Day song

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The day song, named after the “white” of dawn in the Romance languages ( Occitan Alba , old French Aube ), is a courtly genre of medieval lyric poetry , which is primarily defined in terms of content and the situation of the secret get-together and the farewell of two lovers at daybreak of a night of love spent together.

Together with the Pastourelle which depicts the meeting of a knight with a Schäferin lower classes, the Tagelied is a special case in the court seal , in that it not renouncing directed to delay and ethical refinement High Minne sings, but the physical permits association and even at the center, whereas the Tagelied, in contrast to the pastourelle, does not deal with its topic in a coarse and ironic way, but rather expresses the happiness of the union and the pain of the impending separation.

Origin and motives

The Tagelied was developed as a genre by the Occitan Trobadors and Trouvères from northern France and adopted and further developed by the Middle High German minnesingers , whereby elements of older folk songs and links to Middle Latin poetry could also come into play. The day song combines narrative with monological and scenic elements, visualizes the break of day through characteristic motifs such as the morning light , the beginning song of the birds and the warning call of the watchmen and combines the expression of happiness in love and the pain of separation with the complaint of envious people and the jealous husband who as representatives of a hostile society, force the lovers to separate. That such a separation is threatened is feared, mourned, etc. by the characters in the songs, sometimes even defiantly ignored, but the execution of such a separation is almost never told: The songs each end before the separation occurs (see below). Although folk elements such as refrain and watchman's call are also included and there is no binding to a fixed formal construction principle, the day song is usually performed with formally demanding rhyme and stanza technique.

A Latin-Occitan day song has come down to us with the bilingual Alba of Fleury-sur-Loire from the year 1000.

In Middle High German poetry, what is believed to be the oldest surviving day song Slâfest du, friedel ziere is attributed to Dietmar von Aist . Other important representatives included a. Heinrich von Morungen , Wolfram von Eschenbach , Walther von der Vogelweide and later Oswald von Wolkenstein .

Romeo's farewell to Juliet in William Shakespeare's Romeo and Juliet as well as the second act of Richard Wagner's opera Tristan und Isolde are dramatized forms of the day song.

In the literature of the Romantic period, which dealt with the Middle Ages a lot, there are also daily songs, e.g. B. Morning dew by Adelbert von Chamisso .

Recent literary research has also pointed to the poetological metaphor of the Tagelied, which is an essential element of the Tagelied genre and its modern adaptations. Most Tagelieder deal in a complex way not only with the awakening and the impending separation of a secret couple, but at the same time - metaphorically speaking - with the singing 'awakening' of the song itself, which is hardly sung, has to fall silent again. 'falls asleep' again. The aesthetically and poetologically used point in time of the end of the song, which in almost all day songs always coincides with the end of the narrated dawn, speaks for such a metaphor. The time of the end of the song always has a comforting component in the day songs: Since daylight is never broad in the narrated world of the day song, the lovers never separate, because along with the song 'sleep' also those sung about in it and singing characters again - until the song is sung again resp. is 'awakened'.

literature

Primary texts

  • Texts on the history of the German Tagelied . Ed. V. Ernst Scheunemann. Supplemented and ed. v. Friedrich Ranke. Bern 1947.
  • German daily songs from the beginnings of tradition up to the 15th century . According to Hugo Stop's plan ed. v. Sabine friend. Heidelberg 1983.
  • Hausner, Renate (ed.): Owe do tagte ez: Tagelieder and texts with related themes from the Middle Ages and the early modern period . Goeppingen 1983.
  • Daily songs of the German Middle Ages . Mhd. / Nhd. Selected, translated and commented by Martina Backes. Stuttgart 1992, 1999 (RUB 8831). [Review by L. Okken in Mediävistik 7 (1994) p. 394f.]

Secondary literature

  • Arthur T. Hatto (ed.): Eos: an inquiry into the theme of lovers' meetings and partings at dawn in poetry . London 1965.
  • Wolfgang Mohr : Reflections of the day song . In: Mediaevalia litteraria . Festschrift H. de Boor. Ed. V. Ursula Hennig and Herbert Kolb. Munich 1971, pp. 287-304.
  • Ulrich Knoop: The Middle High German Tagelied: Content analysis and literary historical research . Marburg 1976.
  • Alois Wolf: Variation and Integration. Observations on high medieval day songs . Darmstadt 1979.
  • Gerdt Rohrbach: Studies to research the Middle High German day song: a socio-historical contribution . Goeppingen 1986.
  • Christoph Cormeau: On the setting of the day song in minnesong . In: Festschrift W. Haug and B. Wachinger . Ed. V. J. Janota. Tübingen 1992. Vol. 2, pp. 695-708.
  • Hans-Joachim Behr: The inflation of a genre: the day song after Wolfram . In: Song in the German Middle Ages . Ed. V. Cyril Edwards, Tübingen 1996, pp. 195-202. 
  • Uwe Ruberg : Problems of the history of the genre of the “spiritual day song”: dominance of the guardian and wake-up motif up to Hans Sachs . In: Traditions of Poetry: Festschrift Hans-Henrik Krummacher . Ed. V. Wolfgang Düsing. Tübingen 1997, pp. 15-29.
  • Rudolf Kilian Weigand: From the crusade call to the Minnelied. Forms of transmission and dating questions of secular Minnesian poetry . In: Artes liberales: Festschrift for Karlheinz Schlager for his 60th birthday . Ed. V. Marcel Dobberstein. Tutzing 1998, pp. 69-92. ISBN 3-7952-0932-3
  • Markus Gut: On the poetological dimension of Middle High German daily songs, in: Archive for the Study of Modern Languages ​​and Literatures, 251: 2, 2014, pp. 255–282.

See also

Individual evidence

  1. ↑ On the tradition of the day songs in the German Middle Ages, especially with Wolfram von Eschenbach: Wolframs day songs
  2. ^ Adelbert von Chamisso : Morgentau im Projekt Gutenberg-DE
  3. ↑ Markus Gut: On the poetological dimension of Middle High German daily songs . In: Jens Haustein, Christa Jansohn, Barbara Kuhn et al. (Eds.): Archive for the study of modern languages ​​and literatures . tape 251 , no. 2 , 2014, p. 255-282 .