It is no longer possible to question Chaucer's knowledge of Italian; and it is useless to search for the original of The House of Fame in Provençal literature, as Warton vaguely suggests that we should do (see note to l. 1928). At the same time, I can see no help to be obtained from a perusal of Petrarch's Trionfo della Fama, to which some refer us. § 3. TESTIMONY OF LYDGATE. It is remarkable that Lydgate does not expressly mention The House of Fame by name, in his list of Chaucer's works. I have already discussed this point in the Introduction to vol. i. pp. 23, 24, where I shew that Lydgate, nevertheless, refers to this work at least thrice in the course of the poem in which his list occurs; and, at the same time, he speaks of a poem by Chaucer which he calls 'Dant in English,' to which there is nothing to correspond, unless it can be identified with The House of Fame[4]. We know, however, that Lydgate's testimony as to this point is wholly immaterial; so that the discussion as to the true interpretation of his words is a mere matter of curiosity. § 4. INFLUENCE OF OVID. It must, on the other hand, be obvious to all readers, that the general notion of a House of Fame was adopted from a passage in Ovid's Metamorphoses, xii. 39-63. The proof of this appears from the great care with which Chaucer works in all the details occurring in that passage. He also keeps an eye on the celebrated description of Fame in Vergil's Æneid, iv. 173-183; even to the unlucky rendering of 'pernicibus alis' by 'partriches winges,' in l. 1392[5]. I here quote the passage from Ovid at length, as it is very useful for frequent reference (cf. Ho. Fame, 711-24, 672-99, 1025-41, 1951-76, 2034-77):-- 'Orbe locus medio est inter terrasque, fretumque, Caelestesque plagas, triplicis confinia mundi; Unde quod est usquam, quamuis regionibus absit, Inspicitur penetratque cauas uox omnis ad aures. FAMA tenet, summaque domum sibi legit in arce; Innumerosque aditus, ac mille foramina tectis Addidit, et nullis inclusit limina portis. Nocte dieque patent. Tota est ex aere sonanti; Tota fremit, uocesque refert, iteratque quod audit. Nulla quies intus, nullaque silentia parte. Nec tamen est clamor, sed paruae murmura uocis; Qualia de pelagi, si quis procul audiat, undis Esse solent; qualemue sonum, cum Iupiter atras Increpuit nubes, extrema tonitrua reddunt. Atria turba tenet; ueniunt leue uulgus, euntque; Mixtaque cum ueris passim commenta uagantur Millia rumorum, confusaque uerba uolutant. E quibus hi uacuas implent sermonibus aures; Hi narrata ferunt alio; mensuraque ficti Crescit, et auditis aliquid nouus adicit auctor. Illic Credulitas, illic temerarius Error, Vanaque Laetitia est, consternatique Timores, Seditioque repens, dubioque auctore Susurri. Ipsa quid in caelo rerum, pelagoque geratur, Et tellure uidet, totumque inquirit in orbem.' A few other references to Ovid are pointed out in the Notes.