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Next came fresh April, full of lustyhed,
And wanton as a kid whose horne new buds;
Upon a bull he rode, the same which led
Europa floating thro' th' Argolick fluds:
His homes were gilden all with golden studs,
And garnished with garlonds goodly dight
Of all the fairest flowres and freshest buds
Which th' earth brings forth; and wet he seemed in sight
With waves, thro' which he waded, for his Love's delight.
Then came faire May, the fayrest Mayde on ground
Deckt with all dainties of her season's pryde,
And throwing flowres out of her lap around:
Upon two brethren's shoulders she did ride,
The twinnes of Leda; which, on eyther side,
Supported her like to their soveraine queene:
Lord! how all creatures laught when her they spide,
And leapt and daunced as they had ravisht beene!
And Cupid self about her fluttred all in greene.
These alegorical stanzas are quite in the "Faëry Queen" spirit. In that great poem Spenser displays infinite grandeur, loftiness, and luxuriant imagery; but when we peruse or listen to it, we are no longer in the world of reality—the world of Chaucer; we are at once witched away to Faëry Land, where nature is arrayed in such gorgeous hues, that, much as the imagination may be fascinated and dazzled by the splendid dreams before us, we cannot walk in fancy side by side with the poet through his maze of enchantment, as we may, and do, with the poets of this world, our cheerful, simple-minded Chaucer especially, whose flowers, and trees, and arbours, and nightingales, are realities that seem to rise in social companionship around us, while listening to his truth-invested verse.
