The Project Gutenberg EBook of Spenser, by R. W. Church This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Spenser (English Men of Letters Series) Author: R. W. Church Release Date: January 27, 2010 [EBook #31101] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK SPENSER *** Produced by Barbara Tozier, Bill Tozier, Lisa Reigel, and the Online Distributed Proofreading Team at https://www.pgdp.net Transcriber's Notes: Variations in spelling and hyphenation have been left as in the original. Some typographical and punctuation errors have been corrected. A complete list follows the text. Greek words that may not display correctly in all browsers are transliterated in the text using popups like this: βιβλος. Position your mouse over the line to see the transliteration. Ellipses match the original. In quoted material, a row of asterisks represents an ellipsis. Click on the page number to see an image of the page. SPENSER BY R. W. CHURCH, DEAN OF ST. PAUL'S, HONORARY FELLOW OF ORIEL COLLEGE. London: MACMILLAN AND CO. 1879 The Right of Translation and Reproduction is Reserved. [i] NOTICE. As the plan of these volumes does not encourage footnotes, I wish to say that, besides the biographies prefixed to the various editions of Spenser, there are two series of publications, which have been very useful to me. One is the series of Calendars of State Papers, especially the State Papers on Ireland and the Carew MSS. at Lambeth, with the prefaces of Mr. Hans Claude Hamilton and the late Professor Brewer. The other is Mr. E. Arber's series of reprints of old English books, and his Transcript of the Stationers' Registers, a work, I suppose, without parallel in its information about the early literature of a country, and edited by him with admirable care and public spirit. I wish also to say that I am much indebted to Mr. Craik's excellent little book on Spenser and his Poetry. R. W. C. March, 1879. CONTENTS. CHAPTER I. PAGE Spenser's Early Life (1552-1579) 1 CHAPTER II. The new Poet—The Shepherd's Calendar (1579) 29 CHAPTER III. Spenser in Ireland (1580) 51 CHAPTER IV. The Faery Queen—the First Part (1580-1590) 81 CHAPTER V. The Faery Queen 118 CHAPTER VI. Second Part of the Faery Queen—Spenser's last Years (1590-1599) 166 SPENSER. CHAPTER I. SPENSER'S EARLY LIFE. [1552-1579.] Spenser marks a beginning in English literature. He is the first Englishman who, in that great division of our history which dates from the Reformation, attempted and achieved a poetical work of the highest order. Born about the same time as Hooker (1552-1554), in the middle of that eventful century which began with Henry VIII., and ended with Elizabeth, he [ii] [iii] [iv] [v] [vi] [1] was the earliest of our great modern writers in poetry, as Hooker was the earliest of our great modern writers in prose. In that reviving English literature, which, after Chaucer's wonderful promise, had been arrested in its progress, first by the Wars of the Roses, and then by the religious troubles of the Reformation, these two were the writers who first realized to Englishmen the ideas of a high literary perfection. These ideas vaguely filled many minds; but no one had yet shown the genius and the strength to grasp and exhibit them in a way to challenge comparison with what had been accomplished by the poetry and prose of Greece, Rome, and Italy. There had been poets in England since Chaucer, and prose writers since Wycliffe had translated the Bible. Surrey and Wyatt have deserved to live, while a crowd of poets, as ambitious as they, and not incapable of occasional force and sweetness, have been forgotten. Sir Thomas More, Roger Ascham, Tyndale, the translator of the New Testament, Bishop Latimer, the writers of many state documents, and the framers, either by translation or composition, of the offices of the English Prayer Book, showed that they understood the power of the English language over many of the subtleties and difficulties of thought, and were alive to the music of its cadences. Some of these works, consecrated by the highest of all possible associations, have remained, permanent monuments and standards of the most majestic and most affecting English speech. But the verse of Surrey, Wyatt, and Sackville, and the prose of More and Ascham were but noble and promising efforts. Perhaps the language was not ripe for their success; perhaps the craftsmen's strength and experience were not equal to the novelty of their attempt. But no one can compare the English styles of the first half of the sixteenth century with the contemporary styles of Italy, with Ariosto, Machiavelli, Guicciardini, without feeling the immense gap in point of culture, practice, and skill—the immense distance at which the Italians were ahead, in the finish and reach of their instruments, in their power to handle them, in command over their resources, and facility and ease in using them. The Italians were more than a century older; the English could not yet, like the Italians, say what they would; the strength of English was, doubtless, there in germ, but it had still to reach its full growth and development. Even the French prose of Rabelais and Montaigne was more mature. But in Spenser, as in Hooker, all these tentative essays of vigorous but unpractised minds have led up to great and lasting works. We have forgotten all these preliminary attempts, crude and imperfect, to speak with force and truth, or to sing with measure and grace. There is no reason why they should be remembered, except by professed inquirers into the antiquities of our literature; they were usually clumsy and awkward, sometimes grotesque, often affected, always hopelessly wanting in the finish, breadth, moderation, and order which alone can give permanence to writing. They were the necessary exercises by which Englishmen were recovering the suspended art of Chaucer, and learning to write; and exercises, though indispensably necessary, are not ordinarily in themselves interesting and admirable. But when the exercises had been duly gone through, then arose the original and powerful minds, to take full advantage of what had been gained by all the practising, and to concentrate