Gradually most of the chansons de geste were attached to the name of Charlemagne, whose poetical history falls into three cycles: - the geste du roi, relating his wars and the personal history of himself and his family; the southern cycle, of which Guillaume de Toulouse is the central figure; and the feudal epic, dealing with the revolts of the barons against the emperor, the rebels being invariably connected by the trouveres with the family of Doon de Mayence.
The wars of Charlemagne with his vassals are described in Girart de Roussillon, Renaus de Montauban, recounting the deeds of the four sons of Aymon, Huon de Bordeaux, and in the latter part of the Chevalerie Ogier, which belong properly to the cycle connected with Doon of Mayence.
The cycle of Guillaume has more unity than the other great cycles of Charlemagne or of Doon de Mayence, the various poems which compose it forming branches of the main story rather than independent epic poems. There exist numerous cyclic MSS.
The cavalry of his left wing stood fast, west of Doon Hill, as a pivot of manoeuvre, the northern face of Doon (where the ground rises from the burn at an average slope of fifteen degrees and is even steeper near the summit) he left unoccupied.
Of the Brock is Doon Hill (650 ft.), which overlooks the lower course of the stream and indeed the whole field.
The Scots under Leslie followed him, occupied Doon Hill commanding the town, and seized the passes between Dunbar and Berwick which Cromwell had omitted to secure.
Cromwell, after a war of manoeuvre near Edinburgh, had been compelled by want of supplies to withdraw to Dunbar; Leslie pursued and took up a position on Doon Hill, commanding the English line of retreat on Berwick.