The Book of Romance Part 1

The Book of Romance.

by Various.

PREFACE

It is to be supposed that children do not read Prefaces; these are Bluebeard's rooms, which they are not curious to unlock. A few words may therefore be said about the Romances contained in this book. In the editor's opinion, romances are only fairy tales grown up. The whole ma.s.s of the plot and incident of romance was invented by n.o.body knows who, n.o.body knows when, n.o.body knows where. Almost every people has the Cinderella story, with all sorts of variations: a boy hero in place of a girl heroine, a beast in place of a fairy G.o.dmother, and so on. The Zunis, an agricultural tribe of New Mexico, have a version in which the moral turns out to be against poor Cinderella, who comes to an ill end. The Red Indians have the tale of Orpheus and Eurydice, told in a very touching shape, but without the music. On the other hand, the negroes in the States have the Orpheus tale, adapted to plantation life, in a form which is certainly borrowed from Europeans.

This version was sent to me some years ago, by Mr. Barnet Phillips, Brooklyn, New York, and I give it here for its curiosity. If the proper names, Jim Orpus and Dicey, had not been given, we might not feel absolutely certain that the story was borrowed. It is a good example of adaptation from the heroic age of Greece to the servile age of Africans.

DICEY AND ORPUS

Dat war eber so long ago, 'cause me granmammy tell me so. It h'aint no white-folks yarn--no Sah. Gall she war call Dicey, an' she war borned on de plantation. Whar Jim Orpus k.u.m from, granmammy she disremember.

He war a boss-fiddler, he war, an' jus' that powerful, dat when de mules in de cotton field listen to um, dey no budge in de furrer.

Orpus he neber want no mess of fish, ketched wid a angle. He just take him fiddle an' fool along de branch, an' play a tune, an' up dey comes, an' he cotch 'em in he hans. He war mighty sot on Dicey, an'

dey war married all proper an' reg'lar. Hit war so long ago, dat de railroad war a bran-new spick an' span ting in dose days. Dicey once she lounge 'round de track, 'cause she tink she hear Orpus a fiddlin'

in de fur-fur-away. Onyways de hengine smash her. Den Jim Orpus he took on turrible, an' when she war buried, he sot him down on de grave, an' he fiddle an' he fiddle till most yo' heart was bruk.

An' he play so long dat de groun' crummle (crumble) an' sink, an' nex'

day, when de peoples look for Jim Orpus, dey no find um; oney big-hole in de lot, an' n.o.body never see Jim Orpus no mo'. An' dey do say, dat ef yo' go inter a darky's burial-groun', providin' no white man been planted thar, an' yo' clap yo' ear to de groun', yo' can hear Jim's fiddle way down deep belo', a folloin' Dicey fru' de lan' of de Golden Slippah.[1]

[Footnote 1: Mr. Phillips, writing in 1896, says that the tale was told him by a plantation hand, thirty years ago, 'long before the Uncle Remus period.']

The original touch, the sound of Orpus's fiddle heard only in the graveyards of the negroes (like the fairy music under the fairy hill at Ballachulish), is very remarkable. Now the Red Indian story has no harper, and no visit by the hero to the land of the dead. His grief brings his wife back to him, and he loses her again by breaking a taboo, as Orpheus did by looking back, a thing always forbidden. Thus we do not know whether or not the Red Indian version is borrowed from the European myth, probably enough it is not. But in no case--not even when the same plot and incidents occur among Egyptians and the Central Australian tribes, or among the frosty Samoyeds and Eskimo, the Samoans, the Andamanese, the Zulus, and the j.a.panese, as well as among Celts and ancient Greeks--can we be absolutely certain that the story has not been diffused and borrowed, in the backward of time.

Thus the date and place of origin of these eternal stories, the groundwork of ballads and popular tales, can never be ascertained. The oldest known version may be found in the literature of Egypt or Chaldaea, but it is an obvious fallacy to argue that the place of origin must be the place where the tale was first written down in hieroglyph or cuneiform characters.

