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 A COMPARATIVE STUDY 
 
 OF THE POEM 
 
 GUILLAUME D'ANGLETERRE 
 
 WITH A 
 
 DIALECTIC TREATMENT OF THE MANUSCRIPTS 
 
 A DISSERTATION 
 
 PRESENTED TO THE BOARD OF UNIVERSITY STUDIES OF 
 
 THE JOHNS HOPKINS UNIVERSITY FOR THE 
 
 DEGREE OF DOCTOR OF PHILOSOPHY 
 
 ^ 
 
 BY 
 
 PHILIP OGDEN 
 
 Excerpts from the above, Printed in Accordance with the 
 Regulations of the University. 
 
 BALTIMORE 
 JOHN MURPHY COMPANY 
 
 1900 
 
A COMPARATIVE STUDY 
 
 OF TilK POEM 
 
 GUILLAUME D'ANGLETERRH 
 
 WITH A 
 
 DIALECTIC TREATMENT OF THE MANUSCRIPTS 
 
 A DISSERTATION 
 
 PRESENTED TO THE BOARD OF UNIVERSITY STUDIES OF 
 
 THE JOHNS HOPKINS UNIVERSITY FOR THE 
 
 DEGREE OF DOCTOR OF PHILOSOPHY 
 
 BY 
 
 PHILIP OGDEN 
 
 Excerpts from the above, Printed in Accordance with the 
 Regulations of the University. 
 
 BALTIMORE 
 
 JOHN MURPHY COMPANY 
 
 1900 
 

 CONTENTS. 
 
 Page. 
 
 Preface, v 
 
 Introduction, 1 
 
 Chapter III. Discussion of the Relation which the Various Forms of 
 
 the Legend Bear to One Another, - - - - 7 
 
 Skeleton Showing a Theoretical Order of Derivation, - 22 
 
 Application of the Scheme, ------ 23 
 
 Table of Entire Contents, 29 
 
 Life, -----33 
 
 254818 
 
A COMPARATIVE STUDY OF THE POEM 
 GUILLAUME D'ANGLETERRE. 
 
 PREFACE. 
 
 In Romania, VIII, p. 315, Professor Paul Meyer expressed 
 the hope that some one would compare the version of the poem 
 of GuUlaume d'Angleterre kept in the Biblioth6que Xationale with 
 that which he had discovered in the St. John's College Library, 
 Cambridge, and publish a reconstructed text. The ultimate design 
 would be to decide, if possible, upon the actual author of this 
 poem. With this object in view, I obtained a copy of the Paris 
 manuscript without difficulty, and of the Cambridge manuscript 
 through the kindness of Miss Lucy Toulmin Smith. In the 
 summer of 1896, I went to Cambridge and thence to Paris, where 
 I collated in turn the manuscript copies which I had with the 
 originals, and availed myself of the large collections of books 
 to be found in the foreign libraries. In the Bibliotheque de 
 r Arsenal, at Paris, I found another manuscript of the poem on 
 which I was working (which proved, however, to be a copy of the 
 original existing in the Bibliotheque Nationale), made for L. de 
 St. Palaye, and annotated in his handwriting. 
 
 After having pursued my work for several mouths, I learned 
 through the preface to the edition of Erec and Enide, which 
 Professor Foerster published in 1896, that the well-known editor 
 of Chrestien de Troyes had the poem GuUlaume d' Angleterre 
 practically reconstructed, and was holding it back in order to 
 publish the work at the close of his edition of the longer poems 
 of the Champagne author, whom he regarded as the undoubted 
 source of the GuUlaume. 
 
 V 
 
vi The Poem Guillaume (T Angleterre. 
 
 I thereupon turned my attention to a comparative study of the 
 episodes of the poem and to a dialectic investigation of the two 
 manuscripts. Work had been done already on portions of this 
 field, in passing reference, but it had never been treated as a 
 whole. Dr. W. L. Holland, in his monograph on Chrfetien de 
 Troyes, had mentioned certain German and English analogues, 
 and D'Ancona, in his discussion of OltineUo e Giulia, had made 
 the same references, with an additional version cited. 
 
 The story of St. Eustathius has been fully discussed by H. 
 Knust in his book entitled Dos Obras didadicas, y das Leyendas, 
 so that I speak of this legend and its various forms briefly. 
 Where the analogue to which I would draw attention has been in 
 verse, I have given a digest ; but where the original has been in 
 prose, I have given the original as far as possible, except where 
 this would prove prolix. 
 
 I have tried to verify all references a second time, and believe 
 that the citations may be relied on. 
 
 I have arranged the first division of my work, comprising the 
 analogues and derivatives of the Guillaume legend, as follows : 
 The stories are divided into two large divisions, constituting an 
 Eastern set and a Western set. These are then subdivided : first, 
 according to locality and then according to language; for instance, 
 the Romance languages would form one group, subdivided farther 
 on the basis of language. In my discussion, I first give a brief 
 outline of the story ; then a tabulation of the motifs of the same ; 
 then I draw attention to the resemblances or differences existing 
 between the story under consideration and the others of the same 
 class, or of another group ; finally, 1 add the references. The 
 bibliography may seem scanty in places, but it is unavoidable in 
 such a case, as nothing has been published yet to be recorded. At 
 the close of each group I add a table of motifs for all stories in 
 that subdivision, and at the close of the entire treatment I append 
 a table of the entire material gathered. Then, in a short r6sum6, 
 I strive to trace the develo})ment of the original from Indian 
 sources, and add a tree giving graphically the derivation which I 
 believe to be probable. 
 
 The second division of my work first treats briefly the study of 
 the poem Guillaume d'Angleten'e which has been previously made. 
 
The Poem Guillaume d* Anglderre, vii 
 
 discussing rapidly a thesis published on the subject by Mr. Rudolf 
 
 Miiller. After dismissing this, I study the Paris manuscript 
 
 linguistically, with the intention of deciding its position in the 
 
 dialectic field. After this, I consider the Cambridge manuscript 
 
 in the same manner. The question of the original language of 
 
 the poem is treated finally under "Common Forms," where I 
 
 endeavor to decide certain points in regard to the proper reading, 
 
 and consequently gather some information about the author of 
 
 the poem. 
 
 P. O. 
 
INTRODUCTION. 
 
 The legend which forms the basis of the mediaeval poem entitled 
 Le DH de Guillaume, Roi iVAngleierre, was first treated by Dr. 
 Holland in a small monograph/ which considers the different 
 versions of the story that forms the backgronnd of this romance, 
 as it appears in various languages. Some years later (in 1878), 
 Dr. Herman Knust published the Spanish renderings of the 
 poem, with an elaborate introduction.^ This edition was carefully 
 reviewed and highly commended by Dr. Kohler,^ and noticed at 
 length, as well, in the Liferarisches Centralblatt* Since this time 
 the poem has been the subject of incidental reference in connection 
 with similar compositions, as La Storia di OttineUo e Giulia,^ 
 Torrent of Portyngale,^ for which, it would seem, the material 
 had been based on the same original as that of Guillaume 
 d'Angleten-e, but the legend itself has not been discussed, nor 
 considered in all its bearings. 
 
 The matter of the text, and the identity of the author, on the 
 other hand, have frequently given rise to comment and difference 
 of opinion. Konrad Hofman was the first to question the authen- 
 ticity of the work, believing that it could not be the composition 
 of Chrestien de Troyes. He based his conclusions on the style and 
 literary tone of the work.'^ In 1874, Paul Meyer called attention 
 to a manuscript of the poem, which he had discovered in the 
 library of St. John's College, Cambridge, England.^ Some years 
 after this he says in regard to his discovery :' 
 
 ^ Holland, W. L. — Creslien von Troyes, pp. 64-77. Tubingen, 1854. 
 
 * Knust, Herman. — Dos Obras Didaclicas y dos Leyendas sacadas de Manuscrilos 
 de la Biblioteca del Escorial, pp. 158-406. Madrid, 1878. 
 
 ' Zeitschrift fur Romanische Philologie, III, pp. 272-277. Halle, 1878. 
 
 * Literarisches Centralblalt, No. 47, Column 1543. Leipzig, 1873. 
 
 * lyAncona, A. — Poemetti Popolari Ilaliani, pp. 393-452. Bologna, 1889, 
 *Adam, E. — Torrent of Porlyngale. London, 1887. 
 
 '' Sitzungsberichlen der Miinchener Akademie, II, p. 51. 1870. 
 ^Romania, III, p. 507. Paris, 1874. 
 9 Romania, VIII, p. 315. Paris, 1879. 
 
 1 
 
2 The Poem Guillaume d' Angleterre. 
 
 " Une nouvelle edition de la vie de Saint Guillaume serait tres 
 desirable, non seulment parce que le MS. que je fais connaitre 
 permet d'ameliorer considerableraeut le texte public, mais encore 
 parce que I'ouvrage lui-meme, dont la source n'a pas ete deter- 
 min^e jusqu' ici, et I'auteur ordinaireinent confondu, mais bien a 
 tort, avec Chretien de Troyes, appellent de nouvelles recherches." 
 
