The Lancelot-Grail reader : selections from the medieval French Arthurian cycle 9780815334194

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BOSTON PUBLIC LIBRARY Copley Square Boston. MA 02116

The Lancelot-Grail Reader

(

GARLAND REFERENCE LIBRARY OF THE HUMANITIES VOLUME 1770

Digitized by the Internet Archive in

2017 with funding from

Kahle/Austin Foundation

https://archive.org/details/lancelotgrailreaOOnorr

The Lancelot-Grail Reader Selections from the

Medieval French Arthurian cycle EDITED BY

Norris

J.

Lacy

Garland Publishing, Inc. A MEMBER OF THE TaYLOR & FrANCIS GrOUP New York & London 2000

Published

in

2000 by

Garland Publishing,

Inc.

A member of the Taylor &

Group

Francis

29 West 35th Street

New York, NY Copyright

10001

© 2000 by Norris

All rights reserved.

No

Lacy

J.

part of this

book may be reprinted or reproduced or

now known

any form or by any electronic, mechanical, or other means,

utilized in

or hereafter

invented, including photocopying and recording, or in any information storage or

without written permisssion from the publishers.

retrieval system,

10

9

8

6

7

4

5

3

2

1

Library of Congress Cataloging-in-Publication Data

Lancelot (Prose Cycle)

.

English.

The Lancelot-Grail reader Arthurian cycle p.

cm.

/

—

Norris

J.

:

Selections.

selections

from the medieval French

Lacy, editor.

(Garland reference library of the humanities

;

2162) Includes bibliographical references.

ISBN 0-8153-3419-2 1.

(alk.

paper)

Lancelot (Legendary character)

— Romances.

2.

French prose

—To 1500— Translations

into English.

3.

Arthurian

literature

romances.

I.

PQ1489.L2E56

Lacy, Norris

J.

II.

Title

2000

843’.1— dc21

in the

Series.

99-39114

CIP

Printed on acid-free, 25()-year-hfe paper

Manufactured

III.

United States of America

Contents

Introduction

vii

The Lancelot-Grail Cycle The History of Trans. Carol

the J.

Holy Grail

Chase

3

The Story of Merlin Trans. Rupert

T.

49

Pickens

Lancelot

Samuel N. Rosenberg

94

Part

1,

Trans.

Part

2,

Trans. Carleton W. Carroll

Part

3,

Trans.

Part

4,

Trans. Roberta L.

Part

5,

Trans. William W. Kibler

235

Part

6,

Trans. Carleton W. Carroll

264

The Quest

Samuel N. Rosenberg

for the

Krueger

112 142

180

Holy Grail

Trans. E. Jane Burns

305

The Death of Arthur Trans. Norris

J.

Lacy

365

Appendix: The Post-Vulgate Cycle Trans.

Martha Asher

403

V

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Introduction NORRIS

J.

LACY

The legend of King Arthur has the

Roman

stories

whom

roots in the hfth or sixth century, following

withdrawal from Britain around a.d. 410. Not long after that time,

began the

its

to circulate

concerning the exploits of a hero and leader

name “Arthur” would

eventually be attached. Although

it

is

to

clear

was never a “King Arthur” corresponding to the legendary figure known to modern readers, there may very well have been a real model, or multiple models, for the king. But whether he lived or not, the tales about him captured the popular imagination and grew into one of the great and enduring that there

legends of

all

time.

Early references to Arthur, however, were mostly limited to

lists

of bat-

or isolated anecdotes about his accomplishments. Only in the twelfth

tles

century was he endowed with a

full

biography and

finally established as a

king and not merely a warrior. That fictional biography was part of Geoffrey of Monmouth’s Latin chronicle entitled Historia regum Britanniae (“History

of the Kings of Britain”), written around Arthurian motifs his

now

1

1

36. Geoffrey presents

many of the

familiar to us: Arthur’s conception and birth, his wars,

marriage to Guenevere, his eventual wounding and departure for Avalon.

Other familiar Arthurian subjects were introduced by French authors

who

wrote

in the

decades following Geoffrey. For example, Wace, a French

adapter of Geoffrey’s work,

first

wrote of the Round Table

the most important of these writers

—

— indeed, one of

in

1

155.

the half-dozen

However, most im-

who composed five Arthurian romances late in the century (ca. 170-90). It was Chretien who introduced the Grail and Camelot into world literature, and it was also he who first presented a young French knight named Lancelot, who quickly became portant of

all

Arthurian authors

is

Chretien de Troyes, 1

both a favored knight of the

Round Table and

Guenevere.

