Herzeliebez vrouwelin

from Wikipedia, the free encyclopedia

" Herzeliebez vrouwelin " (L 49.25) is a song by Walther von der Vogelweide . It deals with the love between a girl of apparently low social status and a minstrel. The song is one of the most popular and most discussed in research by Walther, as it differs significantly from the traditional minne songs that have been used to date. The song is assigned to the so-called "girl songs", based on the minneideal represented in it. These herald a turning point in traditional minstrelsong. However, their significance is highly controversial in medieval literary history.

content

The song is introduced by a declaration of love by the speaking self towards the sung-about girl, which at the same time implies the fear of the failure of the common happiness (I, 1ff.). This is followed by a dialogue that the speaker conducts with the critics of his song and in which he deals with their accusations (II, 1ff.). This is followed by a discussion of values ​​about the hierarchy of the qualities “love” and “beauty”. (III, 1ff.) In the fourth stanza the speaking ego reveals its deep feelings to the frouwelin and places them in their meaning above a queen (IV, 1ff.). Finally, the conditions are mentioned that must be present in order to guarantee a fulfilled love relationship between the two Minne partners (V, 1ff.).

Lore

"Herzeliebez vrouwelin" is one of Walther's most frequently passed down songs and was already widely used in five manuscripts in the Middle Ages and can still be found in them today:

Surname Sigle time origin Current location language material
Great Heidelberg song manuscript C First half of the 14th century Probably Switzerland Heidelberg University Library Alemannic writing variety parchment
Little Heidelberg song manuscript A Late 13th century Alsace Heidelberg University Library alemannic parchment
Würzburg song manuscript E before 1355 Wurzburg Munich University Library Writing language of the Würzburg office parchment
G Mid-14th century not clear Bavarian State Library Bavarian parchment
O Late 13th century Cologne area Krakow University Library West Central German parchment

In addition, there are three verses (III, 4-6) in the Hague song manuscript s following a stanza of the "Mailiedes" (51.13). The song manuscript was created around 1400 in the Lower Rhine area, can be found today in the Royal Library of The Hague and is written in Middle Dutch. The traditions are divided into Upper German, Middle and Low German and Dutch varieties. The song is thus represented in the entire German-speaking area. Like most of Walther's songs, this was recorded in all writings without a corresponding melody. All manuscripts are available in a facsimile volume with illustrations, with the exception of O.

Version differences

There are two different versions of the song, the difference of which can be determined by the address. So in version C it says “herzeliebe frouwe mir”, in the versions AEG it says “herzeliebez vrouwelin”. Since verses one and three of the first stanzas rhyme with each other, it is not assumed that there was a mistake in writing. This rhyme runs as follows in version C: mir (I, 1): dir (I, 3), in versions A, E and G it looks like this: -lin (I, 1): din (I, 3 ).

It is unclear whether either version can be considered an early version or a revision. Furthermore, there are sometimes very different sequences of stanzas in the versions:

Version Ranking
C. 1 2 3 4 5
AEG 1 2 4 3 5
O 1 3 2 4 5

Occasional textual discrepancies in the individual manuscripts must also be proven, but these are not so serious that there are fundamental differences of opinion in research with regard to the production of a critical text edition. This text variance can be traced back to the author himself or to subsequent editors, which cannot be precisely proven. These deviations are due, among other things, to the fact that the mentally difficult song was simplified in various ways after it was published. One reason for this was that the German highly artistic style of thought around 1200 gave way more and more to a traditional style in the 13th century. All editions and interpretations common today refer to the triple attested version AEG.

shape

construction

Six-line stanzas: two-line studs and two-line swan song. This basic pattern can be found in ten Walther songs.

analysis

Characteristic of this song are the easy-going verses and the semantic and formal simplicity of the construction. It consists of 5 stanzas, each divided into six verses and the same rhyme scheme [ababcc]wear. One speaks here of a six-line tunnel verse. It is noticeable that all stanzas end with a long line. This is understood to mean lines with at least seven accents, which are separated by a "fixed", i.e. H. are structured by a caesura that is repeated every time at the same point. It can be assumed that this is intended to emphasize the meaning of the last verse of the stanza. The first four verses each have four liftings, these mark the Aufgesang, whose rhymes are in the cross rhyme scheme. The swan song is formed by the fifth verse with four accents, followed by an eighth verse with a caesura. He wears a couple rhyme scheme.

