Wolframs Tagelieder

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To Wolfram's day songs include "The morgenblic" (Des minnesong Spring = MF I), "klawen Sine" (MF II), "The hero minne" (MF IV), "From the crenellated" (MF V) and "Ez is nu tac "(MF VII). Although Wolfram von Eschenbach is primarily known as an epic poet and, moreover, only a few songs have survived, his day songs have an important place in literary history: Wolfram's variation of the day song situation in particular is not only a much-considered and controversial subject of research, but also one popular and frequently received motif in literary love stories.

Emergence

The sources of the origin of Wolfram's songs are very poor, and their dating is also uncertain. Since Wolfram mentions his songs in his Parzival epic, it is assumed that Wolfram had already made a name for himself as a minstrel before he started working as an epic poet. According to this view, the songs are likely to have been written around 1200 to 1210.

Lore

Wolfram's poetry is preserved in the following manuscripts:

  • Kleine Heidelberger Liederhandschrift A, fol30v ("Ez ist nu tac"), which was probably created in the Alemannic dialect around 1270 to 1280 in Alsace, additions with a Central German touch were made beyond the middle of the 14th century.
  • Weingartner Liederhandschrift B, p. 178 u. 179 ("Der helden minne" and "Von der Zinnen"), which was written in the early 14th century. Because of the dialect in which it is written, a place of origin around Constance is assumed.
  • Large Heidelberg song manuscript C, fol150r / v (“Der helden minne”, “Von der zinnen”, “Ez ist nu tac”), the basis of which was probably made around 1300 in Zurich. However, some addenda are dated to the first half of the 14th century.
  • Münchner Parzival manuscript G, fol75v ("Den morgenblic", "Sîne klawen"), which, according to the analysis of scripts, was created in the second quarter of the 13th century. Although it cannot be precisely localized, due to the Bavarian-Ostalemannic dialect, the Swabian-Lake Constance region is assumed to be the place of origin.

The daily songs: analysis and interpretation

The edition and the concordance of the following songs corresponds to the 38th edition of “Des Minnesangs Frühling”. This largely neutrally reflects the basis of the text and its arrangement in the manuscripts. Other research opinions are discussed in “3.2. Attempts at the arrangement ”.

"Den morgenblic" (MF I): The flawless love?

Wolfram's first day song introduces a storyline that can essentially also be found in the other four day songs: A pair of lovers has secretly spent a night together and is woken up by a guard at daybreak. The woman - only the man in exceptional cases - complains about the separation that is now necessary until the “urloup”, a final farewell union, occurs.

The day song “der morgenblic” is primarily a complaint by the woman that mixes with narrative elements. The song begins with the key term “den morgenblic” and so with the element from which all tension arises, the dawn. This is followed by a concise presentation of the day song situation in the first stanza. The woman is awakened by the call of the guard (“wahtaers sange”, 1,1), whereupon she complains about the break of day and the now necessary separation from her lover. She emphasizes her isolated position as lovers, since the day for everyone, expressed in the decomposing trope ("wilde and zam", 1,7) means something pleasant, but she tries to defend herself against the dawn of the day. In a narrative passage that follows at the beginning of the second stanza, an impressive picture shows that her lament is in vain: The day inexorably enters the lovers' room (“the tac with strength al through diu venster dranc / vil slôze sî besluzzen / daz didn't help ”, 2,1-3). Her grief is illustrated with another lament by the tears that flow down the cheeks of both lovers. A promise of loyalty (“ungescheiden our triuwe”, 2.8) by the woman closes the song . The passionate devotion of lovers before they say goodbye, the “urloup” (3.1), is discussed in the swan song . This puts the physical and mental unity of the lovers in the foreground once more. The last verses, which describe the relationship of lovers as “a love without the slightest blemish” (“minne ân allen haz”, 3,10), seem like a conclusion.

A motif that runs through the entire song is the opposition of the unity of lovers on the one hand and simultaneous suffering on the other, which results from the couple's isolation from society. The harmony that prevails between the lovers is initially represented formally by the "commonality of the linguistic sign", in which the personal pronouns in the singular in the first stanza become a common "we" in the subsequent stanzas. In addition, three topoi contribute to the impression of loving bond: How much the two lovers belong together is first reflected in the image of the crying woman, whose tears run down both faces ("ir ougen diu beguzzen ir both wangel", 2.5-6 ). In addition, the phrase “two hearts and one lîp hân wir” (2,7) is used during the woman's promise of loyalty. In the context of the loving unity, this picture initially seems unusual, because "to the modern mind the inverse formula [...] seems rather plausible". Lindemann weighs up various possible interpretations of the “a lîp” formula and comes to the conclusion that this metaphor is likely to have a specific literary connection with Chrétien de Troyes' “Cligès” and is thus a variation of the “heart swap metaphor”. This depicts how lovers give each other their hearts and keep them at the same time. So it happens that the lovers, as becomes clear in the context of the song, walk together unseparated (“ungescheiden mit ein anders vert”, 2.8). The third picture underlines an “unusual unspeakable topos” (“swelch schiltaer drafts daz / Geselleclîche als si lâgen, des would be also the genouc ”, 3,7-8) the togetherness of the couple. With this comparison, the speaker emphasizes that the perfect unity of lovers is difficult to represent in art. The function of these verses is controversial in research: Wapnewski sees the erotic element of the description defused at this point, as this passage indicates the fictionality of the song, which is typical of the sanctioned and popular genre of the day song. Von Reusner, on the other hand, interprets this passage poetologically and understands it as a self-reflection of Wolfram and his artistic work. With this, in addition to the discussion of love, I would like to reflect on the creative process of art. So it could be concluded that the Tagelied defines itself as a “word work of art”.

It is not only through this poetological reflection that distance is created between the recipient and the emotional parts of the speech, but also through the epic style and the dominant past tense. The “logical-consecutive formulas” (“dâ von”, 1.4; “des muosen”, 1.5; “sus”, 3.5) as well as the numerous enjambements contribute to this impression, making the song less lyrical, but rather ballad- like . Wapnewski also explains the motives of suffering on the one hand and the unity of the lovers on the other hand by demonstrating the day motif, union motif, tear motif and worry motif in all stanzas and “as a reflection of the erotic intertwining " explained. In spite of everything, he sees these leitmotifs as "suffering" and once again puts the isolation of the couple in the foreground in the first song of the day. The lovers are lonely only because of the personal constellation in this day song, since the guardian does not play a significant role here.

Both narrative and formal, the central problem of the Tagelied is taken up: the contradiction between the bond between lovers and their isolation from society. The day song consists of three stanzas, which are built in the shape of a canzone. In the singing, five-bar verses frame the three-bar, and in the farewell, two four-bars enclose several longer, rhyming verses. This embracing principle formally underscores the unity of lovers, just like the narrative embracing principle: The woman's complaint in literal speech is framed by a narrative representation, but also briefly interrupted in some places, which shows the inconstancy of the illegitimate daytime song love.

Overall, according to von Reusner, the unusual juxtaposition of harmony and isolation is related to the principle of “motif coupling”, which achieves distance from this emotional song. In each stanza a stereotypical motif of the day song is used, such as the day as an occasion for separation in the first stanza, the intensity of the feelings in the separation in the second stanza and the physical union in the third stanza. Every recipient can blindly identify with these well-known motifs, the distance to the structure of the song is only achieved by adding counter-motifs: the special position of the couple in contrast to nature, the triuwe motif in the second stanza and the unspeakable topos. Only these elements would give the song Wolframian traits, so that the contrast between closeness and distance is not only noticeable on the figure level, but also plays a role in the relationship of the recipient to the text.

"Sîne klâwen" (MF II): The monster of the day

The Tagelied is essentially a debating dialogue in which the watchman and woman take turns speaking twice; the fifth and final stanza is narrative. The song of the guard begins the song. It is mainly dominated by a description of the day, which drives the night away like a monster ("Sîne klâwen / sint sagt through the clouds, / he stîget ûf with greater strength", 1,1-3). In response to the guard's song, the woman accuses the guard of stealing her beloved and with it her “joy” (2.2). She even offers him a reward (“des lôn ich dir”, 2.9) so that he can leave the knight with her. In the third verse the guard again exhorts the woman to let the man go so as not to put him in greater danger and promises her that he will return soon. The guard also points to a kind of "guardian ethos"; loyalty to his knight commanded him to protect him, which is why in this case he had to move him to leave. In the fourth stanza, the woman protests helplessly and explains that the guard has often taken her beloved physically, but not from her heart ("you have been in a thick state of behavior / from bare arms, and ûz sutures heart." , 4.9-10). In the last stanza, the dawn and the mutual devotion of the lovers are told again before they have to part.

The expressive metaphor of the day monster at the beginning creates tension by having a retarding effect. The reference element “tac” is indicated later by a kind of figura etymologica (“I am in grâwen / tegelîch, as he wants to meet / den tac”, 1,4-6) and only finally mentioned directly. In addition to the gloomy atmosphere in the passage about the day monster, there is also the term dawn (“grâwen”, 1,4), which in this context acquires a certain ambivalence. Although it only describes the break of day, the word itself has a negative connotation in its meaning of "horror".

