Wolfram von Eschenbach
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Right: Wolfram from Die Minnesinger in Bildern der Manessischen Handschrift
olfram von Eschenbach (died c. 1230) is generally regarded as the greatest of the medieval German narrative poets. It is thought that he was a member of a Bavarian family of the lower nobility, that he served for a time at the court of a Franconian lord and later that of Hermann, Landgrave of Thuringia. Wolfram left some brilliant lyric poems but is chiefly respected for his narrative poems, including Parzival, the work that is often said to have inspired Wagner's Parsifal. Wolfram and his patron appear as characters in Wagner's Tannhäuser.
hrétien's work, together with additional information that Wolfram claims was provided by one Kyot of Provence, formed the basis for Wolfram's book. Kyot might have told stories that he had heard in Spain, where there were both Moslem and Jewish philosophers, or the Oc region of southern France, a region strong in heresy. Wolfram claims that Kyot learnt about the Grail in Toledo. In Wolfram's account, both the Grail and the Question are quite different from their counterparts in Chrétien; but his Condrie is recognisably the same character as the Loathly Damsel. Wolfram gives names to some previously nameless characters, including Titurel, Anfortas, Sigune, Condwiramurs, and Condrie. He adds some further details about the latter, including her knowledge of herbal medicines which she used to bring relief to the stricken Anfortas (Parzival, book 11).
hese poets were working in a wider and developing tradition of Grail romances. R.S.Loomis drew attention to six elements of Wolfram's poem that were not found in Chrétien or the First Continuation (which might not originally have been a continuation of Chrétien's unfinished poem, but a separate and independent story about Gawain), although some of them were found in later works. In his view, these elements were part of the older Celtic and Old French Grail tradition, possibly known to Wolfram, who was familiar with French literature. This is revealed by the names of some of his characters. Many of the names used by Wolfram, such as Anfortas, Condwiramurs, and Repanse de Schoye, suggest an origin in an otherwise unknown Old French text.
Right: Parzival meets the pilgrims on Good Friday in this painting from Ludwig's castle of Neuschwanstein.
many elements of Wagner's Parsifal that were without doubt derived, at least in
part, from Wolfram's epic poem. It is not accurate however to say, although it often is
said, that Wagner's drama was "based upon" Wolfram, or even that (as
Jessie L. Weston put it) Wolfram's poem was "the"
source of Wagner's drama. Wagner was dismissive of the alleged influence of the medieval
poet. He told Cosima that Wolfram's text was irrelevant; when he first read the epic (at
Marienbad in 1845, after which he did not look at it again until Mathilde Wesendonk sent him a new edition in 1859) he had said to
himself that nothing could be done with it,
Right: A painting by Hermann Hendrich (1854-1931)
elements that Wagner included from Wolfram were his account of Parzival's boyhood, some of
his account of the brotherhood at Monsalvat, the encounters between Parzival and his cousin
Sigune (who became incorporated into Wagner's Kundry), the castle containing a very old king
and a wounded king, the meeting with the hermit on Good Friday and as Wagner himself
mentioned, the wild appearance of Condrie. Those he rejected
included the identification of the Grail with a stone, all of the story of Gawain except for the liberation
of the Castle of Maidens, the healing question and Wolfram's primary theme of constancy versus
inconstancy. Some elements of Wolfram's poem that were adapted by Wagner are common to many
of the medieval Grail romances, such as the arch structure of the Grail myth: youth arrives
at the Grail Castle where he fails to ask the healing question; youth grows from folly to wisdom through experience;
youth returns to the domain of the grail where he heals the
wounded king. This arch became the underlying form of Wagner's
drama, although within it he changed important details: the question was replaced in the
inner action by understanding through compassion and in the outer action by
progress of the title character is central both to Wolfram's
poem and to Wagner's drama. In the latter however it is a particular kind of progress: the
gaining of wisdom through compassion for suffering. As in Tristan und
Isolde the theme of suffering (a central idea of Schopenhauer's philosophy) is present through all three acts of
Parsifal. Whilst on the surface it might appear (as it did to Jessie Weston) that Wagner was following Wolfram and the Grail romances in
general in showing how the title character was able to bring healing to the wounded king,
on closer examination it is clear that Parsifal does more
than this: he brings to an entire community both healing (although it is a misreading that
he heals a wasted land) and the spiritual leadership that will
enable the knights to go out into the world again, in order to bring healing to that world.
There is irony in Kundry's words to Parsifal:
t is often stated that Wagner found inspiration for Parsifal in Wolfram's poem. It was not until I sat in the garden of the Villa Wesendonck, under the ancient linden tree looking out over the lake, that I realised that this was partly true. In that garden on a spring morning in 1857, I believe, Wagner found his inspiration by identifying Wolfram's sheltered youth venturing out into the world with another sheltered youth to whom old age, sickness and death were revealed for the first time on a day that changed his life.
© Derrick Everett 1996-2011. This page last updated (changed colour scheme and background) ---31/07/11 19:33:00---.