Minnesang

Meaning of the term

The term “minnesang” was introduced into frequent use by German philologists in the 18th century ^{[3] [16]} and goes back to the Middle High German “minne” - love and “sang” - song ^[7] . For the first time this term was used approx. 1195 German poet Hartmann von Aue ^[5] . Initially, it was used only to refer to songs associated with courtesan love, but later it spread to all poetry accompanied by music and began to include songs on political, moral and religious topics ^[5] . Thus, in a broad sense, the Minnesang combines several lyrical genres: secular knightly poetry, which has the same sources as the love poetry of the vagantas , as well as the political and socially instructive poetry of the spiers , and the later rural courtly poetry. In the narrow sense, the Minnesang is understood as a very specific genre of courteous literature , which arose under the influence of the troubadours of Provence , France and Flanders - German knightly lyrics ^[3] . The concept of “minne” is equivalent to a sublime “refined love” ( French Fin'Amors ) ^[5] , which was an integral element of the courteous culture that penetrated into Germany in the 2nd half of the 12th century .

The structure, genres and forms of minnesang

The rhythmic and structural basis of the minnesang is a stanza song ( cf.-v.-German. Liet ), consisting of one or more identical stanzas ^[4] . There are such thematic varieties of songs as dance, morning, love, female and song about the Crusade ^{[5] [11]} . In this case, both monological and dialogical forms of presentation are used. The latter ( German Wechsel ; lit. - "alternation") is an exchange of stanzas between the knight and his Lady. Actively cultivated by minnesingers was also a non- trophic shrukh ( German: Spruch ), which they perceived from shpilman and became the main form of political, didactic and satirical poetry. To a lesser extent, a Leich ( German: Leich ) was used, which was a complex combination of stanzas of various structures and related in origin to the Latin anthem .

Dance song

( cf.- german . Tanzliet ).

Women's song

( nr . German: Frauenliet, Mädchenliet )

Love Song

( cf.- german . Minneliet, Werbeliet ).

Morning Song

The morning song ( cf. German.Tageliet ) is a dialogue of lovers at dawn before parting and resembles a Provencal album . However, unlike the album, the main attention is paid to the image of the heroine’s experiences, doomed to separation from her beloved. In addition, the German “song at dawn” lacks some motives and images, in particular, the image of a jealous husband ^[5] ; the lovers are not awakened by a guard announcing the morning, or a faithful friend guarding their peace, but by a bird. The earliest morning song that has survived is attributed to Dietmar von Aist :

The processing of the motives of the morning song in the form of a dialogue between the knight and his Lady belongs to Heinrich von Morungen :

In contrast to the album, which occupied a secondary place in troubadour poetry, the morning song is widely spread among the minnesingers and becomes the favorite lyrical form of Wolfram von Eschenbach , who left 5 samples of this genre, in particular this one in which the third protagonist is introduced for the first time in minnesang - the guard dialogue with Dama ^[19] :

Song of the Crusade

A song about the Crusade ^[5] ( cf. German ) Kreuzliet , or “Crusade Song” ^{[7] [11]} calls for participation in the crusade and depicts the crusader’s experiences associated with a sense of Christian duty, the need to leave the beloved for the sake of knightly service to God. The theme of the Crusades was popular among minnesingers at an early stage in the development of the genre. It gained its distribution in preparation for the Third Crusade in 1187 ^[5] . Among the crusader poets, in addition to Friedrich von Hausen , the pioneer of this trend, Albrecht von Johansdorf , Heinrich von Rugge and Hartmann von Aue are also known ^[7] . Thus, the hero of Frederick von Hausen is deeply experiencing a breakup with the Lady, but it is inevitable for him, since only in the service of Christ does the knight see the way to the salvation of the soul. The same anguish is noticeable in the works of Albrecht von Johansdorf.

Religious fanaticism clearly appears in the works of a number of minnesingers. So, the songs of Heinrich von Rugge are filled with contempt for worldly fuss, and his contemporary Hartmann von Aue preaches an ascetic lifestyle and glorifies the acts of the crusaders ^[7] .

