Violets

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The Veilchenschwank is considered to be the most famous saga tale by the late medieval author and singer Neidhart von Reuental . The people who appear in the Schwank are the knight Neidhart (protagonist), the Duchess of Austria and some farmers. The position of the violet swank in the author's work can primarily be determined by his plot. This is the initiative and trend-setting for the swings in the swank novel Neithart Fuchs that followed him , in which the swan with violets is handed down. The violet swank arouses special interest due to its diverse tradition and its great, long-lasting popularity. The most important traditional source is the Berlin Neidhart manuscript c, the so-called "Ried handwriting".

Mr. Nithart ( Codex Manesse , around 1300)

author

The violet swank is attributed to the medieval author and singer Nîthart, modernized "Neidhart". An exact year of birth of the author cannot be determined according to the current state of research. However, from the mention of his name in numerous manuscripts, it can be concluded that he must have been born around the year 1190. It is first mentioned in the Willehalm Wolframs von Eschenbach . In many manuscripts, including the “ Manesseschen Handschrift ” C, he is referred to as “Lord”, which gives information about his noble status. His name also allows conclusions to be drawn about his social status. Nîthart, "the strong man in battle wrath", seems to be a suitable name for a nobleman who is likely to take up the profession of warrior. In the “Manesseschen Liederhandschrift”, sheet 273, a coat of arms is depicted, which, however, is not filled out. This could be due to the painter's lack of knowledge, but the fact that a coat of arms was drawn over his image is a clear indication of the artist's noble origins. Neidhart's clothes in this picture also indicate his aristocratic status.

Neidhart spent most of his life in Bavaria. According to legend, it should come from Meißen in Saxony. This is implied by the full title of the swank novel Neidhart Fuchs . Here it says: "[...] native of Meissen [...]" However, there is no historical evidence of Neidhart's origin. The village in which he probably grew up was called Riuwental, translated into today's language Reuental, near the city of Landshut . In some Bavarian songs, the singer can be addressed as Riuwental's. He had a wife and several children. However, their names are not known. In one of the Schwänke at Neidhart Fuchs there is talk that Neidhart's wife was deaf. All of them, Neidhart himself, his wife and therefore also their children must have had the status of noble free , because around the year 1232 the family moved from Bavaria to Austria, where, according to text sources, Neidhart, at the court of the Dukes Leopold and Friedrich of Austria worked. If Neidhart or his wife had been born in the class of the unfree, such a change of location would not have been possible. The Veilchenschwank probably also originated in Austria , but there is also a version of the work in which the location of the event is in the Bavarian region.

Neidhart's year of death cannot be precisely determined. However, a grave on the south side of St. Stephen's Cathedral in Vienna is interesting for research . There is historical evidence that a Neidhart is buried here. There are many indications that the buried man is actually the medieval poet. His great popularity, which lasted long after his death, could have justified a burial in St. Stephen's Cathedral. One of these clues is the coat of arms that adorns the life-size grave figure. A fox is depicted on the coat of arms - a reference to the swan novel Neidhart Fuchs , which was published as Neidhart's fictional biography after the poet's death. This shows for the first time that the distinction between the real author and singer and the fictional character Neidhart Fuchs created by him sometimes turns out to be relatively difficult. The tomb at St. Stephen's Cathedral in Vienna must have been created clearly after Neidhart's death. If it is actually the poet who is buried here, his bones must have been brought there from an earlier tomb. By the time the tomb was created, the legend of the fictional character Neidhart Fuchs could have overlayed the existence of the real poet Neidhart von Reuental to such an extent that the artist assumed that the poet himself had carried the name Neidhart Fuchs. The question of the extent to which Neidhart's songs have (auto) biographical features, i.e. provide information about the actual life of the poet, has preoccupied Neidhart research from the beginning and will probably never be fully clarified. Judging by the extent of his surviving texts, Neidhart was the most successful of the German minstrels after Walther von der Vogelweide . His interpretation of the courtly love song was completely new at the time, as he brought the concept of courtly love, which was previously reserved for the nobility, into connection with the rural world of the peasants.

action

The knight Neidhart wanders through the fields in the spring to look for messengers of the approaching summer. Soon afterwards he actually found “ the first veyhell ” (the first violet (v.8)) in a meadow. He covers it with his hat and, as tradition requires, he immediately announces his find to the Duchess of Austria, who arrives with her entourage to solemnly pick the first herald of spring.

Thu I went sunder tógen. So I went, capable as I was
So talk to the castle and. To the castle and talked about it
The speech is one lie. What I am saying is not a lie
Ir should all be fro. You should all be happy.

The knight Neidhart expects fame and praise for his find. However, some farmers (often referred to as Dbody in Neidhart's works) observed Neidhart from an ambush when he was discovered. For their part, they pick the violet and instead hide a pile of dung under Neidhart's hat. When Neidhart tries to present the violet to the Duchess, she only finds the pile of excrement and is outraged by the knight's cheek. Neidhart is humiliated like never before.

I want me to die I wish I was dead

Full of anger and shame, he swears vengeance on the peasants. These, however, perform a dance of joy because of their successful prank. Neidhart severely punishes all thirty-two farmers by having their left leg chopped off. The farmers then curse the violet, which brought them so much misery and ensured that they could never dance again.

cursed be the summer. Cursed be the summer
which Neithart first found that Neidhart found.
Now we must suffer grief We must now suffer grief.
so be veyhell Shame on the violet
Now we must jump nymer Now we can't dance anymore.

people

The protagonist of the violet swank is the knight Neidhart. He is also the narrator and describes the events from his perspective. The Duchess of Austria (* In the manuscripts f and s, as well as the print z is the scene Austria, in the manuscript c is the scene Bavaria. In this case, the Duchess is not the Duchess of Austria, but the Duchess of Bavaria) the noble lady whom the knight wants to impress with his find. In Veilchenschwank there is talk of thirty-two farmers who are punished by Neidhart. However, only a few are named. The origin of the evil is the farmer's felt ( vilczgepawer ), which Neidhart observed when he found the violet. His brother Hinkebein ( hincke ) is the one who hides the pile of dung under Neidhart's hat. In the course of the peasants' dance of joy, other peasants are named who make fun of Neidhart's misfortune by singing out loud: Wildsau ( Irenberr ) and Irrenfried ( Irrenfrid ), Roßwein ( roßwin ), Rotzwein ( goßwin ) and the blacksmith, the young lance ( Iung lancz ) and his brother Augenspießer ( vczenger ), Fritzbär ( frisber ), Ranze ( ranczer ) and flatfoot ( flatfoot ). The names of the farmers are speaking names. They suggest their rude demeanor, rude demeanor, and stupidity. The naming of many names in quick succession presents the peasants as a heap, which is intended as a contrast to the cultivated individual in court society.

Position in the work of the author

The violet swank is the best-known substance of the Neidhart tradition. The Schwank itself has been handed down in two handwritten versions. Interestingly, both versions can be found in the Berlin Neidhart manuscript. In Neidhart's oeuvre, together with Hosenschwank, it can be seen as what is known as the initial fluctuation. This can be determined by the content, but the material of the other Neidhartschwänke must first be explained: The knight Neidhart appears as a peasant enemy in the ten swank songs that follow violets and pants . The ten Schwänke follow a basic structure:

  1. Natural entrance (in the violet swank = summer)
  2. Description / abuse of the farmers
  3. Neidhart takes an act directed against the farmers
  4. Reward for the peasant enemy by the duke

The scheme of action of the violet swan is different from the swings that follow it. In Veilchenschwank , the protagonist, the knight Neidhart, is the inferior. His opponents, the farmers, anticipate his actions and use them to harm him. This pattern is reversed in the fluctuations following the violet fluctuation. From now on it is the knight Neidhart who takes on the role of the cunning. The peasants remain the actors, but now it is the knight Neidhart who anticipates their actions. The malice of the peasants keeps falling back on themselves. The violet fluctuation thus has a legitimizing function. It represents Neidhart's motivation for the peasant hatred and lays the literary foundation for the enmity between the protagonist and the corpses. In addition, Neidhart's acts of revenge against the peasants, which are described in the following swans, are legitimized by the violet swan. Peter Strohschneider derives the formula from this that a "logic of vengeance" rules the series of fluctuations.

shape

The violet fluctuation is divided into 5 sections (I – V). Each of these sections has 19 verses. The rhyme scheme is dominated by cross rhymes . The first section is opened by such a cross rhyme, for example.

Winter is on vacation.
and also the cold snee.
vns kumpt a summer linder.
you can see more and clover.

However, there are also chain rhymes that are interspersed in the sections. There is no uniform meter. In the Berlin Neidhart manuscript c, the Veilchenschwank is handed down under the name “Der veyhell” together with a melody recording , which in turn is divided into four thematic sections.

