Nine, is a tediously literal medieval allegory of the Soul and Body; and
occasional realistic details here and there in the poem at large are merely
repellent to more modern taste.

3. _The Lack of Dramatic Reality_. A romantic allegory like 'The
Faerie Queene' does not aim at intense lifelikeness--a certain remoteness
from the actual is one of its chief attractions. But sometimes in Spenser's
poem the reader feels too wide a divorce from reality. Part of this fault
is ascribable to the use of magic, to which there is repeated but
inconsistent resort, especially, as in the medieval romances, for the
protection of the good characters. Oftentimes, indeed, by the persistent
loading of the dice against the villains and scapegoats, the reader's
sympathy is half aroused in their behalf. Thus in the fight of the Red
Cross Knight with his special enemy, the dragon, where, of course, the
Knight must be victorious, it is evident that without the author's help the
dragon is incomparably the stronger. Once, swooping down on the Knight, he
seizes him in his talons (whose least touch was elsewhere said to be fatal)
and bears him aloft into the air. The valor of the Knight compels him to
relax his hold, but instead of merely dropping the Knight to certain death,
he carefully flies back to earth and sets him down in safety. More definite
regard to the actual laws of life would have given the poem greater
firmness without the sacrifice of any of its charm.

4. _The Romantic Beauty. General Atmosphere and Description._ Critical
sincerity has required us to dwell thus long on the defects of the poem;
but once recognized we should dismiss them altogether from mind and turn
attention to the far more important beauties. The great qualities of 'The
Faerie Queene' are suggested by the title, 'The Poets' Poet,' which Charles
Lamb, with happy inspiration, applied to Spenser. Most of all are we
indebted to Spenser's high idealism. No poem in the world is nobler than