I turn now to the dream vision section of the Legend of Good Women in which the narrator dreams of a lady dressed like a daisy. In his dreaming imagination he associates the transcendental marguerite of French lyric poetry with a classical story of an all but perfect woman, the legendary Queen Alceste of Thrace.

When night falls and the daisy of the field closes, nothing remains for the poet but to hasten to his own rest in a bed of grass and flowers which he has made up ‘in a litel herber that I have/ That benched was on turves fressh ygrave’ (F 203–4), where the activities of the day lead him to dream of the God of Love and the object of his devotion:

The God of Love and a consort (frequently surrounded by companies of famous lovers, as in Froissart's Paradis d'Amour) had been among the most familiar protagonists of literary dream visions for several centuries. Moreover, the connection between the dream and the concerns of the dreamer's waking life are here particularly clearly drawn because it appears to him that the queen's clothing makes her ‘lyk a daysie for to sene’: