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6fq1590.bk2.II.xii.23.6 7fq1590.bk2.II.xii.23.7 8fq1590.bk2.II.xii.23.8 9fq1590.bk2.II.xii.23.9 1fq1590.bk2.II.xii.24.1 2fq1590.bk2.II.xii.24.2 3fq1590.bk2.II.xii.24.3 4fq1590.bk2.II.xii.24.4 5fq1590.bk2.II.xii.24.5 6fq1590.bk2.II.xii.24.6 7fq1590.bk2.II.xii.24.7 8fq1590.bk2.II.xii.24.8 9fq1590.bk2.II.xii.24.9 1fq1590.bk2.II.xii.25.1 2fq1590.bk2.II.xii.25.2 3fq1590.bk2.II.xii.25.3 4fq1590.bk2.II.xii.25.4 5fq1590.bk2.II.xii.25.5 6fq1590.bk2.II.xii.25.6 7fq1590.bk2.II.xii.25.7 8fq1590.bk2.II.xii.25.8 9fq1590.bk2.II.xii.25.9 1fq1590.bk2.II.xii.26.1 2fq1590.bk2.II.xii.26.2 3fq1590.bk2.II.xii.26.3 4fq1590.bk2.II.xii.26.4 5fq1590.bk2.II.xii.26.5 6fq1590.bk2.II.xii.26.6 7fq1590.bk2.II.xii.26.7 8fq1590.bk2.II.xii.26.8 9fq1590.bk2.II.xii.26.9 1fq1590.bk2.II.xii.27.1 2fq1590.bk2.II.xii.27.2 3fq1590.bk2.II.xii.27.3 4fq1590.bk2.II.xii.27.4 5fq1590.bk2.II.xii.27.5 6fq1590.bk2.II.xii.27.6 7fq1590.bk2.II.xii.27.7 8fq1590.bk2.II.xii.27.8 9fq1590.bk2.II.xii.27.9 1fq1590.bk2.II.xii.28.1 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8fq1590.bk2.II.xii.41.8 9fq1590.bk2.II.xii.41.9 1fq1590.bk2.II.xii.42.1 2fq1590.bk2.II.xii.42.2 3fq1590.bk2.II.xii.42.3 4fq1590.bk2.II.xii.42.4 5fq1590.bk2.II.xii.42.5 6fq1590.bk2.II.xii.42.6 7fq1590.bk2.II.xii.42.7 8fq1590.bk2.II.xii.42.8 9fq1590.bk2.II.xii.42.9 1fq1590.bk2.II.xii.43.1 2fq1590.bk2.II.xii.43.2 3fq1590.bk2.II.xii.43.3 4fq1590.bk2.II.xii.43.4 5fq1590.bk2.II.xii.43.5 6fq1590.bk2.II.xii.43.6 7fq1590.bk2.II.xii.43.7 8fq1590.bk2.II.xii.43.8 9fq1590.bk2.II.xii.43.9 1fq1590.bk2.II.xii.44.1 2fq1590.bk2.II.xii.44.2 3fq1590.bk2.II.xii.44.3 4fq1590.bk2.II.xii.44.4 5fq1590.bk2.II.xii.44.5 6fq1590.bk2.II.xii.44.6 7fq1590.bk2.II.xii.44.7 8fq1590.bk2.II.xii.44.8 9fq1590.bk2.II.xii.44.9 1fq1590.bk2.II.xii.45.1 2fq1590.bk2.II.xii.45.2 3fq1590.bk2.II.xii.45.3 4fq1590.bk2.II.xii.45.4 5fq1590.bk2.II.xii.45.5 6fq1590.bk2.II.xii.45.6 7fq1590.bk2.II.xii.45.7 8fq1590.bk2.II.xii.45.8 9fq1590.bk2.II.xii.45.9 1fq1590.bk2.II.xii.46.1 2fq1590.bk2.II.xii.46.2 3fq1590.bk2.II.xii.46.3 4fq1590.bk2.II.xii.46.4 5fq1590.bk2.II.xii.46.5 6fq1590.bk2.II.xii.46.6 7fq1590.bk2.II.xii.46.7 8fq1590.bk2.II.xii.46.8 9fq1590.bk2.II.xii.46.9 1fq1590.bk2.II.xii.47.1 2fq1590.bk2.II.xii.47.2 3fq1590.bk2.II.xii.47.3 4fq1590.bk2.II.xii.47.4 5fq1590.bk2.II.xii.47.5 6fq1590.bk2.II.xii.47.6 7fq1590.bk2.II.xii.47.7 8fq1590.bk2.II.xii.47.8 9fq1590.bk2.II.xii.47.9 1fq1590.bk2.II.xii.48.1 2fq1590.bk2.II.xii.48.2 3fq1590.bk2.II.xii.48.3 4fq1590.bk2.II.xii.48.4 5fq1590.bk2.II.xii.48.5 6fq1590.bk2.II.xii.48.6 7fq1590.bk2.II.xii.48.7 8fq1590.bk2.II.xii.48.8 9fq1590.bk2.II.xii.48.9 1fq1590.bk2.II.xii.49.1 2fq1590.bk2.II.xii.49.2 3fq1590.bk2.II.xii.49.3 4fq1590.bk2.II.xii.49.4 5fq1590.bk2.II.xii.49.5 6fq1590.bk2.II.xii.49.6 7fq1590.bk2.II.xii.49.7 8fq1590.bk2.II.xii.49.8 9fq1590.bk2.II.xii.49.9 1fq1590.bk2.II.xii.50.1 2fq1590.bk2.II.xii.50.2 3fq1590.bk2.II.xii.50.3 4fq1590.bk2.II.xii.50.4 5fq1590.bk2.II.xii.50.5 6fq1590.bk2.II.xii.50.6 7fq1590.bk2.II.xii.50.7 8fq1590.bk2.II.xii.50.8 9fq1590.bk2.II.xii.50.9 1fq1590.bk2.II.xii.51.1 2fq1590.bk2.II.xii.51.2 3fq1590.bk2.II.xii.51.3 4fq1590.bk2.II.xii.51.4 5fq1590.bk2.II.xii.51.5 6fq1590.bk2.II.xii.51.6 7fq1590.bk2.II.xii.51.7 8fq1590.bk2.II.xii.51.8 9fq1590.bk2.II.xii.51.9 1fq1590.bk2.II.xii.52.1 2fq1590.bk2.II.xii.52.2 3fq1590.bk2.II.xii.52.3 4fq1590.bk2.II.xii.52.4 5fq1590.bk2.II.xii.52.5 6fq1590.bk2.II.xii.52.6 7fq1590.bk2.II.xii.52.7 8fq1590.bk2.II.xii.52.8 9fq1590.bk2.II.xii.52.9 1fq1590.bk2.II.xii.53.1 2fq1590.bk2.II.xii.53.2 3fq1590.bk2.II.xii.53.3 4fq1590.bk2.II.xii.53.4 5fq1590.bk2.II.xii.53.5 6fq1590.bk2.II.xii.53.6 7fq1590.bk2.II.xii.53.7 8fq1590.bk2.II.xii.53.8 9fq1590.bk2.II.xii.53.9 1fq1590.bk2.II.xii.54.1 2fq1590.bk2.II.xii.54.2 3fq1590.bk2.II.xii.54.3 4fq1590.bk2.II.xii.54.4 5fq1590.bk2.II.xii.54.5 6fq1590.bk2.II.xii.54.6 7fq1590.bk2.II.xii.54.7 8fq1590.bk2.II.xii.54.8 9fq1590.bk2.II.xii.54.9 1fq1590.bk2.II.xii.55.1 2fq1590.bk2.II.xii.55.2 3fq1590.bk2.II.xii.55.3 4fq1590.bk2.II.xii.55.4 5fq1590.bk2.II.xii.55.5 6fq1590.bk2.II.xii.55.6 7fq1590.bk2.II.xii.55.7 8fq1590.bk2.II.xii.55.8 9fq1590.bk2.II.xii.55.9 1fq1590.bk2.II.xii.56.1 2fq1590.bk2.II.xii.56.2 3fq1590.bk2.II.xii.56.3 4fq1590.bk2.II.xii.56.4 5fq1590.bk2.II.xii.56.5 6fq1590.bk2.II.xii.56.6 7fq1590.bk2.II.xii.56.7 8fq1590.bk2.II.xii.56.8 9fq1590.bk2.II.xii.56.9 1fq1590.bk2.II.xii.57.1 2fq1590.bk2.II.xii.57.2 3fq1590.bk2.II.xii.57.3 4fq1590.bk2.II.xii.57.4 5fq1590.bk2.II.xii.57.5 6fq1590.bk2.II.xii.57.6 7fq1590.bk2.II.xii.57.7 8fq1590.bk2.II.xii.57.8 9fq1590.bk2.II.xii.57.9 1fq1590.bk2.II.xii.58.1 2fq1590.bk2.II.xii.58.2 3fq1590.bk2.II.xii.58.3 4fq1590.bk2.II.xii.58.4 5fq1590.bk2.II.xii.58.5 6fq1590.bk2.II.xii.58.6 7fq1590.bk2.II.xii.58.7 8fq1590.bk2.II.xii.58.8 9fq1590.bk2.II.xii.58.9 1fq1590.bk2.II.xii.59.1 2fq1590.bk2.II.xii.59.2 3fq1590.bk2.II.xii.59.3 4fq1590.bk2.II.xii.59.4 5fq1590.bk2.II.xii.59.5 6fq1590.bk2.II.xii.59.6 7fq1590.bk2.II.xii.59.7 8fq1590.bk2.II.xii.59.8 9fq1590.bk2.II.xii.59.9 1fq1590.bk2.II.xii.60.1 2fq1590.bk2.II.xii.60.2 3fq1590.bk2.II.xii.60.3 4fq1590.bk2.II.xii.60.4 5fq1590.bk2.II.xii.60.5 6fq1590.bk2.II.xii.60.6 7fq1590.bk2.II.xii.60.7 8fq1590.bk2.II.xii.60.8 9fq1590.bk2.II.xii.60.9 1fq1590.bk2.II.xii.61.1 2fq1590.bk2.II.xii.61.2 3fq1590.bk2.II.xii.61.3 4fq1590.bk2.II.xii.61.4 5fq1590.bk2.II.xii.61.5 6fq1590.bk2.II.xii.61.6 7fq1590.bk2.II.xii.61.7 8fq1590.bk2.II.xii.61.8 9fq1590.bk2.II.xii.61.9 1fq1590.bk2.II.xii.62.1 2fq1590.bk2.II.xii.62.2 3fq1590.bk2.II.xii.62.3 4fq1590.bk2.II.xii.62.4 5fq1590.bk2.II.xii.62.5 6fq1590.bk2.II.xii.62.6 7fq1590.bk2.II.xii.62.7 8fq1590.bk2.II.xii.62.8 9fq1590.bk2.II.xii.62.9 1fq1590.bk2.II.xii.63.1 2fq1590.bk2.II.xii.63.2 3fq1590.bk2.II.xii.63.3 4fq1590.bk2.II.xii.63.4 5fq1590.bk2.II.xii.63.5 6fq1590.bk2.II.xii.63.6 7fq1590.bk2.II.xii.63.7 8fq1590.bk2.II.xii.63.8 9fq1590.bk2.II.xii.63.9 1fq1590.bk2.II.xii.64.1 2fq1590.bk2.II.xii.64.2 3fq1590.bk2.II.xii.64.3 4fq1590.bk2.II.xii.64.4 5fq1590.bk2.II.xii.64.5 6fq1590.bk2.II.xii.64.6 7fq1590.bk2.II.xii.64.7 8fq1590.bk2.II.xii.64.8 9fq1590.bk2.II.xii.64.9 1fq1590.bk2.II.xii.65.1 2fq1590.bk2.II.xii.65.2 3fq1590.bk2.II.xii.65.3 4fq1590.bk2.II.xii.65.4 5fq1590.bk2.II.xii.65.5 6fq1590.bk2.II.xii.65.6 7fq1590.bk2.II.xii.65.7 8fq1590.bk2.II.xii.65.8 9fq1590.bk2.II.xii.65.9 1fq1590.bk2.II.xii.66.1 2fq1590.bk2.II.xii.66.2 3fq1590.bk2.II.xii.66.3 4fq1590.bk2.II.xii.66.4 5fq1590.bk2.II.xii.66.5 6fq1590.bk2.II.xii.66.6 7fq1590.bk2.II.xii.66.7 8fq1590.bk2.II.xii.66.8 9fq1590.bk2.II.xii.66.9 1fq1590.bk2.II.xii.67.1 2fq1590.bk2.II.xii.67.2 3fq1590.bk2.II.xii.67.3 4fq1590.bk2.II.xii.67.4 5fq1590.bk2.II.xii.67.5 6fq1590.bk2.II.xii.67.6 7fq1590.bk2.II.xii.67.7 8fq1590.bk2.II.xii.67.8 9fq1590.bk2.II.xii.67.9 1fq1590.bk2.II.xii.68.1 2fq1590.bk2.II.xii.68.2 3fq1590.bk2.II.xii.68.3 4fq1590.bk2.II.xii.68.4 5fq1590.bk2.II.xii.68.5 6fq1590.bk2.II.xii.68.6 7fq1590.bk2.II.xii.68.7 8fq1590.bk2.II.xii.68.8 9fq1590.bk2.II.xii.68.9 1fq1590.bk2.II.xii.69.1 2fq1590.bk2.II.xii.69.2 3fq1590.bk2.II.xii.69.3 4fq1590.bk2.II.xii.69.4 5fq1590.bk2.II.xii.69.5 6fq1590.bk2.II.xii.69.6 7fq1590.bk2.II.xii.69.7 8fq1590.bk2.II.xii.69.8 9fq1590.bk2.II.xii.69.9 1fq1590.bk2.II.xii.70.1 2fq1590.bk2.II.xii.70.2 3fq1590.bk2.II.xii.70.3 4fq1590.bk2.II.xii.70.4 5fq1590.bk2.II.xii.70.5 6fq1590.bk2.II.xii.70.6 7fq1590.bk2.II.xii.70.7 8fq1590.bk2.II.xii.70.8 9fq1590.bk2.II.xii.70.9 1fq1590.bk2.II.xii.71.1 2fq1590.bk2.II.xii.71.2 3fq1590.bk2.II.xii.71.3 4fq1590.bk2.II.xii.71.4 5fq1590.bk2.II.xii.71.5 6fq1590.bk2.II.xii.71.6 7fq1590.bk2.II.xii.71.7 8fq1590.bk2.II.xii.71.8 9fq1590.bk2.II.xii.71.9 1fq1590.bk2.II.xii.72.1 2fq1590.bk2.II.xii.72.2 3fq1590.bk2.II.xii.72.3 4fq1590.bk2.II.xii.72.4 5fq1590.bk2.II.xii.72.5 6fq1590.bk2.II.xii.72.6 7fq1590.bk2.II.xii.72.7 8fq1590.bk2.II.xii.72.8 9fq1590.bk2.II.xii.72.9 1fq1590.bk2.II.xii.73.1 2fq1590.bk2.II.xii.73.2 3fq1590.bk2.II.xii.73.3 4fq1590.bk2.II.xii.73.4 5fq1590.bk2.II.xii.73.5 6fq1590.bk2.II.xii.73.6 7fq1590.bk2.II.xii.73.7 8fq1590.bk2.II.xii.73.8 9fq1590.bk2.II.xii.73.9 1fq1590.bk2.II.xii.74.1 2fq1590.bk2.II.xii.74.2 3fq1590.bk2.II.xii.74.3 4fq1590.bk2.II.xii.74.4 5fq1590.bk2.II.xii.74.5 6fq1590.bk2.II.xii.74.6 7fq1590.bk2.II.xii.74.7 8fq1590.bk2.II.xii.74.8 9fq1590.bk2.II.xii.74.9 1fq1590.bk2.II.xii.75.1 2fq1590.bk2.II.xii.75.2 3fq1590.bk2.II.xii.75.3 4fq1590.bk2.II.xii.75.4 5fq1590.bk2.II.xii.75.5 6fq1590.bk2.II.xii.75.6 7fq1590.bk2.II.xii.75.7 8fq1590.bk2.II.xii.75.8 9fq1590.bk2.II.xii.75.9 1fq1590.bk2.II.xii.76.1 2fq1590.bk2.II.xii.76.2 3fq1590.bk2.II.xii.76.3 4fq1590.bk2.II.xii.76.4 5fq1590.bk2.II.xii.76.5 6fq1590.bk2.II.xii.76.6 7fq1590.bk2.II.xii.76.7 8fq1590.bk2.II.xii.76.8 9fq1590.bk2.II.xii.76.9 1fq1590.bk2.II.xii.77.1 2fq1590.bk2.II.xii.77.2 3fq1590.bk2.II.xii.77.3 4fq1590.bk2.II.xii.77.4 5fq1590.bk2.II.xii.77.5 6fq1590.bk2.II.xii.77.6 7fq1590.bk2.II.xii.77.7 8fq1590.bk2.II.xii.77.8 9fq1590.bk2.II.xii.77.9 1fq1590.bk2.II.xii.78.1 2fq1590.bk2.II.xii.78.2 3fq1590.bk2.II.xii.78.3 4fq1590.bk2.II.xii.78.4 5fq1590.bk2.II.xii.78.5 6fq1590.bk2.II.xii.78.6 7fq1590.bk2.II.xii.78.7 8fq1590.bk2.II.xii.78.8 9fq1590.bk2.II.xii.78.9 1fq1590.bk2.II.xii.79.1 2fq1590.bk2.II.xii.79.2 3fq1590.bk2.II.xii.79.3 4fq1590.bk2.II.xii.79.4 5fq1590.bk2.II.xii.79.5 6fq1590.bk2.II.xii.79.6 7fq1590.bk2.II.xii.79.7 8fq1590.bk2.II.xii.79.8 9fq1590.bk2.II.xii.79.9 1fq1590.bk2.II.xii.80.1 2fq1590.bk2.II.xii.80.2 3fq1590.bk2.II.xii.80.3 4fq1590.bk2.II.xii.80.4 5fq1590.bk2.II.xii.80.5 6fq1590.bk2.II.xii.80.6 7fq1590.bk2.II.xii.80.7 8fq1590.bk2.II.xii.80.8 9fq1590.bk2.II.xii.80.9 1fq1590.bk2.II.xii.81.1 2fq1590.bk2.II.xii.81.2 3fq1590.bk2.II.xii.81.3 4fq1590.bk2.II.xii.81.4 5fq1590.bk2.II.xii.81.5 6fq1590.bk2.II.xii.81.6 7fq1590.bk2.II.xii.81.7 8fq1590.bk2.II.xii.81.8 9fq1590.bk2.II.xii.81.9 1fq1590.bk2.II.xii.82.1 2fq1590.bk2.II.xii.82.2 3fq1590.bk2.II.xii.82.3 4fq1590.bk2.II.xii.82.4 5fq1590.bk2.II.xii.82.5 6fq1590.bk2.II.xii.82.6 7fq1590.bk2.II.xii.82.7 8fq1590.bk2.II.xii.82.8 9fq1590.bk2.II.xii.82.9 1fq1590.bk2.II.xii.83.1 2fq1590.bk2.II.xii.83.2 3fq1590.bk2.II.xii.83.3 4fq1590.bk2.II.xii.83.4 5fq1590.bk2.II.xii.83.5 6fq1590.bk2.II.xii.83.6 7fq1590.bk2.II.xii.83.7 8fq1590.bk2.II.xii.83.8 9fq1590.bk2.II.xii.83.9 1fq1590.bk2.II.xii.84.1 2fq1590.bk2.II.xii.84.2 3fq1590.bk2.II.xii.84.3 4fq1590.bk2.II.xii.84.4 5fq1590.bk2.II.xii.84.5 6fq1590.bk2.II.xii.84.6 7fq1590.bk2.II.xii.84.7 8fq1590.bk2.II.xii.84.8 9fq1590.bk2.II.xii.84.9 1fq1590.bk2.II.xii.85.1 2fq1590.bk2.II.xii.85.2 3fq1590.bk2.II.xii.85.3 4fq1590.bk2.II.xii.85.4 5fq1590.bk2.II.xii.85.5 6fq1590.bk2.II.xii.85.6 7fq1590.bk2.II.xii.85.7 8fq1590.bk2.II.xii.85.8 9fq1590.bk2.II.xii.85.9 1fq1590.bk2.II.xii.86.1 2fq1590.bk2.II.xii.86.2 3fq1590.bk2.II.xii.86.3 4fq1590.bk2.II.xii.86.4 5fq1590.bk2.II.xii.86.5 6fq1590.bk2.II.xii.86.6 7fq1590.bk2.II.xii.86.7 8fq1590.bk2.II.xii.86.8 9fq1590.bk2.II.xii.86.9 1fq1590.bk2.II.xii.87.1 2fq1590.bk2.II.xii.87.2 3fq1590.bk2.II.xii.87.3 4fq1590.bk2.II.xii.87.4 5fq1590.bk2.II.xii.87.5 6fq1590.bk2.II.xii.87.6 7fq1590.bk2.II.xii.87.7 8fq1590.bk2.II.xii.87.8 9fq1590.bk2.II.xii.87.9
Cant. XII.
