Wigalois is a courtly romance of the Arthurian cycle set down in Middle High German verse by Wirnt von Grafenberg. The title character Wigalois becomes a knight of the Round Table, and though he is the son of Sir Gawain (or Gawein), he is not informed of his father who was separated before his birth, and brought up in an knowing only his mother's royal family in a distance otherworldly kingdom, which Gawain became unable to find.
When a female messenger arrives in court with a dwarf, seeking help for her mistress, Wigalois's accepts the adventure to the dismay of the messenger who was hoping for a more inveterate knight rather than an untested novice. Nevertheless threesome journey together, meanwhile Gigalois fights four knights and two giants displaying his prowess, until they reach the castle of Roimunt, which is where the messenger's master, the widowed Queen abides, her husband killed and the rest of the kingdom of Korntin overrun by the heathen Roaz of Glois, in league with the devil. His quest is to eliminate Roaz and restore the kingdom, which he will be the lord of after marrying princess Larie (the couple are already in love with each other when they meet). Wigalois, endowed with a paper writ amulet for his sword and strength-restoring bread, enters Korntin castle guided by a mysterious beast - a crowned deer, who turns out to be the slain King Lar, who reveals to Wigalois his parentage, supplying him with more magic items (protective flower and angel's spear) to forest defeat a dragon. Wigalois vanquishes the dragon but is gravely wounded, and a fisherman and his wife rob his armor. He continues on and faces more adversaries, a monstrous forest woman and a powerful heathen dwarf. He enters Glois castle after his prayer causes the bladed water-wheel is stopped from rotating, and he kills a centaur, two guards, and finally Roaz himself. Wigalois marries Larie in the presence of the Arthurian knights. There is a further adventure that Wigalois takes up jointly with his father Gawain, avenging the widowed queen for the murder of King Amire of Libia (who had been a wedding guest,[2] since the queen was second cousin to Wigalois's bride). Lion of Namur, who for love of the queen murdered his rival, is killed by Gawain. Father, son and bride visit Arthur's court, though during the trip news of the death of Wigalois's mother Florie transpires. It is told that back in Korntin, Wigalois's couple had a son, whose renown has been told also.[3][4][5]
The work, written between 1204 and 1220, enjoyed enormous popularity in the Middle Ages, and printed in Volksbuch (chapbook) format into the early modern period.
Etymology
Etymologically, Wigalois may have originated from Gui li Galois (Guy from Wales, "Guido the Welshman").[6][7]</ref>
Dates and composition
Wigalois written c. 1204–1220[9] in 11,708 lines of rhymed couplets.[2] There have survived 13 complete manuscripts and 28 fragments, the earliest of which date to c.1220–1230.[8]
A strophic revision under the title Wigelis by Dietrich von Hopfgarten[de] dating to 1455 only survived in fragments.[11] Later, a prose redaction Wigoleis vom Rade appeared (composed 1472–1483, first printed 1493 in Volksbuch/chapbook format by Johann Schönsperger[de] in Augsburg).[11][12][13] This has been adapted into Danish as Viegoleis med Guld Hiulet (1656) and into Icelandic as Gabons saga ok Vigoles (from the Danish, 1656–1683, another version in 18th century ms.)[13] Just a few years after the 1493 prose appeared, another strophic retelling Floreis und Wigoleis was composed by Ulrich Füetrer and added to his Buch der Abenteuer.[12]
A Yiddish rendition Viduvilt/Widuwilt (also called Artushof) was also composed in the 16th century, extant in three manuscripts.[14][8][15] This was later translated sloppily into High German, and became the basis of a satirical prose Vom König Artus und von dem bildschönen Ritter Wieduwilt. Ein Ammenmärchen (pub. Leipzig, 1786).[16]
Manuscripts
The oldest fragments have been dated to 1220–30, and are written in the Austro-Bavarian dialect.[17][18] Of particular interest are the only two fully illustrated manuscripts known to have survived: the Manuscript B[de] (Amelungsborn, 1372, now in the Leiden University Library collection, LTK 537), which is equipped with 47 miniatures of the text,[19][20] and the Manuscript k (1420–1430, Baden State Library, codex Donaueschingen 71),[a] with 31 images[21][20] by the illuminators of Diebold Lauber[de]'s workshop in Hagenau, or perhaps more likely, the so-called Alsatian workshop of 1418.[20][23]
First page of ms. B (Leiden 1337): prologue and illustration of the Round Table
Prologue
Some―but not all―versions of Wigalois contain a prologue (vv. 1-144[38]) in which the author asks his readers for leniency with the work, and by their goodwill tor recognize him more as a novice rather than a master far experienced in his craft.[39] The first 13 lines of the 144 verses of prologue are:
Wer hât mich guoter ûf getân? sî ez iemen der mich kan beidiu lesen und verstên, der sol genâde an mir begên, ob iht wandels an mir sî, daz er mich doch lâze vrî valscher rede: daz êret in. ich weiz wol daz ich niene bin geliutert und gerihtet noch sô wol getihtet michn velsche lîhte ein valscher man, wan sich niemen vor in kan behüeten wol, swie rehte er tuot.
