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is well known, the question as to the share which may rightly be assigned to Walter Map in the evolution of the Arthurian legend is one of the problems of modern criticism. At one time or another, with the exception of the Merlin and the Tristan, all the great prose romances of the cycle, the Lancelot, in its completed form, the Grand S. Graal, Queste, and Mort Artur, have been assigned to him,10 and till quite recently writers on early English literature did not scruple to accept the tradition. Probably even to-day the majority would name Walter Map as the populariser, if not the inventor, of the Grail legend. Those, however, who are familiar at first hand with the romances in question have long since realised that in their present form they represent the result of a long period of accretion, and have undergone many redactions; they cannot possibly, as they now stand, be held to be the work of any one writer, certainly not of one who took so active and leading a part in public affairs as did Map. Further, his own statement, in the famous words recorded by Giraldus Cambrensis, to whom they were addressed, ‘Multa scripsistis et multum adhuc scribitis et nos multa diximus. Vos scripta dedistis et nos verba,’ with the application that follows, have been held by Professor Birch-Hirschfeld and other scholars to be a direct denial on his part of any literary activity.11 At the same time we know Map did write, and was interested in romantic and popular tales, further that he had the reputation of being a poet,12 and the persistence of the tradition connecting him with the Arthurian cycle can hardly be set aside. The question is, do these words of Hue de Rotelande throw any light upon this disputed point? Can we hope by the aid of this contemporary of Map’s to arrive at a conclusion which may assist us in determining the real nature of his contribution to the development of this famous cycle, and will the ascertaining of this fact help us, as the definite establishment of a single fact often does, to solve other problems closely connected therewith? Mr. Ward, when he wrote the article to which I have referred above, expressed a decided opinion on this point; and it appears to me that by following up the lines of research there indicated we shall attain results far more important in themselves, and far more startling in their ultimate effect than he then suspected.

      First, let us see exactly what Hue says. The passage in question (which will not be found in the translations) occurs at the end of the first portion of the poem. The author has just been relating how his hero, who is living at King Meleager’s court, in the assumed character of body-servant to the queen, scouts the idea of attending the tournament which is to decide who shall wed La Fière of Calabria, loudly expressing his preference for the pleasures of the chase. Each morning he leaves the court before daylight, announcing his departure by loud blasts of the horn; but having reached the forest, where his servant awaits him with steed and armour, he sends his ‘Master,’ Tholomy, to hunt in his stead; and arming himself each day in a different suit of armour, white, red, and black, proceeds to the tournament, where he carries off the prize for valour, unhorsing all the principal knights on either side, even to the king himself, and his valiant nephew Cabaneus. Each evening he returns to the forest, reassumes his hunter’s garb, and with the spoils of the chase won by Tholomy takes his way to the court, where he vaunts the skill of his hounds above that of the unknown knight, and is roundly mocked for his lack of prowess by the ladies. After the third day he leaves secretly, to return to his own land, sending to the king, by the hand of a messenger, the spoils of his three days’ victory. The seneschal, Cananeus, volunteers to bring him back, and is punished for his officious interference, as related above.13 At the conclusion of this episode, Hue states that he is not lying—at least not more than a little—and if he be ‘’tis but the custom of the day, and all the blame should not be laid upon him, Walter Map is just as bad.’

      ‘Ore entendez seignurs mut ben

      Hue dit ke il ni ment de ren

      Fors aukune feiz neent mut

      Nuls ne se pot garder par tut

      En mendre afere mut suvent

      Un bon renable hom mesprent

      El mund nen ad un sul si sage

      Ki tuz iurz seit en un curage

      Kar cist secles lad ore en sei

      Nel metez mie tut sur mei

      Sul ne sai pas de mentir lart

      Walter Map reset ben sa part.’

—P. 82, ll. 19-30.

      Now shall we understand this merely as a general allusion, without any special significance, or was there anything in the story which Hue had just been relating which might reasonably be supposed to have brought Map to his mind? Mr. Ward very pertinently draws attention to the fact that this appearance at a tournament on successive days, in different armour, is precisely an adventure attributed to Lancelot, and the Lancelot is the romance most persistently attributed to Map. The parallel to which Mr. Ward refers is that contained in the earlier part of the Prose Lancelot.14

      Lancelot first appears at Arthur’s court in white armour: he is known as ‘le Blanc Chevalier.’ On his first absence after receiving knighthood he is taken prisoner by the Lady of Malehaut, who detains him in her castle. A tournament, of a very warlike nature, taking place between Arthur and Galehault, the lady releases Lancelot, who, disguised in red armour, performs deeds of surpassing valour. He returns to prison, and on the encounter between the kings being renewed, again appears, this time in black. Finally, he reveals himself to the queen, and tells her that all the feats of arms he has achieved in the characters of white, red, and black knight were undertaken in her honour.

      The general resemblance is, as Mr. Ward remarks, too striking to be overlooked; though, as he does not remark, there are certain differences which seem to indicate that the version of the Prose Lancelot has undergone some modification. Thus, there are not three consecutive days, but Lancelot’s appearance in the three characters occurs at widely separated intervals. Further, Mr. Ward does not seem to be aware that this is but one instance out of three in which the same, or a similar, adventure is attributed to Lancelot.

      In the latter part of the Prose Lancelot, the section represented by the Dutch translation, we find Arthur holding a tournament, which has been suggested by Guinevere with the view of recalling Lancelot, who has long been absent, to court, and heightening his fame. Lancelot returns secretly, unknown to all but the queen, who sends him a message to come and discomfit the knights who are jealous of him. Lancelot appears in red armour and overthrows them all. The queen demands another tournament in three days’ time, when Lancelot appears as a white knight, with the same result. After this he reveals himself to Arthur.15

      But the best parallel is that contained in the Lanzelet of Ulrich von Zatzikhoven. Here Lanzelet makes his first appearance at court at a three days’ tournament; the first day dressed in green, the second in white, the third in red; overthrows all opposed to him, including Kay,16 and takes his departure, without revealing himself.

      With these repeated parallels before us, it seems impossible to doubt that when Hue de Rotelande referred to Walter Map, in connection with the tournament episode of Ipomedon, he had in his mind a version of the Lancelot, which also contained such a story, and which was attributed to the latter writer.

      But what could this version have been? Certainly not the Prose Lancelot in its present form. As we remarked before, this romance is the result of slow growth and successive redactions, and the two parallels contained in it bear marks of modification and dislocation. In my recent studies on the Lancelot legend17 I have pointed out that in the process of evolution it certainly passed through a stage in which it was closely connected with, and affected by, the Perceval story. Gradually the popularity of the hero of the younger tale obscured that of the elder; and in the Lancelot, as we now have it, the traces of Perceval influence have almost disappeared

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