Observations on the Faerie Queene of Spenser: By Thomas Warton, ...

SECT. VIII. Of Spenser's imitations of himself.

COmmentators of less taste than learning, of less judgment than ostentation, have taken infinite pains to point out those passages which their respective authors have imitated from others.* 1.1 This enquiry is executed with a modest reserve, and extended no far∣ther than to those passages which are distinguish'd with more indubitable evidences of transcription or imitation, might (it should seem) prove equally instructive and entertaining: as it would the better enable us to regu∣late our idea of the merit and character of an author, by ascertaining what degree of genuine invention is to be allow'd him, and by shewing how far he has im∣prov'd the materials of another by his own art and man∣ner of application; at the same time that it must ne∣cessarily gratify the inquisitive disposition of every reader. But where there are even the most apparent traces of likeness, how very seldom can it be affirm'd, with any truth, as a late very sagacious critic † 1.2 has amply prov'd, that an imitation was intended? and how few of the commentators above-mention'd are there, who do not (to use his own words) mistake RESEM∣BLANCES

for THEFTS?* 1.3 As this then is a business which proceeds upon an uncertain foundation, afford∣ing the amusement of conjecture rather than the satis∣faction of truth; it may perhaps be a more serviceable undertaking, to produce an author's IMITATIONS OF HIMSELF: and this will be more particularly useful in the three following respects, viz. It will discover the FAVORITE IMAGES of an author; it will teach us how VARIOUSLY he expresses the same thought; and it will often EXPLAIN DIFFICULT passages, and words.

B. i. Introduct. S. 3. Faire Venus sonne that with thy cruell dart, At that good knight so cunningly didst rove, * * * * * * * * * * Lay now thy deadly heben bowe apart.

Again,

Like as Cupido on Idaean hill, When having laid his cruell bowe aside, And mortall arrowes, wherewith he doth fill

The world with murd'rous spoyles, and bloody pray, With his faire mother he him dights to play, And with his goodly sisters, &c. 2. 8. 6.

And in the following, speaking of Cupid in the garden of Adonis,

Who when he hath with spoyles and crueltie Ransackt the world, and in the wofull hearts Of many wretches sett his triumphs hie, Thither resorts, and laying his sad darts Aside, with faire Adonis playes his wanton parts. 3. 6. 49

Thus again,

And eke amongst them little Cupid plaid His wanton sports, beeing returned late From his fierce warres, and having from him layd His cruell bowe, wherewith he thousands hath dis∣mayd. 2. 9. 34.

B. i. C. viii. S. xxix.

Prince Arthur enters Orgoglio's castle.

Then gan he loudly thro' the house to call, But no man car'd to answer to his cry, There reign'd a solemne silence over all, Nor voice was heard, nor wight was seen in bowre or hall.

This affecting image of silence and solitude is again to be met with, after Britomart had survey'd the rich furniture of Busirane's house.

But more she marvail'd, that no footings trace, Nor wight appear'd, but wasteful emptinesse, And solemne silence over that place 3. 11. 53.

B. i. C. xii. S. xxxix. —Many an angels voice, Singing before th' eternall majestie In their trinall triplicities on hie.

Thus in an HYMNE of heavenly love; of angels,

There they in their trinal triplicities, About him wait.—

The image of the angels singing in their trinall tri∣plicities, puts me in mind of a passage in Milton's LYCIDAS, where the pointing seems to be wrong.

There entertain him all the saints above, In solemn troops, and sweet societies, Who sing, and singing in their glory move.

According to the present pointing, the sense is,

"The saints who are in solemn troops, and sweet societies, entertain him;"

or, entertain him in [among] their solemn troops, and sweet societies: but if the comma was struck off after Societies, another and more beautiful meaning would be introduced, viz.

"The saints who SING IN solemn troops and sweet societies, entertain him, &c."

B. ii. C. iii. S. xxiv.

Of Belphaebe speaking,

And twixt the pearles and rubies softly brake A silver sound—

Thus in Sonnet 81.

But fairest she, when so she doth display The gate with pearles, and rubies richly dight, Thro' which her words so wise do make their way.

Ariosto gives us pearls and corall for the lips and teeth.

Che da i coralli, e da le pretiose Perle uscir fanno i dolci accenti mozzi.(*) 1.4

The corall and the perle by nature wrought. Harrington.

