The walled-in woman

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The walled-in woman or by a bad wîbe is a story of the rhyming couple written in Middle High German by the knitter from the first half of the 13th century. The exact time of origin can no longer be traced from today's time.

The story of the verse belongs to the category of vacillating marriage tales and is about a knight whose wife rebels against him. The man knows no better way to help himself than to wall up the woman and thereby induce her to see her subordinate position. With stories of this kind, the knitter ushered in a new tradition of medieval storytelling.

content

The story tells of a virtuous knight, whose wife turned out to be defiant and unteachable after marriage. She always tries to get her way and shows her husband no respect. (vV1 - V.4)

In order to bring his wife to her senses, the knight uses extreme physical violence. So it happens that one day he almost kills her. But the woman shows no improvement. On the contrary. She counters his violence with provocative statements and threats. (vV5 - V.35)

The knight then decides to wall up his wife. For this purpose, he erected a doorless room that only had a window through which she could follow what is happening in the outside world. (vV36 - V.47)

He puts the worst food in front of her and additionally punishes her by not talking to her anymore. At the same time, he shows her how well he treats other people. He even goes so far that he has another woman at his side, whom he spoils and whom he gives expensive gifts. She can see all of this through the window. (vV48 - v. 72)

When the wife turns to her relatives, she finds that her husband has almost completely brought them to his side through gifts and other affection. He makes an elaborate proposal to those who nevertheless take sides for them. He promises to release the woman, but in return they should vouch for their appropriate behavior with all their assets. Since no one wants to accept this offer, she can no longer find anyone to stand up for her and is now finally on her own. (vV73 - V.108)

At this point the woman experiences a religious conversion. The Holy Spirit enters her and displaces the devils that possessed her soul. All evil disappears from her, she asks her husband for forgiveness on her knees and wants to repent for her bad behavior for the rest of her life in order to save her soul. (vV109 - V.234)

When the walls are broken in before the eyes of the whole clan, they refuse to come out in the name of God. The pastor, who had already mediated between her and her husband, finally persuades her after a long effort. When she is back outside, she apologizes publicly again and announces her new mission in life. This consists of converting other malevolent women. (vV235 - V.282)

She is then declared a saint and a festival is held in her honor. Towards the end of this feast she gets up on a bench and praises God and promises that with his power she can bring every woman to reason. (vV283 - V.358)

This news spreads all over the country, so that the woman achieved great fame. The other disobedient women swear off their malevolence for fear of a similar fate. From this point on there are no more vicious and dishonorable women to be found. (vV 359 - v 400)

Classification in literary history

Classification in the complete works of Stricker

The walled-in woman is one of the shorter verse narratives of the knitter and was created together with other small-pish texts in the first half of the 13th century. The exact date can no longer be reconstructed today. It is just as problematic to identify a reliable chronology in the entire work of the knitter, because "the thematic and formal parallels, overlaps and contaminations, [...] [between the texts], indicate that the knitter dealt with several genres and different texts at the same time were created in parallel. ”One suspects the great epics at the beginning of his creative period, but the shorter texts show no evidence of a chronological dating. The only clue for a rough estimate of the time of origin of the walled woman is provided by the location of the literary activity of the poet between 1220 and 1250 AD. The marginal dates are not undisputed here either. Last but not least, one relies on written statements by other poets of the time. The following remark is recorded in a poet award from Rudolf von Hohenems :

if he wil der Strickære
sô he makes guotiu mære

If he wants the knitter,
he tells really good stories.

This statement also suggests a certain degree of awareness of Stricker's fairy tales during his lifetime, which could have been largely responsible for his poetic fame.

The present story, with its 400 verses, can be assigned to the knitter's small poem. "The exact scope [of this] small poem [...] is still controversial in some cases." The edition by Wolfgang Moelleken lists a total of 166 such texts, which are between 8 and 1172 verses long and make up the small poem.

