Spenser Part 8

The whiles some one did chaunt this lovely lay: Ah! see, whoso fayre thing doest faine to see, In springing flowre the image of thy day.

Ah! see the Virgin Rose, how sweetly shee Doth first peepe foorth with bashfull modestee, That fairer seemes the lesse ye see her may.

Lo! see soone after how more bold and free Her bared bosome she doth broad display; Lo! see soone after how she fades and falls away.

So pa.s.seth, in the pa.s.sing of a day, Of mortall life the leafe, the bud, the flowre; Ne more doth florish after first decay, That earst was sought to deck both bed and bowre Of many a lady, and many a Paramowre.

Gather therefore the Rose whilest yet is prime, For soone comes age that will her pride deflowre; Gather the Rose of love whilest yet is time, Whilest loving thou mayst loved be with equall crime.

In the other, it images the power of the will--that power over circ.u.mstance and the storms of pa.s.sion, to command obedience to reason and the moral law, which Milton sung so magnificently in _Comus_:--

That daintie Rose, the daughter of her Morne, More deare then life she tendered, whose flowre The girlond of her honour did adorne: Ne suffred she the Middayes scorching powre, Ne the sharp Northerne wind thereon to showre; But lapped up her silken leaves most chayre, When so the froward skye began to lowre; But, soone as calmed was the christall ayre, She did it fayre dispred and let to florish fayre.

Eternall G.o.d, in his almightie powre, To make ensample of his heavenly grace, In Paradize whylome did plant this flowre; Whence he it fetcht out of her native place, And did in stocke of earthly flesh enrace, That mortall men her glory should admyre.

In gentle Ladies breste, and bounteous race Of woman kind, it fayrest Flowre doth spyre, And beareth fruit of honour and all chast desyre.

Fayre ympes of beautie, whose bright shining beames Adorne the worlde with like to heavenly light, And to your willes both royalties and Reames Subdew, through conquest of your wondrous might, With this fayre flowre your goodly girlonds dight Of chast.i.ty and vertue virginall, That shall embellish more your beautie bright, And crowne your heades with heavenly coronall, Such as the Angels weare before G.o.ds tribunall!

This sense of beauty, and command of beautiful expression is not seen only in the sweetness of which both these pa.s.sages are examples. Its range is wide. Spenser had in his nature besides sweetness, his full proportion of the stern and high manliness of his generation; indeed, he was not without its severity, its hardness, its unconsidering and cruel harshness, its contemptuous indifference to suffering and misery when on the wrong side. n.o.ble and heroic ideals captivate him by their attractions. He kindles naturally and genuinely at what proves and draws out men's courage, their self-command, their self-sacrifice. He sympathizes as profoundly with the strangeness of their condition, with the sad surprises in their history and fate, as he gives himself up with little restraint to what is charming and even intoxicating in it. He can moralize with the best in terse and deep-reaching apophthegms of melancholy or even despairing experience. He can appreciate the mysterious depths and awful outlines of theology--of what our own age can see nothing in, but a dry and scholastic dogmatism. His great contemporaries were, more perhaps than the men of any age, many-sided.

He shared their nature; and he used all that he had of sensitiveness and of imaginative and creative power, in bringing out its manifold aspects, and sometimes contradictory feelings and aims. Not that beauty, even varied beauty, is the uninterrupted attribute of his work. It alternates with much that no indulgence can call beautiful. It pa.s.ses but too easily into what is commonplace, or forced, or unnatural, or extravagant, or careless and poor, or really coa.r.s.e and bad. He was a negligent corrector. He only at times gave himself the trouble to condense and concentrate. But for all this, the _Faery Queen_ glows and is ablaze with beauty; and that beauty is so rich, so real, and so uncommon, that for its sake the severest readers of Spenser have pardoned much that is discordant with it, much that in the reading has wasted their time and disappointed them.

There is one portion of the beauty of the _Faery Queen_, which in its perfection and fulness had never yet been reached in English poetry.

This was the music and melody of his verse. It was this wonderful, almost unfailing sweetness of numbers which probably as much as anything set the _Faery Queen_ at once above all contemporary poetry. The English language is really a musical one, and say what people will, the English ear is very susceptible to the infinite delicacy and suggestiveness of musical rhythm and cadence. Spenser found the secret of it. The art has had many and consummate masters since, as different in their melody as in their thoughts from Spenser. And others at the time, Shakespere pre-eminently, heard, only a little later, the same grandeur, and the same subtle beauty in the sounds of their mother-tongue, only waiting the artist's skill to be combined and harmonized into strains of mysterious fascination. But Spenser was the first to show that he had acquired a command over what had hitherto been heard only in exquisite fragments, pa.s.sing too soon into roughness and confusion. It would be too much to say that his cunning never fails, that his ear is never dull or off its guard. But when the length and magnitude of the composition are considered, with the restraints imposed by the new nine-line stanza, however convenient it may have been, the vigour, the invention, the volume and rush of language, and the keenness and truth of ear amid its diversified tasks are indeed admirable, which could keep up so prolonged and so majestic a stream of original and varied poetical melody. If his stanzas are monotonous, it is with the grand monotony of the seash.o.r.e, where billow follows billow, each swelling diversely, and broken into different curves and waves upon its mounting surface, till at last it falls over, and spreads and rushes up in a last long line of foam upon the beach.

