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8fq1590.bk2.II.xii.37.8 9fq1590.bk2.II.xii.37.9 0fq1590.bk2.II.xii.38.0 1fq1590.bk2.II.xii.38.1 2fq1590.bk2.II.xii.38.2 3fq1590.bk2.II.xii.38.3 4fq1590.bk2.II.xii.38.4 5fq1590.bk2.II.xii.38.5 6fq1590.bk2.II.xii.38.6 7fq1590.bk2.II.xii.38.7 8fq1590.bk2.II.xii.38.8 9fq1590.bk2.II.xii.38.9 0fq1590.bk2.II.xii.39.0 1fq1590.bk2.II.xii.39.1 2fq1590.bk2.II.xii.39.2 3fq1590.bk2.II.xii.39.3 4fq1590.bk2.II.xii.39.4 5fq1590.bk2.II.xii.39.5 6fq1590.bk2.II.xii.39.6 7fq1590.bk2.II.xii.39.7 8fq1590.bk2.II.xii.39.8 9fq1590.bk2.II.xii.39.9 0fq1590.bk2.II.xii.40.0 1fq1590.bk2.II.xii.40.1 2fq1590.bk2.II.xii.40.2 3fq1590.bk2.II.xii.40.3 4fq1590.bk2.II.xii.40.4 5fq1590.bk2.II.xii.40.5 6fq1590.bk2.II.xii.40.6 7fq1590.bk2.II.xii.40.7 8fq1590.bk2.II.xii.40.8 9fq1590.bk2.II.xii.40.9 0fq1590.bk2.II.xii.41.0 1fq1590.bk2.II.xii.41.1 2fq1590.bk2.II.xii.41.2 3fq1590.bk2.II.xii.41.3 4fq1590.bk2.II.xii.41.4 5fq1590.bk2.II.xii.41.5 6fq1590.bk2.II.xii.41.6 7fq1590.bk2.II.xii.41.7 8fq1590.bk2.II.xii.41.8 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Cant. XII. Guyon throughby Palmers gouernauncegovernaunce, through paſsingthrough passingpaſ⁀ſing throughpassing through perilles great, Doth ouerthrowoverthrow the Bowre of blis, and Acrasy defeat. [1] Now 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 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 spentIn 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 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 defectsFrom 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 nameOf 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, 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 stillAnd calmy bay, on th'one side shelteredWith 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 descryThe land, to which their course they leueledleveled; When suddeinly a grosse fog ouerover spredWith 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, 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 appeareThe 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 bellowingOf 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 stateIs 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, 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 peeceFirst 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 46.3. their: theretheirthere sate A comely personage of stature tall, And semblaunce pleasing, more 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 ofoft this 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 intemperateT'afflict the creatures, which therein did dwell,But the milde ayre with season moderateGently attempred, and disposd so well,That still it breathed forth sweet spirit &and holesom smell. [52]More sweet and holesome, 52.1. then: thanthenthan the pleasaunt hillOf Rhodope, on which the Nimphe, that boreA 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 dightWith bowes and braunches, which did broad dilateTheir 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 breachOf 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 n'oteno'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] InfinitstreamesInfinit 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 auiseavise:But thother rather higher did arise,And her two lilly paps aloft displayd,And all, that might his melting hart entyseTo 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 madeTo 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 sheeDoth first peepe foorth with bashfull modestee,That fairer seemes, the lesse ye see her may;Lo see soone after, how more bold and freeHer 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 seeOf 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 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 thrildFraile harts, yet quenched not; like starry lightWhich 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 hadCharm'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.
1.1. frame: structure; system
1.2. adorned: decorated with honors, perhaps crowned
1.3. pricke: acme
1.5. bountyhed: goodness
3.3. acquight: aquit
4.1. hideous: immense
4.3. Depending: hanging down
4.9. wawes: waves (archaic)
7.2. ruinate: collapse
7.5. exanimate: lifeless
7.9. blent: obscured, destroyed
8.1. Reproch: disgrace, infamy
8.4. Meawes: the common gull
8.8. thrift: savings
9.3. lustfull luxurie: excessive indulgence, especially sexual excess
9.7. reliques: remnants; memorials
11.2. fordonne: ruined or destroyed
11.3. seeming now and then: ‘appearing now here and then elsewhere’
11.4. certein wonne: fixed dwelling
11.5. stragling plots: wandering pieces of land
11.8. many a: disyllabic, ‘man-ya’
12.8. recure: recover
13.4. traveiling that way: traveling; travailing, in labor
13.9. herried: praised, glorified
14.3. fleet: float
14.9. skippet: skiff
15.1. can: did
15.8. light: quickly
16.1. sort: manner
16.2. bord: accost; nautical sense, ‘come alongside to attack’; also ‘jest’
16.2. purpose diversly: make small talk
16.8. wite: blame
17.3. gate: path or journey
17.6. avyse: look around, take thought
17.7. safety: trisyllabic
19.4. mesprize: mistake
19.5. hazardize: predicament
19.7. recur’d: recovered
19.9. backe recoyle: drive or force back
20.3. doole: grief
21.8. guise: customary manner
23.9. Monoceros: accented on the first and third syllables
23.9. immeasured: immense (not previously recorded in English)
25.4. enrold: rolled up
25.8. bugs: i.e. bugbears, bogys, bugaboos
25.9. entrall: entrails
26.6. vertuous: potent; magical; imbued with moral virtue
26.9. Tethys: originally a Titaness and sea-goddess; here a name for the sea
28.1. streight: immediately, with an ironic glance at Guyon’s instruction to steer the boat off-course
28.3. know: in this context suggesting both to apprehend and to have carnal acquaintance
29.1. courage: heart
29.3. embosome: implant
29.6. stayed: firm, well-supported
29.7. bayt: rest, with a punning reference to its rhyme-partner in the second line
30.8. trade: ‘course, way, or manner of life’ (OED)
31.2. th’Heliconian maides: the Muses
31.4. moyity: half
31.5. surquedry: presumption
31.6. hew: form
32.2. applyde: addressed
32.4. magnifyde: praised
33.4. Meane: an intermediate part in polyphonic music; measured: made proportional
33.5. Zephyrus: the west wind
34.4. leveled: aimed
34.6. desert: uninhabited (‘deserted’) region
35.3. wastefull: causing ‘devastation, desolation, or ruin’ (OED)
35.4. For: eliding ‘for fear of’
36.1. unfortunate: omens of misfortune
36.4. ill-faste: ill-faced, ugly.
36.5. trump: trumpet
36.5. drere: dreariness, gloom
36.7. Strich: screech-owl
36.8. whistler: a nocturnal bird of ill-omen
37.4. stifly: steadfastly
37.8. sacred: accursed
38.3. crooked: curved
39.8. upstaring: standing on end
40.6. fraying: frightening
41.4. Stygian realmes: the infernal regions
41.7. Orcus: another name for Dis or Pluto, the god of the underworld
41.9. vertue: power
42.7. aggrate: gratify
42.9. affluence: profusion
43.5. fortilage: fortress
43.7. efforced: forced open or gained by force
44.4. ywritt: drawn, incised
45.1. fry: foam
45.5. sprent: sprinkled
45.6. vermell: vermillion
46.7. looser: too loose
48.8. porter: gatekeeper
48.8. devizd: appointed; perhaps also designed; feigned; conceived or imagined
48.9. for more formalitee: as an emblem of office
49.3. Mazer: a maple goblet
49.4. sacrifide: consecrated
51.2. lovely: lovingly
51.8. disposd: arranged
51.9. spirit: breath
52.6. repayre: retire
54.8. Rubine: ruby
54.9. Emeraudes: emeralds
56.3. sappy: succulent
56.4. scruzd: squeezed
56.4. daintie: nice, delicate, but also delightful, as at 58.1
56.4. breach: ‘the action of breaking’ (OED)
56.5. without foul empeach: without making a mess
56.9. guise: custom
58.2. sober: solemn, serious; also, because he has just refused the wine in st. 57, not drunk
58.7. christall: streams
58.8. aggrace: grace; add grace to
59.3. wantonnesse: affectation, naughtiness, playfulness, or extravagance
59.3. ensude: followed; imitated the example of
59.4. repine: complain
59.7. in fine: in conclusion
60.8. wanton toyes: amorous dallying; playful caresses
60.9. embay: bathe, soak
62.6. three cubits: ancient unit of measurement based on the length of the forearm, variable but typically 18-22 inches
63.1. margent: edge (margin)
64.3. plong: plunge
64.8. unhele: uncover
64.9. amarous: amorous
65.1. that faire Starre: Venus, the morning star
65.3. the Cyprian goddesse: Venus.
66.2. guise: appearance
66.4. avise: look at
66.8. bewrayd: revealed (often with the sense of divulging a secret)
67.8. lockes: tresses
68.9. corage cold could reare: could arouse (literally, erect) unaroused sexual appetite
69.9. all our drift despise: disregard or disdain our entire scheme
70.3. attonce: at once
70.6. read: guess, conjecture
71.1. shrouded: took shelter
77.2. dight to: prepared for
78.2. n’ote: ‘ne mote’, i.e. could not
78.3. languor: weariness, resulting from sexual exertions
79.4. deface: literally undo, unmake
80.4. ra’st: razed, scraped out;
80.8. spend: expend
80.9. blend: blind; obscure; mingle or combine (i.e., with Acrasia)
81.5. formally: ‘according to the principles of art or science’ (OED)
81.8. opprest: subdued
82.3. distraine: tear apart
82.8. Verdant: ‘green with vegetation’
83.7. Cabinets: bowers or summer-houses
1. through] 1590; by 1596, 1609
2. through paſsingthrough passing] 1590; paſ⁀ſing throughpassing through 1596, 1609
5.5. dryuedryve] 1590 state 2; dryue,dryve, 1590 state 1
8.9. drift.] 1596, 1609; drift, 1590
15.5. afore:] 1590 state 2; afore 1590 state 1
15.7. withouten] this edn.; wirhouten 1590 state NOT_FOUND_IN_RM, ; wihtouten 1590 state NOT_FOUND_IN_RM
17.1. Phædria] this edn.; Phœdria 1590, 1596, 1609
37.3. but] 1590 state 2; hut 1590 state 1
38.4. Guyon] 1590 state 2; Guyou 1590 state 1
43.2. their] 1590 state 2; iheir 1590 state 1
44.6. conquest] 1590 state 2; couquest 1590 state 1
45.9. th'enchaunted] this edn.; thenchaunted 1590
48.7. of] 1596, 1609; oft 1590
51.1. the] 1590 state 2; rhe 1590 state 1
54.7. Hyacine] 1590 state 1; Hyacint 1590 state 2
57.6. exceedingly] 1590 state 2; exceedinly 1590 state 1
57.7. n'ote] this edn.; no'te 1590
58.2. ſobersober] 1590 state 2; ſobcrsobcr 1590 state 1
61.8. fearefully] 1590; tenderly 1596, 1609
62.4. to] 1590 state 2; into 1590 state 1
65.9. secret] this edn.; sccret 1590
87.4. chooseth] 1590 state 2; chooseh 1590 state 1
Sir: Guyon is the only protagonist in the FQ thus entitled on the title page of his legend.
antique: ancient
antique: Also ‘antic’, i.e. ludicrous or grotesque. Cf. Donne, Elegy 9, ‘The Autumnal’: ‘Name not these living death-heads unto me, / For these, not ancient, but antique be’ (43-4). This wordplay introduces an ambiguity that runs throughout the proem, which pretends to worry about whether Spenser’s fiction possesses the dignity and authority of antiquity or is merely a gothic extravagance.
history: narrative
1.2 history: In early modern usage, either factual (the modern sense) or a purely imaginary (a common synonym for ‘story’).
Of some: by some
1.6 living aire: A good example of the freedom with which Spenser commonly transfers epithets, here from ‘none’ to ‘aire’, and of the distinctive quality this freedom lends to the verse: half-animating the air itself, such phrasing contributes to a pervasive fluidity in the boundary between allegorical agents and their physical environments.
antiquities: Cf. I.pr.2.3-4, imploring the muse to ‘Lay forth out of thine everlasting scryne / The antique rolles, which there lye hidden still’.
no body: Anticipating the contrast between faith in that which is unseen and knowledge that is available to the senses (the body), elaborated in st. 3 and 4.
better sense: As opposed to the senses through which a ‘body can know’ (see 4.4n).
advize: consider
red: A favorite word of Spenser’s both for its convenience in rhyming and for its lexical range. Here primarily a synonym for its rhyming partner ‘discovered’, it also suggests the activities of conjecture, interpretation, declaration, and, of course, construal of a text. Its range is suggested by the way Spenser punningly enfolds the verb into its rhyming partners ‘discover-red’ and ‘measur-red’.
late age: recent ages, as opposed to antiquity
2.6 Indian Peru: Early explorers had believed that Peru was India. By 1590 the difference was well understood. The passage thus suggests, through the rhyming play on ‘red’ and ‘discovered’ (with its accented last syllable), that Peru was initially both discover-read and misread.
2.8 Amazons huge river: Francisco de Orellana in 1541-42 was the first European to sail the Amazon.
2.9 fruitfullest Virginia: Named after Elizabeth in 1584. The epithet combines colonial motives, asserting the economic value of newly discovered lands, with a Protestant adaptation of the Virgin Mary’s paradoxical status as fecund virgin.
3.3-3.8 3.3-8  Spenser is here imitating Ariosto, OF 7.1 and Chaucer, LGW Prol. 12-15. Spenser fuses these more or less playful references with an echo of Heb 11:1: ‘Now faith is the grounde of things, which are hoped for, and the evidence of things which are not sene’; the rest of chapter 11, an extended definition of faith, is evoked more broadly in the proem. Hamilton 2001 also notes a reminiscence of Giordano Bruno’s astronomical speculations in the 1584 treatise De l'Infinito Universo e Mondi (‘On the Infinite Universe and Worlds’). This fusion of literary, religious, and scientific allusions creates an ambiguous, distinctively Spenserian tonal irony.
misweene: misconceive, suppose incorrectly
happily: by chance or good fortune
4.1-4.5 4.1-5  The keen-scented hound tracking textual "feet" is a Renaissance commonplace applied to the seeker of rare manuscripts or to the humanist editor filling in manuscript lacunae (Passannante 2011: 90), but Spenser in these lines appears to be tracking the source in Lucretius, De Rerum Natura 1.400-409. An emphasis on moving beyond the realm of perception is distinctive to both passages, and Spenser’s “certain signes” may echo vestigia certa from Lucretius.
yet: Culminating the series of four begun at 3.1 (‘Yet all these were’), this yet stretches the adversative sense of its predecessors into a temporal notion of prolonging, integral to the argument that the unseen may be what we haven’t seen yet.
certein signes: Cf. John 4:48: ‘Then said Jesus unto Him, Except ye se signes and wonders, ye wil not beleve’. Extends the resonance of the allusion to Hebrews in st. 3.
here sett: May refer to the positioning of words in a piece of writing or to the setting of type on the page.
sondrie place: Playing the geographical sense of ‘place’ against its use as the designation for a passage in a text, familiar from the glosses to the Geneva Bible. ‘Place’ in this sense is a vernacular equivalent for the more learned expression loci communes.
ne let him then admyre: The romance topos of the marvelous, canvassed extensively in Italian Renaissance criticism, passes into travel narratives and other New World discourses as a trope of discovery (Greenblatt 1992). Spenser’s proem has evoked the wonder of geographical discovery in a characteristically ambiguous register, half-serious and half-playful, that lends this phrase its edge of irony: the reader who would ‘wonder’ at newly discovered worlds (3.9) should not wonder at the inadequacy of his common sense to apprehend the marvels of Spenser’s text.
sence: Powers of interpretation (cf. 2.1, ‘with better sense’, and 3.4, ‘witless man’), but playing also on the five senses, or ‘wits’ and the ‘common sense’ that synthesizes them (thus Thomas Wilson 1553 says that ‘The common sense...is therefore so called, because it geveth judgement, of al the five outwarde senses’ [112]). These ‘outward’ or bodily senses were contrasted with the ‘inward sense’, i.e. faculties of mind or spirit. This ambiguity concentrates into a single word the playful pretense that Faeryland is a geographical location like Peru, able to be discovered by the outward senses, rather than a textual ‘place’ (4.2n) accessible only to the intellect.
n’ote: might not
4.5 n’ote: A pseudo-Chaucerian contraction for ‘ne mote’, might not. (See glossary entry.)
fine footing: Elusive tracks or artful metrics—an ambiguity parallel to those of ‘red’, ‘place’, and ‘sence’. The line may thus be paraphrased ‘That can’t track fancy (poetic) footwork without a bloodhound’. In 1596 Spenser will repeat the pun on ‘footing’, referring to Faeryland as ‘these strange waies, where never foote did use, / Ne none can find, but who was taught them by the Muse’ (VI.pr.2.7-9).
fayrest: Spenser more than once links ‘faery’ (4.1, 8) to ‘fayre’ (4.7) and ‘fayrest’ as if it expressed the comparative degree of a beauty whose superlative is embodied in the queen (cf. 1.pr.2.5). This ambiguity cuts against the wordplay elsewhere in the proem that tends to disembody Faeryland, and thus implies that it can be ‘red’ in both senses (intellectually as well as corporeally; see 4.4n) only in Elizabeth.
this fayre mirrhour: A favorite metaphor of Spenser’s, elaborated in all but one of the proems and in many other texts; for examples, see Am 7 and 45, HL 196, and HB 181, 224. Here its seeming simplicity is complicated by the association between ‘fayre’ and ‘Faery’, by the implication that Elizabeth is the mirror in which Faeryland may be ‘red’, and by the assertion in the immediately following lines that Faeryland reflects the past as well as the present.
4.7-4.9 4.7-9 According to early modern constitutional theory, the monarch possesses two ‘bodies’: the personal body of the mortal individual and the undying ‘body politic’, through which the monarch personifies the realm. These lines evoke the body personal in Elizabeth’s ‘face’ and the body politic in her ‘realmes’, concluding with her lineage, which traces the genealogy of each.
5.2 covert vele: Echoes biblical accounts of Moses veiling his face to temper the ‘glory’ or radiance that shone from it after he spoke with God (Exod 34:30). At 2 Cor 3:13 St. Paul reinterprets the passage allegorically, suggesting that what Moses hid was not the radiance but its fading. If there is also a glance at the legal term femme covert (the legal status, or rather non-status, of a married woman), it would carry strong irony, given the queen’s unmarried state. Both vele and shadowes echo standard Renaissance discussions of fiction in general and of allegory in particular.
5.2 shadowes light: Shadows that are trivial or facetious (continuing the pretense from st. 1 that fiction is somehow disreputable), in contrast to the rhyming use (at 5.5) as illumination. But the paradox of ‘shadowes light’ reintroduces the sense of illumination as a secondary reference, and it thus plays against the superficial sense of ‘light’ as trivial.
Guyon: The name may come from heroes of French romance, particularly the medieval metrical romance Guy of Warwick, where the name ‘Guy’ is regularly varied to ‘Guyon’ for rhyme; Guy’s two-part career, as questing knight and then as pilgrim, offers a template for the pairing of Guyon and the Palmer in Book II (King 2007). Guy was especially well known because the English earls of Warwick, Robert and Ambrose, claimed descent from him (Cooper 2007: 185). The name also echoes Gihon, one of the four rivers of Paradise, associated with Temperance (Fowler 1960), and may additionally, as Camden thought, recall Ital guido guide (1605:82). In the Golden Legend it is glossed as ‘wrestler’ (1955:112). See SpE s.v. ‘Guyon’.
rule: The term has a range of meanings here, among them the fundamental principle of temperance, the body of writings that make up its lore, the standard by which it is measured, and its reign or governance.
5.9 goodly doth appeare: Cf. ‘to some appeare’ (3.9). This verbal echo belongs to the pattern of contrasts running throughout the language of the proem, suggesting that Temperance will ‘appear’ to the inward rather than the outward senses. This suggestion is reinforced by the rhyming partner ‘heare’(5.8), since hearing Guyon’s adventures is an activity of the common sense whereas the rule of Temperance can appear only to the intellect (see 4.4n).
3 Mordant and Amavia: Sir Mordant is first named at 49.9, Amavia not until ii.45.8. Their names are glossed by the poet at 55.4-5.
conning: cunning
Architect: Combines an echo of ‘Archimago’ with the Greek root τ𝜀κτων tektōn builder, from τ𝜀χνη technē art or craft, emphasizing the techniques and technology of deceit (cf. wyle, artes, meanes, engines, practick witt, stales, traynes, spyals, and snares in the ensuing lines).
cancred: ulcerated; figuratively, ‘infected’ with evil
Princes late displeasure: At I.xii.35-36 Una’s royal father has Archimago clapped in irons.
1.2-1.9 bands . . . shackles emptie lefte: At Rev 20:1-3 an angel is said to bind Satan for a thousand years, after which he is ‘loosed . . . for a little season’. Lexically, ‘bands’ in early modern English are not yet distinct from ‘bonds’ (see Glossary), which may either unite or imprison: cf. I.xii.34.4, where Una describes Archimago’s purpose as ‘breaking of the band betwixt us twaine’ (herself and Redcrosse), and I.ix.1.9, where Arthur is said to have ‘redeemd the Redcrosse knight from bands’.
suborned wyle: At I.xii.25-28 Archimago bears false witness against Redcrosse, to which Una responds at 34.1 that he has been ‘suborned’.
1.5 Eden lands: The kingdom Una will inherit is first identified by its rivers (I.vii.43.6-9), then named in the ‘falsed letters’ addressed to Una’s father as ‘most mighty king of Eden fayre’ (I.xii.26.1).
1.6 Redcrosse explained this obligation at I.xii.18.
caytives: caitiffs’
1.7 caytives: Either the hands belong to wretches (Hamilton 2001 suggests ‘menials’) or Spenser is referring to Archimago’s erstwhile captors as ‘captives’, less a transferred epithet than a reversed one. Cf. ‘her captive Parents deare’ (I.xi.1.2) in contrast with ‘victorious handes’ at 2.6.
cleene: Archimago escapes ‘cleene’ in the sense of ‘entirely’ (also, no doubt, ‘dexterously’), but the word combines complex senses related to the opposition in the early cantos of Book II between mixture and purity. Compare 10.4, ‘virgin cleene’, ii.arg.4, ‘banish cleane’, and Guyon’s failed effort at ii.3.4 to ‘cleene’ Ruddymane’s ‘guilty hands from bloody gore’.
algates: altogether
late ygoe: not long ago
2.9 At I.xii.42 the narrator speaks of the narrative itself as a ‘weather-beaten ship’, with the break between books figured as its temporary harbor.
food: 16th-c spelling of ‘feud’ suggests that Archimago feeds on hatred.
offend: injure or attack (in biblical use, to stumble)
drift: purpose
engins: contrivances
practick: crafty; experienced; concerned with practice (opposed to ‘theoretic’)
fayre fyled tonge: At. I.i.35.7 he ‘well could file [smooth or polish] his tongue’; this usage may recall Chaucer’s Pardoner and Pandarus, both of whom file their tongues (CT Gen Pro 712; T&C 2.1681).
credit: reputation, credibility
stales: decoys
traynes: snares or baits
privy spyals: secret spies
ketch him at a vauntage: the modern idiom would be ‘catch him at a disadvantage’
to win occasion: An innocuous phrase, but it foreshadows the emergence of a full-blown allegory of Furor and Occasion in canto iv.
5.4-5.5 5.4-5 Archimago transfers his enmity from Redcrosse to Guyon according to the network of alliances forged by the knights and their virtues, symbolized by the ‘goodly golden chayne, wherewith yfere / The vertues linked are in lovely wize’ (I.ix.i.1-2). Here, Archimago both anticipates an alliance not yet pledged and, ironically, in trying to prevent it brings it about (cf. 34.1-2).
a goodly knight: Redcrosse is ‘that godly knight’ at 2.3.
5.8-5.9 5.8-9 Archimago’s first view of Guyon finds no chink in his armor.
countenance demure: Echoes the description of Fidelia and Speranza at I.x.12.4.
demure: sober, reserved
amate: dismay
an Elfin borne: A fairy rather than a human knight like the Saxon Redcrosse (I.x.65.1-5) or the ‘Briton Prince’ Arthur (I.pr.2.6, where ‘Briton’ may be taken as synonymous with ‘Welsh’).
mickle worship: great honor
lists: bounded space of combat
debate: armed encounter
6.8 Sir Huon: Protagonist of a popular 13th-century French romance, a version of which was translated into English in the early decades of the sixteenth century. Since Oberon will later be identified with Henry VIII (II.x.75-76), this allusion may trace Guyon’s knighting to the generation preceding Spenser and his queen, suggesting that Huon ‘came with’ Oberon to Faeryland in a literary sense when he was ‘translated’ into English literature during the reign of Henry VIII. Since Huon is a principal source for Spenser’s notion of Faeryland, the poet may here be tipping his hat to the vernacular romance tradition.
als: also
comely: appropriate or suitable
7.2 comely: In ME usage, ‘applied in courtesy to those of noble station’ (OED).
Palmer: A pilgrim, so called because travelers returning from the Holy Land sometimes carried palm leaves. Also a flat piece of wood used by the stricter Elizabethan schoolmasters to spank recalcitrant students on the palms of their hands.
clad in black attyre: At I.i.4.5-6 the narrator describes Una covered with ‘a blacke stole . . . / As one that inly mournd’, a phrase recalled at xii.41.9 when Redcrosse, returning to Faerie court, ‘Una left to mourne’.
stire: stir
7.4 stire: Cf. v.2.9, where the word clearly describes the effects of a spur. With a possible play on ‘steer’, given the Palmer’s tendency to manage Guyon.
aread: conjecture
7.8-7.9 7.8-9 Cf. the tensions in the opening procession of Book I, where Una rides slowly on a donkey while Redcrosse both spurs his steed and reins it in. Both passages reflect the tradition descending from Plato’s Phaedrus in which the passions are represented as a horse resistant to the bit.
with equall steps: With steps matching the pace of the aged Palmer; perhaps with a contrastive allusion to Aen 2.724, where Ascanius accompanies his father out of Troy non passibus aequis (‘not with equal steps’).

St. 8-34 Each book of the 1590 FQ begins by separating virtuous companions: first Una and Redcrosse, then Guyon and the Palmer, and in III a group consisting of Arthur, Timias, Guyon, and Britomart. In Books I and II this effect is accomplished through the combined efforts of Archimago and Duessa.

Guyon’s encounter with Duessa is modeled in part on an episode in Book 4 of Trissino’s L’Italia Liberata dai Goti in which the knight Corsamonte, on his way to free a band of his comrades held captive by the enchantress Acratia, is deceived by another enchantress, Ligridonia, posing as a wronged maiden. (For a detailed account, see Lemmi 1928, excerpted in Var 2.443-44.)

