Page [89], line 519—'A child was born of a mother.' A well-known mediæval riddle, which Wolfram might easily have derived from a German source.
Page [90], line 531—'Of joy had I once full measure.' It is somewhat curious that in Chrêtien Gawain eulogizes Guinevere in similar terms. It rather looks as if the original passage had been the same in both instances, though it would be difficult to tell to which queen it originally referred.
Page [91], line 566—'Maurin.' This name occurs in the Lancelot of Ulrich von Zatzikhoven, from which it was probably borrowed.
Page [92], line 601 and seq.—'And either side had suffered.' Garel and Gaherjet: cf. Note to Book XII. Iofreit, son of Idol: cf. Book V. p. 155 and Note. Though this character only plays an unimportant part in the poem, he is yet very frequently mentioned, it may be that in the original French source he was more prominent. Friam is probably the same name as Urian, in Book X. Vermandois and Nevers point to a French origin.
Page [94], line 658—'Save the tent of Eisenhart only.' Cf. Book I. p. 16 and Note. Tents seem to have been favourite love-gifts at this time, note the Booth in Books XI. and XII. given by Anfortas to Orgelusé, and, as we know from Willehalm, sent to that king in the first instance by Sekundillé.
Page [96], line 733—'Meljanz of Lys.' How Meljanz of Lys came to be there is not explained. It is worthy of note that in Book VII. we find the King of Lirivoin fighting against Meljanz, and taken captive by Parzival; here the men of Lirivoin are evidently on the same side.
Page [97], line 763—'The wounds of Kay had been healed.' Cf. Book VI. p. 169 and Note to Book III.
Page [99]. line 819—'A knight his bridle drew.' This knight is, of course, Parzival, though how he came to be there is not explained. In the Conte del Graal Perceval does not appear on the scene for some time, and passes through a variety of wild and fantastic adventures before finally winning the Grail. The poem, as we possess it, is more than twice as long as Wolfram's.
[With reference to the Klingsor and Iblis story, it is noteworthy that Chrêtien's first continuator relates a long story of King Carduel of Nantes and his reputed son Carados. The wife of King Carduel is beloved by a magician, Garahiet, who is in truth the father of Carados. The latter grows to manhood and goes to King Arthur's court to receive knighthood, there a stranger knight appears and offers to allow his head to be cut off provided the knight who accepts the challenge will submit to the same ordeal a year later. Carados accepts, and strikes off the head of the knight who picks it up and walks off. Returning after a year he finds Carados ready to fulfil his part of the bargain, and then acquaints him with the fact that he, and not Carduel, is in truth his father. Carados returns to the court of Carduel and tells him what he has learnt from the magician; the king in anger imprisons his wife in a tower; she is nevertheless still visited by her lover, whom the king eventually surprises and punishes in a manner appropriate to his crime. This story, in its outline, appears to be the basis of the Klingsor and Iblis episode, but it has been very freely handled by the compiler, and, as suggested above, not improbably altered so as to draw out the parallel between Klingsor and Anfortas.
A feature of importance in this connection is that the episode of Carados and his magician father, a most famous story of the Arthurian cycle, is elsewhere invariably associated with Gawain; e.g. in the well-known Middle-English poem of 'Sir Gawain and the Green Knight,' and it is difficult to understand why, in a part of the poem specially devoted to the adventures of this knight, the French poet should have attributed this, one of his greatest and most famous feats, to another hero.