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World Languages and Cultures Theses Department of World Languages and Cultures
7-17-2009
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Eleanor Kinser Hall
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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
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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
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II. ZWEI FÄLLE ....................................................................................................................... 23
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Zwîfel ............................................................................................................................ 23
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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
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Politische Situation der Deutschen ............................................................................... 32
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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
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Frauen als lebende Turteltauben ................................................................................... 57
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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
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Die Gâwân-Handlung: Christ gegen Christen .............................................................. 77
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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
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Bibliographie............................................................................................................................... 113
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Description:the material, Arthurian world is compared to the divine Grail kingdom and the godlike women who shed compassionate The Virgin and the Grail.