3. But all this is but the outside sh.e.l.l and the fancy framework in which the substance of the poem is enclosed. Its substance is the poet's philosophy of life. It shadows forth, in type and parable, his ideal of the perfection of the human character, with its special features, its trials, its achievements. There were two accepted forms in poetry in which this had been done by poets. One was under the image of warfare.

The other was under the image of a journey or voyage. Spenser chose the former, as Dante and Bunyan chose the latter. Spenser looks on the scene of the world as a continual battle-field. It was such in fact to his experience in Ireland, testing the mettle of character, its loyalty, its sincerity, its endurance. His picture of character is by no means painted with sentimental tenderness. He portrays it in the rough work of the struggle and the toil, always hardly tested by trial, often overmatched, deceived, defeated, and even delivered by its own default to disgrace and captivity. He had full before his eyes what abounded in the society of his day, often in its n.o.blest representatives--the strange perplexing mixture of the purer with the baser elements, in the high-tempered and aspiring activity of his time. But it was an ideal of character which had in it high aims and serious purposes, which was armed with fort.i.tude and strength, which could recover itself after failure and defeat.

The unity of a story, or an allegory--that chain and backbone of continuous interest, implying a progress and leading up to a climax, which holds together the great poems of the world, the _Iliad_ and _Odyssey_, the _aeneid_, the _Commedia_, the _Paradise Lost_, the _Jerusalem Delivered_--this is wanting in the _Faery Queen_. The unity is one of character and its ideal. That character of the completed man, raised above what is poor and low, and governed by n.o.ble tempers and pure principles, has in Spenser two conspicuous elements. In the first place, it is based on manliness. In the personages which ill.u.s.trate the different virtues, Holiness, Justice, Courtesy, and the rest, the distinction is not in nicely discriminated features or shades of expression, but in the trials and the occasions which call forth a particular action or effort: yet the manliness which is at the foundation of all that is good in them is a universal quality common to them all, rooted and imbedded in the governing idea or standard of moral character in the poem. It is not merely courage, it is not merely energy, it is not merely strength. It is the quality of soul which frankly accepts the conditions in human life, of labour, of obedience, of effort, of unequal success, which does not quarrel with them or evade them, but takes for granted with unquestioning alacrity that man is called--by his call to high aims and destiny--to a continual struggle with difficulty, with pain, with evil, and makes it the point of honour not to be dismayed or wearied out by them. It is a cheerful and serious willingness for hard work and endurance, as being inevitable and very bearable necessities, together with even a pleasure in encountering trials which put a man on his mettle, an enjoyment of the contest and the risk, even in play. It is the quality which seizes on the paramount idea of duty, as something which leaves a man no choice; which despises and breaks through the inferior considerations and motives--trouble, uncertainty, doubt, curiosity--which hang about and impede duty; which is impatient with the idleness and childishness of a life of mere amus.e.m.e.nt, or mere looking on, of continued and self-satisfied levity, of vacillation, of clever and ingenious trifling. Spenser's manliness is quite consistent with long pauses of rest, with intervals of change, with great craving for enjoyment--nay, with great lapses from its ideal, with great mixtures of selfishness, with coa.r.s.eness, with licentiousness, with injustice and inhumanity. It may be fatally diverted into bad channels; it may degenerate into a curse and scourge to the world. But it stands essentially distinct from the nature which shrinks from difficulty, which is appalled at effort, which has no thought of making an impression on things around it, which is content with pa.s.sively receiving influences and distinguishing between emotions, which feels no call to exert itself, because it recognizes no aim valuable enough to rouse it, and no obligation strong enough to command it. In the character of his countrymen round him, in its highest and in its worst features, in its n.o.ble ambition, its daring enterprise, its self-devotion, as well as in its pride, its intolerance, its fierce self-will, its arrogant claims of superiority, moral, political, religious, Spenser saw the example of that strong and resolute manliness, which, once set on great things, feared nothing--neither toil nor disaster nor danger, in their pursuit. Naturally and unconsciously, he laid it at the bottom of all his portraitures of n.o.ble and virtuous achievement in the _Faery Queen_.

