province, Champagne. Both Deschamps and Machault exhibit strongly the characteristics of the time. Their ballades are for the most part either moral or occasional in subject, and rarely display signs of much attention to elegance of phraseology or to weight and value of thought. In the enormous volume of their works, amounting in all to nearly 200,000 lines, and as yet mostly unpublished, there is to be found much that is of interest indirectly, but less of intrinsic poetical worth. The artificial forms in which they for the most part write specially invite elegance of expression, point, and definiteness of thought, qualities in which both, but especially Deschamps, are too often deficient. When, for instance, we find the poet in his anxiety to discourage swearing, filling, in imitation of two bad poets of his time, one, if not two ballades[116] with a list of the chief oaths in use, it is difficult not to lament the lack of critical spirit displayed. [Sidenote: Froissart.] Froissart, though inferior to Lescurel, and though far less remarkable as a poet than as a prose writer, can fairly hold his own with Deschamps and Machault, while he has the advantage of being easily accessible[117]. The later part of his life having been given up to history, he is not quite so voluminous in verse as his two predecessors. Yet, if the attribution to him of the _Cour d' Amour_ and the _Tresor Amoureux_ be correct, he has left some 40,000 or 50,000 lines. The bulk of his work consists of long poems in the allegorical courtship of the time, interspersed with shorter lyrical pieces in the prevailing forms. One of these poems, the _Buisson de Jonece_, is interesting because of its autobiographical details; and some shorter pieces approaching more nearly to the _Fabliau_ style, _Le Dit du Florin_, _Le Debat du Cheval et du Levrier_, etc., are sprightly and agreeable enough. For the most part, however, Froissart's poems, like almost all the poems of the period, suffer from the disproportion of their length to their matter. If the romances of the time, which are certainly not destitute of incident, be tedious from the superabundance of prolix description, much more tedious are these recitals of hyperbolical passion tricked out with all the already stale allegorical imagery of the _Roman de la Rose_ and with inappropriate erudition of the fashion which Jean de Meung had confirmed, if he did not set it. [Sidenote: Christine de Pisan.]