8.1-8.2 8.1-2 In contrast with his initial impression of Guyon as impregnable (5.8-9), Archimago spies an opportunity in the tension between the Palmer’s ‘slow pace’ and the knight’s ‘trampling steed’.
weened well to: thought he would
uncouth wyle: unrecognized trick
8.2 weened well to: The verb ‘to ween’ was still current in Elizabethan usage, but the combination ‘weened well’ is more common in ME.
clew: ball of yarn or thread
8.5 faire countenance: The 1596 reading, ‘a faire countenance’, probably reflects compositorial uncertainty as to whether ‘countenance’ is disyllabic or trisllabic.
humble misers sake: Archimago, an old man asking the knight to ‘stay your steed’, slyly imitates the Palmer. (‘Miser’, from the Latin adjective for ‘unfortunate’, here means ‘miserable person’ rather than one who hoards wealth.)
languorous constraynt: sorrowful affliction or compulsion
10.3-10.9 10.3-9 Archimago here retells the stripping of Duessa (I.viii.46). As the Spenserian narrator’s rival for control over the storyline, he relates Duessa’s exposure as if it were Sansloy’s assault on Una I.vi.4-6. Cf. also Rev 17:16, where the ten horns of the beast ‘shall make [the whore] desolate and naked’, glossed in the Geneva Bible as foretelling the overthrow of Rome by formerly subject nations.
lewd rybauld: These terms have a range of meanings, but context suggests ‘lascivious, sexually unprincipled villain’.
advaunst: put forth, put into action
10.3 ​advaunst: Only in the following line does it become clear that the word is an adjective modifying ‘lust’ rather than a verb with ‘rybauld’ as its subject, a stylistic effect in which ‘advaunst’ seems to retreat as the reading moves forward.
corps: body
sheene: beautiful
10.5-10.8 10.5-8 The syntax is: ‘to spoil her corpse, so fair . . . as never more fair was seen on earth with living eye’. Multiple inversions push the stylistic tension between advancing and retreating so far as to endanger comprehension, even as ‘percing speech’ and ‘piteous mone’ (9.5) have made the listener impatient for information. Archimago is already exploiting the weakness he has spied (8.1-2).
knight: Archimago hasn’t said the ‘lewd rybauld’ was a knight. Guyon, ‘halfe wroth’ (11.1), is leaping to conclusions.
drew: dragged
11.6 drew: Cf. ‘tract’ at 12.7.
bent: aimed
12.1-12.3 12.1-3. Cf. Malory VI.10: ‘‘What?’ seyde Sir Launcelot, ‘is he a theff and a knyght and a ravyssher of women? He doth shame unto the order of knyghthode, and contrary unto his oth. Hit is pyté that he lyvyth’’ (163).
fact: deed
12.4 fact: From L factum thing done, the neuter perfect passive participle of the verb facere to do.
treachour: traitor
12.7-12.9 12.7-9 Cf. II.pr.4.4-5, ‘n’ote without an hound fine footing trace’. Guyon is on the wrong track, following the wrong hound.
tract: trace
12.7 tract: From the Latin trahere to drag or draw. In connection with ‘footing’ and the attendant pun on metrics, the secondary sense of tract as ‘treatise’ (from L tractatus) may contribut to the sustained analogy between the action narrated in the poem and the action of reading it.
chaleng: OED recognizes the use of this verb as a technical term for the baying of hunting dogs only from the late 17th-c, though the present instance would seem to qualify. Earlier meanings include impeach, reprove, and call to account.
that crafty Squire: First reference to Archimago as Duessa’s squire.
13.4-13.5 13.4-5 More misdirection: Archimago as bloodhound promised to conduct Guyon to the ‘treachour’ knight, but takes him instead to see Duessa in her supposedly ravished state—extending his strategy of plying the knight with passionate outcries and provocative imagery while frustrating his desire for information.
blubbered: ‘Blubber’, facetious in modern usage, is conventional in ME and early modern descriptions of weeping; cf. ‘blubbred face with teares’ (III.viii.32.3).
bedight: clothed or furnished
For thy: therefore
doe dew: This homophonic doubling signals the pervasive concern of Book II with obligation, the performance of revenge, and the conspicuously unstated alternative of baptism, figured in Redcrosse’s combat with the dragon as balm flowing from a tree that ‘overflowed all the fertile plaine, / As it had deawed been with timely raine’ (I.xi.48.4-5). The repetition here introduces ‘dew’ as a key term, repeated at 22.9, 25.4, 28.9, 40.6, 47.7, 57.5, 60.7, and ii.1.2, all in variations on the sense of obligation or propriety. This series culminates in the Palmer’s reference to fountains ‘from their source indewd’ with secret powers, and ‘with moisture deawd’ (ii.6.1, 4), which returns to the baptismal ‘dew’ of I.xi.48, but in a mystified, paganized version.
dreriment: Coined by Spenser from ‘dreary’, by analogy to merry/merriment. Synonyms are ‘drerihed’ and ‘dreriness’, all three frequently said to be ‘ghastly’.
teene: grief
bespake: said to her
liefe: dear
wayment: bewail or lament
voluntarie: self-willed (cf. ‘wilfull bent’), but also freely chosen, deliberate
reave: plunder
read: judge or pronounce
17.7 read: Guyon also ‘mis-reads’ the man in the continued analogy between the narrated action and the action of reading (see 12.7-9n).
gentle Lady: The status of the victim defines the crime.
or her wrong: or wrong her
read: declare
With ‘soone’ in the next line, ‘short’ stresses the knight’s impatience.
short: speedy
quartred all the field: Divided the surface of the shield into four equal parts.
by my head: An oath common from ancient times but proscribed in the gospels: ‘Neither shalt thou sweare by thine head, because thou canst not make one heare white or blacke’ (Matt 5:36).
19.1 Guyon: First mention of the knight by name in the narrative proper.
amis: In early modern usage the adverb, meaning ‘wrongly’, is sometimes a noun meaning ‘evil deed’.
ywis: indeed, certainly
I present was: Cf. FQ Letter 66-73.
enterpris: undertake
19.8 Th’aventure of the Errant Damozell: The first occurrence of this title (cf. III.i.24.7). In Book I the term ‘errant’ is applied only to the knight.
fairely quit him: fully acquit himself
20.5 20.5 Guyon seems to be tripping over his proverb. The distinction between ‘wrongs’ that can be mended and ‘shame’ that cannot be is difficult to apply to a wrong that shames the victim: cf. 17.8, ‘her wrong through might’, 18.2, ‘who hath ye wrought this shamfull plight’, and 20.7, where Guyon invites the lady to ‘see the salving of your blotted name’.
salving: cleansing
As: i.e., disguising herself as
well aguisd: suitably dressed
well aguisd: Here linked to its rhyming partners ‘disguysd’ and ‘devisd’ to stress that the appearance is plausible but false; contrast 31.9, where the Palmer describes Redcrosse as seeming ‘goodly . . . aguizd’ with the device on his shield.
22.1-22.7 Cf. I.viii.45-50.
late: recently
forlorne and naked: Cf. Rev 17:16, ‘desolate and naked’.
22.9 revest: From L vestire to clothe. In 16th-c usage, specifically to vest in ecclesiastical robes, a sense immediately relevant to Duessa as the Catholic Church. Controversy over the use of priestly vestments was a central theme of the English Reformation; dissenting priests were stripped of their vestments when excommunicated.
habiliments: accessories
irrenowmed: not famous
23.4 irrenowmed: Part of a contrast between shame and fame that runs throughout the stanza: cf. ‘praise and fame’, ‘advaunced hye’, ‘against his praise’.
engine: stratagem
23.9 23.9. Archimago attacks not only the protagonists but the ideal form of the poem itself, targeting the alliances among virtues and their patron knights that form the joints in the poem’s allegorical armature. See 5.4-5n
vertues like: If ‘vertues’ is a plural noun, ‘similar virtues’; if it is a possessive, the phrase may be construed as ‘affection for virtue’, ‘virtue’s similitude’, or ‘virtue’s equal’.
24.1 now he Guyon guydes: As opposed to 7.8, where the Palmer ‘ever with slow pace the knight did lead’. The use of present tense, abandoned in the next line, accentuates the return to present action after three stanzas of background information.
fact: deed
25.2 fact: See 12.4n.
25.3-25.4 in secret shrowd, / To fly the vengeaunce: Archimago’s description of the Redcrosse knight’s physical and moral disposition transvalues the description provided by the narrator in the preceding stanza. See 10.3-9n.
outrage dew: ‘Due’ can be seen to modify ‘vengeance’ (the vengeance due for his outrage), but its proximity to ‘outrage’ is ironically apt to describe the stripping of Duessa as originally characterized by the narrator.
do him rew: make him regret it
25.9 25.9 Guyon here attacks without first issuing a challenge, in bad form.
26.1-26.9 26.1-9 In describing the knights’ near-combat, Spenser echoes OF 36.37-38, where Bradamante almost attacks Ruggiero.
pricke: spur
embrace: The etymology (Fr bras arm) and the common meaning (‘to clasp in arms affectionately’) play against ‘warlike armes’, a reminder that these combatants ought to be embracing in the usual sense.
embrace: to mount (a shield) on the arm
rest: ‘A contrivance fixed to the right side of the cuirass to receive the butt-end of the lance when couched for the charge, and to prevent it from being driven back upon impact’ (OED).
rencounter: encounter in battle
in equall race: Echoing 7.9.
affrap: A Spenserianism for which OED records one other instance (III.ii.6.4). Probably formed from ‘frap’, to strike upon.
27.1 The contrasting accents on the repeated word (mercí, mércy) distinguish between human pardon (from OF crier merci I cry you pardon) and divine mercy.
hardiment: daring, or a daring deed
shame mine honour shent: Cf. his condemnation of Redcrosse at 11.2.
inclyning: yielding, bowing, or adopting a favorable disposition
me behoveth rather to upbraid: ‘it is appropriate to scold me instead’
28.7 that heavenly Mayd: Guyon will identify the image on his shield to Arthur at II.ix.4.1-2. Redcrosse, having attended Faery court in Cleopolis, recognizes it.
28.9 28.8 Upton hears in the phrase ‘decks and armes’ a Virgilian echo: a golden coat of mail given by Aeneas as a prize during the games is described as decus et tutamen in armis (‘a glory [ornament] and defense in battle’; Aen 5.262). The echo is both aural (decus . . . in armis) and conceptual, since both phrases balance the functions of ornament and armament, as does the phrase ‘faire defence’ at the end of the line.
at one: reconciled
29.1 at one: With a suggestion of ‘atone’.
bevers: visors
comportaunce: conduct
29.3 comportaunce: OED gives this as the earliest recorded use; from L comportare to carry together, emphasizing mutuality.
saliaunce: sally or assault
saliaunce: OED records only this instance.
29.8 governaunce: The action of temperance in regulating the passions. This word appears seven times in FQ, all in Book II.
you guided: See 24.1n.
St. 30 The opening and closing references to ‘shame’ in this stanza mark it, together with its repeated companion terms ‘blame’, ‘fame’, and ‘praise’, as a thematic keyword for the episode. Cf. the culminating exchange between the Palmer and Redcrosse at 32.1 and 33.2.
fond encheason: silly reason
infamous: deserving infamy; detestable
faitour: impostor
ill bested: badly off
red: declared
30.5 red: See II.pr.2.2n.
30.2,7 The lamely repeated rhyme stresses Guyon’s chagrin at having been deceived and marks his belated recognition that he chose the wrong guide (cf. 7.8-9, 24.1, 29.9 and notes).
31.1 earnest unto game: A loosely formulaic phrase (cf. I.xii.8.7) familiar from Chaucer and the vernacular romance tradition.
By this: The elliptical phrase allows ‘by this time’ to suggest as well ‘by this means’ (Hamilton 2001). Post hoc/propter hoc equivocation is frequent in FQ; here it marks the Palmer’s return as a consequence of Archimago’s flight.
his aged Guide: This designation for the Palmer confirms a second thematic keyword for the episode (see 30.2,7n; also 32.6-8n and 33.4-5n).
perfect cognizaunce: Complete recognition, in contrast to the series of missed and belated recognitions leading up to it. The sense of cognizaunce as a heraldic badge or token is also relevant, although here the narrator specifies that the Palmer recognizes Redcrosse because he has seen him at Faery court.
late avizd: recently observed
aguizd: arrayed
31.9 aguizd: See 21.9n.
32.1-32.5 32.1-5 Confirms the promise revealed to the Redcrosse knight on the Mount of Contemplation at I.x.55-61.
32.1 32.1 Cf. Phil 4:4, ‘Rejoyce in the Lord alway, againe I say, rejoyce’, as well as Luke 10:20, ‘rejoyce, because your names are written in heaven’.
32.4 32.4 Cf. Paul’s reference to ‘my felowe laborers, whose names are in the boke of life’ (Phil 4:3); also Rev 3:5, 13:8, 17:8, 20:12, 21:27.
32.6-32.8

32.6-8 See 7.9n and 26.5n. Having got off on the wrong foot, Guyon here starts over from the proper ‘marke’. ‘Race to ronne’ recalls the language of steps, haste, and delay that pervades the episode. It also echoes 1 Cor 9:24, ‘Knowe ye not, that they which runne in a race, runne all, yet one receiveth the price? so runne, that ye may obteine’, and Heb 12:1-2, ‘Wherefore, let us also, seing that we are compassed with so great a cloude of witnesses, cast away everie thing that presseth downe, and the sinne that hangeth so fast on: let us runne with patience the race that is set before us, Loking unto Jesus the autor and finisher of our faith, who for the joye that was set before him, endured the crosse, and despised the shame, and is set at the right hand of the throne of God’.

Taken together, lines 6-7 imply both that Guyon’s quest follows upon Redcrosse’s, beginning where he left off, and that Guyon is starting over from scratch.

32.8 32.8 This line culminates the emphasis on guidance (see 31.2n) as it completes the Palmer’s reprise in stanzas 31 and 32 of the episode’s key terms.
33.4-33.5 33.4-5 Cf. Luke 17:10, ‘So likewise ye, when ye have done all those things, which are commanded you, say, We are unprofitable servants: we have done that which was our duetie to doe’. Redcrosse’s modesty here may be less than modest, since readers of Book I can hardly fail to recall that much of what he did, he did as he ought not. His language may therefore be truer than he knows: not only ‘attribute nothing more than goodwill to me’, but more accurately, ‘more than you attribute goodwill to me, attribute nought: nothing, nothingness, and sin’. Cf. I.x.1.8, ‘If any strength we have, it is to ill’. The doctrine of imputed grace, whether in Luther or in Calvin, stresses the unqualified surrender of individual will to divine initiative.
pageant: allegorical tableau or procession
33.6 pageant: This theatrical term, repeated at 36.2, anticipates the repetition of ‘spectacle’ in ‘Pitifull spectacle’ at 40.1 and 40.9. Together these references evoke a pagan milieu of ritual and tragedy as one important context for the episode. Cf. ii.1.2, ‘due rites’.
next ensues: The poem’s time-scheme is symbolic rather than realistic. FQ Letter 70-74 indicates that Guyon’s quest begins the day after Redcrosse’s (cf. 31.6, ‘late avizd’), yet here Guyon setting forth encounters Redcrosse returning. The poem is consistently inconsistent in treating its parallel quests as both simultaneous and sequential.
mote ye thee: may you thrive
as well can wish your thought: Either ‘as well as your thoughts can wish’ or ‘as your thoughts may well wish’.
thewes: moral qualities; habits of conduct
courteous conge: ceremonious farewell
34.2 On the linking of the virtues, see I.ix.18.9n and 5.4-5n.
steedy: steady (because held with a firm grip); trusty
34.7-34.9 34.7-9 These lines epitomize the moral lesson of the episode. The pairing of ‘intemperaunce’ with ‘wrath’ suggests the traditional distinction between concupiscible and irascible passions (those caused by pleasure, such as lust, and those caused by pain, such as wrath). Duessa’s role in provoking Guyon, preceded by Archimago’s vivid description of her violent rape, demonstrates how intimately the two passions may be related.
his hasty steps to stray: See 12.7-9n.
yfere: together
35.5-35.9 35.5-9 This episode varies from the account given in FQ Letter 70-74, suggesting a late revision. At ii.43, a further account of how Guyon’s quest was initiated will accommodate the change. The episode offers an elaborate set of parallels to that of Fradubio and Fraelissa in Book I (ii.29-45), signaled by a number of verbal echoes. For examples cf. I.ii.29.8-9 with II.i.35.6 and I.ii.31.1 with II.i.35.7.
dearnly: dismally
dolefull lay: A sad song or lyric, and hence a conspicuously literary periphrasis for ‘lament’; cf. the ‘Doleful Lay of Clorinda’ (1595).
their forward steps they stay: Cf. ‘hasty steps to stray’, ‘he stayd his steed’, and ‘equall steps’ (7.9, 9.1, and 34.9).

st. 36-56 The episode of Mortdant and Amavia has been persuasively interpreted as an allegory based on the Pauline account Mosaic law in Romans 7 (Kaske 1993, 1999). The principal characters appear to be derived from the 1576 Geneva glosses to Romans. Chapter 7 opens with a similitude meant to explain the dominion of the Law over a man ‘as long as he liveth’:

2. For the woman which is in subjection to a man, is bounde by the law to the man, while he liveth: but if the man be dead, she is delivered from the law of the man.

3. So then, if while the man liveth, she take another man she shalbe called an adulteresse: but if the man be dead, she is free from the Law, so that she is not an adulteresse, though she take another man.

4. So ye, my brethren, are dead also to the Law by the body of Christ, that ye should be unto another, even unto him that is raised up from the deade, that we should bring forth fruite unto God.

Amavia, refusing to be delivered from ‘the law of the man’, remains bound to Mortdant under the Law even after his death. The gloss to Romans 5:14 contains a similar hint for the character of Ruddymane. The verse reads, ‘But death reigned from Adam to Moses, even over them also that sinned not after the like maner of the transgression of Adam, which was the figure of him that was to come’. The ‘like maner of the transgression of Adam’ refers to enacted sin; the verse asserts that, by virtue of original sin, death reigned even over those who personally committed no transgression. The gloss explains, ‘he meaneth yong babes, whiche neyther had the knowledge of the law of nature, nor any motion of concupiscence, much lesse committed any actuall sinne’.

