UC-NRLF 
 
 B 3 312 2S5 
 
 
 €i 
 
LIBRARY 
 
 OF THE 
 
 University of California. 
 
 Class 
 
 CASE 
 B— 
 

 QeiueUli 
 
 
 OF Tf'^ 
 
 UNiVER.^M . 
 
 OF 
 
QEHEftAL 
 
Tf)c PrelQde 
 
 ,^ -vO'l ^}^J 
 
Or THE ■* \ 
 
 VER3ITY ) 
 
 In castle-chamber, Lady Adela 
 Her banner sewed, the victory of 
 
 Saint George 
 With silk of every hue, while at her 
 
 feet 
 Contemplative and idle mused Isolda, 
 A pale-complexioned niece, with 
 
 passionate eyes 
 Of inward exaltation. On the floor 
 Awkward and deft lounged Pierre 
 
 the jongleur, 
 Proved sleight-of-hand, maintained 
 
 six balls in air, 
 Broke jests, and now and then, for 
 
 change of mirth. 
 Chanted romances sweetly to the rote. 
 
 9 
 
Quaint melodies, and quainter gar- 
 mented, 
 Brief coat, hose blue and russet leg 
 
 by leg, 
 Broad saffron hat by ribbon now 
 
 dependent, 
 Brown curls to left a-cluster, rightward 
 
 clipped; 
 Tall, spare, and odd, nose arching, 
 
 head a-droop, 
 Gray meditative orbs, where while 
 
 he sang. 
 Flickered and darted gay sarcastic 
 
 lights. 
 That died, as glimmer of a highland 
 
 pool 
 
 lO 
 
Its tarn abandoneth to wonted shade. 
 Satirical and free the lays he told, 
 How Reynard duped Sir Isengrim 
 
 the Wolf, 
 Aping a holy pilgrim; of the minstrel, 
 Who, demon-charged with boiling 
 
 of the damned, 
 Against Saint Peter diced with souls 
 
 for stake. 
 To forfeit all, at every separate throw 
 Less by one pip, till Satan, late at eve 
 From hunt returning, found his kettle 
 
 void, 
 And raging, cast the player forth from 
 
 Hell, 
 Where never since hath poet been 
 
 allowed; 1 1 
 
With more as laughable, until I- 
 
 solda, 
 Impatient, tapped her foot and cried: 
 
 ((Your mercy! 
 To farce adieu! Now hear we of my 
 
 namesake, 
 Isolt of Cornwall, she whom the 
 
 love-draught 
 Forever and forever bound toTris- 
 
 tran.)) 
 ((Your pardon, lady fair,» returned the 
 
 singer, 
 Another way the old romance pro- 
 
 ceedeth; 
 Four summers,and no longer,wrought 
 
 the potion; 
 
 12 
 
Its magic lost, the lovers grew a- 
 weary, 
 
 As might have been foretold." Out- 
 flamed Isolda: 
 
 ((How? when he languished of a poi- 
 sonous wound, 
 
 Hath he not summoned her from 
 Brittany? 
 
 Brooked he not heart-break, when 
 his cruel wife 
 
 Belied the silver sail that wafted 
 healing? 
 
 Breathed not the queen her life upon 
 his bier?)) 
 
 ((Lady,)) the stranger said, ((ere thou- 
 sand circles, 
 

 
 Minstrels in Rome had joy to tell 
 
 how Athens 
 Paid woful tribute of her youth and 
 
 beauty 
 To sate a flaming dragon, until 
 
 Theseus 
 Adventurous sailed, and quelled the 
 
 evil custom; 
 Long while on island-cliff his aged 
 
 father 
 Gazed after gleaming of the silver sheet 
 Himself had lent to hoist for victory. 
 Requiting sable cloth of sacrifice; 
 Yet Theseus conquering forgot the 
 
 emblem; 
 When looked the sire upon a shadowy 
 
 sail, 14 
 
 
 
Ocean received him. From the 
 
 Roman fable, 
 Did Norman Berol, in a month of 
 
 leisure, 
 The history improve by weeping 
 
 sequel, 
 To charm yourself, and maids as 
 
 tender-hearted.)) 
 With wordless indignation burned 
 
 Isolda, 
 While Adela commanded: ((Friend, 
 
 your mercy, 
 Recount your lay after the ancient 
 
 manner.)) 
 
 15 
 
 ./ 
 
The wanderer made reply: «! know 
 
 not, lady, 
 If reached your ear the veritable 
 
 record 
 That minstrels spoil, and wantonly 
 
 embroider. 
 At age impassioned for achievement, 
 
 Tristran, 
 Who ardently desired that fame and 
 
 fortune 
 Arrive his merit's earning, not a title 
 Conceded to the prince, from Tintagel 
 Took ship for Cornwall, for his 
 
 uncle's country. 
 Where nameless he remained, and 
 
 earned his life 
 
 16 
 
A soldier of the king. Austere Mor- 
 
 holt 
 Arrived, demanding tribute due from 
 
 Ireland; 
 What while none other dared take 
 
 up the challenge, 
 Tristran arose, and since the royal 
 
 rank 
 No adversary owneth save a peer, 
 Perforce revealed his birth, and from 
 
 his uncle 
 Took arms and knighthood. Toward 
 
 the isle of combat 
 The warriors oared, each in his shallop, 
 
 swimming 
 A steed behind, while from the shore 
 
 both armies 1 7 
 
Breathless admired; then Tristran 
 
 insolent, 
 As though one boat would be enough 
 
 for one, 
 Thrust seaward Morholt's bark, and 
 
 moored his own. 
 Both heroes charged, broke spears, 
 
 and Tristran, hurt 
 By Morholt's venomed glaive, in 
 
 after sword-play 
 His rival smote, and deeply notched 
 
 the brand. 
 So that in foeman's skull adhered 
 
 a fragment. 
 Hanghty, he bade be freighted home 
 
 to Ireland 
 
 i8 
 
The body, lawful tribute due from 
 
 Cornwall. 
 Invaders sailed, and came with grief 
 
 to Dublin. 
 Shining Isolt, a princess skilled in 
 
 herbs, 
 Hung o'er her eme, but could no 
 
 more avail 
 Than draw the piece to bury in her 
 
 shrine. 
 In Tintagel reaped Tristran fruitful 
 
 harvest 
 Of love and praises, till that festering 
 
 wound 
 Embittered the sweet fountain of his 
 
 life; 
 
 19 
 
 msm-^^ 
 
 I'r -■r---i"fiy?feiaiJ i 
 
Wherefore he pleaded with his dear 
 
 companions, 
 On ocean to be launched, alone and 
 
 oarless. 
 At mercy wafted of the winds and 
 
 waters; 
 If pleased the saints bestow upon 
 
 him healing. 
 Return he vowed within the year to 
 
 Cornwall. 
 A tempest rose, and drove the bark 
 
 toward Ireland, 
 Where forfeited lay life; his name he 
 
 altered, 
 To pass for Pro, a trader out of 
 
 Britain. 
 
 20 
 
Secure he dwelt, and had a saving 
 
 balsam 
 From fair Isolt, yet never viewed the 
 
 maiden. 
 With twelvemonth's end he parted, 
 
 and through Britain 
 Arrived in Cornwall, where his ad- 
 vent made 
 A common holiday, by grateful Mark. 
 Allowed inheritor; yet jealous barons 
 Would have theirlord create a prince 
 
 for Cornwall, 
 And force upon him marriage, though 
 
 he liked not; 
 While eagerly in palace they debated, 
 Through dim and smoky rafters of 
 
 the hall 21 
 
A swallow chased a swallow, that in 
 
 beak 
 Freighted the treasure of a lady's hair, 
 iht^^i From over-sea conveyed for nest- 
 'r^^! building; 
 
 Between their wrangle it escaped, and 
 
 fluttered 
 To feet of Mark, who raised the 
 
 shining thread, 
 Pale-golden, lustrous, like no dame's 
 
 of Cornwall; 
 The king set foot upon this path of 
 
 refuge. 
 And vowed before the saints to wed 
 
 no woman. 
 Beside this foreign wonder of the 
 
 world, 22 
 
 w 
 
Whose token wings had wafted to 
 
 their presence. 
 Lords fared to seek, and at their head 
 
 went Tristran; 
 Again a storm compelled the keel to 
 
 Ireland. 
 Himself he called Trantris, his ship 
 
 forerunner 
 Of cornfleet, and in time of dearth 
 
 found welcome. 
 Meantime, on shore, a beast of flam- 
 ing throat 
 Ravaged the island; for deliverer's 
 
 meed, 
 The sovereign promised Isolt his one 
 
 daughter. 
 
 23 
 
Adventurous fared Tristran, slew the 
 
 dragon, 
 And in his hose concealed the tongue 
 
 for trophy; 
 Then, parched and blackened by 
 
 the fiery breath, 
 Plunged in a chilly bog, and lay a- 
 
 swoon. 
 Another found the worm, and claimed 
 
 the prize. 
 Fair Isolt, with Brengain her gov- 
 erness. 
 Went forth to wonder at the scaly 
 
 bulk 
 O'er verdant marshes knotted coil on 
 
 coil; 
 
 24 
 
Soon, admiraticn weary, raising eyes, 
 
 By yellow glimmer of a reedy pool 
 
 Was guided errant toward a golden 
 helm. 
 
 And neighboring, the body of a 
 knight. 
 
 Black, and half merged in the water 
 cold; 
 
 The youth she bade take up, cher- 
 ished, and balsamed 
 
 Within her bower to slow recovery. 
 
 Upon a morn, while lay the guest 
 in bath, 
 
 Scouring his sword, she marked the 
 jagged breach, 
 
 With unreflecting motion, from her 
 casket 25 
 
Drew forth the fragment, and behold! 
 
 it fitted! 
 Her savior and her nurshng was the 
 
 slayer, 
 On whom her uncle's blood cried out 
 
 for vengeance! 
 The brand she seized, and would have 
 
 slain her friend 
 E'en as he bathed; while through his 
 
 peril, Tristran 
 Admired the glory of the golden tress, 
 And smiled, perceiving that his quest 
 
 had prospered. 
 With pleadings innocent he soothed 
 
 the maid 
 Who owed him debt so deep, and her 
 
 own mother, 26 
 
Loth for her child to wed her hus- 
 band's man, 
 Joined intercession; IVistran was 
 
 forgiven, 
 While from her father took the maid 
 
 a promise 
 Of safety, that the slayer of the 
 
 dragon, 
 Whatever doom oppressed his life in 
 
 Cornwall, 
 Might prove his prowess on a day 
 
 of judgment; 
 Shown was the token, the impostor 
 
 shamed. 
 When came the hour of Tristran's 
 
 recompense, 
 
 27 
 
He made his wooing for the king of 
 
 Cornwall; 
 Rejoiced was Ireland with the royal 
 
 marriage 
 That war concluding, opened ports 
 
 for tratfic, 
 While Isolt was content to be a queen. 
 Her mother, mindful that the foreign 
 
 husband 
 Might own the soul together with 
 
 the body, 
 A love-drink blended out of amorous 
 
 herbs. 
 Effectual that man and maid partaking 
 Four years must cling so close to 
 
 one another 
 
 28 
 
As every day to meet, or else to die; 
 With tears and wishes sailed the ship 
 
 from Cornwall; 
 On sultry ocean fell an August calm; 
 Tristran demanded drink; a ready 
 
 varlet, 
 The vase mistaking, brought the cup 
 
 for wine. 
 He quaffed, and gave Isolt; after this 
 
 fashion 
 Joined were the twain, who until hour 
 
 of tasting, 
 Had cherished will nor thought. At 
 
 Tintagel 
 Landed the bride, and royal was the 
 
 wedding; 
 
 29 
 
Affectionate, the master named his 
 
 nephew 
 Lord of the chamber; so two years 
 
 went by, 
 And never day bereft of looks and 
 
 kisses. 
 
 Howbeit, in the third summer, jeal- 
 ous lords 
 Blamed Tristran to his erne, who lent 
 
 no credit; 
 But firm the truth, in ecstasy of 
 
 passion, 
 Was prompt to burn the pair; arrived 
 
 a lazar. 
 With band of reprobates, and begged 
 
 the queen, 
 
 30 
 
Whom Mark conceded as the 
 sterner vengeance. 
 
 On road to death, entreated Tristran 
 leave 
 
 To pray for the acquittance of his soul 
 
 In tiny chapel high above the sea; 
 
 From window down he leapt, to safe- 
 ty swam. 
 
 And had through Governal both 
 horse and sword. 
 
