fairyland than the "enchanted towers of Carbonek"; the magician Klingschor is a more shadowy person far than Merlin. "Cundrie la Sorziere Diu unsueze und doch diu fiere" is a much more weird personage than Morgane or Nimue, though she may also be more "unsweet." Part of this unfamiliar effect is no doubt due to Wolfram's singular fancy for mutilating and torturing his French names, to his admixture of new characters and adventures, and especially to the almost entirely new genealogy which he introduces. In the pedigree, containing nearly seventy names, which will be found at the end of Bartsch's edition, not a tithe will be familiar to the reader of the English and French romances; and that reader will generally find those whom he does know provided with new fathers and mothers, daughters and wives. But these would be very small matters if it were not for other differences, not of administration but of spirit. There may have been something too much of the attempt to credit Wolfram with anti-dogmatic views, and with a certain Protestant preference of simple repentance and amendment to the performance of stated rites and penances. What is unmistakable is the way in which he lifts the story, now by phrase, now by verse effect, now by the indefinable magic of sheer poetic handling, out of ordinary ways into ways that are not ordinary. There may perhaps be allowed to be a certain want of "architectonic" in him. He has not made of Parzival and Condwiramurs, of Gawain and Orgeluse, anything like the complete drama which we find (brought out by the genius of Malory, but existing before) in the French-English Arthurian legend. But any one who knows the origins of that legend from _Erec et Enide_ to _Durmart le Gallois_, and from the _Chevalier au Lyon_ to the _Chevalier as Deux Espees_, must recognise in him something higher and larger than can be found in any of them, as well as something more human, if even in the best sense more fairy-tale like, than the earlier and more Western legends of the Graal as we have them in _Merlin_ and the other French books. Here again, not so much for the form as for the spirit, we find ourselves driven to the word "great"--a great word, and one not to be misused as it so often is. [Sidenote: _Walther von der Vogelweide._]