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| O Género Literário - Norma e Transgressão | 190 Seite(n) |
The Literary Genre - Norm and Transgression
John Greenfield (ed . )
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Ausschnitt aus dem Kapitel: Problems of topological and visual order in reading medieval poetry . Walther von der Vogelweide’s Nement, frowe, disen cranz .
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| a harmless erotic piece . But it only seems to be simple: There is hardly an other poem in German ‘Kran zlied’ (L 74,20) . 1 For a critical discussion of the term Mädchenlieder and its problematical implica tions cf Minnesang about which there has been so much controversial discussion . After a never ending debate on how to arrange text . A more elaborate German version with detailed notes will short ly appear in the Beiträge zur deutschen Sprache Problems of topological and visual order in reading medieval poetry . Walther von der Vogelweide’s Nement, frowe, disen cranz . Victor Millet and John Greenfield for the invitation and to Jane Maxwell for advice in the preparation of the English known today and also some of his songs are fairly well known, not only because of their outstanding literary qualities und Literatur des Mittelalters (128/2[2006]) , entitled un der diu ougen sehen . Zu Visualität, Mouvance und Lesbarkeit von Walthers . Ranawake (1983), Bennewitz (1989), Masser (1989), Heinzle (1997) . Mädchenlieder [Songs by maidens] . These are songs which do not perform the singer’s vain desire and courtly love service hohiu minne , of courtly love . And so the song I now want to reflect on seems at first love between two persons of equal status – and at the same time criticise the artificial and paradoxical concepts of glance to be quite simple and eas ily understood: a summer idyll, a rural dancing scene, a dream of love, Walther von der Vogelweide is probably the most famous poet in me dieval German literature . His name is well the stanzas in their correct order, the very form of the text is still an un This is the widely unmodified text of a paper I presented at the Universities of Santiago de Compostella and Porto . Many thanks to anthologies and has often been translated into several languages . Usually it is considered to belong to his so called but also because some of them seem to be rather simple and understandable to modern readers . The song I will discuss, Nement, frowe, disen cranz (L 74,20), is one of Walther most popular songs, can be found in many for a lady of higher rank, as the clas sical courtly love canzone does . 1 They talk about fulfilled |
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| we can only read one single text and not simultaneous variants – I will later come back to this point 167 168 . – English translation by Stephan Fuchs Jolie . – Stanza II starts in every three manuscripts with frowe, disen cranz’, alsô sprach ich zeiner wol getânen maget, sô zieret ir den tanz mit den schœnen bluomen, als for the most part of German courtly lyric . The songs are only recorded in manuscripts which collected the verses and is extremely refined . The great refinement of this poem is its apparent simplicity and, at the same time, the words Frowe ir sit . The salutation frouwe was deleted by numerous editors for metrical rea sons, sometimes presuming irs ûffe traget . Het ich vil edele gesteine, daz mües ûf iuwer houbet, obe ir mirs geloubet . sent remember that the verses were to be sung . However, the tunes have been lost, as is the case unfortunately medieval texts only appear in many different versions, never in a definitive form . But if we want to read, mine triuwe, daz ich ez meine . II Frouwe, ir sit sô wol getân, daz ich iu mîn schappel gerne geben wil, daz [ ] beste, daz ich hân . wîzer unde rôter bluomen weiz ich vil, Die stênt sô for representa tion and reading but not for performing . And this of course is the main reason why all to as the current standard edi tion, accompanied by an attempt at a literal English translation . 2 I ‘Nement, at the text itself as it has been handed down – but here the difficulties begin because we have to verre in jener heide . dâ si schône entspringent 2 Lachmann / Cormeau (eds . ) 14 1996, pp . agree with this problematical conjecture, I diverge in this particular case from the text as edited by Cormeau . the fact that it can be read and understood in so many different ways . First we have to look . First, however, I am going to present the edition of the text by Christoph Cormeau, which we might refer Stephan Fuchs Jolie 30 solved and possibly unsolvable problem . In fact, this song is one of the most sophisticated this stanza were to be spoken by the maiden (cf . esp . Wapnewski, 1979) . Because I do not |
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| rîche, dô taget ez und muose ich wachen . V Mir ist von ir geschehen, daz ich disen sumer allen by my good faith, that I mean it . Lady, you are so beautiful, / that I urgently want to ’ III Si nam, daz ich ir bôt, einem kinde vil gelich, daz ere hât . ir wangen wurden rôt uns nider an daz gras . Seht, dô muoste ich von fröiden lachen, dô ich sô wunneclîche was in troume give you my chap let, / the best one I have . / I know about many red and white vil schône . daz wart mir ze lône . wirt mirs iht mêre, daz trage ich tougen . IV Mich Problems of Topological and Visual Order 31 und die [ ] vogele singent, dâ suln wir si brechen beide . meiden muoz vaste under diu ougen sehen . lîhte wirt mir eine, sô ist mir sorgen buoz . Waz obe drûhte, daz mir nie lieber wurde, danne mir ze muote was . die bluomen vielen ie von den boumen bî flowers, / they stand far off on that heath . / There, where they spring up so beautifully / and with the beautiful flowers, when you will wear / them upon [ your head ] . / If I had si gêt an disem tanze? frowe, dur iuwer güete rucket ûf die hüete . owê, gesæhe ichs under cranze! ‘Lady, same diu rôse, dâ si bi der liljen stât, Des erschamten sich ir liehten ougen . doch neic si mir to the lily . / That is why her sparkling eyes became bashful . / And yet she bowed like a maiden of honour and nobil ity . / Her cheeks grew red / as the rose standing next the birds sing, / there we both shall break them . ’ What I offered her she took / just precious stones, / they would have to be on your head, / if you might believe me . / See, take this garland!’ / Thus I spoke to a beautiful maiden . / ‘So you will adorn the dance / |
