a signal of success to Medea in her watch-tower, as she prays for her chosen knight. Still less can we refuse to recognize the poetical power of the later phases of the same story, first the midnight rovings of Medea in search of enchantments,

and again later, when the charms are set in action, 4059 ff., a passage of extraordinary picturesqueness, but too long to be quoted here. We do not forget the debt to Ovid, but these descriptions are far more detailed and forcible than the original.

[Pg xiv]

[Pg xiv]

For a picture of a different kind, also based upon Ovid, we may take the description of the tears of Lucrece for her husband, and the reviving beauty in her face when he appears,

a passage in which Gower, with his natural taste for simplicity, has again improved upon his classical authority, and may safely challenge comparison with Chaucer, who has followed Ovid more literally.

It is worth mention that Gower’s descriptions of storms at sea are especially vivid and true, so that we are led to suppose that he had had more than a mere literary acquaintance with such things. Such for instance is the account of the shipwreck of the Greek fleet, iii. 981 ff., and of the tempests of which Apollonius is more than once the victim, as viii. 604 ff., and in general nautical terms and metaphors, of some of which the meaning is not quite clear, seem to come readily from his pen.

Next to the simple directness of narrative style which distinguishes the stories themselves, we must acknowledge a certain attractiveness in the setting of them. The Lover decidedly engages our interest: we can understand his sorrows and his joys, his depression when his mistress will not listen to the verses which he has written for her, and his delight when he hears men speak her praises. We can excuse his frankly confessed envy, malice and hatred in all matters which concern his rivals in her love. His feelings are described in a very natural manner, the hesitation and forgetfulness in her presence, and the self-reproach[Pg xv] afterwards, the eagerness to do her small services, to accompany her to mass, to lift her into her saddle, to ride by her carriage, the delight of being present in her chamber, of singing to her or reading her the tale of Troilus, or if no better may be, of watching her long and slender fingers at work on her weaving or embroidery. Sometimes she will not stay with him, and then he plays with the dog or with the birds in the cage, and 

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