and bring to a focus all the hints and lessons of art which had been gradually accumulating. Then the sustained strength and richness of the Faery Queen became possible; contemporary with it, the grandeur and force of English prose began in Hooker's Ecclesiastical Polity; and then, in the splendid Elizabethan Drama, that form of art which has nowhere a rival, the highest powers of poetic imagination became wedded, as they had never been before in England or in the world, to the real facts of human life, and to its deepest thoughts and passions. More is known about the circumstances of Spenser's life than about the lives of many men of letters of that time; yet our knowledge is often imperfect and inaccurate. The year 1552 is now generally accepted as the year of his birth. The date is inferred from a passage in one of his Sonnets,[4:1] and this probably is near the truth. That is to say that Spenser was born in one of the last two years of Edward VI.; that his infancy was passed during the dark days of Mary; and that he was about six years old when Elizabeth came to the throne. About the same time were born Ralegh, and, a year or two later (1554), Hooker and Philip Sidney. Bacon (1561), and Shakespere (1564), belong to the next decade of the century. He was certainly a Londoner by birth, and early training. This also we learn from himself, in the latest poem published in his life-time. It is a bridal ode (Prothalamion), to celebrate the marriage of two daughters of the Earl of Worcester, written late in 1596. It was a time in his life of disappointment and trouble, when he was only a rare visitor to London. In the poem he imagines himself on the banks of London's great river, and the bridal procession arriving at Lord Essex's house; and he takes occasion to record the affection with which he still regarded "the most kindly nurse" of his boyhood. Calm was the day, and through the trembling air Sweet-breathing Zephyrus did softly play, A gentle spirit, that lightly did delay Hot Titan's beams, which then did glister fair: When I, (whom sullen care, Through discontent of my long fruitless stay In Princes Court, and expectation vain Of idle hopes, which still do fly away, Like empty shadows, did afflict my brain,) Walkt forth to ease my pain Along the shore of silver-streaming Thames; Whose rutty bank, the which his river hems, Was painted all with variable flowers, And all the meads adorned with dainty gems Fit to deck maidens' bowers, [2] [3] [4] [5] And crown their paramours Against the bridal day, which is not long: Sweet Thames! run softly, till I end my song. * * * * * At length they all to merry London came, To merry London, my most kindly nurse, That to me gave this life's first native source, Though from another place I take my name, A house of ancient fame. There, when they came, whereas those bricky towers The which on Thames broad aged back do ride, Where now the studious lawyers have their bowers, There whilome wont the Templar Knights to bide, Till they decayed through pride: Next whereunto there stands a stately place, Where oft I gained gifts and goodly grace[5:2] Of that great Lord, which therein wont to dwell; Whose want too well now feels my friendless case; But ah! here fits not well Old woes, but joys, to tell Against the bridal day, which is not long: Sweet Thames! run softly, till I end my song: Yet therein now doth lodge a noble peer,[5:3] Great England's glory and the wide world's wonder, Whose dreadful name late through all Spain did thunder, And Hercules two pillars, standing near, Did make to quake and fear. Fair branch of honour, flower of chivalry! That fillest England with thy triumph's fame, Joy have thou of thy noble victory,[5:4] And endless happiness of thine own name That promiseth the same. That through thy prowess, and victorious arms, Thy country may be freed from foreign harms; And great Elisa's glorious name may ring Through all the world, filled with thy wide alarms. Who his father was, and what was his employment we know not. From one of the poems of his later years we learn that his mother bore the famous name of Elizabeth, which was also the cherished one of Spenser's wife. My love, my life's best ornament, By whom my spirit out of dust was raised.[6:5] But his family, whatever was his father's condition, certainly claimed kindred, though there was a difference in the spelling of the name, with a house then rising into fame and importance, the Spencers of Althorpe, the ancestors of the Spencers and Churchills of modern days. Sir John Spencer had several daughters, three of whom made great marriages. Elizabeth was the wife of Sir George Carey, afterwards the second Lord Hunsdon, the son of Elizabeth's cousin and Counsellor. Anne, first, Lady Compton, afterwards married Thomas Sackville, the son of the poet, Lord Buckhurst, and then Earl of Dorset. Alice, the youngest, whose first husband, Lord Strange, became Earl of Derby, after his death married Thomas Egerton, Lord Keeper, Baron Ellesmere, and then Viscount Brackley. These three sisters are celebrated by him in a gallery of the noble ladies of the Court,[6:6] under poetical names—"Phyllis, the flower of rare perfection," "Charillis, the pride and primrose of the rest," and "Sweet Amaryllis, the youngest but the highest in degree." Alice, Lady Strange, Lady Derby, Lady Ellesmere and Brackley, and then again Dowager Lady Derby, the "Sweet Amaryllis" of the poet, had the rare fortune to be a personal link between Spenser and Milton. She was among the last whom Spenser honoured with his homage: and she was the first whom Milton honoured; for he composed his Arcades to be acted before her by her grandchildren, and the Masque of Comus for her son-in-law, Lord Bridgewater, and his daughter, another Lady Alice. With these illustrious sisters Spenser claimed kindred. To each of these he dedicated one of his minor poems; to Lady Strange, the Tears of the Muses; to Lady Compton, the Apologue of the Fox and the Ape, Mother Hubberd's Tale; to Lady Carey, the Fable of the Butterfly and the Spider, Muiopotmos. And in each dedication he assumed on their part the recognition of his claim. The