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| commonly translated as ‘looking into the eyes’ . But looking into and looking under does not mean the same – allen meiden muoz vaste under diu ougen sehen . Where do you look, when you look somebody under diu ougen . Leipzig, 1936, col . 1467 1469, and Schweikle’s (1998, p . 678) commentary on this expression: ‘mhd . Idiomatik, eyes . / Maybe I will get [ the ? ] one, then my sorrows will be healed . / in the face’ and refers to something, which can be seen in public and uncov ered . 3 But why is one of those passages which seems to be quite simple, but which is intriguingly unclear . In the stanza more, I will carry it secretly . It seemed to me I never / was more fulfilled than I was / in the dream . / Then the day dawned and I had to wake up . This happened to What if she is at this courtly dance? / Ladies, by your kindness, / push up your hats . / , ‘under the eyes’? What is there to be seen ‘under the eyes’ of a woman? This phrase is most Stephan Fuchs Jolie 32 to me very beautifully . / That was my reward . / If I get anything end we find the sen tences which puzzled me when I first began to think about this song . It Leipzig, 1854, col . 791 793; vol . X, I . Leipzig, 1905, col . 143; vol . XI, III . Now the phrase under ougen is a frequently used idiom in medieval German, which normally means ‘straight or square Oh, if only I could see it under a garland! I will start at the end, because at the very is the face under or below the eyes? Should we under stand it literally, thus it refers to this part then . / The blossoms fell all the time / down from the trees onto the grass beside us . presented as the last one in most edi tions we read: Mir ist von ir geschehen, daz ich disen summer me because of her / that all this summer long I have to look every maiden / firmly under the ‘looking into the eyes of a woman’ might remind us of Humphrey Bogart, and this is probably an inappropriate idea / Look, then I had to laugh for joy / as I was so mighty in such a joyous way of the face where somebody 3 Cf . Deutsches Wörterbuch von Jacob und Wilhelm Grimm . Vol . I . auch im Sinne von ‘ ins Gesicht sehen’’ . |
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| . 5 This shows that we here have to think not in terms of historic reality, but of literary roles face’? Because in this special verse the phrase con fuses our visual codes: In the context of this stanza the ‘Maybe I will get one, then my sorrows will be healed . ’ What does eine , ‘one’ mean? Also those hats, which the dancing ladies are requested to push up . Now, can the hats lead us to a solution? Do we get to know here what is to be seen ‘under the eyes’? Unfortunately we do not – Problems of Topological and Visual Order 33 would blush or be scratched? But in fact Walther’s singer wants to look Wl 3,IV and Johannes Hadlaub SMS XXVII,11 . somehow underneath . Does he want to look be hind the eyes? So is it the heart, the inner life, eyes belong to those things which cover something . They cover just as the hats in the next verses do, is something which is somehow covered up and somehow lies deeper . Now why all this puzzling speculation? Why not eyes and faces? We know many and different medieval courtly headdresses, garlands, wimples and other types, some times of enormous historic or fictitious sizes and shapes of hats but it is about what or whom the singer wants to see dimensions – but hats with a sort of brim obviously did not belong to the courtly dress code . Later which is to be seen under or behind the eyes? According to the medieval idea of the awakening of love, love enters somebody’s heart by way of the eyes . 4 In any case, what Walther’s singer wants to see at the spot, where the eyes of the maidens are, but he doesn’t want to look in their eyes but just simply ac cept the Middle High German idiomatical idea and translate under diu ougen by ‘looking square in the this term, which seems to promise us the solution, is – in regard to the grammar – 4 Cf . which engineer and play with male voyeurism and female modesty . In any case, the crucial question is not about Kolb (1958), pp . 18ff . , Schnell (1985) and Schleusener Eicholz (1985) . 5 E . g . Neidhart medieval poetry took up this motif of large, face covering hats, mostly in direct reference to this verse of Walther these hats are no less confusing . Did ladies at the courtly dance ever wear such large hats, which covered under these hats . In the text we read: lîhte wirt mir eine, so ist mir sorgen buoz , literally: |
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| and the singer is in fact looking for the one girl, he once met? But now here is the cru simple and realistic, when one looks more precisely they are actually suggestive and unclear in meaning . The text plays But here the last two stanzas have been girl he can amuse himself with this summer? Or should we read ‘a girl just like the former girl’ – Stephan Fuchs Jolie 34 again significantly unclear and ambiguous . Does it mean ‘any girl’ or ‘the one’ or ‘a in the famous Große Heidelberger Liederhandschrift ’ or Codex Manesse (manuscript C – beginning of the 14 th century) . that means, the singer is requesting the ladies mentioned in the stanza to behave like the maiden about whom we we see that realism is withheld . We can un derstand the eyes, the looks, the hats, the maiden in Liederhandschrift (second half of the 13 th century) . The same five stanzas in the same order can be found he has to decide how to arrange the stanzas of the song . So let us start again . How come back to them later . Up to this point we can be sure (and this seems a general and girl like the former girl’? Is ‘any girl’ a mere impertinent, risqué remark – the singer is looking for any has this song been recorded? It is recorded in three manuscripts, which are all very famous (see also the table of the whole song . And this coherency the reader is forced to construct in advance . The reader has have heard before? Or is this strange push ing up of hats a sort of piquant carnival game with masks cial question: was there ever a real girl? Let us put aside these details for the moment – I will to make an ini tial decision, which story and which conclusion he would prefer . And that means above all: important characteristic of the song as a whole) that although – at first glance – the verses appear to be below) . The song has been handed down with five stanzas in the manuscript A, known as the Kleine Heidelberger with a realism of story and scene which it offers as a whole; but as we look at the details, several different ways – but clearness can only be achieved, if we decide in advance on a single, definite coherency |
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| this problem . All together, no less than eleven possibilities have been considered as to how these five stanzas from IV (= 2 nd variant with accompanying stanza) 6 |: I – II – III – V :| IV circular sort of a philological world record . I will try, with help of a table, to explain in brief how three manuscripts should be arranged to make the definitive song out of them . I suppose that to be a – III – V E (= 1 st variant with accompanying stanza) Orders in interpreting the manuscript recording: 3 I composition with da capo ad infinitum Arrangements supposing corrupt manuscript recording: 7 I – III – V – II – IV 8 I – III – II – IV – V (stanza II possibly female voice?) 9 I – IV 6 Finally we find the song, again in the same order, in the manuscript E, the Würzburger Liederhandschrift (around 1350) see here in the history of recording the song does not seem to be very complicated . 7 However, once . But here, the stanza which is the last one in the other manuscripts is not featured . It is again it only appears to be like that, and for 180 years the scholars have been racking their brains about – IV A (C) (in C stanza V – IV added more than 100 stanzas later) 2 I – II is provided by Heinen (1989), pp . 222 223 . this record came into being: Sequences of the stanzas in the manuscripts: 1 I – II – III – V – II – III *AC 1 (supposed common source of ms . A and C) 4 I – II – Problems of Topological and Visual Order 35 added later and after more than a hundred other stanzas by Walther . the stanza involving the dream, the fourth one in the edition of the text printed above . So what we III – IV – V (*AC 1 supplemented with *AC 2 in reverse?) 5 I – II – III – (Lachmann 1827, Song 2) 6 Cf . Kornrumpf (1999) . 7 A clearly arranged synoptical print of the manuscript tradition – V – II – III 10 I – III (Lachmann 1827, Song 1) 11 V – II – IV |
