THAT FAIRE-FORGED SPRIGHT, fair but
miscreated
spirit (I, xiv).
Spenser - Faerie Queene - 1
In the
sixteenth century _the_ was frequently placed before _which_, which was
also the equivalent of _who_. Cf. the Lord's Prayer.
234. HE SHOULD CONTEND, he should have had to contend.
237. BORNE UNDER HAPPY STARRE. Belief in astrology was once common, and
Spenser being a Pythagorean would hold the doctrine of the influence of the
stars on human destiny.
239. THAT ARMORIE, the armor of the Christian warrior. _Ephesians_, vi, 13.
243. THAT LIKE SUCCEED IT MAY, that like successful adventures may succeed
it. The word order is inverted for the sake of the rhyme.
250. TO FREND, as his friend.
254. AN AGED SIRE, the false enchanter, Archimago, or Hypocrisy, who is
supposed to represent Pope Sixtus V or King Philip II of Spain. In general
he stands for false religion or the Church of Rome. The character and
adventure are taken from _Orlando Furioso_, ii, 12, in which there is a
hypocritical hermit. The Knight at first takes Archimago to be a palmer,
and inquires for the foreign news.
295. TAKE UP YOUR IN, take lodging.
301. A LITTLE WYDE, a little way off.
315. AN AVE-MARY, Hail Mary, a prayer to the Virgin. Cf. _Luke_, i, 28.
317. THE SAD HUMOUR, the heavy moisture, or "slombring deaw. "
318. MORPHEUS, the son of Somnus and god of sleep and dreams, who sprinkled
the dew of sleep on the brow of mortals from his horn or wings or from a
bough dipped in Lethe.
323. HIS MAGICK BOOKES AND ARTES. Monks engaged in scientific
investigation, such as Friar Roger Bacon, were popularly supposed to use
cabalistic books, and to make compacts with the Devil by means of
necromancy, or the black art, as in st. xxxvii. Before the close of the
century Marlowe's _Doctor Faustus_ and Greene's _Friar Bacon and Friar
Bungay_, both based on the popular belief in magic, were presented on the
London stage.
328. BLACKE PLUTOES GRIESLY DAME, Proserpine, the avenger of men, and
inflicter of curses on the dead. She is identified with Shakespeare's
Hecate, the goddess of sorcery, and with Milton's Cotytto, goddess of lust.
To this latter sin the knight is tempted.
332. GREAT GORGON, Demogorgon, whose name might not be uttered, a magician
who had power over the spirits of the lower world. The poet is here
imitating the Latin poets Lucan and Statius.
333. COCYTUS, the river of wailing, and STYX, the river of hate, both in
Hades. There were two others, _Acheron_, the river of sorrow, and
_Phlegethon_, the river of fire.
335. LEGIONS OF SPRIGHTS. In this stanza and the preceding Spenser follows
Tasso's _Jerusalem Delivered_, xiii, 6-11, where the magician Ismeno,
guarding the Enchanted Wood, conjures "legions of devils" with the "mighty
name" (l. 332).
339. CHOSE. Imitation of Ariosto's _Orlando Furioso_, ii, 15, in which a
false spirit is called up by a hypocritical hermit. The description of the
House of Sleep in st. xxxix _seq_. is modelled on the same poet, _Orlando
Furioso_, ii, 15 _seq_. The influence of Homer's _Odyssey_, xi, 16 is seen
in st. xxxix, ll. 348 _seq_.
348. TETHYS, the ocean. In classical mythology she is the daughter of
Uranus (heaven) and Gaea (earth), and the wife of Oceanus.
349. CYNTHIA, the moon. The allusion is to the story of Diana and Endymion.
See Lyly's play _Endymion_.
352. WHOSE DOUBLE GATES. Homer, _Odyssey_, xix, 562, and Vergil, _Aeneid_,
vi, 893, give the House of Dreams a horn and an ivory gate. Spenser
substitutes silver for horn, mirrors being overlaid with silver in his
time. From the ivory gate issued false dreams; from the other, true ones.
361. SLUMBER SOFT. This stanza shows Spenser's wonderful technique. His
exquisite effects are produced, it will be noticed, partly by the choice of
musical words and partly by the rhythmical cadence of the verse phrases. It
is an example of perfect "keeping," or adaptation of sound to sense. Cf.
Chaucer's description of the waterfalls in the Cave of Sleep in his _Boke
of the Duchesse_, 162.
376. WHOSE DRYER BRAINE, whose brain too dry. In the old physiology, a dry
brain was the cause of slow and weak perception, and a moist brain of
quickness.
378. ALL, entirely, altogether.
381. HECATE, queen of phantoms and demons in Hades, and mistress of witches
on earth. See xxxvii.
387. THE SLEEPERS SENT, the sleeper's sense.
405. MOST LIKE TO SEEME, etc. . most likely fit to seem for (represent) Una.
_Like_ is an adv. A very awkward inversion.
411. BORNE WITHOUT HER DEW, i. e. created by him in an unnatural manner.
425. FAYRE VENUS, the daughter of Jupiter, or Zeus, and the sea-nymph
Dione. She is the same as Aphrodite, the Greek goddess of love and beauty.
430. THE GRACES, Euphrosyne, Aglaia, and Thalia, daughters of Zeus and
Aphrodite.
431. HYMEN IO HYMEN, refrain of an old Roman nuptial song. Hymen, the son
of Apollo and the Muse Urania, was the god of marriage.
432. FRESHEST FLORA, the goddess of flowers. She typified spring.
447. TO PROVE HIS SENSE, etc. To test his perception and prove her feigned
truth.
449. THO CAN SHE WEEPE, then did she weep. _Can_ here is the Northern
dialect form for the middle English _gan_, past tense of _ginnen_, to
begin, which was used as an auxiliary.
454. THE BLIND GOD, Cupid, Eros, or Amor, the god of love.
478. Like other knights of romance, e. g. Sir Galahad and Sir Gareth in
Malory's _Morte d'Arthur_, iii, 65, etc. , the Redcross Knight does not
yield to the temptation of the flesh, but overcomes it.
QUESTIONS AND TOPICS FOR STUDY
(Canto I)
1. Tell in your own words the story of this canto. 2. Which muse does
Spenser invoke? 3. Who were the nine muses? 4. What is the difference
between _pastoral_ and _epic_ poetry? 5. Illustrate by _The Shepheards
Calender_ and the _The Faerie Queene_. 6. Point out imitations of Homer,
Vergil, Lucan, Statius, Ariosto, Tasso, and Chaucer. 7. Explain the
reference to the religious questions and politics of Queen Elizabeth's
reign. 8. Where does Spenser use classical mythology--mediaeval legends? 9.
What references to the Bible do you find? 10. Try to make a mental picture
of the Knight--of Una--of Error--of Archimago. 11. Is Spenser's character
drawing objective or subjective? 12. Is the description of the wood in vii
true to nature? Could so many trees grow together in a thick wood? 13.
Study the Rembrandt-like effects of light and shade in xiv. 14. What
infernal deities are conjured up by Archimago?
15. Paraphrase in your own language ll. 88, 106-107, 116, 267-268.
16. Explain use of _of_ in l. 75. 17. What part of speech is _wandering_ l.
114? _to viewen_ l. 201? parse _which_ l. 232; _him_ and _spend_ l. 233;
_you_ and _shew_ l. 276. 18. Find examples of Euphuistic hyperbole in iv,
of alliteration in xiv. 19. Explain the use and form of _eyne_, _edified_,
_afflicted_, _weeds_, _Hebean_, _impe_, _compeld_, _areeds_, _blazon_,
_ycladd_.
CANTO II
I. _The Plot_: Deceived by Archimago's phantoms, the Redcross Knight
suspects the chastity of Una, and flies at early dawn with his dwarf. He
chances to meet the Saracen Sansfoy in company with the false Duessa. They
do battle and Sansfoy is slain. Duessa under the name of Fidessa attaches
herself to the Knight, and they ride forward. They stop to rest under some
shady trees, On breaking a bough, the Knight discovers that the trees are
two lovers, Fradubio and Fraelissa, thus imprisoned by the cruel
enchantment of Duessa.
II. _The Allegory_: 1. Hypocrisy under a pious disguise is attractive to
Holiness. Truth is also deceived by it, and shamefully slandered. Holiness
having abandoned Truth, takes up with Falsehood, who is attended by
Infidelity. Unbelief when openly assailing Holiness is overthrown, but
Falsehood under the guise of Faith remains undiscovered. The fate of the
man (Fradubio) is set forth who halts between two opinions,--False Religion
(Duessa) and Heathen Philosophy, or Natural Religion (Fraelissa).
2. The Reformed Church, no longer under the guidance of Truth, rushes
headlong into Infidelity, and unwittingly became the defender of the Romish
Faith under the name of the True Faith. There is a hint of the intrigues of
Mary Queen of Scots and the libels of the Jesuits on Queen Elizabeth
designed to bring back the English nation to Romish allegiance.
