Whether he was, or was not, can never now be satisfactorily answered. He left his poem unfinished, hardly, perhaps, begun. Whatever has to be said on the subject of its original plan, must be necessarily conjectural. We incline, on the whole, to believe that he did have a religious purpose, which was not understood by Jean de Meung; that one who bears in mind the religious history of Provence as well as the character of its situation, may well construct an interpretation of the work of Guillaume de Lorris far more probable and consistent than that of Molinet or of Marot.
Jean de Meung, so-called because he was born at the little town of Meung, in the department of Loiret—
'De Jean de Meung, s'enfle le cours de Loire.'
Jean Clopinel, Limping John, because he was lame, finding himself, some forty years later, with his head stuffed full of all the learning of his time, and nearly bursting with sentiments, convictions, and opinions, on religion, politics, social economy, and science, began, one may suppose, to cast about for some means of getting rid of his burden. Lighting on the unfinished and half-forgotten work of Guillaume de Lorris, he conceived the idea of finishing the allegory, and making it the medium of popularizing his own opinions. He could hardly have hit upon a readier plan. It was not yet a time for popular science; there were no treatises in the vernacular on history, theology, and political economy, and the only way of getting at people was by means of rhyme. But Jean de Meung was no allegorist, and no storyteller. He took up the tale, indeed, where his predecessor left it, and carried it on, it is true, but in so languid a manner, with so many digressions, turns and twists, that what little interest was originally in it goes clean out. Nothing can well be more tedious than those brief portions devoted to the conduct of the story. It finishes, somehow. Love calls his barons together, is defeated, sends an embassy to his mother, Venus, who comes to his assistance; the fortress is taken, Bel Accueil is released, and the Rose is plucked. In the course of the poem, Malebouche gets his tongue cut out, Déduit, Doux Regard, Léesce, Doux Penser, and others drop out of the allegory altogether; the Garden is forgotten; all the little careful accessories of Guillaume de Lorris, such as the arrows of Love and his commandments, are contemptuously ignored. Those that remain are changed, the Friend in the second part being very different from the Friend in the first, while Richesse appears with a new function. Every incident is made the peg for a digression, and every digression leads to a dozen others. The losses of the old characters are made up by the creation of new ones, and, in Faux Semblant, the hypocrite and monk, Jean de Meung anticipates Rabelais and surpasses Erasmus.
Between Guillaume de Lorris and his successor there is a great gulf hardly represented by the forty years of interval. Men's thoughts had widely changed. The influence of Provençal poetry was finally and completely gone, and its literature utterly fallen, to be revived after many centuries only by the scholar and the antiquarian. More than this, the thoughts and controversies of men which had turned formerly upon the foundations of the Christian faith, now turned either on special points of doctrine, or on the foundation and principles of society.
No writers, so far as we remember, have noticed the entire separation between the two parts of the romance. They are independent works. Even the allegory changes form, and the idea of the trouvère, Guillaume, was lost and forgotten when his successor professed to carry it on.
In passing from one to the other, the transition is like that from a clear, cold, mountain stream to a turbid river, whose waters are stained with factory refuse, and whose banks are lined with busy towns. The mystic element suddenly disappears. Away from the woodland and the mountains and among the haunts of men, it cannot live. The idea of love becomes gross and vulgar. The fair, clear voice of the poet grows thick and troubled; his gaze drops from the heavens to the earth. It is no longer a trouvère bent on developing a hidden meaning, and wrapping mighty secrets of religious truth in a cold and careful allegory; it is a man, eager and impetuous, alive to all the troubles and sorrows of humanity, with a supreme contempt for love, and for woman, the object of love, and a supreme carelessness for the things that occupied the mind of his predecessor. We have said that new characters were introduced. The boundaries of the old allegory were, indeed, too narrow. Jean de Meung had to build, so to speak, the walls of his own museum. It was to be a museum which should contain all knowledge of the time; to hold miscellaneous collections of facts, opinions, legends, and quotations, than which nothing can be more bewildering, nothing more unmethodical, nothing more bizarre.
As a poet he is superior, we think, to his predecessor, though Guillaume de Lorris can only be reckoned as a second-rate versifier. He is diffuse, apt to repeat himself, generally monotonous, and sometimes obscure. His imagination is less vivid, and his style less clear, than those of Guillaume de Lorris. Occasionally, however, passages of beauty occur. The following, for example, diffuse as it is, appears to us to possess some of the elements of real poetry. The poet is describing a tempest followed by fair weather. Nature weeps at the wrath of the winds:—
'The air itself, in truth, appears
To weep for this in flooded tears.