Vll

the lover of Arthur’s queen,

Introduction

Vlll

The

Grail

Perceval or The Stoiy of the Grail. There the Grail

ous dish or

platter,

Holy Grail

not the

and unhnished romance,

the center of Chretien’s final

is at

and although as

we now

is

it

think of

a

is

wondrous and mysteri-

once described as a “holy object,” But soon

it.

after,

mance, Robert de Boron, took up the Grail theme and, after scripture. Robert’s identification sel

is

explicit: the

it

is

another writer of ro-

in effect,

reinvented

Holy Grail was

of the Last Supper, later given to Joseph of Arimathea,

who

used

it

the vesit

to col-

blood following the Crucifixion.

lect Christ’s

Early in the thirteenth century, the Arthurian world (including Merlin,

Round

the

Table, and Camelot), the intriguing love story of Lancelot and

Guenevere, and the quest for the holy and elusive Grail

themes and motifs coalesced

known

in the

—these and other

remarkable Arthurian cycle of romances

variously as the Lancelot-Grail, the Prose Lancelot, the Vulgate Cycle

of Arthurian Romance, or occasionally the Pseudo-Map Cycle.'

The Vulgate Cycle The

cycle comprises five romances, although comparatively few of the

full

manuscripts preserve

all

Three of the romances, probably composed

five.

The

within a decade or so after 1215, form the core of the Vulgate. those

Lancelot, often identified as the Lancelot Proper to distinguish

is

clearly

from the cycle within which

romance,

its

edition of

it

and

often stands.^ This fact that

is

the

we

its

Alexandre Micha’s

primary subject, as the

title

it

critical

many of

indicates,

is

read of Lancelot’s infancy, his upbringing by

Lake (whose power comes from both Merlin and

his introduction at court.

of

a huge, sprawling

required nine volumes.-^ Although the romance recounts

Lancelot. In this romance

Lady of

it

dimensions indicated by the

Arthur’s wars and adventures,

the

first

We

the Devil),

also follow his subsequent chivalric adven-

which include numerous instances of imprisonment, wounds, and deceptions. A significant portion of the romance is devoted to Galehaut, the tures,

knight

who

arranges for Lancelot’s

first

amorous rendezvous with

Other knights whose adventures are traced

Gauvain (Gawain), Hector, and Bors, the

'The

last

in

last

some of

detail in the

whom

derives from the cycle’s attribution, within the text

the queen.

Lancelot are

begins here his emer-

itself, to

Walter Map. The

Walter had died before the romances were composed. “Some manuscripts of the Lancelot Proper do not include the preparations for and predictions of Galahad’s coming. Consequently, many .scholars, most notably Elspeth Kennedy (see bibliography), have concluded that there also existed a shorter nonattribution

is

false:

cyclic Lancelot,

which

in

many of

its

parts

was

virtually identical to the cyclic version

was intended to stand as an independent composition. •^More precisely, eight volumes of text and a volume of indices. For but which

bibliography following this introduction.

his edition, see the

Introduction

IX

gence as one of the elect who, along with Perceval and Galahad, considerable success

That quest

is

in the Grail

recounted

Quest.

in the

following romance, entitled La Queste del

Graal (“The Quest for the Holy Grail”);

saint

by Arthur's knights and

its

will achieve

offers an account of the quest

it

ultimate accomplishment by Galahad. At the be-

vow that they will seek the Holy Grail for “as Readers may initially be surprised to note that Arthur

ginning of the work, knights long as is

far

it

is

necessary.”

from enthusiastic about the quest; instead, he

about the prospect, for he immediately understands

may

unite his knights in a

negatively

— involve Camelot or

Arthur realizes, the Grail to the

common

dangers inherent

in

is

angry and depressed

that,

although the quest

purpose, that purpose does not

— except

Round Table society itself. Indeed, as both draws knights away from his court and, owing the quest, ensures that many of them will not return. the

But those dangers are not simply a matter of physical separation and

peril,

for the

Queste constitutes an actual and sometimes explicit repudiation of the

Round

Table. In this romance, traditional chivalric values are supplanted by

an ideal of “celestial chivalry,” which

is

both a religious ideal and an extraor-

dinarily rigorous moral standard that precludes

Quest not only those tempted

who have

Although there

to sin.