 Isolt he saved, and carried to Moresse, 
 
 A waste near Tintagel, where twelve- 
 month long, 
 
 They lay perdu for outlaws of the 
 wild. 
 
 In that sweet season, when the early 
 year 3 1 
 
Hath girlish glee of her new emerald 
 
 gown, 
 Happened a mighty hunting in 
 
 Moresse, 
 Where thousand beaters drove the 
 
 frightened deer 
 Toward clearing where Mark waited; 
 
 then befell, 
 That ranger speeding down a wood- 
 land brook 
 In tangled coppice chanced on a 
 
 booth 
 Woven of willow branches, where 
 
 behold! 
 On couch of fir the exiles lay and 
 
 slept. 
 
 32 
 
Round-eyed with fear, the servant 
 
 sought the king, 
 Who bade him hush, took horse, and 
 
 after rode; 
 But ere arriving, parted from his 
 
 guide, 
 Alone advanced, and tiptoe neared 
 
 the shelter, 
 Mark stared, and for a space beheld 
 
 no more 
 Than radiancy of the loosened hair 
 That dazzled eyes; then raging, 
 
 marked the queen 
 In slumber stir, and sway toward her 
 
 companion; 
 With countenance averted Tristran 
 
 lay, 33 
 
And bright between the twain a 
 
 naked blade. 
 The gazer paused; what errand here? 
 
 awaken? 
 Be slain or slay, and then, remorse for 
 
 ever? 
 He stooped, and gently raising Tris- 
 
 tran's brand, 
 In lieu deposed his own. A noon- 
 tide ray 
 Through branches stealing, gilded 
 
 Isolt's breast; 
 Mark closed the crevice with his 
 
 hunting-glove. 
 And stealthily withdrew. The queen, 
 
 who felt 
 
 34 
 
Through sleep his glances, stirred, 
 
 threw out an arm, 
 And shook the bower; the glove, from 
 
 height descending. 
 With ermine brushed her cheek. She 
 
 opened eyes, 
 Looked languidly, then wakened with 
 
 a cry; 
 Afoot stood Tristran, in his hand the 
 
 weapon: 
 Whose? Lo, within his grasp a gilded 
 
 hilt, 
 The king's! Dismayed, the exiles 
 
 leapt to horse, 
 Moresse abandoned, and by lonely 
 
 paths 
 
 35 
 

 
 
 Went flying toward the wilderness 
 
 of Wales. 
 Henceforward, lady, doth proceed the 
 
 lay.w 
 
 The minstrel hushed, and from his 
 
 instrument. 
 Preparing, drew romantic melody, 
 Love-music over-sweet, that in its 
 
 bosom 
 Cherished a seed of contrary emo- 
 tion, 
 
 36 
 
I 
 
 
 
 To prosper in its death. Prophetical, 
 Once and again arose a mocking note, 
 Like upward bubble of an icy fount 
 O'erwashed by tepid wave. Such 
 
 preface o'er, 
 He sang, with interlude for every 
 
 pause. 
 
 37 
 
 
Tf)e h^% 
 
The alley of the forest, dim, 
 thorny, and o'ergrown, 
 
 Mystic, as though a wizard had cursed 
 and changed to stone 
 
 Of savage region, riders, who in 
 their merry day. 
 
 Far-glimmered through the leafage, 
 court-bound and laughing gay. 
 
 Neighbored a brook, that silent, with 
 rushes crowned the track, 
 
 Reposed neath arching fir-root, or 
 hemlock marred and black; 
 
 Abandoned by the pathway, from 
 height cascaded cool, 
 
 In water-leap of silver, or golden- 
 gravelled pool. 
 
 41 
 
The gorge grew deep and deeper as 
 
 bolder rose the fell, 
 Gray rocks were freshly plumed with 
 
 fern and blue harebell; 
 Beside the foamy torrent, a table 
 
 broad and dry, 
 Between eve-darkened ridges, a 
 
 shining sunset-sky. 
 On road dismounted Tristran, his 
 
 horse by bridle led 
 O'er shale, and rolling pebbles that 
 
 basined the brook-bed; 
 In hollow recess stabled, tor evening- 
 fodder brought 
 Sweet river-grass by armfuls, and 
 
 fragrant fir-boughs sought, 
 42 
 
To weave the nest of Isolt, outwear- 
 ied by their flight. 
 
 At dawn the exiles wakened, and 
 with the morrow Hght 
 
 As anxiously were errant along 
 the selfsame way. 
 
 Through dark and dreadful pine- 
 wood, where fallen columns lay 
 
 Long age of man to rot, and framed 
 a ceiling so 
 
 That bough to bare bough striding, 
 a woodsman well might go 
 43 
 

 O'er hidden earth a fathom, and 
 
 finally despair >! 
 To save the deer, whose carcass lay 
 
 arrow-pierced there 
 Within a bowshot's circle. At last 
 
 the land ascended, 
 The forest cleared, the passage, at a 
 
 wide burning, endec 
 In smoother way, by mule-hoofs 
 
 more confidently trod, 
 And black with charcoal-droppings. 
 
 The lane ,that now they rode, 
 Through blither country wandered, 
 
 and guided to a glade, 
 Where old oaks, rising domelike, 
 
 lent separate sun and shade 
 44 
 
 
To dapple deei -cropped verdure. A 
 falling rivulet, 
 
 With footpath fringed, by music at- 
 tention drew, and let 
 
 Through interval of branches appear 
 a windowed cell, 
 
 From whose foundation forth the 
 water seemed to well. 
 
 Both walls and roof as mossy as 
 ledges of the stone. 
 
 Tristran, who hoped for tidings with- 
 in that hospice lone. 
 
 By rising path ascended; but had 
 not paced long, 
 
 Ere came to him the cadence and 
 swell of holy song; 
 
 45 
 
Wherefore he paused, alighted, set 
 
 Isolt down, and tied 
 Against a bough his charger, hung 
 
 up his sword beside, 
 Then footed toward the chapel, of 
 
 decoration bare. 
 And brown the frock of hermit who 
 
 mass was chanting there; 
 A low and rustic altar was draped 
 
 with woolen cloth. 
 The knight and lady lingered, of 
 
 worship nothing loth; 
 Their presence the room darkened; 
 
 devout, the celebrant 
 In pious recollection proceeded 
 
 with his chant, 
 
 46 
 
Pronounced the awful scripture, that 
 through a mystery 
 
 Doth wafer-bread transform to of- 
 fered deity, 
 
 And made the elevation; by entrance 
 of the cell, 
 
 Upon their knees before him Tris- 
 tran and Isolt fell; 
 
 The office he continued, till ut- 
 tered missa est. 
 
 When all was over, Tristran he 
 studied, and addressed: 
 
 «How, exile, bandit, here? In noon- 
 tide of thy fame 
 
 Once rally-word of Cornwall, now 
 traitor, in whose name 
 

 
 The lust-fiend singeth matins! What 
 
 wage receivest thou? 
 The evergreen thy castle, the bear 
 
 thy comrade now, 
 A wild wolf of the wood!)) Tristran, 
 
 with flushing cheek: 
 {(Old man, how canst thou tell? Thy 
 
 years, thy tonsure, speak; 
 King Mark in queenless Cornwall 
 
 no palace hath so fair; 
 The venison, the cresses, with her, 
 
 more perfect fare 
 Than Virgil the enchanter's!)) Thus 
 
 Tristran in his pride, 
 From wall where he had risen; Isolt, 
 
 who knelt beside, 
 
 48 
 
 
 
Threw wide Doth arms, shrieked out, 
 and lay on pavement prone, 
 
 While bursting from their net, her 
 locks concealed the stone: 
 
 «Nay, never curse him, no! If we 
 have trespassed, think. 
 
 It is that we have shared the 
 poison, the love-drink; 
 
 Such cup my mother mingled for 
 binding other twain; 
 
 Upon the sultry sea her care forgot 
 Brengain; 
 
 Hers be the fault!)) The monk: 
 ((What benefit therein. 
 
 To chasten soul that's dead in tres- 
 pass and in sin?)) 
 
 49 
 
With step imperious to closet he 
 
 withdrew. 
 Forth from the hermitage in sadness 
 
 fared the two, 
 Within a burner's hut found solace, 
 
 and abode. 
 The forest and the stream their 
 
 nourishment bestowed; 
 Months changed; for April, glad with 
 
 rainbow-colored sheen. 
 Grave August donned her mantle of 
 
 deep and sober green; 
 The years were full accomplished, 
 
 the potion lost its power; 
 Arrived a destined season, and struck 
 the fatal hour, 
 
 50 
 
Within the wood lay Tristran, in 
 
 covert near the trace 
 Whereby the game descendeth to 
 
 reach the drinking-place; 
 He loosed a shaft; straightforward 
 
 the gleaming arrow flew, 
 And the fleet stag lay stricken both 
 
 haunches through and through; 
 He leapt to seize the quarry, made 
 
 bare the hunting-knife, 
 And with o'er-easy triumph let flow 
 
 the streaming lite; 
 
 51 
 
:m^li^! 
 
 
 7) 
 
 Then paused to gaze, absorbing the -^M^ 
 
 temper of the day, W^ 
 
 Its mood of recollection, its veil ^i 
 
 of sober gray, ^^ 
 
 A silence that forebodeth the falling j 
 
 ffi^ 
 
 of the year. j 
 
 l^j 
 
 He mused: «I lurk in forest, destroy 
 
 i^^fj 
 
 the timid deer; 
 
 mi 
 
 Afield, this moment, Cornwall her 
 
 banner doth advance; 
 
 Rnri 
 
 I see the pennon shining, behold the 
 
 levelled lance; 
 
 Ranks meet, and shafts are broken; J 
 
 knights wheel , and swords are out; 
 
 Alas! in whirling mellay is wanting 
 
 my war-shout. 
 
 52 
 
 ^^^1 
 
 ^^i 
 
'4 
 
 ■ » * 
 
 They fly, for lack of me!)) The 
 sullen morning's cloud 
 
 Came over, and o'er-darkened a tem- 
 per hot and proud; 
 
 Of venery forgetful, apart he left 
 the game, 
 
 Along the path roved pensive, and 
 toward the cottage came. 
 
 At entrance waited Isolt, and his 
 
 dismay partook; 
 In silence met their glances; two lives 
 
 lay in the look; 
 
 53 
 
 
 
 ii 
 
 
 i^^ '"^-''JtirT 
 
 
On surface, swift repulsion, when 
 
 the heart, satiate 
 With viand of its craving, from hunger 
 
 turns toward hate; 
 Below, the human terror, if voyager 
 
 forlorn, 
 Oarless and unbefriended, behold his 
 
 vessel borne 
 Adown the leaping rapid with fleeter, 
 
 dreader speed, 
 While murmureth low thunder, and 
 
 saving shores recede; 
 Not yet hath he collected his courage 
 
 for the fall. 
 Embracing every passion, and still 
 
 retaining all, 
 
 54 
 

 Like golden armor, meshes of closely 
 
 woven chain 
 That lately blunted arrows of misery 
 
 and pain, 
 From now, to Thought and Con- 
 science will leave the naked life. 
 Tristran was first to utter, with accent 
 
 passion-rife: 
 ((What hardship hast thou suffered 
 
 for my sake, Isolt, queen! 
 Harsh setting of thy beauty the rude 
 
 and savage scene! 
 My madness curseth Cornwall, of aid 
 
 and comfort crost; 
 Thy maidens sit neglected, their 
 
 dower and wedlock lost, 
 55 
 
With burners of the forest their lady 
 
 hid the while!)) 
 She presently responded, with sad 
 
 and tender smile: 
 {(Go seek Ogrin the hermit: be all 
 
 within his will, 
 If thy desire he censure, or inward 
 hope fulfil.)) 
 
 In vicinage of Tintagel, and prospect 
 
 of its wall. 
 The king enjoyed a pleasance, retreat 
 
 of flowers all, 
 
 56 
 
Rose-tangle, lily-mead, and linden- 
 alley long. 
 
 Of verdure fetlock-deep: and did 
 thereto belong 
 
 A royal bower; apart, scant furlong 
 from the place. 
 
 Where beeches one by one enclosed 
 a circle-space, 
 
 Below a pine, that storied green floors 
 of light and shade. 
 
 An ancient fount its basin and step- 
 ping-stone displayed; 
 
 From mouths of mossy lions the 
 laughing water streamed. 
 
