The Archpriest now goes to Doña Venus, who, though he knew Ovid, is represented as the wife of Don Amor; and, taking counsel of her, is successful. But the story he relates is evidently a fiction, though it may be accommodated to the facts of the poet’s own case. It is borrowed from a dialogue or play, written before the year 1300, by Pamphylus Maurianus or Maurilianus, and long attributed to Ovid; but the Castilian poet has successfully given to what he adopted the coloring of his own national manners. All this portion, which fills above a thousand lines, is somewhat free in its tone; and the Archpriest, alarmed at himself, turns suddenly round and adds a series of severe moral warnings and teachings to the sex, which he as suddenly breaks off, and, without any assigned reason, goes to the mountains near Segovia. But the month in which he makes his journey is March; the season is rough; and several of his adventures are any thing but agreeable. Still he preserves the same light and thoughtless air; and this part of his history is mingled with spirited pastoral songs in the Provençal manner, called “Cántigas de Serrana,” as the preceding portions had been mingled with fables, which he calls “Enxiemplos,” or stories.[132] [132] St. 557-559, with 419 and 548. Pamphylus de Amore, F. A. Ebert, Bibliographisches Lexicon, Leipzig, 1830, 4to, Tom. II. p. 297. P. Leyseri Hist. Poet. Medii Ævi, Halæ, 1721, 8vo, p. 2071. Sanchez, Tom. IV. pp. xxiii., xxiv. The story of Pamphylus in the Archpriest’s version is in stanzas 555-865. The story of the Archpriest’s own journey is in stanzas 924-1017. The _Serranas_ in this portion are, I think, imitations of the _Pastoretas_ or _Pastorelles_ of the Troubadours. (Raynouard, Troubadours, Tom. II. pp. 229, etc.) If such poems occurred frequently in the Northern French literature of the period, I should think the Archpriest had found his models there, since it is there he generally resorts; but I have never seen any that came from north of the Loire so old as his time.