A treatise of romances and their original by Monsieur Huet ; translated out of French.

MONSIEUR HUET TO MONSIEUR de Ségrais.

SIR,

YOur curiosity stands with rea∣son, and the desire to know the Original of Romances is proper for you, who so per∣fectly understand the Art to make them; but the doubt is, whether it be so proper for me to undertake your satisfaction.

I have not Books, and my head at present is filled with matters of alto∣gether

another nature: And I know well how cumbersome and difficult this research is; 'tis neither in Pro∣vence nor Spain (as many believe) that we may hope to find the first begin∣nings of this agreeable Amusement; we must in quest thereof travel re∣motest Countries, and in the most latent Paths of Antiquity. How∣ever I will comply with your desire; for as our ancient and strict friendship gives you right to demand me all things, so it takes from me the liber∣ty to deny you any thing.

Heretofore under the name of Ro∣mance were comprehended not onely those which were writ in Prose, but those also which were writ in Verse. Giraldi and Pigna his Disciples in their Treatises De Romanzi scarce take notice of any others, and give the Boyardos and Arioste for Models. But at this day the contrary usage has pre∣vailed, and they which now are pro∣perly

called Romances, are Fictions of Love-Adventures, writ in Prose with Art, for the delight and Instru∣ction of the Readers.

I say Fictions, to distinguish them from true Histories; I add, of Love-Adventures, for that Love ought to be the principal subject of a Romance. They must be writ it Prose, to be con∣formable to the Mode of the times. They must be writ with Art, and under certain rules; otherwise they will onely be a confused mass without order or beauty.

The chief end of a Romance, or (at least) that which ought so to be, and which the Composer ought to propose to himself, is the Instruction of the Reader, to whom he must al∣ways present Vertue crowned, and Vice punished. But as the spirit of man naturally hates to be taught, and self-love does spurn against Instructi∣ons, 'tis to be deceived by the blan∣dishments

of pleasure, and the severi∣ty of Precepts to be sweetn'd by the agreement of Examples; and thus our own faults may be amended while we condemn them in others.

Thus the diversion of the Reader, which a good Romancer seems chiefly to design, is but subordinate to his principal end, which is the Instruction of the mind, and correction of man∣ners: And Romances are more or less regular, according as they are more or less remote from this defini∣tion and end.

'Tis onely of these I pretend to en∣tertain you, and I presume your curi∣osity reaches no further.

I shall not therefore treat here of Ro∣mances in Verse, much less of Epick Poems; which besides that they are in Verse have moreover different essen∣tials, which distinguish them from Romances, though otherwise there is a very great relation; and following

the maxime of Aristotle (who teaches that a Poet is more a Poet by the Fi∣ctions he invents then by the Verse which he composes) Makers of Ro∣mances may be rancked among the Poets. Petronius tells us that Poems are to move in a great circumference, by the Ministry of the Gods, and expres∣sions free and hardy, so that they may be taken rather for Oracles, thrown from a spirit full of fury, then for a faithfull and exact Narra∣tion.

Romances are more simple, are not so lofty, nor have those Figures in the invention and expression.

Poems have more of the marvel∣lous, though always bounded within probability. Romances have more of the probable, though sometimes they incline to the marvellous.

Poems are more regular and more correct in the contrivance, and re∣ceive less of matter of Events and E∣pisodes.

Romances are capable of more, be∣cause being not so elevate and full of Figures, they do not so much stretch the wit, and so suffer it to be furnish∣ed with a greater number of different Ideas.

In fine, Poems have for their sub∣ject some Military on Politick acti∣on, and treat not of Love but upon occasion.

Romances on the contrary have Love for their principal Theme, and meddle not with War or Politicks but by accident; I speak of regular Romances: for the most part of the old French, Spanish, and Italian Ro∣mances have much more of the Soul∣dier then the Gallant in them.

This made Giraldi believe that the name of Romance came from a Greek word, which signifies Force and Va∣lour, because these Books were made to set forth and vaunt the valour and prowess of the Palladines; but Giraldi

was mistaken in this, as you shall see afterwards.

Neither are these Histories com∣prehended here, which are observed to contain many falsehoods, such as that of Herodotus, who (by the way) is not so guilty as many think. The Navigation of Hanno; the Life of Apollonius, writ by Philostratus, and many others.

These works are true in the mane, and false in some parts; Romances on the contrary are true in some par∣ticulars, and false in the gross; those contain truth mingled with some falsehood, these are falsehoods with some intermixture of truth. I would say that truth has the greater stroke, in Histories, but that falsehood is predominant in the Romance, inso∣much that these may indeed be alto∣gether false, both in the parts and in the whole.

Aristotle teaches us that Tragedy,

the argument whereof is known and taken from History, is the most per∣fect, because 'tis neerer verisimility then that whose argument is new and mere invention; nevertheless he condemns not the later, his reason is for that notwithstanding the argu∣ment be drawn from History, yet the greater number of the Spectators are ignorant of it, and it is new in re∣spect of them, and fails not however to give diversion to all the World. The same may be ••aid of Romances, with this distinction always, that a total Fiction of the argument is more allowable in Romances, where the Actors are but of indifferent Fortune, as in the Comick Romances, then in the Heroick Romances, where Princes and Conquerours are the Actors, and where the adventures are Memorable and Illustrious, because 'tis in no wise probable that the great Transactions and Events lay hid to the World,

and neglected by Historians and pro∣bability which is not always found in History, is essential to a Ro∣mance.

I exclude also from the number of Romances certain Histories which in the gross and in the detayl are mere invention, but invented onely for de∣fault of truth: such are the imagi∣nary Originals of most Nations, espe∣cially of the most Barbarous; of which sort are those Histories so gros∣ly forged by the Monk Annius Viter∣bensis, which have merited the indig∣nation or contempt of all the Learn∣ed.

I put the same difference between Romances and these kinde of works, as betwixt those who by an innocent artifice disguise and go in Masque∣rade to divert themselves, while they give diversion to others. And Rogues who taking the name, and perso••••••∣ing such as are dead or absent, pos∣sess

themselves of their goods by fa∣vour of some resemblance.

Lastly, I exclude Fables also from my Subject, for a Romance is the Fiction of things, which may but never have happened. Fables are Fictions of things, which never have nor ever can happen.

After having agreed what works properly deserve the name of Ro∣mances, I assert that their invention is due to the Orientals, I mean to the Egyptians, Arabians, Persians and Syri∣rians. You will avow the same with∣out doubt, when I have shewn that most of the great Romancers of An∣tiquity sprung from these people. Clearcus, who made Books of Love, was of Cilicia a Province neer Syria. Iamblicus, who writ the Adventures of Rhodanes and Sinonis, was born of Syrian Parents, and educated at Ba∣bylon. Heliodoras, Author of the Ro∣mance of Theogenes and Chariclea, was

of Emeses a Town of Phoenicia. Lucian, who writ the Metamorphosis of Lucius into an Ass, was of Samosata, chief City of Comagena, a Province of Syria. Achilles Tatius, who taught us the A∣mours of Clitophon and Lencippe, was of Alexandria in Egypt. The Fabu∣lous History of Barlaam and Josaphat was composed by St. John of Damas Metropolis of Syria. Damascius, who made four Books of Fictions, not on∣ly incredible, as he Intitles them, but gross and far remote from all proba∣bility, was also (as Photius assures us) of Damas. The three Xenophons Ro∣mancers, which Suidas speaks of, one was of Antioch in Syria, and another of them of Cyprus, an Isle near that Countrey; so that this Countrey deserves rather to be call'd the Coun∣trey of Fables then Greece, whither they were onely Transplanted; but withall they found the Soil there so good and agreeable, that they have

admirably well taken Root.

'Tis also hardly credible how all these People have a Genius singular∣ly disposed and addicted to Poetry, Invention and Fiction; all their dis∣course is Figures; they never express themselves but in Allegories; their Theologie and Philosophie, but prin∣cipally their Politicks and Morals, are all couched under Fables and Para∣boles.

By the Hieroglyphicks of the Egy∣ptians we may see to what point that Nation was Mysterious, every thing with them was expressed by Images, all in disguise; their Religion was vayled; they never made discovery of it to the Prophane, but under the Masque of Fables, and they never ••ook off this Masque, but for such as they judged worthy to be imitated in their Mysteries. Herodotus saith that the Greeks had from them their My∣thologick Theologie, and he tells some

stories, which he learned of the Egyp∣tian Priests, the which (for all he is so credulous and fabulous himself) he relates onely as Tales; which Tales failed not to be agreeable, and tickle the curious wit of the Greeks, a peo∣ple (as Heleodorus testifies) desirous to learn, and lovers of Novelty.

And it was without doubt from these Priests that Pythagoras and Plato in their Voyages to Egypt learned to transform their Philosophie, and to hide it under the shadow of Mysteries and Disguisements.

For the Arabians consult their Books, you will find nothing but Metaphores, drawn by the head and shoulders, similitudes and fictions. Their Alcoran is of this sort, Mahumet saith he made it so to the end it might be learned with less difficulty and no•• so easily be forgotten. They have translated Esops Fables into their Tongue, and some among them have

composed the like. That Locman, so renowned throughout all the East, is no other but Aesop; his Fables, which the Arabians have amassed together into a huge Volum, got him so great esteem among them, that the Alcoran vaunteth his Wisdom in one Chapter, which is therefore Intitled by the name of Locman. The lives of their Patriarchs, Prophets, and Apostles, are all fabulous. Nothing relishes so deliciously with them as Poesie, which with them is the ordinary study of their best Wits. This inclination of theirs is not new, it possessed them before Mahumet, and they have Poems of those times. Aerpennius affirms, that all the World beside put together have not had so many Poets as single Arabia. They reckon sixty which are among them as it were Princes of Poesie, and which have great Troops of Poets under them. The best have treated of Love in their Ec∣logues,

and some of their Books on this Subject have passed into the West. Many of their Caliphs have not thought Poesie unworthy of their ap∣plication. Abdalla (one amongst them) signalized himself upon this occasion, and made a Book of Similitudes, as Elmacin reports.

