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Der Eneasroman Heinrichs Von Veldeke Eine Analyse Der Dido-Eneas-Geschichte in Der Bilderhandschrift Berlin, Staatsbibliothek, Preußischer Kulturbesitz, Mgf 282

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Der Eneasroman Heinrichs Von Veldeke Eine Analyse Der Dido-Eneas-Geschichte in Der Bilderhandschrift Berlin, Staatsbibliothek, Preußischer Kulturbesitz, Mgf 282 Corso di Laurea magistrale in Scienze del Linguaggio Tesi di Laurea Der Eneasroman Heinrichs von Veldeke Eine Analyse der Dido-Eneas-Geschichte in der Bilderhandschrift Berlin, Staatsbibliothek, Preußischer Kulturbesitz, mgf 282 Relatrice Ch.ma Prof.ssa Anna Cappellotto Correlatore Ch. Prof. Massimiliano Bampi Laureanda Silvia Ballestrazzi Matricola 868019 Anno Accademico 2018 / 2019 Inhaltsverzeichnis Einleitung ...................................................................................................................................... 3 Kapitel I: Die Antikerezeption im Mittelalter ............................................................................... 9 1.1. Translatio imperii und translatio studii ............................................................................. 9 1.2 Die Rezeption der antiken Autoren ................................................................................... 10 1.3. Der thüringische Hof als Zentrum der Antikerezeption ................................................... 19 Kapitel II: Heinrich von Veldeke und sein Werk ........................................................................ 31 2.1. Die Servatiuslegende ........................................................................................................ 33 2.2 Die Lieder .......................................................................................................................... 35 2.3 Der Eneasroman ................................................................................................................ 36 2.3.1 Entstehungsgeschichte ............................................................................................... 36 2.3.2 Quellen ....................................................................................................................... 39 2.3.3 Überlieferungsgeschichte ........................................................................................... 45 2.3.4 Illustrierte Handschriften ............................................................................................ 52 Kapitel III: Der Eneasroman in dem Berlin, Staatsbibliothek, mgf 282 (Berliner Eneit) ........... 61 3.1 Geschichte der Handschrift ............................................................................................... 62 3.2 Ikonographischer Apparat ................................................................................................. 63 3.2.1 Das Problem der zeitlichen und örtlichen Lokalisierung ........................................... 64 3.2.2 Bildtechnik ................................................................................................................. 71 Figuren und Gestik .............................................................................................................. 72 Realia .................................................................................................................................. 73 Heraldik ............................................................................................................................... 75 3.2.3 Die Spruchbänder ........................................................................................................... 76 3.3 Ähnliche Illustrationszyklen ............................................................................................. 81 Kapitel IV: Die Dido-Eneas-Episode in der Berliner Eneit ........................................................ 93 4.1 Eneas und Dido in der antiken und spätantiken Literatur ................................................. 94 4.2 Narrative Entwicklung der Episode bei Veldeke .............................................................. 96 4.2.1. Erste Begegnung zwischen Eneas und Dido ............................................................. 97 4.2.2. Gastmahl ................................................................................................................... 99 4.2.3. Verliebtheit .............................................................................................................. 100 4.2.4. Jagd ......................................................................................................................... 102 4.2.5. Abschied .................................................................................................................. 103 4.2.6. Selbstmord der Dido ................................................................................................ 104 4.3 Die Abbildungen der Eneas-Dido-Geschichte in der Berliner Eneit ............................... 