The Faerie Queene — Volume 01

atever shadow of misunderstanding had previously come between his introducer-or perhaps re-introducer-and her Majesty seems to hav

n pipe encli

forth therein g

d at timely h

es but rude an

or 1589 occurs to following entry, quoted her

intituled the fayre Queene, dyposed into xii bookes &c. Aucthoryse

reland, William Shakspere had come up from the country to London. The exact date of his advent it seems impossible to ascertain. Probably enough it was 1585; but it may have been a little later. We may, however, be fairly sure that by the time of Spenser's arrival in London in 1589, Shakspere was already occupying a notable position in his profession as an actor; and what is more important, there can be little doubt he was already known not only as an actor, but as a play-writer. What he had already written was not comparable with what he was to write subsequently; but even those early dramas gave promise of splendid fruits to be thereafter yielded. In 1593 appeared Venus and Adonis; in the following year Lucrece; in 1595, Spenser's Epithalamion; in 1596, the second three books of the

s of Pembroke, and others. The excellence of the poem was at once generally perceived and acknowledged. Spenser had already, as we have seen, gained great applause by his Shepheardes Calendar, published some ten years before the coming out of his greater work. During these ten years he had resided out of England, as has been seen; but it is not likely his reputation had been languishing during his absence. Webbe in his Discourse of English Poetrie, 1586, had contended 'that Spenser may well wear the garlande, and step before the best of all English poets.' The Shepheardes Calendar had been reprinted in 1581 and in 1586; probably enough, other works of his had been circulating in manuscript; the hopes of the country had been di

ense of beauty, its abundant fancifulness, its subtle spirituality-but also to the time of its appearance. For then nearly two centuries no great poem h

thie maiste

erray tresour

ethe hathe ha

e; hir veng

he this londe

k fro us;

n so like am

ymer makes for himself, might have been wel

ter, God his

er fayne would

, and learned

capable of something more than lyrical essays. He it was who designed the Mirror for Magistrates. To that poem, important as compared with the poetry of its day, for its more pretentious conception, he himself contributed the two best pieces that form part of it-the Induction and the Complaint of Buckingham. These pieces are marked by some beauties of the same sort as those which especially characterise Spenser; but they are but fragments; and in spirit they belong to an age which happily passed away shortly after the accession of Queen Elizabeth-they are penetrated by that despondent tone which is so strikingly audible in our literature in the middle years of the sixteeth century, not surprisingly, if the general history of the time be considered.

alry and romance-which was departed; it drew its images, its forms of life, its scenery, its very language, from the past. Then the genius of our literature in the latter part of Queen Elizabeth's reign was emphatically dramatic; in the intense life of these years men longed for reality. Now the Faerie Queene is one long idealizing. These circumstances are to accounted for partly by th

tno

-

Pennilesse, 1592. {2} Skeat's Spec