Neologisms, familiar terms in unexpected contexts and the expansion of established pictorial areas are part of the characteristics of the so-called ‘geblümter Stil’ (flowered style), of which the poet Frauenlob is a representative. His repertoire of terms and images also includes the mirror. On the one hand, the mirror (Spiegel) is represented in a conventional way, but on the other hand, it can also be found in creative pictorial contexts or as a neologism such as spiegelvaz, spiegelsunne or spiegelspriez. This article is about the formation of meaning with regard to the concept of mirror as used by Frauenlob and, in particular, the question of how and to what extent Frauenlob expands the semantics of the concept of mirror through the formation of composites and thus not only allows it to merge into a polyphony of semantics, but – especially in the case of spiegelspriez – to convey to it a flare-up, a shimmering of overlapping possible meanings, which both simultaneously illuminate and obscure the meaning of the term itself and the entire poem.