The Shorter Poems

  55 guize: characteristic manner or customary fashion.

  56 furnitures: armour, military equipment.

  57–96 Imitating the epic topos of the arming of the hero. Cf. Iliad, 11. 15–46.

  62 bit: bite (played upon in ‘bitter’).

  63 Vulcane… sheild: Achilles’ mother Thetis presented him with armour specially made by Vulcan. Cf. Homer, Iliad, 18. 369–617; 19. 1–20.

  69 spredding: spreading over, covering.

  71 Alcides: Hercules, a descendant of Alceus.

  72 Nœmean Conquest: the first of Hercules’ twelve labours involved slaying the Nemean lion. Cf. Hesiod, Theogony, 326–32; FQ, 7. 7. 36.

  73 Burganet: light helmet with visor.

  77 Bilbo: the steel of Bilbao in Spain was renowned:

  brasse… Corinth: for the fame of Corinthian brass cf. Pliny, Natural History, 34. 1. 1.

  78 Oricalche… Phœnice: orichalcum was a precious alloy of copper. The detail derives from the arming of Turnus at Virgil, Aeneid, 12. 87; Phoenicia was on the Syrian coast. The association may derive from the manufacturing of orichalcum from ‘Phoenician earth’. Cf. Knowlton (1980).

  79 Phœbus arrowes: sunbeams (i.e. arrows of Apollo).

  82 outlaunced: launched or projected outwards.

  84 Brigandine: a small galley with rams. Cf. FQ, 4. 2. 16.

  applyde: fitted, readied.

  85 threatfull: threatening.

  86 engines: machines, instruments.

  93 Iris: goddess of the rainbow. Cf. Virgil, Aeneid, 4. 700–701.

  95 Iunoes… traine: Juno placed the hundred eyes of the giant Argus in the peacock’s tail. Cf. Ovid, Metamorphoses, 1. 720–23.

  98 Archer… Cytheree: Cupid, son of Venus. Cf. SC, March, [79].

  99 wroken: avenged. For Cupid’s cruelty cf. FQ, 3. 11. 29–52.

  101 changefull: diverse, varied.

  104 manifolde: many times.

  110 grace: favour.

  113–44 Spenser has here created a new myth designed to contrast with the Ovidian transformation of Arachne into a spider (345–52).

  119 Astery: the name derives from that of Asteria who transformed herself into a quail to escape the advances of Zeus. She is a subject of Arachne’s tapestry at Metamorphoses, 6. 108. Cf. VG, 20 and note.

  120 usage: behaviour, manner.

  123 fields honour: a Latin expression, cf. Virgil, Georgics, 2. 404.

  129 iealous: suspicious.

  131–3 sonne… teare: Cupid visited Psyche by night enjoining her not to look on him. When she disobeyed and discovered his identity she was condemned to countless trials before their eternal reunion. Cf. Apuleius, The Golden Ass, 7–9; FQ, 3.6.50. Psyche means both ‘soul’ and ‘butterfly’.

  136 led away: misled.

  148 franke lustinesse: free or unrestrained vigour.

  149 champion: the open plain.

  152 gainsaid: refused.

  154 measured: traversed, travelled.

  159 choicefull: fickle, capricious.

  163–5 Nature… Arte: for the contention of nature and art cf. FQ, 2. 12. 59. The implication is one of hidden danger.

  171 curious: inquisitive.

  178 all… sweete: only to the unwary, cf. lines 217–20.

  184 weather him: take the air.

  187–200 Cf. the flower passages at SC, Aprill, 59–63; 136–44; VG, 665–80. Poets were expected to know ‘the power of herbs’ (SC, December, 88). Cf. Gerard’s Herball (1597) and Culpeper’s Complete Herbal (1653) to which the following notes are indebted.

  187 wholsome Saulge: sage was known as ‘the holie herb’ for its curative properties.

  Lauender… gray: spike lavender has ‘long hoarie leaves’ and its distilled waters were considered good for headaches and epilepsy.

  188 Ranke… Rue: Gerard records its ‘ranke smell’ and lists a wide range of medicinal properties.

  Cummin… eyes: aromatic herb believed to clear bloodshot eyes.

  190 Sharpe Isope: hyssop was used as a gargle for mouth ulcers, a purgative and to heal wounds.

  191 Marigoldes: the ‘flower of the Sunne’ considered good for the heart.

  Bees… Thime: Virgil recommends planting thyme to attract bees (cf. Georgics, 4. 31–2, 112).

  192 Sweete Marioram: an aromatic culinary herb noted for its ‘marvellous sweete smell’ and used medicinally.

  Daysies: used for wounds and ulcers and to clear the eyes.

  decking prime: adorning springtime.

