No More Learning

PHISON AND EUPHRATES, etc. , three of the four rivers that watered
Eden, the Hiddekel being omitted. See _Genesis_, ii, 11-14. In this stanza
the poet strangely mixes Christian doctrine and the classical belief in the
envy of the gods working the downfall of men.

385. TARTARY, Tartarus (for the rhyme), the lowest circle of torment in the
infernal regions.

391. Has this obscure line any reference to prophecy? Cf. _Daniel_, vii,
25, _Revelation_, xii, 6, 14.

394. THAT HEAVEN WALKS ABOUT, under the sky.

404. THAT NOBLE ORDER, the Order of the Garter, of which the Maiden Queen
was head. The figure of St. George slaying the dragon appears on the oval
and pendant to the collar of this Order.

405. OF GLORIANE, Queen Elizabeth.

407. CLEOPOLIS IS RED, is called Cleopolis, i. e. the city of Glory, or
London.

425. MY DOLEFULL DISADVENTUROUS DEARE, my sad misadventurous injury.

429. THAT HE MY CAPTIVE LANGUOR, the languishing captivity of my parents.

432. MY LOYALTY, i. e. the loyalty of me that rather death desire, etc.

441. THAT BROUGHT NOT BACKE, etc. , (and whence) the body full of evil was
not brought back dead.

QUESTIONS AND TOPICS

(Canto VII)

1. Relate how the Knight fell into the hands of the Giant. 2. Note the fine
adaptation of sound to sense in vii. 3. Who were the parents and the
foster-father of Orgoglio? 4. What are the principal characteristics of the
giants of romance as seen in Orgoglio? cf. with the giants in _Pilgrim's
Progress_. 5. In the description of the giant do the last two lines (viii)
add to or detract from the impression? Why? 6. To whom does Spenser ascribe
the invention of artillery? 7. Explain the allegory involved in the
relations of Duessa and Orgoglio. 8. How does Una act on hearing the news
of the Knight's capture? 9. What part does the Dwarf play? 10. Is Una just
to herself in ll. 200-201? 11. Is she over sentimental or ineffective--and
is the pathos of her grief kept within the limits of the reader's pleasure?
12. Express in your own words the main thought in xxii. 13. Note the
skillful summary of events in xxvi, and observe that this stanza is the
_Central Crisis_ and _Pivotal Point_ of the whole Book. The fortunes of the
Knight reach their lowest ebb and begin to turn. The first half of the Book
has been the _complication_ of the plot, the second half will be the
_resolution_. 14. Give a description of Prince Arthur. 15. What mysterious
power was possessed by his shield? Cf. the Holy Grail. 16. Observe
carefully the scene between Una and Arthur, noting the changes in her mood.
What light is thrown on her character? What are her feelings toward the
Knight? 17. Explain the various threads of allegory in this Canto.

CANTO VIII

I. _The Plot:_ Prince Arthur and Una are conducted by the Dwarf to
Orgoglio's Castle. At the blast of the Squire's horn the Giant comes forth
attended by Duessa mounted on the seven-headed Beast. In the battle which
ensues Arthur wounds the Beast, slays the Giant and captures Duessa. Prince
Arthur finds the Redcross Knight half starved in a foul dungeon and
releases him. Duessa is stripped of her gaudy clothes and allowed to hide
herself in the wilderness.

II. _The Allegory:_ 1. Magnificence, the sum of all the virtues, wins the
victory over Carnal Pride, and restores Holiness to its better half, Truth.
With the overthrow of Pride, Falsehood, which is the ally of that vice, is
stripped of its outward show and exposed in all its hideous deformity.

2. The false Romish Church becomes drunk in the blood of the martyrs. There
is a hint of the persecutions in the Netherlands, in Piedmont, of the
massacre of St. Bartholomew's Day and the burnings under Bloody Mary.
Protestant England is delivered from Popish tyranny by the honor and
courage of the English people. Militant England (Prince Arthur) is assisted
by the clergy (Squire) with his horn (Bible) and is guided by Truth and
Common Sense (Dwarf).

23. HORNE OF BUGLE SMALL, the English Bible. Spenser here imitates the
description of the magic horn of Logistilla in Ariosto's _Orlando Furioso_,
xv, 15, 53. Such horns are frequently mentioned in romance, e. g. , _Chanson
de Roland_, _Morte d' Arthur_, Hawes' _Pastime_, Tasso's _Jerusalem
Delivered_, _Huon of Bordeaux_, _Romance of Sir Otarel_, Cervantes' _Don
Quixote_, etc.

