PARZIVAL VOL. I BOOKS I.-IX.

[Pg ii] [Pg iii]

PARZIVAL

A KNIGHTLY EPIC

BY

WOLFRAM VON ESCHENBACH

TRANSLATED BY

JESSIE L. WESTON

VOL. I

ANASTATIC REPRINT OF THE EDITION LONDON 1894.

NEW YORK G. E. STECHERT & CO., 1912.

[Pg iv] [Pg v]

TO THE MEMORY OF RICHARD WAGNER WHOSE GENIUS HAS GIVEN FRESH LIFE TO THE CREATIONS OF MEDIÆVAL ROMANCE THIS TRANSLATION IS DEDICATED

[Pg vi] [Pg vii]

INTRODUCTION

In presenting, for the first time, to English readers the greatest work of Germany's greatest mediæval poet, a few words of introduction, alike for poem and writer, may not be out of place. The lapse of nearly seven hundred years, and the changes which the centuries have worked, alike in language and in thought, would have naturally operated to render any work unfamiliar, still more so when that work was composed in a foreign tongue; but, indeed, it is only within the present century that the original text of the Parzival has been collated from the MSS. and made accessible, even in its own land, to the general reader. But the interest which is now felt by many in the Arthurian romances, quickened into life doubtless by the genius of the late Poet Laureate, and the fact that the greatest composer of our time, Richard Wagner, has selected this poem as the groundwork of that wonderful drama, which a growing consensus of opinion has hailed as the grandest artistic achievement of this century, seem to indicate that the time has come when the work of Wolfram von

Eschenbach may hope to receive, from a wider public than that of his own day, the recognition which it so well deserves.

Of the poet himself we know but little, save from the personal allusions scattered throughout his works; the dates of his birth and death are alike unrecorded, but the frequent notices of contemporary events to be found in his poems enable us to fix with tolerable certainty the period of his literary activity, and to judge approximately the outline of his life. Wolfram's greatest work, the Parzival, was apparently written within the early years of the thirteenth century; he[Pg x] makes constant allusions to events happening, and to works produced, within the first decade of that period; and as his latest work, the Willehalm, left unfinished, mentions as recent the death of the Landgrave Herman of Thuringia, which occurred in 1216, the probability seems to be that the Parzival was written within the first fifteen years of the thirteenth century. Inasmuch, too, as this work bears no traces of immaturity in thought or style, it is probable that the date of the poet's birth cannot be placed much later than 1170.

The name, Wolfram von Eschenbach, points to Eschenbach in Bavaria as in all probability the place of his birth, as it certainly was of his burial. So late as the end of the seventeenth century his tomb, with inscription, was to be seen in the Frauen-kirche of Ober-Eschenbach, and the fact that within a short distance of the town are to be found localities mentioned in his poems, such as Wildberg, Abenberg, Trühending, Wertheim, etc., seems to show that there, too, the life of the poet-knight was spent.

By birth, as Wolfram himself tells us, he belonged to the knightly order (Zum Schildesamt bin Ich geboren), though whether his family was noble or not is a disputed point, in any case Wolfram was a poor man, as the humorous allusions which he makes to his poverty abundantly testify. Yet he does not seem to have led the life of a wandering singer, as did his famous contemporary, Walther von der Vogelweide; if Wolfram journeyed, as he probably did, it was rather in search of knightly adventures, he tells us: 'Durchstreifen muss Der Lande viel, Wer Schildesamt verwalten will,' and though fully conscious of his gift of song, yet he systematically exalts his office of knight above that of poet. The period when Wolfram lived and sang, we cannot say wrote, for by his own confession he could neither read nor write ('I'ne kan decheinen buochstap,' he says in Parzival; and in Willehalm, 'Waz an den buochen steht geschrieben, Des bin Ich kunstelos geblieben'), and his poems must, therefore, have been orally dictated, was one peculiarly fitted to develop his special genius. Under the

rule of the Hohenstaufen the institution of knighthood had reached its highest point of glory, and had not yet lapsed into the extravagant[Pg xi] absurdities and unrealities which characterised its period of decadence; and the Arthurian romances which first found shape in Northern France had just passed into Germany, there to be gladly welcomed, and to receive at the hands of German poets the impress of an ethical and philosophical interpretation foreign to their original form.