All Spenser's "virtues" spring from a root of manliness. Strength, simplicity of aim, elevation of spirit, courage are presupposed as their necessary conditions. But they have with him another condition as universal. They all grow and are nourished from the soil of love; the love of beauty, the love and service of fair women. This of course, is a survival from the ages of chivalry, an inheritance bequeathed from the minstrels of France, Italy, and Germany to the rising poetry of Europe.

Spenser's types of manhood are imperfect without the idea of an absorbing and overmastering pa.s.sion of love; without a devotion, as to the princ.i.p.al and most worthy object of life, to the service of a beautiful lady, and to winning her affection and grace. The influence of this view of life comes out in numberless ways. Love comes on the scene in shapes which are exquisitely beautiful, in all its purity, its tenderness, its unselfishness. But the claims of its all-ruling and irresistible might are also only too readily verified in the pa.s.sions of men; in the follies of love, its entanglements, its mischiefs, its foulness. In one shape or another it meets us at every turn; it is never absent; it is the motive and stimulant of the whole activity of the poem. The picture of life held up before us is the literal rendering of Coleridge's lines:--

All thoughts, all pa.s.sions, all delights, Whatever stirs this mortal frame, Are all but ministers of Love, And feed his sacred flame.

We still think with Spenser about the paramount place of manliness, as the foundation of all worth in human character. We have ceased to think with him about the rightful supremacy of love, even in the imaginative conception of human life. We have ceased to recognize in it the public claims of almost a religion, which it has in Spenser. Love will ever play a great part in human life to the end of time. It will be an immense element in its happiness, perhaps a still greater one in its sorrows, its disasters, its tragedies. It is still an immense power in shaping and colouring it, both in fiction and reality; in the family, in the romance, in the fatalities and the prosaic ruin of vulgar fact. But the place given to it by Spenser is to our thoughts and feelings even ludicrously extravagant. An enormous change has taken place in the ideas of society on this point: it is one of the things which make a wide chasm between centuries and generations which yet are of "the same pa.s.sions," and have in temper, tradition and language, so much in common. The ages of the Courts of Love, whom Chaucer reflected and whose ideas pa.s.sed on through him to Spenser, are to us simply strange and abnormal states through which society has pa.s.sed, to us beyond understanding and almost belief. The perpetual love-making, as one of the first duties and necessities of a n.o.ble life, the s.p.a.ce which it must fill in the cares and thoughts of all gentle and high-reaching spirits, the unrestrained language of admiration and worship, the unrestrained yielding to the impulses, the anxieties, the pitiable despair and agonies of love, the subordination to it of all other pursuits and aims, the weeping and wailing and self-torturing which it involves, all this is so far apart from what we know of actual life, the life not merely of work and business, but the life of affection, and even of pa.s.sion, that it makes the picture of which it is so necessary a part, seem to us in the last degree, unreal, unimaginable, grotesquely ridiculous. The quaint love sometimes found among children, so quickly kindled, so superficial, so violent in its language and absurd in its plans, is transferred with the utmost gravity to the serious proceedings of the wise and good. In the highest characters it is chastened, refined, purified: it appropriates, indeed, language due only to the divine, it almost simulates idolatry; yet it belongs to the best part of man's nature. But in the lower and average characters, it is not so respectable; it is apt to pa.s.s into mere toying pastime and frivolous love of pleasure: it astonishes us often by the readiness with which it displays an affinity for the sensual and impure, the corrupting and debasing sides of the relations between the s.e.xes. But however it appears, it is throughout a very great affair, not merely with certain persons, or under certain circ.u.mstances, but with every one: it obtrudes itself in public, as the natural and recognized motive of plans of life and trials of strength; it is the great spur of enterprise, and its highest and most glorious reward. A world of which this is the law, is not even in fiction a world which we can conceive possible, or with which experience enables us to sympathize.

It is, of course, a purely artificial and conventional reading of the facts of human life and feeling. Such conventional readings and renderings belong in a measure to all art; but in its highest forms they are corrected, interpreted, supplemented by the presence of interspersed realities which every one recognizes. But it was one of Spenser's disadvantages, that two strong influences combined to entangle him in this fantastic and grotesque way of exhibiting the play and action of the emotions of love. This all-absorbing, all-embracing pa.s.sion of love, at least, this way of talking about it, was the fashion of the Court.

Further, it was the fashion of poetry, which he inherited; and he was not the man to break through the strong bands of custom and authority.

