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 PR 2362.C29 
 
 An outline guide to the study of Spenser 
 
 3 1924 013 125 566 
 
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 http://www.archive.org/details/cu31924013125566 
 
AN 
 
 OUTLINE GUIDE 
 
 . TO 
 
 THE STUDY OF SPENSER 
 
 . . BY 
 
 FREDERIC IVES CARPENTER 
 
 CHICAGO: 1894 
 
PREFACE 
 
 The object of this little compilation is to furnish an out- 
 line guide for the use of the serious student of Spenser. 
 Spenser ranks as one of the five or six great masters of 
 English poetry. In a study of masterpieces he can not be 
 neglected. Along with Shakspere, but in a different way 
 from Shakspere, he is the typical poet of the English 
 Renaissance. Few English poets have exercised a deeper 
 influence, especially with ardent and imaginative minds. lam 
 convinced that some consideration of his sources, and of his 
 influence, both in poetry and in criticism, is of especial value 
 for the student of Spenser, only next after the attentive study 
 of the works themselves. The great thing for poetry, of 
 course, is to be read, and to be read with pleasure ; for only 
 thus can it accomplish its primary aim of " teaching with 
 delight." But great poetry is also proper material for formal 
 and organized study from the point of view of literary history 
 and aesthetics. The mature student, aiter , reading his text, 
 desires to understand his text and his author, in every bear- 
 ing. Hence the necessity of annotated texts, of coinmentaries, 
 and of criticisms. Spenser is one of our "learned" poets. 
 He is peculiarly a literary and artistic poet. He is not to be 
 completely understood although he may be enjoyed, apart 
 from all connection with literary history and criticism. 
 
 Under each topic I have endeavored to give references to 
 all the best authorities, so that the student can make his 
 choice, and follow out each question suggested, as far as his 
 interest will carry him. 
 
 The following list will explain the abbreviations more fre- 
 quently used ; other references are so given as to be self- 
 explanatory: 
 
 Grosart, or Sp. ed. Gros. : Complete Works of Spenser, 
 ed. A. B. Grosart and others; privately printed [London] 
 1882 ff, in ten volumes (nine volumes issued). 
 
 Hales : Memoir by J. W. Hales, prefixed to Globe 
 edition of Spenser (Macmillan) 1890 [i86g]. 
 
Church: Spenser, by R. W. Church (English Men of 
 Letters) N. Y. edition. 
 
 Lowell : The Writings of J. R. Lowell, Riverside edition 
 lo vols., Boston and New York, 1892. 
 
 Craik : G. L. Craik, Spenser and his Poetry, 3 vols., 
 London, 1845. 
 
 Percival : The Fairy Queen, Book I., w., introd. and 
 notes, ed. H. M. Percival, London, 1893. 
 
 Kitchin : The Fairy Queen, Book L and Book II. (2 
 vols.), ed. G. W. Kitchin, Oxford. 1892 and 1890. 
 
 Sp. , ed., Todd : Works of Spenser, ed. H. J. Todd, in 
 8 vols. (Variorum ed.), London, 1805. 
 
 The Globe Edition of Spenser is the cheapest and most 
 convenient. Percival's provides a thoroughly annotated edi- 
 tion of Book I. of the Fairy Queen. The Grosart edition con- 
 tains much valuable material, along with much that is indif- 
 ferent; where it is inaccessible, Todd's variorum edition, along 
 with the school texts and the best modern essays, will practi- 
 cally supply all needs. Todd is somewhat antiquated, but is 
 still invaluable in many ways, especiallj'in the absence of the 
 long-awaited tenth volume of Grosart, which is to contain 
 glossary and variorum notes. f. i. c. 
 
 Universit}' of Chicago, February, 1894. 
 
 :^'<m^\^&^ 
 
CONTENTS . . 
 
 PAGE 
 
 I. Life 5 
 
 II. Works, Chronological List 6 
 
 III. The Faerie Queene: Aim, Plan and Fable, Versifi- 
 
 cation, Allegory, Criticism lo 
 
 IV. Spenser's Language, Archaisms, and Rhetoric ' 13 
 V. The Times: Contemporary Literature and History 14 
 
 VI. Spenser's Chief Sources 17 
 
 VII. Spenser's Literary Influence 18 
 
 VIII. Spenser Criticism 20 
 
 IX. Some Leading Characteristics of Spenser's Poetry 22 
 
 X. Some Leading Ideas in Spenser's Poetry 24 
 
I. LIFE. 
 
 See in general: Spenser, by R. W. Church (English Men of Letters); 
 
 Complete Works of Spenser, ed. A. B. Grosart and others, private print, 
 
 1882 ff (vol. I. contains Life, by Grosart); Works of S., Globe ed,, with 
 
 memoir by J. W. Hales. 
 
 1552 1. Birth, Family, aniTBoyhood. — Cf. Church 1-8; Hales pp. xvi, 
 
 xvii; b. 1552, in London?; Grosart 1-15; Lancashire family; 
 
 i56o-i569(?) Grosart pp. xi-lxiv; 1560-1569 (?), at Merchant Taylors' 
 
 School (Dr. Mulcaster, master). 
 
 1569-1576 2. University Life: — Grosart 28-42; Hales xviii-xxi; 1569, 
 "The Theatre of Worldlings": Church 12, 13; Hales xix, 
 Grosart I 15-28, also IH 229-237; 1569, enters Pembroke 
 Hall, Cambridge; Church 8-9, 15 17; University Friends; 
 Harvey,. -Kirke, Drant, Still, Preston, &c: Grosart 32, 33, 
 68; College life: see Harvey's letter (1580). 
 
 3. Lifi in England; The Shepherd' s Calendar : Grosart 43-121. 
 i576-78(?) Visit to relatives in Lancashire: Church 21; Rosalind 
 
 episode: Hales xxii-xxiv; Sp. ed. Grosart IH pp. Ixxii- 
 
 cvii, I. 46-61; Sp. ed. Child. I p. xxi; cf. Sh. Cal. Apr. 
 
 and July; F. Q. VI. v and vii; Colin Clout, 903-951. 
 i578(?)-8o /Return to the South; friendship with Sidney, Harvej', etc.. 
 
 Church 23-28; Hales xxiv-xxv; Grosart L 61-76, 443-56. 
 
 Supposed trip to the continent; cf. letter to Harvey, Sp. 
 
 ed. Grosart IX 270; I. 69, 431 ff. 
 ^577(?)"8 Supposed trip to Ireland: Grosart 65-66. 
 
 1579 Publication of the Shepherd's Calendar ("p turning-point 
 
 in the history of our poetry"). 
 
 4. Spenser in Ireland; his public life; Church, ch. iii; Hales, 
 ch. ii. 
 
 1580-1582 Sec'y to Lord Gray of Wilton; at Dublin; Desmond's 
 
 Rebellion, and the massacre at Fort-del-Ore: Grosart 130- 
 
 142. 
 1581-1588 Clerk of Court of Chancery, Dublin: Grosart 146-7. 
 
 1586 Deaths of Sidney and of Leicester; Grosart 150 
 
 1588-1594 Clerk of Gov't Council of Munster. 
 
 i588(?) Grant of 3028 acres (forfeited estate) frohi the Crown; 
 
 removal to Kilcolman: Hales xxxvi-vii; Grosart 150-154. 
 1589 Visit from Sir Walter Ralegh: Church 90-97; Grosart 
 
 155-6. 
 
 5. Literary Life; last years; death. Hales, chs. iii-iv. 
 
 1589 Visit to England: Grosart 158. 
 
 1590 Publication of VrrsiVarioi Faerie Queene; Grosart 150-161. 
 i592(?) Return to Kilcolman: Grosart 172-174. 
 
 "Complaints" and Daphnaida pub'd. 
 5 
 
1594 Marriage; Church 166-168; Grosart 190-202. 
 
 His children: Grosart 204. 
 1595, Visit to England: Colin Clout's Come Home Again, 
 
 Araoretti and Epithalamion pub'd. 
 1596 Second Part of F. Q ; various minor poems. 
 
 1596-7 Return to Ireland: Grosart 216. 
 
 1598 Sheriff of Cork; Tyrone's Rebellion; flight of English 
 settlers; burning of Spenser's house; Soenser's flight to 
 Cork;' to England as bearer of despatches: Church 173-177; 
 Grosart 217-230; Lowell IV 296 note 2. 
 
