The 'Pearl' Poet

From A Literary History of England (ed. A. C. Baugh), ch. XIV, "The Alliterative Revival", by Kemp Malone and A. C. Baugh.



In the last few chapters—on the romance, the religious omnibus, the lyric, and the writings of the mystics—we have become increasingly aware of the intense literary activity that marks the whole fourteenth century, and activity that reaches its culmination for most readers today in the great narrative poetry of Chaucer. It is an activity that extends from one end of England to the other, an activity in which London and the court participate to no overwhelming extent but rather share along with many other sections of the country. The widespread distribution of the ferment that was at work is indicated perhaps nowhere more plainly than in the emergence about 1350 of the Old English alliterative tradition after it had lain hidden for nearly two hundred years.

Alliterative verse

Roughly between the years 1350 and 1400 there appeared a score of poems, ranging from a few hundred lines to several thousand, in a metre which had clearly evolved in an unbroken development from the old four-beat alliterative measure of Beowulf and Cynewulf. It is not an antiquarian revival, but the reappearance of a metrical pattern which has undergone considerable change. The line has become in most cases the unit of thought, and the alliteration is therefore not so much structural as decorative. With some poets hunting the letter becomes a passion, and the alliteration falls on three syllables in a half-line or is carried through several consecutive lines. Verse of this sort was obviously associated in Chaucer's mind with the north, as is indicated by the well-known words of the Parson:

But trusteth well, I am a Southern man,
I can not geste—rum, ram, ruf—by lettre.

And most of the poems in the alliterative revival belong to the north and to the northwest Midlands. While one of the most important—Piers Plowman—has its origin in the west Midlands, we may think of the alliterative revival as occurring in the north and more particularly the northwest of England.

Three of the earliest poems in the revival, Alexander A, Alexander B, and William of Palerne, have already been discussed in the chapters on the romance. There we have likewise treated other later romances in alliterative verse, such as The Wars of Alexander, The Destruction of Troy, the Morte Arthure, and the religious romance The Destruction of Jerusalem. It is not practicable to include them again here, where as part of the alliterative movement they would be fully entitled to a place. (NOTE 1)  We shall have to be content with this brief reference, and confine ourselves in this and the following chapter to the other classes of alliterative poetry. In the present chapter we shall treat the works of the Pearl poet and one or two poems in some ways related to his. In the chapter which follows we shall consider a group of poems concerned with social and ethical questions, of which the most important is the great social document Piers Plowman.

NOTE 1: See above, pp. 182 ff. On the later alliterative movement in Scotland see Sir William Craigie, "The Scottish Alliterative Poems," Proc. Brit. Acad. xxviii (1942): 217-236.

The Pearl Poet

Of the many unique manuscripts gathered together in the seventeenth century by the famous antiquary Sir Robert Cotton, among which are the Beowulf codex, the two texts of Layamon's Brut, the Ludus Coventriae and others less famous, one is a modest quarto volume known as Nero A. X. (NOTE 2). The contents consist of four alliterative poems in a hand of the end of the fourteenth century. Acoompanying the text are twelve illustrations of quite crude workmanship depicing episodes in some of the poems. None of the texts is accompanied by any title, but they have been named, in the order of their occurrence in the manuscript, the Pearl, Purity (or Cleanness), Patience, and Sir Gawain and the Green Knight.

NOTE 2. It is reproduced in facsimile in EETS, 162 [Early English Text Society series].

The Pearl (NOTE 3) is not only first in the manuscript but shares with the Gawain the first place in the interest of modern readers. In a hundred stanzas of twelve lines each (NOTE 4), ingeniously linked in groups of five by repetition and a refrain, the poet tells how a lovely pearl, smooth and white, slipped from his hands into the grass and was lost in the ground. In his grief he often visits the spot which covers his pearl, and one August day, lulled by the fragance of herbs and flowers, he falls asleep on the little mound. There as he slumbers he dreams that he is in another world, a world of crystal cliffs, bright woods, and strands pebbled with precious stones. Such sights make him forget his grief, and he wanders about in sheer delight. Finally he comes upon a stream, clear and sparkling, beyond which he thinks must be Paradise. It is backed by a crystal cliff, at the foot of which sits a child—

A gracious maiden full debonaire;
Glistening white was her robe:
I knew her well; I had seen her before.

NOTE 3. Edited by Richard Morris (2ed, 1869; EETS, I). Sir Israel Gollancz (1891; 1921) and Charles C. Osgood (1906; Belles-Lettres Ser.). A translation is included in Gollancz's edition, and there are modern renderings by G. G. Coulton (1907), Osgood (1907), Sophe Jewett (1908), and Stanley P. Chase (1932).

NOTE 4. The rime scheme is abababab bcbc. There are 101 stanzas, but one is considered spurious or was canceled by the author.

The longer he looks at her the better he knows her. He has an impulse to call her, but seeing her in so strange a place deters him. She is spotless, and her dress is trimmed profusely with pearls. She wears a crown, from beneath which her hair falls loosely on her shoulders. No tongue could fittingly describe the sight:

So clean was it and clear and pure,
That precious pearl where it was set.

Thus arrayed she comes down to the brink. She was nearer to me, he says, than aunt or niece. Finally she speaks to him and he then addresses her:

O Pearl, quoth I, in pearls bedight,
Art thou my pearl that I have 'plain'd,
Regretted when all alone at night?
Much longing for thee have I restrained
Since into the grass thou didst from me glide.

Grown in stature and in wisdom, she reveals to him her life as spouse of the Heavenly Bridegroom. The dreamer's pearl was not lost when it was put in a coffer so comely as is this gracious garden. Along with thousands of others she shares a most happy lot. When the poet objects that she did nothing to deserve so great a reward, since she "lived not two years in our land" and knew neither her Paternoster nor Creed, she enters upon an elaborate discourse on the part played by merit and grace in salvation and the equality of the saved before God (NOTE 5), illustrating her views at length by biblical parables. The poet is finally granted a view of her abode—the New Jerusalem—vividly adapted from the Apocalypse. His effort in trying to cross the stream and reach the heavenly city wakens him from his dream, and he rises from the mound on which he had slumbered, filled with a new spiritual strength.

NOTE 5. The orthodoxy of the poet's views was questioned by Carleton F. Brown, "The Author of The Pearl Considered in the Light of His Theological Opinions," PMLA, XIX (1904), 115-53, and defended by James Sledd, MLN, LV (1940), 381. While his attitude toward grace has been shown to be good doctrine, equality of reward appears to be stressed beyond medieval orthodoxy.

The Allegory

This beautiful and seemingly transparent allegory has been interpreted in various ways and has led to considerable controversy. The traditional view sees in the poem an elegy in which the poet grieves for the death of a two-year-old daughter and is consoled by her in a vision of a common medieval type. This view was challenged by Schofield in 1904, who denied the autobiographical interpretation and suggested that the poet was merely upholding the virtue of purity under the symbolism of a pearl, with appropriate personification (NOTE 6). While his view has not found much favor (NOTE 7) his example has led others to attempt new explanations and various modifications of the original interpretation. The Pearl has been taken as symbolizing the Eucharist (NOTE 8) and more recently as recording a state of "spiritual dryness" experienced by the poet and not unknown to religious and to mystics (NOTE 9). Still others have sought to reconcile the elegiacal and symbolical interpretations (NOTE 10). There is symbolism, to be sure, in incidental ways in the poem, and the problems of divine grace and the equality of heavenly rewards constitute the major theme for discussion, but there are too many features which are meaningless on any other assumption than that the poet mourns the loss of a real child (NOTE 11). The poem treats certain aspects of salvation in the framework of a personal elegy, employing the medieval conventions of vision and debate.