In very much he was an imitator. He took what he found; what was his own was his treatment of it. He did not trouble himself with inconsistencies, or see absurdities and incongruities. Habit and familiar language made it not strange that in the Court of Elizabeth, the most high-flown sentiments should be in every one's mouth about the sublimities and refinements of love, while every one was busy with keen ambition, and unscrupulous intrigue. The same blinding power kept him from seeing the monstrous contrast between the claims of the queen to be the ideal of womanly purity--claims recognized and echoed in ten thousand extravagant compliments--and the real licentiousness common all round her among her favourites. All these strange contradictions, which surprise and shock us, Spenser a.s.sumed as natural. He built up his fictions on them, as the dramatist built on a basis, which, though more nearly approaching to real life, yet differed widely from it in many of its preliminary and collateral suppositions; or as the novelist builds up his on a still closer adherence to facts and experience. In this matter Spenser appears with a kind of double self. At one time he speaks as one penetrated and inspired by the highest and purest ideas of love, and filled with aversion and scorn for the coa.r.s.er forms of pa.s.sion--for what is ensnaring and treacherous, as well as for what is odious and foul. At another, he puts forth all his power to bring out its most dangerous and even debasing aspects in highly coloured pictures, which none could paint without keen sympathy with what he takes such pains to make vivid and fascinating. The combination is not like anything modern, for both the elements are in Spenser so unquestionably and simply genuine. Our modern poets are, with all their variations in this respect, more h.o.m.ogeneous; and where one conception of love and beauty has taken hold of a man, the other does not easily come in. It is impossible to imagine Wordsworth dwelling with zest on visions and imagery, on which Spenser has lavished all his riches. There can be no doubt of Byron's real habits of thought and feeling on subjects of this kind, even when his language for the occasion is the chastest; we detect in it the mood of the moment, perhaps spontaneous, perhaps put on, but in contradiction to the whole movement of the man's true nature. But Spenser's words do not ring hollow. With a kind of unconsciousness and innocence, which we now find hard to understand, and which perhaps belongs to the early childhood or boyhood of a literature, he pa.s.ses abruptly from one standard of thought and feeling to another; and is quite as much in earnest when he is singing the pure joys of chastened affections, as he is when he is writing with almost riotous luxuriance what we are at this day ashamed to read. Tardily, indeed, he appears to have acknowledged the contradiction. At the instance of two n.o.ble ladies of the Court, he composed two Hymns of Heavenly Love and Heavenly Beauty, to "retract" and "reform" two earlier ones composed in praise of earthly love and beauty. But, characteristically, he published the two pieces together, side by side in the same volume.

In the _Faery Queen_, Spenser has brought out, not the image of the great Gloriana, but in its various aspects, a form of character which was then just coming on the stage of the world, and which has played a great part in it since. As he has told us, he aimed at presenting before us, in the largest sense of the word, the English gentleman. It was as a whole a new character in the world. It had not really existed in the days of feudalism and chivalry, though features of it had appeared, and its descent was traced from those times: but they were too wild and coa.r.s.e, too turbulent and disorderly, for a character which, however ready for adventure and battle, looked to peace, refinement, order, and law as the true conditions of its perfection. In the days of Elizabeth it was beginning to fill a large place in English life. It was formed amid the increasing cultivation of the nation, the increasing varieties of public service, the awakening responsibilities to duty and calls to self-command. Still making much of the prerogative of n.o.ble blood and family honours, it was something independent of n.o.bility and beyond it.

A n.o.bleman might have in him the making of a gentleman: but it was the man himself of whom the gentleman was made. Great birth, even great capacity, were not enough; there must be added a new delicacy of conscience, a new appreciation of what is beautiful and worthy of honour, a new measure of the strength and n.o.bleness of self-control, of devotion to unselfish interests. This idea of manhood, based not only on force and courage, but on truth, on refinement, on public spirit, on soberness and modesty, on consideration for others, was taking possession of the younger generation of Elizabeth's middle years. Of course the idea was very imperfectly apprehended, still more imperfectly realized. But it was something which on the same scale had not been yet, and which was to be the seed of something greater. It was to grow into those strong, simple, n.o.ble characters, pure in aim and devoted to duty, the Falklands, the Hampdens, who amid so much evil form such a remarkable feature in the Civil Wars, both on the Royalist and the Parliamentary sides. It was to grow into that high type of cultivated English nature, in the present and the last century, common both to its monarchical and its democratic embodiments, than which, with all its faults and defects, our western civilization has produced few things more admirable.

There were three distinguished men of that time, who one after another were Spenser's friends and patrons, and who were men in whom he saw realized his conceptions of human excellence and n.o.bleness. They were Sir Philip Sidney, Lord Grey of Wilton, and Sir Walter Ralegh: and the _Faery Queen_ reflects, as in a variety of separate mirrors and spiritualized forms, the characteristics of these men and of such as they. It reflects their conflicts, their temptations, their weaknesses, the evils they fought with, the superiority with which they towered over meaner and poorer natures. Sir Philip Sidney may be said to have been the first typical example in English society of the true gentleman. The charm which attracted men to him in life, the fame which he left behind him, are not to be accounted for simply by his accomplishments as a courtier, a poet, a lover of literature, a gallant soldier; above all this there was something not found in the strong or brilliant men about him, a union and harmony of all high qualities differing from any of them separately, which gave a fire of its own to his literary enthusiasm, and a sweetness of its own to his courtesy. Spenser's admiration for that bright but short career was strong and lasting.

