off the head or the tail of the unfortunate vocable altogether. But this fearless, lordly, truly royal style makes one only feel the more how easily, if he chose, he could avoid the necessity of having recourse to such outrages." His own generation felt his licence to be extreme. "In affecting the ancients," said Ben Jonson, "he writ no language." Daniel writes sarcastically, soon after the _Faery Queen_ appeared, of those who Sing of knights and Palladines, In aged accents and untimely words. And to us, though students of the language must always find interest in the storehouse of ancient or invented language to be found in Spenser, this mixture of what is obsolete or capriciously new is a bar, and not an unreasonable one, to a frank welcome at first acquaintance. Fuller remarks with some slyness, that "the many Chaucerisms used (for I will not say, affected) by him, are thought by the ignorant to be blemishes, known by the learned to be beauties, in his book; which notwithstanding had been more saleable, if more conformed to our modern language." The grotesque, though it has its place as one of the instruments of poetical effect, is a dangerous element to handle. Spenser's age was very insensible to the presence and the dangers of the grotesque, and he was not before his time in feeling what was unpleasing in incongruous mixtures. Strong in the abundant but unsifted learning of his day, a style of learning, which in his case was strangely inaccurate, he not only mixed the past with the present, fairyland with politics, mythology with the most serious Christian ideas, but he often mixed together the very features which are most discordant, in the colours, forms, and methods by which he sought to produce the effect of his pictures.