Spenser Part 7

But, because the beginning of the whole worke seemeth abrupte, and as depending upon other antecedents, it needs that ye know the occasion of these three knights seuerall adventures. For the Methode of a Poet historical is not such, as of an Historiographer. For an Historiographer discourseth of affayres orderly as they were donne, accounting as well the times as the actions; but a Poet thrusteth into the middest, even where it most concerneth him, and there recoursing to the thinges forepaste, and divining of thinges to come, maketh a pleasing a.n.a.lysis of all.

The beginning therefore of my history, if it were to be told by an Historiographer should be the twelfth booke, which is the last; where I devise that the Faery Queene kept her Annuall feaste xii. dayes; uppon which xii. severall dayes, the occasions of the xii. severall adventures hapned, which, being undertaken by xii. severall knights, are in these xii.

books severally handled and discoursed. The first was this. In the beginning of the feast, there presented him selfe a tall clownishe younge man, who falling before the Queene of Faries desired a boone (as the manner then was) which during that feast she might not refuse; which was that hee might have the atchievement of any adventure, which during that feaste should happen: that being graunted, he rested him on the floore, unfitte through his rusticity for a better place. Soone after entred a faire Ladye in mourning weedes, riding on a white a.s.se, with a dwarfe behinde her leading a warlike steed, that bore the Armes of a knight, and his speare in the dwarfes hand. Shee, falling before the Queene of Faeries, complayned that her father and mother, an ancient King and Queene, had beene by an huge dragon many years shut up in a brasen Castle, who thence suffred them not to yssew; and therefore besought the Faery Queene to a.s.sygne her some one of her knights to take on him that exployt. Presently that clownish person, upstarting, desired that adventure: whereat the Queene much wondering, and the Lady much gainesaying, yet he earnestly importuned his desire. In the end the Lady told him, that unlesse that armour which she brought would serve him (that is, the armour of a Christian man specified by Saint Paul, vi.

Ephes.) that he could not succeed in that enterprise; which being forthwith put upon him, with dewe furnitures thereunto, he seemed the goodliest man in al that company, and was well liked of the Lady. And eftesoones taking on him knighthood, and mounting on that straunge courser, he went forth with her on that adventure: where beginneth the first booke, viz.

A gentle knight was p.r.i.c.king on the playne, &c.

That it was not without reason that this explanatory key was prefixed to the work, and that either Spenser or Ralegh felt it to be almost indispensable, appear from the concluding paragraph.

Thus much, Sir, I have briefly overronne to direct your understanding to the wel-head of the History; that from thence gathering the whole intention of the conceit, ye may as in a handfull gripe al the discourse, which otherwise may happily seeme tedious and confused.

According to the plan thus sketched out, we have but a fragment of the work. It was published in two parcels, each of three books, in 1590 and 1596; and after his death two cantos, with two stray stanzas, of a seventh book were found and printed. Each perfect book consists of twelve cantos of from thirty-five to sixty of his nine-line stanzas. The books published in 1590 contain, as he states in his prefatory letter, the legends of _Holiness_, of _Temperance_, and of _Chast.i.ty_. Those published in 1596, contain the legends of _Friendship_, of _Justice_, and of _Courtesy_. The posthumous cantos are ent.i.tled, _Of Mutability_, and are said to be apparently parcel of a legend of _Constancy_. The poem which was to treat of the "politic" virtues was never approached.

Thus we have but a fourth part of the whole of the projected work. It is very doubtful whether the remaining six books were completed. But it is probable that a portion of them was written, which, except the cantos _On Mutability_, has perished. And the intended t.i.tles or legends of the later books have not been preserved.

Thus the poem was to be an allegorical story; a story branching out into twelve separate stories, which themselves would branch out again and involve endless other stories. It is a complex scheme to keep well in hand, and Spenser's art in doing so has been praised by some of his critics. But the art, if there is any, is so subtle that it fails to save the reader from perplexity. The truth is that the power of ordering and connecting a long and complicated plan was not one of Spenser's gifts. In the first two books, the allegorical story proceeds from point to point with fair coherence and consecutiveness. After them the attempt to hold the scheme together, except in the loosest and most general way, is given up as too troublesome or too confined. The poet prefixes indeed the name of a particular virtue to each book, but, with slender reference to it, he surrenders himself freely to his abundant flow of ideas, and to whatever fancy or invention tempts him, and ranges unrestrained over the whole field of knowledge and imagination. In the first two books, the allegory is transparent and the story connected.

