Pedro. Agiologio Lusitano, tom i. p. 480.-Now, although this author has made a mistake, in calling Lobeira, Pedro, instead of Vasco, yet his authority at least proves that there existed, even in Portugal, some tradition that Amadis had originally been composed in French, although the authors of that country have, with natural partiality, endeavoured to vindicate Lobeira's title to the fame of an original author.1 One singular circumstance tends to corroborate what is stated in the Agiologio. It is certain that the work was executed under the inspection of an Infant of Portugal; for Montalvo expressly states, that at the instance of this high personage, an alteration, of a very peculiar nature, was made in the story. The passage, which is curious in more respects than one, is thus rendered by Mr Southey.

"At the end of the 41st chapter, it is said that Briolania would have given herself and her kingdom to Amadis; but he told her, right loyally, how he was another's. In the Spanish version, ff. 72, this passage follows--" But though the Infante Don Alfonso of Portugal, having pity upon this fair damsel, ordered it to be set down after another manner, that was what was his good pleasure, and not what actually was written of their loves; and they relate that history of these loves thus, though, with more reason, faith is to be given to what we before said :Briolania, being restored to her kingdom, and enjoying the company of Amadis and Agrayes, persisted in her love; and, seeing no way whereby she could accomplish her mortal desires, she spake very secretly with the damsel, to whom Amadis, and Galaor, and Agrayes, had each promised a boon, if she would

1 The evidence of Nicola Antonia, in the Vetus Hispana Bibliotheca, is, as remarked by Mr Rose, extremely inconclusive. He adds ut fama est to his affirmation that Lobeira was the original author of Amadis, and quotes the equally cautious expression of Antonius Augustinus "Quarum fabularum primum fuisse auctorem Vascum Lobeiram Lusitani jactant."-Amadis de Gaule, a Poem. Introd. p.

vi.

guide Don Galaor where he might find the Knight of the Forest. This damsel was now returned, and to her she disclosed her mind, and besought her, with many tears, to advise some remedy for that strong passion. The damsel then, in pity to her lady, demanded, as the performance of his promise, from Amadis, that he should not go out of a certain tower till he had a son or a daughter by Briolania; and they say, that, upon this, Amadis went into the tower, because he would not break his word; and there, because he would not consent to Briolania's desires, he remained, losing both his appetite and his sleep, till his life was in great danger. This being known in the court of King Lisuarte, his Lady Oriana, that she might not lose him, sent and commanded him to grant the damsel's desire; and he having this command, and considering that by no other means could he recover his liberty, or keep his word, took that fair Queen for his leman, and had by her a son and a daughter at one birth. But it was not so, unless Briolania, seeing how Amadis was drawing nigh to death in the tower, told the damsel to release him of his promise, if he would only remain till Don Galaor was arrived; doing thus, that she might so long enjoy the sight of the fair and famous knight, whom, when she did not behold, she thought herself in great darkness. This carries with it more reason why it

should be believed; because this fair Queen was afterwards married to Don Galaor, as the fourth book relates."—Introd.

vii.

It seems to us clear, from this singular passage, that the work upon which Lobeira was busied, under the auspices of the Infant Don Alfonso, or what Infant soever was his patron, must necessarily have been a translation, more or less free, from some ancient authority. If Amadis was the mere creature of Lobeira's fancy the author might no doubt be unwilling, in compliance with the whimsical compassion of his patron for the fair Briolania, to violate the image of ideal perfection pictured in his hero, to which fidelity was so necessary an attribute; but he could in no sense be said to interpolate what actually was written, unless he derived his story

from some authority, independent of the resources of his own imagination.

We do not think it necessary to enter into the question, how far the good taste and high spirit displayed in this romance, entitle us to ascribe it exclusively to the French. The modest assurance with which Monsieur de Tressan advances the claim of his nation upon this ground, is, as Mr Southey has justly observed, a truly French argument. We have not, however, that very high opinion of the Portuguese character, about the conclusion of the fourteenth century, which has been adopted by Mr Southey. We recollect that the "good and loyal Portuguese, who fought at Aljubarrota for King Joam of good memory," were indebted for that victory to Northberry and Hartfell, the English mercenaries, who arranged their host in so strong a position; to the headlong impetuosity of the Gascon, Berneze, and French adventurers, who composed the van of the Spanish army; and to the jealousy or cowardice of the Castilians, who refused to support their auxiliaries; so that little of the fame of that memorable day can in truth be imputed to the courage of the Portuguese. At that time, indeed, Castile and Portugal were rather the stages whereon foreigners exercised their courage in prize-fighting, than theatres for the display of national valour. Edward the Black Prince, John of Gaunt, John Chandos, and Sir Edward Knowles, fought in those countries, against Bertram of Clesquy and the flower of French chivalry; but we hear little of the prowess of the inhabitants them

selves. Such an insolent superiority was exercised by the English and Gascons, who came to the assistance of the King of Portugal, that, upon occasion of some discontent, they erected the pennon of St. George as a signal of revolt; elected Sir John Soltier, a natural son of the Black Prince, to be their captain; and proclaimed themselves, friends to God, and enemies to all the world; nor had the king any other mode of saving his country from pillage, than by complying with their demands. Indeed, it is more than probable, that both Portugal and Spain would have fallen under the dominion of England, if the port wine, which now agrees so well with the constitution of our southern brethren, had been equally congenial to that of their martial ancestors: "but the Englyshmen founde the wynes there so strong, hot and brinning, that it corrupted their heads, and dried their bowelles, and brente their lightes and lyvers; and they had no remedy; for they could fynde but lytill good water to tempre their wynes, nor to refresh them; which was contrary to their natures; for Englyshmen, in their own countries, are sweetly nourished; and there they were brent both within and without" [Froissart]. To such circumstances was Portugal occasionally indebted to safety, at the hands of her too dangerous allies. It seems to us more than probable, that, during these wars, the French or Picard original of Amadis was acquired by Lobeira from some minstrel, attendant upon the numerous Breton and Gascon knights who followed the banners of the Earl of Cambridge, or the Duke of Lancaster ;

for to Brittany or Acquitaine we conceive the original ought to be referred.

But while we cannot believe, against the concurring testimony of Herberay and Tressan, as well as against the usual progress of romantic composition, that Amadis de Gaul is, from beginning to end, the invention of Lobeira; yet, we conceive enough may safely be ascribed to him, to warrant the praises bestowed on him by Mr Southey, and perhaps to entitle him to the name of an original author. We do not indeed know the precise nature of Lobeira's work, nor what additions have been made to it by Montalvo; but it is easy to conceive that it must have been something very different from the Picard original. In making some remarks on the style and structure of Amadis, we shall endeavour to contrast them with those of the earlier

romance.

The metrical romances differed in many most material particulars from the prose romances by which they were superseded. The former partook of the character of the rhapsodists, by whom they were usually composed, and always sung. It was vain to expect from the ignorant minstrels, or those who wrote for them, a well-connected history; nor, if they had been capable of such a refined composition, could its beauties have been relished by their audience, to whom they had seldom time to sing above one or two of the adventures contained in a long romance. Their narration was therefore rambling and desultory. One adventure followed another, without much visible connexion; the only