The Faerie Queene — Volume 01
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Title: The Faerie Queene — Volume 01
Author: Edmund Spenser
Release date: November 1, 2004 [eBook #6930]
Most recently updated: December 30, 2020
Language: English
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*** START OF THE PROJECT GUTENBERG EBOOK THE FAERIE QUEENE — VOLUME 01 ***
Portions Copyright (C) 2004 by Jonathan Barnes
A NOTE ON THIS EDITION
This is an electronic edition of Volume One of Edmund Spenser's
_Faerie Queene_. You are encouraged to use and copy it.
The edition includes the following elements:
- an entirely new composite text, based on the edition of 1596 (the
"Original Text")
- details of departures, or proposed departures, from the copy text
(the "Textual Appendix")
- a modernized version of the Original Text (the "Shadow Text")
- definitions of difficult words and phrases in the Shadow Text (the
"Glossary").
The Original Text was not scanned, but typed, and proofed against the
Scolar Press facsimile (see Bibliography). Editing took place between
November 1989 and July 1992, using EMACS.
Edition 10 (faeri10.txt) was prepared especially for Project Gutenberg
in February 2003.
Thus edition (August 2004) corrects a few errors in the convention for
italic type. A few definitions appearing in the wrong place have also
been fixed, as have anomalous top-bit set characters in the Hales
Biography, which has been reformatted to make it easier to read.
The edition is best viewed with a monospaced font. Plain ASCII
text is used throughout. Accented, etc., characters are indicated by
symbols contained in curly brackets, e.g.:
{e/} = lower-case e + acute accent (pointing up to right)
{e\} = lower-case e + grave accent (pointing up to left)
{o^} = lower-case o + circumflex accent
{o"} = lower-case o + diaeresis mark
{e~} = lower-case e + tilde
{ae} = lower-case ae diphthong
{Ae} = ae diphthong with initial capital
{AE} = fully capitalized ae diphthong
etc.
In this way all the characters of the 1596 edition have been shown
except the long "s", which has been throughout converted to its modern
equivalent. In Roman type, the long "s" most closely resembles a
lower-case "f" lacking part of the crossbar. It is used in the copy-text
in nearly all places where this edition has an ordinary lower-case "s",
except at the ends of words and when preceding the letter "k". Using
the oblique character in place of the long "s", then, the first lines of
the poem read:
Lo I the man, who/e Mu/e whilome did maske,
As time her taught in lowly Shepheards weeds,
Am now enfor/t a far vnfitter taske,
For trumpets /terne to chaunge mine Oaten reeds ...
These rules are on occasion broken, apparently by mistake. The long
"s" does nothing to aid comprehension, and indeed causes problems, noted
in the Textual Appendix: e.g. confusion between "besit" and "befit".
Special characters contained in the list of printers' contractions
are noted in the preamble to that list.
Regions of text printed, or intended to be shown, in italic type are
defined by underscores, thus: the _second_ word is in italics.
Spenser's original text of _The Faerie Queene_ is here described as
"Spenser's Text" and is in the public domain. The biography by
John W. Hales has passed out of copyright and was published by Messrs
Macmillan. Copyright in all other parts of this edition, including
editorial treatment of Spenser's Text, is reserved. You may not sell the
whole or any part of this edition in any form whatsoever, nor may you
supply it as an inducement to any party to purchase any product. Except
for private study, you may not alter the text in any way.
WARRANTY
This edition is supplied as is. No warranty of any description is given
in relation to the edition. Time and care have gone into its preparation,
but no guarantee of accuracy is implied or made.
In such a large work, despite the stringent and repeated manual and
electronic checking that has been carried out, some errors are bound to
have slipped through. Please tell me about any that you find. All readers'
emendations will be gratefully acknowledged in future releases.
-- Jonathan Barnes
jonathan.barnes[at]conexil.co.uk
20 August 2004
Main components:
Editor's Introduction
Abbreviations Used
List of Proper Nouns
Table of Contents of Volume I
Introductory Matter
Books I-III
Printer's Contractions
Bibliography
Biographical Material
The start of each of these is marked with the string "=>"
=> THE FAERIE QUEENE
Editor's Introduction
Acknowledgements
Purpose of the edition
The text of the poem
The form of the poem
The numbering system
How the Glossary works
The Textual Appendix
Suggestions for new readers
ACKNOWLEDGEMENTS
No endeavour of this kind would be possible without the work of
previous editors and critics, and I offer thanks to all who
have advanced our understanding of Spenser and his work. In
particular the scholarship of Professor A. C. Hamilton has
provided much enlightenment: his commentary (see Bibliography) is
required reading for those who would explore the secret meanings
of _The Faerie Queene_. To the compilers and publishers of the
monumental _Oxford English Dictionary_ I am deeply indebted. I
wish also to acknowledge the assistance of the staff of the
British Library, who kindly allowed me to consult copies of the
original editions.
PURPOSE OF THE EDITION
When reading a book such as _The Faerie Queene_, it is tempting
to minimize the looking up of difficult words, which are often
glossed, if at all, in the end pages. Although Spenser's use of
certain words appears quaint and lumpish, the language is
superficially modern enough to enable the reader to "get by".
Yet such an approach can lead only to a faulty appreciation of
the poem, and deprives one of much enchantment. Queen Elizabeth
would have found nothing lumpish about the language: her only
impatience might have been with Spenser's weakness for archaisms.
To her, the _FQ_ will have revealed Spenser's exact and liberal
style in all its glory: his words almost always make perfect
sense.
The purpose of this edition is to make the language of the poem
readily accessible. Interruptions to consult separate
dictionaries and so on are eliminated, preserving as far as
possible the flow of reading and accelerating one's apprehension
of the poem.
The sustained power and scope of Spenser's master-work, of his
"sacred fury", comprise a feat unsurpassed in English literature.
But, by its very nature, language changes with time, and access
to Spenser's magic kingdom is becoming ever more difficult. I
hope this edition provides a key.
THE TEXT OF THE POEM
No manuscript of _The Faerie Queene_ is known; we depend for our
text upon printed copies of the work.
The first of these appeared in 1590. It is a quarto edition,
published by William Ponsonby, and contains Books I-III. The
Registers of the Stationers' Company for 1589 include the
following entry:
_Primo Die Decembris.--Master Ponsonbye. Entered for his
Copye a book intituled the fayre Queene, dyposed into xii.
bookes &c. Aucthorysed vnder thandes of the Archb. of
Canterbury & bothe the Wardens, vjd._
The date of Spenser's letter to Raleigh is 23 January 1589 (1590
New Style); the book itself appeared some time after 25 March.
The text was indifferently proof-read, and a list of corrigenda
(Faults Escaped in the Print) accompanies it. Moreover, there is
variation between individual copies of the edition. Early copies
contain only ten dedicatory sonnets, while later ones contain the
full set of seventeen: for Spenser had made the signal blunder of
omitting Lord Burleigh from the illustrious company of
dedicatees. To confuse matters further, a few copies contain a
mixture of pages from the original and revised versions.
The quarto edition of 1596 was also published by Ponsonby, and
contains Books I-VI, variously bound into one or two volumes.
Books I-III were completely reset, apparently not from the MS.
but from a copy of 1590 heavily annotated by the author. Some,
but not all, of the corrections listed in the Faults Escaped were
incorporated in 1596. The end of Book III was changed,
continuing rather than ending the story of Scudamour and Amoret.
Spenser also added a new stanza at the beginning of Book I, Canto
xi, rewrote some single lines, and made sundry adjustments to
others. This process continued even as pages passed through the
press, so that there is variation from copy to copy, made more
complex by the mixing of sheets from different printings during
binding. No single copy of 1596 can therefore be said to be
definitive. 1596 does, however, have the advantage of Spenser's
personal supervision, and for this reason it is chosen as the
core of modern composite texts.
The third edition of _The Faerie Queene_ was published by Mathew
Lownes in 1609, ten years after Spenser's death. It is a folio
edition, and contains not only Books I-VI but also two cantos
"which, both for Forme and Matter, appeare to be parcell of some
following Booke of the Faerie Queene, vnder the Legend of
Constancie". This fragment comprises what are now called the
"Mutability Cantos".
The edition of 1609 is fundamentally a reprint of 1596. There is
reason to suspect that its editor was guided, at least in part,
by some authorial source which has now been lost: an annotated
copy of 1596, perhaps; or material found among the assorted
papers of the Mutability Cantos.
1609 is a conscientious edition which often achieves a higher
degree of consistency and intelligibility than 1596 itself,
although it is plain that a more modern hand than Spenser's is
responsible for many of its emendations: the punctuation, for
example, though often more logical, is blander than that of the
editions produced in Spenser's lifetime. Furthermore, the editor
of 1609 virtually ignores 1590, even though knowledge of that
text is often essential for filling in the gaps left by errors in
1596.
The editions of 1611 onwards throw little light on problems
raised by the three former editions.
A modern editor, then, must go to three different sources in
order to assemble a text which tries to do justice to Spenser's
original intention.
The copy-text for this edition is the facsimile published in 1976
by Scolar Press (see Bibliography).
THE FORM OF THE POEM
The basic unit of the poem is a verse or _stanza_ made up of nine
lines. This "Spenserian stanza", much imitated (for example, by
Byron), is Spenser's own invention. Typically, it consists of
eight pentameters and a final alexandrine. Lines are sometimes
short or long, on occasion perhaps through typographical error
(see for example II iii 26.9), but at other times for deliberate
effect (e.g. III iv 39.7, IV i 3).
The rhyming scheme is generally _ababbcbcc_, though this too is
subject to change, whether by authorial oversight or authorial
intention (e.g. II ii 7, VII vii 28).
The stanzas are not numbered in the original editions.
Between 30 and 87 stanzas comprise a _canto_ (Italian, "song"), a
term borrowed from Lodovico Ariosto, the Italian poet, whose work
influenced Spenser.
A canto is preceded by a four-line verse called an _argument_.
This summarizes what follows, often with particular emphasis on
its allegorical meaning. The metre of the argument is that of
the _Book of Common Prayer_.
Each complete book is introduced by a _proem_, a group of between
four and eleven stanzas preceding the argument of Canto i.
Twelve cantos comprise a _book_. Book VII is incomplete.
Spenser's stated plan was to write twelve books, one on each of
the twelve moral or private virtues; it is not known whether he
composed any more of _The Faerie Queene_ than has survived. _The
Faerie Queene_ was to have been followed by another epic poem of
twelve more books, one on each of the political or public
virtues. No trace of this work has ever been found.
THE SHADOW TEXT
The Shadow Text is intended as no more than a lowly companion to
the original. It makes no attempt to preserve metre or rhyme,
but renders a prosaic version, unifying the spelling in order to
make the meaning easier to understand.
I have altered the punctuation for the shadow version, though not
without trepidation. My aim has been to make crystal clear the
mechanical sense expressed by each stanza, but quite often this
is impossible. For one thing, the original pointing, rather than
being used strictly logically, may also influence the rhythm or
emphasis of the words when spoken (and _The Faerie Queene_ is a
poem which should be read aloud--although perhaps not in its
entirety!--to be fully appreciated). For another, the
functions of the punctuation marks themselves have undergone
change since Spenser's day. The semicolon, for example, is found
in _FQ_ introducing direct speech, where today a comma or a colon
would be used. Again, the comma is often required to carry long
parentheses, themselves sprinkled with commas; these passages can
become very confusing, especially where Spenser has also adopted
a contorted and latinistic word-order.
Then there are problems introduced by deliberately ambiguous
pointing. Spenser's immense command of the language, and his
quicksilver gift for wordplay and puns, allow him, when he
chooses, to pack great complexities of meaning into a line or
even a single word, and in this his punctuation is frequently his
accomplice.
A famous example comes right at the beginning of Book I:
But on his brest a bloudie Crosse he bore,
The deare remembrance of his dying Lord,
For whose sweete sake that glorious badge he wore,
And dead as liuing euer him ador'd:
Is the meaning of line 4: "dead, as living, ever him adored", or:
"dead, as living ever, him adored"? In fact, both meanings are
probably intended.
Thus it cannot be overemphasized that, where ambiguity is
occasioned by the punctuation of the original, the Shadow Text
can do no more than propose what seems to me the more or most
likely interpretation. Sometimes (as in the case cited above) I
suggest alternatives, but the pointing of the original poem
should always be given precedence in case of doubt.
The Glossary does not seek to interpret the poem. From time to
time it hints at what lies behind the bare words in order to aid
understanding, but its sole purpose is to make the _language_
more accessible to the modern reader. Interpretation is left to
the teacher, and to the large and growing body of criticism
devoted to _The Faerie Queene_.
THE NUMBERING SYSTEM
In the Glossary and Textual Appendix, references to parts of the
poem are given in the condensed form BCN.SN, where B = book
number (from 1 to 7), CN = canto number (from 01 to 12; canto 00
is the proem), and SN = stanza number (from 1 to a maximum of 87;
stanza 0 is the argument).
If a line within a stanza needs to be specified, it is preceded
by a colon. Ranges of cantos, stanzas, or lines are indicated by
a dash.
For example:
401.31 Book IV, Canto i, stanza 31
611.11:3 Book VI, Canto xi, stanza 11, line 3
503.2-9 Book V, Canto iii, stanzas 2 to 9
503-4 Book V, Cantos iii-iv
207.0 Book II, Canto vii, Argument
100.3 Book I, Proem, stanza 3
500.1:2-4 Book V, Proem, stanza 1, lines 2-4
In addition, a line of the Introductory Matter is specified by
its number, preceded by a colon and a capital "I". For example,
"I:123" refers to line 123 in the Introductory Matter.
HOW THE GLOSSARY WORKS
Entries relating to each line of Shadow Text are shown below that
line. In cases where a glossed word appears more than once in a
line, plus signs are used if necessary to highlight the
particular word being glossed. For example, in the line:
Till some end they find, +or+ in or out,
it is the first "or" which is glossed.
Editorial policy in the Glossary is as follows. Words which
appear in modern concise dictionaries and whose meanings are
unchanged are rarely glossed. The reader is expected to
understand words such as "quoth", "hither", and "aught" in their
_modern_ senses. Where an apparently modern form has a different
contextual meaning, it is glossed; and where the modern sense is
also to be understood, this is included in the definition.
Similar senses are grouped with commas; changes in sense are
indicated by semicolons. For example:
sad > heavy, heavily laden; sad
The commoner obsolete forms have been silently converted: "thee"
to "you", "dost" to "does", "mought" to "might", "whenas" to
"when", and so on. Others (generally speaking, those less common
words sufficiently distinct from their modern counterparts to
merit a separate entry in the _Shorter Oxford English
Dictionary_) have been unified to the spelling preferred by that
and its parent dictionary. This should allow the reader, during
very close scrutiny of any passage, quickly to find any of
Spenser's words in the _OED_.
All the Glossary entries are context-sensitive: Spenser often
uses the same word in several different ways. Thus no single
Glossary entry should be taken as generally definitive.
Types of entry
(a) Translations
An entry not enclosed in brackets should be read as a straight
translation of the quoted text which can be directly substituted
for it.
For example, in stanza 1 of the proem to Book I, line 1:
whilom > formerly
Line 1 can thus be understood to mean:
Lo I, the man whose Muse formerly did mask
Very often, additional meanings are given in such definitions:
weeds > clothes, garb
These additional meanings may complement one another, indicating
the hybrid sense which seems to be required, or they may
constitute a set of alternative meanings, any or all of which may
have been intended by Spenser. Each entry in any unbracketed
list may always be substituted for the original without
disturbing the syntax.
Similar senses are grouped with commas; changes in sense are
indicated with semicolons. For example:
gentle > noble; courteous, generous
In this case, an apparently modern form has a different
contextual meaning, and so it is glossed; and when the modern
sense is also to be understood, this is included in the
definition:
dull > dull, lacklustre; blunt
Where the contrast between alternatives is particularly great,
words are separated by _or_, _also_, etc.
Sometimes the meaning is forced or metaphorical. In these cases
the straight "dictionary" meaning of the word is given first, and
_hence_, _thus_, or _so_ are used to indicate contextual
departure from this. For example:
style > literary composition; _hence_: poem, song (cf. _SC_,
"Januarie", 10)
In this example, parenthesized editorial comment has also been
included.
Editorial comment in entries of this class is either enclosed in
round brackets, as above, or set in "italic" type, as in this
entry:
bale > torment; infliction of death; _also, mainly in northern
usage_: great consuming fire, funeral pyre; _hence,
perhaps_: hell-fire
A question-mark, as may be expected, indicates doubt, usually
about words which are not found in the _OED_ but whose meaning
might be inferred from the context. For example:
mill > ?mill-wheel; ?cogs of the mill (or because the sallow
grows by water)
(b) Definitions
An entry in curly brackets should be read as a dictionary
definition of the quoted text which cannot be directly fitted
into the syntax of the original line. For example:
scrine > {Casket or cabinet for archival papers}
(c) Notes
Entries in round brackets should be read as if they were
footnotes, typically giving background information or editorial
speculation. For example:
Muse > (The nine Muses are usually represented as the
daughters of Jupiter and Mnemosyne (Memory); each goddess
presides over an area of the arts and sciences and gives
inspiration to its practitioners)
and:
chief > chief, first; best (here Spenser is addressing either
Clio, the Muse of history, or Calliope, the Muse of epic
poetry; probably Clio. Clio is the first of the nine Muses
in Hesiod's _Theogony_, and is usually represented with an
open roll of paper or a chest of books. Spenser calls her
"thou eldest Sister of the crew" at _TM_ 53. See 111.5:6-
8, 303.4:6, 706.37:9, 707.1:1)
It should be added that on occasion the distinction between a
"note", requiring round brackets, and a "definition", requiring
curly brackets, is somewhat moot.
(d) Hints and expansions
Entries in square brackets are hints or expansions to make the
quoted text more intelligible, and can be thought of as being
preceded by the qualifications "that is", "in other words", or
"what Spenser appears to mean is". For example:
in his help > [to help him; in his armoury]
Such entries can be mentally substituted for the quoted word or
phrase in order to aid comprehension.
Sometimes square brackets are employed in other sorts of
definitions to indicate words which should be understood. For
example:
mask > {Disguise [herself]; take part in a masque or
masquerade}
and:
time > [her] term of apprenticeship
(e) Explanations of character-names
Most of the names of major characters in the poem have special
meanings. These are briefly explained as follows:
Archimago > "Arch Mage", "Arch Magician"
Sometimes there is a qualifying parenthesis giving information on
the etymology or adding comment:
Una > "One" (Latin; she is the sole Truth)
Character-names from the poem and from classical mythology are
typically explained once only, on their first occurrence. If you
encounter a name which is not defined, then it has appeared
somewhere before. The list of proper nouns will quickly help you
to find it.
THE TEXTUAL APPENDIX
A textual appendix, detailing actual or proposed departures from
the copy-text, is incorporated. The Textual Appendix records:
(a) obvious misprints;
(b) lections from 1590 or 1609 which seem preferable;
(c) lections from 1590 or 1609 which throw light on the spelling,
punctuation or sense of 1596;
(d) illuminating conjectures or suggestions made by Spenserian
scholars and editors.
The four main sources for the text are quoted as follows:
1590: the 1590 quarto edition (Books I-III)
1596: the 1596 quarto edition (Books I-VI)
1609: the 1609 folio edition (Books I-VII)
FE: the corrigenda (Faults Escaped in the Print) which accompany
1590 (Books I-III)
In the Textual Appendix, all original text is shown in "roman"
type, except where it occurs in italic type in the sources. All
editorial comment in the Textual Appendix is shown in "italic"
type.
Examples
(a) Departures from the text of 1596
Elfe > Elfe, _1596_
The lection from 1590 and 1609 is to be preferred, since 1596
(with an extraneous comma) appears to be in error.
sawe > saw _1596, 1609_
The lection from 1590 is to be preferred.
there > their _1590, 1596_
The lection from 1609 is to be preferred.
that > _omitted from 1596_
The word has been supplied from the lection of 1590 and 1609.
who > _omitted from 1596 and 1609_
The word has been supplied from 1590.
has > _omitted from 1590 and 1596_
The word has been supplied from 1609.
wite > wote _1590 etc.; this correction is generally agreed_.
All three editions contain a blatant error, which has been
corrected by editorial conjecture.
those > these _1590 etc.: FE_
All three editions are in error and the word has been supplied
from FE.
Harrow > Horrow _1590, 1596: FE_
The error occurs in 1590 and 1596, and was corrected in 1609 from
FE.
(b) Variants on the text of 1596
in her sight > to her might _1590_
The variant occurs in 1590, but not in 1596 or 1609.
traile > trayle _1609_
The variant occurs in 1609, but not in 1590 or 1596.
fair > fayre, _1590_; Faire _1609_
These two variants occur in 1590 and 1609, so that the word in
question is different in all three editions.
hand > hond _sugg. Morris_
Morris (see Bibliography) suggested this alternative to the given
text.
So that any reader will be able to start anywhere and understand
any stanza immediately, I have glossed even the common archaisms
throughout (e.g. "gan", "eftsoons", "wont"). Occasionally,
however, as with "squire", or "palmer", or "foster", when
repetitious glossing would be locally irritating, I have glossed
the word once or twice only at the beginning of each canto. Thus
it is possible that you will alight somewhere and find an unknown
word unglossed.
If this should happen, you will almost certainly be able to find
the word glossed in at least one other place earlier in the
canto. Or, if it is does not seem to be glossed at all, you will
find it in any competent concise English dictionary.
SUGGESTIONS FOR NEW READERS
Readers who are new to _The Faerie Queene_ and who are working
without the help of a teacher may be daunted by its sheer size.
Such readers are invited to sample some of the poem before
deciding to embark on a detailed reading.
If you are at present unfamiliar with Elizabethan spelling and
usage, I recommend that, in the beginning, you read each stanza
first in the Shadow Text, just to get the mechanical meaning.
Then go to the original and read that, for its structure, for its
rhythm and its music, and to absorb the idiom of the language.
After a short while you will be able to read the Original Text
immediately, referring to the Shadow Text only when difficulty is
encountered.
The following passages provide a brief survey of the variety of
Spenser's style.
101. The sequence in Error's den (101.11-27) is perhaps the most
crudely allegorical in the _FQ_, and shows signs of having been
drafted before Spenser hit upon his "dark conceit". None the
less, the whole of this canto should be read as an introduction
to the poem. Stanzas 39-41 are especially beautiful.
102.15-19. The first of many titanic battles between armed
knights.
103.0-9. Una finds her champion in the gentle lion.
104.17-36. Spenser's rendition of the Seven Deadly Sins is
grotesquely medieval in tone.
105.19-28. The goddess Night prepares to descend into hell. The
quality of Spenser's imagination defeats what may have been his
original intention to produce a pastiche here. For example, the
choice of the word "tarre" at 105.28:8 evinces artistry of the
highest order.
107.1-7. The Redcross Knight brought low. You are challenged
not to want to continue reading this canto!
107.38-41. Prince Arthur's "goodly reason, and well guided
speach".
108.45-50. The spoiling of Duessa.
109.35-54. The counsel of Despair. The central stanzas are
often quoted out of context; 109.40 was raided by Joseph Conrad
for his epitaph.
111.8-55. The Redcross Knight slays the dragon.
112.9-11. Spenser's sense of humour, at its most savage in Book
III, here shows a gentler face.
204.16-32. The confession of Phedon. Spenser's handling of this
old story is both vivid and economical.
205.28-34. Cymochles in the Bower of Bliss. The sensuousness of
the poet's imagination is still, unbelievably, developing, and
has yet further to go.
