Perceval, or, The Story of the Grail by Chrétien de Troyes

Perceval, or, The Story of the Grail Reviews

• 
  Orsodimondo

  
  
  Paolo Uccello: La battaglia di San Romano - Niccolò da Tolentino alla testa dei fiorentini, (1438). Questo è il pannello conservato alla National Gallery di Londra. Sulla copertina della mia edizione ne è riportato un dettaglio: il cavaliere sulla destra, armato di ascia, nei colori oro, azzurro e argento.
  
  Il romanzo di Perceval è un romanzo di formazione: l’educazione di un uomo che all’inizio è un giovane allo stato quasi selvaggio, e alla fine nobile cavaliere.
  Bruco -> crisalide -> farfalla.
  La madre lo tiene lontano dalla cavalleria e più o meno lontano da tutto e tutti, nell’ignoranza assoluta: la donna ha già perso il marito e i primi due figli in guerra, Perceval è quello che le resta.
  Se non che il giovane sempliciotto un bel giorno di primavera incontra un gruppo di cavalieri, sfavillanti d’oro, azzurro e argento. Come resistere?
  A questo punto ha fretta di lasciare la casa materna e seguire i cavalieri alla volta della corte di re Artù.
  In quattro e quattr’otto, la madre gli impartisce un pistolotto che in pochi minuti gli dovrebbe far recuperare tutto il tempo perso: la donna si dilunga sulla condotta consigliata con le donzelle.
  
  
  Paolo Uccello: La battaglia di San Romano - Disarcionamento di Bernardino della Ciarda (1438). Questo pannello è invece conservato agli Uffizi di Firenze. Andavo a vederlo almeno una volta a settimana, con il libretto universitario l’ingresso era scontato a metà.
  
  Perceval non ha capito bene, probabilmente la lezione è stata troppo frettolosa, o forse lui era distratto, pensava all’oro, azzurro e argento dei cavalieri. Per cui, quando incontra la prima damigella, scambia la sua tenda per una chiesa, la bacia senza indugio, le strappa un anello dal dito, si rifocilla delle di lei libagioni con disinvoltura, e l’abbandona senza remore.
  E io non posso non pensare al Carlo Martello di Faber, amico fragile.
  
  Quanto arriva alla corte del re, entra nella sala del trono direttamente a cavallo, passa talmente vicino al sovrano da urtarlo col cavallo e fargli cadere la corona.
  
  Ma per lui sono pronti bravi maestri: Gorneman e Galvano.
  E man mano Perceval imparerà le regole della cavalleria, dell’amore (Biancofiore), della religione (il Santo Graal).
  
  
  Paolo Uccello: La battaglia di San Romano - Intervento decisivo a fianco dei fiorentini di Michele Attendolo (1438). Questo è al Louvre. Bella gioia quando 23enne riuscii a chiudere il cerchio e vederli tutti e tre.
  
  Il romanzo, però, è incompiuto. E la storia che conosciamo, è nata dopo.
  In queste pagine per Perceval il graal non è il santo Graal, ma un graal, cioè, probabilmente una bacinella più che un calice, e Perceval non lo recupera.
  Ma incontra il Re Pescatore, il re ferito, che è protagonista di un altro ciclo che arriva fino al film di Terry Gilliam.
  Perceval è poi diventato anche Parsifal, ma era un gallo, non gallese.
  
  
  Un’immagine dal film “Lancelot du Lac – Lancillotto e Ginevra” di Robert Bresson (1974). Per Chrétien de Troyes Lancillotto era il Cavaliere della Carretta, invece che del Lago.
  
  Chrétien è stato il più grande poeta medievale prima di Dante, che non lo conosceva, pur se cita la vicenda di Lancillotto e Ginevra nel V canto del suo Inferno (Paolo e Francesca: leggendo dei due amanti fedifraghi Lancillotto e Ginevra, i due si baciarono, proprio quello è il celebre libro “galeotto”).
  