Genre

The walled woman is within the small seal Knitter the tales associated. This designation is not unproblematic, especially since it is associated with a generic term. Hanns Fischer was one of the first to coined the term “Märe”. In his studies of German fairy poetry , he dealt intensively with the small peaks of the Middle Ages and tried to differentiate between the various texts. Associated with this, he defined the fair as a "versified], [independent] and [purposeful] story of medium size (ie roughly delimited by the verses 150 and 2000), the subject matter of fictional, this-worldly - profane and secular aspect processes are presented with exclusively (or predominantly) human personnel. ”Although he did not see this definition in relation to the Mären Strickers as clearly applicable, he nevertheless regarded it as a prototype of the genre and the poet as the founder of it.

In the course of the history of research, this definition has sparked numerous controversies . In his essay “Concept of the Fair and Novel Theory”, Joachim Heinzle sharply criticized the position on which Fischer's concept of the fair was based. He accused Fischer of the rigidity, inadequacy and lack of conciseness in the criteria on which his term was based. The “definition is too broad, or too abstract, to encompass a variable that established tradition and thus actually had an effect.” Another point of criticism in the research related to Fischer's postulated independence of the narratives, which, according to Günthart, still applies to the 13th century tales does not apply. "On the contrary, the epimythms, the historical context, a certain material tradition and the literary-historical environment speak in favor of placing the texts in the broad tradition of exemplary narration [especially in the context of didaxes and sermons]." Research the criteria with which Fischer tried to prove "the evidence of a type mare" as inadequate, but his generic term as largely applicable. In this way, mars can be distinguished from other genres and their predecessors. The peculiarity of the stories subsumed under this term is based on the representation "of model-like cases in which, with the help of punctuation marks according to the vacillation principle (breach of order and 'revenge'), it is demonstrated how a well-ordered world works."

The walled-in woman can be clearly assigned to this definition , as can other shorter storytelling of the knitter. Thus, the knitter can certainly be seen as one of the founders of this type, because his marches did not just arise through the transfer of other genres, such as that of the Fabliau or the Latin example into German. Neither of the two can be identified as a model for the genus Märe. A certain motive relationship can be determined, however, so that one can assume that the fairy poets of the 13th century, especially the knitter, were largely familiar with these literary forms and their themes.

If you want to categorize the market in more detail, you can call it vacillating marital status. The knitter wrote many texts of this kind in the course of his life.

Reception history

Lore

Like most medieval poems, the literary products of the knitter are not handed down in the original, but are now available to us in various collections, which were probably not written down by the author himself. The most important source of tradition is "the handwriting A" (called 'handwriting W' by Arend Mihm) in a Bavarian idiom , probably written by five scribes. Also known as Codex Vindobonensis 2705, it is considered to be the oldest fairy manuscript . It comprises 176 parchment leaves written on both sides and was created in Austria between 1260 and 1290. The texts contained therein can be divided into six sections, the first two of which are most likely based on a model by the poet himself. These contain around 45 texts that are given without headings. Among them are also the tales and the secular examples of the knitter.

The manuscript H (Heidelberger Cpg. 341), written down about 40 years later, which was written in East Central German and has a more fluid and elegant style, is in strong competition with it in terms of the claim to originality. It contains 24 works more than the ms. A, although the reason for the lack of these pieces is unclear. The two manuscripts have 41 pieces in common. It can be assumed that they drew from a common source which, with high probability, was the poet's personal copy. The story of the walled woman can be found in manuscript A. Also in handwriting B (Austrian National Library, Cod. Vindobonensis 2885), handwriting E (University Library Munich, Cim. 4) and in handwriting I (Tiroler Landesmuseum, FB 32001). This is the common title under which the story is printed. It was mainly shaped in the work of Hanns Fischer. The alternative designation is Von einer wickelen wîbe and goes back to Franz Brietzmann.

