Goldemar

It is one of the so-called fantastical (aventiurehaft) Dietrich poems, so called because it more closely resembles a courtly romance than a heroic epic.

[3] From the late medieval romance Reinfrid von Braunschweig we also know that Dietrich had to defeat various giants who were at Goldemar's command.

Only eight leaves survive, on which, besides the Goldemar, medical recipes, a Latin-German glossary of the names of herbs, and a second Dietrich poem, the Virginal are found.

[11][12] 19th century scholars attempted to ascribe the authorship of the Eckenlied, the Virginal, and the Sigenot to Albrecht due to the use of the same stanzaic form (the "Berner Ton") in all, as well as various supposed stylistic similarities,[13] but this theory has been given up.

[15] The following stanza from Lienert's edition of Goldemar can serve as a typical example: Helmut de Boor argues that, even if Albrecht was not the author of all four poems in the "Berner Ton", he was clearly the inventor of such a complicated metrical form,[16] an opinion shared by Werner Hoffmann.

Albrecht will instead tell a tale of how Dietrich came to fall in love and behave in a courtly manner toward women, something which, the poem notes, he is never said to have done.

[18] The poem thus appears to be turning away from the topic of heroic poetry to the subject matter of courtly romance.

[18] Victor Millet argues that Albrecht, in deliberately turning away from traditional tales about Dietrich, shows that the heroic material could now be invented freely rather than told and retold.