The word order is
inverted
for the sake of the rhyme.
Spenser - Faerie Queene - 1
did kindle and provide,
And holy water thereon sprinckled wide;
At which the bushy Teade a groome did light, 330
And sacred lamp in secret chamber hide,
Where it should not be quenched day nor night,
For feare of evill fates, but burnen ever bright.
XXXVIII
Then gan they sprinckle all the posts with wine,
And made great feast to solemnize that day; 335
They all perfumde with frankencense divine,
And precious odours fetcht from far away,
That all the house did sweat with great aray:
And all the while sweete Musicke did apply
Her curious skill, the warbling notes to play, 340
To drive away the dull Melancholy;
The whiles one sung a song of love and jollity.
XXXIX
During the which there was an heavenly noise
Heard sound through all the Pallace pleasantly,
Like as it had bene many an Angels voice 345
Singing before th' eternall Majesty,
In their trinall triplicities? on hye;
Yet wist no creature whence that heavenly sweet
Proceeded, yet eachone felt secretly
Himselfe thereby reft of his sences meet, 350
And ravished with rare impression in his sprite.
XL
Great joy was made that day of young and old,
And solemne feast proclaimd throughout the land,
That their exceeding merth may not be told:
Suffice it heare by signes to understand 355
The usuall joyes at knitting of loves band.
Thrise happy man the knight himselfe did hold,
Possessed of his Ladies hart and hand,
And ever, when his eye did her behold,
His heart did seeme to melt in pleasures manifold. 360
XLI
Her joyous presence, and sweet company
In full content he there did long enjoy;
Ne wicked envie, ne vile gealosy,
His deare delights were able to annoy:
Yet swimming in that sea of blissfull joy, 365
He nought forgot how he whilome had sworne,
In case he could that monstrous beast destroy,
Unto his Faerie Queene backe to returne;
The which he shortly did, and Una left to mourne.
XLII
Now strike your sailes ye jolly Mariners, 370
For we be come unto a quiet rode,
Where we must land some of our passengers,
And light this wearie vessell of her lode.
Here she a while may make her safe abode,
Till she repaired have her tackles spent,? 375
And wants supplide. And then againe abroad
On the long voyage whereto she is bent:
Well may she speede and fairely finish her intent.
* * * * *
NOTES
LINE 1. LO I THE MAN. . . . An imitation of the opening lines of Vergil's
_Aeneid_:--
"Ille ego, qui quondam gracili modulatus avena
Carmen,. . .
Gratum opus agricolis, at nunc horrentia Martis. "
Referring to his _Shepheards Calender_ (1579) Spenser thus gracefully
indicates his change from pastoral to epic poetry.
5-9. KNIGHTS AND LADIES. The poet here imitates the opening of Ariosto's
_Orlando Furioso_.
10. O HOLY VIRGIN CHIEFE OF NINE, refers to Clio, the muse of history.
Spenser should have invoked Calliope, the muse of poetry.
14. OF FAERIE KNIGHTS, the the champions of Gloriana, the queen of
Faerieland. FAIREST TANAQUILL, a British princess, daughter of Oberon, king
of Faerieland. In the allegory she is Queen Elizabeth.
15. THAT MOST NOBLE BRITON PRINCE is Prince Arthur, the perfect knight, who
is in love with Gloriana. In the allegory the Earl of Leicester is probably
meant, though by one tradition Sir Philip Sidney is identified with Prince
Arthur.
19. IMPE OF HIGHEST JOVE, Cupid, the god of love, and son of Jupiter and
Venus. He is represented as armed with an ebony bow (l. 23).
25. TRIUMPHANT MART, Mars, the god of war. The spelling is that of the
Italians and Chaucer.
28. O GODDESSE HEAVENLY BRIGHT, Queen Elizabeth (aged 56), who was fond of
such extravagant flattery, and expected it of all her courtiers.
31. PHOEBUS LAMPE, Apollo, the sun-god.
34. GLORIOUS TYPE OF THINE, the Lady Una, who stands for Truth in the
allegory.
35. THE ARGUMENT OF MINE AFFLICTED STILE, the subject of my humble pen.
"_Afflicted_" has the original Latin sense of "cast down. "
36. O DEAREST DRED, O beloved object of reverence; a common salutation of
royalty.
