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which in a short while conveys him to France. On the evening he landed he sets out for Paris, and on his way meets with a knight, whom he discovers to be Gaudin, the lover of Uracla. The strictest intimacy arises between these two persons after a dreadful combat; a mode of introduction, which, though now fallen into disuse, was the usual commencement of friendship in those chivalrous ages :

Deux Chevaliers qui se sont bien battus,
Soit à Cheval, soit à la noble escrime,
Avec le sabre ou de longs fers pointus,
De pied en cap tout couverts, ou tout nus,
Ont l'un pour l'autre une secrete estime;
Et chacun d'eux exalte les vertus
Et les grands coups de son digne adversaire,
Lorsque surtout il n'est plus en colere:
Mais s'il advient, après ce beau conflit,
Quelque accident-quelque triste fortune,
Quelque misere à tous les deux commune,
Incontinent, le Malheur les unit;
L'Amitié nait de leurs destins contraires,
Et deux heros persécutés sont Frères.

La Pucelle, Préface au chant ix.
Expelld their native homes by adverse fate,
They knock'd alternate at each other's gate;
Then blazed the castle at the midnight hour

For him whose arms had shook its firmest tower. Soon after the arrival of Partenopex in France, Angelica, the pope's niece, who was at this time residing at the court of Paris, falls in love with him, and in order to detach him from his engagement with the fairy, which she had discovered by means of an intercepted letter, she employs a holy man, who repaired to Partenopex, and denounced Melior as a demon. He found that her lover was proof against an insinuation with regard to his mistress possessing a serpent's tail, which he begged to be excused from crediting, but that he was somewhat startled by the assurance that she had a black skin, white eyes, and red teeth.

Partenopex having returned to the residence of the fairy, resolves to satisfy himself the first night he passes in her company, as to the truth of her possessing the perfections attributed to her in France. On raising a lamp to her countenance, he has the satisfaction to find she has been


cruelly traduced; but, as she unfortunately awakes, from a drop of wax falling on her bosom, he incurs her utmost resentment. His life is spared at the intercession of Uracla, but, being forced to leave the castle, he repairs to the forest of Ardennes, having adopted the scheme of presenting his person as food for the wild beasts, with which that district abounded. This consummation, however desirable, was retarded by unaccountable circumstances; for though tantalized during a whole night by the roaring of lions and hissing of serpents, who gave repeated demonstrations of accommodating the knight, the provoking animals avoided all personal intercourse, and one of the monsters selected the horse of Partenopex in preference to his master. The neighings of the steed brought Uracla to the spot, who had set out in quest of Partenopex on perceiving some relenting symptoms on the part of her sister. Partenopex, all hopes of personal deglutition being at an end, consented to accompany Uracla to her castle in Tenedos, there to await the resolves of the empress fairy. Leaving Partenopex in this abode, Uracla set out on a visit to her sister, and, relying on the prowess of Partenopex, persuaded her to declare that she would bestow her hand on the victor, in a tournament she was about to proclaim. The princesses of romance frequently offer their hand to the conqueror in a tournament, perhaps on the same principle on which Bayle says Penelope promised to espouse the suitor who should bend the bow of Ulysses.

While preparations were making for the tournaments, Parseis, an attendant of Uracla, having become enamoured of Partenopex, took him out one day in a boat. After some time, Partenopex remarked to her the distance they were from land. The damsel then made an unequivocal declaration of attachment, and confessed she had recourse to this stratagem to have an opportunity for the avowal. Partenopex, who perhaps saw no insurmountable objection to a communication of this nature on shore, began to express much dissatisfaction at his cruise; but his complaints were interrupted by a tempest, which drove the vessel to the coast of Syria ; Partenopex, being forced to land, was seized by the natives, and became the prisoner of King Herman. During his captivity, the sultan of Persia ordered this tributary monarch to accompany him to the tournaments which were about to be celebrated at Constantinople. After his departure, Partenopex having contrived to interest the queen in his behalf, was allowed to escape, and arrived in the capital of the eastern empire just as the tournaments commenced. His most formidable antagonist was the sultan of Persia, but Partenopex is at length, by his strength and courage, permitted to lay claim to the hand of the rejoiced and forgiving empress.