 And plashing in the cistern, gray 
 marble over-gleamed; 
 
 57 
 
By flower-crowned channel the mer- 
 ry rill did go, 
 
 Beneath the house dive laughing, and 
 hence emergent, flow 
 
 To brim the neighboring river. At 
 eve of hunting, slept 
 
 Below that roof its lord, whose 
 knights about him kept 
 
 Their rest, and tapers burned. Red- 
 golden dawned the day; 
 
 The sovereign woke; dark-couchant 
 his drowsy vassals, lay. 
 
 And paled the waning tapers. A 
 hand the window smote, 
 
 And a voice called: ((The King!» 
 Mark wondered, and took note; 
 58 
 
A rider halted by, a letter slipt to 
 
 floor; 
 The gazer leapt from couch, and 
 
 Tristran viewed once more. 
 
 Toward palace-hall of Tintagel, up 
 
 marble of the stair, 
 Trooped knights, and by precedence 
 
 were ranked on benches there; 
 Their ruler throned on dais, of aspect 
 
 dark and proud. 
 His chaplain held a letter, and rising, 
 
 read aloud; 
 
 S9 
 
«To him who hath of Cornwall 
 control and royal right, 
 
 Salute and greeting sendeth Ogrin 
 the Anchorite. 
 
 King, when thy lords debated thy 
 marriage in the hall, 
 
 Twain swallows in their chaffer a 
 lady's hair let fall. 
 
 Ell-long, pale-golden-gleaming; then 
 didst thou say and swear 
 
 By father's soul in blessing, to wed 
 no other fair 
 
 Beside the world's one beauty; to seek 
 her island home, 
 
 Thy nephew on adventure hath wan- 
 dered ocean-foam; 
 
 60 
 
Soon, in thy jealous frenzy, to world's 
 
 rebuke and blame. 
 This jewel of thine owning hast des- 
 tined for the flame. 
 Then thrown away on lazars; to that 
 
 accursed band 
 Hath Tristran meted justice denied 
 
 by thine own hand; 
 Toward safety of the forest did he 
 
 convey the queen; 
 Thyself hast seen them lying, a naked 
 
 sword between. 
 Declareth thy confessor, not so may- 
 
 est thou disown 
 Her part by vow conceded in thee 
 
 and in thy throne; 
 
 62 
 

 
 
 
 To her unbar thy heaven, hereafter 
 unto thee 
 
 As thou hast hope that Peter may 
 turn with ready key. 
 
 Thus saith Ogrin: thine answer sus- 
 pend to the Red Cross.)) 
 
 The chaplain read no further. Mark 
 
 Hstened at a loss, 
 Half loth, half inly yielding. He 
 
 bade his knights bestow 
 Their counsel; words were bartered, 
 
 and looks shot to and fro, 
 
 63 
 
 
Till spake with words of wisdom an 
 
 ancient vavasor: 
 ((The man who loseth jewel that 
 
 quickened him before 
 With confidence and courage, hath 
 
 sorrow and heart-pain, 
 Till time that he recover that pearl 
 
 of price again; 
 Below if he espy a gleam of his 
 
 desire. 
 He hath no pride, but stoopeth, to 
 
 rescue from the mire. 
 And carry into palace, where pure 
 
 it rayeth so, 
 That oft for evening-banquet unlit 
 
 may candles go, 
 
 64 
 
While feasters linger peaceful in 
 
 radiancy mild. 
 So she, our gentle planet that vanished 
 
 in the wild, 
 And left our joy benighted, henceforth 
 
 may reappear 
 F>om long eclipse more lucent, and 
 
 reign in heavens clear. 
 Full-orbed moon of Cornwall. For 
 
 Tristran, let him go 
 Abroad to serve, where rulers their 
 
 friendship may bestow 
 On knight that lendeth sword, and 
 
 with heroic essay 
 Doth Fortune court. Elapsed a 
 
 twelvemonth and a day, 
 
 65 
 
In Cornwall live his welcome, when 
 he hath yielded oath, 
 
 Upon the saints avouching his inno- 
 cence and troth.)) 
 
 The barons praised the speaker, and 
 Mark declared assent; 
 
 His chaplain wrote a letter, and forth 
 the summons went. 
 
 Pale shone the yellow dawning, and 
 
 dewy-white the road. 
 As over march of Cornwall Tristran 
 
 and Isolt rode, 
 
 66 
 
In russet vesture kirtled like burners 
 
 of the wood. 
 With prime emerged from forest, 
 
 their journey they pursued, 
 Till highways twain protecting, rose 
 
 holy the Red Cross. 
 On verdure they alighted, and foliage 
 
 across. 
 Had glimpse of gold and azure, the 
 
 splendor and the sheen 
 Of knights by Mark commanded for 
 
 home-bringing his queen. 
 In arms they clasped each other, heart 
 
 beating faint to heart; 
 Now time had come to sever; yet 
 
 breathing, how depart 
 
 67 
 
From courage and refreshment, relief 
 
 and gratitude. 
 From privileged asylum against a 
 
 world at feud? 
 With sustenance of living, seemed 
 
 life itself would cease. 
 The gleams draw near and nearer; 
 
 each other they release, 
 And quiet on grassy meadow wait 
 
 linking hand in hand. 
 The seneschal advanced, departing 
 
 from his band; 
 He spake no word, lit down, from 
 
 his own shoulder drew 
 A mantle rich with vair, and over 
 
 Isolt threw; 
 
 68 
 
Undid a belted sword, bestowed with 
 
 courteous hand 
 On Tristran, and in Heu received his 
 
 master's brand. 
 He becked: obedient, advanced a 
 
 youth, who led 
 For Isolt's sake a mule, fleet-paced 
 
 and gently bred. 
 To halt below the cross, with hand 
 
 on jewelled rein. 
 Milk-white the mule, and argent 
 
 shone head-gear and lorain. 
 But ivory the saddle, a craftsman 
 
 wise had wrought 
 Five years, and through the carving 
 
 delivered his life-thought: 
 69 
 
Upon the mount knelt Isaac, both 
 arms behind him bound, 
 
 In childish terror gazing; his father 
 on that ground 
 
 Stood with averted eyes, and raised 
 a curving sword; 
 
 From firmament descended the angel 
 of the Lord. 
 
 In front so much; the rear a sterner 
 legend bore; 
 
 Jephthah on way to meet, his 
 daughter danced o'er, 
 
 Arms wide for her embrace, and tres- 
 ses backward blown; 
 
 Toward Heaven the knight raised 
 palms, in attitude of stone. 
 70 
 
The baron raised his dame, and with 
 the lady rode 
 
 Where clustering the lances of his 
 companions showed; 
 
 Before, twelve maids a-row sat mount- 
 ed on the green; 
 
 A little Isolt reddened; they bowed, 
 and bowed the queen. 
 
 The spaces of the greenwood were 
 lit with colors clear; 
 
 Below the cross stood Tristran, and 
 saw them disappear. 
 
 71 
 
In Tintagel, at morning prime, the 
 air with freshness beamed; 
 
 Saints rang from all their belfries, 
 and forth the city streamed 
 
 Toward minster, where their lady, 
 from exile saved, should greet 
 
 Saint Samson, her protector, with 
 thanks and praises meet. 
 
 She walked not penitential, gray- 
 smocked and ancle-bare. 
 
 But robe of clinging purple, and 
 mantle starry-fair. 
 
 In front, twelve maidens pairwise, 
 whose order children four. 
 
 White-innocent, preceded, and Corn- 
 wall's banner bore. 
 
 72 
 
She knelt by the main altar, and 
 
 adoration paid, 
 While anthems clear and clearer rose 
 
 climbing grade on grade 
 The shining stair celestial. She signed: 
 
 advanced a child, 
 Who bore upon both elbows a cloth 
 
 irradiate mild, ;i 
 
 Of pale and shimmering change, that 
 
 gloriously told 
 The passion of the saint; such web 
 
 of mystic gold ih 
 
 A bishop blest; from him, an acolyte 
 
 received, 
 And reverent, draped the altar. Her 
 
 offering achieved, 
 
 73 
 
Retired the queen, to find by minster- 
 steps prepared 
 
 Her palfrey and her knights; with 
 seneschal, she fared 
 
 To court, where welcomed Mark his 
 wife at mounting-stone, 
 
 Kissed on the lips, and led to hall 
 and ivory throne. 
 
 At sea, from purple heights swooped 
 down a freshening gale, 
 
 Tugged at the lines, and bellied the 
 square and painted sail. 
 
 74 
 
With forward face sat Tristran, in 
 
 that inanimate mood 
 When the exhausted spirit, resigned 
 
 to lassitude, 
 Worn out by fruitless labor, of idle 
 
 hardship tired, 
 Weary of all it hoped for, expected, 
 
 or admired. 
 Doth feel nor consolation, defiance, 
 
 nor distress, 
 But only that it fainteth in world-wide 
 
 loneliness. 
 He made a thoughtless motion; an 
 
 idly-dropping hand 
 On swordhilt smote; half conscious, 
 
 he bared the shining brand, 
 75 
 
His own, King Mark's no longer! 
 
 As reek bursts into flame, 
 Such upward-soaring ardor his spirit 
 
 overcame. 
 As burneth warrior, passioned to 
 
 change in battle-hour 
 Dull wistfulness to courage, and 
 
 pining into power; 
 He heard the northwind whistle, be- 
 held the billows flow: 
 ((Roll on, blue Waves my cousins! 
 
 Thou, Wind, my brother, blow! 
 He turned toward fading Cornwall; 
 
 horizonward did dwell, 
 Vague, aery, and cloudlike, the 
 towers of Tintagel. 
 
 76 
 
The song was ended, but its after-play 
 Reversed the prelude; for the lighter 
 
 strain. 
 That latterly had risen up and reigned 
 Emergent from love-languish, opened 
 
 now 
 The secret of its being, and revealed 
 A grieving heart of deeper melan- 
 choly. 
 Isolda, who had listened with 
 contempt, 
 
 77 
 
Unsoftened by the plaintive music, 
 
 cried: 
 ((Clothes, and a throne!)) Half jest- 
 ing, Adela: 
 ((Think, child, to live on berries!)) 
 
 For her part, 
 The maid looked boundless scorn. 
 
 The countess laughed. 
 And putting all her mind upon her 
 
 work, 
 Among her silk preferred a vermeil 
 
 skein, 
 To lend the dragon's tongue an 
 
 ardency. 
 
 78 
 
ESSAY 
 
 I. OPINIONS 
 
 The stoty is known only through French Uterature; but 
 inasmuch as the scene is laid in Celtic lands, it has usually 
 been assumed that the romancers must have used Celtic 
 material, communicaied through bilingual reciters, Welsh 
 or Breton, whose prose narrations may have transmitted 
 the substance of an early Cymric epos. 
 
 The distinguished advocate of this opinion was Gaston 
 Paris, who considered that modes of life and ideas show a 
 barbaric quahty incompatible with admission of French 
 authorship; from a divine and mythologic status, the chief 
 actors have been reduced to romantic proportions. 
 
 Of late years has prevailed a doctrine that the several 
 romances are to be regarded, not as independently derived 
 from Cymric or other sources, but rather as variants of a 
 single French original. 
 
 As the result of an elaborate inquiry contained in the 
 second volume of his Thomas (1905), Joseph Bedier con- 
 cluded that the common source was an Anglo-Norman 
 poem belonging to the early twelfth century; Celtic influence 
 he allowed but minimized; the love-tale he thought purely 
 a reflection of French chivalry. 
 
 The verse above printed in part outhnes the older form 
 of the tale, respecting which the following pages will furnish 
 further information. Certain individual opinions are also 
 briefly indicated; details and references may be sought in 
 the work of Bedier. 
 
 81 
 
II. MATERIAL 
 
 The history is known in three forms, namely, two rhymed 
 versions of the twelfth century, and a prose romance of the 
 thirteenth century. 
 
 The older poetic version is preserved in outline through 
 the German translation of Eilhart of Oberg (before 1200). 
 Affiliated is a fragment (about forty-five hundred lines) of a 
 poet named Berol (edition c. 1200). 
 
 Ihe later account in verse is the composition of an author 
 named Thomas, whose work exists only in fragments, but 
 in outline is preserved through the translations of Robert, 
 author of a Norse saga (1226), and Gottfried of Strassburg 
 (before 1220); based on Thomas is also the Enghsh poem 
 called "Sir Tristrem" {c. 1300). 
 
 The prose (from c. 1230 X) is in the main an imaginative 
 composition, which in its earlier portion retains the skeleton 
 of a narrative akin to Eilhart's; in this version, the tale has 
 been completely merged in Arthurian romance. 
 
