Medieval German romance

Rasmussen, Ann Marie

doi:10.1017/ccol0521553423.012

Cited by 3 publications

(1 citation statement)

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“…Heroic epics, Minnelieder and other forms of vernacular poetry originated before the age of courtly romances and were based on ‘indigenous traditions’, but romance as a genre was fundamentally shaped by the imitation and adaptation of OF models (Bumke 1991: 88; Rasmussen 2000: 183 f.). There is substantial evidence that this French influence extended beyond MHG poets' choice of subject matter and lexis, also shaping poetic form and structure.…”

Section: The Linguistic and Cultural Context Of Parzivalmentioning

confidence: 99%

Rethinking the Metre of Parzival: Iambic Verse for a Trochaic Language

Booth

2023

Trans of the Philol Soc

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The Middle High German (MHG) prosodic foot is uncontroversially considered to be trochaic, a fact which has traditionally led scholars to assume a preference for trochaic metre in poetry of the MHG Classical Period. However, given the trend elsewhere in mediaeval Europe (even in trochaic languages) to emulate French lyrics and compose verse in iambic metre, the uncritical assumption of a trochaic metre in all MHG poetry seems inadequate. A close examination of Parzival, an early thirteenth‐century grail romance by Wolfram von Eschenbach, suggests that the traditional analysis is not only insufficient but counter to the linguistic evidence. This paper argues for the first time that Parzival was in fact composed in iambic tetrameter, based on a close analysis of the rhythmic alternations within lines and the quantity and foot structure of line‐final syllables. Halle & Keyser's (1966) principles for iambic metre were used to produce a taxonomy of possible line structures in Parzival and the dominance of the wswswsws pattern, beginning on a weak beat and ending on a strong, offers convincing evidence in favour of iambic metre. The remaining lines can be neatly categorised as iambic by allowing feminine rhyme (with an extrametrical schwa syllable) or the construction of monosyllabic feet from a single heavy syllable. This analysis is further corroborated by the consistently iambic structure of line‐final feet, as well as the foot structures avoided by the poet, identified according to the weight of the final, penultimate and antepenultimate syllables. The present analysis has the advantage of explaining the various patterns of alternating prominence in the metre of Parzival much more consistently than the complex system advocated by the traditional literary view.

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Section: The Linguistic and Cultural Context Of Parzivalmentioning

confidence: 99%