The allegory is of the nature of the _Pilgrim's Progress_. It starts from the belief that religion, purified from falsehood, superst.i.tion, and sin, is the foundation of all n.o.bleness in man; and it portrays, under images and with names, for the most part easily understood, and easily applied to real counterparts, the struggle which every one at that time supposed to be going on, between absolute truth and righteousness on one side, and fatal error and bottomless wickedness on the other. Una, the Truth, the one and only Bride of man's spirit, marked out by the tokens of humility and innocence, and by her power over wild and untamed natures--the single Truth, in contrast to the counterfeit Duessa, false religion, and its actual embodiment in the false rival Queen of Scots--Truth, the object of pa.s.sionate homage, real with many, professed with all, which after the impostures and scandals of the preceding age, had now become characteristic of that of Elizabeth--Truth, its claims, its dangers, and its champions, are the subject of the first book: and it is represented as leading the manhood of England, in spite, not only of terrible conflict, but of defeat and falls, through the discipline of repentance, to holiness and the blessedness which comes with it. The Red Cross Knight, St. George of England, whose name Georgos, the Ploughman, is dwelt upon, apparently to suggest that from the commonalty, the "tall clownish young men," were raised up the great champions of the Truth,--though sorely troubled by the wiles of Duessa, by the craft of the arch-sorcerer, by the force and pride of the great powers of the Apocalyptic Beast and Dragon, finally overcomes them, and wins the deliverance of Una and her love.

The second book, _Of Temperance_, pursues the subject, and represents the internal conquests of self-mastery, the conquests of a man over his pa.s.sions, his violence, his covetousness, his ambition, his despair, his sensuality. Sir Guyon, after conquering many foes of goodness, is the destroyer of the most perilous of them all, Acrasia, licentiousness, and her ensnaring Bower of Bliss. But after this, the thread at once of story and allegory, slender henceforth at the best, is neglected and often entirely lost. The third book, the _Legend of Chast.i.ty_, is a repet.i.tion of the ideas of the latter part of the second, with a heroine, Britomart, in place of the Knight of the previous book, Sir Guyon, and with a special glorification of the high-flown and romantic sentiments about purity, which wore the poetic creed of the courtiers of Elizabeth, in flagrant and sometimes in tragic contrast to their practical conduct of life. The loose and ill-compacted nature of the plan becomes still more evident in the second instalment of the work.

Even the special note of each particular virtue becomes more faint and indistinct. The one law to which the poet feels bound is to have twelve cantos in each book; and to do this he is sometimes driven to what in later times has been called padding. One of the cantos of the third book is a genealogy of British kings from Geoffrey of Monmouth; one of the cantos of the _Legend of Friendship_ is made up of an episode, describing the marriage of the Thames and the Medway, with an elaborate catalogue of the English and Irish rivers, and the names of the sea-nymphs. In truth, he had exhausted his proper allegory, or he got tired of it. His poem became an elastic framework, into which he could fit whatever interested him and tempted him to composition. The gravity of the first books disappears. He pa.s.ses into satire and caricature. We meet with Braggadochio and Trompart, with the discomfiture of Malecasta, with the conjugal troubles of Malbecco and Helenore, with the imitation from Ariosto of the Squire of Dames. He puts into verse a poetical physiology of the human body; he translates Lucretius, and speculates on the origin of human souls; he speculates, too, on social justice, and composes an argumentative refutation of the Anabaptist theories of right and equality among men. As the poem proceeds, he seems to feel himself more free to introduce what he pleases. Allusions to real men and events are sometimes clear, at other times evident, though they have now ceased to be intelligible to us. His disgust and resentment breaks out at the ways of the Court in sarcastic moralizing, or in pictures of dark and repulsive imagery. The characters and pictures of his friends furnish material for his poem; he does not mind touching on the misadventures of Ralegh, and even of Lord Grey, with sly humour or a word of candid advice. He becomes bolder in the distinct introduction of contemporary history. The defeat of Duessa was only figuratively shown in the first portion; in the second the subject is resumed. As Elizabeth is the "one form of many names," Gloriana, Belphoebe, Britomart, Mercilla, so "under feigned colours shading a true case" he deals with her rival.

