Book contents
- Frontmatter
- Contents
- Preface
- Abbreviations
- 1 Possibilities
- 2 Gahmuret (Books I and II)
- 3 Parzival's youth (Books III and IV)
- 4 Parzival's failure (Books V and VI)
- 5 Gawan (Books VII–VIII and X–XIII)
- 6 Parzival and Trevrizent (Book IX)
- 7 Parzival's success (Books XIV–XVI)
- 8 Conclusions
- Appendix A The recognition of Parzival at Munsalvæsche and by Trevrizent
- Appendix B Trevrizent's ‘lie’
- Bibliography
- Index
2 - Gahmuret (Books I and II)
Published online by Cambridge University Press: 24 August 2009
- Frontmatter
- Contents
- Preface
- Abbreviations
- 1 Possibilities
- 2 Gahmuret (Books I and II)
- 3 Parzival's youth (Books III and IV)
- 4 Parzival's failure (Books V and VI)
- 5 Gawan (Books VII–VIII and X–XIII)
- 6 Parzival and Trevrizent (Book IX)
- 7 Parzival's success (Books XIV–XVI)
- 8 Conclusions
- Appendix A The recognition of Parzival at Munsalvæsche and by Trevrizent
- Appendix B Trevrizent's ‘lie’
- Bibliography
- Index
Summary
Unlike Parzival, Gahmuret proceeds from a fully social context when he sets out from Anschouwe at the start of Wolfram's narrative, from a feudal world in which he has an acknowledged place and well-defined obligations to others. It follows from his position there that during the course of his travels abroad he may well encounter people whom he knows already and can therefore recognise, just as conversely others are in a position, theoretically at least, to recognise him. There are three such encounters between Gahmuret and others in the two Books devoted to his knightly career, but before we consider these it would be as well to look at a number of detailed points which illustrate the poet training his listeners for, or alerting them to, the degree of attentiveness he is to demand of them in the larger encounter scenes.
Long-term implications are present in the phrase used to describe Herzeloyde when she is first introduced into the action (60,15: si was ein maget, niht ein wîp) and again in 84,6. The temptation is to regard such a phrase as a conventional stylistic filler, used because of the easy rhyme with lîp, especially since Wolfram is fond of the description of a detail in both positive and negative terms (e.g. 43,14: den jungen, niht den alden).
- Type
- Chapter
- Information
- The Art of Recognition in Wolfram's 'Parzival' , pp. 38 - 59Publisher: Cambridge University PressPrint publication year: 1982