The romance of Partenopex is obviously derived from the fable of Cupid and Psyche, so beautifully told by Apuleius.' Psyche is borne on the wings of Zephyr to the palace of her divine admirer. Partenopex is transported in à self-navigated bark, before a favourable breeze, to the mansion of Melior. Both are entertained at a banquet produced by invisible agency, and similar restrictions on curiosity are imposed: both are seduced into disobedience by the false insinuations of friends, and adopt the same method of clearing up their suspicions. Banishment, and a forfeiture of favour, are the punishments inflicted on both; and, after a long course of penance, both are restored to the affections of their supernatural admirers.

These resemblances are too close to permit us to doubt, that the story of Psyche has, directly or indirectly, furnished mate

1 As to this, " there are not many points of criticism on which there has been a more general consent, among those who have paid attention to the subject.” So writes the Rev. W. E. Buckley, in his introduction to his edition of the English version of Partonope of Blois,” printed for the Roxburghe Club, in 1862, to which we refer the reader for a careful account of this romance. From Mr. Buckley's remarks it will be seen that M. Francisque Michel has found Denis Pyramus to be the author of the romance, or at least to claim the invention and versification of the poem, which M. Amaury Duval would include among the Romances of the Round Table, and M. Robert, on the other hand, would attach to the Carlovingian cycle. The name Partonope, or Par. thenopex, or Partonopeus, has been derived by Mone and Graesse from Parthenay, in Poitou, and not from Parthenopæus, one of the Seven against Thebes, to which derivation Mr. Ward leans in his Catalogue, i. p. 700. A. Mussafia, in his Ueber die Spanischen Versionen der Historia Trojana, shows part of the Spanish versions to have been made directly from the French of Benoit de St. More, while others, including a Catalonian translation made in 1367 by J. Conæsa, is directly from Colonna's text. The Italian Binduccio worked on the French version, See Ward, Catalogue of Romances, etc.

rials for the fiction with which we have been engaged. Some of the incidents in Partenopex have also a close resemblance to the story of the Prince of Futtun and Mherbanou, in the Bahar-Danush, or Garden of Knowledge. That work was indeed posterior to the composition of Partenopex; but the author Inatulla acknowledges that it was compiled from Brahmin traditions. The Peri, who is the heroine of that tale, is possessed of a barge covered with jewels, which steered without sails or oars; and the prince, while in search of its incomparable mistress, arrives at a palace, in which he finds the richest effects and

preparations for festivity, but no person appears.

Partenopex de Blois was translated into German, probably from the French romans, as early as the thirteenth century, the hero and his mistress being denominated Partenopier and Meliure. It has also been recently versified by Mr. Rose. The subject is happily chosen, as the romantic nature of the incidents, and tenderness of the amatory descriptions, are highly susceptible of poetical embellishment. Melior's enchanted palace is thus described :

Fast by the margin of the tumbling flood,
Crown'd with embattled towers, a castle stood.
The marble walls a chequer'd field display'd,
With stones of many-colour'd hues inlaid ;
Tall mills, with crystal streams encircled round,
And villages, with rustic plenty crown'd-
There, fading in the distance, woods were seen
With gaily glittering spires, and battlements between.
Beneath the porch, in rich mosaic, blaze
The sun, and silver lamp that drinks his rays.
Here stood the symbold elements pourtray'd,
And nature all her secret springs display'd :
Here too was seen whate'er of earlier age,
Or later time, had graced the historic page;
And storied loves of knights and courtly dames,
Pageants and triumphs, tournaments and games.




IT has been suggested in a former part of this work, that

many arbitrary fictions of romance are drawn from the classical and mythological authors; and in the summary given of the tales of chivalry, a few instances have been pointed out, in which the ancient stories of Greece have been introduced, modified merely by the manners of the age.

Since so much of the machinery of romance has been derived from classical fiction, it would have been strange had not the heroes of antiquity been also enlisted under the banners of chivalry. Accordingly we find that Achilles, Jason, and Hercules, were early adopted into romance, and celebrated in common with the knights of the Round Table, the paladins of Charlemagne, and the imaginary lineage of Amadis and Palmerin.

And though the purer streams of classical learning were probably withheld from the romancers of the middle ages, spurious materials were not wanting to make them in some degree " conscious of a former time.

The “ Tale of Troy Divine” had been kept alive in two Latin works, which passed under the names of Dares Phrygius and Dictys Cretensis. The former was a Trojan priest, mentioned by Homer," and was believed to have written an account of the destruction of Troy. Ælian men.



“ The sons of Dares first the combat sought,
A wealthy priest, but rich without a fault;
In Vulcan's fane the father's days were led,
The sons to toils of glorious battle bred.”

Pope's “Iliad,” 6. 5.

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