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October 2, xxxx
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pirate invaders, and he himself set adrift in a boat. But in this the princess (daughter of course of the king who shelters him) herself falls in love with Horn, and there is even a scene of considerable comic capabilities in which she confides this affection by mistake to one of his companions (fortunately a faithful one) instead of to himself. But Horn has a faithless friend also; and rivals, and adventures, and journeys; and returns just in the nick of time, and recognitions by rings, and everything that can properly be desired occur. In these--even more perhaps than in Havelok's more masculine and less sentimental fortunes--there are openings not entirely neglected by the romancer (though, as has been said, he does not seem to have been one of the strongest of his kind) for digression, expatiation, embroidery. Transpose these two stories (as the slow kind years will teach novelists inevitably to do) into slightly different keys, introduce variations and episodes and codas, and you have the possibilities of a whole library of fiction,
as big and as varied as any that has ever established itself for subscribers, and bigger than any that has ever offered itself as one collection to buyers. The love-stories of these two tales are what it is the fashion--exceedingly complimentary to the age referred to if not to the age of the fashion itself--to call "mid-Victorian" in their complete "propriety." Indeed, it is a Puritan lie, though it seems to possess the vivaciousness of its class, that the romances are distinguished by "bold bawdry." They are on the contrary rather singularly pure, and contrast, in that respect, remarkably with the more popular folk-tale. But fiction, no more than drama, could do without the [Greek: amarthia]--the human and not unpardonable frailty. This appears in, and complicates, the famous story of Tristram, which, though its present English form is probably younger than Havelok and Horn, is likely to have existed earlier: indeed must have done so if Thomas of Erceldoune wrote on the subject. Few can require to be told that beautiful and tragical history of
inauspicious stars" which hardly any man, of the many who have handled it in prose and verse, has been able to spoil. Our Middle English form is not consummate, and is in some places crude in manner and in sentiment. But it is notable that the exaggerated and inartistic repulsiveness of Mark, resorted to by later writers as a rather rudimentary means of exciting compassion for the lovers, is not to be found here; in fact, one of the most poetical touches in the piece is one of sympathy for the luckless husband, when he sees the face of his faithless queen slumbering by her lover's side with the sun on it. "And Mark rewed therefore." The story, especially in its completion with the "Iseult of Brittany" part and the death of Tristram, gives scope for every possible faculty and craftsmanship of the most analytic as of the most picturesque novelist of modern times. There is nothing in the least like it in ancient literature; and to get a single writer who would do it justice in modern times we should have to take the best notes of Charles Kingsley,