[3] In this it was described and figured (F. B. Americana, ii. 296, pl. 55) as a distinct species, G. brachyrhynchus.
[4] The birds known as blue jays in India and Africa are rollers (q.v.).
JEALOUSY (adapted from Fr. jalousie, formed from jaloux, jealous, Low Lat. zelosus, Gr. ζῆλος, ardour, zeal, from the root seen in ζέειν, to boil, ferment; cf. “yeast”), originally a condition of zealous emulation, and hence, in the usual modern sense, of resentment at being (or believing that one is or may be) supplanted or preferred in the love or affection of another, or in the enjoyment of some good regarded as properly one’s own. Jealousy is really a form of envy, but implies a feeling of personal claim which in envy or covetousness is wanting. The jealousy of God, as in Exod. xx. 5, “For I, the Lord thy God, am a jealous God,” has been defined by Pusey (Minor Prophets, 1860) as the attribute “whereby he does not endure the love of his creatures to be transferred from him.” “Jealous,” by etymology, is however, only another form of “zealous,” and the identity is exemplified by such expressions as “I have been very jealous for the Lord God of Hosts” (1 Kings xix. 10). A kind of glass, thick, ribbed and non-transparent, was formerly known as “jealous-glass,” and this application is seen in the borrowed French word jalousie, a blind or shutter, made of slats of wood, which slope in such a way as to admit air and a certain amount of light, while excluding rain and sun and inspection from without.
JEAN D’ARRAS, a 15th-century trouvère, about whose personal history nothing is known, was the collaborator with Antoine du Val and Fouquart de Cambrai in the authorship of a collection of stories entitled Évangiles de quenouille. They purport to record the narratives of a group of ladies at their spinning, who relate the current theories on a great variety of subjects. The work dates from the middle of the 15th century and is of considerable value for the light it throws on medieval manners.
There were many editions of this book in the 15th and 16th centuries, one of which was printed by Wynkyn de Worde in English, as The Gospelles of Dystaves. A modern edition (Collection Jannet) has a preface by Anatole France.
Another trouvère, Jean d’Arras who flourished in the second half of the 14th century, wrote, at the request of John, duke of Berry, a long prose romance entitled Chronique de la princesse. It relates with many digressions the antecedents and life of the fairy Mélusine (q.v.).
JEAN DE MEUN, or De Meung (c. 1250-c. 1305), whose original name was Jean Clopinel or Chopinel, was born at Meun-sur-Loire. Tradition asserts that he studied at the university of Paris. At any rate he was, like his contemporary, Rutebeuf, a defender of Guillaume de Saint-Amour and a bitter critic of the mendicant orders. Most of his life seems to have been spent in Paris, where he possessed, in the Rue Saint-Jacques, a house with a tower, court and garden, which was described in 1305 as the house of the late Jean de Meung, and was then bestowed by a certain Adam d’Andely on the Dominicans. Jean de Meun says that in his youth he composed songs that were sung in every public place and school in France. In the enumeration of his own works he places first his continuation of the Roman de la rose of Guillaume de Lorris (q.v.). The date of this second part is generally fixed between 1268 and 1285 by a reference in the poem to the death of Manfred and Conradin, executed (1268) by order of Charles of Anjou (d. 1285) who is described as the present king of Sicily. M. F. Guillon (Jean Clopinel, 1903), however, considering the poem primarily as a political satire, places it in the last five years of the 13th century. Jean de Meun doubtless edited the work of his predecessor, Guillaume de Lorris, before using it as the starting-point of his own vast poem, running to 19,000 lines. The continuation of Jean de Meun is a satire on the monastic orders, on celibacy, on the nobility, the papal see, the excessive pretensions of royalty, and especially on women and marriage. Guillaume had been the servant of love, and the exponent of the laws of “courtoisie”; Jean de Meun added an “art of love,” exposing with brutality the vices of women, their arts of deception, and the means by which men may outwit them. Jean de Meun embodied the mocking, sceptical spirit of the fabliaux. He did not share in current superstitions, he had no respect for established institutions, and he scorned the conventions of feudalism and romance. His poem shows in the highest degree, in spite of the looseness of its plan, the faculty of keen observation, of lucid reasoning and exposition, and it entitles him to be considered the greatest of French medieval poets. He handled the French language with an ease and precision unknown to his predecessors, and the length of his poem was no bar to its popularity in the 13th and 14th centuries. Part of its vogue was no doubt due to the fact that the author, who had mastered practically all the scientific and literary knowledge of his contemporaries in France, had found room in his poem for a great amount of useful information and for numerous citations from classical authors. The book was attacked by Guillaume de Degulleville in his Pèlerinage de la vie humaine (c. 1330), long a favourite work both in England and France; by John Gerson, and by Christine de Pisan in her Épître au dieu d’amour; but it also found energetic defenders.