century (Hist. Lit. xxiii. 436; Child, The English and Scottish Popular Ballads, 1888, p. v; Wolter, Bibl. Anglo-Norm., ii. 115). Other lives of saints were recognized to be Anglo-Norman by Paul Meyer when examining the MSS. of the Welbeck library (Rom. xxxii. 637 and Hist. Lit. xxxiii. 338-378). Lyric poetry The only extant songs of importance are the seventy-one Ballads of Gower (Stengel, Gower's Minnesang, 1886). The remaining are mostly of a religious character. Most of these songs have been discovered and published by Paul Meyer (Bulletin de la Soc. Anc. Textes, 1889; Not. et Extr. xxxiv; Rom. xiii. 518, t. xiv. 370; xv. p. 254, &c.). Although they were numerous at one time, few have survived, owing to the constant intercourse between English, French and Provençals of all classes. An interesting passage in Piers Plowman furnishes us with a proof of the extent to which these songs penetrated into England, which writes of: {{quote| ... dykers and deluers that doth here dedes ille, And dryuen forth the longe day with 'Deu, vous saue,Dame Emme! (Prologue, 223 f.) }} One of the finest productions of Anglo-Norman lyric poetry written in the end of the 13th century is the Plainte d'amour (Vising, Göteborg, 1905; Romania xiii. 507, xv. 292 and xxix. 4). There are various other works of a lyrical character written in two languages: Latin and French; or English and French; or even in three languages, Latin, English and French. In Early English Lyrics (Oxford, 1907) there is a poem in which a lover sends to his mistress a love-greeting composed in three languages, and his learned friend replies in the same style (De amico ad amicam, Responcio, viii and ix). Satire The popularity enjoyed by the Roman de Renart and the Anglo-Norman version of the Riote du Monde (Z. f. rom. Phil. viii. 275-289) in England is proof enough that the French spirit of satire was keenly appreciated. The clergy and women presented the most attractive target for the shots of the satirists. However, an Englishman raised his voice in favour of the ladies in a poem entitled La Bonté des dames (Meyer, Rom. xv. 315-339), and Nicole Bozon, after having represented "Pride" as a feminine being whom he supposes to be the daughter of Lucifer, and after having fiercely attacked the women of his day in the Char d'Orgueil (Rom. xiii. 516), also composed a Bounté des femmes