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Many circumstances contributed to make Paris the capital of the intellectual world in the twelfth and thirteenth centuries. France has ever been the home of great enthusiasms and has not feared to "follow where airy voices lead." The conception and enforcement of a Truce of God (Trève de Dieu) whereby all acts of hostility in private or public wars ceased during certain days of the week or on church festivals; the noble ideal of Christian chivalry; the first crusade all had their origin in France. The crusaders carried the prestige of the French name and diffused the French idiom over Europe. It was a French monk preaching in France who gave voice to the general enthusiasm; a French pope approved his impassioned oration; a French shout "Dieu le veut" became the crusader's war-cry. The conquest of the Holy Land was organised by the French, its first Christian king was a French knight, its laws were indited in French, and to this day every Christian in the East is a Frank whatever tongue he may speak. The French jurists were famed for their supreme excellence all over Western Europe. In the thirteenth century Brunette Latini wrote his most famous work, the Livres dou Trésor, in French, because it was la parleure plus delitable, il plus commune
Once more I return to the early poetry of France, with which our own poetry, in its origins, is indissolubly connected. In the twelfth and thirteenth centuries, that seed-time of all modern language and literature, the poetry of France had a clear predominance in Europe. Of the two divisions of that poetry, its productions in the langue d'oïl and its productions in the langue d'oc, the poetry of the langue d'oc, of southern France, of the troubadours, is of importance because of its effect on Italian literature; the first literature of modern Europe to strike the true and grand note, and to bring forth, as in Dante and Petrarch it brought forth, classics. But the predominance of French poetry in Europe, during the twelfth and thirteenth centuries, is due to its poetry of the langue d'oïl, the poetry of northern France and of the tongue which is now the French language. In the twelfth century the bloom of this romance-poetry was earlier and stronger in England, at the court of our Anglo-Norman kings, than in France itself. But it was a bloom of French poetry; and as our native poetry formed itself, it formed itself out of this. The romance-poems which took possession of the heart and imagination of Europe in the twelfth and thirteenth centuries are French; "they are," as Southey justly says, "the pride of French literature, nor have we anything which can be placed in competition with them." Themes were supplied from all quarters: but the romance-setting which was common to them all, and which gained the ear of Europe, was French. This constituted for the French poetry, literature, and language, at the height of the Middle Age, an unchallenged predominance. The Italian Brunetto Latini, the master of Dante, wrote his Treasure in French because, he says, "la parleure en est plus délitable et plus commune
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