Though the old English version takes no account of chapters or sections, it is deemed better for the sake of clearness to summarise the 108 sections of which the work consists in their separate sequence, as they are given in the original text.
For convenience of reference, the lines of the French text are marked F. in the margin according to the text of the edition printed in the “Bibliothèque Elzevirienne,” Orléans, 1878. C. represents the lines of the old English version as far as it goes, though a portion only is Chaucer’s.
Cap. I F.1-130. C. 1-134
The question is raised as to the truth or falsity Cap. I. of dreams. The author affirms his belief in their fulfilment, and expresses his intention of relating a vision that befell him in the twentieth year of his age.
He entitles his narrative the “Romance of the Rose,” out of compliment to a lady, who worthily bears the name of that fragrant flower, and with whom he is deeply in love.
Five years ago, as he lay on his bed on a May morning, he dreamed that he leapt from his couch, washed his hands and face, and issued forth into the fresh air, that he might enjoy the matin song of the birds. He wanders over flower-besprinkled meadows beside a river, basting his sleeves with a bodkin as he goes.
Cap. II. F. 131-530. C. 135-530.
When he has traversed some distance, he perceives before him a spacious garden enclosed by high embattled walls, whereon, as he comes anigh, he beholds, painted in bright colours illumined with gold, ten hideous figures, which represent respectively: Hatred, Felony, Villainy, Covetousness, Avarice, Envy, Sorrow, Old Age, Hypocrisy, and Poverty.
The characteristics of these various figures are set forth with marvellous force and insight.
Having carefully studied these paintings, and listened with delight to the singing of the birds in the trees that overtop the wall of the garden, the Dreamer becomes possest by extreme longing to gain access to the place, and carefully seeks around in the hope of finding some means of entrance, or a ladder by means of which he may scale the barrier. He at last discovers a small and narrow hornbeam wicket.
Cap. III. F. 531-742. C. 531-742.
On this wicket he smites boldly several times, and then listens anxiously for a footstep. The gate is opened to him by a beautiful damsel richly habited. In reply to his inquiry she tells him that she is called Idleness, and that her sole occupation is the tiring of her hair and the adornment of her person. She is the friend of Sir Mirth, to whom this pleasaunce belongs. He it was, she says, who built the wall and caused the hideous figures to be painted on the outside of it; and that the fair trees with which it is planted had by him been brought from the land of the Saracens. Passing the gate, at the invitation of Idleness, the Dreamer listens with delight to the many-voiced birds, and is so entranced with the beauty of the place, that he deems forsooth he must have happed upon the Earthly Paradise. His new-found acquaintance tells him, moreover, that the lord of the fair spot is just now present, having come thither to listen to the melody of the birds and enjoy the varied beauties of the garden in company with his friends. He wanders through shady alleys till he comes on a secluded spot where he discovers Mirth surrounded by a merry company.
Cap. IV. F. 743-96. C. 743-92.
He beholds these joyous folk join the dance, while a damsel named Gladness sings entrancingly. A description is given of the dancers, and of the minstrels who make melody with voice, pipe, and string.
Cap. IV. F. 743-96. C. 743-92.
He beholds these joyous folk join the dance, while a damsel named Gladness sings entrancingly. A description is given of the dancers, and of the minstrels who make melody with voice, pipe, and string.
Cap. V. F. 797-890. C. 793-876.
After a while the Dreamer is approached by Courtesy, who takes him by the hand and invites him to join the dance as her companion. He describes at full the persons and attire of Mirth and Gladness.
Cap. VI. F. 891-1044. C. 877-1032.
Ere long he perceives the God of Love coming towards him, accompanied by Sweet-Looks, who carries two bows, the one gnarled, knotted, and hideous; the other flexible and beautiful, and adorned with fair paintings. He carries also two quivers, each one containing five arrows. Those borne in his right hand are beautiful of aspect, and sharply barbed with gold. They are named Beauty, Simplicity, Franchise, Companionship, and Fair-Seeming. The arrows borne in his left hand are hideous of aspect, and are named Pride, Villainy, Shame, Despair, and Fickleness. The Dreamer notices that the special companion of the God of Love is a lady named Beauty. Her form and appear ance are fully set forth.