sisters three, The honour of the noble family, [6] [7] Of which I meanest boast myself to be. Whatever his degree of relationship to them, he could hardly even in the days of his fame have ventured thus publicly to challenge it, unless there had been some acknowledged ground for it. There are obscure indications, which antiquarian diligence may perhaps make clear, which point to East Lancashire as the home of the particular family of Spensers to which Edmund Spenser's father belonged. Probably he was, however, in humble circumstances. Edmund Spenser was a Londoner by education as well as birth. A recent discovery by Mr. R. B. Knowles, further illustrated by Dr. Grosart,[7:7] has made us acquainted with Spenser's school. He was a pupil, probably one of the earliest ones, of the grammar school, then recently (1560) established by the Merchant Taylors' Company, under a famous teacher, Dr. Mulcaster. Among the manuscripts at Townley Hall are preserved the account books of the executors of a bountiful London citizen, Robert Nowell, the brother of Dr. Alexander Nowell, who was Dean of St. Paul's during Elizabeth's reign, and was a leading person in the ecclesiastical affairs of the time. In these books, in a crowd of unknown names of needy relations and dependents, distressed foreigners, and parish paupers, who shared from time to time the liberality of Mr. Robert Nowell's representatives, there appear among the numerous "poor scholars" whom his wealth assisted, the names of Richard Hooker, and Lancelot Andrewes. And there, also, in the roll of the expenditure at Mr. Nowell's pompous funeral at St. Paul's in February, 1568/9, among long lists of unknown men and women, high and low, who had mourning given them, among bills for fees to officials, for undertakers' charges, for heraldic pageantry and ornamentation, for abundant supplies for the sumptuous funeral banquet, are put down lists of boys, from the chief London schools, St. Paul's, Westminster, and others, to whom two yards of cloth were to be given to make their gowns: and at the head of the six scholars named from Merchant Taylors' is the name of Edmund Spenser. He was then, probably, the senior boy of the school, and in the following May he went to Cambridge. The Nowells still helped him: we read in their account books under April 28, 1569, "to Edmond Spensore, scholler of the m'chante tayler scholl, at his gowinge to penbrocke hall in chambridge, xs." On the 20th of May, he was admitted sizar, or serving clerk at Pembroke Hall; and on more than one occasion afterwards, like Hooker and like Lancelot Andrewes, also a Merchant Taylors' boy, two or three years Spenser's junior, and a member of the same college, Spenser had a share in the benefactions, small in themselves, but very numerous, with which the Nowells after the fine fashion of the time, were accustomed to assist poor scholars at the Universities. In the visitations of Merchant Taylors' School, at which Grindal, Bishop of London, was frequently present,[9:8] it is not unlikely that his interest was attracted, in the appositions or examinations, to the promising senior boy of the school. At any rate Spenser, who afterwards celebrated Grindal's qualities as a bishop, was admitted to a place, one which befitted a scholar in humble circumstances, in Grindal's old college. It is perhaps worth noticing that all Spenser's early friends, Grindal, the Nowells, Dr. Mulcaster, his master, were north country men. Spenser was sixteen or seventeen when he left school for the university, and he entered Cambridge at the time when the struggle which was to occupy the reign of Elizabeth was just opening. At the end of the year 1569, the first distinct blow was struck against the queen and the new settlement of religion, by the Rising of the North. In the first ten years of Elizabeth's reign, Spenser's school time at Merchant Taylors', the great quarrel had slumbered. Events abroad occupied men's minds; the religious wars in France, the death of the Duke of Guise (1563), the loss of Havre, and expulsion of the English garrisons, the close of the Council of Trent (1563), the French peace, the accession of Pius V. (1565/6). Nearer home, there was the marriage of Mary of Scotland with Henry Darnley (1565), and all the tragedy which followed, Kirk of Field (1567), Lochleven, Langside, Carlisle, the imprisonment of the pretender to the English Crown (1568). In England, the authority of Elizabeth had established itself, and the internal organization of the Reformed Church was going on, in an uncertain and tentative way, but steadily. There was a struggle between Genevan exiles, who were for going too fast, and bishops and politicians who were for going too slow; between authority and individual judgment, between home-born state traditions and foreign revolutionary zeal. But outwardly, at least, England had been peaceful. Now however a great change was at hand. In 1566, the Dominican Inquisitor, Michael Ghislieri, was elected Pope, under the title of Pius V. In Pius (1566-72), were embodied the new spirit and policy of the Roman Church, as they had been created and moulded by the great Jesuit order, and by reforming bishops like Ghiberti of Verona, and Carlo Borromeo of Milan. Devout and self-denying as a saint, fierce and inflexible against abuses as a puritan, resolute and uncompromising as a Jacobin idealist or an Asiatic despot, ruthless and inexorable as an executioner, his soul was bent on re-establishing, not only by preaching and martyrdom, but by the sword and by the stake, the unity of Christendom and of its belief. Eastwards and westwards, he beheld two formidable foes and two serious dangers; and he saw before him the task of his life in the heroic work of crushing English heresy and beating back Turkish misbelief. He broke through the temporizing caution of his predecessors by the Bull of Deposition against Elizabeth in 1570. He was the soul of the confederacy which won the day of Lepanto against the Ottomans in 1571. And though dead, his spirit was paramount in the slaughter of St. Bartholomew in 1572. In the year 1569, while Spenser was passing from school to college, his