36.1-36.3 36.1-3 These lines are echoed by Robert Greene in Selimus, Emperor of the Turks (1594): ‘O! you dispensers of our hapless breath, / Why do ye glut your eyes, and take delight / To see sad pageants of men’s miseries?’ (1278-80). The noun ‘dispensers’, with its familiar pun on the poet’s name, offers a rhetorical wink-and-a-nod to insiders (see Cummings 1971: 95, along with CV 5.3, FQ II.ix.29.1 and xii.42.8, and notes).
careless: negligent or uncaring
doome: verdict
pageaunts: Cf. 33.6.
36.4 36.4 ‘As obliged by the heavens to live while despising life’ or ‘as obliged by the heavens to suffer life’s malice’.
warne death from: forbid death to, order death away from
36.6 Cf. Aen 4.660, where Dido stabs herself with the cry ‘Sic, sic juvat ire sub umbras’ (‘Thus, thus I go gladly into the dark’). Spenser’s line, along with basic elements of the situation (the bloody hands, the lover’s suicide) may be travestied in Thisbe’s death speech from A Midsummer Night’s Dream: ‘O sisters three, / Come, come to me / With hands as pale as milk. / Lay them in gore, / Since you have shore / With shears his thread of silk’ (5.2.323-28). The amorous lyric quality in Amavia’s wooing of death at once parodies her name (see 55.3-5n) and recalls the rhetoric of Despair in passages like I.ix.40.
froward: unfavorable; adverse
37.1 froward: Cf. ‘forward steps’ (35.9); forward/froward and toward/fromward form pairs analogous to ‘concupiscible’ and ‘irascible’ (34.7-9 and note).
thee deignes to hold in living state: sees fit to keep you alive
embrewd: soaked; dyed; defiled
37.8 embrewd: Cf. 50.9. For the hands stained with blood, see Vewe: ‘As they vnder Oneale crye—Landergabo that is the bloddye hande whch is Oneales badge’ (2187-89). Upton first noted this connection, offering a passage from Camden’s Annales to gloss the historical allegory: ‘Thus did Shan Oneal come to his bloody end: A man he was who had stained his hands with blood, and dealt in all the pollutions of unchaste embraces.—The children he left by his wife, were Henry and Shan: but he had several more by O-donnell’s wife, and others of his mistresses’ (31-32). Hadfield and Maley 1997 add that ‘the bloody hand is the traditional symbol of Ulster’ (59).
pledges: Children, considered as symbols of love and duty between their parents, were called ‘pledges’ (cf. I.x.4.9), but here Amavia describes her child’s bloodstained hands as tokens of her own innocence. Cf. also 34.2, ‘With right hands plighted, pledges of good will’. The series witness . . . attest . . . pledges figures a legal scenario in which the baby is called upon to bear witness, with its bloody hands offered as a guarantee, or bond, subject to forfeit if the witness does not testify.
thrild: pierced
Hynd: doe
launched: lanced
her bleeding life: Cf. Aen 9.349, purpuream . . . ille animam (‘his red life’); the dying Rhoetus in this passage also cum sanguine mixta / vina refert moreins (‘dying casts up wine mixed with blood’).
the sad pang: death-spasm
straict: straight, immediately
the thick: thicket; densest part of the wood
the thick: OED cites no instance earlier than 1681 for the figurative meaning ‘point of greatest intensity’, but Guyon does find himself ‘in the thick of it’ in that sense as well.
halfe dead, halfe quick: Echoing the biblical expression ‘the quick [living] and the dead’ (Acts 10:42, 2 Tim 4:1, 1 Pet 4:5). With its rhyme-partner ‘thick’, quick also echoes SC March 73-74: ‘Tho peeping close into the thicke, / Might see the moving of some quicke’.
goreblood: ‘blood shed in carnage’ (OED)
thick: May modify either the stream or the blood.
spectacle: Cf. 33.6 and 36.3 and note the repetition in line 9. The emphasis on pity suggests a tragic perspective and prepares for repeated echoes in the following stanzas of the death of Dido in Aen 4.
smart: sharp physical pain; grief or affliction
hart: Following the image of the ‘gentle Hynd’ at 38.6, the pun on ‘hart’ as ‘stag’ is unavoidable.
ray: Beray, meaning defile or befoul, although the abbreviated form makes it just possible to read ‘array’, clothe. Cf. ii.3-10, where the fountain refuses any defilement.
40.5-40.9 40.5-9 Editors have seen these lines as echoing Ezek 16, where the personified ‘word of the Lord’, instructing the prophet to ‘cause Jerusalem to knowe her abominacions’, declares: ‘And when I passed by thee, I sawe thee polluted in thine owne blood, and I said unto thee, when thou wast in thy blood, Thou shalt live: even when ye wast in thy blood, I said unto the, Thou shalt live’ (16:1-2, 6). The Geneva gloss reads in part: ‘whereby is ment that before God wash his Church, and give life, there is nothing, but filthines and death’. This would associate Ruddymane with the Pauline subject prior to baptism, but a more likely reference for the episode is found in the Geneva gloss to Romans 5:14 (see st. 36-56n), which associates Ruddymane with the subject not only prior to baptism but ‘without the Law’. Spenser may also be recalling Gower’s Confessio Amantis: ‘The child lay bethende in hire blod / Out rolled fro the moder barm, / And for the blod was hot and warm, / He basketh him aboute thrinne’ (3.312-15).
embay: soak
with blood besprincled: Presumably Amavia’s blood.
yett being ded: The phrase works in overlapping grammatical constructions: (1) ‘rosy red did paint his cheeks, yet [despite his] being dead’; and (2) ‘yet [despite his] being dead, he seemed to have been a goodly personage’. The phrase sits oddly at the stanza’s pivot point (line 5), but rather than turning from life to death or from appearance to reality, the lines sustain a gruesome incongruity. First Amavia’s blood, soiling the grass and besprinkling her lover’s armor, contrasts with the blood still animating his ‘ruddy lips’ and ‘red . . . cheekes’; then the false appearance created by this coloring is dispelled by the qualification ‘yett being ded’, followed by the past tense of ‘Seemd to have beene’—only to return in the next line’s description of him as ‘Now in his freshest flowre’. The reference to ‘loves rage’ returns us to Amavia and her fury in preparation for the adversative of the alexandrine (‘But that’), which reasserts the actuality of the knight’s death. This dissonance-effect carries over from the description of the bloody babe in the second half of st. 40.
41.6 41.6 The subject of the verb, ‘he’, is elided.
lusty hed: lustiness, exuberant vitality; also lustfulness
41.8 41.8 Cf. ‘bold furie’ (57.8); there may also be an echo of Jer 51.7 (‘therefore do the nacions rage’; see 52.2n).
42.1 St. 42 Guyon responds with fear, then pity (cf. ii.1.3, ‘their sad Tragedie’).
starke: rigid, unyielding
attone: at once
42.6-42.9 42.6-9 Cf. I.iii.8.3-5 for the transformation of Una’s lion by pity.
grudging: growling or grumbling
courage: heart or spirit
stoupe: submit
St. 43-44 Cf. the Dwarf’s efforts to revive Una when she hears of Redcrosse’s defeat at I.vii.21-25.
43.2-43.3 43.2-3 Cf. Aen 4.687: atros siccabat veste cruores (‘stanching with her robe the dark streams of blood’).
in her veynes did hop: Cf. A Midsummer Night’s Dream 5.287-88 with s.d.: ‘Ay, that left pap, / Where heart doth hop: [Stabs himself.]’.
44.2-44.3 44.2-3 Proverbial (Smith 1970, no.123), but gruesomely inappropriate to a knife-wound.
impatient smart: Cf. 40.1 and note. The phrase condenses physical pain with the mental pain of unwilling suffering.
44.8-44.9 44.8-9 The phrase ‘untimely date’, meaning premature end of life, leaves its rhyming partner, ‘help never comes too late’, dangling helplessly. (For the proverb, see Smith 1970, no. 379). ‘Untimely date’ may also echo Virgil’s description of Dido’s death at Aen 4.697 as ante diem subitoque accensa furore (‘hapless before her day and fired by sudden madness’). If so, the allusion is especially poignant since the belated ‘help’ that comes to Dido finishes off her suicide out of pity.
sad: heavy
45.4-45.5 45.4-5, 9 Cf. 36.7, ‘loathed light’.
she nothing drad: Unlike ‘one out of a deadly dream affright’, she did not dread anything ‘deadly’. Cf. I.i.2.9; given the typically chivalric context for the phrase, its irony here is mordant.
46.3 Cf. Aen 4.690-91: ter sese attollens cubitoque adnixa levavit; / ter revoluta toro est (‘Thrice rising, she struggled to lift herself upon her elbow; thrice she rolled back on the couch’). Cf. also I.vii.24.1-4 and GL 3.46.1-4: Gli apri tre volte, e i dolci rai del cielo / cercò fruire e sovra un braccio alzarsi, / e tre volti ricadde, e fosco velo / gli occhi adombrò , che stanchi al fin serrarsi (‘Three times he strove to view heav’n’s golden ray, / And raised him on his feeble elbow thrice, / And thrice he tumbled on the lowly lay, / And three times clos’d again his dying eyes’; trans. Fairfax).
46.4 Cf. Aen. 4.686: semianimemque sinu germanam amplexa fovebat (‘and, throwing her arms around her dying sister’).
46.9 Versions of this proverb appear at I.ii.34.4 and I.vii.40.9 (see Smith 1970, no. 761).
47.1-47.5 47.1-5: Cf. Aen 4.688-89: illa gravis oculos conata attollere rursus deficit; infixum stridit sub pectore volnus (‘She, essaying to lift her heavy eyes, swoons again, and the deep-set wound gurgles in her breast’); GL 3.45.7-8: e gli occhi, ch’a pena aprir si ponno, / dura quiete preme e ferreo sonno (‘And lifted up his feeble eyes unneath, / Oppress’d with leaden sleep of iron death’; trans. Fairfax).
sight: sighed
foltring: faltering
lett: hinder
redrest: Presumably through vengeance, as in Guyon’s oath at 61.7-8.
infest: attack
48.5 infest: From L infestare and the related noun infestus hostile or aggressive.
priefe: proof; test or trial
cast to compas: try to accomplish
die with you in sorrow: Cf. Aen 4.678-79: eadem me ad fata vocasses; / idem ambas ferro dolor atque eadem hora tulisset (‘Thou shouldst have called me to share thy doom; the same sword-pang, the same hour had taken us both!’).
49.2-49.3 49.2-3 Amavia’s congealed tears invert Rev 7:17 (repeated at 21:4), ‘and God shal wipe away all teares from their eyes’, presumably because of the impiety ascribed to her in line 2.
sence: The primary meaning here is ‘comprehension’, but the word is slippery in context since Amavia’s sorrows may in part be defined by her failure (and Mordant’s) to surpass the bodily senses. Cf. II.pr.4.4 and note.
49.7-49.9 49.7-9 The language of pricking and green grass echoes both our first glimpse of Redcrosse (I.i.1) and Arthur’s description of the sensual ‘jollity’ that precedes his dream of Gloriana (I.ix.12.5-13.3).
49.9 Sir Mortdant: This spelling anticipates the poetic etymology at 55.4, deriving from L mors death and mortuus dead in combination with dare to give. (The English word ‘mordant’ actually derives from French and Latin roots meaning biting or corrosive.) Spenser’s etymology associates the knight with Adam as the source of original sin. Cf. 32.6-7, where the Palmer tells Redcrosse that their quest begins where his ended, Redcrosse having just exited from ‘Eden lands’ after his victory over sin and death. Cf. also Rom 5:12: ‘by one man sinne entred into the worlde, and death by sinne, and so death went over all men: for asmuche as all men have sinned’.
50.2 50.2 Cf. I.ii.31.7: ‘O too deare love, love bought with death too deare’. The Fradubio episode is parallel to this one in many respects, particularly as a cautionary tale about the dangers of exclusively sensual love and an allegory of life without baptism.
equall: impartial
50.3 equall: Cf. 49.2. Cf. also Matt 5:45 and Ezek 18:25 on God’s treatment of the just and the unjust.
Vouchsafed: were graciously willing
50.5-50.9 50.5-7 See 49.7-9n.
51.2-51.4 51.2-4 Precursors to Spenser’s Acrasia include Trissino’s Acratia (spelled ‘Acrazia’ in the index; Var 2.444), Tasso’s Armida (GL 16), Ariosto’s Alcina (OF 6-8, 10), and Homer’s Circe (Od 10). Her name corresponds to the Greek noun 𝛼κρασ𝜄α akrasia lack of self-control. As ‘false enchauntresse’, she condenses the roles of Duessa and Archimago into a single figure.
fordonne: put to death
dronken mad: Cf. Jer 51:7: ‘Babel [Babylon] hathe bene as a golden cuppe in the Lords hand, that made all the earth drunken: the nacions have drunken of her wine, therefore do the nacions rage’. The Geneva gloss adds ‘By whom the Lord powred out the drinke of his vengeance, to whom it pleased him’. Cf. Rev 14:8: ‘And there followed another Angel, saying, Babylon that great citie is fallen, it is fallen: for she made all nations to drinke of the wine of the wrath of her fornication’; also 17:4, ‘And the woman was arayed in purple and skarlet, and gilded with golde, and precious stones, and pearles, and had a cup of gold in her hand, full of abominations, and filthines of her fornication’. These suggest a link a link between Acrasia’s charmed cup (55.3) and Duessa’s ‘golden cup’ at I.viii.14 based on taking literally the Biblical trope of spiritual fornication.
52.3 words and weedes: Cf. the Palmers’s restraining ‘words’ at 34.7, and the ‘Palmers weed’ that Amavia puts on. The ‘weedes’ here are drugs; cf. Virgil’s reference to the potentibus herbis of Circe (Aen 7.19), following Od 10:290, where Hermes warns Odysseus, ‘She will mix thee a potion, and cast drugs into the food’ (τευξει τοι κυκεω, βαλεει δ’ εν φαρμακα σ𝜄τῳ, teuxei toi kykeō baleei d’ en pharmaka sitō).
52.6 Amavia here ascribes Mordant’s delinquency to original sin rather than to any special moral failing on his part. She echoes biblical usage of ‘flesh’; cf. Matt 26:41, Rom 6:19, and especially Rom 8.
53.1-53.3 53.1-3 Nine months had passed.
forbeare: part with, surrender
53.5-53.7 53.5-7 Lucina is the Roman goddess of childbirth and hence a poetic term for ‘midwife’. To say that ‘she came’ and that Amavia’s midwives were ‘the Nymphs’ is either literally true or, more likely, a euphemistic way of saying that there was no midwife. The repetition of the name would reinforce this irony. Cf. the birth of Tristram in the Morte D’Arthur (Malory 8.1).
54.5 Cf. Rom 7:7: ‘I knewe not sinne, but by the Law’.
54.6-54.7 54.6-7 Amavia, dressed ‘in Palmers weed’ (52.8), here plays the Palmer’s role.
reprive: redeem
55.3-55.6 55.3-6 Cf. arg.3 and 49.9 and notes. The inscription functions as a riddle to which the solution is the names of the characters, although ‘Amavia’ seems to elide or compress L Amaviva. The name has been glossed as combining L amo I love + vita life with L amavi I have loved and the Hebrew Heváh: ‘And the man called his wives name Heváh, because she was the mother of all living’ (Gen 3:20); it may also echo John 12:25, ‘He who loveth his life, shall lose it’. The name ‘Amavia’ may also recall ‘Amata’, wife of Latinus and mother of Lavinia, whose suicide is described at Aen 12.593-611. Bacchus is the Greek god of wine; the Nymph, unexplained at this point in the narrative, will be identified by the Palmer at ii.7-10. Acrasia’s curse uses the ‘linke’ between Bacchus and the Nymph to destroy that between Mordant and Amavia.
cup thus charmd: See 52.2n; cf. the golden cup of Fidelia at I.x.13.2-5.
55.3 him parting she deceived: Cf. Rom 7:11 ‘For sinne toke occasion by the commadement, and disceived me, and thereby slew me’.
55.6 55.6 Upton cites Heliodorus, Ethiopica: καθαρας σοι τας νυμφας ως σοι φίλον και ακοινωνητους του Διονυσου (Katharas soi tas numphas hōs soi philon kai akoinōnētous tou Dionysou, translated by Upton ‘I drink to you the nymphs that are pure and unlinked with Bacchus’; 5.16.1.4). For the dilution of wine with water as a conventional emblem of temperance, and for the allegorical reading of water as doctrine and wine as ‘ardent will’ (Pierre Bersuire, Morale reductorium [1517]), see Fowler (1960: 147-48). Fidelia bears a ‘cup of gold, / With wine and water fild up to the hight’ at I.x.13.2-3, alluding to the wine and water mingled in the communion chalice. On this symbolism cf. John 19:23, ‘And there followed another Angel, saying, Babylon that great citie is fallen, it is fallen: for she made all nations to drinke of the wine of the wrath of her fornication’; also 1 John 5:6, ‘This is that Jesus Christ that came by water and blood: not by water onely, but by water and blood: and it is that Spirit, that beareth witnesse: for that Spirit is trueth’.
well: wellspring, fountain
dead suddeinly he down did sincke: Cf. Rom 7:9-10: ‘but when the commandement came, sinne revived, But I dyed: and the same comandement which was ordeined unto life, was founde to be unto me unto death’.
56.1 The timing and abruptness of Amavia’s death emphasize that losse of love, to her that loves to live entails loss of life.
wreath: twist aside
57.2 Guyon’s moralizing response proclaims the spectacle of Mordtant and Amavia to be an emblem of mortal human nature.
tyre: attire
her basest part: the passions
57.6 her: Probably refers either to ‘feeble nature’ or to 'passion' rather than to ‘reason’.
57.7-57.9 57.7-9 The distinction between irascible and concupiscible passions, first evoked at 34.7-9, becomes explicit in this formulation.
(said he): Ambiguous, indicating either that the Palmer replies or that Guyon continues to speak
squire: Square, an instrument used by carpenters to measure angles, and a common emblem of temperance as ‘golden mean’ (hence ‘golden squire’). Cf. Fowler (1960: 143). The reference to Aristotle’s notion of virtue as a mean between vices of excess and deficiency anticipates the schematic allegory to follow in canto ii.
Nor . . . tene: ‘Nor seethe in disheartened grief and sorrowful vexation’. Church 1758 proposes emending frye to fryze (freeze).
doome: judgment
in the meane: ‘In the meantime’ (pending ‘eternall doome’); the echo of line 2 suggests that to bury Amavia is temperate in its deferral of judgment. Watkins finds in the discussion about burying Amavia a recollection of Virgil’s lines describing Proserpine’s hesitancy to cut the lock of hair that will release Dido into death (Aen 4.696-99; Watkins 1995: 121-23). Punning on the Aristotelian definition that will organize the next canto—temperance as a mean between excess and deficiency—Spenser here emphasizes the temporality of temperance; see ‘Introduction’ 00 on the Pauline and Lutheran notion of patience as suffering in hope.
vouchsafe: allow
equall doome: Cf. 36.2, 49.2, and 50.3.
the commen In of rest: Death is an inn because the travelers who stop there are en route to their final destination.
59.6-59.9 59.6-9 At Aen 6.321-330, the Sybil explains to Aeneas that unburied souls cannot cross the river Styx to gain their final rest for a hundred years, and he ‘pit[ies] in soul their cruel lot’ (sortemque animi miseratus iniquam; 332).
teene: Possibly a variant spelling of the verb ‘tine’, meaning ‘to close; to enclose in something; to hedge in’ (OED). ‘Buriall’ would then be a noun modifier, and the line might be paraphrased, ‘But religious reverence doth [with] burial enclose both alike’.
59.9 59.9 Echoing ‘good and bad’ from line 2, Guyon here asserts that to lie ‘unburied [because] bad’ is as shameful as to die in sin.
St. 60-61 The act of burial corresponds to the office of the sixth beadman in the House of Holiness (I.x.42), though Guyon carries out a ceremony at odds with Christian practice. In 61 his oath of vengeance and his ritual mingling of blood, earth, and hair strongly mark the pagan character of his ‘Religious reverence’ (59.6), and of his response to the episode more broadly. This emphasis on pagan ritual and revenge sorts oddly with Guyon’s recognition at 27.6 of ‘The sacred badge of my Redeemers death’ on the shield of the Recrosse knight, but there too Guyon was intent on revenge, a motif that recalls the argument of Despair in Book I: ‘life must life, and blood must blood repay’ (ix.43.6).
60.1-60.4 60.1-4 The two ‘bodies’ have a single ‘closed eye’, and seem to be placed together in a single grave (‘it’, 60.3).
60.1 to engrave: To entomb, with a latent pun on inscription that, like the motif of revenge, recalls Despair’s combined emphasis on the law and the ‘table plain’ in which the torments of the damned are depicted (I.ix.47.5, 49.6-9).
sad Cypresse: Cf. I.i.8.9, ‘the Cypresse funerall’. In glossing SC Nov 145, E.K. refers to Cypress as ‘used of the old Paynims in the furnishing of their funerall Pompe. and properly the signe of all sorrow and heavinesse’; in Arcadia Sidney refers to ‘Cypresse braunches; wherewith in olde time they were woont to dresse graves’ (1590, 308). Cf. Aen 3.63-4, stand Manibus arae, / caeruleis maestate vittis atraque cupresso (‘altars are set up to the dead, made mournful with sombre fillets and black cypress’).
embrave: adorn
utmost obsequy: final ceremony
Bynempt: swore
ay: ever
61.2 Cf. Aen 4:704 on Iris’s release of Dido from suffering: dextra crinem secat (‘with her hand shears the lock’).
61.5-61.6 61.5-6 Cf. Ruth 1:17: ‘Where thou dyest, wil I dye, and there wil I be buryed. the Lord do so to me and more also, if oght but death departe thee and me’, echoed at 1 Sam 3:17. The care of widows and orphans is the office of the seventh beadman in the House of Holiness, I.x.43.
guiltie blood: The guilt is Acrasia’s insofar as she causes the bloodshed; original sin would also make the blood itself a source of guilt, but cf. ii.4.4 and 4.10, where the Palmer will apparently reject this reading. Christian teaching would likewise hold Amavia guilty of shedding her own blood, a reading the present context resists.
face: Personification; the rhetorical term for personification, ‘prosopopoeia’, from Gk προσωπον pr𝜊sōpon face or person (from προς pr𝜊s to + ωψ 𝜊ps face) and ποι𝜀ω poiein to make.
golden Meane: Refers to Aristotle’s concept of virtue as a mean between the excess and deficiency of a given quality (Nic Eth 2.6-9). Cf. Horace on the aurea mediocritas (Odes 2.10.5).
Extremities: The extremes of excess and deficiency, as at 38.4; also the hands as they flank the ‘face’.
cleane: completely
4 cleane: Cf. ‘clensd’ (arg. 1).
sad Tragedie: Cf. ‘pitifull spectacle’ (i.40.1, 9).
1.3 uptyde: The awkward sense of neatly tidying up, in contrast to the dénoument (unravelling) proper to tragedy, extends to the unapt repetition of up as the knight picks the ‘litle babe’ up off the ground, and prepares for the shocking incongruity of the child’s blissful obliviousness to the ‘sad Tragedy’ of its birth.
blandishment: alluring behavior
innocent: ignorant
1.7 innocent: Ironically not ‘innocent’ in a spiritual sense, as the surrounding language of blood and guilt insists with its repeated implication of original sin.
in . . . balefull ashes bred: Cf. the phoenix, a common Renaissance emblem of resurrection.
livelyhed: inheritance
2.6 2.6 Links the baby with its bloody hands to the bleeding branch in the Fradubio episode at I.ii.30.6-9.
2.7-2.8 2.7-8 Cf. John 15:6, ‘If a man abide not in me, he is cast forthe as a branche, and withereth’. Guyon’s conclusion (‘Such is the state of men’) might seem to assume the absence of grace, in contrast to the implications of the phoenix; like the texture of allusion to Romans in this and the previous canto, the metaphor of the babe as a branch torn from its trunk—in contrast to the conventional image of the genalogical tree—depicts life itself as a form of death.
St. 3-4 The image of the phoenix (2.6) recalls the well in which Redcrosse is restored at I.xi.29-30 (cf. the simile comparing the ‘new-borne’ knight to an Eagle at I.xi.34). Guyon’s failed effort to wash the baby’s hands in this well has been diversely interpreted as an allegory of baptism and of Mosaic Law. See The Thirty Nine Articles IX, on original sin; XVI, on sin after baptism; and XVIII, on the insufficiency of the Law for salvation. Paul discusses these topics in Rom 5-7; see esp. 6:2-4: ‘Howe shall we, that are dead to sinne, live yet therein? Knowe ye not, that all we which have bene baptized into Jesus Christ, have bene baptized into his death? We are buried then with him by baptisme into his death, that like as Christ was raysed up from the dead to the glorie of the Father, so we also should walke in newnesse of life’. The language and imagery of these cantos suspend Temperance in the interval between baptism-into-death and resurrection into newness of life.
3.3 3.3 Cf. I.viii.40.3, ‘Entire affection hateth nicer hands’.
diverse: leading in different directions
3.9 diverse: Cf. I.i.10.9. Refers to the alternative hypotheses set forth in the next stanza; figuratively, plays out the characteristic pun on 'maze' in Spenserian 'amazement'.
in lieu of: in place of
4.3 in lieu of innocense: This interpretation of the stigma contradicts the hypothesis that the babe smiles on his dead parents 'As . . . innocent / Of that was doen' (1.7-8). The infant’s shocking combination of inherited guilt and ignorance of sin suggest to Paul’s description of life prior to the Mocaic law (Rom 7:9, ‘For I once was alive, without the Law’).
Imprinted: Cf. the pun on 'engrave' at i.60.1 and note; as a token of divine wrath the stigma would similarly be associated with the motif of revenge and the rhetoric of Despair at I.ix.47-49.
bloodguiltinesse: Normally, ‘guilty of bloodshed’, but here perhaps ‘guilt inhering in the blood’; see 3.4 and i.61.8 and notes. The word occurs twice more in FQ, at 30.3 and at II.vii.19.5.
4.6-4.8 4.6-8 These lines treat Mordant and Amavia as a single body: because he drank, ‘they dronk’, and ‘their blood’ is infected. In line 8 they become a single ‘tronck’. See i.60.1-4n.
charme and veneme: Cf. i.52.3, ‘words and weedes’.
4.7 The conjecture of 'secret filth' infecting the parents' blood implies venereal disease.
4.9 4.9 Since the bodies have not been dead long enough to decay their stench calls for explanation, although the 'great contagion' of this conjecture may blur the line between a natural cause like disease and a supernatural cause like sin.
at gaze: bewildered
to bord: to address
to bord: From the sense of coming up alongside a ship in order to go aboard.
hart amated: emotionally confounded
5.4 5.4 'Out of your ignorance you build up great wonderment/a great prodigy', referring at once to the conjectures of st. 4 and to the 'wavering wonder' that gives rise to them.
vertues: powers
5.8-5.9 5.8-9 ‘Whoever has the knowledge to have selected among waters based on their secret powers has been able to use them to effect wonders far beyond the ordinary’.
indewd: invested
6.1 indewd: The pun on the rhyming partner (invested with dew = in-dewed) aptly folds the action of supplying moisture back into the 'sourse', Dame Nature's breast.
great Dame Nature: A frequent character in medieval allegories from Alain de Lisle’s De Planctu Naturae to Chaucer’s Parlement of Fowles, the goddess Nature appears at TCM vii.5.1 and disappears at vii.59.9; Alain and Chaucer are mentioned at vii.9. Faunus, Diana, and another nymph (Molanna) also figure in TCM, along with an etiological fable about rivers.
6.5 Floraes painted lap: Flora is the Roman goddess of flowering plants, associated with natural fertility; cf. her image in Boticelli’s Primavera. Contrast her appearance in Redcrosse’s lustful dream (I.i.48.9) and E.K.’s reference to her as a Roman prostitute (SC March gloss to 16).
guifte of later grace: Echoing Rom 5:15: ‘But yet the gift is not so, as is the offence: for if through the offence of one, many be dead, muche more the grace of God, and the gift by grace, which is by one man Jesus Christ, hathe abunded unto many’.
vertue: Cf. 5.6.
St. 7-9 Cf. the enchanted well and indwelling nymph at I.vii.4-6. Spenser may base the fable of the well’s nymph on the legend of St. Winifred. For Drayton’s account of ‘the sacred fount of Winifrid’, see Polyolbion 10.124-164. There is a corresponding well in the episode from Trissino that Spenser draws on in Book II (L’Italia 4.673-697; see i.8-34n).
hartlesse Hynd: timid doe
hartlesse Hynd: With a pun on ‘hart’ as stag, ‘doe without a mate’.
Robucke: the male of a species of deer found in Europe and Asia
Dan Faunus: See 6.2n. Faunus is a wood-god, identified with Pan and associated with fertility but also specifically with amorous pursuit: Horace calls him Nympharum fugientum amator (‘lover of the flying nymphs’; Odes 3.18.1).
chace: Since the stanza form calls for a ‘b’-rhyme to end line 7, editors often emend to ‘pray’ (prey) or ‘ray’. Some who consider the repetition of ‘chace, / And chaced’ to be deliberate have devised interpretations for the violation; Kellogg and Steele 1965 note ‘four other passages in Book II, and nine altogether in The Faerie Queene, in which the early editions give a non-rhyming word in a position where an obvious synonym would rhyme . . . . The other imperfect rhymes in Book II are at ii.42.6, iii.28.7, viii.29.7, and xii.54.7’.
of shame affrayd: See i.20.5, 30.1-9 and notes.
8.4 Diana: The goddess of chastity and of the hunt. The nymph’s invocation of Diana and subsequent metamorphosis mark this episode as a self-conscious imitation of Ovid’s Metamorphoses; often cited are the transformations of Daphne in Book 1, Arethusa in Book 5, Biblis in Book 9, and Acis in Book 13.
dismayd: With its rhyme-partner ‘mayd’, emphasizes the paradox that the nymph can remain a maid (virgin) only by ceasing to be a maid (girl).
mate: The play on 'mayd' and 'mate' suggests by way of a pun that the miraculous well left Guyon 'amated' at 5.3 because its singularity derives from the nymph's refusal to be 'amated' (matched, joined) by Faunus. The fountain’s nymph is, therefore, figuratively the antithesis of the water that mixes with wine in the curse Acrasia uses to deceive Mortdant: ‘So soone as Bacchus with the Nymphe does lincke’ (i.55.6 and note).
9.3 old conceived dreads: Implicitly contrasting the conception of unchanging ‘dreads’ with the sexual conception that the maid refuses.
vertues: moral qualities; natural properties
tryde: proven
10.2-10.9 10.2-9 The Palmer’s interpretation of the bloody hands as a testament to Amavia’s ‘innocence’ neglects the Christian belief that suicide is a mortal sin; his sense of them as a ‘sacred Symbole’ calling for ‘revengement’ violates the Biblical injunction against revenge, and aligns Amavia uncomfortably with Duessa, in the preceding episode, as a distressed damsel appealing for vengeance. (See i.37.8n for the topical allusion in the 'bloody hand'.)
innocence: See 1.7-8, 4.3, and i.37.6-9. In the theological allegory, the mother 'in her last testament' bequeaths not innocence but original sin.
Symbole: OED identifies this as the earliest recorded use of the word in its modern sense to mean something that stands for something else.
dwell: Cf. Romans 7.17, 'the sin that dwelleth in me'.
moniment: warning or memorial
sell: saddle
11.7-12.4 11.7-12.4 The import of Guyon’s loss is suggested by the shared etymology of ‘chivalry’ and ‘cavalry’ from L caballarius horseman. In Le Morte Darthur, Sir Lamerok berates his brothers, unhorsed in jousting, by demanding ‘What is a knyght but whan he is on horseback? For I sette nat by a knytht whan he is on foote’ (10.48).
barbes: protective coverings for the chest and flanks of a war-horse
double burden: his own armor and that of Mordant
Built on a rocke: Cf. the ‘wise man, which hathe buylded his house on a rocke’ at Matt 7:24.
by equall shares in equall fee: The sisters inherit equal shares and equal rights to hold those shares.
drew them in partes: divided them into factions
13.7-13.9 13.7-9: Cf. Aristotle: ‘the extreme states are contrary both to the intermediate state and to each other, and the intermediate to the extremes’ (Nic Eth 2.8).
14.4 Medina: From L mediana in the middle, and perhaps also medens physician. Cf. SC Julye 234, Thomalin’s emblem, In medio virtus, glossed by E.K. with reference to ‘the saying of olde Philosophers, that vertue dwelleth in the middest, being environed with two contrary vices’. At Julye 236 this motto is counterpoised by Morrell’s emblem, In summo foelicitas, which replies to Thomalin’s ‘with continuaunce of the same Philosophers opinion, that albeit all bountye dwelleth in mediocritie, yet perfect felicitye dewlleth in supramacie’. The philosophers in question, who start out in the plural and then seem to coalesce into a single figure, are apparently Aristotle and Plato respectively.
enterprize: take in hand
14.9 enterprize: From L inter between and prendere to take.
courted: paid courteous attention to
15.6 15.6 ‘Beyond what would normally be the rational capacity of one so young’ (the paradoxical excess of the golden mean).
her selfe . . . did frame: directed her efforts and actions
wanton: Has a wide range of possible meanings, from ‘undisciplined’ to ‘amorous’ to ‘lewd and lascivious’.
Accourting: Cf. ‘comely courted’ at 15.2 above; this courting may simply be extravagant (‘lavish’), or it may be amorous. OED cites only this instance.
countenaunce: make a show of or pretend
16.8 countenaunce: OED cites only this instance for the sense ‘make a show of or pretend’.
17.2 Huddibras: The ‘great . . . name’ of an early English king whose role in Briton moniments resembles that of Medina rather than of his namesake in this episode: ‘Next Huddibras his realm did not encrease, / But taught the land from wearie wars to cease’ (x.25.4-5). The knight’s name associates him here with his chief quality (Huddi hardy + Fr bras arm) and with his armor of ‘shyning bras’; cf. Job 6.12, ‘is my flesh of brasse?’
17.8 He was more temperamental than courageous.
18.1 Sansloy: Last seen at the close of I.vi engaged in combat with Sir Satyrane.
middle space: Medina’s proper turf.
the scorned life to quell: Their rage is ultimately suicidal.
20.6-20.7 20.6-7 See 12.6-9n and 20.5n; the conflict between extremes not only disturbs the occupants of the castle but threatens its foundations (‘raysd’ = ‘raised’, but the secondary sense ‘razed’ threatens).
fouldring: flashing
20.9 fouldring: From L fulgere to flash and fulgur lightning-flash.
enraunged: arranged in an orderly fashion
21.5-21.9 21.5-9 The anticlimax of ‘to understond’ emphasizes the comedy of Guyun’s rushing in wielding sword and shield complete with Homeric epithet (‘sunbroad’) in order to ‘pacifie’ the combatants—not ‘as well he can’ (which the meter would favor), but ‘well as he can’, which turns out to be not very well. Having lost his horse and borne his armor as a ‘burden’ (12.4), Guyon is learning the limited value of armor and weapons in achieving temperance.
lybicke: Lybian
22.6 lybicke Ocean: Presumably the desert with its wave-like dunes, since bears and tigers would be unlikely to fight in a literal ocean.
surbet: footsore, bruised
22.7 surbet: Cf. III.iv.34.5.
24.1-24.9 St. 24 Cf. Ariosto, OF 21.53.1-6: Come ne l’atro mar legno talora, / che da duo venti sia percosso e vinto, / ch’ora uno inanzi l’ha mandato, et ora / un altro al primo termine respinto, / e l’han girato da poppa e da prora, / dal più possente al fin resta sospinto (‘As a ship on the high seas will sometimes be driven and buffeted by two winds, and one wind will thrust it onwards until the opposing wind blows it back whence it came; and it is slewed round, stem and tern, by the winds until the stronger of the two prevails’).
conduct: handling
dismade: Dismayed, i.e. discouraged, but the secondary pun ‘dis-made’ undercuts the narrator’s double . . praise (25.9) by suggesting that Guyon’s intervention partakes of the same destructive impulses that motivate the combatants. Cf. 20.5-7 and notes, and note further how Guyon ceases to be differentiated from the other two knights in 26.1-27.1, where the adjectives ‘valiaunt’, ‘miserable’, and ‘furious’ apply equally to all three.
darraine: engage in (combat)
26.2 darraine: With an emphasis (ironic, here) on the orderly drawing up of ranks in preparation for battle (cf. ‘enraunged’, 21.4).
triple warre: Cf. 13.7-9n.
jarre: strife
St. 27-33 Cf. IV.iii.46-52, where Cambina reconciles Triamond and Cambel.
27.2-27.3 tresses torne, / And naked brest: Conventional signs of grief.
bad: past tense of ‘bid’ (command)
28.2 bad: The line-ending floats ‘not good’ as a momentary (and apt) possibility.
pursew the end of: not put a stop to, but fight to the finish of
revoke: restrain, hold in check; or call back (to a state of reason)
fell: ferocious
29.2 Erinnys: The Erinyes (Roman name, Furies) are spirits of vengeance in Greek myth. Cf. ‘mortal vengeaunce’ and ‘fowle revenging rage’ at 30.4 and 30.9, as well as i.61.7, ii.10.8, and the repetition of ‘bloodguiltinesse’ cited in ii.4.5n. See also E.K.’s gloss to SC Nov 164 naming the three Furies.
29.2-29.3 29.2-3 At Aen 7.456-57 one of the Furies, Allecto, flings a torch at Turnus et atro / lumine fumantis fixit sub pectore taedas (‘and fixed in his breast the brand, smoking with lurid light’).
parts: attributes
thrust: stab
29.6 thrust: By metathesis, a 16th-c form of ‘thirst’.
liefest: dearest
jarre: strife
31.1 lovely Concord: See IV.x.34-35.
31.3 31.3 Cf. i.57.7-8, ‘The strong it weakens with infirmitie, / And with bold fury armes the weakest hart’.
31.7 Olive girlond: Cf. SC Apr 124, ‘Olives bene for peace’.
meeds: rewards
appall: subdue
abase: bow
requests: petitions
32.7 requests: Subjects petitioning the king were heard by a part of the council called the Court of Requests.
as a law: Compare the legal language here with allusions to passages on the law in Rom 7, glossed at i.54.5, 55.3, and 55.9.
32.9 32.9 I.e., they gave their word as knights to observe the terms of the treaty.
treague: truce
33.3 treague: From medieval Latin treuga and Goth triggwa, covenant.
grace to reconcile: to restore good feeling or mutual regard
grace to reconcile: L gratiam reconciliare.
to spoile / Themselves of soiled arms: to take off their armor, soiled in combat
froward: stubborn, perverse
all were they: although they were
34.6-34.8 34.6-8 Cf. Ps 39:11, ‘When thou wt [with] rebukes doest chastise man for iniquitie, thou as a mothe makest his beautie to consume: surely every man is vanitie’.
grutch: grouch or grudge
frett: consume
th’utter: the outermost
cheare: hospitality
35.1 Elissa: From Gr ελασσων elassōn (‘too little, inferior’). Cf. 34.9: having ‘too little’ appetite for pleasure, she presumably considers the ‘cheare . . . too mutch’.
solace: enjoyment
froward: hostile
governaunce: conduct
36.1 Perissa: from Gr περισσoς perissos (‘too much, excessive’), would be the sister who ‘thought her [Medina’s] cheare too litle’ (34.9). Throughout these stanzas Spenser plays with the irony of apparent opposites that actually mirror each other.
light: frivolous; also, wanton or unchaste
measure in her mood: In late medieval music ‘mood’ is a technical term used in describing aspects of rhythm, as for example in the singing of psalms. OED cites Sternhold et al. 1572: ‘To set out a full and absolute knowledge of the nature of the Scale: what moodes there are, & how many: what is perfection, what imperfection . . .’ (sig. Aviiv).
poured out in pleasure: Cf. I.vii.7.2, where Redcrosse lies ‘pourd out in loosnesse’.
exceeded her owne might: outdid herself
tire: attire
pranck: adorn
mineon: companion kept for sexual favors
francker franion: less restrained paramour
parts: qualities
Malecontent: A common character-type in Elizabethan and Jacobean drama; eventually (1604) the title of a play attributed to John Marston.
hardiment: boldness
extremities: points of utmost intensity
38.4 extremities: Cf. arg.3n.
outrage: extravagance
38.5-38.7 forward . . . froward: Cf. i.37.1n.
accorage: hearten
kept . . . her selfe in heed: kept watch over herself
attempered: harmonized
39.3-39.4 39.3-4 The turn from feasting to storytelling is repeated several times in Homer and Virgil, e.g. Il 1.469, Od 8.430-32, Aen 1.723, Aen 8.184-85.
39.8-39.9 39.8-9 Cf. Aen 2.1-2: Conticuere omnes intentique ora tenebant. / inde toro pater Aeneas sic orsus ab alto (‘All were hushed, and held their gaze bent upon him; then from his lofty couch father Aeneas thus began’).
lofty seige: place of honor
shene: bright
sustene: sustain
40.9 Echoing Ps 85:10, ‘Mercie and trueth shal mete: righteousnes and peace shal kisse one another’.
Idole: image
41.9 Idole: It is conventional to say that a monarch is the earthly resemblance of God’s magnificence. It is possible as well to suspect that offering ‘sacred reverence’ to a mortal ‘idol’ might evoke the sense, ‘Any thing or person that is the object of excessive or supreme devotion, or that usurps the place of God in human affection’ (OED), but the poet is careful not to say so.
magnificence: Identified in FQ Letter as ‘the perfection of all the rest’ of the virtues, and as represented ‘in the person of Prince Arthure’ (38-39).
42.4 Order of Maydenhead: Una tells Arthur that she was drawn to Gloriana’s court to seek aid against the dragon by the fame of ‘that noble order hight of maidenhed’ (I.vii.46.4), alluding to the Elizabethan Order of the Garter. For subsequent references see II.ix.6.6 and IV.iv.17-25.
42.6-43.9 42.6-43.9 This account revises the version given at FQ Letter 49-52 and 70-74, where the Palmer arrives at court with the infant Ruddymane already in hand.
make: The rhyme-scheme calls for ‘hold’, and some editors emend.
42.7 Traditionally the year was thought to begin on March 25, but Spenser begins SC in January, and more than half of the ‘Generall Argument’ is given over to a defense of this choice. If Gloriana holds her feast on the twelve days of Christmas, then this line probably refers to January 1.
44.1-44.2 44.1-2 Three months have passed.
roiall presence: Referring to the Presence Chamber, where the Queen, surrounded by her attendants, received visitors.
44.4 entrold: Cf. Zurcher 2007: ‘a curious and apparently textually corrupt word . . . that has excited the confusion and creativity of editors for three centuries. Its situation as a rhyme-word at the end of the fourth line of its stanza . . . links ‘world’ to ‘hold’ and ‘told’, which without . . . some phonetically hingeing or elastic word cannot be knit successfully together; its function as a phonetic bridge, with the trill moving metasthetically between ‘entrold’ and ‘entorld’ (a feat more straightforward in Elizabethan pronunciation than our own), strongly suggests that Spenser intended this exact spelling. . . . [T]he word itself also combines . . . enroll and enter--the Tudor legal senses of which words make semantic sense in a passage where Guyon is swearing a sacred oath to avenge the loss of Ruddymane's parents . . .’ (52).
45.1-45.4 45.1-4 Medina already knows the moral she wants the story to illustrate.
bale: suffering
45.5 I.e., misfortune or evil often leads to or procures good results when treated as an example.
46.1-46.3 46.1-3 Cf. SpE s.v. ‘constellations’. Orion has set beneath the horizon, followed in the night sky by the constellation Hydra.
wist: knew
1 Braggadocchio: Adds an augmentative suffix from Italian to the English ‘brag’, perhaps reflecting a common Tudor prejudice against ‘Italianate’ manners. Coined by Spenser, the name became an English noun meaning boastful swagger.
4 Belphoebe: Prefixes the Italian bella handsome to the Greek name for the goddess of the moon; cf. ii.44.1, where ‘faire Phebe’ anticipates and translates the name. Cf. also FQ Letter 36-37, where Spenser explains his invention of the name as an epithet for Queen Elizabeth ‘according to your owne [Ralegh’s] excellent conceipt of Cynthia, (Phoebe and Cynthia being both names of Diana)’.
behight: One of Spenser’s creative archaisms. Here may mean named or mentioned, with reference to Guyon’s account of his quest at dinner the night before (ii.43-45). But since the OE meaning is to promise or vow, the sense ‘pledged’ is also relevant.
many-folded: Cf. Il 7.220, where Ajax carries ‘a shield of bronze with sevenfold bull’s hide’ (χαλκεον εταβoειον, o οι Τυχ𝜄ος καμε τε𝜐χων; chalkeon etaboeion, o oi Tuchios kame tenchōn). The epithet ‘seven-folded’ is picked up by classical poets (e.g. Ovid, Virgil); it reappears at II.v.6.2-3 (Guyon’s ‘seven-folded shield’) and III.ii.25.7 (Arthegall’s ‘shield enveloped sevenfold’).
Congé: formal farewell
conjure: put under oath
2.3 conjure: Etymologically, ‘swear together’.
all that gentle noriture ensueth: everything that follows from, or is proper to, an aristocratic upbringing
2.8 Ruddymane: Combining ‘ruddy’ with L manus hands to translate the epithet ‘bloody-handed’.
2.8-2.9 2.8-9 The narrator seems unaware that teaching Ruddymane vengeance might be inconsistent with his training in ‘vertuous lore’ (because vengeance is sinful or belongs to the Christian God).
3.1-3.5 3.1-5, 9 The halting rhythm and the pun on ‘boot’ suggest an amused perspective on Guyon’s predicament, while the Palmer footing it ‘no more alone’ recalls the knight’s too-hasty response to Archimago and Duessa in canto i. These suggestions are gathered up in the final line of the stanza, where we read that Guyon ‘rushed in on foote’ to aid Amavia, abandoning his horse and spear.
Patience perforce: Proverbial (Smith 1970, no. 598).
kestrell kynd: a small breed of hawk that supports itself by facing into the wind
kestrell kynd: As a term of contempt it means something like windbag: thus Nashe in 1596 refers to ‘One of these kistrell birds, called a wind-sucker’ (Saffron Walden Kij). Making Braggadocchio into a species of hawk, the phrase recalls by way of a pun the argument’s statement that he ‘is of fayre / Belphoebe fowle forlorne’.
vaine: vein
4.5 vaine: With a pun on ‘vainglory’.
full light: ‘Light’ functions both as an adverb meaning ‘nimbly’ and as adjective meaning, in a military sense, ‘lightly armed’, while also suggesting that Braggadocchio lacks gravitas. ‘Full light’ is thus a complex oxymoron: being altogether or entirely frivolous, he is fully empty.
5.1 jollity: Carries a range of meanings including festivity, sexual pleasure, gallantry, splendor, jocularity, and, most immediately relevant, insolent presumption. The concentrated assonance of the back-vowels helps make the point, reinforced by the link between ‘swell’ and the wind-sucking behavior of the kestrell (4.4n).
personage: Close in range of meanings (physical appearance, image) to ‘person’, but more important-sounding. The personage is what Braggadocchio impersonates, taken in by his own imposture.
portaunce: carriage or bearing
gree: favor
5.9 t’advaunce his first degree: To get a promotion, now that he has knighted himself.
6.3 avaunting: Boasting, with an ironic echo of ‘advaunce’ (5.9).
6.3 bravery: Both bravado (looking back to ‘avaunting’) and finery (looking forward to line 4).
6.4 Cf. 4.4n.
prank: show off
ranck: headlong, recklessly
dead dog: A Biblical insult specific to the books of Samuel: 1 Sam 24:14, 2 Sam 9:8, 2 Sam 16:9.
thrall: slave or prisoner
Miser: wretch
Offall: piece of refuse
hold of him in fee: Legal phraseology (to hold land by virtue of one’s submission to a feudal lord) marking the scene as a parody of the homage ritual.
liegeman: vassal sworn to the service of his feudal lord

