Into the framework of
his romance of chivalry he inserted a veiled picture of the struggles and
sufferings of his own people in Ireland.
his romance of chivalry he inserted a veiled picture of the struggles and
sufferings of his own people in Ireland.
Spenser - Faerie Queene - 1
Illiteracy was no longer the
style at court. Elizabeth herself set the example in the study of Greek.
Books and manuscripts were eagerly sought after, Scholars became conversant
with Homer, Plato, Aristotle, and the great tragic poets Sophocles,
Euripides, and AEschylus; and translations for the many of Vergil, Ovid,
Plautus, Terence, and Seneca poured forth from the printing-presses of
London. The English mind was strongly tempered by the idealistic philosophy
of Plato and Aristotle, and the influence of Latin tragedy and comedy was
strongly felt by the early English drama.
Along with this classical culture came a higher appreciation of the _beauty
of mediaevalism_. The romantic tendency of the age fostered the study of the
great epics of chivalry, Ariosto's _Orlando Furioso_ and Tasso's _Jerusalem
Delivered_, and of the cycles of French romance. From the Italian poets
especially Spenser borrowed freely. Ariosto's fresh naturalness and magic
machinery influenced him most strongly, but he was indebted to the
semi-classical Tasso for whole scenes. On the whole, therefore, Spenser's
literary affinities were more with the Gothic than the classical.
Spenser was also the spokesman of his time on religious questions. The
violent controversies of the Reformation period were over. Having turned
from the beliefs of ages with passionate rejection, the English people had
achieved religious freedom, and were strongly rooted in Protestantism,
which took on a distinctly national aspect. That Calvinism was at that time
the popular and aristocratic form of Protestantism is evident from
references in the _Faerie Queene_.
Spenser lived in the afterglow of the great age of chivalry. The passing
glories of knighthood in its flower impressed his imagination like a
gorgeous dream, and he was thus inspired to catch and crystallize into
permanent art its romantic spirit and heroic deeds.
Into the framework of
his romance of chivalry he inserted a veiled picture of the struggles and
sufferings of his own people in Ireland. The _Faerie Queene_ might almost
be called the epic of the English conquest of Ireland. The poet himself and
many of his friends were in that unhappy island as representatives of the
queen's government, trying to pacify the natives, and establish law and
order out of discontent and anarchy. Spenser's poem was written for the
most part amidst all these scenes of misery and disorder, and the courage,
justice, and energy shown by his countrymen were aptly portrayed under the
allegory of a mighty spiritual warfare of the knights of old against the
power of evil.
Spenser's essay on _A View of the Present State of Ireland_ shows that, far
from shutting himself up in a fool's paradise of fancy, he was fully awake
to the social and political condition of that turbulent island, and that it
furnished him with concrete examples of those vices and virtues, bold
encounters and hair-breadth escapes, strange wanderings and deeds of
violence, with which he has crowded the allegory of the _Faerie Queene_.
II. THE AUTHOR OF THE _FAERIE QUEENE_
Edmund Spenser was born in London near the Tower in the year 1552. His
parents were poor, though they were probably connected with the Lancashire
branch of the old family of Le Despensers, "an house of ancient fame," from
which the Northampton Spencers were also descended. The poet's familiarity
with the rural life and dialect of the north country supports the theory
that as a boy he spent some time in Lancashire. Beyond two or three facts,
nothing is known with certainty of his early years. He himself tells us
that his mother's name was Elizabeth, and that London was his "most kindly
nurse. " His name is mentioned as one of six poor pupils of the Merchant
Taylors' School, who received assistance from a generous country squire.
At the age of seventeen, Master Edmund became a student in Pembroke Hall,
one of the colleges of the great University of Cambridge. His position was
that of a sizar, or paid scholar, who was exempt from the payment of
tuition fees and earned his way by serving in the dining hall or performing
other menial duties. His poverty, however, did not prevent him from forming
many helpful friendships with his fellow-students. Among his most valued
friends he numbered Launcelot Andrews, afterward Bishop of Winchester,
Edward Kirke, a young man of Spenser's own age, who soon after edited his
friend's first important poem, the _Shepheards Calender_, with elaborate
notes, and most important of all, the famous classical scholar, a fellow of
Pembroke, Gabriel Harvey, who was a few years older than Spenser, and was
later immortalized as the Hobbinoll of the _Faerie Queene_.
style at court. Elizabeth herself set the example in the study of Greek.