50. LATE CRUELL FEAST, a probable reference to the massacre of St.
Bartholomew's Day in Paris in 1572, and to the persecutions of Alva's
Council of Blood in the Netherlands in 1567.

ix. This stanza is an imitation of Homer's _Iliad_, xiv, 414.

95. IN CYMBRIAN PLAINE, probably the Crimea, the ancient Tauric Chersonese.
Some connect it with the Cimbric Chersonese, or Jutland, which was famous
for its herds of bulls.

96. KINDLY RAGE, natural passion.

105. Note the Latinism "threatened his heads," and the imperfect rhyme
"brands. "

118. HER GOLDEN CUP, suggested by Circe's magic cup in Homer's _Odyssey_,
x, 316, and the golden cup of the Babylonish woman in _Revelation_, xvii,
4.

148. THROUGH GREAT IMPATIENCE OF HIS GRIEVED HED, etc. , through inability
to endure (the pain of) his wounded head, he would have cast down his
rider, etc.

155. IN ONE ALONE LEFT HAND, in one hand alone remaining. His left arm had
been cut off (x).

xix. The uncovered shield represents the open Bible. The incident is an
imitation of Ruggiero's display of his shield in _Orlando Furioso_, xxii,
85.

246. YOUR FORTUNE MAISTER, etc. , be master of your fortune by good
management.

268. UNUSED RUST, rust which is due to disuse; a Latinism.

296. WITH NATURES PEN, etc. , i. e. by his gray hairs, at that age to which
proper seriousness belongs. "I cannot tell" did not become his venerable
looks.

310. THAT GREATEST PRINCES, etc. This may mean (1) befitting the presence
of the greatest princes, or (2) that the greatest princes might deign to
behold in person. The first interpretation is preferable.

312. A general reference to the bloody persecutions without regard to age
or sex carried on for centuries by the Romish Church, often under the name
of "crusades," "acts of faith," "holy inquisition," etc.

315. This may refer to the burning of heretics, under the pretext that the
Church shed no blood. Kitchin thinks that it means "accursed ashes. "

317. AN ALTARE, cf. _Revelation_, vi, 9. CARV'D WITH CUNNING YMAGERY, "in
allusion to the stimulus given to the fine arts by the Church of Rome"
(Percival).

366. BRAWNED BOWRS, brawny muscles.

375. WHAT EVILL STARRE, etc. In Spenser's day, belief in astrology, the
pseudo-science of the influence of the stars on human lives, was still
common.

381. There was an old familiar ballad entitled _Fortune my Foe_.

384. i. e. your good fortune will be threefold as great as your evil
fortune.

384. GOOD GROWES OF EVILS PRIEFE, good springs out of our endurance of the
tests and experience of evil.

391. BEST MUSICKE BREEDS DELIGHT, etc. A troublesome passage. Upton and
Jortin emend _delight_ to _dislike_; Church inserts _no_ before _delight_
and omits _best_; Kitchin suggests _despight_; Grosart prefers the text as
it stands with the meaning that although the best music pleases the
troubled mind, it is no pleasure to renew the memory of past sufferings. I
venture to offer still another solution, based on the context. When Una
shows a desire to hear from her Knight a recountal of his sufferings in the
dungeon, and he is silent, being loath to speak of them, Arthur reminds her
that a _change of subject is best_, for the best music is that which breeds
delight in the troubled ear.

xlvi. In this passage Spenser follows closely the description of the witch
Alcina in Ariosto's _Orlando Furioso_, vii, 73. Rogero has been fascinated
by her false beauty, and her real foulness is exposed by means of a magic
ring. The stripping of Duessa symbolizes the proscription of vestments and
ritual, and the overthrow of images, etc. , at the time of the Reformation.
Duessa is only banished to the wilderness, not put to death, and reappears
in another book of the poem.

