Women's praise to Marienleich

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The Marienleich [= Our frouwen leich , Ufl.] Is a medieval poem with twenty stanzas, which is considered the greatest work of the master singer Heinrich von Meißen, known as Frauenlob . This is a poetically elaborate, very erotic tale about the Virgin Mary who, through union with the Trinity , becomes a divine authority alongside her human nature. The incarnation is represented with different, mostly biblical images.

General

Emergence

The corpse of Mary was probably written around 1300 at the court of King Wenceslas II in Bohemia by Heinrich von Meissen, known as Frauenlob ( frouwenlop ). It was the first of a total of three corpses . Frauenlob was born in Bohemia in the middle of the 13th century and died in Mainz in 1318.

Lore

The body of the Virgin was handed down in various manuscripts. There are five manuscripts in which the body was found to be quite complete, as well as eight fragments of manuscripts in which at least parts of the Mary's body were assigned. Six of the total of 13 sources have a tradition of the melody, which can be recognized in the form of musical notes above the text. However, like the textual traditions, these vary from handwriting to handwriting. The manuscripts with a fairly complete tradition of the corpse of Mary are as follows:

  • Handwriting C , Große Heidelberger Liederhandschrift ( Codex Manesse ), Heidelberg (originated in the early 14th century, probably in Zurich): pp. 399va - 401va
  • Manuscript E , Würzburger Liederhs., Munich (originated in the middle of the 14th century, probably in Würzburg): Bl. 206rb - 210va (at Pfannmüller 209rb - 213va)
  • Manuscript F , Weimarer Liederhs., Weimar (probably made in the second half of the 15th century in Weimar): Bl. 89r - 96r
  • Manuscript L , Berlin (probably created in the 14th century in Silesia): Bl. 10r - 18v
  • Manuscript t , Kolmarer Liederhs ., Munich (created around 1470 in Mainz): Bl. 19r - 28r, stanzas partly mixed up; According to März, however, this body was not from Frauenlob

The surviving fragments are as follows:

  • Manuscript W , Vienna (14th century East Central German): Bl. 2r - 8r with melody, Str. 13,40-20,36
  • Handwriting r , Erlauer Gregorius-Hs., Cologny-Genève (14th century southeast German area): Bl. 45r - 48r, Str. 13,38-20,36
  • Fragment K , Berlin (14th century, presumably in Königsberg): 7 leaves, stanza 3,3-11,13
  • Fragment M , Munich (15th century): single sheet, Str. 14,22-17,18
  • Fragment N , Munich (14th century, probably in Ingolstadt): Doppelblatt, 1r / 1v, Str. 1,1-4,9
  • Fragment Q , Melk (15th century): 2 sheets (probably missing sheets 1 and 4 of 4), Str. 6,1-20,17
  • Fragment U , Wrocław (1457 in Grünberg): double sheet, parts of stanzas 16, 18, 19
  • Fragment V , Denis' Hs., Vienna (published in Vienna in 1797): individual fragments from stanzas 3, 4, 5, 8, 9, 11

Handwriting W is said to be the best tradition, which is why its fragmentary condition is extremely annoying. This manuscript also contains a Latin version of stanzas 1-12 of the Virgin Mary. The musical documents can be found in K, N, Q, U, W and t , whereby t turned out to be a late version with different melodies and is therefore described as unusable. The question arises, of course, about his original work. In this regard, Stackmann says: “[...] A reliable decision in favor of women's praise [is] only possible [...] where unusually favorable circumstances come together. This is to be taken for granted especially in the case of the body of Mary. The tradition goes back to the lifetime of the poet, he is mentioned several times as an author in good, old tradition ( C, E, W ), and there is no contradicting evidence from later times either. "

Content sources

The sources identified by Pfannmüller, which Frauenlob probably used for his corpse of Mary , are largely of biblical origin: the books of wisdom from the Old Testament and in particular the Song of Solomon , from the New Testament the Revelation of John . Frauenlob also uses other biblical quotations and images, but the most important and most frequently mentioned are the above. Verses of the Song of Songs can be found in 13 of the 20 stanzas of the corpse of Mary , whereby the relationship between Mary and the Trinity is also represented by images of the minstrel . According to Newman, the bride of the Song of Songs was interpreted as Ecclesia , the personified Church, until 1100 - the reference to Mary only emerged gradually, so it was nothing new in the time of the praise of women. However, his interpretation of the Song of Solomon in relation to Mary is extraordinary, both through its poetic style and through the pictures he depicts in the Marienleich, described by Pfannmüller as "ignoble acumen". However, if you continue to look from Frauenlob at the "endless crowd of his imitators, who look at him with shy awe, especially at the desolate series of Mary poems in the Colmar manuscript, then it seems overwhelming again at the moment." Because with Frauenlob the dogmatic is never lacking Background.