  193 Coole Violets: oil of violets is ‘colde and moist’ and was used to cool inflammations or distempers of the blood.

  Orpine… still: also known as livelong (‘growing still’) and regarded as curative and cleansing for wounds.

  194 Embathed Balme: the garden herb balm gentle or balm-mint, used as an unguent for wounds and also in tonics.

  chearfull Galingale: English galingale or sedge, noted for ‘refreshing the spirits and exhilarating the mind’.

  195 Fresh Costmarie: alecost (a form of chrysanthemum), used to flavour ale and as a purgative. Cf. VG, 670.

  breathfull Camomill: camomile, an aromatic creeping herb, noted for expelling phlegm, opening pores and clearing head-colds.

  196 Dull Poppie: the poppy was valued for its soporific qualities.

  Setuale: setwall or valerian, used as a stimulant and also in antidotes (hence ‘drink-quickning’).

  197 Veyne-healing Veruen: vervain, used for cleansing wounds.

  hed-purging Dill: used for curing hiccups and stimulating the brain.

  198 Sound Sauorie: savory was used as a tonic and to ease melancholy.

  Bazill hartie-hale: basil was ‘good for the hart and for the head’.

  199 Fat Colworts: coleworts or cabbages, ‘good for sinews and joints’.

  comforting Perseline: parsley, ‘agreeable’ to the stomach and believed to clear internal obstructions.

  200 Colde Lettuce: lettuce ‘cooleth a hot stomacke’ or heartburn.

  refreshing Rosmarine: rosemary, used in perfumery and held to quicken the senses and freshen the breath.

  206 embay: bathe.

  207 suffisaunce: abundance (but the alternative sense of ‘sufficiency’ underlines the ‘riotous’ character of the butterfly’s attitude).

  212 raine… aire: with potentially sinister connotations. The devil was prince of the air (cf. Ephesians 2: 2).

  217 abide in state: remain in the same (flourishing) condition.

  227 Forecast: predict (with a view to forestalling).

  229 all… some: one and all.

  230 importune: ceaselessly pressing, grievous.

  234 vnhappie happie: playing on the sense of ‘hap’ or chance.

  257–352 Based on Ovid, Metamorphoses, 6. 1–145 but with significant alterations. In Ovid the tapestries are described in the reverse order and the goddess, incensed to find her work equalled by Arachne, destroys her rival’s tapestry and transforms her into a spider when she attempts to hang herself. In Spenser the transformation is the self-induced effect of envy (cf. FQ, 3. 10. 58–60) and the detail of the butterfly (329–36) is original.

  262 Pallas: the goddess Athena, also known as Minerva.

  265 Tritonian Goddesse: Minerva, so called from her birthplace of Lake Tritonis in Libya. Cf. Ovid, Metamorphoses, 6. 1.

  hard: heard.

  272 quill: bobbin.

  274 paragon to make: to compete with her.

  276 tapet: tapestry.

  277 figur’d: portrayed, depicted.

  281–96 In Ovid Arachne depicts twenty-one amorous scenes but Spenser elaborates upon the first, drawing also upon Metamorphoses, 2. 843–75; Moschus, Idylls, 2.

  289 winged Loue: Cupid.

  290 Sport: locus (Joy) accompanies Cupid at Horace, Odes, 1. 2. 34.

  292 Spring: young man, youth.

  296 Tritons: sea-gods, traditionally depicted blowing horns.

  297 empale: surround, encircle.

  299 Yuie: ivy, sacred to Bacchu
s (who is one of Arachne’s subjects in Ovid) and fitting for scenes of sensual indulgence. Cf. SC, August, 30.

  301 Enuie pale: as at Ovid, Metamorphoses, 2. 775.

  302 venemous… deuowres: cf. Ovid, Tristia, 4. 10. 123–4.

  305–6 debate… Athens: for the dispute between Athena and Neptune over Athens cf. SC, Aprill, [124] and note.

  306 trie: strive, venture.

  315 three-forked mace: the trident. Cf. Comes, Mythologiae, 2. 8.

  316 steed: Neptune’s gift was a salt-water spring, but Spenser reads ‘ferum’ (horse) for ‘fretum’ (Metamorphoses, 6. 77).

  320 foreiudgement: in the sense of rash or premature judgement. The sentiment is Spenser’s addition.

  321 Aegide shield: following Comes, Spenser conflates Minerva’s aegis (a sort of goat-skin breast plate) and shield (Mythologiae, 7. 11).

  326 Olyue: Ovid associates the olive with peace (Metamorphoses, 6. 101). Cf. SC, Aprill, [124].

  333 nap: down (cleverly combining the physical attributes of the insect with the ‘nap’ of the cloth upon which it is woven).

  337 ouerlaid: overcome, overwhelmed.

  341 dismaid: with a play on her ensuing loss of maiden’s shape.

  347 dryrihed: dreariness or sorrow.