Sidney was to him a verification of what he aspired to and imagined; a pledge that he was not dreaming, in portraying Prince Arthur's greatness of soul, the religious chivalry of the Red Cross Knight of Holiness, the manly purity and self-control of Sir Guyon. It is too much to say that in Prince Arthur, the hero of the poem, he always intended Sidney. In the first place, it is clear that under that character Spenser in places pays compliments to Leicester, in whose service he began life, and whose claims on his homage he ever recognized. Prince Arthur is certainly Leicester, in the historical pa.s.sages in the Fifth Book relating to the war in the Low Countries in 1576: and no one can be meant but Leicester in the bold allusion in the First Book (ix. 17) to Elizabeth's supposed thoughts of marrying him. In the next place, allegory, like caricature, is not bound to make the same person and the same image always or perfectly coincide; and Spenser makes full use of this liberty. But when he was painting the picture of the Kingly Warrior, in whom was to be summed up in a magnificent unity the diversified graces of other men, and who was to be ever ready to help and support his fellows in their hour of need, and in their conflict with evil, he certainly had before his mind the well-remembered lineaments of Sidney's high and generous nature. And he further dedicated a separate book, the last that he completed, to the celebration of Sidney's special "virtue" of Courtesy. The martial strain of the poem changes once more to the pastoral of the _Shepherd's Calendar_ to describe Sidney's wooing of Frances Walsingham, the fair Pastorella; his conquests by his sweetness and grace over the churlishness of rivals; and his triumphant war against the monster spirit of ignorant and loud-tongued insolence, the "Blatant Beast" of religious, political, and social slander.

Again, in Lord Grey of Wilton, gentle by nature, but so stern in the hour of trial, called reluctantly to cope not only with anarchy, but with intrigue and disloyalty, finding selfishness and thanklessness everywhere, but facing all and doing his best with a heavy heart, and ending his days prematurely under detraction and disgrace, Spenser had before him a less complete character than Sidney, but yet one of grand and severe manliness, in which were conspicuous a religious hatred of disorder, and an unflinching sense of public duty. Spenser's admiration of him was sincere and earnest. In his case the allegory almost becomes history. Arthur, Lord Grey, is Sir Arthegal, the Knight of Justice. The story touches apparently on some pa.s.sages of his career, when his dislike of the French marriage placed him in opposition to the Queen, and even for a time threw him with the supporters of Mary. But the adventures of Arthegal mainly preserve the memory of Lord Grey's terrible exploits against wrong and rebellion in Ireland. These exploits are represented in the doings of the iron man Talus, his squire, with his destroying flail, swift, irresistible, inexorable; a figure, borrowed and altered, after Spenser's wont, from a Greek legend. His overthrow of insolent giants, his annihilation of swarming "rascal routs," idealize and glorify that unrelenting policy, of which, though condemned in England, Spenser continued to be the advocate. In the story of Arthegal, long separated by undeserved misfortunes from the favour of the armed lady, Britomart, the virgin champion of right, of whom he was so worthy, doomed in spite of his honours to an early death, and a.s.sailed on his return from his victorious service by the furious insults of envy and malice, Spenser portrays almost without a veil, the hard fate of the unpopular patron whom he to the last defended and honoured.

