The romance and the allegory were the prime medieval types, and we find them persisting together or apart in our own English literature from William Langland's "Piers the Plowman" with its Tower of Truth, Conscience, Envy, Advice of Hunger, and the like, to Henry Van Dyke's "Blue Flower" with its crystal river flowing from a mysterious source. "The Hunter" and the "Artist's Secret" by Olive Schreiner and "Poems in Prose" by Oscar Wilde are exquisite modern examples. Nathaniel Hawthorne wrote scarcely anything that is not inlaid with allegory. The "Great Stone Face" is a fine instance of how concrete pure allegory can be. It teaches a beautifully spiritual truth by the portrayal of American customs and everyday human shortsightedness. A good German prose allegory is "Peter Schlemihl: or, The Man Who Sold his Shadow." Stevenson's tremendous study, "The Strange Case of Dr. Jekyll and Mr. Hyde," is really allegory. A review of the names of the older but famous allegories will be perhaps more interesting and suggestive than the perusal from beginning to end of any one of them would be, for they are for the most part long and tedious. [Some famous English allegories] In early Anglo-Saxon verse we find appearing the favorite device of allegory, the vision. In the "Dream of the Rood" the author tells of how he saw a strange Tree, the gallows of shame, now the glorious Tree of the Savior, and how it told its life-history. "The Address of the Soul to the Body" is a grim allegorical dialogue. In "The Phoenix," the fabulous bird represents Christ, as does also the Panther in the other poem, the sweet-breathed, lonely, harmless beast. These are all verse, and with the exception of the "Dream of the Rood" hardly narrative. The last two are really English bestiaries. "The Romaunt of the Rose," the greatest medieval allegory, in its English form, contains seventy-six hundred ninety-eight lines. You will find all these included in Chaucer's work, but only seventeen hundred five are his.[1] The "Parlament of Foules" and the "House of Fame," however, are his, but not "The Court of Love," "the Flower and the Leaf," "The Cockowe and the Nightingale." Between Chaucer and Spenser come Dunbar's "Thistle and the Rose" and "The Golden Targe;" Lydgate's "Temple of Glass;" Hawes's "Pastime of Pleasure;" Douglas's "Palace of Honour" and "King Hart;" Lyndesay's "Dream" and "Complaint of Papingo;" Barclay's "Ship of Fooles;" Sackville's "Induction" to the "Mirror for Magistrates." After Spenser, besides Phineas Fletcher's "The Purple Island" and Bunyan's "Pilgrim's Progress," come Addison's "Vision of Mirza," Parnell's "Paradise of Fooles," Thomson's "Castle of Indolence," Johnson's "Journey of a Day," Collin's "The Passions," and Aikin's "The Hill of Science."