Neidhart

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Mr. Nithart ( Codex Manesse , around 1300)

Neidhart , called von Reuental (first half of the 13th century ), was one of the most important and fertile German-speaking lyric poets of the Middle Ages . 132 songs have survived under his name, 55 of them with melodies. In detail, it remains indeterminate which of the stanzas passed down by the minstrel of the 13th century and which were later composed in his style (so-called pseudo-envy-hard). The many copies of his poems indicate the popularity and widespread use of the songs until the 15th and 16th centuries. Close century.

Life

Neidhart called himself a knight. He probably came from Bavaria . Wolfram von Eschenbach mentions Neidhart in a passage in Willehalm ; this shows that it must have been known as early as 1210/20. Based on the place names mentioned in the songs, the Bavarian-Salzburg region can be identified as an area of ​​his early work. It is possible that the Archbishop of Salzburg, Eberhard von Regensberg, was one of his patrons. In later songs Neidhart mentions Duke Friedrich II of Austria (ruled from 1230) as his patron, and that he had received a house on Lengenbach (today's place names: Neulengbach , Altlengbach ; approx. 30 km west of Vienna) from him. He locates the peasant louts who appear in many of Neidhart's songs at Tullnerfeld (also west of Vienna). This allows the time and space of his later work to be determined.

However, the name or origin of the poet cannot be clearly identified. As far as an author's name is mentioned in the medieval manuscripts, it is consistently only "Nithart" ( Kleine Heidelberger Liederhandschrift ), "Her Nithart" ( Codex Manesse ), "(Her) Neithart" (Hss. R, c), "Nythardus" ( Hs. Fr). Middle High German authors also used the one name Nithart , Neidhart, to refer to the poet until the 15th century .

Even if one cannot go so far as to understand the name and epithet of the poet as fiction at all, the personal name Nithart , which was not uncommon at the time, as well as the place or court name Reuental, has allegorical connotations, which the songs allude to; the Middle High German word nîthart stands for one in nîde , d. H. hard in hostile zeal and resentment , d. i. strong, but also strict people and the Riuwental mentioned in several songs (mhd. riuwe : jammer, lament, pain) is, if not clearly localizable, the ironic indication of origin of the knightly protagonist: his jammer valley . Nevertheless, there is a place with Riffenthal in the Erding district in Bavaria whose place name can be derived from the Middle High German Ruiwental and whose geographical situation can be reconciled with Neidhart's literary statements.

Work and effect

Overview

Neidhart founded bodily poetry , a variety of minnesong that Karl Lachmann describes as "courtly village poetry" by mainly describing the hustle and bustle and the coarse love of the peasants in a witty, humorous mood in his songs.

Most of Neidhart's songs belong to the two groups of summer songs and winter songs. Almost 200 songs have survived under his name, some of them with melodies. It is believed that around a third of it did not come from him.

The main character in his songs is usually the "Knight of Riuwental" . Neidhart lets the world of high love collide with the often dreary reality of the village population. His songs contain social criticism that criticizes the status quo as humor. Some interpretations also say that his songs are “hostile to farmers” - for example it is reported that angry farmers attacked the Neidhart grave in Vienna with pitchforks.

  • The " Summer Songs " are simple, unstollige dance songs about courtly love in which the occurring as a knight lover at the village dance woos a peasant girl and thereby with rival swains (mhd. "Dörper" has to deal = Bauer, within the meaning of boobies). The conversation songs of the peasant women (daughter and mother, affectionate old people, girls friends) revolve around the question of how one can win the favor of the "knight of Riuwental" . The satirical representation of the events is mostly parodying and represents a strong contrast to the high minnesang (see below, text sample).
  • The " winter songs " are composed in the form of a canzone and depict dance and play in the farmhouse parlor. The lyrical self is the mostly unsuccessful advertiser here. His interest is directed towards peasant girls and comes across presumptuous “ dormer ” competitors, often there are raw threats and fights. The later versions of the winter songs are increasingly characterized by the singer's rejection of the Minnedienst, based on the old age songs by Walther von der Vogelweide .

