Of the poet himself we know but little, save from the personal allusions6 scattered7 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 apparently8 written within the early years of the thirteenth century; he 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 immaturity10 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 inscription11, 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-knight12 was spent.
By birth, as Wolfram himself tells us, he belonged to the knightly13 order (Zum Schildesamt bin14 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 fully15 conscious of his gift of song, yet he systematically16 exalts17 his office of knight above that of poet. The period when Wolfram lived and sang, we cannot say wrote, for by his own confession18 he could neither read nor write (‘I’ne kan decheinen buochstap,’ he says in Parzival; and in Willehalm, ‘Waz an den19 buochen steht geschrieben, Des bin Ich kunstelos geblieben’), and his poems must, therefore, have been orally dictated20, 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 lapsed22 into the extravagant23 absurdities24 and unrealities which characterised its period of decadence25; 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 ethical26 and philosophical27 interpretation28 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 chivalry29 and low morality of the original Arthurian romances; and told it in a manner that is as truly medi?val 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 fidelity30 to his plighted31 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 briefly32 said to be chiefly connected with the source from which Wolfram derived33 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 Proven?al,’ 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 remarkable34 agreement not only in sequence of incidents, but even in verbal correspondence, 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 drawn35 from differing sources; whereas Wolfram’s conclusion agrees closely with his introduction, and his whole poem forms the most harmonious36 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 feigned37, 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, feigning38 another source in order to conceal39 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 fin9 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 sundry40 Oriental features peculiar21 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 requisite41 data, and can study the poem for ourselves. The question between critics is whether Wolfram intended to teach a purely42 religious lesson or not; whether the poem is an allegory of life, and Parzival a symbol of the Soul of man, hovering43 between Faith and Doubt, perplexed44 by the apparent injustice45 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 glorification46 of the knightly ideal? a declaration of the poet-knight’s belief that in loyal acceptance of, and obedience47 to, the dictates48 of the knightly order, salvation49 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 loyalty50 and steadfastness51 of purpose, win back the spiritual blessing52 forfeited53 by his youthful folly54? Is Parzival one of those at whose hands ‘the Kingdom of Heaven suffereth violence’? It may well be that both these interpretations55 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 aspirations56 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 rendering57 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 paraphrase58 rather than a reproduction of the text. Dr. B?tticher’s translation omits the Gawain 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 crabbed59, 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 inadequate60 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. B?tticher’s Introduction to his translation of the Parzival, and the same writer’s 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.
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1
lapse
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| n.过失，流逝，失效，抛弃信仰，间隔；vi.堕落，停止，失效，流逝；vt.使失效 | |
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unfamiliar
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| adj.陌生的，不熟悉的 | |
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3
collated
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| v.校对( collate的过去式和过去分词 )；整理；核对；整理（文件或书等） | |
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consensus
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| n.(意见等的)一致，一致同意，共识 | |
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5
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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allusions
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| 暗指，间接提到( allusion的名词复数 ) | |
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7
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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fin
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| n.鳍；(飞机的)安定翼 | |
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immaturity
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| n.不成熟；未充分成长；未成熟；粗糙 | |
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inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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12
knight
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| n.骑士，武士；爵士 | |
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13
knightly
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| adj. 骑士般的 adv. 骑士般地 | |
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14
bin
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| n.箱柜；vt.放入箱内；[计算机] DOS文件名:二进制目标文件 | |
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15
fully
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| adv.完全地，全部地，彻底地；充分地 | |
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systematically
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| adv.有系统地 | |
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exalts
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| 赞扬( exalt的第三人称单数 )； 歌颂； 提升； 提拔 | |
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18
confession
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| n.自白，供认，承认 | |
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19
den
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| n.兽穴；秘密地方；安静的小房间，私室 | |
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20
dictated
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| v.大声讲或读( dictate的过去式和过去分词 )；口授；支配；摆布 | |
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21
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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lapsed
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| adj.流失的，堕落的v.退步( lapse的过去式和过去分词 )；陷入；倒退；丧失 | |
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23
extravagant
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| adj.奢侈的；过分的；(言行等)放肆的 | |
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absurdities
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| n.极端无理性( absurdity的名词复数 )；荒谬；谬论；荒谬的行为 | |
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decadence
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| n.衰落，颓废 | |
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ethical
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| adj.伦理的，道德的，合乎道德的 | |
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philosophical
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| adj.哲学家的，哲学上的，达观的 | |
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interpretation
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| n.解释，说明，描述；艺术处理 | |
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29
chivalry
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| n.骑士气概，侠义；（男人）对女人彬彬有礼，献殷勤 | |
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30
fidelity
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| n.忠诚，忠实；精确 | |
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31
plighted
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| vt.保证，约定（plight的过去式与过去分词形式） | |
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32
briefly
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| adv.简单地，简短地 | |
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33
derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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35
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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37
feigned
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| a.假装的，不真诚的 | |
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38
feigning
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| 假装，伪装( feign的现在分词 )； 捏造（借口、理由等） | |
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39
conceal
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| v.隐藏，隐瞒，隐蔽 | |
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40
sundry
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| adj.各式各样的，种种的 | |
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41
requisite
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| adj.需要的，必不可少的；n.必需品 | |
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42
purely
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| adv.纯粹地，完全地 | |
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43
hovering
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| 鸟( hover的现在分词 )； 靠近（某事物）； （人）徘徊； 犹豫 | |
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44
perplexed
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| adj.不知所措的 | |
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45
injustice
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| n.非正义，不公正，不公平，侵犯（别人的）权利 | |
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46
glorification
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| n.赞颂 | |
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47
obedience
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| n.服从，顺从 | |
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48
dictates
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| n.命令，规定，要求( dictate的名词复数 )v.大声讲或读( dictate的第三人称单数 )；口授；支配；摆布 | |
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49
salvation
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| n.（尤指基督）救世，超度，拯救，解困 | |
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50
loyalty
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| n.忠诚，忠心 | |
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51
steadfastness
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| n.坚定，稳当 | |
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52
blessing
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| n.祈神赐福；祷告；祝福，祝愿 | |
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53
forfeited
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| （因违反协议、犯规、受罚等）丧失，失去( forfeit的过去式和过去分词 ) | |
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54
folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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55
interpretations
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| n.解释( interpretation的名词复数 )；表演；演绎；理解 | |
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56
aspirations
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| 强烈的愿望( aspiration的名词复数 )； 志向； 发送气音； 发 h 音 | |
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57
rendering
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| n.表现，描写 | |
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58
paraphrase
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| vt.将…释义，改写；n.释义，意义 | |
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59
crabbed
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| adj.脾气坏的；易怒的；（指字迹）难辨认的；（字迹等）难辨认的v.捕蟹( crab的过去式和过去分词 ) | |
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60
inadequate
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| adj.(for,to)不充足的，不适当的 | |
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