Flat love

from Wikipedia, the free encyclopedia

The level Minne is a kind of minnesong . It deals with equal and mutual love. It is made up of the adjective "level" for mutuality and the noun " Minne " for love. The class differences are canceled. A distinction must be made between the love between man and woman and the love of God, the love of God. The best-known representatives are Walther von der Vogelweide and Hartmann von Aue . In terms of time, the flat love is assigned to the courtly classical music (1160 / 70–1220 / 30). The concept of even love is much discussed and some authors consistently reject it because it does not appear in medieval texts.

features

Chronological order

The first minnesang can be assigned to the end of the 12th century. At the beginning “the painful experience of separation, frustration and emotional pain, the longing for the beloved and the grief for the unfaithful man” were discussed. Since the identifiable poets of this time came from the Bavarian-Austrian language area, this minnesong is called the "Danube Land Minnesang". The poets of the "Rhenish" and the classical minstrel orientated themselves more to the Romance poetry and followed the concept of high love and the service of women. Walther von der Vogelweide and Hartmann von Aue, along with Heinrich von Rugge , Albrecht von Johansdorf , Heinrich von Morungen , Wolfram von Eschenbach and Reinmar dem Alten, are among the authors of classic minstrelsong. The flat love can be assigned to the second phase of minstrel in courtly classical music. This corresponds to the working time of the two main authors Walther von der Vogelweide and Hartmann von Aue.

Conception of the flat love

The high and the low love form a pair of opposites, in the middle of which stands the flat love. The high love describes the unilaterally rendered service to women: a man woos a noblewoman, because only a nobleman can be virtuous and thus an object of love, who is rejecting, haughty and unapproachable. Nevertheless, he remains loyal to her and keeps asking for acceptance of his service. Although the lady refuses to receive the wages she hoped for, the singer still achieves "ethical and social values: an increase in the attitude towards life and recognition in society."

In the lower, also vagantisch called love, the act of love is described, for example, between a knight and a girl of lower rank, such as a peasant girl. The two kinds of minnows were also distinguished as good and bad, reasonable and blind love. Here the poets adopted the theologians' distinction between spiritual / good and worldly / bad love and related both adjectives to worldly love. In this way high love became rational, rationalized love and low love became blind and deceitful. The pair of opposites of platonic and sensual love results from ancient tradition. The first mentioned high love is attributed to the court and the low love to the strâze (street).

The role of women is important: in high love, women are the “unreachable, sheltering happiness fairy” and in low love, women are “fair game to be captured again and again”. In both roles, the woman is viewed as an "objectified counterpart". It is not seen as a personality, but as a goal.

In the flat love is not required, but the decision for a long-term love relationship is left to the girl. The man's advertising is in the background. Court virtues are ascribed to the non-courtly girl: loyalty, constancy and inner goodness. Both partners are equally important in terms of the erotic partnership.

With Walther von der Vogelweide in particular, one should not draw the boundaries between the three forms of love too narrow, since the characteristics of one do not necessarily contradict the other. For example, the use of the word frouwe or frouwelîn for a girl reflects the “courtly values ​​and moral understanding”. In the songs "Ein niuwer sumer, ein niuwe zît" (L 92,9ff.), "The despairing of all guoten things" (L 63,8ff.), "I heard iu sô vil virtuoso jehen" (L 43,9ff. ) and “Whether I should rue myself in the same way” (L 62.6ff.) Walther advertises as in high love, but as in flat love he has the prospect of being heard. Stamer counts the song “Swer verholne sorge trage” (L 42.15ff.) As part of high love, but the love described in the third stanza (L 42.23ff.), Love as passion, belongs to both high and flat love on.

Figure constructions

Wîp and Frouwe

Whether wîp or frouwe , the female figure in minnesong comes from the poet's imagination and is based on "individual and collective experiences."

