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kind. It is the beginning of the Flower and the Leaf, where he describes the delight of that young beauty, shrouded in her bower, and listening, in the morning of the year, to the singing of the nightingale; while her joy rises with the rising song, and gushes out afresh at every pause, and is borne along with the full tide of pleasure, and still increases, and repeats, and prolongs itself, and knows no ebb. The coolness of the arbour, its retirement, the early time of the day, the sudden starting up of the birds in the neighbouring bushes, the eager delight with which they devour and rend the opening buds and flowers, are expressed with a truth and feeling, which make the whole appear like the recollection of an actual

scene:

"Which as me thought was right a pleasing sight,

And eke the briddes song for to here,

Would haue rejoyced any earthly wight,

And I that couth not yet in no manere

Heare the nightingale of all the yeare,.

Ful busily herkened with herte and with eare,

If I her voice perceiue coud any where.

And I that all this pleasaunt sight sie,
Thought sodainly I felt so sweet an aire
Of the eglentere, that certainely
There is no herte I deme in such dispaire,
Ne with thoughts froward and contraire,

So ouerlaid, but it should soone haue bote,
If it had ones felt this savour sote.

And as I stood and cast aside mine eie,

I was ware of the fairest medler tree
That ever yet in all my life I sie,
As full of blossomes as it might be,
Therein a goldfinch leaping pretile

Fro bough to bough, and as him list he eet
Here and there of buds and floures sweet.

And to the herber side was joyning
This faire tree, of which I haue you told,
And at the last the brid began to sing,
Whan he had eaten what he eat wold,
So passing sweetly, that by manifold
It was more pleasaunt than I coud deuise,
And whan his song was ended in this wise,

The nightingale with so merry a note
Answered him, that all the wood rong
So sodainly, that as it were a sote,

I stood astonied, so was I with the song
Thorow rauished, that till late and long,
I ne wist in what place I was, ne where,
And ayen me thought she song euen by mine ere.

Wherefore I waited about busily

On euery side, if I her might see,

And at the last I gan full well aspie

Where she sat in a fresh grene laurer tree,

On the further side euen right by me,
That gaue so passing a delicious smell,
According to the eglentere full well.

Whereof I had so inly great pleasure,
That as me thought I surely rauished was
Into Paradice, where my desire

Was for to be, and no ferther passe
As for that day, and on the sote grasse,
I sat me downe, for as for mine entent,
The birds song was more conuenient,

And more pleasaunt to me by manifold,
Than meat or drinke, or any other thing,
Thereto the herber was so fresh and cold,
The wholesome sauours eke so comforting,
That as I demed, sith the beginning
Of the world was neuer seene or than
So pleasaunt a ground of none earthly man.

And as I sat the birds harkening thus,

Me thought that I heard voices sodainly,
The most sweetest and most delicious

That euer any wight I trow truly
Heard in their life, for the armony
And sweet accord was in so good musike,
That the uoice to angels was most like."

There is no affected rapture, no flowery sentiment: the whole is an ebullition of natural delight "welling out of the heart," like water from a crystal spring. Nature is the soul of art: there is a strength as well as a simplicity in the imagination that reposes entirely on nature, that nothing else can supply. It was the same trust in nature, and reliance on his subject, which enabled Chaucer to

describe the grief and patience of Griselda; the faith of Constance; and the heroic perseverance of the little child, who, going to school through the streets of Jewry,

"Oh Alma Redemptoris mater, loudly sung,"

and who after his death, still triumphed in his song. Chaucer has more of this deep, internal, sustained sentiment, than any other writer, except Boccaccio. In depth of simple pathos, and intensity of conception, never swerving from his subject, I think no other writer comes near him, not even the Greek tragedians. I wish to be allowed to give one or two instances of what I mean. I will take the following from the Knight's Tale. The distress of Arcite, in consequence of his banishment from his love, is thus described :

"Whan that Arcite to Thebes comen was,

Ful oft a day he swelt and said Alas,
For sene his lady shall he never mo.

And shortly to concluden all his wo,

So mochel sorwe hadde never creature,

That is or shall be, while the world may dure.
His slepe, his mete, his drinke is him byraft,
That lene he wex, and drie as is a shaft.
His eyen holwe, and grisly to behold,
His hewe salwe, and pale as ashen cold,

And solitary he was, and ever alone,

And wailing all the night, making his mone.
And if he herde song or instrument,

Than wold he wepe, he might not be stent.
So feble were his spirites, and so low,

And changed so, that no man coude know
His speche ne his vois, though men it herd."

This picture of the sinking of the heart, of the wasting away of the body and mind, of the gradual failure of all the faculties under the contagion of a rankling sorrow, cannot be surpassed. Of the same kind is his farewel to his mistress, after he has gained her hand and lost his life in the combat:

"Alas the wo! alas the peines stronge, That I for you have suffered, and so longe! Alas the deth! alas min Emilie!

Alas departing of our compagnie;

Alas min hertes quene! alas my wif!

Min hertes ladie, ender of my lif!

What is this world? what axen men to have?
Now with his love, now in his colde grave
Alone withouten any compagnie."

The death of Arcite is the more affecting as it comes after triumph and victory, after the pomp of sacrifice, the solemnities of prayer, the celebration of the gorgeous rites of chivalry. The de