About the beginning of the twelfth century, by which time the Provencal tongue had become settled and somewhat polished, literature in France first began to find a voice in the songs of the Troubadours, the poets of the South. It is instructive to note that it was the home of the Albigensian heresy, the land that had felt the influence of every Mediterranean civilization, that was also the home of the Troubadour literature. The Counts of Toulouse, the protectors of the heretics, were also the patrons of the poets. The same fierce persecution that uprooted the heretical faith of the Albigenses, also stilled the song of the Troubadours (see p. 493). The verses of the Troubadours were sung in every land, and to the stimulating influence of their musical harmonies the early poetry of almost every people of Europe is largely indebted.
The Trouveurs.—These were the poets of Northern France, who composed in the Langue d' Oil, or Old French tongue. They flourished during the twelfth and thirteenth centuries. While the compositions of the Troubadours were almost exclusively lyrical songs, those of the Trouveurs were epic, or narrative poems, called romances. They gather about three great names,—King Arthur, Alexander the Great, and Charlemagne. It will be noted that the poet story-tellers thus drew their material from the heroic legends of all the different races that blended to form the French nation, namely, the Celtic, the Græco-Roman, and the Teutonic.
The influence of these French romances upon the springing literatures of Europe was most inspiring and helpful. Nor has their influence yet ceased. Thus in English literature, not only did Chaucer and Spenser and all the early island-poets draw inspiration from these fountains of continental song, but the later Tennyson, in his Idylls of the King, has illustrated the power over the imagination yet possessed by the Arthurian poems of the old Trouveurs.
Froissart's Chronicles.—The first really noted prose writer in French literature was Froissart (1337–1410), whose entertaining credulity and artlessness, and skill as a story-teller, have won for him the title of the French Herodotus. Born, as he was, only a little after the opening of the Hundred Years' War, and know-