NOTE 6. W. H. Schofield, "The Nature and Fabric of The Pearl," PMLA, xix (1904). 154-215; "Symbolism, Allegory, and Autobiography in The Pearl," PMLA, xxiv (1909). 585-675.

NOTE 7. Schofield's interpretation was opposed by Coulton in MLR, ii (1907). 39-43.

NOTE 8. R. M. Garrett, The Pearl—An Interpretation (Seattle, 1918; Univ. of Wash. Pub. in English, (Vol. iv., No. 1).

NOTE 9. Sister M. Madeleva, Pearl: A Study in Spiritual Dryness (1925).

NOTE 10. Jefferson B. Fletcher, "The Allegory of the Pearl," JEGP, xx (1921). 1-21., and René Wellek, "The Pearl: An Interpretation of the Middle-English Poem," Studies in English (Charles Univ., Prague), iv (1933). 1-33. Both these papers stress the complex character of the symbolism.

NOTE 11. For an attempt to identify the child, see Oscar Cargill and Margaret Schlauch, "The Pearl and Its Jeweler," PMLA, xliii (1928), 105-123.

A personal elegy

Viewed as a personal elegy the Pearl is a poem of deep feeling, the poet's grief yielding gradually to resignation and spiritual reconciliation. In its sensuous beauty, its artistic restraint, its skilful manipulation of a complex and difficult metrical pattern, and its imaginatively beautiful descriptions of the garden, the pearl-maiden, and the New Jerusalem, it is in its best parts unsurpassed by anything in Middle English poetry.

Purity

In two respects Purity (NOTE 12), the second poem in the manuscript, resembles the Pearl—in its preoccupation with an ethical question and in its predilection for extended paraphrases of biblical incident. For here we have a discourse on purity, showing how impossible it is for one who is unclean to approach God's pure presence, and enforcing the point by the parable of the man without a wedding garment. This and other episodes such as the fall of Lucifer and the Expulsion from Paradise are merely preliminary, however, to the main purpose, which is to tell the stories of the Flood, the Destruction of Sodom and Gomorrah, and the profanation of the holy vessels in Belshazzar's Feast. The homiletic purpose is plain, and at the end the poet not only reminds us that "upon thrynne wyses" he has showed the sorrow that uncleanness causes our Lord but he closes with a prayer for grace. The stories are vividly told, but the poem suffers by comparison with the Pearl through the lack of any framework or artistic motivation.

NOTE 12.  Edited by Richard Morris (2ed., 1869; EETS, i)., Robert J. Menner (1920; Yale Stud. in English, 61), and Sir Israel Gollancz (1921).

Patience
 
This is also true of its companion piece, Patience (NOTE 13), which devotes all but the first sixty of its 531 lines to the story of Jonah and the whale. But concentration upon a single subjet gives greater unity to the piece, and the poet has allowed his imagination freer rein in embellishing his theme. He shows us the activity in getting under sail, describes vividly the storm at sea, pictures with realistic detail the slimy insides of the whale, and reports dramatically Jonah's conversations with God. God's rebuke of Jonah for his impatience leads the poet to his closing reflection. He who is too hasty in tearing his clothes will often sit sewing them up. Even poverty must be borne with patience, which "is a noble point, though it displease oft." In both Purity and Patience the poet's principal indebtedness is to the Bible, and the Pearl not only draws its parables from the same source but derives its description of the New Jerusalem from the Apocalypse. Other sources in Tertullian, an eclogue of Boccaccio, and even the Book of the Knight of La Tour Landry have been suggested but with the possible exception of Boccaccio's eclogue, must be described as very doubtful. The poet refers once to Jean de Meun and his part of the Roman de la Rose, and he has drawn scattered details in Purity from Mandeville's Travels in their French form. But while the author of these poems was apparently well read, we have not been very successful in tracking down the sources of his inspiration outside of the Scriptures.

NOTE 13.  Edited by Richard Morris (as above), Hartley Bateson (Manchester, 191; 2ed., 1918), and Israel Gollancz (1913).

Sir Gawain and the Green Knight

There seems to be no reason to doubt that the three poems the Pearl, Purity, and Patience are the work of one man. The fourth poem in the transcript is of such a different kind that if it were not found in association with the others we might well hesitate to attribute it to the same authorship, in spite of obvious stylistic resemblances (NOTE 14). Sir Gawain and the Green Knight (NOTE 15) is a courtly romance, the finest Arthurian romance in English. Though it exemplifies the knightly virtues of courage and truth, it is in no sense a story told to enforce a moral. It is quite in the spirit of French romance, told for its own sake.

NOTE 14. Apart from the stylistic features common to all four poems, there are noteworthy parallels between Sir Gawain and the Green Knight and Purity. It should be remembered, however, that the romance also shows many striking parallels in phrases and lines with the Wars of Alexander.

NOTE 15. There are older editions by Sir Frederic Madden for the Bannatyne Club (1839) and Richard Morris (1864; EETS, 4); revised by I. Gollancz (1897 and 1912), but the romance is best studied in the edition of J. R. R. Tolkien and E. V. Gordon (1925) or the new edition of Sir Israel Gollancz with introductory essays by Mabel Day and Mary S. Serjeantson (1940; EETS, 210). Modern renderings by Jessie L. Weston (1898), often reprinted, T. H. Banks (1929), G. H. Gerould (1934), etc. are available separately or in anthologies.

Subject Matter and Treatment

 The plot itself is so well known as to need no retelling. The main adventure is the challenge, which Gawain accepts of an exchange of blows with the Green Knight, in which he beheads the challenger but must submit to the same hazard a year later. With this is combined the adventure at Bertilak's castle, in which Gawain is tempted on three successive mornings by his host's wife and in which his only fault is concealing the magic girdle which she gives him. Both of these stories are found separately either in Celtic or in Old French romances (NOTE 16). They are first found combined in the English poem (NOTE 17), and whether we owe the combination to the English poet or to his source we must grant that it was a happy inspiration which tied the three temptations to the three blows offered Gawain at the Green Chapel and made the wound received from the third blow the result of his concealing the girdle. Accepting the supernatural as a prerogative of medieval story, we have a skilfully contrived plot (NOTE 18), a feature always worthy of remark in medieval romance. But it is only one, and that perhaps the least, of the qualities which give this remarkable poem its high place among English romances. From the beginning almost to the end it proceeds by a succession of scenes and situations full of color and movement and vivid detail. We begin with the New Year's feast, the guests exchanging greetings and gifts, the maidens laughing and making mirth till it is time to eat, then washing and seating themselves at tables. Just as the music ceases and the first course has been served the Gren Knight enters. He is fully described—stature, appearance, dress, armor, horse, trappings—as he rides straight up to the daïs. And so it goes from episode to episode like a succession of tapestries or medieval illuminations. The descriptions of the seasons as they mark the passing of the year and bring Gawain to the time when he must set out to keep his pledge are no mere literary exercises, and the hunting scenes have all the excitement and lifelikeness of first-hand experience or observation. Striking, too, is the poet's mastery of dialogue, always easy and natural, but particularly skilful in the extended conversations between Gawain and the lady of the castle, as she seeks an opening and he adroitly evades and parries each thrust. Finally, one should remark the dexterous way in which the poet keeps the various actions moving forward simultaneously, passing from the dalliance of the lady to the husband's adventures in the chase and back again to the bed chamber until all parties are brought together naturally at the end of the day. But there is no end of things to exclaim over and we can only hint at the enjoyment to be had from reading and rereading this fine romance (NOTE 19).