from

final

sinned but even those is

success in the Grail

who have

a hierarchy of failure, with

ever been

some knights

eliminated early and others (Bors and Perceval) permitted entry to the Grail Castle with Galahad,

it is

only the

last

who, owing

to the absolute purity that

makes him a Christ-figure, can achieve the ultimate Grail vision. The reexamination of both chivalry and love continues in the final romance in the chronology of Arthur’s reign. La Mart le roi Artu (or La Mart Artu, “The Death of King Arthur”) is the cycle’s epilogue, and it starkly pre-

Round

sents the story of an impoverished post-Quest

many of its

best knights. In this romance,

we

Table,

are told that

now

bereft of

no more adventures

are available to Arthur’s knights. Consequently, their chivalric activity tially

in a

limited to sport, that

is,

to a series of

is ini-

tournaments that Arthur organizes

desperate effort to maintain their martial

skills. Later,

those skills are

used, tragically, in what the narrator and several of his characters call “the

war

that will

have no end,” a struggle that will

and Arthur and

will eventually destroy

The seeds of that its

destruction were

Camelot.

sown long

causes, along with Mordred’s treachery,

evere. Lancelot had

vowed during

Lancelot against Gauvain

pit

the love of Lancelot and

is

the Grail

before, and primary

Quest

to

ship with the queen, but at the very beginning of the that they

immediately lapse again into

sin

and

that,

careless and indiscreet that soon their behavior

is

renounce

among Guen-

his relation-

Mart Artu we

are told

moreover, they are so

revealed.

And once

re-

vealed, their love provokes a cataclysm that leaves few alive.

At the end, Arthur, gravely wounded by taken

away

in a

boat by several

women,

his illegitimate son,

Mordred,

is

Morgan

le

including his half-sister

Introduction

A

Fay. Yet this text does not hold out the promise, familiar to us from other ac-

counts, that Arthur will survive and will return in the hour of Britain’s greatest need. Indeed, three

days

later,

Arthur’s

tomb

is

illuminated the world for “one brief shining hour,” as put

it,

The light that T.H. White would later

discovered.

has been extinguished.

No

sooner were these

first

three

romances composed than other authors

added L’Estoire del saint Grail (“The History of the Holy Grail”) and Merlin.

Though

written

later,

these two stand before the three others in terms of their

chronological schema, and they thus provide a retrospective introduction to the cycle.

The

many of

Estoire foreshadows the Queste, even duplicating

events but presenting those duplications as predictions.

It

also traces the “pre-

history” of the Grail back to the time of Joseph of Arimathea, to

Holy Vessel was entrusted, as well as Joseph’s son, Josephus ian bishop)

guarded

and his descendants. Eventually, the Grail

in anticipation

is

its

whom

the

(the first Christ-

placed

and

in a castle

of the coming of the chosen Grail knight.

The Merlin romance and

a narrative continuation

known

as the Siiite-

Vulgate (“Vulgate [or Merlin] Continuation”) give an account of the magician’s

life.

They emphasize

when Merlin’s

his role in Arthur’s conception,

powers transform Uther Pendragon into the likeness of Igerne’s husband and thereby enable Uther to

sword

in the

lie

stone and the

magic plays an important jects are political visor.

with her. Merlin also dramatizes the

young man’s accession

role in this

and military

to the throne.

romance’s exposition,

in nature,

test

of the

Although

central sub-

its

with Merlin serving as the king’s ad-

However, the author also emphasizes religious or mystical symbolism,

informing

us, for

example,

that the

Round Table

is

a replica of the Grail

was itself modeled after the Table of the Last Supper. The Suite this romance to the Lancelot by recounting the birth of Lancelot, as

Table, which also links

well as Arthur’s marriage to Guenevere.

Authorship Scholars have been unable to identify the author or authors of the romances,

although a number of hypotheses have been advanced. Jean Frappier suggested that the cycle had an “architect,”

Lancelot-Queste-Mort group and notion of a single plan

is

based

someone who planned

who may

in part

the

at least

well have written part of

it.

The

on the existence, throughout the

ro-

mances, of an elaborate system of cross-references, foreshadowings and predictions,

some

and recapitulations and

subjects,

recalls.

and especially toward what

called “courtly love,” differ from one

attempt to

make

That the narrative attitudes toward is

romance

customarily

to

another

if

may

misleadingly

well reflect an

the cycle into an exploration of, or a dialogue on, those sub-

The Lancelot and Queste authors clearly^ contradict each other in their treatment of courtly love. The former offers at least a muted endorsement of

jects.

Introduction

XI

the love of Lancelot and Guenevere, a love that

seems both

ennoble Lancelot. The Queste, on the other hand,

toward such love, which

hostile

is

to inspire

and

to

uncompromisingly

seen as not only frivolous but as sinful and

is

pernicious.

The MortArtu maintains,

modified form, that hostility toward the rela-

in

tionship of Lancelot and Guenevere, and

does not shrink from tracing the

it

consequences of a love already roundly condemned

preceding ro-

in the

mance. However, the narrator of the

final

volume evinces

less interest in

moral judgment than

political implications

of actions. The

and

in the social

love affair that Lancelot and Guenevere resume, with far discretion, proves destructive,

and what

destroyed

is

may

the Arthurian world. Yet, ruinous though that love

is

more passion than nothing less than

be,

its

consequences

merely accelerate and complete a process of decline and decay begun much

The Queste has imposed an implicit death sentence on chivalry, Camelot, and Arthur himself; the Mort Artu carries out the sentence. earlier.

Composition Whether is

the Vulgate had

one or several authors, the construction of the cycle

extraordinary. Compositions of this length and complexity, often following

as they did the progress of large

them

in

many

lines. Part

numbers of knights whose adventures take

directions, required a

way

to

maintain clearly the multiple story

of the solution in the Vulgate was a sophisticated technique called

entrelacement or structural interlace. The foreshadowings and recalls already

mentioned are an element of cally, ers;

this

method.

It

consists, to oversimplify drasti-

of the regular suspension of one story line to pick up one or more oth-

when

those are in turn suspended, the text

or return to the original one to elaborate several times before tying

it

it

may

take up another narrative

further, again

dropping

it

one or

up with others. Within these multiple and intercut

narrative lines, the authors maintain a remarkably precise and consistent

chronology.

Although

a very brief description of interlace inevitably

elementary and obvious, long ago pointed out, to

one another, than

such a way that all.”'^

and

“.

As Vinaver

to

be

“.

.

.

.

is

it

is

anything but

less that of a

that.

a single cut across

notes, a

theme

is

effect, as

mosaic, with interlocking pieces set next

that of a tapestry, with .

The

makes it sound Eugene Vinaver

it,

its

narrative threads interwoven in

made

at

any point, would unravel

it

introduced, only to disappear, to reappear,

abandoned again, but

it

keeps recurring, while

in the intervals

other themes rise to the surface, each broken up into comparatively short

^Eugene Vinaver, Form and Meaning in Medieval Romance, Modern Humanities Research Committee (Leeds: Maney, 1966), p. 10.

Introduction

.\ii

fragments,

all

carefully interwoven with one another, entwined, latticed,

Romanesque ornament caught in a constant movement of endless complexity” {Form and Meaning, p. 17). To complicate matters further, the precise nature and uses of interlace vary from romance to romance within the cycle, and toward the middle of the last one. La Mart le Roi Artu, it largely disappears, yielding to a straightforward narrative method that emphasizes direct cause-and-effect relationships, as the cycle hurtles toward its conclusion and the destruction of the Round knotted or plaited like the themes

in a

Table society and of the Arthurian world.

The

Post- Vulgate Cycle

Not long

after the

being concluded), ter is

known

Vulgate Cycle was composed (or perhaps even as it

was modified

to

produce another, related, cycle. The

variously as the Post-Vulgate Cycle, the Post- Vulgate

of the Grail, or the Pseudo-Robert de Boron.^

many

portions of

it

are

was

it

It

lat-

Romance

has not survived whole, and

known only through fragmentary

translations into

Spanish or Portuguese. However, scholars have largely reconstructed

it

from

the fragments.^

There

is

reason to believe that this cycle

From

thor or adapter.

the Vulgate

may

Cycle he apparently simply borrowed the

Merlin, and perhaps the Estoire as well, with are followed

cated is

little

change. Those narratives

by a transitional section known as the Suite du Merlin (‘The

Merlin Continuation”). There greatly

be the work of a single au-

is

no Lancelot romance per

se, but there is a

expanded Post-Vulgate Queste del saint Graal, followed by a

Mart Artu. There

is

trun-

a concomitant shift of focus and interest: no longer

the downfall of the Arthurian world traceable in large part to Lancelot’s and

Guenevere’s love. Instead, he engaged

it

results principally

from Arthur’s own

sin

when

an incestuous relationship with his sister and engendered

in

Mordred.

