quickly and mere intensely, and with better order than in life or in prose; there is a formal elevated dullness which is part of the incantation of poetry; there are lines speaking half a second in advance what we were about to say, as if we read our thoughts before words cumbered them; and lines which we go back to read again with that heightened quality, that enchantment which keeps them glittering in the mind long afterwards. And the whole is held in its place, and its variety and divagations ordered by the power which is among the most impressive of all — the shaping power, the architect’s power. It is the peculiarity of Chaucer, however, that though we feel at once this quickening, this enchantment, we cannot prove it by quotation. From most poets quotation is easy and obvious; some metaphor suddenly flowers; some passage breaks off from the rest. But Chaucer is very equal, very even-paced, very unmetaphorical. If we take six or seven lines in the hope that the quality will be contained in them it has escaped.
My lord, ye woot that in my fadres place,
Ye dede me strepe out of my povre wede,
And richely me cladden, o your grace
To yow broghte I noght elles, out of drede,
But feyth and nakedness and maydenhede.
In its place that seemed not only memorable and moving but fit to set beside striking beauties. Cut out and taken separately it appears ordinary and quiet. Chaucer, it seems, has some art by which the most ordinary words and the simplest feelings
