Guot wîp, I ask you minne

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Wolfram von Eschenbach in the Codex Manesse

Guot wîp, I bite dich minne (Lachmann 9.4; Kraus, Hanemann, Leitzmann VIII; Wapnewski 8) is a Minnelied by the Middle High German epic poet and poet Wolfram von Eschenbach , which must have been written around 1200. It has been handed down in the Codex Manesse and, against the background of high minne, deals with the wooing of the speaking self for a beautiful woman. Although the efforts are unsuccessful, the speaking ego draws joy and high muot , that is, emotional exhilaration, from its efforts. Because of its subject matter and motifs, the song can therefore be classified in the context of the typical courtly minstrel .

Summary

Part I - Request for love (verses 1-3)

In the first stanza the speaking I asks the speaking you for love because it cannot demand love. It expresses the hope of love fulfillment, but at the same time is also aware of the volatility of the favor of its beloved.

In addition, the speaking self asks itself in the following stanza how it can win the love of the previously inaccessible speaking Dus. To underline the ardent love, the beauty of the breast, which is compared to that of a magnificent hawk, is mentioned. The mouth made for kissing and the smile that drives away every need complete the description of beauty.

In the third stanza, the urgency of the request is emphasized again by listing the resulting joy that the speaking self would experience from being answered and the suffering so far suffered as a result of rejection and non-response .

Part II - Description of Beauty (Verses 4-5)

In stanzas four and five the speaking ego describes the extraordinary beauty of the speaking shower. The rosy cheeks, her gaze, the ruby red mouth and her smile fascinate the speaking self so much that it even places the beauty of the beloved above that of the goddess Venus . The pain relieving power of her smile is again emphasized. In addition, in addition to physical perfection, mental perfection is also addressed, as the beloved is free of faults and injustices. The urgency to win the beloved and the strong love for her expresses the speaking ego through the idea of ​​the death of love.

Although the second part is determined by the enthusiasm and description of the extraordinary beauty, there is also a development. The initially strong passion and despair gives way to spiritual knowledge, which is however still strongly influenced by feelings.

In the last stanza, the speaking ego emphasizes the gratitude for the exhilaration experienced by her and especially by her smile, the high muot .

Client and audience

Medieval literature is also referred to as an order literature as especially epics often for princely patrons were written using French sources, as for example for the Willehalm of Wolfram von Eschenbach is considered. Also for the creation of Wolfram's first epic Parzival , a group of patrons in the Franconian-Bavarian area is assumed because of the mention of several princely names, as was the case with Heinrich von Veldeke and Rudolf von Ems . Since Wolfram calls his lyrical work confidently in his self-defense of Parzival , Joachim Bumke assumes that Wolfram "already had a name as a minstrel" before he wrote his epics. One can only speculate whether there were also clients for the Minnelieder.

The background to the lecture is similarly uncertain. As is customary in minnesang, Wolfram wrote his songs for a courtly audience, the “secular and clerical nobility united by a common (knight) ideology, to which the urban patriciate increasingly in the 13th century As part of courtly culture, the songs were performed, in some cases accompanied by instruments and thus served for entertainment. The exact scope of the lecture has not been passed down.

analysis

Formal structure

Tonal scheme of the song VIII by Wolfram von Eschenbach

The song is structured in the form of a canzone , so it consists of a singing and a swan song. The singing is divided into two tunnels of three verses each, which together form an interlocking rhyme (abc | abc). The swan song includes an embracing rhyme with two rhyming inner verses (deed) or with an additional isolated inner verse split off from the last verse (deewd). The following tonal scheme results for all verses, in which both versions of the swan song are represented.

The numbers indicate the elevations in the verse. The only deviation from this scheme can be seen in verse IV in verse 9 (that I am in love with me). It appears overcrowded with its four instead of three elevations, so that either the elision of “love” or a double prelude is proposed as a solution .

The tone scheme already indicates an idiosyncratic way, as Wolfram stands out from other representatives of the Minnelied with "new techniques of verse filling, cadences and rhyme purity". The rhymes used are unusual for minnesong, as Wolfram only pays attention to the sound effect and therefore also uses "consonantically imprecise rhymes" and rhymes with vowels of "different quality" . Another feature are the enjambements , i.e. the continuation of a sentence beyond the sending, which can be found in every stanza. It is also noticeable that elidation often has to be carried out in order to maintain the shape. This is especially the case at the start. Here an elision is made so that the second syllable always forms the prelude. This creates the impression that the rhyme scheme has had a decisive effect on the speech formation. In addition, all period closings of the cadences are blunt, that is, stressed, and the number of periods, ie the number of uplifts and downgrades in a verse, is always even.

