It has been ascertained that the legend of Arthur was familiar among the Normans before Geoffrey of Monmouth wrote his books, and it certainly had an incalculable formative influence on European literature, much of which can be "traced back directly or indirectly to these legends." It was also a vehicle for that element which we call chivalry, which the church infused into it to fashion and mould the rude soldiers of feudal times into Christian knights, and, as it "expanded the imagination and incited the minds of men to inquiry beyond the conventional notions of things," it materially a.s.sisted in creating modern society.

After thus tracing the Celtic germs and influence in English literature, it becomes necessary to hark back to the time of the Teutonic invasions, since English thought and speech, manners and customs are all of Teutonic origin. The invaders brought with them an already formed language and literature, both of which were imposed upon the people. The only complete extant northern epic of Danish-English origin is Beowulf, of which a synopsis follows, and which was evidently sung by gleemen in the homes of the great chiefs.

Apart from Beowulf, some remains of national epic poetry have come down to us in the fine fragments of Finnsburgh and Waldhere, another version of Walter of Aquitaine.

There are also the Legends of Havelock the Dane, of King Horn, of Beves of Hamdoun, and of Guy of Warwick, all four of which were later turned into popular prose romances. Intense patriotic feeling also gave birth to the Battle of Maldon, or Bryhtnoth's Death, an ancient poem, fortunately printed before it was destroyed by fire. This epic relates how the Viking Anlaf came to England with 93 ships, and, after harrying the coast, was defeated and slain in battle.

The earliest Christian poet in England, Caedmon, instead of singing of love or fighting, paraphrased the Scriptures, and depicted the creation in such eloquent lines that he is said to have inspired some of the pa.s.sages in Milton's Paradise Lost. Chief among the religious poems ascribed to Caedmon, are Genesis, Exodus, and Daniel, but, although in general he strictly conforms with the Bible narrative, he prefixed to Genesis an account of the fall of the angels, and thus supplied Milton with the most picturesque feature of his theme.

Next come the epic poems of Cynewulf, Crist, Juliana, Elene, and Andreas, also written in alliterative verse. In Elene the poet gives us the legend of finding of the cross[20] by the empress Helena, dividing his poem into fourteen cantos or fitts.

It is in Gildas and Nennius' Historia Britonum that we find the first mention of the legendary colonization of Britain and Ireland by refugees from Troy, and of the exploits of Arthur and the prophesies of Merlin. This work, therefore, contains some of the "germs of fables which expanded into Geoffrey of Monmouth's History of Britain, which was written in Latin some time before 1147," although this historian claims to derive his information from an ancient British book of which no trace can be found.

There is, besides, a very curious yet important legend cycle, in regard to a letter sent from Heaven to teach the proper observation of Sunday. The text of this letter can be found in old English in Wulfstan's homilies. Besides sacred legends, others exist of a worldly nature, such as the supposed letter from Alexander to Aristotle, the Wonders of the East, and the Story of Apollonius of Tyre. The first two, of course, formed part of the great Alexander cycle, while the latter supplied the theme for Pericles of Tyre.

With the Norman Conquest, French became the literary language of England, and modern romance was born. Romance cycles on "the matter of France" or Legends of Charlemagne, and on "the matter of Britain" or Legends of Arthur, became popular, and Geoffrey of Monmouth freely made use of his imagination to fill up the early history of Britain, for his so-called history is in reality a prose romance, whence later writers drew themes for many a tale.

Walter Map, born on the border of Wales in 1137, is credited with the no longer extant Latin prose romance of Lancelot du Lac, which included the Quest of the Holy Grail and the Death of Arthur. Besides Wace's Brut, we have that of Layamon, and both poets not only explain how Britain's name is derived from Brut,--a member of Priam's family and refugee from Troy,--but go on to give the history of other early kings of Britain, including Arthur. They often touch the true epic note,--as in the wrestling match between Corineus and the giant,--use similes drawn from every-day life, and supply us with legends of King Lear and of Cymbeline.

It was toward the end of the twelfth century that Arthur reached the height of his renown as romantic hero, the "matter of Britain" having become international property, and having been greatly enriched by poets of many climes. By this time Arthur had ceased to be a king of Britain, to become king of a fairy-land and chief exponent of chivalric ideals and aims.

To name all the poets who had a share in developing the Arthurian Legend would prove an impossible task, but Nennius, Gildas, Geoffrey of Monmouth, Wace, Layamon, Benoit de St. Maur, Chrestien de Troyes, Marie de France, Hartmann von der Aue, and Wolfram von Eschenbach have, in English, French, and German, helped to develop the "matter of Britain," and have managed to connect it with "the matter of France."

