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Title: The Faerie Queen Volume 1
Author: Edmund Spenser
Release Date: November, 2004 [EBook #6930] [This file was first posted on February 12, 2003]
Edition: 10
Language: English
Character set encoding: ASCII
A NOTE ON THIS EDITION
This is an electronic edition of Volume One of Edmund Spenser's _Faerie Queene_. You may copy it freely.
This version was prepared especially for Project Gutenberg in February, 2003. It 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.
CHARACTER SET
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.
COPYRIGHT
Spenser's original text of _The Faerie Queene_ is here described as "Spenser's Text" and is in the public domain. Copyright in all 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
conexil@aol.com
12 February 2003
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 Note
The start of each of these is marked with the string "=>"
=> 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 lowercase 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:_ sooth