The Flourishing of Romance and the Rise of Allegory Part 6

[Sidenote: _The Romances proper._]

These additions, which on the one side gave the greatest part of the secular interest, on the other almost the whole of the mystical attraction, to the complete story, had, however, it seems probable, been actually added before Layamon wrote. For the date of the earlier version of his _Brut_ is put by the best authorities at not earlier than 1200, and it is also, according to such authorities, almost certain that the great French romances (which contain the whole legend with the exception of part of the Tristram story, and of hitherto untraced excursions like Malory's Beaumains) had been thrown into shape. But the origin, the authors.h.i.+p, and the order of _Merlin_ in its various forms, of the _Saint Graal_ and the _Quest_ for it, of _Lancelot_ and the _Mort Artus_,--these things are the centre of nearly all the disputes upon the subject.

[Sidenote: _Walter Map._]

A consensus of MS. authority ascribes the best and largest part of the _prose_ romances,[47] especially those dealing with Lancelot and the later fortunes of the Graal and the Round Table company, to no less a person than the famous Englishman Walter Mapes, or Map, the author of _De Nugis Curialium_, the reputed author (_v._ chap. i.) of divers ingenious Latin poems, friend of Becket, Archdeacon of Oxford, churchman, statesman, and wit. No valid reason whatever has yet been shown for questioning this attribution, especially considering the number, antiquity, and strength of the doc.u.ments by which it is attested. Map's date (1137-96) is the right one; his abilities were equal to any literary performance; his evident familiarity with things Welsh (he seems to have been a Herefords.h.i.+re man) would have informed him of Welsh tradition, if there was any, and the _De Nugis Curialium_ shows us in him, side by side with a satirical and humorous bent, the leaning to romance and to the marvellous which only extremely shallow people believe to be alien from humour. But it is necessary for scholars.h.i.+p of the kind just referred to to be always devising some new thing. Frenchmen, Germans, and Celticising partisans have grudged an Englishman the glory of the exploit; and there has been of late a tendency to deny or slight Map's claims. His deposition, however, rests upon no solid argument, and though it would be exceedingly rash, considering the levity with which the copyists in mediaeval MSS.

attributed authors.h.i.+p, to a.s.sert positively that Map wrote _Lancelot_, or the _Quest of the Saint Graal_, it may be a.s.serted with the utmost confidence that it has not been proved that he did not.

[Footnote 47: These, both Map's and Borron's (_v. infra_), with some of the verse forms connected with them, are in a very puzzling condition for study. M. Paulin Paris's book, above referred to, abstracts most of them; the actual texts, as far as published, are chiefly to be found in Hucher, _Le Saint Graal_ (3 vols., Le Mans, 1875-78); in Michel's _Pet.i.t Saint Graal_ (Paris, 1841); in the _Merlin_ of MM. G. Paris and Ulrich (Paris, 1886). But _Lancelot_ and the later parts are practically inaccessible in any modern edition.]

[Sidenote: _Robert de Borron._]

The other claimant for the authors.h.i.+p of a main part of the story--in this case the Merlin part, and the long history of the Graal from the days of Joseph of Arimathea downwards--is a much more shadowy person, a certain Robert de Borron, a knight of the north of France. n.o.body has much interest in disturbing Borron's claims, though they also have been attacked; and it is only necessary to say that there is not the slightest ground for supposing that he was an ancestor of Lord Byron, as was once very gratuitously done, the time when he was first heard of happening to coincide with the popularity of that poet.

[Sidenote: _Chrestien de Troyes._]

The third personage who is certainly or uncertainly connected by name with the original framework of the legend is again more substantial than Robert de Borron, though less so than Walter Map. As his surname, derived from his birthplace, indicates, Chrestien de Troyes was of Champenois extraction, thus belonging to the province which, with Normandy, contributed most to early French literature. And he seems to have been attached not merely to the court of his native prince, the Count of Champagne, but to those of the neighbouring Walloon lords.h.i.+ps or princ.i.p.alities of Flanders and Hainault. Of his considerable work (all of it done, it would seem, before the end of the twelfth century) by far the larger part is Arthurian--the immense romance of _Percevale le Gallois_,[48] much of which, however, is the work of continuators; the interesting episode of the Lancelot saga, called _Le Chevalier a la Charette_; _Erec et enide_, the story known to every one from Lord Tennyson's idyll; the _Chevalier au Lyon_, a Gawain legend; and _Cliges_, which is quite on the outside of the Arthurian group. All these works are written in octosyllabic couplets, particularly light and skipping, somewhat dest.i.tute of force and grip, but full of grace and charm. Of their contents more presently.