During the age of metrical romances (1200 to 1500), all the already extant cycles were remodelled and extended. Besides, not only were Greek and Latin epics translated so as to be within reach of all, but one country freely borrowed from another. Thus, the French romances of Huon de Bordeaux and of the Four Sons of Aymon found many admirers in England, where the former later supplied Shakespeare with some of the characters for a Midsummer Night's Dream. It was to offset the very popular romance of Alexander, that some patriotic poet evolved the romance of Richard Coeur de Lion, explaining how this king earned his well-known nickname by wrenching the heart out of a lion!

Some of these romances, such as Flores and Blancheflour, have "the voluptuous qualities of the East," make great use of magic of all kinds, and show the idyllic side of love. The tragedy of love is depicted in the romance of Tristram and Iseult, where a love-potion plays a prominent part. But, although knightly love and valor are the stock topics, we occasionally come across a theme of Christian humility, like Sir Isumbras, or of democracy, as in the Squire of Low Degree and in the Ballads of Robin Hood.

With the advent of Chaucer a new poet, a new language, and new themes appear. Many of his Canterbury tales are miniature epics, borrowed in general from other writers, but retold with a charm all his own. The Knight's Tale, or story of the rivalry in love of Palamon and Arcite, the tale of Gamelyn, and that of Troilus and Cressida, all contain admirable epic pa.s.sages.

Spenser, our next epic poet, left us the unfinished Faerie Queene, an allegorical epic which shows the influence of Ariosto and other Italian poets, and contains exquisitely beautiful pa.s.sages descriptive of nature, etc. His allegorical plot affords every facility for the display of his graceful verse, and is outlined in another chapter.

There are two curious but little-known English epics, William Warner's chronicle epic ent.i.tled "Albion's England" (1586), and Samuel Daniel's "Civil Wars." The first, beginning with the flood, carries the reader through Greek mythology to the Trojan War, and hence by means of Brut to the beginnings of English history, which is then continued to the execution of Mary Stuart. The second (1595) is an epic, in eight books, on the Wars of the Roses. Drayton also wrote, on the theme of the Civil Wars, an epic ent.i.tled "The Barons' Wars," and undertook a descriptive and patriotic epic in "Polyolbion," wherein he makes a tour of England relating innumerable local legends.

Abraham Cowley composed an epic ent.i.tled "Davideis," or the troubles of David. He begins this work in four books with a description of two councils held in Heaven and h.e.l.l in regard to the life of this worthy.

Dryden was not only a translator of the cla.s.sic epics, but projected an epic of his own about Arthur. Almost at the same time Pope was planning to write one on Brut, but he too failed to carry out his intentions, and is best known as the translator of the Iliad, although some authorities claim the "Rape of the Lock" is a unique sample of the _epopee galante._

The poet Keats, whose life was so short, left us a complete mythological epic in "Endymion," a fragment of one in "Hyperion," and a reproduction of one of the old romances in "Isabella, or a Pot of Basil."

Sh.e.l.ley, Keats' contemporary, wrote poems abounding in epic pa.s.sages,--"Alastor, or the Spirit of Solitude," "The Revolt of Islam," "Adonais," and "Prometheus Unbound"; while Byron's epical poems are "Manfred," "The Corsair," and "Don Juan"; and Scott's, "The Lay of the Last Minstrel," "Marmion," "The Lady of the Lake," and "The Bridal of Triermain."

The greatest of Coleridge's poems, "The Ancient Mariner," is sometimes called a visionary epic, while his "Christabel" conforms more closely to the old _roman d'adventure._

As the translator of the epical romances of "Amadis de Gaule" and "Palmerin," Southey won considerable renown; he also wrote the oriental epics "Thalaba" and "The Curse of Kehama," as well as epical poems on "Madoc," "Joan of Arc," and "Roderick, the Last of the Goths."

Moore, although preeminently a lyric poet, has left us the eastern epic "Lalla Rookh," and Lockhart some "Spanish Ballads" which paraphrase the Cid.

Among Macaulay's writings the "Lays of Ancient Rome" have epic qualities, which are also found in Leigh Hunt's "Story of Rimini."

The plot of Tristram has been utilized both by Matthew Arnold and by Swinburne, while William and Lewis Morris have rewritten some of the old cla.s.sic stories in "The Earthly Paradise," the "Life and Death of Jason," the "Defense of Guinevere," and the "Epic of Hades."

