The work which forty years later Jean de Meung (some say at royal suggestion) added to the piece, so as to make it five times its former length, has been spoken of generally already, and needs less notice in detail. Jean de Meung takes up the theme by once more introducing Reason, whose remonstrances, with the Lover's answers, take nearly half as much room as the whole story hitherto. Then reappears the Friend, who is twice as long-winded as Reason, and brings the tale up to more than ten thousand lines already. At last Love himself takes some pity of his despairing vassal, and besieges the tower where Bialacoil is confined. This leads to the introduction of the most striking and characteristic figure of the second part, _Faux-Semblant_, a variety of Reynard. Bialacoil is freed: but Danger still guards the Rose. Love, beaten, invokes the help of his mother, who sends Nature and Genius to his aid. They talk more than anybody else. But Venus has to come herself before Danger is vanquished and the Lover plucks the Rose. [Sidenote: _Contrast of the parts._] The appeal of this famous poem is thus twofold, though the allegorical form in which the appeal is conveyed is the same. In the first part all the love-poetry of troubadour and _trouvere_ is gathered up and presented under the guise of a graceful dreamy symbolism, a little though not much sicklied o'er with learning. In the second the satiric tendency of the _Fabliaux_ and _Renart_ is carried still further, with an admixture of not often apposite learning to a much greater extent. Narcissus was superfluous where William of Lorris introduced him, but Pygmalion and his image, inserted at great length by Jean de Meung, when after twenty thousand lines the catastrophe is at length approaching, are felt to be far greater intruders. [Sidenote: _Value of both, and charm of the first._]