Wessobrunn Prayer

The Wessobrunn Prayer (german: Wessobrunner Gebet, also ''Wessobrunner Schöpfungsgedicht'', "Wessobrunn Creation Poem") is among the earliest known poetic works in Old High German, believed to date from the end of the 8th century.

Provenance and reception

The poem is named after Wessobrunn Abbey, a Benedictine monastery in Bavaria,
where the sole manuscript containing the text was formerly kept. The abbey was dissolved in 1803 and its library incorporated
into the Bavarian Royal Library in Munich, under the signature Clm 22053.
The script of the Latin title is uncial, that of the text Caroline minuscule.
Paleographic characteristics of the script support production in Bavaria, with some Swabian influence, consistent with an origin in southern Bavaria, likely in the Diocese of Augsburg, Benediktbeuern, Staffelsee and Augsburg itself.

The manuscript is a convolution of five parts, with a total of 98 folia (numbered to 99, fol. 8 missing). The poem is contained at the end of the second fascicle (foll. 22-66), on foll. 65v/66r, following a collection of Latin excerpts on theology, geography and metrology.
The date of composition is put in the reign of Charlemagne, roughly in the 790s (estimates range from "shortly after 772" to "shortly after 800").
The manuscript itself was written in the early 800s, most likely the years just predating 814.

The language has some Bavarian characteristics (''cootlîh, paum, pereg'') besides traces of Low German or Anglo-Saxon influence, specifically in the first line (''dat'' is Low German; ''gafregin ih'' parallels OS ''gifragn ik'' and AS ''ȝefraeȝn ic'').
Anglo-Saxon influence is further suggested the scribe's representation of the word ''enti'' "and" (with one exception) by Tironian ''et'' (⁊),
and by the use of a "star-rune" 🞵
(a bindrune combining g and i) to represent the syllable ''ga-'' shared by only one other manuscript, also Bavarian, viz., Arundel MS 393 in the British Library. This rune is analogous to the ''gilch'' rune in the so-called "Marcomannic runes" of Hrabanus Maurus (''De Inventione Litterarum''); also comparable in shape is the Old English '' io'' rune (ᛡ) and the Younger Futhark '' h'' rune (ᚼ).
Perrett (1938) went as far as attempting the reconstruction of an Anglo-Saxon original of the poem.

The text was printed, without attempts at an interpretation, by Bernhard Pez in 1721, again in ''Monumenta Boica'' in 1767, under the title ''De Poeta * Kazungali'', and again by Johann Wilhelm Petersen, ''Veränderungen und Epochen der deutschen Hauptsprache'' (1787).

The first edition of the text with philological commentary and translation is due to F. D. Gräter (1797).
Gräter also included a facsimile of a copy by Wessobrunn librarian Anselm Ellinger (1758–1816).
Gräter's edition was improved upon by the Brothers Grimm in 1812.

The word ''Kazungali'' printed in the 1767 transcription was interpreted as the name of the poem's author, but this was recognized as mistaken by Docen (1809). Rather, the word ''kazungali'' (equivalent to modern German ''Gezüngel'') is a gloss for "poetry".
It is not found on the page of the poem, but four pages earlier (fol
63r
, where '' rspoetica'' is glossed with "x ''kazungali''" (with an "asterisk" symbol reminiscent of the "star-rune" but with horizontal bar). The editors of ''Mon. Boi.'' were thus inspired to transfer the Old High German gloss for "poetry" to the poem's Latin header.

Text

The poem is in two sections: the first is a praise of creation in nine lines of alliterative verse. This is followed by a prayer in prose: Grimm (1812) and Massmann (1824) made attempts at the reconstruction of alliterating verses in the second part, but following Wilhelm Wackernagel (1827:9), the second part is now mostly thought to be intended as prose with occasional alliteration.

Some features in the first section reflect the language and idiom of Germanic epic poetry, using alliteration and poetic formulae known from the Norse, Anglo-Saxon and Old Saxon traditions (''ero ... noh ufhimil'', ''manno miltisto'', ''dat gafregin ih'').

The cosmological passages in the poem have frequently been compared to similar material in the Voluspa, and in the Rigvedic Nasadiya Sukta. Against this, Wackernagel (1827:17ff) holds that
the emphasis of a ''creatio ex nihilo'' is genuinely Christian and not found in ancient cosmogonies.

Grimm (1812) and Massmann (1824) agree in the analysis of the first six verses, as shown above. They differ in their analysis of verses seven to nine, and they attempt to restitute an alliterative structure in the "prose" portion (for a total of 15 and 17 verses, respectively), as follows:

Adaptations

The poem has been set to music many times in the 20th century. Arrangements include those by Heinrich Kaminski as part of the work ''Triptychon'' for voice and organ (1931), and by his pupil Carl Orff, published as part of the series ''Schulwerk'' (1950–54). Other settings include those by Hans Josef Wedig, op. 11, (Version 1) (1937), for male choir and organ, and a 1951 motet by Leopold Katt (1917–1965), ''Mir gestand der Sterblichen Staunen als der Wunder grösstes...'' (a free translation of the opening line based on the translation by Karl WolfskehlK. Wolfskehl, F. von der Leyen, ''Älteste Deutsche Dichtungen'' (1908), c.f. ''Insel-Almanach auf das Jahr 1909'' (1908)
p. 17

See: Margarete Susman
"Karls Wolfskehl"
''Neue Schweizer Rundschau'' 16 (1948/9), p. 556.).

One of the most unusual settings is by the German composer Helmut Lachenmann in his ''Consolation II'' (1968), in which component phonetic parts of the words of the prayer are vocalised separately by the 16 solo voices in a texture of vocal 'musique concrète'.
More recent interpretations by composers in the classical tradition include those by Felix Werder in 1975 for voice and small orchestra, and by Michael Radulescu in two works: ''De Poëta'' in 1988 for four choirs and bells, and in another arrangement of 1991 re-worked in 1998 for soprano and organ.

Medieval folk groups have adapted the text, including Estampie in their album ''Fin Amor'' (2002), and In Extremo in '' Mein rasend Herz'' (2005).

References

Bibliography

* Steinhoff, H-H, 1999. ''Wessobrunner Gebet'', in: ''Verfasserlexikon'', vol. 10, cols. 961-965.
* Willy Krogmann, "Die Mundart der Wessobrunner Schöpfung", ''Zeitschrift für Mundartforschung'' 13 (1937), 129-149.
*Heinrich Tiefenbach, "Wessobrunner Schöpfungsgedicht" in: Heinrich Beck, Dieter Geuenich, Heiko Steuer (eds.), ''Reallexikon der Germanischen Altertumskunde'' 33 (2006), 513–516.
*Horst Dieter Schlosser, ''Althochdeutsche Literatur'' (1970), p. 28 (online transcription
fh-augsburg.de
.

{{Authority control

Medieval German poems
Christian prayer
Creation myths
Christian cosmology
Germanic Christianity
Old High German literature