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It was also necessary sometimes to restore the sense of Chaucer, which was lost or mangled in the errors of the press: let this example suffice at present; in the story of Palamon and Arcite, where the temple of Diana is described, you find these verses, in all the editions of our author: There saw I Dane turned into a tree, I mean not the goddess Diane, But Venus daughter, which that hight Dane: Which, after a little consideration, I knew was to be reformed into this sense, that Daphne, the daughter of Peneus, was turned into a tree.

Sad it is in truth, but we must abide it. We can do nought else." But Palamon said: "Thou art mistaken. Prison walls drew not that cry from me. An arrow hath entered my heart through mine eye, and I am wounded. What life can give is bound up for me in the fairness of a maiden who roams in yonder garden. Be she Spirit or woman I know not!

When all was over, Emelia fled from the noise and tumult of the hall, and beckoned to Palamon to follow. Out at the great hall doors she led him, and down the pathway to the garden beneath the tower.

Amidst so many grounds for doubting, if I might be allowed to hazard an opinion, I should say, that I think I can perceive the mind of Shakspeare in a certain ideal purity, which distinguishes this piece from all others of Fletcher's, and in the conscientious fidelity with which the story adheres to that of Chaucer's Palamon and Arcite.

Never was such preparation made in the world. At last the day arrived in which the knights were to make their entrance into the city. A noise of trumpets was heard, and through the city rode Palamon and his train. With him came Lycurgus, the king of Thrace. He stood in a great car of gold, drawn by four white bulls, and his face was like a griffin when he looked about.

How far the manuscript of the "Canterbury Tales" had already progressed is uncertain; the "Prologue" to the "Legend of Good Women" mentions the "Love of Palamon and Arcite" an earlier version of the "Knight's Tale," if not identical with it and a "Life of Saint Cecilia" which is preserved, apparently without alteration, in the "Second Nun's Tale."

Dryden translated only a few of the Canterbury Tales, and the one he liked best was the knight's tale of Palamon and Arcite. He published it in a book which he called Fables, and it is, I think, as a narrative or story-telling poet in these fables, and in his translations, that he keeps most interest for the young people of to-day.

My noble friend would give more than sixty years of copyright to Dryden's worst works; to the encomiastic verses on Oliver Cromwell, to the Wild Gallant, to the Rival Ladies, to other wretched pieces as bad as anything written by Flecknoe or Settle: but for Theodore and Honoria, for Tancred and Sigismunda, for Cimon and Iphigenia, for Palamon and Arcite, for Alexander's Feast, my noble friend thinks a copyright of twenty-eight years sufficient.

That volume was published when he was universally admitted to be the chief of living English poets. It contains about twelve thousand lines. The versification is admirable, the narratives and descriptions full of life. To this day Palamon and Arcite, Cymon and Iphigenia, Theodore and Honoria, are the delight both of critics and of schoolboys.

You have by this time, I hope, read the story of Palamon and Arcite at least in Tales from Chaucer, and here I will give you a few lines first from Dryden and then from Chaucer, so that you can judge for yourselves of the difference. In them the poets describe Emelia as she appeared on that May morning when Palamon first looked forth from his prison and saw her walk in the garden: