(Canto III)

1. What moral reflections does the poet make in the introductory stanza? Note the reference to the Queen. 2. What do you learn of the laws, customs, and sentiments of chivalry in this canto? 3. Give an account of Una's meeting with the Lion. 4. Explain the allegory of the incident of the Lion. 5. Describe the character, appearance, and actions of Corceca, and explain the allegory. 6. Note the use of the stars to indicate time. 7. Under what circ.u.mstances does Una meet Archimago? 8. Explain the allegory in ix. 9. Note the Euphuistic balance in xxvii. 10. What figure do you find in x.x.xi? Note the Homeric style. 11. Describe the fight between Archimago and Sansloy, and explain the double allegory. 12. What is the moral interpretation of xli-xlii?

13. Explain the Latinisms in ll. 37 and 377. 14. How are the adjectives used in l. 57? 15. Note change of p.r.o.nouns in vii from third person to first. 16. Explain tense of shold pas in l. 83. 17. Note confusion of p.r.o.nouns in xxii and x.x.xv. 18. Examine the nominative absolute construction in st. xiv and x.x.xix. 19. Explain the ambiguous construction in l. 165. 20. Pa.r.s.e her in l. 262. 21. Note careless use of relative in l. 288.

CANTO IV

I. The Plot: In this and the following canto the adventures of the Redcross Knight are continued from Canto II. Guided by Duessa, he enters the House of Pride. There he sees Lucifera, the Queen of Pride, attended by her sinful court. Her six Counselors are described in detail, with an account of a pleasure trip taken by the Queen and her court. Sansjoy unexpectedly arrives and challenges the Knight to mortal combat for the shield of Sansfoy. That night Duessa holds a secret conference with the Saracen knight.

II. The Allegory: 1. The Christian Soldier, under the influence of false ideals (Duessa), is exposed to the temptations of the Seven Deadly Sins, chief among which is Pride. In the midst of these sinful pleasures, he is a.s.sailed by Joylessness, on whose side is Falsehood secretly.

2. The religious and political allegory is here vague and somewhat discontinuous. There is a hint, however, of the attempts of Mary Queen of Scots to bring England back to Romanism. The pride and corruption of the false church and its clergy are set forth. There is also a suggestion of the perilous position of the English in Ireland.

20. of each degree and place, of every rank and order of society.

21. having scaped hard, having escaped with difficulty.

24. lazars. Leprosy was a common disease in England even as late as the sixteenth century.

49. Malvenu, ill-come, as opposed to Bienvenu, welcome.

73. like Phbus fairest childe, Phaethon, the son of Helios. He was killed by a thunderbolt from the hand of Zeus, as a result of his reckless driving of the chariot of the sun.

86. A dreadfull Dragon, Fallen Pride.

94. This genealogy of Pride is invented by the poet in accord with the Christian doctrine concerning this sin.

107. six wizards old, the remaining six of the Seven Deadly Sins, Wrath, Envy, Lechery, Gluttony, Avarice, and Idleness. See Chaucer's Parson's Tale for a sermon on these mortal sins, Gower's Dance of the Seven Deadly Sins, and Laugland's Piers Plowman.

145. coche. Spenser imitates Ovid and Homer in this description of Juno's chariot. The peac.o.c.k was sacred to the G.o.ddess, who transferred to its tail the hundred eyes of the monster Argus. See Ovid's Metamorphoses, i, 625 seq.

157. With like conditions, etc. The behests were of a kind similar to the nature of the six Sins.

174. he chalenged essoyne, he claimed exemption.

185. like a Crane. This refers to Aristotle's story of a man who wished that his neck were as long as a crane's, that he might the longer enjoy the swallowing of his food. Nic. Ethics, iii, 13.

205. a dry dropsie, a dropsy causing thirst.

236. Upon a Camell, etc. The reference is to a story in Herodotus' History (iii, 102 seq.), in which the Indians are described as carrying off on camels gold dust h.o.a.rded by enormous ants.

252. unto him selfe unknowne, i.e. being ignorant of his own wretchedness.

309. Unthrifty scath, wicked damage, or mischief that thrives not.

313. The swelling Splene. The spleen was the seat of anger.

314. Saint Fraunces fire, St. Anthony's fire, or erysipelas. Diseases were named from those who were supposed to be able to heal them.