NOTE 16. The fullest study of the sources of the romance is George L. Kittredge, A Study of Gawain and the Green Knight (Cambridge, Mass., 1916). The challenge or beheading game is found in an episode inown as The Champion's Bargain which closes the Irish romance (at least as old as the eleventh century) of Fled Bricrend, or Bricriu's Feast. From there it passed into French where it was embodied independently into four separate romances (the Livre de Caradoc, incorporated in the first continuation of Chrétien's Perceval, the short thirteenth-century romance La Mule sanz Frain, the prose Grail romance known as the Perlesvaus in which the adventure is attributed to Lancelot, and another thirteenth-century romance entitled Gawain et Humbaut in which the ending has been completely changed). Parallels to the temptation motif are not so close, but in one form or another it is found in the Old French Ider, in the late English Carl of Carlisle, and elsewhere.

NOTE 17. There are many theories accounting for this combination. Kittredge believed that Sir Gawain and the Green Knight was based on a lost French romance in which the adventures were combined. J. R. Hulbert, "Syr Gawayn and the Grene Knygt," MP, XIII (1915-16). 433-462, 689-730, believes they were originally joined in a Fairy Mistress story as the conditions which the hero must fulfill. Else von Schaubert, "Der englische Ursprung von Syr Gawayn and the Grene Knygt," ESt, LVII (1923). 330-446, maintains that they were first combined by the English poet. This is also the view of Miss Day in the essay noted above. O. Löhmann, Die Sage von Gawain und dem grünen Ritter (Königsberg, 1938), likewise believes in the English origin of the romance, but argues that a Fairy Mistress story has been changed into a test of the hero.

NOTE 18. The idea that Sir Gawain and the Green Knight is connected in some way with the Order of the Garter is most fully advocated in Isaac Jackson, "Sir Gawain and the Green Knight considered as a 'Garter' Poem," Anglia, XXXVII (1913). 393-423, and opposed by J. R. Hulbert in the article already referred to (MP. XIII, especially pp. 710 ff.).

NOTE 19. In the absence of any objective evidence for determining the order of composition it has seemed best to treat the poems in the order in which they occur in the manuscript. Patience and Purity probably belong together, and since Purity has a number of parallels with the Gawain, it probably stands closer to the latter. On artistic grounds the Pearl and Gawain should follow the homiletic pieces, though this is not a safe criterion for pieces unlike in kind. One could argue for an order which would put the Gawain first, followed by the Pearl, the bereavement in which led the poet to the moral concerns of Purity and Patience. Such an order would have the advantage of putting Patience after Purity, to which it is superior in structure and unity.

The Author

All that we know about the author of these four poems is what can be cautiously inferred from his work, and all attempts to identify him with Huchown, Strode, or any other individual have failed. The dialect of the manuscript, which there is no reason to think differs essentially from that of the author, would indicate that he belonged to the northwest Midlands, probably south Lancashire, and this general locality is supported by the landscape and local allusions in the poems. He need not have been a priest in spite of his preoccupation with theological and moral questions, though a position as chaplain in some nobleman's household would make such an interest natural and account for his familiarity with the ways of courtly life. Naturally, however, such knowledge could be otherwise accounted for. His vocabulary contains a large French element which might result from his social status or his acquaintance with French literature. This was certainly considerable. He impresses us as a man of cosmopolitan taste whose horizon was not bounded by the limits of a provincial neighborhood. That he was at once observant and imaginative is apparent. His literary activity coincides roughly with the earlier part of Chaucer's career, and in the absence of more precise information we cannot do better than to date his work c. 1375.

St Erkenwald

Various other alliterative poems have from time to time been atrributed to the Pearl poet. Among them the one that has found most supporters is St. Erkenwald (NOTE 20), which attributes to the Old English bishop of this name a miracle not otherwise recorded. When St. Paul's in London was being rebuilt a tomb was uncovered in which was the body of a pagan judge. Since he had always been just in his awards, his body and clothing were still as fresh as at the time of his death. At Erkenwald's bidding the corpse reveals its identity, whereupon the bishop's tears fall on the body, constituting baptism and releasing the soul. Bodily decay at once sets in. The story is told in 352 clear and straightforward verses, but the present writer at least cannot accept the attribution to the Pearl poet.

NOTE 20. Edited by Horstmann, Altengliche Legenden (1881), Gollancz (1922), and Henry L. Savage (1926; Yale Stud. in English, 72).

Pistel of Swete Susan

Associated with the poems previously discussed is a short piece of twenty-eight tail-rime stanzas, each with thirteen alliterative lines, called the Pistel of Swete Susan (NOTE 21). It tells the story of Susanna and the Elders from the thirteenth chapter of Daniel (in the Vulgate), with the description of the garden embellished with details drawn from the Roman de la Rose. It is told simply and effectively, at times with the deft touches of an artist. When Susanna, allowed to speak to her husband, has avowed her innocence and fidelity to him,

Thei toke the feteres of hire feete,
And evere he kyssed that swete;
"In other world schal we mete."
     Seide he no mare. (lines 257-60)

A passage in Wyntoun's Orygynale Cronykil (c. 1420) asserts that the author was Huchown of the Awle Ryale (Royal Court), who is there credited also with the Gret Gest off Arthure and the Awyntyre off Gawane (NOTE 22). The attribution cannot be accepted, but the passage has led some to believe that Huchown was not only the Pearl poet but the author of most of the poems in the alliterative revival (NOTE 23).  Naturally such extravagant claims have not met with much favor. While the six poems discussed in the present chapter are linked together by certain features of subject matter and treatment it seems best to hold to the conservative view which limites the work of the Pearl poet to the poems preserved in the famous Cotton manuscript.

NOTE 21. Edited by Hans Köster, Huchown's Pistel of Swete Susan (Strassburg, 1895; Quellen und Forschungen, LXXVI).

NOTE 22.

He made the Gret Gest off Arthure
And the Awyntyre off Gawane
The Pystill als off Swete Swsane....

The Gret Gest off Arthure is believed to be the alliterative Morte Arthure, presumably in its fuller form (see ch. X, above). The Awyntyre off Gawane is identified by those who believe Huchown to be the Pearl poet with Sir Gawain and the Green Knight, by others with the Awyntyrs of Arthur (see p. 190, note 22).

NOTE 23. George Neilson, 'Huchown of the Awle Ryale', the Alliterative Poet (Glasgow, 1902), who argues that Huchown is to be identified with the "gude Sir Hew of Eglintoun" mentioned by Dunbar in his Lament for the Makaris. In spite of the extravagance of his thesis Neilson's book contains much interesting matter.

The Arthurian Legend

(From George Sampson's Concise Cambridge History of English Literature, 3rd ed.).