[Footnote 48: Ed. Potvin, 6 vols., Mons, 1866-70. Dr Forster has undertaken a complete Chrestien, of which the 2d and 3d vols. are _Yvain_ ("Le Chevalier au Lyon") and _Erec_ (Halle, 1887-90). _Le Chevalier a la Charette_ should be read in Dr Jonckbloet's invaluable parallel edition with the prose of _Lancelot_ (The Hague, 1850). On this last see M. G. Paris, _Romania_, xii. 459--an admirable paper, though I do not agree with it.]

Next to the questions of authors.h.i.+p and of origin in point of difficulty come two others--"Which are the older: the prose or the verse romances?" and, "Was there a Latin original of the Graal story?"

[Sidenote: _Prose or verse first?_]

With regard to the first, it has long been laid down as a general axiom, and it is no doubt as a rule true, that prose is always later than verse, and that in mediaeval times especially the order is almost invariable. Verse; unrhymed and half-disrhythmed prose; prose pure and simple: that is what we find. For many reasons, however, drawn partly from the presumed age of the MSS. and partly from internal evidence, the earlier scholars who considered the Arthurian matter, especially M. Paulin Paris, came to the conclusion that here the prose romances were, if not universally, yet for the most part, the earlier. And this, though it is denied by M. Paris's equally learned son, still seems the more probable opinion. For, in the first place, by this time prose, though not in a very advanced condition, was advanced enough not to make it absolutely necessary for it to lag behind verse, as had been the case with the _chansons de geste_. And in the second place, while the prose romances are far more comprehensive than the verse, the age of the former seems to be beyond question such that there could be no need, time, or likelihood for the reduction to a general prose summary of separate verse originals, while the separate verse episodes are very easily intelligible as developed from parts of the prose original.[49]

[Footnote 49: The parallel edition, above referred to, of the _Chevalier a la Charette_ and the corresponding prose settled this in my mind long ago; and though I have been open to unsettlement since, I have not been unsettled. The most unlucky instance of that over-positiveness to which I have referred above is M. Cledat's statement that "nous savons" that the prose romances are later than the verse. We certainly do not "know" this any more than we know the contrary. There is important authority both ways; there is fair argument both ways; but the positive evidence which alone can turn opinion into knowledge has not been produced, and probably does not exist.]

[Sidenote: _A Latin Graal-book._]

With regard to the Latin Graal-book, the testimony of the romances themselves is formal enough as to its existence. But no trace of it has been found, and its loss, if it existed, is contrary to all probability. For _ex hypothesi_ (and if we take one part of the statement we must take the rest) it was not a recent composition, but a doc.u.ment, whether of miraculous origin or not, of considerable age.

Why it should only at this time have come to light, why it should have immediately perished, and why none of the persons who took interest enough in it to turn it into the vernacular should have transmitted his copy to posterity, are questions difficult, or rather impossible, to answer. But here, again, the wise critic will not peremptorily deny. He will say that there _may_ be a Latin Graal-book, and that when that book is produced, and stands the test of examination, he will believe in it; but that until it appears he will be contented with the French originals of the end of the twelfth century. Of the characteristic and probable origins of the Graal story itself, as of those of the larger Legend of which it forms a part, it will be time enough to speak when we have first given an account of the general history as it took shape, probably before the twelfth century had closed, certainly very soon after the thirteenth had opened. For the whole Legend--even excluding the numerous ramifications into independent or semi-independent _romans d'aventures_--is not found in any single book or compilation. The most extensive, and by far the best, that of our own Malory, is very late, extremely though far from unwisely eclectic, and adjusted to the presumed demands of readers, and to the certain existence in the writer of a fine literary sense of fitness. It would be trespa.s.sing on the rights of a future contributor to say much directly of Malory; but it must be said here that in what he omits, as well as in his treatment of what he inserts, he shows nothing short of genius. Those who call him a mere, or even a bad, compiler, either have not duly considered the matter or speak unhappily.

