This passage, together with the fact that Wolfram connects Lohengrin with Brabant, seems to indicate that the German poet was not the first to connect the legend of the Swan-knight with that of the Grail, but found the story in his French source; though he certainly gives the earliest version of the legend in the shape in which, through Wagner's _Lohengrin_, it is familiar to us to-day. A more prolonged and elaborate account of Lohengrin's adventures is given in _Der jüngere Titurel_ already referred to; here the lady is the Duchess of Lizaborye, and the catastrophe is brought about by the advice of a treacherous maid, who persuades the Duchess that if she cuts off, roasts, and eats a portion of her husband's flesh, he will be unable to leave her. In pursuance of this intention, armed knights break into Lohengrin's chamber at night, and in the struggle with them, though overcoming his assailants, he is himself slain. The unhappy wife dies of grief, and the name of the country is changed from Lizaborye to Lothringen (Lorraine) in memory of Lohengrin. (Those familiar with the Wagner Drama will note the skill with which Wagner has combined these two versions of the legend.) In the forbidden question we probably have a surviving testimony to the originally divine nature of the hero; it is a well-known feature of such legends that a mortal wife wedded to a divine husband may not inquire too closely into that husband's nature, _e.g._ the myths of Jupiter and Semele, and of Eros and Psyche. The question therefore probably belongs to the original form of the story, and the passage on p. 182 is merely, as suggested above, an ingenious attempt to explain a feature which puzzled the later compilers. Page 186, line 661--'_Here Herr Erec should speak_.' An allusion to Hartmann's _Erec_, so often referred to. The hero forbids his wife to speak to him, she breaks the silence in order to warn him of an impending danger, and is punished by him for so doing. Page 186, line 663--'_If Chrêtien of Troyes_,' _etc._ Here for the first time Wolfram gives us clearly to understand that he knew Chrêtien's Grail poem, but deliberately preferred to follow Kiot's' version, to which he has made frequent allusions. If Wolfram's statement is to be accepted as it stands, we must perforce conclude that both the first two books and the last three (of which Chrêtien has no trace) were in Kiot's poem, '_To the end_, the Provençal told it.' Certainly Wolfram himself does not wish us to consider that any part of the tale was due to his own invention, but rather that he was throughout faithfully adhering to lines already laid down. The question of the connection between Chrêtien and Wolfram will be found fully discussed in Excursus B. FINIS Printed by T. and A. CONSTABLE, Printers to Her Majesty at the Edinburgh University Press Transcriber's Notes: