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Note : Power converter may require for using some electronic products. This collection is a true celebration of romance and adventure at their finest!. Related Products. Intertwine House of Oak Book 1. Sommer's reprint, but as these are long quarto lines, let us multiply them by some three to get the equivalent of the "skipping octosyllables.

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But the acme of the contrast is reached in these words of the prose, which answer to some forty lines of the poet's watering-out. And when the day came, they parted. Many years ago, and not a few before M. Gaston Paris had published his views, I read these two forms of [Pg 28] the story in the valuable joint edition, verse and prose, of M. Jonckbloet, which some ruffian may Heaven not assoil him!

Lonely Hearts and Happy Trails

And I said then to myself, "There is no doubt which of these is the original. Forster's edition of the verse and Dr. Sommer's of the prose, and said, "There is less doubt than ever. That the contrary process should have taken place is practically unexampled and, especially at that time, largely unthinkable. At any rate, whosoever did it had a much greater genius than Chrestien's. This is no place to argue out the whole question, but a single particular may be dealt with. The curiously silly passage about the bars above given is a characteristic example of unlucky and superfluous amplification of the perfectly natural question and answer of the prose, "May I come to you?

Taken the other way it would be a miracle. Prose abridgers of poetry did not go to work like that in the twelfth-thirteenth century—nor, even in the case of Charles Lamb, have they often done so since. It is, however, very disagreeable to have to speak disrespectfully of a writer so agreeable in himself and so really important in our story as Chrestien. His own gifts and performances are, as it seems to me, clear enough.

He varied and dressed them up with pleasant [Pg 29] etceteras, and in especial, sometimes, though not always, embroidered the already introduced love-motive with courtly fantasies and with a great deal of detail.

I should not be at all disposed to object if somebody says that he, before any one else, set the type of the regular verse Roman d'aventures. It seems likely, again, from the pieces referred to above, that he may have had originals more definitely connected with Celtic sources, if not actually Celtic themselves, than those which have given us the mighty architectonic of the "Vulgate" Arthur. In his own way and place he is a great and an attractive figure—not least in the history of the novel. But I can see nothing in him that makes me think him likely, and much that makes me think him utterly unlikely, to be the author of what I conceive to be the greatest, the most epoch-making, and almost the originating conception of the novel-romance itself.

Who it was that did conceive this great thing I do not positively know. All external evidence points to Walter Map; no internal evidence, that I have seen, seems to me really to point away from him. But if any one likes let us leave him a mere Eidolon, an earlier "Great Unknown. The multiplicity of things done, whether by "him" or "them," is astonishing; and it is quite possible, indeed likely, that they were not all done by the same person.


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Mediaeval continuators as has been seen in the case of Chrestien worked after and into the work of each other in a rather uncanny fashion; and the present writer frankly confesses that he no more knows where Godfrey de Lagny took up the Charette , or the various other sequelists the Percevale , from Chrestien than he would have known, without confession, the books of the Odyssey done by Mr. Broome and Mr.

Fenton from those done by Mr. As regards minor details of plot and incident there have to be added the bringing in of the pre-Round Table part of the story by Lancelot's descent from King Ban and his connections with King Bors, both Arthur's old allies, and both, as we may call them, "Graal-heirs"; the further connection with the Merlin legend by Lancelot's fostering under the Lady of the Lake; [29] the exaltation, [Pg 31] inspiring, and, as it were, unification of the scattered knight-adventures through Lancelot's constant presence as partaker, rescuer, and avenger; [30] the human interest given to the Graal-Quest the earlier histories being strikingly lacking in this by his failure, and a good many more.

But above all there are the general characters of the knight and the Queen to make flesh and blood of the whole. Not merely the exact author or authors, but even the exact source or sources of this complicated, fateful, and exquisite imagination are, once more, not known. Years ago it was laid down finally by the most competent of possible authorities the late Sir John Rhys that "the love of Lancelot and Guinevere is unknown to Welsh literature.

There do exist versions of the story in which Lancelot plays no very prominent part, and there is even one singular version—certainly late and probably devised by a proper moral man afraid of scandal—which makes Lancelot outlive the Queen, quite comfortably continuing his adventurous career this is perhaps the "furthest" of the Unthinkable in literature , and not, it may be owned, quite inconsistently hints that the connection was merely Platonic throughout.

These things are explicable, but better negligible. For my own part I have always thought that the loves of [Pg 32] Tristram and Iseult which, as has been said, were originally un-Arthurian suggested the main idea to the author of it, being taken together with Guinevere's falseness with Mordred in the old quasi-chronicle, and perhaps the story of the abduction by Melvas Meleagraunce , which seems to be possibly a genuine Welsh legend.

