twelfth century. However, as this rather resembles the Saxon poetry than the French, it is not certain that the first English romances were translated from that language e. We have seen above, that a propensity to this kind of fiction prevailed among all the Gothic nations 9: and though, after the Norman conquest, this country abounded with French romances, or with translations from the French, there is good reason to believe that the English had original pieces of their own. The stories of King Arthur and his Round Table may he reasonably supposed of the growth of this island; both the French and the Armoricans probably had them from Britain'. The stories of Guy and Bevis, with some others, were probably the invention of English Minstrels 2. On the other hand, the English procured translations of such romances as were most current in France; and in the list given at the conclusion of these remarks, many are doubtless of French original. The first prose books of chivalry that appeared in our 8 See, on this subject, vol. i. Notes on the Essay on the Ancient Minstrels, (s 2) and (G G). 9 The first romances of chivalry among the Germans were in metre; they have some very ancient narrative songs (which they call Lieder), not only on the fabulous heroes of their own country, but also on those of France and Britain, as Tristram, Arthur, Gawain, and the Knights von der Tafel-ronde. (Vid. Goldasti Not. in Eginhart. Vit. Car. Mag. 4to, 1711, p. 207.) 1 The Welsh have still some very old romances about King Arthur; but as these are in prose, they are not probably their first pieces that were composed on that subject. 2 It is most credible that these stories were originally of English invention, even if the only pieces now extant should be found to be translations from the French. What now pass for the French originals were probably only amplifications, or enlargements of the old English story. That the French Romancers borrowed some things from the English, appears from the word Termagant, which they took up from our minstrels, and corrupted into Tervagaunte. See vol. i. p. 78, and Gloss. "Termagant." discover, and these are Whereas romances of language, were those printed by Caxton3; at least, these are the first I have been able to all translations from the French. this kind had been long current in metre, and were so generally admired in the time of Chaucer, that his rhyme of Sir Thopas was evidently written to ridicule and burlesque them 4. He expressly mentions several of them by name in a stanza, which I shall have occasion to quote more than once in this volume: "Men speken of Romaunces of pris Of Horn-Child, and of Ipotis Of Bevis, and Sire Guy, Of Sire Libeux, and Pleindamour, Most, if not all of these, are still extant in MS. in some or other of our libraries, as I shall show in the conclusion of this slight Essay, where I shall give a list of such metrical histories and romances as have fallen under my observation. As many of these contain a considerable portion of poetic merit, and throw great light on the manners and opinions of former times, it were to be wished that some of the best of them were rescued from oblivion. A judi 3 Recuyel of the Hystoryes of Troy, 1471. Godfroye of Boloyne, 1481. Le morte de Arthur, 1485. The life of Charlemagne, 1485, &c. As the old minstrelsy wore out, prose books of chivalry became more admired, especially after the Spanish romances began to be translated into English, towards the end of Queen Elizabeth's reign: then the most popular metrical romances began to be reduced into prose, as Sir Guy, Bevis, &c. 4 See extract from a letter, written by the Editor of these volumes, in Mr. Warton's Observations, vol. ii. p. 139. 5 Canterbury Tales (Tyrwhitt's Edit.), vol. ii. p. 238.—In all the former editions which I have seen, the name at the end of the fourth line is Blandamoure. cious collection of them, accurately published, with proper illustrations, would be an important accession to our stock of ancient English literature. Many of them exhibit no mean attempts at epic poetry and though full of the exploded fictions of chivalry, frequently display great descriptive and inventive powers in the bards who composed them. They are at least generally equal to any other poetry of the same age. They cannot indeed be put in competition with the nervous productions of so universal and commanding a genius as Chaucer; but they have a simplicity that makes them be read with less interruption, and be more easily understood: and they are far more spirited and entertaining than the tedious allegories of Gower, or the dull and prolix legends of Lydgate. Yet, while so much stress was laid upon the writings of these last, by such as treat of English poetry, the old metrical romances, though far more popular in their time, were hardly known to exist. But it has happened, unluckily, that the antiquaries, who have revived the works of our ancient writers, have been, for the most part, men void of taste and genius, and therefore have always fastidiously rejected the old poetical romances, because founded on fictitious or popular subjects, while they have been careful to grub up every petty fragment of the most dull and insipid rhymist, whose merit it was to deform morality or obscure true history. Should the public encourage the revival of some of those ancient epic songs of chivalry, they would frequently see the rich ore of an Ariosto or a Tasso, though buried, it may be, among the rubbish and dross of barbarous times. Such a publication would answer many important uses; it would throw new light on the rise and progress of English poetry, the history of which can be but imperfectly understood if these are neglected it would also serve to illustrate innumerable passages in our ancient classic poets, which, without their help, must be for ever obscure. For, not to mention Chaucer and Spenser, who abound with perpetual allusions to them, I shall give an instance or two from Shakspeare, by way of specimen of their use. In his play of King John, our great dramatic poet alludes to an exploit of Richard I., which the reader will in vain look for in any true history. Faulconbridge says to his mother, act i. sc. 1, "Needs must you lay your heart at his dispose... The awlesse lion could not wage the fight, Nor keepe his princely heart from Richard's hand. May easily winne a woman's :". The fact here referred to, is to be traced to its source only in the old romance of Richard Ceur de Lyon, in which his encounter with the lion makes a very shining figure. I shall give a large extract from this poem, as a specimen of the manner of these old rhapsodists, and to show that they did not in their fictions neglect the proper means to produce the ends, as was afterwards so childishly done in the prose books of chivalry. The poet tells us, that Richard, in his return from the Holy Land, having been discovered in the habit of "a palmer in Almayne," and apprehended as a spy, was by the king thrown into prison. Wardrewe, the king's son, hearing of Richard's great strength, desires the jailor to let him have a sight of his prisoners. Richard being the foremost, Wardrewe asks him, "if he dare stand a buffet from his hand?" and that on the morrow he shall return him another. Richard consents, and receives a blow that 6 Dr. Grey has shown that the same story is alluded to in Rastell's Chronicle: as it was doubtless originally had from the romance, this is proof that the old metrical romances throw light on our first writers in prose: many of our ancient historians have recorded the fictions of romance. VOL. III. C staggers him. On the morrow, having previously waxed his hands, he waits his antagonist's arrival. Wardrewe accordingly, proceeds the story, "held forth as a trewe man," and Richard gave him such a blow on the cheek, as broke his jaw-bone, and killed him on the spot. The king, to revenge the death of his son, orders, by the advice of one Eldrede, that a lion, kept purposely from food, shall be turned loose upon Richard. But the king's daughter, having fallen in love with him, tells him of her father's resolution, and at his request procures him forty ells of white silk "kerchers ;" and here the description of the combat begins : "The kever-chefes 7 he toke on honde, And aboute his arme he wonde; And thought in that ylke while, His pawes were stiffe and stronge. The lyon was hongry and megre, He cryed lowde, and yaned 9 wyde. Kynge Rycharde bethought hym that tyde 7 i. e. handkerchiefs. Here we have the etymology of the word, viz. "Couvre le Chef." 8 i. e. slipt aside. 9 i. e. yawned. |