as of history. Even where a really historical person was adopted as a subject, such as Rollo of Normandy, or Charlemagne, his life was so amplified with romantic adventure, that it became properly a work of fiction. This, it must be remembered, was an age remarkable for a fantastic military spirit: it was the age of chivalry and of the crusades, when men saw such deeds of heroism and self-devotion daily performed before their eyes, that nothing which could be imagined of the past was too extravagant to appear destitute of the feasibility demanded in fiction. As might be expected from the ignorance of the age, no attempt was made to surround the heroes with the circumstances proper to their time or country. Alexander the Great, Arthur, and Roland, were all alike depicted as knights of the time of the poet himself. The basis of many of these metrical tales is supposed to have been certain collections of stories and histories compiled by the monks of the middle | ages. 'Materials for the superstructure were readily found in an age when anecdotes and apologues were thought very necessary even to discourses from the pulpit, and when all the fables that could be gleaned from ancient writings, or from the relations of travellers, were collected into story books, and preserved by the learned for that purpose.' * It was not till the English language had risen into some consideration, that it became a vehicle for romantic metrical tales. One composition of the kind, entitled Sir Tristrem, published by Sir Walter Scott in 1804, was believed by him, upon what he thought tolerable evidence, to be the composition of Thomas of Ercildoun, identical with a person noted in Scottish tradition under the appellation of Thomas the Rhymer, who lived at Earlston in Berwickshire, and died shortly before 1299. If this had been the case, Sir Tristrem must have been considered a production of the middle or latter part of the thirteenth century. But the soundness of Sir Walter's theory is now generally denied. Another English romance, the Life of Alexander the Great, was attributed by Mr Warton to Adam Davie, marshall of Stratfordle-Bow, who lived about 1312; but this, also, has been controverted. One only, King Horn, can be assigned with certainty to the latter part of the thirteenth century. Mr Warton has placed some others under that period, but by conjecture alone; and in fact dates and the names of authors are alike wanting at the beginning of the history of this class of compositions. As far as probability goes, the reign of Edward II. (1307-27) may be set down as the era of the earlier English metrical romances, or rather of the earlier English versions of such works from the French, for they were, almost without exception, of that nature. Sir Guy, the Squire of Low Degree, Sir Degore, King Robert of Sicily, the King of Tars, Impomedon, and La Mort Artur, are the names of some from which Mr Warton gives copious extracts. Others, probably of later date, or which at least were long after popular, are entitled Sir Thopas, Sir Isenbras, Gawan and Gologras, and Sir Bevis. In an Essay on the Ancient Metrical Romances, in the second volume of Dr Percy's Reliques of Ancient English Poetry, the names of many more, with an account of some of them, and a prose abstract of one entitled Sir Libius, are given. Mr Ellis has also, in his Metrical Romances, given prose abstracts of many, with some of the more agreeable passages. The metrical romances flourished till the close of the fifteenth century, and their spirit affected English literature till a still later period. Many of the ballads handed down amongst the common people are supposed to have been derived from them. [Extract from the King of Tars.] [The Soudan of Damascus, having asked the daughter of the king of Tarsus in marriage, receives a refusal. The extract intelligence, and some of the subsequent transactions. The describes his conduct on the return of the messengers with this language of this romance greatly resembles that of Robert of Gloucester, and it may therefore be safely referred to the beginning of the fourteenth century.] The Soudan sat at his dess,1 They comen into the hall And said, 'Sire, the king of Tars Heathen hound he doth thee call; And ere his daughter he give thee till When the Soudan this y-heard, His robe he rent adown; The table adown right he smote, He looked as a wild lion. Earl and eke baron. That no man might him chast :5 A-morron, when it was daylight, Both least and maist.6 And said to 'em in haste: Of Tars the Christian king; And he said, withouten fail, And when they were all at his hest, 12 * Ellis. Mad. 3 Became. 