 In 1881, R. Gr5sse, in a study of the figures of speech in 
 Chrestien de Troyes, speaks as follows :^ 
 
 "Ein bisher Crestien zugeschriebenes Werk: Guillaume d'Ang- 
 hterre ist unberiicksichtigt gelassen, weil ich die Ueberzeugung 
 gewonnen habe dass dasselbe nicht von Crestien herriihrt. Der 
 urspriinglichen Absicht, in einem dritten Theil dieser Arbeit die 
 angeregte Frage zu beriihren, konnte hier nicht Raum gegeben 
 werdeu, doch soil dieselbe in einer bald folgonden besouderen 
 Monographie eine nahe Beleuchtung finden." 
 
 Professor Wendelin Foerster expresses himself at some length 
 on the question in the introduction to his edition of Cliges, from 
 which I make an extract : ^ 
 
 "Hierbei ist absichtlich das Wilhelmleben ausser Acht gelassen 
 worden, nicht etwa deshalb, weil dasselbe dem Dichter des Cliges 
 sicher abgesprochen werden miisste. Allein die ganze Frage 
 bedarf einer eingehenden Untersuchung, die bis jetzt von Keinem 
 derjenigeu, welche die Autorschaft Christians kurzer Hand zuriick- 
 gewiesen haben, angestellt worden ist, und die ich in der Einleitung 
 dieses Schlussbandes meiner Christianausgabe geben werde. Hier 
 sei nur im vornhinein bemerkt, dass der Einwand, welcher auf die 
 Verschiedenheit des Stoffes, und der Darstellung gebaut ist, nicht 
 entscheidend sein kann: erstere erkliirt eine raogliche Weise spjiter 
 eingetretene Gesinnung.«iinderung des Dichters, die zweite ist die 
 blosse Folge der ersteren : so dass ein Argument dieser Art iiber- 
 haupt nur von sekundarem Werthe sein konnte, als Stiitzte eines 
 anderen positiven Arguments, wie denn ein solches die Verschie- 
 denheit der Sprache, durch eine Untersuchung der Reime sicher 
 gestellt, u. ii. wiire." 
 
 'Griisse, R. — Der Stil Chrestiens von Troies; in Fi-anziisische Sludien, I, pp. 
 127-261. Heilbronn, 1881. 
 * FoerBter, VV. — Christian von Troyes, Cliges, Einleitung, y. i. Ilnlle, 1884. 
 
The Poem Guiflaume (VAngletenr. 3 
 
 In the shorter abridged edition of the Clifjes,^ Dr. Foerstcr adds 
 the promise that one of liis pupils, Rudolf Muller, a student at 
 Bonn, will j)ui)lish, ere lon<2;, the results of his researehes on the 
 suhject. The material appeared three years later as a dissertation, 
 with suggestions, emendations and comments throughout from Dr. 
 Foerster.^ The deductions that the author drew from the proofs 
 presented would seem, at first sight, to point to Chrestien de Troyes 
 as tiie undoubted source of Guillaume cV Angleterre. This thesis 
 I will consider below in its proper sequence. 
 
 Paul Meyer, in his review of Cliges,^ notices that Professor 
 Foei'ster, contrary to the opinion expressed by other distinguished 
 scholars, believes that Guillaume d' Angleterre was written by 
 Ciirestien de Troyes. M. Meyer continues : 
 
 " II faut attendre pour discuter cette ojnuion qui, je dois le dire, 
 me parait peu vraisemblable, I'expositiou qu'il en donnera dans le 
 volume oil il publiera le Guillaume.'^ 
 
 Some years later M. Meyer mentions also the appearance of the 
 monograph by Rudolf Muller : * 
 
 "Ce travail d'un eleve de M. Foerster, aboutit, comme le faisait 
 pr^voir ce que le maitre avait ecrit sur ce sujet, a presenter 
 comme indubitable I'identite du Chrestien, auteur de Guillaume 
 d^ Angleterre J et de Chrestien de Troies. La demonstration s'etend a 
 la phon^tique, a la rime et au style: Elle doit etre completee par 
 une etude du voeabulaire, et de la phraseologie proprement dite. 
 Toute-fois avant d'en regarder le resultat comme acquis, il con- 
 vient d'attendre un examen contradictoire." 
 
 The bare text of the poem, taken from two of the French 
 manuscripts,^'* has been published by Francisque Michel, with no 
 attempt at emendations.^ These two versions were reprinted a few 
 
 * Foerster, Wendelin. — Christian von Troyes, Cliges, Einleitung, p. viii. Halle, 
 1889. 
 
 ' Miiller, Rudolf. — Unlersuehung iiber den Verfasser des allframosischen Dichtung, 
 Wilhelm von England. Bonn, 1891. 
 '^Romania, XIII, p. 441, note 1; and p. 442. Paris, 1884. 
 
 * Romania, XXI, p. 139. Paris, 1892. 
 
 * Bibliotheciue Nationale, Fond Franyais, Manuscript 375. Paris. 
 ^Bibliotheque Nationale, Fond Franyais, Manuscript 24,432. Paris. 
 'Michel, Francisque. — Chroniques Anglo-Normandes, III, pp. 39-172. Rouen, 
 
 1840. 
 
4 The Poem Guillaume d' Angleterre. 
 
 years later by a London editor/ The present monograph will 
 consider the question of this poem, Guillaume cV Angleterre, under 
 two heads. The first will deal with the legend on which the 
 romance is based, its development, and the different forms that 
 the fable assumes; the second will bear on the author of the 
 work. The material is drawn from the three French manuscripts, 
 of which two are to be found in the Bibliotheque Nationale,^' ^ and 
 the third in Cambridge, England,^ and from the Spanish version 
 found in the unique edition of Dr. Knust.^ 
 
 Chapter I. 
 
 WESTERN VERSIONS. 
 Group I. 
 
 A. FRENCH VERSIONS. 
 
 I. Guillaume d^ Angleterre. 
 
 a). Digest of the poem.^ 
 
 There was once a king of England whose name was William, a 
 most noble and pious man. He never tired of doing good, and 
 his subjects revered him greatly. His wife, Gratiana, vied with 
 her husband in charitable deeds, and was universally beloved. 
 The royal pair had one great grief, however ; they had no chil- 
 dren. But this misfortune finally seemed about to be remedied, as 
 one day the queen informed her Lord that she was with child. 
 The king redoubled his care of her health, and forbade her going 
 to early Mass, which it iiad been their habit to attend together. 
 One morning, the king was awakened by a bright light and a clap 
 of thunder, while a voice commanded him to arise and leave his 
 
 'Giles, I. A. — Scriplores Rerum Geslarum Willelmi Conquesioris, jip. 179-297. 
 London, 1845. 
 
 * Bibliotheque Nationale, Fond Franpais, Manuscript 375. Paris. 
 
 ■'Bibliotheque Nationale, Fond Franyais, Manuscript 24,432. Paris. 
 
 ^ St. John's College Library, CanibridKe, England. 
 
 *Kiuist, Herman. — Dos Obran Didaclicas y dos Leyendas sdcudus de ^f(lnmc1•itoa 
 de la Bihiiolecd del Eacorud. Dalas a Luz La Socicdad de Bibliof(^las Espanoles. 
 Madrid, 1878. 
 
 *Made from the manuscript, BibliothOque Nationale, Fonds Franfais, 376, and 
 from that in the library of St. John's College, Cambridge, England. 
 
The Poem Guillaume cV Anglelerre. 5 
 
 kingdom, as tlie Lord was about to prove his faitli. When the 
 king told his confessor of this incident, the priest advised delay, 
 as the manifestation was possil)ly from some evil source. He also 
 suggested that the king should make amends for any wrong that 
 he might have done, consciously or unconsciously, and should 
 give largely to the Church. The king followed these suggestions 
 sedulously, but to no purpose, for he heard the voice a second 
 time, and still a third time on successive nights, when it informed 
 the monarch that, as a punishment for his delay, he was to be 
 separated from his wife and kingdom for twenty-four years. The 
 king rose and dressed himself, on learning this ; but the queen 
 had heard and seen all, and declined to be left behind, so together 
 they stepped out of the window and disappeared in the forest. 
 Great was the distress in the kingdom at the disappearance of the 
 royal pair, and during the absence of the lawful rulers, the power 
 was left with a nephew, who took it till his Uncle's return. 
 
 The fugitives wandered hither and thither till, reaching a 
 hollow rock, the queen gave birth to two boys, whom the king 
 wrapped in the skirts of his coat, cutting off the pieces with his 
 sword. The queen was famished, and in search of food and 
 assistance, the king came to the seashore, where he found some 
 sailors who had just finished lading their vessel. They returned 
 with him, and finding the woman of great beauty, they picked her 
 up in a litter, carried her to their ship, and sailed off with her, 
 leaving, however, a purse of gold as indemnity with her husband. 
 
