From The Oxford Companion to English Literature, ed. Margaret Drabble.
The Faerie Queene, the greatest work of *Spenser, of which the first three books were published 1590, and the second three 1596.
The general scheme of the work is proposed in the author's introductory letter addressed to *Ralegh. By the Faerie Queene the poet signifies Glory in the abstract and *Elizabeth I in particular (who also figures under the names of *Britomart, *Belphoebe, *Mercilla, and *Gloriana). Twelve of her knights, the 'patrons' or examples of 12 different virtues, each undertake an adventure, on the 12 successive days of the queen's annual festival, and an account of their origins was to have been given in the last of 12 books. Prince Arthur symbolizes 'magnificence', in the Aristotelian sense (says the author) of the perfection of all the other virtues (he must have meant not 'magnificence' but 'magnanimity', or 'gentlemanliness'). Arthur has a vision of the Faerie Queene and, determining to seek her out, is brought into the adventures of the several knights and carries them to a successful issue. This explanation, given in the introduction,does not appear from the poem itself, for the authors starts at once with the adventures of the knights; as we have it the poem does not conform to his scheme. Of the six books Spenser published, the subjects are:
I, the adventures of the *Redcrosse Knight of Holiness (the Anglican Church), the protector of the virgin *Una (truth, or the true religion), and the wiles of *Archimago and *Duessa.
the Redcrosse Knight, in Bk I of Spenser's *Faerie Queene, St. George, the patron saint of England. He is separated from *Una (the true religion) by the wiles of *Archimago (hypocrisy) and is led away by *Duessa (the Roman Catholic religion) to the House of Pride. He drinks of an enchanted stream, loses his strength, and is made captive by the giant *Orgoglio (pride). Orgoglio is slain by Prince *Arthur, and Una leads her knight to the House of Holiness, to learn repentance and be healed. The Knight and Una are finally betrothed, after he has killed the dragon which besieged her parents' castle.
Una, in Bk. I of Spenser's *Faerie Queene, typifies singleness of the true religion. She is separated from the *Redcrosse Knight of Holiness (the Anglican Church) by the wiles of *Archimago, but meets and is protected by a lion, until the latter is killed by *Sansloy, who carries Una off to a forest. She is rescued by fauns and satyrs, and is finally united to the Redcrosse Knight.
Archimago, or Archimage, in Spenser's *Faerie Queene, is the great enchanter, symbolizing Hypocrisy, who deceives *Una by assuming the appearance of the *Redcrosse Knight (I.i). His deceits are exposed and Archimago is 'layd full low in dungeon deepe' (I.xii.36). From this he emerges in Bk II to seek vengeance on Sir *Guyon for what he has suffered at the hands of the Redcrosse Knight, and employs *Braggadochio for the purpose.
Duessa, in Spenser's *Faerie Queene, the daughter of Deceit and Shame, Falsehood in general, in Bk I signifies in particular the Roman Catholic Church, and in V.ix, Mary Queen of Scots.
Orgoglio (Italian, signifying haughtiness), in Spenser's *Faerie Queene (I. vii, viii) captures the *Redcrosse Knight, and is slain by Prince *Arthur.
Arthur, Prince, in Spenser's *Faerie Queene. He symbolizes 'Magnificence' (Magnanimity), in the Aristotelian sense of the perfection of all the virtues. He enters into the adventures of the several knights and brings them to a fortunate conclusion. His chief adventures are the slaying of the three-bodied monster *Geryoneo and the rescue from him of Belge (the Netherland) V. x, xi); and, jointly with *Artegall, the slaying of the *soldan (Philip II) in his 'charret hye' (the Armada) (V. viii).
Sansfoy, Sansjoy, and Sansloy, three brothers in Spenser's *Faerie Queene (I. ii. 25 et seq.). Sansfoy ('faithless') is slain by the *Redcrosse Knight, who also defeats Sansjoy ('joyless') but the latter is saved from death by *Duessa. Sansloy ('lawless') carries off *Una and kills her lion (I. iii). This incident is supposed to refer to the suppression of the Protestant religion in the reign of Queen Mary.
II, the adventures of Sir *Guyon, the Knight of Temperance, his encounters with *Pyrochles and *Cymochles, his visit to the Cave of *Mammon and the House of Temperance, and his destruction of *Acrasia and her *Bower of Bliss. Canto x of this Book contains a chronicle of British rulers from *Brut to Elizabeth;
Guyon, Sir, in Spenser's *Faerie Queene, the knight of Temperance. His various exploits, the conquest of *Pyrochles, the visit to the cave of *Mammon, the capture of *Acrasia, and the destruction of her *Bower of Bliss, are related in II. v-xii.
