Another genius, that of Walter Map (by hypothesis, as before), described and worked out different capabilities in the story. By the idea, simple, like most ideas of genius, of making Lancelot, the father, at once the greatest knight of the Arimathean lineage, and unable perfectly to achieve the Quest by reason of his sin, and Galahad the son, inheritor of his prowess but not of his weakness, he has at once secured the success of the Quest in sufficient accordance with the original idea and the presence of abundant purely romantic interest as well. And at the same time by connecting the sin which disqualifies Lancelot with the catastrophe of Arthur, and the achieving of the Quest itself with the weakening and breaking up of the Round Table (an idea insisted upon no doubt, by Tennyson, but existent in the originals), a dramatic and romantic completeness has been given to the whole cycle which no other collection of mediaeval romances possesses, and which equals, if it does not exceed, that of any of the far more apparently regular epics of literary history. It appears, indeed, to have been left for Malory to adjust and bring out the full epic completeness of the legend: but the materials, as it was almost superfluous for Dr Sommer to show by chapter and verse, were all ready to his hand. And if (as that learned if not invariably judicious scholar thinks) there is or once was somewhere a _Suite_ of Lancelot corresponding to the _Suite de Merlin_ of which Sir Thomas made such good use, it is not improbable that we should find the adjustment, though not the expression, to some extent anticipated. [Sidenote: _Nature of this perfection._]