Aventiure, waz ist daz? Der Vergleich zweier Definitionen (German Edition)

Let me offer some background to put this into perspective: I work for Ford since many years - I joined the organisation after my MSc in and had to move from London to Cologne. Where I stayed ever since - Ford is my first and only employer. On the other side I work in the Motorsport area in one way or another since even longer. And it contributes to feed the family too. There was never a link between the two and I made efforts to keep it that way. Work is work and private is private. In January it changed big time when the Ford GT got introduced.

Back then it was only a supercar, no mentioning of Le Mans even though everybody hoped it will take part. Ford will race in Le Mans. Suddenly it was all dreams come true for me and I first met the GT at Spa 6h. Being a Ford guy I got super-excited, my desktop at work changed to GT in no time ever since it got introduced. And then - out of nowhere - came this call asking if I want to join their flight to France. As you can imagine I made my decision faster than Williams makes a pit stop! Originally I would have taken my Transit, bike in the back and all equipment properly sorted to deal with anything, which might come up.

But flying is a different story - also you have no van on site to quickly alter the equipment. I had a long thought about how to be able to do my usual photographing and blogging. Mai um Proved out to be the right decision, with a schedule packed like this you need to be able to use spare time to get productive.

That way the best pictures from the D could go straight into my Instagram feed. Once there it took a while to find our shuttle, but eventually this nice Ford Edge turned up:. In Le Mans I was really impressed by the location of the Ford hospitality. Look at this picture I uploaded to Facebook. Give it a try - great feature! These are the containers, where all the commentators live:.

There was still some final preparation in progress and this picture is another demo of the great tiny D: The small airport is located directly next to the track and there was a constant stream of private jets coming in:. Quite a contrast to my usual Transit flat! It was really nice and also silent, but as you can imagine there was no time to enjoy this. We had not a single breakfast there. However it was really nice to the eye. I wonder how long it takes to mow the lawn. Including Andy Priaulx, who I will always remember for his first appearance at the Nordschleife.

Andy confirmed he prepared well for that race - to make a difference these days you have to become even more professional. After some sleep it was already race day and we decided to leave early to try to avoid some traffic:. I never met him in person, so this was a bit special. He is more or less the boss of He too is a proper petrol head and seeing him standing there and watching the GTs on track was a real special moment. Track action was nice and the cars came pretty close to the viewing point when they were about to enter the pits:.

Next on the agenda was something I was looking forward to: I read about these hot laps before on the agenda and all of us got registered. But again it went completely different: Wolfgang Kopplin - on the right - joined the company in a similar time period as myself and we actually used to work together back then.

He went on a steep career path and by now is MD of Ford of Germany. Only that no places were left anymore and there went my plan: I offered my seat. My change of plans meant that I pulled the garage tour ahead, which was originally planned for the evening:. Further down the road was another Ford hospitality, which was more geared towards drivers and team.

For example Harry Tincknell:. I love the way ACO is celebrating the grid walk, people get a chance to experience the atmosphere:. Rather difficult to make pictures of these cars, one is mostly shooting pictures of people shooting pictures:. Remember that shot I did back in ?

Since I arrived I was in the hunt for symbolic Ford vs Ferrari pictures and this out turned out nicely: Dirk talking to Sam Bird and Toni Vilander. Toni was part of the no. Even more so as it is a form-follows-function car - just stunning from every angle:. Other compete since many years and they know what to expect, but this racer needed to learn a lot. I might be wrong, but to me this looks more like trial-and-error than science. Nothing wrong with that, but also illustrates the steep learning curve:. For the team members grid walk can be boring, as it takes so long - on the other side tension is high - this is just 1h before race start!

And our little girl enjoys it too! The rain became that strong that the race director decided to start behind the safety car. At Ford people were looking forward to the race - no matter what! I was a bit surprised to see the marshals without any weather protection, at Nordschleife they a least are allowed to install some kind of roof between the fences:.

I did have the luxury of a roof, which was nice and allowed me to concentrate on shooting nice pictures - like this one:. It took a while before the race got started properly, but then even the sun came out. As a French company Le Mans for them is really important and they supply tires to 33 teams. So how many tires would that be? As it turns out: How cool is that.

Co-founder Keanu Reeves has logged tens of thousands of miles on all manner of motorcycles, all over the world. They certainly got a new follower on Instagram now! You could see pit stops from above - see the GT on the monitor at the time everybody is trying to catch some action.

Conditions obviously became difficult for pictures, but the little Canon still managed to deliver:. We then went back for some sleep and it was another early day in the morning to avoid traffic. I did however see a right hand drive Mustang for the first time - would love to try that:. When we came back I headed back to the paddock - however I was a bit undecided on where to watch. The lounge above the pits was packed:. It was already So I tried to sneak into a pit - preferably the Ford one.

Not easy, but I managed thanks John! And what an experience that was! Tension was really high - especially when the Toyota no. However, it was really sad to see the tough luck that hit Toyota, while at the ceremony everything was ready to go:. I waited for the GT podium and it was nice to see Mark Fields with his son as part of the crowd too:.

When I tried to upload something it mostly failed due to the network overload. Lucky us that we had WLAN in the hospitality! Then they came and it was good to see Dirk up there - now with a Le Mans class win under his belt:. Only after reading this you realise what a tough job this has been. The biggest applause however came for this man: Fred Sausset managed to finish Le Mans despite having no legs or arms:. And over it was, the race went in no time and it took me a while to sort through all of the impressions I had in such a concentrated form! Graham Goodwin just published this piece yesterday , which is an interesting read.

If you made it to here: Zur Einordnung hole ich mal etwas weiter aus: Aber nicht die VLN. Und das ist die eigentlich gute Nachricht bei diesem Deal: Und es sei ein fairer Vertrag mit langer Laufzeit. Aber was da inzwischen an Kommerz aus dem Boden gestampft wird, das ist nur schwer zu ertragen. Blut geleckt hat, wird man sie auch nicht wieder wegbekommen. Genau wie bei der Erlebnisregion: Zu Lasten der Ehrenamtlichen, der Amateure, der Zuschauer und Fans - all derer, die den Event zu dem gemacht haben, der er einmal war: Und wenn es nur darin besteht, meine Ablehnung in Worte zu fassen.

Das ist weiter als ich dachte - ich bin bei 28,6 km rausgekommen. Dank App Galileo in meinem Fall kann man das heute ja genau aufzeichnen:. Der sah eigentlich auf den ersten Blick so aus wie immer:. Am Karussell angekommen war ich erstmal baff, denn der Parkplatz war voll.

Hab ich so auch noch nicht gesehen:. Bin mal gespannt auf die Bilder! Steht im Moment rum. Nach Umwegen bin ich dann auch im Ort gelandet - erstmal Pause gemacht. Die meisten Besucher waren ja sowieso Selbstversorger - ist ja auch kein Problem, wenn man einen 2er Golf dabei hat:.

Offensichtlich hat man sich aber nicht getraut das Denkmal zuzubauen, was die Pilgerer dankbar zur Kenntnis nehmen:. Nur weil es geht? Ich bin entgegen dem Trend ganz nach hinten in die Startaufstellung und was soll ich sagen: Es war sein Der Grund war irgendeine Bestrafung - habe schon wieder vergessen was es war. Auf dem Weg zur Strecke noch kurz mit dem Gustav geplaudert - bzw. Mit Fotografieren war aber nicht soviel, denn schon nach weniger als einer Stunde wurde das Rennen wegen Wetter abgebrochen:. Teilweise gab es soviel Hagel, dass die Autos quer von der Bahn gerutscht sind.

Ich hab dann das gemacht, was man am besten immer in so einem Fall macht: Sowohl Kaffee als auch Infos. Als klar war, dass das Rennen um ca. Besonders die nicht, die im Moment mehr oder weniger offensichtlich finanziell partizipieren an der jetzigen Situation. Und wo Anglizismen im Spiel sind, da ist auch Nuvoloni nicht weit - das von ihm so geliebte Closure ist fast so sexy wie Stresslevelmonitoring und da liegt es doch nahe, dass der Vertrag jetzt geclosed wurde.

April ist die Nordschleife russisches Eigentum. Nur mein Weltbild hat sich in den vergangenen Jahren stark verschoben. Also wenn man die lass-sie-doch-erstmal-machen Delegation ausblendet. Heute bin ich schlauer und muss feststellen, dass die meisten erstmal an sich selber denken und danach lange nichts kommt. Wie sieht das eigentlich mit der Haftung des Herstellers aus bei diesen Kaufautos? Die Ergebnisse der 72! Starter sind hier und die Rundenzeiten sind ziemlich exakt auf dem Niveau des Vorjahres schnellste Runde 8: Liegt es am Fahrer? Liegt es vielleicht an der Leistung?

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Da liegen Welten dazwischen. Manfred war ein herzensguter Mensch, bis in die Haarspitzen fasziniert von Nordschleife, der Fotografie und seinem Manta Seine Fotos - von denen auch viele hier zu sehen sind - und seine Videos - Rhapsody in Blech - machen ihn unsterblich. Dort war lange Zeit sein zweites erstes? Der Trauergottesdienst findet am Dienstag den Formel1 Surtees Clark. John Hindhaugh hat es nach dem Rennen passend zusammengefasst: This is a world class event!

Nach 12 Stunden Rennen! Wer das Rennen verpasst hat, kein Problem - hier kann man sich die kompletten 12 Stunden noch einmal anschauen. Bei mir lief der Stream - in 1. Bin auch nicht der einzige mit so einem Setup. Trotzdem, je mehr Info desto besser. Twitter hat im Moment die Nase vorne, wenn es darum geht die Renngemeinde zu vereinen. Ein gemeinsamer Hashtag - in diesem Falle B12Hr - reicht, damit alle zueinander finden. Man kann auch nicht gerade sagen, dass es einfach gewesen sei. Der Neustart hat 45 Sekunden gedauert. Also bei Rennen im Ausland von Leuten, die etwas davon verstehen.

Die GT3 sind inzwischen reine Werks-Prototypen. Ich bin immer neidisch auf die australische V8 Serie, die mit dem Konzept Blechautos mit viel Leistung und wenig Aero sagenhafte Rennaction bietet. Aber nicht ohne der V8 noch einen mitzugeben: Das muss man sich mal vorstellen. Patrick Simon war auch am Start in einem privaten Mercedes der mit der Martini Beklebung - ist aber leider verunfallt. Ansonsten war er gut unterwegs, das war schade. Es ist das erste Jahr in dem das stattfindet, soll in Zukunft weiter ausgebaut werden. Bisher musste Getspeed mit dem 2. Das ist jetzt Geschichte, weil sich die russische Holding freigekauft hat und jetzt niemanden mehr um Erlaubnis fragen muss.

Eine entsprechende Vereinbarung haben die beiden Gesellschafter am Freitag, Wieviel das die Russen gekostet hat weiss man nicht. Ist Euch mal aufgefallen, dass bei vornehmlich gut klingenden Nachrichten seitenweise aufgebauscht wird - am besten noch mit tollen Handschlagsfotos begleitet. Wer diese Russen sind? Ohne Schmiergeld geht gar nichts.

Dieter fasst die Situation einmal zusammen:. Charitonin Getspeed Osieka Heinemann. Ein Herz und eine Seele. Denn sie sind es, die im Auto sitzen und sie wissen wie praxisfremd die aktuellen Regelungen sind. Um die Sache scheint es inzwischen auch gar nicht mehr zu gehen. Das muss man deutlich sagen. Das ist eine Arbeitsgemeinschaft die auf uns zuarbeitet. Das muss schon alles machbar und umsetzbar sein.

Er macht sicher seine Arbeit, aber er muss auch einsehen, dass es irgendwo Limits gibt. Das Interview wird bemerkenswerterweise von der Planai Classic Helmut Zwickel als Pressemitteilung verbreitet, damit es auch jeder mitbekommt. BOOH, wenn ich das schon sehe , dann will ich eigentlich gar nicht mehr weiterlesen. WTF1 Tommy hat sie gefunden: Mario Karts Rainbow Road. So verworren ist die Informationslage.

Sowieso darf eine Nordschleife in Privatbesitz nicht das erstrebenswerte Ziel sein. Zum anderen versucht er etwas verworren Kurt Beck in Schutz zu nehmen. Dabei ist es doch ganz einfach: Und immer noch sind. Das wussten die Akteure auch und haben entsprechend selbstbewusst und kriminell gehandelt. Dass ein paar davon - vielleicht - verurteilt werden, ist nur ein kleiner Kollateralschaden. Aber niemand erwartet, dass eine Limousine schneller als ein Sportwagen ist. Getreu nach dem Motto: Wir sind alle schnell.

Nein, sind sie nicht! Denn am Ende ist eine einfache Geschichte. Und was noch nicht angesprochen wurde: Meine Meinung zu dem Thema: Wer meint besonders schnell zu sein kann gerne Rennen fahren - gegen die Uhr und die anderen. Lustig inmitten der der internationalen Teams auf einmal Frikadelli Racing zu lesen Startnummer Auch wenn die GT3 auf der Nordschleife nichts mehr verloren haben - um etwas von der Welt zu sehen sind sie gar nicht schlecht. Es ist ihm gelungen sachliche und klar denkende Leute zur Mitarbeit zu gewinnen: Gar nicht so einfach, so eine Breite an Erfahrungen bei so wenig Leuten unterzubringen!

Da ist dem HJ Stuck rausgerutscht, womit man eigentlich alle vor vollendete Tatsachen stellen wollte. Die Kuppe selbst, und damit der Charakter der Nordschleife, bleibt erhalten. Dann muss er zum Rallyecross gehen. Soll es doch Grand Prix Strecken fahren. Denn davon gibt es genug - die Nordschleife jedoch nur einmal! Und jetzt ratet mal, welche Interessen dann mehr Gewicht haben. Ohne vorher gefragt zu werden. Kommendes Wochenende in London. Facebook ist stolz auf 8 Milliarden Video Views pro Tag. Alex Wurz geht in Rente. Bin schon gespannt, was er dann macht!

Aus dem kleinen Massa wird mal was! Der neue er kann ja vielleicht alles besser, aber: It is at once the most impressive and least-charming new I have driven in the last 10 years. Dieter Scharnagl ist verstorben. Er wurde 74 Jahre alt. Ganz offiziell von RUF hochgeladen. Und dann war da noch die Maschine, die ganze Autos frisst! Man glaubt garnicht, dass dieser besonnen redende Gentleman so ein raubeiniger Haudegen sein kann.

Ich sag nur 1. Ich glaube dazwischen liegt die Wahrheit, er meinte ja selber, dass Rossi an seinen Bremshebel gekommen sei. In Zeiten von folierten Autos tut es gut auch noch echtes Kunsthandwerk zu sehen - sogar mit Nordschleifen-Bezug. Hier ist der Trailer. Release Datum ist der Dann bleibt mehr Platz zum Fahren.

Mansell und Menzel in einem Blogpost! Wenn Ihr es gesehen habt, werdet Ihr mir sicher zustimmen. Da kann kein Krimi mithalten. Bei der DTM z. Da kann man nur raten: Noch ist die Nordschleifenzeit nur im Video, bald haben wir sie im Prospekt:. Man bekommt den Eindruck: Aber ich gebe die Hoffnung nicht auf. Auf zur Nordschleife und mal ein paar Rundenzeiten nehmen. Derjenige ist noch nicht geboren, der mir sagen kann, was ich zu Hause machen kann, zu Hause in Belgien!

Die Z4 werden jedenfalls in die Geschichte eingehen als die geilsten Designs, die die Nordschleife je gesehen hat. Each manufacturer will nominate three cars after qualifying to contest the new session, dubbed MAC3 and inspired by the team component of cycling events such as the Tour de France. Ist das jetzt eine Tourenwagen Weltmeisterschaft oder eine Automarken Weltmeisterschaft? Teamsport gibt es doch leider im Motorsport oft genug, da sollte man froh sein, wenn ab und zu noch die Fahrer gegeneinander fahren.

Hat das Team gerade bei Facebook gepostet. Scheint ziemlich besiegelt zu sein, dass die GT3 auch weiter auf der Nordschleife fahren werden. Es ist kein Geheimnis, dass ich Bedenken an dieser Entwicklung habe. Denn am Ende sind es Menschen wie Du und ich - ringverseucht bis in die Haarspitzen - die so einem Auto das Laufen beibringen.

Wie gewohnt hat Audi dicker aufgetragen als alle anderen und diesen Palast in das Fahrerlager geklotzt:. Ich selber war Freitag und Samstag vor Ort. Und erinnert auch daran, dass Audi nichts unternommen hat, um die Nordschleife vor dem Ausverkauf zu bewahren. Und weil wir schon im alten Fahrerlager sind - hier ist die Webcam untergebracht:.

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Der Jochen ist jetzt auch feuerfest, aber dass meine kleine Kamera mit ihrem billigen Kitobjektiv so weitwinkelig kann, damit hat er wohl nicht gerechnet ;. Als ich im Juni vorletztes Jahr zum ersten Mal alleine nach Le Mans gefahren bin nach unserer Radtour in , war Lorens der erste, den ich im Fahrerlager gesprochen habe. War sein erster Besuch in der Eifel! Da wurden dann die letzten Vorbereitungen getroffen. Da hat er mal richtig ausgeholt und Wahrheiten ausgesprochen, die man so bisher nicht in der Zeitung lesen konnte:. Den Ansatz hat man so lange weitergedreht, dass man sich ziemlich weit vom Rennsport entfernt hat.

Das passt gut zu diesem Text , den ich zu dem Thema geschrieben habe. Aber gerade deswegen bewundere ich seinen Mut und die Aufrichtigkeit, das gibt mir den Funken Hoffnung, dass vielleicht doch nicht alles verloren ist. Und falls jemand Dr. Andre Lotterer war am Ring voll in seinem Element. Und dann noch mit dem eigenen sport quattro angereist, was will man mehr. OK - gewinnen - da war Porsche dann doch schneller. Die haben im Ringboulevard mal ein paar Gewinner ausgestellt, davon haben sie ja genug. Ich wollte dann aber auch mal wissen, wie die Autos auf der Strecke abgehen und habe mir die Dunlopkehre ausgesucht.

Waren auch ein paar Zuschauer da:. Wie war das noch mal mit den Premiummarken auf der Flaniermeile? Haben die Fotografen versucht sich da zu akreditieren? Widerwillig bin ich auch mal in den Boulevard, eigentlich nur um ein paar Fotos mitzubringen. Selbst bei Mertens gibts es Food. Alle gesund und munter und die kleine Familie ist jetzt zu Viert! Die Lackierung kaschiert da einiges, aber stellt den Euch mal in einer anderen Farbe vor - und guckt mal wo der Fahrer sitzt:.

Das Qualifying habe ich mir vom 6. Aber realistisch betrachtet ist der Komapatient immer noch zwangsbeatmet und die Heilungschancen sind nicht vorhersehbar. Oder wisst Ihr, wer aktuell Besitzer ist? Wer hinter dem russischen Konsortium steckt, wenn schon der Vorzeigekopf selber Oligarch ist? Und bei der Gelegenheit ist auch mein Name gefallen.

