Despite two centuries of intensive literary research on Gottfried′s `Tristan′, the poem has remained one of the most discussed and controversial works of medieval literature. The poem has seen many researchers struggle with interpretations and many of the questions researchers came up with in the past proved to be hardly answerable. Especially the prologue to Tristan has remained very difficult to decipher. What was Gottfried trying to convey, when he addressed his poem to the world of the `edelen herzen′ only? What was Gottfried′s idea of an ideal life? And finally, in what way does the conception of his poem coincide with Aristotle′s idea of catharsis? A closer look at the second part of the prologue (vv 45-244) and the literary discourse about it will hopefully throw some light on these questions, or, at least, provide the reader with some useful ideas about Gottfried′s famous love poem.
Indeed, to split the prologue into two parts, which (unfortunately?) was to be the starting point of my essay, is a very delicate matter. Considering formal aspects of the text, it seems justifiable to split the prologue into two parts as follows: a part one which consists of the first 44 lines written in four-line rhyming stanzas, and a part two which introduces a new pattern of rhymed couplets, beginning line 45. This way of splitting up the prologue has been the preferred one in the past, though some critics now regard it as out-dated and not very helpful.
Dietz1 believes that the prologue has to be seen as a whole and therefore tends to prefer Schöne′s2 suggestion to divide the prologue according to certain keywords, or, as he puts it `Hauptthemen′, which seem to represent the central idea of each of his suggested parts. The `Hauptthemen′ Schöne names are `guot′ (vv 1-40), `werlt′ (vv 41-76), `muoze′ (vv 77-96), `sene′ (vv 97-130), `liebe′ (vv 174-221) and `leben′ and `tot′ (vv 222-244). Schöne chooses these key words according to their frequency of occurrence in the text. In all cases the stated keyword is the word which appears most frequently in the respective part and therefore depicts the central idea of it. Schöne′s analysis of the prologue based on his suggested `Hauptthemen′ is an interesting approach to do justice to the complexity of the prologue. In some respect, however, his choice of the different `Hauptthemen′ may be questionable.
Table of Contents
1. Gottfried von Strassburg: Tristan
2. The Prologue, or, In Search of Gottfried’s ‘werlt’ of the ‘edele herze‘
3. By Martin Stepanek
Objectives and Themes
This essay examines the complex prologue of Gottfried von Strassburg's 'Tristan', specifically analyzing the author's intended audience, the concept of the 'edelen herzen' (noble hearts), and the thematic interplay between joy and sorrow. The research explores whether the prologue serves as a sincere philosophical statement or if it employs rhetorical strategies to frame the tragic narrative.
- The interpretation of Gottfried’s ‘werlt’ as a social and intellectual sphere.
- The evolving definition and scholarly discourse surrounding the term ‘edelez herze’.
- The relationship between joy and sorrow as a defining characteristic of noble love.
- A comparison between Gottfried’s poetic intentions and the Aristotelian notion of catharsis.
- The potential for ironic distance in the narrator’s address to the audience.
Excerpt from the Book
Gottfried introduced ‘werlt’ at the very beginning of the prologue, stating that it would be wrong if greatest respect was not paid to those who benefit the world:
1 Gedaehte mans ze guote niht, von dem der werlde guot geschiht, sô waere ez allez alse niht, swaz guotes in der werlde geschiht. 5 Der guote man swaz der in guot und niwan der werlt ze guote tuot, swer daz iht anders wan in guot vernemen will, der missetuot.
This rather general statement about him from whom the world benefits (v 2) probably points at Gottfried himself, who has written this poem with good intentions (‘in guot’, v 5). Peschel points out that the genitive –s in ‘mans’ (v 1) and the following dative ‘dem’ (v 2) could also mean God, either personified, or as summum bonum, ‘von dem der werlde guot geschiht’ (v 2). Regarding the following lines of the prologue, it seems very unlikely, though, that the first stanza actually points at God. In line 45 it then becomes clear that it is actually Gottfried, from whom the world benefits. In making the effort to produce something ‘der werlt ze liebe’ (v 46), namely writing his Tristan, Gottfried reveals himself as ‘der guote man’ of line 5, who ‘in guot und niwan der werlt ze guote tuot’ (vv 46-47).
So far, Gottfried has used ‘werlt’ in a very general, if not universal, sense of meaning. Beginning with line 47 we suddenly hear that Gottfried’s ‘werlt’ actually is not that universal, including the whole world, but that it is rather a very special ‘werlt’ of special people. The people of Gottfried’s ‘werlt’, the ‘werlt’ he is donating his poem to, are people who do not hesitate to face pain and sorrow. It even seems as if the people of Gottfried’s ‘werlt’ are not only ready to face pain and sorrow bravely but also experience certain joy in, or, through their suffering.
Summary of Chapters
1. Gottfried von Strassburg: Tristan: An introductory section establishing the significance and controversial nature of the poem in medieval literary research.
2. The Prologue, or, In Search of Gottfried’s ‘werlt’ of the ‘edele herze‘: This section investigates the division of the prologue and analyzes key thematic terms such as 'werlt', 'guot', and the social categorization of the audience.
3. By Martin Stepanek: A concluding analysis that links the tragic narrative to Aristotelian concepts of catharsis and reflects on the interplay of joy and sorrow.
Keywords
Gottfried von Strassburg, Tristan, Prologue, edele herze, medieval literature, werlt, catharsis, joy and sorrow, narrative analysis, courtly literature, literary discourse, medieval research
Frequently Asked Questions
What is the central focus of this academic work?
The work provides a critical analysis of the prologue to Gottfried von Strassburg's 'Tristan', focusing on how the author constructs a specific social sphere for his audience.
What are the primary thematic areas explored?
The essay explores the concepts of the 'noble heart' (edelez herze), the duality of joy and sorrow, and the author's intent in addressing his poem to a specific audience.
What is the primary research question?
The research seeks to decipher Gottfried’s intentions regarding his ideal audience and explores whether the poem’s tragic conception aligns with Aristotelian catharsis.
Which scientific methodology is employed?
The author uses a philological and literary discourse analysis, examining textual fragments alongside historical interpretations by scholars like Schöne, Sayce, and Kunzer.
What topics are covered in the main section of the essay?
The main section covers the division of the prologue, the shifting meanings of 'werlt', the debate over the social status of 'edelen herzen', and the relationship between tragic narrative and emotional response.
Which keywords best characterize the paper?
Key terms include Tristan, Gottfried von Strassburg, edele herze, werlt, medieval literature, and catharsis.
How does the author interpret the term 'edelez herze'?
The author discusses the ongoing debate over whether the term refers purely to social nobility or to a unique psychological and emotional capacity for enduring love and suffering.
In what way does the author relate the Tristan poem to Aristotle?
The author draws a parallel between Gottfried's goal of helping his audience navigate their own sorrows through his poem and Aristotle's theory of how tragedy facilitates an emotional purgation or catharsis.
- Quote paper
- Martin Stepanek (Author), 1999, Gottfried von Strassburg: Tristan - The Prologue or In Search of Gottfried's werlt of the edele herze, Munich, GRIN Verlag, https://www.grin.com/document/9616