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| – but it is still the most remarkable fact that this order in the manuscripts is probably the most incomprehensible stanzas (= line 4) . The writer of the manuscript may have copied his second source later, starting from the . (1998) . Admittedly they all tend towards understanding the last two stanzas as alternative endings of the song and (1992); Kasten, ed . (1995); Lachmann / Cormeau, eds . ( 14 1996) and Mertens (1998) . 12 Considered by Kasten, Stephan Fuchs Jolie 36 As the two last stanzas were added later in the most important manu script C, we Mohr (1985), p . 222 . 9 Cf . Bennewitz (1989), especially pp . 247 249, and Haustein (1999), especially . e . , a courtly singers tells how he seduced a girl of lower rank against a rural background is above . 11 The more elegant way to interpret the history of recording is to understand the last two end . 10 Then we get the preferred version of the song, which is most commonly published – as it (1833); Pfeiffer / Bartsch, eds . (1870); Paul / Kuhn, eds . (1882; 9 1959; 10 1965); Wilmanns / Michels or the dance stanza could end the song (= line 2 5) . 12 Or we consider the first 8 can suppose that the source manuscript (the one the writer copied first) showed the song with three stanzas . Those is difficult to explain how the present tense of the dance stanza can be followed by the past tense of of all possible arrangements . There is a simple way to solve this problem – by switching the last two not as successive stanzas . 10 This is the assumption of von Kraus (1935), p . 303 . 11 I stanzas as two alternative endings of the song . Starting with a nucleus of three stanzas either the dream stanza eds . (1869; 4 1924); Maurer, ed . ( 4 1974); Willson (1965); Halbach (1969); Brackert, ed . (1983); Warning p . 69 . The stanzas are only published in this order by Wackernagel/Rieger, eds . (1862) und Schweikle, ed the dream stanza . There have been very subtle and sophisticated suggestions to bring some plausibility to this sequence 9 Wackernagel/Rieger, eds . (1862); Mohr (1985); Halbach (1967); Hahn (1969); Bennewitz (1989); Heike Sievert (1990), especially pp . 59 62; (= 3 rd line in the table . ) But, if we depend on the order in the manuscripts, the name only the most important of the many editors and scholars who print or prefer this order: Simrock, ed . first three stan zas indeed can be regarded as an independent brief variation on medieval pastoral motifs 8 – i sequence of the following two stanzas is not totally comprehensible . It is not really impossible to explain, but it |
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| Earlier scholars especially considered the manuscript tradition to be totally corrupted and rearranged the stanzas in quite a loose man the prin ciple editor Karl Lachmann did not see any possibility of reaching a suf ficient coherency and simply divided / Cormeau, eds . (1996); Schweikle, ed . (1998) and Haustein (1999) . 13 Suggestion by Mohr (1985); considered by give the song its title, rather than there being argument about content . I think ar ed . (1995); Lachmann (1981, pp . 224ff . ); I – IV – V – II – III (= line 9) suggested by the logical coherency of the story, the metaphors and images of speech, we can set up many more versions . Petsch (1931) . 15 Lachmann, ed . (1827), pp . 74 75 . seems as though each stanza can be in any position in the song . There are not even obligatory groups V (= line 8) considered by Scherer (1884), p . 310); followed by von Kraus (1935, pp . 299 306); the stanzas into two separate songs (= lines 10 and 11) . 15 Finally surveying the output of nearly 180 , again and again, and to be concluded by the dream stanza as an unexpected punch line (= line 6) . 13 Now if we do not respect the authority of the manu scripts as the most important principle but Problems of Topological and Visual Order 37 four stanzas in the manuscripts as a rondeau to be sung da capo ner . By suggesting various sequences of stanzas they tried to establish distinct separations between actual and metaphorical garlands, between Bennewitz (1989) and Haustein (1999) . 14 The order I – III – V – II – IV (= line a dream world and a waking world, between past, present and future . They always committed themselves to a definite of two stanzas which reliably belong together . Only stanza num ber I is always placed at the beginning – but I suspect, the reason for this is the awe felt by scholars in tampering with the first lines which statement or punch line to which the newly built song should lead (= lines 7 to 9) . 14 Only Firstly: All of those forms and arrangements are possible; each of them is good in certain respects . Secondly: It Wapnewski (1979; stanza II as a woman’s stanza); Bertau (1972, p . 754); Schaefer, ed . (1972); Witt (1979); Meyer 7) suggested by von Kraus, ed . (1930); published by Richey (1948); I – III – II – IV – years of philological re search on Walther there are two facts which puzzle us and leave us be wildered . |
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| Stephan Fuchs Jolie 38 guments for a switch of stanzas I and II could easily be found – just like the texts is no longer considered as mere corruption but an aesthetic resource . We do not look for solid, . I just want to demonstrate the undefined, open form of the song . Now how shall we handle this result? Now how should we read this song? Of course, we have similar problems of order with many medieval songs is true and it is important – but thinking it through to its logical conclusion, will we not then end order, logic and coherency of texts – for all those ideas could be modern, anachronistic points of view and not , eds (1997) and the essays by Stackmann (1994) and Schnell (1998) . modern philology has begun to consider these facts from new points of view . The inconstant and transitory state of the relationship between stanzas IV and V . I really have no ambition to establish the twelfth or thirteenth version suit able for lyrics of the age of manuscripts and public courtly perform ance . 18 No doubt, all this well rounded synthesis, but for the open and unsettled network of relations and oppositions – we look not only at the ‘text’ but at the ‘texture’ reproduced in the manuscript variants . 17 But can we somehow convert these wonderful Cramer (1997) . – On the variance of stanzas and their order cf . the reviews of Scholz (1989), pp ideas into reading, as far as reading means ‘understanding’ a text? So called ‘New Philology’ demands that we rely completely (1997); Müller (2001) . 18 For the discussion on ‘New Philology’ cf . the anthologies of Tervooren et al . which have been recorded in several manuscripts . Specially the recording of Walther’s songs confronts us to a large extent . 207ff . ; Haustein (1999); Kornrumpf (1999); Cramer (1998) . 17 Here I refer particularly to Bein (1997); Cramer up by loosing any idea of understanding? Should we only watch the ever changing variants 16 For ‘Mouvance’ cf . on the pure literality of manuscript notation . We are requested to distrust thor oughly any of our ideas of with this so called mouvance , the mobility, agility and variability of medieval texts . 16 In the last years |
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| des textes [the permanent, incessant self rewriting of the texts]’ . 20 That means we should at last be serious discovery of ‘New Philology’: let us try to look at the text not as a solid, definite form, but as as possible to the manuscripts, and on the other hand, the demand for uncovering the trace of the inner mobility, naive than the endless, anachronistic search for the one and only original text . Without any previous idea of what performability and mobility, 19 we are asked to search for the different possibilities of combining the different stanzas and other Let us take our Walther song: Is it a record of a linear se quence of four or five stanzas? about the original variability and authentic agility of the texts, and so we 19 Zumthor (1984) . 20 Cerquiglini (1989), cific performances . Now here we detect a serious aporia of modern, ‘new’ philology . Two of its main principles p . 111; similarly pp . 114 116 . true, i . e . that the variability of the texts proves to be the vague outline of their fundamental are mutually exclusive and are found in a paradoxical relationship: On the one hand, the principle of adhering as closely a complex network of relations . Then what do we want to understand and what are we able to understand? Or did the writer have the intention of noting down a da capo rondeau ? We are in no position maybe by chance in this or any manuscript – for those combinations might only be accidental recordings referring to spe to apply our ideas of form to the text in the manuscripts . If what ‘New Philology’ teaches us is to make a decision when we only look at the manuscript tradition itself . And so we are forced again Bernard Cerquilgini, one of the guiding intellectual forces of ‘New Philology’, demand that we be aware ‘de la récriture incessante the ‘manuscript tradition’ means we cannot even tell what we are actually seeing, if we look into the manuscript . the funda mental mouvance of the texts . Let us try in any case to maintain at least one important elements in the text . In that case we cannot restrict ourselves to reading only those combinations which have survived Problems of Topological and Visual Order 39 of the text destroying any consistent meaning? To me this sounds no less |
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| and literary signs . I think this might give us a chance to escape the vicious circle of the theo something like the idea of the song, is more than the mere sum of its versions . 21 It is for simultaneous perception not only a purely theoretical ideal of interpretation? Reading is a fundamentally practical thing . We have – realize only certain single aspects of the virtual song as a whole . This virtual song as a whole, who speaks of the ‘Gesamtheit, die man die Idee des Gedichtes nennen könnte und die mehr ist als die Summe it possible for us to be able to 21 Here I refer to Cramer (1998), pp . 86 and 93, Stephan Fuchs Jolie 40 should accept that the different variants are simultaneously and equally valid . But is this appeal stanzas . Meaning is to be searched for either within the single stanzas which are to a large extent independent, meaning are not to be found in the action or in the events or in the course of skilfully arranged so many different ways, and for what reason nearly every detail in this text refuses a definite meaning, as I no sense, no organ for simultaneous perception, nothing which could make a readable construction out of this permanent self rewriting, . have already explained . Let me try to extract the following thesis out of the theoretical considerations: The individual versions the opposite opinion to Cramer’s ‘virtual total poem’ – I try to see both positions as mutually complementing each other 22 or is to be searched for – far below that – within the basic semantic structure of the words am talking to you about all these difficult and rather puzzling theories . It is because I am looking for of a song – i . e . the versions of the manuscripts as well as the philologically constructed versions actually com posed in a manner which allows all these particular current realisations . So the important structures which establish out of these swimming and flickering variants . I will stop here . You might be asking yourselves why I Gesamt gedichtes’ . 22 Cf . the conclusions of Steinmetz (1999), esp . pp . 83ff .. Here Steinmetz takes retical arguments . Now here is the leading question for my reading of Walther’s song: What in this text makes seiner Fassungen’, and about the ‘Widerspiel von Teilideen in den Fassungen, die nicht spontane Gebrauchsfassungen [seien, sondern] Aspekte eines virtuellen an answer to the question, as to why we can read and arrange this apparently simple song of Walther in |
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| equals’), past versus present, dream world versus waking world, cultural space versus natural space, 24 and so on . I Cf . the distinction between ‘Verlaufsgestalt’ and ‘Simultangestalt’ of a poem as suggested by Warning (1997), especially pp . 22 its construction, its fundamental structure, its basic grammar? 23 Now that, at least, would be the achievement of the author, (1996) . The whole range of possible interpretations will be reviewed in the an thology soon to be published in paid: all of them are restrictive in that they neglect the whole of the potential meaning and so they pick the five stanzas has up to now been classed as belonging to the dream world, every single one has been respect all these interpretations . 25 All of them make sense, but there is always the same price to be always been analysed according to its events and its story in an attempt to establish meaning and structure by certain basically opposing ideas such as hôhiu minne versus ebeniu minne , (that means ‘high courtly love’ versus ‘mutual love of 24 . 24 E . g . the debate about the genre of the song between Warning (1997) and Kasten out only the usable structures . And in every case every selection is based on an apriori, on a previous Problems of Topological and Visual Order 41 read the verses in so many different ways? What is the principle of the song – just as we, the readers, have to . Before I begin with my reading of the text classed as belonging to the waking world . If we only try to understand the text by looking at what of Walther, not the achievement of a manuscript writer or of a later performer, who every time had to reconstruct . To outline it roughly: At the dance, an erotic affection is felt; the human desire is imagined as 23 allow me to make a brief comment on former interpretations . Up to now the form of the song has discussed question, that is which stanza belongs to a dream world and which doesn’t . Now every single one of to the comprehensive presentation by Warning (1997) . decision about what the song is meant to talk about . I will take the most simple example, the endlessly Keller / Miklautsch (in press) . 25 I refrain from reviewing the complex history of interpretation and refer to the commentaries by Kasten, ed . (1995), pp . 961 965, and Schweikle (1998), pp . 674 679, as well as is happening in the story, every interpretation will always lead to a kind of miniature drama on civilizing human desires |
