1 Antje Theise Emblems in Hamburg Wedding Poems in

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Antje Theise
Staats- und Universitätsbibliothek Hamburg
Ref. Seltene und Alte Drucke
Von-Melle-Park 3
20146 Hamburg
[email protected]
Antje Theise
Emblems in Hamburg Wedding Poems in the 16th Century
Epithalamia by the poeta laureatus Henning Conradinus
I have forgotten a small detail in the titel of my paper: the interrogation mark/point.
Folie 2
Emblems in Hamburg Wedding Poems in the 16th Century ?
Epithalamia by the poeta laureatus Henning Conradinus
In the student and exhibition project “Emblemata Hamburgensia” in 2009 we were also
especially interested in the question: to what extent the trend to use emblems for almost
each occasion is reflected in Hamburg publishing or in the works of Hamburg authors.
We focused mainly on baroque poets of the upcoming language societies. One of the most
important men of letters in the language societies – headed by the Fruchtbringende
Gesellschaft, the so-called Palmenorden (founded in 1617), was the Nuremberg patrician
Georg Philipp Harsdörffer, founder of the so-called Pegnesischer Blumenorden (1644). His
name cannot be avoided in Emblem research.1 And so you necessarily come upon his person
while studying emblems in the literary world of Hamburg. And so I have to start with him.
Folie 3 Gesprächsspiele und Provenienzeintrag
One of his most successful works is the collection of the „Frauenzimmer Gesprächsspiele“,
published in eight volumes (Nuremberg 1641-1649), which contains a series of emblematic
discussions and games. The Hamburg State and University library owns the complete edition
of the „Gesprächsspiele“. Harsdörffer propably donated the complete edition to the
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Mara Wade, S. 188.
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Hamburg Public Library in 1653. You can find the following inscription in some volumes:
„Sum ex libris Bibliothecae Hamburgensis dono Georgii Philippi Harsdöfferi Authoris 1653“
(well preserved in volume 4, 6 and 7).
One connection of Harsdörffer with Hamburg was the successful bookseller Johann
Naumann (1614-1668).2 It is noticeable that many of his published works are penned by
authors, who are members in the language societies like Harsdörffer. In 1649/50 Naumann
edited the Crime-Bestseller „Die große jämmerliche Mordgeschichte“ by Harsdörffer. Until
1678 this book saw six new editions, and another one in 1693 by the Hamburg publisher
Liebezeit. Harsdörffer lived to see the success of his book until the third edition in 1656.3
Already the success of his first edition could have been the reason for Harsdörffer to donate
his also successful “Gesprächsspiele” to the Public Library of the Hanseatic city.
Folie 4 Zugabe
This bestseller is also interesting with regard to emblems added to the „Mordgeschichte“: In
the third edition Harsdörffer added some emblematic theory.4 In his preface to the reader
he announced one hundred emblems. On 36 pages Harsdörffer presented 50 doctrines on
the art/creation of Emblems – he used the new German term „Sinnbild“ – and the
announced 100 theoretical emblems. His preface ends with the words (the 50th doctrine):
Folie 5 Zitat
„Der vielfältige Gebrauch dieser Sinnbildkunst stehet bey der nach und nach
eingeführten Beliebung / und ist solche von etlichen Jahren hero nicht nur auf den
Büchertitulen / in Aufzügen / Siegesprachten / Zuschrifften / Tapeten / Tischen /
Trinkgeschirren / etc. sondern auch zu Hochzeit und Leichgedichten fast gemein
geworden; gestalt dann den Rednern / Poeten / Bildhauern / Mahlern /
Tapetenwürkern / Glasschneidern und Glasmahlern sothane Erfindungen sehr
dienlich / und geben wir ihnen derselben hundert zugefälliger Wahl / der
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Dieser wiederum scheint in engerer Beziehung zu Philipp Zesen gestanden zu haben???