—Wigalois, Prologue, vv. 1–13
Translation:
What good man has opened me?[40] If it is someone who can read and understand me, let him treat me kindly—even if something of mine is at fault—and spare me slander: this will do him honor. I know very well I am not at all polished or upstanding, or well-spoken in writing so a caluminator can malign me easily; for no one can truly protect from them, no matter how skillfully he writes.
There follows a "Prehistory" portion(vv. 145–1219)[41][43]) where the titular hero is not yet born, but the circumstances of his conception is elaborated. (Wigalois was fathered by Gawain[b] on Florie, the royal niece, while staying in King Joram's realm:
The maternal grandfather, King Joram had shown up in Arthur's Court at Camelot/Caradoel[c] offering Queen Guinivere a magic belt,[d] but being refused, he challenges all the knights to combat, offering the belt as prize. Joram defeats everyne, including Gawain.[42] However, Joram concedes he was only able to defeat Gawain by using the magic stone-encrusted belt, which he refrained from using against the other opponents, thus Gawain is deemed champion despite defeat.[44] Gawain is taken back as prisoner to the realm of King Joram, who now discloses his identity and offers his niece Florie's hand in marriage. After several months, Gawain yearns to see his companions and sneaks off to Caradoel, but the trip back takes six months, despite it only being a 12 day's journey to the realm with Joram guiding. Gawain tries to find his way back to his pregnant wife, but eventually gives up.[42] The unborn child of course, is Wigalois.
Otherworld
Due to its unreachability by outsiders, Wigalois's birthplace is characterized as Otherwordly realm[45] or even "fairyland"[46] by some, but it has been emphasized tha Florie is not a fay,[47][48] but a princess of Syria.[49]
Fortuna and the Wheel
When Joram had appeared incognito at Arthur's court, he identified himself as ambassador of Diu Sælde/Saelde (Fortuna, Lady Luck)[50] The kingdom is under the protection of Fortuna[51], and its fortress displays an artwork replica of the Wheel of Fortune (Middle High German: gelückes rat).[53] Wigalois is "The Knight of the Wheel of Fortune"[54][55] (Ritter mit dem Rade[56]). Later in his first adventure, Wigalois is equipped with the shield-crest depicting the Wheel[57] ("coal-black shield that was embossed in the middle with a golden wheel, the device by which he wished to be known"[58]). Cf. images at top for the miniature paintings from mss. k and B.
Magic belt
When Wigalois in adulthood sets off to Arthur's court, he will is given proof of his lineage in the form of the magic belt or girdle already described (also characterized as "Fortuna's belt").
