had been already realized, by commerce and intercommunication, yet the crusades, pregnant with enterprise and lofty faith, while they tended to abridge some of the evils of the feudal system, opened to the awakened mind a new world of wonders; introduced it to new scenes, manners, and customs, and displayed the treasures of Arabian sciences: all of which served to create an interest in the study of the arts, religions and languages. The idea of a christian buckling on his armor and going out to emancipate the holy land, shed an unfading luster upon the achievments of arms, heightened the spirit of chivalry, and consecrated and adorned the themes of romantic song. Thus fiction, blended with religion, and tinctured with the passions and prejudices of men, infused itself into every institution of these superstitious ages, and romance was the ruling passion of the times. It created intellectual life, and gave an impulse to the native tongue which nothing else under the same circumstances could have effected.

Religion and learning were corrupted by this union, and neither could prosper or attain any permanent improvements without a stable and cultivated native language.

The problem of civilization, after all the light that has been thrown upon it, and the various demonstrations that have been given, is not perfectly clear nor settled beyond a doubt. For instance: all the elements of modern civilization existed in the fifth century; yet during the two centuries that elapsed after the English language came to maturity and attained

its greatest perfection, society advanced farther and displayed greater improvements than it had doneduring the ten that intervened! Whence is this irregularity and inequality?

The importance of a vernacular language and literature is conceived by observing the slow progress civilization makes, deprived of their influence; and by contemplating the external condition of society where these influences are not displayed; but they cannot be duly appreciated without descending into the depths of its existence, and unfolding the poverty and wretchedness of its internal, mental state.

Rhymed histories and metrical romances succeeded the rude jests and love tales of the minstrel and troubadour, and formed the first permanent specimens of modern literature. A passion for rhyming at once seized the mind of writers and these productions multiplied rapidly, and made reading popular among all classes; they supplied an intellectual want, and interested and educated the general mind of society; they roused the moral sympathies, and kindled the imagination, by the enchantment of fiction, and the charms of infant poetry. The sparks of learning which had been almost extinguished, were now fanned, and the feeble flame began to spread the natural feelings were excited, and became active, and there was a violent struggle made to shake from the mind the deep slumbers of the middle ages. These first efforts in learning and romance writing were the omens of the approaching dawn. The grey lines began to streak the east and the long night of ignorance was mellowed

by the rising beams of science. Long had it been said, "Watchman tell us of the night," but he had left the altar, and the vestal spark was reluctantly lingering.

"Alas! how faint

How slow the dawn of Beauty and of Truth,

Breaks the reluctant shades of Gothic night,
Which yet involve the nations."

As books were exceedingly rare and difficult to be, obtained,—a single copy being valued at the price of an ample estate, and its purchase and transfer accompanied with the same ceremony and solemnity,--these fictions were caught up and read with the greatest avidity: they electrified the mind of the community. To excel in this species of composition became the great object of emulation; for all could study, relish, and appreciate it. Rhyming became such a prevailing fashion of literature and acquired so much currency that it was introduced into history: the laws of Justinian and the rules of monasteries were embodied in rhymed verse.

From the time of the conquest to the thirteenth century the Norman French was the prevailing language: the laws were written in it as were the first specimens of vernacular literature; but for the benefit and by the influence of that class of people who had never become familiar with the French, translations were made:

"To lewd men of England

That can nothing but English understand,
Therefore this treatise outdraw I would

In English."

Among the first of these productions is a romance of chivalry entitled the "Gest of King Horn,” in which most of the preculiarities of fiction and romance are displayed. The hero is adorned with every possible accomplishment that the writer's mind could conceive.

"Ne sun might shine on

Fairer child than he was."

To his personal beauty, are added valor and intrepídity. He needs none of the charms of music or the display of armor to excite him to action; his own mind suggests the incentive, and he is as ready to attack a legion as to engage on equal terms :

"He was fair and eke bold."

He is not only beautiful, a true and valorous knight, but is possessed with the accomplishments of music and poetry, which he displays to the wonder and admiration of all.

"Horn set him a bench

His harp he began to clench,
He made Rymenild a lay."

Beloved by the princess, he is elevated from a state of servitude to the rank of knight, and finally forms a royal alliance; the charm of his genius becomes irresistible, and the princess becoming passionately enamored of him, commands his submission to her will:

"Horn," quoth she, "well-long

I have loved the strong

Thou shalt thy troth plight

In mine hand with rite

Me to spouse welde."

This is the prototype of modern romances and fictitious compositions. The favorite characters of the writer are the perfect models of the times. By applying himself assiduously to those pursuits which were considered most honorable, the hero is made to attain what in the same estimation is the highest preferment. As literature advances, the characters, the scenes, and the imagery change; but the same principles are displayed in the endless variety of forms which are assumed to adapt them to the taste and varying manners of varying time.