Great Benediktbeurer Passion Play

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The Great Benediktbeurer passion play is a spiritual six games of probably around 1230 in Tyrol , possibly in Kloster Neustift in Brixen resulting manuscript Codex Buranus . It is considered to be the only completely traditional Latin-Middle High German passion play of the Middle Ages . In terms of content and language, it is strongly based on the biblical story of the Passion. The subject is also passages in stanza form such as the Lamentations of Mary and the Magdalenian scene, which also deviates from the biblical text , which at the same time represents a focus and exemplifies that the game is not to be understood as a representation of historical events, but as its interpretation.

In view of the sometimes confusing transcription carried out by different hands, the exact scope of the game and the order of individual scenes are disputed. The authors of the Benediktbeurer Passion Play, which is composed of pieces from different origins, are unknown. The game is listed under number 16 * in the appendix of the Codex Buranus, the content of which is referred to as Carmina Burana (songs from Benediktbeuern). The manuscript was discovered in 1803 in the Benediktbeuern monastery . The Carmina Burana owes its current popularity to the composer Carl Orff , who set excerpts from the Benediktbeurer Passion Play and had them premiered in 1937.

Content of the Benediktbeurer Passion Play

Structure and structure

The Benediktbeurer Passion Play is made up of biblical and liturgical texts as well as rhythmic Latin and German stanzas. It is thematically divided into nine scenes.

  1. Calling the disciples (vv. 1-16)
  2. Magdalenian scene (v. 17-166)
  3. Awakening of Lazarus; Betrayal of Judas (vv. 167-183)
  4. Mount of Olives (v. 184-204)
  5. Denial of Peter and the trial of Jesus (vv. 205–239)
  6. Judas' repentance (vv. 240-243)
  7. Crucifixion (v. 244-247)
  8. Lamentations of Mary (vv. 248-308)
  9. Jesus' death (v. 309–322)

Other edition editions provide a finer structure. The background to this is, among other things, attempts to rearrange certain passages, the order of which is doubtful in the tradition. Alfons Hilka , Otto Emil Schumann and Bernhard Bischoff see, like others, a chant of Joseph von Arimathia , who buries the body of Christ , which is handed down in the Codex Buranus in the appendix and is listed as number 23 *, belonging to the Benediktbeurer Passion Play and add it at the end of the game . They divide the game into 31 scenes.

  1. Calling disciples (vv. 2-3)
  2. Healing of a blind man (vv. 4-7)
  3. Jesus and Zacchaeus (vv 8-10)
  4. Entry into Jerusalem (verses 11-15)
  5. Supper of Simon Phariseus (v. 16-18)
  6. World life of Maria Magdalena (v. 19-87)
  7. Conversion of Mary Magdalene (v. 88–122)
  8. Anointing of Jesus by Mary Magdalene (v. 123-166)
  9. Raising Lazarus from the dead (vv. 167-171)
  10. Betrayal of Judas (vv. 172-183)
  11. Last Supper (v. 183c)
  12. Prayer on the Mount of Olives (vv. 184-191)
  13. Capture of Jesus (v. 192–205)
  14. Denial of Peter (vv. 204a – 204f)
  15. Advising the Jews (vv. 206-209)
  16. Jesus before Pilate (vv. 210-214)
  17. Jesus before Herod (v. 215-216)
  18. Reconciliation between Pilate and Herod (v. 216b)
  19. Flagellation (v. 226a)
  20. Crowning of thorns (vv. 227-228)
  21. Judgment of Jesus by Pilate (v. 240)
  22. Repentance of Judas (vv. 241-243)
  23. Jesus on the way to Golgotha ​​(v. 240a)
  24. Jesus and the daughters of Jerusalem (v. 244)
  25. Crucifixion (v. 244a)
  26. Attachment of the inscription on the cross (vv. 245–247)
  27. Lamentation of Mary (v. 248-270)
  28. Crosswords (vv. 271-274, 277, 282-284)
  29. Healing of Longinus (vv. 275-276, 278-281)
  30. Burial of Jesus (No. 23 *, vv. 1–16)
  31. Prologue (v. 1)

As the two examples already show, there is also disagreement about the numbering, which therefore varies greatly from edition to edition. Among other things, it is disputed whether, for the sake of clarity, the stage directions should be counted, contrary to previous procedures.

