Except what each man's worth may give.
Know, also, none of all that live
Can ask for honour, praise, or blame
By reason of another's name.'
The idea, of course, is not new. It is found frequently enough in the Greek and Latin literature. It occurs, we believe, for the first time in the fragments of Epicharmus,—
ἀγαθὸς δ' ἄνηρ κἂν Αἰθίοψ καὶ δοῦλος, εὐγενὴς ἔφυ.
and afterwards it is found in Euripides, Horace, Juvenal—'Stemmata quid faciunt?'—and, lastly, in Seneca. Doubtless, Jean de Meung took it from Seneca. Once started anew, the idea, of course, became popular, and poet after poet repeated it, until it became a mere commonplace. But so far as we have been able to discover, Jean de Meung gave it new life.
A few words only, for our limits press, on the natural science taught in the 'Romance of the Rose.' The poet, having got rid of this indignation and wrath that lay at his soul anent the mendicant friars, and the vices of women, wishes now, it seems, to sit down for a quiet and comfortable disquisition on universal knowledge, including alchemy, in which he is a firm believer; indeed, he wants to pass, in a certain ballad of his, for an adept. This part takes the form of a confession of Nature to her chaplain Genius (in which Power afterwards copies him). The confession is long and wearisome, but it is curious as being the earliest and fullest popular account of mediæval science.
He fancies Nature to be perpetually at work, fashioning creatures whom Death continually tries to destroy.
'Nature, who fashions all that holds