Book IX. pp. 273 and 285, we learn that he was Parzival's kinsman.

It may be interesting here, and may help to the better understanding of the poem, if we describe the armour of a knight at the end of the twelfth century. The principal piece of defensive armour was the Hauberk (Halsberg), a coat formed of rings of steel which reached to the knee, and had sleeves ending in iron gauntlets. Attached to this, and forming one piece with the Halsberg, was the Härsenier, a cap of chain mail which was drawn over the head below the helmet. The upper part of the face was protected by the 'Nasen-band,' a band of iron provided with eye-holes; and the lower part by the 'Fintäle,' a part of the 'Härsenier' which passed round and over the chin; above this the helmet was fastened. (The use of the word 'visor' in the translation is an anachronism, as the visor proper was not introduced till later, but there was no other word which would express what was meant with equal brevity and clearness.) Foot and leg were clad in hose of iron, and the knee and elbow were specially protected by plates of iron or _schinnelier_. Over this harness many knights wore the _Waffen-rock_, a long sleeveless garment of silk on which the badge of the knight was embroidered in gold and jewels. The sword was girt above this garment. The knight would also bear his distinguishing badge on helmet, shield, and the truncheon of his spear. The shield was of wood, strengthened with bands of metal, and often decorated with precious stones, cf. the description of Feirefis' shield in Book XV. The shield was long-shaped, three-cornered, and was held in the left hand close to the body, the spear was carried in the right, so that the horse was guided by the _knee_, not by the _hand_, of the rider. The spear was a blade of steel, set into a long heft of wood, or reed, _Röhr_, probably Bamboo, sometimes even the rough trunk of a young tree, as in Book IV. p. 519. Shield and spear were alike painted in the same colours as the robe of the knight, and the horse had a like covering of silk beneath the saddle and over the coat of mail with which it was protected. The description given by Wolfram of the arms and accoutrement of the Red Knight of Parzival, Book IV. p. 19, and Orilus, Book V. pp. 147-148, _seq._, will give a very clear idea of the appearance of a knight in full battle-array.

Page 83, line 570--'_To the Table Round I came_.' Here we find an allusion to two methods of laying claim to a property. There seems a difference of opinion as to the first; Simrock holds that the pouring out of the wine constituted the claim; Bartsch, that the point of the action lay in carrying off some part of the property claimed. This seems the more probable interpretation, the pouring out of the wine then, as well as the sprinkling the queen, would be accidental. In Chrêtien the indignation of king and queen at the insult is far more strongly emphasised. The burning of a wisp of straw, as a declaration of rights claimed, is mentioned by Grimm in his _Deutsche Rechtsalterthümer_.

Page 83, line 586--'_Iwanet_.' The diminutive of Iwein, the well-known hero of Hartmann's poem (the Owain, son of Urien of Rheged, of Welsh tradition).

Page 83--'_Parzival at the court of King Arthur_.' There are some distinctive features in Wolfram's version of this incident. Parzival's behaviour towards the King, though unconventional, is far less discourteous than that ascribed to him either by Chrêtien or by the English 'Sir Percyvelle.' In Chrêtien's poem, Perceval rides into the hall, where he finds the king and courtiers plunged in grief at the insult offered to them by the Red Knight. The king does not reply to Perceval's greeting, and the lad rides so close to him that his horse's head knocks off the king's cap. A reason for the failure of the Knights of the Round Table to avenge the insult offered by the Red Knight is suggested in the fact that they are already wounded in battle. [The student of Irish heroic saga cannot fail to recall the strange disability under which the knights of Conchobor's court suffered at times and which completely prostrated them. The province of Ulster would have lain defenceless were it not that the Cuchulainn alone was free from the disability, and single-handed defied the men of the rest of Ireland. There are many points of contrast between the _enfances_ of Cuchulainn and those of Perceval--A.N.] The kindly feeling shown both by Arthur and Guinevere towards Ither is not paralleled in Chrêtien, where the Red Knight is represented as Arthur's deadliest foe, and Guinevere is like to die of shame and wrath at the insult offered to her. Chrêtien also places Perceval's refusal to dismount here, whereas Wolfram places it on his arrival at Gurnemanz' castle. In Chrêtien the hero tells the Red Knight of his intention to demand his armour from Arthur, and there is no trace of the courteous and poetical greeting which Ither here addresses to Parzival. The confusion of the Red Knight with the hero's own personal foe is of course due to the introduction of the Lähelein episode which is peculiar to Wolfram; but Chrêtien has a most curious passage connected with Perceval's inability to disarm his dead antagonist:

'Ains auroie par carbonées Trestout escarbelliè le mort, Que nule des armes enport;'

which as it stands is decidedly difficult of interpretation; while in the English Sir Percyvelle we find the hero saying:

'My moder bad me, Whenne my dart solde brokene be Owte of the irene brenne the tree,'

which evidently indicates the source of Chrêtien's curious remark. An examination of the different versions seems to show that, while the German is the fuller and more poetical, the French is here closer to the original form of the story.

Pages 85 and 86, lines 635, 658--'_Kay the Seneschal_.' The character of Kay is one of the problems of the Arthurian legends. In all the tales he is represented as filling the office of Seneschal, and in all he is represented as a man of rough manners, violent temper, and bitter tongue. The Seneschal (_Senes-schalh_), the oldest servant, was master of the ceremonies, one of the chief personages of a royal household, and not unfrequently the trusted confidant of the king; but such a chastisement as Kay here, and in other versions, inflicts upon Kunnewaaré, was distinctly _outside_ his office, and, taking into consideration the standing of Kunnewaaré and Antanor, quite inconceivable. Here, as in other instances, we have traces of an original tradition dating from a time when a far rougher code of manners and customs obtained. Wolfram, while adhering closely to his source, and to the traditional representation of Kay's character, was evidently extremely puzzled by the undignified and discourteous part allotted to him, and in Book VI. (p. 169) he diverges from the story in order to explain what he feels to be a difficulty, and to defend Kay at some length. The Northern French poets apparently felt the same, and as Kay is generally represented as Arthur's foster-brother they invented the fable that the unknightly traits in his character were due to his having been committed to the care of a peasant nurse when his mother took charge of the infant Arthur.

