Types of Minne in Hartmann von Aue’s Erec and Iwein By Jenny Faber Submitted to the graduate degree program in Germanic Languages and Literature and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts _________________________ Chairperson: Dr. James Brown _________________________ Dr. Leonie Marx _________________________ Dr. Lorie Vanchena Date Defended: 24. August. 2012 ii   The Thesis Committee for Jenny Faber certifies that this is the approved version of the following thesis: Types of Minne in Hartmann von Aue’s Erec and Iwein _________________________ Chairperson: Dr. James Brown Date Approved: 24. August 2012 iii   Abstract The Arthurian Legends Erec and Iwein, adapted from material by Chrétien de Troyes by Hartmann von Aue discuss, among other things, the issue of minne, the Middle High German term for “love.” In this study, I use close reading, language analysis, and the historical-critical method to investigate the various types of minne found in Erec and Iwein. Hartmann uses material from classical antiquity, the Aeneid in particular, as an allegory for the minne between Erec and his wife Enite and as a model for the character Vrou Minne, who appears in both works. I aim to demonstrate that Vrou Minne is modeled on the portrayals of goddesses from antiquity and that she becomes more of a developed figure in Iwein. I also demonstrate that in Erec, the minne is divided into three different types: anderre minne, kreftige minne, and guote minne. Anderre minne constitutes the minne Erec and Enite first experience for each other and is dominated completely by sexual pursuits. Kreftige minne is the sort of minne that men experience for Enite, which overwhelms their senses and leads to their ruin. The ideal type of love that Erec and Enite obtain at the end of the story is the balanced guote minne, which is an integral part of their lives as partners and rulers. Iwein discusses the theme of grôze minne between Iwein and his wife Laudine, which does not undergo the same development as depicted in Erec. iv   Table of Contents Introduction 1 Vrou Minne in Erec and Iwein 4 Models for Vrou Minne 8 The Ambiguous Nature of Vrou Minne 11 Inclusion of Aeneas-Dido and Aeneas-Lavinia Material as Allegory 17 Types of Minne in Hartmann’s Erec 22 Kreftige, Anderre, and Guote Minne 23 Enite as a Conduit for Minne 26 The Force of Minne on Erec and Enite 28 Minne and Enite’s Guilt 29 The Development from Anderre Minne to Guote Minne 31 Passive Action 34 Active Passion 36 Minne in Action 38 Grôze Minne in Hartmann’s Iwein 39 Lunete’s Role in Iwein and Laudine’s Minne 44 Results 46 Bibliography 49 1   Introduction Since the appearance of his works around the turn of the 13th century, Hartmann von Aue has been the subject of scholarly discussion, beginning with praise for him and his works among his contemporaries such as Gottfried von Strassburg in Tristan (vv. 4621-4637) and Wolfram von Eschenbach in Parzival (III, vv.143: 21), continuing with critical scholarship through the rediscovery of medieval texts in the 1800’s and up to the present day. Hartmann (ca. 1165-1215), a member of the lesser nobility, or ministerial class, seemed to have had a clerical education and to have been in the service of a lord of Schwaben (von Borries 73). His corpus of works ranged from shorter lyrical poems discussing the Crusades, love, relationships, or nature to epic poetry that in turn spanned a large variety of genres, including hagiography (Gregorius) and Arthurian Legend. This thesis will focus on Hartmann’s Arthurian Legends Erec (ca. 1190) and Iwein (ca. 1210). As adaptations of medieval French texts composed by Chrétien de Troyes, Erec and Iwein recount the stories of two Arthurian knights who fall from grace and consequently undergo tests of extreme physical and mental endurance before reaching their full potential — and of course the appropriately happy ending. In Erec, the titular character and protagonist is the very handsome son of King Lac who demonstrates his worthiness by winning the extremely beautiful, although destitute, Lady Enite. After obtaining the social favor of King Arthur’s court, they return to the court of King Lac, who abdicates the throne in favor of the young lovers. However, Erec and Enite soon fall from grace due to their neglect of the kingdom through their sexual pursuits. The court begins to discuss the shame Erec and Enite have brought upon themselves and their court by spending all of their time in the bedroom. Upon recognition of this failure of 2   