Reviewed by:

• Wolfram von Eschenbach: Dichter der ritterlichen Welt. Leben, Werke, Nachruhm by Joachim Heinzle
• Judith Benz

Joachim Heinzle, Professor Emeritus at Philipps-Universität Marburg, Germany, is a renowned scholar of medieval German literature. With this book, he set himself the task of approaching Wolfram’s works through the conditions of their inception by examining the life of the historical Wolfram, the socio-cultural circumstances in which he worked, and the literary institutions of his time. It is Heinzle’s stated goal to familiarize a non-expert audience with Wolfram’s œuvre and its legacy. He accomplishes this by offering careful interpretations of selected passages from Wolfram’s works, affording insights into courtly life and culture, and alerting readers to the pitfalls inherent in working with medieval sources in general and with the subject matter of a poet as elusive as Wolfram in particular.

In Part One, Heinzle sketches Wolfram’s biography based on the scant verifiable evidence available. He repeatedly points to the fallacy of Rekonstruktionsoptimismus (p. 23), e.g., relying on Wolfram’s prominent narrator figure or posthumously fabricated archeological and heraldic evidence for pointers. Wolfram’s disputed status as a knight is discussed as are his poetics of illiteracy and his attitude toward book learning. Heinzle also considers Wolfram’s sponsors and their motivations and deliberates Wolfram’s relationship to his fellow poets within the context of Gottfried’s famed literary excursus in Tristan. Parts Two to Four provide an introduction to Wolfram’s works. Part Two introduces Wolfram’s lyrical oeuvre, its sources, and underlying traditions while paying special attention to his dawn songs. Part Three discusses Wolfram’s grail romances. The chapter features a brief overview of the Arthurian tradition and establishes Chrétien’s significance for the genre and for Wolfram’s works in particular. The role of Wolfram’s sources, most prominently Chrétien’s Perceval, and the reception of his own creations, e.g., in Albrecht’s Younger Titurel, are also examined. An in-depth reading of the ‘Blood in the Snow’ episode exemplifies the shift in Wolfram’s artistic program vis-à-vis Chrétien. Heinzle’s analysis of the dynamics between service and death, which underlie the Belakane/Isenhart and Sigune/Schionatulander storylines in Parzival, illustrates what he refers to as the ‘misery’ of chivalry and illuminates Wolfram’s ambivalent stance toward its tenets. Part Four focuses on Willehalm, which Heinzle defines as a hybrid of epic, romance, and saint’s [End Page 75] legend. He discusses the emergence of the titular character from historical origins leading up to Wolfram. Heinzle also highlights Wolfram’s creative accomplishments, i.e., the successful separation of the Willehalm account from the French Chanson de Guillaume cycle and its transformation into a self-contained work with new narrative accents. Part Five explores how the reception of Wolfram’s works gradually made him into a mythical figure, starting with Wirnt von Grafenberg’s praise and Albrecht von Scharfenberg’s criticism and culminating in Wolfram entering into popular imagination as a literary character and Meistersänger. The Epilogue introduces Richard Wagner’s Wolfram reception, his approach to the medieval sources, and their appropriation into his own works.

Wolfram von Eschenbach invites the reader in with its highly readable, jargon-free prose. The individual chapters are further broken down into sub-chapters whose titles serve as thoughtful guideposts for readers along the book’s journey. Bountiful quotations from the primary sources bolster Heinzle’s analysis. Middle High German and other foreign-language passages are included in their normalized versions, followed by prose translations that aim to preserve the originals’ character. The book also features a wealth of images, some in full color, which serve well to provide the reader with a glimpse of medieval material culture. Part Two is just over thirty pages long, but here the work truly shines when Heinzle cements Wolfram’s status as a master of the genre by contextualizing the songs and decoding their configurations and the conventions informing them, thus...