207. Mammon's cave. One of Milton's favourite cantos. The
word-picture of Mammon himself (207.3-4) is quite superb.
210.7-11. The long chronicle of Britain, often dismissed as
tedious, nevertheless contains many striking images. See the
potted _King Lear_ at 210.27-32.
212.30-33. Guyon tempted by the mermaids. The whole of this
canto is recommended to the new reader; see especially 212.42-45,
212.58-82.
301.20-30. Britomart rescues the Redcross Knight.
302.17-27. Britomart falls for Arthegall.
304.17 is one of the most graphic stanzas in the _FQ_.
Cymodoce's grief, 304.29-39, is wonderfully portrayed.
305.41-48. Timias's love for Belphoebe.
308.0-19. The Snowy Florimell. This is just a specimen: cantos
308-310 are mercilessly funny.
311.47-49. The image of Cupid, quite different in conception
from Venus's "little sonne" of 306.11 ff.
312.1-27. The Masque of Cupid.
If your interest has been now been aroused, I suggest you read
the Letter to Raleigh before venturing on your journey through
the landscape of _The Faerie Queene_.
You will find there a spacious playground for the mind. Its
knights and ladies, dragons and satyrs, forests and castles, seem
at first to be those of fantasy. Yet the _FQ_ is by no means an
exercise in escapism. Even incomplete, it triumphantly succeeds
in Spenser's declared intention of fashioning a "noble person in
vertuous and gentle discipline".
=> ABBREVIATIONS USED IN THE GLOSSARY AND TEXTUAL APPENDIX
adj. adjective, adjectival, adjectivally
adv. adverb, adverbial, adverbially
_Aen._ _Aeneid_ (Virgil)
app. apparently
BC before Christ
c. circa, about
catachr. catachresis, catachrestic, catachrestically
_CC_ _Colin Clouts Come Home Againe_ (Spenser)
cf. compare
_Col._ _Colossians_
conj. conjectured by
corr. corrected by
_Dan._ _Daniel_
_DGDG_ _De Genealogia Deorum Gentilium_ (Boccaccio)
_Deut._ _Deuteronomy_
dub. dubitative, dubitatively
_Eccl._ _Ecclesiastes_
_Ephes._ _Ephesians_
erron. erroneous, erroneously
esp. especial, especially
_et seq_. and the following words, passages
euphem. euphemism, euphemistic, euphemistically
_Exod._ _Exodus_
_Ezek._ _Ezekiel_
ff. following, _et. seq._
fig. figurative, figuratively
fl. floruit (indicating the period during which a
person "flourished"
_FQ_ _The Faerie Queene_
_Gal._ _Galatians_
_Gen._ _Genesis_
_GL_ _Gerusalemme Liberata_ (Tasso)
_Heb._ _Hebrews_
_Hos._ _Hosea_
_HRB_ _Historia Regum Britanniae_ (Geoffrey of Monmouth)
_Hubberd_ _Mother Hubberds Tale_ (Spenser)
intr. intransitive, intransitively
_Isa._ _Isaiah_
_Josh._ _Joshua_
_Judg._ _Judges_
lit. literal, literally
_LR_ Spenser's letter to Raleigh (see Introductory Matter)
_Matt._ _Matthew_
_Met._ _Metamorphoses_ (Ovid)
_Myth._ _Mythologiae_ (Comes)
_Odes_ _Odes_ (Ovid)
OE Old English
_OED_ _Oxford English Dictionary_, 1989 edition
_OF_ _Orlando Furioso_ (Ariosto)
OFr Old French
_PL_ _Paradise Lost_ (Milton)
ppl. past participle
prep. preposition, prepositional, prepositionally
_Ps._ _Psalms_
refl. reflexive, reflexively
_Rev._ _Revelation_
_Rinaldo_ _Rinaldo_ (Tasso)
_Rom._ _Romans_
_RR_ _Ruines of Rome_ (Spenser)
sb. substantive, substantival, substantivally
_SC_ _The Shepheardes Calender_ (Spenser)
_Song Sol._ _Song of Solomon_
sp., spp. species
SU sense unique (i.e. this sense is found only here)
SUFQ sense unique to _FQ_
sugg. suggested by
SUS sense unique to Spenser
_TM_ _Teares of the Muses_ (Spenser)
trans. transitive, transitively
usu. usually
Var. the variorum edition of Spenser's works (see
Bibliography)
vb. verb
WU word unique (i.e. this word is found only here)
WUFQ word unique to _FQ_
WUS word unique to Spenser
=> PROPER NOUNS
The proper nouns in Books I-III (excluding the Introductory
Matter) are catalogued here. The spellings given are those used
in the Shadow Text. If the proper noun is glossed, reference to
the stanza or stanzas containing the glossary entry or entries is
given; otherwise, the stanza where the proper noun first occurs
is noted.
The list has been extended to include characters who are not
actually named. Entries for such characters begin with a lower-
case letter. For example, Una's dwarf is listed as: dwarf
[Una's].
The categories are as follows:
<MR> masculine character in history (i.e. a real person)
<FR> feminine character in history
<NR> neuter or animal character in history
<MM> masculine character in mythology
<FM> feminine character in mythology
<NM> neuter or animal character in mythology
<MB> masculine character in Bible
<FB> feminine character in Bible
<MQ> masculine character unique to FQ
<FQ> feminine character unique to FQ
<NQ> neuter or animal character unique to FQ
<PQ> personification in FQ (e.g. Wrath, Despair)
<PX> personification in general use (e.g. Nature, Time)
<LR> real place
<LM> locus in mythology
<LB> locus in Bible
<LQ> locus in FQ
<XP> tribes, nations, peoples, or individuals of these (e.g.
Briton)
<XX> not classified
<M any masculine character
<F any feminine character
<N any neuter or animal character
<L any locus
R> any historical character or real place
M> any character or locus in mythology
B> any character or locus in the Bible
Q> any locus, character, or personification unique to _FQ_
<FQ> Abessa 103.18
<LR> Abus 210.16
<LM> Acheron 105.33
<MM> Achilles I:330, 302.25
<MM> Acontius 207.55
<FQ> Acrasia (Pleasure) 201.51, 301.2
<MQ> Acrates 204.41
<MB> Adam 210.50
<MM> Admetus 311.39
<MM> Adonis 301.34, 306.0
<LR> Adrian Gulf [Adriatic Sea] 207.14
<LR> Aegean 307.26
<FM> Aegeria 210.42
<FM> Aegina 311.35
<MM> Aeneas I:83
<MM> Aeolus (1) 107.9
<MM> Aeolus (2) 311.42
<MM> Aesculapius 105.36
<LR> African Ismael 303.6
<MM> Aganippus 210.29
<MM> Agdistes (Genius) 212.48
<MM> Aidan [Adin] 303.37
<LR> Alba [Alba Longa]
<MM> Albanact 210.14
<LR> Albania 210.29
<LR> Albion (1) 210.6
<MM> Albion (2) 210.11
<MM> Alcides (Hercules) 107.17
<LR> Alcluith 210.63
<FM> Alcmene 311.33
<XX> Aldebaran 103.16
<MR> Alexander 209.45
<MR> Allectus 210.57
<LR> Allen [the Bog of Allen, in Ireland] 209.16
<FQ> Alma (Temperance) 209.0
<XX> Amarant 306.45
<FQ> Amavia 201.0
<LR> Amazon 200.2
<PQ> Ambition 207.46
<MR> Ambrosius 210.67
<PQ> Amendment 110.26
<LR> America 210.72
<MM> Amintas 306.45
<MM> Ammon 105.48
<FQ> Amoret 306.0
<FQ> Amphisa 306.4
<MQ> Anamnestes 209.58
<MM> Anchises 309.41
<MM> Androgeus 210.46
<MQ> angel [watching over Guyon] 208.3
<FM> Angela 303.56
<PQ> Anger 312.25
<XP> Angles 303.56
<PQ> Annoyance 304.55
<MR> Antiochus 105.47
<FM> Antiope 311.35
<XX> Antiquity of Faery Land 209.60
<MR> Antonius 105.49
<MM> Apollo 105.43, 304.41
<PQ> Appetite 209.28
<LR> Arabia 105.4
<FM> Arachne 207.28
<MQ> Archimago (Hypocrisy) 101.43, 304.45
<FQ> Argante 307.47
<XX> Argo 212.44
<MM> Argus 104.17, 309.7
<MQ> armed knight [Sir Ferraugh] 308.15
<LR> Armorica 303.41
<FM> Arne 311.42
<LR> Arras 301.34
<MQ> Artegall 209.6, 302.0
<MM> Arthgallo 210.44
<MM> Arthur 107.0
<MM> Arviragus 210.51
<MM> Asclepiodotus 210.50
<LR> Asia 309.39
<MM> Assaracus 209.56
<FM> Asteria 311.34
<FM> Atalanta 207.54
<FM> Ate 207.55
<LR> Athens 210.25
<MQ> Atin 204.42
<MM> Atlas 207.54
<MR> Augustine 303.35
<MR> Aurelius 210.67
<FM> Aurora 104.16, 310.1
<PQ> Avarice 104.27
<XX> Ave 103.13
<XX> Ave Maria 101.35
<LM> Avernus 105.31
<MM> Aveugle 105.23
<LB> Babel 209.21
<LR> Babylon 105.47
<MQ> Bacchante 301.45
<MM> Bacchus (Lyaeus) 106.15
<LR> Bangor 303.35
<LR> Barry 303.8
<MQ> Basciante 301.45
<LR> Bath (Caer-badus) 111.30
<MQ> beadmen 110.36
<MM> Belinus 210.40
<FQ> Belphoebe 203.0
<FM> Biblis 302.41
<FM> Bisaltis 311.41
<MM> Bladud 303.60
<FR> Boadicea 210.54
<MM> Boreas 102.33
<LQ> Bower of Bliss 201.51
<MQ> Braggadocchio 203.0
<MM> Brennus 210.40
<LR> Britain 110.65
<FQ> Britomart 301.0
<XP> Briton 111.7
<XX> Briton Moniments 209.59
<XP> Britoness 301.58
<MM> Brocmail [Brockwell] 303.35
<MM> Brunchild 210.24
<MM> Brutus 210.9
<MQ> Busirane 311.0
<MR> Cadmus 209.45
<MR> Cador 303.27
<XX> Caduceus 212.41
<MM> Cadwallader 303.40
<MM> Cadwalla [Cadwallin] 303.36
<MM> Cadwan 303.35
<FM> Caecily 210.34
<FQ> Caelia 110.4
<LR> Caer-badus (Bath) 210.26
<LR> Caer-lion 210.25
<LR> Caer-merdin (Maridunum) 303.7
<LR> Caer-verulam [St Albans] 303.52
<MR> Caesar [Gaius Julius Caesar] 105.49
<MQ> Calidore 308.28
<MM> Camber 210.14
<LR> Cambria 210.29
<FM> Camilla 304.2
<LR> Cantium (Canutium, Kent) 210.12
<MM> Canute 210.11
<LR> Canutium (Cantium, Kent)
<MM> Carados 303.55
<MR> Carausius 210.57
<PQ> Care 101.40; ?another? at 312.25
<MM> Careticus 303.33
<LR> Carlisle 210.25
<LR> Caspian 207.14
<MM> Cassibellaun 210.47
<FM> Cassiopeia 103.16
<LQ> Castle Joyeous 301.20
<FM> Celeno 207.23
<LR> Celtic mainland 210.5
<LR> Celtica 210.29
<NM> Centaur 210.29
<MM> Cephissus 302.44
<LR> Cephisus 111.30
<NM> Cerberus 105.34
<FM> Ceres 301.51
<PQ> Change 312.25
<NM> Chanticleer 102.1
<FM> Chaos 306.36
<FQ> Charissa 110.4
<MB> Christ (Saviour, Redeemer) 210.53
<XX> Christianity 210.53
<XX> Christians 108.36
<FQ> Chrysogone 306.4
<XX> Church 303.34
<FQ> Claribella 204.26
<MR> Claudius 210.51
<FR> Cleopatra 105.50
<LQ> Cleopolis 107.46
<FM> Clio 304.4
<FM> Clymene 311.38
<LR> Cnidus 306.29
<LM> Cocytus 101.37
<MM> Coel 210.58
<MM> Coillus 210.53
<LR> Colchester 210.58
<FQ> Columbell 307.51
<PQ> Concoction 209.31
<MR> Constantine (1) 210.60
<MM> Constantine (2) 303.29
<MR> Constantius 210.59
<PQ> Contemplation 110.46
<MQ> Coradin 204.36
<FQ> Corceca (Devotion) 103.18
<FM> Cordelia 210.28
<MM> Corineus 210.10
<LR> Cornewaile (Cornwall) 210.12
<FM> Coronis 311.37
<MM> Coulin 210.11
<PQ> Covetise 105.46
<FM> Creusa 212.45
<MR> Critias 207.52
<MR> Croesus 105.47
<PQ> Cruelty 312.19
<MM> Cunedagius 210.33
<MM> Cupid (Love) 110.30
<FM> Cybele 106.15
<MM> Cymbeline 210.50
<LR> Cymbrian plain 108.11
<MQ> Cymochles 204.41
<FM> Cymodoce 304.19
<FM> Cynthia (Diana, Lucina, Phoebe) 101.39, 107.34, 300.4
<LR> Cynthus 203.31
<MM> Cyparissus 106.17
<FM> Cytherea (Venus, Dame Pleasure) 306.20
<LR> Cytheron 306.29
<FM> Dame Pleasure (Venus, Cytherea) 101.47
<FM> Danae 311.31
<PQ> Danger 312.11
<MM> Danius 210.43
<FM> Daphne 212.52, 311.36
<MM> Day (Phoebus, Light) 302.48
<PQ> Death 206.44
<MM> Debon 210.11
<FB> Deborah 304.2
<PQ> Deceit 105.26
<LR> Dee 303.35
<LR> Dehenbarth (South Wales) 302.18
<LR> Dell 210.24
<LR> Delos 212.13
<MM> Demogorgon 105.22
<LR> Denmark 210.41
<PQ> Desire 312.9
<PQ> Despair 109.0
<FQ> Despite 204.41
<MM> Deucalion 311.42
<LR> Devonshire 210.12
<FQ> Devotion (Corceca) 103.0
<FM> Diana (Cynthia, Lucina, Phoebe) 105.39
<PQ> Diet 209.27
<PQ> Digestion 209.31
<MR> Diocletian 210.8
<PQ> Disdain 207.41
<PQ> Disloyalty 312.25
<PQ> Displeasure 312.18
<PQ> Dissemblance 312.14
<PQ> Doubt 312.10
<NQ> dragon (Satan, Prince of Darkness) 101.3
<PQ> Dread 312.25
<PQ> Dread-of-Heavenly-Vengeance 312.25
<FM> Dryope 106.15
<FQ> Duessa (Fidessa, Falsehood) 102.34, 301.0
<MQ> Dumarin 304.19
<MR> Dunwallo 210.40
<MQ> dwarf [Florimell's; named at 502.3:1] 305.3
<MQ> dwarf [Una's] 101.6
<LR> Dynevor 303.8
<FM> Earth 107.9
<PQ> Ease 312.4
<LR> Easterland [Norway] 210.41
<XP> Easterlings 210.63
<MM> Ebraucus 210.21
<LB> Eden 112.26
<MM> Edwin 303.36
<MQ> Elf 210.71
<MQ> Elfant 210.73
<MQ> Elfar 210.73
<MQ> Elferon 210.75
<MQ> Elficleos 210.75
<MQ> Elfiline 210.72
<MQ> Elfin 210.72
<MQ> Elfinan 210.72
<MQ> Elfinell 210.73
<MQ> Elfinor 210.73
<MM> Elidure 210.44
<FQ> Elissa 202.35
<LR> Elversham 210.24
<XP> Elves 303.26
<FR> Emmilen 303.54
<MM> Enceladus 309.22
<LR> England 110.61
<PQ> Envy 104.30
<MR> Eosa [Oza] 303.52
<MM> Erebus 204.41, 304.55
<FM> Erigone 311.43
<FM> Erinnys 202.29
<FQ> Errant Damsel (Una, Truth) 201.19
<NQ> Error 101.0
<LR> Esquiline 209.32
<LR> Estham Bruges 210.24
<FM> Estrildis 210.17
<MM> Eternity 204.41
<MM> Ethelfrid [Etheldred] 303.35
<LR> Etna (Mongiball) 111.44, 208.20, 302.32
<MM> Euboean young man [Melanion, also called Hippomenes] 207.54
<MQ> Eumnestes 209.58
<LR> Euphrates 107.43
<FM> Europa 311.30
<LR> Eurotas 203.31
<LR> Euxine seas [Euxinus] 212.44
<PQ> Excess 212.57
<XP> Faery 100.2
<FQ> Faery Queen (Gloriana, Queen of Faery, Queen of Faeries)
107.36
<FQ> Falsehood (Duessa, Fidessa) 102.0
<PQ> Fancy 312.7
<FM> Fates 107.22
<MM> Faunus 202.7
<PQ> Fear 207.22
<MM> Ferrex 210.34
<MQ> Ferryman, The 211.4
<FQ> Fidelia 110.4
<FQ> Fidessa (Duessa, Falsehood) 102.26
<MQ> fisher [the fisherman who violates Florimell] 307.27
<FM> Flora 101.48
<FQ> Florimell 301.0
<MQ> foster 301.17
<MQ> Fradubio 102.33
<FQ> Fraelissa 102.37
<LR> France 210.22
<MM> Fulgenius 210.57
<FM> Furies 103.36
<PQ> Furor 204.0
<PQ> Fury 312.17
<MQ> Gardante 301.45
<LQ> Garden of Adonis 210.71, 306.29
<MM> Genius (Agdistes) 212.47
<MQ> Genius [at Garden of Adonis] 306.31
<FM> Genuissa 210.52
<MM> George (Redcross, Georgos) 102.11
<MQ> Georgos (Redcross, George) 110.66
<LR> Germany 210.22
<MM> Giants 309.22
<LB> Gihon 107.43
<LR> Glamorgan 210.33
<FQ> Glauce 302.30
<FQ> Gloriana (Faery Queen, Queen of Faery, Queen of Faeries)
210.0
<PQ> Gluttony 104.21
<XX> God (great King, heaven's King) 101.13
<MM> Godmer 210.11
<MM> Goemagot 210.10
<FM> Goneril 210.28
<MM> Gorboduc 210.34
<MM> Gorbonian 210.44
<MM> Gorgon 101.37
<FM> Gorgons 309.22
<MM> Gorlois 303.27
<MM> Gormund 303.33
<FM> Graces 101.48, 203.25, 208.6, 306.2
<MR> Gratian 210.61
<XX> great King (God, heaven's King) 110.55
<LR> Greece 105.4
<XP> Greeks 103.21, 207.55
<PQ> Grief 310.55
<MR> Griffith ap Cynan 303.45
<MQ> Grill 212.86
<FM> Guendolen 303.54
<MM> Guithelin 210.42
<LQ> Gulf of Greediness 212.3
<MM> Gurgiunt 210.41
<MM> Gurgustius 210.34
<MQ> Guyon 200.5
<LR> Haemus 309.22
<LR> Haina 210.24
<LR> Hainaut 210.21
<MR> Hannibal 105.49
<PQ> Hate 207.22
<XX> heaven's King (God, great King) 110.36
<LM> Heavenfield 303.38
<LR> Hebrus 111.30
<FM> Hecate 101.43
<MM> Hector 209.45
<FM> Helen 207.55
<FM> Helena 210.59
<MM> Heli 210.45
<FM> Heliconian maids (Muse) 100.1
<FM> Helle 311.30
<FQ> Hellenore 309.6
<XP> Henalois 210.24
<MM> Hengist 210.65
<MM> Hercules (Alcides) 207.54
<NM> Hermaphroditus 312.46 (1590)
<XX> Hesperus 102.6, 304.51
<LR> Highgate 309.46
<MM> Hippolytus 105.36
<LR> Hoe 210.10
<XX> Holy Grail 210.53
<MR> Homer 304.2
<PQ> Hope 312.13 (this is not Speranza, q.v.)