emissaries were already in England, spreading abroad that Elizabeth was a bastard and an apostate, incapable of filling a Christian throne, which belonged by right to the captive Mary. The seed they sowed bore fruit. In the end of the year, southern England was alarmed by the news of the rebellion of the two great Earls in the north, Percy of Northumberland and Neville of Westmoreland. Durham was sacked and the mass restored by an insurgent host, before which an "aged gentleman," Richard Norton with his sons, [8] [9] [10] [11] bore the banner of the Five Wounds of Christ. The rebellion was easily put down, and the revenge was stern. To the men who had risen at the instigation of the Pope and in the cause of Mary, Elizabeth gave, as she had sworn "such a breakfast as never was in the North before." The hangman finished the work on those who had escaped the sword. Poetry, early and late, has recorded the dreary fate of those brave victims of a mistaken cause, in the ballad of the Rising of the North, and in the White Doe of Rylstone. It was the signal given for the internecine war which was to follow between Rome and Elizabeth. And it was the first great public event which Spenser would hear of in all men's mouths, as he entered on manhood, the prelude and augury of fierce and dangerous years to come. The nation awoke to the certainty—one which so profoundly affects sentiment and character both in a nation and in an individual—that among the habitual and fixed conditions of life is that of having a serious and implacable enemy ever to reckon with. And in this year, apparently in the transition time between school and college, Spenser's literary ventures began. The evidence is curious, but it seems to be clear. In 1569, a refugee Flemish physician from Antwerp, who had fled to England from the "abominations of the Roman Antichrist" and the persecutions of the Duke of Alva, John Vander Noodt, published one of those odd miscellanies, fashionable at the time, half moral and poetical, half fiercely polemical, which he called a "Theatre, wherein be represented as well the Miseries and Calamities which follow the voluptuous Worldlings, as also the great Joys and Pleasures which the Faithful do enjoy—an argument both profitable and delectable to all that sincerely love the word of God." This "little treatise," was a mixture of verse and prose, setting forth in general, the vanity of the world, and, in particular, predictions of the ruin of Rome and Antichrist: and it enforced its lessons by illustrative woodcuts. In this strange jumble are preserved, we can scarcely doubt, the first compositions which we know of Spenser's. Among the pieces are some Sonnets of Petrarch, and some Visions of the French poet Joachim du Bellay, whose poems were published in 1568. In the collection itself, these pieces are said by the compiler to have been translated by him "out of the Brabants speech," and "out of Dutch into English." But in a volume of "poems of the world's vanity," and published years afterwards in 1591, ascribed to Spenser, and put together, apparently with his consent, by his publisher, are found these very pieces from Petrarch and Du Bellay. The translations from Petrarch are almost literally the same, and are said to have been "formerly translated." In the Visions of Du Bellay there is this difference, that the earlier translations are in blank verse, and the later ones are rimed as sonnets; but the change does not destroy the manifest identity of the two translations. So that unless Spenser's publisher, to whom the poet had certainly given some of his genuine pieces for the volume, is not to be trusted,—which, of course, is possible, but not probable—or unless,—what is in the last degree inconceivable,—Spenser had afterwards been willing to take the trouble of turning the blank verse of Du Bellay's unknown translator into rime, the Dutchman who dates his Theatre of Worldlings on the 25th May, 1569, must have employed the promising and fluent school boy, to furnish him with an English versified form, of which he himself took the credit, for compositions which he professes to have known only in the Brabants or Dutch translations. The sonnets from Petrarch are translated with much command of language; there occurs in them, what was afterwards a favourite thought of Spenser's:— —The Nymphs, That sweetly in accord did tune their voice To the soft sounding of the waters' fall.[13:9] It is scarcely credible that the translator of the sonnets could have caught so much as he has done of the spirit of Petrarch without having been able to read the Italian original; and if Spenser was the translator, it is a curious illustration of the fashionableness of Italian literature in the days of Elizabeth, that a school-boy just leaving Merchant Taylors' should have been so much interested in it. Dr. Mulcaster, his master, is said by Warton to have given special attention to the teaching of the English language. If these translations were Spenser's, he must have gone to Cambridge with a faculty of verse, which for his time may be compared to that with which winners of prize poems go to the universities now. But there was this difference, that the school-boy versifiers of our days are rich with the accumulated experience and practice of the most varied and magnificent poetical literature in the world; while Spenser had but one really great English model behind him; and Chaucer, honoured as he was, had become in Elizabeth's time, if not obsolete, yet in his diction, very far removed from the living language of the day. Even Milton, in his boyish compositions, wrote after Spenser and Shakespeare, with their contemporaries, had created modern English poetry. Whatever there was in Spenser's early verses of grace and music was of his own finding: no one of his own time, except in occasional and fitful snatches, like stanzas of Sackville's, had shown him the way. Thus equipped, he entered the student world, then full of pedantic and ill-applied learning, of the disputations of Calvinistic theology, and of the beginnings of those highly speculative puritanical controversies, which were the echo at the