_Qualifications of the Promised Knight._

Neither Chrestien, Gautier, nor Manessier lay any stress upon special qualifications in the quest-hero for the achievement of his task. In Chrestien, as already stated, (_supra_, p. 87), it is exclusively the sin of which Perceval has been guilty in leaving his mother which prevents his achieving the Quest at his first visit to the Grail Castle (v. 4,768-71 and 7,766-74), whilst the continuator makes no attempt at any explanation of the hero's repeated failures. Not until Gerbert does a fresh _motif_ show itself in the poem, but then it is a remarkable one; if Perceval has been hitherto unable to attain the goal he has so long striven for, it is because he has been unfaithful to his first love, Blanchefleur (VI, p.

182); he must return and wed her before he is fit to learn the full secret of the Grail.[57]

The other Quest versions are on this point in striking contrast to Chrestien. The words of C, Didot-Perceval, have already been noted, (_supra_, p. 89). Again the damsel, reproaching the hero after his first failure, addresses him thus:--"Mes je sai bien por quoi tu l' as perdu, por ceque tu ni es pas si sage ne si vaillant, ne n'as pas fet tant d'armes; ne n'ies si prodons que tu doies avoir le sanc nostre (sire) en guarde" (p. 467).

It is significant to note in this connection that it is only after Perceval has overcome all the best knights of the Round Table, including Gawain (the companion hero, as will be shown later, of the oldest form of the story), and thereby approved himself the best knight of the world, that Merlin appears and directs him to the Grail Castle.[58] The talk about Holy Church would seem to be an addition, and the original ideal a purely physical one.

In the Queste the qualification of the hero has become the main feature of the legend, the pivot upon which everything turns. The one thing necessary is that the hero should be a virgin, and the story is one long glorification of the supreme virtue of chast.i.ty. Yet even here the warlike deeds of Galahad are dwelt upon in a way that points to a different ideal.

Traces, though slight ones, may be found in C, Didot-Perceval, of the importance attached to the chast.i.ty of the hero; thus his hermit uncle admonishes him, "ne vous chaille de gesir aveuc fame, quar cest un peche luxurious et bien sachiez, que la pichie que vous avez fait, vous ont neu a trover la maison Bron," and in the adventure with the damsel of the hound, although he had (p. 440) solicited her favours, and she had promised them if he brought her the head of the white stag, yet (p. 470) when he returns to her and she offers herself to him, he pleads his quest as a reason for not even pa.s.sing one night with her. In Gautier de Doulens, on the contrary, everything pa.s.ses in accordance with the orthodox custom of the day--when knights were as punctual in demanding as ladies scrupulous in granting the fulfilment of such bargains. But here, again, references to chast.i.ty seem to be additions, and rather unskilful ones, whilst in the Queste they are the vital spirit of the story.

What results from the foregoing is much as follows:--

The Perceval form of the Quest is certainly the older of the two, and underlies in reality the Galahad form. When cleared from the admixture of Christian mystic elements it appears as a coherent and straightforward story, in which nothing necessarily presupposes the Early History. The influence of the latter is, however, distinctly traceable. As far as Chrestien himself is concerned, nothing can be a.s.serted with certainty as to the origin, extent, and nature of that influence; in the case of his continuators it can be definitely referred to that form of the Early History which is represented by the Queste and the Grand St. Graal (save in the solitary instance of the Berne fragment of Gautier de Doulens). The later in date the sections of the Conte du Graal, the more strongly marked is the influence of the Early History, and _pari pa.s.su_ the increasing prominence given to the Christian mystic side of the Grail.

Of the Early History two forms can be distinguished. In the one, Joseph and the group of persons whom he converts in the East are made the means of bringing Christianity to Britain. The Grail is dwelt upon almost solely in its most material aspect. This form is closely connected with the Galahad Quest, and its chronology has been elaborately framed to correctly bridge over the difference in time between the Apostolic and Arthurian ages. It has also affected, as remarked above, the later versions of the Perceval Quest. The second or Brons form knows nothing of the companions of Joseph, who is only indirectly the means of the conversion of Britain, the real evangelists being kinsmen of his who bear decided Celtic names.

