Produced by Chris Curnow, Chris Whitehead and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) ARTHURIAN ROMANCES Unrepresented in Malory's "Morte d'Arthur" _No. III_ Guingamor, Lanval, Tyolet, Le Bisclaveret. ARTHURIAN ROMANCES UNREPRESENTED IN MALORY'S "MORTE D'ARTHUR" I. SIR GAWAIN AND THE GREEN KNIGHT. A Middle-English Romance retold in Modern Prose, with Introduction and Notes, by JESSIE L. WESTON. With Designs by M. M. CRAWFORD. 2nd Edition, 1909. 2s. net. II. TRISTAN AND ISEULT. Rendered into English from the German of Gottfried of Strassburg by JESSIE L. WESTON. With Designs by CAROLINE WATTS. Two vols. 4th Edition, 1910. 4s. net. III. GUINGAMOR, LANVAL, TYOLET, LE BISCLAVERET. Four Lays rendered into English Prose from the French of Marie de France and others by JESSIE L. WESTON. With Designs by CAROLINE WATTS. 2nd Edition, 1910. 2s. net. IV. MORIEN. Translated for the first time from the original Dutch by JESSIE L. WESTON. With Frontispiece and Designed Title-Page by CAROLINE WATTS. 1901. 2s. net. V. LE BEAUS DESCONNUS. CLIGÈS. Two Old English Metrical Romances rendered into prose by JESSIE L. WESTON. With Designs by CAROLINE M. WATTS. 1902. 2s. net. VI. SIR GAWAIN AT THE GRAIL CASTLE. Three Versions from the Conte del Graal, Diu Crône, and the Prose Lancelot. By JESSIE L. WESTON. 1903. 2s. net. VII. SIR GAWAIN AND THE LADY OF LYS. Translated for the first time from Wauchier de Denain's section of the Conte del Graal by JESSIE L. WESTON. With Designs by MORRIS M. WILLIAMS. 1907. 2s. net. [Illustration] Guingamor Lanval Tyolet Bisclaveret [Illustration] FoUR LAIS RENDERED INTo ENgLISH PRoSE FRoM THE FRENcH oF MARIE DE FRANcE AND oTHERS BY JESSIE L. WESToN. WITH DESIGNS BY CARoLINE WATTS [Illustration] PUBLISHED BY DAVID NUTT AT THE SIGN OF THE PHOENIX, LONG ACRE, LONDON. MCMX _Second Impression, 1910_ Preface The previous volumes which have been published in this series have contained versions belonging to what we may call the _conscious_ period of romantic literature; the writers had not only a story to tell, but had also a very distinct feeling for the literary form of that story and the characterisation of the actors in it. In this present volume we go behind the work of these masters of their craft to that great mass of floating popular tradition from which the Arthurian epic gradually shaped itself, and of which fragments remain to throw here and there an unexpected light on certain features of the story, and to tantalise us with hints of all that has been lost past recovery.