racteristics of the original composition of Thomas must still be visible, or the romance which we read is none of his. Accordingly, the construction of the poem, now given to the public, bears a very peculiar character. The words are chiefly those of the fourteenth century, but the turn of phrase is, either from antiquity or the affectation of the time when it was originally written, close, nervous, and concise even to obscurity. In every composition of the later age, but more especially in the popular romances, a tedious circumlocutory style is perhaps the most general feature. Circumstantial to a degree of extreme minuteness, and diffuse beyond the limits of patience, the minstrels never touch upon an incident without introducing a prolix description. This was a natural consequence of the multiplication of romantic fictions. It was impossible for the imagination of the minstrels to introduce the variety demanded by their audience, by the invention of new facts, for every story turned on the same feats of chivalry; and the discomfiture of a gigantic champion, a lion, or dragon, with the acquisition of his mistress's love, continued to be the ever-recurring subject of romance, from the days of Thomas the Rhymer till the metrical tales of chivalry altogether lost ground. The later minstrels, therefore, prolonged and varied the description of events, which were no longer new in themselves; and it is no small token of the antiquity and originality of the present work, that the author seems to rely upon the simple and short narration of incidents, afterwards so hackneyed, as sufficient in his time to secure the attention of the hearers. We have only to compare this mode of narration with the circuitous and diffuse flourishes of the Anglo-Norman Rimeur, to decide the question already agitated, which of these poems was the model of the other. It is not alone in the brevity of the narrative, but also in the occasional obscurity of the construction, that the style of an age, much older than that of Barbour, may be easily recognised. There is an elliptical mode of narration adopted, which rather hints at, than details the story, and which, to make my meaning plain by a modern comparison, is the Gibbonism of romance. Whoever attempts to make a prose version of this poem will find, that it is possible to paraphrase, but not literally to translate it. In this peculiar structure of style consisted, we may suppose, the quaint Inglis, complained of by Robert de Brunne, which nobles and gentry alone could comprehend, and which had that annalist adopted, the poor and ignorant, whom in charity he laboured to instruct, could not have comprehended his history. To answer the description of Robert de Brunne in every respect, it is farther necessary, that the romance of Sir Tristrem should be written in a strange and peculiar stanza. Accordingly, a stanza so complicated, and requiring so many rhymes, as that of the following poem, is perhaps nowhere employed in a long narrative; at least it has not been the fortune of the Editor to meet a romance, written in any which nearly approaches it in difficulty. The common romances are either in short rhyming couplets, or in verses similar to that adopted by Chaucer in Sir Thopas, Even Chancer was infected by the fault of his age, and, with all his unrivalled capacity of touching the real point of description, he does not always content himself with stopping when he has attained it. It has been long since remarked, that when he gets into a wood, he usually bewilders both himself and his reader. But such a work as Sir Guy, or The Squire of Low Degree, will best illustrate the diffuse style which characterises the later metrical romances. See fytte 1. st. 80; fytte iii. st. 4, each of which stanzas wants two lines, though there is no hiatus in the MS. 3 It is worth while to remark, that a complicated structure of stanza and both stanzas of a simple structure. But in Sir Tristrem the 1st, 3d, 5th, and 7th lines of each stanza must rhyme together; as must the 2d, 4th, 6th, 8th, and 10th; and finally, the 9th and 11th must also correspond in sound. It may be impossible to determine whether this be the rime cowée or strangere, or baston, or entrelacé, mentioned by Robert de Brunne; but every dabbler in verses will agree, that the formation of the stanza is very intricate, and such as could only be undertaken by one who held himself master of the language, and who wrote for persons of rank, capable of understanding the merits of the complicated rules to which he had subjected himself. In truth, the present copy bears a closer resemblance to those which Robert de Brunne heard recited, than could have been desired by the Editor For, as the historian