Trotzdem ist es mir schwergefallen zu bleiben. Tempolimit - ausgesprochen werden. Was soll man da machen? Kommt nicht so oft vor bei der VLN. Und um seinem Anspruch als Macher gerecht zu werden - oder aus Angst vor Staatsanwaltschaft? Angefangen von der SP10! Alles wieder vom DMSB. Dabei hab ich den Mann mal verehrt: Und auf einmal wird es auch dem letzten klar, dass der Runde Tisch letzte Woche auch eine gute Gelegenheit darstellt, dem STRassenfest den Wind aus den Segeln zu nehmen.

Das ist keine Eintagsfliege, sondern scheint sich bedrohlich zu manifestieren. Die Veranstaltung wurde live gestreamt und hier kann man sich das auch im Nachhinein nochmal anschauen. Und wie sie den Ring seitdem ausgeweidet haben! Ich bin froh, das Florian am Ball bleibt. Ich stehe felsenfest hinter meiner damals niedergeschriebenen Meinung, lest Euch den Text vom Juli gerne noch einmal in Ruhe durch:.

Ich wage es nicht zu prognostizieren. Ich bin von Natur aus Optimist - sehe immer das Gute in Ereignissen - egal was passiert. Aber am Ring bin ich am Ende mit meinem Optimismus. Was vor 3 Jahren passiert ist, ist heute schon Geschichte - so wie unsere Handlungen, die wir heute anstrengen, bald auch als Geschichte festgeschrieben sein werden. Herrliche Einblicke in die Nordschleife vor 60 Jahren. Hier die Anfahrt von Eschbach:. Denn sonst bauen wir alle paar Jahre die Strecke um. Und damit rauben wir der Nordschleife langsam aber sicher ihre Einzigartigkeit.

Irgendwann sind dann alle Randstreifen asphaltiert und zahlreiche Schikanen unterbrechen den Fluss der Strecke. Ihre hochmodernen GT3-Renner sind mit Elektronik vollgestopft, da wird dann einfach ein Tempobegrenzer programmiert. Aber was sollen die vielen kleinen Teams, sofern sie nicht schon aufgegeben haben, machen. In manchen Autos gibt es keine Speelimiter, oft auch nur sehr kleine Displays. Einmal Racer - immer Racer. Tempolimit sowieso nicht und Nordschleifen-Permit wieder abschaffen.

Die feinen Herren Insolvenzbeauftragte sind so darauf bedacht ihre Ehrenhaftigkeit zu verteidigen, dass sie sogar schon Facebook-Posts hinterherhecheln! Mehr Details gibt es hier bei Occupy Nordschleife:. Es hat sich seit der Abmahnung gegen Die Herren versuchen uns mit unserem eigenen Steuergeld mundtot zu machen und es geht ihnen dabei niemals um den vorgeschobenen Dialog mit den Fans.

Aber eine Bitte habe ich: Er muss in Bestellungen untergehen, dass er nicht mehr weiss wo vorne und hinten ist! It was just part of the whole package this weekend. Indirectly, that answers point 1 as well; I had fun, heaps of fun. The field still felt just as competitive as before, everyone were just as hungry for results as before, and generally I heard very little to no chat about it in the paddock. Bremsenquietschen bei leichtem Pedaldruck kurz vor dem Anhalten, rauerer Motorlauf im Drehzahlbereich unter 3.

Wobei ich mich wundere, dass die Supertests doch bisher immer von dem Horst gefahren wurden - wegen Vergleichbarkeit und so. Oder habe ich da was verpasst? Stellt sich raus Lieberberg hat einen 5-Jahresvertrag in Mendig abgeschlossen und Rock am Ring an sich steht am Ring nicht mehr zur Diskussion. Diese Entscheidung haben die Beteiligten und Otto Flimm sicher nicht leicht getroffen - das wird ein langatmiger, aufreibender und geldverzehrender Gerichtsprozess.

Falls die Russen nicht entnervt das Handtuch werfen. Und der Nordschleife die Zukunft zu geben, die sie verdient hat. Er vergleicht sie mit den GT Die ignorieren das einfach. Die Temposchilder sieht man im Film. Aber Werbung mit der Nordschleife machen. Lambo Lamborghini Aventador Onboard. Wurde beim 24h-Rennen eingeweiht:. Diese Kurvenumbennerei finde ich ziemlich nervig. War das nicht mal die RTL-Kurve? Und gibt es die Bitkurve noch? Oder nur die Rechts vor Start-und-Ziel? Mit Caracciola und Bellof wurde das Tabu schon vorsichtig angetastet - ob das schonmal jemandem angeboten wurde?

Kaum vorstellbar, aber die ersten Rennbesuche liegen soweit in der Vergangenheit, da hatte ich sogar noch Haare! Dann kam die glorreiche Zeit des Audi , der von uns zum ersten Mal an den Start geschoben wurde. Mir fallen so Begriffe ein wie: Leider bin ich nie in den Genuss gekommen, auf der Nordschleife Rennen zu fahren - das letzte Motorradrennen war und damit vor meiner eigenen aktiven Zeit. Dadurch war ich quasi gezwungen die Dinge mit Abstand zu betrachten. Die Teams - die Fahrer - die Hersteller - alle scheinen nur noch ein Ziel zu verfolgen: Und das nicht zu knapp.

Auf die GT3 Problematik an sich bin ich ja schon vor 4 Wochen detailiert eingegangen. Parallel dazu hat aber auch in der Sportlerszene ein Wandel stattgefunden: Und jetzt kommt das Wort, auf das alle schon warten: Werksfahrer verkommen zu beliebig austauschbaren Arbeitnehmern, die sich kritikfrei durch die Mikrofone aalen. Vor allem keine eigene Meinung. Dem Langstreckensport wird die Seele genommen und alle finden es super. Und macht Euch bitte nichts vor: Der typische GT3 Nordschleifenunfall - das Disaster waiting to happen - ist meiner Meinung nach ein anderer, als der, den wir so tragisch erlebt haben.

Vor dem Tempolimit musste man die Aerodynamik so einstellen, dass man auf der langen Geraden nicht zur leichten Beute wird. Gepaart mit der hohen Verkehrsdichte, den Herausforderungen bei Nacht und Wetter und teilweise Gentlemanfahrern hinter dem Lenkrad, eine tickende Zeitbombe. Das ist nicht mehr meine Welt. Da erhalte ich mir lieber die Erinnerung wach an Zeiten, als der Ring und seine Aktiven mich wie ein Monstermagnet in seinen Bann gezogen hat. Und es gibt ein Spendenkonto. Immer und immer wieder.

Auf die Nordschleife hin entwickelte Rennwagen, die es so auf der ganzen Welt nur einmal gibt und die auf der Nordschleife am besten funktionieren. Zum einen weil dann das Risiko besteht, dass ein ambitionierter Amateur die Werksteams blamiert mit seiner Eigenkonstruktion. Und das geht ja mal gar nicht. Audi war sich nichtmal zu schade Einfluss auf das Reglement zu nehmen, um dieses Ziel zu erreichen.

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Win on Sunday - sell on Monday - allerdings nicht auf die Serienfahrzeuge bezogen, sondern die Kunden sollten den Renn-R8 kaufen, mit dem das Werk so erfolgreich Motorsport betreibt. Black Falcon hatte damals freudig auf den R8 gesetzt und nach den ersten Fahrten den Audi ganz schnell wieder entsorgt. Reverse Engineering nennt man das. Die habe ich dann auch genutzt, um meine Theorie auf Wahrheitsgehalt abzuklopfen. Und sie hat immer gehalten. Meiner Meinung nach ist die fatale Nissan Katastrophe diesem viel wahrscheinlicheren Szenario einfach nur zuvorgekommen.

Viele davon mit hohem Ansehen im Motorsport: BMW, Audi, Porsche, usw. Das muss man sich mal auf der Zunge zergehen lassen: Unsere Familie betreibt bereits in der 2. Generation Motorsport, das aus Leidenschaft und nicht aus Geldgier. Eine Klasse, die nicht kontrollierbar von einer anderen Organisation homologiert wird, um dann auf der Nordschleife Rennen zu fahren: Hierbei kollidiert er jedoch mit der Leitplanke. An seinem Fahrzeug entsteht ein Schaden von ca. Hier ist noch einer - Robb Holland:.

This is the last bastion of the great race tracks in the world. I believe in personal responsibility. So much going on, hard to keep track. As the full sale price is pending, the Ring is now rented out to the Russians and Getspeed. These two stakeholders are fighting each other and have met in court already.

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Government decided behind the scenes to whom to sell and Capricorn did sound like a nice automotive and regional company. As they never had the financial backing they should have never been in the position to buy. Recent business decisions and discussions with organisers however indicate that they are only interested in one thing: As did the region, because the international attendance left a lot of money in the otherwise not-so-busy Eifel region.

This is now all gone. If F1 is feasible every two years in Hockenheim, why not at the Ring? I blame the new management and the general lack of promotion skills for losing this important event. This music festival got invented in the 80s and has been a huge success story since. It has been organized by Marek Lieberberg and the Ring got its portion of the profit.



Their communication concerning their festival decisions could not have been more arrogant - and their failure they are now faced with could not have been bigger. He is gone for good. The car hit the tire wall and got catapulted over the FIA fence, killing a spectator and injuring others as a consequence. It was the first time a spectator got harmed or even killed during VLNs long history. That accident is a nightmare coming true.

