The Britons in their heathen days had dreamed of a fairyland where death and sorrow entered not, the Celtic Tir-na-n'Og, an Island of Immortal Youth hid somewhere in the flushed, mysterious west, and the Christian faith, that came so early to Glastonbury, did not destroy but gathered to itself the wistful hope, so that the site of one of the earliest churches in England became the centre of strangely blended legends. It was in the Isle of Avalon, according to Geoffrey of Monmouth, that the sword Excalibur was forged, and after Arthur had passed from mortal ken, he was not dead, but still, through the waiting centuries,
"Mythic Uther's deeply wounded son
In some fair space of sloping greens
Lay, dozing, in the vale of Avalon,
And watched by weeping queens."
Yet the mediæval voices, that we would gladly believe more simply than we may, tell us that Arthur was buried at Glastonbury in a sarcophagus hollowed out of the trunk of an oak, that the penitent Guinevere was laid at his feet, that the skeletons were uncovered and removed to the church in the reign of Henry II, and were seen by so sane a witness as Leland so late as the middle of the sixteenth century. But in King Arthur, death is life, and not his reputed grave, nor the giant bones folk wondered at, nor the golden lock of Guinevere that crumbled at a monk's too eager clutch, could shake the faith in his second coming. Malory, writing in the fifteenth century, illustrates even in his half denial the persistency of that expectation:
"Yet some men say in many parts of England that King Arthur is not dead, but had by the will of our Lord Jesu into another place, and men say that he shall come again, and he shall win the holy cross. I will not say it shall be so, but rather, I will say,—here in this world he changed his life, but many men say that there is written upon his tomb this verse: Hic jacet Arthurus Rex quondam Rexque futurus."
Arthurian legends are attached to other places in Somersetshire, notably to Cadbury, whose earlier name was Camelot, and to its adjacent village of Queen's Camel. Here on the river Camel cluster Arthurian names,—King Arthur's Palace, a moated mound; King Arthur's Well, a spring of magic virtues; King Arthur's Hunting Causeway, an old track across the fields; and here the tradition of a great battle lingers. But Glastonbury is not only an Arthurian shrine; it was once, in purer days than ours, the keeper of the Holy Grail.
"To whom the monk: 'The Holy Grail! ...
... What is it?
The phantom of a cup that comes and goes?'
"'Nay, monk, what phantom?' answer'd Percivale.
'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
Could touch or see it, he was healed at once,
By faith, of all his ills. But then the times
Grew to such evil that the holy cup
Was caught away to Heaven, and disappear'd.'
"To whom the monk: 'From our old books I know
That Joseph came of old to Glastonbury,
And there the heathen prince, Arviragus,
Gave him an isle of marsh whereon to build;
And there he built with wattles from the marsh
A little lonely church.'"[9]
Dreamy hours were those we spent under the shadow of Glastonbury Tor, among the tranquil ruins of that once so glorious abbey, strolling about with a motley company of sheep, chickens, and tourists over what is perhaps the most ancient consecrated ground in England. Hither came St. Joseph of Arimathæa with his eleven companions and here the staff of the saint, as he thrust it into the ground, put forth leaf and blossom as a signal that the resting-place was reached. The little wattled oratory that the Archangel Gabriel commanded and the pagan king permitted them to build on a waste island of the marsh was succeeded, in course of time, by a primitive form of monastery, where St. Patrick, his mission to Ireland accomplished, dwelt many years and died. Here in a later century great St. Dunstan held the post of abbot and waged at his forge stern warfare against the Devil. And it is sober history that here a Christian church and brotherhood lived on in unbroken peace from British times to English. "What Glastonbury has to itself, alone and without rival," says Freeman, "is its historical position as the tie, at once national and religious, which binds the history and memories of our race to those of the race which we supplanted."
The after-story of Glastonbury is as tragic as that of Whalley. A mitred abbey, enlarged and enriched from generation to generation, it became a court whither the sons of noblemen and gentlemen were sent for nurture in gracious manners; a school of learning whose library was one of the most precious in the realm; a seat of princely hospitalities and lavish charities. When the storm burst, Abbot Whiting strove to hide from the spoilers some of the abbey plate. He was forthwith arrested at his manor of Sharpham—the very house where Fielding the novelist was afterwards born,—sentenced at Wells, dragged on a hurdle to the top of Glastonbury Tor, and there hanged and butchered, his head being spiked above the abbey gate. The magnificent church and extensive conventual buildings, stripped and abandoned, long served the neighbourhood as a quarry. Richly sculptured blocks were built into barns and garden-walls and even broken up for making a road over the marshes. Little is left for the gazer now save a few weed-crowned columns, an exquisite Early English chapel on the site of St. Joseph's wattled church, a gabled tithe-barn, an old pilgrim inn, and the Abbot's Kitchen, a witchcap structure whose four vast fireplaces must all have roared with jollity when Abbot Whiting chanced to be entertaining five hundred "persons of fashion" at a single dinner-party. As we wandered over the daisied pastureland from one grey fragment to another, we realised the invisible Glastonbury all the more in the peace that has come with the perishing of the visible. "Time the Shadow" has but softened the splendour. More than ever is this