finding a symbolical significance in particular animals and stones; and
the language of poets was becoming a language of flowers. On the other
hand, the personification of abstract qualities was a usage largely
affected by the Latin writers of the earlier Middle Ages, and formed a
favourite device of the monastic beginnings of the Christian drama. For
both these literary fashions, which mildly exercised the ingenuity while
deeply gratifying the tastes of mediaeval readers, room was easily found
by Guillaume de Lorris within a framework in itself both appropriate and
graceful. He told (as reproduced by his English translator) how in a
dream he seemed to himself to wake up on a May morning. Sauntering forth,
he came to a garden surrounded by a wall, on which were depicted many
unkindly figures, such as Hate and Villainy, and Avarice and Old Age, and
another thing

That seemed like a hypocrite,
And it was cleped pope holy.

Within, all seemed so delicious that, feeling ready to give an hundred
pound for the chance of entering, he smote at a small wicket and was
admitted by a courteous maiden named Idleness. On the sward in the garden
were dancing its owner, Sir Mirth, and a company of friends; and by the
side of Gladness the dreamer saw the God of Love and his attendant, a
bachelor named Sweet-looking, who bore two bows, each with five arrows.
Of these bows the one was straight and fair, and the other crooked and
unsightly, and each of the arrows bore the name of some quality or emotion
by which love is advanced or hindered. And as the dreamer was gazing into
the spring of Narcissus (the imagination), he beheld a rose-tree "charged
full of roses," and, becoming enamoured of one of them, eagerly advanced
to pluck the object of his passion. In the midst of this attempt he was
struck by arrow upon arrow, shot "wonder smart" by Love from the strong