their expected roles, Erec and Enite set out on a joint adventure to regain their respective and collective honor. Erec bids Enite accompany him and not speak one word to him, no matter what the situation on pain of death. While Erec regains his honor through knightly combat, Enite must negotiate when to speak and when to be silent. Throughout their adventures, Erec and Enite become rulers and partners suitable both for each other and for the society they were destined to rule. Iwein, by contrast, describes the trials of the knight Iwein, who, after winning a kingdom and the lady of his dreams, then completely neglects his lady Laudine in favor of gaining knightly renown. After missing his deadline of returning home no later than one year after departing to fight in tournaments, Iwein loses both land and lady due to his disregard. Iwein descends into madness, becoming a feral man until he is cured with a magic salve by some noble women whom he then rescues from a siege. Iwein then seeks to prove himself worthy as a ruler through knightly deeds, and worthy as a husband through directing such deeds toward protecting women — as well as refraining from the temptation to sleep with or marry other beautiful women. Among other things, he acquires a loyal companion in a lion, which gives him the moniker “Knight of the Lion” and saves an entire land from the giant Harpin. In the end, Iwein, corrects the wrong his actions caused Lunete, Laudine’s faithful handmaiden who facilitated Iwein and Laudine’s relationship in the beginning. Having learned his lessons with regard to the balance between knightly duties and domestic pursuits, Iwein does regain both his honor and his reputation — as well as his wife Laudine’s forgiveness, which Lunete once again orchestrates. Hartmann’s two works discuss the intricacies of love in great detail. In Middle High German, two words were used to express the idea of love: minne and liebe. While liebe later prevailed and morphed into the Modern Standard German Liebe, at the time Hartmann was 3   writing, minne appears to have been the dominant word for love. To ascertain whether there were distinct contexts in which minne was used instead of liebe — or vice versa — I analyzed each usage of the word and its variations (noun, verb, adjective, etc.) in both Erec and Iwein as well as Gregorius and Der Arme Heinrich, in order to provide a context for the usage within Hartmann’s body of works. I did not reach any relevant conclusions about the preference for one word over the other because they appeared to be used interchangeably, but it became clear that both liebe and minne were used in conjunction with familial relationships and friendships as well as romantic relationships. For example, in Gregorius, the love between humans and God is described with the word minne (vv. 257). Following convention of contemporary scholarship when investigating love in Middle High German works, I will use the term minne when discussing the concept of love as it appears in Hartmann’s works. In Middle High German, nouns were not capitalized unless they were proper nouns, so when I write about minne, I will not capitalize it; on the other hand, if the subject in question is Vrou Minne, I will capitalize the word and also, as Hartmann does, refer to Vrou Minne simply as Minne. Over the course of this investigation, I direct special attention to the depiction of love between male and female characters. I concentrate on the development, or lack thereof, of the minne between Erec and Enite and between Iwein and Laudine. In addition, my study includes a focus on the figure of Vrou Minne or Lady Love and the influence of the Aeneid with respect to Vrou Minne in both works, as well as Erec and Enite’s relationship. Although there is a lengthy passage concerning the love between Gawein and Iwein in Iwein (vv. 7015-7074; 7484-7510), to discuss in the detail the love described between the two men deserves an analysis that would be beyond the scope of this particular paper. However, it is my hope to investigate further the love between Gawein and Iwein in conjunction with this study at a future time. 4   Combining close reading with the historical critical method, I aim to analyze the figure Vrou Minne and the love relationships between wife-husband partners in Erec and Iwein. In doing so, I will demonstrate how the Aeneid material influenced Hartmann’s writings — most evident in the highly personified portrayal of Vrou Minne in Iwein and the inclusion of various Aeneid scenes