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The Lost Land Of King Arthur By J. Cuming Walters
CHAPTER I
OF THE KING AND HIS CHRONICLERS
"What an enormous camera-obscura magnifier is Tradition! How a thing grows in the human Memory, in the human Imagination, when love, worship, and all that lies in the human Heart, are there to encourage it!" Carlyle.
No pretence can be made that a complete or exhaustive history of King Arthur is given in this and the following chapters. Only parts of his story and parts of the story of his most illustrious knights are woven into this mosaic of fact and fiction. Sometimes only a few threads of the romance are to be discovered; at other times many are gathered into the fabric.
I have taken those portions only of the Arthurian fable, built upon a small substratum of historic fact, which suited the immediate purpose in view; the rest, a huge mass, which it would have been unprofitable to introduce, has perforce been omitted. The primary object has been simply to call attention to the reputed relics of the great hero, to mark some of the floating traditions of his power, and to speak of a few of the localities which bear his name or are associated with his deeds; and I have striven to add a little to the living interest in the mouldering monuments, to brush away a little of the dust of ages from existing evidences, to lift a little the veil of mystery which darkens, disguises, or shrouds the lineaments of the king. As we find him in history, and as he is represented in romance, he is so noble a figure that we should dread to lose him or the conjuring influence of his name. The proud and triumphing Roman reeled for a time under the shock of Arthur's hosts. The Saxon felt his almost invincible power. Christendom hailed his noble order and rejoiced in his imperial sway. Now, where he ruled and made his kingdom, are submerged cities, fallen towers, the wash of waters, the "trackless realm of Lyonnesse." The sea has swept over his territory, and the deep shadows of centuries have fallen upon his deeds. His fame has been made imperishable by mighty pens, and many a mountain fastness holds his name and gives it forth to the world; many a towering rock preserves his story; many a frowning height perpetuates his deeds; many a wild torrent proclaims his name. So by a hundred contrivances does the memory of King Arthur endure, and he looms, a giant, behind the mist of ages. Six hundred localities in the British Isles alone, it has been computed, cherish traditions of King Arthur, and his praise is sung by a multitude of voices, and in every region where Celtic influence has been felt. Such an influence as this cannot proceed wholly from the dry bones of fiction, or from the golden toys of romance. Legends gather about a great name, just as ivy covers the ruined column of old time; but the underlying base is there. Those who contend that King Arthur never lived are open to the charge of allowing the leaves of fable to hide from their eyes the ruined but giant pillar beneath.
In the early unwritten history of this island the invading Brythonic race mastered the inhabitants, the Goidels or Gauls, who had amalgamated with the Neolithic race, and gave the country the name of Britannia. To them is attributed the building of Stonehenge and the round barrows in which the dead were interred. The Cambrians, the Welsh, and the people of Brittany are their linguistic descendants. So hardy, stalwart, and venturesome were the Brythons that they gradually spread themselves over the greater part of the country and penetrated far to the north. They offered determined defiance to the Romans three centuries before the Christian era, and successively resisted Norsemen and Saxons until five centuries of the Christian era had passed. Driven first to the west, they took up their abode in the wilds of Wales, and in Cornwall and Devon, and only succumbed at last to the exterminating campaign of the Saxons, who first cut off the Britons of the north and the south, and then defeated the two divisions of the race, first at Chester and then at Bath. The crucial battle between Briton and Saxon was under the leadership of the last of the British chiefs, the Arthur of history and romance, and Cerdic the victorious leader of the "Pagans." Cerdic, sailing across the channel in his chiules, or long ships, had landed at the Isle of Wight, fought King Natanleod of Hampshire, with whom he maintained a five years' campaign, and, triumphant at last, and reinforced by the followers of his son and his nephews, had established the West Seaxe, or Wessex Kingdom. But, if defeated by the British at Mount Badon, the Saxons were not long in reversing the issue, and Cerdic's son Cymric, and his nephews Stuffa and Whitgar, lived to see their rivals well-nigh exterminated. At Wodensbury in Wiltshire the remnants of the British race joined with the Angles in driving the hated Saxon from the sovereignty of Wessex, but this, too, was without permanent result; for Cerdic's next of descent, Cadwalla, restored the supremacy of his house and race.