1 High seat at table. 10 But assuredly. First. 8 What do you advise. The Soudan gathered a host unride,1 The king of Tars to assail. All that he might of send; Battle they set upon a day, Ne longer nold they lend. The Soudan led an huge host, With the king of Tars to fight; With him mony a Saracen fier', Of helms leamed light.3 The king of Tars came also, The Soudan battle for to do, With mony a Christian knight. Either host gan other assail, There began a strong batail, That grisly was of sight, Three heathen again two Christian men, And felled them down in the fen, With weapons stiff and good. The stern Saracens in that fight, They fought as they were wood. When the king of Tars saw that sight, Wood he was for wrath aplight, In hand he hent4 a spear, And to the Soudan he rode full right, With a dunt of much might, Adown he 'gan him bear. The Soudan nigh he had y-slaw, And brought him again upon his steed, That no man might him der.7 When he was brought upon his steed, And all that he hit he made 'em bleed, 'Mahoun help !' he 'gan cry. Mony a helm there was unweaved, And saddles mony empty; Men might see upon the field, Of the Christian company. When the king of Tars saw him so ride, No longer there he wold abide, But fleeth to his own city. The Saracens, that ilk tide, Slew adown by each side, Our Christian men so free. The Saracens that time, sans fail, Slew our Christians in batail, That ruth it was to see; And on the morrow for their sake, A month and days three. For the folk that he had i-lore.1 His doughter came in rich pall, And said, with sighing sore: [Extract from the Squire of Low Degree.] [The daughter of the king of Hungary having fallen into melancholy, in consequence of the loss of her lover, the squire of low degree, her father thus endeavours to console her. The passage is valuable, because,' says Warton, 'it delineates, in lively colours, the fashionable diversions and usages of ancient times.'] To-morrow ye shall in hunting fare; * The other half on organs playing, 1 Unreckoned. That gentle maid. • Gleamed with light. 1 Lost. Go a hunting. 4 Took. 5 Spiced wine. 5 Blow. Defend. 7 Hurt. 8 Red coal. 7 Course. a Go. 4 Figured. 9 Set. 6 A drink of wine, honey, and spices. 8 Household. i i 1 as of history. Even where a really historical person was adopted as a subject, such as Rollo of Normandy, or Charlemagne, his life was so amplified with romantic adventure, that it became properly a work of fiction. This, it must be remembered, was an age remarkable for a fantastic military spirit: it was the age of chivalry and of the crusades, when men saw such deeds of heroism and self-devotion daily performed before their eyes, that nothing which could be imagined of the past was too extravagant to appear destitute of the feasibility demanded in fiction. As might be expected from the ignorance of the age, no attempt was made to surround the heroes with the circumstances proper to their time or country. Alexander the Great, Arthur, and Roland, were all alike depicted as knights of the time of the poet himself. The basis of many of these metrical tales is supposed to have been certain collections of stories and histories compiled by the monks of the middle ages. Materials for the superstructure were readily found in an age when anecdotes and apologues were thought very necessary even to discourses from the pulpit, and when all the fables that could be gleaned from ancient writings, or from the relations of travellers, were collected into story books, and preserved by the learned for that purpose.' * It was not till the English language had risen into some consideration, that it became a vehicle for romantic metrical tales. One composition of the kind, entitled Sir Tristrem, published by Sir Walter Scott in 1804, was believed by him, upon what he thought tolerable evidence, to be the composition of Thomas of Ercildoun, identical with a person noted in Scottish tradition under the appellation of Thomas the Rhymer, who lived at Earlston in Berwickshire, and died shortly before 1299. If this had been the case, Sir Tristrem must have been considered a production of the middle or latter part of the thirteenth I century. But the soundness of Sir Walter's theory is now generally denied. Another English romance, the Life of Alexander the Great, was attributed by Mr Warton to Adam Davie, marshall of Stratfordle-Bow, who lived about 1312; but this, also, has been controverted. One only, King Horn, can be assigned with certainty to the latter part of the thirteenth century. Mr Warton has placed some others under that period, but by conjecture alone; and in fact dates and the names of authors are alike wanting at the beginning of the history of this class of compositions. As far as probability goes, the reign of Edward II. (1307-27) may be set down as the era of the earlier English metrical romances, or rather of the earlier English versions of such works from the French, for they were, almost without exception, of that nature. Sir Guy, the Squire of Low Degree, Sir Degore, King Robert of Sicily, the King of Tars, Impomedon, and La Mort Artur, are the names of some from which Mr Warton gives copious extracts. Others, probably of later date, or which at least were long after popular, are entitled Sir Thopas, Sir Isenbras, Gawan and Gologras, and Sir Bevis. In an Essay on the Ancient Metrical Romances, in the second volume of Dr Percy's Reliques of Ancient English Poetry, the names of many more, with an account of some of them, and a prose abstract of one entitled Sir Libius, are given. Mr Ellis has also, in his Metrical Romances, given prose abstracts of many, with some of the more agreeable passages. The metrical romances flourished till the close of the fifteenth century, and their spirit affected English literature till a still later period. Many of the ballads handed down amongst the common people are supposed to have been derived from them. [Extract from the King of Tars.] [The Soudan of Damascus, having asked the daughter of the king of Tarsus in marriage, receives a refusal. The extract intelligence, and some of the subsequent transactions. The describes his conduct on the return of the messengers with this language of this romance greatly resembles that of Robert of Gloucester, and it may therefore be safely referred to the beginning of the fourteenth century.] The Soudan sat at his dess,1 They comen into the hall And said, 'Sire, the king of Tars Heathen hound he doth thee call; And ere his daughter he give thee till His robe he rent adown; The table adown right he smote, He looked as a wild lion. Earl and eke baron. That no man might him chast :5 A-morron, when it was daylight, Both least and maist.6 And said to 'em in haste: Of Tars the Christian king; And he said, withouten fail, And mony a great lording. Ac certes 10 he shall be forswore, And when they were all at his hest, 12 * Ellis. Mad. 3 Became. 1 High seat at table. 5 Chasten or check. 10 But assuredly. First. 8 What do you advise. The Soudan gathered a host unride,1 The king of Tars to assail. All that he might of send; Battle they set upon a day, Ne longer nold they lend. The Soudan led an huge host, With the king of Tars to fight; With him mony a Saracen fier', Of helms leamed light.3 The king of Tars came also, The Soudan battle for to do, With mony a Christian knight. Either host gan other assail, There began a strong batail, That grisly was of sight, Three heathen again two Christian men, And felled them down in the fen, With weapons stiff and good. The stern Saracens in that fight, They fought as they were wood. When the king of Tars saw that sight, Wood he was for wrath aplight, In hand he hent4 a spear, And to the Soudan he rode full right, With a dunt of much might, Adown he 'gan him bear. The Soudan nigh he had y-slaw, And brought him again upon his steed, That no man might him der.7 When he was brought upon his steed, And all that he hit he made 'em bleed, 'Mahoun help!' he 'gan cry. Mony a helm there was unweaved, And saddles mony empty; Men might see upon the field, Of the Christian company. When the king of Tars saw him so ride, No longer there he wold abide, But fleeth to his own city. The Saracens, that ilk tide, Slew adown by each side, Our Christian men so free. The Saracens that time, sans fail, Slew our Christians in batail, That ruth it was to see; And on the morrow for their sake, A month and days three. For the folk that he had i-lore.1 His doughter came in rich pall, And said, with sighing sore: 'Father,' she said, 'let me be his wife, That there be no more strife,' &c. [Extract from the Squire of Low Degree.] [The daughter of the king of Hungary having fallen into melancholy, in consequence of the loss of her lover, the squire of low degree, her father thus endeavours to console her. The passage is valuable, because,' says Warton, it delineates, in lively colours, the fashionable diversions and usages of ancient times.'] To-morrow ye shall in hunting fare; Your pommels shall be ended with gold, Jennets of Spain, that ben so wight, That hart and hynd shall come to your fist, * The other half on organs playing, 1 Unreckoned. 1 Lost. 2 That gentle maid. Go a hunting. 4 Took. 5 Spiced wine. • Defend. 7 Hurt. 8 Red coal. 7 Course. • Gleamed with light. 5 Blow. 3 Go. 4 Figured. 9 Set. A drink of wine, honey, and spices. 8 Household. i With cloth of arras pight to the ground, Your disease to drive away; To a drawbridge then shall ye, * Th' one half of stone, th' other of tree; All night minstrels for you shall wake. IMMEDIATE PREDECESSORS OF CHAUCER, * Hitherto, we have seen English poetry only in the forms of the chronicle and the romance of its many other forms, so familiar now, in which it is employed to point a moral lesson, to describe natural scenery, to convey satiric reflections, and give expression to refined sentiment, not a trace has as yet engaged our attention. The dawn of miscellaneous poetry, as these forms may be comprehensively called, is to be faintly discovered about the middle of the thirteenth century, when Henry III. sat on the English throne, and Alexander II. on that of Scotland. A considerable variety of examples will be found in the volumes of which the titles are given below. The earliest that can be said to possess literary merit is an elegy on the death of Edward I. (1307), written in musical and energetic stanzas, of which one is subjoined : Jerusalem, thou hast i-lore 2 The first name that occurs in this department of our literature is that of LAWRENCE MINOT, who, about 1350, composed a series of short poems on the victories of Edward III., beginning with the battle of Halidon Hill, and ending with the siege of Guines Castle. His works were in a great measure unknown until the beginning of the present century, when they were published by Ritson, who praised them for the ease, variety, and harmony of the versification. About the same time flourished RICHARD ROLLE, a hermit of the order of St Augustine, and doctor of divinity, who lived a solitary life near the nunnery of Hampole, four miles from Doncaster. He wrote metrical paraphrases of certain parts of Scripture, and an original poem of a moral and religious nature, entitled The Priche of Conscience; but of the latter work it is not certainly known that he composed it in English, there being some reason for believing that, in its present form, it is a translation from a Latin original written by him. One agreeable passage (in the original spelling) of this generally dull work is subjoined : [What is in Heaven.] Ther is lyf withoute ony deth, And ther is youthe without ony elde; 1 And ther is alle manner lykinge of lyf :- And ther is nevere wynter in that countrie :- And ther is alle manner frendshipe that may be, And ther is honeste without vileneye. ROBERT LANGLAND. The Vision of Pierce Ploughman, a satirical poem of the same period, ascribed to ROBERT LONGLANDE, a secular priest, also shows very expressively the progress which was made, about the middle of the fourteenth century, towards a literary style. This poem, in many points of view, is one of the most important works that appeared in England previous to the invention of printing. It is the popular representative of the doctrines which were silently bringing about the Reformation, and it is a peculiarly national poem, not only as being a much purer specimen of the English language than Chaucer, but as exhibiting the revival of the same system of alliteration which characterised the Anglo-Saxon poetry. It is, in fact, both in this pe uliarity and in its political cal character, characteristic of a great literary and political revolution, in which the language as well as the independence of the AngloSaxons had at last gained the ascendency over those of the Normans.* Pierce is represented as falling asleep on the Malvern hills, and as seeing, in his sleep, a series of visions; in describing these, he exposes the corruptions of society, but particularly the dissolute lives of the religious orders, with much bitterness. [Extracts from Pierce Plowman.] [Mercy and Truth are thus allegorised.] Out of the west coast, a wench, as me thought, * A popular edition of this poem has been recently published by Mr Wright. The lines are there divided, as we believe in strictness they ought to be, in the middle, where a pause is naturally made. |