says, he never heard it repeated but what of some copple (i. e. stanza) part was omitted; so there are at least two instances of breaches in the following poem, flowing, in all probability, from the same cause. To conclude, the rules which the poet has prescribed to himself are observed with strict accuracy, and his rhymes, though multiplied and complicated, correspond with rigid exactness. Since, therefore, this more modern edition of Tristrem agrees in diction and structure to the detailed description of Robert de Brunne, we may safely admit, that, though the language may have been softened into that of the fourteenth century, the general texture and form of the poem still closely resemble that of Thomas of Erceldoune. It is proper to say a few words upon the mode in which the Editor has executed his task. The action of the poem seemed naturally to point out the division into three Fyttes, or Cantos, which has now been adopted. To each is prefixed a very full argument, referring to the stanzas which it abridges, and forming, as it were, a running paraphrase to the poetry. The modern th has been substituted uniformly for the Saxon character, which expresses that sound; in like manner, the z has usually been discarded for the modern y, or gh; as retaining these ancient characters only throws unnecessary embarrassment in the way of the modern reader. Y, when used for the pronoun I, is printed with a capital, to distinguish it from y, the usual corruption of ge, the Saxon preposition. In one respect the Editor is still uncertain whether he has followed his author. All persons, conversant with ancient MSS., know the difficulty in distinguishing betwixt u and n. In the present case, the name of the heroine seems positively to be written Ysonde, and is accordingly so printed; yet, nevertheless, every analogy goes to prove, that it ought to have been written and printed Ysoude, in order to correspond with the Yssilt of the Welsh, the Ysolt of Mr. Douce's Fragments, the Isolde of Gower, the Ysou of the Fabliaux, the Yseult of the French folio, and, finally, the Isotta of the Italian. In the Temple of Glas, alone, we find Ysonde. If the Editor shall be found in an error in this respect, his eye has misled his better judgment. The late Mr. Ritson, however, authori— zed the present reading by precept and example.4 Excepting the above particulars, and a very few errors of the pen, or press, it is hoped this edition of Sir Tristrem will be found sufficiently accurate. rhyme continued to be a characteristic of the Scottish poetry from this remote period downward. The reader may see specimens in King James VI.'s Rewles and Cauteles of Scottis Poesie. Even in our day, the Bard of Ayrshire has injured some of his most beautiful productions by using the jingling stanza of the Cherry and the Stae. The additional short verse thrown in towards the end of each stanza, which occurs in Christ Kirk on the Green, Pebles to the Play, etc., seems borrowed from the stanza of Sir Tristrem. 4 In printing the word Remeild, in preference to Riniuild, The conclusion, necessary to complete the romance, has | public. Such as it is, the labour which it has cost has been been attempted by the Editor, in the same stanza and dic tion with the original. The Notes contain illustrations of the text, from the romances and history of the middle ages, and particular notices of the correspondence, or discrepancy, occurring betwixt Thomas's narration, and subsequent works on the same theme. The reader will also find some miscellaneous observations, naturally introduced by the subject, though not immediately connected with it. Of the Glossary, little need be said. The labours of Macpherson' and Sibbald have greatly removed the difficulties of such a compilation. The Editor has seldom attempted to trace any word to its root, convinced that what we suppose a radical, may be only a synonymous phrase, in a cognate dialect, both referring to some common original. The meaning of the words is therefore given as they occur in the poem, without any pretence to compiling a dictionary.» It only remains to acknowledge the kindness, and liberality of those friends, by whose assistance the Editor has been enabled to complete his undertaking. The library of the late John, Duke of Roxburghe, containing an invaluable collection of books of chivalry, was open to the Editor at all times, while a short stay in London permitted him to consult its treasures. The modest and retired disposition of the noble proprietor exacted a promise that this benefit should not be publicly acknowledged,-a promise no longer binding, when, alas! the just debt of gratitude can neither be construed into flattery, nor give pain to him to whose memory