Konrad von Landeck

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Schenk Konrad von Landeck († around 1306) was a Swiss ministerial and minstrel of the 13th century.

Schenk Konrad von Landeck, miniature in Codex Manesse , fol. 205 r

Life

Schenk Konrad von Landeck can be documented from 1271 to 1306. The Landeckers were ministerials to the Counts of Toggenburg and also held the gift office ( cupbearer ) at the St. Gallen monastery . The ancestral seat of the von Landeck family was still recognizable until 1745 and was located in the county of Toggenburg between the villages of Ramsau and Buebental, about five kilometers southwest of Flawil ( St. Gallen ). Other possessions of the Landeckers were the court in Winzenberg , goods in the Rindal and possibly in the former St. Peterzell . In addition to their ancestral castle, they owned the Glattburg on the left bank of the Thur below the confluence of the Thur and Glatt . A knight Lütold from the Landeck family first used the name Schenk von Glattburg in 1291. Another Lütold was named Schenk von Landeck zu Glattburg in 1380. As a hereditary residence, the Glattburg remained in the possession of the Landeckers until the agnatic line was broken off in 1480.

The first document listing Ministerial Konrad von Landeck is dated October 8, 1271. Together with his brother Lütold, he witnessed a pledge from the Counts of Toggenburg Diethelm and Friedrich. Further mentions as witnesses can be found in several documents from 1277 to 1306. On June 11, 1281, King Rudolf I of Habsburg pledged the Bailiwick of Scheftenau to him for 30 marks of silver “as a reward for services rendered and still to be performed”. On the same occasion, Abbot Rumo von Ramstein left the Meieramt in Scheftenau to him and his brother for 50 silver marks, which he only kept for two years and then returned. He continued to function as a believer in Konrad von Gundelfingen , who appeared from 1288 to 1291 as counter-abbot to Wilhelm von Montfort . Before 1287 he had been appointed captain of Singenberg Castle by Abbot Wilhelm. On January 28, 1296, Konrad gave him the right of patronage for the church in Oberbüren. Konrad von Landeck probably died in 1306, since Lütold documents without him from 1307. From 1313 to 1347 his son Konrad is mentioned in several documents.

plant

The work is only handed down in the Codex Manesse (205 v -209 v ). It consists of 102 stanzas, which can be combined into 22 songs. Both Konrad von Landeck (documented evidence 1271–1306) and his son Konrad (documented evidence 1313–1347) can be considered as authors of the traditional songs. In the lyrical work of the minstrel there are 5 and 13 passages within the two distant songs that enable a direct connection with the biography of the older Konrad. In song 5, Vienna is named as the whereabouts of the speaker's ego:

The vil süezzen that I serve,
I sing disen sang before Wiene
dâ der künig lît with violence. (Song 5, 44-46)

In song 13 the speaker self is in France and makes assumptions about how nature shows itself in its homeland:

I must be wondering
how ez thinks of the Rîne
umb den Bodenensê,
whether the Sumer is falling apart.
France has the plan that
is seen in a cloudy look: (Song 13, 1-6)

There is good reason to assume that in both cases the minstrel Konrad von Landeck processed his own experiences in his texts. The siege of Vienna described in song 5 can be linked to the actual siege of the city in 1276 by King Rudolf I of Habsburg. A participation of Konrad in the army expedition is likely, since he was rewarded for his services by the king in 1281 by pledging the Bailiwick of Scheftenau (see above). The stay in France can be determined by Rudolf's military campaign in 1289 against the Count Palatine Otto von Hochburgund. The Counts of Toggenburg were presumably committed to military success. The counter-abbot to Wilhelm von Montfort, Konrad von Gundelfingen, also took part in this undertaking. In the function of Konrad von Landeck as ministerial of the Counts of Toggenburg and as donor of the St. Gallen monastery, support from his masters in such a campaign is to be assumed with high probability. Thus only the older Konrad von Landeck comes into question as the author of the Minnelieder.