<MM> Horsa 210.65
<XX> House of Agonies 209.52
<LQ> House of Holiness 110.3
<LQ> House of Pride 104.0
<LM> House of Proserpine (Tartarus) 311.1
<LQ> House of Temperance 209.0
<MR> Howell Dha 303.45
<MQ> Huddibras 202.17
<LR> Humber 210.16
<MM> Huon 201.6
<MM> Hyacinth 212.54, 306.45
<NM> Hydra 212.23; see also 107.17
<NQ> hyena [the creature sent after Florimell] 308.44
<MM> Hylas 312.7
<XX> Hymen io Hymen 101.48
<MQ> Hypocrisy (Archimago) 101.0
<FM> Hypsipyle 210.56
<LR> Ida 212.52, 311.54
<LQ> Idle Lake 206.10
<PQ> Idleness (Sloth) 104.18
<MQ> Ignaro 108.31
<LR> Ilium 309.34
<PQ> Impatience 211.23
<PQ> Impotence 211.23
<MM> Inachus 209.56
<LR> Ind 105.4
<LR> India 200.2, 210.72, 303.6
<XP> Indians 312.8
<PQ> Infirmity 312.25
<FM> Inogene 210.13
<FM> Iphimedia 311.42
<PQ> Ire (Wrath) 104.35
<LR> Ireland 209.24, 210.41, 303.33
<FM> Iris 311.47
<FM> Isse 311.39
<LR> Italy 210.13
<MM> Iulus 309.43
<MM> Ixion 105.35
<MB> Jacob 106.35
<MM> Jago 210.34
<PQ> Jar 204.41
<MM> Jason 212.44
<PQ> Jealousy (see also Malbecco) 207.22, 310.55
<LR> Jerusalem 110.57
<XP> Jews 207.62
<MQ> Jocante 201.45
<LR> Jordan 111.30
<MB> Joseph of Arimathea 210.53
<MM> Jove 100.3, 101.6, 104.11, 210.3, 210.70, 211.43, 311.30
<FM> Juno (Lucina) 212.13
<LR> Kent (Canutium, Cantium) 210.12
<MM> Kimarus 210.43
<MM> Kinmarcus 210.34
<MQ> Kirkrapine 103.22
<MQ> Labryde 106.21
<LR> Lacedaemon 309.34
<FQ> Lady of Delight 301.26
<FM> Lady of the Lake 303.10
<NQ> lamb [Una's] 101.4
<MM> Laomedon 211.19
<MM> Latinus 309.42
<LR> Latium 309.42
<FM> Latona 212.13
<LR> Layburn Plain 303.37
<MM> Lear 210.27
<PQ> Lechery 104.24
<FM> Leda 311.32
<MM> Leill 210.25
<XX> Lentulus 105.49
<LM> Lerna 107.17
<LM> Lethe 103.36
<FM> Liagore 304.41
<MM> Light (Phoebus, Day) 105.24
<LM> Limbo-lake 102.32
<LR> Lincoln 309.51
<NQ> lion [Una's champion] 103.5
<MM> Locrin 210.13
<LR> Logris 210.14
<PQ> Loss of Time 312.25
<LR> Lothian 303.37
<MM> Love (Cupid) 109.8
<FQ> Lucifera 104.12
<FM> Lucina (Diana, Cynthia, Phoebe, Juno) 201.53
<MB> Lucius 210.53
<MM> Lud I:304, 210.46
<MM> Lyaeus (Bacchus) 301.51
<MM> Maddan 210.20
<MM> Maglaunus 210.29
<LR> Magnes 212.4
<XX> Mahound (Termagant) 208.23
<XX> Maidenhead [Order of] 107.46
<MQ> Malbecco 309.6
<FQ> Malecasta 301.0
<MQ> Maleger 211.0
<MM> Malgo 303.31
<MQ> Malvenu 104.6
<MM> Mammon (Richesse) 207.0
<MM> Manlius 210.21
<LR> Maridunum (Caer-merdin) 303.7
<MQ> Marinell 304.0
<MR> Marius 105.49
<MM> Mars 100.3, 311.36
<FM> Martia 303.54
<FM> Matilda 303.13
<LR> Matraval 303.13
<MR> Maximian 210.61
<FQ> Mean (Medina) 202.0
<FM> Medea 212.44
<FQ> Medina (Mean) 202.14
<FM> Medusa 311.42
<FM> Memory (Mnemosyne) 303.4
<MM> Mempricius 210.21
<LR> Menevia [St David's] 303.55
<XP> Mercians 303.30
<MM> Mercury 212.41
<PQ> Mercy 110.34
<MM> Merlin 107.36
<MB> Methuselah 209.57
<FM> Minerva 309.22
<FQ> Mirth (Phaedria) 206.0
<PQ> Misfortune 204.17
<PQ> Mnemon 309.47
<FM> Mnemosyne 311.35
<LR> Mona [Anglesey] 303.48
<LR> Mongiball (Etna) 209.29
<MQ> Mordant 201.0
<XX> Morddure 208.21
<MM> Morgan 210.33
<XP> Morini 210.43
<MM> Morpheus (Sleep) 101.36
<MM> Morvidus 210.43
<MM> Mulciber (Vulcan) 207.5
<FM> Muse (Heliconian maids) 100.1, 212.52
<PQ> Music 112.38
<FM> Myrrha 307.26; 101.9
<MM> Narcissus 306.45
<PX> Nature 111.47
<LR> Nausa (Paros) 309.37
<LM> Nausicle 309.37
<LM> Nemea 205.31
<MM> Nennius 210.49
<MM> Neptune 103.32
<MM> Nereus 103.31, 304.19
<MM> Nestor (Pylian) 209.57
<LR> Neustria 303.47
<FM> Night [Nox] 101.39, 105.20, 304.54
<LR> Nile 101.21
<MB> Nimrod 105.48
<MM> Ninus 105.48
<MB> Noah 210.15
<MQ> Noctante 301.45
<LR> Northumber 303.39
<XP> Norwegians 303.33
<MM> Numa 210.39
<PQ> Obedience 110.17
<MM> Oberon 201.6, 210.75
<PQ> Occasion 204.0
<MR> Octa 303.52
<MR> Octavius 210.60
<FM> Oenone 309.36
<MM> Offric 303.37
<MQ> Ollyphant 307.48
<LM> Olympus 307.41
<MM> Orcus (Pluto) 212.41
<MQ> Orgoglio 107.14
<XX> Orion 103.31
<XX> Orion's hound [the star Sirius] 103.31
<LR> Orkney 303.37
<MB> Orsilochus 304.2
<MM> Osric 303.37
<LR> Ossa 210.3
<MM> Oswald 303.38
<MM> Oswy 303.39
<LQ> Overt Gate 309.46
<MM> Paean 304.41
<PQ> Pain 207.21
<FQ> Palladine 307.52
<MQ> palmer 201.7
<MM> Pan 209.40
<FM> Panope 308.37
<LQ> Panthea 110.58
<LR> Panwelt 210.63
<LR> Paphos 306.29
<MQ> Paridas 309.37
<MQ> Paridell 308.0
<MM> Paris 207.55
<MQ> Parius 309.36
<MQ> Parlante 301.45
<LM> Parnassus 212.52
<LR> Paros (Nausa) 309.36
<FM> Pasiphae 302.41
<PQ> Patience 110.23
<MR> Paulinus 210.55
<PQ> Peace 303.49
<NM> Pegasus 109.21, 311.42
<MM> Pellitus 303.36
<PQ> Penance 110.27
<MM> Penda 303.37
<FM> Penthesilea 304.2
<MQ> Peredure 210.44
<FQ> Perissa 202.36
<LR> Persia 102.13
<LR> Peru 200.2
<FQ> Phaedria (Mirth) 206.9
<MQ> Phantastes 209.52
<FQ> Phao 302.20
<MQ> Phedon 204.0
<MQ> Philemon 204.20
<FQ> Philotime 207.49
<FM> Philyra 311.43
<LM> Phlegethon 105.33
<FM> Phoebe (Diana, Cynthia, Lucina) 107.5
<MM> Phoebus (Day, Light) 100.4, 101.23, 102.1, 111.5, 209.48,
211.19, 303.4
<MM> Phoebus' fairest child [Phaethon] 104.9
<FM> Pholoe 106.15
<XP> Picts 210.61
<MB> Pilate 207.62
<LR> Pindus 304.41
<LB> Pishon 107.43
<PQ> Pleasance 312.18
<FQ> Pleasure (Acrasia) 201.0
<PX> Pleasure [Volupia] 306.50
<MM> Pluto (Orcus) 101.37
<MR> Pompey 105.49
<MM> Porrex 210.34
<PQ> Poverty 312.25
<PQ> Praise-desire 209.39
<MR> Praxiteles 300.2
<MM> Priam 203.31
<PQ> Pride 104.0
<MB> Prince of Darkness (Satan, dragon) 308.8
<MM> Prometheus 210.70
<FM> Proserpine (Thracian maid) 102.2
<MM> Proteus 102.10, 304.25
<FQ> Pryene 204.25
<FM> Psyche 306.50
<MR> Ptolemy 302.20
<MM> Pubidius 303.13
<MM> Pylian (Nestor) 209.48
<MQ> Pyrochles 204.41
<MM> Pyrrhus 203.31
<FQ> Queen of Faeries (Faery Queen, Queen of Faery, Gloriana)
109.14
<FQ> Queen of Faery (Faery Queen, Queen of Faeries, Gloriana)
209.4
<PQ> Rancour 204.44
<LR> Rauran 109.4
<PQ> Reason 204.34
<MQ> Redcross (George, Georgos) 101.0, 102.0
<XX> Redeemer (Christ, Saviour) 201.27
<FM> Regan 210.28
<PQ> Remorse 110.27
<PQ> Repentance 110.27
<PQ> Reproach 312.24
<PQ> Revenge 204.44, 207.22
<PQ> Reverence 110.7
<LR> Rhodope 212.52
<MR> Rhodri 303.45
<LQ> Rich Strand 304.0
<MQ> Richesse (Mammon) 207.24
<PQ> Riotise 312.25
<LR> Riphaean hills 308.6
<MM> Rivallo 210.34
<LR> River Dee 109.4
<LQ> Rock of Reproach 212.8
<XP> Romans 210.47
<LR> Rome 210.40
<MM> Romulus 105.49, 309.43
<MM> Ruddoc 210.38
<MQ> Ruddymane 203.2
<XP> Russian 211.26
<MM> Ryence 302.18
<MM> Sabrina 210.19
<XX> Saint Francis' fire 104.35
<XX> Sanglamort 310.32
<MQ> Sansfoy 102.12
<MQ> Sansjoy 102.25
<MQ> Sansloy 102.25
<XP> Saracen 102.12
<MB> Satan (dragon, Prince of Darkness) 104.36
<MM> Saturn 311.43
<MQ> Satyrane 106.28
<MM> satyrs 106.7, 310.0
<XX> Saviour (Christ, Redeemer) 109.19
<XP> Saxon 303.29
<LR> Scaldis 210.24
<LM> Scamander 309.35
<MR> Scipio 105.49
<MQ> Scudamour 306.53
<LR> Selinus 107.32
<FM> Semele 311.33
<FM> Semiramis 105.50, 210.56
<LR> Severn 210.14, 210.19, 210.54
<MR> Severus 210.57
<PQ> Shame 105.26
<PQ> Shamefastness 209.43
<LB> Siloam 111.30
<MM> Silvanus 106.7
<MM> Silvius 309.48
<MB> Sisera 304.2
<MM> Sisilius 210.43
<MM> Sisillius 210.34
<MM> Sisyphus 105.35
<LR> Six Islands 303.32
<MM> Sleep (Morpheus) 101.40, 304.54
<PQ> Sloth (Idleness) 104.36
<NQ> snowy lady [Snowy Florimell] 308.0
<MR> Socrates 207.52
<FQ> Sophy 209.6
<PQ> Sorrow 107.25
<LR> South Wales (Dehenbarth) 302.18
<LR> Spain 210.41
<LR> Spau 111.30
<FQ> Speranza 110.4
<NQ> Spumador 211.19
<MQ> Squire of Dames 307.51
<MM> Stater 210.38
<FM> Sthenoboea 105.50
<LR> Stonehenge 210.66
<LR> Stremona 107.17
<PQ> Strife 204.0
<LM> Styx 101.37, 306.24, 306.46
<MR> Sulla 105.49
<PQ> Suspect 312.14
<FM> Tanaquil 100.2, 210.76
<MM> Tantalus 105.35
<MR> Tarquin 105.49
<XP> Tartar 211.26
<LM> Tartarus (House of Proserpine) 107.44
<LM> Tempe 212.52
<FQ> Temperance (Alma) 211.0
<MM> Tenuantius 210.46
<XX> Termagant (Mahound) 208.30
<MQ> Terwin 109.27
<FM> Tethys 101.39
<LR> Thames 309.45
<LR> Thebes 209.45
<MQ> Therion 106.21
<MM> Theseus 105.35
<FM> Thracian maid (Proserpine) 311.35
<FQ> Thyamis 106.21
<LR> Tiber 102.22
<PX> Time 306.39
<MQ> Timias 301.18 (he first appears at 107.29)
<MQ> Timon 109.4
<MM> Titan 102.7, 104.8
<MM> Titans 207.41, 307.47
<MM> Tithonus 102.7
<MM> Tityus 105.35
<FR> Tomyris 210.56
<LR> Tours 301.34
<MR> Trahern 210.60
<PQ> Treason 207.22
<XX> Tree of Life 111.46
<MQ> Trevisan 109.0
<MM> Triton 304.33
<MM> Trojan boy [Ganymede] 311.34
<XP> Trojans 207.55
<MQ> Trompart 203.10
<LR> Troy 203.31
<LM> Troynovant 210.46
<FQ> Truth (Una, Errant Damsel) 102.0
<MM> Tryphon 304.43
<MM> Typhoeus 105.35
<MM> Ulfin 303.55
<MQ> Umilta 110.5
<FQ> Una (Truth, Errant Damsel) 101.45
<PQ> Unthriftihead 212.18
<MM> Uther 210.68, 303.55
<PQ> Vanity 104.13
<FM> Venus (Cytherea, Dame Pleasure) 100.3, 306.2
<MQ> Verdant 212.82
<MR> Vespasian 210.52
<MM> Vigenius 210.44
<LR> Virginia 200.2
<MM> Vortigern 210.64
<MM> Vortimer 210.66
<MM> Vortipore 303.31
<MM> Vulcan (Mulciber) 207.36
<LQ> Wandering Islands 212.11
<LQ> Wandering Wood 101.13
<MM> Wasserman 212.24
<LB> Well of Life 111.29
<LQ> Whirlpool of Decay 212.20
<FM> Widen 210.35
<FQ> witch 307.6
<MQ> witch's son 307.12
<PQ> Woe 304.55
<MR> Worthies [the nine Worthies] 303.4
<PQ> Wrath (Ire) 104.33
<LM> Xanthus 309.35
<MM> Ymner 210.38
<PQ> Zeal 110.6
<MM> Zephyr 205.29
<MR> Zeuxis 300.2
=> CONTENTS
Title page
Dedication
A letter to Sir Walter Raleigh
Commendatory Verses
A Vision vpon this conceipt of the _Faery Queene_
Another of the same (W. R.)
To the learned Shepheard (Hobinoll)
Fayre _Thamis_ streame, that from _Ludds_ stately towne (R. S.)
Graue Muses march in triumph and with prayses (H. B.)
When stout _Achilles_ heard of _Helens_ rape (W. L.)
To looke vpon a work of rare deuise (Ignoto)
Dedicatory Sonnets
Sir Christopher Hatton
William Cecil, Lord Burleigh
Edward de Vere, Earl of Oxford
Henry Percy, Earl of Northumberland
George Clifford, Earl of Cumberland
Robert Devereux, Earl of Essex
Thomas Butler, Earl of Ormond and Ossory
Charles, Lord Howard of Effingham
Henry Carey, Lord Hunsdon
Arthur, Lord Grey de Wilton
Thomas Sackville, Earl of Dorset and Baron Buckhurst
Sir Francis Walsingham
Sir John Norris
Sir Walter Raleigh
Mary Herbert, Countess of Pembroke
Lady Elizabeth Spencer Carey
Ladies in the Court
Book I
THE LEGEND OF THE KNIGHT OF THE RED CROSSE, _OR_ OF HOLINESSE
Proem
[4]
Canto i
The Patron of true Holinesse,
Foule Errour doth defeate:
Hypocrisie him to entrape,
Doth to his home entreate.
[55]
Canto ii
The guilefull great Enchaunter parts
The Redcrosse Knight from Truth:
Into whose stead faire falshood steps,
And workes him wofull ruth.
[45]
Canto iii
Forsaken Truth long seekes her loue,
And makes the Lyon mylde,
Marres blind Deuotions mart, and fals
In hand of leachour vylde.
[44]
Canto iv
To sinfull house of Pride, Duessa
guides the faithfull knight,
Where brothers death to wreak Sansioy
doth chalenge him to fight.
[51]
Canto v
The faithfull knight in equall field
subdewes his faithlesse foe,
Whom false Duessa saues, and for
his cure to hell does goe.
[53]
Canto vi
From lawlesse lust by wondrous grace
fayre Vna is releast:
Whom saluage nation does adore,
and learnes her wise beheast.
[48]
Canto vii
The Redcrosse knight is captiue made
By Gyaunt proud opprest,
Prince Arthur meets with Vna great-
ly with those newes distrest.
[52]
Canto viii
Faire virgin to redeeme her deare
brings Arthur to the fight:
Who slayes the Gyant, wounds the beast,
and strips Duessa quight.
[50]
Canto ix
His loues and lignage Arthur tells:
The knights knit friendly bands:
Sir Treuisan flies from Despayre,
Whom Redcrosse knight withstands.
[54]
Canto x
Her faithfull knight faire Vna brings
to house of Holinesse,
Where he is taught repentance, and
the way to heauenly blesse.
[68]
Canto xi
The knight with that old Dragon fights
two dayes incessantly:
The third him ouerthrowes, and gayns
most glorious victory.
[55]
Canto xii
Faire Vna to the Redcrosse knight
betrouthed is with ioy:
Though false Duessa it to barre
her false sleights doe imploy.
[42]
Book II
THE LEGEND OF SIR GVYON, _OR_ OF TEMPERAVNCE
Proem
[5]
Canto i
Guyon by Archimage abusd,
The Redcrosse knight awaytes,
Findes Mordant and Amauia slaine
With pleasures poisoned baytes.
[61]
Canto ii
Babes bloudie hands may not be clensd,
the face of golden Meane.
Her sisters two Extremities:
striue her to banish cleane.
[46]
Canto iii
Vaine Braggadocchio getting Guyons
horse is made the scorne
Of knighthood trew, and is of fayre
Belphoebe fowle forlorne.
[46]
Canto iv
Guyon does Furor bind in chaines,
and stops Occasion:
Deliuers Phedon, and therefore
by strife is rayld vpon.
[46]
Canto v
Pyrochles does with Guyon fight,
And Furors chayne vnbinds
Of whom sore hurt, for his reuenge
Atin Cymochles finds.
[38]
Canto vi
Guyon is of immodest Merth,
led into loose desire,
Fights with Cymochles, whiles his bro-
ther burnes in furious fire.
[51]
Canto vii
Guyon findes Mamon in a delue,
Sunning his threasure hore:
Is by him tempted, and led downe,
To see his secret store.
[66]
Canto viii
Sir Guyon laid in swowne is by
Acrates sonnes despoyld,
Whom Arthur soone hath reskewed
And Paynim brethren foyld.
[56]
Canto ix
The house of Temperance, in which
doth sober Alma dwell,
Besiegd of many foes, whom straunger
knightes to flight compell.
[60]
Canto x
A chronicle of Briton kings,
from Brute to Vthers rayne.
And rolles of Elfin Emperours,
till time of Gloriane.
[77]
Canto xi
The enimies of Temperaunce
besiege her dwelling place:
Prince Arthur them repelles, and fowle
Maleger doth deface.
[49]
Canto xii
Guyon by Palmers gouernance,
passing through perils great,
Doth ouerthrow the Bowre of blisse,
and Acrasie defeat.
[87]
Book III
THE LEGEND OF BRITOMARTIS, _OR_ OF CHASTITIE
Proem
[5]
Canto i
Guyon encountreth Britomart,
faire Florimell is chaced:
Duessaes traines and Malecastaes
champions are defaced.
[67]
Canto ii
The Redcrosse knight to Britomart
describeth Artegall:
The wondrous myrrhour, by which she
in loue with him did fall.
[52]
Canto iii
Merlin bewrayes to Britomart,
the state of Artegall.
And shewes the famous Progeny
which from them springen shall.
[62]
Canto iv
Bold Marinell of Britomart,
Is throwne on the Rich strond:
Faire Florimell of Arthur is
Long followed, but not fond.
[61]
Canto v
Prince Arthur heares of Florimell:
three fosters Timias wound,
Belphebe finds him almost dead,
and reareth out of sownd.
[55]
Canto vi
The birth of faire Belphoebe and
Of Amoret is told.
The Gardins of Adonis fraught
With pleasures manifold.
[54]
Canto vii
The witches sonne loues Florimell:
she flyes, he faines to die.
Satyrane saues the Squire of Dames
from Gyants tyrannie.
[61]
Canto viii
The Witch creates a snowy Lady,
like to Florimell,
Who wrongd by Carle by Proteus sau'd,
is sought by Paridell.
[52]
Canto ix
Malbecco will no straunge knights host,
For peeuish gealosie:
Paridell giusts with Britomart:
Both shew their auncestrie.
[53]
Canto x
Paridell rapeth Hellenore:
Malbecco her pursewes:
Findes emongst Satyres, whence with him
To turne she doth refuse.
[60]
Canto xi
Britomart chaceth Ollyphant,
findes Scudamour distrest:
Assayes the house of Busyrane,
where Loues spoyles are exprest.
[55]
Canto xii
The maske of Cupid, and th'enchaunted
Chamber are displayd,
Whence Britomart redeemes faire
Amoret, through charmes decayd.
[45]
Canto xii, Stanzas 43-7 (from the 1590 edition)
[5]
(Numbers in square brackets show the number of stanzas in each canto)
=> INTRODUCTORY MATTER:
1
2 THE FAERIE
3 QVEENE.
4
5 _Disposed into twelue bookes,
6 Fashioning_
7 XII. Morall vertues.
8
9
10
11 LONDON
12
13 Printed for William Ponsonbie.
14
15 1596.
16
17
18
1
2 THE FAERY
FAERY > (An archaic variant of "fairy", used by Spenser to denote the
imaginary land, analogous to Britain, where his poem is set)
3 QUEEN
4
5 _Disposed into twelve books,
6 fashioning
fashioning > representing, exemplifying
7 twelve moral virtues_
8
9
10
11 LONDON
12
13 Printed for William Ponsonby
14
15 1596
16
17
18
19
20 TO
21
22 THE MOST HIGH,
23 MIGHTIE
24 And
25 MAGNIFICENT
26 EMPRESSE RENOW-
27 MED FOR PIETIE, VER-
28 TVE, AND ALL GRATIOVS
29 GOVERNMENT ELIZABETH BY
30 THE GRACE OF GOD QVEENE
31 OF ENGLAND FRAVNCE AND
32 IRELAND AND OF VIRGI-
33 NIA, DEFENDOVR OF THE
34 FAITH, &c. HER MOST
35 HVMBLE SERVAVNT
36 EDMVND SPENSER
37 DOTH IN ALL HV-
38 MILITIE DEDI-
39 CATE, PRE-
40 SENT
41 AND CONSECRATE THESE
42 HIS LABOVRS TO LIVE
43 WITH THE ETERNI-
44 TIE OF HER
45 FAME.
46
19
20 TO
21
22 THE MOST HIGH,
23 MIGHTY
24 And
25 MAGNIFICENT
26 EMPRESS, RENOW-
27 NED FOR PIETY, VIR-
28 TUE, AND ALL GRACIOUS
29 GOVERNMENT: ELIZABETH, BY
30 THE GRACE OF GOD QUEEN
31 OF ENGLAND, FRANCE AND
32 IRELAND AND OF VIRGI-
33 NIA; DEFENDER OF THE
34 FAITH, etc., HER MOST
35 HUMBLE SERVANT
36 EDMUND SPENSER
37 DOES, IN ALL HU-
38 MILITY, DEDI-
39 CATE, PRE-
40 SENT
41 AND CONSECRATE THESE
42 HIS LABOURS TO LIVE
43 WITH THE ETERNI-
44 TY OF HER
45 FAME.
46
47
48 A
49 Letter of the Authors expounding his
50 _whole intention in the course of this worke: which_
51 for that it giueth great light to the Reader, for
52 the better vnderstanding is hereunto
53 annexed.
54
55 _To the Right noble, and Valorous, Sir Walter_
56 Raleigh knight, Lo. Wardein of the Stanneryes, and
57 her Maiesties liefetenaunt of the County of Corne-
58 wayll.
59
60 _Sir knowing how doubtfully all Allegories may be
61 construed, and this booke of mine, which I haue entituled the
62 Faery Queene, being a continued Allegory, or darke conceit, I
63 haue thought good aswell for auoyding of gealous opinions and
64 misconstructions, as also for your better light in reading
65 therof, (being so by you commanded,) to discouer vnto you
66 the general intention and meaning, which in the whole
67 course thereof I haue fashioned, without expressing of any
68 particular purposes or by accidents therein occasioned. The
69 generall end therefore of all the booke is to fashion a
70 gentleman or noble person in vertuous and gentle discipline:
71 Which for that I conceiued shoulde be most plausible and
72 pleasing, being coloured with an historicall fiction, the which
73 the most part of men delight to read, rather for variety of
74 matter, then for profite of the ensample: I chose the historye of
75 king Arthure, as most fitte for the excellency of his person,
76 being made famous by many mens former workes, and also
77 furthest from the daunger of enuy, and suspition of present
78 time. In which I haue followed all the antique Poets
79 historicall, first Homere, who in the Persons of Agamemnon
80 and Vlysses hath ensampled a good gouernour and a vertuous
81 man, the one in his Ilias, the other in his Odysseis: then
82 Virgil, whose like intention was to doe in the person of
83 Aeneas: after him Ariosto comprised them both in his
84 Orlando: and lately Tasso disseuered them againe, and formed
85 both parts in two persons, namely that part which they in
86 Philosophy call Ethice, or vertues of a priuate man, coloured
87 in his Rinaldo: The other named Politice in his Godfredo.