I. Singing :

4a 4b} studs

4a 4b} counter-tunnel

II. Swan song :

4c 4x 4c

In Walther's time, this three-part canzone form, borrowed from Romania , represented the regular form and thus differed significantly in the concept, content and structure of the stanzas from the preceding Danubian Minnesang. Inga Hemmerling points out that songs that are attributed to lower Minne or girls' songs often show the simple structure of the canzone , but this is not, as is sometimes assumed, an indication of simple content or the low social status of the addressee represents. The metric form of the closure is predominantly male, it is a blunt rhyme that extends only over a stanza.

It is noticeable that the end of the sentence and the end of the period of the song, with the exception of verse five, almost always coincide. It can be assumed that the connection between the two stanzas should be emphasized. In this way, a better understanding of the text can be helped.

interpretation

The salutation “herzeliebez vrouwelin” (I, 1), which opens the song and is addressed to the sung-about woman, has often been discussed in medieval studies. The noun “herzeliebe” (I, 1), interpreted as an expression of true feelings from within, is linked with the diminutive “vrouwelin” (I, 1) from frouwe and can be translated as “little mistress of heart love”. This compound creates a personally familiar closeness as well as an atmosphere characterized by tenderness and respect. The song opening can thus be read as an expression of a hopeful feeling. The personal relationship between the speaker and the woman, which is symbolized in the introductory words, is a novelty in traditional minnesong, according to Heike Sievert, who with this view represents the general research opinion. The salutation removes the distance between the speaker and the woman and breaks court etiquette. Instead of in view of the public, i. H. Singing about a woman with the courtly audience as a level of resonance, the speaking self reveals its love for its partner. With this rarity, "immediate attention and a special tension between singer and audience is aroused."

Dorothea Ader, on the other hand, emphasizes that the courtly formula frouwe remains clearly recognizable as the goal of love and is only subject to a slight modification. Thus, in her opinion, the ideal of Hohen Minne would be preserved, even if she admits that the contemporary audience is likely to have noticed the innovation in what is already known.

In today's research, however, it is largely undisputed that the diminutive frouwelin does not provide any information about the social status of the addressee and therefore does not explicitly sang about a girl of lower class. This can be derived from the various meanings of this term, among other things. According to Hugo Kuhn, it stands for both married and unmarried noble ladies and also for the lower class prostitute. The assumption that this word attacks the class clause is considered hypothetical. For the most part, however, Friedrich Neumann's statement is accepted that it is confidentiality that makes the word vrouwelin capable of breaking through the classroom in a class-based world. The status of the vrouwelins remains vague throughout the song and only sounds in verse 2, 1 and verse 3, 6.

In the second line there is a bent form of the personal pronoun “du” (I, 2), which is rarely used in traditional Minnesang, instead of the usual distant ir . This creates a harmonizing line with the first address and underlines the existing intimacy of both partners. The man’s wish for a blessing “got give dir hiute und iemer guot” (I, 2), tonally characterized by a g-alliteration, is a further sign of affection and concern for the happiness and well-being of the woman to understand.

The subsequent wish of the speaking ego “Kund ich baz Gedenken din, des het ich willeclichen muot” (1, 3f.) And the admission that the ego cannot say more than that no one else feels more affection for the fouwelin than it does itself (Cf. I, 5f.), Can be read as variants of “I love you”.

This results in a reduction in lengthy declarations of love to a few artfully linked words. It can also be seen from the statement “that nobody is holder of you” (I, 6) that the speaking self has the right or the right to love the vrouwelin and forbids the interference of another person in the love relationship. The introductory declarations of love are put into perspective with a painful "owe, da ist mich vil we" (I, 6), which presumably indicate the knowledge that (heart) love can be perverted in heart if it remains unfulfilled. The words can, however, also be read as a reference to the following stanzas, in that they point to the conflict between the speaker and society.

In the second stanza, the public appears as a new authority. The speaking ego repeats in indirect speech the words of those who accuse it of turning its chant "nider" (II, 2). There is no more precise precision as to who is meant by “Si” (II, 1). The fact that the formulation does not primarily refer to the partner's social position is suggested in the course of the song in verse IV, 6, in which the speaking self asserts that the girl's glass ring is worth more to him than the gold of a queen. How nider the girl can be seen, however, is not clear at this point either, and similar to the diminutive of the first stanza, the alleged assignment of the frouwelin to the lower social class is not undisputed. This verse in conjunction with the third can be seen as the center of the song. In them a discussion of values across the hierarchy of the qualities carried guot and beautiful on one side and love on the other side. First of all, the speaking self confidently confronts society and its norms of high song. It counters the criticism expressed with a counter charge. According to this, his critics would not have understood his concept of love, since it only follows one ethical category, namely the heart , beyond class values ​​such as nider and ho . Therefore, the rebuke directed at him is meaningless in his eyes, since the critic would never have experienced true love themselves: At this point, contemptuous reference is made to the ritualized love behavior according to social conventions and the traditional courtly class values ​​of guote (possession) and beautiful (beauty). According to this, the love of the critics is directed solely towards these class values, so that they have externalized and betrayed love. The renewed exclamation “we” (II, 6) at the end of the stanza can thus not only be read as a stylistic sound echo in analogy to the “owe” (I, 6) of the first stanza, but also as an expression of sadness and displeasure about the understanding of love of the opponents of court society. According to Heike Sievert, the speaker stands protectively in front of the woman he loves by reflecting, but despite all this, a harmonious coexistence of the loved ones is no longer possible due to the attacks from outside. This can be recognized by the fact that the personal, emotional personal pronoun "you" (I, 2) is no longer used in this and the following stanza.

The third stanza continues the discussion of values and deals with the relationship between beautiful and love . The notion that was common in the Middle Ages that inner perfection was always reflected in external beauty is rejected by the speaking self. Beauty is not a value in itself, but additional conditions are attached to it: "Bi the beautiful is thick haz" (III, 1). According to Gerhard Hahn's interpretation , this statement by the speaker implies that in the case of the lady, who corresponds to the attribute of external beauty and the quality associated with it , which is self-evident in courtly singing , attractiveness is often combined with a repellent, repulsive and hateful being.

The central verse of this stanza is the third: “liep tuot dem herzen baz” (III, 3), it is the only one in which the term schoene does not appear, which stylistically emphasizes its meaning. After the priority of love over external beauty and the importance of love for the heart are explicitly mentioned at this point, the singer admits that love can, however, cause women to become beautiful (cf. III, 5). Through the mediation of the heart , love is able to make beautiful. In this way, beauty does not penetrate into the heart through the eyes and creates a feeling there, but vice versa. This direction of action cannot be reversed, there is no way from the outside to the inside, from the beautiful to the “dear lip” (III, 6), so the stanza is pointedly closed.

Kuhn sees the arguments presented here shaped by a widespread doctrine of goods based on Aristotle. This places the bonum animi , here love , over the bonum coporis , here the beautiful , and this in turn over the bonum externum , here the guot in the sense of possession and power. Silvia Ranawake also suspects that the background of this stanza is a widespread moral theory, which between goods of the body (schoene) , happiness (guot) and the spirit, which in stanza V with the terms "triuwe" and "staetekeit" (V, 1) be introduced, differentiates and grades. What is noticeable in the third stanza is its generality, since no one is reflected on directly and the speaking ego does not contribute itself. At first it can be assumed, as it was done in the opinion communis of research until around 1990, that this stanza reflects Walther von der Vogelweide's understanding of values. It should be noted, however, that "the role played by Minne lyric [is] to be taken seriously, which [...] can mean that Walther puts an I in the text that [...] does not function as the poet's mouthpiece, which is followed by [ the] text [s] do not represent Walther's confession and do not define a program. ”It is important to see at this point in the minnesinger von der Vogelweide also the entertainer of the court, who maintained the court at the expense of the self .

At the beginning of the fourth stanza, however, the speaking self takes on a central position again: “I can tolerate vertruoc as I and when I want to. you are beautiful and have genuoc, what do you have to tell me about? ”(IV, 1ff.) These four lines put the line under the discussion with the critics. The correct translation of the verb “tolerate” is problematic at this point. According to research, the assessment of a psychologically tolerant ego associated with the verb should be ruled out, as this is ruled out by the certainty and pride of the reply.

“The ego will calmly take, accept, endure all reproaches as [...] it has always done and will continue to do, because for [it] these are an expression of the opponent's inability to love and they therefore do not strike him can. ”This is underlined stylistically by the abrupt -c- and -g-sounds.

