earlier poet's work, many occur which are simply transferred from the Queste. No attempt is made at reconciling these jarring elements, and the effect of the contrast is at times almost comic. In two of the later romances of the cycle the fusion has been more complete, and the result is, in consequence, more interesting. The prose Perceval le Gallois keeps the original hero of the Quest as far as name and kinship are concerned, but it gives him the aggressive virginity and the proselytising zeal of Galahad. Gerbert's finish to the Conte du Graal is, perhaps, the strangest outcome of the double set of influences to which the later writers were exposed. Without doubt his model differed from the version used by Gautier and Manessier. It is more Celtic in tone, and is curiously akin to the hypothetical lost source of Wolfram von Eschenbach. The hero's absence from his lady-love is insisted upon, and the need of returning to her before he can find peace. The genuineness of this feature admits of little doubt. Many folk-tales tell of the severance of lover and beloved, and of their toilful wanderings until they meet again; such a tale easily lends itself to the idea that separation is caused by guilt, and that, whilst severed, one or other lover must suffer misfortune. Often, as in the case of Diarmaid and the Daughter of King Under the Waves (supra, p. 194), definite mention is made of the guilt, as a rule an infringed taboo. Such an incident could scarcely fail to assume the ethical shape Gerbert has given it. Thus he had only to listen to his model, to take his incidents as he found them, and he had the matter for a moral conception wholly in harmony with them. The chastity ideal has been too strong for him. His lovers do come together, but only to exemplify the virtue of continence in the repulsive story of their bridal night. After Gerbert the cycle lengthens, but does not develop. The Queste retains its supremacy, and through Malory its dominant conception entered deeply into the consciousness of the English race.
How far the author of the Queste must be credited with the new ideal he brought into the legend is worth enquiry. Like so much else therein, it may have its roots in the folk and hero tales which underlie the romances. The Castle of Talismans visited
