“People speak sometimes about the “bestial” cruelty of man, but that is terribly unjust and offensive to beasts, no animal could ever be so cruel as a man, so artfully, so artistically cruel.”
― Fyodor Dostoyevsky
"Flowers open every night
across the sky, a breathing peace
and sudden flame catching."
- Rumi, from The Essential Rumi, trans. Coleman Barks (via mirroir)
“Nu alrest lebe ich mir werde”
Vogelweide was one of the most famous exponents of the Minnesang, or early German art song of courtly love (caritas, not amo; in German, hohe Minne, or higher love), which was addressed to a married lady of society inaccessible to her admirer, who pledged to serve her in order to achieve some inner nobility, adoring her as a model of the virtues. Requited love was reflected in “dialogue songs” and known as niedere Minne, or lowly love. The other form of song lyric was known as Spruchdichtung, was primarily created by Neidhart von Reuental and his followers, and used as subjects praise of God and Mary, princes, ethics, art theory, political and personal satire, and begging. The lyric forms tended to get mixed together from time to time. “Nu alrest lebe ich mir werde” (Now my life is elevated, The Palestine Song) was probably written for the Crusade of 1228: “Kristen, juden unde heiden jehent daz ir erbe si … Al die welt diu stritet her … (Christians, Jews and Heathens all claim this land as their own … All the world struggles over it).” The low voice singing this marching song built on a minor mode is often accompanied by flute, shawm, harp, lute, rebec and various percussion instruments (tambourines, small drums).
