Weston Jessie Laidlay
The Legend of Sir Lancelot du Lac
PREFACE
The Studies contained in the following pages were, in the first instance, undertaken some four or five years ago. From time to time the exigencies of other literary work have compelled me to lay them aside, but the subject has never been lost sight of, and, not infrequently, studies in appearance wholly unconnected with the Lancelot legend have thrown an unexpected and welcome light on certain points of the story. Undertaken, in the first instance, with an absolutely open mind (even after I had been working at it for two or three years I should have been sorely at a loss if asked to state a theory of the origin of the story), it was only by slow degrees that the real bearing of the evidence became clear, and I felt that I had at last grasped a guiding thread through the perplexing maze. The results, which perhaps to some readers may appear startlingly subversive of opinions formally expressed by certain distinguished scholars, were wholly unforeseen. They are the outcome of genuine study of original texts; whether, in the long-run they be, or be not generally accepted, I would at least plead that they be judged on the evidence of those texts.
In certain cases I have little doubt as to the verdict. So far as the evidence concerning the sources of Malory, and the differing versions of the prose Lancelot, is concerned, the facts, now brought forward for the first time, are beyond dispute. They may, I hope they will, be hereafter added to, and confirmed. As they stand they encourage us to hope that further study of the material already available may yield welcome, and perhaps unsuspected results.
We are, so far, only on the threshold of a satisfactory and scientific criticism of the Arthurian cycle, and I doubt whether all who are engaged in this study recognise sufficiently either the extent and complexity of the questions involved, or the absolute futility of, at this early stage, enunciating dogmatic decisions on any of the various points at issue. Is there any one living scholar who is perfectly aware of all the evidence at our disposal for any of the great stories of the cycle? If there be, he will know, better than any other, that till critical editions place us in a position to determine the characteristic readings of the MSS. representing not one alone, but all those stories, their inter-relation, their points of contact with, and variance from each other, the very best work that can be done will be liable to bear the impress of a temporary character—it will not, it cannot be, final.
Elsewhere, I have urged that this fact be recognised and acted upon, and I cannot but hope that the evidence collected in these studies may help to convince others of the real necessity for a determined effort to edit and render accessible the principal Arthurian texts, and the certain and permanent profit likely to result from such a work.
Bournemouth, February 1901.
CHAPTER I
INTRODUCTORY
To the great majority of English readers, those who are familiar with the Arthurian legend through the pages of Malory and Tennyson, the name which occurs most readily to their minds in connection with the court and Table of King Arthur is that of Lancelot du Lac, at once the most gallant servant of the king, and the secret lover of the queen. To many the story of Lancelot and Guinevere is the most famous of all stories of unlawful love.
True, of late years the popularity of Wagner's music has made their ears, at least, familiar with the names of Tristan and Iseult. Still, that Tristan and Iseult were ever as famous as Lancelot and Guinevere, few outside the ranks of professed students of mediæval literature would believe; still fewer admit that the loves of Arthur's queen and Arthur's knight were suggested by, if not imitated from, the older, more poetic, and infinitely more convincing, Celtic love-tale; that Lancelot, as Arthur's knight and Guinevere's lover, is a comparatively late addition to the Arthurian legend.
Yet so it is. I doubt if any scholar of standing would now argue that Lancelot and his relation to the queen formed an integral portion of the early tradition; if any, conversant with the literature of the cycle, would reckon Lancelot among the original band of heroes who gathered round the British king.
In the introduction to my studies on the Gawain legend, I remarked that, if we desired to arrive at an elucidation of the Arthurian problem as a whole, we must first begin with the elucidation of its component parts—we must severally disentangle the legends connected with the leading knights of the cycle before we can hope to understand the growth and development of that cycle. When we have arrived at some clear idea concerning the stories originally told of the Arthurian heroes, and their relation to each other and to the king, we shall then be in a better position to judge of the nature of the original legend—whether it be mainly the product of literary invention, or in its more important features, the work of mythical tradition. It is not a matter of slight importance to ascertain to which of these two categories the leading heroes of Arthurian romance belong.
