of the action. The laws of life, not the chances of individuals, were Spenser's subject, and in this he differs from Ariosto, and leaves his company. Spenser's genius was thus abstract and contemplative, and Platonic in the sense that he used images always with some reference to the general truths that transcend imagination, and are directly apprehended only intellectually. Allegory was therefore his necessary method. Spenser never succeeded in harmonizing the disparate elements of the material to which he fell heir by literary tradition; and besides the inconsistencies and incoherencies of the Renaissance culture, which never reached any unity in its own time, there were also special disturbances in his intellectual life because of the political and religious conflicts in England itself, from entanglement with which he was not free; and, moreover, he does not seem to have subdued the philosophical and poetic impulses of his own nature to any true accord. His poem, therefore, did not take on that perfection, that identity of purpose and execution, which would have placed it in the first rank, and he remains below the supreme poets of the world. The study of his work, as an illus-
