The question is the suggesting of novel-romance elements which forms the aesthetic solace of this ethical sin. It should be seen at once that the Guinevere of the Vulgate, and her fault or fate, provide a character and career of no small complexity. It has been already said that to represent her as after a fashion intercepted by love for Lancelot on her way to Arthur, like Iseult of Ireland or Margaret of Anjou, is, so to speak, as unhistorical as it is insufficiently artistic. We cannot, indeed, borrow Diderot's speech to Rousseau and say, "C'est le pont aux anes," but it certainly would not have been the way of the Walter whom I favour, though I think it might have been the way of the Chrestien that I know. Guinevere, when she meets her lover, rescuer, and doomsman, is no longer a girl, and Lancelot is almost a boy. It is not, in the common and cheap misuse of the term, the most "romantic" arrangement, but some not imperfect in love-lore have held that a woman's love is never so strong as when she is past girlhood and well approaching age, and that man's is never stronger than when he is just not a boy. Lancelot himself has loved no woman (except his quasi-mother, the Lady of the Lake), and will love none after he has fulfilled the Dead Shepherd's "saw of might." She _has_ loved; dispute this and you not only cancel gracious scenes of the text, but spoil the story; but she has, though probably she does not yet know it, ceased to love,[56] and not without some reason. To say no more about Arthur's technical "blamelessness," he has, by the coming of Lancelot, ceased to be altogether heroic. Though never a mere petulant and ferocious dotard as the _Chansons_ too often represent Charlemagne, he is very far from being a wise ruler or even baron. He makes rash promises and vows, accepts charges on very slight evidence, and seems to have his knights by no means "in hand." So, too, though never a coward or weakling, he seems pretty nearly to have lost the pluck and prowess which had won Guinevere's love under the walls of Carmelide, and of which the last display is in the great fight with his sister's lover, Sir Accolon. All this may not excuse Guinevere's conduct to the moralist; it certainly makes that conduct artistically probable and legitimate to the critic, as a foundation for novel-character.

Her lover may look less promising, at least at the moment of presentation; and indeed it is true that while "la donna e _im_mobile,"

in essentials and possibilities alike, forms of man, though never losing reality and possibility, pa.s.s at times out of possible or at least easy recognition. Anybody who sees in the Lancelot of the foregoing scene only a hobbledehoy and milksop who happens to have a big chest, strong arms, and plenty of mere fighting spirit, will never grasp him. Hardly better off will be he who takes him--as the story _does_ give some handles for taking him--to be merely one of the too common examples of humanity who sin and repent, repent and sin, with a sort of Americanesque notion of spending dollars in this world and laying them up in another. Malory has on the whole done more justice to the possibilities of the Vulgate Lancelot than he has to Guinevere, and Tennyson has here improved on Malory. He has, indeed, very nearly "got"

Lancelot, but not quite. To get him wholly would have required Tennyson for form and Browning for a.n.a.lysis of character; while even this _mistura mirabilis_ would have been improved for the purpose by touches not merely of Morris and Swinburne, but of lesser men like Kingsley and even George Macdonald. To understand Lancelot you must previously understand, or by some kind of intuition divine, the mystical element which his descent from the Graal-Wardens confers; the essential or quintessential chivalric quality which his successive creators agreed in imparting to him; the all-conquering gift so strangely tempered by an entire freedom from the boasting and the rudeness of the _chanson_ hero; the actual checks and disasters which his cross stars bring on him; his utter loyalty in all things save one to the king; and last and mightiest of all, his unquenchable and unchangeable pa.s.sion for the Queen.

Hence what they said to him in one of his early adventures, with no great ill following, "Fair Knight, thou art unhappy," was always true in a higher sense. He may have been Lord of Joyous Gard, in t.i.tle and fact; but his own heart was always a Garde Douloureuse--a _cor luctificabile_--pillowed on idle triumphs and fearful hopes and poisoned satisfactions, and bafflements where he would most fain have succeeded. He has almost had to have the first kiss forced on him; he is refused the last on grounds of which he himself cannot deny the validity. Guinevere is a tragic figure in the truest and deepest sense of the term, and, as we have tried to show, she is amply complex in character and temperament. But it is questionable whether Lancelot is not more tragic and more complex still.

