Meanwhile, in the year 1715, there had appeared the first attempt to give a critical text of Spenser, when John Hughes published his edition of the poet’s works in six volumes, together with a biography, a glossary, and some critical remarks.[128] The obsolete terms which Hughes felt himself obliged to explain[129] include many, such as _aghast_, _baleful_, _behest_, _bootless_, _carol_, _craven_, _dreary_, _forlorn_, _foray_, _guerdon_, _plight_, _welkin_, _yore_, which are now for the most part familiar words, though forty years later Thomas Warton in his “Observations on The Faerie Queene” (1754) is found annotating many similar terms. The well-known “Muses’ Library,” published thirteen years previously, had described itself as “A General Collection of almost all the old and valuable poetry extant, now so industriously inquir’d after”; it begins with Langland and reflects the renewed interest that was arising in the older poets. But there is as yet little evidence of any general and genuine appreciation of either the spirit or the form of the best of the earlier English poetry. The Spenserian imitators undoubtedly felt that their diction must look so obsolete and archaic as to call for a glossary of explanation, and these glossaries were often more than necessary, not only to explain the genuine old words, but also because of the fact that in many cases the supposedly “Spenserian” terms were spurious coinages devoid of any real meaning at all. Before considering these Spenserian imitations it must not be forgotten that there were, prior to these attempts and alongside of them, kindred efforts to catch the manner and style of Chaucer. This practice received its first great impulse from Dryden’s famous essay in praise of Chaucer, and the various periodicals and miscellanies of the first half of the eighteenth century bear witness to the fact that many eminent poets, not to mention a crowd of poetasters, thought it their duty to publish a poetical tribute couched in the supposed language and manner of Chaucer.