There the stories are: they are as common among the remotest savages as among the peasants of Hungary, France, or a.s.synt. They bear all the birth-marks of an early society, with the usual customs and superst.i.tions of man in such a stage of existence. Their oldest and least corrupted forms exist among savages, and people who do not read and write. But when reading and writing and a cla.s.s of professional minstrels and tellers of tales arose, these men invented no new plots, but borrowed the plots and incidents of the world-old popular stories.

They adapted these to their own condition of society, just as the plantation negroes adapted Orpheus and Eurydice. They elevated the nameless heroes and heroines into Kings, Queens, and Knights, Odysseus, Arthur, Charlemagne, Diarmid, and the rest. They took an ancient popular tale, known all over the earth, and attributed the adventures of the characters to historical persons, like Charlemagne and his family, or to Saints, for the legends of early Celtic Saints are full of fairy-tale materials. Characters half historic, half fabulous, like Arthur, were endowed with fairy gifts, and inherited the feats of nameless imaginary heroes.

The results of this uncritical literary handling of elements really popular were the national romances of Arthur, of Charlemagne, of Sigurd, or of Etzel. The pagan legends were Christianised, like that of Beowulf; they were expanded into measureless length, whole cycles were invented about the heroic families; poets altered the materials each in his own way and to serve his own purpose, and often to glorify his own country. If the Saracens told their story of Roland at Roncevalles, it would be very different from that of the old Frankish _chansons de geste_. Thus the romances are a mixture of popular tales, of literary invention, and of history as transmitted in legend. To the charm of fairy tale they add the fascination of the age of chivalry, yet I am not sure but that children will prefer the fairy tale pure and simple, nor am I sure that their taste would be wrong, if they did.

In the versions here offered, the story of Arthur is taken mainly from Malory's compilation, from sources chiefly French, but the opening of the Graal story is adapted from Mr. Sebastian Evans's 'High History of the Holy Graal,' a masterpiece of the translator's art. For permission to adapt this chapter I have to thank the kindness of Mr. Evans.

The story of Roland is from the French Epic, probably of the eleventh century, but resting on earlier materials, legend and ballad. William Short Nose is also from the _chanson de geste_ of that hero.

The story of Diarmid, ancient Irish and also current among the Dalriadic invaders of Argyle, is taken from the translations in the Transactions of the Ossianic Society.

The story of Robin Hood is from the old English ballads of the courteous outlaw, whose feast, in Scotland, fell in the early days of May. His alleged date varies between the ages of Richard I. and Edward II., but all the labours of the learned have thrown no light on this popular hero.

A child can see how _English_ Robin is, how human, and possible and good-humoured are his character and feats, while Arthur is half Celtic, half French and chivalrous, and while the deeds of the French Roland, and of the Celtic Diarmid, are exaggerated beyond the possible. There is nothing of the fairylike in Robin, and he has no thirst for the Ideal. Had we given the adventures of Sir William Wallace, from Blind Harry, it would have appeared that the Lowland Scots could exaggerate like other people.

The story of Wayland the Smith is very ancient. An ivory in the British Museum, apparently of the eighth century, represents Wayland making the cups out of the skulls. As told here the legend is adapted from the amplified version by Oehlenschlager. Scott's use of the story in 'Kenilworth' will be remembered.

All the romances are written by Mrs. Lang, except the story of Grettir the Strong, done by Mr. H. S. C. Everard from the saga translated by Mr. William Morris.

A. LANG.

TALES OF THE ROUND TABLE

_THE DRAWING OF THE SWORD_

Long, long ago, after Uther Pendragon died, there was no King in Britain, and every Knight hoped to seize the crown for himself. The country was like to fare ill when laws were broken on every side, and the corn which was to give the poor bread was trodden underfoot, and there was none to bring the evildoer to justice. Then, when things were at their worst, came forth Merlin the magician, and fast he rode to the place where the Archbishop of Canterbury had his dwelling. And they took counsel together, and agreed that all the lords and gentlemen of Britain should ride to London and meet on Christmas Day, now at hand, in the Great Church. So this was done. And on Christmas morning, as they left the church, they saw in the churchyard a large stone, and on it a bar of steel, and in the steel a naked sword was held, and about it was written in letters of gold, 'Whoso pulleth out this sword is by right of birth King of England.' They marvelled at these words, and called for the Archbishop, and brought him into the place where the stone stood. Then those Knights who fain would be King could not hold themselves back, and they tugged at the sword with all their might; but it never stirred. The Archbishop watched them in silence, but when they were faint from pulling he spoke: 'The man is not here who shall lift out that sword, nor do I know where to find him. But this is my counsel--that two Knights be chosen, good and true men, to keep guard over the sword.'

