3982 C92.a. The person charging this material is re- sponsible for its return on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN DEC 4-^ 4PR k 1978 MAR 9 1J78 MAY 0 7 NRY.2 9 DEC 1 3 1382 NOV 0 fi 1986 L161— 0-1096 Digitized by the Internet Archive in 2017 with funding from University of Illinois Urbana-Champaign Alternates https://archive.org/details/arthurianliteratOOcurd \ 0\Vs [Reprinted from The Romanic Review, Vol. I, No. 2, April-June, 1910.] ARTHURIAN LITERATURE F ROM' the beginnings of Arthurian romance there has apparently been no subsidence of interest in the stories, both principal and secondary, which are connected with the name and exploits of the main character and the satellites swinging around him as a center. The production has not always been constant, nor do we find in each century reproductions of the tales and versions of the pre- ceding century. This may be indicative of the real situation, or it may be due to the fact that all the copies of a certain version have been lost, or, if extant, still lie undiscovered in some hidden recess. The whole corpus of the literature belonging to the Arthurian cycle, and to the still more extensive one, the Celtic or Breton, must have been enormous. What relation the entire number of versions we now possess bears to the whole production will never be known. We have knowledge of certain versions which have been lost, and, in some cases, also of the names of the authors. It is the purpose of this article to determine, as well as can be done with the material available, the condition and progress of the litera- ture and its geographical distribution, to show its chronological development, and to present the names and titles belonging to each century. Only literature, as such, will be considered, and no ac- count will be taken here of the progress of critical literature: studies, editions, and similar productions. Theories regarding origins of the tales, or the hypothetical existence of unknown writers or versions will not be regarded, nor will any works inspired by the Arthurian stories, as, for instance, Amadis, Le Petit Artns, etc., be considered. Allusions to the presence of versions at differ- ent periods and in various countries may be found in many produc- tions in the middle Ages, but all such references are of little value in this article, because, even if we can thus attest the existence of the tales, it is not certain that they were written in the language of the writer making the mention. Compare, for instance, the quo- tations in Menendez y Pelayo’s Tratado 1 concerning the existence 1 Menendez y Pelayo. Tratado de los romances viejos. Madrid ( Bibl . clasica) , 1903-6, II, 448 ff. 125 126 The Romanic Review of Arthurian tales in Spain. Were these versions written in Sp; ish, French or Italian? We do not know. And, too, the nan thus mentioned and the tales about them were, doubtless, due many cases to oral tradition, and were thus not represented in 1 written literature of the time. This article is entirely historic and, to a large extent, statistical, and is an attempt to bring togetl the information scattered here and there in monographs, which ■ frequently difficult to locate. The data given here have been ( • tained by extensive reading of monographs, critical editions, a bibliographies, searches made in journals and the publications learned societies, and the examination of not easily accessible v sions in the libraries of this country and Europe. The list is, c tainly, not complete, nor, probably, in all cases correct, due to i lack of accurate knowledge regarding the treasures of libraries a the facts concerning early writers. The writer will be grate for information regarding errors or omissions. Scholars are 1 agreed in many cases as to dates and relationships, nor even as the existence, under names now known, of certain writers, nor cc cerning the original date of certain versions. This makes the U. of the historian and bibliographer difficult. Thus, any enumerate is subject to error, but, in the light of what is known, based extant versions, the statements regarding the condition of the cy in any period are, probably, relatively correct. Few references ; made to other articles, as this paper is to be followed by a chroi logical and descriptive bibliography of Arthurian literature, means of which the statements here made can be controlled. We may, for convenience, divide the whole period into V parts, one before and the other after the first printed monume This division is purely arbitrary, and is not based on any suggest development of the literature, but represents a certain factor in • production and preservation of previous versions which might h< otherwise been lost. The two periods here established overlap, manuscripts are found in the latter part of the fifteenth centu and in the sixteenth, seventeenth, and eighteenth centuries, althor in small numbers. Doubtless more than those at present kno have existed. The dividing date in our especial case is, as far is known, 1477, when two German publications appeared, both Augsburg, one dealing with Perceval, and the other treating Arthurian Literature 127 Titurel. These were rapidly followed, as will be shown farther on, by versions on other subjects, and published in other cities and countries. The first period has for some time been the object of study by scholars with the view to solving, if possible, the problems regarding the origins of the cycle, the genealogy and interrelation- ship of versions. Various prose and metrical productions have been edited and subjected to critical analysis. Some attention has been directed to the narrations of the sixteenth and later centuries, but the period after the invention of printing has received little atten- tion, except in the case of Malory, Tennyson, and Wagner. Much yet remains to be done, and, until the work has progressed more fully, it is impossible to state the real facts with accuracy, especially those concerning the large number of anonymous versions which have not been adequately described. The earliest date for Arthurian literature is the eighth or ninth century, when, in Nennius, we have the first statement regarding Arthur, in which he is spoken of as a warrior. Evans 2 quotes the chronicle of Helinand, 3 who writes to the effect, that a Breton hermit of the eighth century, 720, wrote a Latin history, or descrip- tion, of the Grail , but, on page 297 of the work cited, Evans con- cludes that the work was written shortly before the year 1220. Villemarque 4 publishes a Welsh popular song of the tenth cen- tury, Arthur et la Reine Gwennivar ; on p. 427, a poem of the same century entitled Arthur , Tristan et Gwalchmai , and on p. 430, Arthur un jour de hataille, fragment e pique tire de la leg end e armoricaine des rois , poeme du X e ou du XT siecle, d’apfes un manuscrit gallois en prose du XV e siecle. These statements are not supported by sufficient evidence to be conclusive. We must then, in the absence of information to the contrary, consider Geoffrey of Monmouth as the next writer who interested himself in the Arthurian legend, although as incidental material in a different line of writing. In his Historia Britonuni and Vita Merlini , Arthur appears as warrior and Merlin as prophet. No 2 The High History of the Holy Graal, London, Dent, 1898, II, 293. 3 Helinandi op., ed. Migne, Patrologia, cursus completus. Parisiis, 1844-6, CCXII, 814. *Les Romans de la Table ronde, etc. . . . , Paris, nouvelle edition, 1861, 140 ff. 128 The Romanic Revieiv legendary or fabulous deeds are here ascribed to Arthur ; the s ments are made with the coolness and assurance of the consc tious historian. Gildas, of the sixth century, is regularly mentie in histories of the Arthurian cycle, but there is no mention ir writings of an Arthurian personage; 5 he is connected with GeoJ only through data concerning the history of the British pe< Geoffrey became the basis of many chronicles 6 and of a few w of semi-historical and semi-romantic fiction, and served as a mec for the introduction of legendary material, which, like the st( that became attached to Charlemagne, became identified all exclusively with Arthurian personages. The names in the twelfth century, including six chroniclers nected with Geoffrey of Monmouth, who translated or rehan his Historia Britonum, are : Alfred of Beverly; Benedict of Gloi ter, who, in his life of St. Dubricius, gives an outline of Geoffi account of Arthur; Beroul; Chrestien de Troyes; Eilhart Oberge; Etienne, monk of Bee, who, in his Draco Normann gives a Latin paraphrase of Geoffrey’s Historia , in which Ar is more exalted than in Geoffrey; Gautier (Gauchier) de Dot (Denet, Dons, Dordans, Doudain) who continued Chrestien, G frey of Monmouth; Geoffrei Gaimar; Godefroy de Laigny (Lit continuator of Chrestien; Gottfried of Viterbo; Gottfried Strassburg; (or beginning of the thirteenth century), Hartmanr Aue; Helie de Borron; Henry of Huntingdon; Layamon; H Lonelich; Luce de Gast (Gua, Gaut, Guesnes, Genes, Wat, Wad, Gal) ; Gautier Map; Marie de France; Robert, a monk, or Brc Robert; Robert de Borron; Robert of Gloucester; The (French); Thomas (English); Ulrich von Zatzihkoven; W William of Malmesbury; besides numerous anonymous product R. H. Fletcher 7 notes that Alanus de Insulis (1175) men the belief in the return of Arthur from Avalon. Villemai 8 However, E. W. B. Nicholson, in Academy, 1895, 297ft., suggests, th; word “urse,” in Gildas, is his translation of the name Arthur. 6 R. H. Fletcher, The Arthurian Material in the Chronicles, especially of Great Britain and France, Harvard Studies in Philology and Literatui 1906, passim. 7 Harvard Studies in Philology and Literature, X, 1906, 101. 8 Romans, etc., 25-27. Arthurian Literature 29 ates that Gauthier Calenius, or Walter of Oxford , 9 brought Tysilio’s Legende des rois, early seventh century, from Armorica, and translated it into Cambrian. No evidence has come to the riter that his production is extant. Arnaldo Daniello is supposed o have written a Provencal Lancelot. Compositions are also eferred to by the names Breri and Li Kievres. Fletcher 10 wes a list of chroniclers who followed Geoffrey of Monmouth. the cathedral at Modena is a relief representing a scene from rthurian romance, the storming of a castle . 11 Anonymous versions are: the Brut of Munich, Lai du cor, a elsh manuscript based on Gautier Map, Lancelot, Perceval, and istan, which is represented by a Bohemian version based on Eil- rt von Oberge, a French metrical version attributed to Thomas, jreek version, which, however, may belong to the following cen- y, and an episode describing Tristan’s disguise as a madman. Thus the first written monuments are represented by the follow- • titles : Arthur, Brut, Cliges , Cor, Charette, Erec et Enide, Grail, evrefeuille, G(u)iron, Lancelot, Historia Britonum, in Latin and mch, Lanval, Meliadus, Merlin, Perceval, Round Table , Tris- , and Ivain (Izvein). There were in all fifty-four versions , 12 iteen titles, twenty-eight authors, including six chroniclers, i eight languages were represented. The distribution as to lan- ge is interesting. Of the versions mentioned, French has thirty, G - man, four, Latin , 13 eleven, English, three, Welsh, Provencal st), Bohemian, and Greek each one. Spanish, Portuguese, and ! : ian do not yet appear, and only the district is represented which earest the place of origin of the legends, except in the case of B< lemia and Greece. The spread will be rapid in the next century. In the thirteenth century we find the following names : 14 Albrecht 3 See Dictionary of National Biography, London-New York, 1885 ff., under nius. 10 Harvard Studies, etc., x, 1906, 171 ff. 11 Foerster, Zeitschrift f. romanischen Philologie, XXII, 1898, 243 ff., 526 ff. 12 By version is not meant here the number of manuscripts, but the various ments of a subject, or the treatments in different languages. 13 Latin compositions should be ascribed to the countries in which they were ;en, but the data regarding these versions are not sufficiently available to 1 ;ant this being done with accuracy. 4 Names which appear in any century are not counted in the following, even l sir productions continue into the fallowing century. 130 The Romanic Review von Scharfenberg, Biket, Hans Brant, Colin le Fruitier, Douglas of Glastonbury, Elias, Hauk Erlendsson, Konrad Fleck, Fulke Fitz- Warin, Gautier d’Aupais, Gautier de Cayx, Gerbert (de Montreuil), Robert Guichard, Guillaume de Rennes, Guillaume le Clerc, Guiot, Guiot de Provins, Heinrich von Freiburg, Heinrich von dem Turlin, Hutton d’Arc}^, Jacob van Maerlant, Jehan, Manessier, Paien de Maisieres, Philippe Mousket, Der Pleier, Raoul de Houdenc, Renaut, Renaut de Beaujeu, Richart d’Yrlande, Brother Robert, Rusticien de Pise, Sarrazin, Der Strieker, Ulrich von Tiirheim, Ulrich von Lichtenstein, Wolfram von Eschenbach, Wirnt von Gravenberg, besides a large number of anonymous writers. The name of King Haakon, although himself not a writer, is closely connected with French literature in this period. At his command Brother Robert translated the lays of Marie de France, the Tristan of Thomas, and, probably, the Mantel mantaille into Icelandic. Besides the names properly belonging to this century the follow- ing are represented by manuscripts or rehandlings : Chrestien de Troyes, Eilhart von Oberge, Geoff rei Gaimar, Geoffrey of Mon- mouth, Gottfried von Strassburg, Hartmann von Aue, Helie de Borron, Layamon, Luce de Gast, Gautier Map, Marie de France, Robert de Borron, Wace. The titles handled in this century were : Arthur , the main legend and two supplementary ones; Atre perilleux; Brut; Claris et Laris; Cliges; Lai du cor; Chevalier au Cygne; Chronicles; Chevalier d V epee; Chevalier a la robe vermeille (f); Chevalier as deus espees; Donnee des arnants ; Durmart; Erec; Fergus (Fregus) ; Fe- busso; Grail, several versions ; Gologras and Galeron; Guiron ; Garel von dem bliihenden Tal; Giglain; Iwein; Jaufre ; Joseph d’Ari- mathie; Krone; Lancelot; Lais; Mantel; Merlin; Meliadus ; Mele- ranz; Meraugis de Portlesgues ; Perceval; Perlesvaus ; Raguidel; Rigomer; Titurel; Tristan, several versions; Wigoleis; Wigamur; Yvain. There has been an enormous growth of production in this cen- tury, judging from the extant monuments. There are thirty-eight names, forty titles and one hundred and thirty-nine versions, divided among fourteen languages as follows: French, seventy-nine; Ger- man, twenty-two ; Latin, eleven ; Italian, six ; Icelandic, five ; Welsh, Arthurian Literature 131 English, three ; Dutch and Provencal, each two, and Flemish, (?), Portuguese, Spanish and Hebrew, each one. ie subject most frequently treated is Tristan , of which there i hirteen anonymous versions, and nine the authorship of which , wn; next is Lancelot with five anonymous and two identified, n, five anonymous and three identified, The Grail, including lound Table and Joseph of Arimathia, seven anonymous and identified. Several of these belong also to the next century, rey of Monmouth’s history continues through this century, reappears in succeeding ones, but the interest in it must have r ; due to its historical material, rather than to any novelistic nts. From now on the corpus of Arthurian literature is in gor. Besides the principal subjects treated, incidental motives r, at first, in some cases, entirely unconnected with Arthurian ture, except that they were Celtic in character, fabulous or irious, and thus, like the Arthurian stories proper, belong to the * cycle, the Celtic or Breton. They were handled separately, came amalgamated with the larger stories, and thus lost their >endent character. On the other hand, an incident or person- was, here and there, lifted from a dependent position, and ne the subject for separate treatment. n the fourteenth and fifteenth centuries, not including the :ed volumes, there is a decrease in the number of versions, and lames are slightly fewer in number than in the twelfth century, :e there are twenty-eight, and in the thirteenth century, where y-eight have been reported. The number of anomymous works ill large. This falling off in interest was not limited to the mrian stories. It is well known that a feeling of weariness and ness had come over the literary world, and, too, the constant ndling of old material, and the resulting lack of invention were lucing disastrous results. The prose redactions especially were ed at this time with details of description, labored effort and tition of kindred