These kinsmen are related as grandfather and father (or simply father or uncle), to a hero whose exploits are to be dealt with in a sequel. There is strong insistence upon the spiritual character of the Grail, which is obviously intended to play an important part in the promised sequel. No traces of this form are to be found in any version (saving always the above-mentioned fragment of Gautier), until we come to the Grand St.

Graal, with which such portions as do not conflict with the Joseph form are embodied.

The Didot-Perceval, although formally in contact with the Brons Early History, is not really the sequel announced in that work. It differs profoundly from it in the most essential feature of the story, the nature of the task laid upon the hero. Upon examination this appears to be of the same nature as that of the Conte du Graal, with a seasoning of the Christian mystic element. It was, however, _intended_ for a sequel to the Metrical Joseph, a fact which may be taken as a proof that Borron never completed his plan of a Joseph-Merlin-Grail trilogy of which we possess the first two parts.

The first of the two points marked for investigation at the outset of this chapter may thus be considered settled. The Quest is originally independent of and older than the Early History. And although in no instance can the versions of the former be said to be entirely free from the influence of the latter, yet in the older forms the traces are such as to be easily separated from the primitive elements of the story.

The versions which have been examined may now be arranged in the following order:--

(1) Chrestien's portion of the Conte du Graal. The oldest form of the Perceval Quest, but presupposing an Early History.

(2) Gautier de Doulens followed Chrestien, in all probability, almost immediately. Even less can be gathered from him than from Chrestien respecting the earliest form of the Early History, but this is probably represented by

(3) Pseudo-Gautier, which in all likelihood gives the outline of the work made use of by Queste and Grand St. Graal. Pseudo-Gautier is almost certainly some years later than Gautier, as the Berne MS.

scribe found it necessary to seek for information in

(4) Borron's poem, probably written towards the end of the twelfth century, but which for some reason remained unknown for a time, although it afterwards, as evidenced by the number of MSS., became popular. There is every reason to believe that Borron knew nothing of any other Early History. His work, as we have it, is abridged and arranged. Meanwhile

(5) Queste had appeared. The author probably used the same Early History as Pseudo-Gautier. He knew the Conte du Graal, and wrote in opposition to it with a view to edification. He certainly knew nothing of Borron's poem, or he could not have failed, with his strong mystical tendencies, to dwell upon the spiritual and symbolic character of the Grail.

(6) The Grand St. Graal, an earlier draft of the work, now known under that t.i.tle. Probably an enlarged version of the hypothetical original Early History; wanting all the latter portions relating to Brons and his group, which were added to it when Borron's poem became known.

This work must have appeared before 1204 (in which year it is referred to by Helinandus), and, as Chrestien wrote his poem about 1189-90, it follows that at least half-a-dozen works belonging to the Grail cycle came out in the last twelve years of the twelfth century.

(7) Manessier and

(8) Gerbert brought out independent endings to the Conte du Graal from 1216 to 1225. It was probably shortly after this time that Borron's poem became known, and that it was incorporated with the Grand St.

Graal, which a.s.sumed the shape under which it has come down to us.

(9) The Didot-Perceval is probably the latest in date of all the members of the cycle.

Before proceeding to examine our second point, which is whether the Grail itself really belongs to the original form of the Quest, or has been introduced into the Quest versions from the Early History, it will be advisable to summarise the opinions and researches of previous investigators. Light will thus be thrown upon many points of interest which have not received special examination in these pages. A theory of the origin and development of the cycle, which is in many respects directly opposed to the conclusions we have reached, will also be fully set forth, and an opportunity will thus be given for testing by adverse criticism the soundness of our method of investigation, and of the results to which it has led us.

CHAPTER IV.

SKETCH OF THE LITERATURE CONNECTED WITH THE GRAIL CYCLE.

Villemarque--Halliwell--San Marte (A. Schulz)--Simrock--Rochat-- Furnivall's reprint of the Grand St. Graal and of Borron--J. F.