Women's praise for Mariology

The Marian veneration of the time of Frauenlob has its origin in the interpretation of the Holy Scriptures by the Church Fathers of that time. In particular, the interpretations of the Old Testament Song of Songs, which praise Mary “as the bride of God (of the Holy Spirit)”, had, according to Peter, had an “influence on litanies, sermons, prayers and hymns of the church” thanks to their “oriental imagery”. Pfannmüller cites the Laudes Mariae by Richardus a S. Laurentino as a further source for the Mariology of Frauenlobs as the “most important compilation of Mary names, sorted by subject”. Furthermore, he mentions the litanies, especially the Laurentan litany , as collections of Marian designations that women praise could have used for the seal of the Virgin Mary. According to Peter, Maria is venerated by the medieval nuns (the mystics ) as the one who “through the immeasurable grace was able to experience the desirable unity with God to an unprecedented degree”. Therefore praise to Mary is at the same time praise to God. For the people of that time, Mary was a person who was so close to God that with her help one could expect their own requests to be heard. Because of the mediating position of Mary, “the praise of Mary has become the subject of medieval spiritual poetry.” “Like a secret red thread, the thought of Mary and the admiration for her grace runs through almost every theological consideration of women's praise.” According to Peter, further sources for the Mariology of women's praise are List of allegories by the scholastic Alanus de Insulis (early 13th century), as well as works by the poets before him. The golden smithy of Konrad von Würzburg should be mentioned here , as well as the body of Reinmar von Zweter , with Frauenlobs Marienleich being referred to as “richer and more moved”. According to Pfannmüller, Frauenlob identifies Maria “with the wisdom that is celebrated in the books of wisdom , flowing out of God, through which she becomes the only begotten and firstborn daughter of God.” Mary is the true mother of God (16.12 f.), Avoiding all (6.17 ) and êrenrîche frouwe (3.1), she stands on the boundary between humanity and deity (20.10), is human-divine and divine-human (20.26), an image of divine majesty (12.3). A piece of divinity has adhered to her since she received God's Son (12:30), she herself was God (12:33). In summary, it can be said that Mary, as the Virgin Mother of God, is both the daughter and bride of God and, according to Pfannmüller, is referred to by Frauenlob throughout the poem as “often something like this or something like that”. The descriptions of Mary are also characterized by intense eroticism.

shape

Frauenlob's poem is written in the shape of a corpse . The “large and pompous form of the unanimous solo song in Germany” of Middle High German poetry is called Leich. In this genre, women's praise was a model for the Mastersingers . The corpse has a total of 508 verses which are divided into twenty stanzas. Each stanza consists of a double verse, i.e. H. made of two parallel, shape-like parts. This can be seen from the rhyme scheme in the individual stanzas, although the rhyme schemes differ from stanza to stanza. The rhyme scheme of verse six is ​​given here as an example:

Verse 6:

a c
a c
a c
a c
a c
a c
a c
a c
a c
b b

This makes it clear that there are two parts within a stanza (recognizable by the two columns in each case), which are exactly the same length and have the same rhyme scheme. Each of these parts is a versicle, so a stanza consists of a double versicle.

Musical form

Of all the musical traditions of Frauenlob's works, that of the corpse of Mary is the richest, but still remains fragmentary. The stanzas generally have different melodies; however, there are some equivalents. An interesting observation is that so-called evovae or Saeculorum-Amen formulas can be found in the corpse of women, which are usually found in liturgical chant. This is a doxology that expresses the praise of the Trinity and forms the end of every psalm recitation. By comparing them, it was found that the melodies used by Frauenlob are taken from liturgical antiphons. However, a connection between melody and text is very rarely discernible. So it would be advisable to express the content of the poem on a musical level in verse 18, which speaks of music ( like the done lone beautiful give to the armonie […] Ufl. 18,1ff. GA) . But “the temptation […] to listen to the music what the text says is great, but it does not lead to anything […].” So Kandler also comes to the conclusion: “With regard to the interaction of word and tone, one can find in the texts Heinrichs von Meißen hardly provide evidence that can be interpreted with some certainty as an indication of a correlation between the two media. ”Frauenlob's light poetry is“ too little straightforward in terms of a coherent reception of the biblical models ”; she sees "her central concern in a partly hyperbolic Marienpreis."