The guard's part of the speech ends in a discussion between the guard and his wife, which overall reflects the opposition between reason and feeling, duty and inclination, which is often shown in the Tagelied. Some interpreters even go so far as to apply an analogy to Freud's instance model to the staff. Kühnel warns, however, against applying modern moral standards to the day song love. It is about the opposition between heart and mind, "two principles that both claim validity and are not morally assessed". The fact that the principle of understanding and the rigorous enforcement of social norms cannot be clearly assigned to the guardian is shown by the fact that the daily monster is described from the guardian's point of view. Ultimately, he seems to see the couple's love as worthy of protection.

Although the principles of the heart and mind appear to be mutually exclusive, there is a limited possibility of approximation. This can also be seen in the structure of the song: The individual stanzas are written in canzon form and each consist of a singing with two three-line tunnels in interlocking rhyme (abcabc) and a four-line swan song in cross rhyme (dede). This embracing construction principle conveys that the stanzas are self-contained.

Nevertheless, the stanzas of the different speakers are conceptually linked: The key term "tac" appears in every stanza, with the counter-term "approaching" also appearing in the guardian stanzas. This shows the conflicting concerns of the guardian and the lover. While the watchman tries to enforce the principle of the day, i.e. the norms of society, the woman tries to give duration to the night and her secret love. The conceptual intersection “tac” shows that a compromise has to be found at the transition point between the two principles at daybreak. On the one hand, the triuwe term contributes to this compromise, which links the second and third stanzas and thus gives a first indication that the ideas of the two discussants are in a certain way connected despite everything. On the other hand, the ambivalence of the “urloup” concept also plays a major role, the character of which is explained in a seemingly paradoxical quote from Hans Kudszus : “Farewell is the most intimate way of being together.” This “urloup” opens up a possibility of both points of view to agree with each other.

The discussion between the woman and the guard raises a problem of the day song love: It is not without danger despite the harmony between the lovers. The woman's grief over the morning separation turns into anger on the guardian, who is a helper and protector of the lovers, but at the same time paradoxically has to disrupt their connection in order to preserve it.

“Der helden minne ir klage” (MF IV): The anti-day song?

Handwriting with the songs "Der helden minne", "Von der zinnen" and "Ez ist nu tac" in the Codex Manesse.

Wolfram's day song "der helden minne" is highly controversial in research due to its peculiar form and content. This peculiarity led to the fact that the authenticity was initially doubted by the older research. Even if the question of authenticity has now been unanimously decided in Wolfram's favor, research has not come to any consensus on the interpretation of the song. "Der helden minne" is an exception, while the other four day songs come as variants of the genre type, in which a fundamental premise of the day song genus is not realized: the couple's love is not illegitimate, the partners are married.

In terms of content, the first stanza, according to Wapnewski, is a “perfect mimicri (sic)”, since the recipient sees the constitutive elements of the daily song situation and is therefore misled by the similarity with other Wolfram's daily songs. The speaker deplores the necessary parting of the lovers, "daz sûre nâch dem süezen" (1,3). Shortly afterwards he asks the guard to be silent with the harsh imperative "swîc" (1,9). The previous misleading of the recipient is then revealed in the second stanza; because here it becomes surprisingly clear that the lovers are a knight and his wife ("wirtes wîp", 2,10).

Because of these very peculiarities of the day song "der helden minne", there have been numerous interpretive approaches in research that all consider this song in connection with the other four day songs. For some, it is primarily a question of comparing the role of the guard, by which the interpretation can be tied. What is striking is that the guardian is forbidden to use the word as a constitutive element of Wolfram's daily songs. Some understand this as relativizing the guard as a central element, Wapnewski even as "taking care of the guardianship". “Der helden minne” should be understood as a further variation of the guardian figure, ie as a supplement to its representation in a dispute in “sîne klâwen” and in a self-characterizing monologue in “ez ist nu tac”. Rohrbach does not see the guardian figure per se in the criticism, but only its function of having to separate the lovers from one another. But he comes to a similar result as Wapnewski and understands the song as a variation.

Other interpreters start less from the question of the guardian role, but more from the question of how the song fits into the context of the other songs. Older research (Scholte 1947) understands “the hero minne” as an “anti-day song”. As a “champion of Christian knightly ideals”, Wolfram wanted to scare off the recipient in the first, parodying stanza with a didactic intention by means of “blatant effects”, and then convert him to marriage with the second, serious stanza. However, as early as 1972 Wapnewski warned against a biographical fallacy and contrasted this approach with two other possibilities: Wapnewski interprets this song as a parody of married love, since it is less, as Scholte thinks, praised, but only ex negativo, for example through the absence of danger ( "He must not strive through tomorrow / then", 2,4-5) is defined. In Wapnewski's view, a parody of married love means at the same time a profanation of the great love and, in the end, also a "mockery of the ordinary" of the minstrel.

In more recent research (Mertens 1984, 2002; Ishii 1993) the moralizing interpretation of "der helden minne" as "anti-day song" is opposed to the interpretation as "pro-day song". Because only the day song love can achieve a physical and mental unity of the lovers, as it is drawn in the “urloup” motif. The conjugal love fulfillment, especially the physical one, obviously does not exist, even if (or precisely because) it is safe to be together. The Tagelied thus becomes a contribution to the love discourse, which quietly criticizes the unattainability of a love of the Tagelied with positive connotations , but above all aims to highlight the lack of fulfillment in the medieval model of marriage. This impression is only reinforced by the comparatively low-profile and sober language.

Formally, there are also some arguments in favor of the thesis that this is a contribution to the Minne Discus. On the one hand, “der helden minne” is surprisingly short with two stanzas of ten verses each. The modified cannon shape is shown in the split swan song, which surrounds the two tunnels in two parts (A / BB / A scheme). In both parts of the swan song, in the first and last verse of the song, the key term "minne" is used, as if the concept and practice of minne were to be discussed here.

Even if one cannot arrive at a unanimous interpretation and classification of the diary "der helden minne", the tendency can be seen that the more recent approaches assume Wolfram less moralizing intentions than that they deal with the topic in a playful, debating manner " Love "see.

"From the battlements" (MF V): The watchman's song of the day

Unusually, in “Von der zinnen” it is not the “real heroine” of Wolfram's songs, the loving woman, who has a say, but primarily the guardian. “Von der Zinnen” begins with a two-trophic monological guardian chant. The guard's song is formally reflected in a "call-like character" with short rhyming intervals and a refrain-like repetition of the wake-up call ("ritter, wache, hüete dîn!", 1.15 as well as "hüete dîn, wache, süezer gast!", 2, 15). The third, predominantly epic stanza is clearly delimited from the previous stanzas by a change of tense from the present tense to the past tense and focuses on the lovers' parting.

In terms of content, the guard initially points out to the secretly lovers that in his position he is responsible for their life and reputation ("lîp and êre", 1.9). This presumptuous acting position is dampened by the use of the potential (1,11-13); The imperatives in the guard's calls also appear formally stylized. In the second stanza the guard shows that he knows about the suffering of the couple (“daz ûf im laege meldes last”, 2,9-10). Nevertheless, according to his guardian honor (“wahter triuwe”, 2.2), he again calls the lovers to separate. Although he has an official function, he seems to be closely connected to the lovers, as shown, for example, by his personal address to his wife (“du vrouwe”, 2.5). The narrative representation of the third stanza is briefly interrupted by verbatim speech; but not, as usual, through the words of the woman, but through an utterance by the knight. Although he was mute in the day songs discussed so far, in “Von der zinnen”, albeit speaking in general terms (“allen mannen / trûren never sô even destôrte / ir vröiden vunt”, 3,3-5), he laments the separation from his Beloved. Finally, the love union between the two is described again.

In “Von der Zinnen” the most important two leitmotifs of Wolfram's daily songs are explicitly explained. On the one hand, the “urloup” term is given a direct definition here, as its two sides are made clear in the last verse of the song. The Middle High German phrase “des prîs was hôch” (3.15) can best be reproduced with the ambivalence that the German adjective “expensive” still carries today: the couple's (love) gain through physical love is great, at the same time The price of this physically fulfilled love is high - the morning farewell to each other - this is what Wapnewski calls the “formula of daytime song love”.

On the other hand, Wolfram's day song can be regarded as the “day song of the guard” because this song is sung from his perspective as a supporting figure. Not only the high amount of speech by the watchman is unusual, but also the formulation with which the watchman begins the song and which is of great importance for the further understanding of the day song. At the beginning he announced that he would now stop singing “in tagewîse” (1,2); In view of the following stanzas, however, this formulation seems contradictory. Edwards deals with this formulation and weighs up various interpretations: He considers the interpretation common since Wapnewski to understand the expression “in tagewîse” as apposition to be improbable, since this implies a previous guardian chant to which there is no reference whatsoever. He also points out the interpretation discussed in the research that the guard does not sing a public wake-up call, but initially only sings a private song for the lovers to wake the knight and give him time to escape. Others understand this line as a threat from the guard to quit his service, which is extremely important for the lovers. Edwards does not come to a clear conclusion, but he points out that the fascination emanating from Wolfram's songs is due, among other things, to these ambiguous formulations. Therefore, a commitment to one of the interpretive variants would only diminish Wolfram's creative spirit.

The guard's proud comments on his self-conception and on his important function, which he expresses towards the socially superior couple, also seem striking. From this, Wapnewski deduces a social problem that lies in the fact that the guardian receives power over his master through his position. This creates an undignified situation for the knight. However, this approach is problematic because it is based on an intentional fallacy . After all, there is no concrete evidence that a socially critical attitude is represented in Wolfram's works.