Spruch

Spruch (cf.-v. German: Spruch ) is a poetic saying of a didactic property that has folk roots and is typical mainly for the repertoire of wandering professional singers of non-royal origin ^[6] . The subject matter of the sprat touched the most diverse spheres of human life: friendship, love, wealth, life, religion, and politics. At the end of the sprat there is an instructive conclusion in the form of a maxim or proverb . A striking example of the lyrics of this genre is the work of Sperfogel :

Leich

Leich ( cf.-v. German Leich ) is notable for the large volume and complexity of the structure: the lines (their number could reach several hundred), included in short stanzas (usually couplets) were sung by one motive, but each stanza had its own a melody. It is assumed that the first Leich writer was one of the early minnesingers, Friedrich von Hausen , who built his works in the image of a sequence ^[5] .

The appearance of the minnesang was due to the general upsurge of secular culture in Germany at the turn of the 12th - 13th centuries. The first literary monuments of the Minnesang dating back to the last quarter of the 12th century indicate the completion of the merger of miniseries and free nobility into a single privileged estate - chivalry ^[3] . The high social status of the poet is indicated, firstly, by manuscripts that have preserved German poetry, which mention the titles of the authors ( emperor , duke , count , margrave ). Secondly, this is evidenced by the language and the figurative system of love lyrics born of knightly culture: the praise of chivalry and its opposition to the peasantry, the transfer of relations between the vassal and the lord to the love relations between the knight and his beautiful Lady, expressed in her service, as well as knightly " arrogance ”( German hôhvart ) ^[3] . In addition, the appeal in the poetry of minnesingers directly to the court audience reveals that the authors belong to the feudal court. So, the works of such representatives of the highest feudal nobility as Emperor Henry VI , adviser to the imperial court, Friedrich von Hausen , Count of Neuenburg Rudolf von Fenis and Margrave Heinrich Meissen , have survived to our days. Numerous miniatures of the Heidelberg and Weingarten manuscripts show minnesingers at knightly tournaments, hunting, at a feast with a glass of wine, with a sweetheart, each of which is depicted with a coat of arms - a sign of belonging to the aristocracy ^[5] . In the XIII century , representatives of a new class of professional poets with a more modest social status penetrated into the court environment. Their main part was made up of miniseries belonging to the lower strata of the nobility and essentially dependent on the patronage of larger feudal lords. Having a relatively stable position in society as court "entertainers", the minnesingers ( Heinrich von Feldeke , Wolfram von Eschenbach , Walter von der Vogelweide ) moved from one European court to another and received remuneration for their work -

Some of them participated in the Crusades ( Friedrich von Hausen , Hartmann von Aue , Reinmar von Hagenau ). Most minnesingers themselves accompanied themselves with musical instruments, but some were accompanied by musicians ( Ulrich von Liechtenstein ) ^[5] .

In the 14th century, the ministry poetry of the Minnesingers was replaced by the song lyrics of the burgherstvo - the Meisterszang .

Periodization

Three ^{[6] [7] [Note. 1] the} most important major periods:

1. The Early Minnesang ( 1150s - the end of the 12th century), at the initial stage of which the influence of the heroic epic and folk songs is still noticeable, and somewhat later, from about 1180 - 1190 , Provencal and Northern French lyric traditions predominate ^{[2] [5]} .
2. The classic Minnesang (early 13th century - 1230s ), which was the greatest flowering of German knightly lyrics.
3. The Late Minnesang ( 1230s - the end of the 13th century), which is characterized by a gradual decline in the work of the Minnesingers, its degeneration into epigones , and the appearance of burgher literature .

Early Minnesang

The early samples of the minnesang dating back to the 1170th years differ from each other both in content and in form. Around this time, almost simultaneously, two directions of a chivalrous love song arise. One, more archaic in its style, has folklore roots and is not affected by the ideas of knightly service to the Lady. Another courtesy trend owes its origin to the direct influence of the Provencal Troubadours and the Northern French Truvers and is subject to the requirements of "refined love" ^{[2] [6] [12]} .

