This work marks the transition from the story to the didactic poem, of which latter class the ‘Essenhamen de la Donzela,’ or ‘Advice to a Young Lady,’ by Amanieu des Escas, is the most celebrated specimen. The teaching of good manners is not a very lively task, and it must be admitted that the Troubadours have at least shown considerable ingenuity in hiding the pedantry of their rules and prescripts under a whole flower-bed of pretty allegorical devices. Of Amanieu des Escas we shall hear again. It need hardly be added that these codifications of good manners, just like the grammatical and metrical treatises of which Provençal literature can show a respectable number, belong to a comparatively late period, when courtesy and refined speech began to fade from the living intercourse of men. The next section of narrative poetry to which brief reference must be made differs widely from the works hitherto mentioned. It is the historic epic or rhymed chronicle, two specimens of which, important alike from the literary and the historic point of view, are extant. The first gives an account of a war waged in the kingdom of Navarre between 1276-77. It has been edited from the only existing manuscript, with excellent notes, by M. Francisque Michel in 1856. A Spanish edition was published seven years previously at Pampeluna. The author is one Guillem Auclier, of Toulouse in Languedoc, as stated at the beginning of the poem. He was himself an active partisan in the war, and gives a lively description of the events he witnessed. Frequent episodes relating to contemporary events, such as the expedition of St. Louis against Tunis, furnish details of great historic interest. The literary character of the poem, however, does not essentially differ from similar mediæval productions, and a detailed analysis may therefore be dispensed with. Metrically it is interesting as an early specimen of the Alexandrine or dodecasyllabic verse, which appears here in so-called ‘tirades monorimes’ of fifty lines, a shorter verse at the end of each tirade serving to connect it with the following strophe. At other times this shorter line is literally repeated at the commencement of the next tirade—an interesting peculiarity, characteristic of Provençal poems of this class, which betrays strong feeling for metrical continuity. It is, however, not improbable that the musical accompaniment to which these poems were chanted made a repetition of the final cadence desirable. A not uninteresting literary controversy has been raised as to the identity of the author of the present poem with a troubadour of the same name and birthplace of whom we possess four political songs of considerable power. Millot doubts this identity on account of a passage in one of the songs which speaks of a young Englishman desirous to regain all that the valiant Richard had possessed in France. Millot, who knew little Provençal, misunderstands the passage in the sense of Richard being