The term "frouwe" means a mistress, mistress, lover, wife or virgin of class, lady. The term "wîp" describes a woman as the opposite of one , a virgin and a frouwe or a wife, that is, women in general. This includes the frouwe . Walther von der Vogelweide gives the pair of opposites frouwe - wîp as class - existential a new meaning: the wîp as a bearer of human values ​​and the frouwe as superficial noblewoman. Even Gottfried von Strassburg uses the former standing for the state attribute noble as "human value concept". Walther creates the wîp nobility, which describes the women "who are ennobled by their personality". The term wîp describes the nobility of the soul, while the term frouwe represents the nobility of birth. In the four songs "Under der linden" (L 39,11ff.), "Nemt, frouwe, disen kranz" (L 74,20ff.), Herzeliebez frouwelîn (L 49,25ff.) And "Am ich dir unmære" ( L 50,19ff.) Walther shows, by placing a simple girl in the place of the frouwe figure, that wîpheit in minnesong precedes social rank and possessions. Nevertheless, the term frouwe remains “value predicate of inner and outer beauty.” Walther warns and instructs society and the frouwen with his wîp idea that the latter should not remain in their condition, but develop into what they could be.

By using the terms wîp and one , Walther not only wants to show the contrast between minstrel and sung-about lady, but also the general gender difference between man and woman. The uniform naming of both terms is “characteristic of the idea of ​​the natural human nobility of creation”.

In Walther von der Vogelweide's songs, the lyrical self sings about a girl who loves like a noble lady. To address the girl, the terms frouwe , as in song L 74.20ff., And frouwelîn , as in song L 49.25ff., Are used. The mutual love of two partners who are not bound by their “class boundaries” is shown.

Godmine

Gottesminne was realized in the genre of the Kreuzlieder or Kreuzzuglieder. This has been around since Friedrich von Hausen , i.e. before 1190. At the beginning of the 13th century, the word itself appears for the first time - with Reinmar the Fiddler. The Kreuzlieder also follow the "suffering theme of minnesang", provided they are not independent of the minnesang. The subject of the songs was the "conflict of decisions between love service and worship". In addition, the doubts about the decision or the loyalty of those who stayed at home, the mercilessness of the lady and the hereafter were discussed. The poets of this genre include Friedrich von Hausen, Hartmann von Aue, Albrecht von Johansdorf, Heinrich von Rugge, Reinmar, Otto von Botenlauben , Hiltbolt von Schwangau, the Burgrave von Lüenz and Neidhart . The first two give priority to worship in their songs. Friedrich von Hausen describes in his song "Mîn herze und mîn lîp die wellent scheiden" (L 47,9ff.) How the heart separates from the body in order to stay with the beloved woman and this leads to hatred of the formerly loved one . The speaker in Hartmann's von Aue song "Ich var mit iuweren hulden" (MF 218,5ff.) Speaks of his journey out of love. He doesn't mean love for a lady, but for God. Friedrich von Hausen's song still clearly shows characteristics of high love: The beloved behaves ignorantly towards the crusader. By turning to the love of God, Friedrich von Hausen combines worship and women’s service. Love in itself is not a sin, but the excessive. So he does not completely reject worldly love, but subordinates it to God's love. Hartmann von Aue, on the other hand, praises the love of God in his song MF 218.5 ff. And consequently rejects worldly love. He adopts references from the sermons on the cross in his cross songs: "References to the relationship of the knight to God as the supreme warlord, to the knightly honor that obliges to fight, to the service-reward idea in its modification of earthly and heavenly reward, finally to the inner renewal of the human being, which is closely connected with the taking of the cross. ”Hartmann's protagonist in the song “ Dem kriuze zimt wol reiner muot ” (MF 209,25ff.) praises the love for God and describes his previous, worldly life, the caused him suffering. But through the service he can “set off in joy.” Hartmann's protagonist appears here as in the song MF 218.5ff. To address "the peers of his class" directly. In the song “Swelh frowe sends ir love man” (MF 211.20 ff.) The lady left behind is addressed. She should send the man on the trip with a right muote , preserve her honor and pray for both herself and the man so that she would receive half of the wages.

Authors and works

Walther von der Vogelweide

Walther von der Vogelweide in Codex Manesse , around 1300

Was born Walther von der Vogelweide probably around 1170 and died around 1230. He was "instructed favor princely patrons" as a court poet to the profession. Dorothea Klein describes him as the most versatile lyric poet of the Middle Ages: He wrote love songs but also sang lines and used a variety of song types. His songs of mutual love and the associated criticism of "beautiful pain" also contribute to his popularity.

Herzeliebez vrouwelîn (L 49,25ff.)

