had been held prisoner in this land, including Queen Guinevere, Lancelot attends a tournament in disguise, wearing a red shield. He is invincible but then, following secret instructions from Queen Guinevere, he behaves like an incompetent fool, then he as an invincible knight once again, before leaving the tournament without anybody except the queen knowing who it is. Following his mother's death, Ipomadon travels widely, winning the prize at every tournament. But he wishes not to be known: "Men covthe not calle hym there he came, But 'the worthy knyghte that had no name' In cuntres fere and nere." Men had no choice but to call him 'the worthy knight who has no name', wherever he appeared. Sir Lancelot, in the early-thirteenth century pre-cyclic Old French romance Lancelot, spends almost the entire length of the romance incognito, taking on a dozen or more knightly disguises before the end of the tale, in an effort not to be recognised. He even arrives at the royal court where his return should be welcomed, disguised as a fool; a court where there is a growing romantic attachment between himself and the queen, although she does not recognise him. In this case, of course, the queen is Guinevere. One noticeable deviation from the courtly love presented in Lancelot's story is that Ipomadon and his beloved are united in marriage and have children, and even described as lovers after their marriage—a deviation from the original formulation of courtly love that grew common in romances of this era. Tristan Thomas of Britain's twelfth century romance Tristan, reworked into Middle High German by Gottfried von Strassburg, contains a lot of episodes where Tristan assumes a disguise, both before and after Isolde becomes the queen to King Mark of Cornwall, Tristan's uncle. Folktale The tournament where the hero fights in disguise and claims to have been busy is a fairy tale commonplace (such as in The Golden Crab or The Magician's Horse, or in Little Johnny Sheep-Dung and The Hairy Man, where it is actual battle), and from there passed into such romances as Robert the Devil, Sir Gowther, and Lanzelet. The episode is so closely related to the one in Lanzelet that it suggests that Hue knew the French original of that romance, but it contains, in addition, that the knight won a bride by this, which suggests familiarity with a folktale with such a motif. Medieval