Page:Romance of the Rose (Ellis), volume 1.pdf/13

Rose,’ had introduced an unfortunate taste for allegory into verse, from which France did not extricate herself for several generations.” The reproach of allegory might with equal justice be applied to all the romantic and religious poetry of the Middle Ages, including the “Divina Commedia,” the author of which can scarcely be supposed to have been influenced by Jean de Meun, who in truth merely adopted the style already in vogue. It is probable that the learned historian did not trouble himself to look at the book he so curtly condemned. He appears but to echo in one short sentence the dictum of Sismondi, in whose day the revival of interest in mediæval literature had hardly begun. The charge of dulness once made against this highly imaginative and brilliant book, successive English writers, until quite recent times, have been content to accept the verdict, though Professor Morley and others have of late ably repelled the charge. If further testimony were necessary as to the fal­sity of the accusation, and the opinion of one who has found a grateful pastime in translating it might be considered of any weight, he would not hesitate to traverse the attribution of dulness, and to assert that it is a poem of extreme interest, written as to the first part with delicate fancy, sweet appre­ciation of natural beauty, clear insight, and skil­ful invention, while J. de Meun’s continuation is distinguished by vigour, brilliant invention, and