Western mind, and has in
consequence given rise to much misconception.

In the "Lay of Guigemar," which we take first because it is the first
in the manuscript, we find Marie making use of a subject, in gorgeous
setting, of Christian symbolism, but using it apparently so
unconsciously that it is only from one or two details that we realise
what is really lurking in disguise. Guigemar, the wounded knight
already referred to, to whom naught but love, and sorrow endured for
love, can bring any alleviation, sets forth for his healing. He comes
across a ship into which he enters, and which by unseen means carries
him to the desired haven. As we read the description of the ship, our
thoughts at once revert to the picture of the barge in which Cleopatra
goes to meet Antony. Marie tells us that the fittings are of ebony,
and the unfurled sail of silk. Amid the vessel is a bed on to which
the wounded knight sinks in anguish. This is of cypress and white
ivory inlaid with gold, the quilt of silk and gold tissue, and the
coverlet of sable lined with Alexandrian purple.[14] All this we might
regard as merely a poet's fancy were it not that we go on to read that
there were set two candlesticks of fine gold with lighted tapers. Here
we have the clue. Doubtless the ship, a favourite theme of Christian
symbolism, and one which delighted poets and painters and workers in
mosaic alike, represented the Church. It is not to be necessarily
inferred that Marie, when giving her hero so rare a means of transit,
had in her mind all the elaborate symbolism connected with it; but she
had probably read or heard tell of it, and made use of it simply for
the enhancement of her story. It is in such ways that we find
mysteries embedded, the real significance of them being lost or
misunderstood or unheeded, just as the Renaissance painters, without
any knowledge of Arabic characters, and solely on account of the
ornamental quality of the lettering, used texts from the Koran, and
distorted into mere design the sayings of Mahomet.

[14] Compare with this the bed of "King Fisherman" described
in _Holy Grail_, vol. i. p. 137, trans. Sebastian Evans,
1898.

In the lay of "The Two Lovers" we again find Christian symbolism in
disguise. Here is the old theme of a difficult task to be accomplished
by the lover before he can win his lady.[15] The undertaking imposed
is the carrying of the loved one to the top of a hill, and our
interest in it is