262 KANSAS UNIVERSITY QUARTERLY. 



he dares not (B, pr. , 209), or that he that speaks most truly is soonest 

 blamed; while again he challenges the acts of the bishop of Syria who 

 looks like a real individual (C, XVIIL, 278), impeach s the king him- 

 self (C, IV., 210), and fears not the death at the stake (B, XV., 81). 



Conservatism. But the key to it all lies in his conservatism. It 

 is not that he ever fears to speak because of any personal danger that 

 may come to him; for religious persecution had not yet become severe, 

 and he is most daring with regard to political matters where perhaps 

 the danger of free speech was greatest, at least to those outside of the 

 church. He hesitates to speak because he does not wish to disturb 

 the established order, political or religious, but only to eradicate the 

 abuses that have crept in; and if he should say all that he might, he 

 might incite men to deeds that he does not approve, and be held re- 

 sponsible for a meaning and for results that he does not intend. 



_ . ^. His imaginative faculty is fanciful rather than in- 



iiesNaiidOriKi- ventive, and is not strongly developed even in that 

 "** * ^' direction. He sees facts and can depict them; he can 



reproduce pictures that others have painted, with slight variations of 

 detail that serve to simplify rather than to elaborate; but in the do- 

 main of actual invention he is not at home. In his passages pertain- 

 ing to Heaven and Hell, he leaves no actual picture in our minds, but 

 simply enumerates the matters he wishes to bring before us. But in 

 approaching nearer to things terrestrial the play of his fancy becomes 

 greater and his work correspondingly more artistic. 



Accordingly, his originality consists chiefly in the independence of 

 view already mentioned, and in the vividness and power with which 

 he treats of familiar matters, particularly those derived from his own 

 experience. As to the actual subject matter, apart from his method 

 of treatment, there is little or nothing not directly traceable to some 

 outside source, except these facts of experience; and even his method 

 is often borrowed. It is because of this that we learn that he had 

 read some books, and seen some things that he never mentions 

 directly. This is of course practically restating that his work shows 

 fancy rather than irnagination. The character called Imaginative shows 

 less of imaginativeness than any other if that be possible, it is purely 

 didactic; while many others are introduced with personal description. 



Attitude to- Langland's allusions to women are in proportion 



ward ^Voiiieii. few, whether allegorical or real. The Lady Meed is 

 first and most conspicuous; the female penitent representing Pride, 

 Study, Scripture, Holy Church, Anima, and some minor characters 

 practically complete the list. To these may be added a few refer- 

 ences to his own wife and daughter, and to the women of London. 

 His attitude toward the least of them is respectful; and in what he 