However, it cannot be denied that this song of the day raises the question of the role and self-image of the guard. Overall, the result is the image of a sovereign but loyal mediator who tries to protect the lovers from social pressure and who at the same time tries to avoid their exclusion from it. This ambivalent position has an influence on the relationship between lovers, who can and must combine farewell and union in the ambivalent “urloup” term.

"Ez ist nu tac" (MF VII): The daily song pain

Handwriting of the song "Ez ist nu tac" in the Heidelberg University Library.

Wolfram's day song "Ez ist nu tac" is particularly noticeable because of its high narrative content and an unclear distribution of speaking roles. It cannot be clarified with certainty which speaker should be assigned to which verse or which tunnel. At the beginning this indefinable speaker, the guardian or the knight, complains about the end of the night and the separation after sunrise. In the second tunnel of the first stanza, the woman obviously replies that she is also lamenting the farewell and calls on "the highest peace" ("der hôhste vride", 1.12), presumably God, to bring the two together again. After a short narrative passage about the lovers lying together, the man expresses his dismay at the separation after such a short time together (“and is you near from hinnen alze balde./who hât sî sô briefly mezzen?”, 2.8-9) . In the traditional manuscripts, this is followed by a third stanza that describes the "urloup", that is, the union of love. This is illustrated with the help of a "topos of impossibility" - as in "den morgenblic"; because the pair would be so close to each other as no other could (“ez enwart sô sew never lie”, 3,6). In the fourth stanza the woman complains again about the separation from her lover, whereby her speech is pervaded by shorter narrative passages. This last stanza works with worrisome words and phrases like "lament" (4.1), "urloup ich nime ze den vröiden mîn" (4.3), "consolation" (4.11), "strict sorrow" (4, 12), darker and more hopeless than Wolfram's other daily songs. At first glance, however, it seems unusual that the union of lovers does not follow in the last stanza. For this reason, some editors suggest swapping the third stanza with the fourth, so that alternate speakers and the description of the union are only achieved in the last stanza. Although such a description of the union of love is always to be found in the last stanza in the other three songs (except for "der helden minne"), the fourth stanza of "Ez ist nu tac" without the "urloup" element in a prominent place is all the more effective more pitiful and serious. It therefore makes sense, both dramatically and logically, to leave the stanzas in the traditional order.

The leitmotifs in this song also reflect the desperation and seriousness in the love situation. The day and night opposition is often seen as a temporal constituent of the day song genus and is regularly mentioned (“tac”: 1.1; 2.3; 3.2; “near”: 1.3; 2.8) and in function As a rhyming word, they are particularly prominent in this song. The particle “nu”, which appears a total of six times in this song, shows the attempt to “find duration in the moment”. Both “tac” or “near” as well as the particle “nu” show the natural instability and changeability of daytime song love: The night enables lovers to be happy, the day destroys the same. All that remains for them, as the “urloup” motif takes up, is to enjoy individual moments.

The particular seriousness of the song is also evident in the use of many abstract terms from the biblical-ethical field of words. Aspects such as “saelde” (Middle High German for “blessing, salvation, happiness or personified for the lender of all perfection”), “hôste vride” (the highest peace, presumably the peace of God) or the motif of “escort” can be found in this diary . Wapnewski recognizes the method of counterfacture here , since biblical terms and terms of minstrels are mixed up. A merging of worldly and spiritual love is thus achieved. Because these ethical-Christian keywords mostly come from the mouth of the man, his virtue seems to be emphasized and the transgression of the illegitimate relationship relativized.

Finally, there are also formal references to a “wistful farewell conversation” between the lovers; The comparatively oversized verse and stanza length alone testify to a certain heaviness of the song in comparison to other day songs by Wolfram. Due to the higher degree of epization in this song, it is noticeable how the suffering of the lovers is more and more objectified and therefore appears all the more violent. “Ez ist nu tac” emphasizes the seriousness and drama of the Tagelied situation in a special way through its choice of words, structure and narrative technique, and in this respect is unique among Wolfram's Tagelied variations.

Cross-song motifs

Motive and function of the guard

For a long time there was a consensus in research that Wolfram, as a brilliant poet, introduced the figure of the guard into German literature. Although it is now controversial whether there were German guardian songs before Wolfram, his songs are still considered to be the first “fully developed guardian songs”. The function of the guard, however, has been discussed in research for many years. Although the guardian was often seen as the embodiment of social norms in older research, more recent considerations show that he is just as much a protector of lovers. Hence, the Guardian is collectively “a social institution and compassionate individual rolled into one,” which he apparently agrees to with one another without any moral conflict. Another thesis considers it unlikely that the guardian is a servant and suggests considering another knight as a friend and protector of the lovers. However, since the guardian appears to be contradictory in all of his characters, the guardian motif did not last long until it was replaced by the figure of the maid by many daily song poets.

In “den morgenblic” the watchman is only mentioned in passing. His only task here is to wake the lovers. However, it is not decisive for this song. All other songs have a guardian who is both protector and destroyer of the love situation.

In "sîne klâwen" the guard plays a significant role in a dispute with the woman. It initially wakes the lovers and in the following discussion acts like the “voice of conscience” of the lovers. The double role of the guard in this song results from the initially unclear speaking role: The description of the day monster at the beginning suggests a sympathizer of the lovers as speaker. The recipient only realizes late that the speaker is the guardian. As Wapnewski notes, this song shows the first approach of a guardian ethos, because the guardian points to the virtue of the knight (“sîn vil manigiu tugent”, II1,10) and is therefore linked to him in “triuwe” (3,7). Although "triuwe" is a term of feudal law , there is in fact no dependence of the guard on the knight. The guard's function as waking man is not realized in the other three songs, but he is taking on a more and more central role.

In “der helden minne” it is difficult to determine a specific role for the guard, as the song leaves a multitude of interpretations open, which depend on the understanding of the guard's role. The easiest way to find out is that the guardian figure in “der helden minne” loses its importance, since a mediator position between lovers and society is no longer necessary.

“Von der zinnen” is central to determining the guardian figure in Wolfram's songs because the guardian - including his task - characterizes himself here. This was the reason for Wapnewski to determine "social implications": Since the knight and his lover are almost at the mercy of the guard, the relationship between master and servant is reversed and not connotated without value. In the self-confident utterances (“sô commemorate sêre / an sîne lêre, / dem lîp and êre / yield sîn”, V7-10) of the guard, Wapnewski sees a kind of rebellion of the subordinate. Wapnewski's approach to put a social problem of the guard figure in the foreground has been criticized many times in research. Edwards points out the point of criticism that one is subject to a biographical fallacy as soon as one declares Wolfram as a man “of nascent democratic opinions”. Wolf also points out that an interpreter is shaped by circumstances of the time, so that this socially critical interpretation, which emerged in Berlin in the 1968s, must be viewed critically. What is certain, however, is that the guardian assumes an ambivalent position here too, in that he confidently makes it clear that he is aware of his responsibility, but objectively makes no move to break his loyalty to the lovers.

Determining the guardian role in "Ez is nu tac" is difficult in that the speaking roles are not clearly assigned in research. Although Wölfel includes this Tagelied in her table, no explanatory notes follow. Therefore the table seems to be doubtful at this point.

A singular approach to the guardian figure is explained by von Reusner, who equates the guardian with Wolfram and the lovers with the Minne Society, i.e. ultimately the recipient. In this way he focuses on the aspect of self-reflection as well as a poetological component in which, for example, the relationship between poet and society is discussed.

Summary of the guardian motif according to Wölfel:

Day song Independent alarm motif Guardian mentioned Guardian binary Focus on guardians!
I "The Morgenblic" ++ + - -
II "Sîne klâwen" ++ + + +
V "From the battlements" - + ++ ++
VII "Ez is nu tac" - + + +
IV "The hero minne" - + (+) -

+ = implemented ++ = central (+) = conditionally applicable - = not implemented

"Urloup": the pain of parting and surrender

The ambivalence of the “urloup” term seems to have been developed by Wolfram and is therefore of particular interest in research. Lexer's dictionary initially understands this Middle High German word only as “permission, especially permission to leave, farewell / parting”, but with Wolfram it becomes a motif that connects separation and union in equal parts. These two components of the motif, which may seem incompatible in themselves, turn out to be a “compressed fusion of the happiness and sorrow of the human erotic experience” on closer inspection.

This ambiguity is realized in four of the five Tagelieder, an exception - as for the guardian motif - is the Tagelied "der helden minne". In this song, the opposition between duty and inclination (described by Wölfel as a "conflict of norms") no longer exists so that the lovers don't have to say goodbye. How “urloup” is to be understood in the individual song depends above all on the question of whether the sadness about the separation or the happiness of fulfilled love predominates. “Ez ist nu tac” in particular lives from the ambivalence of the “urloup” term. In this song the woman expresses herself as a spokeswoman about the union of love (VII4.5-7), drawing hope from physical love and at the same time lamenting the separation.

Summary of the "urloup" motif according to Wölfel:

Day song Urloup mentioned Urloup as separation Urloup binary Urloup from a woman's point of view Conflict of standards!
I "The Morgenblic" + - + - +
II "Sîne klâwen" + + ++ - +
V "From the battlements" + - + - +
VII "Ez is nu tac" + - + +
IV "The hero minne" - - - - -

+ = implemented ++ = central (+) = conditionally applicable - = not implemented

Overall, it can be said that the urloup motif for Wolfram's songs is a constitutive element and, in its function, underlines the spiritual unity and physical union of lovers, in Rohrbach's words it symbolizes the “achievement of an all-embracing love”.

