A fewe fraknes in his face yspreint, Of five and twenty yere his age I caste. What a deal of terrible beauty there is contained in this description! The imagination of a poet brings such objects before us, as when we look at wild beasts in a menagerie; their claws are pared, their eyes glitter like harmless lightning; but we gaze at them with a pleasing awe, clothed in beauty, formidable in the sense of abstract power. Chaucer's descriptions of natural scenery possess the same sort of characteristic excellence, or what might be termed gusto. They have a local truth and freshness, which gives the very feeling of the air, the coolness or moisture of the ground. Inanimate objects are thus made to have a fellowfeeling in the interest of the story; and render back the sentiment of the speaker's mind. One of the finest parts of Chaucer is of this mixed kind. It is the beginning of the Flower and the Leaf, where he describes the delight of that young beauty, shrowded 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, So ouerlaid, but it should soone haue bote, And as I stood and cast aside mine eie, I was ware of the fairest medler tree And to the herber side was joyning The nightingale with so merry a note I stood astonied, so was I with the song 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, Whereof I had so inly great pleasure, Was for to be, and no ferther passe And more pleasaunt to me by manifold, Of the world was neur seene or than And as I sat the birds harkening thus, Me thought that I heard voices sodainly, That euer any wight I trow truly And sweet accord was in so good musike, There is here no affected rapture, no flowery sentiment: the whole is an ebullition of natural delight 66 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, ' And shortly to concluden all his wo, So mochel sorwe hadde never creature, That is or shall be, while the world may dure. |