Reception and impact history

The Mare as exemplary story had its function in the instruction of people. The texts were mostly geared towards moralizing lay idaxes. The frequency with which the court ideals of virtue were discussed suggests that the audience was to be sought at the courts. However, it is not possible to tell from the individual seals which status was addressed. In the same way, Stricker's tales may have been used in “the urban market, sometimes in the religious space”. There is a lack of evidence for an explicit definition. The walled-in woman will presumably have been designed for a female audience, although "every audience is possible" here too. The effect that this story had on its contemporary recipients is also no longer comprehensible from today's perspective. A resumption of the topic does not emerge from the research literature. Although the idea of ​​the "evil wîp" is an integral part of the fairy poetry of the following centuries, the research says nothing about a recording of the walling case.

Analysis of form and content

The mare is written in 400 verses in pair rhymes . A continuous stanza structure is not recognizable. The text is divided into content sections, which are made clear by paragraphs. However, the formal cuts are not always plausible in relation to the thematic development.

Simple language avoids comprehension difficulties. The oral lecture shows a constant flow of language and the rhythm of the narration, which make the content more accessible to the audience. Since the knitter was very likely a traveling poet whose stories were aimed at educating the audience, the texts had to be easy to understand. He uses “neither […] 'dark' expressions like Wolfram von Eschenbach, nor is his language as artfully coded and untranslatable as Gottfried von Strasbourg's. His role model was probably much more the 'cristallînen wortelîn' (nhd .: clear words) Hartmann von Aue. "

The story of the walled-in woman is told in a row style from the perspective of an authorial narrator. The verses are often introduced by the words (dô, dâ, sô, daz, er, si). The poet uses many anaphors and parallelisms, which additionally supports the sequential effect.

Dô dröuwete he ir sêre
dô dröuwete si im noch mêre.
he sluoc ir a voustslac,
he said: [...]

then he threatened her violently,
   then she threatened him even more.
   he hit her with his fist,
   he said: [...]

Das Märe reports on a concrete event in the past, so it does not present “regular, observable processes like in the example ”. The figures and the location are modeled reduced. All you know is that it is a virtuous knight and his wicked wife. No other properties are ascribed to the two, their names are also unknown. The reader or listener does not know when and where the event should have taken place. It can be assumed, however, that it took place on the couple's estate. This is actually irrelevant for the story. It does not claim to have actually taken place. Her figures only represent a certain social group, namely that of a married couple in a knighthood. From this assignment, your actions can only be understood by the recipient . It also provides the framework for possible actions.

The story begins with the description of the couple's improper conduct. The woman opposes the will of the man, thereby violating the divine order. The man also behaves inappropriately, since it contradicts the chivalrous "discipline" (nhd .: chivalrous virtue) to use violence against women. The larger violation of the law, however, is on the woman's side. In the course of history, order will be restored. To this end, the woman's insight is forced through violence. Since this is not possible through physical violence, the woman is walled in and isolated from her social environment. This ruse breaks the woman's resistance. Her "return to normal condition is rewarded" by being canonized and enjoying fame and honor for the rest of her life. The story thus follows the principle of breach of order and replica, the structure that determines “the fluctuation with its 'compensation types' (especially the 'compensation type revenge'). The element that creates knowledge is the (action) punch line ”. This lies in the envelope of power of action in favor of the man. At the beginning of the story, the man is powerless to face the woman's provocations. He cannot contain them with words or blows. In addition, he risks annoying the woman's relatives and thereby harming himself. Through the incursion with the walling up, the man regains his dominance and the woman finds himself in powerlessness. Such a structure is typical for the genus Märe.

Also characteristic is the epimythion (vV 359 - V.400) attached to the plot, which describes the effect of the story on the audience, especially on the women among them. This serves to reinforce the desired teaching effect on the audience. However, it is not absolutely necessary to show what is considered right behavior. This is already clear in the story through the success of the man's plot.