Main and secondary text

The stage directions are given in striking detail in the Benediktbeurer Passion Play. In the handwriting they are clearly set off from the main text in larger letters and noted in red ink. At the beginning of the game, they differ from today's practice in their distanced formulation, which is possibly intended to clarify the difference between the actor and the character represented. For example, the stage direction begins between the first two verses with the words “Postea vadat dominica persona […]” ('Then he who represents the Lord […]'). In the following, familiar expressions such as "Iesus dicit" ('Jesus says') or "Iesus respondet" ('Jesus should answer') are used.

Character speech

The spiritual games are considered to be the main group of medieval dramas and are the product of the further development of the older celebrations. The language used only slowly begins to detach itself from the liturgical texts, but there is an increased use of direct figure speech, which also dominates the Benediktbeurer Passion Play. Only up to the beginning of the Magdalenian scene in verse 19 does a speaker or choir probably take over the explanation of the general plot. However, the stage directions remain unclear in this regard.

action

Such a passage, presumably performed by a speaker or choir, introduces the Benediktbeurer Passion Play. In terms of content, it takes up the condemnation and crowning of thorns of Jesus, which was planned much later in the chronology of the game . Hilka, Schumann and Bischoff rate the scene as a prologue .

Beginning with the calling of the disciples , the story of the Passion is the subject of the game in the following, albeit greatly abbreviated, but closely based on the biblical model. For the representation of the actual (Passion) action mainly biblical texts were used. In addition, the Benediktbeurer Passion Play makes use of pieces of various origins, such as the Lamentations of Mary, which take up a lot of space before the final scene that ends with Jesus' death, and the Magdalenian scene, which is explained further below, which is both a special feature and a focus of the game.

The Magdalen scene

Origin and Distribution

Magdalenian scenes have been included in various variations in all the mixed-language Passion plays that are still known today. Their varying extent represents the variety of the sometimes very simple and short, sometimes very complex and detailed, spiritual games of the time, depending on the attitude and means of a church .

The model for the Magdalenian scene in the Benediktbeurer Passion Play was a Magdalenian play in Latin, which Bernhard Bischoff reconstructed from the Magdalenian scenes handed down in the Benediktbeurer Passion Play and in the Vienna Passion Play, which dates back to the early 14th century. In terms of content, the dissolute life focused on worldly temptations and the subsequent conversion of Maria Magdalena after the repeated intervention of an angel are the subject matter.

interpretation

World life of Maria Magdalena

The starting point for analyzing the development of the Magdalenian scene is first of all the very different portrayals of the deadly sins Superbia (arrogance) and Luxuria (lust), of which Mary Magdalene is guilty according to popular interpretation. While the description in the purely Latin versions is limited to body care and the body lust expressed in dance and thus remains with allusions, fornication and joy in one's own beauty are clearly named in the mixed-language Passion Plays. In this context, a remark by Günter Bernt should be seen that the inclusion of vernacular verses shows that the spiritual games should increasingly appeal not only to clerics but to a larger audience. In this regard, in addition to the intelligibility of the language, the form of presentation could also have favored the popularity of the Passion Play.

Günter Bernt sees the figure of Maria Magdalena in the Magdalen play as the embodiment of the human being "who is devoted to the joys of this world". Not least the beginning of the Magdalenian scene of the Benediktbeurer Passion Play with Maria Magdalena's first words "Mundi delectatio" ('Be praised, lust of the world') in her performance song (v. 19-26), composed as a vagant strophe , speaks for this interpretation.

This creates a context in which the Minnelong “Chramer, gip die varwe mier” (v. 35–52), which was included in the Benediktbeurer Passion Play following the performance song , appears on a new level of meaning. According to Helmut de Boor and Richard Newald , the originally “innocent little song” is used to characterize a sinner and thus “perverted”. In the Middle High German song, Maria Magdalena buys make-up with the aim of making herself attractive to men: "Chramer, gip die varwe mier / diu min wengel roete / da mit ich die iungen man / an ir danch der minneliebe noete" ('Krämer 'Give me the make-up / that makes my cheeks red / so that I can make the young men / submissive').

De Boor and Newald see here an indication of the change that happened to the high medieval value system in the late Middle Ages. Former values ​​would now be interpreted as a vice. Taking into account the original meaning of Minne , the basis of this argument becomes particularly clear in the second part of the song. There it says: "Minnet, good man / minnekliche vrawen / minne tuot iu hoech gemut / unde let you in high eyes" ('Give, righteous men / amicable to women your love / love makes you proud / and brings you honor' ). In particular in connection with the following refrain “Look at me, you young men / let me please” (“Look at me, you young men / let me please”) from the mouth of Mary Magdalene, who unconditionally surrenders to worldly temptations Text has a meaning alienated from its origins as a minnesong, which de Boor and Newald bring in the vicinity of "arrogance and sexuality, even prostitution".