B. ii. C. iii. S. xxv. Upon her eyelids many graces sate Under the shadow of her even browes.

In Sonnet 40.

When on each eye-lid sweetly doe appeare An HUNDRED GRACES as in shade to sit.

And in a verse of his † 1.5 PAGEANTS preserv'd by E. K.* 1.6

An hundred graces on her eye-lids sate.

Which he drew from a modern Greek poem ascrib'd to Musaeus,

—〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.* 1.7

In the Hymn of heavenly love we find a thousand graces.

Sometimes upon her forehead they behold A thousand graces masking in delight.

Our author, in the FAERIE QUEENE, has also co∣pied from the same poem ascrib'd to Musaeus. Scu∣damore, in the Temple of Venus, is much in the same circumstances with Leander.

Tho shaking off all doubt, and shamefast feare, Which ladies love I heard had never wonne 'Mongst men of worth, I to her stepped neare, And by the lilly hand her labour'd up to reare. 4. 10. 53.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉,* 1.8

And afterwards,

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, * * * * * * * 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.

Audacter autem ob amorem impudentiam affectans, * * * * * * * Sed ipse audacter adibat prope puellam * * * * * * * Tacite quidem stringens roseos digitos puellae.

WOOMANHOOD rebukes Scudamore for this insult, whom Scudamore answers,

Saying, it was to knight unseemly shame, Upon a recluse virgin to lay hold; That unto Venus' services was sold. To whom I thus: nay, but it fitteth best,

For Cupids man with Venus' mayd to hold; For ill your goddesse services are drest By virgins, and your sacrifices let to rest. S. 54.

In the same manner Hero rebukes, and Leander answers.

—〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉; * * * * * * 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.

—Quid me, infelix, Virginem trahis? Veneris non te decet Deae sacerdotem sollicitare. * * * * * *

Leander answers,

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.—

Veneris ut sacerdos exerce Veneris opera; Huc ades, initiare nuptialibus Legibus Deae; Virginem non decet administrare Veneri; Virginibus Venus non gaudet.—

But, to return to the subject.

B. ii. C. xii. S. lxvii. And the Ivorie in golden mantle gownd.

Thus in the Epithalamion.

Her long loose yellow lockes— * * * * * Doe like a golden mantle her attire.

It is remarkable, that Spenser's females, both in the FAERIE QUEENE, and in his other poems, are all describ'd with yellow hair. And in his general de∣scription of the influence of beauty over the strongest men, he particularizes golden tresses.

And mighty hands forgett their manlinesse, Drawn with the power of an hart-robbing eye, And wrapt in fetters of a GOLDEN TRESSE. 5. 8. 1.

Whether this was done in compliment to Q. Elizabeth, who had yellow hair, or in imitation of the Italian poets, who give most of their women tresses of this colour, I leave to the determination of the reader.

B. iii. C. i. S. xxxvi.

Speaking of Venus, while Adonis was bathing.

And throwe into the well sweet rosemaries, And fragrant violets, and pancies trim, And ever with sweet nectar she did sprinkle him.

Thus in the Prothalamion.

Then forth they all out of their baskets drew Great store of flowers, the honour of the field, That to the sense did fragrant odours yield, All which upon those goodly birds they threw, And all the waves did strew, That like old Peneus waters they did seeme, When downe along by pleasant Tempes shore, Scattred with flowers thro' Thessaly they streeme.

To these we may add,

—And ever as the crew About her daunct, sweet flowres that far did smell, And fragrant odours they upon her threw. 6. 10. 14.

The circumstance of throwing flowers into the water, is not unlike what Milton says of Sabrina's stream.

—The shepherds, at their festivals, Carol her goodness lowd in rustic layes, And throw sweet garland-wreaths into her streame, Of pancies, pinks, and gaudy daffadils.(†) 1.9

Statius introduces Love and the Graces sprinkling Stella and Violantilla, on their wedding-night, with flowers and odours.

—Nec blandus Amor nec Gratia cessat Amplexum virides optatae conjugis artus Floribus innumeris, & olenti spargere thymbra.* 1.10

And in another place he speaks of Venus pouring the fragrance of Amomum over Earinus in great abundance; a circumstance not much unlike that just mention'd concerning Venus and Adonis.