Mary seems at one time the false Florimel, the creature of enchantment, stirring up strife, and fought for by the foolish knights whom she deceives, Blandamour and Paridell, the counterparts of Norfolk and the intriguers of 1571. At another, she is the fierce Amazonian queen, Radegund, by whom for a moment, even Arthegal is brought into disgraceful thraldom, till Britomart, whom he has once fought against, delivers him. And finally the fate of the typical Duessa is that of the real Mary Queen of Scots described in great detail--a liberty in dealing with great affairs of state for which James of Scotland actually desired that he should be tried and punished.[128:2] So Philip II. is at one time the Soldan, at another the Spanish monster Geryoneo, at another the fosterer of Catholic intrigues in France and Ireland, Grantorto. But real names are also introduced with scarcely any disguise: Guizor, and Burbon, the Knight who throws away his shield, Henry IV., and his Lady Flourdelis, the Lady Beige, and her seventeen sons: the Lady Irena, whom Arthegal delivers. The overthrow of the Armada, the English war in the Low Countries, the apostasy of Henry IV., the deliverance of Ireland from the "great wrong" of Desmond's rebellion, the giant Grantorto, form, under more or less transparent allegory, great part of the _Legend of Justice_. Nay, Spenser's long fostered revenge on the lady who had once scorned him, the _Rosalind_ of the _Shepherd's Calendar_, the _Mirabella_ of the _Faery Queen_, and his own late and happy marriage in Ireland, are also brought in to supply materials for the _Legend of Courtesy_. So multifarious is the poem, full of all that he thought, or observed, or felt; a receptacle, without much care to avoid repet.i.tion, or to prune, correct, and condense, for all the abundance of his ideas, as they welled forth in his mind day by day. It is really a collection of separate tales and allegories, as much as the _Arabian Nights_, or, as its counterpart and rival of our own century, the _Idylls of the King_. As a whole it is confusing: but we need not treat it as a whole.

Its continued interest soon breaks down. But it is probably best that Spenser gave his mind the vague freedom which suited it, and that he did not make efforts to tie himself down to his pre-arranged but too ambitious plan. We can hardly lose our way in it, for there is no way to lose. It is a wilderness in which we are left to wander. But there may be interest and pleasure in a wilderness, if we are prepared for the wandering.

Still, the complexity, or rather, the uncared-for and clumsy arrangement of the poem is matter which disturbs a reader's satisfaction, till he gets accustomed to the poet's way, and resigns himself to it. It is a heroic poem, in which the heroine, who gives her name to it, never appears: a story, of which the basis and starting-point is whimsically withheld for disclosure in the last book, which was never written. If Ariosto's jumps and transitions are more audacious, Spenser's intricacy is more puzzling. Adventures begin which have no finish. Actors in them drop from the clouds, claim an interest, and we ask in vain what has become of them. A vein of what are manifestly contemporary allusions breaks across the moral drift of the allegory, with an apparently distinct yet obscured meaning, and one of which it is the work of dissertations to find the key. The pa.s.sion of the age was for ingenious riddling in morality as in love. And in Spenser's allegories we are not seldom at a loss to make out what and how much was really intended, amid a maze of overstrained a.n.a.logies and over-subtle conceits, and attempts to hinder a too close and dangerous identification.

Indeed Spenser's mode of allegory, which was historical as well as moral, and contains a good deal of history, if we knew it, often seems devised to throw curious readers off the scent. It was purposely baffling and hazy. A characteristic trait was singled out. A name was transposed in anagram, like Irena, or distorted, as if by imperfect p.r.o.nunciation, like Burbon and Arthegal, or invented to express a quality, like Una, or Gloriana, or Corceca, or Fradubio, or adopted with no particular reason from the _Morte d'Arthur_, or any other old literature. The personage is introduced with some feature, or amid circ.u.mstances which seem for a moment to fix the meaning. But when we look to the sequence of history being kept up in the sequence of the story, we find ourselves thrown out. A character which fits one person puts on the marks of another: a likeness which we identify with one real person pa.s.ses into the likeness of some one else. The real, in person, incident, inst.i.tution, shades off into the ideal; after showing itself by plain tokens, it turns aside out of its actual path of fact, and ends, as the poet thinks it ought to end, in victory or defeat, glory or failure. Prince Arthur pa.s.ses from Leicester to Sidney, and then back again to Leicester. There are double or treble allegories; Elizabeth is Gloriana, Belphoebe, Britomart, Mercilla, perhaps Amoret; her rival is Duessa, the false Florimel, probably the fierce temptress, the Amazon Radegund. Thus, what for a moment was clear and definite, fades like the changing fringe of a dispersing cloud. The character which we identified disappears in other scenes and adventures, where we lose sight of all that identified it. A complete transformation destroys the likeness which was begun. There is an intentional dislocation of the parts of the story, when they might make it imprudently close in its reflection of facts or resemblance in portraiture. A feature is shown, a manifest allusion made, and then the poet starts off in other directions, to confuse and perplex all attempts at interpretation, which might be too particular and too certain. This was no doubt merely according to the fashion of the time, and the habits of mind into which the poet had grown. But there were often reasons for it, in an age so suspicious, and so dangerous to those who meddled with high matters of state.

