as sings our philosophical bard; but to come at this knowledge, is the difficulty. Sometimes a close attention to the workings of the human mind is sufficient to lead us to it: sometimes more than that, the diligent observation of what passes without us, is necessary.
This last I take to be the case here. The prodigies we are now contemplating, had their origin in the barbarous ages. Why then, says the fastidious modern, look any further for the reason? Why not resolve them at once into the usual caprice and absurdity of barbarians?
This, you see, is a short and commodious philosophy. Yet barbarians have their own, such as it is, if they are not enlightened by our reason. Shall we then condemn them unheard, or will it not be fair to let them have the telling of their own story?
Would we know from what causes the institution of Chivalry was derived? The time of its birth, the situation of the barbarians amongst whom it arose, must be considered: their wants, designs, and policies, must be explored: we must inquire when, and where, and how, it came to pass that the Western world became familiarized to this prodigy, which we now start at.
Another thing is full as remarkable, and concerns us more nearly. The spirit of Chivalry was a fire which soon spent itself: but that of Romance, which was kindled at it, burnt long, and continued its light and heat even to the politer ages.
The greatest geniuses of our own and foreign countries, such as Ariosto and Tasso in Italy, and Spenser and Milton in England, were seduced by these barbarities of their forefathers; were even charmed by the Gothic Romances. Was this caprice and absurdity in them? Or, may there not be something in the Gothic Romance peculiarly suited to the views of a genius, and to the ends of poetry? And may not the philosophic moderns have gone too far in their perpetual ridicule and contempt of it?
To form a judgment in the case, the rise, progress, and genius of Gothic Chivalry must be explained.
The circumstances in the Gothic fictions and manners, which are proper to the ends of poetry (if any such there be) must be pointed out.
Reasons, for the decline and rejection of the Gothic taste in later times, must be given.
You have in these particulars both the Subject and the Plan of the following Letters.