The five sections of the Schwank represent five thematic units. The first section (I) is opened by a natural entrance typical of Neidhart. Neidhart's works can be roughly divided into summer and winter songs. Some are characterized by a summer natural entrance, the other by a winter natural entrance. This natural entrance immediately opens up an association about the mood of the work. The winter songs testify to a gloomy melancholy, while the summer songs are more characterized by the cheerful exuberance of the lyrical self. The Veilchenschwank is now opened by a summer natural entrance. It describes the awakening nature that moves the lyric self to look for the violet. It is full of joy and zest for action over the coming summer. In the second section (II) the knight then finds the violet. It is immediately described how two farmers watch him in ambush and commit their crime. The farmers are therefore chosen from the start as the guilty party who have nothing but evil in mind. Section III describes Neidhart's arrival at the Duchess's castle, the festive procession to the site, and ends with Neidhart's disgrace when the Duchess raises her hat. Bringing the violet does not only mean the knight's homage to the duchess. The violet can also be seen as a symbol of the knight's so-called Maibuhlschaft to the beloved lady. This explains the duchess's violent, hurt reaction. The fourth section (IV) is marked by the indignation of the Duchess and Neidhart's lamentation over his misfortune. In the fifth (V) and last section, the joyful dance of the peasants over their prank and Neidhart's revenge in the form of a brutal brawl is described. In the fifth section (V) there is also a linguistic break. If the fluctuation in the previous sections was kept in the "courtly minstrel tone", which did not contain any gross obscenities, now there is a linguistic break towards the "dormer milieu". There is cursed and a brutal beatings scene in which thirty-two farmers lose their left leg. There is thus a competitive situation not only in the plot between the knight Neidhart and the bodies, but also on the linguistic level between the elevated, courtly language and the lower language of the village.

reception

Reception upon arrival

Despite their village-like setting, the Neidhartschen Schwänke were intended to give lectures at the court of the aristocratic society of the late Middle Ages. The knight Neidhart represented the nobility's figure of identification. He stood for the cultivated, the courtly. The farmers, on the other hand, were portrayed as crude and uncultivated. This image corresponded to the basic attitude of the courtly public: peasants cannot act in a cultivated manner, since they lack the exclusivity inherent in their birth. The violet swank and the other swings of Neidhart were intended for the amusement of court society. This implies that the uncultivated behavior of the peasants did not provoke indignation but laughter from the recipients, and could be due to a secret pleasure in the uncultivated, and certainly also to a certain feeling of superiority of the nobility over the peasants. It can be assumed that Neidhart himself recited his taunts at court. The subjects of his Schwänke were quickly adopted by other artists, as they enjoyed great popularity with the public. These artists also performed the taunts and songs in front of aristocratic audiences. Neidhart himself was a dependent poet, that is, he wrote his songs and taunts in order to be successful at lectures and to receive wages. Unlike many of his contemporaries, however, he did not move steadily from Adelshof to Adelshof, but stayed longer in the same place. In the world order of the Middle Ages, every person had his or her class who was regarded as God-given. The destiny of the peasants was to practice agriculture and to deliver agricultural goods to the aristocracy, whose duty was the armed service in battle. In Neidhart's time, however, the late Middle Ages, this social order began to become diffuse. The nobility became increasingly impoverished due to the expensive life in the cities, while the rural rural population became increasingly wealthy. Neidhart knew how to portray the farmers as ridiculous and stupid and thus gave his aristocratic audience back the feeling of certain superiority. The peasants are always portrayed in Neidhart's swans as those who try to copy courtly behavior, but always fail in a ridiculous manner. Neidhart gave his aristocratic listeners the feeling that they were far above the simple-minded peasant. This will have been one of the factors in its great success.

