A History of the French Novel (Vol. 1&2). Saintsbury George

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СКАЧАТЬ 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 passing of her husband, and from the same texts, and we should then have had another of the greatest things of English poetry—shows a noble nature with the ἁμαρτια present, but repented in a strange and great mixture of classical and Christian tragedy. There is little told in a trustworthy fashion about her personal appearance. But if Glastonbury 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.

      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.]

      Illustrative 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 God, 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.]

      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 pass 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 grass 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 СКАЧАТЬ