 1599 Jam Death. Burial in Westminster Abbey: Grosart 235-240. 
 
 In general: Portraits of Spenser: Grosart 242 244. 
 Spenser's Friends: Grosart 32-33, 61-76, 245-6; Church 80. 
 His Character and Mind as revealed in his works; see 
 below IX "Characteristics"; cf. Sp. ed. Child I. pp. ;:lix-lv. 
 
 II. Spenser's jWorks: Chronological Outline. 
 
 I. First Period. 1569-1580. 
 
 1569 Poems in Theatre of 'Voluptuous JVorUlini^s : Church 12-13; 
 
 Hales xix; Sp. Works ed. Grosart I. 15-28, 426-431; Sp. 
 Globe ed. 699 701. Six Sonnets or "epigrams": reappear 
 as tirst six of Visions of Petrarch, 1591. Fifteen sonnets: 
 eleven reappear among Visions of Bellay, 1591. 
 1579 (also 1581, The Shepherd' s Calendar, containing twelve Eclogues pro- 
 1586, 1591, 1597) portionable to the twelve months.' 
 
 Form: the Renaissance pastoral; a new music in English 
 verse; note appearance of allegory (e. g. Feb. eclogue); 
 various metrical forms (decasyllabic stanzas, fourteeners, 
 alliteration, etc.); archaic language and forms. 
 Suhject: Jan., June, Dec: Shepherd's complaint of Rosa- 
 lind. 
 
 Feb. . Fable of the Oak and the Briar. 
 Mar.: Cupid and the Shepherds. - 
 Apr.: Pastoral praise of Queen Elizabeth (slight 
 political allegory.) 
 
 May. : Puritan pastors;' Fable of the Fox and the 
 Kid. 
 
 July, Sept. : Puritan pastors (political allegory.) 
 Aug: Pastoral contest in song (contains a sestina.) 
 Oct.: The perfect pattern of a poet and complaint 
 o£-the low estate of poesy. 
 
Nov.; Poetical lament (elegiac pastoral). 
 References: Saintsbury, History of Eliz. Lit. 85-6; Morley, , 
 Eng. Writers IX, 35-58; Sp. ed. Gros I. 67, 100 ff , 313; 
 vol. IV. pp. xxiv-xlii; voK III. pp. ix ff. ; Craik, sect, ii; 
 Skeat, Specimens of Engl. Lit., 476480 (notes on Nov. 
 and Dec. eclogues); Lowell, IV. 299-308; Shep. Cal. ed. 
 H. O. Sommer (Spenser Soc. 1889) pp. 15-25, on '>rhe 
 Commentator of the Shep. Cal."' (holds that E. K. was 
 Spenser himself; as do Lowell, Craik, etc.); Anglia III. , 
 266 £f. ; IX. 2052. (Reissert Bermerkungen ii. Sp. 's Shep. 
 Cal. u. die friihere Bukolik, 1886); Allibone, Diet. II. p. 
 2204; Hallam, Lit. Eur. II. 219-220; Church, ch. II.; 
 Englische Stndien XIV, 149 ff. ; Webbe, Disc, of Eng- 
 Poetrie, ed. Arber 35, 52, 65, 81, 59; Encycl. Brit. XXII, 
 393 (W. Minto on Spenser); Minto, Eng. I'oetsl 169-170; 
 Crofts, Chapters in Eng. Lit. (Lond. 1884) 97 ff.; Sidney, 
 Defens,e of Poetry ed. Cook 47. 
 
 I -go .Th,ree proper and witty familiar Letters, lately passed 
 
 between two university men [Edmund Spenser and Gab- 
 riel Harvey]; touching the the Earthquake in April last 
 and our English reformed Versifying. With the Preface , 
 of a well wilier to them both, 410. 49 pp. 
 
 i-go T%t)o other very Commerulable Letters, of the same mens' 
 
 Writing; both touching the foresaid Artificial Versifying 
 and certain other Particulars, 4to. 
 
 II. Second Peripd, 1580-1599: Maturity; Active Life. 
 
 See Sp. ed. Grosart I. p. 82, 93, on the probable date of 
 some of the minor poems. 
 
 ijgo The Faerie Queene, disposed into twelve Books,_ fashioning 
 
 1596 xii Moral Virtues. Books 1-3 in 1590; books 4 6 in 1596. 
 
 Dedicated to Queen Elizabeth. First edition of whole 
 work (bks 1-6) also in 1596. Also in 1609, first folio 
 edition (first to contain the two Cantos of Mutability.) 
 With works of Spenser, also in 1611, 1617, etc., etc. — see 
 syllabus III. on F. Q., further. 
 
 ijgi ' Co/«//«!«/i, containing sundry small poems of the World's 
 
 Vanity: i. c, the Ruins of Time, Tears of the Muses, 
 Virgil's Gnat, Prosopopoia or Mother Hubbard's Tale, 
 the Ruins of Rome (by Bellay.) Muiopotmos or the Fate of 
 the Butterfly (dated 1590), Visions of the World's Vanity, 
 Bellay 's Visions and Petrarch's Visions, 92 leaves. (Sev- 
 eral of these pieces were bound up separately, as indepen- 
 dent publications.) 
 
 On the Minor Poems; cf. Spenser ed. 'Grosart IV. pp. 
 ix-cvii (essay by F. T. Palgrave); Retrospective Review 
 XII. 142-165; Sp. ed. Child I. pp. xxxi-v 
 Ruins of Time: 68611.; ded. to Countess of Pembroke (Sid. 
 ney's sister); decasyllabic » stanzas, ababbcc; elegiac 
 7 
 
Istnent for deaths of Leicester,, and Sidney, and the 
 neglect of poetry, cf. Morley, Eng. Writers IX 365; Sp. 
 ed. Grcsart IV. pp. Ix-lxiii; I. 181 £f. 
 
 (Written about Tears of i/ie Muses: 600II.; decasyllabic stanzas, ababcc; 
 1580) lament by each mus6 in turn for contemporary neglect of 
 
 herself and'^conlempt of learning, cf. Morley E. W. IX. 
 366; Craik, III. 143; Church 106; Sp. ed;: Gros. I 185; 
 IV. pp. Ixiii-lxv; Renter, the Tears of the Muses of Sp. 
 coijsidered as a document of the Lit. Hist, of the Time, 
 (dissert) Saarlouis 1864. 
 
 IS75-I582(?) Virgil's Gnat: 68811., ab ab ab cc, (ottava rima) decasyl 
 
 stanzas; free version of pseudo-Virgilian poem "Culex"; 
 plaint of gnat in dream to shepherd whose life it saved 
 from a serpent; application of fgble, Spenser's relations 
 to-teicester (allegory). Cf. Craik III. 148; S. ed. Gros. 
 IV pp. Ixv-vi; vol. I. 94, 178. 
 
 I576-I577(?) Piosopopoia, or Mother Htihbnrd' s Tale: 1388II.; decasyl. 
 
 riming'Couplets; in Chaucer's manner; satirical fable; the 
 fortunes and knavish devices of the ape and the fox, 
 as begging soldiers, as shepherd and dog, as begging 
 "clerks," as priest and' clerk, as sycophants at court, and 
 (stealing the lion's skin), as king and minister — a satire on 
 the various estates; ranks with satires of Chaucer and Dry- 
 den :cf. Morley E. W. IX. 367-8; Church 108-115; Sp. ed. 
 Gros. I. 178-181, 440; IV. pp. Ixvi-lxx; Craik III. 150 fl. ; 
 Lounsbury, Studies in Chaucer III. 56. 
 The Riiins of Roiue: 462II., 14 line decasyl. stanzas, abab 
 cd cd ef ef gg (sonnet) ; from Du Bellay; new version of 
 early verses in "Theatre of Worldings"; cf. Sp. ed. Gros. 
 IV. pp. Ixxiii-iv. 
 
 Muiopotnios, or the Fate of ihe Butterfly: 440II., decasyl. - 
 stanza, ab ababcc (cf. Virgil's Gnat); mock-heroic alle- 
 gory; "a marvel for delicate conception and treatment"; 
 symbol of the poetic temperament and of Spenser himseilf, 
 or of the life of pleasure: cf. Craik III. 172 ff. ; Sp. ed. 
 Gros. I. 184; IV. pp. Ixx-lxxii; J. R. Lowell, Works IV. 
 