Cerdic is said to have died in 534, a date of some importance as helping us to fix the true Arthurian era. The history of many of his contemporaries is almost as vague as Arthur's own, but Cerdic stands out as a man of no uncertain history, and he serves the purpose of allowing us to test the probabilities of Arthur's reputed career. That Cerdic's record should be more definite, though extremely brief, is due to the fact that he was a conqueror; that Arthur's record should be less definite, though extremely long, is due to the fact that he was vanquished, and that his story became mixed with the fables of a generation which did not know him. In the one case we have concrete facts duly preserved; in the other we have merely a name which fires the imagination, and a few events which in the course of time are magnified by romance. Allegory is but truth's shadow, and the very songs we deem idle, even the loosely-strung nursery rhymes, may have inner significance, as Carlyle has told us; men never believed in songs that were meaningless, and "never risked their soul's life on allegories." Real history and precious lore are bound up in these shrunken shrouds of withered myths, and it is safe to assume that the name that is enshrined in a folk-song is the name of a transcendent hero, a truly great man deemed more than human, merged into the preternatural, the ideal, or the divine. And, like the student at the Wayside Inn of Sudbury Town, we can
" Love the twilight that surrounds
The border-land of old romance,
* * * *
Where mighty warriors sweep along,
Magnified by the purple mist,
The dust of centuries and of song."
Here it is that
" The chronicles of Charlemagne,
Of Merlin and the Mort d'Arthure
Mingle together."
But how the romance of King Arthur originated, how it came to be written, how it was developed and elaborated, how from a simple history it came to be invested with special significance and to be impregnated with spiritual meanings to explain this, it is necessary in some measure to trace the course of early English literature and to mark the advance of the English race. The story leads us back to dim times and small beginnings. It recalls the semi-barbarism of the first centuries, the fierce conflicts of contending tribes, the domination of Rome, the last supreme encounters between Briton and Saxon, and the making of that race which we believe inherits the hardy and heroic qualities of both. No doubt the substratum of fact is overlaid with superstitions, and fantasy has reared her airy edifices upon the frailest of history's foundations. The narrow track leading backward to the times of Arthur is often undefined and irretraceable, and the traveller finds that unstable bridges have been cast across the gulfs which have broken up the way. Very seldom, therefore, can a strong foothold be obtained, and one is often disposed to abandon the pursuit of truth as hopeless. The tendency has ever been to strain facts to uncertain conclusions in order to fit the exigencies of romance.
As discoverable error ever leads to general doubt, there are not lacking those who deny that King Arthur ever existed. He is declared to be a myth, a type, a symbol, an allegorical figure. Even Caxton, in printing Malory's history, was obliged to confute the sceptics by the mention of what he deemed unassailable facts. It was " most execrable infidelity," said he, to doubt the existence of Joshua, David, Judas Maccabaeus, or Alexander; all the world knew there was a Julius Caesar and a Hector; "and," he demanded to know with just indignation, "shall the Jewes and the heathen be honoured in the memory and magnificent prowesse of their worthies? Shall the French and German nations glorifie their triumphs with their Godfrey and Charles [Charlemagne], and shall we of this island be so possesst with incredulities, diffidence, stupiditie, and ingratitude, to deny, make doubt, or expresse in speech and history, the immortal name and fame of our victorious Arthur? All the honour we can doe him is to honour ourselves in remembrance of him."
