Christian Allegory in Hartmann's Iwein
1973; Routledge; Volume: 48; Issue: 4 Linguagem: Inglês
10.1080/19306962.1973.11755004
ISSN1930-6962
Autores Tópico(s)Linguistics and language evolution
ResumoClick to increase image sizeClick to decrease image size NotesE. Vinaver, The Rise of Romance (Oxford, 1971), p. 18.Hugh of St. Victor, De scripturis et scriptoribus sacris, cap. 3. Migne, Pat. Lat., CLXXV, col., 11.All these definitions ibid. Hugh presents much the same material in his better-known work Didascalicon, lib. 5, cap. 2, trans. J. Taylor (New York, 1961), p. 120. There the term anagoge is replaced by tropologia, and its allegorical nature is not made clear.Ibid., but not in Didascalicon.Ibid., cap. 4. Also (almost verbatim) in Didascalicon, lib. 5, cap. 2.E.g. D. W. Robertson Jr., A preface to Chaucer: studies in medieval perspectives (Princeton, 1963), p. 287.K. Ruh, “Zur Interpretation von Hartmanns Iwein,” Philologie Deutsch: Festschrift W. Heuzert (Bern, 1965), p. 41.In particular, “Love and Charity in Hartmann's Iwein,” Modern Language Review, LVII (1962), 218–227, and “Kalogreant's Curiosity in Hartmann's Iwein,” German Life and Letters, XXI (1968), 287–296.W. Ohly, Die heilsgeschichtliche Struktur der Epen Hartmanns von Aue, Diss. (Berlin, 1958).Cf. M. Wehrli, “Iweins Erwachen,” Formen mittelalterlicher Erzählung: Aufsätze (Zürich. 1969), pp. 177–193.“Kalogreant's Curiosity,” p. 289f.Ed. W. Foerster (1912), 1. 280.Cf. T. Cramer, “Saelde und êre in Hartmanns Iwein,” Euphorion, LX (1966), p. 35.E.g. Alan of Lille, The Complaint of Nature (“De planctu naturae”), trans. D. M. Moffat, Yale Studies in English, XXXVI (New York, 1908).H. B. Willson, “Inordinatio in the marriage of the hero in Hartmann's Iwein,” Modern Philology (1971), p. 242.P. Wapnewski, Hartmann von Aue (Stuttgart, 1967), p. 64.Cf. the reply of the waltman, who, as Unfallen Man, knows nothing of Good and Evil, to Kalogreant's question “bistu übel oder guot?” (v. 483). He can only answer that, like all such purely natural creatures, he is innocent, i.e., inoffensive unless offended against. But Kalogreant then commits precisely such an offense at the fountain.“Love and Charity… ,” p. 219. Cf. also A. T. Hatto, “Der aventiure meine’ in Hartmann's Iwein,” Medieval Studies presented to F. Norman (London, 1965), p. 97.Cramer, op. cit. (above, note 13), p. 39.Op cit., p. 97.Op. cit. (above, note 10), p. 179.I quote from the recent translation by P. M. Matarasso (Harmondsworth, 1969), p. 115. The original text was unfortunately inaccessible to me.The cruciform sword of a knight is frequently explained symbolically in a crusading context, and it is of course on Iwein's sword that the lion intends (Roman-style) to run. However Hartmann in fact includes nothing to draw attention to the symbolic possibilities of this.cf. Hatto, op. cit., p. 98.Cf. H. B. Willson, “Symbol and reality in Der arme Heinrich,” Modern Language Review, LIII (1958), p. 529.Cf. even Willson, “Love and Charity ... ,” p. 216.Op. cit. (above, note 7). p. 40.
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