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begins to waver as no knight is able to achieve the quest of the Basin and Spear.
Peronnik, despised as the village fool and needed as the village’s saviour, is a version
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of the Frazerian scapegoat.
Sir Giles, who helps Peronnik on his quest, but cannot
achieve it on his own, due to his being wounded in the knee, is an echo of the
wounded king. When Peronnik returns to the village he throws the spear into the air
and the villagers sing for rain, which comes and restores the land, bringing a ‘second
springtime’, before he travels on, feeding the starving people of Brittany with the
Basin, while routing its enemies with the lance.134
Medieval, Christian, Celtic and Westonian, Moore’s Peronnik the Fool is a
hotchpotch of different Grails (though interestingly the Golden Basin is never
described as the Grail) and seems uncertain as how to synthesise them into a coherent
whole. Nonetheless, written only a year after From Ritual to Romance appeared,
Peronnik the Fool demonstrates how quickly Weston’s ideas were disseminated and
appropriated by contemporary writers.*
Moore’s Peronnik is unusual for the period in that it is set in a roughly
medieval world. Written at the start of the next decade, Virginia W oolfs The Waves
(1931) is more typical of the post-war forays into the Grail story as it is situated in a
roughly contemporary environment, stretching from the mid-nineteenth to the first
decades of the twentieth century. And although W oolfs most experimental novel
does not allude to the Grail directly it can still be seen, in part, as an attempt to
reconcile Tennysonian and Westonian accounts of the Grail. The novel traces the
intertwined lives of six characters - Bernard, Susan, Rhoda, Neville, Jinny and Louis
* T.S. Eliot was apparently outraged to learn that, while the American journal, The Dial, had offered
$150 for The Waste Land, the Irish novelist, George Moore had been offered £100 (roughly three times
the amount) for Peronnik the Fool (Valerie Eliot, ‘Introduction’, to The Waste Land: a facsimile and
transcript o f the original drafts, xxiv). Moore’s story appeared in The Dial in November, 1921; Eliot’s
The Waste Land appeared exactly one year later. That Moore, Eliot and Machen would publish three
very different accounts of the Grail legend in a period of 12 months is indicative of the cultural
importance of the Grail at this time.
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- in a series of interior monologues. These are interspersed with italicised passages
which record the passing of time through charting the ascent and descent of the sun,
the passing of the seasons and the rise and fall of the waves.
Linking these voices is Percival, whose thoughts are not recorded in the novel.
Percival has been perceived in many different ways by critics: Jane Garrity has
described him as an ‘archaic hero-mother’, tied to the interwar process of feminising
imperial ideals, J.W. Graham saw the figure as a‘hero of youth, illusion,
unconsciousness and action’, and Michael Tratner has claimed that in Percival Woolf
‘compressed [...] all the political concerns she devoted her life to opposing:
militarism, imperialism, male chauvinism, and acquisitive individualism.’
It is in
Percival’s association with the Grail knight of nineteenth-century medievalism that
W oolfs character is able to combine these disparate views - though the relationship
between the two has not hitherto been examined. Percival first appears at the boys’
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public school where he is captain of the cricket team.
He leads a purely physical
existence - rowing, riding and hunting as well as playing cricket. And it is to his
physicality that the other characters are drawn, adoring ‘his magnificence’. It is
predicted at school that Percival ‘will certainly attempt some forlorn enterprise and
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die in battle’.
And die he does, halfway through the novel when serving in India.
But his death is needless, not part of any heroic conflict, but caused by his horse
which throws him to the ground. Percival represents youth, physicality, military
endeavour and Empire. Bernard describes him as ‘our captain’; Louis calls him ‘a
medieval commander’.138 He closely resembles that other Grail knight of the
nineteenth-century public school - Galahad. But added to this portrait is a more
sensual, more creative force, derived from the sexual-nature symbolism Weston
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understood to be the heart of the Grail problem and which, no doubt, Woolf was
aware o f
Most of the characters are sexually drawn to Percival at some point in the
novel.139 This sexual magnetism is related to a sense of paganism that surrounds
Percival. Neville, watching him at school, sees Percival as ‘remote from us all in a
pagan universe’, filled with ‘pagan indifference’ at the Christian ceremonies which
are celebrated around him.140 He is intimately associated with nature; a purely
physical, unreflective presence, to whom Rhoda offers a sacrifice of flowers.141
Whereas Eliot and later writers (Butts and Powys in particular) presented their texts as
a riot of disparate quotation relating to the nature of the Grail, Woolf, as befits a novel
of memory and harmony, presents Percival as a symbolic synthesis of the nineteenth
and twentieth centuries. Percival is the past: as a ‘conventional’ hero, a representative
of ‘decency’ and duty to one’s country, he is at one with Alcibiades, Ajax and Hector
and the medieval knights.142 Yet as a memory he is also the means through which
Bernard, Susan, Rhoda, Neville, Jinny and Louis are able to identify the past, and
identify each other, though their own differences - sexual, gendered, professional,
temperamental - would otherwise divide them.143 Percival joins the present to the
past.
By overlaying the nineteenth century’s public-school hero with the modernist
symbolism of Weston’s From Ritual to Romance, Woolf managed to achieve, in what
is the most Eliot-inspired of her novels, a satisfying conclusion to The Waste Land's
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complex inheritance from the nineteenth century. Eliot expressed his Victorian waste
* One of the characters of The Waves, Louis, bares a striking resemblance to Eliot. Unlike the other
characters, Louis is not English, but Australian by birth. Constantly mindful of his colonial,
commercial background, Louis forms a reverence for English traditions (47) and forever seeks a sense
of order in life. Louis is employed in the area of imperial finance (Eliot worked for the shipping
insurers, Lloyds), while writing his poetry at night in his attic. Cautious, bony, intelligent, formidable,
Louis possesses a ‘sordid imagination. His heroes wore bowler-hats and talked about selling pianos for
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