s. 62. It readily appears that Chaucer was a great metrist, and bestowed many new forms of metre upon our literature. Most of them were, of course, simply borrowed and adapted from French; but it is possible that a few of them were due to his own constructive ability. The poems called Anelida and A Complaint to his Lady exhibit clear examples of his experiments in metrical construction; and he has given us several examples of his skill in overcoming the difficulties of rime. Of these, the chief are The Complaint of Venus, with 72 lines on 9 rimes; The Balade to Rosemounde, with 24 lines on 3 rimes; Womanly Noblesse, with 33 lines on 4 rimes; and the Envoy to the Clerkes Tale, with 36 lines on only 3 rimes. s. 63. BALADES AND TERNS. The usual form for a Balade was in three stanzas, with a refrain. This rule is partially observed, not only in Balades, but in other poems. Chaucer was fond of grouping his stanzas by threes; such a group has been called a Tern. For examples, see the latter part of the Complaint to Pit[`e], in three groups of three stanzas each; the five groups of three stanzas at the end of the Complaint of Mars; the three stanzas forming the Proem to Anelida; the three groups of three stanzas each in Fortune; and the Triple Roundel. The latter part of the Compleint to his Lady consists of nine stanzas, i.e. thrice three. The Envoy to Scogan has six stanzas, i.e. twice three; whilst the Envoy to Bukton has three only. s. 64. ENVOYS. There are, usually, _no_ Envoys to Chaucer's Balades. There is one to Fortune, called Lenvoy de Fortune; one addressed to King Richard II, at the end of Lak of Stedfastnesse; one addressed to Scogan; and one addressed to Bukton. That appended to the Complaint to his Purs was obviously supplied at a later date; whilst the so-called Envoy to Truth (only found in one MS.) is hardly an Envoy at all, but merely an additional stanza, in the same strain as the rest. s. 65. THE HEROIC COUPLET. But Chaucer's greatest metrical gift to England was his use of the Heroic Couplet, which he employed with remarkable success, first in the Legend of Good Women, and soon after, in his Canterbury Tales. This he may well have borrowed from Machault, as has been already explained above; see vol. iii. p. 383, and note 2 on the same page. The heroic couplet was first copied by Lydgate, who wrote in it two poems of great length, the Siege of Thebes and the Troy-boke. It was also used by Henry the Minstrel in his patriotic poem named the Wallace. It is remarkable that it was almost entirely neglected by Dunbar; the only piece in this metre that is certainly his is one of 34 lines called 'In Prays of Woman.' However, a much longer piece entitled The Freiris of Berwick has also been attributed to him. This metre was also employed by Gawain Douglas in his translation of Vergil. s. 66. GRAMMATICAL OUTLINES OF CHAUCER'S ENGLISH.