ADDISON, in SPECTATOR, No. 70.

I.

The third series being chiefly devoted to romantic subjects, may not be improperly introduced with a few slight strictures on the old metrical romances : a subject the more worthy attention, as it seems not to have been known to such as have written on the nature and origin of books of chivalry, that the first compositions of this kind were in verse, and usually sung to the harp.

ON THE ANCIENT METRICAL

ROMANCES, &c

I. The first attempts at compositionn among all barbarous nations are ever found to be poetry and song. The praises of their gods, and the achievements of their heroes, are usually chanted at their festival meetings. These are the first rudiments of history. It is in this manner that the savages of North America preserve the memory of past era: and the same method is known to have prevailed among our Saxon ancestors, before they quitted their German forests t. The ancient Britons had their bards, and the Gothic nations their scalds or popular poets, whose business it was to record the victories of their warriors, and the genealogies of their princes, in a kind of narrative songs, which were committed to memory, and delivered down from one reciter to another. So long as poetry continued a distinct profession, and while the bard, or scald, was a regular and stated officer in the prince's court, these men are thought to have performed the functions of the historian pretty faithfully; for though their narrations would be apt to receive a good deal of embellishment, they are supposed to have had at the bottom so much of truth as to serve for the basis of more regular annals. At least succeeding historians have taken up with the relations of these rude men, and, for want of more authentic records, have agreed to allow them the credit of true history §.

Vid. Lasiteau Meurs des Sauvages, t. ii. Dr. Browne's Hist. of the Rise and Progress of Poetry.

+ Germani celebrant carminibus antiquis (quod unum apud illos memoriæ et annalium genus est) Tuistonem, &c. Tacit. Germ. c. 2.

Barth. Antiq. Dan. lib. i. cap. 10.-Wormii Literatura Runica, ad finem.

See "Northern Antiquities, or a Description of the Manners, Customs, &c. of the ancient Danes and other northern Nations, translated from the French of M Mallet," 1770, 2 vol. Svo (vol. i. p. 49, &c.)

After letters began to prevail, and history assumed a more stable form, by being committed to plain simple prose; these songs of the scalds or bards began to be more amusing than useful. And in proportion as it became their business chiefly to entertain and delight, they gave more and more into embellishment, and set off their recitals with such marvellous fictions as were calculated to captivate gross and ignorant minds. Thus began stories of adventurers with giants and dragons, and witches and enchanters, and all the monstrous extravagances of wild imagination, unguided by judgment and uncorrected by art. This seems to be the true origin of that species of romance which so long celebrated feats of chivalry, and which at first in metre, and afterwards in prose, was the entertainment of our ancestors, in common with their contemporaries on the Continent, til the satire of Cervantes, or rather the increase of knowledge and classical literature, drove them off the stage, to make room for a more refined species of fiction, under the name of French romances, copied from the Greek +.

That our old romances of chivalry may be derived in a lineal descent from the ancient historical songs of the Gothic bards and scalds, will be shown below, and indeed appears the more evident, as many of those songs are still preserved in the north, which exhibit all the seeds of chivalry before it became a solemn institution ‡. "Chivalry, as a distinct military order, conferred in the way of investiture, and accompanied with the solemnity of an cath, and other ceremonies," was of later date, and sprung out of the feudal constitution, as an elegant writer has clearly shown. But the ideas of chivalry prevailed long before in all the Gothic nations, and may be discovered as in embryo in the customs, manners, and opinions of every branch of that people. That fondness of going in quest of adventures, that spirit of challenging to single combat, and that respectful complaisance shown to the fair sex (so different from the manners of the Greeks and Romans), all are of Gothic origin, and may be traced up to the

earliest times among all the northern nations *. These existed long before the feudal ages, though they were called forth and strengthened in a peculiar manner under that constitution, and at length arrived to their full maturity in the times of the Crusades, so replete with romantic adventures +.