Guyon throughby Palmers gouernauncegovernaunce,
through paſsingthrough passingpaſ⁀ſing throughpassing through perilles great,
Doth ouerthrowoverthrow the Bowre of blis,
and Acrasy defeat.
[1]
NOow ginnes this goodly frame of Temperaunce
Fayrely to rise, and her adorned hed
To pricke of highest prayse forth to aduaunceadvaunce,
Formerly grounded, and fast setteled
On firme foundation of true bountyhed;
And this brauebrave knight, that for this vertue fightes,
Now comes to point of that same perilous sted,
Where Pleasure dwelles in sensuall delights,
Mongst thousand dãgersdangers, &and ten thousãdthousand Magick mights.
[2]
Two dayes now in that sea he sayled has,
Ne euerever land beheld, ne liuingliving wight,
Ne ought sauesave perill, still as he did pas:
Tho when appeared the third Morrow bright,
VponUpon the waueswaves to spred her trembling light,
An hideous roring far away they heard,
That all their sences filled with affright,
And streight they saw the raging surges reard
VpUp to the skyes, that them of drowning made affeard.
[3]
Said then the Boteman, Palmer stere aright,
And keepe an eueneven course; for yonder way
We needes must pas (God doe vsus well acquight,)acquight),
That is the Gulfe of Greedinesse, they say,
That deepe engorgeth all this worldes pray:
Which hauinghaving swallowd vpup excessiuelyexcessively,
He soone in vomit vpup againe doth lay,
And belcheth forth his superfluity,
That all the seas for feare did seeme away to fly.
[4]
On thother syde an hideous Rock is pight,
Of mightie Magnes stone, whose craggie clift
Depending from on high, dreadfull to sight,
OuerOver the waueswaves his rugged armes doth lift,
And threatneth downe to throw his ragged rift,
On whoso cometh nigh; yet nigh it drawes
All passengers, that none from it can shift:
For whiles they fly that Gulfes deuouringdevouring iawesjawes,
They on this Rock are rent, and sunck in helples wawes.
[5]
Forward they passe, and strongly he them rowes,
VntillUntill they nigh vntounto that Gulfe arryuearryve,
Where streame more violent and greedy growes:
Then he with all his puisaunce doth stryuestryve
To strike his oares, and mightily doth dryuedryvedryue,dryve,
The hollow vessell through the threatfull wauewave,
Which gaping wide, to swallow them alyuealyve,
In th’huge abysse of his engulfing grauegrave,
Doth rore at them in vaine, and with great terrour rauerave.
[6]
They passing by, that grisely mouth did see,
Sucking the seas into his entralles deepe,
That seemd more horrible 1590.bk2.II.xii.6.3. then: thanthenthan hell to bee,
Or that darke dreadfull hole of Tartare steepe,
Through which the damned ghosts doen often creep
Backe to the world, bad liuerslivers to torment:
But nought that falles into this direfull deepe,
Ne that approcheth nigh the wyde descent,
May backe retourne, but is condemned to be drent.
[7]
On thother side, they saw that perilous Rocke,
Threatning it selfe on them to ruinate,
On whose sharp cliftes the ribs of vessels broke,
And shiueredshivered ships, which had beene wrecked late,
Yet stuck, with carcases exanimate
Of such, as hauinghaving all their substance spent
In wanton ioyesjoyes, and lustes intemperate,
Did afterwardes make shipwrack violent,
Both of their life, and fame for euerever fowly blent.
[8]
For thy this hight The Rock of vile Reproch,
A daungerous and detestable place,
To which nor fish nor fowle did once approch,
But yelling Meawes, with Seagulles hoars and bace,
And Cormoyraunts, with birds of rauenousravenous race,
Which still sat weiting on that wastfull clift,
For spoile of wretches, whose vnhappyunhappy cace,
After lost credit and consumed thrift,
At last them driuendriven hath to this despairefull drift.drift,
[9]
The Palmer seeing them in safetie past,
Thus saide, behold th’ensamples in our sightes,
Of lustfull luxurie and thriftlesse wast:
What now is left of miserable wightes,
Which spent their looser daies in leud delightes,
But shame and sad reproch, here to be red,
By these rent reliques, speaking their ill plightes?
Let all that liuelive, hereby be counselled,
To shunne Rock of Reproch and it as death to dread.
[10]
So forth they rowed, and that Ferryman
With his stiffe oares did brush the sea so strong,
That the hoare waters from his frigot ran,
And the light bubles daunced all along,
Whiles the salt brine out of the billowes sprong.
At last far off they many Islandes spy,
On eueryevery side floting the floodes emong:
Then said the knight, Lo I the land descry,
Therefore old Syre thy course doe thereunto apply.
[11]
That may not bee, said then the Ferryman
Least wee vnweetingunweeting hap to be fordonne:
For those same Islands, seeming now and 1590.bk2.II.xii.11.3. than: thenthanthen,
Are not firme land, nor any certein wonne,
But stragling plots, which to and fro doe ronne
In the wide waters: therefore are they hight
The wandring Islands. Therefore doe them shonne;
For they hauehave ofte drawne many a wandring wight
Into most deadly daunger and distressed plight.
[12]
Yet well they seeme to him, that farre doth vew,
Both faire and fruitfull, and the grownd dispred,
With grassy greene of delectable hew,
And the tall trees with leauesleaves appareled,
Are deckt with blossoms dyde in white and red,
That mote the passengers thereto allure;
But whosoeuerwhosoever once hath fastened
His foot thereon, may neuernever it recure,
But wandreth euerever more vncerteinuncertein and vnsureunsure.
[13]
As th’Isle of Delos whylome men report
Amid th’ Aegæan sea long time did stray,
Ne made for shipping any certeine port,
Till that Latona traueilingtraveiling that way,
Flying from IunoesJunoes wrath and hard assay,
Of her fayre twins was there deliuereddelivered,
Which afterwards did rule the night and day;
Thenceforth it firmely was established,
And for Apolloes temple highly herried.
[14]
They to him hearken, as beseemeth meete,
And passe on forward: so their way does ly,
That one of those same Islands, which doe fleet
In the wide sea, they needes must passen by,
Which seemd so sweet and pleasaunt to the eye,
That it would tempt a man to touchen there:
VponUpon the banck they sitting did espy
A daintie damsell, dressing of her heare,
By whom a little skippet floting did appeare.
[15]
She them espying, loud to them can call,
Bidding them nigher draw vntounto the shore;
For she had cause to busie them withall;
And therewith lowdly laught: But nathemore
Would they once turne, but kept on as afore:afore
Which when she saw, she left her lockes vndightundight,
And running to her boat withoutenwihtoutenwirhouten ore,
From the departing land it launched light,
And after them did driuedrive with all her power and might.
[16]
Whom ouertakingovertaking, she in merry sort
Them gan to bord, and purpose diuerslydiversly,
Now faining dalliaunce and wanton sport,
Now throwing forth lewd wordes immodestly;
Till that the Palmer gan full bitterly
Her to rebuke, for being loose and light:
Which not abiding, but more scornfully
Scoffing at him, that did her iustlyjustly wite,
She turnd her bote about, and from them rowed quite.
[17]
That was the wanton PhædriaPhœdria, which late
Did ferry him ouerover the Idle lake:
Whom nought regarding, they kept on their gate,
And all her vaine allurements did forsake,
When them the wary Boteman thus bespake;
Here now behouethbehoveth vsus well to auyseavyse,
And of our safety good heede to take;
For here before a perlous passage lyes,
Where many Mermayds haunt, making false melodies.
[18]
But by the way, there is a great Quicksand,
And a whirlepoole of hidden ieopardyjeopardy,
Therefore, Sir Palmer, keepe an eueneven hand;
For twixt them both the narrow way doth ly.
Scarse had he saide, when hard at hand they spy
That quicksand nigh with water coueredcovered;
But by the checked wauewave they did descry
It plaine, and by the sea discoloured:
It called was the quickesand of VnthriftyhedUnthriftyhed.
[19]
They passing by, a goodly Ship did see,
Laden from far with precious merchandize,
And brauelybravely furnished, as ship might bee,
Which through great disauenturedisaventure, or mesprize,
Her selfe had ronne into that hazardize;
Whose mariners and merchants with much toyle,
Labour’d in vaine, to hauehave recur’d their prize,
And the rich wares to sauesave from pitteous spoyle,
But neither toyle nor traueilltraveill might her backe recoyle.
[20]
On th’other side they see that perilous Poole,
That called was the Whirlepoole of decay,
In which full many had with haplesse doole
Beene suncke, of whom no memorie did stay:
Whose circled waters rapt with whirling sway,
Like to a restlesse wheele, still ronning round,
Did couetcovet, as they passed by that way,
To draw their bote within the vtmostutmost bound
Of his wide Labyrinth, and then to hauehave them dround.
[21]
But th’earnest Boteman strongly forth did stretch
His brawnie armes, and all his bodie straine,
That th’vtmostutmost sandy breach they shortly fetch,
Whiles the dredd daunger does behind remaine.
Suddeine they see from midst of all the Maine,
The surging waters like a mountaine rise,
And the great sea puft vpup with proud disdaine,
To swell aboueabove the measure of his guise,
As threatning to deuouredevoure all, that his powre despise.
[22]
The waueswaves come rolling, and the billowes rore
Outragiously, as they enraged were,
Or wrathfull Neptune did them driuedrive before
His whirling charet, for exceeding feare:
For not one puffe of winde there did appeare,
That all the three thereat woxe much afrayd,
VnweetingUnweeting, what such horrour straunge did reare.
Eftsoones they saw an hideous hoast arrayd,
Of huge Sea monsters, such as liuingliving sence dismayd.
[23]
Most vglyugly shapes, and horrible aspects,
Such as Dame Nature selfe mote feare to see,
Or shame, that euerever should so fowle defects
From her most cunning hand escaped bee;
All dreadfull pourtraicts of deformitee:
Spring-headed Hydres, and sea-shouldring Whales,
Great whirlpooles, which all fishes make to flee,
Bright Scolopendraes, arm’d with siluersilver scales,
Mighty Monoceros, with immeasured tayles.
[24]
The dreadfull Fish, that hath deseru’ddeserv’d the name
Of Death, and like him lookes in dreadfull hew,
The griesly Wasserman, that makes his game
The flying ships with swiftnes to pursew,
The horrible Sea-satyre, that doth shew
His fearefull face in time of greatest storme,
Huge Ziffius, whom Mariners eschew
No lesse, 1590.bk2.II.xii.24.8. then: thanthenthan rockes, (as trauellerstravellers informe,)informe),
And greedy Rosmarines with visages deforme.
[25]
All these, and thousand thousands many more,
And more deformed Monsters thousand fold,
With dreadfull noise, and hollow rombling rore,
Came rushing in the fomy waueswaves enrold,
Which seem’d to fly for feare, them to behold:
Ne wonder, if these did the knight appall;
For all that here on earth we dreadfull hold,
Be but as bugs to fearen babes withall,
Compared to the creatures in the seas entrall.
[26]
Feare nought, then saide the Palmer well auiz’daviz’d;
For these same Monsters are not these in deed,
But are into these fearefull shapes disguiz’d
By that same wicked witch, to worke vsus dreed,
And draw from on this iourneyjourney to proceed.
Tho lifting vpup his vertuous staffe on hye,
He smote the sea, which calmed was with speed,
And all that dreadfull Armie fast gan flye
Into great Tethys bosome, where they hidden lye.
[27]
Quit from that danger, forth their course they kept,
And as they went, they heard a ruefull cry
Of one, that wayld and pittifully wept,
That through the sea the resounding plaints did fly:
At last they in an Island did espy
A seemely Maiden, sitting by the shore,
That with great sorrow and sad agony,
Seemed some great misfortune to deplore,
And lowd to them for succour called euermoreevermore.
[28]
Which Guyon hearing, streight his Palmer bad,
To stere the bote towards that dolefull Mayd,
That he might know, and ease her sorrow sad:
Who him auizingavizing better, to him sayd;
Faire Sir, be not displeasd if disobayd:
For ill it were to hearken to her cry;
For she is inly nothing ill apayd,
But onely womanish fine forgery,
Your stubborne hart t’affect with fraile infirmity.
[29]
To which when she your courage hath inclind
Through foolish pitty, then her guilefull bayt
She will embosome deeper in your mind,
And for your ruine at the last awayt.
The Knight was ruled, and the Boteman strayt
Held on his course with stayed stedfastnesse,
Ne euerever shroncke, ne euerever sought to bayt
His tyred armes for toylesome wearinesse,
But with his oares did sweepe the watry wildernesse.
[30]
And now they nigh approched to the sted,
Where as those Mermayds dwelt: it was a still
And calmy bay, on th’one side sheltered
With the brode shadow of an hoarie hill,
On th’other side an high rocke toured still,
That twixt them both a pleasaunt port they made,
And did like an halfe Theatre fulfill:
There those fiuefive sisters had continuall trade,
And vsdusd to bath themseluesthemselves in that deceiptfull shade.
[31]
They were faire Ladies, till they fondly striu’dstriv’d
With th’Heliconian maides for maystery;
Of whom they ouerover-comen, were depriu’ddepriv’d
Of their proud beautie, and th’one moyity
Transformd to fish, for their bold surquedry,
But th’vpperupper halfe their hew retayned still,
And their sweet skill in wonted melody;
Which euerever after they abusd to ill,
T’allure weake traueillerstraveillers, whom gotten they did kill.
[32]
So now to Guyon, as he passed by,
Their pleasaunt tunes they sweetly thus applyde;
O thou fayre sonne of gentle Faery,
That art in mightie armes most magnifyde
AboueAbove all knights, that euerever batteill tryde,
O turne thy rudder hetherward a while:
Here may thy storme-bett vessell safely ryde;
This is the Port of rest from troublous toyle,
The worldes sweet In, frõfrom paine &and wearisome turmoyle.
[33]
With that the rolling sea resounding soft,
In his big base them fitly answered,
And on the rocke the waueswaves breaking aloft,
A solemne Meane vntounto them measured,
The whiles sweet Zephyrus lowd whisteled
His treble, a straunge kinde of harmony;
Which Guyons senses softly tickeled,
That he the boteman bad row easily,
And let him heare some part of their rare melody.
[34]
But him the Palmer from that vanity,
With temperate aduiceadvice discounselled,
That they it past, and shortly gan descry
The land, to which their course they leueledleveled;
When suddeinly a grosse fog ouerover spred
With his dull vapour all that desert has,
And heauensheavens chearefull face enuelopedenveloped,
That all things one, and one as nothing was,
And this great VniuerseUniverse seemd one confused mas.
[35]
Thereat they greatly were dismayd, ne wist
How to direct theyr way in darkenes wide,
But feard to wander in that wastefull mist,
For tombling into mischiefe vnespideunespide.
Worse is the daunger hidden, 1590.bk2.II.xii.35.5. then: thanthenthan descride.
Suddeinly an innumerable flight
Of harmefull fowles about them fluttering, cride,
And with their wicked wings them ofte did smight,
And sore annoyed, groping in that griesly night.
[36]
EuenEven all the nation of vnfortunateunfortunate
And fatall birds about them flocked were,
Such as by nature men abhorre and hate,
The ill-faste Owle, deaths dreadfull messengere,
The hoars Night-rauenraven, trump of dolefull drere,
The lether-winged Batt, dayes enimy,
The ruefull Strich, still waiting on the bere,
The whistler shrill, that who so heares, doth dy,
The hellish Harpyes, prophets of sad destiny.
[37]
All those, and all that els does horror breed,
About them flew, and fild their sayles with feare:
Yet stayd they not, buthut forward did proceed,
Whiles th’one did row, and th’other stifly steare;
Till that at last the weather gan to cleare,
And the faire land it selfe did playnly sheow.
Said then the Palmer Lo where does appeare
The sacred soile, where all our perills grow;
Therfore, Sir knight, your ready arms about you throw.
[38]
He hearkned, and his armes about him tooke,
The whiles the nimble bote so well her sped,
That with her crooked keele the land she strooke,
Then forth the noble GuyonGuyou sallied,
And his sage Palmer, that him gouernedgoverned;
But th’other by his bote behind did stay.
They marched fayrly forth, of nought ydred,
Both firmely armd for eueryevery hard assay,
With constancy and care, gainst daunger and dismay.
[39]
Ere long they heard an hideous bellowing
Of many beasts, that roard outrageously,
As if that hungers poynt, or Venus sting
Had them enraged with fell surquedry;
Yet nought they feard, but past on hardily,
VntillUntill they came in vew of those wilde beasts:
Who all attonce, gaping full greedily,
And rearing fercely their vpstaringupstaring crests,
Ran towards, to deuouredevoure those vnexpectedunexpected guests.
[40]
But soone as they approcht with deadly threat,
The Palmer ouerover them his staffe vpheldupheld,
His mighty staffe, that could all charmes defeat:
Eftesoones their stubborne corages were queld,
And high aduauncedadvaunced crests downe meekely feld,
Instead of fraying, they them seluesselves did feare,
And trembled, as them passing they beheld:
Such wondrous powre did in that staffe appeare,
All monsters to subdew to him, that did it beare.
[41]
Of that same wood it fram’d was cunningly,
Of which Caduceus whilome was made,
Caduceus the rod of Mercury,
With which he wonts the Stygian realmes inuadeinvade,
Through ghastly horror, and eternall shade;
Th’infernall feends with it he can asswage,
And Orcus tame, whome nothing can persuade,
And rule the Furyes, when they most doe rage:
Such vertue in his staffe had eke this Palmer sage.
[42]
Thence passing forth, they shortly doe arryuearryve,
Whereas the Bowre of Blisse was situate;
A place pickt out by choyce of best alyuealyve,
That natures worke by art can imitate:
In which what euerever in this worldly state
Is sweete, and pleasing vntounto liuingliving sense,
Or that may dayntest fantasy aggrate,
Was poured forth with plentifull dispence,
And made there to abound with lauishlavish affluence.
[43]
Goodly it was enclosed rownd about,
Aswell theiriheir entred guestes to keep within,
As those vnrulyunruly beasts to hold without;
Yet was the fence thereof but weake and thin;
Nought feard theyr force, that fortilage to win,
But wisedomes powre, and temperaunces might,
By which the migtest things efforced bin:
And eke the gate was wrought of substaunce light,
Rather for pleasure, 1590.bk2.II.xii.43.9. then: thanthenthan for battery or fight.
[44]
Yt framed was of precious yuoryyvory,
That seemd a worke of admirable witt;
And therein all the famous history
Of IasonJason and Medæa was ywritt;
Her mighty charmes, her furious louingloving fitt,
His goodly conquestcouquest of the golden fleece,
His falsed fayth, and louelove too lightly flitt,
The wondred Argo, which in venturous peece
First through the Euxine seas bore all the flowr of Greece.
[45]
Ye might hauehave seene the frothy billowes fry
VnderUnder the ship, as thorough them she went,
That seemd the waueswaves were into yuoryyvory,
Or yuoryyvory into the waueswaves were sent;
And otherwhere the snowy substaunce sprent
With vermell, like the boyes blood therein shed,
A piteous spectacle did represent,
And otherwhiles with gold besprinkeled;
Yt seemd th’enchauntedthenchaunted flame, which did Creusa wed.
[46]
All this, and more might in that goodly gate
Be red; that euerever open stood to all,
Which thether came: but in the Porch 1590.bk2.II.xii.46.3. their: theretheirthere sate
A comely personage of stature tall,
And semblaunce pleasing, more 1590.bk2.II.xii.46.5. then: thanthenthan naturall,
That traueilerstraveilers to him seemd to entize;
His looser garment to the ground did fall,
And flew about his heeles in wanton wize,
Not fitt for speedy pace, or manly exercize.
[47]
They in that place him Genius did call:
Not that celestiall powre, to whom the care
Of life, and generation of all
That liueslives, perteines in charge particulare,
Who wondrous things concerning our welfare,
And straunge phantomes doth lett vsus ofte forsee,
And ofte of secret ill bids vsus beware:
That is our Selfe, whom though we doe not see,
Yet each doth in him selfe it well perceiueperceive to bee.
[48]
Therefore a God him sage Antiquity
Did wisely make, and good Agdistes call:
But this same was to that quite contrary,
The foe of life, that good enuyesenvyes to all,
That secretly doth vsus procure to fall,
Through guilefull semblants, which he makes vsus see.
He of thisoft his Gardin had the gouernallgovernall,
And Pleasures porter was deuizddevizd to bee,
Holding a staffe in hand for more formalitee
[49]
With diuersediverse flowres he daintily was deckt,
And strowed rownd about, and by his side
A mighty Mazer bowle of wine was sett,
As if it had to him bene sacrifide;
Wherewith all new-come guests he gratyfide:
So did he eke Sir Guyon passing by:
But he his ydle curtesie defide,
And ouerthrewoverthrew his bowle disdainfully;
And broke his staffe, with which he charmed semblants sly.
[50]
Thus being entred, they behold arownd
A large and spacious plaine, on eueryevery side
Strowed with pleasauns, whose fayre grassy grownd
Mantled with greene, and goodly beautifide
With all the ornaments of Floraes pride,
Wherewith her mother Art, as halfe in scorne
Of niggard Nature, like a pompous bride
Did decke her, and too lauishlylavishly adorne,
When forth from virgin bowre she comes in th’early morne.
[51]
Therewith therhe HeauensHeavens alwayes IouiallJoviall,
Lookte on them louelylovely, still in stedfast state,
Ne suffred storme nor frost on them to fall,
Their tender buds or leauesleaves to violate,
Nor scorching heat, nor cold intemperate
T’afflict the creatures, which therein did dwell,
But the milde ayre with season moderate
Gently attempred, and disposd so well,
That still it breathed forth sweet spirit &and holesom smell.
[52]
More sweet and holesome, 1590.bk2.II.xii.52.1. then: thanthenthan the pleasaunt hill
Of Rhodope, on which the Nimphe, that bore
A gyaunt babe, her selfe for griefe did kill:
Or the Thessalian Tempe, where of yore
Fayre Daphne Phœbus hart with louelove did gore;
Or Ida, where the Gods lou’dlov’d to repayre,
When euerever they their heauenlyheavenly bowres forlore;
Or sweet Parnasse, the haunt of Muses fayre;
Or Eden selfe, if ought with Eden mote compayre.
[53]
Much wondred Guyon at the fayre aspect
Of that sweet place, yet suffred no delight
To sincke into his sence, nor mind affect,
But passed forth, and lookt still forward right,
Brydling his will, and maystering his might:
Till that he came vntounto another gate,
No gate, but like one, being goodly dight
With bowes and braunches, which did broad dilate
Their clasping armes, in wanton wreathings intricate.
[54]
So fashioned a Porch with rare deuicedevice,
Archt ouerover head with an embracing vine,
Whose bounches hanging downe, seemd to entice
All passers by, to taste their lushious wine,
And did them seluesselves into their hands incline,
As freely offering to be gathered:
Some deepe empurpled as the HyacineHyacint,
Some as the Rubine, laughing sweetely red,
Some like faire Emeraudes, not yet well ripened.
[55]
And them amongst, some were of burnisht gold,
So made by art, to beautify the rest,
Which did themseluesthemselves emongst the leauesleaves enfold,
As lurking from the vew of couetouscovetous guest,
That the weake boughes, with so rich load opprest,
Did bow adowne, as ouerburdenedoverburdened.
VnderUnder that Porch a comely dame did rest,
Clad in fayre weedes, but fowle disordered,
And garments loose, that seemd vnmeetunmeet for womanhed.
[56]
In her left hand a Cup of gold she held,
And with her right the riper fruit did reach,
Whose sappy liquor, that with fulnesse sweld,
Into her cup she scruzd, with daintie breach
Of her fine fingers, without fowle empeach,
That so faire winepresse made the wine more sweet:
Thereof she vsdusd to giuegive to drinke to each,
Whom passing by she happened to meet:
It was her guise, all Straungers goodly so to greet.
[57]
So she to Guyon offred it to tast,
Who taking it out of her tender hond,
The cup to ground did violently cast,
That all in peeces it was broken fond,
And with the liquor stained all the lond:
Whereat Excesse exceedinglyexceedinly was wroth,
Yet no’te the same amend, ne yet withstond,
But suffered him to passe, all were she loth;
Who nought regarding her displeasure, forward goth.
[58]
There the most daintie Paradise on ground,
It selfe doth offer to his ſobersoberſobcrsobcr eye,
In which all pleasures plenteously abownd,
And none does others happinesse enuyeenvye:
The painted flowres, the trees vpshootingupshooting hye,
The dales for shade, the hilles for breathing space,
The trembling grouesgroves, the christall running by;
And that, which all faire workes doth most aggrace,
The art, which all that wrought, appeared in no place.
[59]
One would hauehave thought, (so cunningly, the rude
And scorned partes were mingled with the fine,)fine),
That nature had for wantonesse ensude
Art, and that Art at nature did repine;
So striuingstriving each th’other to vndermineundermine,
Each did the others worke more beautify;
So diff’ring both in willes, agreed in fine:
So all agreed through sweete diuersitydiversity,
This Gardin to adorne with all variety.
[60]
And in the midst of all, a fountaine stood,
Of richest substance, that on earth might bee,
So pure and shiny, that the siluersilver flood
Through eueryevery channell running one might see;
Most goodly it with curious ymageree
Was ouerwroughtoverwrought, and shapes of naked boyes,
Of which some seemd with liuelylively iolliteejollitee,
To fly about, playing their wanton toyes,
Whylest others did them seluesselves embay in liquid ioyesjoyes,
[61]
And ouerover all, of purest gold was spred,
A trayle of yuieyvie in his natiuenative hew:
For the rich metall was so coloured,
That wight, who did not well auis’davis’d it vew.
Would surely deeme it to bee yuieyvie trew:
Low his lasciuiouslascivious armes adown did creepe,
That themseluesthemselves dipping in the siluersilver dew,
Their fleecy flowres they fearefullytenderly did steepe,
Which drops of Christall seemd for wantones to weep.
[62]
Infinit streames continually did well
Out of this fountaine, sweet and faire to see,
The which into an ample lauerlaver fell,
And shortly grew tointo so great quantitie,
That like a litle lake it seemd to bee;
Whose depth exceeded not three cubits hight,
That through the waueswaves one might the bottom see,
All pau’dpav’d beneath with IasparJaspar shining bright,
That seemd the fountaine in that sea did sayle vprightupright.
[63]
And all the margent round about was sett,
With shady Laurell trees, thence to defend
The sunny beames, which on the billowes bett,
And those which therein bathed, mote offend:
As Guyon hapned by the same to wend,
Two naked Damzelles he therein espyde,
Which therein bathing, seemed to contend,
And wrestle wantonly, ne car’d to hyde,
Their dainty partes from vew of any, which them eyd.
[64]
Sometimes the one would lift the other quight
AboueAbove the waters, and then downe againe
Her plong, as ouerover maystered by might,
Where both awhile would coueredcovered remaine,
And each the other from to rise restraine;
The whiles their snowy limbes, as through a vele,
So through the christall waueswaves appeared plaine:
Then suddeinly both would themseluesthemselves vnheleunhele,
And th’amarous sweet spoiles to greedy eyes reuelerevele.
[65]
As that faire Starre, the messenger of morne,
His deawy face out of the sea doth reare:
Or as the Cyprian goddesse, newly borne
Of th’Oceans fruitfull froth, did first appeare:
Such seemed they, and so their yellow heare
Christalline humor dropped downe apace.
Whom such when Guyon saw, he drew him neare,
And somewhat gan relent his earnest pace;
His stubborne brest gan secretsccret pleasaunce to embrace.
[66]
The wanton Maidens him espying, stood
Gazing a while at his vnwontedunwonted guise;
Then th’one her selfe low ducked in the flood,
Abasht, that her a straunger did avise:
But thother rather higher did arise,
And her two lilly paps aloft displayd,
And all, that might his melting hart entyse
To her delights, she vntounto him bewrayd:
The rest hidd vnderneathunderneath, him more desirous made.
[67]
With that, the other likewise vpup arose,
And her faire lockes, which formerly were bownd
VpUp in one knott, she low adowne did lose:
Which flowing long and thick, her cloth’d arownd,
And th’yuorieyvorie in golden mantle gownd:
So that faire spectacle from him was reft,
Yet that, which reft it, no lesse faire was fownd:
So hidd in lockes and waueswaves from lookers theft,
Nought but her louelylovely face she for his looking left.
[68]
Withall she laughed, and she blusht withall,
That blushing to her laughter gauegave more grace,
And laughter to her blushing, as did fall:
Now when they spyde the knight to slacke his pace,
Them to behold, and in his sparkling face
The secrete signes of kindled lust appeare,
Their wanton meriments they did encreace,
And to him beckned, to approch more neare,
And shewd him many sights, that corage cold could reare.
[69]
On which when gazing him the Palmer saw,
He much rebukt those wandring eyes of his,
And counseld well, him forward thence did draw.
Now are they come nigh to the Bowre of blis
Of her fond fauoritesfavorites so nam’d amis:
When thus the Palmer, Now Sir, well auiseavise;
For here the end of all our traueilltraveill is:
Here wonnes Acrasia, whom we must surprise,
Els she will slip away, and all our drift despise.
[70]
Eftsoones they heard a most melodious sound,
Of all that mote delight a daintie eare,
Such as attonce might not on liuingliving ground,
SaueSave in this Paradise, be heard elswhere:
Right hard it was, for wight, which did it heare,
To read, what manner musicke that mote bee:
For all that pleasing is to liuingliving eare,
Was there consorted in one harmonee,
Birdes, voices, instruments, windes, waters, all agree.
[71]
The ioyousjoyous birdes shrouded in chearefull shade,
Their notes vntounto the voice attempred sweet;
Th’Angelicall soft trembling voyces made
To th’instruments diuinedivine respondence meet:
The siluersilver sounding instruments did meet
With the base murmure of the waters fall:
The waters fall with difference discreet,
Now soft, now loud, vntounto the wind did call:
The gentle warbling wind low answered to all.
[72]
There, whence that Musick seemed heard to bee,
Was the faire Witch her selfe now solacing,
With a new LouerLover, whom through sorceree
And witchcraft, she from farre did thether bring:
There she had him now laid a slomberingaslombering,
In secret shade, after long wanton ioyesjoyes:
Whilst round about them pleasauntly did sing
Many faire Ladies, and lasciuiouslascivious boyes,
That euerever mixt their song with light licentious toyes.
[73]
And all that while, right ouerover him she hong,
With her false eyes fast fixed in his sight,
As seeking medicine, whence she was stong,
Or greedily depasturing delight:
And oft inclining downe with kisses light,
For feare of waking him, his lips bedewd,
And through his humid eyes did sucke his spright,
Quite molten into lust and pleasure lewd;
Wherewith she sighed soft, as if his case she rewd.
[74]
The whiles some one did chaunt this louelylovely lay;
Ah see, who so fayre thing doest faine to see,
In springing flowre the image of thy day;
Ah see the Virgin Rose, how sweetly shee
Doth first peepe foorth with bashfull modestee,
That fairer seemes, the lesse ye see her may;
Lo see soone after, how more bold and free
Her bared bosome she doth broad display;
Lo see soone after, how she fades, and falls away.
[75]
So passeth, in the passing of a day,
Of mortall life the leafe, the bud, the flowre,
Ne more doth florish after first decay,
That earst was sought to deck both bed and bowre,
Of many a Lady’, and many a Paramowre:
Gather therefore the Rose, whilest yet is prime,
For soone comes age, that will her pride deflowre:
Gather the Rose of louelove, whilest yet is time,
Whilest louingloving thou mayst louedloved be with equall crime.
[76]
He ceast, and then gan all the quire of birdes
Their diuersediverse notes t’attune vntounto his lay,
As in approuaunceapprovaunce of his pleasing wordes.
The constant payre heard all, that he did say,
Yet swaruedswarved not, but kept their forward way,
Through many couertcovert grouesgroves, and thickets close,
In which they creeping did at last display
Thot wanton Lady, with her louerlover lose,
Whose sleepie head she in her lap did soft dispose.
[77]
VponUpon a bed of Roses she was layd,
As faint through heat, or dight to pleasant sin,
And was arayd, or rather disarayd,
All in a uelevele of silke and siluersilver thin,
That hid no whit her alablaster skin,
But rather shewd more white, if more might bee:
More subtile web Arachne cannot spin,
Nor the fine nets, which oft we wouenwoven see
Of scorched deaw, do not in th’ayre more lightly flee.
[78]
Her snowy brest was bare to ready spoyle
Of hungry eies, which n’ote therewith be fild,
And yet through languour of her late sweet toyle,
Few drops, more cleare 1590.bk2.II.xii.78.4. then: thanthenthan Nectar, forth distild,
That like pure Orient perles adowne it trild,
And her faire eyes sweet smyling in delight,
Moystened their fierie beames, with which she thrild
Fraile harts, yet quenched not; like starry light
Which sparckling on the silent waueswaves, does seeme more bright.
[79]
The young man sleeping by her, seemd to be
Some goodly swayne of honorable place,
That certes it great pitty was to see
Him his nobility so fowle deface;
A sweet regard, and amiable grace,
Mixed with manly sternesse did appeare
Yet sleeping, in his well proportiond face,
And on his tender lips the downy heare
Did now but freshly spring, and silken blossoms beare.
[80]
His warlike Armes, the ydle instruments
Of sleeping praise, were hong vponupon a tree,
And his brauebrave shield, full of old moniments,
Was fowly ra’st, that none the signes might see,
Ne for them, ne for honour cared hee,
Ne ought, that did to his aduauncementadvauncement tend,
But in lewd louesloves, and wastfull luxuree,
His dayes, his goods, his bodie he did spend:
O horrible enchantment, that him so did blend.
[81]
The noble Elfe, and carefull Palmer drew
So nigh them, minding nought, but lustfull game,
That suddein forth they on them rusht, and threw
A subtile net, which only for that same
The skilfull Palmer formally did frame.
So held them vnderunder fast, the whiles the rest
Fled all away for feare of fowler shame.
The faire Enchauntresse, so vnwaresunwares opprest,
Tryde all her arts, &and all her sleights, thence out to wrest.
[82]
And eke her louerlover strouestrove: but all in vaine;
For that same net so cunningly was wound,
That neither guile, nor force might it distraine.
They tooke them both, &and both them strongly bound
In captiuecaptive bandes, which there they readie found:
But her in chaines of adamant he tyde;
For nothing else might keepe her safe and sound;
But Verdant (so he hight) he soone vntydeuntyde,
And counsell sage in steed thereof to him applyde,
[83]
But all those pleasaunt bowres and Pallace brauebrave,
Guyon broke downe, with rigour pittilesse;
Ne ought their goodly workmanship might sauesave
Them from the tempest of his wrathfulnesse,
But that their blisse he turn’d to balefulnesse:
Their grouesgroves he feld, their gardins did deface,
Their arbers spoyle, their Cabinets suppresse,
Their banket houses burne, their buildings race,
And of the fayrest late, now made the fowlest place.
[84]
Then led they her away, and eke that knight
They with them led, both sorrowfull and sad:
The way they came, the same retourn’d they right,
Till they arriuedarrived, where they lately had
Charm’d those wild-beasts, that rag’d with furie mad.
Which now awaking, fierce at them gan fly,
As in their mistresse reskew, whom they lad;
But them the Palmer soone did pacify.
Then Guyon askt, what meant those beastes, which there did ly.
[85]
Sayd he, these seeming beasts are men indeed,
Whom this Enchauntresse hath transformed thus,
Whylome her louerslovers, which her lustes did feed,
Now turned into figures hideous,
According to their mindes like monstruous.
Sad end (quoth he) of life intemperate,
And mournefull meed of ioyesjoyes delicious:
But Palmer, if it mote thee so aggrate,
Let them returned be vntounto their former state.
[86]
Streight way he with his vertuous staffe them strooke,
And streight of beastes they comely men became;
Yet being men they did vnmanlyunmanly looke,
And stared ghastly, some for inward shame,
And some for wrath, to see their captiuecaptive Dame:
But one aboueabove the rest in speciall,
That had an hog beene late, hight Grylle by name,
Repyned greatly, and did him miscall,
That had from hoggish forme him brought to naturall.
[87]
Saide Guyon, See the mind of beastly man,
That hath so soone forgot the excellence
Of his creation, when he life began,
That now he choosethchooseh, with vile difference,
To be a beast, and lacke intelligence.
To whom the Palmer thus, The donghill kinde
Delightes in filth and fowle incontinence:
Let Gryll be Gryll, and hauehave his hoggish minde;
But let vsus hence depart, whilest wether seruesserves &and winde.
1. frame: structure; system
2. adorned: decorated with honors, perhaps crowned
3. pricke: acme
5. bountyhed: goodness
3. acquight: aquit
1. hideous: immense
3. Depending: hanging down
9. wawes: waves (archaic)
2. ruinate: collapse
5. exanimate: lifeless
9. blent: obscured, destroyed
1. Reproch: disgrace, infamy
4. Meawes: the common gull
8. thrift: savings
3. lustfull luxurie: excessive indulgence, especially sexual excess
7. reliques: remnants; memorials
2. fordonne: ruined or destroyed
3. seeming now and than: ‘appearing now here and then elsewhere’
4. certein wonne: fixed dwelling
5. stragling plots: wandering pieces of land
8. many a: disyllabic, ‘man-ya’
8. recure: recover
4. traueiling that way: traveling; travailing, in labor
9. herried: praised, glorified
3. fleet: float
9. skippet: skiff
1. can: did
8. light: quickly
1. sort: manner
2. bord: accost; nautical sense, ‘come alongside to attack’; also ‘jest’
2. purpose diuersly: make small talk
8. wite: blame
3. gate: path or journey
6. auyse: look around, take thought
7. safety: trisyllabic
4. mesprize: mistake
5. hazardize: predicament
7. recur’d: recovered
9. backe recoyle: drive or force back
3. doole: grief
8. guise: customary manner
9. Monoceros: accented on the first and third syllables
9. immeasured: immense (not previously recorded in English)
4. enrold: rolled up
8. bugs: i.e. bugbears, bogys, bugaboos
9. entrall: entrails
6. vertuous: potent; magical; imbued with moral virtue
9. Tethys: originally a Titaness and sea-goddess; here a name for the sea
1. streight: immediately, with an ironic glance at Guyon’s instruction to steer the boat off-course
3. know: in this context suggesting both to apprehend and to have carnal acquaintance
1. courage: heart
3. embosome: implant
6. stayed: firm, well-supported
7. bayt: rest, with a punning reference to its rhyme-partner in the second line
8. trade: ‘course, way, or manner of life’ (OED)
2. th’Heliconian maides: the Muses
4. moyity: half
5. surquedry: presumption
6. hew: form
2. applyde: addressed
4. magnifyde: praised
4. Meane: an intermediate part in polyphonic music;measured: made proportional
5. Zephyrus: the west wind
4. leueled: aimed
6. desert: uninhabited (‘deserted’) region
3. wastefull: causing ‘devastation, desolation, or ruin’ (OED)
4. For: eliding ‘for fear of’
1. vnfortunate: omens of misfortune
4. ill-faste: ill-faced, ugly.
5. trump: trumpet
5. drere: dreariness, gloom
7. Strich: screech-owl
8. whistler: a nocturnal bird of ill-omen
4. stifly: steadfastly
8. sacred: accursed
3. crooked: curved
8. vpstaring: standing on end
6. fraying: frightening
7. Orcus: another name for Dis or Pluto, the god of the underworld
9. vertue: power
7. aggrate: gratify
9. affluence: profusion
5. fortilage: fortress
7. efforced: forced open or gained by force
4. ywritt: drawn, incised
1. fry: foam
5. sprent: sprinkled
6. vermell: vermillion
7. looser: too loose
8. porter: gatekeeper
8. deuizd: appointed; perhaps also designed; feigned; conceived or imagined
9. for more formalitee: as an emblem of office
3. Mazer: a maple goblet
4. sacrifide: consecrated
2. louely: lovingly
8. disposd: arranged
9. spirit: breath
6. repayre: retire
8. Rubine: ruby
9. Emeraudes: emeralds
3. sappy: succulent
4. scruzd: squeezed
4. daintie: nice, delicate, but also delightful, as at 58.1
4. breach: ‘the action of breaking’ (OED)
5. without fowle empeach: without making a mess
9. guise: custom
2. sober: solemn, serious; also, because he has just refused the wine in st. 57, not drunk
7. christall: streams
8. aggrace: grace; add grace to
3. wantonesse: affectation, naughtiness, playfulness, or extravagance
3. ensude: followed; imitated the example of
4. repine: complain
7. in fine: in conclusion
8. wanton toyes: amorous dallying; playful caresses
9. embay: bathe, soak
6. three cubits: ancient unit of measurement based on the length of the forearm, variable but typically 18-22 inches
1. margent: edge (margin)
3. plong: plunge
8. vnhele: uncover
9. amarous: amorous
1. that faire Starre: Venus, the morning star
3. the Cyprian goddesse: Venus.
2. guise: appearance
4. avise: look at
8. bewrayd: revealed (often with the sense of divulging a secret)
8. lockes: tresses
9. corage cold could reare: could arouse (literally, erect) unaroused sexual appetite
9. all our drift despise: disregard or disdain our entire scheme
3. attonce: at once
6. read: guess, conjecture
1. shrouded: took shelter
2. dight to: prepared for
2. n’ote: ‘ne mote’, i.e. could not
3. languour: weariness, resulting from sexual exertions
4. deface: literally undo, unmake
4. ra’st: razed, scraped out;
8. spend: expend
9. blend: blind; obscure; mingle or combine (i.e., with Acrasia)
5. formally: ‘according to the principles of art or science’ (OED)
8. opprest: subdued
3. distraine: tear apart
8. Verdant: ‘green with vegetation’
7. Cabinets: bowers or summer-houses
1.through] 1590; by1596, 1609;
2.through paſsingthrough passing] 1590; paſ⁀ſing throughpassing through1596, 1609;
5.5.dryuedryve] state 2; dryue,dryve, state 1;
8.9.drift.] 1596, 1609; drift,1590;
15.5.afore:] state 2; afore state 1;
15.7.withouten] 1596; wihtouten state 2; wirhouten state 1;
17.1.Phædria] this edn.; Phœdria1590, 1596, 1609;
37.3.but] state 2; hut state 1;
38.4.Guyon] state 2; Guyou state 1;
43.2.their] state 2; iheir state 1;
44.6.conquest] state 2; couquest state 1;
45.9.th’enchaunted] 1596, 1609; thenchaunted1590;
48.7.of this] 1596, 1609; oft his1590;
51.1.the] state 2; rhe state 1;
54.7.Hyacine] state 1; Hyacint state 2;
57.6.exceedingly] state 2; exceedinly state 1;
58.2.ſobersober] state 2; ſobcrsobcr state 1;
61.8.fearefully] 1590; tenderly1596, 1609;
62.4.to] state 2; into state 1;
65.9.secret] this edn.; sccret1590;
87.4.chooseth] state 2; chooseh state 1;
1–2 through . . . through passing (by . . . passing through 1596): 1590 is infelicitous but not incoherent; the compositor may have misread copy already marked for the revision effected in 1596. An ethical question in play throughout the canto is whether the ‘Palmers governaunce’ leads Guyon to pass through perils on his journey or demands that he pass by them (cf. Milton on the importance of confronting vice, vii.19.1-2n).
4 Acrasy: See i.51.2-4n on the etymology of the name, which associates Acrasia with Impotence as lack of self-control (see xi.23.8n) and opposes her to ‘Palmers governaunce’.
1.1 St. 1 The unmistakably erotic connotations of the language in this stanza are difficult to reconcile with an allegorical program in which Arthur’s victory over fleshly lust in the person of Maleger provides a ‘foundation’ for Guyon’s capture of Acrasia.
1.1 frame: Cf. Daniel (1930): ‘All verse is but a Frame of Words’ (Defense of Rhyme 88-89). The ‘frame of Temperaunce’ is Alma’s castle, hence the human body, ‘rising’ in triumphant contrast to the ups and downs of Maleger in the preceding canto (see the pun on ‘in descent’ at ix.1.5); it is also the allegorical architecture for the Legend of Temperance, which attains full articulation as the narrative approaches its conclusion.
1.3 highest: May be a transferred epithet, although it works as a modifier for both ‘pricke’ and ‘prayse’.
1.4 Formerly grounded: Arthur’s defeat of Maleger in the previous canto ‘grounds’ the House of Alma by overcoming the death inherent in its ‘goodly workemanship’, which ‘must turne to earth’ (ix.21.8-9). The pun in ‘grounded’ suggests that Maleger’s Antaeus-like resurrection is opposite-yet-identical to the House’s demise.
1.5 bountyhed: L bonitatem.
1.7–1.8 Now comes . . . sensuall delights: Point and pricke can be synonyms; the alliterative language here suggests a bodily allegory in which the highest praise is pinpointed within the greatest peril at the sensitive tip (glans) of the penis. This passage may be recollected in section 28 of Whitman's ‘Song of Myself’, on the sense of touch (‘the treacherous tip of me’, line 3).
2.1

St. 2-41

The chief literary model for Guyon’s voyage is found in Homer, Od 12. Spenser cites Ulysses in FQ Letter as Homer’s exemplary ‘vertuous man’, a conventional assessment that accords with Natale Conti’s interpretation of Ulysses in Mythologiae 9 as the rational soul embattled on the one hand by emotions like fear, anger, or grief, and on the other by sensual pleasures (814-15). Harvey offers a similar assessment when he mentions his plan to read Leicester ‘suche a Lecture in Homers Odysses, and Virgil’s Æneads’ before his Lordship’s travel abroad that he will need no further instruction (Letters 5.162-70). Other antecedents for Guyon’s voyage include Virgil, Aen 2-3, and medieval accounts of the voyage of St Brendan (e.g. in Legenda Aurea; see Var. 2.448-49). The most immediate antecedents are Tasso, GL 15 and Richard Eden’s 1555 translation of Peter Martyr’s Decades, one of the earliest and most widely circulated accounts of new world exploration.

