traits of that in R II. While a finished and completed poem by itself, Van den vos Reinaerde does not have a set ending. Like Pierre, very little is known of the author, other than the description by the copyist in the first sentences: Madocke or Madoc is thought to be another one of Willem's works that at one point existed but had been lost. The Arnout mentioned was an earlier Reynard poet whose work Willem (the writer) alleges to have finished. However, there are serious objections to this notion of joint authorship, and the only thing deemed likely is that Arnout was French-speaking ("Walschen" in Middle Dutch referred to northern French-speaking people, specifically the Walloons). Willem's work became one of the standard versions of the legend, and was the foundation for most later adaptations in Dutch, German, and English, including those of William Caxton, Goethe, and F. S. Ellis. Chaucer Geoffrey Chaucer used Reynard material in the Canterbury Tales; in "The Nun's Priest's Tale", Reynard appears as "Rossel" and an ass as "Brunel". Early Modern tradition In 1481, the English William Caxton printed The Historie of Reynart the Foxe, which was translated from Van den vos Reynaerde. Also in the 1480s, the Scottish poet Robert Henryson devised a highly sophisticated development of Reynardian material as part of his Morall Fabillis in the sections known as The Talking of the Tod. Hans van Ghetelen, a printer of Incunabula in Lübeck printed a Low German version called Reinke de Vos in 1498. It was translated to Latin and other languages, which made the tale popular across Europe. Reynard is also referenced in the Middle English poem Sir Gawain and the Green Knight during the third hunt. Tybalt in Shakespeare's Romeo and Juliet is named after the cat in Reynard the Fox (and is called 'Prince of Cats' by Mercutio in reference to this). Jonson's play Volpone is heavily indebted to Reynard. With the invention of the printing press the tales of Reynard the fox became more popular and started to be translated and recreated in many different languages. The tales of Reynard don't follow the typical sense of reprinting, as there is no clear chronology to the stories. Many of the original pages to these stories have been lost, so it is difficult to tell what the exact literary changes are, of which there aren't many, with the exception of the