Even the common arbitrary fictions of romance were (as is hinted above) most of them familiar to the ancient scalds of the north, long before the time of the crusades. They believed the existence of giants and dwarfs ; they entertained opinions not unlike the more modern notion of fairies §; they were strongly possessed with the belief of spells and enchantment; and were fond of inventing combats with dragons and monsters ¶.

The opinion therefore seems very untenable, which some learned and ingenious men have entertained, that the turn for chivalry, and the taste for that species of romantic fiction were caught by the Spaniards from the Arabians or Moors after their invasion of Spain, and from the Spaniards transmitted to the bards of Armorica**, and thus diffused

• Mallet.

+ The seeds of chivalry sprung up so naturally out of the original manners and opinions of the northern nations, that It is not credible they arose so late as after the establishment of the feudal system, much less the crusades. Nor again, that the romances of chivalry were transmitted to other nations, through the Spaniards, from the Moors and Arabians. Had this been the case, the first French Romances of chivalry would have been on Moorish or at least Spanish subjects: whereas the most ancient stories of this kind, whether in prose or verse, whether in Italian, French, English, &c. are chiefly on the subjects of Charlemagne, and the Paladins; or of our British Arthur, and his knights of the Round Table, &c. being evidently borrowed from the fabulous Chronicles of the supposed Archbishop Turpin, and of Jeffery of Monmouth. Not but some of the oldest and most popular French romances are also on Norman subjects, as Richard Sans peur, Robert Le Diable, &c.; whereas I do not recollect so much as one in which the scene is laid in Spain, much less among the Moors, or descriptive of Mahometan manners. Even in Amadis de Gaul, said to have been the first romance printed in Spain, the scene is laid in Gaul and Britain; and the manners are French: which plainly shews from what school this species of fabling was learnt and transmitted to the southern nations of Europe.

Mallet, North. Antiquities, vol. i. p. 36; vol. ii. passim. Olaus Verel. ad Hervarer Saga, pp. 44, 45. Hickes's Thesaur. vol. ii. p. 311. Northern Antiquities, vol. ii. passim. Ibid. vol. i. pp. 69, 374, &c. vol. ii. p. 216, &c.

Rollof's Saga. cap. 35, &c.

** It is peculiarly unfortunate that such as maintain this opinion are obliged to take their first step from the Moorish provinces in Spain, without one intermediate resting-place, to Armorica or Bretagne, the province in France from them most remote, not more in situation than in the manners, habits, and language of its Welch inhabitants, which are allowed to have been derived from this island, as must have been their traditions, songs, and fables; being doubtless all of Celtic original. See p. 3. of the "Dissertation on the Origin of Romantic Fiction in Europe," prefixed to Mr. Thos. Warton's History of English Poetry, vol. i. 1774, 4to. If any pen could have supported this darling hypothesis of Dr. Warburton, that of this ingenious critic would have effected it. But under the general term Oriental he seems to consider the ancient inhabitants of the north and south of Asin as having all the same manners, traditions, and fables; and because the secluded people of Arabia took the lead under the religion and empire of Mahomet, therefore every thing must be derived from them to the northern Asiatics in the remotest ages, &c. With as much reason under the word Occidental, we might represent the early traditions and fables of the north and south of Europe to have been the same; and that the Gothic mythology of Scandinavia the the Druidic or Celtic of Ganl and Britain, differed not from the classic of Greece and Rome.

