The Shorter Poems

  53 sowd… stars: alluding to the sphere of fixed stars positioned above the planetary spheres.

  55–6 two… sway: the sun and moon, cf. Genesis 1: 16.

  60 Captains: the sun’s.

  65–70 The traditional tripartite division into the sublunary, celestial (stretching from the sphere of the moon to the primum mobile) and empyrean heavens (regarded as infinite). Cf. Lewis (1964), 92–121.

  69–70 Sunne… theirs: cf. HHL, 71–3 and note.

  71 these heauens: the visible celestial heavens.

  72 first… bound: i.e. to the boundary of the primum mobile.

  73 comprize: contain, enclose.

  75–7 those… striue: Benivieni asserts that the loving soul moves upwards ‘grade by grade to the uncreated sphere’ (Canzona della Amore, 113–15).

  75 redound: climb or proceed upwards.

  78–81 heauen… Maiestie: the empyrean heaven where the souls of the blessed see God ‘face to face’ (1 Corinthians 13: 12).

  82–3 Idees… Plato: cf. Phaedrus 247d-e. Neoplatonists located the ideas (the universal forms or patterns) in the Angelic Mind (Ficino, Commentary, 5. 4). Cf. HHB, 32 and note.

  84 Intelligences: originally the minds or souls which guided the planetary spheres but later identified as angels. Cf. Lewis (1964), 115–16.

  86–97 Powres… Archangels: for the nine orders of angels cf. HHL, 64 and note. The series should ascend from common angels to the Seraphim, but Spenser’s sequence elevates the lowest ranks to the highest position. Cf. Epith, 413 and note.

  89 Seates: usually called Thrones.

  91 fet: fetched, drawn.

  92–3 Cherubins… wings: cf. the golden wings of the cherubim on God’s ‘mercy seat’, mentioned at line 148 below (cf. Exodus 25: 18–20).

  93 ouerdight: covered all over.

  94 burning Seraphins: seraphim were usually depicted as flame-coloured to express the fervency of their love. Cf. Isaiah 6: 2.

  99–105 Ficino asserts that the glory of God’s countenance is ‘universal Beauty’ and that the desire for it is ‘universal Love’ (Commentary, 5. 4).

  99 faire: fairness, beauty.

  108 utmost: outermost.

  109 parts: attributes.

  115 looking glasse: cf. ‘beholding as in a glass the glory of the Lord’ (2 Corinthians 3: 18). Ficino comments that ‘the single face of God shines successively in these three mirrors… the Angelic Mind, the World Soul and the Body of the World’ (Commentary, 5. 4). Cf. HB, 179–82 and note.

  117–26 unable… sparke: cf. note to lines 145–7 below.

  122 But: except.

  rebutted: thrown back, reflected.

  127–33 meanes… faire: cf. Romans 1: 20.

  130 brasen: i.e. as long-lasting as brass.

  132 goodnesse… declare: according to Ficino ‘goodness is said to be the outstanding characteristic of God’ and the ultimate source of divine beauty. Whoever sees and loves beauty in the creatures ‘seeing the glow of God in these… sees and loves God Himself’ (Commentary, 2. 5).

  133 good… faire: cf. HB, 139 and note.

  134 speculation: combining the senses of vision and contemplation (mental vision). Cf. Rogers (1983).

  135 impe: engraft with feathers (an image from falconry).

  wings… mynd: cf. Petrarch, Rime Sparse, 362; HL, 20; HHL, 1 and notes.

  137 damps: mists, fogs.

  138–9 Eagles… eyes: cf. ‘Eagles eye, that can behold the Sunne’ (FQ, 1. 10. 47). The eagle was the emblem of St John, commonly believed to be the author of Revelation.

  142 footestoole: cf. Psalms 99: 5.

  145–7 face… confounded: ‘Thou canst not see my face: for there shall no man see me, and live’ (cf. Exodus 33: 20).

  148 mercie seate: it was placed above the ark of the covenant (cf. Exodus 25: 17–21).

  149 Couered… integrity: covered with the imputed righteousness of Christ, the sacrificial ‘lamb of God’. Cf. Revelation 5: 7–8.

  152 throne… Eternity: cf. Psalms 45: 6; Hebrews 1: 8.

  153 steele or brass: emblems of permanence. Cf. Horace, Odes, 3. 30. 1.

  155 scepter… Righteousnesse: cf. Psalms 45: 6–7.

  156 bruseth: crushes.

  157 great Dragon: Satan. Cf. Revelation 12: 9; FQ, 1. 11. 8–14.

  159 Truth: cf. John 14: 6.

  160 her: truth’s (traditionally gendered female).

  162–75 ‘The light possessed by the eyes and the colours possessed by bodies are not enough to make vision complete unless they are aroused and strengthened by… the one light itself above the many… The perpetual and invisible light of the divine sun is always present to everything: it sustains, stimulates, arouses, completes and strengthens’ (Ficino, Commentary, 2. 2).