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| the first stanza: In the first place the garland is something that covers, in the second place some thing that not because of its program matic statements on courtly love and not because of its polemic allusions to certain genres of this time? 27 That this song should in no way be consid ered as narrow minded or conventional is 26 In this sense also the interpretation by Hahn which recently is probably the most consulted, in: Brunner et al . (eds . ), pp . 104 106 . 27 In the eyes of Wolfram or Neidhart this song is other things, for example of pre cious stones or of diamonds, as stated . All that which should be brought the structural opposition of ‘above and below’, ‘up and down’ . At last we can start to read the song edition stated above . I . In the first stanza the woman who is being addressed is supposed to be again . I will go through the text stanza by stanza, just for practical purposes in the order of Cormeau’s of courtly love poetry . It’s because of the uncompro mising way the text exposes itself to the fundamental problem wearing the garland upon her head . The garland consists of flow ers but it also might be made of adorns and in the third place something precious and courtly . II . In the second stanza we find that, said to be ‘Feinkunst für Spießer’, as Bertau (1972), p . 754, imagines . which is supposed to be brought up upon the head, springing up, rising up from below . It grows and song being understood as petit bour geois, reactionary and narrow minded, as compared to what is possible in other songs Stephan Fuchs Jolie 42 though fulfilled out in the countryside, but then any sexual desire is re jected and is up to the head, all that which should be above could be substituted . Now this is the motif of of poetic speech: The problem of telling and concealing, of marking and covering, of saying and showing . That is covered up as though it were a dream . 26 So would this in terpretation actually not lead to the what the song is about, and this theme is established by a firm and definite structure throughout all stanzas – |
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| in a more ab stract sense, elevated to a higher rank of courtliness and beauty . And what happens further ‘bloom’ – it’s all bluome . Now in this stanza the blossoms or flowers or blooms do not belong to birds that sing on that heath and that sing above, in the trees . Above, where the things that adorn , ‘carrying secretly’, i . e . it means ‘covering it’, ‘putting it underneath’ . The events that are not on with the couple the singer is keeping secret? ‘Keeping secret’ literally means here, just as the German word tragen component of the heath, it does not matter whether we perceive this as a dream or not . She is flowering, breaking, destroying . Out of these broken items a garland is made – i . e . something, which however two directions of movement . By moving downwards or, stating it more clearly, by lying down, the maiden is, should put down together whatever grows on the heath – this would be the sexual phallic way of reading . . IV . In the fourth stanza the blossoms are falling from above, down from the trees – from above where the singing is . They are falling down, onto the grass, but beside the bodies of the lovers . Problems of Topological and Visual Order 43 is to be laid down . That means, the man and his wife transforming herself into nature, into white and red, into rose and lily . Now this flowery maiden’s body is breaking itself in a downward direction: She bows, her eyes become bashful, which means she lowers her eyes . There are, the is again supposed to be brought up to cover something up . And this covering item adorns, just like the One the other hand, the natural items which are laid down are skilfully and artificially transformed . Deflorare means de of the man the woman who is being addressed is herself assimilated by nature . The maiden’s body becomes a are, there is also the sing ing, the song . III . In the third stanza by accepting the offer It might be im portant, that in Middle High German there is no lexical distinction between ‘flower’ and ‘blossom’ and told, but only indicated, belong to the things somewhere below, to the flowers, to the self breaking flowery maiden’s body |
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| wants to see, they are also only signs and pointers pointing to the invisible under neath . It seems to Stephan Fuchs Jolie 44 things that cover up . Together with the grass and the broken flowers they simply indicate garlands, flowers, blossoms or even eyes: they can all be made visible in that they can be told by the der linden an daz zwî gegân . MF 39,20 21); Heinrich von Morungen, Owê, sol aber mir iemer mê , singer – but they are only the indication of what is underneath . And what is un derneath cannot be by those garlands, which are used by men to adorn the ladies in a courtly way and which are now which should be seen and which is covered . This something is covered by hats and by gar lands – 28 Dietmar von Eist, Slâfest du, vriedel ziere? , MF 39,18 ( ein vogelîn sô wol getân / daz ist The structural opposition of ‘above and below’, ‘up and down’ does not establish any definite story or coherency on the not cover, but only point to something without uncovering anything . And when the day dawns, the sun rises just not be made visible . It can only be carried secretly by the singer . I am not talking about as the body does, which wakes up after having moved downwards . The verse dô taget ez indi cates exactly said and cannot be made visible by saying or tell ing . Nor are the eyes something which human desire MF 143,22 (all four stanzas end with the refrain ‘dô tagte ez’ ) . the very moment in courtly life, in which singing starts – together with the singing birds in the trees this linguistic surface . On the contrary, some simultaneous metonymic series are settled . We can now distinguish two of those me, that in this poem the basic structures of meaning and form are built up by this topological order . to be taken away or pushed up because of human desire . But what human desire wants to see can . The fifth stanza now deals with vertical, erect and dancing bodies . But these bodies have something on them, is an allusion to the earliest German dawn songs of Dietmar von Aist and Heinrich von Morungen . 28 V the horizontal level, where the bodies of the lovers can be found . Falling and broken flowers and blossoms do |
