Headnote

The third of four prefatory materials to The Shepheardes Calender, the Dedicatory Epistle to Gabriel Harvey is an important document in English letters. Above all, it boldly introduces the author of the pastoral book as the ‘new Poete’ (dedication title)—a phrase that continues to be associated with Spenser over 400 years later.

The Epistle divides into several topics: the New Poet’s relation with Chaucer and Virgil and a prediction of the author’s fame (1-14); his groundbreaking use of language—both his individual words (23-95) and his sentence arrangement (96-111)—to advance the ‘Mother tonge’ (70), including his triumphant overgoing of ‘the rakehellye route of our ragged rymers’ (102-3); the program of an author who begins the ‘flyght’ (123) of his career with pastoral, in imitation of Virgil and other poets (112-36); the poet’s ‘purpose’ (137) in writing the Calender (137-61), ‘to mitigate and allay the heate of his passion, or else to warne . . . young shepheards . . . of his unfortunate folly’ (140-2); and the evocation of a literary environment in which the book is produced, including its relation to Harvey, Philip Sidney (the book’s dedicatee), and the mysterious E.K., who signs the Epistle (162-93).

Probably, E.K. does not refer to Edward Kirke, who had been a sizar with Spenser at Cambridge, even though Kirke’s initials match E.K.’s and Spenser mentions ‘Mystress Kerke’ (either Edward’s mother or his wife) in a letter to Harvey written on 16 October 1579 (Let 4.63, 257-8; see Hadfield 2012: 122-3). More likely, Spenser authored the Epistle himself, as well as the General Argument, the prose Arguments prefacing the twelve eclogues, and their detailed glosses, perhaps in collusion with Harvey (Starnes 1944; Schleiner 1990; Waldman 1991; Carroll 2005; McCabe 2010: 465-8). Consequently, readers may more profitably turn away from this ‘authorial wild goose chase’ to ‘question the purpose and nature of [E.K.’s] . . . strange exegetical performance’ (Kearney 2011: 143n2). In his performance, E.K. functions as part of Spenser’s elaborate fiction about his monumental book (McCanles 1982): not merely does E.K. serve as the presenter of Spenser’s literary career but he functions as a ‘diagnostic and analytic . . . commentary on, and exploration of, the place of such books in his culture’ (Kearney 2011: 114).

As both performance and prolegomenon, the Epistle is important in a history of the book and of English literature (cf. Tribble 1993: 72-87; Slights 2001: 46-52; Cook 2011).

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To the most excellent and learned both Orator and Poete, Mayster Gabriell HarueyHarvey, his verie special and singular good frend E. K. commendeth the good lyking of this his labour, and the patronage of the new Poete. (·.·)
VNCOVTHE UNCOUTHE VNKISTEUNKISTE, Sayde the olde famous Poete Chaucer: vvhomwhom for his excellencie and vvonderfullwonderfull skil in making, his scholler Lidgate, a vvorthyworthy scholler of so excellent a maister, calleth the Loadestarre of our Language: and vvhomwhom our
Colin clout
in his Æglogue calleth Tityrus the God of shepheards, comparing hym to the worthines of the Roman Tityrus Virgile. VVhichWhich prouerbeproverbe, myne owne good friend 7. Ma.: Master7. Mr: MasterMa.Mr HarueyHarvey, as in that good old Poete it seruedserved vvellwell Pandares purpose, for the bolstering of his baudy brocage, so very vvellwell taketh place in this our nevvnew Poete, vvhowho for that he is vncoutheuncouthe (as said Chaucer) is vnkistunkist, and vnknownunknown to most mẽmen, is regarded but of fevvfew. But I dout not, so soone as his name shall come into the knovvledgknowledg of men, and his vvorthinesworthines be sounded in the tromp of fame, but that he shall be not onely kiste, but also belouedbeloved of all, embraced of the most, and vvondredwondred at of the best. No lesse I thinke, deseruethdeserveth his vvittinessewittinesse in deuisingdevising, his pithinesse in vtteringuttering, his complaints of louelove so louelylovely, his discourses of pleasure so pleasantly, his pastorall rudenesse, his morall vvisenessewisenesse, his devvedewe obseruingobserving of Decorum eueryeeverye vvherewhere, in personages, in seasons, in matter, in speach, and generally in al seemely simplycitie of handeling his matter, and framing his vvordswords: the vvhichwhich of many thinges which in him be straunge, I knovvknow vvillwill seeme the straungest, the vvordswords them seluesselves being so auncient, the knitting of them so short and intricate, and the vvholewhole Periode &and compassecompaste of speache so delightsome for the roundnesse, and so grauegrave for the straungenesse. And firste of the vvordeswordes to speake, I graunt they be something hard, and of most men vnusedunused, yet both English, and also vsedused of most excellent Authors and most famous Poetes. In vvhomwhom vvhenaswhenas this our Poet hath bene much traueiledtraveiled and throughly redd, hovvhow could it be, (as that vvorthyworthy Oratour sayde) but that vvalkingwalking in the sonne although for other cause he vvalkedwalked, yet needes he mought be sunburnt; and hauinghaving the sound of those auncient Poetes still ringing in his eares, he mought needes in singing hit out some of theyr tunes. But whether he vsethuseth them by such casualtye and custome, or of set purpose and choyse, as thinking them fittest for such rusticall rudenesse of shepheards, eyther for that theyr rough sounde vvouldwould make his rymes more ragged and rustical, or els because such olde and obsolete wordes are most vsedused of country folke, sure I think, and think I think not amisse, that they bring great grace and, as one vvouldwould say, auctoritie to the verse. For albe amongst many other faultes it specially be obiectedobjected of Valla against LiuieLivie, and of other against Saluste, that vvithwith ouerover much studie they affect antiquitie, as couetingcoveting thereby credence and honor of elder yeeres, yet I am of opinion, and eke the best learned are of the lyke, that those auncient solemne wordes are a great ornament both in the one &and in the other; the one labouring to set forth in hys worke an eternall image of antiquitie, and the other carefully discoursing matters of grauitiegravitie and importaunce. For if my memory fayle not, Tullie in that booke, vvhereinwherein he endeuourethendevoureth to set forth the paterne of a perfect Oratour, sayth that ofttimes an auncient worde maketh the style seeme grauegrave, and as it were reuerendreverend: no otherwise 48. then: thanthenthan vvewe honour and reuerencereverence gray heares for a certein religious regard, which we hauehave of old age. yetYet nether eueryevery where must old words be stuffed in, nor the commen Dialecte and maner of speaking so corrupted therby, that as in old buildings it seme disorderly &and ruinous. But all as in most exquisite pictures they vseuse to blaze and portraict not onely the daintie lineaments of beautye, but also rounde about it to shadow the rude thickets and craggy clifts, that by the basenesse of such parts, more excellency may accrew to the principall; for oftimes we fynde ourseluesourselves, I knowe not hovvhow, singularly delighted with the shewe of such naturall rudenesse, and take great pleasure in that disorderly order. EuenEven so doe those rough and harsh termes enlumine and make more clearly to appeare the brightnesse of brauebrave &and glorious vvordswords. So ofentimes a dischorde in Musick maketh a comely concordaunce: so great delight tooke the worthy Poete Alceus to behold a blemish in the ioyntjoynt of a wel shaped body. But if any vvillwill rashly blame such his purpose in choyse of old and vnvvontedvnwontedunwonted vvordswords, him may I more iustlyjustly blame and condemne, or of vvitlessewitlesse headinesse in iudgingjudging, or of heedelesse hardinesse in condemning. forFor not marking the compasse of hys bent, he vvilwil iudgejudge of the length of his cast. Forfor in my opinion it is one special prayse, of many vvhychwhych are dew to this Poete, that he hath laboured to restore, as to theyr rightfull heritage such good and naturall English words, as hauehave ben long time out of vseuse ufe &and almost cleare disherited. VVhichWhich is the onely cause, that our Mother tonge, which truely of it self is both ful enough for prose &and stately enough for verse, hath long time ben coũtedcounted most bare &and barrein of both. whichWhich default when as some endeuouredendevoured to saluesalve &and recure, they patched vpup the holes with peces &and rags of other languages, borrowing here of the french, there