"I will sing for my heart which I will comfort, for in spite of my great loss I do not wish to die, and yet I see no one return from the wild [133] land where he is who calms my heart when I hear mention of him. God! when they cry Outre (a pilgrim marching cry), Lord help the pilgrim for whom I tremble, for wicked are the Saracens. "From this fact have I confidence, that I have received his vows and when the gentle breeze blows which comes from the sweet country where he is whom I desire, readily do I turn my face thither: then I think I feel him beneath my grey mantle." The idea in the second stanza quoted is borrowed from Bernard de Ventadour-- Quant la douss' aura venta Deves vostre païs. Vejaire m'es qu'eu senta Un ven de Paradis. The greater part of this poetry repeats, in another language, the well-worn mannerisms of the troubadours: we find the usual introductory references to the spring or winter seasons, the wounding glances of ladies' eyes, the tyranny of love, the reluctance to be released from his chains and so forth, decked out with complications of stanza form and rime-distribution. Dialectical subtlety is not absent, and occasionally some glow of natural feeling may be perceived; but that school in general was careful to avoid the vulgarity of unpremeditated emotion and appealed only to a restricted class of the initiated. Changes in the constitution and customs of society brought this school [134] to an end at the close of the thirteenth century, and a new period of lyric poetry was introduced by Guillaume de Machaut and Eustache Deschamps. Of the troubadours in England there is little to be said. The subject has hitherto received but scanty attention. Richard Coeur de Lion was as much French as English; his mother, Queen Eleanor, as we have seen, was Southern French by birth and a patroness of troubadours. Richard followed her example; his praises are repeated by many troubadours. What truth there may be in Roger of Hovenden's statement concerning his motives cannot be said; "Hic ad augmentum et famam sui nominis emendicata carmina et rhythmos adulatorios comparabat et de regno Francorum cantores et joculatores muneribus allexerat ut de illo canerent in plateis, et jam dicebatur ubique, quod non erat talis in orbe." The manuscripts have preserved two poems attributed to him, one referring to a difference with the Dauphin of Auvergne, Robert I. (1169-1234), the other a lament describing his feelings during his imprisonment in Germany (1192-1194). Both are in French though a Provençal verson is extant of the latter. The story of Richard's discovery by Blondel is pure fiction.[35]