It was in these romances that Wolfram, in common with other of his contemporaries, found his chief inspiration; in the Parzival, his master-work, he has told again the story of the Quest for, and winning of, the Grail; told it in connection with the Perceval legend, through the medium of which, it must be remembered, the spiritualising influence of the Grail myth first came into contact with the brilliant chivalry and low morality of the original Arthurian romances; and told it in a manner that is as truly mediæval in form as it is modern in interpretation. The whole poem is instinct with the true knightly spirit; it has been well called Das Hohelied von Rittertum, the knightly song of songs, for Wolfram has seized not merely the external but the very soul of knighthood, even as described in our own day by another German poet; Wolfram's ideal knight, in his fidelity to his plighted word, his noble charity towards his fellow-man, lord of the Grail, with Its civilising, humanising influence, is a veritable 'true knight of the Holy Ghost.' In a short introduction such as

this it is impossible to discuss with any fulness the fascinating problems connected with this poem, one can do no more than indicate where the principal difficulties lie. These may be briefly said to be chiefly connected with the source from which Wolfram derived his poem, and with the interpretation of its ethical meaning. That Wolfram drew from a French source we know from his own statement, he quotes as his authority a certain 'Kiot the Provençal,' who, in his turn, found his information in an Arabian MS. at Toledo. Unfortunately no such poet, and no such poem, are known to us, while we do possess a French version of the story, Li Conte del Graal, by Chrêtien de Troyes, which, so far as the greater part of the poem (i.e. Books III. to XIII.) is concerned, shows a remarkable agreement not only in sequence of incidents, but even in verbal correspondence,[Pg xii] with Wolfram's work. Chrêtien, however, does not give either the first two or the last three books as we find them in Wolfram. The account of Perceval's father, and of his death, is by another hand than

Chrêtien's, and does not agree with Wolfram's account; and the poem, left unfinished by Chrêtien, has been continued and concluded at great length by at least three other writers, who have evidently drawn from differing sources; whereas Wolfram's conclusion agrees closely with his introduction, and his whole poem forms the most harmonious and complete version of the story we possess. Wolfram knew Chrêtien's poem, but refers to it with contempt as being the wrong version of the tale, whereas 'Kiot' had told the venture aright. The question then is, where did Wolfram really find those portions of his poems which he could not have drawn from Chrêtien? Is 'Kiot' a real, or a feigned, source?

Some German critics have opined that Wolfram really knew no other poem than Chrêtien's, and that he boldly invented all that he did not find there, feigning another source in order to conceal the fact. Others have maintained that whether 'Kiot' be the name of the writer or not, Wolfram certainly had before him a French poem other than Li Conte del Graal.

It certainly seems in the highest degree improbable that a German poet should have introduced the Angevin element, lacking in Chrêtien; Wolfram's presentment of the Grail, too, differs in toto from any we find elsewhere, with him it is not the cup of the Last Supper, but a precious stone endowed with magical qualities. It is true that Chrêtien does not say what the Grail was, but simply that 'du fin or esmeree estoit, pieres pressieuses avoit el graal de maintes manieres,' yet it seems scarcely likely that Wolfram should have interpreted this as a precious stone, to say nothing of sundry Oriental features peculiar to his description. But whence Wolfram derived his idea of the Grail is a problem which it is to be feared will never now be completely solved.

The discussion as to the ethical meaning Wolfram attached to the story seems more hopeful of results, as here we do possess the requisite data, and can study the poem for ourselves. The question between[Pg xiii] critics is whether Wolfram intended to teach a purely religious lesson or not; whether the poem is an allegory of life, and Parzival a symbol of the Soul of man, hovering between Faith and Doubt, perplexed by the apparent injustice of God's dealings with men, and finally fighting its way through the darkness of despair to the clear light of renewed faith in God; or have we here a glorification of the knightly ideal? a declaration of the poet-knight's belief that in loyal acceptance of, and obedience to, the dictates of the knightly order, salvation is to be won? Can the true knight, even though he lack faith in God, yet by keeping intact his faith with man, by very loyalty and steadfastness of purpose, win back the spiritual blessing forfeited by his youthful folly? Is Parzival one of those at whose hands 'the Kingdom of Heaven

suffereth violence'? It may well be that both these interpretations are, in a measure, true, that Wolfram found the germ of the religious idea already existing in his French source, but that to the genius of the German poet we owe that humanising of the ideal which has brought the Parzival into harmony with the best aspirations of men in all ages. This, at least, may be said with truth, that of all the romances of the Grail cycle, there is but one which can be presented, in its entirety, to the world of to-day with the conviction that its morality is as true, its human interest as real, its lesson as much needed now as it was seven hundred years ago, and that romance is the Parzival of Wolfram von Eschenbach.