2. Another feature which is on the surface of the _Faery Queen_, and which will displease a reader who has been trained to value what is natural and genuine, is its affectation of the language and the customs of life belonging to an age which is not its own. It is indeed redolent of the present: but it is almost avowedly an imitation of what was current in the days of Chaucer: of what were supposed to be the words, and the social ideas and conditions, of the age of chivalry. He looked back to the fashions and ideas of the Middle Ages, as Pindar sought his materials in the legends and customs of the Homeric times, and created a revival of the spirit of the age of the Heroes in an age of tyrants and incipient democracies.[132:3] The age of chivalry, in Spenser's day far distant, had yet left two survivals, one real, the other formal. The real survival was the spirit of armed adventure, which was never stronger or more stirring than in the gallants and discoverers of Elizabeth's reign, the captains of the English companies in the Low Countries, the audacious sailors who explored unknown oceans and plundered the Spaniards, the scholars and gentlemen equally ready for work on sea and land, like Ralegh and Sir Richard Grenville, of the "Revenge." The formal survival was the fashion of keeping up the trappings of knightly times, as we keep up Judge's wigs, court dresses, and Lord Mayor's shows. In actual life it was seen in pageants and ceremonies, in the yet lingering parade of jousts and tournaments, in the knightly accoutrements still worn in the days of the bullet and the cannon-ball. In the apparatus of the poet, as all were shepherds, when he wanted to represent the life of peace and letters, so all were knights or the foes and victims of knights, when his theme was action and enterprise. It was the custom that the Muse masked, to use Spenser's word, under these disguises; and this conventional masquerade of pastoral poetry or knight errantry was the form under which the poetical school that preceded the dramatists naturally expressed their ideas. It seems to us odd that peaceful sheepcotes and love-sick swains should stand for the world of the Tudors and Guises, or that its cunning statecraft and relentless cruelty should be represented by the generous follies of an imaginary chivalry. But it was the fashion which Spenser found, and he accepted it. His genius was not of that sort which breaks out from trammels, but of that which makes the best of what it finds.

And whatever we may think of the fashion, at least he gave it new interest and splendour by the spirit with which he threw himself into it.

The condition which he took as the groundwork of his poetical fabric suggested the character of his language. Chaucer was then the "G.o.d of English poetry;" his was the one name which filled a place apart in the history of English verse. Spenser was a student of Chaucer, and borrowed as he judged fit, not only from his vocabulary, but from his grammatical precedents and a.n.a.logies, with the object of giving an appropriate colouring to what was to be raised as far as possible above familiar life. Besides this, the language was still in such an unsettled state that from a man with resources like Spenser's, it naturally invited attempts to enrich and colour it, to increase its flexibility and power.

The liberty of reviving old forms, of adopting from the language of the street and market homely but expressive words or combinations, of following in the track of convenient constructions, of venturing on new and bold phrases, was rightly greater in his time than at a later stage of the language. Many of his words, either invented or preserved, are happy additions; some which have not taken root in the language, we may regret. But it was a liberty which he abused. He was extravagant and unrestrained in his experiments on language. And they were made not merely to preserve or to invent a good expression. On his own authority, he cuts down, or he alters a word, or he adopts a mere corrupt p.r.o.nunciation, to suit a place in his metre, or because he wants a rime.

Precedents, as Mr. Guest has said, may no doubt be found for each one of these sacrifices to the necessities of metre or rime, in some one or other living dialectic usage, or even in printed books--"_blend_" for "_blind_," "_misleeke_" for "_mislike_," "_kest_" for "_cast_,"

"_cherry_" for "_cherish_," "_vilde_" for "_vile_," or even "_wawes_"

for "_waves_," because it has to rime to "_jaws_." But when they are profusely used as they are in Spenser, they argue, as critics of his own age such as Puttenham, remarked,--either want of trouble, or want of resource. In his impatience he is reckless in making a word which he wants--"fortunize," "mercified," "unblindfold," "relive"--he is reckless in making one word do the duty of another, interchanging actives and pa.s.sives, transferring epithets from their proper subjects. The "humbled gra.s.s," is the gra.s.s on which a man lies humbled: the "lamentable eye,"

is the eye which laments. "His treatment of words," says Mr. Craik, "on such occasions"--occasions of difficulty to his verse--"is like nothing that ever was seen, unless it might be Hercules breaking the back of the Nemean lion. He gives them any sense and any shape that the case may demand. Sometimes he merely alters a letter or two; sometimes he twists off the head or the tail of the unfortunate vocable altogether. But this fearless, lordly, truly royal style makes one only feel the more how easily, if he chose, he could avoid the necessity of having recourse to such outrages."

