centuries, will not be without benefit to the reader, in addition to the amusement it may afford. The tales, though not to be trusted for their facts, are worthy of all credit as pictures of manners; and it is beginning to be held that the manners and modes of thinking of an age are a more important part of its history than the conflicts of its peoples, generally leading to no result. Besides this, the literature of romance is a treasure-house of poetical material, to which modern poets frequently resort. The Italian poets, Dante and Ariosto, the English, Spenser, Scott, and Tennyson, and our own Longfellow and Lowell, are examples of this.

These legends are so connected with each other, so consistently adapted to a group of characters strongly individualized in Arthur, Launcelot, and their compeers, and so lighted up by the fires of imagination and invention, that they seem as well adapted to the poet's purpose as the legends of the Greek and Roman mythology. And if every well-educated young person is expected to know the story of the Golden Fleece, why is the quest of the Sangreal less worthy of his acquaintance? Or if an allusion to the shield of Achilles ought not to pass unapprehended, why should one to Excalibar, the famous sword of Arthur?--

"Of Arthur, who, to upper light restored, With that terrific sword, Which yet he brandishes for future war, Shall lift his country's fame above the polar star."

[Footnote: Wordsworth]

It is an additional recommendation of our subject, that it tends to cherish in our minds the idea of the source from which we sprung. We are entitled to our full share in the glories and recollections of the land of our forefathers, down to the time of colonization thence. The associations which spring from this source must be fruitful of good influences; among which not the least valuable is the increased enjoyment which such associations afford to the American traveller when he visits England, and sets his foot upon any of her renowned localities.

The legends of Charlemagne and his peers are necessary to complete the subject.

In an age when intellectual darkness enveloped Western Europe, a constellation of brilliant writers arose in Italy. Of these, Pulci (born in 1432), Boiardo (1434), and Ariosto (1474) took for their subjects the romantic fables which had for many ages been transmitted in the lays of bards and the legends of monkish chroniclers. These fables they arranged in order, adorned with the embellishments of fancy, amplified from their own invention, and stamped with immortality. It may safely be asserted that as long as civilization shall endure these productions will retain their place among the most cherished creations of human genius.

In "Stories of Gods and Heroes," "King Arthur and His Knights" and "The Mabinogeon" the aim has been to supply to the modern reader such knowledge of the fables of classical and mediaeval literature as is needed to render intelligible the allusions which occur in reading and conversation. The "Legends of Charlemagne" is intended to carry out the same design. Like the earlier portions of the work, it aspires to a higher character than that of a piece of mere amusement. It claims to be useful, in acquainting its readers with the subjects of the productions of the great poets of Italy. Some knowledge of these is expected of every well-educated young person.

In reading these romances, we cannot fail to observe how the primitive inventions have been used, again and again, by successive generations of fabulists. The Siren of Ulysses is the prototype of the Siren of Orlando, and the character of Circe reappears in Alcina. The fountains of Love and Hatred may be traced to the story of Cupid and Psyche; and similar effects produced by a magic draught appear in the tale of Tristram and Isoude, and, substituting a flower for the draught, in Shakspeare's "Midsummer Night's Dream." There are many other instances of the same kind which the reader will recognize without our assistance.

The sources whence we derive these stories are, first, the Italian poets named above; next, the "Romans de Chevalerie" of the Comte de Tressan; lastly, certain German collections of popular tales. Some chapters have been borrowed from Leigh Hunt's Translations from the Italian Poets. It seemed unnecessary to do over again what he had already done so well; yet, on the other hand, those stories could not be omitted from the series without leaving it incomplete.

THOMAS BULFINCH.

CONTENTS

KING ARTHUR AND HIS KNIGHTS

I. Introduction II. The Mythical History of England III. Merlin IV. Arthur V. Arthur (Continued) VI. Sir Gawain VII. Caradoc Briefbras; or, Caradoc with the Shrunken Arm VIII. Launcelot of the Lake IX. The Adventure of the Cart X. The Lady of Shalott XI. Queen Guenever's Peril XII. Tristram and Isoude XIII. Tristram and Isoude (Continued) XIV. Sir Tristram's Battle with Sir Launcelot XV. The Round Table XVI. Sir Palamedes XVII. Sir Tristram XVIII. Perceval XIX. The Sangreal, or Holy Graal XX. The Sangreal (Continued) XXI. The Sangreal (Continued) XXII. Sir Agrivain's Treason XXIII. Morte d'Arthur

THE MABINOGEON

Introductory Note I. The Britons II. The Lady of the Fountain III. The Lady of the Fountain (Continued) IV. The Lady of the Fountain (Continued) V. Geraint, the Son of Erbin VI. Geraint, the Son of Erbin (Continued) VII. Geraint, the Son of Erbin (Continued) VIII. Pwyll, Prince of Dyved IX. Branwen, the Daughter of Llyr X. Manawyddan XI. Kilwich and Olwen XII. Kilwich and Olwen (Continued) XIII. Taliesin

HERO MYTHS OF THE BRITISH RACE

Beowulf Cuchulain, Champion of Ireland Hereward the Wake Robin Hood

GLOSSARY

KING ARTHUR AND HIS KNIGHTS

CHAPTER I

INTRODUCTION

On the decline of the Roman power, about five centuries after Christ, the countries of Northern Europe were left almost destitute of a national government. Numerous chiefs, more or less powerful, held local sway, as far as each could enforce his dominion, and occasionally those chiefs would unite for a common object; but, in ordinary times, they were much more likely to be found in hostility to one another. In such a state of things the rights of the humbler classes of society were at the mercy of every assailant; and it is plain that, without some check upon the lawless power of the chiefs, society must have relapsed into barbarism. Such checks were found, first, in the rivalry of the chiefs themselves, whose mutual jealousy made them restraints upon one another; secondly, in the influence of the Church, which, by every motive, pure or selfish, was pledged to interpose for the protection of the weak; and lastly, in the generosity and sense of right which, however crushed under the weight of passion and selfishness, dwell naturally in the heart of man. From this last source sprang Chivalry, which framed an ideal of the heroic character, combining invincible strength and valor, justice, modesty, loyalty to superiors, courtesy to equals, compassion to weakness, and devotedness to the Church; an ideal which, if never met with in real life, was acknowledged by all as the highest model for emulation.

The word "Chivalry" is derived from the French "cheval," a horse. The word "knight," which originally meant boy or servant, was particularly applied to a young man after he was admitted to the privilege of bearing arms. This privilege was conferred on youths of family and fortune only, for the mass of the people were not furnished with arms. The knight then was a mounted warrior, a man of rank, or in the service and maintenance of some man of rank, generally possessing some independent means of support, but often relying mainly on the gratitude of those whom he served for the supply of his wants, and often, no doubt, resorting to the means which power confers on its possessor.

In time of war the knight was, with his followers, in the camp of