Another difficulty is the exact definition of the adjective “genuoc”. In some research, the meaning “sufficient” in the sense of material security is excluded, since possession as a prerequisite for love is already rejected in the second stanza. However, it is also assumed that at this point it should be emphasized that the partner is in no way inferior to the courtly ideal of the maiden lady, as far as property is concerned, to which the censurers apparently attach such importance. With the words "Whatever they say, I love you and would rather take your glass ring than the gold of a queen." (IV, 5f.) The singer turns again to the vrouwelin and it becomes the gentle tones of the first verse remind. The statement “I am brought to you” (IV, 5.) leads to a resumption of the initial tender mood. The argumentation and reflection in defense of love gives way to their feelings, which, according to the assurance in stanza one “wan daz you nobody is loved” (I, 6), was disturbed by the “owe” (I, 6). The renewed turning of “holt” (IV, 5) could possibly symbolize an embracing gesture. The conclusion of the fourth stanza expresses again the intense feeling of the speaker towards the woman sung about. The glass ring offered in love counts as much or even more than the gold ring of a queen. The image of the ring can be seen as a metaphor for the beauty of the vrouwelins : "The love felt for her made her so beautiful that even the glass of her ring must shine for him like the gold of a queen."

The ring can also be seen as a reference to the “guote” (II, 6) in stanza two, thus making love not only “beautiful” (IV, 3), but even rich.

The joyful and emotional mood created in stanza four is already relativized at the beginning of the fifth stanza in favor of a quieter, more pensive mood. According to Gerhard Hahn, it refers to the real danger that threatens love. The speaking I turns to the girl, almost imploringly: “Do you have triuwe and staetekeit” (V, 1). At this point it is emphasized that reliability or loyalty and persistence are the two indispensable ethical prerequisites for the success of the desired love happiness and in the relationship "make love to love".

According to this statement, the whole of life should be determined by love, the self-esteem that one expects from love, not for the moment, as in an amorous adventure, but for the whole of life. However, these two basic values ​​cannot simply be ascribed to the Minne partner. They are to be realized again and again by her. The presented relationship should not be understood as a given reality, but as a demanding model. If the Minnepartner possesses this, the speaking ego will never experience "heart love" (V, 3) through her, "positively formulated: he will always feel love from the heart, and she is truly worthy of being addressed as heart love vrouwelin."

If, on the other hand, these two values cannot be fulfilled by the vrouwelin , renouncing love against all emotions is to be seen as the best solution "but if you don't have two, you don't have to become one" (V, 5f.). In the song final exclamation "Oh no, this should not happen! Only" (V, 6f.), Both the sad experience already experienced herzeleits and the already strongly internalized feelings of the speaker for the vrouwelin expressed.

Girl songs

In medieval literary historiography, Walther von der Vogelweide is still regarded today as a reformer, innovator and perfector of German minstrels. For a long time, the songs that allegedly broke with the rigid norms and value system of classical minnesang were particularly valued within Walther's Minnesang. These were grouped by research, depending on the underlying motto, into the group of songs of heart love, low or even love, or so-called girl songs . For a long time, the opinio communis of research assumed that the courtly doctrine of love and thus the ideal of dienst ane lon for the moral perfection of men would be opposed to a new concept. This elevates an ethically sound, partnership-based and mutual love relationship, in which class differences are irrelevant, to a mini-deal. For a long time the addressee's stand was mentioned as a typical element of these works, which are regarded as innovative. Although this was not explicitly stated in most cases, medieval studies largely interpreted it as “not noble”. This assumption was justified by the fact that the term here frouwe was often replaced in the songs by nouns such as maget , which commonly referred to an unmarried girl without social status or even a peasant girl.

This finding, which up to now seemed certain, has become questionable due to research over the past decades. The assumption that the girls' songs represent a self-contained new concept of love has been refuted. To this day, the idea remains that they mark a turning point in what could be minstrelsong around and after 1200.

The very fact that in some songs of the "new Minne considers" not from the herzeliebe is the speech that was long touted as a program word of protest against the conventional minstrelsy, speaks against a homogeneous within itself a new concept. According to Manfred G. Scholz, the fact that the woman in it does not clearly qualify as a girl underscores this assumption.