His own generation felt his licence to be extreme. "In affecting the ancients," said Ben Jonson, "he writ no language." Daniel writes sarcastically, soon after the _Faery Queen_ appeared, of those who

Sing of knights and Palladines, In aged accents and untimely words.

And to us, though students of the language must always find interest in the storehouse of ancient or invented language to be found in Spenser, this mixture of what is obsolete or capriciously new is a bar, and not an unreasonable one, to a frank welcome at first acquaintance. Fuller remarks with some slyness, that "the many Chaucerisms used (for I will not say, affected) by him, are thought by the ignorant to be blemishes, known by the learned to be beauties, in his book; which notwithstanding had been more saleable, if more conformed to our modern language." The grotesque, though it has its place as one of the instruments of poetical effect, is a dangerous element to handle. Spenser's age was very insensible to the presence and the dangers of the grotesque, and he was not before his time in feeling what was unpleasing in incongruous mixtures. Strong in the abundant but unsifted learning of his day, a style of learning, which in his case was strangely inaccurate, he not only mixed the past with the present, fairyland with politics, mythology with the most serious Christian ideas, but he often mixed together the very features which are most discordant, in the colours, forms, and methods by which he sought to produce the effect of his pictures.

3. Another source of annoyance and disappointment is found in the imperfections and inconsistencies of the poet's standard of what is becoming to say and to write about. Exaggeration, diffuseness, prolixity, were the literary diseases of the age; an age of great excitement and hope, which had suddenly discovered its wealth and its powers, but not the rules of true economy in using them. With the cla.s.sics open before it, and alive to much of the grandeur of their teaching, it was almost blind to the spirit of self-restraint, proportion, and simplicity which governed the great models. It was left to a later age to discern these and appreciate them. This unresisted p.r.o.neness to exaggeration produced the extravagance and the horrors of the Elizabethan Drama, full, as it was, nevertheless, of insight and originality. It only too naturally led the earlier Spenser astray. What Dryden, in one of his interesting critical prefaces says of himself, is true of Spenser; "Thoughts, such as they are, come crowding in so fast upon me, that my only difficulty is to choose or to reject; to run them into verse, or to give them the other harmony of prose." There was in Spenser a facility for turning to account all material, original or borrowed, an incontinence of the descriptive faculty, which was ever ready to exercise itself on any object, the most unfitting and loathsome, as on the n.o.blest, the purest, or the most beautiful. There are pictures in him which seem meant to turn our stomach. Worse than that there are pictures which for a time rank the poet of _Holiness_ or _Temperance_, with the painters who used their great art to represent at once the most sacred and holiest forms, and also scenes which few people now like to look upon in company--scenes and descriptions which may perhaps from the habits of the time may have been playfully and innocently produced, but which it is certainly not easy to dwell upon innocently now. And apart from these serious faults, there is continually haunting us, amid incontestable richness, vigour, and beauty, a sense that the work is over-done. Spenser certainly did not want for humour and an eye for the ridiculous. There is no want in him, either, of that power of epigrammatic terseness, which, in spite of its diffuseness, his age valued and cultivated. But when he gets on a story or a scene, he never knows where to stop. His duels go on stanza after stanza till there is no sound part left in either champion. His palaces, landscapes, pageants, feasts, are taken to pieces in all their parts, and all these parts are likened to some other things. "His abundance,"

says Mr. Craik, "is often oppressive; _it is like wading among unmown gra.s.s_." And he drowns us in words. His abundant and incongruous adjectives may sometimes, perhaps, startle us unfairly, because their a.s.sociations and suggestions have quite altered; but very often they are the idle outpouring of an unrestrained affluence of language. The impression remains that he wants a due perception of the absurd, the unnatural, the unnecessary; that he does not care if he makes us smile, or does not know how to help it, when he tries to make us admire or sympathize.