of the Italian, eueryevery where of the Latine, not vveighingweighing hovvhow il, those tongues accorde vvithwith themseluesthemselves, but much vvorseworse vvithwith ours: So now they hauehave made our English tongue, a gallimaufray or hodgepodge of al other speches. Other some notno so wel seeneſemeſeene in the English tonge as perhaps in other languages, if theythẽthenthey happen to here an olde vvordword albeit very naturall and significant, crye out streight way, that we speak no English, but gibbrish, or rather such, as in old time EuãdersEuandersEvãdersEvanders mother spake. vvhosewhoseVVhoseWhose first[fi]t[ſt]fir[ſt] shame is, that they are not ashamed, in their own mother tonge straungers to be counted and alienes. The second shame no lesse 84. then: thanthenthan the first, that what so they vnderstandunderstand not, they streight vvayway deeme to be sencelesse, and not at al to be vnderstode.understode. Much like to the Mole in Æsopes fable, that being blynd her selfe, vvouldwould in noinno wise be perswaded, that any beast could see. The last more shameful 88. then: thanthenthan both, that of their ovvneowne country and natural speach, vvhichwhich together vvithwith their Nources milk they sucked, they hauehave so base regard and bastard iudgementjudgement, that they vvillwill not onely themseluesthemselves not labor to garnish &and beautifie it, but also repine, that of other it shold be embellished. Like to the dogge in the maunger, that him selfe can eate no hay, and yet barketh at the hungry bullock, that so faine vvouldwould feede: vvhosewhose currish kind though cannot be kept from barking, yet I conne them thanke that they refrain from byting.
NovvNow for the knitting of sentences, vvhychwhych they call the ioyntsjoynts and members therof, and for al the compasse of the speach, it is round vvithoutwithout roughnesse, and learned wythout hardnes, such indeede as may be perceiuedperceived of the leaste, vnderstoodeunderstoode of the moste, but iudgedjudged onely of the learned. For vvhatwhat in most English wryters vsethuseth to be loose, and as it vverewere vngyrtungyrt, in this Authour is vvellwell grounded, finely framed, and strongly trussed vpup together. In regard wherof, I scorne and spue out the rakehellye route of our ragged rymers (for so thẽseluesthemselves vseuse to hunt the letter) vvhichwhich vvithoutwithout learning boste, vvithoutwithout iudgementjudgement ianglejangle, vvithoutwithout reason rage and fome, as if some instinct of Poeticall spirite had nevvlynewly rauishedravished them aboueabove the meanenesse of commen capacitie. And being in the middest of all theyr brauerybravery, sodenly eyther for vvantwant of matter, or of ryme, or hauinghaving for gottenforgotten theyr former conceipt, they seeme to be so pained and traueiledtraveiled in theyr remembrance, as it vverewere a woman in childebirth or as that same Pythia, vvhenwhen the traunce came vponupon her. Os rabidum fera corda domans &c.etc.
Nethelesse let them a Gods name feede on theyr ovvneowne folly, so they seeke not to darken the beames of others glory. As for
Colin
, vnderunder vvhosewhose person the Authour selfe is shadovvedshadowed, hovvhow furre he is from such vaunted titles and glorious shovvesshowes, both him selfe sheweth, vvherewhere he sayth.
Of Muses Hobbin.Hobbin,Hobbinoll, I conne no skill.  And,And,
And,
Enough is me to paint out my vnrestunrest, &c.etc.
And also appeareth by the basenesse of the name, vvhereinwherein, it semeth, he chose rather to vnfoldunfold great matter of argumẽtargument couertlycovertly, 120. then: thanthenthan professing it, not suffice thereto accordingly. vvhichwhichVVhichWhich mouedmoved him rather in Æglogues, 122. then: thanthenthan other wise to vvritewrite, doubting perhaps his habilitie, which he little needed, or mynding to furnish our tongue vvithwith this kinde, wherein it faulteth, or follovvingfollowing the example of the best &and most auncient Poetes, which deuiseddevised this kind of wryting, being both so base for the matter, and homely for the manner, at the first to trye theyr habilities:habilities? and as young birdes, that be nevvlynewly crept out of the nest, by little first to proueprove theyr tender vvyngswyngs, before they make a greater flyght. So flevvflew Theocritus, as you may perceiueperceive he vvaswas all ready full fledged. So flew Virgile, as not yet vvellwell feeling his winges.vvingesvvings.wings. So flevvflew Mantuane, as being not full somd. So Petrarque. So Boccace; So Marot, Sanazarus, and also diuersdivers other excellent both Italian and French Poetes, vvhosewhose foting this Author eueryevery vvherewhere follovvethfolloweth, yet so as few, but they be wel sented can trace him out. So finally flyeth this our nevvnew Poete, as a bird, vvhosewhose principals be scarce growenſcarcegrovvenſcarce grovvenſcarce growenſcarſe growneſcarce growne out, but yet as that in time shall be hable to keepe wing with the best.
NovvNow as touching the generall dryft and purpose of his Æglogues, I mind not to say much, him selfe labouring to conceale it. Onely this appeareth, that his vnstayedunstayed yougth had long vvandredwandred in the common Labyrinth of LoueLove, in vvhichwhich time to mitigate and allay the heate of his passion, or els to vvarnewarne (as he sayth) the young shepheards .s. his equalls and companions of his vnfortunateunfortunate folly, he compiled these xij.xii. Æglogues, vvhichwhich for that they be proportioned to the state of the xij.xii. monethes, he termeth the SHEPHEARDS CALENDAR, applying an olde name to a nevvnew vvorkeworke. Hereunto hauehave I added a certain Glosse or scholion for thexpositionth’exposition of old vvordeswordes &and harder phrases: vvhichwhich maner of glosing and commenting, vvellwell I vvotewote, vvilwil seeme straunge &and rare in our tongue: yet for somuch as I knew many excellent &and proper deuisesdevises both in wordes and matter vvouldwould passe in the speedy course of reading, either as vnknovvenvnknowenunknowen, or as not marked, and that in this kind, as in other vvewe might be equal to the learned of