Read (2000) notes that ‘there are times when perils of the kind described in the Decades offer more immediate and vivid models than could be found in Spenser’s traditional sources’ (96), but the modeling at work in Spenser’s use of exploration narratives is far more indirect than in Tasso. In GL Carlo and Ubaldo travel through clearly identified Mediterranean and Atlantic topographies, and their voyage includes an explicit prophecy of the Christianization of the heathen New World, complete with an apostrophe to Christopher Columbus. Guyon and the Palmer, by contrast, encounter literary rather than geospatial landmarks, in keeping with the redefinition of ‘place’ introduced in the proem to Book II, where voyages of exploration are introduced as a trope for reading. Guyon’s voyage with the Palmer develops the trope in some detail.

2.4 the third Morrow: The scriptural resonance of this phrase (Matt 12:40, ‘For as Jonas was thre days, and thre nights in the whales bellie: so shal the Sonne of man be thre dayes and thre nights in the heart of the earth’) amplifies the connotations of the canto’s opening declaration (‘Fayrely to rise’) and reinforces the link between Arthur’s victory over the son of the earth and Guyon’s pending encounter with the temptations of the flesh.
2.5 2.5 Spenser’s image recalls two moments in the Aeneid. In the first, Aeneas, having just buried his nurse Caieta, sails past Circe’s island as splendet tremulo sub lumine pontus (‘the sea glitters beneath [the moon’s] dancing beams’; 7.9). In the second, Aeneas as he contemplates the approach of war in Latium magno curarum fluctuat aestu (‘tosses on a mighty sea of troubles’; 8.19), turning his thoughts sicut aquae termulum labris ubi lumen aënis / sole repercussum aut radiantis imagine lunae / omnia pervolitat loca (‘as when in brazen bowls a flickering light from water, flung back by the sun or the moon’s glittering form, flits far and wide’; 8.22-24). Ariosto picks up this image to describe Orlando’s distracted mood just before he abandons the siege at Paris to go in search of Angelica: qual d'acqua chiara il tremolante lume, / dal sol percossa o da’ notturni rai, / per gli ampli tetti va con lungo salto / a destra et a sinistra (‘[his thoughts] were like the tremulous gleam which a limpid pool gives off under the rays of the sun or moon--high and low, to right and left it fans out’; OF 8.71, trans. Waldman). Spenser at first appears to be moving the image back toward its more serene initial context, but the intervening traces of mental disquiet reappear in the immediately following lines.
3.3 acquight: Includes the sense of deliverance by paying or cancelling a debt.
3.4 Gulfe of Greedinesse: Based on Homer’s Charybdis by way of Virgil and Conti (Od 12.101-110, 234-59; Aen 3.420-32, 555-67; Myth 748-51).
4.1–4.2 4.1-2 Spenser replaces Homer’s Scylla and her monstrous anatomy with a magnet (L magnes), masculine in gender and only residually shaped like a body. See ‘the rock of the Adamant’ in Huon of Bordeux (ch. 109).
4.5 rift: The use of ‘rift’ to signify a projecting edge rather than a fissure is unusual, but characteristic of Spenser. Compare the rhyme-word clift, which is Spenser’s preferred form of ‘cliff’ even though it is also a variant form of ‘cleft’. For the pairing of these terms, see e.g. Eden, ‘The ryftes and clyftes’ (1555: 134), or Holinshed (1965:1:217), in a passage Spenser remembers at III.iii.8-9, describing a ‘rift or clift’ near the shore of ‘a little rockie Ile in Aber Barrie’. Compare also the ‘ragged breaches’ hanging down at II.vii.28.3.
4.9 wawes: Cf. Coverdale (1535: Jas 1.6), ‘For he that douteth is lyke the wawes of the see’.
5.7–5.8 5.7-8 See Prov 1.12, ‘We wil swallowe them up alive like a grave even whole, as those that go downe into the pit’.
6.4 Tartare: Tartarus, the region of the classical underworld Hades specifically reserved to the damned.
7.2 ruinate: From L ruo to hurl down. With ‘broke’, suggesting financial ruin.
7.5 exanimate: From L ex out + anima breath, with a possible play on animus soul.
7.6–7.9 7.6-9 Echoing 1 Tim 6:9, ‘For they that wil be riche, fall into temptation and snares, and into many foolish and noysome lustes, which drowne men in perdition and destruction’. See also 1 Tim 1:19, ‘Having faith and a good conscience, which some have put away, and as concerning faith, have made shipwracke.’
8.4 Seagulles: Proverbially greedy; see Nashe 1599 (Lenten Stuffe 60), ‘That greedy seagull ignorance is apt to devoure any thing’.
8.5 Cormoyraunts: A large, voracious seabird, proverbially a figure for gluttony, greed, or the rapacity of userers. See Chaucer, ‘The hote cormeraunt of glotonye’ (PF 362).
8.9 drift: ‘Floating matter driven by currents of water’ (OED); see Hakluyt 1907 ‘Foure leagues from the lande, you finde . . . many drifts of rootes, leaves of trees, [etc.]’ (Voyages 3.249). Here the context suggests an accumulation of such flotsam, or the place where it accumulates.
9.8 counselled: With a pun, counsel- led.
10.1 Ferryman: See Conti (Myth 170): ‘God’s goodness is the source of our hope and of the joy that is the vehicle which ferries us across those troubled waters—that is, Charon’. The Ferryman enables Guyon’s boat to ‘apply’ (steer) a ‘course’ as opposed to being ‘driven’ to a ‘drift’ (8.9).
11.7 wandring Islands: Mentioned earlier at i.51 and vi.11.3-4; cf. Homer’s πετραι επηρεφεες petrai epmrephees overhanging rocks (Od 12.59). On floating islands see Herodotus (Histories 2.156), Pliny the elder (Natural History 1.17) and Pliny the younger (Letters 8.20).
13.1 St. 13 For the story of Latona giving birth to Apollo and Diana on the isle of Delos, see Ovid (Met 6.186-91) and Virgil (Aen 3.73-77); also Conti (Myth 838, 840).
13.9 temple: ‘honor’ 1596
14.2 14.2 The purposive forward progress of the voyagers combines two motifs that recur throughout the episode. One is a contrast between linear progress and ‘wandering’ in illusion; the other links temperance to timing, as the voyagers resist delay but pause to deliberate.
14.6 touchen: For a ship, to call in passing; for a man, to have sexual contact.
15.3 cause: Plays etymologically and homophonically with case, cosa, and chose, echoing the Wife of Bath’s ‘bele chose’ (CT Wife of Bath D 510) and sustaining the double-entendre of ‘to touchen there’.
16.2 bord: See Shakespeare, Twelfth Night (1.3.56-7): ‘“Accost” is front her, board her, woo her, assail her’.
17.1 St. 17-20 The mermaids, the ‘quickesand of Unthriftyhead’, and the ‘Whirlepoole of decay’ form a series analogous to Phædria, the Gulfe of Greedinesse, and the Rocke of Reproch. There are distinctions to be made (e.g., greediness is a moral condition that incurs shame, whereas unthriftyhead is a behavior that leads to decay), but as the monsters and water-hazards proliferate there is also a sense of redundancy, reminding us that all the moral threats in this canto are forms of excess. At times the allegory itself seems in this way to be infiltrated by the forces it seeks to demonize. On a formal level, this tension plays out the ethical distinction between ‘passing through’ and ‘passing by’ perils (see arg.1-2n).
17.2 17.2 The awkward caesura after ‘him’ recapitulates within the line Guyon’s experience of his ferry ride, interrupted by an unscheduled stop and an unwanted invitation to dally, even as Phædria renews her effort to delay ‘their gate’ (see 14.2n).
17.6 auyse: Contrast this well-advised pause with Phædria’s attempt to delay the voyage.
17.9 17.9 See Circe’s description of the Sirens in Homer (Od 12.37-54).
18.4 the narrow way: Matt 7:14, ‘the gate is streicte, and the way narowe that leadeth unto life’.
18.8 discoloured: With a pun on ‘discolour-red’.
18.9 Vnthriftyhed: Cf. 8.8, ‘lost credit and consumed thrift’.
19.4 mesprize: From Fr méprise, from prendre ‘take’.
19.5 hazardize: A nonce-word for which OED records no other instance.
21.1 earnest: ‘heedful’ 1596
21.3 21.3 They reach (‘fetch’) the far end of the ‘narrow way’ (18.4) that separates the whirlpool from the quicksand.
21.7–21.9 21.7-9 The land- and seascape of Guyon’s voyage is frequently imbued with affective states proper to the moral hazards signified. Conti cites classical interpreters who rationalize Scylla as a promontory shaped like a woman, with caves whose roaring sound resembles howling dogs (Myth 748-49); Spenser, who follows a similar impulse at 4.1-2 (see note), nevertheless sustains a residual or figurative animation of the seascape.
22.2 Outragiously . . . enraged: See OED s.v. ‘outrage’: ‘In English often reanalysed as out prefix + rage n., a notion which affected the sense development’.
22.7 horrour: (L horrere to bristle, shudder) can describe both the action of the waves and the voyagers’ response; likewise ‘reare’ can describe the upsurging of the water or the upsurge of emotion of those who witness it.
22.9 liuing sence: Cf. pr.2.1 (‘with better sence advize’) and pr.4.4 (‘his sence . . . too blunt and bace’), linked to the figure of reading as a voyage of discovery; and 26.1, where ‘living sence’ is corrected by ‘the Palmer well aviz’d’.
23.1 St. 23-24 Spenser’s principal sources for these stanzas are Pliny Naturalis Historiae, Gesner, Historiae animalium. vol. 4, and Olaus Magnus Historia de Gentibus Septentrionalibus. For detailed discussion see Var 2.359-64; SpE reproduces a sampling of Gesner’s woodcuts (‘natural history’ figs. 1-3).
23.2–23.5 23.2-5 Dame Nature as artist with ‘cunning hand’ mirrors the poet: his ‘pourtraicts of deformitee’ are her deformed portraits (‘fowle defects’).
23.6 Spring-headed Hydres: The Hydra was a serpent whose heads when cut off would sprout again; see Theatre 12.13 on the Hydra’s ‘seven springing heads’. In the second of his twelve labors, Hercules slew the monster by cauterizing its neck-stubs before new heads could grow (Virgil, Aen 6.576-77; Ovid, Met 9.68-74). The notion of the Hydra as a sea-beast may derive from Boccaccio, Genealogia 13.1 (Gesner 4.457-60).
23.6 sea-shouldring Whales: A phrase famous for the response it elicited from John Keats, who when he read it as a schoolboy was said to have sprung up from his seat to imitate the Whales’ action (Clark 126, qtd Var 2.360).
23.8 Scolopendraes: Sea-serpent reputed to cast up its entrails to eject the hook after swallowing bait (Gesner 4.839). P. A. Robin traces confusions regarding this creature in natural histories from Aristotle to Rondelet (Animal Lore in English Literature 120-22, excerpted in Var 2.360-61).
23.9 Monoceros: The narwhal, a tusked Arctic whale (Gesner 4.547).
24.1–24.2 24.1-2 The walrus, a.k.a. ‘morse’ or mors marine (L mors death).
24.3 Wasserman: Ger ‘water-man’ (not previously recorded in English).
24.5 Sea-satyre: If there are mermaids and mermen, then it stands to reason that there must also be mer-satyrs; Gesner reproduces a drawing of one (7.4.999), and mentions reports from fishermen who have heard human cries before a storm at sea (Lemmi in Var 2.363).
24.7 Huge Ziffius: From Gk ξιφιας xiphias, swordfish (Gesner 4.1049).
24.9 Rosmarines: either the walrus (mors marine) or the sea-horse, said to climb out of the water to graze on promontories.
25.4 enrold: Cf. IV.iii.41.5, Gnat 257.
25.8 bugs: From Welsh bwg ghost, hobgoblin.
26.1 St. 26 The Palmer’s reassuring demystification of sea-monsters enacts the skeptical and rationalizing impulse implicit in many interpretations of Homer’s monsters and marvels. In the present episode this impulse plays against the recurrent tendency of Spenser’s imagery to animate the seascape (see 21.7-9n).
26.6–26.7 26.6-7 See Exod 14:16, where Moses divides the Red Sea with his rod; Matt 8:26, where Christ calms the sea; 2 Kings 2:14, where Elisha crosses Jordan with Elijah’s mantle; Virgil, Aen 1.142-3, where Neptune calms the sea; and Tasso, GL 14.73, where Ubaldo wields a similar magic wand.
27.1 St. 27-29 Recalling Duessa’s cameo in the role of distressed maiden in the first episode of Book II. The play on ‘seemely’ (comely) and ‘seemed’ (27.6, 8) points to the mingling of erotic and chivalrous motives that imperils the knight’s judgment in both episodes, as the Palmer explains at 28.9.
28.1 streight: See 29.5-6, where the line-break unfolds the pun.
28.7–28.8 28.7-8 See st. 26n. The compressed syntax, asserting that the maid is not a real woman but ‘onely womanish fine forgery’, echoes the Palmer’s dismissal of the sea-monsters at 26.2, and implicates the process of personification in a kind of reverse derivation: if English obtains the adjective womanish from the noun woman, allegory here converts the adjective back into a noun and then embodies the noun in a fictional referent.
29.1 courage: From L cor heart.
29.3 embosome: The maid's ‘bayt’ implies a hook—taken not into the mouth, but into the heart and mind, as the phrase ‘embosome . . . in your mind’ indicates.
30.1 St. 30-32 Spenser’s Mermayds (30.2) derive from the Sirens in Homer (Od 12.39-54, 165-200), but many details in his account come from later sources, including Virgil, Ovid, Pausanius, Boccaccio, and Conti. Homer does not specify the bodily form of the Sirens. Genealogia 7.20, Myth 645, and T. Cooper refer to them as mermaids; Pausanius and Conti also represent them as winged and birdlike.
30.2 30.2 Hamilton 2001 notes the emphasis placed on still by the enjambment here, together with its repetition as a rhyme-word at mid-stanza. Stillness is both the temptation the Sirens offer and the fate they threaten: sailors wooed to sleep by their song never awaken (see Conti Myth 642: ‘they would lull them [sailors] into a very deep sleep. And once these sailors were asleep, they would toss them into the sea and kill them’). Cf. the pun on bayt in st. 29.
30.2–30.6 30.2-6 Echoing Virgil’s description of the bay (‘a haunt of Nymphs’) where Aeneas and his men take shelter after the opening storm in the Aeneid, the prelude to his encounter with Dido (1.157-73).
30.7–30.9 30.7-9 Implying that the theater ‘trades’ in illusion and is therefore ‘deceiptfull’, analogous to ‘womanish fine forgery’ (28.8).
30.8 fiue: In classical accounts, two or three, expanded to five presumably to correspond to the senses, to which they appeal (cf. ‘a straunge kinde of harmony; / Which Guyons senses softly tickeled’, 33.6-7, and the repeated emphasis on the senses in the proem).
31.1–31.2 31.1-2 Pausanius relates that the Sirens ‘were persuaded by Hera to compete with the Muses by singing’ (Desc 9.34.3), though his Sirens are avian rather than piscine in form. (His version may reflect the influence of Ovid, Met 5, in which it is the Paeonian sisters rather than the Sirens who compete with the Muses in song; they are transformed into Magpies.)
32.2 applyde: Also ‘adapted’, because the Sirens were said to ‘pick out the precise melody that each man would enjoy hearing’ (Conti Myth 644). Thus in the following lines, the Sirens sing directly to Guyon: ‘O thou fayre sonne of gentle Faery, / That art in mightie armes most magnifyde / Above all knights’.
32.7–32.9 32.7-9 The temptation offered by the Sirens is variously glossed as wisdom, voluptuous pleasure, sloth, or flattery. Spenser’s Sirens, like Despair (I.ix) and Phædria when she sings Cymochles to sleep in canto vi (15-17), offer rest to the weary (see 30.2n).
33.1 St. 33 The sea, surf, and west wind accompany the song of the Mermaids to make up a four-part harmony comprised of alto (mermaids), treble (Zephyrus), tenor (surf), and bass (sea).
33.3 33.3 The trochaic substitution in the fourth foot of this line, combined with the length of the preceding syllable ‘waves’, creates a striking metrical imitation of ‘waves breaking’.
33.5 Zephyrus: Zephyrus also wafts through the Bower of Bliss, where he appeals to the senses of sight and smell (v.29.8-9).
34.1–34.4 34.1-4 Ulysses had to be bound—twice over—to the mast of his ship; the contrast is heightened when Guyon and his Palmer pass the Mermaids’ bay at mid-line with barely a caesura, and are already ‘descrying’ something else by the end of line three—their forward momentum further emphasized by the enjambment of ‘gan descry / The land’.
34.5 a grosse fog: One of the details Spenser’s episode has in common with the Celtic Legend of St. Brandan (see st. 2-41n).