The tone scheme seems to be central to the language. It is adhered to almost consistently and still looks individual and noticeable through its implementation .

Lexicon and Syntax

Like the form, the lexicons and syntax of the song are, as is typical for Wolfram, very idiosyncratic. Olive Sayce sums it up as follows: “All in all, a highly individual syntax, in many respects uncharacteristic of the minstrel, which soon adapts itself harmoniously to the metric scheme , soon runs counter to it. Through the strong verbal element, the many concentrated expressions and the deviations from the norm, she achieves dynamism , conciseness and conciseness . "

The positioning and the use of the words are very free. Despite fitting into the rhyme scheme, the language is very close to the spoken language. Bumke justifies this assumption by the fact that conjunctions are often omitted, number and mode do not always match, and parentheses (insertions), ellipses (omissions), anacolutes (broken sentences) and constructions apo koinou (word is semantically and grammatically required, but missing) are present . The resulting breaks and sometimes even incongruences have an "irritating effect", but also surprise in a positive sense by loosening up the song's construction. This is also achieved through the frequent use of pronouns , the preceding nominative , substantiated infinitives , negative expressions , relative clauses without introductory pronouns and prepositional expressions. In this way, Wolfram differentiates himself from poets educated in Latin and develops an original, independent way of writing.

With regard to the form, it is noticeable that Aufgesang and Abgesang are always syntactically separated, ie there are no enjambements. Except in verse IV, there is always a delimitation in terms of content. Even within the stanzas, especially in the first three, there are only four resting points each, which enable fluent reading. Verses four and five, on the other hand, contain very many, so that reading seems rather hesitant. Olive Sayce refers to this more as the Morungen or Reinmar style .

The opponents of the authenticity of the song see here the strong break between the first three and the last three stanzas as evidence of Wolfram's imitation. The inferiority of the last part is also accused with regard to the lexicon . According to Kraus, this is characterized by “imitating use of images and formulas, monotony of statements, the 'disordered flight of thoughts' which is not miles away from Wolfram's kind, but astronomical light years away'”. The first part also contains the images that appear extraordinary. "Wilder danne ein tier" (stanza I, verse 7) and "dîn munt ist ûf den kus gestalt" (stanza II, verse 7) is what Carl von Kraus describes as "bold images." In stanza II, verse 1 ("Du treist sô vestez herze ") and stanza II, verse 3 (" ob mîner vröide stêt gezilt ") he sees" screwed turns ". Also noteworthy are the images in verse II, verse 4–6 (“a mûzervalke, a third, dem mac brust not baz danne dir diu dîne stên”) and verse IV, verse 10–11 (“at the place I am from the süezen wunt ”), which will be discussed in more detail in the section on humor . The comparison of the beloved with the goddess Venus in the second part is also unusual, since a whole new level, namely that of mythology , is opened up here. This would again speak for a part that belongs together.

As in these examples, Wolfram is characterized by the “unmistakable, unruly and almost exotic originality of his poetry”. Since these alternate with common pictures and descriptions, the common places are also emphasized. Wapnewski calls this the "originality of the unoriginal."

Motivation

The motif of the song is less unusual than form, syntax and lexicons. Wolfram uses here "in a conventional way motifs of courtly minstrels." The motif of beauty appears in different ways, whereby "standardized forms, images, metaphors and topoi " are used in each case . The beauty of the woman is emphasized by the description of selected body parts. Krüger calls this procedure pars pro toto , i.e. one part is taken for the whole. The most common body parts used for this are the mouth and the eyes, as the face should reflect the state of the soul ("swem si laughs from the heart, des care is dead", verse V, verse 4f). Also in Guot wîp, I bite you minne , the beauty is mainly attached to the eyes and mouth. The effect on the speaking ego is very dynamic ("she urgently grunt in my heart. So ir minne ignites me" verse IV, verse 7f). The word field is thus active and invigorating, the focus is on what the man experiences and feels.

The eye motif is taken up in two ways. The sight of the beloved causes the eyes of the lover to shine ("sist mîn spilnder ougen schîn", verse V, verse 6). The eyes are also the mirror of feelings in men. On the other hand, the speaking ego thanks his eyes for seeing the speaking Dus and so generally for making love possible. The eyes here stand for the medium , that is, for a kind of mediating authority. At the same time, this emphasizes the fixation on the external in the high minne. This proves once again that courtly love is an aesthetic one.

