THE PASTONS AND CHAUCER
their hands, the country was no mere jeweller’s shop, or museum of curious objects to be described, even more curiously, in words. Poets of smaller gift, since the view is so much spoilt, and the garden or the meadow must replace the barren heath and the precipitous mountain-side, are now confined to little landscapes, to birds’ nests, to acorns with every wrinkle drawn to the life. The wider landscape is lost.
But to Chaucer the country was too large and too wild to be altogether agreeable. He turned instinctively, as if he had painful experience of their nature, from tempests and rocks to the bright May day and the jocund landscape, from the harsh and mysterious to the gay and definite. Without possessing a tithe of the virtuosity in word-painting which is the modern inheritance, he could give, in a few words, or even, when we come to look, without a single word of direct description, the sense of the open air.
And se the fresshe floures how they sprynge
—that is enough.
Nature, uncompromising, untamed, was no looking-glass for happy faces, or confessor of unhappy souls. She was herself; sometimes, therefore, disagreeable enough and plain, but always in Chaucer’s pages with the hardness and the freshness of an actual presence. Soon, however, we notice something of greater importance than the gay and picturesque appearance of the mediæval world—the solidity which plumps it out, the conviction which animates the characters. There is
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