 The king, left with his twins, carried one to the seashore, and 
 putting it in a boat there, returned for the other. A wolf had 
 seized it, however, and run away with the child. The babe was 
 rescued by a company of merchants, who carried it with them to 
 their ship, where they found another child. Two of their number 
 spoke for the children, promising to rear them as their own. The 
 king, in the meantime, had chased the wolf till he fell exhausted, 
 then he returned to his other babe that he had left at the shore. 
 As he found that this had disappeared as well, he turned back to 
 get the money that had been left by the merchants in place of his 
 wife, but a bird carried it off before his eyes. The king then 
 wandered through the forest till he found a band of traders, with 
 one of whom he took service. 
 
6 The Poem Guillaume d'Angleterre. 
 
 The queen had been taken to a strange town, where there was a 
 custom that the Lord of the castle took whatever merchandise he 
 chose from alien vessels as harbor dues. In this instance he took 
 the queen as his perquisite, and on the death of his wife, which 
 followed immediately, made her his Lady, granting her, at her 
 request, one year's respite before fulfilling all wifely obligations. 
 He died within the year, and she was left in power, somewhat 
 annoyed, however, by the attempts of a neighboring king to force 
 her to marry him. 
 
 The children had been taken to the same town and had grown 
 up together. Their royal nature, however, shrank from pursuing 
 the trades of their adopted fathers, and they were driven from 
 home in consequence. They hastened together to a neighboring 
 forest, where, transgressing the game laws, they were brought 
 before the king, who took them into his employ, where they did 
 good service against the enemies with whom he was warring. 
 
 King William gradually rose high in the estimation of his 
 employer, and was sent to various lands for trading purposes. He 
 went to Bristol, England, among other places, and learned there 
 that the people were only waiting his return to receive their 
 former king with open arms. As he was returning, he was driven 
 by a storm to the town where there was a law to the effect that 
 the Lord of the castle was entitled to his choice of the ship's goods 
 as his harbor dues. The Lord himself" was dead, but his Lady 
 came down to the boat, and by a ring on the king's finger, which 
 his wife had given him previously, recognized him as her hus- 
 band. He accompanied her to the castle to dinner, and after 
 dinner, while hunting a stag, he was lured across the boundary of 
 the Lady's estates, where he was attacked by two young knights, 
 who were there on guard. As he was witiiout weapons, he told 
 them the story of his life to prove his royalty, and thereupon 
 discovered that they were his sons. The purse of gold was 
 miraculously restored by heaven to make tiie ha})piness complete, 
 and they all went to the queen, who gave her property to the 
 neighboring Lord in return for his kindness to her children. 'J'he 
 entire family then, reunited, returned to England, where they 
 were enthusiastically received, and where they lived long lives in 
 the fear and love of God. 
 
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 ^^^B 
 
 
 
 ™ 
 
 " 
 
 
 
 
 V 
 
CHAPTER III. 
 
 Discussion of the Relation which the Various Forms 
 OF THE Legend Bear to One Another. 
 
 For convenience, I will repeat briefly those- stories with which 
 I intend to deal in the final summary, and which are those that 
 will appear in the tabulated scheme : The Dit de Guiltaume Roi 
 (V Anglderre, to which I shall refer as the Dit; Helene of Con- 
 stantinople, referred to as Helhie ; Ociavian ; Beuve (VHanston, 
 referred to as Beuve ; Fioravante ; Buovo d'Antona, referred to as 
 Biiovo ; Uggeri il Danese, referred to as Uggeri ; Die Gute Frau; 
 Der Graf von Savoien ; Wilhelm von Wenden ; the two Spanish 
 versions, which 1 refer to as the Estoria and the Chronica, for the 
 sake of brevity ; Cifar; the English Gesta; Ysambrace; Eglamour; 
 Torrent ; Speculum Historiale ; Rhea Sylvia ; Danae ; Latona ; 
 Dirce; Tyro; Shah Bekht;^ The Ten Viziers;''' Hebrew Version; 
 Hindoo Version; Kashmiri Version; Panjabi Version; Thibetan 
 Version; The Forty Viziers.^ 
 
 For the better understanding of the relations in which these 
 various adaptations stand to one another, I shall divide them into 
 groups, for which the basis of selection will be the introductory 
 motif. Of these introductory motifs there are two broad divisions, 
 that of the persecuted wife, and that of the man tried by fate or 
 by God. Under the head of the first motif, that of the man tried 
 by heaven, I place the following : 
 
 ' By this I understand the story of The Kmg Who Lost Kingdom and Wife arid 
 Wealth, which is found in the collection known as King Shah Bekht and His Vizier 
 Er Rehwan. 
 
 * By this I understand the story I have cited previously from the Ten Viziers. 
 
 'By this I mean the tale already quoted, which is taken from the collection 
 known as the Forty Viziers. 
 
 7 
 
CHAPTER III. 
 
 Discussion of the Relation which the Various Forms 
 OF the Legend Bear to One Another. 
 
 For convenience, I will repeat briefly those- stories with which 
 I intend to deal in the final summary, and which are those that 
 will appear in the tabulated scheme : The Dit de GuiUaume Roi 
 d'Anglcterre, to which I shall refer as the Dil; Helene of Con- 
 stantinople, referred to as Helene; Odavian ; Beuve d'Hanstoiiy 
 referred to as Beuve ; Fioravante ; Buovo d'Antona, referred to as 
 Buovo ; Uggeri il Danese, referred to as Uggeri ; Die Gute Frau ; 
 Der Graf von Savoien ; Wilhelm von Wenden ; the two Spanish 
 versions, which I refer to as the Estoria and the Chronica, for the 
 sake of brevity ; Cifar; the English Gesta; Ysambrace; Eglamour; 
 Torrent ; Speculum Historiale ; Rhea Sylvia ; Danae ; Latona ; 
 Dirce ; Tyro; Shah Bekht;^ The Ten Viziers;^ Hebrew Version; 
 Hindoo Version; KashmiH Version; Panjabi Version; Thibetan 
 Version; The Forty Viziers.^ 
 
 For the better understanding of the relations in which these 
 various adaptations stand to one another, I shall divide them into 
 groups, for which the basis of selection will be the introductory 
 motif. Of these introductory motifs there are two broad divisions, 
 that of the persecuted wife, and that of the man tried by fate or 
 by God. Under the head of the first motif, that of the man tried 
 by heaven, I place the following : 
 
 ' By tliis I understand the story of The Kmg Who Lost Kingdom and Wife and 
 Wealth, which is found in the collection known as King Shah Bekht ami His Vizier 
 Er Rehwan. 
 
 *By this I understand the story I have cited previously from the Ten Viziers. 
 
 ' By this I mean the tale already quoted, which is taken from the collection 
 known as the Forty Viziers. 
 
 7 
 
The Poem Guillaume d^ Angleterre. 
 
 A. 
 
 Man tried 
 by Fate. 
 
 Dit, 
 
 Estoria, 
 Chronica, 
 Gute Frau, 
 Graf von Savoien, 
 Wilhelm von Wenden, 
 English Gesta, 
 Ysam brace, 
 Speculum Historiale, 
 
 Hebrew Version, 
 Shah Bekht, 
 Forty Viziers, 
 Kashmiri Version, 
 Panjabi Version, 
 Hindoo Version, 
 Beuve, 
 
 Thibetan Version, 
 Ten Viziers. 
 
 A second set are those in which the introductory motif is that 
 of the woman unjustly persecuted by false accusation or by the 
 hatred of some enemy. Here the following are compared : 
 
 B. 
 
 f Helene, 
 Injured woman. •< Octavian, 
 
 Rhea Sylvia, 
 
 Danae, 
 
 Latona, 
 
 Dirce, 
 
 Tyro, 
 Flora van te. 
 
 A third set might be a variety where the hero is a knight who 
 loses favor with his sovereign, and is so slandered that he leaves 
 his country and home, of his own accord or under compulsion. 
 Practically, however, this head is comprised under A. 
 
 C. 
 
 ^^ , , -if Eo-lamour, Cifar, Buovo, 
 
 Voluntary exile. { ,„^ ' ,. ' ^^ [ 
 
 i lorrent, Beuve, Uggeri. 
 
 I will now draw another line through the stories, and group on 
 one side those versions in which the mother is taken by sailors 
 before the loss of the children, while on the other side I place 
 those adaptations in which the children are the first to be removed. 
 
 D. 
 
 Versions in which the 
 mother is taken first, 
 or in which the father < 
 disposes of the chil- 
 dren. 
 
 Dit, 
 Estoria, 
 Chronica, 
 (jute Frau, 
 
 Ten Viziers, 
 Jlobrew, 
 Kashmiri, 
 Panjabi, 
 
 Wilhelm von Wenden, Thilictan, 
 lOiiglish Gesta, Ysambrace, 
 
 ^ Speculum Historiale, Beuve. 
 
The Poem Guillaume d^ Angleterre. 
 
 9 
 
 In the set of versions opposed to these, I place that form of the 
 story in which the mother and children are left together till the 
 babes are curried awav. The husband is al).sent. 
 
 E. 
 
