Position of Germany. Merit of its poetry. Folk-epics: The Nibelungenlied. The Volsunga saga. The German version. Metres. Rhyme and language. Kudrun. Shorter national epics. Literary poetry. Its four chief masters. Excellence, both natural and acquired, of German verse. Originality of its adaptation. The Pioneers: Heinrich von Veldeke. Gottfried of Strasburg. Hartmann von Aue. Erec der Wanderære and Iwein. Lyrics. The "booklets." Der Arme Heinrich. Wolfram von Eschenbach. Titurel. Willehalm. Parzival. Walther von der Vogelweide. Personality of the poets. The Minnesingers generally[225]

[CHAPTER VII.]

THE 'FOX,' THE 'ROSE,' AND THE MINOR CONTRIBUTIONS OF FRANCE.

The predominance of France. The rise of Allegory. Lyric. The Romance and the Pastourelle. The Fabliaux. Their origin. Their licence. Their wit. Definition and subjects. Effect of the fabliaux on language. And on narrative. Conditions of fabliau-writing. The appearance of irony. Fables proper. Reynard the Fox. Order of texts. Place of origin. The French form. Its complications. Unity of spirit. The Rise of Allegory. The satire of Renart. The Fox himself. His circle. The burial of Renart. The Romance of the Rose. William of Lorris and Jean de Meung. The first part. Its capital value. The rose-garden. "Danger." "Reason." "Shame" and "Scandal." The later poem. "False-Seeming." Contrast of the parts. Value of both, and charm of the first. Marie de France and Rutebœuf. Drama. Adam de la Halle. Robin et Marion. The Jeu de la Feuillie. Comparison of them. Early French prose. Laws and sermons. Villehardouin. William of Tyre. Joinville. Fiction. Aucassin et Nicolette[265]

[CHAPTER VIII.]

ICELANDIC AND PROVENÇAL.

Resemblances. Contrasts. Icelandic literature of this time mainly prose. Difficulties with it. The Saga. Its insularity of manner. Of scenery and character. Fact and fiction in the sagas. Classes and authorship of them. The five greater sagas. Njala. Laxdæla. Eyrbyggja. Egla. Grettla. Its critics. Merits of it. The parting of Asdis and her sons. Great passages of the sagas. Style. Provençal mainly lyric. Origin of this lyric. Forms. Many men, one mind. Example of rhyme-schemes. Provençal poetry not great. But extraordinarily pedagogic. Though not directly on English. Some troubadours. Criticism of Provençal[333]

[CHAPTER IX.]

THE LITERATURE OF THE PENINSULAS.

Limitations of this chapter. Late Greek romance. Its difficulties as a subject. Anna Comnena, &c. Hysminias and Hysmine. Its style. Its story. Its handling. Its "decadence." Lateness of Italian. The "Saracen" theory. The "folk-song" theory. Ciullo d'Alcamo. Heavy debt to France. Yet form and spirit both original. Love-lyric in different European countries. Position of Spanish. Catalan-Provençal. Galician-Portuguese. Castilian. Ballads? The Poema del Cid. A Spanish chanson de geste. In scheme and spirit. Difficulties of its prosody. Ballad-metre theory. Irregularity of line. Other poems. Apollonius and Mary of Egypt. Berceo. Alfonso el Sabio[375]