There is not room here for a full examination of the minuter arguments, or rather slight coincidences, by which our agreeable dissertator endeavours to maintain and defend this favourite opinion of Dr. W. who has been himself so com

18"

through Britain, France, Italy, Germany, and the north. For it seems utterly incredible that one rude people should adopt a peculiar taste and manner of writing or thinking from another, without borrowing at the same time any of their particular stories and fables, without appearing to know any thing of their heroes, history, laws, and religion. When the Romans began to adopt and imitate the Grecian literature, they immediately naturalized all the Grecian fables, histories, and religious stories; which became as familiar to the poets of Rome as of Greece itself. Whereas all the old writers of chivalry, and of that species of romance, whether in prose or verse, whether of the northern nations, or of Britain, France, and Italy, not excepting Spain itself *, appear utterly unacquainted with whatever relates to the Mahometan nations. Thus with regard to their religion, they constantly represent them as worshiping idols, as paying adoration to a golden image of Mahomet, or else they confound them with the ancient Pagans, &c. And indeed, in all other respects they are so grossly ignorant of the customs, manners, and opinions of every branch of that people, especially of their heroes, champions, and local stories, as almost amounts to a demonstration that they did not imitate them in their songs or romances. for as to dragons, serpents, necromancies, &c. why should these be thought only derived from the Moors in Spain so late as after the eighth century since notions of this kind appear too familiar to the northern scalds, and enter too deeply into all the northern mythology, to have been transmitted to the unlettered Scandinavians, from so distant a country,

pletely confuted by Mr. Tyrwhitt. (See his notes on" Love's Labour Lost," &c.) But some of his positions it will be sufficient to mention: such as the referring the Gog and Magog, which our old Christian bards might have had from Scripture, to the Jaguiouge and Magiouge of the Arabians and Persians, &c. (p. 13.)-That "we may venture to affirm, that this [Geoffrey of Monmouth's] Chronicle, supposed to contain the ideas of the Welch bards, entirely consists of Arabian inventions." (p. 13.)-And that, "as Geoffrey's History is the grand repository of the acts of Arthur, so a fabulous history, ascribed to Turpin, is the ground-work of all the chimerical legends which have been related concern ing the conquests of Charlemagne and his twelve peers. Its subject is the expulsion of the Saracens from Spain; and it is filled with fictions evidently congenial to those which characterize Geoffrey's History." (p. 17.)-That is, as he afterwards expresses it. "lavishly decorated by the Arabian fablers." (p. 58.)-We should hardly have expected that the Arabian fablers would have been lavish in decorating a history of their enemy; but what is singular, as an instance and proof of this Arabian origin of the tictions of Turpin, a passage is quoted from his fourth chapter, which I shall beg leave to offer, as affording decisive evidence that they could not possibly be derived from a Mahometan source. Sc. "The Christians under Charlemagne are said to have found in Spain a golden idol, or image of Mahomet, as high as a bird can fly. It was framed by Mahomet himself of the purest metal, who, by his knowledge in necromancy, had sealed up within it a legion of diabolical spirits. It held in its hand a prodigious club; and the Saracens had a prophetic tradition, that this club should fall from the hand of the image in that year when a certain king should be born in France, &c. Vid. p. 18, Note.

The little narrative songs on Morisco subjects, which the Spaniards have at present in great abundance, and which they call peculiarly romances, (see Series I. Book iii. No. 16, &c.) have nothing in common with their proper romances (or histories)of chivalry; which they call Historias de Cavallerias: these are evidently imitations of the French, and shew a great ignorance of Moorish manners; and with regard to the Morisco, or song-romances, they do not seem of very great antiquity: few of them appear, from their subjects, much earlier than the reduction of Granada, in the fifteenth century: from which period, I believe, may be plainly traced, among the Spanish writers, a more perfect knowledge of Moorish customis, &c.

st so late a period. If they may not be allowed to have brought these opinions with them in their original migrations from the north of Asia, they will be far more likely to have borrowed them from the Latin poets after the Roman conquests in Gaul, Britain, Germany, &c. For I believe one may challenge the maintainers of this opinion to produce any Arabian poem or history, that could possibly have been then known in Spain, which resembles the old Gothic romances of chivalry half so much as the Metamorphoses of Ovid.