 3^0-313 
 
 Visions of the World's Vanity: 168II. or 12 sonnet stanzas, 
 abab bcbc cdcd ee; "emblems in verse"; a series of short 
 "visions" typifying the evanescence of human fortune (as 
 in the two succeeding pieces); cf. Craik III 180; Sp. ed. 
 Gros. I 175 ff; IV. p. Ixxii. 
 
 Bellay' s Visions: 2 toll; 15 sonnet stanzas abab cdcd efef 
 gg (cf. Rums of Rome); fr. Du Bellay; (cf. Theatre of 
 Worldlings); cf. Sp. ed. Gros. IV. p. Ixxiv; EnglischeStu- 
 dien XV. 53 (', 'Spenser's Visions of Petrarch and of Bel- 
 lay"). 
 
 Petrarch's f- ;."«".r.' g811. ; 7 sonnet stanzas, as in Bellay's 
 Visions; same theme and treatment: cf. Sp. ed. Gros. IV. 
 p. Ixxv. 
 
1591. ^Iso 1596 Dnphnaida, an Elegy upon the Death of the noble and vir- 
 tuous Douglas Howard, daughter and heir of Henry Lord 
 Howard Viscount Byndon, and wife of Arthur Gorges, 
 Esquire. 567II.; decasyl. stanza, ab ab cb c; conventional 
 elegy, pastoral form; "a musical monotone"; cf. Sp. ea. 
 Gros. I. 167; IV. pp. Ixxvi-viii; Craik III. 187; Morley E. 
 W. IX. 367-370. 
 1595 Colin Clout's Come Home Again: 9551!.; alternate rime, 
 
 (Written 1591 ?) abab, (with variations); ded. to Ralegh; pastoral form; 
 praise of Q. Eliz. and recollections of Spenser^s recent 
 visit to Court with Ralegh; full of contemporary allusion; 
 model of the true "middle style" in poetry (Palgrave): cf. 
 Craik III. 199 ff.; Morley, E. W. IX 370371; Sp. ed. 
 Gros. I. 172 ff ; IV, pp. Ixxix-lxxxvii; Church 92-97. 
 
 1595 Amoretti [or Sonnets), and Epithalaviion: 
 
 The Sonnets: a sonnet-sequence (abab bcbc cd cd ee) of 
 88 sonnets, in two parts — I. The Suitor (1-61) II. The 
 Accepted Lover 62-88; partly autobiographic: cf. Craik 
 III. 222 ff. ; Sp. ed. Gros. I. 194 ff., 511-528; IV. pp. Ixxxvi- 
 xcii; Morley, E. W. IX 372; Minto, Eng. Poets, 169. 
 Epithalamion: 433II. in irregular long stanzas (18 or 19II.) 
 of varying metre and complicated and varying rime, ttiilh 
 refrain, (cf. liaMan canzone.) Celebration of the poets' own 
 marriage; "the finest composition of its kind, probably, in 
 any language." (Church); cf. J. R, Lowell, V/orkc IV. 
 338; H. Morley, Libr. of Eng. Lit. "Shorter Poems," 231- 
 235; Morley, E. W. IX. 372; Church 167; Saintsbury, 
 Eliz. Lit. 87; Sp. ed. Gros. IV. pp. xciv-vi; Hallam II. 
 •223; Guest ed. Skeat 671. 
 
 1596 Astrophel, a Pastoral Elegy upon the Death of the most 
 Noble and Valorous Knight, Sir Philip Sidney: 116II,; 
 decasyl, stanzas, abab cc; conventional pastoral elegy: cf. 
 Sp. ed. Gros. I. 209, 443 ff. ; IV. pp. ci-cv. 
 
 1596 Four Hymns 
 
 .i Hymn m Honour of Love : 3081!'., decasyl. stanzas, ab 
 
 ab b cc (Chaucer's Stanza). 
 
 A Hymn in Honour of Beauty : 287II., decasyl. stanzas, ab 
 
 ab b cc (Chaucer's Stanza) 
 
 A Hymn of Heavenly Love:'2iy\\., decasyl. stanzas, ab ab 
 
 b cc (Chaucer's Stanza). 
 
 A Hymn of Heavenly Beauty: 301II., decasyl. stanzas, ab 
 
 ab b cc (Chaucer's Stanza). 
 
 Highly Platonic: cf. Sp. ed. Gros. I. 206; IV. pp. xcvii-c; 
 
 Lowell IV. 316; Morley, E. W. IX. 439-442; Sp. ed. Child 
 
 I. p. xliv. 
 
 1596 Frotholamion:, or a Spousal Verse — in honor of the double 
 
 marriage of two honorable and virtuous Ladies, the Lady 
 Elizabeth and the Lady Katherine Somerset: i8on., 18-line 
 9 
 
stanza^, of varying metre and complicated rimp, with 
 refrain (but regular stanza): cf. J. W. Hales, Longer Eng. 
 Poems, pp. 2O3 £f. ; Sp. ed. Gros. J. 206, 211; IV. p. ci; 
 Coleridge, Table Talk (Bo'hn ed.) p. 45. • , 
 
 Pub. 1633 A View of the Present State of Ireland discoursed by way 
 
 (1596 Written?) , of a Dialogue between Eudcxus and Irenaeus. Dublin 
 1633; also 1763. Preface by Sir James AVare. Prose, 
 about 250 pp. ; a systematic plan for the' reformation of 
 Ireland. ^ 
 
 Part I. Of Present Abuses. i. As to Laws. 2. As to 
 Customs. 3. As to Religion. 4. Public Abuses. 
 Part II. Of Remedies Proposed, i. Hew to subdue the 
 land. 2. Immediate measures of reform... 3. Permanent 
 Reforms Proposed: Cf. Morley, E. W. IX. 447-449; 
 Saintsbury, Eliz. Lit. 85; Encycl. Brit. XXII. 393. 
 
 111. The Faerie Queene. 
 
 I. The Aim. i. Spenser's Conception of the Poets' Function in General: ' 
 
 See espcly Oct. eclogue of Shep. Cat., with "E. K.'s" 
 
 argument (cf. Lowell IV. 305-6; and F. T. Palgrave in 
 
 Sp. ed. Gros. IV. p. Iv; cf. Sp. ed. Gros. I. 314 ff.); the 
 
 letter to Ralegh (Globe ed. of Sp. pp. 3-4); Faerie Queene 
 
 I. iv, 32; I. V, 3; I. Introd.; II. Introd.; III. Introd.; IV. 
 
 Introd. (cf. Ruins of Time: 11. 532 8. and M. Huh. T. 820- 
 
 838); V. Introd.; VI. Introd.; Ruins of Time, 254-260. 33S- 
 
 400; View of Ireland (Sp. ed. Gros IX. pp. 116-117). 
 
 His Intention in the F. Q. 
 
 Its general models; Ariosto; Tasso; metrical romances, etc. 
 
 The F. Q. n literary species apart. 
 
 The letter to Ralegh; the allegory in general; the didactic 
 
 aim; an ideal world; the poetic unity. 
 
 Principles of Interpretation; various aspects of the poem. 
 
 Special topics. 
 
 C£. Lowell IV. 324-5. 
 
 II. The Plan and the Story.. Tlie main outlines of character and 
 
 "plot," 
 
 Method of treatment: three main topics, love, war, reli- 
 gion: cf. Percival pp. xxxi- iii. 
 All subservient to the allegory. 
 The "poetry" alone rises above it. 
 
 Place of the action: cf. Coleridge, Lects. on Shalis 67, 514. 
 Time of the actioii: 
 
Unity of the action; cf. IV, 2 "Allegorical Unity" below: cf, 
 Percival p. xli; cf. Saintsbury, Eliz, Lit, 88-8g; Sp, ed. 
 Todd II, pp, liii ff.; cxlii «.; civ ff, ; clviii ff. 
 
