The Perilous Fountain with the Charter of Love

They all began to blush with shame
When one of them cried out, "Ah!
We are overcome by foolishness.
Do you not see this inscription
Which says: 'Let no one be amazed;
These are the works of Nature'?"
In medieval literature, Nature is often personified as God’s "vicar" or deputy, the master artisan who creates the physical world with a perfection that human artists can only hope to imitate.

¶ In the aforesaid fountain
There were many other beauties;
I desist from thinking of them,
Even though the dream has passed.
The narrator reminds the reader that this entire sequence is a dream vision (a "songe"), a popular literary device used to explore allegorical or supernatural landscapes.
A thousand wonders were gathered there
Of which I cannot make mention;
I would weary myself in vain,
And so I pursue my [original] intention.

¶ The pipes were all of silver,
Through which the water ran down,
Finished with very noble workmanship;
For when the water trickled out,
A melody issued forth from it,
Giving off a sound of great pleasure;
And then sometimes it stopped,
As if by the art of necromancy.
original: "nygromance." In this context, the term does not necessarily mean "dark magic," but rather refers to wondrous, seemingly impossible mechanical engineering or "automata" that were popular in courtly gardens of the time.

¶ Upon the trees were birds
original: "oyseaulx."
Singing songs of various kinds:
Siskins, serins, and goldfinches,
Parrots, and gray calandra larks.
The poet provides a specific list of songbirds, common in medieval "locus amoenus" (pleasant place) descriptions to evoke a sensory paradise. The "calandre" is a type of large lark.