other nations, I thought good to take the paines vponupon me, the rather for that by meanes of some familiar acquaintaunce I vvaswas made priuieprivie to his counsell and secret meaning in them, as also in sundry other vvorksworks of his. vvhichwhichVVhichWhich albeit I knovvknow he nothing so much hateth, as to promulgate, yet thus much hauehave I aduenturedadventured vponupon his frendship, him selfe being for long time furre estraunged, hoping that this vvillwill the rather occasion him, to put forth diuersdivers other excellent vvorksworks of his, vvhichwhich slepe in silence, as his Dreames, his Legendes, his Court of Cupide, and sondry others; vvhosewhose commendations to set out, vverewere verye vayne; the thinges though vvorthyworthy of many, yet being knowen to few. These my present paynes if to any they be pleasurable or profitable, be you iudgejudge, mine ovvnown good Maister HarueyHarvey, to vvhomwhom I hauehave both in respect of your vvorthinesseworthinesse generally, and othervvyseotherwyse vponupon some particular &and special considerationscouſiderationsconſiderationsconſiderations, voued this my labour, and the maydenhead of this our commen frends Poetrie, himselfe hauinghaving already in the beginning dedicated it to the Noble and vvorthyworthy Gentleman, the right worshipfull 167. Ma.: Master167. Mr: MasterMa.Mr Phi. Sidney, a special fauourerfavourer &and maintainer of all kind of learning.learning.) VVhoseWhose cause I pray you Sir, yf EnuieEnvie shall stur vpup any wrongful accusasion, defend vvithwith your mighty Rhetorick &and other your rare gifts of learning, as you can, &and shield with your good vvilwil, as you ought, against the malice and outrage of so many enemies, as I knovvknow vvilbewilbe set on fire with the sparks of his kindled glory. And thus recõmendingrecommending the Author vntounto you, as vntounto his most special good frend, and my selfe vntounto you both, as one making singuler account of tvvotwo so very good and so choise frends, I bid you both most hartely farvvelfarwel, and commit you &and your most commendable studies to the tuicion of the greatest.
Your owne assuredly to be commaunded E.K.
Post scr
NOvvovvOwow I trust 181. M.: Master181. Mr: MasterM.Mr HarueyHarvey, that vponupon sight of your speciall frends and fellow Poets doings, or els for enuieenvie of so many vnworthyunworthy Quidams, vvhichwhich catch at the garlond, vvhichwhich to you alone is devvedewe, you vvillwill be persvvadedperswaded to pluck out of the hateful darknesse, those so many excellent English poemes of yours, vvhichwhich lye hid, and bring thẽthem forth to eternall light. Trust me you doe both them great wrong, in depriuingdepriving them of the desired sonne, and also your selfe, in smoothering your deserueddeserved prayses, and all men generally, in withholding from them so diuinedivine pleasures, which they might conceiueconceive of your gallant English verses, as they hauehave already doen of your Latine Poemes, which in my opinion both for inuentioninvention and Elocutionaud Elocutionand Elocutiōan Elocu-| tionand elocutionand elocution, are very delicate, and superexcellent. And thus againe, I take my leaueleave of my good Mayster Haruey.Harvey. fromFrom my lodging at London thys 10. of Aprill. 1579.
2. making: writing poetry
8. brocage: sexual brokering
12. tromp: trumpet
16. rudenesse: rustic roughness, lack of learning.
21. auncient: archaic
31. casualtye: chance, happenstance
49. religious: scrupulous, conscientious
52. all: just
53. portraict: portray
59. enlumine: illuminate, render lustrous
59. braue: ostentatious, splendid
61. concordaunce: harmony
64. or: either
64. headinesse: headstrong manner, rashness
65. hardinesse: boldness
77. gallimaufray: a jumbled mixture.
95. conne them thanke: ‘thank them’
96. members: limbs
97. compasse: measure, proportion
100. vseth to be: is customarily
101. vngyrt: unbelted, ungirdled.
102. trussed: tied in a bundle, knit together
102. rakehellye: rakish, debauched
104. iangle: jabber, jingle discordantly
108. conceipt: idea
121. suffice: sufficient
124. faulteth: lacks
131. full somd: fully grown, with full plumage
135. principals: main feathers.
139. vnstayed: undecided, unregulated
141. .s.: namely (abbreviation for Lscilicet)
145. scholion: learned comment
182. Quidams: certain persons
22. compasse] compa[ſt]e 1579; compa[ſſ]e 1581, 1586, 1591, 1597, 1611
69. vse] vſe 1579 state 2, 1586, 1591, 1597, 1611; vfe 1579 state 1
78.not] no 1579; ~ 1581, 1586, 1591, 1597, 1611
78.seene] ſeme 1579, 1581; ſeene 1586, 1591, 1597, 1611
79.they] thẽ 1579; then 1581; ~ 1586, 1591, 1597, 1611
82.first] [fi]t[ſt] 1579; fir[ſt] 1581, 1586, 1591, 1597, 1611
87.in no] inno 1579; ~ 1581, 1586, 1591, 1597, 1611
116.Hobbin,] Hobbin. 1579, 1581; ~ 1586, 1591, 1597; Hobbinoll, 1611
119.skill. [|] And,] ſkill. And, 1579; [ſk]ill. And, 1581; skill. And, 1586, 1591; skill. And 1597, 1611
126.habilities:] habilities? 1579, 1581; ~ 1586, 1591, 1597, 1611
130.winges.] vvinges 1579; vvings. 1581; wings. 1586, 1597, 1611; ~ 1591
135.scarce growen] ſcarcegrovven 1579; ſcarce grovven 1581; ſcarce growen 1586; ſcarſe growne 1591; ſcarce growne 1597, 1611
164.considerations] couſiderations 1579; conſiderations 1581, 1586, 1591; conſiderations, 1597, 1611
168.learning.] learning.) 1579; lear- [|] ning. 1597; ~ 1581, 1586, 1591; 1611
191.and Elocution] aud Elocution 1579; and Elocutiō 1581; ~ 1586; an Elocu- [|] tion 1591; and elocution 1597; and elocution, 1611
0.1–0.6 To the most . . . new Poete: The formal title to the Dedicatory Epistle puts Gabriel Harvey, MA near the front of Spenser’s book (after Philip Sidney on the title page). Harvey was fellow of Pembroke Hall, Cambridge during Spenser’s residence, as well as his close friend and his correspondent in the Letters. Harvey is principally remembered for his marginalia and his 1590s controversy with Thomas Nashe, the so-called Harvey-Nashe debate. Cf. Jan [10] and Sept [176] (see Goldberg 1989; SpE s.v. ‘Harvey, Gabriel’; Maley 2010: 17-22).
