path before it, and sheds a glory round the Muses' feet, like that which

"Circled Una's angel face,
And made a sunshine in the shady place."

The four greatest names in English poetry, are almost the four first
we come to--Chaucer, Spenser, Shakspeare, and Milton. There are no
others that can really be put in competition with these. The two last
have had justice done them by the voice of common fame. Their names are
blazoned in the very firmament of reputation; while the two first
(though "the fault has been more in their stars than in themselves that
they are underlings") either never emerged far above the horizon, or
were too soon involved in the obscurity of time. The three first of
these are excluded from Dr. Johnson's Lives of the Poets (Shakspeare
indeed is so from the dramatic form of his compositions): and the
fourth, Milton, is admitted with a reluctant and churlish welcome.

In comparing these four writers together, it might be said that
Chaucer excels as the poet of manners, or of real life; Spenser, as the
poet of romance; Shakspeare as the poet of nature (in the largest use of
the term); and Milton, as the poet of morality. Chaucer most frequently
describes things as they are; Spenser, as we wish them to be;
Shakspeare, as they would be; and Milton as they ought to be. As poets,
and as great poets, imagination, that is, the power of feigning things
according to nature, was common to them all: but the principle or moving
power, to which this faculty was most subservient in Chaucer, was habit,
or inveterate prejudice; in Spenser, novelty, and the love of the
marvellous; in Shakspeare, it was the force of passion, combined with
every variety of possible circumstances; and in Milton, only with the
highest. The characteristic of Chaucer is intensity; of Spenser,