Trompart: From Fr tromper to deceive, by analogy to English ‘trump’, ‘trumpant’, ‘trumpery’, also derived from tromper and its forms trompant and tromperie. Parodies the ‘trumpets sterne’ of I.pr.1.4 much as Trompart parodies the function of the epic poet to ‘blazon forth’ praise; the name thus seems to emerge comically from the ‘bellowes’ of the preceding line.

Trompart and Braggadocchio have been read at least since Upton 1758 as glancing satirically at the courtship of Elizabeth by the duc d’Alencon and his agent Simier. For the literary antecedents of these characters in Ariosto, OF, and other texts, see the article on each in SpE.

vaunting eye: Translating the name ‘Braggadocchio’ through a pun on Ital occhio eye (Hamilton 2001).
10.3-10.4 10.3-4 Note the echo of 4.5 in ‘Vaineglorious’ and the expansion of 4.4 (‘kestrell kind’) in ‘when fluttring wind does blow / In his light winges, is lifted up to skye’—amplifying both the argument’s anticipatory pun on ‘fowle’ and the name ‘Trompart’ as associated with bellows and trumpet.
10.5 10.5 Cf. arg.2-3.
10.8-10.9 10.8-9 Honor as the reward of virtue (opposed to honor ‘without desert’) is most highly regarded among those who are nobly descended; or, honor as the reward of virtue carries its blossom (praise) within its seed (noble deeds).
11.2 Archimage: Last seen at i.25 provoking Guyon to attack Redcrosse.
thondring with his feet: With Braggadocchio in the saddle, even the horse’s gallop turns to bombast; the pun on ‘feet’ extends the parody of epic poetry (cf. 10.1n).
Efsoones: promptly
11.7-11.9 11.7-9 Archimago’s adversarial role both mirrors and opposes the linking of the virtues; cf. i.5.4-5n and i.34.2n.
golden sell: Repeated from ii.11.6.
sell: saddle
through hard assay forgone: ‘Lost in a difficult adventure’ or ‘renounced in a difficult test’. ‘Despight’ in line 8 may favor the first possibility, whereas at 17.6-9 Braggadocchio will elaborate the second.
12.7-12.8 12.7-8 ‘Has sworn never to wear another sword until he has avenged himself of that outrage’.
weened well: confidently supposed
foyle: defeat
Tho: then
louting: bowing down
13.7-13.8 13.7-8 Archimago’s lies typically misrepresent events that have occurred in the narrative, as if he were competing with the narrator for control over the course of the story; cf. i.10.3-9n and 11.7-9n.
gin: either the general quality of cunning or a specific trick
wreak: punish or avenge
14.3 14.3 As if their lives had been entrusted to him.
doughtie valiaunce: stout courage
meed: reward
areed: declare
prowest: worthiest; most brave or gallant
approved: tested or proven.
hard assay: Cf. 12.6.
to quayle: I.e. to daunt or overawe. Given the way bird-references flock to Braggadocchio it is difficult not to hear a pun on ‘quail’.
wotest: know
17.3 on even coast: Hamilton 2001 compares FQ 1596 IV.iii.24.8 on equall cost, suggesting that the phrases may mean either on level ground or on even terms.
17.6-17.9 17.6-9 A more boastful explanation than the one offered by Trompart at 12.6-8. Cf. OF 14.43 and 23.78, where Ariosto’s Mandricardo, armed only with a spear, swears he will bear no sword but Orlando’s.
17.7 17.7 Comically echoing ‘Seven at one stroke’, the motto of the ‘brave tailor’ in a folktale from the ‘Jack’ cycle. See SpE s.v. ‘folklore’.
Perdy: a mild oath
18.1 Perdy: From ME ‘par dieu’, ‘by God’.
blive: promptly
purchase to: obtain for
18.9 what mote that Monster make: What could bring about that wonder (L monstrum marvel or prodigy).
of: off
20.4 Cf. Ps 53:5, ‘There they were afraied for feare, where no feare was’; Lev 26:36, ‘the sounde of a leafe shaken shall chase them’; and Wisd Sol 17:1-18, ‘whether it were an hyssing winde . . . these feareful things made them to swone’.
bug: ghost, scarecrow, or hobgoblin
20.5 20.5 FE corrects ‘vnto’ in this line to ‘greatly’. 1596 and 1609 read ‘their haire on end does reare’, which we take to be authorial revision rather than correction of compositorial error.
faine: dissemble
Eft: then or soon (archaic)
21.3-21.4 21.3-4 In Sidney’s New Arcadia the shepherd Dametas ‘fell down flat of my face’ when frightened by a bear, and is seen ‘lying with his breast and head as farre as he could thrust himselfe into a bush: drawing up his legges as close unto him as hee coulde: for, like a man of a very kind nature, soone to take pittie of himselfe, he was full resolved not to see his owne death’ (ed. Dennis 1970, 83-84). Sidney left the revision of his New Arcadia (published in 1590) unfinished at his death in 1586. It is not known whether Spenser saw a copy in manuscript.
Eftsoone: then or soon (archaic)
great worth: elevated rank
stately portance: dignified bearing
stately portance: Contrast with the ‘gay portaunce’ (5.7) that Braggadocchio ascribes to the court.
21.9 borne of heavenly birth: The surmise of divinity is a frequent motif in Spenser. See SC Apr 163-65 and note, where the emblems trace this courtly compliment back to Aeneas’s wondering recognition of his divine mother, Venus, disguised as a maiden huntress in the woods outside Carthage. Many of the terms used to describe ‘Eliza’ in Colin’s song reappear in the description of Belphoebe. The phrasing ‘borne of . . . birth’ is pure redundancy unless the verb also suggests the past participle of ‘bear’ (carry, endure), a nuance supported by the proximity of ‘portance’, which means ‘bearing’. At Aen 1.405, Aeneas recognizes the disguised Venus by her stride: et vera incessu patuit dea (‘and in her step she was revealed, a very goddess’).

St. 22-31 These ten stanzas comprise a blazon, or formal pictorial description of female beauty. The primary motive is honorific, but satiric touches can be discerned. The passage interweaves echoes from Tasso’s Rinaldo, Ariosto’s OF, Virgil’s Aen, and Song Sol, which Ponsonby in 1591 (Complaints, ‘The Printer to the Gentle Reader’) says he ‘understands’ Spenser to have translated, although no such text survives.

The Virgilian echoes come from separate but related passages. They include details from the description of Venus as she appears to her son virginis os habitumque gerens et virginis arma (‘with a maiden’s face and mien, and a maiden’s arms’; Aen 1.315): namque umeris de more habilem suspenderat arcum / venatrix dedratque comam diffudere ventis, / nuda genu nodoque sinus collecta fluentis (‘For from her shoulders in huntress fashion she had slung the ready bow and had given her hair to the winds to scatter; her knee bare, and her flowing robes gathered in a knot’; Aen 1.318-20). These details link Belphoebe also to Diana, whom Venus partly impersonates with her virginal disguise; thus when Virgil compares Dido to Diana later in Book 1, the description echoes that of Venus: illa pharetram / fert umero gradiensque deas supereminet omnis (‘she bears a quiver on her shoulder, and as she treads overtops all the goddesses’; 1.500-501). Spenser mingles both passages in the blazon, suggesting that Belphoebe (and allegorically, Elizabeth) combines the beauty of Venus with the chastity of Diana.