Neidhart's works deal with a wide variety of topics. Two are singled out here:

  • " Criticism of the crusade": The cross song Ez gruonet wol diu heide (L 17, R 12,1) is dedicated to the hardships of the crusades. They talk about homesickness, the fear of not seeing home again (“dear tac lâze us got to live so that we can go home to the country!”) And whether it wouldn't be wiser to stay at home than far away to fight ("He thinks me a fool, swer disen ougest hie bestât.") . A crusade participation of Neidhart is not proven, it is also possible that the song was written to deter possible crusaders.
  • “Advertise”: In various songs, the most varied of advertizing the knight for a woman is described. In the ambiguously laid out Ez raffles a ritter sîne Scheide (L 77, C 195), the reverse of the classic minnesia situation is different: a knight succumbs to the erotic promiscuous advances of a neglected frowe and finally sees no other way out than to escape ( “who solte desertrûwen? " / " pulls against: the spice is not brewed yet! " ).

Neidhart later became a protagonist himself through his great fame, songs that were composed in his style became a generic term as "neidhart". Under the name "Neithart Fuchs" , the peasant enemy Neithart Fuchs is said to have written poems in Neidhart's manner, just like the Pfaffe vom Kalenberg as a kind of court jester ("maître de plaisir") of the Austrian Duke Otto the Happy (1301–39). In Neidhart research there are different views as to whether there actually was a knight Neidhart Fuchs. Since 2007, the Salzburger Neidhart Edition (three volumes) has included all of the texts that were distributed as "Neidharte" through manuscripts or prints. It is now possible to compare all text variants with one another. If one examines the reception history of Neidhart literature from the point of view of attractiveness, one can see that this minstrel was the superstar of the Middle Ages. His songs have been virulent for more than three centuries, together with Neithart Fuchs' cocks. Neidhart is "perhaps the most successful, but certainly the most momentous songwriter of the German-speaking Middle Ages. As the only Middle High German songwriter, he has made the leap into the new technology of book printing to a large extent."

The hard material was passed down in swans and games, in numerous woodcuts, frescoes and reliefs. The scores of many Neidhart songs have also come down to us. Neidhart's songs provide insights into medieval class society and reveal both the strangeness of the Middle Ages and developments that can be traced back to modern times. Scientists can use the hoaxes to investigate what people laughed about in the late Middle Ages.

In the Neidhartspiel , which has been handed down in different versions, the poet became the material model for the first secular drama in the German-speaking area.

Text sample

L 12, songs of the R block, summer songs (R 56.4; C 279; c 71.5):

I.
The violence with loube stât
spoke a meit, “ez mac wol mîner will advise.
bring me mîn lent wât!
who had sung by Riuwental and niuwiu liet.
I hear singing in front of the children there.
jâne I never want to lose it,
I jump to the sîner hende zuo der linden. "
II
Diu muoter called ir after;
sî said: “tohter, follow me, niht lâ € ™ you were gâch!
knows how chess
dîner spilen Jiuten vert, alsam ir eide jach?
the wuohs of sînem reien ûf ir wempel,
and won a kint, daz she lempel.
alsô he lêrte sî the bullfinch. "
III
“Muoter, lât iz sîn!
he sent me a rôsenschapel, daz het lent schîn,
ûf daz houbet mîn,
and he brewed two red golds over Rîn;
I still wear them on my legs.
he asked me to give me one.
yes I guess I guess tough little ones. "
IV
The muoter of waiting
daz diu tohter not hearth, daz si ir in front of you.
iz said proudly:
“I have praised him; He's sure of that.
waz am I leaving dâ with mîner êren?
jâne I never want to contradict,
he must teach me great jumps. "
V
Diu muoter said: “go!
bad or bad, yourself, you win.
you haven't guoten.
wil dû with in the gein Riuwental, he will bring you there.
alsô kan sîn treiros sell you.
he begins to loll, stomp, yell at you
and weigh two o'clock bî you run. "

Neidhart grave in Vienna

Neidhart grave

A tomb (Tumbagrab) can be found on the south side of St. Stephen's Cathedral in Vienna . "An incomplete reclining figure made of sandstone, depicting a man with a high cap, rests on a sarcophagus-like substructure." It is considered the burial place of Neidhart Fuchs. When the grave was opened in 2000, "bones of two male people were found: one probably lived between 1110 and 1260 and was between 45 and 55 years old, the other is assigned to the 14th century and is between 35 and 45 years old." Years ago. In view of these data it would be conceivable - as some researchers have suggested - to see the remains of the song author Neidhart and the peasant enemy Neithart Fuchs in the remains ".

Neidhart frescoes in Vienna

The Neidhart frescoes from the early 15th century are located in a house on the Tuchlauben in Vienna and are open to the public as a branch of the Wien Museum . They show scenes from the works of Neidhart.

