Für eine korrekte Darstellung dieser Seite benötigen Sie einen XHTML-standardkonformen Browser, der die Darstellung von CSS-Dateien zulässt.

Lili - Heft 114

Thema: Traurige Helden

Herausgeber dieses Heftes:
Wolfgang Haubrichs


Tomas Tomasek
Überlegungen zum truren im Tristan Gottfrieds von Straßburg
Reflections on truren in Gottfried's of Straßburg Tristan

Klaus Ridder
Parzivals schmerzliche Erinnerung - Parzival's Sad Remenbrance

W. Günther Rohr
Willehalms maßlose Trauer - Willehalm's Boundless Grief

Andreas Kraß
Achill und Patroclus. Freundschaft und Tod in den Trojaromanen Benoits de Sainte-Maure, Herborts von Fritzlar und Konrads von Würzburg
Achill and Patroclus. Friendship and Death in the Trojan Novels of Benoit de Sainte-Maure, Herbort of Fritzlar and Konrad of Würzburg

Jürgen Schulz-Grobert
Ulenspiegel und seine traurigen Brüder. Prototypische Figurenprofile bei Äsop und Niemand
Ulenspiegel and his Sad Brothers. Prototypical Characters in Äsop and Niemand

Maria E. Brunner
»Weder einen Platz noch eine Feuerstelle haben«: Traurige Helden in der Migrationsliteratur von Franco Biondi
»Wether to have a site nor a fireplace» - Mourning Heroes of the Migrationsliterature of Franco Biondi


Holger Falk-Trübenbach
Strukturelle Beziehungen in den »Hymnen an die Nacht«

Mark Schweda
Uwe Johnsons Jahrestage und Ingeborg Bachmanns Todesarten - Eine Zusammenschau.

Markus Stock
Die unmögliche Empörung des Sängers.
Zu Heinrichs von Morungen »ich wil ein reise« und Burkharts von Hohenfels »Mich müet daz so manger sprichet«



This essay argues that truren in Gottfried's Tristan does not solely represent a feeling of deep sadness, but that there are different ways of truren ranging from solitary melancholy (Marke) to a disinterested minnetruren (Isolde). Gottfried's truren-concept also gives some indications of the way his work was supposed to be received by his mediaeval audience.


Parzival’s grief is a response to his unfulfilled love for Condwiramurs and to his failure at the Grail Castle. Wolfram depicts this loss as an experience of sorrowful memory which determines the hero’s way throughout the romance. It is only after the transcendental experience, only after he has become Grail King, that he succeeds in overcoming his sorrow. The hero’s remembrance, the structure of memory and the finale scene, in which what was thought to be lost is reintegrated into the narrative present, point to the poetics of remembrance and forgetting which is central to the romance.


After the victory of the Christians on the Field of Alischanz Willehalm mourns Rennewart, who is missing. His grief is beyond all bounds because he fears that Rennewart is damned and that with Rennewart all hope of a peaceful future is lost. Rennewart was especially predestined to initiate such a future 1) because he had Vivianz' klârheit, without however being his ideal embodiment, 2) because he had Anfortas' divine gift of klârheit, which however could only have born fruit after his baptism, 3) because he took on Willehalm's belligerent attitude but was at the same time inspired by klârheit as a promise of a better future. Although Rennewart, who embodied hope for the future, fought on the side of the Christians, there remain in the end only grief and the continuation of the bloody battles.


Vernacular medieval novels about the Trojan War present the relationship between Achill and Patroclus as an example of a particular concept of knightly friendship (Ch. 1). Like Aelred de Rievaulx in his book on spiritual friendship (Ch. 2), the authors employ the discursive license of grief to offer a mystically founded definition of male friendship and love. Lamenting over his dead friend Achill confesses: »I was you and you were me» (Ch. 4). While both Benoît and Herbort depict Achill and Patroclus only as ›brothers in arms‹, Konrad emphasizes the exclusiveness of their lifetime bond by adding the story of their shared youth (Ch. 3). The definition of friendship as a personal union between two men implies a subversive potential to which these novels respond. This potential lies in the precarious affinity to male homosexuality (Ch. 5) and in the rivalry to heterosexual love (Ch. 6).


Not only the heroes of the late medieval genre Schwankroman such as Stricker's ›Pfaffe Amis‹ or Philipp Frankfurter's ›Pfarrer vom Kalenberg‹, but also sad heroes like the an-cient slave and fabulist Äsop belong to the group of early prototypes of the ›Eulenspiegel‹-character. This shows a comparison of an Early New High German prose Äsop-Vita by Heinrich Steinhöwel (1476/77) with the Strasbourg ›Eulen-spiegelbuch‹ (1515). In this context one has to ask the question about their roles in the early history of the gen-re Schelmenroman.


In the texts of F. Biondi there is stated in the center, aside of the trial of a positive semantic termination of the concept of the stranger as a mourning hero, the unavoidable return into the home country. Also a theme in these texts are the quite everyday racism of the society and the split-up identity of the Migrants. In the 'Irreconcilables' of F.Biondi the looking after a lost identity of the mourning hero has not just led to a shifting of himself, but also to a change. The same can be said of Biondi's language of literature (which is not his maternal language) and shows an aura of the being-different; the mourning hero in the 'Irreconcilables' at least accepts his status as everlasting-stranger, his exilated body who can just inhabit the foreign, finally still finds an satisfactory explanation for its nomad-kinded kind of living. The here presented migrant-authors deliver the even still unsecured but yet only possible image of a migrant as a mourning hero, who's place is a kind of 'third space' between languages and cultures of the origin country and the host country.