Concept of love

It is generally assumed that Wolfram consciously intervened in the minnet-theoretical discourse of his time. The day song "den morgenblic" opens up the discussion of concepts of love by illustrating the "mental and physical totality of two people". Here there is an erotic depiction of the two equal lovers who seem to oppose the renunciation of Hohen Minne. Although the day song love is usually illegitimate, it has positive connotations here. This form of love is inherently ideal; the problems of love arise only from the circumstances of court society. Only in “urloup” are “love of day songs and understanding of minne brought to a synthesis” - even if only temporarily.

In "sîne klâwen" the love practiced in the day song is also presented as an interplay of "love as an idea (with its postulate of eternity) and love as physical reification (with its finiteness)". The question of whether the love of the day song is seen positively here or whether it fails because of its “contradiction between wanting to stay and having to part” has been discussed controversially in research. While Rohrbach is convinced that the day song love, which is positive in itself, is only threatened by social norms, others see the day song love, which in their opinion was discussed ex negatively, already rejected in this song.

The controversial song of the day "der helden minne" Wolframs can hardly be attributed a conception of love. However, according to recent research, this song discusses the model of marriage as opposed to the day song love. In the Tagelied the depicted love situation seems to have a positive connotation, since it is based on the voluntariness of love and a common, as it were dangerous situation. In addition, unlike in the High Minnesang , it is both physically and mentally fulfilled. Thus, the only advantage of married love defined ex negativo is security and stability, while the passion of the partnership is insignificant. Since the love of the day song was a purely fictional phenomenon, Rohrbach concludes that the idea of ​​love shown in the songs was utopian in Wolfram's time.

By shifting the perspective, "Von der Zinnen" allows the daily song situation to be viewed through the eyes of the guard who is standing apart. He seems to be very close to the lovers, for example through his personal address, and to sympathize with them. At the same time, however, he is also the one who moves the lovers to part. Therefore, the often propagated heart-mind opposition cannot be applied unequivocally: the lady lets her lover go despite her grief, so ultimately acts rationally; also the guard is not only the "mouthpiece of courtly Minnedidax". Although the illegitimate love situation is also positively valued in this diary, it becomes clear that this love needs a “corrective institution” in order not to endanger anyone.

The song Ez ist nu tac places a further emphasis on the fact that love is transposed into a religious context which underlines the perfection of love. The suffering of lovers is very clear here. In particular, it takes place not only in the speech of the lovers themselves, but also in the epic portions of the song. This objectification of suffering shows that it is not the nature of love that is problematic, but only the circumstances in which it seeks to be realized.

Overall, the research on the conception of love in Wolfram's songs can be divided into two directions: the older one, which sees the day song love described ex negativo and interprets it as a criticism of illegitimate love, and the newer one, which assigns the day songs a kind of "valve function". As a contribution to the Minnesang discourse, Wolfram's day-song love represents a counter-program to the tension-filled renunciation in high minnesong. Recent research has come to the conclusion that illegitimate love has largely positive connotations. Nevertheless, she considers both the limitations that are evident in Wolfram's songs and the fictionality of the genre of the day song.

Attempts at arrangement

In research there have been numerous attempts to derive a chronological order or a cycle from Wolfram's five songs.

The scope of the guardian motif in the song (Plenio), the reduction of the narrative passages (W. Mohr), the metrical complexity (Hatto, Thomas), and the discussion about the guardian figure (Rauch, Wapnewski, von Reusner) offered approaches to such an arrangement ), the complexity of the variation (Wolf) and the development of the motif (Wölfel). In the attempts of possible rankings, however, weaknesses and inconsistencies in the approaches were usually discovered promptly.

Comparative table of the ranking proposals:

Lachmann (1857) Plenary (1916) Mohr (1948) Hatto (1965) Thomas (1956) Wapnewski (1972) by Reusner (1980) Wölfel (1986)
I. VI II VII II I. I. I.
II I. V I. VII VII II II
VI II I. II V II VII V
V V VII V IV V V VII
VII IV IV IV (I) * IV IV IV
  • Thomas' leaves MF I out for formal reasons.

Although Carl von Kraus viewed these attempts with skepticism in 1958, only current research has largely distanced itself from grouping the songs according to various criteria. An attempt at the arrangement is problematic simply because “Wolfram's authentic intention cannot be grasped because we have to reckon with considerable losses in the tradition of the songs.” Even if the five traditional songs were the only ones from Wolfram's pen, one shouldn't fall prey to an intentional fallacy .

Cyclization is not without knowledge value, however, if the aim is to present the daily songs as artistic variations of a basic type. They have indeed all the same sequence of actions, the more they differ in kind canzones form modify, in their epic representations and in the speech distribution among the people. The variation of the guardian figure and its role for the lovers or the intervention in the love discourse show that Wolfram's songs do not have to be arranged in a fixed manner in order to establish a connection between them.

Genre-historical classification of Wolfram's daily songs

Portrait of Wolfram's author in the Codex Manesse.

Day songs before Wolfram?

Research on Wolfram's songs has a long tradition, although the view of its meaning for the genre of the day song has changed significantly: Lachmann still rated Wolfram as the ingenious inventor of the day song, whereas current research assumes that motif-related texts long before Wolframs Creation in other cultures, including the German vernacular, were widespread. Just as controversial as the Tagelied tradition is the question of whether there were Middle High German Tagelieder before Wolfram. The day song “ Slâfest du, vriedel ziere? ”, Handed down under the name Dietmar von Eists , is currently being used. ”(MF 39.18), which has strong folk features, and Heinrich von Morungen's “ Owê, but me Iemer mê liuhten dur die suture ”(MF 143.22) dated before Wolfram; Nevertheless, Wolfram seems to be closely related to the Romanesque Alba , who knew the guard before Wolfram. Research has largely moved away from the Margrave of Hohenburg and Otto von Botenlauben as Wolfram's direct predecessors.

Daily songs around 1200

Mertens deals with the question of Wolfram's influence on the genre “Tagelied” in his lifetime by attempting a poetological reconstruction of a singing contest between Wolfram , Heinrich von Morungen and Walther von der Vogelweide . Using numerous intertextual references, he creates a performative model that shows how the complexity of the songs increases. The great interest that was already there in Wolfram's time in the Tagelied was due to the fact that the stereotypical content was “compensated for by performance-related diversity”.

Late medieval genre development

Even if Otto von Botenlauben is seen as shaping the genre in addition to Wolfram for the development of the genre in the late Middle Ages , newer songs hardly deviated from Wolfram's basic type with its staffing and variable communication patterns. Often, individual structures of tungsten were "strung together"; in particular his variable conversation situations and the ambivalence of the “urloup” as farewell and love union would have had a long-lasting effect.

What is certain, however, is that Wolfram developed the genre considerably in the German-speaking area, because - as Müller emphasizes - Wolfram's Tagelieder "surpass all others through the intensity of their presentation". By developing a type of day song , Wolfram not only contributed to the constitution of the day song genus, but also at the same time to sharpen the boundaries to neighboring genres, such as Minnekanzone , Frauenklage and Pastourelle .

Impact history

Wolfram's songs were received promptly and within the genre as well as in modern works of other genres.

Medieval reception

Up into the 15th century there are allusions in later day songs, such as in anonymous songs from Clara Hätzlerin's songbook . In addition, the Mastersingers Wolfram were among the Twelve Old Masters , i.e. the founders of their art. Overall, the form of the Tagelied hardly changed from the beginning of the 13th century to Oswald von Wolkenstein , so that Wolfram's Tagelieder has a great influence on this genre. Nevertheless, his variable communication patterns seem to have been recognized and used only by Oswald. Another reason why Wolfram's songs were often received is that only a rough sketch of the people is made, so that a high potential for identification is guaranteed in each case.

Modern reception history

Wapnewski provides an insight into the modern history of the reception of Wolfram's day song motif by linking Wolfram's songs with modern quotations at the beginning of each chapter of his edition. The chapter on “Den morgenblic”, for example, is preceded by a quote from Shakespeare's “ Romeo and Juliet ”, namely the well-known conversation from the third act in which Juliet tries to prevent Romeo's departure after spending a night together. Here the break of day, as in “den morgenblic”, is presented as a threat that tears the lovers apart. The attempt by women to suppress the break of day is also found first in Wolfram's first song of the day.

The aspect of transience, which plays a major role in Wolfram's "ez ist nu tac", is taken up by Hugo von Hofmannsthal both in his poem "On Transience" and in his libretto on " Rosenkavalier ": a woman laments while saying goodbye to her beloved the cruelty and inexorability of time. In addition, Hans Magnus Enzensberger's poem "Utopia" - albeit parodying - draws on the monster of the day from "sîne klawen", which was first published by Wolfram. Rilke , too , assigns himself directly to the genre tradition by naming a poem as "Eastern Taglied" and uses the "urloup" motif with the love union as a method of suppressing the thought of the impending separation.