The mouth is also characterized by two different properties in the song. On the one hand, kissing is done with the mouth and the speaking self describes the beloved's mouth as being made for kissing ("dîn munt is ûf den kus gestalt", verse II, verse 7), on the other hand, the mouth alone offers communication options even without the voice (" lachelîchez grüezen “stanza II, verse 8). This is taken up again in stanza V (“swem si laugh from the heart, des care is dead” verse 4f). Here laughing at the heart, which at the same time shows affection, has an effect of relieving worries. Laughter therefore increases the high muotes of the speaking ego. In addition to the two central motifs eyes and mouth, the chest and cheeks are also emphasized as particularly beautiful (verse II, verse 4f and verse IV, verses 1-3).

humor

In his epics Wolfram shows "the desire for bizarre comparisons, funny descriptions of situations, etc. everywhere and without reservation humor."

Despite the theme of rejected love, this peculiarity of style can also be found in the poetry. Two passages in Guot wîp, I bite dich minne are written in a humorous and ironic way. In verse II, verse 4ff, the speaking ego compares the beloved's breast with that of a beautiful falcon ("a mûzervalke, a terze, the mac brust niht baz danne die diu dîne stên"), which, like the syntactic breaks, has a relaxing effect . This can also be seen in verse IV, verse 10f ("and at the place I am wunted by the süezen"), in which the speaker could make a "gesture that could be melodramatically accentuated".

interpretation

Interpretation part I - request for love (verses 1–3)

The first part of the song is determined by the request for love, the despair of the speaking self and the harshness of the beautiful lover. The beloved is addressed directly by the speaking self, so that a dynamic impression is created.

Already in the first verse and thus the part that we now call the title of the song, the idea of guot wîp comes up, which draws variations through the whole song. In particular, by naming the beginning (stanza I, verse 1) and end (end of stanza VI), a unity is formed. The leading term guoten wîps is also used in songs VI ( Ein wîp mac wol erlouben mir ) and VII ( Ursprinc bluomen, loup ûzdringen ). This emphasis on the word wîp can be seen against the background of the Reinmar-Walther feud . Walther places the term wîp above the term frouwe, which Reinmar uses with all its properties . In contrast to frouwe, Wîp does not contain any classifications and emphasizes that "in love , what counts should be realization and not claim."

This assumption is supported by the self-defense in Parzival .

The litotes "a part" (verse I, verse 2) restrict on the one hand the power of the speaking self in favor of the beloved, but on the other hand also give the reason for the request: I ask you because I do not command you to love can. Love is taken up in the paronomasia "live - love" (verse I, verse 6). Love and experience are connected and emphasized through the play on words. By comparing “wilder then an animal” (verse I, verse 7), the fleetingness of love, which can pass just as quickly as a deer is fast, is emphasized. Love can only arise through the favor and love of the beloved, which is expressed in the song by "dîn help". This is a pars pro toto , because help alone is not enough for love. With the exclamation “wie sol der sîte an dir zergên?” (Verse II, verse 3) the perplexity about the rejection and the question of how to avert it is expressed.

Now the speaking self turns back to the beauty of the beloved and compares her breast with that of a beautiful young falcon (verse II, verse 4ff). The falcon is also emphasized by the word variation mûzervalke candle. As a medieval symbol for minne, the comparison is flattering. In addition, the falcon theme is already known from Wolfram's song VI ( Ein wîp mac wol erlouben mir ). The oxymoron gesüezen-sûre (verse II, verse 9f) is also a compliment, since a smile on the part of the loved one is enough to let the speaking self forget all worries. The bad becomes the good. The speaking ego now comes back to your rejection of his requests. Through the visual comparison that it is harder than rock due to its strict rejection of the minne (hyperbola, stanza II, line 8ff), the difficult position of the speaking self becomes clear. He emphasizes his mood with the litotes "alze seldom" (verse III, line 7).

There remains an impression of despair, which has not yet turned into hopelessness.

Interpretation Part II - Description of Beauty (Verses 4-5)

The second part is determined by the description of the beauty of women and the fascination of the speaking self. In contrast to the first part, the beloved is not addressed directly because the speaking I speaks of her in the third person. The verses IV to VI are regarded by many researchers as inferior and often attributed to an imitator.

The three stanzas are closely related in terms of content and show the development of the speaking self. In verse IV the beloved is viewed more superficially, her beauty emphasized and fascination expressed. Burning love and the wounded heart are images of the consequences of love. In a short subordinate clause, however, the speaking I also expresses the spiritual perfection of the beloved (verse IV, verse 5). The following stanza is written less passionately and the motive of emergency or pain healing through laughter (cf. stanza II) is taken up.