335. With pleasaunce, etc. Fed with enjoyment of the fields, the fresh air of which they went to breathe.

437. And helplesse hap, etc. It does no good to bemoan unavoidable chance.

440. pay his dewties last, pay his last duty to the shade of the slain man by sacrificing his murderer.

443. oddes of armes, chances of mishap in arms due to some advantage of one's antagonist.

QUESTIONS AND TOPICS

(Canto IV)

1. What are the moral reflections in stanza i? 2. What suggestion of the condition of the English roads do you find in st. ii? 3. But few returned, l. 21. What became of the rest? 4. Give a description of the House of Pride. Note resemblance to a typical Elizabethan hall. 5. Explain the allegory of the House, noting the a.s.sociation of ugliness and beauty. 6. How is expectation aroused in vi? 7. Describe the dramatic appearance and character of Pride. Cf. description of Satan on his throne in Paradise Lost, iii. 8. What do you learn in this canto of Elizabethan or chivalric manners and customs? 9. Describe the procession at the court of Pride. 10. What satire of the Romish priesthood in xviii-xx? 11. Note examples of Spenser's humor in xiv and xvi. 12. Point out the cla.s.sical influence (Dionysus and Silenus) in the description of Gluttony. 13. Subject of the interview between Duessa and Sansjoy. 14. Point out the archaisms in l. 10; alliteration in x.x.xix and l; the Latinisms in xlvi and xlvii. 15. In what case is way in l. 17? 16. Explain the meaning and historical significance of lazar, l. 24, and diall, l. 36. 17. Explain the references of the p.r.o.nouns in l. 55, and ll. 418-419. 18. Note the Euphuistic balance and ant.i.thesis in xxix and xlv. 19. Explain the suffix in marchen in l. 325. 20. Note the double negative in iv, xlix. 21. Paraphrase in your own words ll. 239, 243, 360, 437.

CANTO V

I. The Plot: (a continuation of Canto IV). The Knight fights in the lists with Sansjoy and defeats him, but is prevented by Duessa's magic from slaying him. Duessa descends to Erebus and obtains the aid of Night, who conveys the wounded Saracen in her chariot to aesculapius to be healed of his wounds. The tortures of some of the souls in Erebus are described, particularly the cause of aesculapius' punishment. A roll of the prisoners whom the dwarf discovers in Pride's dungeon is given. The Knight flees with the dwarf from her house.

II. The Allegory: When the Christian Soldier is attacked by Joylessness, he has a far more desperate struggle than that with Infidelity, and comes out wounded though victorious. Joylessness when crushed by Holiness is restored by Pagan Philosophy. The backsliding Christian is warned in time by Prudence of the fearful consequences of sin, and hastens to turn his back on Pride and the other sins. The soul is led to dread Pride, not by Truth, but by its sufferings and other inferior motives.

25. their timely voyces, their voices keeping time with their harps.

27. Old loves, famous love-affairs, the subject of the Minnesangers.

29. In woven maile, in chain armor.

32. Araby, probably here the Orient in general.

33. From furthest Ynd, from farthest India.

39. unto a paled greene, a green inclosure (lists for a tournament) surrounded by a palisade.

44. his. An old method of forming the possessive, based on a misapprehension of the original Anglo-Saxon suffix -es, which was shortened in middle English to -is, and finally to s.

45. Both those, etc. Both Duessa and the shield are to go to the victor.

65. a Gryfon, a fabulous animal, part lion and part eagle. Gryfon is subject of encountereth with Dragon as object.

89. And sluggish german, etc., and sluggish brother dost relax thy strength to send his (Sansfoy's) foe after him, that he may overtake him. In ll. 86-88 Sansjoy addresses his brother, in ll. 89-90 himself. German is any blood relation.

100. The Knight supposed that Duessa's encouraging words were addressed to him.

114. Spenser here, with fine dramatic effect, imitates Homer, who saves Paris and aeneas by a similar device. Iliad, iii, 380, and v, 345.

159. teares. This mention of the man-eating crocodile's tears is based on an old Latin proverb. Sir John Mandeville repeats the story.

172. griesly Night. According to mythology (Hesiod's Theog., 123), one of the first things created, the daughter of Chaos, and mother of aether (sky) and Hemera (day); also of Deceit, Strife, Old Age, and Vengeance. See xxii and xxvii.

202. on groning beare, on a bier with groaning friends around.