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some of these legends and, aided chiefly by his imagination, wrote a complete history of the Britons. His alleged authority was an ancient manuscript in the native Welsh tongue containing the lives and deeds of all their kings, from Brutus, the alleged founder of Britain, down to the coming of Julius Caesar.[47] From this Geoffrey wrote his history, down to the death of Cadwalader in 689. The "History" is a curious medley of pagan and Christian legends, of chronicle, comment, and pure invention,--all recorded in minute detail and with a gravity which makes it clear that Geoffrey had no conscience, or else was a great joker. As history the whole thing is rubbish; but it was extraordinarily successful at the time and made all who heard it, whether Normans or Saxons, proud of their own country. It is interesting to us because it gave a new direction to the literature of England by showing the wealth of poetry and romance that lay in its own traditions of Arthur and his knights. Shakespeare's King Lear, Malory's Morte d'Arthur, and Tennyson's Idylls of the King were founded on the work of this monk, who had the genius to put unwritten Celtic tradition in the enduring form of Latin prose. Work of the French Writers. The French literature of the Norman period is interesting chiefly because of the avidity with which foreign writers seized upon the native legends and made them popular in England. Until Geoffrey's preposterous chronicle appeared, these legends had not been used to any extent as literary material. Indeed, they were scarcely known in England, though familiar to French and Italian minstrels. Legends of Arthur and his court were probably first taken to Brittany by Welsh emigrants in the fifth and sixth centuries. They became immensely popular wherever they were told, and they were slowly carried by minstrels and story-tellers all over Europe. That they had never received literary form or recognition was due to a peculiarity of mediaeval literature, which required that every tale should have some ancient authority behind it. Geoffrey met this demand by creating an historical manuscript of Welsh history. That was enough for the age. With Geoffrey and his alleged manuscript to rest upon, the Norman-French writers were free to use the fascinating stories which had been-for centuries in the possession of their wandering minstrels. Geoffrey's Latin history was put into French verse by Gaimar (c. 1150) and by Wace (c. 1155), and from these French versions the work was first translated into English. From about 1200 onward Arthur and Guinevere and the matchless band of Celtic heroes that we meet later (1470) in Malory's Morte d' Arthur became the permanent possession of our literature. Layamon's Brut (c. 1200). This is the most important of the English riming chronicles, that is, history related in the form of doggerel verse, probably because poetry is more easily memorized than prose. We give here a free rendering of selected lines at the beginning of the poem, which tell us all we know of Layamon, the first who ever wrote as an Englishman for Englishmen, including in the term all who loved England and called it home, no matter where their ancestors were born. Now there was a priest in the land named Layamon. He was son of Leovenath--may God be gracious unto him. He dwelt at Ernley, at a noble church on Severn's bank. He read many books, and it came to his mind to tell the noble deeds of the English. Then he began to journey far and wide over the land to procure noble books for authority. He took the English book that Saint Bede made, another in Latin that Saint Albin made,[48] and a third book that a French clerk made, named Wace.[49] Layamon laid these works before him and turned the leaves; lovingly he beheld them. Pen he took, and wrote on book-skin, and made the three books into 27 one. The poem begins with the destruction of Troy and the flight of "AEneas the duke" into Italy. Brutus, a great-grandson of AEneas, gathers his people and sets out to find a new land in the West. Then follows the founding of the Briton kingdom, and the last third of the poem, which is over thirty thousand lines in length, is taken up with the history of Arthur and his knights. If the Brut had no merits of its own, it would still interest us, for it marks the first appearance of the Arthurian legends in our own tongue. A single selection is given here from Arthur's dying speech, familiar to us in Tennyson's Morte d'Arthur. The reader will notice here two things: first, that though the poem is almost pure Anglo-Saxon,[50] our first speech has already dropped many inflections and is more easily read than Beowulf; second, that French influence is already at work in Layamon's rimes and assonances, that is, the harmony resulting from using the same vowel sound in several successive lines: And ich wulle varen to Avalun: And I will fare to Avalun, To vairest alre maidene, To fairest of all