Reinmar von Hagenau

Reinmar the old man, also Reinmar of Haguenau, German minstrel of the second half of the 12th century. His person is not documented, but are under his name in various songs manuscripts Minnelieder, Tagelied reflections, women's songs as well as the so-called " widow's lawsuit " delivered. Reinmar Minnelieder both content and form considered outstanding examples of high minnesong.

Life Reinmar of the Old

That is the old Reinmar not documented, it means that he, like most poets of the Middle High German heyday, probably did not belong to a social class, which was regarded as evidence capable in the conclusion to beurkundender contracts. Its existence is therefore attested only by entries in contemporary poets and in the headings in the collections of songs. His life so far is deducible, as Walther von der Vogelweide a zweistrophige, dirge 'on Reinmar wrote, in which he called his name ( Reimar ), but without nicknames or place names. Gottfried of Strasbourg called in his written before 1215 Tristan, Nightingale of Haguenau ' the greatest poet in his lifetime in German; but now, after his recent death, was " the nightingale von der Vogelweide ", so Walther, the largest. As most poets around 1200 Gottfried could describe none other than Reinmar; Doubt as to whether the " nightingale of Haguenau " actually Reinmar was meant therefore are not entitled. The parallel: "The Nightingale von der Vogelweide " = " Walther von der Vogelweide " requires the addition of "The Nightingale of Haguenau " for Reinmar to " Reinmar of Haguenau ." This passage of Tristan is believed to have originated around 1210; So Reinmar wore the origin of names, from Haguenau ' and died about 1205-1210. The nickname "Der Alte" He can, however, have only received long after his death, to distinguish it from the clean Maren of the 13th century. Therefore, many researchers prefer the names of the form " Reinmar of Haguenau " before.

Reinmar was most likely a professional singer because he is mentioned in many poets catalogs and manuscripts, and a large number of songs handed down under his name. As workplace Reinmar the Babenberg court under Leopold V is often called in Vienna, as a widow down in the mouth dirge is handed to a herre luitpold under Reinmar names that can be related to none other than Leopold V. The opinion, which proves that Reinmar was engaged in Vienna as a minstrel was provided by Schweikle in question, as in this song from the beginning of the summer is the speech and Leopold V New Year's Eve / New Year 1194/1195 passed away. From a poet laureate could expect a lawsuit, which was written closer in time to the death of his master; Schweikle thinks Reinmar was perhaps just passed a few months later in Vienna and had the "widow's lawsuit " written on that occasion. Other researchers can imagine that there only a few months later a large memorial service was as Leopold V was threatened at the time of his death from the excommunication and had to promise his heirs, to save Leopold's soul, cashed for the release of Richard the Lionheart is quite repay money. The "widow's lawsuit " has the gestures of official mourning poem; because people will assume it as probable that its author had closer contact with the Viennese court, as that there would have been at a random transients in order. Schweikle also question the fact that the so-called " feud " between Reimar and Walter von der Vogelweide is only conceivable when both long period of time would have worked side by side on the same farm. However, the two singers relate to each other in several songs; especially Walther wrote a polemical parody Reinmar and points out later in his obituary of Reinmar, with all appreciation of the art of the deceased, to serious personal differences. Several allusions Walthers are only understandable to the public when it has thus heard the question Reinmar - song in my ear recently. Because there are also songs in which Walther mourns his time at the court of Vienna, the research was long assumed that he was ousted from there by another. Time would come for only Reinmar in question, if it has really held up at the Viennese court. Such an assumption, however, is unnecessary; Walther itself as a reason for his change of service from Vienna to the Stauferhof the death of Duke Frederick I, it is quite enough that Walther was not hired by his successor, Leopold VI. ,. The relationship between Walther and Leopold was still not free of tension; so no need to give Reinmar the blame for the apparently involuntary loss Walthers from Vienna. Also a teacher -student relationship between the two was derived from the feud songs. Lens but one can only infer from this that both poets were familiar with the works of the others, based these machined and sharp in their songs polemical counter-positions. In addition, some awaken written by Walther in the style Reinmar songs for stylistic reasons to be under the impression youthful poems of Walther. Any further beyond theory about the personal relationship to each other, the singer is speculative.

From Godfrey: 'of Haguenau "concluded one that Reinmar come from Haguenau in the Alsace. Since it ' is more than one place called, Haguenau, this assumption is not backed up. But it shall continue as likely as Godfrey of its audience in Strasbourg ( only 30 km from Haguenau ) probably could not wait to know from a same place in Upper Austria. Also the French poetry, inspired theme and form of songs Reinmar would fit at a home near the French-German language border. The large presence Reinmar in the West German song manuscripts would also speak for a sphere Reinmar in Alsace. Even a taste of Babenbergerhofes in Vienna for französisierende culture would be quite possible ( the französisierende fashion was satirized in Vienna, however, a generation later, by the poet Tannhäuser ). A family membership Reinmar to Reichsministerialengeschlecht of Haguenau is rather unlikely. Reinmar would certainly historical evidence in this case, such as witness to charters. As refutes the thesis is true, Reinmar the old man was the father of Reinmar of Zweter been. The various formations legend to Reinmar person were favored by the absence of concrete historical evidence.

