The Bright Rose
The Bright Rose Early German Verse 800 –1280
Edited and translated by Philip Wilson
2015
Published by Arc Publications, Nanholme Mill, Shaw Wood Road Todmorden OL14 6DA, UK www.arcpublications.co.uk Translation copyright © Philip Wilson 2015 Introduction copyright © Philip Wilson 2015 Copyright in the present edition © Arc Publications 2015 978 1908376 71 8 (pbk) 978 1908376 72 5 (hbk) 978 1908376 73 2 (ebook) Design by Tony Ward Cover design by Tony Ward & Ben Styles Printed in Great Britain by TJ International, Padstow, Cornwall Acknowledgements Versions of some of the translations have appeared in Ambit and Modern Poetry in Translation. The translator owes a deep debt of gratitude to John Gledhill, for introducing him to the world of Old and Middle High German; to Ruth Harvey, for tutoring him in its literature and for her comparison of Minnesang with the sweet lyric of Cole Porter (German Life and Letters, Volume 17 Issue 1); and to Chris Wells, for taking him through Old High German linguistics. He would also like to thank Jean Boase-Beier, Antoinette Fawcett and Valerie Henitiuk for their encouragement, and all at Arc Publications. This book is in copyright. Subject to statutory exception and to provision of relevant collective licensing agreements, no reproduction of any part of this book may take place without the written permission of Arc Publications.
‘Arc Classics: New Translations of Great Poets of the Past’ Series Editor: Jean Boase-Beier
This anthology is dedicated to Gareth Jones
Translator’s Note The decision to create this book came from reading anthologies edited by Leonard Forster, Ingrid Kasten, Stephan Müller and Hans-Joachim Simm. The texts follow those in the works below. This is not a critical edition, and I have adopted editorial conjectures without indicating these in the German and without indicating textual variants. I have kept endnotes to a minimum because this is intended as a literary work rather than a work of scholarship. The order of the poems is chronological, although I have grouped the Old High German spells and verses together. I have used the following sources: Forster, L. (ed.) The Penguin Book of German Verse (London: Penguin, 1994); Heinrich von Morungen, Lieder (Stuttgart: Reclam, 1975); Kasten, I. (ed.) Frauenlieder des Mittelalters (Stuttgart: Reclam, 1990); Müller, S. (ed.) Althochdeutsche Literatur (Stuttgart: Reclam, 2007); Simm, H.-J. (ed.) Liebesgedichte des Mittelalters (Berlin: Insel, 2010).
CONTENTS Introduction / 11 OLD HIGH GERMAN VERSE
18 / Das Hildebrandslied • 24 / Muspilli • 32 / Das Ludwigslied • 36 / Das Wessobrunner Gebet • Sprüche und Segen 38 / Merseburger Zaubersprüche • 38 / Straßburger Tumbo-Spruch • 40 / Lorscher Bienensegen • 40 / Wurmsegen • 40 / Wiener Hundesegen • 42 / Trierer Pferdesegen • 42 / Züricher Hausbesegnung • Vier Verse 44 / Hirsch und Hinde • 44 / St. Galler Spottvers • 44 / Spinnwirtelspruch • 44 / Hicila-Vers •
The Song of Hildebrand / 19 Muspilli / 25 The Song of Ludwig / 33 The Wessobrunn Prayer / 37 Spells and Blessings Merseburg Spells / 39 Strasbourg Stupid Saying / 39 Lorsch Bee Blessing / 41 Worm Blessing / 41 Vienna Dog Blessing / 41 Trier Horse Blessing / 43 Zurich House Blessing / 43 Four Verses Stag and Hind / 45 St. Gall Satire / 45 Spindle Whorl Saying / 45 Hicila Verse / 45
middle HIGH GERMAN VERSE
Anonym (1)-(3) Anonymous (1)-(3) 48 / Dû bist mîn, ich bin dîn • You’re mine, I’m yours / 49 48 / Mich dunket nicht sô guotes • I think nothing so good / 49 50 / ‘Mir hât ein ritter,’ • A woman spoke: ‘I have sprach ein wîp been served’ / 51 Der von Kürenberg 52 / Ich zôch mir einen valken • For more than a year / 53 52 / Der tunkel sterne • The darkened star / 53 52 / Jô stuont ich nehtint spâte • I stood late at night / 53 Dietmar von Aist 54 / ‘Slâfest du, friedel ziere?’ • ‘Do you sleep, my dearest love?’ / 55 54 / Ez stuont ein frouwe alleine • A lady stood by herself / 55
Hartmann von Aue 58 / Ich var mit iuweren hulden • I go with your blessing / 59 Heinrich von Morungen 60 / Owê • Oh no / 61 62 / Vil süeziu senftiu toeterinne • My sweet soft assassin / 63 64 / Von den elben wirt entsehen • By the elves is bewitched / 65 Walther von der Vogelweide 68 / Under der linden • Under the lime-tree / 69 70 / In einem zwîvellîchen wân • In a state of hopeful despair / 71 72 / Saget mir ieman, waz ist • What is love? Can anyone minne tell me? / 73 74 / Aller werdekeit ein • You hold every value in its füegerinne place / 75 76 / Ich saz ûf eime steine • I sat down on a rock / 77 78 / Owê war sint verswunden • Alas, where have vanished / 79 Wolfram von Eschenbach 82 / ‘Sîne klâwen…’ • ‘Its claws…’ / 83 Der Tannhäuser Tannhäuser 86 / Der winter ist zergangen • The winter has left us now / 87 Steinmar 88 / Ein kneht, der lag • A servant once lay hidden / 89 verborgen Notes / 90 About the Translator / 95