  362 twyne: thread.

  364 dieper: diaper, a kind of fine linen.

  damaske: silk.

  lyne: linen.

  365 embost: ornamented with bosses or studs.

  366 loupes: loops.

  369–73 Vulcan trapped his wife Venus in the act of adultery with Mars. Cf. Ovid, Metamorphoses, 4. 176–89.

  370 Lemnian God: Vulcan, whose seat was on the island of Lemnos.

  371 compasse in: enclose, entrap.

  376 rang’d: roved, roamed.

  380 principall: princely, royal.

  385 Aragnoll: possibly from the Latin aranea, ‘spider’ or ‘cobweb’. The diminutive araneoli (‘little spiders’) is translated as ‘cobweb’ at VG, 3.

  394 tickle: tingle.

  403 by… side: from behind.

  405 readie tide: opportune moment, ready opportunity.

  412 runes: utterances, discourses (a poetic usage).

  413 Tragick Muse: cf. note to line 10 above.

  414 bitter throw: grievous death-throe as at FQ, 1. 10. 41.

  415 drerie stownd: dismal moment.

  420 Aeoles raine: the realm of Aeolus, god of the winds. Cf. Virgil, Aeneid, 1. 52–63; FQ, 4. 9. 23.

  on hed: headlong.

  427 laces: fine threads.

  429 lymie: sticky (as if coated in bird-lime).

  434 Lyon: the devil is so described at 1 Peter 5: 8.

  435–40 Recalling the closing lines of Virgil’s Aeneid (12. 945–52) in which Aeneas exacts vengeance upon Turnus for the death of Pallas (whose spoils Turnus is wearing).

  Visions of the worlds vanitie

  This sequence of emblematic sonnets is original to Spenser but heavily influenced by, and designed to complement, The Visions of Bellay and The Visions of Petrarch, first translated for A Theatre for Worldlings and subsequently revised for publication in Complaints. Their ethos is visionary: the ‘strange showes’ here ‘presented’ to the speaker’s ‘eyes’ (10) proceed from ‘meditation deepe’ (3) and afford perspectives on contemporary life ‘exceeding [the] reach of common reason’ (4). Yet the subject matter is highly conventional. Sonnets 4 and 9 rehearse material familiar from Alciati’s Emblems, with which the work shares a strong generic connection, and the rest may be regarded as variations upon well-worn commonplaces. Their application, however, is somewhat unusual. The format is that of a series of miniature beast fables emblematically illustrating the insecurity of power but designed to lead, in the climactically positioned sonnet 11, to a perception of the value of ‘mean things’ or lowly persons (152). Noteworthy also is the speaker’s potentially radical decision ‘to scorne all difference of great and small’ (160) and his admonition to those who attain to ‘honours seat’ – the self-made Lord Burghleys of the world, perhaps – to ‘forget not what you be’ (166). At times one senses a grim satisfaction battling with ‘inward ruth and deare affection’ (157) in the representation of the various ‘ruines tragicall’ (163). As in Virgils Gnat ‘small’ things have their day and, like the prefatory sonnet to Virgils Gnat, these sonnets are all Spenserian in form (rhyming ababbcbccdcdee), anticipating in their structural experimentation the more mature specimens of Amoretti. This is significant in that one detects here a personal and artistic assertiveness absent from the other sequences of vision poems. Both the voice and the form are now distinctly Spenserian. Cf. Clements (1955); Hyde (1983); Satterthwaite (1957).

  1–14 Cf. RT, 477–90; VB, 1–14; VP, 1–14.

  2 earthly prison: the body.

  6 debaced: looked down upon, despised.

  7 declining season: it was commonly supposed that the world had reached its final age. Cf. McCabe (1989), 28–9.

  10 showes: visions.

  11 embraced: held, in the sense of contemplated.

  12 empassion… nere: moved me deeply or intimately.

  13 Ladie… worth: possibly Elizabeth Carey who is asked to ‘take in worth’ (take in good part, or be content with) the preceding Muiopotmos, or the Countess of Pembroke to whom the whole volume is dedicated.

  15–28 Modelled on Aesop’s fable of the gnat and the lion (cf. Fables, no. 188).

  15 Phœbus: Apollo, the sun god.

  17 embowed: bow-shaped, convex.

  24 Brize: a breeze or gadfly.

  28 diseased: annoyed, discomfited.

  31 Crocodile: for its evil associations cf. FQ, 1. 5. 18; 5. 7. 6–7.

  35 Tedula: presumably the trochilus credited with this practice by Pliny, Natural History, 8. 37. 90.

  43–56 Cf. Aesop’s fable of the eagle and the beetle (cf. Fables, no. 4), illustrated in Alciati’s Emblems (no. 168) under the motto ‘a minimis quoque timendum’ (the least are also to be feared).

