his uncle's permission." Can these words be a reminiscence of Chrestien's?
Et trueve le pont abaiscié,
C'on li avoit ensi laissié
Por ce que rien nel detenist,
De quele eure qu'il venist
Que il ne passat sans arriest (4,565-69).
We shall see later on that in the most primitive form of the unsuccessful visit to the Castle of the Talismans the hero finds himself on the morrow on the bare earth, the castle itself having vanished utterly. The idea of permission being given to leave is diametrically opposed to this earliest conception, and its presence in the Mabinogi seems only capable of explanation by some misunderstanding of the story-teller's model.
The Blanchefleur incident shows some verbal parallels, "The maiden welcomed Peredur and put her arms around his neck."
Et la damosele le prent
Par le main débonnairement (3,025-26)
Et voit celi ajenouillie
Devant son lit qui le tenoit
Par le col embraciet estroit (3,166-68).
Can, too, the "two nuns," who bring in bread and wine, be due to the "II Abéies," which Perceval sees on entering Blanchefleur's town? It may be noticed that in this scene the Welsh story-teller is not only more chaste, but shows much greater delicacy of feeling than the French poet. Peredur's conduct is that of a gentleman according to nineteenth century standards. Chrestien, however, is probably nearer the historical reality, and the conduct of his pair—
S'il l'a sor le covertoir mise
****
Ensi giurent tote la nuit.
is so singularly like that of a Welsh bundling couple, that it seems admissible to refer the colouring given to this incident to Welsh sources. Another scene presenting marked similarities in the two works is that in which the hero is upbraided before the court by the loathly damsel. In the Mabinogi she enters riding upon a yellow mule with jagged thongs: in Chrestien—
