effect when he says, ‘Herein may be seen noble chivalry, courtesy, humanity, friendliness, hardiness, love, friendship, cowardice, murder, hate, virtue, sin. Do after the good, and leave the evil, and it shall bring you to good fame and renommée.... All is written for our doctrine, and for to beware that we fall not to vice nor sin, but to exercise and follow virtue, by which we may come and attain to good fame and renommé in this life, and after this short and transitory life to come unto everlasting bliss in heaven; the which He grant us that reigneth in heaven, the blessed Trinity. Amen.’ SPENSER, MILTON, TENNYSON. It can hardly be doubted that Spenser, while drawing largely from Geoffrey of Monmouth, was acquainted with Malory’s story of Arthur, if not with the earlier romances also. We might have known this with certainty, if Spenser had completed his great design which he sketched in his letter to Sir Walter Raleigh, prefixed to the first three books of the _Faerie Queene_, and after labouring ‘to pourtrait in Arthur before he was king, the image of a brave knight, perfected in the twelve Morall Vertues,’ he might have been ‘perhaps encouraged to frame the other part of Politick Vertues in his person, after that he came to be King.’ He farther identifies his hero as the son of the Lady Igraine, and the infant charge of Merlin, and his description of the Redcross Knight and his claim to the adventure of Una, must forcibly recall Malory’s story of Beaumains and the lady Linet, notwithstanding the differences between the two. Beyond this, there is the evidence of general literary probability. Spenser’s ideals of knighthood and knight-errantry are so much in harmony with those of Malory, while they rise into a far higher moral life, that it does not seem unreasonable to suppose a relation between the two, and to believe that we owe to Malory the transmission from the earlier romances of all that was worth preserving in these to the generation which could give birth to the _Faerie Queene_. And while Spenser strove to carry forward the national life of his countrymen by presenting the noblest ideals of chivalry under the old forms of romance, Shakespeare was embodying them in the new forms destined thenceforth to take the place of the old, and showing us in a Ferdinand, a Prince Henry, or a Hamlet, the ideals of the _Gentleman_, while the Sydneys and the Raleighs were presenting the counterpart in actual life. Ben Jonson, too, though he makes fun of ‘the whole sum of Errant Knighthood’ in his _Execration upon Vulcan_, elsewhere describes the old training of pages and squires in chivalry, as ‘the noblest way of breeding up our youth in all the blazon of a gentleman.’