav Rosenhagen and Matthias Meyer that the knitter wanted to get involved in the genre discussion at the time would be conceivable:

"The knitter proceeds encyclopaedically in the design of Daniel and thus proves that it is possible to redesign any literary motif according to the genre."

On the question of the function of the motivational connections of individual episodes, Meyer writes:

“It usually causes the novel to focus on the hero. The most important principle is that of repetition or doubling. "

The focus on the hero could have served to emphasize the motive of the ruse. The use of Homeric materials to link the individual episodes could also reinforce this, since Odysseus is seen as a prototype of cunning behavior. Since the Aventiurs seem hopeless due to the supernatural abilities of the mythical creatures, they demand more than just strength, bravery and courage that the Arthurian knights of the classic Arthurian novels bring with them. The use of the human mind in connection with the classic virtues of the Arthurian knights offers the solution in 'Daniel'. Conversely, the ruse is only legitimized by the special circumstances in which the hero finds himself and should be emphasized by the repetitions. Thus the mythical creatures in 'Daniel' could have the function of reinforcing and legitimizing the ideal of cunning introduced by the knitter for the Arthurian novel.

literature

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  • Birkhan, Helmut (1992): Daniel from the blooming valley from the knitter. From d. Middle high German Transfer, with e. Einf. U. Note provided by Helmut Birkhan . Kettwig: Phaidon (Stories of the Middle Ages, Vol. 5).
  • Resler, Michael (1995): The Stricker. Daniel of the Blooming Valley. 2., new. Edition Tübingen: Max Niemeyer. [Dan.]
  • Weiher, Anton (1977): Homerus. Odyssey. Greek u. German, with original text, appendix a. Reg / Homer. Transferred by Anton Weiher. 5th edition Munich: Heimeran [Od.].
  • Wickram, Jörg (1990): Publius Ovidius Naso. Metamorphoses. Berlin: De Gruyter. [Met.]

Research literature

  • Albert, Karl (1983): Hesiodus. Theogonia. Hesiod (ed.). Trans. U. Erl. By Karl Albert. 2nd, continuous Edition Sankt Augustin: Richarz. [Theo.]
  • Benecke, Georg Friedrich / Lachmann, Karl / Wolf, Ludwig (1981): Hartmann von Aue. Iwein. Text of the 7th edition transl. and note from Thomas Cramer. 3rd continuous u. supplement. Edition Berlin: Walter de Gruyter. [Iw.]
  • Birkhan, Helmut (1992): Daniel from the blooming valley from the knitter. From d. Middle high German Transfer, with e. Einf. U. Note provided by Helmut Birkhan. Kettwig: Phaidon (Stories of the Middle Ages, Vol. 5).
  • De Boor, Helmut (1957): The Daniel des Stricker and the Garel des Pleier. In: Contributions to the history of German language and literature, Vol. 79, pp. 67–84.
  • Grimm, J. u. W. (1885): German dictionary. Vol. 6. Leipzig. Sp. 1065ff. See also under [1] .
  • Henderson, Ingeborg (1976): Strickers Daniel von dem Blühendes Tal: Work structure and interpretation taking into account the handwritten tradition. Amsterdam: John Benjamin BV
  • Kern, Peter (1974): Reception and genesis of the Arthurian novel. Reflections on Stricker's 'Daniel vom Blühenden Tal', ZfdPh 93, special issue [1974], 18-42.
  • Lecouteux, Claude (1977): The bellyless monster of the knitter 'Daniel of the blooming valley'. In: Euphorion Vol. 71. pp. 272-276.
  • Päsler, Ralf G. (2009): Hartmann taken at his word? Considerations for a new reading of Stricker's 'Daniel of the Blooming Valley'. In: Mayer, Cord; Päsler, Ralf G; Janßen, Matthias: research, think, tweak. On the value of the exact in the 'imprecise sciences'. FS for Uwe Meves on June 14, 2009. Stuttgart: S. Hirzel Verlag.
  • Reisel, Johanna (1986): Contemporary history and theological-scholastic aspects in "Daniel of the blooming valley" of the knitter. Göppingen: Kümmerle.
  • Rosenhagen, Gustav (1890): Investigations on Daniel from the blooming valley from the Stricker. Phill. Diss. Kiel: Schaidt.
  • Wennerhold, Markus (2005): Late mhd. Arthurian novels. 'Lancelot', 'Wigalois', 'Daniel of the Blooming Valley', 'Diu Crône'. Research balance 1960–2000. Würzburg: Konigshausen & Neumann. (Würzburg contributions to German philology; 27). Würzburg, pp. 129-181.
  • Pingel, Regina (1994): Chivalric values ​​between tradition and transformation. On the changed conception of Artus hero and Artus court in Stricker's Daniel of the blooming valley. Frankfurt am Main: Peter Lang.
  • Schröder, W. (1968): and flinched in uf as a schoup. Parodied Arthurian glory in Stricker's 'Daniel', in: Language and Law. Contributions to the cultural history of the Middle Ages. FS for Ruth Schmidt-Wiegand on her 60th birthday, vol. 2. ed. by K. Hauck u. a., Berlin a. a., pp. 814-830.

Individual evidence

  1. Cf. u. a. Schröder (1986), p. 826
  2. See De Boor (1957), p. 67ff.
  3. Ibid.
  4. More about the generic deviations or innovations u. a. in De Boor, C. (1957) or Rosenhagen, G. (1890)
  5. Grimm (1885), Col. 1065ff.
  6. Henderson (1976), pp. 16-17.
  7. Wennerhold (2005), p. 27 ff.
  8. Stricker: Daniel of the Blooming Valley . Philipps University of Marburg. Retrieved February 14, 2019.
  9. Author's Lexicon (1953), Col. 294.
  10. See Päsler (2009), p. 112
  11. Quoted from Päsler (2009), p. 112
  12. See u. a. Wennerhold (2005), pp. 129-181.
  13. See u. a. Kern (1974), pp. 18-42.
  14. See Päsler (2009), p. 111
  15. Ibid.
  16. Henderson (1976), pp. 16-17.
  17. See ibid.
  18. Wennerhold (2005), pp. 140-145.
  19. Quoted from Päsler (2009), p. 113
  20. Päsler (2009), p. 112
  21. See Lecouteux (1977), pp. 272ff. and De Boor, H. (1957), pp. 67ff.
  22. See Wunderlich (1999), p. 19; see. also Harmann von Aues 'Iwein' who saves the lion from a dragon, for example.
  23. See Rosenhagen (1890), p. 72f.
  24. See Reisel (1986), pp. 73f.
  25. See Rosenhagen (1890), p. 73.
  26. Cf. Hesiod 'Theogonie v. 273-282 or Ovid 'Metamorphoses', 4,772-785; also in Homer's 'Odyssey' is in Eleventh Canto v. 633-635 speak of the head of the Gorgon. Odysseus fears that Persephoneia could send his head out of Hades if he got too close.
  27. The parallel between the Perseus legend and the Aventiure with the bellyless monsters has been generally recognized in research. See u. a. Rosenhagen (1890), p. 72f. or de Boor (1957), p. 69
  28. See Pingel (1994), pp. 185-186.
  29. See Pingel (1994), pp. 180f.
  30. Meyer (1994), p. 57
  31. Ibid. P. 58
  32. See Pingel (1994), p. 187