233:. They are perfect in form and thoroughly "courtly" in sentiment. Passion and natural feeling are repressed, maze, correctness and propriety reign supreme. General reflections are common, concrete images and situations few. When, however, Reinmar breaks through the bounds of convention and allows his heart to speak, as in the lament for the death of the duke, which is put into the mouth of the duchess herself, he shows lyric gifts of a high order. But this does not often happen, and most of Reinmar's poems show more elegance of form than beauty of sentiment. In a society, however, where form was valued more than contents, such poetry was bound to meet with favour.
17:
107:("sir") indicates a man of knightly status, but the nature and scope of the surviving Ĺ“vre indicate a professional singer reliant on patronage. Unlike Walther, who names many individuals, only one real person is mentioned in any of Reinmar songs: in the song "Si jehent der sumer der sĂ® hie"(MF 167,31, "They say summer is here"), Reinmar says "What use is a joyful time, since the lord of all joys, Luipolt, lies in the earth." This is taken to refer to
158:
is dated to around 1210 and
Reinmar's death, therefore, to the first decade of the 13th century. Walther von der Vogelweide composed an elegy for Reinmar: "One thing is for certain, Reinmar: I mourn you much more than you would mourn me if you were alive and I had died" (Lachmann 83,1; Cormeau 55,
170:
between the two singers. Whether any personal animosity was involved cannot be known (in the elegy, "I lament not you personally but the loss of your art"), but the wealth of often parodistic cross-references between the two repertoires shows that audiences were familiar with the work of both
130:
laments the death of the "nightingale of
Hagenau" as the foremost Minnesanger, and suggests this position now belongs to Walther. There is no Minnsänger other than Reinmar who could plausibly have been meant. Hagenau has been identified as the
241:
Reinmar's paramount status, second only to
Walther, in the century after his death is shown by his mention in Gottfried's literary excursus and his naming in the "Dichterkataloge" (lists of poets) in a number of other narrative works, such as
52:, a view widely shared by modern scholars. Although there are uncertainties as to which songs can be reliably attributed to him, a substantial body of his work — over 60 songs — survives. His presentation of
171:
singers. The point at issue in the feud was that
Walther rejected Reinmar's strict adherence to the classical idea of unrequited courtly love, insisting that true love must be mutual.
68:
Nothing is known of
Reinmar's life except what can be deduced from the manuscript evidence of songs recorded under his name and from remarks by contemporaries. In the Minnesang
594:. Geschichte der deutschen Literatur von den Anfängen bis zum Beginn der Neuzeit. Vol. II, Vom hohen zum späten Mittelalter. Part 1. Tübingen: Niemeyer.
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MS E (the WĂĽrzburg
Manuscript, c. 1345-1354) has 164 strophes (36 songs) under Reinmar's name with space for approximately 50 more strophes.
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741:
712:
599:
577:
305:
151:. Whether Hagenau was Reinmar's home or whether it was simply the court at which he first made his mark as a singer cannot be known.
377:
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Walther in A. Studien zum
Corpusprofil und zum Autorbild Walthers von der Vogelweide in der Kleinen Heidelberger Liederhandschrift
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This elegy and the many other links between the songs of
Reinmar and Walther have given rise to the notion of a
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111:, who died in the winter of 1194, dating this song's composition and the presence of Reinmar at the
147:. Gottfried's proximity to this Hagenau makes it unlikely that the place referred to is one of the
564:
Reinmars Women. A Study of the Woman's Song ('Frauenlied' and 'Frauenstrophe') of
Reinmar der Alte
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of the 15th century generally included
Reinmar as one of the "twelve old masters" of their craft.
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Reinmar. Lieder. Nach der Weingartner Liederhandschrift (B). Mittelhochdeutsch/Neuhochdeutsch
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199:, first quarter of the 14th Century) has 115 strophes (41 songs) under Reinmar's name.
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All the main Minnesang manuscripts have substantial collections of Reinmar's songs:
140:
53:
688:
557:
527:
Bleck, Reinhard (2014). "Reinmar der Alte, Lieder mit historischem Hintergrund".