Conversion of Mary Magdalene

Typical of the traditional Magdalen scenes is the sudden change of heart of Maria Magdalena, the conversion . The depiction of this process in the Benediktbeurer Passion Play is the only one in a mixed-language game that illustrates the inner conflict of Maria Magdalena. During the day, ruled by the devil , she sings secular songs, at night an angel appears to her who brings her the message of the work of Jesus Christ. De Boor and Newald see here an indication of the tension between heaven and hell, in which man moves in all his earthly actions, "in constant confrontation with their temptations and demands".

After her sudden change of heart (v. 114ff.), Mary Magdalene exchanged her secular clothing for a black robe as a sign of conversion and successfully asked Jesus for forgiveness of her sins. While there is no textual basis in the Bible either for world life or for conversion, the anointing of Jesus in connection with the forgiveness of sins evidently arose on the basis of similar descriptions in the four Gospels. The forgiveness of sins itself (v. 157) even occurs in biblical prose. At the end of the scene, Mary Magdalene leaves and, through tears, joins the lament "Awe, awe, daz I was born!" ('Woe to me that I was ever born!').

Impact history

The end of the Magdalenian scene is an example of the numerous controversies that have been waged around the Benediktbeurer Passion Play, especially since the 20th century. Eduard Hartl carried out the most extensive interventions up to that point in his 1952 edition. “For compelling reasons,” he writes, “I had to insert some appearances differently than the ms. Ordered them”. Hartl does not exclusively represent the assessment that Mary Magdalene's complaint no longer makes sense in the position after the forgiveness of sins, but neither he nor others found a passage that seemed more suitable to them. Even in the critical edition of the Carmina Burana by Alfons Hilka and Otto Schumann, which is considered authoritative today, the complaint remains in its place.

In his considerations, Rolf Steinbach deals with the end of the lawsuit. The final sentence “Wol uf, ir gueten man unde wip, got will rihten sele unde leip” ('Certainly, you honorable men and women, God will judge soul and body'; v. 164f.) Shows that the song is not about "To be understood as a direct emotional expression, but as an interpretation of the Magdalen play [...]". The final chant, like the depiction of the conversion as a whole, is a “sign of the utter forlornness of man”.

In any case, Steinbach rejects most of the doubts about the correct positioning of individual scenes as incomprehensible, even if the game deviates from the chronology of events given in the Bible. “Again and again it has to be made clear that the games do not reproduce world events, but rather interpret them,” said Steinbach. Hartl justifies his changes to the much discussed ending of the game, which initially confused with the scornful calls of the Jews (v. 281ff.) Only after Jesus' death, with the argument that this was “just as ineffective as it is thought-provoking: after signs and wonders have occurred , the mockery of the Jews would not be appropriate ”. Steinbach replied that the Benediktbeurer Passion Play wanted to show the "stubbornness of the Jews" in response to the healings of Longinus, which had just been depicted. Accordingly was the the death cry of Jesus, "Ely, Ely, lama sabactany" (My God, my God, why have you forsaken me? ', Actually Aramaic אֵלִי אֵלִי לְמָה שְׁבַקְתָּנִי ' eli, 'eli, lama schewaktani or ܐܹܝܠ ܐܹܝܠ ܠܡܵܢܵܐ ܫܒܲܩܬܵܢܝ 'il,' il, lmana schwaktan ; v. 277), related saying “Eliam vocat iste” ('He calls to Elijah'; v. 282) should not be understood merely as a misunderstanding of a word on the part of the Jews , but should be understood as their unbelief reveal, so Steinbach. Contrary to tradition in Hartl's handwriting, it is not necessary to have both scenes follow one another directly. The games had "placed no value on immediate connection".