motives, and showed little or no originality, lin Paris, in his description of the manuscripts in the Royal •ary, 1 5 says of these, that they have fortunately been lost to a it degree. Surely, in reading them we feel little inspiration, 15 Les Manuscrits f? A angois de la Bibliotheque du Rot, etc., Paris, Techener, -48, passim. I3 2 The Romanic Review and our interest in them now lies almost solely in their historic position, or in the material they offer for treatment by later and more brilliant writers, and not in their own literary qualities. The names belonging to the fourteenth century are : Thomas Chestre, Philipp Colin, Thomas Castleford, Guillem de Torella, Ranulf Higden, Hugh of Eghinton, John of Trevisa, Peter Lang- toft, Lodewije van Yelten, Robert Manning of Brunne, Pennine, Pedro de Barcellos, Rauf de Bo(h)un, Guillem Rexach, Robert of Thornton, Maistre Richart, Peter Vostaert, Claus Wisse, Zorzi, and one devout writer ascribed a version of the Grail , or Joseph of Arimathia, to the authorship of Christ. There is a larger propor- tion of anonymous versions in this century than in the one preced- ing. Fletcher 16 has given the names of the Latin chroniclers of the century who followed Geoffroy of Monmouth. Writers of previous centuries who are now represented are: Chrestien de Troyes, with the continuations of Manessier; Gautiei de Doulens, and Gerbert; Eilhart von Oberge; Geoffrey of Mon- mouth; Gottfried von Strassburg; Hartmann von Aue; Heinrich von Freiburg; Heinrich von dem Turlin; Helie de Borron; Jacob van Maerlant; Lodwije van Velthem; Luce de Gast; Gautier Map; Raoul de Houdenc; Robert de Borron; Rusticien de Pise; Wace; Wolfram von Eschenbach. The number of writers known for this period is comparatively small, and the number of titles has decreased : Arthur, with several additional variants; Donnee des amants; Brut; Febusso; Guiron; Grail; Gawayne; Iwein; Jaufre; Joseph; Lancelot; Lais; Lanval ; Libeaus desconnus; Mantel; Meliadus; Morien (Lancelot) ; Meria- doc; Merlin; Novelli antiche, a collection containing several short poems on Tristan and Lancelot; Perceval; Round Table; Titurel; T ristan ; W igoleis. Statistics for the fourteenth century are : nineteen names, twenty- four titles, one hundred and four versions, divided among fourteen languagesas follows: French, thirty-eight ; English, sixteen ; Italian, thirteen; German, nine; Latin, eight; Spanish, seven; Portuguese, four; Flemish, three, and Bohemian, Provengal, Swedish, Welsh, and Dutch, each one. This century was less productive of authors, whose names are known, than the preceding one. 19 Harvard Studies , 1906, 175 ff. Arthurian Literature 133 In the fifteenth century there is only a slight advance in the number of names, but the titles have increased: twenty names, thirty-seven titles, with one hundred and three versions, divided among nine languages, as follows: English, thirty-two; French, twenty-six ; German, sixteen ; Italian, fourteen ; Icelandic and Welsh, each four; Spanish, three; Latin and Portuguese, each two. This total of names does not include printers. The authors and scribes for the century are : Aubret, Bourgchier, Daniello di Ghery, Ludowicus Fliiegl, Ulrich Fiierterer, Giovanni de’ Cignardi, Gilles Gassien, Lonelich, Malory, Micheau Gonnet de Brouce, Robert of Thornton, Owen Jones, G. Papin, Rate, Sege- bert von Babemberg, Pierre Sa-la, E. Towler, Venetio, Jehan Wau- quelin, Zuliano de Anzola, besides a number of anonymous produc- tions, and the reproductions of printers whose names are not here given. The new period entered with the last quarter of this century. In 1477 were printed the first books that interest us here : 1 st zweifel Hertzen nachgehur , etc., Augsburg, which treats of Perceval, and Titurel , by Wolfram von Eschenbach, also at Augsburg. These were followed, in 1480, by Vita ( Historia ) di Merlino, Venice, Luca Veneto (Yeneziano), a translation of Robert de Borron, which was reprinted at Florence in 1485 ; I Due primi libri della storia di Mer- lino , also a translation, by Zorzi, from Robert de Borron, Florence, 1495; 1480, Caxton, Chronicle of England , translated from French Brut; 1481, Livre de bataille, Lyons; 1484, Hienach folget die his- torie von herren Tristrant und der schon Isalden von Irlande , etc., Augsburg, Antonio Sorg; also Augsburg, 1498, by Schonsperger, and the same date, Volksbuch , Augsburg; 1485, Malory’s Morte d } Arthur, translated from the French, and printed and divided into chapters by Caxton at London (Westminster) ; reprinted 1498 by Wynkyn de Worde; 1485, Historia di Merlino, Florence, same as Veneto, 1480: i486, Lanselet, printed by Govert van Ghemen ter Goude, Holland (no place is mentioned) ; 1488, Histoire du roy Arthur et des chevaliers de la Table ronde (Gautier Map’s), Rouen, also Paris; same date, Prophecies de Merlin, Paris, Anthoine Yerard, and Table ronde, autrement dit Lancelot du Lac, compile et extraict . . . des vraies hystoires . . . par Gaultier Map, Rouen, 134 The Romanic Review Jehan le Bourgeois; 1489, Histoire 17 du tres vaillant, nobles et ex- cellent chevalier Tristan , fils duroi Meliadns (Luce de Gast), Rouen, Jehan le Bourgois, and Paris, Verard ; 1496, the same, Paris, Verard, and Rouen, printer unknown; 1492, Libro de battaglio de Tristano, Cremona, Bernadinum de Misentis de Papia, a small poem of 130 stanzas; 1493, Wigoleis vom Rade, by Wirnt von Gravenberg, Augsburg, Schonsperger ; 1494, Faits et gestes du noble . . . Lan- celot , Paris, Verard ; 1495, Vita di Merlino, Florence, also Venice; Tristan , Paris, Verard; 1498, Histoire de la vie, miracles, enchan- temens de Merlin (Robert de Borron), Paris, Verard; Booke of Kynge Arthur, Westminster, Wynkyn de Worde; Tristan, Schon- sperger, Augsburg; Volksbuch, Augsburg, containing a German prose rendering of Eilhart von Oberge’s Tristrant; 1499, El baladro del sabio Merlin con sus profecias, Burgos, Juan de Burgos; Luce de Gast’s Tristan, Paris, Verard; Lancelot, Paris. In all, there were twenty-seven printed versions, copies of which have been preserved. Here the writer ventures to criticize the manner of referring to the early printed books. Scholars have an indiscriminate way of referring, for example, to the Rouen Tristan, of 1489, as the 1489 Tristan, or the Jehan Tristan, etc. Such careless practices cause endless confusion and waste of time to the student, besides giving occasion for error on the part of the bibliographer who has not per- sonal access to the volumes indicated. The writer has in his posses- sion three separate cards of one title and four of another, besides numerous ones in duplicate, the result of this careless habit. Upon examination, the volumes resolved themselves into the same version under the same title. A reasonable practice would be to indicate by author when known, giving place and date of publication; if the author is unknown, then the printer, with place and date. This would make for uniformity and accuracy. The centers for publication were : England : London, Westmin- ster (Caxton, Wynkyn de Worde); Germany: Augsburg (Hans w Loseth, Les Romans en prose de Tristan , etc. . . . Paris, Ecole des Hautes Etudes, 1890, XXII, gives the title as: Roman du noble Tristan . . . etc., but a copy in the British Museum, London, and one in the Bibl. Nat. Paris, bear the title : Histoire des vertueux faits du . . . etc., and another copy in the Bibl. nat., and one in the Bodleian Library, Oxford, have Histoire du tres vaillant., etc. Arthurian Literature 135 Schonsperger, Antonio Sorg) ; France: Rouen (Jehan le Bourgois), Paris (Antoine Verard, Jehan du Pre, Gaillard le Bourgois) ; Spain : Burgos (Juan de Burgos) ; Italy: Cremona (Bernadinum de Misentis e ' apia, Cesare Parmensem), Venice (Luca \ r eneto or Veneziano), Florence. . . . The titles of the fifteenth century are : Arthur, with supplemen- tary versions; Armes des chevaliers de la Table ronde; Arbre de bataille ; Brut; Chronicles ; Cavalier e del falso scudo; Cliges; Sir Cornells;' Claris et Laris; Daniel von dem bliihenden Tal; Guiron; Gawayne; Grail; Guinglain; Historia britonum; Izvein; Iarlles (Welsh version of Chrestien’s I vain) ; Joseph; Krone; Lancelot; Lib cans desconnus; Llyfr; Lanval; Mantel; Meliadus; Merlin; Vozvs of the companions of