4. Auflage 1662, 5. Auflage 1666.
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Signatur
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ungezweiffelten Hoffnung sie hierdurch zu dergleichen mehr nachsinnigen
Erfindungen zu veranlassen / etc.“5
Harsdörffer encore does not tell us, how useful emblematic elements could be for poets or
speakers. Obviously, emblems became established in German lyric poetry as well as in casual
poetry during the middle of the 17th Century („zu Hochzeit und Leichgedichten fast gemein
gewesen“ - "to wedding and funeral poems have been almost common"). At this time, casual
poetry had developed into the predominantly used literary genre. The essential reason for
the significant upswing though, was the implementation of neo-latin poetry at certain
occasions and as a major part of elocutional or poetry lessons in institutions of higher
education in the 16th century.
This development was due to the influence of the praeceptor Germaniae, Philipp
Melanchthon (1497-1560). Around Melanchthon, the so called „Wittenberger Kreis“
emerged, including notable German poets like Johannes Stigel, Georg Sabinus and Eoban
Hessus. This exquisite circle and Melanchthon himself were the shining example for Henning
Conradinus (1538-1590). Conradinus, originally from Hamburg, enrolled at Wittenberg
university in 1556, enjoyed the last teaching years of the praeceptor germaniae and already
attracted attention with his own writings. Melanchthon himself, (1559 an Burkhard
Mithobius/Mithoff, Leibarzt der Herzogin Elisabeth von Braunschweig-Lüneburg in
Hannoversch Münden) as well as his son-in-law Caspar Peucer (1560 Rektor der Universität
Wittenberg) recommend his poetry, the latter drawing special attention to the clearness, the
variation of objects, the significance of aphorisms and finally the sophisticated Imitatio
Vergils in Conradinus‘ poetry.
Conradinus' seals in the second half of the 16th century (detectable 1558-1586), particularly
his wedding poems, aroused my curiosity, here to search for emblematic traces. If you need
assistance you can consult the Compendium Henkel/Schöne, on the other hand Dietmar Peil
provides a brief overview of the thematic breadth and variety of the images of marriage
emblems.
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Harsdörffer, Mordgeschichte 1656, Zugabe, Vorrede.
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The wedding poems/epithalamia of the poet laureate Henning Conradinus
Seven of the 14 Hamburg latin wedding poems of the 16th century kept in the State library,
were penned by the Hamburg teacher and crowned poet Henning Conradinus. Among them
is an early Epithlamium from 1567 on the marriage of Johann Camper, councillor of Stade,
with Elisabeth von Hoya. Conradinus wrote three poems during 1582, and another two in
1583. His supposedly first wedding poem published in Hamburg, was written 1558 during his
time at Wittenberg university and is on Hermann Rodenburg (from an old counsillors family)
and Anna Reinke. 1560, he returned to the North as a studied Master of Philosophie. 1563
another casual poem showed up, printed by the Hamburg printer Joachim Löw. 1566 he
worked as a school principal in Stade, therefore, the wedding poem explains the Stader
councilmen Camper (above), 1570 the privy councillor Paul Rantzau, brother to the famous
Heinrich Rantzau, employed Conradinus as „Hofmeister“ (tutor) in Schleswig-Holstein’s town
of Schwabstedt. Now, the poet moved among a selected circle of the Northern German
humanistic patron Heinrich Rantzau, was co-author of various „Ranzovia“ and was for sure
entitled to access Rantzau’s extensive and famous library.
Obviously celebrated as a Latin poet by contemporary souls and crowned poeta laureatus
by Emperor Rudolph, Conradinus never failed to praise the Rantzau family in his verses.
Mandated, financially supported and assisted by Rantzau, Conradinus launched his collection
„Epigrammatum historicus liber“, published by the well-known publisher Christophe Platin in
Antwerp. It is an assortment of epigrammatical signatures, which were meant for paintings
of important historical characters at Rantzau’s castle Breitenburg.
