of a kind; abstract definitions of a species. Chaucer, it has been said, numbered the classes of men, as Linnæus numbered the plants. main to this day: others that Most of them re are obsolete, and may well be dispensed with, still live in his descriptions of them. Such is the Sompnoure: "A Sompnoure was ther with us in that place, Ne oinement that wolde clense or bite, Than wold he speken no word but Latin. And knew hir conseil, and was of hir rede. A bokeler hadde he made him of a cake. With him ther rode a gentil Pardonere That hadde a vois as smale as hath a gote." It would be a curious speculation (at least for those who think that the characters of men never change, though manners, opinions, and institutions may) to know what has become of this character of the Sompnoure in the present day; whether or not it has any technical representative in existing professions; into what channels and conduits it has withdrawn itself, where it lurks unseen in cunning obscurity, or else shews its face boldly, pampered into all the insolence of office, in some other shape, as it is deterred or encouraged by circumstances. Chaucer's characters modernised, upon this principle of historic derivation, would be an useful addition to our knowledge of human nature. But who is there to undertake it? The descriptions of the equipage, and accoutrements of the two kings of Thrace and Inde, in the Knight's Tale, are as striking and grand, as the others are lively and natural: "Ther maist thou se coming with Palamon Blake was his berd, and manly was his face. The cercles of his eyen in his hed They gloweden betwixen yelwe and red, And like a griffon loked he about, With kemped heres on his browes stout; His limmes gret, his braunes hard and stronge, Ful highe upon a char of gold stood he, About his char ther wenten white alauns, Couched with perles, white, and round and grete. And that was yelwe, and glitered as the Sonne. His lippes round, his colour was sanguin, A fewe fraknes in his face yspreint, 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, 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, |