 Important also are two episodic poems, the Chievrefoil of 
 Marie of France {c. 1160.?), and a lay reciting an adventure 
 of Tristran in the character of Fool, noteworthy as giving 
 in summary an action akin to Eilhart's. A later lay on 
 the same theme follows the story of Thomas. 
 
 Several works otherwise unconnected with the cycle have 
 episodes, which, however, bestow no valuable information, 
 while folk-books and translations in several languages de- 
 rive from one or other of the sources already mentioned. 
 
 82 
 
III. THEME 
 
 The Story describes the manner in which a young knight, 
 charged with conveying the bride of his uncle and benefactor, 
 through the influence of a philter proves unfaithful to his 
 trust, and is led to maintain illicit relations with the lady. 
 
 As usual in fully developed romances, the tale begins 
 with an account of the parentage and youth of the hero; 
 after such preface, the story is divisible into two portions. 
 
 The first part relates the inception of the attachment, 
 the secret intercourse of the lovers, and their flight into 
 the forest; the action ends with the restoration of the queen 
 to her husband, and the departure of the hero from the realm. 
 
 The second part recounts the foreign marriage of the hero, 
 a revival of his former passion, and repeated visits to his 
 uncle's country; the story concludes with the death of the 
 lovers in a single day. 
 
 IV. INFANCY 
 
 Rivalen, king of Lothian in Scotland, being desirous to 
 see more of the world than the hmitations of his petty 
 realm allow, takes service with Marc, king of Cornwall, at 
 the time engaged in hostilities with Ireland. Here he at- 
 tracts the attention of the king's sister, whom he finally 
 persuades to elope; at sea, she dies in childbirth, leaving a 
 son, who, as destroyer of his mother, receives the significant 
 name Tristran (Griever, that is to say. Maker of Grief). 
 
 83 
 
IV. INFANCY 
 
 Having attained the age of fifteen years (when a hero 
 of romance ought to begin his career), the youth desires to 
 distinguish himself (and obtain knighthood) in a foreign 
 country; his father approves his plan and gives him a ship; 
 accompanied by Governal, he lands in Cornwall, where he 
 remains incognito, and enters the service of his uncle. 
 
 By Thomas this brief introduction has been expanded ten- 
 fold. Blancheflor flies with Rivalen to his kingdom of 
 Ermenie, where she is married; her husband falls by the 
 hand of his feudal lord the Duke of Britanny and she dies of 
 grief; the infant is cared for by the faithful marshal, who 
 brings him up as his own son. The youth is stolen by tra- 
 ders, who are terrified by a storm, and land him on the coast 
 of Cornwall; he comes to court, where he pleases the king 
 by knowledge of venery and music. The marshal seeks 
 and finds Tristran, whose rank is now revealed, and whom 
 the king accepts as heir; he receives knighthood, and begins 
 a chivalric career by avenging his father. 
 
 In the Prose, nomenclature and scenery are freely altered. 
 Helyabel, sister of Marc, king of Cornouaille, marries Meli- 
 adus of Leonois. While hunting, her husband is detained 
 by an enchantress; Helyabel seeks him in the forest, where 
 she brings forth a babe and succumbs. The child is saved 
 by Merlin, and committed to the keeping of Governal. In 
 order to avoid the persecutions of a cruel stepmother, the 
 tutor takes his pupil from the realm, and finally arrives in 
 Cornwall, where Tristran abides unknown. 
 
 84 
 
V. FIRST part: in CORNWALL 
 
 The pivot of the action is the partaking of the love-drink; 
 what precedes is preparatory, what follows consequent. 
 
 The latter portion of the narrative describes secret inter- 
 views, discovery, flight, and exile; such would naturally be 
 the course of any secret attachment. The antecedent chap- 
 ters, however, constitute an artistic construction, which be- 
 comes comprehensible only through attention to the design. 
 
 The romance belongs to a class of mediaeval compositions 
 which exalt the authority of sexual love by emphasizing its 
 victory over gentile and social obhgations. On the hero's 
 side, connection by marriage makes the amour in a religious 
 sense inexcusable; from a chivalric point of view, breach of 
 sacred trust forms the one unpardonable offence. On her 
 part, the heroine is bound to avenge the blood of a kinsman. 
 These obstacles, strong as God and man can erect, are in a 
 moment swept away by the force of conquering desire. 
 
 The transition, if unexpected, would be violent and repul- 
 sive: it therefore becomes necessary to establish ties having 
 a tendency to unite the pair. Each is made preserver of 
 the other, the maid by healing an incurable wound, the 
 man through destruction of a devouring monster. 
 
 The conception is skilfully carried out in an elaborate 
 narrative, which makes the first achievement of the youthful 
 knight consist in slaying the uncle of the heroine, an exploit 
 followed by two journeys to her country, in which the hero 
 appears successively as rescued and rescuer. 
 
 85 
 
VI. ISOLT AS HEALER 
 
 On the island, Tristran sets adrift the boat of his enemy 
 (as sign of the result). That Morholt employs a poisoned 
 weapon indicates semi-demonic quality (so Aliscans, 1123). 
 He loses a hand, flies to the boat, receives a wound not 
 immediately fatal, and is sent to Ireland; arrived, his men 
 summon Isolt, who hastens, but finds him dead (the medical 
 skill of the heroine is thus ingeniously indicated). Eilhart 
 makes Tristran take his harp for solace on his adventurous 
 voyage; other narrators add, that on the Irish coast the hero 
 attracts attention by harp-play; this trait also may have stood 
 in Eilhart's source, but have been overlooked. Tristran gives 
 himself out as Pro, a minstrel who is also a trader, and is healed 
 through remedies sent by Isolt, whom he does not meet; 
 only in his second journey does he use the name Trantris. 
 Other accounts make the hero call himself Trantris also in 
 his first visit, and introduce him to Isolt, whose music-master 
 he becomes. Seeing that the tendency of these variations 
 is to effect a closer connection between different chapters 
 of the history, I suppose (contrary to Bedier) that as in 
 other cases, so here also, Eilhart's narrative may be accepted 
 as representing the original romance. If so, the agreement 
 of the later versions only shows a common secondary source. 
 
 The island of the duel, which in Eilhart is anonymous, 
 Folie Tristran and the Prose call the Isle of Saint Samson. 
 Now this name is mentioned by Crestien, whose lost poem 
 may probably have been the required intermediary. 
 
 86 
 
VII. TRISTRAN AS DELIVERER 
 
 The theme of the dragon-slayer and the impostor is known 
 to have been from early Hellenic time part of European 
 and Asiatic folk-lore. 
 
 According to Eilhart, Isolt, having reached the scene of 
 combat, observes the track of a steed not shod in Ireland, 
 and finds a charred shield; the knight is sought, and the 
 gleam of the helmet perceived. In the bath scene, Isolt 
 only threatens the hero with the vengeance of her father, 
 and does not (as in Thomas) herself brandish the weapon. 
 She acts with entire independence; it is Brengain, not her 
 mother, who counsels her to forgive the guest. On the day 
 appointed for the trial, the friends of Tristran, who have 
 been privately summoned, appear in splendid attire, and 
 attract universal attention; Isolt then makes her appearance, 
 holding by the hand the true slayer of the dragon. The 
 impostor recedes, and Tristran, acknowledged to be victor, 
 prefers his suit on behalf of his uncle, alleging that he him- 
 self is too young to marry. 
 
 In later versions, Isolt naturally recognizes her old friend 
 Trantris, who is presently discovered to be identical with 
 Tristran; the latter, having been pardoned, proceeds to in- 
 form the ladies respecting his status as ambassador; such 
 frankness from an acquaintance might be required by deli- 
 cacy, but in the case of an unknown knight would scarce 
 have been proper until his title had been proved; here also 
 Eilhart's narrative seems to me consistent and earher. 
 
 87 
 
VIII. THE LOVE-DRINK 
 
 In this central chapter appears a striking contrast between 
 different types of the story. While other versions describe 
 the effect of the potion as permanent, Eilhart and Berol make 
 its influence to have been temporary; such evanescence, 
 far from being accidental, is postulated by their most inter- 
 esting passages. The prevailing view, accepted even by 
 Bedier, has held the more sentimental conception to have 
 been original, and viewed the repentance of the lovers as 
 a piece of later moralizing. To me the reverse judgment 
 appears acceptable; I see no reason for setting aside the 
 authority of Eilhart, whose account regularly exhibits the 
 oldest accessible form of the history; the change from a 
 transitory to a perpetual enchantment would be in the usual 
 Hne of completer romantization; in the ensuing narrative, 
 we perceive that the lovers have become free agents, who 
 voluntarily arrange a separation intended to be final. 
 
 The philter is to be administered on the wedding night, 
 by the mother of the bride or her representative. It seems 
 possible that such presentation may depend on a survival 
 of ancient marriage custom. It is easy to conceive what 
 superstitions might attach themselves to such a practice, and 
 how speculations might arise in regard to the consequences 
 of mistake. Yet since no similar French usage is attested, 
 the suggestion can be offered only by way of conjecture, and 
 as indicative of one method in which the development might 
 conceivably have been effected. 
 
IX. CONCEALMENT AND DISCOVERY 
 
 The delusions of the Deceived Husband furnish a theme 
 inexhaustibly amusing to mediaeval readers. The king, 
 who puts implicit confidence in his nephew, will not listen 
 to accusers, but in the end has ocular evidence of over-famil- 
 iarity and excludes his kinsman from the privileges of the 
 bedchamber. Tristran proposes to leave the realm, but 
 must first visit his mistress. A dwarf versed in astrology 
 has foreknowledge of the interview, and notifies the king, 
 who is concealed in the branches of a pine overhanging the 
 well. His shadow is observed, and the conversation ingen- 
 iously directed in such manner as to mislead an auditor; 
 the hero, who declares his intention of going abroad, entreats 
 the intercession of the queen, to the end that he may be en- 
 abled to make an appearance corresponding with his rank; 
 on the ground of her husband's anger she declines. Marc, 
 satisfied by what he has heard, humbles himself before his 
 wife, and restores Tristran's former authority. The dwarf, 
 anxious to retrieve his reputation, obtains permission to 
 make another experiment; Tristran is charged with a message 
 to King Arthur at Carlisle, while his uncle announces an 
 intention of absence; the chamber is guarded, and the hero 
 taken; fresh blood-stains preclude the possibility of denial. 
 The king, whose fury is proportional to his former faith, is 
 resolved to destroy the guilty pair. In vain the friendly 
 seneschal urges that an accused knight is entitled to a trial; 
 in indignation Dinas withdraws to his estates, but on the 
 
 89 
 
IX. CONCEALMENT AND DISCOVERY 
 
 way, meets Tristran, who is being led to execution; he per- 
 suades the guards to leave the prisoner unbound, and an 
 escape follows. With Go vernal, the lovers remain in the 
 forest, where they are soon joined by Tristran's hound 
 Hudent; the dog is trained to overcome his habit of baying 
 on the trail, and to follow the chase in silence. 
 
 According to modern ideas, the honor of the husband 
 is tarnished by cruelty; mediaeval readers would have found 
 in his conduct only the legitimate severity of a strict ruler, 
 and been prone to admire rather than censure. It was, no 
 doubt, in order to prevent transfer of sympathy that later 
 authors chose to describe the king as a malicious weakling. 
 
 The Prose introduces an episode in which the hero is 
 made to rescue Isolt from the hands of a former lover, who 
 has obtained from Marc the promise of an unlimited boon, 
 and as his guerdon demanded the queen; the trait serves the 
 purpose of adding another link to the obligations which 
 indissolubly unite the lovers; in more fantastic form, a 
 corresponding incident is related by Thomas. Now, in his 
 Lancelot, Crestien of Troyes is pleased to recount a similar 
 adventure, in which Guenievre is surrendered by Arthur, 
 but delivered by the hero of the poem. The resemblance, 
 combined with other similar cases of correspondence, war- 
 rants a behef that in the Arthurian work Crestien recast 
 situations borrowed from the story of Tristran, such as he 
 found current, and which he had probably already narrated 
 in his own lost version of the Tristran romance. 
 
 90 
 
IX. CONCEALMENT AND DISCOVERY 
 
 Thomas continues the narration in a manner peculiar to 
 himself. After the chamber scene, the counsellors of the 
 king advise that the queen shall be required to justify her- 
 self by legal process; she elects to undergo the ordeal of 
 handling hot iron. The hero, after assisting her in this 
 difficulty, withdraws to Wales, where he slays a giant, and 
 whence he sends Isolt the present of a fairy hound. At her 
 recommendation, he returns to Tintagel; the suspicions of 
 the husband revive, and the lovers are banished. 
 