 III. Versification and Stanza. English verse before Spenser: Skel- 
 
 ton, Tottel's Miscellany, Sackville, etc. 
 The Spenserian Stanza: its origin, metre, rimes and struc- 
 ture; Caesura; exceptions; feminine rimes, identical rimes, 
 etc; the stanza Spenser's metrical unit; significance of 
 stanza; contrast Milton: 
 
 Various criticisms on the Sp, stanza: Craik III, 126 ff,; 
 Saintsbury, Eliz, Lit, 88, 89, go, 93, 94; Warton on Sp.'s 
 F, Q, I. 158 ff, ; Church 148; Coleridge, Lects, on Shaks. 
 512-513; Table Talk, 45, Miscellanies, 333; Sp, ed. Gros. 
 I, 342 ff, ; Cprson, Primer of Engl, Verse; Lowell IV, 328 
 ff.; O, W, Holmes, Hazlitt, etc. ; Loud, Athenaeum, May 
 6, 1893, p, 574; C. Davidson, Studies in Engl. Mystery 
 Plays 126-7; Hallam II. 232; Sp. ed. Todd II. pp. cxxvi- 
 cxli; Morley, E. W. IX, 323.; Guest, Eng. Rhythms ed. 
 Skeat Bk. IV. ch. vii, 
 
 IV. The Allegory. Alle^^ory in General: 
 
 For definition of allegory see H, E, Greene, "The Alle- 
 gory as employed by Spenser, Bunyan and Swift," also 
 "A Grouping of Figures of Speech" (Publications of Mod, 
 Lang, Asso, i88g and 1893), 
 Allegory vs. Personification. 
 
 History of Allegory; ancient and modern examples; in the 
 Bible; the Odyssey; mediaeval allegory; Dante; in Old 
 English poetry ; the Moralities; Chaucer, Lydgate, Lang- 
 land. Skelton, Hawes, Sackville, Dunbar, Lyndsay, etc. 
 Modern instances: Tennyson, Clough, etc. 
 cf. Coleridge, Lects. on Shaks. 511; Disraeli, Amen, of 
 Lit. II. on "Allegory"; Ten Brink,' Engl. Lit. TI. 297; Sp. 
 ed. Gros. I. 273; Symonds, Shaks. 's Predecessors 145 ff.; 
 Macaulay, Essay on Bunyan; H. Morley, Libr. Eng. Lit. 
 • Longer Works," ch. VII. pp. 848.; Sp. ed. Todd II. 
 pp. i-xx; pp. c-cxxvi.; F. Q, I, ed. Percival pp. xxii-xxiv; 
 Lowell III, 362, 
 2, Allegory of the F. Q. 
 
 In Spenser's time A. a literary fashion (cf. Euphuism) 
 
 like the pastoral; but suits well w. Spenser's taste and 
 
 genius, and used by him as a serious instrument. 
 
 The historical moment, its significance: (cf. infra V. "The 
 
 Times"). 
 
 Manifold aspect of the allegory in Sp. ; side-lights and ■ 
 
 variations; rise and fall; "multiple" allegory (Moulton). 
 
 Beast-element, personification-element, spiritualizing-ele- 
 
 ment; Percival p. xxii. 
 
. Allegory of Bk. I. chiefly religious and historical; Bl . H 
 chiefly ethical. 
 
 General difference of treatment of the later books. 
 AUegarical unity: (i). Arthur, (2). Transitions and inter- 
 linking: cf. F.'Q. II. ed. Kitchin p. vi; Percival pp. Hi- 
 liii. 
 
 Historical allegory: cf. Sp: ed. Todd II. pp. cli-clv. 
 Minor allegories; digressions; continued persopificalBcn. 
 Book I: a pilgrim's progress of the scul (except cantos iii 
 and vi), intermingled with allegory of the religious history 
 of England: (cf. Hoffmann, Ueber die Allegorie in Spen- 
 ser's F. Q. p. 8). 
 
 Allegory of "thfe defender of the faith" in Bo, k I. (J. E. 
 Whitney, "The Continued Allegory in the 'First Book of 
 the F. -Q.;" in Transac. of Am. Philol. Asso. 1888, vol. 
 xix, 40-69). 
 
 Further on the A. of bk. I. cf. Ruskin, Stones of Venice, 
 vol. III. (index; and appendix, 2) 
 
 Further on the A. of the F. Q. in general cf. Sp. ed. Gros. 
 1 s^ioff. ; IV. p. Ixvi, Ixxxvi; A. deVere, Essays.!, 50; Dow- 
 den, Transcripts and Studies 309; Saintsbury, Eliz. Lit. 
 89-90; works of Greene, and of. Hoffmann cited above; 
 Morley, E. W. vol. IX ; Hallam II. 230-1; Sp. ed. Todd 
 II. p. xlii f. ; Percival p. x-xxii; Encycl. Brit. XXII. 394. 
 
 V. General Criticism of tlie Fairy Queen. See also Notes on 
 
 "Spenser Criticism.'' 
 
 cf. Sp. ed. Child I. pp. Iviii Ixii (quoting Campbell) Saints- 
 bury, Eliz. Lit. 88-96; Lowell IV. 318-326; Disraeli, Amen, 
 of Lit. II. on "The F Q"; Sp. ed. Gros. I. 213, 260 ff.; 
 Creightou, Age of Eliz. 217; J. R. Green, Hist of Engl. 
 People (N. Y. ed.) II. 461-467; S. Brooke. Primer of Eng. 
 Lit. 68; Church chs. IV-VI; Hallam II. 230-7. Taine Eng. 
 Lit. bk. II. ch. I. sects, vi vii; Sp. ed. Todd II. pp. xx. ff.; 
 Minto, Engl. Poets 170 181; Crofts, Chapters in Eng. Lit. 
 (Lond. 1884) pp. 104 ft. 
 
IV. Spenser's Grammar, Vocabulary and Rhetoric. 
 
 See generally; Geo. Wagner, On Spenser's Use of Archa- 
 isms (dissert.) Halle 1879; K. Bohne, Bemerkungen zur 
 Grammatik Spenser's (program) Geestemiinde 1884; Per- 
 cival Introd. pp. Ixi-lxv and notes passim; Brendel, Ueber 
 die Konjtmktionen bei Spenser, Halle i8go; During, Ueber 
 die Pronomina bei Spenser, Halle 1891; R. Liese, Die 
 Flexion des Verbums bei Spenser, Halle i8gi ; Steixiinger, 
 Der Gebrauch der Prapositicm bei Spenser, Halle i8go; 
 Willis, De Lingua Spenseriana ejusque Fontibus. Bonn 
 
 ;'■,,,; 1848. 
 
 I. Elizabethan English, Its Characteristics. 
 
 Flexible and formative; new elements; formation of the 
 literary idiom; various foreign influences; cf Saintsbury, 
 Eliz. Lit. gi; E. A. Abbot, Shakespearian Grammar pas- 
 sim, espc'ly Introduction. 
 
 II. Spenser's Language. 
 
 I. General CJiaracteristics: ample vocabulary, prefers earlier 
 Elizabethan diction; aims to keep his diction within limits 
 of good English, but has many foreign idioms; style ample 
 and full rather than terse. 
 Archaisms: 
 
 Chiefly in the Shep. Cal.; less in Mother Hubbard's Tale 
 and in the Faerie Queene; little in the other poems. 
 Drawa from Chaucer, from dialectical usage (Lancashire), 
 and from the poets his early contemporaries or immediate 
 predecessors: cf. Sp. ed. Gros. I. app. 408-421; Louns- 
 bury, Stud, in Chaucer III. sg, 61-65; 
 His aim partly to check the extravagant borrowing of the 
 time Irom foreign vocabulary and idioms, partly to imi- 
 tate his great master Chaucer, and partly to secure artistic 
 color and effect: cf. Kitchin I. p. xvi; Sp. Globe ed. p. 
 442 ("E. K.'' to Harvey); Ellis, Early Eng. Pronunciation 
 (E. E. T. Soc. 1871) p. 862. 
 
 Consist rather in forms and grammatical peculiarities 
 than in vocabulary: his vocabulary said to be the most 
 Germanic of all the great English poets (F. Schlegel): cf. 
 Marsh, Lects. on Eng Lang, ist series 4th ed. pp. 125, 
 514; Wagner op. cit ; , . / 
 Peculiarities : 
 
 Latinisms, Italicisms, Gallicisms: cf. Kitchin I. p. xvii; 
 Pei'cival, Notes passim; 
 
 Peculiarities of formation and inflection due (a) to use/ of 
 archaic forms, (b) to exegencies of rime and metre (rarely)., 
 13 
 
and (c) to usage of the time; see summary in Percival, 
 Intrcd. pp. Ixi-lxv, and in Wagner; see also Abbot's 
 Shaks. Gram. 
 4. Prosody: 
 
 See supra. III. The Faerie Queene "Versification." 
 Accent, frequent fluctuation of: cf. Abbot, ShakS. Gram'. ~ 
 §. 490; Wagnef 57; Sp. ed. Todd VIII. 540 2 (''Accentual 
 Index"); G. Gunther, Ueber den Wortaccent bei Spenser, 
 Jena 1889. " , 
 
 Alliteration, both as metrical and as archaic expedient. 
 Pronunciation, many minor variations, esp'c'ly in sylla- 
 bles usually silent: cf. Ellis, Early Engl. , Pronunciation 
 Pt. III. pp. 858, 852; Guest, Engl. Rhythms ed. Skeat 
 bk. I. ch. iii and iv. 
 