The structure of the Mare reflects its function contrary: It is on the one hand teach the other hand entertained. As an entertaining story, it has a certain length and is provided with sufficient details. The chastisement of the woman is reported in detail at the beginning of the story. As an instructive story, however, the people, the place and the time remain sketchy. It rejects "any thought of a 'special case' actually meant, that is, a 'realistically' described." It serves as a model on which the practically correct action is to be demonstrated under special circumstances.

Interpretative approaches

The position of women in the High Middle Ages and the protective function of the clan of origin

Women's rights were extremely limited in the Middle Ages. In the early Middle Ages, women were almost completely under the tutelage, the Munt , of the man. The unmarried woman was subject to the father's mood, the married woman to that of the husband. This represented a “protective and dominant power” in relation to legal, but also domestic matters, over the woman. “'The owner of the mundium has [te] the wards in his munt, he [held] them in his hand, he covers [ e) you with the same against attacks from outside, he [had] to command over you internally, to control you, (...) '”. Linked to this was the right to chastise, which even "'u. U. was allowed to go to the killing ”.

In the High Middle Ages , there was a weakening of the power of voices over women. Unmarried and widowed women, in particular, were granted more rights and were now partially able to dispose of themselves and their wealth. The protection and representation obligations moved to the fore in relation to the old rights of rule of the guardian. Married women were still under the husband's spirits, but his power over them was restricted. "According to Germanic law, he was allowed to sell his wife and children in case of real need." This right was revoked. The right to kill was also no longer available. The woman was also granted the power of keys , according to which she was allowed to do legally binding transactions in the context of household management. The dominance of men, however, remained untouched for Christian ideological reasons and, not least, served the protection and welfare of women. These changes gave the woman a certain normative basis for domestic rebellion against the husband, which called his dominance into question. If the woman abused her new domestic rights in order to assert supremacy over the man, an example had to be set. According to London, the right and godly order had to be restored, the abuse could not be successful, not encourage imitation.

Such a situation is involved in the present case. The woman opposes her husband and tries to claim a certain domination within the house or to weaken that of the man. Since the rights of men with regard to the punishment of women have been restricted, the man of the High Middle Ages is faced with a problem. His supremacy is in danger. The wife is now also granted the right to bring threats from her husband to court. Another limitation of male violence is the protective function of the clan . "[T] he German legal historical literature [is] of the opinion that the woman's family of origin has controlled the exercise of the former munt in her favor in today's German-speaking area and protected her against unlawful treatment on the part of her husband." Protection of the property given into the marriage. If the wife was treated illegally or even killed by the husband, he had to fear a feud with her clan of origin. To keep the peace, the man was obliged to pay military money to the clan and the king in such cases. These are arguably the main reasons why the man in the story refrains from beating his wife. This finally threatens him with revenge by her clan.

She said: '
I have beaten them, I will die in a few days.'
si gehiez in uneventful harm.

You kill yourselves,
I will die there in a few days.
She promised him great harm.

This is also the reason why the man makes the relatives of the woman compliant with gifts.

he schuof with ir like
that prayers all lie.
dô liez he si enjoy:
he bôt in michel êre
and lounged in vil sêre
with guote and with lîbe.

In doing so, he got her relatives to
refrain from asking.
'For this he rewarded them:
he paid them great honors
and made himself
very popular with them with gifts and personal commitment.'

He wouldn't have to do any of that if he had nothing to fear from them.

The control function of clan members is also shown by the fact that they are in regular contact with the wife even after the wedding. “So you visit them to see how you and your husband get along.” Otherwise, the woman can hardly contact them during their walling up to ask for their intercession.

In this story, the relatives try to intervene, but are in a way outwitted by the man's offer. The bond does not seem to be big enough to put the woman's own fortune at risk. The poet may have portrayed the clan's influence in history for various reasons. On the one hand, to make them more realistic, although this function would be rather improbable due to the model character of his mars. On the other hand, to illustrate the weakening of man's position compared to earlier times. The man in the story is faced with a defiant woman. This is supported not least by the fact that women gain more and more rights over time. The control by the clan also limits his ability to punish his wife. At the beginning of the story he is in a way at a loss until he comes up with the idea of ​​the walling up. Ultimately, the man gets his way and regains his position of power. The purpose of this could be to show the (female) public that domination or equality between women and husbands cannot be enforced. Not even with the help of relatives. Half of their clan are on the man's side from the start. He brings the other to his side through “gevüegiu kündikeit” (nhd .: shrewdness). He turns out to be the stronger, not only physically but also mentally.