Under this head comes a feature which the "charity of history" may lead us to treat as simple exaggeration, but which often suggests something less pardonable, in the great characters, political or literary, of Elizabeth's reign. This was the gross, shameless, lying flattery paid to the Queen. There is really nothing like it in history. It is unique as a phenomenon that proud, able, free-spoken men, with all their high instincts of what was n.o.ble and true, with all their admiration of the Queen's high qualities, should have offered it, even as an unmeaning custom; and that a proud and free-spoken people should not, in the very genuineness of their pride in her and their loyalty, have received it with shouts of derision and disgust. The flattery of Roman emperors and Roman Popes, if as extravagant, was not so personal. Even Louis XIV. was not celebrated in his dreary old age, as a model of ideal beauty and a paragon of romantic perfection. It was no worship of a secluded and distant object of loyalty: the men who thus flattered knew perfectly well, often by painful experience, what Elizabeth was: able, indeed, high-spirited, successful, but ungrateful to her servants, capricious, vain, ill-tempered, unjust, and in her old age, ugly. And yet the Gloriana of the _Faery Queen_, the Empress of all n.o.bleness,--Belphoebe, the Princess of all sweetness and beauty,--Britomart, the armed votaress of all purity,--Mercilla, the lady of all compa.s.sion and grace,--were but the reflections of the language in which it was then agreed upon by some of the greatest of Englishmen to speak, and to be supposed to think, of the Queen.

II. But when all these faults have been admitted, faults of design and faults of execution--and when it is admitted, further, that there is a general want of reality, substance, distinctness, and strength in the personages of the poem--that, compared with the contemporary drama, Spenser's knights and ladies and villains are thin and ghostlike, and that, as Daniel says, he

Paints shadows in imaginary lines--

it yet remains that our greatest poets since his day have loved him and delighted in him. He had Shakespere's praise. Cowley was made a poet by reading him. Dryden calls Milton "the poetical son of Spenser:"

"Milton," he writes, "has acknowledged to me that Spenser was his original." Dryden's own homage to him is frequent and generous. Pope found as much pleasure in the _Faery Queen_ in his later years as he had found in reading it when he was twelve years old: and what Milton, Dryden, and Pope admired, Wordsworth too found full of n.o.bleness, purity, and sweetness. What is it that gives the _Faery Queen_ its hold on those who appreciate the richness and music of English language, and who in temper and moral standard are quick to respond to English manliness and tenderness? The spell is to be found mainly in three things--(1) in the quaint stateliness of Spenser's imaginary world and its representatives; (2) in the beauty and melody of his numbers, the abundance and grace of his poetic ornaments, in the recurring and haunting rhythm of numberless pa.s.sages, in which thought and imagery and language and melody are interwoven in one perfect and satisfying harmony; and (3) in the intrinsic n.o.bleness of his general aim, his conception of human life, at once so exacting and so indulgent, his high ethical principles and ideals, his unfeigned honour for all that is pure and brave and unselfish and tender, his generous estimate of what is due from man to man of service, affection, and fidelity. His fictions embodied truths of character which with all their shadowy incompleteness were too real and too beautiful to lose their charm with time.

1. Spenser accepted from his age the quaint stateliness which is characteristic of his poem. His poetry is not simple and direct like that of the Greeks. It has not the exquisite finish and felicity of the best of the Latins. It has not the ma.s.sive grandeur, the depth, the freedom, the shades and subtle complexities of feeling and motive, which the English dramatists found by going straight to nature. It has the stateliness of highly artificial conditions of society, of the Court, the pageant, the tournament, as opposed to the majesty of the great events in human life and history, its real vicissitudes, its catastrophes, its tragedies, its revolutions, its sins. Throughout the prolonged crisis of Elizabeth's reign, her gay and dashing courtiers, and even her serious masters of affairs, persisted in pretending to look on the world in which they lived, as if through the side-scenes of a masque, and relieved against the background of a stage-curtain. Human life, in those days, counted for little; fortune, honour, national existence hung in the balance; the game was one in which the heads of kings and queens and great statesmen were the stakes,--yet the players could not get out of their stiff and constrained costume, out of their artificial and fantastic figments of thought, out of their conceits and affectations of language. They carried it, with all their sagacity, with all their intensity of purpose, to the council-board, and the judgment-seat. They carried it to the scaffold. The conventional supposition was that at the Court, though every one knew better, all was perpetual sunshine, perpetual holiday, perpetual triumph, perpetual love-making. It was the happy reign of the good and wise and lovely. It was the discomfiture of the base, the faithless, the wicked, the traitors. This is what is reflected in Spenser's poem; at once, its stateliness, for there was no want of grandeur and magnificence in the public scene ever before Spenser's imagination; and its quaintness, because the whole outward apparatus of representation was borrowed from what was past, or from what did not exist, and implied surrounding circ.u.mstances in ludicrous contrast with fact, and men taught themselves to speak in character, and prided themselves on keeping it up by subst.i.tuting for the ordinary language of life and emotion a c.u.mbrous and involved indirectness of speech.