Popular

The “folk”, or as German literary scholars call it, the “domestic” line of minnesang originated, presumably, in the 1150s ^[4] in the southeast, in Austria ^[7] , where national traditions still dominated by that time, and influence courteous culture had a very superficial character ^{[5] [6] [25]} , and by the 1170s it spread to Bavaria , Swabia , Thuringia and Switzerland ^{[4] [5] [7]} . The most typical representatives of this trend are Kurenberg , Dietmar von Aist , Meinloch von Sefelingen and Sperfogel .
The creativity of the first Minnesingers is still relatively free from the courtly canons of the Provençal-French lyrics and bears traces of original origin ^{[2] [4] [5] [7]} . This is evidenced by the archaic style of versification and traditional poetic images dating back to folk song and heroic epic . So, poems, as a rule, are one-stropic , characterized by paired, often inaccurate rhymes , a simple metric and accent structure; in the works of Kurenberg there is the so-called " Nibelungen stanza " ^{[Note. 2]} :

In addition, the concept of love of early poets is significantly different from the doctrine of courtesy service to the Lady. Poets of national direction sing

Many songs are composed in the original lyrical genre of “female song”, often addressed specifically to a young unmarried woman, a girl complaining about loneliness and leaving her lover. Love languor, longing for a lover are considered the lot of women, a man, as a rule, is portrayed as a proud and domineering knight, a winner in a love struggle ^[6] . Traditional folklore images are used: for example, the happy or woeful experiences of heroes are embodied in images of spring or autumn; a man is compared to a falcon, and a woman is compared to a rose.

At the same time, in the work of a number of poets of the national direction, certain courteous elements are already appearing. Thus, a man’s love is depicted as a painful feeling for a beautiful Lady, as worship and faithful service to her ^[7] :

Such a genre variety of minnesang as spruch also has a folk origin. The collection of one-sided spruch dating from the years 1160 - 1170 is preserved under the name of Sperfogel . In the verses of Sperfogel , other representatives of this didactic genre are also mentioned, which testifies to its wide distribution among minnesingers ^[6] .

Courtesy Direction

The "courtesy" or "court" direction of the minesang appeared in the 1170s ^[6] in the western, most developed Rhine lands of Germany , by which time they had already experienced the influence of Provencal and French culture and adopted the secular way of life of the feudal courts. The founders of this trend are considered to be Heinrich von Feldeke and Friedrich von Hausen . In the 1180s - 1190s , it spreads eastward and by the end of the 12th century covers the whole of Germany , manifesting itself in the works of poets such as Heinrich von Morungen and Reinmar von Hagenau ^{[7] [19]} . It was during this period that the Minnesang, as a genre of German knightly lyrics, became art, moreover, an entertaining art ^{[Note. 3]} , consistent with the trends of secular feudal culture and expressed in the work of professional court singers ^[7] . Refined court poetry is characterized by a certain degree of conventionality generated by the specifics of secular etiquette. Its central concept is “high love” ( cf. German) hôhiu minne , the essence of which is decency and virtue ^[7] .

In the works of the minnesingers of the courtesy direction

The heroes of the courtly love songs are directly opposite to the heroes of the "domestic" minnesang. So, an active protagonist becomes a woman, a mistress, or a Lady ( cf. German ) frouwe - it is on her that the happiness and fate of a man depends, the latter suffers from loneliness, accuses his eyes of his love of languor, complains of indifference to his feelings and praises his mistress, whose supportive smile is his highest reward, and the opportunity to be with her and serve her is the limit of all dreams.

Conventionality is also inherent in the style of court minnesingers ^[7] : a limited vocabulary, stable formulas of courtesy and turns drawn from other literary sources are nothing more than a tribute to the secular way of life. The experiences of the heroes are revealed, usually in lyrical form, from the first person. Повествовательный сюжет, драматическая ситуация, традиционные фольклорные образы, свойственные песням народного стиля, сменяются абстрактной диалектикой куртуазного служения ^[6] . Так, томлению по недосягаемой возлюбленной сопутствует страх исполнения заветной мечты оказаться рядом с ней; мучительное, зачастую безответное чувство, живёт наряду с радостью страдания; красота Дамы противопоставляется её гордости и жестокосердию ^[6] , а долг «рыцаря Христа», обязывающий отправиться на войну с «язычниками», противостоит страстному желанию остаться с избранницей ^[7] .

