#Reuental

[lesser-known-composers]

Neidhart von Reuental (fl. c. 1210-1240) - Owê dirre nôt!

Conductor: Mary Springfels

Counter Tenor: Drew Minter

Musical Ensemble: Newberry Consort

[medieval-margins]

Check out our new Medieval Design! Following up on Her Walther von der Vogelweide, we are continuing our Codex Manesse line with Her Neidhart von Reuenthal, another famous Minnesänger, and contemporary of Walther. The design features hand drawn calligraphy, spelling out the first line of one of Neidhart's famous songs: Meie din liehter schin!

Check it out here!

Medieval Margins is a Norway based design project by medieval-excited HEMAists, combining art from real medieval manuscripts with hand-drawn calligraphy

[bronanlynch]

my least favorite (almost entirely joking) thing abt older anime is that the previews of the next episode used to just fuckin. tell you what major character deaths were going to happen next time and now I have to use all of my self-control to remind myself that I have work tomorrow morning and cannot stay up late enough to watch and then process [redacted] dying please I was going to be happy stopping here for the night without this knowledge

[milkywayan]

Neidhart von Reuental grave in Vienna :)

[legendofthedumbass]

I looooove ignoring a character's death in the media I like, like what do you mean they're dead no they aren't they are alive and I'm having a cup of tea with them right now :] no I'm not in denial shut up shut up shutupshutupshut

[deborahdeshoftim5779]

A lively song from the renowned medieval German poet, Neidhart von Reuental (ca. 1190- ca. 1237). Von Reuental belonged to the era of the Minnesaenger, singers singing about Minne, or love. Meie din liechte schin means May Your Light Shine.

[georgebbwbush]

logh spoliers

why the fuck is reuental hatefucking that woman who tried to stab him lmao

[blog-aventin-de]

Wien Reise

Wien ⋆ Donau Österreich Kultur Reise ⋆ Mythos einer Kaiserstadt

Wien Reise ⋆ Donau Österreich Kultur ⋆ Mythos einer Kaiserstadt

Wien ist immer eine Reise wert! Wohl über kaum eine andere Stadt gibt es so viele vorgefertigte Bilder wie über Wien: die Stadt der Operette, des Walzers und des Fiakers, eines Schubert und Beethoven oder das Wien, wo auch die »Gute Alte Zeit« noch immer ihren Platz hat. Diese Stadt aber so zu beschreiben, wie sie tatsächlich ist, ohne sie der Wirklichkeit zu entrücken, ist wohl ein schwieriges Unterfangen. Wien ist stolz darauf, auf eine große Vergangenheit zurückblicken zu können. Nicht zuletzt bedingt durch eine überaus günstige geographische Lage, spielte Wien durch nahezu zwei Jahrtausende eine bedeutsame historische Rolle: Wien, im Herzen Europas gelegen, liegt zwischen den Alpen und den Karpaten, wo sich im sogenannten Wiener Becken uralte Verkehrs- und Handelswege kreuzen. Wiens Seele lässt immer wieder neue Aspekte zu. Die Stadt wurde geprägt durch die Ausstrahlung verschiedenster Kulturen. Besucher sind immer wieder überrascht, wie hier das Widersprüchlichste zur Harmonie bewegt werden kann. Wolfgang Amadeus Mozart bezeichnete Wien als den herrlichsten Ort für sich und sein Metier. Die Stadt sei der beste Ort der Welt, erzählte er jedem, den er kannte. Kaum anderswo ist das Studium der Architektur leichter als in dieser Donaustadt, wo sämtliche Stilarten und Stilepochen vorhanden sind. Berühmt sind die Wiener Malerschule, die seit dem 14. Jahrhundert besteht, und die Wiener Literatur, die ihren Ursprung auf »Fahrende und Scholaren« wie auf Neidhart von Reuental zurückführt. Besonders erwähnt sei aber auch der Minnesänger Walther von der Vogelweide (1170-1230), der bereits am Hof der Babenberger ein beredtes Zeugnis für die damalige Pflege der Musik und Dichtkunst in Wien ablegte. Kult sind die Wiener Kaffeehäuser, sie bilden gleichsam eine Insel der Seligen. Diese sind keine gewöhnlichen Lokale, in denen man nur Kaffee trinkt, nein, sie wollen sich vielmehr als Institution verstanden wissen, die zur Stadt gehören wie das Riesenrad oder der Stephansdom. Wien ist sicherlich immer eine Reise wert. Read the full article