the Round Table; Papagau; Perceval; Peredur; Percef orest, Round Table ; Titurel; Tristan; Tourneys of the companions of the Round Table; Wigoleis ; Ysaye le triste. Writers of previous centuries who are represented are : Albrecht von Scharfenberg, Chrestien de Troyes, Eilhart von Oberge, Geof- frey of Monmouth, Hartmann von Aue, Heinrich von Freiburg, Heinrich von dem Turlin, Helie de Borron, Jacob van Maerlant, Luce de Gast, Gautier Map, Renaut de Beaujeu, Robert de Borron, Rusticien de Pise, Der Strieker, Wace, Wirnt von Gravenberg, Wolfram von Eschenbach, Zorzi. The sixteenth century was the gala time of Arthurian literature before the nineteenth century. There are thirty-five titles, twenty- nine names, and two hundred and twelve versions, now including editions, divided among eight languages, of which French has eighty-three, Italian forty-six, German thirty-two, English twenty- six, Spanish nineteen, Latin four, Icelandic and Portuguese each one. The increase in versions is accounted for by the large number of printed editions in which were reproduced, in some instances, older versions, frequently altered, and, in other cases, new versions or redactions. It is noticable that only one of the older incidental motifs appears in extant literature in this century, that of the “ Manteau mautaille ", while, on the other hand, there are new com- positions on Guinevere , 15 Gundelbano, the Lady of Shalot, Sagra- 15 A tragi-comedy performed at Fontainebleu, 1564, which is lost. 1 3 6 The Romanic Review mor, and descriptions of the arms, sports, and vows of the com panions of the Round Table. The predominence of prose over metrical versions is apparent. The introduction of printing was at once making its influence felt. The dissemination of literary monuments in permanent form was not, before this period, an easy matter, owing to the slowness of writing, the expense of the operation, and the cost of the material on which to transcribe, but the difficulties in the process of repro- duction had now become notably lessened. Then, too, verse was giving way more regularly to the prose form, as the public was no longer so greatly dependent on the offices of the professional reader or reciter for its intellectual entertainment. This made possible the increasing interest in the longer tale to the prejudice of the shorter, detached episode, which was frequently semi-depend ent in character. Some of those episodes had already become per- manently incorporated in the longer narratives. Under the new conditions one would expect a rapid and extensive spread in the production of the novelistic literature of the Arthurian tradition. Such is the case, as is demonstrated by the large number of versions, two hundred and twelve, but the geographical limits are still re- stricted to western Europe, to France, England, Italy, Spain, Portu- gal, Switzerland, Norway, and Belgium, with one Spanish version, and Latin is still in evidence with four versions, plus five chronicles based on Geoffrey of Monmouth. The places of publication were: France: Paris: Anthoine Ve- rard , 16 Giron , Lancelot , Merlin , Tristan ; Michel le Noir, Giron , Grail , Tristan , Merlin , Lancelot; J. Badius Ascensius, Geoffrey of Monmouth’s Historia in Latin; Philippe le Noir, Merlin , Ysaye , Grail , Lancelot , Round Table ; Jehan (le) Petit , 17 Grail, Lancelot; Galliot du Pre, Grail , Ysaye, Percef orest, Meliadus; Anthoine Houic, Devise des armes; Jehan Longis and Jehan Sainct Denis, Perceval; Denis Janot, Tristan, Meliadus; Claude and Rinaldo Cal- 19 Among these names are included those of printers and dealers. It is fre- quently difficult to distinguish between them. 17 Jehan le Petit, Galliot du Pre, and Michel le Noir collaborated in printing, or selling, a Grail , and the names of Jehan le Petit and Michel le Noir appear together on the title-page of a Lancelot. Arthurian Literature 13 7 deria, Girone in Italian; Nicole (Nicolas) Bonfons, Tristan, A ■ thur ; Veuve Maurice de la Porte, Tristan ; Jehan Trepperel and Jehan Jehannot, Merlin; Gabriel Buon, Tristan; Nicolas Cou- steau, “pour Galliot du Pre,” Percef orest ; and, no printer or dealer known, Perceval one, Grail two, Tristan two, Percef orest three, Merlin two, Lancelot one, Meliadus one; Rouen : Jehan and Richard Mace, associated with Michel Angier, of Caen, Merlin; Lyons : Claude Nourry, Giglain; Benoist Rigaud, Tristan, Lancelot; F. Didder, Manteau; Germany, Worms: Gregorius Hofman, Tristan; Frankfort: Weygand Han, Tristan; G. Rube and Weygand Han, Hi golds; Thomas Rebart and Kilian Hahn, Tristan; Johan and Sigmund Feyerabendt, Buck der Liebe, with a prose rendering of Eilhart von Oberge’s Tristan; Nicole Rost, Tristan, and an un- signed Heldenbuch containing Tristan; Strassburg: Jacob Frohlich, Tristan; an unsigned Tristan and Gawain; Augsburg: J. Knob- lauch, Wig olds; Switzerland, Berne: a Tristan ; Basel: P. Pernam, Merlin; England, London: Wynkyn de Worde, Joseph, Merlin; Ru ;iard Pinson (Pynsson), Joseph; John Her ford, Leland’s As- sen 0; Richard Grafton, Arthur; William Copland, Arthur; Thomas East, Arthur; John Wolf(e), Leland’s Assertio, Arms of the Companions of the Round Table; R. Robinson, Devise des armes, Leland’s Assertio, Misfortunes of Arthur; Edinburgh : John Pinkerton, Gawain; Walter Chapman (Chepman), Golagros and Gawain; Spain, Seville: Juan Cromberger, Tristan; Domenico de Robertis, Tristan; unsigned, a Tristan, Merlin, Grail, and Perceval; Toledo: Juan de Villaquiran, Grail; an unsigned Tristan ; Valla- dolid: Juan de Burgos, Tristan; Barcelona: a Gawain; Belgium, Antwerp: Martin Nucio, a Spanish Tristan; Italy, Milan: Joanne da Castione, Tristan; an unsigned Gawain; Bologna: Benedetti, Novelle antiche, containing short poems on Tristan and Lancelot; Venice: Bartolomeo and Francesco suo genero, Merlin; Michele Wamessino (Tremezzino), Percef orest, Tristan, Lancelot; P. Nic- colini, Tristan; i Guerra, Lancelot; Alexandro and Benedetto de Bindoni, Tristan; Vicentio (Vicentino) and Nicolo Zoppino, Lancelot; Venturino de Roffinelli, Merlin; Florence: Giunti, Bor- ghini’s Libro di novelli, containing' Tristan. A comparison of the first half and the second half of this cen- 133 The Romanic Review tury shows a decrease in the number of productions : one hundred and seven to eighty-four, with twenty-one additional ones, the rela- tive dates of which are not determined. The last quarter has only thirty-six, the other quarters having fifty-nine, forty-eight, and forty-eight respectively. French, with fifty and twenty- five, not including eight undated, and Spanish, with fourteen and five, are the only languages showing a decrease during the course of the pe- riod, while German, with ten and seventeen, not including five un- dated, English, with eleven and fifteen, and Italian, with eighteen and twenty, not including eight undated, present an increase, the others remaining stationary. This falling-off in French is signifi- cant, for interest in France will wane appreciably in the seventeenth and eighteenth centuries. The names of authors and copyists belonging to the sixteenth century are: Nicolo Agostini, L. Alemanni, Vicenzo Borghini, Johan Bourghcher (Lord Berners), Philipe Camus, R. Copland, Christopher Crispin, Erasmo di Valvasone, Jorge Ferreira de Vas- concellos, Fossa da Cremona, Enea Galetti, Gilles Gourmant, Carlo Gualteruzzi, John Harding, John Hawkins, Thomas Hughes, Juan de Villaquiran, John Leland, William Liely, Jean (Ian) Maugin, John Pinkerton, C. Platin, Pseudo-Shakespeare, Roderigo de Rei- nosa, Hans Sachs, Sala 18 de Lyon, Spenser, Stowe, Timoneda, Warner. The subjects treated are: Arthur, Armes des chevaliers de la Table ronde, Chevalier au lion, Chronicles, based on Geoffrey of Monmouth, Devise des armes, Erec, Fairy Queen, Gawain, Gene- viere, Giglain, Giron, Golagros and Gawain, Grail, Gundelbano, Jaufre (son of Conde don Ason), Joseph, Lady of Shalot, Lancelot, Lanval, Libeaus desconnus, Mantel mautaille, Meliadus, Merlin, Oliver and Arthur, Percef orest, Perceval , Round Table, Sagramor, Serments des chevaliers de la Table ronde , Tristan , 19 Tournois des chevaliers de la Table ronde, Wigoleis, Ysaye le triste. 18 This is not the same Sala who wrote a Tristan et Lancelot in the fifteenth century. 