GGeeoorrggiiaa SSttaattee UUnniivveerrssiittyy SScchhoollaarrWWoorrkkss @@ GGeeoorrggiiaa SSttaattee UUnniivveerrssiittyy World Languages and Cultures Theses Department of World Languages and Cultures 7-17-2009 CCoonndduuiirree AAmmoouurr:: LLiieebbee DDeerr FFrraauu AAllss SScchhllüüsssseell ZZuumm HHeeiill UUnndd BBrrüüddeerrlliicchheenn FFrriieeddeenn iinn WWoollffrraamm VVoonn EEsscchheennbbaacchhss PPaarrzziivvaall Eleanor Kinser Hall Follow this and additional works at: https://scholarworks.gsu.edu/mcl_theses Part of the Other Languages, Societies, and Cultures Commons RReeccoommmmeennddeedd CCiittaattiioonn Hall, Eleanor Kinser, "Conduire Amour: Liebe Der Frau Als Schlüssel Zum Heil Und Brüderlichen Frieden in Wolfram Von Eschenbachs Parzival." Thesis, Georgia State University, 2009. doi: https://doi.org/10.57709/1061415 This Thesis is brought to you for free and open access by the Department of World Languages and Cultures at ScholarWorks @ Georgia State University. It has been accepted for inclusion in World Languages and Cultures Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONDUIRE AMOUR: LIEBE DER FRAU ALS SCHLÜSSEL ZUM HEIL UND BRÜDERLICHEN FRIEDEN IN WOLFRAM VON ESCHENBACHS PARZIVAL By ELEANOR KINSER HALL Under the Direction of Dr. Stephen Mark Carey ABSTRACT This paper examines Wolfram von Eschenbach’s juxtaposition of contrary things in Parzival as the beginning of the road to spiritual salvation for Parzival. Men’s quest for fame and honor in the material, Arthurian world is compared to the divine Grail kingdom and the godlike women who shed compassionate, Christ-like tears. Wolfram’s message of peace and love for brother is examined through his use of symbolism, particularly through womens’ tears and turtledove imagery. Parzival, Gâwân and Feirefiz are compared in order to show that the love and quest for personal honor in the Arthurian world is a necessary step on the path to God’s divine love and salvation. Compassion and love for one’s neighbor must be learned before Parzival attains his destiny. How marriage teaches Parzival triuwe and how he demonstrates this characteristic are examined. Romantic love, emulation of women and divine love lead Parzival to his destiny. INDEX WORDS: Wolfram, Crying, Turtledove, Peace, Muslim-christian brotherhood, Crusades, Chivalry, Song of songs, Christ, Salvation, Grail, Holy grail, Knights templar, Templeise, Jerusalem, Destiny, Honor, Love, Triuwe CONDUIRE AMOUR: LIEBE DER FRAU ALS SCHLÜSSEL ZUM HEIL UND BRÜDERLICHEN FRIEDEN IN WOLFRAM VON ESCHENBACHS PARZIVAL By ELEANOR KINSER HALL A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the College of Arts and Sciences Georgia State University 2009 Copyright by Eleanor Kinser Hall 2009 CONDUIRE AMOUR: LIEBE DER FRAU ALS SCHLÜSSEL ZUM HEIL UND BRÜDERLICHEN FRIEDEN IN WOLFRAM VON ESCHENBACHS PARZIVAL By ELEANOR KINSER HALL Committee Chair: Dr. Stephen Mark Carey Committee: Dr. Robin Young Huff Electronic Version Approved: June 30, 2009 Office of Graduate Studies College of Arts and Sciences Georgia State University August 2009 iv To Mom, Dad, and Emily and all the jerks out there who made me cry. Under der linden an der heide, dâ unser zweier bette was, dâ mugent ir vinden schône beide gebrochen bluomen unde gras. Vor dem walde in einem tal, tandaradei, schône sanc diu nahtegal. Ich kam gegangen zuo der ouwe, dô was mîn friedel komen ê. dâ wart ich enpfangen, hêre frowe, daz ich bin sælic iemer mê. Kuster mich? wol tûsentstunt, tandaradei, seht, wie rôt mir ist der munt. Dô hât er gemachet alsô rîche von bluomen eine bettestat. des wirt noch gelachet inneclîche, kumt iemen an daz selbe pfat, Bî den rôsen er wol mac, tandaradei, merken, wâ mirz houbet lac. Das er bî mir læge, wessez iemen, nun welle got, sô schamt ich mich. wes er mit mir pflæge, niemer niemen bevinde daz, wan er und ich, Und ein kleinez vogellîn, tandaradei, daz mac wol getriuwe sîn. Walther von der Vogelweide v ACKNOWLEDGEMENTS I would like to thank Prof. Robin Huff, who truly made me fall in love with German, and who opened the doors to one of the best experiences of my life thus far. I would like to express my gratitude to Prof. Stephen Carey for not only introducing me to medieval German literature, but also for his dedication and willingness to go above and beyond. Prof. Carey truly helped me make my dream come true, and I am so thankful to have had the opportunity to be his student. I thank you both from the bottom of my heart. vi TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................................ v  I.  EINFÜHRUNG....................................................................................................................... 1  II.  ZWEI FÄLLE ....................................................................................................................... 25  Zwîfel ............................................................................................................................ 25  Herzeloyde und das Doppelspiel .................................................................................. 27  Entwicklung des Selbstes: Gleichgewicht von den Weiblichen und Männlichen ........ 31  III.  HISTORISCHER KONTEXT: WOLFRAMS SYMBOLIK DER LIEBE .......................... 35  Politische Situation der Deutschen ............................................................................... 35  Wolframs ,templeise’, der Gral und Jerusalem ............................................................. 37  Frauen und das Tränenvergießen .................................................................................. 45  Conduire amour ............................................................................................................ 50  IV.  WOLFRAMS FRAUEN UND DAS WEINEN ................................................................... 60  Frauen als lebende Turteltauben ................................................................................... 