Page 38, line 220--'_The Lit-Merveil_.' Chrêtien gives a more detailed description of the magic couch: it is of gold, with cords of silver, and bells hanging from the interlaced cords. It is apparently the peal of these bells, as the knight seats himself upon the couch, that gives warning of the intruder, and is the signal for the enchantments to begin. In Chrêtien's account the attack by the five hundred unseen foes (Gawain has already been informed by the Boatman that five hundred knights guard the castle) follows immediately on the hero taking his seat on the couch, and the onslaught of the lion immediately on the cross-bows, so that the ordeal, as represented by Wolfram, is considerably more severe and prolonged than in the French version. Page 40, line 299--'_A mighty lion_.' The encounter with the lion is the same in Chrêtien; there, too, the lion's paw is smitten off by Gawain, and remains hanging to the shield. The remark in line 312 is quite in keeping with Wolfram's dry, quaint humour; such 'asides' are lacking throughout in the French poem. Page 41, line 331--'_Mount Ribbelé_.' An allusion to Eilhart's _Tristan_, where Gymele, Isolde's maid, gives to Kahenis, who should keep watch with her, a magic pillow on which he slumbers throughout the night, and is mocked in consequence. Page 42, line 340--'_Arnivé_.' This is Arthur's mother, whose elopement with Klingsor has been mentioned, cf. Book II. p. 39. (Whether Arnivé went with Klingsor of her own free will, or whether she was constrained by magic art, does not clearly appear; from Book II. we should conclude the former, but the passage in Book XIII. pp. 89 and 90, reads as if she were not a free agent.) She has been named as one of the dwellers in Château Merveil, (Book VI. p. 189); how it was that Arthur, who had apparently spent some years in the search for his mother (cf. Book II. p. 39), failed to recognise her name when mentioned before him, is not explained. But the whole episode, as noted above, is so wild and fantastic, and so full of difficulties, that it seems most probable that it was not originally connected with the Arthurian legend, and has been only imperfectly fitted into the framework. In Chrêtien, too, the queen is Arthur's mother, but she is much less prominent in the story, indeed from this point onwards the two versions diverge considerably. In Chrêtien, Gawain is by no means seriously wounded; the Boatman, who seems to have awaited the issue of the adventure outside the castle, returns promptly and tells him that the enchantments are at an end, and Gawain is greeted by a train of pages, gaily dressed and playing flutes; and maidens, one of whom bears royal robes. Chrêtien then introduces a very curious and archaic feature, to which Wolfram has no parallel; Gawain expresses his desire to leave the castle and hunt in the surrounding forest, but the Boatman tells him this is impossible; it is judged and decreed that whoever achieves the venture of the