in English.
[45] Lancelot himself has told us earlier (op. cit. i. 38) that, though he neither knew nor thought himself to be a king's son, he was commonly addressed as such.
[46] Lionel (very young at the time) had wept because some one mentioned the loss of his inheritance, and Lancelot (young as he too was) had bidden him not cry for fear of landlessness. "There would be plenty for him, if he had heart to gain it."
[47] This technical title is usually if not invariably given to Ywain and Gawain as eldest sons of recognised kings. "Prince" is not used in this sense by the older Romancers, but only for distinguished knights like Galahault, who is really a king.
[48] There is one admirable word here, enbarnis,> which has so long been lost to French that it is not even in Littré. But Dryden's "burnish into man" probably preserves it in English; for this is certainly not the other "burnish" from brunir.
[49] "Car moult en parole diroit la parole."
[50] Puzzled by the number of new thoughts and emotions.
[51] Ywain suggests one of the commonest things in Romance.
[52] Arthur had, by a set of chances, not actually girded on Lancelot's sword.
[53] Whose prisoner Lancelot had been, who had been ready to fall in love with him, and to whom he had expressly refused to tell his own love. Hence his confusion.
[54] The day when Lancelot, at her request, had turned against the side of his friend Galahault and brought victory to Arthur's.
[55] By the way, the Vulgate Mordred is a more subtle conception than the early stories gave, or than Malory transfers. He is no mere traitor or felon knight, much less a coward, from the first; but at that first shows a mixture of good and bad qualities in which the "dram of eale" does its usual office. Here once more is a subject made to the hand of a novelist of the first class.
[56] Some poet or pundit, whether of East or West, or of what place, from Santiago to Samarcand, I know not, has laid it down, that men can love many, but without ceasing to love any; that women love only one at once, but can (to borrow, at fifty years' memory, a phrase of George Lawrence's in Sans Merci) "drop their lovers down oubliettes" with comparative ease.
[57] It is excusable to use two words for the single verb savoir to bring out the meaning. King Bagdemagus does not "know" as a fact that Lancelot has slain his son, though he fears it and feels almost sure of it.
CHAPTER III
ROMANS D'AVENTURES
Variety of the present groups.
On the whole, however, the most important influence in the development of the novel originally—that of the nouvelle or novella in French, and Italian taking the second place in order of time—must be assigned to the very numerous and very delightful body of compositions (not very long as a rule,[58] but also never exactly short) to which the name Romans d'aventures has been given with a limited connotation. They exist in all languages; our own English Romances, though sometimes derived from the chansons and the Arthurian Legend, are practically all of this class, and in every case but one it is true that they have actual French originals. These Romans d'aventures have a habit, not universal but prevailing, of "keying themselves on" to the Arthurian story itself; but they rarely, if ever, have much to do with the principal parts of it. It is as if their public wanted the connection as a sort of guarantee; but a considerable proportion keep independence. They are so numerous, so various, and with rare exceptions so interesting, that it is difficult to know which to select for elaborate analysis and translated selection; but almost the entire corpus gives us the important fact of the increased freedom of fiction. Even the connection with the Arthurian matter is, as has been said, generally of the loosest kind; that with the Charlemagne cycle hardly exists. The Graal (or things connected with its legends) may appear: Gawain is a frequent hero; other, as one might call them, sociable features as regards the older stories present themselves. But as a rule the man has got his own story which he wants to tell; his own special hero and heroine whom he wants to present. Furthermore, the old community of handling, which is so noticeable in the chansons more particularly, disappears almost entirely. Nothing has yet been discovered in French, though it may be any day, to serve as the origin of our Gawain and the Green Knight, and some special features of this are almost certainly the work of an Englishman. Our English Ywain and Gawain is, as has been said, rather better than Chrestien's original. But, as a rule, the form, which is French form in language (by no means always certainly or probably French in nationality of author), is not only the original, but better; and besides, it is with it that we are busied here, though in not a few cases English readers can obtain an idea, fairly sufficient, of these originals from the English versions. As these, however, with the exception of one or two remarkable individuals or even groups, were seldom written by men of genius, it is best to go to the sources to see the power and the variety of fictitious handling which have been mentioned.
Different views held of it.
The richness, indeed, of these Romans d'aventures is surprising, and they very seldom display the flatness and triviality which mar by no means all but too many of their English imitations. Some of the faults which are part cause of these others they indeed have—the apparently irrational catalogues of birds and beasts, stuffs and vegetables; the long moralisings; the religious passages sometimes (as it may seem to mere moderns) interposed in very odd contexts; the endless descriptions of battles and single combats; the absence of striking characterisation and varied incident. Their interest is a peculiar interest, yet one can hardly call the taste for it "an acquired taste," because the very large majority of healthy and intelligent children delight in these stories under whatever form they are presented to them, and at least a considerable number of grown-up persons never lose the enjoyment. The disapproval which rested on "romances of chivalry" for a long time was admittedly ignorant and absurd; and the reasons why this disapproval, at least in its somewhat milder form of neglect, has never been wholly removed, are not very difficult to discover. It is to be feared that Don Quixote, great as it is, has done not a little mischief, and by virtue of its greatness is likely to do not a little more, though the Amadis group, which it specially satirises, has faults not found in the older tales. The texts, though in most cases easily enough accessible now, are not what may be called obviously and yet unobtrusively so. They are to a very large extent issued by learned societies: and the public, not too unreasonably, is rather suspicious, and not at all avid, of the products of learned societies. They are accompanied by introductions and notes and glossaries—things the public (again not wholly to be blamed) regards without
