Brief History of English and American Literature | Page 5

real kings of early England. So completely had the true record faded away that it made no appeal to the imaginations of our most patriotic poets. The Saxon Alfred had been dethroned by the British Arthur, and the conquered Welsh had imposed their fictitious genealogies upon the dynasty of the conquerors. In the Roman de Rou, a verse chronicle of the dukes of Normandy, written by the Norman Wace, it is related that at the battle of Hastings the French jongleur, Taillefer, spurred out before the van of William's army, tossing his lance in the air and chanting of "Charlemagne and of Roland, of Oliver and the peers who died at Roncesvals." This incident is prophetic of the victory which Norman song, no less than Norman arms, was to win over England. The lines which Taillefer {19} sang were from the Chanson de Roland, the oldest and best of the French hero sagas. The heathen Northmen, who had ravaged the coasts of France in the 10th century, had become in the course of one hundred and fifty years, completely identified with the French. They had accepted Christianity, intermarried with the native women, and forgotten their own Norse tongue. The race thus formed was the most brilliant in Europe. The warlike, adventurous spirit of the vikings mingled in its blood with the French nimbleness of wit and fondness for display. The Normans were a nation of knights-errant, with a passion for prowess and for courtesy. Their architecture was at once strong and graceful. Their women were skilled in embroidery, a splendid sample of which is preserved in the famous Bayeux tapestry, in which the conqueror's wife, Matilda, and the ladies of her court wrought the history of the Conquest.
This national taste for decoration expressed itself not only in the ceremonious pomp of feast and chase and tourney, but likewise in literature. The most characteristic contribution of the Normans to English poetry were the metrical romances or chivalry tales. These were sung or recited by the minstrels, who were among the retainers of every great feudal baron, or by the jongleurs, who wandered from court to castle. There is a whole literature of these romans d' aventure in the Anglo-Norman dialect of French. Many of them are {20} very long--often thirty, forty, or fifty thousand lines--written sometimes in a strophic form, sometimes in long Alexandrines, but commonly in the short, eight-syllabled rhyming couplet. Numbers of them were turned into English verse in the 13th, 14th, and 15th centuries. The translations were usually inferior to the originals. The French trouvere (finder or poet) told his story in a straight-forward, prosaic fashion, omitting no details in the action and unrolling endless descriptions of dresses, trappings, gardens, etc. He invented plots and situations full of fine possibilities by which later poets have profited, but his own handling of them was feeble and prolix. Yet there was a simplicity about the old French language and a certain elegance and delicacy in the diction of the trouveres which the rude, unformed English failed to catch.
The heroes of these romances were of various climes: Guy of Warwick, and Richard the Lion Heart of England, Havelok the Dane, Sir Troilus of Troy, Charlemagne, and Alexander. But, strangely enough, the favorite hero of English romance was that mythical Arthur of Britain, whom Welsh legend had celebrated as the most formidable enemy of the Sassenach invaders and their victor in twelve great battles. The language and literature of the ancient Cymry or Welsh had made no impression on their Anglo-Saxon conquerors. There are a few Welsh borrowings in the English speech, such as bard and druid; but in the old Anglo-Saxon literature there are {21} no more traces of British song and story than if the two races had been sundered by the ocean instead of being borderers for over six hundred years. But the Welsh had their own national traditions, and after the Norman Conquest these were set free from the isolation of their Celtic tongue and, in an indirect form, entered into the general literature of Europe. The French came into contact with the old British literature in two places: in the Welsh marches in England and in the province of Brittany in France, where the population is of Cymric race and spoke, and still to some extent speaks, a Cymric dialect akin to the Welsh.
About 1140 Geoffrey of Monmouth, a Benedictine monk, seemingly of Welsh descent, who lived at the court of Henry the First and became afterward bishop of St. Asaph, produced in Latin a so-called Historia Britonum in which it was told how Brutus, the great grandson of Aeneas, came to Britain, and founded there his kingdom called after him, and his city of New Troy (Troynovant) on the site of the later London. An air