The Maid's victory gladdened the last days of his life.

With his dying voice he sings the Song of Miriam.

But with his rejoicings over this happy event are mingled the sad presentiments of keen-sighted old age.

While in the Maid he beholds a subject for the rejoicing and edification of the people, he is afraid that the hopes she inspires may soon be disappointed.

And he warns those who now exalt her in the hour of triumph not to forsake her in the day of disaster.
His dry close reasoning does not fundamentally differ from the ampler, more flowery argument of Jacques Gelu.