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Romantic imaging of XIX ^{It is} century : Gudrun by the sea .

Gudrun (or Submar , Sagala was Gudrun ) is an anonymous epic in verse, composed in a high-German medium-German in the first half of the XIII ^{It is} century. With the Nibelungen song, it is one of the greatest medieval epics in German language literature.

This work of the Haut-German linguistic domain composed around 1230-1240 is part of legends of the countries bordering the North Sea, and was only transmitted to us by a copy of the Heldenbuch d’Ambras; This manuscript was prepared between 1504 and 1515 by Hans Ried on the orders of Maximilien I ^is . Apart from this main source, a fragment of 280 stanzas of the “Hilde lai” (one of the three songs making up the “Gudrun song”) was preserved in a manuscript in Hebrew writing of the XIV ^{It is} century, in a mixture of Middle-German and Yiddisch. This source, called “Dukus Horant manuscript”, comes from a synagogue in Cairo and is now preserved in the library of the University of Cambridge ^{[ first ]} . In Slovenia Gottches, a vernacular song transmitted to XX ^{It is} century only by oral tradition, “the siren” ( Also mêrarin ) seems to include some allusions to the song of Gudrun ^{[ 2 ]} .

This verse epic consists of three songs: the Lai of Hagen, the Lai of Hilde and finally the Lai of Gudrun.

Le lai de hagen [ modifier | Modifier and code ]

The first song tells the story of Hagen of Ireland, son of the Sigebant King and the Queen Ute of Ireland, who was kidnapped by a griffin during a tournament. Arrived on an island, Hagen manages to escape the griffin and meets three princesses themselves removed by the bird; He finally managed to defeat the griffins and diverts to the island a ship carrying pilgrims, who bring him back with the three princesses in Ireland. There, Hagen marries Hilde des Indes, the eldest and the most beautiful of the three princesses. They have a daughter, whom they in turn name Hilde.

Le lai de his [ modifier | Modifier and code ]

The young Hilde becomes growing up a magnificent young woman. Several contenders ask for his hand, but Hagen has all free men murdered. Also when the Danish king Hetel de Heglingen seeks to take wife, he takes care not to take rank among the contenders in Hilde; He dispatches three henchmen: Wate, Frute and Horand to seize the young woman by the cunning. These, grimted in merchants, make a sail to Ireland, their soldiers hidden in the hold. By various expedients, they end up being invited to the court, and win the favor of the king and his daughter. Won by the nostalgia and the beauty of Horand’s song, Hilde decides to go to hetel palace. During a new stay on the ground of the Danish merchants, it is removed by foreigners and immediately the ships take the high seas. Although Frute flows the ships of Hagen launched in pursuit, the Danes continue to flee until the moment when They must fight a fight, during which the two chiefs, Hetel and Hagen, are injured. Hilde’s supplications end up convincing Hagen to let her marry Hetel.

Le lai de Gudrun [ modifier | Modifier and code ]

The kidnapping of Gudrun by Hartmut d’Ormanie and her men, drawing by Johannes Gehrts (1885).

Hetel and Hilde have a son, Ortwin , and a girl, Gudrun , of which three contenders ask for the hand: Siegfried of Moorland, Hartmut d’Ormanie ^{[ 3 ]} and Herwig from Zealand. All three are disdained. So Herwig ends up coming to arms: he thus obtained the submission of Hetel and the promise of engagement with Gudrun.

Crazy with jealousy, Siegfried wins the lands of Herwig and there followed a long fight between Siegfried on the one hand, Herwig and Hetel on the other.

Meanwhile, Hartmut d’Ormanie takes advantage of the absence of Hetel to enter her dungeon and seduce Gudrun and his young ladies. At the announcement of these events, Hetel plans to conclude peace with Siegfried to prevent the abduction of his daughter. Hetel, Herwig and Siegfried finally forced Hartmut to fight on Wülpensand beach. Ludwig, Hartmut’s father, hits Hetel to death, then managed to run away with his son.

He then flows thirteen years during which Hilde and his family fodder their revenge against Hartmut. Gudrun, kidnapped in Ormania, always refuses to marry her kidnapper, although Gerlinde, Hartmut’s mother, does not neglect any abuse to push her to give up the struggle: she requires him to serve the courtyard and go to wear linen to wash on the beach.

There, she saw the champions of her mother Hilde one day: Ortwin and Herwig, who came from Ormanîe with a formidable army. Gudrun throws laundry into the sea, which earned him a punishment from Queen Gerlinde; However, she escapes it by pretending to resign herself this time to marry Prince Hartmut. We then prepare it for marriage by a bath and the banquet is organized.

Meanwhile, Hilde’s army encircles the castle of King Ludwig. In the ensuing battle, the Heglingen take over: Ludwig is killed by Herwig and Denrlinde by Wate. Hartmut is spared, but he is taken into detention to the land of Hilde.