 Versions in which the children 
 
 are taken from the mother 
 
 alone, or from mother and 
 father together. 
 
 F. 
 
 f Helene, 
 Octavian, 
 Fioravante, 
 Uggeri, 
 Danae, 
 Latona, 
 
 ^ Ysam brace, 
 
 Dirce, 
 
 Tyro, 
 
 Ilhea Sylvia, 
 
 Hindoo, 
 
 Eglamour, 
 
 Torrent, 
 
 Shah Bekht. 
 
 Mother and children taken totrether. 
 
 Forty Viziers, 
 Buovo. 
 
 The incident of the seaport to which the ship comes with either 
 the husband or wife as passenger where a harbor tax, due to the 
 ruler of the land, was customary, appears mentioned in the 
 following : 
 
 G. 
 
 Customs tax mentioned. 
 
 Dit, 
 Estoria, 
 
 Chronica, 
 Shah Bekht. 
 
 The same tax may be inferred in others of the Eastern group, 
 inasmuch as the detail corresponds to that of *S7i«/i Bekht in 
 every respect save in the fact of the explicit mention of the 
 custom tax. 
 
 H. 
 
 Customs tax inferred. -; r. ^. , . ' 
 l Panjabi, 
 
 Hebrew. 
 
 In places the tradition seems confused in regard to the number 
 of children to be born, and this is given at times as one and again 
 as two. 
 
10 
 
 I. 
 
 The Poem Guillaume d'Angleierre. 
 
 Two chil- 
 dren born. 
 
 K. 
 
 Dit, 
 
 Chronica, 
 
 Estoria, 
 
 Cifar, 
 
 H6lene, 
 
 Octavian, 
 
 Beuve, 
 
 Gute Frau, 
 
 Wilhelm von Wenden, 
 
 Torrent, 
 
 Fioravante, 
 
 Buovo, 
 
 Uggeri, 
 
 Danae, 
 
 Latona, 
 
 Dirce, 
 
 Tyro, 
 
 Rhea Sylvia, 
 
 Shah Bekht, 
 
 Ten Viziers, 
 
 Hebrew, 
 
 Forty Viziers, 
 
 Kashmiri, 
 
 Panjabi, 
 
 Speculum Historiale, 
 
 Ysambrace, 
 
 Eng. Gesta, 
 
 Thibetan. 
 
 One child born. ^ „ , ' 
 
 t Eglamour, 
 
 Manekine, 
 Danae. 
 
 In general, the versions which give one child to the heroine are 
 those of the Hil^ne group that have been influenced by La Mane- 
 kine ; as, Eglamour, Genevieve. 
 
 Another distinction which may aid later in tracing the develop- 
 ment of the story is that, in certain of these reworkings of the 
 constant themes, the children are born before the mother is 
 exposed, while in others the children are born after the exposure 
 of the heroine in the forest. 
 
 L. 
 
 Children born before the 
 heroine's exposure. 
 
 Cifar, 
 
 Hebrew, 
 
 Helene, 
 
 Forty Viziers, 
 
 Octavian, 
 
 Kashmiri, 
 
 Fioravante, 
 
 Panjabi, 
 
 Uggeri, 
 
 Speculum Historiale, 
 
 Danae, 
 
 Ysambrace, 
 
 Tyro, 
 
 Eglamour, 
 
 Rhoa Sylvia, Torrent, 
 Shah Bekht, Eng. Gesta, 
 Ten Viziers, Thibetan. 
 
The Poem Guillaume cV Angleterre. 
 
 11 
 
 M. 
 
 Children born after the 
 heroine's exposure. 
 
 r Dit, 
 
 Chronica, 
 
 Estoria, 
 
 Beuve, 
 
 Giite Frau, 
 ^ Dirce, 
 
 Hindoo, 
 
 Tliibotan, 
 
 Latona, 
 
 Wilhelm von Wenden, 
 
 Buovo. 
 
 I would like to call attention to one more variation between 
 certain of the stories towards the close of the narrative. In one 
 set the mother recognizes her sons and addresses them before she 
 sees or recognizes her husband. In another type, she recognizes 
 her children, but does not speak to them until she has gained 
 an audience with the chief ruler, who in every instance is her 
 husband, although this fact is not known at the time. She con- 
 trives the audience with the king by some ruse, as in the Eastern 
 versions, or by speaking to the ruler direct, as in the Speculum 
 Historiale. 
 
 N. 
 
 Mother recognizes and speaks to 
 her children before meeting her 
 husband. 
 
 Cifar, Kashmiri, 
 
 Shah Bekht, Eng. Gesta. 
 
 O. 
 
 Heroine meets husband J Estoria, 
 first. I Chronica, 
 
 I Gute Frau, 
 
 Wilhelm von Wenden, 
 Speculum Historiale, 
 Ysam brace. 
 
 Those stories which are not included in either of these last 
 enumerations are of various solutions. In certain of them, as in 
 Helhie, or the Greek type, as Dirce, the recognition is brought 
 about by means of the children ; there is no consistency, however, 
 observed which would permit any classification. 
 
 Throughout these various tables it will be noticed that the Dit, 
 the Esloria and the Chronica always appear together, and with 
 them usually follow the Gute Frau and Wilhelm von Wenden, 
 except in G, under the heading of customs tax. The variations 
 
12 The Poem Guillaume d'Anglderre. 
 
 between the Dlt and Estoria have already been noted. The two 
 compositions, in places, are so alike that one might be a transla- 
 tion of the other; but in the solution of the treasure theme, the 
 two are quite different. In the close of this incident, the Dit is 
 unique in its treatment, as the purse of gold is returned from the 
 clouds without visible agency. This ending, therefore, must be the 
 variation from the original introduced by the individual mind that 
 reworked this material for the Dit. In the Estoria, the purse is 
 returned through a fight between two eagles, twenty years after 
 the money was taken. This same incident occurs in the Gute 
 Frau, where the purse is dropped at the feet of the heroine by a 
 fight between two eagles. To account for this similarity between 
 the Gute Frau and the Estoria, and for the difference between the 
 Gute Frau and the Dit, the former must be an adaptation of some 
 original on which the Estoria and Dit both drew for their material 
 for the events to which I have just referred. 
 
 The incident of the sons attacking the father as he is hunting is 
 omitted in the Gute Frau^ as it seems peculiar to this poem that, 
 by reason of the slight change of plot which the adapter permitted 
 himself, there was no opportunity for this means of recognition 
 between father and sons. This appears, however, in Wilhelm von 
 Wenden, and binds the poem to this group which I am now dis- 
 cussing, but especially to the Dit. The date at which the German 
 poem was written, as well, indicates that the author, Ulrich von 
 Eschenbach, probably drew on the Dit for his material," 
 
 The Chronica also must have drawn on the same original as 
 the Gute Frau and the Dit, or possibly it may be traced to the 
 Estoria. The Chronica is much elaborated, and introduces a long 
 drawn scries of events before the story of Guilfaunie d'Aiu/letenx 
 commences, and adds several statements at the close of the work 
 wiiich are not found elsewhere. The second half of the treasure 
 theme, moreover, is omitted, as the j)ur.se is dropped in the sea by 
 the bird of prey, and is not recovered. It is |)ossible that the 
 material for the Chronica was taken from the Estoria, but in view 
 of the many minor differences^ between the two, the inference is 
 that the narrative drew from some older source as well. 
 
 ' Wolf, F. A. — Uher die Neuealen LeinlwKjeii, ojius cilai., pp. 7.5-1)0. Wieii, 1833. 
 *Goedeke, K. — (Jrundrm. ''Knubt, H. — Doa Oln-us, op. cit. 
 
The Poem Guillaume d' Angleterre. 
 
 13 
 
 The Graf von Savoien, wliicli is tlic (liinl of the cognate German 
 poems, must have levied on the Dil group for its material. The 
 author states that he drew from the French, and the motif follow 
 out the 1)U, except that the childreu, and all incident based on 
 their participation in the narrative, is omitted. The treasure theme 
 shows the same conclusion that appears in the Chronica; that is, 
 the money is lost in the sea and not recovered. From the supposi- 
 titious date assigned the work,' the original must have been the 
 poem of GuUlaume d' Angleterre or a similar poem. The scheme 
 for these six versions would be as follows : 
 
 Original Text. 
 
 Graf /. Sa\/oien' . 
 
 Octavian and Hel^ne and Fioravante are embraced by that 
 division where the heroine is the principal actor.^ This branch of 
 the motifs forms a family by itself, and is related to the group 
 immediately preceding only by the second motif — that of the 
 exposure in the forest. As I have previously noted,^ the earliest 
 appearance of the Helhie story is in Matthew Paris' Chronicle, 
 where it is believed to have been written by Jean de la Celle, in 
 the eleventh century.^ The earliest appearance in mediaeval litera- 
 ture of the one child in place of twins is in La Manekine,^ and 
 
 ' Eschenbiirg, J. J. — DenkmcUer AUdeulscher Dichtkunst, pp. 341-362. Bremen, 
 1799. Fourteenth Century. 
 -' See Table B. » See page 59. 
 
