_The Faerie Queene_ is not "about" any thing. There is nothing of serious import to be deduced from its line of argument. The subject wanders hither and thither, awakening fitful melodies in the brain of its creator, as the wind does on the strings of an Æolian harp. The music swells and declines, the harmonies gather to a loud ecstasy or dwindle to a melancholy murmur, under the caprices of a spirit that cannot be discerned and that seems to be under no intellectual control. In saying this, I am not ignorant of Spenser's protestation of a moral purpose, nor do I charge him with the smallest insincerity for having written that apologetic letter to Sir Walter Raleigh, in which he makes what he calls "a pleasing analysis" of the way in which the poem illustrates "the twelve private moral virtues, as Aristotle hath devised." It was necessary that he should have a skeleton of meaning underneath his elaborate dream, not merely for the sake of contemporary decency, lest in that strenuous age he should be cast forth as one that cumbered the ground, but for the sake of his art as well, which needed a steady basis of material as much as a picture needs its canvas or a statue its marble. Moreover, _The Faerie Queene_ must celebrate Queen Elizabeth, just as "Orlando Furioso" must praise the House of Este. It was in feudal societies, under the protection of princes, that these romantic enterprises had to be conducted, if they were conducted at all. There was a pleasant confusion, like that of coloured strands in a solemn tapestry, between the laudation of the Sovereign and the celebration of the virtues. Sometimes the monarch was not so virtuous as the poet could have wished; sometimes his Court was as little like fairyland as was humanly possible. That only added to the skill of the poet; that only added rainbow colours to the fabric of the invention. Then there was always the allegory, with which, in fact, anything on earth could be connected, in the course of which not only could no compliment be excessive, but no attribution could be so certain that it was not able, under pressure, to be denied. Positive persons, in our rash age, do much profane the allegory, which, nevertheless, is essential to all fairy poetry. Without it, what would become of _The Romaunt of the Rose_, or of _The Dream of Poliphile_; what, even, of the _Divine Comedy_? Hazlitt merrily says that people "are afraid of allegory, as if it would bite them.... If they do not meddle with the allegory, the allegory will not meddle with them." The fact is, persons who hate fairy poetry make the allegory an excuse for their aversion, which is like saying that you hate the flavour of olives because they have stones in them.