A la teste maintenant prise,
Si l’a desor le bu assise;
then taking the balm
Puis en froie celui la bouche
À cui la teste avoit rajointe;
Sor celui n’ot vaine ne jointe
Qui lues ne fust de vie plaine.
Perceval stops her when she has brought back three of her men to life; she recognises in him her conqueror:
Bien vous connois et bien savoie
Que de nului garde n’avoie
Fors que de vous; car, par mon chief
Nus n’en péust venir à chief
Se vous non ...
So long as she lives, Perceval shall be powerless to achieve his Quest. She wars against Gonemant by order of the King of the Waste City, who ever strives against all who uphold the Christian faith, and whose chief aim it is to hinder Perceval from attaining knowledge of the Grail. Perceval gets possession of somewhat of the wonder-working balm, brings to life the most valiant of his adversaries, slays him afresh after a hard struggle, in which he himself is wounded, heals his own hurt, and likewise Gonemant’s, with the balsam. Compare now Campbell’s above-cited tale, the Knight of the Red Shield. The hero, left alone upon the island by his two treacherous companions, sees coming towards him “three youths, heavily, wearily, tired.” They are his foster-brothers, and from the end of a day and a year they hold battle against the Son of Darkness, Son of Dimness, and a hundred of his people, and every one they kill to-day will be alive to-morrow, and spells are upon them they may not leave this (island) for ever until they kill them. The hero starts out on the morrow alone against these enemies, and he did not leave a head on a trunk of theirs, and he overcame the Son of Darkness himself. But he is so spoilt and torn he cannot leave the battle-field, and he lays himself down amongst the dead the length of the day. “There was a great strand under him below; and what should he hear but the sea coming as a blazing brand of fire, as a destroying serpent, as a bellowing bull; he looked from him, and what saw he coming on the shore of the strand, but a great toothy carlin ... there was the tooth that was longer than a staff in her fist, and the one that was shorter than a stocking wire in her lap.” She puts her finger in the mouth of the dead, and brings them alive. She does this to the hero, and he bites off the finger at the joint, and then slays her. She is the mother of the Son of Darkness, and she has a vessel of balsam wherewith the hero’s foster-brothers anoint and make him whole, and her death frees them from her spells for ever.[81] This “toothy carlin” is a favourite figure in Celtic tradition. She re-appears in the ballad of the Muilearteach (probably Muir Iarteach, i.e., Western Sea), Campbell, iii., pp. 122, et seq., and is there described as “the bald russet one,” “her face blue black, of the lustre of coal, her bone tufted tooth like rusted bone, one deep pool-like eye in her head, gnarled brushwood on her head like the clawed-up wood of the aspen root.” In another version of the ballad, printed in the Scottish Celtic Review, No. 2, pp. 115, et seq., the monster is “bald red, white maned, her face dark grey, of the hue of coal, the teeth of her jaw slanting red, one flabby eye in her head, her head bristled dark and grey, like scrubwood before hoar.”[82] The editor of this version, the Rev. J. G. Campbell, interprets the ballad, and correctly, no doubt, “as an inroad of the Personified Sea.” There is no connection, save in the personage of the “toothy carlin,” between the ballad and the folk-tale.[83]
It is impossible, I think, to compare Gerbert’s description of the witch with that of the Highland “Carlin” without coming to the conclusion that the French poet drew from traditional, popular Celtic sources. The wild fantasy of the whole is foreign in the extreme to the French temperament, and is essentially Celtic in tone. But the incident, as well as one particular feature of it, admits of comparison: the three foster-brothers of the Highland tale correspond to the four sons of Gonemant, who be it recollected, represents in the Conte du Graal, Peredur-Perceval’s uncle in the Mabinogi; in both, the hero goes forth alone to do battle with the mysterious enemy; the Son of Darkness answers to the King of the Waste City; the dead men are brought back to life in the same way; the release of the kinsman, from spells, or from danger of death, follows upon the witch’s discomfiture. And yet greater value attaches to the incident as connected with the Mabinogi form of the story; in Gerbert, as in the Mabinogi, the hero’s uncle is sick to death, his chief enemy is a monstrous witch (or witches), who foreknows that she must succumb at the hero’s hands.[84] Something has obviously dropped out from the Mabinogi. May it not be those very magic talismans, the winning of which is the chief element of the French romances, and may not one of the talismans have been the vessel of life-restoring balsam which figures in Gerbert and the Highland tales?[85] The study of subsidiary versions and incidents may thus throw upon the connection of the Grail with the Perceval romance a light which the main Celtic forms of the latter have not hitherto yielded.
The Thornton MS. Sir Perceval differs in this incident from both Manessier and Gerbert. As in Gerbert and the Highland Tale the hero meets his uncle and cousins; there is the same fight with the mother of the enemy of his kin, the hideous carlin, but it precedes, as does also the slaying of that enemy, the meeting of uncle and nephews. There is thus no room for the healing motif for which the unconscious avenging of the father’s death is substituted. These differences bear witness both to the popular and shifting nature of the traditions upon which the romances are based, and to the fact that the avenging of a blood feud was the leading incident of its earliest form.