A

major impetus for future action

is

the Dolorous Stroke (or Dolorous

Blow), a lance blow by Balin that strikes King Pellehan through the thighs.

The is

result is the

Waste Land, the withering and ruin of the

tied to that of its king.^

stroyed and

He found

all

Thus, Merlin

things laid waste, as

if

“.

.

.

land,

found trees down and grain de-

lightning had struck in each place.

.

.

.

half the people in the villages dead, both bourgeois and knights, and

^As the Vulgate misleadingly

identifies

its

author as Walter Map, so does the Post-

Vulgate contain a spurious attribution to Robert de Boron. Robert was thor of a Grail later

whose health

romance or of

a trilogy that

may

in fact the au-

well have served as the model for the

prose reworkings, but he did not compose the Post-Vulgate.

^Most notable among those scholars is Fanni Bogdtinow. See bibliography. This theme is the subject of TS. Eliot’s 1922 poem “The Waste Land,” though rect inspiration was from Jessie Weston’s 1913 From Ritual to Romance.

his di-

Introduction

Xlll

he found laborers dead totally

destroyed that

in the fields. ...

was

it

He found

later called

kingdom of

the

Lislinois so

by everyone the Kingdom of Waste

.” (Asher, IV, 214). Land The function of the Grail quest in the Post-Vulgate is to repair the damage done by the Dolorous Stroke. When the quest has been completed. Galahad is able to heal Pellehan. Soon after, Galahad is made king of Sarras, the land to which the Grail returns; he dies a year later, and the Grail is taken up .

.

into heaven.

The Post-Vulgate Death of Arthur gate counterpart but

is

reflects

some of

is

found,

it

is

empty except

return, but unlike the Vulgate

death no

for his helmet.

Mort Artu,

Post-Vulgate, Arthur

sibility. In the

man

A

know.”

shall

its

Vul-

reduced to about one-eighth the length of the earlier

romance. Near the end, the author adds a provocative grave

the events of

is

it

is

The

detail:

text

when

Arthur’s

does not promise his

careful not to close off that pos-

proclaimed a “mysterious king, whose

cycle dominated by a sense of mystery thus

closes by evoking the greatest mystery of

all

—Arthur’s

fate.

About This Book Between 1993 and 1996,

a

team of nine

translators

produced

tated translations of both cycles in five large volumes.

drawn from

work.

that

tion nor to offer

We

numerous

full

and anno-

The present book

is

have chosen neither to condense the entire translashort excerpts

from the Vulgate Cycle. Instead, we

have reproduced fewer and longer selections, chosen from

among

the

most

significant episodes of the original.^ In the case of the Post-Vulgate,

we

offer only a small sampling of

episodes, even though these are important and exceedingly fascinating ro-

mances

that are far

The excerpts provided by the

more than

a reworking of the Vulgate.^

by narrative summaries

reprinted here are connected

editor.

Those summaries,

italicized

and enclosed within

square brackets, are designed to be as brief as possible, and

^Owing

to the length

present volume

of the Lancelot-Grail Cycle

—we have had

—about

to eliminate a great deal

includes battle scenes and tournaments, often narrated

nary detail by the authors. cate that

we

Our

at

much

essential or

six times longer than the

of fascinating material. That great length and in extraordi-

deleting those scenes in large

consider them unimportant; on the contrary,

it

is

numbers does not

indi-

apparent that medieval

audiences savored and appreciated them. However, such sequences, far more than most other material from the cycle, can be cut without disrupting the narrative coher-

ence of the

text.

our excerpts, an example of the differences between the Vulgate and the Post-Vulgate is the latter’s inclusion of Tristan, Iseut, and her husband. King Mark, in the Arthurian pantheon. This cycle, therefore, along with the French

'Though not contained

in

Prose Tristan of about the same time, represents the final fusion of the Tristan legend with that of Arthur. Originally, they had been entirely independent narratives.

Introduction

.V/\'

fascinating material

is

omitted; only enough

is

retained to permit the reader to

grasp the connection between passages and to follow the major narrative lines of the cycles.

page or

less

some

In

few sentences of summary may represent a

cases, a

of the original; elsewhere they

may

replace several chapters.

