Tastes will differ of course as to the merits of the particular stories, but some may be selected as incontestably good. The tale of Mundus and Paulina in the first book is excellently told, and so is that of Alboin and Rosemund. The best of the second book are perhaps the False Bachelor and the legend of Constantine and Silvester, in the latter of which the author has greatly improved upon his materials. In the third book the tale of Canace is most pathetically rendered, far better than in Ovid, so that in spite of Chaucer’s denunciation his devoted follower Lydgate could not resist the temptation of borrowing it. The fourth book, which altogether is of special excellence, gives us Rosiphelee, Phyllis, and the very poetically told tale of Ceix and Alceone. The fifth has Jason and Medea, a most admirable example of sustained narrative, simple and yet effective and poetical, perhaps on the whole Gower’s best performance: also the oriental tale of Adrian and Bardus, and the well told story of Tereus and Philomela. In the seventh we shall find the Biblical story of Gideon excellently rendered, the Rape of Lucrece, and the tale of Virginia. These may be taken as specimens of Gower’s narrative power at its best, and by the degree of effectiveness which he attains in them and the manner in which he has used his materials, he may fairly be judged as a story-teller. As regards style and poetical qualities we find much that is good in the narratives. Force and picturesqueness certainly cannot be denied to the tale of Medea, with its description of the summer sea glistening in the sun, which blazes down upon the returning hero, and from the golden fleece by his side flashes a signal of success to Medea in her watch-tower, as she prays for her chosen knight. Still less can we refuse to recognize the poetical power of the later phases of the same story, first the midnight rovings of Medea in search of enchantments, ‘The world was stille on every side; With open hed and fot al bare, Hir her tosprad sche gan to fare, Upon hir clothes gert sche was, Al specheles and on the gras Sche glod forth as an Addre doth: Non otherwise sche ne goth, Til sche cam to the freisshe flod, And there a while sche withstod. Thries sche torned hire aboute, And thries ek sche gan doun loute And in the flod sche wette hir her, And thries on the water ther Sche gaspeth with a drecchinge onde, And tho sche tok hir speche on honde.’ (v. 3962 ff.), and again later, when the charms are set in action, 4059 ff., a passage of extraordinary picturesqueness, but too long to be quoted here. We do not forget the debt to Ovid, but these descriptions are far more detailed and forcible than the original. For a picture of a different kind, also based upon Ovid, we may take the description of the tears of Lucrece for her husband, and the reviving beauty in her face when he appears,