But we well know that the Scythian nations situate in the countries about Pontus, Colchis, and the Euxine sea, were in all times infamous for their magic arts; and as Odin and his followers are said to have come precisely from those parts of Asia, we can readily account for the prevalence of fictions of this sort among the Gothic nations of the north, without fetching them from the Moors in Spain, who for many centuries after their irruption lived in a state of such constant hostility with the unsubdued Spanish Christians, whom they chiefly pent up in the mountains, as gave them no chance of learning their music, poetry, or stories; and this, together with the religious hatred of the latter for their cruel invaders, will account for the utter ignorance of the old Spanish romancers in whatever relates to the Mahometan nations, although so nearly their own neighbours.

On the other hand, from the local customs and situations, from the known manners and opinions of the Gothic nations in the North, we can easily account for all the ideas of chivalry, and its peculiar fictions. For, not to mention their distinguished respect for the fair sex, so different from the manners of the Mahometan nations, their national and domestic history so naturally assumes all the wonders of this species of fabling, that almost all their historical narratives appear regular romances. One might refer, in proof of this, to the old northern Sagas in general: but, to give a particular instance, it will be sufficient to produce the history of King Regner Lodbrog, a celebrated warrior and pirate, who reigned in Denmark about the year 800. This hero signalized his youth by an exploit of gallantry. A Swedish prince had a beautiful daughter, whom he intrusted (probably during some expedition) to the care of one of his officers, assigning a strong castle for their defence. The officer fell in love with his ward, and detained her in his castle, spite of all the efforts of her father. Upon this he published a proclamation, through all the neighbouring countries, that whoever would conquer the ravisher, and rescue the lady, should have her in marriage. Of all that undertook the adventure, Regner alone was so happy as to achieve it; he delivered the fair captive, and obtained her for his prize. It happened that the name of this discourteous officer was Orme, which, in the Islandic language signifies serpent: wherefore the scalds, to give the more poetical turn to the adventure, represent the lady as detained from her father by a dreadful dragon, and that Regner slew the monster to set her at liberty. This fabulous account of the exploit is given in a poem still extant, which is even ascribed to Regner himself, who

was a celebrated poet, and which records all the valiant achievements of his life.

With marvellous embellishments of this kind, the scalds early began to decorate their narratives: and they were the more lavish of these in proportion as they departed from their original institution; but it was a long time before they thought of delivering a set of personages and adventures wholly feigned. Of the great multitude of romantic tales still preserved in the libraries of the north, most of them are supposed to have had some foundation in truth; and the more ancient they are, the more they are believed to be connected with true history+.

It was not probably till after the historian and the bard had been long disunited, that the latter ventured at pure fiction, At length, when their business was no longer to instruct or inform, but merely to amuse, it was no longer needful for them to ad here to truth. Then succeeded fabulous songs and romances in verse, which for a long time prevailed in France and England, before they had books of chivalry in prose. Yet, in both these countries, the minstrels still retained so much of their original institution as frequently to make true events the subject of their songs ; and, indeed, as during the barbarous ages, the regular histories were almost all written in Latin by the monks, the memory of events was preserved and propagated among the ignorant laity, by scarce any other means than the popular songs of the minstrels.

II. The inhabitants of Sweden, Denmark, and Norway, being the latest converts to Christianity, retained their original manners and opinions longer than the other nations of Gothic race and, therefore, they have preserved more of the genuine compositions of their ancient poets than their southern neighbours. Hence the progress among them, from poetical history to poetical fiction, is very discernible: they have some old pieces, that are in effect complete romances of chivalry. They have also (as hath been observed) a multitude of sagas, or histories on romantic subjects, containing a mixture of prose and verse of various dates, some of them written since the times of the crusades, others long before; but their narratives in verse only are esteemed the more ancient.

Now, as the irruption of the Normans¶ into France under Rollo did not take place till towards the beginning of the tenth century, at which time the Scaldic art was arrived to the highest perfection in Rollo's native country, we can easily trace the descent of the French and English romances of chivalry from the northern sagas. That conqueror doubtless carried many scalds with him from the north, who transmitted their skill to their children and successors. These, adopting the religion, opinions, and language of the new country, substituted

See a Translation of this poem among "Five Pieces of Runic Poetry," printed for Dodsley, 1764, 8vo. + Vid. Mallet, Northern Antiquities, passim.