University of the great political struggles of the day, and were soon to become so seriously practical. The University was represented to the authorities in London as being in a state of dangerous excitement, troublesome and mutinous. Whitgift, afterwards Elizabeth's favourite archbishop, Master, first of Pembroke, and then of Trinity, was Vice-Chancellor of the University; but as the guardian of established order, he found it difficult to keep in check the violent and revolutionary spirit of the theological schools. Calvin was beginning to be set up there as the infallible doctor of Protestant theology. Cartwright from the Margaret Professor's chair was teaching the exclusive and divine claims of the Geneva platform of discipline, and in defiance of the bishops and the government was denouncing the received Church polity and ritual as Popish and anti-Christian. Cartwright, an extreme and uncompromising man, was deprived in 1570; but the course which things were taking under the influence of Rome and Spain gave force to his lessons and warnings, and strengthened his party. In this turmoil of opinions, amid these hard and technical debates, these fierce conflicts between the highest authorities, and this unsparing violence and bitterness of party recriminations, [12] [13] [14] [15] Spenser, with the tastes and faculties of a poet, and the love not only of what was beautiful, but of what was meditative and dreamy, began his university life. It was not a favourable atmosphere for the nurture of a great poet. But it suited one side of Spenser's mind, as it suited that of all but the most independent Englishmen of the time, Shakespere, Bacon, Ralegh. Little is known of Spenser's Cambridge career. It is probable, from the persons with whom he was connected, that he would not be indifferent to the debates around him, and that his religious prepossessions were then, as afterwards, in favour of the conforming puritanism in the Church, as opposed to the extreme and thorough-going puritanism of Cartwright. Of the conforming puritans, who would have been glad of a greater approximation to the Swiss model, but who, whatever their private wishes or dislikes, thought it best, for good reasons or bad, to submit to the strong determination of the government against it, and to accept what the government approved and imposed, Grindal, who held successively the great sees of London, York, and Canterbury, and Nowell, Dean of St. Paul's, Spenser's benefactor, were representative types. Grindal, a waverer like many others in opinion, had also a noble and manly side to his character, in his hatred of practical abuses, and in the courageous and obstinate resistance which he could offer to power, when his sense of right was outraged. Grindal, as has been said, was perhaps instrumental in getting Spenser into his own old college, Pembroke Hall, with the intention, it may be, as was the fashion of bishops of that time, of becoming his patron. But certainly after his disgrace in 1577, and when it was not quite safe to praise a great man under the displeasure of the Court, Grindal is the person whom Spenser first singled out for his warmest and heartiest praise. He is introduced under a thin disguise, "Algrind," in Spenser's earliest work after he left Cambridge, the Shepherd's Calendar, as the pattern of the true and faithful Christian pastor. And if Pembroke Hall retained at all the tone and tendencies of such masters as Ridley, Grindal, and Whitgift, the school in which Spenser grew up was one of their mitigated puritanism. But his puritanism was political and national, rather than religious. He went heartily with the puritan party in their intense hatred of Rome and Roman partisans; he went with them also in their denunciations of the scandals and abuses of the ecclesiastical government at home. But in temper of mind and intellectual bias he had little in common with the puritans. For the stern austerities of Calvinism, its fierce and eager scholasticism, its isolation from human history, human enjoyment, and all the manifold play and variety of human character, there could not be much sympathy in a man like Spenser, with his easy and flexible nature, keenly alive to all beauty, an admirer even when he was not a lover of the alluring pleasures of which the world is full, with a perpetual struggle going on in him, between his strong instincts of purity and right, and his passionate appreciation of every charm and grace. He shows no signs of agreement with the internal characteristics of the puritans, their distinguishing theology, their peculiarities of thought and habits, their protests, right or wrong, against the fashions and amusements of the world. If not a man of pleasure, he yet threw himself without scruple into the tastes, the language, the pursuits, of the gay and gallant society in which they saw so much evil: and from their narrow view of life, and the contempt, dislike, and fear, with which they regarded the whole field of human interest, he certainly was parted by the widest gulf. Indeed, he had not the sternness and concentration of purpose, which made Milton the great puritan poet. Spenser took his Master's degree in 1576, and then left Cambridge. He gained no Fellowship, and there is nothing to show how he employed himself. His classical learning, whether acquired there or elsewhere, was copious, but curiously inaccurate; and the only specimen remaining of his Latin composition in verse is contemptible in its mediæval clumsiness. We know nothing of his Cambridge life except the friendships which he formed there. An intimacy began at Cambridge of the closest and most affectionate kind, which lasted long into after-life, between him and two men of his college, one older in standing than himself, the other younger; Gabriel Harvey, first a fellow of Pembroke, and then a student or teacher of civil law at Trinity Hall, and Edward Kirke, like Spenser, a sizar at Pembroke, recently identified with the E. K., who was the editor and commentator of Spenser's earliest work, the anonymous Shepherd's Calendar. Of the younger friend this is the most that is known. That he was deeply in Spenser's