Spenser's The Faerie Queene Part 32

23. horne of bugle small, the English Bible. Spenser here imitates the description of the magic horn of Logistilla in Ariosto's Orlando Furioso, xv, 15, 53. Such horns are frequently mentioned in romance, e.g., Chanson de Roland, Morte d' Arthur, Hawes' Pastime, Ta.s.so's Jerusalem Delivered, Huon of Bordeaux, Romance of Sir Otarel, Cervantes' Don Quixote, etc.

50. late cruell feast, a probable reference to the ma.s.sacre of St. Bartholomew's Day in Paris in 1572, and to the persecutions of Alva's Council of Blood in the Netherlands in 1567.

ix. This stanza is an imitation of Homer's Iliad, xiv, 414.

95. in Cymbrian plaine, probably the Crimea, the ancient Tauric Chersonese. Some connect it with the Cimbric Chersonese, or Jutland, which was famous for its herds of bulls.

96. kindly rage, natural pa.s.sion.

105. Note the Latinism "threatened his heads," and the imperfect rhyme "brands."

118. her golden cup, suggested by Circe's magic cup in Homer's Odyssey, x, 316, and the golden cup of the Babylonish woman in Revelation, xvii, 4.

148. Through great impatience of his grieved hed, etc., through inability to endure (the pain of) his wounded head, he would have cast down his rider, etc.

155. In one alone left hand, in one hand alone remaining. His left arm had been cut off (x).

xix. The uncovered shield represents the open Bible. The incident is an imitation of Ruggiero's display of his shield in Orlando Furioso, xxii, 85.

246. Your fortune maister, etc., be master of your fortune by good management.

268. unused rust, rust which is due to disuse; a Latinism.

296. With natures pen, etc., i.e. by his gray hairs, at that age to which proper seriousness belongs. "I cannot tell" did not become his venerable looks.

310. That greatest princes, etc. This may mean (1) befitting the presence of the greatest princes, or (2) that the greatest princes might deign to behold in person. The first interpretation is preferable.

312. A general reference to the b.l.o.o.d.y persecutions without regard to age or s.e.x carried on for centuries by the Romish Church, often under the name of "crusades," "acts of faith," "holy inquisition," etc.

315. This may refer to the burning of heretics, under the pretext that the Church shed no blood. Kitchin thinks that it means "accursed ashes."

317. An Altare, cf. Revelation, vi, 9. Carv'd with cunning ymagery, "in allusion to the stimulus given to the fine arts by the Church of Rome" (Percival).

366. brawned bowrs, brawny muscles.

375. what evill starre, etc. In Spenser's day, belief in astrology, the pseudo-science of the influence of the stars on human lives, was still common.

381. There was an old familiar ballad ent.i.tled Fortune my Foe.

384. i.e. your good fortune will be threefold as great as your evil fortune.

384. good growes of evils priefe, good springs out of our endurance of the tests and experience of evil.

391. Best musicke breeds delight, etc. A troublesome pa.s.sage. Upton and Jortin emend delight to dislike; Church inserts no before delight and omits best; Kitchin suggests despight; Grosart prefers the text as it stands with the meaning that although the best music pleases the troubled mind, it is no pleasure to renew the memory of past sufferings. I venture to offer still another solution, based on the context. When Una shows a desire to hear from her Knight a recountal of his sufferings in the dungeon, and he is silent, being loath to speak of them, Arthur reminds her that a change of subject is best, for the best music is that which breeds delight in the troubled ear.

xlvi. In this pa.s.sage Spenser follows closely the description of the witch Alcina in Ariosto's Orlando Furioso, vii, 73. Rogero has been fascinated by her false beauty, and her real foulness is exposed by means of a magic ring. The stripping of Duessa symbolizes the proscription of vestments and ritual, and the overthrow of images, etc., at the time of the Reformation. Duessa is only banished to the wilderness, not put to death, and reappears in another book of the poem.