Campbell--Furnivall's Queste--Paulin Paris--Potvin's Conte du Graal--Bergmann--Skeat's Joseph of Arimathea--Hucher: Grail Celtic, date of Borron--Zarncke, Zur Geschichte der Gralsage; Grail belongs to Christian legend--Birch-Hirschfeld develops Zarncke's views: Grand St. Graal younger than Queste, both presuppose Chrestien and an earlier Queste, the Didot-Perceval, which forms integral part of Borron's trilogy; Mabinogi later than Chrestien; various members of the cycle dated--Martin combats Birch-Hirschfeld: Borron later than Chrestien, whose poem represents oldest stage of the romance, which has its roots in Celtic tradition--Hertz--Criticism of Birch-Hirschfeld.

Monsieur Th. de la Villemarque's researches form a convenient starting point, both on account of the influence they exercised upon later investigation, and because he was the first to state with fulness and method the arguments for the Celtic origin of the legend. They appeared originally in the volume ent.i.tled "Contes populaires des anciens Bretons precedes d'un essai sur l'origine des epopees chevaleresques de la Table Ronde" (Paris, 1842), and comprising a French translation of the Mabinogion of Geraint and Peredur, with introductory essays and detailed explanatory notes. The translation of Peredur is preceded by a study of Chrestien's poem, in which the following conclusions are stated: The Grail is Celtic in origin, the French term being equivalent to the Welsh _per_, and having a like meaning, basin. It is the Druidic basin alluded to by Taliessin, the same which figures in the Mabinogi of Branwen, which appears in the oldest folk-tales of Brittany, and which is sought for in the twelfth century Mabinogi by Peredur, _i.e._, the Basin-Seeker. The original occult character of the Druidic basin, and of the lance, the bardic symbol of undying hatred to the Saxon, disappears in the Mabinogi, the tone and character of which are purely romantic. Composed among a people comparatively unused to the chivalrous ideal, it breathes, however, a rude and harsh spirit. But such as it is, it forms the groundwork of Chrestien's poem. Comparison between the two demonstrates the simple character of the Welsh romance, and shows how the French poet sought to transform it by an infusion of feudal courtliness and religious mysticism.

In its last stage of development the story reverts to its pristine, occult, and mystic character.

Much of what M. de la Villemarque says is sound and telling; but, unfortunately, although well aware that the French poem is the work of three men and not of one, he yet treats it as an organic whole, and thus deprives the larger part of his comparison of all value. Moreover, he supports his thesis by arguments based upon a Breton poem (the story of which is similar to that of Perceval's youth), ascribed without the shadow of evidence to the end of the tenth century.

In 1861 M. de la Villemarque reprinted his work with extensive additions, under the t.i.tle of "Les Romans de la Table Ronde et les Contes des Anciens Bretons." The section summarised above remained substantially unaltered, but considerable extension was given to the author's views concerning the mode of development of the romances. The points chiefly insisted upon are: the similarity of metre between the Welsh poem and the French metrical romances; the delight of the Plantagenet kings in the Welsh traditions and the favour showed them; and the early popularity of the Welsh and Breton singers. Villemarque's last word upon the subject is that the Welsh storytellers received from the ancient bards a pagan tradition, which, changed in character and confounded with the Mystery of the Sacrament, they handed on to the romance writers of Northern France and Germany, who gave it a fresh and undying life.

Villemarque's views were worked up by Mr. Baring Gould in his essay on the Sangreal ("Curious Myths of the Middle Ages," 1867) and in this form or in their original presentment won wide acceptance as the authoritative exposition of the Celtic origin of the cycle.

In England, Mr. Halliwell, when editing, in 1844, the Thornton Sir Perceval, derived it from Chrestien and his continuators, in spite of the omission of Lance and Grail, on account of the sequence of incidents being the same. The Mabinogi is alluded to as an adaptation of Chrestien. The supposition that Perceval's nick-name, "le Gallois," implies the Welsh origin of the story is rejected as absurd.

