The completeness of the representation of the time given by the poem is of course enormously increased by this second part, and the individual touches, though rather lost in the wilderness of "skipping octosyllables," are wonderfully sharp and true at times. Yet to some judgments at any rate the charm of the piece will seem mostly to have vanished when Bialacoil is once shut up in his tower. In mere poetry Jean de Meung is almost infinitely the inferior of William of Lorris: and though the latter may receive but contemptuous treatment from persons who demand "messages," "meanings," and so forth, others will find message and meaning enough in his allegorical presentation of the perennial quest, of "the way of a man with a maid," and more than enough beauty in the pictures with which he has adorned it. He is indeed the first great word-painter of the Middle Ages, and for long--almost to the close of them--most poets simply copied him, while even the greatest used him as a starting-point and source of hints.[148] Also besides pictures he has music--music not very brilliant or varied, but admirably matching his painting, soft, dreamy, not so much monotonous as uniform with a soothing uniformity. Few poets deserve better than William of Lorris the famous hyperbole which Greek furnished in turn to Latin and to English. He is indeed "softer than sleep," and, as soft sleep is, laden with gracious and various visions. [Footnote 148: The following of the Rose would take a volume, even treated as the poem itself is here. The English version has been referred to: Italian naturalised it early in a sonnet cycle, _Il Fiore_. Every country welcomed it, but the actual versions are as nothing to the imitations and the influence.] [Sidenote: _Marie de France and Ruteboeuf._] The great riches of French literature at this time, and the necessity of arranging this history rather with a view to "epoch-making" kinds and books than to interesting individual authors, make attention to many of these latter impossible here. Thus Marie de France[149] yields to few authors of our two centuries in charm and interest for the reader; yet for us she must be regarded chiefly as one of the practitioners of the fable, and as the chief practitioner of the _Lai_, which in her hands is merely a subdivision of the general romance on a smaller scale. So, again, the _trouvere_ Ruteboeuf, who has been the subject of critical attention, a little disproportionate perhaps, considering the vast amount of work as good as his which has hardly any critical notice, but still not undeserved, must serve us rather as an introducer of the subject of dramatic poetry than as an individual, though his work is in the bulk of it non-dramatic, and though almost all of it is full of interest in itself. [Footnote 149: See note above, p. 286.]