nature of the distinction adopted, that there may exist compositions which it is difficult to assign precisely or exclusively to the one class or the other; and which, in fact, partake of the nature of both. But, generally speaking, the distinction will be found broad enough to answer all general and useful purposes.

The word Romance, in its original meaning, was far from corresponding with the definition now assigned. On the contrary, it signified merely one or other of the popular dialects of Europe, founded

1[" The epic poem and the romance of chivalry transport us to the world of wonders, where supernatural agents are mixed with human characters, where the human characters themselves are prodigies, and where events are produced by causes widely and manifestly different from those which regulate the course of human affairs. With such a world we do not think of comparing our actual situation; to such characters we do not presume to assimilate ourselves or our neighbours; from such a concatenation of marvels we draw no conclusions with regard to our own expectations in real life. But real life is the very thing which novels affect to imitate; and the young and inexperienced will sometimes be too ready to conceive that the picture true, in those respects at least in which they wish it to be so. Hence both their temper, conduct, and happiness may be materially injured. For novels are often romantic, not indeed by the relation of what is obviously miraculous or impossible, but by deviating, though perhaps insensibly, beyond the bounds of probability or consistency. And the girl who dreams of the brilliant accomplishments and enchanting manners which distinguish the favourite characters in those fictitious histories, will be apt to look with contempt on the most respectable and amiable of her acquaintance; while in the showy person and flattering address of some contemptible and perhaps profligate coxcomb, she may figure to herself the prototype of her imaginary heroes, the only man upon earth with whom it is possible to be happy." Quarterly Review, vol. i., p. 305.]

(as almost all these dialects were) upon the Roman tongue, that is, upon the Latin. The name of Romance was indiscriminately given to the Italian, to the Spanish, even (in one remarkable instance at least) to the English language. But it was especially applied to the compound language of France; in which the Gothic dialect of the Franks, the Celtic of the ancient Gauls, and the classical Latin, formed the ingredients. Thus Robert De Brunne :

"All is calde geste Inglis,

That in this language spoken is-
Frankis speech is caled Romance,
So sayis clerkis and men of France."

At a period so early as 1150, it plainly appears that the Romance Language was distinguished from the Latin, and that translations were made from the one into the other; for an ancient Romance on the subject of Alexander, quoted by Fauchet, says it was written by a learned clerk,

"Qui de Latin la trest, et en Roman la mit."

That is "who translated the tale from the Latin, and clothed it in the Romance language."

The most noted metrical tales or chronicles of the

This curious passage was detected by the industry of Ritson in Giraldus Cambrensis, "Ab aqua illa optima, quæ Scottice vocata est FROTH; Brittanice, WAITE; Romane vero Scotte-Wattre." Here the various names assigned to the Frith of Forth are given in the Gaelic or Earse, the British or Welsh; and the phrase Roman is applied to the ordinary language of England. But it would be difficult to show another instance of the English language being termed Roman or Romance.

middle ages were usually composed in the Romance or French language, which, being spoken both at the Court of Paris and that of London, under the kings of the Norman race, became in a peculiar degree the speech of love and Chivalry. So much is this the case, that such metrical narratives as are written in English always affect to refer to some French original, which usually, at least, if not in all instances, must be supposed to have had a real existence. Hence the frequent recurrence of the phrase,

Or,

"As in romance we read;"

"Right as the romaunt us tells; "

and equivalent terms, well known to all who have at any time perused such compositions. Thus, very naturally, though undoubtedly by slow degrees, the very name of romaunt, or romance, came to be transferred from the language itself to that peculiar style of composition in which it was so much employed, and which so commonly referred to it. How early a transference so natural took place, we have no exact means of knowing; but the best authority assures us, that the word was used in its modern and secondary sense so early as the reign of Edward III. Chaucer, unable to sleep during the night, informs us, that, in order to pass the time,

"Upon my bed I sate upright,

And bade one rechin me a boke,
A ROMAUNCE, and it me took
To read and drive the night away."

The book described as a Romance contained, as we

are informed,

"Fables

That clerkis had, in old tyme,

And other poets, put in rhyme."

And the author tells us, a little lower,

"This boke ne spake but of such things,

Of Queens' lives and of Kings."

The volume proves to be no other than Ovid's Metamorphoses; and Chaucer, by applying to that work the name of Romance, sufficiently establishes that the word was, in his time, correctly employed under the modern acceptation.

Having thus accounted for the derivation of the word, our investigation divides itself into three principal branches, though of unequal extent. In the FIRST of these we propose to enquire into the general History and Origin of this peculiar species of composition, and particularly of Romances relating to European Chivalry, which necessarily form the most interesting object of our enquiry. In the SECOND, we shall give some brief account of the History of the Romance of Chivalry in the different states of Europe. THIRDLY, We propose to notice cursorily the various kinds of Romantic Composition by which the ancient Romances of Chivalry were followed and superseded, and with these notices to conclude the article.

I. In the views taken by Hurd, Percy, and other older authorities, of the origin and history of romantic fiction, their attention seems to have been so exclusively fixed upon the Romance of Chivalry

alone, that they appear to have forgotten that, however interesting and peculiar, it formed only one species of a very numerous and extensive genus. The progress of Romance, in fact, keeps pace with that of society, which cannot long exist, even in the simplest state, without exhibiting some specimens of this attractive style of composition. It is not meant by this assertion, that in early ages such narratives were invented, as in modern times, in the character of mere fictions, devised to beguile the leisure of those who have time enough to read and attend to them. On the contrary, Romance and real history have the same common origin. It is the aim of the former to maintain as long as possible the mask of veracity; and indeed the traditional memorials of all earlier ages partake in such a varied and doubtful degree of the qualities essential to those opposite lines of composition, that they form a mixed class between them; and may be termed either romantic histories, or historical romances, according to the proportion in which their truth is debased by fiction, or their fiction mingled with truth.

A moment's glance at the origin of society will satisfy the reader why this can hardly be otherwise. The father of an isolated family, destined one day to rise into a tribe, and in farther progress of time to expand into a nation, may, indeed, narrate to his descendants the circumstances which detached him from the society of his brethren, and drove him to form a solitary settlement in the wilderness, with no other deviation from truth, on the part of the narrator, than arises from the infidelity of me