ancestors are restored to us, not as phantoms from the field of battle, or the scaffold, but in the full enjoyment of their social existence. After four hundred years have closed over the mirthful features which formed the living originals of the poet's descriptions, his pages impress the fancy with the momentary credence that they are still alive; as if Time had rebuilt his ruins, and were reacting the lost scenes of existence." 1 "He speaks of what he wishes to describe with the accuracy, the discrimination, of one who relates what has happened to himself, or has had the best information from those who have been eyewitnesses of it. The strokes of his pencil always tell. He dwells only on the essential, on that which would be interesting to the persons really concerned; yet as he never omits any material circumstance, he is prolix from the number of points on which he touches, without being diffuse on any one; and is sometimes tedious from the fidelity with which he adheres to his subject, as other writers are from the frequency of their digressions from it. He is contented to find grace and beauty in truth. He exhibits, for the most part, the naked object, with little drapery thrown over it. His metaphors, which are few, are not for ornament, but use, and as like as possible to the things themselves. He does not affect to show his power over the reader's mind, but the power which his subject has over his own. There were none of the commonplaces of poetic diction in our author's time, no reflected lights of fancy, no borrowed roseate tints; he was obliged to inspect things for himself, to look narrowly, and almost to handle the object, as in the obscurity of morning we partly see and partly grope our way. The picturesque and the dramatic are in him closely blended together, and hardly distinguishable; for he principally describes external appearances as indicating character as symbols of internal sentiment."2 "I take unceasing delight in Chaucer. His manly cheerfulness is especially delicious to me in my old age. How exquisitely tender he is, and yet how perfectly free from the least touch of sickly melancholy or morbid drooping!"3 VERSIFICATION.-The versification of Chaucer has been considered, on the great authority of Dryden, rude and inharmonious; but modern researches into the rhythmical capabilities of our language have led to a different conclusion. There are some 4 (1) Campbell. "Specimens of the British Poets," p. 5, last Ed. (2) Hazlitt. "Lectures on the English Poets," p. 46, 8vo. Ed. (3) Coleridge. "Table Talk," p. 290, 12mo. Ed. (4) See Tyrwhitt's Essay on Chaucer's versification prefixed to his edition of the "Canterbury Tales," and also Mr. R. H. Horne's ingenious introduction to "Chaucer Modernised." peculiarities for which it is certainly difficult to account, but in general his rhythm is highly musical. Three main principles, however, should be borne in mind : I. He frequently introduces a foot of three syllables, where modern usage generally requires a dissyllable, thus "And of her smiling was ful simple and coy." - Here "simple and" must be read by delicately blending the "ple" as a sort of appoggiatura, or grace-note, with the next syllable. This licence is of the same kind as that employed by Milton in "To whom thus Eve, with perfect beauty adorned." II. He makes the final e, which, as in the word "serve" is now mute, and the es of the plural, significant in the pronunciation, whenever the verse requires it, thus : "And smalé foulés maken melodie." III. He varies the accentuation of syllables at pleasure,' thus : "Of which vertùe engendred is the flour." EXTRACTS FROM THE CANTERBURY TALES.2 THE GATHERING. WHANNE3 that April with his shourés1 sote (1) Both the latter usages may be traced to the strong tincture of French which the old Saxon language had received from the Norman invasion. (2) The extracts from Chaucer and Spenser are accented for the convenience of the reader. The acute accent (') is employed to denote that the syllable over which it is placed is to be pronounced; the grave () to denote an unusual accentuation. (3) Whanne—When. (4) Shoures-Showers: the old English plural, made by adding es to the singular. (5) Sote or swote-Sweet. (6) Rote-Root; so dore and mone have become door and moon. (7) Swiche, for swilke-Such. (8) In swiche licour, &c.