tration of the conditions and art of poetry, is most instructive. Its defects teach more than its excellence, but they do not disturb the theory which Aubrey de Vere sets forth; and he would be but a blind critic who should easily argue that Spenser succeeded when he obeyed the pure artistic impulse, and failed because of the interference of his graver genius with the poetical mind, his thought with his sensibility.
Aubrey de Vere's contemplative mind, his strong hold on the abstract rather than on the concrete, help him over the poetically dry places in Spenser, and serve him even better in the case of Wordsworth. This is choosing the better of two alternatives; for, if the landscape of Arcady is incomplete for him unless there is some "swan-flight of Platonic ideas" over it, such as he says is always in Spenser's sky, he has an appreciation for beauty as steadfastly as for the higher truths of life, and it is better to suffer with deficiencies in poetic art for the sake of the matter than to be content with art alone.
The great difference between Wordsworth and Spenser is, that Spenser was concerned with the moral virtues and man's acquirement of them, while Wordsworth was more
