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Published online by Cambridge University Press: 02 December 2020
In the Library of Congress there is a micro-film of the cod. germ. quart-414, Berlin, Preussische Staatsbibliothek, a manuscript valuable for those interested in the study of Meistergesang. It contains Meisterlieder which Hans Sachs had collected and includes forty which he wrote himself. Begun in July, 1517, the copying was probably completed by the end of the next year, since none of the poems carry a date later than 1518. For this article a detailed account of the history of the manuscript is not essential. Various scholars have described it briefly, and Goedeke noted its contents, to a certain extent, in his Grundriß. The manuscript is a long one, 459 leaves in addition to a Preface and twenty folios of Index. It is hoped that the following analysis may prove of assistance to those who, like myself, might want to investigate particular problems.
1 GG. i2, 308, 312-319; Keller-Goetze (eds.), Hans Sachs, xxvi, Bibliothek des Literarischen Vereins in Stuttgart, ccl (Tübingen, 1916), 23; A. L. Mayer (ed.), Die Meisterlieder des Hans Folz, Deutsche Texte des Mittelalters, xii (Berlin, 1908), pp. xvii-xviii. This will be referred to henceforth as Mayer.
2 My own investigation deals with the Hans Sachs Meisterleider.
3 St. George L. Sioussat, Chief of the Division of MSS of the Library of Congress, very kindly informed me that his staff had checked the printed catalog of the Berlin Library and had found no indication that these folios were missing from the original transcript, and that possibly at a later date it might be found possible to obtain photocopies of them.
4 Th. Hampe, “Lienhard Nunnenbeck,” Mitteillungen des Vereins für Geschichte der Stadt Nürnberg, ii (1895), 181. The spelling for the first line quoted above is Hampe's.
5 In a Meisterlied dated 1515, Hans Sachs lists Ayslinger among the twelve masters of the Nuremberg Singschule. See Goedeke (ed.), Dichtungen von Hans Sachs, i, Deutsche Dichter des 16. Jahrhunderts, iv (Leipzig, 1870), 12-14.
6 For Goedeke see GG. i2, 330; Mayer, pp. xvii-xxi.
7 Mayer, p. xvii, says: “Wenn ich 17 weitere Lieder aufgenommen habe, so bestimmte mich ihre Stellung zwischen sicher Folzischen Liedern, die Wahl Folzischer Töne, die Verwendung von Lieblingsworten, -wendungen und -reimen, so wie inhaltliche Kriterien, . . . Ich bin mir aber bewußt, daß meine Auswahl nur provisorisch ist . . .”
8 I shall say more about this Meisterlied in a separate article.
9 GG. i2, 318, no. 75.—Goedeke gives only the folios for Nunenpeck, and does not quote first lines of the Meisterlieder which he attributes to the master, or the names of the Töne; he omitted folios 97v-99r; Hampe, op. cit., p. 175, says: “Die Handscrhift enthält . . . auch 46 Meistergesänge oder Pare von Nunnenbeck in seinen sämtlichen Tönen . . .”
10 Since I am preparing an edition of the Hans Sachs Meisterlieder in Berlin 414, I shall not discuss them here.
11 P. Wackernagel, Das deutsche Kirchenlied (Leipzig, 1867), ii, nos. 545, 546. This will be referred to henceforth as WKL. ii.
12 A. Dreyer, “Hans Sachs in München und die gleichzeitigen Münchener Meistersänger,” Analecta Germanica, Hermann Paul dargebracht (Amberg, 1906), pp. 346-349.—Dreyer had found one of the above Meisterlieder in another manuscript. He says concerning it: “Eine Reihe von Meisterliedern desselben überliefert die K. Hs. (Bl. 831a-844b) mit der Ueberschrift ‘Leschen getichte,‘ sodass für diese seine Verfasserschaft ausser Frage steht. . . . und wohl im Hinblick auf die geringe Anerkennung, die ihm zu teil ward, ruft er aus: Bl. 834a-834b. Was hilff mich daz ich singe . . .”—This will be referred to henceforth as Dreyer.
