In his prefatory remarks to the “Faerie Queene,” the editor expresses the customary regrets that the poet should have chosen so defective a stanza, “so romantick a story,” and a model, or framework for the whole, which appears so monstrous when “examined by the rules of epick poetry”; makes the hackneyed comparison between Spenser’s work and Gothic architecture, and apologizes for his author, on the ground that, at the time when he wrote, “the remains of the old Gothick chivalry were not quite abolished.”  “He did not much revive the curiosity of the public,” says Johnson, in his life of Hughes; “for near thirty years elapsed before his edition was reprinted.”  Editions of the “Faerie Queene” came thick and fast about the middle of the century.  One (by Birch) was issued in 1751, and three in 1758; including the important edition by Upton, who, of all Spenser’s commentators, has entered most elaborately into the interpretation of the allegory.

In the interval had appeared, in gradually increasing numbers, that series of Spenserian imitations which forms an interesting department of eighteenth-century verse.  The series was begun by a most unlikely person, Matthew Prior, whose “Ode to the Queen,” 1706, was in a ten-lined modification of Spenser’s stanza and employed a few archaisms like weet and ween, but was very unspenserian in manner.  As early as the second decade of the century, the horns of Elfland may be heard faintly blowing in the poems of the Rev. Samuel Croxall, the translator of Aesop’s “Fables.”  Mr. Gosse[23] quotes Croxall’s own description of his poetry, as designed “to set off the dry and insipid stuff” of the age with “a whole piece of rich and glowing scarlet.”  His two pieces “The Vision,” 1715, and “The Fair Circassian,” 1720, though written in the couplet, exhibit a rosiness of color and a luxuriance of imagery manifestly learned from Spenser.  In 1713 he had published under the pseudonym of Nestor Ironside, “An Original Canto of Spenser,” and in 1714 “Another Original Canto,” both, of course, in the stanza of the “Faerie Queene.”  The example thus set was followed before the end of the century by scores of poets, including many well-known names, like Akenside, Thomson, Shenstone, and Thomas Warton, as well as many second-rate and third-rate versifiers.[24]

It is noteworthy that many, if not most, of the imitations were at first undertaken in a spirit of burlesque; as is plain not only from the poems themselves, but from the correspondence of Shenstone and others.[25] The antiquated speech of an old author is in itself a challenge to the parodist:  teste our modern ballad imitations.  There is something ludicrous about the very look of antique spelling, and in the sound of words like eftsoones and perdy; while the sign Ye Olde Booke Store, in Old English text over a bookseller’s door, strikes the public invariably as a most merry conceited jest; especially if the first letter be pronounced