the exploits of that monarch, and of the twelve. peers of France, his cotemporaries. This work, together with that of Geoffrey of Monmouth, before mentioned, are considered as the main sources of Romantic fiction.

Chivalry originated in the eleventh century. The first regular Romance of which we have any account, appeared in the succeeding one. It was entitled Le Brut d'Angleterre, and was written by Robert Wace, a native of Jersey, who was about thirty years younger than Geoffrey of Monmouth, from whose fabulous history he obviously derived his materials.

The

But Arthur and Charlemagne are not the only themes of these fictious narratives. writers of Romance in the twelfth and thirteenth centuries, had likewise recourse to the Trojan war; the history of Alexander the Great; and the Crusades; all of which subjects were treated in the vulgar, or Romance tongue. And it is a peculiar feature of these compositions, that whatsoever the subject, or the period whence the characters are drawn, they are uniformly invested with the costume of the age of chivalry.

The first Romances were all written in verse; and like the separate songs from which they were

originally compiled, were accustomed to be sung by the minstrels, and subsequently to be also recited by the discurs, at public entertainments. But as manners and customs altered by the lapse of ages, the profession of minstrelsy decayed; the metrical Romances became less in request at public festivities, and were imperceptibly superseded by Romances in prose. There are consequently, (as Mr. Ellis observes,) two different æras, as well as characters, to be distinguished in Romances; that of their composition in verse, during the reigns of the successors of William the Conqueror: the second, the time when these Romances were reduced to prose, and accommodated to the opinions existing at the time of their refabrication. The first prose Romances in our language were, the History of Troy; the Life of Charlemagne; the Histories of Jason, Paris, and Vyenne; the Death of King Arthur; and other prose compositions of Chivalry. All these were translated and printed by Caxton, from the French.

In considering the influence of Romance upon the progress of general improvement, it should be recollected, that prior to its existence, the Latin language was the only vehicle

of literary compositions throughout Europe. Romances had the effect of establishing, in some sort, a common language; and of exciting other nations besides the French, to improve by translation their native tongues. But their most important effect was, that the literary compositions of the day, no longer confined to the few who were professionally learned, became intelligible to the ladies and to the people; and a love of reading, and a taste for poetry in particular, was generally diffused. The compositions of the Romantic versifiers became the most favourite amusement with princes and feudal lords, whose courts, by degrees, displayed a more refined taste in pleasure and magnificence; and these arts of entertainment, thus rendered universally fashionable, gradually laid the foundation for polite literature.

Again the Romances contain various pleasing images of ancient customs, manners, and institutions, often delineated in a very striking and peculiar manner. They are, besides, the genuine repositaries of those tales of chivalry which awakened the imagination, and formed the taste of our early poetical writers. Considered in these points of view, they lose their frivo

lous and unimportant character; and must be allowed to be necessary objects of research to him who would trace the history of man in the progress of human society.

It must be admitted, however, that the most formidable objection against these compositions is, the frequent examples they contain of indecorous conduct. Yet these improprieties are referable not to the principles of chivalry, but to the practice of the knights. We have seen from a preceding article*, and learn from other sources, that some of those principles are among the purest and most exalted by which human nature can be guided. The knight, on receiving the order of knighthood, takes an oath to devote himself to the defence of religion, of his prince, and of his country; to protect the feeble, particularly women, widows, and orphans; to go in quest of thieves, robbers, and other miscreants, that they may be brought to condign punishment; and above all, he was required to maintain his oath inviolable. The true knight was expected to possess strength, swiftness, with the other accomplishments of bodily activity. His soul, lofty and enterprising, was adorned with all that can in

The Order of Knighthood.

spire admiration, or kindle affection. His valour was dauntless in the field, though the generosity of his courage ever forbad him to exult over his vanquished foe. He was wise, just, humane, charitable, beneficent. As a check to the arrogance and pride of the warrior, his principles strictly enjoined him modesty and humility'; and this constellation of noble qualities, received additional lustre from manners the most gentle and courteous, dignified with a character of spotless honour, and unshaken truth. The whole was crowned with an enthusiastic devotion to the fair, whom he was not only prompted by inclination, but required by the rules of his order, to love, protect, and adore. Among these, he was obliged to select one to whom he might devote himself with a peculiar constancy of attachment. Her he constituted the judge of his actions, the empress of his soul; and from her hands he received the prize in tournaments—the reward of his dexterity and valour.

The women, on the other hand, adored chivalry, and were ambitious of recommending themselves to the knights, by all the graces of virtue and feminine accomplishments. Their attentions to them were the most generous