 In her lay, Marie makes Tristran retire to his native 
 country of South Wales, whence he makes a visit to Corn- 
 wall; he is afterwards recalled by the king. Marie's account 
 is incompatible with any existing version of the tale; yet, 
 inasmuch as she notes the deaths of the lovers in one day, 
 it must imply a similar narrative. 
 
 According to Eilhart, in the fountain scene, when Tris- 
 tran professes an intent to abandon the country, he declares 
 that his armor has been impounded by this uncle (so Berol, 
 1. 204), and entreats the queen to request its release. The 
 imphcation seems to be that the king has required security 
 for the appearance of his nephew before a court of his peers, 
 and that, aware of his bad cause, and consequently unw^ill- 
 ing to accept the ordeal of battle, the hero prefers to fly. 
 Such, in Amis and Amiles, is the course pursued by the 
 former, when accused of intimacy with the princess. In 
 the extant Tristran, the circumstances appear to have been 
 glossed; we obtain, perhaps, a glimpse of an earlier form 
 of the story, in which the movement was more energetic. 
 
 91 
 
X. EXILE AND RETURN 
 
 In this section the narratives of Eilhart and Berol, while 
 dependent on a common source, yet differ widely. The 
 German poem is a bare paraphrase, the French an expanded 
 and decorated recast. 
 
 The conception is striking. The lovers linger in a wood 
 near Tintagel, and after discovery fly to the depths of the 
 wilderness, there to endure the usual hardships of exile, which 
 are brooked with equanimity so long as the magic lasts. As 
 soon as the veil of enchantment drops, they open their eyes, 
 behold their situation as the world sees it, find their status 
 intolerable, and lose no moment in arranging a separation 
 and return to society. In promoting this choice, material 
 sufferings play a part more effective than the edifications 
 of the preacher. 
 
 The scene is dependent on the idea that the love-drink 
 was meant to have but temporary effect. Versions of the 
 later class, when the influence of the philter is regarded as 
 life-long, have no room for such description; with Thomas 
 the forest residence becomes an idyl, in which the abode of 
 a giant furnishes shelter, and affection precludes care for food. 
 
 Which of these conceptions is in order of time prior ^ It 
 is easy to understand how the constant tendency toward 
 romantization should obliterate the notion of repentance, 
 but impossible to understand a reversal of the process. The 
 intervention of the hermit can belong only to a scene like 
 Berol's; now the appearance of the name Ogrin in Folie 
 
 92 
 
X. EXILE AND RETURN 
 
 Tristran furnishes evidence that the activity of this person- 
 age belonged also to the original romance. 
 
 The effect is weakened by the sequel, in w^hich the reader 
 finds himself once more mired in the bog of intrigue; he 
 v^ishes that the story had ended with the queen's return, 
 and is inclined to accept the suggestion that there may have 
 really been a time in which it did so terminate. 
 
 It is true that Eilhart provides for a continuation; the 
 hero makes Isolt a present of his hound, and the dog is 
 afterwards utilized in the action (Berol, by way of addition, 
 contributes the gift on the queen's part of a ring). How- 
 ever, just before this mention, we read: "Up rode King 
 Marc, took the queen, and kept her with love for many 
 years." This notice may once have ended the history; the 
 second hand, who appended a sequel and in some measure 
 recast the first half of the tale, may well have appended the 
 gift which serves to attach a continuation. 
 
 Eilhart, in describing the efficacy of the potion, affirms 
 that it was calculated to act in full force for four years, and 
 subsequently in a modified degree to endure through life. 
 Such lines may very well have stood in his source; but the 
 nature of the action makes it plain that the poet who so 
 forcibly sketched the misery of the forest could have enter- 
 tained no such sophisticated idea; with him, the efficacy 
 of the draught was conceived as completely vanishing, as 
 leaving the lovers to the hght of common day and the ac- 
 cepted judgments of the world. 
 
 93 
 
X. EXILE AND RETURN 
 
 The opinion of Bedier, that a story which ended with 
 final separation would not be artistic and could never have 
 been popular, does not appear to me entirely acceptable. 
 The queen is restored under the assumption of innocence, 
 a pretext sufficient to salve marital pride. In an Irish 
 tale having a similar theme, that of Diarmid and Grainne, 
 the lady ultimately falls into the hands of her husband; and 
 an early Anglo-Norman might have opined that experience 
 and probabiHty favored such result. 
 
 There are two ways in which the evolution might have 
 been effected; either the poem (like Crestien's Perceval) might 
 in the first instance have remained unfinished or else (like 
 Crestien's Lancelot) the romance may have been design- 
 edly episodic, and the reader left to gather the future fort- 
 unes of the hero from other romances in the time familiar. 
 
 When discovered in the wood, the exiles are separated by 
 a drawn sword. The allusion is to a ritual act, in which the 
 sanctity of a lady is indicated; as, in Amis and AmiUs, the 
 former by this symbol betokens respect for the wife of a 
 friend. The trait seems out of place in a narrative in which 
 the potency of the love-draught is represented as still opera- 
 tive. In Eilhart, the pledge of chastity must be set down as 
 only more ignoble deception; that such cannot have been 
 the original intent is evidenced by the simple beauty of the 
 narrative. To me it appears that we have a second instance 
 in which the reader may glance between the lines of the 
 extant narration, and indistinctly make out an antecedent 
 
 94 
 
X. EXILE AND RETURN 
 
 Stage, in which the movement was more rapid, and the en- 
 chantment less perennial. 
 
 XI. SECOND part: in BRITTANY 
 
 The romancers accumulate obstacles in order to glorify 
 the triumph of passion. One would think that in this 
 direction the limit had been attained; the hero, however, 
 has not yet been provided with a wife to neglect; this re- 
 source is now embraced, and the rivalry of heroine and anti- 
 heroine furnishes interest inexhaustible. 
 
 The action is repetitive; we are presented with a second 
 Isolt, with renewed secret visits to her rival, with new attempts 
 at arrest and new escapes, with a second wound and inter- 
 vention of the heroine as healer. According to accepted 
 rules of interpretation, such duphcation should be construed 
 as implying the activity of a second hand; the conclusion 
 adopted on other grounds is thus confirmed, that the later 
 half of the romance has been superadded. 
 
 The tale ought now to recite the adventures of Tristran 
 in the foreign country to which he has been sent. Eilhart, 
 however, knows nothing of such exploits, and remarks that 
 the hero's stay was short; probably his source limited itself 
 to a similar indication. 
 
 It is necessary to explain how Tristran obtained a wife; 
 but homage is paid to the popularity of Arthurian romance, 
 by making him pre/iously visit the country of the Briton. 
 
 95 
 
XII. ARTHURIAN EPISODE 
 
 Tristran arrives at the court of Arthur, where he obtains 
 the friendship of Walwain. It is the custom of youthful 
 knights to ride forth in quest of adventures, making it a 
 rule to do battle with any willing to encounter them; 
 one champion in particular has a reputation for uniform 
 success. Tristran changes his armor, and thus disguised, 
 vanquishes the adversary, whose steed he bestows on a poor 
 man; the cavalier returns to court, where he recounts his 
 misfortune. Hence curiosity as to the victor; Walwain 
 suspects Tristran, who, when adjured in Isolt's name, cannot 
 choose but confess the truth. Walwain is of opinion that 
 Tristran ought to be rewarded, and persuades Arthur to 
 arrange a hunt in the Blanche Lande (on the marches of 
 Cornwall), where the king has a hunting-lodge. In pursu- 
 ing a stag, it is contrived that the chase shall be directed 
 toward Tintagel; when night falls, a lodging is asked for. 
 Since Marc is known to detest his nephew, the seneschal 
 is sent to obtain an assurance of safety. The story in some 
 measure follows the lines of the chamber scene in the first 
 part; Tristran is wounded, and in order to avoid detection, 
 Kay suggests that the knights of the Round Table put 
 themiselves in a similar condition (incident of the scythes). 
 
 A corresponding trait occurs in the Prose, and may be 
 taken to indicate that the episode was not Eilhart's own 
 addition to the story; that the action is in substance of the 
 early period is made hkely by the character of the seneschal, 
 
 96 
 
XII. ARTHURIAN EPISODE 
 
 who figures as friend and deliverer of the hero, whereas from 
 the time of Crestien, Kay is described as being sharp-tongued 
 and mahcious. 
 
 The Berol fragment concludes with a different Arthurian 
 adventure. After the restoration of the queen, Cornish 
 lords insist that she justify herself by legal process; this she 
 is willing to do, provided that the ceremony take place 
 before Arthur, who for this purpose visits the Blanche 
 Lande. With the aid of Tristran, who remains in the 
 vicinity, is devised a form of oath which can be taken with- 
 out absolute perjury. 
 
 As already noted, Thomas also introduces an ordeal, in 
 which the hero plays a similar part; the agreement of such 
 intercalations implies that the respective authors borrowed 
 from some common informant. Again, the mention, in 
 both Thomas and Berol, of the locality Blanche Lande 
 implies that this informant, on his own part, had constructed 
 the episode after the guidance of that same Arthurian ad- 
 venture which we have in Eilhart. The two poets, there- 
 fore, derived their suggestion from some lost romancer of 
 the latter half of the twelfth century, who was himself a 
 decorator of the "Original" translated by Eilhart. 
 
 That Thomas omits to make mention of Arthur is suffi- 
 ciently explained by his chronological scheme; having made 
 the king of Cornwall a conqueror of England, he could not 
 refer the story to Arthurian time. 
 
 97 
 
XIII. MARRIAGE 
 
 After the hunting party, Tristran leaves Arthur, makes a 
 week's journey, and finally arrives in a wasted country, 
 through which he rides for three days, seeing only deserted 
 towns and villages. At last he finds a hermit, from whom 
 he learns that the king has been attacked by his vassal 
 the Count of Nantes, to whom he had refused the hand 
 of a daughter, and having been defeated, is now besieged 
 in his last stronghold of Carahes (Carhaix in Brittany). 
 The hero rides to the gate, offers his services, and recites 
 his quality. Out of dehcacy the king refuses; want of 
 provisions forbids the proper entertainment of a guest. 
 At the intercession of the king's son the scruple is waived, 
 and the two young knights swear friendship; Tristran 
 is conducted to the presence of the princess, and is sur- 
 prised to hear her called Isolt; the name awakens tender 
 associations. The Count daily challenges single combat. 
 Having obtained consent to try his fortune, Tristran van- 
 quishes and captures the assailant, who is compelled to 
 provision the fort. The Count's men demand his libera- 
 tion, otherwise threatening to storm the town and put all 
 to the sword. Nephews cf the king arrive by sea, with 
 reinforcements; it is resolved to accept battle in the open 
 field, and the command is given to Tristran, who makes 
 proper dispositions. The two nephews are separately 
 posted as reserves, while the king, with knights, archers and 
 variously armed burghers, is stationed at the gates; Tristran 
 
 98 
 
XIII. MARRIAGE ' 
 
 himself, with a force of cavalry, is to surprise the camp of 
 the enemy. The attack is successfully effected, but, as the 
 hero had foreseen, it proves necessary to call up the reserves; 
 a desperate battle is finally decided by the appearance, at 
 the critical moment, of the king with the citizens. The 
 siege is abandoned, and all honor paid to Tristran, who, 
 through his comrade, is offered the hand of Isolt; the mar- 
 riage takes place, but is not consummated. 
 
 This adventure has particular interest, because it has 
 been imitated by Crestien, who on this basis recounts the 
 marriage of Perceval. Romantizations are introduced; 
 Blancheflor is made a queen in her own right. It thus be- 
 comes clear that, when Crestien wrote his last work, the 
 tale which we possess through Eilhart was still the accepted 
 form of the Tristran. 
 
 After his habit, Thomas subjects the narrative to a com- 
 plete reconstruction. In time of war the hero enters the 
 service of the Duke of Brittany, and obtains the independent 
 command of a fortress. Into a song which he is in the habit 
 of chanting, he introduces a refrain expressing devotion to 
 Isolt; by a natural mistake, he is supposed to entertain an 
 attachment for the daughter of the house, and the marriage 
 follows. To my mind, the account, compared with that just 
 mentioned, indicates the continued process of romantization, 
 and proves that Thomas could not have written until after 
 Crestien's time. 
 
 99 
 
XIV. STOLEN INTERVIEWS 
 
 At great length the tale now^ sets forth successive journeys 
 to Cornwall; of these four are enumerated. 
 