QUESTIONS AND TOPICS

(Canto VIII)

1. What moral reflections are found in i? 2. What were the duties of the
Squire in chivalry? 3. What part does Arthur's Squire play? 4. What does
the Squire's horn symbolize? 5. Observe the classical figure in ix. 6.
Describe the battle before the Giant's Castle, stating what part is taken
by each of the four engaged. 7. Point out several of the characteristics of
a typical battle of romance, and compare with combats in classical and
modern times. 8. What additional traits of Una's character are presented in
this Canto? Note especially her treatment of the Knight. 9. How is the
unchangeableness of truth illustrated in this story? 10. Who is the old man
in xxx _seq. _? 11. Who is the _woful thrall_ in xxxvii? 12. In what
condition, mental and physical, is the Knight when liberated? 13. How long
was he a captive? 14.
What was Duessa's punishment? Was it adequate?
Explain its moral and religious meaning. 15. Observe the use of _thou_ and
_ye_ (_you_) in this Canto. 16. Find examples of _antithesis_,
_alliteration_, _Latinisms_.

CANTO IX

I. _The Plot:_ Prince Arthur tells Una of his vision of the Faerie Queene
and of his quest for her. After exchanging presents with the Redcross
Knight, he bids farewell to Una and her companions. These pursue their
journey and soon meet a young knight, Sir Trevisan, fleeing from Despair.
Sir Trevisan tells of his narrow escape from this old man, and unwillingly
conducts the Redcross Knight back to his cave. The Knight enters and is
almost persuaded to take his own life. He is saved by the timely
interposition of Una. This is the most powerful canto of Book I.

II. _The Allegory:_ 1. The moral allegory in Canto VII presents the
transition of the Soul (Redcross) from Pride to Sin (Duessa) through
distrust of Truth (Una), and it thus comes into the bondage of Carnal Pride
(Orgoglio). In Canto IX the Soul suffers a similar change from Sin to
Despair. Having escaped from actual sin, but with spiritual life weakened,
it almost falls a victim to Despair through excess of confidence and zeal
to perform some good action. The Soul is saved by Truth, by which it is
reminded to depend on the grace of God.

2. The allegory on its religious side seems to have some obscure reference
to the long and bitter controversies between Protestantism (Calvinism) and
Roman Catholicism allied with infidelity.

1. O GOODLY GOLDEN CHAINE, chivalry or knightly honor, the bond that unites
all the virtues.

18. THANKLESSE, because not knowing whom to thank.

26. In Malory's _Morte d'Arthur_, Arthur is taken from his mother, Ygerne,
at birth, and committed to the care of Sir Ector as his foster-father, i,
3. In _Merlin_ Sir Antor is his foster-father.

33. RAURAN MOSSY HORE, Rauran white with moss. A "Rauran-vaur hill" in
Merionethshire is mentioned by Selden. Contrary to the older romancers,
Spenser makes Prince Arthur a Welshman, not a Cornishman.

34. THE RIVER DEE, which rises in Merionethshire and flows through Lake
Bala.

39. MY DISCIPLINE TO FRAME, etc. , to plan my course of instruction, and, as
my tutor, to supervise my bringing up.

45. IN HER JUST TERME, in due time.

57. OR THAT FRESH BLEEDING WOUND, i. e. his love for Gloriana.

59. WITH FORCED FURY, etc. , supplying "me" from "my" in l. 58 the meaning
is: the wound . . . brought . . . me following its bidding with compulsive
(passionate) fury, etc. In the sixteenth century _his_ was still almost
always used as the possessive of _it_. _Its_ does not occur in the King
James Version of the Bible (1611).

63. COULD EVER FIND (the heart) to grieve, etc. A Euphuistic conceit.

64. According to the physiology of Spenser's age, love was supposed to dry
up the humors ("moysture") of the body.

70. BUT TOLD, i. e. if it (my love) is told.

100. ENSAMPLE MAKE OF HIM, witness him (the Redcross knight).

113. WHILES EVERY SENCE, etc. , while the sweet moisture bathed all my
senses.

146. NEXT TO THAT LADIES LOVE, i. e. next to his love (loyalty) for
Gloriana. Does the poet mean that allegiance to queen and country comes
before private affection?

149. WAS FIRMEST FIXT, etc. , were strongest in my extremity (in the giant's
dungeon).

169. A BOOKE, the New Testament, an appropriate gift from the champions of
the Reformed Church.

182. AN ARMED KNIGHT, Sir Trevisan, who symbolizes Fear.

189. PEGASUS, the winged horse of the Muses. For note on the false
possessive with _his_, see note on V, 44.

233. HAD NOT GREATER GRACE, etc. , had not greater grace (than was granted
my comrade) saved me from it, I should have been partaker (with him of his
doom) in that place.