105 1 Masterarbeit 4.3.1 Didos Symptome der Liebe (fol. 11r, oben) ............................................................. 108 4.3.2 Dido stellt Anna zur Rede (fol. 11r, unten) .............................................................. 109 4.3.3 Die Abfahrt der Trojaner (fol. 17r, oben) ................................................................. 111 4.3.4 Dido schickt ihre Schwester weg (fol. 17r, unten) ................................................... 113 4.3.5 Selbstmord der Dido (fol. 17v, oben) ....................................................................... 114 4.3.6 Anna findet Didos Leiche (fol. 17v, unten) .............................................................. 116 4.4 Die Aeneis, Der Roman d’Eneas und Der Eneasroman: Ein Vergleich der Dido-Eneas- Episode .................................................................................................................................. 117 4.4.1 Die erste Begegnung von Dido und Eneas ............................................................... 118 4.3.2 Die Charakterisierung von Dido und Eneas ............................................................. 120 4.3.3 Der Selbstmord der Dido und die Schuldfrage......................................................... 126 Schlussfolgerungen ................................................................................................................... 133 Literaturverzeichnis ................................................................................................................... 139 Primärliteratur ....................................................................................................................... 139 Sekundärliteratur ................................................................................................................... 141 2 Einleitung Ziel dieser Masterarbeit ist, Heinrichs von Veldeke Eneit (1174-84) in der ältesten Handschrift Berlin, Staatsbibliothek, Preußischer Kulturbesitz, mgf 282 (erste Hälfte des XIII Jhs) zu analysieren, die mit einem besonders interessanten ikonographischen Apparat verziert ist. Es handelt sich sowohl um die Untersuchung der Bild/Texte Verhältnisse als auch um einen Vergleich mit Heinrichs Vorlagen bzw. dem altfranzösischen Roman d’Eneas (um 1160) und Vergils Aeneis (29-19 v. Chr.). Meine Analyse wird vornehmlich die Dido-Eneas-Episode berücksichtigen: Diese ist einer beträchtlichen Bearbeitung im Roman unterzogen und aus einer breiteren Perspektive gilt sie als eine der meistbekannten und meistzitierten klassischen Liebesgeschichten ist, die im Mittelalter aufgenommen sind. Heinrich von Veldeke (vor 1150 – Ende des XIII Jhs), ein geborener Belgier, der auf Mittelhochdeutsch dichtete, ist einer der bedeutendsten Schriftsteller des frühen Mittelalters, dessen Werk einen großen Einfluss auf die folgende Dichtergeneration hatte. Insbesondere habe Veldeke eine neue poetische Sprache geschöpft, reich an Wiederholungen und vorgestanzten Versen, die sich in die Sprache der späteren höfischen Literatur entwickelte. Er benutzt die epische Versform der deutschen Tradition, d.h. akzentuierende Reimpaare mit je vier Hebungen (Fromm 1992: 760). Diese neue Reimkunst ist der Grund seines Ruhms bei Zeitgenossen sowie Nachfolger1. Veldekes literarische Tätigkeit ist am Hof des Mäzens Hermanns von Thüringen (um 1155-1217) zuzuschreiben, ein wichtiges Zentrum für die sogenannte ‚Antikenrezeption‘ in den XII und XIII Jahrhunderten, wie im ersten Kapitel dieser Arbeit erläutert wird. Unter der Bezeichnung ‚Antikenrezeption‘ versteht man laut Kern (2012: xxx) die Aneignung von Kenntnissen aus der heidnischen griechisch-römischen Welt – wie z.B. dem Troja-Stoff, der Aeneis, oder der Geschichte Alexanders der Große – seitens der neugeborenen Sprachen und Kulturen Europas, deren Übersetzungsverfahren von der 1 Herbort von Fritzlar und Albrecht von Halberstadt, die vermutlich auch am Hof Hermanns von Thüringen arbeiteten, schreiben in ihren Prologen, dass sie Probleme bei der Sprache bzw. poetischen Ausdruck hatten. Veldeke, der eine Art Standard von höher Dichtung festgelegt hatte und der vor Ihnen tätig war, wurde wahrscheinlich für sie ein Modell. Kartschoke (1997: 862-63) und Kerdelhué (1992: 121-23). 3 Masterarbeit Übersetzungstheorien bzw. -strategien des klassischen Roms und durch die Vermittlung der spätantiken Kirchenväter resultieren2. Veldekes Eneasroman ist zunächst die Bearbeitung des altfranzösischen Romans d’Eneas (um 1160), eine anonyme Wiedererzählung von Vergils Aeneis (29-19 v. Chr.), die dem anglonormannischen Kulturgebiet zugeschrieben ist. Der mittelhochdeutsche Eneit kann als ein Vorläufer des höfischen Romans betrachtet werden und sein literarischer Anklang ist u.a. durch eine reiche Überlieferungsgeschichte bewiesen. Im zweiten Kapitel werden nämlich die Handschriften sowie die Fragmente, die den Eneasroman aufbewahren, unter die Lupe genommen: Bisher handelt es sich insgesamt um sieben Handschriften
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