such treatment; and they evidently troubled Malory, whose devotion to his
story was earnest and sincere. Some of them he omits, doubtless as
incredible, but others he retains, often in a form where the impossible is
merely garbled into the unintelligible. For a single instance, in his
seventh book he does not satisfactorily explain why the valiant Gareth on
his arrival at Arthur's court asks at first only for a year's food and
drink. In the original story, we can see to-day, Gareth must have been
under a witch's spell which compelled him to a season of distasteful
servitude; but this motivating bit of superstition Malory discards, or
rather, in this case, it had been lost from the story at a much earlier
stage. It results, therefore, that Malory's supernatural incidents are
often far from clear and satisfactory; yet the reader is little troubled by
this difficulty either in so thoroughly romantic a work.

Other technical faults may easily be pointed out in Malory's book. Thorough
unity, either in the whole or in the separate stories so loosely woven
together, could not be expected; in continual reading the long succession
of similar combat after combat and the constant repetition of stereotyped
phrases become monotonous for a present-day reader; and it must be
confessed that Malory has little of the modern literary craftsman's power
of close-knit style or proportion and emphasis in details. But these faults
also may be overlooked, and the work is truly great, partly because it is
an idealist's dream of chivalry, as chivalry might have been, a chivalry of
faithful knights who went about redressing human wrongs and were loyal
lovers and zealous servants of Holy Church; great also because Malory's
heart is in his stories, so that he tells them in the main well, and
invests them with a delightful atmosphere of romance which can never lose
its fascination.

The style, also, in the narrower sense, is strong and good, and does its