CANTO I
I. _The Plot:_ At the bidding of Gloriana, the Redcross Knight undertakes
to deliver Una's parents from a dragon who holds them captive. He sets out
upon his quest attended by a dwarf and guided by Una, mounted on an ass and
leading a lamb. They are driven by a storm into a forest, where they
discover the cave of Error, who is slain by the Knight. They are then
beguiled into the house of Archimago, an old enchanter. By his magic he
leads the Knight in a dream to believe that Una is false to him, and thus
separates them.
II. _The Allegory:_ 1. Holiness, the love of God, united with Truth, the
knowledge of God, is to deliver man from the thraldom of the Devil.
Together they are able to overthrow Error; but Hypocrisy deceitfully
alienates Holiness from Truth by making the latter appear unworthy of love.
2. There is a hint of the intrigues of the false Roman church and the
treacherous Spanish king, Philip II, to undermine the religious and
political freedom of the English people. The English nation, following the
Reformed church, overthrows the Catholic faith, but is deceived by the
machinations of Spanish diplomacy.
LINE 1. A GENTLE KNIGHT, the Redcross Knight, representing the church
militant, and Reformed England. He is the young, untried champion of the
old cause whose struggles before the Reformation are referred to in ll. 3,
4. His shield bore "a cross gules upon a field argent," a red cross on a
silver ground. See _The Birth of St. George_ in Percy's _Reliques_, iii, 3,
and Malory's _Morte d'Arthur_, iii, 65.
15. FOR SOVERAINE HOPE, as a sign of the supreme hope.
20. GREATEST GLORIANA, Queen Elizabeth. In other books of _The Faerie
Queene_ she is called Belphoebe, the patroness of chastity, and Britomart,
the military genius of Britain.
27. A DRAGON, "the great dragon, that old serpent, called the devil,"
_Revelation_, xii, 9, also Rome and Spain. Cf. legend of St. George and the
dragon, and Fletcher's _Purple Island_, vii _seq. _
28. A LOVELY LADIE, Una, the personification of truth and true religion.
Her lamb symbolizes innocence.
46. A DWARFE, representing prudence, or common sense; according to Morley,
the flesh.
56. A SHADIE GROVE, the wood of Error. "By it Spenser shadows forth the
danger surrounding the mind that escapes from the bondage of Roman
authority and thinks for itself. "--Kitchin. The description of the wood is
an imitation of Ariosto's _Orlando Furioso_, i, 37, Chaucer's _Assembly of
Foules_, 176, and Tasso's _Jerusalem Delivered_, iii, 75. Morley sees in
this grove an allegory of man's life, the trees symbolizing trade,
pleasure, youth, etc.
69. THE SAYLING PINE. Ships were built of pine.
70. THE LOPLAR NEVER DRY, because it grows best in moist soil.
71. THE BUILDER OAKE. In the Middle Ages most manor houses and churches
were built of oak.
72. THE CYPRESSE FUNERALL, an emblem of death among the ancients, and
sacred to Pluto. Sidney says that they were wont to dress graves with
cypress branches in old times.
73. THE LAURELL. Victors at the Pythian games and triumphing Roman generals
were crowned with laurel. It was also sacred to Apollo, the god of poetry,
hence "meed of poets sage. "
74. THE FIRRE THAT WEEPETH STILL. The fir exudes resinous substance.
75. THE WILLOW. "Willows: a sad tree, whereof such who have lost their love
make their mourning garlands. "--Fuller's _Worthies_, i, 153. Cf. Heywood's
_Song of the Green Willow_, and Desdemona's song in _Othello_, IV, iii, 39.
76. THE EUGH. Ascham in his _Toxophilus_ tells us that the best bows were
made of yew.
78. THE MIRRHE, the Arabian myrtle, which exudes a bitter but fragrant gum.
The allusion is to the wounding of Myrrha by her father and her
metamorphosis into this tree.
79. THE WARLIKE BEECH, because lances and other arms were made of it. THE
ASH FOR NOTHING ILL. "The uses of the ash is one of the most universal: it
serves the souldier, the carpenter, the wheelwright, cartwright, cooper,
turner, and thatcher. "--Evelyn's _Sylva_. The great tree Igdrasil in the
northern mythology was an ash.
81. THE CARVER HOLME, or evergreen oak, was good for carving.
106. SHAME WERE TO REVOKE, etc. , it would be cowardly not to go forward for
fear of some suspected unseen danger.
114. THE WANDRING WOOD, i. e. which causes men to go astray.
123. MONSTER. The description of the monster Error, or Falsehood, is based
on Hesiod's Echidna, _Theog_. 301, and the locusts in _Revelation_, ix,
7-10. She is half human, half serpent, because error is partly true and
partly false. Dante's Fraud and Milton's Sin are similar monsters.