The style of women's praise

Frauenlob is an important representative of the " floral style " and makes use of many tropes in his poems , which create his typical dark style. He uses a language that is very rich in images , so-called redebluomen , which Kretschmann describes as a “ frenzy of images ” through which his rational thinking temporarily “takes a back seat”. It is therefore no wonder that he sometimes mixed up images and made false quotations, especially since in his day he was mostly only able to access memory knowledge. Since he dresses many of his utterances in a “mystical-solemn, literal rush of words that always seem completely nonsensical”, which often leads to difficulties in understanding and ambiguities - e.g. B. in Ufl. 2: "Maria is pregnant with God (which person? Spirit?), Sees the God of the Apocalypse (Apoc 1,12 ff.) And the Lamb (the son) on Zion at the same time" - criticizes Pfannmüller: "At the same time he wants mystify; he wants to be dark, his statements should shimmer in the meaning and if possible have 2, 3 or more meanings at the same time. Then he loses all power over his words. [...] He no longer knows what he is actually talking about: Mary, Moses, Christ or the stag of the Physiologus (11.31 f.) [...]. The supersensible aspect of the subject becomes nonsensical with Frauenlob; the paradoxes of dogmatics for him to the flight of ideas. […] What has been raised here does not offer a proper concept of his eccentricities and whirlpools, his inability to think and say something completely sensible. ”He is not able to express any idea of ​​dogmatics correctly in his own words. His “artificial rhyme structures” would result in “manifold damage with regard to the intellectual content. [...] Sometimes every sense is neglected for the sake of very distinctive ties. "

Frauenlob's style, however, bears witness to a certain poetic art and sophistication, which can be recognized by means of ambiguous passages in which "dogmatic theology in formulas, biblical quotations, paraphrases always protrudes into his erotic poetry and permeates it." So said Kroeger in 1877 about Frauenlob : "But even where in his daring use of language he becomes so involved as to seem almost unintelligible to the modern reader, his thoughts and images are so wonderfully wrought into impetuous rhythm and over-jeweled with rhyme, that the splendor of music seems to supply the meaning which the words failed to express […]. ”The aim of courtly poetry in Frauenlob's time was“ an elegant new design of old motifs with ingenious closing puns and elaborate echoes of older poets. ”Frauenlob realized this in such a way that he “Simple equation Mary = Mother of God [...] in ever new forms [puts forward] by for 'mother' now 'bride', now 'daughter', for God one of the three or two of the three persons or the Trinity per se […]. ”The above-mentioned fate rests on his poetic talent.

content

The poem Frauenlobs deals with Mary as the virgin mother of God, as the bride of the Holy Spirit and as a human-divine divine-human authority. In the Würzburg song manuscript the body of the Virgin is referred to as a woman's praise "Hohes Lied". The theme of incarnation through Mary runs through the whole body and is repeatedly illuminated from different perspectives. Diehl describes the body of Mary as an attempt at a masterpiece of the highest style, which requires the utmost effort of the poet and deals with a central theme and a tradition from the time of the poet.

The corpse of Mary as a poem of love

“By adopting the grateful subject of Mariolatry [= Marian praise] from the simultaneous Latin poetry and including it in its repertoire, the mhd. Lyrical and verse poetry quickly succumbs to the temptation to profane it by merging with its own property, by transferring brought forth minnial situations and views . ”Hence the body of the Virgin Mary, too, shows elements of a love poem. Newman describes the praise of Maria as the “ultimate vrouwe ” and the love affair with her son as the “ultimate minne .” There is no agreement on what minne this is. Newman calls it high minne , as it is about experiencing and celebrating divine love and the erotic clergy is taken from the biblical Song of Songs. Pfannmüller, on the other hand, speaks of a "bizarre, absurd, often ridiculous learning [...] because he is actually dragging his heroine, whom he seems to be celebrating in the sense of supreme love, through the worst low love [...] . ”The corpse of Mary as secular Marian poetry is based on the“ most favorable object ”of the Bible for its purpose: the“ Song of Songs, which has long been made available to Mariolatry […]. With Frauenlob there is the real climax of such worldly counterfactor. [...] What can be found in front of him are harmless or unskillful distortions of dogmatic components into the minstrel [...]. ”In conclusion, it can be said that“ [...] what is common to the material presented [...] is the transfer of motifs from minstrel and spell-poet puzzle game on found theological objects; in such a way that the poetic element still outweighs the taught. "

