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 Chaucer was in the main a French or Italian poet, lined thoroughly and warmly throughout with the substance of an English humourist. And with this great gift of specially English humour he combined, naturally as it were and inevitably, the inseparable twin-born gift of peculiarly English pathos. In the figures of Arcite and Grisilde, he has actually outdone Boccaccio's very self for pathos as far almost as Keats was afterwards to fall short of the same great model in the same great quality. And but for the instinctive distaste and congenital repugnance of his composed and comfortable genius from its accompanying horror, he might haply have come nearer than he has cared or dared to come even to the unapproachable pathos of Dante. But it was only in the world of one who stands far higher above Dante than even Dante can on the whole be justly held to stand above Chaucer, that figures as heavenly as the figures of Beatrice and Matilda could move unspotted and undegraded among figures as earthly as those of the Reve, the Miller, and the Wife of Bath that a wider if not keener pathos than Ugolino's or Francesca's could alternate with a deeper if not richer humour than that of Absolon and Nicholas.

It is a notable dispensation of chance—one which a writer who might happen to be almost a theist might designate in the deliciously comical phrase of certain ambiguous pietists as 'almost providential'—that the three great typical poets of the three great representative nations of Europe during the dark and lurid lapse of the Middle Ages should each afford as complete and profound a type of a different and alien class as of a different and alien people. Vast as are the diversities