A History of the French Novel Volume I Part 3

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."

Originals for the "greatest knight" have been sought by guesswork, by idle play on words and names, if not also by positive forgery, in that Breton literature which does not exist. 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 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. The Graal story is (once more, according to authority of the greatest competence, and likely if anything to be bia.s.sed 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 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.

[Sidenote: Its approximation to the novel proper.]

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 fas.h.i.+on. 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. 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 pa.s.sionate 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-wors.h.i.+p, and the earlier Arthur-stories show absolutely nothing of the pa.s.sion which is the subject of the magnificent overture of Mr. Swinburne's _Tristram_. Even this story of Tristram himself, afterwards fired and coloured by pa.s.sion, seems at first to have shown nothing but the mixture of animalism, cruelty, and magic which is characteristic of the Celts.[32] Our magician of a very different gramarye, were he Walter or Chrestien or some third--Norman, Champenois, Breton,[33] or Englishman (Welshman or Irishman he pretty certainly was _not_)--had therefore before him, if not exactly dry bones, yet the half-vivified material of a chronicle of events on the one hand and a mystical dream-sermon on the other. 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.

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 sc.r.a.ps 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 s.h.i.+mmering 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 pa.s.sage 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 pa.s.s to these persons themselves.

[Sidenote: Especially in the characters and relations of Lancelot and Guinevere.]

The first point to note about Lancelot is the singular fas.h.i.+on in which he escapes one of the dangers of the hero. Aristotle had never said that a hero must be faultless; indeed, he had definitely said exactly the contrary, of at least the tragic hero. But one of the worst of the many misunderstandings of his dicta brought the wrong notion about, and Virgil--that exquisite craftsman in verse and phrase, but otherwise, perhaps, not great poet and very dangerous pattern--had confirmed this notion by his deplorable figurehead. It is also fair to confess that all except morbid tastes do like to see the hero win. But if he is to be a hero of Rymer, not merely

Like Paris handsome[34] and like Hector brave,

but as pious as Aeneas; "a rich fellow enough," with blood hopelessly blue and morals spotlessly copy-bookish--in other words, a Sir Charles Grandison--he will duly meet with the detestation and "conspuing" of the elect. Almost the only just one of the numerous and generally silly charges latterly brought against Tennyson's Arthurian handling is that his conception of the blameless king does a little smack of this false idea, does something grow to it. It is one of the chief points in which he departed, not merely from the older stories (which he probably did not know), but from Malory's astonis.h.i.+ng redaction of them (which he certainly did).

[Sidenote: Lancelot.]

But Lancelot escapes this worst of fates in the _Idylls_ themselves, and much more does he escape it in the originals. In the first place, though he invariably (or always till the Graal Quest) "wins through," he constantly does not do so without intermediate hairbreadth escapes, and even not a few adventures which are at first not escapes at all. And just as his perpetual bafflement in the Quest salts and seasons his triumphs in the saddle, so does the ruling pa.s.sion of his sin save, from anything approaching mawkishness,[35] his innumerable and yet inoffensive virtues; his chast.i.ty, save in this instance, which chast.i.ty itself, by a further stroke of art, is saved from _niaiserie_ by the plotted adventures with Elaine; his courtesy, his mercifulness, his wonderfully early notion of a gentleman (_v. inf._), his invariable disregard of self, and yet his equally invariable naturalness. Pious Aeneas had not the least objection to bringing about the death of Dido, as he might have known he was doing (unless he was as great a fool as he is a prig); and he is probably never more disgusting or Pecksniffian than when he looks back on the flames of Dido's pyre and is really afraid that something unpleasant must have happened, though he can't think what the matter can be. But _he_, one feels sure, would never have lifted up his hand against a woman, unless she had richly deserved it on the strictest patriotic scores, as in the case of Helen, when his mamma fortunately interfered. On the other hand, Lancelot was "of the Asra who die when they love" and love till they die--nay, who would die if they did not love. But it is certain (for there is a very nice miniature of it reproduced from the MS. in M. Paulin Paris's abstract) that, for a moment, he drew his sword on Elaine to punish the deceit which made him unwittingly false to Guinevere. It is very shocking, no doubt, but exceedingly natural; and of course he did not kill or even (like Philaster) wound her, though n.o.body interfered to prevent him. Many of the incidents which bring out his character are well known to moderns by poem and picture, though others, as well worth knowing, are not. But the human contrasts of success and failure, of merit and sin, have never, I think, been quite brought out, and to bring them out completely here would take too much room. We may perhaps leave this other--quite other--"_First_ Gentleman in Europe" with the remark that Chrestien de Troyes gives only one side of him, and therefore does not give him at all. The Lancelot of board and bower, of travel and tournament, he does very fairly. But of the Lancelot of the woods and the hermitage, of the dream at the foot of the cross, of the mystic voyage and the just failing (if failing) effort of Carbonek, he gives, because he knows, nothing.