'Tis from the Arabians (in my opi∣nion) that we receive the art of Ri∣ming; and I see much of probability that the Leonine Verses have been made after their example; for it does not at all appear that rimes had course in Europe, before the entrance of Taric and Muza into Spain; whereas great quantity might be observed in the fol∣lowing Ages; though otherwise I could easily make it appear, that Ver∣ses in Rime were not altogether un∣known to the Ancient Romans.

The Persians have not at all yield∣ed to the Arabians in the art of Lying agreeably; for notwithstanding Lies

were otherwise most odious to them in conversation, and they forbid their Children nothing with so great severity; nevertheless in their Books and Commerce of letters, these pleased them infinitely if Fictions are to be called Lies. To be convinced of this one shall onely read the fabu∣lous Adventures of their Law-giver Zoroaster. Strabo saith that the Ma∣sters among them give their Disci∣ples Moral Precepts, wrapt up in Fi∣ctions: he tells us in another place that much credit is not to be given to the Ancient Histories of the Persians, Medes, and Syrians, by reason of the inclination their Writers had to re∣late untruths for these, seeing that they who made profession of writing Fables were in esteem, were perswad∣ed that people would take pleasure to read Fables and forged Relations, written after the manner of Histories. The Fables of Aesop are so much to

their gust, that they appropriate the Author: he is the same Locman of the Alcoran, whom I mentioned before, who is so renowned among all the people of the Levant, that they will needs rob Phrygia of the honour of his birth, and attribute it to themselves; for the Arabians say he was of the Race of the Hebrews, and the Per∣sians say he was an Arabian Negro, and lived in the Town of Casuvin, which was the Arsacia of the Ancients. O∣thers on the contrary seeing that his life writ by Mirkond has much re∣semblance with that of Aesop, which Maximus Planudes has left us; and having observed that as Angels give Wisdom to Locman in Mirkond, so Mercury bestows the Fable upon Aesop in Philostratus. They are perswaded that the Greeks have stoln Locman from the Orientals, and made thereof their Aesop; but I must not here discuss this controversie. I shall

onely put you in mind by the way to remember what is said by strabo; that the Histories of the people of the East are stuft with Lies, and are in no wise faithful or exact; and that it is most probable they have been Fabulous in speaking of the Author and Original of Fables, as well as in all the rest; and that the Greeks are more diligent, and of better credit, both in their Chronology and History; and that the conformity of Mirkonds Locman with the Aesop of Planudes and Philostratus, does no more prove that Aesop is Loc∣man, then it proves that Locman is Aesop. The Persians have sirnamed Locman the Sage, for that Aesop was in effect ranckt among the number of the Sages. They say he was pro∣foundly knowing in Medicine, that he found out admirable Secrets, and among the rest that of reviving the Dead.

They have so well glossed, para∣phrased,

and augmented his Fables, that they (as the Arabians) have made thereof a very great Volum, a Copy whereof is to be seen in the Vatican; his Reputation has reatched even un∣to Egypt and into Nubia, where his Name and Wisdom are in great ve∣neration. The Modern Turks have no less esteem for him, and believe with Mirkond that he lived in Davids time, wherein (if in truth it be Aesop, and that we may believe the Greek Chronologie) they are mistaken but about the matter of 450 years, which for the Turks is very well computed, for they rarely hit so neer in their computation. This would accord better with Hesiod, who was Con∣temporary of Solomon, and to whom is due (according to the report of Quintilian) the glory of the first inven∣tion of Fables, which is attributed to Aesop.

There are no Poets that equal the

Persians in the licence they give themselves to Lye: in the lives of their Saints, and about the Original of their Religion, and in their Hi∣stories, they have so disfigured those, the truth whereof we know by the relations of the Greeks and Ro∣mans, that they are not to be known again; and even degenerating from that laudable aversion they hereto∣fore had against those who served themselves with a lye for their inte∣rests, they now account it an honour. They are passionately in love with Poesie; it is the diversion both of the Princes and People, and the prin∣cipal at a Begale were wanting, if no Poetry were there. Their works of Galantry, and Love-stories have been famous, and discover the Romancing Genius of this Nation.

The Indians also (Neighbours of the Persians) had like them a strong incli∣nation to fabulous inventions. Sanda∣ber

the Indian composed a Book of Paraboles, which was Translated by the Hebrews, and which at this day is to be found in the Libraries of the curious. Father Poussin the Jesuit has joyned to his Pachymeron, which he lately Printed at Rome, a Dialogue between Absolom King of the Indies and a Gymnosophist, upon divers que∣stions of Morality, wherein this Phi∣losopher never expresses himself but by Paraboles and Fables, after the manner of Aesop. The Preface imports that this Book was made by the wi∣sest and most knowing Men of the Nation, and that it was carefully kept in the Treasury of the Charters of the Realm; that Perzoez, Physician of Chosroez King of Persia, Translated it out of Indian into Persian; some o∣ther from Persian into Arabian, and Simeon Sethi from Arabian into Greek. This Book is so little different from the Apologues, which bear the name

of the Indian Pilpay, and which were seen in French some few years since, that there is no doubt but that it was either the Original or the Copy; for 'tis said that this Pilpay was a Brachman who had share in the grand affairs of State and Government of the Indies under King Dabchelin, that he com∣prises all his Politicks and Morals within this Book, which was preser∣ved by the Kings of the Indies as a Treasure of Wisdom and Learning: that the reputation of this Book be∣ing carried so far as to Nonchirevon King of Persia; he procured a Copy thereof by the means of his Physician, who Translated it into Persian, that Calife Abuiafar Almanzor caused it to be Translated from Persian into Ara∣bian, and another out of Arabian into Persian; and that after all these Per∣sian translations, a new one was made different from all the former, and from this came the French translation.

Certainly whoever shall read the Hi∣story of the pretended Patriarchs of the Indians Erammon and Bremaw, of their Posterity and Propagation, shall need no other proof of the love this people have for Fables. I therefore readily believe that when Horace gave the Epithete of Fabulous to the Ri∣ver Hydappes, which has its Source in Persia, and finishes its course in the Indies; his thought and meaning was that it begins and end its course a∣mong people very much addicted to Fiction and Disguisements.

These Fictions and Paraboles which you have seen make up the Prophane learning of the Nations before men∣tioned, have in Syria been Sanctified; the Sacred Authors complying with the humour of the Jews, made use thereof to express the inspirations they received from Heaven. The Holy Scripture is altogether Mysteri∣ous, Allegorical, and Aenigmatical.

The Talmudists believed that the Book of Job is no other but a parable of the Hebrews invention: this Book, that of Davia, the Proverbs, Eccle∣siastes, the Canticles, and all other Ho∣ly Songs, are Poetical works abound∣ing with Figures, which would seem bold and violent in our Writings; and which are ordinary in those of that Nation. The Book of Proverbs is otherwise called the Paraboles; be∣cause Proverbs of this sort, according to the definition of Quintilian, are on∣ly short Fictions, or Parables exprest in little.

The Book of Canticles is a kind of Dramatick Poem, where the passionat sentiments of the Bridegroom and Spouse are exprest after a manner so tender and touching, that we should be charmed thereby; if these expressi∣ons and figures had some little more of conformity with our Genius, or that we could devest our selves of that

unjust preoccupation, which makes us dislike all that is any little remote from our usage, in which we con∣demn our selves without perceiving it; since that our lightness never per∣mits us to persevere long in the same customes.

Our Saviour himself scarce ever gave any precepts to the Jews, but under the veil of Paraboles. The Talmud contains a Million of Fables, every one more impertinent then o∣ther: many of the Rabbins have after∣wards explained, reconciled, and amassed them together in their parti∣cular works; and besides this have composed several Poesies, Proverbs, and Apologues.

The Cypriots and Cilicians have in∣vented certain Fables, which did bear the name of these People; and the habit which the Cilicians in particular had of Lying, has been noted by one of the Ancientest Proverbs, which

has been currant in Greece.

Lastly, Fables have been in such vogue all over these Countries, that amongst the Assyrians and Arabians (according to the testimony of Lu∣cian) there were certain persons, whose sole profession was to explain Fables; and these men lived so regularly, that they lived far longer then other People.

But it is not sufficient to have dis∣covered the Source of Romances; we must see by what Chanels they have been conveyed to, and spread over Greece and Italy: and whether they have passed from thence to us, or that we have them from elsewhere. The Ionians, a people of Asia Minor, being raised to a great Power, and having acquired vast Riches, were plunged in Luxurie and Voluptuousness, in∣seperable companions of plenty.

Cyrus having subdued them, by the taking of Craesus, and all Asia Minor

being with them fallen under the power of the Persians, they received their manners with their Laws; and mixing their Debauches with those their own inclination had before car∣ried them to; they became the most Voluptuous people in the World: they refined upon the pleasures of the Table, they made the addition of Flowers and Perfumes, they found out new Ornaments for their Houses; the finest Wools, and the fairest Ta∣pistries of the World came from them; they were Authors of the Lascivious Dance called the Ionick; and they became so remarkable for effeminateness, that it past into a Pro∣verb: but amongst these Milesians fur∣passed all in the science of pleasures, and were most ingenious in their de∣licacies: these were the first who taught the Persians the Art of making Romances, and travelled therein so happily, that the Milesian Fables, that

is to say their Romances, full of Love∣stories and dissolute Relations, were in the highest reputation: 'tis very likely that Romances were innocent, till they fell into their hands; and only contained singular and memora∣ble adventures: that these first cor∣rupted them, and stuft them with la∣scivions narrations and affairs of love. Time has consumed all these works; it has indeed preserved the name of Aristides, the most famous of their Romancers, who writ several Books of those called Milesian Fables. I find that one Dionisins a Milesian, who liv'd under the first Darius, writ fabulous Histories, but not being certain whe∣ther this was not onely a compilation of Ancient Fables, and not seeing suf∣ficient foundation, to believe that these were of those, properly called Milesian Fables, I do not number him amongst the makers of Romances.