Wolfram in art poetry and popular culture

It is noticeable that even in the latest art the daily song situation "persistently [...] lives on", even if not only in art poetry, but also in trivial literature and popular culture. Tom and Dusty Springfield's “Morning, please don't come” is evidence of the reception in popular culture. Like the daily songs, it addresses the pain of separation at daybreak and personifies the day as a troublemaker. In popular culture songs - such as "Mit Dir", interpreted by Freundeskreis and Joy Denalane - elements and motifs of the day song that Wolfram strongly influenced still have an effect today.

bibliography

Text editions and translations

  • Hausner, Renate: Owe do met ez. Daily songs and related texts from the Middle Ages and early modern times. Kümmerle, Göppingen 1983, pp. 5-9.
  • Mohr, Wolfgang: Wolfram von Eschenbach. Titurel. Songs. Middle High German text and translation. In: Müller, Ulrich / Hundsnurscher, Franz / Sommer, Cornelius (eds.): Göppinger Arbeit zur Germanistik 250 (1978), pp. 76–89.
  • Moser, Hugo / Tervooren, Helmut: The Minnesang's spring. Hirzel, Stuttgart 381988, pp. 436-447.
  • Backes, Martina: Tagelieder of the German Middle Ages. Reclam, Ditzing 1992.
  • Wapnewski, Peter: The poetry of Wolframs von Eschenbach. Edition - Commentary - Interpretation. CH Beck, Munich 1972.

Secondary literature

reference books

  • Matthias Lexer: Middle High German pocket dictionary. Hirzel, Stuttgart 1992, col. 231.
  • Joachim Bumke: Wolfram von Eschenbach. In: The German literature of the Middle Ages: author lexicon . Volume 10: Ulrich von Lilienfeld - 'The twelve-year-old monk '. De Gruyter, Berlin 1999, col. 1376-1381.

To Wolfram von Eschenbach

  • Bumke, Joachim: The Wolfram von Eschenbach research since 1945. Report and bibliography. Wilhelm-Fink-Verlag, Munich 1970, pp. 344-354.
  • Bumke, Joachim: Wolfram von Eschenbach. Metzler, Stuttgart / Weimar 2004, pp. 1–37 ( Metzler Collection , Volume 36).

To the genre of the day song

  • Behr, Hans-Joachim: The inflation of a genus: The day song after Wolfram. In: Edwards, Cyril (Hrsg.): Song in the German Middle Ages: tradition, types, use. Niemeyer, Tübingen 1996, pp. 195-202.
  • Mertens, Volker: Singing daily songs. A hermeneutic experiment. In: Haubrichs, Wolfgang / Lutz, Eckart / Ridder, Klaus (eds.): Wolfram von Eschenbach - Bilanzen und Perspektiven , Schmidt, Berlin 2002, pp. 276-293 ( Wolfram Studies 17).
  • Rohrbach, Gerdt: Studies for the research of the Middle High German day song. A socio-historical contribution. Kümmerle, Göppingen 1986, pp. 45 - 80 ( Göppinger works on German studies 462).
  • Wolf, Alois: Variation and Integration. Observations on high medieval day songs. Wissenschaftliche Buchgesellschaft, Darmstadt 1979, pp. 117–156.

To Wolfram's lyrics

  • Hanemann, Lotte: Wolfram's songs from Eschenbach. Hamburg, Univ., Diss., 1951, pp. 36-125.
  • Müller, Ulrich: The Middle High German poetry. In: Bergner, Heinz (ed.): The poetry of the Middle Ages. Problems and interpretations. Reclam, Stuttgart 1983, pp. 93-100.
  • Scholte, Jan Hendrik: Wolfram's poetry. In: Contributions to the history of German language and literature 69, 1947, pp. 409–419.
  • von Reusner, Ernst: Wolfram von Eschenbach on individual assets (lere) and social ties (minne). In: Journal for German Antiquity and German Literature 109 (1980), pp. 298-316.
  • Wapnewski, Peter: Guardian figure and social problems in Wolframs day songs. In: Borck, Karl Heinz / Henss, Rudolf (eds.): Der Berliner Germanistentag 1968. Carl Winter Universitätsverlag, Heidelberg 1970, pp. 77–89.
  • Wölfel, Barbara: wahtaere and urloup. Investigations into binary motifs in Wolfram von Eschenbach's day songs. In: Colberg, Heidrun / Petersen, Doris (Ed.): Traces. Festschrift for Theo Schuhmacher. Akademischer Verlag, Stuttgart 1986, pp. 107-120.
  • Wynn, Marianne: Wolfram's dawnsongs . In: Gärtner, Kurt / Heinzle, Joachim (ed.): Studies on Wolfram von Eschenbach. Festschrift for Werner Schröder on his 75th birthday. Niemeyer, Tübingen 1989, pp. 549-558.

To single day songs

the Morgenblic

  • Dorothee Lindemann: two hearts and one lîp. To Wolfram's first song of the day. In: Dorothee Lindemann, Berndt Volkmann, Klaus-Peter Wegera (eds.): Bickelwort and wildiu maere. Festschrift for Eberhard Nellmann on his 65th birthday. Kümmerle, Göppingen 1995, pp. 144-150.
  • Peter Wapnewski : Farewell at dawn . In: Frankfurter Anthologie 25, 2003, pp. 13-17.

sîne klâwen

  • Jürgen Kühnel: Wolframs von Eschenbach sîne klawen . In: Helmut Tervooren (Hrsg.): Poems and interpretations: Middle Ages. Reclam, Stuttgart 1993, pp. 144-168.

the hero minne

  • Michiko Ishii: Wolframs von Eschenbach's anti-day song (MF4) [Abstract]. In: Doitsu-bungaku 90, 1993.
  • Volker Mertens: ministry, daily hymns and married love in Wolfram von Eschenbach's hymns. In: Euphorion 78, 1984, pp. 233-246.

from the battlements

  • Cyril Edwards: I want to go from the battlements. Wolfram's Peevish Watchman . In: The Modern Language Review , 84/2, 1989, pp. 358-366.
  • Klaus Speckenbach: Tagelied interpretations of Wolfram's “Von der Zinnen” (MF V) and Oswald's “Los, Frau, und Hör” (Kl. 49) . In: Volker Honemann, Tomas Tomasek: German Medieval Studies . Lit Verlag, Münster 2000, pp. 227-240.
  • Peter Wapnewski : Wolfram's Tagelied von der zinnen I want to. In: Wolfram-Studien 1, 1970, pp. 9-27.

ez is nu tac

  • Rod Fishe: Medieval Alienation Techniques. Some Observations on Wolfram's Dawn-Song Ez is nu tac . In: Amsterdam Contributions to Older German Studies , 55, 2001, pp. 61–74.

