32 “ Soon her garments loose,” &c.—This picture is from Ovid , but the lovely and beautifully colored comparison of the garland is Spenser's own.

MAY.

Character, Budding Beauty in male and female ; Animal Passion ;

Luminous Vernal coloring ; Painter, the same.

Then came fair May, the fairest maid on ground,33
Deck'd all with dainties of her season's pride,
And throwing flowers out of her lap around :
Upon two brethren's shoulders she did ride,
The Twins of Leda; which, on either side,
Supported her like to their sovereign queen.
Lord! how all creatures laugh'd when her they spied,

And leap'd and danc'd as they had ravish'd been ;
And Cupid's self about her füttered all in green.

33 “ Then came,” &c.—Raphael would have delighted (but Titian's colors would be required) in the lovely and liberal uniformity of this picture,—the young goddess May supported aloft; the two brethren on each side; animals and flowers below; birds in the air, and Cupid streaming overhead in his green mantle. Imagine the little fellow, with a body of Titian's carnation, tumbling in the air, and playfully holding the mantle, which is flying amply behind, rather than concealing him.

This charming stanza beats the elegant but more formal invocation to May by Milton, who evidently had it in his recollec. tion. Indeed the latter is almost a compilation from various poets. It is, however, too beautiful to be omitted here.

Now the bright morning-star, day's harbinger,
Comes dancing from the east, and leads with her
The flowery May, who from her green lap throws
The yellow cowslip and the pale primrose.

Hail beauteous May, that dost inspire
Mirth, and youth, and warm desire !

Woods and groves are of thy dressing,

Hill and dale doth boast thy blessing.
Thus we salute thee with our early song,

And welcome thee, and wish thee long.

Spenser's “ Lord! how all creatures laugh’d” is an instance of joyous and impulsive expression not common with English poets, out of the pale of comedy. They have geniality in abundance, but not animal spirits.

AN ANGEL, WITH A PILGRIM AND A FAINTING KNIGHT.

Character, Active Superhuman Beauty, with the finest coloring and

contrast; Painter, the same.

During the while that Guyon did abide
In Mammon's house, the palmer, whom whilere
That wanton maid of passage had denied,
By further search had passage found elsewhere;
And being on his way, approached near
While Guyon lay in trance : when suddenly
He heard a voice that callèd loud and clear,

“ Come hither, hither, O come hastily !"
That all the fields resounded with the rueful cry

The palmer leant his ear unto the noise,
To weet who call'd so importunèdly;
Again he heard a more enforced voice,
That bade him come in haste. He by-and-bye
His feeble feet directed to the cry;
Which to that shady delve him brought at last,
Where Mammon earst did sun his treasury:

There the good Guyon he found slumbering fast
In senseless dream ; which sight at first him sore aghast

Beside his head there sat a fair young man,34
Of wondrous beauty and of freshest years,
Whose tender bud to blossom new began,
And flourish far above his equal peers;
His snowy front, curlèd with golden hairs,

Like Phæbus' face adorn’d with sunny rays,
Divinely shone; and two sharp winged shears,
Decked with diverse plumes, like pointed jays,
Were fixed at his back to cut his airy ways

34 “ Beside his head,” &c.—The superhuman beauty of this angel should be Raphael's, yet the picture, as a whole, demands Ti. tian; and the painter of Bacchus was not incapable of the most imaginative exaltation of countenance. As to the angel's body, no one could have painted it like him,—nor the beautiful jay's wings; not to mention the contrast between the pilgrim's weeds and the knight's armor. See a picture of Venus blinding Cupid, beautifully engraved by Sir Robert Strange, in which the Cupid has variegated wings.

AURORA AND TITHONUS.

Character, Young and Genial Beauty, contrasted with Age,—the ac

cessories full of the mixed warmth and chillness of morning ; Painter, Guido.

The joyous day 'gan early to appear,
And fair Aurora from the dewy bed
Of aged Tithon 'gan herself to rear
With rosy cheeks, for shame as blushing red.
Her golden locks, for haste, were loosely shed
About her ears, when Una did her mark
Climb to her chariot, all with flowers spread,

From heaven high to chase the cheerless dark:
With merry note her loud salutes the mounting lark.

THE BRIDE AT THE ALTAR.

Character, Flushed yet Lady-like Beauty, with ecstatic Angels regard

ing her ; Painter, the same.

Behold, while she before the altar stands,
Hearing the holy priest that to her speaks,
And blesses her with his two happy hands,
How the red roses flush up in her cheeks !
And the pure snow, with goodly vermeil stain,

Like crimson dyed in grain !
That ev'n the angels, which continually
About the sacred altar do remain,
Forget their service and about her fly,
Oft peeping in her face, that seems more fair 35
The more they on it stare;
But her sad eyes, still fastened on the ground,
Are governed with goodly modesty,
That suffers not one look to glance awry,
Which may let in a little thought unsound.

35 “ Oft peeping in her face,” &c.—I cannot think the words peeping and stare, the best which the poet could have used; but he is aggravating the beauties of his bride in a long epithalamium, and sacrificing everything to her superiority. The third line is felicitous.

A NYMPH BATHING.

Character, Ecstacy of Conscious and Luxurious Beauty; Paintes

Guido.

-Her fair locks which formerly were bound
Up in one knot, she low adown did loose,
Which flowing long and thick, her cloth'd around,
And the ivory in golden mantle gown'd ,

So that fair spectacle was from him reft,
Yet that which reft it, no less fair was found :

So hid in locks and waves from looker's theft,
Naught but her lovely face she for his looking left.

Withal she laughed, and she blush'd withal,36
That blushing to her laughter gave more grace,
And laughter to her blushing.

36 * Withal she laugh’d,” &c.—Perhaps this is the loveliest thing of the kind, mixing the sensual with the graceful, that ever was painted. The couplet, So hid in locks and waves, &c., would be an excessive instance of the sweets of alliteration, could we bear to miss a particle of it.

THE CAVE OF DESPAIR.

Character, Savage and Forlorn Scenery, occupied by Squalid Misery

Painter, Salvator Rosa.

Ere long they come where that same wicked wight
His dwelling has, low in a hollow cave.
Far underneath a craggy cliff ypight,
Dark, doleful, dreary, like a greedy grave,
That stiil for carrion carcasses doth crave;
On top whereof ay dwelt the ghastly owl,
Shrieking his baleful note, which ever drave

Far from that haunt all other cheerful fowl,
And all about it wand'ring ghosts did wail and howl:

And all about old stocks and stubs of trees,
Whereon nor fruit nor leaf was ever seen,
Did hang upon the ragged rocky knees,
On which had many wretches hangèd been,
Whose carcasses were scattered on the green,
And thrown about the cliffs. Arrivèd there,
That bare-head knight, for dread and doleful teen,*

Would fain have fled, nor durst approachen near,
But th other forc'd him stay and comforted in fear.

* Teen-anxiety.