In the case of Sir Gawain we were able to detect certain features which, by their persistent recurrence in the great mass of tradition connected with this knight, seemed to indicate a general recognition on the part of the romance writers that they belonged to an early form of his story, and as such were to be preserved even when but incompletely understood. Further I pointed out the parallels existing between certain of his most famous adventures and those recorded in early Irish tradition, parallels which went far to prove, not merely the antiquity of the feats ascribed to him, but their source in Celtic myth.
In the following studies I shall endeavour, in the same way, to trace to its origin the legend of Lancelot du Lac, to discover what was the tale originally connected with him, and, if possible, follow the steps which led to the immense development of his popularity. I do not for a moment suggest, any more than in the case of Gawain, the finality of the results arrived at; but I hope at least to present the reader with a sorely needed summary of the Lancelot legend, and to clear the ground for further researches into his story.
In some ways the task before us is less difficult than that involved in the examination of the Gawain legend; the literature connected with Lancelot, if extensive, is not diffuse; by far the greater portion is covered by the prose Lancelot and the Grail Romances. On the other hand the story, as compared with that of Gawain, is extraordinarily deficient in characteristic features. The adventures ascribed to Lancelot might just as well be placed to the credit of any other knight: they are the ordinary stock-in-trade of the mediæval romancer. Guinevere's lover he is, but the love-story is of the most conventional character: the more it is studied the more clearly do the records in which it is shrined appear the offspring of conscious literary invention, and that invention of by no means a high order. He is certainly no hero of prehistoric myth, solar or otherwise, as Gawain or Perceval may well be; nor does he by force of sheer humanity lay hold on our imagination, as does Tristan.
How then did Lancelot come into the Arthurian cycle? In the earliest records of Arthurian legend he holds no place. Wace's Brut, the French metrical version of the History of Geoffrey of Monmouth, written about the middle of the twelfth century, gives the names of certain of Arthur's knights, Gawain, Kay, Bedivere, Iwein, but never mentions Lancelot. We have an account of Arthur's expedition to France, in the course of which he slew Frollo outside the walls of Paris, an adventure which the compiler of the Prose Lancelot places during the war against Claudas to recover Lancelot's patrimony, but in the Brut this expedition takes place at an early stage in Arthur's reign, and knows nothing of Lancelot or Claudas.1
Dating apparently from the same period, the middle of the twelfth century, is a bas-relief of the cathedral of Modena, representing a female figure standing on the summit of a tower, towards which several armed knights are approaching. Each knight is named, and we find represented Arthur himself, Gawain, Kay, Ider, Carados, and a certain Galuariun, who has not been identified. Lancelot is not among them.2
The Welsh Arthurian stories again know nothing of Lancelot, though certain of them contain long lists of heroes of Arthur's court.3
So far as we can at present tell, the earliest mention of the knight is that contained in the Erec of Chrétien de Troyes, where in a long list of the heroes of the Round Table, ranged according to merit (at least in the case of the earlier names), Lanceloz del Lac is reckoned third, the first two being Gawain and Erec.4 In the German version by Hartmann von Aue, he occupies the same place, but is called Lanzelot von Arlac. Nothing more is related of him: he plays no rôle in the story, he is a name, and nought else. In a later poem by Chrétien, Cligés, the same position, third on the roll of heroes, is ascribed to Lancelot, but here it is Perceval, and not Erec, who ranks second. The hero of the poem, Cligés, appears at a tournament four successive days, in different armour, and overthrows Segramor, Lancelot, and Perceval, finally fighting an undecided combat with Gawain.5 The Cligés reference is particularly noticeable, as the motif of the story is the love of the hero for the young wife of his uncle and sovereign. In this connection the loves of Tristan and Iseult are often referred to, but Lancelot and Guinevere never. It seems clear that when Chrétien wrote this poem he did not know Lancelot as the lover of Arthur's queen and the chief of Arthur's knights.
