at the same time, it has, for so elaborate and apparently integral a form, a singular faculty of hooking itself on to stanzas preceding and following, so as not to interrupt continuous narrative when continuous narrative is needed. Its great compass, admitting of an almost infinite variety of cadence and composition, saves it from the monotony from which even the consummate art of Milton could not save blank verse now and then, and from which no writer has ever been able to save the couplet, or the quatrain, or the stanzas ending with a couplet, in narratives of very great length. But the most remarkable instance of harmony between metrical form and other characteristics, both of form and matter, in the metrist has yet to be mentioned. It has been said how well the stanza suits Spenser's pictorial faculty; it certainly suits his musical faculty as well. The slightly (very slightly, for he can be vigorous enough) languid turn of his grace, the voluptuous cadences of his rhythm, find in it the most perfect exponent possible. The verse of great poets, especially Homer's, has often been compared to the sea. Spenser's is more like a river, wide, and deep, and strong, but moderating its waves and conveying them all in a steady, soft, irresistible sweep forwards. To aid him, besides this extraordinary instrument of metre, he had forged for himself another in his language. A great deal has been written on this – comments, at least of the unfavourable kind, generally echoing Ben Jonson's complaint that Spenser "writ no language"; that his dialect is not the dialect of any actual place or time, that it is an artificial "poetic diction" made up of Chaucer, and of Northern dialect, and of classicisms, and of foreign words, and of miscellaneous archaisms from no matter where. No doubt it is. But if any other excuse than the fact of a beautiful and satisfactory effect is wanted for the formation of a poetic diction different from the actually spoken or the ordinarily written tongue of the day (and I am not sure that any such excuse is required) it is to be found at once. There was no actually spoken or ordinarily written tongue in Spenser's day which could claim to be "Queen's English." Chaucer was obsolete, and since Chaucer there was no single person who could even pretend to authority. Every writer more or less endowed with originality was engaged in beating out for himself, from popular talk, and from classical or foreign analogy, an instrument of speech. Spenser's verse language and Lyly's prose are the most remarkable results of the process; but it was, in fact, not only a common but a necessary one, and in no way to be blamed. As for the other criterion hinted at above, no one is likely to condemn the diction according to that. In its remoteness without grotesqueness, in its lavish colour, in its abundance of matter for every kind of cadence and sound-effect, it is exactly suited to the subject, the writer, and the verse.
It is this singular and complete adjustment of worker and implement which, with other peculiarities noted or to be noted, gives The Faërie Queene its unique unicity, if such a conceit may be pardoned. From some points of view it might be called a very artificial poem, yet no poem runs with such an entire absence of effort, with such an easy eloquence, with such an effect, as has been said already, of flowing water. With all his learning, and his archaisms, and his classicisms, and his Platonisms, and his isms without end, hardly any poet smells of the lamp less disagreeably than Spenser. Where Milton forges and smelts, his gold is native. The endless, various, brightly-coloured, softly and yet distinctly outlined pictures rise and pass before the eyes and vanish – the multiform, sweetly-linked, softly-sounding harmonies swell and die and swell again on the ear – without a break, without a jar, softer than sleep and as continuous, gayer than the rainbow and as undiscoverably connected with any obvious cause. And this is the more remarkable because the very last thing that can be said of Spenser is that he is a poet of mere words. Milton himself, the severe Milton, extolled his moral teaching; his philosophical idealism is evidently no mere poet's plaything or parrot-lesson, but thoroughly thought out and believed in. He is a determined, almost a savage partisan in politics and religion, a steady patriot, something of a statesman, very much indeed of a friend and a lover. And of all this there is ample evidence in his verse. Yet the alchemy of his poetry has passed through the potent alembics of verse and phrase all these rebellious things, and has distilled them into the inimitably fluent and velvet medium which seems to lull some readers to inattention by its very smoothness, and deceive others into a belief in its lack of matter by the very finish and brilliancy of its form. The show passages of the poem which are most generally known – the House of Pride, the Cave of Despair, the Entrance of Belphœbe, the Treasury of Mammon, the Gardens of Acrasia, the Sojourn of Britomart in Busirane's Castle, the Marriage of the Thames and Medway, the Discovery of the False Florimel, Artegall and the Giant, Calidore with Melibœus, the Processions of the Seasons and the Months – all these are not, as is the case with so many other poets, mere purple patches, diversifying and relieving dullness, but rather remarkable, and as it happens easily separable examples of a power which is shown constantly and almost evenly throughout. Those who admire them do well; but they hardly know Spenser. He, more than almost any other poet, must be read continuously and constantly till the eye and ear and mind have acquired the freedom of his realm of enchantment, and have learnt the secret (as far as a mere reader may learn it) of the poetical spells by which he brings together and controls its wonders. The talk of tediousness, the talk of sameness, the talk of coterie-cultivation in Spenser shows bad taste no doubt; but it rather shows ignorance. The critic has in such cases stayed outside his author; he speaks but of what he has not seen.