[Sidenote: Guinevere.]

Completed as he was, no matter for the moment by whom, he is thus the first hero of romance and nearly the greatest; but his lady is worthy of him, and she is almost more original as an individual. It is true that she is not the first heroine, as he is, if not altogether, almost the first hero. Helen was that, though very imperfectly revealed and gingerly handled. Calypso (hardly Circe) _might_ have been. Medea is perhaps nearer still, especially in Apollonius. But the Greek romancers were the first who had really busied themselves with the heroine: they took her up seriously and gave her a considerable position. But they did not succeed in giving her much character. The naughty _not_-heroine of Achilles Tatius, though she has less than none in Mr. Pope's supposed innuendo sense, alone has an approach to some in the other. As for the accomplished Guinevere's probable contemporary, the Ismene or Hysmine of Eustathius Macrembolites (_v. sup._ p. 18), she is a sort of Greek-mediaeval Henrietta Temple, with Mr. Meredith and Mr. Disraeli by turns holding the pen, though with neither of them supplying the brains.

But Guinevere is a very different person; or rather, she _is_ a person, and the first. To appreciate her she must be compared with herself in earlier presentations, and then considered fully as she appears in the Vulgate--for Malory, though he has given much, has not given the whole of her, and Tennyson has painted only the last panel of the polyptych wholly, and has rather over-coloured that.[36]

In what we may call the earliest representations of her, she has hardly any colour at all. She is a n.o.ble Roman lady, and very beautiful. For a time she is apparently very happy with her husband, and he with her; and if she seems to make not the slightest scruple about "taking up with"

her nephew, co-regent and fellow rebel, why, n.o.ble Roman ladies thought nothing of divorce and not much of adultery. The only old Welsh story (the famous Melvas one so often referred to) that we have about her in much detail merely establishes the fact, pleasantly formulated by M.

Paulin Paris, that she was "tres sujette a etre enlevee," but in itself (unless we admit the Peac.o.c.kian triad of the "Three Fatal Slaps of the Isle of Britain" as evidence) again says nothing about her character.

If, as seems probable if not certain, the _Launfal_ legend, with its libel on her, is of Breton origin, it makes her an ordinary Celtic princess, a spiritual sister of Iseult when she tried to kill Brengwain, and a cross between Potiphar's wife and Catherine of Russia, without any of the good nature and "gentlemanliness" of the last named. The real Guinevere, the Guinevere of the Vulgate and partly of Malory, is freed from the colourlessness and the discreditable end of Geoffrey's queen, transforms the promiscuous and rather _louche_ Melvas incident into an important episode of her epic or romantic existence, and gives the lie, even in her least creditable or least charming moments, to the _Launfal_ libel. As before in Lancelot's case, details of her presentation had in some cases best be either translated in full or omitted, but I cannot refuse myself the pleasure of attempting, with however clumsy a hand, a portrait of our, as I believe, English Helen, who gave in French language to French, and not only French literature, the pattern of a heroine.

There is not, I think, any ancient authority for the rather commonplace suggestion, unwisely adopted by Tennyson, that Guinevere fell in love with Lancelot when he was sent as an amba.s.sador to fetch her; thus merely repeating Iseult and Tristram, and antic.i.p.ating Suffolk and Margaret. In fact, according to the best evidence, Lancelot could not have been old enough, if he was even born. On the contrary, nothing could be better than the presentation of her introduction to Arthur and the course of the wooing in the Vulgate--the other "blessed original."