confidence as a literary coadjutor, and possibly in other ways, is shown in the work which he did. But Gabriel Harvey was a man who had influence on Spenser's ideas and purposes, and on the direction of his efforts. He was a classical scholar of much distinction in his day, well read in the Italian authors then so fashionable, and regarded as a high authority on questions of criticism and taste. Except to students of Elizabethan literary history, he has become an utterly obscure personage; and he has not usually been spoken of with much respect. He had the misfortune, later in life, to plunge violently into the scurrilous quarrels of the day, and as he was matched with wittier and more popular antagonists, he has come down to us as a foolish pretender, or at least as a dull and stupid scholar who knew little of the real value of the books he was always ready to quote, like the pedant of the comedies, or Shakespere's schoolmaster Holofernes. Further, he was one who, with his classical learning, had little belief in the resources of his mother tongue, and he was one of the earliest and most confident supporters of a plan then fashionable, for reforming English verse, by casting away its natural habits and rhythms, and imposing on it the laws of the classical metres. In this he was not singular. The professed treatises of this time on poetry, of which there were several, assume the same theory, as the mode of "reforming" and duly elevating English verse. It was eagerly accepted by Philip Sidney and his Areopagus of wits at court, who busied themselves in devising rules of their own—improvements as they thought on those of the university men—for English hexameters and sapphics, or as they called it, artificial versifying. They regarded the comparative value of the native English rhythms and the classical metres, much as our ancestors of Addison's day regarded the comparison between Gothic and Palladian architecture. One, even if it sometimes had a certain romantic interest, was rude and coarse; the other was the perfection of polite art and good taste. Certainly in what remains of Gabriel Harvey's writing, there is much that seems to us vain and ridiculous enough; and it has been naturally surmised that he must have been a dangerous friend and counsellor to Spenser. But probably we are hard upon him. His writings, after all, are not much more affected and absurd in their outward fashion than most of the literary composition of the time; his verses are no worse than those of [16] [17] [18] [19] most of his neighbours; he was not above, but he was not below, the false taste and clumsiness of his age; and the rage for "artificial versifying" was for the moment in the air. And it must be said, that though his enthusiasm for English hexameters is of a piece with the puritan use of scripture texts in divinity and morals, yet there is no want of hard- headed shrewdness in his remarks; indeed, in his rules for the adaptation of English words and accents to classical metres, he shows clearness and good sense in apprehending the conditions of the problem, while Sidney and Spenser still appear confused and uncertain. But in spite of his pedantry, and though he had not, as we shall see, the eye to discern at first the genius of the Faery Queen, he has to us the interest of having been Spenser's first, and as far as we can see, to the last, dearest friend. By both of his younger fellow-students at Cambridge, he was looked up to with the deepest reverence, and the most confiding affection. Their language is extravagant, but there is no reason to think that it was not genuine. E. Kirke, the editor of Spenser's first venture, the Shepherd's Calendar, commends the "new poet" to his patronage, and to the protection of his "mighty rhetoric," and exhorts Harvey himself to seize the poetical "garland which to him alone is due." Spenser speaks in the same terms; "veruntamen te sequor solum; nunquam vero assequar." Portions of the early correspondence between Harvey and Spenser have been preserved to us, possibly by Gabriel Harvey's self-satisfaction in regard to his own compositions. But with the pedagogue's jocoseness, and a playfulness which is like that of an elephant, it shows on both sides easy frankness, sincerity, and warmth, and not a little of the early character of the younger man. In Spenser's earliest poetry, his pastorals, Harvey appears among the imaginary rustics, as the poet's "special and most familiar friend," under the name of Hobbinol,— "Good Hobbinol, that was so true." To him Spenser addresses his confidences, under the name of Colin Clout, a name borrowed from Skelton, a satirical poet of Henry VIII.'s time, which Spenser kept throughout his poetical career. Harvey reappears in one of Spenser's latest writings, a return to the early pastoral, Colin Clout's come home again, a picture drawn in distant Ireland, of the brilliant but disappointing court of Elizabeth. And from Ireland in 1586, was addressed to Harvey by "his devoted friend during life," the following fine sonnet, which, whatever may have been the merit of Harvey's criticisms and his literary quarrels with Greene and Nash, shows at least Spenser's unabated honour for him. To the Right Worshipful, my singular good Friend, M. Gabriel Harvey, Doctor of the Laws. Harvey, the happy above happiest men I read; that, sitting like a looker on Of this world's stage, dost note with critic pen The sharp dislikes of each condition; And, as one careless of suspicion, Ne fawnest for the favour of the great; Ne fearest foolish reprehension Of faulty men, which danger to thee threat; But freely dost, of what thee list, entreat, Like a great lord of peerless liberty; Lifting the good up to high honour's seat, And the evil damning over more to die; For life and death is in thy doomful writing; So thy renown lives ever by enditing. Dublin, this xviii. of July, 1586. Your devoted friend, during life, Edmund Spenser. Between Cambridge and Spenser's appearance in London, there is a short but obscure interval. What is certain is, that he spent part of it in the North of England; that he was busy with various poetical works, one of which was