 Rime; occasional "half rime," identical rime, and femi- 
 nine rime; faulty and imperfect rinies: Ellis, Early Eng. 
 Pronunciation Pt. III. ch. viii, §. 5; Guested. Skeat bk. 
 I. ch's. iii-iv passim, also pp. 14, 18-19, 44"48, 126, 130 136, 
 145-148. 
 
 IV. Spenser's Rhetoric. 
 
 Spenser's Style: cf. IX. "Characteristics." 
 
 Use of Simile and Metaphor; frequent simile, often 
 
 expanded, imitating classical models. 
 
 Felicitous in e'pithet: Marsh,. Origin and Hist, of Eng. 
 
 Lang. (N. Y. 1892) p. 549. 
 
 V. The Times: Contemporary Literature and 
 History. 
 I. Contemporary Literature. 
 
 See in gen'l Sp. ed. Gros. IV. pp. xi-xxiii; Lowell IV. 
 265-276; S. Brooke, Primer of Eng. Lit. g§. 44-50, 56-58. 
 1. Forvintive Influences : 
 
 Caxton and the Introduction of Printing: cf. Brooke §. 46. 
 
 Free word-coining: Morley, E. W. X 197. 
 
 Classical interest; translations, classic myth and story, 
 
 etc , (Phaer, Gascoigne, etc ): Morley, E. W. X. ch. xv. 
 
 Italian Influences; Sonnets, blank verse, amatory verse, 
 
 (Wyatt, Surrey, etc.) 
 
 Romantic interest manifested in various forms; romances 
 
 of chivalry; allegory (Sackville, Hawes, etc.); prose tales 
 
 (1566 Painter's Palace of Pleasure, Greene, Nash, Lodge, 
 
etc.); stories of voyag«rs (Hakluyt, etc.); masques and 
 
 pageants. 
 
 All these interests are represented in Spenser's work. 
 
 Allegory and pastoral the characteristic forms of earlier 
 
 Elizabethan lit. 
 
 2. Characteristic Forvis of ContntJt/'orary Production: cf' 
 Brooke ch. iv; Creighton, Age of Eliz. bk. VII ch. ii. 
 
 [a] Topics of English patrioiisvi and history : cf . Brooke 
 
 §72- 
 
 Antiquaries and chroniclers (Camden, Holinshed, 
 
 etc.); cf. the historical allegory and antiquarian spirit 
 
 in F. Q. ; cf. also View of Ireland. 
 
 The historical plays (Shakspere, Greene, Marlowe, 
 
 etc.). 
 
 Poems of Engl, history and description (Drayton, 
 
 Daniel, Warner, Mirror for Magistrates, etc.) 
 {i) Court and social Satire [Gascoigne, Hall, Marston, etc.) 
 [t) Euphuism and Arcadianism (Lyly, Sidney, and their 
 
 imitators); influehce on Spenser and Shakspere: cf. 
 
 Brooke § 59; Symonds, Shaks. Predecessors ch. XIII. 
 
 § iv. 
 ((/) Various Lyric Forms: amatory verse, sonnets, songs 
 
 and madrigals, elegy, ode, etc.; cf. Brooke § 71. 
 
 (e) Various Forms of Prose: (a) and (f) as above; prose 
 
 tales; voyages; beginnings of literary criticism (Sidney, 
 Webbe, Puttenham, etc.): cf. Brooke § 60. 
 
 [f) The Drama: morality play, chronicle play, popular 
 comedy, romantic comedy, tragedy, masque and page- 
 ant. 
 
 3. Literary Periods and Schools in Age of, Elizabeth: cf. 
 Saintsbury, Eliz. Lit. 
 
 4. Spenser's Chief Conteniporaries: cf. Rylands, Chron. Out- 
 lines Eng. Lit. under the years 1552-1600. 
 
 II. Contemporary History: Men and Events: 
 
 , Cf. Creighton, Age of Eliz.; E. S. Beesly, Queen Eliz.; 
 
 Green, Hist. Engl People. 
 
 Chief movements reflected in Spenser's poetry: 
 1. The Religious Movement : cf. Creighton, Introd. and bk. I; 
 
 The struggle against Rome; the Reformation in England 
 
 and abroad. 
 i. Elizabeth and Mary Que^n of Scots: cf. Creighton bk. II. 
 
 d. ii; Beesly, chs. iv and ix. 
 
 3. England,-, Spain and the Netherlands: Leicester and Sid- 
 ney; ths Armada: cf. Creighton bks. III., V. and VI.; 
 Beesly chs. iii, vi, viii and x. 
 
 4 . Etigland and France . 
 
 5. A'fjw? ^^njVj-; Elizabeth's policy and character; her influ- 
 ence, national and literary; the court; Burleigh, Leicester, 
 
 15 
 
Essex, Ralegh, etc.: cf. Creighton.bk. IV,; Beesly chs. 
 xi-xii; Naunton, Fragmenta Regalia. 
 6. English Life: cf. Creighton Bk. VII ch. i; cf. Harrison's 
 Description of England (Hblinshed). . 
 
 III. 'Characteristics of tiie Age. 
 
 1. The English Renaissance; the Eliz. age the Indian Sum- 
 mer of the, Renaissance in Engl.; origins in 
 
 [a) The Revival of Beaming; Italian influence; taste and 
 form plus reason; beginnings of scholarship, spirit of 
 research, experimental science, theological and polit- 
 ical speculation; philosophy, esp'el'y Platonism (Spen- 
 ser, Sidney, Henry More, 'etc.); idealism conjoined 
 with romanticism. 
 
 [h] The Reformation, (c) Inventions. 
 
 (d) Discoveries, in Astronomy, in Geography, (e) Over- 
 throw of Feudalism. 
 
 (/") Rise of the people: cf. Sp. ed, Gros. IV. pp. x-xi; 
 Percival pp. Ivi ff. 
 
 2. A Spiritual Revival: the mediaeval struggle; transl. of 
 Bible 1383; progress of the Reformation; agitation of fun- 
 damental moral questions; idealism. 
 
 3. A New English Language: cf. Lowell, Old Eng. Dram. 
 16-18, 28-33. 
 
 4. Literature, the only highly developed art in Eliz. England. 
 
 5. National Life: concentrated; end of long civil wars; the 
 people and the sovereign at one; predominance of, the 
 moderate policy of Elizabeth and "the politiques" ; fana- 
 ticism of Puritans and Catholics equally repressed; favor- 
 able to literature. 
 
 Lo;idon becoming a literary and national capital: cf. 
 
 Lowell, Old Eng. Dram. 13, 15. 
 
 Freedom fr. tradition and prescription, both political and 
 
 literary. 
 
 6. Elizabethan "Chivalry"; its significance; Drake, RaleghT, 
 Sidney, etc.: cf Percival p. xxviii; Crofts, Chaps, in Eng. 
 Lit. 97 ; Mediaeval chivalry, its influence: cf. Percival pp^ 
 xxxiii ff. 
 
 Spenser, the typical poet of Elizabeth's reign: the meeting 
 point of Mediaevalism and the Renaissance; all these ele- 
 ments converge in him; cf. Creighton pp. 217-228. 
 
VI. Spenser's Sources. 
 
 Cf. Sp. ed. Gros. II p. 30 and passim (E. K. on Spenser's 
 Sources). ' 
 
 I. Spenser's Learning in General. 
 
 1. Its extent: Lowell IV. 309. 
 
 2. Its qualify; Saintsbury, Eliz. Lit. 91. 
 
 3. Information: in Science. 
 
 History. 
 Geograplfy, etc. 
 
 4. Style formed chiefly by study of Chaucer, by practice in 
 translation, and by imitation of the Italian popts: cf. 
 Lowell, Old Eng. Dram, i.8 29. 
 
