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Karl Lachmann Lachmann : Wolfram von Eschenbach (German Edition) before purchasing it in order to gage whether or not it would be worth my time, and all praised Wolfram von Eschenbach (German Edition):

13 of 13 people found the following review helpful. Ian Myles Slater on: The Mustard and Passage "Parzival" (Once Again)By Ian M. Slater[Like another reviewer, Irsquo;ve had an older review of this book buried by , and Irsquo;m re- posting a revised version of that older review, on a page which shows up when searched, so that the curious reader has some real chance of finding it.]There seem to be currently available four complete English translations of Wolfram von Eschenbachrsquo;s Middle High German ldquo;Parzival,rdquo; an early, and slightly eccentric, version of the Grail Quest. Wolfram, both a knight (according to most scholars) and a (slightly eccentric) poet from thirteenth- century southern Germany, is the author of this long Arthurian romance, of a long Carolingian epic, ldquo;Willehalm,rdquo; and of a fragmentary Arthurian romance, ldquo;Titurel,rdquo; and either eight or nine lyrics (depending on the attribution of some of them). His complaints about rival poets, and their replies to him, have turned out to be clues to relative dating of their works. On this and external evidence, Wolframrsquo;s poetic career has been dated between about 1195 and 1225; with the almost 25,000 lines of ldquo;Parzivalrdquo; being composed between about 1200 and 1210.The oldest of these translations is Jessie L. Westonrsquo;s nineteenth-century verse rendering, ldquo;Parzival: A Knightly Epicrdquo; (1894, with some later reprintings), although I hesitate to recommend it. Nabu Press (among others) has issued it in paperback, as well as out-of-copyright Middle High German text editions and Modern German translations. Many of these, and others, can be also be found at archive.org (the Library of Congress website, Internet Archive), although the two volumes of Westonrsquo;s translation must be searched for as ldquo;Parzival,rdquo; and not under the translatorrsquo;s name. (Archive.org also makes available the 1891 fifth edition of Karl Lachmannrsquo;s enduring edition of Wolframrsquo;s works; Edwards, Hatto, and Mustard and Passage, the prose translators, mainly used the 1926 revised sixth edition, or later revised printings.)Jessie L. Weston [Jessie Laidley Weston, 1850-1928] is probably best known as the author of ldquo;From Ritual to Romance,rdquo; propounding a (now discarded) theory of the origins of the Holy Grail story, but she was also an enthusiastic Wagnerian -- which introduced her, by way of the opera ldquo;Parsifal,rdquo; to Wolframrsquo;s ldquo;Parzival.rdquo; (Wagner seems to have both affirmed and denied that Wolfram had a major impact on the opera; curiously, T.S. Eliot did the same regarding the influence of Weston's "From Ritual to Romance" on his poem "The Waste Land.")She also produced some interesting studies of the larger ldquo;Percevalrdquo; tradition and of Sir Lancelot (both as found in French), and of Sir Gawain, and a string of translations of Arthurian material ldquo;not represented in Maloryrdquo; (i.e., not in ldquo;Le Morte Drsquo;Arthur,rdquo; the great English compendium of medieval Arthuriana from the end of the Middle Ages).There are Project Gutenberg editions of a number of Westonrsquo;s works, including ldquo;Parzival,rdquo; some of them available in Kindle format, among other versions. In fact there are three or four Kindle editions of her ldquo;Parzivalrdquo; currently (November 2015) available; some observing the original two-volume hardcover arrangement in its now digital format, for which I canrsquo;t see any necessity (as I noted in my reviews).Westonrsquo;s translation suffers, in a present-day perspective, from its basis in nineteenth-century linguistic and historical studies, and for many readers (certainly not all) its rhymed couplets will become tedious before very long. And, of course, Wolframrsquo;s precise meaning is sometimes sacrificed to the demands of English verse.The most recent translation, in prose, is Cyril Edwardsrsquo; ldquo;Parzival: With Titurel and the Love Lyricsrdquo; (2004). It includes a fragmentary related work, and Wolframrsquo;s contributions