Cap. VII. F. 1045-1264. C. 1033-1250.
Richesse, who keeps close beside Beauty, is described in careful detail. Beside her sits Largesse, and not far from her is seen the damsel hight Franchise.
Cap. VIII. F. 1265-1300. C. 1251-1280.
The Dreamer sings the praises of Courtesy and the Lady Idleness, to whom he owed his entry into the garden.
Cap. IX. F. 1301-1328. C. 1281-1308.
Herein is told of Youth and her Lover, and their inexperience of the ways of life.
Cap. X. F. 1329-1486. C. 1309-1468.
Having watched the dance to its end and seen the different couples retire to repose themselves in shady bowers, the Dreamer marks how the God of Love calls Sweet-Looks towards him, and takes from his hand the fair-made bow and the five beautiful arrows. He is overwhelmed with fear lest the darts should be destined for him, and notes that Cupid watches him and ollows his footsteps, but he nevertheless pursues his way through the pleasaunce and describes the great variety of beautiful trees that meet his gaze. Rabbits bound over the flower-decked turf, and squirrels spring from branch to branch among the trees. The grass is kept evergreen by little runlets of water which intersect the lawns. At last he comes upon a marble fountain beneath a gigantic pine-tree, on which he sees an inscription declaring it to be the fountain in which Narcissus wept himself away.
Cap. XI. F. 1487-1538. C.1469-1516.
The opening of the story of Narcissus and Echo.
Cap. XII. F. 1539-1740. C.1517-1714.
The story of Narcissus concluded. The Dreamer’s first impulse was flight when he recognised the fountain of Narcissus, but second thoughts induced him to stay and examine it carefully. Gazing into its crystal waters he perceives that from either side of the fountain may be seen reflected one-half of the garden and the wonders contained therein. But that which attracts him more than all else that he sees reflected in the water is a Rose-tree charged with buds. So greatly desirous does he feel to approach this tree, and if he may not possess himself of a bud, at least to enjoy the sweet savour of the blooms, that the offer of the city of Paris or of Pavia would not induce him to forego his desire. But, alas! the Rose-tree is surrounded by a thick hedge of thorns, briars, and thistles.
Cap. XIII. F. 1741-1950. C.1715-1926.
But while the Dreamer is occupied with the fountain and the Rose-tree, the God of Love has been upon his track, and now, approaching within a short distance of his quarry, draws the bowstring to his ear and lets fly the arrow named Beauty, which pierces him through the eye. So sharply is it barbed that all his efforts to with draw it are unavailing. He tries to drag himself towards the Rose, but Cupid again draws upon him and he is pierced with the arrow named Simplicity, and successively with those hight Franchise, Companionship, and Fair-Seeming. The God of Love then anoints his victim with an unguent which allays the extreme anguish caused by the wounds.
Cap. XIV. F. 1951-2028. C.1927-2032.
The God now approaches him as he lies supine on the turf, tells him that all resistance is vain, and that he will do well to give himself up and acknowledge his conqueror for his lord and master.
Cap. XV. F. 2029-76. C. 2033-86.
To this the Dreamer agrees, and becomes Love’s vassal. [Henceforward he is called the Lover.] The God kisses the Lover’s lips, as token and seal that hereafter he claims him for his vassal and slave, and receives from his captive assurance of submission and devotion.
Cap. XV. F. 2029-76. C. 2033-86.
Cupid takes from his purse a golden key, wherewith he locks the heart of the Lover, and expresses his willingness to make known to him all such lore as pertains to his service, if he has desire for instruction. He in turn entreats his master to teach him all the mysteries of the art of love.
Cap. XVII. F. 2159-2852. C. 2175-2950.
The God then essays to Instruct his disciple, and lays his commands upon him, informing him, moreover, of the joys, sorrows, and perils that are inseparable from his service.
