admirable as the very best and most sufficient ever yet given of some at least among the leading names of our poets.
Four of these are by him selected as composing the supreme quadrilateral of English song. It is through no lack of love and reverence for the name of Chaucer that I must question his right, though the first narrative poet of England, to stand on that account beside her first dramatic, her first epic, or her first lyric poet. But, being certainly unprepared to admit his equality with Shakespeare, with Milton, and with Shelley, I would reduce Mr. Rossetti's mystic four to the old sacred number of three. Pure or mere narrative is a form essentially and avowedly inferior to the lyrical or the dramatic form of poetry; and the finer line of distinction which marks it off from the epic marks it also thereby as inferior.
Of all whose names may claim anything like equality of rank on the roll of national poets—not even excepting Virgil—we may say that Chaucer borrowed most from abroad, and did most to improve whatever he borrowed. I believe it would be but accurate to admit that in all his poems of serious or tragic narrative we hear a French or Italian tongue speaking with a Teutonic accent through English lips. It has utterly unlearnt the native tone and cadence of its natural inflections; it has perfectly put on the native tone and cadence of a stranger's; yet is it always what it was at first—lingua romana in bocca tedesca. It speaks not only with more vigour but actually with more sweetness than the tongues of its teachers; but it speaks after its own fashion no other than the lesson they have taught.
