Now began a continuous series of Spenserian imitations,[136] of which, with a few exceptions, the only distinguishing characteristic was a small vocabulary of obsolete words, upon which the poetasters could draw for the “local colour” considered necessary. In the majority of cases the result was a purely artificial language, probably picked haphazard from the “Faerie Queene,” and often used without any definite idea of its meaning or appropriateness.[137] Fortunately, one or two real poets were attracted by the idea, and in due course produced their “imitations.”
William Shenstone (1714-1763) is perhaps worthy of being ranked amongst these, in virtue at least of “The Schoolmistress,” which appeared in its final shape in 1742. Shenstone himself confesses that the poem was not at first intended to be a serious imitation, but his study of Spenser led him gradually to something like a real appreciation of the earlier poet.[138]
“The Schoolmistress” draws upon the usual common stock of old words: whilom, mickle, perdie, eke, thik, etc., but often, as in the case of Spenser himself, the obsolete terms have a playful and humorous effect:
For they in gaping wonderment abound
And think, no doubt, she been the greatest wight on ground.
Nor is there lacking a quaint, wistful tenderness, as in the description of the refractory schoolboy, who, after being flogged,
Behind some door, in melancholy thought,
Mindless of food, he, dreary caitiff, pines,
Ne for his fellows joyaunce careth aught,
But to the wind all merriment resigns.