English Literature
To eat thy heart through comfortless despairs;
To fawn, to crouch, to wait, to ride, to run,
To spend, to give, to want, to be undone.
In 1580, through Leicester's influence, Spenser, who was utterly weary of
his dependent position, was made secretary to Lord Grey, the queen's deputy
in Ireland, and the third period of his life began. He accompanied his
chief through one campaign of savage brutality in putting down an Irish
rebellion, and was given an immense estate with the castle of Kilcolman, in
Munster, which had been confiscated from Earl Desmond, one of the Irish
leaders. His life here, where according to the terms of his grant he must
reside as an English settler, he regarded as lonely exile:
My luckless lot,
That banished had myself, like wight forlore,
Into that waste, where I was quite forgot.
It is interesting to note here a gentle poet's view of the "unhappy
island." After nearly sixteen years' residence he wrote his _View of the
State of Ireland_ (1596),[116] his only prose work, in which he submits a
plan for "pacifying the oppressed and rebellious people." This was to bring
a huge force of cavalry and infantry into the country, give the Irish a
brief time to submit, and after that to hunt them down like wild beasts. He
calculated that cold, famine, and sickness would help the work of the
sword, and that after the rebels had been well hounded for two winters the
following summer would find the country peaceful. This plan, from the poet
of harmony and beauty, was somewhat milder than the usual treatment of a
brave people whose offense was that they loved liberty and religion.
Strange as it may seem, the _View_ was considered most statesmanlike, and
was excellently well received in England.
In Kilcolman, surrounded by great natural beauty, Spenser finished the
first three books of the _Faery Queen_. In 1589 Raleigh visited him, heard
the poem with enthusiasm, hurried the poet off to London, and presented him
to Elizabeth. The first three books met with instant success when published
and were acclaimed as the greatest work in the English language. A yearly
pension of fifty pounds was conferred by Elizabeth, but rarely paid, and
the poet turned back to exile, that is, to Ireland again.
Soon after his return, Spenser fell in love with his beautiful Elizabeth,
an Irish girl; wrote his _Amoretti_, or sonnets, in her honor; and
afterwards represented her, in the _Faery Queen_, as the beautiful woman
dancing among the Graces. In 1594 he married Elizabeth, celebrating his
wedding with his "Epithalamion," one of the most beautiful wedding hymns in
any language.
Spenser's next visit to London was in 1595, when he published "Astrophel,"
an elegy on the death of his friend Sidney, and three more books of the
_Faery Queen_. On this visit he lived again at Leicester House, now
occupied by the new favorite Essex, where he probably met Shakespeare and
the other literary lights of the Elizabethan Age. Soon after his return to
Ireland, Spenser was appointed Sheriff of Cork, a queer office for a poet,
which probably brought about his undoing. The same year Tyrone's Rebellion
broke out in Munster. Kilcolman, the ancient house of Desmond, was one of
the first places attacked by the rebels, and Spenser barely escaped with
his wife and two children. It is supposed that some unfinished parts of the
_Faery Queen_ were burned in the castle.
From the shock of this frightful experience Spenser never recovered. He
returned to England heartbroken, and in the following year (1599) he died
in an inn at Westminster. According to Ben Jonson he died "for want of
bread"; but whether that is a poetic way of saying that he had lost his
property or that he actually died of destitution, will probably never be
known. He was buried beside his master Chaucer in Westminster Abbey, the
poets of that age thronging to his funeral and, according to Camden,
"casting their elegies and the pens that had written them into his tomb."
SPENSER'S WORKS. _The Faery Queen_ is the great work upon which the poet's
fame chiefly rests. The original plan of the poem included twenty-four
books, each of which was to recount the adventure and triumph of a knight
who represented a moral virtue. Spenser's purpose, as indicated in a letter
to Raleigh which introduces the poem, is as follows:
To pourtraict in Arthure, before he was king, the image of a brave Knight,
perfected in the twelve private Morall Vertues, as Aristotle hath devised;
which is the purpose of these first twelve bookes: which if I finde to be
well accepted, I may be perhaps encoraged to frame the other part of
Polliticke Vertues in his person, after that hee came to be king.
Each of the Virtues appears as a knight, fighting his opposing Vice, and
the poem tells the story of the conflicts. It is therefore purely
allegorical, not only in its personified virtues but also in its
representation of life as a struggle between good and evil. In its strong
moral element the poem differs radically from _Orlando Furioso_, upon which
it was modeled. Spenser completed only six books, celebrating Holiness,
Temperance, Chastity, Friendship, Justice, and Courtesy. We have also a
fragment of the seventh, treating of Constancy; but the rest of this book
was not written, or else was lost in the fire at Kilcolman. The first three
books are by far the best; and judging by the way the interest lags and the
allegory grows incomprehensible, it is perhaps as well for Spenser's
reputation that the other eighteen books remained a dream.