Having thus made it a point of national pride and honour with us to accept and believe in King Arthur, Caxton proceeded to advance the proofs of his existence, which were that his life was written in "many noble volumes," while his "sepulture" might be seen at Glastyngburye [Glastonbury], that the print of his seal was preserved in Westminster Abbey, and that "in the castel of Dover ye may see Gawayn's skulle and Cradok's mantel; at Wynchester, the rounde table; in other places, Lancelotte's sworde, and many other thynges." These irrefutable facts admitted, to his thinking, of but one conclusion. "All these thynges consydered, there can no man reasonably gaynsaye but there was a King of thys lande named Arthur." The quaint prologue to Malory's romance abundantly testifies that serious arguments must have been already advanced against Arthur's existence in order to call for so spirited a rebuke and so complete an answer. But, as a matter of fact, the truth of the histories referring to his exploits had been challenged from the first, and in spite of the immense popularity they enjoyed and the influence they possessed, they seem never to have been implicitly and unanimously accepted as veracious records.
Three Welsh poets are supposed to have been the first to celebrate the deeds of Arthur the full-throated Taliesin, Aneurin, and Llywarch Hn. The two latter bards commemorated the heroes who fell at the battle of Cattraeth, in the year 603. Aneurin's poem, "Gododin," about a thousand lines in length, is preserved in a manuscript of the thirteenth century. The writer, who was present at the battle he describes, is supposed by some to have been Gildas, the first historian; others say he was the son of Gildas.* The poem is of a most obscure character, and doubt has actually arisen as to the particular battle to which it refers, a theory having been advanced that it celebrated a disaster which befell the Britons at Stonehenge in 472. But Cattraeth is supposed to have been Degstan, or Dawstane, in Liddlesdale, at which the Saxons were defeated; and when such divergencies as these are possible in regard to locality, persons, and dates, the value of Aneurin's poem as history may easily be estimated. The principal fact which Aneurin tells us is that of "three warriors and threescore and three hundred, wearing the golden torques," only four escaped "from the conflict of gashing weapons," one being himself.
*Aneurin was born about the year 500, and as "a monarch of bards " was of much repute in Manan Gododin, a part of Cymric Scotland. The Welsh Britons included all the Lowlands in their territory, and, as is well known, the names familiar in Arthurian romance can be traced to Scotland, the West of England, and France alike, as will afterwards be shown in these pages. Aneurin's nationality, however, is particularly well worth recalling in view of the theory that Arthur was Scotch.
Another of those who escaped from Cattraeth was Kynon, known as "the dauntless," whose love for the daughter of Urien supplied the bards with a theme. Urien himself fell in this great battle, and it was the poet Llywarch Hn (buried, it is said, in the Church of Llanever, near Bala Lake) who wrote his elegy. Llywarch Hen passed his younger days at King Arthur's Court as a free guest and a counselling warrior. His career is well summarised by George Borrow in Wild Wales, Chapter LXXIII.
Of the third and most important prophet and bard, Taliesin, Prince of Song, we are told that he was the son of Saint Henwg; that he had a miraculous birth; that he spake in wonderful verse at his nativity and sang riddling tales; that he was invited by King Arthur to his Court at Caerleon; and that, having presided ' over the Round Table as a " golden-tongued knight," he became chief of the Bards of the West. A cairn near Aberystwyth marks the site of his grave. The story of the bard of the radiant brow, of his wonderful delivery from pirates, and of his poems, which excelled those of all others, has always been a popular one, but the sifting of truth from fiction is no easy task. His allusions to Arthur probably have no superior value to the references of Aneurin and Llywarch Hen, and we are forced therefore to dismiss them from account. Sir Walter Scott, in the introduction to one of his poetic romances, justly reminded his readers that the Bards, or Scalds, were the first historians of all nations, and that their intention was to relate events they had witnessed or traditions that had reached them. "But," he added, "as the poetical historian improves in the art of conveying information, the authenticity of his narrative invariably declines. He is tempted to dilate and dwell upon events that are interesting to his imagination, and, conscious how indifferent his audience is to the naked truth of his poem, his history gradually becomes a romance." Such were the early historians, as well as bards, upon whose records the English chroniclers relied.