To tradition

The tradition of Neidhart's corpus begins with individual stanzas within the Codex Buranus . A collective manuscript from around 1300, the so-called Riedegger Manuscript (R), named after its original provenance , Schloss Riedegg , is an early and important source of tradition for the songs of Neidhart (fol. 48r – 62r). Today it is in the manuscript collection of the Berlin State Library .

Extensive collections of Neidhart's songs come from the Heidelberg collective manuscripts Codex Manesse (C) and Kleine Heidelberger Liederhandschrift (A). Finally, a large collective manuscript from the 15th century (c), comprising 273 sheets and written on paper, is important (the Neidhart collection on fols. 131r – 269r), as it also contains melody notations for 45 songs; Today it is also part of the manuscript collection of the Berlin State Library (mgf 779).

literature

Text and melody outputs

  • Dorothee Lindemann: Studies on the Neidhart tradition - investigations into the songs c 2, 8 and 15/16 of the Berlin manuscript c (edition and commentary), the mirror robbery motif and the Fürst-Friedrich-Lieder , Herne 2004
  • Siegfried Beyschlag (Ed.): The songs of Neidhart: the text inventory of the parchment manuscripts and the melodies , text and translation, introduction and explanations of words, edition of the melodies by Horst Brunner, Darmstadt 1975 ISBN 3-534-03592-5
  • Reinhard Bleck: Neidhart: Leben und Lieder , (= Göppingen work on German studies; Volume 700), Göppingen 2002 ISBN 3-87452-950-9
  • The songs of Neidhart , edited by Edmund Wießner, continued by Hanns Fischer, 5th, improved edition, ed. by Paul Sappler, with a melody appendix by Helmut Lomnitzer, (= Altdeutsche Textbibliothek; Volume 44), Tübingen 1999 ISBN 3-484-20144-4 or ISBN 3-484-21144-X
  • Songs: selection with the melodies for nine songs; Middle High German / New High German / Neidhart von Reuental , (= Reclams Universal Library; No. 6927), translated and ed. by Helmut Lomnitzer, Stuttgart 1993 ISBN 3-15-006927-0
  • Mr. Neidhart sang these series: the texts and melodies of the Neidhart songs with translations and commentaries , edited by Siegfried Beyschlag and Horst Brunner, (= Göppingen works on German studies; Volume 468), Göppingen (Kümmerle Verlag) 1989.
  • Neidhart songs. Texts and melodies of all manuscripts and prints , edited by Ulrich Müller, Ingrid Bennewitz, Franz Viktor Spechtler, Volume 1: Neidhart songs of the parchment manuscripts with their parallel transmission , Volume 2: Neidhart songs of the paper manuscripts with their parallel transmission , Volume 3 : Comments on the transmission and edition of the texts and melodies in volumes 1 and 2, explanations on the transmission and edition, bibliographies, discography, directories and concordances , Berlin (de Gruyter) 2007.