Uwe Stamer is one of the song L 49.25ff. also the song “Am I unmære for you” (L 50,19ff.). Here, however, the song pair should not be used, only song L 49.25ff. to be viewed as. The song consists of five stanzas. The first sings of joyfulness . The singer confesses his love. The criticism of society is addressed in the second stanza, combined with an accusation against these critics. What follows is a general statement about beauty in connection with love. In the fourth verse, the singer defies the criticism and reaffirms his love for the sung about. The lower level of the frouwelîn , already mentioned in the second stanza, is taken up again in the last verse of the fourth stanza. Finally the song ends with the statement that the singer is not worried if the person being sung about has triuwe and stability . But if it doesn't have both, it shouldn't be either.

Herzeliebez vrouwelîn

(1,1) Herzeliebes vrouwelîn,
got give you huite and iemer guot!
I know baz commemorate dîn,
het I willeclîchen muot,
(5) waz mac I nu say mê,
wan that nobody is lovable to you? owê dâ from me vil wê.

(2,1) You forsake me that I should not
turn my back.
daz si niht remember
waz love sî, des haben undanc!
(5) siu never met you love,
the dâch after the guote and after the beautiful minnent wê, how minnent them!

(3,1) Bî the beautiful one is fat haz,
too, the beautiful one is not sî ze gâch.
liep tuot the heart baz,
love gêt diu schœne nâch.
(5) love makes you beautiful wîp.
des mac diu schœne niht getuon, sine made love lîp.

(4.1) I tolerate as I trust
and as I want to tolerate.
you are beautiful and have genuine,
what should you tell me about?
(5) swaz si say, I am fetched to you
and nim dîn glesîn vingerlîn vür a küneginne.

(5,1) Här thou triuwe and stæstekeit, so
I am sîn âne tar even
daz opposed to my heart
with your will.
(5) but
if you have sewed the two, you do n't have to become one with me. owê… whether daz will happen!

New High German

(1.1) Beloved mistress,
God give you your well-being today and always!
If I could think of you better,
I would like to do that.
(5) What more can I say
than that nobody loves you anymore? Oh dear, that causes me a lot of pain.

(2,1) They [society] reproach me for addressing
my song to a low class.
They
should curse that they don't remember what love is!
(5) Love never seized
those who direct their love towards property and beauty. Alas, how do they love!

(3,1) There is often hatred in beauty;
no one should strive for beauty too quickly.
Love does the heart better,
love follows beauty.
(5) Love creates more beautiful women.
Beauty cannot do that; it alone does not make one lovable.

(4,1) I get along as I get along
and how I always want to get along .
You are beautiful and have enough,
what can you tell me about it?
(5) Whatever they say, I am loyal to you
and I will take your glass ring as the gold of a queen.

(5,1) If you have faithfulness and steadfastness,
then I am yours completely without fear / anxiety
that my heart ever suffered
in your will.
(5) But
if you do n't have both, you can never become mine. Oh dear ... if that happens!

Hartmann von Aue

Herr Hartmann von Aue (idealized miniature in Codex Manesse around 1300)

The year of birth of Hartmann von Aue is dated to around 1165, the year of his death is estimated to be 1210. He himself calls his social status: a servant , a ministerial "who lives by serving in war and administration for a noble gentleman." He dedicates three songs to the taking of the cross, the journey to the crusade: "Dem kriuze zimt wol reiner muot" ( MF 209.25ff.), “Swelh frowe sends ir love man” (MF 211.20ff.) And “Ich var mit iuweren hulden” (MF 218.5ff.). The first of the three songs is independent of the Minne theme. The following defines the ministry of the Crusader as the true fulfillment of mutual affection.

3. Kreuzlied (MF 218,5ff.)

In his Kreuzlied, Hartmann von Aue addresses the rejection of worldly love and the praise of worship. In this song, the "love of the crusader, ready for privation" is opposed to the high love. The first stanza speaks of a journey out of love. The ride is unwendic (inevitable), the spokesman would not go, he would break his triuwe and its ince . The listener / reader does not yet know where the journey should go and who the love is for. The second stanza begins with a general statement about the many who boast of their deeds of love. This is immediately followed by criticism of these many, because they only talk instead of act. Meanwhile, the speaker extols his own deeds for love and defines loving as willingness to live a life abroad. The mention of Saladin suggests the Crusades, "and lived mîn her" could be an allusion to the death of the employer. Wentzlaff-Eggebert sees the second as the motivation to take part in the crusade. In the third stanza he speaks directly to the minstrels and shows them their suffering. Unlike them, he can boast that love has him and he has her. The speaker emphasizes that he likes to do his ministry and pities the poor who struggle for an unrequited love.