With the "conception of the love death" (verse V, verse 8) a typical feature of minnesong is taken up. This fact and the metaphorical usage weaken the notion. It is used to illustrate the urgency and strong love. By comparing the beloved with Venus (stanza V, line 9), a mythological level of meaning is opened that is unique to Wolfram. But since he worked in the Parzival inspired by the mythology of Veldeke , this could also be the case here.

In the sixth stanza the development is complete. The expressions of feeling of the speaking self appear tamed and the pain and despair over the rejection (cf. part I) give way to joy. The speaking self is happy to even know his beloved and emphasizes that he draws joy and exhilaration, i.e. high muot , from love and her laughter . This development can be read particularly well in the description of her mouth and smile, as this is changed from the eroticized idea of ​​kissing to the “amiable commitment of social life”. The development can also be read in the eye motif. In the fourth stanza the gaze brings "nôt" as the cause of love, in the following stanza the eye is associated with recognizing beauty and in the last stanza gratitude is shown to the gaze or perception. There is a development from physical to spiritual recognition.

The two parts are connected by the theme of beauty, which is explicitly taken up by the mouth motif. In addition, the description of the feelings is consistently dynamic. This is achieved by mostly putting the participles and infinitives at the forwarding point (examples “uncover” verse I, verse 8 or “made” verse VI, verse 9). In addition, infinitives are substantiated (“lachelîchez grüezen” verse II, verse 8 or “minnelîchez lachen” verse VI, verse 8) and nouns that contain an action (“win” verse I, verse 4 or “danc” verse VI , Verse 2). Generally static processes are also made more dynamic by incorporating them in images and comparing them (“Ir wengel wol gesetellet”, verse IV, verse 1 or “dir diu dîne stên”, verse II, verse 6). In addition, the already explained “guot wîp” topic is also continued in the second part.

Depending on the point of view, a clear separation can be drawn between the parts. There are also theories that the Minnelong acts as a Minne scolding and is therefore meant rather parodistically .

Classification in the genre of the Minnelied

Wolfram von Eschenbach's poetry belongs to the fourth of a total of six phases of minnesong . It is about the climax and its overcoming and refers to the period from approx. 1190-1210. Alongside Wolfram, Walther von der Vogelweide is the most famous representative of this phase. The Stauferhof and the Thuringian Court are also characteristic as literary strongholds.

The minnesong is a genre of minstrelsong . Characteristic of the Minnelong, which is also known as an advertising song, is a direct address to the woman, as can be found in Guot wîp, I ask you, at least in the first part. It is characterized by the request for a reply, which in the present song is already clear from the title. In addition, the speaking ego swears its love and names the possible consequences of the rejection, in the present case misfortune and, at least metaphorically speaking , death. In the present song, too, it can be observed how "the peculiar statements of the individual author can be poured into socially sanctioned language formulas."

Based on this pattern, the concept of high minne, which is also explicitly expressed by the minstrels, can be inferred . Minnelongs are thus based on the following description of high minne : “The reason for complaint, the distance from the beloved, proves to be a sham reason, because she was always hostile to him - even when he was close to her [...]. It is now significant that not only his staete (constancy) prevents him from drawing liberating conclusions from it, but that he takes this contradicting attitude as merit and, paradoxically, even sees a satisfaction in the fact that he ir ie was undertân. ”This pattern Wolframs Minnelied follows. The speaking ego complains about the woman's rejection and accepts her as a kind of test. This behavior follows the medieval assumption that minne includes "dear unde leit". Nevertheless, the speaking ego still has hope and at the end of the song draws a positive conclusion - that of achieving high muotes . The speaking ego is confronted with “ key concepts such as triuwe [loyalty], staete [constancy] and mâze [moral moderation]”. For this reason, the high minne is also known as minne of service and minne of probation. The “high” refers to two moments, namely the position of the woman and the resulting high feeling.

It is important, however, that neither the author or singer are to be equated with the speaking self, nor that the content represents the real world. So Wolfram does not express his own feelings and is not the speaking self. Schweikle therefore concludes: "Can a secret and also forbidden advertising of love, sung about in public, be anything other than a literary motif?"

Even the beloved is not necessarily to be classified as a real person, but should rather be viewed as a representative of femininity. The woman represents the ideal and stands for the goal, namely that of achieving the high muotes.

