profitable and delectable to all that sincerely love the word of God." This "little treatise' was a mixture of verse and prose, setting forth, in general, the vanity of the world, and, in particular, predictions of the ruin of Rome and Antichrist: and it enforced its lessons by illustrative woodcuts. In this strange jumble are preserved, we can scarcely doubt, the first compositions which we know of Spenser's. Among the pieces are some Sonnets of Petrarch, and some Visions of the French poet Joachim du Bellay, whose poems were published in 1568. In the collection itself, these pieces are said by the compiler to have been translated by him out of Brabants speech," and "out of Dutch into English." But in a volume of " poems of the world's vanity," and published years afterwards, in 1591, ascribed to Spenser, and put together, apparently with his consent, by his publisher, are found these very pieces from Petrarch and Du Bellay. The translations from Petrarch are almost literally the same, and are said to have been "formerly translated." In the Visions of Du Bellay there is this difference, that the earlier translations are in blank verse, and the later ones are rhymed as sonnets; but the change does not destroy the manifest identity of the two translations. So that unless Spenser's publisher, to whom the poet had certainly given some of his genuine pieces for the volume, is not to be trusted-which, of course, is possible, but not probable—or unless-what is in the last degree inconceivable-Spenser had afterwards been willing to take the trouble of turning the blank verse of Du Bellay's unknown translator into rhyme, the Dutchman who dates his Theatre of Worldlings on the 25th May, 1569, must have employed the promising and fluent school-boy to furnish him with an English versified form, of which he himself took the credit, for compositions which he professes to have known only in the Brabants or. Dutch translations. The sonnets from Petrarch are translated with much command of language; there occurs in them, what was afterwards a favorite thought of Spenser's:

It is scarcely credible that the translator of the sonnets could have caught so much as he has done of the spirit of Petrarch without having been able to read the Italian original; and if Spenser was the translator, it is a curious illustration of the fashionableness of Italian literature in the days of Elizabeth, that a school-boy just leaving Merchant Taylors' should have been so much interested in it. Dr. Mulcaster, his master, is said by Warton to have given special attention to the teaching of the English language.

If these translations were Spenser's he must have gone to Cambridge with a faculty of verse, which for his time may be compared to that

* Comp. Sheph. Cal. April 1. 36. June 1. 8. F. Q. 6. 10. 7.

But

with which winners of prize poems go to the universities now. there was this difference, that the school-boy versifiers of our days are rich with the accumulated experience and practice of the most varied and magnificent poetical literature in the world; while Spenser had but one really great English model behind him; and Chaucer, honored as he was, had become in Elizabeth's time, if not obsolete, yet in his diction very far removed from the living language of the day. Even Milton, in his boyish compositions, wrote after Spenser and Shakspeare, with their contemporaries, had created modern English poetry. Whatever there was in Spenser's early verses of grace and music was of his own finding: no one of his own time, except in occasional and fitful snatches, like stanzas of Sackville's, had shown him the way. Thus equipped, he entered the student world, then full of pedantic and ill-applied learning, of the disputations of Calvinistic theology, and of the beginnings of those highly speculative puritanical controversies, which were the echo at the University of the great political struggles of the day, and were soon to become so seriously practical. The University was represented to the authorities in London as being in a state of dangerous excitement, troublesome and mutinous. Whitgift, afterwards Elizabeth's favorite archbishop, Master, first of Pembroke, and then of Trinity, was Vice-Chancellor of the University; but, as the guardian of established order, he found it difficult to keep in check the violent and revolutionary spirit of the theological schools. Calvin was beginning to be set up there as the infallible doctor of Protestant theology. Cartwright from the Margaret Professor's chair was teaching the exclusive and divine claims of the Geneva platform of discipline, and in defiance of the bishops and the government was denouncing the received Church polity and ritual as Popish and anti-Christian. Cartwright, an extreme and uncompromising man, was deprived in 1570; but the course which things were taking under the influence of Rome and Spain gave force to his lessons and warnings, and strengthened his party. In this turmoil of opinions, amid these hard and technical debates, these fierce conflicts between the highest authorities, and this unsparing violence and bitterness of party recriminations, Spenser, with the tastes and faculties of a poet, and the love not only of what was beautiful, but of what was meditative and dreamy, began his university life.

