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Diplomarbeit DIPLOMARBEIT Titel der Diplomarbeit „Arthurische Literatur in Wales und Skandinavien“ Verfasserin Paula Frischengruber angestrebter akademischer Grad Magistra (Mag.) Wien, im Juni 2012 Studienkennzahl lt. Studienblatt: A 057 327 Studienrichtung lt. Zulassungsbescheid: Individuelles Diplomstudium Keltologie Betreuer: Ass.-Prof. Mag. Dr. Stefan Schumacher Inhalt Vorwort......................................................................................................................... 3 1. Einleitung.................................................................................................................. 5 1.1 Arthurische Literatur in Wales.......................................................................... 10 1.2 Arthurische Literatur in Skandinavien.............................................................. 17 2. Geraint und Erex..................................................................................................... 23 2.1 Geraint fab Erbin .............................................................................................. 24 2.2 Erex saga .......................................................................................................... 48 3. Owain und Íven....................................................................................................... 61 3.1 Owain, neu Iarlles y Ffynnon ............................................................................ 63 3.2 Ívens saga .......................................................................................................... 84 4. Peredur und Parceval ............................................................................................ 100 4.1 Peredur fab Efrog ........................................................................................... 103 4.2 Parcevals saga (mit Valvens þáttr )................................................................. 126 Literatur- und Quellenverzeichnis ............................................................................ 147 Anhang...................................................................................................................... 155 Zusammenfassung................................................................................................. 155 Abstract................................................................................................................. 157 Eidesstattliche Erklärung ...................................................................................... 159 Lebenslauf............................................................................................................. 161 2 Vorwort Die vorliegende Arbeit hat die höfische Artusliteratur des europäischen Mittelalters am Beispiel ihrer Ausprägungen in Wales und Skandinavien zum Thema. Ein Aspekt, der untersucht werden soll, ist die Bedeutung der Übersetzung im Mittelalter im Vergleich zu unserem heutigen Verständnis davon sowie der Unter- schied zwischen mittelalterlichen „Übersetzungen“ und freieren Übertragungen oder Bearbeitungen. Um diese Unterschiede demonstrieren zu können, müssen Texte mit vergleichbaren Inhalten herangezogen werden. Ich habe hierfür drei arthurische Themenkreise gewählt, die sich sowohl in französischen als auch in walisischen und skandinavischen Versionen finden und deren Beziehungen zueinander von höchst unterschiedlicher Natur sind. Die walisischen und skandinavischen Vertreter sollen inhaltlich und strukturell untersucht und mit der entsprechenden französischen Fassung verglichen werden. Um die Besonderheiten dieser unterschiedlichen Traditionen besser verstehen zu können, soll zuerst eine kurze Einführung in die arthurische Literatur generell sowie in die Literaturtraditionen von Wales und Skandinavien gegeben werden. Namen erscheinen immer in der (gegebenenfalls genormten) Form, in der sie in den jeweiligen Texten vorkommen: So bezeichnet „Artus“ die französische, „Arthur“ die walisische und „Artús“ die skandinavische Version ein und derselben Figur, das Gleiche gilt für „Gauvain“, „Gwalchmai“ und „Valven“. Mittelwalisische Namen und Begriffe erscheinen außerhalb von Zitaten der Einfach- heit halber meist in neuwalisischer Schreibweise. Des Weiteren ist anzumerken, dass der Begriff „Autor“ von mir sehr frei gebraucht wird und in den seltensten Fällen mit unserem modernen Verständnis davon überein- stimmt. Vielmehr bezeichnet der Ausdruck hier in Anlehnung an Marianne E. Kalinke 1 jene Person oder Personen, die für die Entstehung des untersuchten Textes in seiner vorliegenden Form verantwortlich ist bzw. sind. Darunter fallen Dichter, Übersetzer, Redakteure, Kompilatoren und Kopisten männlichen und (seltener) weiblichen Geschlechts. 1 Vgl. Kalinke (2002) 235, Anm. 28. 3 4 1. Einleitung Kurz vor 1200 unterteilte der französische Dichter Jean Bodel die epischen Stoffe in folgende drei Kategorien: nationale Stoffe ( matière de France ), antike Stoffe (matière de Rome ) und keltische Stoffe ( matière de Bretagne ). 2 Der arthurische Sagenkreis ist Teil des Letzteren. Die höfische Artusliteratur, welche in der zweiten Hälfte des 12. Jahrhunderts entstand, hat ihren Ursprung in weitaus älteren Chroniken und Legenden. 3 Es existiert eine ganze Reihe historischer und pseudohistorischer Aufzeichnungen sowie literarischer Erwähnungen zu einer Person namens „Arthur“ oder „Arturus“. Dieser Mensch (dessen Existenz keinesfalls unumstritten ist) war jedoch mit Sicherheit kein spätmittelalterlicher König, sondern vielmehr ein lokaler Kriegsherr des 6. Jahr- hunderts.4 Der wichtigste unter den frühen Texten, die Arthur erwähnen, ist die Historia Brittonum („Geschichte der Britannier“), die im frühen 9. Jahrhundert entstand. 5 Sie enthält eine Reihe von mehr oder weniger historischen Informationen über Figuren wie Germanus, Gwrtheyrn (Vortigern) und Hengest, die Herkunft der Britannier, diverse Genealogien sowie einige Kapitel über den Heiligen Patrick und eines über Arthur. Dieses enthält eine Liste mit zwölf angeblich von Arthur gefochtenen Schlachten, welcher hier den Titel dux bellorum („Führer in den Kriegen“ oder „Oberbefehlshaber“) trägt. 6 Was bei diesem Text (und bei mittelalterlicher Geschichtsschreibung generell) problematisch ist, ist die Frage nach dem Wahrheitsgehalt. Im Allgemeinen gilt, dass man weit mehr Informationen über den Autor und dessen Mentalität und Welt- anschauung erhält als über die Ereignisse, die er behandelt. Die Historia Brittonum dient demnach eher als Quelle für das frühe 9. Jahrhundert als für das 5. und 6. Jahrhundert. 7 Zwei der in der Historia Brittonum genannten Schlachten finden auch in den um 970 entstandenen Annales Cambriae („Annalen von Wales“) Erwähnung. 8 2 Vgl. Gier (2007) 430. 3 Vgl. Lacy / Ashe (1988) 68. 4 Vgl. Lupack (2005) 4 und Gier (2007) 413–414. 5 829/830 (vgl. Charles Edwards (2008) 15) bzw. um 800 (vgl. Lupack (2005) 15). 6 Vgl. Charles-Edwards (2008) 21–22. 7 Vgl. Charles-Edwards (2008) 18. 8 Vgl. Lupack (2005) 15 –16. 5 Ein weiterer bedeutender Text für die Entwicklung der späteren Artusliteratur ist die Historia Regum Britanniae („Geschichte der Könige Britanniens“) des Geoffrey von Monmouth. Dieses um 1138 vollendete Werk schildert die „Geschichte“ der Herrscher Britanniens vom Trojanischen Krieg bis zur Machtübernahme der Angel- sachsen im 7. Jahrhundert. 9 Geoffrey ist unter anderem für die Lokalisierung des Artushofes in Caerllion (Caerleon) verantwortlich sowie für die Einführung des Merlin 10 in den Artusstoff. Die Historia Regum Britanniae wurde häufig übersetzt bzw. adaptiert und erweitert. So beispielsweise von dem Normannen Wace in seinem 1155 entstandenen Roman de Brut („Roman von Brutus“), wo erstmals die Tafel- runde erwähnt wird. Dieses Werk wurde wiederum von Layamon in seiner mittelenglischen Brut vom Ende des 12. oder Anfang des 13. Jahrhunderts bearbeitet, der das Motiv der Tafelrunde aufgreift und ausbaut.11 Im 13. und 14. Jahrhundert wurde der Stoff der Historia Regum Britanniae mehrmals ins Walisische übersetzt, meist unter dem Titel Brut y Brenhinedd („Die Brut [oder „Chronik“] der Könige“). 12 Der bereits bei Wace teilweise erfolgte Übergang von der Chronik zum Roman wird mit den Werken des altfranzösischen Dichters Chrétien de Troyes abgeschlossen. Die Figur des Arthur ist nun endgültig aus ihrer Verankerung in der Geschichte des 6. Jahrhunderts herausgerissen und erscheint im Gewande des Rittertums des 12. Jahr- hunderts. 13 Im späten 12. Jahrhundert schrieb Chrétien insgesamt vier vollendete Ritterromane sowie einen unvollendeten. 14 Diese sind: Erec et Enide („Erec und Enide“), Cligés , Le Chevalier de la charrete („Der Karrenritter“, auch: Lancelot ) Le Chevalier au lion („Der Löwenritter“, auch: Yvain ) und Le Conte du Graal („Die Geschichte vom Gral“, auch: Perceval ). 15 Zahlreiche Übersetzungen und Adaptionen der von Chrétien behandelten und geprägten Stoffe verbreiteten sich rasch in ganz Europa. Im deutschen Sprachraum sind besonders Hartmann von Aue und Wolfram von Eschenbach zu nennen, die im späten 12. und frühen 13. Jahrhundert unter anderem drei von Chrétiens Romanen 9 Vgl. Lupack (2005) 24 und Reichert (2010) 5. 10 Hierbei handelt es sich um eine Verschmelzung der walisischen Figur Myrddin und des in der Historia Brittonum erwähnten Ambrosius Aurelianus unter dem Namen Ambrosius Merlinus (vgl. Lacy / Ashe (1988) 69 und Lupack (2005) 25–26 und 331). 11 Vgl. Lupack (2005) 28–31. 12 Vgl. Lupack (2005) 28. 13 Vgl. Lacy / Ashe (1988) 71 und Reichert (2010) 29. 14 Vgl. Lupack (2005) 85. 15 Vgl. Lacy (1991a) 89. 6 übersetzten und erweiterten
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