These practices are world-wide, and world-old. The thoroughly popular songs, thus evolved, became the rude material of a professional class of minstrels, when these arose, as in the heroic age of Greece. A minstrel might be attached to a Court, or a noble; or he might go wandering with song and harp among the people. In either case, this class of men developed more regular and ample measures. They evolved the hexameter; the _laisse_ of the _Chansons de Geste_; the strange technicalities of Scandinavian poetry; the metres of Vedic hymns; the choral odes of Greece. The narrative popular chant became in their hands the Epic, or the mediæval rhymed romance. The metre of improvised verse changed into the artistic lyric. These lyric forms were fixed, in many cases, by the art of writing. But poetry did not remain solely in professional and literary hands. The mediæval minstrels and _jongleurs_ (who may best be studied in Léon Gautier’s Introduction to his _Epopées Françaises_) sang in Court and Camp. The poorer, less regular brethren of the art, harped and played conjuring tricks, in farm and grange, or at street corners. The foreign newer metres took the place of the old alliterative English verse. But unprofessional men and women did not cease to make and sing. Some writers have decided, among them Mr. Courthope, that our traditional ballads are degraded popular survivals of literary poetry. The plots and situations of some ballads are, indeed, the same as those of some literary mediæval romances. But these plots and situations, in Epic and Romance, are themselves the final literary form of _märchen_, myths and inventions originally _popular_, and still, in certain cases, extant in popular form among races which have not yet evolved, or borrowed, the ampler and more polished and complex _genres_ of literature. Thus, when a literary romance and a ballad have the same theme, the ballad may be a popular degradation of the romance; or, it may be the original popular shape of it, still surviving in tradition. A well-known case in prose, is that of the French fairy tales. Perrault, in 1697, borrowed these from tradition and gave them literary and courtly shape. But _Cendrillon_ or _Chaperon Rouge_ in the mouth of a French peasant, is apt to be the old traditional version, uncontaminated by the refinements of Perrault, despite Perrault’s immense success and circulation. Thus tradition preserves pre-literary forms, even though, on occasion, it may borrow from literature. Peasant poets have been authors of ballads, without being, for all that, professional minstrels. Many such poems survive in our ballad literature.