It was, however, the Victorian poet-laureate Tennyson who gave the Arthurian Legend its latest and most artistic touches in "Idylls of the King." Some critics also claim as an example of the domestic epic his "Enoch Arden."

Among recent writers, sundry novelists have been hailed as authors of prose epics. Thomas Westwood has composed in excellent verse the "Quest of the Sangreall," Mrs. Trask "Under King Constantine," a notable addition to the Arthurian cycle, and Stephen Philips has sung of Ulysses and of King Alfred.

FOOTNOTES:

[Footnote 20: See the author's "Legends of the Virgin and Christ."]

BEOWULF[21]

_Introduction._ The only Anglo-Saxon epic which has been preserved entire was probably composed in Sweden before the eighth century, and taken thence to England, where this pagan poem was worked over and Christianized by some Northumbrian bard. Although some authorities declare it dates back as far as the fifth century, most affirm it must have been composed in the seventh. The present ma.n.u.script, now preserved in the British Museum, dates back to the tenth century. It contains some 3182 lines, and is written in alliterative verse (that is to say, that all the lines are written in pairs and that each perfect pair contains two similar sounds in the first line and one in the second). Although the author of Beowulf is unknown, the poem affords priceless hints in regard to the armor, ships, and mode of life of our early Saxon fore-fathers. Many translations of the poem have been made, some in prose and others in verse, and the epic as it stands, consisting of an introduction and forty-two "Fits," is the main text for the study of the Anglo-Saxon language.

_The Epic._ Hrothgar, King of Denmark, traces his origin to Skiold, son of Odin, who as an infant drifted to Denmark's sh.o.r.es. This child lay on a sheaf of ripe wheat, surrounded by priceless weapons, jewels, and a wonderful suit of armor, which proved he must be the scion of some princely race. The childless King and Queen of Denmark therefore gladly adopted him, and in due time he succeeded them and ruled over the whole country. When he died, his subjects, placing his body in the vessel in which he had come, set him adrift.

Men are not able Soothly to tell us, they in halls who reside, Heroes under heaven, to what haven he hied.[22]

Hrothgar, his descendant, constructed a magnificent hall, called Heorot, wherein to feast his retainers and entertain them with the songs of the northern skalds.

It burned in his spirit To urge his folk to found a great building, A mead-hall grander than men of the era Ever had heard of, and in it to share With young and old all of the blessings The Lord had allowed him, save life and retainers.

The night of the inauguration of this building, the royal body-guard lay down in the hall to sleep; and, when the servants entered the place on the morrow, they were horrified to find floor and walls spattered with blood, but no other trace of the thirty knights who had rested there the night before. Their cry of horror aroused Hrothgar, who, on investigating, discovered gigantic footsteps leading straight from the hall to the sluggish waters of a mountain tarn, above which a phosph.o.r.escent light always hovered. These footsteps were those of Grendel, a descendant of Cain, who dwelt in the marsh, and who had evidently slain and devoured all the king's men.

Too old to wield a sword in person, Hrothgar offered a princely reward to whoever would rid his country of this terrible scourge. But, although many warriors gladly undertook the task, the monster proved too strong for all, and none save a minstrel--who hid in one corner of the hall--ever succeeded in escaping from his clutches. This minstrel, after seeing Grendel feed upon his companions, was so impressed by the sight, that he composed a song about it, which he sang wherever he went, and once repeated for the entertainment of King Higelac and his nephew Beowulf. In answer to their eager questions, the bard averred the monster still existed and invariably invaded the hall when a feast was held there. This was enough to arouse in Beowulf a burning desire to visit Denmark and rid the world of this scourge. Knowing his nephew was very brave and having had proof of his endurance (for the young man had once in the course of a swimming match, stayed in the water five whole days and nights, killing many sea monsters who came to attack him), Higelac gladly allowed him to depart with fourteen chosen companions. Thus Beowulf set out "over the Swan-Road" for Denmark, to offer his services to the king.

The foamy-necked floater fanned by the breeze, Likest a bird, glided the waters, Till twenty and four hours thereafter The twist-stemmed vessel had travelled such distance That the sailing-men saw the sloping embankments, The sea-cliffs gleaming, precipitous mountains, Nesses enormous: they were nearing the limits At the end of the ocean.