0.5 patronage: A curious term here, and rare in the Spenser canon. OED lists only two definitions applicable before 1579: 1) ‘Christian Church. The right of presenting a member of the clergy to a particular ecclesiastical benefice or living’; and 2) ‘The action of a patron in using money or influence to advance the interests of a person, cause, art’. At FQ DS Walsingham 13.8, Spenser uses the word in accord with the second definition.
1 VNCOVTHE VNKISTE: ‘Unknown, so not kissed’. A misquotation from, or imitation of, Chaucer, TC 1.809, taken from Pandarus’ advice to Troilus: ‘Unknowne, unkist’ (see SpE s.v. ‘Chaucer, Geoffrey’; A. King 2010: 554-6; Cook 2011). The allusion to Pandarus presents E.K. as a ‘go-between’ for bringing ‘the sense of the text and the reader together’, but E.K.’s ‘role of the pander . . . does not inspire confidence’, and instead invites the reader to view the glossator as part of the fictional performance, where ‘annotation [functions] as appropriation’, for E.K. is at times ‘pedantic, coy, and frequently inept’ (Kearney 2011: 112-3).
1 the olde famous Poete Chaucer: Does not merely contrast the ‘new Poete’ with Chaucer but puts the two together in a genealogy of English poets.
2 making: Formally identifies Chaucer as a ‘maker’. E.K. clarifies this meaning at Apr [19].
2–3 his scholler Lidgate: John Lydgate, a poet and monk, was an ardent admirer and imitator of Chaucer (as well as a friend to Chaucer’s son Thomas) and author of such poems as Troy Book and The Siege of Thebes. For Elizabethans, Lydgate was recognized as part of the triumvirate of great English poets, with Chaucer and John Gower. The word ‘scholler’ (meaning ‘pupil’) evokes Lydgate’s learning but also draws attention to his discipleship under Chaucer.
4 Loadestarre of our Language: A resonant, alliterative phrase highlighting Chaucer’s importance in a history of English. A lodestar is a guiding star, usually the pole star. Cf. Lydgate, Fall of Princes 1.252. Chaucer himself uses the metaphor, e.g., CT KnT 2059, TC 5.1392.
4 Colin clout: One of Spenser’s figures for himself as author, as E.K. notes at 113-21. See Jan [1], Sept [176] and their respective notes, as well as the note to 'Colin cloute’, Jan Arg 1.
5 Tityrus: Virgil’s pastoral persona in Eclogues 1 and 6, and thus in the unfolding literary tradition. Cf. Oct 55-60, [55]. For Chaucer as the English Tityrus, see Feb [92], June 81-96, [81], Dec 4 (cf. Envoy 9).
5 God of shepheards: Colin calls Tityrus/Chaucer by this designation at June 81. The phrase sets up a comparison (perhaps a typology) between Chaucer-as-Tityrus and Pan, whom Colin recurrently designates the ‘shepheardes God’ (Jan 17, Apr 51, Maye 113, Dec 7 and 50).
5 comparing: The phrasing suggests that Tityrus represents Chaucer in comparison with Virgil, in a genealogy of leading poets linking Rome with England.
6 prouerbe: Chaucer uses the word, e.g., TC 3.299, CT Monk 2246/3436.
7 Pandares: Pandarus, in Chaucer’s TC; here, a possessive.
12 tromp: A traditional symbol of fame but also the instrument of epic (FQ I.pr.1.4).
14–16 wittinesse . . . wisenesse: This roll call of linguistic achievements draws attention to Spenser’s intelligence, artistry, wisdom, and moral value, as well as his pleasantness and utility in society---all the more impressive because he writes in the idiom of ‘pastorall rudenesse’.
17 Decorum: A major rhetorical standard, signaling propriety of language, genre, and subject. ‘[U]nder it one might subsume all Aristotle’s pleas to suit style to subject and to audience, arguments to audience, gestures and voice to style, etc.’ (Lanham 1968: 29-30). Cf. Puttenham, Arte of English Poesy (1589), 3.23: 347-60.
20–21 words . . . auncient: Marks off the distinctiveness of Spenser’s archaism in the Calender (see Var 7.614-30, SpE s.v. ‘archaism’, ‘dialect’, ‘language’; Nicholson 2014: 100-23). For criticism of archaism, see Puttenham, Arte of English Poesy 3.4: 229 (‘Our maker therefore at these days shall not follow Piers Plowman nor Gower nor Lydgate nor yet Chaucer, for their language is now out of use with us: neither shall he take the terms of northern men’); Sidney, Defence of Poetry (1595, composed c. 1580): ‘That same framing of his [Spenser’s] style to an old rustic language I dare not allow’ (1973: 112). Sidney's disapproval is striking, because E.K. both asks him to defend the text and mocks anyone foolish enough to disapprove of the language.
20–23 straunge . . . straungest . . . straungenesse: The concept has a range of meanings, from ‘unfamiliar’ to ‘exceptional to a degree that excites wonder or astonishment’, as well as ‘belonging to another country; foreign, alien’ (OED).
22 the whole Periode and compasse of speache: ‘The complete duration and scope of speech’. A grammatically complete sentence, esp. one made up of a number of clauses formed into a balanced or rhythmical whole; (more generally) a series of sentences seen as a linguistic whole. In pl.: rhetorical or ornamental language’. Yet E.K.’s phrase seems also to reflect another sense of period, i.e. 'duration'. E.K.’s word ‘compasse’ here means ‘scope’, ‘space’, ‘circumference’ (OED); it recurs at 76 and 113.
26In . . . traueiled: ’To be travailed in’ means 'to be learned or well-read in an author or body of knowledge, or to be experienced in some skill.’ Spenser puns on the idiom here, suggesting that his readings in 'most excellent Authors and most famous Poetes’ is a labored travel, a long journey, on foot.
27 that worthy Oratour: Marcus Tullius Cicero in De Oratore 2.14.60.
30–31 hit out: A rare and obsolete phrase meaning ‘To bring out, come out with’ (OED).
35–37 obsolete wordes . . . bring great grace and . . . auctoritie to the verse: A major claim, disputed by such early readers as Puttenham and Sidney (see 19-21n).