88 By ensample of which excellente Poets, I labour to pourtraict in
89 Arthure, before he was king, the image of a braue knight,
90 perfected in the twelue priuate morall vertues, as Aristotle hath
91 deuised, the which is the purpose of these first twelue bookes:
92 which if I finde to be well accepted, I may be perhaps
93 encoraged, to frame the other part of polliticke vertues in his
94 person, after that hee came to be king. To some I know this
95 Methode will seeme displeasaunt, which had rather haue good
96 discipline deliuered plainly in way of precepts, or sermoned
97 at large, as they vse, then thus clowdily enwrapped in
98 Allegoricall deuises. But such, me seeme, should be satisfide
99 with the vse of these dayes seeing all things accounted by
100 their showes, and nothing esteemed of, that is not delightfull
101 and pleasing to commune sence. For this cause is Xenophon
102 preferred before Plato, for that the one in the exquisite depth
103 of his iudgement, formed a Commune welth such as it should
104 be, but the other in the person of Cyrus and the Persians
105 fashioned a gouernement such as might best be: So much
106 more profitable and gratious is doctrine by ensample,
107 then by rule. So haue I laboured to doe in the person of Arthure:
108 whome I conceiue after his long education by Timon, to
109 whom he was by Merlin deliuered to be brought vp, so soone
110 as he was borne of the Lady Igrayne, to haue seene in a dream
111 or vision the Faery Queen, with whose excellent beauty
112 rauished, he awaking resolued to seeke her out, and so being
113 by Merlin armed, and by Timon throughly instructed, he
114 went to seeke her forth in Faerye land. In that Faery Queene I
115 meane glory in my generall intention, but in my particular I
116 conceiue the most excellent and glorious person of our
117 soueraine the Queene, and her kingdome in Faery land. And
118 yet in some places els, I doe otherwise shadow her. For
119 considering she beareth two persons, the one of a most royall
120 Queene or Empresse, the other of a most vertuous and beautifull
121 Lady, this latter part in some places I doe ezpresse in Belph{oe}be,
122 fashioning her name according to your owne excellent
123 conceipt of Cynthia, (Ph{ae}be and Cynthia being both names
124 of Diana.) So in the person of Prince Arthure I sette forth
125 magnificence in particular, which vertue for that (according to
126 Aristotle and the rest) it is the perfection of all the rest, and
127 conteineth in it them all, therefore in the whole course I
128 mention the deedes of Arthure applyable to that vertue, which
129 I write of in that booke. But of the xii. other vertues, I
130 make xii. other knights the patrones, for the more variety
131 of the history: Of which these three bookes contayn three. The
132 first of the knight of the Redcrosse, in whome I expresse
133 Holynes: The seconde of Sir Guyon, in whome I sette forth
134 Temperaunce: The third of Britomartis a Lady knight, in
135 whome I picture Chastity. But because the beginning of the
136 whole worke seemeth abrupte and as depending vpon other
137 antecedents, it needs that ye know the occasion of these
138 three knights seuerall aduentures. For the Methode of a Poet
139 historical is not such, as of an Historiographer. For an
140 Historiographer discourseth of affayres orderly as they were
141 donne, accounting as well the times as the actions, but a Poet
142 thrusteth into the middest, euen where it most concerneth him,
143 and there recoursing to the thinges forepaste, and diuining
144 of thinges to come, maketh a pleasing Analysis of all. The
145 beginning therefore of my history, if it were to be told by an
146 Historiographer should be the twelfth booke, which is the
147 last, where I deuise that the Faery Queene kept her Annuall
148 feaste xii. dayes, vppon which xii. seuerall dayes, the
149 occasions of the xii. seuerall aduentures hapned, which
150 being vndertaken by xii. seuerall knights, are in these
151 xii. books seuerally handled and discoursed. The first
152 was this. In the beginning of the feast, there presented him selfe a
153 tall clownishe younge man, who falling before the Queen of
154 Faries desired a boone (as the manner then was) which
155 during that feast she might not refuse: which was that hee
156 might haue the atchieuement of any aduenture, which during
157 that feaste should happen, that being graunted, he rested him
158 on the floore, vnfitte through his rusticity for a better place.
159 Soone after entred a faire Ladye in mourning weedes, riding on a
160 white Asse, with a dwarfe behind her leading a warlike steed,
161 that bore the Armes of a knight, and his speare in the dwarfes
162 hand. Shee falling before the Queene of Faeries, complayned
163 that her father and mother an ancient King and Queene, had
164 bene by an huge dragon many years shut vp in a brasen Castle,
165 who thence suffred them not to yssew: and therefore
166 besought the Faery Queene to assygne her some one of her
167 knights to take on him that exployt. Presently that clownish
168 person vpstarting, desired that aduenture: whereat the
169 Queene much wondering, and the Lady much gainesaying, yet
170 he earnestly importuned his desire. In the end the Lady told
171 him that vnlesse that armour which she brought, would serue
172 him (that is the armour of a Christian man specified by Saint
173 Paul v. Ephes.) that he could not succeed in that
174 enterprise, which being forthwith put vpon him with dewe
175 furnitures thereunto, he seemed the goodliest man in al that
176 company, and was well liked of the Lady. And eftesoones taking
177 on him knighthood, and mounting on that straunge Courser,
178 he went forth with her on that aduenture: where beginneth the
179 first booke, vz._
180
181 A gentle knight was pricking on the playne. &c.
182
183 _The second day ther came in a Palmer bearing an Infant
184 with bloody hands, whose Parents he complained to haue
185 bene slayn by an Enchaunteresse called Acrasia: and therfore
186 craued of the Faery Queene, to appoint him some knight, to
187 performe that aduenture, which being assigned to Sir
188 Guyon, he presently went forth with that same Palmer:
189 which is the beginning of the second booke and the whole
190 subiect thereof. The third day there came in, a Groome who
191 complained before the Faery Queene, that a vile Enchaunter
192 called Busirane had in hand a most faire Lady called Amoretta,
193 whom he kept in most grieuous torment, because she would
194 not yield him the pleasure of her body. Whereupon Sir
195 Scudamour the louer of that Lady presently tooke on him
196 that aduenture. But being vnable to performe it by reason of
197 the hard Enchauntments, after long sorrow, in the end met
198 with Britomartis, who succoured him, and reskewed his loue.
199 But by occasion hereof, many other aduentures are
200 intermedled, but rather as Accidents, then intendments. As
201 the loue of Britomart, the ouerthrow of Marinell, the misery
202 of Florimell, the vertuousnes of Belph{oe}be, the
203 lasciuiousnes of Hellenora, and many the like.
204 Thus much Sir, I haue briefly ouerronne to direct your
205 vnderstanding to the wel-head of the History, that from
206 thence gathering the whole intention of the conceit, ye may
207 as in a handfull gripe al the discourse, which otherwise may
208 happily seeme tedious and confused. So humbly crauing the
209 continuaunce of your honorable fauour towards me, and
210 th'eternall establishment of your happines, I humbly take leaue.
211 23. Ianuary. 1589._
212
213 Yours most humbly affectionate.
214 Ed. Spenser.
215
47
48 A
49 letter of the author's, expounding his
50 whole intention in the course of this work: which,
51 +for+ that it gives great light to the reader, for
for > [in]
52 the better understanding is hereto
53 annexed.
54
55 _To the Right Noble and Valorous Sir Walter
56 Raleigh, Knight, Lord Warden of the Stannaries, and
Raleigh > (1552-1618, poet, scholar, soldier, explorer, statesman, and
a favourite of Queen Elizabeth, who granted him, in 1584, a patent
for the exploration and settlement of the Americas. Later he fell
from her good graces, and after many hardships and adventures was
beheaded by James I. Probably an exact contemporary of Spenser.
He had a huge estate near Spenser's in southern Ireland, and under
his auspices _FQ_ was published and dedicated to Elizabeth)
Stannaries > (The districts comprising the tin mines in Devon and
Cornwall, under the jurisdiction of the Stannary courts)
57 Her Majesty's Lieutenant of the County of Corn-
58 wall._
59
60 Sir, Knowing how doubtfully all allegories may be
doubtfully > ambiguously
61 construed, and this book of mine, which I have entitled _The
62 Faery Queen_, being a continued allegory, or dark conceit, I
dark > concealed, veiled
conceit > conception
63 have thought good, as well for avoiding jealous opinions and
good > [it good]
as well > both
64 misconstructions, as also for your better light in reading
as also > [and]
65 thereof, (being so by you commanded), to discover to you
discover to > tell, reveal to
66 the general intention and meaning, which in the whole
67 course thereof I have fashioned, without expressing any
68 particular purposes or by accidents therein occasioned. The
by accidents > side issues
69 general end, therefore, of all the book is to fashion a
fashion > represent; _also:_ mould, train
70 gentleman or noble person in virtuous and gentle discipline:
gentle > noble; courteous; graceful
71 which for that I conceived should be most plausible and
for that > [to that end]
plausible > popularly acceptable, agreeable
72 pleasing, being coloured with an historical fiction, which
coloured > painted, depicted; disguised
73 the most part of men delight to read rather for variety of
the most part of > [most]
74 matter than for profit of the example. I chose the history of
75 King Arthur, as most fit for the excellency of his person,
excellency > excellence
76 being made famous by many men's former works, and also
77 furthest from the danger of envy and suspicion of present
suspicion > [suspicion of political bias]
78 time. In which I have followed all the antique poets
antique > ancient (esp. of ancient Greece and Rome)
79 historical, first Homer who, in the persons of Agamemnon
80 and Ulysses, has ensampled a good governor and a virtuous
ensampled > exemplified
81 man: the one in his _Iliad_, the other in his _Odyssey_; then
82 Virgil, whose like intention was to do in the person of
like > similar
83 Aeneas; after him, Ariosto comprised them both in his
Aeneas > (Central character of Virgil's _Aeneid_)
Ariosto > (Lodovico Ariosto, 1474-1533, Italian poet)
84 Orlando; and lately Tasso dissevered them again, and formed
Orlando > (_Orlando Furioso_, 1516)
Tasso > (Torquato Tasso, 1544-1595, Italian poet)
dissevered > separated
85 both parts in two persons, namely that part which they in
86 Philosophy call Ethics, or virtues of a private man, coloured
coloured > depicted
87 in his Rinaldo: the other, named Politics, in his Godfredo.
Rinaldo > (_Rinaldo_, 1562)
Godfredo > (Count Godfredo, central character of _Gerusalemme
Liberata_, 1581)
88 By example of which excellent poets, I labour to portray in
89 Arthur, before he was king, the image of a brave knight,
brave > brave; splendid
90 perfected in the twelve private moral virtues, as Aristotle has
Aristotle > (Or rather, Aquinas and other medieval interpreters of
Aristotle's _Nicomachaean Ethics_; Aristotle himself devises no
such scheme)
91 devised, which is the purpose of these first twelve books:
92 which if I find to be well accepted, I may be perhaps
93 encouraged to frame the other part of political virtues in his
94 person, after he came to be king. To some I know this
95 method will seem displeasant, which had rather have good
displeasant > disagreeable
which had > [who would]
96 discipline delivered plainly, by way of precepts, or sermoned
97 at large, as they use, than thus cloudily enwrapped in
use > are accustomed to
98 allegorical devices. But such, me seem, should be satisfied
me seem > [it seems to me]
99 with the use of these days, seeing all things accounted by
use > custom
100 their shows, and nothing esteemed of, that is not delightful
shows > appearances
101 and pleasing to common sense. For this cause is Xenophon
Xenophon > (In _Cyropaedia_)
102 preferred before Plato: for that the one, in the exquisite depth
before > [to]
Plato > (In the _Republic_)
for > [in]
103 of his judgement, formed a commonwealth such as it should
104 be; but the other, in the person of Cyrus and the Persians,
105 fashioned a government such as might best be; so much
106 more profitable and gracious is doctrine by example, than
107 by rule. So have I laboured to do in the person of Arthur:
108 whom I conceive (after his long education by Timon, to
Timon > (The "Faery knight" of 109.3:8. "Timon" is a Greek personal
name meaning "he who is honoured", "he who is held in respect".
Spenser is referring here to Sir Ector, to whom (in Malory)
Arthur's upbringing was entrusted by Merlin)
109 whom he was by Merlin delivered to be brought up, so soon
Merlin > (The great soothsayer and magician of the Arthurian cycle)
110 as he was born of the Lady Igerna) to have seen in a dream or
Igerna > (Widow of Gorlois, Duke of Tintagel, in Cornwall. She
married Uther Pendragon, Arthur's father, thirteen days after the
Duke's death)
111 vision the Faery Queen; with whose excellent beauty
112 ravished, he, awaking, resolved to seek her out, and so being
113 by Merlin armed, and by Timon thoroughly instructed,
114 went to seek her forth in Faery Land. In that Faery Queen I
115 mean glory in my general intention, but in my particular I
116 conceive the most excellent and glorious person of our
117 sovereign the Queen, and her kingdom in Faery Land. And
118 yet, in some places else, I do otherwise shadow her. For,
else > elsewhere
shadow > symbolize, depict
119 considering she bears two persons, the one of a most royal
120 queen or empress, the other of a most virtuous and beautiful
121 lady, this latter part in some places I do express in Belphoebe,
122 fashioning her name according to your own excellent
123 conceit of Cynthia (Phoebe and Cynthia being both names
conceit > conception, idea
Cynthia > (Raleigh's poem in praise of Queen Elizabeth is called _The
Ocean's Love to Cynthia_; of this, only one book has survived)
124 of Diana). So in the person of Prince Arthur I set forth
Diana > (Virgin goddess of hunting and of the moon)
125 magnificence in particular, which virtue (according to
126 Aristotle and the rest) is the perfection of all the rest, and
127 contains in it them all: therefore in the whole course I
contains in it > [encompasses]
128 mention the deeds of Arthur appliable to that virtue, which
appliable > {Having reference, applicable}
129 I write of in that book. But of the twelve other virtues, I
130 make twelve other knights the patrons, for the more variety
patrons > patterns, exemplars; _also:_ champions
more > greater
131 of the history: of which these three books contain three. The
history > story
these three books > (Books I-III, first published in 1590, with which
this letter was included)
132 first of the Knight of the Redcross, in whom I express
133 Holiness; the second of Sir Guyon, in whom I set forth
134 Temperance; the third of Britomart, a lady knight, in
135 whom I picture Chastity. But because the beginning of the
136 whole work seems abrupt and as depending upon other
as > [as though]
137 antecedents, it needs that you know the occasion of these
needs > is necessary
138 three knights' several adventures. For the method of a poet
several > different, individual
139 historical is not such as of a historiographer. For a
historical > [writing historical or epic works]
such as > [like that]
historiographer > chronicler, historian
140 historiographer discourses of affairs orderly, as they were
orderly > in sequence
141 done, accounting as well the times as the actions, but a poet
well > [much]
times > dates
142 thrusts into the middest, even where it most concerns him,
middest > middle [of the story; cf. _in medias res_ (Horace, _Ars
Poetica_ 148-9)]
143 and there, recoursing to the things forepassed, and divining
recoursing > returning
forepassed > [which have already happened]
144 of things to come, makes a pleasing analysis of all. The
145 beginning, therefore, of my history, if it were to be told by a
146 historiographer, should be the twelfth book, which is the
147 last, where I devise that the Faery Queen kept her annual
devise > contrive; conjecture, conceive
kept > observed, celebrated
148 feast +twelve+ days, upon which twelve several days, the
twelve > [over a period of twelve]
several > different
149 occasions of the twelve several adventures happened: which
occasions > {Causes; circumstances giving rise to the origins}
150 (being undertaken by twelve several knights) are in these
151 twelve books severally handled and discoursed. The first was
152 this. In the beginning of the feast, there presented himself a
153 tall, clownish young man who, falling before the Queen of
clownish > rustic, unsophisticated
154 Faeries, desired a boon (as the manner then was), which
boon > favour, request
155 during that feast she might not refuse: which was that he
156 might have the achievement of any adventure which during
achievement > {The action of achieving; the opportunity to pursue and
successfully conclude}
157 that feast should happen; that being granted, he rested him
him > [himself]
158 on the floor, unfit through his rusticity for a better place.
159 Soon after entered a fair lady in mourning weeds, riding on a
weeds > clothing, attire
160 white ass, with a dwarf behind her leading a warlike steed,
161 that bore the arms of a knight, and his spear in the dwarf's
arms > {Weapons, shield and armour}
162 hand. She, falling before the Queen of Faeries, complained
163 that her father and mother (an ancient king and queen) had
164 been by a huge dragon many years shut up in a brazen castle,
165 who thence suffered them not to issue: and therefore
suffered > allowed
issue > come out
166 besought the Faery Queen to assign her some one of her
167 knights to take on him that exploit. Presently that clownish
Presently > Promptly, at once
168 person, upstarting, desired that adventure: whereat the
upstarting > starting up, getting up
whereat > at which, whereupon
169 queen much wondering, and the lady much gainsaying, yet
170 he earnestly importuned his desire. In the end the lady told
importuned > pressed
171 him that unless that armour which she brought would serve
brought > [had brought]
172 him (that is, the armour of a Christian man, specified by St
173 Paul, _Ephesians_ 6.11-17), he could not succeed in that
174 enterprise; which being forthwith put upon him with due
due > appropriate
175 furnitures thereto, he seemed the goodliest man in all that
furnitures > gear, fittings
goodliest > most handsome
176 company, and was well liked of the lady. And eftsoons taking
of > by
eftsoons > thereupon
177 on him knighthood, and mounting on that strange courser,
178 he went forth with her on that adventure: where begins the
179 first book, viz.
180
181 _A gentle knight was pricking on the plain,_ etc.
gentle > generous, courteous
pricking > spurring his horse, riding
182
183 The second day there came in a palmer bearing an infant
palmer > {A pilgrim who has returned from the Holy Land, carrying a
palm-leaf or palm-branch as a token; or: an itinerant monk}
184 with bloody hands, whose parents he complained to have
185 been slain by an enchantress called Acrasia: and therefore
186 craved of the Faery Queen to appoint him some knight to
187 perform that adventure, which being assigned to Sir
188 Guyon, he presently went forth with that same palmer:
189 which is the beginning of the second book and the whole
190 subject thereof. The third day there came in a groom, who
groom > young man
191 complained before the Faery Queen that a vile enchanter
192 called Busirane had in hand a most fair lady called Amoret,
hand > custody
193 whom he kept in most grievous torment, because she would
194 not yield him the pleasure of her body. Whereupon Sir
195 Scudamour, the lover of that lady, presently took on him
196 that adventure. But being unable to perform it by reason of
197 the hard enchantments, after long sorrow, in the end met
198 with Britomartis, who succoured him, and rescued his love.
199 But by occasion hereof, many other adventures are
200 intermeddled, but rather as accidents than intendments. As
intermeddled > mixed in
intendments > intentions (i.e. episodes which have an intentional
bearing on the allegory)
As > [For example,]
201 the love of Britomart, the overthrow of Marinell, the misery
202 of Florimell, the virtuousness of Belphoebe, the
203 lasciviousness of Hellenore, and many the like.
204 Thus much, sir, I have briefly overrun to direct your
205 understanding to the well-head of the history, that from
well-head > source
history > story
that > [so that]
206 thence, gathering the whole intention of the conceit, you may,
conceit > conception, idea, scheme
207 as in a handful, grip all the discourse, which otherwise may
grip > grasp, understand
208 haply seem tedious and confused. So, humbly craving the
haply > perhaps
209 continuance of your honourable favour towards me, and the
210 eternal establishment of your happiness, I humbly take leave.
211 23 January, 1590
1590 > (New Style: before the Gregorian calendar was adopted in
England and Scotland in 1751, the new year began not on 1 January
but on 25 March)
212
213 Yours most humbly affectionate,
214 _Edmund Spenser_
215
216
217
218
219
220 A Vision vpon this conceipt of the
221 _Faery Queene_.
222
223 ME thought I saw the graue, where _Laura_ lay,
224 Within that Temple, where the vestall flame
225 Was wont to burne, and passing by that way,
226 To see that buried dust of liuing fame,
227 Whose tombe faire loue, and fairer vertue kept,
228 All suddenly I saw the Faery Queene:
229 At whose approch the soule of _Petrarke_ wept,
230 And from thenceforth those graces were not seene.
231 For they this Queene attended, in whose steed
232 Obliuion laid him downe on _Lauras_ herse:
233 Hereat the hardest stones were seene to bleed,
234 And grones of buried ghostes the heauens did perse.
235 Where _Homers_ spright did tremble all for griefe,
236 And curst th'accesse of that celestiall theife.
237
216
217
218 COMMENDATORY VERSES
219
220 _A vision upon this conceit of the
conceit > conception
221 Faery Queen_
222
223 I thought I saw the grave where Laura lay,
Laura > (Immortalized by Petrarch in his odes and sonnets, _To Laura_)
224 Within that temple where the Vestal flame
Vestal flame > (The sacred fire brought by Aeneas from Troy; it was
kept burning by the Vestals, virgin priestesses officiating at the
temple at Rome dedicated to Vesta, goddess of the hearth and
domestic life. If the flame went out, it was believed that the
state would fall)
225 Was wont to burn; and, passing by that way
wont > accustomed
226 To see that buried dust of living fame,
227 Whose tomb fair love, and fairer virtue kept,
228 All suddenly I saw the Faery Queen:
229 At whose approach the soul of Petrarch wept,
Petrarch > (Francesco Petrarch, 1304-74, Italian poet and scholar)
230 And from thenceforth those graces were not seen.
those graces > [the Vestals]
231 For they this queen attended, in whose stead
stead > place
232 Oblivion laid him down on Laura's hearse:
hearse > bier, coffin; tomb
233 Hereat the hardest stones were seen to bleed,
Hereat > At this; as a result of this
234 And groans of buried ghosts the heavens did pierce,
ghosts > spirits
235 Where Homer's spirit did tremble all for grief,
236 And cursed the access of that celestial thief.
access > coming
237
238 Another of the same.
239
240 _THe prayse of meaner wits this worke like profit brings,
241 As doth the Cuckoes song delight when _Philumena_ sings.
242 If thou hast formed right true vertues face herein:
243 Vertue her selfe can best discerne, to whom they written bin.
244 If thou hast beautie praysd, let her sole lookes diuine
245 Iudge if ought therein be amis, and mend it by her eine.
246 If Chastitie want ought, or Temperaunce her dew,
247 Behold her Princely mind aright, and write thy Queene anew.
248 Meanewhile she shall perceiue, how farre her vertues sore
249 Aboue the reach of all that liue, or such as wrote of yore:
250 And thereby will excuse and fauour thy good will:
251 Whose vertue can not be exprest, but by an Angels quill.
252 Of me no lines are lou'd, nor letters are of price,
253 Of all which speake our English tongue, but those of thy deuice._
254
255 W. R.
256
238 _Another of the same_
239
240 The praise of meaner wits this work like profit brings,
wits > minds
241 As does the cuckoo's song delight when Philomela sings.
Philomela > (She was changed into a nightingale after Tereus had cut
out her tongue; hence: the nightingale)
242 If you have formed right true virtue's face herein,
right > aright; _perhaps also:_ very
243 Virtue herself can best discern to whom they written been.
Virtue herself > [Queen Elizabeth]
been > [have been, are]
244 If you have beauty praised, let her sole looks divine
245 Judge if aught therein be amiss, and mend it by her eyes.
246 If Chastity want aught, or Temperance her due,
247 Behold her princely mind aright, and write your Queen anew.
248 Meanwhile she shall perceive how far her virtues soar
249 Above the reach of all that live, or such as wrote of yore:
of yore > anciently, of old
250 And thereby will excuse and favour your goodwill:
251 Whose virtue cannot be expressed, but by an angel's quill.
but by > except with
quill > {Pen made from swan- or goose-feather}
252 Of me no lines are loved, nor letters are of price,
Of > By
253 Of all who speak our English tongue, but those of your device.
device > devising
254
255 _W. R._
W. R. > (Walter Raleigh, 1552-1618, poet, soldier, explorer, scholar,
statesman, and a favourite of Queen Elizabeth, who granted him, in
1584, a patent for the exploration and settlement of the Americas.
