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Updated: June 10, 2025
He entered into negotiations, successively, with the Count of La Marche, the King of England, the Count of Toulouse, the King of Aragon, and the various princes and great feudal lords who had been more or less engaged in the war; and in January, 1213, says the latest and most enlightened of his biographers, "the treaty of Lorris marked the end of feudal troubles for the whole duration of St.
Very often a small burg in central Europe took the lead for its region, and big agglomerations accepted the little town's charter as a model for their own. Thus, the charter of a small town, Lorris, was adopted by eighty-three towns in south-west France, and that of Beaumont became the model for over five hundred towns and cities in Belgium and France.
Thus Gower's book, as he says at its close, stands "between earnest and game," and might be fairly described as a "Romaunt of the Rose," without either the descriptive grace of Guillaume de Lorris, or the wicked wit of Jean de Meung, but full of learning and matter, and written by an author certainly not devoid of the art of telling stories.
Inspired partly by that writer, and partly by Ovid, it was the aim of Lorris to produce an Art of Love, brought up to date, and adapted to the tastes of his aristocratic audience, with all the elaborate paraphernalia of learned disquisition and formal gallantry which was then the mode.
For both these literary fashions, which mildly exercised the ingenuity while deeply gratifying the tastes of mediaeval readers, room was easily found by Guillaume de Lorris within a framework in itself both appropriate and graceful.
Then Petrarch, Boccaccio, and the Provençal poets are his benefactors; the Romaunt of the Rose is only judicious translation from William of Lorris and John of Meung; Troilus and Creseide, from Lollius of Urbino; The Cock and the Fox, from the Lais of Marie; The House of Fame, from the French or Italian; and poor Gower he uses as if he were only a brick-kiln or stone-quarry out of which to build his house.
The poem, cast in the form of an intricate allegory, is of significance chiefly on account of its immense popularity, and for its being the fountain-head of a school of allegorical poetry which flourished for many centuries in France. Lorris died before he had finished his work, which, however, was destined to be completed in a singular manner.
A contrast no less complete, though of a different nature, is to be found in the most important poetical work of the thirteenth century Le Roman de la Rose. The first part of this curious poem was composed by GUILLAUME DE LORRIS, a young scholar who wrote for that aristocratic public which, in the previous generation, had been fascinated by the courtly romances of Chrétien de Troyes.
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