(1) The Pseudo-Chrestien epic poem, _Guillaume d’Engleterre_.[6] [Footnote 6: _Guill. d’Engleterre_, ed. Fr. Michel, _Chron. Anglo-Norm._, III. 39-172. On the authorship of this poem see C. Hofmann, _Sitzungsberichte der Münch. Akad._, 1870, II. p. 51, and P. Meyer, _Romania_, VIII. p. 815 f.] (2) The two Middle High German poems, _Die gute Frau_,[7] and (3) _Der Graf von Savoyen_.[8] [Footnote 7: _Die gute Frau_, ed. E. Sommer in Haupt’s _Zeitschrift für deutsches Alterthum_, II. 389.] [Footnote 8: _Der Graf v. Savoyen_, ed. F. H. v. d. Hagen, _Minnesinger_, IV. 640, and Eschenburg, _Denkmäler altdeutscher Dichtkunst_, Bremen, 1799.] (4) The romances of _Isumbras_; (5) of _Octavian_; (6) last, _Syr Eglamour of Artois_, and (7) _Sir Torrent of Portugal_. The first five have been treated by Holland in his book, _Chrestien de Troies_, Tübingen, 1854. According to Holland’s opinion, all of these are derived from the legend of Eustache. He has not exactly inquired into each of them, but restricts himself to a detailed account of their contents. A critical inquiry into these poems, except the romance of _Octavian_, has been recently published by J. Steinbach: _Der einfluss des Crestien de Troies auf die altenglische literatur_. Leipzig, 1886, p. 41 ff. As to the French and the two German poems, it may be sufficient to refer to this exhaustive essay, since it is only by the same legendary origin that they are connected with _Sir Torrent_; otherwise they are quite different. But of the English romances of _Sir Isumbras_ and of _Octavian_ it is necessary to treat more minutely. _Isumbras_ was edited first by Utterson in his _Select Pieces of Early Popular Poetry_, London, 1817; secondly by Halliwell in _The Thornton Romances_, from the Lincoln MS. A. i. 17. A critical edition of this poem has long been promised by Prof. Zupitza. In this romance the legend of Eustache can be most clearly recognized. Its contents are, indeed, somewhat transformed according to the taste of the later Middle Ages: the Roman captain is changed into a Christian knight, who performs wonders in fighting against the infidels; he finds his wife as queen of a heathen country; they end their lives as mighty princes, and so on. The legendary style has been supplanted by the romantic diction,[9] but the leading features remain the same. In his above-mentioned essay, pp. 46-48, Steinbach concludes, from a detailed comparison of the contents, that the author of _Isumbras_ did not derive his story from the epic poem, _Guillaume d’Engleterre_, but from an original which bore a still greater resemblance to the legend of Eustache, and, at the same time, contained many of those additions which are to be found in all versions of the legend. Whether this original was composed in Latin, French, or Anglo-Norman, Steinbach does not pretend to determine.