ent), the _Charroi de Nimes_, _Les Chetifs_, the
_Chevalerie Ogier de Danemarche_, the _Chevalerie Vivien_ (otherwise
known as _Covenant Vivien_), the major part (also known by separate
titles) of the _Chevalier au Cygne_, _La Conquete de la Petite
Bretagne_ (another form of _Acquin_), the _Couronnement Loys_, _Doon
de la Roche_, _Doon de Nanteuil_, the _Enfances Charlemagne_, the
_Enfances Godefroi_, the _Enfances Roland_, the _Enfances Ogier_,
_Floovant_, _Garin le Loherain_, _Garnier de Nanteuil_, _Giratz de
Rossilho_, _Girbert de Metz_, _Gui de Bourgogne_, _Gui de Nanteuil_,
_Helias_, _Hervis de Metz_, the oldest form of _Huon de Bordeaux_,
_Jerusalem_, _Jourdains de Blaivies_, the Lorraine cycle, including
_Garin_, &c., _Macaire_, _Mainet_, the _Moniage Guillaume_, the
_Moniage Rainoart_, _Orson de Beauvais_, _Rainoart_, _Raoul de
Cambrai_, _Les Saisnes_, the _Siege de Barbastre_, _Syracon_, and the
_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 branche