(_d_) _Descriptive and Narrative Poems._ In this form of poetry _The Canterbury Tales_ is the outstanding example, but in many passages of Langland and Gower we have specimens of the same class. We have already mentioned some of the weaknesses that are common to the narrative poetry of the day, and which were due partly to lack of practice and partly to reliance upon inferior models: the tantalizing rigmaroles of long speeches and irrelevant episodes, the habit of dragging into the story scientific and religious discussions, and an imperfect sense of proportion in the arrangement of the plot. In the best examples, such as those of Chaucer, there is powerful grip upon the central interest, a shrewd observation and humor, and quite often a brilliant rapidity of narration. (_e_) The _metrical romance_ is still a popular form, but the great vogue of the last century is on the wane. Among the lower classes it is being supplanted by the ballad; and the growing favor that is being shown to the _fabliau_--that is, the short French tale, realistic in subject and humorous-satirical in style--is leading to tales of the coarser Chaucer type. =2. Prose.= In prose we have the first English travel-book in Mandeville’s _Travels_; one of the earliest translations of the Bible in Wyclif’s; and, among others, a prose chronicle in the work of =John of Trevisa (1326–1412)=, who issued a prose version of Higden’s _Polychronicon_. As yet such works are in an undeveloped state, but already some considerable growth is apparent. Prose is increasing both in quantity and in quality, and the rate of increase is accelerating. THE DEVELOPMENT OF LITERARY STYLE =1. Poetry.= We have already stated that the time of transition and experiment is nearly over. English poetical style has established itself, and the main lines of development have been laid down. For this we are indebted almost entirely to Chaucer. (_a_) With regard to _meter_, it is curious to observe that with increasing practice the tendency is toward simplicity. The extremely complicated stanzas are becoming less common, and rhyme royal and other shorter verses are coming into favor. Along with simplification is a greater suppleness and dexterity. There is less rigidity in the position of the pause, and a greater freedom in the substitution of three-syllabled feet for two-syllabled feet. These features are most strongly developed in the couplet forms. It is this union of simplicity and freedom that is to remain the dominating characteristic of English verse, thus contrasting with the quantitative system of the classical measures and the syllabic nature of the French.