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It lacks, to be sure, the grace of diction found in Gottfried von Strassburg's "Tristan und Isolde", the detailed and often magnificent descriptions of armor and dress to be met with in the epics of Hartman von Ouwe; it is wanting in the lofty philosophy of Wolfram von Eschenbach's "Parzival", and does not, as this latter, lead the reader into the realms of religious doubts and struggles.
In Rostock the same movement took place in 1313; in Zurich in 1336; in Bern in 1363; in Braunschweig in 1374, and next year in Hamburg; in Lubeck in 1376-84; and so on. See Schmoller's Strassburg zur Zeit der Zunftkampfe and Strassburg's Bluthe; Brentano's Arbeitergilden der Gegenwart, 2 vols., Leipzig, 1871-72; Eb. Bain's Merchant and Craft Guilds, Aberdeen, 1887, pp. 26-47, 75, etc. As to Mr.
Praeger's story of Wagner getting hold of Gottfried von Strassburg's interminable version in the summer of 1855 and conceiving the thing in a flash might very well be true; only, unluckily for Praeger, the letter to Liszt in the previous year shows it to be in another sense a story. By September 1857 the poem was done, and Wagner at once set to work on the music.
On my homeward journey I saw Heidelberg's lovely ruins, to which Charles V.'s castle, near the Al-hambra, makes a marvellous pendant, Strassburg's grave Cathedral, and Goethe's house at Frankfurt. My travels were not long, but were extraordinarily instructive.
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