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The literary relationships of The Bruce may be briefly indicated. It stands at the beginning of Scottish literature; of its predecessors and contemporaries we have but the names, or possible versions whose place of origin is in dispute. In form and technique, including the octosyllabic couplet, it plainly depends on the French metrical romance, the most fruitful branch of a literature which, for quite two centuries, had been the mother of literatures in Western Europe. The opening line of The Bruce characterizes at once the poem itself, and what was best and most abundant in the literature of the Middle Ages. Barbour, too, it is never overlooked, announces his work as a “romance,” but as such, we gather from what precedes, only in a technical sense; and no mediæval writer would consider this popular method of treatment incompatible with strict accuracy and reality of subject: that is a modern refinement. Barbour certainly did not, nor did those who followed and used him; his selection of the model is simply the expression of his desire to do his work in “gud manere.” He anticipated Macaulay’s ambition in that his history was to differ from the most attractive literary matter only in being true. There were already in French many examples of contemporary history presented in this way as a succession of incidents on the lines of personal memoirs, though history had in the end succeeded in widening its outlook, and consequently found more fitting expression in prose. But that was of Barbour’s own age, and indeed Froissart had made his first essay, as an historian, in verse, which later he recast and continued in the form we know. All the necessities of Barbour’s case, however, led him the other way—the despised condition of the prose vernacular as a literary medium, from which, indeed, it never fully emerged; the character of his audience, which would be either learned or aristocratic; and the nature and associations of his subject, for which only the literature of romance could furnish a parallel or supply the appropriate setting. The literary qualities of The Bruce are, therefore, those of its model; it is a clear, vivid, easy-flowing narrative, and if it is also, as romances tended to be, loose in construction and discursive, it is never tedious, for it deals with real persons and events of real interest, depicted with an admiring fidelity.