We find ourselves again among vices and virtues, classifications, divisions, and subdivisions. Genius condemns the vices (those of his goddess included, for he is a free speaking priest). He hates, above all things, Lollardry, "this new tapinage," and he commends the virtues; the stories come in by way of example: mind what your eyes do, witness Actaeon; and your ears, witness the Sirens. He passes on to the seven deadly sins which were apparently studied in the seminary where this priest of Venus learnt theology. After the deadly sins the mists and marvels of the "Secretum Secretorum" fill the scene. At last the lover begs for mercy; he writes Venus a letter: "with the teres of min eye in stede of inke." Venus, who is a goddess, deciphers it, hastens to the spot, and scornfully laughs at this shivering lover, whom age and wrinkles have left a lover. Gower then decides to withdraw, and make, as he says, "beau retraite." In a last vision, the poor "olde grisel" gazes upon the series of famous loving couples, who give themselves up to the delight of dancing, in a paradise, where one could scarcely have expected to find them together: Tristan and Iseult, Paris and Helen, Troilus and Cressida, Samson and Dalila, David and Bathsheba, and Solomon the wise who has for himself alone a hundred or so of "Jewes eke and Sarazines." In spite of the immense difference in their merit, the names of Chaucer and Gower were constantly coupled; James of Scotland, Skelton, Dunbar, always mention them together; the "Confessio" was printed by Caxton; under Elizabeth we find Gower on the stage; he figures in "Pericles," and recites the prologue of this play, the plot of which is borrowed from his poem. FOOTNOTES: [568] See above, p. 162. [569] Against those practices Langland strongly protests in his "Visions," text C. x. 133; xvi. 200. See following Chapter. [570] Rymer, "Foedera," April 24, 1469. The classic instrument of the minstrel was the vielle or viol, a sort of violin, which only true artists knew how to use well (one is reproduced in "English Wayfaring Life," p. 202). Therefore many minstrels early replaced this difficult instrument by the common tabor, which sufficed to mark the cadence of their chants. Many other musical instruments were known in the Middle Ages; a list of them has been drawn up by H. Lavoix: "La Musique au temps de St. Louis," in G. Raynaud's "Recueil des motets francais des XIIe et XIIIe Siecles," vol. ii. p. 321. [571] "Anatomy of Abuses," ed. Furnivall, London, 1877-79, 8vo, pp. 171, 172. [572] Chaucer himself expected his poem to be said or _sung_; he says to his book: And red wher-so thou be, or elles songe; That thou be understonde, I God beseche! (Book v. st. 257.) [573] I wille yow telle of a knyghte That bothe was stalworthe and wyghte. (_Isumbras._) Y schalle telle yow of a knyght That was bothe hardy and wyght. (_Eglamour._)