34.5–34.9 34.5-9 The final lines suggest a return to primal chaos; Hamilton 2001 notes the etymological pun in Universe, from L unus one and vertere to turn. Lines 5-7 amplify the disorienting effects of the fog with contortions of the syntax. The sense is, ‘With his dull vapour, a grosse fog has over spred that desert and enveloped heavens chearefull face’.
34.7 heauens chearefull face enueloped: Cf. the Wandring Wood, ‘Whose loftie trees yclad with sommers pride, / Did spred so broad, that heavens light did hide’ (I.i.7.4-5).
36.1 St. 36 Cf. the ‘Owles and Night-ravens’ haunting the entryway to Mammon’s cave (vii.23 and notes), accompanied by ‘sad Celeno’ (the leader of the Harpies, according to Virgil). For details in this stanza, T. P. Harrison (1956: 64-65) suggests both Gesner (3.524-26) and Magnus (692) as likely sources (see st. 23-24n).
36.1–36.2 36.1-2 Cf. Rev 18:2 on the fallen Babylon as ‘a cage of everie uncleane and hateful byrde’.
36.4 ill-faste: Maleger’s ‘first troupe’, sent into battle against the bulwark of sight, includes ‘some . . . Headed like Owles’ (xi.8.1-3).
36.7 Strich: Hamilton 2001 notes that it is also called the ‘lich-owl’ (‘lich’ = corpse) ‘because its cry was supposed to portend death in the house’ (OED).
36.8 whistler: This is the first use recorded in OED. On ‘the Seven Whistlers’ as birds of ill-omen in English folklore, see The English Dialect Dictionary, 19-20.338, s.v. ‘Seven’.
36.9 hellish: Virgil’s Aeneas encounters the Harpies among many other monstrous apparitions at the mouth of hell (Aen 6.289). They are ‘prophets of sad destiny’ because they foretell hardship to Aeneas and his men (3.245-58).
37.1–37.3 37.1-3 The deflating effect of the adversatives (‘Yet’, ‘but’) in line 3, like the mention of rowing in line 4, suggests that fear, for all the verve of the phrase ‘fild their sayles with fear’, actually has little propulsive force of its own.
37.7–37.9 37.7-9 The Palmer’s exhortation to Guyon echoes Una’s words to Redcrosse as they approach her parents’ usurped kingdom (I.xi.2.1-2).
37.8 sacred: A Latinism illustrated by Virgil’s auri sacra fames (‘accursed hunger for gold’; Aen 3.57) and mentioned in A Vewe when Irenius reports the ancient name of Ireland to have been ‘Sacra Insula, taking /sacra for accursed’ (3725-26). Also found in Livy and Horace. See Shakespeare, Titus Andronicus 2.1.120-1, ‘our empress, with her sacred wit / To villainy and vengeance consecrate’.
39.1–39.2 39.1-2 As Aeneas and his men sail past Circe’s island, they hear gemitus iraeque leonum / vincla recusantum et sera sub nocte rudentum, saetigerique sues atque in praesepibus ursi / saevire, ac formae magnorum ululare luporum (‘the angry growls of lions chafing at their bonds and roaring in midnight hours, the raging of bristly boars and encaged bears, and howls from shapes of monstrous wolves’; Aen 7.15-18).
39.4 surquedry: See 31.5; here context suggests not presumption but surfeit, especially of sexual pleasure.
39.4–39.9 39.4-9 Homer’s Odysseus reports that the beasts on Circe’s island ουδ᾽ οἵ γ᾽ ωρμηθησαν επ᾽ ανδρασιν, αλλ᾽ αρα τοι γε / ουρησιν μακρησι περισσαινοντες ανεσταν (oud’ oï g’ ōrmēthēsan ep’ andrasin, all’ ara toi ge / ourēsin makrēsi perissainontes anestan; ‘did not rush upon my men, but pranced about them fawningly’; Od 10.214-15). According to Ovid’s Macareus, the animals did ‘rush on us, filling us with terror’ initially; he continues, ‘But there was no need to fear them . . . Why, they even wagged their tails . . . and fawned upon us’ (Met 14.254-58).
39.8 vpstaring: Cf. the ‘heares / Upstaring stiffe’ of Trevisan, I.ix.22.2-3.
40.1–40.6 40.1-6 For literary precedents to the Palmer’s staff, see 26.6-7n. The staff protects Guyon as the magical herb moly protected Odysseus and his men from Circe’s powers (Od 10.287-94). In Tasso, Ubaldo subdues Armida’s threatening beasts with a verga aurea immortale (‘everlasting staff of gold’; GL 15.49.5).
40.6 them selues: An intensifier, but may also suggest that the beasts fear themselves, like Archimago at I.ii.10.7-8.
41.3–41.8 41.3-8 In Homer it is Mercury who gives Odysseus the herb moly as an antidote to Circe’s charms (Od 10.276-309; see 40.1-6n); later, Homer describes the god using Caduceus to lead dead souls into the underworld (24.1-5). Virgil ascribes to Mercury’s staff power over the living and the dead (Aen 4.242-4). Mercury is the messenger god, said by Conti to represent divine reason and wisdom (Myth 369-70). None of these sources mention what kind of wood the Caduceus was made of.
41.4 Stygian: from Styx, one of the rivers that bound the underworld.
41.9 vertue: Cf. 26.6.
42.2 Bowre of Blisse: See the description at v.27-35 and notes. Spenser’s Bower condenses two Homeric sites, the island of Circe (Od 10) and the garden of Alcinous (7.112-32), combining these with the history of the corresponding topoi, the enchanted isle and the locus amoenus. Cf. the islands of Ariosto’s Alcina (OF 6.19-25) and Tasso’s Armida (GL 15.53-66, 16.1-26), and the garden of Trissino’s Acratia (ILG Books 4 and 5; see Kostic 1969: 297-301 and Var 2.443-44). These literary places are at once similar and opposed to the biblical garden celebrated in the Song of Solomon: ‘My sister my spouse is as a garden inclosed, as a spring shut up, and a fountain sealed up’ (4.12). Spenser plays on this topos with a light touch in Am, apostrophizing his beloved’s bosom as ‘the bowre of blisse, the paradice of pleasure’ into which his thoughts have, like Guyon in st. 63-69, been ‘too rashly led astray’ (76.3, 6).
42.3–42.4 42.3-4 These lines define the Bower as a ‘choyce’ locus of art, and hence a ‘place’ in the textual and rhetorical as well as the spatial sense (see ix.1.9n). As a topos, it has been singled out by the most skillful mimetic artists living. Cf. the description of Phædria’s island in canto vi as ‘a chosen plott . . . As if it had by Natures cunning hand, / Bene choycely picked out from all the rest’ (12.1-4). The recollection of this motif now, with the destruction of the Bower impending, evokes Gen 13:11, ‘Then Lot chose unto him all the plaine of Jorden’, especially in conjunction with the preceding verse: ‘So when Lot lifted up his eyes, he saw that all the plaine of Jorden was watered every where: (for before the Lorde destroyed Sodom and Gomorah, it was as the garden of the Lorde . . . )’.
42.5–42.7 42.5-7 The place where all sweet things come together, with its mingled appeal to ‘sense’ or ‘fantasy’, is the locus amoenus, a topos traced by Curtius (1953: 195-200). See 42.2n.
42.8 42.8 This line covertly identifies Spenser himself as the artist of the Bower by inflecting the familiar pun on his ancestral name (De Spencier) as a nominalized verb of sexual release: What Shakespeare in sonnet 129 would call ‘th’expense of spirit in a waste of shame’ is here the dispense of pleasure in an erotic fantasy. (For other instances of this play on the poet’s name see Cummings 1971: 95 and CV H.B. 5.3, along with FQ II.i.36.1-3, II.ix.29.1, V.i.7.5, and notes.) The emphasis on copiousness alludes in part to the fact that, at 87 stanzas, this is by far the longest canto in the poem.
43.1 enclosed: Cf. Song Sol 4:12 and 42.2n.
43.4 43.4, 8-9 The weakness of the fence and insubstantiality of the gate suggest that they may be intended less to prevent trespass than to provoke it. The Bower is a hortus as much inconclusus as conclusus.
43.5 Nought feard theyr force: ‘The force of the beasts was not at all feared’.
43.5 fortilage: An ironic term for the invitingly ill-defended Bower.
43.7 efforced: The language throughout this stanza flirts with the distinction between ‘pleasure’ and ‘battery’.
44.1 St. 44-45 The ‘famous history’ of Jason and Medea is told at length in Ovid, Met 7 and Appolonius Rhodius, Arg 3. Medea is Circe’s neice.
44.1 yuory: This detail may come from Trissino, ILG 5.165, although the common source for both writers is likely to be the gate of false dreams in Virgil (Aen 6.693-96).
44.4 ywritt: Cf. viii.43.3, where the portrait of Gloriana is ‘writt’ on Guyon’s shield.
44.5–44.6 44.5-6 Medea’s ‘mighty charmes’ are potions made up from magic herbs; ‘her furious loving fitt’ is the overwhelming passion for Jason that compelled her to betray her father, King Aeëtes, by helping to ensure Jason’s ‘conquest of the golden fleece’ in return for his promise of marriage. According to Conti, ‘The ancients made up . . . the things that they said about Medea to encourage us to keep our feelings in check, and to try to live a decent life. Other writers thought that Medea was a criminal and an indecently passionate woman. For in fact she betrayed her parents, her kingdom, and her native land because she lusted after Jason and had an insane longing for him’ (Myth 489).
44.7 44.7 Jason later set Medea aside to take a new bride, Creüsa. Conti, in the passage quoted above, continues: ‘And she sought after this stranger, this treacherous impostor, this man who had a habit of forgetting what people had done for him’ (Myth 489). The phrase ‘falsed fayth’ may recall Chaucer’s accusation against Jason in LGW: ‘Ther other falsen one, thou falseste two’ (1377).
44.8–44.9 44.8-9 These lines jump back to the beginning of the story: Jason gathered the finest young warriors in Greece to sail in quest of the golden fleece. Aboard the ‘venturous’ ship Argo, they sailed across the Black Sea to the kingdom of Colchos, ruled by Aeëtes.
45.1 Ye might haue seene: This is the first in a series of ekphrastic passages that will carry through Book III, all marked by references to trompe l'oeil verisimilitude. Spenser is consistently skeptical about the mimesis of appearances: the value of sensuous appeal in art is questioned in the proem to Book II and in the exchange between Guyon and Arthur over the image of Gloriana ‘so goodly scord’ on Guyon’s shield (ix.2-3), and the same appeal to (and power to deceive) the senses is the stock in trade of the 1590 poem’s major villains, Archimago, Duessa, Acrasia, and Busirane. Interestingly, Conti remarks that to some writers, ‘Medea represented Art, the sister of Circe or Nature; for Art tries its best to imitate Nature, and the closer it gets, the better art it's supposed to be’ (Myth 489). For Spenser’s introduction of this motif as a keynote of Book II, see the notes to the proem, st. 4 and 5.
45.3–45.4 45.3-4 Here the force of mimetic illusion is seen as blurring the distinction between represented content (nature) and the medium of representation (art), a metamorphosis in which the medium and the thing represented seem to turn into each other. See Introduction, 00.
45.6 45.6 In the course of her ‘furious loving fitt’ Medea dismembered her brother Apsyrtus, casting pieces of his body into the sea to slow the king’s pursuit when she fled with Jason.
45.9 45.9 Still experiencing love as a ‘furious . . . fitt’ when Jason abandoned her, Medea sent his new bride Creüsa a poisoned robe that burned her to death.
46.2 red: As writing, carving, and painting are all comprehended in the verb ywritt (44.4n), so reading, seeing, and interpreting are all compounded in the verb read (cf. the puns in the rhyming pair ‘discovered’ and ‘measured’, pr.2.4, 7).
46.2–46.3 46.2-3 Cf. the weakness of the fence enclosing the garden (st. 43).
46.9 46.9 Cf. Idleness, who ‘greatly shunned manly exercise’ (I.iv.20.2).
47.1 St. 47-48 Both the name Agdistes and most of the detail in these stanzas derive from Conti (Myth 243-245), but the ‘celestiall powre’ contrasted with the Genius of the Bower also has much in common with Conti’s Mercury (361-71), who in turn is associated with the Palmer (see 41.3-8n). According to Conti, Mercury was in charge of re-embodying ‘souls who had completed their stay in the Elysian fields’ (368), and was identified with ‘God's will . . . insofar as it brings things to life or sends them off to burial or the underworld’, and ‘with that divine power implanted by the gods in men’s minds, the power that wonderfully puts all our human activities in perspective and keeps them from falling apart. And since the ancients thought that this power is the source of our dreams, they said that Mercury was in charge of dreams’ (371). Elsewhere Conti does use the phrase ‘celestial power’ to describe Genius (901). He derives the name ‘Genius’ from L gignendo, ‘bringing forth’ (244). (For a more extensive canvassing of sources for Genius in both his guises, see Var 2.375-76.)
47.8–47.9 47.8-9 Spenser is one of the earliest writers in English to use the word self as a substantive rather than a pronoun or adjective (see Am 45.3, ‘in my selfe, my inward selfe I meane’). The description in these stanzas suggests links to L ingenium (lit. ‘genius within’) and English inwit, but these (though often personified by medieval writers) are faculties rather than entities. Spenser follows Conti in treating the self as a spirit distinct from the person it supervises, and consequently stresses the paradoxical way in which the Genius-self is non-identical with the ‘we’ whose self it is, who can ‘perceive’ its indwelling presence but cannot ‘see’ it directly. Spenser differs from Conti in treating this spirit as a generic or collective presence, ‘our Selfe’, inhabiting the individual (‘him selfe’).
48.8 porter: See Chaucer, CT Second Nun G 2-3, ‘Ydelnesse..porter [v.r. poter] of the gate is of delices’. Porter comes from the n. port ‘gateway’, but insofar as this Genius leads, or misleads, his title may also owe something to the verb meaning ‘convey’.
48.8 deuizd: Cf. i.31.8: ‘That deare Crosse uppon your shield devizd’.
49.3 Mazer: Cf. SC Aug 26, ‘A mazer ywrought of the Maple warre’; also the goblets of Duessa (I.viii.14.1-5) and Acrasia (II.i.55). Circe enchanted her victims by offering them ‘a potion in a golden cup’ (Od 10.316). In a Christian context such cups of enchantment parody the Holy Grail and the wine of the Eucharist (a reference anchored here by ‘sacrifide’). Given Spenser’s fondness for the pun in ‘amaze’, the sense of maze as ‘bewilder’ is probably also present.
49.9 And broke his staffe: Already showing Guyon’s responses verging on the excessive; see 57.3-6n. The Porter’s staff with its powers of illusion is opposed to the Palmer’s 'mighty staffe, that could all charmes defeat’ (40.3).
49.9 charmed semblants sly: Cf. 48.6, ‘guilefull semblants, which he makes us see’. ‘Sly’ (cunning) may describe either the semblants or the act of conjuring them—or both. The Bower’s Genius personifies an aesthetic technique that uses suggestion to elicit erotic fantasies—a technique that is on offer in the present canto as early as its first stanza and recurs frequently in the descriptions of the Bower. See 45.3-4n on the temptation presented by the ornamentation on the ivory gate.
50.1 St. 50 The syntax implies a deferred main clause that never in fact arrives: the travelers behold a plain whose ground, mantled and beautified . . . . The suspension of sense amid sprawling ornamentation anticipates the fate of Verdant with his ‘ydle instruments’ (80.1).
50.6 her mother Art: By introducing Art as the mother of Flora, Spenser inverts the aesthetic theory Polixenes will later espouse in The Winter’s Tale (4.4.88-97): in the Bower of Bliss, Nature is created by Art. (The flowers may be artificially created by the kind of cross-breeding Polixenes defends; they may also be flowers of rhetoric.) Nature is also denigrated by Art, the comically officious mother of the bride who insists on ‘too lavishly’ adorning her not-pretty-enough daughter. For Nature as artist-manque, see 23.2-5.
50.8–50.9 50.8-9 The concluding shift from past tense (‘Did decke her’) to present (‘forth . . . she comes’) reinforces the loss of orientation in the face of spectacle that is implicit in the failure of syntactic closure. The travelers are rendered passive (‘they behold’) by a display of excess that takes over both energy and initiative as it comes forward to greet them.
51.1 Iouiall: ‘Under the influence of, or having the qualities imparted by, the planet Jupiter, which as a natal planet was regarded as the source of joy and happiness’ (OED). Ironic in the present context insofar as Jove’s usurpation ended the golden age of Saturn’s reign and thereby initiated seasonal change (Ovid, Met 1.113-18).
51.5–51.9 51.5-9 See Chaucer, PF 204-6: ‘Th’air of that place so attempre was / That nevere was ther grevaunce of hot ne cold; / There wex ek every holsom spice and gras’ (also Tasso, GL 15.53-54, and Homer, Od 4.567-69, 6.43-45). The language of these lines (‘intemperate . . . moderate . . . attempred’) suggests that the Bower presents Guyon with a simulacrum of the virtue he espouses.