—Hunc multo Paphie saturabat amomo.† 1.11

B. iii. C. vii. S. xvi.

Of the witches son, who falls in love with Florimel.

Oft from the forrest wildings he did bring,

Whose sides empurpled were with smiling red; And oft young birds, which he had taught to sing His mistresse prayses sweetly caroled: Girlands of flowres sometimes for her faire head He fine would dight; sometimes the squirrel wild He brought to her in bands, &c.

Such presents as these are made by Coridon to Pastorell.

And oft when Coridon unto her brought, Or little sparrows stolen from their nest, Or wanton squirrels in the woods farre sought. 6. 9. 40.

B. i. C. ix. S. 24. —staring wide With stony eyes, and hartless hollow hewe, Astonisht stood, as one that had espide Infernall furies with their chaines untide.

Spenser often expresses fear, or surprize, in this manner,

—As one affright With hellish fiends, or furies mad uprore. 2. 5. 37.

—The stony feare Ran to his heart, and all his sense dismay'd, Ne thenceforth life, ne courage did appeare, But as a man whom hellish fiends have frayd, Trembling long time he stood. 2. 8. 46.

—Oft out of her bed she did astart, As one with vew of gastly fiends affright. 3. 2. 29.

Ne wist he what to thinke, or to devise. But like as one whom fiends have made afraid, He long astonisht stood; ne ought he said, Ne ought he did; but with fast-fixed eyes He gazed still upon that snowy maid. 5. 3. 18.

From the passages already alleged, and from some some others which I shall produce, it will appear, that Spenser particularly excells in painting affright, confusion, and astonishment.

Abessa's affright at seeing the Lion and Una. 1. 3. 12.

Full fast she fled, ne ever lookt behind, * * * * * * * And home she came, where as her mother blind Sate in eternall night; nought could shee say, But suddaine catching hold, did her dismay, With quaking hands, and other signs of feare; Who full of gastly fright, and cold dismay, Gan shut the dore.— 1. 3. 12.

The behaviour of Abessa and Corecca, when Kirkra∣pine was torn in pieces by the Lion.

His feareful friends weare out the wofull night, Ne dare to weepe, nor seeme to understande The heavy hap, which on them is alight, Afraid lest to themselves the like mishappen might. 1. 3. 20.

DESPAIRE has just persuaded the red-crosse knight to kill himself. 1. 9. 48.

The knight was much enmoved with his speach, That as a swords point thro' his hart did pearce, And in his conscience made a secret breach, Well-knowing true all that he did reherse, And to his fresh remembrance did reverse The uglie hue of his deformed crimes, That all his manly powres it did disperse, As he were charmed with inchanted rimes, That oftentimes he quakt, and fainted oftentimes.

xlix.

In which amazement when the miscreant Perceived him to waver weake and fraile, Whiles trembling horror did his conscience dart, And hellish anguish did his soule assaile; To drive him to despaire and quite to quaile, He shewed him painted in a table plaine The damned ghosts that do in torments waile, And thousand fiends that do them endlesse paine With fire and brimstone, which for ever shall remaine.

l.

The sight whereof so throughly him dismaid, That nought but death before his eyes he saw, And ever-burning wrath before him laid, By righteous sentence of th' Almighties law; Then 'gan the villaine him to overawe, And brought unto him swords, ropes, poyson, fire, And all that might him to perdition draw, And bade him chuse what death he would desire, For death was due to him, that had provokt Gods ire.

li.

But when as none of them he saw him take, He to him raught a dagger sharpe and keene, And gave it him in hand; his hand did quake, And tremble like a leaf of aspine greene; And troubled bloud through his pale face was seene To come and goe, with tydings from the hart, As it a running messenger had beene; At last, resolv'd to work his final smart He lifted up his hand, that backe againe did start.

It is a trite observation, that we paint that best, which we have felt most. Spenser's whole life seems to have consisted of disappointments and distress; so that he, probably, was not unacquainted with the bitter agonies of a despairing mind, which the warmth of his imagina∣tion, and, what was its consequence, his sensibility of temper contributed to render doubly severe. Unmerit∣ed and unpitied indigence ever struggles hardest with

true genius; and a good taste, for the same reasons that it enhances the pleasures of life, sustains with uncom∣mon torture the miseries of that state,

"in which (says an incomparable moralist) every virtue is obscured, and in which no conduct can avoid reproach; a state in which chearfulness is insensibility, and dejection fullenness, of which the hardships are without ho∣nour, and the labours without reward."