Main narrative
According to Ingeborg Henderson (1986), Hans-Jochen Schiewer[de] (1993), and James H. Brown (2015), as well as translator J. W. Thomas (2014), the plotline of Wigalois can be divided into four narrative stages (though somewhat differently):[59][60][4]
Boyhood to knighthood
The first narrative stage tells of the protagonist's parental history (§Prehistory above, vv. 145–1219), his fatherless upbringing (vv. 1220–1272), taking his departure from home at age 20 in search of his father (Vatersuche[de]) taking the heirloom magic belt (vv. 1273–1410),[61] his arrival and training as squire at Arthur's court and sitting on the stone of virtue[e] proving his merit (vv. 1411–1563), receiving the accolade of knighthood in a solemn ceremony (vv. 1622–1716), his accepting the first adventure as a Knight of the Round, and leaving the court to accomplish it (vv. 1717–1883).[64]
When the maiden (Nereja[f]) arrives as messenger to Arthur's court, seeking help (vv. 1717–1769) for her mistress (Queen Amena,[g] mother of Princess Larie[h]) Wigalois volunteers to take up the adventure and King Arthur reluctantly consents (vv. 1770–1811). The choice of the inexperienced knight enrages Nereja, who bolts off (vv. 1770–1811). Wigalois is suited up in full panoply, including the golden wheel-blazoned shield and likewise crested helm, pieces he chose because they reminded him of his homeland. He now leaves to pursue Nereja (vv. 1812–1883).[65][66][60]
Side-quest filled journey
The second stage describes a series of ordeals that the hero must endure while accompanying Nereja to the castle of Roimunt where the Queen (and Princess) await.[7][68] Wigalois catches up, and with the counsel of Nereja's dwarf, they travel together (vv. 1884–1927).[69] They group asks for lodging at a castle, but the lord of the castle[i] only grants shelter to a knight who defeats him in combat, with the loss of the knight's armor at stake. Wigalois unintentionally kills the castellan in combat and they flee (vv. 1928–2013).[71] Next, he rescues a lady from Arthur's court abducted by two giants, killing one then defeating the other swinging a tree-bough as weapon,[j] compelling him to escort her back (vv. 2014–2183). The hero finds a puppy and gives it to Nereja; the owner demands it back, and when refused, returns fully armed for a fight (coat of arms: swan[k]), but defeated and killed by Wigalois (vv. 2184–2348). Wigalois then aids a maiden riding alone[l] (Elamie, Queen of Tyre[m]), who was robbed of her beauty prizes (a horse, a dwarf, a talking parrot[n]) by a red knight, Count Hojir of Mannesvelt (wears red armor, with skull as coat of arms[o]), whom Wigalois vanquishes in a joust to regain the prizes. But Elamie rides away, miffed after Wigalois refuses her invitation to her kingdom; the abandoned prizes are given to Nereja, helping to placate the irksome messenger (vv. 2349–3285). Finally, the hero meets King Schaffilun[p] who is also vying for the great main quest of Korntin,[q] and in a fight contesting the quest defeats and kills his rival[r] (vv. 2349–3606).[s]
Korntin castle
In the third and longest narrative stage the hero is now tasked with freeing the kingdom of Korntin from the clutches of the pagan usurper Roaz and reclaiming it for Larie as its rightful queen, with him earning the privilege to become her king consort as reward. Christendom triumphing over Heathendom is a strong theme in the work.[3]From the outset, the depicted scene is strongly reminiscent of the historical-theological argumentation in contemporary Crusade sermons.[citation needed] Wigalois enters a strange world inside Korntin castle, somewhat like an afterlife or descent to hell experience, rather like Christ's Harrowing of Hell.[73] First he frees the kingdom from a cruel dragon named Pfetan,[t] and finally fights Roaz, whom he defeats. Thus, at the end of the narrative block, Korntin is once again a free land.[8]