249. AFTER FAIRE AREEDES, afterwards graciously tells.

267. WITH DYING FEARE, with fear of dying.

269. WHOSE LIKE INFIRMITIE, etc. , i. e. if you are a victim of love, you may
also fall into the hands of despair.

270. BUT GOD YOU NEVER LET, but may God never let you, etc.

272. TO SPOYLE THE CASTLE OF HIS HEALTH, to take his own life. Cf. Eliot's
_Castell of Helthe_, published in 1534.

273. I WOTE, etc. I, whom recent trial hath taught, and who would not
(endure the) like for all the wealth of this world, know (how a man may be
so gained over to destroy himself).

275. This simile is a very old one. See Homer's _Iliad_, i, 249; _Odyssey_,
xviii, 283; _Song of Solomon_, iv, 11; and Tasso's _Jerusalem Delivered_,
ii, 51.

286. FOR GOLD NOR GLEE. Cf. for love or money.

294-296. Imitated from Vergil's _AEneid_, vi, 462.

315. AS, as if.

320. A DREARIE CORSE, Sir Terwin, mentioned in xxvii.

332. JUDGE AGAINST THEE RIGHT, give just judgment against thee.

333. TO PRICE, to pay the price of.

336. WHAT JUSTICE, etc. , what justice ever gave any other judgment but
(this, that) he, who deserves, etc.

340. IS THEN UNJUST, etc. , is it then unjust to give each man his due?

xxxix. Observe the subtle argument on suicide in this and st. xl.

xli. Spenser here puts into the mouth of the Knight Socrates' argument to
Cebes in their dialogue on the immortality of the soul. Plato's _Phaedo_,
vi.

367. QUOTH HE, Despair.

403. THY DATE, the allotted measure or duration of thy life.

408. THY SINFULL HIRE, thy service of sin.

431. AS HE WERE CHARMED, etc. , as if he were under the spell of magic
incantation.

438. IN A TABLE, in a picture. The horrors of the Last Judgment and the
torments of the lost were favorite subjects of the mediaeval Catholic
painters.

468. FIRE-MOUTHED DRAGON. The dragons of romance are all described as
fire-breathing,

473. THAT CHOSEN ART, a reference to the doctrine of Election. _Mark_,
xiii, 20.

476. ACCURST HAND-WRITING. A reference to Paul's letter to the
_Colossians_, ii, 14, in which he declares that the gospel of grace has
superseded the law of Moses.

484. HE SO HIMSELFE HAD DREST, he had thus attempted (to take his life).

QUESTIONS AND TOPICS

(Canto IX)

1. Give an account of Prince Arthur's vision of the Faerie Queene. 2.
Interpret his search for her as an allegory of the young man's quest after
his ideal. 3. Observe in xvii an allusion to Spenser's patron, Lord
Leicester, who was a favored suitor for Elizabeth's hand. 4. What presents
did the Knights exchange at parting? 5. Characterize Sir Trevisan by his
appearance, speech, and actions. What does he symbolize? 6. Note the skill
with which Spenser arouses interest before telling of the interview with
Despair. 7. What was the fate of Sir Terwin? Its moral significance? 8.
Describe the Cave of Despair, and show what effects are aimed at by the
poet. 9. Compare with Despair Bunyan's Giant Despair and the Man in the
Iron Cage. 10. Trace the sophistries by which Despair works in the mind of
the Knight, e. g. the arguments from necessity (fatalism), humanity,
cowardice, discouragement and disgust on account of his past failures,
dread of the future, of God's justice, and the relief of death. 11. Does
Despair show knowledge of the Knight's past? 12. With what powerful truths
does Una meet the arguments of Despair? 13. Where do you find reference to
mediaeval art?

14. Find examples of _Euphuism_, _metaphors_, _similes_, _Latinisms_, and
_alliteration_. 15. Explain the verb forms in ll. 154, 321, 336.

CANTO X

I. _The Plot:_ The Redcross Knight is conducted by Una to the House of
Holiness, where they are welcomed by Dame Coelia and graciously
entertained. The Knight is instructed by Fidelia, Speranza, and Charissa,
the three daughters of Coelia, in his relations to God and his fellow-men.
He is healed in body, and undergoes discipline for his sins. Mercy conducts
him through the Hospital of Good Works, where he sees her seven Beadsmen.
He then with Una climbs the Hill of Contemplation and hears from a holy man
the story of his past with a prophecy of his future, and obtains a view of
the City of Heaven.

This must be pronounced the most beautiful canto of the first book.

II.