Braggadochio, in Spenser's *Faerie Queene, the typical braggart. His adventures and final exposure and humiliation occur in II. iii; III. viii, x; IV iv, v, ix; V. iii. Cf. *Trompart.
Trompart, in Spenser's *Faerie Queene (II. iii),
wylie witted, and growne old
In cunning sleights and practick knavery.
attends *Braggadochio as his squire, and with him is finally exposed and beaten out of court.
Pyrochles, in Spenser's *Faerie Queene, symbolizes rage. He is the brother of *Cymochles, the son of 'old Acrates and Despight' (II. iv. 41). On his shield is a flaming fire, with the words 'Burnt do I burne'. He is overcome by Sir *Guyon (II. v), and tries to drown himself in a lake to quench his flames. He is rescued and healed by *Archimago (II. vi. 42-51), and finally killed by Prince *Arthur (II. viii).
Cymochles, in Spenser's *Faerie Queene (II. v, vi, and viii), 'a man of rare redoubted might', given all to lust and loose living, the husband of *Acrasia and brother of *Pyrochles. He sets out to avenge on Sir *Guyon the supposed death of his brother, but *Phaedria intervenes. He is finally slain by Prince *Arthur
Phaedria, in Spenser's *Faerie Queene (II. vi), the Lady of the Idle Lake, symbolizing immodest mirth.
Mammon, theCave of, described in Spenser's *Faerie Queene (II. vii). It is the treasure-house of the god of wealth, visited by Sir Guyon. Milton in his *Areopagitica uses the example of Spenser making Guyon visit the cave of Mammon, 'that he might see and know, and yet abstain'.
Acrasia, in Spenser's *Faerie Queene, II. xii, typifies Intemperance. She is captured and bound by Sir *Guyon, and her *Bower of Bliss destroyed.
Bower of Bliss, the, in Spenser's *Faerie Queene (II. xii), the home of *Acrasia, demolished by Sir *Guyon.
III, the legend of Chastity, exemplified by *Britomart and *Belphoebe;
Britomart, the heroine of Book III of Spenser's *Faerie Queene, the daughter of King Ryunce of Britain and the female knight of chastity. She has fallen in love with *Artegall, whose image she has seen in a magic mirror, and the poet recounts her adventures in her quest for him. She is the most powerful of several types of Queen Elizabeth in the poem.
Belphoebe, in Spenser's *Faerie Queene, the chaste huntress, daughter of the nymph Chrysogone and twin sister of *Amoret; she partly symbolizes Queen Elizabeth. Belphoebe puts *Braggadochio to flight (II. iii), finds herbs to heal the wounded *Timias ('whether it divine Tobacco were, / Or Panachae, or Polygony', III. v), and rescues Amoret from *Corflambo (IV. vii).
Artegall, Sir, in Spenser's *Faerie Queene, V, the champion of Justice. *Britomart, to whom his image has been revealed by a magic mirror, is in love with him, and her quest of him ends in their union. Representing Lord Grey de Wilton, he undertakes the rescue of Irena (Ireland) from the tyrant Grantorto. Jointly with Prince *Arthur he slays the *soldan (Philip II of Spain). His name perhaps signifies 'equal to Arthur'.
Timias, in Spenser's *Faerie Queene, Prince *Arthur's squire, may represent *Ralegh. When wounded (III. v), he is healed by *Belphoebe. The incident of Timias and *Amoret, in IV vii. 35 and 36, may allude to Ralegh's relations with Elizabeth Throckmorton.
Amoret, in Spenser's *Faerie Queene, III. vi, xii and IV. vii, daughter of the nymph Chrisogone and twin sister of *Belphoebe. She is 'Of grace and beautie noble Paragone', and has been married to Sir *Scudamour, but carried off immediately after by the enchanter *Busirane and imprisoned by him until released by *Britomart. *Timias loves her, but being reproved by Belphoebe leaves her. This incident refgers to the displeasure of Queen Elizabeth at the relations of *Ralegh with Elizabeth Throckmorton.
Busirane, in Spenser's *Faerie Queene (III. xi and xii) the 'vile Enchaunter' symbolizing unlawful love. He is struck down by *Britomart in his castle and forced to release *Amoret. On the door of one of the rooms of the castle was written:
Be bold, be bold, and every where Be bold.
But on another iron door,
Be not too bold.
IV, the legend of *Triamond and *Cambell, exemplifying Friendship; together with the story of *Scudamour and *Amoret.
Triamond, in Spenser's *Faerie Queene (IV. iii, iv), the Knight of Friendship. After an inconclusive fight with *Cambello in the contest to decide which of her suitors *Canacee (Cambello's sister) is to be awarded, Triamond and Cambello swear eternal friendship. IN the tournament arranged by *Satyrane, Triamond, though wounded, returns to rescue Cambello. He marries Canacee.
