editions that a final verdict cannot yet be passed. But from the material already available we may infer that, apart from the masterpieces of the twelfth and thirteenth centuries, there is little that bears the mark of superior talent. When the élan of the premature Renaissance had spent itself, the neglect of form and style became increasingly evident. The Normans established in England never again caught the true epic spirit so conspicuous in the Chanson de Roland; although their delight in lives of saints showed no sign of waning, they produced little that can bear comparison with La Vie de Saint Alexis. They were a people intensely practical, caring more for facts and ideas than for beautiful phrases. Their thirst for knowledge was unquenchable, their curiosity knew no bounds, but they had no stomach for pure sentimentality, and lyric poetry is feebly represented. In spite of the personal influence of Queen Eleanor and that of her sons, the songs of the troubadours found little echo in this country. On the other hand scientific works—as science was then understood—were in great demand. It was among the Normans of England that the Physiologus, the mediaeval text-book on natural history, was first translated into the vernacular (Bestiaire of Philippe de Thaun). The earliest French versions of Lapidaries appear also to be the result of their efforts.[1] Almanacs, prophecies, charms, medical recipes, cookery-books were plentifully supplied in prose and verse. Encyclopaedias, running to thousands of lines, were specially written for those unskilled in Latin. They can hardly be reckoned as specimens of literature, but they give us a comprehensive view of the beliefs and superstitions which were current in their days, and of the naïve theories which
- ↑ A final opinion must, however, be deferred until the question has been more fully investigated. In collaboration with Miss Joan Evans I am preparing an edition of all the extant A.-N. Lapidaries.