The Ionians who came from Attica

and Peloponnesus, mindful of their ori∣ginal, maintained a great correspon∣dence with the Greeks. They sent their children reciprocally for breed∣ing, and that they might be acquaint∣ed with each others manners; by this so frequent commerce, Greece, which of it self had inclination enough for Fables, learned readily of the Ionians the art of composing Ro∣mances, and did cultivate it with success; but to avoid confusion, I shall essay, according to the order of time to give account of those Greek Writers, who have been famous in this art.

I find none before Alexander the Great, which perswaded me that the Romantick Science made no consider∣able progress among the Greeks, be∣fore they had it from the Persians themselves when they subdued them, and run it to its Source. Clearcus of Soli, a Town of Cilicia, who lived

in Alexanders time, and was with him a Disciple of Aristotles, is the first I find to have writ Books of Love; though I do not well know whether these were not a Collection onely of several Love-passages, drawn from History or vulgar Fable, like that which Parthenius afterwards made under Augustus, which is yet extant. That which causeth this suspition, is a little story cited by Atheneus out of him, wherein are reckoned several tokens of love and esteem, which Gyges King of Lydia gave to a Courte∣san his Mistress.

Antonius Diogenes according to the conjecture of Photius lived some little time after Alexander, and in imita∣tion of Homers Odysseis, and the hazar∣dous Voyages of Ulisses, made a true Romance of the Voyages and Amours of Dinias and Dercyllis. This Ro∣mance, though very faulty in many things, and filled with fooleries and

relations improbable, and scarce ex∣cusable even in a Poet, may not∣withstanding be called regular. Pho∣tius has an abstract thereof in his Bi∣bliotheca, and saith he believes it to be the source of that which Lucian, Lucius, Iamblicus, Achilles Tatius, He∣liodorus, and Damascius have writ in this kind; however, he adds in the same place, that Antonius Diogenes makes mention of one Antiphanes more ancient then himself, who (he saith) writ a Book of wonderful Hi∣stories, like his; so that he may as well be thought to have given the Idaea and matter to these Romances which he names, as Antonius Diogenes. I suppose he must be understood to speak of Antiphanes the Comick Poet, who, the Geographer Stephanus and others say, made a Book of incredi∣ble relations and ridiculous. He was of Berge a Town of Thrace, but 'tis not known of what Countrey Anto∣nius Diogenes was.

I cannot tell precisely in what time Aristides of Miletus lived, whom I spoke of before; what we may be confident of is, that he lieved before the Wars of Marius and Sylla, for Si∣senna a Roman Historian of that time translated his Milesian Fables: this work was full of obscenities, and thereby gave great delight and en∣tertainment to the Romans, so that the Surenas•• or Lieutenant Gene∣ral of the Parthian Estate, who de∣feated the Roman Army under Crassus his Command, having found these among the Baggage of Roscius, took occasion thereupon before the Senate of Seleucia, to insult over and rail at the weakness and effeminate disposi∣tion of the Romans, who even during the War could not be without such like diversions.

Lucius of Pairas, Lucian of Samosata, and Iamblicus were all well nigh con∣temporaries, and lived under Antoninus and

Marcus Aurelius, the first of these is not to be accounted among Roman∣cers, for he onely made a collection of Metamorphoses, and the Magical Transforming of Men into Beasts, and of Beasts into Men, dealing bona fide, and believing every thing that he writ. But Lucian more wise and cun∣ning then he, relates some part of his History to mock and make sport therewith, according to his custom, in the Book which he Intitled Lucius his Ass, to intimate that that Fiction was taken from him. This in effect is an Abbridgement of the two first Books of Lucius his Metamorphoses, and this fragment lets us see that Pho∣tius had reason to complain of the smuttiness so frequent in him. This so ingenious and renowned Ass, whose History these Authors writ, was much akin to another of like worth and merit, whereof elsewhere the same Photius speaks after Damascius; This

Ass (saith he) was the Chattel of a certain Grammarian named Ammonius, and was indued with such a gentle spirit, and 2o born to be polite and capable of fine things, that it would gladly even leave Meat and Drink, to hear Verses repeated, and would be sensibly touched and taken with the graces and beauties of the Poetry. The Brancaleon is doubtless a Copy of this Ass of Lucians, or of that of Apu∣leus; this is an Italian Fiction very di∣vertising and full of Wit. Lucian besides his Lucius made two Books of wild and ridiculous Histories, and which he declared to be such, protest∣ing withall that those things never have, nor ever can come to pass; some seeing these Books joyned to that wherein he gives directions for the writing a History well, have been perswaded that he intended this for an example of what he had taught, but he declares at the en∣trance

of the Book, that he had not any further design in it, save only to mock at so many Poets, Historians, and even Philosophers themselves, who with impunity delivered Fables for truths, and writ such false relati∣ons of Forein Countries, as Ctesias and Iambulus had done. If then it be true, as Photius assures us, that the Romance of Antonius Diogenes has been the Source of these two Books of Lucian; 'tis to be understood that Lucian took occasion from this Ro∣mance, as also from the Fabulous Histories of Ciesias and Iambulus, to write his, and thereby make their va∣nity and impertinence appear.

About the same time Iamblious pu∣blished his Babylonicks, for so he called his Romance, in which he far excel∣led all those who went before, for if one may judge of it by the abridge∣ment, which Photius has left us, his design comprehends but one action,

dressed with all convenient Orna∣ments, accornpanied with Episodes arising from the principal matter; Verisimility is observed most exactly, the Adventures are mixed with a World of Variety and without con∣fusion, Art onely is wanting in the contrivance of his Plot; he has grosly followed the order of time, and has not at his first Launching plundged the Reader, as he might have done, into the middle of his subject after the example Homer gives us in his Odyssis. Time has been favourable to this Piece, and it is to be seen in the Library of the Escurial.

Heliodorus has surpassed him in the disposition of his Subject, as in all the rest. Hitherto the World had ne∣ver seen any thing better designed, and more compleat among Romances, then the Adventures of Theagenes and Chariclea, nothing can be more chaste then their Loves. Whereby may

appear (besides the Christian Religion, whereof the Author made profession) that his own nature had given him such an air of Vertue, as shines throughout all his work; in which not onely Iamblicus, but even almost all the rest are much his Inferiours; besides his Merit advanced him to the Dignity of an Episcopal Sea, he was Bishop of Tricca a City of Thessalie; and Socrates reports that he intro∣duced within that Province the cu∣stom of deposing such of the Clergy, as abstained not from those Women they had Espoused before they were ordained Priests. All which makes me much suspect what Nicophorus a cre∣dulous Writer of little judgement or fidelity relates, that a Provincial Sy∣node understanding what danger the reading of this Romance, which was authorised by the dignity of its Au∣thor, made the young people fall into; and having proposed to him this alter∣native,

either to consent that his Book should be burned, or else to re∣sign his Bishoprick, he made choice of the latter; for the rest I cannot but exceedingly wonder that a Learned Man of these times should doubt whether this was the Book of Heliodo∣rus Bishop of Tricca or no, after so evident Testimony of Socrates, Pho∣tius, and Nicephorua. Some have been of opinion that he lived about the end of the twelft Age, confound∣ing him with Heliodorus the Arabian, whose life Philostratus has writ among those of the other Sophists. But it is known that he was contemporary of Arcadius and Honoriu••; we also see that in the Catalogue which Photius made of the Romancers, who he be∣lieved had imitated Antonius Diogenes, where he names them according to the order of time, he has placed He∣lioderus after Iamblicus, and before Damascius, who lived in the time

of the Emperous Justinian.

By this account Achilles Tatius, who made a regular Romance of the Amours of Clitophon and Leucippe, should have preceded, for I find nothing else whereon to ground my conjecture of his Age, others think him more recent by his style, but however he is not in any wise to be compared with Heliodorus, neither in the regula∣rity of his manners, nor in the varie∣ty of events, nor in the Artifice in unravelling his Plots; his stile (in my mind) is to be preferr'd to that of He∣liodorus, he is more simple and natural, but Heliodorus more forced: finally, some say that he was a Christian and Bishop too; 'tis strange that the ob∣scenity of his Book should be so easily forgot, and more then this that the Emperour Leon surnamed the Philo∣sopher, has commended the Modesty thereof in an Epigram, which is yet extant, and not onely permitted, but

counselled the reading of it from one end to the other; to those who profess the love of Chastity.

Possibly I place here too rashly that Athenagoras, under whose name there goes a Romance, the Title whereof is, of true and perfect Love; this Book has not appeared abroad but onely in French of Fumee's translation, who tells us in the Preface that he had the Greek Origina from Mr. du Lamane, Prothonotary of Mr. the Cardinal d'Armagnac, and that he never saw it elsewhere. I almost dare add, that never any person saw it since, for his name was never mentioned (that I know of) in the Catalogues of any Libraries; and if at this day it have any being, 'tis certainly buried among the dust, in the Closet of 2ome Illite∣nate person, who possesses this Trea∣sure and knows not of it; or else 'tis in the hands of the envious, who might gratifie the publick therewith

but will not; the Translator saith further, that he believes this to be the Production of that famous Athe∣nagoras, who writ the Apology for Christian Religion, in the manner of a Legation, addressed to the Emperours Marcus Aurelius and Commodus, and a Treatise of the Re∣surrection. The chief ground of his opinion is the style which he finds conformable to that of his works, and whereof he might well enough judge, having the Originals in his power. And finally he takes this for a true History, not understanding the art of Romances. For my part though I cannot pronounce thereof with cer∣tainty, not having seen the Greek Original, nevertheless by reading the Translation I shall not stick to affirm that he does not without some reason attribute it to Athenagoras Au∣thor of the Apology, the reasons are, that the Apologist was a Christian,

and this speaks of Divinity, after a manner which is inconsistent with a∣ny but a Christian, as when he makes the Priests of Hammon say,

That there is but one God, and that every Na∣tion desirous to represent his essence to the simple, had invented divers I∣mages, all which exprest but the same thing; that their true significa∣tion being lost with the times, the Vulgar believed that there were so many Gods as they saw Images, and idolatry sprung from thence, that Bacchus when he built the Temple of Hammon, placed in it no other I∣mage save onely that of God, be∣cause as there is but one Heaven, which contains but one World, so in this World there is but one God, who is communicated in Spirit. He makes thus much and more be said by certain Egyptian Merchants, to wit, that the Gods of the Fable denoted the different actions of this

Soveraign, and one only Divinity, who is without beginning and with∣out end, and whom he calls obscure and dark, for that he is Invisible and Incomprehensible.

