Parzival (Kommentierte Gold Collection) (German Edition)
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Composed in the early thirteenth century, Wolfram von Eschenbach's Parzival is the re-creation and completion of the story left unfinished by its initiator Chrétien de Troyes. It follows Parzival from his boyhood and career as a knight in the court of King Arthur to his ultimate achievement as King of the Temple of the Grail, which Wolfram describes as a life-giving Stone. As a knight serving the German nobility in the imperial Hohenstauffen period, the author was uniquely placed to describe the zest and colour of his hero's world, with dazzling depictions of courtly luxury, jousting and adventure. Yet this is not simply a tale of chivalry, but an epic quest for spiritual education, as Parzival must conquer his ignorance and pride and learn humility before he can finally win the Holy Grail.
About the Author
Wolfram von Eschenbach was the greatest of the medieval German poets. Very little is known about his life, but it is generally accepted that he belonged to a Bavarian family of lower nobility. He probably died between 1220 and 1230.
A.T. Hatto has translated Tristan and The Nibelungenlied for Penguin Classics.
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IF vacillation dwell with the heart the soul will rue it. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Back Cover
IF vacillation dwell with the heart the soul will rue it. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Back Cover
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6 of 7 people found the following review helpful
Format:Paperback
Hatto gives his usual accurate, precise and elegant English prose rendering of this classic German epic poem of the early 13th century.
Wolfram's Parzival is a more coherent and well-structured narrative than the Niebelungenlied, and is more courtly and refined than the Icelandic sagas of the same era. It is a lively, colourful insight into 13th century European culture. This, along with its place in the evolution of the Arthurian and Grail legends, is its main source of interest to modern readers.
Wolfram is particularly knowledgeable about military affairs and you can learn a lot from this story about what it was like (or supposed to be like) to be a knight at the time.
The Grail of this story is a stone. In Chretien's earlier story, on which Wolfram's is based, the Grail was a bowl. In other stories, it doubles as the cup used by Jesus at the Last Supper and the vessel used to catch the dripping blood at the crucifixion. In our own time it has served as a boon to conspiracy theorists and an excuse to cast Sean Connery in an Indiana Jones movie. Next...well, who knows what's next?
Parzival combines folk traditions - the Grail's power of providing unlimited food and drink is a favorite folk motif, most famously with the magic porridge pot - with knightly adventure, and adds a dash of mysticism. It is no more than a dash, and I think subsequent commentators have read too much into this aspect. Certainly it is a coming-of-age story and a tale of redemption, but the spiritual edifice that has since been built around it seems to me a bit of a stretch. At the time of writing this review, youth counsellors in Britain are using Parzival as an allegory to teach the true meaning of manhood. Good luck to them.
Although Parzival does not have the continuity errors of the Niebelungenlied, individual sentences are sometimes mangled beyond comprehension. Presumably they sounded more acceptable when recited as poetry. Hatto wisely avoids the temptation to tidy these passages up and translates them warts and all.
History books can only take us so far in an understanding of a previous age. To get beneath the skin, to understand the anxieties, hopes, prejudices and beliefs of the people who lived then, we must share the stories that they told. In Parzival, we see how medieval man related to his own masculinity, his fellow man, his womenfolk and his god.
Wolfram's Parzival is a more coherent and well-structured narrative than the Niebelungenlied, and is more courtly and refined than the Icelandic sagas of the same era. It is a lively, colourful insight into 13th century European culture. This, along with its place in the evolution of the Arthurian and Grail legends, is its main source of interest to modern readers.
Wolfram is particularly knowledgeable about military affairs and you can learn a lot from this story about what it was like (or supposed to be like) to be a knight at the time.
The Grail of this story is a stone. In Chretien's earlier story, on which Wolfram's is based, the Grail was a bowl. In other stories, it doubles as the cup used by Jesus at the Last Supper and the vessel used to catch the dripping blood at the crucifixion. In our own time it has served as a boon to conspiracy theorists and an excuse to cast Sean Connery in an Indiana Jones movie. Next...well, who knows what's next?
Parzival combines folk traditions - the Grail's power of providing unlimited food and drink is a favorite folk motif, most famously with the magic porridge pot - with knightly adventure, and adds a dash of mysticism. It is no more than a dash, and I think subsequent commentators have read too much into this aspect. Certainly it is a coming-of-age story and a tale of redemption, but the spiritual edifice that has since been built around it seems to me a bit of a stretch. At the time of writing this review, youth counsellors in Britain are using Parzival as an allegory to teach the true meaning of manhood. Good luck to them.