Contents of the Mary's body

The speaker for the first eight stanzas is John on Patmos, a prophet. His first words indicate that the subject of the poem is a vision ( Ei, I sach […] (Ufl. 1,1 GA)). In addition, right at the beginning, the poem's pictorial quality gives it a minnie song character ( vor miner ougen anger (Ufl. 1.4 GA)). This short first stanza shows a parallel to Rev 12  EU ; However, Frauenlob picked out only a few aspects from the vision described there: A pregnant woman on the throne, with a crown with twelve stones on her head, who is about to give birth. Other aspects (e.g. that she was clothed in the sun and the moon was at her feet) are not mentioned here, because they are reserved for Mary herself (cf. Ufl. 10,10-13 GA). In the second stanza the speaker proclaims Maria's own vision of her son, who is sitting in front of you with jokes [...] of a lamb wise uf Sion, the mountain whiuren. (Ufl. 2.6-11 GA). Here, too, there is a reference to the New Testament Revelation (14.1 EU and 1.12-13 EU ), which is taken up again in the seventh stanza: The lamb on Mount Zion and the seven candlesticks. In addition, the flower motif is introduced here ( the holde wore the flowers sam ein tolde. , Ufl. 2,14-15 GA), which runs through the whole poem (cf. among others Ufl. 3,3; 8,10 ; 19.18 ff. GA) and is a symbol of the motherhood of Mary.

A reference to the Song of Songs is shown for the first time in the third stanza of the corpse of the Virgin through the images used ( towards the winter order, the blünden winrebe [...] (Ufl. 3,6-7 GA) correspond to Hld 2,11-13  EU ), thereby bringing about minor situations. Here the different roles of Mary are listed: daughter, mother, meit (Ufl. 3,14 GA). The meeting of the lovers agreed in the third stanza is reported in the following stanza: The king led the virgin into his cellar, where his greetings touched her (cf. Ufl. 4,2 ff. GA; cf. also Hld 2,4  EU ). The grüzen is also understood as an erotic innuendo. In the fifth stanza there is talk of the meit (= virgin) now as the brut (= bride) of the king, who can go in and out through her “gates” as he likes (cf. Ufl. 5: 1-5 GA). Also in this stanza a motif of the Song of Songs is taken up: The description of the beauty of the bride ( Hld 4,1 ff.  EU ; Ufl. 5,9 ff.). Stanza six describes elements from the Revelation (1,11 / 20 EU ; 4,5 EU ), whereby the magic number seven plays a central role (Ufl. 6,1-10). It's in Ufl. 6: 13-16 GA to establish an analogy to the seven gifts listed in Isa 11 : 2  EU : knowledge, advice, strength, mustiness, arts functions (instead of knowledge), forethought . The gift not mentioned is insight, but praise of women has replaced it with minne .

Stanza seven takes up the motif of the seven lights from stanza two again, introduces the recurring motif of the young old one (Ufl. 7.5; cf. 11.11 ff .; 12.17 GA) and counts the virtues of a good Christian or a courtly lover: Zucht, kiusche, triuwe, stete, geloube, goodness, diemut (Ufl. 7,11-15 GA). The next stanza describes a paradisiacal scene in heaven, in which images from the Garden of Eden are used ( the aphelion she treit […] Ufl. 8.9 GA; the flowers laugh both half of the lit. Ufl. 8.10 GA). There is talk of a golden chalice adorned with jewels (initially symbolized by the navel of Mary) through which the son "brought us" his father (Ufl. 8: 19-21 GA). This shows Frauenlob's understanding of the Trinity.