These chroniclers were Gildas and Nennius, of whom no very certain biographic'al facts can be discovered, though the latter is said to have been a monk at Bangor. Gildas is the reputed author of a treatise, De Excidio Britannice, blindly copied by Bede, which supplied a history of Britain from the time of the Incarnation to the year 560 A.D. But darkness enshrouds the historian, of whose country, parentage, and period much is surmised and little is discoverable. The erudite author of Culture in Early Scotland, Dr. Mackinnon, believes that the writer of the gloomy and pessimistic work on the destruction of Britain was a Romanised Briton, who migrated to Brittany to escape the pitiless severity of the Saxons, and there founded the monastery of Ruys. It has even been claimed that Gildas was a native of Clydesdale, and if this were so another link would exist to connect Arthur himself with Scotland, for the historian was so closely identified with the race and the cause championed by that king that his surname was taken from Arthur's famous battle of Badon, which, again, is said by some to have been fought in the Lowlands.* Gildas was the wisest of the Britons according to Alcuin, and Dr. Mackinnon thinks that his chronicle should be accepted as authentic, in spite of its occasional errors and its undoubted bias.
* A Badon in Linlithgowshire is the reputed site.
The stern character of the writer is evinced by his denunciations not only of Saxon excesses, but of the clerical vices of his age. In short, Gildas was a religious devotee, an austere and uncompromising critic of the demoralising customs of the time; a species of prophet, also, who saw in corruption and degeneration the signs of coming destruction for the race to which he belonged. Roman influence had undermined the morals of the people and enervated public and social life. The story Gildas tells is one of unrelieved gloom, but it stands out in contrast to other narratives by its rugged simplicity and its freedom from the more romantic elements. Murder, sacrilege, and immorality were bringing about wholesale desolation, and the patriotic Gildas saw no future before his country but absolute ruin and racial extinction. His allusions to Arthur are scanty, incidental, and none too complimentary, and they have assumed importance only as bases for the construction of bold theories by subsequent writers.
In Somerset, near the ancient British settlement of Brean, is a rocky islet known as Steep Holm, 400 feet high and about a mile and a half in circumference. In this desolate place it is said that Gildas Badonicus took refuge during the time of conflict between Britons and Saxons, and that here he composed the greater part of De Excidio Britannia. Leland records that the hermit "preached every Sunday in a church by the seashore, which stands in the country of Pebidiane, in the time of King Trifunus; an innumerable multitude hearing him. He always wished to be a faithful subject to King Arthur. His brothers, however, rebelled against that king, unwilling to endure a master. Hueil (Howel), the eldest, was a perpetual warrior and most famous soldier, who obeyed no king, not even Arthur himself." Steep Holm was invaded by pirates, and Gildas was compelled to seek another asylum. He chose Glastonbury, and there he died. His attitude was pessimistic in the extreme. "The poor remnant of our nation," he said, "being strengthened that they might not be brought to utter destruction, took arms under Ambrosius, a modest man, who, of all the Roman nation, was then alone in the confusion of this troubled period by chance left alive. His parents, who, for their merit, were adorned with the purple, had been slain in the same broils, and now his progeny, in these our days, although shamefully degenerated from the worthiness of their ancestors, provoked to battle their conquerors, and, by the goodness of God, obtained the victory." In this dismal strain did he write of triumphs, and the power with which he described defeat may therefore easily be guessed.
The answer that has been given to the question, oft repeated : Why is history so silent on King Arthur? is a strange one. It is said that Gildas, on hearing that Arthur had slain his brother Howel, was so deeply offended that he determined that the hero should not be celebrated by him. In revenge, he cast into the sea "many excellent books which he had written concerning the acts of Arthur, and in the praise of his nation, by reason of which thing you can find nothing of so great a prince expressed in authentic writings." Gildas himself supplies another explanation, for he bewailed the loss of national records " which have been consumed in the fires of the enemy, or have accompanied my exiled countrymen into distant lands." His own sources of information were those which he found in Armorica and other portions of the Continent.
