where the eye shares its pleasure with the mind. He is court-painter in ordinary to each of the senses in turn, and idealizes these frail favorites of his majesty King Lusty Juventus, till they half believe themselves the innocent shepherdesses into which he travesties them.[293]
In his great poem he had two objects in view: first the ephemeral one of pleasing the court, and then that of recommending himself to the permanent approval of his own and following ages as a poet, and especially as a moral poet. To meet the first demand, he lays the scene of his poem in contemporary England, and brings in all the leading personages of the day under the thin disguise of his knights and their squires and lady-loves. He says this expressly in the prologue to the second book:—
"Of Faery Land yet if he more inquire,
By certain signs, here set in sundry place,
He may it find; …
And thou, O fairest princess under sky,
In this fair mirror mayst behold thy face
And thine own realms in land of Faery."
Many of his personages we can still identify, and all of them were once as easily recognizable as those of Mademoiselle de Scudéry. This, no doubt, added greatly to the immediate piquancy of the allusions. The interest they would excite may be inferred from the fact that King James, in 1596, wished to have the author prosecuted and punished for his indecent handling of his mother, Mary Queen of Scots, under the name of Duessa.[294] To suit the wider application of his plan's other and more important half, Spenser made all his characters double their parts, and appear in his allegory as the impersonations of abstract moral qualities. When the cardinal and theological virtues tell Dante,
"Noi siam qui ninfe e in ciel siamo stelle,"
the sweetness of the verse enables the fancy, by a slight gulp, to swallow without solution the problem of being in two places at the same time. But there is something fairly ludicrous in such a duality as that of Prince Arthur and the Earl of Leicester, Arthegall and Lord Grey, and Belphoebe and Elizabeth.
"In this same interlude it doth befall
That I, one Snout by name, present a wall."
The reality seems to heighten the improbability, already hard enough to manage. But Spenser had fortunately almost as little sense of humor as Wordsworth,[295] or he could never have carried his poem on with enthusiastic good faith so far as he did. It is evident that to him the Land of Faery was an unreal world of picture and illusion,
"The world's sweet inn from pain and wearisome turmoil,"
in which he could shut himself up from the actual, with its shortcomings and failures.