nineteenth century may find in their spirit of simple faith, of
unquestioning belief and trust, much that is beautiful in human life
which modern thought and science have swept away. It is on account of
the enduring character of the ideals, of which the Arthurian legends
were the spontaneous expression, that these works, although contained
in a rude form, without artistic plan or literary merit to give them
permanence, have never wholly passed from the acquaintance of men. The
rude force and beauty of mediæval fiction has been deeply felt by many
of the greatest minds which have contributed to modern literature. To
the perusal of the story of Launcelot and Guenever Dante ascribes the
coming of Paolo and Francesca _al doloroso passo_. While the other
works of Ariosto have fallen into obscurity, his "Orlando Furioso" has
achieved a lasting fame. One of the greatest poems in the German
language, the "Oberon" of Wieland, is almost a reproduction of a
chivalric romance. The reader of Milton is often reminded of

Uther's son,
Begirt with British and Armoric knights.

Spenser transferred romantic fiction into the region of allegory, and
gave to English literature the immortal "Faery Queen." In our own day
the "Idyls" of Tennyson have made the legends of Arthur a part of our
common thought, and the Knights of the Round Table familiar in almost
every household. The romances of chivalry fall naturally into three
general classes: those relating to Charlemagne and his peers; those
relating to classical and mythological heroes; and, finally, the tales
connected with King Arthur. The strong similarity which exists in the
character and incidents of these three classes makes an acquaintance
with one of them sufficient for the purpose of this work. The "Morte
d'Arthur" and the romances of which it forms a compendium will therefore