From verse nine onwards, Maria is the speaking person, which becomes clear in the first verse: I am also the great one of the kür (Ufl. 9,1 GA). It begins with a monologue of intense, lively eroticism, again picking out verses from the Song of Songs ( Hld 2.9  EU ; 5.2 / 4 EU cf. with Ufl. 9.5-8 GA). The consequence of this love scene is her pregnancy, described by various pictures (Ufl. 9,14-26 GA). In stanzas ten and eleven (and 15) Maria reports on her erotic experiences. There are further parallels to various biblical passages, mostly to the Song of Songs and to Revelation. The most famous stanza of the poem, according to Newman, is stanza eleven. Here the smid von Oberlande (Ufl. 11.1 GA) (= God in Heaven) is named as the lover of Mary, who threw sinen hamer into mine [Marias] schoz (Ufl. 11.2 GA). According to Pfannmüller, the hammer throw is a remnant of Germanic-pagan mythology that has remained in the popular imagination, which Frauenlob takes up here to depict the "missio filii", the sending of the son. According to Newman, however, this interpretation is out of date and the hammer throw is intended more as a sexual symbol. Mary says that she carries him who bears heaven and earth, and yet is a virgin; he doesn't let her do any work (at birth) (Ufl. 11,4-6 GA). Your statement I slief bi drin (Ufl. 11.8 GA) is a further expression of women's praise of Mary as mother and bride of the Trinity at the same time. Her old vriedel kissed her (Ufl. 11,11 GA), which again establishes a reference to Hld 1,1  EU and thus symbolizes the incarnation. The motif of the young old reappears and also symbolizes the incarnation of God in the form of an infant, over which everyone rejoices (Ufl. 11,13-14 GA). In verse 17 ( he jach, min brustel weren süzer then the win ) there is again a quote from the Song of Songs (4.10). In the second part of the stanza, further images of the Song of Songs are processed ( the lilje tal , Ufl. 11,21 GA; Hld 2,1  EU ) and a reference to the fall of man in paradise is made: Mary is the sal and the grail (Ufl. 11.23 / 30 GA) and will break Adam's curse through the dawn (Ufl. 11.27 GA), which niuwen announces the day after the old night (Ufl. 11.29 GA).

In the twelfth stanza the role of Mary changed from the human bride of God to the divine one, who was present at creation ( I was involved in, because he even designed all Schepfenunge Ufl. 12.5 GA). Maria now appears as the Sapientia, describes herself as the sugar-free fountain of life and the blissful miracles (Ufl. 12,1-2 GA) and as a mirror of the vil clear purity (Ufl. 12,3 GA), which the words from the biblical Wisdom 7.26 are. Marias ich binz ... appears nine times in this stanza , which suggests an analogy to the “I am” words of Jesus Christ. The last verses of the stanza are a bit astonishing because they imply a role reversal between Mary and Christ: Mary endured suffering and overcame death, while Christ did not suffer ( I wait , I lead, I broke the dead ... he does not lead, min Engelmar. (Ufl. 12,36-38 GA)). The next stanza is the corpse's longest. It begins with a conglomerate of different Bible quotes and images. As a deity, Mary is the beginning of all love. She is described as the fulfillment of Old Testament prophecies and tells of the deeds she is capable of. In addition, she is portrayed as motherhood (virgin mother) of the Trinity: min schepfer and min vriedel the vil old who came to me according to his kust in there people (Ufl. 13,38-40 GA). The Trinity could unfold through her body. Verse 14 describes a single metaphor, in contrast to women's praise, language which is otherwise quite rich in images. The metaphor is not biblical, but is related to the incarnation: a tailor putting on a robe of flesh and blood for himself. In addition, Maria's beauty is expressed in this stanza ( vin unde luter, beautiful if all beautiful glanz Ufl. 14,13 GA): God put Maria on a robe that he liked so much that he made clothes out of it. In the 15th stanza biblical images are taken up again ( the star of Jacob , the great gotes stat (Ufl. 15,1 / 3 GA)) and erotic scenarios are depicted ( ... like the divine minnen diep right in the middle of the sele min and drink those with suzekeit the süze sin (Ufl. 15,17-19 GA)).

