After a hopeless
struggle
he is struck down
by the giant's club and is thrust into a dungeon.
by the giant's club and is thrust into a dungeon.
Spenser - Faerie Queene - 1
17.
Whom did the dwarf see
in the dungeons of Pride? 18. Why did the Knight flee from the House of
Pride?
19. Examine the following grammatical forms: _maken_, l. 22; _woundes_, l.
400. 20. What _figure of speech_ is employed in xviii? 21. What
illustration is used in viii? 22. Find example of _balanced structure_ in
vii; _alliteration_ in viii, xv, xviii. 23. Scan l. 23. 24. Note nom. abs.
construction in xlv.
25. Paraphrase the involved constructions in xlii, xix, viii, xxxvi.
CANTO VI
I. _The Plot_: (Continuation of Canto III). Una is delivered from Sansloy
by a band of Satyrs. She remains with them as their teacher. There a knight
of the wild-wood, Sir Satyrane, discovers her, and by his assistance, Una
succeeds in making her way out of the forest to the plain. On the way they
meet Archimago, disguised as a pilgrim, and he deceives them and leads them
to Sansloy. While Sir Satyrane and Sansloy are engaged in a bloody battle,
Una flees. She is pursued by Archimago but makes her escape.
II. _The Allegory_: 1. Truth is saved from destruction by Lawless Violence
(Sansloy) by the aid of Barbarism or Savage Instinct, which terrorizes
Lawlessness but offers natural homage to Truth. Truth finds a temporary
home among Ignorant and Rude Folk (Satyrs) and in return imparts divine
truth to their unregenerate minds. Natural Heroism or Manly Courage (Sir
Satyrane) sides with Truth and defends it against Lawlessness.
2. The religious allegory signifies the extension of Protestantism through
the outlying rural districts of England and in Ireland. Upton thinks that
Sir Satyrane represents "Sir John Perrot, whose behaviour, though honest,
was too coarse and rude for a court. 'Twas well known that he was a son of
Henry VIII. " Holinshed says that as Lord President of Munster, Sir John
secured such peace and security that a man might travel in Ireland with a
white stick only in his hand.
16. FROM ONE TO OTHER YND, from the East to the West Indies.
61. A TROUPE OF FAUNES AND SATYRES. The Fauns were the wood-gods of the
Romans, the Satyrs the wood-gods of the Greeks. They were half human, half
goat, and represented the luxuriant powers of nature.
63. OLD SYLVANUS, the Roman god of fields and woods, young and fond of
animal pleasures. Spenser represents him as a feeble but sensuous old man.
90. WITH CHAUNGE OF FEARE, from the wolf to the lion.
96. RUSTICK HORROR, bristling hair.
99. THEIR BACKWARD BENT KNEES, like the hinder legs of a goat.
101. THEIR BARBAROUS TRUTH, their savage honor.
103. LATE LEARND, having been recently taught. She had shown too "hasty
trust" in Archimago.
112. WITHOUT SUSPECT OF CRIME, without suspicion of blame.
117. The olive is the emblem of peace, as the ivy (l. 126) is of
sensuousness.
120. WITH THEIR HORNED FEET, with their hoofs.
128. OR BACCHUS MERRY FRUIT, etc. , whether they did discover grapes.
129. OR CYBELES FRANTICKE RITES, the wild dances of the Corybantes,
priestesses of Cybele, or Rhea, the wife of Chronos and mother of the gods.
132. THAT MIRRHOUR RARE, that model of beauty. So Sidney was called "the
mirror of chivalry. "
134. FAIRE DRYOPE, a princess of AEchalia, who became a forest nymph.
Pholoe, mentioned in l. 135, is probably a fictitious creation of the
author's.
146. DEAREST CYPARISSE, a youth of Cea, who accidentally killed his
favorite stag and dying of grief was changed into a cypress. He was beloved
by Apollo and Sylvanus.
148. NOT FAIRE TO THIS, i. e. compared to this.
152. N'OULD AFTER JOY, would not afterwards be cheerful.
153. SELFE-WILD ANNOY, self-willed distress.
154. FAIRE HAMADRYADES, the nymphs who dwelt in the forest trees and died
with them.
156. LIGHT-FOOT NAIADES, the fresh water nymphs, companions of the fauns
and satyrs.
161. THEIR WOODY KIND, the wood-born creatures of their own kind, e. g.
nymphs or satyrs.
163. Una was "luckelesse" in having lost her knights, but "lucky" in the
friendship of the Satyrs. Note the Euphuistic phrasing.
169. IDOLATRYES. The allegory has reference to the idolatrous practices of
the ignorant primitive Christians, such as the worship of images of the
Saints, the pageant of the wooden ass during Lent (see _Matthew_, xxi, and
Brand's _Popular Antiquities_, i, 124), and the Feast of the Ass (see
_Matthew_, ii, 14).