[kleos-aphthiton]

Oskar von Reuenthal. ²

[autumn-sacura]

Reuenthal dakimakura Commission

(for the full version visit my Patreon) Patreon | Commissions | Redbubble

[vraisetzen]

when you're depressed but you still gotta be the joker in your group of friends

[lesser-known-composers]

Neidhart (von Reuental) (c. 1190 – c. 1240) - Mir ist ummaten leyde (I am grieved beyond all measure) (arr. M. Lewon) ·

Marc Lewon

Artist: Baptiste Romain, Ensemble: Ensemble Leones

[flemmkuchen]

Neidhart von Reuental (Her Nîthart)

one of the most famous lyricists and Minnesänger of the high middle ages

Codex Manesse, c. 1300

[bronanlynch]

if ur still doing the character meme: reinhard lotgh?

yessss thank u I have many thoughts abt him

Sexuality Headcanon: has never once been attracted to a woman ever in his life. tbf not sure he's ever knowingly been attracted to anyone who isn't kircheis. everything else is just. well he really wants another want to be a worthy rival/nemesis in a way that isn't not kind of erotic but like. it's not Just erotic it is also very much abt wanting to die in battle to a ~worthy opponent Gender Headcanon: so like. in canon I do think he's a cis man especially considering how strictly gendered the empire military is and he doesn't seem to have much space in his brain left over for exploring his gender. however I do sometimes enjoy rotating trans possibilities in my head and I am compelled by the thought of transmasc reinhard bc I think that. given his ambitions he knows that he needs to be in the military, which means he needs to be/pass as a man (and also given what happens to annerose I think he has specific motivation to not want to navigate the world as a women), and I do enjoy stories abt people who crossdress for plot reasons and then decide that they're trans actually A ship I have with said character: he and kircheis sure are in love A BROTP I have with said character: I am obsessed w his weird complicated friendship w hilde, how she's the closest thing he has to a friend but he doesn't fully trust her bc he doesn't fully trust anyone, her going against his orders to save his life at the end of season 2 and him thanking her but not being able to forgive him, their inevitable lavender marriage, their "butch hitting on a twink she thought was a butch" energy, A NOTP I have with said character: uncomplicatedly romantic het4het reinhard/hilda I guess? extremely important to that dynamic to me that they are a gay man and a lesbian. like I can't really see him properly dating anyone other than kircheis but like. I'm certainly not opposed or immune to any of the homoerotic potential of his relationship w like. reuental or whoever A random headcanon: I think it would be fun if he and kircheis used to cut each other's hair. y'know. the intricate rituals of it all. the intimacy & vulnerability, etc etc. trusting someone else to shape ur appearance and therefore ur public image. and that's partially of why he grows it out after kircheis dies General Opinion over said character: he's so beautiful and so sad and so terrible and I want to study him like a bug. love that he's like. not wrong that the aristocracy is bad except unfortunately he's so much a part of the society that created him that he doesn't have any other way of dealing with it except with more militarism & imperialism & autocracy which does not fix anything in the longterm and will lead to his inevitable and tragic downfall. and also I think it's funny when he makes policy decisions that help the people without seeming to actually like. especially care abt that and everyone is like "oh wow maybe dictatorships are good actually." but yeah in general I love it when characters are tragic and gay and fucked up. and also I cannot wait to see the continually unfolding consequences of letting a 24-year old with a death wish become the most powerful person in the galaxy

[milkywayan]

hi. could you recommend medieval literature? thank you :)

uuh, yes i can but that really depends on the fact if you can understand german! i dont know if there are english translations of it (i read them in dual language editions, with middle high german and new high german) - i only have read one book that is not german

But in case you can, here are the ones i read in the past year (the not german one is the last one):

Collection of poems by Walther von der Vogelweide - one of the most famous german speaking minnesänger, lived from 1170 - 1230, and has stolen my heart with his diss tracks to the pope; author of the Famous 'Palästinalied' written as propaganda during the crusades

Collection of poems by Neidhart von Reuental - another important german speaking minnesänger, born around 1180/90, so a younger contemporary of Walther, sings a lot about the 'stupid peasants' and how they try to emulate life of the nobles (great fun, the peasants hated him); the Neidhart persona was very self depricating, depticting an unlucky knight; my favourite song of his is 'Meie din liechter schin'