 I. Tristran's companion learns that his sister is neglected, 
 and remonstrates. The hero replies, that he is loved by a 
 lady who cares more for a hound than his wife does for 
 himself, and in order to prove the truth of the assertion, 
 proposes a voyage. The two cross the sea, and through the 
 friendly seneschal of Marc, it is arranged that the king and 
 queen shall hunt in the Blanche Lande. Hidden in the bush, 
 the travellers observe the passage of the train; Tristran's 
 brother-in-law admires the queen's beauty, observes the 
 manner in which she pets the dog whom the hero had con- 
 fided to her care, and admits that his friend has only told the 
 truth. On pretext of illness, Isolt contrives to separate 
 herself from her husband, and receives Tristran, whose 
 comrade has an amour with a bower-maiden. On his re- 
 turn, Tristran is pursued by a Cornish lord, who presses him 
 hard, and finally adjures him to halt for the queen's honor; 
 this Tristran, not having his charger and being unable to 
 joust, dechnes to do. The lord informs Isolt, who is en- 
 raged by the unchivalric conduct of her lover. In vain her 
 chamberlain is charged with excuses; the hero, in order to 
 obtain an interview, assumes the disguise of a leper, but the 
 merciless queen orders her servants to drive him away with 
 blows. On his part incensed, Tristran promises his friend 
 not to visit Cornwall for a year, returns to Brittany, and lives 
 contentedly with his wife. 
 
 100 
 
XIV. STOLEN INTERVIEWS 
 
 II. As time passes, the queen regrets her harshness. 
 She sends her page over sea, with a message imploring for- 
 giveness; as penance she has donned a hair shirt. When 
 the year is ended, Tristran and Governal, disguised as pil- 
 grims, resort to Cornwall, and another meeting takes place 
 in the Blanche Lande. Tristran now has an opportunity 
 of making up for his former omission; when invited to 
 take part in games for the queen's sake, he does so and dis- 
 tinguishes himself. 
 
 III. The father of the hero dies, and his kingdom is in 
 confusion. Tristran proposes to bestow the realm on his 
 tutor, and to take Cornwall on his way; the two assume the 
 dress of minstrels. A meeting with the queen is arranged 
 to take place at the fountain in the garden of Tintagel. The 
 companions are pursued, but escape through a stratagem 
 devised by the queen. Tristran reaches Lothian, where he 
 remains two years. 
 
 At this point is brought in the introduction of a subse- 
 quent adventure. Tristran's brother loves a lady whom he 
 should have married, but who has been wedded to a jealous 
 dwarf by whom she is immured; false keys are obtained to 
 her prison. 
 
 IV. In fresh wars with the Count of Nantes, Tristran, 
 while attempting to storm a castle and bare-headed, is 
 struck by a stone, and long lies helpless. On recovery, ac- 
 companied by a young nephew, he sits on the seashore, gaz- 
 ing toward Cornwall. The boy learns the cause of his wist- 
 
 lOi 
 
XIV. STOLEN INTERVIEWS 
 
 fulness, and assures him that his changed appearance will 
 preclude recognition. As an idiot (and therefore merry- 
 maker) he arrives in Cornwall, where he holds a riddling 
 conversation with the king, and makes himself known to 
 the queen, w^ho causes him to be lodged below the stair of 
 her bower. He is suspected by chamberlains, who surround 
 himi and attempt his arrest, but he breaks through, first 
 taking leave of Isolt, whom he entreats to comply with any 
 wishes expressed by a messenger who may present her ring 
 as token. 
 
 Of the four journeys, Thomas relates only the first and 
 second; but notes also the story of the jealous dwarf; the Prose 
 also mentions the hero's hurt and illness; so that these authors 
 were acquainted w4th the history which we have in Eilhart. 
 
 The adventure in which Tristran plays the part of a fool 
 was found especially amusing, and received episodic treat- 
 ment from writers of two lays, who expanded the data of the 
 epos. 
 
 The attempted arrest in the queen's bower served the 
 author of Mort Artur as a model for the scene in which 
 Lancelot for the last time meets Guenievre. 
 
 It thus clearly appears that a single highly complicated 
 narrative, the same which by good fortune Eilhart undertook 
 to translate, is responsible for all extant versions of the 
 romance. 
 
 XV. TRAGEDY 
 
 Tristran and his brother-in-arms secretly visit the dw^arf's 
 wife, are discovered and pursued; the brother is slain, and 
 
 102 
 
XV. TRAGEDY 
 
 Tristran wounded with a poisoned lance; only Isolt of Corn- 
 wall can heal the wound. As messenger is sent a mariner 
 of Carhaix, in whose house Tristran had once lodged; if the 
 queen arrive a white sail is to be hoisted; the sailor's 
 daughter is to keep watch. Tristran's wife learns the 
 plan, and in her jealousy falsely reports that the sail is 
 black; the hero dies of heart-break. On landing, the queen 
 hears the tolling of church-bells, and meets the funeral pro- 
 cession; she disputes with her namesake a place at the head 
 of the bier, lifts the linen shroud, flings herself on the body 
 and expires. When the story is known, and he learns that 
 the passion has been magically caused. Marc is sorry; he 
 would rather have abandoned his realm than lost wife and 
 nephew. He lays the lovers in one grave, and over their re- 
 mains plants a vine and a rosebush, which rise and intertwine. 
 
 Eilhart adds, as a remark of his own, that the story was 
 told in various ways; he had heard that the twining of the 
 plants was owing to the power of the love-drink. The 
 Prose also notes the king's repentance and the honorable 
 interment at Tintagel, so that the secondary source must 
 have retained these traits. 
 
 Thomas, though retaining the outhnes of the death-scene, 
 has been pleased to recast the manner of the hero's injury, 
 which according to him was received from an envenomed 
 spear Vv^ielded by the men of The Proud One of the Iron 
 Castle, against whom Tristran has espoused the cause of a 
 dwarfish namesake. The poet says that he had read a 
 
 103 
 
XV. TRAGEDY 
 
 version in which the wounder was a dwarf whose wife the 
 hero's brother-in-law loved; but this variant contained an 
 impossibility, in affirming that it was Governal who brought 
 over Isolt; now the latter was too well known in Britain 
 safely to visit the island. 
 
 The version of the Prose, which makes mention of the 
 white sail, agrees with Eilhart in making Tristran's friend 
 the mariner fetch the queen. 
 
 Thomas adds that the narrators to whom he objects had 
 not been acquainted with the story of Breri, who was an 
 authority in regard to the gesta of British kings and counts. 
 In such expression, the poet follows a common practice; 
 a minstrel who thought the minds of his readers preoccu- 
 pied with that earlier form of a history which he chose to 
 recast, would be likely to affirm that his predecessor (whom 
 he used and altered) was imperfectly informed. 
 
 As to Breri, it so happens that Giraldus Cambrensis 
 mentions as a famous fabiilator of an earlier generation a 
 Bledhericus; this personage may be identical with the 
 Breri noted by Thomas. The equation suggests intricate 
 questions, which might well find consideration in the course 
 of an inquiry into the "Matter of Britain." However, in 
 the present case, the name is introduced only as that of a 
 fabulous sponsor. The notice, therefore, is not directly 
 relevant, and the question as to Cymric sources must be 
 otherwise determined. 
 
 104 
 
XVI. RELATION OF VERSIONS 
 
 That all extant forms of the tale go back to a single French 
 original, and that such original is in the main represented 
 by Eilhart's translation, are positions established by Bedier. 
 
 I go a step farther, and consider the poem of Eilhart 
 as a rude but faithful paraphrase, in its entirety, of the 
 assumed original. 
 
 The fragment of Berol, so far as coincident, is an en- 
 larged and decorated recast of the same composition. 
 
 The extent to which Crestien, in his preserved poems, has 
 laid under contribution themes correspondent to Eilhart's 
 narration leaves room for only two conclusions: Eilhart 
 translated, either the lost Tristran of Crestien, or else an 
 earlier romance which the latter remodelled. 
 
 Remaining versions (Thomas, the Prose, Tristran as 
 Fool), by their agreements, indicate a common secondary 
 source, in which the history was advanced one stage beyond 
 that of Eilhart's narrative. Now, the relation of Crestien 
 to prose Arthurian romance makes it altogether probable 
 that his was the required intermediary followed; so that of 
 the alternatives already presented, the latter is to be pre- 
 ferred; Crestien reconstructed the poem, which, by good 
 fortune, is preserved through Eilhart's rough paraphrase. 
 
 In any attempt to trace farther back the development of 
 the tale, the inquirer has no resource other than conjecture 
 based on the data of the German poem. 
 
 105 
 
XVII. THE HISTORY IN WALES 
 
 In mediaeval Welsh literature the story exists only in the 
 form of allusions. 
 
 The tale of Kulhwch and Olwen, in reciting the names of 
 ladies belonging to the court of Arthur, mentions Essylt 
 Vinwen and Essylt Vingul. In The Dream of Rhonabiuy 
 Drystan figures as a knight of Arthur. 
 
 Triads note the same names. Essylt is described as an 
 unchaste lady, and Drystan or Trystan as a brave warrior. 
 
 A single triad gives more definite statements. Desiring 
 to communicate with Essylt, wife of his uncle March, son 
 of Meirchion, Trystan commissions a swineherd to carry 
 his message, and during the interim undertakes to watch 
 the drove; Arthur, March, Kei, and Bedwyr endeavor to 
 obtain a pig, but cannot succeed either by force or guile. 
 
 Scanty as is the information, it implies that mediaeval 
 Welshmen were acquainted with the hero's banishment 
 from the court of Cornwall, his secret meetings with the 
 wife of his uncle, and his subsequent marriage to a second 
 heroine of like name; in other words, with the outHne of a 
 tale similar to that of the romancers. 
 
 The relation might very well be interpreted on the sup- 
 position that Welsh literati borrowed from French romance 
 the data which they afterwards expanded in their own 
 manner. 
 
 Manuscripts of the sixteenth century contain an elabo- 
 rate tale, which, as only recently (and not yet completely) 
 
 io6 
 
XVII. THE HISTORY IN WALES 
 
 edited, has escaped the attention of comparative students. 
 The writers, who seem to have been chiefly concerned with 
 the preservation of verse, have only given a prose account 
 necessary for comprehension of the poetry; the notices 
 seem to be in the nature of abstracts, and to imply a long 
 history. So far as the obscurities of bad spelling and bardic 
 mysticism allow me to decipher, the purport appears to be 
 somewhat as follows. 
 
 Trystan and Essylt elope from the court of March into 
 the wood of Celyddon (the Caledonian Forest), where the 
 trees of the wilderness supply couch and food. They have 
 also taken the wise precaution to convey a hamper contain- 
 ing pasties and wine. Essylt is accompanied by a maiden, 
 called Eye-of-a-Summer-Day. Essylt is in terror for the 
 sake of Trystan, who has disappeared in the dangerous 
 forest, which is full of alarming sounds. Kae Hir (Kay the 
 Long) finds her in this state of mind, and consoles her with 
 good news of the hero's safety; as a reward, he is prom- 
 ised possession of the maid with the summery appellation. 
 The King of Cornwall carries to Arthur (who is a near re- 
 lation of both parties, being uncle to Trystan) report of his 
 domestic infelicity, and complaints against his nephew; 
 Arthur, it seems, wishes to summon Trystan, but the latter 
 is recalcitrant, and (as indicated in another version) over- 
 throws in joust knights of the Round Table who have gone 
 in quest of him. Arthur causes minstrels to play before 
 
 107 
 
XVII. THE HISTORY IN WALES 
 
 the wanderer, with intent to charm away his fury. Gwalch- 
 mai (Gawain), using his accustomed courtesy, soothes 
 Try^stran and brings the latter to the king. Arthur en- 
 deavors to effect a reconcihation; but inasmuch as neither 
 the husband nor the lover is willing to forego Essylt's so- 
 ciety, there is nothing to do but for her to divide the year 
 between the rivals. March, offered his choice of the leafy 
 or leafless season, prefers the latter as longer in duration. 
 The narrative is interspersed with englynion or verses, 
 which present the accustomed combination of mystery and 
 meaninglessness. {Report on MSS. in the Welsh Language, 
 Hist. MSS. Commission, London, 1902, II, 105.) 
 
 The French Prose makes the lovers retire to the forest of 
 Morois, where the wood furnishes their food, while Gover- 
 nal also brings provision from a neighboring castle; in 
 this tale also the queen is accompanied by a maiden (who 
 seems to be a relative of Brengain). Marc recaptures 
 Isolt, and eventually also Tristran, who swears to forsake 
 Cornwall, and resorts to Logres (England); he distin- 
 guishes himself in a tournament, disappears, and is the 
 object of a quest; he is brought to court by Lancelot, and 
 made a knight of the Round Table; Marc also resorts to 
 Arthur, who effects a temporary reconciliation, and uncle 
 and nephew together return to Cornwall. 
 