In stanzas 16-18a, Mary is represented through the seven liberal arts. First it is associated with “all 10 predicaments of Aristotle [showered]”, then with the trivium (grammar, rhetoric, dialectic). Verse 17 is about physics and metaphysics, as well as three parts of the quadrivium: astronomy, geometry and arithmetic. Verse 18a then describes the fourth element of the quadrivium - music. At the end of the 18th verse, Frauenlob returns to the human Mary and takes up motifs from the Song of Songs again ( under an apple tree, I just wake up ... Ufl. 18,16-17 GA; Hld 8,5  EU ). Verse 19 opens the metaphor of the gardener, who pelted the boum in his garden, that he himself is waiting for death (Ufl. 19,3-4 GA) (= who planted the tree in his garden that his son should serve as death bed.) Furthermore Frauenlob gives the listener a math problem in which he gradually enumerates the 60 warriors who escorted King Solomon's sedan chair ( Hld 3.7  EU ). The second half of the stanza is an example of women's praise "floral style" - the word flower becomes the central theme here and can be interpreted as a Marian motif. The last stanza of the corpse ties in with the initial vision with the twelve precious stones in Mary's crown. Based on the row of stones, the biblical parallel to Revelation (21.19 ff. EU ) can be recognized, as well as the margarites (= pearls) mentioned by Frauenlob (Ufl. 20.36 GA; Rev 21.21  EU ). The different gemstones are assigned different meanings by Frauenlob, but their origins are not clear. In this stanza, too, there is a collection of images from various biblical passages, from Noah with his ark to the Song of Songs to Revelation. In verses 30-31 (GA) the two natures of Mary become clear: I was humanly gothic, yes gothically human . According to Newman, this is a heterodox dogmatics of Frauenlob herself, because the Church had never officially declared Mary to be divine. For the praise of women, however, Mary is of a divine nature through the union with the Trinity.

Position in literary history

Classification in the work of the author

Frauenlob wrote many poems (the exact number is unknown): several hundred verses in different tones, etc. a. the controversial poem wîp unde vrouwe and the poem Minne und Welt, 13 Minnelieder and three corpses, of which the corpse of Mary is the most frequently handed down and is accordingly his greatest work. The two other corpses, the Minneleich and the Kreuzleich , were not as well known as the Marienleich . Bertau differentiates between three spiritual style levels of women's praise: the early "Marienleichstil", the "problematizing style" and finally the "Kreuzleichstil". The first evidence of the efforts of Frauenlob to create an "autonomous work of art [...] is the [...] body of Mary."

Position in literary history and reception

Frauenlob was not the first to write a ministerial hymn to Mary. Because it was not the endeavor of courtly poetry to deal with new topics, but rather to give "old motifs an elegant, new [form] with ingenious closing points and skilful echoes of older poets". Influence on Frauenlobs poetry have e.g. B. the golden forge of Konrad von Würzburg or the body of Reinmar von Zweter. The Marienleich Frauenlobs, however, gained a high degree of popularity, which can be concluded from the many traditions and the many imitations and can be traced back to Frauenlob's high reputation during his lifetime. Thus “the poor state of preservation of the poems handed down [...] is in obvious contradiction to the reputation that the author enjoyed not only with those who lived there but also with posterity for centuries. […] The darkness of Frauenlob's poetic language is probably to blame […] […] ” Opinions differ on the position of the Mary's corpse in literary history today. Pfannmüller is of the opinion that the corpse is “not to be placed on the same level” as Konrads von Würzburg's Goldener Schmiede, but describes the imitative Marian poems (especially in the Kolmarer Liederhs.) As “desolate”. This criticism of Pfannmüller (1913) lowered the reputation of Frauenlobs, which, however, according to Newman, thanks to Stackmann's efforts (1972), is gradually regaining "its rightful place in the history of German poetry".

bibliography

Text output

  • Ludwig Pfannmüller: Frauenlobs Marienleich. In: A. Brandl, E. Schröder, F. Schulz (Ed.): Sources and research on the language and cultural history of the Germanic peoples. Issue 120. Karl J. Trübner, Strassburg 1913, pp. 49-73. Reprint: de Gruyter, Berlin 2018, ISBN 978-3-11-134699-1 .
  • Karl Stackmann, Karl Bertau (ed.): Frauenlob (Heinrich von Meissen). Leichs, slogans, songs. 1st chapter. Introductions, texts. Vandenhoeck & Ruprecht, Göttingen 1981, pp. 236-290. ( GA = Göttingen edition )