But before we go further it may be well also to say a word on the Welsh stories, which, though now admitted to be in their present form later than the Romances, are still regarded as possible originals by some.

[Sidenote: _The Mabinogion._]

It would hardly be rash to rest the question of the Celtic origin, in any but the most remote and partial sense, of the Arthurian Romances on the _Mabinogion_[50] alone. The posteriority of these as we have them need not be too much dwelt upon. We need not even lay great stress on what I believe to be a fact not likely to be disputed by good critics, that the reading of the French and the Welsh-English versions one after the other, no matter in what order they be taken, will leave something more than an impression that the French is the direct original of the Welsh, and that the Welsh, in anything at all like its present form, could not by any possibility be the original of the French. The test to which I refer is this. Let any one read, with as open a mind as he can procure, the three Welsh-French or French-Welsh romances of _Yvain-Owain_, _Erec-Geraint_, and _Percivale-Peredur_, and then turn to those that are certainly and purely Celtic, _Kilhwch and Olwen_, the _Dream of Rhiabwy_ (both of these Arthurian after a fas.h.i.+on, though quite apart from our Arthurian Legend), and the fourfold _Mabinogi_, which tells the adventures of Rhiannon and those of Math ap Matholwy. I cannot conceive this being done by any one without his feeling that he has pa.s.sed from one world into another entirely different,--that the two cla.s.ses of story simply _cannot_ by any possibility be, in any more than the remotest suggestion, the work of the same people, or have been produced under the same literary covenant.

[Footnote 50: Translated by Lady Charlotte Guest, 2d ed., London, 1877.]

[Sidenote: _The Legend itself._]

Let us now turn to the Legend itself. The story which ends in Avalon begins in Jerusalem. For though the Graal-legends are undoubtedly later additions to whatever may have been the original Arthurian saga--seeing that we find nothing of them in the early Welsh traditions, nothing in Nennius, nothing in Geoffrey, nothing even in Wace or Layamon--yet such is the skill with which the unknown or uncertain authors have worked them into the legend that the whole makes one indivisible romance. Yet (as the untaught genius of Malory instinctively perceived) when the Graal-story on the one hand, and the loves of Lancelot and Guinevere with which it is connected on the other, came in, they made comparatively otiose and uninteresting the wars with Saxons and Romans, which in the earlier Legend had occupied almost the whole room. And accordingly these wars, which still hold a very large part of the field in the _Merlin_, drop out to some extent later. The whole cycle consists practically of five parts, each of which in almost all cases exists in divers forms, and more than one of which overlaps and is overlapped by one or more of the others. These five are _Merlin_, the _Saint-Graal_, _Lancelot_, the _Quest of the Saint-Graal_, and the _Death of Arthur_. Each of the first two pairs intertwines with the other: the last, _Mort Artus_, completes them all, and thus its t.i.tle was not improperly used in later times to designate the whole Legend.

[Sidenote: _The story of Joseph of Arimathea._]

The starting-point of the whole, in time and incident, is the supposed revenge of the Jews on Joseph of Arimathea for the part he has taken in the burial of our Lord. He is thrown into prison and remains there (miraculously comforted, so that the time seems to him but as a day or two) till delivered by t.i.tus. Then he and certain more or less faithful Christians set out in charge of the Holy Graal, which has served for the Last Supper, which holds Christ's blood, and which is specially under the guardians.h.i.+p of Joseph's son, the Bishop "Josephes," to seek foreign lands, and a home for the Holy Vessel.