审核人：

• 沃尔夫拉姆·冯·埃申巴赫（Wolfram von Eschenbach）：Dichter der Ritterlichen Welt。Leben，Werke，Nachruhm，作者Joachim Heinzle
• 朱迪思·本斯（Judith Benz）

约阿希姆·海因兹勒（Joachim Heinzle），德国马尔堡菲利普斯大学名誉教授，是著名的中世纪德国文学学者。在这本书中，他为自己设定了任务，即通过考察历史性沃尔夫拉姆的生平，他所工作的社会文化环境以及当时的文学机构，来通过研究沃尔夫拉姆的作品的条件来研究沃尔夫拉姆的作品。亨氏的既定目标是让非专业观众熟悉Wolfram的uvre及其遗产。他通过对沃尔夫拉姆作品中的某些选段进行仔细的解释，对宫廷生活和文化提供深刻见解，并提醒读者注意与中世纪文献以及特别是与沃尔夫拉姆一样难以捉摸的诗人的作品打交道所固有的陷阱，从而实现了这一点。 。

在第一部分中，Heinzle根据可得的可验证证据，勾画了Wolfram的传记。他反复指出Rekonstruktionsoptimismus（p。23）的谬误，例如，依靠Wolfram著名的叙述者人物或遗留的考古和纹章学证据作为指示物。讨论了沃尔夫拉姆（Wolfram）作为骑士的有争议地位，以及他的文盲诗学和对书本学习的态度。亨氏还考虑了沃尔夫拉姆的赞助者及其动机，并在戈特弗里德着名的特里斯坦文学考察中探讨了沃尔夫拉姆与他的诗人的关系。。第二部分至第四部分介绍了Wolfram的作品。第二部分介绍了Wolfram的抒情作品，其来源和基本传统，同时特别注意了他的黎明歌曲。第三部分讨论了沃尔夫拉姆的圣杯恋情。本章简要概述了亚瑟王朝的传统，并确立了克雷蒂安（Chrétien）对于这种类型，特别是对沃尔夫拉姆（Wolfram）作品的意义。沃尔夫勒姆（Wolfram）资料来源的角色，最主要是克雷蒂安（Chrétien）的《珀西瓦尔》（Perceval）以及他自己的作品的接受，例如在阿尔布雷希特（Albrecht）的《年轻的蒂特尔》（Younger Titurel）中，也进行了检查。深入阅读“雪中的血”情节可以说明沃尔夫拉姆相对于克里斯蒂安的艺术节目的转变。Heinzle对Parzival的Belakane / Isenhart和Sigune / Schionatulander故事情节进行了分析，分析了服务与死亡之间的关系，这说明了他所说的骑士精神的“痛苦”，并阐明了Wolfram对宗旨的矛盾态度。第四部分重点介绍Willehalm，Heinzle将其定义为史诗，浪漫和圣人[End Page 75]传奇的混合体。他讨论了从沃尔夫勒姆之前的历史渊源出现的名义字符的出现。亨氏还着重介绍了Wolfram的创造性成就，即Willehalm帐户与法国帐户的成功分离香颂·德·纪尧姆（Chanson de Guillaume）循环及其转变为具有新叙事重点的独立作品。第五部分探讨沃尔夫拉姆作品的接受如何使他逐渐成为一个神话人物，首先是维尔恩·冯·格拉芬伯格的赞美和阿尔布雷希特·冯·沙芬伯格的批评，最后是沃尔夫拉姆以文学人物和迈斯特森格的身份进入大众的想象。尾声介绍了理查德·瓦格纳（Richard Wagner）对沃尔夫拉姆（Wolfram）的接待，他对待中世纪资源的方式以及将其用于自己的作品中。

沃尔夫拉姆·冯·埃申巴赫邀请读者阅读其可读性强，不加专业术语的散文。各个章节进一步细分为各个子章节，其标题可为本书沿途的读者提供深思熟虑的指南。来自主要来源的大量报价支持了亨氏的分析。中高级德语和其他外语段落均包含在其规范化版本中，其后是旨在保留原著者特征的散文翻译。该书还提供了大量图像，其中一些为全彩色图像，非常适合使读者瞥见中世纪的物质文化。第二部分只有三十多页长，但是当亨氏通过将歌曲上下文化并解码其配置和告知它们的约定巩固沃尔夫拉姆作为流派大师的地位时，这部作品才真正闪耀。