While Steinbach's question as to the meaning of the performance of an already known content may at first seem a bit strange - one only thinks in this context of the presentation of the Passion story that is still so common and widespread today in known church music works - his is at first Look, a hint that appears quite simple, "not the historical comprehensibility, but its translatability makes the salvation event significant", all the more helpful. In this way, inconsistencies can be explained, such as Zacchaeus' promise to repay everything wrongly acquired in fourfold without Jesus first accusing him (v. 9). Here and in other parts of the Benediktbeurer Passion Play, the content can only have an effect in connection with the Bible text. "When viewed from within the work [...] a lot remains incomprehensible," Steinbach states. Without reference to the Bible, the game disintegrates into “nothing but unrelated pieces”. Where, as in the Benediktbeurer Passion Play, "the presence of divine healing powers is at stake, the historical process becomes irrelevant," says Steinbach. Janota states that with the "focus on the passion of Jesus as the decisive act of redemption [...] the topic of sin and redemption at the center of the game". The Benediktbeurer Passion Play is to be understood as an interpretation of the biblical Passion story.

History of the Benediktbeurer Passion Play

Emergence

The spiritual games in general are considered to be an original creation of the Middle Ages, the creation of which is closely linked to the liturgy . As far as the medieval Passion Play is concerned, the assumption is widespread that it arose from an extension of the Easter plays , which, according to tradition in the Bible, included the previous event in the representation. This is supported by the fact that in other contexts a progressive expansion of spiritual games through the addition of new scenes could be demonstrated. However, the transferability of this evidence to the Passion Play is in doubt. Without offering an alternative solution, recent research rather assumes that the widely differing forms of the game type from the 13th and 14th centuries speak against this conclusion. In his discussion of various theories of origins, Bergmann points out contradictions , which alternate between the Lamentations of Mary, liturgical celebrations for the conversion of Mary Magdalene or the resurrection of Lazarus , Passion reports in the Gospels and the liturgy of Holy Week . He points out, however, that the "possibilities of a comprehensive evaluation of the [...] individual results" are limited due to the "relatively small number of Passion Play passed on" and that "some questions [...] must remain open". "The origin of the Passion Play", even Janota states, "is completely in the dark."

Lore

The many controversies about the Benediktbeurer Passion Play, independent of the history of its origins, may be one reason why it was published more often than any other game of the time. On the one hand, they can be traced back to the ambiguities mentioned above, but above all to the handwriting itself and the "imprecise working method of the scribe".

The game takes place in the Codex Buranus on the differing in size and line marking from the rest of manuscript sheets 107 r to 110 r , then breaks off in the middle set and is interrupted several times, on the leaves 111 v and 112 v continued. It thus fills almost the entire last layer of the manuscript.

Correspondence occurs several times. The game instructions have again been added by another hand. In contrast to all other scenes in the game, the stage directions for the conversation between Joseph von Arimathia and Pontius Pilate are not written in red but in black on the last sheet. The example of this so-called burial scene illustrates the problems that tradition gives up. The scene is written by a different hand, on a new sheet of paper and in a different dialect. Nevertheless, it has prevailed in research to assign the conversation to the Benediktbeurer Passion Play as the final scene, also in the absence of an explanation as to how and why an dependent scene should otherwise have entered the Codex Buranus. Steinbach argues that there are examples of writing and dialect changes in the game in several places, as well as scenes that are interrupted and only continued on the next page. Elsewhere, however, such as the change in the denial scene, interventions are justified. She "got caught in Jesus by the imprecise working methods of the scribes".

Bilingual Latin / Middle High German

In contrast to the Easter plays, in which mixed-language and German plays existed side by side for a long period of time, the bilingual Passion Play is an intermediate stage in the development from the Latin to the vernacular Passion Play. Janota classifies the Great Benediktbeurer Passion Play as the first text testimony to a German spiritual play. As already mentioned, Bernt evaluates the inclusion of vernacular stanzas to the effect that the games were no longer intended to appeal only to clerics, but were increasingly designed for a broader audience, who as a rule did not speak Latin.

reception

Performance practice upon publication

The Benediktbeurer Passion Play is the oldest known mixed-language passion play in the Bavarian language area, "but according to tradition, the dominant play landscape for this type of game during the 14th century is in Rhine-Franconian ", says Janota. There are no references to the specific performance practice of the Benediktbeurer Passion Play.