  43 kingly Bird: the eagle.

  44 Scarabee: scarab or dung beetle.

  49 kindling fire: an alteration to the usual version in which the scarab breaks the eagle’s eggs.

  58 cleepe: call (an archaism).

  60 flaggie: pendulous, or possibly flaccid.

  62–3 Leuiathan… sport: cf. Psalms 104: 26. For Leviathan as Egypt (sometimes identified by the Reformers with Rome) cf. Psalms 74: 14; Ezekiel 29: 3–5. Cf. note to lines 71–4 below.

  64 sword-fish: for its belligerence cf. Pliny, Natural History, 32. 6. 15.

  66–8 spewe… hewe: cf. the monster Error at FQ, 1. 1. 20. The correspondence may indicate an application to Rome.

  71–4 Dragon… beare: cf. the Leviathan of Job 41: 15–34; and the dragon of FQ, 1. 11. 11–12.

  75 vnequall peare: a deliberate oxymoron: the spider seems inferior to the dragon but proves to be its equal.

  77 vermin: noxious creature.

  83 vainnesse: stupidity, foolishness.

  84 forlorne: destroyed, ruined (from the verb ‘forlese’).

  85–112 At Job 40: 17 the monster Behemoth, sometimes identified with the elephant, ‘moveth his tail like a cedar’ and the associations may inform Spenser’s choice of subjects for these two sonnets.

  85–9 Cedar… one: for the cedar of Lebanon as a type of towering pride brought low by God cf. Ezekiel 31: 3–14. Cf. also VB, 57–70; VP, 29–42.

  86 proportion: shape or figure.

  90 pith: the medulla or inner tissue.

  91 worme: the cedar was popularly believed to be invulnerable to the tree worm. Cf. Bartholomaeus Anglicus, De Proprietatibus Rerum, 17. 23.

  100 bosses: ornamental knobs.

  101 batteilant: combatant, prepared for combat.

  110 stained: blemished, defiled.

  112 varie: alter, overturn.

  113–26 Cf. VP, 15–28.

  115 top-gallant: platform at the head of the main mast.

  122 Remora: the sucking fish. Pliny laments the human
insignificance (‘vanitas’) exposed by its power (Natural History, 32. 1. 1–6). Alciati applies it to those who are easily drawn from virtue (cf. Emblems, no. 82).

  123 heele: bottom or keel.

  126 wring: afflict, distress.

  127–40 Cf. Aesop’s fable of the gnat and the lion (cf. Fables, 188).

  130 dreadles: secure.

  141–54 The events described form part of the early, legendary history of Rome and pre-date the empire by many centuries.

  141 raine: sovereignty, dominion.

  146–8 Galles… Goose: conflating two distinct episodes. In the time of Romulus the Sabines gained access to the citadel by bribing Tarpeia, daughter of the custodian, while a Gaulish attack on the Capitol in 390 BC was foiled by the cackling of the sacred geese. Cf. Livy, 1. 11; 5. 47.

  148 bewrayde: betrayed, disclosed.

  163 ruines: connecting the visions with RT.

  164 loue… degree: cf. SC, Julye, 219–20.

  168 fickle: uncertain, unreliable.

  The Visions of Bellay

  Appended to Du Bellay’s Antiquitez de Rome (translated in Complaints as Ruines of Rome) is Une Songe ou Vision sur le Mesme Subject of which the present work is a close translation. The Songe is comprised of a sequence of fifteen Petrarchan sonnets collectively presented as a dream vision and designed to reflect emblematically upon the universal implications of the preceding poem. Spenser had contributed an earlier version in blank verse to A Theatre for Worldlings (1569), omitting sonnets 6, 8, 13 and 14. These are now restored to their proper positions and all fifteen are recast as English sonnets (rhyming ababcdcdefefgg). The process of transition occasions localized distortions and inversions of syntax with some loss of accuracy but, as a comparison between the two versions of sonnet I will demonstrate, such faults are generally offset by an increased musicality of language and assurance of metrical control. The revised sequence is remarkably coherent, with no evidence of major stylistic variation in the four newly-added sonnets. The restoration of the eighth sonnet with its pseudo-Apocalyptic imagery serves to underscore the relationship between pagan and papal Rome, between worldly and spiritual ‘vanitee’ (11). The rise of the papacy and the Holy Roman Empire are presented as particularly ill consequences of Rome’s decline (cf. sonnets 5, 7 and 11). Sonnet 14 explicitly contrasts the city of God with the city of man and allows the speaker’s voice to merge momentarily with that of St John. The episode recalls St George’s mystical experience in The Faerie Queene (1. 4.4–5; 10. 55–9) and suggests something of the centrality of Du Bellay’s influence to the wider Spenserian canon. Cf. T. M. Greene (1982); Prescott (1978); Tucker (1990).