To these may be added his personage FEAR.

Next him was FEAR all arm'd from top to toe, Yet thought himselfe not safe enough thereby; But fear'd each shadow moving to and fro; And his owne armes when glittering he did spy, Or clashing heard, he fast away did fly, As ashes pale of hew, and wingy-heel'd; And evermore on Danger fix'd his eye, 'Gainst whom he alwaies bent a brazen shield, Which his right hand unarmed fearfully did wield. 3. 12. 12.

Again,

When Scudamour those heavy tidings heard His hart was thrild with point of deadly feare, Ne in his face, or blood or life appear'd, But senselesse stood, like to amazed steare That yet of mortal stroke the stound doth beare. 4. 6. 37.

A priest of Isis after having heard the dream of Britomart.

Like to a weake faint-harted man he fared, Thro' great astonishment of that strange sight;

And with long locks upstanding stiffly stared, Like one adawed with some dreadfull spright. 5. 7. 20.

Other instances of this sort might be cited; but these are the most striking.

It is proper to remark, in this place, that Spenser has given three large descriptions, much of the same nature, viz. The Bower of Bliss, 2. 12. The Gardens of Adonis, 3. 5. And the Gardens of the Temple of Venus, 4. 10. all which, though, in general, the same, his invention has diversified with many new circumstances; as it has likewise his Mornings: and perhaps we meet with no poet who has more re∣quently, or more minutely, at the same time, de∣lineated the Morning, than Spenser. He has intro∣duced two historical genealogies of future kings and princes of England, 3. 3. and, 2. 10. beside two or three other shorter sketches of English history. He often repeatedly introduces his allegorical figures, which he sometimes describes with very little variation from his first representation; particularly, DISDAIN, FEAR, ENVY, and DANGER. In this poem we like∣wise meet with two hells, 1. 5. 31. and 2. 7. 21.

It may not be foreign to the purpose of this Section, to lay before the reader some uncommon words and expressions, of which Spenser, by his frequent use, seems particularly fond.

B. ii. C. v. S. xxxii. That round about him dissolute did PLAY Their wanton follies, and light merriment.

Spenser often uses the verb PLAY, in this sense, with an accusative case.

A multitude of babes about her hong, PLAYING their sports.— 1. 10. 31.

—The fry of children young Their wanton sports, and childish mirth did PLAY. 1. 12. 7.

Then do the salvage beasts begin to PLAY Their pleasant friskes.— 4. 10. 46.

But like to angels PLAYING heavenly toyes. 5. 10. 42.

—PLAYING his childish sport. 5. 16.

How Mutability in them doth PLAY Her cruel sports— 7. 6. 1.

And in an Hymne of Love.

There, with thy daughter Pleasure, they do PLAY Their hurtlesse sports.—

To these we may add,

—did SPORT Their spotlesse pleasure, and sweet love's content. 4. 10. 26.

We find PLAY used after this manner in Milton.

—For Nature here Wanton'd as in her prime, and PLAY'D at will Her virgin fancies.—* 1.12

B. i. C. ii. S. xliii. —In this MISFORMED howse.

Spenser often arbitrarily prefixes MIS to a word, viz. misfeigning, 1. 3. 40. misdiet, 1. 4. 23. mis∣aymed, 1. 8. 8. misborne, 1. 5. 42. misdoubted, 4. 2. 23. mischallenge, 4. 3. 11. misconceit, and mis∣fare, 4. 6. 2. misregard, 4. 8. 29. misthought, 4. 8. 58. mistrained, 5. 11. 54. misfell, 5. 5. 10. mis∣doubtfull, 5. 6. 3. misdight, 5, 7. 37. misdesert, 6. 1. 12. misgotten, 6. 1. 18. miscreated, 2. 7. 42. I have been the more prolix in collecting these instances, in order to justify a very happy conjecture of Mr. Jortin* 1.13, without which it will be difficult to make sense of a passage in our author, viz.