172. A NOBLE WARLIKE KNIGHT, Sir Satyrane, in whom are united rude untaught
chivalry and woodland savagery. He represents natural heroism and
instinctive love of truth.
173. BY JUST OCCASION, just at the right moment.
184. THYAMIS is the symbol of Animal Passion; LABRYDE of the lower
appetites; THERION, the human wild beast, who deserts his wife.
xxiv. This account of Sir Satyrane's education is based on that of Rogero
by his uncle Atlante in Ariosto's _Orlando Furioso_, vii, 5, 7.
213. MAISTER OF HIS GUISE, his instructor.
214. AT HIS HORRID VEW, his shaggy, uncouth appearance.
256. HIS FAMOUS WORTH WAS BLOWN, i. e. blazoned by Fame's trumpet.
308. A JACOBS STAFFE. According to Nares, "A pilgrim's staff; either from
the frequent pilgrimages to St. James of Comfortella (in Galicia), or
because the apostle St. James is usually represented with one. "
371. See Canto III, xxxviii, where Archimago was disguised as St. George.
372. TH' ENCHAUNTER VAINE, etc. , the foolish enchanter (Archimago) would
not have rued his (St. George's) crime (i. e. slaying Sansfoy).
373. BUT THEM HIS ERROUR SHALT, etc. , thou shalt by thy death pay the
penalty of his crime and thus prove that he was really guilty. A very
obscure passage. Look up the original meaning of _shall_.
386. This simile is found frequently in the old romances. Cf. Malory's
_Morte d'Arthur_, ii, 104, and Chaucer's _Knight's Tale_, l. 1160.
416. According to a usage of chivalry, the lover wore a glove, sleeve,
kerchief, or other token of his lady-love on his helmet. By "lover's token"
Sansloy ironically means a blow.
425. TO HER LAST DECAY, to her utter ruin.
426. Spenser leaves the fight between Sansloy and Sir Satyrane unfinished.
Both warriors appear in later books of the _Faerie Queene_.
QUESTIONS AND TOPICS
(Canto VI)
1. Who rescued Una from Sansloy? 2. How does Una repay their kindness? 3.
How was she treated by them? 4. Explain the references to the various
classes of nymphs. 5. Look up the classical references in xvi and xviii. 6.
Why is Una described as "luckelesse lucky"? 7. What customs of the early
Christians are referred to in xix? 8. What does Sir Satyrane symbolize in
the allegory? 9. What was his character and education? 10. Note the
Elizabethan conception of the goddess Fortune in xxxi. 11. Did Una act
ungratefully in leaving the Satyrs as she did? 12. 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.
in the dungeons of Pride? 18. Why did the Knight flee from the House of
Pride?
19. Examine the following grammatical forms: _maken_, l. 22; _woundes_, l.
400. 20. What _figure of speech_ is employed in xviii? 21. What
illustration is used in viii? 22. Find example of _balanced structure_ in
vii; _alliteration_ in viii, xv, xviii. 23. Scan l. 23. 24. Note nom. abs.
construction in xlv.
25. Paraphrase the involved constructions in xlii, xix, viii, xxxvi.
CANTO VI
I. _The Plot_: (Continuation of Canto III). Una is delivered from Sansloy
by a band of Satyrs. She remains with them as their teacher. There a knight
of the wild-wood, Sir Satyrane, discovers her, and by his assistance, Una
succeeds in making her way out of the forest to the plain. On the way they
meet Archimago, disguised as a pilgrim, and he deceives them and leads them
to Sansloy. While Sir Satyrane and Sansloy are engaged in a bloody battle,
Una flees. She is pursued by Archimago but makes her escape.
II. _The Allegory_: 1. Truth is saved from destruction by Lawless Violence
(Sansloy) by the aid of Barbarism or Savage Instinct, which terrorizes
Lawlessness but offers natural homage to Truth. Truth finds a temporary
home among Ignorant and Rude Folk (Satyrs) and in return imparts divine
truth to their unregenerate minds. Natural Heroism or Manly Courage (Sir
Satyrane) sides with Truth and defends it against Lawlessness.
2. The religious allegory signifies the extension of Protestantism through
the outlying rural districts of England and in Ireland. Upton thinks that
Sir Satyrane represents "Sir John Perrot, whose behaviour, though honest,
was too coarse and rude for a court. 'Twas well known that he was a son of
Henry VIII. " Holinshed says that as Lord President of Munster, Sir John
secured such peace and security that a man might travel in Ireland with a
white stick only in his hand.
16. FROM ONE TO OTHER YND, from the East to the West Indies.
61. A TROUPE OF FAUNES AND SATYRES. The Fauns were the wood-gods of the
Romans, the Satyrs the wood-gods of the Greeks. They were half human, half
goat, and represented the luxuriant powers of nature.
63. OLD SYLVANUS, the Roman god of fields and woods, young and fond of
animal pleasures. Spenser represents him as a feeble but sensuous old man.
