language of his age was rather strengthened and dignified, than debased or disguised, by such a practice. In truth, the affectation of Spenser in this point, is by no means so striking and visible, as Jonson has insinuated; nor is his phraseology so difficult and obsolete, as it is generally supposed to be. For many stanzas together, we may frequently read him with as much facility, as we can the same number of lines in Shakspeare. But although I cannot subscribe to Jonson's opinion concerning Spenser's language, I must confess that the following sentiments of that eritick, concerning the use of old words in poetry, are admirable. • Words borrowed of antiquity, 'do lend a kind of majesty to style, and are not ⚫ without their delight sometimes. For they have 'the authority of yeares, and out of their inter'mission do lend a kind of grace-like newnesse. But the eldest of the present, and the newest of 'the past language is the best.' But Jonson has literally translated the latter part of the paragraph, from Quintilian, without acknowledgment, Instr. Or. 1. i. cap. 6. Ergo ut novorum optima erunt maxime velera, ita veterum • maxime nova.' I conclude these Remarks with a passage from the nervous, poetical, and witty satires of bishop Hall; who, having censured the petty poets of his age for their various corruptions, and licen tious abuses, of the English language, makes this compliment to Spenser : But lett no rebel satyr dare traduce • Th' eternall Legends of thy FAERIE MUSE, It B. i, s. 4. These satires [the three first books] were first printed by T. Creede, for R. Dexter, Lond. 1597. 12mo. The three last books appeared in an edition entitled, Virgidemia. Tum, The three last bookes of byting Satyres, Anon. Lond. printed by R. Bradocke, for R. Dexter, &c. 1598. 12mo. begins with sat. 1. of lib. 4. The next edition (of the whole] is, Virgidemiarum, The three last [in reality all the six] bookes of the byting Satyres, corrected and amended, with some additions, by J. H. Lond. for R. Dexter, &c. 1599. 12mo. In a copy I have seen of this last edition, at the end are bound up, 'Certaine worthye manuscript poems of great antiquitie, reserved long in the studie of a Northfolke Gentleman, now first published by J. S. Lond. R. D. 1597. 12mo. The poems are, The stately Tragedy of Guiscard and Sismond in two books, in the seven-lined stanza. It is Dryden's story, and seems about the age of Henry VII. The Northern Mother's Blessing, written nine years before the death of G. Chaucer.' The Way to Thrift. They are dedicated to the worthiest poet Maister Ed. Spenser. T. WARTON. 164 MR. UPTON'S REMARKS ON THE ACTION AND HISTORY OF THE FAERIE QUEENE. Ir is not my intention to enter into a particular criticism of any of our poet's writings, excepting the FAERIE QUEENE; which poem seems to have been hitherto very little understood; notwithstanding he has opened, in a great measure, his design and plan in a letter to his honoured friend Sir Walter Raleigh. How readily has every one acquiesced in Dryden's opinion? "That the action of this Poem is not one; that there is no uniformity of design; and that he aims at the accomplishment of no action.' See his dedications of the translation of Virgil's Eneid, and of the translation of Juvenal. It might have been expected that Hughes, who printed Spenser's works, should not have joined so freely in the same censure and yet he tells us, that the several Books appear rather like so many several poems, than one entire fable: each of them having its peculiar knight, and being independant of the rest.' 6 Just in the same manner did the criticks and commentators formerly abuse old Homer; his Iliad, they said, was nothing else, but a parcel of loose songs and rhapsodies concerning the Trojan war, which he sung at festivals; and these loose ballads were first collected, and stitched, as it were, together by Pisistratus ; being parts without any coherence, or relation to a whole, and unity of design.' As this subject requires a particular consideration; I desire the reader will attend to the fol lowing vindication of Homer and Spenser, as they have both fallen under one common censure. In every poem there ought to be simplicity and nuity; and in the epick poem the unity of the action should never be violated by introducing any ill-joined or heterogeneous parts. This es な sential rule Spenser seems to me strictly to have followed for what story can well be shorter, or more simple, than the subject of his poem ?A British Prince sees in a vision, the Faerie Queene; he falls in love, and goes in search after this unknown fair; and at length finds her. N This fable has a beginning, a middle, and an end. The beginning is, the British Prince saw in a vision the Faerie Queene, and fell in love with her the middle, his search after her, with the adventures that he underwent the end, his finding whom he sought. But here our curiosity is raised, and we want a more circumstantial information of many things. -Who is this British Prince? what adventures did he undergo? who was the Faerie Queene ? where, when, and how, did he find her? Thus many questions arise, that require many solutions. The action of this Poem has not only simplicity and unity, but it is great and important. The hero is no less than the British Prince, Prince Arthur (who knows not Prince Arthur)? The time when this hero commenced his adventures, is marked very exactly. In the reign of Uther Pendragon, father of Prince Arthur, Octa the son of Hengist, and his kinsman Eosa, thinking themselves not bound by the treaties which they had made with Aurelius Ambrosius, began to raise disturbances, and infest his dominions. This is the historical period of time, which Spenser has chosen, F. Q. iii. iii. 52. Ye see that good King Uther now doth make Beside Cayr Verolame-' Could any epick poet desire a better historical foundation to build his poem on? Hear likewise what he himself says on this subject; I chose the history of King Arthur, as most fit for the excellency of his person, being made famous by many mens former works, and also furthest from the danger of envy and suspicion of present time.' I much question if Virgil's Eneid is |