XII. THE ARTHURIAN LEGEND

The mystery of Arthur's end is not darker than the mystery of his beginning. While the ancient tradition is everywhere, the facts and records are nowhere. The earliest English Arthurian literature is singularly meagre and undistinguished. The romantic exploitation of "the matter of Britain" was the achievement, mainly, of French writers, and, indeed, some critics would have us attach little importance to British influence on the development of the Arthurian legend. The "matter of Britain" very quickly became international property—a vast composite body of romantic tradition, which European poets and story-tellers of every nationality drew upon and used for their own purposes. Arthur was non-political and could be idealised without offence to any ruling family. The British king himself faded more and more into the background, and became, in time, but the phantom monarch of a featureless "land of faëry". His knights quite overshadow him in the later romances; but they, in their turn, undergo the same process of denationalization, and appear as natives of some region of fantasy, moving about in a golden atmosphere of illusion. The course of the story is too obscure to be made clear in a brief summary which must necessarily ignore the hints and half-tones that count for much in the total effect, and which can take no account of French, German and Italian contributions to the legend. Old English literature, even the Chronicle, knows nothing whatever of Arthur. To find any mention of him earlier than the twelfth century we must turn to Wales, where, in a few obscure poems, a difficult prose story, and two dry Latin chronicles we find what appear to be the first written references, meagre and casual, but indicating a tradition already ancient. The earliest is in Historia Britonum, which, as we have seen (p. 9), dates from 679, though the existing recension of Nennius was made in the ninth century. The reference of Nennius to Arthur occurs in a very short account of the conflict that culminated in Mount Badon, usually dated 516, though some would put it as early as 470. Gildas, who was a youth in 516, also mentions Mount Badon; but the only hero he names is "Ambrosius Aurelianus". In Nennius the hero has become "The magnanimous Arthur", who was twelve times victorious, last of all at Mount Badon; but he is a military leader, not a king—or, perhaps, as the anthropologist Lord Raglan thinks, "a god of war".

The poems of the ancient Welsh bards have been discussed almost as fiercely as the poems of Ossian; yet there is no doubt that together with much of late and doubtful invention they contain something of indisputably ancient tradition. But the most celebrated of the early Welsh bards know nothing of Arthur. Llywarch Hên, Taliesin and Aneirin (sixth or seventh century?) never mention him; to the first to Urien, Lord of Rheged, is the most imposing figure among all the native warriors. There are, indeed, only five ancient poems that mention Arthur at all. The reference most significant to modern readers occurs in the Stanzas of the Graves contained in the Black Book of Caermarthen (twelfth century): "A grave there is for March (Mark), a grave for Gwythur, a grave for Gwgawn of the Ruddy Sword; a mystery is the grave of Arthur." Another stanza mentions both the fatal battle of Camlan and Bedwyr (Bedivere) , who shares with Kai (Kay)  pre-eminence among Arthur's followers in the primitive Welsh fragments of Arthurian fable. Another Arthurian knight, Geraint, is the hero of a poem that appears both in The Black Book of Caermarthen and in the Red Book of Hergest (fourteenth century). One of the eighteen stanzas just mentions Arthur by name. The Chair of the Sovereign in The Book of Taliesin (thirteenth century) alludes obscurely to Arthur as a "Warrior sprung from two sources". Arthur, Kai and Bedwyr appear in another poem contained in The Black Book; but the deed celebrated in the almost incomprehensible lines of this poem are the deeds of Kai and Bedwyr. Arthur recedes still further into the twilight of myth in the only other Old Welsh poem where any extended allusion is made to him, a most obscure piece of sixty lines contained in The Book of Taliesin. Here, as Matthew Arnold says, "The writer is pillaging an antiquity of which he does not fully possess the secret". Arthur sets upon various expeditions over perilous seas in his ship Pridwen; one of them has as its object the rape of a cauldron belonging to the King of Hades. Ancient British poetry has nothing futher to tell us of this mysterious being, who is, even at a time so remote, a vague, impalpable figure of legend.

The most remarkable fragment of the existing early Welsh literature about Arthur is the prose romance of Kulhwch and Olwen, assigned by most authorities to the tenth century. It is one of the stories that Lady Charlotte Guest translated from the Red Book of Hergest and published in The Mabinogion (1838). Of the twelve "Mabinogion", or stories for  the young (the word has a special meaning but is loosely used), five deal with Arthurian themes. Two, Kullwch and Olwen and The Dream of Rhonabury, are British; the other three are based on French originals. In The Dream of Rhonabury, Arthur and Kai apper, Mount Badon is mentioned, and the fatal battle of Camlan with Mordred is referred to in some detail. The Arthuro Kullwch and Olwen bears little resemblance to the mystic king of later legend, except in the magnitude of his warrior retinue, in which Kai and Bedwyr are leaders. Arthur, with his dog Cavall, joins  in the hunt for the boar Twrch Trwyth through Ireland, Wales and Cornwall, and his many adventures are clearly relics of ancient wonder-tales of bird and beast, wind and water. The wild and even monstrous Arthur of this legend is equally remote from Nennis and from Malory; but the charm of the story is someething that the long-winded Continental writers could not achieve.

The serious historian William of Malmesbury, who wrote a few years earlier than Geoffrey of Monmouth, refers to Arthur as a hero worthy to be celebrated in authentic history and not in idle fictions. He adds, "The sepulchre of Arthur is nowhere to be seen, whence ancient ballads fable that he is to come." Plainly, Arthur was already a popular tradition. The transformation of the British Arthru into a romantic hero of European renown was the result of contact between British and Norman culture. No doubt the Normans got their first knowledge of Arthurian story from Brittany; but the real contact was made in Britain itself, where the Normans had succeeded in establishing intimate relations with the Welsh. Thus the true father of the Arthurian legend is Geoffrey of Monmouth. How much he derived from ancient sources we shall probably never find out; but we can reasonably assume that he did not invent the fabric of the story, however fancifully he embroidered it. And, after all, the real point is not how much he invented, but how he used his matter, historical or legendary. Geoffrey had the art of making the improbable seem probable, and his ingenious blending of fact and fable not only gave his book a great success with readers, but made Arthur and Merlin the romantic property of literary Europe. So it has been urged thet we shoul take Geoffrey's compilation, not as a national history, but as a national epic, doing for Britain what the Aeneid did for Rome, and finding in the mythical Brutus, great-grandson of Aeneas, the name-giving founder of the British state. In such a story all the legends have their natural place. Geoffrey's History is thus the first Brut—for so in time the records of early British kings with this mythical starting-point came to be called. The first few books of Historia Regum Britanniae relate the deeds of Arthur's predecessors. At the close of the sixth book the weird figure of Merlin appears on the scene, and romance begins to usurp the place of sober history. Arthur is Geoffrey's hero. He knows nothing of Tristam, Lancelot or the Holy Grail; but it was he who, in the Mordred and Guenevere episode, first sugggested the love-tragedy that was to become one of the world's imperishable romances.
In the Latin Life of Gildas written at about the time of Geoffrey's death there is a further interesting allusion. Arthur is described as being engaged in deadly feud with the King of Scotland, whom he finally kills; he subsequently comes into collision with Melwas, the wicked king of the "summer country" or Somerset, who had, unknown to him, abducted his wife Guenevere, and concealed her in the abbey of Glastonia. This seems to be the earliest appearance o the tradition which made Melwas (the Mellyagraunce of Malory) an abductor of Guenevere. Some of the Welsh traditions are used in Peacock's delightful story The Misfortunes of Elphin, Melwas and the abduction both appearing.

The value of the Arthurian story as matter for verse was first perceived in France; and the earliest surviving standard example of metrical narrative or romance derived directly or indirectly from Geoffrey is Li Romans de Brut by Wace, who, born in Jersey, lived at Caen and Bayeux, and completed his poem in 1155. Some of the matter is independent of Geoffrey's History. Thus, it is Wace, not Geoffrey, who first tells of the Round Table. The poem, 15,000 lines long, written in lightly rhyming verse and in a familiar language, was very popular. Wace's Brut, possibly in some form not now existing, or in some blend with other chronicles, provided the foundation of Layamon's Brut, the only English contrubution of any importance to Arthurian literature before the fourteenth century; for, so far, all the matter discussed is in Welsh or Latin or French. Layamon added something personal to the essntially English character of his style and matter, and he gives us as well details not to be found in Wace or Geoffrey. Thus, he amplifies the story of the Round Table and narrates the dream of Arthur, not to be found in Geoffrey or Wace, which foreshadows the treachery of Mordred and Guenevere, and disturbs the king with a sense of impending doom. Layamon's enormous and uncouth epic has the unique distinction of being the first celebration of "the matter of Britain" in the English tongue.

