The Book of Romance — Andrew Lang

The original touch, the sound of Orpus's fiddle heard only in the graveyards of the negroes (like the fairy music under the fairy hill at Ballachulish), is very remarkable. Now the Red Indian story has no harper, and no visit by the hero to the land of the dead. His grief brings his wife back to him, and he loses her again by breaking a taboo, as Orpheus did by looking back, a thing always forbidden. Thus we do not know whether or not the Red Indian version is borrowed from the European myth, probably enough it is not. But in no case -- not even when the same plot and incidents occur among Egyptians and the Central Australian tribes, or among the frosty Samoyeds and Eskimo, the Samoans, the Andamanese, the Zulus, and the Japanese, as well as among Celts and ancient Greeks -- can we be absolutely certain that the story has not been diffused and borrowed, in the backward of time. Thus the date and place of origin of these eternal stories, the groundwork of ballads and popular tales, can never be ascertained. The oldest known version may be found in the literature of Egypt or Chaldæa, but it is an obvious fallacy to argue that the place of origin must be the place where the tale was first written down in hieroglyph or cuneiform characters.

There the stories are: they are as common among the remotest savages as among the peasants of Hungary, France, or Assynt. They bear all the birth-marks of an early society, with the usual customs and superstitions of man in such a stage of existence. Their oldest and least corrupted forms exist among savages, and people who do not read and write. But when reading and writing and a class of professional minstrels and tellers of tales arose, these men invented no new plots, but borrowed the plots and incidents of the world-old popular stories. They adapted these to their own condition of society, just as the plantation negroes adapted Orpheus and Eurydice. They elevated the nameless heroes and heroines into Kings, Queens, and Knights, Odysseus, Arthur, Charlemagne, Diarmid, and the rest. They took an ancient popular tale, known all over the earth, and attributed the adventures of the characters to historical persons, like Charlemagne and his family, or to Saints, for the legends of early Celtic Saints are full of fairy-tale materials. Characters half historic, half fabulous, like Arthur, were endowed with fairy gifts, and inherited the feats of nameless imaginary heroes.

The results of this uncritical literary handling of elements really popular were the national romances of Arthur, of Charlemagne, of Sigurd, or of Etzel. The pagan legends were Christianised, like that of Beowulf; they were expanded into measureless length, whole cycles were invented about the heroic families; poets altered the materials each in his own way and to serve his own purpose, and often to glorify his own country. If the Saracens told their story of Roland at Roncevalles, it would be very different from that of the old Frankish chansons de geste. Thus the romances are a mixture of popular tales, of literary invention, and of history as transmitted in legend. To the charm of fairy tale they add the fascination of the age of chivalry, yet I am not sure but that children will prefer the fairy tale pure and simple, nor am I sure that their taste would be wrong, if they did.

In the versions here offered, the story of Arthur is taken mainly from Malory's compilation, from sources chiefly French, but the opening of the Graal story is adapted from Mr. Sebastian Evans's 'High History of the Holy Graal,' a masterpiece of the translator's art. For permission to adapt this chapter I have to thank the kindness of Mr. Evans.