#segurant

Great fanfare in the media across various countries about this "lost" Arthurian romance, "rediscovered", along with its "forgotten" hero, Segurant, the Knight of the Dragon. But if you don’t read French or Italian, it’s quite hard to figure out the theories at play about all these franco-italian texts from the end of the thirteenth century… In case it might be helpful, here is a working english translation (v 1.0) of our (long) article presenting the Matter of Segurant, in the Prophecies de Merlin, Rusticien’s compilations, etc.

You can find the PDF here, with various summaries of the stories involved, concordance tables, diagrams, etc. : https://sursus.ch/wp-content/uploads/2026/01/Understanding-Segurant_v1.pdf (110 p., 9mo)

The diagrams can be found separately here, for more convenient viewing: https://sursus.ch/understanding-segurant/ As well as a web Google Docs version here. (The definitive web version will be on the Sursus website) https://docs.google.com/document/d/e/2PACX-1vTF_YI-qDteMx-CZkKnguuFPSerY679aQXfV9LZLUI9Mpe7h6ehXEajQTLUQhS9Ma1Q6hq7l3QxHzIx/pub

It’s a work in progress and its 110 pages are probably full of howlers and obscure passages. Comments welcome, either here, by email ([email protected]), or on this Drive version of the PDF, where you can leave comments on the different pages (with a Google account): https://drive.google.com/file/d/1EbaRAA-pENyM8UGzi8SIG7uSJw_4iWmY/view?usp=sharing

Well the title is a slight lie - the missing knight wasn't rediscovered in 2019, it was earlier than that, but he didn't became public until 2019.

So what's this "missing knight" about? Well as the title says. There was a knight part of the Arthurian myth, and he had been missing ever since the Middle-Ages, and he was only recently rediscovered.

Or rather, to be exact - there was an Arthurian novel centered around a knight that existed and was a famous and well-known part of the Arthurian literature in the Middle-Ages, but that completely disappeared, and was forgotten by culture (as much popular culture as the scholarly one). Until very recently.

This rediscovered novel has been a hot topic of all Arthuriana fans in Europe for a few years now - and yet I do not see much talk about this onto this website, despite Tumblr being a big place for Arthurian fans?

So I will correct this by doing a series of posts about the subject. And this post will be the first one, the introduction post presenting to you "Ségurant, le chevalier au dragon" ; "Segurant, the knight of the dragon". A French medieval novel part of the Arthurian literature (hence the "chevalier au X" title structure - like Lancelot, the knight of the cart or Yvain the knight of the lion from Chrétien de Troyes), the reason this story was forgotten by all medievalist and literary scholars is - long story short - because it never existed in any full manuscript (at least none that survived to this day). It was a complete story yes, with even variations apparently, but that was cut into pieces and fragments inserted into various other manuscripts and texts (most notably various "Merlin's Prophecies").

The novel and the Knight of the Dragon were rediscovered through the work of Emanuele Arioli, who rediscovered a fragment of the story while looking at an old manuscript of a Merlin Prophecies, and then went on the hunt for the other fragments and pieces scattered around Europe, until he finally could compile the full story, that he then published in 2019, at the Belles Lettres publishing house, in 2019.

Arioli reconstructed the text, and translated it in both modern French and Italian for scholarly and professional editions (aka Honoré Champion in France, a reference for universities)...

... But also for a more "all public, found in all libraries" edition - the famous 2019 edition at Les Belles Lettres.

And not only that, but he also participated to both a comic book adaptation with Emiliano Tanzillo...

... and an adaptation as an illustrated children novel!

Finally, just a few weeks, the Franco-German channel Arte released a documentary about the reconstitution and content of this missing novel called "Le Chevalier au dragon: Le roman disparu de la Table Ronde". (The Knight of the Dragon - The missing novel of the Round Table). The full documentary is on Youtube in French for those that speak the language, here. And in German here for those who speak German.

Unfortunately there is no English version of the documentary that I know of, nor any English publications of the actual text - just French and Italian. But hey, I'll try to palliate to that by doing some English-speaking posts about this whole business!

From The Coming of Arthur, by Alfred Tennyson

From Segurant, Knight of the Dragon

In order to do my posts about Ségurant, I will basically blatantly plagiarize the documentary I recently saw - especially since it will be removed at the end of next January. If you don't remember from my previous post, it is an Arte documentary that you can watch in French here. There's also a German version somewhere.

The documentary is organized very simply, by a superposition of research-exploration-explanation segments with semi-animated retellings of extracts of the lost roman.