Another problem with the critical review of girls' songs is the fact that, due to contradicting membership criteria in research, there is disagreement about which Walther songs can be assigned to those of heart love . "If there were ten for [Friedrich] Maurer in 1956 and [Peter] Wapnewski in 1962, and for [Hans Günther] Meyer in 1981 even fifteen [...] then a certain consensus has developed since [Ulrich] Pretzel's proposal in 1966, under this heading only to assemble the four songs 39.11 ff. 74.20 ff. 49.25 ff. and 50.19ff., from which Hübner now also separates the last named in 1996. " In the course of time there was a clear and clear reduction to a group of at most three to four songs, which are consensually counted among the songs of heart love . According to Silvia Ranawake, this is a further indication that Walther's view, which is traded as “revolutionary”, cannot be justified numerically due to only minimal evidence.

In many cases, therefore, it seems that the euphoria of the genre-theoretical esteem rather than the specific text behind the classification of the category “girls' songs”. According to Manfred W. Scholz, this popularity with philologists can be explained by three phenomena. On the one hand, the research cliché that the frouwe des Minnesang was a married woman is responsible for this. Because it would not be the slightest revolutionary act of Walther if he had freed women from the bonds of marriage in some of his songs. The second reason is that, as explained above, the song was addressed to a low-ranking girl and was an unheard-of innovation at the time. The third phenomenon is the reciprocity of love, which is sharply demarcated from Hohen Minne.

According to Ingrid Bennewitz, two other important prerequisites speak for the almost mythical status that the works had for a long time in Medieval studies. On the one hand, “the reduction of two other authors of minnesong or their song corpus to dark foils, against which Walther's so-called girl songs could then be played out as prime examples of a positive conception of minnesia Depiction of Neidhardt as a usurper of traditional minstrels and, on the other hand, the image of women that could be associated with Walther's text. The middle-class, male-dominated ideal of women of the 19th and 20th centuries could identify much more strongly with this literary model of the Middle Ages than with the figure of the unattainable and all-powerful Heren Frouwe .

The time of the songs can be settled around 1200, a clear temporary demarcation to the songs of the "Hohen Minne" is not possible, both forms existed in parallel. In general, it should be noted that apart from the cases of clearly identifiable relative chronology, there are no indications of ranking Walther's poems. Nevertheless, the grouping of songs that belong together proves to be helpful as a working tool that creates order, but should not lead to the fallacy that, for example, the girls' songs discussed here must be assigned to a certain phase of Walther's poetry.

rating

Despite the common research opinion that Herzeliebez vrouwelin is one of the few core songs in the "genre" of girls' songs, the character of the song is assessed very differently. Heike Sievert sees it as a typical advertising song that has strong parallels to "Hohen Minne": the man's wooing for the woman without the guarantee of reciprocity. Despite this correspondence, it refers to individual important differences in the specific implementation:

  • the direct salutation of the woman at the song opening,
  • the turning away from the high song ideal for women,
  • the new role of society.

Gerhard Hahn sees the song as a programmatic character for the so-called girl songs and thus the theoretical basis of Walther's “new” concept of love. And Friedrich Maurer even suspects the deliberate revolutionizing of Hohen Minne in the song. Achim Masser qualifies this statement by emphasizing that only a revaluation of the known values of the High Sang regarding love , beautiful and guot successes.

Silvia Ranawake also shares this view. She emphasizes that the song is not about overriding the ideas of courtly love, but about re-establishing them ethically: “Far from rejecting the courtly-scholastic doctrine of love, [is here] Attempt to renew minstrel on a moral basis, precisely on the moral-philosophical argument of the [traditional] minnesong [orientated]. "

According to Dorothea Ader, however, as explained in the interpretation of the song opening, the concept of Hohen Minne is also retained in this song. Hugo Kuhn projects Herzeliebez frouwelin onto the level of feudal metaphors and regards the song primarily as a philosophical-theological debate. According to the current research consensus, however, these statements must be viewed critically.

Günther Schweikle emphasizes that "both through the emotional intensity of the homage verses and through the song-like claim to validity of the love and social criticism [...] the song had a provocative, 'almost revolutionary' effect []." is proclaimed in this song in a kind of love discourse.

According to Scholz, too, the text is a song of heart love and mutual love, but neither in the sense of an existing love, but a love that is longed for and required for the future. In his opinion, this can be recognized by the fact that the conditions linked to love mentioned in the song are nothing other than the demand for the moment of mutual love.

reception

Walther von der Vogelweide was already considered one of the outstanding songwriters during his lifetime and throughout the Middle Ages. His love of heart frouwelin was accordingly already very popular at this time and was widely known. The attraction of the song, which caused the spread, was in particular due to the great openness of the text. This offered the audience many opportunities for identification and associations.

The reception extends into the present century and underlines the popularity and position of Walther von der Vogelweide in medieval literary history.

With the beginning of the early modern era, the song initially lost its importance and was later taken up again with Walther's modern reception history. This begins with the publication of a dozen of Walther's stanzas from the Manesse Codex of Zurich by the Swiss historian and lawyer Melchior Goldast in the years 1601–1611. Karl Lachmann and Ludwig Uhland laid the foundation for the 19th century picture of Walther. The first in the field of critical philology and the second in that of interpretations tinged with patriotism. By means of Lachmann's text edition (1827), which is still considered exemplary today, and that of Carl von Kraus (1935), Walther's works were made available to a wide audience. The work of Günther Schweikle had a particular influence on research in the 20th century.

Relevant text output

Walther von der Vogelweide: Herzeliebez vrowelin. In: German poetry of the early and high Middle Ages. Edition of the texts and comments by Ingrid Kasten. Translations by Margherita Kuhn (Library of the Middle Ages 3), Frankfurt a. M. 1995.

Secondary literature

Essays
  • Dorothea Ader: Walther von der Vogelweide. Love frowelin. In: YOU. Das Kulturmagazin , Vol. 19 (1967), pp. 65-75, ISSN  0012-6837
  • Ingrid Bennewitz: "vrouwe / maget". Considerations for the interpretation of the so-called girl songs in the concept of Walther's Minnesang conception. In: Hans Dieter Mück (Ed.): Walther von der Vogelweide. Contributions to life and work (cultural studies library; Vol. 1). Stöffler and Schütz, Stuttgart 1989, ISBN 3-926712-02-3 , pp. 237-252.
  • Ingrid Kasten : The concept of 'heart love' in Walther's songs. In: Hans-Dieter Mück (Ed.): Walther von der Vogelweide. Contributions to life and work . Stöffler and Schütz, Stuttgart 1989, ISBN 3-926712-02-3 , pp. 253-267.
  • Achim Masser: On the so-called girl songs by Walther von der Vogelweide. Werner Schröder on his 75th birthday on March 13, 1989. In: Wirkendes Wort , Vol. 39 (1989), pp. 3-15, ISSN  0935-879X .
  • Friedrich Neumann : Walther von der Vogelweide. Herzeliebez frouwelin. In: Benno von Wiese (ed.): The German lyric. Form and history. Vol. 1: From the Middle Ages to Early Romanticism. Bagel, Düsseldorf 1956, pp. 56-61. * Silvia Ranawake: Walther's songs of 'Herzeliebe' and the Courtly Minne Doctrine. In: Helmut Birkhan (Ed.): Minnesang in Austria (Viennese works on Germanic antiquity and philology; Vol. 24). Halosar, Vienna 1983, ISBN 3-900269-24-6 , pp. 109–152.
  • Günther Schweikle: The "frouwe" of the minstrels. On the reality and ethos of minstrel in the 12th century. In: Hans Fromm (Ed.): The German Minnesang. Essays on his research Wissenschaftliche Buchgesellschaft, Darmstadt 1985, ISBN 3-534-08604-X , pp. 238-272.
Monographs
  • Horst Brunner, Gerhard Hahn, Ulrich Müller, u. a. (Ed.): Walther von der Vogelweide. Epoch, work, effect . 2nd revised and expanded edition. Beck, Munich 2009, ISBN 978-3-406-39779-0 .
  • Horst Brunner u. a. (Ed.): Walther von der Vogelweide. The entire tradition of the texts and melodies (Litterae; Vol. 7). Kümmerle, Göppingen 1977, ISBN 3-87452-136-2 .
  • Otfrid-Reinald Ehrismann : Introduction to the work of Walther von der Vogelweide . Scientific Book Society, Darmstadt 2008, ISBN 978-3-534-20770-1 .
  • Gerhard Hahn: Walther von der Vogelweide. An introduction . Artemis-Verlag, Munich 1986, ISBN 3-7608-1322-4 .
  • Martha Heeder: Ornamental designs in high medieval German-language poetry . Dissertation, University of Tübingen 1966.
  • Inga Hemmerling: Walther's girl songs in the context of his minnesang concept . GRIN-Verlag, Munich 2008, ISBN 978-3-638-06095-0 (also study paper, University of Bonn 2005).
  • Hugo Kuhn : Minnelieder Walthers von der Vogelweide. A comment. (Studies on German literary history; Vol. 33). Niemeyer, Tübingen 1983, ISBN 3-484-32033-8 .
  • Friedrich Maurer (Ed.): Walther von der Vogelweide. The songs . Fink, Munich 1972.
  • Manfred G. Scholz: Walther von der Vogelweide (Metzler Collection; BD. 316). 2nd corrected and supplemented edition. Metzler, Stuttgart 2005, ISBN 3-476-12316-2 .
  • Günther Schweikle (Ed.): Walther von der Vogelweide. Works. Complete edition-000820-4. Vol. 2: song lyrics . Reclam, Stuttgart 1998, ISBN 3-15-000820-4 .
  • Heike Sievert: Studies on Walther von der Vogelweide's love poetry (Göppinger works on German studies; Vol. 506). Kümmerle, Göppingen 1990, ISBN 3-87452-743-3 (also dissertation, Humboldt University, Berlin 1987).
  • Uwe Stamer : Plain Minne with Walther von der Vogelweide. Studies on the conceptual structure and the influence of tradition (Göppingen work on German studies; BD. 94). Kümmerle, Göppingen 1976, ISBN 3-87452-330-6 (plus dissertation, University of Tübingen 1976).

