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crude in manner and in sentiment. But it is notable that the exaggerated and inartistic repulsiveness of Mark, resorted to by later writers as a rather rudimentary means of exciting compassion for the lovers, is not to be found here; in fact, one of the most poetical touches in the piece is one of sympathy for the luckless husband, when he sees the face of his faithless queen slumbering by her lover's side with the sun on it. "And Mark rewed therefore." The story, especially in its completion with the "Iseult of Brittany" part and the death of Tristram, gives scope for every possible faculty and craftsmanship of the most analytic as of the most picturesque novelist of modern times. There is nothing in the least like it in ancient literature; and to get a single writer who would do it justice in modern times we should have to take the best notes of Charles Kingsley, and Mr. Blackmore, and Mr. Meredith, leaving out all their faults, and combine. It is not surprising that, in the very infancy of the art, nobody in German or French, any more than in English (though the German here
is, as it happens, the best), should have done it full justice; but it is a wonder that a story of such capacities should have been sketched, and even worked out in considerable detail, so early. Of the far greater story of which Tristram is a mere episode and hardly even that--a chantry or out?lying chapel of the great cathedral--the Arthurian Legend, the earlier English versions, or rather the earlier versions in English, are, as has been said, not only fragmentary but disappointing. There is nothing in the least strange Elene (not Lunet), to whom he is assigned as champion in the adventure of the Lady of Sinadowne, objects only to his novelty of knighthood and is converted by his first victory. The course of the adventures is, however, different from that which some people know from Malory, and many from Tennyson. One of them is farcical: the Fair Unknown rescues a damsel at her utmost need from two giants, a red and a black, one of whom is roasting a wild boar and uses the animal as a weapon, with the spit in it, for the combat. Moreover, he falls a victim to the wiles of
a sorceress?chatelaine whom he has also succoured: and it is only after the year and day that Elene goads him on to his proper quest. But this also is no bad story. The limits of this volume admit of not much farther "argument" (though the writer would very gladly give it) of these minor romances of adventure, Arthurian and other. Ellis's easily accessible book supplies abstracts of the main Arthurian story before Malory; of the two most famous, though by no means best, of all the non?Arthurian romances, Guy of Warwick and Bevis of Hampton (the former of which was handled and rehandled from age to age, moralised, curtailed, lengthened, and hashed up in every form); of the brilliant and vigorous Richard Coeur?de?Lion; of the less racy Charlemagne romances in English; of the Seven Wise Masters, brought from the East and naturalised all over Europe; of the delightful love story of Florice and Blancheflour; of that powerful and pathetic legend of the Proud King (Robert of Sicily), which Longfellow and Mr. William Morris both modernised, each in his way; of those other legends, Sir
Isumbras and Amis and Amillion, which are so beautiful to those who can appreciate the mediaeval mind, and to the beauty of which others seem insensible; of Sir Triamond and Sir Eglamour (examples of the romance at its weakest); of the exceedingly spirited and interesting Ipomydon, and of some others, including the best of Scotch romances, Sir Eger, Sir Grame, and Sir Graysteel. But Ellis could not know others, and he left alone yet others that he might have known--the exquisite Sir Launfal of Thomas Chester at the beginning of the fifteenth century, where an unworthy presentment of Guinevere is compensated by the gracious image of Launfal's fairy love; the lively adventures of William of Palerne, who had a werewolf for his friend and an emperor's daughter for his love, eloping with her in white bear?skins, the unusual meat of which was being cooked in her father's kitchen; Sir Orfeo--Orpheus and Eurydice, with a happy ending; Emare, one of the tales of innocent but persecuted heroines of which Chaucer's Constance is the best known; Florence of Rome; the rather famous Squire
of Low Degree; Sir Amadas, not a very good handling of a fine motive, charity to a corpse; many others. Nor does he seem to have known one of the finest of all--the alliterative romance of Gawain and the Green Knight which, since Dr. Morris published it some forty years ago for the Early English Text Society, has made its way through text?books into more general knowledge than most of its fellows enjoy. In this the hero is tempted repeatedly, elaborately, and with great knowledge of nature and no small command of art on the teller's part, by the wife of his host and destined antagonist. He resists in the main, but succumbs in the point of accepting a magic preservative as a gift: and is discovered and lectured accordingly. It is curious that this, which is far above the usual mere adventure?story and is novel of a high kind as well as romance, has no known French original; and is strongly English in many characteristics besides its verse?form. On the whole, however, one need have no difficulty in admitting that the majority of these romances do somewhat content themselves with