0: The origin of it all

The documentary is led by and focused on the man behind the rediscovery of Ségurant, the Knight of the Dragon – Emanuele Arioli, presented simply as a researcher in the medieval domain, expert of the Arthurian romances, and deeply passionate by the Arthurian legend and chivalry. If you want to be more precise, a quick glimpse at his Wikipedia pages reveals that he is actually a Franco-Italian an archivist-paleographer, a doctor in medieval studies, and a master of conferences in the domain of medieval language and medieval literature.

It all began when Arioli was visiting the Bibliothèque de l’Arsenal, at Paris. There he checked a yet unstudied 15th century manuscript of “Les prophéties de Merlin”. Everybody knows Monmouth’s Prophetiae Merlini, but it is not this one – rather it is one of those many “Merlin’s Prophecies” that were written throughout the Middle-Ages, collecting various “political prophecies” interwoven with stories taken out of the legends of king Arthur and the Round Table. And while consulting this specific 15th century “Prophéties de Merlin”, Arioli stumbled upon a beautiful enluminure (I think English folks say “illumination”) of a knight facing a dragon. Interested, he read the story that went with it… And discovered the tale of Ségurant, a knight he had never heard about during the entirety of his studies.

Here we have the first fragment of Ségurant’s story: “Ségurant le Brun” (Ségurant the Brown, as in Brown-haired, you could call him Ségurant the Dark-haired, Ségurant the Brunet), a “most excellent and brave knight”, sent a servant to Camelot, court of king Arthur, and in front of the king the servant said – “A knight from a foreign land sends me there, and asks you to go in three days onto the plain of Winchester, with your knights of the Round Table, to joust. You will see there the greatest marvel you ever saw.”

Checking the rest of the manuscript, Arioli found several other episodes detailing Ségurant’s adventures, all beginning with illuminations of a knight facing a dragon. And this was the beginning of Arioli’s quest to reconstruct a roman that had been forgotten and ignored by everybody – a quest that took him ten years (and in the documentary he doesn’t hide that he ended up feeling himself a lot within Ségurant’s character who is also locked in an impossible quest).

I: Birth of king, birth of myth

The first quarter of the documentary or so is focused on Arioli’s first step in his quest for Ségurant: Great-Britain of course! However, slight spoiler alert, Arioli didn’t find anything there – and so the documentary spends a bit more time speaking about king Arthur than Ségurant, though it does fill in with various other extracts of Ségurant’s story.

Arioli’s first step was of course the National Library of Wales, where the most ancient resources about king Arthur are kept, and where old Celtic languages and traditions are still very much alive, or at least perfectly preserved. The documentary has Ceridwen Lloyd-Morgan presenting the audience with the oldest record of the name Arthur in Welsh literature – if not in European literature as a whole. The “Y Gododdin”, where one of the characters described is explicitly compared to Arthur in negative, “even though he was not Arthur”. The Y Gododdin is extremely hard to date, though it is very likely it was written in the 7th century – and all in all, it proves that Arthur was known of Welsh folks at the time, probably throughout oral poems sung by bards, and already existed as a “good warrior” or “ideal leader” figure.

From there, we jump to a brief history lesson. Great-Britain used to be the province of the Roman Empire known as Britannia – and when the Romans left, it became the land of the Britons (in French we call them “Bretons” which is quite ironic because “Breton” is also the name of the inhabitants of the Britany region of France – Bretagne. This is why Great-Britain is called Great-Britain, the Britany of France was the “Little-Britain”, and this is also why the Britain-myth of Arthur spreads itself across both England and France – but anyway). However, ever since the 5th century, Great-Britain had fallen into social and political instability, as two Germanic tribes had invaded the lands: the Angles and the Saxons. In the year 600, the Angles and the Saxons were occupying two-thirds of Great-Britain, while the Britons had been pushed towards the most hostile lands – Cornwall, Wales and Scotland. This era was a harsh, cruel and dark world, something that the Y Gododdin perfectly translates – and thus it makes sense that the figure of Arthur would appear in such situation, as the mythical hero of the Briton resistance against the Anglo-Saxons.

However we had to wait until a Latin work of the 12th century for Arthur’s fate to finally be tied to the history of the kings of England: Geoffrey of Monmouth, a Welsh bishop, wrote for the king of England of the time the “Historia Regum Britanniae”, “History of the Kings of Britain”, in which we find the first complete biography of Arthur as a king – twenty pages or so about “the most noble king of the Britons”. Geoffrey’s record was a mix of real and imagination, weaving together fictional tales with historical resources – it seems Geoffrey tried to make Arthur “more real” by including him into the actual History with a big H, and it is thanks to him that we have the legend of Arthur as we know it today ; even though his Arthur was a “proto-Arthur”, without any knight or Round Table. The tale begins in Cornwall, at Tintagel, where Arthur was conceived: one night, Uther Pendragon, with the help of Merlin, took the shape of the Duke of Cornwall to enter in his castle and sleep with his wife Igraine. This was how Arthur was born.