 5. Use of myth and story, biblical, classical, and fairy: cf. F. 
 Q. bk. I. ed. Kitchin p. xix; cf. Lounsbury's Chaucer II 
 191 ; Sp. ed. Todd II. rp. xlii ff. ; Hoffmann, ii. d. Allegorie 
 41; Percival pp. liii ff. 
 
 II. Biblical: cf. Church 122. 
 ill. Classical: cf. Church 160. 
 
 1. Plato and Platonism: cf. Morris, Brit. Thought and 
 Thinkers 53-61; Lowell IV. 288, 315. 
 
 2. Homei-: cf. Church 121; Lowell IV 33r. 
 
 3. Tliedcritus and Bion: cf. Church 42; Sp. ed. Gros. IV. 
 
 pp. XXX ff. 
 
 4. Vergii: Church 42, i2i; Sp. ed. Gros. Ill pp. ix-xlviii 
 ' (E. Gosse on Engl. I'astoral Poetry and its orgins in Vergil 
 
 and Theocritus): cf. also pp. xlixlxxi; cf. F. Q. I ii and 
 Aeneid bk.- 1, etc 
 
 5. lucrelius: Church 126. 
 
 6. Ovid: Lowell IV 312. 
 
 Cf. Reissert, Bemerkungen ii. Sp.'s Sh. Cal. u. d. frlihere 
 Bukolik (detailed comparison of the Slwf. Cal. with its 
 sources in Theocritus, Vergil, Boccaccio, Marot, etc.) 
 
 IV. Italian: cf. Morley, Libr. Engl. Lit. "Longer Works," pp. 84-85. 
 
 1. Dante: Lowell IV 290, 332, 3ff2, 349«. ; cf. F. Q. II vii; 
 II iii 40, 41; VI X 10-16: cf. Notes and. Queries, May 28, 
 1892 (8th ser. I 439). 
 
 2. Petrarch: Church 12; Sp. ed. Gros. IV. p. Ixxxviii. 
 
 3. Ariosto: Lowell IV. 299, 320; Church 36 ff., 121: Saints- 
 bury, Eliz. Lit. 89; Sp. ed. Gros. I 379; Hallam II 232. 
 
 4. Tasso: Church 121; Sp. ed. Gros. Ill p xci; Percival p. 
 xli. 
 
 5. Mantuan: H. Morley, E. W. IX 32; Ang:ia III 266 ff. 
 
 6. Sannazaro: Sp. ed. Gros. IV. p. xxx. 
 
 7. Machiavelli: Sp. ed. Gros. IX 254. 
 
 V. French. 
 
 1. Du Bellay: Church 12. 
 
 2. Marot: Church 42; Sp. ed. Gros. Ill p. Ixv; H. Morley, 
 Clement Marot and other Studies; The Shep. Cal. ed. H. 
 Morley (in Cassell's Nat'l. Libr ) pp. 165-192. 
 
 17 
 
VI. English and General. Sp. ed; Gros. IV pp. ix-xxiii; Percival xxii- 
 xxiv. 
 
 1. Early Romanies: "The S^ven Champions of Christendom,'' 
 1570-1597, Bevis of Hampton, etc.. cf. Morley, Eng. Wr. 
 IX 322; Hales, Folia Litteraria 22; Percival -kilwu B. 
 
 2. The Arthurian Legends : Church 121; Percival p. xxxviii. 
 Malory's -Morte d' Arthur. 
 
 3. English Chroniclers and Historians; Camden, Holinshed, 
 etc.; note Spenser's love of '-'Antiquities": cf. Sp. ed. 
 Gros. IX 76, 92, 96, 274; cf. "Ruins of Time" (nptice of 
 Camden)_; Geoffrey of Monmouth (cf. F. Q. II x); cf. Sp. 
 ed. Todd II pp. Ixvi ff, 
 
 4. Chaucer: The Tityrus ai the Shep. Cal.; cf. Sp. ed Gros. 
 IV p. xxxi; IX 112, 233; Lounsbury, Stud, in Chaucer III 
 42-46, 245; Wagner, Sp. 's Use of Archaisms p. 9; Edin. 
 Rev. XXV 59 ff. ('Spenser and Chapcer"); cf. F. Q. IV 
 ii 32; VII vii 5 ff. 
 
 (a) Imitations of his language and grammar: cf. Church 
 
 (/') Imitations of his times and atmosphere; historical 
 
 archaism, 
 (c)' Direct imitations: passim in Sp.'s poetry: cf. Church 
 
 177, and references. 
 
 5. Sackville: cf. Craik I 108; Warton, Hist. Engl. Poetry, ed. 
 
 Hazlitt IV 177; cf. Sp.'s sonnet to Sackville. 
 
 6. The Mirror for Magistrates: cf. Warton, Hist. Eng. 
 Poetry, ed Hazlitt IV 196. 
 
 VII. Spenser's Literary Influence. 
 
 Of two kinds, i. Formal; esp'c'ly in use of Spenserian stanza and alle- 
 gory; esp'c'ly in the i8th Cent.: cf. Percival p. Ix; 
 Guest ed. Skeat ch. vii. 
 2. Essential: stimulating imagination and idealism in other 
 poets: 
 
 Cf. Leigh Hunt, Imag. and Fancy (Lend. 1883) p. 66; 
 Church I37ff.; Corson, Primer of Eng. Verse 87-142; 
 Sp. ed. Gros. I 252. 
 
 I. On His Contemporaries and Immediate Successors. 
 
 Traceable in almost every writer of the time: cf. Swin- 
 burne, Miscellanies 6-10; cf. Sp. ed. Todd I pp. clxxxi- 
 
 clxxxv. 
 
1. The School of Spenser ; 
 
 Giles Fletcher: cf. Hallam, Lit. of Eur, III 244-5; E. 
 
 Gosse, The Jacobean Poets (N. V. 1894) p. 138. 
 
 Phineas Fletcher: Hallam III 244; E. Gosse, The Jacobean 
 
 Poets 149. I 
 
 Wm. Basse: cf. The Academy, Sept. 23, 1893, p. 247. . 
 
 Henry More: cf. Coleridge, Miscellanies 332K, 
 
 Jos. Beaumont. 
 
 Wm. Browne. ' 
 
 2. Shakspere : esp'c'ly in his sonnets: 
 
 Cf. Lowell IV 28g«., 305/;. 3o7«.; Sp. ed, Gros. I 82, 91- 
 93, 182-3, 184, 297, 300, 351; vol. IV p. Ixxxiii. 
 
 3. Other Dramatists: 
 
 Marlowe.- borrows tr. F. Q.: cf So. ed. Gros. V 124, 137. 
 
 Ptele: borrows fr. F. Q. : cf. Sp. ed. Gros. V 77. 
 
 J, Fletcher; borrows fr. Shep. Cal. in his Faithful Shep' 
 
 herdess. 
 
 Beaumont and Fletcher: cf. Warton, On Sp. 's F. Q. II 
 
 80K. 
 
 4. Miscellaneous Elizabethan ; Drayton, Drummond, Braith- 
 waite, Barnefield: 
 
 Cf. Davisons Poet. Rhap. ed. Bnllen I pp. Ixxv, 63, 76; 
 Hazlitt's Dodsley VIII 388; Parnassus, three Plays, ed. 
 Macray pp. 58, 63, 84, igo. 
 
 II. Later Seventeenth Century. 
 
 1. Milton; cf. Lowell IV 302, 333; Sp. ed. Gros. p. c. ; V 
 p, 197, igg, 212-213; Warton, On Sp.'s F. Q II 286, 304, 
 etc.; Milton's Pros. Works (Bohn ed.) II 68, III 84; II 
 Penseroso 11. 116-120; cf. Sp. ed. Todd vol. VIII 567-8 
 (Index, under "Milton"); cf in genl Spenser's Hymn of 
 Heavenly Love. 
 
 2. Bunyan: cf. Lowell IV 323; contra, J. W. Hales, Folia 
 Litt. 252, 256; Sp. ed. Gros. I 336. 
 
 3. Dryden: cf. Sp. ed. Gros. I 290; Warton, On Sp.'s F. Q. 
 Up. 147. 
 
 4 Cowley ; Sp. ed. Todd I p. clviii. 
 
 III. Eighteenth Century. 
 
 Cf. Phelps, The Beginnings of the Romantic Movement 
 
 ch. iv, and app. I. 
 