Nennius is supposed to have compiled another comprehensive history comparable with that of Gildas Historia Britonum the period embraced being from the days of Brute the Trojan to the year 680 A.D. But so much doubt prevails as to his work, that the history, despite the later date, has been ascribed to Gildas himself. Both may have been forgeries of the tenth or eleventh century. For five or six centuries the story of Arthur was "folk-lore," and was preserved in snatches of song, a few fragments of which still exist. Such a legend, as Longfellow says, can only
"Spring at first
Out of the hunger and the thirst
In all men for the marvellous.
And thus it filled and satisfied
The imagination of mankind,
And this ideal to the mind
Was truer than historic fact."
Songs in praise of heroes, real or mythical, always exist among rude peoples the sagas which nations unwillingly let die. They are the repository of national history, the inspiration of an aspiring and progressive race, the embodiment of its hopes, the treasury of its traditions. Mythology, "the dark shadow which language throws on thought," is the first outcome of mental activity and percipience the struggle for human expression of all that is marvellous and memorable. All the early history of races is mixed and engloomed with dim allegories. Intense reverence for divinities, or the awe of them, leads to the making of fables and the reciting of marvels, in which the gods speak and act as men, or men speak and act as gods. The thoughts of primitive peoples are concentrated upon the hero, the commanding figure who typifies their desires, and about v, hose name cluster legends of victory. Not infrequently, divine qualities are attributed to that hero who thus looms majestically upon the horizon of history, and ultimately becomes a religion. "The gods of fable are the shining moments of great men," Emerson said, and whether the Arthurs and Odins of mythology were men worshipped as deities, or deities divested of divinity and transformed into historic heroes, the after-ages must always have some difficulty* in deciding. What we know is that the interval between language and literature is crowded with shadowy mythological lore, and little of the light flashed back from today can illumine the haunted, mystic, twilight time of phantom and superstition.
Yet Geoffrey, Archdeacon of Monmouth, and afterwards Bishop of St. Asaph (1100-1154), m giving shape and substance to the Arthurian legends and traditions, had no better material to work with than that supplied by the British folk songs, the tainted records of Gildas and Nennius, and the so-called Armoric collections of Walter, Archdeacon of Oxford, who flourished in the eleventh century, and connected the Arthur of Brittany with the Arthur of Siluria. Geoffrey's famous Chronicon Historia Britonum, dedicated to Robert, Earl of Gloucester, and given to the world in the Latin tongue in the year 1115, was professedly a translation of the Brut y Brenhined, a "history of the Kings of Britain, found in Brittany," best described in Wordsworth's phrase: "A British record long concealed in old Armorica, whose secret springs no Gothic conqueror e'er drank."
In reality his imagination had been fired by the bardic celebrations of Arthur's triumphs, the songs still sung vauntingly by an unconquered race. The old monkish chronicler manifested a marvellous ingenuity in imparting circumstantiality of the most convincing character to his narrative. He connected place-names of great repute with eponymous heroes; he linked the truths of the Roman occupation with the half-truths or fables of the British resistance; he wove some of the most striking Scriptural facts into the fabric of the romance; he so leavened falsehood with reality that the imposture was hard to detect, especially in an uncritical age, and the effect was most impressive upon the minds of an unreasoning generation.
