The Assembly of Gods is a fifteenth-century dream vision poem by an unknown author (it was originally attributed to John Lydgate, but scholars now agree that is unlikely that he wrote it).
Before the trial can be concluded a messenger comes from Apollo, asking Minos to hold off on the judgement and inviting all the gods to his palace for a banquet.
In Apollo's palace, Diana's complaint is resolved and the dreamer describes each of the gods and goddesses as they sit down to eat.
The gods won't allow Discord into their feast, but as she is leaving she meets with Atropos and sends him to stir things up.
They quickly resolve the dispute between Neptune and Aeolus to ensure that the offender will not be able to escape in the sea or air and then ask who it is that has defied them.
The second narrative episode of the poem is a psychomachian battle between the hosts of Virtue and Vice for the field of Microcosm, which is possessed by Freewill.
As the battle heats up, Freewill joins forces with Vice and they begin to drive Virtue and his host from the field.
The walls of the arbor are painted with images of people from the history of the world which Doctrine uses to explain the meaning of the dream and the genesis of the pagan deities and to encourage the dreamer in the right way of life.
In his first printing of the poem, de Worde added the colophon 'Thus endeth this lytyll moralized treatyse compiled by dan Iohn Lydgat somtyme monke of Bury on whose soule have mercy.'
More recent attempts to fix the date of the poem suggest that it was probably written after Lydgate's death, in the second half of the fifteenth century.
It is his work that encouraged Oscar Lovell Triggs to make his edition of the poem for the Early English Text Society.
He addresses questions of manuscripts (vii-x), title (x-xi), authorship and date (xi-xiv), meter (xiv-xx), rhyme (xxi-xxix, xxx-xxxiv), alliteration (xxix-xxx), language (xxxv-xxxvii) and thematic elements and motifs (xxxvii-lxxvi).
His work also includes catalogues of characters (95-105), a glossary (106-114) and a collection of special phrases and proverbs found in the poem (115-16).
Spivack also briefly mentions the poem in connection with psychomachia literature and the morality plays of the late Middle Ages (1958).
Curt F. Bühler wrote an article in 1967 for English Language Notes that connects the poem's use of the goddess Othea with Christine de Pisan's Epître d'Othéa.
A review of the work by Roberta Davidson suggests that Chance's introduction focuses on what she sees as feminine elements in the poem and on the connection to Christine de Pisan's Epître d'Othéa.