10 Pilgrim… Ploughman: The Plowman’s Tale was generally attributed to Chaucer (‘the Pilgrim’), but E. K. may refer to Langland’s Piers Ploughman.
11–12 Cf. Statius, Thebaid, 12. 816–19. It is notable that Statius’ references to ‘magnanimous Caesar’ (814) are omitted.
13 Merce… mercede: the meaning is ambiguous, possibly ‘For reward not hire’ alluding to the conflict between political patronage and artistic independence. ‘Grace not wages’ is also possible implying that love, poetry and religion constitute their own reward [cf. Kennedy (1980)].
FROM LETTERS (1580)
The Spenser–Harvey correspondence was published in 1580 under two separate title-pages (only the first of which is reproduced in the present edition): Three Proper, and wittie, familiar Letters: lately passed betwene two Vniuersitie men: touching the Earthquake in Aprill last, and our English refourmed Versifying. With the Preface of a wellwiller to them both (containing the verses beginning ‘See yee the blindefoulded pretie God’ and ‘That which I eate’), followed by Two Other, very commendable Letters, of the same mens writing: both touching the foresaid Artificiall Versifying, and certain other Particulars: More lately deliuered vnto the Printer (containing ‘Iambicum Trimetrum’ and ‘Ad Ornatissimum virum’). As the first three letters are ascribed to 1580 and the last two to 1579, the volume defies the normal expectations of epistolary chronology thereby appearing to corroborate the claim of unauthorized publication and intensifying the fiction of disclosed intimacy. The correspondence provides important information concerning Spenser’s intellectual ethos, his attitude towards poetic language and metrics, and the nature of his relationships with Leicester, Sidney and Harvey. Despite disclaimers to the contrary, the letters were clearly intended, or at least edited, for publication and are best regarded as carefully crafted exercises in self-promotion. Cf. Goldberg (1992), 63–101; Quitslund (1996); Stern (1979).
Iambicum Trimetrum
In this poem Spenser attempts to demonstrate the application of classical quantitative metres to English versification following the rules ‘that M. Philip Sidney gaue me, being the very same which M. Drant [i.e. Thomas Drant] deuised, but enlarged with M. Sidneys own judgement, and augmented with my Obseruations’ (cf. Prose, 16). The problem, as he recognized, was that the results often conflicted with the natural speech rhythms of the language. By way of solution he proposed a separate system of verse pronunciation, a proposal cogently dismissed by Harvey. Although the methods Spenser employed were ill-judged and quickly abandoned, the enterprise itself is characteristic of his determination to rival the ancients and possess ‘the kingdome of our owne Language’ (cf. Prose, 16, 473–5). For Harvey’s specific criticisms of the metrics of ‘Iambicum Trimetrum’ cf. Prose, 442. For full discussions of the movement to reform English versification after the classical manner cf. Attridge (1974); Helgerson (1992), 25–40; S. Weiner (1982).
5 boorde: table.
6 Virginals: a form of spinet set in a case.
11 appall: sicken, enfeeble.
21 Immerito: Spenser’s pseudonym from SC, ‘Envoy’, ‘To His Booke’.
Ad Ornatissimum virum
Although the accompanying letter of 5 October 1579 was allegedly dispatched from Leicester House, and Spenser undertakes to travel abroad in ‘his Honours service’, there is no evidence that he left England at this time and Harvey casts considerable doubt upon the enterprise: ‘as for your speedy and hasty trauell… you shall not, I saye, bee gone ouer Sea, for al your saying, neither the next, nor the nexte week’ (Prose, 444). The poem, which adopts the form and style of a Horatian epistle, is best regarded as an elaborate literary exercise adumbrating some of the major themes and aspirations of Spenser’s epic verse and exploring the conflict between virtue and expediency. Cf. Rambus (1993), 17–19. The Latin is often obscure and sometimes inaccurate but I suggest the following translation:
To the most eminent Mr G. H., already distinguished by many honourable titles, his friend Immerito, soon about to journey into Gaul, sends his best wishes.
[1–17] Thus a minor poet salutes a major poet, a not unfriendly poet salutes a friendly bard, a new poet salutes an established master, and wishes him fair weather on his return after many years abroad, fairer weather, indeed, than he himself enjoys. Look how the god of the Sea – if he may truly be deemed to be a god who incites the unwilling to crime and dissolves sworn affections – gives me clear signs [of departure] and smoothes the oceans through which my sail-bearing ship is soon to plough. And see, also, how father Aeolus quells the mighty wrath of the North Wind. Everything is ready for my journey: I alone am unprepared. For my affections, wounded I know not how, have lately tossed about on perilous tides, as Love, that potent pilot, drives the impotent prow this way and that. Reason with its wiser counsels is distracted from the pursuit of immortal renown by Cupid’s swift bow. Tortured in this dilemma, I founder in the very port.