ARGUMENT OF THE FAERY QUEEN. From the introductory letter we learn that the
hero visits the queen's court in Fairy Land, while she is holding a
twelve-days festival. On each day some distressed person appears
unexpectedly, tells a woful story of dragons, of enchantresses, or of
distressed beauty or virtue, and asks for a champion to right the wrong and
to let the oppressed go free. Sometimes a knight volunteers or begs for the
dangerous mission; again the duty is assigned by the queen; and the
journeys and adventures of these knights are the subjects of the several
books. The first recounts the adventures of the Redcross Knight,
representing Holiness, and the lady Una, representing Religion. Their
contests are symbolical of the world-wide struggle between virtue and faith
on the one hand, and sin and heresy on the other. The second book tells the
story of Sir Guyon, or Temperance; the third, of Britomartis, representing
Chastity; the fourth, fifth, and sixth, of Cambel and Triamond
(Friendship), Artegall (Justice), and Sir Calidore (Courtesy). Spenser's
plan was a very elastic one and he filled up the measure of his narrative
with everything that caught his fancy,--historical events and personages
under allegorical masks, beautiful ladies, chivalrous knights, giants,
monsters, dragons, sirens, enchanters, and adventures enough to stock a
library of fiction. If you read Homer or Virgil, you know his subject in
the first strong line; if you read Cædmon's _Paraphrase_ or Milton's epic,
the introduction gives you the theme; but Spenser's great poem--with the
exception of a single line in the prologue, "Fierce warres and faithfull
loves shall moralize my song"--gives hardly a hint of what is coming.
As to the meaning of the allegorical figures, one is generally in doubt. In
the first three books the shadowy Faery Queen sometimes represents the
glory of God and sometimes Elizabeth, who was naturally flattered by the
parallel. Britomartis is also Elizabeth. The Redcross Knight is Sidney, the
model Englishman. Arthur, who always appears to rescue the oppressed, is
Leicester, which is another outrageous flattery. Una is sometimes religion
and sometimes the Protestant Church; while Duessa represents Mary Queen of
Scots, or general Catholicism. In the last three books Elizabeth appears
again as Mercilla; Henry IV of France as Bourbon; the war in the
Netherlands as the story of Lady Belge; Raleigh as Timias; the earls of
Northumberland and Westmoreland (lovers of Mary or Duessa) as Blandamour
and Paridell; and so on through the wide range of contemporary characters
and events, till the allegory becomes as difficult to follow as the second
part of Goethe's _Faust_.
POETICAL FORM. For the _Faery Queen_ Spenser invented a new verse form,
which has been called since his day the Spenserian stanza. Because of its
rare beauty it has been much used by nearly all our poets in their best
work. The new stanza was an improved form of Ariosto's _ottava rima_ (i.e.
eight-line stanza) and bears a close resemblance to one of Chaucer's most
musical verse forms in the "Monk's Tale." Spenser's stanza is in nine
lines, eight of five feet each and the last of six feet, riming
_ababbcbcc_. A few selections from the first book, which is best worth
reading, are reproduced here to show the style and melody of the verse.
A Gentle Knight was pricking on the plaine,
Ycladd[117] in mightie armes and silver shielde,
Wherein old dints of deepe woundes did remaine
The cruell markes of many a bloody fielde;
Yet armes till that time did he never wield:
His angry steede did chide his foming bitt,
As much disdayning to the curbe to yield:
Full iolly[118] knight he seemd, and faire did sitt,
As one for knightly giusts[119] and fierce encounters fitt.
And on his brest a bloodie crosse he bore,
The deare remembrance of his dying Lord,
For whose sweete sake that glorious badge he wore,
And dead, as living ever, him ador'd:
Upon his shield the like was also scor'd,
For soveraine hope, which in his helpe he had,
Right faithfull true he was in deede and word;
But of his cheere[120] did seeme too solemne sad;
Yet nothing did he dread, but ever was ydrad.[121]
This sleepy bit, from the dwelling of Morpheus, invites us to linger:
And, more to lulle him in his slumber soft,
A trickling streame from high rock tumbling downe,
And ever-drizling raine upon the loft,
Mixt with a murmuring winde, much like the sowne
Of swarming bees, did cast him in a swowne.
No other noyse, nor peoples troublous cryes,
As still are wont t'annoy the walled towne,
Might there be heard: but carelesse Quiet lyes,
Wrapt in eternal silence farre from enimyes.
The description of Una shows the poet's sense of ideal beauty:
One day, nigh wearie of the yrkesome way,
From her unhastie beast she did alight;
And on the grasse her dainty limbs did lay
In secrete shadow, far from all mens sight;
From her fayre head her fillet she undight,[122]
And layd her stole aside; Her angels face,
As the great eye of heaven, shynéd bright,
And made a sunshine in the shady place;
Did never mortall eye behold such heavenly grace.
It fortunéd, out of the thickest wood
A ramping lyon rushéd suddeinly,
Hunting full greedy after salvage blood:
Soone as the royall Virgin he did spy,
With gaping mouth at her ran greedily,
To have at once devourd her tender corse:
But to the pray whenas he drew more ny,
His bloody rage aswaged with remorse,[123]
And, with the sight amazd, forgat his furious forse.
Instead thereof he kist her wearie feet,
And lickt her lilly hands with fawning tong;
As he her wrongéd innocence did weet.[124]
O how can beautie maister the most strong,
And simple truth subdue avenging wrong!
MINOR POEMS. Next to his masterpiece, the _Shepherd's Calendar_ (1579) is
the best known of Spenser's poems; though, as his first work, it is below
many others in melody. It consists of twelve pastoral poems, or eclogues,