we are constrained to shake our heads at the transparent sophistry of the plea, which requires no exposure. For Chaucer knew very well how to give life and colour to his page without recklessly disregarding bounds the neglect of which was even in his day offensive to many besides the "PRECIOUS folk" of whom he half derisively pretends to stand in awe. In one instance he defeated his own purpose; for the so-called "Cook's Tale of Gamelyn" was substituted by some earlier editor for the original "Cook's Tale," which has thus in its completed form become a rarity removed beyond the reach of even the most ardent of curiosity hunters. Fortunately, however, Chaucer spoke the truth when he said that from this point of view he had written very differently at different times; no whiter pages remain than many of his. But the realism of Chaucer is something more than exuberant love of fun and light-hearted gaiety. He is the first great painter of character, because he is the first great observer of it among modern European writers. His power of comic observation need not be dwelt upon again, after the illustrations of it which have been incidentally furnished in these pages. More especially with regard to the manners and ways of women, which often, while seeming so natural to women themselves, appear so odd to male observers, Chaucer's eye was ever on the alert. But his works likewise contain passages displaying a penetrating insight into the minds of men, as well as a keen eye for their manners, together with a power of generalising, which, when kept within due bonds, lies at the root of the wise knowledge of humankind so admirable to us in our great essayists, from Bacon to Addison and his modern successors. How truly, for instance, in "Troilus and Cressid," Chaucer observes on the enthusiastic belief of converts, the "strongest-faithed" of men, as he understands! And how fine is the saying as to the suspiciousness characteristic of lewd, (i.e. ignorant,) people, that to things which are made more subtly Than they can in their lewdness comprehend, they gladly give the worst interpretation which suggests itself! How appositely the "Canon's Yeoman" describes the arrogance of those who are too clever by half; "when a man has an over-great wit," he says, "it very often chances to him to misuse it"! And with how ripe a wisdom, combined with ethics of true gentleness, the honest "Franklin," at the opening of his "Tale," discourses on the uses and the beauty of long-suffering:--