After a long series of the wildest adventures, in which the personages, whose names are known rather mistily to readers of Malory only--King Evelake, Naciens, and others--appear fully, and in which many marvels take place, the company, or the holier survivors of them, are finally settled in Britain. Here the imprudence of Evelake (or Mordrains) causes him to receive the "dolorous stroke," from which none but his last descendant, Galahad, is to recover him fully. The most striking of all these adventures, related in various forms in other parts of the Legend, is the sojourn of Naciens on a desert island, where he is tempted of the devil; while a very great part is played throughout by the Legend of the Three Trees, which in successive ages play their part in the Fall, in the first origin of mankind according to natural birth, not creation, in the building of the Temple, and in the Pa.s.sion. This later legend, a wild but very beautiful one, dominated the imagination of English mediaeval writers very particularly, and is fully developed, apart from its Arthurian use, in the vast and interesting miscellany of the _Cursor Mundi_.

[Sidenote: _Merlin._]

But when the Graal and its guardians have been safely established upon English soil, the connection of the legend with the older and, so to speak, historical Arthurian traditions, is effected by means of Merlin, in a manner at least ingenious if not very direct. The results of the Pa.s.sion, and especially the establishment on earth of a Christian monarchy with a sort of palladium in the Saint-Graal, greatly disturb the equanimity of the infernal regions; and a council is held to devise counter-policy. It occurs apparently that as this discomfiture has come by means of the union of divine and human natures, it can be best opposed by a union of human and diabolic: and after some minor proceedings a seductive devil is despatched to play incubus to the last and chastest daughter of a _prud'homme_, who has been driven to despair and death by previous satanic attacks. The attempt is successful in a way; but as the victim keeps her chast.i.ty of intention and mind, not only is she herself saved from the legal consequences of the matter, but her child when born is the celebrated Merlin, a being endowed with supernatural power and knowledge, and not always scrupulous in the use of them, but always on the side of the angels rather than of his paternal kinsfolk. A further and more strictly literary connection is effected by attributing the knowledge of the Graal history to his information, conveyed to his master and pupil Blaise, who writes it (as well as the earlier adventures at least of the Arthurian era proper) from Merlin's dictation or report.

For some time the various Merlin stories follow Geoffrey in recounting the adventures of the prophetic child in his youth, with King Vortigern and others. But he is soon brought (again in accordance with Geoffrey) into direct responsibility for Arthur, by his share in the wooing of Igraine. For it is to be observed that--and not in this instance only--though there is usually some excuse for him, Merlin is in these affairs more commonly occupied in making two lovers happy than in attending to the strict dictates of morality. And thenceforward till his inclusion in his enchanted prison (an affair in which it is proper to say that the earliest versions give a much more favourable account of the conduct and motives of the heroine than that which Malory adopted, and which Tennyson for purposes of poetic contrast blackened yet further) he plays the part of adviser, a.s.sistant, and good enchanter generally to Arthur and Arthur's knights. He in some stories directly procures, and in all confirms, the seating of Arthur on his father's throne; he brings the king's nephews, Gawain and the rest, to a.s.sist their uncle, in some cases against their own fathers; he presides over the foundation of the Round Table, and brings about the marriage of Guinevere and Arthur; he a.s.sists, sometimes by actual force of arms, sometimes as head of the intelligence department, sometimes by simple gramarye, in the discomfiture not merely of the rival and rebel kinglets, but of the Saxons and Romans. As has been said, Malory later thought proper to drop the greater part of this latter business (including the interminable fights round the _Roche aux Saisnes_ or Saxon rock). And he also discarded a curious episode which makes a great figure in the original _Merlin_, the tale of the "false Guinevere," a foster-sister, namesake, and counterpart of the true princess, who is nearly subst.i.tuted for Guinevere herself on her bridal night, and who later usurps for a considerable time the place and rights of the queen. For it cannot be too often repeated that Arthur, not even in Malory a "blameless king" by any means, is in the earlier and original versions still less blameless, especially in the article of faithfulness to his wife.

