Frequently
there is
in the line a caesural pause, which may occur anywhere; e.
in the line a caesural pause, which may occur anywhere; e.
Spenser - Faerie Queene - 1
George, the patron saint of
England, while in Una we may see idealized some fair lady of the court. In
Archimago he satirizes the odious King Philip II of Spain, and in false
Duessa the fascinating intriguer, Mary Queen of Scots, who was undeserving
so hard a blow.
KEY TO THE ALLEGORY IN BOOK I
_Characters_ _Moral_ _Religious and _Personal and
Spirtual_ Political_
Redcross Knight Holiness Reformed England St George
Una Truth True Religion
Prince Arthur Magnificence, or Protestantism, or Lord Leicester
Private Virtue the Church Militant
Gloriana Glory Spirtual Beauty Queen Elizabeth
Archimago Hypocrisy The Jesuits Phillip II of Spain
Duessa Falsehood False Religion Mary Queen of Scots,
Church of Rome
Orgoglio Carnal Pride Antichrist Pope Sixtus V
The Lion Reason, Reformation by Force Henry VIII,
Natural Honor Civil Government
The Dragon Sin The Devil, Satan Rome and Spain
Sir Satyrane Natural Courage Law and Order Sir John Perrott
in Ireland
The Monster Avarice Greed of Romanism Romish Priesthood
Corceca Blind Devotion, Catholic Penance Irish Nuns
Superstition
Abessa Flagrant Sin Immorality Irish Nuns
Kirkrapine Church Robbery Religious State Irish Clergy
of Ireland and Laity
Sansfoy Infidelity
Sansjoy Joylessness Pagan Religion The Sultan and
the Saracens
Sansloy Lawlessness
The Dwarf Prudence,
Common Sense
Sir Trevisan Fear
The Squire Purity The Anglican Clergy
The Horn Truth The English Bible
Lucifera Pride, Vanity Woman of Babylon Church of Rome
4. THE SPENSERIAN STANZA. --The _Faerie Queene_ is written in the Spenserian
Stanza, a form which the poet himself invented as a suitable vehicle for a
long narrative poem. Suggestions for its construction were taken from three
Italian metres--the Ottava Rima, the Terza Rima, the Sonnet--and the
Ballade stanza. There are eight lines in the iambic pentameter measure
(five accents); e. g. --
v -/- | v -/- | v -/- | v -/- | v -/-
a gen | tle knight | was prick | ing on | the plaine
followed by one iambic hexameter, or Alexandrine (six accents); e. g. --
v -/- | v -/- | v -/- | v -/- | v -/- | v -/-
as one | for knight | ly giusts | and fierce | encount | ers fitt
The rhymes are arranged in the following order: _ab ab bc bcc_. It will be
observed that the two quatrains are bound together by the first two b
rhymes, and the Alexandrine, which rhymes with the eighth line, draws out
the harmony with a peculiar lingering effect. In scanning and reading it is
necessary to observe the laws of accentuation and pronunciation prevailing
in Spenser's day; e. g. in _learned_ (I, i), _undeserved_ (I, ii), and
_woundes_ (V, xvii) the final syllable is sounded, _patience_ (X, xxix) is
trisyllabic, _devotion_ (X, xl) is four syllables, and _entertainment_ (X,
xxxvii) is accented on the second and fourth syllables.
Frequently there is
in the line a caesural pause, which may occur anywhere; e. g. --
"And quite dismembred hath; | the thirsty land
Dronke up his life; | his corse left on the strand. " (III, xx. )
The rhythm of the meter is also varied by the alternating of end-stopped
and run-on lines, as in the last quotation. An end-stopped line has a pause
at the end, usually indicated by some mark of punctuation. A run-on line
should be read closely with the following line with only a slight pause to
indicate the line-unit. Monotony is prevented by the occasional use of a
light or feminine ending--a syllable on which the voice does not or cannot
rest; e. g. --
"Then choosing out few words most horrible. " (I, xxxvii. )
"That for his love refused deity. " (III, xxi. )
"His ship far come from watrie wilderness. " (III, xxxii. )
The use of alliteration, i.
