ARTHURIAN ROMANCES

Unrepresented in Malory's
"Morte d'Arthur"

No. III

ARTHURIAN ROMANCES

UNREPRESENTED IN MALORY'S
"MORTE D'ARTHUR"

Second Impression, 1910

The previous volumes which have been published in this series have contained versions belonging to what we may call the conscious period of romantic literature; the writers had not only a story to tell, but had also a very distinct feeling for the literary form of that story and the characterisation of the actors in it. In this present volume we go behind the work of these masters of their craft to that great mass of floating popular tradition from which the Arthurian epic gradually shaped itself, and of which fragments remain to throw here and there an unexpected light on certain features of the story, and to tantalise us with hints of all that has been lost past recovery.

All who have any real knowledge of the Arthurian cycle are well aware that the Breton lais, representing as they do the popular tradition and folk-lore of the people among whom they were current, are of value as affording indications of the original form and meaning of much of the completed legend, but of how much or how little value has not yet been exactly determined. An earlier generation of scholars regarded them as of great, perhaps too great, importance. They were inclined indiscriminately to regard the Arthurian romances as being but a series of connected lais. A later school practically ignores them, and sees in the Arthurian romances the conscious production of literary invention, dealing with materials gathered from all sources, and remodelled by the genius of a Northern French poet.

I believe, myself, that the eventual result of criticism will be to establish a position midway between these two points, and to show that though certain of the early Celticists exaggerated somewhat, they were, in the main, correct—their theory did not account for all the varied problems of the Arthurian story, but it was not for that to be lightly dismissed. The true note of the Arthurian legend is evolution not invention; the roots of that goodly growth spring alike from history, myth, and faëry; whether the two latter were not, so far as the distinctively Celtic elements of the legend are concerned, originally one, is a question which need not here be debated.[1]

This much is quite certain; while the mythic element in the Arthurian story is yet a matter for discussion, while we are as yet undecided whether Arthur was, or was not, identical with the Mercurius Artusius of the Gauls; whether he was, or was not, a Culture Hero; whether Gawain does, or does not, represent the same hero as Cuchullin, and both alike find origin in a solar myth; we at least know that both Arthur and Gawain are closely connected with, and as their final destination found rest in, Fairyland. It is, therefore, no matter for surprise if we find such definitely fairy stories as the lais of Guingamor and Lanval (which, be it noted, represent a whole family of kindred tales) connected with the Arthurian cycle, and their heroes figuring as knights of Arthur's court.[2]

At that court the fairy, whether she be Morgain, the Lady of the Lake, or the Mistress of Graalent, Lanval, or Gawain, is at home, to be distinguished by nothing, save her superior beauty and wisdom, from the mortals who surround her. (It is scarcely necessary to remark that the fairies of the mediæval French romance writers are not the pigmies of the Teutonic sagas and of Shakespeare.) The rôle of these maidens is, generally speaking, a clearly defined one: they are immortals in search of a mortal love,