‘Sweeter to me,’ she said, ‘this garden rose Deep-hued and many-folded sweeter still The wild-wood hyacinth and the bloom of May. Prince, we have ridd’n before among the flowers In those fair days—not all as cool as these, Tho’ season-earlier. Art thou sad? or sick? Our noble King will send thee his own leech— Sick? or for any matter anger’d at me?’ Then Lancelot lifted his large eyes; they dwelt Deep-tranced on hers, and could not fall: her hue Changed at his gaze: so turning side by side They past, and Balin started from his bower. ‘Queen? subject? but I see not what I see. Damsel and lover? hear not what I hear. My father hath begotten me in his wrath. I suffer from the things before me, know, Learn nothing; am not worthy to be knight; A churl, a clown!’ and in him gloom on gloom Deepen’d: he sharply caught his lance and shield, Nor stay’d to crave permission of the King, But, mad for strange adventure, dash’d away.” Balin is “disillusioned,” his faith in the Ideal is shaken if not shattered. He rides at adventure. Arriving at the half-ruined castle of Pellam, that dubious devotee, he hears Garlon insult Guinevere, but restrains himself. Next day, again insulted for bearing “the crown scandalous” on his shield, he strikes Garlon down, is pursued, seizes the sacred spear, and escapes. Vivien meets him in the woods, drops scandal in his ears, and so maddens him that he defaces his shield with the crown of Guinevere. Her song, and her words, “This fire of Heaven, This old sun-worship, boy, will rise again, And beat the cross to earth, and break the King And all his Table,” might be forced into an allegory of the revived pride of life, at the Renaissance and after. The maddened yells of Balin strike the ear of Balan, who thinks he has met the foul knight Garlon, that “Tramples on the goodly shield to show His loathing of our Order and the Queen.” They fight, fatally wound, and finally recognise each other: Balan trying to restore Balin’s faith in Guinevere, who is merely slandered by Garlon and Vivien. Balin acknowledges that his wildness has been their common bane, and they die, “either locked in either’s arms.” There is nothing in Malory, nor in any other source, so far as I am aware, which suggested to Tennyson the _clou_ of the situation—the use of Guinevere’s crown as a cognisance by Balin. This device enables the poet to weave the rather confused and unintelligible adventures of Balin and Balan into the scheme, and to make it a stage in the progress of his fable. That Balin was reckless and wild Malory bears witness, but his endeavours to conquer himself and reach the ideal set by Lancelot are Tennyson’s addition, with all the tragedy of Balin’s disenchantment and despair. The strange fantastic house of Pellam, full of the most sacred things,