QUESTIONS AND TOPICS

(Canto VIII)

1. What moral reflections are found in i? 2. What were the duties of the Squire in chivalry? 3. What part does Arthur's Squire play? 4. What does the Squire's horn symbolize? 5. Observe the cla.s.sical figure in ix. 6. Describe the battle before the Giant's Castle, stating what part is taken by each of the four engaged. 7. Point out several of the characteristics of a typical battle of romance, and compare with combats in cla.s.sical and modern times. 8. What additional traits of Una's character are presented in this Canto? Note especially her treatment of the Knight. 9. How is the unchangeableness of truth ill.u.s.trated in this story? 10. Who is the old man in x.x.x seq.? 11. Who is the woful thrall in x.x.xvii? 12. In what condition, mental and physical, is the Knight when liberated? 13. How long was he a captive? 14. What was Duessa's punishment? Was it adequate? Explain its moral and religious meaning. 15. Observe the use of thou and ye (you) in this Canto. 16. Find examples of ant.i.thesis, alliteration, Latinisms.

CANTO IX

I. The Plot: Prince Arthur tells Una of his vision of the Faerie Queene and of his quest for her. After exchanging presents with the Redcross Knight, he bids farewell to Una and her companions. These pursue their journey and soon meet a young knight, Sir Trevisan, fleeing from Despair. Sir Trevisan tells of his narrow escape from this old man, and unwillingly conducts the Redcross Knight back to his cave. The Knight enters and is almost persuaded to take his own life. He is saved by the timely interposition of Una. This is the most powerful canto of Book I.

II. The Allegory: 1. The moral allegory in Canto VII presents the transition of the Soul (Redcross) from Pride to Sin (Duessa) through distrust of Truth (Una), and it thus comes into the bondage of Carnal Pride (Orgoglio). In Canto IX the Soul suffers a similar change from Sin to Despair. Having escaped from actual sin, but with spiritual life weakened, it almost falls a victim to Despair through excess of confidence and zeal to perform some good action. The Soul is saved by Truth, by which it is reminded to depend on the grace of G.o.d.

2. The allegory on its religious side seems to have some obscure reference to the long and bitter controversies between Protestantism (Calvinism) and Roman Catholicism allied with infidelity.

1. O goodly golden chaine, chivalry or knightly honor, the bond that unites all the virtues.

18. thanklesse, because not knowing whom to thank.

26. In Malory's Morte d'Arthur, Arthur is taken from his mother, Ygerne, at birth, and committed to the care of Sir Ector as his foster-father, i, 3. In Merlin Sir Antor is his foster-father.

33. Rauran mossy h.o.r.e, Rauran white with moss. A "Rauran-vaur hill" in Merionethshire is mentioned by Selden. Contrary to the older romancers, Spenser makes Prince Arthur a Welshman, not a Cornishman.

34. the river Dee, which rises in Merionethshire and flows through Lake Bala.

39. my discipline to frame, etc., to plan my course of instruction, and, as my tutor, to supervise my bringing up.

45. in her just terme, in due time.

57. or that fresh bleeding wound, i.e. his love for Gloriana.

59. With forced fury, etc., supplying "me" from "my" in l. 58 the meaning is: the wound ... brought ... me following its bidding with compulsive (pa.s.sionate) fury, etc. In the sixteenth century his was still almost always used as the possessive of it. Its does not occur in the King James Version of the Bible (1611).

63. Could ever find (the heart) to grieve, etc. A Euphuistic conceit.

64. According to the physiology of Spenser's age, love was supposed to dry up the humors ("moysture") of the body.

70. But told, i.e. if it (my love) is told.

100. Ensample make of him, witness him (the Redcross knight).

113. Whiles every sence, etc., while the sweet moisture bathed all my senses.

146. Next to that Ladies love, i.e. next to his love (loyalty) for Gloriana. Does the poet mean that allegiance to queen and country comes before private affection?

149. Was firmest fixt, etc., were strongest in my extremity (in the giant's dungeon).

169. A booke, the New Testament, an appropriate gift from the champions of the Reformed Church.

182. An armed knight, Sir Trevisan, who symbolizes Fear.

189. Pegasus, the winged horse of the Muses. For note on the false possessive with his, see note on V, 44.