introduCTION
The present volume offers a selection of the earliest German poetry, from its beginnings until its medieval flourishing. The translations are from Old and Middle High German, terms that demand explanation. By ‘High German’, linguists designate the West Germanic dialects that underwent the Second Sound Shift, a change in pronunciation originating in the highlands of the south (hence ‘High German’) and which differentiated these dialects from Low German. The shift is still discernible if we compare contemporary English (the descendant of Low German) and contemporary German (the descendant of High German): thus English has ‘pound’, ‘tame’, ‘daughter’ and ‘brother’, where German has Pfund, zahm, Tochter and Bruder. The term ‘Old High German’ designates the shifted German language from the eighth century to the middle of the eleventh century, by which time the texts we possess have changed sufficiently to be labelled ‘Middle High German’. By the time of Martin Luther (1483-1546), who translated the Bible, the language can be classified as New High German. Old High German Verse I heard it said that two men, champions, met between two armies and prepared to do battle, father and son… Or rather, I read it, in the Hildebrandslied [Song of Hildebrand], the oldest recorded poem in High German, represented by a single manuscript that has been dated at around 800, though it looks back to an older Indo-European past. The manuscript is incomplete and the result of the fight is not mentioned and must be inferred from similar stories in other languages, which indicates how precarious the survival of the oldest German literature is. We have the Roman historian Tacitus’s assurance in the Germania that song was important to the Germanic tribes, but little has survived in written form; the poems we have and value 11
are typically the product of anonymous monks working in scriptoria, taking a break from the copying of sacred work in order to record poetry in their own dialects. Even though few works of literary value are extant in Old High German, with nothing on the scale of the AngloSaxon Beowulf, what does remain can offer an album of a time and a way of seeing the world, through texts that continue to have poetic effects, both in the source language and – I hope – in translation. This anthology includes: the Hildebrandslied; the Ludwigslied [Song of Ludwig], a song of praise to a victorious king; the Muspilli (the word is of uncertain meaning), which describes the end of the world, a Christian vision that uses pre-Christian imagery; the ‘Wessobrunner Gebet’ [Wessobrunn Prayer], a remarkable attempt to describe the time before creation; a number of invocations, most of which are Christian but one pre-Christian; a few marginal annotations written on wet afternoons. The poems offer an overview of a society in transition from a pagan worldview to a Christian one. The human form of life that is depicted is one we can still recognise. We can shiver as Hildebrand laments that a wicked fate is working itself out that will force him to kill the son who does not recognise him. We can marvel at the imagery of the world’s end in Muspilli, whether or not we share the poem’s Christian belief. And, in our world where bees are vanishing, we can sympathise with the beekeeper’s spell for a swarm’s return. Human nature may not have changed as much as the German language. Middle High German Verse In contrast to Old High German Literature, a large corpus of Middle High German lyric poetry survives. It is possible, for example, to publish a whole volume of lyrics by Heinrich von Morungen, by whom more than 12
thirty texts survive. The Middle High German period from the twelfth to the fourteenth century has been termed the BlĂźtezeit [time of flourishing] by scholars. This was the world of the secular court, where the minstrel functioned as entertainer and instructor for his listeners. Longer poems have also survived, such as courtly romances by Gottfried von Strassburg, Hartmann von Aue, and Wolfram von Eschenbach, or the anonymous epic Nibelungenlied [Song of the Nibelung]. It would have been interesting to include excerpts from these works of poetic genius, but considerations of space mean that only complete shorter works have been chosen. Middle High German lyric verse is represented here by eleven poets of the Minnesang [love song], of whom eight can be identified by name. The lyrics typically depict expressions of love to a lady, in the hope of reward. As the term Minnesang suggests, these texts would have been sung, but in most cases the music has been lost. We should not read the words too literally as a record of minstrels having their way with noble women, because Minnesang was a public performance rather than an expression of private passion. The Nibelungenlied, for example, contains an episode in which the minstrel Volker sings at court to a queen and is rewarded for his praises by a gift of bracelets, rather than by anything more intimate. The poets engage in a highly professional ritual, composing on the basis of cognitive metaphors that still ring true: love is a trap; love is a game; love is war . We continue to use these metaphors, as can be shown by juxtaposing Minnesang with a contemporary cultural phenomenon, the Eurovision Song Contest. Heinrich von Morungen (who died around 1220) wrote a song, included here, in which he tells his lady that she is a sweet assassin whose lack of care will surely kill her faithful servant, but that he will nonetheless continue to serve her, even beyond 13
