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Rh myth in epic form. The historical background is the raids of the Teutonic maritime tribes on the coasts of England and Ireland.

Famous heroes who are specially connected with England are Alfred the Great, Richard Cœur-de-Lion, King Horn, Havelok the Dane, Guy of Warwick, Sir Bevis of Hampton (or Southampton), Robin Hood and his companions.

Celtic Heroes.

The Celtic heroic saga in the British islands may be divided into the two principal groups of Gaelic (Irish) and Brython (Welsh), the first, excluding the purely mythological, into the Ultonian (connected with Ulster) and the Ossianic. The Ultonianis grouped round the names of King Conchobar and the hero Cuchulainn, “the Irish Achilles,” the defender of Ulster against all Ireland, regarded by some as a solar hero. The second cycle contains the epics of Finn (Fionn, Fingal) mac Cumhail, and his son Oisin (Ossian), the bard and warrior, chiefly known from the supposed Ossianic poems of Macpherson. (See, sec. Celtic Literature.)

Of Brython origin is the cycle of King Arthur (Artus), the adopted national hero of the mixed nationalities of whom the “English” people was composed. Here he appears as a chiefly mythical personality, who slays monsters, such as the giant of St Michel, the boar Troit, the demon cat, and goes down to the underworld. The original Welsh legend was spread by British refugees in Brittany, and was thus celebrated by both English and French Celts. From a literary point of view, however, it is chiefly French and forms “the matter of Brittany.” Arthur, the leader (comes Britanniae, dux bellorum) of the Siluri or Dumnonii against the Saxons, flourished at the beginning of the 6th century. He is first spoken of in Nennius’s History of the Britons (9th century), and at greater length in Geoffrey of Monmouth’s History of the Kings of Britain (12th century), at the end of which the French Breton cycle attained its fullest development in the poems of Chrétien de Troyes and others.

Speaking generally, the Celtic heroes are differentiated from the Teutonic by the extreme exaggeration of their superhuman, or rather extra-human, qualities. Teutonic legend does not lightly exaggerate, and what to us seems incredible in it may be easily conceived as credible to those by whom and for whom the tales were told; that Sigmund and his son Sinfiotli turned themselves into wolves would be but a sign of exceptional powers to those who believed in werewolves; Fafnir assuming the form of a serpent would be no more incredible to the barbarous Teuton than the similar transformation of Proteus to the Greek. But in the characterization of their heroes the Celtic imagination runs riot, and the quality of their persons and their acts becomes exaggerated beyond the bounds of any conceivable probability. Take, for instance, the description of some of Arthur’s knights in the Welsh tale of Kilhwch and Olwen (in the Mabinogion). Along with Kai and Bedwyr (Bedivere), Peredur (Perceval), Gwalchmai (Gawain), and many others, we have such figures as Sgilti Yscandroed, whose way through the wood lay along the tops of the trees, and whose tread was so light that no blade of grass bent beneath his weight; Sol, who could stand all day upon one leg; Sugyn the son of Sugnedydd, who was “broad-chested” to such a degree that he could suck up the sea on which were three hundred ships and leave nothing but dry land; Gweyyl, the son of Gwestad, who when he was sad would let one of his lips drop beneath his waist and turn up the other like a cap over his head; and Uchtry Varyf Draws, who spread his red untrimmed beard over the eight-and-forty rafters of Arthur’s hall. Such figures as these make no human impression, and criticism has busied itself in tracing them to one or other of the shadowy divinities of the Celtic pantheon. However this may be, remnants of their primitive superhuman qualities cling to the Celtic heroes long after they have been transfigured, under the influence of Christianity and chivalry, into the heroes of the medieval Arthurian romance, types—for the most part—of the knightly virtues as these were conceived by the middle ages; while shadowy memories of early myths live on, strangely disguised, in certain of the episodes repeated uncritically by the medieval poets. So Merlin preserves his diabolic origin; Arthur his mystic coming and his mystic passing; while Gawain, and after him Lancelot, journey across the river, as the Irish hero Bran had done before them to the island of fair women—the Celtic vision of the realm of death.

The chief heroes of the medieval Arthurian romances are the following. Arthur himself, who tends however to become completely overshadowed by his knights, who make his court the starting-point of their adventures. Merlin (Myrddin), the famous wizard, bard and warrior, perhaps an historical figure, first introduced by Geoffrey of Monmouth, originally called Ambrose from the British leader Ambrosius Aurelianus, under whom he is said to have first served. Perceval (Parzival, Parsifal), the Welsh Peredur, “the seeker of the basin,” the most intimately connected with the quest of the (q.v.). Tristan (Tristram), the ideal lover of the middle ages, whose name is inseparably associated with that of Iseult. Lancelot, son of Ban king of Brittany, a creation of chivalrous romance, who only appears in Arthurian literature under French influence, known chiefly from his amour with Guinevere, perhaps in imitation of the story of Tristan and Iseult. Gawain (Welwain, Welsh Gwalchmai), Arthur’s nephew, who in medieval romance remains the type of knightly courage and chivalry, until his character is degraded in order to exalt that of Lancelot. Among less important, but still conspicuous, figures may be mentioned Kay (the Kai of the Mabinogion), Arthur’s foster-brother and seneschal, the type of the bluff and boastful warrior, and Bedivere (Bedwyr), the type of brave knight and faithful retainer, who alone is with Arthur at his passing, and afterwards becomes “a hermit and a holy man.” (See, , , , , .)

Heroes of Romance.

Another series of heroes, forming the central figures of stories variously derived but developed in Europe by the Latin-speaking peoples, may be conveniently grouped under the heading of “romance.” Of these the most important are Alexander of Macedon and Charlemagne, while alongside of them Priam and other heroes of the Trojan war appear during the middle ages in strangely altered guise. Of all heroes of romance Alexander has been the most widely celebrated. His name, in the form of Iskander, is familiar in legend and story all over the East to this day; to the West he was introduced through a Latin translation of the original Greek romance (by the pseudo-Callisthenes) to which the innumerable Oriental versions are likewise traceable (see ; sec. The Romance of Alexander). More important in the West, however, was the cycle of legends gathering round the figure of Charlemagne, forming what was known as “the matter of France.” The romances of this cycle, of Germanic (Frankish) origin and developed probably in the north of France by the French (probably in the north of France) contain reminiscences of the heroes of the Merovingian period, and in their later development were influenced by the Arthurian cycle. Just as Arthur was eclipsed by his companions, so Charlemagne’s vassal nobles, except in the Chanson de Roland, are exalted at the expense of the emperor, probably the result of the changed relations between the later emperors and their barons. The character of Charlemagne himself undergoes a change; in the Chanson de Roland he is a venerable figure, mild and dignified, while later he appears as a cruel and typical tyrant (as is also the case with Ermanaric). The basis of his legend is mainly historical, although the story of his journey to Constantinople and the East is mythical, and incidents have been transferred from the reign of Charles Martel to his. Charlemagne is chiefly venerated as the champion of Christianity against the heathen and the Saracens. (See, ad fin. “The Charlemagne Legends.”)

The most famous heroes who are associated with him are Roland, praefect of the marches of Brittany, the Orlando of Ariosto, slain at Roncevaux (Roncevalles) in the Pyrenees, and his friend and rival Oliver (Olivier); Ogier the Dane, the Holger Danske of Hans Andersen, and Huon of Bordeaux, probably both introduced from the Arthurian cycle; Renaud (Rinaldo) of Montauban, one of the four sons of Aymon, to