Although Parzival does not have the continuity errors of the Niebelungenlied, individual sentences are sometimes mangled beyond comprehension. Presumably they sounded more acceptable when recited as poetry. Hatto wisely avoids the temptation to tidy these passages up and translates them warts and all.
History books can only take us so far in an understanding of a previous age. To get beneath the skin, to understand the anxieties, hopes, prejudices and beliefs of the people who lived then, we must share the stories that they told. In Parzival, we see how medieval man related to his own masculinity, his fellow man, his womenfolk and his god.
1 of 1 people found the following review helpful
Format:Paperback|Amazon Verified Purchase
History was the first subject I loved at school, and for me it all began with 1066 and then anything to do with knights, men at arms, chainmail and castles. Nevertheless, like another reviewer I was drawn to reading this after years reverencing Wagner's sacred music drama, Parsifal.
I believe Wagner in his efforts at self promotion spoke quite dismissively of Eschenbach's massive poem, and at the present moment (more than halfway throught the text) I am fighting the urge to skip whole chapters. One thing which is bothersome is the array of over elaborate names. For example, Condwiramurs (a woman) / Brandelidelin (male) and what about Schionatulander? Add on a patronymic in French and certain technical words for armour and drapery and so forth and one begins to wish one had taken a short course before embarking on this book.
Then there's the seeming randomness of knightly adventuring, the lengthy praise of costumes and upholstery, the routine of duelling and submission leading to apparent slavery at the court of some noble lady. I always thought the idea was the lady was unattainable but these princesses seem quite available to whichever handsome fellow stays in the saddle after a long day's jousting. After which, the knight tends to disappear in search of adventure, leaving a miserable lady behind, and this is quite normal.
One wonders about all the common folk left out of the picture, breaking their backs to prepare the feasts and shoe the horses. I wonder what they made of all this?
I haven't given up yet and I can't deny that the first page hooked me. But at the mo' it's a bit of a drag and the author's asides and little swipes at fellow poets are starting to vex me. As is Parzival, hard as nails but doesn't know one end from the other.
I believe Wagner in his efforts at self promotion spoke quite dismissively of Eschenbach's massive poem, and at the present moment (more than halfway throught the text) I am fighting the urge to skip whole chapters. One thing which is bothersome is the array of over elaborate names. For example, Condwiramurs (a woman) / Brandelidelin (male) and what about Schionatulander? Add on a patronymic in French and certain technical words for armour and drapery and so forth and one begins to wish one had taken a short course before embarking on this book.
Then there's the seeming randomness of knightly adventuring, the lengthy praise of costumes and upholstery, the routine of duelling and submission leading to apparent slavery at the court of some noble lady. I always thought the idea was the lady was unattainable but these princesses seem quite available to whichever handsome fellow stays in the saddle after a long day's jousting. After which, the knight tends to disappear in search of adventure, leaving a miserable lady behind, and this is quite normal.
One wonders about all the common folk left out of the picture, breaking their backs to prepare the feasts and shoe the horses. I wonder what they made of all this?
I haven't given up yet and I can't deny that the first page hooked me. But at the mo' it's a bit of a drag and the author's asides and little swipes at fellow poets are starting to vex me. As is Parzival, hard as nails but doesn't know one end from the other.
Format:Paperback
Hi. First of all, my appologies for any language mistakes. I'm not an English native speaker.
Although I'm glad I have read this book, it disappointed me a little bit. Perhaps because my expectations were rather high, mainly after having seen Wagner's Opera version, which I really liked very much, and that was based on this book; but I didn't find it as deep as I expected it to be. I have to say I liked Chretien de Troyes incomplete version more; or Robert the Boron's shorter one. And as for the Quest itself I recommend "The Quest of the Holy Grail" as the most profound one in simbolism.
Although I'm glad I have read this book, it disappointed me a little bit. Perhaps because my expectations were rather high, mainly after having seen Wagner's Opera version, which I really liked very much, and that was based on this book; but I didn't find it as deep as I expected it to be. I have to say I liked Chretien de Troyes incomplete version more; or Robert the Boron's shorter one. And as for the Quest itself I recommend "The Quest of the Holy Grail" as the most profound one in simbolism.
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Most Recent Customer Reviews
Open your heart to this tale and find the grail within you
For those who miss the keys to unlock this esoteric tale it is just a story.If you can find the keys to unlock that which is hidden it is
much more than that. Read more
much more than that. Read more
Published on 7 Jan 2002
One of the basics of german literature
Wolfram von Eschenbach's Parzival may seem a bit long at first, but is definitly worth the read. And unlike many tales of this length, it doesn't get boring either, as always new... Read more
Published on 7 Jan 2001 by Norrington
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