The same happy end, simultaneous death, rewards the hero and heroine of "Guy of Warwick". The hero's unexplained forgetfulness of his lady, Felice, is borrowed from the ancient popular tale in Scots, "The Black Bull of Noroway," where the forgetfulness is explained. Many stock incidents of the romances come from popular tales ("Märchen") of unknown antiquity. Felice is a very learned and rather hard-hearted maiden, and Guy, when in love, faints frequently. The romance contains every kind of adventure with dragons, lions, and human foes, and as much religion as devout damsels could desire, or even more, for Guy, in a devout mood, deserts the learned Felice for a life of chastity and military adventure. As usual he returns in the guise of a palmer. Arthur and Merlin. The "Arthour and Merlin," a rhymed romance of the old story, from the Auchinleck manuscript, about 1320, has not the gleams of true poetry that shine in Layamon's "Brut," and is verbose and incomplete--the tragedy of Arthur is absent. We find, however, the story of how Arthur won the sword Excalibur, thereby proving himself a true prince, for no other man could pluck it from the stone into which it was driven. King Lot (Llew, a historical personage apparently), could not draw forth Excalibur. Sir Kay, one of Arthur's companions in the oldest Welsh tales, appears, with Sir Gawain, whose character, as in the Welsh romances, is far above that which he displays in the "Idylls of the King"; Merlin continually exercises the art of glamour, appearing in various forms, and Arthur loves Guinevere, but the poet wearied of his toil long before the last battle in the west. He professes that, as many gentlemen know not French, and as Right is that Inglische understand That was born in Inglond. he sings in English of the glory of England, Arthur. The final English-form of the great Arthurian tale may best be considered when we arrive at the date of Sir Thomas Malory and Caxton. In Malory's "Morte Arthur" the long dull wars of the king against the Anglo-Saxon invaders are much compressed, while the epic, tragic, and mystic elements, the great character of Lancelot, the mournful victory of the winning of the Grail, and the end of all, are handled with genius. The Tale of Troy. The story of Troy had a hold on the mediaeval mind only less strong than the story of Arthur. In early English, at the end of the fourteenth century, we find the romance in _the revived Anglo-Saxon alliterative form_; it is the "Geste Hystoriale" concerning the Destruction of Troy, and the story is told once more in the rhyming couplets of the "Troy Book". The manuscript of the "Troy Book" is marked "Liber Guilielmi Laud, Archiepiscopi Cantuar et Cancellarii Universitatis Oxon 1633". (The book of William Laud, Archbishop of Canterbury and Chancellor of the University of Oxford.)