The Legend of the Holy Grail. 199
offers a seat at his side, and listens to his guest's recital of experi- ences. The meal is served, and the hall crowded with knights, ladies, and attendants ; at the banquet a lady and knight sit side by side. A youth brings in a sword, which he lays before the host ; cup-bearers offer wine, which Gawain declines. After sewers with dishes, a procession enters ; two maids with candles are followed by two varlets bearing a spear ; two other maids bring a golden plate ; another, what seems to be a knife ; while the last of the train, who wears a crown, carries a reliquary of gold and precious stones ; Gawain, looking at her face, recognizes the sister of Gansguoter, the same who had directed him as to his duty. The spear exudes drops of blood, which fall into the plate above which it has been placed. The pix is set on the table, and, when the lid is removed, appears to contain bread (presumably an oblate), of which a portion is eaten by the host. Gawain's companions have fallen asleep, but he himself remains awake, and puts the question, asking in God's name what the wonders signify. At the word arises a shout of joy ; Gawain is informed that he has accomplished the adventure in which Parzival has failed, and set at liberty the inmates of the castle, living and dead ; for it now appears that only the ladies are alive, the host and his male company being no better than ghosts, who by grace of God are once a year allowed this repast. Concern- ing the Grail, Gawain is told that it is allowable to tell no more, and receives as a present the sword. The host and his retinue, together with the Grail, vanish, and Gawain is left with the ladies. Gawain and Lancelot bid adieu, on their way find Kay, and after half a year arrive at Karidol (Carlisle), where is held a splendid feast.
This remarkable tale constitutes a curious pendant to the poem of Wolfram, as an example of the manner in which a facile but commonplace novelist was capable of varying the theme, with the intent of constructing a popular fiction. The verse, equally wanting in poetic and psychologic merit, has interest only for scholars, and as giving an example of contemporary taste. As the story is obviously artificial, self-conscious, and in great measure the inven- tion of the author, there is no reason to suppose that the variations of the history had any other source than in the good pleasure of Heinrich himself. It is, therefore, to be considered as merely a turn of his own imagination, that the Grail is conceived as a pix instead of as a dish ; that the master of the castle takes the place of his father as the person nourished from the sacred vessel ; and that b)' a wild flight of fantasy the same personage is described as an uneasy spirit compelled to forego the rest of the grave, until set free by the successful achiever of the quest. For the rest, the
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