And yet that quaint stateliness is not without its attractions. We have indeed to fit ourselves for it. But when we have submitted to its demands on our imagination, it carries us along as much as the fictions of the stage. The splendours of the artificial are not the splendours of the natural; yet the artificial has its splendours, which impress and captivate and repay. The grandeur of Spenser's poem is a grandeur like that of a great spectacle, a great array of the forces of a nation, a great series of military effects, a great ceremonial a.s.semblage of all that is highest and most eminent in a country, a coronation, a royal marriage, a triumph, a funeral. So, though Spenser's knights and ladies do what no men ever could do, and speak what no man ever spoke, the procession rolls forward with a pomp which never forgets itself, and with an inexhaustible succession of circ.u.mstance, fantasy, and incident.

Nor is it always solemn and high-pitched. Its gravity is relieved from time to time with the ridiculous figure or character, the ludicrous incident, the jests and antics of the buffoon. It has been said that Spenser never smiles. He not only smiles, with amus.e.m.e.nt or sly irony; he wrote what he must have laughed at as he wrote, and meant us to laugh at. He did not describe with a grave face the terrors and misadventures of the boaster Braggadochio and his Squire, whether or not a caricature of the Duke of Alencon and his "gentleman," the "pet.i.t singe," Simier.

He did not write with a grave face the Irish row about the false Florimel (IV. 5),--

Then unto Satyran she was adjudged, Who was right glad to gaine so goodly meed: But Blandamour thereat full greatly grudged, And litle prays'd his labours evill speed, That for to winne the saddle lost the steed.

Ne lesse thereat did Paridell complaine, And thought t'appeale from that which was decreed To single combat with Sir Satyrane: Thereto him Ate stird, new discord to maintaine.

And eke, with these, full many other Knights She through her wicked working did incense Her to demaund and chalenge as their rights, Deserved for their perils recompense.

Amongst the rest, with boastfull vaine pretense, Stept Braggadochio forth, and as his thrall Her claym'd, by him in battell wonne long sens: Whereto her selfe he did to witnesse call: Who, being askt, accordingly confessed all.

Thereat exceeding wroth was Satyran; And wroth with Satyran was Blandamour; And wroth with Blandamour was Erivan; And at them both Sir Paridell did loure.

So all together stird up strifull stoure, And readie were new battell to darraine.

Each one profest to be her paramoure, And vow'd with speare and shield it to maintaine; Ne Judges powre, ne reasons rule, mote them restraine.

Nor the behaviour of the "rascal many" at the sight of the dead Dragon (I. 12),--

And after all the raskall many ran, Heaped together in rude rablement, To see the face of that victorious man, Whom all admired as from heaven sent, And gazd upon with gaping wonderment; But when they came where that dead Dragon lay, Stretcht on the ground in monstrous large extent, The sight with ydle feare did them dismay, Ne durst approch him nigh to touch, or once a.s.say.

Some feard, and fledd; some feard, and well it fayned; One, that would wiser seeme then all the rest, Warnd him not touch, for yet perhaps remaynd Some lingring life within his hollow brest, Or in his wombe might lurke some hidden nest Of many Dragonettes, his fruitfull seede: Another saide, that in his eyes did rest Yet sparckling fyre, and badd thereof take heed; Another said, he saw him move his eyes indeed.

One mother, whenas her foolehardy chyld Did come too neare, and with his talants play, Halfe dead through feare, her litle babe revyld, And to her gossibs gan in counsell say; 'How can I tell, but that his talants may Yet scratch my sonne, or rend his tender hand?'

So diversly them selves in vaine they fray; Whiles some more bold to measure him nigh stand, To prove how many acres he did spred of land.

And his humour is not the less real that it affects serious argument, in the excuse which he urges for his fairy tales (II. 1).

Right well I wote, most mighty Soveraine, That all this famous antique history Of some th' aboundance of an ydle braine Will judged be, and painted forgery, Rather then matter of just memory; Sith none that breatheth living aire dees know Where is that happy land of Faery, Which I so much doe vaunt, yet no where show, But vouch antiquities, which no body can know.

