The idea of the Confession was no doubt taken from the _Roman de la Rose_, where the priest of Nature, whose name is Genius, hears her confession; but it must be allowed that Gower has made much better use of it. Nature occupies herself in expounding the system of the universe generally, and in confessing at great length not her own faults but those of Man, whom she repents of having made. Her tone is not at all that of a penitent, though she may be on her knees, and Genius does little or nothing for her in reply except to agree rather elaborately with her view that, if proper precautions had been taken, Mars and Venus might easily have outwitted Vulcan. Gower on the other hand has made the Confession into a framework which will conveniently hold any number of stories upon every possible subject, and at the same time he has preserved for the most part the due propriety of character and situation in the two actors. By giving the scheme an apparent limitation to the subject of love he has not in fact necessarily limited the range of narrative, for there is no impropriety in illustrating by a tale the general nature of a vice or virtue before making the special application to cases which concern lovers, and this special application, made with all due solemnity, has often a character of piquancy in which the moral tale pure and simple would be wanting. Add to this that the form adopted tends itself to a kind of quasi-religious treatment of the subject, which was fully in accordance with the taste of the day, and produces much of that impression of quaintness and charm with which we most of us associate our first acquaintance with the _Confessio Amantis_.