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Johann Heinrich Füssli 058

Prince Arthur and the Fairy Queen, by Henry Fuseli (1741–1825). Courtesy Wikimedia Commons.

The Faerie Queene is an incomplete English epic poem by Edmund Spenser.

Form and styleEdit

Faerie Queene Sept 06 005

The Faerie Queene is notable for its form: it was the first work written in Spenserian stanza, and is one of the longest poems in the English language.[1] It is an allegorical work, written in praise of Queen Elizabeth I. In a completely allegorical context, the poem follows several knights in an examination of several virtues. In Spenser's "A Letter of the Authors," he states that the entire epic poem is "cloudily enwrapped in allegorical devises," and that the aim of publishing The Faerie Queene was to "fashion a gentleman or noble person in virtuous and gentle discipline."

HistoryEdit

The first half was published in 1590, and a second installment was published in 1596.

The Faerie Queene found political favour with Elizabeth I and was consequently a success, to the extent that it became Spenser's defining work. The poem found such favour with the monarch that Spenser was granted a pension for life amounting to 50 pounds a year, though there is no evidence that Elizabeth I read any of the poem.[2]

A Celebration of the VirtuesEdit

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A letter written by Spenser to Sir Walter Raleigh in 1589 contains a preface for The Faerie Queene, in which Spenser describes the allegorical presentation of virtues through Arthurian knights in the mythical "Faerieland". Presented as a preface to the epic in most published editions, this letter outlines plans for 24 books: 12 based each on a different knight who exemplified one of 12 "private virtues", and a possible 12 more centred on King Arthur displaying twelve "public virtues". Spenser names Aristotle as his source for these virtues, although the influence of Thomas Aquinas can be observed as well. It is impossible to predict what the work would have looked like had Spenser lived to complete it, since the reliability of the predictions made in his letter to Raleigh is not absolute, as numerous divergences from that scheme emerged as early as 1590, in the first Faerie Queene publication.

As it was published in 1596, the epic presented the following virtues:

  • Book I: Holiness
  • Book II: Temperance
  • Book III: Chastity
  • Book IV: Friendship
  • Book V: Justice
  • Book VI: Courtesy

In addition to these six virtues, the Letter to Raleigh suggests that Arthur represents the virtue of Magnificence, which ("according to Aristotle and the rest") is "the perfection of all the rest, and conteineth in it them all"; and that the Faerie Queene herself represents Glory (hence her name, Gloriana). The unfinished seventh book (the Cantos of Mutability), appears to have represented the virtue of "constancy."

Politics and the poemEdit

The poem celebrates, memorializes, and critiques the Tudor dynasty (of which Elizabeth was a part), much in the tradition of Virgil's Aeneid's celebration of Augustus Caesar's Rome. Like the Aeneid, which states that Augustus descended from the noble sons of Troy, The Faerie Queene suggests that the Tudor lineage can be connected to King Arthur. The poem is deeply allegorical and allusive: many prominent Elizabethans could have found themselves - or one another - partially represented by one or more of Spenser's figures. Elizabeth herself is the most prominent example: she appears most prominently in her guise as Gloriana, the Faerie Queene herself; but also in Books III and IV as the virgin Belphoebe, daughter of Chrysogonee and twin to Amoret, the embodiment of womanly married love; and perhaps also, more critically, in Book I as Lucifera, the "maiden queen" whose brightly-lit Court of Pride masks a dungeon full of prisoners.

The poem also displays Spenser's thorough familiarity with literary history. Although the world of The Faerie Queene is based on English Arthurian legend, much of the language, spirit, and style of the piece draw more on Italian epic, particularly Ludovico Ariosto's Orlando Furioso and Torquato Tasso's Jerusalem Delivered.[3] The fifth Book of The Faerie Queene, the Book of Justice, is Spenser's most direct discussion of political theory. In it, Spenser both attempts to tackle the problem of policy toward Ireland and recreates the trial of Mary, Queen of Scots.

LanguageEdit

Spenser's language in The Faerie Queene, as in The Shepheardes Calender, is deliberately archaic, though the extent of this has been exaggerated by critics who follow Ben Jonson's dictum, that "in affecting the ancients Spenser writ no language."[4] Allowing that Jonson's remark may only apply to the Calendar, Bruce Robert McElderry, Jr., states, after a detailed investigation of the FQTemplate:'s diction, that Jonson's statement "is a skillful epigram; but it seriously misrepresents the truth if taken at anything like its face value."[5] The number of archaisms used in the poem are not overwhelming - ”one source reports thirty-four in Canto One of Book One, that is, thirty-four words out of a total 4,200 words, less than one percent.[6] According to McElderry, language does not account for the poem's archaic tone: "The subject-matter of The Faerie Queene is itself the most powerful factor in creating the impression of archaism."[7]

Examples of medieval archaisms (in morphology and diction) include:

  • Infinitive in en: "Vewen," 1. 201, 'to view.'
  • Prefix y- retained in participle: "Yclad," 1. 58, 254, 'clad,' 'clothed.'
  • Adjective: "Combrous," 1. 203, 'harassing,' 'troublesome.'
  • Verb: "Keepe," 1. 360, 'heed,' 'give attention to.'[8]

Samuel Johnson also commented critically on Spenser's diction, with which he became intimately acquainted during his work on A Dictionary of the English Language, and "found it a useful source for obsolete and archaic words"; Johnson, however, mainly considered Spenser's (early) pastoral poems, a genre of which he was not particularly fond.[9]

The diction and atmosphere of The Faerie Queene relied on much more than just Middle English; for instance, classical allusions and classical proper names abound - especially in the later books - and he coined some names based on Greek, such as "Poris" and "Phao lilly white."[10] Classical material is also alluded to or reworked by Spenser, such as the rape of Lucretia, which was reworked into the story of the character Amavia in Book Two.[11]

Medieval subject matterEdit

The Faerie Queene owes, in part, its central figure, Arthur, to a medieval writer, Geoffrey of Monmouth. In his Prophetiae Merlini ("Prophecies of Merlin"), Geoffrey's Merlin proclaims that the Saxons will rule over the Britons until the "Boar of Cornwall" (Arthur) again restores them to their rightful place as rulers.[12] The prophecy was adopted by the British people and eventually used by the Tudors. Through their ancestor, Owen Tudor, the Tudors had Welsh blood, through which they claimed to be descendants of Arthur and rightful rulers of Britain.[13] The tradition begun by Geoffrey of Monmouth set the perfect atmosphere for Spenser's choice of Arthur as the central figure and natural bridegroom of Gloriana.