Web links

Wikisource: Herzeliebe frowe mir  - sources and full texts

Individual evidence

  1. ↑ a b c d Günther Schweikle: Walther von der Vogelweide. Works. Complete edition. P. 680.
  2. ^ A b Günther Schweikle: Walther von der Vogelweide. Works. Complete edition. P. 679.
  3. ↑ Horst Brunner et al. a .: Walther von der Vogelweide. Epoch, work, effect. P. 33.
  4. ↑ Horst Brunner et al. a. (Ed.): Walther von der Vogelweide. The entire transmission of the texts and melodies. Illustrations, materials, melody transcriptions. 1977.
  5. ↑ Horst Brunner et al. a .: Walther von der Vogelweide. Epoch, work, effect. P. 29 f.
  6. ↑ Heike Sievert: Studies on love poetry Walthers von der Vogelweide. P.56.
  7. ^ Otfrid-Reinald Ehrismann: Introduction to the work of Walther von der Vogelweide. P. 21.
  8. ↑ Hugo Kuhn: Minnelieder Walthers von der Vogelweide. A comment. P. 87.
  9. ↑ a b Inga Hemmerling: Walther's girl songs in the context of his minnesang concept. P. 7.
  10. ↑ Horst Brunner et al. a .: Walther von der Vogelweide. Epoch, work, effect. P. 50 f.
  11. ↑ Inga Hemmerling: Walther's girl songs in the context of his minnesang concept. P. 8.
  12. ↑ Martha Heeder: Ornamental designs in high medieval German-language poetry. P. 426.
  13. ↑ a b Heike Sievert: Studies on the love poetry of Walthers von der Vogelweide. P. 43.
  14. ↑ Manfred Scholz: Walther von der Vogelweide. P. 121.
  15. ↑ a b c Heike Sievert: Studies on the love poetry of Walthers von der Vogelweide. P. 44.
  16. ↑ Dorothea Ader: Walther von der Vogelweide. Herzeliebez fowelin. P. 67.
  17. ↑ a b Hugo Kuhn: Minnelieder Walthers von der Vogelweide. A comment. P. 70.
  18. ^ Friedrich Neumann: Walther von der Vogelweide. Herzeliebez vrouwelin. P. 58.
  19. ↑ a b Martha Heeder: Ornamental designs in high medieval German-language poetry. P. 427.
  20. ↑ Heike Sievert: Studies on love poetry Walthers von der Vogelweide. P. 45.
  21. ↑ a b c Manfred Scholz: Walther von der Vogelweide. P. 122.
  22. ^ Gerhard Hahn: Walther von der Vogelweide. An introduction. P. 68f.
  23. ↑ Heike Sievert: Studies on love poetry Walthers von der Vogelweide. P. 47.
  24. ↑ Heike Sievert: Studies on love poetry Walthers von der Vogelweide. P. 46.
  25. ↑ Horst Brunner et al. a .: Walther von der Vogelweide. Epoch, work, effect. P. 102 f.
  26. ↑ Heike Sievert: Studies on love poetry Walthers von der Vogelweide. P. 48.
  27. ↑ Horst Brunner et al. a .: Walther von der Vogelweide. Epoch, work, effect. P. 103.
  28. ↑ Hugo Kuhn: Minnelieder Walthers von der Vogelweide. A comment. P. 73 ff.
  29. ↑ a b Silvia Ranawake: Walthers songs of 'love of the heart' and the courtly Minne doctrine. P. 114 ff.
  30. ↑ Manfred Scholz: Walther von der Vogelweide. P. 100.
  31. ↑ a b Heike Sievert: Studies on the love poetry of Walthers von der Vogelweide. P. 49.
  32. ↑ a b c d Heike Sievert: Studies on the love poetry of Walthers von der Vogelweide. P. 50.
  33. ↑ Heike Sievert: Studies on love poetry Walthers von der Vogelweide. P. 51.