  163 Titans: Apollo’s (as the sun god).

  165 red: seen, perceived.

  166 maruelled: wondered at.

  168 misards: wise men, sages.

  172–3 God… appeare: cf. 1 Chronicles 28: 9.

  177 throne: cf. Psalms 47. 8; Revelation 4. 2.

  178–9 hid… vnsound: cf. 1 Timothy 6: 16.

  181–2 thunder… yre: cf. Revelation 4: 5.

  183 in… bosome: the location of Christ at HHL, 134–5. Cf. John 1: 18. For wisdom by the throne of God cf. Wisdom 9: 4.

  Sapience: Spenser’s Sapience has been variously identified with the Holy Spirit, Christ (as the Logos), the Virgin Mary and the Schekhina (Wisdom) of the Cabala [cf. Quitslund (1969)]. None is lacking in theological precedent but all sit uneasily with the details of the verse. In Neoplatonic terms Sapience is closest to the Angelic Mind (itself often identified with Venus–Urania) which held the ideas that informed creation (cf. Ficino, Commentary, 2. 7; 5. 4). Ficino asserts that ‘the single light of the single truth is the beauty of the Angelic Mind’ (Commentary, 6. 18). Plato notes the beauty of wisdom at Phaedrus, 250d. However, Spenser’s treatment seems more heavily influenced by the Hebraic tradition of Proverbs 5–9 and Wisdom 7–9 which personifies wisdom as an attribute of God directly involved in the creation and maintenance of the universe. Sapience (the knowledge of God through beatific vision) was regarded as the supreme gift of the Holy Spirit who is invoked at the outset of the hymn.

  184 dearling: darling. Cf. Proverbs 8: 30.

  185 Queene… robes: cf. HB, 126.

  186 powre… maiesty: cf. Wisdom 7: 23.

  187 gemmes… gorgeously: cf. Proverbs 3: 15; 8: 11.

  188–9 brighter… cleare: cf. ‘For she is more beautiful than the sun, and above all the order of stars’ (Wisdom 7: 29).

  193 rules… hy: cf. Ecclesiasticus 24: 4.

  194 menageth: directs, regulates.

  195 in… same: by virtue of that.

  196 powre imperiall: cf. Proverbs 8: 15.

  197–8 heauen… containe: cf. Wisdom 8: 1; Proverbs 8: 13–41.

  199 fulnesse… fill: cf. Wisdom 1: 7.

  200–203 state… increast: cf. Proverbs 8: 27–30.

  204–10 ‘Love pursues what is beautiful, and most beautiful of all is wisdom’ (Ficino, Commentary, 6. 10).

  204 fairenesse… tell: cf. Wisdom 6: 12; Psalms 45: 2.

  205–6 daughters… excell: cf. Psalms 45: 2.

  207 Sparkled… face: cf. Wisdom 7: 25–6.

  211 Painter: Apelles (4th century BC), famed for his depiction of Aphrodite rising from the sea. Cf. Pliny, Natural History, 35. 36. 91–2; FQ, 4. 5. 12.

  212 curious quill: ingenious pen (or brush).

  214 maistring: masterly.

  215 she: Venus.

  219 Teian Poet: Anacreon of Teos in Ionia. Cf. Anacreontea, 57.

  220 vaine: talent, genius.

  221 pretend: set forth, proffer for consideration.

  223 Idole: cf. Amor, 61. 1–2; HL, 193–4; HB, 90–91, 214–17; HHL, 259 and notes.

  234 mysteries vnfold: ‘we speak the wisdom of God in a mystery, even the hidden wisdom, which God ordained before the world unto our glory’ (1 Corinthians 2: 7).

&nbs
p; 238 In th’only: only in the wonder.

  239 thrise happie: surpassing the happiness at HL, 209.

  241 Beloued to behold: cf. Wisdom 8: 2, 21.

  245 wishfull: longed for, desired.

  246–50 For the imagery of opulence cf. ‘wisedome is most riches’ (FQ, 6. 9. 30); Proverbs 8: 21; Wisdom 7: 14; 8: 5.

  246 threasury: cf. Baruch 3: 15.

  247 Plentie of riches: cf. Ephesians 2: 7; 3: 8.

  249 closet: cabinet, repository.

  251–5 giuen… see: the operation of grace is left mysterious: the ‘worthy’ are the chosen. Cf. McCabe (1989), 169–84.

  255 letteth… see: cf. Wisdom 6: 12–16.

  260 admirable things: cf. HHL, 3 and note.

  261 extasy: ecstasy involves a state of mystical rapture in which the body is insensible to sensation while the mind contemplates celestial visions. Cf. 2 Corinthians 12: 2–4.

  263 brasen: i.e. resounding to the blare of brass trumpets.