  All’epoca di Chrétien, nel XII secolo, i romanzi venivano letti in pubblico, per così dire: questo spiega l’andamento dei dialoghi, che venivano recitati, del ritmo, certe ripetizioni, qualche prolissità, i silenzi-pausa.
  
  
  ”Perceval le Gallois – Il fuorilegge” di Éric Rohmer (1978). Girato in studio con scenografie palesemente teatrali, si basa proprio su questo testo.
• 
  Marc

  I know you can't judge these medieval books (this one is written around 1180) by modern standards. But there's a remarkable dichotomy within this book: it contains a cycle of stories around Perceval and a cycle around Gawain, his most important fellow-knight. The main set-up of the poem is certainly didactic: to show what courtly behavior is, but with a rather variegated interpretation (from noble to plainly christian, and in any case passionate).
  
  The theme of the Holy Grale slightly binds the two stories of Perceval and Gawain, but actually only plays a secondary role. It is certainly not worked out so mystically, as in later periods! Noteworthy also are the different style registers: the first chapter on Perceval is entertaining and amusing, even very humorous; the cycle on Gawain, on the other hand, is more serious, with more attention to the fantastic than the psychology. Other chapters are simply staggering and very religious. There's a great contrast with the sometimes bold description of the relationship between knight and lady (invariably called "girlfriends"). And strikingly: there are some anti-Semitic outbursts, though that's not unusual, when you know medieval history.
  
  So, seen through modern eyes this is a very remarkable and capricious piece of writing. As a historical document it is very valuable, but when you read it as a piece literature, you're probably going to be very disappointed.
• 
  Markus

  
  https://www.goodreads.com/review/show...
• 
  Janez

  Un roman plein de symbolisme, de mystere et contenant une histoire double qui montre la quete de l'ideal et l'ideal meme (Perceval-Gauvain). Le roman reste inacheve, mais cela ne se ressent pas comme une faute. Je crois plutot qu'il reste ouvert a des interpretations diverses de chaque lecteur.
• 
  Chris

  This new edition of Nigel Bryant's eminently readable 1982 translation of the first tale to feature the grail was timed to coincide with the release of the film of The Da Vinci Code, but is as far removed from that work's fantasies as the Mona Lisa is from a Barbie doll.
  
  Chrétien's unfinished poem, beginning as a literary folk tale of a simpleton who makes good, was already within a few years of his death being embroidered and invested with more significance than was originally intended. Bryant's version includes the whole of Chrétien's text (as found in a key manuscript in the Bibliothèque Nationale in Paris) and extracts from its four Continuations linked by synopses. He has revised his translation of nearly a quarter-century ago with occasional substitutions or recastings, generally for stylistic reasons, it seems, and overall this appears to be for the better. Compare these two versions from a passage in which Perceval sees knights for the first time (1982 version first):
  – Stay back! A boy who's seen us has fallen to the ground in fear. If we all advanced towards him at once he would be so frightened that he would die, I think, and could not reply to anything I asked him.
  – Stay back! A boy who's seen us has fallen to the ground in fear. If we all advanced towards him at once he'd be frightened to death, I think, and couldn't answer any of my questions.
  The end of the second extract certainly flows a lot more smoothly, and over the course of this edition makes the revision more readable.
  
  In 1982 Perceval cost £19.50 for the hardback; allowing for factors such as inflation, the transition to robust paperback and its limited popular appeal, this edition still represents good value. Even if the D D R Owen Everyman Classic translation of 1987 is substantially cheaper, it doesn't include the Continuations which allow us to witness the rapid evolution of a legend. All serious students should have a copy.
• 
  Fred Lente

  It ends right in the middle! I mean, for shame, author who died 1000 years ago. FOR SHAME.
• 
  Laura Sagués