Moreover the dis∣courses of the Priests and Merchants upon the Divine Essence, very much resemble those of Athenagor as in his Legation; the Apologist was a Priest of Athens, this was on Athenean Phi∣losopher, both seem Men of sense and great learning, and well read in An∣tiquity.

But on the other side many things may make us suspect, not onely that this is not Athenagoras the Christian, but also that the Book it self is a meer forgery.

Photius giving an exact account of those who had been makers of Ro∣mances before his time, takes no no∣tice of him at all; no body ever saw a Copy of this Romance in any Li∣brary, and that which the Transla∣tor

made use of never appeared since. Besides he represents the Habitation, Life, and Conduct of the Priests and Religious of Hammon, so very like the Convents and the Government of our Monks and Religious, that it ill accords with what History informs us of the time when the Monastick life began, and when it arrived to per∣fection.

What among so much obscurity seems to me most probable is, that this is an ancient work, but later then the Apology.

For I find such a profound know∣ledge both in things, of Nature and of Art, so great acquaintance with the Annals of times past, so many curious remarks not taken from the Ancient Authors, which are left us, but which relate to and explain them, so much of the Greek Phrase, which one may discover thorow the tran∣slation, and over all a certain Cha∣racter

of Antiquity, which cannot be counterfeited; so that I cannot be perswaded that it is any production of Fumee's, whose Learning was but in∣different, or that the most able and ingenious person in those days could devise any thing like it; if Photius have not mentioned him. How many other great and famous Authors have escaped his cognisance, or his dili∣gence? and if in our days onely one Copy was found, which peradven∣ture is since lost, how many other excellent works have undergone the same destiny? if this gives you not satisfaction, but you will oblige me to push further my conjectures, and essay to find out precisely the time he lived in, I have nothing to support my opinion, save one passage in the Preface of his Romance, where he complains of the fatal blow, which his Countrey Athens was about to receive in the universal desolation of

Greece, which cannot be understood, but of the Scythians irruption into Greece, which happened under the Empire of Gallienus, or else of that of Alaric King of the Goths, which fell out in the times of Arcadius and Ho∣norius, for Athens was not sacked since Sylla's time, till the Invasion of the Scythians, which was about 350. years after, and that of the Goths was about 700 years after, but I see more reason to apply the words of the Au∣thor to the Conquest of Alaric, then to that of the Scythians, for that the Scythians were readily chaced from Athens ere they had done much mis∣chief, but the Goths treated them more rudely, and left there the sad marques of their barbarous cruelty. Synesius who lived at that time, speaks of them in the same terms with our Author, and with him regrets to see learning, & the liberal sciences wract by the Barbarians, in the very place

of their Birth and Seat of their Em∣pire; but howsoever, this work of Athenagoras is invented with wit, con∣ducted with Art, Sententious, and full of excellent moral Precepts, the events agreeing with verisimility, the Episodes drawn from the subject, the Characters clear and distinct, Decorum observed exactly all throughout, no∣thing low, nothing forced, or like the Pedant stile of the Sophists.

The argument is double, that which made one of the great Beauties of the ancient Comedy, for besides the Adventures of Theogenes and Cha∣ridea; he relates likewise those of Pherecydes and Melangenia, whereby may appear the mistake of Giraldi, who believed that the multiplying of actions was the invention of the Ita∣lians; the Greeks and our old French have practised this before the Italians, the Greeks with dependance and sub∣ordination to one principal action

following the rules of an Heroick Poem, as Athenagoras has done, and Heliodorus too, though not so accu∣rately, but our old French have mul∣tiplyed them without any order, con∣nexion, or art; these are them whom the Italians have imitated, taking from them their Romances and their faults together; and this is an error in Giraldi worse then the former, that he would endeavour to commend this fault, and make thereof a vertue, if it be true, which himself acknow∣ledges that a Romance should resem∣ble a perfect Body, and consist of many different parts and proprotions, all under one head; it follows then that the principal action which is as it were, the head of a Romance should onely be one, and illustrious above the rest; and that the subordinate actions, which are as it were mem∣bers, ought to have relation to this head, yield to it in dignity and beau∣ty,

adorn, sustain and attend it with dependance; otherwise it would be a Body with many Heads, monstrous and deformed. The example of Ovid alledged in his favour, and that of other Cyclick Poets, which he might also cite, does not justifie him in the least, for the Metamorphoses of the ancient Fable, which Ovid pro∣posed to himself to amass into one Poem, and those of the Cyclick Poets consisting all of actions, which have no dependance on or relation to one another, and being all well nigh of equal beauty and eminence, it was altogether as impossible to make thereof one regular Body, as to build one complete Structure with Sand on∣ly. The applause which the faulty Romances of his Nation have recei∣ved, and which he relles so much up∣on, does yet justifie him less, one must not judge of a piece by the number, but by the sufficiency of the approba∣tors;

every one assume to themselves the licence to judge and censure Poesie and Romance; the sumptuous Pa∣laces and the common Streets are made Tribunals, where the merits of greatest works is Soveraignly decided. There every one shoots his bolt, and presumes boldly to set the value of an Epick Poem upon the reading of a comparison or a description: and one Verse somewhat harsh, such as the place and matter sometimes requires, may there ruine the reputation of all, one happy thought or tender senti∣ment makes there the fortune of a Romance, and one expression a little forc't, or one superannuated word destroys it; but they who compose them will in no wise submit to these decisions, but like the Comedian in Horace, who being hissed from the Stage by the people, contented him∣self with the approbation of the Che∣valliers. These are content that they

please the nicest and most able Judges, who have other kind of Laws to judge by; and these Laws are known to so very few, that as I often have said before, a good Judge is as rare∣ly to be met withall as a good Ro∣mancer, or a good Poet: and that in the small number of those who under∣stand and can judge of Prose, hardly one can be found who understands Poesie, or who is sensible and appre∣hends that Poesie and Prose are things altogether different. These Criticks, whose Sentence is the certain rule to value Poems and Romances by, did avow to Giraldi, that the Italian Ro∣mances have many very pretty things in them, and deserve many other commendations, but not that of re∣gularity, contrivance, nor justess of design. I return to the Romance of Athenagoras, where the discovery of the plot, though without machine, is less happy then the rest; it goes not

of smartly enough, it presents it self before the passion and impatience of the Reader be sufficiently warmed, and is made with too much repetition; but his greatest fault is the unseason∣able ostentation, wherewith he dis∣plays his skill in Architecture, what he writes thereof might be admirable elsewhere, but is vicious, and out of of its place where he puts it. Ne doe anco il Poeta, saith Giraldi, nel descri∣vere le Fabrichu, volersi mostrare in guisa Architettore, che descrivendo trop∣po minutamente le cose a tale arte appar∣tinenti, lasci quello che conviene al Poeta; alla quase cosa egli doe soura ogni cosa mi∣rare, se cerca loda oltre che queste descrit∣tioni di cose mechaniche recano con loro vilta, & sono ••ontane, & dall uso, & dal grande dell Heroico.

A Poet ought not in describing a Fabrick to shew himself an Architect; for in describing too minutely the par∣ticulars appertaining to such an art,

he leaves what is properly a Poets work, which it concerns him prin∣cipally to look to, if he expect commendation; besides, that such mechanick descriptions debase the work, are too mean and far below, the grandeur and magnificence of an Heroick Poem.

He has taken many things from Heliodorus, or Heliodorus from him; for as I believe them contemporaries, I know not to whether is due the glory of the invention. The names and cha∣racters of Theogenes and Charidea re∣semble those of Theagenes and Cha∣riclea. Theogenes and Charidea see and fall in love with each other at a Feast of Minerva; as Theagenes and Chari∣clea at a Feast of Apollo. Athenagoras makes one Harondates Governour of the lower Egypt. Heliodorus makes Oroondates Governour of Egypt. Athe∣nagoras feigns Theogenes ready to be Sacrificed by the Scythians. Heliodorus

makes Theagenes ready to be Sacrifi∣ced by the Aethiopians, and Athenago∣ras like Heliodorus has divided his work into ten Books.

I shall not put among the number of Romances the Books of Paradoxes of Damascius, the Heathen Philoso∣pher, who lived under Justinian; for notwithstonding Photius saith, that he imitated Antonius Diogenes, the model of most Greek Romancers, 'tis to be understood that he writ like him Hi∣stories Fabulous and Incredible, but not Romantick, nor after the manner of Romances; he relating onely the apparitions of Spectres, and Goblins, and Events above Nature, either too lightly believed, or invented with little address, and becoming the A∣theism and impiety of the Author.

Two years after Damascius was the History of Barlaam and Josephat com∣posed by St. John Damascenus. Many ancient Manuscripts father it on John

the Sinaite, who lived in the time of Theodosius, but without reason as Billius makes it appear; because the disputes against the Iconoclasts, which are inserted in this work, were not then moved, nor were till long time after by the Emperour Leon Isanricus; under whom lived St. John Damascenus. 'Tis a Romance, but a Spiritual one; it treats of Love, but 'tis the love of God; and there one may find much blood spilt, but 'tis the blood of Martyrs: it is writ in the fashion of a History, not according to the rules of Romance, and not∣withstanding that the verisimility is there exactly enough observed. It bears with it so many marks of Fi∣ction, that it is not to be read but with some little discernment to disco∣ver it. In the rest one may perceive the fabulous Genius of the Authors Nation, by the great number of Para∣boles, Comparisons and Similutudes,

which are there in abundance.