Lore

There are no original records of the poet Neidhart. All of the existing manuscripts that survive his works were created at least half a century after Neidhart's death. Thus Neidhart is a model case that the concept of authorship in minnesang is rather less clearly defined. The earliest text witnesses are the Riedegger Manuscript R, named after an earlier storage location, Schloss Riedegg in Austria, and the Kleine Heidelberger Liederhandschrift A. These manuscripts were also recorded according to older, unspent sources that did not come from Neidhart himself. In addition, the various versions differ greatly in terms of stanzas and stanzas in the event of multiple transmission. This is due to the fact that the poets of the Neidhartiana changed the songs at their own discretion and added their own stanzas. So the question of the exact authorship is often a difficult one. The author himself may also have reasons for deviating records. It is quite possible that songs were not always performed with the same stanzas, or that the lyrics were varied depending on the occasion. "Today it is no longer possible for us to regain Neidhart's author in the sense of> real <in contrast to> fake <songs and stanzas from the textual tradition." The violet swank is known under the name "Der veyhell" in the "Ried handwriting" c , the so-called Berliner Neidhart manuscript. It is noteworthy that two different versions of the violet swan can be found in the manuscript. What this fact is due to is unclear. Probably the most significant difference between the two versions is the location of the plot. In one version this takes place in Bavaria, the other in Austria. This in turn may be due to the fact that the subject of the violet swan was adapted and recited by other poets. Since this happened over a larger geographic area, the locations may have shifted. When the material was then written down, it was not based on Neidhart's original version, but based on the adapted versions. The "Ried handwriting" named after a previous owner is the largest Neidhart collection. This is now in the State Library of Berlin Prussian Cultural Heritage under the signature Ms. germ. Fol. 779. Hence the name "Berliner Neidhart Handschrift". In it three originally separate manuscripts are bound together: the " Melusine " from Thuringia von Ringoltingen , the " marriage booklet " from Albrecht von Eyb and the Neidhart collection, sheets 131-269. Melodies were entered for many of the songs, including Violet Swan. As early as the first half of the 14th century, the fluctuation of violets is evidenced in pictures on wall paintings in Zurich, and must have been passed down orally from this point on. In addition to the early spread and widespread acceptance of the Neidhart material in medieval society, the wall paintings also testify to the intermediality of the Neidhart tradition, which also points to the oral dissemination of the material.

Sources from medieval clerics have come down to us who criticize the Neidhart frescoes. Writes Nicolaus Rutze , theologian and master's at the (fl 1477-about 1510). University of Rostock : "In de stede of lidendes christi paint se de strid of troye unde in de stede the apostele paint se niterdes effte dantz other nakede untuchtige wivesbilde unde Sea miracles with blot breasts. ”Instead of Christ and the apostles, Rutze criticizes, scenes of the Trojan War and the disreputable material of the Neidhart tradition, dances and bared women are painted on walls. This is a clear allusion to the freedom of movement and improper behavior of the rural population in Neidhart's taunts. The violet swank , with its corpus delicti under its hat, is still comparatively harmless here.

Impact history

Neidhart's success is not only evident in the abundance of his handwriting that has been handed down. The concept of his songs and Schwänke was quickly adopted by other songwriters. In manuscript c, the Berlin Neidhart manuscript, there is, for example, the song title “Ein Neidhart” . This shows that Neidhart's poetry became a song type. One wrote in the Neidhart style. The so-called pseudo-Neidharte adapted the basic motifs of Neidhart's poetry. The natural entrance to the works, which had been shaped by the poet himself, was retained by his imitators and soon became the hallmark of the envious. The body songs became the new type in minnesang. This is sometimes referred to as Niedere Minne. The corpus of songs, games and bars that go back to Neidhart are now known as Neidhartiana. Some of the works are ascribed to the author Neidhart himself, but some of them are already considered an independent genre in his tradition. At the center of the Schwänke is always the knight Neidhart in a dispute with his adversaries, the bodies. The original author and singer Neidhart thus developed into the literary figure of the peasant enemy.

Reception history

The Neidhart'schen songs and Schwänke, which are now assigned to the Neidhartiana, were summarized in the Schwankbuch Neithart Fuchs . This is a booklet printed in the 15th and 16th centuries, consisting of 88 small-format pages. This probably happened out of biographical interest in the hero Neidhart. However, it is also possible that an entertainer, a Neidhart successor, was the model for the character Neidhart Fuchs. At least one of these successors is historically documented. At the court of Duke Otto in 1408 a fee was paid to “Nytharde dem naren”. This could be an entertainer who performed Schwänke in the Neidhart tradition. Nonetheless, the book Neidhart Fuchs is a fictional biography, it consists of a string of the adventures of the peasant enemy. It is divided into 37 formally independent episodes, each with a heading and mostly a woodcut. It contains twelve Schwanklieder, the song Neidhart's vessel and twenty of Neidhart's summer and winter songs . The Veilchenschwank can be found in the Schwankbuch Neidhart Fuchs in episodes II to V (manuscript c). It is the only Schwank that spans multiple episodes and also the only Schwank that has found its way into the book in two versions. The exact title of the Schwankbuch is translated into today's spelling: “Wonderful poems and histories of the noble knight Neidhart Fuchs, born in Meissen, servant of the noble, high-born princes and lords Otto and Friedrich, the deceased dukes of Austria, and what he meant to be He started and worked with the farmers and others during his lifetime - very entertaining reading and singing, so that it can rightly be called the SECOND OWL SPIRIT. “ Very early on, the Schwänke was dramatically processed and performed. The violet swank was particularly popular. The so-called Neidhartspiele are among the earliest secular plays in the German language. So the knight Neidhart, the protagonist of the Schwanklieder, became the protagonist of the so-called Neidhart Games . The violet swank was always the focus of all games. Today four games and a conducting role have been preserved:

