e fai tant agres ab doussor

Minnesang was a tradition of lyric- and songwriting in Germany that flourished in the Middle High German period, which began in the 12th century and continued into the 14th. People who wrote and performed Minnesang were known as Minnesänger, a song was called a Minnelied. The name derives from minne, the Middle High German word for love, as it was Minnesang’s main subject. The Minnesänger were similar to the Provençal troubadours and northern French trouvères in that they wrote love poetry in the tradition of courtly love in the High Middle Ages.

In the absence of reliable biographical information, there has been debate about the social status of the Minnesänger. Some clearly belonged to the higher nobility – the 14th century Codex Manesse includes songs by dukes, counts, kings, and the Emperor Henry VI. Some Minnesänger, as indicated by the title Meister (master), were clearly educated commoners, such as Meister Konrad von Würzburg. It is thought that many were ministeriales - members of a class of lower nobility, vassals of the great lords. Broadly speaking, the Minnesänger were writing and performing for their own social class at court, and should be thought of as courtiers rather than hired musicians. Friedrich von Hausen, for example, was part of the entourage of Friedrich Barbarossa, and died on crusade. As a reward for his service, Walther von der Vogelweide was given a fief by the Emperor Frederick II. Several of the best known Minnesänger are also noted for their epic poetry, among them Heinrich von Veldeke, Wolfram von Eschenbach, and Hartmann von Aue.

The earliest texts date from around 1150; the earliest named Minnesänger are Der von Kürenberg and Dietmar von Aist, clearly writing in a native German tradition in the 3rd quarter of the 12th century. This is referred to as the Danubian tradition. From around 1170, German lyric poets came under the influence of the Provençal troubadours and the French trouvères. This is most obvious in the adoption of the strophic form of the canzone, at its most basic a 7-line strophe with the rhyme scheme ab|ab|cxc, and a musical AAB structure, but capable of many variations. A number of songs from this period match trouvère originals exactly in form, indicating that the German text could have been sung to an originally French tune, which is especially likely where there are significant commonalities of content. Such songs are termed contrafacta. For example, Friedrich von Hausen’s “Ich denke underwilen” is regarded as a contrafactum of Guiot de Provins’s “Ma joie premeraine”.

By 1190, the German poets began to again break free of Franco-Provençal influence. This period is regarded as the period of Classical Minnesang with Albrecht von Johansdorf, Heinrich von Morungen, Reinmar von Hagenau developing new themes and forms, reaching its culmination in Walther von der Vogelweide, regarded both in the Middle Ages and in the present day as the greatest of the Minnesänger. The later Minnesang, from around 1230, is marked by a partial turning away from the refined ethos of classical minnesang and by increasingly elaborate formal developments. The most notable of these later Minnesänger, Neidhart von Reuental introduces characters from lower social classes and often aims for humorous effects.

Only a small number of melodies have survived to the present day, mainly in manuscripts dating from the 15th century or later. There are a number of recordings of Minnesang using the original melodies, as well as Rock groups such as Ougenweide performing songs with modern instruments.

A woman plays a lute. A stag listens. Der Ring des Frangipani. 1901. Hans Thoma, illustrator.

floriated initials

from a cistercian processional, produced in the cistercian nunnery günterstal abbey, c. 1600

A medieval solar storm detected in tree rings reveals hidden radiation and challenges what historians thought about the famous auroras of 1204.

I sure can! Here are the texts that center his story.

Le Bel Inconnu (French)

Gilglois (French)

Wigalois: Knight of Fortune’s Wheel by Wirnt von Grafenberg (German)

Carduino (Italian)

Sir Libeaus Desconus (Middle English)

Vidvilt (Yiddish)

His name differs depending on the text (as shown with the titles) but in Le Bel Iconnu [The Fair Unknown] his baptismal name is revealed to be Guinglain; varied spellings of that name appear in other texts so, I'll adjust my spelling accordingly.

Anyway the gist of his origin [most of the time] is that Gawain meets and falls in love with a mysterious woman but has to leave her to return to his duties at King Arthur’s court, only to discover he can no longer return to his lady/wife who lives in an impenetrable Otherworldy bubble. Years go by and their child grows up. The child eventually leaves home in search of his father. He ends up at King Arthur’s court but remains anonymous, so Arthur dubs him “The Fair Unknown,” for he’s handsome and skilled at arms. He goes on adventures with ladies, fighting giants and dragons, eventually revealing to Gawain that he's his son by the fairy/Otherworld lady.

