As in the anonymous romance "Sir Orfeo" ("ca." 1300), Pluto and Proserpina rule over a fantastical world that melds classical myth and fairyland. Chaucer has the couple engage in a comic battle of the sexes that undermines the Christian imagery in the tale, which is Chaucer's most sexually explicit. The Scottish poet William Dunbar "ca." 1503 also described Pluto as a folkloric supernatural being, "the elrich incubus / in cloke of grene" ("the eldritch incubus in cloak of green"), who appears among the courtiers of Cupid. The name "Pluto" for the classical ruler of the underworld was further established in English literature by Arthur Golding, whose translation of Ovid's "Metamorphoses" (1565) was of great influence on William Shakespeare, Christopher Marlowe, and Edmund Spenser. Golding translates Ovid's "Dis" as Pluto, a practice that prevails among English translators, despite John Milton's use of the Latin "Dis" in "Paradise Lost". The Christian perception of the classical underworld as Hell influenced Golding's translation practices; for instance, Ovid's "tenebrosa sede tyrannus / exierat" ("the tyrant "[Dis]" had gone out of his shadowy realm") becomes "the prince of fiends forsook his darksome hole". Pluto's court as a literary setting could bring together a motley assortment of characters. In Huon de Méry's 13th-century poem "The Tournament of the Antichrist", Pluto rules over a congregation of "classical gods and demigods, biblical devils, and evil Christians." In the 15th-century dream allegory "The Assembly of Gods", the deities and personifications are "apparelled as medieval nobility" basking in the "magnyfycence" of their "lord Pluto," who is clad in a "smoky net" and reeking of sulphur. Throughout the Renaissance, images and ideas from classical antiquity entered popular culture through the new medium of print and through pageants and other public performances at festivals. The Fête-Dieu at Aix-en-Provence in 1462 featured characters costumed as a number of classical deities, including Pluto, and Pluto was the subject of one of seven pageants presented as part of the 1521 Midsummer Eve festival in London. During the 15th century, no mythological theme was brought to the stage more often than Orpheus's descent, with the court of Pluto inspiring fantastical stagecraft.