When the mother discusses love as a sweet torture, Lavinia expresses her hope never to be affected by it, a topos that later poets such as the Nibelungenlied author and Wolfram also integrated into their own works. At this point Lavinia still does not seem to understand. Ironically, soon thereafter the innocent and naive Lavinia catches sight of Eneas and immediately falls in love with him, hit by a metaphorical arrow shot by Lady Venus , 24— Eneas soon becomes aware of her as well, and similarly develops strong feelings of love for the princess.
The author has Lavinia reflect upon the nature of love at great length, developing an entire discourse on this emotion, as can also be found in Andreas Capellanus famous Art of Courtly Love ca. Not surprisingly, the next morning her mother immediately realizes what has happened to her daughter. In her frustration she threatens and abuses her badly until Lavinia faints. The more Amata tries to influence her daughter, the more Lavinia is determined to pursue her love for Eneas at all costs.
Lavinia, however, declares her unwavering love for Eneas and warns Amata of the shame she would bring upon herself if she killed herself. Heinrich succeeded in composing an innovative courtly romance based on classical mythology and Ovidian ideas of love. At the same time Eneit offers a global perspective on the history of Troy, Carthage, and finally Rome, which then leads to the birth of Christ and the salvation of mankind , 6— Hans Fromm.
The text will be quoted from this edition; all translations are by A. Hatto London: Penguin, John R. Translations of the lyrics are by A. Sonderheft: Neue Forschungen zur mittelhochdeutschen Sangspruchdichtung. Fisher, Heinrich von Veldeke: Eneas. Jackson Knight Baltimore: Penguin, Fisher, Heinrich von Veldeke, 9. Geburtstag, ed.
Thus he opens the communicative channels preparing peace and brotherly love between them. By contrast, the fight between Turnus and Eneas ends in the death of the former because he had robbed Pallas of his ring. Freisinger Kolloquium Berlin: E. Schmidt, , —; here — Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Hartmann von Aue. A miniature from the Codex Manesse v.
Hartmann is considered a pioneer, with Heinrich von Veldeke, in adapting medieval courtly narratives for a German public. He appears to have been concerned about balance, in both his poetic style and his understanding of human relationships. He was for those in need a refuge, a shield for his kinsfolk, in generosity an even balance. The style is particularly appropriate here because the rhythmic pattern lulls the hearer into a sense of enduring well-being, just as the hero himself appears to be convinced of his own self-sufficiency.
Hartmann shows a surprisingly modern attitude to the need for balance between the sexes, an attitude that he seems to uphold at times in opposition to contemporary practice. Of the eighteen songs attributed to him in manuscripts, two are of uncertain authorship 12 and Typical of this fashion are stanzas in which the performer plays the role of a male lover elated or frustrated at the experience of loving an aristocratic lady who is in the difficult position of not being able to respond publicly, because of the social conventions at court.
Any real or imagined positive response elicits joy, a failure to respond, or outright rejection, elicits self-doubt and lament hence the term Klagelied , but often also a determination to persevere in the face of adversity. Foremost among these is No. Apart from the fact the performer identifies himself by name a rare enough phenomenon in Minnesang , the song objectifies the whole elaborate ritual of paying court to ladies, in a manner that suggests the superficiality and brittleness of the convention.
Both forms of service could of course be seen in terms of feudal obligations, so that the resulting dilemma was one likely to appeal to a culture much given to theorizing and casuistry concerning the phenomenon of love. Hartmann appears in his three crusading songs to have nothing but scorn for those who prevaricate; for him the crusader had no choice but to fulfill his promise to God.
In this plea for spiritual commitment to crusading Hartmann thus highlights two crucial tenets of feudal relationships which the contemporary doctrine of love did not fully satisfy: the certainty of reward for service, and the idea of reciprocity between partners. Erec The romance Erec is considered the first example in German of a genre already popular in France, the courtly romance.
It survives in only one manuscript, datable to the early sixteenth century and already missing the opening verses and some sections later; in addition there are some earlier fragments surviving which partly fill the gaps. Since it deals with the exploits of a knight belonging to the circle of King Arthur, Erec is more specifically an Arthurian romance, a narrative in which Arthur appears, however much on the periphery, as the inspiration for all who aspire to chivalry.
Like most medieval poets he was obliged to reproduce the known plot, some basic elements of which his audience may well have heard already. They arrive at an opportune moment: Arthur has hunted down the white stag and now has to confer a kiss upon the most beautiful lady at court. Arthur kisses Enite, and the wedding of Erec and Enite and a tournament follow. Erec returns with his wife to his homeland, becomes king, but then experiences a crisis as he falls into disrepute when he neglects his knightly endeavors and duties, entirely absorbed as he is by love for his wife.
When he discovers the shame into which he has fallen, he takes his wife with him into the wilderness on a series of dangerous challenges that structurally form the second cycle of adventures in this romance. Enite, commanded by her husband to remain silent, repeatedly breaks this commandment at the risk of her own life. In the end, Erec has again proven his valor and reconstituted his honor, while Enite has demonstrated her great loyalty to her husband.
Psychologically, it seems as if the warrior-hero associates his fall from grace with the messenger, the wife who informs him of it, sees the beautiful woman as a problem, as it were, and responds by imposing silence and other hardships on her. Before analyzing events after this crisis it is worth looking briefly at the first third of the work which traces the process by which the hero makes a name for himself, as that process gives us an insight into the mind later shocked into total self-isolation.
