INTRODUCTION.

THIS volume of “Mediæval Tales” is in four parts, containing severally, (1) Turpin’s “History of Charles the Great and Orlando,” which is an old source of Charlemagne romance; (2) Spanish Ballads, relating chiefly to the romance of Charlemagne, these being taken from the spirited translations of Spanish ballads published in 1823 by John Gibson Lock­hart; (3) a selection of stories from the “Gesta Romanorum;” and (4) the old translation of the original story of Faustus, on which Marlowe founded his play, and which is the first source of the Faust legend in literature.

Turpin’s “History of Charles the Great and Orlando” is given from a translation made by Thomas Rodd, and published by himself in 1812, of “Joannes Turpini Historia de Vita Caroli Magni et Rolandi.” This chronicle, composed by some monk at an unknown date before the year 1122, professed to be the work of a friend and secretary of Charles the Great, Turpin, Archbishop of Rheims, who was himself present in the scenes that he describes. It was — like Geoffrey of Monmouth’s nearly contemporary “History of British Kings,” from which were drawn tales of Gorboduc, Lear and King Arthur — romance itself, and the source of romance in others. It is at the root of many tales of Charlemagne and Roland that reached afterwards their highest artistic expression in Ariosto’s “Orlando Furioso.” The tale ascribed to Turpin is of earlier date than the year 1122, because in that year Pope Calixtus II. officially declared its authenticity. But it was then probably a new invention, designed for edification, for encouragement of faith in the Church, war against infidels, and reverence to the shrine of St. James of Compostella.

The Church vouched for the authorship of Turpin, Archbishop of Rheims, excellently skilled in sacred and profane literature, of a genius equally adapted to prose and verse; the advocate of the poor, beloved of God in his life and conversation, who often hand to hand fought the Saracens by the Emperors side; and who flourished under Charles and his son Lewis to the year of our Lord eight hundred and thirty.” But while this work gave impulse to the shaping of Charlemagne romances with Orlando (Roland) for their hero, there came to be a very general opinion that, whether the author of the book were Turpin or another, he too was a romancer. His book came, therefore, to be known as the “Magnanime Mensonge,” a lie heroic and religious.

No doubt Turpin’s “Vita Caroli Magni et Rolandi” was based partly on traditions current in its time. It was turned of old into French verse and prose; and even into Latin hexameters. The original work was first printed at Frankfort in 1566, in a collection of For Chronographers — “Germanicarum Rerum.” Mr. Rodd’s translation, here given, was made from the copy of the Original given in Spanheim’s “Lives of Ecclesiastical Writers.”

Publication of the songs and ballads of Spain began at Valencia in the year 1511 with a collection by Fernando del Castillo, who on his title-page professed to collect pieces “as well ancient as modern.” From 1511 to 1573 there were nine editions of this “Cancionero.” A later collection made between 1546 and 1550 — The “Cancionero de Romances” — was made to consist wholly of ballads. A third edition of it, in 1555, is the fullest and best known. The greatest collection followed in nine parts, published separately between 1593 and 1597, at Valencia, Burgos, Toledo, Alcala, and Madrid. This formed the great collection known as the “Romancero General.”

The chief hero of the Spanish Ballads is the Cid Campeador; and Robert Southey used these ballads as material for enriching the “Chronicle of the Cid,” which has already been given in this Library. Songs of the Cid were sung as early as the year 1147, are of like date with the “Magnanime Mensonge” and Geoffrey of Monmouth’s “History of British Kings.” In 1248 St. Ferdinand gave allotments to two poets who had been with him during the Siege of Seville, and who were named Nicolas and Domingo Abod “of the Romances.” There is also evidence from references to what “the juglares sing in their chants and tell in heir tales,” that in the middle of the thirteenth century tales of Charlemagne and of Bernardo del Carpio were familiar in the mouths of ballad-singers.

The whole number of the old ballads of Spain exceeds a thousand, and of these John Gibson Lockhart has translated Some of the best into English verse. Lockhart was born in 1793, was the son of a Scottish minister, was educated at the Universities of Glasgow and Oxford, and was called to the bar at Edinburgh in 1816. Next year he was one of the keenest of the com­pany of young writers whose genius and lively audacity established the success of “Blackwood’s Magazine.” Three years later, in 1820, he married the eldest daughter of Sir Walter Scott. Lockhart’s vigorous rendering of the spirit of the Spanish Romances was first published in 1823, two years before he went to London to become editor of the “Quarterly Review.” He edited the “Quarterly” for about thirty years, and died in 1854.

The “Gesta Romanorum” is a mediæval compilation of tales that might be used to enforce and enliven lessons from the pulpit. Each was provided with its “Application.” The French Dominican, Vincent of Beauvais, tells in his “Mirror of History” that in his time — the thirteenth century — it was the practice of preachers to rouse languid hearers by quoting fables out of Æsop, and he recommends a sparing and discreet use of profane fancies in discussing sacred subjects. Among the Harleian MSS. is an ancient collection of 215 stories, romantic, allegorical and legendary, compiled by a preacher for the use of monastic societies. There were other such collections, but the most famous of all, widely used not only by the preachers but also by the poets, was the Latin story-book known as the “Gesta Romanorum.” Its name, “Deeds of the Romans,” was due to its fancy for assigning every story to some emperor who had or had not reigned in Rome; the emperor being a convenient person in the Application, which might sometimes begin with, “My beloved, the emperor is God.” Perhaps the germ of the collection may have been a series of applied tales from Roman history. But if so, it was soon enriched with tales from the East, from the “Clericalis Disciplina,” a work by Petrus Alfonsus, a baptized Jew who lived in 1106, and borrowed professedly from the Arabian fabulists. Mediæval tales of all kinds suitable for the purpose of the “Gesta Romanorum” were freely in­corporated, and the book so formed became a well-known store­house of material for poetic treatment. Gower, Shakespeare, Schiller are some of the poets who have used tales which are among the thirty given in this volume.

The “Gesta Romanorum” was first printed in 1473, and after that date often reprinted. It was translated into Dutch as early as the year 1484. There was a translation of forty-three of its tales into English, by Richard Robinson, published in 1577, of which there were six or seven editions during the next twenty four years. A version of forty-five of its tales was pub­lished in 1648 as “A Record of Ancient Histories.” The fullest English translation was that by the Rev. C. Swan, published in 1824. In this volume two or three tales are given in the earlier English form, the rest from Mr. Swan’s translation, with a little revision of his English. Mr. Swan used Book English, and was apt to write “an instrument of agriculture” where he would have said “a spade.” I give here thirty of the Tales, but of the “Applications” have left only enough to show how they were managed.

In the volume of this Library, which contains Marlow’s “Faustus” and Goethe’s “Faust,” reference has been made to the old German History of Faustus, first published at Frankfort in September 1587, and reprinted with slight change in 1588. There was again a reprint of it with some additions in 1589. This book was written by a Protestant in early days of the Reformation, but shaped by him from mediæval tales of magic, with such notions of demons and their home as had entered deeply in the Middle Ages into popular belief. From it was produced within two years of its first publication Marlowe’s play of “Faustus,” which has already been given, and that English translation of the original book which will be found in the present volume. It was reprinted by Mr. William J. Thorns in his excellent collection of “Early English Prose Romances,” first published in 1828, of which there was an enlarged second edition, in three volumes, in 1858. That is a book of which all students of English literature would like to see a third and cheap edition.

H. M.

October 1884.