19 Tristan is treated in supplementary versions, in addition to the regular ones: Innamoramento di Tristano, Qualitd di Tristano, Lettera di Tristano, Death of Tristan, and an Italian version of the incident of Tristan as fool. Arthurian Literature 139 Names of the previous centuries reappearing at this time are : Eilhart von Oberge, Ulrich Fiierterer, Geoffrey of Monmouth, II;, rtmann von Aue, Heinrich von dem Tiirlin, Helie de Borron, Luce de Gast, Malory, Robert de Borron, Robert of Gloucester, Rusticien de Pise, Sala de Lyon (?). (To be continued .) Yale University A. E. Curdy Reprinted from The Romanic Review, Vol. I, No. 3, July-September, 1910.] ARTHURIAN LITERATURE— II ( Continued from page 139) M ENTION has already been made of the rapid decrease in the number of writers and versions in the seventeenth century — the period, indeed, in which the lowest point of Arthurian pro- duction was reached. This sudden decline in interest is amazing, and there is no direct testimony as to the cause. The suggestion has been made, that the intellectual struggles of the seventeenth and eighteenth centuries are accountable for this state of affairs. Pos- sibly there were other reasons, which do not appear. The attention of the literary world was strongly drawn toward the drama during this century, and the whole subject of the construction of stage productions was fought out with a vehemence that left nothing to the imagination. As a result of this interest in the stage we find that Arthurian subjects appear for the first time in dramatic form, b in a very small number of cases. The first piece was that of John Dry den, King Arthur , or The British Worthy , 22 which was acted and published ; then Desmarres wrote La Dragonne , ou Merlin Dragon 23 Francis Bacon wrote The Misfortunes of Arthur, a drama based on Malory’s Morte d’ Arthur 2 * There were redactions and alterations in the following century, and these prob- ably gave the impulse for dramatic handling of the various subjects of the Arthurian tradition. The three types of literature — the lyric, the novel, and the drama — are now represented. It is strange that Tristan, at least, did not appeal to writers before, or during, this century as a subject for the stage. It contained the elements 22 A dramatic opera in five acts, in prose. London: Jacob Tonson, 1691; republished 1736, 1770, 1781. According to H. B. Wheatley ( Merlin , or the Early History of King Arthur , edited, with the assistance of W. E. Mead, D. W. Nash, J. S. S. Glennie, London, Early English Text Society, 1865-1899; p. lxxvi), this is largely an original creation showing slight influence of the romances dealing with Arthur and Merlin. 23 A comedy in one act in prose. La Haye, 1696. 24 The catalog of the British Museum states this to be based on Dryden. 265 266 The Romanic Review for such treatment, and would have lent itself admirably to one of the forms of the drama, as was perceived at a later date. There are but seventeen authors to be recorded in this period, with two additional ones who planned works relating to the sub- ject; twenty titles, not including eight supplementary ones: six on 'Arthur , one on Gawain, and one on Tristan. There are thirty-eight versions distributed among seven languages : English, twenty ; Ger- man, six; Icelandic, five; Welsh, Italian, and French, two each; and Danish, one. Only in the Scandinavian countries was there an increase of interest. In Icelandic there are two manuscripts on Percevals saga , written from the Conte del Graal of Chrestien de Troyes; two entitled Mottels saga, and one entitled Skijju rimur, all treating of the Mantel Mautaille; a Breta Sogur; a translation of the Historia of Geoffrey of Monmouth; one Iven(t)s saga, a copy of the translation of Chrestien’s Chevalier au lion, ordered by King Hakon; and an Ereks saga, a translation, also, of Chrestien. In Danish we have a Vingoleis, a translation of the German version. The names of authors and scribes are: Francis Bacon, Sir Richard Blackmore, Thomas Blount, Jacob Bloome, Robert Ches- tre, T. Deloney, Desmarres, John Dry den, Fhinn Duanaire, Jon Erlendsson, Thomas Hey wood, Lhuyd, Martin Parker, William Rowley, Jon Thordarsson, Johann C. Wagenseil, Joseph Witzen- hausenz. John Milton planned an Arthurian epic, but was drawn away from his plan by the religious disturbances of the times; and John Dryden and Henry Purcell also planned an Arthurian epic . 25 Shakespeare is said to have assisted William Rowley in the compo- sition of his Birth of Merlin, 26 but, in the absence of direct proof, there is reason for doubt regarding this collaboration. The subjects treated were: Arthur, with six supplementary versions; Carle of Carlyle; Cor; Boy and Mantel, an imitation of Robert Biket’s Corn and the Mantel mautaille; Erec; Gawain, with one supplementary version; Giglain; the Green Knight; Iwein; Libeaus desconnus; Lancelot; Lanval ; Mantel mautaille; Meliadus; Merlin; Perceval; Tristan, with an additional ballad entitled Acan- thus, a Complainte; The Turke and Gowin; Wigoleis . 25 Fraser's Magazine, XLV, 1852, 196-200. 28 Wheatley et al., p. lxxvi. For title, see note 22. Arthurian Literature 267 The places of publication were: England, London: William Stansby, Arthur; Jacob Tonson, Arthur; (no printer has been iden- tified with the publications on Merlin;) and several additional ver- sions of Arthur; Italy, Venice : Imberti Domenica, Gawain, a con- tinuation of Agostini’s Tristan; France, Troyes: Meliadus (no printer’s name); Lyons: Gilles and Jacques Hugueton, Giglain; Germany, Erfurt: J. Singer, Tristan; Nuremberg (no printer’s name) Wigoleis; M. and J. Endter, Tristan; Konigsberg: Arthur, Ji igoleis (no printer’s name); Frankfort: Merlin (no printer’s name); Hamburg: Lorenz Schneider, Wigoleis; Denmark, Copen- hagen: Vingoleis (no printer’s name). No mention has been found of any manuscripts or printed books in Spanish during this period. The writers of the previous centuries who are represented are : Agostini, Robert Biket, Chrestien de Troyes, Geoffrey of Mon- mouth, Malory, Renauld de Beaujeu, Rusticien de Pise. The story of the eighteenth century, like that of the seventeenth, is quickly told. Interest in the subject was still low, as is demon- strated by the small number of names and versions. Particulars for the century are: twenty-six names, twenty-two titles (not in- cluding twelve supplementary ones, of which six are on the subject of Arthur, and six on Merlin), and forty-one versions, divided among eight languages: English has seventeen; French, ten; Welsh Icelandic, each four ; Italian and German, each two ; Latin and Portuguese, each one. Names are: Purcel Arne, Alexander Bicknell, Erik J. Bjorner, Johann J. Bodmer, S. Boulard, Henry Fielding, David Garrick, W. Giffard, Aaron Hill, Richard Hole, Gunnlaug Leifsson, Pierre J. B Legrand d’Aussy, Maurice McGorman, Melissa (pseudonym), J. W. Reed, Jon Sigurdsson, Ada Silva, John Thelwell, Aaron Thom (p) son, Louis-Elisabeth de la Vergne (Comte de Tressan), Jacques Vergier, Warton, Christoph Martin Wieland. In addition to what he actually wrote, Wieland planned a Tristan. Besides these persons, who should be credited with original compositions, or adaptations, of previous versions, a few scholars appear who are interested in the subject from a critical standpoint. In 1758 R. Manessen published at Zurich an edition of Wolfram von Eschen- bach. 27 This is the first attempt at editing a writer of any com- 27 Her W olfram von Eschenbach. Sammlung von Minnesingern durch R. Manessen herausgegeben. Zyrich, 1758-9. 