Heinrich von Stretelingen
Henry III. von Stretelingen (* 1258 ; † 1294 ) was a member of the baron family von Strättligen on Lake Thun . He was the son of Heinrich II von Stretelingen (*?; † 1263 or 1271 ).
One of them is the minstrel , three of whom are listed in the Codex Manesse . An illustration by Heinrich, which is almost identical to that in the Manessian manuscript, comes down to the so-called Nagler fragment .
Life
On Lake Thun, the old Wendelsee, was the Streterlinger castle, of which ruins are still preserved today. Members of the sex appear in numerous documents since the 12th century. Henry III von Stretelingen, (or Heinrich von Strättlingen), is the son of Heinrich von Stretelingen II. He is the first Oberland poet who entered European literature. He lived in the castle of his fathers near Gwatt and Einigen in the second half of the 13th century. It is not known which of the two was the minstrel, but for reasons of style and tradition, it is most likely Heinrich III, who was recorded between 1258 and 1294. to be regarded as the minstrel. There is no news about his life, if one disregards the historically unreliable Stretelinger Chronik of Eulogius Kiburger (ᵻ 1506, see L), who knows a H. who with the "great tenz and all sorts of spils" the ruin of the family conjured up, although his minstrels are not mentioned at all. There are three songs by Heinrich von Stretelingen that are listed in the Codex Manesse.
Traditional songs
Heinrich's work is very narrow with three songs. This hardly allows well-founded statements about the qualities of the author, and the melodies. All three songs can be found in the Codex Manesse. The best-known of these three songs is the song Naheigal guot vogelin which is still performed today.
| Original text | translation |
|---|---|
|
Seam No matter vogellîn guot, |
Nightingale, good little bird, |
Interpretation of the poem
At the beginning of the song, the singer sends the nightingale to the lady as a messenger of love. This captured the singer's heart. It is a miracle that despite the heartless state he is still happy. A refrain of pure sound words appears outside the stanza structure; they evoke the association of natural yodel. The second stanza begins with a picture of spring. This is reduced to a few catchwords: bluomen, klê, heide. With the concerting birds, the picture is complemented by the sound. Just as nature asked the birds to sing, so the Madonna demands it from the singer. He continues to sing in her honor. Your satisfaction makes him happy. The last stanza begins with a request to Frau Minne. She should bring the lady to understand the love affair caused. For the end of the song, Heinrich inserts the image of the love arrow. Frau Minne is supposed to meet the singer's lady with him. There is a suit of love. Günther Schweikle described its function as a "kind of emotional situation report in the mouth of a male lyrical self". The poet loves the lady and suffers from her silence. Moments of happiness are mentioned, but no specific reason is given. The song neither allows her to speak for herself, nor does the singer imagine her more precisely in her external appearance. Verses 1 and 3 tell of the attempts to break through monological loneliness and to find allies: the nightingale and Frau Minne.
Pictorial representations
In addition to the three songs that have come down to us in the Codex Manesse, there are also two pictorial representations of Heinrich von Stretelingen. One can be found in the Codex Manesse and the second in the Nagler fragment. The pictures are very much the same. The pictures depict the poet and a woman. Both are elegantly dressed. In the picture in the Codex Manesse the poet stands with his hands raised, the two middle fingers of the left hand bending in, the fourth finger to the thumb, which is what the young lady does. The two figures are facing each other, their upper bodies bent back symmetrically. The right leg of the Lord is in front, his right foot turned to the side (at right angles to the left) intersects the edge of the picture. The folds of the robe indicate the direction of movement. The artificial foot position is the main indication that the Lord should be shown dancing. Then the gesture of his raised left hand could indicate a finger snap. The lady holds her right hand in a very similar way. The position of the fingers on her left is to be interpreted as a dance gesture. She seems to be responding with her hand gestures to the dance movement of the gentleman who is doing a solo. The second picture is in the Nagler fragment. The couple is dressed a little differently here and has a slightly different position to each other. The woman raises her right hand against him, her upper body is strongly bent back and she supports her left hand on her hip, which is facing him. It is clear that the young lady is rejecting the poet here, which is more in line with the poet's second poem, where he emphasizes the pain and suffering caused by the rejection of the beloved. In the picture, besides the young couple, you can also see the coat of arms. The coat of arms also differs in the pictorial representations: in the Codex Manesse it is golden in the shield with a red arrowhead facing to the left. The closed gold helmet has two gold deer horns with four points each. The coat of arms in Nagler's fragment is red with a gold arrow and the gold helmet with the deer horns has five points.
literature
output
- Karl Bartsch: The Swiss minstrels . Ed .: Max Schiendorfer. tape 1 : texts . Niemeyer, Tübingen 1990, ISBN 3-484-10625-5 , pp. 82-85 .
Secondary literature
- Hella early morning: Heinrich von Stretelingen. In: New German Biography (NDB). Volume 8, Duncker & Humblot, Berlin 1969, ISBN 3-428-00189-3 , p. 424 ( digitized version ).
- Günther Schweikle: Heinrich von Stretelingen . In: Author's Lexicon . tape 3 , 1981, Sp. 880-882 .
- Richard Moritz Meyer: Heinrich von Stretlingen . In: Allgemeine Deutsche Biographie (ADB). Volume 36, Duncker & Humblot, Leipzig 1893, p. 575 f.
Web links
- Songs of Heinrich von Stretelingen in the Codex Manesse
- Nagler's fragment digitized
- Re-poems by Richard Zoozmann
supporting documents
- ↑ handschriftencensus.de
- ^ Hella early morning: Heinrich von Stretelingen. In: New German Biography (NDB). Volume 8, Duncker & Humblot, Berlin 1969, p. 424.
- ↑ Henrike Manuwald: Heinrich von Stretelingen, who likes to dance. On the expressiveness of author images in poetry manuscripts. In: Bern journal for history. 75th year, volume 02, 2013; bezg.ch (PDF).
| personal data | |
|---|---|
| SURNAME | Heinrich von Stretelingen |
| ALTERNATIVE NAMES | Henry III. of Strättligen |
| BRIEF DESCRIPTION | Minstrel and member of a baron family on Lake Thun |
| DATE OF BIRTH | 1258 |
| DATE OF DEATH | 1294 |