But Merlin, when asked by Bellicent to corroborate the statement of Bleys, merely "Answer'd in riddling triplets of old time."Finally, Leodogran's faith is confirmed by a vision. Thus doubtfully, amidst rumour and portent, cloud and spiritual light, comes Arthur: "from the great deep" he comes, and in as strange fashion, at the end, "to the great deep he goes"--a king to be accepted in faith or rejected by doubt. Arthur and his ideal are objects of belief. All goes well while the knights hold that "The King will follow Christ, and we the King, In whom high God hath breathed a secret thing."In history we find the same situation in the France of 1429 -"The King will follow Jeanne, and we the King."While this faith held, all went well; when the king ceased to follow, the spell was broken,--the Maid was martyred. In this sense the poet conceives the coming of Arthur, a sign to be spoken against, a test of high purposes, a belief redeeming and ennobling till faith fails, and the little rift within the lute, the love of Lancelot and Guinevere, makes discord of the music. As matter of legend, it is to be understood that Guinevere did not recognise Arthur when first he rode below her window -"Since he neither wore on helm or shield The golden symbol of his kinglihood."But Lancelot was sent to bring the bride -"And return'd Among the flowers, in May, with Guinevere."Then their long love may have begun, as in the story of Tristram sent to bring Yseult to be the bride of King Mark. In Malory, however, Lancelot does not come on the scene till after Arthur's wedding and return from his conquering expedition to Rome. Then Lancelot wins renown, "wherefore Queen Guinevere had him in favour above all other knights; and in certain he loved the Queen again above all other ladies damosels of his life." Lancelot, as we have seen, is practically a French creation, adopted to illustrate the chivalrous theory of love, with its bitter fruit. Though not of the original Celtic stock of legend, Sir Lancelot makes the romance what it is, and draws down the tragedy that originally turned on the sin of Arthur himself, the sin that gave birth to the traitor Modred. But the mediaeval romancers disguised that form of the story, and the process of idealising Arthur reached such heights in the middle ages that Tennyson thought himself at liberty to paint the Flos Regum, "the blameless King." He followed the Brut ab Arthur. "In short, God has not made since Adam was, the man more perfect than Arthur."This is remote from the Arthur of the oldest Celtic legends, but justifies the poet in adapting Arthur to the ideal hero of the Idylls:-"Ideal manhood closed in real man, Rather than that grey king, whose name, a ghost, Streams like a cloud, man-shaped, from mountain-peak, And cleaves to cairn and cromlech still; or him Of Geoffrey's book, or him of Malleor's, one Touched by the *****erous finger of a time That hovered between war and wantonness, And crownings and dethronements."The poetical beauties of The Coming of Arthur excel those of Gareth and Lynette. The sons of Lot and Bellicent seem to have been originally regarded as the ******uous offspring of Arthur and his sister, the wife of King Lot. Next it was represented that Arthur was ignorant of the relationship. Mr Rhys supposes that the mythical scandal (still present in Malory as a sin of ignorance) arose from blending the Celtic Arthur (as Culture Hero) with an older divine personage, such as Zeus, who marries his sister Hera. Marriages of brother and sister are familiar in the Egyptian royal house, and that of the Incas. But the poet has a perfect right to disregard a scandalous myth which, obviously crystallised later about the figure of the mythical Celtic Arthur, was an incongruous accretion to his legend. Gareth, therefore, is merely Arthur's nephew, not son, in the poem, as are Gawain and the traitor Modred. The story seems to be rather mediaeval French than Celtic--a mingling of the spirit of fabliau and popular fairy tale. The poet has added to its lightness, almost frivolity, the description of the unreal city of Camelot, built to music, as when "Ilion, like a mist, rose into towers."He has also brought in the allegory of Death, which, when faced, proves to be "a blooming boy" behind the mask. The courtesy and prowess of Lancelot lead up to the later development of his character.
In The Marriage of Geraint, a rumour has already risen about Lancelot and the Queen, darkening the Court, and presaging "The world's loud whisper breaking into storm."For this reason Geraint removes Enid from Camelot to his own land--the poet thus early leading up to the sin and the doom of Lancelot.
But this motive does not occur in the Welsh story of Enid and Geraint, which Tennyson has otherwise followed with unwonted closeness. The tale occurs in French romances in various forms, but it appears to have returned, by way of France and coloured with French influences, to Wales, where it is one of the later Mabinogion.
The characters are Celtic, and Nud, father of Edyrn, Geraint's defeated antagonist, appears to be recognised by Mr Rhys as "the Celtic Zeus." The manners and the tournaments are French. In the Welsh tale Geraint and Enid are bedded in Arthur's own chamber, which seems to be a symbolic commutation of the jus primae noctis a custom of which the very existence is disputed. This unseemly antiquarian detail, of course, is omitted in the Idyll.
An abstract of the Welsh tale will show how closely Tennyson here follows his original. News is brought into Arthur's Court of the appearance of a white stag. The king arranges a hunt, and Guinevere asks leave to go and watch the sport. Next morning she cannot be wakened, though the tale does not aver, like the Idyll, that she was "Lost in sweet dreams, and dreaming of her love For Lancelot."Guinevere wakes late, and rides through a ford of Usk to the hunt.