To continue with the details, it is at this point (after the Scheffelin side-quest) that Naraje finally reveals the underlying circumstance and the task of the adventure is about. Her mistress (here referring to the young princess Larie[u]) of Korntin while still a juvenile had been forced to flee from the rest of her kingdom, and to hold out at an impregnable castle (at Roimunt), after the country was overrun by the treacherous heathen Roaz of Glois,[v][74]a neighboring kingdom. Roaz is in league with the devil who furnishes assistance. Roaz pretended to strike up friendship with the old king (Lar{{efn|[w]), but one day stormed in with 400 troops and slew the king as well as many citizens (vv. 3607–3750). The princess has grown up beautifully, and her hand in marriage is promised to whoever liberates Korntin from the heathen (vv. 3751–3839). A mysterious crowned deer appears each day to guide the group via a secret route to the castle (vv. 3840–3884). The Steward of Roimunt ([x] rides out of the castle, and briefly fights with the stranger Wigalois,[y] until the steward notices Nereja in company, and they are reconciled. Wigalois is introduced to the Queen and her retinue in the castle of Roimunt (vv. 3885-4094). Wigalois and the Princess Larie meet, and fall in love with each other (vv. 4095–4269). Wigalois witnesses the ongoing mysterious nightly vision of the far-off Korntin castle set ablaze, with wailing heard from within, but he is told the everybody has seen this, and the castle revives intact in the morning. Wigalois is ready to head there (vv. 4270–4342). Mass is held for him,[z] and the priest ties to his sword a script (piece of paper with writing) to ward against all enchantment. Thomas tr. (1977), p.45 explains this is the Word of God in Revelation 19:13.[75] Larie gives him a miraculous loaf of bread that gives him strength[76][aa](vv. 4343–4479).
Wigalois is guided by the deer-beast to Korntin castle gate,[ab] and the drawbridge is lowered by guard who feared the beast's hot breath (vv. 4480–4538). Wigalois then sees knights apparently engaging in tourney between two broad streets, but there is something eerily unnatural about them. They all bear the same coat of arms: red fire in cinnabar on a black field.[ac] He jumps in on the contests and starts jousting with his spear for the sake of his beloved,[77][ad] but the spear is set aflame, burning both shaft and the iron point, and he realizes this place was not for him, but for the knights to do penance imposed on them by God (vv. 4539-4589). The beast leads him to the meadow in front of the castle and transforms into a human shape, he wears a crown, as he is ghost of the slain King Lar. The king surrounded by some sacred barrier is unapproachable (vv. 4590-4649). The king reveals many things, that Wigalois will first be fighting a dragon (named Pfetan[t]}), and will need to harvest a flower from the blooming tree in the meadow as protection against its foul breath.[ae] Wigalois is also awarded the spear (glävie) which was brought by an angel and stuck on the wall, with which to slay the dragon. The king further reveals Wigalois's heretofore unbeknownst identity, that he is the son of Gawain, thus a most qualified knight. King Lar has been stuck in Purgatory except for being granted permission to come to the haven of the meadow (once) each day, but explains that after 10 years of labor, he is about to be purified for good. An army of mounted knights arrive and enter the castle on foot, the king turns back into the beast and disappears. The burning castle burns for one last time (vv. 4650-4862).
Wigalois meets lady Beleare[af] in despair for her husband Count Moral von Joraphas [ag] being dragged away by the dragon, alongside three knights. Wigalois prepares by eating a bite of the bread of fortification and taking out the anti-magic flower from the purse.[ah] The dragon is described.[ai][aj] Wigalois pierces the dragon's heart with the spear.[ak] The dragon released its prey, the four men,[al] and, before dying, rushed at Wigalois, dashed his shield and armor, and "threw him like a ball down a gully[85][am] to the shore of the broad lake" where he lies powerless (vv. 4862-5140).[an] A destitute fisherman's arrives by boat, guided by grace of God (5247-5320), for the couple is given opportunity to strip the unconscious Wigalois, to sell off the armor, clothes, and belt in order to feed their children. They take his armor, clothes, and belt.[87] The woman tries to drown Wigalois when he stirs, but the fisherman objects.[88] (vv. 5247-5412).