[Sidenote: Books.]

It may perhaps without impropriety be repeated that these are not mere fancies of the writer, but things reasonably suggested by and solidly based upon "the French books," when these later are collated and, so to speak, "checked" by Malory and the romances of adventure branching off from them. But Arthur and Guinevere and Lancelot by no means exhaust the material for advanced and complicated novel-work--in character as well as incident--provided by the older forms of the Legend. There is Gawain, who has to be put together from the sort of first draft of Lancelot which he shows in the earlier versions, and the light-o'-love opposite which he becomes in the later, a contrast continued in the Amadis and Galaor figures of the Spanish romances and their descendants. There is the already glanced at group of Arthur's sisters or half-sisters, left mere sketches and hints, but most interesting. Not to be tedious, we need not dwell on Palomides, a very promising Lancelot unloved; on Lamoracke, left provokingly obscure, but shadowing a most important possibility in the unwritten romance of one of those very sisters; Bors, of whom Tennyson has made something, but not enough, in the later _Idylls_; and others. But it is probably unnecessary to carry the discussion of this matter further. It has been discussed and ill.u.s.trated at some length, because it shows how early the elements, not merely of romance but of the novel in the fullest sense, existed in French literature.

[_Here follows the n.o.ble pa.s.sage above referred to between Lancelot and King Bagdemagus after the death of Meleagraunce, whose cousin Lancelot has just slain in single combat for charging him with treason. He has kept his helm on, but doffs it at the King's request._]

And when the King saw him he ran to kiss him, and began to make such joy of him as none could overgo. But Lancelot said, "Ah, Sir! for G.o.d's sake, make no joy or feast for me. Certainly you should make none, for if you knew the evil I have done you, you would hate me above all men in the world." "Oh! Lancelot," said he, "tell it me not, for I understand[57] too well what you would say; but I will know[57] nothing of it, because it might be such a thing" as would part them for ever.

FOOTNOTES:

[14] The subdivision of the _gestes_ does not matter: they were all connected closely or loosely--except the Crusading section, and even that falls under the Christian _v._ Saracen grouping if not under the Carlovingian. The real "outside" members are few, late, and in almost every case unimportant.

[15] There are comic _episodes_ elsewhere; but almost the whole of this poem turns on the _gabz_ or burlesque boasts of the paladins.--It may be wise here to antic.i.p.ate an objection which may be taken to these remarks on the _chansons_. I have been asked whether I know M. Bedier's handling of them; and, by an odd coincidence, within a few hours of the question I saw an American statement that this excellent scholar's researches "have revised our conceptions" of the matter. No one can exceed me in respect for perhaps the foremost of recent scholars in Old French. But my "conception" of the _chansons_ was formed long before he wrote, not from that of any of his predecessors, but from the _chansons_ themselves. It is therefore not subject to "revisal" except from my own re-reading, and such re-reading has only confirmed it.

[16] It is not of course intended to be preferred to the far more widely known tale in which the heroine bears the same name, and which will be mentioned below. But if it is less beautiful such beauty as it has is free from the slightest _morbidezza_.

[17] And to this introduction our dealings with it here may be confined.

The accounts of the siege itself are of much less interest, especially in connection with our special subject.

[18] A sort of companion handbook to the first part of this volume will be found in the present writer's sketch of twelfth and thirteenth century European literature, under the t.i.tle of _The Flourishing of Romance and the Rise of Allegory_, in Messrs. Blackwood's _Periods of European Literature_ (Edinburgh and London, 1897), and another in his _Short History of French Literature_ (Oxford, 7th ed. at press).

[19] It is scarcely rash to say that Cressid is the first representative of this dread and delightful ent.i.ty, and the ancestress of all its embodiments since in fiction, as Cleopatra seems to have been in history. No doubt "it" was of the beginning, but it lacked its _vates_.

Helen was different.

[20] _Faerie Queene_, v. iv. 1-20.

[21] I hope I may be allowed to emphasise the disclaimer, which I have already made more than once elsewhere, of the very slightest disrespect to this admirable scholar. The presumption and folly of such disrespect would be only inferior to its ingrat.i.tude, for the indulgence with which M. Paris consistently treated my own somewhat rash adventures in Old French was extraordinary. But as one's word is one's word so one's opinion is one's opinion.