The comparative estimate is always the most difficult in literature, and where it can be avoided it is perhaps best to avoid it. But in Spenser's case this is not possible. He is one of those few who can challenge the title of "greatest English poet," and the reader may almost of right demand the opinion on this point of any one who writes about him. For my part I have no intention of shirking the difficulty. It seems to me that putting Shakespere aside as hors concours, not merely in degree but in kind, only two English poets can challenge Spenser for the primacy. These are Milton and Shelley. The poet of The Faërie Queene is generally inferior to Milton in the faculty of concentration, and in the minting of those monumental phrases, impressive of themselves and quite apart from the context, which often count highest in the estimation of poetry. His vocabulary and general style, if not more remote from the vernacular, have sometimes a touch of deliberate estrangement from that vernacular which is no doubt of itself a fault. His conception of a great work is looser, more excursive, less dramatic. As compared with Shelley he lacks not merely the modern touches which appeal to a particular age, but the lyrical ability in which Shelley has no equal among English poets. But in each case he redeems these defects with, as it seems to me, far more than counterbalancing merits. He is never prosaic as Milton, like his great successor Wordsworth, constantly is, and his very faults are the faults of a poet. He never (as Shelley does constantly) dissolves away into a flux of words which simply bids good-bye to sense or meaning, and wanders on at large, unguided, without an end, without an aim. But he has more than these merely negative merits. I have seen long accounts of Spenser in which the fact of his invention of the Spenserian stanza is passed over almost without a word of comment. Yet in the formal history of poetry (and the history of poetry must always be pre-eminently a history of form) there is simply no achievement so astonishing as this. That we do not know the inventors of the great single poetic vehicles, the hexameter, the iambic Senarius, the English heroic, the French Alexandrine, is one thing. It is another that in Spenser's case alone can the invention of a complicated but essentially integral form be assigned to a given poet. It is impossible to say that Sappho invented the Sapphic, or Alcæus the Alcaic: each poet may have been a Vespucci to some precedent Columbus. But we are in a position to say that Spenser did most unquestionably invent the English Spenserian stanza – a form only inferior in individual beauty to the sonnet, which is itself practically adespoton, and far superior to the sonnet in its capacity of being used in multiples as well as singly. When the unlikelihood of such a complicated measure succeeding in narrative form, the splendid success of it in The Faërie Queene, and the remarkable effects which have subsequently been got out of it by men so different as Thomson, Shelley, and Lord Tennyson, are considered, Spenser's invention must, I think, be counted the most considerable of its kind in literature.
But it may be very freely admitted that this technical merit, great as it is, is the least part of the matter. Whosoever first invented butterflies and pyramids in poetry is not greatly commendable, and if Spenser had done nothing but arrange a cunning combination of eight heroics, with interwoven rhymes and an Alexandrine to finish with, it may be acknowledged at once that his claims to primacy
