WALTHER VON DER VOGELWEIDE

Walther von der Vogelweide: translation

(ca. 1175–ca. 1230)

Both contemporaries and posterity have always recognized Walther von der Vogelweide as the most influential Middle High German poet of erotic, political, and religious songs. Although many towns in Austria and Germany today claim to be Walther’s birthplace, no definite information about his biography is available.We know, however, that he was active as a GOLIARD (wandering poet/singer dependent on generous patrons) sometime between 1190 and 1230, and that he seems to have originated in Austria. In his song L. 32, 14, he confirms that he learned the art of poetry from the famous REINMAR DER ALTE at a court in Austria, undoubtedly Vienna. The 14th-century notary Michael de Leone claimed that Walther died in his city of Würzburg, but even this is uncertain despite a modern tomb erected in his honor behind the Würzburg cathedral. Two important manuscripts, theManessische Liederhandschrift(C) and theWeingartner Liederhandschrift(B), identify Walther by the German titleher(lord), which suggests that he might have been of lower nobility, but his poetic complaints about poverty and social misery speak a different language. In 1220, Emperor Frederick II gave him a small estate which he hailed jubilantly because it would keep the frost away from his toes (L. 28, 31). Walther is the first medieval German poet also to address political events and to reflect upon their consequences for his own life. He often spent time at the various royal courts in Germany and clearly took sides in the political struggles on the highest level, which also included heavy criticism of the pope and the church.We know that Walther stood in the service of Bishop Wolfger of Erla, the later patriarch of Aquileia, who gave him five shillings to buy a fur coat in 1203, the only concrete reference in any historical document confirming the biographical dates both of Walther and many of his contemporaries who refer to him. He also seems to have served as a political emissary for highranking lords.Walther’s particular praise of his various patrons extends to the Hohenstaufen kings Philipp and Frederick II, the Thuringian margrave Hermann, and Duke Leopold VI of Austria.Walther is particularly famous for his innovative COURTLY LOVE poetry in which he clearly projects fulfilled love relationships, such as in his bestknown “Under der linden” (L. 39, 1).Moreover he critically discusses the traditional value of unrequited love and rejects the poems of his predecessors for their artificial projection of love pain. In “Herzeliebez frowelîn” (L. 49, 5) Walther skillfully contrasts the glass ring on the hand of his beloved, who has obviously accepted his wooing, with the golden ring on the hand of a distant queen, who would not even pay attention to his words of love. Walther also raises the significant question of what the meaning of courtly love (minne) might be and insists that love should lead to happiness (L. 69, 1). In a political song he sings a praise of Germany (L. 56, 14), then he criticizes the widespread decline of courtly culture (L. 65, 31), and positions himself as courtly love poet in the center of all cultural activity (L. 72, 31). Surprisingly Walther also addresses the question of how to educate children properly (L. 87, 1), reflects upon the problems with old age (L. 124, 1), and ruminates about fundamental ethical and political questions (L. 8, 4).

Considering the enormous appeal exerted by Walther, the innovative nature of his poetry, and the boldness with which he dealt with many hotly disputed issues of his time, there is little surprise that his songs have been preserved in 36 manuscripts that were created all over the Germanspeaking lands.

■ Walther von der Vogelweide.Leich, Lieder, Sangsprüche. Edited by Christoph Cormeau. 14th rev. ed. Berlin: de Gruyter, 1996.

■ Zeydel, Edwin H., and Bayard Quincy Morgan, trans.Walther von der Vogelweide: The Poems. Ithaca, N.Y.: Thrift, 1952.