in that of prophets.
Yet he was familiar with French and Provencal poetry.
Beside the evidence of the Vulgari Eloquio, there are frequent and broad traces in the Commedia of the Roman de la Rose, slighter ones of the Chevalier de la Charette, Guillaume d'orange, and a direct imitation of Bernard de Ventadour.
There are two beautiful passages in the Convito, which we shall quote, both because they have, as we believe, a close application to Dante's own experience, and because they are goodtherefore if we meet in it purely imaginary beings like Tristrem
Inferno, V. 67. and Renoard of the club.
Paradise, XVIII. 46.
Renoard is one of the heroes (a rudely humorous one) in La Bataille d'alischans, an episode of the measureless Guillaume d'orange.
It was from the graves of those supposed to have been killed in this battle that Dante draws a comparison, Inferno, IX.
Boccaccio's comment on this passage might have been read to advantage by the French editors of Alischans. His pe