The concept gevüegiu kündikeit

According to the research by Hedda Ragotzky, the above-mentioned aspect of gevüegiu kündikeit is “the theme of all the knitter's tales” and thus determines the newly created genre. The term kündikeit had a predominantly negative connotation in contemporary poetry. He referred to "the ability to camouflage wrong intentions and actions so skillfully that the environment is misguided in its judgment [...]". In her studies, Hedda Ragotzky tries to show that this term is positively valued in Stricker's mare. It shows that kündikeit in connection with the word gevüege (nhd .: appropriate) was understood by the knitter as a "situation-specific [s] interpretation - ability to act". In his fairy tales, the knitter sketched situations in which “the norms by which the respective [exemplary] role relationship is determined are violated by one of the two acting partners [...].” In the case of “the walled woman” it is about the marriage relationship ( man / wîp ) (nhd .: man / woman). Their natural course is disturbed by the rebellion of the woman. The man must "restore the law, but must not exceed the limits of his own role." Thus, according to courtly discipline, he must not beat her to death. Therefore he makes do with an idea that demonstrates his practical intelligence. By walling up the woman, he punishes her without making herself directly guilty before God or her relatives. He also shows gevüegiu kündikeit in his dealings with his wife's clan . Instead of getting into conflict with their relatives, he brings them to his side with gifts. He goes even further, he makes the supplicants an offer that they have to refuse. In return for the release of the woman, they should vouch for their lawful conduct with all their assets. Since the risk is far too great in this case, no one accepts the suggestion. Thus the man achieves the complete isolation of the woman, which is necessary to force her insight. In her incapacity to act, the woman finally gives in and submits to her husband. She recognizes her subordinate position as her due and legitimate. “[G] evüegiu kündikeit is defined by success.” The norm-breaker, in this case the wife, recognizes the illegality of her action and the law is restored. The opposite would be the ungevüegiu kündikeit (nhd .: inadequate practical intelligence), whose victims have no "situation-specific [s] ability to interpret and act, [...] are caught in the state of wân [...] [and rightly lapse] into the actually illegitimate Operations. "

According to Ragotzky, knowledge of law and truth is a central function of storytelling. “[Truth] arises as the result of a successful interpretation process.” Whether the audience can discover the true intention of a fair depends on the respective cognitive ability of the audience. The art is to understand 'a rehtez maere' and not to succumb to a 'lied maere' . The audience should relate the story to their own situation. This function of storytelling is explicitly addressed in this story. The Epimythion thematizes the effect this story, which becomes a “ lantmaere ” and then finally a legend, has on the audience. The defiant women relate the case described in the story to themselves and decide to change their behavior. The market thereby gains "practical life commitment, it becomes relevant to action". It provokes a certain interpretation from the listener, thereby stimulating the ability to reflect. The epimythion in the walled-in woman outlines "that successful storytelling in which understanding gains such a degree of commitment that it is concretized in the correct interpretation of one's own contemporary situation."

Religious motifs and the divine ordo thought

Another point of view from which this fair should be viewed is the religious values ​​it contains. The narrative begins with the introduction of the protagonists. The man is given the positive attribute "virtues riche" (nhd. Rich in virtues). However, this image experiences a direct limitation, because the knight lets himself be provoked by the bad behavior of his wife and forgets his tugs . The fact that he almost kills his wife is not tolerated in the narrative. Although the man of the High Middle Ages was basically allowed to chastise his wife, it was not allowed to turn into arbitrary or emotional beating. If so, the man no longer behaved according to the ideal of virtue that was connected with his position as a knight. That is why his misconduct is addressed and corrected directly:

[...] that I was dull ie it happened
that I broke at least too much.

