Description, too, is made to serve the narrative economy. The garden setting (II. 813) combines with the song of Antigone to turn Criseyde’s mood, which is then revealed in their brief dialogue. Setting in _Gawain and the Green Knight_, equally distinct as social background, oftener picturesque as scenery, is less forwarding, less woven into the texture of the story. The clue to this advance in poetic is in Chaucer’s accompaniment of significant speech by significant gesture. He often indicates the stage “business.” With this he stente and caste adoun the heed; And she bigan to breste awepe anoon. II. 407-408. Finally dialogue is used to bring a scene to an issue. _Stage business_, _scene_, _issue_, the terms are not too dramatic for the method of the passage between Pandarus and Criseyde over the first love-letter. “But for al that ever I may deserve, Refuse it nought,” quod he, and hent hir faste, And in hir bosom the lettre doun he thraste, And seyde hir, “now cast it away anoon, That folk may seen and gauren on us tweye.” Quod she, “I can abyde til they be goon.” And gan to smyle, and seyde him, “eem, I preye, Swich answere as yow list yourself purveye; For trewely I nil no lettre wryte.” “No? than wol I,” quod he, “so ye endyte.” Therwith she lough, and seyde, “go we dyne.” II. 1153-1163. The scene becomes a situation. The eleven lines are dramatic not only in presenting the situation as spoken and acted, but in developing by interaction both character and plot. Chaucer has found how to tell the whole story of illicit love progressively by revealing in speech and action not merely type, not merely situation, which had rarely been so used to its full significance, but character moving to its issue. In this larger movement, sustained and advanced by progressive characterization, _Troilus and Criseyde_ is the great medieval love story.