Floral style

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In German studies since the end of the 19th century, the floral style is a style in Middle High German poetry of the late Middle Ages from around the middle of the 13th to the middle of the 15th century.

features

The following are characteristic features:

  • Increased and accentuated use of rhetorical ornament means ( varwen , redebluomen ), according to Hennig Brinkmann with preference of means of ornatus difficilis , among some Latin theorists since the early 13th century, especially the tropics , the hyperbaton and onomatopoeia summarizing.
  • Striving for the unusual and artistically difficult linguistic expression ( wild word ), on the one hand in the choice of words (rare words and word forms sought, dialect words , archaisms , neologisms and unusual derivations , foreign words and loan words from French and Latin), on the other hand through abnormalities in syntax and Sentence structure (including asyndetic sequence of parts of sentences, imitation of Latin word order, formulaic replacement of the finite verb form by the present participle with the copula sin or become , giving up the original durative meaning of this construction).
  • Emphasis and more rule-based treatment of the metric form , etc. a. by restricting the freedom of filling in verse, disambiguation and complication of the stanzas and the use of rare, sought-after rhymes ( wilder rim , spaeher rim ). A general preference for certain types of forms or genres is not given here, but rather the “floral style” is assigned in research to texts from a larger spectrum of genres of Middle High German poetry.
  • Following the example of the Middle Latin tradition, but also Middle High German predecessors such as Gottfried von Straßburg , use of metapoietic metaphors in which the pictorial area of ​​the vegetable is transferred to the area of ​​the art of language: e.g. B. (speech) bluomen ( lat.flores rhetorici , flosculi , for the decoration of the speech), flowers , flourish ( lat.floribus exornare , for the process of decorating the speech), read bluomen , bluomen prechen ( lat.flores legere , flosculos carpere , for the process of poetic inventio ), and more detailed garden, tree and wreath allegories . The Germanic expressions “flowered style” and “flowered” for representatives of this style tie in with this, but do not yet have a direct equivalent for Middle High German authors as a self-designation or designation of their style.

Containment

The temporal delimitation of the "floral style" has proven to be difficult, since the stylistic devices assessed as characteristic also appear in poems of the so-called classical period, as was the case with Wolfram von Eschenbach and Gottfried von Strasbourg, whose poetry was expressly considered by later representatives Role model is praised and paraphrased with metaphors of the flowery . The demarcation is therefore made primarily according to the degree of training and accumulation of stylistic devices, but without objective criteria being available for the demarcation. The beginnings of the floral style are therefore seen partly with Konrad von Würzburg and the poet of the Younger Titurel , who, according to the unanimous opinion, can be considered the main representatives, but partly the beginnings are also with Wolfram (Brinkmann), Gottfried (Mosselmann) or Gottfried's pupil Rudolf by Ems (Ehrismann). Similar uncertainties exist with the timing of the end of this style period and its demarcation from the Meistersang .

interpretation

While older research saw the "floral style" as the pursuit of a common style ideal that ran through the entire epoch, research today rather assumes a competing juxtaposition and succession of different individual styles, which are to be interpreted in the context of their own expressive and effective intentions can only be assigned a common stylistic term with reservation. The explanation of the stylistic phenomena summarized under this term was also heavily burdened in older research by a negative judgmental attitude, which included the "epigonism", the "misguided feeling" and the "artificiality" of a poetry of later generations that was in decline compared to the classical heyday Generations of poets saw. More recent research avoids such evaluations and instead seeks the explanation in the influence of rhetoric, which has been reinforced by the spread of the school system, in the search for an expression that is also adequate in the vernacular for the treatment of religious, theological and scientific topics, in which "floral style" and the simultaneous blossoming of German mysticism ( Meister Eckhart , Johannes Tauler , Heinrich Seuse ) can be seen in context, and finally in overarching developments such as nominalism, which is interpreted as an influencing factor for the preference for wordplay and language experiment .

Important representatives

Text example

"Gevîolierte flowered art,
dîns fountain haze
und dîn roeset flammenrîche heat,
you would have rooted
obez: in the boume arts rîches lobes
, tops held favor
sîn list, durchliljet kurc."

- Women's praise : Obituary for Konrad von Würzburg , verse in a delicate tone (VIII, 26)

"Violet-like flower art,
your spring breath
and your rosy, flaming fire,
that had
enhanced deep-rooted fruit : in the tree of artificial fame
, summit rank held
its ability, lily-like exquisite."

