be set forth by means of the incidents at his command. Perceval is brave as a matter of course, punctual in obeying the counsels of his mother and of his teachers, Gonemans and the hermit-uncle, unaffectedly repentant when he is convicted of having neglected his religious duties. But it cannot be said that the hermit's exhortations or the hero's repentance, confession, and absolution mark, or are intended to mark, a definite stage in a progress towards spiritual perfection. The explanation of the hero's silence as a consequence of his sin in leaving his mother, shows how little real thought has been bestowed upon the subject. This explanation, whether wholly Chrestien's, as I am tempted to think, or complacently reproduced from his model, gives the measure of his skill in constructing an allegory. Beyond insistence upon such points (the hero's docility) as were indicated to him by his model, or, as in the case of his religious opinions, were a matter of course in a work of the time, Chrestien gives Perceval no higher morality, no loftier aims than those of the day. The ideal of chastity, soon to become of such importance in the development of the legend, is nowhere set forth. Perceval, like Gawain, takes full advantage of what bonnes fortunes come in his way. And if the Quest connotes no spiritual ideal, still less does it one of temporal sovereignty. Had Chrestien finished his story he would have made Perceval heal the Maimed King and win his kingdom, but that kingdom would not have been a type of the highest earthly magnificence. We have seen reason to hold that Chrestien made one great change in the story as he found it in his model; he assigns the Fisher-King's illness to a wound received in battle. This he did, I think, simply with a view to shortening the story by leaving out the whole of the Partinal episode. No mystical conception was floating in his mind. Yet, as we shall see, the shape which he gave to this incident strongly influenced some of the later versions, and gave the hint for the most philosophical motif to be found in the whole cycle.
The immediate continuators of Chrestien lift the legend to no higher level. I incline to think that Gautier, with less skill of narrative and far greater prolixity, yet trod closely in Chrestien's