We do not, however, in the _Merlin_ group proper get any tidings of Lancelot, though Lucan, Kay, Bedivere, and others, as well as Gawain and the other sons of Lot, make their appearance, and the Arthurian court and _regime_, as we imagine it with the Round Table, is already const.i.tuted. It is to be observed that in the earlier versions there is even a sharp rivalry between the "Round Table" proper and the "Queen's" or younger knights. But this subsides, and the whole is centred at Camelot, with the realm (until Mordred's treachery) well under control, and with a constant succession of adventures, culminating in the greatest of all, the Quest of the Graal or Sangreal itself. Although there are pa.s.sages of great beauty, the excessive mysticism, the straggling conduct of the story, and the extravagant praise of virginity in and for itself, in the early Graal history, have offended some readers. In the _Merlin_ proper the incompleteness, the disproportionate s.p.a.ce given to mere kite-and-crow fighting, and the defect of love-interest, undoubtedly show themselves. Although Merlin was neither by extraction nor taste likely to emulate the almost ferocious horror of human affection entertained by Robert de Borron (if Robert de Borron it was), the authors of his history, except in the version of his own fatal pa.s.sion, above referred to, have touched the subject with little grace or charm. And while the great and capital tragedies of Lancelot and Guinevere, of Tristram and Iseult, are wholly lacking, there is an equal lack of such minor things as the episodes of Lancelot and the two Elaines, of Pelleas and the Lady of the Lake, and many others. Nor is this lack compensated by the stories of the incestuous (though on neither side consciously incestuous, and on the queen's quite innocent) adventure of Arthur with his sister Margause, of the exceedingly unromantic wooing of Morgane le Fee, and of the warlock-planned intercourse of King Ban and the mother of Lancelot.

[Sidenote: _Lancelot._]

Whether it was Walter Map, or Chrestien de Troyes, or both, or neither, to whom the glory of at once completing and exalting the story is due, I at least have no pretension to decide. Whosoever did it, if he did it by himself, was a very great man indeed--a man second only to Dante among the men of the Middle Age. Even if it was done by an irregular company of men, each patching and piecing the others'

efforts, the result shows a marvellous "wind of the spirit" abroad and blowing on that company. As before, the reader of Malory only, though he has nearly all the best things, has not quite all even of those, and is without a considerable number of things not quite the best, but good. The most difficult to justify of the omissions of Sir Thomas is the early history of the loves of Guinevere and Lancelot, when the knight was introduced to the queen by Galahault the haughty prince--"Galeotto," as he appears in the most universally known pa.s.sage of Dante himself. Not merely that unforgettable a.s.sociation, but the charm and grace of the original pa.s.sage, as well as the dramatic and ethical justification, so to speak, of the fatal pa.s.sion which wrecked at once Lancelot's quest and Arthur's kingdom, combine to make us regret this exclusion. But Malory's genius was evidently rather an unconscious than a definitely critical one. And though the exquisite felicity of his touch in detail is established once for all by comparing his prose narratives of the Pa.s.sing of Arthur and the parting of Lancelot and the queen with the verse[51] from which he almost beyond question directly took both, he must sometimes have been bewildered by the ma.s.s of material from which he had to select, and may not always have included or excluded with equally unerring judgment.

[Footnote 51: _Le Morte Arthur_ (ed. Furnivall, London, 1864), l. 3400 _sqq._]

[Sidenote: _The Legend becomes dramatic._]

We have seen that in the original story of Geoffrey the treason of Mordred and the final scenes take place while Arthur is warring against the Romans, very shortly after he has established his sovereignty in the Isle of Britain. Walter, or Chrestien, or whoever it was, saw that such a waste of good romantic material could never be tolerated. The romance is never--it has not been even in the hands of its most punctilious modern pract.i.tioners--very observant of miserable _minutiae_ of chronology; and after all, it was reasonable that Arthur's successes should give him some considerable enjoyment of his kingdom. It will not do to scrutinise too narrowly, or we should have to make Arthur a very old man at his death, and Guinevere a lady too elderly to leave any excuse for her proceedings, in order to accommodate the birth of Lancelot (which happened, according to the _Merlin_, after the king came to the throne), the birth of Lancelot's son Galahad, Galahad's life till even the early age of fifteen, when knighthood was then given, the Quest of the Sangreal itself, and the subsequent breaking out of Mordred's rebellion, consequent upon the war between Lancelot and Arthur after the deaths of Agravain and Gareth. But the allowance of a golden age of comparatively quiet sovereignty, of feasts and joustings at Camelot, and Caerleon, and Carlisle, of adventures major and minor, and of the great Graal-quest, is but a moderate demand for any romancer to make. At any rate, he or they made it, and justified the demand amply by the result. The contents of the central Arthurian story thus elaborated may be divided into four parts: 1. The miscellaneous adventures of the several knights, the king himself sometimes taking share in them. 2. Those of Sir Tristram, of which more presently. 3. The Quest of the Sangreal.