On the return, the wedding organized by Gudrun see the reconciliation of the ancient rivals: she marries Herwig, her brother Ortwin the sister of Hartmut, Ortrun; Hartmut marries Hildburg, the next Gudrun, and finally Siegfried of Moorland’s sister of Herwig.

Although we generally consider Gudrun Like a Germanic epic, it nevertheless involves elements of the courteous novel, the song of gesture and hagiography. Thus the courteous-hole themes take a special place throughout the poem: in the evocation of the reception ceremony at the King’s Court, farewell and recognition scenes, as well as in the chivalrous love quest. The scheme of romantic rivalry is discussed in several digressions and continuations. Christian themes also regularly surface: on the Griffons Island, Hagen is recognized as human beings only by his faith in God; The scene where Gudrun, during his abduction in Ormania, receives the prophecy of an angel who took the form of a seagull, recalls by the order and the story the Annunciation made to the Virgin Mary. So so Gudrun is generally arranged in heroic epics, this is mainly due to the literary form (poem in stanzas), intertextual links with the Norrian sagas of EDDA and to the fact that the author has remained anonymous, characteristic features of the Epics of the High Middle Age.

None of the themes mentioned above (love quest, chivalrous high facts, courteous or Christian values) prevails in the course of the story. Rather, it is a juxtaposition of episodes each exploiting its own pattern, only implied by the others, by which the characters are linked to each other. Gudrun is therefore in no way a coherent or realistic poem, and does not seek to be. The characters only age insofar as it serves the story, and not by the effect of the time that has passed (we repeatedly evoke breaks of several years which, cumulative, represent decades, while throughout the Story, Wate is painted as old but robust).

Comparative analysis problems [ modifier | Modifier and code ]

Specialists in German medieval literature generally see in Gudrun A reverse literary project of the Nibelungen song. While the Nibelungen saga is dominated by the themes of the tragic decadence of the burgundians and the principle of the revenge of the hero and reprisals, there is in the song of Gudrun (in addition to the themes of the regular heroic epic) of the scenes sorry. The design of a Gudrun song As “anti-nibelungen” is reinforced by the parallelism of narrative motifs, the correspondence that can be established between the characters (or groups of characters) of these two epics; So for example Wate and Gerlinde are layers of Hildebrand and Kriemhild respectively. From there, it is possible to interpret Gudrun as liable to Willehalm of Wolfram von Eschenbach of the ideal of tolerance, since it is the women who, in the two stories (in the Willehalm , it is Gyburc) encourage the rivals to forgiveness in different circumstances.

The problem of intertextuality of Gudrun (that is, the existence of relationships between this poem and contemporary or previous writings) was addressed by Kerstin Schmitt from the angle of literary collage ( Cf . § BIBLIOGRAPHY): It means a deregulated assembly of various themes (for example that of love rivalry or the heroic behavior of certain characters), which gives the whole of the work a unit difficult to grasp and an imbalance, both in the treatment of action and in the psychological evolution of the characters (for example Hagen is in turn a berserk , a king trained in courteous love and a jealous father to keep his daughter). Any juxtaposition of different episodes from the Gudrun song And a reference text is only partly imaginable, because the treatment of the characters is often characterized by precise and invariable patterns.

Characters [ modifier | Modifier and code ]

The treatment of the central character of the legend, Gudrun, is very variously interpreted by researchers; This goes from the understandable admiration for the courteous ideals of loyalty, sincerity and compassion of her pretender devoted to the manifestation of a modern woman, proud and decided until the judgment of a frivolous, unruly and influencing teenager. For ancient Germanic, Gudrun symbolized the allegedly natural virtue of the German woman, then she played the woman just emancipated, and very voluntary. Current research sees less in the behavior of Gudrun an original view of the author, and even less a social criticism, than narrative structures and traditional motifs applied to scraps of narrative and linked to the transmission of legend.

The three main protagonists correspond, by their language, their choices and their actions to the archetypes of the medieval novel:

• HAGEN – The Christian hero
  • receives baptism (22)
  • is removed by an emissary from the devil (54)
  • Christian abnegation, suffering as test (62)
  • Completion in God, his goodness and his grace (68, 69, 73, 74, 81, 105, 121, 125)
  • Christian attitude (76, 78, 111)
  • Religious coronation
  • The king who kills the contenders of his daughter, who wants to be strong, cruel, indomitable (we find 25 times the adjective “Wild”, fierce, in the space of 500 stewards), is linked to the tradition of Hilde Lai.
  • The story of Hagen’s youth to his dubbing, which deviates from the tradition of Hilde Lai, is a pure invention of the author of Gudrun
• Hetel – The Courtois Knight
  • Vassal ready to assist his parents (648)
  • Approved administrator of his lands (565,4)
  • engages in the faide of Hagen against the contenders, without however killing
  • exemplary fighter, more anxious to avoid the fight than to provoke it
• WATE – The traditional hero
  • D’améllae describes as “elderly” (240) (often as opposition: „The old Wate ./. The young hetel”)
  • willingly frank and direct (253)
  • It is thus portrayed in a scene in the presence of Queen Hilde (around 340): prefers to fight that to be surrounded by women, is married, to children (348.4)
  • received a doctor training (529)
  • Preceptor of Hetel and his son Ortwin (574)
  • brought to revenge and direct confrontation (825, 884) (in contrast to the courteous ritual of courteous novels)
  • Unleashes all his energies in combat (even described as angry, e.g. 882)
  • Pragmatic: “Praying is secondary” (838, 843), prepares the boats (945)
  • Embodies fearlessness and courage

In 1868, Mathilde Wesendonck drew from this medieval poem a drama in five acts entitled ” Gudrun ».