In Germany the Grail-cycle formed the subject of careful investigation on the part of San Marte (A. Schulz) for some years prior to 1840. From 1836 to 1842 he brought out a modern German translation of Wolfram von Eschenbach's Parzival, accompanied by an elaborate essay on the genesis of the legend, and in 1841, "Die Arthur-Sage und die Mahrchen des rothen Buchs von Hergest." In the latter work a careful a.n.a.lysis of the Mabinogi leads to the following conclusions:--Locale and persons are purely Welsh; tone and character are older than the age of the Crusades and Knighthood; it may be looked upon with confidence as the oldest known source of the Perceval _sage_. In comparing the Mabinogi with Kiot's (_i.e._, Wolfram's) version, stress is laid upon the task imposed upon Peredur, which is held to be different in character and independent in origin from the Grail Quest in Kiot. The Thornton Sir Perceval is claimed as the representative of an early Breton _jongleur_ poem which knew nothing of the Grail story.

In the former work Wolfram von Eschenbach's poem is accepted, so far as its framework is concerned, as a faithful echo of Kiot's, the Provencal origin of which is proved by its Oriental and Southern allusions. The Provencals may have obtained the Peredur _sage_ direct from Brittany, they at any rate fused it with the Grail legend. Their version is an artistic whole, whereas the North French one is a confused string of adventures.

Chrestien's share in the latter is rightly distinguished from that of his continuators, and these are dated with fair accuracy. Robert de Borron is mentioned, but as a thirteenth century adapter of earlier prose versions; the Grand St. Graal is placed towards the middle of the thirteenth century. In a.n.a.lysing the Joseph of Arimathea form of the legend, the silence of the earlier British historians concerning Joseph's evangelisation of Britain is noted, and 1140 is given as the earliest date of this part of the legend. The captivity of Joseph arises probably from a confusion between him and Josephus. There is no real connection between the Joseph legend and that of the Grail. Wolfram's Templeisen agree closely with the Templars, one of the main charges against whom was their alleged worship of a head from which they expected riches and victuals, and to which they ascribed the power of making trees and flowers to bloom.[59]

San Marte's translation of Wolfram was immediately (1842) followed by Simrock's, whose notes are mainly directed against his predecessor's views on the origin and development of the Grail legend. The existence of Kiot is contested; the _differentia_ between Wolfram and Chrestien are unknown to Provencal, but familiar to German, poetry. The Grail myth in its oldest form is connected with John the Baptist. Thus in the Mabinogi the Grail is represented by a head in a platter; the head the Templars were accused of worshipping has probably the same origin; the Genoese preserved the Sacro Catino, identified by them with the Grail, in the chapel of St. John the Baptist; Chrestien mentions with especial significance, St. John's Eve (Midsummer Eve). The head of St. John the Baptist, found, according to the legend, in the fourth century, was carried later to Constantinople, where in the eleventh century it is apparently used to keep an emperor from dying (even as of the Grail, it is told, no one could die the day he saw it). If Wolfram cuts out the references to the Baptist, _en revanche_ he brings Prester John into the story. The essential element in the Grail is the blood in the bowl, symbol of creative power as is the Baptist's head, both being referable to the summer equinox. a.s.sociated with John the Baptist is Herodias, who takes the place of an old Germanic G.o.ddess, Abundia, as John does of Odin or Baldur.[60] The essence of the myth is the reproductive power of the blood of the slain G.o.d (Odin-Hackelberend, Baldur, Adonis, Osiris). As the Grail may only be seen by those to whom G.o.d's grace is granted, so in the German folk-tale the entrance to the hollow mounds wherein lies treasure or live elves is only visible to Sunday children or pure youths. Thus, too, no man may find the grave of Hackelberg (Odin). Such caves, when entered, close upon the outgoing mortal as the Grail Castle portcullis closes upon Parzival. Many of Gauvain's adventures appear in German folk-tradition. As to Parzival's youth "it cannot be doubted that we have here a variation of the Great Fool folk-tale (Dummling's Marchen) found among all people. It is hard to say what people possessing this tale brought it into contact, either by tradition or in writing, with the Grail story, but that people would have the first claim among whom it is found in an independent form." The Mabinogi explanation of the Grail incident is unacceptable, and the Mabinogi itself is later than Chrestien, as is shown by its foolish invention of the witches of Gloucester, and by its misrendering the incident of the dwarves greeting Peredur. In the original folk-tale the ungainly hero was _laughed at_, not greeted. The Thornton Sir Perceval may possibly contain an older version of Perceval's youth than any found elsewhere. Wolfram's poem represents, however, the oldest and purest form of the Grail myth, which, originally pagan, only became fully Christianised in the hands of the later North French poets.