to the ldquo;Minnesaengerrdquo; (love poetry) tradition, which makes it attractive. The price of the original hardcover edition is against starting with it! A more reasonably-priced paperback, aimed at the student market and the ordinary reader, is now (from 2006) available in a shorter format (apparently somewhat revised) as ldquo;Parzival and Titurelrdquo; in the Oxford Worldrsquo;s Classics series; I have reviewed it separately, based on its Kindle edition. In brief Edwardsrsquo; translation may be more faithful to Wolframrsquo;s style, but some readers find it difficult going. (Also, although the OWC edition has some excellent notes, I preferred the fuller version, including a discussion of "Parzival" in medieval art, which Irsquo;ve only consulted in a library.)Of the other two prose translations, the older is ldquo;Parzival: A Romance of the Middle Agesrdquo; (usually cited without the subtitle, in my experience), translated by Helen M. Mustard (1906-1993) and Charles E. Passage (1913-1983), and published in paperback by Vintage Books (Random House) in 1961. Provided as it is with an engaging Introduction, occasional clarifying footnotes, Additional Notes, an Index of Persons, and a Genealogical Table, I found it an attractive entrance to Wolfram-studies, and Middle High German literature beyond the ldquo;Nibelungenlied.rdquo; There are also two schematic maps showing the disposition of forces in Wolframrsquo;s somewhat confusing descriptions of sieges.The suggested reading list at the end of the introduction is frustratingly short, but reflects the lack of readily-available introductory materials in English in the 1950s. It does refer the reader to the relevant chapter by Otto Springer in "Arthurian Literature in the Middle Ages," an outstanding compendium of scholarship, edited by Roger Sherman Loomis (Oxford, 1959), where there is considerably more information.The language of the translation is relatively colloquial, and has been criticized (by another translator) as both inexact in its use of hunting and heraldic terms, and being perhaps too American in language(!). (It was, of course, published by an American firm, mainly for American readers.)A more valid criticism, in my opinion, pointed out that part of the introduction discusses a largely discarded theory floated by Jessie L. Weston in her translation, concerning the work's relation to the rulers of Anjou, and their descendants in England, the Angevin dynasty. Since Westonrsquo;s version was the one most likely to be familiar to Mustard and Passagersquo;s original readers (if they knew anything about Wolfram at all), this made a certain amount of sense, but they might have mentioned more clearly, that her views, while interesting, were no longer taken very seriously as contributing to the interpretation of the poem, or revealing anything new about his sources.The cover art (designed by Fritz Kredel) is a genuinely medieval ldquo;portraitrdquo; of the armored Wolfram, faceless under his knightly helmet; the red cloth worn by the knight mdash; and his horse mdash; alludes to the Red Knight and his gear in the text of ldquo;Parzival,rdquo; but there seems to have been no traditional conception of Wolframrsquo;s appearance, or his coat of arms (assuming he had one).Almost twenty years later, A.T. Hatto [Arthur Thomas Hatto, 1910-2010] -- on whose sometimes intemperate review of the Vintage translation I have been drawing -- produced his own version, in the Penguin Classics (1980); the cover art, which has changed from time to time, has so far used manuscript illuminations of scenes from the poem.Like Hattorsquo;s earlier ldquo;Nibelungenliedrdquo; translation for Penguin, it is in prose, and has, instead of an extended discussion before reading, an appended ldquo;Introduction to a Second Reading,rdquo; along with a Glossary of Personal Names, and a List of Works in English for Further Reading. The critical discussion is excellent, and postponing it until a reader has a chance to form an opinion is an interesting idea. At least the student wonrsquo;t be quite so tempted to substitute reading the editorial commentary for a reading of the text, if one has to look for it. On the downside, Hatto is a bit reticent when it comes to distinguishing his (interesting and worthwhile) opinions from the