The former passage is all Malory’s own: the beauty of the latter is enhanced, if we set by its side the old version which he follows:—
‘Alas, sir [said] Bors, that I was born,
That ever I should see this indeed,
The beste knight his life hath lorn,
That ever in stoure [fight] bestrode a steed,
Jesu, that crowned was with thorn,
In heaven his soul foster and feed[[2]].’
Humour is akin to passion; and it may not be out of place to notice here Malory’s vein of humour, as shown, for instance, in the way in which he tells the adventures of La Cote Male Taile, and of Beaumains; the pranks of the braver knights with Dinadan and Dagonet; the story of Arthur’s wedding feast, when a lady who ‘cried and made great dole,’ was forcibly carried out of the hall by a strange knight, and Arthur ‘was glad, for she made such a noise,’ and was thereupon rebuked by Merlin for thinking so lightly of his royal and knightly duties; or that of the usurper Mordred and the Bishop of Canterbury, when after each had defied the other, the bishop ‘did the curse in the most orgulous wise that might be done,’ and then retired to live ‘in poverty and holy prayers, for well he understood that mischievous war was at hand.’
The Book Epic in Plan.
In the Drama the action is present, actually unwinding itself and going on before our eyes. The Epic is the story of the past, a cycle of events completed, while through the one and the other may be traced a thread of destiny and providence, leading either to a happy triumph over circumstances, or to a tragic doom, which, too, is in the end, a triumph also. Thomas Hughes, the early Elizabethan dramatist, in his ‘Misfortunes of Arthur,’ concentrated and deepened the horror of such a tragedy by transferring the guilt of Launcelot to Mordred the son of Arthur and his unknown sister. He would better have recognised and followed the finer art of Malory. For though the motive of Malory’s epic is less gross and exaggerated than that of Hughes’s drama, the thread of guilt and doom which runs from first to last through the former is not less real than in the latter. The crime of Uther Pendragon, with which the story opens, leads to the concealment of Arthur’s parentage from himself, and this to his illicit love for her whom he does not know to be his sister, and so to the birth of Mordred. Then comes the prophetic doom:—‘Ye have done of late a thing that God is displeased with you: and your sister shall have a child that shall destroy you and all the knights of your realm.’ Arthur tries in vain to prevent the fulfilment of this doom by the only cruel deed of his life: and then—after another warning of the woe which his marriage with Guinevere will bring on him, through her guilty love for Launcelot—these germs of tragic destiny remain hidden through long years of prosperity. Arthur, aided by his fellowship of the Round Table, reduces universal anarchy into order: and not only ‘gets into his hand’ all England, Wales, and Scotland, but by his march to Rome makes himself emperor, and the head of all the kingdoms as well as of all the chivalry of Christendom. Still the fame and the honour of the king and his knights of the Round Table open continually into new and brighter forms, which seem above the reach of any adverse fate, till the coming of the Sancgreal, into the quest of which all the knights enter with that self-reliance which had become them so well in the field of worldly chivalry, but which would be of no avail now. They are now to be tried by other tests than those by which they had been proved as ‘earthly knights and lovers,’ tests which even Launcelot, Ector de Maris, Gawaine, and the other chiefest of the fellowship could not stand. The quest is achieved by the holy knights alone: two depart from this life to a higher, while Sir Bors, not quite spotless, yet forgiven and sanctified, the link between the earthly and the spiritual worlds, returns to aid in restoring the glory of the feasts and tournaments at Camelot and Westminster. But the curse is at work: the severance between good and evil which had been declared through the Sancgreal cannot be closed again; and the tragic end comes on, in spite of the efforts—touching from their very weakness—of Arthur and Launcelot to avert the woe, the one by vainly trying to resist temptation, the other by refusing to believe evil of his wife and his dearest friend. The black clouds open for a moment as the sun goes down; and we see Arthur in the barge which bears him to the Holy Isle; Guenever, the nun of Almesbury, living in fasting, prayers, and almsdeeds; and Launcelot with his fellowship, once knights but now hermit-priests, ‘doing bodily all manner of service.’