The popularity of such works shows the insatiable thirst of the human soul for something which at least tried to be beyond mere matter-of-fact. This thirst for the ideal transmuted these books into poetry, just as the eternal drought of the desert turns muddy water into nectar, and the famine of the shipwrecked sailor gives a flavor beyond French cookery to a soup made of old shoes (potage aux choux). But meanwhile Nature, who loves surprises, was quietly preparing a noble one. A new poet had been born, and came upon that arid century fresh and dewy as out of the first dawn that waked the birds in Eden. A great poet is always impossible—till he comes, and then he seems the simplest thing in the world to the commentators. He got this notice here and the other there; similar subjects had been treated by such a one, and the metre first used by another. They give us all the terms of the equation; satisfy us that a plus b minus c equals x, only we are left in the dark as to what x is. The genius continues to be an unknown quantity. The great poet is as original as to-morrow’s sunrise, which will take the old clouds and vapors, and little household smokes of our poor, worn-out earth to make a miracle out of, and transfigure the old hills and fields and houses with the enchantment of familiar novelty. It is this power of being at once familiar and novel that distinguishes the primary poets. They give us a new heaven and a new earth without the former things having passed away,—whose very charm is that they have not,—a new heaven and a new earth that we can possess by the fireside, in the street, and the counting-room.
Edmund Spenser was born, like Chaucer, in London, in 1553, when Cervantes was six years old. That sixteenth century was a miraculous one. Scarce any other can show such a concurrence of great brains. Mothers must have expected an attack of genius among their children, as we look for measles or whooping-cough now. While Spenser was yet delving over the propria quæ maribus, Shakspeare was stretching out his baby arms and trying to get the moon to play with, and the little Bacon, chewing upon his coral, had already learned the impenetrability of matter. It almost takes one’s breath away to think that at the same time “Hamlet” and the “Novum Organon” were at the mercy of teething and the scarlet fever, unless, indeed, destiny takes care to lock the doors against those child-stealing gypsies when she leaves such precious things about.
Of Spenser’s personal history we know very little. He was educated at Cambridge, where he took the degree of Master of Arts in 1576. He is supposed to have passed the three following years with some relations in the country, where he wrote verses and fell in love with a lady whom he calls Rosalind, and of whom we know nothing further unless we are satisfied to take the portrait which Shakspeare has associated forever with the name which he complimented by adopting. He is said to have been employed to carry a despatch or two, but Lord Burleigh did not fancy him. Poor Lord Burleigh! Sidney and Raleigh, however, were luckier. He was recommended to the great queen, and received at last a grant of Kilcolman Castle and three thousand acres of land in the south of Ireland. Here the “Faëry Queene” was in great part written. At last came a rebellion. The wild kernes and gallow-glasses had not the delicacy of the Emathian conqueror, and they burned the castle, from which Spenser and his wife with two of their children barely escaped, leaving an infant to perish in the flames. Spenser came to London and died broken-hearted three months afterward, on the 16th of January, 1599. That rare nature was like a Venice glass, meant only to mantle with the wine of the sunniest poetry. The first drop of poisonous sorrow shattered it.
In 1579 Spenser published the “Shepherd’s Calendar,” a series of twelve eclogues, one for each month in the year. In these poems he professedly imitated Chaucer, whom he called his master, but without much success. Even with the light reflected upon them from the lustre of his great poem, one can find but little in them that is not dull. There are indications in these poems, however, here and there, of a nice ear for harmony in verse.
Spenser was the pure sense of the Beautiful put into a human body only that it might have the means of communicating with men. His own description of Clarion, the butterfly in his “Muiopotmos,” gives, perhaps, the best possible idea of his own character.
Over the fields, in his frank lustiness,
And all the champaign o’er, he soared light
And all the country wide he did possess,
Feeding upon their pleasures bounteously,
That none gainsay, and none did him envy.