Courtesy asks him to join in the _karole_ (dance), and he does so, giving full description of her, of Lyesse, of Delight, and of the God of Love himself, with his bow-bearer Sweet-Glances, who carries in each hand five arrows--in the right Beauty, Simpleness, Frankness, Companionship, Fair-Seeming; in the left Pride, Villainy,[145] Shame, Despair, and "New-Thought"--_i.e._, Fickleness. Other personages--sometimes with the same names, sometimes with different--follow in the train; Cupid watches the Lover that he may take shot at him, and the tale is interrupted by an episode giving the story of Narcissus. Meanwhile the Lover has seen among the flowers of the garden one rose-bud on which he fixes special desires. The thorns keep him off; and Love, having him at vantage, empties the right-hand quiver on him. He yields himself prisoner, and a dialogue between captive and captor follows. Love locks his heart with a gold key; and after giving him a long sermon on his duties, illustrated from the Round Table romances and elsewhere, vanishes, leaving him in no little pain, and still unable to get at the Rose. Suddenly in his distress there appears to him "Un valet buen et avenant Bel-Acueil se faisoit clamer," and it seems that he was the son of Courtesy. [Footnote 145: _Vilenie_ is never an easy word to translate: it means general misconduct and disagreeable behaviour.] [Sidenote: _"Danger."_] Bialacoil (to give him his Chaucerian[146] Englishing) is most obliging, and through his help the Lover has nearly reached the Rose, when an ugly personage named Danger in turn makes his appearance. Up to this time there is no very important difficulty in the interpretation of the allegory; but the learned are not at one as to what "Danger" means. The older explanation, and the one to which I myself still incline as most natural and best suiting what follows, is that Danger is the representative of the beloved one's masculine and other guardians--her husband, father, brother, mother, and so forth. Others, however, see in him only subjective obstacles--the coyness, or caprice, or coquettishness of the Beloved herself. But these never troubled a true lover to any great extent; and besides they seem to have been provided for by the arrows in the left hand of Love's bow-bearer, and by Shame (_v. infra_). At any rate Danger's proceedings are of a most kill-joy nature. He starts from his hiding-place-- "Grans fu, et noirs et hericies, S'ot les iex rouges comme feus, Le nes froncie, le vis hideus, Et s'escrie comme forcenes." [Footnote 146: I am well aware of everything that has been said about and against the Chaucerian authorship of the English _Rose_. But until the learned philologists who deny that authorship in whole or in part agree a little better among themselves, they must allow literary critics at least to suspend their judgment.]