At his first in comynge,
His mere withowtenne faylynge,
Kiste the forehevede of the Kynge,
So nerehande he rade (v. xxxi.).
He then demands knighthood or—
Bot (unless) the Kyng make me knyghte,
I shall him here slaa (v. xxxiii.).
In the Great Fool the horse incident is wanting, but the hero’s address to his uncle is equally curt: “I am the great fool ... and if need were it is that I could make a fool of thee also.” The incident then follows of the insult offered to Arthur by the Red Knight. Here, be it noted, the Mabinogi version is much the ruder of the three, “the knight dashed the liquor that was in the goblet upon her (Gwenhwyvar’s) face, and upon her stomacher, and gave her a violent blow in the face, and said,” &c.; in Chrestien the incident is not directly presented, but related at second-hand, and merely that the discourteous knight took away the goblet so suddenly that he spilt somewhat of its contents upon the queen, and that she was so filled with grief and anger that well nigh she had not escaped alive; in Sir Perceval the knight takes up the cup and carries it off. Now it is a lieu commun of Celtic folk-tales that as a King is sitting at meat, an enemy comes in mounted, and offers him an insult, the avenging of which forms the staple of the tale. A good instance may be found in Campbell’s lii., “The Knight of the Red Shield.” As the King is with his people and his warriors and his nobles and his great gentles, one of them says, “who now in the four brown quarters of the Universe would have the heart to put an affront on the King?”—then comes the rider on a black filly, and, “before there was any more talk between them, he put over the fist and he struck the King between the mouth and the nose.” It is noteworthy that this tale shows further likeness to the Mabinogi-Great Fool series, generally, in so far as it is the despised youngest who out of the three warriors that set off to avenge the insult succeeds, even as it is the despised Peredur who slays the Red Knight, and specially in what may be called the prophecy incident. With the exception of the opening incidents, this is the one by which the “formula” nature of the Perceval sage is most clearly shown. In the Mabinogi it is placed immediately after the hero’s first encounter with the sorceresses of Gloucester: “by destiny and foreknowledge knew I that I should suffer harm of thee,” says the worsted witch. The Conte du Graal has only a trace of it in the Fisher King’s words as he hands the magic sword to Perceval—
... Biaus frère, ceste espée
Vous fu jugie et destinée (4345-6),
whilst in Sir Perceval a very archaic turn is given to the incident by Arthur’s words concerning his unknown nephew—
The bokes say that he mone
Venge his fader bane (v. xxxvi.).
This comparison is instructive as showing how impossible it is that Chrestien’s poem can be the only source of the Mabinogi and Sir Perceval. It cannot be maintained that the meagre hint of the French poet is the sole origin of the incident as found in the Welsh and English versions, whilst a glance at my tabulation of the various forms of the Aryan Expulsion and Return formula (“Folk-Lore Record,” vol. iv.) shows that the foretelling of the hero’s greatness is an important feature in eight of the Celtic and five of the non-Celtic versions, i.e., in more than one-third of all the stories built up on the lines of the formula. It is evident that here at least Mabinogi and Sir Perceval have preserved a trait almost effaced in the romance. In the above-mentioned Highland tale the incident is as follows: the hero finds “a treasure of a woman sitting on a hill, and a great youth with his head on her knee asleep”; he tries to wake the sleeper, even cuts off his finger, but in vain, until he learns how it was in the prophecies that none should rouse the sleeping youth save the Knight of the Red Shield, and he, coming to the island, should do it by striking a crag of stone upon his breast. This tale, as already remarked, shows affinity to the Perceval saga in two incidents, and is also, as I have pointed out (“Folk-Lore Record,” vol. v., Mabinogion Studies), closely allied to a cycle of German hero and folk-tales, of which Siegfried is the hero. Now Siegfried is in German that which Fionn is in Celtic folk-lore, the hero whose story is modelled most closely upon the lines of the Expulsion and Return formula. We thus find not only, as might be expected, affinity between the German and Celtic hero-tales which embody the formula, but the derived or allied groups of folk-tales present likewise frequent and striking similarities.[75]
Another Highland tale (Campbell, lviii., The Rider of Grianaig) furnishes a fresh example of this fact. Here, also, the deeds to be done of the hero were prophesied of him. But these deeds he would never accomplish, save he were incited thereto and aided therein by a raven, who in the end comes out as a be-spelled youth, and a steed, a maiden under spells, and the spells will not go off till her head be off. Even so Peredur is urged on and helped by the bewitched youth. In other respects, there is no likeness of plan and little of detail[76] to the Mabinogi, certainly no trace of direct influence of the Welsh story upon the Highland one.