51.8–51.9 51.8-9 Given the tendency of the diction throughout the stanza to half-animate and half-personify the locus amoenus, the secondary senses of ‘disposd’ as ‘put into a favorable mood’ and ‘spirit’ as ‘disposition, or temper existing in, pervading, or animating, a person or set of persons’ (OED) are also in play.
51.8 disposd: Cf. ‘Words well dispost’ (viii.26.7).
52.1 St. 52 The set of competing loci amoeni listed in this stanza are all (except Parnassus) contaminated by associations of lust and violence. The allusions to these places are likewise shot through with misdirection, as if imitating the Bower’s technique of seduction-by-distraction.
52.1–52.3 52.1-3 Rhodope, ‘the pleasaunt hill’ where Orpheus sang (Met 10.86-105), is also the place where he was later dismembered (11.39-43); Ovid twice calls Orpheus Rhodopeius (‘Rhodopean’, 10.11-12, 50). Spenser’s version of the background story about the nymph may derive from the treatise Libellus de Fluviis, once attributed to Plutarch, which reports that she bore a ‘gyaunt babe’ fathered by Neptune and then arrogated to herself the name ‘Juno’, commanding the gods to worship her. She was punished by being turned into the mountain.
52.4 Thessalian: Tempe is the valley where Apollo pursued Daphne, whose transformation into the laurel is the prototypical metamorphosis in Ovid (Met 1.452-567). Spenser compresses the narrative, in which it was technically Cupid who gored Apollo’s heart with love: he shot Apollo with a golden-tipped dart to kindle love, Daphne with a lead-tipped dart to inspire flight.
52.6 Mount Ida, near Troy—where Venus and Anchises conceived Aeneas—was also the setting for the infamous judgment of Paris, which gave rise to the Trojan War (see vii.55 and notes).
52.8 Mount Parnassus is the haunt of the Muses and a frequent reference for Spenser: cf. SC Apr 41, June 28, 70, and Julye 47; Gnat 21-22; Teares 58; DS Ormond and Ossory; FQ I.x.54 and VI.pr.2.
52.9 Eden selfe: See Gen 2:8, ‘And the Lord God planted a garden Eastwarde in Eden’, and the Geneva gloss: ‘a place . . . moste pleasant and abundant in all things’.
53.4 53.4 See Prov 4:25, ‘Let thine eyes beholde the right, and let thine eyeliddes direct thy way before thee’.
53.6–53.9 53.6-9 The vegetation growing up around this ‘gate, / No gate’ seems to have its arms at once wide open (‘did broad dilate’) and closing in all around (‘clasping’). Cf. the ambiguities in Spenser’s description of the first gate (st. 43). The alliteration in the final line very nearly turns the branches’ ‘wanton wreathings’ into wanton writhings (an example of the aesthetic technique mentioned in 49.9n).
54.1 St. 54 See 51.8-9n on the tendency to half-personify the landscape, which at times intensifies to more than half. At such moments the resulting vegetable fantasia starts to resemble an anamorphic orgy. Cain (1978: 92-93) notes echoes in this and the following stanza of New World reports describing the mines of Peru and the gardens of the Incas. The same lines also contain echoes of the Garden of Proserpina in canto vii.
54.7 Hyacine: Hyacine in 1590 gets corrected to Hyacint, perhaps not by the author. The hyacinth is ‘deepe empurpled’ because it springs from the blood of Apollo’s beloved companion, whose name it bears. See Ovid: ecce cruor, qui fusus homo signaverat herbas, / desinit esse cruor, Tyrioque nitentior ostro / flos oritur formamque capit, quam lilia, si non / purpureus color his, argenteus esset in illis (‘behold, the blood, which had poured out on the ground and stained the grass, ceased to be blood, and in its place there sprang a flower brighter than Tyrian dye. It took the form of the lily, save that the one was of purple hue, while the other was silvery white’; Met 10.210-13).
54.7–54.9 54.7-9 The progression from purple through red to green shows the fruit un-ripening as if in coy retreat from the solicitation described at mid-stanza.
55.1 55.1 Cf. the apples of the Hesperides in Proserpine’s Garden (vii.54-55).
55.3–55.4 55.3-4 As the fruit goes from being metaphorically to literally artificial, the figurative suggestion of a coy retreat from the hands and eyes of ‘covetous guest’ also becomes explicit. The subtextual allusion would seem to be to Midas and Tantalus (see vii.58-60 and 59.5-9n, and the provocations implied in the description of the Bower’s outer gate, st. 43 and notes).
55.5 rich load: Grapes made of gold would indeed be much heavier than edible grapes.
55.9 Cf. the ‘looser garment’ of Genius (46.7-9).
56.1 Cup of gold: Cf. the ‘mighty Mazer bowle of wine’ set beside Genius (49.3).
56.3–56.6 56.3-6 The delicacy with which this ‘comely dame’ bursts the grapes in her ‘fine fingers’ creates a remarkably juicy image—one that will be remembered by Milton when Eve crushes fruit to prepare refreshments for the angel Raphael in Eden (PL 5.344-47), and by Keats in ‘Ode on Melancholy’: ‘him whose strenuous tongue / Can burst Joy’s grape against his palate fine’ (27-28). The line-break, ‘with fulnesse sweld, / Into her cup’, admits of a momentary impression (or ‘guilefull semblant’, 49.9n) that the juice swells into the cup without assistance.
56.4 breach: Perhaps also the delicate parting of the fingers, which prevents any ‘fowle empeach’ (hindrance) of the ‘sappy liquor’ on its way into her cup. The slight hindrance offered by the enjambment of lines 4-5 (itself a ‘daintie breach’) is sufficient to evoke another false semblant or two (49.9n) from the associations clustering around the phrase ‘daintie breach’; cf. ‘Their dainty partes’, 63.9).
56.5 empeach: There is also a pun on ‘peach’. Gerard (1597) describes the red peach as ‘very like to wine in taste, and therefore marvellous pleasant’ (1448). His description of the white peach is suggestive enough to gloss the florid polymorphous sexuality of the fruit in Spenser’s Bower: ‘The fruit or Peaches be round, and have as it were a chinke or cleft on the one side; they are covered with a soft and thin downe or hairie cotton, being white without, and of a pleasant taste; in the middle whereof is a rough or rugged stone, wherein is contained a kernell like unto the Almond; the meate about the stone is of a white colour’.
56.9 guise: Cf. 21.8, 66.2.
57.3–57.6 57.3-6 Cf. 49.7-9; this time, Guyon doesn’t just overturn the cup ‘disdainfully’, he shatters it ‘violently’. The joke in ‘Excesse exceedingly was wroth’ may implicate the knight insofar as his response to Excesse is excessive. Cf. Milton, Comus 651-52 and the interlinear scene direction following 813, where the brothers cast down the sorcerer’s cup and shatter it.
57.6 Excesse: Her name and office as sommelier recall Eph 5:18: ‘be not drunke with wine, wherein is excesse’. At Matt 23:25, Jesus denounces the scribes and pharisees as hypocrites, ‘for ye make cleane the utter side of the cup, and of the platter: but within thei are ful of briberie and excesse’. The Geneva glosses ‘excesse’ (which translates the Gk ακρασια akrasia) as ‘intemperancie’.
57.8–57.9 57.8-9 Since the porch of Excess is not really a gate but only like one (53.6-7), it remains unclear whether she suffers Guyon and the Palmer to ‘passe’ by or through (see arg.1-2n).
58.1 daintie: Cf. 56.4.
58.2 58.2 The characteristic action of the Bower.
58.2–58.4 58.2-4 We are told at 53.2-3 that Guyon ‘suffred no delight / To sincke into his sence’, but here again the syntax fosters a ‘guilefull semblant’ (49.9n) in which all pleasures seem to abound plenteously in the knight’s sober eye, where they enjoy a happiness unmarred by jealousy or rivalry. The awkward implication would be that Guyon, in reasserting the sobriety of his eye and repudiating the pleasures that have abounded there, is enacting envy of ‘others happinesse’.
58.5 painted: In literary usage, commonly used to mean ‘brightly coloured or variegated, as if painted’ (OED), but the artificiality of the Bower leaves open the possibility that they are literally colored with paint. See also 50.6n for the possibility that the flowers, like the ‘streak’d gillyvors’ disdained by Perdita (‘no more than were I painted’) in The Winters Tale (4.4.82, 101), are artificial in that they are hybrids.
58.7–58.9 58.7-9 Translating Tasso, GL 16.9.7-8: e quel che ’l bello e ’l caro accresce a l’opre, / l’arte, che tutto fa, nulla si scopre. Ironically, the art that ‘appeared in no place’ concludes a list of all the features that the ‘Paradise . . . doth offer to his sober eye’. The motif of offering modulates into that of display alternating with concealment: see st. 54-55, 63-66 and notes.
59.1 St. 59 Cf. Ovid, simulaverat artem ingenio natura suo (‘Nature by her own cunning had imitated art’; Met 3.158-9). Spenser’s stanza is based on Tasso, GL 16.10. Spenser’s stanza dilates the first half of Tasso’s, amplifying both the resentment of the competitors and the paradox whereby their conflict inadvertently yields harmony—a parody of the classical commonplace of concordia discors, or harmony in discord. On the paragone of Art and Nature, see Hagstrum (1958: 81-88), SpE s.v. ‘nature and art’, and 50.6n, above. Fairfax, translating Tasso in 1600, shows the influence of Spenser’s stanza.
60.1 St. 60-68 Based on Tasso, GL 15.58-66. The substitution of a fountain for the pool in which Tasso’s damsels bathe may reflect Acrasia’s ‘fountain of concupiscence’ in Trissino, (ILG 5.520-00; see Var 2.444). Tasso’s maidens swim and display themselves but do not ‘wrestle wantonly’ (63.8)—an elaboration so tempting that it resurfaces in Fairfax’s translation of the passage from Tasso. On the verbal differences between Spenser and Tasso, see Pollock (1980).
60.1 fountaine: Recalling the fountain at I.vii.2.8-7, also associated with lust. Contrast the antithetical well at II.ii.3-10, so ‘chaste and pure’ that it won't wash the blood off Ruddymane’s hands, and the sister-bride in the Song of Solomon, described as ‘a spring shut up, and a fountaine sealed up’ (4: 12).
60.6 ouerwrought: Not recorded in OED. Presumably, as Hamilton suggests, ‘wrought all over’, with the added suggestion that the ornamentation is overdone. There is also the suggestion that the implicitly phallic fountain mirrors the language of the passage, so insistently ‘overwrought’ with the ‘curious ymageree’ of those guilefull semblants the Bower’s Genius makes us see (49.9n). Insofar as these semblants are latent and fleeting fantasies thrown off by the diction, imagery, syntax, sounds, and rhythms of the verse, they also remain only half-seen. (See 58.7-9n on the motif of display yielding to concealment.)
60.9 60.9 The phrase ‘liquid joyes’ melts the pleasures depicted on the fountain into the waters coursing through its channels. In simultaneously desubstantializing the water (‘liquid’ becomes an adjective) and half-substantializing the joys, the phrasing here may offer a gloss on the ‘sappy liquor’ of 56.3 (cf. I.vii.7.2, II.v.28.5). The liquidity of these joys is further insinuated by the rare substitution of a comma for the expected full stop at the end of the stanza.
61.1 St. 61 Cf. st. 59, v.29, and notes. With its trompe l’oeil imitation of nature, metallic ivy with anthropomorphically lascivious arms, and faux crystal teardrops, this tableau brings together several of the principal motifs in the canto, including the half-animation of the landscape, the paragone of art and nature, and the evocation of sexual fantasies.
61.6 Low: Implies a homophonic deictic ‘Lo’.
61.8 fearefully: Becomes ‘tenderly’ in 1596 and 1609.
61.9 for wantones: A recurrent term in the description of the Bower, its senses fluctuate among lasciviousness, naughtiness, affectation, luxury, insolence, extravagance, recklessness, and caprice, none of which seems an obvious motive for tears—but see Acrasia’s faux pity and moist eyes at 73.9 and 78.3-9. The water droplets on the ivy at once simulate post-coital triste and insinuate the motives of a predatory mock pietá.
62.6 three cubits: Three of these make neither a great ‘depth’ nor a great ‘hight’.
62.6–62.9 62.6-9 Parodic echoes of Rev 4: 6 (the ‘sea of glasse like unto cristal’ with God’s throne in the midst) and 21:11 (the New Jerusalem ‘shining…like unto…a Jasper stone cleare as cristal’).
62.9 sayle: In architecture, ‘to project from a surface’ (OED). The upright fountain with its ‘Infinit streames’ and ‘ample laver’ combines a number of opposites: the motions of welling and falling, depth and height, motion and stasis—this last an ironic anticipation of the moment when the voyager Guyon will ‘slacke his pace’ in response to the temptations in the fountain (68.4; see 14.2, 17.2, where the motif of slowing forward progress with delay prepares for Guyon’s slacking of his pace).
63.2 Laurell trees: See 52.4-5n. Daphne, fleeing Apollo, was transformed into the laurel, ‘meed of mightie Conquerours / and Poets sage’ (I.i.9.1-2). These laurels seem to remember their origin in Ovid, insofar as they continue to ‘defend / The sunny beames’, but their ‘shady’ defense has been co-opted by the Bower’s strategic deployment of reluctance as provocation (see st. 43 and notes).
63.6–63.9 63.6-9 The spectacle in which the maidens ‘seemed to contend’ simulates in a playful vein the paragone of Art and Nature, ‘striving each th’other to undermine’ (see st. 59 and notes). C. S. Lewis notoriously (and dismissively) referred to the damsels as ‘Cissie and Flossie’ (1936: 331), but as aquatic wrestlers they might answer to ‘Guyon’, from the Edenic river Gihon (Hebrew Giħôn, interpreted as ‘Bursting Forth, Gushing’), and gyon, glossed as ‘wrestler’ in The Golden Legend (see SpE s.v. ‘Guyon’, Fowler 1960, and Snyder 1961). Their spectacle thus combines exhibitionism and homoeroticism with narcissism (Guyon is beholding a displaced image of his own desire), and in this respect it resembles the song of the Sirens, who according to Conti adapt their song to reflect the desires of the listener (see 32.2n). Cf. the hermit’s description in Tasso of Armida bending over Rinaldo sì che par Narciso al fonte (‘so that she resembles Narcissus at the spring’; GL 14.66.8). Much as the Bower itself parodies temperance (51.5-9n), the wrestling damsels parody Guyon’s binding of Furor (iv.6-15), Arthur’s defeat of Maleger (xi.41-46), and with these, the theological topoi on which they are based: that of wrestling against ‘spiritual wickednesses’ (Eph 6:12) and of Christ as ‘an holy wrasteler’ (Caxton’s phrase, fol.clviv).
63.8 ne car’d to hyde: On the motif of alternating concealment and display in this and the following stanzas, see 58.7-9n.
63.9 Their dainty partes: See 14.8, 15.3n and 56.4n. These maidens exposing their dainties are contrasted specifically to the pair Arthur and Guyon court in the parlor of Alma’s castle (their antithesis is Shamefastnesse, representing Guyon’s desire for modesty), and more generally to the allegory of the temperate body, which modestly ‘avoids’ the genitals in favor of the parlor-heart (see ix.32-44 and notes).
64.3 as ouer maystered by might: Cf. Guyon ‘maystering his might’ (53.5), and the interplay of provocation with defense at the Bower’s outer gate, st. 43 and notes.
64.9 amarous: The spelling might also suggest L amarus bitter (cf. Virgil, amores . . . amaros, ‘the bitters of love’; Ecl 3.109-110).
65.2 His: On ‘his’ as neuter pronoun, see ix.1.8n.
65.3 the Cyprian goddesse: Conti relates, ‘Right after she was born, they say that Venus emerged from the sea and used both her hands to wring the sea water from her hair and face’ (Myth 315). He goes on to quote Antipater of Sidonia on the beauty of Apelles’s portrait of Venus ‘rising from the sea’.
65.4 Oceans . . . froth: The froth is ‘fruitfull’ because it derives from ‘the genitals of Heaven, which Saturn cut off and threw into the sea. [Venus] . . . was conceived from the foam that crests the water, a foam that was created when Saturn hurled the genitals into the sea’ (Conti, Myth 314).
65.7 Whom such when Guyon saw: I.e., the simile comparing these damsels to the birth of Venus expresses Guyon’s perception: the birth is occurring in the beholder’s eye.
65.9 65.9 Cf. ‘her guilefull bayt / She will embosome deeper in your mind’, 29.2-3 and 29.3 note; also 58.2-4 and note.
66.2 guise: Given their own nudity, OED sense 4, ‘condition with regard to dress’, has some relevance.
66.3–66.9 66.3-67.9 On the motif of alternating concealment with display see 58.7-9, 60.6, 63.8, and notes.
67.1 St. 67 Translating Tasso, GL 15.61.
67.8 lockes: With the addition of ‘lookers theft’ (not present in Tasso’s Italian) punning on locks that take keys.