 It appears probable that the Welsh tale represents a free 
 construction after hints supplied by the French Prose. 
 
 108 
 
XVIII. PERSONS 
 
 In that portion of the Berol-fragment coincident with 
 Eilhart, persons represented are named as follows: 
 
 Marc, king of Cornwall. 
 Tristran of Leonois, nephew of Marc. 
 Audret of Nicole, nephew of Marc. 
 Dinas of Dinan, seneschal of Marc. 
 Governal, tutor of Tristran. 
 Perinis, chamberlain of the queen. 
 Ogrin, a hermit, confessor of Marc. 
 Frocin, a dwarf. 
 Ivain, a leper. 
 
 Isolt of Ireland, wife of Marc. 
 Brengain, governess of Isolt. 
 
 Marc. The name is the Latin Marcus. The Latin Hfe 
 of Saint Paulus Aurelianus (written in the ninth century) 
 mentions a British king Marcus (of the seventh century), 
 otherwise called Quonomorius, and said to have reigned 
 over peoples speaking four languages. The affiliations of 
 the author make it Hkely that this king was a Welshman; as 
 Bedier suggests, the name is too common to require an 
 equation of this Marcus with the sovereign of the romance. 
 
 Tristran. Eilhart has Tristrant, the MSS. of the French 
 poems usually Tristran; but remains of a form Tristrant, 
 
 109 
 
XVIII. PERSONS 
 
 preserved in rhyme, are sufficiently numerous to indicate 
 (as seems to me) the originaUty of the final t. (It is true 
 that in the Prose numerous proper names end either in the 
 terminations -an or -ant, w^ithout any certainty as to the 
 spelling which ought to be preferred; but these appellations 
 are only quasi-Celtic, being merely free inventions after the 
 model of Tristrant or Tristran.) Tristram found in French, 
 Norse, and English, is only an euphonization; the reduction 
 Tristan seems scarcely to have established itself earlier than 
 the thirteenth century (Gottfried's is perhaps the first 
 clear evidence). 
 
 The Pictish Chronicle and also Irish Annals know of 
 Pictish kings called Drust, Drest, Drost, or (with diminu- 
 tive ending) Drostan. Another royal Pictish name is Ta- 
 lorc, Talargan; this and the former interchange as belong- 
 ing to father and son. A Talargan, son of Fergus, was slain 
 at the battle of Mugdock in 750; the name, without change 
 of spelling, appears in Annales Cambriae. 
 
 The Welsh name is Drystan or Trystan (the latter form 
 having at least equal title to precedence) son of Tallwch. 
 
 Now, by reason of the double assonance, it is held that the 
 son of Tallwch is to be identified with a Drostan son of 
 Talorc, and so must be set down as originally a Pict. Yet, 
 if the coincidence is twofold, so is the variation. There is 
 no phonetic reason for altering the former to the latter; why 
 should Welsh scholars, famihar with the Pictish orthography, 
 
 no 
 
XVIII. PERSONS 
 
 be at the trouble to effect a change ? So much, even if the 
 hero had in the first instance been called Tristan; but since 
 his French name was Tristrant or Tristran, the equation 
 falls by its own weight. Probably the coincidence is al- 
 together accidental; if any one thinks the resemblance re- 
 quires explanation, he is at liberty to suppose that the 
 author, who, after the manner of Welsh narrators, saw fit to 
 confer on an immigrant hero papers of naturalization in the 
 form of Celtic paternity, allowed his fancy to be jogged by 
 a vague reminiscence of names read in chronicles. 
 
 The romancers thought the appellation significant, and 
 it seems to me likely that such may originally have been the 
 case. The babe is called Tristrant, or Maker of Grief, as 
 having brought about the death of his mother. A parallel 
 is offered by Amis and Amiloun, in v/hich the youth Owein 
 receives the surname Amorant (or Amoraunt, Enamorer), by 
 which he is henceforth addressed. On the basis of this ex- 
 ample, it may be guessed that in an earlier stage of the tale the 
 hero possessed a separate proper name, which in the extant his- 
 tory has been superseded by an epithetic designation. Such 
 process is common. So in the poem of Thomas, Tristran's 
 father was called by the epithet Canelengres, in place of 
 Rivalen. In the Welsh tale entitled Pwyll Prince of Dyfed, 
 Gwri Walk Euryn (Gwri of the Golden Locks) obtains 
 from his mother the surname Pryderi, or Anxiety, on ac- 
 count of the distress caused to his friends by his disappear- 
 
XVIII. PERSONS 
 
 ance. In the Irish narrative called Cath Mucrama, Fiachna 
 Muillethan (Broad-Crown) receives the nickname Fer da 
 Liach, or M a n-of- two-Griefs, as having lost his father on 
 the day of his begetting and his mother on that of his birth. 
 
 Governal might come from governor, as suitable to the 
 quaHty of an ideal Mentor; but Folie Tristran and 
 Eilhart have a metathetic Gorvenal. 
 
 Frocin or Frocine might be connected with froncine, parch- 
 ment (from the wrinkled aspect of dwarfs). 
 
 holt. Golther long ago pointed out that, previous to the 
 century of the romance, the name was a Germanic designa- 
 tion, mascuhne and also feminine. 
 
 In Eilhart and Berol neither Isolt has an epithet which 
 forms part of the proper name; but Crestien mentions 
 Isolt of Ireland as la bloie (the blond), which is also used in 
 Folie Tristran, while Isolt of Brittany in the versions of the 
 later type is regularly called the White-handed. 
 
 Mention has already been made of the Welsh heroines, 
 Essylt Vinwen and Essylt Vingul. The first epithet should 
 be made up of min, lip, and given, white, the second of ?nin 
 and cul, narrow. But w^hat signify the quahfications white- 
 lipped and narrow-lipped ^ The sense is the reverse of clear. 
 I suppose that the appellations are bardic and purposely 
 obscure. Perhaps the intention is moral rather than phys- 
 ical: the queen of Cornwall may be referred to as a sin- 
 cere lover, the lady of Brittany as limited or mean (with 
 
 112 
 
XVIII. PERSONS 
 
 allusion to her untruthfulness in the matter of the white sail 
 which wafted her rival). However this may be, the adher- 
 ence of significant epithets to the name proper, in contrast 
 to the direct simplicity of the older French version, clearly 
 indicates a later stage of development. The inference is 
 that it was rather in the thirteenth century than the 
 twelfth, on the basis of the later rather than the earlier 
 French tale, that the history was admitted to Wales. This 
 conclusion agrees with the abbreviated name of the hero 
 (Tristan instead of Tristran). 
 
 Brengain (Bringvain, Thomas) is doubtless the name 
 which we have in the Welsh tale of Branwen daughter of 
 Llyr. 
 
 Rivalen (Rivalin, Eilhart). The father of the hero has 
 a very familiar Cymric proper name, Rhiwallon, Latinized 
 Rivallo, etc. Thomas gives him the surname Canelengres, 
 which in his story often replaces Rivalen. He seems to 
 suppose that the addition has to do with an aerial place- 
 name Canoel. I would rather suppose that originally the 
 appendage contained a significant French epithet (It-engres). 
 
 Hudent (Utant, Eilhart). The name of the hound should 
 have something to do with that habit of baying on the trail, 
 which forms his characteristic office in the narrative. Per- 
 haps Hu-dent, Howl-tooth, i.e. Loud-mouth ? 
 
 Other proper names of the older version are nondescript 
 or uncertain as to derivation. 
 
 "3 
 
XVIII. PERSONS 
 
 In an episode inserted by Berol the enemies of Tristran 
 are named as Guenelon (the traitor of the Song of Roland), 
 Godoine (EngHsh Godwin), and Denoalent, etc. a name 
 which has been identified with a Donuallonus of the Car- 
 tulary of Redon (Brittany). 
 
 Thomas supplies many more actors, in the main repre- 
 sentative only of his own imaginative faculty. It is of in- 
 terest to note the methods he employs. 
 
 (i) Duplication of names already belonging to the tale: 
 Isolt queen of Ireland, mother of the heroine. 
 
 (2) Addition of an epithet as part of a name: Tristran 
 // amerus (the lover) in contrast with a Tristran // nam (the 
 dwarf). 
 
 (3) Substitution of more euphonious and quasi-Celtic 
 appellations: Melot for the dwarf Frocin, Mariadok (saga: 
 i.e. Meriadoc) for Audret, Cariado {i.e. Caradoc) for 
 Pleherin. 
 
 (4) Introduction of actors quasi-Celtic or connected with 
 British history: Morgan Duke of Brittany, Gormon king 
 of Ireland (this name borrowed from Geoffrey of Monmouth 
 through Wace). 
 
 The manner of procedure thus illustrated deserves atten- 
 tion. Recent inquirers have been prone to lay emphasis on 
 the character of proper names; Celtic resonance, to their 
 minds, supposes Celtic derivation. They overlook the es- 
 
 114 
 
XVIII. PERSONS 
 
 sential consideration that mediaeval romancers, like modern 
 novelists, found no difficulty in adapting names to scenery; 
 if the action were laid in Celtic lands, the appellations natur- 
 ally took on a Celtic quality. Such observation amply ac- 
 counts for the Celticizing names of the earher story (Rivalen, 
 Brengain). 
 
 XIX. LOCALITIES 
 
 All narrators make Cornwall the country of the husband, 
 Ireland the birth-land of the first Isolt, and Brittany the 
 country of the second. 
 
 The hero, in most versions, belongs to Loonois or Leonois, 
 that is to say Lodonesia, or Lothian in Scotland. Thomas 
 has seen fit to alter the residence, which (on the evidence 
 of translators) he seems to have called Ermenie. Accord- 
 ing to Beda, Britons came from Armorica; a scribe mis- 
 wrote Armenia, whence probably Thomas took his idea; 
 Tristran, as representing the original habitat of the race, 
 was more British than the Britons. 
 
 Marie, on the contrary, makes Tristran a native of South 
 Wales; as she is likely to have been well informed, it must 
 be presumed that she was acquainted with a form of the 
 history different from that which lies at the basis of all 
 extant versions; since she knew the exile of Tristran, his 
 secret visits to the queen of his uncle, and the simultaneous 
 
 115 
 
XIX. LOCALITIES 
 
 death of the lovers, the story must have been kindred, and 
 depended on the same ultimate source; and since her poem 
 is the oldest existing work of the cycle, it follows that when 
 she wrote, the type of the tale given in Eilhart had not yet 
 been firm.ly established. 
 
 Geographical indications are slender. Romancers know 
 that Nantes and Carhaix were towns of Brittany. Eilhart 
 makes Tintagel the residence of Marc, while Berol (obvi- 
 ously by later expansion) considers this town to be only one 
 among many royal cities; mentioned especially are the 
 (aerial) localities of Lancien and Saint Lubin (the latter 
 name is found in Normandy, to which country Berol has 
 been referred). 
 
 Other Cornish localities are fanciful. Morois is described 
 as a wood near Tintagel, and cannot (as has been thought) 
 relate to Moray; Blanche Lande is a district on the border 
 of England, and can have no relation to any known histori- 
 cal locality of like name; the isle of the duel was in full 
 view of warriors standing on the Cornish shore, and cannot 
 have been any Insula Trestanni (Trestan's Isle) of the 
 Scilly Islands. 
 
 Eilhart and Berol know of no designation for the island 
 in question, which Crestien and later writers call the Isle 
 of Saint Samson. Substitution of a definite name for an 
 anonymous locahty is a mark of a later variant. The men- 
 tion may be taken with the epithet attached to the name of 
 
 ii6 
 
XIX. LOCALITIES 
 
 the heroine as evidence confirming the conjecture that by 
 Crestien the story was advanced a stage beyond that found 
 in Eilhart. 
 
 Berol's affirmation that Cornishmen call a certain preci- 
 pice Tristran's Leap is not to be taken seriously. 
 
 In the usual Anglo-Norman style, Wales figures as a 
 desert to which exiles fly, and as an abode of rude folk. 
 
 Arthur's country (Britain, according to Eilhart) is exclu- 
 sive of Cornwall and Lothian, Marc and Rivalen being 
 independent princes. In accordance with Arthurian ro- 
 mance, Carlisle is mentioned as a principal city. Thomas, 
 in order to aggrandize the king of Cornwall, has been pleased 
 to relegate the history to some unspecified age. 
 
