the description of Belphoebe; the story of Florimel and the Witch's son; the Gardens of Adonis, and the Bower of Bliss; the Mask of Cupid; and Colin Clout's vision, in the last book. But some people will say that all this may be very fine, but that they cannot understand it on account of the allegory. They are afraid of the allegory, as if they thought it would bite them: they look at it as a child looks at a painted dragon, and think it will strangle them in its shining folds. This is very idle. If they do not meddle with the allegory, the allegory will not meddle with them. Without minding it at all, the whole is as plain as a pikestaff. It might as well be pretended that we cannot see Poussin's pictures for the allegory, as that the allegory prevents us from understanding Spenser. For instance, when Britomart, seated amidst the young warriors, lets fall her hair and discovers her sex, is it necessary to know the part she plays in the allegory, to understand the beauty of the following stanza? "And eke that stranger knight amongst the rest Was for like need enforc'd to disarray. Tho when as vailed was her lofty crest. Her golden locks that were in trammels gay Upbounden, did themselves adown display, And raught unto her heels like sunny beams That in a cloud their light did long time stay; Their vapour faded, shew their golden gleams. And through the persant air shoot forth their azure streams." Or is there any mystery in what is said of Belphoebe, that her hair was sprinkled with flowers and blossoms which had been entangled in it as she fled through the woods? Or is it necessary to have a more distinct idea of Proteus, than that which is given of him in his boat, with the frighted Florimel at his feet, while "--the cold icicles from his rough beard Dropped adown upon her snowy breast!" Or is it not a sufficient account of one of the sea-gods that pass by them, to say-- "That was Arion crowned:-- So went he playing on the watery plain." Or to take the Procession of the Passions that draw the coach of Pride, in which the figures of Idleness, of Gluttony, of Lechery, of Avarice, of Envy, and of Wrath speak, one should think, plain enough for themselves; such as this of Gluttony: "And by his side rode loathsome Gluttony, Deformed creature, on a filthy swine; His belly was up blown with luxury; And eke with fatness swollen were his eyne; And like a crane his neck was long and fine, With which he swallowed up excessive feast, For want whereof poor people oft did pine.