Books and manuscripts were eagerly sought after, Scholars became conversant
with Homer, Plato, Aristotle, and the great tragic poets Sophocles,
Euripides, and AEschylus; and translations for the many of Vergil, Ovid,
Plautus, Terence, and Seneca poured forth from the printing-presses of
London. The English mind was strongly tempered by the idealistic philosophy
of Plato and Aristotle, and the influence of Latin tragedy and comedy was
strongly felt by the early English drama.
Along with this classical culture came a higher appreciation of the _beauty
of mediaevalism_. The romantic tendency of the age fostered the study of the
great epics of chivalry, Ariosto's _Orlando Furioso_ and Tasso's _Jerusalem
Delivered_, and of the cycles of French romance. From the Italian poets
especially Spenser borrowed freely. Ariosto's fresh naturalness and magic
machinery influenced him most strongly, but he was indebted to the
semi-classical Tasso for whole scenes. On the whole, therefore, Spenser's
literary affinities were more with the Gothic than the classical.
Spenser was also the spokesman of his time on religious questions. The
violent controversies of the Reformation period were over. Having turned
from the beliefs of ages with passionate rejection, the English people had
achieved religious freedom, and were strongly rooted in Protestantism,
which took on a distinctly national aspect. That Calvinism was at that time
the popular and aristocratic form of Protestantism is evident from
references in the _Faerie Queene_.
Spenser lived in the afterglow of the great age of chivalry. The passing
glories of knighthood in its flower impressed his imagination like a
gorgeous dream, and he was thus inspired to catch and crystallize into
permanent art its romantic spirit and heroic deeds.
Into the framework of
his romance of chivalry he inserted a veiled picture of the struggles and
sufferings of his own people in Ireland. The _Faerie Queene_ might almost
be called the epic of the English conquest of Ireland. The poet himself and
many of his friends were in that unhappy island as representatives of the
queen's government, trying to pacify the natives, and establish law and
order out of discontent and anarchy. Spenser's poem was written for the
most part amidst all these scenes of misery and disorder, and the courage,
justice, and energy shown by his countrymen were aptly portrayed under the
allegory of a mighty spiritual warfare of the knights of old against the
power of evil.
Spenser's essay on _A View of the Present State of Ireland_ shows that, far
from shutting himself up in a fool's paradise of fancy, he was fully awake
to the social and political condition of that turbulent island, and that it
furnished him with concrete examples of those vices and virtues, bold
encounters and hair-breadth escapes, strange wanderings and deeds of
violence, with which he has crowded the allegory of the _Faerie Queene_.
II. THE AUTHOR OF THE _FAERIE QUEENE_
Edmund Spenser was born in London near the Tower in the year 1552. His
parents were poor, though they were probably connected with the Lancashire
branch of the old family of Le Despensers, "an house of ancient fame," from
which the Northampton Spencers were also descended. The poet's familiarity
with the rural life and dialect of the north country supports the theory
that as a boy he spent some time in Lancashire. Beyond two or three facts,
nothing is known with certainty of his early years. He himself tells us
that his mother's name was Elizabeth, and that London was his "most kindly
nurse. " His name is mentioned as one of six poor pupils of the Merchant
Taylors' School, who received assistance from a generous country squire.
At the age of seventeen, Master Edmund became a student in Pembroke Hall,
one of the colleges of the great University of Cambridge. His position was
that of a sizar, or paid scholar, who was exempt from the payment of
tuition fees and earned his way by serving in the dining hall or performing
other menial duties. His poverty, however, did not prevent him from forming
many helpful friendships with his fellow-students. Among his most valued
friends he numbered Launcelot Andrews, afterward Bishop of Winchester,
Edward Kirke, a young man of Spenser's own age, who soon after edited his
friend's first important poem, the _Shepheards Calender_, with elaborate
notes, and most important of all, the famous classical scholar, a fellow of
Pembroke, Gabriel Harvey, who was a few years older than Spenser, and was
later immortalized as the Hobbinoll of the _Faerie Queene_.