Not the least remarkable fact about the story of King Arthur is its rapid development as the centre of many gravitating stories, at first quite independent, but now permanently part of the great Arthurian system. Thus we have the stories of Merlin, of Gawain, of Lancelot, of Tristram, of Perceval, and of the Grail. A full account of these associated legends belongs to the history of French and German, rather than of English, literature, and is thus outside our scope. In origin Merlin may have been a Welsh wizard-bard, but he makes his first appearance in Geoffrey and quickly passes into French romance, from which he is transferred to English story. Gawain is the hero of more episodic romances than any other British knight; when he passes into French story he begins to assume his Malorian (and Tennysonian) lightness of character. He is the hero of the finest of all Middle English metrical romances, Sir Gawayne and the Grene Knight, and, as Gwalchmai, he plays a large part in the story called Peredur the Son of Evrawc, included in the Mabinogion. Peredur is Perceval, and the story comes from French romance. The love of Lancelot for Guenevere is now a central episode of the Arthurian tragedy, but Lancelot is actually a late-comer into the legend, and his story is told in French. The book to which Chaucer refers in The Nun's Priest's Tale and Dante in the famous passage of Inferno VI is perhaps the great prose Lancelot traditionally attributed to Walter Map (see p. 21). The Grail story is another complicated addition to the Arthurian cycle. Out of the quest for various talismans, no doubt a part of Celtic tradition, developed the story of Perceval, as told in French and German romances; and the "Grail", a primitive symbol, proved capable of semi-mystical religious interpretation, and came to be identified with the cup of the Last Supper in which Joseph of Arimathea treasured the blood that flowed from the wounds of the Redeemer. The story of Tristram and Iseult is probably the oldest of the subsidiary Arthurian legends, and we find the richest versions in fragments of French poems and fuller German compositions. The English literature of Tristram is very meagre. The whole story bears every mark of remote pagan and Celtic origin. Finally, as an example of how independent legends were caught into the great Arthurian system, let us note the Celtic fairy tale of Lanval, best known in the lay of Marie de France (c. 1175), a fascinatingly obscure personality who, possibly English, wrote in French. And as a postcript we may note that the sceptical twentieth century has nevertheless not lagged behind the Middle Ages or the Victorians in its devotion to King Arthur, as witness the Arthurian trilogy Merlin, Lancelot and Tristram (1917-27) by the American poet Edwin Arlington Robinson, the reshaping of the Grail legend in John Cowper Powys's Glastonbury Romance (1933), Charles Williams's Taliessin through Logres (1938) and The Reign of the Summer Stars (1944), and T. H. White's trilogy The Once and Future King (1958), which inspired the American stage and film success Camelot.

 

Through all the various strains of Arthurian story we hear "the horns of Elfland faintly blowing"; and it is quite possible that, to the Celtic wonderland, with its fables of the "little people", we owe much of the fairy-lore which has, thorugh Shakespeare and poets of lower degree, enriched the literature of England. Chaucer, at any rate, seemed to have no doubt about it, for he links all that he knew, or cared to know, about the Arthurian stories with his recollections of the Fairy world: 

In th' oldë dayës of the King Arthoúr,
Of which that Britons speken greet honóur,
Al was this land fulfild of fayerye;
The elf-queen with hir joy companye
Dauncëd ful ofte in many a greneë mede. 

So let us believe with the poets, and leave the British Arthur in his unquestioned place as the supreme king of Romance.

 

 

__________________________

 

 The Arthurian tradition continues through the Renaissance and the Victorian age into the twentieth century. Here is John Boorman's film Excalibur (1981): https://jexmovie.com/watch_Excalibur_1981.html

 

La structure de La Mort le roi Artu

The Faerie Queene (Oxford Companion) (NIVEL AVANZADO)

 

From The Oxford Companion to English Literature, ed. Margaret Drabble.

The Faerie Queene, the greatest work of *Spenser, of which the first three books were published 1590, and the second three 1596.

The general scheme of the work is proposed in the author's introductory letter addressed to *Ralegh. By the Faerie Queene the poet signifies Glory in the abstract and *Elizabeth I in particular (who also figures under the names of *Britomart, *Belphoebe, *Mercilla, and *Gloriana). Twelve of her knights, the 'patrons' or examples of 12 different virtues, each undertake an adventure, on the 12 successive days of the queen's annual festival, and an account of their origins was to have been given in the last of 12 books. Prince Arthur symbolizes 'magnificence', in the Aristotelian sense (says the author) of the perfection of all the other virtues (he must have meant not 'magnificence' but 'magnanimity', or 'gentlemanliness'). Arthur has a  vision of the Faerie Queene and, determining to seek her out, is brought into the adventures of the several knights and carries them to a successful issue. This explanation, given in the introduction,does not appear from the poem itself, for the authors starts at once with the adventures of the knights; as we have it the poem does not conform to his scheme. Of the six books Spenser published, the subjects are:

I, the adventures of the *Redcrosse Knight of Holiness (the Anglican Church), the protector of the virgin *Una (truth, or the true religion), and the wiles of *Archimago and *Duessa.

the Redcrosse Knight, in Bk I of Spenser's *Faerie Queene, St. George, the patron saint of England. He is separated from *Una (the true religion) by the wiles of *Archimago (hypocrisy) and is led away by *Duessa (the Roman Catholic religion) to the House of Pride. He drinks of an enchanted stream, loses his strength, and is made captive by the giant *Orgoglio (pride). Orgoglio is slain by Prince *Arthur, and Una leads her knight to the House of Holiness, to learn repentance and be healed. The Knight and Una are finally betrothed, after he has killed the dragon which besieged her parents' castle.

Una, in Bk. I of Spenser's *Faerie Queene, typifies singleness of the true religion. She is separated from the *Redcrosse Knight of Holiness (the Anglican Church) by the wiles of *Archimago, but meets and is protected by a lion, until the latter is killed by *Sansloy, who carries Una off to a forest. She is rescued by fauns and satyrs, and is finally united to the Redcrosse Knight.

Archimago, or Archimage, in Spenser's *Faerie Queene, is the great enchanter, symbolizing Hypocrisy, who deceives *Una by assuming the appearance of the *Redcrosse Knight (I.i). His deceits are exposed and Archimago is 'layd full low in dungeon deepe' (I.xii.36). From this he emerges in Bk II to seek vengeance on Sir *Guyon for what he has suffered at the hands of the Redcrosse Knight, and employs *Braggadochio for the purpose. 

Duessa, in Spenser's *Faerie Queene, the daughter of Deceit and Shame, Falsehood in general, in Bk I signifies in particular the Roman Catholic Church, and in V.ix, Mary Queen of Scots.

Orgoglio (Italian, signifying haughtiness), in Spenser's *Faerie Queene (I. vii, viii) captures the *Redcrosse Knight, and is slain by Prince *Arthur.

Arthur, Prince, in Spenser's *Faerie Queene. He symbolizes 'Magnificence' (Magnanimity), in the Aristotelian sense of the perfection of all the virtues. He enters into the adventures of the several knights and brings them to a fortunate conclusion. His chief adventures are the slaying of the three-bodied monster *Geryoneo and the rescue from him of Belge (the Netherland) V. x, xi); and, jointly with *Artegall, the slaying of the *soldan (Philip II) in his 'charret hye' (the Armada) (V. viii).

Sansfoy, Sansjoy, and Sansloy, three brothers in Spenser's *Faerie Queene (I. ii. 25 et seq.). Sansfoy ('faithless') is slain by the *Redcrosse Knight, who also defeats Sansjoy ('joyless') but the latter is saved from death by *Duessa. Sansloy ('lawless') carries off *Una and kills her lion (I. iii). This incident is supposed to refer to the suppression of the Protestant religion in the reign of Queen Mary.

II, the adventures of Sir *Guyon, the Knight of Temperance, his encounters with *Pyrochles and *Cymochles, his visit to the Cave of *Mammon and the House of Temperance, and his destruction of *Acrasia and her *Bower of Bliss. Canto x of this Book contains a chronicle of British rulers from *Brut to Elizabeth;

Guyon, Sir, in Spenser's *Faerie Queene, the knight of Temperance. His various exploits, the conquest of *Pyrochles, the visit to the cave of *Mammon, the capture of *Acrasia, and the destruction of her *Bower of Bliss, are related in II. v-xii.

Braggadochio, in Spenser's *Faerie Queene, the typical braggart. His adventures and final exposure and humiliation occur in II. iii; III. viii, x; IV iv, v, ix; V. iii. Cf. *Trompart.

Trompart, in Spenser's *Faerie Queene (II. iii),

wylie witted, and growne old

In cunning sleights and practick knavery.

attends *Braggadochio as his squire, and with him is finally exposed and beaten out of court.

Pyrochles, in Spenser's *Faerie Queene, symbolizes rage. He is the brother of *Cymochles, the son of 'old Acrates and Despight' (II. iv. 41). On his shield is a flaming fire, with the words 'Burnt do I burne'. He is overcome by Sir *Guyon (II. v), and tries to drown himself in a lake to quench his flames. He is rescued and healed by *Archimago (II. vi. 42-51), and finally killed by Prince *Arthur (II. viii).

Cymochles, in Spenser's *Faerie Queene (II. v, vi, and viii), 'a man of rare redoubted might', given all to lust and loose living, the husband of *Acrasia and brother of *Pyrochles. He sets out to avenge on Sir *Guyon the supposed death of his brother, but *Phaedria intervenes. He is finally slain by Prince *Arthur

Phaedria, in Spenser's *Faerie Queene (II. vi), the Lady of the Idle Lake, symbolizing immodest mirth.

Mammon, theCave of, described in Spenser's *Faerie Queene (II. vii). It is the treasure-house of the god of wealth, visited by Sir Guyon. Milton in his *Areopagitica uses the example of Spenser making Guyon visit the cave of Mammon, 'that he might see and know, and yet abstain'.

Acrasia, in Spenser's *Faerie Queene, II. xii, typifies Intemperance. She is captured and bound by Sir *Guyon, and her *Bower of Bliss destroyed.

Bower of Bliss, the, in Spenser's *Faerie Queene (II. xii), the home of *Acrasia, demolished by Sir *Guyon.

 

III, the legend of Chastity, exemplified by *Britomart and *Belphoebe;

Britomart, the heroine of Book III of Spenser's *Faerie Queene, the daughter of King Ryunce of Britain and the female knight of chastity. She has fallen in love with *Artegall, whose image she has seen in a magic mirror, and the poet recounts her adventures in her quest for him. She is the most powerful of several types of Queen Elizabeth in the poem. 

Belphoebe, in Spenser's *Faerie Queene, the chaste huntress, daughter of the nymph Chrysogone and twin sister of *Amoret; she partly symbolizes Queen Elizabeth. Belphoebe puts *Braggadochio to flight (II. iii), finds herbs to heal the wounded *Timias ('whether it divine Tobacco were, / Or Panachae, or Polygony', III. v), and rescues Amoret from *Corflambo (IV. vii).

Artegall, Sir, in Spenser's *Faerie Queene, V, the champion of Justice. *Britomart, to whom his image has been revealed by a magic mirror, is in love with him, and her quest of him ends in their union. Representing Lord Grey de Wilton, he undertakes the rescue of Irena (Ireland) from the tyrant Grantorto. Jointly with Prince *Arthur he slays the *soldan (Philip II of Spain). His name perhaps signifies 'equal to Arthur'.

Timias, in Spenser's *Faerie Queene, Prince *Arthur's squire, may represent *Ralegh. When wounded (III. v), he is healed by *Belphoebe. The incident of Timias and *Amoret, in IV vii. 35 and 36, may allude to Ralegh's relations with Elizabeth Throckmorton.

Amoret, in Spenser's *Faerie Queene, III. vi, xii and IV. vii, daughter of the nymph Chrisogone and twin sister of *Belphoebe. She is 'Of grace and beautie noble Paragone', and has been married to Sir *Scudamour, but carried off immediately after by the enchanter *Busirane and imprisoned by him until released by *Britomart. *Timias loves her, but being reproved by Belphoebe leaves her. This incident refgers to the displeasure of Queen Elizabeth at the relations of  *Ralegh with Elizabeth Throckmorton.

Busirane, in Spenser's *Faerie Queene (III. xi and xii) the 'vile Enchaunter' symbolizing unlawful love. He is struck down by *Britomart in his castle and forced to release *Amoret. On the door of one of the rooms of the castle was written:

Be bold, be bold, and every where Be bold.

But on another iron door,

Be not too bold.

 

IV, the legend of *Triamond and *Cambell, exemplifying Friendship; together with the story of *Scudamour and *Amoret.

Triamond, in Spenser's *Faerie Queene (IV. iii, iv), the Knight of Friendship. After an inconclusive fight with *Cambello  in the contest to decide which of her suitors *Canacee (Cambello's sister) is to be awarded, Triamond and Cambello swear eternal friendship. IN the tournament arranged by *Satyrane, Triamond, though wounded, returns to rescue Cambello. He marries Canacee.

Cambell, or Cambello, the name given by Spenser in The Faerie Queene, IV. iii, to *Cambalo, whose tale he borrows from 'Dan Chaucer, well of English undefyled', and completes. Cambell is brother of *Canacee, for whom there are many suitors. It is arranged that the stronges of these, three brothers, shall fight with Cambell and the lady be awarded to the victor. Two of the brothers are defeated: the contest between the third, *Triamond, and Cambell is undecided, each wounding the other.They are reconciled by Cambina, Triamond's sister; Canacee is awarded to Triamond and Cambell marries Cambina. The magic ring of Canacee in the 'Squire's Tale' reappears in the Faerie Queene, with the power of healing wounds.

Canacee, the daughter of King Cambuscan in Chaucer's 'Squire's Tale' (see CANTERBURY TALES, 11) and in Spenser's *Faerie Queene, Bk IV. 

Cambalo, one of the two sons of King Cambuscan, in Chaucer's 'Squire's Tale': see CANTERBURY TALES, 11; see also *Cambell for the continuation of his story in Spenser's *Faerie Queene.

V, the adventures of *Artegall, the Knight of Justice, in which allegorical reference is made to various historical events of the reign of Queen Elizabeth: the defeat of the Spaniards in the Netherlands, the recantation of Henry IV of France, the execution of *Mary Queen of Scots, and the administration of Ireland by Lord Grey de Wilton;

soldan (from the Arabic sultan). The soldan or souldan, in Spenser's *Faerie Queene (V. viii) represents Philip II of Spain. He is encountered by Prince *Arthur and Sir *Artegall with a bold defiance from Queen *Mercilla (Elizabeth), and the combat is undecided until the prince unveils his shield and terrifies the soldan's horses, so that they overturn his chariot and the soldan is torn 'all to rags'. The unveiling of the Shield signifies divine interposition.

