In Chaucer's House of Fame, the reader is privy to a momentous dream of Geoffrey, a poet protagonist devoted to love. In this dream he meets an eagle who promises to take him to the House of Fame as a reward from Jupiter himself. Once there, Geoffrey is told that he will be "here...mo wonder Thynges...and of loves folk moo tydynges, both soothe sawes and lesinges, and moo loves the new begonne, and loves longeyserved wonne, and moo loves casually (Chaucer, Lines 672 -679).” This excerpt is intended to outline what can be expected from Chaucer and his text However, when Geoffrey finally arrives at the House of Fame at the beginning of Book III, he learns less about Love's news and more about one of Love's sisters. Love, Fame and his followers. This redirection of intent forces the reader to question Chaucer and reconsider the true purpose of Geoffrey's journey to the House of Fame. In addition to learning the news of Love, the eagle states that Jupiter intended "this caas you [for] your tradition and for your prow (Chaucer, lines 578-559)". Considering this, one realizes that Geoffrey obviously learned a lot from his visit, but one has to wonder exactly how Geoffrey, and consequently the reader, have profited from it and what meaning, if any, is intended to be drawn from The House of Fame. Paul G. Ruggiers, author of “The Unity of Chaucer's House of Fame,” argues that the purpose of the text is to illustrate. the influence of Fame on all things, including those subject to its sister, Love. Considering this, it can further be said that Jupiter's true reward for Geoffrey, and also Chaucer's intent for the reader, is the detailed knowledge of Fame and its subjects, which constitutes a valuable example of the nature of Fame itself. Ruggiers begins his argument with the story of Dido and Aeneas, at the center of Book I of The House of Fame. Having learned that Aeneas intends to abandon her to move to Italy, the reader finds Dido in turmoil. However, instead of cursing Fortune or cursing Love due to Aeneas' unrequited love, Chaucer portrays Dido as lashing out at Fame. Ruggiers believes this is important because his protest is an accurate “blend of the two phases of the functions of Fame, voice and reputation (Ruggiers, p.19). This can be seen best when Dido exclaims: Oh well that I am born! For thorgh yow is my name lorn, and all my deeds are red and