[Ill.u.s.tration: RALEIGH'S BIRTHPLACE, BUDLEIGH SALTERTON.

Hayes, Devonshire]

The publication of the first parts of _The Faery Queen_ (1590) raised Spenser to the foremost place in English letters. He was made poet-laureate, and used every influence of patrons and of literary success to the end that he be allowed to remain in London, but the queen was flint-hearted, insisting that he must give up his estate or occupy it. So he returned sorrowfully to "exile," and wrote three more books of _The Faery Queen_. To his other offices was added that of sheriff of County Cork, an adventurous office for any man even in times of peace, and for a poet, in a time of turmoil, an invitation to disaster. Presently another rebellion broke out, Kilcolman castle was burned, and the poet's family barely escaped with their lives. It was said by Ben Jonson that one of Spenser's children and some parts of _The Faery Queen_ perished in the fire, but the truth of the saying has not been established.

Soon after this experience, which crushed the poet's spirit, he was ordered on official business to London, and died on the journey in 1599. As he was buried beside Chaucer, in Westminster Abbey, poets were seen casting memorial verses and the pens that had written them into his tomb.

[Sidenote: CHARACTER]

In character Spenser was unfitted either for the intrigues among Elizabeth's favorites or for the more desperate scenes amid which his Lot was cast. Unlike his friend Raleigh, who was a man of action, Spenser was essentially a dreamer, and except in Cambridge he seems never to have felt at home. His criticism of the age as barren and hopeless, and the melancholy of the greater part of his work, indicate that for him, at least, the great Elizabethan times were "out of joint." The world, which thinks of Spenser as a great poet, has forgotten that he thought of himself as a disappointed man.

WORKS OF SPENSER. The poems of Spenser may be conveniently grouped in three cla.s.ses. In the first are the pastorals of _The Shepherd's Calendar_, in which he reflects some of the poetical fashions of his age. In the second are the allegories of _The Faery Queen_, in which he pictures the state of England as a struggle between good and evil. In the third cla.s.s are his occasional poems of friendship and love, such as the _Amoretti_. All his works are alike musical, and all remote from ordinary life, like the eerie music of a wind harp.

[Sidenote: SHEPHERD'S CALENDAR]

_The Shepherd's Calendar_ (1579) is famous as the poem which announced that a successor to Chaucer had at last appeared in England. It is an amateurish work in which Spenser tried various meters; and to a.n.a.lyze it is to discover two discordant elements, which we may call fashionable poetry and puritanic preaching. Let us understand these elements clearly, for apart from them the _Calendar_ is a meaningless work.

It was a fashion among Italian poets to make eclogues or pastoral poems about shepherds, their dancing, piping, love-making,--everything except a shepherd's proper business. Spenser followed this artificial fashion in his _Calendar_ by making twelve pastorals, one for each month of the year.

These all take the form of conversations, accompanied by music and dancing, and the personages are Cuddie, Diggon, Hobbinoll, and other fantastic shepherds. According to poetic custom these should sing only of love; but in Spenser's day religious controversy was rampant, and flattery might not be overlooked by a poet who aspired to royal favor. So while the January pastoral tells of the unhappy love of Colin Clout (Spenser) for Rosalind, the springtime of April calls for a song in praise of Elizabeth:

Lo, how finely the Graces can it foot To the instrument!

They dancen deffly and singen soote, In their merriment.

Wants not a fourth Grace to make the dance even?

Let that room to my Lady be yeven.

She shall be a Grace, To fill the fourth place, And reign with the rest in heaven.

In May the shepherds are rival pastors of the Reformation, who end their sermons with an animal fable; in summer they discourse of Puritan theology; October brings them to contemplate the trials and disappointments of a poet, and the series ends with a parable comparing life to the four seasons of the year.

The moralizing of _The Shepherd's Calendar_ and the uncouth spelling which Spenser affected detract from the interest of the poem; but one who has patience to read it finds on almost every page some fine poetic line, and occasionally a good song, like the following (from the August pastoral) in which two shepherds alternately supply the lines of a roundelay:

Sitting upon a hill so high, Hey, ho, the high hill!

The while my flock did feed thereby, The while the shepherd's self did spill, I saw the bouncing Bellibone, Hey, ho, Bonnibell!

Tripping over the dale alone; She can trip it very well.

Well decked in a frock of gray, Hey, ho, gray is greet!

And in a kirtle of green say; The green is for maidens meet.

A chaplet on her head she wore, Hey, ho, chapelet!

