busant - Synonyms for busant | Synonyms Of busant

Examples of "busant"
Known from a single fifteenth-century manuscript and three fragments, "Der Busant" emerged from a thematic tradition of wild men, thieving birds, and adventures of separated lovers. It is close to several other contemporary stories, such that a common origin has been hypothesised. The work has been described as a novel-like example of the "Märe" style of poetry. Cultural impact of the poem is visible in several surviving tapestries, as well as a possible influence in William Shakespeare's "A Midsummer Night's Dream".
The poem used to be considered a novel-like example of the "Märe" (), which is a German style of narrative poem, typically between 150 and 2000 lines, usually dealing with profane matters such as love; some critics discern three different types—farcical, courtly, and didactic. "Der Busant" partakes of the French tradition of "Die schöne Magelone" (), but also shows affinity with the work of Konrad von Würzburg and the "Iwein".
Der Busant, also known as Der Bussard (both German names for the Common Buzzard), is a Middle High German verse narrative, containing 1074 lines of rhyming couplets. The story tells of a love affair between the Princess of France and the Prince of England, who elope but are separated after a buzzard steals one of the princess's rings. After more than a year of separation, with the prince having gone mad and living as a wild man, they are reunited.
Among contemporary texts, "Der Busant" shares the theme of a treasure being stolen by a bird with several other works. This includes "L'Escoufle" by Jean Renart (twelfth or thirteenth century), a chivalric romance 1902 lines long in which a kite performs the same action, as well as the Italian "La storia di Ottinello e Giulia", the French "La belle histoire d'amour de Pierre de Provence et de la belle Maguelonne, fille du roi de Naples", and a story from the "One Thousand and One Nights", "Tale of Kamar al-Zaman". Paul Meyer compared "Der Busant" and "L'Escoufle" and suggests that the two were derived from a single source, yet to be found; the comparison was first made by Köhler, and according to Rosenfeld, later cited by Linden, that original is a French text. Ph. Aug. Becker, however, in a 1937 review of a study of Renart, denies such a source text and claims the theme as Renart's own invention. According to Rosenfeld, style and individual motifs suggest that the fourteenth-century original of the poem was influenced by Konrad von Würzburg (he singles out his "Partonopier"); the elopement is, he says, influenced by Rudolf von Ems's "Wilhelm von Orlens", and the depiction of the Prince's madness by Hartmann von Aue's "Iwein".
During the Middle High German period, "Minnesänge", songs about courtly love, were very popular. The most notable of all the "Minnesänger" was, of course, Walther von der Vogelweide, but there were also many others. Some of the melodies for these "Minnesänge" have survived to the present day, but most of the melodies have been lost. The only one of Walther's songs for which the melody has survived is the "Palästinalied", which is not a "Minnesang". Walther's most famous "Minnesang" is the poem "Unter der Linden", whose melody has not survived to the present day. Other notable works of Middle High German lyric poetry include the incomplete "Christherre-Chronik", a thirteenth-century world chronicle from Thüringen, the lyric poem "Der Busant", and the works of Heinrich Frauenlob.
It is unknown exactly when "A Midsummer Night's Dream" was written or first performed, but on the basis of topical references and an allusion to Edmund Spenser's "Epithalamion", it is usually dated 1595 or early 1596. Some have theorised that the play might have been written for an aristocratic wedding (for example that of Elizabeth Carey, Lady Berkeley), while others suggest that it was written for the Queen to celebrate the feast day of St. John. No concrete evidence exists to support this theory. In any case, it would have been performed at The Theatre and, later, The Globe. Though it is not a translation or adaptation of an earlier work, various sources such as Ovid's "Metamorphoses" and Chaucer's "The Knight's Tale" served as inspiration. According to John Twyning, the play's plot of four lovers undergoing a trial in the woods was intended as a "riff" on "Der Busant", a Middle High German poem.
Warbeck worked as a diplomat at the court of John Frederick I, Elector of Saxony, when he translated the "Magelone" in 1527; his work on that text was occasioned by John Frederick's marriage to Sibylle of Cleves. The book was printed by Heinrich Steyner in Augsburg in 1535, and was reprinted more than twenty times that same century, evidence of its popularity. The most recent adaptation of the same subject matter was by Peter Bichsel ("Der Busant. Von Trinkern, Polizisten und der schoenen Magelone", Darmstadt und Neuwied 1985). He was befriended with George Spalatin and other important Protestant reformers, and his translation of the "Magelone" shows the influence of Protestantism in the suppression of Catholic elements. Warbeck was honored with an exposition in his hometown in 1985.
Central to the plot of the poem is the theme of the buzzard (or other bird of prey) who swoops down from the skies to steal a lady's ring, prompting her knight to go and find the ring again. The lovers are thus separated for a while, and the knight is given the opportunity for adventure before they are reunited. A popular theme in literature probably deriving from the "One Thousand and One Nights" material, it first appears in Western literature in "Guillaume d'Angleterre" and is in use still, as evidenced in Peter Bichsel's "Der Busant" (1998), a story also involving loss of identity. This theme is to be distinguished from what folklorist Gordon Hall Gerould called "the motive of the man tried by fate", since the main character in such stories (Gerould categorizes them as following the Saint Eustace motif) experiences separation from society for different (usually religious) reasons.
The prince's descent into madness is conventional in many ways. Typical for this kind of narrative poem, according to Linden, is the opposition between culture and nature, and the prince's madness follows a conventional plot: he moves away from culture and into the moral and physical wilderness ("Gewilde") of the forest, where chaos reigns; as he does so, he loses, one by one, the qualities which characterize him as a human of high birth—by scratching and hitting himself he destroys his beauty, he tears his clothes off, and finally he begins walking on all fours. He shares this particular development toward insanity with such characters as Ywain and Lancelot. According to John Twyning, this descent into madness in "Der Busant" inspired the plot in which four lovers are lost in the woods in William Shakespeare's "A Midsummer Night's Dream"; he describes the latter as an intended "riff" on the German poem.
One of his first and most well-known works is "And Really Frau Blum Would Very Much Like to Meet the Milkman". Just as successful, "Children's Stories", intended for adults, is written in the form of droll tales for children. Both books were translated from the German by English poet Michael Hamburger. A theme of Bichsel's works for younger readers is the stubborn desire of children to take words literally and wreak havoc on the world of communicated ideas. In the early 1970s and 1980s, Bichsel's journalistic work pushed his literary work mainly into the background. Only "Der Busant" (1985) and "Warten in Baden-Baden" appeared again with the Bichsel style that was so familiar to German readers. Peter Bichsel gave up being a professional teacher early in his lifetime, yet he has continued to teach his readers that the drudgery and banality of life is of our own making. Conversely, we have every opportunity to prevent our lives from being boring. This theme has helped make Peter Bichsel a symbol of German literary work today.