Куртуазное служение ( ср.-в.-нем. minnedienst ) представляет собой аналогию вассальной службы сеньору ( ср.-в.-нем. herrendienst ). Придворный певец является слугой Дамы ( ср.-в.-нем. dienstman ), чью милость ( ср.-в.-нем. hulde ) он стремится снискать своей верностью ( ср.-в.-нем. triuwe ) ^[5] . Wherein

Так, Генрих фон Морунген перечисляет куртуазные добродетели своей Дамы: «благородная», «воспитанная», «чистая», «нежная», «добрая», «радостная», «весёлая», «мудрая», «правдивая». Однако, в отличие от поэтов народного направления, которые постоянно использовали такие абстрактные эпитеты для описания своей возлюбленной, Генрих фон Морунген, прибегает к более точным и изысканным формулировкам. Так, он говорит, что «её добродетель подобна солнцу, которое озараяет мрачные тучи». Ко всему прочему, он передает красоту своей избранницы непосредственно: «тонкий стан», «белая шея», «сладостные губы»; часто прибегает к метафорам : «нежный радостный май», «безоблачный солнечный свет», «венец всех женщин». Подобная утончённость поэтического стиля свидетельствует о дальнейшей аристократизации миннезанга ^[6]

Куртуазное поклонение Даме граничит с культом Девы Марии ^[2] , прославлению которой посвящена значительная часть лирики миннезингеров ^[5] . Введение таких мотивов духовной поэзии, как добродетель и милость, создает идеализированный образ прекрасной Дамы и превращает его

Этот символизм усугубляется тем, что любовь к Даме, желание быть с ней и служить ей, зачастую называются грехом, ловушкой, которая непременно погубит несчастного влюблённого. При этом автор, как правило, сам признается в этом и просит Бога о прощении:

Но тут же оправдывает себя мыслью о том, что его прекрасная возлюбленная — дело рук Божьих ^{[Прим. 4]} :

И, страдая от безответности своего чувства, потеряв всякую надежду на благосклонность с её стороны, принимает решение:

Иногда на греховность помыслов певцу указывает объект его почитания:

Кроме того, в своих произведениях поэт подчас противопоставляет совершенный, нетленный, практически неземной образ возлюбленной самому себе, простому, смертному, грешному человеку. Так, Генрих фон Морунген, перечисляя добродетели своей Дамы, считает, что он «не стоит таких совершенств», утверждает, что «смешно ей [Даме] было… глядеть, не зная, кто таков, перед ней стоит уныло», называет себя «чудаком из чудаков». Свою избранницу он именует «королевой», «Афродитой», «Венерой», «святыней». Таким образом подчёркивается высокая одухотворённость той, служению которой посвящает себя миннезингер.

Влияние провансальской и северофранцузской лирики на творчество ранних миннезингеров выразилось в заимствовании последними не только идей и мотивов куртуазной любви, но и отдельных элементов романского стиля стихосложения. Так, произведения, как правило, объемные и многострофные, характеризуются точными рифмами, строгой метрикой и силлабической структурой ^{[6] [7]} . Строфы имеют сложное, обычно трёхчастное строение ^{[5] [6] [7]} , и могут включать до 12 строк ^[5] . При этом первые две части строфы ( ср.-в.-нем. stollen ) идентичны, имеют единую схему и сопровождаются одной мелодией, а в заключительной части ( ср.-в.-нем. аbgesang ) вводится другая схема рифм и новая мелодия ^[5] . Традиционная для немецкой поэзии долгая строка перестает существовать, распадаясь на два полностью обособившихся полустишья. Строки и полустрочия рифмуются разнообразно. Ударения чередуются регулярно, появляются многосложные стопы.

Классический миннезанг

С ростом классового самосознания рыцарства и усилением культурного обмена в средневековой Европе развивается и творчество миннезингеров. Большое влияние на миннезанг оказало творчество трубадуров Прованса , Франции и Фландрии . К XIII в. миннезанг принимает форму, определяемую узким значением термина, как яркий образец формального искусства с чётко установленными элементами: вымышленными любовными чувствами и определённым сюжетом. Мастерство миннезингера заключается в виртуозном владении этими элементами. Классический этап в развитии миннезанга представляют Вальтер фон дер Фогельвейде , Вольфрам фон Эшенбах и другие.

Поздний миннезанг

Вслед за расцветом в XIII в. быстро наступает упадок миннезанга. Ограниченная тематика куртуазной лирики с развитием средневекового общества была вытеснена политической сатирой Вальтера фон дер Фогельвейде, народными песнями Нейдхарта и Готфрида фон Нейфена .

