pattern of his ftyle, and to whom he is indebted for many noble inventions, fhould be more universally ftudied. This is at least what one might expect in an age of research and curiofity. Chaucer is regarded rather as an old, than as a good, poet. We look upon his poems as venerable relics, not as beautiful compofitions; as pieces better calculated to gratify the antiquarian than the critic. He abounds not only in strokes of humour, which is commonly supposed to be his fole talent, but of pathos, and fublimity, not unworthy a more refined age. His old manners, his romantic arguments, his wildness of painting, his fimplicity and antiquity of expreffion, transport us into some fairy region, and are all highly pleafing to the imagination. It is true that his uncouth and unfamiliar language difgufts and deters many readers: but the principal reason of his being fo little known, and fo feldom taken into hand, is the convenient opportunity of reading him with pleasure and facility in modern imitations. For when tranflation, and fuch imitations from Chaucer may be justly called, at length becomes substituted as the means of attaining a knowledge of any difficult and antient author, the original not only begins to be neglected and excluded as lefs easy, but also to be defpifed as lefs ornamental and elegant. Thus the public taste becomes impercep

tibly vitiated, while the genuine model is fuperfeded, and gradually gives way to the establishment of a more fpecious, but false, resemblance. Thus, too many readers, happy to find the readieft accommodation for their indolence and their illiteracy, think themselves fufficient mafters of Homer from Pope's tranflation: and thus, by an indiscreet comparison, Pope's translation is commonly preferred to the grecian text, in proportion as the former is furnished with more fre quent and shining metaphors, more lively descriptions, and in general appears to be more full and florid more elaborate and various.

T

HE Circumftance of the Red-croffe knight

and Una, meeting with Archimago disguised like a hermit, who entertains them with a fictitious tale, and afterwards raises two fpirits, with intent to deceive the Red-croffe knight, feems to be copied from Ariofto. Angelica meets an hypocritical hermit, who raises a false spirit with a defign to deceive Sacrapant and Renaldo, and to exafperate them against Orlando, &c.

Che

Che fcontro un' eremita, &c. *

But Spenfer has greatly improved the hint. Archimago is again introduced after the fame manner, B. 1. C. 6. f. 34. and B. 2. c. 1. f. 8.

B. i. c. ii.

This illufion effected by Archimago, who discovers a fictitious Una to the Red-croffe knight, engaged in the embraces of a young 'fquire, seems to be imitated from the deceptions carried on in the enchanted caftle of Atlanta, where many of the guests are imposed upon by false representations of the perfons of their friends or mistreffes; and more particularly, from that paffage where Orlando, after having been deluded with the appearance of a counterfeit Angelica, is made to hear her cry out for his affiftance, as if fome ruffian was infulting and ravishing her, &c.

Dunque in prefenzia del mio caro Orlando
Da quefto ladro mi farà rapita?

Piu, &c. &ct.

Helpe now or never helpe; alas! fhall I,

In mine Orlando's fight loofe my virginitie?

Harrington.

* C. 2. f. 12.

† C. 12. f. 15.

B. i. c. vii. f. xxxiii.

His warlike shield all closely cover'd was ́
Ne might of mortal eye be ever feene.

xxxiv.

The fame to wight he never would disclose,

But when as monfters huge he would difmay,

Or daunt unequall armies, &c.

xli.

And when he lift the prouder lookes fubdew
He would them gazing blind, &c.

This is the fhield of Atlanta.

D'un bello drappo di feta havea coperto
Lo SCUDO in braccio il cavalier celefte,
Come aveffe, non fo, tanto fofferto
Di tenerlo nafcoflo in quella vefte;
Ch'immantinente, che lo moftra aperto,
Forza e chi'l mira abbarbagliato reste,
E cada, come corpo morto cade *.

This heavenly hellish warrior bare a fhield
On his left arme, that had a filken case,
I cannot any cause or reafon yeeld,

Why he should keep it coverd so long space:

* C. 2. f. 55.

It had fuch force that whofo it beheld,

Such fhining light it ftriketh in their face,

That down they fell, &c.

B. i. c. viii. f. iii.

Harrington..

Wide wonders of all

Of that fame hornes great vertues weren told.

iv.

Was never wight that heard that fhrilling found
But trembling feare did feele in every vaine.

This horn, with its miraculous effects, is borrowed from that which Logeftylla presents to Aftolfo.

.

Dico, che'l corno è di fi orribil fuono,
Ch' ovunque s'ode, fa fuggir la gente.
Non puo, &c*.

An horne in which if he do once but blow
The noise thereof fhall trouble men fo fore,

That all both ftout and faint fhall flie therefro.

Harrington.

I wonder Spenfer should have made fo little use of

this horn. He has not fcrupled to introduce the shield