When we consider the large number of poets
in whom Spenser awakened the poetic gift, or those to whose powers he gave
direction, we may safely pronounce him the most seminal poet in the
language.
in whom Spenser awakened the poetic gift, or those to whose powers he gave
direction, we may safely pronounce him the most seminal poet in the
language.
Spenser - Faerie Queene - 1
"
Spenser's influence on English poetry can hardly be overestimated. Keats
called him "the poets' poet," a title which has been universally approved.
"He is the poet of all others," says Mr. Saintsbury, "for those who seek in
poetry only poetical qualities. " His work has appealed most strongly to
those who have been poets themselves, for with him the poetical attraction
is supreme. Many of the greatest poets have delighted to call him master,
and have shown him the same loving reverence which he gave to Chaucer.
Minor poets like Sidney, Drayton, and Daniel paid tribute to his
inspiration; Milton was deeply indebted to him, especially in _Lycidas_;
and many of the pensive poets of the seventeenth century show traces of his
influence. "Spenser delighted Shakespeare," says Mr. Church; "he was the
poetical master of Cowley, and then of Milton, and in a sense of Dryden,
and even Pope. " Giles and Phineas Fletcher, William Browne, Sir William
Alexander, Shenstone, Collins, Cowley, Gray, and James Thomson were all
direct followers of Spenser. His influence upon the poets of the romantic
revival of the nineteenth century is even more marked. "Spenser begot
Keats," says Mr. Saintsbury, "and Keats begot Tennyson, and Tennyson begot
all the rest. " Among this notable company of disciples should be mentioned
especially Rossetti, Morris, and Swinburne. If we include within the sphere
of Spenser's influence also those who have made use of the stanza which he
invented, we must add the names of Burns, Shelley, Byron, Beattie,
Campbell, Scott, and Wordsworth.
When we consider the large number of poets
in whom Spenser awakened the poetic gift, or those to whose powers he gave
direction, we may safely pronounce him the most seminal poet in the
language.
III. STUDY OF THE _FAERIE QUEENE_
1. A ROMANTIC EPIC. --The _Faerie Queene_ is the most perfect type which we
have in English of the purely _romantic poem_. Four elements enter into its
composition: "it is pastoral by association, chivalrous by temper, ethical
by tendency, and allegorical by treatment" (Renton). Its subject was taken
from the old cycle of Arthurian legends, which were brightened with the
terrorless magic of Ariosto and Tasso. The scene of the adventures is laid
in the enchanted forests and castles of the far away and unreal fairyland
of mediaeval chivalry, and the incidents themselves are either highly
improbable or frankly impossible. The language is frequently archaic and
designedly unfamiliar. Much of the machinery and properties used in
carrying on the story, such as speaking myrtles, magic mirrors, swords,
rings, impenetrable armor, and healing fountains, is supernatural. All the
characters--the knights, ladies, dwarfs, magicians, dragons, nymphs,
satyrs, and giants--are the conventional figures of pastoral romance.
The framework of the plot of the _Faerie Queene_ is vast and loosely put
together. There are six main stories, or legends, and each contains several
digressions and involved episodes. The plan of the entire work, which the
author only half completed, is outlined in his letter to Sir Walter
Raleigh. This letter serves as an admirable introduction to the poem, and
should be read attentively by the student. Gloriana, the Queen of
Fairyland, holds at her court a solemn feudal festival, lasting twelve
days, during which she sends forth twelve of her greatest knights on as
many separate adventures.
Spenser's influence on English poetry can hardly be overestimated. Keats
called him "the poets' poet," a title which has been universally approved.
"He is the poet of all others," says Mr. Saintsbury, "for those who seek in
poetry only poetical qualities. " His work has appealed most strongly to
those who have been poets themselves, for with him the poetical attraction
is supreme. Many of the greatest poets have delighted to call him master,
and have shown him the same loving reverence which he gave to Chaucer.
Minor poets like Sidney, Drayton, and Daniel paid tribute to his
inspiration; Milton was deeply indebted to him, especially in _Lycidas_;
and many of the pensive poets of the seventeenth century show traces of his
influence. "Spenser delighted Shakespeare," says Mr. Church; "he was the
poetical master of Cowley, and then of Milton, and in a sense of Dryden,
and even Pope. " Giles and Phineas Fletcher, William Browne, Sir William
Alexander, Shenstone, Collins, Cowley, Gray, and James Thomson were all
direct followers of Spenser. His influence upon the poets of the romantic
revival of the nineteenth century is even more marked. "Spenser begot
Keats," says Mr. Saintsbury, "and Keats begot Tennyson, and Tennyson begot
all the rest. " Among this notable company of disciples should be mentioned
especially Rossetti, Morris, and Swinburne. If we include within the sphere
of Spenser's influence also those who have made use of the stanza which he
invented, we must add the names of Burns, Shelley, Byron, Beattie,
Campbell, Scott, and Wordsworth.
When we consider the large number of poets
in whom Spenser awakened the poetic gift, or those to whose powers he gave
direction, we may safely pronounce him the most seminal poet in the
language.
III. STUDY OF THE _FAERIE QUEENE_
1. A ROMANTIC EPIC. --The _Faerie Queene_ is the most perfect type which we
have in English of the purely _romantic poem_. Four elements enter into its
composition: "it is pastoral by association, chivalrous by temper, ethical
by tendency, and allegorical by treatment" (Renton). Its subject was taken
from the old cycle of Arthurian legends, which were brightened with the
terrorless magic of Ariosto and Tasso. The scene of the adventures is laid
in the enchanted forests and castles of the far away and unreal fairyland
of mediaeval chivalry, and the incidents themselves are either highly
improbable or frankly impossible. The language is frequently archaic and
designedly unfamiliar. Much of the machinery and properties used in
carrying on the story, such as speaking myrtles, magic mirrors, swords,
rings, impenetrable armor, and healing fountains, is supernatural. All the
characters--the knights, ladies, dwarfs, magicians, dragons, nymphs,
satyrs, and giants--are the conventional figures of pastoral romance.
The framework of the plot of the _Faerie Queene_ is vast and loosely put
together. There are six main stories, or legends, and each contains several
digressions and involved episodes. The plan of the entire work, which the
author only half completed, is outlined in his letter to Sir Walter
Raleigh. This letter serves as an admirable introduction to the poem, and
should be read attentively by the student. Gloriana, the Queen of
Fairyland, holds at her court a solemn feudal festival, lasting twelve
days, during which she sends forth twelve of her greatest knights on as
many separate adventures.