Тем не менее, куртуазный миннезанг остался в истории литературы и даже возродился в рыцарской лирике XV в., подражавшей миннезингерам. «Последними миннезингерами» стали Гуго фон Монфорт (1357—1423) и Освальд фон Волькенштейн (1369—1445).

До начала XVI в. музыкальное искусство миннезингеров (как и родственных им трубадуров и труверов) принадлежало устной традиции. По этой причине распевы стихов раннего и классического периодов не сохранились. Судя по дошедшим до нас нотированным рукописям (песни Нейдхарта фон Ройенталя , Фрауэнлоба , Освальда фон Волькенштейна , Вислава Рюгенского и некоторых других миннезингеров), музыка была одно голосной (редко двух голосной), со свободным «декламационным» ритмом (в рукописях ритмических знаков нотации нет). Пение миннезингеров сопровождалось богато украшенной , витиеватой импровизацией на арфе , фиделе и других струнных инструментах.

The basis of the sound-altitude structure of the minesang is the melody-model , the so-called “tone” ^[28] . The stereotypical “tone” was repeatedly re-texted (used for various verses) according to the principle of counterfeiting , similarly to the compositional principle of troubadours and (especially) truvers. For example, Frauenlob used the “long tone” (original term) of his own composition 122 times. About 200 times it is also noted in the works of other masters of the minnesang. “Tones” were given beautiful and metaphorical names. Among others, there were “green”, “forgotten”, “gentle” tones, and even a “fan” (Würgendrüssel), so named because of its extraordinary range (about two octaves ).

In some cases, exact prototypes (except for troubadours and truvers) are set for Minnesinger melodies in the French monodic song, less often in the repertoire of the Gregorian choir of Catholics and Italian paraliturgical songs .

The form of all Minnesang song genres is textual and musical (the musical structure is dictated by the structure of the verse ). The coordination of poetry and music in stanza forms was ensured by the structure, later called the bar . In a large-scale leikh (as in its French prototype le ), melodic development is cross-cutting ( refrain sometimes happens).

Old Editions

It is believed that the first recordings of the works of minnesingers were not made by the authors themselves, because, despite being a member of the knightly class, they often could not read and write: as a rule, scribes were entrusted with the scribes ^[29] . However, the Minnesang received its distribution thanks to the spiers - wandering actors who watched the minnesinger performances before the feudal nobility and compiled small collections of their songs for themselves. These collections, incomplete and inaccurate, have not reached our days, but it is assumed that they served as the basis for the first manuscript editions of German courtly poetry ^[29] .

Creativity minnesingers preserved to this day in medieval manuscripts that appeared in the late XIII - early XIV centuries . The most complete of them is the Great Heidelberg Manuscript, also known as the Codex of Manes and containing the texts of one hundred and forty authors ^[29] . The oldest publication is the Small Heidelberg Manuscript , which includes a collection of songs from thirty-four Minnesingers. The Weingarten manuscript contains thirty works, and the Big Jena manuscript contains twenty-nine poets. The latter, in addition to poems, includes notes. Notes are also contained in the Vienna and Colmar manuscripts. Several songs in the minnesang genre can be found in the manuscript known as “ Carmina Burana ”.

Scientific Research

The scientific interest in the poetry of minnesingers begins to manifest itself from the middle of the 18th century ^[29] . In 1758, on the initiative of the Swiss philologists I. Ya. Bodmer and I. Ya. Braitinger , the Great Heidelberg Manuscript was almost completely reprinted. The new edition consisted of two volumes and came out under the title “Collection of songs by the Minnesingers of the Swabian period” ^[31] . Earlier, in 1748 , part of the manuscript was issued by them under the title “Samples of Swabian Poetry of the XIII Century” ^[32] .

In 1803, an article appeared “Love Songs of German Minnesingers,” authored by a German poet, writer, and translator L. I. Tieck .

The German poet, a representative of the so-called “Swabian school” L. Uland, was engaged in scientific research in the field of minnesang. In 1822 his book “Walter von der Vogelweide, the Old German poet” saw the light of the day ^[33] . A significant part of his other book, Materials on the History of German Poetry and Sagas, is devoted to the legacy of the minnesingers ^[34] .

In 1838, a full edition of the Manes Code was published under the name Minnesinger ^[35] . It was presented by the German philologist F.G. von der Hagen and consisted of four parts.