Cap. XVIII. F. 2853-2876. C. 2951-78.
Love disappears, leaving his servant torn with conflicting emotions, but desirous above all things of overcoming the formidable hedge that surrounds the Rose-tree, and of possessing him self of the particular Rosebud on which he has set his heart.
Cap. XIX. F. 2877-3028. C. 2979-3148.
While debating with himself whether he shall attempt to pass the formidable barrier, he sees coming towards him a gentle youth, who proves to be Fair-Welcome. He frankly offers to assist the Lover in overcoming the obstacle that separates him from the object of his passion. He promptly accepts the kind and generous offer. But, alas! he perceives Danger lurking beside the Rose-tree, and with him Evil-Tongue, Shame, and Fear, who are there to assist him as guardians of the Roses and Rosebuds. Fair-Welcome encourages the Lover to pluck a rose, and, in earnest of his happiness, presents him with a green leaf from off the tree, wherewith he decks his vestment. But when he proposes to pluck the Rosebud that he so greatly longs for, his companion is much alarmed at his temerity. While they are discussing the subject, Danger suddenly awakes, and roundly rates Fair-Welcome for bringing the Lover within reach of the Rose-tree.
Cap. XX. F. 3029-40. C. 3149-58.
Danger chases Fair-Welcome and the Lover from out the close.
Cap. XXI. F. 3041-72. C. 3159-88.
The Lover bitterly laments his hard lot, and declares that only those who have felt the pangs of disappointed love can understand and sympathise with his sufferings.
Cap. XXII. F. 3073-3178. C. 3189-3304.
Wandering about the garden, a victim to despair, he is perceived by Reason from her high-built tower. She descends, and approaching him, asks the cause of his misery, tells him that Idleness did him but an ill turn when she admitted him to the garden, and counsels him to tear his mind away from the folly of love.
Cap. XXIII. F. 3179-3218. C. 3305-47.
The Lover replies that he has made over his heart to the God of Love as his lord and master, who has locked and secured it. He then remembers that his master had counselled him to confide in a friend, and that he has one who is loyal and true of heart.
Cap. XXIV. F. 3219-36. C. 3348-68.
He seeks out his friend forthwith, and opens his grief to him.
Cap. XXV. F. 3237-64. C. 3369-94.
His friend reassures him, declaring that Danger is not nearly so formidable as he appears to be, and his best course is to caress
and flatter his enemy. Hereat he feels his courage and confidence restored.
Cap. XXVI. F. 3265-3364. C. 3395-3498.
He approaches Danger, and explains to him that albeit he is the bounden servant of Love, he would not for his own weight in silver have willingly given him offence, or done anything to excite his wrath. Danger is somewhat appeased, and bids him serve Love if he will, but unless he desires to feel the weight of his club, he will do well to keep clear of the enclosure where the Roses flourish.
His friend advises patience, and again reminds him that if he is courteous and polite to Danger he will find him less ferocious than he seems. Nevertheless the Lover remains oppressed with
grief and misery.
Cap. XXVII. F. 3365-3474. C. 3499-3620.
While in this unhappy condition of mind the God of Love sends to him Franchise and Pity. They reason with Danger, who consents that Fair-Welcome may return to the disconsolate Lover. He reappears, takes the Lover by the hand, and leads him within the enclosure.
Cap. XXVIII. F. 3475-3596. C. 3621-3752.
At once he finds himself transported from hell to paradise. Approaching the Rose, he finds it more beautiful and attractive than ever. Fair-Welcome refuses to assent to his earnest prayer that he may be permitted to kiss it, greatly fearing what Chastity may say thereto. Then Venus appears, and, reproaching Fair-Welcome for his hard-heartedness, desires that at least he will permit the Lover to kiss the Rose.
Cap. XXIX. F. 3597-3662. C. 3753-3826.
Overcome by the perfume of the torch borne by Venus, Fair-Welcome accords the longed-for boon. But he is straightway set upon by Shame and Evil-Tongue, the latter of whom awakes Jealousy, who, leaping to her feet, rates Fair-Welcome roundly.