GT3s are allowed on Nordschleife only since and they have build up great performance since then. What was planned as a low budget GT alternative has quickly developed into high level manufacturers sport. We now are facing the threat that the track needs to be adopted to the race cars - rather than the other way round. Manufacturers have full control over the organizers decisions and works GT3s racing on Nordschleife pose much risk to the track itself.

The downward spiral is picking up speed and it is becoming increasingly hard to find any remaining optimistic people. Man sollte sich der Aufgabe stellen, sie annehmen. Dieses Fest erinnert uns an das Wunder, bei dem jemand den Tod besiegte. In jeder Runde entdeckst du etwas Neues. Die seriennahe Klasse SP10 ist hingegen ab sofort wieder zugelassen. Aber was viel schlimmer ist: Die wissen schon, was sie den Herstellern schuldig sind.

Wenn es sein muss auch unter Ausschluss der Zuschauer. Nicht, dass jetzt irgend so ein Staatsanwalt noch auf dumme Ideen kommt. Aber ist das nicht bitter: Liegt es an der Hektik der Entscheidung? Hat niemand in die Rundenzeitentabelle geschaut? Weil sie keinen glatten Unterboden haben?

Eine Kritische Sonnenfinsternis

So kurz vor dem 24h-Rennen. Wir kennen die Bilder, wenn die Autos auf der Kuppe vorne abheben. Und bei einem 1. Tragischerweise sieht man auf dem Jalopnikfoto, dass sogar hinter den Zuschauern ein Zaun war - man ist an dieser Stelle quasi eingesperrt. Unterboden verbieten geht auch nicht, denn die GT3 funktionieren nur so, wie sie homologiert wurden. Ach stimmt ja - die hat man ja vom Hof gejagt.

Deshalb kann ich VLN auch nur online verfolgen. Bei Twitter das gleiche Trauerspiel: Als Fotograf geht man freiwillig einige Risiken ein, aber als Zuschauer?! Sollen GT3s verbannt werden - oder die Zuschauer? Wie sieht es mit der Haftung aus bei einer privat betriebenen Rennstrecke: Sehr traurig - bei dem Unfall hat es unter den Zuschauern mehrere Verletzte und ein Todesopfer gegeben vln.

Da hast du absolut Recht. Ein Versuch war es wert! Danke Jutta, ich vermisse dich jetzt schon da oben …. Trackday Zolder am Verdient die Fahrerwahl gewonnen! Wenn man sich die Frage stellt: Sie hat sich ihre Entscheidung nicht einfach gemacht:. Unter dem Aspekt Sicherheit!!! Man muss die Veranstaltung schon ordentlich gegen die Wand fahren, um eine Herzblut-Rennfahrerin von ihrer geliebten Nordschleife zu vertreiben. Aber auch sonst ist das Permit ein ziemliches Verwaltungsmonster. Fakt ist jedoch, dass es keinem gelungen ist diese Rennstrecke profitabel und wirtschaftlich nachhaltig zu betreiben.

Das ist gelinde gesagt Bullshit. Dazu reicht ein Blick in die historischen Bilanzen. Hier mal ein Beispiel von bestem Wissen und Gewissen. Und hier , und hier , und hier , und hier , und hier ,. Watch him explaining the track with one arm while driving - and he only got one arm! Sie richtet sich gegen den Verkaufsprozess und da ist einiges an Zunder drin. Und das nicht nur einmal. Das Ganze kann sich noch Monate hinziehen, vielleicht sogar bis Ende Margrethe Vestager - die neue EU Wettbewerbskommissarin - hat es nicht leicht: Es gibt keine vergleichbare Anlage auf der ganzen Welt und dieses Alleinstellungsmerkmal hat innerhalb Europas eine hohe Anziehungskraft.

Looking back this have been great 33 years - however the last 7 years have been very exhausting and frustrating. Our politicians unfortunately have made no efforts whatsover to protect the Race Tracks against sale into private hands. The Insolvency Administration has not followed any other options except quickly selling the property.

As observer one was left with the only option to describe the process as hectic and chaotic. As a citizen is was not possible to gain knowledge on the procedures, which were carried out in secret. Only press reports have regulary published misconduct after the event during the sale process. There is no comparable site globally and this uniqueness has huge attraction within Europe. Both the economical future and the conservation of the cultural heritage are only possible within a non-profit-making type of business.

Profit seeking ventures of privateers will mid- and longterm lead to bleeding of the Eifel region and plundering of the cultural heritage. I already had the chance to highlight the special significance during my visit in Brussels at Feb. Wenn Ihr auch Magrethe Vestager kontaktieren wollt:.

By the way, EU has 24 official languages! In case you also want to contact Magrethe Vestager: Wir sind an Dreistigkeit ja schon viel gewohnt von unseren Politikern, aber Strietzel setzt da ganz entspannt noch einen obendrauf. Der Staatsanwalt hat sie vom Haken gelassen:. Die Staatsanwaltschaft Koblenz wird daher keine Ermittlungen aufnehmen.

Wie ich schon auf der SWR Seite kommentiert habe:. Auch das Verramschen der Nordschleife um von der eigenen Schuld abzulenken stellt in meinem Augen eine Riesen Untreue dar. Das ist ja das Allerneueste. Wer redet denn seit Jahren davon, dass die Zuschauerzahlen erstunken und erlogen sind? Stefan Rota hat am Das wird ja immer wilder! Von der Aufnahme von Ermittlungen war daher abzusehen. Willkommen im Unrechtsstaat Rheinland-Pfalz! Moderator Thomas Meyer hat zwar - wie auch in der 1.

Ausgabe - deutlich Partei ergriffen, aber es war so offensichtlich, dass es jedem bewusst wurde. Quasi eine gute Schulung zur Meinungsbildung! Denn normalerweise kommen solche Beeinflussungen viel subtiler daher. Von der CDU war Alexander Licht gekommen - die Opposition hat es in RLP wirklich nicht einfach, aber er hat sich nicht provozieren lassen und ist sachlich mit der Diskussion umgegangen. Ich bin dankbar, dass ich auch zu Wort kommen durfte. Das ist Marc Ratlos Ruhland aus Andernach. Das ist 3x die VG Adenau. Bei Uli Adams muss ich sagen: Auch Hanna Breuer verdient Respekt: So weit sind wir schon.

Ich bleib mal vorsichtshalber im Konjunktiv. Das sind 24 Semester. Kann man auf seiner Homepage nachlesen. Nach meinem Auftritt meinte ein Ur-Eifler zu mir: Als die Sendung vorbei war habe ich mich zu diesem Statement hinreissen lassen:. Und das wird noch mehr Stimmung, wenn die Folgen des katastrophalen Ringverkaufs bei den Leuten ankommen.

Und das werden sie. Wenn wir uns diesen Umgang gefallen lassen, dann haben wir es auch nicht besser verdient. Ich warte ja noch auf den Tag, wenn Adenau geschlossen auf den Putz haut. Das muss man sich mal reinziehen: Das ist doch kein Zufall! Sachwalter Jens Lieser betonte: Und die Verbrecherbande Volksvertreter verkaufen das auch noch eiskalt als gute Nachrichten. Otto Flimm kocht vor Wut:. Jetzt hat es Almunia also doch geschafft , als eine seiner letzten Amtsaktionen den Ringverkauf durchzuboxen:.

Immerhin haben sie nicht geschrieben: Dabei legt die Kommission unter anderem folgende Indikatoren zugrunde: Und ob es klemmt! Auch mit meinem Kommentar Richtung Doktortitelsammler Schmidt hier habe ich richtig gelegen. Aber das war auch der einzige Grund, warum Herr Lieser hingefahren ist. Weil Capricorn protegiert ist. Die Region tut mir sehr leid.

Unser Hauptinteresse gilt den Fans. Auch wenn wir verschaukelt werden dass es kracht, sollten wir nicht resignieren. Jetzt scheint sich herauszustellen, dass es diese Finanzierung gar nicht mehr gibt. Da passt ja was nicht zusammen, wenn es jetzt auf einmal keine Finanzierung mehr geben sollte und man darf sich fragen, wer sich da zu weit aus dem Fenster gelehnt hat. Erinnert mich an das hier:. Oktober sei daraus Gewissheit geworden. Robertino Capricorni heute so: There is no way to know for sure why Gottfried did not finish his romance.

His continuators tell us that death prevented him from doing so. Unfortunately, about this situation scholars know as little as they do about the life of the poet. Based on the ways in which the poet casts his audience the edele herzen as a privileged and exclusive group, it has often been assumed that Gottfried must have been working and performing for an aristocratic elite Wehrli Mark Chinca has recently suggested that patricians may have been only one group in a heterogeneous audience that may also have included ministerials of the bishop and clerics Gottfried is regarded as the most educated of the major medieval German poets.

It has long been considered that Gottfried does not seem quite so interested in the chivalric life as his famous contemporaries Hartmann von Aue and Wolfram von Eschenbach, though it is possible that his treatment of 4 E WILL HASTY chivalry may have been more limited by the nature of his subject matter than by an aversion to or rejection of chivalry per se see Jones 64— These references, and some of the other statements made about poets living and dead, suggest that Gottfried was composing his Tristan at about the same time that Wolfram was working on his Parzival, which is to say the first decade of the thirteenth century.

A dating of ca. Such a statement would have been consistent with ongoing debate about ordeals leading up to the fourth Lateran council in , at which the participation of bishops in ordeals was prohibited Chinca 9— There are also more than a dozen fragments of other manuscripts dating from the thirteenth, fourteenth, and fifteenth centuries. Among these is the Carlisle fragment of verses discovered in which depicts some of the action shortly after the lovers have drunk the love potion.

The textual foundation of Gottfried scholarship is therefore far from ideal. Hatto has been used in this volume when the contributors did not prefer to do the translations themselves. Despite his above-mentioned praise for Hartmann and his aversion to Wolfram, Gottfried might be seen as more different from these two poets than they are from each other, by virtue of the unique nature of his subject matter. With his Tristan, Gottfried participates in and must be seen in relation to an evolving narrative tradition, the historical origins of which reach back into an obscure past.

The first stories about Tristan probably took shape in Britain in the early Middle Ages and may originally have had some basis in history. A Pictish prince named Drust, son of Talorc, lived at the end of the eighth and a Cornish king named Marke in the sixth century see Batts 19 , and other names from the story are documented in medieval Ireland, Wales, Cornwall, and Brittany Huber It is assumed that the Tristan story first became a work of literature sometime around the middle of the twelfth century. Scholars then distinguish different manners of rendering this postulated original romance, a version commune and a version courtoise.

Eilhart seems to have followed his source, to which he refers as the buoch the Ur-Tristan? The broad outlines of the story as told by Eilhart are similar to those that we see with Gottfried, but there are numerous striking differences. From the start the focus is on external epic action, not on internal perhaps more lyrical psychology or reflection, and the action is frequently not for the squeamish.

In the first case Tristrant has been wounded by Morold, and rather than torment the people around him with the stench of his wound, he asks to be placed in a boat so that he can die alone; a gale then carries his boat to Ireland and his healer Isalde. In the second case, Mark, pressured by his vassals to marry, finds a hair dropped by two swallows and states because he prefers not to marry and to have Tristrant as his heir that he will wed only the woman to whom the hair belongs; Tristrant volunteers to find the woman, and he and his party set out into the world in search of her.

This romance, composed sometime between and , has survived in two fragments that also provide glimpses of a medieval way of telling the Tristan story that is quite different from that of Gottfried. So begins their rough and dangerous forest life. All of this is a clearly a far cry from the manner in which Gottfried renders the relatively amicable banishment of the lovers by Marke that precedes the Love Grotto episode. Though this is an extreme example, it illustrates the importance given by the version commune to dramatic events that make an immediate impact on the audience and do not require much reflection or empathy.

It is thought that Thomas composed his romance for the court of Henry, duke of Anjou and future king of England, and Eleanore of Aquitaine not long after the middle of the twelfth century. Corresponding to this realization of the potential of the Tristan story to explore interiority, the adulterous love itself — as the specific matter of this interiority — assumes both a greater complexity and a higher value in the version courtoise. Its primary function is not merely to hide its own tracks by means of epic action, as tends to be the case in the version commune, but rather to be a different, alternative way of living and feeling with a value of its own upon which Thomas and Gottfried linger at length and with relish.

Fortunately, later romances that were also based on Thomas have provided some help. Gottfried indubitably would not have taken such great liberties with the source material, though the extent to which he too might have parted ways with Thomas perhaps particularly in his employment of religious imagery in the depiction of love and its value should not be underestimated.

Max Wehrli, whose view might again be taken as representative, has posited that Gottfried followed Thomas very closely, diverging from the source only to make minor corrections in motifs, to shift accent and formulation, and to embellish with additional reflections. The result, for Wehrli, is a continuation and intensification Steigerung of the tendency that was already present in the version of Thomas The difference between Thomas and Gottfried is put very elegantly and insightfully by Schach: But as Marion Gibbs points out in her chapter in this book, the reception of Gottfried is complex and multi-faceted.

In the later Middle Ages it was again the version of Eilhart, and not of Gottfried, that enjoyed the greatest popularity. The German chapbook Tristrant und Isalde ca. Beyond Germany the Tristan story continued to be popular in the later Middle Ages, though this popularity was largely indebted to the thirteenth-century prose rendering of the material that became part of the French Vulgate Cycle ca. Tristan and Lancelot are the two best knights in the world, and the depiction of their chivalric prowess eclipses, for large sections of the narratives, their love for their respective queens.

The tragedy of Tristan as cast in the Vulgate and in the version of Malory is thus much transformed and becomes a small part of the broader turmoil that eventually engulfs the entire world of Arthur. His poem shows us many a well-conceived story. It is wellcrafted and complete; if one considers the matter wisely, no other poem is more brilliantly composed. He recognizes no bounds for the desires of men, except the public opinion of refined society, which for its part allows everything that does not create a painful sensation.

Mone and Kurtz, along with other scholars who argued on behalf of Gottfried, tended to do so by stressing the bond they perceived between the Tristan and the Siegfried stories. In the history of Gottfried criticism, the twentieth century has been regarded as a century of interpretation. Particularly important and influential was the interpretive work of Friedrich Ranke, especially his essay on the allegorical significance of the Love Grotto In the latter part of the twentieth century, and in the beginning years of the twenty-first, the whole gamut of interpretive approaches has been represented, and it is worthwhile to reiterate something that Huber states in his introduction: Even if this aesthetic mode of identity-formation is imbued with the authority and depth of religious elements, which distinguishes the medieval situation in which it was composed from antiquity and modernity, the religious purport of these elements seems to some extent to be undone by means of their artful employment in the context of this singular romance.

It would seem to pose an obstacle to the evaluation of the course of literary and cultural history according to simple oppositions such as medieval-religious-communal versus modern-aesthetic-subjective. In the first section, Tristan is viewed within the broader intellectual and social climate in which it was composed. Michael Batts turns his attention to the specific social, political, and religious currents of the medieval Strasbourg in which Gottfried composed his poem. Focusing in particular on important women characters — Blanscheflur, the elder Isolde, the younger Isolde, and Brangaene — Rasmussen demonstrates the degree to which these figures manifest both traditionally feminine and traditionally masculine attributes in order to deal independently with the many obstacles presented to them.

Marke, Majodo, Melot, and others at court. In his chapter Daniel Rocher draws attention to lyricism as an aspect of Gottfried romance that sets it apart not only from the other courtly romances in Germany, but also from the other current versions of the Tristan story. According to the text of Friedrich Ranke.

Secondary Sources Batts, Michael S. James Hardin and Will Hasty. Dictionary of Literary Biography. Curtius, Ernst Robert European Literature and the Latin Middle Ages. Vernacular Literary Theory in the Middle Ages. Originally published in Darmstadt, Adrian Stevens and Roy Wisbey. A History of Tristan Scholarship. University of Nebraska Press. A History of German Literature. To view the image on this page please refer to the printed version of this book.

A depiction on the Chertsey Tiles. In the works of the Greeks and Romans, it was thought, the studia humanitatis Cicero had reached such a degree of accomplishment that they could provide a model for all human education. Beyond the purely literary aspect, humanism as an intellectual movement also involved an emancipatory potential. The humanism emanating from Italy in the early modern period was seen to mark the end of the Middle Ages and the beginning of a new epoch.

In the meantime developments in historical research have suggested that humanism made a much earlier appearance. Neither Greco-Roman antiquity nor Christianity is necessary for self-realization. The Middle Ages of course had a different conception of humanity, according to which man had been created ad imaginem Dei. To be sure, this imago had been corrupted by original sin, but it had not been completely destroyed. It was in the Creator, rather than in themselves, that medieval people found their reason for being, but with its basic idea of the Incarnation of the divine, Christianity did include the possibility of a grand view of humanity and the world, even if this possibility was not generally realized in a humanism in the proper sense of the word.

Or one only need think of Wolfram von Eschenbach, whose hero Parzival, inspired by unverzaget mannes muot the courage of a steadfast man and love, achieves his lofty goal of the grail and whose romance Willehalm depicts heathens as creatures of God and therefore as human beings worthy of respect. These would be examples of a humanism that is not based directly on antiquity. Of course, the European Middle Ages are unimaginable without the literary presence of Latin antiquity.

Views of antique literature from early Christianity onward fluctuated between mistrust and rejection, on the one hand, and instrumentalization on the other. The wish to employ antique literature was based on the idea that valuable and useful aspects of antique culture should not be conceded to paganism. This fluctuation between acceptance and rejection continued with changing accentuations through the centuries.

In the second century Tertullian questioned the relevance of Athens for Jerusalem, Jerome followed suit in the fourth century when he asked what Horace has to do with the Psalter, and so on. Despite problems with its pagan origins, the bulk of antique literature was not forgotten in the Middle Ages, but rather became the foundation of education.

Later on, with the early modern Humanists, the turn to the literature of antiquity for its stylistic value and its humanistic orientation did not mean a break with religion, as is clear in the cases of Petrarch, Pope Pius II, Erasmus, and others. Earlier, in the Middle Ages, the relationship to antiquity was a different one. However impressed one was with the achievements of the ancient world, the basic superiority of Christianity was considered the point of departure for any, even remotely humanistic orientation.

The weakening and ultimately the dissolution of the medieval conviction that Christianity is superior to antique culture can be seen as a consequence of the intensive activity of the early modern Humanists. At the end of this preoccupation in Germany stand Goethe and Schiller, the latter writing: What sort of a humanity is this, and can the increasing interest taken in human nature as such be seen as the expression of a humanism with specific characteristics? Gottfried emphatically states that he wants to relate a story about a man unde wip as lovers.

He is thus concerned with two people involved in a relationship of fulfilled erotic love. Such a programmatic turn to humanity, with its exaltation of Eros, looks strongly humanistic, at least in its basic orientation. Since late antiquity the literary scene has been populated with martyrs, saints, sinners, and penitents, beyond this with kings and other rulers.

