Along with this
classical
culture came a higher appreciation of the _beauty
of mediaevalism_.
of mediaevalism_.
Spenser - Faerie Queene - 1
The whole country exulting in its new sense of freedom
and power became a fairyland of youth, springtime, and romantic
achievement.
Wise and gallant courtiers, like Sidney, Leicester, and Raleigh, gathered
about the queen, and formed a new chivalry devoted to deeds of adventure
and exploits of mind in her honor. The spirit of the old sea-kings lived
again in Drake and his bold buccaneers, who swept the proud Spaniards from
the seas. With the defeat of the Invincible Armada, the greatest naval
expedition of modern times, the fear of Spanish and Catholic domination
rolled away. The whole land was saturated with an unexpressed poetry, and
the imagination of young and old was so fired with patriotism and noble
endeavor that nothing seemed impossible. Add to this intense delight in
life, with all its mystery, beauty, and power, the keen zest for learning
which filled the air that men breathed, and it is easy to understand that
the time was ripe for a new and brilliant epoch in literature. First among
the poetic geniuses of the Elizabethan period came Edmund Spenser with his
_Faerie Queene_, the allegory of an ideal chivalry.
This poem is one of the fruits of that intellectual awakening which first
fertilized Italian thought in the twelfth century, and, slowly spreading
over Europe, made its way into England in the fifteenth century. The mighty
impulse of this New Learning culminated during the reign of the Virgin
Queen in a profound quickening of the national consciousness, and in
arousing an intense curiosity to know and to imitate the rich treasures of
the classics and romance. Its first phase was the _classical revival_. The
tyrannous authority of ecclesiasticism had long since been broken; a
general reaction from Christian asceticism had set in; and by the side of
the ceremonies of the church had been introduced a semi-pagan religion of
art--the worship of moral and sensuous beauty. 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_.
and power became a fairyland of youth, springtime, and romantic
achievement.
Wise and gallant courtiers, like Sidney, Leicester, and Raleigh, gathered
about the queen, and formed a new chivalry devoted to deeds of adventure
and exploits of mind in her honor. The spirit of the old sea-kings lived
again in Drake and his bold buccaneers, who swept the proud Spaniards from
the seas. With the defeat of the Invincible Armada, the greatest naval
expedition of modern times, the fear of Spanish and Catholic domination
rolled away. The whole land was saturated with an unexpressed poetry, and
the imagination of young and old was so fired with patriotism and noble
endeavor that nothing seemed impossible. Add to this intense delight in
life, with all its mystery, beauty, and power, the keen zest for learning
which filled the air that men breathed, and it is easy to understand that
the time was ripe for a new and brilliant epoch in literature. First among
the poetic geniuses of the Elizabethan period came Edmund Spenser with his
_Faerie Queene_, the allegory of an ideal chivalry.
This poem is one of the fruits of that intellectual awakening which first
fertilized Italian thought in the twelfth century, and, slowly spreading
over Europe, made its way into England in the fifteenth century. The mighty
impulse of this New Learning culminated during the reign of the Virgin
Queen in a profound quickening of the national consciousness, and in
arousing an intense curiosity to know and to imitate the rich treasures of
the classics and romance. Its first phase was the _classical revival_. The
tyrannous authority of ecclesiasticism had long since been broken; a
general reaction from Christian asceticism had set in; and by the side of
the ceremonies of the church had been introduced a semi-pagan religion of
art--the worship of moral and sensuous beauty. 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_.