Some like to hounds, some like to apes DISMAYD. 2. 11. 11.

Mr. Jortin proposes to read MISMADE, i. e. ill-shaped; an alteration which we cannot reject, when we consi∣der the liberties Spenser took in adding MIS to a word. He probably sent it to the press mismayd, that it might rhyme more exactly (and that Spenser was very exact in this point, I have before endeavour'd to prove) with assayd, and arrayd; but the compositors were better acquainted with dismayd, which they according∣ly adopted.

B. ii. C. iv. S. xliv. —When Rancour rife Kindles revenge, and threats his RUSTIE knife.

So,

[armd]—some with long speares, Some RUSTIE knives.— 2. 9. 13.

Bitter despight, with Rancour's RUSTIE knife. 1. 4. 35.

[a wound]

In which a RUSTIE knife long time had fixed stood. 1. 9. 36.

And of DANGER,

A net in th' one hand, and a RUSTIE blade In th' other was.— 3. 12. 11.

The steeds of Night are thus describ'd,

Their RUSTIE bits did champ.— 1. 5. 20.

The word RUSTIE seems to have convey'd the idea of somewhat very loathsome and horrible to our au∣thor. In Virgil's Gnat he applies it to horror.

Nor those same mournfull kingdoms compassed With RUSTIE horror.—

I will hence take occasion to correct a passage in Chaucer, in the character of the Reve.

And by his side he bare a RUSTIE blade.† 1.14

I do not perceive the consistency of the Reves wear∣ing a rustie sword; I should rather be inclin'd to think that the poet wrote trustie blade.

And by his side he bare a TRUSTIE blade.

B. iii. C. i. S. lxii. And to her weapon ran; in mind to GRIDE The loathed leachour—

Spenser frequently uses GRIDE, which signifies to pierce. This word, as E. K. remarks in the Pastoral of Fe∣bruarie, is often used by Lidgate, but never once by Chaucer. Spenser was very well versed in all our an∣tient English bards, but I do not remember that he pays a compliment to any of them, Chaucer excepted(*) 1.15, and the † 1.16 author of Pierce Plowman. GRIDE is found in the following passages.

—Whose love hath GRYDE My feeble breast.— 3. 2. 37.

—An arrow— —Secretly did glide Into his heart, which it did sorely GRIDE. 3. 9. 29.

Such was the wound that Scudamour did GRIDE. 4. 6. 1.

All as I were through the body GRIDE.** 1.17 Therewith my soul was sharpely GRIDE.†† 1.18

—A serpent— With brandisht tongue the emptie ayre did GRIDE.* 1.19

And again, in F. Q.

—Through his thigh the mortall steele did GRIDE. 2. 8. 36.

Milton probably adopted this old word from our author.

The GRIDING sword with discontinuous wound Pass'd through him.—(†) 1.20 6. 329.

B. ii. C. iii. S. xxv. That was ambition, rash desire to STIE.

(*) 1.21 Mr. Jortin informs us, that STIE signifies to soar, to ascend; so that the sense of the verse before us, is,

"that was ambition, which is a rash desire of still ascending upwards."

STIE occurs again often.

Thought with his wings to STIE above the ground. 1. 11. 25.

—A storm— Long here and there, and round about doth STIE. 4. 9. 33.

—Love can higher STIE Than reason's reach.— 3. 2. 36.

That from this lower tract he dar'd to STIE Up to the cloudes.* 1.22 Whilst in the smoke she unto heaven did STIE.† 1.23 With bolder wing shall dare aloft to STY To the last praises of the Faerie Queene.(†) 1.24

** 1.25 This word occurs in Chaucer's Testament of Love.

"Ne steyrs to STEY one is none."(†) 1.26

Where it is

used actively,

"to lift one up."

Gower has used this word in the preter-imperfect tense, but neutrally.

And or Christe went out of this erthe here, And STICHED to heven.—** 1.27

B. i. C. ii. S. iii. —Death is an equall doome To good and bad the common INNE of rest.

INNE for Habitation, Seat, or Recess, is much used by Spenser. In his age this word had not acquir'd the vulgar cast which it would carry with it in modern poesy. The bowre of blisse,

The worldes sweet INNE from paine and wearisom turmoyle. 2. 12. 32.