maidens, To Argante there quene, To Argante the queen, Alven swithe sceone. An elf very beautiful. And heo seal mine wunden And she shall my wounds Makien alle isunde, Make all sound; Al hal me makien All whole me make Mid haleweiye drenchen. With healing drinks. And seothe ich cumen wulle And again will I come To mine kiueriche To my kingdom And wunien mid Brutten And dwell with Britons Mid muchelere wunne. With mickle joy. Aefne than worden Even (with) these words Ther com of se wenden There came from the sea That wes an sceort bat lithen, A short little boat gliding, Sceoven mid uthen, Shoved by the waves; And twa wimmen ther inne, And two women therein, Wunderliche idihte. Wondrously attired. And heo nomen Arthur anan And they took Arthur anon And an eovste hine vereden And bore him hurriedly, And softe hine adun leiden, And softly laid him down, And forth gunnen lithen. And forth gan glide. Metrical Romances. Love, chivalry, and religion, all pervaded by the spirit of romance,--these are the three great literary ideals which find expression in the metrical romances. Read these romances now, with their knights and fair ladies, their perilous adventures and tender love-making, their minstrelsy and tournaments and gorgeous cavalcades,--as if humanity were on parade, and life itself were one tumultuous holiday in the open air,--and you have an epitome of the whole childish, credulous soul of the Middle Ages. The Normans first brought this type of romance into England, and so popular did it become, so thoroughly did it express the romantic spirit of the time, that it speedily overshadowed all other forms of literary expression. FormThough the metrical romances varied much in form and subject-matter, the general type remains the same,--a long rambling poem or series of poems treating of love or knightly adventure or both. Its hero is a knight; its characters are fair ladies in distress, warriors in armor, giants, dragons, enchanters, and various enemies of Church and State; and its emphasis is almost invariably on love, religion, and duty as defined by chivalry. In the French originals of these romances the lines were a definite length, the meter exact, and rimes and assonances were both used to give melody. In England this metrical system came in contact with the uneven lines, the strong accent and alliteration of the native songs; and it is due to the gradual union of the two systems, French and Saxon, that our English became capable of the melody and amazing variety of verse forms which first find expression in Chaucer's poetry. Cycles of romancesIn the enormous number of these verse romances we note three main divisions, according to subject, into the romances (or the so-called matter) of France, Rome, and Britain.[51] The matter of France deals largely with the exploits of Charlemagne and his peers, and the chief of these Carlovingian cycles is the Chanson de Roland, the national epic, which celebrates the heroism of Roland in his last fight against the Saracens at Ronceval. Originally these romances were called Chansons de Geste; and the name is significant as indicating that the poems were originally short songs[52] celebrating the deeds (gesta) of well-known heroes. Later the various songs concerning one hero were gathered together and the Geste became an epic, like the Chanson de Roland, or a kind of continued ballad story, hardly deserving the name of epic, like the Geste of Robin Hood.[53] The matter of Rome consisted largely of tales from Greek and Roman sources; and the two great cycles of these romances deal with the deeds of Alexander, a favorite hero, and the siege of Troy, with which the Britons thought they had some historic connection. To 28 these were added a large number of tales from Oriental sources; and in the exuberant imagination of the latter we see the influence which the Saracens--those nimble wits who gave us our first modern sciences and who still reveled in the Arabian Nights--had begun to exercise on the literature of Europe. The Matter of BritainTo the English reader, at least, the most interesting of the romances are those which deal with the exploits of Arthur and his Knights of the Round Table,--the richest storehouse of romance which our literature has ever found. There were many cycles of Arthurian romances, chief of which are those of Gawain, Launcelot, Merlin, the Quest of the Holy Grail, and the Death of Arthur. In preceding sections we have seen how these fascinating romances were used by Geoffrey and the French writers, and how, through the French, they found their way into English, appearing first in our speech in Layamon's Brut. The point to remember is that, while the legends are Celtic in origin, their literary form is due to French poets, who originated the metrical romance. All our early English romances are either copies or translations of the French; and this is true not only of the matter of France and Rome, but of Celtic heroes like Arthur, and English heroes like