Research literature

  • Siegfried Beyschlag: Neithart and Neidhartianer , in: The German Literature of the Middle Ages, Author's Lexicon , Volume 6, Berlin, New York 1987, ISBN 3-11-010754-6 , Sp. 871-893
  • Albert Bielschowsky : History of German Village Poetry in the 13th Century, Vol. 1: Life and Poetry Neidhart von Reuenthal, Berlin 1890
  • Friedrich Dahm: The Neidhart tomb in St. Stephen's Cathedral in Vienna. Studies on the history of construction and restoration , in: Gertrud Blaschitz (Ed.), Neidhartrezeption in Wort und Bild, Krems 2000, 123–155
  • Erhard Jöst: hostility towards farmers. The histories of the knight Neithart Fuchs , (= Göppingen work on German studies; Volume 192) Göppingen 1976
  • Erhard Jöst: Neidhart and the farmers. The legendary superstar of the Middle Ages and his tradition in words, pictures and music. In: The teaching practice. Supplement to "Education and Science", issue 6/2001, pp. 41–48
  • Dieter Kühn : Neidhart and the Reuental: A journey through life (revised new edition), Frankfurt am Main 1996 ISBN 3-596-13335-1
  • Jürgen Kühnel:  Neidhart. In: New German Biography (NDB). Volume 19, Duncker & Humblot, Berlin 1999, ISBN 3-428-00200-8 , p. 44 f. ( Digitized version ).
  • Marc Lewon: Studies on Neidhart's melodies. A musical analysis of the O manuscript (written work on obtaining the master's degree at the Ruprecht-Karls-Universität Heidelberg), Heidelberg 2002.
  • Ulrich Müller: The author - product and problem of transmission. Dreams of dreams and fears of a medievalist on the occasion of the medieval songwriter Neidhart. In: The author in dialogue, ed. v. Felix Ingold and Werner Wunderlich, St. Gallen 1995, pp. 33–53
  • Rudolf Scharl: Neidhart's Reuental - a search in Erdinger Land . In: Concilium Medii Aevi, Volume 13, 2010 https://cma.gbv.de/z/2010
  • Günther Schweikle: Neidhart , (= Metzler Collection; Volume 253), Stuttgart (Metzler) 1990.
  • Margarethe Springeth, Franz Viktor Spechtler (eds.): Neidhart and the Neidhart songs. A manual . De Gruyter, Berlin / Boston 2018, ISBN 978-3-11-033393-0 (accessed via De Gruyter Online).
  • Edmund Wießner: Commentary on Neidhart's songs . Reprint of the Leipzig, Hirzel, 1954, 2nd edition, with an afterword by Ingrid Bennewitz-Behr and Ulrich Müller. Leipzig 1989 ISBN 3-7401-0142-3
  • Edmund Wießner (Hrsg.): Complete dictionary to Neidhart's songs , reprint of the Leipzig, Hirzel, 1954 edition, 2nd edition expanded to include an afterword, Leipzig 1989 ISBN 3-7401-0141-5
  • Neidhart von Reuental . In: Benno von Wiese (ed.): "The German lyric. Form and history. Interpretations. From the Middle Ages to the present." 2 volume. 2nd expanded edition. August Bagel Verlag, Düsseldorf 1957, pp. 264-265.

Sound carrier (selection)

  • Kummer, E., "Songs and Reigen of the Middle Ages - Neidhart von Reuental", Pan-Verlag, Vienna 1986. (LP No. 117 001)
  • ensemble for early music augsburg, "Neidhart von Reuental", Christophorus, Heidelberg 1991. (CD 77108)
  • Ensemble Tourdion & Manfred Kamfert, "Her Nîthart hât sung - songs of love and ridicule", 1998.
  • Ensemble Leones, "Neidhart: A Minnesinger and His 'Vale of Tears'. Songs and Interludes", NAXOS, Hong Kong 2011. (CD 8.572449)

Martin Schubert created a comprehensive discography for the manual: Neidhart und die Neidhart-Lieder (2018).

Web links

Commons : Neidhart von Reuental  - Collection of images, videos and audio files
Wikisource: Neidhart  - sources and full texts

Remarks

  1. ↑ Ingrid Bennewitz in: Neidhart and the Neidhart-Lieder (2018), p. 35.
  2. ↑ Schweikle, p. 50
  3. ↑ Ulrich Müller: The author - product and problem of tradition. Dreams of dreams and fears of a medievalist on the occasion of the medieval songwriter Neidhart. In: The author in dialogue. Contributions to Authority and Authorship, ed. v. Felix Philipp Ingold and Werner Wunderlich, St. Gallen 1995, pp. 33–53, quotation p. 35.
  4. ↑ Erhard Jöst: Neidhart and the farmers. The legendary superstar of the Middle Ages and his tradition in words, pictures and music . In: The teaching practice. Supplement to education and science , issue 6/2001, pp. 41–48.
  5. ↑ Erhard Jöst in: Neidhart and the Neidhart-Lieder (2018), p. 339. See also: Neidhart Fuchs in the Vienna History Wiki of the City of Vienna
  6. ↑ Jöst, ibid, p. 339f.
  7. ↑ Neidhart Festsaal. In: wienmuseum.at . Retrieved December 23, 2019.
  8. ↑ For further pictorial representations see Neithart Fuchs .
  9. ↑ Digital copy : http://resolver.staatsbibliothek-berlin.de/SBB00009B3900000000 .
  10. ↑ rec. 1985 Ent .: I saw the haide. Child prepares the sledge for the ice. I suffer from the heart. Wilekomen may seem. Daughter, spin the rock. Winter is on vacation. The mei has climbed manig heart high. Everything that the sumer made in joy what. DNB - link to this dataset ; Scope: sound pl .: 33 / min; 30 cm + accessories
personal data
SURNAME Neidhart
ALTERNATIVE NAMES Neidhart von Reuental; Nithart from Riuwental
BRIEF DESCRIPTION Middle High German poet
DATE OF BIRTH before 1210
DATE OF DEATH after 1240