The documentary then has some presentations of the archeological work on Tintagel – filled with enigmatic and mysterious ruins. The current archeological research, and a scientific project in 2018, allowed for the discovery of proof that the area was occupied as early as 410, and then all the way to the 9th and 10th century, maybe even the years 1000. There are many elements indicating that Tintagel was inhabited during the post-Roman times when Arthur was supposed to have lived: post-Roman glass, and various fragments of pottery coming from Greece or Turkey and other parts of the Eastern Mediterranean Sea – overall the area clearly was heavily influenced by Mediterranean commerce and cultures. Couple that with the fact that we have the ruins of more than a hundred buildings built solidly with the stone of the island – that is to say more buildings than what London used to have during the same era – and with the fact that there are scribe-performed inscriptions for various families and third parties (meaning people were important or rich enough to buy a scribe to write things for them)… All of this proves that Tintagel was important, wealthy and connected, and so while it does not prove Arthur did exist, it proves that a royal court might have existed at Tintagel – and that Geoffrey of Monmouth probably selected Tintagel as the place of birth of Arthur because he precisely knew of how ancient and famous the area was, through a long oral tradition.

2: After birth, death

The next area visited by the documentary is Glastonbury. “On a Somerset hill formerly surrounded by swamps and bogs”, medieval tradition used to localize the fabulous island of Avalon – where Arthur, mortally wounded by his son Mordred, was taken by fairies. Healed there, he ever since rests under the hill, and will, the story says, return in the future to save the Britons when they need it the most… More interestingly fifty years after Monmouth’s writings, the actual grave of king Arthur was supposedly discovered in the cemetery of the abbey of Glastonbury, and can still be visited today. It is said that in 1191, the monks of the abbey were digging a large pit in their cemetery, 12 feet deep, when they find a rough wooden coffin with a great lead cross on which were written “Here lies king Arthur, on the island of Avalon”. Now, you might wonder, why were monks digging a pit in their cemetery? Sounds suspicious… Well it is said that Henry II was the one who told the monks that, if they dug in their cemetery, they might find “something interesting”… Why would Henry II order a research for the grave of king Arthur? Very simple – a political move. Henry II was a Plantagenet king, aka part of a Norman bloodline, from Normandy, and the House of Plantagenet had gained control of their territory through wars. The Plantagenet was a dynasty that won large chunks of territory through battles (or through marriage – Henri II married Aliénor d’Aquitaine in 1152, which allowed him to extend his empire so that it ended up covering not just all of Great-Britain but also three quarters of France). But as a result, the Plantagenet House had to actually “justify” themselves, prove their legitimacy – prove that they were not just ruling because they were conquerers that had beaten or seduced everybody. They needed to tie themselves to Briton traditions, to link themselves to the legends of Britain – and the “discovery” of king Arthur’s tomb was part of this political plan. And it was a huge success – Glastonbury became famous, and so did king Arthur, who went from a mere Briton war-chief that maybe existed, to a true legend and symbol of English royalty.

However, so far, there are no traces of Ségurant in the Welsh tradition, and here we get our second extract of Ségurant’s roman, which actually seems to be the beginning of his adventures.

Ségurant comes from a fictional island (or at least going by a fictional name): l’île Non-Sachante. There Ségurant le Brun was knighted on the day of the Pentecost by his own grandfather. There was great merriment and great joy, and after the party, Ségurant openly declared he wanted to see the court of king Arthur and all the great wonders in it that everybody kept talking about. He claimed he would go to Winchester – and thus it leads to the invitation mentioned above. Yep, he decided that the best way to go see king Arthur’s court and his wonders was to basically challenge the king and his knights…

3: No place at the Round Table

Of course, the next step of the documentary is Winchester, former capital of Saxon England. Some traditions claim that it was at Winchester that Camelot was located, king Arthur’s castle and the capital of his Royaume de Logres, Kingdom of Logres. Logres itself being actually clearly the dream of a land rebuilt and given back to the Britons, once all the Germanic invaders are kicked out.