Classification

The 22 songs in Konrad von Landeck's lyric work can be assigned to three different genres. Most of the songs belong to the genre of the Hohen Minnelied . These include songs 1, 4, 6–11, 14–17 and 19–22. A further subdivision can be made within this group. In songs 1, 4, 6, 15, 17, 19, 20 and 22 there are didactic passages. The conception of love is no longer exclusively formulated by the speaker's ego for himself, but is described in a much more general way in a doctrinal tone.
Songs 2, 3, 12 and 17 turn out to be dance songs. They include the direct invitation to dance to greet spring or May. Since the dance is always related to the occurrence of summer time, the dance calls are always in the natural entrance with the summer price (or in the transition between natural entrance and women's price ; song 12). In the conception of love and in the didactic passages, the dance songs hardly differ from the high minne songs. Only the women's award takes up a somewhat larger space.
Songs 5 ​​and 13 can be assigned to the genre of remote songs. In both cases, the speaker-ego sends greetings from the physical distance to his partner in love.
In addition to the three main genres High Minnelied, Dance and Fernelied, elements from other genres such as the messenger song (song 6), the day song (songs 11 and 21), the pastourelle (song 19) and the tenzone (song 6) are quoted.

Formal features

Most of Konrad von Landeck's songs have five stanzas. Only songs 7, 9, 10 and 18 consist of four stanzas. The use of three stanzas occurs only in songs 13 and 16. All 102 stanzas that have survived follow the common structure of the Minne kanzone . Only in song 2 does a refrain appear. The length of the stanzas ranges from seven verses (song 7) to sixteen (songs 1, 21). Since the length of the stanzas is subject to significant fluctuations, such variations in length can also be seen in the galleries and the swan songs. The verses of the tunnels range from two (songs 2, 7) to five (songs 1, 20, 21). The length of the swan song varies between two (song 2) and six verses (songs 1, 8, 13, 14, 21).
As with the extent of the stanzas or their components, Konrad von Landeck also varies in the area of ​​the shifting. With the exception of the first line of the swan song, song 21 consists entirely of two levers. Songs 5, 9 and 12 consist of verses in four words. Songs 8, 11 and 15 generally have four-tier studs. In the swan song this image is shown in song 16. Verses of six and seven parts can be found in songs 2, 6 and 18. The alternating rhythm is predominant . In song 1 there is a dactylic verse foot in the second verse of the swan song. It is striking that the tunnels are connected to one another by rhymes. This alignment shows itself in varying execution. In the most common variant, all verses of the first and second studs are connected using rhyming words. This is the case in songs 2, 6, 7, 9, 11, 13-15, 17, 18, and 22. The rhyming of two pairs of rhymes can be found in songs 3, 4, 8, 16 and 19. The tunnels of songs 1, 5, 20 and 21 are connected by a pair of rhymes. Only in songs 10 and 12 are there no such rhyme combinations. Songs 2, 7 and 9 contain internal rhymes . There are grammatical and / or identical rhymes in all songs .
Konrad von Landeck uses a variety of rhetorical figures. There are, for example, anaphors , alliterations , personifications of love and the seasons, public apostrophes , rhetorical questions , antitheses , hyperbolas , clusters of words and several poetic images.
In Konrad von Landeck's oeuvre, there are many literal copies of Gottfried von Neifen's songs . To a lesser extent, there are also connections to Ulrich von Winterstetten and Ulrich von Liechtenstein .

Natural entrance

The natural entrance forms an integral part of Konrad von Landeck's lyrical work. In all songs there is either a winter suit (1, 5, 6, 9, 13, 14, 17, 20–22) or a summer price (2–4, 7, 8, 10–12, 15, 16, 18, 19 ). The respective extent of the natural entrance fluctuates. Most often it includes less than one stanza. In most cases, the summer price is linked to the joy of the speaker-ego about the ministry (exceptions: songs 7, 16). A similar picture emerges in the case of the Winter Lawsuit. It can be designed as a counterpoint to the emotional mood of the speaker-ego (songs 1, 5, 9, 13, 14, 17) or to match it (songs 6, 20-22).
A central element of the nature entrance at Konrad von Landeck is the direct address to the audience. It can be found in the majority of the songs. The speaker-ego calls on the audience to enjoy the natural phenomena together. Only in three songs is a different picture (songs 1, 5, 21). Here winter is cause for collective lament.

