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 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 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 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.