luxuriates equally in scenes of Eastern magnificence; or the still solitude of a hermit's cellin the extremes of sensuality or refinement. In reading the Faery Queen, 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, woodnymphs, 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." What can be more solitary, more shut up in itself, than his description of the house of Sleep, to which Archimago sends for a dream: "And more to lull him in his slumber soft A trickling stream from high rock tumbling down, Mix'd with a murmuring wind, much like the sound It is as if "the honey-heavy dew of slumber" had settled on his pen in writing these lines. How different in the subject (and yet how like in beauty) is the following description of the Bower of Bliss: "Eftsoones they heard a most melodious sound Such as at once might not on living ground, Was there consorted in one harmonee: Birds, voices, instruments, windes, waters, all agree. The joyous birdes shrouded in chearefull shade Now soft, now loud, unto the wind did call; The remainder of the passage has all that volup tuous pathos, and languid brilliancy of fancy, in which this writer excelled: "The whiles some one did chaunt this lovely lay; In springing flower the image of thy day! Doth first peep forth with bashful modesty, That fairer seems the less ye see her may! So passeth in the passing of a day Of mortal life the leaf, the bud, the flower; That erst was sought to deck both bed and bower Gather therefore the rose whilst yet is prime, Whilst loving thou mayst loved be with equal crime.* He ceased; and then gan all the quire of birds As in approvance of his pleasing wordes. The constant pair heard all that he did say, That wanton lady with her lover loose, Upon a bed of roses she was laid As faint through heat, or dight to pleasant sin; * Taken from Tasso. + This word is an instance of those unwarrantable freedoms which Spenser sometimes took with language. And was arrayed or rather disarrayed, All in a veil of silk and silver thin, But rather shewed more white, if more might be : Nor the fine nets, which oft we woven see Her snowy breast was bare to greedy spoil Of hungry eyes which n' ote therewith be fill'd, And her fair eyes sweet smiling in delight The finest things in Spenser are, the character of Una, in the first book; the House of Pride; the Cave of Mammon, and the Cave of Despair; the account of Memory, of whom it is said, among other things, "The wars he well remember'd of King Nine, the description of Belphoebe; the story of Florimel and the Witch's son; the Gardens of Adonis, and the Bower of Bliss; the Mask of Cupid; and Colin Clout's vision, in the last book. But some people will say that all this may be very fine, but that 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 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 allegory, as that the allegory prevents us from understanding Spenser. For instance, when Britomart, seated amidst the young warriors, lets fall her hair and discovers her sex, is it necessary to know the part she plays in the allegory, to understand the beauty of the following stanza? "And eke that stranger knight amongst the rest Tho when as vailed was her lofty crest, Her golden locks that were in trammels gay And raught unto her heels like sunny beams streams." |