Question of authenticity

In research it is discussed to what extent Guot wîp, I ask you, minne Wolfram can be assigned. Due to the stylistic and content differences that separate the song into two parts, the majority of researchers are convinced that the song in its present form is not a work by Wolfram. In addition, no other song by Wolfram has survived in such a large number of stanzas. The only disagreement is whether the first three stanzas are attributed to Wolfram and the second part was written by an imitator, or whether the song as a whole is spurious. Kraus justifies the inauthenticity of the second part through the "imitative use of images and formulas, the monotony of statements, the 'disordered flight of thoughts' which is not miles away from Wolfram's kind, but astronomical light years away'." rather the kind mentioned, which is characterized by the “unmistakable, unruly and almost exotic originality of his poetry” or the “originality of the unoriginal”.

Karl Lachmann even regretted the inclusion in his edition by writing that the song "could have been better left out of my collection".

Only Roswitha Wisniewski pleads for the connection between the two parts and thus for the authenticity of the whole song. She justifies this on the one hand with the continuous beauty motif and the dynamism and on the other hand with the image of “guot wîp”, which also appears in Wolfram 's song VI ( Ursprinc bluomen ) , which is considered genuine . The disintegration of the song into two parts is an "artistic means of representation" for them.

Since arguments can be found for all sides, the authenticity cannot be decided, since “ultimate certainty as to whether a text T comes from author A or B or C cannot be obtained because we are not there when the text is created were; only that alone would mean 'security' here. ”Although no exact answer can be found, the style analysis and interpretation often depend on the question of authenticity , since depending on the view, the two parts individually and with a clear devaluation of the second part or both parts are connected to be edited.

Reception history

Classification in the work of Wolframs

Wolfram von Eschenbach is best known for his five daily songs and his courtly novels Parzival , Willehalm and Titurel . The total of four Minnelieder received less attention, as they are less innovative and original compared to his later literary work and, above all, the Tagelieder and, despite their already pronounced stylistic peculiarities, represent typical representatives of the genre of the Minnelied . “It cannot be doubted that Wolfram initially composed ordinary minne songs before he wrote the day songs. Because almost always the greatest master appears first as a student, since genius without education remains inarticulate. "

The Minnelieder are at the beginning of Wolfram's literary career and are seen as a kind of entry point that made the creation of the Tagelieder as an innovation possible in the first place.

Wolframs Minnelieder and Tagelieder thus differ in style. The day songs are rather novelistic and closer to the epic , while the minnesongs approach the typical minnesang despite unusual pictures and comparisons .

But not only the style, but also the self-confident mention of his status as a well-known minstrel in the self-defense of the Parzival suggest that the minnelongs form the beginning of authorship. The Parzival was created after the Minnelieder and is dated to the first decade of the 13th century due to the mention of the military attack by King Philip of Swabia on Thuringia in 1203. It is also certain that the Parzival is older than the Willehalm , as Wolfram mentions the Parzival there (“swaz I spoke of Parzivâl, 4.20”). The Titurel takes up names from the Willehalm and is therefore determined to be Wolfram's last work.

The Minnelieder cannot be dated exactly, but can only be classified approximately in time as a distinction to the Titurel .

Lore

Guot wîp, I ask you minne is only handed down in handwriting . This is the Codex Manesse , which was "probably created on behalf of the Zurich patrician family Manesse ". The manuscript, which is given the sign C in German studies , deals with the period 1150/60–1300, so that Wolfram's Minnelied is also classified in this creative period. It is passed down as the penultimate of Wolfram's nine songs from verse 18 to 21¹, which is why the Sigle VIII is used.

Nothing is known about the lecture itself as a song or reading poetry, about possible instrumental accompaniment or polyphony . Presumably the song was performed sung, first by the author himself and later by post-singers. In general, however, the written transmission , which took place through notes outside of the lecture scene, must be separated from this. This is supported by the diligence of the scribes, the tradition of the authors' names, the similarity between documents from 1200 and 1300 and some miniatures in the Codex Manesse , which show the singers with scrolls .

Groundbreaking editions are the editions of Karl Lachmann , Albert Leitzmann , Carl von Kraus, Wolfgang Mohr and Peter Wapnewski as well as Hugo Moser's and Helmut Tervooren's edition of Des Minnesangs Frühling.

reception

Wolfram von Eschenbach was already a famous lyric poet during his creative period . This is proven by himself in the self-defense in Parzival , but also confirmed, for example, by Wirnt von Grafenberg : “'Mr. Wolfram von Eschenbach, a wise man. In his heart all sense of art is enclosed; never has a layman [an illiterate] wrote better. '"

Like Neidhart , Wolfram had a great influence on the poets of his time and on the poetry and epic that followed him . In particular, the courtly novels Parzival , Titurel and Willehalm made Wolfram one of the most famous epic poets. The last two writings in particular have been passed down so often that Wolfram is considered the most widely passed poet. For this reason, the influence on the following generations of poets was very strong. The imitators achieved such great perfection that the younger Titurel was long regarded as a work of Wolfram.