  1. The St. Pauler or Swabian Neidhartspiel is considered the oldest Neidhartspiel. It comprises 66 verses with Latin interludes and three speaking roles (proclamator, duchess, neidhart). Its creation is set to be around 1400 in the Lake Constance area. The St. Pauler Neidhartspiel is a series of monologues. Any obscene statements are left out. The pile of excrement under the hat is also only vaguely described.
  2. The Große Tiroler Neidhartspiel is the longest German-language secular game with its 2624 verses. It includes 69 speaking roles, numerous extras, dancers and musicians. In addition to the Veilchenschwank , the Tyrolean Neidhartspiel also includes the confessional, the Kuttenschwank and the barrel sway. There are also references to a sword sweep and column swaying, but these have not been preserved in isolation. Also included are the Friderûn episode and a devil game. The Great Tyrolean Neidhartspiel is handed down in a manuscript bound in 1494 from Tyrol.
  3. The Kleine Nürnberger Neidhartspiel comprises 236 rhymes and 27 speaking roles. Here, too, the fluctuation of violets is a central theme. It is also alluded to the ointment fluctuation. The Kleine Nürnberger Neidhartspiel was probably created in Nuremberg in the last quarter of the 15th century. It has been handed down together with the great Tyrolean Neidhartspiel.
  4. The Sterzing Neidhart scenario is the only vernacular conducting role, presumably for the performance of the Sterzing Neidhart play. It contains 113 pairs of rhymes (beginnings of speeches) and 107 individual lines and provides around 50-60 actors. The conducting role was written around 1511 in Tyrol and was handed down in the collection of games in the Vigil Raber (Sterzing city archive)
  5. The Sterzinger Neidhartspiel comprises 1064 lines. The number of actors corresponds to the conducting role. In addition to the violet swaying, it contains the barrel swaying, a doctor scene and a scene with Neidhart's son. Like the conducting role, the Sterzinger Neidhartspiel has been handed down in Raber's handwriting.

The common motif of action of the games is the meeting of the courtly, aristocratic world, represented by the knight Neidhart, and the rural world of the body, portrayed as vulgar and ridiculous. Neidhart's violent clashes with the farmers are considered the highlights of the games. The games were probably mainly performed at Shrove Tuesday. A unique Shrovetide play version , "A game fasnacht 8 person: The Neidhart with the feyhel, has three actus" comes from Hans Sachs and is dated 9 February 1557th The game consists of 508 verses and, in addition to the violet streak, also the streak of hats and the streak of Neidhart's supposedly deaf wife. (cf. the Schwankbuch Neidhart Fuchs , Episode XVIII) In some cases, in the Neidhart games, the plot of the original Neidhart material, as it can be found in the manuscripts, was greatly alienated and adapted to the respective new social norms. There were also changes over time in what was considered humorous by the audience. Up to modern times there have been numerous adaptations and modifications of the violet swank , but the material has been decisively changed and adapted to new social orders and norms. The plot remains the same, but the accent of the punch line shifts significantly. This change mainly relates to the recipients of the material, who as time went on were no longer to be found in aristocratic society, but in the common people. In modern folk poetry, the figures of Neidhart and those of the Duchess are mainly replaced by "old Fritz" and his court jester "Kion". The main difference to the original Veilchenschwank story is that the fool appears as a cunning actor and plays a funny trick on the "big guys". The fool embodies popular joke by cheating on his master. In the Volksschwänken it is no longer about demonstrating the superiority of court society over the rural population, but rather "the joke of the lower class over the rulers" is superficial. The Neidhart tradition lives on on stage too. In the old Kärntnertor Theater in Vienna, for example, the comic ballet The Violet Found by Salvatore Vigano was performed in 1795 . And even today, the envy hard material has not yet been forgotten. At the celebration of the 900th anniversary of St. Paul Abbey in 2009, the St. Paul Neidhartspiel was performed by a theater group from the local grammar school.