His inventions did not extend to incidents; these he took from the chronicles to hand, and he can only be charged with a free amplification of the records, and a readjustment of the events which had been described. Notwithstanding all the craft and devices of the chronicler, however, his history was almost immediately challenged, William of Newburgh, a Yorkshire monk, declaring that Geoffrey had "lied saucily and shamelessly," with many other hard terms. He charged the supposed cnronicler with making use 'of, and wholly depending upon, the old Breton tales, and with adding to these contestable compilations "increase of his own." Nor was William of Newburgh alone in his protests and denunciation. Girakhis Cambriensis, by a parable, implied that Geoffrey's work was a deceit. There was a man at Caerleon, he said, who could always tell a liar because he saw the devil and his imps leaping upon the man's tongue. The Gospel of St. John was given him; he placed it in his bosom; and the evil spirits vanished. Then die History of the Britons, by "Geoffrey Arthur" ("Arthur" was a by-name of Geoffrey's), was handed to him, and the imps immediately reappeared in greater numbers, and remained a longer time than usual on his body and on his book. Ccedit qtufstio. But all this did not prevent Geoffrey's masterpiece in nine books from attaining a remarkable popularity both in its original form and when translated, as it rapidly was, into the Anglo-Saxon and die Norman-French languages, where it could be fuDy understanded of die people. It covered die history of die Britons from die time of Brut, great-grandson of JEneas of Troy, to Cadwallader's death in 688.
The first translators were Geoffrey Gaisnar or Gaimar, in 1154 (the original history had been published only seven years previously), who turned the story into Norman-French verse, and Wace, a native of Jersey, who obtained the favour of the Norman kings, and was the author of two long romances in Norman-French the famed Brut, or Geste des Bretons, and the almost equally famous Roman de Rou. The former work was a free metrical rendering, published in Henry II.'s reign, of Geoffrey's Chronicle, with some new matter. Wace, according to Hallam the historian, was a prolific versifier who has a "claim to indulgence, and even to esteem, as having far excelled his contemporaries without any superior advantages of knowledge." It was in emulation of him that several Norman writers composed metrical histories.
Then came Layamon, a Midland priest living at a noble church at Emly, or Arley, who at the close of the twelfth century produced the first long poem written in the English language. He did not go to Geoffrey of Monmouth's work direct, but wrote an amplified imitation of Wace's version of the Chronicle. Layamon's paraphrase contained just over double the number of lines in Wace's poem, the additions consisting chiefly of interpolated dramatic speeches. There were already Cymric, Armoric, Saxon, and Norman ingredients in the medley of history and romance, and to these Layamon added a slight Teutonic element, for the chansons of the Trouveres had carried the fame of Arthur into Germany, and already new legends with new meanings were germinating from the loosely-scattered seed. With Artus for the central figure and with courtly chivalry for the theme, these variations and expansions of the story of the British chief exercised as powerful and enduring an influence upon the people of France and Germany as they had done, and continued to do, upon the people of Britain. The good priest seems to have had no other object in writing in good plain Saxon the story of King Arthur than to make widely known among his countrymen the noble deeds in which he evidently had an abounding faith. In fact, his purpose was purely patriotic. The only guile he employed was in supplying the names of many persons and places, in addition to the speeches, all of which circumstances served to magnify the literary imposture. Walter Map, or Mapes, a man of the Welsh Marches, with a reputation for exceeding frankness and honour, followed Layamon and introduced other and more striking details of permanent value. Map was the friend of Becket, and is believed to have been for some time the king's chaplain. For the love of the king his work was done. His Latin satirical poems display his chief characteristics, and it is as a wit rather than a writer that he was famous at the Court. Yet it was this man who is held to have conceived the character of the pure and stainless knight Sir Galahad, assigning to him what is in some respects the chief, or at all events the worthiest, position in the Arthurian list of knights. If Sir Galahad, stainless, chivalrous, alone capable of achieving the Quest of the Grail, were the creation of Walter Map, to him we owe that spiritual and religious element which refines and enriches King Arthur's history.
