224 PHILOLOGY 



at collective presentation were made in the i6th cen- 

 tury by Jehan de NOSTREDAME and Claude FAUCHET, in 

 the 1 8th by MONTFAUCON and LA CURNE DE SAINTE- 

 PALAYE. During the first half, and more, of the igth 

 century, literary scholars devoted themselves, for the 

 most part, to the publication of the huge mass of docu- 

 ments preserved. Some, to be sure, by their general 

 portrayal of the poetry of a bygone age, succeeded also 

 in lending a romantic interest to mediaeval letters: 

 RAYNOUARD gave the public not only the "Choix des 

 poesies originales des troubadours" (1816-21), but also 

 "Des Troubadours et des cours d'amour" (1817); 

 FAURIEL wrote an admirable "Histoire de la poesie 

 provencale" (1846); Paulin PARIS is remembered both 

 for "Les Manuscrits francais de la Bibliotheque du Roi" 

 (1836-48), and for " Les Romans de la Table Ronde mis en 

 nouveau language" (1868-77); Leon GAUTIER attempted 

 a great treatise on "Lesfipopees francaises" (1865-68). 

 The task of synthesis and systematic investigation was, 

 however, reserved in the main for the latter part of the 

 century. Here once more we find the insight, the charm, 

 the enthusiasm of Gaston PARIS and the keenness and 

 indefatigable zeal of Paul MEYER. Among the works 

 of the former, the best known are the "Histoire poetique 

 de Charlemagne" (1865); "La Litterature Franchise au 

 moyen age" (1888), "Francois Villon" (1901); to the 

 latter are due the "Recherches sur F epopee francaise" 

 (1867), "Les derniers troubadours de la Provence" (1871), 

 "Alexandre le Grand dans la litte*rature francaise du 

 moyen age" (1886). Two of the many distinguished 

 pupils of Gaston Paris, A. JEANROY and J. BEDIER, have 

 given an entirely new turn to our conception of the 

 course respectively of lyric and of epic poetry. Mediaeval 

 life and learning have been interestingly investigated 

 by C. V. LANGLOIS; the stage, by E. LINTILHAC. The 



