The _Trouvères_, or poets, who wrote the Fabliaux flourished chiefly from the close of the twelfth century to the earlier part of the fourteenth. They all composed in French, which was a language then common to England and France, but some of their compositions bear internal evidence of having been composed in England. No objection appears to have been entertained to the recital of these licentious stories before the ladies of the castle or of the domestic circle, and their general popularity was so great, that the more pious clergy seem to have thought necessary to find something to take their place in the post-prandial society of the monastery, and especially of the nunnery; and religious stories were written in the same form and metre as the fabliaux. Some of these have been published under the title of _Contes Devots_, and, from their general dulness, it may be doubted if they answered their purpose of furnishing amusement so well as the others. Troubadour was the Provençal name for the _Trouvères_, and in the twelfth century these poets flourished so luxuriantly that their influence is still felt in the poetic sentiment of today. Yet they were in no sense humorous writers, unless their satire on the foibles and follies of the times may be so construed. They were Boudoir poets and their airs and graces were romantic rather than mirthful. Much of their production was of the languishing, sighing order, but the Fabliaux, of a ruder narrative type were also popular. These Fabliaux, now usually given out in expurgated editions, were extremely plain spoken, and, as so often occurred, were adopted and adapted by the monks for the real or pretended furtherance of their religious teachings. The Troubadours did much for lyric art by their conscientious attention to form, but the humor of their productions is almost a negligible quantity. Their songs were invariably sung, and usually to the accompaniment of the blue-ribboned guitar, but oftenest the burden was of sorrowful intent. And it was, perhaps, owing to the want of a humorous sense, that the Troubadours could carry on their lackadaisical and lovesick careers. Yet there were some of the Troubadours’ songs which showed a departure from the usual romantic wailings and a few are here given. Doubtless the very free translation adds to their humor, but the motive is clear. Rambaud d’Orange thus declares his policy in treatment to the fair sex. I. My boy, if you’d wish to make constant your Venus, Attend to the plan I disclose. Her first naughty word you must meet with a menace, Her next--drop your fist on her nose. When she’s bad, be you worse, When she scolds, do you curse, When she scratches, just treat her to blows. II.