Epilogue
The fourth and final narrative stage follows the narrative pattern of the chanson de geste and, due to political and geographical allusions, has a very real-historical feel. It begins with the wedding and coronation celebrations of Wigalois and Larie. A herald appears there, reporting the killing of a wedding guest near Namur. As the new ruler, Wigalois promptly undertakes a campaign against King Lion of Namur. After the victory, the hero hands the city over to a follower as governor. Afterwards, Wigalois and Larie pay a visit to the Arthurian court. They then return to their kingdom, where Larie gives birth to a son: Lifort Gawanides, who later becomes a famous hero like his father and grandfather (a corresponding serialized novel, which Wirnt announces he will write but intends to leave to another poet, has not survived, however).
Question of source
Only a certain portion of Wigalois (vv. 1530– 3150,[89] the second narrative block) is based on the corresponding French poem Le Bel Inconnu (6266 verses; one manuscript; end of the 12th century).[10] As for some of the rest, Wirnt may quite conceivably have crafted episodes based on historical events.[90] The Arthurian epic Le Chevalier au papegau[fr] (15th cent.) resembles Wigalois, but it is thought that the French work probably borrowed the material and not the other way around.[90][91] It remains possible that Wirnt may also have made a pastiche of various French texts.
Wirnt in the epilogue of the Wigalois claims he owes the narrated story solely to the oral tale collected from a squire (11686ff.),[2] but this was probably a fictive device to grant himself pretext to diverge from relating the story in a conservative fashion that the genre demanded.[2]
In the beginning of the romance, the motif experienced by Sir Gawain of leaving his sweetheart's homeland, never to find it again, is paralleled by the German short story Germelshausen (1860) and the musical Brigadoon (1947).[42]
As for the stone of virtue test which Wigalois passes, a similar Ehrenstein ("stone of honor"; Middle High German: der êren steine) occurs in Lanzelet v. 5177, and a similar test for women (mantle of chastity) in Lanzelet vv. 5835-6140.[94]
There is the recurrent motif of the Christians defeating the heathens,[3] and their ordeals are contextualized as a proxy battle between Heaven and hell,[2] as aforementioned. There is much that is borrowed from the Revelation of John, and the apostle John (Johannes) is specifically invoked by the author at vv. 10275–305,[3] where the narrator Wirnt engages in some eschatological preaching.[95]
The stronghold of Roaz, the devil's minion, is depicted with imagery borrowed from John's visions, as analyzed by that translator J. W. Thomas. Roaz's castle at Glois is surrounded by an almost miasmic mist produced by the nearby swamps, reminiscent of the smoke that obscured the sun and the moon and which summoned the plague of locusts, as according to Revelation 9:2–3. The locusts of Revelation are "hybrid]" (composite) creatures, which are like warhorses, but with human faces and lion's teeth, and breastplates (Revelation 9:12), this together with the fire-breathing horses of the Apocalypse (Revelation 9:17) seems to have inspired the imagery of the centaur in the castle of Glois, which was dog-headed, covered in hard scales, threw fire from a pot, and withdrew into the pitch-like fog.[96]
The arched hall of the so-called summer house at Runkelstein Castle was painted c.1400. with scenes from the Wigalois on behalf of the Niklaus Vintler[de] family.[101][8][2] The wall paintings are executed using terra verde pigments[101] and are connected to other illustrations of literary works such as Tristan and Isolde from the same period in this castle.
↑ The German term Tugendstein for this stone occurs in scholarship,[62] but this does not exactly occur in the MHG text. Seelbach & Seelbach ed. tr. (2014) index for ""Tugendstein"" ponints to vv. 1478–1479 which reads "..einen breiten stein, / des tugent im inz herze schein". Even Gawain could not touch the stone of virtue, because he once fondled a maiden without her consent.[63]
↑ Her name is only revealed much later at v. 4069.
↑ As per "lord of the castle" in Luttrell (1974), p.100. This personage is first described by Nereja as a "valiant man" or hero (helt, mod. Ger. Held) living in a "house" (hûs) nearby, where Thomas tr. (1977), p.125 omits "house" (vv. 1932–1933). In a later passage the lines "das hûs was im sô nâhen / daz si dar abe sâhen..der wirt wolde niht bîten" (vv. 1968–1971) is translated by Thomas tr. (1977), p.126 as "The castle was near enough for those in it to see him riding fully armed. Its lord would not wait.." even though ehe can mean anything from "master of the house" "husband" or "lord of the land".[70]Benecke ed. (1819), endnote to v. 1969, p. 448 annotates that this line should be read as "die Leute auf der Burg (people of the castle)" seeing Wigalois, and the summary by Kapteyn ed. (1926), p.79* also uses the terms Burg and Burgherrn ("castle" and "castle lord").
