Occasionally these two ideas obviously clash, as when in Book IX. Trevrezent tells Parzival that the Grail cannot be won by human effort, and asks, 'Wilt thou force thy God with thine anger?' and in Book XVI. practically takes back his words and admits that this is what Parzival has done. The true solution of the puzzle seems to be neither in interpreting the poem exclusively as an allegory of the struggle in the soul of man, nor exclusively as a confession of faith in the knightly order as a means of salvation, but rather in admitting that the poem sets forth both these views, and that the lines of thought cross and recross and overlie one another according as Wolfram reproduced the ideas of the older poet, or overlaid them with his own.
And if we will believe in the real personality of 'Kiot,' we may find that the religious teaching of the poem gains a new significance; deeply religious it undoubtedly is, full of a profound trust in God, a deep conviction of the individual relationship existing between the soul and its Maker, and a simple acceptance of the elementary doctrines of Christianity, the Trinity, the Incarnation, and Its extension through the initial Sacrament of Baptism; but with all this there is a complete absence of ecclesiasticism, and a lack of features familiar to us in other works of the day.
It is very curious that, constantly as Baptism is insisted upon as essential to salvation, the equal necessity for the Second Great Sacrament of the Faith is passed over. It is perfectly true that Wolfram's knights attend Mass, and that Mass is apparently celebrated with regularity, but here their obligation seems to end; never once do we hear of one of his knights communicating, even Gamuret, when dying, though he receives absolution, does not receive the viaticum (the account of Vivians' death in Willehalm seems to show that elsewhere Wolfram, in common with other writers of the day, did acknowledge this necessity). Again, though Parzival comes to the Hermit's cell on Good Friday, and spends fourteen days in his company, confessing and receiving absolution, we have no mention of the Easter Communion in the German poem, though we have in the French. In Book X. the wounded knight, whom Gawain succours, asks to be helped to a spital that his wounds may be attended to; in Chrêtien's version he expresses his fear of dying unabsolved and uncommunicated, and would seek a Hermit who lives near at hand for that purpose. And this difference between the two versions meets us at every turn; Chrêtien abounds in allusions to the hours of prayer; if he wishes to indicate the time when any special event happens he mentions that it is just after Prime, or between Tierce and Noon; Perceval says that if he finds his mother he will make her a veiled nun, and the mother's counsels in the French poem are emphatic on the subject of Perceval's religious duties, which Wolfram wholly omits; Chrêtien's characters constantly invoke the saints, which Wolfram's knights never do; when Parzival is in imminent danger of death it is to his wife, and not to a patron saint, that he looks for aid. Wolfram is always a religious poet, but, if we compare his other important poem the Willehalm with the Parzival, we cannot help feeling that the former is decidedly more in harmony with the thought of his day, and less curiously 'modern' in tone than the latter. It is difficult to resist the conviction that some of the special peculiarities of the Parzival are due to Wolfram's source quite as much as to Wolfram himself.
It is a commonplace of history that one effect of the contact between heathen and Christian races brought about by the Crusades was the awakening of a spirit of tolerance between the brave men on either side. In a day when manly strength and courage were accounted of such value it was impossible that the existence of such qualities on the side of the heathen should not, in the opinion of many, go far to counterbalance their lack of Christianity; and it is certain that among those long resident in the East such tolerance eventually led to laxity in matters both of faith and practice. It was such laxity that was the ostensible reason for the fall of the Knights Templars. In the case of a poem, which otherwise gives indication of familiarity with Oriental custom and tradition, is it unreasonable to suggest that its peculiarities of religious treatment, its freedom from petty ecclesiastical details, the breadth and tolerance of its views, and the far more human ideal of virtue which it presents, may, at least in part, be due to the influence of the Crusading spirit which we know did, on the whole, make in these directions?
