Nevertheless, the antithesis may easily be pushed too far. After all, the minstrels were entertainers, and therefore their business was to entertain. Did the lord yawn over a gest or a saintly legend? the discreet minstrel would be well advised to drop high art, and to substitute some less exacting, even if less refined fashion of passing the time. The instincts of boor and baron were not then, of course, so far apart as they are nowadays. And as a matter of fact we find many of the most eminent minstrels boasting of the width and variety of their accomplishments. Thus of Baudouin II, count of Guisnes (1169-1206), it is recorded that he might have matched the most celebrated professionals, not only in _chansons de gestes_ and _romans d’aventure_ but also in the _fabliaux_ which formed the delight of the vulgar _bourgeoisie_[261]. Less aristocratic performers descended even lower than Baudouin de Guisnes. If we study the répertoires of such _jougleurs_ as the diabolic one in Gautier de Coincy’s miracle[262], or Daurel in the romance of _Daurel et Beton_[263], or the disputants who vaunt their respective proficiencies in _Des Deus Bordeors Ribauz_[264], we shall find that they cover not only every conceivable form of minstrel literature proper, but also tricks with knives and strings, sleight of hand, dancing and tumbling. Even in Provence, the _Enseignamens_ for _joglars_ warn their readers to learn the arts of imitating birds, throwing knives, leaping through hoops, showing off performing asses and dogs, and dangling marionettes[265]. So that one discerns the difference between the lower and the higher minstrels to have been not so much that the one did not sink so low, as that the other, for lack of capacity and education, did not rise so high.