The musicologist and singer Eberhard Kummer, specialist in medieval music, put the epic in music and represented it at the Château d’Ambras for the Société des Concerts Wolkenstein. His melody takes up a barely modified scansion of Hildebrand’s song ^{[ 4 ]} .

• (of) This article is partially or entirely from the Wikipedia article in German entitled ‘ Submar » ( See the list of authors ) .
• Adolf Beck, «  The revenge as a motive and problem in the ‘Kudrun’. Interpretation and legendary view », Germanic-Romanesque monthly , new n ^O 6, 1956 , p. 305-338 .
• Ellen Bender: Nibelungenlied and Kudrun. A comparative study of time representation and interpretation of history. Francfort-sur-le-Main: Lang 1987. (ISBN  3820499016 )
• Bennewitz, Ingrid: “Kriemhild and Kudrun. Heldninnen-Epik instead of hero epic”. In: 7. Pöchlarner heroic song discussion. Middle High German heroic poetry outside the Nibelungen and Dietrichkreis (Kudrun, Ornit, Waltharius, Wolfdietriche). éd. Par Klaus hammered. Vienne: Fassbender 2003, pp. 9-20.
• Werner Hoffmann: “The ‘Kudrun’: An answer to the Nibelungenlied”. In: Nibelungenlied and Kudrun. Edited by Heinz Rupp. Darmstadt: Scientific Book Society 1976 (= ways of research; Volume 54), pp. 599-620. (ISBN  3-534-02808-2 )
• Hugo Kuhn : “Kudrun”. In: Nibelungenlied and Kudrun. Edited by Heinz Rupp. Darmstadt: Scientific Book Society 1976 (= ways of research; Volume 54), pp. 502-514. (ISBN  3-534-02808-2 )
• Jan-Dirk Müller: “Farewell to the myth. On the Hagen episode of the Kudrun”. In: Presence of the myth. Configurations of a form of thinking in the Middle Ages and early modern times. Éd. Par Udo Friedrich and Bruno Quast. Berlin/New York: de Gruyter 2004, pp. 197-217.
• Theodor Nolte : Found sisters and liberated bride. Kudrunepos and ballads. Stuttgart: Helfant 1988. (ISBN  3925184341 )
• Kerstin Schmitt: “Old Kämpen – Young Knights. Heroic masculinity designs in the ‘Kudrun'”. In: 7. Pöchlarner heroic song discussion. Middle High German heroic poetry outside the Nibelungen and Dietrichkreis (Kudrun, Ornit, Waltharius, Wolfdietriche). éd. Par Klaus hammered. Wien: Fassbender 2003, S. 191-212.
• Kerstin Schmitt: Montage poetics. Figure concept and intertextuality in the ‘kudrun’. Berlin: Erich Schmidt 2002. (ISBN  3-503-06142-8 )
• Ursula Schulze: ‘Nibelungen’ and ‘Kudrun’. In: Epic fabrics of the Middle Ages. Éd. Par Volker Mertens et Ulrich Müller. Stuttgart: Kröner 1984, pp. 111-140.
• Stackmann, Karl: “Kudrun”. In: Author lexicon, volume 5. Second edition. Berlin/New York: de Gruyter 1999, pp. 410-426.
• Ludwig Wolff,: “The Kudrunlied. After a lecture”. In: Nibelungenlied and Kudrun. Éd. Par Heinz Rupp. Darmstadt: Scientific Book Society 1976 (= ways of research; Vol. 54), pp. 435-454. (ISBN  3-534-02808-2 )

Modern editions [ modifier | Modifier and code ]

• Submar , Partial edition of André Moret with introduction, notes and glossary, Aubier-Montaigne, 1955, coll. Library of German philology, Volume XVIII, 258 p.
• Channels. ed. Criticism of Karl Stackmann according to the text established by Karl Bartsch. Tübingen, ed. Niemeyer 2000. (ISBN  3-484-20215-7-7 )
• Kudrun. (Bilingual edition average high German/modern German). Text established, annotated and commented on by Uta Störmer-Caysa. Stuttgart: ed. Reclam 2010. (ISBN  978-3-15-018639-8 ) (OCLC 641458089 )

Translations [ modifier | Modifier and code ]

• Gudrune, poem of XII ^{It is} century ^{[ 5 ]} , translated from German by Roger de Rocmont. Paris, Ernest Flammarion, 1905, 349 p.