 * Paris, M. — Chronica Major, edited by Wats. Cp. Suchier, H. — Oeuvres de 
 Beaumannir, p. xxv. Paris, 1884. In Wats' ed., pp. 965-968. 
 
 * Suchier, H. — Oeuvres Poeliques de Beaumanoir, I. Paris, 1884. 
 
14 The Poem Guillaume d^ Angleterre. 
 
 from this poem the idea drifted elsewhere, as in Eglamour,^ 
 
 Sibilla^ Triamour.^ 
 
 The tone of this branch of stories is quite different from the 
 
 other type, in which the hero is the principal actor, and I am 
 
 driven to the conclusion that the two ideas must have developed 
 
 side by side in romantic literature, and also before the time of 
 
 chivalry. On one hand, the idea of the oppressed woman, and on 
 
 the other, the notion of the man tried by fate. The central motif 
 
 for each would be the exposure of the heroine in the forest, with 
 
 or without her husband, as the case might be, and around this 
 
 as a nucleus gathered the various introductions and conclusions. 
 
 These stories, therefore, Hd^ne and Odavian, together with their 
 
 related tales, I shall not connect immediately with the other 
 
 branch of this large family. The individual scheme would be as 
 
 follows : 
 
 ORIGINAL. 
 
 Tif/i'ns 3f- 3 i>////$ motif. 
 
 To pass to the English versions, the three chivalrous romances, 
 Bir Ysambrace, Sir Eylamour of Artou, and Sir Torrent , were 
 probably translated from the French.* Steinbach ° concludes that 
 the author of Ysambrace does not draw from the epic Guillaume 
 (T Angleterre, but from an original which resembles more closely 
 the Eustache legend. He does not say in what tongue this 
 
 'Halliwell, J. O. — Tkornlon Romances. Lonilon, 1844. 
 -See page 69. 'See pjige 200. 
 
 ■•See Adam, E. — Torrent of Porlyngale. IntrodiU'tion. London, 1887. 
 * Steinbach, J. — Der Einjluss des (Jreslien de Troiea auf die AUenglisehe Literaiur, 
 Leipzig, 1886. 
 
The Poem Guillaume <V Anrfleterre. 16 
 
 original was written. It is more than probable that the work 
 from which the author of Ysainbraee drew was the source from 
 wiiich the author of the D'd drew his material, or else derived 
 with this source from a common parent. Direct derivation from 
 the Dit is impossible, on account of the difTeronce in incident; in 
 the capture of the wife in Ysambrace, after the children have been 
 taken, and in the fate of the children, which is so radically 
 different in the two texts.' The influence of the Eiujlish Genta, 
 or of the original of the Engliah Gesta, is to be seen, in that the 
 children are taken before the wife, and in the introductory motif 
 of Ysambrace. For it will be remembered that in the English 
 Gestn the mother recognizes her children towards the close of the 
 narrative, as she hears them talking of their past adventures. The 
 fact is practically impossible, because the mother is the first one of 
 the family to be taken, and would know nothing of the doings of 
 the rest of the family until she had conferretl with the hero, as 
 she does in the Speculum Historiale. In the English Gesta, the 
 mother recognizes and speaks to the children before communi- 
 cating with the hero, as well as in Shnh Bekht and Cifar, but in 
 these last two the children are taken before the abduction of the 
 mother. The story of Eustace in the English Gesta shows the 
 influence of the Latin story of Placidas in the theft of the 
 children before the mother is taken, and in the adventures of the 
 mother. By reason of the treasure theme which appears in 
 Ysambrace, I believe that this poem must be more closely con- 
 nected with the Anglo-Norman group than with the English Gesta 
 version ; yet the points of resemblance between Ysambrace and 
 the English Gesta — as, for example, the introductory motif — prove 
 a certain relation between them. The choice of one of the animals 
 in Ysambrace, a lioness, shows a suggestion of Odavian, as in this 
 romance and Cifar alone a lioness figures as captor of one of the 
 children. In my scheme, I place Ysambrace as drawn from the 
 same source as the Anglo-Norman romance which I believe must 
 have been the direct source of the Dit and Estoria. The source 
 once removed which was a Latin version, presumably would be 
 the origin of the Anglo-Latin Gesta from which the English Gesta 
 
 > See pages 184, 12. 
 
16 The Poem Guillaume d'Angleterre. 
 
 was taken. The variations in Ysambrace from the norm, as the 
 three children and the irregular conclusion, which I have just 
 noted, must have been the work of the individual author. 
 
 The two romances, Eglamour and Torrent, were both presum- 
 ably taken from French originals.^ Both of these English texts 
 impel one to the conclusion that they were written on a general 
 imitation of other popular poems of the time. The middle episode 
 of Torrent is that of La belle H^lhie, and that of Eglamour cor- 
 responds to La Manekine, with the addition of an animal that 
 carries off the child. The introductory episode of Torrent and 
 Eglamour brings the reworking down to chivalrous times, when 
 the knight performed deeds of valor in order to gain his lady. 
 The conclusion of Torrent is nearer Octavian, and that of Egla- 
 mour approaches Sir Dagore or Pope Gregory. All are familiar 
 themes brought together in a novel order. Therefore, I should 
 place these two poems in the late Anglo-Norman period, under 
 the general influence of the more popular romances of the HeUne- 
 Octavian type. The incidents which have become grouped around 
 Beuve d'Hanston probably collected in the same general manner, 
 and at the earlier period of the Anglo-Norman florescence, because 
 the resemblances between this epic and other poems of the class 
 that I am dealing with are too vague to permit any direct deriva- 
 tion. The incidents which are collected in the Italian versions 
 are taken from the French,^ and I place them in the scheme 
 accordingly. 
 
 The treasure theme, as I have observed, does not appear in the 
 English Gesta, but is found in Ysambrace and all others of the 
 stories which I have now handled, except the Helhie-Odavian 
 group. To account for this fact, the treasure tnotif must have 
 been introduced into the source of the former versions. This was 
 undoubtedly done by the poet, who reworked his poem in the 
 West, after borrowing his material from P^astern stores, and intro- 
 duced the treasure motif to add to the interest of liis plot. The 
 treasure motif does not occur in combination, in this manner, in 
 any of the Eastern romances which I have found, nor in Cifar. 
 
 'See E. Adam. — Torrent, op. dial. Introduction. 
 
 *D'Ancona, A. — / Rmli di Francia. Coll. di Op. inod. o casi. Bologne, 1S72. 
 
The Poem Gui/laume (V Anglelerre. 17 
 
 In the introduction to Cijnr, tlic author nicntion.s that he trans- 
 lated from the Latin, and that the Latin was taken from the 
 Caldco} Michelaut believes that Ca/dco refers to the Greek, a 
 supposition which is probable. The narrative as found in Spanish 
 has been undoubtedly changed somewhat under the influence of 
 French romances, as Ftorent and Odavlan, and others, in spite of 
 the remark in the introduction. The incident of the loss of the 
 children in Cifar, where one child strays away and is lost in the 
 streets of the town, is the same that occurs in the Menaechmi, and 
 hence is also found in the Greek original. This disposition of one 
 of the children is made in tiiese two places only. The adventures 
 of the wife in Cifar, and the divine aid furnished to her, came 
 into the story, I surmise, when it assumed Latin dress. The 
 manner in which the heroine is freed from the sailors who have 
 captured her corresponds to the same incident in the Chronica. I 
 shall derive this version from the Greek, from a common source 
 with the original of Plautus' comedy, and from this same source, 
 ias well as from an analogous form of the story, may be taken 
 the adventures which clustered around the personage of the 
 knight Placidas at the time that his life was compiled for the 
 3Ienologies. 
 
 The motif of the injured woman, of the exposure in the open 
 air, and of the birth of twins, was common in Greek literature, 
 and was adopted for several well-known heroines.^ This idea 
 must have been prevalent, therefore, as a tradition, and must 
 reach back to a period when writing was not yet practiced. 
 
 The motif of incest between father and daughter is found in the 
 Greek story of ApoUonius of Tyre, and I believe that this branch 
 of the versions, which is represented by Helbie and Octavian, took 
 shape in late Greek literature, and that from this it was carried 
 West, where it appeared as the Vita Offae, Hel^ne, and in other 
 reworkings. I fail to discover any trace of this type for the East, 
 except a suggestion in the Hindoo, to which I shall refer later, 
 and can follow it to Greece only. The Hel^ne- Octavian variety, 
 therefore, would assume the following scheme : 
 
 ' Michelant, \i.—t'avalkro Cifar. Tubingen, 1872. 
 ^ Danae, Tyro, Antiope. 
 
18 
 
 The Poem Guillaume d^ Angleterre. 
 
 GREICK ORIGINAL 
 
 Torrent \'''' _ . £^/gmour. 
 
 The legendary forms of the exposure found in Danae, Latona, 
 Dirce, Tyro, Rhea Sylvia, .are sporadic forms of this tradition. 
 Rhea Sylvia is taken into Latin myth directly from the Greek. 
 The frequency of the repetition, and the prevalence in Greek fable 
 of this motif, point conclusively to its long use as a part of the 
 inherited lore of the people. 
 