In the late tenth century, Odo, the second abbot of Cluny, considered the vita of an aristocratic miles, Giraldus of Aurillac, worthy of literature. Although Abbot Odo excluded all things military and erotic from his account, it is nevertheless noteworthy that Giraldus, who was merely an exemplary layman, belonged to none of the aforementioned traditional groups. In the Ruodlieb, a romance fragment from the eleventh century, the position of humanity has already become much more prominent, even if the ultimate goal is still the exemplary rulertype.

In the twelfth century a new type appears whose qualities are no longer bound to heroic actions, royal power, or religious systems that justifies them, but rather serve to demonstrate the worth of an individual. Whereas Geoffrey of Monmouth casts the historiographical elements of his account in the high style of the heroic epic, his vernacular reworker takes — to put it very simply — the additional step to romance, at the same time humanizing his source to a great extent.

While Arthur himself continues, analogous to Alexander, to be the conquering king of the traditional material, Wace also makes room for a new perspective that is no longer content with the warlike action of the heroic epics. We discover that the court of King Arthur has become the exemplar of refined manners and sophisticated tastes. Wace adds that it was in this period of peace that those wondrous events, the merveilles, and the strange incidents and intrusions into the normal life of the court, the aventures, began to 26 E ALOIS WOLF occur.

Next to the world of raw war and conquest as portrayed in the heroic epics, a new realm of activity in merveilles and aventures is opened up for the knight — who now needs to be seen also as a courtly, increasingly cultured human being. With Geoffrey of Monmouth we have a scene in the grand heroic epic style. A count jumps up, as might happen in the Rolandslied, and responds with uncompromising warlike utterances: Arthur, who speaks next, continues in the same vein.

At this point of the vernacular reworking, Wace breaks apart this fixed epic conception. None other than Gawein, who might already have assumed a fixed role in extra-literary narrative traditions, speaks in the vernacular version between the count and Arthur. This divergence from the Latin source disrupts the heroic-epic depiction. Gawein draws attention to the advantages of peace, which have caused the land to flourish and provided the opportunity for gaberies and drueries, for gallant jests and adventures of love. Gawein concludes with a new determination of the chivalric life, por amistiez et por amies font chevalier chevaleries for love and their beloved knights perform chivalric deeds; Arnold ed.

But the attitude has clearly changed. Hero and traitor are no longer the only alternatives. Erec qualifies himself for the office of king that awaits him no less than Parzival, for whom even kingship over the grail kingdom has been predetermined. In Iwein, as well, worldly power is important in the adventures of the hero. In the adventures of the Knight of the Cart, however, a kind of humanity becomes tangible that is not at all concerned with power and that is entirely in the service of love.

Gottfried follows this tendency and intensifies it by depicting Tristan as a human being who, even if still a knight and warrior, quite consciously renounces worldly power. Given the status of political power in the literature and reality of the time, this is a act of considerable symbolic force. Besides this it is of special significance that Gottfried makes of Tristan and Isolde a pair of artists see Mohr — In the Tristan romance of Thomas, the main male figure — and not so much the female one! With Gottfried these abilities are all related to art, especially to a musical art of a kind that has not yet been heard.

With Gottfried, the main female figure not only participates in this musical art, but even comes in unexpected ways to embody it. All of these aspects are immediately relevant to the kind of humanism Gottfried represents, the specific features of which we need to examine more closely. Compared with the stereotypes customarily employed in hagiography and the highly conventional character-types of the heroic-epic traditions, the work of Gottfried manifests a stunning degree of psychological subtlety. His descriptions, monologues, and dialogues bear witness to an understanding of psychology that is nothing less than modern.

Having impressed his audience with an initial display of his polyglot talents ff. Everyone who knows a few foreign words produces them in order to see if Tristan really commands the language in question — just as tourists today might produce a few words in the language of the country in which they find themselves in order to see if they will really be understood. At a deeper level this humanity is sustained by true love, which resides in the heart and emanates from there. Never before has a storyteller so programmatically placed herze and minne at the center of the actions and identities of his main characters.

Correspondences with the prologue are established by means of the oxymora developed in lines ff. A humanity that has nothing to do with magic is exalted in this episode, which points ahead to the love potion and suggests that an understanding of the later episode in terms of magic would be inappropriate. The court of Marke is of course still captive to such primitive beliefs and does not have access to the enlightenment provided by true love.

Even the elder Isolde, who brews the Minnetrank, and Brangaene see things this way. But the humanity of the main characters goes beyond such beliefs in the power of magic. This tendency, which is already striking in the story of Riwalin and Blanscheflur, is fully developed in that of Tristan and Isolde see Wolf for a detailed treatment of this development. In this episode, and in the excursus on love that follows, Gottfried employs no less than seven different verses about Minne — almost as a refrain-like leitmotif — that convey its true nature and its growing power over Tristan and Isolde , , , , , , The story of Riwalin and Blanscheflur, which manifests an early form of this type of Minne-verses diu gewaltaerinne Minne [Love, the tyrant; ] , is thus by far outdone.

People with some religious education would have been able to hear in these laudatory Minne verses, which are intensified almost to invocations, undertones of Marian poetry. These and other comparable associations, of which a few more will be mentioned later, result in a compelling network of correspondences. Love, the queen of all hearts; At the turning point, when Minne enters irresistibly into the lives of Tristan and Isolde, it is designated as der werlde unmuoze, as the primal force that moves the world. This is not a casual formulation.

This does not mean simply to pass away the time, but rather to share in the energy that drives the cosmos — which is none other than amor! Gottfried thus has to be seen in a great tradition that goes back to Boethius. Especially with his depiction of the Minnegrotte, Gottfried makes an original, vernacular contribution to the discussion of love in the High Middle Ages. In the portrayal of the Minne-hermitage Gottfried is not content with merely appropriating elements of religious architectural allegory see Ranke , but rather imparts to his descriptio a dynamic that is based on Platonic thought.

The allegorized edifice calls upon us to make an upward movement: In such a passage, clouds wolken are not a mundane meteorological occurrence, but rather suggest in the same way as biblical testimonies the presence of the divine. This passage acquires additional significance by virtue of the fact that Gottfried returns to these images in his excursus on love, von guoten minnen on worthy love; No other vernacular author before Gottfried depicted the possession of hearts by the omnipotence of love with comparable intensity, with ever new forms of poetic expression that increase the sense of excitement and anticipation and the desire to empathize.

A case in point is the passage leading up to the mutual declaration of love of Tristan and Isolde, which Gottfried depicts in a manner that is consistent with his own artistic conception, but that also employs the traditional idea of love entering into a person through the eyes and other traditional symptoms associated with love. The placement of this long passage is very important.

We have just heard the reaction of the loyal Brangaene, for whom the drinking of the Minnetrank is a catastrophe. But then the author turns to the lovers in line , diu maget unde der man, which proves itself to be a bracket that encloses the section extending from the drink to the kiss. The emphasis placed on maget can also be seen in relation to the deception during the wedding night.

Step by step Gottfried leads his reader from what for Brangaene is a drink of death to the blissful drink of a couple that has become conscious of its love f. First the author tells of the initial condition of both lovers — The poet now turns to Isolde, who also eventually realizes that there is nothing within but minne unde Tristan These statements, which lead toward the names of the lovers, are quite intentionally stylized. Thirty verses lie between the names, and positioned between them is Minne, which shows that Gottfried arranges his words not unlike a sculptor chisels his plan into stone.

Special care is devoted to sight, from line , and by gently implying an association of seeing with the heart, Gottfried allows the traditional religious image of the eyes of the heart to assert itself next to the physical eyes of the traditional psychology of Minne for a study on the eyes of the heart topos, see Gewehr — The author lays claim to this image in the prologue der werlde in die min herze siht [literally: With respect to the lovers, sight with the physical eyes and sight with the spiritual ones of the heart do not correspond in the beginning: The same is true with Isolde: But Gottfried then discretely develops the manner in which herze and ouge increasingly become one.

It is not coincidental that the process begins first in Isolde: Gottfried now employs further Minne-topoi in a way that is consistent with this depiction. Since the eyes of the heart and body have 32 E ALOIS WOLF become one, there is a movement towards external revelation of internal events, first by means of pallor and blush, and then by means of dialogue. Gottfried continually has the whole process in view, rather than allowing the different stages to follow one another mechanically. He thus crafts an image of Isolde before the final confession of love that culminates in subtle gestures; ougen and herze are no longer merely static physical designations, but rather begin to overflow: Her heart began to swell within her, her sweet lips to distend; ff.

In the avowal of Tristan we observe an energy that is directed internally, before which everything external sinks away into nothingness: Nothing in the wide world is dear to my heart but you! All of this culminates in the first kiss, which was already metaphorically present in the joint drinking of the Minnetrank — the crass materiality of which has been transformed during the depiction of these events. The crowning of poets with the laurel wreath that Gottfried depicts here is a theme that brings us close to humanism as traditionally understood see Schulze — In no medieval vernacular language before Gottfried is there a comparable reference to antique literary culture.

This unusual prologue — verses of the highest intellectual and artistic quality — is clearly intended to have a programmatic significance. Some of its elements are well known from antiquity. But Gottfried is not content with reproducing a series of established exordial topoi in a mechanical way. His much more dynamic approach involves a variety of elements in the consistent articulation of an artistic conception, the formulation of which the prologue reveals itself to be in an unforeseeable way.

Gottfried begins with the memoria topos, which was very familiar to the antique imagination. The Middle Ages however was also familiar with the devotional memoria of liturgy see Ohly. The memoria theme, manifest in the first word of the prologue gedaehte man.