I var with iuweren hulden

(1,1) I var with iuweren hulden, gentlemen unde mâge,
luit unde lant die müezen sælic sîn.
Ez is unnecessary, since ieman verte vrâge,
I say wol for wâr the journey mîn.
(5) mich vienc diu minne and let me varn ûf mîne security.
nu she offered me bî ir love, daz i var.
ez is unwendic, i must endeliche.
how can i break mîne triuwe and mînen eit!

(2,1) Maniger remembers what he dur the minne tæte.
wâ sint diu werc? I want to hear that.
but I see more that si ir eteslîchen bæte,
that he ee served, when I ir should serve.
(5) Ez is mined, who has to end himself through the mine.
nu see how you ziuhet me ûz my tongues over mer.
and lived mîn her Salatîn and as sîn her
dien never brewed me a fuoz from Vranken.

(3,1) Ir minnesinger, iu must often fail,
that iu do the damage, that is the wân.
I want to boast, I want to sing
about minnes , sît me diu minne has and I hân.
(5) daz I wîl, see, daz alse wants to have me.
but I must have left underwîlent wânes vil.
ir grappling with umbe liep, but iuwer niht enwil.
Who do you have poor minnen as much as me?

New High German

(1,1) I am driving with your blessing, gentlemen and relatives,
people and country, they should be accepted into heavenly bliss.
It is unnecessary to ask my way at all times,
I am certainly telling the truth about my journey.
(5) I was seized by love and let me go on my promise.
Now she has ordered me with her love that I should drive.
It is inevitable, I have to get there quickly.
In no way would I break my loyalty and my oath!

(2,1) Many boast of what they do for love.
Where are the deeds? I can hear the speech.
But I would like to see that they would ask some
that he serve her as I may serve her.
To love is to live in a foreign country for love.
Now see how it pulls me out of my home across the sea.
And if my lord lived, Saladin and his whole army
would never get me to set foot out of Franconia.

(3,1) You minstrels, you often have to fail
what does this damage to you, that is the hopeless hope.
I will boast that I have been able to sing of love
since love has and I have it.
(5) What I want there, see, that wants me just as much.
So you have to lose a lot of hopeless hope at times.
You fight for love that doesn't want you.
When will you love the poor as I do?

function

According to Erich Köhler's explanatory model, the encoded longing of "socially underprivileged songwriters" to ascend socially is hidden in Minnelieder. Manfred Günter Scholz completely doubts this approach. The social service of the minstrel must be distinguished from the gentleman's service of the political poet. The two are to be viewed separately by the class boundary. So whoever courted not only a lady but also the court as a minstrel was not always acting appropriately. Walther von der Vogelweide was one of these singers. Minnesang is not only courting the lady, but also “promoting recognition in society, which was also honored by this advertising game.” This applies to both high and level love. The reciprocity, distinction and realization that Walther demands from Minne, he also demands from his audience / society. Wilmans says specifically: "His [Walthers] mistress was society."

reception

From around 1300 the minstrel was “collected and kept for future generations”. Around 1400 there were still a few minstrels such as the Grenzer field and provincial governor of Styria, Count Hugo von Montfort, the monk Hermann von Salzburg and the South Tyrolean knight Oswald von Wolkenstein. In the 14th and 15th centuries, however, minnesong was replaced by general love poetry and master song. The miner speeches and allegories, such as “ Das Klagebüchlein ” by Hartmann von Aue, which existed until the end of the 15th century, were somewhat longer-lived .

From the 15th century onwards, medieval literature was more of a fashion issue. It was collected what could be used by a “national ideology and a growing national consciousness” or in order to put the ancestors with “the heroes of the past [...] in a seamless relationship”. In 1598, Cyriacus Spangenberg mentions minnesang in his work "Von der Musica und die Meistersängern", but did not print any original texts. His work is the first known mention of minstrel since it was written. In 1654 the first dissertation was published, which dealt among other things with the German minnesang: "De variis Germanae Poëeos aetatibus exercitation" by Karl Ortlob.

