Book XI. the patriarch of Rankulat is referred to, in company with

the Baruch of Bagdad and the Emperor of Constantinople, and in all probability Armenia is meant. The king's speech therefore implies, 'Didst thou come from the furthest bounds of the earth, East or West.'

Page 8, line 154--'_King Gandein's son_.' Cf. Book IX. p. 285, where the origin of the name Gandein is given.

Page 8, lines 159, 160.--'_Then the tale it hath told a lie_.' Cf. Book IX. p. 259.

Page 8, lines 169, 170--'_Rich silk of Orient_' Eastern materials are referred to frequently throughout the poem; the principal seem to have been, Samite, Sendal, Achmardi, Pfellel, Plialt, and Saranthasme. Of these, some were of silk only, others, notably Saranthasme of silk inwoven with gold, Achmardi, in this poem, is always _green_. Samite and Sendal are the two generally named in our English romances.

Page 9, line 209--'_Two brothers of Babylon_.' This is Babylon in Egypt, now Cairo, as is evident from its close connection with Alexandria, cf. p. 12, line 277, and Book II. p. 57, line 684, and p. 59, line 754. Though, from the passage on p. 57, it seems as if the poet confused it with Babylon in Assyria; it is possible that he was unaware of the fact that there were _two_ cities of the name.

Page 15, line 384--'_Friedebrand_.' The introduction of names of distinctly northern origin such as Friedebrand, Hernant, and Herlindè, Heuteger, and Eisenhart, has been already noted in Appendix B as one of the problems of the _Parzival_. Two solutions have been suggested, either that they were introduced by Wolfram, or that they reached the _French_ source through the medium of Normandy. The form in which the names occur in the _Gudrun_ cycle seems to indicate quotation from a source known also to the writer of the _Parzival_, but they are not derived directly from the North Sea saga in its present form.

Page 16, line 403--'_Wouldst thou know?_' _etc._ It may be interesting to note here that beyond the _colour_, which the poet insists on, he apparently recognises no difference between the heathen and Christian knights and ladies. Both acknowledge the same chivalrous ideals; both are equally familiar with the eccentricities of 'Minne-dienst' (cf. line 423); and the speeches put into the mouth of Belakané, or of Rassalig, would be quite as suitable if spoken by Orgeluse, or by one of King Arthur's knights. This incident of a Christian knight marrying a Moorish princess is of frequent occurrence in Mediæval romance.

Page 16, lines 423, 424--'_That which like to a hall doth stand_.' The tents of the Mediæval period were constructed of far more costly fabrics than is usual now, cf. Book III. p. 74. and Book XI., and their size was very great, this special tent we find, from Book II. p. 36, was 'thirty pack-steeds' burden.' San Marte quotes the description of a tent captured by the Crusaders at Antioch which was adorned with walls, towers, and ramparts, contained halls and galleries, and could lodge as many as 2000 men.

Page 22, line 620--'_The chiming of sweet bells_.' Bells were at one time freely used not only as ornaments to the trappings of the horses but also on the armour of the knights, cf. Book III. p. 70, and Book VI. p. 163. Gradually they disappeared from use, and the bells on the Fool's dress are the last trace left of the practice, which from this poem was evidently very general at the beginning of the thirteenth century.

Page 23, line 623--'_Brave Beaucorps_.' This brother of Gawain appears in Book VI. p. 183, he is the only one of Gawain's brothers mentioned in this poem. In Malory, we find _Gareth_ called 'Beau-mains,' and it is possible that the two are identical. Beaucorps is evidently much younger than Gawain, and Gareth was the youngest of King Lot's sons.

Page 24, line 679--'_Lahfilirost_.' This seems to be a misunderstanding for '_Le fils du Rost_,' and may be classed with the misinterpretations of a French source.

Page 25, line 700--'_Frau Minne_.' The word _Minne_ is etymologically derivable from a root 'man,' and is connected with the Latin _mens_, English 'mind' (cf. 'to have a mind to.') The original signification was that of tender care, or thought for; in Old High German it has already taken the meaning of love in its passionate aspects; finally, in Middle High German (the original language of the _Parzival_), it has become the standing expression for love betwixt man and woman. We have it in various forms as a verb, _Minnen_; as an adjective, _Minniglich_. The personification of the passion of Love as 'Frau Minne' is the work of the courtly poets of the twelfth century, and seems rather to have been derived from classical analogy than to be due to a reminiscence of an early German goddess of Love. Also, with Wolfram and his contemporaries, 'Frau Minne' must be regarded less as the personification of Love in the abstract than as the embodiment of the special love-ideal of the day. This new ideal had its rise, and assumed definite shape in twelfth century France, from whence it spread throughout the knightly society of Christendom, finding its fullest literary expression in the Arthurian romances. The historic causes which led to what was at the time an entirely novel mode of considering the relations between the sexes, and the true nature and ethical import of the chivalric conception of that relation will be briefly discussed in an Appendix to vol. II. The significance of the term is fully apparent from such passages as the present, also cf. Book VI. pp. 161, 163, 165, 171; VII. 208, 224; XII. etc.--[A. N.]

Page 27, line 768.--'_Morhold_,' also in Book II. p. 39. This is, of course, the well-known hero in _Tristan_. The allusion may have been in the original French source, or introduced by Wolfram, who would know Morhold from the Tristan of Eilhart von Oberge, composed before 1180. The most famous German poem on the subject, the Tristan of Gottfried von Strassbourg, was somewhat later in date.

Page 31, lines 886, 887--Cf. Book VIII. p. 230 and note.

Page 31, line 904--'_Feirefis_.' Bartsch interprets the name as _vair fils_, 'parti-coloured son.' Other critics have suggested 'Fairy's son.' The name distinctly indicates a French origin.

Page 31, line 905--'_A woodland-waster_,' 'wald-verschwender,' a hyperbolical term constantly employed throughout this poem to denote one who shatters many spears in fight.