- Nhd. translation

literature

  • Conrad Borchling : The younger Titurel and his relationship with Wolfram von Eschenbach . Dieterich, Göttingen 1897
  • Hennig Brinkmann: On the nature and form of medieval poetry . Niemeyer, Halle 1928; unchangeable Reprint Wissenschaftliche Buchgesellschaft, Darmstadt 1979, ISBN 3-484-10366-3
  • Gustav Ehrismann: Investigations into the Mhd. Poem from the Minneburg . In: Contributions to the history of German language and literature 22 (1897), pp. 257–341 ( online version at Google Books )
  • Gert Hübner: Flowers of praise. Studies on the genesis and function of the "flowered speech" . Francke Verlag, Tübingen / Basel 2000 (= Bibliotheca Germanica, 41), ISBN 3-7720-2032-1
  • Kurt Nyholm: Studies on the so-called floral style . Åbo 1971 (= Acta Academiae Aboensis , Series A, 39.4)
  • Otto Mordhorst: Egen von Bamberg and "the flowered speech". Ebering, Berlin 1911 (= Berlin contributions to Germanic and Romance philology , 43)
  • Frieder Schülein: On the theory and practice of flowers. Studies on language aesthetics in German literature of the 13th – 15th centuries Century. Peter Lang, Bern 1976 (= Europäische Hochschulschriften, I, 135), ISBN 3-261-01838-0
  • Karl Stackmann: Rhetoricae artis practica fontalisque medulla. On the theory and practice of flowers in Heinrich von Mügeln. In: Greetings for Hans Pyritz on September 15th, 1955. From the circle of Hamburg colleagues and employees , Winter, Heidelberg 1955 (= special issue Euphorion)
  • Karl Stackmann: The poet Heinrich von Mügeln. Preliminary studies to recognize one's individuality. Winter, Heidelberg 1958 (= problems of poetry, 3)
  • Karl Stackmann: Redebluomen. On some prince stanzas, women's praise and on the problem of the floral style. In: Hans Fromm (Hrsg.), Verbum et Signum [Festschrift for Friedrich Ohly]: Contributions to Medieval Research on Meaning , Vol. II, Fink, Munich 1975, pp. 329–346
  • Max Wehrli: History of German Literature in the Middle Ages. From the beginning to the end of the 16th century . 3rd edition, Reclam, Stuttgart 1997 (= Universal Library, 10294), ISBN 3-15-010431-9

Individual evidence

  1. ↑ Hennig Brinkmann, On essence and form of medieval poetry (1928), p. 71ff., P. 81ff., Rejecting Kurt Nyholm, investigations on the so-called flowered style (1971), p. 44
  2. ↑ On the origin and content of the rhetorical "doctrine of two jewelery" see Edmond Faral: Les Arts poétiques du XIIe et du XIIIe siècle , champion, Paris 1924 (= Bibliothèque de l'Ecole des Hautes Etudes, 238), pp. 89 ff., And Ulrich Mölk: Trobar clus, trobar leu: Studies on the theory of poetry of the Trobadors , Fink, Munich 1968, p. 177 ff.
  3. ^ Evidence following Ehrismann (1897) in Otto Mordhorst: Egen von Bamberg and "die geblümte Rede" (1911), p. 67ff .; Kurt Nyholm: Studies on the so-called flowered style (1971), p. 114 ff .; Frieder Schülein: On the theory and practice of flowers (1975), p. 97 ff.
  4. ↑ See Kurt Nyholm: Studies on the so-called flowered style (1971), p. 7ff.
  5. ↑ Otto Mordhorst offers a collection of documents: Egen von Bamberg and "die geblümte Rede" (1911), pp. 65–66
  6. ^ Kurt Nyholm, Investigations on the so-called flowered still (1971), pp. 9-11
  7. ↑ On the research criticism, see especially the introduction by Nyholm, who already expresses reservations about this concept of style in the title of his work with the epithet "so-called": Investigations on the so-called flowered style (1971)
  8. ↑ Determining style criteria for the difference "between classics and epigones" was one of the main concerns of the work of Otto Mordhorst, Egen von Bamberg and "die geblümte Rede" (1911), p. 86. H. Schneider, Art. Geblümter Stil , in: Paul Merker / Wolfgang Stammler, Reallexikon der deutschen Literaturgeschichte , Vol. I, Berlin 1925–1926, pp. 413–414, says: “It [the flowered speech] is praised by a certain trend at that time as the triumph of formal artistic perfection, but corresponds in its typifying intentionality and convulsive artificiality to the misguided feeling of a powerless phrase-addicted epigony ”(p. 413). Kurt Nyholm, Investigations on the so-called floral style (1911) occasionally speaks of "epigonism in the sense of L'art pour l'art " in connection with the upgrading of the external form (p. 35). For an early critical examination of such evaluations, see the introduction by Karl Stackmann, Der Spruchdichter Heinrich von Mügeln (1958).
  9. ^ Max Wehrli: History of German Literature in the Middle Ages (1997), p. 440 f.
  10. ^ Max Wehrli: History of German Literature in the Middle Ages (1997), p. 454
  11. ↑ a b quotation from Max Wehrli: History of German Literature in the Middle Ages (1997), p. 452