In the 17th and 18th centuries, interest in high and late medieval literature increased, especially in the heroic epic, although the Enlightenment at the same time viewed the Middle Ages as a "trivial but barbaric episode". Interest increased again in the second half of the 18th century. After the Seven Years' War (1756–1763) the national feeling grew and people remembered their common past. Minstrels' collections were even made available to the general public. During the Romantic period (1795–1848) the search for perfection was “in a poetically glorified past”. The literature of the Middle Ages was also examined.

After the “Collection” by Bodmer and Breitinger, which had already appeared in 1758/59, Tieck also brought out a Minnesang edition in the Early Romantic period. In addition to the “literary-productive adaptation”, Karl Lachmann's critical Walther edition in 1827 began “scientific-philological research”. Friedrich Heinrich von der Hagens created the first "scientifically useful complete edition of the minnesingers" when he published his four-part work "Minnesinger" in 1838. Nineteen years later the most famous collection of Minnesian poems appeared: “Des Minnesang's Spring” (MF) by Karl Lachmann and Moriz Haupt. Shortly before, the Middle High German dictionary was published by Adolf Ziemann, followed by the first grammars. In the German Empire (1871–1918), attention to minstrel dwindled again. One devoted more of the hero epic . The defeat of the First World War made right-wing intellectuals fall back on medieval poetry, but more because of the warlike and less because of love. The Nibelungenlied achieved renewed fame during the National Socialist era . There was no place for minstrel at that time. After the war, people devoted themselves to the “aesthetic consideration of literature” and found their way back to minnesang, which contained non-political issues.

To this day, minnesong is the subject of research. The bibliography shows that there are always new editions of the primary and secondary texts. Medieval literature still has a permanent place in schools and universities.

criticism

Günther Schweikle denies that there is even a level minne, since the term does not even appear in minnesong. Walther von der Vogelweide is an exception, who in his song “Aller wirdkeit ein füegerinnen” (L 46,32ff.) Uses the phrase “ plane” advertise . Schweikle describes this as an impossibility, since an even love would presuppose love without suffering and this does not exist, it is not possible according to the concept of love. Schweikle describes the love of the heart . It means “intense mutual love that comes from the heart or goes to the heart”. From Walthers song "All a füegerinne werdekeit" he concludes that this herzeliebe as the courtly love does not exist without suffering. So on this point she contradicts even love. In his Manfred Günter Scholz describes Walther biography of the herzeliebe and assigns it the three songs "Daz I sô you rarely grüeze" (L 70,1ff.), "A niuwer sumer, quoted a niuwe" (L 92,9ff.) and "Young man, wis hôhes muotes" (L 91,17ff.) to. He also denies that there is a level love as a term. If this term is used as a synonym for mutual love, this should be indicated, since it is a constructed term. He assigns four songs to the term “girl songs ” : “Am I dir unmære” (L 50,19ff.), “Herzeliebez frouwelîn” (L 49,25ff.), “Under der linden” (L 39,11ff.) And “Nemt, frouwe, disen kranz” (L 74.20ff.). Günther Schweikle closes song L 50,19ff. from the girl songs. Maurer includes this and six more for stylistic reasons, although there is no “specific maget reference”. Schweikle also describes the girls' songs as a counter-reaction to the concept of high love, in addition to low love and the bodily songs. In doing so, he assigns the girls' songs to lower love. A clear assignment of the songs is difficult. It must always be viewed critically.

bibliography

Primary literature

  • Ingrid Kasten (translated by Magherita Kuhn): German poetry of the early and high Middle Ages . Frankfurt am Main 1995