But in the poem which followed the Cligés, Le Chevalier de la Charrette, Lancelot suddenly appears in both these characters, Gawain's superior and the lover of Guinevere: no explanation of the changed position is offered, but Chrétien takes for granted the familiarity of his audience with the relations between the knight and the queen. To add to the confusion, in the succeeding poem Le Chevalier au Lion, Lancelot is only once referred to, in connection with the Charrette adventure, and is never mentioned as one of the knights of Arthurs household; while in Chrétien's last poem, the Perceval, he is altogether ignored.6
It is very difficult, indeed impossible, to date Chrétien's poems with exactness. The only two which afford clear internal evidence on the point, Le Chevalier de la Charrette and Le Chevalier au Lion, fall within the years 1164-1173. Erec was the first of his Arthurian poems, and between Erec and the Charrette, certainly one work, Cligés, and it may be several, intervened.7
Very probably the Erec was written early in the decade, 1150-60, and taken in conjunction with the negative evidence afforded by the Brut and the Italian bas-relief, it goes to prove that whereas the name of Gawain, as connected with Arthur, was known by the end of the eleventh century,8 Arthurian tradition knew nothing of Lancelot till the latter half of the twelfth; and that no mention of his relations with Guinevere is found till between 1160-1170, that is, a decade after the first mention of his name. It is, of course, a well-recognised fact in the study of romance, that the date of a manuscript does not fix the date of the story contained in it; a younger manuscript may contain the same story under an older form. As a rule, the versions contained in Chrétien's poems appear to present a fairly old form of the stories they relate, saving in the case of Lancelot. About this knight, Chrétien either knows nothing or he knows too much. The earlier stages of his story he leaves unrecorded; yet an allusion in the Charrette poem9 shows that he was not unacquainted with the legend concerning his youth and upbringing. Two versions of this legend have been preserved to us, one in verse and one in prose. In the following chapter we will examine the older of these versions, and inquire into the origin of our hero's name.
CHAPTER II
THE 'LANZELET' OF ULRICH VON ZATZIKHOVEN
The origin of the name Lancelot has been a subject of considerable debate among scholars, and has given rise to the most widely differing explanations. M. de la Villemarqué, who was a warm advocate of the Welsh origin of the Arthurian stories, derived the name from the French l'ancelot, a youth or servant, which he held to be a translation of the Welsh Melwas, or Maelwas. This solution was rejected by M. Gaston Paris, in his study on the Lancelot poems,10 in which he showed that ancelot was not a French common name, and that Maelwas did not bear the signification attributed to it. Professor Rhys,11 adopting the theory of the Welsh origin of the name, which in its present form he admitted only exists in Welsh literature as borrowed from French or English sources, decided that it represented a Welsh variant of Peredur, the root of this latter name being Pâr=a spear or lance. 'The characters,' says Professor Rhys, 'were originally the same, though their respective developments eventually differed very widely.' I doubt if this solution ever found any adherents except its author: it is sufficient to remark that the derivation of Peredur, on which it rests, is by no means universally accepted, and that Lancelot is in no special way connected with a spear or lance.12 It is certainly true that the Lancelot story shows signs of having been affected by the Perceval legend, but as we shall see the borrowings are restricted to one special and purely continental form of the story.
M. Gaston Paris, in the study referred to above, suggested that Lancelot might be either a Celtic name altered, or, more probably, the substitution, by French poets, of a name of Germanic origin for one of Breton form strange to the ears of their French audiences, e.g. it might be a diminutive form of Lanzo. This is also the conclusion of Professor Zimmer.13 The prefix Lant is often found in names of Frankish origin transferred to Breton ground: such names are Lando, Landolin; Lanzo, Lanzolin, etc.
In the introduction to his edition of the Charrette, recently published,14 Professor Foerster announces his complete adhesion to this view.
It certainly seems that the evidence points strongly to this conclusion. The fact that Lancelot's name does not appear in the earliest obtainable Arthurian documents shows that he did not belong to the original 'stoff' of the cycle; the entire silence of Welsh literature, and the practical silence of English vernacular romances,15 seem to show that he formed no part of the insular Arthurian tradition. For my own part I unhesitatingly accept Professor Foerster's dictum, 'Lancelot ist den Kymren gänzlich unbekannt, und ist unter allen Umständen Kontinentaler16 Herkunft.'17
A weak point in the proposed Celtic solutions appears to me to be that both entirely ignore the qualifying title du Lac, by which Lancelot is invariably known. Neither M. de la Villemarqué nor Professor Rhys appear to consider it of any special importance, yet if I mistake not this is just the significant point of the Lancelot story, and that which from the very outset differentiates it from the legends connected with Peredur or Maelwas. From the moment of his appearance in Chrétien's list of Arthur's knights to that in which the prose Lancelot records his death in the odour of sanctity, Lancelot is Lancelot du Lac, and the earliest version of his story which we possess amply justifies his claim to the title.