It was not a favorable atmosphere for the nurture of a great poet. But it suited one side of Spenser's mind, as it suited that of all but the most independent Englishmen of the time-Shakspeare, Bacon, the copious correspondence in the Rolls and at Lambeth. There was Long, the Primate of Armagh; there were Sir Robert Dillon, ihe Chief Ralegh. Little is known of Spenser's Cambridge career. It is probable, from the persons with whom he was connected, that he would not be indifferent to the debates around him, and that his religious prepossessions were then, as afterwards, in favor of the conforming puritanism in the Church, as opposed to the extreme and thorough-going

puritanism of Cartwright. Of the conforming puritans, who would have been glad of a great approximation to the Swiss model, but who, whatever their private wishes or dislikes, thought it best, for good reasons or bad, to submit to the strong determination of the government against it, and to accept what the government approved and imposed, Grindal, who held successively the great sees of London, York, and Canterbury, and Nowell, Dean of St. Paul's, Spenser's benefactor, were representative types. Grindal, a waverer like many others in opinion, had also a noble and manly side to his character, in his hatred of practical abuses, and in the courageous and obstinate resistance which he could offer to power when his sense of right was outraged. Grindal, as has been said, was perhaps instrumental in getting Spenser into his own old college, Pembroke Hall, with the intention, it may be, as was the fashion of bishops of that, time, of becoming his patron. But certainly after his disgrace in 1577, and when it was not quite safe to praise a great man under the displeasure of the Court, Grindal is the person whom Spenser first singled out for his warmest and heartiest praise. He is introduced under a thin disguise, "Algrind," in Spenser's earliest work after he left Cambridge, the Shepherd's Calendar, as the pattern of the true and faithful Christian pastor, And if Pembroke Hall retained at all the tone and tendencies of such masters as Ridley, Grindal, and Whitgift, the school in which Spenser grew up was one of their mitigated puritanism. But his puritanism was political and national, rather than religious. He went heartily with the puritan party in their intense hatred of Rome and Roman partisans; he went with them also in their denunciations of the scandals and abuses of the ecclesiastical government at home. But in temper of mind and intellectual bias he had little in common with the puritans. For the stern austerities of Calvinism, its fierce and eager scholasticism, its isolation from human history, human enjoyment, and all the manifold play and variety of human character, there could not be much sympathy in a man like Spenser, with his easy and flexible nature, keenly alive to all beauty, an admirer even when he was not a lover of the alluring pleasures of which the world is full, with a perpetual struggle going on in him, between his strong instincts of purity and right, and his passionate appreciation of every charm and grace. He shows no signs of agreement with the internal characteristics of the puritans, their distinguishing theology, their peculiarities of thought and habits, their protests, right or wrong, against the fashions and amusements of the world. If not a man of pleasure, he yet threw himself without scruple into the tastes, the language, the pursuits, of the gay and gallant society in which they saw so much evil: and from their narrow view of life, and the contempt, dislike, and fear with which they regarded the whole field of human interest, he certainly was parted by the widest gulf, Indeed, he had not the sternness and concentration of purpose which made Milton the great puritan poet.