Secondary literature

  • Rüdiger Brand: Basic course in German Medieval Studies / Literary Studies . Munich: 1999
  • Joachim Bumke: Court culture. Literature and Society in the High Middle Ages . 11th edition. Munich 2005
  • Christoph Cormeau: Hartmann von Aue . In: The German literature of the Middle Ages. Author Lexicon. 2nd completely revised edition Berlin 1999, Volume 3
  • Christoph Cormeau, Horst Brunner: Hartmann von Aue . In: Wilhelm Kühlmann (Ed.): Killy Literature Lexicon. Authors and works from the German-speaking cultural area. 2nd completely revised edition, Berlin 2009, Volume 5
  • Christoph Cormeau, Wilhelm Störmer: Hartmann von Aue. Epoch - work - effect . 3rd updated edition Munich 2007
  • Gerhard Hahn: Walther von der Vogelweide . In: The German literature of the Middle Ages. Author Lexicon. 2nd completely revised edition Berlin 1999, Volume 10, pp. 666–697
  • Ingrid Kasten: Minnesang . In: Reallexikon der Deutschen Literaturwissenschaft. Berlin 2000
  • Dorothea Klein: Middle Ages. Textbook German Studies . Stuttgart / Weimar 2006
  • Mathias Lexer: Middle High German pocket dictionary . 37th edition Stuttgart 1986
  • Wolfgang Mohr: The vrouwe Walthers von der Vogelweide . ZfdPh 86 (1967)
  • Manfred Günter Scholz: Walther von der Vogelweide . 2nd edition (Slg. Metzler 316). Stuttgart 2005
  • Günther Schweikle: Minnesang . 2. verb. Ed. (Metzler Collection 244). Stuttgart 1995
  • Uwe Stamer: Plain Minne with Walther von der Vogelweide. Studies on the conceptual structure and influence of tradition . Goeppingen 1976
  • Bernd A. Weil: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991
  • Friedrich-Wilhelm Wentzlaff-Eggebert: Crusade poetry of the Middle Ages. Studies of their historical and poetic reality . Berlin 1960

