modernised in an epical form, the French Chansons de Geste, the Crusades and the legends of Palestine, and, finally, the question of transubstantiation and the pseudo-epigraphic literature of the mystery of the sacrament, I have pointed out the chief sources to which the romance of the Holy Grail owes its origin, without any further admixture of Celtic tales or lays, or Celtic mythology. The life that is described in the romances is that of the authors' time. Knightly deeds, adventures, miracles, and spells all belong to the machinery of the romantic literature of the time, and though important for determining the exact character of the surroundings, vary, as is natural, in every version, and if more MSS. had been preserved the number of variations might have increased.
I shall now proceed to prove my case as far as possible in the order indicated.
Classical influence.—Working the romance backwards to its primitive form, we shall find that the main feature of the Quest may be summarised as follows:
A young man starts on an unheard of adventure, which no human being has ever achieved before him. It is by mere chance that he alights at the very spot where he had determined to go, although nothing definite is said as to the nature of that adventure. What he has to do, or to see, or to accomplish, is by no means clear. He himself does not know what to do, and fails thus in his first attempt.
According to Chrestien,[1] he comes to a river, upon which there is a boat, wherein are two men fishing. One of them, in reply to his questions, directs him for a night's shelter to his own castle hard by. Perceval starts for it, and at first, unable to find it, reproaches the fisher. Suddenly he perceives the castle before him, enters therein, is disarmed, clad in a scarlet mantle, and led into a great hall. Therein is a couch, upon which lies an old man; near him is a
- ↑ Nutt, p. II, Incid. 7.
