that of another. Is not the time ripe for the formation of an International Society, composed of those students, in France, Germany, America and England, who are sincerely interested in the elucidation of this important section of Mediæval literature, and who, working on an organised and predetermined plan, shall co-operate towards rendering possible the compilation of a really accurate and scientific history of the Arthurian cycle? Those who took a share, however small, in such a work would at least have the satisfaction of knowing that they were contributing, not to the ephemeral curiosity or pleasure of the passing moment, but to the enduring profit and permanent intellectual wealth of the world.
Dulwich, September 1902.
THE EVIDENCE OF THE IPOMEDON
Sul ne sai pas de mentir lart
Walter Map reset ben sa part.
These words of the author of the Ipomedon were, some years ago, commented upon by Mr. Ward in his valuable Catalogue of Romances in the British Museum, vol. i. He there remarks that the allusion is especially valuable as being the direct ascription, by a contemporary, of the character of romance-writer to Walter Map, and that in apparent connection with the romance most persistently attributed to him—the Prose Lancelot.
The suggestive remarks of Mr. Ward do not appear hitherto to have attracted the attention they deserve. Recently, having occasion to write a brief notice of Walter Map, they came, for the first time, under my notice, and, taken in connection with certain points of the Lancelot study in which I had for some time been engaged, assumed an unexpected importance. It became evident to me that the whole question of the connection of the Ipomedon with Arthurian literature, and the light which the words of the author might throw upon the relation to each other of different forms of the same story, was well worth study; and might eventually be of material assistance in determining the much debated question of the position of Chrétien de Troyes in the Arthurian cycle.
In the following pages I propose to examine, first, the exact nature and value of the evidence of the Ipomedon as regards Arthurian tradition; second, its bearing upon the versions of a popular incident in romance—the appearance of a knight at a tournament on three consecutive days, in the disguise of three different suits of armour—especially with relation to the versions of the Prose Lancelot, the Lanzelet of Ulrich von Zatzikhoven, and the Cligés of Chrétien de Troyes.
To begin with the Ipomedon. As is probably known to most scholars, the scene of this story is laid in the south of Europe—Sicily, Calabria, Apulia—and the names of the characters are largely borrowed from classical sources. The poem relates at considerable length the wooing of the Princess of Calabria, known as La Fière, by Ipomedon, son of the King of Apulia. (In the second part of the poem the hero’s father is dead, and he is, himself, king.) The lady has made a vow to wed none but the bravest of knights. Ipomedon, disguised as her cup-bearer, wins her love, and at a three days’ tournament, in a varying armour of white, red, and black, wins her hand, but disappears without claiming it, under the pretext that he has not won sufficient fame to satisfy her pride. In the second part of the poem the lady is threatened by an unwelcome suitor, in the person of a hideous giant. Ipomedon, aware of her plight, disguises himself as a fool, and goes to her uncle’s court, knowing that she will send thither for aid. He demands from the king the gift of the first combat that shall offer, which is granted as a mere joke. On the appearance of the messenger sent by La Fière—the favourite friend of the princess—Ipomedon claims the fulfilment of the king’s pledge, much to the disgust of the maiden, who will have nothing to do with him at first, but whose confidence he wins by his valiant deeds on the journey, defeats and slays the giant; and hindered from evasion by her gallant cousin, who proves to be his own unknown brother, finally marries La Fière, and, we learn, is eventually slain with his brother before Thebes.
The author of this poem calls himself Hue de Rotelande, and says that he lives at Credehulle, which Mr. Ward identifies with Credenhill, near Hereford. After completing the Ipomedon he wrote a sequel, Prothesilaus, which he dedicated to his patron, Gilbert Fitz-Baderon, Lord of Monmouth. This Gilbert, the only one of his family so named, was Lord of Monmouth certainly from 1176 to 1190-91, and may have succeeded to the dignity earlier, as the last mention of his father is in 1165-66; but the payment by Gilbert of a fine for trespassing in the royal forests in 1176 is the first mention we have of him. As in the Ipomedon Hue refers to the siege of Rouen in 1174, it is clear that both his poems fall between that date and 1190, the year of Gilbert’s death, but we cannot date them more exactly.2 It is, however, certain that he wrote his poems on English ground, consequently it follows as a matter of course that any incident of Arthurian romances to which he may allude must have been known in England at that date.
Now what are the indications of familiarity with Arthurian tradition which we find in the Ipomedon? Setting aside for the present the Three Days’ Tournament, the main subject of our study, we may point out certain other incidents which have attracted the attention of scholars. Professor Kölbing,3 in his study of the English versions of the poem, remarks justly that every reader must be struck with the close resemblance between the circumstances under which, in the second part of the poem, Ipomedon undertakes the defence of La Fière and the opening of the Bel Inconnu poems.4 It may be pointed out that while in the first instance the parallel is with the English rather than with the French version, i.e., Ipomedon, like Libeaus Desconus, demands the first combat that shall offer, while Bel Inconnu simply asks that the first request he shall make be granted, the feature that the maiden leaves the court without waiting for her unwelcome defender agrees with the French rather than with the English version: in the latter both depart together. As in all romances of the Bel Inconnu cycle, the messenger is accompanied by a dwarf, who endeavours to induce a more gentle treatment of the knight, and as in all she continues to flout the hero till confuted by his deeds of valour. In the Ipomedon, certainly the conversion is more complete, as she offers the hero her love, if he will renounce the quest and accompany her to her own land. It is impossible to read the Ipomedon and to doubt that the author was familiar with the story of Gawain’s unnamed son.5
Again, the seneschal of King Meleager, Cananeus, Caymys, or Kaenius, as his name is variously spelt, with his sharp tongue and overbearing manner, is strongly reminiscent of Sir Kay; and the parallel is further brought out in the encounter with Ipomedon, where that hero thrusts him from his steed, ‘tope over tayle,’ breaking in one version his shoulder-blade, in another his arm.6 This should be compared with Lanzelet’s joust with Kay, and its result ‘er stach hern Keiin so das im die füeze harte hô ûf ze berge kaften und dem zalehaften daz houbet gein der erde fuor;7 also with Morien,8 where Arthur reminds Kay of the result of his joust with Perceval—‘Hine stac u dat u wel sceen dat gi braect u canefbeen, ende dede u oec met onneren beide die vote opwerd keren.’
Professor Kölbing also points out that the position held by Cabaneus, nephew of King Meleager, is analogous to that of Gawain, in the Arthurian cycle (to which I would also add that the name of La Fière recalls that of L’Orgueilleuse de Logres in Chrétien), and decides that the romance, as a whole, ‘schliesst sich nach tendenz characterzeichnung und handlung diese klasse (i.e. dem artus-kreise) unverkennbar an.’9 That is, the genre of composition was by 1174-90 so well established that it was freely imitated in romances entirely unconnected with the cycle by subject-matter.
When, therefore, in direct connection with an adventure of which several versions are preserved in the Arthurian cycle—the Three Days’ Tournament—we find the author of the poem excusing himself for somewhat embroidering his tale, and quoting Walter Map as one who practises the same art, our minds naturally turn to the romances of that cycle, and to Map’s reputed connection with Arthurian