In the mid-19th century, the German philologist C. Lachmann developed the periodization of German courtly poetry, highlighting such stages in the history of the development of the genre as “spring”, “summer” and “autumn”. In 1857, on the basis of his research, the German philologist Moritz Haupt prepared a textbook entitled “Minnesang Spring” ^[36] , which includes texts of minnesinger poems and scientific commentaries on them. The collection survived several reprints in the 19th and 20th centuries : K. Barch and G. Pfaff made a number of additions and biographical notes to it.

The work of the German cultural historian and literary critic V. Dilthey “On German poetry and music. Studies on the history of the German spirit ” ^[37] .

Translations

To German

The first translations of the works of Minnesingers from Middle High German to modern German appeared in the 17th century. Hoffmann von Hoffmannswaldau was the first translator of Walter von der Vogelweide's love songs ^[29] .

In 1803, the book “Love songs of the Swabian era” ^[38] saw the light, which included translations by L. I. Tik.

To Russian

The poetry of minnesingers in Russian appeared only in the second half of the 19th century . It was first presented by N. V. Gerbel in the book “German Poets in Biographies and Samples” ^[39] , published in St. Petersburg in 1877 . The book contains translations of love songs by Dietmar von Aist, Heinrich von Feldeke and Walter von der Vogelweide, made by D. Minaev . At the beginning of the 20th century, K. A. Ivanov was engaged in the translation of the works of minnesingers. In 1915, they were published in his book "Troubadours, Truvers and Minnesingers" ^[2] . A major publication of German knightly lyrics in Russian is the “Reading Book on Foreign Literature of the Middle Ages” ^[40] , compiled by B. I. Purishev and R. O. Schor in 1953 , later revised and supplemented ^{[Note. 5] [11]} . Among other things, it included the songs of Kurenberg, Friedrich von Hausen, Hartmann von Aue, Heinrich von Morungen, Reinmar von Hagenau, Wolfram von Eschenbach, Neidhart von Royenthal and Gottfried von Neufen in the translations of B. Jarho , O. Rumer , R. Shore. However, the most complete works of the German “singers of love” is the volume “Poetry of the Troubadours. The poetry of the minnesingers. Vagant's Poetry ”, which was included in the series“ Library of World Literature ”and saw the light in 1974 ^[19] . The work on the book, which included translations by V. Mikushevich , A. Isaeva, I. Gritskova, P. Grebelnaya, V. Levin, O. Chukhontsev, Yu. Morits , was also attended by B. I. Purishev, who wrote the preface to the publication .

The Meistersinger called Minnesingers the old masters (alte Meister) and considered their work a role model.

The image of the minnesinger (Wolfram von Eschenbach) is embodied in the opera Tannhäuser by Richard Wagner .

• Troubadours
• Truvers
• Troubadours of the Pyrenees
• Books of songs of the Middle Ages and Renaissance

In Russian

• Alekseev M.P., Zhirmunsky V.M. et al. History of foreign literature. Middle Ages and Renaissance. - M .: Higher. school, 1987 .-- 415 p.
• Veselovsky A.N. Historical poetics. - M .: Higher. school, 2010 .-- 648 p. - ISBN 978-5-382-01104-2 .
• Gerbel N.V. Nometskіe poets in biographies and samples. - SPb. : Printing house of V. Bezobrazov, 1877 .-- 688 p.
• Zhirmunsky V. M., Purishev B. I. et al. History of German literature in 5 vols. - M .: Publishing House of the Academy of Sciences of the USSR, 1962. - T. 1. - 470 p.
• Ivanov K. A. Troubadours, Truvers and Minnesingers. - Pg. : Tipolithography by M.P. Frolova, 1915 .-- 348 p.
• Kvyatkovsky A.P. Minnesang. Minnesingers // Poetic Dictionary / Scientific. ed. I. Rodnyanskaya .. - M .: Sov. Encycl., 1966 .-- 376 p.
• Livanova T. N. History of Western European music until 1789 in 2 vols. - M .: Music, 1983. - T. 1. - 696 p.
• Matyushina I. G. Minnesingers // Dictionary of Medieval Culture / Pod. ed. A. Ya. Gurevich .. - M .: ROSSPEN, 2003 .-- 664 p. - (Summa Culturologiae). - ISBN 5-8243-0410-6 .
• Pronin V. A. History of German literature: Textbook for universities. - M .: Logos, 2007 .-- 384 p. - (New University Library). - 1500 copies - ISBN 5-98704-113-9 .
• Purishev B.I. Lyric poetry of the Middle Ages // Poetry of the troubadours. The poetry of the minnesingers. Vagant poetry / comp. Purishev B. And .. - M .: Fiction, 1974. - V. 23. - S. 5-28. - 348 p. - ( BVL ).
• Purishev B. I. Foreign literature of the Middle Ages: anthology / comp. Purishev B. And .. - M .: Higher school, 2004 .-- 816 p.
• Samarin R. M., Mikhailov A. D. German courtesan lyrics // History of World Literature in 8 vols. - M .: Science, Academy of Sciences of the USSR; Institute of World Literature them. A.M. Gorky., 1984.- T. 2.
• Storozhenko N.I. Essay on the history of Western European literature: lectures, readings at Moscow Universityѣ. - M .: Printing house of G. Lissner and D. Sobko, 1908. - 416 p.
• Shor R.O. Courtyard literature // Literary Encyclopedia in 11 vols. - M .: Owls. Encycl., 1934 .-- T. 7.