The general statement made in the first four verses and its elaboration are followed by the somewhat condescending reference to the work of earlier poets who occupied themselves with the Tristan story: They assuredly did so well-meaningly; — With the concluding source information regarding Thomas ff. Instead, the most decisive section now begins. They will find it very good reading. Tristan and Isolde are now introduced as the true embodiment of this triad, and the topic of death, which is inherent in the memoria theme, is also broached ff.

At the same time the narrator, who has dominated to this point, and the werlde are transformed to wir and uns from ff. The introductory topos involving memoria — gedaehte man — which makes a harmlessly conventional impression initially, is eventually connected to Tristan and Isolde in a manner that is analogous to the Eucharistic memoria of the Last Supper. In this artistic conception, the metaphor of nourishment has been transformed in a bold way.

The death of the protagonists has not been entrusted to fame as something merely of the past, but rather becomes life-sustaining bread, now and in the future. The impressive climax of the theme of death that Gottfried achieves in his development of the memoria topos thus goes far beyond the humanism of antiquity. Gottfried promises not merely a story about lovers of past times; his romance pretends to be the embodiment of the fate of Tristan and Isolde.

The end of the romance fragment contains passages that underscore the importance Gottfried gives to this issue. After the final separation Isolde reflects, with an intensity that is reminiscent of the prologue, about her own existence. It becomes clear to her what she is. Ir leben ir tot sint unser brot! The ancient pair was not united in true Minne, Dido cannot be the life of Aeneas when she commits suicide.

Unlike Dido, she cannot die, which the poet stresses in two different ways, first from his own perspective ff. Many of these references are made in an artistic context that is not present in the story of Riwalin and Blanscheflur. Here Tristan appears at first as master hunter and brilliant horn player, and when the Welsh minstrel performs his songs, Tristan immediately speaks knowledgeably about them. When Tristan takes the harp in his own hands, he is already designated as der niuwe spilman the new minstrel; in anticipation of what is to come. At first it is tragic, hopeless stories — about Phyllis, Canace, Biblis, and Dido — in which Tristan and Isolde absorb themselves ff.

These stories, however, are merely a step in the direction of the higher love that Isolde and Tristan embody. Notably, the lovers leave these stories from antiquity in the area outside when they enter into the interior of the Grotto ff. As suggested by the ambiguous word spil literally: The bittersweet love stories of antiquity are left far below. Gottfried may be suggesting here that the Eros of antiquity was not able to generate a redemptive power that is capable of transforming even death, and that only his maere of Tristan and Isolde is capable of achieving this.

Consideration of later passages provides further information. The description of the pair sleeping in the Grotto that the hunter conveys to King Marke may contain an important clue. The trustworthy hunter notices nothing special about Tristan, but the woman makes a much stronger impression, appearing to him as nothing less than a goddess or fairy.

The designation fee fairy is still evocative of Celtic fairy tale, familiar from the lays of Marie de France and other works. The word gotinne goddess is reminiscent of the pagan Venus, once lady of the Grotto, who has now clearly been replaced by Isolde. When Marke himself looks into the Grotto, Isolde shines with an incomparable brilliance that is expressed with a sun metaphor ff. The light symbolism associated with Isolde is programmatic.

When Tristan returns from Ireland the first time, everyone asks about Isolde. From a modern perspective the sudden introduction of the concern with the younger Isolde at the court of Marke could be seen as a compositional lapse, but this is not the case. Such a theme is the beauty of Isolde. The returning Tristan responds to the questions about her correspondingly — Isolde is the niuwe sunne new sun; — the term niuwe here suggests the novus of Christian typology who follows the dawn, her mother Isolde.

This is not merely a comparison, but rather a personification. Isolde is the new sun! The education of Isolde is presented first from the perspective of the narrator, then from the perspective of Tristan as the one who has been most immediately affected — In the former passage, the narrator ostentatiously excludes an appraisal of the medical achievement of the mother Isolde that her cure of the wounded Tristan represents ff. Instead, he turns to a description of the singular artistic phenomenon that is embodied in the person of the young Isolde. Similarities to the case of Abelard and Heloise are obvious see Fromm — He then goes on to speak of her singing and skill with musical instruments, culminating with moraliteit good manners; — At this point antique models are employed.

When Isolde sings, the narrator first suggests that the effect is comparable to that of the Sirens, and he productively develops this comparison by connecting Isolde with the sirens and their lodestone: The Middle Ages attached a variety of associations to the Sirens see Rahner. In their association with the lodestone they were perceived to be negative and destructive. The decisive assessment of the essence and effect of Isolde is provided subsequently by Tristan. Tristan, who is able to speak of Isolde on the basis of an inner affinity, is not content with the standard set by the Sirens and their lodestone.

Instead, he mentions the greatest beauty that antiquity produced — Helen, in the Middle Ages still the non plus ultra of beauty, only to outdo this standard in a wonderful passage that takes advantage of Christian light-symbolism: Isolde has rid me of this notion! Never again shall I believe that the sun comes from Mycene. Perfect beauty never shone forth over Greece — here is where it dawns!

Let all men in their thoughts gaze only at Ireland, let their eyes take pleasure there and see how the new Sun following on its Dawn, Isolde after Isolde, shines across from Dublin into every heart! This dazzling, enchanting maiden sheds a lustre on every land! All that people say and discuss in praise of woman is nothing compared with this. Whoever looks Isolde in the eyes feels his heart and soul refined like gold in the white-hot flame; his life becomes a joy to live. A particularly important piece of information that these ancient books have taught us is that chevalerie and clergie first stood in high regard in Greece, that they then passed to Rome, and that they have now and forever established themselves in France, even as their living spark irretrievably died among their original patrons, the Greeks and Romans.

Gottfried takes a more radical approach. He has Tristan dispense with his book learning altogether in having Isolde, the new sun, rise in the west! It is difficult to imagine a more specifically medieval form of self-awareness. In his Historia Calamitatum, Abelard writes about the events subsequent to his castration: Ambo itaque simul sacrum habitum suscepimus, ego quidem in abbatia santi Dyonisii, illa in monasterio Argenteoli And so we both donned the religious habit, I in the Abbey of St. Denis, and she in the Convent of Argenteuil. For Heloise, well-versed in Roman literature and one of the best-educated women of the twelfth century in the humanities tradition, the Roman woman was an exemplary model with which she could orient herself during a difficult moment in her life.

The fossure de la gent amant the grotto of courtly love , which goes back to pagan times ff. Here again we have a specifically medieval surpassing and perfection of something with antique origins. This great episode is by no means an exceptional obstruction in the flow of the narrative, but rather is carefully prepared in a variety of ways in the prologue, the narratorial excursus on love, and the literary review.

With regard to this worldliness, the prologue already contains some important signals. This striking phrase leads one to expect a resolute preoccupation with worldly matters. Such a preoccupation indeed becomes manifest in the compositional technique employed in the prologue. The strophic section of the prologue places the concept werlde at the beginning and at the end 44 , where Gottfried employs the neologism gewerldet literally: The stichic prologue that follows builds on this orientation.

Gottfried here energetically engages the high medieval discussion about the herze, a discussion that had received impetus from the troubadours and that had even made a mark on heroic narratives such as the Nibelungenlied. The specific characteristics of werlde are then examined 46, 50, 55, and 58 and it becomes clear that Gottfried is concerned with another world. This other world is not the Christian heavenly kingdom, even if religious images and ideas were important in its formulation not surprisingly, given the influence of religion on the thinking and language of the Middle Ages.

In his avowal of this other world, Gottfried tirelessly sets forth its distinctiveness in different ways, and culminates with four oxymora: To this life let my life be given. For his passionate avowal of a world and a life that is able to grasp the totality of love, Gottfried utilizes the neologism of line 44, gewerldet: As a case in point, it is said of the lovers, after they have drunk the love potion and the conventional symptoms of love of Ovidian provenance have appeared, that they cease nourishing themselves, which fills the carefully observing Brangaene with dread ff.

At this point in time they are still in ir aller werlt and bound to the conventions of courtly life. The situation is quite different in the Love Grotto, where Gottfried spends substantial time and effort to show that the lovers need no earthly nourishment — From the eye flows life-sustaining abundance, wuocher, which corresponds to fructus in the language of the mystics.

Gottfried comes back to this when he refers to Eros as the nourishment of the couple: What better food could they have for body or soul? Man was there with Woman, Woman there with Man. Walter Haug has maintained that the bed, and consequently sexuality, is what is decisive in the Love Grotto. The Middle Ages apparently did not see it quite this way in view of the fact that no critical or outraged assessments of the Love Grotto episode have been preserved is it possible that vernacular literature was too marginal for potential monastic or clerical critics?

One must be careful about strictly equating Eros with sexuality. In the latter case, associations with the Fall from paradise set the tone, and the graceful abundance of sunlight at the Grotto has become the ruinous heat that accompanies the daemon meridianus. With hundreds of verses that are rich with associations, Gottfried makes it clear that the Love Grotto represents a higher kind of love. This is obviously not a humanism of antiquity. This parodistic text participates in what must have been a lively contemporary discussion about who is the better lover, the miles or the clericus.

Given the authoritativeness of Ovid in literary circles of the time, it is remarkable that Gottfried was able to distance himself from the Roman master to such an extent see Ganz — , for example in his detailed references to the Remedia amoris, against which he advocates his own artistic conception. On the contrary, the unmuoze results from absorbing oneself completely in the love fate of Tristan and Isolde, which is itself the true and inspirational unmuoze.