During the combat with Iders, and then in the brilliant victories in tournaments, the crucial interplay between deeds of knighthood and love is apparent: the hero draws strength from his loving partner, whose support inspires him to win honor in combat. Precisely this interrelationship is upset in the subsequent crisis, when Erec loses honor and prestige because his love prevents him from testing his warrior qualities in combat. Certain features of the plot up to this point merit further comment.
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The subsequent loss of his reputation must appear all the more crushing to a young knight used to acclaim from all quarters, but it is significant that for once, he appears to feel no shame. Whether Erec is rational enough to impose these hardships as some sort of punishment, wrongly concluding that she is responsible for his disgrace, or whether he feels her sexuality is the source of his problem and needs to be suppressed — hence his insistence not only on her silence, but also on her keeping her distance from him by riding ahead while traveling and eating and sleeping apart — is not clear.
In defeating him Erec becomes the champion ordained by God to restore courtly joy, demonstrating the worth of the responsible knight in maintaining social harmony, a message Hartmann no doubt hoped would be taken to heart by the unrulier elements in his audience. He is found by fishermen and given to an abbey, where he becomes a brilliant pupil. On learning that he is a foundling, however, he persuades the abbot to let him seek his fortune as a knight. Of course the hero is again high-born, since the audience would expect nothing less, and Gregorius is also successful as a knight.
That his hero is an aristocrat who becomes a knight is, however, not incidental. When finally elevated to the papacy, Gregorius is thus in an ideal position to judge his fellow man, having experience of both the secular and the spiritual worlds. Given its clear theological message, it is surprising that Gregorius has given rise to widely different interpretations.
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Because contemporary practice would not have demanded such penance, some modern interpretations have argued that Gregorius must have contributed to his sinful state, for example by deciding to leave the safe confines of the abbey where his upbringing had prepared him for a spiritual career. The following points should be borne in mind: 1 If Gregorius is at fault in leaving the abbey, he nowhere acknowledges this fault, as he surely would do as a first step on the road to penance.
Nor, incidentally, does his mother acknowledge any of the mistakes sometimes imputed to her, such as inadequate penance for her earlier incest with her brother. He thus confirms what she herself believes: her previous penitent attitude had been the right one. He is superhuman particularly in his sensitivity to sin, which makes him also an exemplary pope.
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Moreover, the circumstances that provide Gregorius with the opportunity to become pope reflect poorly on the established Church: Rome is riven with strife between various claimants who seek the office for the wealth and prestige it offers — The hero is a knight of high birth and exceptional qualities whose world is destroyed when he contracts leprosy. He is told the only cure is the blood of a virgin who is willing to die for him.
Realizing the impossibility of finding such a girl, Heinrich is resigned to a humiliating and premature death, and after giving away his worldly possessions he retires to an estate. On the way back home he is miraculously cured; he is restored also to his former prestige, and in gratitude, marries the girl. The danger of despair, a central issue in Gregorius, is also touched on in this work. In the course of his confession Heinrich laments that his foolishness has destroyed his chance of spiritual salvation; God, the lofty gatekeeper of paradise has shut Heinrich out forever.pierreducalvet.ca/150337.php
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The metaphor of the gatekeeper occurs again , merged with the metaphor of cordis speculator, to underline the infinite compassion of Christ in seeing into and entering the hearts of any who demonstrate that same compassion. The nameless heroine who provides Heinrich with the opportunity to see things with fresh eyes is an interesting figure, particularly in a work written for an aristocratic public.
Since she is disdainful of all worldly values she has been seen as a saint-like figure and as a positive model for Heinrich, but this view overlooks the fact that the hero himself does not hear her tirade against the world, however miraculously mature and theologically sound her argument may be.
The plot follows a similar pattern to that of Erec, with a hero who initially accepts a challenge which had proved too much for a fellow Arthurian knight, Kalogrenant: Iwein defeats and kills Askalon in combat and thus establishes his reputation as a warrior of distinction. A crisis sees him deprived of both, and temporarily of his sanity as well, and there follows a chain of adventures that enables him gradually to rehabilitate himself.
Indeed, no less a figure than Gawein, the Arthurian knight generally regarded as the embodiment of chivalry, is responsible for persuading the newly married Iwein to avoid the perils of self-indulgence which had cost Erec his honor, by following him to the tournaments where he can continue to prove his warrior credentials, and it is ironically Gawein again who so encourages Iwein in his pursuit of chivalric honors that the latter forgets the promise he had made to his wife Laudine not to absent himself from her for more than a year.
The crisis thus raises questions about chivalry itself, and suggests that deeds of knighthood need to be balanced with an awareness of personal responsibility. Laudine sends her confidante Lunete to publicly rebuke Iwein and renounce him, whereupon he loses his sanity and all trappings of honor.
Various heroic acts of liberation culminate in a final scene in which he and his wife seek mutual forgiveness and are reconciled. There is an intricate interplay between actual deeds of chivalry on the one hand, and promises of help on the other.
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What Iwein must learn then, is how to manage his obligations, how to balance the calls on his chivalry in terms of timing, precisely the issue which had destroyed the trust between himself and his wife earlier. Hartmann was already considered by his near-contemporary Gottfried von Strassburg to be an example fit to be followed by the finest poets. Although his longer romances were not among those adapted by the great popularizer of medieval themes in the nineteenth century, Richard Wagner, his shorter works Gregorius and especially Heinrich proved very influential as inspiration for writers and dramatists from the Romantic period on, among them Gerhart Hauptmann, Ricarda Huch, Thomas Mann, and, most recently, Tankred Dorst.
Ursula Rautenberg Stuttgart: Reclam, ; Iwein, ed.