Page 85, line 652--'_The maiden Kunnewaaré_.' The 'laughing damsel' seems to be an archaic and misunderstood element in the Grail romances. A common incident of folk-tales is for the hero, fool, lout, or tatterdemalion, to win to wife a princess who has not laughed or spoken for years by inducing her to do either of these things. Some such incident has apparently been woven into an heroic romance, the main outlines of which were already fixed, so that the actual conclusion, marriage of the hero with the laughing damsel, has been disturbed. Note, however, the homage paid by Parzival to Kunnewaaré, and her evident affection for him (Book VI. pp. 181-185). Her name too is suggestive, it has been derived from _la pucele a la gonne vaire_ (the maiden with the coloured robe), but in its present form it is suspiciously like Kondwiramur, and it should be noted that it is the rejected lover of this queen whom Kunnewaaré eventually marries. Is it possible that the Perceval romance from which both Chrêtien and 'Kiot' drew contained doublets of this personage? In the one case in her original, in the other in a modified form. An instructive parallel may be adduced from the saga of Cuchulainn. He is the hero of an Andromeda episode and should by rights wed the delivered heroine, but the story being already fixed before the episode was assimilated, the heroine is passed on to a companion of the hero.--[A. N.]

Page 89, line 766--'_Maestricht, or e'en Cologne_.' German art, in the early Middle Ages, reached its highest level in the Rhenish provinces, especially at Cologne.

Page 91, line 828--'_Gurnemanz of Graharz_.' The old knight who instructs the hero in knightly duties is a traditional part of the story, and belongs to most of the versions. In Peredur, he is identified with the Fisher King, Perceval's uncle. In Chrêtien his name is given as Gonemans of Gelbort; in Gerbert, Chrêtien's continuator, he is, _Gornemant_ (one of several points of contact between Gerbert and Wolfram's source).

Page 91, line 847--'_He bade them lead the guest in_.' This is one of the many passages which afford an interesting glimpse of the manners and customs of a bygone age. It may be well to summarise here what we know of the reception and treatment of a guest in the Middle Ages. If a strange knight rode into the courtyard of a castle he was received by squires and pages, who held his bridle and assisted him to dismount. The guest was then conducted to a chamber where he was disarmed and provided with suitable robes. In every important household there was a _Kleider-kammer_, or wardrobe, presided over by a chamberlain, whose office it was to see that all guests were provided with garments fitted to their station. The preparation of these dresses was the work of the women of the household, and it can have been no light task, as even if a whole company arrived they would all expect to be provided with the requisite dress. The guest, being robed, was then conducted to the great Hall, which was in the upper story of the castle. Half-way on the staircase leading to it, he would be met, and welcomed with the kiss of greeting, by both host and hostess (cf. Book IV. p. 107), and led by them into the Hall where he would receive the greeting of the assembled company. When all were seated the guest would say who he was, and whence he came, but, if he kept silence on this point, it was not etiquette to ask him till the next morning (cf. Book III. p. 95). The evening meal then followed, after which, on occasions of great festivity, such as that recounted in Book XIII. (marriage feast of Gawain and Orgeluse) there would be dancing, otherwise the time seems to have been spent in conversation till the appearance of the wine-cup, _Nacht Trunk_, gave the signal for separation. Then knights conducted the guest to his chamber, where pages disrobed him, and apparently waited with lighted tapers till he fell asleep. The account given here of Parzival's visit to Gurnemanz gives a very good idea of how the following day would be spent, indeed Wolfram's love for detailed description, and accuracy of statement render this poem peculiarly valuable to a student of the manners and customs of the Middle Ages.

From various hints in the Gawain episodes, notably Books X. and XI., it seems as if the privilege extended to a guest might on occasion be construed with a freedom decidedly repellent to modern ideas.

Page 96, lines 984, 985--'_Full five shall thy senses be_.' Cf. Book IX. p. 200.

Page 98, line 1055--'_The prince bade his daughter hither_.' The introduction of Gurnemanz' daughter, and her incipient love affair with Parzival is peculiar to this version. There is a curious discrepancy to be noted between the apparent susceptibility of the hero here and in Book IX. pp. 260, 261, and his indifference to feminine charms displayed elsewhere, notably in his rejection of Orgeluse's advances and neglect of the Château Merveil adventure. The latter presentment seems most in accordance with Parzival's character; is the susceptibility to be ascribed to the _poet_?

Page 99, line 1080--'_I lose once more a son_.' The sons of the old knight are mentioned in other versions, but Wolfram alone names them. The circumstances of Schenteflur's death are recounted in Book IV. p. 121; the account given of the other two sons is largely borrowed from Hartmann's _Erec_, where the strife for the hawk at Kanedig, and the venture, Schoie-de-la-kurt (which is not a person, but an expedition), is fully recounted. Brandigan is Klamidé's kingdom, cf. Book IV.; Mabonagrein, his cousin, Book IV. p. 123. Mahaut is another form of the name Matilda. From _Titurel_ we learn that Gurzgrei and Mahaut were the parents of Schionatulander, Siguné's lover, cf. also Book VIII. p. 245 and note.