Later he fell from her good graces, and after many hardships and
adventures was beheaded by James I. Probably an exact contemporary
of Spenser. He had a huge estate near Spenser's in southern
Ireland, and under his auspices _FQ_ was published, and dedicated
to Elizabeth)
256
257
258 To the learned Shepheard.
259
260 _COllyn I see by thy new taken taske,
261 some sacred fury hath enricht thy braynes,
262 That leades thy muse in haughtie verse to maske,
263 and loath the layes that longs to lowly swaynes.
264 That lifts thy notes from Shepheardes vnto kings,
265 So like the liuely Larke that mounting sings.
266
267 Thy louely Rosolinde seemes now forlorne,
268 and all thy gentle flockes forgotten quight,
269 Thy chaunged hart now holdes thy pypes in scorne,
270 those prety pypes that did thy mates delight.
271 Those trustie mates, that loued thee so well,
272 Whom thou gau'st mirth: as they gaue thee the bell.
273
274 Yet as thou earst with thy sweete roundelayes,
275 didst stirre to glee our laddes in homely bowers:
276 So moughtst thou now in these refyned layes,
277 delight the dainty eares of higher powers.
278 And so mought they in their deepe skanning skill
279 Alow and grace our Collyns flowing quill.
280
281 And fare befall that _Faerie Queene_ of thine,
282 in whose faire eyes loue linckt with vertue sits:
283 Enfusing by those bewties fiers deuyne,
284 such high conceites into thy humble wits,
285 As raised hath poore pastors oaten reede,
286 From rusticke tunes, to chaunt heroique deedes.
287
288 So mought thy _Redcrosse knight_ with happy hand
289 victorious be in that faire Ilands right:
290 Which thou doest vayle in Type of Faery land
291 Elyzas blessed field, that _Albion_ hight.
292 That shieldes her friendes, and warres her mightie foes,
293 Yet still with people, peace, and plentie flowes.
294
295 But (iolly Shepheard) though with pleasing style,
296 thou feast the humour of the Courtly traine:
297 Let not conceipt thy setled sence beguile,
298 ne daunted be through enuy or disdaine.
299 Subiect thy dome to her Empyring spright,
300 From whence thy Muse, and all the world takes light._
301 Hobynoll.
257
258 _To the learned shepherd_
shepherd > (Spenser's _The Shepheardes Calender_, a work of pastoral
poetry, was published in 1579)
259
260 Colin, I see by your new-taken task,
Colin > (Colin Clout, principal voice in _SC_; in 1595 Spenser
published _Colin Clouts Come Home Again_, dated 27 December 1591)
261 some sacred fury has enriched your brains,
fury > frenzy
262 That leads your Muse in haughty verse to mask,
Muse > (The nine Muses are the daughters of Jupiter and Mnemosyne
(Memory); each presides over an area of the arts and sciences and
gives inspiration to its practitioners. The Muse referred to is
probably Clio, the Muse of History)
haughty > noble, high-minded
mask > disguise [herself]
263 and loath the lays that long to lowly swains.
lays > songs
long to > befit, beseem; are appropriate to
swains > young men
264 That lifts your notes from shepherds to kings,
265 So like the lively lark that, mounting, sings.
266
267 Your lovely Rosalind seems now forlorn,
Rosalind > (Colin Clout's love in _SC_)
268 and all your gentle flocks forgotten quite,
269 Your changed heart now holds your pipes in scorn,
270 those pretty pipes that did your mates delight.
271 Those trusty mates, that loved you so well,
272 Whom you gave mirth: as they gave you the bell.
the bell > the prize; first place (before cups were awarded to winners
of horse-races, etc., a little gold or silver bell was presented as
the prize)
273
274 Yet as you erst with your sweet roundelays
erst > previously, at first
roundelays > {Short, simple songs}
275 did stir to glee our lads in homely bowers:
glee > delight
bowers > rooms, chambers
276 So might you now, in these refined lays,
277 delight the dainty ears of higher powers.
278 And so might they in their deep scanning skill
scanning skill > ability to understand [poetry]
279 Allow and grace our Colin's flowing quill.
280
281 And fair befall that _Faery Queen_ of yours,
fair > [fair fortune]
282 in whose fair eyes love linked with virtue sits:
283 Infusing by those beauties fierce divine,
divine > [and divine]
284 Such high conceits into your humble wits,
conceits > ideas
285 As raised has poor pastor's oaten reed
pastor's > shepherd's
oaten reed > (Of which shepherds' pipe were supposedly made)
286 From rustic tunes to chant heroic deeds.
287
288 So might your Redcross Knight with happy hand
happy > fortunate
289 victorious be in that fair island's right:
that fair island > [Britain]
290 Which you do veil in type of Faery Land,
291 Eliza's blessed field, that Albion hight,
Eliza > [Elizabeth]
hight > is called
292 That shields her friends, and wars her mighty foes,
wars > [wages war upon]
293 Yet still with people, peace, and plenty flows.
still > ever
294
295 But (jolly shepherd) though with pleasing style
jolly > gallant, fine
style > style; literary composition, _hence:_ poem, song (cf. _SC_,
"Januarie", 10)
296 you feast the humour of the courtly train:
humour > state of mind; _hence:_ tastes
train > assembly, entourage
297 Let not conceit your settled sense beguile,
298 nor daunted be through envy or disdain.
299 Subject your doom to her empiring spirit,
doom > fate
empiring > imperial
300 From whence your Muse and all the world takes light.
301 _Hobinoll_
Hobinoll > (Gabriel Harvey (1545?-1630); see glosses to _SC_,
"Januarie", 55, and "September", 176. A fellow poet, Harvey
remained a friend of Spenser from their Cambridge days. Elected a
Fellow of Pembroke Hall in 1570, a year after Spenser was admitted
there as a sizar (undergraduate receiving an allowance from the
college))
302
303
304 FAyre _Thamis_ streame, that from _Ludds_ stately towne,
305 Runst paying tribute to the Ocean seas,
306 Let all thy Nymphes and Syrens of renowne
307 Be silent, whyle this Bryttane _Orpheus_ playes:
308 Nere thy sweet bankes, there liues that sacred crowne,
309 Whose hand strowes Palme and neuer-dying bayes,
310 Let all at once, with thy soft murmuring sowne
311 Present her with this worthy Poets prayes.
312 For he hath taught hye drifts in shepeherdes weedes,
313 And deepe conceites now singes in _Faeries_ deedes.
314 R. S.
315
302
303
304 Fair Thames' stream, that from Lud's stately town
Lud > (A mythical king of England, reputed founder of London (see
210.46:1 and cf. _Cymbeline_ IV ii 100))
305 Run paying tribute to the ocean seas,
ocean seas > {The main or great seas of the world}
306 Let all your nymphs and Sirens of renown
nymphs > (Minor female divinities with whom the Greeks peopled all
parts of nature: the seas, springs, rivers, grottoes, trees,
mountains)
Sirens > (Sea-nymphs whose sweet singing had the power to lure sailors
to their destruction)
307 Be silent, while this Briton Orpheus plays:
Orpheus > (A mythical minstrel whose wonderful music could move rocks
and trees and suspend the torments of the damned in hell)
308 Near your sweet banks there lives that sacred crown
crown > monarch
309 Whose hand strews palm and never-dying bays,
palm > {Leaves of the palm-tree, carried or worn as a symbol of
victory; hence: fame and glory}
bays > {Leaves or sprigs of the laurel, used to make a wreath for
conquerors or poets (cf. "poet laureate"); hence: fame and glory}
310 Let all at once, with your soft murmuring sound
311 Present her with this worthy poet's praise.
312 For he has taught high drifts in shepherd's weeds,
drifts > aims, objects; meanings
weeds > garb
313 And deep conceits now sings in Faeries' deeds.
conceits > conceptions
314 _R. S._
R. S. > (Not identifiable)
315
316
317 _GRaue Muses march in triumph and with prayses,
318 Our Goddesse here hath giuen you leaue to land:
319 And biddes this rare dispenser of your graces
320 Bow downe his brow vnto her sacred hand.
321 Desertes findes dew in that most princely doome,
322 In whose sweete brest are all the Muses bredde:
323 So did that great _Augustus_ erst in Roome
324 With leaues of fame adorne his Poets hedde.
325 Faire be the guerdon of your _Faery Queene_,
326 Euen of the fairest that the world hath seene._
327 H. B.
328
316
317 Grave Muses, march in triumph and with praises:
318 Our goddess here has given you leave to land,
Our goddess > [Elizabeth]
319 And bids this rare dispenser of your graces
dispenser > (Puns were a favourite literary device of the period:
Spenser's own are usually subtler than this one)
320 Bow down his brow to her sacred hand.
sacred > {Commonly used (-1590) as an epithet of royalty; also,
specifically, here, perhaps, because _FQ_ traces Elizabeth's
lineage back to Aeneas, whose mother was the goddess Venus}
321 Deserts finds due in that most princely doom,
Deserts > {That which in conduct or character deserves reward or
punishment}
doom > judgement, opinion
322 In whose sweet breast are all the Muses bred:
323 So did that great Augustus erst in Rome
Augustus > (Augustus Caesar, 63 BC-14 AD, Emperor of Rome, patron of
Virgil: on whom he is not, incidentally, known to have bestowed the
laurel crown)
erst > of old, formerly
324 With leaves of fame adorn his poet's head.
325 Fair be the guerdon of your _Faery Queen_,
guerdon > reward
326 Even of the fairest that the world has seen.
327 _H. B._
H. B. > (Not identifiable)
328
329
330 WHen stout _Achilles_ heard of _Helens_ rape
331 And what reuenge the States of Greece deuisd:
332 Thinking by sleight the fatall warres to scape,
333 In womans weedes him selfe he then disguisde:
334 But this deuice _Vlysses_ soone did spy,
335 And brought him forth, the chaunce of warre to try.
336
337 When _Spencer_ saw the fame was spredd so large,
338 Through Faery land of their renowned Queene:
339 Loth that his Muse should take so great a charge,
340 As in such haughty matter to be seene,
341 To seeme a shepeheard then he made his choice,
342 But _Sydney_ heard him sing, and knew his voice.
343
344 And as _Vlysses_ brought faire _Thetis_ sonne
345 From his retyred life to menage armes:
346 So _Spencer_ was by _Sidneys_ speaches wonne,
347 To blaze her fame not fearing future harmes:
348 For well he knew, his Muse would soone be tyred
349 In her high praise, that all the world admired.
350
351 Yet as _Achilles_ in those warlike frayes,
352 Did win the palme from all the _Grecian_ Peeres:
353 So _Spencer_ now to his immortall prayse,
354 Hath wonne the Laurell quite from all his feres.
355 What though his taske exceed a humaine witt,
356 He is excus'd, sith _Sidney_ thought it fitt.
357 W. L.
358
329
330 When stout Achilles heard of Helen's rape
stout > bold, brave
Achilles > (See _Iliad_ 9.410 ff.)
331 And what revenge the states of Greece devised:
332 Thinking by sleight the fatal wars to scape,
scape > escape
333 In woman's weeds himself he then disguised:
weeds > clothing
334 But this device Ulysses soon did spy,
335 And brought him forth, the chance of war to try.
336
337 When Spenser saw the fame was spread so large,
338 Through Faery Land of their renowned Queen:
339 Loath that his Muse should take so great a charge,
340 As in such haughty matter to be seen,
haughty > noble, high-minded
341 To seem a shepherd then he made his choice,
342 But Sidney heard him sing, and knew his voice.
Sidney > (Sir Philip Sidney, 1554-86, poet, soldier, and statesman:
one of the Queen's favourites. Close friend and mentor of Spenser.
Killed in action at Zutphen in the Netherlands)
343
344 And, as Ulysses brought fair Thetis' son
Thetis' son > [Achilles]
345 From his retired life to manage arms,
manage > wield
346 So Spenser was by Sidney's speeches won
won > persuaded
347 To blaze her fame, not fearing future harms:
blaze > celebrate; portray
348 For well he knew, his Muse would soon be tired
tired > attired, adorned
349 In her high praise, that all the world admired.
350
351 Yet as Achilles, in those warlike frays,
352 Did win the palm from all the Grecian peers:
palm > {Leaf or "branch" of palm tree: symbol of victory; hence:
victory}
peers > rivals; nobles
353 So Spenser now, to his immortal praise,
354 Has won the laurel quite from all his feres.
laurel > {Crown of laurel leaves for supreme poet or victor}
feres > companions, peers
355 What though his task exceed a human wit,
What though > Inasmuch as
wit > mind; wit
356 He is excused, sith Sidney thought it fit.
sith > since
357 _W. L._
W. L. > (Not identifiable)
358
359
360 _TO looke vpon a worke of rare deuise
361 The which a workman setteth out to view,
362 And not to yield it the deserued prise,
363 That vnto such a workmanship is dew.
364 Doth either proue the iudgement to be naught
365 Or els doth shew a mind with enuy fraught.
366
367 To labour to commend a peece of worke,
368 Which no man goes about to discommend,
369 Would raise a iealous doubt that there did lurke,
370 Some secret doubt, whereto the prayse did tend.
371 For when men know the goodnes of the wyne,
372 T'is needlesse for the hoast to haue a sygne.
373
374 Thus then to shew my iudgement to be such
375 As can discerne of colours blacke, and white,
376 As alls to free my minde from enuies tuch,
377 That neuer giues to any man his right,
378 I here pronounce this workmanship is such,
379 As that no pen can set it forth too much.
380
381 And thus I hang a garland at the dore,
382 Not for to shew the goodnes of the ware:
383 But such hath beene the custome heretofore,
384 And customes very hardly broken are.
385 And when your tast shall tell you this is trew,
386 Then looke you giue your hoast his vtmost dew._
387 Ignoto.
388
359
360 To look upon a work of rare device,
device > make, devising
361 Which a workman sets out to view,
view > [be viewed; the view of others]
362 And not to yield it the deserved price
price > prize; praise; price (all three words have common ancestor)
363 That to such a workmanship is due,
364 Does either prove the judgement to be naught
365 Or else does show a mind with envy fraught.
fraught > filled
366
367 To labour to commend a piece of work,
368 Which no man goes about to discommend,
discommend > disparage
369 Would raise a jealous doubt that there did lurk
370 Some secret doubt whereto the praise did tend.
371 For when men know the goodness of the wine,
372 'Tis needless for the host to have a sign.
sign > (In a largely illiterate age, inns were identified by a painted
sign depicting, for example, a boar's head or crossed keys, and
from this the inn took its name)
373
374 Thus then to show my judgement to be such
375 As can discern of colours black and white,
376 As als to free my mind from envy's touch,
als > also
377 That never gives to any man his right,
378 I here pronounce this workmanship is such,
379 As that no pen can set it forth too much.
380
381 And thus I hang a garland at the door,
382 Not to show the goodness of the ware:
ware > wares, merchandise
383 But such has been the custom heretofore,
384 And customs very hardly broken are.
very hardly > with great difficulty
385 And when your taste shall tell you this is true,
386 Then look you give your host his utmost due.
look you > (An intensive: "make sure you", etc.)
387 _Ignoto_
Ignoto > "Unknown" (not identifiable)
388
389
390
391
392
393 _To the Right honourable Sir _Christopher Hatton,
394 Lord high Chauncelor of England. &c.
395
396 THose prudent heads, that with theire counsels wise
397 Whylom the Pillours of th'earth did sustaine,
398 And taught ambitious _Rome_ to tyrannise,
399 And in the neck of all the world to rayne,
400 Oft from those graue affaires were wont abstaine,
401 With the sweet Lady Muses for to play:
402 So _Ennius_ the elder Africane,
403 So _Maro_ oft did _C'sars_ cares allay.
404 So you great Lord, that with your counsell sway
405 The burdeine of this kingdom mightily,
406 With like delightes sometimes may eke delay
407 The rugged brow of carefull Policy:
408 And to these ydle rymes lend litle space,
409 Which for their titles sake may find more grace.
410
389
390
391 DEDICATORY SONNETS
392
393 _To the Right Honourable Sir Christopher Hatton,
Right > Very
Sir Christopher Hatton > (1540-91; principal minister of Elizabeth's
government)
394 Lord High Chancellor of England, etc._
395
396 Those prudent heads, that with their counsels wise
397 Whilom the pillars of the earth did sustain,
Whilom > Formerly
398 And taught ambitious Rome to tyrannize,
399 And in the neck of all the world to reign,
in the neck > on top
400 Oft from those grave affairs were wont abstain,
wont > accustomed to, given to
401 With the sweet lady Muses to play:
402 So Ennius the elder African,
Ennius > (Quintus Ennius, 239-170 BC, Roman poet)
the elder African > (Scipio Africanus, 237-183 BC, Roman general in
Second Punic War)
403 So Maro oft did Caesar's cares allay.
Maro > (Publius Vergilius Maro [Virgil], 70-19 BC, author of the
_Aeneid_)
Caesar > (Augustus Caesar, 63 BC-14 AD, Emperor of Rome)
404 So you, great lord, that with your counsel sway
sway > influence
405 The burden of this kingdom mightily,
burden > fate, destiny
406 With like delights sometimes may eke delay
eke > also
delay > mitigate, assuage; _hence:_ soothe
407 The rugged brow of careful policy:
careful > {Full of cares; prudent}
policy > statesmanship
408 And to these idle rhymes lend little space,
idle > empty; vain, trifling
409 Which, for their title's sake, may find more grace.
410
411
412 _To the right honourable the Lo. Burleigh Lo. high
413 Threasurer of England_.
414
415 TO you right noble Lord, whose carefull brest
416 To menage of most graue affaires is bent,
417 And on whose mightie shoulders most doth rest
418 The burdein of this kingdomes gouernement,
419 As the wide compasse of the firmament,
420 On _Atlas_ mighty shoulders is vpstayd;
421 Vnfitly I these ydle rimes present,
422 The labor of lost time, and wit vnstayd:
423 Yet if their deeper sence be inly wayd,
424 And the dim vele, with which from comune vew
425 Their fairer parts are hid, aside be layd.
426 Perhaps not vaine they may appeare to you.
427 Such as they be, vouchsafe them to receaue,
428 And wipe their faults out of your censure graue.
429 E. S.
430
411
412 _To the Right Honourable the Lord Burghley, Lord High
Lord Burghley > (William Cecil, Lord Burghley, 1520-98: the most
powerful man in England. An enemy of the Earl of Leicester, who
was the uncle of Sir Philip Sidney (one of Spenser's friends).
This, taken in combination with Spenser's friendship with Raleigh
(another enemy) perhaps disinclined Burghley to favour the poet or
his work)
413 Treasurer of England_
414
415 To, you right noble lord, whose careful breast
careful > {Full of cares; prudent}
breast > heart; _hence:_ mind
416 To manage most grave affairs is bent,
bent > inclined, directed
417 And on whose mighty shoulders most does rest
418 The burden of this kingdom's government
burden > burden; fate, destiny
419 (As the wide compass of the firmament
420 On Atlas' mighty shoulders is upstayed);
Atlas > (A mythical giant said to support on his shoulders the pillars
of the universe)
upstayed > supported
421 Unfitly I these idle rhymes present,
idle > empty; vain, trifling
422 The labour of lost time and wit unstayed:
wit > mind, intelligence
unstayed > unsteady
423 Yet if their deeper sense be inly weighed,
inly > inwardly
424 And the dim veil, with which from common view
common > vulgar
425 Their fairer parts are hidden, aside be laid,
426 Perhaps not vain they may appear to you.
vain > foolish, futile
427 Such as they be, vouchsafe them to receive,
428 And wipe their faults out of your censure grave.
429 _E. S._
430
431
432 _To the right Honourable the Earle of Oxenford_,
433 Lord high Chamberlayne of England. &c.
434
435 REceiue most Noble Lord in gentle gree,
436 The vnripe fruit of an vnready wit:
437 Which by thy countenaunce doth craue to bee
438 Defended from foule Enuies poisnous bit.
439 Which so to doe may thee right well besit,
440 Sith th'antique glory of thine auncestry
441 Vnder a shady vele is therein writ,
442 And eke thine owne long liuing memory,
443 Succeeding them in true nobility:
444 And also for the loue, which thou doest beare
445 To th'_Heliconian_ ymps, and they to thee,
446 They vnto thee, and thou to them most deare:
447 Deare as thou art vnto thy selfe, so loue
448 That loues and honours thee, as doth behoue.
449
431
432 _To the Right Honourable the Earl of Oxford,
Oxford > (Edward de Vere, 17th Earl of Oxford, 1550-1604, Burghley's
son-in-law; poet and literary patron)
433 Lord High Chamberlain of England, etc._
434
435 Receive, most noble lord, in gentle gree,
gentle > noble; courteous; gentle
gree > favour, goodwill
436 The unripe fruit of an unready wit:
wit > mind, intelligence
437 Which by your countenance does crave to be
438 Defended from foul Envy's poisonous bit.
bit > {Bite, the action of biting}
439 Which so to do may you right well besit,
right > very
besit > become, befit
440 Sith the antique glory of your ancestry
Sith > Since
antique > ancient
441 Under a shady veil is therein written,
442 And eke your own long living memory,
eke > also
443 Succeeding them in true nobility:
444 And also for the love which you do bear
445 To the Heliconian imps, and they to you,
Heliconian imps > (Mount Helicon is the abode of the Muses; imps =
offspring; hence: poets)
446 They to you, and you to them most dear:
447 Dear as you are to yourself, so love
448 That loves and honours you, as does behove.
That > [He who]
449
450
451 _To the right honourable the Earle of_
452 Northumberland.
453
454 _THe sacred Muses haue made alwaies clame
455 To be the Nourses of nobility,
456 And Registres of euerlasting fame,
457 To all that armes professe and cheualry.
458 Then by like right the noble Progeny,
459 Which them succeed in fame and worth, are tyde
460 T'embrace the seruice of sweete Poetry,
461 By whose endeuours they are glorifide,
462 And eke from all, of whom it is enuide,
463 To patronize the authour of their praise,
464 Which giues them life, that els would soone haue dide,
465 And crownes their ashes with immortall baies.
466 To thee therefore right noble Lord I send
467 This present of my paines, it to defend._
468
450
451 _To the Right Honourable the Earl of
452 Northumberland_
Northumberland > (Henry Percy, "Wizard Earl", 9th Earl of
Northumberland, 1564-1632; a friend of Raleigh)
453
454 The sacred Muses have made always claim
455 To be the nurses of nobility,
456 And registers of everlasting fame,
457 To all that arms profess and chivalry.
arms profess > lay claim to prowess in arms
458 Then, by like right, the noble progeny
459 Who them succeed in fame and worth, are tied
460 To embrace the service of sweet poetry,
461 By whose endeavours they are glorified,
462 And eke from all, of whom it is envied,
eke > moreover
of > by
envied > wished for themselves
463 To patronize the author of their praise,
464 Who gives them life, that else would soon have died,
else > otherwise
465 And crowns their ashes with immortal bays.
bays > (Leaves or sprigs of the laurel, used to make a wreath for
conquerors or poets)
466 To you, therefore, right noble lord, I send
467 This present of my pains, it to defend.
pains > efforts, labours
it to defend > [so that you may defend it]
468
469
470 _To the right honourable the Earle of Cumberland_.