 XX. TALE ELEMENTS 
 
 The romance has been developed with the aid of sub- 
 ordinate themes, which for the most part appear elsewhere 
 in French literature, and must be considered as West Euro- 
 pean rather than as belonging to any particular country. 
 
 A celebrated passage of Berol assigns to the King of Corn- 
 wall the ears of a horse. The attribution is dependent on 
 the resemblance of the Old French marc, horse (Welsh 
 march) to the proper name Marc. It has been thought that 
 the trait may imply the survival of old Celtic myth. 
 
 117 
 
XX. TALE ELEMENTS 
 
 However, the incident constitutes one of the numerous 
 intercalations which appear solely in Berol, and which can- 
 not be supposed to have had any place in the original ro- 
 mance; the scene is introduced in order to satisfy poetic 
 justice, by bringing to a bad end enemies of the hero. More- 
 over, as Bedier points out, there was another tale in which 
 the dwarf perished, not at the hands of the king, but by the 
 agency of Tristran himself. 
 
 In fact, Berol merely took up into his decorated narra- 
 tive a current anecdote, which in the Middle Age was fa- 
 miliar throughout Europe and Asia. 
 
 A king is said to have had monstrous ears (of a goat, ass, 
 or horse); in order to hide this defect, he is in the habit of 
 murdering his barbers. It so happens that on a certain 
 day the office is of necessity performed by a friend, who is 
 spared on condition of secrecy. The effort at concealm.ent 
 proves too much for his health, and a physician recommends 
 him to reheve his mind by imparting the secret to the earth. 
 A hole is dug, the tidings whispered, and the spot covered 
 over. Reeds spring up, of which minstrels make pipes. 
 These play only one tune, reciting that the king has such 
 ears. 
 
 The tale is related with variations by Ovid, appears as 
 the twenty-second narration of the Mongol Siddhi-Kiir, and 
 has been recorded in Servia, Ireland {Revue Celtique, ii, 
 197), Brittany (Cambry, Voyage dans le Finistere, Brest, 
 
XX. TALE ELEMENTS 
 
 1835, p. 179), and Wales (J. Rhys, Celtic Folk-lore, Oxford, 
 1901, i, 233). 
 
 It may excite surprise that a poet of the thirteenth cen- 
 tury should have been wiUing to give a king such append- 
 ages. This, however, I believe, Berol does not do. Marc, 
 suspicious of his nephew, has frequent occasion to consult 
 the divining dwarf, whom curious lords besiege for infor- 
 mation. He declares, that if they will put his head under 
 a thorn-bush, they shall know. This is done, and the dwarf 
 affirms that the bush, not he, says that the king has horse's 
 ears. The lords inform Marc, who laughs, and replies that 
 if he has such ears, it is the diviner who has put them on 
 him; with the accustomed arbitrary procedure of kings in 
 fable, he takes the head of the dwarf, not for his babbling 
 (the king's ears are perfectly normal), but for his impudence. 
 The passage presupposes on the part of French readers a 
 knowledge of the tale. 
 
 For the rest, it is an error, in my judgment, to look for 
 any pecuharly Norse, English, or Cymric character in epi- 
 sodes of the Tristran. 
 
 XXI. MANNERS 
 
 Speaking generally, the scenario and properties of the 
 tale, costume, behavior, address, armor, warfare, rehgion, 
 belong only to French Ufe in the middle of the twelfth cen- 
 
 119 
 
XXI. MANNERS 
 
 tury. There are, however, certain exceptional traits which 
 have been taken to indicate survival from earlier barbarism, 
 and to imply that the romancers received information from 
 Cymric sources. 
 
 Among such traits Bedier notes the following: skill in 
 archery of the hero, the possession of a miraculous bow, the 
 mention of Tintagel as a castle disappearing semi-annually, 
 and the gift ascribed to Tristran of imitating the notes of 
 birds. 
 
 It is to be noted, in the first place, that these mentions are 
 only additions made by Berol or other late authors, whose 
 intercalations usually represent only their own fancy. 
 
 Again, it is not to be forgotten that France and England 
 overflowed with fairy lore, from which suggestions might 
 readily be obtained. 
 
 The poet who chooses to make Tristran imitate the night- 
 ingale has for his object the conveying of a signal to a lady; 
 surely the idea implies a sophisticated author. For Norman 
 archery, one need only remember Wat Tyrrel. 
 
 More definite are indications contained in the accounts of 
 habitation. Desiring to communicate with the heroine, 
 Tristran sends carved sticks down a stream which flows 
 through her bower, where they may be observed and convey 
 their message. Now it is held that such description implies 
 domestic arrangements incompatible with civilized Hfe. 
 
 In general, the romancers make the surroundings of the 
 
 120 
 
XXI. MANNERS 
 
 Cornish court as splendid as they know how. The palace 
 is within the walls of Tintagel, where it has a conspicuous 
 position. It is provided with a hall in an upper story or 
 approached by steps, according to the custom of such baron- 
 ial edifices. On the ground floor are marble chambers, 
 offering opportunities for carousal which the exile Tristran 
 remembers and regrets. The women's apartment — the 
 "chamber" (German kemenate) or "chambers" (Berol) — 
 forms a separate building with its own entrance, having a 
 stair which is especially mentioned. Here (presumably in 
 the upper story) is the bedchamber proper, served, accord- 
 ing to usage, by chamberlains who were liable at any time 
 to be needed, and who therefore slept in the room (the office 
 of Lord of the Bedchamber, still retained in the Enghsh 
 court, indicates the Anglo-Norman character of the account); 
 Tristran seems to have held this office. The "chamber" 
 contains also other rooms suitable for the accommodation of 
 the queen and her ladies; on the ground floor is especially 
 mentioned a room provided with curtained windows and a 
 dais, in which (according to Berol) the queen receives 
 Tristran. 
 
 Adjacent to the palace is an extensive garden, in the centre 
 of which flows a fountain, provided with a basin of marble; 
 here the queen makes an assignation, and her husband con- 
 ceals him.self in an overhanging pine-tree. The stream 
 runs through the garden, and is conducted under the 
 
 121 
 
XXI. MANNERS 
 
 "chamber," doubtless in order to supply the cisterns and 
 sinks of the basement. What is there here which can 
 properly be designated as primitive ? Indeed, Bedier 
 points out a complete parallel, in which the poem of Robert 
 le D'lable makes a stream similarly flow through the bower 
 of an emperor's daughter. 
 
 That such a method of obtaining a water supply was 
 European may further be shown by an example from 
 Franconia. Wolfram of Eschenbach makes a brook run 
 through the cloister of Sigune (the passage is of his own 
 invention). 
 
 Examples of similar arrangements which have been cited 
 from Celtic countries (by Kuno Meyer) can therefore be 
 taken only as additional instances of an international habit. 
 
 Altogether different is the character of another scene 
 found in Eilhart. When the knights of Arthur are received 
 at Tintagel, not only are the guests lodged in the hall, but 
 also the queen has in the same room her bed, which is pro- 
 tected by scythes. 
 
 This mode of lodging is certainly primitive enough, but 
 also directly in contravention of that above noticed; what 
 has become of the "chamber" t Since prehistoric time, no 
 Cymric princes ever so dwelt. The passage belongs to the 
 second and later part of the poem. The apology, given by 
 Eilhart, in which he observes that ancient kings did not 
 have houses as extensive as at present, probably made part 
 
 122 
 
XXI. MANNERS 
 
 of his source. The whole trait I take to be merely a piece 
 of deliberate and awkward archaism on the part of the 
 French continuator. 
 
 XXII. ETHICS 
 
 That love has a right to make its own law is a doctrine 
 familiar in modern fiction. It is held, however, that in order 
 to play a part worthy of artistic representation, lovers must 
 hoist their own independent flag, rather than piratically 
 cruise under the accepted standard of conventional pro- 
 priety. 
 
 With the Tristran it is different; the wife is the queen 
 of a mighty kingdom, her lover its heir apparent; neither 
 has the least idea of forfeiting so advantageous a position 
 in order to enjoy each other in safe but obscure retirement. 
 The problem is how to obtain pleasure without losing posi- 
 tion; for no better purpose it is considered praiseworthy to 
 flatter and deceive; merely in order to keep her secret un- 
 shared, the heroine stoops to plot the murder of a faithful 
 friend and benefactress, whose honor she has already sac- 
 rificed. 
 
 On freedoms of lovers the saints smile, unless when it 
 becomes a question of judicial procedure; then indeed, for 
 the sake of his own reputation as official enforcer of oaths, 
 
 123 
 
XXII. ETHICS 
 
 the saint will be implacable; it is only necessary, however, 
 to devise some form of words, which may be sufficient to 
 attest a falsehood, yet not literally false. 
 
 Such conceptions appear to me in no degree peculiar, but 
 quite in conformity with courtly habit. Ancient epos 
 would probably have required a more daring procedure; 
 at least, in old Irish saga, the lady in similar cases exercises 
 her right of demanding to be carried oflF. 
 
 XXIII. PERIOD 
 
 The lay of Marie, the earlier extant document of the cycle, 
 may be dated about 1160. As has been observed, the tale 
 known to her seems not to have been the existing history, 
 with which, a few years later, we find Crestien acquainted. 
 
 On the basis of its rude vigor, the Tristran has been sup- 
 posed by Bedier to represent an Anglo-Norman poem of 
 about 1 120. 
 
 For a more definite conclusion, I would refer to Geoffrey 
 of Monmouth. The narrative presents kings of Cornwall 
 and Lothian as independent of Arthur; such an account 
 would have been impossible after Geoffrey had made the 
 Briton the greatest of emperors. On the other hand, Eil- 
 hart's story introduces developed Arthurian romance, and 
 in so far may be considered as posterior to Historia 
 
 124 
 
XXIII. PERIOD 
 
 Regum Britanniae. Correspondingly, the narrative con- 
 tains indications that the first part was prior, and the second 
 part a sequel. We have to do, therefore, with a poem of 
 the reign of Henry I, continued and recast in the reign of 
 Stephen. 
 
 The work of Thomas I would date as subsequent to 
 Crestien's activity (not earher than 1180). 
 
 The edition of Berol is known, through an allusion, to 
 have been compiled in the first years of the thirteenth 
 century. 
 
 XXIV. THEORY 
 
 In early Anglo-Norman time may have existed an anec- 
 dote (of any country or no particular country), expound- 
 ing the disastrous effects of a mistakenly administered 
 marriage philter. On this foundation, by stages no longer 
 apparent, was produced, before 1136, an episodic poem in 
 substance presenting the first half of the extant history. 
 After the manner of such imperfect organisms (compare 
 the consequences of Crestien's Lancelot) the romance, after 
 1 136, created its own new conclusion, and set up an inde- 
 pendent existence. The narrative immediately began to 
 vary; one version was familiar to Marie, another, probably 
 produced a Httle later, has served as basis for all existing 
 forms of the story, and on this account may be called the 
 
 125 
 
XXIV. THEORY 
 
 "Original"; this was known to Crestien (less probably 
 was his own lost poem), has been faithfully paraphrased by 
 Eilhart, and utihzed by Berol. Not the Original, but a 
 romanticized recast (possibly Crestien's) served as basis for 
 later versions, Thomas, the Lays, and the Prose. Founded 
 on the same Original were many biographies and episodes 
 not now preserved; situations from such lost literature have 
 been introduced by Thomas and Berol. The development 
 continued in the Prose, w^hich in the first instance may have 
 had a form more lucid than the present chaotic reconstruc- 
 tions; hence Welsh authors may have borrowed the story, 
 which in Wales henceforth pursued its own independent 
 career. 
 
 XXV. MODERN VERSE 
 
 Writers of verse have taken the story, either (like Wagner) 
 from Thomas after the translation of Gottfried, or (as 
 English poets have done) from the Prose through the 
 epitome of Malory. 
 
 The romance essentially represents the courtly custom 
 of the Middle Age (and also of modern times), in which mar- 
 riage has been regarded, not as the end, but the beginning 
 of love-making. With the ethics English authors have 
 found themselves embarrassed: Tennyson failed to make 
 the history poetic; Arnold took refuge in describing the 
 
 126 
 
XXV. MODERN VERSE 
 
 virtues of the wife of the hero; Swinburne frankly accepted 
 mediaeval ideas, even to the extent of finding room for one 
 at least of the crimes by which the account is stained. 
 
 Wagner, with the marvellous resources of a new art, pro- 
 duced a creation in some measure purified by its beauty; 
 yet he felt the necessity of according the ethics to spiritual 
 perceptions through the medium of a mystic philosophy, 
 which not many hearers of the music find it necessary to 
 take into account. 
 
 127 
 
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