↑ cf. Leiden ms. B, fol. 22r miniature painting of fight against the giant armed with a wooden branch.
↑ cf. Leiden ms. B, fol. 24r miniature painting of the fight against knight with swan as helm-crest and dog blazoned on shield.
↑ The narrator gives polemic about the people of this age who would assault or at least heckle any woman they find riding alone (vv. 2358–2393).[72]
↑ Her name Elamie and identity will not be revealed until v. 9126 ff. 9184, but in a short while, she will take Wigalois to the tent of her cousin, the daughter of the Queen of Persia, to be provided hospitality (vv. 2602–2752). This princess of Persia is painted in ms. k, fol. 60v, suiting up Wigalois ("her wigeliß") in full armor.
↑ cf. Leiden ms. B, fol. 28v miniature painting of the meeting of the parties, the green bird inside a propped cage.
↑ Schaffilun had spent ten years journeying towards the quest, losing much wealth and men, and cannot easily relinquish it. He also tries to advise Wigalois he is too young for the task which had already killed many previous challengers.
↑ In the general lamentation (including the narrator), Gingalain orders the six squire he had previously been given by Schaffilun and orders them to arrange a funeral for their former master, after which they are to go to Arthur's court (vv. 3488–3606).
↑ cf. Leiden ms. B, fol. 36v miniature painting of jousting scene. The text corresponds from vv. 3539–3540 "ir deweder deheiner rîterschaft / sô starker nie begund" ("Neither had ever before been in such a fierce combat", Thomas tr. (1977), p.143) to vv. 3562–3564 where the people lament.
1 2 grôze wurm Pfetân v. 4956. Conjectured to be from Python of Greek mythology.[79]
↑ The princess is not named until later at v. 4056.
↑ German: truhsæze (v. 3949); German: Der truchseß von Roimunt: Azzadac, v. 8853 (cf. Kapteyn ed. Namenverzeichnis, p. 499). Kuyper's summary expalins the Steward's device, according to Kapteyn is a golden roebuck or leopard (cf. lebard, v. 3878) on a field azure, though it says he wears a green surcoat with a roebuck (cf. rêhboc, v. 3894) shape appliqué on each side, cut from samite (cf. Thomas tr. (1977), p.147) (where samite is silk fabric that is typically red with gold threading).
↑ In the Leiden ms., fol. 40, the text of vv. 3958–3980 is illuminated with the horseback combat scene.
↑ cf. Leiden ms. B, fol. 45v where Larie is passing over the silk bag containing the bread, as noted by Hofert (2022), pp.140–141 who comments on the double gold cross on green emblem on the bag.
↑ cf. Leiden ms. B, fol. 47r miniature painting of the fight involving mounted knights with red flames issuing from them. These ghostly knights are also depicted in two panels of the Runkelstein frescoes, captioned die brunnenselen "the burning souls".[78]
↑ Beginning "sîn houbt was âne mâze grôz.." vv. 5028–44, 5055–74 that it had a black and shaggy head, with a naked muzzle/beak a fathom (Klafter) long and a yard (Ell) wide. It was covered with horny scales, and had tall and sharp ridge from head to back, like the one with which a crocodile cuts ships in two, running from head down to its back), and it had a long tail, comb like a cock, a belly grass-green, griffin-like feet, pair of wings that shimmered like peacock feathers, etc.,[80][81] As for the hairy head and naked muzzle (mod. Ger. tr. "Sein Haupt war maßlos gross, schwarz, behaart, sein blßes Maul.."), the original MHG adjective rûch at v. 5029 is literally "rough, unsmooth", but the same word recurs to describe "coarse-haired like bear" at v. 5068.[82] The "ridge" (grât, mod. Ger. Grat) is translated as "a sharp spine.. from head to tail" by Thomas.[83]
↑ cf. Leiden ms. B, fol. 53r, 53v miniature paintings of the dragon. Not depicted in k, and only 1 illustration among the printed editions (1519). Three panels devoted to Drachenkamp in the Runkelstein frescoes.[84]
↑ The word rise is glossed by Benecke as a term only common in the south for a slope Abhang) where trees are felled,[86] but Kapteyn's summary uses Steinrinne "stone gully".