  Que desafortunat i aventurer, aquest paio
• 
  Felix Cortes

  Ok... Tengo que decir que el libro esta muy muy intrigante y muy bueno siendo un cuento medieval frances, o romance, whatever. Mi problema con el libro y la razon por la que no le doy una estrellita mas se basa en el hecho de que... NO TIENE FINAL!!!! AAAAAAAAAAAAAAAAAAAAAAAAH!!! Me frustre mucho. Tambien me enfogona el hecho de que la historia de Perceval termina muy abruptamente. Y Gauvain, a pesar de ser nice, no es tan epico para mi como Perceval. El personaje de Perceval era mucho mas adorable, ya sea por su salvajismo e ignorancia, y me intrigaba el hecho de como se convertiria en un hombre mas "decente," a diferencia de Gauvain, que es muy cortes y noble y bueno al punto de aburrirte. Pero si, esta muy genial, pero te deja con mas dudas que el series finale de Lost.
• 
  tamz

  what.
• 
  Elisabeth

  3,5*. Shame on you, Chrétien, for quitting your story mid-sentence, shame on
• 
  Victor

  Vagi per davant que és una novel·la medieval de l'any 1180 inacabada per la mort de l'autor, no és un viatge fàcil. Sí que m'ha agradat com exercici de curiositat, fins i tot la història cap al mig-final tenia punts interessants. Inclús te un punt còmic veure com sovint desenvolupa l'acció (spoiler se la salta i t'explica el resultat i es queda tan ample). 3/5 tenint en compte com d'injust és jutjar-ho tants segles després, recomanable per mera curiositat artúrica
• 
  saïd

  Texte intégral en ancien français avec une traduction en français moderne par Daniel Poirion.
• 
  saïd

  Traduction en français moderne par Jean Dufournet.
• 
  saïd

  Édition critique, édité par Charles Méla.
• 
  saïd

  Nigel Bryant's 1982 translation contains an English rendering of Troye's version of the Perceval legend, as well as selections from other versions.
• 
  saïd

  Translation by, um, Burton Raffel.
• 
  saïd

  Worst cliffhanger ever.
  
  Translation by Ruth Harwood Cline.
• 
  saïd

  Traduction en français moderne par Jean-Pierre Foucher.
• 
  Karu

  Chrétien 4EVA.
  Hubiera estado bueno un final igual.
• 
  Rachel

  Really enjoyable! Surprisingly modern translation, very easy to follow.
  
  Of course, it's not all that modern in ideas. It seems to primarily be a story of chivalry and godly men, Perceval and Gawain, the most honorable knights known. Sexism out the wazoo, which makes me grateful to be in this the 21st century. Fascinated with the great power of oaths—can't go 10 pages without a new oath on someone's life and God's name! Even prisoners, with no reason except want for their life, will carry through a promise to deliver themselves as prisoner to King Arthur. If this custom of never making false promises was powerful enough to deliver the greedy to the king's feet of their own volition, it must truly have been the most powerful. The only really broken oaths we see are of the "wicked girl", the Proud Beauty of Logres, before her transition to good. I would go as far to say that it would truly be considered sinful, wicked, to break an oath, especially as made in the name of one's own life or that of God.
  
  I'm saddened that Chretien de Troyes didn't survive to finish the story! It feels like it must only be halfway finished, but it's so well-told that I want to bring him back to life just to write out another 10,000 lines! Masterful storytelling, even if very different from what we're used to in contemporary writing. (Also laughed at several of the parts he says would be useless to tell: "And the boy told the story / You've been hearing. To tell it / Again would be stupid and boring: / Who wants a twice-told tale?" Very aware he's a storyteller!)
• 
  Anthea Carson

  I heard Wagner's Parcival opera on the radio one Saturday afternoon and decided to pursue the book that had inspired this. It was surprisingly difficult to find but I ordered a used copy from Amazon eventually.
  
  I can't forget the imagery from this book, written in 12th century France. I am amazed at the character arc from the imbecilic young Percival who wants to be a knight so he can dress like one to the repentant and sorrowful man who missed his chance to grab the grail.
  
  The story changes direction, promising to get back to Percival but never does, instead ending literally in mid-sentence during the story of Gawain.
  
  The scenes of the wasteland by TS Eliot was inspired by the haunting description of the inside of the castle where there is no sound of children playing, nor business of shops selling baked goods, nor mills grinding because the lands lies desolate due to the wounds of the Fisher King.
  