Simrock's speculations, though marred by his standing tendency to claim over much for German tradition, are full of his usual acute and ingenious, if somewhat fanciful, learning. His ignorance of Celtic tradition unfortunately prevented his following up the hint given in the pa.s.sage quoted above which I have adopted as one of the mottoes of the present work.

In 1855 Rochat published ("Ueber einen bisher unbekannten Percheval li Gallois," Zurich) selections from a Berne MS. containing part of Gautier de Doulens' continuation of Chrestien (v. 21,930 to end, with thirteen introductory and fifty-six concluding original lines, _cf._ p. 19), and entered at some length into the question of the origin and development of the Grail legend. The Mabinogi, contrary to San Marte's opinion, is placed after Chrestien. Villemarque's ballad of Morvan le Breiz is the oldest form of the Perceval _sage_, then comes the Thornton Sir Perceval, a genuine popular production derived probably from a Welsh original. In spite of what San Marte says, the Grail incident is found in the Mabinogi, and it might seem as if Chrestien had simply amplified the latter. On San Marte's theory of the (Southern) origin of the Grail myth, this, however, is impossible, and the fact that the Mabinogi contains this incident is a proof of its lateness.

Up to 1861 all writers upon the Grail legend were under this disadvantage, that they had no complete text of any part of the cycle before them,[61]

and were obliged to trust largely to extracts and to more or less carefully compiled summaries. In that year Mr. Furnivall, by the issue for the Roxburghe Club of the Grand St. Graal, together with a reprint of Robert de Borron's poem (first edited in 1841 by M. Franc. Michel), provided students with materials of first-rate importance. His introductory words are strongly against the Celtic origin of the story, and are backed up by a quotation from Mr. D. W. Nash, in which that "authority who really knows his subject" gives the measure of his critical ac.u.men by the statement that the Mabinogi of Peredur can have nothing to do with the earliest form of the legend, because "in Sir T. Malory, Perceval occupies the second place to Galahad." In fact, neither the editor nor Mr. Nash seems to have tried to place the different versions, and their a.s.sertions are thus of little value, though they contributed, nevertheless, to discredit the Celtic hypothesis. San Marte, in an essay prefixed to the first volume, repeated his well-known views respecting the source of Wolfram's poems, and, incidentally, protested against the idea that the Mabinogi is but a Welshified French romance.

In 1862 the accomplished editor of the "Popular Tales of the West Highlands," Mr. J. F. Campbell, published in his second volume (p. 152) some remarks on the Story of the Lay of the Great Fool, which ended thus, "I am inclined ... to consider this 'Lay' as one episode in the adventures of a Celtic hero, who, in the twelfth century became Perceval le chercheur du basin. He too, was poor, and the son of a widow, and half starved, and kept in ignorance by his mother, but, nevertheless ... in the end he became possessed of that sacred basin, le Saint Graal, and the holy lance, which, though Christian in the story, are manifestly the same as the Gaelic talismans which appear so often in Gaelic tales, and which have relations in all popular lore--the glittering weapon which destroys, and the sacred medicinal cup which cures." I have taken these words as a motto for my studies, which are, indeed, but an amplification of Mr. Campbell's statement. Had the latter received the attention it deserved, had it, for instance, fallen into the hands of a scholar to whom Simrock's words quoted on p. 101 were familiar, there would, in all probability, have been no occasion for the present work.

The publication of texts was continued by Mr. Furnivall's issue, in 1864, for the Roxburghe Club, of the Quete del Saint Graal from a British Museum MS. The opening of twelve MSS. from the Bibliotheque Nationale is likewise given, and shows substantial unity between them and Mr. Furnivall's text.