There are in the Tristram-Iseult-Mark trio quite sufficient suggestions of Lancelot-Guinevere-Arthur; while the far higher plane on which the novice-novelist sets his lovers, and even the very interesting subsequent exaltation of Tristram and Iseult themselves to familiarity and to some extent equality with the other pair, has nothing critically difficult in it. But this idea, great and promising as it was, required further fertilisation, and got it from another.

A HISTORY OF THE FRENCH NOVEL

The Graal story is once more, according to authority of the greatest competence, and likely if anything to be biassed the other way pretty certainly not Welsh in origin, and there is no reason to think that it originally had anything to do with Arthur. Even after it obeyed the strange "suck" of legends towards this centre whirlpool, or Loadstone Rock, of romance, it yielded nothing intimately connected with the Arthurian Legend itself at first, and such connection as succeeded seems pretty certainly [31] to be that of which Percevale is the hero, and an outlier, not an integral part.

But either the same genius as one would fain hope as that which devised the profane romance of Lancelot and Guinevere, or another, further grafted or inarched the sacred romance of the Graal and its Quest with the already combined love-and-chivalry story. Lancelot, the greatest of knights, and of the true blood of the Graal-guardians, ought to accomplish the mysteries; but he cannot through sin, and that sin is this very love for Guinevere.

The Quest, in which despite warning and indeed previous experience he takes part, not merely gives occasion for adventures, half-mystical, half-chivalrous, which far exceed in interest [Pg 33] the earlier ones, but directly leads to the dispersion and weakening of the Round Table. And so the whole draws together to an end identical in part with that of the Chronicle story, but quite infinitely improved upon it.

Now not only is there in this the creation of the novel in posse , of the romance in esse , but it is brought about in a curiously noteworthy fashion. A hundred years and more later the greatest known writer of the Middle Ages, and one of the three or four greatest of the world, defined the subjects of poetry as Love, War, and Religion, or in words which we may not unfairly translate by these.

The earlier master recognised practically for the first time that the romance—that allotropic form as the chemists might say of poetry—must deal with the same.

THE POETICAL WORKS OF JOHN MILTON

Now in these forms of the Arthurian legend, which are certainly anterior to the latter part of the twelfth century, there is a great deal of war and a good deal of religion, but these motives are mostly separated from each other, the earlier forms of the Arthur story having nothing to do with the Graal, and the earlier forms of the Graal story—so far as we can see—nothing, or extremely little, to do with Arthur. Nor had Love, in any proper and passionate sense of the word, anything to do with either.

Women and marriage and breaches of marriage appear indeed; but the earlier Graal stories are dominated by the most ascetic virginity-worship, and the earlier Arthur-stories show absolutely nothing of the passion which is the subject of the magnificent overture of Mr. Swinburne's Tristram. Even this story of Tristram himself, afterwards fired and coloured by passion, seems at first to have shown nothing but the mixture of animalism, cruelty, and magic which is characteristic of the Celts.

He, or a French or English Pallas for him, had to "think of another thing. And so he called in Love to reinforce War and Religion and to do its proper office of uniting, inspiring, and producing Humanity. He effected, by the union of the three motives, the transformation of a mere dull record of confused fighting into a brilliant pageant of knightly adventure.

He made the long-winded homilies and genealogies of the earlier Graal-legend at once take colour from the amorous and war-like adventures, raise these to a higher and more spiritual plane, and provide the due punishment for the sins of his erring characters.


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The whole story—at least all of it that he chose to touch and all that he chose to add—became alive. The bones were clothed with flesh and blood, the "wastable country verament" as the dullest of the Graal chroniclers says in a phrase that applies capitally to his own work blossomed with flower and fruit. Wars of Arthur with unwilling subjects or Saxons and Romans; treachery of his wife and nephew and his own death; miracle-history of the Holy Vessel and pedigree of its custodians; Round Table; these and many other things had lain as mere scraps and orts, united by no real plot, yielding no real characters, satisfying no real interest that could not have been equally satisfied by an actual chronicle or an actual religious-mystical discourse.

And then the whole was suddenly knit into a seamless and shimmering web of romance, from the fancy of Uther for Igerne to the "departing of them all" in Lyonnesse and at Amesbury and at Joyous Gard. A romance undoubtedly, but also incidentally providing the first real novel-hero and the first real novel-heroine in the persons of the lovers who, as in the passage above translated, sometimes "made great joy of each other for that they had long caused each other much sorrow," and finally expiated in sorrow what was unlawful in their joy.

Let us pass to these persons themselves.