the story. Galahad had supplanted Perceval, but the latter could not be suppressed entirely. The achievement of the quest involved the passing away out of this world of the chief heroes, hence a third less perfect one is joined to them to bring back tidings to earth of the marvels he had witnessed. Lancelot, to whom are assigned so many of Perceval's adventures, cannot be denied a share in the quest; it is the same with Gawain, whose character in the older romance fits him, moreover, excellently for the rôle of "dreadful example." By this time the Arthurian legend was fully grown, and the mention of these Knights called up the names of others with whom they were invariably connected by the romance writers. Well nigh every hero of importance was thus drawn into the magic circle, and the mystic Quest assumed, almost inevitably, the shape it did.
This conception, to which, if I am right, the author of the Queste was led half unconsciously, seems to us the most admirable thing in his work. It was, however, his ideal of virginity which struck the idea of his contemporaries, and which left its mark upon after versions. An age with such a gross ideal of love may have needed an equally gross ideal of purity. Physical chastity plays henceforth the leading part in the moral development of the cycle. With Robert de Borron it is the sin of the flesh which brings down upon the Grail host the wrath of Heaven, and necessitates the display of the Grail's wondrous power. Here may be noted the struggle of the new conception with the older form of the story. Alain, the virgin knight, would rather be flayed than marry, and yet he does marry in obedience to the original model. Robert is consistent in all that relates to the symbolism of the Grail, but in other respects, as we have already seen, he is easily thrown off his guard. In the Didot-Perceval, written as a sequel to Robert's poem, the same struggle between old and new continues, and the reconciling spirit goes to work in naïve and unskilful style. The incidents of the Conte du Graal are kept, although they accord but ill with the hero's ascetic spirit. In the portion of the Conte du Graal itself which goes under Manessier's name, along with adventures taken direct from Chrestien's model, and far less Christianised than in the
