points. If Chaucer followed up his subject too doggedly, perhaps Shakespear was too volatile and heedless. The Muse's wing too often lifted him off his feet. He made infinite excursions to the right and the left.
He hath done
Mad and fantastic execution,
Engaging and redeeming of himself
With such a careless force and forceless care,
As if that luck in very spite of cunning
Bad him win all."
Chaucer attended chiefly to the real and natural, that is, to the involuntary and inevitable impressions on the mind in given circumstances: Shakespear exhibited also the possible and the fantastical,—not only what things are in themselves, but whatever they might seem to be, their different reflections, their endless combinations. He lent his fancy, wit, invention, to others, and borrowed their feelings in return. Chaucer excelled in the force of habitual sentiment; Shakespear added to it every variety of passion, every suggestion of thought or accident. Chaucer described external objects with the eye of a painter, or he might be said to have embodied them with the hand of a sculptor, every part is so thoroughly made out, and tangible:—Shakespear's imagination threw over them a lustre
—"Prouder than when blue Iris bends."
