likely marks Albrecht's ambition to write a poem more similar to a courtly romance. He is praised and mentioned as alive in Rudolf von Ems's Alexander (c. 1230), but dead in Rudolf's Willehalm von Orlens (c. 1235/40). The family name "von Kemenaten" is attested both in Tyrol and in Thurgau, meaning the poet may come from either area. 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, but this theory has been given up. The "Berner Ton" consists of thirteen lines rhyming in the following scheme: aabccbdedefxf. The following stanza from Lienert's edition of Goldemar can serve as a typical example: a (four feet) a (four feet) b (three feet) c (four feet) c (four feet) b (three feet) d (four feet) e (three feet) d (four feet) e (three feet) f (four feet) x (three feet) f (three feet) 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, an opinion shared by Werner Hoffmann. This would make Albrecht the "inventor" of the fantastical poems about Dietrich. Joachim Heinzle, however, has argued that Albrecht's metrical form actually shows him to be using the form of the "Berner Ton" given above, rather than that found in the earliest attested example, the single Eckenlied stanza transmitted in the Codex Buranus. Heinzle concludes from this fact that Albrecht adapted an already existing form. Genre The poem begins with a sharp critique of existing heroic poetry as a glorification of brutality. 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. The poem thus appears to be turning away from the topic of heroic poetry to the subject matter of courtly romance. Joachim Heinzle suggests that Albrecht may have had the Dietrich poem Laurin in mind specifically, as it also concerns Dietrich's battle against a dwarf king and is characterized by extreme violence. 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