"Guinglain’s" coat of arms in French Le Bel Iconnu is a lion...

In German Wigalois it’s a golden wheel of fortune...

In Middle English Sir Libeaus Desconus it's a griffin...

But when you google the character by name, Guingalain or Gingalain, it's this shield which pops up:

Now it's a pretty badass shield, but where does it come from? It doesn't appear in The Manuscripts and Patronage of Jacques d’Armagnac, where Gawain and his brothers first got their coats of arms. Evidentially this image comes from Le Blason des Armoiries by Jérôme de Bara, published in 1604, from which many knights received their coats of arms including Sagramore, Kay, and Bedivere.

Gawain's son appears in the supporting cast of many other texts. He's called "Gyngolyn" at the end of The Wedding of Sir Gawain and Dame Ragnelle.

And "Gangalayne" shows up again in Le Morte d’Arthur alongside his father, Gawayne, half brothers, Florence and Louel, and uncles, Agrauayne, Gaherys, Mordred, and Gareth.

Sometimes he keeps the title "The Fair Unknown" even after his relation to Gawain is known, as in the 2nd Perceval Continuation.

Some texts develop him into a fully fledged character beyond his origins, such as in the Prose Tristan, where "Giglain" fights Tristan and then reports back to a grieving Isolde that Tristan still lives.

And in the Post-Vulgate, "Guinglain" guards a bridge and challenges any who try to pass, including Galahad, Arthur the Less, and Palamedes.

He also appears in some retellings.

The best example is Gillian Bradshaw's trilogy. He's called "Gwyn" and his parents are Gwalchmai and Elidan. Their romance covers book 1, Hawk of May, then Gwyn is discovered in book 2, Kingdom of Summer, and his paternity revealed to Gwalchmai on Elidan's deathbed in book 3, In Winter's Shadow. These books are fine, but so slow, and started the trend of replacing Lancelot with Bedwyr to keep it more "historical/Welsh," meanwhile Agravain is still a character and Medraut is a bastard of incest and all the Orkney bros are actually Irish. So what was the point of that? I'd rather Lancelot had been there, particularly because Gwyn's death occurs when Bedwyr comes to rescue Gwenhwyfar from her fate and Bedwyr kills him, unarmed, to get her. So it follows the French storyline anyway. I do adore how much everyone loves Gwyn. Afterwards, Cei is acting as lawyer to work out Bedwyr's story against Medraut's, and they have this exchange:

Gwyn was everybody's baby boy. Then Cei describes the extent of Gwalchmai's grief, including having the horse he gifted Gwyn slain and burning all his belongings.

Cei likens it to the grief felt at Agravain's passing. So this is good food for Gawain and family enjoyers, but as I said, not a huge fan of Bedwyr/Lancelot hybrid as Gwyn's murderer.

In Persia Woolley's third book, Guinevere The Legend in Autumn, introduces the character. But she's so unpleasant about her characters of color...

Yeahhhhh. Long story short, Ragnelle is a fey nomad that lives among the animals she herds. She was unable to be made "civilized" and left court, evidentially sending her son "Gingalin" to be fostered by Bertilack, then given to Gawain after his Green Knight quest. There's so much unnecessary emphasis on their skin-tone coupled with the way their culture's framed it's just. Ick. I hate it.

In Howard Pyle's fourth book The Story of the Grail and the Passing of Arthur, "Gingaline" is mentioned in the line up of knights who join Agravaine and Mordred in the ambush of Launcelot and Guinevere. Ironically, he isn't mentioned as Gawaine's son, but his half brothers, Florence and Lovel, are.

Since Ragnelle and Gromer Somer Joure are both present in Pyle's series, I'm going to assume "Gingaline" is Gawaine's son. I know it, in my heart.

Lastly, in The Green Knight (2021) movie, Gawain has an unnamed son who dies in battle. He's Guinglain. To me. If I squint.

So what do I recommend reading? Of the Medieval stuff, the French story Le Bel Iconnu is the origin, so it's a great place to start. The English Sir Libeaus Desconus is short and sweet, with a really great scene of his kinsmen, Gawain, Agravaine, and Ywain, plus friends Lancelot and Perceval, arming him. Yiddish Vidvilt is also fun, it resembles the German Wigalois the most, which is my favorite.