The Romance of Theodorus Prodro∣mus, and that which some attribute to Eustathius Bishop of Thessalonica, who flourished under the Empire of of Manuel Comines, about the middle of the twelfth Age, are much what of the same nature: the first contains the Amours of Dosicles and Rhodanthe, the other, those of Asmenas and Is∣mene. Monsieur Gaulmen has made both of them publick together with his translation and notes. Seeing he saith nothing of Eustathius in the Pre∣face of the Book which bears his Name, I will interpret his silence in his favour; and believe that being a Learned Man, he fell not into the error of those who are perswaded that the famous Comentator upon Homer was capable of making such a mi∣serable work as that is. Moreoversome Manuscripts name the Author Euma∣thius, and not Eustathius; however

the matter be, nothing is more frigid, nothing more flat, nothing more tedeous, no decorum, no veri∣simility, no conduct; 'tis the work of some School Boy, or some wretch∣ed Pedagogue, who deserved to be a School Boy all the days of his life. Theodorus Prodromus is not much bet∣ter, however he has something more of art though it be but little, he never extricates himself unless it be by ma∣chines, and he understands not how to make the Actors preserve decorum, and the uniformity of their Chara∣cters. His work is rather a Poem then a Romance, for it is writ in Verse, and this makes his style (which is too licentious and full of Figures) more pardonable; nevertheless seeing his Verses are Iambicks, which are like Prose and which may be called measu∣red Prose, I exclude him not from this last. Some say he was a Russian by Na∣tion a Priest, a Poet, a Philosopher, and a Physitian.

I give well nigh the same judge∣ment of Longus the Sophist his Pasto∣rals, as of the two former Romances; for notwithstanding that most of the Learned of late times have commend∣ed them for their elegance, and agree∣ment joyned with a simplicity proper for the Subject; nevertheless I find nothing in all this but a simplicity, which runs sometimes even to chil∣dishness and foolery. There is no∣thing in it, either of invention or con∣duct. He begins grosly with the Birth of his Shepheards, and ends with their Marriage; he never cleares up his Adventures but by Machines, improper and ill contrived; so obscene for the rest, that one must be some∣what a Cynick to read him without blushing. His style, which has been so much cryed up, is such as may be de∣serves lesse: 'tis the style of a Sophist, such as he was, like that of Eustathius and Theodorus Prodromus; which par∣takes

of the Orator and the Historian, and which is proper neither to the one nor to the other; full of Metaphors, Antitheses, and sparkling Figures, which dazle and surprize the simple, and tickle the Ear, without satisfy∣ing the mind; in leju of ingaging the Reader by the novelty of the events, by the arangement and varie∣ty of matter, and by a clear and close Narration, which withall has its cadence, goes off roundly, and which always advanceth within the subject. He assays (as most of other Sophists) to entertain him with descriptions by the by; he leads him out of the way, and while he lets him see so much of the Countrey which he did not look for, he spends and consumes his attention, and the impatience he had to arrive at the end he sought for and proposed to himself. I tran∣slated this Romance with delight in my Childhood, and it is that age on∣ly

which it can please: I shall not tell you in what time he lived; none of the Ancients have made mention of him, and he bears no token which may give place for conjectures, un∣less perhaps it be the purity of his style, which makes me judge him more ancient then the two former.

For the three Xenophons Roman∣cers, whereof Suidas speaks, I can say no more of them then he has done: one of them was of Antioch, an other of Ephesus, the third of Cyprus. All three writ Love stories: the first gave his Book the name of Babylo∣nicks, as Iamblicus: the second Intitled his the Ephesia••ks, and relates the A∣mours of Habr••comas and Anthea: and the third named his the Cypriacks, where he recounts the Amours of Cinyras, Myrrha, and Adonis.

I ought not to forget Parthenius of Nicaea, from whom we have a col∣lection of love Histories, which he

Dedicates to the Poet Cornelius Gallus of Augustus his time. Many of them are drawn from the ancient Fable, and all from ancient Authors which he cites. Some of them seem Roman∣tick, and to have been taken from Milesian Fables; as that of Erippe and Zanthus in the 8th. Chapter, that of Policrites and Deognete in the 9th. Chapter, that of Lucone and Cyonippe in the 10th. Chapter, and that of Neaere and Hypsicreon, and of Promedon in the 18th. Chapter, for besides that these Adventures are attributed to Milesian persons, it doth not at all appear that they have been taken ei∣ther from the Fable or ancient Histo∣ry. The same may be said of the A∣mours of Cannus and Biblis, children of the Founder of Miletus, which he reports in the 11th. Chapter, are a Fiction of the Countries, which has made it famous, and has been conse∣crated in the Antique Mythology.

This however I offer only as a slight conjecture.

In this account which I make, I distinguish the regular Romances from those which are not. I call re∣gular those which are according to the rules of an Heroick Poem. The Greeks who have so happily improved most of Arts and Sciences, that one may account them the Inventors, have also cultivated the art of making Romances, and from rude and wild as it was among the Orientals, they have given it a better shape, adjust∣ing it to the rules of the Epopee, and joyning in one complete body the di∣verse parts, which without order or harmony composed the Romances of former times. Of all the Greek Ro∣mancers which I have named, they who have observed these rules are onely Antonius, Diogenes, Lucian, A∣thenagoras, Iamblicus, Heliodorus, Achil∣les Tatius, Enstathius, and Theodorus

Prodromus. I do not mention Lucius of Patras, nor Damascius, whom I have not rancked among the makers of Romances; for St. John Damascenus and Longus, it had been easie for them to have reduced their works under these Laws, but they either were ig∣norant of them, or despised them. I know not what to say of the three Xenophons, of whom nothing is left us: neither of Aristides, and those who like him writ the Milesian Fables. I believe however that these later were tyed to some rules and measures, which I judge by the works made in their imitation, which time has pre∣served us, as the Metamorphosis of Apuleus, which is regular enough.

These Milesian Fables, long time be∣fore they made this Progress in Greece which you have seen, were already passed into Italy, and were there first received by the Sybarites, a people more Voluptuous then one can ima∣gine.

This conformity of humour which they had with the Milesians, established among them a reciprocal commerce of luxury and pleasure; and united them so well, that Hero••o∣tus assures us, he knew no people so strictly allied; they then learned of the Milesians the art of Fictions; and Sybaritick Fables were as common in Italy, as the Milesian Fables were in Asia; it is not easie to say what was their model, Hesychius gives us to understand in one passage very much corrupted, that Aesop being in Italy, his Fables there were so well appro∣ved, that they did improve upon them, and named them Sybariticks when they were changed, and they became a Proverb: but he discovers not wherein consisted that alteration. Suidas believed that they were like those of Aesop; he is mistaken in this as frequently else where. The old Comentator upon Aristophones saith,

that the Sabarites made use of Beasts in their Fables, and Aesop made use of men in his; this passage is cer∣tainly corrupted, for as it appears that Aesops Fables imployed Beasts, it fol∣lows that those of the Sybarites made use of Men: and thus too he saith in an other place in express terms; those of the Sybarites were pleasant and provoked laughter. I find a piece of one of them in Elian: 'tis a little story which he saith he took from the Hi∣story of the Sybarites, that is to say, as I take it, from the Sybaritick Fables, you may judge there of by the story it self.

A Child of Sybaris going to School along with his School-Master met in the Street one that sold Figgs, and stole from him one of them; the Schoolmaster sharply reproving him, snatches the Fig from him, & eats it.

But these Fables were not onely facetious but smutty withall. Ovid

puts the Sybaritida, which was com∣posed some little time before him, among the number of the most lasci∣vious pieces. Many Learned Men believe that he intends the work of Hemitheon the Sybarite, whereof Lu∣cian speaks, as of a mass of smuttiness: this appears to me without ground, for one cannot at all perceive that the Sybaritida did any other wise agree with the Book of Hemitheon, then in this, that both the one and the other were Books of Debauchery; and this was common to all the Sybaritick Fa∣bles. Bbesides this the Sybaritida was made but a little before Ovids time; whereas the Town of Sybares was ab∣solutely ruined, by the Crotoniates 500 years before him. 'Tis therefore more credible that this Sybaritida was composed by some Roman and so cal∣led, because it was made in imita∣tion of the ancient Sybaritick Fables. A certain old Author, whose name I

believe you do not much value, gives us to understand that their style was curt and Laconick; but all this doth not convince us that these Fables had nothing of the Romance in them.

This passage of Ovid makes it clear, that in his time the Romans had given admittance to the Fables of the Sybarites amongst them: and he teaches us in the same Book, that the famous Historian Sisenna had also translated for them the Milesian Fa∣bles of Aristides. This Sisenna lived in Sylla's time, and was with him of the great and Illustrious Family of the Cornelians: He was Praetor of Sicily and Acaia; he writ the History of his Countrey, and was preserred before all Historians of his Nation, who went before him.

If the Roman Republick disdeigned not the reading of these Fables then, while it yet retained an austere Disci∣pline and rigid manners; 'tis no won∣der

if being fallen under the power of the Emperours, and after their exam∣ple being abandoned to luxury and pleasures, it was likewise toucht with those which Romances gave the mind. Virgil, who lived a little after the first rise of the Empire, gives not any more agreeable diversion to the Naides, Daughters of the River Peneus, while they were assembled together under their Fathers Waters, then to relate the Amours of the Gods, which were the subject of the Romances of Antiquity.

And Ovid, Virgils contemporary, makes the Daughters of Menius tell Romantick Tales; and while their hands were busie and employed, their tongues and wit were at liberty. The first is of the Loves of Pyramus and Thisbe; the second of those of Mars and Venus; the third of those of Sal∣macis for Hermaphrodite.

By this appears the esteem Rome heretofore had for Romances, which

is yet more clear by the Romance which Petronius (one of their Con∣suls, and the most polished man of his time) composed; he made it in form of a Satyr, of that kind which Varre had invented, intermixing agreeably Prose with Verse, and the serious with the jocose, the which he named Menippian; because Menippus before him had treated of grave matters, in a pleasant and scoffing style.