The Editor's MS. contains a multitude of poems of this latter kind. It was probably from this custom of the minstrels that some of our first historians wrote their chronicles in verse, as Robert of Gloucester, Harding, &c.

See a specimen in 2d. vol. of Northern Antiquities, &c p. 248, &c.

Eccardi Hist. Stud. Etym. 1711, p. 179, &c. Hickes's thesaur, vol. ii, p. 314.

i. e. Northern Men: being chiefly emigrants from Norway, Denmark, &c.

the heroes of Christendom instead of those of their pagan ancestors, and began to celebrate the feats of Charlemagne, Roland, and Oliver; whose true history they set off and embellished with the scaldic figments of dwarfs, giants, dragons, and enchantments. The first mention we have in song of those heroes of chivalry, is in the mouth of a Norman warrior at the conquest of England*; and this circumstance alone would sufficiently account for the propagation of this kind of romantic poems among the French and English.

But this is not all; it is very certain that both the Anglo-Saxons and the Franks had brought with them, at their first emigrations into Britain and Gaul, the same fondness for the ancient songs of their ancestors, which prevailed among the other Gothic tribest, and that all their first annals were transmitted in these popular oral poems. This fondness they even retained long after their conversion to Christianity, as we learn from the examples of Charlemagne and Alfredt. Now poetry, being thus the transmitter of facts, would as easily learn to blend them with fictions in France and England, as she is known to have done in the north, and that much sooner, for the reasons before assigned. This together with the example and influence of the Normans, will easily account to us why the first romances of chivalry that appeared both in England and France | were composed in metre as a rude kind of epic songs. In both kingdoms, tales in verse were usually sung by minstrels to the harp on festival occasions and doubtless, both nations derived their relish for this sort of entertainment from their Teutonic ancestors, without either of them borrowing it from the other. Among both people, narrative songs, on true or fictitious subjects had evidently obtained from the earliest times. But the professed romances of chivalry seem to have been first composed in France, where also they had their name.

The Latin tongue, as is observed by an ingenious writer, ceased to be spoken in France about the ninth century, and was succeeded by what was called the romance tongue, a mixture of the language of the Franks and bad Latin. As the songs of chivalry became the most popular compositions in that language, they were emphatically called Romans or Romants; though this name was at first given to any piece of poetry. The romances of chivalry can be

See the account of Taillefer in Essay and Note.

+ Ipsa carmina memoriæ mandabant, et prælia inituri decantabant: qua memoria tam fortium gestorum à majoribus patratorum ad imitationem animus adderetur. Jornandes de Gothis.

Eginhartus de Carolo magno. "Item barbara, et antiquissima carmina, quibus veterum regum actus et bella canebantur, scripsit." c. 29.

Asserius de Alfredo magno. "Rex inter bella, &c..... Saxonicos libros recitare, et maxime carmina Saxonica memoriter discere, aliis imperare, et solus assidue pro viribus, studiosissime non desinebat." Ed. 1722, 8vo, p. 43.

See above, pp. 186, 188, &c.

The romances on the subject of Perceval, San Graal, Lancelot du Lac, Tristan, &c. were among the first that appeared in the French language in prose, yet these were originally composed in metre: The Editor has in his possession a very old French MS. in verse, containing L'ancien Roman de Perceval; and metrical copies of the others may be found in the libraries of the curious. See a note of Wanley's in Harl. Catalog. No. 2252, p. 49, &c. Nicolson's Eng. Hist. Library, 3d. Ed. p. 91, &c.-See also a curious collection of old French romances, with Mr. Wanley's account of this sort of pieces, in Harl. MSS. Catal. 978, 106.

