The poems discussed in Chapters 3–9 have been romances, along with two Canterbury Tales that can be read as disillusioned commentaries on romance; that is, they have been third-person narratives about love in which the storyteller, so far as his role is realized at all, exists on a different plane from the lovers and his other fictive creations. In these poems I have been concerned with two types of voyeurism, though it has emerged that each tends to interact with and influence the other: voyeurism involving the persons within the fiction, and voyeurism involving the storyteller and his audience as watchers of the fiction. Henceforward I shall be concerned with first-person narratives where in principle this distinction collapses, for now the narrating poet is his own subject. In practice what happens is not so simple: I begin with a first-person love-story, where the poet is his own hero, telling of his own dream-experience as a lover, but I then move to a series of narratives by Chaucer and his successors, in which, as in Troilus and Criseyde, the poet represents himself as having no such personal experience, even when dreaming, and his role becomes more and more explicitly that of a furtive watcher, debarred by his clerkly status from any enjoyment other than that of watching.