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though we have some, we have not very many representatives of the class which was the most numerous of all in France--the chansons de geste or stories of French legendary history, national or family. Except as far as the Saracens are concerned, they would naturally have less interest for English hearers. The Matiere de Rome, again--the legends of antiquity--though represented, is not very abundant outside of the universally popular Tale of Troy; and the almost equally popular Alexander legend does not occupy a very large part of them. What is perhaps more remarkable is that until Malory exercised his genius upon "the French book," the more poetical parts of the "matter of Britain" itself do not seem to have been very much written about in English. The preliminary stuff about Merlin and Vortigern exists in several handlings; the foreign campaigns of Arthur seem always (perhaps from national vanity) to have been popular. The "off"?branches of Tristram and Percivale, and not a few of the still more episodic romances of adventures concerning Gawain, Iwain, and other knights, receive
attention. The execrable Lonelich or Lovelich, who preceded Malory a little, had of course predecessors in handling the other parts of the Graal story. But the crown and flower of the whole--the inspiration which connected the Round Table and the Graal and the love of Lancelot and Guinevere--though, so far as the present writer's reading and opinion are of any weight, the recent attempts to deprive the Englishman, Walter Map, of the honour of conceiving it are of no force--seems to have waited till the fifteenth century--that is to say the last part of three hundred years--before Englishmen took it up. Most popular of all perhaps, on the principle that in novels the flock "likes the savour of fresh grass," seem to have been the pure romans d'aventures--quite unconnected or nearly so with each other or with any of the larger cycles. Those adventures of particular heroes have sometimes a sort of Arthurian link, but they really have no more to do with the main Arthurian story than if Arthur were not. For the present purpose, however, filiation, origin, and such?like things are of
much less importance than the actual stories that get themselves told to satisfy that demand which in due time is to produce the supply of the novel. Of these the two oldest, as regards the actual forms in which we have them, are capital examples of the more and less original handling of "common?form" stories or motives. They were not then, be it remembered, quite such common?form as now--the rightful heir kept out of his rights, the usurper of them the princess gracious or scornful or both by turns, the quest, the adventure, the revolutions and discoveries and fights, the wedding bells and the poetical justice on the villain. Let it be remembered, too, if anybody is scornful of these as vieux jeu, that they have never been really improved upon except by the very obvious and unoriginal method common in clever?silly days, of simply reversing some of them, of "turning platitudes topsy?turvy," as not the least gifted, or most old?fashioned, of novelists, Tourguenief, has it. Perhaps the oldest of all, Havelok the Dane--a story the age of which from evidence both internal and external
is so great that people have not quite gratuitously imagined a still older Danish or even Anglo?Saxon original for the French romance from which our existing one is undoubtedly taken--is one of the most spirited of all. Both hero and heroine--Havelok, who should be King of Denmark and Goldborough, who should be Queen of England--are ousted by their treacherous guardian?viceroys as infants; and Havelok is doomed to drowning by his tutor, the greater or at least bolder villain of the two. But the fisherman Grim, who is chosen as his murderer, discovers that the child has, at night, a nimbus of flame round his head; renounces his crime and escapes by sea with the child and his own family to Grimsby. Havelok, growing up undistinguished from his foster?brethren, takes service as a scullion with the English usurper. This usurper is seeking how to rid himself of the princess without violence, but in some way that will make her succession to the crown impossible, and Havelok having shown prowess in sports is selected as the maiden's husband. She, too, The English Novel 7 discovers his