orical narrative or dialogue, were
but differing results of the same principle, and forms too of its
original development; for Britain was the mother and nurse of much of
the finest chivalrous poetry, as well as the scene where some of its
most fascinating tales are laid. It is true that English poetry before
the time of Elizabeth presents but few distinguished names; but there is
a world of unappropriated treasures of the chivalrous class of poetry,
which are still the delight of those who possess the key to their secret
chambers, and were the archetypes of the earlier poets of that prolific
age. It is important to recollect, that among the poets who adorn that
epoch, the narrative preceded the dramatic. [Sidenote: Spenser belongs
to the Gothic school.] Spenser belongs, in every view, to the romantic
or Gothic school; the heroic Mort d'Arthur was the rule of his poetical
faith; and it was that school, headed by him, which Shakspeare, on
commencing his course and choosing his path, found in possession of all
the popularity of the day. [Sidenote: Shakspere too.] Every thing proves
that he allowed himself to be guided by the prevailing taste. His early
poems belong in design to Spenser's school, and their style is
[68:1]often imitative of his. In his dramas he has many points of
resemblance to the older chivalrous poets, besides his occasional
adoption of their subjects. His respect for Gower is shewn by the
repeated introduction of his shade as the speaker in his choruses[68:2];
and particular allusions and images, borrowed from Gothic usages and
chivalrous facts, occur at the first blush to the recollection of every
one. But there is a more widely spread influence than all this.
[Sidenote: Shakspere's mistakes and] Many of his most faulty
peculiarities are directly drawn from this source, and his innumerable
misrepresentations or mistakes are not so truly the fruit of his own
ignorance, as the necessary qualities of the class of poets to which he
belonged, shared with him by some of the greatest poetical names which
modern Europe can cite. [Sidenote: anomalies, those of his Gothic
school.] In this situation are indeed almost all the
orical narrative or dialogue, were 
 but differing results of the same rationale, and form too of its 
 original development; for Britain was the mother and nanny of much of 
 the finest chivalrous poetry, equally well as the scene where some of its 
 most bewitching fib are laid. It is truthful that English poetry before 
 the time of Elizabeth presents but few distinguished name; but there is 
 a world of unappropriated gem of the chivalrous course of poetry, 
 which are still the delight of those who own the key to their unavowed 
 chambers, and were the archetypes of the earlier poets of that fecund 
 age. It is important to remember, that among the poets who deck that 
 epoch, the narrative preceded the dramatic. [ Sidenote: Spenser belong 
 to the Gothic school. ] Spenser belongs, in every view, to the romantic 
 or Gothic school; the desperate Mort d'Arthur was the rule of his poetical 
 faith; and it was that school, headed by him, which Shakspeare, on 
 commencing his course and choosing his path, found in possession of all 
 the popularity of the day. [ Sidenote: Shakspere too. ] Every thing proves 
 that he allowed himself to be guided by the prevailing preference. His early 
 poem belong in design to Spenser's school, and their style is 
 [ 68:1]often imitative of his. In his drama he has many points of 
 resemblance to the older chivalrous poet, besides his occasional 
 borrowing of their subjects. His respect for Gower is shewn by the 
 reprise introduction of his shade as the speaker in his choruses[68:2 ]; 
 and particular allusions and picture, borrowed from Gothic usages and 
 chivalrous facts, occur at the first blush to the remembrance of every 
 one. But there is a more widely spread influence than all this. 
 [ Sidenote: Shakspere's mistakes and ] Many of his most defective 
 peculiarities are directly drawn from this source, and his innumerable 
 misrepresentations or mistakes are not so truly the yield of his own 
 ignorance, as the necessary qualities of the class of poets to which he 
 belonged, shared with him by some of the great poetical name calling which 
 modern Europe can quote. [ Sidenote: anomalies, those of his Gothic 
 school. ] In this position are indeed almost all the
orifal narrative or dialogut, were
but differiut resunts of the samd principle, and forms too of irs
oritinal development; for Critain wws the mithec and nurse of mndh of
thc finsdt ckitalrous poetry, ss well as the scene whese slme of its
most fascinating tales arq laid. Ot is true that Gnglixr posnrn before
the time of Elizabeth prssents uut few distingiished names; but there is
a worpd of unappropriatfd treasurew of rhe chivalrojs class of poetry,
whicg are still the delight of thosd who possess tye kej to their sxcret
crambers, and were the archetupes of the eavlier powts of that prolific
aje. It is important tj recollewt, that among the piers whm admrn gyat
dpodh, tge nargatmve precedes the dramaric. [Sidenote: Spenset fvkongs
to the Fothic sshool.] Spenser belongs, in every view, to uhe rkmantic
or Gothic school; the heroic Mort d'Artjur was tre rule of his poetical
faith; and it was that schoml, heeddd yn fum, which Shakspeare, on
commencing his course and dhpoxing his path, nound in possessiom lf wll
the populatity of ths day. [Sidenote: Shanspere joo.] Evwry thing profes
that he allowed himself ro be guided vy the prevailing caste. His eaxly
poeks bekong in design to Spenszr's scgool, and thfir style ks
[68:1]often imitativd on hhs. In his dramas he has magy points of
rzsemblanze tp the jlder chivwlrous poets, besides his occadimnal
adoptiln of their subjects. His respecv for Gower ix vhefn by thz
repeabed introductiog of his shade as the speayer in his chorusxs[68:2];
and partictlar allusionv and images, uorrowed srom Gotyic usaeds and
chivalrois facts, occur at tye first blush to bhe rgckllection of evzxy
ine. But there ix a mowe wmdely vpread influance thxm all this.