But also as a minstrel and especially with his day songs , Wolfram had a great influence on the later poetry. As a “co-founder of their art”, Wolfram was accepted by the Meistersingers “into the ranks of the 'twelve old masters' .” Although Wolfram “conventionally processed motifs from courtly minstrels”, his peculiarities of style made him a great lyric poet. But it was the conventional minstrel brought a "winning culture and humanity , especially when, a rough and warlike race results in this art practice." Whether tungsten one of the aforementioned Ritter was despite indications in his epics and the miniature is Manesse not sure, which does not detract from the delivery of the ideology of “true art”.

Wolfram was and is therefore considered to be one of the greatest singers, but achieved even greater fame as an epic poet.

literature

Text output

Secondary literature

  • Thomas Bein: Athetes and arguments. In: Rüdiger Krohn (ed.): "Dâ hoeret ouch geloube zuo". Lore and authenticity issues on minstrel. Contributions to the colloquium for Günher Schweikle on the occasion of his 65th birthday . Hirzel, Stuttgart 1995, pp. 9-26, ISBN 3-7776-0606-5 .
  • Horst Brunner et al .: Walther von der Vogelweide. Epoch, work, effect (workbooks of literary history). 2nd edition Beck, Munich 2009, ISBN 978-3-406-39779-0 .
  • Joachim Bumke : Wolfram von Eschenbach (Metzler Collection; Vol. 36). 8th edition Metzler, Stuttgart 2004, ISBN 3-476-18036-0 .
  • Manfred Eikelmann: Forms of thought in Minnesang. Investigations on the structure, cognitive performance and application history of conditional structural patterns of minnesong up to around 1300. Niemeyer, Tübingen 1988, ISBN 3-484-15054-8 (also dissertation, University of Münster 1985).
  • Lotte Hanemann: The songs of Wolfram von Eschenbach. Dissertation, University of Hamburg 1949.
  • Carl von Kraus (Ed.): German song poet of the 13th century, Vol. 2: Commentary. De Gruyter, Berlin 2010, ISBN 3-484-10326-4 (reprint of the Tübingen edition 1978).
  • Rüdiger Krüger : Puella bella. The description of the beautiful woman in the Minne lyric of the 12th and 13th centuries (Helfant texts; Vol. 6). Helfant edition, Stuttgart 1986, ISBN 3-929030-06-3 .
  • Olive Sayce: The Syntax of Wolfram's Songs. In: Kurt Gärtner (Ed.): Studies on Wolfram von Eschenbach. Festschrift for Werner Schröder on his 75th birthday. Niemeyer, Tübingen 1989, ISBN 3-484-10627-1 .
  • Günther Schweikle: Humor and irony in minnesang. In: Werner Schröder (Ed.): Wolfram-Studien, Vol. 7. Schmidt, Berlin 1982, pp. 55–74, ISBN 3-503-01690-2 .
  • Günther Schweikle: Minnesang (Metzler Collection; Vol. 244). Metzler, Stuttgart 1989, ISBN 3-476-10244-0 .
  • Günther Schweikle: Minnesang in a new perspective. Metzler, Stuttgart 1994, ISBN 3-476-00981-5 .
  • Eva Willms: love affliction and lust for singing. Studies on German love poetry of the late 12th and early 13th centuries. Artemis Verlag, Munich 1990, ISBN 3-7608-3394-2 (plus habilitation thesis, University of Göttingen 1990).
  • Roswitha Wisniewski : Style and content of the (fake?) Wolfram songs VII and IX. In: Uta Schwab, Elfriede Stutz (ed.): Philological studies. Commemorative publication for Richard Kienast (German Library). Winter, Heidelberg 1978, pp. 41-53, ISBN 3-533-02772-4 .