This Satyr of Petronius fails not to be a true Romance; it contains no∣thing but agreeable and ingenious Fictions, but very often too wanton and immodest. Hiding under the bark a fine and tart raillery against the vices of Nero's Court. Seeing what remains of it are onely some fragments, which scarce have any coherence at all one with another, or rather the collections of some indu∣strious person; one cannot exactly discern the form and tissue of the

whole piece, nevertheless it appears to be conducted with order. And 'tis probable the incoherent parts would make up a complete body with those that are wanting. Though Petronius seems to be a very great Critick, and of an exquisite taste in learning, his style does not always altogether an∣swer to the delicatness of his judge∣ment; something of affectation may be observed; he is somewhat too much Painted and Studied, and degenerates from that natural and majestick sim∣plicity of the happy age of Augustus. So true is it that the art of speaking, which all the World practises (and which so very few understand) is yet much easier to understand then to practise well.

Some say that the Poet Lucan, who also lived in Nero's time, composed Saltick Fables, that is (as some think) fables wherein are recounted the loves of Satyrs and Nymphs. This agrees well

with a Romance, and the wit of that Age, which was Romantick con∣firms my suspicion. But in regard nothing is left us but the Title, and that too does not clearly enough ex∣press the nature of the piece, I shall say nothing thereof.

The Metamorphosis of Apuleus, so well known under the Title of the Golden Ass, was made under the Anto∣nins. It had the same Original with the Ass of Lucian, being taken out of the two first Books of the Metamor∣phoses of Lucius of Patras, with this difference always, that these Books were abridged by Lucian, and aug∣mented by Apuleus. The work of this Philosopher is regular, for not∣withstanding he seems to begin with his infancy, yet what is there said is onely by way of Preface, and to ex∣cuse the Barbarousness of his style. The true beginning of his History is at his Voyage into Thessalia. He has

given us an Idea of the Milesian Fa∣bles in this piece, which he declares withall to be of that sort; he has in∣riched it with pretty Episodes, and a∣mong others with that of Psyche, which no person is ignorant of; and he has not at all retrencht the smutti∣ness which was in the Originals which he had followed. His style is that of a Sophist, full of affectation and violent figures, hard, barbarous, and befitting an African.

Some hold that Clodius Albinus, one of the pretenders to the Empire, who was vanquisht and slain by the Em∣perour Severus, disdained not a like travail. Julius Capitolinus reports in his life, that there were seen certain Milesian Fables under his name, great∣ly esteemed, though but indifferently written; and that Severus reproch∣ed the Senate, that they had com∣mended him for a Learned Man, whereas he read nothing but the Mile∣sian

Fables of Apuleus, and spent all his Study in old Wives tales and such like trifles, which he preferred before serious employments.

Martianus Capella has (as Petronius) given the name of Satyr to his work, for that it is writ like his in Verse and Prose; and that the profitable and the agreeable are there interwo∣ven; having design to treat of all those which are called the Liberal Arts, he therefore takes a circumference, giv∣ing them persons; and feigning that Mercury, who has them in his Train, Espouses Philology, that is to say, the love of good Letters, and gives her for a Nuptial present whatever they have most fair and most precious; so that it is a continual Allegory, which properly deserves not the name of a Romance, but rather of a Fable: for as I have already remarqued, a Fable represents things which never have nor ever can happen; and a

Romance represents things which may, but never have happened. The artifice of this Allegory is not very subtile; the style is barbarisme it self; so bold and so extravagant in his fi∣gures, that they were not to be par∣doned the most desperate Poet; and covered with an obscurity so thick, that it is hardly intelligible: other∣wise it is Learned and full of Noti∣ons which are not common.

Some write that the Author was an African, if he were not he might well be one, his manner of writing is so harsh and forced. The time where∣in he lived is not known, it onely ap∣pears he was more ancient then Ju∣stinian.

Hitherto the Art of Romancing was maintained with some splendour, but it declined afterwards with Learning and the Empire, when these boysterous Nations of the North car∣ried every where with them their ig∣norance

and barbarity. Before Ro∣mances were made for delight; now were devised fabulous Histories, be∣cause none were acquainted with the Truth. Taliessin, who is said to have lived about the middle of the sixth Age, under that King Arthur so fa∣mous in Romances; and Melkin who was somewhat younger, writ the Hi∣story of England, their Countrey, of King Arthur, and of the round Table. Balaus, who has put them in his Cata∣logue, speaks of them as of Authors filled with Fables. The same may be said of Hunibaldus Francus, who was (as some write) contemporary of Clovis, and whose History is no o∣ther but a mass of lyes grosly con∣ceived.

In fine, Sir, we come to the famous Book of the exploits of Charlemagne, which some ascribe very untowardly to the Archbishop Turpin, though he be later then it by more then two

hundred years. Pigna and some o∣thers have believed ridiculously, that Romances took their name from the Town of Reims, whereof he was Archbishop, for that his Book (as Pigna reports) was the Source from whence the Romances of Provence chiefly issued; and that he was ac∣cording to others the principal among the makers of Romances.

However there are to be seen many Histories of Charlemagnes life full of extravagant Fables, and like that which bears the name of Turpin. Such were the Histories attributed to Harcon, and to Solcon Forteman; to Savard the Sage, to Adell Adeling, and to John Son of the King of Freez∣land, all five Freezlanders; and who are also said to have lived in the time of Charlemagne. Such also was the History attributed to Occon, who ac∣cording to the common opinion was Contemporary of Otho the Great, and

had Solcon before named to his great Uncle. And such were those which contain the Atchievments of King Arthur, and the Life of Merlin. These Histories composed for delight plea∣sed the Readers, who were simple and more ignorant then those who made them; they did not in those days trouble themselves in the researches after good Memoires, and in being informed of the truth for writing of Histories. They had the stuff in their own head, and went no farther then their own invention. Thus Historians degenerated into true Ro∣mancers. In this Age of ignorance the Latine Tongue too as well as truth was despised. The Versifiers, Composers, Inventers of Tales, Je∣sters, and in fine those of this Coun∣trey who studied that which was there called the Gay Science, did be∣gin about the time of Hugh Capet to Romance it pell mell; and over run

France, giving about their Romances, and Fables composed in the Roman Tongue; for heretofore those of Pro∣vence had more of Learning and Poe∣sie among them, then all France be∣sides. This Roman Tongue was that which the Romans introducted among the Gauls together with their Con∣quests; and which being corrupted by the times with a mixture of the Gaulish Language which was before, and then French or Tudesque which followed, 'twas neither Latin, Gaulish, nor French, but a certain medley of all, wherein Latin however was pre∣dominant, the which for that reason was always called the Roman, to di∣stinguish it from the particular and natural Language of each Countrey, as the French, Gaulish or Celtique, Aqui∣tanique, Belgique; for Caser writs that these three Languages were different among themselves, which Strabo ex∣plains of a difference, which only was

as the diverse dialects of the same Language.

The Spaniard use the word Romancé in the same signification with us, and they call their ordinary language Romancé; the Romain being then most universally undestood, those of Pro∣vence who Studied Fictons made use thereof for their Fictions, which from thence were called Romances. The Versifiers also travaling about the Countrey, were bountifully rewarded for their labours, and nobly enter∣tained by Lords, whom they made vi∣sits to; some whereof would be so tran∣sported with delight to hear them, that they sometimes would even de∣spoil themselves of their Robes to adorn the Versifiers therewithall. Those of Provence were not the onely persons who delighted in this agree∣able exercise: almost every Province of France had their Romancers, even to Picardy, where were composed

their Servantois, pieces treating of Love, and sometimes Satyrical: and from thence come so very many of old Romances, whereof some part are Printed, others are rotting in Libraries, the rest consumed by the length of time. Spain it self, which has been so fruitful in Romances, and Italy too, have from us received the art of composing them. Mi par di poter dire che questa sorte di Poesia: These are the words of Giraldi speak∣ing of Romances. Habbia haunta la prima Origine, & il primo suo principio da Francesi, da' i quali ha forse onco haveto il nome. Da Francési pio e passa∣ta questa maniera di peteggiare a gli Spagnuoli, & ultimamonte e stata ac∣cettata da gli Italiani.

So that I may say this sort of Poesie has had its first Original and Source from the French, and from them peradven∣ture took the name. From the French afterwards this kind of Poetizing

passed to the Spaniards, and lastly was entertained by the Italians.

The late Salmasius, whose memorie I have in singular veneration, both for his great Learning, and for the friendship which was contracted be∣tween us, was of opinion that Spain having learned of the Arabians the art of making Romances, did afterwards communicate it by their example to all the rest of Europe. To maintain this one must hold that Taliessin and Mel∣kin both English, and Hunnibaldus Francus, (which three are believed to have composed their Romantick Hi∣stories about the year 550) are more recent by at least about 200 years then can be imagined. For the re∣volt of Comte Julian, and entrance of the Arab••ans into Spain, happened not till 91 of the Hegira, that is to say, the 712 year of our Lord; and some time must be allowed for these Ro∣mances of the Arabians to spread in

Spain, and for those which (as is pre∣tended) the Spaniards made in their imitation to be dispersed throughout the rest of Europe. I shall not take upon me to maintain the antiquity of these Authors, though I have some right so to do, seeing the common and received opinion is for me. 'Tis certain that the Arabians were ex∣treamly addicted (as I have made ap∣pear) to the Gay Science, I mean to Poesie, Fables, and Fictions. This Science having continued with them while it was rude, without having been improved and cultivated by the Greeks. They brought it along with their Arms into Africa when they sub∣dued it; though besides it had always flourished among the Africans; for Arestole and after him Priscian make mention of the Lybick Fables, and the Romances of Apateus and Martianus Capella Asricans, whereof I before have spoken, shew that it was the

wit of these people; and this con∣duced much to the fortifying of the victorious Arabians in their inclina∣tion. We likewise learn out of Leo, Afer and Marmol, that the Africain A∣rabians do still passionately love Ro∣mantick Poesie, and that they sing in Verse and Prose the exploits of their Buhaluh, as among us are celebrated those of Arthur and Lancelot; that their Morabites compose Love Ditties, that in Fez on Mahumets Birth-day the Poets have their assemblies and publick sports, and repeat their Verses before the people; and who in their judgement had done best, is created Prince of the Poets for that year; that the Kings of the House of the Benimerinis, who have Reigned this three hundred years, and which our old Writers call Bellemarine, assemble on a certain day every year the most able Judges in the City of Fez, and makes them a most spendid Feast, af∣ter

which the Poets repeat their Ver••es in honour of Mahumet; that the King bestows on him who excels the rest a sum of Money, a Horse, a Slave, and his own Robes, which he wore that day; and that none of the rest return home without recom∣pence.