4. The Death of Arthur.

[Sidenote: _Stories of Gawain and other knights._]

Taking these in order, the first, which is the largest in bulk, is also, and necessarily, the most difficult to summarise in short s.p.a.ce.

It is sometimes said that the prominent figure in the earlier stories is Gawain, who is afterwards by some spite or caprice dethroned in favour of Lancelot. This is not quite exact, for the bulk of the Lancelot legends being, as has been said, anterior to the end of the twelfth century, is much older than the bulk of the Gawain romances, which, owing their origin to English, and especially to northern, patriotism, do not seem to date earlier than the thirteenth or even the fourteenth. But it is true that Gawain, as we have seen, makes an appearance, though no very elaborate one, in the most ancient forms of the legend itself, where we hear nothing of Lancelot; and also that his appearances in _Merlin_ do not bear anything like the contrast (similar to that afterwards developed in the Iberian romance-cycle as between Galaor and Amadis) which other authorities make between him and Lancelot.[52] Generally speaking, the knights are divisible into three cla.s.ses. First there are the older knights, from Ulfius (who had even taken part in the expedition which cheated Igraine) and Antor, down to Bedivere, Lucan, and the most famous of this group, Sir Kay, who, alike in older and in later versions, bears the uniform character of a disagreeable person, not indeed a coward, though of prowess not equal to his attempts and needs; but a boaster, envious, spiteful, and constantly provoking by his tongue incidents in which his hands do not help him out quite sufficiently.[53] Then there is the younger and main body, of whom Lancelot and Gawain (still keeping Tristram apart) are the chiefs; and lastly the outsiders, whether the "felon" knights who are at internecine, or the mere foreigners who are in friendly, antagonism with the knights of the "Rowntabull."

[Footnote 52: Since I wrote this pa.s.sage I have learnt with pleasure that there is a good chance of the whole of the Gawain romances, English and foreign, being examined together by a very competent hand, that of Mr I. Gollancz of Christ's College, Cambridge.]

[Footnote 53: The Welsh pa.s.sages relating to Kay seem to be older than most others.]

Of these the chief are Sir Palomides or Palamedes (a gallant Saracen, who is Tristram's unlucky rival for the affections of Iseult, while his special task is the pursuit of the Questing Beast, a symbol of Slander), and Tristram himself.

[Sidenote: _Sir Tristram._]

The appearance of this last personage in the Legend is one of the most curious and interesting points in it. Although on this, as on every one of such points, the widest diversity of opinion prevails, an impartial examination of the texts perhaps enables us to obtain some tolerably clear views on the subject--views which are helpful not merely with reference to the "Tristan-saga" itself, but with reference to the origins and character of the whole Legend.[54] There cannot, I think, be a doubt that the Tristram story originally was quite separate from that of Arthur. In the first place, Tristram has nothing whatever to do with that patriotic and national resistance to the Saxon invader which, though it died out in the later legend, was the centre, and indeed almost reached the circ.u.mference, of the earlier.

In the second, except when he is directly brought to Arthur's court, all Tristram's connections are with Cornwall, Brittany, Ireland, not with that more integral and vaster part of _la bloie Bretagne_ which extends from Somerset and Dorset to the Lothians. When he appears abroad, it is as a Varangian at Constantinople, not in the train of Arthur fighting against Romans. Again, the religious part of the story, which is so important in the developed Arthurian Legend proper, is almost entirely absent from the Tristram-tale, and the subject which played the fourth part in mediaeval affections and interests with love, religion, and fighting--the chase--takes in the Tristram romances the place of religion itself.