 Of the two Arabian versions. The King Who Lost Kingdom and 
 Wife and Wealth, and The Unfortunate Mei^ehant, I shall consider 
 the second before the other. The story occurs in a collection called 
 the Ten Viziers, which is found in the Arabian Nights} This 
 collection is one imitated from the book of Sindibad. It differs 
 from the latter, however, in that, although the wife of the king 
 accuses the king's son of undue familiarity with her, the young 
 man tells the stories himself, and the ten viziers speak against 
 him. The collection is also known as the Bakhtyar Nama. 
 Although tiie story found in the edition of Mr. Clouston differs 
 somewhat from Burton's translation, it is the same in ej)isode, so 
 the discrepancies are probably due to the different translators. 
 The Bakhtyar Nama exists in four versions,- — Persian, Arabic, 
 Turki (i. e., Eastern Turkish-Nygur), and Malay. The name of 
 
 'See Bihliof^raphy for Arabian NiyhLs, p. 288. 
 * Clouston, W. A. — Bakhtyar Nama, p. xxxv. 
 
The Poem Guillaiime (V Anglclerre. 19 
 
 the author of this romance and the precise time when it was com- 
 posed are not i<nown. The mannscripts do not appear to date 
 back of the end of the seventeenth century, but from internal 
 evidence the Turki version must have been copied, A. H. 838 or 
 A. D. 1434, and the translation probably antedated this time. 
 Oidy popular works would be transcribed, so the Persian romance 
 of Prince Backhtyar was composed not later than the fourteenth 
 century. Two of the tales in the collection are the same as two in 
 the Guti Nama, which was a translation from the Persian of an 
 older work in Sanscrit.' 
 
 After a brief discussion of the relations which these four ver- 
 sions above mentioned bear to one another, Mr. Clouston concludes 
 as follows :^ 
 
 " I am disposed to believe that the Turki translation was made 
 
 from the Arabic If, then, the Turki version, which dates 
 
 as far back as A. D. 1434, was made from the Arabic, and if the 
 latter was translated or adapted from the Persian, it is not unlikely 
 that the History of the Ten Viziers in its Arabian dress existed 
 some time before the Book of the Thousand Nights and One Night 
 was composed in its present form ; and, therefore, the Persian ver- 
 sion may be very ancient. And since we have discovered that two 
 of the stories exist in a work which is of Sanscrit origin, we may 
 go a step farther and suppose the other stories in the romance of 
 Bahhtyar to have been also derived from Indian sources." 
 
 The story of The King Who Lost Kingdom and Wife and Wealth 
 is also found in substance in the Bahhtyar Nama, or the Ten Viziers, 
 as the story of Abu Saber ; in the Arabian Nights, this is written 
 Abu Sabir. In this story, the hero is driven from home, with his 
 wife and children, by an unfriendly king. Robbers meet them 
 and carry away the two boys. The wife is carried off by another 
 robber later, and the hero is employed as a servant. He is chosen 
 king by chance, and to his audience chamber came first his two 
 boys, as slaves, and then his wife. He recognizes them from the 
 stories they tell, acknowledges them, and punishes their captors. 
 The plot of this is practically the same as the story of the king 
 
 ' Pertsch, L. K. W. — Deutsche Morgetildndisehe Gesellschafi. Zeitschrift, XXI, 
 p. 505. Leipzig, 1867. " Ueber Nachschabis Papagaienbuch." 
 'Clouston, W. A. — Bakhtyar Nama, p. Li. 
 
20 The Poem Guillaume d' Angleterre. 
 
 previously mentioned, occurring in the collection known as King 
 Shah Bekht and His Vizier Er Rehwan. The origin for both, 
 therefore, must go back of the Bahhtyar Nama, and consequently 
 draw for its source, in all probability, on the collection of stories 
 which furnishes the other tales for the Ten Viziers. 
 
 The stories which appear in the various provinces in the East, 
 which 1 call the Kashmiri version, the Panjabi version, etc., 
 resemble one another closely, especially the Kashmiri and Panjabi 
 versions, which must have drawn on one original or else one 
 borrowed of the other, as the incident of the man swallowed by a 
 sea monster occurs in both and not elsewhere. In other respects 
 the Hebrew version resembles these, with a few minor variations ; 
 as, for example, the fact that the hero is a merchant in the 
 Hebrew text, and when left alone, becomes a ruler by building 
 himself a city, and not by popular choice, as elsewhere. The 
 Panjabi and Hebrew agree in the self-restraint of the queen upon 
 overhearing the young men, her sons, as they converse, and in the 
 ruse that she employs to gain a hearing of the king. The immedi- 
 ate declaration of the queen's identity in the Kashmiri version is 
 paralleled in the Shah Bekht. I should, for these considerations, 
 derive the Kashmiri, Panjabi and Hebreic versions ultimately from 
 one source, but the Panjabi version I should infer had been influ- 
 enced by the Kashmiri version, or its immediate source, in the fish 
 episode. The Thibetan story I place in the general tyj)e, as deriv- 
 ing from an Arabic tale, but used as a vehicle for Buddhism.^ 
 
 Most of the Eastern stories which I have collected, therefore, 
 I have carried back to the old Persian, yet there is something 
 behind this. In the Hindoo legend, the story is found adapted to 
 the needs of the narrative.^ Consequently, the origin must lie in 
 the Sanscrit itself. There is another reason which supports this 
 belief. In the seventh book of the Ramayana, the hero, Rama, 
 becomes dubious about his wife Sita's virtue, and has her banished 
 to the forest, where she is received and cared for by a hermit. 
 There the queen gives birth to twin boys. The children grow up 
 and become expert rhapsodists. They came to their father's court 
 in their wanderings, and by chance recite to him his own exploits. 
 
 'See Clouston in Burton's SuppUmenlal Ni<jhts. Appendix, ]>. .S51. 
 * Compare page 313. 
 
The I'uem G'uillduinc (V Anylelcrre. 21 
 
 He is overcome, and on questioning thetn, learns of their extrac- 
 tion, and receives his wife back to his affections.' The seventh 
 book of the Rumayana is now supposed to be somewhat later in 
 composition than the rest of the poem, and yet this portion must 
 have been added before the epic assumed its final written shape. 
 According to Gorrcsio, the liero Rama lived in the thirteenth 
 century before our era. The poem was undoiihtcdly known and 
 recited before it was written, and must have been known in the 
 eleventh century l)efore Christ, as a resume of the same is found 
 in the MahabharcUa of that date. M. Williams,' who is most 
 cautious in his statements, declares that the Raviayand was current 
 in India in the fifth century before Christ, which at least would 
 preclude the admission of the episode in the seventh book from a 
 source other than the Sanscrit. 
 
 ' Williams, M. — Ramayana — Tntlian Epic Poetry, p. 3. London, 1863. 
 Journal Asiatique, 4 S^rie, Vol. II, p. 249. Paris, 1843. 
 Schlegel, A. G. <le. — Journal Asial., op, ciL, p. 251. 
 
22 
 
 The Poem Ghiillaume d' Angleterre. 
 
 Skeleton Showing a Theoretical Order of Derivation. 
 
The Poem Guillaume <V Angleterre, 23 
 
 Application of the Scheme. 
 
 In order to see how far tiiis scheme will hold if" reversed in 
 process, I shall start with the Sanskrit and trace the development 
 of the myth. The original version was possii)ly of the following 
 gist: 
 
 A Type: The hero is subjected to trial by the will of heaven, 
 and is forced to flee from home. His wife gives birth to twins 
 (or a child) in the forest. The children and wife are carried away 
 in turn, and the hero lives unhappily alone for a number of years. 
 Finally, the family is reunited. By the side of this story must 
 have existed another variety : 
 
 B Type: The heroine is driven away from home by her hus- 
 band or some enemy, and gives birth to twins (or a child) in the 
 forest. Finally, the husband finds her and the family is reunited. 
 
 The twin side of the A type appears in the Ramayana dating 
 from the ninth century before Christ, as I place the introduction 
 of the episode at a later date than the supposed era when the hero 
 lived,^ and was translated into the Pahlavi in the third century 
 A. D., perhaps. The single child, A type, appears in the Hindoo'' 
 in a form of narrative which is placed in the ninth century A. D.^ 
 I should be tempted to connect this with the Old Persian were it 
 not for the form of story in which it occurs is distinctively 
 Indian,* and also because there is no instance of the one child type 
 in the Pahlavi, which would seem conclusive. The Pahlavi, then, 
 takes the hero disciplined by fate, with his subsequent adventures, 
 from the Sanskrit. This story is taken into the Arabic in at least 
 two different ways : first, in the Arabic version from which the 
 different dialects, as the Panjab, Cashmere, Hebreto, drew for their 
 adaptations ; and in the collection of stories known as the 2en 
 Viziers, or King Azad Bekht and His Son. The first type was 
 that of the king exiled by fate, and separated from wife and sons. 
 
