theory that sees in the poem of Wolfram von Eschenbach the survival of
a genuine variant of the _Perceval_ story, differing in important
particulars from that preserved by Chretien de Troyes, and based upon a
French original, now, unfortunately, lost.

For this, if for no other reason, the poem would, it seems to me, be
worth introducing to a wider circle of readers than that to which in its
present form it can appeal. The students of old Dutch are few in number,
and the bewildering extent of the _Lancelot_ compilation, amounting as
it does, even in its incomplete state, to upwards of 90,000 lines, is
sufficient in itself to deter many from its examination. _Morien_ in its
original form is, and can be, known to but few. But not only does it
represent a tradition curious and interesting in itself, it has other
claims to attention; even in a translation it is by no means ill
written; it is simple, direct, and the adventures are not drawn out
to wearisome length by the introduction of unnecessary details. The
characterisation too, is good; the hero is well realised, and Gawain,
in particular, appears in a most favourable light, one far more in
accordance with the earlier than with the later stage of Arthurian
tradition; the contrast between his courteous self-restraint and the
impetuous ardour of the young savage is well conceived, and the manner
in which he and Gareth contrive to check and manage the turbulent
youth without giving him cause for offence is very cleverly indicated.
Lancelot is a much more shadowy personage; if, as suggested above, the
original story took shape at a period before he had attained to his
full popularity, and references to his valour were added later we can
understand this. It is noticeable that the adventure assigned to him is
much less original in character, and told with far less detail than that
ascribed to Gawain.