Outlines of English and American Literature. William J. Long

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СКАЧАТЬ 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 masses, 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 Chastity, 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. In connection with a few of these sonnets may be read Spenser's four "Hymns" (in honor of Love, Beauty, Heavenly Love and Heavenly Beauty) and especially his "Epithalamium," a marriage hymn which Brooke calls, with pardonable enthusiasm, "the most glorious love song in the English language."

      A CRITICISM OF SPENSER. In reading The Faery Queen one must note the contrast between Spenser's matter and his manner. His matter is: religion, chivalry, mythology, Italian romance, Arthurian legends, the struggles of Spain and England on the Continent, the Reformation, the turmoil of political parties, the appeal of the New World—a summary of all stirring matters that interested his own tumultuous age. His manner is the reverse of what one might expect under the circumstances. He writes no stirring epic of victory or defeat, and never a downright word of a downright man, but a dreamy, shadowy narrative as soothing as the abode of Morpheus:

      And, more to lulle him in his slumber soft,

       A trickling stream from high rock tumbling downe,

       And ever-drizzling rain upon the loft,

       Mixt with a murmuring winde, much like the sowne

       Of swarming bees, did cast him in a swowne.

       No other noyse, nor people's troublous cryes,

       As still are wont t' annoy the wallëd towne,

       Might there be heard; but careless Quiet lyes

       Wrapt in eternal silence far from enemyes.

      Such stanzas (and they abound in every book of The Faery Queen) are poems in themselves; but unfortunately they distract attention from the story, which soon loses all progression and becomes as the rocking of an idle boat on the swell of a placid sea. The invention of this melodious stanza, ever since called "Spenserian," was in itself a notable achievement which influenced all subsequent English poetry. [Footnote: The Spenserian was an improvement on the ottava-rima, or eight-line stanza, of the Italians. It has been used by Burns in "The Cotter's Saturday Night," by Shelley in "The Revolt of Islam," by Byron in "Childe Harold," by Keats in "The Eve of St. Agnes," and by many other poets.]

      [Sidenote: SPENSER'S FAULTS]

      As Spenser's faults cannot be ignored, let us be rid of them as quickly as possible. We record, then: the unreality of his great work; its lack of human interest, which causes most of us to drop the poem after a single canto; its affected antique spelling; its use of fone (foes), dan (master), teene (trouble), swink (labor), and of many more obsolete words; its frequent torturing of the king's English to make a rime; its utter lack of humor, appearing in such absurd lines as,

      Astond he stood, and up his hair did hove.

      [Sidenote: MORAL IDEAL]

      Such defects are more than offset by Spenser's poetic virtues. We note, first, the moral purpose which allies him with the medieval poets in aim, but not in method. By most medieval romancers virtue was regarded as a means to an end, as in the Morte d' Arthur, where a knight made a vow of purity in order to obtain a sight of the Holy Grail. With Spenser virtue is not a means but an end, beautiful and desirable for its own sake; while sin is so pictured that men avoid it because of its intrinsic ugliness. This is the moral secret of The Faery Queen, in which virtues are personified as noble knights or winsome women, while the vices appear in the repulsive guise of hags, monsters and "loathy beasts."

      [Sidenote: SENSE OF BEAUTY]

      Spenser's sense of ideal beauty or, as Lanier expressed it, "the beauty of holiness and the holiness of beauty," is perhaps his greatest poetic quality. He is the poet-painter of the Renaissance; he fills his pages with descriptions of airy loveliness, as Italian artists covered the high ceilings of Venice with the reflected splendor of earth and heaven. Moreover, his sense of beauty found expression in such harmonious lines that one critic describes him as having set beautiful figures moving to exquisite music.

      In consequence of this beauty and melody, Spenser has been the inspiration of nearly all later English singers. Milton was one of the first to call him master, and then in a long succession such diverse poets as Dryden, Burns, Wordsworth, Scott, Shelley, Keats, Byron, Tennyson and Swinburne. The poet of "Faery" has influenced all these and more so deeply that he has won the distinctive title of "the poets' poet."

      * * * * *

      THE DRAMATISTS

      "Few events in our literary history are so startling as this sudden rise of the Elizabethan drama," says Green in his History of the English People, and his judgment is echoed by other writers who speak of the "marvelous efflorescence" of the English drama as a matter beyond explanation. Startling it may be, with its frank expression of a nation's life, the glory and the shame of it; but there is nothing sudden or inexplicable about it, as we may see by reviewing the history of playwriting in England.

      THE RELIGIOUS DRAMA. In its simplicity the drama is a familiar СКАЧАТЬ