Such stanzas (and they abound in every book of _The Faery Queen_) are poems in themselves; but unfortunately they distract attention from the story, which soon loses all progression and becomes as the rocking of an idle boat on the swell of a placid sea. The invention of this melodious stanza, ever since called "Spenserian," was in itself a notable achievement which influenced all subsequent English poetry. [Footnote: The Spenserian was an improvement on the _ottava-rima_, or eight-line stanza, of the Italians. It has been used by Burns in "The Cotter's Saturday Night," by Shelley in "The Revolt of Islam," by Byron in "Childe Harold," by Keats in "The Eve of St. Agnes," and by many other poets.] [Sidenote: SPENSER'S FAULTS] As Spenser's faults cannot be ignored, let us be rid of them as quickly as possible. We record, then: the unreality of his great work; its lack of human interest, which causes most of us to drop the poem after a single canto; its affected antique spelling; its use of _fone_ (foes), _dan_ (master), _teene_ (trouble), _swink_ (labor), and of many more obsolete words; its frequent torturing of the king's English to make a rime; its utter lack of humor, appearing in such absurd lines as, Astond he stood, and up his hair did hove. [Sidenote: MORAL IDEAL] Such defects are more than offset by Spenser's poetic virtues. We note, first, the moral purpose which allies him with the medieval poets in aim, but not in method. By most medieval romancers virtue was regarded as a means to an end, as in the _Morte d' Arthur_, where a knight made a vow of purity in order to obtain a sight of the Holy Grail. With Spenser virtue is not a means but an end, beautiful and desirable for its own sake; while sin is so pictured that men avoid it because of its intrinsic ugliness. This is the moral secret of _The Faery Queen_, in which virtues are personified as noble knights or winsome women, while the vices appear in the repulsive guise of hags, monsters and "loathy beasts." [Sidenote: SENSE OF BEAUTY] Spenser's sense of ideal beauty or, as Lanier expressed it, "the beauty of holiness and the holiness of beauty," is perhaps his greatest poetic quality. He is the poet-painter of the Renaissance; he fills his pages with descriptions of airy loveliness, as Italian artists covered the high ceilings of Venice with the reflected splendor of earth and heaven. Moreover, his sense of beauty found expression in such harmonious lines that one critic describes him as having set beautiful figures moving to exquisite music. In consequence of this beauty and melody, Spenser has been the inspiration of nearly all later English singers. Milton was one of the first to call him master, and then in a long succession such diverse poets as Dryden, Burns, Wordsworth, Scott, Shelley, Keats, Byron, Tennyson and Swinburne. The poet of "Faery" has influenced all these and more so deeply that he has won the distinctive title of "the poets' poet."