Cambell, or Cambello, the name given by Spenser in The Faerie Queene, IV. iii, to *Cambalo, whose tale he borrows from 'Dan Chaucer, well of English undefyled', and completes. Cambell is brother of *Canacee, for whom there are many suitors. It is arranged that the stronges of these, three brothers, shall fight with Cambell and the lady be awarded to the victor. Two of the brothers are defeated: the contest between the third, *Triamond, and Cambell is undecided, each wounding the other.They are reconciled by Cambina, Triamond's sister; Canacee is awarded to Triamond and Cambell marries Cambina. The magic ring of Canacee in the 'Squire's Tale' reappears in the Faerie Queene, with the power of healing wounds.
Canacee, the daughter of King Cambuscan in Chaucer's 'Squire's Tale' (see CANTERBURY TALES, 11) and in Spenser's *Faerie Queene, Bk IV.
Cambalo, one of the two sons of King Cambuscan, in Chaucer's 'Squire's Tale': see CANTERBURY TALES, 11; see also *Cambell for the continuation of his story in Spenser's *Faerie Queene.
V, the adventures of *Artegall, the Knight of Justice, in which allegorical reference is made to various historical events of the reign of Queen Elizabeth: the defeat of the Spaniards in the Netherlands, the recantation of Henry IV of France, the execution of *Mary Queen of Scots, and the administration of Ireland by Lord Grey de Wilton;
soldan (from the Arabic sultan). The soldan or souldan, in Spenser's *Faerie Queene
(V. viii) represents Philip II of Spain. He is encountered by Prince
*Arthur and Sir *Artegall with a bold defiance from Queen *Mercilla
(Elizabeth), and the combat is undecided until the prince unveils his
shield and terrifies the soldan's horses, so that they overturn his
chariot and the soldan is torn 'all to rags'. The unveiling of the
Shield signifies divine interposition.
Geryoneo, in Spenser's *Faerie Queene (V. x and xi), a three-bodied giant who represent's Philip II's power which controlled Spain, Portugal, and the Low Countries.
Mercilla, in Spenser's *Faerie Queene (V., viii), 'a mayden Queene of high renowne' (Queen *Elizabeth I), whose crown the *soldan seeks to subvert.
VI, the adventures of Sir *Calidore, exemplifying Courtesy.
Calidore, Sir, the Knight of Courtesy, the hero of Bk VI of Spenser's *Faerie Queene. He pursues and chains the *Blatant Beast. One of Keats's earliest poems, the fragment 'Young Calidore is paddling o'er the lake' (1816) was inspired by him.
Blatant Beast, in Spenser's *Faerie Queene, Bk VI, a monster, the personification of the calumnious voice of the world, begotten of Envy and Detraction. Sir *Calidore pursues it, finds it despoiling monasteries and defiling the church, overcomes it, and chains it up. But finally it breaks the chain, 'So now he raungeth through the world againe.' Cf. *Questing Beast. (Glatysaunt Beast, the creature in Malory's *Morte D'Arthur which is the original of *Spenser's 'blatant beast'. The word is from an Old French term meaning 'baying', 'barking'. In Malory it is pursued by Palomydes the Saracen).
There is also a fragment on *Mutabilitie, being the sixth and seventh cantos of the legend of Constancie, which was to have formed the seventh Book. This fragment contains a charming description of the seasons and the months.
'Mutabilitie Cantos', name given to the fragmentary 'Book VII' of Spenser's *Faerie Queene: two cantos only, first published with the folio edition of The Faerie Queene in 1609. They describe the challenge of the Titaness Mutabilitie to the cosmic government of Jove. (The first canto includes the charming topographical fable of Faunus and Molanna, which reflects Spenser's affection for his Irish home.) The goddess Nautre vindicates Jove's rule, displaying its orderly beauty in a procession of Seasons and Months, asserting finally that natural things 'are not changed from their first estate / but by their change their being doe dilate'. The cantos can be seen as an epilogue to The Faerie Queene, ending with the poet's prayer.
The work as a whole, modelled to some extent on the *Orlando furioso of Ariosto, suffers from a certain monotony, and its chief beauties lie in the particular episodes with which the allegory is varied and in descriptions, such as those of the Cave of Mammon and the temptation of Sir Guyon by the Lady of the Idle Lake, in Bk. II. The meaning of many of the allusions, which must have added to the interest of the work for contemporaries, is now lost. The poem is written in the stanza invented by Spenser (and since utilized by James *Thomson, *Keats, *Shelley, and *Byron), in which a ninth line of twelve syllables is added to eight lines of ten syllables, rhyming a b a b b c b c c.
—oOo—
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