This example shows, how deeply entangled both Holsteins and Hamburgs cultural
background is, caused through the neighbouring dukedom to the hanseatic city, at this time
just rising to the status of an independent imperial city. Rantzau and his influence on
intellectual life in his dukedom as well as in Hamburg was a stroke of luck for the entire area.
Neither Holstein nor Hamburg could claim achievements such as a university. At this time,
noble Hamburg families were sent to Rostock or Wittenberg after graduating from the
Johanneum.
Since 1575, Conradinus taught as a poet and humanist at the Johanneum. He was
“Konrektor” and vicar at the „Stiftskirche“ until 1584 but had to quit due to health problems.
He died 1590 in Hamburg.
It is hard to say, how significant Conradinus‘ influence shaped or maintained the humanistic
tradition at the Johanneum, for example by using certain schoolbooks, distributing own
educational writings or drawing attention onto certain antique and contemporary authors
(like Nathan Chytraus practised at Rostock City School). More research would be need and
sources are hard to find.
His production of poetry can be proved until 1586. Ellinger attests Conradinus with a
religious moral. One of his examples should have been the Scotsman George Buchanan.
Conradinus is regarded as one of the poeta minores. Thanks to the Mannheim CAMENA
project, the edited poems in his famous anthology Delitiae poetarum germanorum can be
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seen in the internet. The Hamburger Staatsarchiv hosts – among other casual poetry – one
copy of a rare edition of his Poemata, published posthumously in Rostock in 1607.
I have selected for today especially two of his later wedding songs. Normally, they were
remittance works, ordered to represent and praise influential people and families. On the
other hand, one can expect from a poeta laureatus like Conradinus the intention to prove his
skills, not only to service his client.
On July 8th 1582, Conradinus wrote a wedding poem for the chancellor of County
Schaumburg, Anton Wietersheim. He married Margarete Langermann, the daughter of the
respected Hamburg patrician Paul Langermann. The poem consists of 130 verses in elegiac
measure (distichs). The verses 1-26 form the introduction. While ancient poets would prefer
historical or mythological descriptions, Conradinus uses the four seasons as the inventio.
Seasons were favoured topics for wedding poetry and became almost standard during the
17th century. The spring represented a new love, summer stood for heated affairs, autumn,
the harvesting season, invited innuendos towards offspring and the winter cold was the ideal
opportunity to hug and snuggle, at the same time forming to opposite to spring bringing
tristesse, cold and death. Same we find in Conradinus‘ work, because Wietersheim had just
lost his first wife Agnes Saß, who was from a Rostock counsillor’s family, after 20 years of
marriage without children.
Verses 9-12 refer to the loss of the first wife. Following that, Conradinus uses 14 verses to
describe the fresh, lively spring and the new, blossoming love. Spring brings new luck and
enriches Wintersheim with fresh leaves. The part of him, taken away before, has returned
and blossoms like a lovely grapevine. The new spouse will give him comfort, but also revive
sensual pleasures.
Folie/Slide 6 Alciato Elm/Ulme
Brachia frondenti Vitis Velut implicat ulmo,
Sic ea de collo tuo Pendet amata. (v. 19f.)
As the vine the branches wrapped around the leafy elm,
so the mistress hangs from your neck.
(Wie der Weinstock die Zweige um die belaubte Ulme wickelt,
so hängt an Deinem Hals die Geliebte.)
Conradinus enriches his art of poetry in a very pictographic way, as lauded by Konrad
Peucer. In the above, he uses a Motiv that is very popular in emblematics and can be found
in the Emblemata of Alciato already, although there it was the emblem for eternal
friendship.
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Slide 6: 2 click Vaenius emblem and motto
Finally, in the love emblems of Vaenius (p. 244/245) and Heinsius (No. 43) it is the symbol of
love beyond death or eternal love.
In the „Einbecksches Rathaus“ in Hamburg, the emblem of the grapevine could also be
found, as well as the elm tree, withered though. Thanks to Anja Wolkenhauer, the
emblematic embellishments would be reconstructed almost completely.
