Each member of such a troupe has his specialty, and some of the feats are wonderful. There is usually a slim girl who can perform a "Herodias's daughter's dance" so magnificently that everybody can understand how the Palestinian princess took in the gullible king by her acrobatic feats. She can even dance on her hands and kick her feet in the air, to the great delight of all but the more sanctimonious guests. Vainly did the holy St. Bernard inveigh against the seigneurs who receive such troupes in their castles: "A man fond of jongleurs will soon possess a wife named Poverty. The tricks of jongleurs can never please God." Certain it is that at the wedding the bishop and his priests, after a few _pro forma_ coughings, seem laughing as loudly as do the barons at all the tricks of Conon's entertainers. [Illustration: DANCER OF THE TWELFTH CENTURY Restored by Viollet-Le-Duc (Musée de Toulouse).] A great feast demands enough jongleurs to entertain many different circles. While one bold fellow is keeping the villeins roaring by the antics of his tame bear, while three others (including a woman) are dancing grossly upon a platform before other gaping hundreds, a superior member of their mystery is attracting again many noble guests to the banqueting tent. He is no common performer. Messire sent all the way to Chalons for him, promising ample reward. Maître Edmond boasts that he is a Christian--meaning he takes his profession as a kind of lay priesthood. He is on friendly terms with great prelates. He never recites the scurrilous little _fabliaux_ assailing the clergy. He knows by heart, however, nearly all the great epics and romances. His rich bliaut of green silk sets forth his impressive figure. His gestures are eloquent. He can work upon the imaginations of his audience and move it to tears, acclamations, or wild excitement. In a later age he would, in short, be a great actor or an equally great "reader"--causing all the parts of a drama to speak through one person. Maître Edmond has consulted Conon as to what romance or epic would please the best. There is a great collection of stories of heroes, usually in a kind of sing-song verse, and claiming very largely to have a Breton origin. One whole category revolves around the doings of Charlemagne and his peers; another deals with King Artus (Arthur) of Brittany (really Britain) and his Knights of the Round Table; still another cycle tells of the Trojan War, and Sire Hector, Sire Achilles, and Sire Ulysses, making the ancient Ilium into a North French castle besieged by decidedly feudal methods; while others rehearse the mighty deeds of Alexander. In all there are at least forty well-recognized epic _chansons de geste_ (songs of mighty deeds), most of them six thousand to eight thousand lines in length, besides many shorter romances. Maître Edmond knows a surprising number of them all. These bald figures give some idea of the richness of this type of feudal literature.