That these strictures are too severe, and that the consequences apprehended by these ingenious scholars did not necessarily follow, we have the authority of Milton to prove; who, so far from deprecating the study of romances as dangerous to morality, declares "that even those books proved to me so many enticements to the love and stedfast observation of virtue[525:C];" a passage which appears to have kindled in the mind of a modern writer, a spirited defence of the utility of these productions, even at the present day. "There is yet a point of view," he remarks, "in which Romance may be regarded to advantage, even in the present age. The most interesting qualities in a chivalrous knight, are his high-toned enthusiasm, and disinterested spirit of adventure—qualities to which, when properly modified and directed, society owes its highest improvements. Such are the feelings of benevolent genius yearning to diffuse love and peace and happiness among the human race. The gorgeous visions of the
imagination, familiar to the enthusiastic soul, purify the heart from selfish pollutions, and animate to great and beneficent action. Indeed, nothing great or eminently beneficial ever has been, or can be effected without enthusiasm—without feelings more exalted than the consideration of simple matter of fact can produce. That Romances have a tendency to excite the enthusiastic spirit, we have the evidence of fact in numerous instances. Hereafter, we shall hear the great Milton indirectly bearing his testimony of admiration and gratitude for their inspiring influence. It is of little consequence, comparatively speaking, whether all the impressions made, be founded in strict philosophical truth. If the imagination be awakened and the heart warmed, we need give ourselves little concern about the final result. The first object is to elicit power. Without power nothing can be accomplished. Should the heroic spirit chance to be excited by reading Romances, we have, alas! too much occasion for that spirit even in modern times, to wish to repress its generation. Since the Gallic hero has cast his malign aspect over the nations, it is become almost as necessary to social security, as during the barbarism of the feudal times. There is now little danger of its being directed to an unintelligible purpose.
"Romances, then, not only merit attention, as enabling us to enter into the feelings and sentiments of our ancestors,—a circumstance in itself curious, and even necessary to a complete knowledge of the history of past ages; they may still be successfully employed to awaken the mind—to inspire genius: and when this effect is produced, the power thus created may be easily made to bear on any point desired."[526:A]
The demand for Morte Arthur, which continued for nearly two centuries, produced of course several re-impressions: the second issued from the press of Winkin de Worde in 1498, the colophon of which, as specified by Herbert, is singularly curious. "Here is the
ende of the hoole boke of kynge Arthur, and of his noble knygtes of the rounde table. That whane they were hoole togyder, there was ever an C. and XL. And here is the ende of the deth of Arthur. I praye you all gentylmen and gentylwymmen that rede thys boke of Arthur and his knyghtes from the beginnynge to the endynge praye for me whyle I am a lyue, that, God send me good utterance. And when I am deed, I pray you all pray for my soule: for the translacion of this boke was fynisshed the IX. yere of the regne of kyng Edwarde the fourth, by syr Thomas Maleore knyght, as Jhesu helpe him for his grete myghte, as he is the servaunt of Jhesu bothe day and nyghte. Emprynted fyrst by William Caxton, on whose soul God have mercy."[527:A]
The re-impression of De Worde was followed by the editions of Copland, East, and William Stansby, this last being dated 1634. Of the elder copies East's was probably the one most generally used in the reign of Elizabeth, and it differs only in a few unessential phrases from the edition of Caxton.
La Morte D'Arthur, which, by its frequent republication, kept alive a taste for romantic fiction, may be considered as giving us, with a few exceptions as to costume, a very pleasing though somewhat polished picture of the chivalric romance of the Anglo-Norman period. It has the merit also of furnishing an excellent specimen of purity and simplicity in style and diction; qualities which have stamped upon many of its otherwise extravagant details the most decided features of sublimity and pathos. A passage in the twenty-second chapter of the second book, for example, furnishes a noble instance of the former, and the speech of Sir Bohort, over the dead body of Sir Launcelot, towards the close of the work, is as admirable a specimen of the latter. These, as short, peculiarly interesting, and characteristic of the work, we shall venture to transcribe.
The description of, and the effect arising from, so simple a circumstance as that of blowing a horn, are thus painted:—
"So hee rode forth, and within three days hee came by a cross, and thereon was letters of gold written, that said, It is not for a knight alone to ride toward this castle. Then saw hee an old hoar gentleman coming toward him, that said, Balin le Savage, thou passest thy bounds this way, therefore turn againe and it will availe thee. And hee vanished away anon; and so hee heard an horne blow as it had been the death of a beast. That blast, said Balin, is blown for mee; for I am the prize, and yet am I not dead."
Sir Ector de Maris, the brother of Sir Launcelot, after having sought him in vain through Britain for seven years, has at length the melancholy satisfaction of recognising the body of the hero, who had just breathed his last.