Slide 7 Cats
This emblem was taken from Jacob Cat’s „Maechdenplicht“ and hinted at the couple’s age
difference. The young, slender grape-vine and the withered, old elm tree. This interpretation
may also fit the Wietersheim wedding. The groom being 20 years older than his young bride
Margarete. The picture of the vine entwined around the elm trunk symbolizing marriage
goes back to Catull and his wedding carmen 62, v. 49-58.
Concerning the couple’s laudation, the most important ancient topics remain. Wietersheim
is a man blessed by Athene and the Muses, is supported by Virtus during his legal studies,
which he practices between 1558 and 1561 in Rostock. Wisdom, cultivated manners and
faithfulness distinguish the man. 1563 Wietersheim takes office of a „Stadtsyndicus“ in
Rostock, 1566 he acquires the position of a state secretary in Hamburg. As from then, he
represents both councillors in legal matters and occasionally even attends the imperial court
in Vienna. 1568 he earns a doctorate in legal studies in Vienna and his elocutional skills
convince the Emperor Maximilian II to award him the title of a „Pfalzgraf“(Palatine earldom).
1574, finally, he becomes Chancellor at Schaumburg’s court. Verses 73-78 finish the praise
for the groom.
Conradinus likes to please by briefness, mentions that he would like to refrain from the
ancient tradition to describe the feast. The briefness should be welcome, lovers should not
be disturbed by the muses. (v. 77f.)
Finally, he comes to praise the bride’s hometown, pays reverence to the respectable
Langermann family. This part of the poem clearly shows the representative functions of
wedding poems.
The remaining verses 109-130 tell from the arrival of wedding guests at the castle. (v. 117)
The feast was supposedly held at the comital castle Pinneberg, led by the wedding god
Hymen with the happy wishes for the couple, the Vota. Since ancient times, traditional
wishes included many children, a happy and harmonic life, flirtation and the grace of the
gods, which is transformed in neo-Latin poems to the grace of one god. A novelty in Latin
poems of the modern era is the wish for eternal youth an a long life.
At the end, Conradinus emphasized on the bride’s uniqueness, whereby gold, riches and
gems are supposed to be worthless.
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Vivite felices, haec vita coelo probatur,
Et stabilized vester put perennet amor.
Sic Antoniolus casti tibi pignus amoris
Detur, et ante ora patris sui lusitet.
Sit concors study, sensor fausto Sidere perstet,
Laeta solo, tandem at vita beata. (v. 125-130)
Lebet hoch, Ihr Glücklichen, dieses Leben findet im Himmel Beifall,
und Eure Liebe möge nach festem Gesetz ewig dauern.
So möge Dir ein Antoniolus als Pfand reiner Liebe gegeben werden,
und er möge vor den Augen seines Vaters spielen.
Die Liebe sei einträchtig, das Schicksal möge unter einem glücklichen Stern stehen,
das Leben sei auf der Erde fröhlich, aber im Himmel schließlich glückselig.
Live high, happy couple, this life is in heaven applause,
and may your love last forever according to a fixed law.
So you may be given a Antoniolus as a pledge of pure love,
and he would play before the eyes of his father.
Let love be peaceful, the fate may be under a lucky star,
life is happy on earth, but eventually blessed in heaven.
Almost a year later, on June 8th 1583, Conradinus dedicates an Epithlamium of 36 verses
and an Epigramm to the attorney Sebastian von Bergen on the occasion of his wedding to
Gertrud Möller. Sebastian von Bergen was born in Hamburg in 1554 and died there in 1623.
