To determine at what period exactly mediaeval literature ceases in France and modern literature begins, is not one of the easiest problems of literary history. It has sometimes been solved by the obvious expedient of making out of the fifteenth century a period of transition, sometimes by continuing the classification of 'mediaeval' until the time when Marot and Rabelais gave unmistakeable evidence of the presence and working of the modern spirit. Perhaps, however, there may, after all, have been something in the instinct which, in words clumsily enough chosen, made Boileau date modern French poetry from Villon[153], and there can hardly be any doubt that, as far as spirit if not form goes, modern French prose dates from Comines. These two contemporary authors, moreover, have in them the characteristic which perhaps more than any other distinguishes modern from mediaeval literature, the predominance of the personal element. In their works, especially if Villon be taken with the immediately preceding and partially contemporary Charles d'Orleans, a difference of the most striking kind is noticeable at once. It is not that the prince who served the god Nonchaloir so piously is deficient in personal characteristics or personal attractiveness, but that his personality is still, so to speak, generic rather than individual. He is still the Trouvere of the nobler class, dallying with half-imaginary woes in the forms consecrated by tradition to the record of them. Not so the vagabond whose words after four centuries appeal directly to the spirit of the modern reader. That reader is cut off from Charles d'Orleans' world by a gulf across which he can only project himself by a great effort of study or of sympathetic determination. The barriers which separate him from Villon are slight enough, consisting mostly of trifling changes in language and manners which a little exertion easily overcomes.