Concept of love

In terms of the basic requirements, Konrad von Landeck's concept of love follows the “traditional system” of high love. In the didactic passages, the speaker-ego demands loyalty, constancy and patience on the part of the loving person. The lady must also meet certain requirements in order to be able to serve as a recipient of the ministry. Attributes such as purity and virtue are mentioned in this context. It should be emphasized, however, that the lamentation of love "as a functionless, because no longer existentially significant tribute to the tradition of the High Minne Song" can still be found in Konrad von Landeck's oeuvre, but it clearly takes a back seat to the joy of love, which is now an essential element of the conception of love must be laid. The fröide is firmly established in the conception of love through the key term gedinge , i.e. the justified hope of the sexual fulfillment of the love service. It is precisely this hope that enables the devotee to continue to remain in a state of frolicking , although the longed-for fulfillment has not (yet) taken place. It is sufficient if the thing seems to be justified by a favor (e.g. a smile or a look) from the lady. The state of mourning is relocated to a possible future as a necessary consequence of maintaining the frolid in the present. This change in the classic Minnesang motif, in which the painful gap between advertising and fulfillment provided the necessary drive for the male Minnesang partner, resulted in a de-problematization of the Minne conception. The joy of love does not only arise when the lady has heard it, but is already achieved through the justified hope for it. The “love-lead tension” is lifted and there is no longer any “surrender to sadness”. There is a positive representation of the present, which moves away from a continuous gesture of lament and, with the help of hope, creates a state of frolicity that has largely replaced the lamentation of love as the predominant motif.

The fröide can already be experienced without the sexual fulfillment, but it still forms an “imperfect stage” and only reaches the maximum value of the sælde (bliss, perfection) through the devotion of the woman. The goal of sexual devotion is not replaced by a previously prevailing, object- based, love of love. Rather, the state of frolidity is a preliminary stage, which nevertheless prevents the speaker-ego from turning to the complaint through pain and suffering.

miniature

The miniature in Codex Manesse (205r) is titled Her Chůnrat der Schenke vō Landegge . It shows Konrad von Landeck exercising his gift or cupbearer office. Kneeling, he hands the abbot a golden goblet and opens it, as it were, with his right hand. Such a position underlines his employment relationship with the abbot. On the left side above the clergyman there is the coat of arms of St. Gallen (black upright bear on gold) and on the right above the minstrel is the coat of arms of the Landecker (two red ones, one above the other standing lions with golden crowns on silver).

literature

Editions

  • Karl Bartsch (ed.): The Swiss minnesingers. (Unchanged reprographic reprint of the Frauenfeld 1886 edition) Darmstadt 1964 ( limited preview in the Google book search).
  • Max Schiendorfer (Ed.): The Swiss Minnesingers. Vol. 1: Texts. Tubingen 1990.

Secondary literature (selection)

