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Though Spenser's affection to his master Chaucer led him in inany things to copy after him, yet those who have read both will easily observe that these two geniuses were of a very different kind. Chaucer excelled in his characters, Spenser in his defcriptions. The first studied humour, was an excellent satirist, and a lively but rough painter of the man- . ners of that rude age in which he lived: the latter was of the serious turn, had'an exalted and elegant mind, a warm and boundless fancy, and was an admirable imager: of virtues and vices, which was his particular talent. The embellishments of description are rich and lavish in him beyond comparifon; and as this is the most striking part of poetry, 'especially to young readers, I take it to be the reason that he has been the father of more poets among us than any other of our writers ; poetry being first kindled in the imagination, which Spenser writes to more than any one, and the season of youth being the most susceptible of the impression. It will not seem strange, therefore, that Cowley, as himself tells us, first caught his flame by reading Spenser; that our great Alilton owned him for his original, as Mr. Dryden afsures us; and that Dryden studied him, and has bestowed more frequent commendations on him than on any other English poet. · The most known and celebrated of his Works, though I will not say the most perfect, is the Faerie Queene : it is conceived, wrought up, and coloured 'with a stronger fancy, and discovers more the particular genius of Spenser than any of his other writings. The Author, in a Letter to Sir Walter Raleigh, having called this poem a continued allegory, or dark conceit, it may not be improper to offer some Remarks on Allegorical Poetry in general, by which the beauties of this Work may more easily be discovered by ordinary readers. . I must, at the
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same time, beg the indulgence of those, who are conversant with critical discourses, to what I shall here propose; this being a subject fomething out of the way, and not expressly treated upon by those who have laid down rules for the art of poetry.
An Allegory is a fable or story in which, under imaginary perfons or things, is shadowed fome real action or instructive moral; or, as I think it is fomewhere very shortly defined by Plutarch, it is that “ in which one thing is related, and another thing is understood.” It is a kind of poetical picture, or hieroglyphick, which, by its apt resemblance, conveys inttruction to the mind by an analogy to the senses, and fo amuses the fancy, whilst it informs the understanding. Every allegory has, therefore, two senses, the literal and the inyítical : the literal sense is like a dream or vision, of which the mystical sense is the true meaning or interpretation.
This will be more clearly apprehended by confidering, that as a fimile is but a more extended metaphor, so an allegory is a kind of continued fimile, or an assemblage of fimilitudes drawn out at full length. Thus, when it is said that Death is the offspring of Sin, this is a metaphor, to signify that the former is produced by the latter, as a child is brought into the world by its parent. Again, to compare Death to a meagre and ghastly apparition, starting out of the ground, moving towards the fpectator with a menacing air, and shaking in his hand a bloody dart, is a representation of the terrours which attend thatgreatenemy to human nature. But let the reader observe, in Milton's Paradise Loft, with what exquisite fancy and skill this common metaphor and simile, and the moral contained in them, are extended and wrought up into one of the most beautiful allegories in our language.
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The resemblance which has been so often observed in general between poetry and painting is yet more particular in allegory, which, as I said before, is a kind of picture in poetry. Horace has, in one of his Odes, pathetically defcribed the ruinous condition of his country after the Civil wars, and the hazard of its being involved in new diffentions, by the emblem of a fhip shattered with storins, and driven into port with broken masts, torn fails, and disabled rigging, and in danger of being forced, by new storms, out to lea again. There is nothing said in the whole Ode but what is literally applicable to ' a fhip; but it is generally agreed that the thing fignified is the Roman State. Thus Rubens, who had a good allegorical genius in painting, has, in his famous work of the Luxemburg gallery, figured the government of France, on Lewis XIII.'s arriving at age, by a galley. The King stands at the helm, Mary of Medicis, the Queen-mother and Regent, puts the rudder in his hand; Justice, Fortitude, Religion, and Public Faith, are feated at the oars; and other Virtues have their proper employments in managing the fails and tackle.
By this general defcription of Allegory, it may easily be conceived, that in works of this kind there is a large field open to invention, which among the Ancients was universally looked upon to be the principal part of poetry. The power of raising inages or resemblances of things, giving them life and action, and prefenting them as it were before the eyes, was thought to have something in it like creation; and it was probably for this fabling part thatthe first authors of such works were called Poets or Makers, as the word fignifies, and as it is literally translated and used by Spenser; though the learned Gerard Voffius • is of opinion that it was rather
De Arte Poeticæ, cap. 3. $. 16. Hughes.. 13
the propers, though guished tec
for the framing their verses. However, by this art of fiction or allegory, more than by the structure of their numbers, or what we now call Versification, the poets were distinguished from historians and philosophers, though the latter sometimes invaded the province of the poet, and delivered their doctrines likewise in allegories or parables : and this, when they did not purposely make them obscure in order to conceal them from the common people, was a plain indication that they thought there was an advantage in such methods of conveying instruction to the mind; and that they served for the more effectual engaging the attention of the hearers, and for leaving deeper impressions on their memories..
Plutarch, in one of his discourses, gives a very good reason for the use of fiction in poetry, because 66 Truth of itself is rigid and austere, and cannot be moulded into such agreeable forms as fiction can. For neither the numbers,” says he, “ nor the ranging of the words, nor the elevation and elegance of the style, have so many graces as the artful contrivance and disposition of the fable.” For this reason, as he relates it after Plato, when the wife Socrates himself was prompted by a particular impulse to the writing of verfes, being by his constant employment in the study of truth a ftranger to the art of invention, he chose for his subject the Fables of Ætop, “ not thinking,” says Plutarch, “ that any thing could be poetry which was void of fiction." The fame author makes use of a comparison, in another place, which I think may be most properly applied to allegorical poetry in particular; that “as grapes on a vine are covered by the leaves which grow about them, to under the pleasant narrations and fictions of the poets there are couched many useful morals and doétrines.”
It is for this reason, that is to say, in regard to the moral sense, that allegory has a liberty indulged to it beyond any other fort of writing whatsoever; that it often assembles things of the most contrary kinds in nature, and lupposes even impoffibilities; as that a golden bough should grow among the common branches of a tree, as Virgil has described it in the Sixth Book of his Æneis. Allegory is indeed the Fairy Land of poetry, peopled by imagi. pation; its inhabitants are so many apparitions; its woods, caves, wild beasts, rivers, mountains, and palaces, are produced by a kind of magical power, and are all vilionary and typical; and it abounds in such licences as would be shocking and monstrous, if the mind did not attend to the mystick sente contained under them. Thus, in the Fables of Æ lop; which are some of the most ancient allegories extant, the author gives reason and speech to beasts, insects, and plants; and by that means covertly inftrućts mankind in the most important incidents and concerns of their lives.
I am not insensible that the word Allegory has been sometimes used in a larger sense than that to which I may seem here to have restrained it, and has been applied indifferently to any poem which contains a covered moral, though the story or fable carries nothing in it that appears visionary or romantick. It may be neceffary, therefore, to diftinguisli Allegory into the two following kinds ::
The first is that in which the story is framed of real or historical perfons, and probable or possible actions; by which, however, some other persons and actions are typified or represented. In this sense the whole Æneis of Virgil may be said to be an Allegory, if we consider Æneas as representing Auguftus Cæfar, and his conducting the remains of his countrymen from the ruins of Troy to a new