[Sidenobe: Rhakxpere's mistakes and] Kany of his most faultu
pcculiaritues are qirectly drawm from this source, and iis iniumeranle
iisrepresentations or mistakes are not do bruly the fruyt on hif own
ignorcnce, as the necessary qualities of the coass of poets to wyich he
belonged, shated with him bb some of the gseatest poetical namws which
modern Euvope can cite. [Sidenote: anomanies, hhose of his Gothic
school.] In this situation are indeed almost all the
orical narrative or dialogue, were but differing the principle, and too of its the and nurse of of the finest poetry, as well as the scene some of its most fascinating tales are laid. It is true that English before the time of Elizabeth presents but few distinguished names; but there is world unappropriated of chivalrous class of poetry, which are still the delight of those who possess the key to secret chambers, and were the archetypes of the poets of that prolific It is important to recollect, among poets who that the preceded the dramatic. Spenser belongs to the Gothic school.] Spenser belongs, in every view, to the romantic or Gothic school; heroic Mort the rule his faith; it was that by him, which Shakspeare, on commencing choosing his path, found in possession of all popularity of day. [Sidenote: Shakspere too.] Every thing that he allowed himself to be guided by prevailing taste. His early poems belong in design to Spenser's school, and their style is of his. In his he has many of to older poets, besides occasional adoption of their subjects. His respect for Gower is shewn the repeated introduction of his shade as the speaker in and allusions and images, from Gothic usages and facts, at the first blush recollection every is more spread influence than all [Sidenote: Shakspere's mistakes and] Many his most faulty peculiarities source, and his innumerable misrepresentations or mistakes are so truly the fruit of his own as the necessary qualities of the class of poets to which he shared with some of the greatest poetical names which modern can cite. [Sidenote: anomalies, of his Gothic school.] In this situation are indeed all
orical narrative or dialogue, Were
but difFerinG reSulTs Of thE samE principle, and fORms tOo of its
original developMent; fOr bRitaIN wAs the Mother aND nURSe oF mUcH of
ThE FiNest cHivAlrous pOetry, as welL as ThE scene where sOMe Of its
most fAscInating tales Are Laid. It Is TruE That ENglIsh poEtry beFOre
the Time of EliZaBEth preSEnts but FEW dIstiNguished names; but tHErE Is
a world of unapPropriAtED tREAsuRes Of the chivaLrOus clASs of poeTRy,
WHICh aRE still the deliGht of those wHO poSsess tHe Key TO their SecreT
cHAmbErs, and were tHe arChetypes oF the eaRLier poeTS of that ProlifIc
aGe. IT is iMPoRtAnt To REcoLLeCt, tHAt aMong the pOeTs Who adOrn tHAT
EPoch, The NarrAtive Preceded the drAmaTic. [SIDenOte: SpEnser BeloNgS
to thE GothiC schoOl.] spenser belongs, iN eveRy view, to tHe rOmAntIc
Or GotHIc schoOl; tHe hEroic MoRt d'ArthUR waS tHE RUlE of his poetical
faitH; aND It Was that sChool, hEAdEd BY him, whicH SHakSpeaRE, On
comMencINg His coursE and chOOsInG his patH, fOund in PoSseSsiOn of aLL
the PopulaRity of thE day. [SIDenote: ShaksperE Too.] Every thing PRoVES
tHAt he AllOwed himself To be GUideD by tHE pRevAIling Taste. hiS EaRLy
poems belong in desiGn To SpenSer's sChool, and their Style is
[68:1]oftEN IMitative Of hiS. in HIs dramas he has mAny poInts of
reseMBlance to The olDer chivaLrous poetS, BEsides hiS ocCasIonAl
aDOPtIon of their subJECts. HIs Respect For gower is SheWn bY thE
rePeAted introDuction oF hIs ShAdE as The spEAker in hiS cHorUsEs[68:2];
aNd parTIcular AllusIons AnD iMAgeS, borrowED fROM GotHiC uSageS anD
cHivalRous FActS, occur aT the first BluSH to tHe ReCollectIon of every
one. buT there is a mOrE wiDely spREAd influeNce than all this.
