Of the remaining Chansons, the following are the most remarkable. _Aliscans_ (twelfth century) deals with the contest between William of Orange, the great Christian hero of the south of France, and the Saracens. This poem forms, according to custom, the centre of a whole group of Chansons dealing with the earlier and later adventures of the hero, his ancestors, and descendants. Such are _Le Couronnement Loys_, _La Prise d'Orange_, _Le Charroi de Nimes_, _Le Moniage Guillaume_. The series formed by these and others[22] is among the most interesting of these groups. _Le Chevalier au Cygne_ is a title applied directly to a somewhat late version of an old folk-tale, and more generally to a series of poems connected with the House of Bouillon and the Crusades. The members of this bear the separate headings _Antioche_[23], _Les Chetifs_, _Les Enfances Godefroy_, etc. _Antioche_, the first of these, which describes the exploits of the Christian host, first in attacking and then in defending that city, is one of the finest of the Chansons, and is probably in its original form not much later than the events it describes, being written by an eye-witness. The variety of its personages, the vivid picture of the alternations of fortune, the vigour of the verse, are all remarkable. This group is terminated by _Baudouin de Sebourc_[24], a very late but very important Chanson, which falls in with the poetry of the fourteenth century, and the _Bastart de Bouillon_[25]. _La Chevalerie Ogier de Danemarche_[26] is the oldest form in which the adventures of one of the most popular and romantic of Charlemagne's heroes are related. _Fierabras_ had also a very wide popularity, and contains some of the liveliest pictures of manners to be found in these poems, in its description of the rough horse-play of the knights and the unfilial behaviour of the converted Saracen princess. This poem is also of much interest philologically[27]. _Garin le Loherain_[28] is the centre of a remarkable group dealing not directly with Charlemagne, but with the provincial disputes and feuds of the nobility of Lorraine. _Raoul de Cambrai_[29] is another of the Chansons which deal with 'minor houses,' as they are called, in contradistinction to the main Carlovingian cycle. _Gerard de Roussillon_[30] ranks as a poem with the best of all the Chansons. _Hugues Capet_[31], though very late, is attractive by reason of the glimpses it gives us of a new spirit supplanting that of chivalry proper. In it the heroic distinctly gives place to the burlesque. _Macaire_[32], besides being written in a singular dialect, in which French is mingled with Italian, supplies the original of the well-known dog of Montargis. _Huon de Bordeaux_[33], already mentioned, was not only more than usually popular at the time of its appearance, but has supplied Shakespeare with some of the dramatis personae of _A Midsummer Night's Dream_, and Wieland and Weber with the plot of a well-known poem and opera.