38–39 Valla . . . Liuie . . . Saluste: Lorenzo Valla was an Italian humanist who became private Latin secretary to Alfonso V of Aragon, and who, in Emendationes in Livium de Bello Punico (1532, 1540), criticized Livy for relying on his Paduan dialect. Titus Livius was a Roman historian, author of The History of Rome. Caius Sallustius Crispus was also a Roman historian, author of The Conspiracy of Catiline and The Jugurthine War, whose penchant for archaism had been attacked most recently by Roger Ascham in The Scholemaster (1570). Ascham, in 1579 the recently deceased tutor to Queen Elizabeth, may well be E.K.’s anonymous ‘other’ (Maclean and Prescott suggest Sir John Cheke, tutor to Edward VI [1993: 502]). Livy and Sallust join Cicero (‘that worthy Oratour’, mentioned by name subsequently) as Roman republicans who oppose monarchy. In being of the ‘opinion’ that ‘auncient solemne wordes are a great ornament’, E.K. sides with Livy and Sallust: ‘the one’ (E.K. continues) ‘labouring to set forth in hys worke an eternall image of antiquitie, and the other carefully discoursing matters of gravitie and importaunce’ (43-4). Significantly, the ‘eternall image of antiquitie’ that E.K. finds in Livy is a history of the Roman Republic. Livy, Sallust, and especially Cicero are important for defining a republic as relating a ‘free person’ to a ‘free state’: ‘Like a free person, a free state is one that is able to act according to its own will’ (Skinner 2002: 2.301). Spenser would have started studying the style of both Livy and Sallust (along with Cicero and other classical authors) at Merchant Taylors’ School (Hadfield 2012: 29-30), but in a letter to Spenser dated 7 April 1580 Harvey reports that undergraduates at Cambridge are focusing on Livy and Sallust rather than Cicero and Demosthenes (Let 2.335-6; see Hadfield 2012: 70; for the importance of Livy to Harvey, see Jardine and Grafton 1990; Schurink 2011: 58-78).
45–47 Tullie . . . reuerend: During the Renaissance, humanists often called Cicero ‘Tully’. At De Oratore 3.38, Cicero defends old words on the grounds that they lend dignity to rhetoric; at Orator 80, he similarly allows for occasional use of archaic diction in style.
46 paterne of a perfect Oratour: Cf. Oct Arg, ‘the perfecte paterne of a Poete’.
51–52 as in old buildings . . . ruinous: The comparison between language and architecture recurs throughout the Calender, especially in Spenser’s word ‘frame’ (e.g., Dec 77 and note). See 19 for E.K.’s praise of Spenser for ‘framing his words’ and 101 for a style that is ‘finely framed’.
52 pictures: The comparison between pictures and words evokes the Horatian tradition of ut pictura poesis (‘as is painting, so is poetry’ [Ars Poetica 361]), a staple of English Renaissance poetics. See note on ‘some PictureFeb Arg 11.
61 Alceus: Alcaeus was a Greek lyric poet of the 6th c. BCE, but E.K. is actually citing Cicero, De Natura Deorum 1.79.
65–66 marking . . . cast: A metaphor taken from archery: by not recognizing the goal of the archer’s aim, the reader will misgauge the extent of his shot. The ‘compass’ is the curved trajectory of the arrow.
67–70 this Poete . . . restore . . . Mother tonge: Arguably the grandest claim of the Calender, Spenser’s attempt to restore luster to the English language within a European competition against ‘french . . . Italian . . . Latine’ (75). This project is connected to the circle surrounding Matthew Parker, who was Archbishop of Canterbury before Edward Grindal (Crawforth 2011).
73–74 patched . . . peces and rags: Spenser stitches the clothing metaphor into the name of his persona, Colin Clout, since a ‘clout’ is ‘A piece of cloth’ (OED). The comparison of poetry to clothing recurs throughout the Calender (cf. Oct 87 for poetry’s ‘peeced pyneons’).
79 they: 1581 crudely expands the abbreviated form (thẽ) in 1579 to ‘then’; we adopt the corrected reading from 1586.
82 Euanders mother: Evander was an Arcadian leader who took up residence on Mount Palatine (Virgil, Aen 8.51-4). E.K.’s reference comes from Macrobius, Saturnalia 1.5.1; for his mother's archaic diction, see Aulus Gellius, Noctes Atticae 1.10.2.
92 dogge in the maunger: Proverbial (see C.G. Smith 1970, no. 192).
102 spue out: Cf. Lev 18:28, Rev 3:16.
103 hunt the letter: Use extravagant alliteration. Cf. Sidney, Defence, criticizing poets’ ‘coursing [chasing] of a letter, as if they were bound to follow the method of a dictionary’ (1973: 117).
104–106 iangle . . . rage . . . instinct . . . Poeticall spirite . . . rauished: E.K. criticizes ‘the rakehellye route of our ragged rymers’ (102-3) for bungling the poetic principle of Neoplatonic fury so important to Spenser, especially on display in Oct (see headnote, where we suggest that the use of such language evokes the sublime).
106 aboue the meanenesse of commen capacitie: The bad poets E.K. criticizes falsify what Longinus in On Sublimity calls the sublime, an aesthetics of heightened language that Longinus locates in Homer’s Iliad, the Greek tragedians, Plato, Cicero, Demosthenes, and others.
110 Pythia: The prophetess of Apollo at Delphi. E.K. alludes to the Cumaean Sybil foretelling Aeneas’ victory in Virgil, Aen 6.77-97. Longinus uses the Pythia as his arch-myth to represent the sublime poet (On Sublimity 14.2; see P. Cheney 2009: 16).
111 Os . . . domans: ‘[he tires her] raving mouth, tames her wild heart’ (Virgil, Aen 6.80).
113–114 Colin . . . Authour selfe: The first identification of Colin with Spenser.
116–118 Of Muses . . . my vnrest: Quotations from June 65 and 79; yet 65 reads, more accurately, ‘Of Muses Hobbinol, I conne no skill’.
120 couertly: According to Puttenham, Arte of English Poesy, pastoral should ‘under the veil of homely persons and in rude speeches . . . insinuate and glaunce at greater matters and such as perchance had not been safe to have been disclosed in any other sort’ (1.18: 128).
126 habilities: We follow 1586, assuming that the question mark in 1579 reflects a misreading of copy. It may be that a semi-colon would be preferable to a colon: MS semi-colon could either have been read as a question mark or MS semi-colon, correctly apprehended, could have been misrepresented, had a question-mark been mistakenly distributed to the sort-box for semi-colons.
127–128 as young birdes . . . greater flyght: A recurrent topos of Spenser’s literary career, introduced here, and accommodated to pastoral as a literary form preparatory to epic (P. Cheney 1993). The trope is central especially to October, when ‘Colin fittes such famous flight to scanne’ (88; see note).