He shall his dayes with peace bring to his earthly INNE. 3. 3. 29.

And where the chanting birds lull'd me asleepe, The ghastly owle her grievous INNE doth keepe.† 1.28

INNHOLDERS is likewise used for inhabitants.

I do possesse the worlds most regiment, And if ye please it into parts divide, And every parts INHOLDERS to convent. 7. 7. 17.

B. i. C. xii. S. xxxix. Driven by FATALL error.—

That is, driven by an error ordain'd by the fates. Again,

At last by FATALL course they driven were. 3. 9. 4.

Nor lesse she fear'd that same FATALL read. 4. 12. 27.

That is, that same decree of the Fates.

Or did his life her FATALL date expire. 2. 8. 24.

That is, her date assigned by the Fates.

Either FATALL end, Or other mighty cause, us to did hither send.

That is, some end which the Fates intend to ac∣complish.

3. 3. 14.

FATALIS has sometimes the same signification as Spenser's FATAL. So Virgil,

FATALEM Aeneam manifesto manifesto numine ferri.* 1.29

B. vi. C. vii. S. xix. The whiles his salvage page that wont be PREST.

PREST is very frequently used by Spenser; in some places it signifies ready or quick; in others it seems to be used adverbially, for quickly, immediately. It is plainly the old French word, Preste, quick, or nimble, which sometimes is used adverbially. Mr. Jortin de∣rives it from praesto adesse.

—For what art thou That makst thyself his dayes-man to prolong The vengeance PREST?— 2. 8. 28.

That is, instant or present vengeance.

Who him affronting, soone to fight was readie PREST. 4. 3. 22.

That is, readie quickly.

In which his work he had sixe servants PREST. 4. 5. 36.

That is, six ready, or nimble, servants; or perhaps, present.

So hard behind his backe his foe was PREST. 4. 8. 41.

That is, His foe was very near him behind.

To warne her foe to battell soone be PREST. 5. 7. 27.

That is, be soone ready to fight with her.

—Finding there ready PREST Sir ARTHEGALL.— 5. 8. 8.

That is, ready and present, ready at hand.

He watcht in close await with weapons PREST. 6. 6. 44.

That is, with his weapons ready, prepar'd. It is us'd in many of these senses by Chaucer.

—Fame— Was throughout Troy ifled with prest wings.* 1.30

That is, with nimble or ready wings.

Also these wickid tonguis ben so PREST† 1.31 To speke us harm.

That is, so ready to speak, &c.

Neither was fowle, that commeth of engendrure, That there ne was PREST in her presence.* 1.32

That is, that was not present before her.

This word is to be met with in most of our old English poets, particularly Lord Surrey, Wyat, Tuberville, &c. Harrington much uses it in his Ariosto.

B. vii. C. vi. S. xxviii. Like a SORT of Steeres.—

SORT occurs perpetually in Spenser, for flock, troop, company, &c.

And like a SORT of bees in clusters swarmed. 5. 4. 36.

That is, a swarm.

But like a SORTE of sheepe.— 5. 4. 44.

That is, a flock.

And all about her altar scattered lay Great SORTES of lovers.— 4. 10. 43.

That is, a great number, a large assembly of, &c.

A SORT of shepherd-groomes.— 6. 9. 5.

That is, a company of shepherds.

A SORTE of shepherds sewing of the chace.

That is, a company of shepherds hunting.

It is not unfrequent in Harrington. We find it in the Psalms, where few perhaps assign the proper meaning to it.

"How long will ye imagine mischief against every man? Ye shall be slain all the SORT of you."† 1.33

i. e. your whole company, or multitude, shall be slain. The Septuagint render it,

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.

But it is time to relinquish a disquisition, which will be discuss'd with so much superior learning and pene∣tration, by one who intends shortly to oblige his coun∣try with a dictionary of its language; a work for which its author is admirably qualified, as he has al∣ready given us a specimen of his abilities regarding such a subject, if we may judge from a series of essays, in which not only criticism and morality have ap∣pear'd with new lustre, but from which the English language has receiv'd new grace and dignity.

