In support of the claim that such a woman never existed, and in explanation of the tradition itself, the learned ones inform us that with the definite establishment of these Floral Games the good citizens of Toulouse thought it best to follow in the footsteps of their bold and plain-spoken troubadour ancestors in a somewhat timid manner, and the poems which were then written were not addressed to some fair lady in real life, but to the Holy Virgin, who was frequently addressed as Clemenza [pity], and from this word the story took its rise. After a certain lapse of time, Clemenza, personified so often in their impassioned strains, became a real person to their southern imaginations, and a tomb was conveniently found which seemed to settle the matter without question. It is even asserted that the city of Toulouse is enjoying to-day other bequests which were made to it by Clemence Isaure, and that there is no more reason for doubting her existence than for doubting the existence of any other historical character of long ago. In any event, the Floral Games are still held yearly, the seven poets have become forty in number, and they compose a dignified Academy, which has some ten thousand francs a year to bestow in prizes. And the number of the prizes has been increased, as now five different flowers of gold and five of silver are bestowed each for poetry of a certain kind, and in addition there is a gold jasmine which is awarded to the most excellent prose article, and a silver pink which is a sort of prize at large, and which may be given for a composition of any character. This belief in the actual existence of Clemence Isaure is still held by many, and, in fact, the legend seems stronger than the facts adduced against it; but whatever the truth may be, the story symbolizes in a most beautiful and fitting way the part which woman has played in this Provencal country in the encouragement given to song and poetry. It was the women who gave the real encouragement to the troubadours and inspired them to their greatest efforts, and it seems but poetic justice, at least, that in Toulouse the only existing institution representative of those old troubadour days should claim a woman as its greatest patron. CHAPTER V INFLUENCE OF WOMEN IN EARLY LITERATURE