soon to make him known as a new star in the poetical heaven; and lastly, that in the effect on him of a deep but unrequited passion, he then received what seems to have been a strong and determining influence on his character and life. It seems likely that his sojourn in the north, which perhaps first introduced the London-bred scholar, the "Southern Shepherd's Boy," to the novel and rougher country life of distant Lancashire, also gave form and local character to his first considerable work. But we do not know for certain where his abode was in the north; of his literary activity, which must have been considerable, we only partially know the fruit; and of the lady whom he made so famous, that her name became a consecrated word in the poetry of the time, of Rosalind, the "Widow's Daughter of the Glen," whose refusal of his suit, and preference for another, he lamented so bitterly, yet would allow no one else to blame, we know absolutely nothing. She would not be his wife; but apparently, he never ceased to love her through all the chances and temptations, and possibly errors of his life, even apparently in the midst of his passionate admiration of the lady whom, long afterwards, he did marry. To her kindred and condition, various clues have been suggested, only to provoke and disappoint us. Whatever her condition, she was able to measure Spenser's powers: Gabriel Harvey has preserved one of her compliments—"Gentle Mistress Rosalind once reported him to have all the intelligences at commandment; and at another, christened him her Signior Pegaso." But the unknown Rosalind had given an impulse to the young poet's powers, and a colour to his thoughts, and had enrolled Spenser in that band and order of poets,—with one exception, not the greatest order,—to whom the wonderful passion of love, in its heights and its depths, is the element on which [20] [21] [22] their imagination works, and out of which it moulds its most beautiful and characteristic creations. But in October, 1579, he emerges from obscurity. If we may trust the correspondence between Gabriel Harvey and Spenser, which was published at the time, Spenser was then in London.[22:1] It was the time of the crisis of the Alençon courtship, while the Queen was playing fast and loose with her Valois lover, whom she playfully called her frog; when all about her, Burghley, Leicester, Sidney, and Walsingham, were dismayed, both at the plan itself, and at her vacillations; and just when the Puritan pamphleteer, who had given expression to the popular disgust at a French marriage, especially at a connexion with the family which had on its hands the blood of St. Bartholomew, was sentenced to lose his right hand as a seditious libeller. Spenser had become acquainted with Philip Sidney, and Sidney's literary and courtly friends. He had been received into the household of Sidney's uncle, Lord Leicester, and dates one of his letters from Leicester House. Among his employments he had written, "Stemmata Dudleiana." He is doubting whether or not to publish, "to utter," some of his poetical compositions: he is doubting, and asks Harvey's advice, whether or not to dedicate them to His Excellent Lordship, "lest by our much cloying their noble ears he should gather contempt of myself, or else seem rather for gain and commodity to do it, and some sweetness that I have already tasted." Yet, he thinks, that when occasion is so fairly offered of estimation and preferment, it may be well to use it: "while the iron is hot, it is good striking; and minds of nobles vary, as their estates." And he was on the eve of starting across the sea to be employed in Leicester's service, on some permanent mission in France, perhaps in connexion with the Alençon intrigues. He was thus launched into what was looked upon as the road of preferment; in his case, as it turned out, a very subordinate form of public employment, which was to continue almost for his lifetime. Sidney had recognized his unusual power, if not yet his genius. He brought him forward; perhaps he accepted him as a friend. Tradition makes him Sidney's companion at Penshurst; in his early poems, Kent is the county with which he seems most familiar. But Sidney certainly made him known to the queen; he probably recommended him as a promising servant to Leicester: and he impressed his own noble and beautiful character deeply on Spenser's mind. Spenser saw and learned in him what was then the highest type of the finished gentleman. He led Spenser astray. Sidney was not without his full share of that affectation, which was then thought refinement. Like Gabriel Harvey, he induced Spenser to waste his time on the artificial versifying which was in vogue. But such faults and mistakes of fashion, and in one shape or another they are inevitable in all ages, were as nothing, compared to the influence on a highly receptive nature, of a character so elevated and pure, so genial, so brave and true. It was not in vain that Spenser was thus brought so near to his "Astrophel." These letters tell us all that we know of Spenser's life at this time. During these anxious eighteen months, and connected with persons like Sidney and Leicester, Spenser only writes to Harvey on literary subjects. He is discreet, and will not indulge Harvey's "desire to hear of my late being with her Majesty." According to a literary fashion of the time, he writes and is addressed as M. Immerito, and the great business which occupies him and fills the letters is the scheme devised in Sidney's Areopagus for the "general surceasing and silence of bald Rymers, and also of the very best of them too; and for prescribing certain laws and rules of quantities of English syllables for English verse." Spenser "is more in love with his English versifying than with ryming,"—"which," he says to Harvey, "I should have done long since, if I would then have followed your counsel." Harvey, of course, is delighted; he thanks the good angel which puts it into the heads of Sidney and Edward Dyer, "the two very diamonds of her Majesty's court," "our very Castor and Pollux," to "help forward our new famous enterprise for the exchanging of barbarous rymes for