Web links

Individual evidence

  1. ↑ a b Günther Schweikle: Minnesang , p. 87f.
  2. ↑ a b c d e Joachim Bumke: Wolfram von Eschenbach , p. 36.
  3. ^ Peter Wapnewski: Die Lyrik Wolframs von Eschenbach , pp. 231–235.
  4. ↑ Joachim Bumke: Wolfram von Eschenbach , p. 13.
  5. ↑ Joachim Bumke: Wolfram von Eschenbach , p. 15.
  6. ↑ a b Joachim Bumke: Wolfram von Eschenbach , p. 20.
  7. ^ Günther Schweikle: Minnesang , p. 103.
  8. ↑ Joachim Bumke: Wolfram von Eschenbach , p. 12.
  9. ↑ a b c Peter Wapnewski: Die Lyrik Wolframs von Eschenbach , p. 236f.
  10. ^ Peter Wapnewski: Die Lyrik Wolframs von Eschenbach , p. 237f.
  11. ↑ a b c Joachim Bumke: Wolfram von Eschenbach. 8th edition. Metzler, Stuttgart 2004, p. 28.
  12. ↑ Lotte Hanemann: The songs of Wolframs von Eschenbach , p. 39f.
  13. ^ A b Peter Wapnewski: Die Lyrik Wolframs von Eschenbach , p. 237.
  14. ↑ Olive Sayce: The Syntax of Wolfram's Songs. In: Kurt Gärtner (Ed.): Studies on Wolfram von Eschenbach. Festschrift for Werner Schröder on his 75th birthday , pp. 535–548 (here p. 548).
  15. ↑ a b Joachim Bumke: Wolfram von Eschenbach , p. 26.
  16. ↑ Joachim Bumke: Wolfram von Eschenbach , p. 27f.
  17. ^ A b c d Carl von Kraus: German song poets of the 13th century, Vol 2: Commentary , p. 699.
  18. ↑ Olive Sayce: The Syntax of Wolfram's Songs. In: Kurt Gärtner (Ed.): Studies on Wolfram von Eschenbach. Festschrift for Werner Schröder on his 75th birthday , pp. 535–548 (here p. 540).
  19. ↑ a b c d Peter Wapnewski: Die Lyrik Wolframs von Eschenbach , p. 239.
  20. ^ A b c Günther Schweikle: Humor and irony in minnesang. In: Werner Schröder (Ed.): Wolfram Studies, Vol. 7 , pp. 55–74 (here p. 69).
  21. ↑ a b c d Roswitha Wisniewski: Style and content of the (fake?) Wolfram songs VII and IX. In: Uta Schwab, Elfriede Stutz (ed.): Philological writings. Commemorative publication for Richard Kienast , pp. 41–51 (here p. 45).
  22. ↑ a b c Peter Wapnewski: Die Lyrik Wolframs von Eschenbach , p. 240.
  23. ^ A b Rüdiger Krüger: Puella bella. The description of the beautiful woman in the Minne lyric of the 12th and 13th centuries , p. 112.
  24. ^ Rüdiger Krüger: Puella bella. The description of the beautiful woman in the Minne lyric of the 12th and 13th centuries , pp. 143–152.
  25. ^ A b Roswitha Wisniewski: Style and content of the (fake?) Wolframlieder VII and IX. In: Uta Schwab, Elfriede Stutz (ed.): Philological writings. Commemorative publication for Richard Kienast , pp. 41–51 (here p. 44).
  26. ^ Rüdiger Krüger: Puella bella. The description of the beautiful woman in the miniature poetry of the 12th and 13th centuries , p. 111.
  27. ↑ Roswitha Wisniewski: Style and content of the (fake?) Wolframlieder VII and IX. In: Uta Schwab, Elfriede Stutz (ed.): Philological writings. Commemorative publication for Richard Kienast , pp. 41–51 (here p. 44f).
  28. ^ Carl von Kraus: German song poets of the 13th century, Vol. 2: Commentary , p. 698.
  29. ↑ a b c Roswitha Wisniewski: Style and content of the (fake?) Wolfram songs VII and IX. In: Uta Schwab, Elfriede Stutz (ed.): Philological writings. Commemorative publication for Richard Kienast , pp. 41–51 (here p. 43).
  30. ↑ Roswitha Wisniewski: Style and content of the (fake?) Wolframlieder VII and IX. In: Uta Schwab, Elfriede Stutz (ed.): Philological writings. Commemorative publication for Richard Kienast , pp. 41–51 (here p. 42f).
  31. ↑ Horst Brunner et al .: Walter von der Vogelweide. Epoch-work-effect , p. 77.
  32. ↑ a b c Lotte Hanemann: The songs of Wolframs von Eschenbach , p. 103.
  33. ↑ Falcon . In: Wiki for Internet-Based Teaching (IGL) at the Institute for History of the University of Vienna , March 8, 2008, accessed on August 27, 2010.