471
472 REdoubted Lord, in whose corageous mind
473 The flowre of cheualry now bloosming faire,
474 Doth promise fruite worthy the noble kind,
475 Which of their praises haue left you the haire;
476 To you this humble present I prepare,
477 For loue of vertue and of Martiall praise,
478 To which though nobly ye inclined are,
479 As goodlie well ye shew'd in late assaies,
480 Yet braue ensample of long passed daies,
481 In which trew honor yee may fashiond see,
482 To like desire of honor may ye raise,
483 And fill your mind with magnanimitee.
484 Receiue it Lord therefore as it was ment,
485 For honor of your name and high descent.
486 E. S.
487
469
470 _To the Right Honourable the Earl of Cumberland_
Cumberland > (George Clifford, 3rd Earl of Cumberland, 1558-1605,
naval commander)
471
472 Redoubted lord, in whose courageous mind
473 The flower of chivalry, now blossoming fair,
474 Does promise fruit worthy the noble kind
the > [of the]
kind > kin, family
475 Which of their praises have left you the heir;
476 To you this humble present I prepare,
477 For love of virtue and of martial praise,
478 To which though nobly you inclined are,
479 As goodly well you showed in late assays,
late assays > recent assaults (a reference to the Portugal expedition
of 1589, designed to liberate Portugal from the Spanish)
480 Yet brave example of long passed days,
brave > [a, this] splendid
481 In which true honour you may fashioned see,
482 To like desire of honour may you raise,
like > [a] similar
483 And fill your mind with magnanimity.
magnanimity > greatness of spirit
484 Receive it, lord, therefore, as it was meant:
485 For honour of your name and high descent.
486 _E. S._
487
488
489 _To the most honourable and excellent Lo. the Earle_
490 of Essex. Great Maister of the Horse to her Highnesse,
491 and knight of the Noble order of the Garter. &c.
492
493 _MAgnificke Lord, whose vertues excellent
494 Doe merit a most famous Poets witt,
495 To be thy liuing praises instrument,
496 Yet doe not sdeigne, to let thy name be writt
497 In this base Poeme, for thee far vnfitt.
498 Nought is thy worth disparaged thereby,
499 But when my Muse, whose fethers nothing flitt
500 Doe yet but flagg, and lowly learne to fly
501 With bolder wing shall dare alofte to sty
502 To the last praises of this Faery Queene,
503 Then shall it make more famous memory
504 Of thine Heroicke parts, such as they beene:
505 Till then vouchsafe thy noble countenaunce,
506 To these first labours needed furtheraunce._
507
508
488
489 _To the Most Honourable and Excellent Lord, the Earl
490 of Essex. Great Master of the Horse to Her Highness,
Essex > (Robert Devereux, 2nd Earl of Essex, 1566-1601, Leicester's
stepson and, in her old age, Elizabeth's favourite)
491 and Knight of the Noble Order of the Garter, etc._
492
493 Magnific lord, whose virtues excellent
Magnific > Renowned, glorious; magnificent
494 Do merit a most famous poet's wit
wit > mind, intellectual capacity
495 To be your living praises' instrument,
496 Yet do not sdeign to let your name be written
sdeign > disdain
497 In this base poem, for you far unfit.
498 Naught is your worth disparaged thereby,
499 But when my Muse, whose feathers, nothing flit,
nothing > not at all
flit > swift, quickly-moving
500 Do yet but flag and lowly learn to fly,
flag > droop
lowly > {In a low or base manner}
501 With bolder wing shall dare aloft to sty
sty > rise, soar
502 To the last praises of this Faery Queen;
last > (Speaking of that time when all 24 books of the poem will be
complete)
503 Then shall it make more famous memory
memory > memorial; historical record
504 Of your heroic parts, such as they been:
parts > abilities, qualities
been > [are; were]
505 Till then, vouchsafe your noble countenance
countenance > regard
506 To these first labours' needed furtherance.
furtherance > promotion; _also:_ improvement
507
508
509 To the right Honourable the Earle of
510 _Ormond and Ossory_.
511
512 REceiue most noble Lord a simple taste
513 Of the wilde fruit, which saluage soyl hath bred,
514 Which being through long wars left almost waste,
515 With brutish barbarisme is ouerspredd:
516 And in so faire a land, as may be redd,
517 Not one _Parnassus_, nor one _Helicone_
518 Left for sweete Muses to be harboured,
519 But where thy selfe hast thy braue mansione;
520 There in deede dwel faire Graces many one.
521 And gentle Nymphes, delights of learned wits,
522 And in thy person without Paragone
523 All goodly bountie and true honour sits,
524 Such therefore, as that wasted soyl doth yield,
525 Receiue dear Lord in worth, the fruit of barren field.
526
527
509 _To the Right Honourable the Earl of
510 Ormond and Ossory_
Ormond and Ossory > (Thomas Butler, 10th Earl of Ormond and Ossory,
1532-1614,; Lord Treasurer of Ireland)
511
512 Receive, most noble lord, a simple taste
513 Of the wild fruit which savage soil has bred,
savage > wild; savage
soil > (Of Ireland, where Spenser lived)
514 Which, being through long wars left almost waste,
515 With brutish barbarism is overspread:
barbarism > (See Spenser's _A View of the Present State of Ireland_)
516 And in so fair a land, as may be read,
read > seen
517 Not one Parnassus, nor one Helicon
Parnassus > (Mount Parnassus, chief seat of Apollo, god of song and
music, and leader of the Muses)
Helicon > (Mount Helicon, sacred to Apollo and his Muses)
518 Left for sweet Muses to be harboured,
519 But where you yourself have your brave mansion;
But > Except
brave > splendid
mansion > dwelling-place; mansion
520 There indeed dwell fair Graces many one:
Graces > (The handmaids of Venus, bestowers of beauty and charm)
521 And gentle nymphs, delights of learned wits,
nymphs > (Minor female divinities with whom the Greeks peopled all
parts of nature: the seas, springs, rivers, grottoes, trees,
mountains)
wits > minds
522 And in your person without paragon
paragon > comparison; competition
523 All goodly bounty and true honour sit,
bounty > goodness, virtue; munificence, generosity
524 Such, therefore, as that wasted soil does yield,
525 Receive, dear lord, in worth, the fruit of barren field.
in worth > in good part; at its true value
526
527
528 _To the right honourable the Lord Ch. Howard, Lo. high Admi-_
529 ral of England, knight of the noble order of the Garter,
530 and one of her Maiesties priuie Counsel. &c.
531
532 _ANd ye, braue Lord, whose goodly personage,
533 And noble deeds each other garnishing,
534 Make you ensample to the present age,
535 Of th'old Heroes, whose famous ofspring
536 The antique Poets wont so much to sing,
537 In this same Pageaunt haue a worthy place,
538 Sith those huge castles of Castilian king,
539 That vainly threatned kingdomes to displace,
540 Like flying doues ye did before you chace;
541 And that proud people woxen insolent
542 Through many victories, didst first deface:
543 Thy praises euerlasting monument
544 Is in this verse engrauen semblably,
545 That it may liue to all posterity._
546
547
528 _To the Right Honourable the Lord Charles Howard, Lord High Admi-
Charles Howard > (Charles, Lord Howard of Effingham, 1536-1624.
Commander of the Western Fleet, based at Plymouth, which was
credited with defeating the Spanish Armada in 1588)
529 ral of England, Knight of the Noble Order of the Garter,
530 and one of Her Majesty's Privy Council, etc._
531
532 And you, brave lord (whose goodly personage
brave > brave; splendid
533 And noble deeds each other garnishing,
garnishing > embellishing
534 Make you example to the present age,
example > [an] example, [a] parallel case
535 Of the old heroes, whose famous offspring
536 The antique poets wont so much to sing),
antique > ancient (especially of ancient Greece and Rome)
wont > were accustomed
sing > {Celebrate in song or verse}
537 In this same pageant have a worthy place,
pageant > {Exhibition, show, staged as a feature of public triumph or
celebration; scene or act of a medieval mystery play; tableau or
tableaux from such a play. Spenser never uses his language idly;
and "pageant" is the precise term favoured by C. S. Lewis (see
_Spenser's Images of Life_) to define the form of _FQ_; see also
_SC_, gloss to "June" (_Many Graces_: the passage referred to is at
203.25:1)}
538 Sith those huge castles of Castilian king,
Sith > Since
those huge castles > [the Spanish galleons of the Armada]
Castilian king > (Philip II of Spain, 1527-98)
539 That vainly threatened kingdoms to displace,
540 Like flying doves you did before you chase;
541 And that proud people, waxed insolent
waxed > grown
542 Through many victories, did first deface:
deface > cast in the shade; _or:_ destroy
543 Your praises' everlasting monument
544 Is in this verse engraved semblably,
semblably > similarly; _also:_ apparently, _hence:_ allegorically
545 That it may live to all posterity.
That > [So that]
546
547
548 _To the right honourable the Lord of Hunsdon, high
549 Chamberlaine to her Maiesty_.
550
551 REnowmed Lord, that for your worthinesse
552 And noble deeds haue your deserued place,
553 High in the fauour of that Emperesse.
554 The worlds sole glory and her sexes grace,
555 Here eke of right haue you a worthie place,
556 Both for your nearnes to that Faerie Queene,
557 And for your owne high merit in like cace,
558 Of which, apparaunt proofe was to be seene,
559 When that tumultuous rage and fearfull deene
560 Of Northerne rebels ye did pacify,
561 And their disloiall powre defaced clene,
562 The record of enduring memory.
563 Liue Lord for euer in this lasting verse,
564 That all posteritie thy honor may reherse.
565 E. S.
566
548 _To the Right Honourable the Lord of Hunsdon, High
Lord of Hunsdon > (Henry Carey, 1st Lord Hunsdon, 1524?-96, Governor
of Berwick. First cousin of the Queen and chamberlain of the royal
household)
549 Chamberlain to Her Majesty_
550
551 Renowned lord, that for your worthiness
552 And noble deeds have your deserved place
553 High in the favour of that empress,
554 The world's sole glory and her sex's grace;
555 Here eke of right have you a worthy place,
eke > also
556 Both for your nearness to that Faery Queen,
557 And for your own high merit in like case,
like > [a] similar
558 Of which apparent proof was to be seen
559 When that tumultuous rage and fearful deen
deen > din, noise
560 Of northern rebels you did pacify,
northern rebels > (Who wished in 1569 to assert the right of Mary
Stuart to succeed, or supplant, Elizabeth)
561 And their disloyal power defaced clean,
defaced clean > utterly destroyed
562 The record of enduring memory.
563 Live, lord, for ever in this lasting verse,
564 That all posterity your honour may rehearse.
That > [So that]
rehearse > relate, give an account of
565 _E. S._
566
567
568 To the most renowmed and valiant Lord, the
569 Lord Grey of Wilton, knight of the Noble order
570 of the Garter, &c.
571
572 MOst Noble Lord the pillor of my life,
573 And Patrone of my Muses pupillage,
574 Through whose large bountie poured on me rife,
575 In the first season of my feeble age,
576 I now doe liue, bound yours by vassalage:
577 Sith nothing euer may redeeme, nor reaue
578 Out of your endlesse debt so sure a gage,
579 Vouchsafe in worth this small guift to receaue,
580 Which in your noble hands for pledge I leaue,
581 Of all the rest, that I am tyde t'account:
582 Rude rymes, the which a rustick Muse did weaue
583 In sauadge soyle, far from Parnasso mount,
584 And roughly wrought in an vnlearned Loome:
585 The which vouchsafe dear Lord your fauorable doome.
586
587
567
568 _To the Most Renowned and Valiant Lord, the
569 Lord Grey of Wilton, Knight of the Noble Order
Lord Grey > (Arthur Grey, 14th Lord Grey de Wilton, 1536-93, Lord
Deputy of Ireland from 1580-82; on appointment he made Spenser his
private secretary)
570 of the Garter, etc._
571
572 Most noble lord, the pillar of my life,
573 And patron of my Muse's pupillage,
574 Through whose large bounty, poured on me rife
rife > unstintingly
575 In the first season of my feeble age,
576 I now do live, bound yours by vassalage:
vassalage > {The allegiance of a vassal: one who, in the feudal
system, held land in return for homage and allegiance to his lord}
577 Sith nothing ever may redeem, nor reave
Sith > Since
reave > forcibly remove, take
578 Out of your endless debt so sure a gage,
gage > pledge
579 Vouchsafe in worth this small gift to receive,
in worth > in good part; at its true value
580 Which in your noble hands for pledge I leave
for pledge > as a token
581 Of all the rest, that I am tied to account:
582 Rude rhymes, which a rustic Muse did weave
Rude > {Unpolished, lacking in literary skill}
583 In savage soil, far from Parnasso Mount,
savage soil > (Cf. I:513)
Parnasso Mount > (Mount Parnassus, chief seat of Apollo, god of song
and music, and leader of the Muses)
584 And roughly wrought in an unlearned loom:
wrought > worked
585 Which vouchsafe, dear lord, your favourable doom.
doom > judgement, opinion
586
587
588 _To the right honourable the Lord of Buckhurst, one
589 of her Maiesties priuie Counsell_.
590
591 IN vain I thinke right honourable Lord,
592 By this rude rime to memorize thy name;
593 Whose learned Muse hath writ her owne record,
594 In golden verse, worthy immortal fame:
595 Thou much more fit (were leasure to the same)
596 Thy gracious Souerain praises to compile.
597 And her imperiall Maiestie to frame,
598 In loftie numbers and heroicke stile.
599 But sith thou maist not so, giue leaue a while
600 To baser wit his power therein to spend,
601 Whose grosse defaults thy daintie pen may file,
602 And vnaduised ouersights amend.
603 But euermore vouchsafe it to maintaine
604 Against vile Zoilus backbitings vaine.
605
588 _To the Right Honourable the Lord of Buckhurst, one
Lord of Buckhurst > (Thomas Sackville, 1st Earl of Dorset and Baron
Buckhurst, 1536-1608, an accomplished poet)
589 of her Majesty's Privy Council_
590
591 In vain I think, right honourable lord,
592 By this rude rhyme to memorize your name;
rude > {Unpolished, lacking in literary skill}
memorize > commemorate
593 Whose learned Muse has written her own record,
594 In golden verse, worthy immortal fame:
worthy > [worthy of]
595 You much more fit (were leisure to the same)
You > [You are]
were leisure to the same > [had you the leisure]
596 Your gracious sovereign's praises to compile.
597 And her imperial majesty to frame,
598 In lofty numbers and heroic style.
numbers > metrical lines; _hence:_ verses
style > style; literary composition
599 But sith you may not so, give leave a while
sith > since
may not so > [are prevented from doing so]
600 To baser wit his power therein to spend,
baser > [a] baser
wit > mind
601 Whose gross faults your dainty pen may file,
dainty > {Of delicate taste; hence: discerning}
file > polish
602 And unadvised oversights amend.
603 But evermore vouchsafe it to maintain
maintain > defend
604 Against vile Zoilus' backbitings vain.
Zoilus > (A spiteful critic; unkind literary criticism in general,
named after Zoilus, 400?-320 BC, grammarian and commentator on
Homer)
vain > futile, foolish
605
606
607 _To the right honourable Sir Fr. Walsingham knight,
608 principall Secretary to her Maiesty, and of her
609 honourable priuy Counsell_.
610
611 THat Mantuane Poetes incompared spirit,
612 Whose girland now is set in highest place,
613 Had not _Mec{oe}nas_ for his worthy merit,
614 It first aduaunst to great _Augustus_ grace,
615 Might long perhaps haue lien in silence bace,
616 Ne bene so much admir'd of later age.
617 This lowly Muse, that learns like steps to trace,
618 Flies for like aide vnto your Patronage;
619 That are the great _Mecenas_ of this age,
620 As wel to al that ciuil artes professe
621 As those that are inspird with Martial rage,
622 And craues protection of her feeblenesse:
623 Which if ye yield, perhaps ye may her rayse
624 In bigger tunes to sound your liuing prayse.
625 E. S.
626
606
607 _To the Right Honourable Sir Francis Walsingham, Knight,
Francis Walsingham > (1530?-1590, appointed Principal Secretary in
1573; with Essex and Lord Burghley, one of the triumvirate which
effectively governed England on the Queen's behalf)
608 Principal Secretary to her Majesty, and of her
609 honourable Privy Council_.
610
611 That Mantuan poet's incompared spirit,
Mantuan poet > (Virgil, 70-19 BC, who was born near Maro, in Mantua,
northern Italy)
incompared > unmatched (SUS)
612 Whose garland now is set in highest place,
613 Had not Maecenas for his worthy merit
Maecenas > (Gaius Cilnius Maecenas, 73?-8 BC, a Roman statesman,
patron of Virgil and Horace. He brought Virgil to the attention of
Augustus Caesar)
614 It first advanced to great Augustus' grace,
615 Might long perhaps have lain in silence base,
616 Nor been so much admired of later age.
of > by [a]
617 This lowly Muse, that learns like steps to trace,
like > similar
618 Flies for like aid to your patronage;
619 (That are the great Maecenas of this age,
That are > [You who are]
620 As well to all that civil arts profess
As well > Both
621 As those that are inspired with martial rage),
As > [And to]
622 And craves protection of her feebleness:
623 Which if you yield, perhaps you may her raise
624 In bigger tunes to sound your living praise.
625 _E. S._
626
627
628 _To the right noble Lord and most valiaunt Captaine_,
629 Sir Iohn Norris knight, Lord president of Mounster.
630
631 WHo euer gaue more honourable prize
632 To the sweet Muse, then did the Martiall crew;
633 That their braue deeds she might immortalize
634 In her shril tromp, and sound their praises dew?
635 Who then ought more to fauour her, then you
636 Moste noble Lord, the honor of this age,
637 And Precedent of all that armes ensue?
638 Whose warlike prowesse and manly courage,
639 Tempred with reason and aduizement sage
640 Hath fild sad Belgicke with victorious spoile,
641 In _Fraunce_ and _Ireland_ left a famous gage,
642 And lately shakt the Lusitanian soile.
643 Sith then each where thou hast dispredd thy fame,
644 Loue him, that hath eternized your name.
645 E. S.
646
627
628 _To the Right Noble Lord and Most Valiant Captain,
629 Sir John Norris, Knight, Lord President of Munster_
John Norris > (1547?-1597, a commander of the land forces in the
Netherlands during the Armada campaign)
630
631 Who ever gave more honourable prize
prize > prize; plunder
632 To the sweet Muse, than did the martial crew;
633 That their brave deeds she might immortalize
That > [In that]
brave > brave; splendid
634 In her shrill trump, and sound their praises due?
trump > trumpet-note
635 Who then ought more to favour her than you,
636 Most noble lord, the honour of this age,
637 And precedent of all that arms ensue?
precedent > pattern, model
arms ensue > seek after feats of arms; _hence:_ follow a military
career
638 Whose warlike prowess and manly courage,
639 Tempered with reason and advisement sage
advisement > advice; prudence, consideration
640 Have filled sad Belgium with victorious spoil,
Belgium > {The Netherlands}
641 In France and Ireland left a famous gage,
gage > prize, military spoil
642 And lately shaken the Lusitanian soil.
Lusitanian > (A somewhat impolitic reference to the ill-fated Portugal
expedition of 1589, in which Norris and Sir Francis Drake, with
over 100 ships and some 20,000 soldiers, were sent to liberate
Portugal from the Spanish)
643 Since then each where you have spread your fame,
each where > everywhere
644 Love him that has eternized your name.
645 _E. S._
646
647
648 _To the right noble and valorous knight, Sir Walter Raleigh_,
649 Lo. Wardein of the Stanneryes, and lieftenaunt of
650 Cornewaile.
651
652 _TO thee that art the sommers Nightingale,
653 Thy soueraine Goddesses most deare delight,
654 Why doe I send this rusticke Madrigale,
655 That may thy tunefull eare vnseason quite?
656 Thou onely fit this Argument to write,
657 In whose high thoughts Pleasure hath built her bowre,
658 And dainty loue learnd sweetly to endite.
659 My rimes I know vnsauory and sowre,
660 To tast the streames, that like a golden showre
661 Flow from thy fruitfull head, of thy loues praise,
662 Fitter perhaps to thonder Martiall stowre,
663 When so thee list thy lofty Muse to raise:
664 Yet till that thou thy Poeme wilt make knowne,
665 Let thy faire Cinthias praises bee thus rudely showne._
666 E. S.
667
647
648 _To the Right Noble and Valorous Knight, Sir Walter Raleigh,
649 Lord Warden of the Stannaries, and Lieutenant of
650 Cornwall_
651
652 To you, that are the summer's nightingale,
nightingale > (Cf. I:241)
653 Your sovereign goddess' most dear delight,
654 Why do I send this rustic madrigal,
655 That may your tuneful ear unseason quite?
unseason > {Strike or affect disagreeably}
656 You only fit this argument to write,
You only > [Only you are]
argument > subject-matter
657 In whose high thoughts Pleasure has built her bower,
bower > chamber, retreat
658 And dainty love learned sweetly to indite.
659 My rhymes I know unsavoury and sour
know > [know to be too]
660 To taste the streams, that like a golden shower
661 Flow from your fruitful head, of your love's praise,
662 Fitter perhaps to thunder martial stour,
stour > conflict, tumult
663 Whenso you list your lofty Muse to raise:
Whenso > Whenever
list > choose, please
664 Yet till you your poem will make known,
your poem > (_The Ocean's Love to Cynthia_, a paean to Queen
Elizabeth)
665 Let your fair Cynthia's praises be thus rudely shown.
rudely > roughly, crudely
666 _E. S._
667
668
669 _To the right honourable and most vertuous Lady, the
670 Countesse of Penbroke_.
671
672 REmembraunce of that most Heroicke spirit,
673 The heuens pride, the glory of our daies,
674 Which now triumpheth through immortall merit
675 Of his braue vertues, crownd with lasting baies,
676 Of heuenlie blis and euerlasting praies;
677 Who first my Muse did lift out of the flore,
678 To sing his sweet delights in lowlie laies;
679 Bids me most noble Lady to adore
680 His goodly image liuing euermore,
681 In the diuine resemblaunce of your face;
682 Which with your vertues ye embellish more,
683 And natiue beauty deck with heuenlie grace:
684 For his, and for your owne especial sake,
685 Vouchsafe from him this token in good worth to take.
686 E. S.
687
668
669 _To the Right Honourable and Most Virtuous Lady, the
670 Countess of Pembroke_
Countess of Pembroke > (Mary Herbert, Countess of Pembroke, 1555?-
1621, patroness of the arts; sister of Sir Philip Sidney)
671
672 Remembrance of that most heroic spirit,
heroic spirit > (That of Sir Philip Sidney, 1554-86, poet, soldier,
and statesman: one of the Queen's favourites. Close friend of
Spenser. Killed in action at Zutphen in the Netherlands)
673 The heavens' pride, the glory of our days,
674 Which now triumphs through immortal merit
675 Of his brave virtues, crowned with lasting bays
brave > splendid; courageous
bays > (Leaves or sprigs of the laurel, used to make a wreath for
conquerors or poets)
676 Of heavenly bliss and everlasting praise;
677 Who first my Muse did lift out of the floor,
678 To sing his sweet delights in lowly lays;
lays > songs, poems
679 Bids me, most noble lady, to adore
680 His goodly image living evermore,
goodly > well-favoured; gracious
681 In the divine resemblance of your face;
682 Which with your virtues you embellish more,
683 And native beauty deck with heavenly grace:
684 For his, and for your own especial sake,
685 Vouchsafe from him this token in good worth to take.
in good worth > at its true value; in good part
686 _E. S._
687
688
689 To the most vertuous, and beautifull Lady,
690 _the Lady Carew_.