 Lounsbury's Chaucer III 114, 119, 152 ff.; L. Stephen, 
 
 Eng. Thought in iSth Cent. II 359; cf. Todd. 
 
 Prior; cf. Phelps 49 ff. 
 
 Pope: 
 
 Thomson; cf. Phelps 74 ff. 
 
 Collins: 
 
 Gray: 
 
 Akenside; cf. Phelps 62. 
 
 Shenstone; cf. Phelps 66 ff. 
 
9- 
 
 10. 
 
 IV. Modern. 
 
 Beat lie: 
 
 Gay: cf. Sp. ed. Grosl III. p. xliii. 
 
 Miseellaneous (cf. Phelps ch. IV passim): Steele, Gilbert' 
 West, Ll05;d, Wilkie, Mickle, Cambridge, T. Warton, Sir 
 Wm. Jones, A. Phillips (Pastorals 1709), Croxall, White- 
 head, Wm. Thompson, Blackluck, etc. 
 
 Wordsmorth: see esp'c'ly his Prefaces. 
 Keats: 
 
 Shelley: cf. Sp. ed. Gros. I 288. 
 Byron, (Superficial; stanza only). 
 Scott: cf. Sp. ed. Gros. I 282. 
 Southey: cf. Sp. ed. Gros. I. 284. 
 Coleridge : 
 Burns : 
 Campbell: 
 Tennyson : 
 Miscellaneous Wm. Morris, L. Hunt, etc. 
 
 VIII. Spenser Criticism. 
 I. Critical Apparatus. ' 
 
 1. Chief Critical Editions 
 
 161 1 and 1617, Works (perhaps ed. by Gabriel Harvey); 
 i67~9. Works w. Life; 1715 and 1730, Works w,. Gloss., Life, 
 etc. ed, Hughes; 1751, Works w. Life, etc.'ed Birch; 1758, 
 F. Q. with notes, etc. ed. Church; 1758, F. Q. w. notes, 
 etc. ed. Upton; 1805, Works, Todd's Variorum ed. (also ■ 
 1840, 1852, 1861); 1806, Works ed. Aikin; 1825, Works w. 
 Life, etc. ed. Robinson; 1839, Works w. Life by Mitford 
 (Aldine Poets); 1839, Works ed. Hillard (ist Amer. ed ); 
 1848, Works ed. Masterman (Boston); 1855, Works ed. 
 Child (Boston); 1859, Works ed. Gilfillan; 1862, Works 
 ed. Collier; 1869, Works ed. Morris and Hales (Globe 
 ed.); 1882, Works ed. Grosart (variorum); 1868, F. Q., 
 bks. I. and II. ed. Kitchin; 1893, F. Q. bk. I. ed. Percival. 
 Also 1778, etc. in Bell's Poets; 1795, in Anderson's Poets;, 
 1802, in Aikin's Poets. 
 
 2. Separate Commentaries 
 
 1734, Jortin, Remarks on Sp.'s Poems; 1751, Upton, Let- 
 tepr concerning new ed. of F. Q. ; 1758-9, Anon , Estimate 
 
of Upton's Notes; 1752 (rev. 1762), F. Warton, Observa- 
 tions on F Q.; 1756, Anon., The Observer Observed; 
 1760 [Bp. Hurd], Letters on Chivalry and Romance; 1845, 
 G. L. Craik, Spenser and His Poetry; 1847, Mrs. C. M. 
 Kirkland, Sp. and the F. Q. (N. Y.); 1847, J. S. Hart, 
 Essay on Life and Writings of Sp. (N. Y.) 
 ■ See also following references. 
 
 Progress of Critical Opinion. Cf. Percival p. Hx. 
 
 1 . Contemporary 
 
 Immediate recognition of Spenser's supremacy in poetry: 
 Church 165, 100, loi; Hallam, Lit. Eur. IH sect. V p. 
 244; II 236. 
 
 Unanimous praise of his versification and imagination; 
 some adverse criticism of his subjects and archaism. 
 1580, G. Harvey; 1584, Puttenham (ed. Arber p. 77); 1586, 
 Webbe (ed. Arber p. 23, 35, 523); 1589, Nash; 1590, Sir 
 W. Ralegh; 1590, Watson; 1593, Churchyard; I595(?), 
 Sidney; 1595. T. Edwards; 1596, C. Fitzgeffrey; 1596, 
 Harrington; 1593, Meres; 1598-9, Barnfield; 1598, Mar- 
 ston; etc. 
 
 2. i6oo-iyoo 
 
 The School of Spenser, its strong influence; homage of 
 
 imitation. 
 
 1601, Ret. fr. Parnassus; 1613, Browne: 1619-41 Ben 
 
 Jonson; Dryden, etc. 
 
 3. lyoo-iSoo, Chief Critics: Pope, Addison, Church, Hughes, 
 Upton, T. Warton, Dr. Johnson, Spence, Bp. Hurd, 
 Todd. "Classical" versus "Gothic." 
 
 See notes VII on "Sp.'s Influence.'' 
 
 After 1700; great revival of interest in Sp. : cf. Phelps, 
 
 Beginnings of Romantic Movem. ch. IV. also p. 15, 112- 
 
 115; F. Q. I. ed. Kitchin p. xx; Sp. ed. Todd I and II 
 
 passim. 
 
 4. Since iSoo. 
 
 Strong influence of Spenser on Wordsworth, Keats, Shel- 
 ley, Scott, and others accompanies a deepercritical appre- 
 ciation of Spenser: The romantic poet/n?- excellence. 
 Chief Critics: Scott, Hazlitt, Lamb, Campbell, L. Hunt, 
 Hallam, Disraeli, Landor, Coleridge, Wilson (C. North). 
 Later: A. de Vere, Courthope, Maurice, Lowell, H. Mor- 
 ley, Swinburne, Dowden, Saintsbury, Ruskin, Craik, F. 
 T. Palgrave. 
 
 See Allibone, Diet. Eng. Authors art. "Spenser" (quotes 
 numerous criticisms of Spenser). 
 
IX. Leading Characteristics of Spenser's Poetry. 
 
 In genl. cf. Sp. ed. Gros. I 257-303 (A. de Vere on Sp.'s 
 Characteristics: names as chief traits, i. Sense of Beauty ; 
 i:. Suggestiveness; 3, Descriptive PoiAer; 4. Moral Wis- 
 dom; 5. Spiritual Aspiration). 
 
 I. Differentia of Spenser's Poetry. 
 
 I. Is not distinguished by dramatic interest and the penetra- 
 tive imagination (Shakspere); nor by epic cweep and 
 grandeur (Milton, Dante); nor by human humor and inter- 
 est (Chaucer); but by the charm of an ideal world. Spen- 
 ser an idealist (cf. Shelley), and the F. Q., \h& first great 
 ideal poem in Engl. : cf. Lowell passim. 
 The poet of pure poetry: cf. his self-criticism in verses to 
 Harvey, Sp. ed. Gros. IX 269. 
 
 Sensibility to beauty and power of musical language his 
 two distinguishing traits. 
 
 X. T/ie typical English poet of the Renaissance (Taine); the 
 meeting-point of Mediaevalism and the Spirit of the Renais- 
 sance; cf. Sp. ed. Gros. I 267 ff. 
 
 Represents also in some measure the spirit of the Re- 
 formation (Puritanism). 
 
 A national poet: cf. Coleridge, Lects. on Shaks. (Bohn) p. 
 516. 
 
 3. Hence the typical romantic poet of England: note the return 
 to Spenser in the i8th Cent. Romantic revival. Roman- 
 tic traits: cf. II. Nos. 4, 5, 7, 8, following. 
 
 II. Leading Traits. 
 
 1. sp. as a narrative poet. Epic characteristics of the F. Q. ; 
 cf. Homer, Vergil, Ariosto, Milton, Dante, Beowulf; envi- 
 ronment, plus genius; r, literary epic: cf. Jebb. Introd. to 
 Homer 16-17. 
 
 Homer and Spenser: cf. Jebb 4, 5«., 11. 17; cf. Taine. 
 The F. Q., a iiSerent ge7ire: to be judged by underlying 
 a;sthetic principles (unity, effect, etc.) 
 
 2. As a descriptive poet: cf. Coleridge, Lects. on Shaks. 514 
 ("not in the true sense of the word, picturesque'. . . .a won- 
 drous series of images, as in our areams"). 
 