scholarly consensus.Hattorsquo;s English is a bit obviously British (not that this should matter, *either*); and some of his ldquo;correctedrdquo; readings (in terms of his objections to Mustard and Passage) are actually more difficult to follow, unless you are already familiar with the technical languages of hunting and blazonry. Otherwise, for example, the Mustard and Passage translation of ldquo;a pairrdquo; of birds is going to be clearer than Hattorsquo;s ldquo;a bracerdquo; of them. This was not the case with Hattorsquo;s translation of the ldquo;Tristanrdquo; of Wolframrsquo;s rival, Gottfried von Strassburg (also from Penguin). The ldquo;Tristanrdquo; tradition makes a great point of how its hero uses the correct mdash; meaning fashionable mdash; hunting language, and Hatto was there, obviously, correct to reproduce the impression of mastery of an esoteric art.Either version is enjoyable, although Hatto (obviously) seems a bit more concerned with precision, and Mustard and Passage a little more with immediate appeal to readers. Edwards, with earlier translations offering relatively easy access to the poem, goes in for technical accuracy rather than immediate clarity; Wolfram is notorious for obscure imagery and riddling passages. I enjoy it now, but I have to wonder whether it would have won me over to Wolfram as the Mustard and Passage translation did, years ago. (Irsquo;ve bought several copies of their version over the years, as a replacement for a worn-out one, or as gifts.)Wolfram himself was translating, in his own fashion, Chretien de Troyesrsquo; unfinished ldquo;Perceval, or, The Story of the Grailrdquo; mdash; although he himself claims to have an additional source, the mysterious ldquo;Kyot,rdquo; who had a better, truer, version. Since Chretien himself claimed to have been working from a source provided by a patron, this has at times sent scholars searching in many directions. Jessie Westonrsquo;s theory, emphasizing Wolframrsquo;s references to Anjou and the Angevins, whose dynasty of Counts had come to rule England (see Henry II), was as plausible as most, and just as much a blind alley (as Mustard and Passage indicate at the very end of their recapitulation).Wolfram mostly used his imagination quite freely, but it looks to me as if he had some sort of additional material, even if he freely embroidered his "explanation" of what it was. There is an odd resemblance to ldquo;Moriaen,rdquo; an interpolation in the medieval Dutch metrical translation of the French Lancelot-Grail romances, for example. This story of Sir Perceval's "Moorish" kinsman was also translated by Jessie Weston, this time in prose, under the title "Morien" (there are several Kindle editions of this, as well as hard-copy reprints; and a Project Gutenberg rendition).Turning back to "Parzival" itself, we find an entire opening section, unique to Wolfram, with the herorsquo;s father, Gahmuret the Anschevin (i.e, Angevin), having adventures in a vaguely-conceived Near East and North Africa, where he leaves behind a ldquo;paganrdquo; wife and son, the latter, the multi-colored Feirefiz, crossing paths with Wolframrsquo;s main hero years later. (It is worth noting that, although Wolfram is a snob, and is fascinated by physical differences between human beings, he is in no sense a racist; color is no bar to aristocracy.)This chivalric adventuring is followed by Gahmuretrsquo;s second marriage, return to war in the East, and death, and, following Chretien at last, the birth and upbringing in forest isolation of Parzival himself, his fateful encounter with Arthurrsquo;s knights, Parzival's ignorant blunders as he seeks to become one of them, and the splitting of the story to include the exploits of Sir Gawain (recognizable under German renderings, variously handled by translators over the years), and Parzivalrsquo;s first adventure at the Grail Castle. As usual, the ridiculously naive Parzival misinterprets the wise advice he has been given, again with serious results.This much is derived from Chretienrsquo;s account of Perceval and Gauvain, all retold in Wolframrsquo;s quirky style. Then Wolfram returns to what seems to be new material, writing his own conclusion to both sets of adventures. (Eric Rohmerrsquo;s film version of ldquo;Percevalrdquo; is a splendid visualization