it is rendered. To Francis Douce, Esq.3 the Editor owes the communication of those invaluable Fragments, without which it would have been impossible to illustrate the text. Mr. Heber,4 whose extensive and well-selected collection is dedicated to the general service of literature, as well as to individual enjoyment, has, with his usual liberality, indulged the Editor with the use of the rare French prose folios of Tristan and Meliadus; without which he could not have satisfactorily proceeded in his labours. Of Mr. Ellis's kindness it is better to say nothing than too little; the reader may judge, from the beautiful Abstract of the French Metrical Fragments of the Lay of Marie, communicated by that gentleman, a part (and it is but a small part) of the Editor's obligation. To Mr. Owen, as already mentioned, the Editor owes much information respecting the Welsh traditions on the subject of Sir Tristrem. To those friends mentioned in former editions, I have now to add the name of Mr. Henry Weber, whose extensive acquaintance with ancient poetry has been displayed in his late excellent edition of Metrical Romances. To his kindness I owe some valuable notes, besides the Account of the German Romances on the subject of Sir Tristrem, for which I have already expressed my gratitude. It remains to mention Dr. John Leyden, a name which will not be soon forgotten in Scottish literature, although its owner has been called to a far distant field of labour. At the commencement of this work, he gave his active and assiduous assistance; and had he remained in Britain till circumstances enabled the Editor to resume his task after a long discontinuance, it would have been now offered with more confidence to the dictated by no other motive, than the laudable, if ineffectual wish, of contributing to the history of early English litera ture. APPENDIX TO THE INTRODUCTION. No. I. CHARTER GRANTED BY THE SON AND HEIR OF THOMAS OF ERCELDOUN, TO THE CONVENT OF SOLTRA. From the Chartulary of the Trinity House of Soltra, Advocates' Library, W. 4. 14. ERSYLTON. Omnibus has literas visuris vel audituris Thomas de Ercildoun filius et heres Thomæ Rymour de Ercildoun salutem in Domino. Noveritis me per fustem et baculum in pleno judicio resignasse ac per presentes quietem clamasse pro me et heredibus meis Magistro domus Sanctæ Trinitatis de Soltre et Fratribus ejusdem domus totam terram meam cum omnibus pertinentibus suis quam in tenemento de Ercildoun hereditarie tenui renunciando de toto pro me et heredibus meis omni jure et clameo quæ ego seu antecessores mei in eadem terra alioque tempore de perpetuo habuimus sive de futuro habere possumus. In cujus rei testimonio presentibus his sigillum meum apposui dața apud Ercildoun die Martis proximo post festum Sanctorum Apostolorum Symonis et Jude Anno Domini Millesimo cc. Nonagesimo Nono. In addition to what has been said concerning Thomas's residence at Earlstoun, it may be noticed, that there is a stone in the wall of the church of that village, bearing this inscription : "Auld Rymer's race Lies in this place." According to tradition, this stone was transferred from the old church, which stood some yards distant from the more modern edifice. In 1782, this ancient inscription was defaced by an idle boor, in a drunken frolic. The present clergyman, with great propriety, compelled him to replace it at his own expense, in the same words as formerly. The new inscription is, of course, in modern characters; those which were defaced are said to have been very ancient. The spelling, also. is probably modernized. A right of sepulture is still claimed there by persons named LEARMONT; which see:ns to confirm the popular tradition, that the Rhymer did either himself bear that name, or that it was adopted by some of his descendants. The editor of Wintoun's Chronicle, executed in a style of unequalled accuracy and elegance. The important national task of a Dictionary of the Scottish language is in much better hands. Dr. John Jamieson of Edinburgh has been long toiling in that difficult and laborious undertaking; and surely it is only necessary to say that such a work is in agitation, to secure the patronage of every antiquary and philologist.-Early Edition.-This work has now been published, and has fully realized the expectations generally entertained from Dr. Jamieson's learning and industry. [Author of Illustrations of Shakspeare, etc.-ED.] 4 [Richar Heber, Esq., long M. P. for the University of Oxford -ED.] 5 [George Ellis, Esq., author of the Specimens of Ancient English Romance, etc. etc.