691
692 NE may I, without blot of endlesse blame,
693 You fairest Lady leaue out of this place,
694 But with remembraunce of your gracious name,
695 Wherewith that courtly garlond most ye grace,
696 And deck the world, adorne these verses base:
697 Not that these few lines can in them comprise
698 Those glorious ornaments of heuenly grace,
699 Wherewith ye triumph ouer feeble eyes,
700 And in subdued harts do tyranyse:
701 For thereunto doth need a golden quill,
702 And siluer leaues, them rightly to deuise,
703 But to make humble present of good will:
704 Which whenas timely meanes it purchase may,
705 In ampler wise it selfe will forth display.
706 E. S.
707
688
689 _To the Most Virtuous and Beautiful Lady,
690 the Lady Carey_
Lady Carey > (Lady Elizabeth Spencer Carey (or Carew), the Elder (fl.
1590), patroness of poets; dedicatee of Spenser's _Muiopotmos_
(1590))
691
692 Nor may I, without blot of endless blame,
693 You, fairest lady, leave out of this place,
694 But, with remembrance of your gracious name,
695 Wherewith that courtly garland most you grace,
696 And deck the world, adorn these verses base:
697 Not that these few lines can in them comprise
698 Those glorious ornaments of heavenly grace
699 Wherewith you triumph over feeble eyes,
Wherewith > With which
700 And in subdued hearts do tyrannize:
701 For thereto does need a golden quill,
702 And silver leaves, them rightly to devise,
devise > tell, recount
703 But to make humble present of goodwill:
704 Which when timely means it purchase may,
timely > opportune, seasonable
705 In ampler wise itself will forth display.
In ampler wise > (A reference to _Muiopotmos_)
706 _E. S._
707
708
709 To all the gratious and beautifull Ladies in the Court.
710
711 _THe Chian Peincter, when he was requirde
712 To pourtraict _Venus_ in her perfect hew,
713 To make his worke more absolute, desird
714 Of all the fairest Maides to haue the vew.
715 Much more me needs to draw the semblant trew
716 Of beauties Queene, the worlds sole wonderment,
717 To sharp my sence with sundry beauties vew,
718 And steale from each some part of ornament.
719 If all the world to seeke I ouerwent,
720 A fairer crew yet no where could I see
721 Then that braue court doth to mine eie present,
722 That the worlds pride seemes gathered there to bee.
723 Of each a part I stole by cunning thefte:
724 Forgiue it me faire Dames, sith lesse ye haue not lefte_.
725 E. S.
726
727
728
708
709 To All the Gracious and Beautiful Ladies in the Court
710
711 The Chian Painter, when he was required
Chian Painter > (The artist from Chios (Scio), in the Aegean, who
built a composite image of beauty from various sitters)
712 To portray Venus in her perfect hue,
Venus > (Goddess of love and beauty)
hue > colours, appearance
713 To make his work more absolute, desired
714 Of all the fairest maids to have the view.
715 Much more me needs to draw the semblance true
me needs > [do I need]
716 Of beauty's Queen, the world's sole wonderment,
717 To sharpen my sense with sundry beauties' view,
718 And steal from each some part of ornament.
719 If all the world to seek I overwent,
720 A fairer crew yet nowhere could I see
721 Than that brave court does to my eye present,
that > [that which that]
brave > splendid
722 That the world's pride seems gathered there to be.
That > [Such that]
723 Of each a part I stole by cunning theft:
724 Forgive it me, fair dames, sith less you have not left.
sith > since
725 _E. S._
726
727
728
729 FINIS.
729 THE END
THE END > (These verses, and the letter to Raleigh, were originally
placed at the end of Volume I)
=>
THE FIRST
2 BOOKE OF THE
FAERIE QVEENE.
4 _Contayning_
THE LEGENDE OF THE
6 KNIGHT OF THE RED CROSSE,
_OR_
8 OF HOLINESSE.
1 THE FIRST
2 BOOK OF _THE
3 FAERY QUEEN_
4 Containing
5 THE LEGEND OF THE
6 KNIGHT OF THE RED CROSS
7 or
8 OF HOLINESS
100.1
LO I the man, whose Muse whilome did maske,
2 As time her +taught+ in lowly Shepheards weeds,
Am now enforst a far vnfitter taske,
4 For trumpets sterne to chaunge mine Oaten reeds,
And sing of Knights and Ladies gentle deeds;
6 Whose prayses hauing slept in silence long,
Me, all too meane, the sacred Muse areeds
8 To blazon +broad emongst+ her learned throng:
Fierce warres and faithfull loues shall moralize my song.
2 taught > taught, _1590, 1609_
8 broad emongst > 'broad, amongst _1609_
1 Lo I, the man whose Muse whilom did mask,
Muse > (The nine Muses are usually represented as the daughters of
Jupiter and Mnemosyne (Memory); each goddess presides over an
area of the arts and sciences and gives inspiration to its
practitioners)
whilom > formerly
mask > {Disguise [herself]; take part in a masque or masquerade}
2 As time her taught, in lowly shepherd's weeds,
time > [her] term of apprenticeship
shepherd > (Spenser's _The Shepheardes Calender_, a work of pastoral
poetry, was published in 1579)
weeds > clothes, garb
3 Am now enforced, a far unfitter task,
enforced > compelled [by the Muse]
4 For trumpets stern to change my oaten reeds,
stern > fierce
oaten reeds > (Of which shepherds' pipes were supposedly made. Cf.
_SC_, "October", 7-8)
5 And sing of knights' and ladies' gentle deeds;
gentle > noble; courteous, generous
6 Whose praises, having slept in silence long,
7 Me, all too mean, the sacred Muse areads
mean > unworthy, ignoble
areads > counsels; instructs
8 To blazon broad amongst her learned throng:
blazon > proclaim (with additional meaning of describing or painting
heraldic devices or armorial bearings)
broad > widely, far
9 Fierce wars and faithful loves shall moralize my song.
100.2
Helpe then, {o^} holy Virgin chiefe of nine,
2 Thy weaker Nouice to performe thy will,
Lay forth out of thine euerlasting scryne
4 The antique rolles, which there lye hidden still,
Of Faerie knights and fairest _Tanaquill_,
6 Whom that most noble Briton Prince so long
Sought through the world, and suffered so much ill,
8 That I must rue his vndeserued wrong:
O helpe thou my weake wit, and sharpen my dull tong.
1 Help then, O holy virgin, chief of nine,
chief > chief, first; best (here Spenser is addressing either Clio,
the Muse of history, or Calliope, the Muse of epic poetry;
probably Clio. Clio is the first of the nine Muses in Hesiod's
_Theogony_, and is usually represented with an open roll of paper
or a chest of books. Spenser calls her "thou eldest Sister of
the crew" at _TM_ 53. See also 111.5:6-8, 303.4:6, 706.37:9,
707.1:1)
2 Your weaker novice to perform your will;
weaker > too-weak
3 Lay forth out of your everlasting scrine
scrine > {Casket or cabinet for archival papers}
4 The antique rolls, which there lie hidden still,
antique > ancient
5 Of Faery knights and fairest Tanaquil,
Faery > {An archaic variant of "fairy", used by Spenser to denote
the imaginary land, analogous to Britain, where his poem is set}
Tanaquil > (Caia Tanaquil, wife of Tarquinius Priscus, 5th King of
Rome (- 577 BC); an exemplary queen, taken as a type for the
Faery Queen. See 210.76)
6 Whom that most noble Briton prince so long
Briton prince > (Prince Arthur. For the origin of Arthur's quest
for the Faery Queen, see 109.8-15)
7 Sought through the world, and suffered so much ill,
suffered > [for whom he suffered]
ill > evil, distress
8 That I must rue his undeserved wrong:
9 O, help you my weak wit, and sharpen my dull tongue!
help you my > [help my; "you" intensifies the imperative mood]
wit > wit; mind
dull > dull, lacklustre; blunt
100.3
And thou most dreaded impe of highest _Ioue_,
2 Faire _Venus_ sonne, that with thy cruell dart
At that good knight so cunningly didst roue,
4 That glorious fire it kindled in his hart,
Lay now thy deadly Heben bow apart,
6 And with thy mother milde come to mine ayde:
Come both, and with you bring triumphant _Mart_,
8 In loues and gentle iollities arrayd,
After his murdrous spoiles and bloudy rage allayd.
1 And you, most dreaded imp of highest Jove,
you > [Cupid, god of love, the son of Jupiter and Venus]
imp > child, scion
Jove > (Jupiter, the supreme deity of the Romans; Zeus of the
Greeks)
2 Fair Venus' son, that with your cruel dart
Venus > (Goddess of love and beauty, wife of Vulcan, mother of
Cupid)
dart > arrow
3 At that good knight so cunningly did rove
rove > shoot
4 That glorious fire it kindled in his heart;
5 Lay now your deadly ebon bow apart,
ebon > {Ebony, made of ebony, a tree of the family _Ebenaceae_, esp.
_Diospyros ebenus_, producing hard black wood}
apart > aside
6 And with your mother mild come to my aid:
mild > gracious, kind
7 Come, both; and with you bring triumphant Mars,
Mars > (God of war, the lover of Venus)
8 In loves and gentle jollities arrayed,
gentle > noble
jollities > revelries
9 After his murderous spoils and bloody rage allayed.
allayed > grown mild
100.4
And with them eke, {o^} Goddesse heauenly bright,
2 Mirrour of grace and Maiestie diuine,
Great Lady of the greatest Isle, whose light
4 Like _Ph{oe}bus_ lampe throughout the world doth shine,
Shed thy faire beames into my feeble eyne,
6 And raise my thoughts too humble and too vile,
To thinke of that true glorious type of thine,
8 The argument of mine afflicted stile:
The which to heare, vouchsafe, {o^} dearest dred a-while.
1 And with them eke, O goddess heavenly bright,
eke > also, in addition
bright > bright; beautiful
2 Mirror of grace and majesty divine,
Mirror > Reflection; reflector; exemplar (he is now addressing Queen
Elizabeth; the moment of uncertainty smoothly conflates her with
both Venus and the "holy Virgin" of 100.2:1)
3 Great lady of the greatest isle, whose light
greatest isle > [Britain]
4 Like Phoebus' lamp throughout the world does shine,
Phoebus > (Phoebus Apollo, god of the sun; Elizabeth's light is
elsewhere (e.g. 300.4:8) compared to that of the moon and
(209.4:6) to that of the morning star)
5 Shed your fair beams into my feeble eyes,
6 And raise my thoughts, too humble and too vile,
vile > lowly, wretched
7 To think of that true glorious type of yours,
type > image, representation
8 The argument of my afflicted style:
argument > subject-matter
afflicted > humble, lowly; contemptible (Latin _afflictus_)
style > literary composition; _hence:_ poem, song (cf. _SC_,
"Januarie", 10)
9 Which to hear vouchsafe, O dearest dread, awhile.
dread > {Object of awe or reverence}
CANTO I
_The Patron of true Holinesse,
Foule Errour doth defeate:
Hypocrisie him to +entrape+,
Doth to his home entreate._
3 _entrape_ > _entrappe 1590;_ entrap _1609_
1 The patron of true Holiness
patron > protector, defender, champion
2 Foul Error does defeat:
3 Hypocrisy, him to entrap,
Hypocrisy > (Archimago, introduced at 101.29, named at 101.43:6)
4 Does to his home entreat.
entreat > [entreat the patron of true Holiness]
101.1
A Gentle Knight was pricking on the plaine,
2 Y cladd in mightie armes and siluer shielde,
Wherein old dints of deepe wounds did remaine,
4 The cruell markes of many'a bloudy fielde;
Yet armes till that time did he neuer wield:
6 His angry steede did chide his foming bitt,
As much disdayning to the curbe to yield:
8 Full iolly knight he seemd, and faire did sitt,
As one for knightly giusts and fierce encounters fitt.
1 A gentle knight was pricking on the plain,
gentle > generous, courteous (to take the meaning of this word as
"noble", "high-born", would be to anticipate the revelation at
110.65 ff.; at I:153 he is described as "clownishe", i.e. rustic,
unsophisticated)
pricking > spurring his horse, riding
2 Clad in mighty arms and silver shield,
arms > armour (see I:171-3)
3 Wherein old dints of deep wounds did remain,
dints > dents, indentations
4 The cruel marks of many a bloody field;
field > field of battle, battle
5 Yet arms till that time did he never wield.
never wield > (See I:152 ff.: "In the beginning of the feast ...")
6 His angry steed did chide his foaming bit,
7 As much disdaining to the curb to yield:
8 Full jolly knight he seemed, and fair did sit,
Full > [A] very
jolly > gallant; handsome; fine; _also, apparent only on a second
reading of Book I, in the rarer pejorative senses:_ self-
confident, arrogant, lustful
fair > expertly
sit > sit in the saddle; ride
9 As one for knightly jousts and fierce encounters fit.
101.2
+But+ on his brest a bloudie Crosse he bore,
2 The deare remembrance of his dying Lord,
For whose sweete sake that glorious badge he wore,
4 And dead as liuing euer him ador'd:
Vpon his shield the like was also scor'd,
6 For soueraine hope, which in his helpe he had:
Right faithfull true he was in deede and word,
8 But of his cheere did seeme too solemne sad,
Yet nothing did he dread, but euer was ydrad.
1 But > And _1590. 1596 emphasizes his inner conflict and points
the way to his downfall and ultimate resurrection)_
1 But on his breast a bloody cross he bore,
bloody > blood-red
2 The dear remembrance of his dying Lord,
dear > dear; grievous; brave
remembrance > keepsake, token
3 For whose sweet sake that glorious badge he wore,
4 And dead, as living, ever him adored:
dead, as living, ever him adored > (Or: "dead, as living ever, him
adored"; see _Rev._ 1.18)
5 Upon his shield the like was also scored,
scored > inscribed
6 For sovereign hope, which in his help he had:
in his help > [to help him; in his armoury]
7 Right faithful true he was in deed and word,
Right > Very, completely
8 But of his cheer did seem too solemn sad;
of > in
cheer > expression, mood
sad > grave, sober
9 Yet nothing did he dread, but ever was dreaded.
101.3
Vpon a great aduenture he was bond,
2 That greatest _Gloriana_ to him gaue,
That greatest Glorious Queene of _Faerie_ lond,
4 To winne him worship, and her grace to haue,
Which of all earthly things he most did craue;
6 And euer as he rode, his hart did earne
To proue his puissance in battell braue
8 Vpon his foe, and his new force to learne;
Vpon his foe, a Dragon horrible and stearne.
1 Upon a great adventure he was bound,
2 That greatest Gloriana to him gave
3 (That greatest glorious Queen of Faery Land)
4 To win him worship, and her grace to have,
worship > honour, renown
5 Which of all earthly things he most did crave;
6 And ever as he rode his heart did yearn
7 To prove his puissance in battle brave
prove > test; demonstrate
puissance > strength (allied with prowess in arms)
brave > brave; splendid
8 Upon his foe, and his new force to learn;
learn > learn; _also:_ teach, _hence:_ impose
9 Upon his foe, a dragon horrible and stern.
stern > fierce; merciless, cruel
101.4
A louely Ladie rode him faire beside,
2 Vpon a lowly Asse more white then snow,
Yet she much whiter, but the same did hide
4 Vnder a vele, that wimpled was full low,
And ouer all a blacke stole she did throw,
6 As one that inly mournd: so was she sad,
And heauie sat vpon her palfrey slow;
8 Seemed in heart some hidden care she had,
And by her in a line a milke white lambe she lad.
1 A lovely lady rode him fair beside,
lovely > lovely; loving; lovable [by virtue of her admirable
qualities]
fair > fittingly, becomingly; skilfully
2 Upon a lowly ass more white than snow,
3 Yet she much whiter; but the same did hide
the same > [her complexion she]
4 Under a veil, that wimpled was full low;
wimpled > {Falling in folds}
full > very, exceedingly
5 And over all a black stole she did throw,
stole > robe
6 As one that inly mourned: so was she sad,
inly > inwardly
7 And heavy sat upon her palfrey slow;
heavy > sadly
palfrey > {Saddle-horse for ladies}
8 Seemed in heart some hidden care she had,
Seemed > [It seemed]
in heart > in her heart; inwardly
9 And by her, in a line, a milk-white lamb she led.
in a line > on a lead
101.5
So pure +an innocent+, as that same lambe,
2 She was in life and euery vertuous lore,
And by descent from Royall lynage came
4 Of ancient Kings and Queenes, that had of yore
Their scepters stretcht from East to Westerne shore,
6 And all the world in their subiection held;
Till that infernall feend with foule vprore
8 Forwasted all their land, and them expeld:
Whom to auenge, she had this Knight from far compeld.
1 an innocent > and innocent _1590;_ an Innocent _1609_
1 So pure an innocent as that same lamb
2 She was in life and every virtuous lore;
lore > teaching, doctrine
3 And by descent from royal lineage came
4 Of ancient kings and queens, that had of yore
of yore > of old, in former times
5 Their sceptres stretched from east to western shore,
6 And all the world in their subjection held;
7 Till that infernal fiend with foul uproar
infernal fiend > hellish fiend (the dragon, Satan)
uproar > insurrection; tumult
8 Forwasted all their land, and them expelled:
Forwasted > Ravaged, laid to waste
9 Whom to avenge, she had this knight from far compelled.
compelled > commanded; forced to come
101.6
Behind her farre away a Dwarfe did lag,
2 That lasie seemd in being euer last,
Or wearied with bearing of her bag
4 Of needments at his backe. Thus as they past,
The day with cloudes was suddeine ouercast,
6 And angry _Ioue_ an hideous storme of raine
Did poure into his Lemans lap so fast,
8 That euery wight to shrowd it did constrain,
And this faire couple eke to shroud themselues were fain.
1 Behind her far away a dwarf did lag,
2 That lazy seemed, in being ever last,
3 Or wearied with bearing of her bag
4 Of needments at his back. Thus as they passed,
needments > necessaries
passed > passed; _and perhaps:_ paced
5 The day with clouds was suddenly overcast,
6 And angry Jove a hideous storm of rain
Jove > [the heavens personified]
hideous > terrific; _hence:_ violent, torrential
7 Did pour into his leman's lap so fast
leman > mistress; wife (the Earth portrayed as the lover of Heaven)
8 That every wight to shroud it did constrain;
wight > person, creature, being
shroud > take shelter; shelter (sb.)
9 And this fair couple eke to shroud themselves were fain.
eke > likewise
fain > obliged; eager
101.7
Enforst to seeke some couert nigh at hand,
2 A shadie groue not far away they spide,
That promist ayde the +tempest+ to withstand:
4 Whose loftie trees yclad with sommers pride,
Did spred so broad, that heauens light did hide,
6 Not perceable with power of any starre:
And all within were pathes and alleies wide,
8 With footing worne, and leading inward farre:
Faire harbour that them seemes; so in they entred arre.
3 tempest > tempests _1609_
1 Enforced to seek some covert nigh at hand,
2 A shady grove not far away they spied,
3 That promised aid, the tempest to withstand:
4 Whose lofty trees, clad with summer's pride,
pride > splendour; splendid adornment (with connotations of "pride"
(1) in its modern sense, and (2) in the sense "sexual heat",
"sexual desire". In combination, these are the undoing of the
knight. Cf. "iolly" at 101.1:8)
5 Did spread so broad that heaven's light did hide,
did > [they did]
6 Not pierceable with power of any star:
pierceable > able to be pierced
7 And all within were paths and alleys wide,
8 With footing worn, and leading inward far:
footing > {The passage of feet}
9 Fair harbour that them seems; so in they entered are.
harbour > refuge; _also:_ arbour
that them > [that to them]
101.8
And foorth they passe, with pleasure forward led,
2 Ioying to heare the birdes sweete harmony,
Which therein shrouded from the tempest dred,
4 Seemd in their song to scorne the cruell sky.
Much can they prayse the trees so straight and hy,
6 The sayling Pine, the Cedar proud and tall,
The vine-prop Elme, the Poplar neuer dry,
8 The builder Oake, sole king of forrests all,
The Aspine good for staues, the Cypresse funerall.
1 And forth they pass, with pleasure forward led,
2 Joying to hear the birds' sweet harmony,
3 Which, therein shrouded from the tempest dread,
shrouded > sheltered
4 Seemed in their song to scorn the cruel sky.
5 Much can they praise the trees so straight and high,
can > did; can
6 The sailing pine; the cedar proud and tall;
sailing > (Figuratively; also because pine was used to make masts
for sailing-ships)
7 The vine-prop elm; the poplar never dry;
never dry > (Because the poplar grows beside water)
8 The builder oak, sole king of forests all;
9 The aspen good for staves; the cypress funeral;
funeral > funereal (because of its association with death and grief)
101.9
The Laurell, meed of mightie Conquerours
2 And Poets sage, the Firre that weepeth still,
The Willow worne of forlorne Paramours,
4 The Eugh obedient to the benders will,
The Birch for shaftes, the Sallow for the mill,
6 The Mirrhe +sweete+ bleeding in the bitter wound,
The warlike Beech, the Ash for nothing ill,
8 The fruitfull Oliue, and the Platane round,
The caruer Holme, the Maple +seeldom+ inward sound.
6 sweete > sweet, _1609_
9 seeldom > sildom _1609 passim_
1 The laurel, meed of mighty conquerors
meed > reward (the laurel, sacred to Apollo, was used to make a
crown for conquerors or poets)
2 And poets sage; the fir that weeps still;
weeps still > continuously exudes resin
3 The willow, worn of forlorn paramours;
of > by; habitually by
4 The yew, obedient to the bender's will;
bender > [archer: the yew was traditionally used for longbows]
5 The birch for shafts; the sallow for the mill;
mill > ?mill-wheel; ?cogs of the mill (or because the sallow grows
by water)
6 The myrrh sweet bleeding in the bitter wound;
myrrh > (The aromatic resin of the gum myrrh tree (_Commiphora
myrrha_) is used herbally as an antiseptic and disinfectant. But
the reference also evokes (noted by Bayley (1966) 264-5) the
story of Myrrha (_Met._ 10), whose incestuous desire for her own
father led to her transformation into a myrrh tree: in that form
she gave agonizing birth to Adonis. In _Song Sol._ 1.13, myrrh
is mentioned in a celebration of sexual congress. The word
"myrrh" itself is derived from an Arabic word meaning "bitter".
Here in one line is a perfect example of the richness of
Spenser's art)
7 The warlike beech; the ash for nothing ill;
warlike > (Because war-chariots in antiquity were reputedly made of
beech)
8 The fruitful olive; and the platan round;
platan > plane-tree
9 The carver holm; the maple seldom inward sound.
holm > (Holm oak, _Quercus ilex_, whose wood is suitable for
carving)
101.10
Led with delight, they thus beguile the way,
2 Vntill the blustring storme is ouerblowne;
When weening to returne, whence they did stray,
4 +They+ cannot finde that path, which first was showne,
But wander too and fro in wayes vnknowne,
6 Furthest from end then, when they neerest weene,
That makes them doubt, their wits be not their owne:
8 So many pathes, so many turnings seene,
That which of them to take, in diuerse doubt they been.
4 They > The _1596_
1 Led with delight, they thus beguile the way
beguile the way > evade the labour of travel; dawdle
2 Until the blustering storm is overblown;
3 When, weening to return whence they did stray,
weening > expecting
4 They cannot find that path, which first was shown,
5 But wander to and fro in ways unknown,
6 Furthest from end then, when they nearest ween,
ween > suppose, imagine [themselves to be nearest the end of their
uncertainty]
7 That makes them doubt their wits be not their own:
doubt > fear
8 So many paths, so many turnings seen,
9 That which of them to take, in diverse doubt they been.
diverse > diverse; _also:_ distracting (SUS)
been > [were]
101.11
At last resoluing forward still to fare,
2 Till that some end they finde or in or out,
That path they take, that beaten seemd most bare,
4 And like to lead the labyrinth about;
Which when by tract they hunted had throughout,
6 At length it brought them to a hollow caue,
Amid the thickest woods. The Champion stout
8 Eftsoones dismounted from his courser braue,
And to the Dwarfe a while his needlesse spere he gaue.