[Footnote 54: Editions: the French _Tristan_, edited long ago by F.

Michel, but in need of completion; the English _Sir Tristrem_ in Scott's well-known issue, and re-edited (Heilbronn, 1882), with excellent taste as well as learning, by Dr Kolbing, who has also given the late Icelandic version, as well as for the Scottish Text Society (Edinburgh, 1886) by Mr George P. McNeill; Gottfried of Strasburg's German (_v._ chap. vi.), ed. Bechstein (Leipzig, 1890). _Romania_, v.

xv. (1886), contains several essays on the Tristram story.]

[Sidenote: _His story almost certainly Celtic._]

But the most interesting, though the most delicate, part of the inquiry concerns the att.i.tude of this episode or branch to love, and the conclusion to be drawn as well from that att.i.tude as from the local peculiarities above noticed, as to the national origin of Tristram on the one hand, and of the Arthur story on the other. It has been said that Tristram's connections with what may be roughly called Britain at large--_i.e._, the British Islands _plus_ Brittany--are, except in his visits to Arthur's court, entirely with the Celtic parts--Cornwall, Ireland, Armorica--less with Wales, which plays a strangely small part in the Arthurian romances generally. This would of itself give a fair presumption that the Tristram story is more purely, or at any rate more directly, Celtic than the rest. But it so happens that in the love of Tristram and Iseult, and the revenge and general character of Mark, there is also a suffusion of colour and tone which is distinctly Celtic. The more recent advocates for the Celtic origin of romance in general, and the Arthurian legend in particular, have relied very strongly upon the character of the love adventures in these compositions as being different from those of cla.s.sical story, different from those of Frankish, Teutonic, and Scandinavian romance; but, as it seems to them, like what has been observed of the early native poetry of Wales, and still more (seeing that the indisputable texts are older) of Ireland.

A discussion of this kind is perhaps more than any other _periculosae plenum opus aleae_; but it is too important to be neglected. Taking the character of the early Celtic, and especially the Irish, heroine as it is given by her champions--a process which obviates all accusations of misunderstanding that might be based on the present writer's confession that of the Celtic texts alone he has to speak at second-hand--it seems to me beyond question that both the Iseults, Iseult of Ireland and Iseult of Brittany, approach much nearer to this type than does Guinevere, or the Lady of the Lake, or the damsel Lunete, or any of Arthur's sisters, even Morgane, or, to take earlier examples, Igraine and Merlin's love. So too the peculiar spitefulness of Mark, and his singular mixture of tolerance and murderous purpose towards Tristram[55] are much more Celtic than Anglo-French: as indeed is the curious absence of religiosity before noted, which extends to Iseult as well as to Tristram. We have no trace in Mark's queen of the fact or likelihood of any such final repentance as is shown by Arthur's: and though the complete and headlong self-abandonment of Iseult is excused to some extent by the magic potion, it is of an "all-for-love-and-the-world-well-lost" kind which finds no exact parallel elsewhere in the legend. So too, whether it seem more or less amiable, the half-coquettish jealousy of Guinevere in regard to Lancelot is not Celtic: while the profligate vindictiveness attributed to her in _Sir Launfal_, and only in _Sir Launfal_, an almost undoubtedly Celtic offshoot of the Arthurian Legend, is equally alien from her character. We see Iseult planning the murder of Brengwain with equal savagery and ingrat.i.tude, and we feel that it is no libel. On the other hand, though Tristram's faithfulness is proverbial, it is an entirely different kind of faithfulness from that of Lancelot--flightier, more pa.s.sionate perhaps in a way, but of a less steady pa.s.sion. Lancelot would never have married Iseult the White-handed.

[Footnote 55: It is fair to say that Mark, like Gawain, appears to have gone through a certain process of blackening at the hands of the late romancers; but the earliest story invited this.]