 ' See page 379. 'See page 313 el sq. 
 
 ^ Dasakumaracharitam, p. in. London, 1873. (Translated by P. W. Jacobs.) 
 *For examiile: before one story (1) is ended, another (2) is begun, and before 
 this is finished another (3), springing out of the second, is commenced; then out 
 of (3) springs yet another story, which ended, number 3 is resumed and brought 
 to an end ; then number 2, after which number 1 is resumeii and concluded. 
 
24 The Poem Guillaume d' Anglderre. 
 
 After much wandering, he again becomes a monarch, and recovers 
 his sons, who have come to his court by cliance, and his wife as 
 well, who has preserved her virtue. All of the stories which I 
 derive from this hypothetical Arabian story present these peculi- 
 arities. In all of them, also, the twins are born before the royal 
 pair set out on their exile. There is cross correspondence in 
 certain respects, which I place to oral transmission or perhaps 
 intentional variation. Tiie Shah Bekht version and the Kashmiri 
 version correspond, in that the hero in both is chosen king by an 
 elej)hant. The Kashmiri and Punjab versions correspond, in that 
 the hero in both is swallowed by a fish. The Thibetan version 
 bears a general resemblance to this type of story, and, I believe, 
 must have been produced in unconscious imitation of, or in delib- 
 erate variation from, this tyj)e. I incline to the latter alternative, 
 because the reversed resemblance is marked : the de})arture from 
 home of hero and heroine; the birth of one child; the taking of 
 the Ae?'o ; the loss and death of the children ; the violation of the 
 heroine. The story is the same, except that the outcome in each 
 instance is unfortunate instead of satisfactory, and only till the 
 unhappy heroine takes refuge in religion does she find rest. I 
 should, therefore, consider this version modeled on the general 
 type, but intentionally perverted to convey a moral lesson. The 
 Hebrew version is of the general type A, taken from tiie putative 
 Arabian text, except that the hero is not a king originally, but a 
 merchant, and an angel cheers him as he grows despondent, which 
 would show Jewish influence. 
 
 The Turkish version is said to have been composed during the 
 reign of Sultan Murad II, between 1421 and 1451,' after an 
 Arabian romance entitled, Tales of the Fortij Morni)i(/s and Forty 
 Evenings, composed by Shekh Zada. The text from which Petit 
 de la Croix translated ^ varies from the manuscript used by Mr. 
 Gebb, in that the prince finds his wife again at the end of the 
 story, together with his sons. This is nearer the tradition than 
 the other adaptation, in which the wife is not recovered. The 
 
 'Clouston, W. A. — Bakhtyar Nama, p. xxx. London, 18S3. 
 
 Gebb, E. J. W. — History of the Forty Vizicm, p. viii. London, 18SG. 
 ^ L' Ilintoire de la Sultune de Perse €t den Vizirs. Paris, 1722. See Clouston. 
 
 Bdkhhjar Nama, p. xxx, op. r.itut. ; also (Jcbb, Forty Vizivrs, j). VIII, op. citat. 
 
The Poem GuiUaumc d' Anr/lcterre. 25 
 
 Arabic version from wliirh the Turkish translator drew must 
 liave varied t^reatlv from the oriu^iiial story in Arabic, and it is 
 probable that the variations cre[)t in as the story was worked over 
 ag^ain in Arabic; such variations, for example, as the introduction 
 of the Sindbad incidents, and the casting of the horoscope.' 
 
 The story as it appears in the Ten Viziers cannot be intimately 
 connected with the group which I have just left, as it differs 
 materially in many respects; the hero is a merchant, not a king, 
 and does not become a king, and leaves his home on business. He 
 does not lose his wife or |)roperty, and the wife passes through no 
 series of adventures. The manner in which the twins are lost is 
 also markedly different from the other Eastern type, as the father 
 throws them into the sea. The story of ^6u Sabir is much nearer 
 the general mould, and this has a place in the Ten Viziers, as well 
 as the story of the Merchant. The outline of Abu Saber, as will 
 be remembered, conforms to the A ty))e. The hero, with wife and 
 two sons, is driven from home ; his wife is abducted ; his sons are 
 taken away; he is obliged to work as a servant; but finally he is 
 chosen king, and recovers his wife and children by chance. It is 
 improbable that the compiler of the collection, the Ten Viziers, 
 would have incorporated in his work two stories so alike when 
 there were so many to choose from, whereas in a copy he would 
 have been allowed no alternative; yet, if selections were made 
 from Arabic stories for the compilation, the ultimate source must 
 have been Persian, as several of the stories in the Ten Viziers 
 must have occurred in the older Persian work from which the 
 Guti Nama drew, as certain stories actually are paralleled in the 
 latter, and this Persian source, acc(n'ding to Pertsch,^ was based 
 on an older Sanskrit authority. The stories, therefore, in the Ten 
 Viziers, which conform to the type which I have under considera- 
 tion, may be derived from the Persian. The translations of the 
 Bakhtyar Nama,^ or Ten Viziers, found in the late Persian, Malay 
 and Turki, must have drawn on the Arabic, as no other redaction 
 of the work would be as widely known, and moreover, the cor- 
 respondence in the order and selection of stories would establish 
 the same. 
 
 ' See comment on treatment of themes, p. 309. * Compare note 1, p. 26. 
 
 'See Clouston. — Bakhtyar Nama, Introduction, op. cifat. 
 
 3 
 
26 The Poem Guillaume d^ Angleterre. 
 
 To pass to the Western versions. It is my belief that the 
 Arabic version of these themes of the man tried by fate, and of 
 the woman and twins exposed in the forest, must have traveled 
 West at the end of the tenth or in the first half of the eleventh 
 century. It was then combined with the treasure theme, which 
 was already known in Christendom, and written out in poetical 
 form. My reasons for taking this direct from the East, and not 
 tracing its path through Greek and Roman hands, are as follows : 
 In all of these versions which I derive in this way from a direct 
 Eastern source, and in the Arabic as well, is found the motif of 
 the man tried by God, and not in the others, except the Speculum 
 Historialey which shows the same influence. (See Table A.) In 
 all of these the mother is taken from the party first, and then the 
 children, as in the Eastern group and Speculum Historiale, and 
 not in the others. (See Table D.) In many of these the customs 
 tax is mentioned, and in certain of the Eastern group as well, but 
 not in the others, (See Tables G and H.) The usage for this 
 group is twin children without exception, whereas in certain other 
 versions a variation is made. (See Tables I and K.) There is 
 a variation in one respect, however, which seems without easy 
 explanation. In certain versions the children are born before the 
 exposure in the forest, and in certain others the birth follows the 
 exile. (See Tables L and M.) In the Western versions, those 
 which gather around the Dit show the ciiildren born after the 
 exile, and the same change is made in the Hindoo text, which, it 
 is believed, was written in the ninth century,^ and this date pre- 
 cludes any idea of collaboration between the two. My judgment 
 would be that the variation in the time of birth — that is, the 
 children born after the exposure — was introduced by the Western 
 romancer when he reworked his Eastern material, which he 
 originally learned orally. It is presumable that this optional 
 change existed in some Eastern form whicli I have not found, and 
 from this went into Hindoo, for the same variation in time of 
 birth is noticeable in the Greek myths. These various considera- 
 tions I should consider sufficient for deriving the Western versions 
 which collect around the JJit dc Guillauuie Roi d' Anc/leterre from 
 an Eastern source. 
 
 1 See p. 314. 
 
The Poem Ouilldume iV AnyleleiTe. 27 
 
 It seems to me probable that tlie version in the Engliah Gesta 
 also came into being in the same manner, through a Latin 
 medium. The English text shows the variation of the divine 
 intimation by means of a bird, and also brings in tiie magic 
 stone, which comes from the Pant.schat(in(ra,^ as I have already 
 remarked. In the English Gesta, the mother recognizes her sons 
 at once, on hearing their conversation, and declares herself, a trait 
 which is peculiar to this special type. (See Tables N and O.) It 
 seems to me a question if the original French version was ever 
 written, as there is no trace of it to-day, and decided variants 
 occur in the romances which I suppose to have been derived from 
 this source. Ysambrace must have been taken from this original 
 French rendering, for the following reasons : Ysambrojce has 
 practically the same introduction as the English Gesta, which 
 would also occur in this original French adaptation. Ysambrace 
 has also the children born before the exposure, as in the EngUsh 
 Gesta, for the change in time of birth, I conceive, was made in 
 the Anglo-Norman work, and this time for the incident is kept in 
 the English Gesta, as in Ysambrace. Ysambrace has a variation 
 from the treasure theme which differs from the others of the group. 
 
