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lxvi INTRODUCTION<br />

Certain combinations <strong>of</strong> consonants, indeed, are associated in his mind<br />

with definite feelings or conceptions, and he will carry their use through<br />

several lines, sometimes through a whole stanza Particularly effective is<br />

his alliteration upon s and / to convey a sense <strong>of</strong> peace, wherein ' the senses<br />

hilled are in slumber <strong>of</strong> delight <strong>The</strong> argument <strong>of</strong> Despair is rendered<br />

almost irresistible by the music in which it is phrased<br />

Is not short paine well borne, that brings long ease,<br />

And layes the soule to sleepe in quiet graue ?<br />

Sleepe after toyle, port after stormie seas,<br />

Ease after warre, death after life does greatly please (I IX 40 )<br />

And so <strong>of</strong> Arthur, dreaming <strong>of</strong> the faerie queene<br />

Whiles euery sence the humour sweet embavd,<br />

And slombnng s<strong>of</strong>t my hart did steale away,<br />

Me seemed, by my side a royall Mayd<br />

Her daintie limbes full s<strong>of</strong>tly down did lav (1 ix 13 )1<br />

It will be noticed that in all these passages the effect <strong>of</strong> the alliteration<br />

is strengthened by the use <strong>of</strong> the alliterative letter in the middle and end<br />

as well as at the beginning <strong>of</strong> the words<br />

But apart from these special uses, assonance and alliteration run through<br />

all his verse as an integral part <strong>of</strong> its melody, a kind <strong>of</strong> sweet undertone,<br />

blending with the regular rise and fall <strong>of</strong> the verse and enhancing its<br />

rhythmical appeal, so as to form a total effect <strong>of</strong> indefinable grace and<br />

beauty<br />

<strong>The</strong> peculiar dangers and temptations <strong>of</strong> such a style are obvious, and<br />

Spenser did not escape them Though his finest music is wedded to his<br />

noblest imaginings, he could convey, in music <strong>of</strong> a kind, any idea, however<br />

trivial, and it was not always worth the carriage In such moments he<br />

parodies his poetic self , the inspiration is gone , and those devices which<br />

are the natural and inevitable expression <strong>of</strong> his mode <strong>of</strong> thought seem<br />

little better than the threadbare artifice <strong>of</strong> a cunning metrical trickster<br />

He fills out the rhythmical structure <strong>of</strong> his stanza with words and phrases<br />

that add nothing to his picture, and gives whole lines <strong>of</strong> comment that<br />

is trite and commonplace His characteristic manner has the exuberance<br />

<strong>of</strong> a garden set in rich and fruitful soil, and it needs a careful tending,<br />

for even its choicest flowers may put on such luxuriant growth that they<br />

wellnigh choke each other, and if weeds chance to take root there they<br />

will grow apace Spenser never learnt the art to prune, he was not over<br />

careful to weed And his verse though it has a vigour <strong>of</strong> its own, is seldom<br />

rapid ; it is the counterpart <strong>of</strong> that brooding contemplative mood in<br />

which he looked habitually at life Its sustaining principle was a slow<br />

circling movement that continually returned upon itself Wordsworth's<br />

1 Cf also II vi 3,IIv 30, 32, III xII I

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