FullReads

XL

Great joy was made that day of young and old,
And solemne feast proclaimd throughout the land,
That their exceeding merth may not be told:
Suffice it heare by signes to understand 355
The usuall joyes at knitting of loves band.
Thrise happy man the knight himselfe did hold,
Possessed of his Ladies hart and hand,
And ever, when his eye did her behold,
His heart did seeme to melt in pleasures manifold. 360

XLI

Her joyous presence, and sweet company
In full content he there did long enjoy;
Ne wicked envie, ne vile gealosy,
His deare delights were able to annoy:
Yet swimming in that sea of blissfull joy, 365
He nought forgot how he whilome had sworne,
In case he could that monstrous beast destroy,
Unto his Faerie Queene backe to returne;
The which he shortly did, and Una left to mourne.

XLII

Now strike your sailes ye jolly Mariners, 370
For we be come unto a quiet rode,
Where we must land some of our passengers,
And light this wearie vessell of her lode.
Here she a while may make her safe abode,
Till she repaired have her tackles spent,[*] 375
And wants supplide. And then againe abroad
On the long voyage whereto she is bent:
Well may she speede and fairely finish her intent.

NOTES:

CANTO XII

I. The Plot: The death of the dragon is announced by the watchman on the tower of the city, and Una’s parents, the King and Queen, accompanied by a great throng, come forth rejoicing at their deliverance. The Knight and Una are conducted with great honors into the palace. On the eve of their betrothal, Archimago suddenly appears as Duessa’s messenger and claims the Knight. Their wicked attempt is frustrated, and the pair are happily betrothed. After a long time spent in Una’s society, the Knight sets out to engage in the further service of the Faerie Queene.

II. The Allegory: Holiness, by conquering the devil, frees the whole human race from the tyranny of sin. It is embarrassed by the unexpected appearance of the consequences of its past sins, but makes a manly confession. In spite of hypocritical intrigues (Archimago) and false slanders (Duessa), Holiness is united to Truth, thus forming a perfect character. The champion of the church militant responds cheerfully to the calls of duty and honor.

2. Reformed England, having destroyed the brutal power of Rome, is firmly united to the truth in spite of the intrigues of the Pope to win it back to allegiance. It then goes forth against the King of Spain in obedience to the command of Queen Elizabeth.

3. VERE THE MAINE SHETE, shift the mainsail, BEARE UP WITH THE LAND, direct the ship toward land.

25. OUT OF HOND, at once.

43. OF TALL YOUNG MEN. An allusion to Queen Elizabeth’s Pensioners, a band of the tallest and handsomest young men, of the best families and fortunes, that could be found (Warton). ALL HABLE ARMES TO SOWND, all proper to wield armes.

57. TO THE MAYDENS, to the accompaniment of the maidens’ timbrels.

71. IN HER SELF-RESEMBLANCE WELL BESEENE, looking well in her resemblance to her proper self, i.e. a king’s daughter.

73. THE RASKALL MANY, the crowd of common people.

116. OF GREAT NAME, of great celebrity, i.e. value.

117. FITTING PURPOSE FRAME, held fitting conversation.

xiv. Kitchin and Percival think this whole passage a clever compliment to the parsimony of the Queen’s court.

161. THAT PROUD PAYNIM KING, probably a reference to Philip of Spain.

168. NOR DOEN UNDO, nor undo what has been done.

173. IN SORT AS, even as.

205. ALL WERE SHE, although she had been. IN PLACE, in various places.

313. BAIT. In Spenser’s time bear-baiting was a favorite pastime of the people and received royal patronage.

328. THE HOUSLING FIRE, the sacramental fire. Spenser seems here to have in mind, not the Christian housel or Eucharist, but the Roman marriage rites with their symbolic fire and water.

347. TRINALL TRIPLICITIES, the threefold three orders of the celestial hierarchy according to the scholastic theologians. They were as follows: (1) Seraphim, Cherubim, Thrones; (2) Dominations, Virtues, Powers; (3) Princedoms, Archangels, and Angels. Cf. Dante’s Paradiso, xxviii, Tasso’s Jerusalem Delivered, xviii, 96, and Milton’s Paradise Lost, v, 748.

375. HER TACKLES SPENT, her worn-out rigging.

QUESTIONS AND TOPICS

(Canto XII)

1. Contrast the tone of this canto with the preceding two. 2. When does Spenser drop into a lighter, humorous vein? 3. Find allusions to sixteenth century customs, e.g. that of sitting on rush-strewn floors. 4. How was the Redcross Knight received by the King? 5. Compare Una’s costume with that described in the first canto. Why this change? 6. What hint of the significance of her name in xxi? 7. What is the effect of Archimago’s appearance? (For dramatic surprise.) 8. What is the effect of Duessa’s letter? (Suspense of fear.) 9. Observe the confusion of Christian and Pagan rites in this canto. 10. Where does Spenser make happy use of maritime figures? 11. Explain the allegory of this canto.