(Wherever short passages are omitted without summary,

that

dicated by ellipsis marks enclosed in square brackets:

.].)

want more information are directed ter

summaries printed

One

in

Volume

V

[.

.

omission

Those who may

to the full translation or to the fuller

(pp. 3

is in-

chap-

5-80) of that translation.

1

of the unfortunate but unavoidable consequences of this approach

the partial loss of the interlacing technique that

Although the technique and

narrative threads.

is

weaves together the diverse

effect of interlace

described briefly in this introduction, only a reading of the

have been

full texts

can con-

vey the richness of the cycles’ material and the complexity of their design.

We tion.

have retained few of the notes

that

accompanied our original

The majority of those notes concerned such

transla-

technical matters as variant

manuscript readings and translation problems. Others clarified the elaborate references (to characters or events) that are a part of the interlace technique. In the latter case, those notes to is included in this

remain

if

when Gawain

Chapter 43), he replies

tournament

at

cerpts. Similar

came

refers

volume.

However, some of the original notes referred here. For example,

which a passage

the material to

is

we have

asked for news of Lancelot

that “I haven’t seen

Penning Castle”

to material

—but

that

him since he was

tournament

is

excised

(in Lancelot,

victorious in the

not a part of our ex-

examples occur frequently, and statements such as “Lancelot

to the castle

where he had

earlier fought a battle” or “This

maiden who had liberated Lancelot” may

was

the

same

refer to a character or event that the

reader has not encountered before. Rather than clutter the text with cumber-

some explanatory notes about what ward and

We

not here

— an approach we found awk-

— we have chosen simply

forewarn the reader

in the

generally identify allusions to excluded material only

when

distracting

introduction.

is

to

would be otherwise incomprehensible." The present volume retains the chapter structure of our original, but we have renumbered chapters consecutively. The following list identifies the the text

"’On occasion

we have

departed from our original translation

as the addition of a proper

name

to clarify a

in

pronoun reference;

have not inserted brackets. "It should be added that, on occasion, the text

itself,

using

its

very small ways, such in those instances

we

customary formulas “as

the story has told” or “as the story will tell,” refers to events that are not included in the

cycle as

we have

it.

Either the events in question were never

composed or they

existed

were dropped from subsequent manuscript copies. Such inconsistencies are however comparatively rare, considering the length and narrative complexin the original but

ity

of the cycle.

XV

Introduction

chapters of the

ample,

in

reproduce

volume The

full translation to

which the present ones correspond,

The History of the Holy Grail, Chapters or parts of Chapters

all

1,

through 8 of

1

2, 4, 7, 8, 30, 34,

this

(h'or

ex-

volume

and 40 of the

live-

translation.)

History'

of the Holy Grail,

trans.

Carol

J.

Chase: Chapters 1-2,

4,

7-8, 30,

34.

The Stoty of Merlin, trans. Rupert 37, 42, 57, 59-60.

T. Pickens:

Chapters

1

,

3-5, 20, 25, 27-29,

Lancelot, multiple translators: Samuel N. Rosenberg, Chapters 9, 21-22, 24, 40, 46; Carleton

W.

Carroll, 52, 58, 59, 69-71;

Samuel Rosenberg,

72,

74-75, 80, 95, 101, 105-06; Roberta L. Krueger, 107-14, 120-21, 137, 140; William

W.

Kibler, 149-50, 154, 156-57; Carleton

W.

Carroll, 159,

169, 171, 176-79.

The Quest for the Holy Grail,

trans. E.

Jane Burns; Chapters 1-5,

7,

9-10,

15,

20-22, 63-67, 69-72, 80-85.

The Death of Arthur, trans. Norris J. Lacy: Chapters 1, 5, 1-12, 21-25. In Appendix, excerpts from The Post-Vulgate Cycle, trans. Martha Asher: 1

Chapters 20, 75, 148; our intent

is

to offer

1,

85, 97, 147; 37;

1,

7,

1

1,

13, 66, 158.

from the Post-Vulgate a few subjects

(Because

that are either

lacking from the Vulgate or developed differently here, these excerpts

to

are

grouped thematically rather than arranged chronologically.)

We

wish

add

tance,

to

and

to

renew the acknowledgments

them our gratitude to Kristi

to

Derek Morr,

in the original translations

for invaluable

Long and James Morgan of Garland

computer

Publishing.

and

assis-