England, while in Una we may see idealized some fair lady of the court. In
Archimago he satirizes the odious King Philip II of Spain, and in false
Duessa the fascinating intriguer, Mary Queen of Scots, who was undeserving
so hard a blow.
KEY TO THE ALLEGORY IN BOOK I
_Characters_ _Moral_ _Religious and _Personal and
Spirtual_ Political_
Redcross Knight Holiness Reformed England St George
Una Truth True Religion
Prince Arthur Magnificence, or Protestantism, or Lord Leicester
Private Virtue the Church Militant
Gloriana Glory Spirtual Beauty Queen Elizabeth
Archimago Hypocrisy The Jesuits Phillip II of Spain
Duessa Falsehood False Religion Mary Queen of Scots,
Church of Rome
Orgoglio Carnal Pride Antichrist Pope Sixtus V
The Lion Reason, Reformation by Force Henry VIII,
Natural Honor Civil Government
The Dragon Sin The Devil, Satan Rome and Spain
Sir Satyrane Natural Courage Law and Order Sir John Perrott
in Ireland
The Monster Avarice Greed of Romanism Romish Priesthood
Corceca Blind Devotion, Catholic Penance Irish Nuns
Superstition
Abessa Flagrant Sin Immorality Irish Nuns
Kirkrapine Church Robbery Religious State Irish Clergy
of Ireland and Laity
Sansfoy Infidelity
Sansjoy Joylessness Pagan Religion The Sultan and
the Saracens
Sansloy Lawlessness
The Dwarf Prudence,
Common Sense
Sir Trevisan Fear
The Squire Purity The Anglican Clergy
The Horn Truth The English Bible
Lucifera Pride, Vanity Woman of Babylon Church of Rome
4. THE SPENSERIAN STANZA. --The _Faerie Queene_ is written in the Spenserian
Stanza, a form which the poet himself invented as a suitable vehicle for a
long narrative poem. Suggestions for its construction were taken from three
Italian metres--the Ottava Rima, the Terza Rima, the Sonnet--and the
Ballade stanza. There are eight lines in the iambic pentameter measure
(five accents); e. g. --
v -/- | v -/- | v -/- | v -/- | v -/-
a gen | tle knight | was prick | ing on | the plaine
followed by one iambic hexameter, or Alexandrine (six accents); e. g. --
v -/- | v -/- | v -/- | v -/- | v -/- | v -/-
as one | for knight | ly giusts | and fierce | encount | ers fitt
The rhymes are arranged in the following order: _ab ab bc bcc_. It will be
observed that the two quatrains are bound together by the first two b
rhymes, and the Alexandrine, which rhymes with the eighth line, draws out
the harmony with a peculiar lingering effect. In scanning and reading it is
necessary to observe the laws of accentuation and pronunciation prevailing
in Spenser's day; e. g. in _learned_ (I, i), _undeserved_ (I, ii), and
_woundes_ (V, xvii) the final syllable is sounded, _patience_ (X, xxix) is
trisyllabic, _devotion_ (X, xl) is four syllables, and _entertainment_ (X,
xxxvii) is accented on the second and fourth syllables.
Frequently there is
in the line a caesural pause, which may occur anywhere; e. g. --
"And quite dismembred hath; | the thirsty land
Dronke up his life; | his corse left on the strand. " (III, xx. )
The rhythm of the meter is also varied by the alternating of end-stopped
and run-on lines, as in the last quotation. An end-stopped line has a pause
at the end, usually indicated by some mark of punctuation. A run-on line
should be read closely with the following line with only a slight pause to
indicate the line-unit. Monotony is prevented by the occasional use of a
light or feminine ending--a syllable on which the voice does not or cannot
rest; e. g. --
"Then choosing out few words most horrible. " (I, xxxvii. )
"That for his love refused deity. " (III, xxi. )
"His ship far come from watrie wilderness. " (III, xxxii. )
The use of alliteration, i.