2 nouus… Poëtam: alluding to the ‘newe Poete’ of SC.
4 reducem: there is no evidence for Harvey’s being abroad but he speaks of a prospective trip to Italy. Cf. Prose, 444; Stern (1979), 176.
7 Deus… Marinus: Neptune, god of the sea.
9 Æolus: god of the winds (cf. Homer, Odyssey, 10. 1–27).
10 Aquilonis: the north wind.
12 mens… vulnere: the marriage of one ‘Edmounde Spenser’, probably the poet, to Maccabaeus Chylde is recorded at St Margaret’s Church, Westminster on 27 October 1579.
16 Cupidinis Arcu: for Cupid’s iconography cf. SC, March, [79]; CCH, 799–822 and notes.
[17–33] Loose these knots and I shall regard you – you who despise quiver-backed Cupid (and I beseech the gods not to allow you to enjoy such a reputation with impunity!) – as my great Apollo. Your noble spirit, I know full well, drives you to seek the highest honours and to handle weightier themes than those of trifling love – yet not all love is to be deemed inconsequential. Thus it is that you account nothing comparable to everlasting fame or to the hallowed image of such glory. All that the madding crowd adores – whether it be land, connections, real estate or money, or whatever pleases the eyes, such as beauties, pageants or amours, you trample underfoot like dirt, dismissing them as sensual delusions. Your philosophy is certainly worthy of the Harvey I admire, of the eloquent orator and the noble soul. It is a philosophy that the ancient Stoics would not fear to prescribe as eternally binding; yet all men’s tastes are not alike. 20 Apollo: in his capacity as healer, to cure the malady of love. Cf. Virgil, Eclogues, 3. 104.
[34–46] It is said that the smooth-tongued son of decrepit Laertes, despite long exile on tempestuous seas, continually buffeted beneath strange skies, spurned immortality and the boudoirs of the gods for the embrace of his tearful wife. So great was the power of Love, and of a Woman mightier still than Love. But such is your loftiness of mind that you mock Ulysses also, and in comparison with the overshadowing image of such great glory and the renown born of true merit, you condemn all that the madding crowd admires whether it be land, connections, livestock, property, wealth or whatever pleases the eyes, such as beauties, pageants or amours, or whatever delights the taste or hearing.
34–8 Dicitur… beatos: Odysseus preferred his mortal wife Penelope to the nymph Calypso who offered him immortality. In Homer she addresses him as ‘son of Laertes’ (Odyssey, 5. 148–281).
[47–65] You are indeed sublimely wise, but wisdom is not common sense. The man who stoops to trivial follies often wins the palm from the supercilious sage. The sour tribe of Sophists derided Aristippus for speaking mild words to a purple-clad Tyrant, but he in turn ridiculed the empty doctrines of the Sophists who were tormented by the flitting shade of a gnat. Whoever has striven to please high-ranking men has studied folly, for thus does fortune favour fools. In summary, whoever desires to adorn his temples with garlands of laurel and to ingratiate himself in public favour, learns to play the fool, and solicits the base applause of inglorious folly. Although reputed to be the one w
ise man amongst a million fools, even father Ennius was praised for wildly pouring forth drunken ditties while deep in his cups. Nor, by your leave, may you, the Great Cato of our age, win the sacred name of honoured poet, however nobly you sing or however lofty be your song, unless you yield yourself to folly – the world is so full of fools!
47 Sapor at sapientia: distinguishing between the worldly wisdom needed to survive and the more abstract, uncompromising variety.
50–51 Aristippum… Tyranno: the precise anecdote is unidentified. Aristippus was often credited with founding the Cyrenaic school of philosophy noted for its hedonistic tendencies. Horace, however, credits him with a quick-witted sense of practicality (Epistles, 1. 17. 13–14), and Diogenes Laertius with the ability to adapt himself ‘to place, time and person’ (Lives of the Eminent Philosophers, 2. 8. 65, 68). The ‘purple Tyrant’ was Dionysius I of Syracuse.
53 Culicis umbra: possibly alluding to Socrates who described himself as a ‘gadfly’ sent by the gods to sting Athens out of its moral lethargy (cf. Apology, 3oe-31a). His ‘shade’ continues to torment the Sophists.
59–61 Ennius… vino: cf. Horace, Epistles, 1. 19. 7–8. For wine as a source of poetic inspiration cf. SC, October, 103–14 and notes.
62 Cato: probably the famous censor, Marcus Porcius Cato (234–149 BC), renowned for the severity of his moral and social views.
65 Stultorum… plena: adapting Cicero’s famous adage, ‘stultorum plena sunt omnia’, the world is full of fools (Familiar Letters, 9. 22. 4).
[66–77] The safest plan is to chart a mid-course through the abyss, for he alone may be accounted a sage who desires to seem neither too foolish nor too wise. On the one side you drown, on the other side you burn. Nor, if you are prudent, should you over zealously condemn luxuriant pleasures, nor a mistress finally won in marriage, nor the offer of gold – leave such pitiable sophistries to such poor chaps as the Curii and the Fabrii, the honour of their own age, but the scorn of ours – nor, on the other hand, should you seek such delights excessively. Both extremes are highly culpable. The man who understands this much (if any man understands so much) you may record, even though Socrates disagree, as the one wise man.
71 Dominam: Harvey refers to ‘Domina Immerito, mea bellissima Collina’ Clouta’ (Mistress Immerito, the charming Mrs Colin Clout). Cf. Prose, 476.
venientem in vota: probably intended as a double-entendre meaning either ‘won in marriage’ or ‘brought to bed’.
72 Curijs… Fabricijsque: Manius Curius Dentatus and Gaius Fabricius Luscinus, jointly celebrated by Horace for their incorruptibility, were heroes of Rome’s war with Pyrrhus (cf. Odes, 1. 12. 40–41).
[78–94] One virtue makes men religious, another makes them just, another gives them stout and steadfast hearts: but he wins every vote who blends utility with delight. Long ago the gods gave me the gift of delight but they have never given me the gift of being useful. Would that, even now, they had granted me the gift of being useful as well as the gift of pleasing! Oh would that the gods, to whom the greatest miracles are no more difficult than the least, might give me – unless they begrudge such happiness to mortals – the twin gifts of delight and utility at a stroke! But such is your good fortune that you enjoy the gifts of delight and utility in equal measure and whenever you please. But I, born under an inauspicious star, must seek my fortune from afar, across the desolate Caucasus, the mountainous Pyrenees, the foul terrain of Babylon, and if I do not find it there I must seek it still further off, wandering endlessly like the companions of Ulysses across the immense Ocean through the midst of the waves, following in the weary footsteps of the grieving goddess from whose search the earth concealed its glorious spoil.
80 Omne… dulci: quoted from Horace, Art of Poetry, 343.
83 aequiualia: Grosart suggests the emendation ‘aequalia’.
88–9 Caucasa… turpem: doubtless humorous in view of the proposed trip ‘in Gallias’ (into France). ‘Babilonaque turpem’ probably refers to Rome, the ‘new Babylon’ of Protestant polemic. Cf. TW, sonnet 13. 14. For ‘inhospita Caucasa’ cf. Horace, Odes, 1. 22. 6–7.
90 quaesitum: Grosart suggests the emendation ‘quaesitam’.
92 Vlyssis: using Ulysses as the archetypal wanderer.
93–4 Deam… orbis: alluding to Ceres’ worldwide search for her daughter Proserpina, abducted by Pluto (cf. Ovid, Metamorphoses, 5. 438–571; Daph, 463–5 and note).
[95–117] For it is shameful for a young man, whose talents are not too ignoble, to lurk at home in the inglorious shadows, wasting his prime years in menial tasks, watching his promised harvest fail. Therefore I shall leave at once (who wishes me farewell?), and trek wearily across the precipitous Alps. But who, in my absence, will send you little letters seasoned with British dew, or wanton love songs? Beneath the peak of the Oebalian mountain my forsaken Muse shall endlessly lament the long periods of silence and weep because sacred Helicon has fallen dumb. And my dear Harvey (equally dear to one and all, and justly so, since he virtually surpasses all of them put together), my Angel and my Gabriel, though accompanied by innumerable friends and surrounded by a charmingly talented circle, will none the less inquire after Immerito, his one absent friend, and express the wish, ‘Would that my Edmund had been here! He would have sent me news, and have confided his amours, and often with the kindest, heartfelt words have wished me well. May God guide him safely back at last etc.’
The Graces bid me say more, but the Muses are unwilling. Farewell, a fond farewell, my beloved Harvey, far dearer to my heart than any other. 103 Oebalij… montis: presumably Mount Vesuvius. Oebaldus was the grandson of Sebethus, the god of a river which flowed by Naples. Cf. Virgil, Aeneid, 7. 733–6.