The documentary goes to Winchester Castle, built by William the Conqueror, and takes a look at the famous “Round Table” kept within its Great Hall – a table on which are written the name of 24 Arthurian knights, with a painting of king Arthur at the center… Above the rose of the Tudors. Because, that’s the thing everybody knows – while the Round Table itself was built in the 13th century and presented as an “Arthurian relic”, it was repainted in the shape it is today during the 16th century, by Henry the Eight (you know, the wife-killer), who used it as yet another political tool to impose and legitimize the rule of the Tudor line – and he wasn’t subtle about it, since he had Arthur’s face painted to look like his… On this table you find the names of many of the famous Arthurian knights: Galahad, Lancelot of the Lake, Gawain, Perceval, Lionel, Mordred, Tristan, the Knight with the Ill-Fitting Coat… They were organized according to a hierarchy (despite the very principle of the table being there was no hierarchy): at the top are the most famous and well-known knights, with their own stories and quests, such as Galahad, Lancelot of Gawain. At the bottom are the less famous ones: Lucan, Palamedes, Lamorak, Bors de Ganis…

And Ségurant is, of course, absent. Which can be baffling when you consider what the story about Ségurant actually says…

NEW EXTRACT! We are on the field of Winchester. All the tents are prepared for the greatest tournament Logres ever knew. The tent of Ségurant is very easy to spot, because there is a precious stone at the top, that shines day and knight, constantly emitting light as if it was a flaming torch. In front of king Arthur, all the bravest and most courageous knights of the Round Table appear and joust between them: Lancelot and Gawain are explicitly named. Suddenly, Ségurant appears and defies them all in combat! One by one, the knights of the Round Table battle with Ségurant – but all their spears break themselves onto his shield, and in the end, no knight wants to defy him, realizing they could not possibly defeat him. And in the audience, a rumor start spreading… “For sure, it will be him, the knight who will find the Holy Grail!”

So we have a knight who managed to defeat all the knights of the Round Table, in front of king Arthur, and yet nobody talks about him? But as the documentary reminds the audience – the Winchester Round Table only contains knights that the British tradition is familiar with. There many Arthurian knights with their own story and quests, such as Erec or Yvain the Knight of the Lion, who are absent from it… Because they are part of the French tradition, and thus less popular if not frankly ignored by England (a specific mention goes to Erec who was only translated very recently into English apparently, and for centuries and centuries stayed unknown in the English-speaking world).

Anyway – the conclusion of this first part of the documentary is simple. Ségurant is not from Great-Britain, he is not British nor Welsh, and so his origins lie somewhere else.

ADDENDUM

In the first part of this documentary, they stay quite vague and allusive about the story of Ségurant (because the documentary is obviously about the quest and research behind the reconstruction of the roman, not about what the roman contains in every little details). So to flesh out a bit the various extracts above I will use some information from the very summary Wikipedia page about this recently rediscovered knight (I didn’t had the time to get my hands on the book yet).

In the version that is the “main” one reconstructed by Arioli and that is the basis for the documentary’s retelling, soon before being knighted, Ségurant had proved his worth by performing a successful “lion hunt” onto the Ile Non-Sachante. Said island is actually said to have originally been a wild and deserted island onto which his grand-father, Galehaut le Brun, and his grand-father’s brother, Hector le Brun, had arrived after a shipwreck – they had taken the sea to flee an usurper on the throne of Logres named Vertiger (it seems to be a variation of Vortigern?). Galehaut le Brun had a son, Hector le Jeune (Hector the Young), Ségurant’s father. However, unlike the documentary which presents Ségurant as immediately wishing to see Camelot and defy its knights as soon as he is knighted, the Wikipedia page explains there is apparently a missing episode between the two events: in the roman, Ségurant originally leave the Ile Non-Sachante to defeat his uncle (also named Galehaut, like his grandfather) on the mainland. After beating his uncle at jousting, rumors of his various feats and exploits reached Camelot, and it was king Arthur himself who decided to organize a tournament in Ségurant’s honor at Winchester, so that the Knights of the Round Table could admire Ségurant’s exploits.

The fact that the documentary presents a version of the story when the Knights of the Round Table are already in search for the Holy Grail when Ségurant arrives at Winchester is quite interesting because according to the Wikipedia article, Ségurant’s name is mentioned in a separate text (a late 15th century armorial) as one of the knights of the Round Table who was present “when they took the vow of undergoing the quest of the Holy Grail, on Pentecost Day”. The same armorial then goes on to add more elements about Ségurant’s character. Here, instead of being the son of “Hector the Young”, he is son of “Hector le Brun” (so the whole family is “Brown” then), and this title is explained by the color of his hair, which is actually of a brown so dark it is almost black. Ségurant is described here as a very tall man, “almost a giant”, and to answer this enormous height, he has an incredible and powerful strength, coupled with a great appetite making him eat like ten people. But he is actually a peaceful, gentle soul, as well as a lone wolf not very social. He also is said to have a beautiful face, and to be “well-proportioned” in body. A final element of this armorial, which is the most interesting when compared to the main story given by the documentary (where the dragon comes afterward) – in this armorial, Ségurant is actually said to have killed a dragon BEFORE being knighted, a “hideous and terrible” dragon, and this is why his coast of arms depict a black dragon with a green tongue over a gold background.