Tradition

Reinmar is in all three manuscripts, the Little Heidelberg Holy Spirit ( A), the Weingartner Holy Spirit ( B) and the Codex Manesseplatz (C ), represented. In Würzburg's Holy Spirit ( E) also exists another collection of Reinmar and Walther songs. Thus Reinmar counts next to Walther and Neidhart to the most traditional singers. There are 88 different sounds that carry Reinmar name. In A 19 songs with a total of 70 verses are narrated in B there are 115 verses, of which, however, only 28 Reinmar names, the remaining 87 have been handed down nameless. E features 30 songs with 141 verses, in C 64 songs with verses 262 for Reinmar were collected. There are also individual songs, so-called scattered traditions, in smaller manuscripts and fragments. However, there are also double -ups, so songs that are attributed in the manuscripts not only Reinmar, but also other singers. This makes the whole oeuvre Reinmar can not clearly distinguish.

Reinmar in research

The history of research on Reinmar the elderly is very strongly influenced by the question of the genuineness of his songs. This means that much has been discussed and which songs are assignable to him and which are not. Only 119 verses that have been handed down under his name, the authenticity in the course of the history of research was not doubted. This is only a quarter of all songs. The starting point for this discussion is primarily the nature of the tradition of medieval texts. These lie in handwritten form, were often written down and often collected by collectors who were not contemporaries of the singer. Testify different variations of the same songs in different manuscripts and double assignments. The authenticity of research has now been trying to develop methods by which one can unambiguously assign or deny concerned songs or just individual lines a singer. On the songs Reinmar these methods have been partially developed, in part, applied both to a greater extent. In the course of time developed in the research two types Reinmar images: a narrow and a broad. Both depend very much on what songs Reinmar be awarded and which are not, and also on how the manuscript tradition of the songs will be evaluated. The wide Reinmar - image is the younger of the two and has close not yet completely replaced. The Reinmar research starts at the beginning of the 19th century. The manuscripts are subject to errors; then it was optimistic this error, such as variations in the verse consequence to be able to identify and correct properly. In addition, they wanted to the life and work of medieval singers trace, so that the research was strongly influenced them to find biographical information about the individual singer. These biographies can be deduced from the content of their songs, in which you equated the 'I' of the, singer ', a literary figure, with the poet. With these assumptions and methods, the close - Reinmar picture was taken. First, it was coined by Ludwig Uhland, when he compared 1822 Reinmar with Walther and thus for the first time, albeit indirect, picture of Reinmar delivered. With the quote attributed to him, Reinmar was the " scholastics of unhappy love," it borders the lyric Reinmar a stylistically strong. In addition, he developed the thesis of the feud with Walther that arose out of a personal enmity of the two. Him following researchers such as Wilhelm Scherer, Erich Schmidt and Konrad Burdach painted a picture Reinmar as a colorless melancholy, whose work could not keep up compared to Walthers ' with this. The oeuvre Reinmar the Old was presented as a homogeneous, characterized by abstract monotony. All attributed to him in the manuscripts of songs that did not fit into this pattern were taken from him. Even the 20th century until the 60s marked by a profound Reinmar picture, greatly influenced by the work of Carl Kraus ' 1919. Kraus holds only 35 of the traditional under the name Reinmar songs for real. He also assumes that 31 of these songs belong to a form and content associated song cycle. Although at that time criticized this thesis was strengthened, as in the edition of "The minnesong Spring" from 1940 only have been reprinted by Kraus for 'real' songs, found under Reinmar name. The image of Reinmar as a personal enemy Walthers, an enmity which found expression in the so-called feud songs of both artists and the idea that Reinmar has sung exclusively of unrequited love in the abstract, shaped the research until 1966, when Friedrich Maurer Kraus ' theses doubted. He was, however, the cycle theory is not on, but merely extend the cycle adopted on 61 songs, which he ascribed Reinmar. Only Günther Schweikle demanded in 1969, the image Reinmar to edit from scratch. From this time there was within the Medieval Studies endeavors to trust the manuscripts more and to recognize that variations that occurred in these, also the medieval appearance situation could be owed. So now it was thought quite possible that it was in case of deviations, such as the verse order, also to actually sung versions of these songs. Moreover, the image of the medieval profession singer, who had to come into position also have a wide repertoire of songs changed. This was the idea of an artificial character, ran through a homogeneous work, strongly questioned and instead demanded to keep the singer in her work for highly variable. Thus, it was considered unlikely that Reinmar to have written only in a particular style. The thesis of the feud Reinmar with Walther was significantly decreased; completely denied it, however, can not be. The tendency is to look for a new Reinmar image that can be derived from the manuscripts and a versatile artist shows. In the current issue of "The minnesong Spring", this requirement has so far prevailed, as that now 60 songs were printed under the name " Reinmar the old man " and another 18 under the name "pseudo - Reinmar " what is to identify that these under Reinmar names are recorded, but have not yet been recognized by the research as works Reinmar.

