ention, that they seem as well adapted to the poet's purpose as the
legends of the Greek and Roman mythology. And if every well-educated
young person is expected to know the story of the Golden Fleece, why is
the quest of the Sangreal less worthy of his acquaintance? Or if an
allusion to the shield of Achilles ought not to pass unapprehended, why
should one to Excalibar, the famous sword of Arthur?--

"Of Arthur, who, to upper light restored,
With that terrific sword,
Which yet he brandishes for future war,
Shall lift his country's fame above the polar star."

[Footnote: Wordsworth]

It is an additional recommendation of our subject, that it tends to
cherish in our minds the idea of the source from which we sprung. We
are entitled to our full share in the glories and recollections of the
land of our forefathers, down to the time of colonization thence. The
associations which spring from this source must be fruitful of good
influences; among which not the least valuable is the increased
enjoyment which such associations afford to the American traveller when
he visits England, and sets his foot upon any of her renowned
localities.

The legends of Charlemagne and his peers are necessary to complete the
subject.

In an age when intellectual darkness enveloped Western Europe, a
constellation of brilliant writers arose in Italy. Of these, Pulci
(born in 1432), Boiardo (1434), and Ariosto (1474) took for their
subjects the romantic fables which had for many ages been transmitted
in the lays of bards and the legends of monkish chroniclers. These
fables they arranged in order, adorned with the embellishments of
fancy, amplified from their own invention, and stamped with
immortality. It may safely be asserted that as long as civilization
shall endure these productions will retain their place among the most
cherished creations of human genius.

In "Stories of Gods and Heroes," "King Arthur and His Knights" and "The
Mabinogeon" the aim has been to supply to the modern reader such
knowledge of the fables of classical and mediaeval literature as is
needed to render intelligible the allusions which occur in reading and
conversation. The "Legends of Charlemagne" is intended to carry out the
same design. Like the earlier portions of the work, it aspires to a
higher character than that of a piece of mere amusement. It claims to
be useful, in acquainting its readers with the subjects of the
productions of the g