126. FULL OF VILE DISDAINE, full of vileness that bred disgust in the
beholder.
130. OF HER THERE BRED, etc. , of her were born a thousand young ones. Her
offspring are lies and rumors of many shapes.
141. ARMED TO POINT, completely armed. Cf. Fr. _a point_, to a nicety.
145. THE VALIANT ELFE, because he was the reputed son of an Elfin or
Faerie, though really sprung from "an ancient race of Saxon kings. " Three
kinds of elves are mentioned in the _Edda_: the black dwarfs, and brownies,
who both dwelt under ground, and the fair elves, who dwelt in Fairyland or
Alfheim. "The difference between Spenser's elves and these Teutonic elves
shows how he perverts Fairy mythology in the same way as he does Classical
myths. "--Percival.
168. HIS GALL DID GRATE FOR GRIEFE, his anger was aroused on account of
pain. In the old anatomy anger had its seat in the gallbladder. See
Burton's _Anatomy of Melancholy_, I, i, 2.
177. HER VOMIT FULL OF BOOKES, etc. From 1570, when Pope Sixtus V issued
his bull of deposition against Queen Elizabeth, to 1590, great numbers of
scurrilous pamphlets attacking the Queen and the Reformed church had been
disseminated by Jesuit refugees.
181. NILUS. Pliny believed that the mud of the Nile had the power of
breeding living creatures like mice. _Hist. Nat. _ ix, 84. So Shakespeare,
_Antony and Cleopatra_, II, vii, 29.
199. GENTLE SHEPHEARD. In this pastoral simile, Spenser imitates Homer's
_Iliad_, ii, 469, and xvii, 641, and Ariosto's _Orlando Furioso_, xiv, 109.
208. THUS ILL BESTEDD. There is a similar combat in the old romance _Guy of
Warwick_, ix, between the hero and a man-eating dragon.
217. HER SCATTRED BROOD. The poet here follows a belief as old as Pliny
that the young of serpents fed on their mother's blood. In this entire
passage the details are too revolting for modern taste.
232. THE WHICH THEM NURST. The antecedent of _which_ is _her_. 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.
And holy water thereon sprinckled wide;
At which the bushy Teade a groome did light, 330
And sacred lamp in secret chamber hide,
Where it should not be quenched day nor night,
For feare of evill fates, but burnen ever bright.
XXXVIII
Then gan they sprinckle all the posts with wine,
And made great feast to solemnize that day; 335
They all perfumde with frankencense divine,
And precious odours fetcht from far away,
That all the house did sweat with great aray:
And all the while sweete Musicke did apply
Her curious skill, the warbling notes to play, 340
To drive away the dull Melancholy;
The whiles one sung a song of love and jollity.
XXXIX
During the which there was an heavenly noise
Heard sound through all the Pallace pleasantly,
Like as it had bene many an Angels voice 345
Singing before th' eternall Majesty,
In their trinall triplicities? on hye;
Yet wist no creature whence that heavenly sweet
Proceeded, yet eachone felt secretly
Himselfe thereby reft of his sences meet, 350
And ravished with rare impression in his sprite.
XL
Great joy was made that day of young and old,
And solemne feast proclaimd throughout the land,
That their exceeding merth may not be told:
Suffice it heare by signes to understand 355
The usuall joyes at knitting of loves band.
Thrise happy man the knight himselfe did hold,
Possessed of his Ladies hart and hand,
And ever, when his eye did her behold,
His heart did seeme to melt in pleasures manifold. 360
XLI
Her joyous presence, and sweet company
In full content he there did long enjoy;
Ne wicked envie, ne vile gealosy,
His deare delights were able to annoy:
Yet swimming in that sea of blissfull joy, 365
He nought forgot how he whilome had sworne,
In case he could that monstrous beast destroy,
Unto his Faerie Queene backe to returne;
The which he shortly did, and Una left to mourne.
XLII
Now strike your sailes ye jolly Mariners, 370
For we be come unto a quiet rode,
Where we must land some of our passengers,
And light this wearie vessell of her lode.
Here she a while may make her safe abode,
Till she repaired have her tackles spent,? 375
And wants supplide. And then againe abroad
On the long voyage whereto she is bent:
Well may she speede and fairely finish her intent.
