he presented him to the queen, under whose patronage the first three books of his great poem were printed, in 1590. A volume of minor poems, entitled Complaints, followed in 1591, and the three remaining books of the Faerie Queene in 1596. In 1595-1596 he published also his Daphnaida, Prothalamion, and the four hymns on Love and Beauty, and on Heavenly Love and Heavenly Beauty. In 1598, in Tyrone's rebellion, Kilcolman Castle was sacked and burned, and Spenser, with his family, fled to London, where he died in January, 1599. The Faerie Queene reflects, perhaps, more fully than any other English work, the many-sided literary influences of the Renascence. It was the blossom of a richly composite culture. Its immediate models were Ariosto's Orlando Furioso, the first forty cantos of which were published in 1515, and Tasso's Gerusalemme Liberata, printed in 1581. Both of these were, in subject, romances of chivalry, the first based upon the old Charlemagne epos-Orlando being identical with the hero of the French Chanson de Roland: the second upon the history of the first crusade, and the recovery of the Holy City from the Saracen. But in both of them there was a splendor of diction and a wealth of coloring quite unknown to the rude mediæval romances. Ariosto and Tasso wrote with the great epics of Homer and Vergil constantly in mind, and all about them was the brilliant light of Italian art, in its early freshness and power. The Faerie Queene, too, was a tale of knight-errantry. Its hero was King Arthur, and its pages swarm with the familiar adventures and figures of Gothic romance: distressed ladies and their champions, combats with dragons and giants, enchanted castles, magic rings, charmed wells, forest hermitages, etc. But side by side with these appear the fictions of Greek mythology and the personified abstractions of fashionable allegory. Knights, squires, wizards, hamadryads, satyrs, and river gods, Idleness, Gluttony, and Superstition jostle each other in Spenser's fairy land. Descents to the infernal shades, in the manner of Homer and Vergil, alternate with descriptions of the Palace of Pride in the manner of the Romaunt of the Rose. But Spenser's imagination was a powerful spirit, and held all these diverse elements in solution. He removed them to an ideal sphere "apart from place, withholding time," where they seem all alike equally real, the dateless conceptions of the poet's dream. The poem was to have been " a continued allegory or dark conceit," in twelve books, the hero of each book representing one of the twelve moral virtues. Only six books and the fragment of a seventh were written. By way of complimenting his patrons and securing contemporary interest, Spenser undertook to make his allegory a double one, personal and historical, as well as moral or abstract. Thus Gloriana, the Queen of Faery, stands not only for Glory but for Elizabeth, to whom the poem was dedicated. Prince Arthur is Leicester, as well as Magnificence. Duessa is Falsehood, but also Mary Queen of Scots. Grantorto is Philip II. of Spain. Sir Artegal is Justice, but likewise he is Arthur Grey de Wilton. Other characters shadow forth Sir Walter Raleigh, Sir Philip Sidney, Henry IV. of France, etc.; and such public events as the revolt of the Spanish Netherlands, the Irish rebellion, the execution of Mary Stuart, and the rising of the northern Catholic houses against Elizabeth are told in parable. In this way the poem reflects the spiritual struggle of the time, the warfare of young England against popery and Spain. The allegory is not always easy to follow. It is kept up most carefully in the first two books, but it sat rather lightly on Spenser's conscience, and is not of the essence of the poem. It is an ornament put on from the outside and detachable at pleasure. The "Spenserian stanza," in which the Faerie Queene was written, was adapted from the ottava rima of Ariosto. Spenser changed somewhat the order of the rimes in the first eight lines and added a ninth line of twelve syllables, thus affording more space to the copious luxuriance of his style and the long-drawn sweetness of his verse. It was his instinct to dilate and elaborate every image to the utmost, and his similies, especially-each of which usually fills a whole stanza-have the pictorial amplitude of Homer's. Spenser was, in fact, a great painter. His poetry is almost purely sensuous. The personages in the Faerie Queene are not characters, but