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 tellers like Mr. Masefield, have become rare. For the story-teller, besides his indescribable zest for facts, must tell his story craftily, without undue stress or excitement, or we shall swallow it whole and jumble the parts together; he must let us stop, give us time to think and look about us, yet always be persuading us to move on. Chaucer was helped to this to some extent by the time of his birth; and in addition he had another advantage over the moderns which will never come the way of English poets again. England was an unspoilt country. His eyes rested on a virgin land, ail unbroken grass and wood except for the small towns and an occasional castle in the building. No villa roofs peered through Kentish tree-tops; no factory chimney smoked on the hillside. The state of the country, considering how poets go to Nature, how they use her for their images and their contrasts even when they do not describe her directly, is a matter of some importance. Her cultivation or her savagery influences the poet far more profoundly than the prose writer. To the modem poet, with Birmingham, Manchester, and London the size they are, the country is the sanctuary of moral excellence in contrast with the town which is the sink of vice. It is a retreat, the haunt of modesty and virtue, where men go to hide and moralise. There is something morbid, as if shrinking from human contact, in the nature worship of Wordsworth, still more in the microscopic devotion which Tennyson lavished upon the petals of roses and the buds of lime trees. But these were great poets. In