Individual evidence

  1. ↑ Klein, Dorothea: Middle Ages. Textbook German Studies . Stuttgart / Weimar 2006, p. 153ff.
  2. ↑ Klein, Dorothea: Middle Ages. Textbook German Studies . Stuttgart / Weimar 2006, p. 163.
  3. ↑ Klein, Dorothea: Middle Ages. Textbook German Studies . Stuttgart / Weimar 2006, p. 163.
  4. ↑ Klein, Dorothea: Middle Ages. Textbook German Studies . Stuttgart / Weimar 2006, p. 163.
  5. ↑ Klein, Dorothea: Middle Ages. Textbook German Studies . Stuttgart / Weimar 2006, p. 164.
  6. ^ Schweikle, Günther: Minnesang . 2. verb. Ed. (Metzler Collection 244). Stuttgart 1995, p. 172.
  7. ^ Brand, Rüdiger: Basic course in German Medieval Studies / Literary Studies . Munich: 1999, p. 236.
  8. ^ Schweikle, Günther: Minnesang . 2. verb. Ed. (Metzler Collection 244). Stuttgart 1995, p. 171.
  9. ^ Schweikle, Günther: Minnesang . 2. verb. Ed. (Metzler Collection 244). Stuttgart 1995, p. 171.
  10. ↑ Stamer, Uwe: level Minne with Walther von der Vogelweide . Göppingen 1976, p. 46.
  11. ^ Bumke, Joachim: Court culture. Literature and Society in the High Middle Ages . 11th edition. Munich 2005, p. 518f.
  12. ^ Bumke, Joachim: Court culture. Literature and Society in the High Middle Ages . 11th edition. Munich 2005, p. 518.
  13. ^ Bumke, Joachim: Court culture. Literature and Society in the High Middle Ages . 11th edition. Munich 2005, p. 520.
  14. ^ Schweikle, Günther: Minnesang . 2. verb. Ed. (Metzler Collection 244). Stuttgart 1995, p. 176.
  15. ↑ Stamer, Uwe: level Minne with Walther von der Vogelweide . Göppingen 1976, p. 46.
  16. ↑ Stamer, Uwe: level Minne with Walther von der Vogelweide . Göppingen 1976, p. 47f.
  17. ↑ Stamer, Uwe: level Minne with Walther von der Vogelweide . Göppingen 1976, p. 46.
  18. ^ Hahn, Gerhard: Walther von der Vogelweide . In: The German literature of the Middle Ages. Author Lexicon. 2nd completely revised edition Berlin 1999, Volume 10, pp. 678f.
  19. ↑ Stamer, Uwe: level Minne with Walther von der Vogelweide . Göppingen 1976, p. 45.
  20. ^ Schweikle, Günther: Minnesang . 2. verb. Ed. (Metzler Collection 244). Stuttgart 1995, p. 181.
  21. ^ Lexer, Mathias: Middle High German Pocket Dictionary . 37th edition Stuttgart 1986, p. 300.
  22. ^ Lexer, Mathias: Middle High German Pocket Dictionary . 37th edition Stuttgart 1986, p. 324.
  23. ^ Schweikle, Günther: Minnesang . 2. verb. Ed. (Metzler Collection 244). Stuttgart 1995, p. 189.
  24. ↑ Stamer, Uwe: level Minne with Walther von der Vogelweide . Göppingen 1976, p. 7.
  25. ↑ Stamer, Uwe: level Minne with Walther von der Vogelweide . Göppingen 1976, p. 6.
  26. ^ Hahn, Gerhard: Walther von der Vogelweide . In: The German literature of the Middle Ages. Author Lexicon. 2nd completely revised edition Berlin 1999, Volume 10, p. 677.
  27. ↑ Stamer, Uwe: level Minne with Walther von der Vogelweide . Göppingen 1976, p. 11.
  28. ↑ Stamer, Uwe: level Minne with Walther von der Vogelweide . Göppingen 1976, p. 11.
  29. ↑ Stamer, Uwe: level Minne with Walther von der Vogelweide . Göppingen 1976, p. 6f.
  30. ↑ Stamer, Uwe: level Minne with Walther von der Vogelweide . Göppingen 1976, p. 45.
  31. ^ Schweikle, Günther: Minnesang . 2. verb. Ed. (Metzler Collection 244). Stuttgart 1995, p. 144.
  32. ^ Box, Ingrid (transl. From Kuhn, Magherita): German poetry of the early and high Middle Ages . Frankfurt am Main 1995, p. 124.
  33. ^ Box, Ingrid (transl. From Kuhn, Magherita): German poetry of the early and high Middle Ages . Frankfurt am Main 1995, p. 228f.
  34. ↑ cf. MF 47.33ff. In: Kasten, Ingrid (translation by Kuhn, Magherita): German poetry of the early and high Middle Ages . Frankfurt am Main 1995, p. 127.
  35. ↑ Wentzlaff-Eggebert, Friedrich-Wilhelm: Crusade poetry of the Middle Ages. Studies of their historical and poetic reality . Berlin 1960, p. 182.
  36. ↑ Cf. MF 218.5 ff. In: Kasten, Ingrid (translation by Kuhn, Magherita): German poetry of the early and high Middle Ages . Frankfurt am Main 1995, p. 228f.
  37. ↑ Wentzlaff-Eggebert, Friedrich-Wilhelm: Crusade poetry of the Middle Ages. Studies of their historical and poetic reality . Berlin 1960, p. 197.
  38. ^ Box, Ingrid (transl. From Kuhn, Magherita): German poetry of the early and high Middle Ages . Frankfurt am Main 1995, p. 215.
  39. ↑ Wentzlaff-Eggebert, Friedrich-Wilhelm: Crusade poetry of the Middle Ages. Studies of their historical and poetic reality . Berlin 1960, p. 197.
  40. ^ Box, Ingrid (transl. From Kuhn, Magherita): German poetry of the early and high Middle Ages . Frankfurt am Main 1995, p. 214 f.
  41. ↑ Scholz, Manfred Günter: Walther von der Vogelweide . 2nd edition (Slg. Metzler 316). Stuttgart 2005, p. 14.
