_Voyage de Charlemagne_. In other words, nearly half the total number date from the twelfth century, if not even earlier. [Sidenote: _Thirteenth century._] By far the larger number of the rest are not later than the thirteenth. They include--_Aimeri de Narbonne_, _Aiol_, _Anseis de Carthage_, _Anseis Fils de Gerbert_, _Auberon_, _Berte aus grans Pies_ in its present French form, _Beton et Daurel_, _Beuves de Commarchis_, the _Departement des Enfans Aimeri_, the _Destruction de Rome_, _Doon de Mayence_, _Elie de Saint Gilles_, the _Enfances Doon de Mayence_, the _Enfances Guillaume_, the _Enfances Vivien_, the _Entree en Espagne_, _Fierabras_, _Foulques de Candie_, _Gaydon_, _Garin de Montglane_, _Gaufrey_, _Gerard de Viane_, _Guibert d'Andrenas_, _Jehan de Lanson_, _Maugis d'Aigremont_, the _Mort Aimeri de Narbonne_, _Otinel_, _Parise la Duchesse_, the _Prise de Cordres_, the _Prise de Pampelune_, the _Quatre Fils d'Aymon_, _Renaud de Montauban_ (a variant of the same), _Renier_, the later forms of the _Chanson de Roland_, to which the name of _Roncevaux_ is sometimes given for the sake of distinction, the _Siege de Narbonne_, _Simon de Pouille_, _Vivien l'Amachour de Montbranc_, and _Yon_. [Sidenote: _Fourteenth, and later._] By this the list is almost exhausted. The fourteenth century, though fruitful in _remaniements_, sometimes in mono-rhymed tirades, but often in Alexandrine couplets and other changed shapes, contributes hardly anything original except the very interesting and rather brilliant last branches of the _Chevalier au Cygne_--_Baudouin de Seboure_, and the _Bastart de Bouillon_; _Hugues Capet_, a very lively and readable but slightly vulgar thing, exhibiting an almost undisguised tone of parody; and some fragments known by the names of _Hernaut de Beaulande_, _Renier de Gennes_, &c. As for fifteenth and sixteenth century work, though some pieces of it, especially the very long and unprinted poem of _Lion de Bourges_, are included in the canon, all the _chanson_-production of this time is properly apocryphal, and has little or nothing left of the _chanson_ spirit, and only the shell of the _chanson_ form. [Sidenote: Chansons _in print._] It must further be remembered that, with the exception of a very few in fragmentary condition, all these poems are of great length. Only the later or less genuine, indeed, run to the preposterous extent of twenty, thirty, or (it is said in the case of _Lion de Bourges_) sixty thousand lines. But _Roland_ itself, one of the shortest, has four thousand; _Aliscans_, which is certainly old, eight thousand; the oldest known form of _Huon_, ten thousand. It is probably not excessive to put the average length of the older _chansons_ at six thousand lines; while if the more recent be thrown in, the average of the whole hundred would probably be doubled.