* * * * *
NOTES
LINE 1. LO I THE MAN. . . . An imitation of the opening lines of Vergil's
_Aeneid_:--
"Ille ego, qui quondam gracili modulatus avena
Carmen,. . .
Gratum opus agricolis, at nunc horrentia Martis. "
Referring to his _Shepheards Calender_ (1579) Spenser thus gracefully
indicates his change from pastoral to epic poetry.
5-9. KNIGHTS AND LADIES. The poet here imitates the opening of Ariosto's
_Orlando Furioso_.
10. O HOLY VIRGIN CHIEFE OF NINE, refers to Clio, the muse of history.
Spenser should have invoked Calliope, the muse of poetry.
14. OF FAERIE KNIGHTS, the the champions of Gloriana, the queen of
Faerieland. FAIREST TANAQUILL, a British princess, daughter of Oberon, king
of Faerieland. In the allegory she is Queen Elizabeth.
15. THAT MOST NOBLE BRITON PRINCE is Prince Arthur, the perfect knight, who
is in love with Gloriana. In the allegory the Earl of Leicester is probably
meant, though by one tradition Sir Philip Sidney is identified with Prince
Arthur.
19. IMPE OF HIGHEST JOVE, Cupid, the god of love, and son of Jupiter and
Venus. He is represented as armed with an ebony bow (l. 23).
25. TRIUMPHANT MART, Mars, the god of war. The spelling is that of the
Italians and Chaucer.
28. O GODDESSE HEAVENLY BRIGHT, Queen Elizabeth (aged 56), who was fond of
such extravagant flattery, and expected it of all her courtiers.
31. PHOEBUS LAMPE, Apollo, the sun-god.
34. GLORIOUS TYPE OF THINE, the Lady Una, who stands for Truth in the
allegory.
35. THE ARGUMENT OF MINE AFFLICTED STILE, the subject of my humble pen.
"_Afflicted_" has the original Latin sense of "cast down. "
36. O DEAREST DRED, O beloved object of reverence; a common salutation of
royalty.
CANTO I
I. _The Plot:_ At the bidding of Gloriana, the Redcross Knight undertakes
to deliver Una's parents from a dragon who holds them captive. He sets out
upon his quest attended by a dwarf and guided by Una, mounted on an ass and
leading a lamb. They are driven by a storm into a forest, where they
discover the cave of Error, who is slain by the Knight. They are then
beguiled into the house of Archimago, an old enchanter. By his magic he
leads the Knight in a dream to believe that Una is false to him, and thus
separates them.
II. _The Allegory:_ 1. Holiness, the love of God, united with Truth, the
knowledge of God, is to deliver man from the thraldom of the Devil.
Together they are able to overthrow Error; but Hypocrisy deceitfully
alienates Holiness from Truth by making the latter appear unworthy of love.
2. There is a hint of the intrigues of the false Roman church and the
treacherous Spanish king, Philip II, to undermine the religious and
political freedom of the English people. The English nation, following the
Reformed church, overthrows the Catholic faith, but is deceived by the
machinations of Spanish diplomacy.
LINE 1. A GENTLE KNIGHT, the Redcross Knight, representing the church
militant, and Reformed England. He is the young, untried champion of the
old cause whose struggles before the Reformation are referred to in ll. 3,
4. His shield bore "a cross gules upon a field argent," a red cross on a
silver ground. See _The Birth of St. George_ in Percy's _Reliques_, iii, 3,
and Malory's _Morte d'Arthur_, iii, 65.
15. FOR SOVERAINE HOPE, as a sign of the supreme hope.
20. GREATEST GLORIANA, Queen Elizabeth. In other books of _The Faerie
Queene_ she is called Belphoebe, the patroness of chastity, and Britomart,
the military genius of Britain.
27. A DRAGON, "the great dragon, that old serpent, called the devil,"
_Revelation_, xii, 9, also Rome and Spain. Cf. legend of St. George and the
dragon, and Fletcher's _Purple Island_, vii _seq. _
28. A LOVELY LADIE, Una, the personification of truth and true religion.
Her lamb symbolizes innocence.
46. A DWARFE, representing prudence, or common sense; according to Morley,
the flesh.
56. A SHADIE GROVE, the wood of Error. "By it Spenser shadows forth the
danger surrounding the mind that escapes from the bondage of Roman
authority and thinks for itself. "--Kitchin. The description of the wood is
an imitation of Ariosto's _Orlando Furioso_, i, 37, Chaucer's _Assembly of
Foules_, 176, and Tasso's _Jerusalem Delivered_, iii, 75. Morley sees in
this grove an allegory of man's life, the trees symbolizing trade,
pleasure, youth, etc.