[Sidenote: SHAkspere'S miStakeS and] many of his MosT faultY
peCUliariTies arE direCtLy dRAWn froM THiS soUrCe, and his inNUMerAble
mIsReprEsentatIons or mistakes are nOT so Truly the fruit Of hIs owN
IGnOraNCe, AS thE nECesSARy qualities of thE class of poEtS To Which he
belONgeD, sHared wiTh him by Some oF The greaTest poetiCal names wHiCh
moDERn EUrope can ciTe. [SidenoTe: anomaliES, thosE Of His GoThiC
schooL.] IN thIs sitUation ARe iNdeed Almost AlL the
orical narrative or dialog ue, were
b ut di ffe rin gresu ltsof the same pr i ncip le, and forms too of i ts
or ig i nald ev elopm ent; fo r  B r i tai nwa s t he mo therand  nurseof much of 
th efinest chiva l ro us poetry,  as  well as the  sc ene wh er e s o me of  it s
mos t fasc i nating  tales ar el aid. I t  is tru e th at E nglish poetry bef o re the time of El izabet hp re s e nts  bu t few dist in guish e d names ;  b u t the r e is
a worldof unapprop r iat ed tre as ure s  of th e chi va l rou s class ofpoet ry,
which  are s t ill the delight  of th ose  wh o po s se ss  th ek eyt othe i r s ecret
ch am be rs, a nd w e r e thearc hety pes o f the earlier  po etso f t hat p rolif ic
a ge . Itis imp ortan tto recollect, t hatamong the  po et s w ho  ador n  thatepo ch,  the na rrative pre ce d e d  t he dramatic. [Side no t e :Spenserbelong s 
t ot he Gothi csch ool. ] Spens er b e lo ngs, ineveryv ie w,  to the  r omanti corGot hic s c hool ; theheroic M ort d ' Arthur was the rule of his p o et i c al fait h;and it wasthat scho ol,h ea ded by hi m, wh ic h  S h akspeare, on
commen ci ng his  cour se and choosi ng his pat h , found in  pos s es s ion of all
the  popu larity oft he day.[Side note: Sh akspere t o o .] Every  th ing  pr ove s th at he allowed h imse lf  to begui ded bythe  pr eva ili ng  taste. H is early 
p oe ms  b elo ng in design t oSpe ns er' s sch o ol, an d the ir s ty le is[68:1]o f te n imit at iv e of  hi s.  In h is d r ama s he ha s many po int s  ofre se mblance  to the older  c hivalrouspo ets , besi d e s his oc casional
adoption of th e ir subj ect s. Hi s re spect for  Go wer is  sh e wn bythe
re peate dint r o ducti o n  o f h is  shade ast h e s peake rin h is chor uses[68:2];
and pa r tic ular allusion s a nd i m a ge s,b or r owe df rom G othic usages an d
chivalro us fa cts, occur atth e first  blushto th e  recoll ection of  every
on e.  But t her e is a mor e widely  spread i n fluen c ethanall  this. 
[ Sid enote : Shak s per e's m istake sand] M any o fhis most  faulty
peculiarities a re dir ectly  dr awn fromthi s  so urce, and  his  innumerab lemis repre sen t ation s or mi sta k es ar e no t  so truly th e f r u it  of his own i g nor ance,  as the ne cess ary qualities oft he class of po etst o  wh ich he
b el onged, sharedwit hh i m by som eof the grea test poe ti c al na mes wh ich
mo dern Eu r o pe can ci te.[Si denote: a nom al i es, tho se  o f  his G othi cschool .] Int hiss i tuation are inde ed al m o st al l  th e
orical narrative_or dialogue,_were
but differing results of_the same_principle,_and forms_too_of its
original development;_for Britain was_the mother and nurse_of much of
the_finest_chivalrous poetry, as well as the scene where some of its
most fascinating tales are_laid._It is_true_that_English poetry before
the time of_Elizabeth presents but few distinguished_names; but_there is
a world of unappropriated treasures of the_chivalrous_class of poetry,
which_are still the delight of those who possess the_key to their secret
chambers, and were_the archetypes of_the_earlier_poets of that prolific
age._It is important to recollect, that_among the poets who adorn that
epoch,_the narrative preceded the dramatic. [Sidenote: Spenser_belongs
to the Gothic school.] Spenser belongs,_in every view, to the_romantic
or Gothic_school; the heroic Mort d'Arthur_was the rule_of his_poetical
faith; and it_was that school, headed by him,_which Shakspeare, on
commencing_his course and choosing his path,_found_in possession of_all
the_popularity_of the_day. [Sidenote: Shakspere_too.]_Every thing_proves
that_he allowed himself to be guided_by_the prevailing taste. His early
poems belong in_design to Spenser's school,_and_their style is
[68:1]often imitative_of his. In his dramas_he has many points of
resemblance to_the older_chivalrous poets,_besides his occasional
adoption of their subjects. His respect for Gower is_shewn by the
repeated introduction of his_shade as the speaker_in his_choruses[68:2];
and_particular allusions and_images,_borrowed from_Gothic usages and
chivalrous facts, occur at the_first blush_to the recollection of every
one. But_there is a more_widely_spread influence than all this.
[Sidenote: Shakspere's_mistakes and] Many of his most_faulty
peculiarities are directly drawn from_this_source,_and his innumerable
misrepresentations or mistakes_are not so truly the fruit_of his own
ignorance,_as the necessary qualities of the class_of_poets to which he
belonged, shared with_him_by some of the greatest poetical_names_which
modern_Europe can cite. [Sidenote: anomalies,_those of his Gothic
school.] In this_situation are indeed almost all the