Narcissus, whose
story is told at length. By this the author, who is thenceforth called
the lover, sees and covets a rosebud. But thorns and thistles bar his
way to it, and the god of love pierces him with his arrows. He does
homage to the god, who accepts his service, and addresses a long
discourse to him on his future duties and conduct. The prospect somewhat
alarms him, when a new personage, Bel Acueil (Gracious Reception), comes
up and tenders his services to the lover, the god having disappeared.
Almost immediately, however, Dangier[87] makes his appearance, and
drives both the lover and Bel Acueil out of the garden. As the former
is bewailing his fate, Reason appears and remonstrates with him. He
persists in his desire, and parleys with Dangier, both directly and by
ambassadors, so that in the end he is brought back by Bel Acueil into
the garden and allowed to see but not to touch the rose. Venus comes to
his aid, and he is further allowed to kiss it. At this, however, Shame,
Jealousy, and other evil agents reproach Dangier. Bel Acueil is immured
in a tower, and the lover is once more driven forth.

Here the portion due to William of Lorris ends. Its main characteristics
have been indicated by this sketch, except that the extreme beauty and
grace of the lavish descriptions which enclose and adorn the somewhat
commonplace allegory perforce escape analysis. It is in these
descriptions, and in a certain tenderness and elegance of general
thought and expression, that the charm of the poem lies, and this is
very considerable. The deficiency of action, however, and the continual
allegorising threaten to make it monotonous had it been much longer
continued in the same strain.

It is unlikely that it was this consideration which determined Jean de
Meung to adopt a different style. In his time literature was already
agitated by violent social, political, and religious debates, and the
treasures of classical learning were becoming more and more commonly
known. But prose had not yet become a common literary vehicle, save for
history, oratory, and romance, nor had the duty of treating one thing at
a time yet impressed itself strongly upon authors. Jean de Meung was
satirically disposed, was accomplished in all the learning of his day,
and had strong political opinions. He determined accordingly to make the
poem of Lorris, which was in all probability already popular, the
vehicle of his thoughts.

In doing this he takes up