FLORE AND BLANCHEFLEUR, a 13th-century romance. This tale, generally supposed to be of oriental origin, relates the passionate devotion of two children, and their success in overcoming all the obstacles put in the way of their love. The romance appears in differing versions in French, English, German, Swedish, Icelandic, Italian, Spanish, Greek and Hungarian. The various forms of the tale receive a detailed notice in E. Hausknecht's version of the 13th-century Middle English poem of "Floris and Blauncheflur" (_Samml. eng. Denkmäler_, vol. v. Berlin, 1885). Nothing definite can be stated of the origin of the story, but France was in the 12th and 13th centuries the chief market of romance, and the French version of the tale, _Floire et Blanchefleur_, is the most widespread. Floire, the son of a Saracen king of Spain, is brought up in constant companionship with Blanchefleur, the daughter of a Christian slave of noble birth. Floire's parents, hoping to destroy this attachment, send the boy away at fifteen and sell Blanchefleur to foreign slave-merchants. When Floire returns a few days later he is told that his companion is dead, but when he threatens to kill himself, his parents tell him the truth. He traces her to the tower of the maidens destined for the harem of the emir of Babylon, into which he penetrates concealed in a basket of flowers. The lovers are discovered, but their constancy touches the hearts of their judges. They are married, and Floire returns to his kingdom, when he and all his people adopt Christianity. Of the two 12th-century French poems (ed. Édélestand du Méril, Paris, 1856), the one contains the love story with few additions, the other is a romance of chivalry, containing the usual battles, single combats, &c. Two lyrics based on episodes of the story are printed by Paulin Paris in his _Romancero français_ (Paris, 1883). The English poem renders the French version without amplifications, such as are found in other adaptations. Its author has less sentiment than his original, and less taste for detailed description. Among the other forms of the story must be noted the prose romance (c. 1340) of Boccaccio, _Il Filocolo_, and the 14th-century _Leggenda della reina Rosana e di Rosana sua figliuola_ (pr. Leghorn, 1871). The similarity between the story of Floire and Blanchefleur and _Chante-fable of Aucassin et Nicolete_[1] has been repeatedly pointed out, and they have even been credited with a common source. Entry: FLORE
The Dorian lyric poetry, in contrast with the Aeolian, had more of a public than of a personal character, and was for the most part choral. Hymns or choruses for the public worship of the gods, and odes to be sung at festivals on occasions of public interest, were its characteristic forms. Its central inspiration was the pride of the Dorians in the Dorian past, in their traditions of worship, government and social usage. The history of the Dorian lyric poetry does not present us with vivid expressions of personal character, like those of Alcaeus and Sappho, but rather with a series of artists whose names are associated with improvements of form. Thus Alcman (the Doric form of Alcmaeon; 660 B.C.) is said to have introduced the balanced movement of strophe and antistrophe. Stesichorus, of Himera in Sicily, added the epode, sung by the chorus while stationary after these movements; Arion of Methymna in Lesbos gave a finished form to the choral hymn ("dithyramb") in honour of Dionysus, and organized the "cyclic" or circular chorus which sang it at the altar. Ibycus of Rhegium (c. 540) wrote choral lyrics after Stesichorus and glowing love-songs in the Aeolic style. Entry: A
GEIBEL, EMANUEL (1815-1884), German poet, was born at Lübeck on the 17th of October 1815, the son of a pastor in the city. He was originally intended for his father's profession, and studied at Bonn and Berlin, but his real interests lay not in theology but in classical and romance philology. In 1838 he accepted a tutorship at Athens, where he remained until 1840. In the same year he brought out, in conjunction with his friend Ernst Curtius, a volume of translations from the Greek. His first poems, _Zeitstimmen_, appeared in 1841; a tragedy, _König Roderich_, followed in 1843. In the same year he received a pension from the king of Prussia, which he retained until his invitation to Munich by the king of Bavaria in 1851 as honorary professor at the university. In the interim he had produced _König Sigurds Brautfahrt_ (1846), an epic, and _Juniuslieder_ (1848, 33rd ed. 1901), lyrics in a more spirited and manlier style than his early poems. A volume of _Neue Gedichte_, published at Munich in 1857, and principally consisting of poems on classical subjects, denoted a further considerable advance in objectivity, and the series was worthily closed by the _Spätherbstblätter_, published in 1877. He had quitted Munich in 1869 and returned to Lübeck, where he died on the 6th of April 1884. His works further include two tragedies, _Brunhild_ (1858, 5th ed. 1890), and _Sophonisbe_ (1869), and translations of French and Spanish popular poetry. Beginning as a member of the group of political poets who heralded the revolution of 1848, Geibel was also the chief poet to welcome the establishment of the Empire in 1871. His strength lay not, however, in his political songs but in his purely lyric poetry, such as the fine cycle _Ada_ and his still popular love-songs. He may be regarded as the leading representative of German lyric poetry between 1848 and 1870. Entry: GEIBEL
