Hirlanda

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Hirlanda is the name of a literary figure or numerous literary works. Hirlanda was first literary by the Jesuit René de Ceriziers (1603–1662) in Les trois estats de l'innocence (Paris 1640). In addition to Hirlanda, Jeanne d'Arc and Genovefa are also shown here. The three figures deal with the motif of the innocently persecuted woman. The saga of Hirlanda integrates the subjects of Gundeberga , Creszentia , Gunhild , Berta , the saga of the swan children and the legend of Constantine and is based on Celtic, Longobard, Franconian, Danish and Irish storytelling traditions.

Lore

Hirlanda experienced an early design in the tradition of the Breton mystery play , which dates back to the 14th century. The mystery play Sainte Tryphine et le Roi Arthur , which François-Marie Luzel (1826–1895) published in 1863 based on a Breton model, emerges from this tradition . In terms of content, this game corresponds to the novel by Ceriziers. In the European fabric reception, the novel by Ceriziers unfolds great effect, while the Breton mystery play goes unnoticed.

Just a few years after the first edition of Cerizier's novel Les trois estats de l'innocence (1640), translations into English, Italian and German followed: in 1656 William Lower published the English version The Triumphant Lady, or the Crowned Innocence in London . In 1666, the translation into Italian by Lodovico Cadamosto appeared in Bologna under the title L'Hirlanda overo l'Innocenza coronata del signore de Ceriziers . In 1685 the first German edition Hirlanda, or the innocence crowned by God in the volume Die Unschuld in Drey different classes, went to press in Dillingen . The author remained anonymous. Two years later, in 1687, the adaptation by the Capuchin Father Martin von Cochem (1634–1712, civil: Marin Linius) of the persecution of the innocent Hertduchess Hirlandä appeared in Dillingen in his exceptional history book . Cochem no longer falls back on Ceriziers, but uses the anonymous German translation as a template. In 1690 the translation The Crowned Innocence by a member of the Weimar Fruitful Society , also known as the "Order of the Palm", was published. The translator had the company name "The Few". This is Hieronymus Ambrosius Langenmantel (1641–1718).

distribution

In addition to its reception in narrative literature, the theater tradition of the Jesuit order was important for the dissemination of the material, especially in the southern German-speaking area. The declared goal of the founded in 1534 by Ignatius von Loyola and 1540 by Pope Paul III. confirmed Societas Jesu , propaganda was fidei in the sense of the Catholic Counter-Reformation . The Jesuits recognized the theater as an educational and audience-effective medium and used it to proclaim faith and ideology . The performances were in Latin , with rare, late exceptions ; the impressive wealth of images on the stage and bilingual (Latin and the respective national language) perioches, printed program notes with a detailed summary, made it possible for the non- humanistically educated audience to follow the play. The first performance of a Hirlanda in Ingolstadt in 1657 shows how quickly the order reacted with theatrical performances to substances it considered suitable . This is the first evidence of a Hirlanda performance at all and at a time in the German-speaking area when the novel by Ceriziers, published 17 years earlier, was only available in English and Italian translation. Only that of M. Christoph Widman (Landshut 1698) has survived among the Latin Hirlanda plays that were set up for the Jesuit theater.

In addition to the Latin performances of the Hirlanda in Ingolstadt in 1657 and in Landshut in 1698 , there was evidence of further performances in 1670 in Rennes , 1699 in Klagenfurt , 1728 in Solothurn and Mindelheim and 1747 in Lucerne . The Latin Jesuit drama was also an impetus for the popular drama in the southern German-speaking area. The first German-language Hirlanda performance can be traced back to the year 1700 as a school game at the grammar school in Kempten. The Hirlanda as a folk drama started in Mutters (Tyrol) in 1738 . Subsequently, for about a century and a half, Hirlanda games were concentrated on the southern German-speaking area, especially Tyrol . In addition the chronology of the verifiable performances: Oetz (1749), Hall in Tirol and Dachau (1759), St. Nikolaus in Tirol (1760), Mils in Tirol (1766), Schlechdorf in Salzburg (1768), Mals in Südtirol (1783) , Kohlstadt near Innsbruck (1790), Laas in South Tyrol (1791), several performances in Mittenwald in Bavaria and in Erl in Tyrol in the first half of the 18th century, Kiefersfelden in Bavaria (1802), Ermensee (1821), Eisenerz in the Styria (1839), Styrian Laßnitz (1847), Liesing in the Carinthian Lesachtal (1853), Buch bei Jenbach in Tirol (1858), Volksersheim in Oberschwaben (1877) and Krenau in Böhmen (1882 and 1887).

A well-commented example of a Hirlanda game is the version by Johannes Ulrich von Federspiel published by Toni Bernhart . A short version of this piece was premiered by the Siren Opera Theater with music by Jury Everhartz and directed by Kristine Tornquist in 1998.

literature

  • Johannes Ulrich von Federspiel : Hirlanda. Innocence condemned by falsehood . Edition of the legend game based on the Lasa manuscript from 1791. Edited by Toni Bernhart. Vienna / Bozen: Folio Verlag 1999, ISBN 3-85256-108-6 .
  • Genovefa / Hirlanda . Fredebeul & Koenen, Essen (Ruhr) 1914, ( Deutsches Gut 19), ( Die Deutsche Volksbücher , ZDB -ID 276922-0 ).
  • Hirlanda . Published by GO Marbach. Otto Wigand, Leipzig 1841, ( Folk Books 21).
  • Reinhold Köhler: Sainte Tryphine et Hirlande. In: Reinhold Köhler and Johannes Bolte (1900): Smaller writings on narrative poetry in the Middle Ages . Vol. 2. Berlin: Felber, pp. 657-662. (First time in: Revue celtique 1, 1871, pp. 222–225).
  • Reinhold Köhler: The German folk books from the Countess Palatine Genovefa and from the Duchess Hirlanda. In: Reinhold Köhler and Johannes Bolte: Smaller writings on narrative poetry of the Middle Ages . Vol. 2. Berlin: Felber 1900, pp. 662–668. (First in: Journal for German Philology 5, 1874, pp. 69–73).
  • Ekkehard Schönwiese: The folk drama in northern Tyrol. Renaissance and Baroque . (= Austrian Theater History , Vol. 2, Issue 3). Vienna: Publishing house of the Austrian Academy of Sciences 1975.
  • Hermann Steinberger: Investigations into the origin of the saga of Hirlanda from Bretagne as well as to the sagas that are closely related to it . 2 parts. (1st part: Scientific supplement to the annual report of the K. Theresien-Gymnasium Munich 1912/13. 2nd part: Scientific supplement to the annual report of the K. Theresien-Gymnasium Munich 1913/14). Munich: Wolf 1913.
  • Eugen Thurnher: Tyrolean drama and Tyrolean theater . Innsbruck, Vienna, Munich: Tyrolia 1968.
  • Toni Bernhart: "I suffer from everything". Piety and gender using the example of Hirlanda (1791). In: Ruth Albrecht, Annette Bühler-Dietrich and Florentine Strzelczyk (eds.): Faith and Gender. Pious Women - Spiritual Experiences - Religious Traditions . Cologne: Böhlau 2008, pp. 62–79.
  • Norbert Hölzl: Theater history of the eastern Tyrol. From the Middle Ages to the present . Vol. I. Graz, Vienna, Cologne: Böhlau 1966.

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