¹ Extensive use has been made in this article of the evidence provided by Edgar de Bruyne, Études d'esthétique médiévale, Rijksuniversiteit te Gent, werken uitgegeven door de faculteit van de wijsbegeerte en letteren, xcvii-xcix, 3 vols. (Bruges, 1946).

² W. Mohr, “Tristan und Isold als Künstlerroman,” Euphorion, liii (1959), 2 ff.

³ Tristan und Isold, ed. F. Ranke (Berlin, 1930), ll. 4665 f. All quotations of the poem are from this edition.

⁴ Wolfram von Eschenbach, Parzival, ed. K. Lachmann, 7th ed. E. Hartl, Vol. i (Berlin, 1952), 115, 11 (Prolog to Book iii). All quotations of the poem are from this edition. A recent article on the Gottfried-Wolfram quarrel is W. J. Schröder, “Vindaere wilder maere. Zum Literaturstreit zwischen Gottfried und Wolfram,” Beiträge zur Geschichte der deutschen Sprache und Literatur, lxxx (1958), 2 ff.

⁵ Parzival, ll. 115, 29.

⁶ Die nordische und die englische Version der Tristan-sage, ed. E. Kölbing (Heilbronn, 1878), Pt. i, “Tristrams Saga ok Isondar,” chap. xxiv (p. 27). German trans. p. 132.

⁷ E.g., Johannis de alta silva, Dolopathos, ed. A. Hilka (Heidelberg, 1913), pp. 14 ff.

⁸ Historia Apollonii regis Tyri, ed. A. Riese (Leipzig, 1893), chaps, xvi ff. It is, of course, true that the hero in the Tristan of Thomas of Britain is trained in books, music, and the other arts, but the description of the training and its results is very brief and amounts to little more than a recognition that these accomplishments were desirable for a knight. We can judge only from the Norse prose rendering, however, and perhaps we are doing Thomas an injustice.

⁹ E.g., in the Ruodlieb. The connection between hunting ceremonial and the pursuit of love was an obvious parallel which was worked out in painstaking detail by the authors of the hunt allegories of France and Germany, e.g., La chasse dou cerf amoureus and Hadamar von Laber, Die Jagd. In Tristan und Isold the knowledge of hunt ceremonial is designed to show Tristan as more civilized than his hosts.

¹⁰ Tristan, ll. 4417 ff. Clearly Gottfried is referring back to his remarks in the prologue. The knight Tristan has not become is the normal, worthy but uncomplicated type. As I have pointed out elsewhere (Germanic Review, xxviii [1953], 290 ff.) and as Petrus W. Tax makes clear in Wort, Sinnbild, Zahl im Tristanroman (Berlin, 1961), many of Tristan's difficulties stem from his attempts and those of others to treat his love for Isolde as “courtly.”

¹¹ The importance of Boethius for medieval music hardly needs to be demonstrated. See G. Reese, Music in the Middle Ages (New York, 1940); N. C. Carpenter, Music in the Medieval and Renaissance Universities (Norman, Okla., 1952); Th. Gérold, La Musique au moyen âge (Paris, 1932). Quotations from Boethius are taken from Anicii Manlii Torquati Severini Boetii, De institutione musica libri quinque, ed. G. Friedlein (Leipzig, 1867).

¹² Boethius, I, 1.

¹³ Cassiodorus, letter to Boethius, quoted by de Bruyne, Études esthétiques, I, 66.

¹⁴ Tristan, ll. 8059 ff. The meaning of this passage has caused trouble to the commentators. Bechstein in the note to his edition assumes that the saints themselves were the subject of songs. I disagree. There would be no point in introducing lives of saints at this point. It is much more likely that Sanze is a rendering of “Sens” and that the references in both instances are to places. Sens was an ecclesiastical province in which were not only the church of St. Denis but also Auxerre and other famous musical centers. Paris was, technically, part of the ecclesiastical province of Sens, as were Chartres, Troyes, Nevers, Meaux, and Orléans. See W. B. Aspinwall, Les Écoles épiscopales monastiques de l'ancienne province eclesiastique de Sens du VIe au XIIe siècle (Paris, 1904).

¹⁵ De Bruyne, ii, 108.

¹⁶ Boethius, i, xxxiv: “Tertium [genus] est quod iudicandi peritiam sumit, ut rythmos cantilenasque totumque carmen possit perpendere. Quod scilicet quoniam totum in ratione ac speculatione positura est, hoc proprie musicae deputabitur isque est musicus, cui adest facultas secundum speculationem rationemve propositam ac musicae convenientem de modis ac rythmis deque generibus cantilenarum ac de permixtionibus ac de omnibus, de quibus posterius explicandum est, ac de poetarum carminibus iudicandi.” It may be seen that Gottfried follows Boethius closely.

¹⁷ Boethius, i, i. The passages in Boethius' treatise on the definition of a musician and the moral aspects of music interested many medieval commentators and there are frequent references to them. I am very grateful to Father Rembert Weakland, O.S.B., for calling my attention to several instances of such comment and in particular to the passage from Aribo, De Musica, ed. Jos Smits van Waesberghe, Corpus scriptorum de musica, ii (Rome, 1951), 46–48, here quoted:

Sed histriones et caeteri tales musici sunt naturales non artificiales. Artificialis autem musicus est, qui naturalem omnium specierum: diatesseron, diapente, diapason constitutionem intellegit subtiliter; qui dispositionem troporum naturae pedissequam cognoscit rationabiliter; qui principialium chordarum operationem perpendit efficaciter; qui troporum proprietates, quae in sex chordis consistunt, tenet memoriter. Ipse quoque artis facultate optime sciat legitima comprobare, viciosa quaelibet emendare, irreprehensibiles per semetipsum cantilenas excogitare.

DE MUSICAE ARTIS MORALITATE Ethicam, id est moralem esse musicam, quivis ex hoc potest percipere, quod, ut supra dictum est, sua confert beneficia sine artis perceptione. Unde eius usus arte posses tanto nobis stabilior et perseverantior, quanto ipsa nobis est naturalior, ut diuturnius argento inhaeret aurum quam cupro. Moralis esse penitus ostenditur, cum omnis sexus, omnis aetas in illa delectatur…. Musicae moralitatem etiam Plato demonstrat dicens: Animorum item placiditatem constituebamus in delinimentis et affabilitate musicae. Merito dicit Plato placiditatem animorum esse in musica cum nulla inquietudo cum assidua musicae conversetur delectatione.

¹⁸ Carmina Burana, ed. A. Hilka and O. Schumann (Heidelberg, 1931, 1941), Vol. ii, Part i, No. 92.

¹⁹ Although there is considerable general correspondence, the qualities are not exactly those described by Guillaume de Loris in the Roman de la Rose, where the emphasis is rather on behavior than on intellectual and moral qualities.