Again, this all comes from an armorial kept at the Bibliothèque de l’Arsenal – which has a small biography and drawing of Ségurant over one page (used to illustrate the French Wikipedia article). It is apparently not in the “roman” that Arioli reconstructed – especially since in the comic book adaptation, and the children-illustrated-novel adaptations, not only is Ségurant depicted as of regular size, but he is also BLOND out of all things…

Let us continue down our path along the documentary. Here is the German version of it, by the way, if you are interested.

So, last time we left with the sad conclusion that the origins of Ségurant were not from Great-Britain: he appears nowhere in England, Scotland or Wales. If there is nothing in British land, the next move is of course towards the land where Ségurant's tale was first found out, and the second main source when it came to Arthuriana: France.

The documentary reminds us that the Arthurian crossed the seas and arrived in France in the 12th century. It was first written about in France by a man from Normandy named Wace (who was the one who invented the Round Table), and then it was time for Chrétien de Troyes and his famous romans (first romans in French literary history and the beginning of the romanesque genre) – which became best-sellers, translated, imitated, continued and rewritten throughout all of Europe, becoming the “norm” of the literary culture of Europe at the time (in non-Latin language of course). Chrétien de Troyes’ novel became especially popular among the expanding cities and newly formed bourgeoisies of the time, making Lancelot and Perceval true European heroes, and resulting in thousands of Arthurian manuscripts being sent and created everywhere.

There is a brief intervention of Michel Zink explaining what was so specific about Chrétien’s romans: by the time Chrétien wrote his novels, the legend of king Arthur was well-known and famous enough that the author did not feel the need to remind it or expand about it. As in: Chrétien’s novels all happen at the court of king Arthur, or begin at the court of Arthur, but none of them are about Arthur himself. Arthur and his court are just the “background” of his stories – Chrétien’s heroes are the knights of the Round Table, who were until this point basically secondary characters in Arthur’s own story. And all the novels of Chrétien follow the same basic structure of “education novel”: they are all about a young man who goes on a quest or goes on adventures, and in the process discovers his own identity and/or love and/or his destiny. And they all end with the young man being worthy of sitting at the Round Table ; or if they were already at the Round Table, they are even worthier of sitting at it.

But then the documentary completely ditches the French aspect to move to… Italy. As Arioli explains, as he was investigating the origin of the Prophéties de Merlin manuscript in which Segurant’s story was consigned, he checked an inventory of all the Merlin’s Prophecies manuscripts and thus entered in contact with the one that had made it, Nathalie Koble. And talking with her, she led him to a Merlin’s Prophecy manuscript kept in Italy – more precisely in the Biblioteca Marciana of Venice, one of the greatest collections of medieval manuscripts in the world. The documentary goes through a brief reminder of how in the 13th century the Republic of Venice was one of the greatest sea-powers of Europe, and formed the crossroad between the Orient and the Occident through which all the precious goods travelled (spices, silk… but also books) ; and how in the 14th century Petrarch had the project of making a public library in Venice and offered his own collection of books to the city, leading to what would become a century later the Biblioteca Marciana… And so we reach the manuscript Koble showed Arioli. A very humble manuscript of the Prophéties de Merlin – no illumination, no illustration, a small size, not of the best quality ; but that’s all because it was a mass-produced best-seller at the time in Venice. Koble briefly reminds us of the enormous success of the genre of the Merlin Prophecies ; of how French was spoken in Venice because it was the vernacular language of nobility (hence why this manuscript is in French) ; and of who was Merlin and why his prophecies interested so much (being the son of a human virgin and an incubus devil, he had many powers, such as metamorphosis – transforming himself or others – and seeing both the future and the past, aka “existing beyond temporality and memories” as Koble puts it). And finally she points out the very interesting detail that the Merlin Prophecies are always coded, need to be deciphered… But the process is very easy for anyone who is an informed reader.

Indeed, many of the “prophecies” of Merlin are actually coded and metaphorical descriptions of events part of the Arthurian legend. Koble presents us a specific prophecy: “A leopard named Of the Lake will go to the kingdom of Logres and will open his heart to the crowned snake. But he will sleep with a white snake and remove its virginity, while believing he slept with the crowned snake”. For a fan of Arthuriana, it is clear that the “leopard of the lake” is Lancelot du Lac, while the “crowned snake” is Guinevere.