the grave. In Oslo, 2010, the German singer Lena MeyerLandrut won the Eurovision with her performance of ‘Satellite’, in which she offers love the assurance that she will carry on loving, whether love is sweet or cruel. All the elements of Minnesang are here: public performance; cognitive metaphor; the power of love. The lyricists of the Middle Ages did, however, have other themes. I include, for example, a poem by Walther von der Vogelweide that laments growing old, and that exhorts his listeners to support the call to crusade of Frederick II. The Translation In presenting this edition, I have been able – thanks to the philosophy of Arc Publications – to place my translations opposite the source texts, so that the translation can be shown at least to aim to represent the Old or Middle High German. The relative shapes of source and target text become relevant, whilst the reader with some knowledge of German will spot ancestors of contemporary vocabulary on the left-hand pages. The song form of Minnesang becomes apparent in the tightly constructed stanzas and often intricate rhyme schemes of the courtly lyrics. When translating, I have looked at each individual source text and formed a strategy accordingly. An example of this is the rendering of the Middle High German ‘Owê’ [alas]. In translating the first song here by Heinrich von Morungen, in which two lovers part at dawn, I have translated it as ‘oh no’, because it strikes me as what somebody might say in the circumstances. My translation of Walther von der Vogelweide’s final poem here, however, uses ‘alas’, in order to preserve the game that Walther is playing with the single word. The lexical item ‘Owê’ is thus given two different renderings. Similarly, I have translated the Old High German ‘welaga nu’ in the Hildebrandslied as ‘alas’, in order to suggest the 14
antiquity of that poem. Most poems in this anthology use full rhyme, a consequence of their original setting as song lyrics. I have tried to suggest rhyme by a variety of techniques, from full rhyme to assonance, in order to show the highly formal nature of the corpus, although it should be remembered that the texts we possess are variants. In the world of performed poetry, every creation is a recreation, just as these translations are my creation of the world of the earliest German verse. Some of the Old High German texts show alliteration as a binding technique, and again this is suggested in the translations. Given that many of the poems in this anthology were originally composed as lyrics for oral performance, I have paid attention to the rhythms of the source texts and have attempted to produce target texts that also work rhymically. The caesuras of the poems are also important and have been retained. A translated poem can attempt to play the same languagegames as the poem it represents, to use a term from the philosopher Ludwig Wittgenstein’s Philosophical Investigations. Two poems can stand in a relation of similarity to each other, as source and target text. The lyrics in this collection look back to ancient traditions and look forward to the modern German language and the modern world. An anonymous Old High German manuscript annotation – given as the last of the four verses that end the first section – informs us that the annotated text was often read by Hicila the fair. Hicila, whoever she was, died long ago, but translation enables Old and Middle High German verse to continue to reach new audiences. Philip Wilson
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OLD HIGH GERMAN VERSE
DAS HILDEBRANDSLIED
Ik gihorta ðat seggen, ðat sih urhettun aenon muotin, Hiltibrant enti Haðubrant untar heriun tuem. sunufatarungo iro saro rihtun. garutun se iro guðhamun, gurtun sih iro suert ana, helidos, ubar hringa, do sie to dero hiltiu ritun, Hiltibrant gimahalta: her uuas heroro man, ferahes frotoro; her fragen gistuont fohem uuortum, hwer sin fater wari fireo in folche, … … ‘eddo hwelihhes cnuosles du sis. ibu du mi ęnan sages, ik mi de odre uuet, chind, in chunincriche: chud ist mir al irmindeot.’ Hadubrant gimahalta, Hiltibrantes sunu: ‘dat sagetun mi usere liuti, alte anti frote, dea erhina warun, dat Hiltibrant haetti min fater: ih heittu Hadubrant. forn her ostar giweit, floh her Otachres nid, hina miti Theotrihhe enti sinero degano filu. her furlaet in lante luttila sitten prut in bure, barn unwahsan, arbeo laosa: her raet ostar hina. des sid Detrihhe darba gistuontun fateres mines: dat uuas so friuntlaos man. her was Otachre ummet tirri, degano dechisto miti Deotrichhe. her was eo folches at ente: imo was eo fehta ti leop: chud was her… chonnem mannum. ni waniu ih iu lib habbe’…