22.3-22.4 22.3-4 Her face shines (L clarus) without blemish because the four humors are well-blended in her physical constitution. Cf. Song Sol 4:7, ‘Thou art all faire, my love, and there is no spot in thee’.
22.5-22.6 22.5-6 Cf. SC Feb 130-32, ‘Lilly white, and Cremsin redde, . . . Colours meete to clothe a mayden Queene’. The pairing of lilies and roses, frequent in Renaissance poetry, goes back to Song Sol 2:1, ‘I am the rose of the field, and the lilie of the valleis’. Its use to describe the complexion of the face, also conventional, may owe something to Song Sol 5.10, ‘My welbeloved is white and ruddy, the chiefest of ten thousand’. Also influential are Virgil’s description of Lavinia’s blush, mixta rubent ubi lilia multa / alba rosa (‘white lilies blush with many a blended rose’; Aen 12.68-69) and Ovid’s description of Corinna’s blush, Quale rosae fulgent inter sua lilia mixtae (‘Like roses gleaming among the lilies where they mingle’; Amores 2.5.37).
ambrosiall: Resembling ambrosia, variously the nectar, food, or ointment of the Gods, which has the power to confer immortality; cf. Virgil’s description of Venus: ambrosiaeque comae divinum vertice odorem / spiravere (‘and from her head her ambrosial tresses breathed celestial fragrance’; Aen 1.403-4).
22.8-22.9 22.8-9 Belphoebe’s cheeks evidently combine the powers of the well and tree of life in Eden (I.xi.30.1, 48.7-8). As indirect royal praise, this stanza’s hyperbolic attribution to Elizabeth of both divinity and the power to convey it to her beholders comes perilously close to blasphemy—or mockery. As Sidney in the New Arcadia drily observes of the queen of Laconia, ‘She was a queen and therefore beautiful’ (The Countess of Pembroke’s Arcadia, ed. Evans 159).
23.1-23.2 23.1-2 Expanding the epithet ‘Cleare as the skye’ (22.3n), these lines will be echoed in FH, where ‘lampe’ and its forms recur as figures for eyes, beauty, light-giving heavenly bodies, Christ, and God’s Beloved (e.g. HL 131, HB 59, HHL 170, HHB 274). This pattern reflects both the Neoplatonic definition of beauty as light and the biblical associations of ‘lamp’ (which appears some three dozen times from Exodus to Revelations).
23.2-23.9 23.2-9 The conventional notion of female beauty as a fire kindled in heaven, which is then darted out through the eyes to pierce the beholder’s gaze, is elaborated in FH, which also develop the contrast between the effects of cupidity (HL 106-140) and those of chaste love (HL 169-203). Spenser seems to be glancing at Ariosto’s description of Alcina’s eyes: intorno cui par ch’Amor scherzi e voli, / e ch’indi tutta la faretra scharchi / e che visibilmente i cori involi (‘around which Love seemed to play and flutter, and from whence he would empty his quiver, and which would visibly steal hearts’; OF 7.12.4-6; trans. modified from Waldman 1974).
persant: piercing
bereav’d: took away
24.1-24.6 24.1-6 Presumably Love has not yet engraved any triumphs in the broad, white expanse of Belphoebe’s forehead, since her face remains ‘withouten . . . blot’ (22.3) and the infinitive verbs (for Love . . . to engrave, / And write) suggest rather an inviting prospect than a finished inscription. All good and honour must therefore be red in the blank smoothness of the tablet’s untouched, virginal surface rather than in the text of Cupid’s battles and triumphs—all the more likely if, as 23.9 informs us, Belphoebe’s majesty breaks his warlike instruments. Less elaborately, Ariosto compares Alcina’s fronta lieta (‘serene brow’) to terso avorio (‘polished ivory’; OF 7.11.7). Tasso mentions Clarise’s fronte d’avorio (‘brow of ivory’; Rin 1.55.5), while of the Queen of Media he says, Sembrava a lei ch’Amor quivi locato / Tutte le sue vittrici insegne avesse, / E quale in carro suol di palme ornato / Trionfator altier, lieto sedesse (‘It seemed that Love had leased to her all his triumphant insignia, and that in his carriage ornamented with palms, the proud victor sat happily’; Rin 9.15.1-4).
table: tablet
dropping honey: Cf. Song Sol 4:11, ‘Thy lippes, my spouse, droppe as honie combes’.
rubins: rubies
24.8 rubins: Cf. Am 15.8, ‘if Rubies, loe, hir lips be Rubies sound’, and 81.10, ‘The gate with pearles and rubyes richly dight’. This and the lily-rose image from 22.6 are conventional enough that echoes may be incidental, but both occur together with the ivory brow in a single stanza of Tasso (Rin 1.55); cf. also RS 737.1-2: Quell’Angelica voce che si frange / tra bianche perle e bei rubini ardenti (‘That angelic voice [voice of Angelica] that breaks forth between white pearls and [bei] fiery rubies’; Rizzoli 1.713). Ariosto combines coral and pearls with the lily and rose in the description of Isabel: interotta da fervidi signiozzi, / che dai corali e da le preziose / perle uscir fanno i dolci accenti mozzi. / Le lacrime scendean tra gigli e rose (‘ardent sighs kept interrupting the flow of soft words which issued brokenly from her coral lips, which parted to disclose such precious pearls. Her tears descended between lily and rose’; OF 12.94.2-5; trans. Waldman, modified in last line).
24.9 silver sound: ‘Silver’ is one of Spenser’s favorite adjectives: cf. SC June 61 and note.
25.1-25.2 25.1-2 Cf. Am 40.3-4: ‘on each eyelid sweetly doe appeare / an hundred Graces as in shade to sit’, and SC June 25 gloss: ‘thys same Poete in his Pageaunts sayth. An hundred Graces on her eyeledde satte. etc.’.
belgardes: amorous glances
25.3 belgardes: Coined by Spenser from Ital bel guardo, ‘lovely look’.
retrate: Either retreat (from Fr retraite and L retrahere) or portrait (from Ital ritratto). For Spenser’s repeated play on the etymology of drawing and the metaphor of tracking, see II.i.12.7n. Here the combination of portraying-and-withdrawing repeats the dynamic of Love’s inscription at 26.1-6.
25.6-25.7 25.6-7 Cf. I.iv.2, ‘Mirrour of grace and Majestie divine’; this echo followed closely by ‘soveraine’ brings the reference to Elizabeth near the surface. She is a reflection both of her God’s grace and of his majesty, and (therefore) a reminder of her mortal subjects’ allegiance to their sovereign. For the link between ‘moniment’ and L monere to remind see glossary.
25.8-25.9 25.8-9 The inexpressibility topos makes explicit the back-and-forth between inscription and erasure or withdrawal reflected in the preceding lines. Spenser has translated (and intensified) Ariosto’s reference to painting: Di persona era tanto ben formata, / quanto me’ finger san pittori industri (‘She was so beautifully modeled, no painter, however much he applied himself, could have achieved anything more perfect’; OF 7.11.1-2).
descrive: describe or write down
camus: tunic
26.5 Purfled upon with many a folded plight: Ambiguous because of the doubled prepositions, and because ‘purfled’ can mean either ‘embroidered [upon]’ or ‘bordered [with]’. The simplest construal is to read as if a comma separated upon from with, which then would begin a new descriptor. Thus unfolded, the line might be paraphrased, ‘Embroidered and having many pleats’.
aygulets: spangles
26.9 The pattern of writing/withdrawing in the blazon, made explicit by the inexpressibility topos, is now made literal by the unfinished alexandrine, ‘broken’ like Cupid’s darts (23.9). Other half-lines appear at II.viii.55.9, III.iv.39.7, III.vi.26.4 (1590 only), and III.ix.37.5.
embayld: Spenser appears to be fusing the verbs ‘bale’, to hoop or bind, and ‘embay’, to surround. In TCM he will refer to Faunus in the custody of Diana’s nymphs as ‘within their baile’ (VII.vi.49.2); he uses the verb embay several times to describe immersion in a liquid, most recently at II.i.40.7 where Ruddymane ‘did embay / His little hands’ in his mother’s blood.
27.3 gilden buskins of costly Cordwayne: Knee-boots made of fine leather (named for the Spanish town of Cordova, where it was made), ornamented with gold-leaf.
bendes: bands
entayld: engraved
curious antickes: elaborately wrought grotesque figures
aumaled: enamelled
Before: in front
entrayld: interwoven
27.7-27.9 27.7-9 As Hamilton 2001 notes, this description suggests virginity (‘that none might see’) and thus evokes the phrase ‘virgin knot’. Ariosto has little to say about Alcina’s attire; it is her biondo chioma lunga that he describes as annodata (‘her long blond tresses . . . gathered in a knot’; OF 7.11.3). Tasso describes Clarice’s gambe snelle / sino al ginocchio ricoprendo ornava / di cuoio azzurro, e qual con aurei nodi / era da poi legato in mille modi (‘slender legs, up to the knee adorned with a covering of sky-blue leather, which was tied with golden knots a thousand ways’; Rin 5.13.4-8). For the Virgilian echo, see 22-31n.
28.1-28.4 28.1-4 Cf. Song Sol 5:15: ‘His leggs are as pillers of marble, set upon sockets of fine golde’, and 1 Cor 6:19: ‘Know ye not, that your bodie is the temple of the holie Gost . . .’. Given the discreet but persistent attention in the preceding lines to Belphoebe’s ‘golden fringe’ and ‘fouldings close enwrapped’, the ‘temple of the Gods’ supported by these ‘faire marble pillours’, which typologically represents the body as a whole, may be somewhat comically localized in the genitals. In such a reading, the festival crowds resorting to the temple become a preposterously indecorous image, perhaps travestied from the description of Dido’s first approach to Aeneas: regina ad templum, forma pulcherrima Dido, / incessit, magna iuventum stipante caterva (‘the queen, Dido, moved towards the temple, of surpassing beauty, with a vast company of youths thronging about her’; Aen 1.496-97).
port: gait or bearing
28.5 port: Cf. ‘stately portance’ (21.9).
play: The stanza-form calls for a b-rhyme here (cf. ii.7.7n); Church 1758 suggests ‘sport’.
knit: fastened
bauldricke: leather belt or girdle
29.5 bauldricke: Derived from the cingulum militare given by Roman emperors when awarding knighthood to equestrian soldiers. For the traditional use of the baldric as a symbol of knighthood (and in some contexts of chastity or temperance), see Leslie (1983:172-74).
Athwart: across, usually (as here) diagonally
29.5-29.7 29.5-7 For a visual analogue of Spenser’s emphasis on the baldric as accentuating Belphoebe’s breasts, see the band running across the breast of the Virgin Mary in Michelangelo’s first Pietá.
young fruit in May: Ariosto describes Alcina’s breasts as due pome acerbe, e pur d’avorio fatte, that vengono e van come onda al primo margo, / quando piacevole aura il mar combatte (‘a pair of apples, not yet ripe, fashioned in ivory’, that ‘rose and fell like the sea-swell at times when a gentle breeze stirs the ocean’; OF 7.14.3-5, trans. Waldman). The Chorus in Tasso’s Aminta sings about a golden age when naked virgins unveiled le poma del seno acerbe e crude (‘the young and unripe apples of their bosoms’; I.2.692).
29.8-29.9 29.8-9 Cf. Ariosto: Non potria l’altre parti veder Argo: / ben si può guidicar che corrisponde / a quel ch’appar di fuor quel che s’asconde (‘Argus himself could not see them entire, but you could easily judge that what lay hidden did not fall short of what was exposed to view’; OF 7.14.6-8, trans. Waldman).
crisped: curled
30.1-30.5 30.1-5 Tasso says that Rinaldo saw il crin parte ondeggiar al vento / parte in belli aurei nodi avolto e stretto (‘part of the hair to flutter in the wind, and part in lovely golden knots tightly wound’; Rin 1.54.3-4). For the Virgilian echo, see 22-31n.
flouring: blossoming
30.7 flouring: Combines ‘flowering’ and ‘flourishing’, both from L florere.
rude: natural, uncultivated
30.8 rude: Cf. line 6.
30.8-30.9 30.8-9 For a visual analogue to this description see Boticelli’s Primavera.
31.1-31.2 31.1-2 Another echo from the first book of the Aeneid (see 21.9n and 28.1-4n), once again alluding to Dido’s appearance on her first approach to Aeneas: qualis in Eurotae ripis aut per iuga Cynthi / exercet Diana choros (‘Even as on Eurotas’ banks or along the heights of Cynthus Diana guides her dancing bands’; 1.498-99). Eurotas is the principle river in Laconia, named after a legendary king of the region; Cynthus is a hill on the island of Delos where the goddess Diana was born, from which Roman poets derived the epithet ‘Cynthia’.
31.5-31.6 that famous Queene / Of Amazons: Penthesilea, at whose picture Aeneas is gazing when Dido approaches him: ducit Amazonidum lunatis agmina peltis / Penthesilea furens mediisque in milibus ardet, / area subnectens exsertae cingula mammae, / bellatrix, audetque viris concurrere virgo (‘Penthisilea in fury leads the crescent-shielded ranks of the Amazons and rages amid her thousands; a golden belt binds her naked breast, while she, a warrior queen, dares battle, a maid clashing with men’; Aen 1.490-93).
31.6 whom Pyrrhus did destroy: Most classical authors report that Penthesilea was slain at Troy by Achilles, not his son Pyrrhus. The exception is Dares Phrygius in de bello Troj (Upton 1758, qtd Var 2.218), but as Upton points out, this exception was the version that entered into the romance tradition, where Spenser would have found it echoed by Lydgate, Caxton, and Sir Philip Sidney.
31.7-31.9 31.7-9 According to Apollodorus, Proclus, and other classical sources, Penthesilea was first seen by Priam when she came to be purified of guilt for the accidental slaying of her sister Hippolyte while hunting (the fate that threatens Braggadocchio in Spenser’s episode). Presumably ‘The day’ refers forward to line 8, not backward to line 6: Caxton and Lydgate, for example, both report that Penthesilea fought with Pyrrus and the Myrmidons for a month before she was slain (III.96; Troy Book IV.4260-64). Spenser does seem to have picked up details from Caxton’s account: the verb ‘succour’ appears there in connection with Penthesilia (‘When she knew that the Greeks had beseiged Troy, she went to succor it with a thousand Virgins, for the love of Hector’; III.93), and at the end of her first day’s combat with the Greeks, ‘Queen Penthasilia returned into the City with glory and honour where King Priamus received her with joy, and gave her many rich jewels’ (The Destruction of Troy, in Three Books [ed 1670], III.94).
hartlesse: without courage or passion
Groome: a male servant
right haunch: Tasso’s Clarice is likewise pursuing a deer wounded entro la spalla destra (‘in the right shoulder’; Rin 1.53.8).
stedfast arrow: An arrow well-trimmed for accurate flight. Cf. Ascham 1545: ‘To make the ende compasse heauy with the fethers in fliyng, for the stedfaster shotyng’ (2.127).
St. 33 Following closely the address of Aeneas to Venus:‘nulla tuarum audita mihi neque visa sororum, / o—quam te memorem, virgo? namque haud tibi voltus mortalis, / nec vox hominem sonat; o dea certe!’ (‘None of thy systers have I heard or seen—but by what name should I call thee, O maiden? for thy face is not mortal, nor has thy voice a human ring; O goddess surely!’; Aen. 1.326-28; cf 21.9n). Tasso’s Rinaldo asks Clarice qual che vi siate, o donna o dea (‘whatever you may be, woman or goddess’; Rin 1.58.6). The topos originates with Odysseus’ address to Nausicaa: ‘I beseech thee, O queen,--a goddess art thou, or art thou mortal?’ (Od 6.149-50).
goodlyhed: Excellence either of appearance or of character (a deferential mode of address).
mewd: hidden
34.3 mewd: Hawks and falcons are ‘mewed’, or enclosed in a cage, while moulting; barnyard poultry are ‘mewed’ for fattening.
to marke the beast: to pinpoint its location
stowre: predicament
wight: creature or being
emprize: chivalric undertaking
35.6-35.9 nest . . . crest . . rowze: Cf. arg.3-4n, 4.4n, and 10.3-4n, reinforcing the sense of ‘rowze’ (both technical and rare) as a reference to the action of a hawk in ruffling its feathers. Cf. I.xi.9, where the dragon shaking his scales is compared to an eagle that ‘His aery plumes doeth rouze’.
St. 36 The mock-epic simile in this stanza unpacks the diction of 35.6-9 while reversing the species implied: Braggadocchio is no longer hunter but prey (or no longer ‘Scarcrow’, as at 7.1, but scared crow). These passages culminate a series of jesting references to birds at arg.4, 6.4, 7.1, 10.3-4, and 34.3.
silly: defenseless
36.7 fowle: Pun intended.
prune: preen
transmewd: transmuted
37.4 transmewd: Echoing ‘mewd’ at 34.3.
38.2 Braggadocchio awkwardly conflates Belphoebe’s ‘words’ with the ‘deeds’ and ‘vertue’ they praise (37.8-9)—as might be expected of one whose deeds exist only in words.
38.8 Above the Moone: Cf. ‘O fairest under skie’ (38.1), and Aen. 1.379: fama super aethera notus (‘my fame is known above the stars’).
with laurell girlond cround: Cf. I.i.9.1-2, ‘The Laurell, meed of mightie Conquerours, / And Poets sage’. As a conqueror who awards himself the laurel for purely verbal feats of arms, Braggadocchio offers a moment of sly self-parody by the poet whom Helgerson describes as a ‘self-crowned laureate’ (1983); cf. 10.1n.
St. 39 Cf. st. 5; Braggadocchio is himself en route to the court, where he hopes ‘to be receiv’d / For such as he him thought, or faine would bee’.
is fit . . . is fitt: Cf. 37.4, ‘Soone into other fitts he was transmewd’.
St. 40 The irony of putting this speech into the mouth of a character identified with queen Elizabeth is unmistakable. For precedents in Boiardo and Tasso, see OI 2.1.36-36 and GL 17.61-63.
40.6-40.7 who his limbs with labours, and his mynd / Behaves with cares: Who exercises his limbs with activity and regulates his mind with attention to serious matters (as Spenser’s own paraphrase in the next two lines suggests).
she: honor
41.7-41.9 41.7-9 Reprising the contrast from Book I between the House of Pride (iv.2.8-9) and the House of Holiness (x.5.9), which in turn restate Matt 7:13-14. These passages also echo Hesiod, Works and Days 287-91: ‘Badness can be got easily and in shoals: the road to her is smooth, and she lives very near us. But between us and Goodness the gods have placed the sweat of our brows: long and steep is the path that leads to her, and it is rough at the first’.
42.5-42.6 42.5-6 At this point Braggadocchio corresponds neither to Aeneas beholding Venus in the Aen nor to Ruggiero greeting Alcina in OF, but to Ruggiero when Angelica escapes from his grasp (11.1-9).
bastard: debased; unauthorized
Pesaunt: Here, a broad term of abuse implying both low social status and contemptible character.
fowle blott: For the pun on fowle, see the notes to the argument and subsequent references throughout the canto; blott signifies ‘disgrace’.
43.9 leave so proud disdain: Presumably Braggadocchio should mean to say that she leaves ‘with so much’ proud disdain; what he actually says is that she leaves the disdain behind, which implies that it is his, not hers (at 46.6-9 it passes over to Guyon’s horse). He projects his own affect onto Belphoebe more coherently in line 6, ‘Ne car’d he greatly for her presence vayne’.
Perdy: a mild oath
grace: mark of divine favor
Weening: supposing
chevalree: knightly skills of combat, esp. (as here) horsemanship
erne: yearn
Furor: madness fueled by anger
1 arg.1 Aquinas writes that ‘the first reaction of anger is called wrath; enduring anger is called ill-will; when it seeks an opportunity for revenge it is [furor] . . . the Greek word θυμωσις thymosis, which in Latin becomes furor, may imply both quickness to anger and a firm intention to obtain revenge’ (Summa I, qu. 21, art. 108-11, translation modified).
occasion: See OED for the personification of Occasion in 15th- to 17th-c usage, typically as a figure representing opportunity—a commonplace that dates back to late antiquity in the Roman poets Ausonius and Phaedrus, appears in the Greek Anthology, and is illustrated in contemporary emblem books such as Whitney (1586, no. 181, In Occasionem). Given the extended allegory of sin and the law in canto i, with its texture of allusions to Romans 5-7, the mention of ‘occasion’ here will also recall Paul’s celebrated definition of the law as the ‘occasion’ of sin (Rom 7:8); the provocative inversion of causality on which Paul insists (the law creates sin) foreshadows the repeated compounding of cause and consequence in this episode. Cf. also Paul’s admonition against using ‘liberty as an occasion unto the flesh’ (Gal. 5:13-16).
3 Phaon (Phedon 1596): Phaon is the young man addressed by Sappho in Ovid’s Heroides 15. Phedon is mentioned by Aulus Gellius (Noctes Atticae 2.18) and by Ficino (In convivium 6.16) as a handsome young man rescued by Socrates from sexual slavery.
vulgar . . . seed: the common people
pretence: purpose or intention
borne: carried; born;
native influence: birth rather than training
1.5 native influence: ‘Seed’ and ‘blood’ stress ancestry, but ‘influence’ also suggests the effect of the stars at nativity.
skill to ride: Etymologically, chivalry, originally a synonym for ‘cavalry’, but in extended use a term for both the military skills and the ethos of gallantry specific to armed knights in the late Middle Ages.
faine: ‘pretend’ (feign), with a play on ‘wish’ (fain)
menage: handle
1.9 As a noun, ‘menage’ names the ability both to ride horses and to train them.
2.2 The repetition of ‘menage’ emphasizes the allegorical connection, reinforced by the ambiguity of the pronoun ‘his’, between the knight’s horse and the knight’s passionate nature. Cf. the tensions in the opening procession of Book I, where Una rides slowly on a donkey while Redcrosse both spurs his steed and reins it in, or in the first canto of Book II, where Guyon rushes ahead leaving the Palmer behind. Such passages reflect the tradition descending from Plato’s Phaedrus in which the passions are represented as a horse resistant to the bit (cf. 34.1-2, ‘most wretched man / That to affections does the bridle lend’). Here the passion in question is pride, humbled by the need to go on foot; in canto i, it was anger leading to haste.
yeed: go
2.3 yeed: In ME, ‘yeed’ is the past tense of ‘go’; the infinitive ‘to yeed’ appears only in pseudo-archaic usage by 16th-c poets.
slide: go astray
2.6-2.9 2.6-9 Cf. the Palmer’s moralization of the polarity of strength and weakness at i.57.7-9; both passages reflect Aristotle’s concept of virtue as a mean between the excess and deficiency of a given quality (Nic Eth 2.6-9).
3.2, 5 See 10.2-5n. Spenser’s equivocations echo the simile describing Aeneas’s glimpse of Dido in the underworld: qualem primo qui surgere mense / aut vidut aut videsse putat per nubila lunam (‘even as, in the early month, one sees or fancies he has seen the moon rise amid the clouds’; Aen 6.454). Milton echoes this echo in a conspicuously Spenserian moment at the close of PL 1, when ‘Some belated peasant sees / Or dreams he sees’ a fairy dance by moonlight (781-88).
agree: conciliate
3.4 in hast it to agree: For Guyon’s tendency to respond ‘in haste’, see i.13.1-2, i.39.2, ii.25.1, and especially ii.21.6-7.
3.5-3.7 3.5-7 In ‘Slander, A Warning’ (an essay widely known in the Renaissance), Lucian describes a painting by Apelles that shows Slander ‘haling a youth by the hair’ (Works 4.2). He explains that Apelles—falsely accused of conspiracy and nearly executed—transformed his experience into an allegorical painting. For a full account of the Renaissance literary and pictorial tradition to which Lucian’s brief essay gave rise, see Cast (1981).

st. 4-5 Spenser’s allegorical portrait of the ‘wicked Hag’—not named until the Palmer identifies her as Occasion at 10.9—draws upon literary and iconographic traditions for several related figures, including Occasion, Penitence, Fortune, Envy, Discord, and Punishment. Within these traditions, the attributes, appearances, and accoutrements of such figures continually alter as the concepts they embody are redefined. Kiefer (1979), for example, describes the gradual conflation of Fortune with Occasion in the literature, emblems, paintings, and imprese of the Italian Renaissance, as the medieval view of an arbitrary force imposed upon largely passive victims yields to a rival conception of Fortune as a variable set of conditions to be met and mastered by the resourceful human agent.

Occasion is regularly depicted in emblems as a naked young woman with winged heels, not a lame hag clothed in rags. The lameness of Spenser’s hag in 4.3 may echo a verse from Horace used by Van Veen in Horatii Flacci Emblamata (Plate 27a): raro antecedentem scelestum / deseruit pede Poena claudo (‘Punishment with her lame foot rarely forsakes the fleeing criminal’; Odes III.ii.31-32); it may also echo Homer, who says that the sharp-tongued detractor Thersites was ‘bandy-legged and lame in one foot’ (Il 2.217). See Var 2.225-27 and Manning and Fowler (1976).

Beyond these echoes, Spenser recombines elements from at least three sources, Lucian, Ausonius, and Boiardo. From Lucian he takes the image of the young man dragged by the hair—transferring it from Calumny, a beautiful woman, to his ‘mad man’. (The theme of calumny will resurface when this young man’s story is revealed). Unlike Calumny, Spenser’s ‘wicked Hag’ comes stalking after the young man dragged by his hair, in the place of Lucian’s Penitence. As a provocateur in this oddly trailing position, she reflects a persistent motif in canto iv wherein temporal sequences are reversed.

In Ausonius, Epigram 33, Occasio and Metanoea (Regret) appear together as a before-and-after pair. Boiardo offers a similar conception: Orlando, failing to grasp the forelock of Fata Morgana, is set upon by a hag with a flail who identifies herself as ‘Penitenza’ (OI II.ix.1-20). The forelock is a familiar attribute of Occasion, as in the proverb ‘Seize occasion (opportunity, time) by the forelock’ (Smith 1970, no. 777) and in the emblem tradition illustrating it, e.g. Whitney’s In occasionem: ‘What meanes longe lockes before? that suche as meete / Maye houlde at firste, when they occasion finde. / The head behinde all balde, what telles it more? / That none shoulde houlde, that let me slippe before’ (lines 9-12; see arg.2n).

Spenser joins the forelock of opportunity to the abusive speech of Calumny, the ‘vengeaunce’ visited upon her victims by Punishment, and the trailing position of Penitence. This conception mingles figures of consequence with those of cause, suggesting, for example, a connection between the youth dragged along by his hair in st. 3 (consequence) and the forelock (st. 4) by which ‘cause is caught’ (44.6). This compounding of before-and-after reflects the broad irony by which characters in the canto, having mistaken an allegorical figure for the causes of wrath (arg.2n) as the conventional emblem of an opportunity to be grasped, find themselves pursued by the uncontrolled fury they have sought (cf. 32.1n).