[22] Sometimes _de_, but _a_ seems more a.n.a.logical.

[23] Chrestien was rather like Chaucer in being apt not to finish. Even the _Charette_ owes its completion (in an extent not exactly determinable) to a certain G.o.dfrey de Lagny (Laigny, etc.).

[24] Of course it is easy enough to a.s.sign explanations of it, from the vehicle of criminals to the scaffold downwards; but it remains a convention--very much of the same kind as that which ordains (or used to ordain) that a gentleman may not carry a parcel done up in newspaper, though no other form of wrapping really stains his honour.

[25] Neither he nor Malory gives one of the most gracious parts of it--the interview between Lancelot and King Bagdemagus, _v. inf._ p. 54.

[26] Material (chamois skin)? or garment? Not common in O.F., I think, for _camisia_; but Spenser (_Faerie Queene_, II. iii. xxvi.) has (as Prof. Gregory Smith reminds me) "a silken _camus_ lilly whight."

[27] As does Pyramus's--or Bottom's--objection to the wall.

[28] This part of the matter has received too little attention in modern studies of the subject: partly because it was clumsily handled by some of the probably innumerable and certainly undiscoverable meddlers with the Vulgate. The unpopularity of Lancelot and his kin is not due merely to his invincibility and their not always discreet partisanship. The older "Queen's knights" must have naturally felt her devotion to him; his "undependableness"--in consequence not merely of his fits of madness but of his chivalrously permissible but very inconvenient habit of disguising himself and taking the other side--must have annoyed the whole Table. Yet these very things, properly managed, help to create and complicate the "novel" character. For one of the most commonly and not the least justly charged faults of the average romance is its deficiency in combined plot and character-interest--the presence in it, at most, of a not too well-jointed series of episodes, possibly leading to a death or a marriage, but of little more than chronicle type. This fault has been exaggerated, but it exists. Now it will be one main purpose of the pages which follow to show that there is, in the completed Arthuriad, something quite different from and far beyond this--something perhaps imperfectly realised by any one writer, and overlaid and disarranged by the interpolations or misinterpretations of others, but still a "mind"

at work that keeps the "ma.s.s" alive, and may, or rather surely will, quicken it yet further and into higher forms hereafter. (Those who know will not, I hope, be insulted if I mention for the benefit of those who do not, that the term "Vulgate" is applied to those forms of the parts of the story which, with slighter or more important variations, are common to many MSS. The term itself is most specially applied to the _Lancelot_ which, in consequence of this popularity throughout the later Middle Ages, actually got itself printed early in the French Renaissance. The whole has been (or is being) at last most fortunately reprinted by Dr. Sommer. See Bibliography.)

[29] This is another point which, not, I suppose, having been clearly and completely evolved by the first handler, got messed and muddled by successive copyists and continuators. In what seems to be the oldest, and is certainly the most consistent and satisfactory, story there is practically nothing evil about Viviane--Nimiane--Nimue, who is also indisputably identical with the foster-mother of Lancelot, the occasional Egeria (always for good) of Arthur himself, and the benefactress (this is probably a later addition though in the right key) of Sir Pelleas. For anybody who possesses the Power of the Sieve she remains as Milton saw her, and not as Tennyson mis-saw part of her. The bewitching of Merlin (who, let it be remembered, was an ambiguous person in several ways, and whose magic, if never exactly black, was sometimes a rather greyish or magpied white) was not an unmixed loss to the world; she seems to have really loved him, and to have faithfully kept her word by being with him often. He "could not get out" certainly, but are there many more desirable things in the outside world than lying with your head in the lap of the Lady of the Lake while she caresses and talks to you? "J'en connais des plus malheureux" as the French poet observed of some one in less delectable case. The author of the _Suite de Merlin_ seems to have been her first maligner. Tennyson, seduced by contrast, followed and exaggerated the worst view. But I am not sure that the most "irreligious" thing (as Coleridge would have said) was not the transformation of her into a mere married lady (with a chateau in Brittany, and an ordinary knight for her husband) which astounds us in one of the dullest parts of the Vulgate about Lancelot--the wars with Claudas.