Spain having received the yoak of the Arabians learned withall their manners, and took from them the custom of singing love Verses, and ce∣lebrating the actions of great Men after the fashion of the Bards among the Gauls; but these Songs which they named Romances, were much dif∣ferent from what is called a Ro∣mance, for they were poesies made to be Sung, and consequently very short. Some have made a collection of many of them, some whereof are so Ancient, that they can hardly be understood; and they have sometimes served to clear up, and explain the

Histories of Spain, and to reduce the events to order in Chronology. Their Romances are much later, and the an∣cientest of them are of nothing so old a date as our Sir Tristrams and Lance∣lots. For some Centuries of years Miguel de Cervante, one of the best wits Spain has produced, made a fine and judicious Critique in his Don Quixot; and hardly could the Curate of the Marcha, and Maistre Nicolas the Barber, find in so vast a number six which were worthy to be preserved; the rest are delivered over to the secular arm of the old Wife, to be put in the fire. Those which they judged worth the keeping, were the four Books of Amadis de Gaul, which is said to be the first Romance of Chivalry, which was Printed in Spain, the model and best of all the other.

Palmerin of England, which some believe was composed by a King of Portugal, and which they judge worthy

to be put in a Box, like that of Da∣rius, wherein Alexander kept the Works of Homer. Don Beloanis, the Mirrour of Chivalry: Tirante the White, and Kyrie Eleison of Montauban, (for in the good old times it was be∣lieved that Kyrie Eleison and Poralipo∣menon were the names of some Saints) where the subtleties of Madam Plea∣sure-of-my-Life, with the Love and Guyles of Widow Reposada are highly extolled. But all this is but of yester∣day in comparison of our old Ro∣mances, which in all probability were the Models and Originals of them, as the conformity of the works and vicirity of the Nations may perswade. He also gives his censure upon the Romances in Verse, and other Poe∣sies which were found in the Library of Don Quixot; but this is beside our Subject.

If any object that as we took from the Arabians the art of Ryming, 'tis

credible that we had from them also the Art of Romancing: seeing that the most part of our old Romances were in rvme, and that the custom of the French Lords, to give their Vest∣ments to the best Poets, and which Marm••l saith was practised by the Kings of Fez, gives yet more ground for this suspicion. I allow that it is not altogether impossible that the French learned time of the Arabians, having taken from them likewise the usage of applying it to Romances. I allow also that the love we then had for Fables, might be augmented and fortified by their example, and that our art Romantick was (it may be) enriched by the Commerce which the Neighbourhood of Spain, and the Wars gave us with them: but not at all that we are endebted to them for this inclination, seeing that it posses∣sed us long time before it was taken notice of in Spain; neither can I more

believe that the Princes of France took from the Arabian Kings that cu∣stom of despoiling themselves of their Garments in savour of the Poets. I rather think, that both the one and thed other touched with the excel∣lence of the works they heard repeat∣ed, they could not hold from exerting their liberality immediately; and find∣ing nothing more near or ready then their habits, they made use of them for that occasion: as we read of some Saints, who have done the like for the poor; and that this which often came to pass in France by accident, is pra∣ctised every year at Fez by custom, probably was there too at first intro∣duced by chance only.

It is very credible that the Italians were first brought to the composing of Romances, by the example of those in Provence, then when the Popes held their Sea at Avignon; and even by the example of other French, then

when the Normans and Charles Comte d' Anjou (Brother to Saint Louis) a ver∣tuous Prince, a lover of Poesie, and a Poet himself, made War in Italy; for the Normans also would be tampering with the Gray Science. And History reports, that they sung the deeds of Roland before they gave that memor∣able Battail, which won the Crown of England to William the Bastard. All Europe in those days was covered with darkness and thick ignorance; but France, England, and Germany less then Italy, which then produced but a small number of Writers, and scarce any makers of Romances at all. Those of that Countrey, who had a mind to make themselves distinguished by some tincture of knowledge, came for it to the University of Paris; which was the mother of Sciences, and Nource of the Learned of Europe. St. Thomas Aquinas, St. Bonaventure, the Poet Danfe, and Bocace came thi∣ther

to Study, and the President Fauchet shews that this last took most part of his Novels from French Ro∣mances; and that Petrarch and the other Italian Poets have pilfred the richest phansies and conceits from the Songs of Thiband King of Navar, from Gaces Brussez, Chastelain de Corcy, and the old French Romancers. 'Twas then in my opinion, in this mixture of the two Nations, that the Italians learned from us the Science of Ro∣mances, which by their own confes∣sion they owe to us as well as the Science of rimes.

Thus Spain and Italy had from us an art, which was the fruit of our igno∣rance and rudness, and which the po∣litness of the Persians, Ionians, and Greeks had produced. In effect as in necessity to preserve our lives want∣ing Bread, we nourish our Bodies with herbs and roots; so when the know∣ledge of truth, which is the propre

and natural Food of the mind begins to fail us, we nourish it with Lies, which are the imitation of truth; and as in plenty to satisfie our pleasure, we often quit Bread and our ordinary Viands, for Ragousts. Thus when our minds are acquainted with the truth, they often forsake the Study and speculation thereof, to be divert∣ed with the Image of Truth, which is Fiction; for the Image and imita∣tion according to Aristole, are often more agreeable, then the truth it self; so that two Paths directly opposite, which are ignorance and learning, rudeness and politness often carry Men to one and the same end, which is the Study of Fictions, Fables, and Romances. Hence it is that the most Barbarous Nations love Romantick inventions, as well as those which are the most polisht. The Origines of all the Savages of America, and particularly those of Peru, contain

nothing but Fables; no otherwise then the Origines of the Goths, which they writ heretofore in their ancient Runick Characters upon great stones; whereof I have seen some remains in Denmark. And if ought were left us of those Works which the Bards a∣mong the Ancient Gauls composed to eternise the memory of their Nation, I question not at all but we should find them inricht with abundance of Fictions.

This inclination to Fables, which is common to all Men, is not the re∣sult of ratiocination, imitation or custom. 'Tis natural to them, and has its bait in the very frame and dis∣position of their mind and soul; for the desire to know and to learn is par∣ticular to man, and no less does di∣stinguish him from other creatures then his reason. One may find even in other creatures some sparks of a rude and imperfect reason; but the

coveting of knowledge was never ob∣served, save in Man only.

This proceeds (according to my sense) from that, that the faculties of our Soul being of too vast an ex∣tent, and of a capacity too large to be filled by the present objects; the Soul does ransack and search in what is past, and what is to come, in truth and in fictions, in imaginary spaces and in impossibility, for wherewith to exercise and employ it. Brutes find in the objects which present themselves to their sense wherewith to satisfie the powers of their Soul, and are not concerned further; so that one sees not in them this restless desire which agitates incessantly the mind of Men, and carries it to the re∣search of new knowledge; to propor∣tion (if possible) the object to the fa∣culty, and find there a pleasure re∣sembling, that we enjoy in appeasing a violent hunger, or quenching a long

thirst. 'Tis this Plato would express by the Fable of the Marriage of Porus and Penia, that is to say, Riches and Poverty, whereof he saith, is born pleasure, the object is signified by Riches, which are not riches but in the usage, and otherwise remain un∣fruitful, and in no wise beget plea∣sure. The faculty is intended by Po∣verty, which is sterile, and always attended with inquietude, while it is seperated from Riches; but when it is joyned thereunto, pleasure is the issue of this union. All this we meet withall exactly in our soul; Poverty, that is to say, ignorance is natural to it, and it sighs continually after Sci∣ence, which is its riches; which when it is possessed of, this enjoyment is followed by pleasure; but this pleasure is not always equal, it often costeth it much pains and traval; as when the soul applyes it self to diffi∣cult speculations, and occult Sciences,

the matter whereof is not present to our senses, and where the imagination which acts with facility has a less part then the understanding whose opera∣tions are more laborious; and for that labour is naturally ircksome to us; the soulis not carryed to hard and spinous learning; unless in prospect of the fruits, or in hopes of a remote pleasure, or else by necessity; but the knowledge which attracts the soul and delights it most, is that which is acquired without pain, and where the imagination (in a manner) alone does act, and on matters like those, which fall ordinarily under our sense; and especially if this knowledge ex∣cites our passions, which are the great movers in all the actions of our life. Such are these Romances; there is required no great contention or tor∣ment of the mind to comprehend them. No long reasonings to be made, nor the memory over-burth-end,

nothing is required but the phancy; imagine onely and 'tis e∣nough. They move not our passi∣ons, save onely to appease them; they stir not our fear or compassion, but to make us see out of danger or misery those we feared or complain∣ed for; they touch not our tender∣ness, but to let us see them happy we had a love and tenderness for. Fi∣nally, all of our passions find them∣selves there agreeably provoked and calmed. 'Tis therefore that they who act more by passion then by reason, and travail more with their imagina∣tion then their understanding, are most taken therewith; though these other are so too, but after another manner. These are touched with the beauties of Art, and that which proceeds from the intellect; but the former such as are children and the simple, are sensible onely of that which strikes their imagination, and

stirs their passions, & they love fictions in themselves, without looking further. Now Fictions being nothing but nar∣rations, true in appearance and false in effect; the minds of the simple, who discern only the bark, are pleased with this show of truth, and very well satis∣fied. But these who penetrate further, and see into the solid, are easily dis∣gested with this falsity, so that the first love the falsehood, because it is concealed under an appearance of truth; these others are distasted with this Image of truth, by rea∣son of the real falsehood, which is couched under it; if this falsehood be not otherwise ingenious, mysterious, and instructive, and buoys it self up by the excellence of the invention and art. And S. Augustin saith somewhere, that these falsities which are significa∣tive, and couch a hidden meaning, are not lyes, but the Figures of truth, which the most Sage and Holy per∣sons,

and our Saviour himself have made use on upon occasion.