Geryoneo, in Spenser's *Faerie Queene (V. x and xi), a three-bodied giant who represent's Philip II's power which controlled Spain, Portugal, and the Low Countries.

Mercilla, in Spenser's *Faerie Queene (V., viii), 'a mayden Queene of high renowne' (Queen *Elizabeth I), whose crown the *soldan seeks to subvert.

VI, the adventures of Sir *Calidore, exemplifying Courtesy. 

Calidore, Sir, the Knight of Courtesy, the hero of Bk VI of Spenser's *Faerie Queene. He pursues and chains the *Blatant Beast. One of Keats's earliest poems, the fragment 'Young Calidore is paddling o'er the lake' (1816) was inspired by him.

Blatant Beast, in Spenser's *Faerie Queene, Bk VI, a monster, the personification of the calumnious voice of the world, begotten of Envy and Detraction. Sir *Calidore pursues it, finds it despoiling monasteries and defiling the church, overcomes it, and chains it up. But finally it breaks the chain, 'So now he raungeth through the world againe.' Cf. *Questing Beast. (Glatysaunt Beast, the creature in Malory's *Morte D'Arthur which is the original of *Spenser's 'blatant beast'. The word is from an Old French term meaning 'baying', 'barking'. In Malory it is pursued by Palomydes the Saracen).

There is also a fragment on *Mutabilitie, being the sixth and seventh cantos of the legend of Constancie, which was to have formed the seventh Book. This fragment contains a charming description of the seasons and the months.

'Mutabilitie Cantos', name given to the fragmentary 'Book VII' of Spenser's *Faerie Queene: two cantos only, first published with the folio edition of The Faerie Queene in 1609. They describe the challenge of the Titaness Mutabilitie to the cosmic government of Jove. (The first canto includes the charming topographical fable of Faunus and Molanna, which reflects Spenser's affection for his Irish home.) The goddess Nautre vindicates Jove's rule, displaying its orderly beauty in a procession of Seasons and Months, asserting finally that natural things 'are not changed from their first estate / but by their change their being doe dilate'. The cantos can be seen as an epilogue to The Faerie Queene, ending with the poet's prayer. 

The work as a whole, modelled to some extent on the *Orlando furioso of Ariosto, suffers from a certain monotony, and its chief beauties lie in the particular episodes with which the allegory is varied and in descriptions, such as those of the Cave of Mammon and the temptation of Sir Guyon by the Lady of the Idle Lake, in Bk. II. The meaning of many of the allusions, which must have added to the interest of the work for contemporaries, is now lost. The poem is written in the stanza invented by Spenser (and since utilized by James *Thomson, *Keats, *Shelley, and *Byron), in which a ninth line of twelve syllables is added to eight lines of ten syllables, rhyming  a b a b b c b c c.

Edmund Spenser

—oOo—

The Arthurian Legend (NIVEL AVANZADO)

(From George Sampson's Concise Cambridge History of English Literature, 3rd ed.).

XII. THE ARTHURIAN LEGEND


The mystery of Arthur's end is not darker than the mystery of his beginning. While the ancient tradition is everywhere, the facts and records are nowhere. The earliest English Arthurian literature is singularly meagre and undistinguished. The romantic exploitation of "the matter of Britain" was the achievement, mainly, of French writers, and, indeed, some critics would have us attach little importance to British influence on the development of the Arthurian legend. The "matter of Britain" very quickly became international property—a vast composite body of romantic tradition, which European poets and story-tellers of every nationality drew upon and used for their own purposes. Arthur was non-political and could be idealised without offence to any ruling family. The British king himself faded more and more into the background, and became, in time, but the phantom monarch of a featureless "land of faëry". His knights quite overshadow him in the later romances; but they, in their turn, undergo the same process of denationalization, and appear as natives of some region of fantasy, moving about in a golden atmosphere of illusion. The course of the story is too obscure to be made clear in a brief summary which must necessarily ignore the hints and half-tones that count for much in the total effect, and which can take no account of French, German and Italian contributions to the legend. 

Old English literature, even the Chronicle, knows nothing whatever of Arthur. To find any mention of him earlier than the twelfth century we must turn to Wales, where, in a few obscure poems, a difficult prose story, and two dry Latin chronicles we find what appear to be the first written references, meagre and casual, but indicating a tradition already ancient. The earliest is in Historia Britonum, which, as we have seen (p. 9), dates from 679, though the existing recension of Nennius was made in the ninth century. The reference of Nennius to Arthur occurs in a very short account of the conflict that culminated in Mount Badon, usually dated 516, though some would put it as early as 470. Gildas, who was a youth in 516, also mentions Mount Badon; but the only hero he names is "Ambrosius Aurelianus". In Nennius the hero has become "The magnanimous Arthur", who was twelve times victorious, last of all at Mount Badon; but he is a military leader, not a king—or, perhaps, as the anthropologist Lord Raglan thinks, "a god of war".

The poems of the ancient Welsh bards have been discussed almost as fiercely as the poems of Ossian; yet there is no doubt that together with much of late and doubtful invention they contain something of indisputably ancient tradition. But the most celebrated of the early Welsh bards know nothing of Arthur. Llywarch Hên, Taliesin and Aneirin (sixth or seventh century?) never mention him; to the first to Urien, Lord of Rheged, is the most imposing figure among all the native warriors. There are, indeed, only five ancient poems that mention Arthur at all. The reference most significant to modern readers occurs in the Stanzas of the Graves contained in the Black Book of Caermarthen (twelfth century): "A grave there is for March (Mark), a grave for Gwythur, a grave for Gwgawn of the Ruddy Sword; a mystery is the grave of Arthur." Another stanza mentions both the fatal battle of Camlan and Bedwyr (Bedivere) , who shares with Kai (Kay)  pre-eminence among Arthur's followers in the primitive Welsh fragments of Arthurian fable. Another Arthurian knight, Geraint, is the hero of a poem that appears both in The Black Book of Caermarthen and in the Red Book of Hergest (fourteenth century). One of the eighteen stanzas just mentions Arthur by name. The Chair of the Sovereign in The Book of Taliesin (thirteenth century) alludes obscurely to Arthur as a "Warrior sprung from two sources". Arthur, Kai and Bedwyr appear in another poem contained in The Black Book; but the deed celebrated in the almost incomprehensible lines of this poem are the deeds of Kai and Bedwyr. Arthur recedes still further into the twilight of myth in the only other Old Welsh poem where any extended allusion is made to him, a most obscure piece of sixty lines contained in The Book of Taliesin. Here, as Matthew Arnold says, "The writer is pillaging an antiquity of which he does not fully possess the secret". Arthur sets upon various expeditions over perilous seas in his ship Pridwen; one of them has as its object the rape of a cauldron belonging to the King of Hades. Ancient British poetry has nothing futher to tell us of this mysterious being, who is, even at a time so remote, a vague, impalpable figure of legend.

The most remarkable fragment of the existing early Welsh literature about Arthur is the prose romance of Kulhwch and Olwen, assigned by most authorities to the tenth century. It is one of the stories that Lady Charlotte Guest translated from the Red Book of Hergest and published in The Mabinogion (1838). Of the twelve "Mabinogion", or stories for  the young (the word has a special meaning but is loosely used), five deal with Arthurian themes. Two, Kullwch and Olwen and The Dream of Rhonabury, are British; the other three are based on French originals. In The Dream of Rhonabury, Arthur and Kai appear, Mount Badon is mentioned, and the fatal battle of Camlan with Mordred is referred to in some detail. The Arthur of Kullwch and Olwen bears little resemblance to the mystic king of later legend, except in the magnitude of his warrior retinue, in which Kai and Bedwyr are leaders. Arthur, with his dog Cavall, joins  in the hunt for the boar Twrch Trwyth through Ireland, Wales and Cornwall, and his many adventures are clearly relics of ancient wonder-tales of bird and beast, wind and water. The wild and even monstrous Arthur of this legend is equally remote from Nennis and from Malory; but the charm of the story is something that the long-winded Continental writers could not achieve.

