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imitation from his brethren than all the rest put together. The old undramatic poets, Drayton, Browne, Drummond, Giles and Phineas Fletcher, were as full of him as the dramatic were of Shakspeare. Milton studied and used him, calling him the “sage and serious Spenser;" and adding, that he “ dared be known to think him a better teacher than Scotus or Aquinas.” Cowley said that he became a poet by reading him. Dryden claimed him for a master. Pope said he read him with as much pleasure when he was old, as young. Collins and Gray loved him ; Thomson, Shenstone, and a host of inferior writers, ex. pressly imitated him; Burns, Byron, Shelley, and Keats made use of his stanza ; Coleridge eulogized him; and he is as dear to the best living poets as he was to their predecessors. Spenser has stood all the changes in critical opinion; all the logical and formal conclusions of the understanding, as opposed to imagination and lasting sympathy. Hobbes in vain attempted to depose him in favor of Davenant's Gondibert. Locke and his friend Molyneux to no purpose preferred Blackmore! Hume, acute and encroaching philosopher as he was, but not so universal in his philosophy as great poets, hurt Spenser's reputation with none but the French (who did not know him); and, by way of involuntary amends for the endeavor, he set up for poets such men as Wilkie and Blacklock! In vain, in vain. “ In spite of philosophy and fashion,” says a better critic of that day (Bishop Hurd), “Faerie Spenser' still ranks highest amongst the poets ; I mean with all those who are either of that house, or have any kindness for it. Earth-born critics may blaspheme;
But all the gods are ravish'd with delight
Of his celestial song and music's wondrous might.” Remarks on the Plan and Conduct of the Faerie Queene (in Todd's edition of Spenser, vol.
ii., p. 183).
“In reading Spenser,” says Warton, “ if the critic is not satisfied, yet the reader is transported.” (Id., p. 65.)
"Spenser,” observes Coleridge, « has the wit of the southern, with the deeper inwardness of the northern genius. Take espe. cial note of the marvellous independence and true imaginative absence of all particular space or time in the Faerie Queene. It is in the domains neither of history nor geography: it is ignorant of all artificial boundary, all material obstacles; it is truly in land of Faerie, that is, of mental space. The poet has placed you in a dream, a charmed sleep: and you neither wish nor have the power to inquire, where you are, or how you got there.” Literary Remains, vol. i., p. 94.
“In reading the Faerie Queene,” says Hazlitt, “ you see a little withered old man by a wood-side opening a wicket, a giant, and a dwarf lagging far behind, a damsel in a boat upon an enchanted lake, wood-nymphs and satyrs : and all of a sudden you are transported into a lofty palace, with tapers burning, amidst knights and ladies, with dance and revelry, and song,' and mask and antique pageantry.'-—But some people will say that all this may be very fine, but they cannot understand it on account of the allegory. They are afraid of the allegory, as if they thought it would bite them ; they look at it as a child looks at a painted dragon, and think that it will strangle them in its shining folds. This is very idle. If they do not meddle with the allegory, the allegory will not meddle with them. Without minding it at all the whole is as plain as a pike-staff. It might as well be pretended, that we cannot see Poussin's pictures for the alle. gory, as that the allegory prevents us from understanding Spenser.” Lectures on the English Poets (Templeman's Edi. tion, 12mo., p. 67).
THE HOUSE OF MORPHEUS.
Archimago, a hypocritical magician, lures Una and the Red-cross Knight
into his abode; and while they are asleep, sends to Morpheus, the god of sleep, for a false dream, to produce discord between them.
A little lowly hermitage it was
Thereby a crystal stream did gently play
Arrivèd there the little house they fill,2
The noblest mind the best contentment has.4
He told of saints and popes, and evermore
The drooping night thus creepeth on them fast;
Then choosing out few words most horrible (Let none them read !)5 thereof did verses frame, With which, and other spells like terrible, He bad awake black Pluto's grisly dame, And cursèd Heaven; and spake reproachful shame Of highest God, the Lord of life and light: A bold bad man, that dar'd to call by name Great Gorgon,6 prince of darkness and dead night; At which Cocytus quakes, and Styx is put to flight.
And forth he call'd out of deep darkness dread
The one of them he gave a message to,
He maketh speedy way through spersèd air,
In silver dew his ever-drooping head,
Whose double gates he findeth locked fast;
And unto Morpheus comes, whom drowned deep
And more to lull him in his slumber soft,
No other noise, nor people's troublous cries,
The messenger approaching to him spake
The sprite then 'gan more boldly him to wake,
He bids thee to him send for his intent
The god obeyed; and calling forth straightway
And on his little wings the dream he bore
1 Welled forth alway.
The modulation of this charming stanza is exquisite. Let us divide it into its pauses, and see what we have been hear. ing :
A little lowly hermitage it was