A new species of literature arose in the progress of that practical education which society had assumed; a literature addressed to the passions which rose out of the circumstances of the times; dedicated to war, to love, and to religion, when the business of life seemed restricted to the extreme indulgence of those ennobling pursuits. In too much love, too much war, too much devotion, it was not imagined that knights and ladies could ever err. If sometimes the loves were utterly licentious, wondrous tales are told of their immaculate purity; if their religion were then darkened by the grossest superstition, their faith was genuine, and would have endured martyrdom; and if the chivalric valour often exulted in its ferocity and its rapacity, its generous honour amid a lawless state of society maintained justice in the land, by the lance which struck the oppressor, and by the shield which covered the helpless. Everything had assumed a more extended form: the pageantry of society had varied and multiplied; the banquet was prolonged; the festival day was frequent; the ballad narrative, or the spontaneous lyric, which had sufficed their ruder ancestors to allure attention, now demanded more volume and more variety; the romance with a deeper interest was to revolve in the entangling narrative of many thousand lines. There was a traditional store, a stock of fabling in hand, heroical panegyrics, satirical songs, and legendary ballads; all served as the stuff for the looms of mightier weavers of rhyme, whose predecessors had left them this inheritance. The marvellous of Romance burst forth, and this stupendous fabric of invention bewitched Europe during three centuries. ROMANCE, from the light fabliau to the voluminous fiction, has admitted, in the luxury of our knowledge and curiosity, not only of critical investigation, but of its invention, by tracing it to a single source. The origin of Romance has been made to hinge on a theoretical history; and by maintaining exclusive systems, mostly fanciful and partly true, it has been made complicate. Whether invention in the form of ROMANCE came from the oriental tale-teller or the Scandinavian Scald, or whether the fictions of Europe be the growth of the Provençal or the Armorican soil, our learned inquirers have each told; nor have they failed in considerably diminishing the claims of each particular system opposed to their own; but the greatest error will be found in their mutual refutations.[1] While each stood entrenched in an exclusive system, they were only furnishing an integral portion of a boundless and complicate inquiry. They scrutinised with microscopic eyes into that vast fabric of invention, which the Gothic genius may proudly oppose to the fictions of antiquity, and they seemed at times forgetful of the vicissitudes which, at distant intervals, and by novel circumstances, enlarged and modified the changeful state of romantic fiction among every people.