129–131 Theocritus . . . Sanazarus: E.K.’s inventory neglects the authors in a tradition of native pastoral preceding the Calender, represented by the earl of Surrey, who wrote one pastoral eclogue in Tottel’s Miscellany (1557); Alexander Barclay, who wrote five pastoral eclogues (published as a set in 1570); George Turberville, who translated Mantuan’s Eclogues (1567); and Barnabe Googe, who wrote Eglogues (1568). See SC Intro 1.XX.
129 Theocritus: Greek poet of the third century BC whose Idylls inaugurated the genre of pastoral literature.
130 Mantuane: Baptista Spagnuoli of Mantua published eight of his ten Latin eclogues in 1498; some of these eclogues were imitated in English by Barclay.
131 Petrarque: Francesco Petrarch, now most famous as the author of the Italian Rime Sparse, also produced twelve influential Latin eclogues, Bucolicum Carmen .
131 Boccace: Giovanni Boccaccio, author of The Decameron, wrote sixteen Latin eclogues and the Italian pastoral romance, L'Ameto.
131 Marot: Clément Marot, who wrote four eclogues in French, two of which Spenser imitates in November and December (see headnotes).
131 Sanazarus: Jacopo Sannazzaro, who wrote several Latin piscatory eclogues (i.e., featuring fisherman instead of shepherds), as well as the romantic prose and verse Arcadia.
133–134 foting . . . followeth . . . trace him out: An important metaphor of authorship, linking imitation with interpretation, the poet’s following in the footsteps of other poets and the reader tracking these literary maneuverings. The pun on metrical foot clarifies what lies behind the idea of following someone’s footsteps: the hunt, a form of competition, which extends to the reader, who traces the author’s tracking of other authors. (On the pun, see Hinds 1987: 16, citing Catullus, Poems 14.21-3; Horace, Ars Poetica 80; Ovid, Met 5.264, Am 3.1.8, Tristia 1.1.15-16. Origins lie in Lucretius, DRN 1.404-09. On the ‘image of tracking the deer as an analogy for interpretation’ being ‘a typically Stoic conception’, see Pugh 2005: 79.) Spenser elsewhere uses the hunt as a trope for authorship (e.g., Let 1.58-60). Sometimes he does not make the hunt explicit in his travel metaphor: Envoy 11 (see note; on the link between the two metaphors, and on the meaning of ‘trace’ as hunt, see Bates 2013, chapter 1, citing E.K.’s trope).
135 principals: According to the lexicon of falconry, the two outermost primary feathers in each wing.
135–136 in time shall be hable to keepe wing with the best: At once a bold prophecy of Spenser’s authorship and a marketing ploy for the author’s future publications.
137 the generall dryft and purpose: E.K. goes on to identify only two ends to the Calender, neither of which encompasses the full ambition of the twelve eclogues, since the two speak only to the author’s youthful sex life: ‘to mitigate and allay the heate of his passion, or els to warne (as he sayth) the young shepheards’ (139-40). Whereas the first suggests a therapeutic end to writing for the author, the second suggests an ethical end for the reader.
144 olde name: The Kalender of Shepherdes (first published 1506), an English version of Guy de Marchant’s Le Compost et Calendrier des Bergers, an almanac of astrological and miscellaneous learning, often revised and reprinted during the sixteenth century (Shinn 2009).
145–151 Glosse or scholion . . . nations: Here E.K. explains why he has added a gloss to the eclogues: to draw attention to ‘wordes and matter’ that would ‘passe’ the reader by; and to make the work compete with that of other ‘nations’. In particular, the Calender coheres with Renaissance editions of Virgil, Sannazaro, the Geneva Bible, and other books (McCanles 1982; W.J. Kennedy 1985; Kearney 2011).
158–159 Dreames . . . Cupide: Not extant. Some of these works might be incorporated into later poems (see SpE s.v. ‘works, lost’; Celovsky 2010). For ‘Dreames’, cf. Nov [195] and note. The list implies a parallel with Chaucer, whose apocryphal works included, in the sixteenth century, Chaucer’s Dream, the legend The Judgement of Paris, and The Court of Cupid.
161–162 pleasurable or profitable: The Horatian dictum for the two aims of poetry (Ars Poetica 343-4).
165 the maydenhead of this our commen frends Poetrie: Marks a link between virginity and publication. Humanists frequently used erotic language to address the practice of scholarly commentary in Renaissance editions; cf. E.K. on Chaucerian kissing and pandering at SC Ded Ep 1-10 (see Wallace 2007: E.K. here practices ‘a trick learned in the humanist schoolroom’ [163]).
167 Ma. Phi. Sidney: Identified on the title page as the book’s dedicatee, although E.K.'s letter to Harvey treats Harvey as the dedicatee of his efforts; see To His Booke 11 and note. Since Sidney would not be knighted until 1583, 'Master' is an appropriate form of address.
169 Enuie: See To His Booke 5 and note.
169–170 your mighty Rhetorick: In April 1574, Harvey had been appointed University Praelector of Rhetoric at Cambridge. He was well known as a leading Ramist in England, championing the rhetorical theory of Petrus Ramus from France (see Ong 1958). In 1579, Richard Bridgewater (or Bridgwater) was known to be about to resign the position of Public Orator at Cambridge, and Harvey was jockeying for the position, which he failed to get; this passage may contribute to Harvey's campaign for the post.
180–193 Post scr . . . 10. of Aprill. 1579: The postscript on Harvey’s deserving of ‘the garlond’ (179) for his English and Latin poems feels like an afterthought but also underscores Harvey’s role as a poet, complementing his role as a rhetorician at the end of the Epistle proper (‘your mighty Rhetorick’ [168-9]). The date may be deliberately misleading, predating the contract drawn up for the queen's proposed marriage to Alençon in November 1579 (see Nov gl 16) so as to deflect suspicion from an author critical of the match (McLane 1961: 53-4; see Pugh 2016: 149-51).
190 Latine Poemes: Cf. Sept [176] and note.
Building display . . .
Re-selecting textual changes . . .