↑ Meanwhile, Beleare found her husband alive, and transported him and the corpses of the three knights to a castle (vv. 5141-5246). Count Moral recounted how he was rescued.
1 2 Kalinke, Marianne E.[in Icelandic] (1996). "Wigoleis vom Rade ("Wigoleis of the Wheel")". In Lacy, Norris J.; etal. (eds.). The Arthurian Encyclopedia. New York: Peter Bedrick. p.639. ISBN9781136606335.; New edition 2013, "Wigoleis vom Rade", p. 514. Also cross-referenced to Kalinke (1996) "Gabons saga ok Vigoles", p. 202 and Kalinke (1996) "Her Viegoleis med Guld Hiule", p. 278.
↑ Ehrstine, Glenn (January 2003). "[Review] Ein jüdischer Artusritter: Studien zum jüdisch-deutschen "Widuwilt" ("Artushof") und zum "Wigalois" des Wirnt von Gravenberc Achim Jaeger". Speculum. 78 (1): 210–37. JSTOR3301495.
↑ As per Thomas tr. (1977), p.103, quoted by Brown (2015), p.142 where it is noted that the line occurs in two mss. including Leiden but is wanting elsewhere.
↑ This "Prehistory" also matches Part 1 of 4 in the summary of translator J. W. Thomas.[42]
↑ Thomas (2005), pp.48–49, quoting vv. 613–617 and vv. 562–570.
↑ Thomas (2005), p.45: "inaccessibiity of the Otherworld and the notion of 'time-warp' [taking] Gawein twelve days to reach Florie's realm.. but six months to return to Camelot [Caradoel]".
↑ Part 2 already ends here in Brown (2015), p.24's analysis, with the ekphrasis items being stone of virtue (vv. 1477–1529) and the heraldic device of the golden wheel (on the shield and helm). Thus the adventure-filled journey (which is the meat of Part 2 in Schiewer's analysis) is unaccounted by Brown, whose Part 3 begins (as with Schiewer), with the main quest against Roaz the usurper.
↑ Schiewer (1993), pp.156, quoting vv. 10275–305 where Thomas tr. (1977), p.220 gives: "..we are pulled away with the tongs of death. Greed and worldly riches have betrayed us..". Schiewer refers to the literarily described hellish imagery as "pareneticmemento mori".
Cormeau, Christoph[in German] (1977). "Wigalois" und "Diu Crône". Zwei Kapitel zur Gattungsgeschichte des nachklassischen Aventiureromans. Münchener Texte und Untersuchungen zur deutschen Literatur des Mittelalters 57 (in German). München: Artemis.
Honemann, Volker[in German] (2020). "8. The Wigalois Narratives". In Jackson, Harry; Ranawak, Silvia A. (eds.). The Arthur of the Germans: The Arthurian Legend in Medieval German and Dutch Literature. University of Wales Press. pp.142–154. ISBN9781786837370.
Jacobs, Jef; Verkerk, Barend, eds. (2025). The Leiden Wigalois Manuscript (in German). Amsterdam University Press. pp.146–159. ISBN9789087284947.
Schanze, Christoph (2022). "Ritter und Damen mit Hündchen: Zu einem rekurrenten Bildmotiv im Leidener Wigalois-Codex". In Dietl, Cora[in German]; Schanze, Christoph; Wolfzettel, Friedrich (eds.). Artusroman und Bildlichkeit (in German). New York: Walter de Gruyter GmbH & Co KG. pp.151–182. ISBN9783110769982.
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