borrowed from the Italian and French tonges, but its individual origin is not pointed out. It is so far left in doubt, whether the German author copied from the Dutch publication at Delft, where the sole remaining copy is still preserved, or whether both were translated or imitated from the French and Italian, or some more hidden materials, of which the MSS. have now perished.
At all events, the Lubec edition of 1498 is a work so superior in point of power and skill, as well as in its comic incidents and delineations, as to confer upon it the style and character of an original composition. Its allegorical scenes are well supported; exhibiting under a picture of the court of beasts, the various intrigues and interests of a human court, where every thing is thrown into confusion, and the most dangerous plans are adopted, at the instigation of a wily favourite. By such means the Lion risks the loss of his dominions, while Reynard (who is supposed by some to represent the duke of Lorraine), and some other personages, doubtless imitated from real life, carry their obnoxious measures. There is an old English translation, published by Caxton, which was executed, it is said, from the Flemish version or original.
Göthe’s version is an imitation of the work of Alkmar, from the Lower Saxon, composed in hexameter verse, and in modern phraseology.
From the number of editions enumerated by the