LINE 1. THE NORTHERNE WAGONER, the constellation Bootes.
2. HIS SEVENFOLD TEME, the seven stars of Ursa Major, or Charles's Wain.
THE STEDFAST STARRE, the Pole-star, which never sets.
6. CHEAREFULL CHAUNTICLERE, the name of the cock in the fabliaux and beast
epics, e. g. _Roman de Renart_ and _Reineke Fuchs_.
7. PHOEBUS FIERY CARRE, the sun.
11.
THAT FAIRE-FORGED SPRIGHT, fair but miscreated spirit (I, xiv). Spenser
took suggestions for this stanza from Ariosto and Tasso.
51. FAIRE HESPERUS, the evening star.
55. THE ROSY-FINGRED MORNING. This beautiful epithet of Aurora, the goddess
of the dawn, is borrowed from Homer, Hesiod, and other ancient poets.
56. AGED TITHONES, son of Laomedon, King of Troy. Aurora conferred upon him
immortality without youth, hence the epithet "aged. "
58. TITAN, the sun-god in the Roman myths.
85. PROTEUS, a sea-god who was endowed with the power of prophecy. He could
change himself into any shape in order to avoid having to prophesy. See
Homer, _Odyssey_, iv, 366 _seq_. , and Vergil, _Georgics_, iv, 387.
90. HERBES. In the sixteenth century the belief in potions, magic formulas,
etc. , was still strongly rooted in the popular mind. The Spanish court and
the priests were supposed to employ supernatural agencies against the
Protestants.
105. A FAITHLESS SARAZIN. Spenser uses the word Saracen in the general
sense of pagan. During the Middle Ages the Saracen power was a menace to
Europe, and the stronghold of infidelity. The names of the three Paynim
brethren, Sansfoy, Sansjoy, and Sansloy,--faithless, joyless, and
lawless,--suggest the point of view of Spenser's age.
109. A FAIRE COMPANION, the enchantress Duessa, or Falsehood, who calls
herself Fidessa. In the allegory Spenser intended her to represent the
Romish church and Mary Queen of Scots. Her character and appearance were
suggested by the woman of Babylon, in _Revelation_, viii, 4, Ariosto's
Alcina, and Tasso's Armida.
136. AS WHEN TWO RAMS. This figure is found in Vergil, Apollonius, Malory,
Tasso, Dante, and other poets and romancers.
141. THE HANGING VICTORY, the victory which hung doubtful in the balance.
144. THE BROKEN RELIQUES, the shattered lances.
148. EACH OTHERS EQUALL PUISSAUNCE ENVIES, each envies the equal prowess of
the other.
149. THROUGH THEIR IRON SIDES, etc. , through their armored sides with cruel
glances, etc.
155. THE BITTER FIT, the bitterness of death.
158. ASSURED SITT, etc. , sit firm (in the saddle), and hide (cover) thy
head (with thy shield).
160. WITH RIGOUR SO OUTRAGEOUS, with force so violent.
161. THAT A LARGE SHARE, etc. , that a large piece it (the sword) hewed,
etc.
162. FROM BLAME HIM FAIRLY BLEST. 1, fairly preserved him from hurt; 2,
fairly acquitted him of blame. _Him_ in (1) refers to the knight, in (2) to
the Saracen. (1) is the better interpretation.
169. GRUDGING. Because reluctant to part from the flesh.
196. DAUGHTER OF AN EMPEROUR. Duessa represents the Pope, who exercised
imperial authority in Rome, though the seat of the empire had been
transferred to Constantinople in 476.
200. THE ONLY HAIRE. The dauphin of France, the first husband of Mary Queen
of Scots, afterwards King Francis II, son of Henry II. Duessa's story is
full of falsehoods.
244. SO DAINTY THEY SAY MAKETH DERTH, coyness makes desire. The knight is
allured on by Duessa's assumed shyness.
251. NE WONT THERE SOUND, nor was accustomed to sound there.
254. COOL SHADE. The Reformed Church, weakened by Falsehood, is enticed by
doubt and skepticism.
262. FAIRE SEEMLY PLEASAUNCE, pleasant courtesies.
263. WITH GOODLY PURPOSES, with polite conversation. This whole stanza
refers to Mary's candidacy for the English throne and its dangers to
Protestantism.
269. HE PLUCKT A BOUGH. In this incident Spenser imitates Ariosto, _Orlando
Furioso_, vi, 26, in which Ruggiero addresses a myrtle which bleeds and
cries out with pain. The conception of men turned into trees occurs also in
Ovid, Vergil, Tasso, and Dante.