The poem of Ulrich von Zatzikhoven18 is certainly later than either the Erec or the Charrette of Chrétien, but the tradition it embodies is anterior to the poem itself. Written in the opening years of the thirteenth century, it is, as explicitly stated in the text, the translation of 'daz welsche buoch von Lanzelete,' brought to Germany by Hugo de Morville, one of the hostages who in 1194 replaced Richard of England in the prison of Leopold of Austria.19 The date of the original French version cannot, of course, be fixed. In any case it must have preceded its introduction into Germany; judging from internal evidence it represented an early and immature version of the Lancelot legend. The story as related in the Lanzelet is as follows: Lanzelet was son to King Pant of Genewîs and his wife Clarine. By a revolt of his people Pant was driven from his kingdom with his wife and child. In his flight he came to a stream, and there, overcome by his wounds, sank down and died. The queen had laid her child under a tree while she tended her husband, and before she could reach it again a water-fairy (mer-feine) came in a cloud of mist and carried off the infant. The fairy was a queen, ruling over ten thousand maidens, who knew no man. Her kingdom was called Meide-lant; there it was ever May-tide, and her palace had such virtue that whoso abode one day within it might never know sorrow till the day of his death. There the little Lanzelet was brought up, in ignorance of his name and rank, till he reached the age of fifteen, knowing nothing of knighthood, nor even how to bestride a horse. Then eager to try his lot in the world outside he demanded leave to ride forth. This the fairy granted, but refused to tell him his name and parentage; he must first conquer the strongest knight in the world, Iweret, of the fair wood Beforet.
She gave him rich armour, white as a swan, the best that might be, a surcoat (wafen-roc) decked with golden bells; sword and shield, and a goodly horse. But the lad did not know how to ride, so let the bridle hang loose and held on by the saddle-bow. In this fashion he rode till he met a knight, Johfrit de Liez, who rebuked him for his childish bearing, and took him to his castle, where he was kindly welcomed by the host's mother and her maidens, and instructed in riding and the use of knightly weapons.
His next adventure is to ride with two knights to the castle of one Galagandreiz. In the night the daughter of the host, condemned by her father to perpetual virginity, offers her love to the three knights in turn; is accepted by Lanzelet, who fights a duel with her father, slays him, and weds the maiden. One day he rode forth seeking adventures, and found a road which led him to the castle of Limors. The folk attacked, and would have slain him, but for the intervention of Ade, niece to the lord of the castle. Lanzelet is thrown into prison, and only escapes by fighting single-handed, first with a giant, then with two lions, and finally with the lord of the castle himself. Having slain this last, he becomes the 'ami' of the maiden Ade. (Whether he marries her or not is not clearly stated. In any case we hear no more of his first wife, the daughter of Galagandreiz.)
Meanwhile the fame of Lanzelet's exploits has penetrated to Arthur's ears, and Gawain is sent to find the unnamed hero, and bring him to Arthur's Court. They meet, and fight an undecided combat, terminated by the arrival of a messenger with tidings of a tournament between King Lot of Johenîs and Gurnemanz, den fürsten wîs. Lanzelet betakes himself hither, wearing each day a different suit of armour, green, red and white, overthrows many knights, including King Lot, whom he set free out of friendship for Gawain, and without revealing himself, rides away with Ade and her brother.
They come to a castle, Schâtel le Mort, the master of which, Mâbûz, is a magician, and son to the fairy who had brought Lanzelet up. Lanzelet rides to the castle, which has this property, that whoever crosses its drawbridge at once loses all courage and hardihood. Lanzelet falls under the spell, and is taken prisoner in the most ignominious manner, much to the dismay of Ade, who rides off with her brother and disappears from the story. The land of Mâbûz adjoins that of Iweret of Beforet, who is in the habit of raiding his neighbour's territory. Mâbûz, who is by nature a coward, determines that Lanzelet, whose fame is well known to him, shall be his champion. He has him carried by his men without the walls of the castle, when his natural courage at once returns. He rides to a fountain, beside which hangs a brazen cymbal on which he must strike three times with a hammer to summon his foe. In the meantime Iblîs, the fair daughter of Iweret, has had a dream of an unknown knight whom she meets beside the fountain; she rises early to seek the scene of her dream, and finds the original of her vision in Lanzelet. She beseeches him to carry her off without waiting for the conflict, but Lanzelet refuses. Iweret arrives and a fierce fight ensues, in which he is slain. Lanzelet weds Iblîs and becomes master of Beforet.
