historical work, you will find it in neither of them, nor in any
other perfectly great man that I know of."--_Modern Painters._

It will be observed that Mr. Corson, whose address deals primarily
with literary training, speaks of these absolute qualities of the
great masterpieces as the _first_ object of study. But his words, and
Ruskin's words, fairly support my further contention that they remain
the _most important_ object of study, no matter how far one's literary
training may have proceeded. To the most erudite student of Chaucer in
the wide world Chaucer's poetry should be the dominant object of
interest in connection with Chaucer.

But when the elaborate specialist confronts us, we are apt to forget
that poetry is meant for mankind, and that its appeal is, or should
be, universal. We pay tribute to the unusual: and so far as this
implies respect for protracted industry and indefatigable learning, we
do right. But in so far as it implies even a momentary confusion of
the essentials with the accidentals of poetry, we do wrong. And the
specialist himself continues admirable only so long as he keeps them
distinct.

I hasten to add that Professor Skeat _does_ keep them distinct very
successfully. In a single sentence of admirable brevity he tells us
that of Chaucer's poetical excellence "it is superfluous to speak;
Lowell's essay on Chaucer in 'My Study Windows' gives a just estimate
of his powers." And with this, taking the poetical excellence for
granted, he proceeds upon his really invaluable work of preparing a
standard text of Chaucer and illustrating it out of the stores of his
apparently inexhaustible learning. The result is a monument to
Chaucer's memory such as never yet was reared to English poet. Douglas