4.1-4.2 4.1-2 Cf. Lucian’s description of Penitence, as translated by Melanchthon: A tergo, lugubri habitu, pullata laceraque Poenitentia subsequitur (‘Following behind in mourning guise, black-robed and with torn hair, comes [I think he named her] Repentance’). Bull conjectures that Spenser read pullata as ‘filthy’ rather than ‘black’ (1997, n10).
n’ote: could not, a contraction of ‘ne mote’
walke: ‘move briskly’ (unlike her feet)
5.1 5.1 Cf. Jas 3.6: ‘set among our members . . . [the tongue] defileth the whole bodie, and setteth on fire the course of nature, and is set on fyre of hell’; to which the Geneva gloss adds ‘the intemperancie of the tongue is as a flame of hel fyre’.
raught him: ‘brought him’, from ME past tense of ‘reach’ in the sense of ‘give, pass’ (OED).
impetuous: rash
6.3 6.3 See ii.21.5-9n for Guyon’s previous effort to pacify with force.
mighty hands: Cf. Medina’s contrast between ‘mighty hands’ and ‘rightful cause’ at ii.29.8-9.
6.8 The madman’s lack of governance (7.2) is anticipated here in the disarticulated flailing of his hand-to-hand combat, which resembles a tantrum.
wist: knew
6.9 avengement: Trisyllabic.
mickle: much
7.2 governaunce: See i.29.9n for the link to Guyon’s rash anger in the opening episode of Book II.
wyde: Echoing the efforts of passion ‘from the right way . . . to draw him [Guyon] wide’ (2.7).
blent: blinded
7.7 reason blent through passion: Cf. I.ii.5.7, ‘The eie of reason was with rage yblent’.
at randon: Randomly; from OF randir to run fast, hence also impetuously (cf. 6.3).
menaging / Of armes: skilled handling of weapons
8.3-8.4 menaging / Of armes: Cf. 1.9, 2.2; Guyon’s skill is contrasted to the madman’s lack of governance (7.2).
nathemoe: not at all
more enfierced: provoked to greater fierceness
8.8-8.9 The first of several suggestions that in wrestling with the figure of rage Guyon wrestles himself.
villein . . . clownish: peasant . . . rustic
9.1-9.2 villein . . . clownish: Cf. the emphasis on social class in st. 1, and note the contrast between ‘clownish fistes’ and ‘manly face’.
in the place: right then and there
9.4 in the place: For the figurative treatment of space in this episode, see 32.4n.
emboyling: boiling, agitated
unbrace: loosen
10.2-10.5 10.2-5 Echoing the equivocations at 3.2 and 3.5, the Palmer tells Guyon that he only ‘seems to see’ Furor. Having personified both Furor and Occasion as embodied agents whose features, actions, and accoutrements call for interpretation, the allegory now insists they are not really embodied agents after all. Spenser’s allusion to the ‘Calumny of Apelles’ topos, with its emphasis on the artistic processes of embodiment and depiction (see 3.5-7n), anticipates this self-conscious undoing of personification. The Palmer’s decoding sheds light as well on the motif of inverted cause and consequence (st. 4-5n), which complements the transposition of self and other whereby Guyon misreads his own affective state as an embodied adversary (8.8-9n).
10.6-10.9 10.6-9 Here as often, names are disclosed not when a character first appears, but in a climactic moment, to signal that the character’s nature has been revealed. In this instance, the moment of naming confirms an interpretation in which personification as such is revealed to be a symptom of rage.
10.9 10.9 The Palmer seems less concerned that Guyon repress anger’s consequences than that he discern its causes. To disentangle self from other in dealing with rage is also to clarify the relation of causes to consequences.
St. 11 Cf. 2 Cor 11:12: ‘that I may cut away occasion, from them which desire occasion’. The Palmer’s advice that anger needs to be prevented (L pre + venire to come before) arrives belatedly, much as Occasion, with whom he says Guyon ‘Must first begin’, trails after the fury she provokes, introduced with the words ‘And him behynd’ (4.1). On the episode’s play with hysteron proteron, see the notes to 10.2-5 and st. 4-5.
amenage: domesticate
11.2 amenage: From ménage as household, but cf. 1.9, 2.2, and 8.3-4. The emergence of this term as a motif underlines the allegory of horsemanship as anger-management.
corage: wrath
eath: easy
ydle: unoccupied
wood: mad
11.9 11.9 Blocking a river without stopping its source will cause it to flood. Cf. Smith (1970, no. 731), ‘The stream (current, tide) stopped swells the higher’, and Prov 17:14, ‘The beginning of strife is as one that openeth the waters; therefore or [ere] the contention be medled with, leave off’. The Palmer’s advice points to the consequences (flooding) of not attending to causes (stopping the source).
emprise: undertaking
hent: seized
12.2-12.3 12.2-3 Belatedly realizing the proverb ‘to seize occasion by the forelock’ (Manning and Fowler 1976: 264).
n’ould she stent: she would not cease
n’ould she stent: ‘n’ould’ is a contraction of ‘ne would’, ‘stent’ a form of ‘stint’.
he: Guyon
an yron lock: Evoking the branks, or scold’s bridle, ‘a kind of iron framework to enclose the head, having a sharp metal gag or bit which entered the mouth and restrained the tongue’ (OED).
the last help: Both Furor and (as lines 4-5 retroactively suggest) the hands she uses to summon him.
note: could not
defaste: undone
14.3 defaste: The sense ‘destroy, demolish’ reflects the Latin roots of the word (de + facere to make, to do). Given the canto’s emphasis on allegorical personification, the sense ‘mar the face, disfigure’, with its proximate etymology in Fr deffacer (de + face face), suggests that Furor’s defeat is accomplished by undoing the personfication that had given a face and body to an affective state.
at earst: promptly
quaild: daunted
re’nforced: reinforced
15.1-15.2 hundred yron chaines . . . And hundred knots: See Jupiter’s prophecy of the Augustan pax in Virgil: Furor impius intus / saeva sedens super arma et centum vinctus aënis / post tergum nodis fremet horridus ore cruento (‘within, impious Rage, sitting on savage arms, his hands fast bound behind with a hundred brazen knots, shall roar in the ghastliness of blood-stained lips’; Aen 1.294-96).
strakes: streaks
15.5-15.6 15.5-6 Wrath’s eyes similarly give off sparks of fire in the House of Pride (I.iv.33.5-6).
15.5-15.9 15.5-9 The red of Furor’s eyes, the copper of his hair, and the yellow- or orange-brown of his beard are all conventional signs of an irascible temperament. Humoral theory ascribed this temperament to an excess of choler, called ‘yellow bile’ and often associated with the color red.
rank: extreme
16.1 Guyon Furor had captivd: On the episode’s deliberate confounding of self and other, see notes to 8.8-9 and 10.2-5. The question whether Guyon will ‘captive’ Furor or be ‘captivd’ by him has been the crux of the passage; here, the juxtaposition of names underlines the reversibility of the syntax even as context resolves the question.
lying on ground, all soild with blood and mire: The posture of this ‘wretched Squire’ echoes that of the prostrate Mortdant in canto i: cf. ‘the soiled gras’ upon which ‘the dead corse of an armed knight was spred, / Whose armour all with blood besprincled was’ (41.1-3).
respyre: Literally, to breathe; figuratively, ‘To breathe again, after distress, trouble, etc.; to recover hope, courage, or strength’ (OED).
recured: Combining the senses of ‘cured’ and ‘recovered’.
16.9 caytives: Wretch’s, villain’s, but the more specific sense ‘captive’s’, followed by the doubling of ‘thrall’, emphasizes the circularity of Furor as a form of self-captivity or self-defeat.
St. 17-35 The following inset narrative derives from Ariosto (OF 4.42-6.61) and reappears in Shakespeare’s Much Ado About Nothing (see Evans 2010 on the relations among the three texts). Spenser’s is the only version related in the first person. Tales of friendship destroyed by love (or love destroyed by false friendship) have a distinguished history that includes Chaucer’s ‘Knight’s Tale’ and Shakespeare’s Othello. The story recalls Archimago’s use of a fabricated tale and a disguised female to provoke Guyon at II.i.9-30, and his earlier use of disguised sprights to enrage Redcrosse at I.ii.3-6.
17.2-17.5 17.2-5 These lines introduce a self-exculpating motive that reappears throughout the squire’s tale.
whelming: engulfing
17.5 whelming: In earlier usage, the mention of Fortune refers to the downward turn of her wheel; the sense of submerging under water also recalls Fortune’s association with the sea in the emblem books. Using the term to describe her ‘lap’ may recall the Palmer’s complaint to Gloriana that the ‘wicked Fay’ Acrasia had ‘many whelmd in deadly paine’ (ii.43.3-4), especially as it anticipates the reiterated association of the Bower of Bliss with various female laps (v.36.3, vi.14.6-7, vi.15.4-5, xii.76.9). Fortuna and Occasion were sometimes described as beautiful (or depicted as nude) to emphasize their potentially deceptive allure.
weake wretch: Either one who is helpless and miserable or one who is morally feeble and hence contemptible.
mischiefe: misfortune
trech: trick
17.8 trech: Not in OED; probably formed from ME ‘treche’, to deceive or betray. The c-rhymes in this stanza are revised or corrected in 1596, replacing ‘her guileful trech’ with ‘through occasion’ to rhyme with ‘weakest one’ and ‘light upon’.
18.3 The shared breast of their nurse identifies the two as foster-brothers.
Attonce: together
It was my fortune: Echoes both the opening of st. 18, ‘It was a faithless Squire’, and the emphasis on fortune and ‘hap’ in st. 17. The squire, who characterizes ‘Misfortune’ in terms of female sexual allure (17.5n) even though he knows his male friend to be the source of the ‘guilful trech’ (17.8) that brought him to mischief, fails even now to distinguish his fortune from his misfortune.
partake: inform
20.1 Philemon: From Gk φιλημων philēmōn affectionate. A common Greek proper name, it became the title of ‘The Epistle of Paul to Philemon’ and hence a Christian name of some currency in 16th-c England.
privitie: personal business, intimacy, or secrets
grace: favor
21.1 grace: Cf. ‘gratious’ (20.4), meaning courteous or benevolent, with a secondary sense of charming or pleasing.
Affyaunce: betrothal
mariage make: Cf. Epith 216-17: ‘sacred ceremonies . . . / The which do endlesse matrimony make’.
falser: very false
toward: approaching
22.2 toward: The related sense ‘favorable or propitious’ is also relevant.
assynd: allotted
distaind her honorable blood: stained her family’s honor
stay: pause
22.9 stay: Phaon’s diction in this stanza is marked by legalisms, including treason, assynd, bynd, and stay.
sad: Relevant senses include wise, discreet, sober, grave, mature, sorrowful, and distressing.
infixed: Used twice previously in the poem, both times to describe the action of stinging, first by Errour’s brood (I.i.23.6) and then by the Dragon in Eden (I.xi.11.8). Cf. ‘out wrest’ (23.5) and ‘mortall sting’ (33.5).
engreeved: ‘filled with grief’
23.4 engreeved: Given the legal coloring of Phaon’s diction in this passage, the sense ‘made into a grievance, taken as a ground of accusation’ may be relevant (OED).
sacred band: Cf. 18.6. Phaon’s language reflects a set of attitudes and social practices characteristic of early modern friendship in one of its specific forms: a learned tradition, with classical and medieval roots, in which the formal exchange of vows solemnizes a degree of intimacy, intensity of affect, and sense of mutual obligation that modern custom more often reserves to the marriage relation or domestic partnership.
boorded: approached
boulted: sifted
24.2 boulted: The proverb means that Philemon has found out the truth. Spenser may be echoing Chaucer, CT Nun’s Priest 7.3240: ‘But I ne kan nat bulte it to the bren’.
groome of base degree: A groom is a serving-man or other male of inferior position. Phaon and Philemon have both been identified as squires (16.2, 18.1), a rank just below knighthood. The distance between Phaon’s rank and that of the groom is real, then, but may be less than the distance between himself and his lady of ‘great degree’. His phrasing recalls the ME romance ‘The Squire of Low Degree’, which similarly turns on a deception that keeps the squire apart from his beloved, the king’s daughter.
partener Paramoure: partner by way of sexual desire
24.4 partener Paramoure: The adverbial sense of ‘Paramoure’ reflects its derivation from OF par amour, by or through love. Spenser here plays the sexual sense against the polite usage in which it meant ‘for the sake of love’ or ‘if you please’. Partener glances at its synonym ‘parcener’, familiar in such standard legal phrases as ‘parcener per le cours de commune ley’ and ‘parcener per le custome’ (partner in the course of common law, partner by custom). Spenser’s mock-legalese implies that the ‘groome of base degree’ is a ‘parcener per amour’, that is, a joint tenant in Claribell by virtue of an adulterous liaison.
that: that which
nearer move: more closely affect
gracelesse: Unregenerate, lacking decency; cf. 21.1, 20.4, and 25.4, ‘more pleasing to appeare’.
embosome: cherish; conceal
25.6 Pryene: From L prae before + iens going. Gk πυρ pyr ‘fire’ is also suggested by the reference to ‘blazing pride’ at 26.3. Note the alliterative link to ‘proud through praise’ at 27.1.
25.7-25.9 25.7-9 Cf. 17.4-8, 19.1 for the recurrent emphasis on fortune.
deface: outshine
25.9 deface: Immediate context suggests the sense ‘outshine by contrast’, but the word and its etymology also link Phaon’s tale to the preceding episode’s concern with the poetics of ‘impersonation’ (see 14.3n).
blent: blinded
26.3 blent: Cf. 7.7. She blinds ‘their blazing pride’ by outshining it. In ME the verb can also mean to conceal or put out of sight.
26.5 Claribell: From L clara famous or bright + bella beauty.
as thou art: The rhyming pair (‘all her art’) pointedly contrasts the being ascribed to Pryene with the artifice attributed to Claribell—ironically, since Pryene will soon be dressed in Claribell’s identity.
26.8 Pryene’s impersonation of Claribell, mingling social advancement with pride in ‘gorgeous geare’, recalls the themes of Braggadocchio’s knightly imposture in the previous canto (see esp. iii.5) as well as the emphasis throughout this canto on the trope of allegorical personification.
treachour: traitor; deceiver
27.3 treachour: At 17.8 Phaon ascribed the ‘guilful trech’ to Fortune; here he more properly ascribes it to Philemon, but the accusation still serves to shift his own guilt onto another.
27.3 did remove: Hamilton suggests ‘moved again’ (2001), although OED does not record such a usage. Alternatively, Phaon may be saying that Philemon ‘transferred’ the deception to him; ‘Me leading’ suggests that Phaon is as much self-deceived as betrayed by another.
engin: plot, scheme
27.6 Phaon does not recognize himself as the subject of ‘his’ tragedy.
proper: own
weend: supposed
assayd: afflicted
28.7 assayd: According to OED influenced by ‘assail’.
28.8-28.9 28.8-9 ‘I would rather suffer death ten thousand times than the pain of jealousy and the shame of disgrace’.
deathes: Disyllabic.
priefe: Proof, test. The action of passing through (‘proving’) death is central to Book II, from the allegorical tableau of Mortdant and Amavia in canto i to Guyon’s swoon in canto viii and Arthur’s confrontation with Maleger in canto xi.
gealous worme: serpent of jealousy
repriefe: disgrace
chawing: chewing; ruminating
29.6-29.7 29.6-7 ‘For when, asked the cause of my outrageous deed, I laid out [my justification] for all to see . . .’.
30.1-30.5 30.1-5 The movement from ‘my selfe’ to ‘him’, reinforced by the repetition of ‘first’, shows Phaon displacing the cause of his ‘hellish fury’ to a source outside himself, in keeping with the self-exculpatory motives of his tale. In replacing himself with another as the source of his rage, Phaon enacts the reversal central to the allegory in this canto (see 10.2-5n).
vengeable despight: cruel injury
vengeable despight: Suggesting an outrage that calls for vengeance (cf. 29.2).
faytour: impostor
washt away his guilt: Sardonic reference to absolution. In a Book marked by failed absolutions (Ruddymane in canto ii, Pilate in canto vii), Phaon’s poison is the one instance of efficacious ‘washing’.
31.4-31.5 31.4-5 Playing on the Latin etymology of the name (see 25.6n).
31.5-31.6 first . . . last: In a canto filled with reversals of sequence (see 4-5n and 10.2-5n), Pryene’s move from first to last in Phaon’s program of vengeance suggests that he imagines himself to be working back from consequences to causes (see 30.1-5n). That his confidence is deluded may be suggested by the phrase ‘poursewing my fell purpose’, which implies that he is chasing his own anger.
ghastly dreriment: ‘Dreriment’ is coined by Spenser from ‘dreary’, by analogy to merry/merriment; synonyms are ‘drerihed’ and ‘dreriness’. ‘Dreriment’ appears 12 times in FQ, and is ‘ghastly’ a third of the time.
enforst: compelled; reinforced
32.1 32.1 The rage that ‘enforst’ Phaon’s flight takes embodied form as the ‘mad man’ who pursues him. This emergence of the allegorical personification out of passionate delusion reverses, and retroactively explains, the Palmer’s earlier undoing of the personification allegory (see notes to 10.2-5 and 10.9).
Till: Spenser often uses temporal succession to imply causality.
in middle space: Allegorically the place where extremes are moderated (see ii.20.3); also the rhetorical space in which the relations of first/last, cause/effect, and self/other are subject to chiasmus, or reversal.
32.5 The pattern of self/other reversal is mirrored in the chiasmus of the pronoun sequence ‘I her . . . he me’.
sore chauffed: severely chafed; raged
32.8 The metaphor acknowledges that Furor’s power arises from Phaon’s ‘heat’.
me doen to dye: they have almost killed me
stubborne handeling: ruthless treatment
mortall: deadly
33.5 mortall: Also, characteristic of mortal existence; capable of depriving the soul of grace (as in ‘mortal sin’).
diseasd: Afflicted with illness, but the rhyme-partner ‘easd’ calls attention to the broader meaning implicit in the etymology: deprived of comfort, tormented.
St. 34 For the polarity of strength and weakness as central to temperance, cf. i.57.7-8, ‘The strong it weakens with infirmitie, / And with bold fury armes the weakest hart’, and ii.31.3, ‘Weake she makes strong, and strong thing does increace’.
affections: passions
the bridle lend: See 2.2n.
betimes: speedily; before it is too late
perfect: mature or complete
34.6 perfect: From L perfectus fully grown.
34.7-34.8 34.7-8 Cf. xi.1.1-4 and the attacks on Alma’s castle in cantos ix and xi.
St. 35 Abraham Fraunce quotes these lines in full in Arcadian Rhetoric (1588, E3r) as an example of polyptoton, ‘the repetition of a word in different cases or inflections within the same sentence’ (OED). The four passions on which the elaborate patterning of the syntax is based correspond to the four humors: wrath to choler, jealousy to phlegm, grief to black bile, and love to blood.
do thus expell: This and the verb phrases in lines 6-8 are to be construed as imperatives; cf. Col. 3:8: ‘But now put ye away even all these things, wrath, angre, maliciousnes’.
filth: lust; sins of the flesh
35.4-35.5 35.4-5 ‘The fire bred from sparks, the weed bred from a little seed, the flood bred from drops, and filth bred the Monster’. The lines employ a version of zeugma known as syllepsis: three intransitive clauses are paralleled with a fourth transitive clause, all linked by zeugma to the verb ‘breede’. The effect, in an episode concerned with reversals of sequence, is unsettling.
delay: allay; dilute or temper
outweed: weed out
mischiefe: Cf. the squire’s self-exculpating accusation against ‘Misfortune’ at 17.8, and ‘Unlucky’ in line 1
36.4 governaunce: Cf. Guyon’s ‘goodly governaunce’ (i.29.8n) and Furor’s manifest lack of it (7.2).
36.4-36.5 36.4-5 Cf. John 5:14, ‘Sinne no more, least a worse thing come unto thee’.
read: tell
advaunce: bring forth; raise up
36.7 Phaon: Ovid’s Sappho, yearning for Phaon, laments Uror, ut indomitis ignem exertibus Euris / fertilis accensis messibus ardet ager (‘I burn—as burns the fruitful acre when its harvests are ablaze, with untamed east-winds driving on the flame’; Heroides 15.9-10).
36.7 advaunce: With tendentious senses implied: extol, promote, elevate, put forward as a claim. Cf. ‘rayse . . . to honour’ in line 9.
36.8 Coradin: Gray suggests L cor heart + Atin (2006); cf. 42.5.
37.1 37.1 As at 32.3, succession implies causality.
varlet: male servant
37.2 varlet: May be used as a synonym for either ‘groom’ or ‘squire’
soyld: Cf. Phaon ‘Lying on ground, all soild with blood and myre’ (16.4).
bashed not / For: ‘was unabashed by’
Guyons lookes: Guyon’s glances
eyglaunce at him shot: Punning on ‘glance’ as a blow or impact, as in Hakluyt: ‘they saile away, being not once touched with the glaunce of a shot’ (1589: 1.153).
38.3-38.4 field . . . wreath: Heraldic terms referring to the surface of the shield and to the ornamental border in which the motto is inscribed.
Burnt I doe burne: See arg.2n. This riddling motto makes its first person pronoun at once the subject and the object of its doubled verb: ‘I burn (myself/another) because I am burnt’. It thus condenses the play with cause and consequence, self and other, that runs throughout the canto: ‘Having been burnt by another/myself, I burn myself/others as if in an act of retribution’.
redoubted: dreaded or respected
dartes: javelins or light spears
flit: swift
dight: prepared
place: Cf. the ‘middle space’ of 32.4. The varlet’s belated claim to have preempted this space of figuration extends the canto’s exploration of the relation between preventative and precipitate action.
39.6-39.9 39.6-9 Instead of rising to the bait, Guyon lets go the ‘opportunity’ for rage presented by the varlet’s ‘great boldness’, checking his scorn in order to discover the cause; the internal rhyme ‘not to grow of nought’ emphasizes that Guyon has learned the Palmer’s lesson: ‘who so will raging Furor tame / Must first begin’ with ‘Occasion, the roote of all wrath’ (10.9-11.2).
to him, that mindes his chaunce t’abye: ‘to him who intends to take his chances’, responding to the challenge at 39.5; ‘abye’ in this sense is influenced by ‘abide’.
assay: proven worth
stay: wait for
41.2 Pyrochles: Gk πυρ pyr fire + οχλεω ochleō to be swept away. The correction in FE, reducing the consonant cluster of ‘Pyrrh-’ to ‘Pyr-’, may be calculated to reduce the possibility that a reader will construe the syllable as metrically promoted. In classical quantitative scansion, a syllable spelled ‘Pyrrh’ might be regarded as ‘long by position’ and therefore metrically prominent; the correction thus seems to confirm that the first syllable is not to be regarded as promoted by its orthography and that the first foot of the line therefore conforms to Spenser’s iambic. (For more on Spenser’s interest in the relation of quantitative meter to English verse practice, see the introduction to Letters).
41.5 Cymochles: Gk κυμα kuma wave + οχλεω ochleō to be swept away. For both brothers’ names, meter suggests that the accent should fall on the second syllable.
41.6 Acrates: See II.i.51.2-4n on the etymology of Acrasia as ‘lack of self-control’.
41.7-41.9 41.7-9 Phlegeton is the river of fire in the classical underworld, crossed by Duessa and Sansjoy at I.v.33.3 on their way to visit Aesculapius. Jarre is discord; Herebus is Erebus, generally the region of the underworld. Hesiod, Theog 123-25, makes Erebus and Night the children of Chaos. In making Erebus the son of Aeternitie, Spenser may be adapting Boccaccio (Gen Deor 1.1), who derives Night from Herebus and Litigium (Jarre), who in turn derive from Demogorgon and Aeternitie.
41.8 41.8 The hypermetric line creates an unusual double alexandrine in this stanza. The isochronic tendencies of these lines build on the marked pattern of repetition begun in lines 6-7 to intensify the archaic theogonic turn given to the brothers’ genealogy.
race: ancestry
Drad: dreaded
derring doe: Bold action, courage, a usage derived from misunderstanding of the ME idiom, which meant ‘daring [to] do’; cf. SC Oct 65 gloss by E.K., ‘manhoode and chevalrie’.
His am I: i.e. his attendant
42.5 Atin: From Gr ατη atē (‘mischief’ or ‘ruin’), + OF atine incitement to battle (Heiatt 1975: 185); the line thus suggests that Atin is not only Pyrochles’ attendant but his occasion, riding ahead to start the cycle of fury anew. Ate, the Greek goddess of discord who provoked the Trojan War (II.vii.55.4-9) will appear as a character in Book IV.
stead: place
42.8 stead: Cf. 39.3n.
confusion: destruction
behight: commanded
44.1-44.7

44.1-7 The Palmer’s comment in these lines brings out the implicit irony of an allegorical figure who combines the iconography of strife with that of opportunity (Occasio; see st. 4-5n). Only from the point of view of Atin and his lord, Pyrochles, does strife appear as an opportunity to be ‘caught’ by the forelock. The rhyming pair ‘seeke’ and ‘followes eke’ (like the epithet ‘mad man’, repeated from 3.5) link Pyrochles’ reversal of sequence to the predicament initially faced by Guyon and then elaborated in

Phaon’s tale (see notes to 30.1-5 and 31.5-6).