And then, Koble showed Arioli a prophecy contained in this manuscript that apparently was about Ségurant. “Know that the dragon-hunter will be bewitched at the Winchester tournament. A stone will shine on his tent, projecting a great light outside and inside. When he will be king in the Orient, this stone will be placed onto his crown. When he will cross the sea to visit my grave, he will place the stone within the altar of Our-Lady (Notre-Dame). And thus, the dragon of Babylon will seize it.” The prophecy clearly is about Ségurant. Now, the actual author of this manuscript is unknown – as Koble explains, 13th century romanciers who wrote in prose loved inventing false identities for themselves, many times passing off as Merlin himself. The alias of the author of this specific manuscript is “Richard of Ireland”, but Koble’s personal research found out he was actually a man of Venice. Indeed numerous prophecies in the book describes the landscape surrounding Venice or Venice itself ; and there are many references to the political events of Venice at the end of the 13th century.

So, in conclusion: Ségurant was a great heroic figure in the region of Venice at the time. And so Arioli became convinced that Ségurant’s origins were to be found in Northern Italy, and spread from Venice to the rest of Europe.

Our next move is to the Italian Alps – to the Italian Tyrol, and more specifically to Roncolo Castle. Built in the 13th century, it was then bought in 1385 by the Vintler brothers, Nicolas and Francesco/François. The Vintler brothers were part of a bourgeois family that had recently become part of the nobility, and to play onto this, to “legitimate” their nobility and show they had well “adopted” the lifestyle of the nobility, they commissioned a set of medieval frescos, filled with knights and ladies, bestiary animals (fictional or real). To this day, the frescos of Roncolo Castle still form the greatest cycle of Arthurian wall-paintings in the world. And the most interesting part of those paintings, for Arioli’s investigation, is the “Gallery of the Triads”. A gallery where, as the name says, triads are depicted, representing the ideals of knighthood. There is a triad of the “greatest kings” – King Arthur, Charlemagne and Godfrey of Bouillon. There is a triad of the “three greatest knights of the Round Table”: Perceval, Gawain and Yvain (the Knight of the Lion). There is the “three most famous couple of lovers”, with Tristan and Isolde at the center. And finally we have the triad of the “Three most famous heroes”. Only two of them are named – one being Theodoric “with his sword”. And the other… Is “Siegfried, with his crown-depicting shield, as he was described in the Song of the Nibelungen”.

And here’s the new twist in our investigation. Siegfried… Ségurant… Two dragon-killers with similar names. As it is explained in the documentary, the Tyrol was not a closed land, but rather the junction point between Southern Germany and Northern Italy. As a result, Germanic literature was just as popular here as the Arthurian legend – in fact we have a 13th century manuscript written in the Tyrol that contains the Song of the Nibelungs. And so here is Arioli’s new theory: Siegfried crossed the Tyrol, reached Italy, and there became Segurant, the Knight of the Dragon.

The documentary finally gives us the next part of Ségurant’s story, as Arioli first discovered it in the Arsenal manuscript: New character appears! “La fée Morgane” – dear Morgan le Fay, half-sister of King Arthur. “In her castle, the fairy Morgane invoked a devil from Hell. Devil, what is your name? she asked. I am called Lucifer, and I am called Dragon, because I swallow the souls of the sinners. She answered: I needed someone like you for sure!” (I roughly translate here). But here is the idea: the dragon of the legend is not just any mere or random dragon, it is a devil (in fact THE devil himself), invoked by Morgan and obeying her. As the tale continues, we learn that Morgan sent the dragon to cause chaos and panic at the Winchester tournament. “Suddenly, a wall of fire appeared ; behind the flames was a hideous dragon”. And seeing the monster, Ségurant swore that, if he did not set free the kingdom of Logres from the dragon, he would not live one more day. And so he crossed the wall of fire and “forgot everybody, himself as well as the others, he forgot everything, except for the dragon, his sole obsession”. (You might recall this as being a very common trope among French Arthurian roman, like in Lancelot or the Knight of the Cart, where Lancelot every time he sees Guinevere forgets everyone around him, forgets where he is or what he is supposed to do, forgets even his own name, and has his mind only and solely filled with Guinevere. That’s a typical French Arthurian knight thing part of the whole aesthetic of knighthood at the time – but I might explain more about this later).

And yet another twist in the story… Because the roman says that Ségurant could NOT kill the dragon. Why? Because the dragon was “a pure spirit”. And “a spirit, be it good or evil, never dies”. WHAT A TWIST!

We return to the documentary. Crossing the Alps on the search for Siegfried, Arioli stops next by the castle of Drakenburg in Germany – built in 1882 by a wealthy banker, this Neo-Gothic castle is a great homage to the Nibelungenlied – The Song of the Nibelungs. The documentary also reminds us that, at the end of the 19th century, medieval legends were back into fashion thanks to Wagner’s cycle of operas “The Ring of the Nibelungen”. Now, the Song of the Nibelungs is described as “essentially the story of two great families of heroes, the Burgundian heroes and the Xanten heroes. The Song begins when a great hero from the Xanten “side of the world” arrives in the “Burgundian world” – this great hero is Siegfried. And the story of how Siegfried killed a dragon is… a mere mention. An allusion. The Song is not about it, it does not describe it directly, it is another voice that recalls briefly how Siegfried killed a dragon and bathed in its blood. Thus we see that – similarly to what Chrétien did with Arthur – at the time the Song was written, the author and the audience were supposed to know already very well the Siegfried legend. They knew it well enough that it was seen as unnecessary to recall it, a brief mention is enough.

Now, it is easy to admit that Ségurant le Chevalier au Dragon might be a variation of the same myth to which Siegfried the dragon-hunter belongs – similar names, both killed a dragon AND both are also famous for “crossing a wall of fire”. The myth of Siegfried widespread, existing over a large chunk of territory in Europe – not just Germany, but also France, Italy and the Nordic lands. However, while the stories of Siegfried have appeared in the “heart” of Europe around the 1200s, the myth actually pre-existed in Northern Europe for a much older time – in Sweden, in Norway and in Iceland, before Siegfried appeared, there was his Norse ancestor… Sigurd.

Last time we stopped as the documentary was about to go look at Siegfried’s northern ancestor, Sigurd.

This part of the documentary is basically a reminder of the Sigurd myth and other basic things. The oldest traces of Sigurd are from the 8th century, but they are not in books, no: they are on runic stones, those enormous stones covered in inscriptions and drawings (often monuments to the dead). The documentary reminds us that between the 4th and the 12th century more than three thousand runic stones were created throughout all of Scandinavia. The documentary shows us a very emblematic runic stone found near Eskilstuna in Sweden, which has the full depiction (in drawing form) of the legend of Sigurd and the dragon. How Sigurd’s adoptive father, Regin, brought Sigurd and his horse Grani to where the dragon Fafnir lived, how Sigurd dug a pit to hide and when the dragon passed over him, he plunged his sword within the dragon’s body ; how Sigurd cut out the dragon’s heart, placed it on the fire, and after burning his thumb on it, drank accidentally the dragon’s blood ; how Sigurd suddenly gained the ability to understand birds and heard some of them talking about how Regin wanted to kill him ; how Sigurd beheaded his adoptive father as a result ; and finally how Sigurd took his horse and Fafnir’s treasure and left.

There is also a very brief explanation of dragons and “great snakes” in the Viking world – how they are a well-known symbol sculpted on ships and objects, how they can mean at the same time good and evil, order and chaos… The expert that talks at this point (I didn’t catch his name) explains that in the myth of Sigurd, the slaying of the dragon is a sort of ultimate trial that acts as a “rite of passage”, proving Sigurd’s heroism, virility and maturity.

And, more importantly, there lies the difference between Sigurd and Ségurant. Sigurd kills his dragon, plunges his sword within Fafnir’s body, because the dragon is real, a being of flesh and bones. He is actually someone metamorphosed into a dragon, but it’s still a real dragon. But Ségurant? Ségurant was bewitched by Morgane, who condemned him to follow a dragon that cannot be killed, since it is merely the spirit of a dragon – an imaginary dragon if you will. This, unlike Sigurd, Ségurant cannot slay his dragon, his locked in an endless battle that is ultimately pointless and fruitless, since what he hunts is a mere illusion.

The documentary then gives us the next piece of Ségurant’s story: after the dragon’s arrival and Ségurant’s departure, Morgane, “the wicked fairy”, arrives at the Winchester tournament and presents herself to king Arthur. She immediately tells him that waiting for Ségurant’s return is madness because – according to her – it is all some sort of vile spell. She claims that the dragon, just like Ségurant, were some sort of magical projections, living illusions. And she works so well that she ends up convincing everybody at the tournament that Ségurant, just like the dragon, never existed in the first place… She convinces all except one person. A young Irish man by the name of Golistan, who still believes in him, to the point of makes the solemn oath that he will only be knighted by the Knight of the Dragon, and no one else.