Of sweet violets therein was store, She sweeter than the violet.

THE FAERY QUEEN. Let us hear one of the stories of this celebrated poem, and after the tale is told we may discover Spenser's purpose in writing all the others.

[Sidenote: SIR GUYON]

From the court of Gloriana, Queen of Faery, the gallant Sir Guyon sets out on adventure bent, and with him is a holy Palmer, or pilgrim, to protect him from the evil that lurks by every wayside.

Hardly have the two entered the first wood when they fall into the hands of the wicked Archimago, who spends his time in devising spells or enchantments for the purpose of leading honest folk astray.

For all he did was to deceive good knights, And draw them from pursuit of praise and fame.

Escaping from the snare, Guyon hears a lamentation, and turns aside to find a beautiful woman dying beside a dead knight. Her story is, that her man has been led astray by the Lady Acrasia, who leads many knights to her Bower of Bliss, and there makes them forget honor and knightly duty. Guyon vows to right this wrong, and proceeds on the adventure.

With the Palmer and a boatman he embarks in a skiff and crosses the Gulf of Greediness, deadly whirlpools on one side, and on the other the Magnet Mountain with wrecks of ships strewed about its foot.

Sighting the fair Wandering Isles, he attempts to land, attracted here by a beautiful damsel, there by a woman in distress; but the Palmer tells him that these seeming women are evil shadows placed there to lead men astray. Next he meets the monsters of the deep, "sea-shouldering whales," "scolopendras," "grisly wa.s.sermans,"

"mighty monoceroses with unmeasured tails." Escaping these, he meets a greater peril in the mermaids, who sing to him alluringly:

This is port of rest from troublous toil, The world's sweet inn from pain and wearisome turmoil.

Many other sea-dangers are pa.s.sed before Guyon comes to land, where he is immediately charged by a bellowing herd of savage beasts.

Only the power of the Palmer's holy staff saves the knight from annihilation.

This is the last physical danger which Guyon encounters. As he goes forward the country becomes an earthly paradise, where pleasures call to him from every side. It is his soul, not his body, which is now in peril. Here is the Palace of Pleasure, its wondrous gates carved with images representing Jason's search for the Golden Fleece. Beyond it are parks, gardens, fountains, and the beautiful Lady Excess, who squeezes grapes into a golden cup and offers it to Guyon as an invitation to linger. The scene grows ever more entrancing as he rejects the cup of Excess and pushes onward:

Eftsoones they heard a most melodious sound Of all that mote delight a dainty ear, Such as at once might not on living ground, Save in this paradise, be heard elsewhere: Right hard it was for wight which did it hear To read what manner music that mote be; For all that pleasing is to living ear Was there consorted in one harmony; Birds, voices, instruments, winds, waters, all agree.

Amid such allurements Guyon comes at last to where beautiful Acrasia lives, with knights who forget their knighthood. From the open portal comes a melody, the voice of an unseen singer lifting up the old song of Epicurus and of Omar:

Gather the rose of love whilst yet is time.

The following scenes in the Bower of Bliss were plainly suggested by the Palace of Circe, in the _Odyssey_; but where Homer is direct, simple, forceful, Spenser revels in luxuriant details. He charms all Guyon's senses with color, perfume, beauty, harmony; then he remembers that he is writing a moral poem, and suddenly his delighted knight turns reformer. He catches Acrasia in a net woven by the Palmer, and proceeds to smash her exquisite abode with puritanic thoroughness:

But all those pleasaunt bowers and palace brave Guyon brake down with rigour pitilesse.

As they fare forth after the destruction, the herd of horrible beasts is again encountered, and lo! all these creatures are men whom Acrasia has transformed into brutal shapes. The Palmer "strooks" them all with his holy staff, and they resume their human semblance. Some are glad, others wroth at the change; and one named Grylle, who had been a hog, reviles his rescuers for disturbing him; which gives the Palmer a final chance to moralize:

Let Grylle be Grylle and have his hoggish mind; But let us hence depart while weather serves and wind.