272. O SPARE WITH GUILTY HANDS, etc. Cf Vergil's account of Polydorus in
_Aeneid_, iii, 41, in which a myrtle exclaims, _Parce pias scelerare
manus_, etc.
284. FROM LIMBO LAKE, here, the abode of the lost. With the Schoolmen,
Limbo was a border region of hell where dwelt the souls of Old Testament
saints, pious heathen, lunatics, and unbaptized infants. Cf. Milton's
Paradise of Fools, _Paradise Lost_, iii, 495.
291. FRADUBIO, as it were "Brother Doubtful," one who hesitates between
false religion and pagan religion, Duessa and Fraelissa (Morley). Fraelissa
is fair but frail, and will not do to lean upon.
342. FAIRE IN PLACE, fair in that place.
351. TO TREEN MOULD, to the form of a tree. _Treen_ is an adj. like
_wooden_.
354. THE SAME. Supply "as she appeared to be," i. e. fair and true.
357. PROPER HEW. Witches had to appear in their "proper hew" one day in
spring and undergo a purifying bath. The old romances make frequent mention
of the enchanted herb bath.
370. BY CHAUNGES OF MY CHEARE, by my changed countenance or expression.
371. DROWND IN SLEEPIE NIGHT. The phrase modifies "body," or is equivalent
to "while I was drowned in sleep. "
382. IN A LIVING WELL, in a well of running water. This well signifies the
healing power of Christianity. _John_, iv, 14. In Spenser's story this well
is never found, and the wretched couple are never restored to human shape.
404. ALL PASSED FEARE, all fear having passed.
QUESTIONS AND TOPICS
(Canto II)
1. How does the knight feel and act while under Archimago's spell? 2. What
becomes of Una? 3. How does Archimago plan to deceive her? 4. Tell the
story of the lovers turned into trees. 5. Who was Sansfoy? 6. Describe the
appearance and character of Duessa. 7. What did she have to do with
Fradubio and Fraelissa? 8. What was the old belief about the penance of
witches? 9. How only could the lovers be restored to their human shape? Was
it done? 10. Who were St. George, Phoebus, Titan, Tithonius? 11. Explain
the reference to Chaunticlere in l. 6.
12. Find examples of _alliteration_ in xix; of _balance_ in xxxvii; and of
_Latinizing_ in xix; xxxvi; xxxviii, and xl.
13. Paraphrase in your own words ll. 111, 134-135, 162 (giving two
interpretations); 335, 386-387.
14. What _figure of speech_ is used in xiii, xvi, and xx?
15. Study the rich word-painting in the description of sunrise in vii. Find
other examples of this poet's use of "costly" epithets.
16. Scan the following passages: 148, 174, 178, 193, and 299.
17. Find example of _tmesis_ (separation of prep. from ob. ) in xlv.
18. What is the difference between the two _wells_ in xliii?
19. To whom do the pronouns in ll. 174, 175 refer?
20. What is the _case_ of _heavens_ in l. 193? of _Sarazin_ in l. 217?
21. What words are omitted in ll. 188, 313, 398?
CANTO III
I. _The Plot:_ Una wandering in quest of her Knight is guarded by a Lion.
With difficulty they gain entrance to the cottage of Corceca and her
daughter Abessa, the paramour of Kirkrapine. The latter is killed by the
Lion. Fleeing the next day, Una falls in with Archimago disguised as the
Redcross Knight. They journey on and meet a second Saracen knight, Sansloy.
In the fight which ensues Archimago is unhorsed and his deception unmasked.
The Lion is slain, and Una becomes the captive of Sansloy.
II. _The Allegory:_ 1. Truth finds temporary protection in Reason, or
Natural Honor (Lion), and with its help puts a stop to the Robbing of
Churches (Kirkrapine), which is connived at by Blind Devotion (Corceca) and
Secret Sin (Abessa). Truth is then associated with Hypocrisy under the
guise of Holiness, but it is soon unmasked by Lawlessness (Sansloy), with
which Truth is forced into an unnatural alliance.
2. "The lion is said to represent Henry VIII, overthrowing the monasteries,
destroying church-robbers, disturbing the dark haunts of idleness,
ignorance and superstition. "--Kitchin. The battle between Archimago and
Sansloy refers to the contests of the Catholic powers with the Moslems. The
whole canto also has a hint of the violence and lawlessness connected with
the English conquest of Ireland.
LINE 14. THOUGH TRUE AS TOUCH, though true as if tested on the touchstone
(by which true gold was distinguished from counterfeit).
