Halleck's New English Literature Part 20

After returning from the north, he spent some time with Sir Philip Sidney, who helped fas.h.i.+on Spenser's ideals of a chivalrous gentleman.

Sidney's influence is seen in Spenser's greatest work, the _Faerie Queene_. Sir Walter Raleigh was another friend who left his imprint on Spenser.

In 1579, Spenser published the _Shepherd's Calendar_. This is a pastoral poem, consisting of twelve different parts, one part being a.s.signed to each of the twelve months. Although inferior to the _Faerie Queene_, the _Shepherd's Calendar_ remains one of the greatest pastoral poems in the English language.

In 1580 he was appointed secretary to Lord Gray, Lord Lieutenant of Ireland. In one capacity or another, in the service of the crown, Spenser pa.s.sed in Ireland almost the entire remaining eighteen years of his life. In 1591 he received in the south of Ireland a grant of three thousand acres, a part of the confiscated estate of an Irish earl. Sir Walter Raleigh was also given forty-two thousand acres near Spenser. Ireland was then in a state of continuous turmoil. In such a country Spenser lived and wrote his _Faerie Queene_. Of course, this environment powerfully affected the character of that poem. It has been said that to read a contemporary's account of "Raleigh's adventures with the Irish chieftains, his challenges and single combats, his escapes at fords and woods, is like reading bits of the _Faerie Queene_ in prose."

In 1598 the Irish, infuriated by the invasion of their country and the seizure of their lands, set fire to Spenser's castle. He and his family barely escaped with their lives. He crossed to England and died the next year, according to some accounts, in want. He was buried, at the expense of Lord Ess.e.x, in Westminster Abbey, near Chaucer.

The Faerie Queene.--In 1590 Spenser published the first three books of the _Faerie Queene_. The original plan was to have the poem contain twelve books, like Vergil's _AEneid_, but only six were published. If more were written, they have been lost.

The poem is an allegory with the avowed moral purpose of fas.h.i.+oning "a gentleman or n.o.ble person in vertuous and gentle discipline." Spenser says: "I labour to pourtraict in Arthure, before he was King, the image of a brave knight, perfected in the twelve private morall vertues, as Aristotle hath devised." Twelve Knights personifying twelve Virtues were to fight with their opposing Vices, and the twelve books were to tell the story of the conflict. The Knights set out from the court of Gloriana, the Faerie Queene, in search of their enemies, and meet with divers adventures and enchantments.

The hero of the tale is Arthur, who has figured so much in English song and legend. Spenser makes him typical of all the Virtues taken together. The first book, which is really a complete poem by itself, and which is generally admitted to be the finest, contains an account of the adventures of the Red Cross Knight who represents Holiness.

Other books tell of the warfare of the Knights who typify Temperance, Chast.i.ty, Friends.h.i.+p, Justice, and Courtesy.

The poem begins thus:--

"A gentle Knight was p.r.i.c.king[6] on the plaine, Ycladd in mightie armes and silver s.h.i.+elde, Wherein old dints of deepe woundes did remaine, The cruell markes of many' a b.l.o.o.d.y fielde; Yet armes till that time did he never wield.

"And on his brest a bloodie Crosse he bore, The deare remembrance of his dying Lord, For whose sweete sake that glorious badge he wore.

"Upon a great adventure he was bond.

That greatest Gloriana to him gave, That greatest glorious Queene of Faerie lond."

The entire poem really typifies the aspirations of the human soul for something n.o.bler and better than can be gained without effort. In Spenser's imaginative mind, these aspirations became real persons who set out to win laurels in a fairyland, lighted with the soft light of the moon, and presided over by the good genius that loves to uplift struggling and weary souls.

The allegory certainly becomes confused. A critic well says: "We can hardly lose our way in it, for there is no way to lose." We are not called on to understand the intricacies of the allegory, but to read between the lines, catch the n.o.ble moral lesson, and drink to our fill at the fountain of beauty and melody.

Spenser a Subjective Poet.--The subjective cast of Spenser's mind next demands attention. We feel that his is an ideal world, one that does not exist outside of the imagination. In order to understand the difference between subjective and objective, let us compare Chaucer with Spenser. No one can really be said to study literature without constantly bringing in the principle of comparison. We must notice the likeness and the difference between literary productions, or the faint impression which they make upon our minds will soon pa.s.s away.