Map wrote the story of the Grail, a Christianised renderingof Celtic myth, and to him probably we owe the moving and impressive Mori, with those notable outbursts which rank among the treasures of our literature. He, however, had the originals to work upon. The Welsh had taken their legends to Brittany, the troubadours were singing them, and the German and the French chroniclers were at work. And though there is no doubt that Map contributed in a considerable degree to the romances, it must be faithfully recorded that questions have arisen whether he was really capable of doing all that has been attributed to him, and whether, if he had the capacity, he would also have had the inclination. "Spotless spirituality," such as he is supposed to have infused into the story, is scarcely consistent with the character of the man whose Anacreontics are often lacking in refinement.*
* Take, for instance, the song in which he expresses the wish to die while drinking in a tavern, "Meum est propositum in taberna mori."
So far, it will be easily conceded, very little has been advanced in the way of proof of the existence of the British prince and hero, of the Cymric "Dux Bellorum," of the Chief of the Siluri or Dumnonii, the name given to the remnant of the British races driven westward by the Saxons. We can understand Milton questioning who Arthur was, and doubting "whether any such reigned in Britain." "It had been doubted heretofore, and may be again with good reason," he wrote, notwithstanding the fascination possessed by-
" What resounds
In fable or romance of Uther's son
Begirt with British and Armoric knights."
Geoffrey's "monument of stupendous delusion" had not deceived him, and Sir Thomas Malory's laborious compilation, while winning unstinted admiration for its beauty, richness, and delectation, would be as unconvincing historically as were Caxton's quaintly-argued evidences. All the tributaries which now combined to make the full broad current of Arthurian literature were infected at their sources, numerous and widely separated as those sources were. If Malory depended, as we have the authority of the best scholars for believing; upon the several ancient romances of Merlin, the inventions and adaptations of Walter Map, the mysterious compilations of pseudonymous "Helie de Bouri" and "Luces de Gast," with other manuscripts some of which are untraced of like character, it was obvious that he was only presenting us with an aggregation of the impostures, inventions, fables, and falsities of the centuries preceding. That Malory had a conscientious belief in the romance is extremely probable, though in the absence of all information concerning him for he is a name, a great name, and little more we can only infer this from the scrupulous manner in which he has performed his task and from the commendatory form in which it was issued in the year 1485.
Judged purely as literature, and with every allowance made for want of uniformity in level as well as for the tediousness of numberless digressions, Malory's romance only admits of one opinion; and to him and to Caxton (who, despite the humility of his prologues and epilogues, and his professions of "simpleness and ignorance," was a scholar and a master of middle-class English) the race is under a perpetual debt.*
* William Caxton, "simple person," as he styled himself, urged that he undertook the work at the request of "divers gentlemen of this realm of England."
The compiler does not seem to be open to the charge levelled against him by Sir Walter Scott, that he "exhausted at hazard, and without much art or combination, from the various French prose folios"; on the contrary it is easy to conceive that he exercised that " painful industry " with which he is credited by the writer of the Preface to the edition of 1634. In addition to this, he stamped his own individuality upon the work, and manifested a singular purity of taste by removing the grosser elements which stained many of the earlier versions, and by preserving all that was best as literature and in keeping with the finest and truest spirit of romance. We know from the scholarly investigations of Dr. Sommer and Sir Edmund Strachey how judicious Malory was in translating from his "French books," or in making abstracts, or in amending and enlarging. With true insight he chose the material that was of good report and of genuine worth; the dross he cast aside. Malory may have belonged to a Yorkshire family, judging from the fact that Leland recorded that a Malory possessed a lordship in that county, but there is no slight authority for believing that he was a Welshman and a priest "a servant of Jesu both day and night," as he himself said. That he was a good and earnest Christian his own work proves beyond all question, for he imparted all the religious ardour to the romance that he could, and accentuated that element when it had already been introduced.