268 The Romanic Review position dealing with the Arthurian tradition, that has come to the knowledge of the present writer. In 1779, Legrand d’Aussy issued his Fabliaux ou Contes , fables et romances du XII e et du XIII e siecle , published at Paris, a collection of mediaeval tales, retold and brought together. Jean-Baptiste de la Curne de Sainte- Palaye copied a fourteenth-century manuscript of Wace’s Brut , possibly for the purpose of critical treatment. We have here prob- ably the beginnings, altho slight, of scholarly consideration of the monuments of the cycle. Only a few writers of previous centuries seem to have received attention at this time : Alemanni’s Girone was reprinted ; Chrestien’s Yvain was abridged in an English translation; Dryden was altered, or rehandled, three times ; Geoffrey of Monmouth’s Merlin appeared in Icelandic, and his Historia was translated into English ; Thomas Hughes’ Misfortunes of Arthur was reprinted; Tristan , by Rusti- cien de Pise, was put into modern French; as was also Robert de Borron’s Merlin; Prince Arthur appeared, an adaptation from Spencer; Wolfram von Eschenbach was imitated in a work entitled Parcival , in German ; and Wace’s Brut was copied . The places of publication were: England, London, Oxford; Ireland, Dublin; France, Paris; Germany, Jena; Italy, Bergamo; Switzerland, Zurich; Sweden, Stockholm; Denmark, Copenhagen. A surprisingly large number (thirty per cent.) of the extant ver- sions are in manuscript form. The subjects on which compositions exist are as follows: Arthur, with six supplementary versions; Brut ; Crop-eared Boy; Chevalier a Vepee; Eagle-Boy; Erec; Gawain ; Giron; Lancelot; Lanval ; Mantel mautaille; Merlin; Mule sans frein; Perceval; Samson the Fair; Tristan; Wigoleis; Yvain. The nineteenth century began with the translation of Legrand d’Aussy’s Fabliaux by Way; a copy of the Auchinleck manuscript, in the Bodleian Library at Oxford; and an incomplete poem on Tristan, by Carl W. F. von Schlegel; all in 1800. The last-named production, that of Schlegel, was a portion of a larger work planned on the Round Table, and was founded on the version of Gottfried von Strassburg. During the first quarter of the century only twenty-one names and anonymous versions have been found. Arthurian Literature 269 and in the second quarter, but thirty-two . The third and fourth quarters are about equally divided in this connection. The first edited work of the century was that of F. Glokle and J. Gorres, a reproduction of Lohengrin, Heidelberg, 1813. This was followed by The History of the renowned Prince Arthur, edited by Joseph Haslewood, London, 1816, a correct reprint of Stansby’s 1634 edi- tion of Malory’s Morte d’Arthure. Then came Robert Southey’s reprint of Malory, 1817, furnished with an introduction and critical notes. It was reserved for the second half of the century to pro- duce any number of really scholarly editions of the monuments. It is not in the plan of this article to enumerate, or consider, critical editions. These will be left for inclusion in the bibliography already announced. In the summary which follows are included original treatments, rehandlings, and translations. (Incidentally a certain number of illustrations are indicated in brackets.) The preponderance of productions in English is startling. This interest was due largely to the works of Tennyson, and to the grow- ing attraction for the version of Malory, which has been, and is still being reprinted, rehandled, modernized, extracted from, retold, and edited for pedagogical purposes. Later than these, Wagner’s dramas have been of great influence. Next to the interest in Eng- land and America is to be noted that in Germany, due to the excel- lent works of Schlegel, Immermann, Simrock, Wagner, and Hertz, to mention only the most important. France, standing third, has definitely lost the supremacy, and other countries, with Italy lead- ing, have fallen far behind. The subjects most frequently treated are: Arthur, predominat- ing, with a number of original productions which are variations from the common themes, then Tristan, which is followed by Mer- lin, Perceval, and Lancelot . With Arthur should be grouped the versions on the Grail and the Round Table, for these three run into each other in such a fashion as to make separation difficult, if not impossible, in many instances. Arthur and the Round Table are treated in English by Thomas Bulfinch, The Age of Chivalry, 1863, in which he retells the stories of chivalry; [Aubrey Beardsley, illustrations to Malory’s Morte d’ Arthur, 1893;] [Gustave Dore, illustrations to Tennyson’s Idylls, 1867, 1868, 1878;] Comyns Carr, 270 The Romanic Review King 'Arthur, a drama, 1895; Beatrice Clay, Morte d' Arthur, Stories for Children (date not found) ; E. Conybeare, La Morte d’ Arthur, an abridgment of Malory, 1868; G. R. Emerson, Dore's Legends of King Arthur, from chronicles and poets, 1867-78; Sebastian Evans, Arthur's Knighting, an original poem, 1875, The Eve of Morte Arthur, poem, 1875, and The High History of the Holy Grail, translated from the French, 1898; Edgar Fawcett, The New King Arthur, a poem, 1885; John H. Frere, Monks and Giants, 1818; John S. Glennie, King Arthur, or the Drama of the Revolution, dealing with the contemporary conflict of political and religious ideas, 1867; Quest for Merlin, 1870, and Youth of Arthur, 1880; Edward Hamley, Sir Tray, a parody on Arthurian material, 1873 ; Robert S. Hawker, King Arthur's Waes-Hael, i860, and Quest of the Sangrael, incomplete, 1864; George W. Cox and Eustace H. Jones, Popular Romances of the Middle Ages, contain- ing Arthur, Merlin, and Tristan, 1871, based on various sources; J. T. K(nowles), The Story of King Arthur and his Knights of the Round Table, an abridgment of Malory, 1862; Sidney Lanier, The Boy's King Arthur, Malory retold and edited [with illustrations by A. Kappes], 1880; E. Bulwer Lytton, King Arthur, and The Fairy Bride, 1849; M. W. MacDowall and W. S. W. Anson, Epics and Romances of the Middle Ages, adapted from the work of Dr. W. Wagner, 1.883, contains Lohengrin and other legends of King Arthur, the Holy Grail, Titurel, Perceval, and Tristan ; C. Morris, King Arthur and the Knights of the Round Table, a modernization of Malory, 1892; William Morris, King Arthur's Tomb, 1858 [and various scenes painted illustrating the legend] ; R. W. Morgan, The Duke's Daughter, 1867, in which Arthur appears as a charac- ter, but there is only slight connection with the legend; D. M. Mulock, King Arthur, 1886; Mrs. G. F. S. Menteath, Avalon (no date) ; W. W. Newell, King Arthur and the Table Round, chiefly from Chrestien de Troyes, 1897; B. M. Ranking, La Mort d' Ar- thur, abridged from Malory, 1871 ; John Rhys and F. J. Simmons, The Birth, Life, and Acts of King Arthur, Malory’s Arthur modernized in spelling and edited [with illustrations by Aubrey Beardsley], 1893 1 [Dante G. Rosetti painted scenes from the legend about 1857;] Robert Southey, The Byrth, Lyf, and Actes of Kyng Arthurian Literature 271 Arthur , a reprint, with notes, of Malory, 1817; Sir E. Strachey, Morte Arthur , Malory revised, 1868; Tom Taylor, Ballads and Songs of Brittany, poems on Arthur, Tristan, Merlin, Taliesen, 1865 ; Alfred, Lord Tennyson, beginning in 1832, published poems on the legends : 28 Lady of Shalott, 1832, and, at the same time, he issued two poems over the pseudonym “ Merlin ” ; Morte d’ Arthur, and Gal- ahad, 1842; Enid, 1856; Enid and Nimue, 1857; Guinevere, 1858; Idylls of the King: Enid, Vivien, Elaine, Guinevere, 1859, which were published later with additions : Lancelot and Elaine, Geraint and Enid, Merlin and Vivien, Coming of Arthur, Holy Grail, Pel- leas and Ettarre, Passing of Arthur, Marriage of Geraint, Balin and Balan, Last Tournament; Holy Grail, 1869; Gareth and Lynette, 1872; Merlin and the Gleam, 1889; Mark Twain (Samuel L. Clem- ens), A Connecticut Yankee at King Arthur's Court , a satire, 1889; two anonymous versions: Young Arthur, or The Child of Mystery, 1819, and Arthur's Knights, an Adventure from the Sang rale, 1858. William and Robert Whislecraft planned an epic on King Arthur and the Round Table, 1817. Arthur was handled in French by Ulric Guttinguer, Arthur, 1836; F. M. Luzel and l’Abbe Henry, Sainte Tryphine et le Roi Arthur, 1863 5 Creuze de Lesser, La Table ronde, 1829; and Paulin Paris, Les Romans de la Table Ronde, modernizations of Joseph d'Arimathie, le Saint Graal, Merlin, Ar- tus, Lancelot, 1868; in Italian by Tomaso V. Mathias, II Cavaliere della Croce, 1826, in which Arthur and Merlin rescue an im- prisoned hero; in Bohemian by W. Hanka, Stolowanie Krale Artuse, 1817; in Portuguese by Teophilo Braga, Os Doze de Ingla- terra, 1899. The Grail is found in the English productions of Edwin A. Abbey [frescoes in the Boston Public Library, 1895- 1902] ; Sebastian Evans, The High History of the Holy Grail, trans- lated from the French, 1898; J. O. Halliwell, The Nursery Rhymes of England, 1842, where is a jingle on Arthur; Robert S. Hawker, Quest of the Sangrael, 1864; Reginald Heber, Epic on Arthur, in his Works, 1841; M. W. MacDowall and W. S. W. Anson, 1883 (the title is given above under Arthur ) ; W. W. Newell, 1897 (title above under Arthur ) ; and Tennyson, 1870; in French, by Paulin Paris, 1868 (title under Arthur ); and in an anonymous Irish ver- 28 The dates for Tennyson are taken, as far as possible, from the Dictionary of National Biography. Edited by Leslie Stephen and Sidney Lee. London, 1885. 