18. AND HER DUE LOVES, etc. , the love due to her diverted, etc.
27. YET WISHED TYDINGS, etc.
sixteenth century _the_ was frequently placed before _which_, which was
also the equivalent of _who_. Cf. the Lord's Prayer.
234. HE SHOULD CONTEND, he should have had to contend.
237. BORNE UNDER HAPPY STARRE. Belief in astrology was once common, and
Spenser being a Pythagorean would hold the doctrine of the influence of the
stars on human destiny.
239. THAT ARMORIE, the armor of the Christian warrior. _Ephesians_, vi, 13.
243. THAT LIKE SUCCEED IT MAY, that like successful adventures may succeed
it. The word order is inverted for the sake of the rhyme.
250. TO FREND, as his friend.
254. AN AGED SIRE, the false enchanter, Archimago, or Hypocrisy, who is
supposed to represent Pope Sixtus V or King Philip II of Spain. In general
he stands for false religion or the Church of Rome. The character and
adventure are taken from _Orlando Furioso_, ii, 12, in which there is a
hypocritical hermit. The Knight at first takes Archimago to be a palmer,
and inquires for the foreign news.
295. TAKE UP YOUR IN, take lodging.
301. A LITTLE WYDE, a little way off.
315. AN AVE-MARY, Hail Mary, a prayer to the Virgin. Cf. _Luke_, i, 28.
317. THE SAD HUMOUR, the heavy moisture, or "slombring deaw. "
318. MORPHEUS, the son of Somnus and god of sleep and dreams, who sprinkled
the dew of sleep on the brow of mortals from his horn or wings or from a
bough dipped in Lethe.
323. HIS MAGICK BOOKES AND ARTES. Monks engaged in scientific
investigation, such as Friar Roger Bacon, were popularly supposed to use
cabalistic books, and to make compacts with the Devil by means of
necromancy, or the black art, as in st. xxxvii. Before the close of the
century Marlowe's _Doctor Faustus_ and Greene's _Friar Bacon and Friar
Bungay_, both based on the popular belief in magic, were presented on the
London stage.
328. BLACKE PLUTOES GRIESLY DAME, Proserpine, the avenger of men, and
inflicter of curses on the dead. She is identified with Shakespeare's
Hecate, the goddess of sorcery, and with Milton's Cotytto, goddess of lust.
To this latter sin the knight is tempted.
332. GREAT GORGON, Demogorgon, whose name might not be uttered, a magician
who had power over the spirits of the lower world. The poet is here
imitating the Latin poets Lucan and Statius.
333. COCYTUS, the river of wailing, and STYX, the river of hate, both in
Hades. There were two others, _Acheron_, the river of sorrow, and
_Phlegethon_, the river of fire.
335. LEGIONS OF SPRIGHTS. In this stanza and the preceding Spenser follows
Tasso's _Jerusalem Delivered_, xiii, 6-11, where the magician Ismeno,
guarding the Enchanted Wood, conjures "legions of devils" with the "mighty
name" (l. 332).
339. CHOSE. Imitation of Ariosto's _Orlando Furioso_, ii, 15, in which a
false spirit is called up by a hypocritical hermit. The description of the
House of Sleep in st. xxxix _seq_. is modelled on the same poet, _Orlando
Furioso_, ii, 15 _seq_. The influence of Homer's _Odyssey_, xi, 16 is seen
in st. xxxix, ll. 348 _seq_.
348. TETHYS, the ocean. In classical mythology she is the daughter of
Uranus (heaven) and Gaea (earth), and the wife of Oceanus.
349. CYNTHIA, the moon. The allusion is to the story of Diana and Endymion.
See Lyly's play _Endymion_.
352. WHOSE DOUBLE GATES. Homer, _Odyssey_, xix, 562, and Vergil, _Aeneid_,
vi, 893, give the House of Dreams a horn and an ivory gate. Spenser
substitutes silver for horn, mirrors being overlaid with silver in his
time. From the ivory gate issued false dreams; from the other, true ones.
361. SLUMBER SOFT. This stanza shows Spenser's wonderful technique. His
exquisite effects are produced, it will be noticed, partly by the choice of
musical words and partly by the rhythmical cadence of the verse phrases. It
is an example of perfect "keeping," or adaptation of sound to sense. Cf.
Chaucer's description of the waterfalls in the Cave of Sleep in his _Boke
of the Duchesse_, 162.
376. WHOSE DRYER BRAINE, whose brain too dry. In the old physiology, a dry
brain was the cause of slow and weak perception, and a moist brain of
quickness.