Ralegh, his last protector, the Shepherd of the Ocean, to whose judgment he referred the work of his life, and under whose guidance he once more tried the quicksands of the Court, belonged to a different cla.s.s from Sidney or Lord Grey; but of his own cla.s.s he was the consummate and matchless example. He had not Sidney's fine enthusiasm and n.o.bleness; he had not either Sidney's affectations. He had not Lord Grey's single-minded hatred of wrong. He was a man to whom his own interests were much; he was unscrupulous; he was ostentatious; he was not above stooping to mean, unmanly compliances with the humours of the Queen. But he was a man with a higher ideal than he attempted to follow. He saw, not without cynical scorn, through the shows and hollowness of the world. His intellect was of that clear and unembarra.s.sed power which takes in as wholes things which other men take in part by part. And he was in its highest form a representative of that spirit of adventure into the unknown and the wonderful of which Drake was the coa.r.s.er and rougher example, realizing in serious earnest, on the sea and in the New World, the life of knight-errantry feigned in romances. With Ralegh, as with Lord Grey, Spenser comes to history; and he even seems to have been moved, as the poem went on, partly by pity, partly by amus.e.m.e.nt, to shadow forth in his imaginary world, not merely Ralegh's brilliant qualities, but also his frequent misadventures and mischances in his career at Court. Of all her favourites Ralegh was the one whom his wayward mistress seemed to find most delight in tormenting. The offence which he gave by his secret marriage suggested the scenes describing the utter desolation of Prince Arthur's squire, Timias, at the jealous wrath of the Virgin Huntress, Belphoebe,--scenes, which extravagant as they are, can hardly be called a caricature of Ralegh's real behaviour in the Tower in 1593. But Spenser is not satisfied with this one picture. In the last Book Timias appears again, the victim of slander and ill-usage, even after he had recovered Belphoebe's favour; he is baited like a wild bull, by mighty powers of malice, falsehood, and calumny; he is wounded by the tooth of the Blatant Beast; and after having been cured, not without difficulty, and not without significant indications on the part of the poet that his friend had need to restrain and chasten his unruly spirit, he is again delivered over to an ignominious captivity, and the insults of Disdain and Scorn.

Then up he made him rise, and forward fare, Led in a rope which both his hands did bynd; Ne ought that foole for pity did him spare, But with his whip, him following behynd, Him often scourg'd, and forst his feete to fynd: And other-whiles with bitter mockes and mowes He would him scorne, that to his gentle mynd Was much more grievous then the others blowes: Words sharpely wound, but greatest griefe of scorning growes.

Spenser knew Ralegh only in the promise of his adventurous prime--so buoyant and fearless, so inexhaustible in project and resource, so unconquerable by checks and reverses. The gloomier portion of Ralegh's career was yet to come: its intrigues, its grand yet really gambling and unscrupulous enterprises, the long years of prison and authorship, and its not unfitting close, in the English statesman's death by the headsman--so tranquil though violent, so ceremoniously solemn, so composed, so dignified;--such a contrast to all other forms of capital punishment, then or since.

Spenser has been compared to Pindar, and contrasted with Cervantes. The contrast, in point of humour, and the truth that humour implies, is favourable to the Spaniard: in point of moral earnestness and sense of poetic beauty, to the Englishman. What Cervantes only thought ridiculous Spenser used, and not in vain, for a high purpose. The ideas of knight-errantry were really more absurd than Spenser allowed himself to see. But that idea of the gentleman which they suggested, that picture of human life as a scene of danger, trial, effort, defeat, recovery, which they lent themselves to image forth, was more worth insisting on, than the exposure of their folly and extravagance. There was nothing to be made of them, Cervantes thought; and nothing to be done, but to laugh off what they had left, among living Spaniards, of pompous imbecility or mistaken pretensions. Spenser, knowing that they must die, yet believed that out of them might be raised something n.o.bler and more real, enterprise, duty, resistance to evil, refinement, hatred of the mean and base. The energetic and high-reaching manhood which he saw in the remarkable personages round him he shadowed forth in the _Faery Queen_. He idealized the excellences and the trials of this first generation of English gentlemen, as Bunyan afterwards idealized the piety, the conflicts, and the hopes of Puritan religion. Neither were universal types; neither were perfect. The manhood in which Spenser delights, with all that was admirable and attractive in it, had still much of boyish incompleteness and roughness: it had n.o.ble aims, it had generosity, it had loyalty, it had a very real reverence for purity and religion; but it was young in experience of a new world, it was wanting in self-mastery, it was often pedantic and self-conceited; it was an easier prey than it ought to have been to discreditable temptations. And there is a long interval between any of Spenser's superficial and thin conceptions of character, and such deep and subtle creations as Hamlet or Oth.e.l.lo, just as Bunyan's strong but narrow ideals of religion, true as they are up to a certain point, fall short of the length and breadth and depth of what Christianity has made of man, and may yet make of him.

But in the ways which Spenser chose, he will always delight and teach us. The spectacle of what is heroic and self-devoted, of honour for principle and truth, set before us with so much insight and sympathy, and combined with so much just and broad observation on those accidents and conditions of our mortal state which touch us all, will never appeal to English readers in vain, till we have learned a new language, and adopted new canons of art, of taste, and of morals. It is not merely that he has left imperishable images which have taken their place among the consecrated memorials of poetry and the household thoughts of all cultivated men. But he has permanently lifted the level of English poetry by a great and sustained effort of rich and varied art, in which one main purpose rules, loyalty to what is n.o.ble and pure, and in which this main purpose subordinates to itself every feature and every detail, and harmonizes some that by themselves seem least in keeping with it.

FOOTNOTES:

[118:1]

"Unknow, unkyst; and lost, that is unsoght."

_Troylus and Cryseide_, lib. i.

[128:2] Hales' _Life_, Globe Edition.

[132:3] _Vid._ Keble, _Praelect. Acad._, xxiv. p. 479, 480.

CHAPTER VI.

SECOND PART OF THE FAERY QUEEN.--SPENSER'S LAST YEARS (1590-1599).

The publication of the _Faery Queen_ in 1590 had made the new poet of the _Shepherd's Calendar_ a famous man. He was no longer merely the favourite of a knot of enthusiastic friends, and outside of them only recognized and valued at his true measure by such judges as Sidney and Ralegh. By the common voice of all the poets of his time he was now acknowledged as the first of living English poets. It is not easy for us, who live in these late times and are familiar with so many literary masterpieces, to realize the surprise of a first and novel achievement in literature; the effect on an age, long and eagerly seeking after poetical expression, of the appearance at last of a work of such power, richness, and finished art.

It can scarcely be doubted, I think, from the bitter sarcasms interspersed in his later poems, that Spenser expected more from his triumph than it brought him. It opened no way of advancement for him in England. He continued for a while in that most ungrateful and unsatisfactory employment, the service of the State in Ireland; and that he relinquished in 1593.[166:1] At the end of 1591 he was again at Kilcolman. He had written and probably sent to Ralegh, though he did not publish it till 1595, the record already quoted of the last two year's events, _Colin Clout's come home again_,--his visit, under Ralegh's guidance, to the Court, his thoughts and recollections of its great ladies, his generous criticisms on poets, the people and courtiers whom he had seen and heard of; how he had been dazzled, how he had been disenchanted, and how he was come home to his Irish mountains and streams and lakes, to enjoy their beauty, though in a "salvage" and "foreign" land; to find in this peaceful and tranquil retirement something far better than the heat of ambition and the intrigues of envious rivalries; and to contrast with the profanations of the name of love which had disgusted him in a dissolute society, the higher and purer ideal of it which he could honour and pursue in the simplicity of his country life.

And in Ireland, the rejected adorer of the Rosalind of the _Shepherd's Calendar_ found another and still more perfect Rosalind, who, though she was at first inclined to repeat the cruelty of the earlier one, in time relented, and received such a dower of poetic glory as few poets have bestowed upon their brides. It has always appeared strange that Spenser's pa.s.sion for the first Rosalind should have been so lasting, that in his last pastoral, _Colin Clout's come home again_, written so late as 1591, and published after he was married, he should end his poem by reverting to this long-past love pa.s.sage, defending her on the ground of her incomparable excellence and his own unworthiness, against the blame of friendly "shepherds," witnesses of the "languors of his too long dying," and angry with her hard-heartedness. It may be that, according to Spenser's way of making his masks and figures suggest but not fully express their ant.i.types,[168:2] Rosalind here bears the image of the real mistress of this time, the "country la.s.s," the Elizabeth of the sonnets, who was, in fact, for a while as unkind as the earlier Rosalind. The history of this later wooing, its hopes and anguish, its varying currents, its final unexpected success, is the subject of a collection of Sonnets, which have the disadvantage of provoking comparison with the Sonnets of Shakespere. There is no want in them of grace and sweetness, and they ring true with genuine feeling and warm affection, though they have of course their share of the conceits then held proper for love poems. But they want the power and fire, as well as the perplexing mystery, of those of the greater master. His bride was also immortalized as a fourth among the three Graces, in a richly-painted pa.s.sage in the last book of the _Faery Queen_. But the most magnificent tribute to her is the great Wedding Ode, the _Epithalamion_, the finest composition of its kind, probably, in any language: so impetuous and unflagging, so orderly and yet so rapid in the onward march of its stately and varied stanzas; so pa.s.sionate, so flashing with imaginative wealth, yet so refined and self-restrained. It was always easy for Spenser to open the floodgates of his inexhaustible fancy. With him,--

The numbers flow as fast as spring doth rise.

But here he has thrown into his composition all his power of concentration, of arrangement, of strong and harmonious government over thought and image, over language and measure and rhythm; and the result is unquestionably one of the grandest lyrics in English poetry. We have learned to think the subject unfit for such free poetical treatment; Spenser's age did not.

Of the lady of whom all this was said, and for whom all this was written, the family name has not been thought worth preserving. We know that by her Christian name she was a namesake of the great queen, and of Spenser's mother. She is called a country la.s.s, which may mean anything; and the marriage appears to have been solemnized in Cork, on what was then Midsummer Day, "Barnaby the Bright," the day when "the sun is in his cheerful height," June 11/22, 1594. Except that she survived Spenser, that she married again, and had some legal quarrels with one of her own sons about his lands, we know nothing more about her. Of two of the children whom she brought him, the names have been preserved, and they indicate that in spite of love and poetry, and the charms of Kilcolman, Spenser felt as Englishmen feel in Australia or in India. To call one of them _Sylva.n.u.s_, and the other _Peregrine_, reveals to us that Ireland was still to him a "salvage land," and he a pilgrim and stranger in it; as Moses called his firstborn Gershom, a stranger here--"for he said, I have been a stranger in a strange land."