69. THE SAYLING PINE. Ships were built of pine.
70. THE LOPLAR NEVER DRY, because it grows best in moist soil.
71. THE BUILDER OAKE. In the Middle Ages most manor houses and churches
were built of oak.
72. THE CYPRESSE FUNERALL, an emblem of death among the ancients, and
sacred to Pluto. Sidney says that they were wont to dress graves with
cypress branches in old times.
73. THE LAURELL. Victors at the Pythian games and triumphing Roman generals
were crowned with laurel. It was also sacred to Apollo, the god of poetry,
hence "meed of poets sage. "
74. THE FIRRE THAT WEEPETH STILL. The fir exudes resinous substance.
75. THE WILLOW. "Willows: a sad tree, whereof such who have lost their love
make their mourning garlands. "--Fuller's _Worthies_, i, 153. Cf. Heywood's
_Song of the Green Willow_, and Desdemona's song in _Othello_, IV, iii, 39.
76. THE EUGH. Ascham in his _Toxophilus_ tells us that the best bows were
made of yew.
78. THE MIRRHE, the Arabian myrtle, which exudes a bitter but fragrant gum.
The allusion is to the wounding of Myrrha by her father and her
metamorphosis into this tree.
79. THE WARLIKE BEECH, because lances and other arms were made of it. THE
ASH FOR NOTHING ILL. "The uses of the ash is one of the most universal: it
serves the souldier, the carpenter, the wheelwright, cartwright, cooper,
turner, and thatcher. "--Evelyn's _Sylva_. The great tree Igdrasil in the
northern mythology was an ash.
81. THE CARVER HOLME, or evergreen oak, was good for carving.
106. SHAME WERE TO REVOKE, etc. , it would be cowardly not to go forward for
fear of some suspected unseen danger.
114. THE WANDRING WOOD, i. e. which causes men to go astray.
123. MONSTER. The description of the monster Error, or Falsehood, is based
on Hesiod's Echidna, _Theog_. 301, and the locusts in _Revelation_, ix,
7-10. She is half human, half serpent, because error is partly true and
partly false. Dante's Fraud and Milton's Sin are similar monsters.
126. FULL OF VILE DISDAINE, full of vileness that bred disgust in the
beholder.
130. OF HER THERE BRED, etc. , of her were born a thousand young ones. Her
offspring are lies and rumors of many shapes.
141. ARMED TO POINT, completely armed. Cf. Fr. _a point_, to a nicety.
145. THE VALIANT ELFE, because he was the reputed son of an Elfin or
Faerie, though really sprung from "an ancient race of Saxon kings. " Three
kinds of elves are mentioned in the _Edda_: the black dwarfs, and brownies,
who both dwelt under ground, and the fair elves, who dwelt in Fairyland or
Alfheim. "The difference between Spenser's elves and these Teutonic elves
shows how he perverts Fairy mythology in the same way as he does Classical
myths. "--Percival.
168. HIS GALL DID GRATE FOR GRIEFE, his anger was aroused on account of
pain. In the old anatomy anger had its seat in the gallbladder. See
Burton's _Anatomy of Melancholy_, I, i, 2.
177. HER VOMIT FULL OF BOOKES, etc. From 1570, when Pope Sixtus V issued
his bull of deposition against Queen Elizabeth, to 1590, great numbers of
scurrilous pamphlets attacking the Queen and the Reformed church had been
disseminated by Jesuit refugees.
181. NILUS. Pliny believed that the mud of the Nile had the power of
breeding living creatures like mice. _Hist. Nat. _ ix, 84. So Shakespeare,
_Antony and Cleopatra_, II, vii, 29.
199. GENTLE SHEPHEARD. In this pastoral simile, Spenser imitates Homer's
_Iliad_, ii, 469, and xvii, 641, and Ariosto's _Orlando Furioso_, xiv, 109.
208. THUS ILL BESTEDD. There is a similar combat in the old romance _Guy of
Warwick_, ix, between the hero and a man-eating dragon.
217. HER SCATTRED BROOD. The poet here follows a belief as old as Pliny
that the young of serpents fed on their mother's blood. In this entire
passage the details are too revolting for modern taste.
232. THE WHICH THEM NURST. The antecedent of _which_ is _her_. 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.