Secondary literature

  • The Bible. Revised standard translation of the Holy Scriptures. Catholic Bible Institute, Stuttgart 2016.
  • Werner Kohlschmidt, Wolfgang Mohr (Hrsg.): Reallexikon der Deutschen Literaturgeschichte. Vol. 2nd 2nd edition Walter de Gruyter & Co., Berlin 1965. ( RLG = Real Lexicon of German Literary History )
  • Harald Fricke (Hrsg.): Reallexikon der Deutschen Literaturwissenschaft. Revision of the real dictionary of German literary history. Vol. 2, Walter de Gruyter, Berlin / New York 2000. ( RLW = Real Lexicon of German Literary Studies )
  • Karl Stackmann: Dictionary for the Göttingen women's praise edition. Vandenhoeck & Ruprecht, Göttingen 1990.
  • Kurt Ruh, Gundolf Keil, Werner Schröder, Burghart Wachinger, Franz Josef Worstbrock (ed.): The German literature of the Middle Ages. Author Lexicon. Vol. 2, Walter de Gruyter, Berlin / New York 1980. ( VL = author's lexicon )
  • Johannes Kandler: "Gedoene ân wort daz is a dead galm". Studies on the interaction of word and tone in unison chants of the high and late Middle Ages. Reichert Verlag, Wiesbaden 2005.
  • Herbert Kretschmann: The style of women's praise. Edited by A. Leitzmann. Frommann, Jena 1933. (Jena Germanic Research. Vol. 23)
  • Christoph March: Frauenlobs Marienleich. Investigations into late medieval monody. Edited by Leistner-Opfermann, DB / Peschel-Rentsch, D. Palm & Enke, Erlangen 1987. (Erlanger Studies. Vol. 69)
  • Barbara Newman: Frauenlob's Song of Songs. A medieval German poet and his masterpiece. Pennsylvania State University Press, University Park, Pennsylvania 2006.
  • Brunhilde Peter: The theological-philosophical world of thoughts of Heinrich Frauenlob. Jaegersche Buchdruckerei, Speyer 1957.
  • Ludwig Pfannmüller: Frauenlobs Marienleich. In: A. Brandl, E. Schröder, F. Schulz (Ed.): Sources and research on the language and cultural history of the Germanic peoples. Issue 120. Karl J. Trübner, Strasbourg 1913. Reprint: de Gruyter, Berlin 2018, ISBN 978-3-11-134699-1 .
  • Karl Stackmann, Karl Bertau (ed.): Frauenlob (Heinrich von Meissen). Leichs, slogans, songs. 1st chapter. Introductions, texts. Vandenhoeck & Ruprecht, Göttingen 1981.
  • Bernhard D. Haage: Selvons 'visio'. In: Dominik Groß , Monika Reininger: Medicine in History, Philology and Ethnology: Festschrift for Gundolf Keil. Königshausen & Neumann, 2003. ISBN 978-3-8260-2176-3 , pp. 245-255. (On verses 9 to 13).

Recordings on sound carriers (selection)

  • Frauenlob (Heinrich von Meissen, approx. 1260–1318) - The Celestial Woman / Frauenlobs Leich, or the Guldin Fluegel, in Latin: Cantica Canticorum , Sequentia. Ensemble for music of the Middle Ages , Deutsche Harmonia Mundi / BMG Classics 2000

