Unfortunately, today we do not know much about the lecture situation and the meaning with the identical real author. Elisabeth Lienert, however, creates by approaching the author through her internal singing role. Because: ‘Methodisch sind autopoetische Aussagen des Sängers [...] Kunstaussagen auf der Ebene der liedinternen Rollen, [die] nicht mit Autoraussagen gleichzusetzen [sind]‘ (Lienert 115). Lienert argues that there are no direct author statements in Minnesang, but rather that one could speak of the author aspect of the singer role (Lienert 116). In their opinion, author and lecturer coincide in the singer-ego, unless the motif of the song is the lecture to a lover by a messenger or the courted lady herself reads the message conveyed to her. Lienert takes the view that the author usually disappears behind the performer, leaving traces at best in so-called 'author-specific characteristics' resulting from the characterization and design of the singer roles (Lienert 118). Therefore, it is now necessary to discover the roles through which Walther lets his ‘lyrisches Ich’ speak. There are roughly two types of roles. On the one hand, the role of the ‘Minnenden‘, the advertising I, and on the other hand, the role of the Singing I, for the one thing in relation to the service to the lady and on the other hand, in relation to the service to society. Moreover, both roles can also be related to each other.
Table of Contents
1. Walther von der Vogelweide's Reflective Lyrics
1.1 Theoretical Approaches to the Singer-Ego
1.2 Analysis of Gender-Specific Roles
1.2.1 The Case of Under der linden
1.3 Subjectivity and the Poetic Meta-Level
1.4 Staging the Authorial Role
Objectives and Topics
This text explores the complex interplay between the author, the fictional "lyrical I" (lyrisches Ich), and the performer within the Middle High German Minnesang tradition of Walther von der Vogelweide, examining how these roles are constructed and blurred to shape audience reception.
- Construction of the "lyrical I" as a non-objective, role-playing persona.
- Analysis of gender-specific perspective shifts in songs like "Under der linden".
- The relationship between poetic fiction and the historical author figure.
- The communicative function of deictic references in medieval courtly lyric.
Excerpt from the Book
Under der linden, also shows that the ‘lyrisches Ich’ in the Minnesang of Walthers' can take on gender-specific roles as well as play with the two poles, even bringing them together for an exchange. The ‘lyrisches Ich’ is committed to both male and female speaker roles. In addition to the gender-specific distribution of roles, Walthers' minnesongs also plays with roles, for example in connection with the author's role. This means that the ‘lyrisches Ich’ is confronted with a fictitious, normative author.
Hoerâ Walther, wie ez mir stât, mîn trûtgeselle von der Vogelweide. Helfe duoche ich unde rât. (Walther in Schweikle 68)
His love does not seem to be reciprocated in the desired way, so he turns to 'Walther', his trûtgesellen, his journey friend. He approaches him '[a]ls Künstler [...] und als Minnexperte, vom dem helfe und rât [...] erwartet werden [kann]' (Lienert 126). According to Elisabeth Lienert, an attempt is made here to bring together the 'normative author role and [the] real author - designated by name' (Lienert 129). However, and this must be emphasized, Lienert does not assume the congruence of the named Walther as a normative author with Walther von der Vogelweide, the really existing poet. Rather, she advocates the thesis that the reality of the author becomes a song immanent role. Walther von der Vogelweide thus integrates himself as an author into the poem that reflects the advertising minstrel in his need for advice. In this poem, the ‘lyrisches Ich’ takes on the role of the author in konkreta, the advice is sought from the author in abstracta, in this case from Walther von der Vogelweide, who is declared a friend of the person seeking advice and is not to be equated with Walther, the real poet.
Summary of Chapters
1. Walther von der Vogelweide's Reflective Lyrics: This chapter introduces the core problem of distinguishing the historical poet from the lyrical persona in medieval German song.
1.1 Theoretical Approaches to the Singer-Ego: This section utilizes research by Elisabeth Lienert to argue that the author disappears behind the performed singer-ego.
1.2 Analysis of Gender-Specific Roles: This section examines how the singer-ego adopts various roles, including female perspectives, to express emotional conflict.
1.2.1 The Case of Under der linden: This sub-chapter focuses on specific textual examples where the female perspective is utilized to challenge courtly love ideals.
1.3 Subjectivity and the Poetic Meta-Level: This section discusses how the "lyrical I" functions as a communicative device rather than a direct representation of the poet's life.
1.4 Staging the Authorial Role: This chapter analyzes how Walther consciously integrates his own name into his work to create a fictionalized, normative author-figure.
Keywords
Walther von der Vogelweide, Minnesang, Lyrisches Ich, Middle High German, Medieval Literature, Singer-Ego, Author Role, Under der linden, Gender Roles, Courtly Love, Poetic Subjectivity, Deictic expressions, Literary Fiction.
Frequently Asked Questions
What is the primary subject of this work?
The work investigates the complex relationship between the historical poet Walther von der Vogelweide and the "lyrical I" (lyrisches Ich) presented in his songs.
What are the central themes discussed?
The text focuses on role-playing within Minnesang, the fluidity of gender perspectives, and the blurring of boundaries between poetic fiction and the author's real identity.
What is the main research question?
The study asks how Walther von der Vogelweide manages to stage his art and authorial persona through the use of fictional, shifting speaker roles rather than direct autobiographical expression.
Which scientific methodology is applied?
The analysis is based on literary criticism and philological interpretation of the Middle High German source texts, referencing modern scholarly perspectives like those of Elisabeth Lienert.
What is addressed in the main part?
The main part covers the deconstruction of the singer-ego, specific case studies of gender shifts in poems like "Under der linden," and the meta-level function of authorial references.
Which keywords characterize the work?
Key terms include Minnesang, Lyrisches Ich, Walther von der Vogelweide, Courtly Love, Poetic Subjectivity, and Authorial Role.
How does the author treat the role of the woman in "Under der linden"?
The author argues that the female persona is a poetic construct that serves to emphasize the subjectivity of the experience while simultaneously breaking away from rigid courtly love ideals.
Does the text equate the historical Walther with the "Walther" mentioned in the poems?
No, the text explicitly warns against equating the real poet with the normative, fictitious author-figure integrated into the lyrics as a "journey friend" or advisor.
- Quote paper
- Anonym (Author), 2019, Walther von der Vogelweide. Walthers Minnesang als reflektierende Lyrik, Munich, GRIN Verlag, https://www.grin.com/document/535552
