A shrine, much frequented by the devout, is near that part of the Sierra where his journeyings lay; and he makes a pilgrimage to it, which he illustrates with sacred hymns, just as he had before illustrated his love-adventures with apologues and songs. But Lent approaches, and he hurries home. He is hardly arrived, however, when he receives a summons in form from Doña Quaresma (Madam Lent) to attend her in arms, with all her other archpriests and clergy, in order to make a foray, like a foray into the territory of the Moors, against Don Carnaval and his adherents. One of these allegorical battles, which were in great favor with the Trouveurs and other metre-mongers of the Middle Ages, then follows, in which figure Don Tocino (Mr. Bacon) and Doña Cecina (Mrs. Hung-Beef), with other similar personages. The result, of course, since it is now the season of Lent, is the defeat and imprisonment of Don Carnaval; but when that season closes, the allegorical prisoner necessarily escapes, and, raising anew such followers as Mr. Lunch and Mr. Breakfast, again takes the field, and is again triumphant.[133] [133] St. 1017-1040. The “Bataille des Vins,” by D’Andeli, may be cited, (Barbazan, ed. Méon, Tom. I. p. 152,) but the “Bataille de Karesme et de Charnage” (Ibid., Tom. IV. p. 80) is more in point. There are others on other subjects. For the marvellously savory personages in the Archpriest’s battle, see stanzas 1080, 1169, 1170, etc. Don Carnaval now unites himself to Don Amor, and both appear in state as emperors. Don Amor is received with especial jubilee; clergy and laity, friars, nuns, and _jongleurs_, going out in wild procession to meet and welcome him.[134] But the honor of formally receiving his Majesty, though claimed by all, and foremost by the nuns, is granted only to the poet. To the poet, too, Don Amor relates his adventures of the preceding winter at Seville and Toledo, and then leaves him to go in search of others. Meanwhile, the Archpriest, with the assistance of his cunning agent, _Trota-conventos_, begins a new series of love intrigues, even more freely mingled with fables than the first, and ends them only by the death of Trota-conventos herself, with whose epitaph the more carefully connected portion of the Archpriest’s works is brought to a conclusion. The volume contains, however, besides this portion, several smaller poems on subjects as widely different as the “Christian’s Armour” and the “Praise of Little Women,” some of which seem related to the main series, though none of them have any apparent connection with each other.[135] [134] St. 1184 etc., 1199-1229. It is not quite easy to see how the Archpriest ventured some things in the last passage. Parts of the procession come singing the most solemn hymns of the Church, or parodies of them, applied to Don Amor, like the _Benedictus qui venit_. It seems downright blasphemy against what was then thought most sacred.