Struggling with the confused feelings that Isolde White Hands has caused in him, Tristan considers that he might be helped with vremdem liebe the love of another; ff. It is exactly this council that Ovid gives to his lovers , Ovid, the antique and medieval authority in amoribus, might properly be regarded as dethroned, not by means of a praise of chastity, but rather by the story of the fulfilled love of Tristan and Isolde. In this love, which is a love of sexual fulfillment, something deeply human about man and wip becomes tangible. Antiquity was not the principle source of the kind of humanism that shows itself here.

Even if Gottfried unreservedly advocates the physical aspect of Tristan-Minne, one observes an overriding tendency to internalize and to spiritualize. This tendency is visible in the episode that includes the knighting of Tristan, the literary review Dichterschau , and the invocation of the Muses. But hundreds of verses have preceded that go in a completely different direction and are completely independent of the source.

Gottfried begins his description of this momentous occasion by stressing very intentionally the external events, but only to distance himself decisively from them, a move that is already suggested by the brevitas topos ff. External pomp does not interest him. Gottfried returns some four hundred verses later ff. Such overarching similarities show that Gottfried consistently follows an encompassing new conception. The question of a depiction of the conferral of knighthood that is worthy of the Tristan story is the cause of the Dichterschau.

Medieval poetics had taken over from antiquity a very elaborately developed art of depiction, which Gottfried very confidently trumps with his own conception of a poetry that aims at the interior and opens up des herzenkamere the chamber of the heart. In a single masterfully executed passage of over thirty verses of unparalleled stylistic talent, Gottfried distances himself from the manner of depiction that was typical in the narrative poetry of his day. He begins with the example of the armor, which Vulcan himself had forged, and then returns triumphantly to the manner of depiction mentioned at the outset Just as the antique Helen has no chance with the medieval Isolde, the antique depiction of armor also falls short.

In order to outdo antiquity, one must have recourse to a special source of inspiration, and Gottfried takes care of this by developing his singular invocation of the Muses out of his feigned inability to adequately portray the knighthood ceremony ff. The invocation of the Muses actually belongs in the prologue, but antiquity — Virgil for example — allowed for the possibility of appealing to the Muses later in the text in cases of need. By taking advantage of this possibility, Gottfried shows his close familiarity with antique poetics.

But the medieval poet does not leave it at this. Gottfried does not content himself with the old Helikon, but rather claims the true Helikon as his inspiration see Wolf Although the exegetical associations of the language look suspiciously Christian, one should hesitate before seeing in the true Helikon the Holy Spirit as fulfillment and perfection of the antique Helikon, just as one should not see the niuwe sunne new sun , Isolde, who puts the antique Helen in the shadows, as a real figure of Christian salvation history.

What Gottfried ascribes to the true Helikon and claims for his poetry goes in the same direction as what he says about Isolde and Tristan. With a poet such as Gottfried, similarities in wording have to be taken seriously.



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Gottfried expects that his words will be fused together ze vremedem wunder most wondrously; Blanscheflur, as she is beginning to become aware of her love for Riwalin, calls the transformation occurring in her vremedez wunder strange marvel; The younger Isolde, when she appears at the Irish court like the sun following her mother the dawn, is designated as the wonder of Ireland In the same scene Tristan is characterized in a singular way: Tristan will pronounce about Isolde that she shines into all herzen , and that she purifies herze and muot in the same way as gold is purified ff.

A special kind of Eros is realized in Tristan and Isolde, which Gottfried makes recognizable as the source of strength of his poetry. This episode is, as already suggested, conceived as a correspondent to the love existence of the Love Grotto, and it sheds light retrospectively on the earlier episode. One is now among ir aller werlde the world of the many; 50 at court, where true Eros cannot develop itself fully, but necessarily becomes a perversion of itself. But things do not have to remain this way, as one can gather from the concluding reflections of the author and the dialogues and monologues of Isolde.

At the same time, he distances the lovers from any kind of guilt With respect to psychology, Gottfried follows Ovidian conventions. Underlying this episode is the insight nitimur in vetitum semper cupimusque negata! We eternally strive to do what is not allowed and desire whatever is forbidden. Not coincidentally, the reference to the prohibition in paradise follows immediately upon the third and final use of the word dorn. This language, which is rich with biblical associations, opens up a new dimension. There is no mention of Adam at the beginning of the depiction of the rendezvous, for Isolde, the conveyor of the new Eros, has to dominate this scene.

Gottfried cannot spend enough time with Eve, the prototype of all women, and he has Isolde now emerge as a second Eve. The formulation geevet literally: It belongs to the nature of women, the poet tells us, to be moved to transgression by prohibition The poet then turns around and praises that kind of woman who affirms her own nature unreservedly ff. In all of this Gottfried continues the biblical associations and intensifies them. The general considerations about prohibition and transgression reach their culmination in a passage of some thirty verses that is positioned before the depiction of the events continues: He was altogether destined for present bliss, he has the living paradise implanted within his heart!

There are no thorns or prickles there: Rose-like conciliation has uprooted them all — prickles, thistles, and thorns! There is no other fruit there but love and devotion, honour and worldly esteem. By the time this happens, the biblical thorn-thistle metaphorical language is present only negatively, and Marian associations are being established: The intensive employment of Biblical elements in this passage cannot be dismissed as decorative flourishes. This is an amazing claim, which, in view of the very unusual prologue, again appears as very consistent.

Gottfried assures us that this new paradise does not refer to unchangeable events in the past, but rather — as suggested by the phrase saeliger man — is a powerful possibility in the present and the future. Whereas Hartmann assures us, not without humor, that he gains more from tales about an ideal Arthurian past in the present than he would gain from actually living in that ideal past, Gottfried promises not only a pleasing literary experience, but a principle of living for the present and future.

Gottfried here engages himself in the great discussion about love that was occurring in the twelfth century in Minnesang, theology, and the courtly romances, and even in works such as the Nibelungenlied. The remainder of the romance shows just how strong the presence of the Bible is. Here Gottfried quite deliberately establishes an analogy to the behavior of Adam and Eve.

Of course, the Fall of Adam and Eve by no means meant the impossibility of salvation. On the contrary, in the New Testament it became the felix culpa quae meruit talem redemptorem habere happy fault, that merited such a Redeemer!! Just as Adam and Eve in the Bible became the ancestors of humanity, we have to see in Isolde and Tristan the ancestors of true lovers in the new humanity of the edele herzen. For Adam and Eve the promise of redemption came from beyond, from God, but Tristan and Isolde carry the possibility of redemption in themselves, and Gottfried comes back to this point repeatedly during and after their final separation.

The burden that Gottfried has placed on Eros is enormous, and there is no way to know whether this was a great burden with which he struggled, or a playful game with which he diverted himself and his audiences. Even if it were only the latter, this would be interesting enough. The Consolation of Philosophy. Heilmittel gegen die Liebe. German Friedrich Walter Lenz. Amores lateinisch und deutsch. Eine Lehre der liebenden Gotteserkenntnis.

Deutscher Klassiker Verlag, La partie Arthurienne du Roman de Brut. Secondary Sources Clanchy, Michael T. Ertzdorff, Xenia von Dietrich Schmidtke and Helga Schuppert. Zu Gottfrieds Tristan v. Haskins, Charles Homer The Renaisssance of the 12th Century. Der geistesgeschichtliche Zeugniswert des liturgischen Gedenkens im Mittelalter. Julius Schwietering, Philologische Schriften, ed. Friedrich Ohly and Max Mehrli. Medieval Humanism and Other Studies.

Deutsche Kultur im Hochmittelalter — Guntram Plangg and Eugen Thurnher. That is to say, he views his version as one of a succession of treatments of a given material, and there is no reason to doubt that he expected there would be others in the future.

He gave for his time the appropriate interpretation of events in the past, and there is also no reason to doubt that he saw Marke, Tristan, and Isolde as historical figures in that past, no matter how indefinite that past may be. However, it must also be borne in mind that Gottfried is himself a historical figure at a particular point in time, and he must therefore be seen, if one is to understand fully the background to the writing of his epic poem, within that historical context. What I propose here is a depiction of the political, social, economic, and cultural situation at the time at which Gottfried was writing, that is, the social and intellectual climate in Strasbourg in the first quarter of the thirteenth century.

However, I make only passing reference to the remoter history of the city, since one must distinguish, as far as the historical Strasbourg is concerned, between what we now know of its history and what Gottfried may be assumed to have known at the time. Gottfried would not, for example, have had access to the information, scanty as it is, that has become available in the centuries since his death about the Roman occupation of the city, and he would presumably have accepted one of the legends about the founding of the city, such as that 56 E MICHAEL S.

According to that chronicle, Trebata, the son of Ninus and Semiramis, fled to Germany after the death of his father in order to escape the amorous advances of his mother. He founded Trier, and in that city later murdered his mother, who had followed him there. From Trier were founded the Rhenish cities of Cologne, Mainz, Strasbourg, and Basel, all of this about two thousand years before the birth of Christ. The quote is slightly abbreviated from the Carmen Nigelli Ermoldi exulis in honorem gloriosis Pippini regis — Poem by the exiled Nigellus Ermoldus in honour of the glorious king Pippin, lines 77—88; unless otherwise indicated, translations are mine.

This is an ancient and fertile area, occupied by the Franconians who have given it the name Alsace. On the one side are the Vosges mountains, on the other the Rhine, and between them lives a lively population. Vineyards cover the slopes and their vines provide grapes. The valley floors offer fertile soil which enables the farmers to fill their granaries.

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The fields provide crops; the slopes provide wine, and the Vosges mountains are covered with forests. The [overflowing] Rhine fertilizes the soil. One has to ask oneself which enriches the inhabitants more, the mountains or the river.