 Now, in an Anglo-Norman reworking of the older poem in 
 the twelfth century, I believe the following changes were made : 
 The divine summons was repeated three times ; the children were 
 described as born after the exposure ; the treasure theme was 
 changed somewhat in its conclusion — that is, two eagles were 
 made to drop the purse of gold as they fought for it in mid-air. 
 This arrangement was repeated in the Spanish Estoria, in the 
 French Dit, with a slight divergence, and in the Gute Erau. 
 The Dit was, furthermore, copied in Wilhelm von Wenden. The 
 Chronica must have come also from the Anglo-Norman version, 
 as the close of the treasure theme varies from the Dit and Estoria, 
 although the resemblance in episode between the Estoria and 
 Chronica would point to some connection between the two. 
 
 The incidents as they are found in Beuve came, I believe, by 
 attraction, and collected around a heroic figure, and I hesitate to 
 derive them directly from any one source. These incidents were 
 proper adventures for a hero to pass through in the days of 
 
 ' See comment on English Gesta, page 169 et sq. 
 
28 The Poem Guillaume d* Angleterre. 
 
 romance, and so were quietly assumed for Beuve in the Anglo- 
 Norman original of this poem. 
 
 To pass to the Greek side of the legend. From the Sanscrit I 
 have already assumed the two types of the oppressed man and of 
 the oppressed woman. Both were kept in Greek, but the prefer- 
 ence was for the latter, and it appeared in mythology in the stories 
 of Danae, Dlrce, Latona, Tyro, and in the Latin Rhea Sylvia, 
 taken from the Greek. These incidents lived on in two forms. 
 In one it gave the original of the Didymi, and also took shape 
 in a Greek romance after the style of Apollonius of Tyre. This 
 romance was translated into Latin, and from there appeared in 
 French with various elaborations, as HU^ne, Odavian, and derived 
 also from this general type were Eglamoxir and Torrent, of which 
 the English forms exist. I do not derive these two romances 
 directly from any one story, but consider them the outgrowth of 
 the romantic feeling and the incidents employed in chivalrous 
 stories, as Beuve, HeUne, Odavian, etc. Torrent takes its twin 
 incident from Octavian, while Eglamour draws on La Manekine 
 for its one child. The introduction of both resembles the immedi- 
 ate introduction to the twin motif in Beuve, by which I mean the 
 valorous deeds of the hero for his lady's sake. 
 
 As the Arabian tale traveled westward, some trace was left 
 behind, probably at Constantinople, and this material was settled 
 on the Christian martyr in the first decade of our era. It was 
 written down in menologies, under the life of St. Eustachius, and 
 accredited to his glory much as the same adventures later were 
 grouped around Beuve. Possibly this came across the Hellespont, 
 and stopped definitely in Greek hagiography, only to take a fresh 
 start later at the beginning of the crusades and travel to the 
 Atlantic. 
 
 The twin motif the Greek preserved in the Didymi, which was 
 taken into the Latin in the Menaechmi of Plautus. I am some- 
 what at a loss where to place the romance of Cifar. In view of 
 the incident of the twins, and the manner in which one is lost by 
 straying away in the city streets, I connect the history with the 
 prose version from which tiie author of the Didymi drew for his 
 comedy. It was translated, as the Spanish says, " de Caldeo en 
 Latin, et de Latin en Romance." 
 
TABLE OF CONTENTS OF WHOLE THESIS. 
 
 Preface, — 
 
 Syixabus, — 
 
 F'ART RIRST. 
 
 Intkoduction, - — 
 
 •Chapter I. 
 
 WESTERN VERSIONS. 
 Group I. 
 
 A. French Versions. 
 
 1. Guillaume d'Angleterre,^ ..--.- — 
 
 2. La Belle H^lSne, — 
 
 3. Octavian, — 
 
 4. Beuve d'Hanston, — 
 
 Comparative table of motifs for the stories preceding, ... - — 
 
 B. German Versions. 
 
 1. Die Gute Frau, — 
 
 2. Der Graf von Savoien, .-..-- — 
 
 3. Wilhelm von Wenden, -.-.-- — 
 Comparative table of motifs for the stories preceding, - - - - — 
 
 C. Italian Versions. 
 
 1. Flora vante (Reali di Francia), ... - — 
 
 2. Buovo d'Antona, - — 
 
 3. Uggeri II Danese, — 
 
 Comparative table of motifs for the stories preceding, - ... — 
 
 D. /Spanish Versions. 
 
 1. La Estoria del Key Guillelmo, .... — 
 
 2. La Chronica del Rev Don Guillermo, - - - — 
 
 3. La Historia del Cavnllero Cifar, .... — 
 Comparative table of motifs for the stories preceding, - - - - — 
 
 1 Under each title are comprised a digest of the story named, the motifs tabulated, a comment 
 on the treatment of themes, and a bibliography of the special subject. 
 
 29 
 
30 The Poem Guillaume d' Angleterre. 
 
 Group II. 
 
 A. English Versions. 
 
 1. Gesta Romanorum (English text), - - - - 
 
 2. Sir Ysambrace, 
 
 3. Sir Eglamour of Artois, 
 
 4. Sir Torrent of Portyngale, 
 
 Comparative table of motifs for the stories preceding, ... 
 
 B. Latin Versions. 
 
 1. Speculum Historiale, .-----. 
 (This includes the Gesta Romanorum and Legenda 
 Aurea. ) 
 Group III. 
 
 CLASSIC VEESIONS. 
 
 A. Latin Version. 
 
 Rhea Sylvia Legend, .-.--.. 
 
 B. Greek Versions. 
 
 1. Danae Legend, 
 
 2. Latona Legend, ....... 
 
 3. Dirce Legend, -- 
 
 4. Tyro Legend, 
 
 Comparative table of motifs for the stories preceding, .... 
 
 Chapter II. 
 
 EASTEEN VERSIONS. 
 Group I. 
 
 A. Arabic Versions. 
 
 1. Shah Bekht, 
 
 2. Ten Viziers, 
 
 B. Hebrew Version. 
 
 Midrasch, --..-.... 
 
 C. Turkish Version. 
 
 The Forty Viziers, .--..--. 
 Comparative table of motifs for the stories preceding, ... 
 
 Group II. 
 
 A. Hindoo Version. 
 
 1. Dasakumaracharitam, - - 
 
 B. Kashmiri Version. 
 
 Pride Abased, .......'. 
 
 C. Thibetan Version. 
 
 Krisa Gautami, -...-.-. 
 
 D. Punjabi Version. 
 
 Sarwar and Nir, ----.... 
 Comparative table of motifs for the stories preceding, .... 
 
The Poem Guillaume d'AngldetTe. 31 
 
 Chapter III. 
 
 I. General comparative table of motifs, . . - - - — 
 II. Discussion of the relation which the various forms of the legend 
 
 bear to one another, - — 
 
 III. Graphic tree showinjj a theoretical order of derivation, - - — 
 
 IV. Addenda — The application of the "tree," - - - - - — 
 
 F»ART SECOND. 
 Stllabtjs, — 
 
 Iktroduction. 
 
 Discussion of Mr. Muller's thesis on Guillaume d'Angleterre, - - — 
 Chapter I. 
 
 Dialect characteristics of the Paris Manuscript, ... - — 
 
 Chapter II, 
 
 Dialect characteristics of the Cambridge Manuscript, - ... — 
 
 Chapter III. 
 
 Dialect characteristics of the forms common to both Manuscripts, - — 
 
 Conclusion. 
 
 Results drawn from the preceding treatment, — 
 
 PART THIRD. 
 
 Appendix. 
 
 Eimarium of the two Manuscripts, ... 
 
 Life of the Author, 
 
 Table of Contents, ------ 
 
I, Philip Ogden, was born in Bath, Maine, September sixth, 1871. 
 My earliest instruction was received privately from members of the 
 family, with whom a knowledge of the languages, both ancient and 
 modern, was considered an essential. Later, my final preparation for 
 college was made at Cheltenham Military Academy, under the Rev. 
 Samuel Clements, D. D. The summer of 1890 I passed in Germany, 
 carrying on my college work in German, and I graduated with the 
 degree of B. A. from Cornell University in 1891, with special mention 
 in Greek, which I took with Professor B. I. Wheeler. While in 
 college, I did extra work in the Italian and French languages under 
 Professor T. F. Crane. The following September I accepted a position 
 in the Shattuck School at Faribault, Minn., as instructor of languages, 
 where I remained for one year. In June, I went to Paris and pursued 
 the study of French for the three months of the vacation, returning in 
 time to fulfil an engagement as master in St. Paul's School at Concord, 
 N. H., where I remained two years. The summer of '94 was again 
 spent in France, investigating French history and questions of lan- 
 guage. In the fall, I entered Johns Hopkins University, selecting that 
 institution as most ably fitted to aid me in my pursuit of the Romance 
 languages. At the close of the first year I again went to Europe, 
 making Florence my chief point, and the study of Italian. Last year 
 I was again abroad, at Cambridge, England, and at Paris, investigating 
 MSS. connected with the subject of my thesis. 
 
 I embrace this opportunity to express my grateful recognition of 
 the inspiration and sympathetic encouragement received from the head 
 of the department of Romance Languages, Professor A. Marshall 
 Elliott, and of the assistance received from the corps of instructors 
 gathered around him. 
 
 33 
 
FOURTEEN DAY ITSP 
 
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