Dames_ takes up a mediaeval theme in a mediaeval style. The _procureurs_ (advocates) of arms and of ladies endeavour to show each that his client--war or love--deserves the chief attention of a prince. Here, as elsewhere with Coquillart, though of course more covertly, satire dominates. But the best of the pieces attributed to Coquillart are his monologues. There are three of these, the _Monologue Coquillart_, the _Monologue du Puys_, and the _Monologue du Gendarme Casse_. This last is a ferocious satire on its subject, coarse in language, like most of the author's poems, but full of rude vigour. The professional soldier as distinguished from the feudal militia or the train-bands of the towns was odious to the later middle ages. [Sidenote: Baude.] Henri Baude[160] is a still less substantial figure. He seems to have been an _elu_ (member of a provincial board) for the province of Limousin, but to have lived mostly at Paris. He was born at Moulins towards the beginning of the second quarter of the century, and formed part of the poetical circle of Charles d'Orleans in his old age. He had troubles with lawless seigneurs and with the police of Paris; he finally succeeded in obtaining the protection of the Duke of Bourbon, and he did not die till the end of the century. Only a selection from his poems has yet been published. The chief thing remarkable about them (they are mostly occasional and of no great length) is the plainness, the directness, and, in not a few cases, the elegance of the diction, which differs remarkably from the cumbrous phrases and obscure allusive conceits of the time. Many of them are personal appeals for protection and assistance, others are satirical. Baude had a peculiar mastery of the rondeau form. His rondeau to the king, expressing a sentiment often uttered by lackpenny bards in the days of patrons, is a good example of his style, though it is hardly as simple and devoid of obscurity as usual. [Sidenote: Martial d'Auvergne.]