ans of allegory, contrived to be both entertaining and edifying; every one who listened to them paying the minstrel his money, and having his choice whether he would take them as song or sermon.
In the heroes of some of these certain Christian virtues were typified, and around a few of them, as the Holy Grail, a perfume yet lingers of cloistered piety and withdrawal.
Wolfram von Eschenbach, indeed, has divided his Parzival into three books, of Simplicity, Doubt, and Healing, which has led Gervinus to trace a not altogether fanciful analogy between that poem and the Divina Commedia. The doughty old poet, who says of himself,—
Of song I have some slight control, But deem her of a feeble soul That doth not love my naked sword Above my sweetest lyric word, tells us that his subject is the choice between good and evil;
Whose soul takes Untruth for its bride And sets himself on Evil's side, Chooses the Black, and sure it is His path leads down to the abyss; But he who doth his nat