13 Leonard Koester, Albrecht Lesch (Diss. München, 1933), pp. 14-15, 18.—On p. 10, Koester says that there are only three (there are actually four) Meisterlieder in Berlin 414 that come into question as composed by Lesch, but, as he wrote me, he considered Nun wolt ich geren singen, folios 356v-357r, a part of Was hilfft mich das ich singe, folios 355v-356r, because the former gives the answer to the riddle propounded in the latter.
14 Berlin 414, fol. 447r; cf. WKL. ii, no. 1310.
15 GG. I2, 316.—Goedeke says: “Am Grabe Cuncz Nachtigals . . . WKL. 2, 1310, wo dies Grablied für ein Lied Nachtigals gehalten wird!”
16 Berlin 414, folio 355v; cf. WKL. ii, no. 187.
17 Both Meisterlieder have been published. See WKL. ii, no. 1311 for Nachtigal's, and Mayer, pp. 349-353 for Volcz'.
18 Lochner, in “Urkunden Hanns Folz betreffend,” Archiv für Litteraturgeschichte, iii (Leipzig, 1874), p. 329, prints a document dated September 6, 1515, in which it is stated that Linhard Mayer and Elsbet, the widow of Hans Voltz, have entered into a partnership to sell wool.
19 Philipp Strauch, Der Marner, “Quellen und Forschungen zur Sprache und Kulturgeschichte der germanischen Völker,” xiv (Straßburg, 1876).—Strauch says, p. 22, that Marner was probably born during the first decade of the 13th century. See pp. 6-24 for the chronological fixation of events in Marner's life.
20 Berlin 414, folio 256r; keisser ott von praüneschweick was Otto IV, of Brunswick, 1200-1215.
21 WKL. ii, no. 187; Strauch, in op. cit., pp. 81-141, gives the text of the poems ascribed to Marner which he considers genuine; the above two are not included.
22 GG. I2, p. 316, no. 55; Dreyer, pp. 351-352.
23 Dreyer says, p. 352: “. . . das 4. dagegen, ein Loblied des Gesanges und zugleich ein Zeugnis des bescheidenen und frommen Sinnes Drabolts, erklingt in dessen ‘schlechtem Tone,‘ der sich der volkstümlichen Weise stark nähert.”
24 Dreyer, pp. 363-366, and Notenbeilagen zur letzten Abhandlung.
25 I am indebted to C. H. Bell for the above suggestion about the copying scribe.
26 GG. I2, 316, no. 51.—Goedeke says here: “In dem spiegel don (Ich weis ein wunderliches dier, ein weisser mon der reit es schier) . . . nach der Kolmarer von Kethener. Vgl. Bartsch 237” [should be 37].
27 I checked the following pages in Bartsch, Meisterlieder der Kolmarer Handschrift, Bibliothek des Litterarischen Vereins in Stuttgart, lxviii (Stuttgart, 1862), 172, 186, 305, 652; the 37 in note 26 above is the number of the Meisterlied.—This reference will henceforth be cited as Bartsch.
28 GG. I2, 314-317.
29 Ibid., 317, no. 63.
30 F. Keinz, “Hans Sachsen Zeitgenossen und Nachfolger im Meistergesang. Verzeichnis . . . ” Hans Sachs-Forschungen; Festschrift (Nürnberg, 1894), p. 345.—This will be referred to henceforth as Keinz Verzeichnis.
31 GG. I2, 312, no. 21.
32 Helmuth Thomas, in his Untersuchungen zur Überlieferung der Spruchdichtung Frauenlobs, Palaestra, 217 (Leipzig, 1939), draws the conclusion, after an exhaustive investigation, that almost all of the poetry that has been used in support of Frauenlob's position as Meistersinger is spurious; he says, p. 222, “Wenn sich nun ergibt, daß unter dem unechten Gut alle jene Stücke sind, die in hohem Grade dazu verleiteten, Frauenlob als einen meistersingerischen Dichter zu bezeichnen, . . .” After enumerating these, he again says, p. 224, “Mit der Ausscheidung meistersingerischen Gutes und der Ablehnung meistersingerischen Haltung für Frauenlob gewinnt auch die Frage . . .”