 His pictorial powers (compared to Rubens by Campbell; 
 but cf. w. Turner's "dreamy indistinctness.'') Distinct 
 images (Coleridge), but effect of dissolving views. His art 
 of transition: cf. Saintsbury, Eliz. Lit. 86; Dowden, 
 Trans, and Studies 312; cf. Taine; Sp. ed. Gros. I 289 ff. ; 
 Sp. ed. Todd I p. clxiv-v; Sp. ed. Child I p. Iv. 
 Nature in Sp. ; significance of the pastoral form. 
 
 3. Spenser as 11 Satirist: cf. Sp. ed. Gros. I 91; IV p. Ixvii. 
 Spenser's "Humor": cf. Sp. ed. Gros. I 53, 70, 181, 212; 
 IX 90-gi; see Muiopotmos; cf. Minlo, Eng. Poets 180. 
 
4- The Poet of Chivalry: Ss^ensex's Mediaevalism: Coleridge, 
 Lects. on Shaks. (Bohn ed.) p. 511, 515; cf. Sp. ed. Gros. 
 I 267-g, 272; Percival pp. xxviii ff. 
 
 5. Historical feeling: loved "antiquities"; a romantic trait: 
 cf. Sp. ed. Gros. IX 31, 65, 92, 216, 217, etc ; cf. his 
 archaizing tendency; a poet of the humanities idealized: 
 cf Sp. ed. Gros. I 258-g, 266, 271 (life a pageant). 
 
 6. Moral feeling: morality of his poetry: cf. Sp. ed. Gros. I 
 122 ff., 457, 277. 
 
 Moral idealism: cf. Sp. ed. Gros. I 73-75. 
 
 7. Imnginntion: "imaginative fancy": Coleridge, Lects. on 
 Shaks. 516. 
 
 A storehouse of the imagination; Wordsworth, Works ed. 
 Knight IV 323. 
 
 Sensuous, cbjective, but idealistic; exquisite sense of 
 beauty: cf. Taine; cf. Sp. ed. Gros. I 279; Percival p. xlii. 
 The World of the F. Q.. c£. Taine; "out of space" (Cole- 
 ridge). 
 
 His Imagery; Metaphors and Similes; of the Homeric 
 type. 
 
 8. Underlying Poetic Mood: "melancholy," cf. The Com- 
 plaints: Saintsbury 86; Sp. ed. Gros. I gf ; IV p. Ix; cf. 
 F. Q. I ix; Sp. ed. Child I p. liii. 
 
 Pensiveness, moral earnestness and tenderness: Coleridge, 
 
 Lects. on Shaks. 517. 
 
 Seriousness and sympathy (contrast Ariosto). 
 
 9. /^/i C/)«;v!:f/i?;-j: "Chaucer painted persons, Spenser qual- 
 ities" ; but see Sp. 's heroines. 
 
 Cf. Dowden, Trans, and Stud. 310; Sp. ed. Gros. IV p 
 Ixii. 
 10. Chief Defects: prolixity, deficiency in structural unity, (cf. 
 Sp. ed. Gros. I 214, 291-3), in symmetry and progress of 
 story. 
 
 Flattery: cf. Percival p. xxv. 
 Inconsistencies: e. g. F. Q. IV viii-x. 
 
 III. Style and Diction. 
 
 1. Expansiveness or "dilatation" (Lowell); deliberateness; 
 corresponding movement of verse and thought,; clearness; 
 force; fluency; stanza vs. blank-verse: cf. Minto, Eng. 
 Poets 173. 
 
 2. Archaizing tendency; e&eci on siy\e: compared w. his im- 
 mediate predecessors and contemporaries (Gascoigne, 
 Turberville, etc.); Latinisms and Gallicisms; Spenser's 
 Style and Sidney's: cf. Sp. ed. Gros. IV p. xxxiv: Minto, 
 Eng. Poets 168. 
 
 3. Rhetorical devices: antithesis, balance, parallelism; com- 
 pare and contrast Euphuism 
 
 4. His Taste: exaggerations (e g. F. Q. I xi 21-22); coarse- 
 ness (rare); repulsive pictures: cf. Minto, Eng. Poets 181. 
 
 23 
 
X. Leading Ideas in Spenser's Poetry. 
 
 In genl. cf. A. de Vere, Essays I 48-100 on "Sp. as a Philo- 
 sophic Poet." 
 
 I. General Aim and Attitude. 
 
 1. Alediaval Sympatliy; Platonic Ideal; Aesthetic Sense of 
 Beauty and ot the Pageantry of the external world (Renais- 
 sance); Puritan bias. 
 
 2. Fundamental temperament: English, and strongly ethical. 
 
 3. Spenser s conception oj poet's function as a teacher: cf. 
 Jowett's Plato II, Introd. to Gorgias, last 3 pp.; Sp. ed. 
 Gros. I 304 ff. 
 
 4. Distinct Ethical Aim of F. Q. : cf Bryskett's Discourse, in 
 Sp. ed. Gros. I 502 ff; cf. Sp. ed. Gros. I 214 ("a great 
 religious poem"), 260, 305-6, 321, 397 ff. 
 
 II. Ethical and Religious Views. See references under III (F. Q, its 
 
 allegory); cf. Sp. ed. Gros. I 331-339; Morley, Eng. V/rit 
 ers IX 318-321; Ruskin, Stones of Venice II ch. viii pas- 
 sim. 
 
 1. Conception of life mediaeval; a battle: its transitoriness. 
 
 2. Close connection of morality and religion: cf. allegory of 
 F. Q. bk. I, esp'c ly c. x. 
 
 3. Private morality; the struggle of temperance (the golden 
 mean), Purilauism (see below): cf. allegory of F. Q. bk. II. 
 
 4. Virtu.-s chiefly emphasized: e. g. cf. F. Q. I x 
 
 5. Vices chiefly represented: e. g. cf. F. Q. I iv. 
 
 7. Spenser^s Puritanism: cf. Shep. Cal. etc. V,- VII and IX; 
 
 cf. F. Q. VII vii St. 35; cf. Sp. ed. Gros. I 189, 314; IV p. 
 
 Ixix; IX 246; Morley, E. W. IX 41 ff., 449; cf. Beesly, Q. 
 
 Eliz. 226; Creighton, Age of Eliz. 2; Percival p. xviii. 
 7. Creed: cf. Hymn of Heavenly Love; F. Q. I x. 
 
 III. Political and Social Ideas. Seeespcly F. Q. bk. V (of Justice). 
 
 1. Conservative and aristocratic tendencies; love of order. 
 
 2. Views on Eijitality and Socialism: 
 
 Cf. Sp. ed. Gros. IX 29, 42, 46, 56, 59, 102, 230. 
 
 3. Attitude to2oara Woman: exalted, yet conservative: cf. 
 F. Q. V. v-vii; cf. Percival p. xxxix, xlv ff. 
 
 4. Politics and Government: cf. View of Ireland. 
 
 IV. Philosophy of Nature. Cf. two cantos of Mutability: change is 
 
 constant, but is in the world of phenomena; cf. F. Q. Ill 
 
 vi; cf. Hoffmann, ii. d. Allegoric p. 41. 
 
 Platonic tinge: cf. the four Hymns; an ideal philosophy 
 
 "half-Patristic and half-Platonic" (A. de. Vere); cf. F. Q. 
 
 Ill vi esp'c'Iy sts. 2 and 32. 
 
 Spensi-r significant not for his philosophy, but as a poet, 
 
 and as a poet of strong sense of beauty, and of deep moral 
 
 earnestness. 
 
 V. Views on Art and Poetry. Cf. F. Q. II xii (The Bower of Bliss); 
 
 III vi (Garden of Adonis); III xi-xii (Masque of Cupid); 
 V vii (The Temple of Isis); The Four Hymns; (see notes on 
 F. Q. "Sp.'s Conception of the Poet's Function'). 
 Cf. Sp. ed. Gros. IX ri6; cf. Taine. 
 
 VI. Various Topics. Nature in Spenser: cf. IV above; cf. Percival p. 
 
 xliv; Lowell III 355; Sp. ed. Child I. p. liv. 
 Conception of Love in Spenser: cf. Percival pp. xxxi-ii. 
 Spenser's Use of the Senses (esp'c'Iy the Color Sense in 
 Spenser); Spenser's Treatment of the Arthurian legend; 
 Spenser's Use of Mythology and Supernatural Machinery. 
 24 
 
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