Boccaccio had the same enthusiastic love of antiquity and the same worship for the new Italian literature as Petrarch. He was the first, with the help of a Greek born in Calabria, to put together a Latin translation of the _Iliad_ and the _Odyssey_. His vast classical learning was shown specially in the work _De genealogia deorum_, in which he enumerates the gods according to genealogical trees constructed on the authority of the various authors who wrote about the pagan divinities. This work marked an era in studies preparatory to the revival of classical learning. And at the same time it opened the way for the modern criticism, because Boccaccio in his researches, and in his own judgment was always independent of the authors whom he most esteemed. The _Genealogia deorum_ is, as A. H. Heeren said, an encyclopaedia of mythological knowledge; and it was the precursor of the great humanistic movement which was developed in the 15th century. Boccaccio was also the first historian of women in his _De claris mulieribus_, and the first to undertake to tell the story of the great unfortunate in his _De casibus virorum illustrium_. He continued and perfected former geographical investigations in his interesting book _De montibus, silvis, fontibus, lacubus, fluminibus, stagnis, et paludibus, et de nominibus maris_, for which he made use of Vibius Sequester, but which contains also many new and valuable observations. Of his Italian works his lyrics do not come anywhere near to the perfection of Petrarch's. His sonnets, mostly about love, are quite mediocre. His narrative poetry is better. Although now he can no longer claim the distinction long conceded to him of having invented the octave stanza (which afterwards became the metre of the poems of Boiardo, of Ariosto and of Tasso), yet he was certainly the first to use it in a work of some length and written with artistic skill, such as is his _Teseide_, the oldest Italian romantic poem. The _Filostrato_ relates the loves of Troiolo and Griseida (Troilus and Cressida). It may be that Boccaccio knew the French poem of the Trojan war by Benoît de Sainte-More; but the interest of the Italian work lies in the analysis of the passion of love, which is treated with a masterly hand. The _Ninfale fiesolano_ tells the love story of the nymph Mesola and the shepherd Africo. The _Amorosa Visione_, a poem in triplets, doubtless owed its origin to the _Divina Commedia_. The _Ameto_ is a mixture of prose and poetry, and is the first Italian pastoral romance. Entry: 2
The poets of the earlier period of the Greek revival were Constantinos Rhigas (q.v.), the Alcman of the revolutionary movement, whose songs fired the spirit of his fellow-countrymen; Christopoulos (1772-1847), a Phanariote, who wrote some charming Anacreontics, and Jacobos Rizos Neroulos (1778-1850), also a Phanariote, author of tragedies, comedies and lyrics, and of a work in French on modern Greek literature. They are followed in the epoch of Greek independence by the brothers Panagiotes and Alexander Soutzos (1800-1868 and 1803-1863) and Alexander Rhizos Rhangabes (Rhankaves, 1810-1892), all three Phanariotes. Both Soutzos had a rich command of musical language, were highly ideal in their conceptions, strongly patriotic and possessed an ardent love of liberty. Both imitated to some extent Byron, Lamartine and Béranger; they tried various forms of poetry, but the genius of Panagiotes was essentially lyrical, that of Alexander satirical. The other great poet of the Greek revival, Alexander Rizos Rhangabe, was a writer with a fine poetic feeling, exquisite diction and singular beauty and purity of thought and sentiment. Besides numerous odes, hymns, ballads, narrative poems, tragedies and comedies, he wrote several prose works, including a history of ancient Greece, a history of modern Greek literature, several novels and works on ancient art and archaeology. Among the numerous dramatic works of this time may be mentioned the [Greek: Maria Doxipatrê] of Demetrios Bernardakes, a Cretan, the scene of which is laid in the Morea at the time of the crusades. Entry: A