As we return to Arioli we are hit with a big twist… The manuscript he reads Ségurant’s story from? It abruptly ends in the middle of the sentence. There is no follow-up to the episode above. Ségurant hunts the dragon, Golistan searches for Ségurant, everybody at Arthur’s court goes away as if nothing happened… and that’s it. Why? Because this book was obviously part of a greater whole and has a sequel somewhere. (For example the manuscript containing the unfinished story has a whole set of illustrations, proving that it wasn’t simply a work-in-progress that never got finished). As the documentary returns to Paris, we learn that the writing style and shape of the letters prove that the manuscript was composed somewhere between the end of the 14th century and the beginning of the 15th. However, the language and some specific sentence structures show that the text itself dates from the 13th century (the same era the Prophécies themselves started going around). And given medieval manuscripts were often copies of copies, it makes sense that one story would end up being fragmented as the centuries went on… So a “Suite des prophécies de Merlin” must exist somewhere with Ségurant’s second part of the story in it… But where? That’s the question. Arioli looked into all the manuscripts that were linked, directly or indirectly, to Merlin, hundreds and hundreds of books… Without finding anything. For a very long time he went searching for a sequel that simply seemed to not exist, and all he could go on with was all he had discovered until now. That Ségurant was not a Celtic character like Arthur or Merlin ; that he was not a protagonist of Chrétien de Troyes like Lancelot or Perceval ; that he was a knight invented by an author of Northern Italy who wrote in French ; and that his inventor took inspiration from Siegfried/Sigurd, taking from their legend various elements. A dragon that must be killed, a wall of fire that the hero crosses, a fabulous treasure (in the shape of Ségurant’s shining gem)… But with the key removal of the hero actually slaying the dragon.

UNTIL FINALLY Arioli found the sequel. He found back “Ségurant le grand” (Segurant the Great, or Ségurant the Tall) in an unnamed manuscript that mixed Merlin’s Prophecies with other adventures related to the quest of the Grail – it was kept in Genova, at the Bodmer Foundation. And here was where Ségurant’s story picked up:

Ségurant, exhausted by his hunt of the dragon, rests within an inn. A young man enters and presents himself as “Golistan, son of an Irish noble”, adding that he is looking for the Knight of the Dragon, by whom he wants to be knighted. Ségurant then reveals his identity to Golistan (Young man, you have the Knight of the Dragon before you), and, as Golistan kneels before him, he agrees to make him his squire.  Later in the story, we learn that the Lady of the Lake herself appears within the plot: indeed, somehow Ségurant meets the Lady of the Lake, who takes him by the hand and bluntly tells him he was bewitched. Ségurant asks “Lady of the Lake, since so many good is told about you, help me if you can.” And her answer? “Only the Grail can set you free, you will need to cross the sea to find it.” And thus Ségurant’s story becomes part of the quest for the Grail…

We are back with Michel Zink, who gives a brief explanation about the Grail. It first appears within the last roman of Chrétien de Troyes: “Le conte du Graal, ou Roman de Perceval » (The tale of the Grail, or Roman of Perceval). It tells the story of a young, naïve, foolish boy who is so ignorant he doesn’t even know his name. Perceval lives his widow of a mother in the depths the lonely forest they inhabit, and one night is welcomed within a mysterious castle that appears out of nowhere, as by magic. During the evening meal, there is a strange procession before him, in which a young girl carries “an uncovered grail” (“uncovered” as in “not covered by anything”). It is not THE Grail, but “a” grail. Perceval wants to asks questions about his host about the strange sight, but he ultimately decides it is best to stay silent. And the roman, that was never finished, leaves us with the mystery… And it is the fact that the solution to the grail was never given that made this roman such an enormous success. A few years afterward, Robert of Boron took the subject of the Grail and gave a very religious interpretation to Chrétien de Troyes’ story. In his writings, he describes it as a cup that the Christ used and that Joseph of Arimathea took after the Christ’s arrest – before placing within it the blood flowing from the side of the crucified Christ. This Grail, as a result, was the most sacred of all relics, and the reign of king Arthur leads to the destined quest of the Grail.

As such, to continue his investigation, Arioli looked at all the manuscripts related to the Saint Grail – but several years of travels and library researches led to absolutely nothing. Until he changed his strategy, and decided to “look at the manuscripts nobody had looked at”…

ADDENDUM:

A few additional precisions and elements coming from the French Wikipedia article for Ségurant: The oldest version of the roman was determined to have been written in French, in Italy, between 1240 and 1273. Before several sequels or rewrites appeared, between the end of the 13th century and the end of the 15th century. They were mostly created in France, in Italy and in the Flanders, but were spread and shared throughout these countries, with Great-Britain and Spain on top.

The roman of Ségurant was clearly influenced and inspired by the Prose Lancelot and the Prose Tristan.

The article specifies why Morgane summons a dragon to get rid of Ségurant: apparently Morgane, upon seeing all the talents and the greatness of Ségurant, fears that if he stays at Camelot he will prevent her from taking over the kingdom of Logres. This is why she sent Ségurant on a bewitched hunt… While the documentary explicitly tells us that Morgane came into person before Arthur to tell him of how Ségurant was “not real” – implying that in this version she is a close counsellor or a trusted part of Arthur’s  court – the Wikipedia article rather says that Morgane sends a woman to Arthur’s court to convince everyone that Ségurant and the dragon were just a mirage. Not only that, but the woman actually claims openly that this mirage was created by both Morgane herself and by an enchantress called Sibylle (a variation of the character of Sebile).