It is a modification of a form used by Boccaccio, and was itself possibly used by Spenser as the basis of his peculiar stanza. Chaucer employs it very largely for narrative purposes, preventing it from becoming monotonous by varying the place of the cæsura, and freely adding or suppressing weak syllables when he so desires. Mr. A. W. Pollard, in his article on Chaucer in the _Encyclopædia Britannica_, declares that the English poet borrowed both his stanza and his decasyllabic line from Guillaume de Machault. The point of the whole matter, however, lies, not in whether Chaucer was indebted to French or Italian sources for his metres, but in the fact that he revealed the latent possibilities of English as a poetic medium. It is usual to divide Chaucer's life into three periods, and to speak of him as successively under French, Italian, and English influence, and although, as Professor Ker has pointed out, this method is open to some objections, it brings out certain critical points of interest and is worth adhering to for the sake of clearness. French, as we have seen, had long been the dominant influence in English literature. To French erotic poetry we owe the elaborate code of duties owed by husband to wife and lover to mistress, and the whole artificial convention which prescribed unhappy love affairs and revelled in the minute analysis of over-strained emotion. "In poetry and life," says Ten Brink, "fashion required an educated young man, especially one in the service of the court, to fall in love at the earliest opportunity, and, if possible, hopelessly." We have already seen Chaucer obeying this convention in the _Book of the Duchesse_ and the _Parlement of Foules_, and to these may be added the _Compleinte unto Pitè_, the _Compleint to his Lady, Merciles Beaute_, _To Rosemounde_, _Against Women Unconstant_, _An Amorous Compleint_, and Book I, stanza 3 of _Troilus and Criseyde_. The poet protests so much that it is difficult to believe that he is describing anything more than a lover bewailing his unhappy lot (in the French fashion). Evidently French love-poetry appealed strongly to his imagination, for one of his earliest works is a translation of the famous _Romance of the Rose_. This long, allegorical poem (the original consists of over 22,000 lines), falls into two parts. The first, by Guillaume de Lorris, describes the search of the ideal lover for the mystic rose. The hero is admitted by the portress Idleness into a fair garden of flowers, where he finds Sir Mirth, Lady Courtesy, Dame Gladness, and many another gallant and debonair knight and lady. In this garden is the enchanted Well of Love, in whose depths the lover beholds the image of the Rose. He tries to seize it, and finds that a hard struggle lies before him ere he can hope to win the prize of love. Lorris left the poem unfinished, and the second part was added by Jean le Meung, a cynic with no very high opinion of women or of love.