33 Keinz, Verzeichnis, p. 345. To this information we may add that the Nuremberg Meistersinger, Georg Hager, composed two songs in Singer's langen Ton, and another in his lieben Ton (Wien 13512), fols. 308v, 351r, 542v; also that a Par in Singer's langen Ton is contained in Hager's Liedersammlung Weimar Q 571, fol. 18; Hager's MS. Dresden M 6 contains a Par in Singer's langen Ton (fol. 258), and one in his schlechten Ton (fol. 351). For this and other references to Hager I am indebted to C. H. Bell.
34 Goedeke, Hans Sachs, p. 13.
35 Oppenheim says in his Verfasserlexikon, ii, coll. 232-233: “Hayweger, Augustin, ist ein Meistersinger, von dem wir nur eine dreistrophige Bibelparaphrase . . . kennen. Dieses Lied findet sich in dem . . . Berliner mgq. 414 auf Blatt 445a.”
36 GG. I2, 314, no. 34; Goedeke read the first word of the verse wie instead of wes.
37 Dreyer, pp. 341-342; on p. 338 Dreyer says: “Von den zwölf in seinen Tönen gedichteten Liedern, die Gödeke I2, 314 mitteilt, stammen sicher von ihm: Nr. 2, 8, 9, 10, 11 und 12, in welchen er sich als Verfasser nennt.” No. 2 is the second Meisterlied above, Ich gib ein ler dem jüngen man.
38 Hans-Martin Junghans, Studien zum Meistersinger Jörg Schiller (Diss.; Greifswald, 1931), p. 29.
39 WKL. ii, nos. 364, 425, 535.—Wackernagel says, p. 263, that no. 425 might possibly belong to Regenbogen, because in the Colmar MS there is a song of Regenbogen's, which begins in a somewhat similar manner.
40 Under Professor Archer Taylor such a study was begun at the University of Chicago by A. H. Manske, a graduate student, who made thousands of slips. Professor Helen Gamer of the Department of German at Chicago very kindly furnished me with copies from these slips, in the instances of those Töne which I wished to check. Later I had the opportunity to look over this collection of slips for myself.
41 Dreyer, p. 352; see also above n. 27; cf. the entry under Jeronimus Drabolt in Drescher (ed.) Nürnberger Meistersinger-Protokolle von 1575-1689, ii (Tübingen, 1897), p. 198. This will be referred to henceforth as Nürnberger Meistersinger-Protokolle.
42 G. Roethe, Die Gedichte Reinmar von Zweter (Leipzig, 1887); see pp. 157-159, and 369-375 for the Ton and its history; pp. 166-175 for der Erenbote vom Rhein; the appended pages for the music; cf. also Bartsch, p. 159.
43 Paul Runge, Die Sangesweisen der Colmar Handschrift (Leipzig, 1896), p. 155. This will be referred to henceforth as Runge.
44 Cf. also Goetze-Drescher (eds.) Sämtliche Fabeln und Schwänke von Hans Sachs, iii, Neudrucke deutscher Litteraturwerke, nos. 164-169 (Halle a/S, 1900), pp. xiii, 17-36. This will be referred to henceforth as Hans Sachs Schw. iii (or iv, which is ibid., nos. 193-199, Halle a/S, 1903).
45 C. H. Bell sent me the following rhyme-scheme for Frawenlob's blauen ton which Georg Hager used, Wien 13512, 83r:
2ma/6mb, 8mb, 8mc, 7fd
8me, 8me, 8mf, 7fd
8mg, 7fh, 8mg, 7fh, 8mi, 8mi, 8ma, 7fh
The Pause in the first Stollen is evidently a later development, for it does not appear in Berlin 414. Cf. also Hans Sachs Schw. iv, pp. xii-xiv, for the rhyme-scheme Hans Sachs used in several Meisterleider from 1537-1548.
46 See ibid., pp. xxii, 358-359, for the identical rhyme-scheme which Hans Sachs used.
47 Runge, pp. 78-79; there the number of lines is 10—10—5 = 25, with the pattern for the Abgesang: 8mj, 8mj, 8mk, 8mj, 4mk; cf. also Bartsch, p. 172, who speaks of 27 rhymes, and says that von der Hagen mentions 26.
