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[140] verse), has a passionate eloquence that reminds one of Burke, and is more light-armed and modern than the prose of Milton fifty years later. For us Occidentals he has a kindly prophetic word:—

And who in time knows whither we may vent
The treasure of our tongue? to what strange shores
The gain of our best glory may be sent
To enrich unknowing nations with our stores?
What worlds in the yet unformed Occident
May come refined with accents that are ours?

During the period when Spenser was getting his artistic training a great change was going on in our mother-tongue, and the language of literature was disengaging itself more and more from that of ordinary talk. The poets of Italy, Spain, and France began to rain influence and to modify and refine not only style but vocabulary. Men were discovering new worlds in more senses than one, and the visionary finger of expectation still pointed forward. There was, as we learn from contemporary pamphlets, very much the same demand for a national literature that we have heard in America. This demand was nobly answered in the next generation. But no man contributed so much to the transformation of style and language as Spenser; for not only did he deliberately endeavor at reform, but by the charm of his diction, the novel harmonies of his verse, his ideal method of treatment, and the splendor of his fancy, he made the new manner popular and fruitful. We can trace in Spenser's poems the gradual growth of his taste through experiment and failure to that assured self-confidence which indicates that he had at length found out the true bent of his genius,—that happiest of discoveries (and not so easy as it might seem) which puts a man in undisturbed possession of his own individuality. Before his time the boundary between poetry and prose had not been clearly defined. His great merit

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