One other matter affecting our estimate of the style of the composition generally has perhaps been sufficiently illustrated in the Notes of this edition, that is to say, the extent to which the author borrows in the _Vox Clamantis_ from other writers. It is sufficiently obvious to a casual reader that he has appropriated a good many lines from Ovid, though the extent of this schoolboy plagiarism is hardly to be realised without careful examination; but his very extensive obligations to other writers have not hitherto been pointed out. He repeatedly takes not lines or couplets only, but passages of eight, ten or even twenty lines from the _Aurora_ of Peter Riga, from the poem of Alexander Neckam _De Vita Monachorum_, from the _Speculum Stultorum_, or from the _Pantheon_, so that in many places the composition is entirely made up of such borrowed matter variously arranged and combined. This is evidently a thing to be noted, because if the author, when describing (for example) the vices of monasteries, is found to be merely quoting from Alexander Neckam, we cannot attach much value to his account as a picture of the manners of his own time. His knowledge of Ovid seems to have been pretty complete, for he borrows from almost every section of his works with the air of one who knows perfectly well where to turn for what he wants; quite a large portion of Neckam’s poem is appropriated without the smallest acknowledgement, and many long passages are taken from the _Aurora_, with only one slight mention of this source (iii. 1853). Most of the good Latin lines for which Gower has got credit with critics are plagiarisms of this kind, and if Professor Morley had realized to what extent the _Vox Clamantis_ is a compilation, he would hardly have estimated the work so highly as he has done. The extracts from medieval authors are to some extent tolerable, because they are usually given in a connected and intelligible shape, but the perpetual borrowing of isolated lines or couplets from Ovid, often without regard to their appropriateness or their original meaning, often makes the style, of the first book especially, nearly as bad as it can be. I have taken the pains to point out a considerable number of plagiarisms, but it is certain that there must be many instances which have escaped my notice. In his later Latin verse the author is very much less dependent upon others, and the _Cronica Tripertita_, from the nature of the subject, is necessarily original.