[...] that I have been so foolish as
to forget my virtues because of you.

By realizing his mistake he is rehabilitated, so to speak, so that the attribute of virtue is regained.

The wife, on the other hand, commits a far greater violation of God's will. She defies her husband's will. The Church of the Middle Ages saw a strict subordination of women to men as part of the divine order. “Woman is made after man, for him and out of him. It is the dominant principle by which the woman has to orient herself. ”It is her duty to be obedient to her husband and to always do his will. "This theologically as natural and God-willed subordination of the woman to the man corresponds to the submission of the woman to a lifelong mood [...] of the husband as laid down in the secular law of a patriarchal social order." Accordingly, the rebellion of the wife in the case considered here means one Violation of both divine and worldly order.

The knitter was seen as a proponent of the ordo idea. For him the world with its boundaries between the classes and the sexes was an expression of the divine will. One could “characterize the knitter [in a certain way] as a 'propagandist on behalf of the church and the sovereign'.” This is also clear in his stories. Any violation of the Ordo will be condemned and punished. Those who revolt against it will end up being ridiculed or harmed in other ways. This is also the case in this story. Since the woman cannot be persuaded to take up the position that belongs to her, neither by begging nor by beatings, she is deprived of any basis for a normal life. Not only is she walled in and given the worst of food, which already suffers from humiliation, but she also loses her position at the side of her husband. Instead, he takes another woman who takes on her role. In addition, the wife is allowed to watch powerlessly at this spectacle. Later in the story it is made clear again, "[...] with which noete si dâ genaz" ("[...] how close she got away with her life"). All of this should serve to educate her and show her her right place. The walling-in illustrates the sinfulness of female rebellion. In the Middle Ages, walls were voluntarily taken on by inclusions who wanted to gain a special closeness to God through their penance and renunciation. However, the woman in the fair is compelled to do so and in a certain way declared as a sinner. Interestingly enough, she actually finds the way to God. Her transformation “is staged according to the model of a religious 'conversio': the devils come out of her and the Holy Spirit comes in.” Her malice thus has the character of obsession. This is not unusual for the Middle Ages, especially since the church, according to the body - soul dualism, viewed the "body as the seat of evil forces" and made women responsible for the fall. Numerous vices were ascribed to the female sex at that time: "Excessive vanity, laziness and insubordination, which look good on a being regarded as a willing tool of the devil."

The knitter was not just a "representative of the misogynous line". He valued women who behaved appropriately for their position. You can see this in the women's awards that he wrote, but also at the end of this fairy tale. When the woman comes to the right insight and wants to use her further life to convert other malevolent women, she enjoys great recognition:

[...] one hiez si the holy vrouwen
and sought them out as a Heilictuom
daz grôze lop and the ruom
kept diu vrouwe unz an ir tôt.

[...] she was called a holy woman
and went to her like a sanctuary
for great praise and rum
the woman enjoyed until her death.

The woman is now given the status of a saint.

In addition to the ones mentioned above, there are other religious ideas in the market. For example, the “religious-grammatical formula of penance with the stations contritio cordis (woman's repentance), confessio oris (woman's confession) and satisfactio operis (woman's penance).” In addition, the story as a whole has legendary features. The woman is initially in a state of sin. This is followed by conversion, after which a state of holiness is achieved. One could also understand the story as an " allegory of the coming of the loving soul to Christ, with the priest as moderator between man (Christ) and woman (soul) [receiving] an outstanding mediation."

There is a lively debate in research as to how the various religious motives should be interpreted. “There is a fundamental disagreement about the reality of the 'miracles', about the ethical or only external change of the woman (s) and about the gender image of the fairy tale, which [...] on the one hand as a reactionary and misogyne male fantasy, on the other hand as an example of one skillful feminine power emancipation is considered. ”The latter position mainly refers to the exaggerated representation of the sudden virtue of women after their change of attitude.