Individual evidence

  1. ↑ See Stackmann, Bertau 1981, pp. 20-160.
  2. ↑ Pfannmüller 1913, p. 30.
  3. ↑ March 1987, p. 103.
  4. ↑ See Stackmann, Bertau 1981, pp. 20-160.
  5. ↑ Pfannmüller 1913, p. 47.
  6. ↑ Stackmann, Bertau 1981, p. 211.
  7. ↑ Stackmann, Bertau 1981, p. 164.
  8. ↑ See Pfannmüller 1913, p. 1 ff. And Kandler 2005, p. 182.
  9. ↑ See Newman 2006, p. 92.
  10. ↑ Kretschmann 1933, p. 126.
  11. ^ Newman 2006, p. 92.
  12. ↑ Pfannmüller 1913, p. 12.
  13. ↑ Pfannmüller 1913, p. 28.
  14. ↑ Pfannmüller 1913, p. 10.
  15. ↑ Peter 1957, p. 109.
  16. ↑ See Pfannmüller 1913, p. 8, note 2.
  17. ↑ Peter 1957, p. 109.
  18. ↑ Made in the 1st half of the 13th century
  19. ↑ Pfannmüller 1913, p. 2.
  20. ↑ Ibid.
  21. ↑ Peter 1957, p. 110.
  22. ↑ Kretschmann 1933, p. 131.
  23. ↑ Peter 1957, p. 107.
  24. ↑ Peter 1957, p. 111.
  25. ↑ Pfannmüller 1913, p. 2.
  26. ↑ Pfannmüller 1913, p. 5.
  27. ↑ Pfannmüller 1913, p. 3.
  28. ↑ See Ufl. 11a GA
  29. ↑ RLG, p. 39.
  30. ↑ RLW, p. 397.
  31. ↑ RLG, p. 39.
  32. ↑ Stackmann, Bertau 1981, p. 211.
  33. ↑ March 1987, p. 2.
  34. ↑ March 1987, p. 48.
  35. ↑ March 1987, p. 149.
  36. ↑ Kandler 2005, p. 187.
  37. ↑ Kandler 2005, p. 202.
  38. ^ Newman 2006, p. IX
  39. ^ VL, p. 873.
  40. ^ VL, p. 873.
  41. ↑ Kretschmann 1933, p. 126.
  42. ↑ Kretschmann 1933, p. 127.
  43. ↑ Pfannmüller 1913, p. 12.
  44. ↑ Kretschmann 1933, p. 131.
  45. ↑ Pfannmüller 1913, p. 17.
  46. ↑ Pfannmüller 1913, p. 23.
  47. ↑ Pfannmüller 1913, p. 14.
  48. ↑ Pfannmüller 1913, p. 10.
  49. ^ AE Kroeger 1877, quoted from Pfannmüller 1913, p. 36.
  50. ↑ Kretschmann 1933, p. 3.
  51. ↑ Pfannmüller 1913, p. 12.
  52. ↑ Pfannmüller 1913, p. 26.
  53. ↑ Ufl. 8.30-31 after the GA
  54. ↑ Pfannmüller 1913, p. 8.
  55. ↑ See Newman 2006, p. 91.
  56. ↑ Pfannmüller 1913, p. 9.
  57. ↑ Newman 2006, p. 93.
  58. ↑ Newman 2006, p. 110.
  59. ↑ Pfannmüller 1913, p. 27.
  60. ↑ Pfannmüller 1913, p. 10.
  61. ↑ Pfannmüller 1913, p. 13.
  62. ^ Newman 2006, p. 176.
  63. ↑ Newman 2006, p. 177.
  64. ↑ Pfannmüller 1913, p. 77.
  65. ↑ Pfannmüller 1913, p. 78.
  66. ^ Newman 2006, p. 178.
  67. ↑ Newman 2006, p. 179.
  68. ↑ Newman 2006, p. 181.
  69. ↑ Newman 2006, p. 182.
  70. ↑ Newman 2006, p. 183.
  71. ↑ Newman 2006, p. 184.
  72. ↑ Pfannmüller 1913, p. 27.
  73. ↑ Newman 2006, p. 189.
  74. ↑ Neman 2006, pp. 95/189.
  75. ↑ See Pfannmüller 1913, p. 2.
  76. ↑ Newman 2006, p. 195.
  77. ↑ Ufl. 13.14-15 GA
  78. ↑ Ufl. 13b GA
  79. ↑ Newman 2006, p. 198.
  80. ↑ Newman 2006, p. 199.
  81. ↑ Kretschmann 1933, p. 132.
  82. ↑ Pfannmüller 1913, p. 24.
  83. ↑ Newman 2006, p. 204.
  84. ↑ Pfannmüller 1913, p. 27.
  85. ↑ Newman 2006, p. 212.
  86. ↑ Newman 2006, p. 215.
  87. ↑ Newman 2006, p. 216.
  88. ^ VL, p. 868.
  89. ^ VL, p. 869.
  90. ↑ Kretschmann 1933, p. 3.
  91. ^ VL, p. 874.
  92. ^ VL, p. 873.
  93. ↑ Stackmann, Bertau 1981, p. 163.
  94. ^ Newman 2006, SX