Web links

References and comments

  1. ↑ "I am Wolfram von Eschenbach, unt kan a part with sange and am a habendiu zange, my anger gein a wîbe." (Parzival 114, 12-15)
  2. ^ Joachim Bumke: Wolfram von Eschenbach . Metzler, Stuttgart / Weimar 2004, p. 20 (“Metzler Collection”, Volume 36).
  3. ↑ Information on the localization and dating of the manuscripts can be found in the “Heidelberger historical stocks” ( diglit.ub.uni-heidelberg.de and the manuscript census ( handschriftencensus.de ).
  4. ^ Joachim Bumke: Wolfram von Eschenbach . In: The German literature of the Middle Ages. Author Lexicon . Volume 10: Ulrich von Lilienfeld - 'The twelve-year-old monk' . De Gruyter, Berlin 1999, column 1380.
  5. ^ Moser, Hugo / Tervooren, Helmut: Des Minnesangs Frühling. Stuttgart: Hirzel 381988, pp. 436-447.
  6. ↑ Approaches by Lachmann, Plenio, Mohr, Hatto, Thomas, Rauch, Wapnewski (quoted from Wapnewski, Peter: "Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation." CH Beck, Munich 1972, Appendix I. / Bumke, Joachim : "The Wolfram von Eschenbach research since 1945. Report and bibliography." Wilhelm-Fink-Verlag, Munich 1970, pp. 344 - 354.) and Wolf, von Reusner, Wölfel.
  7. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 33.
  8. ↑ Rohrbach 1986, pp. 45-80.
  9. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 38.
  10. ↑ Mohr, Wolfgang: Wolframs Tagelieder, p. 161. (Quoted from: Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation.” CH Beck, Munich 1972, p. 37)
  11. ↑ Wapnewski, Peter: “The poetry of Wolfram von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 28.
  12. ↑ Cf. Lindemann, Dorothee: “two hearts and one lîp. On Wolfram's first day song. ”In: Lindemann, Dorothee / Volkmann, Berndt / Wegera, Klaus-Peter (eds.):“ Bickelwort and wildiu maere. Festschrift for Eberhard Nellmann on his 65th birthday. “Kümmerle, Göppingen 1995, p. 148f.
  13. ↑ Problematisation of the following interpretive approaches: 1. Quote from the Bible verse "et erunt duo in carne una" (Gen. 2.24; Mat. 19.6), see Borck, Rohrbach and Backes. Lindemann criticizes Wolfram's assumption of knowledge of the Bible. 2. Medieval theory of the soul: The soul is immortal and therefore a fusion is not possible, see Wapnewski, Peter: “The lyric poetry of Wolfram von Eschenbach. Edition - Commentary - Interpretation. ”CH Beck, Munich 1972, p. 28. Lindemann problematizes the unexplained equation of the terms“ sêle ”and“ heart ”, which are not used synonymously in Wolfram.
  14. ↑ Rohrbach, Gerdt: “Studies on the research of the Middle High German day song. A socio-historical contribution. ”Kümmerle, Göppingen 1986, pp. 45 - 80 (“ Göppinger Arbeit zur Germanistik ”462), p. 49.
  15. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 35.
  16. ↑ See Wapnewski, Peter: Farewell at dawn. In: "Frankfurter Anthologie" 25, 2003, p. 17.
  17. ^ Von Reusner, Ernst: "Wolfram von Eschenbach on individual assets (lere) and social ties (minne)." In: "Zeitschrift für deutsches Altertum und deutsche Literatur" 109 (1980), p. 303.
  18. ↑ Cf. von Reusner, Ernst: "Wolfram von Eschenbach on individual assets (lere) and social ties (minne)." In: "Zeitschrift für deutsches Altertum und deutsche Literatur" 109 (1980), p. 303.
  19. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 34.
  20. ↑ Wapnewski, Peter: “The poetry of Wolfram von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 34.
  21. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 38.
  22. ↑ Wapnewski, Peter: “The poetry of Wolfram von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 38.
  23. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 38.
  24. ↑ Wapnewski, Peter: “The poetry of Wolfram von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 38.
  25. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 25.
  26. ^ Von Reusner, Ernst: "Wolfram von Eschenbach on individual assets (lere) and social ties (minne)." In: "Zeitschrift für deutsches Altertum und deutsche Literatur" 109 (1980), p. 302.
  27. ↑ Cf. von Reusner, Ernst: "Wolfram von Eschenbach on individual assets (lere) and social ties (minne)." In: "Zeitschrift für deutsches Altertum und deutsche Literatur" 109 (1980), p. 302.
  28. ↑ Wapnewski, Peter: “The poetry of Wolfram von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 107.
  29. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 108.
  30. ↑ See Kühnel, Jürgen: "Wolframs von Eschenbach sîne klawen". In: Tervooren, Helmut (Ed.): "Poems and Interpretations: Middle Ages." Reclam, Stuttgart 1993, p. 155.
  31. ↑ See Kühnel, Jürgen: "Wolframs von Eschenbach sîne klawen". In: Tervooren, Helmut (Ed.): "Poems and Interpretations: Middle Ages." Reclam, Stuttgart 1993, p. 154.
  32. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 107.
  33. ↑ See Kühnel, Jürgen: "Wolframs von Eschenbach sîne klawen". In: Tervooren, Helmut (Ed.): "Poems and Interpretations: Middle Ages." Reclam, Stuttgart 1993, p. 153.
  34. ^ Kühnel, Jürgen: "Wolframs von Eschenbach sîne klawen". In: Tervooren, Helmut (ed.): "Poems and interpretations: Middle Ages." Reclam, Stuttgart 1993, p. 157.
  35. ↑ On the problem of the division of stanzas: Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, pp. 97-101.
  36. ↑ See Kühnel, Jürgen: "Wolframs von Eschenbach sîne klawen". In: Tervooren, Helmut (Hrsg.): "Poems and interpretations: Middle Ages." Reclam, Stuttgart 1993, p. 150.
  37. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 110.
  38. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 110.
  39. ↑ In order to emphasize the “urloup” term, Wapnewski prefixed his consideration of “sîne klâwen” with this quote.
  40. ↑ See Kühnel, Jürgen: "Wolframs von Eschenbach sîne klawen". In: Tervooren, Helmut (Hrsg.): "Poems and interpretations: Middle Ages." Reclam, Stuttgart 1993, p. 161.
  41. ↑ Cf. Rohrbach, Gerdt: “Studies for the research of the Middle High German day song. A socio-historical contribution. "Kümmerle, Göppingen 1986, pp. 45 - 80 (" Göppinger Arbeit zur Germanistik "462), p. 63.
  42. ↑ See Scholte, Jan Hendrik: "Wolframs Lyrik." In: "Contributions to the history of German language and literature" 69, 1947, p. 411.
  43. ↑ Wapnewsi, Peter: “The poetry of Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 160.
  44. ↑ Cf. Lieb-Jückstock, Viktoria: “The day song as a genre? Observations on the function of the guardian figure "Master thesis phil., Munich 1977, p. 67. Quoted from: Rohrbach, Gerdt:" Studies on the research of the Middle High German day song. A socio-historical contribution. "Kümmerle, Göppingen 1986, pp. 45 - 80 (" Göppinger Arbeit zur Germanistik "462), p. 78.
  45. ↑ Wapnewsi, Peter: “The poetry of Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 165.
  46. ↑ Cf. Wapnewsi, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, pp. 164–165.
  47. ↑ Cf. Rohrbach, Gerdt: “Studies for the research of the Middle High German day song. A socio-historical contribution. ”Kümmerle, Göppingen 1986, pp. 45 - 80 (“ Göppinger Arbeit zur Germanistik ”462), p. 77.
  48. ↑ a b c d e Scholte, Jan Hendrik: "Wolframs Lyrik." In: "Contributions to the history of German language and literature" 69, 1947, pp. 411–413.
  49. ↑ Cf. Wapnewsi, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 162.
  50. ↑ Wapnewsi, Peter: “The poetry of Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 168.
  51. ↑ Mertens, Volker: "Dienstminne, Tageliederotik and Eheliebe in the Tagelieder Wolframs von Eschenbach." In: "Euphorion" 78, 1984, p. 244.
  52. ↑ In a later essay he even refers to the Tagelied as a sang saying on the subject of “Tagelied”. Mertens, Volker: “Singing daily songs. A hermeneutical experiment. ”In: Haubrichs, Wolfgang / Lutz, Eckart / Ridder, Klaus (eds.):“ Wolfram von Eschenbach - Balances and Perspectives ”, Schmidt, Berlin 2002, p. 286 (“ Wolfram Studies ”17).
  53. ↑ Cf. Ishii, Michiko: The Anti-Tagelied Wolframs von Eschenbach (MF4) [abstract]. In: “Doitsu-bungaku” 90, 1993.
  54. ↑ Cf. Mertens, Volker: “Dienstminne, Tageliederotik and Eheliebe in Wolfram von Eschenbach's day songs.” In: “Euphorion” 78, 1984, p. 244.
  55. ↑ If you start from a rhyme in the last verse of a stanza, you can count nine verses in each case. Cf. Wapnewsi, Peter: “The poetry of Wolfram von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 148.
  56. ↑ Cf. Wapnewsi, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 149.
  57. ↑ Wapnewski 1972. p. 134.
  58. ↑ Hanemann, Lotte: "The songs of Wolframs von Eschenbach." Hamburg, Univ., Diss., 1951, pp. 36–125.
  59. ↑ See Wapnewski 1970. p. 23.
  60. ↑ The structure of the stanzas is controversial, partly from canzone variations with double swan song, partly from a Lai scheme (AA / BB / Z). Cf. Wapnewski, Peter: "Wolfram's Tagelied von der zinnen I want to." In: "Wolfram-Studien" 1, 1970, p. 11.
