The Flourishing of Romance and the Rise of Allegory: (Periods of European Literature, vol. II)Saintsbury, George
History
The Flourishing of Romance and the Rise of Allegory: (Periods of European Literature, vol. II)
Saintsbury, George
Allegory; Literature, Medieval -- History and criticism; Romances -- History and criticism
For some time the various Merlin stories follow Geoffrey in recounting
the adventures of the prophetic child in his youth, with King
Vortigern and others. But he is soon brought (again in accordance with
Geoffrey) into direct responsibility for Arthur, by his share in the
wooing of Igraine. For it is to be observed that--and not in this
instance only--though there is usually some excuse for him, Merlin is
in these affairs more commonly occupied in making two lovers happy
than in attending to the strict dictates of morality. And
thenceforward till his inclusion in his enchanted prison (an affair in
which it is proper to say that the earliest versions give a much more
favourable account of the conduct and motives of the heroine than that
which Malory adopted, and which Tennyson for purposes of poetic
contrast blackened yet further) he plays the part of adviser,
assistant, and good enchanter generally to Arthur and Arthur's
knights. He in some stories directly procures, and in all confirms,
the seating of Arthur on his father's throne; he brings the king's
nephews, Gawain and the rest, to assist their uncle, in some cases
against their own fathers; he presides over the foundation of the
Round Table, and brings about the marriage of Guinevere and Arthur; he
assists, sometimes by actual force of arms, sometimes as head of the
intelligence department, sometimes by simple gramarye, in the
discomfiture not merely of the rival and rebel kinglets, but of the
Saxons and Romans. As has been said, Malory later thought proper to
drop the greater part of this latter business (including the
interminable fights round the _Roche aux Saisnes_ or Saxon rock). And
he also discarded a curious episode which makes a great figure in the
original _Merlin_, the tale of the "false Guinevere," a foster-sister,
namesake, and counterpart of the true princess, who is nearly
substituted for Guinevere herself on her bridal night, and who later
usurps for a considerable time the place and rights of the queen. For
it cannot be too often repeated that Arthur, not even in Malory a
"blameless king" by any means, is in the earlier and original versions
still less blameless, especially in the article of faithfulness to his
wife.
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