But let that man with better sence advize, That of the world least part to us is red; And daily how through hardy enterprize Many great Regions are discovered, Which to late age were never mentioned Who ever heard of th' Indian Peru?

Or who in venturous vessell measured The Amazon huge river, now found trew Or fruitfullest Virginia who did ever vew?

Yet all these were, when no man did them know, Yet have from wisest ages hidden beene; And later times thinges more unknowne shall show.

Why then should witlesse man so much misweene, That nothing is but that which he hath seene?

What if within the Moones fayre shining spheare, What if in every other starre unseene Of other worldes he happily should heare, He wonder would much more; yet such to some appeare.

The general effect is almost always lively and rich: all is buoyant and full of movement. That it is also odd, that we see strange costumes and hear a language often formal and obsolete, that we are asked to take for granted some very unaccustomed supposition and extravagant a.s.sumption, does not trouble us more than the usages and sights, so strange to ordinary civil life, of a camp, or a royal levee. All is in keeping, whatever may be the details of the pageant; they harmonize with the effect of the whole, like the gargoyles and quaint groups in a Gothic building harmonize with its general tone of majesty and subtle beauty;--nay, as ornaments, in themselves of bad taste, like much of the ornamentation of the Renaissance styles, yet find a not unpleasing place in compositions grandly and n.o.bly designed:

So discord oft in music makes the sweeter lay.

Indeed, it is curious how much of real variety is got out of a limited number of elements and situations. The spectacle, though consisting only of knights, ladies, dwarfs, pagans, "salvage men," enchanters, and monsters, and other well-worn machinery of the books of chivalry, is ever new, full of vigour and fresh images, even if, as sometimes happens, it repeats itself. There is a majestic unconsciousness of all violations of probability, and of the strangeness of the combinations which it unrolls before us.

2. But there is not only stateliness: there is sweetness and beauty.

Spenser's perception of beauty of all kinds was singularly and characteristically quick and sympathetic. It was one of his great gifts; perhaps the most special and unstinted. Except Shakespere, who had it with other and greater gifts, no one in that time approached to Spenser, in feeling the presence of that commanding and mysterious idea, compounded of so many things, yet of which, the true secret escapes us still, to which we give the name of beauty. A beautiful scene, a beautiful person, a beautiful poem, a mind and character with that combination of charms, which, for want of another word, we call by that half-spiritual, half-material word "beautiful," at once set his imagination at work to respond to it and reflect it. His means of reflecting it were as abundant as his sense of it was keen. They were only too abundant. They often betrayed him by their affluence and wonderful readiness to meet his call. Say what we will, and a great deal may be said, of his lavish profusion, his heady and uncontrolled excess, in the richness of picture and imagery in which he indulges,--still there it lies before us, like the most gorgeous of summer gardens, in the glory and brilliancy of its varied blooms, in the wonder of its strange forms of life, in the changefulness of its exquisite and delicious scents. No one who cares for poetic beauty can be insensible to it. He may criticize it. He may have too much of it. He may prefer something more severe and chastened. He may observe on the waste of wealth and power. He may blame the prodigal expense of language, and the long s.p.a.ces which the poet takes up to produce his effect. He may often dislike or distrust the moral aspect of the poet's impartial sensitiveness to all outward beauty,--the impartiality which makes him throw all his strength into his pictures of Acrasia's Bower of Bliss, the Garden of Adonis, and Busirane's Masque of Cupid. But there is no gainsaying the beauty which never fails and disappoints, open the poem where you will. There is no gainsaying its variety, often so unexpected and novel. Face to face with the Epicurean idea of beauty and pleasure is the counter-charm of purity, truth, and duty. Many poets have done justice to each one separately. Few have shown, with such equal power, why it is that both have their roots in man's divided nature, and struggle, as it were, for the mastery. Which can be said to be the most exquisite in all beauty of imagination, of refined language, of faultless and matchless melody, of these two pa.s.sages, in which the same image is used for the most opposite purposes;--first, in that song of temptation, the sweetest note in that description of Acrasia's Bower of Bliss, which, as a picture of the spells of pleasure, has never been surpa.s.sed; and next, to represent that stainless and glorious purity which is the professed object of his admiration and homage. In both the beauty of the rose furnishes the theme of the poet's treatment. In the first, it is the "lovely lay" which meets the knight of Temperance amid the voluptuousness which he is come to a.s.sail and punish.