  61. ↑ Cf. Wapnewski, Peter: "Wolfram's Tagelied von der zinnen I want to." In: "Wolfram-Studien" 1, 1970, p. 23.
  62. ↑ Klaus Speckenbach: Tagelied interpretations of Wolfram's “Von der Zinnen” (MF V) and Oswald's “Los, Frau, und Hör” (Kl. 49) . In: Volker Honemann, Tomas Tomasek: German Medieval Studies . Lit Verlag, Münster 2000, pp. 227-240.
  63. ↑ Wapnewski, Peter: "Wolfram's Tagelied von der zinnen I want to gen." In: "Wolfram-Studien" 1, 1970, p. 21.
  64. ↑ Cf. Edwards, Cyril: "Von der zinnen wil ich gen. Wolfram's Peevish Watchman." In: "The Modern Language Review 84/2", 1989, pp. 358-366.
  65. ↑ Accordingly, the guard does not stop “singing the day songs”, but ends his singing by singing a day song (still).
  66. ↑ Cf. Edwards, Cyril: “Von der Zinnen I want to call. Wolfram's Peevish Watchman. In: “The Modern Language Review 84/2”, 1989, p. 360.
  67. ↑ Cf. Edwards, Cyril: "Von der zinnen wil ich gen. Wolfram's Peevish Watchman." In: "The Modern Language Review 84/2", 1989, p. 360.
  68. ↑ "as a riposte to the rebuff", ie as a reaction to the request to be silent in MF II and IV. Edwards, Cyril: "Von der zinnen I want to. Wolfram's Peevish Watchman." In: "The Modern Language Review 84 / 2 ", 1989, p. 364.
  69. ↑ Cf. Edwards, Cyril: "Von der zinnen wil ich gen. Wolfram's Peevish Watchman." In: "The Modern Language Review 84/2", 1989, p. 366.
  70. ↑ Cf. Edwards, Cyril: "Von der zinnen wil ich gen. Wolfram's Peevish Watchman." In: "The Modern Language Review 84/2", 1989, p. 366.
  71. ↑ Cf. Wapnewski, Peter: "Guardian figure and social problems in Wolframs Tageliedern." In: Borck, Karl Heinz / Henss, Rudolf (ed.): "Der Berliner Germanistentag 1968." Carl Winter Universitätsverlag, Heidelberg 1970, p. 88– 89.
  72. ↑ Fisher even opposes any preference for a certain variant. Since there are no clear indications of speaker or arrangement, he considers the solution to these questions only to be "a matter of conjecture". Fisher, Rod: "Medieval Alienation Techniques. Some Observations on Wolfram's Dawn song Ez ist nu tac “. In: “Amsterdam Contributions to Older German Studies” 55, 2001, p. 66.
  73. ↑ On the research discussion about the speaker, especially that of the first stanza: cf. Wapnewski, Peter: “The poetry of Wolfram von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, pp. 68–71.
  74. ↑ Wapnewski, Peter: “The poetry of Wolfram von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 74.
  75. ↑ The proponents of the stanza swap were Mohr, Hanemann, Brinkmann and Morck. On the discussion about the order of the stanzas: Cf. Wapnewski, Peter: “The lyric poetry of Wolfram von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, pp. 81–82.
  76. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 82.
  77. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 84.
  78. ↑ Wapnewski, Peter: “The poetry of Wolfram von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 81.
  79. ↑ Lexer, Matthias: "Middle High German Pocket Dictionary." Hirzel, Stuttgart, 381992, Sp. 175.
  80. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 78.
  81. ↑ Wapnewski, Peter: “The poetry of Wolfram von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 83.
  82. ↑ Objectification is not complete, however, as there are long stretches of dialogue. Cf. Rohrbach, Gerdt: “Studies to research the Middle High German day song. A socio-historical contribution. ”Kümmerle, Göppingen 1986, pp. 45 - 80 (“ Göppinger Arbeit zur Germanistik ”462), p. 60.
  83. ↑ Cf. Bumke, Joachim: "The Wolfram von Eschenbach research since 1945. Report and bibliography." Wilhelm-Fink-Verlag, Munich 1970, p. 344.
  84. ^ Bumke, Joachim: "The Wolfram von Eschenbach research since 1945. Report and bibliography." Wilhelm-Fink-Verlag, Munich 1970, p. 347.
  85. ↑ Wölfel, Barbara: “wahtaere and urloup. Investigations into binary motifs in Wolfram von Eschenbach's day songs. ”In: Colberg, Heidrun / Petersen, Doris (Ed.):“ Traces. Festschrift for Theo Schuhmacher. “Akademischer Verlag, Stuttgart 1986, p. 107.
  86. ↑ "He must be understood to be a knight, not a foot-soldier [...] of low social status" Wynn, Marianne: "Wolfram's dawn songs". In: Kurt Gärtner, Joachim Heinzle (Ed.): Studies on Wolfram von Eschenbach. Festschrift for Werner Schröder on his 75th birthday . Niemeyer, Tübingen 1989, p. 557.
  87. ↑ Just by the distance between the sleeping quarters and the parapet, on which the guard at the battlements would have to stand. Cf. Edwards, Cyril: “I want to call from the battlements. Wolfram's Peevish Watchman.” In: “The Modern Language Review 84/2”, 1989, p. 363.
  88. ↑ a b c Joachim Bumke: Wolfram von Eschenbach . Metzler, Stuttgart / Weimar 2004, p. 35 (“Metzler Collection”, Volume 36).
  89. ↑ Wapnewski, Peter: “The poetry of Wolfram von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 108.
  90. ↑ Rauch, on the other hand, even sees the guard as the lady's second self, Wölfel sees the guard not only as a symbol of rationality, but even as a “representative of the divine ordo”. Klaus Speckenbach: Tagelied interpretations of Wolfram's “Von der Zinnen” (MF V) and Oswald's “Los, Frau, und Hör” (Kl. 49) . In: Volker Honemann, Tomas Tomasek: German Medieval Studies . Lit Verlag, Münster 2000, p. 237.
  91. ↑ Cf. Wölfel, Barbara: “wahtaere and urloup. Investigations into binary motifs in Wolfram von Eschenbach's day songs. ”In: Colberg, Heidrun / Petersen, Doris (Ed.):“ Traces. Festschrift for Theo Schuhmacher. “Akademischer Verlag, Stuttgart 1986, p. 111.
  92. ↑ Cf. Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 107.
  93. ↑ According to the Middle High German pocket dictionary, triuwe means "in general the moral duty relationship between all kinds of relatives". Lexer, Matthias: "Middle High German Pocket Dictionary." Hirzel, Stuttgart, 381992, Sp. 231.
  94. ↑ Cf. Wölfel, Barbara: “wahtaere and urloup. Investigations into binary motifs in Wolfram von Eschenbach's day songs. ”In: Colberg, Heidrun / Petersen, Doris (Ed.):“ Traces. Festschrift for Theo Schuhmacher. “Akademischer Verlag, Stuttgart 1986, p. 108.
  95. ↑ Wapnewski, Peter: “The poetry of Wolfram von Eschenbach. Edition - Commentary - Interpretation. “CH Beck, Munich 1972, p. 255.
  96. ↑ Cf. Wapnewski, Peter: "Wolfram's Tagelied von der zinnen I want to gen." In: "Wolfram-Studien" 1, 1970, pp. 25-26.
  97. ↑ Cf. Wapnewski, Peter: "Wolfram's Tagelied von der zinnen I want to gen." In: "Wolfram-Studien" 1, 1970, pp. 25-26.
  98. ↑ Edwards, Cyril: "Von der Zinnen I want to call. Wolfram's Peevish Watchman." In: “The Modern Language Review 84/2”, 1989, p. 365.
  99. ↑ See Wolf, Alois: “Variation and Integration. Observations on high medieval day songs. ”Wissenschaftliche Buchgesellschaft, Darmstadt 1979, p. 118.
  100. ↑ Cf. Von Reusner, Ernst: "Wolfram von Eschenbach on individual assets (lere) and social ties (minne)." In: "Zeitschrift für deutsches Altertum und deutsche Literatur" 109 (1980), p. 305.
  101. ↑ Wölfel, Barbara: “wahtaere and urloup. Investigations into binary motifs in Wolfram von Eschenbach's day songs. ”In: Colberg, Heidrun / Petersen, Doris (Ed.):“ Traces. Festschrift for Theo Schuhmacher. “Akademischer Verlag, Stuttgart 1986, p. 109.
  102. ↑ Lexer, Matthias: "Middle High German Pocket Dictionary." Hirzel, Stuttgart, 381992, Sp. 260.
  103. ↑ Edwards, Cyril: "Von der Zinnen I want to call. Wolfram's Peevish Watchman." In: “The Modern Language Review 84/2”, 1989, p. 366.
  104. ↑ Wölfel, Barbara: “wahtaere and urloup. Investigations into binary motifs in Wolfram von Eschenbach's day songs. ”In: Colberg, Heidrun / Petersen, Doris (Ed.):“ Traces. Festschrift for Theo Schuhmacher. “Akademischer Verlag, Stuttgart 1986, p. 109.
  105. ↑ Rohrbach 1986.S. 76-80.
  106. ↑ Cf. Mertens, Volker: “Dienstminne, Tageliederotik and Eheliebe in Wolfram von Eschenbach's day songs.” In: “Euphorion” 78, 1984, p. 234.
  107. ↑ Rohrbach 1986. pp. 45-80.
  108. ↑ See Rohrbach 1986. pp. 45-80.
  109. ↑ See Rohrbach 1986. pp. 45-80.
  110. ↑ Wölfel, Barbara: “wahtaere and urloup. Investigations into binary motifs in Wolfram von Eschenbach's day songs. ”In: Colberg, Heidrun / Petersen, Doris (Ed.):“ Traces. Festschrift for Theo Schuhmacher. “Akademischer Verlag, Stuttgart 1986, p. 107.
  111. ↑ Wapnewski 1972. p. 109.
  112. ↑ Rohrbach pp. 45 - 80.
  113. ↑ See Rohrbach 1986. pp. 45-80.
  114. ↑ See Rohrbach 1986. pp. 45-80.
  115. ↑ For Mertens it is certain that he got involved in the discourse by quoting from the “Fehdeliedern” Walthers von der Vogelweide and Reinmars. Cf. Mertens, Volker: “Dienstminne, Tageliederotik and Eheliebe in Wolfram von Eschenbach's day songs.” In: “Euphorion” 78, 1984, p. 234.
