home. He threw
aside the outgrown metrical romance, which was practically the only form of
narrative in his day, invented the art of story-telling in verse, and
brought it to a degree of perfection which has probably never since been
equaled. Though a student of the classics, he lived wholly in the present,
studied the men and women of his own time, painted them as they were, but
added always a touch of kindly humor or romance to make them more
interesting. So his mission appears to be simply to amuse himself and his
readers. His mastery of various and melodious verse was marvelous and has
never been surpassed in our language; but the English of his day was
changing rapidly, and in a very few years men were unable to appreciate his
art, so that even to Spenser and Dryden, for example, he seemed deficient
in metrical skill. On this account his influence on our literature has been
much less than we should expect from the quality of his work and from his
position as one of the greatest of English poets.

Like Chaucer, Spenser was a busy man of affairs, but in him the poet and
the scholar always predominates. He writes as the idealist, describing men
not as they are but as he thinks they should be; he has no humor, and his
mission is not to amuse but to reform. Like Chaucer he studies the classics
and contemporary French and Italian writers; but instead of adapting his
material to present-day conditions, he makes poetry, as in his Eclogues for
instance, more artificial even than his foreign models. Where Chaucer looks
about him and describes life as he sees it, Spenser always looks backward
for his inspiration; he lives dreamily in the past, in a realm of purely
imaginary emotions and adventures. His first quality is imagination, not
observation, and he is the first of our poets to create a world of dreams,
fancies, and illusions. His second quality is a wonderful sensitiveness to
beauty, which shows itself not only in his subject-matter but also in the
manner of his poetry. Like Chaucer, he is an almost perfect workman; but in
reading Chaucer we think chiefly of his natural characters or his ideas,
while in reading Spenser we think of the beauty of expression. The
exquisite Spenserian stanza and the rich melody of Spenser's verse have
made him the model of all our modern poets.

MINOR POETS

Though Spenser is the one great non-dramatic poet of the Elizabethan Age, a
multitude of minor poets demand attention of the stud