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THE SONG OF HILDEBRAND Two champions, father and son, must fight to the death
I heard it said, that champions singly met, Hildebrand and Hadubrand, between two armies, a son and a father preparing their armour. They put on their war-gear, they girded their swords on, heroes, over ring-armour, then they rode to battle. Hildebrand spoke: he was the older man, wise in life; he began to ask in few words who his father was in the clansfolk, … … ‘or of what clan you might be. If you tell me one, I will know the others: child, in the Kingdom I know all the heroes.’ Hadubrand spoke, Hildebrand’s son: ‘That was said to me by our people, old and wise, who came before, that Hildebrand was my father’s name: I am called Hadubrand. He went to the East, he fled Odoaker’s spite, away with Dietrich and many of his fighters. He left in the land, in distress, a bride in the bower, and an ungrown bairn, robbed of inheritance: he rode off to the East. Since then Dietrich needed him badly, my Father: he was so friendless a man. He was to Odoaker an endless enemy, the truest fighter with Dietrich. He was always at the head of the folk: to him fighting was always dear. Known was he… to bold men. Nor do I think that he lives’…
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‘wettu irmingot obana ab hevane, dat du neo dana halt mit sus sippan man dinc ni gileitos’… want her do ar arme wuntane bauga, cheisuringu gitan, so imo se der chuning gap, Huneo truhtin: ‘dat ih dir it nu bi huldi gibu.’ Hadubrant gimahalta, Hiltibrantes sunu: ‘mit geru scal man geba infahan, ort widar orte. … du bist dir alter Hun, ummet spaher, spenis mih mit dinem wortun, wili mih dinu speru werpan. pist also gialtet man, so du ewin inwit fortos. dat sagetun mi sęolidante westar ubar wentilsęo, dat inan wic furnam: tot ist Hiltibrant, Heribrantes suno.’ Hiltibrant gimahalta, Heribrantes suno: ‘wela gisihu ih in dinem hrustim, dat du habes heme herron goten, dat du noh bi desemo riche reccheo ni wurti.’ – ‘welaga nu, waltant got, wewurt skihit. ih wallota sumaro enti wintro sehstic ur lante, dar man mih eo scerita in folc sceotantero: so man mir at burc ęnigeru banun ni gifasta, nu scal mih suasat chind suertu hauwan, breton mit sinu billiu, eddo ih imo ti banin werdan. doh maht du nu aodlihho, ibu dir din ellen taoc, in sus heremo man hrusti giwinnan, rauba birahanen, ibu du dar enic reht habes.’ ‘der si doh nu argosto ostarliuto, der dir nu wiges warne, nu dih es so wel lustit, gudea gimeinun: niuse de motti, hwerdar sih hiutu dero hregilo rumen muotti, erdo desero brunnono bedero uualtan.’ do lettun se aerist asckim scritan,
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‘I call on God above in Heaven that never did you with such a close kinsman take things thus’… He wound from his arm a winding bracelet, made of emperor’s coin, which the King gave to him, the Lord of the Huns: ‘This I give to you as a favour.’ Hadubrand spoke, Hildebrand’s son: ‘With a spear should a man receive gifts, point against point. … You are, old Hun, massively sly, lure me with your words, will throw your spear at me. You are such an old man, and still you practise cunning. This was told to me by sea-farers coming west across the Wendel Sea, that battle took him: dead is Hildebrand, Heribrand’s son.’ Hildebrand spoke, Heribrand’s son: ‘Well I can see by your armour that you have at home a good lord, that in this kingdom you were never an outlaw.’ – ‘Alas, most powerful God, an evil fate is coming on us. I wandered summers and winters, sixty, out of the land, when they always placed me at the fighters’ front: yet never at any place did the bane seize me. Now my own child shall hew me with his sword, break me with his blade, or I shall be his bane. Yet you may easily, if your courage avails, from such an old man win the armour and gain the prize, if you have any right.’ ‘He would be the greatest coward of the Eastern people, who would deny you fight, if you lust after it, a single combat: let anyone try who can, whoever today may boast of this armour, or of both these breastplates be the master.’ At this they let their spears do their task,
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scarpen scurim: dat in dem sciltim stont. do stoptun to samane staimbort chludun, heuwun harmlicco huittę scilti, unti im iro lintun luttilo wurtun, giwigan miti wabnum […].
