In comparing the Breton cycle as the French trouveres knew it, and
the same cycle as it is to be found in the text of the Mabinogion,
one might be tempted to believe that the European imagination,
enthralled by these brilliant fables, added to them some poetical
themes unknown to the Welsh. Two of the most celebrated heroes of
the continental Breton romances, Lancelot and Tristan, do not figure
in the Mabinogion; on the other hand, the characteristics of the
Holy Grail are presented in a totally different way from that which
we find in the French and German poets. A more attentive study shows
that these elements, apparently added by the French poets, are in
reality of Cymric origin. And first of all, M. de la Villemarque has
demonstrated to perfection that the name of Lancelot is only a
translation of that of the Welsh hero Mael, who in point of fact
exhibits the fullest analogy with the Lancelot of the French
romances. [Footnote: Ancelot is the diminutive of Ancel, and means
servant, page, or esquire. To this day in the Cymric dialects Mael
has the same signification. The surname of Poursigant, which we find
borne by some Welshmen in the French service in the early part of
the fourteenth century, is also no doubt a translation of Mael.] The
context, the proper names, all the details of the romance of
Lancelot also present the most pronounced Breton aspect. As much
must be said of the romance of Tristan. It is even to be hoped that
this curious legend will be discovered complete in some Welsh
manuscript. Dr. Owen states that he has seen one of which he was
unable to obtain a copy. As to the Holy Grail, it must be avowed
that the mystic cup, the object after which the French Parceval and
the German Parsifal go in search, has not nearly the same importance
among the Welsh. In the romance of Peredur it only figures in an
episodical fashion, and without a well-defined religious intention.
"Then Peredur and his uncle discoursed together, and he beheld two
youths enter the hall, and proceed up to the chamber, bearing a
spear of mighty size, with three streams of blood flowing from the
point to the ground. And when all the company saw this, they began
wailing and lamenting. But for all that, the man did not break off
his discourse with Peredur. And as he did not tell Peredur the
meaning of what he saw, he forbore to ask him concerning it. And
when the clamour had a little subsided, behold two maidens entered,
with a large salver between them, in which was a man's head,
surrounded by a profusion of blood. And thereupon the company of the
court made so great an outcry, that it was irksome to be in the same
hall with them. But at length they were silent." This strange and
wondrous circumstance remains an enigma to the end of the narrative.
Then a mysterious young man appears to Peredur, apprises him that
the lance from which the blood was dropping is that with which his
uncle was wounded, that the vessel contains the blood and the head
of one of his cousins, slain by the witches of Kerloiou, and that it
is predestined that he, Peredur, should be their avenger. In point
of fact, Peredur goes and convokes the Round Table; Arthur and his
knights come and put the witches of Kerloiou to death.
If we now pass to the French romance of Parceval, we find that all
this phantasmagoria clothes a very different significance. The lance
is that with which Longus pierced Christ's side, the Grail or basin
is that in which Joseph of Arimathea caught the divine blood. This
miraculous vase procures all the good things of heaven and earth; it
heals wounds, and is filled at the owner's pleasure with the most
exquisite food. To approach it one must be in a state of grace; only
a priest can tell of its marvels. To find these sacred relics after
the passage of a thousand trials,--such is the object of Peredur's
chivalry, at once worldly and mystical. In the end he becomes a
priest; he takes the Grail and the lance into his hermitage; on the
day of his death an angel bears them up to Heaven. Let us add that
many traits prove that in the mind of the French trouvere the Grail
is confounded with the eucharist. In the miniatures which
occasionally accompany the romance of Parceval, the Grail is in the
form of a pyx, appearing at all the solemn moments of the poem as a
miraculous source of succour.
Is this strange myth, differing as it does from the simple narrative
presented in the Welsh legend of Peredur, really Cymric, or ought we
rather to see in it an original creation of the trouveres, based
upon a Breton foundation? With M. de la Villemarque we believe that
this curious fable is essentially Cymric. [Footnote: See the
excellent discussion of this interesting problem in the introduction
to "Contes populaires des anciens Bretons" (pp. 181 et seq.).] In
the eighth century a Breton hermit had a vision of Joseph of
Arimathea bearing the chalice of the Last Supper, and wrote the
history called the Gradal. The whole Celtic mythology is full of the
marvels of a magic caldron under which nine fairies blow silently, a
mysterious vase which inspires poetic genius, gives wisdom, reveals
the future, and unveils the secrets of the world. One day as Bran
the Blessed was hunting in Ireland upon the shore of a lake, he saw
come forth from it a black man bearing upon his back an enormous
caldron, followed by a witch and a dwarf. This caldron was the
instrument of the supernatural power of a family of giants. It cured
all ills, and gave back life to the dead, but without restoring to
them the use of speech--an allusion to the secret of the bardic
initiation. In the same way Perceval's wariness forms the whole plot
of the quest of the Holy Grail. The Grail thus appears to us in its
primitive meaning as the pass-word of a kind of free-masonry which
survived in Wales long after the preaching of the Gospel, and of
which we find deep traces in the legend of Taliessin. Christianity
grafted its legend upon the mythological data, and a like
transformation was doubtless made by the Cymric race itself. If the
Welsh narrative of Peredur does not offer the same developments as
the French romance of Parceval, it is because the Red Book of
Hergest gives us an earlier version than that which served as a
model for Chretien de Troyes. It is also to be remarked that, even
in Parceval, the mystical idea is not as yet completely developed,
that the trouvere seems to treat this strange theme as a narrative
which he has found already complete, and the meaning of which he can
scarcely guess. The motive that sets Parceval a-field in the French
romance, as well as in the Welsh version, is a family motive; he
seeks the Holy Grail as a talisman to cure his uncle the Fisherman-
King, in such a way that the religious idea is still subordinated to
the profane intention. In the German version, on the other hand,
full as it is of mysticism and theology, the Grail has a temple and
priests. Parsifal, who has become a purely ecclesiastical hero,
reaches the dignity of King of the Grail by his religious enthusiasm
and his chastity. [Footnote: It is indeed remarkable that all the
Breton heroes in their last transformation are at once gallant and
devout. One of the most celebrated ladies of Arthur's court, Luned,
becomes a saint and a martyr for her chastity, her festival being
celebrated on August 1st. She it is who figures in the French
romances under the name of Lunette. See Lady Guest, vol. i., pp.
113, 114.] Finally, the prose versions, more modern still, sharply
distinguish the two chivalries, the one earthly, the other mystical.
In them Parceval becomes the model of the devout knight. This was
the last of the metamorphoses which that all-powerful enchantress
called the human imagination made him undergo; and it was only right
that, after having gone through so many dangers, he should don a
monkish frock, wherein to take his rest after his life of adventure.