She first sees Arthur as a foe from the walls of besieged Carmelide, and admires his valour; she has further occasion to admire it when, as a friend, he rescues her father, showing himself, as what he really was in his youth, his own best knight. The pair are genuinely in love with each other, and the betrothal and parting for fresh fight are the most gracious pa.s.sages of the _Merlin_ book, except the better version (_v.

sup._) of the love of Merlin himself and the afterwards libelled Viviane. Anyhow, she was married because she fell in love with him, and there is no evidence to show that she and Arthur lived otherwise than happily together. But, if all tales were true, she had no reason to regard him as a very faithful husband or a blameless man. She may not have known (for n.o.body but Merlin apparently did know) the early and unwitting incest of the King and his half-sister Margause; but the extreme ease with which he adopted her own treacherous foster-sister, the "false Guinevere," and his proceedings with the Saxon enchantress Camilla, were very strong "sets off" to her own conduct. Also she had a most disagreeable[37] sister-in-law in Morgane-la-Fee. These are not in the least offered as excuses, but merely as "lights." Indeed Guinevere never seems to have hated or disliked her husband, though he often gave her cause; and if, until the great repentance, she thought more lightly of "spouse-breach" than Lancelot did, that is not uncharacteristic of women.[38] In fact, she is a very perfect (not of course in the moral sense) gentlewoman. She is at once popular with the knights, and loses that popularity rather by Lancelot's fault than by her own, while Gawain, who remains faithful to her to the bitter end, or at least till the luckless slaughter of his brethren, declares at the beginning that she is the fairest and most gracious, and will be the wisest and best of queens. She shows something very like humour in the famous and fateful remark (uttered, it would seem, without the slightest ill or double meaning at the time) as to Gawain's estimate of Lancelot.[39] She seems to have had an agreeable petulance (notice, for instance, the rebuke of Kay at the opening of the _Ywain_ story and elsewhere), which sometimes, as it naturally would, rises to pa.s.sionate injustice, as Lancelot frequently discovered. She is, in fact, always pa.s.sionate in one or other sense of that great and terrible and infinite[40] word, but never tragedy-queenish or vixenish. She falls in love with Lancelot because he falls in love with her, and because she cannot help it. False as she is to husband and to lover, to her court and her country,[41] it can hardly be said that any act of hers, except the love itself and its irresistible consequences, is faulty. She is not capricious, extravagant, or tyrannical; in her very jealousy she is not cruel or revengeful (the original Iseult would certainly have had Elaine poisoned or poniarded, for which there was ample opportunity). If she torments her lover, that is because she loves him. If she is unjust to him, that is because she is a woman. Her last speech to Lancelot after the catastrophe--Tennyson should have, as has been said, paraphrased this as he paraphrased the pa.s.sing of her husband, and from the same texts, and we should then have had another of the greatest things of English poetry--shows a n.o.ble nature with the [Greek: hamartia] present, but repented in a strange and great mixture of cla.s.sical and Christian tragedy. There is little told in a trustworthy fas.h.i.+on about her personal appearance. But if Glas...o...b..ry traditions about her bones be true, she was certainly (again like Helen) "divinely tall." And if the suggestions of Hawker's "Queen Gwennyvar's Round"[42] in the sea round Tintagel be worked out a little, it will follow that her eyes were divinely blue.

[Sidenote: Some minor points.]

When such very high praise is given to the position of the (further) accomplished Arthur-story, it is of course not intended to bestow that praise on any particular MS. or printed version that exists. It is in the highest degree improbable that, whether the original magician was Map, or Chrestien, or anybody else (to repeat a useful formula), we possess an exact and exclusive copy of the form into which he himself threw the story. Independently of the fact that no MS., verse or prose, of anything like the complete story seems old enough, independently of the enormous and almost innumerable separable accretions, the so-called Vulgate cycle of "_Graal-Merlin-Arthur-Lancelot-Graal-Quest-Arthur's-Death_" has considerable variants--the most important and remarkable of which by far is the large alteration or sequel of the "Vulgate" _Merlin_ which Malory preferred. In the "Vulgate" itself, too, there are things which were certainly written either by the great contriver in nodding moods, or by somebody else,--in fact no one can hope to understand mediaeval literature who forgets that no mediaeval writer could ever "let a thing alone": he simply _must_ add or shorten, paraphrase or alter. I rather doubt whether the Great Unknown himself meant _both_ the amours of Arthur with Camilla and the complete episode of the false Guinevere to stand side by side. The first is (as such justifications go) a sufficient justification of Guinevere by itself; and the conduct of Arthur in the second is such a combination of folly, cruelty, and all sorts of despicable behaviour that it overdoes the thing. So, too, Lancelot's "abscondences," with or without madness, are too many and too prolonged.[43] The long and totally uninteresting campaign against Claudas, during the greater part of which Lancelot (who is most of all concerned) is absent, and in which he takes no part or interest when present, is another great blot. Some of these things, but not all, Malory remedied by omission.