Some words as to the form of the original poem, and the method followed in translation, may be of interest to the reader. The original Parzival is a poem of some 25,000 lines, written in an irregular metre, every two lines rhyming, reim-paar. Among modern German translators considerable difference of opinion as to the best method of rendering the original appears to exist. Simrock has retained the original form, and adheres very closely to the text; his version certainly gives the most accurate idea of Wolfram's style; San Marte has allowed himself considerable freedom in versification, and, unfortunately, also in translation; in fact, he too often gives a paraphrase rather than a reproduction of the text. Dr. Bötticher's translation omits the Gawain[Pg xiv] episodes, and, though close to the original, has discarded rhyme. It must be admitted that Wolfram is by no means easy to translate, his style is obscure and crabbed, and it is often difficult to interpret his meanings with any certainty. The translator felt that the two points chiefly to

be aimed at in an English version were, that it should be faithful to the original text, and easy to read. The metre selected was chosen for several reasons, principally on account of the length of the poem, which seemed to render desirable a more flowing measure than the short lines of the original; and because by selecting this metre it was possible to retain the original form of reim-paar. As a general rule one line of the English version represents two of the German poem, but the difference of language has occasionally demanded expansion in order to do full justice to the poet's meaning. Throughout, the translator's aim has been to be as literal as possible, and where the differing conventionalities of the thirteenth and nineteenth centuries have made a change in the form of expression necessary, the meaning of the poet has been reproduced, and in no instance has a different idea been consciously suggested. That there must of necessity be many faults and defects in the work the writer is fully conscious, but in the absence

of any previous English translation she can only hope that the present may be accepted as a not altogether inadequate rendering of a great original; if it should encourage others to study that original for themselves, and learn to know Wolfram von Eschenbach, while at the same time they learn better to understand Richard Wagner, she will feel herself fully repaid.

The translator feels that it may be well to mention here the works which have been principally relied on in preparing the English translation and the writers to whom she is mostly indebted.

For the Text Bartsch's edition of the original Parzival, published in Deutsche Classiker des Mittelalters, has been used throughout, in connection with the modern German translation by Simrock.

In preparing the Notes use has been made of Dr. Bötticher's Introduction to his translation of the Parzival, and the same writer's[Pg xv] Das Hohelied von Rittertum; San Marte's translation has also been occasionally referred to.

The Appendix on proper names has been mainly drawn up from Bartsch's article on the subject in Germanistische Studien; and that on the Angevin allusions from Miss Norgate's England under the Angevin Kings, though the statements have been verified by reference to the original chronicles.

For all questions connected with the Perceval legend in its varying forms the authority consulted has been Studies on the Legend of the Holy Grail, by Mr. Alfred Nutt, to whom, personally, the translator is indebted for much valuable advice and assistance in preparing this book for publication.

[Pg xvi] [Pg 1]

BOOK I GAMURET

[Pg 2]

ARGUMENT

In the Introduction the poet tells of the evil of doubt and unsteadfastness—against which he would warn both men and women; he will tell them a tale which shall speak of truth and steadfastness, and in which many strange marvels shall befall.

Book I. tells how Gamuret of Anjou at the death of his father, King Gandein, refused to become his brother's vassal, and went forth to seek fame and love-guerdon for himself. How he fought under the Baruch before Alexandria, and came to Patelamunt. How Queen Belakané was accused of having caused the death of her lover Eisenhart, and was besieged by two armies, which Friedebrand, King of Scotland, Eisenhart's uncle, had brought against her. How Gamuret defeated her foemen, and married the Queen, and became King of Assagog and Zassamank. How he grew weary for lack of knightly deeds, and sailed away in secret from Queen Belakané, and left her a letter telling of his name and race. How Feirifis was born, and how Gamuret came to Seville.

[Pg 3]

BOOK I

GAMURET

[Pg 33]

BOOK II HERZELEIDE

[Pg 34]

ARGUMENT

This Book tells how Gamuret sought for King Kailet, and found him before Kanvoleis. How the Queen of the Waleis ordered a Tourney to be holden, and of the heroes there assembled. How Gamuret did valiant deeds, and was adjudged the victor; and how two queens laid claim to his love. Of the wedding of Gamuret and Queen Herzeleide and their love to each other. How Gamuret went to the aid of the Baruch, and was treacherously slain before Alexandria. How the news was brought to the land of the Waleis; of the sorrow of Herzeleide; and of the birth of Parzival.