1 At last, resolving forward still to fare,
still > continuously, without change; _hence:_ in one direction
2 Till some end they find, +or+ in or out,
or > either
3 That path they take that beaten seemed most bare,
4 And likely to lead the labyrinth about;
the labyrinth about > [out of the labyrinth]
5 Which when by tract they hunted had throughout,
tract > track, trail; tracing
6 At length it brought them to a hollow cave
hollow > insincere, false; _also:_ hungry (these readings might be
indicated by the tautology; cf. 109.33:2, 308.37:5, but also
303.8:3)
7 Amid the thickest woods. The champion stout
stout > bold, brave
8 Eftsoons dismounted from his courser brave,
Eftsoons > Thereupon
brave > splendid, fine; courageous
9 And to the dwarf awhile his needless spear he gave.
needless > (Because it is wielded only by a mounted knight, the
sword being used when he is on foot)
101.12
Be well aware, quoth then that Ladie milde,
2 Least suddaine mischiefe ye too rash prouoke:
The danger hid, the place vnknowne and wilde,
4 Breedes dreadfull doubts: Oft fire is without smoke,
And perill without show: therefore +your stroke+
6 Sir knight with-hold, till further triall made.
Ah Ladie (said he) shame were to reuoke
8 The forward footing for an hidden shade:
Vertue giues her selfe light, through darkenesse for to wade.
5 your stroke > your hardy stroke _1590 etc.: FE_
1 "Be well aware," quoth then that lady mild,
aware > watchful, on your guard
mild > kind, gracious
2 "Lest sudden mischief you too rash provoke:
mischief > disaster
you too rash provoke > [you, too rash, provoke; or: you too rashly
provoke]
3 The danger hidden, the place unknown and wild,
4 Breeds dreadful doubts. Oft fire is without smoke,
5 And peril without show: therefore your stroke,
6 Sir knight, withhold, till further trial made."
made > [be made]
7 "Ah lady," said he, "shame were to revoke
shame were > [it would be shameful; it would be a shame]
revoke > check; withdraw, draw back
8 The forward footing for a hidden shade:
footing > step, tread
for > [for fear of]
9 Virtue gives herself light, through darkness for to wade."
for > in order
wade > {Go, proceed; proceed through some medium which offers
resistance}
101.13
Yea but (quoth she) the perill of this place
2 I better wot then you, though now too late,
To wish you backe returne with foule disgrace,
4 Yet wisedome warnes, whilest foot is in the gate,
To stay the steppe, ere forced to retrate.
6 This is the wandring wood, this _Errours den_,
A monster vile, whom God and man does hate:
8 Therefore I read beware. Fly fly (quoth then
The fearfull Dwarfe:) this is no place for liuing men.
1 "Yes but" quoth she, "the peril of this place
2 I better wot than you: though now too late
wot > know
3 To wish you back return with foul disgrace,
4 Yet wisdom warns, whilst foot is in the gate,
gate > gate; way, path; journey (for this marks the beginning of the
knight's spiritual quest)
5 To stay the step, ere forced to retrait.
retrait > retreat, retire
6 This is the Wandering Wood, this Error's den,
Wandering > (The Latin verb _errare_ means not only to "wander", but
also "stray", "deviate", "be mistaken")
7 A monster vile, whom God and man does hate:
8 Therefore I read beware." "Fly, fly!" quoth then
read > counsel [you to ...]
Fly > Flee
9 The fearful dwarf, "this is no place for living men."
101.14
But full of fire and greedy hardiment,
2 The youthfull knight could not for ought be staide,
But forth vnto the darksome hole he went,
4 And looked in: his glistring armor made
A litle glooming light, much like a shade,
6 By which he saw the vgly monster plaine,
Halfe like a serpent horribly displaide,
8 But th'other halfe did womans shape retaine,
Most lothsom, filthie, foule, and full of vile disdaine.
1 But, full of fire and greedy hardiment,
greedy > eager, reckless
hardiment > boldness
2 The youthful knight could not for aught be stayed,
3 But forth to the darksome hole he went,
4 And looked in: his glistering armour made
5 A little glooming light, much like a shade,
glooming > gloaming (cognate with "glow")
6 By which he saw the ugly monster plain,
7 Half like a serpent horribly displayed;
displayed > displayed; uncoiled, spread out (but cf. 101.15:3)
8 But the other half did woman's shape retain:
9 Most loathsome, filthy, foul, and full of vile disdain.
disdain > repulsiveness
101.15
And as she lay vpon the durtie ground,
2 Her huge long taile her den all ouerspred,
Yet was in knots and many boughtes vpwound,
4 Pointed with mortall sting. Of her there bred
A thousand yong ones, which she dayly fed,
6 Sucking vpon her +poisonous+ dugs, eachone
Of sundry +shapes,+ yet all ill fauored:
8 Soone as that vncouth light vpon them shone,
Into her mouth they crept, and suddain all were gone.
6 poisonous > poisnous _1590_
7 shapes, > shape _1596 (some copies);_ shape, _1609_
1 And as she lay upon the dirty ground,
2 Her huge long tail her den all overspread,
3 Yet was in knots and many boughts upwound,
boughts > coils
4 Pointed with mortal sting. Of her there bred
mortal > lethal
5 A thousand young ones, which she daily fed,
6 Sucking upon her poisonous dugs; each one
7 Of sundry shapes, yet all ill-favoured.
Of sundry shapes > [Each one was different]
8 Soon as that uncouth light upon them shone,
Soon > [As soon]
uncouth > unaccustomed
9 Into her mouth they crept, and sudden all were gone.
101.16
Their dam vpstart, out of her den effraide,
2 And rushed forth, hurling her hideous taile
About her cursed head, whose folds displaid
4 Were stretcht now forth at length without entraile.
She lookt about, and seeing one in mayle
6 Armed to point, sought backe to turne againe;
For light she hated as the deadly bale,
8 Ay wont in desert darknesse to remaine,
Where plaine none might her see, nor she see any plaine.
1 Their dam upstart out of her den affrayed,
upstart > started up
affrayed > alarmed, startled; frightened, terrified
2 And rushed forth, hurling her hideous tail
hurling > whirling; brandishing
hideous > terrific; immense; odious
3 About her cursed head, whose folds displayed
displayed > uncoiled
4 Were stretched now forth at length without entrail.
entrail > [a] coil (SUS)
5 She looked about and, seeing one in mail,
mail > chain armour
6 Armed to point, sought back to turn again;
to point > to the smallest detail, completely
7 For light she hated as the deadly bale,
bale > torment; infliction of death; _also, mainly in northern
usage:_ great consuming fire, funeral pyre; _hence, perhaps:_
hell-fire
8 Ay wont in desert darkness to remain,
Ay > Ever, always
wont > used, accustomed
desert > lonely
9 Where plain none might her see, nor she see any plain.
101.17
Which when the valiant Elfe +perceiu'd+, he lept
2 As Lyon fierce vpon the flying pray,
And with his trenchand blade her boldly kept
4 From turning backe, and forced her to stay:
Therewith enrag'd she loudly gan to bray,
6 And turning fierce, her speckled taile aduaunst,
Threatning her angry sting, him to dismay:
8 Who nought aghast, his mightie hand enhaunst:
The stroke down from her head vnto her shoulder glaunst.
1 perceiu'd > perceiu'ed _1596_
1 Which when the valiant Elf perceived, he leapt
Elf > {Native of Faery Land (but see 110.64-5)}
2 As lion fierce upon the flying prey,
3 And with his trenchant blade her boldly kept
trenchant > sharp, deeply cutting
4 From turning back, and forced her to stay.
5 Therewith enraged, she loudly began to bray,
Therewith > With that
6 And turning fierce, her speckled tail advanced,
fierce > fierce; fiercely
7 Threatening her angry sting, him to dismay:
dismay > defeat
8 Who, naught aghast, his mighty hand enhanced:
enhanced > raised
9 The stroke down from her head to her shoulder glanced.
101.18
Much daunted with that dint, her sence was dazd,
2 Yet kindling rage, her selfe she gathered round,
And all attonce her beastly body raizd
4 With doubled forces high aboue the ground:
Tho wrapping vp her wrethed sterne arownd,
6 Lept fierce vpon his shield, and her huge traine
All suddenly about his body wound,
8 That hand or foot to stirre he stroue in vaine:
God helpe the man so wrapt in _Errours_ endlesse traine.
1 Much daunted with that dint, her sense was dazed;
dint > stroke
2 Yet, kindling rage, herself she gathered round,
3 And all at once her beastly body raised
4 With doubled forces high above the ground:
5 Tho, wrapping up her wreathed stern around,
Tho > Then
6 Leapt fierce upon his shield, and her huge train
train > tail
7 All suddenly about his body wound,
8 That hand or foot to stir he strove in vain:
That > [So that]
9 God help the man so wrapped in Error's endless train!
train > tail; trickery, deceit; assembly, entourage
101.19
His Lady sad to see his sore constraint,
2 Cride out, Now now Sir knight, shew what +ye+ bee,
Add faith vnto your force, and be not faint:
4 Strangle her, else she sure will strangle thee.
That when he heard, in great perplexitie,
6 His gall did grate for griefe and high disdaine,
And knitting all his force got one hand free,
8 Wherewith he grypt her gorge with so great paine,
That soone to loose her wicked bands did her constraine.
2 ye > you _1609_
1 His lady, sad to see his sore constraint,
sore > grievous
constraint > restriction of liberty; affliction
2 Cried out, "Now, now, sir knight, show what you be;
3 Add faith to your force, and be not faint:
4 Strangle her, else she sure will strangle you!"
5 That when he heard, in great perplexity,
6 His gall did grate for grief and high disdain;
gall > sense of rancour (said to have its seat in the gall)
grate > grind
grief > rage
7 And, knitting all his force, got one hand free,
8 Wherewith he gripped her gorge with so great pain,
Wherewith > With which
gorge > throat
so > such
pain > pains, effort, labour; _hence:_ strength
9 That soon to loose her wicked bonds did her constrain.
did > [it did; he did]
101.20
Therewith she spewd out of her filthy maw
2 A floud of poyson horrible and blacke,
Full of great lumpes of flesh and gobbets raw,
4 Which stunck so vildly, that it forst him slacke
His grasping hold, and from her turne him backe:
6 Her vomit full of bookes and papers was,
With loathly frogs and toades, which eyes did lacke,
8 And creeping sought way in the weedy gras:
Her filthy parbreake all the place defiled has.
1 Therewith she spewed out of her filthy maw
Therewith > With that; thereupon
maw > stomach
2 A flood of poison horrible and black,
3 Full of great lumps of flesh and gobbets raw,
gobbets > {Lumps of raw or semi-digested flesh or food}
4 Which stunk so vilely, that it forced him slack
5 His grasping hold, and from her turn him back:
6 Her vomit full of books and papers was,
7 With loathly frogs and toads, which eyes did lack,
loathly > loathsome, repulsive, hateful
8 And creeping sought way in the weedy grass:
9 Her filthy parbreak all the place defiled has.
parbreak > vomit
101.21
As when old father _Nilus_ gins to swell
2 With timely pride aboue the _Aegyptian_ vale,
His fattie waues do fertile slime outwell,
4 And ouerflow each plaine and lowly dale:
But when his later +spring+ gins to auale,
6 Huge heapes of mudd he leaues, wherein there breed
Ten thousand kindes of creatures, partly male
8 And partly female of his fruitfull seed;
Such vgly monstrous shapes elswhere may no man reed.
5 spring > ebbe _1590 etc.: FE_
1 As when old Father Nile begins to swell
2 With timely pride above the Egyptian vale;
timely > seasonal
pride > {The state of being in flood; stateliness, splendour;
tumescence, sexual excitement}
3 His fatty waves do fertile slime outwell,
fatty > oleaginous, greasy; _hence:_ mud-laden, rich
outwell > pour forth
4 And overflow each plain and lowly dale:
5 But when his latter spring begins to avale,
latter > last, final
spring > tide
avale > sink down, flow down
6 Huge heaps of mud he leaves, wherein there breed
7 Ten thousand kinds of creatures, partly male
partly > some
8 And partly female, of his fruitful seed;
seed > semen (cf. 304.41:6); progeny
9 Such ugly monstrous shapes elsewhere may no man read.
read > see, observe (SUS)
101.22
The same so sore annoyed has the knight,
2 That welnigh choked with the deadly stinke,
His forces faile, ne can no longer fight.
4 Whose corage when the feend perceiu'd to shrinke,
She poured forth out of her hellish sinke
6 Her fruitfull cursed spawne of serpents small,
Deformed monsters, fowle, and black as inke,
8 Which swarming all about his legs did crall,
And him encombred sore, but could not hurt at all.
1 The same so sore annoyed has the knight,
annoyed > afflicted, discommoded
2 That, well-nigh choked with the deadly stink,
3 His forces fail, nor can no longer fight:
4 Whose courage when the fiend perceived to shrink,
5 She poured forth out of her hellish sink
sink > {Intestines, organs of excretion; rectum}
6 Her fruitful cursed spawn of serpents small:
7 Deformed monsters, foul, and black as ink,
8 Which swarming all about his legs did crawl,
9 And him encumbered sore, but could not hurt at all.
101.23
As gentle Shepheard in sweete euen-tide,
2 When ruddy _Ph{oe}bus_ gins to welke in west,
High on an hill, his flocke to vewen wide,
4 Markes which do byte their hasty supper best;
A cloud of +combrous+ gnattes do him molest,
6 All striuing to infixe their feeble stings,
That from their noyance he no where can rest,
8 But with his clownish hands their tender wings
He brusheth +oft+, and oft doth mar their murmurings.
5 combrous > cumbrous _1590_
9 oft > off _conj. Collier_
1 As gentle shepherd in sweet eventide
2 (When ruddy Phoebus begins to welk in west),
welk > fade, wane
3 High on a hill, his flock to view wide,
4 Marks which do bite their hasty supper best,
5 A cloud of cumbrous gnats do him molest,
A > [And a]
cumbrous > harassing
6 All striving to infix their feeble stings,
7 That from their annoyance he nowhere can rest,
That > [So that]
8 But with his clownish hands their tender wings
clownish > rude, rustic
9 He brushes oft, and oft does mar their murmurings.
101.24
Thus ill bestedd, and fearefull more of shame,
2 Then of the certaine perill he stood in,
Halfe furious vnto his foe he came,
4 Resolv'd in minde all suddenly to win,
Or soone to lose, before he once would lin;
6 And +strooke+ at her with more then manly force,
That from her body full of filthie sin
8 He +raft+ her hatefull head without remorse;
A streame of cole black bloud forth gushed from her corse.
6 strooke > stroke _1590_
8 raft > reft _1609_
1 Thus ill-bested, and fearful more of shame
ill-bested > hard-pressed, threatened (bested = placed); _or:_ ill-
bestad: badly beset, badly hemmed in (SUS)
2 Than of the certain peril he stood in,
3 Half furious to his foe he came,
4 Resolved in mind all suddenly to win,
5 Or soon to lose, before he once would lin;
lin > desist, cease
6 And struck at her with more than manly force,
manly > human
7 That from her body, full of filthy sin,
That > [So that]
8 He reft her hateful head without remorse:
reft > severed (catachr.); took away
remorse > compunction; pity
9 A stream of coal-black blood forth gushed from her corse.
corse > body
101.25
Her scattred brood, soone as their Parent deare
2 They saw so rudely falling to the ground,
Groning full deadly, all with troublous feare,
4 Gathred themselues about her body round,
Weening their wonted entrance to haue found
6 At her wide mouth: but being there withstood
They flocked all about her bleeding +wound,+
8 And sucked vp their dying mothers blood,
Making her death their life, and eke her hurt their good.
wound, > wound. _1596_
1 Her scattered brood, soon as their parent dear
soon > [as soon]
2 They saw so rudely falling to the ground,
rudely > violently; clumsily
3 Groaning full deadly, all with troublous fear,
full > very, exceedingly
4 Gathered themselves about her body round,
5 Weening their wonted entrance to have found
Weening > Supposing
wonted > customary, usual
6 At her wide mouth; but being there withstood,
7 They flocked all about her bleeding wound,
8 And sucked up their dying mother's blood,
9 Making her death their life, and eke her hurt their good.
eke > also, moreover
101.26
That detestable sight him much amazde,
2 To see th'vnkindly Impes of heauen accurst,
Deuoure their dam; on whom while so he gazd,
4 Hauing all satisfide their bloudy thurst,
Their bellies swolne he saw with fulnesse burst,
6 And bowels gushing forth: well worthy end
Of such as drunke her life, the which them nurst;
8 Now needeth him no +lenger+ labour spend,
His foes haue slaine themselues, with whom he should contend.
8 lenger > longer _1609_
1 That detestable sight him much amazed,
amazed > astounded, stunned
2 To see the unkindly imps, of heaven accursed,
unkindly > unnatural
imps > offspring, progeny
3 Devour their dam; on whom while so he gazed,
4 Having all satisfied their bloody thirst,
5 Their bellies swollen he saw with fullness burst,
6 And bowels gushing forth: well worthy end
7 Of such as drunk her life, who them nursed;
8 Now needs him no longer labour spend,
9 His foes have slain themselves, with whom he should contend.
should contend > [would have contended]
101.27
His Ladie seeing all, that chaunst, from farre
2 Approcht in hast to greet his victorie,
And said, Faire knight, borne vnder happy starre,
4 Who see your vanquisht foes before you lye:
Well worthy be you of that Armorie,
6 Wherein ye haue great glory wonne this day,
And proou'd your strength on a strong enimie,
8 Your first aduenture: many such I pray,
And henceforth euer wish, that like succeed it may.
1 His lady, seeing all that chanced from far,
2 Approached in haste to greet his victory;
greet > congratulate him on (SUFQ)
3 And said, "Fair knight, born under happy star,
born > born; borne, sustained, moved onward
happy > fortunate, auspicious
4 Who see your vanquished foes before you lie,
5 Well worthy be you of that armoury
armoury > armour; armory: armorial bearings [the Red Cross]
6 Wherein you have great glory won this day,
7 And proved your strength on a strong enemy,
8 Your first adventure: many such I pray,
9 And henceforth ever wish, that like succeed it may."
like > the like; _hence:_ similar success
101.28
Then mounted he vpon his Steede againe,
2 And with the Lady backward sought to wend;
That path he kept, which beaten was most plaine,
4 Ne euer would to any by-way bend,
But still did follow one vnto the end,
6 The which at last out of the wood them brought.
So forward on his way (with God to frend)
8 He +passed+ forth, and new aduenture sought;
Long way he trauelled, before he heard of ought.
8 passed > passeth _1596, 1609_
1 Then mounted he upon his steed again,
2 And with the lady backward sought to wend.
3 That path he kept which beaten was most plain,
4 Nor ever would to any byway bend,
bend > incline; turn, _hence:_ divert their course
5 But still did follow one to the end,
still > continuously, without change; _hence:_ in one direction
6 Which at last out of the wood them brought.
7 So forward on his way (with God to friend)
to > as a
8 He passed forth, and new adventure sought;
9 Long way he travelled, before he heard of aught.
101.29
At length they chaunst to meet vpon the way
2 An aged Sire, in long blacke weedes yclad,
His feete all bare, his beard all hoarie gray,
4 And by his belt his booke he hanging had;
Sober he seemde, and very sagely sad,
6 And to the ground his eyes were lowly bent,
Simple in shew, and voyde of malice bad,
8 And all the way he prayed, as he went,
And often knockt his brest, as one that did repent.
1 At length they chanced to meet upon the way
2 An aged sire, in long black weeds clad,
sire > elderly man, father
weeds > garments
3 His feet all bare, his beard all hoary grey,
4 And by his belt his book he hanging had;
5 Sober he seemed, and very sagely sad,
sad > grave
6 And to the ground his eyes were lowly bent,
7 Simple in show, and void of malice bad,
show > appearance
8 And all the way he prayed as he went,
9 And often knocked his breast, as one that did repent.
101.30
He faire the knight saluted, louting low,
2 Who faire him quited, as that courteous was:
And after asked him, if he did know
4 Of straunge aduentures, which abroad did pas.
Ah my deare Sonne (quoth he) how should, alas,
6 Silly old man, that liues in hidden cell,
Bidding his beades all day for his trespas,
8 Tydings of warre and worldly trouble tell?
With holy father +sits+ not with such things to mell.
9 sits > fits _1609; cf. 108.33:5, 202.11:9_
1 He fair the knight saluted, louting low,
fair > courteously
louting > bowing, making obeisance ("_Lowted_, did honour and
reuerence": _SC_, gloss to "Julye")
2 Who fair him requited, as courteous was:
fair > equitably; courteously
3 And after asked him if he did know
4 Of strange adventures, which abroad did pass.
5 "Ah, my dear son," quoth he, "how should, alas,
6 Silly old man, that lives in hidden cell,
Silly > Simple, innocent
cell > {Dwelling consisting of a single chamber, occupied by a
hermit}
7 Bidding his beads all day for his trespass,
Bidding his beads > Saying his rosary, saying his prayers
trespass > sin, sins
8 Tidings of war and worldly trouble tell?
9 With holy father sits not with such things to mell.
sits not > it is not fitting, it does not behove
mell > meddle (see _SC_, gloss to "Julye")
101.31
But if of daunger which hereby doth dwell,
2 And +homebred euill ye+ desire to heare,
Of a straunge man I can you tidings tell,
4 That wasteth all this countrey farre and neare.
Of such (said he) I chiefly do inquere,
6 And shall +you+ well reward to shew the place,
In which that wicked wight his dayes doth weare:
8 For to all knighthood it is foule disgrace,
That such a cursed creature liues so long a space.
2 homebred euill ye > homebred euill euill ye _1596_
6 you > thee _1590; "you" is the more courteous form; cf. 102.22:5,
but also 107.48:9_
1 "But if of danger, which hereby does dwell,
2 And homebred evil you desire to hear,
3 Of a strange man I can you tidings tell,
4 That wastes all this country, far and near."
5 "Of such," said he, "I chiefly do inquire,
6 And shall you well reward to show the place
7 In which that wicked wight his days does wear:
wight > being, person
wear > spend
8 For to all knighthood it is foul disgrace
9 That such a cursed creature lives so long a space."
101.32
Far hence (quoth he) in wastfull wildernesse
2 His dwelling is, by which no liuing wight
May euer passe, but thorough great distresse.
4 Now (sayd the Lady) draweth toward night,
And well I wote, that of your later fight
6 Ye all +for wearied+ be: for what so strong,
But wanting rest will also want of might?
8 The Sunne that measures heauen all day long,
At night doth baite his steedes the _Ocean_ waues emong.
6 for wearied > forwearied _1590, 1609_
1 "Far hence" quoth he, "in wasteful wilderness
wasteful > desolate
2 His dwelling is, by which no living wight
wight > person
3 May ever pass, but through great distress."
4 "Now" said the lady, "draws toward night,
5 And well I wot, that of your later fight
wot > know
later > late, recent
6 You all forwearied be: for what so strong,
all forwearied be > [are worn out]
7 But, wanting rest, will als
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