  If you love history, and love literature, be sure not to miss reading this gem.
  
  
• 
  Gil Blas

  «Cuando Perceval vio hollada la nieve sobre la cual había descansado la oca, y la sangre que aparecía alrededor, se apoyó en la lanza para contemplar aquella apariencia; pues la sangre y la nieve juntas le rememoran el fresco color de la faz de su amiga, y se ensimisma tanto que se olvida…».
  
  ¿Puede una metáfora justificar un libro? Sí, pues no somos excesivamente prácticos, y cuando se leyó menos. Pero este libro legendario es mucho más, y es infinito aunque está sin terminar, pues dio lugar a una tradición.
  
  Conviene leer la traducción de esa especie de Tolkien catalán que fue Martin de Riquer.
• 
  Inés Alhambra

  Perceval eres un tonto
• 
  El Bibliófilo

  My comments in this video:
  https://youtu.be/m7_ytMTA37I
  
  Adventures, adventures without threads. Quixote's origin?
  In this classic, which I read as an intermission in the reading of the "ingenious hidalgo Don Quixote de la Mancha", I found several specific aspects that could have inspired Miguel de Cervantes Saavedra for the construction of his work, such as Rocinante, madness as punishment for Merlin, the importance of the narrator, or the contrast between the old and the young, among others. Additionally you will find curious aspects that I highlight of the chivalry, and also the inspiration of the famous scene of "Game of thrones". I await your comments
  
  Origen del Quijote. Aventuras, aventuras sin hilaturas.
  En este clásico, que leí como intermedio en la lectura del "ingenioso hidalgo don Quijote de la Mancha", encontré varios aspectos específicos que pudieron inspirar a Miguel de Cervantes Saavedra para la construcción de su obra, tal como Rocinante, la locura como castigo de Merlín, la importancia del narrador, o la contraposición entre los viejos y los jóvenes, entre otros. Adicionalmente encontrarán aspectos curiosos que resalto de la caballería, y también la inspiración de la famosa escena de "Juego de tronos". Espero sus comentarios
  
• 
  Ivan Ruiz

  Estupenda novela medieval de uno de los autores más relevantes del siglo XII. En ella hay dos relatos inacabados, por muerte del autor, e intercalados posteriormente por alguien que erróneamente creyó que los dos formaban parte de un todo. En uno de ellos seguimos a Percival, y con él, los pasos que todo aspirante a caballero debe emprender si quiere destacar tanto en el dominio de las armas como en el arte del amor cortés. Pero, por encima de todo, es un relato que tiene por objetivo animar a caballeros y nobles a emprender el camino a Tierra Santa para enfrentarse al infiel y demostrar su devoción. En el otro, seguimos a Galvany, un caballero curtido, protagonista de una historia crepuscular que le llevará a enfrentarse a numerosos retos en su viaje para solventar una afronta que le hace cierto caballero. Las dos son muestra del enorme talento narrativo de Chrétien y, contrapuestos ambos, nos permiten comparar las hazañas de dos caballeros en diferentes puntos de sus vidas.
• 
  Lemon

  Surprisingly self aware and humorous. Like, it's WEIRD, for our culture especially, but it's so....modern, at the same time. EVEN IF UNFINISHED!
• 
  meli

  Estaría mejor si realmente tuviese un final
• 
  María

  He redondeado hacia arriba, realmente son dos estrellas y media. Al principio me costó meterme en la historia, Perceval es insoportable y no había leído nada de épica de Bretaña, así que las fórmulas me pillaron un poco por sorpresa. Pero a partir del Rey Pescador empecé a disfrutarlo y cuando el protagonismo pasa a Galván ya ni os cuento (el mejor de la obra, le quiero dar un abrazo todo el rato). Sabía que estaba incompleto, así que no me ha decepcionado, pero me habría gustado leer algo más sobre la lanza que siempre sangra y el grial.
• 
  Xuri

  pues qué quieres que te diga, no me ha gustado