Alfred Tennyson Part 10

1150-1182, Chretien de Troyes writes poems on Arthurian topics.

French prose romances on Arthur, from, say, 1180 to 1250. Those romances reach Wales, and modify, in translations, the original Welsh legends, or, in part, supplant them.

Amplifications and recastings are numerous. In 1485 Caxton publishes Malory's selections from French and English sources, the whole being Tennyson's main source, Le Mort d'Arthur. {13}

Thus the Arthur stories, originally Celtic, originally a ma.s.s of semi-pagan legend, myth, and marchen, have been retold and rehandled by Norman, Englishman, and Frenchman, taking on new hues, expressing new ideals--religious, chivalrous, and moral. Any poet may work his will on them, and Tennyson's will was to retain the chivalrous courtesy, generosity, love, and asceticism, while dimly or brightly veiling or illuminating them with his own ideals. After so many processes, from folk-tale to modern idyll, the Arthurian world could not be real, and real it is not. Camelot lies "out of s.p.a.ce, out of time," though the colouring is mainly that of the later chivalry, and "the gleam" on the hues is partly derived from Celtic fancy of various dates, and is partly Tennysonian.

As the Idylls were finally arranged, the first, The Coming of Arthur, is a remarkable proof of Tennyson's ingenuity in construction. Tales about the birth of Arthur varied. In Malory, Uther Pendragon, the Bretwalda (in later phrase) of Britain, besieges the Duke of Tintagil, who has a fair wife, Ygerne, in another castle. Merlin magically puts on Uther the shape of Ygerne's husband, and as her husband she receives him. On that night Arthur is begotten by Uther, and the Duke of Tintagil, his mother's husband, is slain in a sortie.

Uther weds Ygerne; both recognise Arthur as their child. However, by the Celtic custom of fosterage the infant is intrusted to Sir Ector as his dalt, or foster-child, and Uther falls in battle. Arthur is later approven king by the adventure of drawing from the stone the magic sword that no other king could move. This adventure answers to Sigmund's drawing the sword from the Branstock, in the Volsunga Saga, "Now men stand up, and none would fain be the last to lay hand to the sword," apparently stricken into the pillar by Woden. "But none who came thereto might avail to pull it out, for in nowise would it come away howsoever they tugged at it, but now up comes Sigmund, King Volsung's son, and sets hand to the sword, and pulls it from the stock, even as if it lay loose before him." The incident in the Arthurian as in the Volsunga legend is on a par with the Golden Bough, in the sixth book of the AEneid. Only the predestined champion, such as AEneas, can pluck, or break, or cut the bough -

"Ipse volens facilisque sequetur Si te fata vocant."

All this ancient popular element in the Arthur story is disregarded by Tennyson. He does not make Uther approach Ygerne in the semblance of her lord, as Zeus approached Alcmena in the semblance of her husband, Amphitryon. He neglects the other ancient test of the proving of Arthur by his success in drawing the sword. The poet's object is to enfold the origin and birth of Arthur in a spiritual mystery. This is deftly accomplished by aid of the various versions of the tale that reach King Leodogran when Arthur seeks the hand of his daughter Guinevere, for Arthur's t.i.tle to the crown is still disputed, so Leodogran makes inquiries. The answers first leave it dubious whether Arthur is son of Gorlois, husband of Ygerne, or of Uther, who slew Gorlois and married her:-

"Enforced she was to wed him in her tears."

The Celtic custom of fosterage is overlooked, and Merlin gives the child to Anton, not as the customary dalt, but to preserve the babe from danger. Queen Bellicent then tells Leodogran, from the evidence of Bleys, Merlin's master in necromancy, the story of Arthur's miraculous advent.

"And down the wave and in the flame was borne A naked babe, and rode to Merlin's feet, Who stoopt and caught the babe, and cried 'The King!

Here is an heir for Uther!'"

But Merlin, when asked by Bellicent to corroborate the statement of Bleys, merely

"Answer'd in riddling triplets of old time."

Finally, Leodogran's faith is confirmed by a vision. Thus doubtfully, amidst rumour and portent, cloud and spiritual light, comes Arthur: "from the great deep" he comes, and in as strange fashion, at the end, "to the great deep he goes"--a king to be accepted in faith or rejected by doubt. Arthur and his ideal are objects of belief. All goes well while the knights hold that

"The King will follow Christ, and we the King, In whom high G.o.d hath breathed a secret thing."

In history we find the same situation in the France of 1429 -

"The King will follow Jeanne, and we the King."

While this faith held, all went well; when the king ceased to follow, the spell was broken,--the Maid was martyred. In this sense the poet conceives the coming of Arthur, a sign to be spoken against, a test of high purposes, a belief redeeming and enn.o.bling till faith fails, and the little rift within the lute, the love of Lancelot and Guinevere, makes discord of the music. As matter of legend, it is to be understood that Guinevere did not recognise Arthur when first he rode below her window -

"Since he neither wore on helm or shield The golden symbol of his kinglihood."

But Lancelot was sent to bring the bride -

"And return'd Among the flowers, in May, with Guinevere."