Notes

• * 1.1

  The curious reader is more particularly referr'd to that exten∣sive and elaborate series of quotation, entitled,

  "VIRGILIUS COL∣LATIONE SCRIPTORUM GRAECORUM ILLUSTRATUS OPERA & IN∣DUSTRIA FULVII URSINI.
• † 1.2

  See, A DISCOURSE on POETICAL IMITATION.
• * 1.3

  It is true, in general, that parallellists mistake resemblances for thefts; but this assertion by no means affects the instances which I have given, in two former sections, of Spenser's imitations from Chaucer and Ariosto. Spenser is universally acknowledg'd to have been an attentive reader, and profess'd admirer of both those poets; his imitations from the former are most commonly LITERAL; and what he has copied from the latter, are ARTIFICIAL FICTIONS, which consisting of UNNATURAL COMBINATIONS, could not, on account of their SINGULARITY, be fallen upon by both poets accidentally; as NATURAL APPEARANCES might be, which lie expos'd and obvious to all, at all times: so that we may safely pro∣nounce the resemblances produc'd in the sections above-mention'd, to have been INTENDED.
• (*) 1.4

  C. 12. S. ult.
• † 1.5

  The following passage from Sir T. More's English workes, London, 1557, may perhaps give the reader some idea of the nature of our poet's PAGEANTS.

  Mayster Thomas More in hys youth devysed in hys fathers house in London, a goodly hangyng of fyne paynted clothe, with nyne pageauntes, and verses over every of those pageauntes: which verses expressed and declared, what the ymages in those pageauntes represented: and also in those pageauntes were paynted, the thynges that the verses over them dyd (in effecte) declare; which verses here folowe.

  In the first pageaunt was painted a boy playing at the top and squyrge, and over this pageaunt was written as followeth.

  CHILDHODE.

  I am called CHILDHODE, in play 〈◊〉〈◊〉 all my mynde, To cast a coyte, a cokstele, and a ball; A toppe can I sett, and dryve it in his kynde; But would to God these hateful bookes all, Were in a fyre brent to powder small. Then myght I lede my lyfe always in play, Whych lyfe God send me to myne endyng day.

  In the second pageaunt was paynted a goodly freshe younge man, ryding uppon a goodly horse, havynge a hawke on his fyste, and a brase of grayhowndes folowyng him, and under the horse fete, was paynted the same boy, that in the fyrste pageaunt was playing at the top and squyrge; and over this second pageaunt the wrytyng was thus.

  MANHOD.

  MANHOD I am, therefore I me delyght To hunte and hawke, to nourish up and fede The grayhownde to the course, the hawke to th' flyght, And to bestryde a goode, and lusty stede; These thynges become a very man in dede, Yet thynketh this boy his peevish game sweeter, But what? no force,—his reason is no better."

  After which the aforesaid young man is introduced on the ground as a victim to Venus and Cupid, who stand over him; and after∣wards is represented sitting on Venus and Cupid, &c. &c. but thus much by way of specimen.
• * 1.6

  Notes on JUNE.
• * 1.7

  V. 63.
• * 1.8

  V. 99. & seq.
• (†) 1.9

  Comus, v. 848.
• * 1.10

  Epithalam. Sylv. B. 1, 2. v. 19.
• † 1.11

  Com. Earin. Sylv. B. 3. 4. v. 82.
• * 1.12

  Par. Lost, 5. v. 295.
• * 1.13

  Remarks, pag. 69.
• † 1.14

  Prolog. v. 620.
• (*) 1.15

  Passim.
• † 1.16

  Epilogue to the Aeglogues.
• ** 1.17

  Februarie.
• †† 1.18

  August.
• * 1.19

  Virg. Gnat.
• (†) 1.20

  Par. Lost, 6. 329.
• (*) 1.21

  To the earl of Essex.
• * 1.22

  Muipot∣mos.
• † 1.23

  V. of Bellay. St. 11.
• (†) 1.24

  Par. Lost, 6. 329.
• ** 1.25

  P. 480, Urry's edit.
• (†) 1.26

  Par. Lost, 6. 329.
• ** 1.27

  John Gower unto the noble K. Henry IV. v. 177.
• † 1.28

  December.
• * 1.29

  Aen. 11. v. 232.
• * 1.30

  Troil. and Cr. 4. v. 661.
• † 1.31

  Ibid. 9. v. 785.
• * 1.32

  Assemble of fowles.
• † 1.33

  Psal. 62. 3.