In the year after his marriage, he sent over these memorials of it to be published in London, and they were entered at Stationers' Hall in November, 1595. The same year he came over himself, bringing with him the second instalment of the _Faery Queen_, which was entered for publication the following January, 1595/6. Thus the half of the projected work was finished; and finished, as we know from one of the Sonnets (80), before his marriage. After his long "race through Fairy land," he asks leave to rest, and solace himself with his "love's sweet praise;" and then "as a steed refreshed after toil," he will "stoutly that second worke a.s.soyle." The first six books were published together in 1596. He remained most of the year in London, during which _The Four Hymns on Love and Beauty, Earthly and Heavenly_, were published; and also a Dirge (_Daphnaida_) on Douglas Howard, the wife of Arthur Gorges, the spirited narrator of the Island Voyage of Ess.e.x and Ralegh, written in 1591; and a "spousal verse" (_Prothalamion_), on the marriage of the two daughters of the Earl of Worcester, late in 1596. But he was only a visitor in London. The _Prothalamion_ contains a final record of his disappointments in England.

I, (whom sullein care, Through discontent of my long fruitlesse stay In Princes Court, and expectation vayne Of idle hopes, which still doe fly away, Like empty shaddowes, did afflict my brayne,) Walkt forth to ease my payne Along the sh.o.a.re of silver streaming Themmes--

His marriage ought to have made him happy. He professed to find the highest enjoyment in the quiet and retirement of country life. He was in the prime of life, successful beyond all his fellows in his special work, and apparently with unabated interest in what remained to be done of it. And though he could not but feel himself at a distance from the "sweet civility" of England, and socially at disadvantage compared to those whose lines had fallen to them in its pleasant places, yet nature, which he loved so well, was still friendly to him, if men were wild and dangerous. He is never weary of praising the natural advantages of Ireland. Speaking of the North, he says,--

And sure it is yet a most beautifull and sweet countrey as any is under heaven, seamed throughout with many goodly rivers, replenished with all sortes of fish, most aboundantly sprinckled with many sweet Ilandes, and goodly lakes, like litle Inland Seas, that will carry even ships upon theyr waters, adorned with goodly woodes fitt for building of howses and shippes, soe comodiously, as that yf some princes in the world had them, they would soone hope to be lordes of all the seas, and ere long of all the world; also full of good portes and havens opening upon England and Scotland, as inviting us to come to them, to see what excellent comodityes that countrey can affoord, besides the soyle it self most fertile, fitt to yeeld all kind of fruite that shal be comitted therunto. And lastly, the heavens most milde and temperat, though somewhat more moyst then the part toward the West.

His own home at Kilcolman charmed and delighted him. It was not his fault that its trout streams, its Mulla and Fanchin, are not as famous as Walter Scott's Teviot and Tweed, or Wordsworth's Yarrow and Duddon, or that its hills, Old Mole, and Arlo Hill, have not kept a poetic name like Helvellyn and "Eildon's triple height." They have failed to become familiar names to us. But the beauties of his home inspired more than one sweet pastoral picture in the _Faery Queen_; and in the last fragment remaining to us of it, he celebrates his mountains and woods and valleys as once the fabled resort of the Divine Huntress and her Nymphs, and the meeting-place of the G.o.ds.

There was one drawback to the enjoyment of his Irish country life, and of the natural attractiveness of Kilcolman. "Who knows not Arlo Hill?"

he exclaims, in the scene just referred to from the fragment on _Mutability_. "Arlo, the best and fairest hill in all the holy island's heights." It was well known to all Englishmen who had to do with the South of Ireland. How well it was known in the Irish history of the time, may be seen in the numerous references to it, under various forms, such as Aharlo, Harlow, in the Index to the Irish Calendar of Papers of this troublesome date, and to continual encounters and ambushes in its notoriously dangerous woods. He means by it the highest part of the Galtee range, below which to the north, through a glen or defile, runs the "river Aherlow." Galtymore, the summit, rises, with precipice and gully, more than 3000 feet, above the plains of Tipperary, and is seen far and wide. It was connected with the "great wood," the wild region of forest, mountain, and bog which stretched half across Munster from the Suir to the Shannon. It was the haunt and fastness of Irish outlawry and rebellion in the South, which so long sheltered Desmond and his followers. Arlo and its "fair forests," harbouring "thieves and wolves,"