Two accounts, each fairly definite and consistent, are thus forthcoming respecting the object of the Quest, the one represented by A and C, the other by B. What light is thrown upon the matter by the remaining versions, and which of these two accounts do they support? Neither from the Queste, D, nor from the Grand St. Graal, E, can any clear conception of the Quest be gathered. Both have a great deal to say about the adventures and the wonders of the Grail, but absolutely nothing comes of the achievement so far as the Grail itself, or as Galahad and his two companions are concerned. It goes to the East, they with it, they become hermits and die. But in proportion as the main object of the Quest becomes less definite, the number of secondary objects increases. In D, Queste, Galahad is to achieve the adventure of the Seat Perillous (ch. iii, iv); he is to wear the shield left by Joseph to Mordrains (ch. x); he is to release from life Mordrains himself, struck with blindness for approaching too near the Grail (ch. xxiii); he (according to the second draft of the Queste), is to release King Pelles (his grandfather, according to draft 3), wounded through both ankles for trying to draw the sword; he is to release Simei, burning in a fiery grave for that he once sinned against Joseph of Arimathea (ch. lxvi). To this sufficiently long list the Grand St. Graal adds the resoldering of the sword broken by Joseph—“Ha espée, iamais ne sera resaudée deuant ke chil te tenra qui les hautes auentures del Saint Graal devra asoumir” (II, 264); the delivery of Moys from out the furnace where he burns, not for always “ains trouuera enchore merchi et pardon. Mais che qu’il a mesfait, espanira il en tel manière qu’il en sera en fu iusc’ a tant ke li boines chiualiers uenra” (II, 277). Moys likewise speaks of Galahad as one who “achieura les auentures de la grant bertaigne” (II, 279-80). Finally, Pelleur wounded (mehaigniés de ii cuisses) “en vne bataille de rome” is to be released, “il ne peut garir de la plaie deuant ke galaad, li tres boins chiualers, le vint visiter. Mais lors sans faille gari il” (II, p. 373).
The Queste knows nothing of Petrus, but in the Grand St. Graal he turns up at the end in the same casual way as Brons, and converts King Luces (II, 3356-3), i.e. is thus brought into connection with Geoffrey of Monmouth’s form of the conversion of Britain legend.
The foregoing statement confirms all that has previously been urged as to the lateness of both Queste and Grand St. Graal. The author of the former again shows himself a daring, but not over skilful, adapter of older legends, the author of the latter an unintelligent compiler, whose sole aim it is to lengthen out his story by the introduction of every incident he can lay his hands upon. But although late, they may nevertheless throw light upon the question which, of the two strongly differentiated accounts of the object of the Grail quest which have been noted, has the better claim to be looked upon as the older one. The Conte du Graal and the Didot-Perceval agree, as has been seen, against the Metrical Joseph, in making the main object of the Grail-seeker the healing of a maimed or the release from life of a supernaturally old King. This motif, it is not too much to say, is the pivot upon which in the Conte du Graal all turns; in the Metrical Joseph it is barely hinted at.
The Queste, if looked at closely, is found to bear witness to the Conte du Graal form. As is seen from the summary (supra, [p. 41], Inc. 12) it has the very incident upon which so much stress is laid in Chrestien’s poem, the visit to the Sick King, the omitted question, the consequent misfortune. True, all this has been transferred from the original hero, Perceval, to the father of the new hero Galahad, and, true, the final object which the Queste proposes, in so far as it proposes any definite object, to its Grail-seeker is of a different character. But the fact that this object is not stated in the same way as in the Metrical Joseph, whilst that found in the Conte du Graal is embodied though in a different connexion, points unmistakably to what may be called the healing motif as the older one. Here, again, the Metrical Joseph is in a minority, and it is not even followed by that very version, the Didot-Perceval, which has been ascribed to the same author, and claimed as an integral portion of the same trilogy.[56]
Qualifications of the Promised Knight.
Neither Chrestien, Gautier, nor Manessier lay any stress upon special qualifications in the quest-hero for the achievement of his task. In Chrestien, as already stated, (supra, [p. 87]), it is exclusively the sin of which Perceval has been guilty in leaving his mother which prevents his achieving the Quest at his first visit to the Grail Castle (v. 4,768-71 and 7,766-74), whilst the continuator makes no attempt at any explanation of the hero’s repeated failures. Not until Gerbert does a fresh motif show itself in the poem, but then it is a remarkable one; if Perceval has been hitherto unable to attain the goal he has so long striven for, it is because he has been unfaithful to his first love, Blanchefleur (VI, p. 182); he must return and wed her before he is fit to learn the full secret of the Grail.[57]
The other Quest versions are on this point in striking contrast to Chrestien. The words of C, Didot-Perceval, have already been noted, (supra, [p. 89]). Again the damsel, reproaching the hero after his first failure, addresses him thus:—“Mès je sai bien por quoi tu l’ ás perdu, por ceque tu ni es pas si sage ne si vaillant, ne n’as pas fet tant d’armes; ne n’ies si prodons que tu doies avoir le sanc nostre (sire) en guarde” (p. 467).
It is significant to note in this connection that it is only after Perceval has overcome all the best knights of the Round Table, including Gawain (the companion hero, as will be shown later, of the oldest form of the story), and thereby approved himself the best knight of the world, that Merlin appears and directs him to the Grail Castle.[58] The talk about Holy Church would seem to be an addition, and the original ideal a purely physical one.
In the Queste the qualification of the hero has become the main feature of the legend, the pivot upon which everything turns. The one thing necessary is that the hero should be a virgin, and the story is one long glorification of the supreme virtue of chastity. Yet even here the warlike deeds of Galahad are dwelt upon in a way that points to a different ideal. Traces, though slight ones, may be found in C, Didot-Perceval, of the importance attached to the chastity of the hero; thus his hermit uncle admonishes him, “ne vous chaille de gésir aveuc fame, quar cest un peché luxurious et bien sachiez, que la pichié que vous avez fait, vous ont neu à trover la maison Bron,” and in the adventure with the damsel of the hound, although he had (p. 440) solicited her favours, and she had promised them if he brought her the head of the white stag, yet (p. 470) when he returns to her and she offers herself to him, he pleads his quest as a reason for not even passing one night with her. In Gautier de Doulens, on the contrary, everything passes in accordance with the orthodox custom of the day—when knights were as punctual in demanding as ladies scrupulous in granting the fulfilment of such bargains. But here, again, references to chastity seem to be additions, and rather unskilful ones, whilst in the Queste they are the vital spirit of the story.