to the love destined to found marriage, there is a long distance which was never fully traversed by the knights. Even in passing on from the frivolous Romanic race to the virtuous Germans, we find in the Nibelungen song Kriemhild, who secretly is no less in love with Siegfried than he with her, meekly replying to Gunther's announcement that he has pledged her in troth to a certain knight whom he does not name: "You need not beg for my consent; as you will demand, so I shall ever be; whomever you, sir, will select for my husband, I shall willingly take in troth." It does not enter her head at all that her love could find any consideration. Gunther asks for Brunhild, Etzel for Kriemhild without ever having seen one another. The same is true of the suit of Gutrun Sigebant of Ireland for the Norwegian Ute and of Hetel of Hegelingen for Hilda of Ireland. When Siegfried of Morland, Hartmut of Oranien and Herwig of Sealand court Gutrun, then it happens for the first time that the lady voluntarily decides, favoring the last named knight. As a rule the bride of the young prince is selected by his parents. Only when the latter are no longer alive, he chooses his own bride with the advice of the great feudal lords who in all cases of this kind have a decisive voice. Nor could it be otherwise. For the knight and the baron as well as for the ruler of the realm himself, marriage is a political act, an opportunity for increasing their power by new federations. The interest of the house must decide, not the arbitrary inclination of the individual. How could love have a chance to decide the question of marriage in the last instance under such conditions?
The same held good for the bourgeois of the medieval towns, the members of the guilds. Precisely the privileges proteting them, the clauses and restrictions of the guild charters, the artificial lines of di-
