[1] Further information will possibly show that these districts are
not occupied at the same season of the year by the two forms.
[2] Recent writers have preferred the former name, though it was only
used sub-generically by its author, who assigned to it no characters,
which the inventor of the latter was careful to do, regarding it at
the same time as a genus.
[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. [Greek: zêlos], ardour, zeal, from the root seen
in [Greek: zéein], 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.
Jean de Meun translated in 1284 the treatise, _De re militari_, of
Vegetius into French as _Le livre de Vegèce de l'art de chevalerie_[1]
(ed. Ulysse Robert, _Soc. des anciens textes fr._, 1897). He also
produced a spirited version, the first in French, of the letters of
Abelard and Hèloïse. A 14th-century MS. of this translation in the
Bibliothèque Nationale has annotations by Petrarch. His translation of
the _De consolatione philosophiae_ of Boëtius is preceded by a letter
to Philip IV. in which he enumerates his earlier works, two of which
are lost--_De spirituelle amitié_ from the _De spirituali amicitia_ of
Aelred of Rievaulx (d. 1166), and the _Livre des merveilles
d'Hirlande_ from the _Topographia Hibernica_, or _De Mirabilibus
Hiberniae_ of Giraldus Cambrensis (Giraud de Barry). His last poems
are doubtless his _Testament_ and _Codicille_. The _Testament_ is
written in quatrains in monorime, and contains advice to the different
classes of the community.
See also Paulin Paris in _Hist. lit. de la France_, xxviii. 391-439,
and E. Langlois in _Hist. de la langue et de la lit. française_, ed.
L. Petit de Julleville, ii. 125-161 (1896); and editions of the _Roman
de la rose_ (q.v.).