No More Learning

Who is the _weary wight_
in xxxiv? 13. What news of St. George did he give? Was it true? 14. Who is
the Paynim mentioned in xl? 15. Note Euphuistic antithesis in xlii. 16.
Explain the figures in iv, vi, x, xliv. 17. Paraphrase ll. 289, 296. 18.
Find _Latinisms_ in xxv; xxvi; xxviii; xxxi; and xxxvii. 19. Describe the
fight at the end of the Canto.

CANTO VII

I. _The Plot:_ (Continuation of Canto V). Duessa pursues the Redcross
Knight, and overtakes him sitting by an enchanted fountain, weary and
disarmed. He is beguiled into drinking from the fountain, and is quickly
deprived of strength. In this unnerved and unarmed condition he is suddenly
set upon by the giant Orgoglio. After a hopeless struggle he is struck down
by the giant's club and is thrust into a dungeon. Una is informed by the
dwarf of the Knight's misfortune and is prostrated with grief. Meeting
Prince Arthur, she is persuaded to tell her story and receives promise of
his assistance.

II. _The Allegory:_ 1. The Christian soldier, beguiled by Falsehood, doffs
the armor of God, and indulges in sinful pleasures, and loses his purity.
He then quickly falls into the power of Carnal Pride, or the brutal tyranny
of False Religion (Orgoglio). He can then be restored only by an appeal to
the Highest Honor or Magnificence (Prince Arthur) through the good offices
of Truth and Common Sense.

2. In the reaction from the Reformation, Protestant England by dallying
with Romanism (Duessa, Mary Queen of Scots) falls under the tyrannic power
of the Pope (Orgoglio), with whom Catholic England was coquetting. At this
juncture National Honor and Consciousness comes to the relief of
Protestantism. There is personal compliment to either Lord Leicester or Sir
Philip Sidney.

19. HE FEEDES UPON, he enjoys. A Latinism: cf. Vergil's _AEneid_, iii.

37. PHOEBE, a surname of Diana, or Artemis, the goddess of the moon.

45. Spenser probably takes the suggestion from the fountain in the gardens
of Armida in Tasso's _Jerusalem Delivered_, xiv, 74. Cf. also the fountain
of Salmacis in Ovid's _Metamorphoses_, xv, 819 _seq_.

56. POURD OUT, a metaphor borrowed from Euripides (_Herac. _, 75) and Vergil
(_AEneid_, ix, 317).

62. HIS LOOSER MAKE, his too dissolute companion.

67. AN HIDEOUS GEANT, Orgoglio, symbolizing Inordinate Pride, and the Pope
of Rome, who then claimed universal power over both church and state (x).
For a list of many other giants of romance see Brewer's _Handbook_, pp.
376-379.

104. THAT DIVELISH YRON ENGIN, cannon. The invention of artillery by
infernal ingenuity is an old conception of the poets. There is a suggestion
of it in Vergil's _AEneid_, vi, 585 _seq. _, which is elaborated in Ariosto's
_Orlando Furioso_, ix, 91, which Milton in turn imitated in _Paradise
Lost_, vi, 516 _seq_. So in the romance of _Sir Triamour_.

112. TH' ONELY BREATH, the mere breath.

119. DO HIM NOT TO DYE, slay him not; cf. "done to death. "

138. A MONSTROUS BEAST, on which the woman of Babylon sat; _Revelation_,
xiii and xvii, 7.

139. This refers to the Romish policy of fostering ignorance among its
members.

140. THAT RENOWMED SNAKE, the Lernaean Hydra, a monster with nine or more
heads, offspring of Typhon and Echidna. It was slain by Hercules. STREMONA
is a name of Spenser's own invention.

147. The reference is to the cruelty and insensibility of the Romish
Church.

150. Its tail reached to the stars. _Revelation_, xii, 4.

155. AND HOLY HEASTS FORETAUGHT, and holy commands previously taught
(them).

161. HIS FORLORNE WEED, his abandoned clothing.

165. MONIMENTS, the sorrowful, mournful relics.

182. SO HARDLY HE, etc. So he with difficulty coaxes the life which has
flown to return into her body. According to the Platonic teaching, the body
is the prison-house of the soul. Cf _Psalms_, cxlii, 7.

202. BUT SEELED UP WITH DEATH, but closed in death. "Seel" was a term in
falconry, meaning "to sew up" (the eyes of the hawk).

219. THE BITTER BALEFULL STOUND, the bitter, grievous moment during which
she listens to the story.

220. IF LESSE THEN THAT I FEARE, etc. , if it is less bitter than I fear it
is, I shall have found more favor (been more fortunate) than I expected.

231. SORROWFULL ASSAY, the assault of sorrow (on her heart).

236. WAS NEVER LADY, etc. , there never was lady who loved day (life)
dearer.

249. A GOODLY KNIGHT. Prince Arthur, son of King Uther Pendragon and Queen
Ygerne, the model English gentleman, in whom all the virtues are perfected
(Magnificence). According to Upton and most editors, Prince Arthur
represents Lord Leicester; according to another tradition, Sir Philip
Sidney. Could the author have possibly intended in him compliment to Sir
Walter Raleigh? See Spenser's _Letter to Raleigh_. Arthur is the beau ideal
of knighthood, and upon him the poet lavishes his richest descriptive
powers. His armor, his shield Pridwen, his lance Roan, and sword Exculibur,
were made by the great enchanter Merlin in the isle of Avallon.

259. SHAPT LIKE A LADIES HEAD, an effigy of Queen Elizabeth, the Faerie
Queene.

260. LIKE HESPERUS, the evening star. Cf. Phosphorus, the morning star.

268. The dragon couchant was also the crest of Arthur's father, Uther,
surnamed on this account Pen-dragon. The description in this stanza is
imitated from Tasso's description of the helmet of the Sultan in _Jerusalem
Delivered_, ix, 25, which in turn follows Vergil's _AEneid_, vii, 785 _seq. _

280. GREENE SELINIS, a town in Sicily.

284. HIS WARLIKE SHIELD. Spenser here follows closely the description of
the shield of the magician Atlante in Ariosto's _Orlando Furioso_, ii, 55.

300. SILVER CYNTHIA, the moon. It was popularly supposed that magicians and
witches had power to cause eclipses of the moon.

304. All falsehood and deception. Truth and Wisdom are symbolized (Upton).

306. WHEN HIM LIST, when it pleased him. _Him_ is dative.

314. IT MERLIN WAS. Ambrose Merlin, the prince of enchanters, son of the
nun Matilda, and an incubus, "half-angel and half-man. " He made, in
addition to Prince Arthur's armor and weapons, the Round Table for one
hundred and fifty knights at Carduel, the magic fountain of love, and built
Stonehenge on Salisbury Plain. He died spellbound by the sorceress Vivien
in a hollow oak. See Tennyson's _Idylls of the King_.

326. DID TRAMPLE AS THE AIRE, curveted as lightly as the air.

335. AND FOR HER HUMOUR, etc. , and to suit her (sad) mood framed fitting
conversation.

355. The subject of _found_ is the substantive clause _who. . . impart_.

xli. Observe the antithetical structure of this stanza, both in the
_Stichomuthia_, or balance of line against line, and in the lines
themselves. In this rapid word-play Arthur wins his point by appealing to
Una's faith.

363. NO FAITH SO FAST, etc. , no faith is so firm that human infirmity may
not injure it.

376. Una, Truth, is the sole daughter of Eden.

377. WHILEST EQUAL DESTINIES, etc. , whilst their destinies (Fates) revolved
equally and undisturbed in their orbits. (Astronomical figure. )

381. 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.