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Rh of some kind. In 1513 French poems were first admitted in the competitions, and under Louis XIV. (from 1679) these were alone held eligible. This unfair arrangement, by which some of the leading poets of northern France profited, held good till 1893, when the town very properly transferred its patronage to a new Escolo moundina, but very soon restored its support to the older institution, on learning that Provencal poetry was again to be encouraged] In the two centuries that followed the glorious medieval period we have a succession of works, chiefly of a didactic and edifying character, which scarcely belong to the realm of literature proper, butrat least served to keep alive some kind of literary tradition. 'I'his dreary interval was relieved by a number of religious mystery plays, which, though dull to us, probably gave keen enjoyment to the people, and represent a more popular genre; the latest that have come down to us may be placed between the years 1450–1515. Not only did the literature deteriorate during this period, but dialects took the place of the uniform literary language employed by the troubadours, while the spoken tongue yielded more and more to French. In 1539 Francois I. forbade the use of Provencal in official documents fact that is worthy of note only as being significant in itself, not as an important factor in the decadence of Provencal letters.

On the contrary, just about this time there are signs of a revival. In 1565 the Gascon, Pey de Garros, translated the Psalms into his dialect, and two years later published a volume of poems. His love for his native tongue is genuine, and his command over it considerable; he deplores its neglect, and urges others to follow his example. Auger Gaillard (c. 1530–1595) does infinitely less credit to his province: the popularity of his light pieces was probably due to their obscenity. More in the spirit of Garros is the charming trilingual Salul composed by the famous du Bartas in honour of a visit of Marguerite de Valois to Nérac (1579): three nymphs dispute as to whether she should be welcomed in Latin, French, or Gascon, and the last, of course, wins the day. Provence proper gave birth to a poet of considerable importance in Louis Bellaud de la Bellaudiere (1532–1588), of Grasse, who, after studying at Aix, enlisted in the royal armies, and was made a prisoner at Moulins in 1572. During his captivity he wrote poems inspired by real love of liberty and of his native country (Don-Don internal, 1584 or 1 585). At Aix Bellaud subsequently became the centre of a literary circle which included most of the local celebrities; all of these paid their tribute to the poet's memory in the edition of his works published by his uncle, Pierre Paul, himself the author of pieces of small value, included in the same volume (Lous Passatens, obros el limos, &c., Marseilles, 1595). Even when Bellaud is wholly frivolous, and intent on worldly pleasures only, his work has interest as reflecting the merry, careless life of the time. A writer very popular in Provence for the light-hearted productions of his youth was- Claude Brueys (1570–1650), remarkable chiefly for comedies that deal largely with duped husbands (Jardin deys musas provensalas, not published till 1628). There is a certain charm, too, in the comedies of Claude's disciple, Gaspard Zerbin (La Perlo deys muses et comedies prouvensalos, 1655); and those critics who have read the plays of lean de Cabanes (1653–1712) and of Seguin (of Tarascon, c. 1640), still in MS., speak highly of them. The most consistently popular form of poetry in the south of France was always the noel. There has been no limit to the production of these; but very rarely does the author deserve special mention. An exception must be made in the case of Nicholas Saboly (1614–1675), who produced the best pieces of this class, both as regards beauty of language and the devotion they breathe. They have deservedly maintained their popularity to the present day. In Languedoc four poets have been cited as the best of the age-Goudelin, Michel, Sage and Bonnet. This is certainly so in the case of Pierre Goudelin (province Goudouli, 1579–1649), of Toulouse, the most distinguished name in south French literature

between the period of the troubadours and that of Jasmin. He had a good classical education, traces of which appear in all his poetry, his language and his manner being always admirable, even where his matter is lacking in depth. He is often called “ the Malherbe of the South, ” but resembles that writer only in form: his poetry, taken as a whole, has far more sap. Goudelin essayed and was successful in almost every short genre (Lou Ramelet .Moundi, 1617, republished with additions till 1678), the piece of his which is most generally admired being the stanzas to Henri IV., though others will prefer him in his gayer moods. He enjoyed enormous popularity (extending to Spain and Italy), but never prostituted his art to cheap effects. His influence, especially but not exclusively in Provence, has been deep and lasting. The fame of Jean Michel, of Nimes, rests on the Embarras de la faire de Beaucaire, a poem of astonishing vigour, but deficient in taste. Daniel Sage, of Montpellier (Las Foulies, 1650), was a man of loose morals, which are reflected in nearly all his works: his moments of genuine inspiration from other causes are rare. More worthy of being bracketed with Goudelin is the avocat Bonnet, author of the best among the open air plays that were annually performed at Béziers on Ascension Day: a number of these (dated 1616–1657) were subsequently collected, but none can compare with the opening one, Bonnet's fugement de Pairis. Another very charming poet is Nicolas Fizes, of Frontignan, whose vaudeville, the Opera de Fronlignan (1670), dealing with a slight love intrigue, and an idyllic poem on the fountain of Frontignan, show a real poetic gift. A number of Toulouse poets, mostly lauréats of the Academy, may be termed followers of Goudelin: of these François Boudet deserves mention, who composed an ode, Le T rinfe del M oundl (1678), in honour of his native dialect. The classical revival that may be noted about this time is also generally ascribed to Goudelin's influence. Its most distinguished representative was Jean de Valés, of Montech, who made excellent translations from Virgil and Persius, and wrote a brilliant burlesque of the former in the manner of Scarron (Virgile deguisat, 1648; only four books published). He also composed a pastoral idyll, which, though too long and inclined to obscenity, contains much tender description. The greatest of the pastoral poets was Francois de Cortete (1571–1655), of Prades, whose comedies, Ramounet and Miramoundo (published, unfortunately with alterations, by his son in I6S4), are written with such true feeling and in so pure a style that they can be read with real pleasure. A comedy of his dealing with Sancho Panza in the palace of the Duke has been edited. It is difficult to understand the enormous popularity of Daubasse (1664–1727), of Quercy, who belonged to the working classes; he was patronized by the nobility in exchange for panegyrics. Gascony produced two typical works in the 17th century: Ader's Gentilhomme gascoun (1610) and Dastros's Trinfe de la langue gascoune (1642). The former depicts a regular boasting Gascon who distinguishes himself in everything; while the latter is a plea in favour of the Gascon tongue, inspired by a genuine love of country. Gabriel Bedout (Parterre gasovun, 1642) is chiefly noted for his amorous solitari, called forth by the sufferings he endured from a hardhearted mistress. Louis Baron (b. 1612), living peacefully in his native village of Pouyloubrin, celebrated it with great tenderness.

In the 18th century the number of authors is much larger, but the bulk of good work produced is not equally great in proportion. The priests are mainly responsible for the literary output of Languedoc. Claude Peyrot (1709–1795) one of them, celebrates his county with true rural spirit in the Printemps rouergat and Quartre sosous. But the chief of the band is the Abbé Favre (1727–1783), the prior of Celleneuve, whose Sermoun de moussu sistre, delivered by a drunken priest against intemperance, is a. masterpiece. He also wrote a successful mock-heroic poem (Siege de Caderousse) travesties of Homer and Virgil, a prose novel depicting the country manners of the time (Histoire de Jean l’ont pris), and two comedies, which likewise give a vivid picture of the village life he knew so well. Two genuine poets are the brothers Rigaud of Montpellier: Auguste's (1760–1835) 