No feast was complete in the Middle Ages without a procession or progress through the streets; the amusement was thus shared by the people. The members of the Pui did not fail in this: "As soon as they shall have given the crown to the best singer, they shall mount their horses and ride through the town, and then accompany their new prince to his hostel, and there all get down, and dance before departing; and drink once, and return each to his hostel." With its songs and music, its kind purpose, its crowns and green branches, this association seems like a peaceful and verdant corner of Arcadia in the midst of London City, peaceful and merry in spite of mercantile jealousies and international hatreds. This oasis is all the more charming to the sight because it is only an oasis. Such sentiments were too courteous to be very common. While our friends of the Pui endeavour to cherish and praise women even in their absence, other makers of songs follow another mediaeval tradition and satirise them mercilessly. Triads were dedicated to them, which were nothing but slanderous litanies: Herfor, and therfor, and therfor I came And for to preysse this praty woman. There wer three wylly, three wyly ther wer, A fox, a fryyr and a woman. Ther wer three angry, three angry ther wer: A wasp a wesyll and a woman.[591] So the litany continues, very different from the litany of the beauties of woman sung in the same period, perhaps by the same men. Friars, monks, and fops who adopt absurd fashions, and wear hose so tight that they cannot stoop for fear of bursting them,[592] are, with women, the subjects of these satirical songs: Preste, ne monke, ne yit chanoun, Ne no man of religioun, Gyfen hem so to devocioun As done thes holy frers, For summe gyven ham chyvalry, Somme to riote and ribaudery; Bot ffrers gyven ham to grete study And to grete prayers.[593] An account follows of doings, studies, and prayers, by no means edifying, and which recalls Chaucer rather than St. Francis. III. The tone becomes more elevated; and then we have forest songs in honour of the outlaw Robin Hood.[594] The satire ceases to be simply mocking; the singer's laughter no longer consoles him for abuses; he wants reforms; he chides and threatens. In his speech to the rebel peasants in 1381, the priest John Ball takes from a popular song the burden that comprises his whole theory: Whan Adam dalf and Eve span, Who was thanne the gentilman?[595] The anonymous poet makes the dumb peasant speak, describe his woes, and draw up a list of his complaints. By way of reply, anonymous clerks compose songs, half English and half Latin, a favourite mixture at that time, in which they express their horror of the rebels.[596] Others sound the praises of the English heroes of the Hundred Years' War.