S71 OJorncU Intwetattg ffiihtarg ittfucu. ^tta inch BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1891 "^""^'^ DATED' <r f Cornell University Library PN 669.S74 Dictionary of medieval romance and roman 3 1924 027 096 530 Cornell University Library The original of tiiis book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924027096530 A DICTIONARY OF MEDIEVAL ROMANCE AND ROMANCE WRITERS — UNIFORM WITH THIS VOLUME DICTIONARIES TO FAMOUS AUTHORS In which the various Characters and Scenes are alphabetically arranged and described. Synopses of the Author's various works are also included. DICKENS. A. J. Philip. THOMAS HARDY. With 2 Maps of Wessex. F. Saxelby. KIPLINQ. W. A. Young. SCOTT. (Waveiley Novels). M. F. A. Husband. THACKERAY. I. G. Mudge and E. N. Seaks. OSCAR WILDE. Stuart Mason. ZOLA. (Rougon-Macquart Novels). With Map. J. G. Patterson. " Not much honour is generally gained by doing such work as is represented in these dictionaries. When, how- ever, it is done with the thoroughness and completeness shown by the compilers in this case, the work ought to be warmly acknowledged. It is a labour which will save much labour to others." Tke Scotsman. A DICTIONARY OF MEDIEVAL ROMANCE AND ROMANCE WRITERS BY LEWIS SPENCE AUTHOR OF "A DICTIONAEY OF NON-CLASSICAL MYTHOLOGY," "THE MYTHS OF MEXICO AND PERU," "THE CIVILISATION OF ANCIENT MEXICO," ETC, ETC. LONDON GEORGE ROUTLEDGE & SONS, Limited New York: E. P. BUTTON & CO. 9\So)o\o']o First printed in August, 1913. — PREFACE The term " romance " is so wide in its modem acceptance, and so loose in its application, that it will be weU at the outset to attempt to formulate a definition of the word, which will also serve to define the scope of this work. Briefly, a romance may be described as a tale written at any period between the eleventh and fourteenth centuries, which deals with the age of chivalry. The narrower meaning of the word can only be applied to such tales of chivalry and love as were written in the " Eoman " (that is, in Old French). Jean Bodel, a French romancer who flourished in the twelfth century, sings " Ne sont que trois mati&res a nul home entendant, De France, de Bretagne, et de Eome la grant." Thus the tales of Charlemagne, Arthur, and Eome (that is, of ancient history), alluded to in the verse, were held by Jean as the only themes which a contemporary poet might worthily sing of. But no such bounds can be set to the great Empire of Eomance by its modern students. Since Bodel's day its frontiers have been extended into regions that he did not know of. But it is necessary to exercise care in fixing its limits in order that territory which does not rightly belong to it is not included; in other words, that only those bodies of literature which have been evolved from it, have affinities with it, or are of the same genre or class, should be included. Thus, the Celtic prototypes of the Arthurian romance deserve inclusion, as do those Italian and Spanish tales which were adapted in the Peninsulas from the romances of Arthur and Charlemagne. The British Isles also produced a wealth of Arthurian romance of their own, and examples of this have been included. As regards the great Teutonic cycles of story, it has been thought well to include these. They are of the same genre, and, at least, as much romantic in spirit, as the subjects of the Matiere de Bretagne, or, at any rate, that part of it which emanated from France. Many of the Icelandic saga-stories have also been included for a similar reason. A dividing line has been drawn where the tale is either purely historical or mythological in its purport. Such examples must be relegated to their proper sphere—that of pure myth : they have no place in a dictionary of romance. But wherever the elements or traces of myth have been observed in a romance, such a circumstance has not miUtated against its inclusion, and an effort has been made in each case to elucidate the mythological references and obscurities where these occur. Such being the scope of the work, the reader will look in vain through its pages for reference to such works as are included in the term " romance " in its more modern sense. Thus the "romances" of the school of Mile, de Scud6ry and the extravagant fictions of the later " romantic revival " are not vi PEEFACE represented. These are only romances inasmuch as they partook of the "prodigious " element of romance proper, and have nothing else in common with it. Moreover, such a lapse of time separates them from the older romances that