Page:Studies on the legend of the Holy Grail.djvu/252

third the feud quest was mixed up with the hero's visit to the Bespelled Castle, and those portions of the Gwalchmai-saga which told of his visit to Castle Perillous as well as to the Bespelled Castle. Whilst the Proto-Mabinogi was probably in prose, the Proto-Conte du Graal was probably in verse, a collection of short lais like those of Marie de France. Meanwhile, one of the chief personages of the older mythic world which appear in the Peredur-saga, Bran, the Lord of the Land of Shades, of the Bespelled Castle, of the cauldron of healing, increase and wisdom, and of the knowledge-giving salmon, had become the Apostle of Britain, his pagan attributes thus suffering a Christian change, which was perfected when Joseph took the place of Brons, bringing with him his gospel associations and the apocryphal legends that had clustered round his name. Thus a portion of the saga was Christianised, whilst the other portion lost its old, fixed popular character, owing to the fusion of originally distinct elements, and the consequent unsettling both of the outlines and of the details of the story. Incidents and features which in the earlier folk-tale stage were sharply defined and intelligible became vague and mysterious. In this state, and bearing upon it the peculiarly weird and fantastic impress of Celtic mythic tradition, the story, or story-mass rather, lay ready to the hand of courtly poet or of clerical mystic. At first Christian symbolism was introduced in a slight and meagre way—the Brons-Joseph legend supplied the Christian meaning of the talismans, and that was all. But the Joseph legend was soon vigorously developed by the author of the work which underlies the Queste and the Grand St. Graal. He may either not have known or have deliberately discarded Brons, the old Celtic hero of the conversion, as he certainly deliberately thrust down from his place of pre-eminence Perceval, the Celtic hero of the Quest, substituting for him a new hero, Galahad, and for the adventures of the Conte du Graal, based as they were upon no guiding conceptions, fresh adventures intended to glorify physical chastity. With all his mystic fervour he failed to see the full capacities of the theme, his presentment of the Grail itself being in especial either over-material or over-spiritual. But his work exercised a profound influence, as is seen in the case of Chrestien's