90. WITH CHAUNGE OF FEARE, from the wolf to the lion.
96. RUSTICK HORROR, bristling hair.
99. THEIR BACKWARD BENT KNEES, like the hinder legs of a goat.
101. THEIR BARBAROUS TRUTH, their savage honor.
103. LATE LEARND, having been recently taught. She had shown too "hasty
trust" in Archimago.
112. WITHOUT SUSPECT OF CRIME, without suspicion of blame.
117. The olive is the emblem of peace, as the ivy (l. 126) is of
sensuousness.
120. WITH THEIR HORNED FEET, with their hoofs.
128. OR BACCHUS MERRY FRUIT, etc. , whether they did discover grapes.
129. OR CYBELES FRANTICKE RITES, the wild dances of the Corybantes,
priestesses of Cybele, or Rhea, the wife of Chronos and mother of the gods.
132. THAT MIRRHOUR RARE, that model of beauty. So Sidney was called "the
mirror of chivalry. "
134. FAIRE DRYOPE, a princess of AEchalia, who became a forest nymph.
Pholoe, mentioned in l. 135, is probably a fictitious creation of the
author's.
146. DEAREST CYPARISSE, a youth of Cea, who accidentally killed his
favorite stag and dying of grief was changed into a cypress. He was beloved
by Apollo and Sylvanus.
148. NOT FAIRE TO THIS, i. e. compared to this.
152. N'OULD AFTER JOY, would not afterwards be cheerful.
153. SELFE-WILD ANNOY, self-willed distress.
154. FAIRE HAMADRYADES, the nymphs who dwelt in the forest trees and died
with them.
156. LIGHT-FOOT NAIADES, the fresh water nymphs, companions of the fauns
and satyrs.
161. THEIR WOODY KIND, the wood-born creatures of their own kind, e. g.
nymphs or satyrs.
163. Una was "luckelesse" in having lost her knights, but "lucky" in the
friendship of the Satyrs. Note the Euphuistic phrasing.
169. IDOLATRYES. The allegory has reference to the idolatrous practices of
the ignorant primitive Christians, such as the worship of images of the
Saints, the pageant of the wooden ass during Lent (see _Matthew_, xxi, and
Brand's _Popular Antiquities_, i, 124), and the Feast of the Ass (see
_Matthew_, ii, 14).
172. A NOBLE WARLIKE KNIGHT, Sir Satyrane, in whom are united rude untaught
chivalry and woodland savagery. He represents natural heroism and
instinctive love of truth.
173. BY JUST OCCASION, just at the right moment.
184. THYAMIS is the symbol of Animal Passion; LABRYDE of the lower
appetites; THERION, the human wild beast, who deserts his wife.
xxiv. This account of Sir Satyrane's education is based on that of Rogero
by his uncle Atlante in Ariosto's _Orlando Furioso_, vii, 5, 7.
213. MAISTER OF HIS GUISE, his instructor.
214. AT HIS HORRID VEW, his shaggy, uncouth appearance.
256. HIS FAMOUS WORTH WAS BLOWN, i. e. blazoned by Fame's trumpet.
308. A JACOBS STAFFE. According to Nares, "A pilgrim's staff; either from
the frequent pilgrimages to St. James of Comfortella (in Galicia), or
because the apostle St. James is usually represented with one. "
371. See Canto III, xxxviii, where Archimago was disguised as St. George.
372. TH' ENCHAUNTER VAINE, etc. , the foolish enchanter (Archimago) would
not have rued his (St. George's) crime (i. e. slaying Sansfoy).
373. BUT THEM HIS ERROUR SHALT, etc. , thou shalt by thy death pay the
penalty of his crime and thus prove that he was really guilty. A very
obscure passage. Look up the original meaning of _shall_.
386. This simile is found frequently in the old romances. Cf. Malory's
_Morte d'Arthur_, ii, 104, and Chaucer's _Knight's Tale_, l. 1160.
416. According to a usage of chivalry, the lover wore a glove, sleeve,
kerchief, or other token of his lady-love on his helmet. By "lover's token"
Sansloy ironically means a blow.
425. TO HER LAST DECAY, to her utter ruin.
426. Spenser leaves the fight between Sansloy and Sir Satyrane unfinished.
Both warriors appear in later books of the _Faerie Queene_.
QUESTIONS AND TOPICS
(Canto VI)
1. Who rescued Una from Sansloy? 2. How does Una repay their kindness? 3.
How was she treated by them? 4. Explain the references to the various
classes of nymphs. 5. Look up the classical references in xvi and xviii. 6.
Why is Una described as "luckelesse lucky"? 7. What customs of the early
Christians are referred to in xix? 8. What does Sir Satyrane symbolize in
the allegory? 9. What was his character and education? 10. Note the
Elizabethan conception of the goddess Fortune in xxxi. 11. Did Una act
ungratefully in leaving the Satyrs as she did? 12. 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.