To sum up, and even repeat a little, in speaking so highly of this development--French beyond all doubt as a part of literature, whatever the nationality, domicile, and temper of the person or persons who brought it about--I do not desire more to emphasise what I believe to be a great and not too well appreciated truth than to guard against that exaggeration which dogs and discredits literary criticism. Of course no single redaction of the legend in the late twelfth or earliest thirteenth century contains the story, the whole story, and nothing but the story as I have just outlined it. Of course the words used do not apply fully to Malory's English redaction of three centuries later--work of genius as this appears to me to be. Yet further, I should be fully disposed to allow that it is only by reading the _posse_ into the _esse_, under the guidance of later developments of the novel itself, that the estimate which I have given can be entirely justified. But this process seems to me to be perfectly legitimate, and to be, in fact, the only process capable of giving us literary-historical criticism that is worth having. The writer or writers, known or unknown, whose work we have been discussing, have got the plot, have got the characters, have got the narrative faculty required for a complete novel-romance. If they do not quite know what to do with these things it is only because the time is not yet. But how much they did, and of how much more they foreshadowed the doing, the extracts following should show better than any "talk about it."

[_Lancelot, still under the tutelage of the Lady of the Lake and ignorant of his own parentage, has met his cousins, Lionel and Bors, and has been greatly drawn to them._]

[Sidenote: Ill.u.s.trative extracts translated from the "Vulgate." The youth of Lancelot.]

Now turns herself the Lady back to the Lake, and takes the children with her. And when she had gone[44] a good way, she called Lancelot a little way off the road and said to him very kindly, "King's son,[45] how wast thou so bold as to call Lionel thy cousin? for he _is_ a king's son, and of not a little more worth and gentry than men think." "Lady," said he, who was right ashamed, "so came the word into my mouth by adventure that I never took any heed of it." "Now tell me," said she, "by the faith thou owest me, which thinkest thou to be the greater gentleman, thyself or him?" "Lady,"

said he, "you have adjured me strongly, for I owe no one such faith as I owe you, my lady and my mother: nor know I how much of a gentleman I am by lineage. But, by the faith I owe you, I would not myself deign to be abashed at that for which I saw him weep.[46] And they have told me that all men have sprung from one man and one woman: nor know I for what reason one has more gentry than another, unless he win it by prowess, even as lands and other honours. But know you for very truth that if greatness of heart made a gentleman I would think yet to be one of the greatest." "Verily, fair son," said the Lady, "it shall appear. And I say to you that you lose nothing of being one of the best gentlemen in the world, if your heart fail you not." "How, Lady!" said he, "say you this truly, _as_ my lady?" And she said, "Yes, without fail." "Lady," said he, "blessed be you of G.o.d, that you said it to me so soon [_or_ as soon as you have said it]. For to that will you make me come which I never thought to attain. Nor had I so much desire of anything as of possessing gentry."

[_The first meeting of Lancelot and Guinevere. The Lady of the Lake has prevailed upon the King to dub Lancelot on St.

John's Day (Midsummer, not Christmas). His protectress departing, he is committed to the care of Ywain, and a conversation arises about him. The Queen asks to see him._]

[Sidenote: The first meeting of Lancelot and Guinevere.]

Then bid he [the King] Monseigneur[47] Ywain that he should go and look for Lancelot. "And let him be equipped as handsomely as you know is proper: for well know I that he has plenty." Then the King himself told the Queen how the Lady of the Lake had requested that he would not make Lancelot knight save in his own arms and dress. And the Queen marvelled much at this, and thought long till she saw him. So Messire Ywain went to the Childe [_vallet_] and had him clothed and equipped in the best way he could: and when he saw that nothing could be bettered, he led him to Court on his own horse, which was right fair. But he brought him not quietly. For there was so much people about that the whole street was full: and the news was spread through all the town that the fair Childe who came yester eve should be a knight to-morrow, and was now coming to Court in knightly garb. Then sprang to the windows they of the town, both men and women. And when they saw him pa.s.s they said that never had they seen so fair a Childe-knight. So he came to the Court and alighted from his horse: and the news of him spread through hall and chamber; and knights and dames and damsels hurried forth. And even the King and the Queen went to the windows. So when the Childe had dismounted, Messire Ywain took him by the hand, and led him by it up to the Hall.