After visiting the Johanneum, he studied law at the university of Leiden in 1575, went 1578
to Rostock and Wittenberg. 1585 already, he is back in Hamburg and starts a career as
councillor, mainly acting as an ambassador on behalf of the hanseatic City. All his life, he was
keen on promoting the Johanneum, extending the library of this institution. Therefore, his
name is closely tied to the Hamburg State Library’s history. He was the pioneer of todays
fundrasing activities. Von Bergen advertised gifts and donations among councillors and
merchants. The acquired books were marked with accurate handwritten remarks. Today, we
apply a sticker with the donor’s name. Furthermore, the donated books were wrapped in
pigskin, adorned with roll- and punchmarks and metal embellishments, bearing the
inscription: Schola S. Johannis and the respective year.
The wedding ceremony was the basis for Conradinus‘ poem. It commences with the giveover of the bride from her family to the groom on her way to the altar. Von Bergen is praised
as a jurist and also as a man of muses. decus Aonidum (v.7f) The couple announces ‚I will‘.
The day ends and philomena intones her elegy. Amor takes care of the holy marriage in bed
and Hymen, the wedding god, holds the torches. the poem does not appear as formal as the
one for Wietersheim and shows the poetic elegance of Conradinus.
The following verses 19-32 draw the picture of a happy marriage and use images that can be
found in emblematics. The couple is compared with love birds/turtledoves, how they fly
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together, or rest in the leaves, so the wedded couple may walk in unity, exchange friendly
glances and speak sweet words.
The Nuremberg emblematical author Joachim Camerarius the younger sees them as the
symbol of faithfulness. „The demure pigeons – (here columbae) hold each other in eternal
love. May they be the guidance for a human marriage“(Cam. III No. 63, coniunctio fida abiding connection). This picture/motif can be also found with Aristoteles, Plinius and the
Rostock professor of poetry Nathan Chytraeus.
In mourning poems instead, the pigeon represents the grieving loss of husband or wife.
Georg Sabinus uses the symbol of the lovebird in his elegy about the loss of his beloved wife
Anna Melanchthon: „like the cock pigeon who lost his wife sits on the naked, dry elm tree, I
lead my life full of mourning.“
Doves or pigeons as love birds are also found in other wedding poems by Conradinus, for
example, in a wedding poem for Peter Boie, pastor in Meldorf, and Catharina Penshorn in
1583. Here the bride is to (be) give many kisses to her groom as do the turtledoves, to show
their love.
slide 9 Schnecke von Holzwart 1581, Nr.27: domus amica domus optima
Another emblem describes the wife’s domesticity:
Nuptaeque servabit thalamumque laremque verendum,
Ut servat propriam, sedula concha,6 domum. (v. 23f.)
Die Vermählte wird auch das Bett und das ehrwürdige Haus bewahren,
wie eine fleißige Schnecke ihr eigenes Haus bewahrt.
The newlyweds will also keep the bed and the venerable house,
like a busy screw preserves its own house.
In emblematic literature we can find this symbol at Matthias Holzwart in 1581. Similarly, it is
also used by contemporary authors like Nikolaus Reusner and Johann Fischart in his
“Ehezuchtbüchlein”, 1578.
Gertrud, so the wish in Conradinus poem, may give her Husband Sebastiona von Bergen
decent Children, strengthen his spirit with sweet conversations which means nothing else
than she’s not supposed to quarrel with her husband. Furthermore, she should prove herself
as a good mother and protect the children.
Sic agitent aevum iuvenes pia corda gerentes,
In terris summum qui coluere Deum.
Haec tibi sponse dabam sub amicae tempora tedae:
Exiguum magni pignus amoris habe. (v. 33–36)
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Mit „concha“ ist hier wohl eher die Schnecke als die Muschel gemeint.
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So mögen die jungen Leute die Zeit verbringen und (dabei) fromme Herzen tragen;
sie, die auf Erden den höchsten Gott verehren.
Dieses (Gedicht) werde ich Dir, Bräutigam, zur Hochzeit schenken,
halte es für einen kleinen Beweis großer Zuneigung.
Thus, like the young people spend the time and (it) carry pious heart;
them that the highest worship God on earth.
