^{Note 1 in page 1} Ifor Williams, Canu Aneirin (Cardiff, 1938), Introduction. See also Kenneth Jackson's review in Antiquity (1939), and Colin A. Gresham, “The Book of Aneurin,” Antiquity (1942), pp. 237–257. Excluding variant strophes, Canu Aneirin is somewhat less than one-fourth as long as La Chanson de Roland.

^{Note 2 in page 1} Ifor Williams, Canu Llywarch Hen (Cardiff, 1935), Introduction.

^{Note 3 in page 1} It will be observed that ten of the eleven poetic devices presented in this article as common to the Old Welsh elegies and the Old French epics are mentioned as characteristic of La Chanson de Roland in the standard edition by Jenkins. See his Introduction, pp. xxxvii–xxxix and cxliii–cxliv.

^{Note 4 in page 1} In La Chanson de Roland, the average length of the strophe is 14 lines, the longest being 35 lines and the shortest, 5 lines. In Canu Aneirin, the average length of the strophe is 10 lines, the longest being 28 lines and the shortest, 3 lines.

^{Note 5 in page 2} In the Old French epics under consideration, the laisse as described is the only form of the strophe used. In Canu Aneirin, though the Welsh analogue of the laisse is used with a frequency greater than fifty per cent, about twenty-five per cent of the strophes are modified forms of the typical strophe, and more than twenty per cent are departures from it. In Marwnad Cynddylan, the strophe analogous to the laisse is alone used.

^{Note 6 in page 2} In Roland, no adjacent laisses have the same assonance. In Aneirin, four pairs of adjacent strophes have the same rime. In Marwnad Cynddylan, the rime changes with the strophe, in each instance.

^{Note 7 in page 2} Though successive strophes in which the substance is repeated are considered a specialty of the author of Roland, the most extensive series of these laisses similaires in the Old French epic occurs in Voyage de Charlemagne, in which the same basic situation is presented in twelve successive strophes, 11. 469–617. For examples from Roland, see strophes v–vi, xliii–xliv, xlviii–xlix, lxxx–lxxxi, lxxxiii–lxxxv, cxxxii–cxxxiv, CXXViii–CXXiX, CXLV–CXLVI, CLXX–CLXXii, CLXXIII–CLXXV, CCV–CCVI, CCViI–CCiX, CCLXXI–cclxxii. In Aneirin, more than two-thirds of the typical strophes are Welsh analogues of the laisses similaires; for examples, see the strophes indicated in the following footnote, under Aneirin, as having similar first lines. For detail regarding sequence of laisses, see Werner Mulertt, Laissenverbindung und Laissenwiederholung in den Chansons de Geste (Halle, 1918). Mulertt noticed various aspects of the use of repetition in the chansons de geste and attempted a classification; however, failing to notice the Old Welsh parallels, he was at a disadvantage.

^{Note 8 in page 2} Roland: v–vi, xvii–xviii, xxiii–xliv, xlviii–xlix, lxxxiv–lxxxv, cxlv–cxlvi, clxxiii–clxxiv, ccv–ccvi, ccvii–ccix, civ and cx, lxvi and cxxxvii. Voyage de Charlemagne: lines 435, 447; 469, 484, 493, 507, 518, 531, 540, 553, 565, 579, 591, 602. Aneirin: ii–v, vi–xiv, xix–xx, xxviii–xxix, xxxii–xxxiii, xxxiv–xxxvii, xxxviii-xl, lvi–lviii, lix–lxi, lxiv–lxviii, xc–xci, xiv and xxi, xl and xlii. Marwnad Cynddylan: all strophes (second to ninth) after the first, which is fragmentary.

^{Note 9 in page 3} Roland: xli–xlii, xlviii–xlix, lvi–lvii, lxxxiii–lxxxiv, cclxxi–cclxxii, xciv and cv, cclvii and cclxxrn. Voyage de Charlemagne: the last two and three lines of an extensive succession of strophes are repetitious: 465–468, 482–483, 490–492, 505–506, 515–517, 528–530, 538–539, 551–552, 562–564, 576–578, 589–590, 601–602, 616–617, 625–626. Aneirin: x–xi, xxxviii–xxxix, xliii. a–xliv. b and xxv, vi and viii. Marwnad Cynddylan: last two lines of the first eight strophes.

^{Note 10 in page 3} Roland, repetition of lines: 576 and 3755, 828 and 3613, 1412 and 3381, 2943 and 4001; repetition of phrases and words: 993–994, 1448–49, 1988–89, 2162–63, 2554–55. Voyage de Charlemagne, similar lines or phrases: 470, 485, 520, 532, 541, 554, 566, 580, 592, 603 (all second lines of laisses, except line 520, a third line); 486, 496, 542, 567 (all third lines of hisses, except line 496, a third line); 472, 497; 502, 513; 523, 534–535, 573, 595, 610. Aneirin, repetition of lines: 28 and 841, 49 and 377, 61 and 72, 181 and 1138, 805 and 828; repetition of phrases: 27 and 840, 58 and 1066, 83 and 255, 201 and 718, 344 and 1138, 345 and 921, 393 and 410, 399 and 409, 34 and 103 and 394 and 566, 89 and 96 and 355 and 693 and 699, 355 and 370 and 441, 1061 and 1162 and 1165; repetition of words: 371–372, 534–535, 923–924. (These word-repetitions constitute a sort of link between strophes very common in early Irish verse and in somewhat later Welsh verse.) Marwnad Cynddylan, repetition of phrases: 2, 36, 37.

^{Note 11 in page 3} Roland: A. H. Krappe, in Alliteration in the Chanson de Roland and in the Carmen Prodicione Guenonis (Iowa City, 1921), concludes that eighteen lines in every hundred contain alliterative combinations; that, in two-thirds of the cases, the alliteration is confined to a single line; and that, in one-third of the cases, the alliteration is a means of linking consecutive lines. Voyage de Charlemagne: Alliteration occurs in almost every line, and often also as a link between successive lines. Aneirin: Alliteration occurs in almost every line of most strophes; and in the rest, which are characterized by short lines, alliteration occurs in most of the lines. Marwnad Cynddylan: Alliteration occurs within and between almost every line. In both Welsh poems, alliteration between lines tends to occur between words at the beginning of particular lines, between words similarly placed within the lines, and between words at the end of one line and the beginning of the next—all these usages being typical of early Celtic verse, both Welsh and Irish. (In early Celtic alliteration, all vowels alliterate with one another, and certain similar consonants—p b, t d, c g— alliterate with each other.)

^{Note 12 in page 3} Roland: lines 64, 66, 107, 208, 916, 923, 1895, 2641, 2670, 3535. Aneirin: lines 83, 216, 348, 195–196, 421–422, 462–463. Marwnad Cynddylan: lines 2, 8–9, 15, 24, 36–37.

^{Note 13 in page 4} T. Atkinson Jenkins, La Chanson de Roland (New York: 1924), Introduction, p. cxliv.

^{Note 14 in page 5} James Travis, “The Relations between Early Celtic and Early Germanic Alliteration,” The Germanic Review, xvii (1942), 99–104.