they must be regarded as altogether a separate form of literature. Several of the articles will be remarked as more extended in scope than others. This applies to that on Guyot, whom I regard as important as being the probable originator of the Grail legend. The Morte d'Arthur I have also summarized at length, as being the greatest English example of the Arthurian legend, and a treasure-house of Arthurian lore. It is not claimed that every example which comes under the heads above outUned is dealt vrith. But, while I shall welcome all corrections and sugges- tions for a possible new edition, it will be found, I hope, that by far the larger number have been included, and that no outstanding romance has been altogether neglected. Many romances still remain in MS. in the seclusion of small Continental Ubraries, and to include some of these has been found im- practicable. But it is hoped that the work wiU provide a trustworthy book of reference on a subject which is yearly attracting greater attention, and that it will prove of assistance not only to the general reader, but also to the student of comparative literature and folklore. L. S. 6, Stlvan Peace, EDmBUBCtE. A DICTIONARY OF MEDIEVAL ROMANCE AND ROMANCE WRITERS ACCOLON OF GAUL. A knight loved ADLER. A companion of King by Morgan le Fay (q.v.), who gave Estmere (q.v.), in the romance of him the scabbard of Arthur's that name. He receives the credit sword Excalibur, which prevented in the romance of successfully its owner from bleeding, however winning for King Estmere the sorely he might be wounded. By daughter of King Adland. reason of his possession of this AED THE FAIR. Chief sage of scabbard, he nearly succeeded in Ireland. Author of the Voyage of slaying Arthur. He died of the Maeldun (q.v.). wounds he received in combat with the Mng. AEDA. In Irish romance, dwarf of King Fergus mac Leda (q.v.). ACHEFLOUR. The mother of The lover and slayer of Vivionn. Percyvelle and sister of Arthur. He is mentioned in the tale of the Alluded to in the Thornton MS. Fair Giantess, to be found in the of the Grail legend. (Vide " Bho- Colloquy of the Ancients (q.v.). cadrans.")j AEI. In Irish romance, the death ADDANC OF THE LAKE, Evidently plain of the bull of AiliU (q.v.) and a water-spirit or monster. Al- Maev (q.v.). luded to in the Mabinogi tale of AGARAN. Alluded to in the Queste Peredur. It slays the inhabitants del Saint Graal as the nephew of of the palace of the King of the a hermit encountered by Lancelot. Tortures daily. Peredur receives a magic stone from a certain AGLOVALE, SIR. Knight of King damsel, by which he is enabled to Arthur, nephew to the Queen of see the Addanc whilst remaining Orkney, and brother of Perceval. invisible to it, and succeeds in He meets his death at the hands slaying the monster. of Lancelot in carrying out the punishment of Guinever. (Vide ADLAND, KING. Mentioned in the "Morted'Arthur.") romance of King Estmere as the father of the lady who wedded AGOLANT. A romance of the Charle- King Estmere (q.v.). He was magne cycle (q.v.) contained in an beset by two kings who desired MS. in the British Museum (King's his daughter. The solution of Library, 15 E. VI.) together with his dilemma was the death of one other of the Carlovingian tales. of the lovers at the hands of the It depicts the fusing of the Carlo- other. vingian sub-cycle proper, and of B AGR AIF the allied feudal sub-cycles, and Paris, was defeated with great is in heroic pentameters, generally, slaughter, then retired to Arli. though rather irregular, running He was latterly slain by Orlando. into rhyme. The subject is a war AGRAVAINE, SIR. Son of the Queen of the Franks against the Saracens of Orkney, brother to Mordred, under their king Agolant ; Charle- Gawaine, Gareth, and Gtaheris. magne, in order to give them battle, He plotted against Lancelot and having to cross Aspremont, by Guinevere, and was subsequently which is meant either the Alps slain by the former. (Vide " Morte or the. Pyrenees. The romance d'Arthur.") has left a deep impression upon Camelot. is Itahan Hterature, and was one of AGRETES. King of He Saint Graal the most popular stories of the alluded to in the Grand Josephes for Middle Ages. It exhibits a more as being angered at modern character when compared Christianizing his folk, and, pre- Christian with such poems as The Song of tending to become a Boland or Garin, and many marvels himself, grievously persecuted the are recounted concerning Aspre- converts among his people on the mont and its inhabitants.