in Erec. Furthermore, I will illustrate the dynamism of Erec and Enite’s relationship in contrast to the relative stagnancy of the relationship between Iwein and Laudine. The minne between Erec and Enite distinctly develops through the stages of anderre minne (a primarily sexual minne) to guote minne (a balanced and healthy minne), whereas — although Iwein’s character is personally dynamic — the minne between him and Laudine retains the same quality over the course of the narrative. To the best of my knowledge, the distinction between the types of minne (anderre, kreftige, and guote) has not been discussed previously by scholars and is my own contribution to the study of these texts. Vrou Minne in Erec and Iwein In both Erec and Iwein, the personification of minne as Minne or Vrou Minne plays an integral role, not merely as a mechanism for furthering the plot, but also serving as a didactic venue for Hartmann to explain about the power with which minne can act upon people. Hartmann portrays Vrou Minne as a wild and untamable force in Erec, something that differs from the Vrou Minne of Iwein, where she has much more developed and human-like characteristics. In the days preceding their wedding, the narrator describes Minne as governing Erec and Enite: “diu Minne rîchsete under in/ und vuocte in grôzen ungemach” (vv. 1858-1859). Erec and Enite wait with ill-concealed impatience for the consummation of their marriage, but this unseemly desire for intercourse does not stem from a fault in their respective characters. 5   Instead, an outside force (Vrou Minne) compels them to think in such a lustful manner. Vrou Minne manipulates the pair, causing their inner conceptions of honor to fail; their impulses are kept in check only by the scrutiny of the court: der tage dûhte in ze lanc, daz er ze langern zîten ir minne solde bîten dan unz an die næhsten naht. ouch truoc si im bedaht einen willen dem gelîch, daz ez wære wætlîch, und hetez nieman gesehen, daz dâ wære geschehen ein vil vriuntlichez spil. zewâre ich iu daz sagen wil, dâ was der Minnen gewin… (vv. 1847-1858) [The day seemed too long to him — that he should have to wait until the next night for her love. Just as her mind turned to him in secret, so that, probably, if no one would have seen it, it would have come to a very friendly game. Truly I wish to say to you, this was Lady Love’s victory…]1 According to the narrator, if no one would have been watching them, the pair would have engaged in pre-marital sexual intercourse (vv. 1854-1856), a thing which, especially for women,                                                                                                                 1  All of the translations into English from the Middle High German are my own. 6   was considered the height of dishonor and could have resulted in extreme punishments, such as the trial by ordeal seen in Gottfried von Strassburg’s Tristan (vv. 15047-15764). The narrator’s comment that Minne was victorious in this case demonstrates the sexual agenda of Vrou Minne and the victory of Minne over courtly virtue. The juxtaposition of the unstructured forces of desire against the order of the courtly society in which Erec and Enite live further accentuates the conception of Vrou Minne as the embodiment of a raw force that disturbs societal structure. By explicitly informing the audience that Minne rîchsete, or reigned over them, the narrator qualifies the inner feelings of the lovers for each other as having been brought about by Vrou Minne acting upon their inner workings from without. The design of Vrou Minne appears to be to bring the two together through their sexual yearning for one another, as is the result. Such is the power of Vrou Minne that Erec and Enite have the exact same thoughts about being unhappy unless they sleep with each other for a couple of nights: “ir beider gedanc stuont alsô:/ ‘ja enwirde ich nimmer vrô,/ ich engelige dir noch bî/ zwô naht oder drî.’” (vv. 1872-1875) Not only can Vrou Minne exert her power over people, but that power can also be intoxicating, causing those who normally have good judgment and character to fall into ruin, as in the case of Gaolein, the first count the pair encounters on their journey: der enwas dar an niht stæte, wan in vrou Minne betwanc ûf einen valschen gedanc, daz er dem vil biderben man sîn wîp ze nemenne muot gewan (vv. 3717-3721) [He did not hold to these [values], because Lady Love compelled him to a false thought that he thought to take the wife from that honest man.]