Ant toggen o the harpe And of my coupe to serven', With ous other servise; Horn child, thou understond, Al that mon him tahte, Lovede men Horn child, In another part of the poem he is table. introduced playing on his harp. Horn sette him abenche, Is harpe he gan clenche, He made Rymenild a lay Ant hue seide weylaway, &c. In the chamber of a bishop of Winches ter at Merden castle, now ruined, we find mention made of benches only. Comp. MS. J. Gerveys, Episcop. Winton, 1266. "Iidem red. comp. de ii. mensis in aula ad magnum descum. Et de iii. mensis, ex una parte, et ii. mensis ex altera parte cum tressellis in aula. Et de i. mensa cum tressellis in camera dom. episcopi. Et v. formis in eadem camera." Descus, in old English dees, is properly a canopy over the high See a curious account of the goods in the palace of the bishop of Nivernois in France, in the year 1287, in Montf. Cat. MSS. ii. p. 984. col. 2. г According to the rules of chivalry, every knight before his creation passed through two offices. He was first a page: and at fourteen years of age he was formally admitted an esquire. The esquires were divided into several departments; that of the body, of the chamber, of the stable, and the carving esquire. The latter stood in the hall at dinner, where he carved the different dishes with proper skill and address, and directed the distribution of them among the guests. The inferior offices had also their respective esquires. Mem. Anc. Cheval. i. 16. scq. And thah hue ne dorste at borde Among the knyhtes alle, Bi daye ne bi nyhte For hue speke ne myhte, With Horn that wes so feir and fre Tho hue ne myhte with him be; Hue sende hyre sonde Athelbrus to honde, That he come hire to, And also shulde Horn do, In to hire boure, For hue bigon to loure, The stiward was in huerte wo, For he nuste whet he shulde do, What Rymenyld bysohte Gret wonder him thohte; messenger. t companion, friend. To speke with Rymenyld stille, Thou art Horne's yliche, Thou shalt hire bysuyke, That hue wole Horn mysrede." Rymenild con waxe wilde, Hue seten adoun stille, "Horn," quoth heo, "wellonge Me to spouse welde And ich the loverd to helde." So stille so hit were, Athulf seyde in hire eere, "Ne tel thou no more speche May y the byseche Thi tale gyn thou lynne, For Horn nis nout her ynne," &c. At length the princess finds she has been deceived, the steward is severely reprimanded, and prince Horne is brought to her chamber; when, says the poet, Of ys fayre syhte Al that boure gan lyhte". "MSS. ibid. f. 83. Where the title is written, "be zeste of kynge Horne." There is a copy, much altered and modernised, in the Advocates library at It is the force of the story in these pieces that chiefly engages our attention. The minstrels had no idea of conducting and describing a delicate situation. The general manners were gross, and the arts of writing unknown. Yet this simplicity sometimes pleases more than the most artificial touches. In the mean time, the pictures of antient manners presented by these early writers, strongly interest the imagination: especially as having the same uncommon merit with the pictures of manners in Homer, that of being founded in truth and reality, and actually painted from the life. To talk of the grossness and absurdity of such manners is little to the purpose; the poet is only concerned in the justness and faithfulness of the representation. Edinburgh, W. 4. i. Numb. xxxiv. [and Mi leve frende dere, [The text of this romance has been ta- evidence are too slight to be generally received, except in the rear of more obvious authority. However, to those who with Mr. Ritson persist in believing the French fragment of this romance, to be an earlier composition than “The Geste of Kyng Horn," the following passage is submitted, for the purpose of contrasting its highly wrought imagery with the simple narrative, and natural allusion, observed throughout the English poem: Lors print la harpe a sei si commence a temprer Deu ki dunc lesgardast, cum il la sot manier! Cum les cordes tuchot, cum les feseit trembler, SECTION II. HITHERTO we have been engaged in examining the state of our poetry from the Conquest to the year 1200, or rather afterwards. It will appear to have made no very rapid improvement from that period. Yet as we proceed, we shall find the language losing much of its antient barbarism and obscurity, and approaching more nearly to the dialect of modern times. In the latter end of the reign of Henry the Third, a poem occurs, the date of which may be determined with some degree of certainty. It is a satirical song, or ballad, written by one of the adherents of Simon de Montfort earl of Leicester, a powerful baron, soon after the battle of Lewes, which was fought in the year 1264, and proved very fatal to the interests of the king. In this decisive action, Richard king of the Romans, his brother Henry the Third, and prince Edward, with many others of the royal party, were taken prisoners. I. Sitteth alle stille, ant herkneth to me: Richard, thahe thou be ever trichard, II. Richard of Alemaigne, whil that he was kyng, He spende al is tresour opon swyvyng, • The king of the Romans. b loyalty. C peace. The barons made this offer of thirty thousand pounds to Richard. |