To sum up the entire question, the drift of the internal evidence of the Parzival seems to indicate that the author of Wolfram's source was a warm partisan of the House of Anjou, sometime resident in the East, familiar with the History of the House whose fortunes he followed, and with much curious Oriental legend, and thoroughly imbued with the broader views of life and religion inspired by the Crusades. That he wrote his poem after 1172 seems most likely from the connection between England, Anjou, and Ireland noted in Book IX.; on the other hand, the parallel existing between the early history of Henry Fitz-Empress and that of the hero of the Parzival seems to show that he intended a compliment to that prince, which would fix the year of Henry's death, 1189, as the terminus ad quem. The probabilities are that it would be written earlier, before the troubles of Henry's later years. What we know of the extent of the Angevin rule and influence at that date renders it quite possible for us to believe that the writer was by birth a Provençal. That the source of the poem bore a strong affinity to the source of Chrêtien's Conte del Graal is certain, and the many Flemish allusions give colour to the supposition that it may have been identical with that source.
If we grant the correctness of the Angevin allusions to be found in the earlier parts of the poem, we must logically grant that these two first Books, and as a consequence the latter part of the poem which agrees with them, are due to the French source rather than the German redaction; that it was Kiot who introduced the characters of Gamuret, Belakané, Feirefis, and Lähelein; and that to Kiot is due the first germ of the ethical interpretation amplified by Wolfram. It was probably in a great measure owing to the unecclesiastical nature of Kiot's teaching, and the freedom with which he handled the Grail myth, that his work failed to attain the popularity of Chrêtien's. When the Grail legend was once definitely stamped with the traditional-Christian character which it finally assumed and retained, the semi-pagan character of Kiot's treatment would cause his version to be regarded with disfavour by the monkish compilers of his day. It is probably owing to the accident of Maude's first husband having been Emperor of Germany that this particular presentment of the story found its way into that country; it may well be that it is, indirectly, to that very Angevin element that has for so long perplexed critics that we owe its preservation! As regards the Grail problem itself, it therefore seems most probable that in Wolfram's Parzival we have no really independent version of the Grail myth, such as may be taken into consideration by scholars when constructing a scientific theory of its development; but simply an interesting specimen of one form which, in the period of its translation from a pagan to a Christian symbol, it temporarily assumed, that form being entirely coloured and determined by the personality of the writer.
EXCURSUS D
THE WORKS OF WOLFRAM VON ESCHENBACH
Besides the Parzival, Wolfram's longest and, from every point of view, most important work, we possess seven songs belonging to the class known as Tage-or Wächter-Lieder; thus called because the secret lovers, who have indulged their passion during the hours of night, are warned by the call of the watchman from the ramparts of the approach of day and of the hour of parting. Though Wolfram made in these songs a concession to the lax morality of his day, the concluding lines of one of them clearly show how far superior to such unlawful passion he held the love of wedded wife and husband, such love as he has immortalised in Kondwiramur and Parzival. Beside these songs, we have the poems dealing with the loves of Siguné and Schionatulander, and classed together under the name of Titurel. Whether these are complete in themselves, and intended to serve as an explanatory addition to the Parzival, or whether they are fragments of an unfinished poem, does not very clearly appear; in any case they indicate a source identical with that of the Parzival.
Willehalm, Wolfram's other great epic poem, in nine books, deals with the history of William of Orange, a contemporary of Charlemagne, whose story belongs to this cycle of French Romance. The poem is clearly derived from the old French Chanson de Geste, Aliscans, and is originally founded on the prolonged struggle between the Saracen and Christian power in the South of France, a struggle which for poetical purposes has been condensed into two battles of Aliscans, or Alischanz, in the first of which the Christians are defeated, while in the second they are victorious. Whether this poem, too, is or is not unfinished, is a matter of debate among critics; judging from Wolfram's method in the Parzival, the fact that he leaves the fate of his hero 'Rennewart' in uncertainty, and does not even reveal the secret of his parentage and close connection with William's wife, seems to indicate that he did not finish the poem. Willehalm abounds in references to the Parzival, and in similar turns of thought and expression, and has some passages of great beauty. The Titurel is also written in a more elaborate metre than the other poems, and some doubt has been expressed as to which of these two represents Wolfram's latest work. The style of both is more finished than that of the Parzival, but they are both inferior alike in depth of thought and human interest to this, the greatest work of Germany's greatest mediæval poet.