Not the least important division of early French literature, in point of bulk and peculiarity, though not always the most important in point of literary excellence, consists of the later lyrical and miscellaneous poems of the fourteenth and early fifteenth centuries. By the end of the thirteenth century the chief original developments had lost their first vigour, while, on the other hand, the influence of the regular forms of Provencal poetry had had time to make itself fully felt. There arose in consequence, in northern France, a number of artificial forms, the origin and date of which is somewhat obscure, but which rapidly attained great popularity, and which continued for fully two centuries almost to monopolise the attention of poets who did not devote themselves to narrative. These forms, the Ballade, the Rondeau, the Virelai, etc., have already been alluded to as making their appearance among the later growths of early lyrical poetry. They must now be treated in the abundant development which they received at the hands of a series of poets from Lescurel to Charles d'Orleans. [Sidenote: General Character. Varieties.] The principle underlying all these forms is the same, that is to say, the substitution for the half-articulate refrain of the early Romances, of a refrain forming part of the sense, and repeated with strict regularity at the end or in the middle of stanzas rigidly corresponding in length and constitution. In at least two cases, the _lai_ and the _pastourelle_, the names of earlier and less rigidly exact forms were borrowed for the newer schemes; but the more famous and prevailing models[110], the Ballade, with its modification the Chant Royal, and the Rondel, with its modifications the Rondeau and the Triolet, are new. It has been customary to see in the adoption of these forms a sign of decadence; but this can hardly be sustained in face of the fact that, in Charles d'Orleans and Villon respectively, the Rondel and the Ballade were the occasion of poetry far surpassing in vigour and in grace all preceding work of the kind, and also in presence of the service which the sonnet--a form almost if not quite as artificial--has notoriously done to poetry. It may be admitted, however, that the practitioners of the Ballade and the Rondeau soon fell into puerile and inartistic over-refinements. The forms of Ballade known as Equivoquee, Fratrisee, Couronnee, etc., culminating in the preposterous Emperiere, are monuments of tasteless ingenuity which cannot be surpassed in their kind, and they have accordingly perished. But both in France and in England the Ballade itself and a few other forms have retained popularity at intervals, and have at the present day broken out into fresh and vigorous life. [Sidenote: Jehannot de Lescurel.] [Sidenote: Guillaume de Machault.] [Sidenote: Eustache Deschamps]