Individual evidence

  1. ↑ a b Reinhard Bleck: Neidhart. Life and songs. Kümmerle Verlag, Göppingen 2002, ISBN 3-87452-950-9 , p. 6ff.
  2. ↑ a b c Dieter Kühn: Neidhart from the Reuental. 2nd Edition. Insel Verlag, Frankfurt am Main 1988, ISBN 3-458-14363-7 , pp. 443ff.
  3. ^ A b c Richard Perger: Neithart in Vienna. In: Neidhart reception in words and pictures. Krems 2000 p. 112ff. Edited by Gertrud Blaschitz
  4. ↑ Jürgen Schneider: Studies on the subject matter and structure of the songs Neidhart. Verlag Alfred Kümmerle, Göppingen 1976 pp. 1998ff, ISBN 3-87452-335-7 .
  5. ↑ a b c d e Gert Hübner: Minnesang in the 13th century. Narr Francke Attempto Verlag, Tübingen 2008, p. 45ff, ISBN 978-3-8233-6429-0
  6. ^ Ingrid Bennewitz-Behr: The Berlin Neidhart manuscript c (mgf 779) . Kümmerle Verlag, Göppingen 1981 pp. 54–57. ISBN 3-87452-569-4
  7. ^ Jörn Bockmann: Translatio Neidhardi. Investigations into the constitution of figure identity in the Neidhart tradition. Peter Lang European Science Publishers, Frankfurt am Main 2001, ISBN 3-631-34506-2 , p. 256.
  8. ↑ Erhard Jöst : The Austrian Schwankbuch of the late Middle Ages. In: Herbert Zeman (Ed.): The Austrian literature. Your profile from the beginnings in the Middle Ages to the 18th century (1050-1750). Part I. Graz 1986, pp. 399-425.
  9. ↑ Peter Strohschneider : Schwank and Schwank cycle, world order and narrative order in the "Pfaffen von Kahlenberg" and in the "Neithart Fuchs". In: Klaus Grubmüller u. a. (Ed.): Smaller narrative forms in the Middle Ages. Paderborn Colloquium, Paderborn u. a. 1988, p. 166.
  10. ^ Ingrid Bennewitz-Behr: The Berlin Neidhart manuscript c (mgf 779). Kümmerle Verlag, Göppingen 1981 p. 54. ISBN 3-87452-569-4
  11. ^ Jörn Bockmann: Translatio Neidhardi. Investigations into the constitution of figure identity in the Neidhart tradition. Peter Lang GmbH European Publishing House for Science, Frankfurt am Main 2001 p. 243ff. ISBN 3-631-34506-2
  12. ^ Petra Herrmann: Carnival-like structures in the Neidhart tradition. Kümmerle Verlag, Göppingen 1984, p. 186.
  13. ^ Ingrid Bennewitz-Behr: The Berlin Neidhart manuscript c (mgf 779) . Kümmerle Verlag, Göppingen 1981 pp. 695-697. ISBN 3-87452-569-4
  14. ^ Jörn Bockmann: Translatio Neidhardi. Investigations into the constitution of figure identity in the Neidhart tradition. Peter Lang GmbH European Publishing House for Science, Frankfurt am Main 2001 p. 243ff. ISBN 3-631-34506-2
  15. ↑ Christine Stöllinger-Löser: Rutze, Nicolaus. In: The German literature of the Middle Ages, author's lexicon (Volume 8) . Walter de Gruyter & Co., Berlin 1992
  16. ^ Nikolaus Henkel: A Neidharttanz of the 14th century in a Regensburg town house. In: Neidhart reception in words and pictures. Krems 2000 p. 53. Ed. By Gertrud Blaschitz.
  17. ↑ a b Erhard Jöst: Peasant hostility, The histories of the knight Neithart Fuchs. Verlag Alfred Kümmerle, Göppingen 1976 pp. 117ff ISBN 3-87452-328-4
  18. ↑ a b Ingrid Bennewitz: Neidhartiana . In: Reallexikon der Deutschen Literaturwissenschaft. Harald Fricke (Ed.): 3rd, revised edition. de Gruyter, Berlin 2000, pp. 695-697; ISBN 3-11-015663-6 (Volume 2)
  19. ↑ a b c d Günther Schweikle: Neidhart. JB Metzlersche Verlagsbuchhandlung and Carl Ernst Poeschel Verlag GmbH, Stuttgart 1990. ISBN 3-476-10253-X
  20. ^ Petra Herrmann: Carnival-like structures in the Neidhart tradition. Kümmerle Verlag, Göppingen 1984, p. 186ff.