Lili - Heft 114
Thema: Traurige Helden
Herausgeber dieses Heftes:Wolfgang Haubrichs
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Inhalt
Tomas Tomasek
Überlegungen zum truren im Tristan Gottfrieds von
Straßburg
Reflections on truren in Gottfried's of Straßburg Tristan
Klaus Ridder
Parzivals schmerzliche Erinnerung - Parzival's Sad Remenbrance
W. Günther Rohr
Willehalms maßlose Trauer - Willehalm's Boundless Grief
Andreas Kraß
Achill und Patroclus. Freundschaft und Tod in den Trojaromanen Benoits
de Sainte-Maure, Herborts von Fritzlar und Konrads von Würzburg
Achill and Patroclus. Friendship and Death in the Trojan Novels of
Benoit de Sainte-Maure, Herbort of Fritzlar and Konrad of Würzburg
Jürgen Schulz-Grobert
Ulenspiegel und seine traurigen Brüder. Prototypische Figurenprofile
bei Äsop und Niemand
Ulenspiegel and his Sad Brothers. Prototypical Characters in Äsop
and Niemand
Maria E. Brunner
»Weder einen Platz noch eine Feuerstelle haben«: Traurige Helden in
der Migrationsliteratur von Franco Biondi
»Wether to have a site nor a fireplace» - Mourning Heroes of the Migrationsliterature
of Franco Biondi
Labor
Holger Falk-Trübenbach
Strukturelle Beziehungen in den »Hymnen an die Nacht«
Mark Schweda
Uwe Johnsons Jahrestage und Ingeborg Bachmanns Todesarten
- Eine Zusammenschau.
Markus Stock
Die unmögliche Empörung des Sängers.
Zu Heinrichs von Morungen »ich wil ein reise« und
Burkharts von Hohenfels
»Mich müet daz so manger sprichet«
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Summaries
This essay argues that truren in Gottfried's Tristan does not solely
represent a feeling of deep sadness, but that there are different ways
of truren ranging from solitary melancholy (Marke) to a disinterested minnetruren
(Isolde). Gottfried's truren-concept also gives some indications of the
way his work was supposed to be received by his mediaeval audience.
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Parzival’s grief is a response to his unfulfilled love for Condwiramurs
and to his failure at the Grail Castle. Wolfram depicts this loss as an
experience of sorrowful memory which determines the hero’s way throughout
the romance. It is only after the transcendental experience, only after
he has become Grail King, that he succeeds in overcoming his sorrow. The
hero’s remembrance, the structure of memory and the finale scene, in which
what was thought to be lost is reintegrated into the narrative present,
point to the poetics of remembrance and forgetting which is central to
the romance.
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After the victory of the Christians on the Field of Alischanz Willehalm
mourns Rennewart, who is missing. His grief is beyond all bounds because
he fears that Rennewart is damned and that with Rennewart all hope of a
peaceful future is lost. Rennewart was especially predestined to initiate
such a future 1) because he had Vivianz' klârheit, without however
being his ideal embodiment, 2) because he had Anfortas' divine gift of
klârheit, which however could only have born fruit after his baptism,
3) because he took on Willehalm's belligerent attitude but was at the same
time inspired by klârheit as a promise of a better future. Although
Rennewart, who embodied hope for the future, fought on the side of the
Christians, there remain in the end only grief and the continuation of
the bloody battles.
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Vernacular medieval novels about the Trojan War present the relationship
between Achill and Patroclus as an example of a particular concept of knightly
friendship (Ch. 1). Like Aelred de Rievaulx in his book on spiritual friendship
(Ch. 2), the authors employ the discursive license of grief to offer a
mystically founded definition of male friendship and love. Lamenting over
his dead friend Achill confesses: »I was you and you were me» (Ch. 4).
While both Benoît and Herbort depict Achill and Patroclus only as
›brothers in arms‹, Konrad emphasizes the exclusiveness of their lifetime
bond by adding the story of their shared youth (Ch. 3). The definition
of friendship as a personal union between two men implies a subversive
potential to which these novels respond. This potential lies in the precarious
affinity to male homosexuality (Ch. 5) and in the rivalry to heterosexual
love (Ch. 6).
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Not only the heroes of the late medieval genre Schwankroman such as
Stricker's ›Pfaffe Amis‹ or Philipp Frankfurter's ›Pfarrer vom Kalenberg‹,
but also sad heroes like the an-cient slave and fabulist Äsop belong
to the group of early prototypes of the ›Eulenspiegel‹-character. This
shows a comparison of an Early New High German prose Äsop-Vita by
Heinrich Steinhöwel (1476/77) with the Strasbourg ›Eulen-spiegelbuch‹
(1515). In this context one has to ask the question about their roles in
the early history of the gen-re Schelmenroman.
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