- ED.] 6 So stands the passage in the earlier editions. Unhappily it is now necessary to add, that Mr. Ellis, Mr. Weber, and Dr. Leyden, are no more. Mi al govyn er awen, Trystan gynnezvau hynod, Arthur ni ymogelav, Trystan gyvaill rhianez, O cav vy ngblez ar vy ngblun, combat, If thou wert under excess of toil, I would cause blood to the knees. Gwalzmai. Trystan from thee I would have confidence: Trystan. I do ask, for the sake of intelligence, Trystan, of remarkable talents, Arthur I will not avoid, Nine hundred battles him I will pledge : Trystan, the friend of damsels, If I shall have my sword on my thigh, Trystan, of conspicuous talents, Ac yna daeth Trystan gyda Arthur attebion cymmen, Gwalzmai attebion dival, Trystan bendevig cadau, Tryslan. Arthur, ohonot y pwyllav, As I shall be loved, I will love. Gwalzmai. Trystan, of talents to be foremost, Be drenched by shower a hundred oaks; Come to an interview with thy friend. Trystan. Gwalzmal, with answers resisting turbulence, Be drenched by shower a hundred furrows: I then will go where thou mayest desire. And then came Trystan along with Gwalzmai to Arthur. Gwalzmai. Arthur, of answers dignified, Be drenched by shower a hundred heads : Behold Trystan ! be thou glad. Arthur. Gwalzmal, of answers without fault, Trystan, fair leader of a host, Trystan, the leader of battles, Trystan, the leader great and wise, Love thy nation, harm will not take hold of thee: Work no coolness between one friend and another. Trystan. Arthur, from thee I will be persuaded, And to thy head (1. e. dignity) I make a salutation; And what thou commandest I will execute. No. III. TRANSLATION OF THE LAI DEE CHEVREFOIL, BY MADEMOISELLE MARIE. I am much pleased with the Lay which is called Chevrefoil. Let me relate to you truly on what occasion it was made, and by whom. Many persons have narrated the story to me; and 1 have also found it in writing, in the work which treats of Tristran, and of the Queen; and of their love, which was so constant, from which they suffered a thousand sorrows; and then both expired on the same day.' King Marke had been much offended with his nephew Tristran; and had banished him on account of his attachment to the Queen. The knight retired into his own country, into South Wales, where he was born; spent there a whole year of affliction; and, being still forbidden to return, became careless of life. Do not wonder at this; for a true lover, when his wishes are crossed by insuperable obstacles, can set no bounds to his grief. Tristran, therefore, thus driven to despair, left his home: passed into Cornwall, the abode of the Queen; and concealed himself in the thickest part of the forest; from whence he issued only at the close of the day, at which time he took up his lodgings among the peasants and the poorest of mankind. After frequent questions to these 1 Marie, who drew all her materials from Bretagne, probably refers to some Armorican edition of the history of these ill-fated lovers. his hosts, concerning the public news of the court, he at length learned that the King had convoked his barons, and summoned them to attend him at Pentecosté, at the castle of Tintagel. Tristran was rejoiced at this news; because it was impossible that the Queen could arrive at the meeting without giving him an opportunity of getting a sight of her during the journey. On the appointed day, therefore, he took his station in that part of the wood through which the road passed, cut down a branch of codre (hazel), smoothed it, wrote his name on it with the point of his knife, together with other characters, which the Queen would well know how to decipher. He perceives her approaching; he sees her examine with attention every object on her road. In former times they had recognised each other by means of a similar device; and he trusts that, should she cast her eyes on the stick, she will suspect it to belong to her lover. This was the purport of the characters traced on it :-"That he had long been waiting at a distance, in hopes of being favoured with some expedient which might procure him a meeting, without which he could no longer exist. It was with those two as with the chevrefoil and the codre. When the honey-suckle has caught hold of the codre, and encircled it by its embraces, the two will live together and flourish; but if any one resolve to sever them, the codre suddenly dies, and the honey-suckle with it. Sweet friend, so it is with us; I cannot live without you, nor you without me." The Queen, slowly riding on, perceives the stick, and recognises the well-known characters. She orders the knights who accompany her to stop. She is tired; she will get off her horse for a short time, and take some repose. She calls to her only her maid, her faithful Brenguein; quits the road; plunges into the thickest part of the forest; and finds him whom she loved more than all the world. Both are delighted beyond