Style

Reinmar the old man is one of the representatives of the high phase of minnesong. Formally, this phase is characterized by mehrstrophige songs in tunnel form with differentiated rhyme schemes, in which the pure rhyme is increasingly preferred. These features can be found throughout the plant Reinmar. Content is in a large number of songs Reinmar to Minnelieder. He is seen as a singer of evil, as thoughts poet, whose topic is not successful communication. Reinmar aestheticized pain and suffering rises to virtue. It is striking that the woman is often not described in detail and therefore more painful to the projection performances of the singer, the 'I' of the song is. Basis of this poetry is the tension in the Minne takes place: The man loves the purity of the beloved and wishes to fulfill his love. Would find this but instead, the woman would lose its purity. This aporia is led by Reinmar for artistic perfection. He gives as his highest Proud to be master of the " beautiful mourning "; the pain of the singer going to sublimes to a nice shape that brings joy to the audience. His work is the culmination of, if not the turning point of this form of Hohe Minne. Due to the wide variety of views on the size of Reinmar oeuvre shows over the course of the history of research no single author picture. Until very recently, you Reinmar held solely responsible for works that correspond to the image shown of the thoughts poet. Meanwhile, however, you dare him to a more multifaceted work. The him but knew songs are newly discussed. Especially when considering the traditional under his name verses in the Würzburg song manuscript shows that Reinmar was also trusted to thematize positive emotions in his songs, there are also songs with coarse language or natural motifs that were previously excluded in the research for Reinmar were. However, there are indications that Reinmar the old man had a very large and colored register to poetic means, he knew it to use.

An example: Reinmar so-called, Prize Song '

MF 165, 10: I Swaz NU niuwer Maere say. This song was so famous that Walther von der Vogelweide in his obituary of Reinmar the beginning of the third stanza ( Sô want you, WIP, as pure a nam ) quotes and adds that, even if Reinmar would have sealed just this one song, would all Women pray for his soul. The usual name today, Prize Song ' got it because of the admired even by his opponent Walther exuberant price of the women in the third stanza.

I Swaz NU niuwer Mære say the endarf ask me nieman: I FRO enbin niht. The friunt verdriuzet Miner suit. In one ze vil heard, is all the sô. Now I Han beidiu harm unde spot. Waz me suffering unverdienet, daz remember got, and âne trains geschiht! I close celled herzeliebe bî, Sône has to Miner joy nieman niht.

No one shall me now asking for news, for I am not happy. My friends weary of my complaint. So it goes with all things from which you can hear too much. Now I have the damage and ridicule at the same time. May God remember how much suffering my undeserved and blameless happens! If not let me be in my heart love, so I can let anyone be given joy.

The hôchgemuoten zîhent me I minne niht sô SERE when I gebâre, a WIP. Si liegent and unêrent to: si me what he gelîcher Maze sô the LIP. Never a confident sî is under the muot me. The ungenâden I Muoz, the unde si me Tuot, erbeiten when I mac. Mir has been eteswenne want: win but I nu Niemer guoten tac?

The high-spirited accuse me of I love a woman not as much as I pretend. They lie and do yourself so dishonor to. It was always worth the same as my life. Nevertheless, they never gave me offered consolation. This disgrace and what else they all doing this to me I have to endure, as best I can. There was a time when I was probably too Mute: but I will now ever experience a pleasant day again?

Sô want you, WIP, as a pure nam! As he gently but recognize z and call ze is! Ez never waiting niht sô lobesam, SWA Duz to rehte güete kêrest, you are. Deen lop with talking nieman volenden kan SWLS dû with triuwen pfligest want, which is a sælic you mac and vil like to live. Dû Gist al the welte high muot: MAHT ouch give me a wênic joy!

Blessed are you, woman, what a pure name '! How pleasant it is but sounds and pronounce! There was never anything so praiseworthy like you if you show yourself in the right quality. No one is eloquent enough to praise you sufficiently. If you are faithful to someone right, so is the happy and can live happily. You make all the world hochgemut: I too give a little pleasure!

Two dinc I HAN me vür escort, diu strîtent with thoughts in the hearts mîn: if I ir high wirdekeit with mines sake wanted Lazen minre sîn, Or if I wave daz daz they groezer sî and sî vil saelic WIP best mîn and all manne VRI. siu tuont both WE me: I Wirde ir vice Niemer VRO; VERGET siu me daz I accuse iemer mê.

Two things I have brought before me, the counterclaim arguing in my heart: Whether I give her high reputation was mitigated by my will, or wished it enlarged and, Happy, free from me and all ( other ) men is. Both options ache, and I would never more happy with their ( lady ) disgrace. on the other hand ( would forget? ) me - I complained more

Whether I nu Tuon and Han done daz I should LIABILITIES of rehte in ir sîn, and sî before all Han werlde, I waz mac of, sî vergizzet darunder mîn? Swer nu giht, daz i ze mock Künne complain Laze in both the mîn talk sing unde say <...> unde realize I wa he speak a word, EZN celled, ê I'z gespreche, bî hearts.