A messenger now arrives from the Fairy of the Lake, revealing Lanzelet's name and parentage (his mother, Clarine, was sister to Arthur). The object of her theft of the child is now accomplished: she desired to secure a champion who would free her son Mâbûz from his too powerful enemy. Lanzelet decides to seek Gawain, whom he now knows to be his kinsman. On their way they meet a squire who informs them that the King Valerîn (or Falerîn, the spelling varies), has appeared at Arthur's court and laid claim to Guinevere, on the ground that she had been betrothed to him previous to her marriage with Arthur. If Valerîn cannot find a champion to oppose him he will carry off the queen. Lanzelet undertakes the combat, and defeats Valerîn.
(We must note here that Lanzelet's service to the queen is of a preventive character, i.e. he saves her from the possibility of abduction, he does not rescue her after the abduction has taken place.)
Lanzelet then leaves his wife at court, and goes forth to seek the castle of Plurîs, which he had passed on his journey from Meide-land and the adventure of which he desires to test. There he is challenged by one hundred knights, whom he successively overthrows, and weds the queen (Ulrich says quaintly, 'ich enweiz ob erz ungerne tet, wan diu königîn was ein schœne maget, 5530-1). Iblîs remains at Arthur's court, grieving for the disappearance of her husband, during whose absence she successfully withstands the Mantle test, an incident of not infrequent occurrence in Arthurian romance.
Hearing that Lanzelet is a prisoner at Plurîs, Gawain, Karjet (Gaheriet?), Erec, and Tristan go in search of him, and, by means of a ruse, succeed in freeing him. The queen of Plurîs disappears from the story.
On their way to court they learn that, while engaged in hunting the white stag, Guinevere has been carried off by Valerîn, and imprisoned in a magic castle, surrounded by a dense thicket peopled with all kinds of serpents. Tristan, 'der listige Tristan' 20 suggests that they should seek the aid of Malduz 21 or Malduc, the magician, the Lord of the Misty Lake (Genibeleten Se), who will enable them to penetrate Valerîn's stronghold. Erec announces that neither he nor Gawain should take part in the expedition as they have respectively slain Malduc's father and brother. Arthur therefore sets forth accompanied by Karjet (Gaheriet), Tristan and Lanzelet (this is the order), and are later joined by Dodine le Sauvage. By the good offices of the enchanter's daughter, to whom Arthur appeals, Malduc consents to aid them on condition that Erec and Gawain are delivered up to him, to which these heroes willingly consent. Malduc then, by means of spells, disperses the serpents guarding Valerîn's castle, slays him and his men, and wakens Guinevere from the magic slumber into which Valerîn has cast her.
I have italicised this passage as extremely important for the criticism of the story. It will be seen that so far from Lanzelet being the means of Guinevere's escape, he plays practically no part in the story, all he does is to accompany the king. The rescuer is Malduc; recourse to him is suggested by Tristan and made possible by the self-sacrifice of Gawain and Erec; but saving in the discussion as to whether Malduc's terms shall or shall not be accepted, Lanzelet's name is not even mentioned.22
Erec and Gawain are cast into prison by Malduc and nearly starved to death, but are rescued by one hundred of Arthur's knights, headed by Lanzelet and aided by a giant, Esealt der lange. They all return to Arthur's court, where great feasts are held.
Iblîs tells her husband of a curious adventure which had befallen one of the knights: how he had met in a forest a terrible dragon which, speaking with a human voice, besought a kiss from the knight; he refused and the dragon flew away lamenting. Lanzelet resolves to test the adventure, rides to the forest, finds the dragon, and gives the desired kiss. The monster bathes in a stream at hand, and becomes a fair maiden, Elidiâ, daughter to the king of Thile; she has been transformed into a dragon for transgressing the rules of Minne, and condemned to remain in that form till kissed by the best knight on earth. She remains at Arthur's court, where she is made judge of all disputed questions relating to Minne.