68.1–68.3 68.1-3 See ix.41-44 on the blushing of Shamefastness. The interplay here of blushing and laughing (associated with Phædria at vi.3.3-9, 6.7, 7.6-7, and xii.15.4) parallels the alternation of concealing with displaying. Both in turn align with the forward/froward pair introduced in the first episode of Book II (see i.34.7-9, i.37.1, and notes). Tasso’s damsel likewise exhibits both pleasure and shame: a lor si volse lieta e vergognosa (‘from them she turns away pleased and ashamed’; GL 15.61.9), but does not laugh.
68.9 corage cold could reare: Guyon’s ‘pace’ may slacken, but his libido is as taut as a piano-wire.
69.3–69.4 69.3-4 Undistracted forward progress has been a keynote of Guyon’s journey in canto xii, but travel in the landscape of Faeryland is rarely linear: having entered the Bower of Bliss twice already (st. 50 and 57-58), the knight and his Palmer only now ‘come nigh’. The repetition of ‘Now’ emphasizes that they are verging upon ‘point of that same perilous sted, / Where Pleasure dwelles in sensuall delights’ (1.7-8).
69.8 Acrasia: For the derivation of the name, see II.i.51.2-4, xii.57.6, and notes.
70.9

70.9 The Bower’s all-inclusive harmony combines vocal and instrumental music with sounds of apparently natural origin; see st. 59n on the paragone of Art and Nature, here seemingly reconciled. Appearances may be deceptive, however: in the episode from Tasso that Spenser is tracking closely in these stanzas, we are told that L’auro, no ch’altro, è de la maga efetto (‘the breeze itself, not to speak of the rest, is made by the sorceress’; GL 16.10.5); see below, 72.1-2: 'There, whence that Musick seemed heard to bee, / Was the faire Witch herselfe’. The stanza in Tasso that stands behind Spenser’s 70.8-71 is 16.12, but in Tasso there are no voices and instruments.

Spenser seems to combine Tasso’s stanza with two later descriptions of the enchanted forest that do mix human and natural music (18.18, 24). Those illusions are explicitly demonic, however, whereas the wind’s harmonizing in this stanza is ambiguous (caso od arte, ‘chance or art’). Tasso’s a prova (‘in contest’) does imply competition, but his birds are competing with each other, not with Art. Contrast vi.24-25, where Phædria joins in the song of the birds, but ‘would oftentimes . . . strive to passe . . . Their native musicke by her skillful art’ (25.2-4). The presence of art in the harmonics described by Tasso at 16.12 is not explicit, but is implied in the formal patterning of the interchange of birds and breezes.

71.1 St. 71 The elaborate patterning of this stanza, inspired by the interchange of birds and wind in Tasso, is clearly meant to imitate the music it describes, as Hughes (1750) observes: ‘an Imitation of Tasso, but with finer Turns of the Verse: which are so artificial, that he seems to make the Musick he describes’ (Var 2.385-6). John Hollander, in SpE s.v. ‘music’, observes that ‘Stanza 71 represents this blended music with remarkable skill, punning on base and meet, troping the interlocking of rhyme and the intertwining of syntax as the relations of vocal and instrumental polyphony in the Elizabethan “broken” (mixed) consort’ (483).
71.1 shrouded: The additional sense of putting a winding-sheet on a corpse for burial does add an ominous note; cf. I.i.8.2-3.
71.2 attempred: Cf. ‘disposd’ (51.8 and note).
71.3–71.4 Angelicall . . . diuine: See the ‘heavenly noise / Heard sownd through all the Pallace’ when Una and Redcrosse celebrate their betrothal (I.xii.39.1-2).
72.3 a new Louer: glancing implicitly at his predecessor, Mortdant (i.51-55).
73.1 St. 73 The description in this stanza derives from Lucretius by way of Tasso. Its Lucretian origins connect the stanza with the love of Mars and Venus invoked repeatedly in Spenser (see I.pr.3.7-9 and note). Lucretius begins De Rerum with an invocation to Venus that includes a prayer for peace, which she can grant because Mars succumbs to her charms (1.33-40). Tasso echoes the Lucretian invocation in his description of Rinaldo alseep in Armida’s lap (GL 16.18.7-19). In translating Tasso with the phrase ‘her soft breast’, Fairfax will chasten the Latin gremium and Italian gremio, which can mean either lap or breast, whereas Spenser (at 76.9) will prefer the more sexually suggestive ‘lap’.
73.3–73.4 73.3-4 In Lucretius, Mars feeds his eyes on Venus. Tasso gives the metaphor a paradoxical turn as Rinaldo consumes himself while feeding his gaze on Armida. Fairfax slightly softens this paradox. Spenser by contrast sharpens the paradox while shifting it from Verdant to Acrasia ‘seeking medicine, whence she was stong’. At the same time, Spenser detaches the paradox from the trope of feeding, which he also shifts to Acrasia, giving it a decidedly predatory rather than self-destructive turn: Latin pascit and Italian pascendo give way to the animalistic and more violent depasturing, which means not just feeding on but utterly consuming. At this point the reversal (and transvaluation) of Lucretius is complete, having proceeded by way of an intertextual troping that enacts the figure of hypallage or exchange, nicknamed by Puttenham ‘the Changeling’ (see 45.3-4 and note).
73.6–73.7 73.6-7 Upton proposed that the ‘lips’ and ‘eyes’ in these lines were transposed in printing, and that the correct reading would have Acrasia sucking the knight’s soul out through his parted lips (Var 2. 387-88). Alternatively, the transposition of lips and eyes may simply extend the work of hypallage described in the preceding note. Lucretius describes Mars’s breath hanging upon Venus’s lips, an image that almost suspends the act of respiration in the luxuriance of the kiss. Tasso imagines Rinaldo sighing, with the transfer of his soul into Armida represented as a simile or impression. Spenser literalizes the transmigration of the warrior’s soul while transferring the action to Acrasia: not his sighing but her sucking carries his soul into her.
73.9 73.9 This line completes the stanza’s remarkable fantasy of erotic hypallage: Rinaldo’s sigh now reappears as Acrasia’s, and the as if of similitude travels with it, reappearing not as the impression that the knight’s soul leaves him, but as the mocking suggestion that Acrasia pities him: poor baby! This sexualized mock pietá, like other details in the passage, parodies Venus’s relation to Adonis in Malecasta’s tapestry (III.i.36-38) and to ‘her deare brood, her deare delight’ (III.vi.40.4) in the Garden of Adonis episode.
74.1 St. 74-75 This carpe diem lay, a counterpart to Phaedria’s siren song at vi.15-17, is based on Tasso, GL 16.14-15. Tasso’s singer is a male parrot. Fairfax changes the bird’s sex; he also chastens the flower’s nudo . . . sen (‘naked breast’) to the less vivid ‘beauties’. Spenser leaves the singer unspecified, but captures the sense of sen with ‘bared bosome’. His translation is so close, and so inspired, that it must have set a daunting precedent for Fairfax (see the exchange on this subject between Hazlitt and Lamb, Var 2.289). Spenser’s striking innovation is the closing phrase ‘equall crime’, which makes the pleasure more salacious than in Tasso, since the consciousness of sinning seems to constitute a distinct pleasure in its own right (cf. ‘pleasant sin’, 77.2.)
74.1 74.1 Cf. vi.14.9, ‘The whils with a love lay she thus him sweetly charmd’.
74.4–74.8 74.4-8 On the motif of alternating concealment with display see 58.7-9n. In mingling the motives of bashfulness and exhibitionism, the rose behaves like the damsels bathing in the fountain at st. 66.
75.5 75.5 Three successive y-a combinations in this line mark syllabic elisions (man-ya Lad-yand man-ya). In this way the line gathers extra syllables ‘whilest yet is time’ even as it also inserts a comma to preserve the impossible caesura following Lady’. The caesura tries to hold the Ladies and their Paramours apart as the elision runs them promiscuously together.
75.7 deflowre: Another distinctive touch, not found in Tasso. The implication is that since time will eventually pluck the virginity of ‘mortall life’, we might as well get there first.
76.7 76.7 As the forward march of knight and palmer turns stealthy, the syntax of the line calls awkward attention to the ‘covert’-ness of their approach by foisting onto them the agency of the verb ‘display’, which properly belongs to Acrasia. Unlike the maidens in the fountain (66.1), she does not see Guyon seeing her, but the description in the following stanza makes it clear that she actively solicits the viewing eye.
76.9 76.9 Cf. st. 73n. Tasso writes nel grembo molle / le posa il capo (‘in her soft lap / he rests his head’); Spenser transfers the softness (across the line-break, as it were) from the lap to the action of arranging the head.
77.1 St. 77 The ‘vele of silke and silver thin’ worn by Spenser’s Acrasia comes not from Tasso but from the description of Venus in Chaucer, PF 265-73. Spenser’s description of the Bower more than once echoes Chaucer’s description of the garden outside the Temple of Venus (see 51.5-9 and note). Chaucer’s lines on Venus derive in turn from Boccaccio, Tes 7.65. On Spenser’s use of both passages, see Anderson (2008: 137-39), who notes the resurfacing of Boccaccio’s sottil in Spenser’s subtle web. See Ariosto’s description of the gown in which Alcina greets Ruggiero, also described as suttile (OF 7.28.4-8).
77.2 As faint through: Hints at the posed quality of the tableau.
77.2 pleasant sin: Cf. ‘equall crime’ (75.9).
77.7 77.7 Arachne was also present in Mammon’s cave (vii.28.7-9). The spider was associated with the sense of touch (cf. Harvey, Speculum Tuscanismi, in Familiar Letters, and xi.13.3), but Acrasia’s veil seems woven to entangle the gaze.
77.8–77.9 77.8-9 Gossamer, woven by the balloon-spider, though Spenser seems to think it is made of sun-dried dew.
78.1 bare to ready spoyle: See st. 43 and notes. The Bower’s structures and its anamorphic vegetation (insofar as these may be distinguished) consistently mimic the motives and postures of Acrasia.
78.3 languour: Spenser’s syntax associates the drops of perspiration rather with the lassitude that accompanies them than with the ‘sweet toyle’ which produces both.
78.4 Few drops: ‘distild’ and compared to ‘Nectar’, Acrasia’s drops of perspiration recall the ‘sappy liquor’ that Excesse ‘scruzd’ into her golden cup at 56.1-6.
78.6–78.9 78.6-9 Although Acrasia’s eyes moisten ‘their fierie beames’, they do not quench the flames those beams kindle when they pierce the hearts of observers; rather they seem to intensify the brightness of those beames. This description catches up and summarizes a motif introduced in Guyon’s opening encounter with Duessa, formulated again in the brothers Pyrochles and Cymochles, and repeated with variations throughout Book 2: fire and water seem to be opposites, but the irascible and concupiscent passions associated with them are mutually reinforcing (see i.34.7-9n).
79.4 deface: The emphasis in the following lines on the knight’s ‘sweet regard’ and ‘well-proportiond face’ as a visual map of the good qualities and budding prospects going to ruin in Acrasia’s embrace suggests a pun on de-face: the knight’s identity is being obliterated.
80.2 hong vpon a tree: Like trophies taken in battle. Cf. I.v.5.7-9, V.v.21.7. In SC Dec 141, Colin Clout hangs up his shepherd’s pipe on a tree because he has failed in love.
80.3 moniments: L monumentum (from monere, to remind) refers not only to statues and tombs, but also to written records and works of literature; their erasure here contrasts with Arthur’s discovery of Briton moniments in the chamber of Eumnestes (ix.59.5-6).
80.4 ra’st: Echoing deface: the coat of arms has been eradicated from knight’s escutcheon as his face and his memory of himself fade away.
80.8 spend: For the punning reference to orgasm, see 42.8 and note.
80.9 blend: Cf. iv.7.7, iv.26.3, vii.1.4, and notes.
81.4 A subtile net: The counterpart to Acrasia’s veil (see st. 77 and notes), the Palmer’s net derives from the snare ‘fine as spider’s webs’ (ηυτ᾽ αραχνια λεπτα, ēut’ arachnia lepta) that Hephaestus uses to catch Aphrodite and Ares in the act of adultery (Homer, Od 8.280; cf. Ovid, Met 4.171-89). It thus catches up both the reference to Arachne (77.7) and that to Venus disarming Mars (st. 73). The adjective suggests both the thinness of the material and the skill with which it is woven.
81.7 fowler shame: Punning on the meaning of fowler as a hunter who uses nets to catch wild birds.
82.8 Verdant: See 73.4 and 79.8-9 for implication that Verdant is Acrasia’s pasturage. His name contrasts him to Mortdant (i.49.9), whom he has just avoided becoming.
83.1 St. 83 Guyon’s destruction of the Bower echoes Josiah’s destruction of the images, places, and implements of idolatrous worship (along with the ‘houses of the sodomites’) surrounding Jerusalem, described at 2 Kings 23:4-16. See also Isa 13.9: ‘Beholde, the day of the Lord cometh, cruell, with wrath and fierce angre to lay the land waste: and he shal destroy the sinners out of it’. Spenser here departs significantly from Tasso, where Armida herself summons infernal powers to destroy her garden and palace (GL 16.68-69).
83.4 the tempest of his wrathfulnesse: The echo of tempest in temperance may suggest the irony of Guyon’s intemperate wrath.
83.6–83.8 deface . . . race: This rhyming pair connects Guyon’s destruction of the Bower to the erasure of Verdant’s knightly demeanor and coat of arms at 79.4 and 80.4. If, as Aquinas argues, ‘all irascible passions arise out of concupiscible passions’ (Summa I, qu. 81, art. 2, ad. 1; cf. i.34.7-9n), then Guyon’s rampage may be an alternative response to the sexual arousal brought about by the scenes he has witnessed—a means of refusing to ‘spend’ in the way Verdant has done (80.8). This would properly oppose his counter-orgasmic destruction of the Bower to its creation, encoded in the phrase ‘poured forth with plentifull dispence’ at 42.8 and would complete the physical allegory of male arousal begun in st. 1 (see st.1n and 1.7-8n). It would also link his destruction of the Bower to his aborted attack on the Redcrosse knight in canto i.
83.8 race: As Verdant’s shield was ‘fowly ra’st’ at 80.4.
84.2 sorrowfull and sad: As there is no mention of shame, it remains unclear whether Verdant or Acrasia regret Guyon’s behavior or their own. This ambiguity will surface at 86.4-5, when some of the men restored to human form exhibit ‘inward shame’ while others exhibit ‘wrath, to see their captive Dame’.
84.4–84.5 84.4-5 Described in st. 39-40.
84.9 84.9 Not the only time a character in the poem requests a gloss: see I.iii.32.8, where Archimago inquires of Una (no doubt with some nervousness) ‘what the Lyon ment’.
85.1 St. 85-87 Acrasia’s prototype in turning men to beasts is Homer’s Circe (Od 10), but as Hamilton 2001 notes, it is Conti and not Homer who suggests that the men’s animal shapes reflect the passions that dominate their minds (Myth 476). In Homer, Circe’s victims retain human intelligence, transformed in body only. Whitney (1586), following Conti, reports that Circe’s menagerie prefer to retain their animal forms: ‘when they might have had their former shape againe, / They did refuse, and rather wish’d, still brutishe to remaine’ (82). In Spenser, the ‘sad end . . . of life intemperate’ (85.6) is evidently reversible, but both this end and its reversal seem provisional; Spenser neither follows Homer nor hews to the Conti-Whitney revision, but splits the difference between them.
85.3 85.3 Continuing the implication that Acrasia devours the humanity of her lovers (see 82.8n).
86.7 Grylle: From Gk γρυλλος gryllos hog. Derived from Plutarch’s satiric dialogue ‘Beasts Are Rational’ (MoraliaI 986B), in which one of Ulysses’ companions named Gryllus declines to reclaim his human form, arguing that beasts are in fact more temperate than men. For the subsequent history of Plutarch’s Gryllus in texts by Gelli, Machiavelli, and Petrus Costalius, see SpE s.v. ‘Grill’; on the pertinence for Book II of the tradition of philosophical skepticism embodied in Gryll, see Loewenstein (2007).
86.8 87.8 Echoing Rev 22:11, ‘he which is filthie, let him be filthie stil’, and 2 Pet 2:22, ‘the sowe that was washed, [is returned] to the wallowing in the myer’.
86.9 87.9 Cf. 83.4, the tempest of his wrathfulnesse: Temperance includes good timing, grasping the moment as opposed to seizing the day. The Palmer’s emphasis on timing thus implicitly contrasts Acrasia’s carpe diem topos (st. 74-75) with that of binding Occasion: as Kiefer observes, Occasion in Renaissance portrayals acquires maritime imagery previously associated with Fortuna because ‘seizing the tide was regarded as parallel to the idea of seizing the forelock’ (1979: 21). Cf. iv.4.5-8.
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.

Toggling Expansions on will undo certain early modern abbreviations.

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

(The text of 1590 reads thee, while the texts of 1596 and 1609 read you.)

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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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