This (poem) I will you, groom, pay for the wedding,
think it is a little proof of great affection.
Other than in the poem for Wietersheim, the final verse appears a lot more personal and not
like a formula as he hands over the poem to the bridegroom as a sign of his affection. It is
unknown, how Conradinus and von Bergen were related to each other.7 In the following
Epigramm to the groom we will see the marriage lifted above earthly possessions such as
gold, gems, bread, clothes, incense and cup.
In the same casual writing, Christoph Sylvius (ca. 1561-1591) addresses von Bergen with an
Epithalamium. Between 1583 and 1589, Sylvius published a couple of poems on various
occasions in Hamburg. Between 1588 and 1590 he was teaching the 3rd grade at the
Johanneum. Contemporaries honour him as poeta elegantissimus and poeta suavissimus.
Unfortunately he died early. Also Sylvius‘ writings deserve a closer research and
interpretation.
Also during the second half of the 16th century, Latin casual poetry kept blossoming in
Hamburg. It leaves the significant marks of humanistic tradition in urban surroundings. The
classification of Hamburger casual poetry of the early modern era into German and
European poetry tradition has yet to come, but seems to be promising, despite the difficult
resource sitution.
In view of emblematic studies, text analyzes in detail are worth to find more Emblemata
nuda. They would then have to be put in the context of role models and sources as well as of
contemporary poetics, for example, that of Scaliger. The term Emblema is found from time
to time in the poetry collections of Conradinus. Here we might aks the question to which
extent the poet sees his verses as Emblemata.
Today I could only present a small tessera, an emblem. The search for emblematic traces in
Hamburg prints and in works of Hamburg authors will continue. Thank you for your
attention!
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Es gibt weitere Epigrammata von Conradinus an Bergen in seinen Poemata omnia und in der Delitiae
poetarum Germanorum huius superiorisque aevi illustrium. Frankfurt a. Main: Jacob Fischer, 1612.
Emblems in Hamburg Wedding Poems
in the 16th Century
Antje Theise
Hamburg State and University Library
29.07.2014
Emblems in Hamburg Wedding Poems
in the 16th Century ?
Epithalamia by the poeta laureatus Henning Conradinus
Antje Theise
Hamburg State and University Library
29.07.2014
Georg Philipp Harsdörffer (1607-1658)
29.07.2014
Antje Theise, SUB Hamburg
Georg Philipp Harsdörffer (1607-1658)
29.07.2014
Antje Theise, SUB Hamburg
Georg Philipp Harsdörffer (1607-1658)
„Der vielfältige Gebrauch dieser Sinnbildkunst stehet bey der nach und nach
eingeführten Beliebung / und ist solche von etlichen Jahren hero nicht nur
auf den Büchertitulen / in Aufzügen / Siegesprachten / Zuschrifften / Tapeten
/ Tischen / Trinkgeschirren / etc. sondern auch zu Hochzeit und
Leichgedichten fast gemein geworden; gestalt dann den Rednern / Poeten /
Bildhauern / Mahlern / Tapetenwürkern / Glasschneidern und Glasmahlern
sothane Erfindungen sehr dienlich / und geben wir ihnen derselben hundert
zugefälliger Wahl / der ungezweiffelten Hoffnung sie hierdurch zu dergleichen
mehr nachsinnigen Erfindungen zu veranlassen / etc.“
29.07.2014
Antje Theise, SUB Hamburg
AMICITIA ETIAM POST MORTEM
DURANS
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Antje Theise, SUB Hamburg
TRANSILIT ET FATI LITORA
MAGNUS AMOR
Cats, Maechdenplicht, 41
29.07.2014
Antje Theise, SUB Hamburg
Camerarius, III, Nr. 63
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Antje Theise, SUB Hamburg
Holtzwart, Nr. 27; DOMUS AMICA, DOMUS OPTIMA
29.07.2014
Antje Theise, SUB Hamburg