and expression, that the charm of the poem lies, and this is very considerable. The deficiency of action, however, and the continual allegorising threaten to make it monotonous had it been much longer continued in the same strain.
It is unlikely that it was this consideration which determined Jean de Meung to adopt a different style. In his time literature was already agitated by violent social, political, and religious debates, and the treasures of classical learning were becoming more and more commonly known. But prose had not yet become a common literary vehicle, save for history, oratory, and romance, nor had the duty of treating one thing at a time yet impressed itself strongly upon authors. Jean de Meung was satirically disposed, was accomplished in all the learning of his day, and had strong political opinions. He determined accordingly to make the poem of Lorris, which was in all probability already popular, the vehicle of his thoughts.
In doing this he takes up the story as his predecessor had left it, at the point where the lover, deprived of the support of Bel Acueil, and with the suspicions of Dangier thoroughly aroused against him, lies despairing without the walls of the delightful garden. Reason is once more introduced, and protests as before, but in a different tone and much more lengthily. She preaches the disadvantages of love in a speech nearly four hundred lines long, followed by another double the length, and then by a dialogue in which the lover takes his share. The difference of manner is felt at once. The allegory is kept up after a fashion, but instead of the graceful fantasies of William of Lorris, the staple matter is either sharp and satirical views of actual life, or else examples drawn indifferently from sacred and profane history. One speech of Reason's, a thousand lines in length, consists of a collection of instances of this kind showing the mobility of fortune. At length she leaves the lover as she found him, 'melancolieux et dolant,' but unconvinced. Amis (the friend), who has appeared for a moment previously, now reappears, and comforts him, also at great length, dwelling chiefly on the ways of women, concerning which much scandal is talked. The scene with Reason had occupied nearly two thousand lines; that with Amis extends to double that length, so that Jean de Meung had already excelled his predecessor in this respect. Profiting by the counsel he has received, the lover addresses himself to Riches, who guards the way, but fruitlessly. The god of love, however, takes pity on him (slightly ridiculing him for having listened to Reason), and summons all his folk to attack the tower and free Bel Acueil. Among these Faux Semblant presents himself, and, after some parley, is received. This new personification of hypocrisy gives occasion to some of the author's most satirical touches as he describes his principles and practice. After this, Faux Semblant and his companion, Contrainte Astenance (forced or feigned abstinence), set to work in favour of the lover, and soon win their way into the tower. There they find an old woman who acts as Bel Acueil's keeper. She takes a message from them to Bel Acueil, and then engages in a singular conversation with her prisoner, wherein the somewhat loose morality of the discourses of Amis is still further enforced by historical examples, and by paraphrases of not a few passages from Ovid. She afterward admits the lover, who thus, at nearly the sixteen-thousandth line from the beginning, recovers through the help of False Seeming the 'gracious reception' which is to lead him to the rose. The castle, however, is not taken, and Dangier, with the rest of his allegorical company, makes a stout resistance to 'Les Barons de L'Ost' – the lords of Love's army. The god sends to invoke the aid of his mother, and this introduces a new personage. Nature herself, and her confidant, Genius, are brought on the scene, and nearly five thousand verses serve to convey all manner of thoughts and scraps of learning, mostly devoted to the support, as before, of questionably moral doctrines. In these five thousand lines almost all the current ideas of the middle ages on philosophy and natural science are more or less explicitly contained. Finally, Venus arrives and, with her burning brand, drives out Dangier and his crew, though even at this crisis of the action the writer cannot refrain from telling the story of Pygmalion and the Image at length. The way being clear, the lover proceeds unmolested to gather the longed-for rose.
Popularity of the Roman de la Rose.
It is impossible to exaggerate, and not easy to describe, the popularity which this poem enjoyed. Its attacks on womanhood and on morality generally provoked indeed not a few replies, of which the most important came long afterwards from Christine de Pisan and from Gerson. But the general taste was entirely in favour of it. Allegorical already, it was allegorised in fresh senses, even a religious meaning being given to it. The numerous manuscripts which remain of it attest its popularity before the days of printing. It was frequently printed by the earliest typographers of France, and even in the sixteenth century it received a fresh lease of life at the hands of Marot, who re-edited it. Abroad it was praised by Petrarch and translated by Chaucer88; and it is on the whole not too much to say that for fully two centuries it was the favourite book in the vernacular literature of Europe. Nor was it unworthy of this popularity. As has been pointed out, the grace of the part due to William of Lorris is remarkable, and the satirical vigour of the part due to Jean de Meung perhaps more remarkable still. The allegorising and the length which repel readers of to-day did not disgust generations whose favourite literary style was the allegorical, and who had abundance of leisure; but the real secret of its vogue, as of all such vogues, is that it faithfully held up the mirror to the later middle ages. In no single book can that period of history be so conveniently studied. Its inherited religion and its nascent free-thought; its thirst for knowledge and its lack of criticism; its sharp social divisions and its indistinct aspirations after liberty and equality; its traditional morality and asceticism, and its half-pagan, half-childish relish for the pleasures of sense; its romance and its coarseness, all its weakness and all its strength, here appear.
Imitations.
The imitations of the Roman de la Rose were in proportion to its popularity. Much of this imitation took place in other kinds of poetry, which will be noticed hereafter. Two poems, however, which are almost contemporary with its earliest form, and which have only recently been published, deserve mention. One, which is an obvious imitation of Guillaume de Lorris, but an imitation of considerable merit, is the Roman de la Poire89, where the lover is besieged by Love in a tower. The other, of a different class, and free from trace of direct imitation, is the short poem called De Venus la Déesse d'Amors90, written in some three hundred four-lined stanzas, each with one rhyme only. Some passages of this latter are very beautiful.
Three extracts, two from the first part of the Roman de la Rose, and one from the second, will show its style: —
En iceli tens déliteus,
Que tote riens d'amer s'esfroie,
Sonjai une nuit que j'estoie,
Ce m'iert avis en mon dormant,
Qu'il estoit matin durement;
De mon lit tantost me levai,
Chauçai-moi et mes mains lavai.
Lors trais une aguille d'argent
D'un aguiller mignot et gent,
Si pris l'aguille à enfiler.
Hors de vile oi talent d'aler,
Por oïr des oisiaus les sons
Qui chantoient par ces boissons
En icele saison novele;
Cousant mes manches à videle,
M'en alai tot seus esbatant,
Et les oiselés escoutant,
Qui de chanter moult s'engoissoient
Par ces vergiers qui florissoient,
Jolis, gais et pleins de léesce.
Vers une rivière m'adresce
Que j'oï près d'ilecques bruire.
Car ne me soi aillors déduire
Plus bel que sus cele rivière.
D'un tertre qui près d'iluec ière
Descendoit l'iaue grant et roide,
Clere, bruiant et aussi froide
Comme puiz, ou comme fontaine,
Et