Idle rimes; The labour of lost time and wit unstaid; Yet if their deeper sense he inly weighed, And the dim veil, with which from common view Their fairer parts are hid, aside be laid, Perhaps not vain they may appear to you.
In earlier and in later times, men do not apologize for being poets; and Spenser himself was deceived in giving himself credit for this direct purpose to instruct, when he was really following the course marked out by his genius. But he only conformed to the curious utilitarian spirit which pervaded the literature of the time. Readers were supposed to look everywhere for a moral to be drawn, or a lesson to be inculcated, or some practical rules to be avowedly and definitely deduced; and they could not yet take in the idea that the exercise of the speculative and imaginative faculties may be its own end, and may have indirect influences and utilities even greater than if it was guided by a conscious intention to be edifying and instructive.
The first great English poem of modern times, the first creation of English imaginative power since Chaucer, and like Chaucer so thoroughly and characteristically English, was not written in England. Whatever Spenser may have done to it before he left England with Lord Grey, and whatever portions of earlier composition may have been used and worked up into the poem as it went on, the bulk of the _Faery Queen_, as we have it, was composed in what to Spenser and his friends was almost a foreign land--in the conquered and desolated wastes of wild and barbarous Ireland. It is a feature of his work on which Spenser himself dwells. In the verses which usher in his poem, addressed to the great men of Elizabeth's court, he presents his work to the Earl of Ormond, as
The wild fruit which salvage soil hath bred; Which being through long wars left almost waste, With brutish barbarism is overspread;--
and in the same strain to Lord Grey, he speaks of his "rude rimes, the which a rustic muse did weave, in salvage soil." It is idle to speculate what difference of form the _Faery Queen_ might have received, if the design had been carried out in the peace of England and in the society of London. But it is certain that the scene of trouble and danger in which it grew up greatly affected it. This may possibly account, though it is questionable, for the looseness of texture, and the want of accuracy and finish which is sometimes to be seen in it. Spenser was a learned poet; and his poem has the character of the work of a man of wide reading, but without books to verify or correct. It cannot be doubted that his life in Ireland added to the force and vividness with which Spenser wrote. In Ireland, he had before his eyes continually, the dreary world which the poet of knight errantry imagines. There men might in good truth travel long through wildernesses and "great woods" given over to the outlaw and the ruffian. There the avenger of wrong need seldom want for perilous adventure and the occasion for quelling the oppressor. There the armed and unrelenting hand of right was but too truly the only substitute for law. There might be found in most certain and prosaic reality, the ambushes, the disguises, the treacheries, the deceits and temptations, even the supposed witchcrafts and enchantments, against which the fairy champions of the virtues have to be on their guard. In Ireland, Englishmen saw, or at any rate thought they saw, a universal conspiracy of fraud against righteousness, a universal battle going on between error and religion, between justice and the most insolent selfishness. They found there every type of what was cruel, brutal, loathsome. They saw everywhere men whose business it was to betray and destroy, women whose business it was to tempt and ensnare and corrupt. They thought that they saw too, in those who waged the Queen's wars, all forms of manly and devoted gallantry, of noble generosity, of gentle strength, of knightly sweetness and courtesy. There were those, too, who failed in the hour of trial; who were the victims of temptation or of the victorious strength of evil. Besides the open or concealed traitors, the Desmonds, and Kildares, and O'Neales, there were the men who were entrapped and overcome, and the men who disappointed hopes, and became recreants to their faith and loyalty; like Sir William Stanley, who, after a brilliant career in Ireland, turned traitor and apostate, and gave up Deventer and his Irish bands to the King of Spain.