  34. ^ A b c Gerhard Hahn: Walther von der Vogelweide. An introduction. P. 71.
  35. ↑ Horst Brunner et al. a .: Walther von der Vogelweide. Epoch, work, effect. P. 104.
  36. ↑ a b c Manfred Scholz: Walther von der Vogelweide. P. 123.
  37. ↑ Heike Sievert: Studies on love poetry Walthers von der Vogelweide. P. 52.
  38. ↑ a b Ingrid Bennewitz: "vrouwe / maget". Considerations for the interpretation of the so-called girl songs in the context of Walther's minnesang concept. P. 237 f.
  39. ↑ Ingrid Kasten: The concept of 'heart love' in Walther's songs. P. 253.
  40. ↑ a b Silvia Ranawake: Walther's songs of the 'heart love' and the courtly Minne doctrine. P. 110.
  41. ↑ For more information on the concept of heart love see: Ingrid Kasten: The concept of 'heart love' in Walther's songs. In: Hans-Dieter Mück (Ed.): Walther von der Vogelweide. Contributions to life and work. Stöffler and Schütz, Stuttgart 1989, pp. 253-267.
  42. ↑ Manfred Scholz: Walther von der Vogelweide. P. 119.
  43. ↑ "Winter has hit us over al"
  44. ↑ "Nemt frouwe disen wreath!"
  45. ↑ "Am I messing with you"
  46. ↑ a b c Manfred Scholz: Walther von der Vogelweide. P. 120.
  47. ↑ An orientation about the varying assignment of songs to the group of “girl songs” from Burdach to Wapnewski is provided by the following compilation: Uwe Stamer: Ebene Minne bei Walther von der Vogelweide. Studies on the conceptual structure and influence of tradition. Göppingen 1976, p. 216 f.
  48. ↑ a b Silvia Ranawake: Walther's songs of the 'heart love' and the courtly Minne doctrine. P. 111.
  49. ↑ Ingrid Bennewitz: "vrouwe / maget". Considerations for the interpretation of the so-called girl songs in the context of Walther's minnesang concept. P. 251.
  50. ↑ More information on this topic can be found at: Schweikle, Günther: Die frouwe der Minnesänger. On the reality and ethos of minstrel in the 12th century. In: ZfdA. 109, 1980, pp. 91-116.
  51. ↑ Ingrid Bennewitz: "vrouwe / maget". Considerations for the interpretation of the so-called girl songs in the context of Walther's minnesang concept. P. 252.
  52. ↑ Manfred Scholz: Walther von der Vogelweide. P. 95.
  53. ↑ Heike Sievert: Studies on love poetry Walthers von der Vogelweide. P. 53.
  54. ^ Gerhard Hahn: Walther von der Vogelweide. An introduction. P. 73.
  55. ↑ Friedrich Maurer: Walther von der Vogelweide. The songs. P. 27.
  56. ↑ Achim Masser: On the so-called 'girl songs' Walthers von der Vogelweide. Werner Schröder on his 75th birthday on March 13, 1989. p. 6.
  57. ↑ Dorothea Ader: Walther von der Vogelweide. Herzeliebez frouwelin. P. 6.
  58. ^ A b Günther Schweikle: Walther von der Vogelweide. Works. Complete edition. P. 681.
  59. ↑ Heike Sievert: Studies on love poetry Walthers von der Vogelweide. P. 57.
  60. ^ Otfrid-Reinald Ehrismann: Introduction to the work of Walther von der Vogelweide. P. 24 ff. (This introduction provides further, detailed information on Walther's reception history).