Thus it was done. But the lords and gentlemen-at-arms cried out that every man had a right to try to win the sword, and they decided that on New Year's Day a tournament should be held, and any Knight who would, might enter the lists.

So on New Year's Day, the Knights, as their custom was, went to hear service in the Great Church, and after it was over they met in the field to make ready for the tourney. Among them was a brave Knight called Sir Ector, who brought with him Sir Kay, his son, and Arthur, Kay's foster-brother. Now Kay had unbuckled his sword the evening before, and in his haste to be at the tourney had forgotten to put it on again, and he begged Arthur to ride back and fetch it for him. But when Arthur reached the house the door was locked, for the women had gone out to see the tourney, and though Arthur tried his best to get in he could not. Then he rode away in great anger, and said to himself, 'Kay shall not be without a sword this day. I will take that sword in the churchyard, and give it to him'; and he galloped fast till he reached the gate of the churchyard. Here he jumped down and tied his horse tightly to a tree, then, running up to the stone, he seized the handle of the sword, and drew it easily out; afterwards he mounted his horse again, and delivered the sword to Sir Kay. The moment Sir Kay saw the sword he knew it was not his own, but the sword of the stone, and he sought out his father Sir Ector, and said to him, 'Sir, this is the sword of the stone, therefore I am the rightful King.' Sir Ector made no answer, but signed to Kay and Arthur to follow him, and they all three went back to the church. Leaving their horses outside, they entered the choir, and here Sir Ector took a holy book and bade Sir Kay swear how he came by that sword. 'My brother Arthur gave it to me,' replied Sir Kay. 'How did you come by it?'

asked Sir Ector, turning to Arthur. 'Sir,' said Arthur, 'when I rode home for my brother's sword I found no one to deliver it to me, and as I resolved he should not be swordless I thought of the sword in this stone, and I pulled it out.' 'Were any Knights present when you did this?' asked Sir Ector. 'No, none,' said Arthur. 'Then it is you,'

said Sir Ector, 'who are the rightful King of this land.' 'But why am I the King?' inquired Arthur. 'Because,' answered Sir Ector, 'this is an enchanted sword, and no man could draw it but he who was born a King. Therefore put the sword back into the stone, and let me see you take it out.' 'That is soon done,' said Arthur replacing the sword, and Sir Ector himself tried to draw it, but he could not. 'Now it is your turn,' he said to Sir Kay, but Sir Kay fared no better than his father, though he tugged with all his might and main. 'Now you, Arthur,' and Arthur pulled it out as easily as if it had been lying in its sheath, and as he did so Sir Ector and Sir Kay sank on their knees before him. 'Why do you, my father and brother, kneel to me?' asked Arthur in surprise. 'Nay, nay, my lord,' answered Sir Ector, 'I was never your father, though till to-day I did not know who your father really was. You are the son of Uther Pendragon, and you were brought to me when you were born by Merlin himself, who promised that when the time came I should know from whom you sprang. And now it has been revealed to me.' But when Arthur heard that Sir Ector was not his father, he wept bitterly. 'If I am King,' he said at last, 'ask what you will, and I shall not fail you. For to you, and to my lady and mother, I owe more than to anyone in the world, for she loved me and treated me as her son.' 'Sir,' replied Sir Ector, I only ask that you will make your foster-brother, Sir Kay, Seneschal[2] of all your lands.' 'That I will readily,' answered Arthur, 'and while he and I live no other shall fill that office.'

[Footnote 2: 'Seneschal' means steward.]