It may, however, be asserted that all of these tales are derived more or less directly from the French romance. This has been confidently stated of the Breton ballad cycle of Morvan le Breiz (Barzaz Breiz) and of the Breton Märchen, Peronik l’idiot (Souvestre, Foyer Breton), and I have preferred making no use of either. In the matter of the Scotch and Irish tales a stand must be made. The romance, it is said, may have filtered down into the Celtic population, through the medium of adaptations such as the Mabinogi or Sir Perceval. Granted, for argument sake, that these two works are mere adaptations, it must yet follow that the stories derived from them will be more or less on the same lines as themselves. Is this so? Can it be reasonably argued that the folk-tale of the Great Fool is a weakened copy of certain features of the Mabinogi, which itself is a weakened copy of certain features of the French poem? Is it not the fact that the folk-tale omits much that is in the Mabinogi, and on the other hand preserves details which are wanting not alone in the Welsh tale but in Chrestien. If other proof of the independent nature of these tales were needed it would be supplied by the close similarity existing between the Great Fool opening and the Fionn legend. This is extant in several forms, one of which, still told in the Highlands (Campbell’s lxxxii.), tells how Cumhall’s son is reared in the wilderness, how he drowns the youth of a neighbouring hamlet, how he slays his father’s slayer, and wins the magic trout the taste of which gives knowledge of past and to come, how he gets back his father’s sword and regains his father’s lands, all as had been prophesied of him. Another descendant of the French romance it will be said. But a very similar tale is found in a fifteenth century Irish MS. (The Boyish Exploits of Finn Mac Cumhall, translated by Dr. J. O’Donovan in the Transactions of the Ossianic Society, vol. iv.); Cumhall, slain by Goll, leaves his wife big with a son, who when born is reared by two druidesses. He grows up fierce and stalwart, overcomes all his age-mates, overtakes wild deer he running, slays a boar, and catches the magic salmon of knowledge. An eighteenth century version given by Kennedy (“Legendary Fictions,” p. 216) makes Cumhall offer violence to Muirrean, daughter of the druid Tadg, and his death to be chiefly due to the magic arts of the incensed father. It will hardly be contended that these stories owe their origin to adaptations of Chrestien’s poem. But in any case no such contention could apply to the oldest presentment of Fionn as a formula hero, that found in the great Irish vellum, the Leabhar na h’Uidhre, written down from older materials at the beginning of the twelfth century. The tract entitled “The cause of the battle of Cnucha” has been translated by Mr. Henessey (“Revue Celtique,” vol. ii., pp. 86, et seq.). In it we find Cumhall and Tadhg, the violence done to the latter’s daughter, the consequent defeat and death of Cumhall, the lonely rearing of Fionn by his mother, and the youth’s avenging of his father. I must refer to my paper in the “Folk-Lore Record” for a detailed argument in favour of the L.n.H. account being an euhemerised version of the popular tradition, represented by the Boyish Exploits, and for a comparison of the Fionn sage as a whole with the Greek, Iranian, Latin, and Germanic hero tales, which like it are modelled upon the lines of the Expulsion and Return formula. I have said enough, I trust, to show that the Fionn sage is a variant (a far richer one) of the theme treated in the boyhood of Perceval, but that it, and a fortiori the allied folk-tales are quite independent of the French poem. It then follows that this portion of Chrestien’s poem must itself be looked upon as one of many treatments of a theme even more popular among the Celts than among any other Aryan race, and that its ultimate source is a Breton or Welsh folk-tale.