378. ALL, entirely, altogether.
381. HECATE, queen of phantoms and demons in Hades, and mistress of witches
on earth. See xxxvii.
387. THE SLEEPERS SENT, the sleeper's sense.
405. MOST LIKE TO SEEME, etc. . most likely fit to seem for (represent) Una.
_Like_ is an adv. A very awkward inversion.
411. BORNE WITHOUT HER DEW, i. e. created by him in an unnatural manner.
425. FAYRE VENUS, the daughter of Jupiter, or Zeus, and the sea-nymph
Dione. She is the same as Aphrodite, the Greek goddess of love and beauty.
430. THE GRACES, Euphrosyne, Aglaia, and Thalia, daughters of Zeus and
Aphrodite.
431. HYMEN IO HYMEN, refrain of an old Roman nuptial song. Hymen, the son
of Apollo and the Muse Urania, was the god of marriage.
432. FRESHEST FLORA, the goddess of flowers. She typified spring.
447. TO PROVE HIS SENSE, etc. To test his perception and prove her feigned
truth.
449. THO CAN SHE WEEPE, then did she weep. _Can_ here is the Northern
dialect form for the middle English _gan_, past tense of _ginnen_, to
begin, which was used as an auxiliary.
454. THE BLIND GOD, Cupid, Eros, or Amor, the god of love.
478. Like other knights of romance, e. g. Sir Galahad and Sir Gareth in
Malory's _Morte d'Arthur_, iii, 65, etc. , the Redcross Knight does not
yield to the temptation of the flesh, but overcomes it.
QUESTIONS AND TOPICS FOR STUDY
(Canto I)
1. Tell in your own words the story of this canto. 2. Which muse does
Spenser invoke? 3. Who were the nine muses? 4. What is the difference
between _pastoral_ and _epic_ poetry? 5. Illustrate by _The Shepheards
Calender_ and the _The Faerie Queene_. 6. Point out imitations of Homer,
Vergil, Lucan, Statius, Ariosto, Tasso, and Chaucer. 7. Explain the
reference to the religious questions and politics of Queen Elizabeth's
reign. 8. Where does Spenser use classical mythology--mediaeval legends? 9.
What references to the Bible do you find? 10. Try to make a mental picture
of the Knight--of Una--of Error--of Archimago. 11. Is Spenser's character
drawing objective or subjective? 12. Is the description of the wood in vii
true to nature? Could so many trees grow together in a thick wood? 13.
Study the Rembrandt-like effects of light and shade in xiv. 14. What
infernal deities are conjured up by Archimago?
15. Paraphrase in your own language ll. 88, 106-107, 116, 267-268.
16. Explain use of _of_ in l. 75. 17. What part of speech is _wandering_ l.
114? _to viewen_ l. 201? parse _which_ l. 232; _him_ and _spend_ l. 233;
_you_ and _shew_ l. 276. 18. Find examples of Euphuistic hyperbole in iv,
of alliteration in xiv. 19. Explain the use and form of _eyne_, _edified_,
_afflicted_, _weeds_, _Hebean_, _impe_, _compeld_, _areeds_, _blazon_,
_ycladd_.
CANTO II
I. _The Plot_: Deceived by Archimago's phantoms, the Redcross Knight
suspects the chastity of Una, and flies at early dawn with his dwarf. He
chances to meet the Saracen Sansfoy in company with the false Duessa. They
do battle and Sansfoy is slain. Duessa under the name of Fidessa attaches
herself to the Knight, and they ride forward. They stop to rest under some
shady trees, On breaking a bough, the Knight discovers that the trees are
two lovers, Fradubio and Fraelissa, thus imprisoned by the cruel
enchantment of Duessa.
II. _The Allegory_: 1. Hypocrisy under a pious disguise is attractive to
Holiness. Truth is also deceived by it, and shamefully slandered. Holiness
having abandoned Truth, takes up with Falsehood, who is attended by
Infidelity. Unbelief when openly assailing Holiness is overthrown, but
Falsehood under the guise of Faith remains undiscovered. The fate of the
man (Fradubio) is set forth who halts between two opinions,--False Religion
(Duessa) and Heathen Philosophy, or Natural Religion (Fraelissa).
2. The Reformed Church, no longer under the guidance of Truth, rushes
headlong into Infidelity, and unwittingly became the defender of the Romish
Faith under the name of the True Faith. There is a hint of the intrigues of
Mary Queen of Scots and the libels of the Jesuits on Queen Elizabeth
designed to bring back the English nation to Romish allegiance.
LINE 1. THE NORTHERNE WAGONER, the constellation Bootes.
