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Rh Lorris and Jean de Meun we cannot but be struck, with a sense of humility at the wide gulf in human interest that lies between the two. A doubt steals over one whether there is not ground for the assertion sometimes heard made, that we were indebted to the inspiration of northern French architects and artists for the glories of our architecture, glass painting, and miniature painting in the thirteenth century.

Though the “Romance of the Rose” is commonly described and spoken of as one book, its two parts are in truth only nominally linked together by the names of the characters being carried on from the one to the other. The two parts are, in fact, the outcome of two widely differing minds, and though Jean de Meun pro­fesses to continue the work of his forerunner, his portion is altogether different from it, both as to style and purpose. Guillaume de Lorris sets out to write a love pastoral or idyll, and Jean de Meun, seeing its popularity, takes advantage thereof to give expression to the heterogeneous thought with which his brain teems.

Of the history of Guillaume de Lorris we know no more than the slight indications given by his continuator (Cap. LX. ll. 10991—11158). All that is known of Jean de Meun is likewise derived from the passage indicated above—namely, that he was born at Meun sur Loire, and was surnamed Clopinel (the Halt)