-With such moisture, as by its virtue or efficacy gives life to the flower. (9) Eke-Also. (10) Holl-Grove. The tendre croppés,' and the yongé sonne2 14 That hem hath holpen, whan that they were seke.16. In Southwerk at the Tabard 18 as I lay, And shortly, whan the sonne was gon to reste, (1) Croppes-Shoots. (2) Sonne-Sun. (3) Fronne-Run. The past participle in old English frequently has the prefix y (which is the same as the Anglo-Saxon ge), as ycleped, called; yclad, clothed. (4) Maken-Make. The old English plural of the verb ends in en for all persons, as we maken, ye maken, they maken. The n is however frequently dropt. (5) So priketh hem, &c.-i. e. they sleep all night with open eyes, because nature prompts or stirs them so much in their spirits, or makes them so cheerful and lively; hem is them, and hir their. (6) Corage from the French cœur, heart-mind, spirit. (7) Gon-To go. The old English infinitive usually ended in en or n, which however was frequently dropt. Sometimes the infinitive sign to and the termination were both used. (8) Strange strondes-Foreign shores. (9) To serve halwes, &c.-i. e. to pay homage to sacred shrines (halwes) known or famous in different countries. (10) Halwes-Halloweds-i. e. hallowed or holy places. (11) Couthe-Known, is from the old English connen, to know, the past participle of which is conned= connde conde-coude-couthe. (12) Shires-shire's. This is the old possessive case, which was formed by adding se or s. (13) Englelond-Anglesland, England. (14) Wende-Go. (15) Martyr-Thomas-à-Becket. (16) Seke (17) Befelle-It befel, happened. (18) Tabard-Now the Talbot Inn. A tabard was a jacket, or sleeveless coat, worn by heralds. (19) Hostelrie-An inn or lodging-house. (20) By aventure, &c.-By accident fallen into company. (21) Wel we weren, &c.-i. e. we were well accommodated with the best. Sick. So hadde I spoken with hem everich1 on, THE KNIGHT. A KNIGHT ther was, and that a worthy man, Trouthe and honòur, fredom and curtesie. At mortal battailles hadde he ben fiftene, 20 (1) Everich-Every. mise or engagement. (2) Anon-Soon. (3) Forword-i.e. foreword; pro exploits of a (7) Ferre (11) Thries Asia Minor. (5) Chevalrie―chivalry-" the manners, exercises, and valiant knight." (6) His Lordes werre-his Lord's war-the Holy war. further, comparative of fer, far. (8) Hethenesse-country of heathens. (9) Tramissene-a city in Barbary. (10) Listes-See note 5, p. 27. --thrice. (12) Ilke-same. (13) Palatie-Palathia, a city in (14) Agen-against. (15) Sovereine pris-the highest praise. The words prize, price, and praise, are nearly identical in original signification. (16) Vilanie -"anything unbecoming a gentleman." (17) Never, ne-Double negatives were used by Chaucer as they now are in French. (18) No manere wight-no sort of person. (19) Gentil-nobly born, gentlemanlike. (20) Araieequipment. presse. WITH him ther was his sone a yonge SQUIER, 12 Embrouded 13 was he, as it were a mede 14 (1) Wered-wore. (2) Gipon a short cassock or frock: it is the French jupon, and Scotch jupe. (3) Besmotred-smutted, soiled. (4) Habergeon-a coat of mail; a diminutive of hauberk. (5) Viage-voyage, journey. to do, perform. (6) Don, (7) Lusty-strong, stout. (8) Lockes crull, &c.-Locks curled as if they had been laid in a press. (9) Even-middle, common. (10) Wonderly deliver-remarkably nimble; deliver, from the French libre, free. (11) Chevachie-from the French cheval, a horse-military expedition. (12) As of so litel spaceconsidering the short time that he had been a soldier. (13) Embroudedembroidered. (14) Mede-meadow. (15) Floyting-fluting, playing on the flute. (16) Fayre skilfully. (17) Endite-compose or dictate. (18) Juste -joust or tilt at tournaments. (19) Pourtraie-portray, draw. ertale-night time. (21) Servisable-disposed to do services, obliging. -carved. (20) Night (22) Carf |