The King and the Queen came to meet him: and both took him by his two hands and went to seat themselves on a couch: while the Childe seated himself before them on the fresh green gra.s.s with which the Hall was spread. And the King gazed on him right willingly: for if he had seemed fair at his first coming, it was nothing to the beauty that he now had. And the King thought he had mightily grown in stature and thews.[48] So the Queen prayed that G.o.d might make him a man of worth, "for right plenty of beauty has He given him,"

and she looked at the Childe very sweetly: and so did he at her as often as he could covertly direct his eyes towards her. Also marvelled he much how such great beauty as he saw appear in her could come: for neither that of his lady, the Lady of the Lake, nor of any woman that he had ever seen, did he prize aught as compared with hers. And no wrong had he if he valued no other lady against the Queen: for she was the Lady of Ladies and the Fountain of Beauty. But if he had known the great worthiness that was in her he would have been still more fain to gaze on her. For none, neither poor nor rich, was her equal.

So she asked Monseigneur Ywain what was the Childe's name, and he answered that he knew not. "And know you," said she, "whose son he is and of what birth?" "Lady," said he, "nay, except I know so much as that he is of the land of Gaul. For his speech bewrayeth him."[49] Then the Queen took him by the hand and asked him of whom he came. And when he felt it [the touch] he shuddered as though roused from sleep, and thought of her so hard that he knew not what she said to him. And she perceived that he was much abashed, and so asked him a second time, "Tell me whence you come." So he looked at her very sheepishly and said, with a sigh, that he knew not. And she asked him what was his name; and he answered that he knew not that. So now the Queen saw well that he was abashed and _overthought_.[50] But she dared not think that it was for her: and nevertheless she had some suspicion of it, and so dropped the talk. But that she might not make the disorder of his mind worse, she rose from her seat and, in order that no one might think any evil or perceive what she suspected, said that the Childe seemed to her not very wise, and whether wise or not had been ill brought up. "Lady," said Messire Ywain, "between you and me, we know nothing about him: and perchance he is forbidden[51]

to tell his name or who he is." And she said, "It may well be so," but she said it so low that the Childe heard her not.

[_Here follows (with a very little surplusage removed perhaps) the scene which Dante has made world-famous, but which Malory (I think for reasons) has "cut." I trust it is neither Philistinism nor perversity which makes me think of it a little, though only a little, less highly than some have done. There is (and after all this makes it all the more interesting for us historians) the least little bit of antic.i.p.ation of_ Marivaudage _about it, and less of the adorable simplicity such as that (a little subsequent to the last extract given) where Lancelot, having forgotten to take leave of the Queen on going to his first adventure, and having returned to do so, kneels to her, receives her hand to raise him from the ground, "and much was his joy to feel it bare in his." But the beauty of what follows is incontestable, and that Guinevere was "exceeding wise in love" is certain._]

[Sidenote: The scene of the kiss.]

"Ha!" said she then, "I know who you are--Lancelot of the Lake is your name." And he was silent. "They know it at court," said she, "this sometime. Messire Gawain was the first to bring your name there...." Then she asked him why he had allowed the worst man in the world to lead him by the bridle. "Lady," said he, "as one who had command neither of his heart nor of his body." "Now tell me," said she, "were you at last year's a.s.sembly?" "Yes, Lady," said he.

"And what arms did you bear?" "Lady, they were all of vermilion." "By my head," said she, "you say true. And why did you do such deeds at the meeting the day before yesterday?" Then he began to sigh very very deeply. And the Queen cut him short as well, knowing how it was with him.