However, the researchers largely agree that the knitter feels committed to the old ideal of virtue. In his marches he tries to defend it "against what must have appeared to him as moral 'signs of decline'". "For the knitter, the concern about preserving ethical-religious values ​​was the basic ideological condition of his poetry [...]".

As already mentioned in the point about the position of women in the High Middle Ages , women were granted more and more rights at the time of the knitter, which also went hand in hand with increasing emancipation - of course not to the extent of today. Accordingly, the rebellion of women was a popular topic of the time. The men feared for their supremacy. Last but not least, the stories served to demonstrate male dominance and to nip female rebellion in the bud. This is also clear in the Epimythion of the fairy tale, which outlines the desired effect of the fairy tale on women. They should accept their position under the man and refrain from their rebellious behavior. Likewise, men should treat their wives properly and know how to curb their affects. This means that physical superiority must not be exploited for no reason. If both partners behave appropriately for their role, a harmonious coexistence can be guaranteed.

In this work, preference is given to such an interpretation approach, since it is assumed to be insightful in relation to the poet's values, which are not least evident from his other stories.

literature

  • Mark Robert Bialas: Did the family of a married woman watch over her proper treatment by the husband? Inaugural dissertation, Freiburg im Breisgau 2001.
  • Sabine Böhm: The Stricker: A poet profile based on his complete works. Peter Lang Verlag, Frankfurt am Main 1995.
  • Otfrid-Reinald Ehrismann : The knitter. Stories, fables, speeches. Philipp Reclam jun., Stuttgart 1992.
  • Irmgard Gephart: The housing of self-compulsion. To Stricker's short story about the "Walled Woman". In: Amsterdam Contributions to Older German Studies. Volume 61, 2006, pp. 169-182.
  • Klaus Grubmüller: The order, the wit and the chaos. A history of European novellism in the Middle Ages: Fabliau - Märe - Novelle. Max Niemeyer Verlag, Tübingen 2006.
  • Romy Günthart: Mären als Exempla. To the context of the so-called "knitting fairies". In: Amsterdam Contributions to Older German Studies. Volume 37, 1993, pp. 113-129.
  • Joachim Heinzle: concept of fairies and novel theory. Considerations for the genre definition of the Middle High German Kleinepik. In: Journal for German Antiquity and German Literature. Volume 107, 1978, pp. 121-138.
  • Monika Londner: Marriage conception and representation of women in late medieval fairy poetry. Inaugural dissertation, Berlin 1973.
  • Arend Mihm: Tradition and distribution of fairy poetry in the late Middle Ages. Carl Winter University Press, Heidelberg 1967.
  • Hedda Ragotzky: Genre renewal and lay instruction in the texts of the knitter. Max Niemeyer Verlag, Tübingen 1981.
  • Silvan Wagner: Images of God in courtly tales of the high Middle Ages. Courtly paradox and overcoming religious contingency through the grammar of the Christian faith. In: Walter Gebhard, Michael Steppat, Gerhard Wolf (eds.): Bayreuth contributions to literary studies. Peter Lang Verlag, Frankfurt am Main 2009.

