Thomson says he formed himself upon Spenser.

He took the ottava rima, or eight-lined stanza of the Italian poets, and by adding an Alexandrine line, formed it into what has since been called the Spenserian stanza, which has been imitated by many great poets since, and by Byron, the greatest of them, in his Childe Harold.

Of his language it has already been said that he designedly uses the archaic, or that of Chaucer; or, as Pope has said, Spenser himself affects the obsolete.
The plan of the poem, neglecting the unities of an epic, is like that of a general history, rambling and desultory, or like the transformations of a fairy tale, as it is: his descriptions are gorgeous, his verse exceedingly melodious, and his management of it very graceful.

The Gerusalemme Liberata of Tasso appeared while he was writing the Faery Queene, and he imitated portions of that great epic in his own, but his imitations are finer than the original.
HIS OTHER WORKS .-- His other works need not detain us: Hymns in honor of Love and Beauty, Prothalamion, and Epithalamion, Mother Hubbard's Tale, Amoretti or Sonnets, The Tears of the Muses or Brittain's Ida, are little read at the present day.

His Astrophel is a tender "pastoral elegie" upon the death of the most noble and valorous knight, Sir Philip Sidney; and is better known for its subject than for itself.