and accomplished knight he was before the fell disease attacked him. In the midst of their joustings and feastings the manuscript breaks off, evidently not long before the end of the poem. Such is the story of Flamenca. Its moral tone is not very high, although certainly not worse than that of the typical French novel. But few modern novelists would successfully compete with the natural grace and perfect workmanship of the mediæval poet. The plot, although simple, is well constructed, and the story developes itself rapidly and consistently. The characters also are drawn with consummate skill. They are both types and individuals, one of the chief criteria of high art-creation. It is true that the effects of jealousy on Archimbaut are exaggerated to the verge of caricature: the poet here bowed to the prejudice of his age. At the same time the minutest symptoms of the disease are laid bare with an astounding acuteness of psychological diagnosis. But, more than all, there is true passion in the work in spite of occasional concessions to the allegorical and hyperbolical tendencies of romantic feeling. And the whole is transfused with the splendour of southern sunshine, the joy and life and love of beautiful Provence. CHAPTER IV. OTHER NARRATIVE AND DIDACTIC POEMS. ‘Flamenca’ is unequalled in mediæval literature for natural eloquence of diction and psychological subtlety; in the _langue d’oc_, more especially, there is nothing worthy of being mentioned by the side of it. We possess, however, some shorter stories well invented and gracefully told, as for instance an amusing novelette in verse by Raimon Vidal of Besaudun, the tendency of which may be easily guessed by its title ‘Castia-Gilos,’ or ‘Jealousy Punished.’ Another quaint story, the ‘Lay of the Parrot,’ by Arnaut de Carcasse, also deserves mention. A poem called by its anonymous author a ‘roman’ would answer better to our term ‘allegory.’ It contains an elaborate description of the abode of Love, at whose court Joy, Comfort, Hope, Courtesy, and other symbolical personages, collectively described as the ‘Barons of Love,’ make their appearance. A hundred beautiful damsels, each with her lover, enliven the scene, and to this gay parliament the god holds forth in a long speech full of wholesome information and counsel in accordance with the most approved code of Provençal gallantry.