. Thus he repeats snatches of conversation always in the same, or very nearly the same words. He has a stereotyped form, like Homer, for saying that one person addressed another, “ains traist au visconte de la vile si l’apela” τον δαπαyειβομενος προσεφε . . . Like Homer, and like popular song, he deals in recurrent epithets, and changeless courtesies. To Aucassin the hideous plough-man is “Biax frère,” “fair brother,” just as the treacherous Aegisthus is αμυμων in Homer; these are complimentary terms, with no moral sense in particular. The

    jogleor

   is not more curious than Homer, or than the poets of the old ballads, about giving novel descriptions of his characters. As Homer’s ladies are “fair-tressed,” so Nicolete and Aucassin have, each of them, close yellow curls, eyes of vair (whatever that may mean), and red lips. War cannot be mentioned except as war “where knights do smite and are smitten,” and so forth. The author is absolutely conventional in such matters, according to the convention of his age and profession.

   Nor is his matter more original. He tells a story of thwarted and finally fortunate love, and his hero is “a Christened knight”—like Tamlane,—his heroine a Paynim lady. To be sure, Nicolete was baptized before the tale begins, and it is she who is a captive among Christians, not her lover, as usual, who is a captive among Saracens. The author has reversed the common arrangement, and he appears to have cared little more than his reckless hero, about creeds and differences of faith. He is not much interested in the recognition of Nicolete by her great Paynim kindred, nor indeed in any of the “business” of the narrative, the fighting, the storms and tempests, and the burlesque of the kingdom of Torelore.

   What the nameless author does care for, is his telling of the love-story, the passion of Aucassin and Nicolete. His originality lies in his charming medley of sentiment and humour, of a smiling compassion and sympathy with a touch of mocking mirth. The love of Aucassin and Nicolete—

     “Des grans paines qu’il soufri,”

   that is the one thing serious to him in the whole matter, and that is not so very serious.

    {2}

   The story-teller is no Mimnermus, Love and Youth are the best things he knew,—“deport du viel caitif,”—and now he has “come to forty years,” and now they are with him no longer. But he does not lament like Mimnermus, like Alcman, 

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