7.  Shakspeare knew that tradition supplies a better fable than any invention can.  If he lost any credit of design, he augmented his resources; and, at that day, our petulant demand for originality was not so much pressed.  There was no literature for the million.  The universal reading, the cheap press, were unknown.  A great poet, who appears in illiterate times, absorbs into his sphere all the light which is anywhere radiating.  Every intellectual jewel, every flower of sentiment, it is his fine office to bring to his people; and he comes to value his memory[549] equally with his invention.  He is therefore little solicitous whence his thoughts have been derived; whether through translation, whether through tradition, whether by travel in distant countries, whether by inspiration; from whatever source, they are equally welcome to his uncritical audience.  Nay, he borrows very near home.  Other men say wise things as well as he; only they say a good many foolish things, and do not know when they have spoken wisely.  He knows the sparkle of the true stone, and puts it in high place, wherever he finds it.  Such is the happy position of Homer,[550] perhaps; of Chaucer,[551] of Saadi.[552] They felt that all wit was their wit.  And they are librarians and historiographers, as well as poets.  Each romancer was heir and dispenser of all the hundred tales of the world,—­

   “Presenting Thebes’[553] and Pelops’ line
    And the tale of Troy divine.”

The influence of Chaucer is conspicuous in all our early literature; and, more recently, not only Pope[554] and Dryden[555] have been beholden to him, but, in the whole society of English writers, a large unacknowledged debt is easily traced.  One is charmed with the opulence which feeds so many pensioners.  But Chaucer is a huge borrower.[556] Chaucer, it seems, drew continually, through Lydgat[557] and Caxton,[558] from Guido di Colonna,[559] whose Latin romance of the Trojan war was in turn a compilation from Dares Phrygius,[560] Ovid,[561] and Statius.[562] Then Petrarch,[563] Boccaccio,[564] and the Provencal poets,[565] and his benefactors:  the Romaunt of the Rose[566] is only judicious translation from William of Lorris and John of Meung:  Troilus and Creseide,[567] from Lollius of Urbino:  The Cock and the Fox,[568] from the Lais of Marie:  The House of Fame,[569] from the French or Italian:  and poor Gower[570] he uses as if he were only a brick-kiln or stone-quarry, out of which to build his house.  He steals by this apology,—­that what he takes has no worth where he finds it, and the greatest where he leaves it.  It has come to be practically a sort of rule in literature, that a man, having once shown himself capable of original writing, is entitled thenceforth to steal from the writings of others at discretion.  Thought is the property of him who can entertain it; and of him who can adequately place it.  A certain awkwardness marks the use of borrowed thoughts; but, as soon as we have learned what to do with them, they become our own.