If a procession came down the street with a brass band and a hero on a white horse, we should think it odd to be told that he had been very patient with a half-witted maiden aunt. Yet some such pantomime impossibility is the only measure of the innovation of the Christian idea of a popular and recognized saint. It must especially be realized that while this kind of glory was the highest, it was also in a sense the lowest. The materials of it were almost the same as those of labour and domesticity: it did not need the sword or sceptre, but rather the staff or spade. It was the ambition of poverty. All this must be approximately visualized before we catch a glimpse of the great effects of the story which lay behind the Canterbury Pilgrimage.
The first few lines of Chaucer's poem, to say nothing of thousands in the course of it, make it instantly plain that it was no case of secular revels still linked by a slight ritual to the name of some forgotten god, as may have happened in the pagan decline. Chaucer and his friends did think about St. Thomas, at least more frequently than a clerk at Margate thinks about St. Lubbock. They did definitely believe in the bodily cures wrought for them through St. Thomas, at least as firmly as the most enlightened and progressive modern can believe in those of Mrs. Eddy. Who was St. Thomas, to whose shrine the whole of that society is thus seen in the act of moving; and why was he so important? If there be a streak of sincerity in the claim to teach social and demo-