[Ill.u.s.tration: HOW ARTHUR DREW THE SWORD]

Sir Ector then bade them seek out the Archbishop with him, and they told him all that had happened concerning the sword, which Arthur had left standing in the stone. And on the Twelfth Day the Knights and Barons came again, but none could draw it out but Arthur. When they saw this, many of the Barons became angry and cried out that they would never own a boy for King whose blood was no better than their own. So it was agreed to wait till Candlemas, when more Knights might be there, and meanwhile the same two men who had been chosen before watched the sword night and day; but at Candlemas it was the same thing, and at Easter. And when Pentecost came, the common people who were present, and saw Arthur pull out the sword, cried with one voice that he was their King, and they would kill any man who said differently. Then rich and poor fell on their knees before him, and Arthur took the sword and offered it upon the altar where the Archbishop stood, and the best man that was there made him Knight.

After that the crown was put on his head, and he swore to his lords and commons that he would be a true King, and would do them justice all the days of his life.

_THE QUESTING BEAST_

But Arthur had many battles to fight and many Kings to conquer before he was acknowledged lord of them all, and often he would have failed had he not listened to the wisdom of Merlin, and been helped by his sword Excalibur, which in obedience to Merlin's orders he never drew till things were going ill with him. Later it shall be told how the King got the sword Excalibur, which shone so bright in his enemies'

eyes that they fell back, dazzled by the brightness. Many Knights came to his standard, and among them Sir Ban, King of Gaul beyond the sea, who was ever his faithful friend. And it was in one of these wars, when King Arthur and King Ban and King Bors went to the rescue of the King of Cameliard, that Arthur saw Guenevere, the King's daughter, whom he afterwards wedded. By and by King Ban and King Bors returned to their own country across the sea, and the King went to Carlion, a town on the river Usk, where a strange dream came to him.

He thought that the land was over-run with gryphons and serpents which burnt and slew his people, and he made war on the monsters, and was sorely wounded, though at last he killed them all. When he awoke the remembrance of his dream was heavy upon him, and to shake it off he summoned his Knights to hunt with him, and they rode fast till they reached a forest. Soon they spied a hart before them, which the King claimed as his game, and he spurred his horse and rode after him. But the hart ran fast and the King could not get near it, and the chase lasted so long that the King himself grew heavy and his horse fell dead under him. Then he sat under a tree and rested, till he heard the baying of hounds, and fancied he counted as many as thirty of them. He raised his head to look, and, coming towards him, saw a beast so strange that its like was not to be found throughout his kingdom. It went straight to the well and drank, making as it did so the noise of many hounds baying, and when it had drunk its fill the beast went its way.

While the King was wondering what sort of a beast this could be, a Knight rode by, who, seeing a man lying under a tree, stopped and said to him: 'Knight full of thought and sleepy, tell me if a strange beast has pa.s.sed this way?'

'Yes, truly,' answered Arthur, 'and by now it must be two miles distant. What do you want with it?'

'Oh sir, I have followed that beast from far,' replied he, 'and have ridden my horse to death. If only I could find another I would still go after it.' As he spoke a squire came up leading a fresh horse for the King, and when the Knight saw it he prayed that it might be given to him, 'for,' said he, 'I have followed this quest this twelvemonth, and either I shall slay him or he will slay me.'

'Sir Knight,' answered the King, 'you have done your part; leave now your quest, and let me follow the beast for the same time that you have done.' 'Ah, fool!' replied the Knight, whose name was Pellinore, 'it would be all in vain, for none may slay that beast but I or my next of kin'; and without more words he sprang into the saddle. 'You may take my horse by force,' said the King, 'but I should like to prove first which of us two is the better horseman.'

[Ill.u.s.tration: ARTHUR AND THE QUESTING BEAST]

'Well,' answered the Knight, 'when you want me, come to this spring.

Here you will always find me,' and, spurring his horse, he galloped away. The King watched him till he was out of sight, then turned to his squire and bade him bring another horse as quickly as he could.

While he was waiting for it the wizard Merlin came along in the likeness of a boy, and asked the King why he was so thoughtful.