Der Ackermann by Johannes von Tepl - probably one of my absolute favourite books ever, written in the early 15th century as a story for a friend of Johannes von Tepl, who himself was an educated man from northern bohemia; technically already early new high german and not middle high german; the story is a dialogue between a man and death - the mans wife has just died and he starts insulting death, demanding to bring her back. it goes back and forth, and they discuss life, death, humanity creation, god and grief. i loved it

Ein kurtzweilig Lesen von Dil Ulenspiegel - written around 1515 by an anonymous author in early new low german; german speaking people are more familiar with the modern name Til Eulenspiegel. I grew up with the modern adaptations of the story, but the late medieval ones are so, so much more crude. it is a collection of short stories, telling the tale of Dil Ulenspiegel, a silly boy/young man who does silly things. a medieval comedy, nothing profound. the original print has nice wood cut illustrations. it was widely popular, because medieval people could read (although they couldn't necessarily write)

Parzival by Wolfram von Eschenbach - written around 1200-1210 in southern germany, picks up athurian legend. i am half way through and have personal beef with wolfram. but it is good, a lot of depictions of noble life and medieval morals and ideas. makes A LOT of references to other writers of the time, including Walther von der Vogelweide, Gottfried von Straßburg (see next book) and Hartmann von Aue (see below)

Tristan by Gottfriend von Straßburg - written around 1210, is the german adaptation of the tale of Tristan and Isolde. I have not read it yet, but the books are on my shelf to be read as soon as I am done with Parzival

Erec by Hartmann von Aue - written around 1180/90 is said to be the first arthurian story written in german and an adaptation of the old french Erec et Enide - same as above have not read it yet

Iwein by Hartmann von Aue - second arthurian story, written around 1200, also adaptation of the old french story - same as above i have to still read it

The tale of the two lovers by Aeneas Sylvius Piccolomini (future Pope Pius II) - written in latin (there are english translations!) in the mid 15th century for a friend while at the court of Vienna, this is the most famous medieval erotic novel we have! It is about a married woman falling in love with one of the holy roman emperors men while they visit the town in italy she lives in, and the spicy affair they end up having, probably based on a similar story that happened. Aeneas lived a wild life and was old beyond his age, having 2 kids with two different women in two different countries out of wedlock and being a well travelled poet. he also hated women, like, A LOT. after he became pope he wanted to supress the circulation of the book, but is was a best-seller so it didnt work evidently, as i have read it in the 21st century

In addition to that, as a historical fencer I also read the sources, but these will be boring to people who dont care, but here are some anyways:

The Art of Swordsmanship by Hans Lecküchner - most famous source for Langes Messer techniques

Das Fechtbuch by Albrecht Dürer - yes, THE Dürer wrote a fencing book, completely in verse with nice illustrations!

Jude Lew - his fencing manuals are also nice, no illustrations only text

Hope this helps in a way.. again, i read mostly german medieval literature, so idk if this is useful as idk if any of these books have been translated

[logh-icebergs]

Episode 20: Bloodshed in Space

797/488. Reinhard sends Mittermeyer to kick the asses of some extremely whiny nobles, which he does with aplomb. Later, Reinhard sends Mittermeyer and Reuental together to... well, to attempt to kick the ass of Ovlesser, a significantly more threatening noble. Tensions mount among Braunschweig’s team, particularly between Merkatz and everyone else (save Schneider, of course). Reuental and Mittermeyer succeed at capturing Ovlesser, after much frustration and at great cost. Despite everyone else’s desire for revenge, the sinister Oberstein convinces Reinhard (and Reuental and Mittermeyer) to let Ovlesser go; as Oberstein predicts, Ovlesser’s comrades-in-nobility interpret his return as meaning that he betrayed them in some way, and he is unceremoniously executed as a traitor. Chalk up another win for Oberstein’s fucked up plans! Meanwhile, Mittermeyer makes moon-eyes at Reuental, and Ferner enjoys carrying out Oberstein’s plans a little too much imo.

Reuental and Mittermeyer

Reinhard and Kircheis are great and everything, but Reuental and Mittermeyer are the greatest love story of all time. I’m not biased.

(From “My Conquest.”)

I promised early on that eventually, Reuental and Mittermeyer’s relationship would stand alongside Reinhard and Kircheis’s as one of LoGH’s two epic love stories. Sadly, Reuental and Mittermeyer have had very little screentime up to this point, so I haven’t had much reason to talk about them for longer than to remind you that yes, they did go on a date this episode, thank you very much. Until now! Finally, in episode 20, Reuental and Mittermeyer take center stage, which makes now the perfect time to dig into their presence on the show so far.

Synchronization

When it comes to battle, Reuental and Mittermeyer are a well-oiled machine. We’ve seen them consult with each other before and after fleet battles; we’ve also seen them work together fluidly in hand-to-hand combat, without the need to consult at all:

In episode 11, Reuental and Mittermeyer invite themselves to help Kircheis rescue Annerose and, upon encountering a bunch of Benemunde’s cronies, take the lead in taking them down. Notice how Mittermeyer and Reuental claim their respective quarries by assigning them to each other, rather than to themselves, underscoring their affinity.

Above, Reuental and Mittermeyer communicate in a kind of shorthand: Rather than speaking directly about their plan, they talk around it, with the implicit assumptions not only that it’s already been decided save the details, but also that they both know what it is. And unlike the dynamic between Reinhard and Kircheis, who also have their own non-verbal methods of communication, neither Reuental nor Mittermeyer is subservient to the other: Both have an equal say and exercise their right to express that without hesitation.

Sorry Kircheis, this may be your fight, but it’s way more important for the audience to understand that Reuental and Mittermeyer are equals than it is for you to get to sit in the front seat. Maybe next time!

(From episode 11.)

We see this dynamic play out again in episode 20, when Reinhard sends Reuental and Mittermeyer to take down the bloodthirsty High Admiral Ovlesser. When the original plan to overwhelm him with battle-axe-armed infantry fails miserably (and violently, so, so violently), Reuental and Mittermeyer decide to go in themselves as bait—which all seems perfectly normal until you realize that they never actually discussed this plan out loud.

Just like the show’s audience, the aide standing literally right next to Reuental and Mittermeyer had no idea what their plan was until they both started talking about it simultaneously. In both a subtler and a more literal interpretation of Reinhard’s “Kircheis is the same as myself,” Reuental and Mittermeyer nonchalantly operate as if they share the same actual brain.

When they do eventually succeed at trapping Ovlesser, the battle-harmony between Reuental and Mittermeyer is even further emphasized, this time with some clever camerawork:

Mittermeyer kicks away Ovlesser’s axe, at which point the camera is behind his legs; then he turns around and... wait, it’s Reuental?! How did they do that?

Mittermeyer and Reuental have been acting as one all this time, but here the camera goes a step further and treats them like one physical body. Even when Reuental and Mittermeyer aren’t occupying space together on the screen, LoGH’s creators want to make sure we interpret them as two halves of a whole. This is a lot more than just a throwaway cinematic trick.

Body Language

In the absence of expository flashbacks, the characterization of Reuental and Mittermeyer’s relationship is conveyed to us mainly via their (present-day) physicality. And the way they move when they’re onscreen together is unique to them, a visual representation of a type of intimacy we don’t see with the relationships between any other characters.

The gif above, in which Reuental and Mittermeyer sigh in unison, is a straightforward but striking example of how precisely their movements are choreographed to match one another. Mittermeyer leans his head slightly forward; Reuental leans his slightly back; the amount of negative space between them stays exactly the same the whole time, just shaped a little differently. Without mimicking each other’s positions, Reuental and Mittermeyer manage to give the impression of perfect balance. It’s a kind of approximate visual symmetry that’s both very expressive and very satisfying to watch—and we’ve been watching it, in fact, since “My Conquest.”

Like with their sighs above, here Reuental and Mittermeyer move in tandem—but instead of keeping the negative space between them the same, they move into it equally, so it becomes smaller but stays symmetrical. Also: Note the complementary head-tilts.

(From “My Conquest.”)

In many of these scenes, the camera itself remains static, allowing Reuental and Mittermeyer to be the only movement in the frame so the viewer can focus on how they fill a space together. In this moment from episode 5, the completely symmetrical background contrasts with how Reuental and Mittermeyer both reach subtly into the other’s “half” of the screen before settling against the balcony.

Not even the fact that Mittermeyer is several inches shorter than Reuental can get in the way of their visual balance—above, for example, Mittermeyer walks slightly ahead of Reuental, so his time in the center of the screen is longer. Below, Mittermeyer brims with energy and dynamism while Reuental is still as a statue until he expresses his restrained but emphatic agreement:

Mittermeyer’s physically asserted rage allows him to take up more space than his smaller stature would allow on its own, while Reuental, like Kircheis (usually), reins himself in. Taken together, they again balance each other out.