List of major characters Edit

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  • Acrasia, Seductress of knights. Guyon destroys her Bower of Bliss at the end of Book 2. Similar characters in other epics: Circe (Homer's Odyssey), Alcina (Ariosto), Armida (Tasso). Also the fairy woman from Keats' poem "La Belle Dame sans Merci".
  • Alma, Her name means "soul." She is the head of the House of Temperance in Book 2.
  • Amoret, The wife of Scudamour, kidnapped by Busirane on her wedding night, saved by Britomart. She represents the virtue of married love, and her marriage to Scudamour serves as the example that Britomart and Artegal seek to copy. Amoret and Scudamor are separated for a time by circumstances, but remain loyal to one another until they (presumably) are reunited.
  • Archimago, An evil sorcerer who is sent to stop the knights in the service of the Faerie Queene. Of the knights, Archimago hates Redcross most of all, hence he is symbolically the nemesis of England.
  • Artegal (or Arthegall), a knight who is the personification and champion of Justice. He meets Britomart after defeating her in a swordfight (she had been dressed as a knight) and removing her helmet, revealing her beauty. Artegal quickly falls in love with Britomart. Artegal has a companion in Talus, a metal man who wields a flail and never sleeps or grows tired but will mercilessly pursue and kill any number of villains. Talus obeys Artegal's command, and serves to represent justice without mercy (hence, Artegal is the more human face of justice). Later, Talus does not rescue Artegal from enslavement by the wicked Radigund, because Artegal is bound by a legal contract to serve her. Only her death, at Britomart's hands, liberates him.
  • Arthur. This is the same Arthur of the Round Table, but he plays a different role here. He is madly in love with the Faerie Queene and spends his time in pursuit of her when not helping the other knights out of their sundry predicaments. Prince Arthur is the Knight of Magnificence, the perfection of all virtues.
  • Ate, a fiend from Hell disguised as a beautiful maiden, Ate opposes Book IV's virtue of friendship through spreading discord. She is aided in her task by Duessa, the female deceiver of Book I, whom Ate summoned from Hell. Ate and Duessa have fooled the false knights Blandamour and Paridell into taking them as lovers.
  • Belphoebe, The beautiful sister of Amoret who spends her time in the woods hunting and avoiding the numerous amorous men who chase her. Timias, the squire of Arthur, eventually wins her love after she tends to the injuries he sustained in battle; however, Timias must endure much suffering to prove his love when Belphoebe sees him tending to a wounded woman and, misinterpreting his actions, flies off hastily. She is only drawn back to him after seeing how he has wasted away without her.
  • Braggadocchio, a comic knight with no sense of honour. He steals Guyon's horse. He is not evil, just a dishonourable braggart.
  • Britomart, a female knight, the personification and champion of Chastity. She is young and beautiful, and falls in love with Artegal upon first seeing his face in her father's magic mirror. Although there is no interaction between them, she falls in love with him, and travels, dressed as a knight and accompanied by her nurse, Glauce, in order to find Artegal again. Britomart carries an enchanted spear that allows her to defeat every knight she encounters, until she loses to a knight who turns out to be her beloved Artegal. Parallel figure in Ariosto: Bradamante. Britomart is one of the most important knights in the story. She searches the world, including a pilgrimage to the shrine of Isis, and a visit with Merlin the magician. She rescues Artegal, and several other knights, from the evil slave-mistress Radigund. Furthermore, Britomart accepts Amoret at a tournament, refusing the false Florimell.
  • Busirane, the evil sorcerer who captures Amoret on her wedding night. When Britomart enters his castle to defeat him, she finds him holding Amoret captive. She is bound to a pillar and Busirane is torturing her. The clever Britomart handily defeats him and returns Amoret to her husband.
  • Calepine, a knight who acts as Calidore's surrogate throughout much of Book VI.
  • Calidore, the Knight of Courtesy, hero of Book Six. He is on a quest from the Fairy Queen to slay the Blatant Beast.
  • Cambell, one of the Knights of Friendship, hero of Book Four. Brother of Canacee and friend of Triamond.
  • Cambina, daughter of Agape and sister to Priamond, Diamond, and Triamond. Cambina is depicted holding a caduceus and a cup of nepenthe, signifying her role as a figure of concord. She marries Cambell after bringing an end to his fight with Triamond.
  • Canacee, Cambell's sister, whose magic ring renders the wearer invulnerable. After Cambell and Triamond's combat, Canacee marries Triamond and befriends his sister Cambina.
  • Colin Clout, is a shepherd, noted for his songs and bagpipe playing, that briefly appears in Book VI, being the same Colin Clout from Spenser's pastoral poetry, which is fitting because Calidore is taking a sojourn into a world of pastoral delight, ignoring his duty to hunt the Blatant Beast, which is why he set out to Ireland to begin with. Colin Clout may also be said to be Spenser himself.
  • Cymochles, a knight in Book II who is defined by indecisiveness and fluctuations of the will. He and his fiery brother Pyrochles represent emotional maladies that threaten temperance. The two brothers are both slain by Prince Arthur in Canto VIII.
  • Chrysogonee, Mother of Belphoebe and her twin Amoretta, she was impregnated by sun-beams when she slept on a bank. Chrysogonee hid in the forest and becoming tired she fell asleep and gave birth to twins. Found by Venus and Diana, the newly-born twins were taken: Venus takes Amoretta and raises her in the Garden of Adonis; and Diana takes Belphoebe.
  • Duessa, a lady who personfies Falsehood in Book One, known to Redcrosse as "Fidessa". As the opposite of Una, she represents the "false" religion of the Roman Catholic Church. She is also initially an assistant, or at least a servant, to Archimago.
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  • Florimell, a lady in love with the knight Marinell, who initially rejects her. Hearing he was wounded, she set out in search and faced various perils, culminating in her being captured by Proteus. She is reunited with Marinell at the end of Book IV, and is married to him in Book V.
  • Glauce, an elderly woman who serves as Britomart's squire.
  • Gloriana, the "Faerie Queene" herself.
  • Guyon, the Knight of Temperance, the hero of Book Two. He is the leader of the Knights of Maidenhead and carries the image of Gloriana on his shield. According to the Golden Legend, St. George's name shares etymology with Guyon, which specificially means "the holy wrestler."
  • Malbecco, protective husband of the lascivious Hellenore. When she is seduced by Paridell, he metamorphoses into a hideous creature, representing jealousy itself.
  • Malecasta, a decadent, jaded sophisticate who invites the weary knights to dinner. She studies Britomart at the feast, and tries to seduce her, unaware Britomart is a lady until Malecasta feels the sting of Britomart's magic sword.
  • Marinell, "the knight of the sea"; son of a water nymph, he avoided all love because his mother had learned that a woman would do him harm; he was struck down in battle by Britomart, though not mortally wounded.
  • Merlin, who is much the same as in Arthurian legend. A young Britomart goes to see Merlin after falling in love with Artegal, and he instructs her on how to proceed.
  • Orgoglio, a giant who attacks the Redcrosse Knight.
  • Paridell, a false knight and a seducer of women. His name derives from that of the Trojan prince Paris. In Book Three, he runs off with Malbecco's wife, Hellenore.
  • Pastorella, a woman raised by shepherds but revealed in the last Canto of Book 6 to be actually the daughter of Sir Bellamoure and Lady Claribell.
  • Pyrochles, a hot-tempered knight in Book Two, he and his impressionable brother Cymochles serve as examples of two emotional maladies that threaten temperance. Pyrochles is eventually beheaded by Prince Arthur in Canto VIII.
  • The Redcrosse Knight, hero of Book One. Introduced in the first canto of the poem, he bears the emblem of Saint George, patron saint of England; a red cross on a white background is still the flag of England. The Redcross Knight is declared to be the real Saint George in Canto X. He also learns that he is of English ancestry, having been stolen by a Fay and raised in Faerieland. In the climactic battle of Book I, Redcrosse slays the dragon that has laid waste to Eden. He marries Una at the end of Book I, but brief appearances in Books I and II show Redcrosse still questing through the world.
  • Sansfoy, Sansjoy and Sansloy (names from the old French meaning "Faithless", "Joyless" and "Lawless"), three saracen knights who fight Redcrosse in Book One.
  • Satyrane, a wild half-satyr man raised in the wild and the epitome of natural human potential. Tamed by Una, he protects her, but ends up locked in a battle against the chaotic Sansloy, which remains unconcluded. Satyrane finds Florimell's girdle, which she drops while flying from a beast. He holds a three day tournament for the right to possess the girdle. His Knights of Maidenhead win the day with Britomart's help.
  • Scudamour, the lover of Amoret. His name means "shield of love". This character is actually based upon a real person, Sir James Scudamore, a jousting champion and courtier to Queen Elizabeth I. Scudamour loses his love Amoret to the sorcerer Busirane. Although the 1590 edition of the Faerie Queene has Scudamour united with Amoret through Britomart's assistance, the continuation in Book IV has them separated, never to be reunited.
  • Talus, an "iron man" who helps Arthegall dispense justice in Book Five.
  • Timias, Prince Arthur's squire and lover of Belphoebe. His relationship with Belphoebe is generally thought to represent that of Sir Walter Raleigh and Queen Elizabeth I.
  • Triamond, one of the Knights of Friendship, a hero of Book Four. Friend of Cambell. One of three brothers; when Priamond and Diamond died, their souls joined with his body. After battling Cambell, Triamond marries Cambell's sister, Canacee.
  • Trompart, Braggadocchio's cunning squire. His name derives from the French tromper, "to deceive".
  • Una, the personification of the "True Church". She travels with the Redcrosse Knight (who represents England), whom she has recruited to save her parents' castle from a dragon. She also defeats Duessa, who represents the "false" (Catholic) church and the person of Mary, Queen of Scots, in a trial reminiscent of that which ended in Mary's beheading. Una is also representative of Truth.