The romance of Arthur was enriched, to use Gibbon's words, with the various though incoherent ornaments which were familiar to the experience, the learning, or the fancy of the twelfth century. Every nation enhanced and adorned the popular romance, until "at length the light of science and reason was re-kindled, the talisman was broken, the visionary fabric melted into air, and by a natural though unjust reverse of public opinion the severity of the present age became inclined to question the existence of Arthur." That Arthur's name should stream like a cloud, man-shaped, from mountain-peak is the fault of the mediaeval writers who, in taking the British king for their hero, could represent no age but their own, and had no consciousness of anachronism. It came natural to them in speaking of the sixth-century knights to endow them with the attributes of the thirteenth and fourteenth century, and to describe Arthur's Britain much as they would have described the Britain of a Henry or an Edward. The Arthur of Geoffrey, of Walter Map, and of Malory is as impossible as the Arthur of Wagner, Lytton, Swinburne, and Tennyson. Most of the writers on chivalry have either viewed and treated the Knights of the Round Table as contemporary heroes, or have altogether idealised them. We are forced to the conclusion that Geoffrey and all the other mediaeval chroniclers had no real conception of the character of the age of which they wrote; if they discovered real names and real persons they transported them to an imaginary world and invested them with fabulous attributes. They made reality itself unreal, transformed heroes into myths, and buried history beneath romance; they had no power to recognise truth even when it appeared to them.
King Arthur was a traditional and historic chieftain of rude times, the man of an epoch, a hero to be sung and remembered. His life must have been a tumult; his seventy odd battles were the events of his era. Whether he represents a nascent civilisation, or whether, following the Romans, he simply maintained a barbaric splendour in the cities they had made or by means of some enlightened laws they had instituted, is a matter of dispute. But he is the "gray king," the elemental hero, not the advanced type. It is a remarkable fact that English scholars have until quite recently done so little to popularise Arthurian literature. Malory's version remained almost inaccessible until Southey issued his edition, and the best work of all was undertaken for us in latter years by Dr. Sommer, a German. Considering the hold on the imagination which the romance possessed, little was done to elucidate the obscurities and to solve the mysteries concerning not only the authors but the heroes themselves and the land to which they belonged. Much has been conjectured, but we feel that we are dealing more with phantoms and fancies than with realities and facts. Yet what an inspiration King Arthur has been ! His name has lingered, his memory has been treasured in national ballads. Poets have in all ages hovered round the subject, and some have alighted upon it, only perhaps to leave it again as beyond their scope.
" The mightiest chiefs of British song
Scorned not such legends to prolong."
Milton, Spenser, Dryden, Warton, Collins, Scott and Gray, together with derided and half-forgotten Blackmore; Lytton, with his ambitious epic, doomed to unmerited neglect; Rossetti, James Russell Lowell, and lastly, Arnold, Morris, Swinburne, and Tennyson these have lifted the romance into the highest and purest realm of poetry, and have impregnated the story with new meanings and illuminated it with rich interpretation.
All have felt the influence of Arthur's history, "its dim enchantments, its fury of helpless battle, its almost feminine tenderness of friendship, its fainting passion, its religious ardours, all at length vanishing in defeat and being found no more." We have seen how the Arthurian history, real or fabulous, arose from early traditions and grew as each chronicler handled it and combined with it the traditions and the fictions of other races. It lost nothing by its transfusion into new tongues, but was enriched by the imaginations of the adapters and combined with the stories already current in other lands. The hero that Celtic boastfulness had created became the representative hero of at least three peoples in these early times, and the songs of the Trouveres speedily spread his fame over Western Europe. We find Arthur represented as the master of a vast kingdom, and his power extending to Rome itself; and we find him claimed as the natural hero of nearly every race which heard his praise and was kindled to valour by the example of his exploits. Each country seemed bent upon supplying at least one representative of the Table Round, and eagerly competed for the pre-eminence and perfection of the knight of its choice. The kingdom allotted to him was without limit, and as the elder Disraeli would put it, "fancy bent her iris of many-softened hues over a delightful land of fiction."
Lost though King Arthur's realm is, the land of the ancient British chieftain must have been real, and it is most possible that we tread the dust which covers it in journeying from Caerleon to Glastonbury, from Glastonbury to Camelford, from Camelford to Tintagel. To these places is our pilgrimage directed.