  42. ^ Bumke, Joachim: Court culture. Literature and Society in the High Middle Ages . 11th edition. Munich 2005, p. 690.
  43. ↑ Klein, Dorothea: Middle Ages. Textbook German Studies . Stuttgart / Weimar 2006, p. 165.
  44. ↑ Stamer, Uwe: level Minne with Walther von der Vogelweide . Göppingen 1976, p. 46.
  45. ^ Box, Ingrid (transl. From Kuhn, Magherita): German poetry of the early and high Middle Ages . Frankfurt am Main 1995, p. 414f.
  46. ^ Cormeau, Christoph, Brunner, Horst: Hartmann von Aue . In: Kühlmann, Wilhelm (Ed.): Killy Literature Lexicon. Authors and works from the German-speaking cultural area. 2nd completely revised edition, Berlin 2009, Volume 5, p. 37.
  47. ^ Cormeau, Christoph, Störmer, Wilhelm: Hartmann von Aue. Epoch - work - effect . 3rd updated edition Munich 2007, p. 36.
  48. ^ Cormeau, Christoph: Hartmann von Aue . In: The German literature of the Middle Ages. Author Lexicon. 2nd completely revised edition Berlin 1999, Volume 3, p. 505.
  49. ^ Schweikle, Günther: Minnesang . 2. verb. Ed. (Metzler Collection 244). Stuttgart 1995, p. 144.
  50. ^ Cormeau, Christoph, Brunner, Horst: Hartmann von Aue . In: Kühlmann, Wilhelm (Ed.): Killy Literature Lexicon. Authors and works from the German-speaking cultural area. 2nd completely revised edition, Berlin 2009, Volume 5, p. 38.
  51. ↑ Wentzlaff-Eggebert, Friedrich-Wilhelm: Crusade poetry of the Middle Ages. Studies of their historical and poetic reality . Berlin 1960, pp. 195ff.
  52. ^ Cormeau, Christoph: Hartmann von Aue . In: The German literature of the Middle Ages. Author Lexicon. 2nd completely revised edition Berlin 1999, Volume 3, p. 505.
  53. ^ Box, Ingrid (transl. From Kuhn, Magherita): German poetry of the early and high Middle Ages . Frankfurt am Main 1995, p. 228.
  54. ↑ Wentzlaff-Eggebert, Friedrich-Wilhelm: Crusade poetry of the Middle Ages. Studies of their historical and poetic reality . Berlin 1960, p. 201.
  55. ^ Box, Ingrid (transl. From Kuhn, Magherita): German poetry of the early and high Middle Ages . Frankfurt am Main 1995, p. 228.
  56. ↑ Box, Ingrid: Minnesang . In: Reallexikon der Deutschen Literaturwissenschaft. Berlin 2000, p. 607.
  57. ↑ Scholz, Manfred Günter: Walther von der Vogelweide . 2nd edition (Slg. Metzler 316). Stuttgart 2005, p. 14.
  58. ^ Mohr, Wolfgang: The vrouwe Walthers von der Vogelweide . ZfdPh 86 (1967), p. 9.
  59. ^ Mohr, Wolfgang: The vrouwe Walthers von der Vogelweide . ZfdPh 86 (1967), p. 10.
  60. ^ Hahn, Gerhard: Walther von der Vogelweide. In: The German literature of the Middle Ages. Author Lexicon. 2nd completely revised edition Berlin 1999, Volume 10, p. 677.
  61. ^ Mohr, Wolfgang: The vrouwe Walthers von der Vogelweide . ZfdPh 86 (1967) p. 1.
  62. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, p. 41.
  63. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, p. 42f.
  64. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, p. 45.
  65. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, p. 57.
  66. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, p. 63.
  67. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, pp. 65f.
  68. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, p. 71.
  69. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, p. 92.
  70. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, pp. 75 and 89.
  71. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, p. 123.
  72. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, p. 125.
  73. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, p. 130.
  74. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, p. 137.
  75. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, p. 142.
  76. ^ Weil, Bernd A .: Reception of minnesong in Germany since the 15th century . Frankfurt am Main 1991, p. 149.
  77. ^ Schweikle, Günther: Minnesang . 2. verb. Ed. (Metzler Collection 244). Stuttgart 1995, p. 177.
  78. ^ Schweikle, Günther: Minnesang . 2. verb. Ed. (Metzler Collection 244). Stuttgart 1995, p. 178.
  79. ↑ Scholz, Manfred Günter: Walther von der Vogelweide . 2nd edition (Slg. Metzler 316). Stuttgart 2005, p. 116ff.
  80. ↑ Scholz, Manfred Günter: Walther von der Vogelweide . 2nd edition (Slg. Metzler 316). Stuttgart 2005, p. 120.
  81. ^ Schweikle, Günther: Minnesang . 2. verb. Ed. (Metzler Collection 244). Stuttgart 1995, p. 148.
  82. ↑ The physical love was founded by Neidhart: A love affair outside the court serves as a caricature of the courtly miner ritual. For example, a woman woos a knight cf. Schweikle, Günther: Minnesang . 2. verb. Ed. (Metzler Collection 244). Stuttgart 1995, p. 178f.
  83. ^ Schweikle, Günther: Minnesang . 2. verb. Ed. (Metzler Collection 244). Stuttgart 1995, p. 175f.