In 1868 Mons. Paulin Paris published, in the first volume of his "Romans de la Table Ronde," a general introduction to the Round Table cycle, and a special study upon the Metrical Joseph and the Grand St. Graal. A large share of influence is a.s.signed to Celtic traditions through the medium of Breton _lais_. The Early History of the Grail is a British legend, and embodies the national and schismatic aspirations of the British Church.

The date given in the prologue to the Grand St. Graal, and repeated by Helinandus, is accepted as the genuine date of a redaction of the legend substantially the same as that found later in the Grand St. Graal. The word "Grail" is connected with the Latin _gradale_, modern gradual, and designated the book in which the tradition was first written down. The Grand St. Graal is anterior to Chrestien's poem, and Robert de Borron's poem in the first draft preceded the Grand St. Graal, and was written between 1160 and 1170, but he subsequently revised it towards 1214, as is shown by his alluding, l. 3,490, "O mon seigneur, Gauter _en peis_" (where the underlined words are equivalent to the Latin _in pace_) to Gautier of Montbeliard in the past tense. From 1868 to 1870 M. Potvin brought out his edition of the Conte du Graal, and of the prose Perceval le Gallois from Mons MSS. In the after-words priority is claimed for the latter romance over all other members of the cycle, and three stages are distinguished in the development of the legend--Welsh national--militant Christian--knightly--the prose romance belonging to the second stage, and dating substantially from the eleventh century. The lance and basin are originally pagan British symbols, and between the lines of the Grail legend may be read a long struggle between heretic Britain and orthodox Rome. The Perceval form of the Quest is older than the Galahad one. The Joseph of Arimathea forms are the latest, and among these the Grand St.

Graal the earliest.

Conclusions as paradoxical as some of these appear in Dr. Bergmann's "The San Greal, an Enquiry into the Origin and Signification of the Romance of the S. G.," Edinburgh, 1870. The idea of the Grail is due entirely to Guyot, as also its connection with the Arthurian cycle. Chrestien followed Guyot, but alters the character of the work, for which he is reproved by Wolfram, who may be looked upon as a faithful representative of the earlier poet. Chrestien's alterations are intended to render the poem more acceptable in knightly circles. On the other hand Walter Map found Guyot too secular and heretical, and wrote from a purely ecclesiastical standpoint the Latin version of the legend in which the Grail is a.s.sociated with Joseph of Arimathea. This version forms the basis of Robert de Borron, author of the Grand St. Graal and of the continuators of Chrestien. Although Bergmann denies the Celtic origin of the Grail itself, he incidentally accepts the authenticity of the Mabinogi of Peredur, and admits that the whole framework of the story is Celtic.

In the endeavour to prove the paradox that one of the latest, most highly developed, and most mystic of all the versions of the legend (viz., Wolfram's) really represents the common source of them all, Bergmann is compelled to make the most gratuitous a.s.sumptions, as a specimen of which may be quoted the statement that the _roi-pecheur_ is originally the _sinner_ king, and that it is by mistake that the North French _trouveres_ represent him as a _fisher_.

Bergmann's views pa.s.sed comparatively unnoticed. They are, indeed, alluded to with approval in Professor Skeat's edition of Joseph of Arimathea, a fourteenth century alliterative abridgement of the Grand St.

Graal (E. E. Text Soc., 1871). In the editor's preface the Glas...o...b..ry traditions concerning the evangelisation of Britain by Joseph are taken as a starting point, two parts being distinguished in them, the one _legendary_, tallying with William of Malmesbury's account, and, perhaps, of considerable antiquity, the other _fabulous_, introducing the personages and incidents of the romances and undoubtedly derived from them. Some twenty years after the publication of the "Historia Britonum"

Walter Map probably wrote a Latin poem, from which Robert de Borron, the Grand St. Graal, and, perhaps, the other works of the cycle were derived.

"Grail" is a bowl or dish. Chrestien may have borrowed his Conte du Graal from Map; the "Quest" is probably an after-thought of the romance writers.