Condition: Sheet slightly stained due to age, otherwise good - see scan!
If you have any questions, please send an email - Questions, please send a mail.
Please also note my other offers!
Here are more motifs about German history!
I offer many other color prints, wood engravings, steel engravings and lithographs - please use the SHOP search. Shipping costs only apply once for multiple items purchased!
Documentation:
The Singers' War at the Wartburg or Wartburg War is a gradually growing collection of Middle High German song poems from the 13th century. Century about an alleged poetry competition at the Thuringian Wartburg. It is considered the most important example of Thuringian literary poetry. The Wartburg War reflects the literary flourishing at the court of Landgrave Hermann I around 1200. As a look back at this heyday, several decades later famous poets of this generation (Wolfram von Eschenbach, Walther von der Vogelweide) and fictional competitors (Klingsor as a fictional character from Wolfram's Parzival, Heinrich von Ofterdingen) were put into the mouths of dialogic verses from a singing competition. The oldest poems of the Wartburg War are the “Rätselspiel” (riddle competition between Klingsor and Wolfram von Eschenbach) and “Aurons Pfennig” (accusations against the clergy), both written in Black Tone around 1239. The “puzzle game” was preceded by this in the 2nd. Half of the 13th century "Prince's Praise", created in the 19th century, in 24 verses in the Thuringian princely tone, in which six singers (Heinrich von Ofterdingen, Walther von der Vogelweide, the virtuous writer, Biterolf, Reinmar von Zweter and Wolfram von Eschenbach) argue about it in front of the Landgrave and Landgravine of Thuringia , who knows how to praise the best prince in the best way. The defeated Heinrich von Ofterdingen finally receives permission to bring Klingsor, who is well versed in nigromancy, from Hungary, which leads to the “riddle game”. Also part of the Wartburg War are “Zabulon's Book” (Fürstenton, competition between Klingsor and Wolfram) and the “Father of the Dead” (Black Tone, mourning the death of the Landgrave and Count of Henneberg). There is no one Wartburg War, so to speak in a 'last edition'. Different versions were included in the large song manuscripts of the late Middle Ages (Codex Manesse, which also contains a miniature depicting the singers' dispute, Jena song manuscript, Kolmar song manuscript). Thuringian historians such as Dietrich von Apolda (after 1298) and Johannes Rothe (15th century) Century) draw a historical event from poetry. The poetry there remains indebted to the panegyrics of the Thuringian ruling dynasty, to which it owes its origin. The literary impact was obviously enormous. Until the 15th century The Wartburg War was rewritten and continued throughout the 19th century. So he documents the art and self-image of Meistersang. A version of the puzzle game with 32 verses appeared in the 14th century. Century the entrance to the Lohengrin novel, also written in black tone. As a result, Wolfram, one of the two players in the puzzle game, appears as the narrator of the entire novel. Karl Simrock made the still most common translation into New High German in 1858. The history of texts in modern times begins with the rediscovery of the Middle Ages in the 18th century. Century, whose pioneer JJ Bodmer can be considered. The Romantic era particularly relied on his minstrel edition. As an artist's tale from the German Middle Ages, in which the relationship between poetry and society was discussed, the legend gained great popularity in the Romantic era. The clearest signal of a new interest was Novalis's Heinrich von Ofterdingen (published in 1802), a highly conceived but unfinished poet's educational novel. While Novalis no longer organized the actual singing competition here, it is at the center of ETA Hoffmann's story The Battle of the Singers (1818) and Friedrich de la Motte Fouqué's poet play The Singers' War at the Wartburg (1828). The mythical sorcerer Klingsor, as an opponent of Christian sentiments, is the figure who made this attachment possible because he was able to embody the same demonic-sensual view of life and love that forced the late medieval Tannhäuser under the spell of the woman Venus. In the context of the rediscovery of the Wartburg as a symbolic place of German history and its restoration from 1838, Moritz von Schwind painted several rooms with frescoes on behalf of Grand Duke Carl Alexander between 1854 and 1856. The Singers' Conflict fresco is the largest of them. It makes the viewer believe that he is at the historically true location of the event. The inscription states: IN THIS HALL THE SINGER WAS HELD / THE 7TH OF JULY 1207 / THE BIRTHDAY OF SALVATION. ELIZABETH. In 1857 Carl Alexander commissioned the poet Joseph Victor von Scheffel to write a novel about the singers' war at the Wartburg. Scheffel ultimately fails with his large-scale project of an all-encompassing Wartburg novel, which was supposed to be the crowning glory of his work. However, he publishes some songs intended for the novel (Mrs. Aventiure. Songs from Heinrich von Ofterdingen's time, 1863) and a fragment of the novel as an independent novella (Juniperius, 1867). In the first half of the 20th century In the 19th century, the Wartburg War became the motif of various increasingly nationalistic novels such as Wilhelm Arminius' Wartburg-Kronen (1905), Wilhelm Kotzde-Kottenrodt's Wolfram (1920) or Rudolf Leonhard Heubner's Wolfram von Eschenbach (1934). In particular, they stylized Heinrich von Ofterdingen, the supposed author of the Nibelungenlied, as a German poet par excellence, who declared war on the “Welsh Minnetand” of Wolfram von Eschenbach and Walthers von der Vogelweide. The first stage play (according to Motte Fouqué) about the Wartburg War was premiered in 1903, Friedrich Lienhard's Heinrich von Ofterdingen, the first part of a Wartburg trilogy. In September 2002, a three-day medieval festival was held in the Palas at the Wartburg as a singing war. The artists, who appeared in medieval costumes, played with musical sounds and songs at the guest performance, which was sold out with around 900 visitors. In 2008, the rock band In Extremo used the Wartburg Singers' War as the theme for their album Sængerkrieg. In 2012, the author Robert Löhr published a new interpretation of the Singers' War saga with War of the Singers. The songwriter Reinhold Andert used the subject in his song Singers' War. He takes the side of Heinrich von Ofterdingen, because praising your own prince requires a lot of courage abroad. However, in the rest of the text he instrumentalizes the action in the spirit of current GDR cultural policy: Today, colleagues still like to sing on their knees when cheating, for a few foreign coins and places at academies.
Source: Wikipedia