This fiction blends allegory with romance, and science with chivalry. At the early period of printing, it was probably the first volume which called in the graver's art to heighten the inventions of the writer, and the accompanying wood-cuts are an evidence of the elegant taste of the author, although that morose critic of all poesy, honest Anthony à Wood, sarcastically concludes that these cuts were "to enable the reader to understand the story better." This once courtly volume, our sage reports, "is now thought but worthy of a ballad-monger's stall."[2] "The Pastime of Pleasure" was even despised by that great book-collector, General Lord Fairfax, who, on the copy he possessed, has left a memorandum "that it should be changed for a better book!" The fate of books vacillates with the fancies of book-lovers, and the improvements of a later age. In the days of Fairfax, the gloom of the civil wars annihilated their imaginations. But the gorgeousness of this romance struck the Gothic fancy of the historian of our poetry, magic, chivalry, and allegory! In the circumstantial analysis of Warton, the reader may pursue his "course of man's life" through the windings of the labyrinth. It seems as if the patience of the critic had sought a relief amid his prolonged chronicle of obscure versifiers, in a production of imagination, the only one which had appeared since Chaucer, and which, to the contemplative poetic antiquary, showed him the infant rudiments of the future Spenser. This allegorical romance is imbued with Provençal fancy, and probably emulated the "Roman de la Rose," which could not fail to be a favourite with the royal patron, among those French books which he loved. Fertile in invention, it is, however, of the old stock; fresh meads and delicious gardens,--ladies in arbours,--magical trials of armed knights on horses of steel, which, touched by a secret spring, could represent a tourney. We strike the shield at the castle-gate of chivalry, and we view the golden roof of the hall, lighted up by a carbuncle of prodigious size; we repose in chambers walled with silver, and enamelling many a story. There are many noble conceptions among the allegorical gentry. She, whom Graunde Amour first beheld was mounted on her palfrey, flying with the wind, encircled with tongues of fire, and her two milkwhite greyhounds, on whose golden collars are inscribed in diamond letters, _Grace_ and _Governance_. She is Fame, her palfrey is Pegasus, and her burning tongues are the voice of Posterity! There are some grotesque incidents, as in other romances; a monster wildly created, the offspring of Disdain and Strangeness--a demon composed of the seven metals! We have also a dwarf who has to encounter a giant with seven heads; our subdolous David mounts on twelve steps cut in the rock; and to the surprise of the giant, he discovered in "the boy whom he had mocked," his equal in stature, and his vanquisher, notwithstanding the