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in sharp showers that stuck in the shields. Then they let their weapons clash and shattered the war-shields, hewing embittered on the gleaming shields, until the wood was cut away, hewn by the weapons […].
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DAS WESSOBRUNNER GEBET
De Poeta Dat gafregin ih mit firahim firiuuizzo meista, Dat ero ni uuas noh ufhimil, noh paum noh pereg ni uuas, ni sterro nohheinig noh sunna ni scein, noh mano ni liuhta, noh der mareo seo. Do dar niuuiht ni uuas enteo ni uuenteo, enti do uuas der eino almahtico cot, manno miltisto, enti dar uuarun auh manake mit inan cootlihhe geista, enti cot heilac. Cot almahtico, du himil enti erda gauuorahtos, enti du mannun so manac coot forgapi, forgip mir in dino ganada rehta galaupa enti cotan uuilleon, uuistom enti spahida enti craft, tiuflun za uuidarstantanne enti arc za piuuisanne enti dinan uuilleon za gauurchanne.
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THE WESSOBRUNN PRAYER A depiction of the nothingness before creation, followed by a prayer
On the Creator That I learned among people the greatest wonder of all, that there was no earth nor Heaven above, no tree no mountain there was, no single star no sun to shine, no moon that gleamed nor the glowing sea. When there was nothing not end nor wend, and there was the one almighty God, mildest of men, and there were also many with him godly ghosts and holy God. God almighty, you made Heaven and earth, and you gave man so many goods: give me in your grace right belief and good will, wisdom and judgement and strength to resist the Devil and to avoid evil and to work your will.
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DIETMAR VON AIST
‘Slâfest du, friedel ziere? man wecket uns leider schiere. ein vogellîn sô wol getân, daz ist der linden an daz zwî gegân.’ ‘Ich was vil sanfte entslâfen, nu rüefestu, kint wâfen. liep âne leit mac niht sîn. swaz du gebiutest, daz leiste ich, mîn friundîn.’ Diu frouwe begunde weinen: ‘du rîtest hinnen und lâst mich eine. wenne wilt du wider her zuo mir? ôwê, du füerest mîne fröide sant dir!’
Ez stuont ein frouwe alleine und warte über heide und warte ir liebes, sô gesach si valken fliegen. ‘sô wol dir, valke, daz du bist! du fliugest swar dir liep ist: du erkiusest dir in dem walde einen boum, der dir gevalle. alsô hân ouch ich getân:
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DIETMAR VON AIST Lovers must part at dawn
‘Do you sleep, my dearest love? For soon they will wake us. The smallest of fair birds has landed outside on the lime-tree’s branch.’ ‘I was sleeping so softly and now, my child, you wake me. Love must know sorrow. What you demand, dear friend, I shall do.’ The lady began to cry. ‘You ride off and leave me here. When will you ever return? Oh no, when you go, all joy is gone.’
Envy for a falcon, free in flight
A lady stood by herself, looking out over the heath and waiting for her lover. She saw a flying falcon. ‘Falcon, how lucky you are! You can fly where you want and can find, in the forest, the tree on which you can rest. And I have done the same.
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ich erkôs mir selbe einen man, den erwelten mîniu ougen. daz nîdent schoene frouwen. owê, wan lânt si mir mîn liep? joch engerte ich ir dekeiner trûtes niet!’
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I have chosen a man whom my eyes elected. By lovely women I am envied. Oh no, why do they want to take him? I never tried to take lovers from them!’
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