Janet Spens Quotes

Most critics agree with the seventeenth-century printer who gave them to the world, that the Mutabilitie Cantos seem to be part of some following book of The Faerie Queene.

We have, then, three Books wholly and one partially written before, and two after, the Preface; and only one of the first four is consistent with it, while the two later are entirely in agreement with it. In the first group, the adventure which fits into the scheme in the Letter is the first of all, which is a significant fact. If Spenser were somewhat hastily reconstructing his scheme he would naturally test its coherence with what he had already written in the first Book and perhaps re-write certain passages. He may have forgotten the details of Books II and III or Raleigh's urgency may have left no time for the adjustment of the details.

These discrepancies are all connected with the twelve days' Feast and Gloriana's appointment of the knights, and this part may well have been suggested by Raleigh. He probably intended the poem not only to make Spenser's fortune at court but also to reinstate himself in the Queen's favour. In the circumstances he would wish to make the reference to the Queen as clear and as flattering as possible.

Thus, on the one hand, Spenser's thought is steeped in sensuous detail, so that for him there is no really abstract thinking; men, he thinks, 'should be satisfied with the use of these days, seeing all things accounted by their showes, and nothing esteemed of, that is not delightfull and pleasing to commune sense' ( Prefatory Letter). But on the other hand the details of the physical universe become translucent from the pulsing light of varied human experience which is seen behind it. His 'haunt and the main region of (his) song' is the inner life of man and it is described in the symbolism of human figures clothed in raiment iridescent with innumerable associations. His art is a development of the mediaeval.

The Faerie Queene was intended by its author to be a philosophical poem and was so regarded by his contemporaries and immediate successors, whose appreciation of it was so great.

The sin of Book I is at first sight more obscure, but it is particularly significant. We have seen that there appear to be two very important episodes showing the Red-Crosse a prey to Despair. When we find, further, that of the three Paynim Brethren, Sansfoy, Sansloi and Sansjoy, it is the last who is the Red-Crosse's most formidable enemy, we are driven to assume that there is some special significance in this stressing of a tendency to melancholy. Such a tendency is not now regarded as a serious sin, but in mediaeval times melancholy leading to inertia and in extreme cases to suicide was under the name of accidie one of the recognized Deadly Sins. By Elizabeth's day the much less pregnant term Sloth had been substituted in the usual catalogue, and Spenser nowhere uses the word accidie. But the late sixteenth and early seventeenth centuries were much preoccupied with the subject. They regarded the sufferers from it as at once in a highly dangerous spiritual state and as intensely interesting. It was the favourite pose of fashionable young men. Hamlet is the supreme treatment of it in literature, but most of the dramatists of the day are interested in it. I suggest that the first Book of the original Faerie Queene treated of the sin of accidie.

We have then, in the first part of The Faerie Queene, four of the seven deadly sins depicted in the more important passages of the four several books; those sins being much more elaborately and powerfully represented than the virtues, which are opposed to them, and which are personified in the titular heroes of the respective books. The alteration which made these personified virtues the centre each of a book was probably part of the reconstruction on the basis of Aristotle Ethics.
The nature of the debt to Aristotle suggests that Spenser did not borrow directly from the Greek, but by way of modern translations.