48 Runge, pp. 22-23; the last line in each Stollen in Runge is 11ff, and in the Abgesang 11fl, and the number of lines therefore 10—10—15 = 35.
49 Bartsch, pp. 168 ff., and 184.
50 Hans Sachs Schw. iii, nos. 64, 199; Hans Sachs Schw. iv, nos. 278, 315, 331, 349, 526.
51 Keller-Goetze (eds.), Bans Sachs, xxv, Bibliothek des Literarischen Vereins in Stuttgart, ccxxv (Tübingen, 1902), no. 512.
52 Cf. H. S. Schw. iii, p. xvii, where the second verse of each Stollen should have ten syllables, as Goetze-Drescher also noted, Schw. iv, p. xvii; Harder's süsser ton is entered in the Nürnberger Meistersinger-Protokolle, ii, p. 202; Georg Hager's Zweites Liederbuch, Dresden M 195, contains five Meisterlieder in Kunrat Harter's süeser thon (folios 213, 293, 309, 351, 359), and his collection Weimar Q 571 contains two (fols. 40, 53); also his Dresden M 6 two (fols. 1, 44); Hager composed four songs in this thon (Wien 13512, fols. 591v, 615r, 644v; Weimar Q 571, fol. 53v; the rhyme-scheme is identical with the above; see also Bartsch, p. 182, who says that Harder's hof weise is found under the name of his süßen ton.
53 Hans Sachs Schw. iii, p. xviii, and nos. 58, 171, 211; Hans Sachs Schw. iv, p. xvii, and nos. 490, 512.
54 See J. C. Wagenseil, De civitate. . . Noribergensi (Altdorf, 1697), p. 536, and cf. Bartsch, p. 183; Georg Hager's Zweites Liederbuch, Dresden M 195, contains two Meisterlieder in Holczinger's Hagl weis (fols. 258, 335), his “Viertes Liederbuch,” Berlin 583, two (fols. 32, 261), and Hager composed a song in this Ton (Wien 13512, fol. 605r); the rhyme-scheme is the same as the above.
55 Hans Sachs Schw. iv, p. xvii, and nos. 276, 378, 404.
56 Runge, pp. 121-122.
57 Philipp Strauch, Der Marner Quellen und Forschungen zur Sprach- und Kultur Geschichte, xiii (Strassburg, 1876); Strauch says, p. 63, with regard to this Ton and two others ascribed to Marner by the Meistersinger: “. . . von diesen Tönen findet sich aber in der Überlieferung der Marnerschen Gedichte keine Spur”; cf. also Bartsch, p. 161, who says: “Eine sehr künstliche weise des Marners ist der Prophetentanz, der aber nichts echtes enthält.”
58 Runge, pp. 105-106.
59 Bartsch, p. 175.
60 Hans Sachs used this same metrical pattern in Meisterlieder of 1532, 1546; see Hans Sachs Schw. iii, p. xxii, and no. 37; Schw. iv, no. 264.
61 Cf. Runge, p. 88, no. 36.
62 See Hans Sachs Schw. iii, no. 15, and Schw. iv, no. 265, for Meisterlieder of 1530 and 1546 respectively. In these there is a slight difference in the last verse of the Abgesang, which has 8 instead of the 6 syllables found in Berlin 414; cf. also the two Meisterlieder Georg Hager composed in Regenbogen's süesen Thon (Wien 13512, folios 494r, 505v) with their eight syllables for the last verse of the Abgesang.
63 Archer Taylor, who very kindly looked over this paper, made the comment that this was perhaps the most interesting problem in the Töne. The alment weis was in use long before der Stolle wrote.
64 A. Taylor, The Literary History of Meistergesang (New York, 1937), p. 63. This will be referred to henceforth as Taylor. See also Bartsch, pp. 164, 511, for Der alte Stolle, and pp. 168, 523, for Der junge Stolle. Bartsch thinks Der junge Stolle was so called, because he died young.
