It is easy to see what was, at any rate in Henry’s mind, the political significance of this transaction. When Arthur could be thus publicly exhibited as dead and buried, it was because the long-cherished dreams of Celtic national independence, of which his name had been the symbol and the watchword, were dead and buried too. But the scene thus enacted at Glastonbury in 1191 had also another meaning of which perhaps none of the actors in it could be fully aware. It marked the final “passing of Arthur” out of the sphere of politics into a wholly new sphere of pure intellect and philosophical romance. If Geoffrey of Monmouth corrupted the sources of British history, he atoned for his crime by opening to the poets of the generation succeeding his own a fount of inspiration which is hardly exhausted yet. Their imagination seized upon the romantic side of these old-world legends, and gradually wove them into a poetic cycle which went on developing all through the later middle ages not in England alone, but over the whole of civilized Europe. But in the hands of these more highly-cultured singers the wild products of bardic fancy took a new colour and a new meaning. As usual, it was the Church who first breathed into the hitherto soulless body the breath of spiritual and intellectual life. The earliest of the Arthurian romances, as we possess them now, is a wholly new creation of the religious mysticism of the twelfth century, the story of the Holy Grail—
“The cup, the cup itself, from which our Lord
Drank at the last sad supper with His own.
This, from the blessed land of Aromat—
After the day of darkness, when the dead
Went wandering o’er Moriah—the good saint,
Arimathæan Joseph, journeying brought
To Glastonbury, where the winter thorn
Blossoms at Christmas, mindful of our Lord.
And there awhile it bode; and if a man