The amorous note recurs in those types of minstrel song which are most directly founded upon folk models. Such are the _chansons à danser_ with their refrains, the _chansons de mal mariées_, in which the ‘_jalous_’ is often introduced, the _aubes_ and the _pastourelles_[565]. Common in all of these is the spring setting proper to the _chansons_ of our festivals, and of the ‘queen’ or ‘king’ there is from time to time mention. The leading theme of the _pastourelles_ is the wooing, successful or the reverse, of a shepherdess by a knight. But the shepherdess has generally also a lover of her own degree, and for this pair the names of Robin and Marion seem to have been conventionally appropriated. Robin was perhaps borrowed by the _pastourelles_ from the widely spread refrain ‘Robins m’aime, Robins m’a: Robins m’a demandée: si m’ara[566].’ The borrowing may, of course, have been the other way round, but the close relation of the _chanson à danser_ with its refrain to the dance suggests that this was the earliest type of lyric minstrelsy to be evolved, as well as the closest to the folk-song pattern. The _pastourelle_ forms a link between folk-song and drama, for towards the end of the thirteenth century Adan de la Hale, known as ‘le Bossu,’ a minstrel of Arras, wrote a _Jeu de Robin et Marion_, which is practically a _pastourelle par personnages_. The familiar theme is preserved. A knight woos Marion, who is faithful to her Robin. Repulsed, he rides away, but returns and beats Robin. All, however, ends happily with dances and _jeux_ amongst the peasants. Adan de la Hale was one of the train of Count Robert of Artois in Italy. The play may originally have been written about 1283 for the delectation of the court of Robert’s kinsman, Charles, king of Naples, but the extant version was probably produced about 1290 at Arras, when the poet was already dead. Another hand has prefixed a dramatic prologue, the _Jeu du Pèlerin_, glorifying Adan, and has also made some interpolations in the text designed to localize the action near Arras. The performers are not likely to have been villagers: they may have been the members of some _puy_ or literary society, which had taken over the celebration of the summer festival. In any case the _Jeu de Robin et Marion_ is the earliest and not the least charming of pastoral comedies[567].