No More Learning

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. _The Allegory:_ 1. The Soul is brought by the Truth to a knowledge of
the Heavenly Life (Coelia), and is led, through repentance, to seek
forgiveness and to desire a holier life. Having learned Faith and Hope, it
acquires a zeal for Good Works (Charity), and is strengthened by exercising
Patience and Repentance. At last it enjoys a mood of happy Contemplation of
the past with bright prospects for the future. The whole canto sets forth
the beauty in a life of faith combined with good deeds.

2. The religious allegory presents the doctrine, discipline, and spirit of
Protestantism in the sixteenth century. A close parallel may be drawn
between this canto and many things in Bunyan's _Pilgrim's Progress_. For
his House of Holiness and its management, Spenser has no doubt taken many
suggestions from the great manor house of some Elizabethan gentleman.

19. AN AUNTIENT HOUSE, the House of Holiness.

28. DAME COELIA, i. e. the Heavenly Lady.

33. FIDELIA AND SPERANZA, Faith and Hope.

35. FAIRE CHARISSA, Charity, or Love. _Cf. I Corinthians_, xiii, 13.

44. HIGHT HUMILTA, named Humility.

59. AND KNEW HIS GOOD, etc. , and knew how to conduct himself to all of
every rank.

77. EVER-DYING DREAD, constant dread of death.

78. LONG A DAY, many a long day.

79. THY WEARY SOLES TO LEAD, to guide thy weary feet (to rescue them).

xiii. The description of Fidelia is full of biblical allusions, _viz. _; her
white robe (_Revelation_, vii, 9); the sacramental cup filled with wine and
water according to the custom of the early Christians (_John_, xix, 34);
the serpent symbolical of healing power (_Numbers_, xxi, and _Mark_, xiv,
24); the book sealed with the blood of the Lamb (_Revelation_, v, 1, and
_II Corinthians_, v, 7).

144. ENCREASE is in the optative subj. with _God_ as subject.

172. AND WHEN SHE LIST, etc. , and when it pleased her to manifest her
higher spiritual power. These miracles of Faith are based on the following
passages: _Joshua_, x, 12; _II Kings_, xx, 10; _Judges_, vii, 7; _Exodus_,
xiv, 21; _Joshua_, iii, 17; _Matthew_, xxi, 21.

176. This line is given in the folio edition of 1609, but is wanting in the
edition of 1590 and 1596.

209. HARDLY HIM INTREAT, scarcely prevail on him.

213. The absolutions granted by the clergy.

215. THE PASSION OF HIS PLIGHT, his suffering condition.

xxx. Percival points out the resemblance between Spenser's Charity and
Andrea del Sarto's famous painting _La Charite_ in the Louvre.

277. WHOSE PASSING PRICE, etc. , whose surpassing value it was difficult to
calculate.

292. WELL TO DONNE, well doing, right doing.

318. SEVEN BEAD-MEN, seven men of prayer, corresponding to the Seven Deadly
Sins of the House of Pride. They represent good works: (1) entertainment of
strangers; (2) food to the needy; (3) clothing to the naked; (4) relief to
prisoners; (5) comfort to the sick; (6) burial of the dead, and (7) care of
widows and orphans.

354. PRICE OF BRAS, ransom in money. _Bras_ is a Latinism from _aes_.

355. FROM TURKES AND SARAZINS. In the sixteenth century thousands of
Christians were held captive in Turkish and Saracen prisons, and many of
these were ransomed by the charitable of Europe. Prescott tells us that
Charles V found 10,000 Christians in Tunis at its capture in 1535.

359. HE THAT HARROWD HELL. The Harrowing of Hell was the mediaeval belief in
the descent of Christ to hell to redeem the souls of Old Testament saints,
and to despoil the powers of darkness. It is the subject of an old miracle
play.

374. The reference is to the resurrection from the dead.

378. I DEAD BE NOT DEFOULD, that I (when) dead be not defiled. This prayer
was answered, for the poet received honorable burial in Westminster Abbey.

381. AND WIDOWES AYD, i. e. had charge (to) aid widows, etc.

382. IN FACE OF JUDGEMENT, before the judgment-seat.

422-423. HIS . . . HER, Redcross Knight. . . mercy.

430. FOR NOUGHT HE CAR'D, for he cared nought that his body had been long
unfed.

470. THAT SAME MIGHTY MAN OF GOD, Moses. See _Exodus_, xiv, 16, xxiv, and
xxxiv.

471. THAT BLOOD-RED BILLOWES, of the Red Sea.

478. THAT SACRED HILL, the mount of Olives.

483. THAT PLEASAUNT MOUNT, mount Parnassus, the seat of the nine Muses (l.
485), the patronesses of the arts and of learning. Sacred and profane
literature are beautifully blended in the thoughts of the contemplative
man.

489. A GOODLY CITIE, the Celestial City, Heaven. The description is
suggested by that in _Revelation_, xxi, 10 _seq. _

515. THAT GREAT CLEOPOLIS, London, "the city of glory. "

519. PANTHEA, probably Westminster Abbey, in which Elizabeth's ancestors
were buried.

524. FOR EARTHLY FRAME, for an earthly structure.

549. SAINT GEORGE OF MERY ENGLAND. St. George became the patron Saint of
England in 1344, when Edward III consecrated to him the Order of the
Garter. Church and Percival say that _merry_ means _pleasant_ and referred
originally to the country, not the people. Cf. Mereweather.

lxii. Observe that lines 1, 2, 5, 6 are spoken by the Knight, the rest by
Contemplation.

565. BEQUEATHED CARE, the charge intrusted to thee (by Una).

579. AND MANY BLOODY BATTAILES, etc. , and fought many bloody pitched
battles.

585. CHAUNGELINGS. The belief in the power of fairies to substitute their
elf-children for human babies is frequently referred to in writers of
Spenser's time. In the _Seven Champions_ the witch Kalyb steals away St.
George, the son of Lord Albert of Coventry, soon after his birth.

591. GEORGOS, from the Greek [Greek: georgos], an earth tiller, farmer.
Spenser borrows the story in this stanza from that of Tages, son of Earth,
who was similarly found and brought up. Ovid's _Metamorphoses_, xv, 553.

QUESTIONS AND TOPICS

(Canto X)

1. Observe that stanza i contains the moral of Canto IX. 2. What was Una's
purpose in bringing the Knight to the House of Holiness?