"Tell me," she said, "plainly, how it is. I will never betray you. But I know that you did it for some lady. Now, tell me, by the faith you owe me, who she is." "Ah, Lady,"

said he, "I see well that it behoves me to speak. Lady, it is you." "I!" said she. "It was not for me you took the spears that my maiden brought you. For I took care to put myself out of the commission." "Lady," said he, "I did for others what I ought, and for you what I could." "Tell me, then, for whom have you done all the things that you _have_ done?" "Lady," said he, "for you." "How," said she, "do you love me so much?" "So much, Lady, as I love neither myself nor any other." "And since when have you loved me thus?"

"Since the hour when I was called knight and yet was not one."[52] "Then, by the faith you owe me, whence came this love that you have set upon me?" Now as the Queen said these words it happened that the Lady of the Puy of Malahault[53]

coughed on purpose, and lifted her head, which she had held down. And he understood her now, having oft heard her before: and looked at her and knew her, and felt in his heart such fear and anguish that he could not answer the Queen. Then began he to sigh right deeply, and the tears fell from his eyes so thick, that the garment he wore was wet to the knees. And the more he looked at the Lady of Malahault the more ill at ease was his heart. Now the Queen noticed this and saw that he looked sadly towards the place where her ladies were, and she reasoned with him. "Tell me,"

she said, "whence comes this love that I am asking you about?" and he tried as hard as he could to speak, and said, "Lady, from the time I have said." "How?" "Lady, you did it, when you made me your friend, if your mouth lied not." "My friend?" she said; "and how?" "I came before you when I had taken leave of my Lord the King all armed except my head and my hands. And then I commended you to G.o.d, and said that, wherever I was, I was your knight: and you said that you would have me to be your knight and your friend. And then I said, 'Adieu, Lady,' and you said, 'Adieu, fair sweet friend.' And never has that word left my heart, and it is that word that has made me a good knight and valiant--if I be so: nor ever have I been so ill-bested as not to remember that word. That word comforts me in all my annoys. That word has kept me from all harm, and freed me from all peril, and fills me whenever I hunger. Never have I been so poor but that word has made me rich." "By my faith," said the Queen, "that word was spoken in a good hour, and G.o.d be praised when He made me speak it. Still, I did not set it as high as you did: and to many a knight have I said it, when I gave no more thought to the saying. But _your_ thought was no base one, but gentle and debonair; wherefore joy has come to you of it, and it has made you a good knight. Yet, nevertheless, this way is not that of knights who make great matter to many a lady of many a thing which they have little at heart.

And your seeming shows me that you love one or other of these ladies better than you love me. For you wept for fear and dared not look straight at them: so that I well see that your thought is not so much of me as you pretend. So, by the faith you owe the thing you love best in the world, tell me which one of the three you love so much?" "Ah! Lady," said he, "for the mercy of G.o.d, as G.o.d shall keep me, never had one of them my heart in her keeping." "This will not do,"

said the Queen, "you cannot dissemble. For many another such thing have I seen, and I know that your heart is there as surely as your body is here." And this she said that she might well see how she might put him ill at ease. For she thought surely enough that he meant no love save to her, or ill would it have gone on the day of the Black Arms.[54] And she took a keen delight in seeing and considering his discomfort. But he was in such anguish that he wanted little of swooning, save that fear of the ladies before him kept him back. And the Queen herself perceived it at the sight of his changes of colour, and caught him by the shoulder that he might not fall, and called to Galahault. Then the prince sprang forward and ran to his friend, and saw that he was disturbed thus, and had great pain in his own heart for it, and said, "Ah, Lady! tell me, for G.o.d's sake, what has happened." And the Queen told him the conversation. "Ah, Lady!" said Galahault, "mercy, for G.o.d's sake, or you may lose me him by such wrath, and it would be too great pity."

"Certes," said she, "that is true. But know you why he has done such feats of arms?" "Nay, surely, Lady," said he.

"Sir," said she, "if what he tells me is true, it was for me." "Lady," said he, "as G.o.d shall keep me, I can believe it. For just as he is more valiant than other men, so is his heart truer than all theirs." "Verily," said she, "you would say well that he is valiant if you knew what deeds he has done since he was made knight," and then she told him all the chivalry of Lancelot ... and how he had done it all for a single word of hers [_Galahault tells her more, and begs mercy for L._]. "He could ask me nothing," sighed she, "that I could fairly refuse him, but he will ask me nothing at all."... "Lady," said Galahault, "certainly he has no power to do so. For one loves nothing that one does not fear." [_And then comes the immortal kiss, asked by the Prince, delayed a moment by the Queen's demur as to time and place, brought on by the "Galeotto"-speech._ "Let us three corner close together as if we were talking secrets,"

_vouchsafed by Guinevere in the words_, "Why should I make me longer prayer for what I wish more than you or he?"

