GER Second paper

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Jan 9, 2024

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Mankel 1 October 27, 2016 Destiny Mankel 23207644 Forced Love is not Courtly Love Human desires and emotions are what ultimately controls one's actions towards another person. Love is one major emotion of many that every person longs to accomplish throughout life. Those who do not understand all the aspects to love and those who are not willing to fight for their lover will continuously fail in life. Love is not just an emotion or a comfort humans desire to embrace; love is knowledge, intelligence, and honor. Love is much more than an emotion, yet people continuously misinterpret love for lust. Love and lust can be mistaken for each other very easily. Love is true when compassion, commitment, and cooperation are present in the relationship. Love will cause pain, but genuine love will endure past that pain. Those who are not willing to fight for love will ultimately fail in loving because they only desire physical love. In the German novella of Mauritius von Craûn, the author wants to display the true meaning love. Through the development of the characters of the countess of Beaumont, Moriz of Cra û n, and the motif of the ship allows the author to portray the difference between love and lust. The first character that the author utilizes to be an advocate for genuine love is the countess of Beaumont. The countess is uncultured displaying the affect the count has had on her. When she tells Moriz to, “hold a tournament […] I have never seen one” (Classen, Eroticism , 299) it displays that the countess does not know any of the culture and that she is a naïve woman who can be taken advantage of. It is the count’s responsibility to host tournaments to show his

Mankel 2 power and influence in the culture. Since the countess has never seen a tournament, this displays the first indication that the countess is not fit to love someone in the proper way. The count and countess are expected to have the honor and respect of all people in the area, but the two do not involve themselves in what society is doing. Since the count does not serve as a good count the countess is in search of a lover that can show her sincere love. “She drew a fine ring with a precious stone from her finger and placed it on one of Sir Moriz’s” (Classen, Eroticism , 300) the countess takes her love affair seriously. The countess has never been exposed to any man who is honorable and successful in life. She believes that she is in love with this man whom is asking her to be his lover. She signifies their love affair with her ring because it is the proper way to do so, but she does not realize Moriz does not truly want to be her lover. The countess is a naïve woman due to the fact she has never be exposed to anything other than what her husband has allowed. She eventually feels, “indebted to [Moriz]” (Classen, Eroticism , 299) because he commodified her. The author wishes that the reader comprehends that the countess is represented as a little girl because she does not know what she wants nor know how to distinguish the difference between love and lust. Not until the end of the novella does the countess mature and realize Moriz true intentions, then she becomes a character that understands courtly love. She realizes her worth and states, “I would rather be free, than belong to a man” (Classen, Eroticism , 306). In contrast to the countess, Moriz of Cra û n never learns the meaning of courtly love verses lust. When the character of Moriz is introduced, the author already gives descriptions of his intentions with the countess. He is, “hoping to be rewarded” (Classen, Eroticism , 296) for all the gifts and courting he has done for the countess. The first image of Moriz is his constant reminder that he deserves to be rewarded for all the money he has spent on the countess. Moriz

Mankel 3 believes love can be bought like a commodity. The author continuously develops Moriz character as a self-centered, materialistic knight. Moriz is supposed to have respect and honor since he is a knight, but takes advantage of his standing. He built a ship that, “gleamed in splendor” (Classen, Eroticism , 301) in order to demonstrate his “love” for the countess. Once more the knight is noticed for his money when, “his appearance that it was a king” (Classen, Eroticism , 302). The author continuously describes Moriz as a vain shallow knight. Knighthood hold a certain status representing honor and chivalry, but Moriz is an oxymoron to knighthood. Moriz is a character that is set in place to contrast the count because of the complete difference in stature. Moriz and the count differ from masculinity and honor which needs to be in place to show why the countess thought she fell in love with Moriz. Moriz is lustful and will do anything to reward himself based on what he believes he deserves. The author utilizes motifs in order to further develop the characters, and the countess and Moriz’s relationship. The two main characters are complete opposites. The countess desires a relationship where she can experience courtly love and happiness where Moriz desires for a physical relationship. Since the countess is a naïve woman, Moriz understands he can take advantage of her. The ship is a major motif the author exploits to presents Moriz’s shallowness. The ship is a hollow ship not meant to be on the sea like a proper ship. The improperness of the ship represents how Moriz is façade in the knighthood. “No one outside could see what was going on inside” (Classen, Eroticism , 301). Moriz is similar to the ship because he is hiding behind the knighthood acting like her practices chivalry when he does not. Also, the ship is equipped with many gems and gold to represent Moriz’s shallowness as well as his ego. Another motif is the comparison of the Roman emperor, Nero, and Moriz. The author creates a prologue about knightly hood and how Nero killed it in Rome. Nero, “sets fires in many streets” (Classen,

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Mankel 4 Eroticism , 296) because he does not care who he affects as long as he is happy. This is a direct correlation to Moriz because he wants to be happy by being rewarded for his deeds no matter the extent he needs to go to take it. Eventually, Moriz rapes the countess because he believes his, “service has been in vain” (Classen, Eroticism , 307). He displays his true intentions after he rapes her when he tells the countess, “I shall not be your lover. You are ruthless” (Classen, Eroticism , 308). The author solidifies the motif of Nero and Moriz being similar in personality because he will go to any extent to acquire what he wants. Moriz character displays the modern problem with rape and abuse in many relationships. Even though the German novella is written before today’s modern problems, yet these issues still occur. Many people cannot distinguish the difference between love and lust. Love is a greater emotion than lust. Love must be earned through the compassion for each person as well as the commitment. Both of the characters did not have these qualities thus they failed in love because ultimately they both only lusted for one another.

Mankel 5 Bibliography Classen, Albrecht, “Sexual violence and rape in the Middle Ages : critical discourse in premodern German and European literature” New York : De Gruyter , c2011 Dimpel, Friedrich Michael. "'Des Muoz Ich Ûf Genâde Lônes Bîten' (MF 194,33): Ambivalenzen Der Lohn-Metapher Bei Reinmar Und Im 'Mauritius Von Craun'." Amsterdamer Beiträge Zur Älteren Germanistik 72.(2014): 197-228. Gerlitzki, Günther J., “Die Bedeutung der Minne in "Moriz von Craûn."”, Bern,] Herbert Lang, 1970. Philipowski, Katharina-Silke. "Aporien Von Dienst Und Lôn In Lyrischen Und Narrativen Texten Am Beispiel Von Mauritius Von Craûn Und Heidin." Germanisch-Romanische Monatsschrift 59.2 (2009): 211-238. Reinitzer, Heimo. “Mauritius Von Craûn: Kommentar” . Stuttgart: Franz Steiner Verlag, 1999. Wagner, Silvan. "Das Prinzip Der Süezen Last Im 'Mauritius Von Craûn' Und Die Grammatik Christlicher Hoffnung: Ein Analyseansatz Für Höfische Rezeption Religiöser Muster Im Hochmittelalter Jenseits Des Einflussparadigmas." Zeitschrift Für Germanistik 18.3 (2008): 482-496.

GER Second paper

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