159:
III) and this song has been dated to 1208/09, confirming the dating derived from
222:
144:
69:
112:
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48:. He was regarded by his contemporaries as the greatest Minnesänger before
685:(in German), vol. 21, Berlin: Duncker & Humblot, pp. 377–378
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In each of these manuscripts only Walther has more songs ascribed to him.
300:. Vol. I: Texts (38 ed.). Stuttgart: Hirzel. pp. 285–403.
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637:. Vol. 7. Berlin, New York: Walter De Gruyter. pp. 1180–1191.
548:
347:
German and Italian lyrics of the Middle Ages: an anthology and a history
296:
Moser, Hugo; Tervooren, Helmut, eds. (1988). "XXI: Reinmar der Alte".
540:
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of the late twelfth century who composed and performed love-songs in
703:. Berkeley, Los Angeles, London: University of California. pp.
369:
Essays on Mediaeval German Poetry with Translations in English Verse
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633:(1989). "Reinmar der Alte". In Ruh K; Keil G; Schröder W (eds.).
143:
dynasty in the twelfth century and which lies some 20 miles from
275:
Lachmann, Karl; Haupt, Moritz; Vogt, Friedrich, eds. (1888).
192:, 1270-1280) has 70 strophes (19 songs) under Reinmar's name.
92:, which serves to distinguish him from later singers such as
372:(2 ed.). New York: Barnes & Noble. pp. 62–72.
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Die deutsche Literatur des Mittelalters. Verfasserlexikon
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MS C (the GroĂźe Heidelberger Liederhandschrift, the
60:for a lady is "the essence of classical Minesang".
362:(Introductory essay, parallel text for four songs.)
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384:(Introductory essay and six songs in translation.)
339:Little of Reinmar's work is available in English.
149:many places called Hagenau in Bavaria and Austria
415:
283:(4 ed.). Leipzig: Hirzel. pp. 150–204
699:. In Akehurst, F.R.P; David, Judith M (eds.).
654:"War Reinmar 'Von Hagenau' Hofsänger zu Wien?"
8:
366:Richey, M F (1969). "Reinmar von Hagenau".
350:. Garden City, NY: Anchor. pp. 71–95.
225:influence that had been predominant since
72:he is referred to simply by his forename,
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660:. Stuttgart: Metzler. pp. 182–215.
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344:Goldin, Frederick (1973). "Reinmar".
190:Kleine Heidelberger Liederhandschrift
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695:Van D'Elden, Stephanie Cain (1995).
592:Die höfische Literatur der Blütezeit
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615:. Frankfurt am Main: Peter Lang.
558:"Reinmar's Homeland: The Problem"
315:Schweikle, GĂĽnther, ed. (1986).
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762:13th-century German composers
757:12th-century German composers
701:A Handbook of the Troubadours
652:Schweikle, GĂĽnther (1994) .
556:Jackson, William E. (1981).
56:as the unrequited love of a
609:Schuchert, Carolin (2010).
568:. John Benjamins. pp.
20:Reinmar der Alte, from the
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677:"Reinmar (Reimar der Alte"
675:Tervooren, Helmut (2003),
221:Reinmar's lyrics show the
122:In his literary excursus (
109:Leopold V, Duke of Austria
50:Walther von der Vogelweide
747:13th-century German poets
742:12th-century German poets
96:, Reinmar der Fiedler or
682:Neue Deutsche Biographie
658:Minnesang in neuer Sicht
128:Gottfried von Strassburg
298:Des Minnesangs FrĂĽhling
281:Des Minnesangs FrĂĽhling
244:Heinrich von dem TĂĽrlin
119:to the summer of 1195.
94:Reinmar von Brennenberg
737:Alsatian-German people
689:.html full text online
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248:Der Aventiure CrĂ´ne
30:Reinmar von Hagenau
697:"The Minnesingers"
631:Schweikle, GĂĽnther
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258:(c.1300).
256:Der Renner
195:MS B (the
188:MS A (the
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84:). In the
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115:court in
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590:(1999).
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217:Themes
117:Vienna
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82:Reymar
78:Reimar
76:(also
58:knight
32:(also
545:JSTOR
389:Notes
175:Works
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289:2019
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