measure at this meeting, which gives them full leisure to concert their future projects. She tells him, that he may now be easily reconciled to his uncle That the King has often regretted his absence, and attributes to the malicious accusations of their common enemies the severe measure of his banishment. After a long conversation, the Queen tears herself from him; and they separate with mutual grief. Tristran returned to South Wales, from whence he was soon recalled by his uncle; but, in the meantime, he had repeated to himself, over and over again, every word of his mistress's late conversation; and, while full of the joy he felt at having seen her, he composed (being a perfect master of the harp) a new lay, describing his stratagem, its success, his delight, and the very words uttered by the Queen. I will tell you the name of the lay: It is called Goat-leaf in English, and Chevrefoil in French. I have now told you the whole truth. No. IV. ACCOUNT OF THE AUCHINLECK MS. Advocates' Library, (W. 4. 4.) AND A CATALOGUE OF ITS CONTENTS. This valuable record of ancient poetry forms a thick quarto volume, containing 334 leaves, and 44 different pieces of poetry; some mere fragments, and others, works of great length. The beginning of each poem has originally been adorned with an illumination; for the sake of which the first leaf has, in many cases, been torn out, and, in others, cut and mutilated. The MS. is written on parchment, in a distinct and beautiful band, which the most able antiquaries are inclined to refer to the earlier part of the 44th century. The pages are divided into two columns, unless where the verses, being Alexandrine, occupy the whole breadth of the quarto. In two or three instances there occurs a variation of the handwriting; but as the poems regularly follow each other, there is no reason to believe that such alterations indicate an earlier or later date than may be reasonably ascribed to the rest of the work; although the Satire against Simonie, No. 44, seems rather in an older hand than the others, and may be an exception to the general rule. The MS. was presented to the Faculty of Advocates, in 1744, by Alexander Boswell of Auchinleck, a Lord of Session, by the title of Lord Auchinleck, and father to the late James Boswell, Esq, the biographer of Dr. Johnson. Of its former history nothing is known. Many circumstances lead us to conclude, that the MS. has been written in an Anglo-Norman convent.-That it has been compiled in England there can be little doubt. Every poem, which has a particular local reference, concerns South Britain alone. Such are the satirical verses, No. 24, in the following catalogue; the Liber Regum Angliæ, No. 40; the Satire against Simonie, No. 44. On the other hand, not a word is to be found in the collection relating particularly to Scottish affairs. No. 1. The Legend of Pope Gregory.-Six leaves. Imperfect both at beginning and end. This article is on the top of the page marked as No. 6; from which we find that five preceding poems have been lost. St. Gregory's story is more horrible than that of Edipus. He is the offspring of an incestuous connexion betwixt a brother and a sister; and is afterwards unwittingly married to his own mother. The fragment begins, "Th' erl him graunted his will Y wis, Alle the lond that ever was his, That mani siyeing for him had sold." No. 2. The King of Tars.—Seven leaves, including two which have been misplaced by the binder, and may be found in the middle of the preceding legend. Imperfect, wanting the end.— "Herkeneth to me, both eld and ying, This romance is published by Mr. Ritson. No. 3. The History of Adam and his Descendants,-follows the misplaced leaves of the King of Tars, and concludes upon the page where No. 4. begins. The beginning is wanting. It is a work, according to the poet, of high antiquity and authority, being written by Seth. "Tho Seth hadde writen Adame's liif, And Eve's, that was Adame's wiif, Right in thilke selve stede, Ther Adam was won to bide his bede." Seth left the MS. in Adam's oratory, where it remained till the time of Solomon, who discovered, but could not decipher it without supernatural assistance. It ends, "Jesu that was nomen with wrong, And tholed mani paines strong, To bring Adam out of belle; Gif ous grace for to winne The joie that Adam now is ione." No. 4. The Legend of Seynt Mergrele.-Four leaves and a half. Perfect, saving a few lines cut out with the illumination. It is a more modern version of the legend published by Hickes, in the Thesaurus Linguarum Septentrionalium, and begins, "Al that ben in dedly sinne, And thenke with merci to mete, This seems to allude to their secret communications by means of chips of wood thrown into a river. |