richly colored figures, moving to the accompaniment of delicious music, in an atmosphere of serene remoteness from the earth. Charles Lamb said that he was the poet's poet, that is, he appealed wholly to the artistic sense and to the love of beauty. Not until Keats did another English poet appear so filled with the passion for outward shapes of beauty, so exquisitively alive to all impressions of the senses. Spenser was, in some respects, more an Italian than an English poet. It is said that the Venetian gondoliers still sing the stanzas of Tasso's Gerusalemme Liberata. It is not easy to imagine the Thames bargees chanting passages from the Faerie Queene. Those English poets who have taken strongest hold upon their public have done so by their profound interpretation of our common life. But Spenser escaped altogether from reality into a region of pure imagination. His aerial creations resemble the blossoms of the epiphytic orchids, which have not root in the soil, but draw their nourishment from the moisture of the air. Their birth was of the womb of morning dew, Among the minor poems of Spenser the most delightful were his Prothalamion and Epithalamion. The first was a "spousal verse," made for the double wedding of the Ladies Catherine and Elizabeth Somerset, whom the poet figures as two white swans that come swimming down the Thames, the surface of which the nymphs strew with lilies, till it appears "like a bride's chamber-floor." Sweet Thames, run softly till I end my song, is the burden of each stanza. The Epithalamion was Spenser's own marriage song, written to crown his series of Amoretti or love sonnets, and is the most splendid hymn of triumphant love in the language. Hardly less beautiful than these was Muiopotmos; or, the Fate of the Butterfly, an addition to the classical myth of Arachne, the spider. The four hymns in praise of Love and Beauty, Heavenly Love and Heavenly Beauty, are also stately and noble poems, but by reason of their abstractness and the Platonic mysticism which they express, are less generally pleasing than the others mentioned. Allegory and mysticism had no natural affiliation with Spenser's genius. He was a seer of visions, of images full, brilliant, and distinct; and not, like Bunyan, Dante, or Hawthorne, a projector into bodily shapes of ideas, typical and emblematic; the shadows which haunt the conscience and the mind. 1. English Writers. Henry Morley. Cassell & Co., 1887. 4 vols. 2. Skeat's Specimens of English Literature, 1394-1579 (Clarendon Press Series.) Oxford. 3. Morte Darthur. London: Macmillan & Co., 1868. (Globe Edition.) 4. English and Scottish Ballads. Edited by Francis J. Child. Boston: Little, Brown & Co., 1859. 8 vols. 5. Spenser's Poetical Works. Edited by Richard Morris. London: Macmillan & Co., 1877. (Globe Edition.) 6. "A Royal Poet." In Washington Irving's Sketch Book. New York: G. P. Putnam's Sons, 1864. CHAPTER III. THE AGE OF SHAKSPERE. 1564-1616. THE great age of English poetry opened with the publication of Spenser's Shepheard's Calendar, in 1579, and closed with the printing of Milton's Samson Agonistes, in 1671. Within this period of little less than a century English thought passed through many changes, and there were several successive phases of style in our imaginative literature. Milton, who acknowledged Spenser as his master, and who was a boy of eight years at Shakspere's death, lived long enough to witness the establishment of an entirely new school of poets, in the persons of Dryden and his contemporaries. But, roughly speaking, the dates above given mark the limits of one literary epoch, which may not improperly be called the Elizabethan. In strictness the Elizabethan age ended with the queen's death, in 1603. But the poets of the succeeding reigns inherited much of the glow and splendor which marked the diction of their forerunners; and "the spacious times of great Elizabeth" have been, by courtesy, prolonged to the year of the Restoration (1660). There is a certain likeness in the intellectual products of the whole period, a largeness of utterance and a high imaginative cast of thought which stamp them all alike with the queen's seal. Nor is it by any undue stretch of the royal prerogative that the name of the monarch has attached itself to the literature of her reign and of the reigns succeeding hers. The expression "Victorian poetry" has a rather absurd sound when one considers how little Victoria counts for in |