65 Hans Sachs Schw. iii, p. xxvii, and no. 71; Schw. iv, nos. 319, 433.
66 Runge, p. 159; according to the statement over a Meisterlied from the Colmar MS, Runge, p. 160, Dyß ist des jungen stollen getichte vnd hat nit geticht dann dyse dru par darnach starp er wie er sturbe daz ste zu gotte, Der junge Stolle produced only that one par, and that in a metre (3—3—6 = 12) very different from the alment weis.
67 This particular Meisterlied is also in the Munich MS Cgm. 6353; see Mayer, pp. 17-20. —Above it in that MS Hans Volcz wrote: “Zu wissen das dises nach folgend gedreyt lid gemacht ist auff einen der mich teglich mit dichten besten wollt um was ich vermocht. Dar um ich ym das lid mit den vil reymen fur hallt, und welcher des gleichen mit so vil reymen auff geistlich weltlich oder sittlichen mit mir dran wil, der sol bestanden sein, und wellen gleich mit ein ander an heben, und welcher seinß e mach, auch die materig do von man ticht, kurczer begreiff, die reymen ungezwungner und pesser mach, der zich hin.”
68 Mayer, pp. 123-126, no. 31, gives the transcription of the Meisterlied in this Ton from the Munich MS Cgm. 6353; for the rhyme-scheme see Mayer, p. 406, no. 25.
69 In the W. Bauttner MS, folios 988-997, there is a Hort by Hans Sachs of June 3, 1541, Die zerstorung Jarusalem, all in one Ton, im langen Regenbogen. It is divided into three parts, the first has three gesätze; der ander Teil des hortes ein ge 5 par, der dritte deill des hortes ein ge7 par; cf. WKL. iii, no. 71.
70 For a brief discussion of the Hort see Taylor, pp. 28, 54, 81; for the vier gekrönten Töne see Taylor-Ellis, A Bibliography of Meistergesang (Indiana University Studies, no. 113; Bloomington, 1936), pp. 60-61.
71 Berlin 414, folio 267r.
72 For these four Töne in Berlin 414, aside from the above Meisterlied, see, among others, folios 436v, 33v, 72v, and 32v respectively.
73 The virgules dividing lines one and two, and five and six in the Abgesang on folio 268r are lacking.
73a For the Gesangweis see Taylor, p. 54.
74 Keinz in his Verzeichnis, p. 340, lists a Hans Parst of Nürnberg, but says nothing about Berlin 414 in connection with him.
75 The name of this Ton is listed in GG. i2, 314, no. 33, 6.
76 Keinz in his Verzeichnis, p. 333, lists Hopfgarten, but says nothing about this Ton, or about Berlin 414.
77 It was necessary to resort to capital letters for the Abgesang, because of the multiplicity of rhymes.
78 GG. i2, 316, no. 49, lists the name of this Ton.
79 Ibid., 316, no. 48, lists the name of this Ton.
80 Hampe, pp. 175-176, included the stras weis in his enumeration of Nunenpeck's Töne, but omitted the vnpenanter don. He did not set down the rhyme-schemes for any of the Töne.
81 GG. i2, 317, no. 59, lists the name of the Ton.—In addition to nos. 1, 3, 4, 5, 6, 9, 10, above, Goedeke also overlooked Töne for der Pfalcze von Straßburg, Caspar Singer, Herman Ortel, Ulrich Ayslinger.
82 One of these is doubtful, because the first part of the Meisterlied is missing. See p. 948 above.
83 The only Meisterlied which bears a date aside from the Hans Sachs Meisterlieder.
83a Only two lines of Ayslinger's Meisterlied are in the manuscript. Not listedin the Index.
84 This Ton is doubtful. The superscription reads: Im hancz folczen. The Meisterlied set to this Ton was written by Hans Folz.
85 This was listed under der ernpot v. rein in the Index, then corrected to Frawenlob.
86 There are thirty-three under this Ton in the Index, but one of those is the missing Meisterlied, therefore I have not counted it.
87 Under Nestler I have placed the eight Meisterlieder transferred from Frawenlob in the Index, and six in the vnbekannten don written by Hans Folz, not recorded in the Index.
88 In the Index the alment weis of both Stollen is under one heading.
89 In addition there is also a Hort in the vier haüpt don. The missing Meisterlied was not included in the total number.