Cap. XXX. F. 3663-3800. C. 3827-3998.
Jealousy continues her attack upon Fair-Welcome, and a colloquy ensues between her and Shame. Lastly, Fear intervenes, and proposes to Shame that they shall, in company, seek out Danger and reproach him for the negligence he has displayed in keeping guard over the Rose.
Cap. XXXI. F. 3801-3932. C. 3999-4144.
They accordingly proceed together to the haunt of Danger, and successively express to him their surprise and displeasure that he had not better understood his duty. Danger rouses himself from his lair, brandishes his club, and vows vengeance against all who shall in future dare to invade the precincts of which he is the guardian.
Cap. XXXII. F. 3933-42022. C. 4145-4432.
Jealousy builds a high tower, with intent to confine Fair-Welcome as a prisoner therein. The form and fashion of the tower, and the manner of its building, are fully set forth. The doors are guarded by Fear, Shame, Danger, and Evil-Tongue. The Lover bemoans his
hard fate in being cut off from the society of one he loves so well.
F. 4203-82.
[Here the tale, as told by William Lorris, breaks off abruptly. A later hand has put a summary conclusion to the story, relating how the Lover overcomes Fear, Shame, Evil-Tongue, and Danger by the aid of Venus, and possesses himself of the Rose.]
Here begins the Work of Jean de Meun.
Cap. XXXIIi. F. 4283-4450. C. 4433-4614.
The Lover bemoans his unhappy state. He recalls Love’s promises to give him help and comfort, but how shall he put faith in him who .
has deceived so many? If he should die, at least he hopes that the God of Love will take Fair-Welcome under his protection, to whom
he leaves by will all that he can call his own, namely, his heart.
While in this forlorn frame of mind he suddenly sees Reason approach him once more. She asks him whether he is not by this time weary of Love’s bondage. Surely not, he replies. Reason then undertakes to instruct him as to the true nature of love, affirming it to be but a mass of contradictions and contrarieties. With this the Lover declares himself but ill content, and asks Reason to explain the matter further. When she has finished her discourse the Lover vows that it is to little purpose, for that Love has had his heart under his wing the while, and Reason’s fair arguments but went in at one ear and out
at the other.
Cap. XXXV. F. 4953-5838. C. 5239-5810.
Reason continues to instruct the Lover as to the different kinds of love and friendship that exist in the world, contemns the folly of avarice, and of those who set their minds on the gifts and favours of Fortune, and teaches before all else the love of one’s neighbour. If there were true love among men, she contends, there would be no need for kings or judges, who are but tyrants and oppressors.
[The old English translation breaks off abruptly at 5396 of the French text.]
Cap. XXXVI. F. 5839-5888.
Reason illustrates the evils of judges by the story of Appius and Virginius.
Cap. XXXVI. F. 5889-6162.
Reason continues her tirade on the folly of love and the fickleness of Fortune, interrupted and contested in her discourse by the Lover from time to time.
Cap. XXXVI. F. 6163-6440.
Reason illustrates her argument by somewhat intricate allegories or parables of two rivers, the one bright and clear, the other foul and turbid; and of the palace of Fortune, the one half of which is beautiful and resplendent, while the other is ruinous and wretched.
Cap. XXXIX.-XLII. F. 6441-7526.
The caprice of Fortune is illustrated by the histories of Nero, Emperor of Rome, Crœsus, King of Lydia, and the contemporary history of the destruction of Conradin and Manfred in Sicily by Charles of Anjou. The latter story is related under the allegory of a game at chess.
The Lover has complained in a former chapter of the freedom of speech used by Reason, who after a digression of several
hundred lines now defends herself from the accusation.
The Lover once more declares himself the servant of Love, and says that if he were to submit himself to the dictates of Reason he must prove unfaithful to his master and to the Rose, which he is resolved shall never be, and tells her that if she pushes her argument further he shall take to flight.
For table of chapters and lines of the present version see the end of each volume.