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| and meaning of certain items, and secondly the various possibilities of arranging the stanzas . Let me first discuss the defined unchanging metaphors and figurative structures are not established . The single elements on the surface of the text, the metaphors of singing from above (birds), elevated courtly sing ing . In the third stanza nature is the object with space, the counter space towards the courtly space of dancing (the heath); it is the cliché of an idyllic spot, and simulta neous relations and textures . Let me have a look at the topic of ‘nature’ to explain this you might think this all is a pretty boring and brittle structuralism in view of this lively love song . words, topics and gestures are provided with changing meaning and significance . In this way they build up permanently new Problems of Topological and Visual Order 45 metonymic series fairly clearly . So the following terms belong together according to And you would be right – unless we con sider the fact that we find right here a poetic principle which can explain and solve the crucial problems we have discussed . These problems are firstly the undefined, open metaphors bow ing girl – blossoms – grass – dream – whatever is below garlands and hats and eyes . Now the following belong together: heath – the origin of the flowers – broken flowers – bashful – lowered eyes – a locus amoenus (with flowers, trees and birds); it establishes the metaphors of sexuality (breaking flowers representing defloration) and the the paradigm ‘above’ or ‘up’: garland – hats – flowers – adorning – birds – singing – honour – maiden changing meaning of metaphors and of linguistic figures . Looking at the metonymic series above we may notice that some which the honourable – trees – day – waking – dawn song – courtly dancers – eyes . According to the opposite paradigm, poetic principle . In the first stanza nature, seen here as flowers, is a substitution for noble might and wealth and at the same time a symbol of high regard . In the second stanza nature is the actual realistic elements belong to both paradigms at the same time . That shows that in view of all of the stanzas, |
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| single elements of the text stand side by side; and so do the stanzas . This leads us to the and lily) . In stanza four nature establishes again the cliché of an idyl lic spot, this time not in first and probably most important gesture of the singer is the gesture of adorning which is at the same time allusions suggesting the fulfilment of human desire, but then he keeps the interesting further 29 With this distinction between metaphoric and metonymic relationship I refer to Jacobson (1956), Part II, ch . 2: ‘The Twofold Character of Language’, and ch V . We will see that not only can the pairs of stanzas I/II and IV/V be switched, but also a metaphorical way, but in a metonymic way: nature just accompanies the invisible human bodies by raining blossoms and the and at the same time a gesture of refusing, all three of them play a particular variation on this paradoxical all three virtual ending stanzas can be swapped about . All three of them play with a gesture of offering symbol, as a comparison, as a counter space . Various poetic functions of nature run into each other and permanently Stephan Fuchs Jolie 46 girl is compared and it is the reservoir of figures of beauty (red and white, rose movement . In stanza III it is the singer playing the role of a pastoral singer who is by several dawning of the day . 29 At last we can state that there is no fixed and defined metaphorical or . 5 ‘The Metaphoric and Metonymic Poles’, and Genette (1970) . the gesture of covering . Let us check this by analysing those three stanzas, all of which have been considered lin guistic and poetic material . There is no development from one stanza to another but there is a permanent second topic, to the stanzas and their relation ship . They now prove to be transformations and conversions of the at one time to be the final one and the punch line, i . e . stanzas III, IV and figurative meaning of nature . On the con trary, a wide matrix of virtual poetic functions of nature is built re arranging, a continuously changing perspective . The stanzas are in different respects different gestures of the singer . The up: na ture can be treated in a metaphorical or metonymical or topical way, it can be used as a suggest various different meanings and points of reference . Thus no logical se quence is constructed or defined . The |
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| last verse where the day dawns is playing the same game with meanings is it an allusion to the dawn do what the narrator, the singer is not able to do? But this is just suggestive; it remains utopian and of the events, nor in view of the argumentation . We can construct several logical sequences with them, if we somebody to look underneath – under anything, under any cover . What the singer refuses, the ladies are requested to uncover, to make visible, i . e . , to make clear and unambiguous . What the author is doing same time covers desired bodies, female bodies, which are substitutions of courtli ness and courtly society . Above there is to the listeners and readers, to us – just as it is left to the ladies at the dance to Problems of Topological and Visual Order 47 events secret . In the dream stanza IV all signs are organized in know in advance what sort of logic we would like to have . However this is left to the audience, with this song is just what the dancing and speaking singer in the song does: he adorns and at the below which human desire wants to see . But the words refuse to give the uncovered centre, the fulfilment, the requested to uncover something; and they are also considered to be able to push something up, something, that could allow stanza V the fulfilment is projected into the future as a hope: the ladies of this new realistic scene are such a way that they point to something which is uncovered, something in the centre between trees above and grass in the text (which are the ladies) now have the possibility to uncover it? Would they have the possibility to achieve . Is this now the true punch line? Would the implied listener or reader and his material ized characters song, an abbreviation of a dawn song, which tells us the signal of parting after a fulfilled night of love ends in an atmosphere of resignation . So these three stanzas do not form any conclusive sequence, neither in view the word, the sign, the mark, the singing, the visible – below there are the real bodies, actual sexuality, the concealed, the invisible . With the flowers on the heath, meaning the flores and refuses us the love scene? Or does it cover the suggested love affair as a mere dream? Now in bodies in love; the words, the grass, the blossoms themselves are covers and pointers, and nothing more . And the |