Introduction

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Textual Changes

The vagaries of early modern printing often required that lines or words be broken. Toggling Modern Lineation on will reunite divided words and set errant words in their lines.

Off: That a large share it hewd out of the rest, (blest.And glauncing downe his shield, from blame him fairely (FQ I.ii.18.8-9)On: That a large share it hewd out of the rest,And glauncing downe his shield, from blame him fairely blest.

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Off: Sweet slõbring deaw, the which to sleep them biddes:(FQ I.i.36.4)On: Sweet slombring deaw, the which to sleep them biddes:

Toggling Modern Characters on will convert u, v, i, y, and vv to v, u, j, i, and w. (N.B. the editors have silently replaced ſ with s, expanded most ligatures, and adjusted spacing according contemporary norms.)

Off: And all the world in their subiection held,Till that infernall feend with foule vprore(FQ I.i.5.6-7)On: And all the world in their subjection held,Till that infernall feend with foule uprore

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Off: But wander too and fro in waies vnknowne(FQ I.i.10.5)On: But wander to and fro in waies vnknowne.

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Most lothsom, filthie, foule, and full of vile disdaine(FQ I.i.14.9)14.9. Most lothsom] this edn.;Mostlothsom 1590

(The text of 1590 reads Mostlothsom, while the editors’ emendation reads Most lothsom.)

Apparatus

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And shall thee well rewarde to shew the place,(FQ I.i.31.5)5. thee] 1590; you 15961609

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To my long approoved and singular good frende, Master G.H.(Letters I.1)1. long aprooved: tried and true,found trustworthy over along period
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