Book XI. onwards. King Lot of Norway (not of Orkney as in the English

legend) is frequently alluded to as Gawain's father, but both he and Uther Pendragon are dead before the real action of the poem commences. This is the first appearance of Gawain, who, from Book VI. onward, plays a part in the poem scarcely inferior to that of the hero, Parzival. The Kings of Arragon and Gascony do not appear again, nor are they alluded to, but Brandelidelein of Punturtois we meet with in Book XV. as the uncle of King Gramoflanz. The King of Askalon must not be confused with Vergulacht, in Book VIII., this is evidently one of his predecessors. Eidegast of Logrois is frequently alluded to later on, his murder by Gramoflanz and the desire of his lady-love, Orgeluse, to avenge him, form the _motif_ of the later Gawain episodes. This is the only occasion on which Lähelein appears personally in the poem, but he is constantly alluded to throughout the course of the story (some remarks on the manner in which he is introduced will be found in Appendix A, p. 293). Morhold, cf. note to Book I. Lambekein, cf. Book V. p. 152. Gurnemanz of Graharz plays an important rôle in the Parzival legend, he is here introduced for the first time, cf. Book III.

_The Tourney._ In this poem we find knightly skill in horsemanship and the use of arms displayed under three distinct forms: the Buhurd, Books XII. and XV., The Tourney, Book II., and serious Warfare as in the siege of Pelrapär, Book IV., and of Beaurosch, Book VII. The two first were simply intended as displays of knightly skill, and took their rise in the knightly sports of the ninth century. The Buhurd seems to have been the original German form, and at first was of a somewhat rough and uncivilised character, the knights riding in bodies at full gallop against each other, and the whole being a display of force rather than of skill.

The Tourney, or Tournament, took its rise in France, and here we find the knights, in full armour, singly displaying their prowess. Gradually the Buhurd changed its character, and throughout this poem we find Wolfram treating it as a formal display of skill in horsemanship, generally to do honour to some favoured guest, as in the reception of Gawain and Orgeluse by the knights of the Château Merveil, Book XII.; in honour of Feirefis, Book XV. Still the idea of force was not entirely eliminated, and we find Gawain, in Book VII. when he promises the child Obilot that he will fight for her father, telling her that _she_ must ride the Buhurd for him, and, as noted above, the fighting here is in earnest. In the later form of Buhurd the knights wear no armour, and it is thus distinguished from the Tourney, where they were always fully armed.

The Tourney was much more complicated in its rules, and is not always easy to distinguish from the real warfare into which it not unfrequently passed. Feirefis, in Book XV., mentions _five_ modes of attack which seem to have answered to the regular stages of a Tourney. Niedner explains them as follows: (1) An attack by one troop on another, with lance in rest; (2) An attack from the side, also with lance; (3) The onslaught of _one_ rider on a troop of horsemen, in which the aim was to strike the one selected opponent while avoiding the blows of the others; (4) The joust proper, or single combat; (5) The _Damenstick_, a stroke for the honour of the knight's chosen lady, which followed on the joust, and was specially challenged by knights of exceptional valour. In the Tourney at Kanvoleis (the only Tourney proper in the poem), it is the two first stages in which Gamuret takes no part, he only mingles in the fray when the time arrives to display the valour of the single champions. The joust, or single combat, was a feature of earnest, as of mimic, warfare, and it is not always easy to distinguish between the two.

In each case the great point was the display of skill in horsemanship, and the use of the lance or spear. The knights rode at full speed towards each other, and the aim of each was to strike his opponent in the centre of the shield, 'The four nails,' Book III. p. 98, or at the fastening of the helmet, Book IX. p. 257, and Book XII. In either event if the blow was well aimed, and delivered with sufficient force, the knight was thrown backward off his steed. It might happen that both knights were struck, and succeeded in keeping their seat, while their spears were shivered, then a second joust must be ridden. If either knight were thrown from his saddle, or his steed fell with him, then he was held to be vanquished, but if, as not unfrequently happened, the girth of the saddle broke, and the rider were thrown, _then_ the joust was held to be undecided, and, in the case of real warfare, the issue was fought out with swords on foot. Cf. the combat between Parzival and Klamidé, Book IV. pp. 119, 120. In Book V. we find Parzival and Orilus fighting with swords on horseback: this is unusual. In real warfare the knights would fight till one was slain, or till the issue was indisputably decided by one being felled to the ground. We occasionally find the combat decided by sheer strength of arm, one knight clasping the other and throwing him to the ground; so Parzival conquers Orilus,