artificial verses;" and the whole subject is discussed at great length between the two friends; "Mr. Drant's" rules are compared with those of "Mr. Sidney," revised by "Mr. Immerito;" and examples, highly illustrative of the character of the "famous enterprise" are copiously given. In one of Harvey's letters we have a curious account of changes of fashion in studies and ideas at Cambridge. They seem to have changed since Spenser's time. I beseech you all this while, what news at Cambridge? Tully and Demosthenes nothing so much studied as they were wont: Livy and Sallust perhaps more, rather than less: Lucian never so much: Aristotle much named but little read: Xenophon and Plato reckoned amongst discoursers, and conceited superficial fellows; much verbal and sophistical jangling; little subtle and effectual disputing. Machiavel a great man: Castilio, of no small repute: Petrarch and Boccace in every man's mouth: Galateo and Guazzo never so happy: but some acquainted with Unico Aretino: the French and Italian highly regarded: the Latin and Greek but lightly. The Queen Mother at the beginning or end of every conference: all inquisitive after news: new books, new fashions, new laws, new officers, and some after new elements, some after new heavens and hells too. Turkish affairs familiarly known: castles built in the air: much ado, and little help: in no age so little so much made of; every one highly in his own favour. Something made of nothing, in spight of Nature: numbers made of cyphers, in spight of Art. Oxen and asses, notwithstanding the absurdity it seemed to Plautus, drawing in the same yoke: the Gospel taught, not learnt; Charity cold; nothing good, but by imputation; the Ceremonial Law in word abrogated, the Judicial in effect disannull'd, the Moral abandon'd; the Light, the Light in every man's lips, but mark their eyes, and you will say they are rather like owls than eagles. As of old books, so of ancient virtue, honesty, fidelity, equity, new abridgments; every day spawns new opinions: heresy in divinity, in philosophy, in humanity, in manners, grounded upon hearsay; doctors contemn'd; the devil not so hated as the pope; many invectives, but no amendment. No more ado about caps and surplices; Mr. Cartwright quite forgotten. * * * * * David, Ulysses, and Solon, feign'd themselves fools and madmen; our fools and madmen feign [23] [24] [25] [26] themselves Davids, Ulysses's, and Solons. It is pity fair weather should do any hurt; but I know what peace and quietness hath done with some melancholy pickstraws. The letters preserve a good many touches of character which are interesting. This, for instance, which shows Spenser's feeling about Sidney. "New books," writes Spenser, "I hear of none, but only of one, that writing a certain book called The School of Abuse, [Stephen Gosson's Invective against poets, pipers, players, &c.] and dedicating to M. Sidney, was for his labour scorned: if at least it be in the goodness of that nature to scorn." As regards Spenser himself, it is clear from the letters that Harvey was not without uneasiness lest his friend, from his gay and pleasure- loving nature, and the temptations round him, should be carried away into the vices of an age, which, though very brilliant and high-tempered, was also a very dissolute one. He couches his counsels mainly in Latin; but they point to real danger; and he adds in English,—"Credit me, I will never lin [= cease] baiting at you, till I have rid you quite of this yonkerly and womanly humour." But in the second pair of letters of April, 1580, a lady appears. Whether Spenser was her husband or her lover, we know not; but she is his "sweetheart." The two friends write of her in Latin. Spenser sends in Latin the saucy messages of his sweetheart, "meum corculum," to Harvey; Harvey, with academic gallantry, sends her in Latin as many thanks for her charming letter as she has hairs, "half golden, half silver, half jewelled, in her little head;"—she is a second little Rosalind—"altera Rosalindula," whom he salutes as "Domina Immerito, mea bellissima Colina Clouta." But whether wife or mistress, we hear of her no more. Further, the letters contain notices of various early works of Spenser. The "new" Shepherd's Calendar, of which more will be said, had just been published. And in this correspondence of April, 1580, we have the first mention of the Faery Queen. The compositions here mentioned have been either lost, or worked into his later poetry; his Dreams, Epithalamion Thamesis, apparently in the "reformed verse," his Dying Pelican, his Slumber, his Stemmata Dudleiana, his Comedies. They show at least the activity and eagerness of the writer in his absorbing pursuit. But he was still in bondage to the belief that English poetry ought to try to put on a classical dress. It is strange that the man who had written some of the poetry in the Shepherd's Calendar should have found either satisfaction or promise in the following attempt at Trimeter Iambics. And nowe requite I you with the like, not with the verye beste, but with the verye shortest, namely, with a few Iambickes: I dare warrant they be precisely perfect for the feete (as you can easily judge), and varie not one inch from the Rule. I will imparte yours to Maister Sidney and Maister Dyer at my nexte going to the Courte. I praye you, keepe mine close to your selfe, or your verie entire friends, Maister Preston, Maister Still, and the reste. Iambicum Trimetrum. Unhappie Verse, the witnesse of my unhappie state, Make thy selfe fluttring wings of thy fast flying Thought, and fly forth unto my Love wheresoever she be: Whether lying reastlesse in heavy bedde, or else Sitting so cheerlesse at the cheerfull boorde, or else Playing alone carelesse on hir heavenlie Virginals. If in Bed, tell hir, that my eyes can take no reste: If at Boorde, tell hir that my mouth can eate no meate: If at hir Virginals, tell hir, I can heare no mirth. Asked why? say: Waking Love suffereth no sleepe: Say, that raging Love dothe appall the weake stomacke: Say, that lamenting Love marreth the Musicall. Tell hir, that hir pleasures were wonte to lull me asleepe: Tell hir, that...