2*] 2 The Romanic Review sion. Lancelot appears in English by C. Bruce, The Story of Queen Guinivere and Sir Lancelot of the Lake , after the German of W. Hertz, 1865 ; Gordon, Rhyme of Joyous Garde , 1868; Edmund Gosse, a poem on the love of Lancelot and Guinevere, 1873, in the volume entitled On Viol and Flute (the poem was omitted from later editions on account of the ridicule of the critics) ; Richard Henry, Lancelot the Lovely, 1889; William Morris, A Good Knight in Prison, 1858; W. W. Newell, 1897 (title under Arthur), and Tennyson (title under Arthur) ; in French by F. Beau and Louis Gallet, Lancelot, 1899, with music by Victorien Jonsieres; A. Delvau, in the Biblio- theque Bleue, i860, retelling of the story; in Italian by Giulio Fer- rario, Libro di Novelle e di bel Parlar , etc., 1804, containing narra- tions about Lancelot, Meliadus, Tristan, Lady of Shalot; M[arc] A. P[arenti], Scelta di Prose e di Poesie, etc., 1826, same as Fer- rario; in German by Franz Bittong, Lancelot, a libretto (no date) ; Adolf Bottger, Lancelot, a libretto, 1861 ; Wilhelm Hertz, Lancelot und Ginevra, i860; in Spanish by Agustin Duran, Romancer 0 ge- neral, 1859, containing tales of Galvan, Lanzarote, Tristan. Merlin appears in English by George Bidder, Merlin's Youth, 1899; J. Croskey, Merlin, a Piratical Love Story, 1896; Ralph W. Emerson, Merlin, 1883, a poem containing an address to the bard; John S. Glennie, Quest for Merlin, 1870; Jones and Cox (title under Arthur ), 1871 ; W. W. Newell, 1897 (title under Arthur) ; C. W. F. von Schlegel, Geschichte des Zauberers Merlin, 1804; Tom Tay- lor, 1865 (title under Arthur) ; Alfred, Lord Tennyson (title under Arthur ), 1832, 1859; John Veitch, Merlin and other Poems, 1889; and William Wordsworth, The Egyptian Maid, 1835, a story founded on Malory, in which Merlin plays an important role; in Italian by Ferrario (title under Lancelot) ; Parenti (title under Lancelot ); and a reprint of Zorzi’s Merlin, Bologna, 1884; in Spanish by Diaz de Benjumea, El Mensage de Merlin, 1875 ; in German by Karl Goldmark, Merlin, an opera, 1888; Paul Heyse, Merlin, 1892, a novel, not reproducing the old legend, but with here and there a motive or hint from the mediaeval romance; Carl W. F. von Schlegel, Merlin, 1823, a translation of the French prose version of 1528; Karl Immermann, Merlin, a myth, 1832, in which motifs from the legends of Faust and the Holy Grail are mingled; Arthurian Literature 2 73 Ludwig Uhland, Merlin der Wilde , 1829; in French by Paulin Paris (title under Grail) ; and Edouard Quinet, Merlin I'Enchan- teur, i860; and an anonymous Merlin , Tableaux , 1827. Tristan appears in English in the writings of Matthew Arnold, Tristram and Iseult , 1852; Vivian Bell, 29 Tristan; H. and F. Corder, Tristan and Iseult , 1882, a translation of Wagner; A. Forman, Tristan and Iseult , 1891, a translation of Wagner; Maurice Hewlett, The Forest Lovers, 1898; F. Jameson, Tristan and Iseult, 1886, a trans- lation of Wagner; M. W. MacDowall and W. S. W. Anson (title under Arthur ); F. Millard, Tristram and Iseult, 1870; [William Morris, Tristram in Marc's Palace, a painting, 1856;] and The Chapel in Lyoness, 1856, a poem; Algernon C. Swinburne, Tristram of Lyonesse, 1882; The Wanderer (pseudonym), Sir Tristram's Axe, 1892, a child’s fairy tale; Jessie L. Weston, The Story of Tristan and Iseult, rendered into English from the German of Gott- fried von Strassburg [with illustrations by Caroline Watts], 1899; in French, by the Count de Chambrun and S. Legis, in their trans- lations of Wagner, 1895; Alfred Delvau (title under Lancelot)’, M. Lyon, Tristan et Iseult, 1895, a translation of Wagner; Armand Silvestre, Tristan de Leonois, drame, 1891 ; V. Wilder, Tristan et Iseult, 1886, a translation of Wagner; in German by Karl P. Conz, Tristan's Tod, 1824; Wilhelm Hertz, Tristan und Isolde, von Gott- fried von Strassburg, neubearbeitet, 1877; Karl Immermann, Tris- tan und Isolde, 1841, an incomplete poem; Hermann Kurz, Riwalin und Blanche flor, 1844; Oswald Marbach, Tristan, 1839, a transla- tion of the beginning of Gottfried von Strassburg; August von Platen, Tristan, 1825, incomplete; Carl Robert (pseudonym of Edw. Hartmann), Tristan und Isolde, 1871; Friedrich Roeber, Tristan und Isolde, 1854; August Wilhelm von Schlegel, Tristan, 1800, incomplete; Carl W. F. von Schlegel, Tristan, 1846; Ludwig Schneegans, Tristan, Trauerspiel, 1865; Karl J. Simrock, Tristan und Isolde, 1845; Tristan und Isolde, ubersetzt von Gottfried von Strassburg, 1855; Wilhelm Wackernagel, seven romances on Tris- tan and Isolde in Gedichte eines fahrenden Schulers, 1828; Wil- helm Richard Wagner, Tristan und Isolde, 1859; Joseph Weilen, “This work, and Yseult given below, are mentioned by Anatole France in his Lys Rouge, chapter one, but I have not been able to locate them. He also states that Burne-Jones illustrated the Tristan in aquarelle. 274 The Romanic Review Tristan, eine Tragodie, i860; in Italian by A. Boito, Tristano e Isotta, 1876, a translation of Wagner; Giulio Ferrario (title under Lancelot) ; C. Nigra, La Romanza di Tristano e Isotta, 1897; m Spanish by Augustin Duran (title under Lancelot) ; and in Bo- hemian by Waclawa Hanka, Tristram Weliky Rek ( Tristram the Mighty Hero), 1820. (See also Iseult.) Perceval is treated in English by M. F. Glyn, Parsifal, 1890, a translation of Wag- ner; E. F. Germanicus (pseudonym), Parsifal, der reine Thor, 1883, a translation of Wagner; M. W. MacDowall and W. S. W. Anson (title under Arthur) ; W. W. Newell (title under Arthur) ; Jessie L. Weston, Parzival, a Knightly Epic, 1894, translated from Wolfram von Eschenbach; in French by Al- phonse Grandmont, Perceval, 1893, translated from Wolfram von Eschenbach; V. Wilder, Parsifal, 1885, translated from Wagner; in German by Wilhelm Hertz, Parzival, neubearbeitet von Wolfram von Eschenbach, 1897; K. Pannier, Wolfram von Eschenbach, Parzival, ubersetzt, 1897; A. Schulz, Parzival von Wolfram von Eschenbach, ubersetzt, 1836; Karl J. Simrock, Parzi- val und Titurel von Wolfram von Eschenbach, ubersetzt, 1842; Wilhelm Richard Wagner, Parsifal > 1877; [C. Rotter, R. Wagner's Parsifal, Neun Scenenbilder gemalt, 1892]. The remaining titles are: Balen ( Balin ), handled by Algernon C. Swinburne, Tale of Balen, 1896; Tennyson, Balin and Balan, 1:859 ( ?) i Inconnu by Alfred Delvau (title under Lancelot ); a chronicle by J. A. Giles, The History of the Britons, 1841, trans- lation of Geoffrey of Monmouth ; The Courteous Knight, by E. Edwardson, 1899; Elaine, Tennyson, 1859; [illustrated by Gustave Dore, 1867;] Enide [illustrated by Gustave Dore, 1868;] D. E. M. van Herwerden, Enid metrisch vertaald, 1888, a translation of Tennyson into Dutch; Tennyson, Enid, 1857; Erec, by V. As- mundson, Aevintyra-Sogur, 1886; L. Cledat, Erec et Enide, ex- traits traduits et analysed, 1897; S. O. Fistes, Erek, eine Erzdhlung, 1851; W. W. Newell, Erec and Enide, 1897; Fight with the ■Dragon, by H. Kurz, 1844; Galahad, by Elinor Sweetmar, Pastoral of Galahad, 1899; William Morris, Sir Galahad, 1858; Gareth and Lynette, see above under Idylls of the King; Gawain, by A. Duran (title under Lancelot):, George A. Simcox, Gawain and the Lady Arthurian Literature 275 of Avalon , 1868; Jessie L. Weston, Gawain and the Green Knight, 1898; Geraint , by Tennyson, Geraint, 1859; Guinevere, by Wil- liam Morris, Defense of Guinevere, Near Avalon, 1858; C. Bruce, The Story of Queen Guinevere and Sir Lancelot, 1865, after the German of W. Hertz; Owen Meredith (pseudonym of Edw. Robt. Bulwer Lytton), Queen Guinevere, 1855; Edw. Geo. Bulwer Lytton, The Fairy Bride, and King Arthur, poems, 1848-49; Thomas L. Peacock, Misfortunes of Elphin, 1829, in which Guine- vere is carried off by