  269 offense: offensive.

  271–2 ioy… see: cf. Wisdom 8: 16–18.

  273 shadowes: because the spiritual is the real, recalling Plato’s image of the shadowy cave (cf. Republic, 7. 514a–515e).

  274 faire lampe: cf. note to HB, 99 above.

  276 blame: faultiness.

  278–9 honor… drosse: cf. Job 28: 15–19; Wisdom 7: 8–9.

  280 mirth… losse: cf. Philippians 3: 8.

  284 aspect: beholding or apprehension.

  285 inward ey: cf. ‘the mind’s eye begins to see clearly when the outer eyes grow dim’ (Plato, Symposium, 219a).

  286 feed: i.e. take spiritual sustenance. Cf. HL, 198 and note.

  fastened: settled, steadfast.

  289 fancies: cf. HL, 198; HHL, 263 and notes.

  295–7 looke… spright: ‘the light and beauty of God… is called… infinite beauty. But infinite beauty demands a vast love also… you must worship God truly with infinite love’ (Ficino, Commentary, 6. 18). Cf. John 1: 9.

  298–9 loathing… world: cf. FQ, 1. 10. 62–4.

  300 pleasures: cf. note to HL, 280–87 above.

  301 straying… rest: attaining the spiritual sabbath. Cf. FQ, 7. 8. 2.

  PROTHALAMION

  As its title-page indicates, Prothalamion was published in 1596 to mark the double wedding of the two daughters of the Earl of Worcester, Elizabeth and Katherine Somerset. What the poem celebrates, however, is not their marriages but their betrothals and it must therefore have been composed sometime between mid-August, when the Earl of Essex returned from the Cadiz expedition, and 8 November when the wedding took place at Essex House. As its title indicates the poem marks the creation of a new literary genre, that of the ‘pre-wedding’ song, based upon the wedding hymns of Catullus, Claudian and Statius, and incorporating a brief epithalamic ‘lay’ (91–108) reminiscent of Spenser’s own Epithalamion [cf. J. N. Smith (1959)]. If the journey of the two ‘swans’ to London is intended to represent an actual procession, a possibility entirely consistent with Elizabethan ceremonial practice, the party would appear to have sailed down the River Lea which joins the Thames opposite Greenwich (where the court was then in residence) and to have continued past the Temple to Essex House.

  Among Spenser’s contemporary sources for the swan and river imagery were John Leland’s Cygnea Cantio (1545), William Camden’s De Connubio Tamis et Isis, fragments of which had appeared in his Britannia (1586) and William Vallans’s A Tale of Two Swannes (1590). Spenser may also have drawn upon his own ‘Epithalamion Thamesis’ (cf. Prose, 17), parts of which may also be incorporated into the fourth book of The Faerie Queene (4. 11. 10–53). But Prothalamion is distinguished from such precursors, and also from the classical epithalamium, by the intrusive role of its unhappy narrator whose mood of complaint serves as an incongruously elegiac ‘vndersong’ (110) to the celebration of marriage [cf. Hollander (1987)]. The swan was a traditional emblem of the poet and its employment signals a direct relationship between the narrator’s personal circumstances and the substance of his vision. The journey of the swan-brides towards love and matrimony is also the narrator’s journey towards hope and renewal. At Essex House, formerly home to the Earl of Leicester, Spenser’s erstwhile patron, the sisters find their partners and the ‘freendles’ (140) poet finds a potential protector [cf. Ericksen (1993)]. The poem may thus be regarded as a celebration of the transformative effects of poetry itself [cf. P. Cheney (1987)].

  Discontented by his ‘fruitlesse stay’ in ‘Princes court’ (6–7) the poet seeks consolation in nature, but nature manifests an artificial design: the banks that ‘hem’ the river’s waters are ‘paynted all with variable flowers’ and the surrounding meadows are ‘adornd with daintie gemmes’ (12–14). Located within this elaborately embroidered landscape the speaker, like the protagonist of a medieval dream vision, ‘chaunced to espy’ (20) a pageant of ‘Fowles so louely’ as to seem ‘heauenly borne’ (61–2), an oxymoronic transfiguration of foul nature into immaculate icon so complete that even the ‘siluer streaming Themmes’ (11) ‘seem’d foule’ (48) in comparison. The pattern of puns is thus made to serve a crucial thematic purpose since the symbolic ‘birds’ of stanzas 3–7 are destined, like the children of Lir, to re-metamorphize into the courtly ‘brides’ of stanza 10 when the signifier is dramatically translated into the signified. And yet, this very tour de force which marks the height of the poet’s powers also demonstrates their limitation. The vision that lifts him out of temporal despondency returns him to historical circumstance [cf. Berger (1965)]. Like all such aristocratic alliances, the Somerset marriages served a political purpose and Essex House was a hotbed of factional intrigue [cf. Strong (1977), 27–8]. Such is the immediate power of the speaker’s vision, however, that Essex appears ‘like Radiant Hesper’ (164) and the bridegrooms ‘like’ the constellation of Gemini (173–4), but such comparisons also serve to remind us of the potential gap between vision and reality. ‘Radiant Hesper’ was also known as Lucifer and, as the opening of the poem acknowledges, river banks are traditional sites for personal and political ‘complaint’.