The serious historian William of Malmesbury, who wrote a few years earlier than Geoffrey of Monmouth, refers to Arthur as a hero worthy to be celebrated in authentic history and not in idle fictions. He adds, "The sepulchre of Arthur is nowhere to be seen, whence ancient ballads fable that he is to come." Plainly, Arthur was already a popular tradition. The transformation of the British Arthru into a romantic hero of European renown was the result of contact between British and Norman culture. No doubt the Normans got their first knowledge of Arthurian story from Brittany; but the real contact was made in Britain itself, where the Normans had succeeded in establishing intimate relations with the Welsh. 

Thus the true father of the Arthurian legend is Geoffrey of Monmouth. How much he derived from ancient sources we shall probably never find out; but we can reasonably assume that he did not invent the fabric of the story, however fancifully he embroidered it. And, after all, the real point is not how much he invented, but how he used his matter, historical or legendary. Geoffrey had the art of making the improbable seem probable, and his ingenious blending of fact and fable not only gave his book a great success with readers, but made Arthur and Merlin the romantic property of literary Europe. So it has been urged that we shoul take Geoffrey's compilation, not as a national history, but as a national epic, doing for Britain what the Aeneid did for Rome, and finding in the mythical Brutus, great-grandson of Aeneas, the name-giving founder of the British state. In such a story all the legends have their natural place. Geoffrey's History is thus the first Brut—for so in time the records of early British kings with this mythical starting-point came to be called. The first few books of Historia Regum Britanniae relate the deeds of Arthur's predecessors. At the close of the sixth book the weird figure of Merlin appears on the scene, and romance begins to usurp the place of sober history. Arthur is Geoffrey's hero. He knows nothing of Tristam, Lancelot or the Holy Grail; but it was he who, in the Mordred and Guenevere episode, first sugggested the love-tragedy that was to become one of the world's imperishable romances.

In the Latin Life of Gildas written at about the time of Geoffrey's death there is a further interesting allusion. Arthur is described as being engaged in deadly feud with the King of Scotland, whom he finally kills; he subsequently comes into collision with Melwas, the wicked king of the "summer country" or Somerset, who had, unknown to him, abducted his wife Guenevere, and concealed her in the abbey of Glastonia. This seems to be the earliest appearance o the tradition which made Melwas (the Mellyagraunce of Malory) an abductor of Guenevere. Some of the Welsh traditions are used in Peacock's delightful story The Misfortunes of Elphin, Melwas and the abduction both appearing.

The value of the Arthurian story as matter for verse was first perceived in France; and the earliest surviving standard example of metrical narrative or romance derived directly or indirectly from Geoffrey is Li Romans de Brut by Wace, who, born in Jersey, lived at Caen and Bayeux, and completed his poem in 1155. Some of the matter is independent of Geoffrey's History. Thus, it is Wace, not Geoffrey, who first tells of the Round Table. The poem, 15,000 lines long, written in lightly rhyming verse and in a familiar language, was very popular. 

Wace's Brut, possibly in some form not now existing, or in some blend with other chronicles, provided the foundation of Layamon's Brut, the only English contrubution of any importance to Arthurian literature before the fourteenth century; for, so far, all the matter discussed is in Welsh or Latin or French. Layamon added something personal to the essntially English character of his style and matter, and he gives us as well details not to be found in Wace or Geoffrey. Thus, he amplifies the story of the Round Table and narrates the dream of Arthur, not to be found in Geoffrey or Wace, which foreshadows the treachery of Mordred and Guenevere, and disturbs the king with a sense of impending doom. Layamon's enormous and uncouth epic has the unique distinction of being the first celebration of "the matter of Britain" in the English tongue.

Not the least remarkable fact about the story of King Arthur is its rapid development as the centre of many gravitating stories, at first quite independent, but now permanently part of the great Arthurian system. Thus we have the stories of Merlin, of Gawain, of Lancelot, of Tristram, of Perceval, and of the Grail. A full account of these associated legends belongs to the history of French and German, rather than of English, literature, and is thus outside our scope. In origin Merlin may have been a Welsh wizard-bard, but he makes his first appearance in Geoffrey and quickly passes into French romance, from which he is transferred to English story. Gawain is the hero of more episodic romances than any other British knight; when he passes into French story he begins to assume his Malorian (and Tennysonian) lightness of character. He is the hero of the finest of all Middle English metrical romances, Sir Gawayne and the Grene Knight, and, as Gwalchmai, he plays a large part in the story called Peredur the Son of Evrawc, included in the Mabinogion. Peredur is Perceval, and the story comes from French romance. 

The love of Lancelot for Guenevere is now a central episode of the Arthurian tragedy, but Lancelot is actually a late-comer into the legend, and his story is told in French. The book to which Chaucer refers in The Nun's Priest's Tale and Dante in the famous passage of Inferno VI is perhaps the great prose Lancelot traditionally attributed to Walter Map (see p. 21). The Grail story is another complicated addition to the Arthurian cycle. Out of the quest for various talismans, no doubt a part of Celtic tradition, developed the story of Perceval, as told in French and German romances; and the "Grail", a primitive symbol, proved capable of semi-mystical religious interpretation, and came to be identified with the cup of the Last Supper in which Joseph of Arimathea treasured the blood that flowed from the wounds of the Redeemer. 

The story of Tristram and Iseult is probably the oldest of the subsidiary Arthurian legends, and we find the richest versions in fragments of French poems and fuller German compositions. The English literature of Tristram is very meagre. The whole story bears every mark of remote pagan and Celtic origin. Finally, as an example of how independent legends were caught into the great Arthurian system, let us note the Celtic fairy tale of Lanval, best known in the lay of Marie de France (c. 1175), a fascinatingly obscure personality who, possibly English, wrote in French. And as a postcript we may note that the sceptical twentieth century has nevertheless not lagged behind the Middle Ages or the Victorians in its devotion to King Arthur, as witness the Arthurian trilogy Merlin, Lancelot and Tristram (1917-27) by the American poet Edwin Arlington Robinson, the reshaping of the Grail legend in John Cowper Powys's Glastonbury Romance (1933), Charles Williams's Taliessin through Logres (1938) and The Reign of the Summer Stars (1944), and T. H. White's trilogy The Once and Future King (1958), which inspired the American stage and film success Camelot.

Through all the various strains of Arthurian story we hear "the horns of Elfland faintly blowing"; and it is quite possible that, to the Celtic wonderland, with its fables of the "little people", we owe much of the fairy-lore which has, through Shakespeare and poets of lower degree, enriched the literature of England. Chaucer, at any rate, seemed to have no doubt about it, for he links all that he knew, or cared to know, about the Arthurian stories with his recollections of the Fairy world:

In th' oldë dayës of the King Arthoúr,
Of which that Britons speken greet honóur,
Al was this land fulfild of fayerye;
The elf-queen with hir joy companye
Dauncëd ful ofte in many a greneë mede.

So let us believe with the poets, and leave the British Arthur in his unquestioned place as the supreme king of Romance.

La structure de La Mort le roi Artu

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