[Pg 35]

BOOK II

HERZELEIDE

[Pg 63]

BOOK III GURNEMANZ

[Pg 64]

ARGUMENT

In the Introduction the poet speaks of the honour in which he holds all true women, though he be wroth with one who has wronged him. Yet, though women shall count him their friend, he would fain that they should honour him for his knightly deeds, rather than for this his song.

In Book III. he tells of the sorrow and the faith of Queen Herzeleide; of Parzival's childhood; of his meeting with the knights; of his faring forth to seek knighthood from King Arthur; and of the death of Herzeleide. How Parzival met with Jeschuté, and robbed her of her token, and of the wrath of her husband Orilus. Of the sorrow of Siguné, and how Parzival learnt his name and his lineage. How Parzival met with the Red Knight and bare his challenge to the court of King Arthur, and how he craved a boon of the king. Of the shaming of Kunnewaaré; and of the death of the Red Knight. How Parzival came to Gurnemanz of Graharz and was cured by him of his folly and taught all knightly wisdom, and how he rode forth from the land of Graharz.

[Pg 65]

BOOK III

GURNEMANZ

[Pg 101]

BOOK IV KONDWIRAMUR

[Pg 102]

ARGUMENT

Book IV. tells how Parzival came to Pelrapär, and found it besieged by sea and land, and the folk wasted by famine. How Queen Kondwiramur besought his aid; how he overthrew Kingron, and sent him to the court of King Arthur. How Parzival wedded the Queen; and of the wrath of King Klamidé when he heard the tidings. How the Burgers defended Pelrapär against their foemen; how Klamidé challenged Parzival to single combat, and was overthrown; and how he came to the court of King Arthur at Dianasdron. Of the love of Parzival and Kondwiramur; and how the hero parted from his wife, and went in search of knightly venture.

[Pg 103]

BOOK IV

KONDWIRAMUR

[Pg 126] [Pg 127]

BOOK V ANFORTAS

[Pg 128]

ARGUMENT

Book V. tells of the wonderful adventure of the Grail Castle; how Parzival met with the Fisher King, and became his guest; and of the great feast in the hall of Monsalväsch. How Parzival saw the bleeding spear, and all the marvels of the Grail, and how be asked no question. How he in the morning found the palace deserted, and was mocked by the squire as he rode away. Of Parzival meeting with Siguné, and how she reproached him for his silence. Of Orilus and Jeschuté; of the fight between the heroes; and of Parzival's oath. How Orilus and his wife were made friends again, and of their welcome at the court of King Arthur.

[Pg 129]

BOOK V

ANFORTAS

[Pg 157]

BOOK VI ARTHUR

[Pg 158]

ARGUMENT

Book VI. tells how King Arthur sought for the Red Knight; and how he took an oath of his heroes to refrain from fighting. Of the blood-stained snow, and the love-trance of Parzival; and how, unknowing, he overthrew Segramor, and took vengeance on Kay. How Gawain led Parzival to the court of King Arthur; and how he was made a knight of the Round Table. Of the coming of Kondrie, and Kingrimursel, and the shaming of Parzival and Gawain. Of Parzival's wrath and despair, and how he rode forth to seek the Grail. How the knights went forth to the venture of Château Merveil; and how Gawain rode to Askalon; and of the scattering of this goodly company.

[Pg 159]

BOOK VI

ARTHUR

[Pg 192] [Pg 193]

BOOK VII OBILOT

[Pg 194]

ARGUMENT

The poet will now for a while recount the adventures of Gawain; whom many have held to be as valiant a knight as Parzival.

Book VII. tells how Gawain fell in with the army of King Meljanz of Lys, who would fain avenge himself on Duke Lippaut, whose daughter had scorned his love. How Gawain came to the beleaguered city of Beaurosch; how Obie scorned him; and how Obilot besought him to be her knight. How the heroes fought before the walls of Beaurosch, and of the valiant deeds of Gawain and the Red Knight. How Gawain took Meljanz of Lys captive; how Obilot made peace betwixt Obie and Meljanz, and how Gawain rode forth from Beaurosch.

[Pg 195]

BOOK VII

OBILOT

[Pg 226] [Pg 227]

BOOK VIII ANTIKONIE

[Pg 228]

ARGUMENT