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| song is in every respect more agility than synthesis, more mouvance than coherency . At last I would like to . The borderlines between dream and waking, present and future, reality and imagination are unclear . Here nothing is for sure, nothing is uncovered, nothing is visible – neither what the singer has experienced nor whether there was any maiden point to the things – and by so doing they will always cover the things . This logic of incessant at tempts to talk about love . The order of the words and gestures and signs and stanzas in this Stephan Fuchs Jolie 48 rhetorici , the singer skilfully weaves garlands of words, words which are highly artificial transformations of to search for himself . Truth, in the sense of non ambiguity, that is what the text is keeping secret, about what ladies wear underneath their hats and what could be seen ‘under the eyes’ every listener and reader has or even what they did on the heath . The truth about Walther’s dancing self and his girl, the truth things and which are high up and up above just as the singing of the birds is . He is the most significant characteris tics of all elements in the text . They allow us to fix various meaning in itself is a 30 Here I refer to Derrida’s (1967) theory of the ‘supplement’ . To these and other possible what it ‘carries underneath’ and withholds . And that is what this text is about: the real things cannot be most clearly shown by the five stanzas and their variability in order: They are five gestures, five performing acts, five turned visible and readable by words, for words used for singing and telling are only signs, only pointers which only several ways, but at the same time they refuse this by their fundamental mouvance , by their agility and mobility the first and maybe the last rhyme of the song: I would call it the ‘Garland Song’ . This song suggesting the desire for uncovering by signs and gestures and permanently refuses to uncover . Unfocused and ambiguous meanings are shifting and postponing 30 is the basic and maybe the only logic the text obeys . And that is just the reason why the text is widely open to be reconstructed by various kinds of logical order . This is give a new name to this song . I would call it by its most significant feature and by maybe deconstructions of this song see Kern (in press) . |
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| particularly the conditions of courtly language and of erotic poetry . So the singer does not come up to our and rhetoric figures, but now and here at the dance . The only thing which could be found at this the garland? In the verse which we mostly read as the last one of this song the object to be not linear, it is round; all stanzas, like the flowers of the garland, are at the same distance to the the organs for seeing, are only refer ring pointers and nothing real to be seen . And now the former Problems of Topological and Visual Order 49 circle, just like the garland on the head of the girl: it is circle of words which does not make the centre visible, which does not tell the centre, for it is able under a garland’ . But not even this is 31 For the meaning of the isotopical structure of ‘above vs dance is something ‘under the eyes’, something which is somewhere underneath . The crucial phrase under diu ougen , ‘under girl, the flower maiden – did she ever exist? Now is it her whom the singer wants to find under to be an abbreviation of si , ‘she’ – so the verse means ‘Oh, if only I could see her . below’ in German Minne sang before Walther and for the importance of the metaphors of ‘height’ in the concept bodies of the lovers, life and love itself; not in the past, not in a dream and not in metaphors linguistic signs . The unrealistically large hats of the ladies could not by any means be as small as necessary – they cover at any time, what lis tener and reader long to see: the body of the maiden, the which is made to adorn, which is built to cover up, to be on top and all around – a it does so not because of prudish narrow mindedness, but because those are the inevitable conditions of speech and language, centre; and the centre is empty, unfilled and not to be filled . It is a garland of stanza flowers only to tell the covering, which is only a pointer to point to all that is covered up . And seen is represented by one single letter: ‘s’ , gesaehe ich’s under cranze . This has al ways been considered expectations of realism, of catching the sight . He disappoints our desire for reliable and constant meaning of speech and of Hôhiu Minne see Fuchs Jolie (in press) . the eyes’ is the sign and the cipher for invisibility and inde scribability . 31 At last, even the eyes, |
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| encounter long ago with the nameless girl: Stat rosa pristina nomine, nomina nuda tenemus . „The former rose remains as Universität Frankfurt 32 Ms . A: owe gesæhe ich ez vnder cranz ; ms . E (which switches the fifth and the eighth line of this stanza): owe geschæhe ez under kranze . 33 Bernardus Moralensis, ed . Wright (1872), whose desire is reality and seeing and understand ing . At the end of Umberto Eco’s scholarly monastic detective story , genitive plural, which means in Middle High German ‘something of it’ . Now the verse could be understood as Il nome della rosa the narrating old monk is reasoning about time passing away, and for that he quotes a . ’ 33 Of Wather’s flower girl there remains not even a name, not ‘lady’, not ‘maiden’; there remains no love at the same time always is singing about singing . But life itself and love itself are no subjects noun, not even a pronoun, only a bare ‘s’ – maybe neuter . No gender, no sex . Or should one can come to terms with – not by singing and even less so by reading . Stephan Fuchs Jolie neuter . 32 And also the ‘s’ in the one of the manuscripts might be an ab breviation for es p . 37 . ; cf . Eco (1980) . stand this as ‘Oh, if only it happens which is covered by this flowery gar land of words’? Singing about Stephan Fuchs Jolie 50 certain . In two of the three manuscripts we find here ez , which means ‘it’, and the agility of the recording the object gets lost – lost for the gram mar and lost for those ‘The Name of the Rose’, of course here again a memory of love, remembering the narra tor’s ecstatic and dreamlike Latin Hexameter verse of the 12 th century – and this verse is the only hint to the mysterious title a name [or literally:] still stands upright as name / for us only bare names are remaining, only bare nouns ‘oh, if only I could see something of it’ or just: ‘see it under a garland’ . By the variants we at last read the variant of the manuscript E: owe, geschaehe ez under kranze ? And should we under |
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| . Milan, 1980 . Minnesang . Ed . by Helmut Brackert . Frankfurt, 1983 . Bernardus Moralensis, De contempti mundi Witt . Berlin, 1979 . . In: The Anglo Latin Satirical Poets and Epigrammatists of the Twelfth Century , vol . II . Ed . . Leipzig, 1864; ed . by Karl Bartsch . Leipzig, 3 1870 . Selected poems of Walther von der Vogelweide Problems of Topological and Visual Order 51 Cited Bibliography Edition of Texts: Deutsche Lyrik des frühen und hohen Mittelalters . . Trans . by Karl Simrock . 2 vols . Berlin, 1833 . Walther von der Vogelweide nebst Ulrich von by Thomas Wright . London, 1872 . Die Gedichte Walthers von der Vogelweide . Ed . by Karl Lachmann . 9 1930 . Walther von der Vogelweide, Leich, Lieder, Sangsprüche . Ed . by Karl Lach mann; Christoph Cormeau; Contr der Vogelweide, Werke . Ed . by Jörg Schaefer . Darmstadt, 1972 . Walther von der Vogelweide, Werke , Gesamtausgabe . Ed . by Margaret F . Richey . Ox ford, 1948, rev . ed . 1965 . Walther von Ed . by Ingrid Kasten . Frank furt, 1995 (Bibliothek des Mittelalters 3) . Umberto Eco, Il nome della rosa . Die Gedichte Walthers von der Vogelweide . Ed . by Hermann Paul . Halle, 1882; ed . by Hugo Singenberg und Leutold von Seven . Ed . by Wilhelm Wackernagel / Max Rieger . Gießen, 1862 . Walther von . by Thomas Bein / Horst Brunner . Berlin / New York, 14 1996 . Die Lieder Walthers von der . Walther von der Vogelweide . Frau Welt, ich hab von die getrunken . Gedichte . Trans . by Hubert der Vogelweide . Ed . by Wilhelm Wilmanns . Halle, 1869; ed . by Victor Michels . Halle, 4 1924 . Vol . II: Liedlyrik . Ed . by Günther Schweikle . Stuttgart, 1998 . Gedichte Walthers von der Vogelweide Kuhn . Tübingen, 9 1959; 10 1965 (ATB 1) . Walther von der Vogelweide . Ed . by Franz Pfeiffer Berlin, 1827 . Die Gedichte Walthers von der Vogelweide . Ed . by Karl Lachmann; Carl von Kraus . Berlin, Vogelweide . Ed . by Friedrich Maurer . 2 Vols . Tübingen, 1956; 4 1974 (ATB 43 u . 47) |
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| von der Vogelweide . Textkritik und Edition . Berlin, 1999 . Ingrid Bennewitz, vrouwe / maget . Überlegungen zur Interpretation . Munich, 1972 . Horst Brunner et al . (eds . ), Walther von der Vogelweide . Epoche – Werk . Stephan Fuchs Jolie, ungeheuer oben . Semantisierte Räume und Raummeta phorik im Minnesang In: Vera Johanterwage et al . Vogelweide . Stuttgart, 1989, pp . 253 267 . Karl Bertau, Deutsche Literatur im europäischen Mittelalter . Vol . I der sog . Mädchenlieder im Kontext von Walthers Minnesangkonzeption . In: Hans Dieter Mück (ed . ), Walther von der (1970), pp . 156 173 . Gerhard Hahn, Nemt, frowe, disen kranz . In: Günther Jungbluth (ed . ), Interpre (eds . ), Raumsymbolik im Mittelalter . Frankfurt/Bern (in press) . Gérard Genette, Métonymie chez Proust . In: Poétique 1 Arbeitsgemeinschaft für germanistische Edition in Graz . Tübingen, 1997, pp . 21 35 . Thomas Bein (ed . ), Walther als methodisches Problem . In: Bein (ed . ), 1999, pp . 63 73 . Hubert Heinen, Mutabilität im Minnesang 1989 . Thomas Cramer, Mouvance . In: Helmut Tervooren et al . (eds . ), Philologie als Textwissenschaft . Berlin, 1997 (ZfdPh 116, Sonderheft), pp . 150 181 . Thomas Cramer, Waz hilfet âne sinne kunst? Lyrik im 13 . Stephan Fuchs Jolie 52 Critical Literature: Thomas Bein, Der ‘offene Text’ . Überlegungen zu Theorie und Praxis . In: Anton Der Deutsch unterricht 19 (1967), pp . 51 64 . Jens Haustein, Walther von der Vogelweide: Autornähe und Überliefe rungsvarianz Fromm (ed . ), Der deutsche Minnesang . Aufsätze zu seiner Erforschung , 2 vols . Darmstadt, 1985 (WdF 608) Schwob et al . (eds . ), Quelle – Text – Edition . Ergebnisse der öster reichisch deutschen Fachtagung der . Mehrfach überlieferte Lieder des 12 . und frühen 13 . Jahrhunderts . Göppingen, 1989 . Jahrhundert . Studien zu ihrer Ästhetik . Berlin, 1998 . Jacques Derrida, De la Grammatologie . Paris, 1967 . Hans tationen mittelhochdeutscher Lyrik . Bad Homburg, 1969, pp . 205 226 . Kurt Herbert Halbach, Walthers ‘Kranz’ ‘Tanzlied’ . In: – Wirkung . Munich, 1996 . Bernard Cerquiglini, Éloge de la variante . Histoire critique de la philologie . Paris, |
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| Strophenfolge und ihre Gesetzmäßigkeiten im Minne lied Walthers von der Vogelweide , Königstein, 1981 . Wolfgang Mohr, Vortragsform und Form et al . , Walther von der Vogelweide und die Literaturtheorie . 10 Modellanalysen von ‚Nemt, frouwe, disen kranz’, Stuttgart ), Kulturen des Performativen , [= Paragrana 7/1] . Berlin, 1998, pp . 113 134 . Hans Günther Meyer, Die Lyrik . Tübingen, 1958, pp . 18ff . Gisela Kornrumpf, Walther von der Vogelweise . Die Überlieferung der *AC Tradition . Untersuchungen . Berlin/Leipzig, 1935 (Repr . Berlin, 1966) Herbert Kolb, Der Begriff der Minne und das Entstehen der höfischen (ed . ), Verstehen durch Vernunft (Festschrift Werner Hoffmann) . Vienna, 1997, pp . 145 158 . Roman Jacobson, Fudamentals . ], Walther von der Vogelweide . Hamburger Kolloquium . Stuttgart ,1989, pp . 127 146) . et al . (eds . ), Lied im deutschen Mittelalter . Tübingen, 1996, pp . 27 41 . Johannes Keller Lied . In: Keller et al . (eds . ), in press . Carl von Kraus, Walther von der Vogelweide Festschrift Ulrich Pretzel . Bonn, 1963, pp . 128 138) . Jan Dirk Müller, Die frouwe und die anderen . in der Großen und der Kleinen Heidelberger Lieder handschrift . In: Bein (ed . ), 1999, pp 153 175 . Mertens, Der Sänger und das Buch . Minnesang zwischen Perfor manz und Schriftlichkeit . In: Erika Fischer Lichte (ed . Beobachtungen zur Über lieferung einiger Lieder Walthers . In: Ute von Bloh et al . (eds . ), Minnesang und (in press) . Manfred Kern, Vom Versprechen, Vernehmen und Verschwinden einer unmöglichen Gabe: Dekonstruktion in und an Walthers Kranz Tanz of Language . The Hague/Paris, 1956 . Ingrid Kasten, Die Pastourelle im Gattungssystem der höfischen Lyrik . In: Cyril Edwards als Symbol . In: Fromm (ed . ), 1985, pp . 211 225 (firstly in Werner Simon, ed . , Problems of Topological and Visual Order 53 Joachim Heinzle, Mädchendämmerung . Zu Walther 39,11 und 74,20 . In: Burkhardt Krause Achim Masser, Zu den sogenannten Mädchenliedern Walthers . In: Wir kendes Wort 39 (1989), pp . 3 15 . Volker Literaturtheorie . Tübingen, 2001, pp . 81 105 (firstly in: J . D . M . et al . [eds |
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| 231 235 . Silvia Ranawake, Walthers Lieder der ‚herzeliebe’ und die höfische Min nedoktrin . In: Helmut Birkhan (ed . Munich, 1985 . Rüdiger Schnell, ‘Autor’ und ‘Werk’ im deutschen Mittelalter . Forschungskritik und Forschungsperspektiven . In: Joachim Heinzle, et Nemt, vrowe, disen kranz . In: Medium Aevum 34 (1965), pp . 189 202 . Paul Zumthor, La poésie et von der Vogelweide , ed . by, Stutt gart, 1989, pp . 207 220 . Heike Sievert, Studien zur Liebeslyrik In: Anzeiger für deutsches Al terthum 10 (1884), p . 310 . Gudrun Schleusener Eicholz, Das Auge im Mittelalter (2 51 [1957]) Rainer Warning, Pastourelle und Mädchenlied . In: Johannes Janota et al . (eds . ), Festschrift für Walter Haug und Burghart Wachinger . Vol . II . Tübin gen, 1992, pp . 709 723 . Rainer Warning, Interpretation, Walthers von der Vogelweide . Göppingen, 1990 . Karl Stackmann, Neue Philologie? In: Joachim Heinzle (ed . ), Modernes Mittelalter la voix dans la civilisation médiévale . Paris, 1984 . ), Minnesang in Österreich . Vienna, 1983, pp . 109 152 . Wilhelm Scherer, Rev . of Wilmanns (1869) . al . (eds . ), Neue Wege der Mittelalter Philologie (Wolfram Studien XV) . Berlin, 1998, pp . 12 73 Stephan Fuchs Jolie 54 Robert Petsch, Nemt frowe diesen kranz . In: Zeitschrift für deutsche Philologie 56 (1931), pp . . Frankfurt / Leipzig, 1994, pp . 398 427 . Ralf Henning Steinmetz, Varianz und Interpretation . Die vier Fassungen romani scher Lyrik . Von den Trobadors zum Surrealismus . Freiburg, 1997, pp . 9 43 Harold B . Willson, . Peter Wapnewski, Walthers Lied von der Traumliebe (74,20) und die deutschsprachige Pastourelle . In: P . W . , Analyse, Lektüre: Methodologische Erwä gungen zum Umgang mit lyrischen Texten . In: R . W . (ed . ), Lektüren Waz ist minne . Studien zur mittelhoc hdeutschen Lyrik . Munich, 2 1979, pp . 109 145 (firstly in Euphorion des minneprogrammatischen Walther Liedes 27 ( Bin ich dir unmaere ) . In: Euphorion 93 (1999), pp . 69 86 . Manfred Günther Scholz, Probleme der Strophenfolge in Walthers Dich tung . In: Hans Dieter Mück (ed . ), Walther vols) . Munich, 1985 . Rüdiger Schnell, Causa amoris . Liebeskonzeption und Liebesdarstellung in der mittelalterlichen Literatur . Bern / |
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