[Sidenote: OTHER STORIES]

Such is Spenser's story of Sir Guyon, or Temperance. It is a long story, drifting through eighty-seven stanzas, but it is only a final chapter or canto of the second book of _The Faery Queen_. Preceding it are eleven other cantos which serve as an introduction. So leisurely is Spenser in telling a tale! One canto deals with the wiles of Archimago and of the "false witch" Duessa; in another the varlet Braggadocchio steals Guyon's horse and impersonates a knight, until he is put to shame by the fair huntress Belphoebe, who is Queen Elizabeth in disguise. Now Elizabeth had a hawk face which was far from comely, but behold how it appeared to a poet:

Her face so fair, as flesh it seemed not, But heavenly portrait of bright angel's hue, Clear as the sky, withouten blame or blot, Through goodly mixture of complexions due; And in her cheek the vermeil red did shew Like roses in a bed of lilies shed, The which ambrosial odours from them threw And gazers' sense with double pleasure fed, Able to heal the sick and to revive the dead.

There are a dozen more stanzas devoted to her voice, her eyes, her hair, her more than mortal beauty. Other cantos of the same book are devoted to Guyon's temptations; to his victories over Furor and Mammon; to his rescue of the Lady Alma, besieged by a horde of villains in her fair Castle of Temperance. In this castle was an aged man, blind but forever doting over old records; and this gives Spenser the inspiration for another long canto devoted to the ancient kings of Britain. So all is fish that comes to this poet's net; but as one who is angling for trout is vexed by the nibbling of chubs, the reader grows weary of Spenser's story before his story really begins.

[Sidenote: THE FIRST BOOK]

Other books of _The Faery Queen_ are so similar in character to the one just described that a canto from any one of them may be placed without change in any other. In the first book, for example, the Redcross Knight (Holiness) fares forth accompanied by the Lady Una (Religion). Straightway they meet the enchanter Archimago, who separates them by fraud and magic.

The Redcross Knight, led to believe that his Una is false, comes, after many adventures, to Queen Lucifera in the House of Pride; meanwhile Una wanders alone amidst perils, and by her beauty subdues the lion and the satyrs of the wood. The rest of the book recounts their adventures with paynims, giants and monsters, with Error, Avarice, Falsehood and other allegorical figures.

It is impossible to outline such a poem, for the simple reason that it has no outlines. It is a phantasmagoria of beautiful and grotesque shapes, of romance, morality and magic. Reading it is like watching cloud ma.s.ses, aloft and remote, in which the imagination pictures men, monsters, landscapes, which change as we view them without cause or consequence.

Though _The Faery Queen_ is overfilled with adventure, it has no action, as we ordinarily understand the term. Its continual motion is without force or direction, like the vague motions of a dream.

[Sidenote: PLAN OF THE FAERY QUEEN]

What, then, was Spenser's object in writing _The Faery Queen_? His professed object was to use poetry in the service of morality by portraying the political and religious affairs of England as emblematic of a worldwide conflict between good and evil. According to his philosophy (which, he tells us, he borrowed from Aristotle) there were twelve chief virtues, and he planned twelve books to celebrate them. [Footnote: Only six of these books are extant, treating of the Redcross Knight or Holiness, Sir Guyon or Temperance, Britomartis or Chast.i.ty, Cambel and Triamond or Friendship, Sir Artegall or Justice, and Sir Calidore or Courtesy. The rest of the allegory, if written, may have been destroyed in the fire of Kilcolman.] In each book a knight or a lady representing a single virtue goes forth into the world to conquer evil. In all the books Arthur, or Magnificence (the sum of all virtue), is apt to appear in any crisis; Lady Una represents religion; Archimago is another name for heresy, and Duessa for falsehood; and in order to give point to Spenser's allegory the courtiers and statesmen of the age are all flattered as glorious virtues or condemned as ugly vices.

[Sidenote: THE ALLEGORY]

Those who are fond of puzzles may delight in giving names and dates to these allegorical personages, in recognizing Elizabeth in Belphoebe or Britomart or Marcella, Sidney in the Redcross Knight, Leicester in Arthur, Raleigh in Timias, Mary Stuart in Duessa, and so on through the list of characters good or evil. The beginner will wisely ignore all such interpretation, and for two reasons: first, because Spenser's allegories are too shadowy to be taken seriously; and second, because as a chronicler of the times he is outrageously partisan and untrustworthy. In short, to search for any reality in _The Faery Queen_ is to spoil the poem as a work of the imagination. "If you do not meddle with the allegory," said Hazlitt, "the allegory will not meddle with you."

MINOR POEMS. The minor poems of Spenser are more interesting, because more human, than the famous work which we have just considered. Prominent among these poems are the _Amoretti_, a collection of sonnets written in honor of the Irish girl Elizabeth, who became the poet's wife. They are artificial, to be sure, but no more so than other love poems of the period.