2. HIS SEVENFOLD TEME, the seven stars of Ursa Major, or Charles's Wain.
THE STEDFAST STARRE, the Pole-star, which never sets.
6. CHEAREFULL CHAUNTICLERE, the name of the cock in the fabliaux and beast
epics, e. g. _Roman de Renart_ and _Reineke Fuchs_.
7. PHOEBUS FIERY CARRE, the sun.
11.
THAT FAIRE-FORGED SPRIGHT, fair but miscreated spirit (I, xiv). Spenser
took suggestions for this stanza from Ariosto and Tasso.
51. FAIRE HESPERUS, the evening star.
55. THE ROSY-FINGRED MORNING. This beautiful epithet of Aurora, the goddess
of the dawn, is borrowed from Homer, Hesiod, and other ancient poets.
56. AGED TITHONES, son of Laomedon, King of Troy. Aurora conferred upon him
immortality without youth, hence the epithet "aged. "
58. TITAN, the sun-god in the Roman myths.
85. PROTEUS, a sea-god who was endowed with the power of prophecy. He could
change himself into any shape in order to avoid having to prophesy. See
Homer, _Odyssey_, iv, 366 _seq_. , and Vergil, _Georgics_, iv, 387.
90. HERBES. In the sixteenth century the belief in potions, magic formulas,
etc. , was still strongly rooted in the popular mind. The Spanish court and
the priests were supposed to employ supernatural agencies against the
Protestants.
105. A FAITHLESS SARAZIN. Spenser uses the word Saracen in the general
sense of pagan. During the Middle Ages the Saracen power was a menace to
Europe, and the stronghold of infidelity. The names of the three Paynim
brethren, Sansfoy, Sansjoy, and Sansloy,--faithless, joyless, and
lawless,--suggest the point of view of Spenser's age.
109. A FAIRE COMPANION, the enchantress Duessa, or Falsehood, who calls
herself Fidessa. In the allegory Spenser intended her to represent the
Romish church and Mary Queen of Scots. Her character and appearance were
suggested by the woman of Babylon, in _Revelation_, viii, 4, Ariosto's
Alcina, and Tasso's Armida.
136. AS WHEN TWO RAMS. This figure is found in Vergil, Apollonius, Malory,
Tasso, Dante, and other poets and romancers.
141. THE HANGING VICTORY, the victory which hung doubtful in the balance.
144. THE BROKEN RELIQUES, the shattered lances.
148. EACH OTHERS EQUALL PUISSAUNCE ENVIES, each envies the equal prowess of
the other.
149. THROUGH THEIR IRON SIDES, etc. , through their armored sides with cruel
glances, etc.
155. THE BITTER FIT, the bitterness of death.
158. ASSURED SITT, etc. , sit firm (in the saddle), and hide (cover) thy
head (with thy shield).
160. WITH RIGOUR SO OUTRAGEOUS, with force so violent.
161. THAT A LARGE SHARE, etc. , that a large piece it (the sword) hewed,
etc.
162. FROM BLAME HIM FAIRLY BLEST. 1, fairly preserved him from hurt; 2,
fairly acquitted him of blame. _Him_ in (1) refers to the knight, in (2) to
the Saracen. (1) is the better interpretation.
169. GRUDGING. Because reluctant to part from the flesh.
196. DAUGHTER OF AN EMPEROUR. Duessa represents the Pope, who exercised
imperial authority in Rome, though the seat of the empire had been
transferred to Constantinople in 476.
200. THE ONLY HAIRE. The dauphin of France, the first husband of Mary Queen
of Scots, afterwards King Francis II, son of Henry II. Duessa's story is
full of falsehoods.
244. SO DAINTY THEY SAY MAKETH DERTH, coyness makes desire. The knight is
allured on by Duessa's assumed shyness.
251. NE WONT THERE SOUND, nor was accustomed to sound there.
254. COOL SHADE. The Reformed Church, weakened by Falsehood, is enticed by
doubt and skepticism.
262. FAIRE SEEMLY PLEASAUNCE, pleasant courtesies.
263. WITH GOODLY PURPOSES, with polite conversation. This whole stanza
refers to Mary's candidacy for the English throne and its dangers to
Protestantism.
269. HE PLUCKT A BOUGH. In this incident Spenser imitates Ariosto, _Orlando
Furioso_, vi, 26, in which Ruggiero addresses a myrtle which bleeds and
cries out with pain. The conception of men turned into trees occurs also in
Ovid, Vergil, Tasso, and Dante.