  The river ‘Themmes’, with all of its potent political associations, is also the river of time (Latin tempus), its flow denoting both permanence and transience [cf. Wine (1962)], and our journey downstream takes us from sunlight to starlight. The poet ‘sings’ in the present tense of transformative visions experienced in the past but destined to be fulfilled at the ‘Brydale day’ which, according to the careful varying of the refrain, ‘is’ or ‘was’ not far off. Such variation is significant in that it complicates the temporal perspectives of a poem greatly preoccupied with the notion of endurance through change – just as the eighteen-line canzone stanza constantly varies the flow of its rhyme-scheme within established parameters. We are left uncertain as to whether the speaker’s poetic consummation will or will not coincide with that of the lovers, whether his is the ‘braue muse’ which, under Essex’s patronage and at the ‘appointed tyde’ (177), will celebrate ‘great Elisaes glorious name’ (157–9). As the poem ends his ‘song’ has not yet concluded and he is still imploring the Thames to ‘runne softly’. Cf. Cain (1971); Fowler (1975); Manley (1982); Norton (1944); S. R. Patterson (1979–80); Rogers (1977); Shire (1978); Woodward (1962).

  Title-page

  The word ‘prothalamion’ was coined by Spenser on the model of ‘epithalamion’ (wedding song) to signify a pre-nuptial poem. Cf. note to the title of Epith.

  Elizabeth… Katherine Somerset: the daughters of Edward Somerset, the fourth Earl of Worcester, who married, respectively, Henry (later Sir Henry) Guilford of Hemstead and William Petre (later second Baron Petre of Writtle) on 8 November 1596 at Essex House.

  Prothalamion

  1 trembling: in the haze of the heat, but also denoting anxiety.

  2 Zephyrus: god of the west wind, associated with the coming of spring and more generally, as here, with rebirth and renewal (cf. Virgil, Georgics, 1. 43–4). The first two stanzas are subtly informed by the
erotic subtexts of Zephyr’s rape of Chloris who was transformed into the vernal goddess Flora (cf. Ovid, Fasti, 5.195–224; SC, Aprill, [122] and note), and Pluto’s abduction of Proserpina (cf. Ovid, Fasti, 4. 417–54; Metamorphoses, 5. 385–408).

  3 spirit: breeze.

  lightly: gently (with a possible play on wantonly).

  delay: allay, assuage.

  4 Titans: the sun’s. Cf. SC, Julye, [59] and note.

  glyster: shine brilliantly, glitter.

  5 sullein care: melancholy anxiety.

  11 Themmes: for the Thames cf. FQ, 4. 11. 24–7.

  12 rutty: rooty. Roots were believed to make the bank secure.

  hemmes: encloses, restrains (but with a play on the ‘hem’ of an embroidered garment).

  13 paynted… flowers: cf. Ovid, Fasti, 4. 430; Epith, 51.

  16 Paramours: lovers.

  17 Against: in anticipation of, or in preparation for.

  which… long: which is not far off (cf. FQ, 4. 4. 12), but also recalling the diminishing hours of daylight at this time of year.

  18 runne softly: Orpheus was credited with the power of halting rivers, but the speaker is less ambitious. Cf. VG, 180–81 and note.

  21 Flood: river.

  22 goodly: comely.

  greenish: for fertility. Cf. the sea nymphs ‘with long greene haire’ at FQ, 4. 11. 48.

  loose vntyde: with erotic undertones. Cf. Amor, 37. 6 and note. 24–6 wicker… flowers: cf. Ovid, Fasti, 4. 435.

  25 fine: delicate.

  entrayled curiously: ingeniously entwined. Cf. SC, August, 30.

  26 flasket: a long shallow basket.

  27 feateously: nimbly, dexterously.

  28 on hye: presumably a variant of ‘in hie’ meaning ‘hastily’.

  29–34 For equivalent flower passages cf. SC, Aprill, 136–44; Muiop, 187-200; Epith, 41–51 and notes.

  30. Violet… blew: cf. Virgil’s ‘pallentis violas’, ‘pale violets’ (Eclogues, 2. 47). Cf. Ovid, Fasti, 4. 437.

  32 virgin Lillie: the flower that the virgin Proserpina was plucking when she was abducted by Hades (cf. Ovid, Fasti, 4. 442).

  Primrose: cf. SC, Februarie, [166].

  33 vermeil: crimson, scarlet.