Since then 'tis true that lyes ordi∣narily flow from ignorance, and the grossness of our intellectuals, and that this inundation of the Barbarians, who issued from the North, spread o∣ver all Europe, and plunged it in so profound an ignorance, as it could not clear it self from, till after two Ages or thereabouts, is it not then very probable that this ignorance caused the same effect in Europe, which it always had produced every where besides; and is it not in vain to seek for that in chance, which we find in nature? there is then no rea∣son to contend, but that French, Gor∣man, and English Romances, and all the Fables of the North are of the Countrey's growth, born upon the place, and not imported from else∣where; that they never had other Original then the Histories stuff with

falsities, and made in obscure and ig∣norant times, when there was neither industry nor curiosity to discover the truth of things, nor art for discribing it: that these Histories mixed with true and false, having been well re∣ceived by the rude and half-barbarous people; the Historians thereupon took the boldness to present them such as were purely forged, which are the Romances. 'Tis also a common opi∣nion that the name of Romance has been heretofore given to Histories, and was applyed afterwards to Ficti∣ons; which is an irrefragable testi∣mony, that the one has come from the others Ramanzi, saith Pigna, secondo la commune opinione in Francese detti erano gliannali, & percio le Guerre di parte in parte notate sotto questo nome uscivano, poscia alcuni dalla verita partendosi, quan∣tunque favoleggiassero, cosi apunto chia∣morono li scritti loro.

Romances ac∣cording to the common opinion in

France were the Annals; and for that the History of the War publish∣ed part after part had that Name, some afterwards who neglected the truth, howsoever Fabulous they were, gave their writings also the same Title.

Strabo in a passage I have already alledged, saith that the Histories of the Persians, Medes, and Syrians have not deserved much credit; for that those who writ them, seeing that the Inventers of Fables were in great esteem, believed they might be so too, by writing of Fables in the form of Histories, that is to say, Ro∣mances: whence one may conclude that Romances, according to all ap∣pearances and likelyhood have among us had the same Original, which they had heretofore among these people.

But to return to the Troubadours or Trouverres [so were called these Poets] of Provence, who were the Princes of

Romancery in France, about the end of the tenth Age, their mystery was so generally approved of, that all the Provinces of France, as I have said, had also their Trouverres. They pro∣duced in the eleventh Age a matchless multitude of Romances, both in Prose and Verse, many whereof maugre the envy of time, are preserved even to our days. Of this number were the Romances of Garin le Loheran, of Tristram, of Lancelot du Lake, of Bertain, of St. Greal, of Merlyn, of Arthur, of Perceval, of Perceforest, and of most part of those 127 Poets, who lived before the year 1300. of whom the President Fauchet has given his cen∣sure. I shall not undertake to make you a Catalogue of them, nor exa∣mine whether the Amadis de Gaul be Originally from Spain, Flanders, or France, and whether the Romance of Tiel Ulespiegel be a Translation from the German, nor in what lan∣guage

the Romance of the seven wise Men of Greece was first written, or that of Dolopathos; which some say was ta∣ken from the parables of Sandaban the Indian: some say likewise that it is to be found in Greek in some Libraries; which has furnished the matter of an Italian Book called Erastus, and of ma∣ny of Bocace his Novels, as the same Fauchet has remarked: which was writ in Latin by John, Mon••k, of the Abbeyde Hauteselue whereof anci••nt Copies are to be seen; and Translated into French by the Clerk Hebert, about the end of the twelfth Age, and into High Dutch about ••00 years after; and after an hundred years more, from High Dutch into Latin again by a Learned person, who changed the Names thereof, and was ignorant that the Dutch had come from the Latin. It will suffice that I tell you all these works, to which ignorance has given Birth, did bear along with them the

marks of their Original, and were no other then a fardle of Fictions grosly huddled together without head or foot, and infinitely short of that So∣veraign degree of Art and Elegance, whereunto the French Nation has af∣terwards brought Romances. 'Tis truely a subject of wonder, that hav∣ing yielded to others the Bayes for Epick Poesie and History, we have carried these to so high a pitch, that the best of their Romances do not equal the very meanest of ours.

We owe I believe this advantage to the refinement and politness of our Galantry; which proceeds (in my opinion) from the great liberty in which the Men in France live with the Women: these are in a manner re∣cluses in Italy and Spain, and are se∣perated from Men by so many obsta∣cles, that they are scarce to be seen, and not to be spoken with at all. Wherefore Men have there neglected

the art of cajoling them agreeably, because the occasions for it are so rare. All the study and business there is to surmount the difficulties of access; and this being effected, they make use of the time without amusing themselves with forms. But in France the Dames go at large upon their Parole; and being under no cu∣stody, but that of their own heart, make thereof a Fort more strong and sure then all the Keys and Grates, and all the vigilance of the Douegnaes. The Men hereby are obliged to lay a for∣mall Siege to this Fort, and imploy so much industry and and address to re∣duce it, that they have made there∣of an art, which scarce is known to other people. 'Tis this art which distinguishes the French from other Romances, and which renders the reading of them so delicious, that they have caused the more profitable read∣ing to be neglected. The Dames

were the first taken with this bayt: These made Romances their whole study, and have so despiced that of the ancient Fable and History, that they now no longer understand those works, from which they formerly received their chiefest accomplish∣ment; that they may not blush at this ignorance, which they so often find themselves guilty of, they perceive that they had better disapprove what they are ignorant of, then take the pains to learn it. The men have imi∣tated them, in complaisance, and have condemned what they condemned, and called Pedantry that which made an essential part of politess, even in Malherbe's time. The Poets and o∣ther French Writers who succeeded, have been constrained to submit to this judgement; and many among them seeing that the knowledge of antiquity was of no advantage to them, have ceased to study what they

durst no longer practise. Thus a good cause has produced a very ill effect, and the beauty of our Romances has drawn on the contempt of good Let∣ters, and consequently ignorance.

Not that I pretend for all this to condemn the reading of them. The best things in the World are attended always with their inconveniences. Romances may have much worse too then ignorance. I know what they are accused for: they drain our devo∣tion, they inspire as with irregular passions, and corrupt our manners. All this may be, and sometimes does hap∣pen. But what cannot evil and un∣toward minds make a bad use on? weak souls are even contageous to themselves and make poyson of every thing: Histories must be forbidden, which relates so many pernicious ex∣amples; and the Fable, for there crimes are authorized even by the example of the Gods. A Marble Statue which

made the publick Devotion among the Heathens, caused the passion, bru∣tality and the despair of a certain young man. Cherea in Torence forti∣fies himself in a criminal dissign, at the sight of a Picture of Jupiters, which may be, drew the respect of all other spectatours, Little regard was had to the sobriety of manners in most part of the Greek and old French Ro∣mances, by reason of the vice of the times, wherein they were composed. Even the Astrea and some others which have sollewed, are yet some∣what licentious: but the Modern Ro∣mances (I speak of the good ones) are so far from this fault, that one shall find not one expression, not one word which may shock chaste ears, nor one single action, which may give offence to Modesty.

If any object, that love is there treated of after a fashion so delicate and so insinuating, that the bait of this

dangerours passion, enters glibly in young hearts.

I answer, that it is so far from being dangerous, that it is even in some sort necessary, that the young persons of the World should be ac∣quainted with this passion, that they may stop their ears to that which is criminal, and be better enabled to deal with its artifices; and know their conduct in that which has an honest and sacred end; which is so true that experience lets us see, that such as are least acquainted with Love, are most obnoxious to it; and the most igno∣rant are the soonest Duped. Add hereto that nothing so much refines and polishes the wit, nor conduces so much to the fashioning, and making it fit and proper for the World, as the reading of good Romances. These are the dumb Tutors, which succeed to those of the Colledge, and which teach to speak and to live by a Me∣thode

more instructive, and much more perswasive then theirs, and of which may be said, what Horace af∣firms of Homers Iliades, that they teach morality more effectually, and much better then the most able Phi∣losophers.

Monsieur d Urfee was the first who retrived them from Barbarity, and brought them to rules, in his incom∣parable Astrea; the most ingenious and most polite work, which ever ap∣peared in this kind, and which has Eclipsed the glory which Greece, Italy, and Spain had acquired. Neverthe∣less he has not discouraged those who come after him to undertake what he had enterprised; and has not so whol∣ly engrossed the publick admiration; but that some yet is left for the many excellent Romances, which have ap∣peared in France since his. None can without astonishment look upon those which a Maid, as illustrious by

her Modesty, as by here merit, has pu∣blished under a borrowed Name, de∣priving her self so generously of that glory which was her due, and notseek∣ing for a reward but in her vertue: as if while she travailed thus for the honour of our Nation, she would spare that shame to our sex. But at the length, time has done her that Justice which she denyed herself, and has informed us that the Illustrious Bassa, Grand Cyrus, and Clalia are the Works of Madam de Scudery; to the end that hereafter the art of making Romances, which might defend it self against scrupulous censours, not only by the commendations which the Patriarch Pholius gives it, but like∣wise by the great examples of those who applyed themselves, thereto, might also justifie it self by hers; and which after having been cultivated by Philosophers, as Apuleus and A∣thengoras, by Roman Pretors, as Si∣senna;

by Consuls as Petronius, by pretendors to the Empire as Clodius Albinus, by Priests as Theodorus Pro∣dromus, by Bishops as Heliodorus and Achilles Tatius, by Popes as Pius Se∣cundus, who writ the Loves of Eurya∣lus and Lucretia, by Saints as John Dam••scenus; it had moreover the ad∣vantage to have been exercised by a wise and vertuous Maid.

For your part, Sir, since 'tis true, as I have demonstrated, and Plutarch assures us, that one of the greatest charms of a mans soul is the tissue of a Fable well invented and well rela∣ted; what success then may not you presume upon from Zayde, where the Adventures are so new and touch∣ing, and the Narration so juste and so polite. I could wish for the con∣cern I have for that great Prince, whom Heaven has plac'd over us; that we had the History of his won∣derful

Reign writ in a style so Noble, and with as much accuratness and discernment. The Vertue which doth conduct his actions is so Heroick, and the Fortune which attends them so surprizing, that Posterity would doubt wheter it were History or Romance.

FINIS.