From the time of Julian of Norwich, who was still alive in 1413, we find practically no literature of a mystical type until we come to Spenser's _Hymns_ (1596), and these embody a Platonism reached largely through the intellect, and not a mystic experience. It would seem at first sight as if these hymns, or at any rate the two later ones in honour of Heavenly Love and of Heavenly Beauty, should rank as some of the finest mystical verse in English. Yet this is not the case. They are saturated with the spirit of Plato, and they express in musical form the lofty ideas of the _Symposium_ and the _Phædrus_: that beauty, more nearly than any other earthly thing, resembles its heavenly prototype, and that therefore the sight of it kindles love, which is the excitement and rapture aroused in the soul by the remembrance of that divine beauty which once it knew. And Spenser, following Plato, traces the stages of ascent traversed by the lover of beauty, until he is caught up into union with God Himself. Yet, notwithstanding their melody and their Platonic doctrine, the note of the real mystic is wanting in the _Hymns_, the note of him who writes of these things because he knows them. It would take some space to support this view in detail. Any one desirous of testing it might read the account of transport of the soul when rapt into union with the One as given by Plotinus (_Enn._ vi. 9, § 10), and compare it with Spenser's description of a similar experience (_An Hymne of Heavenly Beautie_, 11. 253-273). Despite their poetic melody, Spenser's words sound poor and trivial. Instead of preferring to dwell on the unutterable ecstasy, contentment, and bliss of the experience, he is far more anxious to emphasise the fact that "all that pleased earst now seemes to paine." The contradictory nature of his belief is also arresting. In the early part of the _Hymne of Heavenly Beautie_, in-speaking of the glory of God which is so dazzling that angels themselves may not endure His sight, he says, as Plato does, The meanes, therefore, which unto us is lent Him to behold, is on his workes to looke, Which he hath made in beauty excellent. This is the view of the true mystic, that God may be seen in all His works, by the eye which is itself purified. Yet, in the last stanza of this beautiful Hymn, this is how Spenser views the joy of the union of the soul with its source, when it looks at last up to that Soveraine Light, From whose pure beams al perfect beauty springs, That kindleth love in every godly spright Even the love of God; _which loathing brings Of this vile world and these gay-seeming things_. This is not the voice of the mystic. It is the voice of the Puritan, who is also an artist, who shrinks from earthly beauty because it attracts him, who fears it, and tries to despise it. In truth, the dominating feature in Spenser's poetry is a curious blending of Puritanism of spirit with the Platonic mind.