capacity of passionate emotion.
The real good fortune is to be measured, not by more or less of outward prosperity, but by the opportunity given for the development and free play of the genius.
It should be remembered that the power of expression which exaggerates their griefs is also no inconsiderable consolation for them.
We should measure what Spenser
says of his worldly disappointments by the bitterness of the unavailing tears he shed for Rosalind.
A careful analysis of these leaves no perceptible residuum of salt, and we are tempted to believe that the passion itself was not much more real than the pastoral accessories of pipe and crook.
I very much doubt whether Spenser
ever felt more than one profound passion in his life, and that luckily was for his ‘Faery Queen
He was fortunate in the friendship of the best men and women of his time, in the seclusion which made him free of the still better society of the past, in the loving recognition of his countrymen.
All that we know of him is amiable and of good report.
He was faithful to the friendships of his youth, pure in his loves, unspotted in his life.
Above all, the ideal with him was not a thing apart and unattainable, but the sweetener and ennobler of the street and the fireside.
There are two ways of measuring a poet, either by an absolute esthetic standard, or relatively to his position in the literary history of his country and the conditions of his generation.
Both should be borne in mind as coefficients in a perfectly fair judgment.
If his positive merit is to be settled irrevocably by the former, yet an intelligent criticism will find its advantage not only in considering what he was, but what, under the given circumstances, it was possible for him to be.
The fact that the great poem of Spenser
was inspired by the Orlando
, and written in avowed emulation