  34. ↑ Roswitha Wisniewski: Style and content of the (fake?) Wolframlieder VII and IX. In: Uta Schwab, Elfriede Stutz (ed.): Philological writings. Commemorative publication for Richard Kienast , pp. 41–51 (here pp. 41–43).
  35. ↑ Manfred Eikelmann: Forms of thinking in Minnesang. Investigations on the structure, cognitive performance and application history of conditional structural patterns of minnesong up to around 1300 , p. 19.
  36. ↑ Manfred Eikelmann: Forms of thinking in Minnesang. Investigations on the structure, cognitive performance and application history of conditional structural patterns of minnesong up to around 1300 , p. 190f.
  37. ↑ Roswitha Wisniewski: Style and content of the (fake?) Wolframlieder VII and IX. In: Uta Schwab, Elfriede Stutz (ed.): Philological writings. Commemorative publication for Richard Kienast , pp. 41–51 (here p. 46).
  38. ↑ Roswitha Wisniewski: Style and content of the (fake?) Wolframlieder VII and IX . In: Uta Schwab, Elfriede Stutz (ed.): Philological writings. Commemorative publication for Richard Kienast , pp. 41–51 (here pp. 43–44).
  39. ↑ Peter Wapnewski: Die Lyrik Wolframs von Eschenbach , p. 10.
  40. ^ Günther Schweikle: Minnesang , p. 115.
  41. ^ Günther Schweikle: Minnesang , p. 122f.
  42. ^ Günther Schweikle: Minnesang , p. 169.
  43. ^ A b Günther Schweikle: Minnesang in a new view , p. 55.
  44. ^ Günther Schweikle: Minnesang , p. 169f.
  45. ^ Günther Schweikle: Minnesang in a new perspective , p. 54.
  46. ^ Eva Willms: Liebesleid und Sangeslust. Studies on German love poetry of the late 12th and early 13th centuries , p. 4.
  47. ↑ Peter Wapnewski: Die Lyrik Wolframs von Eschenbach , p. 238f.
  48. ↑ Roswitha Wisniewski: Style and content of the (fake?) Wolframlieder VII and IX. In: Uta Schwab, Elfriede Stutz (ed.): Philological writings. Commemorative publication for Richard Kienast , pp. 41–51 (here p. 41).
  49. ^ 'Peter Wapnewski: Die Lyrik Wolframs von Eschenbach , pp. 238-251.
  50. ^ Karl Lachmann quoted from Peter Wapnewski: Die Lyrik Wolframs von Eschenbach , p. 238.
  51. ↑ Roswitha Wisniewski: Style and content of the (fake?) Wolframlieder VII and IX. In: Uta Schwab, Elfriede Stutz (ed.): Philological writings. Commemorative publication for Richard Kienast , pp. 41–51.
  52. ↑ Thomas Bein: Athetesen and Argumentations. In: Rüdiger Krohn (ed.): "Dâ hoeret ouch geloube zuo". Questions about tradition and authenticity of minnesong , pp. 9–26 (here p. 12).
  53. ↑ Kurt Plenio quoted from Peter Wapnewski: Die Lyrik Wolframs von Eschenbach , p. 9.
  54. ↑ Peter Wapnewski: Die Lyrik Wolframs von Eschenbach , p. 9.
  55. ↑ Joachim Bumke: Wolfram von Eschenbach , p. 19f.
  56. ^ Günther Schweikle: Minnesang in a new perspective , p. 186.
  57. ↑ Günther Schweikle: Minnesang in a new perspective , p. 17.
  58. ↑ Günther Schweikle: Minnesang in a new perspective , p. 25.
  59. ↑ Joachim Bumke: Wolfram von Eschenbach , p. 37.
  60. ↑ Joachim Bumke: Wolfram von Eschenbach , p. 29.
  61. ↑ Joachim Bumke: Wolfram von Eschenbach , p. 37f.
  62. ↑ a b Joachim Bumke: Wolfram von Eschenbach , p. 31.
  63. ^ Eva Willms: Liebesleid und Sangeslust. Studies on German love poetry of the late 12th and early 13th centuries , p. 5.
  64. ↑ Joachim Bumke: Wolfram von Eschenbach , p. 4f.
  65. ^ Eva Willms: Liebesleid und Sangeslust. Studies on German love poetry of the late 12th and early 13th centuries , p. 2.
  66. ↑ Based on the work of the same name by Karl Lachmann , Moriz Haupt and Friedrich Vogt .

Remarks

  1. ^ Solution from Lachmann, Leitzmann, Kraus, Hartl
  2. ^ Solution Wapnewski
  3. ↑ Example: Verse II, verse 7-8: "dîn munt is ûf den kus gestalt, dîn lachelîchez grüezen"
  4. ↑ Representatives of this point of view: Joachim Bumke and Hermann Paul
  5. ↑ View of Hermann Paul and Joachim Bumke
  6. ↑ View of Kraus, Wapnewski, Lachmann