Setting by Carl Orff

The composer Carl Orff (1895–1982) set excerpts from the Codex Buranus to music. His work Carmina Burana with 24 pieces was premiered in Frankfurt am Main in 1937 . It is a completely new setting. Many of the poems of the Codex Buranus intended for singing are provided with musical notes called neumes. However, their significance has not yet been reconstructed. Orff selected the song “Chramer, gip die varwe mier” from the Benediktbeurer Passion Play and assigned it to the first part of his work under the title “In Spring”.

literature

Text output

  • Günter Bernt (Ed.): Carmina Burana. The songs of the Benediktbeurer manuscript. Complete edition of the original text based on the critical edition by Alfons Hilka and Otto Schumann completed by Bernhard Bischoff. Translation of the Latin texts by Carl Fischer and the Middle High German texts by Hugo Kuhn. Comments and epilogue by Günter Bernt. 2nd Edition. dtv, Munich 1983.
  • Bernhard Bischoff, Alfons Hilka (Ed.): Carmina Burana. The drinking and play songs, the spiritual dramas. Using the preliminary work of Wilhelm Meyer, edited critically by Alfons Hilka and Otto Schumann, Vol. 3. Winter, Heidelberg 1970.
  • Eduard Hartl (ed.): The Benediktbeurer Passion Play. The St. Gallen Passion Play. Niemeyer, Halle an der Saale 1952.
  • Benedikt Konrad Vollmann (Ed.): Carmina Burana. Texts and translations. With the miniatures from the manuscript and an essay by Peter and Dorothee Diemer. Library of the Middle Ages, vol. 13. Deutscher Klassiker-Verlag, Frankfurt am Main 1987.

Secondary literature

  • Rolf Bergmann : Catalog of the German-language spiritual games and Marian laments of the Middle Ages. With the collaboration of Eva Pauline Diedrichs. Beck, Munich 1986.
  • Ingeborg Glier  (ed.): History of German literature from the beginnings to the present. German literature in the late Middle Ages. 1250-1370. Couples poems, drama, prose. By Helmut de Boor and Richard Newald. Beck, Munich 1987.
  • Eduard Hartl: The development of the Benediktbeurer Passion Play. In: Euphorion 46, 1952, pp. 113-137.
  • Johannes Janota : History of German Literature. Orientation through vernacular written form, Vol. 3/1. Niemeyer, Tübingen 2004.
  • Karl Langosch : Spiritual games. Unchanged reprint of the 1957 edition. Wissenschaftliche Buchgesellschaft, Darmstadt 1961.
  • Rolf Steinbach : The German Easter and Passion Plays of the Middle Ages. Attempt to present and define its essence, along with a bibliography on German spiritual play in the Middle Ages. Cologne German Studies, Vol. 4. Böhlau, Cologne 1970.
  • Dieter Schaller : Carmina Burana. In: Lexikon des Mittelalters, Vol. 2. dtv, Munich 2002.
  • Henning Thies : Carmina Burana. In: Kindler Literaturlexikon Online http://www.derkindler.de/index.php/leseproben/65 ( Memento from July 29, 2012 in the web archive archive.today ) .

