§ 1. _Setting of the Story_, p. vii. § 2. _Versions_, p. viii. § 3. _Elements of the Story_, p. xvi. § 4. _Topography_, p. xvii. § 5. _Style_, p. xx. § 6. _Versification_, p. xxi. § 7. _Dialect_, p. xxiv. § 8. _Manuscripts_, p. xxviii.
By the beginning of the 13th century, when literature in the English tongue began to show some signs of revival, the earlier English epic tales seem to have been almost entirely obliterated from memory. A solitary survival seems to have been the story of the dragon-killing Wade with his famous boat Guingelot; but even this story is lost to us save for occasional references,[I-1] and from these we must infer that all definite idea of its origin was lost, since Wade is associated, now with Weyland, now with Horn and Havelok, now with Lancelot. The place of these earlier epic tales was filled in Middle English times by a new set of tales for the most part no longer of purely native, popular origin. Tales were imported from every conceivable quarter, though usually by way of France, and even in the popular romances of Guy of Warwick and Bevis of Hampton, which are supposed to contain a kernel of genuine English tradition, the original story is almost unrecognizable amid the embellishments added. Similarly in the stories of Waldef and Hereward the historical facts are almost lost amid this mass of added foreign matter, and in the late romance of Richard Cœur de Lion we have to do, not with the historical Richard, but with a conventionalized hero of mediæval romance.
Standing apart from these largely conventionalized tales are the stories of Havelok and King Horn. These are supposed to have been among the first products of the second growth of English story. They seem to preserve, more than the other, later romances, their primitive traits, and are hence usually classed as English, or Germanic, in origin.
[Footnote I-1: Cf. Skeat’s Chaucer. Note to Marchaundes Tale 1424, and Tr. and C. iii, 614.]
The story of Horn is known in several different versions. Of these the one printed in the present volume is the oldest and in many respects the most archaic. The story, which it will be unnecessary to summarize here, is told in a simple, direct style with a noticeable lack of unnecessary description inserted for embellishment. The explanation of the peculiar features of this version is no doubt to be found in the purpose for which this version was used. It was probably intended to be sung, as one would infer from the opening lines, and perhaps is such a song, or ballad, as the one which, as the French version informs us (R. H. 2776 ff. cf. p. xiv. below), Horn sang about his love Rigmenil. The manner of the narrative is determined by the song character of the poem. There is more detail than in a modern song, at the same time less detail than in a modern story. Events are sometimes simply referred to as though already known instead of being fully described. The bravery of Murry, Horn’s father, is alluded to in such a manner as to lead one to expect to hear more about his feats of prowess. No motive is given for the journey to Ireland. We are conducted from place to place with Horn, from Aylmer’s court in Westernesse to that of Thurston, or from Horn’s wedding feast at Aylmer’s court to the annihilation of the Saracen invaders of Suddenne, almost in a breath. In this way sometimes incidents are thrown absurdly out of perspective. For instance, when Horn wishes to ‘prove his knighthood’ (v. 588), while the others are at table, he sets out on his ‘fole,’ and at the seashore finds a shipload of _heþene honde_. He slays about a hundred of them. _At eureche dunte þe heued of wente._ He fixes the leader’s head on the point of his sword and thus returns to the hall. All this, which forms the matter for about four hundred twelve-syllabled lines in the more prolix French version, is here related in an off-hand manner, in about forty short lines. The pitched battle of the French version becomes here a mere after-dinner recreation. It would be possible to multiply instances (cf. pp. x-xii) showing the abridged character of the present version.