purpose, Sir John Stradling, a contemporary of Spenser, and a highly respectable character, positively declares that some of his manuscripts were burnt when his house in Ireland was fired by the rebels.[647:A] Now, as two cantos of a lost book, entitled The Legend of Constancy, were actually published in 1609 as a part of Spenser's manuscripts which had escaped the conflagration of his castle, it is highly probable that the declaration of Sir John Stradling is correct, and that the poet, if he did not absolutely finish the Fairie Queene, had made considerable progress in the work, and that his labours perished with his mansion.
The defects which have vitiated the Shepheard's Calender, are not apparent in the Fairie Queene; the charge of obsolete diction, which has been so generally urged against the latter poem, must have arisen from the just censure which, in this respect, was bestowed upon the former, and the transference may be considered as a striking proof of critical negligence, and of the long-continued influence of opinion, however erroneous. The language of the Fairie Queene is, in fact, the language of the era in which it was written, and even in the present day, with few and trifling exceptions, as intelligible as are the texts of Shakspeare and Milton.[647:B]
Had Spenser, in this admirable poem, preserved greater unity in the construction of his fable; had he, following the example of Ariosto, employed human instead of allegorical heroes, he would
undoubtedly have been at once the noblest and most interesting of poets. But, as it is, the warmest admirer of his numerous excellencies must confess, that the Personifications which conduct the business of the poem, and are consequently exposed to the broad day-light of observation, are too unsubstantial in their form and texture, too divested of all human organisation, to become the subjects of attachment or anxiety. They flit before us, indeed, as mere abstract and metaphysical essences, as beings neither of this nor any other order of planetary existence. A witch, a fairy, or a magician, is a creation sufficiently blended with humanity, to be capable of exciting very powerful emotion; but the meteor-shades of Holiness or Chastity, personally conducting a long series of adventures, is a contrivance so very remote from all earthly, or even what we conceive of supernatural, agency, as to baffle and revolt the credulities of the reader, however ductile or acquiescent.
Yet, notwithstanding these great and obvious errors in the very foundation of the structure, the merits of Spenser in every other respect are of so decided and exalted a nature, as to place him, in spite of every deduction, in the same class with Homer, Dante, Shakspeare, and Milton. His versification is, in general, uncommonly sweet and melodious; his powers of description such, with respect to beauty, fidelity, and minute finishing, as have not since been equalled; while in strength, brilliancy, and fertility of imagination, it will be no hyperbole to assert, that he takes precedence of almost every poet ancient or modern.
One peculiar and endearing characteristic of the Fairie Queene, is the exquisite tenderness which pervades the whole poem. It is impossible indeed to read it without being in love with the author, without being persuaded that the utmost sweetness of disposition, and the purest sincerity and goodness of heart distinguished him who thus delighted to unfold the kindest feelings of our nature, and whose language, by its singular simplicity and energy, seems to breathe the very stamp and force of truth. How grateful is it to record, that the personal conduct of the bard corresponded with the impression
resulting from his works; that gentleness, humility, and piety, were the leading features of his life, as they still are the most delightful characteristics of his poetry.[649:A]
Yet amiable and engaging as is the general cast of Spenser's genius, he has nevertheless exhibited the most marked excellence as a delineator of those passions and emotions which approach to, or constitute, the sublime. No where do we find the agitations of fear, astonishment, terror, and despair, drawn with such bold and masterly relief; they start in living energy from his pen, and bear awful witness to the grandeur and elevation of his powers.
It is almost superfluous to add, after what has been already observed, that the morality of the Fairie Queene is throughout pure and impressive. It is a poem which, more than any other, inculcates those mild and passive virtues, that patience, resignation, and forbearance, which owe their influence to Christian principles. While vice and intemperance are developed in all their hideous deformity, those self-denying efforts, those benevolent and social sympathies, which soften and endear existence, are painted in the most bewitching colours: it is, in short, a work from the study of which no human being can rise without feeling fresh incitement to cherish and extend the charities of life.
Spenser died comparatively, though not actually, indigent, on the 16th of January, 1598.