By Francis G. Gentry
During might be twenty-five years of inventive productiveness (ca. 1180-ca. 1205), Hartmann von Aue authored a dispute approximately love among the physique and the guts, Die Klage (ca. 1180-85), a variety of songs of courtly love, crusading songs, and probably took half in a campaign himself. He composed the 1st German Arthurian romance, Erec (ca. 1185-90), in keeping with Chr?tien's like-named paintings, and he -- it seems that -- ended his literary occupation with a moment, Iwein (completed ca. 1205). extra, he's the writer of 2 provocative religious-didactic works, Gregorius (ca. 1190--97), a story of double incest, repentance, and redemption, and Der arme Heinrich (also composed ca. 1190-97, yet after Gregorius, the account of a possible ideal nobleman who's with leprosy after which finally cured by way of a method set into movement via a really younger peasant woman, whom he finally marries. No different medieval German poet treats such a unprecedented breadth of issues with such artistry of expression. The essays during this quantity, written via students from North the US and Europe, supply perception into many points of Hartmann's oeuvre, together with the medieval and glossy visible and literary reception of his works. the amount additionally bargains issues of Hartmann and Chr?tien; Hartmann's putative theological heritage and the impact of the Bible on his stories; the mirrored image of his clinical wisdom in Der arme Heinrich and Iwein; and a whole survey of his lyric creation. more recent avenues of analysis also are provided, with essays on problems with gender and at the function of ache as a constitutive a part of the courtly adventure. it truly is was hoping that this quantity will turn out to be a stimulating better half not just for these conversant in Hartmann but additionally should you are only making the acquaintance of 1 of the best of medieval German poets.
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Additional resources for A Companion to the Works of Hartmann von Aue (Studies in German Literature Linguistics and Culture)
The singer seems to distance himself in the initial verses from singers who complain even when they have it good. By contrast, this singer says that he deals with his suffering by always hoping for the best. In the second strophe, the singer broaches the topic of staete, saying that constant ladies can only be won with the most constant service. His deficiency in this area once caused him to lose the favor of a lady who had given him some hope of success: “dô sî erkôs / mich staetelôs, / dô muose ouch diu gnâde ein ende hân” (when she saw I was inconstant, her favor toward me had to come to an end; MF 211, 40–42).
Brackert, Helmut. Afterword. Minnesang: Mittelhochdeutsche Texte mit Übertragung und Anmerkungen. : Fischer, 1991. Bumke, Joachim. Ministerialität und Ritterdichtung: Umrisse der Forschung. Munich: Beck, 1976. Cormeau, Christoph, and Wilhelm Störmer. Hartmann von Aue: Epoche — Werk — Wirkung. Munich: Beck, 1985. Elias, Norbert. Über den Prozeß der Zivilisation: Soziogenetische und psychogenetische Untersuchungen. 2 vols. Bern, 1969. Haferland, Harald. Hohe Minne: Zur Beschreibung der Minnekanzone.
It is clear that Hartmann’s lyrics manifest the basic features of the hôhe minne model as outlined in the first part of this chapter. Like other lyricists before and after him, Hartmann grapples with the contradictions and paradoxes of a conception of love that is based on service and reward and that is thus recognizably similar to the political relationship between lord and vassal. However, unlike the socio-political institution of vassalage, in which lôn (reward) can be counted upon for services rendered (at least in theory, if not always in practice), the hôhe minne model does not provide for the fulfillment of the promise of reward for loyal service.