[30] I have always thought that Spenser (whose dealings with Arthuriana are very curious, and have never, I think, been fully studied) took this function of Lancelot to suggest the presentation of his Arthur. But Lancelot has no--at least no continuous--fairy aid; he is not invariably victorious, and he is thoroughly human. Spenser's Prince began the "blamelessness" which grew more trying still in Tennyson's King. (In the few remarks of this kind made here I am not, I need hardly say, "going back upon" my lifelong estimate of Tennyson as an almost impeccable poet. But an impeccable poet is not necessarily an impeccable plot- and character-monger either in tale-telling or in drama.)

[31] Of this we have unusually strong evidence in the shape of MS.

interlineations, where the name "Percevale" is actually struck out and that of "Gala[h]ad" subst.i.tuted above it.

[32] I do not say that this is their _only_ character.

[33] Brittany had much earlier and much more tradition of chivalry than Wales.

[34] The only fault alleged against Lancelot's person by carpers was that he was something "pigeon"--or "guardsman"--chested. But Guinevere showed her love and her wit, and her "valiancy" (for so at least on this occasion we may translate _vaillant_) by retorting that such a chest was only big enough--and hardly big enough--for such a heart.

[35] Some of the later "redactors" of the Vulgate may perhaps have unduly multiplied his madnesses, and have exaggerated his early shyness a little. But I am not sure of the latter point. It is not only "beasts"

that, as in the great Theocritean place, "go timidly because they fear Cythera"; and a love charged with such dread consequences was not to be lightly embarked upon.

[36] The early _Sir Lancelot and Queen Guinevere_, though only external, is perfect. Many touches in the _Idylls_ other than the t.i.tle-one are suitable and even subtle; but the convert.i.te in that one is (as they say now) "unconvincing." The simpler att.i.tude of the rejection of Lancelot in the verse _Morte_ and in Malory is infinitely better. As for Morris's two pieces, they could hardly be better in themselves as poems--but they are scarcely great on the novel side.

[37] Disagreeable, that is to say, as a sister and sister-in-law. There must have been something attractive about her in other relations.

[38] Compare one of the not so very many real examples of Ibsen's vaunted psychology, the placid indifference to her own past of Gina in the _Wild Duck_.

[39] He had said that if he were a woman he would give Lancelot anything he asked; and the Queen, following, observes that Gawain had left nothing for a woman to say.

[40] _Nos pa.s.sions ont quelque chose d'infini_, says Bossuet.

[41] [Greek: helandros, heleptolis]. She had no opportunity of being [Greek: helenaus].

[42] Hawker's security as to Cornish men and things is, I admit, a little Bardolphian. But did he not write about the Quest? (This sort of argument simply swarms in Arthurian controversy; so I may surely use it once.) Besides there is no doubt about the blueness of the sea in question; though Anthony Trollope, in _Malachi's Cove_, has most falsely and incomprehensibly denied it.

[43] That this is a real sign of decadence and unoriginality, the further exaggeration of it in the case of the knights of the _Amadis_ cycle proves almost to demonstration.

[44] After the opening sentence I have dropped the historic present, which, for a continuance, is very irritating in English.

[45] Lancelot himself has told us earlier (_op. cit._ i. 38) that, though he neither knew nor thought himself to be a king's son, he was commonly addressed as such.

[46] Lionel (very young at the time) had wept because some one mentioned the loss of his inheritance, and Lancelot (young as he too was) had bidden him not cry for fear of landlessness. "There would be plenty for him, if he had heart to gain it."

[47] This technical t.i.tle is usually if not invariably given to Ywain and Gawain as eldest sons of recognised kings. "Prince" is not used in this sense by the older Romancers, but only for distinguished knights like Galahault, who is really a king.

[48] There is one admirable word here, _enbarnis_, which has so long been lost to French that it is not even in Littre. But Dryden's "_burnish_ into man" probably preserves it in English; for this is certainly not the other "burnish" from _brunir_.

[49] "Car moult en parole diroit la parole."

[50] Puzzled by the number of new thoughts and emotions.

[51] Ywain suggests one of the commonest things in Romance.