_Lancelot still hangs back, but the Queen_ "takes him by the chin and kisses him before Galahault with a kiss long enough" so that the Lady of Malahault knows it.] And then said the Queen, who was a right wise and gracious lady, "Fair sweet friend, so much have you done that I am yours, and right great joy have I thereof. Now see to it that the thing be kept secret, as it should be. For I am one of the ladies of the world who have the fairest fame, and if my praise grew worse through you, then it would be a foul and shameful thing."

[Sidenote: Some further remarks on the novel character of the story.]

A little more comment on this cento, and especially on the central pa.s.sage of it, can hardly be, and ought certainly not to be, avoided in such a work as this, even if, like most summaries, it be something of a repet.i.tion. It must surely be obvious to any careful reader that here is something much more than--unless his reading has been as wide elsewhere as it is careful here--he expected from Romance in the commoner and half-contemptuous acceptation of that word. Lancelot he may, though he should not, still cla.s.s as a mere _amoureux transi_--a n.o.bler and pluckier Silvius in an earlier _As Yon Like It_, and with a greater than Phoebe for idol. Malory ought to be enough to set him right there: he need even not go much beyond Tennyson, who has comprehended Lancelot pretty correctly, if not indeed pretty adequately. But Malory has left out a great deal of the information which would have enabled his readers to comprehend Guinevere; and Tennyson, only presenting her in parts, has allowed those parts, especially the final and only full presentation, great as it is, to be too much influenced by his certainly unfortunate other presentation of Arthur as a blameless king.

I do not say that the actual creator of the Vulgate Guinevere, whoever he was, has wrought her into a novel-character of the first cla.s.s. It would have been not merely a miracle (for miracles often happen), but something more, if he had. If you could take Beatrix Esmond at a better time, Argemone Lavington raised to a higher power, and the spirit of all that is best and strongest and least purely paradoxical in Meredith's heroines, and work these three graces into one woman, adding the pa.s.sion of Tennyson's own Fatima and the queenliness of Helen herself, it might be something like the achieved Guinevere who is still left to the reader's imagination to achieve. But the Unknown has given the hints of all this; and curiously enough it is only of _English_ novel-heroines that I can think in comparison and continuation of her. This book, if it is ever finished, will show, I hope, some knowledge of French ones: I can remember none possessing any touch of Guineveresque quality. Dante, if his poetic nature had taken a different bent, and Shakespeare, if he had only chosen, could have been her portrayers singly; no others that I can think of, and certainly no Frenchman.

[Sidenote: And the personages.]

But here Guinevere's creator or expounder has done more for her than merely indicate her charm. Her "fear for name and fame" is not exactly "crescent"--it is there from the first, and seems to have nothing either cowardly or merely selfish in it, but only that really "last infirmity of n.o.ble minds," the shame of shame even in doing things shameful or shameless. I have seldom seen justice done to her magnificent fearlessness in all her dangers. Her graciousness as a Queen has been more generally admitted, but, once again, the composition and complexity of her fits of jealousy have never, I think, been fully rationalised.

Here, once more, we must take into account that difference of age which is so important. _He_ thinks nothing of it; _she_ never forgets it. And in almost all the circ.u.mstances where this rankling kindles into wrath--whether with no cause at all, as in most cases, or with cause more apparent than real, as in the Elaine business--study of particulars will show how easily they might be wrought out into the great character scenes of which they already contain the suggestion. _This_ Guinevere would never have "taken up" (to use purposely a vulgar phrase for what would have been a vulgar thing) with Mordred,[55] either for himself or for the kingdom that he was trying to steal. And I am bound to say again that much as I have read of purely French romance--that is to say, French not merely in language but in certain origin--I know nothing and n.o.body like her in it.

That Guinevere, like Charlotte, was "a married lady," that, unlike Charlotte, she forgot the fact, and that Lancelot, though somewhat Wertheresque in some of his features, was not quite so "moral" as that very dull young man, are facts which I wish neither to suppress nor to dwell upon. We may cry "Agreed" here to the indictment, and all its consequences. They are not the question.