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This excitement produced some matters of learning in bad taste; but after a few years, things became settled, and sound judgment corrected the errors which enthusiasm had scattered among her brilliant productions. Spenser and Shakspeare now arose, with a host of mighty minds, in the several walks of learning, which left their stamp on the age, as imperishable as the English language itself.

This was the age of English literature, from which our literature emanated. It was tinged, no doubt, with a portion of the polemic severity which belonged to the reign of Henry VIII, and Edward VI, and which came down to later times; but there was a depth, a strength, and boldness, in the intelligence of those days, which, if it has in some measure been polished by time, was from the same stock as that of the reformers; and, thank heaven, it ran on, gaining purity, and losing none of its virtues, for a century and a half after it had been found in this country. I freely grant, that the literature, as it came to us at that time, had not the polish of the literature of the present day; but it was well calculated to prepare our fathers for the great labors of body and mind which they were called to perform. The difference between the literature of that day and the present, I mean that which is current among a majority of the community, is this-their literature was best to form the mind; ours to fill it. From theirs grew resolution, perseverance, and faith, and all that gave hardihood and energy to character. In ours, there are extensive and liberal views of society, a great accumulation of facts, much refinement of taste, and an abundance of topics for conversation. They read much, we many things. In our course of training the mind, we should

look back, as well as go forward; we should make ourselves masters of the past ages of knowledge, as well as possessors of the floods of light which are now poured in upon us. I glory in seeing colleges arise, and the corner-stones of universities laid; but these institutions alone will never make a literary people of us. This great object can only be effected by enlightening the community at large. There were no great artists in Greece or Italy until a good taste was generally dif fused among them. To bring us to a high standard of literature, female enthusiasm and taste must be brought in aid of the cause. Letters must, before that day comes, take the place of a thousand trifling amusements that now fill up the measure of time that can be spared from important duties. These portions of time, even if they are mere shreds may, by method and perseverance, be made up into something of importance. The good housewife, by carefully saving the shreds as she makes up her family wardrobe, and by occupying some of her leisure hours in sewing them together, is soon ready for a quilting-match-a union of industry and amusement. Then starts from the frame a variegated patch-work of a thousand pieces, of all hues-a comforter in the cold and storms of wintry time-a thing twice blest, in the industry of her who made it, and in the gratitude of those made happy by its warmth.

Literature, to have its full effect, must be generally diffused. It must not be confined to any class of the community, but open to all, and encouraged by all. We must not look for the spirit of literature in the pulpit and halls of legislation, or school-rooms only; but must find it, like the sweet breeze of the summer's morn, in all our walks, and in all our household do

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mains, passing from the library to the toilet, from the toilet to the nursery, and there kindling the eye of the mother and opening the cherubic lips of the infant.”

CHAPTER II.

WE come now to the age of Elizabeth. Spenser was the first poet who was pre-eminently distinguished in the reign of the virgin queen. He was a well edu cated man. He found himself a poot in the midst of some affair of the heart. His effusions were so much admired, that some kind friend made him acquainted with Sir Philip Sidney, the Mecanas of the age. Sir Walter Raleigh was also his friend and patron. Spenser, as well as some of the earlier poets, was employed by government, and received a liberal support from persons in power. He died at the early age of 46; early for one who had written so much. His works are voluminous. The Fairy Queen is at the head. This great labor of Spenser is said to be wanting in plan. This, however, the reader forgets, in the lovely personifications of his author. The muse never suffered him to slumber, if she sometimes led hịm through the labyrinth of flowers, until his imagination was bewildered. The characteristic traits of the Fairy Queen are imagery, feeling, and melody of versification. His imitators have been numerous in every age of poetry since, and many of these imitators became his equals, and some his superiors. Milton openly avowed his obligations to Spenser, and Beattie built his Minstrel upon Spenser's models. Many men of literary renown

have become his commentators. Hurd, Justin, Upton, Thomas Warton, and Pope. Hurd says that Spenser's Fairy Queen is rather a Gothic than a classical poem. It is too deeply tinged with the lightsome fancies of Ariosto, to be strictly Gothic. Pope said of the works of Spenser, that he read them with as much delight in his old age, as he did in his youth.

Spenser venerated Chaucer, and affected his ancient language. This, some might think was well, or at least that this antiquarian spirit did not injure the sweetness of his lines.

Some years after the death of Spenser, Ann, Countess of Dorset, erected a monument in Westminster Abbey to his memory. To be honored by the great when living, and venerated and admired by beauty and taste when dead, was the fate of Spenser; one which seldom falls to the lot of poets or historians.

It is more fashionable, at the present day, to imitate the stanzas of Spenser, than those of any other poet in the English language. They are capable certainly of great beauty, and, in the hands of genius and skill, may be succinct or open, terse or expanded, as the occasion may require.

Spenser was born in 1553, and was eleven years senior to Shakspeare; and as printing was the rage at that time, the great bard of nature was probably acquainted with the Fairy Queen and other works of Spenser. The following extracts from Spenser are taken from his various works without regard to connexion.

DESCRIPTION OF PRINCE ARTHUR.

At last she chanced by good hap to meet
A goodly knight, fair marching by the way,
Together with his squire, arrayed meet:
His glittering armour shined far away,
Like glancing light of Phœbus' brightest ray;
From top to toe no place appeared bare,
That deadly dint of steel endanger may:
Athwart his breast a bauldric brave he ware,
That shin'd like twinkling stars, with stones most
precious rare.

And in the midst thereof one precious stone
Of wondrous worth, and eke of wondrous mights,
Shap'd like a lady's head, exceeding shone,
Like Hesperus amongst the lesser lights,
And strove for to amaze the weaker sights;
Thereby his mortal blade full comely hung
In ivory sheath, ycarv'd with curious slights;
Whose hilts were burnish'd gold, and handle strong
Of mother pearl, and buckled with a golden tongue.

His haughty helmet, horrid all with gold,
Both glorious brightness and great terror bred;
For all the crest a great dragon did enfold
With greedy paws, and over all did spread
His golden wings; his dreadful hideous head
Close couched on the beaver, seem'd to throw
From flaming mouth bright sparkles fiery red,
That sudden horror to faint hearts did show;
And scaly tail was stretched adown his back full low.

Upon the top of all his lofty crest

A bunch of hairs discolour'd diversely,

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