Something, of course, was carried over from the _poetriæ_,[4] oftenest the conventional lore of style. By contrast we are made the more sharply aware of the escape and adventure of individual bent and native inspiration. _Aucassin et Nicolete_ has another appeal by another method. Its style, in spite of occasional conformity, is not in the tradition of the _poetriæ_. Chrétien, though conforming more, draws his psychology rather from observation of social habits and even of individual character than from the classified lore of appropriateness to type. Dante not only commits the most serious enterprise of medieval poetic to the vernacular; he utterly ignores the Latin school lore. At the end of the middle age, the Renaissance already tinging his thought, Chaucer passes through a whole course of Latin conventions, adapting critically as he goes, and ranges beyond. 2. Walter Map and Marie In the twelfth century Walter Map’s Latin notebook _De nugis Curialium_[5] shows both the persistence of old forms and the stirring of new in rendering new material. Some of his stories are clearly oriental. Historical anecdotes and _exempla_, often given in mere lucid summary, occasionally indicate narrative composition.[6] He tries a story in the way of Ovid, or again in the Petronian way of the “Matron of Ephesus.” Two longer tales show not only a firmer conciseness, a sharper vividness, but what is more significant, grasp of narrative movement. The Friendship of Sadius and Galo (III. ii)[7] and Sceva and Ollo (IV. xvi) are enlivened in scene and furthered in plot by dialogue. Both are carried through progressively to an issue. The former skilfully combines the Orestes-Pylades motive of friendship with the Joseph-Zuleika motive of the scorned queen. The latter turns the cynicism of its oriental source to brisk social satire. Here in Latin are narrative experiments full of promise. Looking over Walter’s shoulder, we can divine a new literary stir. More suggestive of response to a new interest of his audience is the abundance of Celtic folklore. There are banshees, wandering dead, a nicker, a pact with a demon. King Herla (I. xi), like Rip Van Winkle, stays too long in fairyland. The fairy mistress appears four times. Once (II. xi) the old tale is hardly more than notes. In Edric the Wild (II. xii) the moonlight dance (_chorea feminarum_) keeps its ancient spell. Meridiana (IV. xi) associates a different and longer version quite disconcertingly with the great Gerbert. Though none of these brings the tale to the sequence of Sadius and Galo, we feel an artist at work. Some of these shorter tales may be Latin summaries, like the _exempla_ of the collections, for telling in French. Whether he worked out his narrative art in the vernacular we do not know. Though some critics have inferred for him a considerable part in the development of the Grail legend, the only surviving work that is certainly his is this artist’s sketch-book.