ReferencesEdit

  1. Loewenstein, David; Mueller, Janel M (2003), The Cambridge history of early modern English Literature, Cambridge University Press, p. 369., ISBN 0-521-63156-4 
  2. Spenser, Edmund (1984). Thomas P. Roche, Jr., with the assistance of C. Patrick O'Donnell Jr. ed. The Faerie Queene. Penguin Books. p. 11 (Further Reading). ISBN 0140422072. 
  3. Abrams, M.H. Ed. Norton Anthology of English Literature 7th Ed. Vol. 1. W.W. Norton & Co. (2000) NY. p. 623.
  4. McElderry, Jr., Bruce Robert (March 1932). "Archaism and Innovation in Spenser's Poetic Diction". PMLA 47 (1): 144-170.  p. 144.
  5. McElderry 170.
  6. Parker, Roscoe (1925). "Spenserâ's Language and the Pastoral Tradition". Language (Linguistic Society of America) 1 (3): 80-87.  p. 85.
  7. McElderry 159.
  8. Parker 85.
  9. Turnage, Maxine (1970). "Samuel Johnson's Criticism of the Works of Edmund Spenser". SEL: Studies in English Literature (Linguistic Society of America) 10 (3): 557-567. ISSN 00393657.  p. 567
  10. Draper, John W. (March 1932). "Classical Coinage in the Faerie Queene". PMLA 47 (1): 97-108.  p. 97.
  11. Cañadas, Ivan (2007). "The Faerie Queene, II.i-ii: Amavia, Medina, and the Myth of Lucretia". Medieval and Early Modern English Studies 15 (2): 383-394. http://hompi.sogang.ac.kr/anthony/mesak/mes152/Canadas.pdf. Retrieved 2009-12-09. 
  12. Geoffrey Of Monmouth - The Prophecies of Merlin
  13. Millican, Charles Bowie. Spenser and the Table Round. New York: Octagon Books, 1932.

BibliographyEdit

  • Black, Joseph (Ed). The Broadview Anthology of British Literature. Concise Edition, Vol. A. Broadview Press, 2007. ISBN 1-55111-868-8
  • Davis, Walter. "Spenser and the History of Allegory", English Literary Renaissance 32.1 (2002): 152-67.
  • Glazier, Lyle. "The Struggle between Good and Evil in the First Book of "The Faerie Queene". College English, Vol. 11, No. 7. (Apr., 1950), pp. 382-387.
  • Levin, Richard A. "The Legende of the Redcrosse Knight and Una, or of the Love of a Good Woman." Studies in English Literature, 1500-1900, 31:1 (Winter, 1991): 1-24.

External linksEdit

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