Poly-sal’ went acourtin’: Orientation Day

The tradition of Courtly Love in literature comes in three types: allegories, lyricals, and romance (aka færy tales).

In prudence of full disclosure, be aware that Richard Wagner’s opera was tentatively titled Parzifal (just as WOLFRAM VON ESCHENBACH had titled the protagonist) until 1877, when he switched to the handle Parsifal. This change was informed by one theory about the origin and etymology of the name (Perceval > Parzifal > Parsifal).

Vidēre licet the name as of Persian order Fal (Pure) Parsi (Fool).

At this time, your historian has been unable to validate any other origin theories for the name.


Though we shall encounter, virtually, every story ever told within Parzifal, a breakdown of the tradition of Courtly Love and Chivalry during the High Middle Ages as Eschebach tells it is justly prudent.

We concern ourselves, as the reader, with (1) Provençal troubadours, (2) French trovères, and (3) minnesänger.

I’m Wolfram von Eschenbach. I’m a bit of a minnesänger.

Note that Eschenbach states that a Provençal called Kyot (my research suggest Pyot to be a correspondant name in other texts) sent ” the book” to him.

Of keen interest to your historian is the patron enabling Eschenbach to afford the luxury of his composition. Wolfram was under the patronage of Medieval German Mæcenas Herman Landgrave of Thuringia.


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The tradition of Courtly Love and Chivalry during the High Middle Ages as seen from the Critical perspective:

The overall gist, to be concisely reductive) of works concerned with courtly love seems to be the romance of self-perfection in knighthood, where both the chivalric and the spiritual receive their due as part of Love and Sensualism.

Parzifal had the knowledge of chivalry concealed from him until he was of an age able to think for himself.

In C.S. Lewis’ Allegory of Love, he presents the literary tradition of courtly love to include four basic characteristics: humility ; courtesy ; adultery ; Religion of Love.

A feudalization of love.

We will consider the meaning of the above shortly.

The genius of the above description will be revealed in history of words.

Labyrinthal Laboratory Conditionals

Knecht leapt years ago into the black water of the river.

A leap of faith made in the face of a numinous bemusement.

A mæstro professing the art of conduction.


Cantos ; stanzas ; quatrains ; sections ; headings ; chapters ;


The function of any value such as x wilt result in a set of potential solutions.

f(x) : {set}, {set of the set}

yields Sentence G.

Godel’s lyric.

Taken from a song called Settes.


Cantos: sections dividing long poems.

– ORIGIN C16: from Ital., lit. ‘song’, from L. cantus


Dante sang poems in one hundred cantos.

The infernal first album of nine is the only one that hit the record charts.

Bemusing that he still writes lyrics and songs after his exile from Florence.

The courters and patrons of knightly chivalry frenzied in feigned, immodest outrage at the song of attack (quite poorly executed too, it is said) that

he played his Lady.

But he keeps on playing.

A fine equestrian he would have made.

Socrates and his diatribe will be with Dante shortly

Cursing Odsyyeus again, malifacent Man in Black: agent of injustice to Ajax.

The fellow-temple servants redeemed Parceval just yesterday.


Maestro Virgil’s rock n’ rolling opera

Nine lines feed nine recorders.

Eight channels receive live feed.

Three mixers temper.

A music master architects.

The 1 audits the confluence of the Take Stream.

The 1 who will stop the band,

called And the Band Played On,
only long enough to

allow them to listen.

Players eager to hear themselves.

Impetuous.

Feedback looping.

The impetus of the 1.

The effect of showing the parts their whole.


Any system aware that is under observation is changed by the very act of being observed.

An axiom accepted and admitted to be a theoretical, not practical, concern.

In theory the results may be nullified.

The axiom is ad hoc. Improperly derived.

Invalid even if accurate.

As Wittgenstein’s Mistress, it behooves me to ask this

Question for the Vienna Circle:

Now that you have observed that the act of observation changes the observed,

Do you ever worry for the assured changes in your method, institutions, experiments, results, or selves?

As you observe the knowledge of this observation affecting your observations and that which you observe?

Or is that just another theoretical problem too?

~

Just an observation from this lovesome dummy.

Parsigal Proem by A. Ladder

The words really do get curious and capricious. I am Alice Ladder; and even the hair on my arms stood on end. Hair-raising. Un baffoon ambulent I must have appeared on my walk home.

Parcigal is lovesome, diligent, loyal and kind. But the gal is also lewd and licentious. A real hærlot. Engaging in all sorts of hærlotries, and what not. She is a complete philolofile. Thinks she’s pretty funny.

Vitz. She really likes words and is a lovesome dummy.

Before we meander Hear I make three formal remarks below. The rest is simply me doing my best.

Alice Ladder

Carroll, VVündųrlvnd

TIMESTAMP: 07/09/10 15:00


》All knowledge is nothing more than symbolism.

》》 Word is bond and magic. Be impeccable. Do not use it against yourself either.