  • Albert Bodmer, Adolph Näf: The Glattburg on the Thur. In: 90th New Year's Gazette of the Historical Association of the Canton of St.Gallen , pp. 6–11. St. Gallen 1950.
  • Viola Bolduan: Love between ideal and reality. Studies on the late Swiss minstrel. Frankfurt am Main 1982.
  • Konrad Burdach :  Schenk: Konrad S. von Landeck (Landegge) . In: Allgemeine Deutsche Biographie (ADB). Volume 31, Duncker & Humblot, Leipzig 1890, pp. 58-61.
  • Ernst Götzinger: Two Minnesingers from St. Gall: 1. Ulrich von Singenberg, Truchsess 2. Konrad von Landegg, the Schenk. St. Gallen 1866 ( digitized in the Google book search).
  • Gritz Grimme: The Swiss minstrels. In: Germania. Quarterly journal for Deutsche Altertumskunde 35 (1890), pp. 302–339.
  • Claudia Händl: Konrad von Landeck. In: Literature Lexicon. Authors and works of German language. Vol. 6, pp. 483-484.
  • Joachim Kirchner: Mr. Konrad der Schenk von Landeck. an epigone of minstrels. Greifswald 1912 ( limited preview in the Google book search).
  • Johann Pupikofer: History of the Thurgau. Vol. 1. (2nd edition) Frauenfeld 1889.
  • Günther Schweikle: Schenk Konrad von Landeck. In: The German literature of the Middle Ages. Author Lexicon . Vol. 5, Col. 215-217.
  • Günther Schweikle:  Landeck, Konrad Schenk von. In: New German Biography (NDB). Volume 13, Duncker & Humblot, Berlin 1982, ISBN 3-428-00194-X , p. 496 ( digitized version ).
  • Ingo Walther (Ed.): Codex Manesse. The miniatures of the Great Heidelberg Song Manuscript. Frankfurt am Main 1988.
  • Barbara Weber: Oeuvre compositions among the minstrels of the 13th century. (Göppingen works on German studies, vol. 609) Göppingen 1995.

Web links

Wikisource: Konrad von Landeck  - sources and full texts

Individual evidence

  1. ^ Ernst Götzinger: Two minnesingers from St. Gall: 1. Ulrich von Singenberg, Truchsess 2. Konrad von Landegg, the Schenk. St. Gallen 1866, p. 12.
  2. ^ Johann Pupikofer: History of the Thurgau. Vol. 1. (2nd edition) Frauenfeld 1889, p. 444.
  3. ↑ Karl Bartsch (Ed.): The Swiss Minnesingers. (Unchanged reprographic reprint of the Frauenfeld 1886 edition) Darmstadt 1964, pp. CXXIX-CXXX.
  4. ^ Ernst Götzinger: Two minnesingers from St. Gall: 1. Ulrich von Singenberg, Truchsess 2. Konrad von Landegg, the Schenk. St. Gallen 1866, p. 13.
  5. ↑ Karl Bartsch (Ed.): The Swiss Minnesingers. (Unchanged reprographic reprint of the Frauenfeld edition 1886) Darmstadt 1964, pp. CXXX-CXXXII.
  6. ↑ Max Schiendorfer (Ed.): The Swiss Minnesingers. Vol. 1: Texts. Tübingen 1990, p. 170.
  7. ↑ EBD, p. 182.
  8. ^ Günther Schweikle: Schenk Konrad von Landeck. In: The German literature of the Middle Ages. Author Lexicon . Vol. 5, Col. 215-217. Here Sp. 216.
  9. ↑ Barbara Weber: Oeuvre compositions among the minnesingers of the 13th century. (Göppingen works on German studies, vol. 609) Göppingen 1995, p. 167.
  10. ↑ EBD, p. 152.
  11. ↑ Joachim Kirchner: Herr Konrad der Schenk von Landeck. an epigone of minstrels. Greifswald 1912, pp. 109–124.
  12. ↑ EBD, pp. 125-128.
  13. ↑ Viola Bolduan: Love between ideal and reality. Studies on the late Swiss minstrel. Frankfurt am Main 1982, pp. 59-66.
  14. ↑ Barbara Weber: œuvre compositions among the minnesingers of the 13th century. (Göppingen works on German studies, vol. 609) Göppingen 1995, p. 155.
  15. ↑ EBD, pp. 156-165.
  16. ↑ Ingo Walther (Ed.): Codex Manesse. The miniatures of the Great Heidelberg Song Manuscript. Frankfurt am Main 1988, p. 142.
personal data
SURNAME Konrad von Landeck
ALTERNATIVE NAMES Konrad von Landegg
BRIEF DESCRIPTION Swiss ministerials and minstrels
DATE OF BIRTH 13th Century
DATE OF DEATH around 1306