Then their long love may have begun, as in the story of Tristram sent to bring Yseult to be the bride of King Mark. In Malory, however, Lancelot does not come on the scene till after Arthur's wedding and return from his conquering expedition to Rome. Then Lancelot wins renown, "wherefore Queen Guinevere had him in favour above all other knights; and in certain he loved the Queen again above all other ladies damosels of his life." Lancelot, as we have seen, is practically a French creation, adopted to ill.u.s.trate the chivalrous theory of love, with its bitter fruit. Though not of the original Celtic stock of legend, Sir Lancelot makes the romance what it is, and draws down the tragedy that originally turned on the sin of Arthur himself, the sin that gave birth to the traitor Modred. But the mediaeval romancers disguised that form of the story, and the process of idealising Arthur reached such heights in the middle ages that Tennyson thought himself at liberty to paint the Flos Regum, "the blameless King." He followed the Brut ab Arthur. "In short, G.o.d has not made since Adam was, the man more perfect than Arthur."

This is remote from the Arthur of the oldest Celtic legends, but justifies the poet in adapting Arthur to the ideal hero of the Idylls:-

"Ideal manhood closed in real man, Rather than that grey king, whose name, a ghost, Streams like a cloud, man-shaped, from mountain-peak, And cleaves to cairn and cromlech still; or him Of Geoffrey's book, or him of Malleor's, one Touched by the adulterous finger of a time That hovered between war and wantonness, And crownings and dethronements."

The poetical beauties of The Coming of Arthur excel those of Gareth and Lynette. The sons of Lot and Bellicent seem to have been originally regarded as the incestuous offspring of Arthur and his sister, the wife of King Lot. Next it was represented that Arthur was ignorant of the relationship. Mr Rhys supposes that the mythical scandal (still present in Malory as a sin of ignorance) arose from blending the Celtic Arthur (as Culture Hero) with an older divine personage, such as Zeus, who marries his sister Hera. Marriages of brother and sister are familiar in the Egyptian royal house, and that of the Incas. But the poet has a perfect right to disregard a scandalous myth which, obviously crystallised later about the figure of the mythical Celtic Arthur, was an incongruous accretion to his legend. Gareth, therefore, is merely Arthur's nephew, not son, in the poem, as are Gawain and the traitor Modred. The story seems to be rather mediaeval French than Celtic--a mingling of the spirit of fabliau and popular fairy tale. The poet has added to its lightness, almost frivolity, the description of the unreal city of Camelot, built to music, as when

"Ilion, like a mist, rose into towers."

He has also brought in the allegory of Death, which, when faced, proves to be "a blooming boy" behind the mask. The courtesy and prowess of Lancelot lead up to the later development of his character.

In The Marriage of Geraint, a rumour has already risen about Lancelot and the Queen, darkening the Court, and presaging

"The world's loud whisper breaking into storm."

For this reason Geraint removes Enid from Camelot to his own land-- the poet thus early leading up to the sin and the doom of Lancelot.

But this motive does not occur in the Welsh story of Enid and Geraint, which Tennyson has otherwise followed with unwonted closeness. The tale occurs in French romances in various forms, but it appears to have returned, by way of France and coloured with French influences, to Wales, where it is one of the later Mabinogion.

The characters are Celtic, and Nud, father of Edyrn, Geraint's defeated antagonist, appears to be recognised by Mr Rhys as "the Celtic Zeus." The manners and the tournaments are French. In the Welsh tale Geraint and Enid are bedded in Arthur's own chamber, which seems to be a symbolic commutation of the jus primae noctis a custom of which the very existence is disputed. This unseemly antiquarian detail, of course, is omitted in the Idyll.

An abstract of the Welsh tale will show how closely Tennyson here follows his original. News is brought into Arthur's Court of the appearance of a white stag. The king arranges a hunt, and Guinevere asks leave to go and watch the sport. Next morning she cannot be wakened, though the tale does not aver, like the Idyll, that she was

"Lost in sweet dreams, and dreaming of her love For Lancelot."

Guinevere wakes late, and rides through a ford of Usk to the hunt.

Geraint follows, "a golden-hilted sword was at his side, and a robe and a surcoat of satin were upon him, and two shoes of leather upon his feet, and around him was a scarf of blue purple, at each corner of which was a golden apple":-

"But Guinevere lay late into the morn, Lost in sweet dreams, and dreaming of her love For Lancelot, and forgetful of the hunt; But rose at last, a single maiden with her, Took horse, and forded Usk, and gain'd the wood; There, on a little knoll beside it, stay'd Waiting to hear the hounds; but heard instead A sudden sound of hoofs, for Prince Geraint, Late also, wearing neither hunting-dress Nor weapon, save a golden-hilted brand, Came quickly flashing thro' the shallow ford Behind them, and so gallop'd up the knoll.

A purple scarf, at either end whereof There swung an apple of the purest gold, Sway'd round about him, as he gallop'd up To join them, glancing like a dragon-fly In summer suit and silks of holiday."

The encounter with the dwarf, the lady, and the knight follows. The prose of the Mabinogi may be compared with the verse of Tennyson:-