》》》What you see inside the mirror is just an image of reality; which means it is virtual reality. It is a dream.


Revælation

i. surprising disclosure of a previously unknown

ii. remarkable thing

iii. supranatural ; præterhuman ; divine ; daimonion

*remember that we must distinguish between a homo dormien (sleeping human) from a homo vigilance (waking man).

“A private individual.”

hermit

Just a “fellow temple-servant.”

Homo-doulus with the swans kuknoi.

Word has it that Socrates believed his master [despotēs] gifted him a prophetic capacity [mantike] not inferiors to that of swans.


Metathesis: transposition or interchange.

Metastatics: change and shifting

Metatithemi: interpose, change a meaning.


¤

Maverick.

Pure Fools talk freely.

So listen closely.

Everyone’s gonna shout.

Babble on anon, anon.

Background Research on the Parz/sifal (original Perceval) mythos

 

The story of Parzifal crossed my path while reading a Sufi meditation manual. It stated that Parzifal failed because of an incomplete mantle of light, leaving him exposed. He had gone it alone and did not have the band to back him up. And much like every new word, once uncovered, I see this mythos everywhere. So what up with that, huh? I did a little digging. Relax, more like playing in dirt. No one has to do real work here!


Within the mythos the following name variations exist

Percival-Knight of the Round Table in the King Arthur legend

Perceval-romance written by Chrétien de Troyes

Parzifal-romance retold by Wolfram von Eschenbach

 

Parsifal-Richard Wagner’s opera based on the written poems.


 

 

Parzifal is the retelling (ending included this time) of the unfinished romance of another, the Perceval of Chrétien de Troyes whose poem is the earliest extant narrative, known from its prologue as Li contes del graal or ‘The story of the Grail,’ though he claimed that his own patron Philip, Count of Flanders, had lent him its ‘book.’

Wolfram von Eschenbach is heralded as the Medieval German narrative poet. Not too much is known about his life aside from things like how long it was (b.1195 to 1225ish) and other ticky tacky information such as his being born into a Bavarian family of the lower nobility. Mystery and intrigue do appear: He may have served a Franconian lord but as a ministerialis or ‘unfree’ knight bound to serve a lord. Qua knight, he defended his honor anywhere and was also able to change patrons, as he ended up finding his main patron not in his hometown but in Thuringia with its many Mæcenas, like Hermann I. Knights ministerial were the main bearers of the great efflorescence of secular poetry in Germany. Poetry emancipated from clerical domination during the first half of the Hohenstauffen period.

“Many passages of the original have virtually no syntactical structure–Parzival is definately no book–and so the bare act of translation has inevitably tidied them up.”

Translator A.T. Hatto (org.1980; reprinted 2004). Parzifal. Penguin Books. London, England. Foreward p12

Born to Louis II Landgrave of Thuringia & Judith of Hohenstaufen, Hermann I was born into Ludovingian nobility. He welcomed societies of letters and Minnesänger to his castle, the Wartburg. From 1172 to 1211, the Wartburt (‘watchtower’) was the most important princes’ courts. Eschenbach, in 1203, wrote part of his Parzifal here.

Minnesang is German for “love song.” This tradition flourished during the period of medieval German literature starting 12th century continuing into the 14th.

Minnesänger (aka minnesingers) referred to people who wrote and performed Minnesang.

A single song was called a Minnelied. These names rooted from minne, the Middle High German word for ‘love,’ which was the Minnesang’s main topic. This reflected part of a larger movement occurring during the High Middle Ages which included the Provençal troubadours and northern French trovères: a written lyrical love poetry, concerned within the tradition of courtly love and chivalry, sometimes vulgar, funny, intellectual, formulaic, even metaphysical.

For the French trouvéres, ‘courtly love’ expressed erotic desire as well as spiritual attainment (and all the spaces between them). A love at once illicit and morally elevating; passionate and disciplined; humiliating and exalting; human and transcendent.

Eschenbach asserts he follows the one “Kyot the Provençal,” sender of the ‘true version,’ that supplied additional material drawn from Arabic and Angevin sources. Many scholars consider Kyot to be of Eschenbach’s imagination, thus part of the fictional narrative. This ignites a controversy. Should the remarks be taken at face value or was he speaking in the way of scholars initiating paradigmatic change: not impassioned against his predecessor as much as being ironically respectful of the ones who came before him, even if he essentially mocked them while recapitulating them to his audience.

German composer Richard Wagner loosely based his opera in three acts, Parsifal (WWW 111).

Wagner’s spelling of Parsifal instead of the the Parzifal he had used up to 1877 is informed by one of the theories about the name Percival, according to which it is of Persian origin, Fal Parsi meaning “pure fool.

Unger, Max (1932-08-01). “The Persian Origins of ‘Parsifal’ and ‘Tristan'”. The Musical Times. 73 (1074): 703.
ISSN 0027-4666

 

Shiny new Par/z/sifal Reasearch: dictionaried

The above is incorrect. Just my opinion, in light of the below.