Abstrakt
Troughout the last century and especially in its last decades, various interpretations of Wolfram von Eschenbach's 'Titurel' have been proposed. This essay takes three - those of Christian Kiening/Susanne Köbele, Matthias Meyer and Elisabeth Martschini - and reflects upon the steps which researchers must take to in order to respect the fragmentary from of this enigmatic work in their interpretations.
Subsequently, the essay asks whether it is actually possible to interpret a work which is so far from completeness and consistency. A somewhat new approach to Wolfram's 'Titurel' is offered: what if Wolfram were trying to create a wholly new romance, one which was not a translation or adaptation of the Old French and which needed no influential sources outside of his own 'Parzival'? And why was Wolfram, who failed, so much more successful than his successor Albrecht, who integrated the 'Titurel' fragments into his 'Jüngerer Titurel'.