of Chretienrsquo;s version, and works almost equally well for the relevant parts of Wolframrsquo;s retelling, too.)As in other versions, Chretienrsquo;s very mysterious ldquo;graalrdquo; (a kind of serving dish) is drawn into a Christian conception of the universe. But Wolfram explains the "Gracirc;l" as a sort of magic stone that fell to earth during the War in Heaven, not a relic of the Last Supper, and certainly not the familiar drinking vessel. That more explicitly Christianized version seems to belong to the Old French cycle of ldquo;Joseph of Arimathea,rdquo; ldquo;Merlinrdquo; and ldquo;Perceval,rdquo; attributed to Robert de Boron, and was later picked up and amplified in the ldquo;Vulgate Cyclerdquo; of Arthurian romances (centering on Lancelot, and introducing Galahad as the Quest hero, alongside Perceval), the version known in English through Malory, and, so far as the Chalice interpretation, also used by Wagner.Wagner plundered Wolfram for names and a certain ldquo;Germanrdquo; quality for his Grail opera, ldquo;Parsifal,rdquo; besides using another version of a story Wolfram alludes to in ldquo;Lohengrin,rsquo; and the poetrsquo;s name for a character in ldquo;Tannhauser.rdquo; Personally, I suggest tossing aside all Wagnerian preconceptions, if any, and allowing Wolframrsquo;s real personality to have a chance. Sarcastic (especially about competitors), sentimental (especially about wives and children), full of pride in the knightly caste (a new phenomenon, which its members wanted to be very old), arrogantly announcing that he is completely illiterate in the company of poets who boasted they could read anything ever written, he is both annoying and lovable. A living personality, in fact, appearing in a time more used to anonymous authors.For those who find ldquo;Parzivalrdquo; a pleasure, or who would like to try a more military, rather than chivalric, work, there are also translations of his ldquo;Willehalm,rdquo; based on the Old French *chanson de geste* of William Curt-Nose, or Guillaume lrsquo;Orange, one of the heroes of the legends of Charlemagne and his descendants. I am familiar with two, both into prose. One, by Marion E. Gibbs and Sidney M. Johnson, was published by Penguin Classics in 1984, and is currently in print, as ldquo;Wolfram von Eschenbach: Willehalm.rdquo; Charles E. Passage, one of the co-translators of ldquo;Parzival,rdquo; had earlier translated it as ldquo;The Middle High German Poem of Willehalm by Wolfram von Eschenbach,rdquo; published by Frederick Ungar in 1977. Although it is out of print, used copies of the trade paperback edition seem to be available. Mustard also translated the fragments of ldquo;Titurelrdquo; for Ungar (not seen).Curiously, the supposedly illiterate Wolfram seems unusually aware of the idea (if not the facts) of history. The ldquo;Paganrdquo; Saracens of his French source are connected by him with the Romans (as descended from the followers of Pompey, rather than of Caesar, and heirs of an old feud), and also with the extra-European characters he had already invented for ldquo;Parzival.rdquo; He rather neatly brings into the correct sequence his versions of Arthurian and Carolingian Europe.0 of 0 people found the following review helpful. A Classic of German Medieval LiteratureBy Phillip ParottiUnique in style, Von Eschenback delivers the Arthurian legends with gripping interest2 of 2 people found the following review helpful. As far as the book goes it was writtten 800 ...By Ronald E. WilsonAs far as the book goes it was writtten 800 years ago. The middle french was translated english so right on! Wolfram von Eschenbach ist ein unverauml;nderter, hochwertiger Nachdruck der Originalausgabe aus dem Jahr 1872. Hansebooks ist Herausgeber von Literatur zu unterschiedlichen Themengebieten wie Forschung und Wissenschaft, Reisen und Expeditionen, Kochen und Ernauml;hrung, Medizin und weiteren Genres.Der Schwerpunkt des Verlages liegt auf dem Erhalt historischer Literatur.Viele Werke historischer Schriftsteller und Wissenschaftler sind heute nur noch als Antiquitauml;ten erhauml;ltlich. Hansebooks verlegt diese Buuml;cher neu und trauml;gt damit zum Erhalt selten gewordener Literatur und historischem Wissen auch fuuml;r die Zukunft bei.

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