Page [74], line 39—'One lived of yore named Sarant.' Cf. note to Book I. 'Silk of Orient.' Bartsch identifies the name of the skilful weaver with that of an Asiatic people, probably the Chinese. Thasmé is named later on as part of Feirefis' kingdom. His battle-cry is 'Tabronit and Thasmé!' 'Akraton,' cf. Book VIII. p. 230.
Page [75], line 66—'Itonjé.' This is the French name 'Idonie.' In Chrêtien the maiden is named Clarissant, and Gawain wins her confidence in the same manner. Chrêtien's share of the Conte ends so abruptly that we cannot tell how he intended to treat her love-story; here, it plays a considerable part in the development of the poem.
Page [77], line 147—'Now the hour it was come.' The account of the feast here given is very interesting from the light it throws on mediæval manners and customs. In those days it was very usual for two to eat from one plate, in fact, this was one of the rules of the Knights Templars; the reason assigned being that one brother might care for the other, and all share alike (cf. Feast at Monsalväsch, Book V. p. 136). On great occasions the principal guests seem to have had ladies assigned to them as their table companions (cf. Book VI. p. 178). One would gather from this passage, and that in Book VI., that the lady of highest rank had the hostess for companion, thus we find Arnivé eating with Orgelusé, and Guinevere having a queen (probably Ekuba) for companion; while Kunnewaare is Arthur's table-mate, as here Itonjé is Gawain's.
Page [78], line 180—'Ne'er was it night in her presence.' Cf. Book II. p. 48.
Page [79], line 194—'Thuringia.' San Marte remarks on this passage that at this period music and song invariably went together, the one was necessary to the complete understanding of the other; separately, they were unintelligible. In many instances the lyrical poems of the day were wedded to dance music, the flowing graceful rhythm of which made it an appropriate vehicle for the illustration of poetry. The Thuringian Court being the centre of the literary life of the time many of these dances would naturally originate there; though it must not be supposed that dances without the accompaniment of song were not also known.
Page [81], line 262—'Kancor, and Thèbit, and Trebuchet.' San Marte says that Thèbit is Thabet Ben Korka, a famous Arabic physician, mathematician, and philosopher of the ninth century. Kancor is probably Kenkeh, an astronomer and physician of the same period. Trebuchet has been mentioned before. Cf. Book V. p. 144 and Note.
Page [81], 279—''Twas yet in the early morning.' Chrêtien gives no account of the delivery of the squire's message, but simply states that he finds Arthur and his knights plunged in grief at the prolonged absence of Gawain, and then breaks off abruptly in the middle of a sentence before they have learnt of his safety. From this point onward Wolfram's version is entirely independent of the Conte del Graal, but his poem shows no dislocation or contradiction, such as one would expect would have been the case had he been following a source that suddenly failed him; on the contrary, there is a far more complete harmony between all the parts of Wolfram's poem than we find in any other Romance of the cycle.
Page [82], lines 301-10—'Meljanz de Lys.' Cf. Book VIII. p. 239, and Introduction to Book X. and Note. If there was no account of Gawain's intermediate adventures Wolfram is evidently anxious to make his hearers believe in the existence of such a record, by means of well-timed and appropriate allusions. The fact that the combat was to be in the presence of Meljanz de Lys is only casually mentioned in Book VIII. For the allusions to Kunnewaare, Jeschuté, and Ekuba cf. closing pages of Book VI. with the account of the dispersal of the company at Plimizöl. The whole passage is a proof of the care with which the poem has been constructed, and the details brought into harmony with each other.
Page [83], line 339—'Brought he news of some gallant venture?' Cf. Book VI. p. 176 and Note.
Page [87]-88, lines 466-506—'His doings, Sir Knight, I to thee will tell.' This history of the magician Klingsor, as noted in Book X., is found in Wolfram only, and the indications seem to point to a French source. Terre de Labûr is undoubtedly a French rendering of Terra di Lavoro, in Calabria. Kalot Enbolot is Kalota-Belota, a fortress on the south-eastern coast of Sicily, well known in the days of the Hohenstauffen. This location of Klingsor's kingdom in Southern Italy may have been introduced in order to lend a colour to his supposed relationship to Virgil, who by the twelfth century was firmly established in popular belief as a magician. The name Iblis, Bartsch refers to the Sicilian town Hybla; Ibert may be a form of the French Guibert. It is difficult to avoid the conclusion that in the lord of the Château Merveil, wounded as a punishment of unlawful love, we have a parallel to the King of Monsalväsch, whose wound is due to a similar cause. (A reference to the original German will show how close this resemblance is); as mentioned before, it seems to be a parallel, rather than a contrast, which Wolfram intended to draw between his two heroes. It may well be that in the original version of the story from which both Chrêtien's and Wolfram's poems are derived the Gawain episodes were unfinished, and that in their original form Gawain, too, was brought to the Grail Castle, but to regard them as unfinished here seems a clear misunderstanding of the meaning of the poem. We are distinctly given to understand (p. [97], line 780) that Gawain's lot in life is finally settled, the Grail Quest, which was originally in the Gawain story, has been quietly dropped, and this adventure of the Château Merveil has taken its place; an alteration which artistically can only be considered an improvement, as it clearly marks Gawain's position as secondary to Parzival. Whether the story of Klingsor was introduced for the purpose of emphasizing the parallel between Monsalväsch and Château Merveil it is difficult to say. Certainly, the incident of Parzival's missing the adventure of the Magic Castle, as he did that of Monsalväsch, by failing to ask the question must, as noted above, be due to this idea. With the end of this book Gawain's adventures are practically concluded; Wolfram promptly clears the stage for the winding-up of the history of his real hero, Parzival, by bringing the two knights into contact, when Gawain is naturally worsted, and takes the second place. Whether it be due to Wolfram or to his source, it is certain that the Parzival is far simpler in construction than the majority of the Grail Romances, in which the adventures of various heroes succeed each other with such bewildering rapidity and similarity of incident that it is difficult to tell who is the real hero of the tale!