than the world is willing to bestow. They preserve many curious historical facts, and throw considerable light on the nature of the feudal system. They are the pictures of ancient usages and customs; and represent the manners, genius, and character of our ancestors. Above all, such are their Terrible Graces of magic and enchantment, so magnificently marvellous are their fictions and failings, that they contribute, in a wonderful degree, to rouse and invigorate all the powers of imagination: to store the fancy with those sublime and alarming images, which true poetry best delights to display. Lastly, in analysing the Plan and Conduct of this poem, I have so far tried it by epic rules, as to demonstrate the inconveniencies and incongruities which the poet might have avoided, had he been more studious of design and uniformity. It is true, that his ro Y 2 mantic materials claim great liberties; bút no materials exclude order and perspicuity. I have endeavoured to account for these defects, partly from the peculiar bent of the poet's genius, which at the same time produced infinite beauties, and partly from the predominant taste of the times in which he wrote. Let me add, that if I have treated some of the Italian Poets, on certain occasions, with too little respect, I did not mean to depreciate their various incidental excellencies. I only suggested, that those excellencies, like some of Spenser's, would have appeared to greater advantage, had they been more judiciously disposed. I have blamed, indeed, the vicious excess of their fictions; yet I have found no fault, in general, with their use of magical machinery; notwithstanding, I have so far conformed to the 5 reigning maxims of modern criticism, as, in the mean time, to recommend classical propriety. I cannot take my final leave of the reader, without the satisfaction of acknowledging, that this work has proved a most agreeable task; and I hope this consideration will at least plead my pardon for its length, whatever censure or indulgence the rest of its faults may deserve. The business of criticism is commonly laborious and dry; yet it has here more frequently amused than fatigued my attention, in its excursions upon an author, who makes such perpetual and powerful appeals to the fancy. Much of the pleasure that Spenser experienced in composing the Fairy Queen, must, in some measure, be shared by his commentator; and the critic, on this occasion, may speak in the words, and with the rapture, of the poet. The wayes through which my weary steppes I guyde In this delightfull land of faerie, Are so exceeding spacious and wyde, And sprinkled with such sweet varietie Of all that pleasant is to ear or eye, That I nigh ravisht with rare thoughts delight, And when I gin to feele decay of might, It strength to me supplies, and cheares my dulled spright. THE END. 6.1.1. INDEX TO THE SECOND VOLUME. A. ABBE du Bos, condemns those painters who introduce Action, allegorical, why faulty, 109. Adore and Adorn, 230. Alexandrine verses, rules concerning them, 163. for, 74. Publicly shewn in Queen Elizabeth's Architecture, ancient, in England, its gradations, 206. |