Individual evidence

  1. ↑ Böhm 1955. p. 246 f.
  2. ↑ a b Gephart 2006. p. 169.
  3. ↑ Gephart. 2006, p. 169.
  4. ↑ Böhm 1995. pp. 246f.
  5. ↑ Mihm 1967. p. 35.
  6. ↑ Ehrismann: The knitter. Stories, fables, speeches. P. 12.
  7. ↑ a b Böhm 1995. p. 14.
  8. ↑ Heinzle 1978. p. 122.
  9. ↑ Günthart 1993. p. 113.
  10. ↑ Heinzle 1978. p. 124.
  11. ↑ Günthart 19993. p. 128.
  12. ↑ Grubmüller 2006. p. 90.
  13. ↑ Grubmüller 2006. p. 90
  14. ↑ Grubmüller 2006. p. 95.
  15. ↑ Gephart 2006.
  16. ↑ a b Ehrismann 1992. p. 213.
  17. ↑ Mihm 1967. p. 36.
  18. ↑ Mihm 1967. p. 38.
  19. ↑ a b Mihm 1967. p. 39.
  20. ↑ Wagner: Images of God in courtly tales of the high Middle Ages. Courtly paradox and overcoming religious contingency through the grammar of the Christian faith. P. 341.
  21. ↑ a b Böhm 1995. p. 247.
  22. ↑ Ehrismann 1992. p. 16.
  23. ↑ Ehrismann 1992. p. 17.
  24. ↑ Wagner: Images of God in courtly tales of the high Middle Ages. Courtly paradox and overcoming religious contingency through the grammar of the Christian faith. P. 342.
  25. ↑ Ehrismann: The knitter. Stories, fables, speeches. P. 16.
  26. ↑ Böhm 2001. p. 252.
  27. ↑ Ehrismann: The knitter. Stories, fables, speeches. P. 120.
  28. ↑ Grubmüller 2006. p. 81.
  29. ↑ a b Ehrismann 1992. p. 122.
  30. ↑ Grubmüller 2006. p. 84.
  31. ↑ Grubmüller 2006. p. 86.
  32. ↑ See Grubmüller 2006. 80ff.
  33. ↑ Grubmüller 2006. p. 89.
  34. ↑ a b Bialas 2001. p. 2.
  35. ↑ Bialas 2001. p. 4.
  36. ↑ Londner: 1973. ' P. 72f.
  37. ↑ Londner 1973. p. 82.
  38. ↑ Londner 1973. p. 322.
  39. ↑ Londner 1973. p. 325.
  40. ↑ Londner 1973. p. 83.
  41. ↑ Bialas 2001. p. 9.
  42. ↑ Bialas 2001. p. 10.
  43. ↑ Ehrismann: The knitter. Stories, fables, speeches. P. 122.
  44. ↑ Ehrismann: The knitter. Stories, fables, speeches. P. 126.
  45. ↑ Ehrismann: The knitter. Stories, fables, speeches. P. 127
  46. ↑ Bialas 2001. ' P. 97.
  47. ↑ Ragotzky 1881. p. 89.
  48. ↑ a b Ragotzky 1981. p. 89.
  49. ↑ Ragotzky 1981. p. 83.
  50. ↑ Ragotzky 1981 p. 89.
  51. ↑ a b c Ragotzky 1981. p. 90.
  52. ↑ a b Ragotzky 1981. p. 134.
  53. ↑ a b Ehrismann 1992. p. 140.
  54. ↑ Ragotzky 1981. p. 135.
  55. ↑ Ragotzky 1981. p. 136.
  56. ↑ Ehrismann 1992. p. 120.
  57. ↑ Londner 1973. p. 53.
  58. ↑ Londner 1973. p. 54.
  59. ↑ Böhm 1955. p. 39.
  60. ↑ Böhm 1995. p. 38.
  61. ↑ a b Wagner: Images of God in courtly tales of the high Middle Ages. Courtly paradox and overcoming religious contingency through the grammar of the Christian faith. P. 343.
  62. ↑ Londner 1973. pp. 20f.
  63. ↑ a b Londner 1973. p. 324.
  64. ↑ a b Böhm 1995. p. 39.
  65. ↑ Ehrismann 1992. p. 142.
  66. ↑ Wagner: Images of God in courtly tales of the high Middle Ages. Courtly paradox and overcoming religious contingency through the grammar of the Christian faith. P. 344.
  67. ↑ Wagner: Images of God in courtly tales of the high Middle Ages. Courtly paradox and overcoming religious contingency through the grammar of the Christian faith. P. 345.
  68. ↑ Ehrismann 1992. p. 14.