108 Angelus et Gabriel: Gabriel was particularly auspicious because he announced the conception of Christ to the Virgin Mary (cf. Luke 1: 26–38).
111 Edmundus: a deliberate clue to the identity of ‘Immerito’.
115 Charites: the Graces. Cf. SC, Aprill, [109] and note.
Musas: for the Muses cf. SC, Aprill, [41] and note.
From Letter to Harvey…
[1]
1 God: Cupid. Cf. note to ‘Ad Ornatissimum virum’, 16.
[2]
A couplet alleged to have been carved upon the tomb of King Sardanapalus of Syria, a notorious epicure (cf. Cicero, Tusculan Disputations, 5. 35. 101) and previously published in SC, Maye, [69]. For William Webbe’s analysis of the metre cf. A Discourse of English Poetrie (1586), ECE, 1. 283–4.
COMPLAINTS
Complaint, like satire, is more properly regarded as a mode than a genre, but the nine separate works gathered together in Spenser’s Complaints constitute an anthology of its major kinds, ranging from the conventionally disconsolate, rhetorically charged female complaints of The Ruines of Time and The Teares of the Muses, through the colloquial estates’ satire of Mother Hubberds Tale and the playful mock-heroic lamentations of Virgils Gnat and Muiopotmos, to the ponderous despondency of Du Bellay’s Ruines of Rome and the sombre reflections of the various visionary sequences with which the volume concludes. Inclusiveness, contrast and variety are the principles most evident in the selection of materials. Classical mythology is juxtaposed with medieval beast fable, massive ruins with butterflies, translations with original works. The diversity of verse forms is also remarkable: rhyme royal, ottava rima, heroic couplets, sextains, English, Petrarchan and Spenserian sonnets. Equally evident, however, is an underlying unity of concern. In his prefatory address to ‘the Gentle Reader’ the printer William Ponsonby notes that all of the pieces chosen for inclusion ‘containe like matter of argument… being all complaints and meditations of the worlds vanitie’. He also indicates that publication was encouraged by the ‘fauourable passage’, or popular reception, of The Faerie Queene a year previously.
It would be ill-advised, however, to take Ponsonby’s letter at face value given the disingenuous tactics employed in the publication of The Shepheardes Calender and the Spenser–Harvey Letters. Althou
gh it has recently been argued that Spenser played little or no part in the preparation of Complaints the evidence of the dedications to The Ruines of Time, The Teares of the Muses, Mother Hubberds Tale and Muiopotmos (all dignified by separate title-pages) argues otherwise [cf. Brink (1991)]. It is clear from the language employed that these dedications were written with a view to publication rather than private presentation. Thus Spenser speaks of ‘eternizing’ the fame of the Dudley family in The Ruines of Time and of making his affection for Lady Strange ‘uniuersallie knowen to the world’ in The Teares of the Muses. More pertinent still is the assertion that he has been ‘mooued to set… foorth’ Mother Hubberds Tale (a poem written ‘long sithens’) by his devotion to Lady Compton and Mountegle, ‘setting forth’ being the term Ponsonby uses for the publication of The Faerie Queene. Similarly, the dedication to Muiopotmos speaks of Spenser’s intention ‘to commend to the world this smal Poëme’.
Complaints was entered in the Stationers’ Register on 29 December 1590 and published before 19 March 1591, and the most recent documentary evidence suggests that Spenser was in England during this period but that he left soon after as a result of the ensuing controversy [cf. Peterson (1997)]. Internal allusion indicates that The Teares of the Muses was revised as late as April 1590. The obvious inference is that Spenser fully co-operated with Ponsonby in capitalizing upon the interest aroused by the publication of his epic and wrote a series of new dedications for old materials with a view to imminent publication. There is no evidence that any of the works involved were prepared for publication on any other occasion, and corrections made to some copies at the proof stage may indicate authorial intervention although they cannot be taken as conclusive in themselves.
If Ponsonby’s letter was intended as a safeguard against official reaction it failed conspicuously. Contemporary allusions by Harvey, Nashe and Robert Parsons indicate that passages in both The Ruines of Time and Mother Hubberds Tale were interpreted (correctly) as attacks upon Lord Burghley and his son Robert Cecil, and that attempts were made to have the volume called in, although the number of extant copies suggests that public curiosity largely frustrated such efforts [cf. Wells, Allusions, 24, 27]. It is noteworthy, however, that the volume was not republished until its incorporation in the first folio edition of Spenser’s works in 1611 when (as the following notes indicate) significant alterations were made to The Ruines of Time and Mother Hubberds Tale was entirely omitted.
The Shorter Poems Page 69
