constellation of brilliant writers arose in Italy. Of these, Pulci
(born in 1432), Boiardo (1434), and Ariosto (1474) took for their
subjects the romantic fables which had for many ages been
transmitted in the lays of bards and the legends of monkish
chroniclers. These fables they arranged in order, adorned with the
embellishments of fancy, amplified from their own invention, and
stamped with immortality. It may safely be asserted that as long
as civilization shall endure these productions will retain their
place among the most cherished creations of human genius.

   In "Stories of Gods and Heroes," "King Arthur and His Knights" and
"The Mabinogeon" the aim has been to supply to the modern reader
such knowledge of the fables of classical and mediaeval literature
as is needed to render intelligible the allusions which occur in
reading and conversation. The "Legends of Charlemagne" is intended
to carry out the same design. Like the earlier portions of the
work, it aspires to a higher character than that of a piece of
mere amusement. It claims to be useful, in acquainting its readers
with the subjects of the productions of the great poets of Italy.
Some knowledge of these is expected of every well-educated young
person.

   In reading these romances, we cannot fail to observe how the
primitive inventions have been used, again and again, by
successive generations of fabulists. The Siren of Ulysses is the
prototype of the Siren of Orlando, and the character of Circe
reappears in Alcina. The fountains of Love and Hatred may be
traced to the story of Cupid and Psyche; and similar effects
produced by a magic draught appear in the tale of Tristram and
Isoude, and, substituting a flower for the draught, in
Shakspeare's "Midsummer Night's Dream." There are many other
instances of the same kind which the reader will recognize without
our assistance.

   The sources whence we derive these stories are, first, the Italian
poets named above; next, the "Romans de Chevalerie" of the Comte
de Tressan; lastly, certain German collections of popular tales.
Some chapters have been borrowed from Leigh Hunt's Translations
from the Italian Poets. It seemed unnecessary to do over again
what he had already done so well; yet, on the other hand, those

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