References and comments

  1. ^ Rolf Bergmann: Catalog of the German-language spiritual games and lamentations of the Virgin Mary of the Middle Ages. With the collaboration of Eva Pauline Diedrichs. Beck, Munich 1986, p. 266.
  2. ↑ Ingeborg Glier (Ed.): History of German literature from the beginnings to the present. German literature in the late Middle Ages. 1250-1370. Couples poems, drama, prose. By Helmut de Boor and Richard Newald. Beck, Munich 1987, p. 186.
  3. ^ Benedikt Konrad Vollmann  (Ed.): Carmina Burana. Texts and translations. With the miniatures from the manuscript and an essay by Peter and Dorothee Diemer. Library of the Middle Ages, vol. 13. Deutscher Klassiker-Verlag, Frankfurt am Main 1987, p. 1280.
  4. ^ Bernhard Bischoff, Alfons Hilka (Ed.): Carmina Burana. The drinking and play songs, the spiritual dramas. Using the preliminary work of Wilhelm Meyers, edited critically by Alfons Hilka and Otto Schumann, Vol. 3. Winter, Heidelberg 1970, p. 266f.
  5. ↑ Eduard Hartl (ed.): The Benediktbeurer Passion Play. The St. Gallen Passion Play. Niemeyer, Halle an der Saale 1952, p. 7.
  6. ↑ Hartl 1952, p. 4.
  7. ^ Translation of the Latin passages taken from: Günter Bernt (Ed.): Carmina Burana. The songs of the Benediktbeurer manuscript. Complete edition of the original text based on the critical edition by Alfons Hilka and Otto Schumann completed by Bernhard Bischoff. Translation of the Latin texts by Carl Fischer and the Middle High German texts by Hugo Kuhn. Comments and epilogue by Günter Bernt. 2nd Edition. dtv, Munich 1983. Translation of Middle High German texts: own translation.
  8. ^ Karl Langosch: Spiritual games. Unchanged reprint of the 1957 edition. Wissenschaftliche Buchgesellschaft, Darmstadt 1961, p. 246.
  9. ↑ All verses refer, unless otherwise indicated, to Günter Bernt (Ed.): Carmina Burana. The songs of the Benediktbeurer manuscript. Complete edition of the original text based on the critical edition by Alfons Hilka and Otto Schumann completed by Bernhard Bischoff. Translation of the Latin texts by Carl Fischer and the Middle High German texts by Hugo Kuhn. Comments and epilogue by Günter Bernt. 2nd Edition. dtv, Munich 1983.
  10. ↑ Bischoff, Hilka 1970. pp. 266f.
  11. ↑ Bischoff, Hilka 1970. p. 166.
  12. ↑ Steinbach 1970. p. 112.
  13. ↑ Glier 1987. p. 191.
  14. ↑ Bernt 1983. p. 853.
  15. ↑ In order to distinguish between a Magdalena scene as part of another game and an independent Magdalena play, a distinction is made here, knowing full well that the Magdalena scene in the Benediktbeurer Passion Play is often referred to as the Magdalena play.
  16. ↑ Bischoff, Hilka 1970. p. 166.
  17. ↑ Glier 1987. p. 182.
  18. ^ Günter Bernt: Carmina Burana. The songs of the Benediktbeurer manuscript. Complete edition of the original text based on the critical edition by Alfons Hilka and Otto Schumann completed by Bernhard Bischoff. Translation of the Latin texts by Carl Fischer and the Middle High German texts by Hugo Kuhn. Comments and epilogue by Günter Bernt. 2nd Edition. dtv, Munich 1983, p. 973.
  19. ↑ Bernt 1983. p. 973.
  20. ↑ Glier 1987. p. 192.
  21. ↑ Glier 1987. p. 192.
  22. ↑ Glier 1987. p. 192.
  23. ↑ Glier 1987. pp. 194f.
  24. ^ Rolf Bergmann: Catalog of the German-language spiritual games and Marian lamentations of the Middle Ages. With the collaboration of Eva Pauline Diedrichs. Beck, Munich 1986, p. 186ff.
  25. ↑ Hartl 1952. p. 11.
  26. ↑ Hartl 1952. p. 115.
  27. ^ Bischoff, Hilka 970.
  28. ^ Henning Thies: Carmina Burana. In: Kindler Literaturlexikon Online ( Memento from July 29, 2012 in the web archive archive.today )
  29. ↑ Steinbach 1970. p. 110.
  30. ↑ Steinbach 1970. p. 110.
  31. ↑ Hartl 1952, p. 117.
  32. ↑ Steinbach 1970. p. 111.
  33. ↑ Steinbach 1970. p. 111.
  34. ↑ Steinbach 1970. p. 114.
  35. ↑ Steinbach 1970. p. 115.
  36. ↑ Steinbach 1970. p. 114.
  37. ↑ Steinbach Cologne 1970. p. 114.
  38. ↑ Janota 2004. p. 362.
  39. ^ Dieter Schaller: Carmina Burana. In: Lexikon des Mittelalters, Vol. 2. dtv, Munich 2002, p. 1513
  40. ↑ Bernt 1983. p. 973.
  41. ↑ Schaller 2002. p. 1513
  42. ↑ Janota 2004. p. 363.
  43. ^ Rolf Bergmann: Catalog of the German-language spiritual games and Marian lamentations of the Middle Ages. With the collaboration of Eva Pauline Diedrichs. Beck, Munich 1986, p. 250ff.
  44. ↑ Janota 2004. p. 363.
  45. ↑ Steinbach 1970. p. 109.
  46. ↑ Steinbach 1970. p. 109.
  47. ↑ Hartl 1952. p. 3.
  48. ↑ Steinbach. 1970. p. 108ff.
  49. ↑ Glier 1987. p. 186.
  50. ↑ Janota 2004. pp. 356ff.
  51. ↑ Janota Tübingen 2004. p. 363.
  52. ^ Bergmann Munich 1986. p. 267.
  53. ^ Günter Bernt (ed.): Carmina Burana. Latin / German. Selected, translated and edited by Günter Bernt. Reclam, Stuttgart 1992, p. 5.