English Literature: Its History and Significance for the Life of the English-Speaking World - William J. Long (book club books .TXT) 📗

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, one for each month of the year. The themes are generally rural life, nature, love in the fields; and the speakers are shepherds and shepherdesses. To increase the rustic effect Spenser uses strange forms of speech and obsolete words, to such an extent that Jonson complained his works are not English or any other language. Some are melancholy poems on his lost Rosalind; some are satires on the clergy; one, "The Briar and the Oak," is an allegory; one flatters Elizabeth, and others are pure fables touched with the Puritan spirit. They are written in various styles and meters, and show plainly that Spenser was practicing and preparing himself for greater work.

Other noteworthy poems are "Mother Hubbard's Tale," a satire on society; "Astrophel," an elegy on the death of Sidney; Amoretti, or sonnets, to his Elizabeth; the marriage hymn, "Epithalamion," and four "Hymns," on Love, Beauty, Heavenly Love, and Heavenly Beauty. There are numerous other poems and collections of poems, but these show the scope of his work and are best worth reading.

Importance of the Shepherd's Calendar. The publication of this work, in 1579, by an unknown writer who signed himself modestly "Immerito," marks an important epoch in our literature. We shall appreciate this better if we remember the long years during which England had been without a great poet. Chaucer and Spenser are often studied together as poets of the Renaissance period, and the idea prevails that they were almost contemporary. In fact, nearly two centuries passed after Chaucer's death,--years of enormous political and intellectual development,--and not only did Chaucer have no successor but our language had changed so rapidly that Englishmen had lost the ability to read his lines correctly.[125]

This first published work of Spenser is noteworthy in at least four respects: first, it marks the appearance of the first national poet in two centuries; second, it shows again the variety and melody of English verse, which had been largely a tradition since Chaucer; third, it was our first pastoral, the beginning of a long series of English pastoral compositions modeled on Spenser, and as such exerted a strong influence on subsequent literature; and fourth, it marks the real beginning of the outburst of great Elizabethan poetry.

Characteristics of Spenser's Poetry. The five main qualities of Spenser's poetry are (1) a perfect melody; (2) a rare sense of beauty; (3) a splendid imagination, which could gather into one poem heroes, knights, ladies, dwarfs, demons and dragons, classic mythology, stories of chivalry, and the thronging ideals of the Renaissance,--all passing in gorgeous procession across an ever-changing and ever-beautiful landscape; (4) a lofty moral purity and seriousness; (5) a delicate idealism, which could make all nature and every common