the public with such additions of their own as their acquired information supplied them with. Anachronisms became of course very common, and errors of geography, of locality, of manners, equally so. Spurious genealogies were invented, in which Arthur and his knights, and Charlemagne and his paladins, were made to derive their descent from Aeneas, Hector, or some other of the Trojan heroes.
With regard to the derivation of the word "Romance," we trace it to the fact that the dialects which were formed in Western Europe, from the admixture of Latin with the native languages, took the name of Langue Romaine. The French language was divided into two dialects. The river Loire was their common boundary. In the provinces to the south of that river the affirmative, YES, was expressed by the word oc; in the north it was called oil (oui); and hence Dante has named the southern language langue d'oc, and the northern langue d'oil. The latter, which was carried into England by the Normans, and is the origin of the present French, may be called the French Romane; and the former the Provencal, or Provencial Romane, because it was spoken by the people of Provence and Languedoc, southern provinces of France.
These dialects were soon distinguished by very opposite characters. A soft and enervating climate, a spirit of commerce encouraged by an easy communication with other maritime nations, the influx of wealth, and a more settled government, may have tended to polish and soften the diction of the Provencials, whose poets, under the name of Troubadours, were the masters of the Italians, and particularly of Petrarch. Their favorite pieces were Sirventes (satirical pieces), love-songs, and Tensons, which last were a sort of dialogue in verse between two poets, who questioned each other on some refined points of loves' casuistry. It seems the Provencials were so completely absorbed in these delicate questions as to neglect and despise the composition of fabulous histories of adventure and knighthood, which they left in a great measure to the poets of the northern part of the kingdom, called Trouveurs.
At a time when chivalry excited universal admiration, and when all the efforts of that chivalry were directed against the enemies of religion, it was natural that literature should receive the same impulse, and that history and fable should be ransacked to furnish examples of courage and piety that might excite increased emulation. Arthur and Charlemagne were the two heroes selected for this purpose. Arthur's pretensions were that he was a brave, though not always a successful warrior; he had withstood with great resolution the arms of the infidels, that is to say of the Saxons, and his memory was held in the highest estimation by his countrymen, the Britons, who carried with them into Wales, and into the kindred country of Armorica, or Brittany, the memory of his exploits, which their national vanity insensibly exaggerated, till the little prince of the Silures (South Wales) was magnified into the conqueror of England, of Gaul, and of the greater part of Europe. His genealogy was gradually carried up to an imaginary Brutus, and to the period of the Trojan war, and a sort of chronicle was composed in the Welsh, or Armorican language, which, under the pompous title of the "History of the Kings of Britain," was translated into Latin by Geoffrey of Monmouth, about the year 1150. The Welsh critics consider the material of the work to have been an older history, written by St. Talian, Bishop of St. Asaph, in the seventh century.
As to Charlemagne, though his real merits were sufficient to secure his immortality, it was impossible that his HOLY WARS against the Saracens should not become a favorite topic for fiction. Accordingly, the fabulous history of these wars was written, probably towards the close of the eleventh century, by a monk, who, thinking it would add dignity to his work to embellish it with a contemporary name, boldly ascribed it to Turpin, who was Archbishop of Rheims about the year 773.
These fabulous chronicles were for a while imprisoned in languages of local only or of professional access. Both Turpin and Geoffrey might indeed be read by ecclesiastics, the sole Latin scholars of those times, and Geoffrey's British original would contribute to the gratification of Welshmen; but neither could become extensively popular till translated into some language of general and familiar use. The Anglo-Saxon was at that time used only by a conquered and enslaved nation; the Spanish and Italian languages were not yet formed; the Norman French alone was spoken and understood by the nobility in the greater part of Europe, and therefore was a proper vehicle for the new mode of composition.
That language was fashionable in England before the Conquest, and became, after that event, the only language used at the court of London. As the various conquests of the Normans, and the enthusiastic valor of that extraordinary people, had familiarized the minds of men with the most marvellous events, their poets eagerly seized the fabulous legends of Arthur and Charlemagne, translated them into the language of the day, and soon produced a variety of imitations. The adventures attributed to these monarchs, and to their distinguished warriors, together with those of many other traditionary or imaginary heroes, composed by degrees that formidable body of marvellous histories which, from the dialect in which the most ancient of them were written, were called "Romances."
METRICAL ROMANCES
The earliest form in which romances appear is that of a rude kind of verse. In this form it is supposed they were sung or recited at the feasts of princes and knights in their baronial halls. The following specimen of the language and style of Robert de Beauvais, who flourished in 1257, is from Sir Walter Scott's "Introduction to the Romance of Sir Tristrem":
"Ne voil pas emmi dire,
Ici diverse la matyere,
Entre ceus qui solent cunter,
E de le cunte Tristran parler."
"I will not say too much about it,
So diverse is the matter,
Among those who are in the habit of telling
And relating the story of Tristran."
This is a specimen of the language which was in use among the nobility of England, in the ages immediately after the Norman conquest. The following is a specimen of the English that existed at the same time, among the common people. Robert de Brunne, speaking of his Latin and French authorities, says:
"Als thai haf wryten and sayd
Haf I alle in myn Inglis layd,
In symple speche as I couthe,
That is lightest in manne's mouthe.
Alle for the luf of symple men,
That strange Inglis cannot ken."
The "strange Inglis" being the language of the previous specimen.
It was not till toward the end of the thirteenth century that the PROSE romances began to appear. These works generally began with disowning and discrediting the sources from which in reality they drew their sole information. As every romance was supposed to be a real history, the compilers of those in prose would have forfeited all credit if they had announced themselves as mere copyists of the minstrels. On the contrary, they usually state that, as the popular poems upon the matter in question contain many "lesings," they had been induced to translate the real and true history of such or such a knight from the original Latin or Greek, or from the ancient British or Armorican authorities, which authorities existed only in their own assertion.
A specimen of the style of the prose romances may be found in the following extract from one of the most celebrated and latest of them, the "Morte d'Arthur" of Sir Thomas Mallory, of the date of 1485. From this work much of the contents of this volume has been drawn, with as close an adherence to the original style as was thought consistent with our plan of adapting our narrative to the taste of modern readers.
"It is notoyrly knowen thorugh the vnyuersal world that there been ix worthy and the best that ever were. That is to wete thre paynyms, three Jewes, and
