of inquiry concerning the merit of both poems. Such was the prevailing taste, when Spenser projected the Fairy Queen: a poem, which according to the practice of Ariosto, was to consist of allegories, enchantments, and romantic expeditions, conducted by knights, giants, magicians, and fictitious beings. It may be urged, that Spenser made an unfortunate choice, and discovered but little judgment, in adopting Ariosto for his example, rather than Tasso, who had so evidently exceeded his rival, at least in conduct and decorum. But our author naturally followed the poem which was most celebrated and popular. For although the French critics universally gave the preference to Tasso, yet, in Italy, the partisans on the side of Ariosto were by far the most powerful, and consequently in England: for Italy, in the age of queen Elizabeth, gave laws to our island in all matters of taste, as France has done ever since. At the same time it may be supposed, that, of the two, Ariosto was Spenser's favourite; and that he was naturally biassed to prefer that plan which would admit the most extensive range for his unlimited imagination. What was Spenser's particular plan, in consequence of this choice, and how it was conducted, I now proceed to examine. The poet supposes, that the FAERIE QUEENE, according to an established annual custom, held a magnificent feast, which continued twelve days; on each of which, respectively, twelve several complaints are presented before her. Accordingly, in order to redress the injuries which were the occasion of these several complaints, she dispatches, with proper commissions, twelve different Knights, each of which, in the particular adventure allotted to him, proves an * See Spenser's Letter to Sir W. Raleigh, &c. example of some particular virtue, as of holiness, temperance, justice, chastity; and has one complete book assigned to him, of which he is the hero. But besides these twelve knights, severally exemplifying twelve moral virtues, the poet has constituted one principal knight, or general hero, viz. Prince Arthur. This personage represents magnificence; a virtue which is supposed to be the perfection of all the rest. He moreover assists in every book, and the end of his actions is to discover, and win, Gloriana, or Glory. In a word, in this character the poet professes to pourtray, "The image of a brave Knight perfected in the twelve private moral Virtues." It is evident that our author in establishing one hero, who seeking and attaining one grand end, which is Gloriana, should exemplify one grand character, or a brave Knight perfected in the twelve private moral virtues, copied the cast and construction of the ancient Epic. But sensible as he was of the importance and expediency of the unity of the hero and of his design, he does not, in the mean time, seem convinced of the necessity of that unity of action, by the means of which such a design should be properly accomplished. At least, he has not followed the method practised by Homer and Virgil, in conducting their respective heroes to the proposed end, It may be asked with great propriety, how does Arthur execute the grand, simple, and ultimate design, intended by the poet? It may be answered, with some degree of plausibility, that by lending his respective assistance to each of the twelve Knights, who patronize the twelve virtues, in his allotted defence of each, Arthur approaches still nearer and nearer to Glory, till at last he gains a complete possession. But surely to assist is not a sufficient service. This secondary merit is inadequate to the reward. The poet ought to have made this "brave Knight" the leading adventurer. Arthur should have been the principal agent in vindicating the cause of holiness, temperance, and the rest. If our hero had thus, in his own person, exerted himself in the protection of the twelve virtues, he might have been deservedly styled the perfect Pattern of all, and consequently would have succeeded in the task assigned, the attainment of glory. At present he is only a subordinate or accessory character. The difficulties and obstacles which we expect him to surmount, in order to accomplish his final achievement, are removed by others. It is not he who subdues the dragon, in the first book, or quells the magician Busirane, in the third. These are the victories of St. George and of Britomart. On the whole, the twelve Knights do too much for Arthur |