This isn’t the first time we’ve seen a couple’s dynamic encapsulated in how they move to fill the screen. In fact, the contrast with Reinhard and Kircheis’s framing helps reveal how carefully the animators worked to portray Reuental and Mittermeyer as equals:

The great thing about this moment from episode 4 is how strikingly out of balance Reinhard and Kircheis are while still using the same visual language of approximate symmetry that is used for Reuental and Mittermeyer. Kircheis literally struggles to catch up and be close to Reinhard, crawling back into the screen when Reinhard drags himself away—there’s symmetry here, but not equality.

When you combine all these elements—the give-and-take, the use of negative space, the slightly uneven but somehow perfectly balanced movement—you end up with scenes like the one below, in which Reuental and Mittermeyer discuss their aforementioned (and silently agreed upon) plan to ensnare Ovlesser. It’s a scene that is so casually well-choreographed that it is truly a wonder to behold:

Looking at this gif fills me with a quasi-religious ecstasy. It’s perfect.

Above, Mittermeyer, who waits a beat before responding to Reuental’s movements, shifts his stance into the negative space that Reuental has just vacated, which keeps their bodies aligned. Mittermeyer puts his hands on his hips (a favorite position for him), and Reuental follows by putting his behind his back, so the space their bodies occupy is symmetrical but their postures are not. Mittermeyer waits for Reuental to put his openly gesturing hand away before putting both of his up; and through it all Mittermeyer is affectionately watching Reuental’s face while he describes their plan to someone offscreen.

At this point in LoGH, we still know next to nothing about who these two ridiculously handsome and distinguished admirals are. But if we pay attention to how their bodies interact on screen, we can begin to piece together who they are to each other. With Reuental and Mittermeyer, that’s a really good place to start.

Then again, sometimes you don’t have to pay attention beyond the embarrassingly fond expressions these two wear whenever they look at each other. Seriously this moment makes me blush. (From “My Conquest.”)

Ugh, More Character Redraws

I regret to inform you, dear readers, that the fiends behind LoGH’s cursed “remastered” character redraws are back at it again, and this time, it’s personal:

Of all the characters who suffer from redraws—and nobody is safe, NOBODY—Reuental truly has it the worst, because the changes made to his expressions venture into character assassination territory. Above, you can see a perfect example of how Reuental’s demeanor was completely altered (on left) from how he was originally animated in the LaserDisc version (right). On the LD, Reuental learns who is guarding the passage he is to infiltrate with Mittermeyer, and he is visibly concerned. In the remasters, his apprehensive frown is flipped into a smile that says: “I’m not the kind of person who would worry about all the troops under my command who are probably about to get killed!”

This is far from the last time we’ll see Reuental’s character hardened like this, and I promise I will point out EVERY SINGLE INSTANCE, because Reuental was originally drawn to be a lot warmer, gentler, and more human than the redraws would have you believe. It should go without saying that this is a pretty significant change, and one that has the potential to affect one’s interpretation of Reuental (and of Mittermeyer) a great deal—it should also go without saying that when there are big differences like the one above, I’ll be analyzing (and embedding gifs of) the original LD versions.

Stray Tidbits

I'm honestly so impressed with the visual shorthand for "awful" that the animation team uses to describe the Imperial nobles. It basically comes down to nothing more than their hair and facial expressions, but the overall impression is that they sure are a bunch of fancy little boys.

My first impulse is that Ferner needs to calm the fuck down for two seconds, but on the other hand, I guess I’m glad he has an acceptable outlet for his weird urges?

Besides war, drinking, and going on dates with Reuental (which usually involve drinking), Mittermeyer’s favorite hobby is roasting Bayerlein. Seriously every time Bayerlein tries to get in Mittermeyer’s good graces in some way, Mittermeyer shuts him down spectacularly. It’s incredible. I don’t know what Mittermeyer’s problem is but I’m not complaining, I mean look at that side-eye/eyeroll hybrid!

Mittermeyer is so good at war that he gave this guy an ulcer that almost killed him. Sure, I buy it.

I’ve gotten a lot of mileage out of this gif, so now I offer it to you, humble reader. Go forth and use it well.