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be seen to illustrate similar love principles. De Lorris's poem is fancy playing with thoughts of love which had inspired these tales of chivalry. Every one knows its gentle idyllic character;—how charming, for instance, is the conflict between the Lover-to-be and Love, who quickly overcomes the ready yielder. So he surrenders unconditionally, gives himself over; Love may slay him or gladden him—"le cuers est vostre, non pas miens," says the lover to Love, and you shall do with it as you will. Then Love sweetly takes his little golden key, and locks the lover's heart, after which he safely may impart his rules and counsels: the lover must abjure vilanie, and foul and slanderous speech—the opposite of courtesy. Pride also (orgoil) must be abandoned. He should attire himself seemingly, and show cheerfulness; he must be niggardly in nothing; his heart must be given utterly to one; he shall undergo toils and endure griefs without complaint; in absence he will always think of the beloved, sighing for her, keeping his love aflame; he will be shameful, confused and changing colour in her presence; at night he will toss and weep for love of her, and dream dreams of passionate delight; then wakeful, he will rise and wander near her dwelling, but will not be seen—nor will he forget to be generous to her waiting-maid. All of this will make the lover pale and lean. To aid him to endure these agonies, will come Hope with her gentle healings, and Fond-thought, and Sweet-speech of the beloved with a wise confidant, and Sweet-sight of her dwelling, maybe of herself. The Roman de la rose is fancy, and the Arthurian romances are fiction. In the one or the other, imagination may take the place of passion, and the contents of the poem or romance afford a type and presentation of the theory of love.