272. O SPARE WITH GUILTY HANDS, etc. Cf Vergil's account of Polydorus in
_Aeneid_, iii, 41, in which a myrtle exclaims, _Parce pias scelerare
manus_, etc.
284. FROM LIMBO LAKE, here, the abode of the lost. With the Schoolmen,
Limbo was a border region of hell where dwelt the souls of Old Testament
saints, pious heathen, lunatics, and unbaptized infants. Cf. Milton's
Paradise of Fools, _Paradise Lost_, iii, 495.
291. FRADUBIO, as it were "Brother Doubtful," one who hesitates between
false religion and pagan religion, Duessa and Fraelissa (Morley). Fraelissa
is fair but frail, and will not do to lean upon.
342. FAIRE IN PLACE, fair in that place.
351. TO TREEN MOULD, to the form of a tree. _Treen_ is an adj. like
_wooden_.
354. THE SAME. Supply "as she appeared to be," i. e. fair and true.
357. PROPER HEW. Witches had to appear in their "proper hew" one day in
spring and undergo a purifying bath. The old romances make frequent mention
of the enchanted herb bath.
370. BY CHAUNGES OF MY CHEARE, by my changed countenance or expression.
371. DROWND IN SLEEPIE NIGHT. The phrase modifies "body," or is equivalent
to "while I was drowned in sleep. "
382. IN A LIVING WELL, in a well of running water. This well signifies the
healing power of Christianity. _John_, iv, 14. In Spenser's story this well
is never found, and the wretched couple are never restored to human shape.
404. ALL PASSED FEARE, all fear having passed.
QUESTIONS AND TOPICS
(Canto II)
1. How does the knight feel and act while under Archimago's spell? 2. What
becomes of Una? 3. How does Archimago plan to deceive her? 4. Tell the
story of the lovers turned into trees. 5. Who was Sansfoy? 6. Describe the
appearance and character of Duessa. 7. What did she have to do with
Fradubio and Fraelissa? 8. What was the old belief about the penance of
witches? 9. How only could the lovers be restored to their human shape? Was
it done? 10. Who were St. George, Phoebus, Titan, Tithonius? 11. Explain
the reference to Chaunticlere in l. 6.
12. Find examples of _alliteration_ in xix; of _balance_ in xxxvii; and of
_Latinizing_ in xix; xxxvi; xxxviii, and xl.
13. Paraphrase in your own words ll. 111, 134-135, 162 (giving two
interpretations); 335, 386-387.
14. What _figure of speech_ is used in xiii, xvi, and xx?
15. Study the rich word-painting in the description of sunrise in vii. Find
other examples of this poet's use of "costly" epithets.
16. Scan the following passages: 148, 174, 178, 193, and 299.
17. Find example of _tmesis_ (separation of prep. from ob. ) in xlv.
18. What is the difference between the two _wells_ in xliii?
19. To whom do the pronouns in ll. 174, 175 refer?
20. What is the _case_ of _heavens_ in l. 193? of _Sarazin_ in l. 217?
21. What words are omitted in ll. 188, 313, 398?
CANTO III
I. _The Plot:_ Una wandering in quest of her Knight is guarded by a Lion.
With difficulty they gain entrance to the cottage of Corceca and her
daughter Abessa, the paramour of Kirkrapine. The latter is killed by the
Lion. Fleeing the next day, Una falls in with Archimago disguised as the
Redcross Knight. They journey on and meet a second Saracen knight, Sansloy.
In the fight which ensues Archimago is unhorsed and his deception unmasked.
The Lion is slain, and Una becomes the captive of Sansloy.
II. _The Allegory:_ 1. Truth finds temporary protection in Reason, or
Natural Honor (Lion), and with its help puts a stop to the Robbing of
Churches (Kirkrapine), which is connived at by Blind Devotion (Corceca) and
Secret Sin (Abessa). Truth is then associated with Hypocrisy under the
guise of Holiness, but it is soon unmasked by Lawlessness (Sansloy), with
which Truth is forced into an unnatural alliance.
2. "The lion is said to represent Henry VIII, overthrowing the monasteries,
destroying church-robbers, disturbing the dark haunts of idleness,
ignorance and superstition. "--Kitchin. The battle between Archimago and
Sansloy refers to the contests of the Catholic powers with the Moslems. The
whole canto also has a hint of the violence and lawlessness connected with
the English conquest of Ireland.
LINE 14. THOUGH TRUE AS TOUCH, though true as if tested on the touchstone
(by which true gold was distinguished from counterfeit).
18. AND HER DUE LOVES, etc. , the love due to her diverted, etc.
27. YET WISHED TYDINGS, etc.
