translation has been lost, and was not that which has been hitherto accepted as his. For this conclusion is based upon the use of a formal test, which in truth need not be regarded as of itself absolutely decisive in any case, but which in this particular instance need not be held applicable at all. A particular rule against rhyming with one another particular sounds, which in his later poems Chaucer seems invariably to have followed, need not have been observed by him in what was actually, or all but, his earliest. The unfinished state of the extant translation accords with the supposition that Chaucer broke it off on adopting (possibly after conference with Gower, who likewise observes the rule) a more logical practice as to the point in question. Moreover, no English translation of this poem besides Chaucer's is ever known to have existed. Whither should the youthful poet, when in search of materials on which to exercise a ready but as yet untrained hand, have so naturally turned as to French poetry, and in its domain whither so eagerly as to its universally acknowledged master-piece? French verse was the delight of the Court, into the service of which he was about this time preparing permanently to enter, and with which he had been more or less connected from his boyhood. In French Chaucer's contemporary Gower composed not only his first longer work, but not less than fifty ballads or sonnets, and in French (as well as in English) Chaucer himself may have possibly in his youth set his own 'prentice hand to the turning of "ballades, rondels, virelayes." The time had not yet arrived, though it was not far distant, when his English verse was to attest his admiration of Machault, whose fame Froissart and Froissart's imitations had brought across from the French Court to the English; and when Gransson, who served King Richard II as a squire, was extolled by his English adapter as the "flower of them that write in France." But as yet Chaucer's own tastes, his French blood, if he had any in his veins, and the familiarity with the French tongue which he had already had opportunities of acquiring, were more likely to commend to him productions of broader literary merits and a wider popularity. From these points of view, in the days of Chaucer's youth, there was no rival to the "Roman de la Rose," one of those rare works on which the literary history of whole generations and centuries may be said to hinge. The Middle Ages, in which from various causes the literary intercommunication between the nations of Europe was in some respects far livelier than it has been in later times, witnessed the appearance of several such works--diverse in kind but similar to one another in the universality of their popularity: "The Consolation of Philosophy," the "Divine Comedy," the "Imitation of Christ," the "Roman de la Rose," the "Ship of Fools." The favour enjoyed by the "Roman de la Rose," was in some ways the most extraordinary of all. In France, this work