The Author of the Essay on the Genius of Pope, p. 282,

189

And

traced as early as the eleventh century. I know not if the Roman de Brut, written in 1155, was such : But if it was, it was by no means the first poem of the kind; others more ancient are still extantt. we have already seen, that, in the preceding century, when the Normans marched down to the battle of Hastings, they animated themselves, by singing (in some popular romance or ballad) the exploits of Roland and the other heroes of chivalry.

So early as this I cannot trace the songs of chivalry in English. The most ancient I have seen is that of Hornechild, described below, which seems not older than the 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 languages. We have seen above, that a propensity to this kind of fiction pre vailed among all the Gothic nations||; 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 be 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**. 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 language were those printed by Caxtonft; at least,

Ibid. p. 283. Hist. Lit. tom. vi, vii.

+ Voi Preface aux "Fabliaux et Contes des Poetes François "des xii, xiii, xiv, et xv. siecles, &c. Paris, 1756, 3 tom. 12mo.” (a very curious work).

See the account of Taillefer in Essay, and Note. And see Rapin, Carte, &c.—This song of Roland (whatever it was) continued for some centuries to be usually sung by the French in their marches, if we may believe a modern French writer. "Un jour qu'on chantoit la Chanson de Roland, comme c'etoit l'usage dans les marches. Il y a long temps, dit il [John K. of France, who died in 1364], qu'on ne voit plus de Rolands, parmi les François. On y verroit encore des Rolands, lui repondit un vieux Capitaine, s'ils avoient un Charlemagne à leur tête." Vid. tom. iii, p. 202, des Essaies Hist, sur Paris de M. de Saintefoix, who gives, as his authority, Boethius in Hist. Scotorum. This author, however, speaks of the complaint and repartee as made in an assembly of the states (vocato senatu), and not upon any march, &c. Vid. Boeth. lib. xv, fol. 327. Ed. Paris,

1574.

See, on this subject, Notes on the Essay on the Ancient Minstrels, (s 2.) and (G G).

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.

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.

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 p. 19, and Gloss. "Termagaunt."

Recuyel of the Hystoryes of Troy, 1471. Godfrye of Boloyne, 1481. Le Morte de Arthur, 1485. The Life of Charlemagne, 1485, &c. As the old minstrelsy wore out

these are the first I have been able to discover, and these are all translations from the French. Whereas romances of 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*.

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,
But Sire Thopas, he bereth the flour
Of real chevalriet.

Most if not all of these are still extant in MS. in some or other of our libraries, as I shall shew 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 judicious 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 > 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

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 reigns then the most popular metrical romances began to be reduced into prose, as Sir Guy Bevis &c.

* Sce extract from a letter, written by the Editor of these volumes, in Mr. Warton's Observations, vol. ii. p. 139.

Canterbury Tales (Tyrwhitt's Edit.) vol. ii. p. 238. In all the former editions, which I have seen, the Rame at the end of the 4th line is Blandamoure

be but impefectly 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 Shakespeare, 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. Faulcor. bridge says to his mother, act i. sc. 1.

"Needs must you lay your heart at his dispose...
Against whose furie and unmatched force,
The awlesse lion could not wage the fight,
Nor keepe his princely heart from Richard's hand:
He that perforce robs lions of their hearts
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 Cœur de Lyon, in which his encounter with a 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 shew 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 Almaye," 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 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 or the cheek, as broke his jaw-bone, and killed him or 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 + he toke on honde,
And aboute his arme he wonde;
And thought in that ylke while,
To slee the lyon with some gyle.
And syngle in a kyrtyll he stode,
And abode the lyon fyers and wode,
With that came the jaylere,

And other men that wyth him were,
And the lyon them amonge;
His paws were stiffe and stronge.
The chambre dore they undone,
And the lyon to them is gone.
Rycharde sayd, Helpe, Lorde Jesu!
The lyon made to hym venu,

Dr. Grey has shewn 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.

ti. e. Handkerchiefs. Here we have the etymology of the word, viz. "Convre le Chef,"