Melvas; George A. Simcox, Farewell of Ganore, 1868; Tennyson, Guinevere, 1859 (see also Lancelot ); Guiron, by F. Tassi, Girone il cortese, 1855, a translation of Rus- ticien de Pise; P. Zanotti, Girone il Cortese, 1857; Tennyson’s Idylls were treated by Oskar F. Adams, Post-Laureate Idyls, 1886, parodies; J. Angobol Csukassi, Enid: Kiraly-idyll, 1876, a transla- tion into Hungarian; [A. Butts, Sixteen Illustrations to the Idylls, 1863;] J. H. F. Le Comte, De Konnigs-Idyllen, 1893, in Dutch; S. Eytinge, Jr., The Last Tournament, 1872 [illustrated]; H. A. Feldmann, Konigsidyllen, 1871, a translation; Francisque Michel, Elaine, 1867, Vivienne, Guinievre, 1868, Enid, 1869, translations; A. Munch, Idyller om Konig Arthur, 1876, translations of Tenny- son into Danish; [G. W. and L. Rhead, Idylls of the King: Vivien, Elaine, Enid, Guinevere, 1898, decorations;] W. Scholz, Konigs- Idyllen, 1867, translations into German; K. Szasz, Kiraly-idyllek, 1876, 1889, translations into Hungarian; 30 Yseult by Vivien Bell (date?); Charlotte H. Dempster, Iseulte, 1875; Robert Gehrke, Isolde, T rago die, 1 869. ( See also T ristan . ) Iwein, by W. Graf von Baudissin, Iwein mit dem Lowen, 1845; C. J. Brandt, Ivan Love - ridder, 1869, translation into Danish; W. W. Newell (title under Grail) ; Jaufre, by Jean Bernard Mary -La f on, Les Aventures du Chevalier Jaufre, 1856, also translated into English, 1869, under the title Geoffrey, the Knight [with illustrations by Gustave Dore] , but the name of the translator is not given; Joseph, by Paulin Paris (title under Grail) ; Knight of the Falcon, by an anonymous writer, 1870; Lady of the Fountain, by the same, 1870; Lady of Shalot , by Giulio Ferrario (title under Lancelot) ; W. W. Newell (title under 80 Also see the titles: Enid , Lady of Shalott, Vivien, Elaine, Guinevere, Lancelot, Geraint, Merlin, Coming of Arthur, Holy Grail, Pelleas, Passing of Arthur, Balin, Last Tournament, Morte d’ Arthur, Gareth. 276 The Romanic Review Grail)] Tennyson, Lancelot and Elaine , 1832; Lais of Marie de France, by E. Rickert, Marie de France. Seven of her Lais done into English , 18 — ; in German by Wilhelm Hertz, Marie de France , Poetische Erzahlungen ubersetzt , 1862 ; Wilhelm Hertz, Lanval, 1886, translated from the French; also translated into English by Way, 1800; James Russell Lowell, Vision of Sir Launfal, 1848; Way, Translations from the Fabliaux of Legrand d’Aussy, 1800; Last Tournament , by Tennyson, 1871 ; Lohengrin , by W. W. Mac- Dowall and W. S. W. Anson (title under Grail) ; O. F. H. Schon- huth, Der Schwanritter, 1864; Karl J. Simrock, Schwanenritter, 1845; Wagner, Lohengrin, 1847; One of the Folk (pseudonym), Lohengrin Fifty Years After, 1895 ; J. Ashton, Romances of Chiv- alry told and illustrated, 1887; Mabinogion, by Lady Charlotte Guest, The Mabinogion, a translation into English, 1849; J- Loth, Les Mabinogion, a translation into French, 1 889 ; Mantle, by Maxime Camp, Le Manteau dechire, 1891 ; Mordred, by Henry Newboth, Mordred, a Tragedy, 1885; Pelleas and Ettarre, by Tennyson, 1870; Peredur, by an anonymous writer, Some of the King's Idylls Un- varnished, 1870, containing Peredur , or the Magic Basin ; Vivien, by Tennyson, 1859. The summary for the nineteenth century is: one hundred and fifty-four authors; forty-four titles, with seven additional supple- mentary ones on Arthur; two hundred and thirteen productions distributed among fourteen languages : English with one hundred and twenty-three; German, thirty-three; French, twenty-four; Italian, thirteen; Dutch, five; Spanish, four; Hungarian, Danish, and Irish, each two; Swedish, Norwegian, Hebrew, Portuguese, and Bohemian, each one. The twentieth century has already a large number of transla- tions, reworkings, and original treatments in prose and poetry, appearing in narrative, dramatic, and lyric form. The information which the writer has been able to obtain would indicate that inter- est in the cycle has diminished very considerably in all countries, except England and America. This statement applies only to pro- ductions of a literary nature. If we consider editions and scholarly monographs, we find that Arthurian literature is attracting the at- tention of students in practically all the countries of Europe and Arthurian Literature 2 77 in America; but these, as in previous centuries, are not to be in- cluded here. In the matter of literary adaptations, English almost monopolizes the field, with fifty-five productions, followed by French with four, German with three, and Dutch and Swedish with one each. It seems improbable that this should be the sum of the productions outside of English. Twenty-six titles appear, with an addition of four supplementary ones on Arthur. There are forty- seven names of writers, and, as shown, but five languages are rep- resented. Arthur and the Grail , then Tristan , are the subjects which have received the most frequent attention. The versions with Arthur as subject are largely rehandlings and reworkings of Malory, and there are few original ones. The subjects found during this first decade of the century are: Arthur , by Mary Macleod, from Malory, 1900; Andrew Lang, from Malory, 1902; C. L. Thomson, from Malory, 1902 ; H. Pyle, 1903 ; Beatrice T. Clay, 1905 ; U. W. Cutler, from Malory, 1905; Mary Macgregor, juvenile, 1905; R. S. Bate, from Malory and Tennyson, 1907; C. Morris, 1908; L. 0:S Stevens and E. F. Allen, from Malory, 1908; Frith, from Malory, 19 — ; Arthur in Avalon , by Geoffrey (pseudonym), 1904; King Arthur's Table on Christmas, an enumeration of foods and drinks, 1907; King Arthur's Hunt, by William H. Carruth, 1908; The Advent of Arthur, by Enid L. Hunt, 1908; Cleges, translated from Old English by Jessie L. Weston, 1901 ; Crop-eared Boy, trans- lated from Welsh by R. A. S. Macalister, 1908; Eagle-Boy, trans- lated from Welsh by R. A. S. Macalister, 1908; Ex Calibur, drama, by Ralph A. Cram, 1909; Galahad, by Norley Chester, 1907; Richard Hovey, drama, 1907; M. B. Sterling, 1908; Gawain, by Jessie L. Weston, 1903; Charlton M. Lewis, 1903; The Grail, by Ferris Greenslet, 1902; Richard Hovey, drama, 1907; R. Kralik, 1907; Henry James, an outline of the version of the legend in description of the Abbey frescoes, 1907; Norley Chester, 1907; [Miss E. E. Siddal, a drawing, 1909;] Guinevere, drama, by Rich- V ard Hovey, 1907 (see also Lancelot) ; Hist or ia Britonum, trans- lated by Sebastian Evans, 1904; Iseult's Return, by W. W. Newell, 1908 (see also Tristan ) ; Knight of the Lion, from Chrestien de Troyes, W. F. Harvey, 1902; Lohengrin, by Oliver Huckel, from Wagner, 1905; Norley Chester, 1907; Lady of the Fountain, from 278 The Romanic Review the Mahinogion , by W. F. Harvey, 1902; Lady of King "Arthur's Court , by Sara H. Sterling, from Malory, 1907; Lancelot , by Rich- ard Hovey, drama, 1907; H. Pyle, 1907; Lanval , by Jessie L. Weston, from Marie de France, 1900; T. E. Ellis (pseudonym of Lord Howard de Walden), drama, 1908; Libeaus desconnus, by Jessie L. Weston, translated from Old English, 1901 ; Mahinogion , translated by A. Nutt, 1902; Merlin , by R. A. S. Macalister, trans- lated from Irish, 1903; Richard Hovey, drama, 1907; Morien, by Jessie L. Weston, translated from the Dutch Lancelot , 1901 ; Oliver and Arthur, by William Leighton and Eliza Barrett, translated from the German of Wilhelm Liely, 1903; Perceval , by J. P. Jackson, drama, translation of Wagner, 1900; Oliver Huckel, a poetic para- phrase of Wagner, 1903; C. G. Kendall, Tannhduser , in which Per- ceval appears as a character, 1903; Percef orest, reprint of the 1531 French version, 1906; Taliesen , by Richard Hovey, drama, 1907; Tristan , by Joseph Bedier, a translation and reconstruction, 1900; H. Belloc, d translation of Bedier into English, 1900; 31 J. Zeidler, a translation, 1901 ; M. Lokes, a translation of Bedier into Dutch, 1903; Elizabeth Colwell, poem, 1907; R. Le Gallienne, translation of Wagner, 1909; Eddy Marix, drama, 1905; Ernst Hardt, Tantris der Narr, 1909. A drama has been announced, to be played by Sarah Bern'hardt, written by Louis Artus, the pseudonym of a dis- tinguished French scholar. A. E. Curdy Yale University 81 A new edition by Bedier, with illustrations by Maurice Lalan, has been issued by Piazza et Cie., Paris, 1910. I