  116. ↑ A similar situation may apply in the pastourelle, but because women are mostly of lower class, men automatically assume a more dominant position. Cf. Mertens, Volker: “Dienstminne, Tageliederotik and Eheliebe in Wolfram von Eschenbach's day songs.” In: “Euphorion” 78, 1984, p. 242.
  117. ↑ Cf. Mertens, Volker: “Dienstminne, Tageliederotik and Eheliebe in Wolfram von Eschenbach's day songs.” In: “Euphorion” 78, 1984, p. 242.
  118. ↑ See Wapnewski 1970. p. 25.
  119. ↑ Rohrbach 1986. pp. 45-80.
  120. ↑ Rohrbach 1986. pp. 45-80. P. 462, p. 68.
  121. ↑ See Rohrbach 1986, pp. 45-80.
  122. ↑ Wapnewski sees this transposition rather as an adaptation to the prevailing taste of the public, but Rohrbach refuses an interpretation that goes beyond the textual basis. See Rohrbach 1986. pp. 45-80.
  123. ↑ See Rohrbach 1986, pp. 45-80, 57.
  124. ↑ Klaus Speckenbach: Tagelied interpretations of Wolfram's “Von der Zinnen” (MF V) and Oswald's “Los, Frau, und Hör” (Kl. 49) . In: Volker Honemann, Tomas Tomasek: German Medieval Studies . Lit Verlag, Münster 2000, p. 230.
  125. ↑ These approaches (both from the 1950s) were problematized early on in research, as metric adjustments were made that went beyond the realized elevations. Cf. Bumke, Joachim: "The Wolfram von Eschenbach research since 1945. Report and bibliography." Wilhelm-Fink-Verlag, Munich 1970, p. 345.
  126. ↑ Von Reusner initially points out the arrangement he prefers, but then adopts Wapnewski's order for his consideration. Cf. Von Reusner, Ernst: "Wolfram von Eschenbach on individual assets (lere) and social ties (minne)." In: "Zeitschrift für deutsches Altertum und deutsche Literatur" 109 (1980), p. 299.
  127. ↑ Wolf, Alois: “Variation and Integration. Observations on high medieval day songs. ”Wissenschaftliche Buchgesellschaft, Darmstadt 1979, pp. 141–143.
  128. ↑ Cf. Wölfel, Barbara: “wahtaere and urloup. Investigations into binary motifs in Wolfram von Eschenbach's day songs. ”In: Colberg, Heidrun / Petersen, Doris (Ed.):“ Traces. Festschrift for Theo Schuhmacher. “Akademischer Verlag, Stuttgart 1986, p. 109.
  129. ↑ Cf. Bumke, Joachim: "The Wolfram von Eschenbach research since 1945. Report and bibliography." Wilhelm-Fink-Verlag, Munich 1970, pp. 345–353.
  130. ↑ Abridged and supplemented on the basis of Wapnewski, Peter: “Die Lyrik Wolframs von Eschenbach. Edition - Commentary - Interpretation. "CH Beck, Munich 1972, Appendix I.
  131. ↑ "Wherever astute considerations produce such different results, it seems to me that the problem is unsolvable." Carl von Kraus: German song poet of the 13th century . Volume 2: Commentary. 2nd Edition. Niemeyer, Tübingen 1978, p. 652. (Quoted from: Joachim Bumke: Wolfram von Eschenbach . Metzler, Stuttgart / Weimar 2004, p. 36 [“Metzler Collection”, Volume 36]).
  132. ↑ Klaus Speckenbach: Tagelied interpretations of Wolfram's “Von der Zinnen” (MF V) and Oswald's “Los, Frau, und Hör” (Kl. 49) . In: Volker Honemann, Tomas Tomasek: German Medieval Studies . Lit Verlag, Münster 2000, p. 237.
  133. ↑ Cyril Edwards: From the battlements I want to gen. Wolfram's Peevish Watchman . In: The Modern Language Review , 84/2, 1989, p. 365.
  134. ^ Jürgen Kühnel: Wolframs von Eschenbach sîne klawen . In: Helmut Tervooren (Hrsg.): Poems and interpretations: Middle Ages . Reclam, Stuttgart 1993, p. 166.
  135. ^ Joachim Bumke: Wolfram von Eschenbach . Metzler, Stuttgart / Weimar 2004, p. 34 (“Metzler Collection”, Volume 36).
  136. ^ Joachim Bumke: Wolfram von Eschenbach . Metzler, Stuttgart / Weimar 2004, p. 34 (“Metzler Collection”, Volume 36). In agreement: Jürgen Kühnel: Wolframs von Eschenbach sîne klawen . In: Helmut Tervooren (Hrsg.): Poems and interpretations: Middle Ages . Reclam, Stuttgart 1993, p. 148.
  137. ↑ On the controversy about possible earlier guardian songs by Margrave von Hohenburg and Botenlauben, s. Joachim Bumke: The Wolfram von Eschenbach research since 1945. Report and bibliography . Wilhelm-Fink-Verlag, Munich 1970, p. 353.
  138. ↑ Mertens explains his theory as not directly related to the specific event of the Singers' War in 1207 at the Thuringian court. Nevertheless, he remarks that on the one hand all three poets were connected to the court and on the other hand a written exchange could also be considered. Cf. Mertens, Volker: “Singing daily songs. A hermeneutical experiment. "In: Haubrichs, Wolfgang / Lutz, Eckart / Ridder, Klaus (Eds.):" Wolfram von Eschenbach - Balance Sheets and Perspectives ", Schmidt, Berlin 2002, p. 292. (" Wolfram Studies "17) .
  139. ↑ Cf. Mertens, Volker: “Singing daily songs. A hermeneutical experiment. "In: Haubrichs, Wolfgang / Lutz, Eckart / Ridder, Klaus (Eds.):" Wolfram von Eschenbach - Balance Sheets and Perspectives ", Schmidt, Berlin 2002, pp. 287-290. (" Wolfram Studies " 17).
  140. ↑ This includes Mertens in particular the mixture of genres and the variety of roles, which was probably also represented in the performance by different pitches. Mertens, Volker: “Singing daily songs. A hermeneutical experiment. "In: Haubrichs, Wolfgang / Lutz, Eckart / Ridder, Klaus (Eds.):" Wolfram von Eschenbach - Balance Sheets and Perspectives ", Schmidt, Berlin 2002, p. 292. (" Wolfram Studies "17) .
  141. ↑ The changes included, for example, the introduction of a maid as an additional person, who, however, does not fundamentally change, but rather expands.
  142. ↑ Cf. Behr, Hans-Joachim: "The inflation of a genre: Das Tagelied nach Wolfram." In: Edwards, Cyril (Hrsg.): "Song in the German Middle Ages: Tradition, Types, Usage." Niemeyer, Tübingen 1996, p 195-202.
  143. ^ Behr, Hans-Joachim: "The inflation of a genre: Das Tagelied nach Wolfram." In: Edwards, Cyril (Hrsg.): "Song in the German Middle Ages: Tradition, Types, Usage." Niemeyer, Tübingen 1996, p. 199 .
  144. ^ For example, Ulrich von Winterstetten, Wenzel von Böhmen or Ulrich von Liechtenstein. Cf. Behr, Hans-Joachim: “The inflation of a genre: Das Tagelied after Wolfram.” In: Edwards, Cyril (Hrsg.): “Song in the German Middle Ages: Tradition, Types, Usage.” Niemeyer, Tübingen 1996, p. 200.
  145. ↑ Müller, Ulrich: "The Middle High German Lyrik." In: Bergner, Heinz (Hrsg.): "Die Lyrik des Mittelalter. Problems and interpretations. ”Reclam, Stuttgart 1983, p. 96.
  146. ↑ See Kühnel, Jürgen: "Wolframs von Eschenbach sîne klawen". In: Helmut Tervooren (Hrsg.): Poems and interpretations: Middle Ages . Reclam, Stuttgart 1993, p. 166.
  147. ^ Joachim Bumke: Wolfram von Eschenbach . In: The German literature of the Middle Ages. Author Lexicon . Volume 10: Ulrich von Lilienfeld - 'The twelve-year-old monk' . De Gruyter, Berlin 1999, column 1381.
  148. ↑ Cf. Behr, Hans-Joachim: "The inflation of a genre: Das Tagelied nach Wolfram." In: Edwards, Cyril (Hrsg.): "Song in the German Middle Ages: Tradition, Types, Usage." Niemeyer, Tübingen 1996, p 200.
  149. ↑ Cf. Wynn, Marianne: "Wolfram's dawnsongs". In: Gärtner, Kurt / Heinzle, Joachim (ed.): “Studies on Wolfram von Eschenbach. Festschrift for Werner Schröder on his 75th birthday. ”Niemeyer, Tübingen 1989, p. 550.
  150. ↑ Wapnewski 1972.
  151. ↑ “JULIET. Wilt thou be gone? It is not yet near day: / It was the nightingale, and not the lark / That pierced the fearful hollow of thine ear; / Nightly she sings on yond pomegranate tree: / Believe me, love, it was the nightingale. / ROMEO. It was the lark, the herald of the morn, / No nightingale: look, love, what envious streaks / Do lace the severing clouds in yonder east: / Night's candles are burnt out, and jocund day / Stands tiptoe on the misty mountain tops : / I must be gone and live, or stay and die. " ( retrieved from gutenberg.org July 23, 2010)
  152. ↑ "I can still feel her breath on my cheeks: / How can it be that these near days / are gone, gone forever, and completely gone? // This is a thing that nobody can fully think of, / And much too horrific to complain about: / That everything slips and flows past "(from zeno.org )
  153. ↑ MARSHALLIN: […] Time is a strange thing. / If you live like that, it is absolutely nothing. / But then all of a sudden / you feel nothing but it: / it is around us, it is also inside us. ( retrieved from zeno.org July 23, 2010)
  154. ↑ “The day rises with great power / hits its claws through the clouds / [...] Get loose! With great strength / increases on the day. "
  155. ↑ Cf. Müller, Ulrich: “The Middle High German Lyrik.” In: Bergner, Heinz (Ed.): “Die Lyrik des Mittelalter. Problems and interpretations. ”Reclam, Stuttgart 1983, p. 98.
  156. ↑ Rainer Maria Rilke : Eastern Taglied in the Gutenberg-DE project ( archive version )
  157. ↑ Wapnewski 1972, p. 265.
  158. ↑ “Make the night a little longer, morning, please don't come. / Day, don't break / For you will take / My love away from me. / Try to hold back the sun, / I beg you, morning, please don't come. "
  159. ↑ freundeskreis10.de