Nowhere, perhaps, has the marvellous vitality of the ancient Celtic race shewn itself more strikingly than in the province of literature. Of all the varied intellectual elements that went to the making of the new England, the Celtic element rose to the surface first. The romantic literature of England owes its origin to a Welsh monk, Geoffrey of Monmouth, who became bishop of S. Asaph’s about two years before the accession of Henry II. Long before that time—probably in the days when poets and men of letters of every type were thronging to the court of Henry’s grandmother the good Queen Maude—Walter Calenius, archdeacon of Oxford, had picked up during a journey in Britanny “a very ancient book, containing a history of the Britons, from Brut to Cadwallader son of Cadwallon;” this book he carried home to England and presented to his friend Geoffrey, begging him to translate it out of Welsh into Latin.[2186] Some years after the death of Henry I. Geoffrey’s translation was given to the world. Its original cannot now be identified; but Geoffrey may fairly take to himself the whole credit of the History of the British Kings to which his name is attached. The book is an elaborate tissue of Celtic myths, legends and traditions, scraps of classical and Scriptural learning, and fantastic inventions of the author’s own fertile brain, all dexterously thrown into a pseudo-historical shape and boldly sent forth under the imposing name of History. The success of Geoffrey’s venture was amazing. The dedication of the book was accepted by the foremost lay scholar of the day, William of Malmesbury’s friend and patron, Earl Robert of Gloucester; its fame spread rapidly through all sections and classes of society. A Yorkshire priest, Alfred of Beverley, tells us how some of the clergy of the diocese, when suspended from the usual occupations of their calling—doubtless by one of the many interdicts which fell upon them during the struggle between S. William and Henry Murdac—beguiled their time by discussing the stories which they had heard or read about the ancient British kings; how, his curiosity aroused by their talk, he with some difficulty borrowed a copy of the new book which had set them talking; and how he longed to transcribe it at length, but lacking time and means was obliged to content himself with an abridgement.[2187] Norman barons and ladies heard of the wondrous book and became eager to read it in their own tongue; a copy was borrowed from Earl Robert himself by no less a personage than Walter Lespec, that he might lend it in his turn to a friend of his own, Ralf Fitz-Gilbert, whose wife wanted her household-minstrel Geoffrey Gaimar to translate it into French verse for her entertainment.[2188]

The version of Gaimar was superseded in a few years by that of Wace, a Norman poet who did a better service to the cause of history by his later work, the Roman de Rou or riming chronicle of the Norman dukes from Hrolf to Henry II. Neither Alfred nor Gaimar nor Wace seems to have had any suspicion of the true character of Geoffrey’s book of marvels; they all alike treated it as genuine history, and from the point where it closes, at the death of Cadwallon in 689, carried on their narratives without a break down to the times of the Norman kings. It was against this blurring of the line between truth and falsehood, this obliteration of the fundamental distinction between history and romance, that William of Newburgh lifted up his well-grounded and eloquent protest in the preface to his Historia Anglicana.[2189] Notwithstanding that protest, the fabulous tales of the Brut (as Geoffrey’s book is commonly called, from the name of the first British king mentioned in it) continued to pass current as an integral part of the history of Britain for many generations after him. The fraud was in fact countenanced in high places for political ends; Henry himself was quick to seize upon it as a means of humouring the national vanity and soothing the irritated national feelings of those Celtic vassals who were generally among the most troublesome of his subjects, but who were also not unfrequently among the most necessary and useful of his allies. On one occasion he is said, though on doubtful authority, to have conciliated the Bretons by consenting to enter into a diplomatic correspondence with their long-departed, yet still mysteriously living monarch, Arthur, and by proposing to hold Britanny as Arthur’s vassal.[2190] In his last years, however, he turned the new Arthurian lore to account in a far more significant way in the island Britain: he set the monks of Glastonbury to find the grave of the British hero-king. In the cemetery of S. Dunstan’s old abbey stood two pyramidal stones, of unknown age, and covered with inscriptions so old and worn that nothing could be read in them save, as it was thought, Arthur’s name. Between these stones, sixteen feet below the surface of the ground, Henry—so the monks afterwards declared—guided by what he had heard from an old Welsh bard and read in the histories of the Britons,[2191] bade them look for a wooden sarcophagus containing Arthur’s mortal remains. The discovery was made in 1191; a coffin, hollowed as Henry had said out of the solid trunk of an oak-tree, was dug up on the spot indicated; let into a stone at its foot was a leaden cross, which when taken out proved to bear upon its inner face the words, “Here in the isle of Avalon lies buried the renowned King Arthur, with Guinevere his wife.” In the coffin were found a few rotten bones, and a “cunningly-braided tress of golden hair,” which however crumbled into dust in the hand of a monk who snatched it up too eagerly. The bones were carefully preserved and solemnly re-buried under a marble tomb before the high altar in the abbey-church.[2192]

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