Hêre Frowe : Case, Number, And Rank In Walther Von Der Vogelweide’s ‘Lindenlied’ In Memory Of David R. McLintock
2004; Modern Humanities Research Association; Volume: 99; Issue: 1 Linguagem: Inglês
10.1353/mlr.2004.a827323
ISSN2222-4319
Autores Tópico(s)Linguistics and language evolution
ResumoHERE FROWE: CASE, NUMBER, AND RANK IN WALTHER VON DER VOGELWEIDE'S 'LINDENLIED' IN MEMORY OF DAVID R. McLINTOCK In his survey of approaches to Walther von der Vogelweide's most celebrated love-lyric, Manfred Gunter Scholz calls for a moratorium: 'Es gibt Gedichte, die eine Ruhepause verdient hatten, damit sie nicht tot interpretiert werden, "Wanderers Nachtlied" etwa oder dieses Lindenlied Walthers.'1 Scholz's con? cise survey of recent scholarship has the merit of refocusing attention upon the line of the lyric that has attracted most deliberation, not least because it proved central to the ill-fated 'wip-frowe-Diskussiori, the controversy concerning the 'Madchenlied' which had its base in the equation ofthe maget in Walther's lyrics with the puella in the Latin pastourelle. Summarizing the consensus on this debate, Scholz aptly adduces Ingrid Bennewitz's view 'daB der historische Ballast , der dieser Terminologie anhaftet, groBer ist als der tatsachliche Nutzen im philologischen Gebrauch\2 Nevertheless, there are some textual cruces which, far from meriting an embargo, seem philologically inexhaustible. Let us look at the crux in context: 4 Under der linden I an der heide, da unser zweier bette was, da mugent ir vinden schone beide 5 gebrochen bluomen unde gras. Vor dem walde in einem tal, tandaradei, schone sanc diu nahtegal. Ich kam gegangen 11 zuo der ouwe, do was min friedel komen e. da wart ich enpfangen, here frowe, 5 daz ich bin saelic iemer me. Kuster mich? wol tusentstunt, tandaradei, seht wie rot mir ist der munt. Do hat er gemachet III also riche von bluomen eine bettestat. des wirt noch gelachet innecliche, 5 kumt iemen an daz selbe pfat. 1 Walther vonder Vogelweide, SammlungMetzler,316 (Stuttgart:Metzler,1999),p. 124. 2 Scholz, p. 128; Ingrid Bennewitz,'"vrouwe/maget": Uberlegungenzur Interpretation der sogenanntenMadchenliederim Kontextvon WalthersMinnesang-Konzeption',in Walthervon der Vogelweide: Beitragezu LebenundWerk, ed. byHans-Dieter Miick, Kulturwissenschaftliche Bibliothek,1 (Stuttgart:St6ffler&Schiitz,1989), pp. 237-52 (p. 251). CYRIL EDWARDS 95 Bi den rosen er wol mac, tandaradei, merken, wa mirz houbet lac. Daz er bi mir laege, IV wessez iemen, nun welle got, so schamt ich mich. wes er mit mir pflaege, niemer niemen 5 bevinde daz, wan er und ich, Und ein kleinez vogellin, tandaradei, daz mac wol getriuwe sin.'3 The short, two-beat lines in Walther's lyric tend to enforce syntactical un? conventional ity, and perhaps this metrical constraint also applies to the most controversial line, here frowe (II, 5). Basing himself upon David McLintock's seminal article on the 'Madchenlieder', Joachim Heinzle summarizes the ap? proaches to here frowe systematically, finding five possible interpretations.4 They may be paraphrased as follows: (1) here frowe is an interjection, referring to the Virgin: 'Holy Lady!' Heinzle finds no parallel in Middle High German, but there is one in an anony? mous Old French pastourelle, in which the girl cries: 'par sainte Marie, | tenez vo main coie!'5 (2) here frowe is a vocative, the words addressed to the lady by the lover: 'There I was welcomed [with the words] "Noble Lady!", and so I shall be happy for ever!' Such flattery is common in the pastourelle, as for example when Guy d'Ussel's seducer calls the girl 'Toza de bon aire'.6 (3) here frowe is a predicative clause expressing a comparison, 'as a great lady'. As Carl von Kraus pointed out, a comparative particle such as (al)sam would normally be required to supplement the words.7 (4) here frowe is a predicative clause, expressing identity: 'There I was wel? comed as the noble lady that I am.' The circumstances ofthe tryst scarcely support this solution. (5) here frowe is in apposition to ich: 'There I, noble lady, was welcomed.' This is the solution favoured by McLintock, but it begs the question why the lady should feel it necessary to emphasize her rank at this point. 3 Texts are quoted fromWalther vonder Vogelweide: Leich,Lieder,Sangspriiche, 14threvision oftheeditionof Karl Lachmann,ed. byChristophCormeau (Berlinand New York:de Gruyter, 1996) (L. 39, 11). In III, 6, however,I replaceCormeau's finalcommawitha fullstop. 4 David McLintock, 'Walther'sMddchenlieder', OGS, 3 (1968), 30-43; JoachimHeinzle,'Madchendammerung :Zu Walther39, 11 und 74, 20', in...
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