Chaucer is objective; that is, he identifies himself with things that could have a real existence in the outside world. We find ourselves looking at the s.h.i.+ny bald head of Chaucer's Monk, at the lean horse and threadbare clothes of the Student of Oxford, at the brown complexion of the s.h.i.+pman, at the enormous hat and large figure of the Wife of Bath, at the red face of the Summoner, at the hair of the Pardoner "yelow as wex." These are not mere figments of the imagination. We feel that they are either realities or that they could have existed.

While the adventures in the Irish wars undoubtedly gave the original suggestions for many of the contests between good and evil in the _Faerie Queene_, Spenser intentionally idealized these knightly struggles to uphold the right and placed them in fairyland. This great poem is the work of a mind that loved to elaborate purely subjective images. The pictures were not painted from gazing at the outside world. We feel that they are mostly creations of the imagination, and that few of them could exist in a real world. There is no bower in the bottom of the sea, "built of hollow billowes heaped hye," and no lion ever follows a lost maiden to protect her. We feel that the princ.i.p.al part of Shakespeare's world could have existed in reality as well as in imagination. Spenser was never able to reach this highest type of art.

The world, however, needs poets to create images of a higher type of beauty than this life can offer. These images react on our material lives and cast them in a n.o.bler mold. Spenser's belief that the subjective has power to fas.h.i.+on the objective is expressed in two of the finest lines that he ever wrote:--

"For of the soule the bodie forme doth take; For soule is forme, and doth the bodie make."[7]

Chief Characteristics of Spenser's Poetry.--We can say of Spencer's verse that it stands in the front rank for (1) melody, (2) love of the beautiful, and (3) n.o.bility of the ideals presented. His poetry also (4) shows a preference for the subjective world, (5) exerts a remarkable influence over other poets, and (6) displays a peculiar liking for obsolete forms of expression.

Spencer's melody is noteworthy. If we read aloud correctly such lines as these, we can scarcely fail to be impressed with their harmonious flow:--

"A teme of Dolphins raunged in aray Drew the smooth charett of sad Cymoent: They were all taught by Triton to obay To the long raynes at her commaundement: As swifte as swallowes on the waves they went.

"Upon great Neptune's necke they softly swim, And to her watry chamber swiftly carry him.

Deepe in the bottome of the sea her bowre Is built of hollow billowes heaped hye."[8]

The following lines will show Spenser's love for beauty, and at the same time indicate the n.o.bility of some of his ideal characters. He is describing Lady Una, the fair representative of true religion, who has lost through enchantment her Guardian Knight, and who is wandering disconsolate in the forest:--

"...Her angel's face, As the great eye of heaven, shyned bright, And made a suns.h.i.+ne in the shady place; Did never mortall eye behold such heavenly grace.

"It fortuned out of the thickest wood A ramping Lyon rushed suddeinly, Hunting full greedy after salvage blood.

Soone as the royall virgin he did spy, With gaping mouth at her ran greedily, To have att once devoured her tender corse; But to the pray when as he drew more ny, His b.l.o.o.d.y rage aswaged with remorse, And with the sight amazd, forgat his furious forse.

"In stead thereof he kist her wearie feet, And lickt her lilly hands with fawning tong, As he her wronged innocence did weet.

O, how can beautie maister the most strong, And simple truth subdue avenging wrong!"[9]

The power of beauty has seldom been more vividly described. As we read the succeeding stanzas and see the lion following her, like a faithful dog, to s.h.i.+eld her from harm, we feel the power of both beauty and goodness and realize that with Spenser these terms are interchangeable, Each one of the preceding selections shows his preference for the subjective and the ideal to the actual.

Spenser searched for old and obsolete words. He used "eyne" for "eyes," "fone" for "foes," "shend" for "shame." He did not hesitate to coin words when he needed them, like "mercify" and "fortunize." He even wrote "wawes" in place of "waves" because he wished it to rime with "jaws." In spite of these peculiarities, Spenser is not hard reading after the first appearance of strangeness has worn away.

A critic rightly says that Spenser repels none but the anti-poetical.

His influence upon other poets has been far-reaching. Milton, Dryden, Byron, Wordsworth, Keats, and Sh.e.l.ley show traces of his influence.

Spenser has been called the poet's poet, because the more poetical one is, the more one will enjoy him.