On seeing a vessel with armed men approach their sh.o.r.es, the Danish coast guards challenged the new-comers, who rejoined their intentions were purely friendly, and begged to be led to the king. There Beowulf and his attendants--after paying their respects to Hrothgar--offered their services to rid him of the terrible scourge which had preyed so long upon his people. On hearing this, the king immediately ordered a feast prepared, and at its close allowed Beowulf, at his request, to remain alone in the hall with his men. Aware that no weapon could pierce the armed hide of the uncanny monster, Beowulf--who had the strength of thirty men--laid aside his armor and prepared to grapple with Grendel by main strength when he appeared.

Then the brave-mooded hero bent to his slumber, The pillow received the cheek of the n.o.ble; And many a martial mere-thane attending Sank to his slumber.

Just as the chill of morning invades the hall, Beowulf hears stealthy steps approaching and the great door bursts open, admitting a monster, all enveloped in clammy mist, which--pouncing upon one of the men--crunches his bones and greedily drinks his blood. Beowulf, intently watching the fiend, seeing him stretch out a h.o.r.n.y hand for another victim, suddenly grasps it with such force and determination that the monster, notwithstanding frantic efforts, cannot free himself. A terrible struggle now takes place, in the course of which Beowulf and Grendel, wrestling madly, overturn tables and couches, shaking the hall to its very foundations. Nevertheless, Beowulf clings so fast to the hand and arm he had grasped, that the monster, trying to free himself by a mighty jerk, tears his arm out of its socket and disappears, uttering a blood-curdling cry, and leaving this trophy in his foe's grasp. Mortally wounded, Grendel hastens back to his marsh, leaving a trail of blood behind him, while Beowulf, exhausted but triumphant, proudly exhibits the huge hand and limb which he has wrenched from the monster, declaring it will henceforth serve to adorn Heorot.

When Hrothgar beholds it on the morrow and hears an account of the night's adventures, he warmly congratulates Beowulf, upon whom he bestows rich gifts, and in whose honor he decrees a grand feast shall be held in this hall. While they are drinking there and listening to the music of the skalds (who sing of Sigmund the dragon-slayer and of a fight at Finnsburgh), Wealtheow, Queen of Denmark, appears in their midst, and bestows upon Beowulf a wonderful necklace and a ring of the finest gold, bidding him wear them in memory of his triumph.

The feast over, Hrothgar escorts his guest to the palace, where he is to rest that night, leaving his own men to guard Heorot, for all feel confident Grendel has been too sorely wounded ever to appear again.

But, while the warriors sleep peacefully, the giant's mother--an equally hideous monster--comes into the hall, secures her son's gory arm which hangs there as a trophy, and bears away Aeschere, one of the king's friends.

On learning of this loss on the morrow, Hrothgar is overcome with grief, and Beowulf, hearing his lamentations, suddenly appears to inquire what has occurred. On learning the ghastly news, he volunteers to complete his work and avenge Aeschere by attacking Grendel's mother in her own retreat. But, knowing the perils he is facing, he makes his arrangements in case he should never return, before following the b.l.o.o.d.y traces left by the monsters. Then he hastens to the pool, where he finds Aeschere's head set aloft as a trophy! Gazing down into the depths, Beowulf now perceives the waters are darkly tinged with the monster's blood, but nevertheless plunges boldly into their depths, where he swims about a whole day seeking Grendel's retreat. Guided at last by a phosph.o.r.escent gleam, our hero finally reaches a cave, after slaying on the way a number of monsters sent to check his advance. On nearing the giants' den, a strong eddy suddenly sweeps him within reach of Grendel's mother, who, clutching him fast, flings him on the floor, and is trying to find a joint in his armor, so as to kill him with her knife, when Beowulf, s.n.a.t.c.hing a sword hanging from a rocky projection, deals her so fierce a blow that he severs her head from its trunk.

Then he saw amid the war-gems a weapon of victory, An ancient giant-sword, of edges a-doughty, Glory of warriors: of weapons 'twas choicest, Only 'twas larger than any man else was Able to bear in the battle-encounter, The good and splendid work of the giants.

He grasped then the sword-hilt, knight of Seyldings, Bold and battle-grim, brandished his ring-sword, Hopeless of living hotly he smote her, That the fiend-woman's neck firmly it grappled, Broke through her bone-joints, the bill fully pierced her Fate-cursed body, she fell to the ground then: The hand sword was b.l.o.o.d.y, the hero exulted.

The brand was brilliant, brightly it glimmered, Just as from heaven gem-like shineth The torch of the firmament.

The blood from this monster, pouring out of the cave, mingles with the waters without, which begin to seethe and bubble in so ominous a way that Hrothgar and his men, exclaiming Beowulf is dead, sadly depart.