In German

• Bartsch K. Deutsche liederdichter des XII bis XIV jhs. - Lpz .: Göschen, 1864 .-- 407 s.
• Bartsch K. Die schweizer Minnesänger. - J. Huber, 1886 .-- 474 s.
• Bielschowsky A. Geschichte der deutschen dorfpoesie im XIII jahrhundert. - Berlin: Mayer & Müller, 1891. - 294 s.
• Burdach K. Über den Ursprung des mittelalterlichen Minnesangs, Liebesromans und Frauendienstes. - Berlin: G. Reimer, 1918 .-- 63 s.
• Burdach K. Vorspiel. - Saale, 1925.
• Lachmann K., Haupt M. Des Minnesangs Frühling. - Lpz .: S. Hirzel, 1857 .-- 340 s.
• Mohr F. Das unhöfische Element in der mittelhochdeutschen Lyrik. - Tübingen, 1913. - 135 s.
• Pfaff F. Der Minnesang des XII bis XIV Jahrhunderts. - Stg .: Union, 1892. - Vol. 1.
• Pfaff F. Die grosse Heidelberger Liederhandschrift. - Hdbg .: C. Winter, 1899.
• Pfeiffer F. Die alte Heidelberger Liederhandschrift. - Stg .: Lit. Verein, 1844 .-- 295 s.
• Pfeiffer F. Die Weingartner Liederhandschrift. - Stg .: Lit. Verein, 1843 .-- 338 s.
• Schönbach AE Die Anfänge des deutschen Minnesanges. - Graz: Leuschner & Lubensky's, 1898 .-- 129 s.
• Singer S. Neidhart-Studien. - Mohr, 1920 .-- 74 s.
• Stilgebauer E. Geschichte des minnesangs. - E. Felber, 1898 .-- 298 s.
• Wechssler E. Das Kulturproblem des Minnesanges. - 1909.
• Wilmanns W. Leben und Dichten Walthers von der Vogelweide. - Eduard Weber's Verlag, 1882 .-- 456 s.
• Schweikle G. Minnesang. Stuttgart, 1989. ISBN 9783476102447 .
• Willms E. Liebeslied und Sangeslust: Untersuchungen zyr deutschen Liebeslyrik des späten 12. und frühen 13. Jahrhunderts. München, 1990.
• Haferland H. Hohe Minne: Zur Beschreibung der Minnekanzone. Berlin: Erich Schmidt Verlag, 2000 .

Sources

• Kirpichnikov A.I. , Lovyagin A.M. Minnesingers and Meistersingers // Brockhaus and Efron Encyclopedic Dictionary : 86 volumes (82 volumes and 4 additional). - SPb. , 1890-1907.
• R. Shore . Minnezang // Literary Encyclopedia : 11 vol. - [ M. ], 1929-1939. (Rus.)
• Ivanov K. A. Minnesingers and the fate of the minnesang (Russian)
• Bibliotheca Augustana - the electronic library of Ulrich Harsch on the website of the University of Applied Sciences of Augsburg (German)