60  Belakâne ........................................................................................................................ 66  Herzeloyde .................................................................................................................... 69  Sigûne ........................................................................................................................... 72  Condwîr âmûrs .............................................................................................................. 75  Bedeutung der weinenden Frau im Kontext ................................................................. 78  V.  VON DER ARTUSWELT ZUR WEIBLICHEN GRALWELT .......................................... 80  Die Gâwân-Handlung: Christ gegen Christen .............................................................. 80  Parzivals Verlass auf Gott und die göttliche Liebe ....................................................... 84  Feirefiz und Parzival: Christ gegen Heiden .................................................................. 90 vii Der von der Liebe geführte adle Heide ......................................................................... 95  Verwirklichung der Liebe: Taufe und romantische Liebe ............................................ 98  Liebe als Schlüssel der Ehe und des brüderlichen Friedens: weinende Turteltauben 101  VI.  SCHLUSS ........................................................................................................................... 107  Bibliographie............................................................................................................................... 116  ACKNOWLEDGEMENTS ........................................................................................................... vi  Formatted: Default Paragraph Font I.  EINFÜHRUNG....................................................................................................................... 1  Formatted: Default Paragraph Font Formatted: Default Paragraph Font II.  ZWEI FÄLLE ....................................................................................................................... 23  Formatted: Default Paragraph Font Formatted: Default Paragraph Font Zwîfel ............................................................................................................................ 23  Formatted: Default Paragraph Font Herzeloyde und das Doppelspiel .................................................................................. 25  Formatted: Default Paragraph Font Selbstentwicklung: Gleichgewicht von den Weiblichen und Männlichen ................... 28  III.  HISTORISCHER KONTEXT: WOLFRAMS SYMBOLIK DER LIEBE .......................... 32  Formatted: Default Paragraph Font Formatted: Default Paragraph Font Politische Situation der Deutschen ............................................................................... 32  Formatted: Default Paragraph Font Wolframs ‘templeise’, der Gral und Jerusalem ............................................................ 35  Formatted: Default Paragraph Font Frauen und das Tränenvergießen .................................................................................. 42  Formatted: Default Paragraph Font Conduire amour ............................................................................................................ 47  Formatted: Default Paragraph Font IV.  WOLFRAMS FRAUEN UND DAS WEINEN ................................................................... 57  Formatted: Default Paragraph Font Formatted: Default Paragraph Font Frauen als lebende Turteltauben ................................................................................... 57  Formatted: Default Paragraph Font Belakâne ........................................................................................................................ 63  Formatted: Default Paragraph Font Herzeloyde .................................................................................................................... 66  Formatted: Default Paragraph Font Sigûne ........................................................................................................................... 69  Formatted: Default Paragraph Font Condwîr âmûrs .............................................................................................................. 72  Formatted: Default Paragraph Font Bedeutung der weinenden Frau im Kontext ................................................................. 75  Formatted: Default Paragraph Font viii V.  VON DER ARTUSWELT ZUR WEIBLICHEN GRALWELT .......................................... 77  Formatted: Default Paragraph Font Formatted: Default Paragraph Font Die Gâwân-Handlung: Christ gegen Christen .............................................................. 77  Formatted: Default Paragraph Font Parzivals Verlass auf Gott und die göttliche Liebe ....................................................... 81  Formatted: Default Paragraph Font Feirefiz und Parzival: Christen gegen Heiden .............................................................. 87  Der von der Liebe geführte adle Heide ......................................................................... 92  Formatted: Default Paragraph Font Verwirklichung der Liebe: Taufe und romantische Liebe ............................................ 95  Formatted: Default Paragraph Font Liebe als Schlüssel der Ehe und des brüderlichen Friedens: weinende Turteltauben .. 98  Formatted: Default Paragraph Font VI.  SCHLUSS ........................................................................................................................... 104  Formatted: Default Paragraph Font Formatted: Default Paragraph Font Bibliographie............................................................................................................................... 113  Formatted: Default Paragraph Font