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The medieval German poet called Neidhart is one of the most important poets of his time. Set in the village among peasant maidens and their boorish male counterparts, Neidhart's satirical songs stand in marked contrast to courtly love song and enrich our understanding of medieval literary culture. This book presents for the first time annotated English translations of a substantial collection of songs attributed to this prolific poet. Its source is the thirteenth-century Riedegg manuscript, the oldest extensive collection of songs attributed to Neidhart. This book presents a representative survey of the songs in order to make this material accessible to a broad audience of students and scholars of medieval studies.
Kathryn Starkey is Professor of German Studies at Stanford University. Her research interests include medieval German literature, history of the book, and visual culture. She is the author of A Courtier's Mirror: Cultivating Elite Identity in Thomasin von Zerclaere's "Welscher Gast" (2013) and Reading the Medieval Book. Word, Image, and Performance in Wolfram von Eschenbach's "Willehalm" (2004). Edith Wenzel is Professor Emerita for Medieval German Language and Literature. Her fields of research include Jews and Christians in Medieval Europe, gender studies, medieval poetry, Neidhart, and Neithardiana. She is author of Do worden die Judden alle geschant - Rolle und Funktion der Juden in spatmittelalterlichen Spielen (1992) and Zur Textkritik und Uberlieferungsgeschichte einiger Sommerlieder Neidharts (1973).
Introduction The Neidhart Songs and Their Manuscript Transmission Manuscript R Textual Criticism and Neidhart Editions Who was Neidhart? Neidhart's Subgenres, Motifs, and Poetic Language Seasonal Openings: Summer and Winter Songs Peasants and Neidhart's Rustic World Friderun, Engelmar, and the Theft of the Mirror Conversations between Girlfriends Mother-Daughter Dialogues Dancing Neidhart Reception in the Literature of the Fifteenth and Sixteenth Centuries Neidhart Reception in Images of the Fourteenth to the Sixteenth Centuries Notes on this Edition, Translation, and Commentary Selected Songs from the Riedegg Manuscript Appendix: Concordance