THE ENGLISH DRAMA

The Early Religious Drama.--It is necessary to remember at the outset that the purpose of the religious drama was not to amuse, but to give a vivid presentation of scriptural truth. On the other hand, the primary aim of the later dramatist has usually been to entertain, or, in Shakespeare's exact words, "to please." Shakespeare was, however, fortunate in having an audience that was pleased to be instructed, as well as entertained.

Before the sixteenth century, England had a religious drama that made a profound impression on life and thought. The old religious plays helped to educate the public, the playwrights, and the actors for the later drama.

Any one may to-day form some idea of the rise of the religious drama, by attending the service of the Catholic church on Christmas or Easter Sunday. In many Catholic churches there may still be seen at Christmas time a representation of the manger at Bethlehem. Sometimes the figures of the infant Savior, of Joseph and Mary, of the wise men, of the sheep and cattle, are very lifelike.

The events cl.u.s.tering about the Crucifixion and the Resurrection furnished the most striking material for the early religious drama.

Our earliest dramatic writers drew their inspiration from the _New Testament_.

Miracle and Mystery Plays.--A Miracle play is the dramatic representation of the life of a saint and of the miracles connected with him. A Mystery play deals with gospel events which are concerned with any phase of the life of Christ, or with any Biblical event that remotely foreshadows Christ or indicates the necessity of a Redeemer.

In England there were few, if any, pure Miracle plays, but the term "Miracle" is applied indiscriminately to both Miracles and Mysteries.

The first Miracle play in England was acted probably not far from 1100. In the fourteenth, fifteenth, and sixteenth centuries these plays had become so popular that they were produced in nearly every part of England. Shakespeare felt their influence. He must have had frequent opportunities in his boyhood to witness their production.

They were seldom performed in England after 1600, although visitors to Germany have, every ten years, the opportunity of seeing a modern production of a Mystery in the _Pa.s.sion Play_ at Oberammergau.

The Subjects.--Four great cycles of Miracle plays have been preserved: the York, Chester, and Coventry plays, so called because they were performed in those places, and the Towneley plays, which take their name from Towneley Hall in Lancas.h.i.+re, where the ma.n.u.script was kept for some time. It is probable that almost every town of importance had its own collection of plays.

[Ill.u.s.tration: MIRACLE PLAY AT COVENTRY. _From an old print_]

The York cycle contains forty-eight plays. A cycle or circle of plays means a list forming a complete circle from Creation until Doomsday.

The York collection begins with Creation and the fall of Lucifer and the bad angels from Heaven,--a theme which was later to inspire the pen of one of England's greatest poets. The tragedies of Eden and the Flood, scenes from the lives of Abraham, Isaac, and Moses, the manger at Bethlehem, the slaughter of the Innocents, the Temptation, the resurrection of Lazarus, the Last Supper, the Trial, the Crucifixion, and the Easter triumph are a few of the Miracle plays that were acted in the city of York.

The Actors and Manner of Presentation.--At first the actors were priests who presented the plays either in the church or in its immediate vicinity on sacred ground. After a while the plays became so popular that the laity presented them. When they were at the height of their popularity, that is, during the fourteenth and fifteenth centuries, the actors were selected with great care from the members of the various trades guilds. Each guild undertook the entire responsibility for the presentation of some one play, and endeavored to surpa.s.s all the other guilds.

[Ill.u.s.tration: h.e.l.l MOUTH._From a Columbia University Model_.]

Considerable humor was displayed in the allotment of various plays.

The tanners presented the fall of Lucifer and the bad angels into the infernal regions; the s.h.i.+p carpenters, the play of Noah and the building of the ark; the bakers, the Last Supper; the butchers, the Crucifixion. In their prime, the Miracle plays were acted on wooden platforms mounted on wheels. There were two distinct stories in these movable stages, a lower one in which the actors dressed, and an upper one in which they played. The entrance to the lower story, known as h.e.l.l Mouth, consisted of a terrible pair of dragonlike jaws, painted red. From these jaws issued smoke, flame, and horrible outcries. From the entrance leaped red-coated devils to tempt the Savior, the saints, and men. Into it the devils would disappear with some wicked soul.

They would torture it and make it roar with pain, as the smoke poured faster from the red jaws.

In York on Corpus Christi Day, which usually fell in the first week in June, the actors were ordered to be in their places on these movable theaters at half past three in the morning. Certain stations had been selected throughout the city, where each pageant should stop and, in the proper order, present its own play. In this way the enormous crowds that visited York to see these performances were more evenly scattered throughout the city.