Here the story of Lanzelet practically ends. He wins back his lands of Genewîs without difficulty, promising to treat his subjects better than his father did. He and Iblîs betake themselves to the heritage of the latter, Beforet, where they receive Arthur and Guinevere with great pomp. The poem concludes by telling us that they have four children, three sons and one daughter, that they live to see their children's children, and die both on the same day.
The poem of Ulrich von Zatzikhoven has scarcely received the attention which, as a factor in the criticism of the legend, it undoubtedly demands. The questions arising out of it are not only interesting, but, as I shall presently show, in one instance at least, of the very highest importance. The questions may be grouped as (a) those relating to the structure and sources of the poem itself; (b) those which affect its relation to the other Lancelot romances. For the first it is obvious that we are dealing with a poem of very loose construction; the various parts do not harmonise with each other, and no attempt has been made to make them do so. Thus we have no fewer than four love affairs attributed to Lanzelet, and in three out of the four he weds the lady; yet these amours, one of which is subsequent to his marriage with Iblîs, are dropped as of no account. Professor Foerster23 considers that this looseness of construction points to a late date, and that the source of the Lanzelet was a biographical romance of the weakest order. According to Professor Foerster the clearer the composition, the better knit the incidents, the older the romance.
Now it seems to me that there are two orders of ill-constructed romances, and that we shall do well to differentiate between them. In one case we have a number of incidents of secondary character, obviously borrowed or imitated from those occurring elsewhere, strung together more or less cleverly on the thread of a hero's individuality. The incidents are all to be found in other romances, and as a rule none of them have any suggestion of Celtic or mythic origin. The literary style is superior to the matter. Such romances are e.g. Rigomer, Torec, Le Chevalier à la Manche. A very favourable example is Méraugis de Portlesguez. These are all certainly late romances.
In the other case we have a romance even more ill-constructed, but consisting not of incidents but of whole short tales, manifestly independent of each other, and some of them of distinctly antique and mythic character: the literary style is poor and the whole is less a romance, properly speaking, than the material out of which a romance can be evolved. This, I believe, marks an early stage of development, and of this we have naturally but few specimens. The Lanzelet is, I believe, one.
If I mistake not, the groundwork is a series of lais, each complete in itself, and having no connection with what precedes or what follows it. It is in no real sense a biographical romance, though perhaps it might be called a tentative effort in that direction. The Mantle episode certainly formed a single lai; the Fier Baiser, now found with other adventures, probably originally did so.24 Certain of the episodes, too, possess a distinctly archaic character, e.g. the description of the fairy's kingdom as a isle of women where no man penetrates, a conception much older than the Fata Morgana of the prose Lancelot; and the description of Guinevere's prison, the magic slumber in a fair dwelling, ein wünneclichez haus, surrounded by a dense thicket infested with serpents, is the sleeping beauty story in its oldest 'other world' form.25 The position of Gawain in the story is that held by him in the earlier, pre-Lancelot romances.
I cannot accept the suggestion of a biographical Lancelot from which both the Lanzelet and the Charrette were drawn. If we remember that the first mention of Lancelot in Arthurian romance can only be traced to the second half of the twelfth century, it does not seem probable that by 1164 (when, or about when, Chrétien wrote his poem) he could have become the hero of a fixed biographical romance. Nor, the motif of his liaison with Guinevere once introduced into the story, is the compilation of such a version as the Lanzelet subsequently probable. Professor Foerster feels this difficulty, and suggests a solution, which a little more consideration would have shown him to be untenable. On page xlvi. of his introduction to the Karrenritter, he says, 'wenn wirklich Kristian zuerst den Ehebruch eingeführt hat, so ist doch die Annahme zulässig dass Verehrer Arturs und seiner Frau diese neue ehrenrührische Erfindung zwar gekannt, aber mit Entrüstung abgewiesen haben, um ja nicht des idealen Königs Ehrenschild zu beschmutzen.' But a few pages further on the writer himself refers to the story of Guinevere and Mordred as told by Geoffrey26 and Wace. He must therefore be well aware that there can be no possible question of Chrétien's having introduced the motif of Guinevere's faithlessness; that is one of the oldest and most original features of the Arthurian story. The question is not, 'Did the queen have a lover?'—that was answered in the affirmative long before Chrétien's day—but, 'When did Lancelot become her lover? Was it through the version of the Charrette?' a very different matter.27