Spenser took his Master's degree in 1576, and then left Cambridge. He gained no Fellowship, and there is nothing to show how he employed himself. His classical learning, whether acquired there or elsewhere, was copious, but curiously inaccurate; and the only specimen remaining of his Latin composition in verse is contemptible in its mediæval clumsiness. We know nothing of his Cambridge life except the friendships which he formed there. An intimacy began at Cambridge of the closest and most affectionate kind, which lasted long into after-life, between him and two men of his college, one older in standing than himself, the other younger;. Gabriel Harvey, first a fellow of Pembroke, and then a student or teacher of civil law at Trinity Hall, and Edward Kirke, like Spenser, a sizar at Pembroke, recently identified with the E K. who was the editor and commentator of Spenser's earliest work, the anonymous Shepherd's Calendar. Of the younger friend this is the most that is known. That he was deeply in Spenser's confidence as a literary coadjutor, and possibly in other ways, is shown in the work which he did. But Gabriel Harvey was a man who had influence on Spenser's ideas and purposes, and on the direction of his efforts. He was a classical scholar of much distinction in his day. well read in the Italian authors then so fashionable, and regarded as a high authority on questions of criticism and taste. Except to students of Elizabethan literary history, he has become an utterly obscure personage; and he has not usually been spoken of with much respect. He had the misfortune, later in life, to plunge violently into the scurrilous quarrels of the day, and as he was matched with wittier and more popular antagonists, he has come down to us as a foolish pretender, or at least as a dull and stupid scholar who knew little of the real value of the books he was always ready to quote, like the pedant of the comedies, or Shakspeare's schoolmaster Holofernes. Further, he was one who, with his classical learning, had little belief in the resources of his mother-tongue, and he was one of the earliest and most confident supporters of a plan then fashionable. for reforming English verse, by casting away its natural habits and rhythms, and imposing on it the laws of the classical metres. In this he was not singular. The professed treatises of this time on poetry, of which there were several, assume the same theory, as the mode of reforming" and duly elevating English verse. It was eagerly accepted by Philip Sidney and his Areopagus of wits at court, who busied themselves in devising rules of their own-improvements as they thought on those of the university men-for English hexameters and sapphics, or, as they called it, artificial versifying. They regarded the comparative value of the native English rhythms and the classical metres much as our ancestors of Addison's day regarded the comparison between Gothic and Palladian architecture. One, even if it sometimes had a certain romantic interest, was rude and coarse; the other was the perfection of polite art and good taste. Certainly in what remains of Gabriel Harvey's writing there is much that seems

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to us vain and ridiculous enough; and it has been naturally surmised that he must have been a dangerous friend and counsellor to Spenser. But probably we are hard upon him. His writings, after all, are not much more affected and absurd in their outward fashion than most of the literary composition of the time; his verses are no worse than those of most of his neighbours; he was not above, but he was not below, the false taste and clumsiness of his age; and the rage for artificial versifying" was for the moment in the air. And it must be said, that though his enthusiasm for English hexameters is of a piece with the puritan use of Scripture texts in divinity and morals, yet there is no want of hard-headed shrewdness in his remarks; indeed, in his rules for the adaptation of English words and accents to classical metres he shows clearness and good sense in apprehending the conditions of the problem, while Sidney and Spenser still appear confused and uncertain. But in spite of his pedantry, and though he had not, as we shall see, the eye to discern at first the genius of the Faerie Queene, he has to us the interest of having been Spenser's first and, as far as we can see, to the last, dearest friend. By both of his younger fellow-students at Cambridge he was looked up to with the deepest reverence and the most confiding affection. Their language is extravagant, but there is no reason to think that it was not genuine. E. Kirke, the editor of Spenser's first venture, the Shepherd's Calendar, commends the "new poet" to his patronage, and to the protection of his "mighty rhetoric," and exhorts Harvey himself to seize the poetical "garland which to him alone is due." Spenser speaks in the same terms: "veruntamen te sequor solum; nunquam vero assequar." Portions of the early correspondence between Harvey and Spenser have been preserved to us, possibly by Gabriel Harvey's selfsatisfaction in regard to his own compositions. But with the pedagogue's jocoseness, and a playfulness which is like that of an elephant, it shows on both sides easy frankness, sincerity, and warmth, and not a little of the early character of the younger man. In Spenser's earliest poetry, his pastorals, Harvey appears among the imaginary rustics, as the poet's "special and most familiar friend," under the name of Hobbinol

"Good Hobbinol, that was so true."

To him Spenser addresses his confidences, under the name of Colin Clout, a name borrowed from Skelton, a satirical poet of Henry VIII.'s time, which Spenser kept throughout his poetical career. Harvey reappears in one of Spenser's latest writings, a return to the early pastoral, Colin Clout's come home again, a picture drawn in distant Ireland of the brilliant but disappointing court of Elizabeth. And from Ireland, in 1586, was addressed to Harvey by his " devoted friend during life" the following fine sonnet, which, whatever may have been the merit of Harvey's criticisms and his literary quarrels