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of their national and personal characters, these are yet less radical than the divergences between class and class which mark off each from either of his fellows in nothing but in fame. Dante represents, at its best and highest, the upper class of the dark ages not less than he represents their Italy; Chaucer represents their middle class at its best and wisest, not less than he represents their England; Villon represents their lower class at its worst and its best alike, even more than he represents their France. And of these three the English middle class, being incomparably the happiest and the wisest, is indisputably, considering the common circumstances of their successive times, the least likely to have left us the highest example of all poetry then possible to men. And of their three legacies, precious and wonderful as it is, the Englishman's is accordingly the least wonderful and the least precious. The poet of the sensible and prosperous middle class in England had less to suffer and to sing than the theosophic aristocrat of Italy, or the hunted and hungry vagabond who first found articulate voice for the dumb longing and the blind love as well as for the reckless appetites and riotous agonies of the miserable and terrible multitude in whose darkness lay dormant, as in a cerecloth which was also a chrysalid, the debased and disfigured godhead which was one day to exchange the degradation of the lowest populace for the revelation of the highest people—for the world-wide apocalypse of France. The golden-tongued gallows-bird of Paris is distinguished from his two more dignified compeers by a deeper difference yet—a difference, we might say, of office and of mission no less than of genius and of gift. Dante and Chaucer