rusty: reddish-brown with dried blood
cause is caught: ‘occasion [for anger] is seized’. In formulating the reversal of sequence by which Pyrochles, already inflamed, looks for a reason to be angry, this phrase condenses the canto’s sustained meditation on cause and effect with its reversals of pursuit.
upbray: reproach (cause to be blamed)
silly: defenseless
45.5-45.7 45.5-7 Echoing Dido’s bitter reproach to Aeneas: egregiam vero laudem et spolia ampla refertis / tuque puerque tuus; magnum et memorabile numen, / una dolo divum si femina victa duorum est (‘Splendid indeed is the praise and rich the spoils ye win, thou and thy boy [Ascanius]; mighty and glorious is the power divine, if one woman is subdued by the guile of two gods!’; Aen 4.93-95).
thrillant: piercing
vengeable despight: See 30.3n; here ‘despight’ suggests rather ‘contempt’ than ‘injury’.
intended: guided
empight: implanted itself
46.6-46.8 46.6-8 Cf. Eph 6.16, ‘Above all, take the shield of faith, wherewith ye may quench all the fyrie dartes of the wicked’, and Whitney, Calumniam contra calumniatorem virtus repellit (‘virtue beats back slander against the slanderer’; 1586, no. 138b, trans. Green 1866).
2-4 arg.2-4 In 1596 these lines are revised to read ‘And Furors chayne unbinds, / Of whom sore hurt, for his revenge / Atin Gymochles finds’ (‘G’ for ‘C’ in Cymochles being an error carried over from the 1590 text). This change extends the summary of the action beyond Atin’s departure, related at 25.4-9, to include his discovery of Cymochles in the Bower, described in st. 28-36.
apply: devote
frame: shape or discipline
stubborne perturbation: Alluding to the Gk etymology shared by the names of the brothers Pyrochles and Cymochles: ὀχλεω ochleō to be swept away, to disturb by tumult.
embatteiled: apparelled for combat
2.4-2.5 2.4-5 A consistent allegory of the elements fire (anger) and water (desire) attaches to the brothers in this canto, culminating in Pyrochles’ failed baptism (vi.42-51). These lines introduce the motif by mingling the apparent opposites, perhaps to suggest that they are closely related (allegorically brothers) after all; cf. i.34.7-9 for the anticipation of this hint in the combination of wrath and concupiscence that overtakes Guyon in his near-assault on Redcrosse.
stire: stir, excite to action
chaffar: bandy
3.2 chaffar: Literally, exchange for profit (cf. Mother Hubberd 1159, ‘He chaffred Chayres in which Churchmen were set’). Cf. i.25.9 and note; Guyon here encounters his own previous error, now objectified in Pyrochles.
prickt: Allegorically the knight is spurring his own animal passions, represented by the horse he rides; cf. 36.1 and 38.9, where Atin pricks the recumbent Cymochles first with ‘his sharp pointed dart’ and then ‘with spurs of shame and wrong’.
smouldring: suffocating
smoke: to go with the ‘sparkling fire’ of 2.6, both suggested by the etymology of the name ‘Pyrochles’ (see iv.37.4-7 and 41.2n)
sturdy: in ME and early modern usage, violent, fierce, or cruel; cf. E.K.’s gloss to SC Feb 149, ‘Sterne strife) said Chaucer .s. fell and sturdy.’
sell: saddle
truncked: truncated
St. 4-5 The accidental beheading of your opponent’s horse is bad form in chivalric romance. For variations on this typical incident, see Bevis of Hampton 1885-98, Morte D’Arthur 10.42, OI 3.8.38, and OF 24.105-6.
shent: scolded
5.7 It is unclear how Pyrochles would know anything about Guyon’s past behavior.
6.2-6.3 the upper marge / Of his sevenfolded shield: See iii.1.9n. Spenser’s phrase here may translate Aen 12.925, clipei extremos septemplicis orbis, (‘the sevenfold shield’s utmost circle’).
targe: shield
bever: visor
disarme: disable
7.7 disarme: Punning grimly on the idea of cutting the arm off altogether; cf. vi.14.6-7, where Phaedria lays Cymochles’ ‘head disarmed / In her loose lap’.
bate: bit
dint: blow
grieved: afflicted with pain and/or mental suffering
entyre: inwardly and utterly
8.4 added flame unto his former fire: Cf. I.i.19.3 where Una urges Redcrosse to ‘Add faith unto your force, and be not faint’; the alliterative echoes as well as the similar formulation make Pyrochles a parody of holiness; instead of godly virtue to righteous effort, he adds anger to itself.
molt: melted
approved: proven
warlike gyre: A combat maneuver that involves circling sharply around to strike.
saufgard: safety; defensive stance
foynd: thrust
throwes: violent strokes
athwart: obliquely
t’illude: to deceive
St. 10 Cf. Timon of Athens 4.3.336-8: ‘wert thou the unicorn, pride and wrath would confound thee and make thine own selfe the conquest of thy fury’. The lion’s trick is referred to in Julius Caesar 2.1.203-5 and described in Topsell 1607, which also characterizes the unicorn as ‘a beast of an untamable nature’ (p. 557). Job 39:13 asks, ‘Canst thou binde the unicorne?’
him . . . applyes: ‘Places himself in contact with’; possibly a comic echo of the canto’s opening line.
precious horne: Thought to have magical medicinal properties.
fayld: deceived
11.1 fayld: From L fallere to decieve; cf. III.xi.46.9, ‘So lively and so like, that living sence it fayld’.
queint: quenched, extinguished
the Saint: Gloriana
11.7 the Saint: Cf. i.28.7, ‘that faire image of that heavenly Mayd’, and IV.pr.4.2, ‘But to that sacred Saint my soveraigne Queene’.
offer of: opportunity for
offer of: The irony implicit in ‘offer’ is contradicted by Pyrochles’ cry for mercy in lines 7-9, but cf. his call for death at vi.45.5 and his scornful rejection of Arthur’s offered mercy at viii.51-52.
12.8 12.8 ‘Do not judge your force according to the unjust judgment of fortune’ (Hamilton 2001). Smith 1909, following Jortin 1734, suggests ‘but’ for ‘by’.
maugre: A verb expressing defiance: ‘damn her spite’.
13.2 advizement slow: As opposed to ‘hasty wroth’.
th’equall die: impartial luck
th’equall die: With a pun on die.
hazardry: gambling, taking risks
grated: clenched
sandy: yellowish red
14.4 sandy: Cf. Furor’s red eyes, copper hair, and tawny beard (iv.15.5-9n).
14.9 14.9 ‘Whose bounty he wondered at more than his might, yet he wondered at both’; or, ‘Whose bounty was greater than his might, yet he wondered at both’.
St. 15 The narrator addresses Guyon in similar terms at III.i.7.5-9.
15.5 ‘Yet soon gained far more than he had lost’.
15.9 15.9 Cf. Guyon’s self-defeating combat with Furor, iv.8.8-9.
16.1 16.1 Echoing Medina’s exhortation, ‘O fly from wrath, fly, O my liefest Lord’ (ii.30.5).
lesser partes: The bodily sources of the passions, internal organs and humors.
jarre: discord
16.4 hartmurdring love: Like that of Mortdant and Amavia.
16.7-16.9 16.7-9 Echoing Redcrosse’s question to Guyon at i.29.5-9.
dread: dreadfulness
St. 17 Pyrochles misconstrues the allegorical tableau as an opportunity for chivalric rescue. See 3.2n and cf. Archimago’s provocation of Guyon, i.9-11.
17.2-17.5 17.2-5 It is unclear who could have made this complaint, since Pyrochles arrives just after Atin flees (see 2.9).
bare: unprotected
effort: compulsion
17.4 effort: From ‘efforce’; cf. xii.43.6-7, ‘wisdomes power, and temperaunces might, / By which the mightiest things efforced bin’.
assoyled: released
use: customary behavior
streight: promptly
garre: cause
garre: See E.K.’s gloss SC Apr 1.
20.3 Alluding to the theological point that human nature resists grace; Furor belongs entirely to the ‘lesser partes’ that ‘move’ war within the self (16.1-2).
wood: insane
affronted: confronted
uncouth: strange or unseemly
wroke: avenged
dishabled: belittled
21.7 At i.5.2 Archimago lies in wait for Redcrosse ‘In hope to win occasion to his will’.
entise: incite or inflame
21.9 entise: Probably from L titio firebrand.
durt: mud
22.6-22.9 22.6-9 Cf. Jas 3:6, ‘And the tongue is fire’ and iv.5.1.
22.7 Stygian: Relating to the river Styx, or more generally the classical underworld of Hades where Styx and four other rivers ran. Normally Phlegethon is the infernal river associated with fire (cf. ‘flaming Phlegeton’ at vi. 50.9). OED notes that Styx (Gk Στυξ) is etymologically linked to ‘hate’ and ‘hateful’.
disdeignd: regarded with indignation
wretched man: Cf. Rom 7:24 ‘O wretched man that I am! who shall deliver me from the body of this death?’
gan him dight: prepared himself
25.4-25.9 25.4-9 Atin, having fled at the close of the previous canto (iv.46.9, v.2.1), here flees a second time.
late: lately
for terrour of his name: I.e., ‘to make his reputation more terrifying’.
26.8-26.9 26.8-9 When Redcrosse fights Sansloy, Sansfoy’s shield is displayed on a tree as the spoils (with Duessa) of the combat (I.v.5.7-8).
Dame: From L domina, suggesting domination or command.
St. 27-35 These stanzas offer a preview of the ‘Bowre of Blisse’, extensively described in the final canto of Book II. A number of specific verbal echoes link the two passages.
27.2 Acrasia: See i.51.2-4n for the etymology of the name.
hewes: shapes
mewes: cages
by kynd: by nature
28.3-28.5 lust and loose living . . . he has pourd out his ydle mynd: Cf. I.vii.7.1-3, where Redcrosse pours ‘out in loosnesse’ with his ‘Dame’ Duessa; the lustful activity seems to have a similar weakening effect on both Cymochles and the hero of Book I.
delices: delights
28.7 28.7 The mollification of Mars by Venus, derived from the invocation to Lucretius De Rerum (1.1-49) is a common topos in the iconography and Neoplatonic philosophy of the Italian Renaissance that recurs with frequent variations in FQ. Cf. I.pr.3.7-9n.
29.1-29.2 29.1-2 The idea that art’s imitation of nature can turn into a rivalry is common in early modern discussions of art and literature. Spenser harks back to Ovid’s description of the grotto sacred to Diana (Met 3.155-62), by way of Tasso, GL 16.9-12. Spenser will develop this topos with extensive echoing of both passages in canto xii.
29.3 wanton Yvie: Sacred to Bacchus, ivy is wanton because it clings to everything; see I.i.48.9n.
fragrant Eglantine: Sweet-briar, a species of rose featuring ‘strong hooked prickles, pink single flowers, and small aromatic leaves’ (OED).
29.5 prickling armes: ‘Eglantine’ derives from L aculentus prickly.
29.8 Zephyrus: the west wind; cf. Chaucer, CT Gen Pro, ‘And Zephyrus eke with his sweete breath / Inspired hath in every holt and heeth / The tendre croppes’ (3-5).
pumy stones: lava rock
Traveiler: one who journeys; one who labors
thristy: thirsty
display: sprawl
31.2-31.5 31.2-5 These lines mingle references to the oak, sacred to Jove (Od 14.327-28, repeated at 19.296, and Met 1.106), and the poplar, sacred to Hercules (Idylls 2.121 and Ecl 7.61; Georg 2.66; Aen 5.134, 8.276-77). Olympick Jove further suggests the olive, used to crown victors at the Olympic Games (Statius, Thebaid 6.5-8).
31.5 Nemus: Where Hercules slew the Nemean lion.
comfort: delight, refreshment
displaid: Cf. 30.7.
follies: lewd actions
32.6 follies: From Fr folie, akin to the modern theatrical use, as context indicates.
disaray: undress
32.7 disaray: With a glance at ‘put into disorder’.
meet habiliments: proper attire
32.9 The description of the damsels as both ‘naked’ and ‘deckt’ may simply mean that they are adorned with jewelry, not garments. But the apparent contradiction, underlined by the juxtaposition ‘naked, deckt’, extends the confusion of art and nature (29.1-2n) to the female body, suggesting that this body is ‘ornamented’ by nature. Cf. the description of Belphoebe, where details of her attire and its highly ornamented description (‘golden fringe’, ‘close enwrapped’ knots, ‘the temple of the Gods’, breasts that ‘through her thin weed their places only signifide’) signify anatomical features not otherwise revealed (iii.26-29).
St. 33-34 Upton identifies these stanzas as a direct translation of GL 16.18-19. The contrast between the aggressive solicitation of the maidens and Cymochles’ feigned slumber emphasizes the perversity of his desire to ‘steale a snatch’ of what is so freely offered.
aggrate: gratify
glancing: casting momentary looks; flashing or shining
dropping like honey dew: Cf. Prov. 5.3, ‘For the lippes of a strange woman drop as an honie combe, and her mouth is more soft then oyle’. The Geneva gloss adds, ‘By oyle and honie he meaneth flattering and craftie intisements’.
bathed kisses: Perhaps an ellipsis for ‘bathed [him with] kisses’.
embrew: soak or pour
sugred licour: sweet fluid
33.6 sugred licour: From L liquor liquidity.
33.9 all for tryall: Repetition and orthography suggest a pun.
wanton eies: Echoing the ‘wanton Yvie’ of 29.3.
snatch: hurried grab; fragment; portion seized on; a trap or snare
conceipt: fantasy
34.6 conceipt: Either the general power of conceiving, or a specific notion. The spelling recalls an etymological link to L capere seize, reinforced by the phrase ‘steale a snatch’.
receipt: recipe or ingredients
34.9 receipt: Also ‘act of receiving’, in pointed contrast to Cymochles’ fantasy of seizing.
35.1 St. 35 For the topos of rousing an erstwhile warrior from his lapse into sensuality, cf. Aen 4.265-76, OF 7.57-64, and GL 16.32-33.
35.6 Acrates: For the etymology linking this name to ‘Acrasia’ see iv.41.6 and i.51.2-4n.
dart: Cf. the poison darts borne by Atin on his first appearance at iv.38.7, and the recurrent association of Pyrochles with ‘pricking’ (3.3n).
36.2 36.2 Cf. GL 16.33.2-3: qual viltà l’alleta? / Su su (‘what sloth doth thee infect? / Up, up’; trans. Fairfax).
prowest: worthiest, most brave or gallant
weetlesse: unaware
sencelesse ground: An unconventional instance of transferred epithet, since in fact the ground is senseless.
utmost grudging spright: final unwilling breath and/or spirit
37.7 Furies: See ii.29.2n.
deare dismay: costly defeat
38.8-38.9 pricketh . . . pricks: See 3.3 note.
immodest: lewd
1 immodest: From L modus measure, by way of immodestus excessive, immoderate. See 37.4 for the only other use in the poem.
1.1 St. 1 Paraphrasing Nic Eth 2.3, to the effect that pleasure is harder to resist than anger. Aristotle adds that both art and virtue address themselves to what is difficult, since the greater the difficulty, the greater the success. The analogy between art and virtue is especially resonant for FQ.
Continence: self-restraint
1.1 Continence: The ability to ‘contain’ appetites and impulses. In Aristotle, ευκραςια eukrasia. Cf. akrasia in i.51.2-4n.
uneathes: not easily
faine: eagerly
abstain: Transitive use is unusual, according to OED ‘probably a literary imitation of the trans. use of L abstinere’. It means either that ‘feeble nature’ can hold her enemies at bay or that she can keep herself away from them. The 1596 reading, ‘restraine’, is more conventional and less equivocal.
St. 2-19 Some narrative details in this episode derive from OI; see Var 2.240-41; Kostic, Spenser’s Sources 272-80 and 368.
Gondelay: Gondola
2.7 Gondelay: A light skiff with cabin amidships, rising to a point on each end.
arbours: Vines or shrubs trained on a lattice or other framework.
3.4 Pope Jone: Legendary medieval figure reported to have held the papacy in the 9th century while disguised as a man. Cf. Boccaccio, De mulieribus claris CI, De Iohanna anglica papa (‘Joan, an Englishwoman and Pope’). The phrase as merry as Pope Joan was proverbial (Smith 1970, no. 529); Foxe, quoting the proverb, associates its mirth with ‘the pleasures of Venus, Bacchus, and Ceres’ (Actes 1583, 159). Pope Joan was invoked often by anti-Catholic polemicists in the 16th century, but in 1587 the French antiquary de Raemond debunked the legend using methods of humanist textual scholarship, and by 1596 Spenser has replaced this proverb with the phrase ‘that nigh her breth was gone’.
3.7-3.9 3.7-9 Cf. Aristotle’s disapproval of vacuous laughter at Nic Eth 4.8.
barke: ship
painted: artificially colored
St. 5 Echoing Homer on the ships of the Phaecians, which ‘have no pilots, nor steering-oars . . but of themselves understand the thoughts and minds of men’ (ου γαρ Φαιηκεσσι κυβερνητηρες εασιν, / ουδετι πηδαλι’ εστι, τα τ᾽ αλλαι νηες εχουσιν: / αλλ᾽ αυται ισασι νοηματα και φρενας ανδρων; on gar phaiēkessi kybernētēres easin, / oudeti pēdali’ esti, ta t’ allai nēes echousin: / all’ autai isasi noēmata kai phrenas andrōn, Od 8.557-9). Similar boats appear in OF 30.11 and GL 14.57-65.
liquid: transparent
5.2 liquid: As a modifier for air or sky, a distinctively Spenserian usage, following poetic use of L liquidus by Virgil, Horace, and other Roman authors.
pin: wooden peg
apply: steer
5.7 apply: From nautical senses of L applicare ‘to bring (a ship to a destination), to land’ (OED).
wanton: frivolous
6.1 wanton: Implying a promiscuity not limited to sex.
purpose: conversation
6.3 purpose: ‘That which is propounded; a proposition, a question, an argument; a riddle’ (OED). Phaedria’s purpose lacks, as it were, purpose.
merry tales: A phrase that appears in the titles of popular jestbooks like Merie tales by Skelton, one of four volumes Spenser lent Gabriel Harvey in 1578.
feign: fashion
6.4 feign: From L fingere to shape or pretend.
toys: flirtatious behaviors
aguize: deck
plight: braided
frigot: frigate, a small light ship built for speed
sovenaunce: memory
8.3 sovenaunce: From L subvenīre to come into the mind.
8.8-8.9 8.8-9 Cf. the role of Medina at ii.27-32.
9.3 and what that usage ment: cf. I.iii.32.8, ‘what the Lyon ment’.
cott: ‘A small roughly-made boat, used on the rivers and lakes of Ireland; a “dug-out”’ (OED).
9.7 Phaedria: From Gk φαιδρος phaidros glittering, cheerful; cf. arg.1. Familiar from Euripides, Seneca, Ovid, Virgil, and Renaissance mythographers as the name of the ‘wanton stepdame’ (I.v.37.5) whose destructive passion led to the death of the chaste Hippolytus.
10.2 Idle lake: Cf. Gen 14:3, ‘the salte Sea’, for which the Geneva gloss reads: ‘Called also dead Sea, or the lake Asphaltite nere unto Sodom and Gomorah’. Joseph Wybarn in 1609 seems to be making this connection when he refers to those who have ‘drowned themselves in the dead sea of pleasure’; a marginal gloss beside the phrase refers readers to ‘The Legend of Phaedria in the 2. booke of the Faeyerie Queene’ (Sp All, 120).
swelling Neptune . . . thundring Jove: waves . . . storms
waste and voyd: uncultivated and uninhabited
waste and voyd: Cf. 11.9-12.1 for its fertility.
floted: Cf. Conti Myth 9.6 on the island of Delos as instabilis per illud tempus, sub vndis forte e delitescebat (‘unstable and at that time as it happened hidden under the waves’; 273.33); also Aen 3.73-77, and Met 6.189-91. Other classical references to floating islands are found in Homer, Herodotus, Pindar, Pliny the Elder, Pliny the Younger, Hyginus, and Lucian. Early maps show floating ‘Isles of St. Brandan’ in various parts of the Atlantic, and European navigators went in search of them. See Hereford Mappa Mundi, Richard of Haldingham (1280); Paolo Toscanelli’s World Map (1476); Erdapfel globe, Martin Behaim (1492); one helpful source is Peter De Roo’s History of America Before Columbus According to Documents and Approved Authors; J.B. Lippencott Company; 1900; the first chapter of the second volume is completely dedicated to the legend and history of the islands.
12.1-12.2 12.1-2 Cicero, in de Oratore, imagines Odysseus, when Calypso and Circe offer him immortality, declaring his preference for ut Ithacam illiam in asperrimis saxulis, tamquam nidulum (‘that Ithaca of his, lodged like a tiny nest upon the roughest of small crags’; I.196); cf. Od 9.29-36. Transferred to a simulacrum of the Bower of Bliss, the simile insinuates the locale’s seductive allure as a false image of the home one longs for.
12.6-12.7 12.6-7 Initiates a series extending into st. 13 that inventories the bounty of the island entirely through negation. Cf. Gen 2:5: ‘And every plant of the fielde, before it was in the earth, and every herbe of the field, before it grewe’.
arborett: little tree
12.7 arborett: The first recorded use in OED.
St. 13 Cited by Robert Alott in England’s Parnassus (1600) as an example of ‘the choysest Flowers of our Modern Poets’ (475). The first six lines had been adopted by Thomas Watson in 1593 for The Tears of Fancie (51).
ditt: words for music
13.4 ditt: From ME ‘dite’ (something written) by association with ‘ditty’ (song).
fild: filled or defiled
head disarmd: Literally unhelmeted, but the comical pun calls attention to the idea that Cymochles’ mind is defenseless.
fearing not be harmd: Ellipsis for ‘not t’ be harmd’, with the contraction assimilated to the final ‘t’ in ‘not’.
charmd: From L carmina song.
St. 15-17 Phaedria’s song mingles allusions to classical, Biblical, and Italian precedents, including the Lotus-eaters in Od 9, Gen 3:10, Matt 6:25-34, and the Siren’s lullaby to Rinaldo in Tasso (GL 14.62-64).
15.1-15.3 15.1-3 ‘O man, who takes toilsome pains, behold how the flowers, etc., make themselves an example to you’.
15.4-15.5 15.4-5 ‘While nature, not at all envious, throws them forth out of her fruitful lap’.
pompous: magnificent, full of pomp
E.K. glosses flowre deluce as ‘Flowre delice, that which they use to misterme, Flowre de luce, being in Latine called Flos delitiarum’ (SC Apr 144). L deliciae delights, charms.
to them . . . yield: I.e., ‘yield to their example’.
stoure: turmoil
16.9 ‘She leaves all the worrying to Mother Nature’.
17.1-17.2 17.1-2 Echoing Ps 8:6-8, to which the Geneva gloss reads, ‘By the temporal gifts of mans creation he is led to consider the benefites which he hathe by his regeneration through Christ’.
Who shall him rew, that: ‘Who is going to pity the man that’.
thrist: thirst (by metathesis)
18.2 wordly: 1596 ‘worldly’, of which wordly is an archaic form, as in Skelton’s phrase ‘wordly wondre’ (Vox Populi xi.38).
slouthfull: Echoing its root-word ‘slow’.
griesy: 1596 ‘griesly’. Related forms, both similar to the modern ‘grisly’, horrible; in context (cf. slouthfull), 1590 also puns on ‘greasy’. Cf. agrise at 46.7.
wefte: wafted, i.e. sailed
strond: strand, i.e. the shore
where him she byding fond: ‘Where she found him waiting’.
sad: serious
tooke a boord: In colloquial use, ‘sexually accommodated’.
19.7-19.9 19.7-9 Cf. 4.8-9, ‘but Atin by no way / She would admit, albe the knight her much did pray’. Phaedria’s gondola responds to her wishes, suggesting that her motions are self-willed (see st. 10); hence Guyon’s ‘guide’ (20.1) must be excluded. Cf. xii.3.1, where the Boatman rowing Guyon and the Palmer to Acrasia’s island bids the Palmer ‘stere aright’.
flitt: swift
obaying to her mind: See st. 5n.
guize: conduct
21.1 guize: Cf. ‘style’ at 22.1.
reare: begin
jollity: pleasure, with sexual connotation
gibe: taunt
geare: jeer
bonds: boundaries
23.2-23.5 23.2-5 Cf. what the narrator says about winds and tides at 20.8-9, and Phaedria’s own comments on her navigation at 10.2-9.
mote: must
fields did laugh: Cf. Ps 65:13, where pastures and valleys ‘showte for joye, and sing’ because they are covered with sheep and corn; the Geneva gloss adds, ‘That is, the dumme creatures shall not onely reioyce for a time for Gods benefites, but shal continually sing’. For discussion of this echo and comparison of eight different English translations of the Biblical passage, see Shaheen (1976: 52, 190-91). Cf. Petrarch’s phrase Ridono i prati (RS 310.5, ‘the meadows laugh’), Lucretius’ invocation to Venus in De Rerum, tibi suavis daedala tellus / summittit flores, tibi rident equora ponti (‘for you the wonder-working earth puts forth sweet flowers, for you the wide stretches of ocean laugh’; 1.7-8), and Arthur’s memory of the day he dreamed of Gloriana: ‘The fields, the floods, the heavens with one consent / Did seeme to laugh on me, and favour mine intent’ (I.ix.12.8-9).
25.4 native musicke . . . skilful art: Yet another intertwining of ‘natural’ beauty with (potentially malicious) artifice.
martiall guize: armor
26.2 26.2 Hamilton 2001 suggests plausibly that Guyon’s ‘posture declares his control over the fountain of affections’. John Bulwer in Chirologia (1644) catalogues the hand upon the heart as gesture LII, Conscienter affirmo, glossing it as a token of ‘sincere asseveration’ (88-89).
thewed: mannered
part: ‘a piece of conduct, an act’ (OED)
steme: steam
27.5 steme: OED cites this as the sole instance in which the sense ‘to emit, send out in the form of vapor’ is used figuratively to mean ‘evaporate’. Hamilton 2001 suggests ‘steep’ or ‘dissolve in steam,’ implying that ‘steme’ works with ‘quench’ in the next line to portray the ‘molten heart’, plunged into a cold bath of sloth, expending its heat in steam.
28.7-28.9 28.7-9 Echoing Deut 28:26, ‘And thy carkeis shal be meat unto all foules of the ayre’, one of the ‘threatenings’ levelled against those who defy the Mosaic law. The Geneva gloss stresses that the disobedient will be ‘cursed bothe in thy life and in thy death’ because the burial here denied is a ‘testimonie of the resurrection’. Cf. also the taunts between David and Goliath in 1 Sam 17:44 and 46.
importune: violent
29.2 importune: Perhaps with ‘untimely’ or ‘inopportune’ as a secondary sense.
prepard to field: prepared for combat
valew: valor
29.4 valew: ‘Value’ and ‘valor’ are etymologically so intertwined in ME and early modern usage that the phrase inevitably suggests a moral as well as martial equivalence between the combatants.
29.5 haberjeons dismayld: ‘Knocked the metal plates off their sleeveless coats of mail’.
29.5 dismayld: ‘Divested of armor’, with the punning sense ‘unmanned’.
spalles: shoulders
entayld: carved or engraved
giambeux: leg-armor
29.9 giambeux: Hamilton 2001 suggests that this spelling may derive from Chaucer, CT Thopas 875.
grudging: aggrieved by
wroke: vindicated from or avenged for
enhaunst: raised
sway: swing
St. 32-36 Cf. Medina’s intervention at ii.27-32.
feld: cast down.
32.3 feld: The reflexive use of ‘felled’ is not recognized in OED.
wo worth: woe unto
race: descent
authour: source, cause
in bale to sterve: to die in grief
scarmoges: skirmishes
34.5 scarmoges: The ‘cruell’ game may disarm her skirmishes or they may disarm the game; this ambiguity of syntax, together with the hypallage between her erotic ‘game’ and the knights’ combative ‘scarmoges’, anticipates the extended troping of love as combat in the ensuing lines.
34.6-34.9 34.6-9 It is difficult to escape the implication that Phaedria is here proposing a sexual encounter in which she will yield a ‘pleasaunt victory’ to both knights, leaving them nothing to fight over. Since hypallage is Greek for ‘interchange, exchange’, there may be a witty subtextual parallel between Phaedria’s rhetoric and her sexual ethos.
Alarmes: calls to ‘arms’
shend: disgrace
commend: grace or adorn
35.6-35.9 35.7-9 Cf. the invocation to Cupid at I.pr.3.7-9.
extremities: Cf. ii.38.4, ‘The strong extremities of their outrage’.
36.3 Prov 15:1, ‘Soft answer putteth away wrath: but grievous wordes stirre up angre’.
clemency: mildness
that other part: the farther shore of the lake
he light did pas: he regarded lightly
he light did pas: ‘Light’ modifies either ‘he’ or ‘pass’, from Phaedria’s point of view, but from Guyon’s it modifies ‘delight’, to which it is drawn by the internal rhyme.
solemne sad: Cf. the description of Redcrosse at I.i.2.8.
coy: modest, reserved
That: i.e. so that
37.9 amove: The narrator uses a relatively uncommon sense (‘To remove [a person or thing] from a position; to dismiss [a person] from an office’) to characterize Phaedria’s displeasure at her failure to ‘amove’ Guyon in the more usual sense of arousing him.
The which: Referring to her ‘swift bote’.
salied: jumped
shard: gap
38.9 shard: I.e. the lake regarded as a ‘perlous’ break in the continuity of ‘terra firma’.
tracted . . . trade: tracked . . . path, footprints
invade: assail
famous enimy: Presumably Pyrochles.
passion fraile: an ellipsis for ‘passion that, strong in itself, makes human nature frail’
which him late did faile: OED labels this construction ‘the dative of the person’, citing as another example the King James rendering of 1 Kings 2:4, ‘There shall not faile thee . . . a man on the throne of Israel’. The preposition to is understood.
40.9 delayd: cooled, quenched; postponed
St. 41-42 At OI 3.1.20-21, Mandricardo dashes through fire and leaps into a fountain to save himself.
stept: steeped
flasht: For the mingling of fire and water, see v.2.4-5n. The syntax of lines 6-7 is latinate, with ‘the waves about’ serving as the object of both ‘flasht’ and ‘swept’: i.e. he flasht the waves about (with his raging arms) and his armor swept the waves about (so that it was washed clean).
bet: beat
43.6 Harrow . . . and well away: A cry of alarm; cf. Chaucer, ‘John . . . gan to crie “Harrow!” and “Weylaway! / Oure hors is lorn (CT Reeve 4071-73).
dismall: evil or cursed
dismall: Echoing L dies mali evil days; two days of each month were so designated in the medieval calendar. 1590 gives this line as ‘What dismall day hath lent but this his cursed light’, a reading that is both nonsensical and hypermetrical; 1596 revises to ‘What dismall day hath lent this cursed light’. There is no evidence as to whether the change is compositorial or authorial; we take it to be compositorial, and prefer to correct by removing ‘but this’. It is possible that the untenable 1590 reading resulted from a two-stage misconstrual of manuscript copy. If Spenser originally wrote ‘What dismall day hath lent vs [or ‘his’] cursed light’, and then added ‘this’ and ‘his’ [or ‘vs’] side by side above the line as possible replacements, the compositor could have misconstrued the unfinished revision as an insertion (stage one misconstrual). At the same time, he misread ‘vs’ as ‘but’: the heavily inked descender on a secretary hand ‘v’ makes it possible to read it as a ‘b’, and Spenser’s own terminal ‘s’ resembles the rounded form of a terminal ‘t’.
damnifyde: injured; damned
43.8 damnifyde: Cf. modern ‘indemnify’.
St. 44 In the details of immersion and of death as a means ‘to respyre’, there is a generalized allusion to the language of Romans 6 on baptism. Cf. i.55.3, 55.9 and notes.
implacable: Accented on the first syllable.
45.4 And dying dayly, dayly yet revive: a cruel parody of Paul’s instructions about daily death (Rom 12:1, 1 Cor 15:31).
his owne health remembring now no more: Parallels the lack of ‘sovenaunce’ at 8.3.
46.6-46.9 46.6-9 For the muddy waters of Cocytus (Cocyti stagna) in the classical underworld seeVirgil (Aen 6.323-30). In Tasso, Armida’s castle is surrounded by an asphalt lake (GL 10.61-62, acque . . . bituminose e calde / e steril lago) in which nothing can sink. Cf. also the Stygian marsh in Dante, Inf 7.108-130.
Engrost: thickened
agrise: horrify
arming: belonging to the armor of a knight
hath at earst thee hent: has seized you now
secret bowelles: the hidden recesses of the body cavity
bedight: treated
50.2 bedight: ‘Dight’ has a specifically scriptive range of meanings, ‘from L dictare to dictate, compose in language, appoint, prescribe, order; in med L to write, compose a speech, letter, etc’ (OED).
50.3 livers: The liver was considered the seat of the passions.
50.9 Phlegeton: In the classical underworld, a river of fire.
felly: fiercely
priefe: proof, test
qualifyde: tempered, moderated
algates: Hamilton suggests ‘otherwise’, a sense not recorded in OED. Usually, ‘in any case’ or ‘by all means’.
Mamon: Aramaic for ‘wealth’; see Kellogg and Steele 1965: ‘The Syriac word was misunderstood by some early commentators of the Gospels who interpreted it as the name of one of the fallen angels and, from the New Testament context, the god of earthly wealth’ (8.1-2n). Where the Geneva Bible translates ‘Ye can not serve God and riches’ (Matt 6:24, Luke 16:13), the Bishops’ and other Elizabethan bibles read ‘God, and mammon’. Spenser’s conception of Mammon as both a god of riches and an underworld deity probably reflects the influence of Boccaccio, Genealogia 8.6, which conflates Pluto, the classical god of the underworld, with Plutus, the god of riches; Conti distinguishes the two but does mention that Strabo identified Pluto as the god of wealth (Myth 250). The descent to Mammon’s cave blends allusions to the hero’s descent to the underworld in classical epic (e.g. Od 11 and Aen 6), Satan’s temptation of Jesus in the wilderness (Matt 4:1-11, Luke 4:1-13), and a number of folktale motifs (e.g., taboos against eating food or touching treasures in the underworld; cf. Thompson, Motif-Index 1955, C211.1 – C211.2.2, C542).
delve: excavation
threasure: the (perhaps silent) ‘h’ marks the etymology of ‘treasure’ in L thesis aurum, or the ‘placing’ of gold, and so glances at the episode’s biblical concern with where we ‘lay up treasures’ (Matt 6:19-21). Cf. 32.9, ‘before thee laid’, and 33.3, ‘before mine eyes I place’.
hore: hoary, white or grey with age
1.1 St. 1 The simile of the experienced navigator both looks back to the topic of new world exploration in the proem and anticipates the sense of perilous exploration removed from heaven’s light (3.2) that attends upon Guyon’s venture into the subterranean kingdom of Mammon. Cf. 14.1-5.
a stedfast starre: cf. I.ii.1.2 ‘the stedfast starre’. Typically Polaris, in the constellation Ursa Minor (also referred to as the lodestar, the Northern Star, or the Pole Star; cf. II.x.4.7, III.iv.53.3). The hint of relativity in the indefinite pronoun might reflect awareness that the identity of the star closest to the pole depends upon the position of the observer in space and time. Thus Taylor 1971 reports the common belief that the southern hemisphere also had a fixed star to match Polaris in the north, the idea being that these two stars were like the ends of the earth’s axis (or “axle”) and provided similar navigational aid in their respective hemispheres (162). If Mammon’s cave is deep enough, there might be a reminiscence of Dante’s passage with Virgil through the center of the earth, from the northern to the southern hemisphere, at the close of the Purgatorio.
yblent: obscured
1.4 yblent: Past participle of two different verbs, the first meaning ‘to blind’ and the second meaning ‘to combine’. The first can sometimes mean ‘to conceal’, while the second, in its p ppl, can mean ‘confused’. Spenser’s usage here may itself be a blending of the forms. Cf. 10.5, ‘fowly blend’, and 13.2, ‘confound’.
card and compas: The ‘card’ is a chart or geographical description; in combination with ‘compas’ it might also refer to a card on which the 32 points of the compass are marked, although this tends to be a later usage.
maysters: masters
experiment: experience
1.7 maysters: A ‘Master Mariner’ was the captain of a merchant vessel; here, navigational instruments are personified as the pilot’s teachers (L magister).
apply: steer
2.1 2.1 The orthographic resemblance of ‘guyd’ to ‘Guyon’ suggests that, like the ‘Pilot well expert’, Guyon deprived of the Palmer will fall back on the ‘card and compass’ of ‘his owne vertues’ as an internalized guide.
2.4-2.5 2.4-5 Guyon comforted with his own virtues may exemplify Aristotle’s description of ‘the Great-minded man’ as one ‘who values himself highly and at the same time justly’ and who prizes his own self-sufficiency (Nic Eth 4.3, 1123b-1125a). The episode tests the limits of self-sufficiency, reached when Guyon collapses in st. 66.
yode: went
reedes: judges
wastfull: uninhabited
desert: desolate
wildernesse: See Matt 4:1, ‘Then was Jesus led aside of the Spirit into the wildernes, to be tempted of the devil’. The Spirit’s role in leading Jesus into the wilderness is more explicit in other translations. Cf. King James: ‘Then was Jesus led up of the Spirit into the wilderness to be tempted of the devil.’ The gloss to the New International Version notes that the Greek for ‘tempted’ can also mean ‘tested’.
Whereas: where
3.6-3.9 3.6-9 Mammon’s description suggests the appearance of a blacksmith; cf. st. 35-36.
bleard: See Langland, Piers Plowman 5.190 [Text B], where Avarice has ‘two blered eyghen’, and Matt 6:23, ‘if thine eye be wicked, then all thy bodie shalbe darke’. The emphasis through the canto’s opening is on concealment and on vision obscured by layers of darkness, mist, or grime, presumably because ‘Regard of worldly mucke doth fowly blend’ (10.5). Meanwhile the tissue of allusions to the Sermon on the Mount links this episode with Phaedria’s song at II.vi.15-17.
bedight: clothed
4.1 overgrowne with rust: See Matt 6:19, ‘Lay not up treasures for your selves upon the earth, where the mothe and canker [Bishops’ Bible: “rust”] corrupt’.
4.2 underneath enveloped: A gold surcoat surrounds the iron that, beneath the gold, is overgrowne with rust, like another surcoat. The phrasing is difficult but, in its tendency to confound the opposites of ‘underneath’ and ‘enveloped’, evokes the action of the episode, in which Mammon leads Guyon underground to entrap him with the sight of hidden gold. As in the Bower of Bliss, where the ‘Virgin Rose . . . fairer seemes, the lesse ye see her may’ (xii.74.4-6), the secrecy of the treasure adds to its allure.
entayle: ornamental carving
mould: fashioning
antickes: grotesques
told: counted
feede his eye: Combines the two principal motifs of the canto, feeding (2.4-5) and gazing (3.6 and note).
5.2 never could be spent: The treasure is ‘hore’ (arg.2) because it is hoarded, withheld from circulation.
5.3-5.4 5.3-4 Earlier cantos have explored water as a purifying element; in Mammon’s cave raw materials undergo purification by fire. The recurrent emphasis on looking as a kind of feeding suggests an analogous tempering by heat in the form of digestion, an analogy that will become explicit in canto ix.
rude: From L rudis unwrought—but also ‘inexperienced’, implying by analogy that Guyon himself is ‘purifide’ by the ‘devouring element’ in the course of his ‘long experiment’ (1.7) in Mammon’s realm.
5.4 Mulcibers devouring element: Mulciber, or Vulcan, is the Roman god of fire.
driven, and distent: smelted and beaten out
Ingowes: ingots
5.6 Ingowes: In Spenser’s distinctive variation, Hamilton 2001 hears ‘Ingas’, the Elizabethan form of ‘Incas’, famous for the city of gold.
moniment: ‘image and superscription’ (cf. Matt 22:20-21; Mark 12:16-17; Luke 20:24-25).
kesars: emperors (from ‘Caesar’); for the conventional doublet with ‘kings’, cf. Teares 570; FQ III.xi.29.9, IV.vii.1.4, V.ix.29.9, and VI.iii.5.7.
7.4 right usaunce: See Matt 25:14-30, the Parable of the Talents.
Thereat: thereupon
askaunce: sidelong
7.5 askaunce: Indicating ‘disdain, envy, jealousy, [or] suspicion’ (OED). Cf. SC March 21; FQ III.i.41.6, ix.27.3, and xii.15.2.
read: pronounce
pelfe: Puttenham calls this ‘a lewd terme to be given to a Princes treasure’ (1589: 3.22.217).
8.1-8.2 God of the world . . . god below the skye: See arg.1n and 5.7n. Mammon’s self-description (‘I me call’; cf. 9.6, ‘thy godheads vaunt’) confounds the distinction Jesus draws between worldly and heavenly jurisdictions. Cf. 2 Cor 4:4, ‘the god of this worlde’; John 12:31, ‘the prince of this worlde’.
envye: refuse
principality: Cf. Matt 4:8, ‘all the kingdomes of the worlde, and the glorie of them’; also Luke 4:5-6.
8.7-8.9 8.7-9 Contrast the pretense of unfettered bounty in lines 3-4 and 8. The goods for which ‘men swinck and sweat incessantly’ may flow from Mammon ‘into an ample flood’, but the implied direction of the flow (from me into the world) is put in question by the way lines 8-9 move, as it were, upstream to the underground breeding-place of gold. For the tendency of Mammon’s rhetoric to give with one hand what it takes away with the other, see 5.2, 9.5, 10.3, and especially 19.6-9, confirming that Mammon withholds the ‘ample flood’ of wealth from proper circulation.
hollow: empty or concave; vain
8.9 hollow: Cf. ‘the hollow grownd’ (20.8).
eternall: Mammon ascribes divine attributes to worldly goods, here with implicit self-contradiction, since ‘brood’ as a verb or noun of birth cannot be eternal.
9.1 serve and sew: Cf. Matt 4:9, ‘All these wil I give thee, if thou wilt fall downe, and worship me’.
these mountaines: Conflating the earth with its ‘brood’ of riches.
nombred francke and free: The verb takes back what the adverbs purport to give freely; cf. the contradiction noted in 8.7n.
thy godheads vaunt: your divinity’s boast; your boasted divinity
derdoing: derring-do
10.1 derdoing: See ‘derring-do’ in glossary.
suit: pursuit
vowed daies: Guyon binds himself with a sacred oath at II.i.61.
bounteous baytes: See 9.5n. Here the noun takes back what the adjective offers, as Mammon’s apparent liberality turns out to be no more than ‘bait’.
witchest: beguile
10.4 witchest: OED records this as the first figurative use of the verb.
blend: blind or defile
10.5 blend: See 1.4n.
heroicke: OED records only one prior use of the adjective in this sense (Complaynt of Scotlande, 1549), although Sidney and Puttehnam use it to describe a kind of poetry or poet.
crownes: Also the name of a coin; cf. 5.8-9.
in twinckling of an eye: Cf. Luke 4:5: ‘The devil . . . shewed him all the kingdomes of the worlde, in the twinkeling of an eye’.
11.6 I kings create: Cf. Prov 8:15, ‘By me, Kings reigne’, with the Geneva gloss: ‘honors, dignitie or riches come not of mans wisdome or industrie, but by the providence of God’.
rowme: appointed place, office, or position
lust: list, i.e. please
read: judge
roote of all disquietnesse: Cf. 1 Tim 6:10: ‘For the desire of money is the roote of all evil’.
12.9 1590 prints ‘in great dishonour’. The reading we adopt from 1596 is easier to construe, and has been preferred by modern editors; 1590’s ‘in’ implicates the noble heart in the evils it ‘doth despize’.
confound: bring to ruin; throw into confusion
incline: bend; dispose
13.8 Cf. Marlowe, 2 Tamburlaine 5.2.26: ‘Kingdomes made waste, brave cities sackt and burnt’.
private state: private life
14.3-14.4 Caspian sea . . . Adrian gulf: Proverbial for storms. Horace calls the south wind, Auster, Dux inquieti turbidus Hadriae (‘stormy master of the restless Adriatic’; Odes 3.3.4-5). See st. 1n: the simile of the storm-tossed voyager reintroduces the motif that implicitly answers Mammon’s question in the second half of the stanza—men are ‘fond and undiscreet’ because ‘Regard of worldly mucke doth fowly blend’ (see notes to 3.6 and 1.4).
14.7-14.9 14.7-9 ‘[Why do men] complain when they don’t have money, and find fault with it when they do?’
St. 15-17 For the distinction between need and superfluity and the fall from a golden age of simplicity, see Boethius Cons Phil 2.prose.5 and 2.meter.5; Chaucer, ‘The Former Age’; Ovid, Met 1.89-150.
empeach: hinder
15.6 empeach: This and the two verbs below may reflect the specific phrasing of Chaucer’s translation of the passage from Boethius cited above: ‘thow wolt achoken the fulfillynge of nature with . . . thinges . . . anoyous’ (2.prose.5).
annoyes: interferes with
accloyes: obstructs, chokes
16.3 unreproved: Contrast with 14.9, ‘complaine, and . . . upbrayd’.
truth: sincerity
soveraine: supreme
corn-fed steed: Proverbial; cf. Smith (1970, no. 121), citing Gascoigne: ‘cornfed beasts, whose bellie is their God’.
16.6-16.9 16.6-9 I.e. the pride of later age abused her (the age’s) plenty and her increase, to the end of excessive, unrestrained pleasure. Note the repeated feminine pronoun, indicating Guyon’s view that when the ‘antique world’ degenerates from innocence and purity to ‘fat swolne encreace’, it also declines from masculinity to femininity of the sort described by Parker 1987.
wombe: Cf. 8.9, ‘brood’.
great Grandmother: the earth
17.3-17.4 17.3-4 Mining is here compared to robbing a temple, the etymological sense of sacrilege (L sacra legere to purloin sacred objects).
17.6-17.7 17.6-7 ‘He combined gold and silver into the material cause of his desire’ (OED s.v. ‘matter’); ‘compound’ may also glance at financial senses of the verb that involve agreeing to terms for a payment.
through his veines: Glancing at the veins of ore mined from the earth; Barkan 1975 notes stanza’s movement ‘from an anthropomorphic cosmos [‘wombe’] to a cosmomorphic human body [‘veins’]’ (212).
wage: pledge; sell for wages
life for gold engage: ‘Pledge your life in exchange for gold’.
18.9 Cf. 14.9.
19.1-19.2 19.1-2 Cf. Nic Eth 4.1 (1120a), on the unwillingness of the ‘Liberal man’ to ‘receive from improper sources’. Guyon’s desire to understand (‘Did feed his eyes, and fild his inner thought’, 24.4) is contrasted with Mammon’s desire to possess (‘to feede his eye / And covetous desire’, 4.8-9). Milton, insisting that ‘the knowledge and survey of vice is in this world . . . necessary to the constituting of human virtue’, praises Spenser for bringing Guyon through both Mammon’s cave and the Bower of Bliss (II.xii) ‘that he might see and know, and yet abstain’ (Areop 729).
bereave: plunder
lott: apportioning (of wealth or fortune)
19.6-19.7 19.6-7 See 1 Cor 2:9, ‘The things which eye hathe not sene, nether eare hathe heard, nether came into mans heart’.
mew: hiding-place; prison
20.1-20.5 20.1-5 See John 1:38-9: ‘And they said unto him, Rabbi . . . where dwellest thou? He said unto them, Come, and se’.
wonne: abode
20.3 wonne: Possibly with a hint of the archaic sense ‘treasure’.
20.6-20.7 20.6-7 The entrance to Mammon’s cave resembles the exits to the House of Pride (I.v.52.7-53) and the castle of Alma (ix.32), and the ‘hinder gate’ of the Gardens of Adonis (III.vi.32.9-33.4), which is both an entrance (to the Garden) and an exit (from the state of life).
20.7-20.9 20.7-9 Cf. Virgil: Ibant obscuri sola sub nocte per umbram / perque domos Ditis vacuas et inania regna ( ‘On they went dimly, beneath the lonely night amid the gloom, through the empty halls of Dis and his phantom realm’; Aen 6.268-9).
St. 21-25 Spenser’s description of the approach to the underworld draws on Virgil, Aen 6.273-81. Lotspeich 1932: 65-66 adds Statius (see Theb 7.40-62), Cicero (see Nat Deor 3.17), Conti (Myth 622), Chaucer (see CT Knight 1982-2040), and Bocccacio (Genealogia 8.6), which allegorizes Virgil’s House of Dis as a House of Riches.
broad high way: See Matt 7:13, ‘the wide gate, and broad waye that leadeth to destruction’.
21.4 Plutoes: In Roman mythology, Pluto ruled Hades (see arg.1n).
rayne: realm
21.5-21.6 21.5-6 Cf. 12.7. In general, the personifications of stanzas 21-23 correspond to the evils listed by Guyon in st. 12.
21.5 infernall: 1590 prints ‘internall’, not an impossible reading (cf. III.x.59.8, ‘internall smart’), but one that awkwardly undercuts the work of projection that turns affects into personages throughout the passage.
strayne: grip, wield
thother side: Cf. Virgil’s adverso in limine (‘on the threshold opposite’, Aen 6.279) in the passage cited above, st. 21-25n.
consort: group
shroud: hide
Lamenting Sorrow: Cf. the allegorical figure of Sorrow in Mirror for Magistrates (1563), Induction 106-112.
23.1 horror: Like ‘shame’ in the preceding line, uncapitalized in 1590. Only 1609 capitalizes ‘horror’; both 1596 and 1609 register personification by capitalizing ‘shame’. We retain the uncertainty of 1590 because the series of capitalized personifications in stanzas 21 and 22 is preceded, at 20.9, by an encompassing but not quite personified 'dread and horror', suggesting that the mechanism of personification is on display in this passage; cf. II.ii.26.4-9 for a comparable play on the uncapitalized personification of 'love'. As these examples show, the distinction between personified and non-personified abstractions is not absolute: it is more like a spectrum than a switchpoint.
23.3-23.5 23.3-5 On owles and night-ravens as omens, see I.v.30.6-7, Epith 345-6, and SC June 23-24 with gloss by E.K.
dolor: grief, sorrow, or physical pain
23.6 Celeno: Chief of the harpies, defilers of the feast Aeneas and his men prepare in Aen 3. Celeno rebukes the Trojan remnant for offering only war in exchange for the cattle they have slaughtered, and utters the cryptic prophecy that they will not build their city in Italy until famine has forced them to devour the tables they eat from.
24.4 On the combination of feeding with gazing, see 4.8n and 19.1-2n.
gaped wide: Cf. Virgil: noctes atque dies patet atri ianua Ditis (‘night and day the door of gloomy Dis stands open’; Aen 6.127).
spoile: plunder
25.7 Cf. Hesiod: νυξ δ᾽ ετεκεν στυγερον τε Μορον και Κηρα μελαιναν / και Θανατον, τεκε δ᾽ Ὕπνον, ετικτε δε φῦλον Ὀνειρων (nyx d’ eteken stygeron te Moron kai Kēra melainan / kai Thanaton, teke d’ Hypnon, etikte de Oneirōn; ‘And Night bare hateful Doom and black Fate and Death, and she bare Sleep and the tribe of Dreams’; Theog 211-12).
St. 26-27 The fiend who follows Guyon recalls the ‘fury’ in the ancient Eleusinian mysteries who followed initiates to enforce their observance of ritual procedures; Spenser could have learned about this from Claudian’s De Raptu Proserpinae (early fifth century A.D.) or Pausanias’s Description of Greece (second century A.D.)
dismall day: from L dies mali evil days; see vi.43.7n.
stalke: stride
26.8 stalke: Includes the sense that he is stalking Guyon.
likte him: pleased him
likte him: Cf. Ben Jonson’s ‘On My First Son’: ‘For whose sake henceforth all his vows be such, / As what he loves may never like too much’ (11-12).
27.2-27.4 27.2-4 These ‘fatall Stygian lawes’ are derived in part from the myth of Persephone, who remains in the underworld for half the year because she ate seven seeds from a pomegranate (Met 5.530-38), and in part from folktale motifs (see arg.1n).
27.9 >Stygian lawes: Laws of the underworld (from Styx, the river the dead must cross over to enter hell), ‘fatall’ both because they punish with death and because they govern the realm of the dead.
28.3 Arches of stone are said to ‘hang’ from the vaulted ceiling like pants in tatters. The image evokes something like a ‘natural’ gothic arch.
Embost: Ornamented with raised surfaces bulging in relief. OED s.v. ‘boss’ records a specifically geological sense ‘applied chiefly to masses of rock protruding through strata of another kind’, although this use is not noted prior to 1605.
of glorious guifte: Although seemingly offered, this gold is hoarded, not given. Accordingly, the preposition suspends guifte as an attribute of the substance, absent an actual giver, gift, or recipient.
28.5 28.5 I.e. every rift [was] loaded with rich metal.
ruine: collapse
28.6 ruine: From L ruire to fall.
28.7-28.9 28.7-9 Arachne challenged Athena to a weaving contest and was punished by being turned into a spider; cf. Muiop 257-352 and Met 6.5-145. ‘High did lifte’ suggests envy or ambition; ‘cunning’ and ‘subtile’ suggest a trap; ‘smoke’ and ‘clouds’ recall the ‘rust’ and ‘filthy dust’ of 4.1-3 and anticipate the ‘dust and old decay’ of 29.2.
29.1-29.5 29.1-5 These lines reprise several motifs from the initial description of Mammon in st. 3 and 4.
hew: color, appearance, or form
29.6-29.9 29.6-9 Like st. 21-25, these lines echo Virgil’s description of Aeneas’s descent into the underworld: quale per incertam lunam sub luce maligna / est iter in silvis, ubi caelum conditit umbra / Iuppiter, et rebus nox abstulit atra colorem (‘even as under the grudging light of an inconstant moon lies a path in the forest, when Jupiter has buried the sky in shade, and black Night has stolen from the world her hues’; Aen 6.270-72). The Virgilian simile is picked up by Tasso, GL 13.2 and 14.37. Spenser’s ‘lamp, whose life does fade away’ may also echo Ariosto’s finí come il debol lume suole, / cui cera manchi (‘he ended like a weak flame running low on wax’; OF 24.85.3-4).
bends: bands
weene: expect
30.6-30.9 30.6-9 Recalling the valley of bones to which the prophet is transported in Ezek 37, although the ‘dead mens bones’ in this scene will not be resurrected like their biblical counterparts.
31.2-31.3 31.2-3 See Acts 12:10: ‘they came unto the yron gate, that leadeth unto the citie, which opened to them by it owne accorde’. The gate that opens to Peter leads out of imprisonment, not into it.
Commaunded: assigned
n’ill: ne will, i.e. will not (accept)
33.2-33.4 33.2-4 Guyon’s play on the word happines may allude to the first book of Aristotle’s Nic Eth, where happiness or the ‘chief good’ of the soul is defined.
33.8-33.9 33.8-9 Guyon’s preference for ruling the rich echoes a popular anecdote about the Roman Manius Curius. See Cicero De Senectute 16.56; Elyot retells the story to illustrate a distinction between ‘abstinence’ and ‘continence’ (1531: 3.17).
33.9 sclave: Archaic spelling preserves the etymology from Med L sclavus.
greedie pray: Transferred epithet (if Guyon were greedy, the fiend would not lack his prey).
weened: believed, supposed
take . . . assay: touch
take . . . assay: See arg.1n on the taboo against touching treasures in the underworld.
34.6 34.6 ‘More swiftly than a dove in the clutches of a falcon’.
34.7 34.7 An exclamation directed to the reader.
decay: downfall
34.7 decay: From L de + cadere to fall.
wist: knew of
35.2-35.3 35.2-3 See 31.2-3n.
raunges: fireplaces or grates
pight: placed
tryde: As a term of art in metallurgy, to ‘try’ is ‘to separate (metal) from the ore or dross by melting’ (OED).
St. 36 This stanza echoes details from Virgil’s description of the cave beneath Mt. Aetna where Vulcan’s team of Cyclops forge a shield for Aeneas (Aen 8.416-51).
dying bronds: embers
36.5 Vulcans rage: the fire’s heat
scumd: skimmed
36.7 36.7 Milton echoes this line in Paradise Lost at 1.704 in a description of Mammon’s foundry that is indebted to Spenser.
swincke: toil
battailous: combat-ready
staring: In 15th-c. usage, ‘shining’; cf 7.5 and note.
Till that: until
Till that: Spenser often uses ‘that’ as a complementizer with prepositions.
Avise thee: think it over
withstood: refused
emprise: enterprise, undertaking
no’te: might not
no’te: Contracted form of ‘ne mote’ (see glossary).
mesprise: misprision, scorn
40.1-40.2 40.1-2 Cf. ‘the gate of Hell, which gaped wide’ (24.6).
40.5 if that: FE lists ‘the that’ as a correction for page 283. We correct ‘if the’; other plausible candidates appear at 42.4, 42.8, and 43.2. See 37.9 above and 49.8 below for other examples of Spenser’s habitual use of ‘that’ as a complementizer with conjunctions and prepositions.
40.6-40.7 40.6-7 For all of the gold in Mammon’s realm, there is also a great deal of iron: see 4.1, 21.7, 23.2, 30.2, and 36.4. Cf. also the ‘later times’ of 18.4 with Met 1.141-44.
weld: wield
stomacke: pride, anger, or stubbornness
portaunce: bearing
41.6 the Titans race: A brood of gigantic immortals, the offspring of Uranus and Ge in Greek mythology, who overthrew their father and were overthrown in turn by their own offspring, Zeus and the other Olympian deities.
deface: discredit, abash, or overshadow
glitterand: glittering
42.1 glitterand: The archaic suffix reflects OE, Old Frisian, and Old Saxon forms (‘-ende’, ‘-and’) out of which ‘ing’ evolved in the fifteenth century.
hurtle: brandish
42.3 hurtle: OED describes Spenser’s use of the verb in this sense as ‘erroneous’.
42.5-42.9 42.5-9 Cf. Guyon’s encounter with Furor at iv.3-10.
dight: prepare
43.1 43.1 Underlining the irony of Mammon taking over the Palmer’s role.
Carle: churl
Gyeld: guildhall
43.4 Gyeld: On the likelihood of topical references here and elsewhere in the scene to the Royal Exchange, the Templar knights, and the Tower Mint, see Owens 2005: 156-64.
full deare: richly
43.8-43.9 43.8-9 The third of the temptations that Satan offers to Christ in the wilderness includes ‘all the kingdomes of the worlde’ (Matt 4:8). Commentators vary as to how closely Mammon’s temptation of Guyon follows Satan’s three temptations of Christ; parallels would be mediated by the extensive body of medieval and renaissance theology devoted to classifying the temptations. Milton’s treatment of the temptations in Paradise Regained is clearly informed by Spenser’s Mammon episode.
route: crowd
preaced: An archaic spelling of ‘pressed’; cf. the noun ‘preace’ at 46.5 and 48.2.
44.5-44.9 44.5-9 Cf. Langland’s description of Lade Meed, Piers Plowman B.2.8-17.
siege: ‘A seat, esp. one used by a person of rank or distinction’ (OED).
44.8-44.9 never earthly Prince . . . pompous pryde display: A parody of Christ’s call for simplicity and contentedness in Matt 6:28-29; turning the natural beauty of the lilies (‘even Solomon in all his glorie was not arrayed like one of these’) into an over-abundance of ornamentation and pomp.
St. 46 The ‘great gold chaine’ held by the ‘woman gorgeous gay’ (44.6) alludes to the golden chain in Homer with which the other gods sought unsuccessfully to pull Jove down from heaven (Il 8.18-27). The image gains historical resonance as both classical and, later, Christian commentators interpret it as a symbol of cosmic order. Lotspeich 1932 cites as precedents for Spenser’s use of the image Plato, Theat 153D; Boethius, Cons Phil 2.meter.8; Chaucer, Troilus 3.1744-1771, and CT Knight A 2987-93; Rom Rose 16988-9; and Conti Myth 116 (64). See also I.ix.1 and note for Spenser’s use of the chain as a positive symbol linking the virtues and their patron knights in an alliance of ‘noble mindes’. His use of the symbol here to suggest avarice follows Conti in combining both interpretations.
sty: ascend
dignity: rank or office
46.9 dignity: ‘Ambition’ was denounced in Elizabethan orthodoxy as a form of rebellion against social order, but if the ranks are links in the chain of ambition, as this line seems to say, then ambition is less a force opposed to hierarchy than its inevitable consequence.
St. 47 Cf. Colin’s satiric portrait of the English court in Colin Clout 688-730.
49.1 Philotime: ‘love of honor’ from Gk φιλος philos love + τιμη timē honor (cf. Timon, I.ix.4.1-2; Timias, III.i.18.9). Meter calls for the final ‘e’ to be voiced, with the primary accent falling on the second syllable.
49.2 49.2 Cf. ‘greatest god below the skye’ (8.2) and note.
the gods: Mammon, though himself a Biblical figure, seems to recognize only pagan deities.
lust: wish, but also desire sexually
works and merits: Alluding to the theological distinction between works and faith; see OED s.v. ‘merit’: ‘Theol. In pl. Good works viewed as entitling a person to reward from God’.
Gramercy: thanks
50.1 Gramercy: An unexpectedly ‘gentle’ reply, compared to the scorn Guyon has exhibited earlier (st.13-17, 33, 39). Perhaps Guyon has overcome Disdayne after all—but the etymology of ‘gramercy’ contains a pointed riposte to Mammon’s last offer, for as OED notes, ‘The primary sense of merci was “reward, favour gained by merit”; hence grant merci originally meant “may God reward you greatly’’’.
50.5 and mine unequall fate: ‘and [I know] my fate [to be] unequal’ to such an ‘immortal mate’.
yplight: pledged
remove: disavow
forcing it to fayne: Ellipsis for ‘forcing [himself] to dissemble it [the wrath]’ or ‘forcing it [the wrath] to dissemble [itself]’.
redd: declared
51.8-51.9 51.8-9 Echoing Proteus’s description of caligantem nigra formidine lucum (‘the grove that is murky with black terror’) through which Orpheus passes upon entering the underworld in his quest to recover Euridice (Virgil, Georg 4.467-68).
St. 52 In contrast to the description offered by Claudian, De Raptu 2.290, where Pluto is praising the beauties of the realm he promises to his bride. Pausanius says ‘black poplars and willows’ grow there (Desc 10.30.72).
52.2 Gall: Gall Oak whose misnamed ‘fruit’ or ‘oak-apple’ is a gall, or spongy spherical deformation of the leaf-bud caused by wasp larvae.
Heben: black ebony
52.2 Heben: Cf. Georg. 2.117 hebenum, glossed by T. Cooper: ‘A tree whereof the wode is blacke as jette within, and beareth nor leaves nor fruite’ (1565, s.v. ‘Hebenus’). OED cites Gower, Conf. 2. 103, ‘Of hebenus that slepy tre’.
52.3 Hellebore: Used as a purgative.
52.4 Coloquintida: Cf. 2 Kings 4:38-41: Elisha shreds wild gourds into ‘the pot of pottage’ during a famine, but the men who eat from it cry out that ‘death is in the pot’. The Geneva gloss identifies the gourds as ‘colloquintida . . . moste vehement and dangerous in purging’.
52.4 Tetra: Hunt 1883 identifies this as ‘the tetrum solanum, or deadly nightshade’ (85).
52.5 Samnitis: Not known, but Upton 1758 guesses (because the ancient Samnites dwelt next to the Sabines on the Italian peninsula) that it refers to the savin, used because of its poisonous properties as an anthelminthic and abortifacient.
Cicuta: hemlock
52.6-52.9 52.6-9 The friend who attends on Socrates at his death is Crito; Critias was an enemy. Commentators have proposed Xenophon, Hellenica 2.3.56, and Cicero, Tusculan Disputations 1.40, as sources for an error here.
last Philosophy: Philosophy of ‘last things’, i.e. the soul’s immortality (which would explain ‘quaffing glad’); philosophy delivered at the point of death.
53.1 Gardin of Proserpina: Cf. Od 10.509-40, where Circe describes the garden Odysseus will pass through on his way to Hades, and st. 52n.
overdight: overspread
entreat: occupy herself with
53.5 entreat: Cf. Romeo and Juliet 4.1.40: ‘My lord, we must entreat the time alone’.

golden apples: Mentioned by Claudian, De Raptu: est etiam lucis arbor praevives opacis / fulgentes viridi ramos curvata metallo (‘There is, moreover, a precious tree in the leafy groves whose curving branches gleam with living ore’; 2.290-91).

Typology would associate Proserpine’s golden apples with the fruit taken by Eve in Gen 2. Spenser may also allude to the golden bough in Virgil: latet arbore opaca / aureus et foliis et lento vimine ramus, / Iuonini infernae dictus sacer (‘There lurks in a shady tree a bough, golden in leaf and pliant stem, held consecrate to nether Juno’; Aen 6.136-38).

54.5-54.6 54.5-6 Hercules’ eleventh labor, to fetch the golden apples of the Hesperides (‘great Atlas daughters’) is discussed by Conti, Myth 622. The labors of Hercules were typologically associated by many Renaissance writers with Christ’s victory over evil.
54.8-54.9 54.8-9 The story of Hippomemes (‘th’Eubæan young man’) racing for the hand of Atalanta is told by Ovid (Met 10.560-680) and mentioned by Conti, Myth 624-25. Spenser links the apples of Hercules and Atalanta in Am 77, a dream vision of his beloved’s breast that associates the apples of the Hesperides with those of Song Sol 2.5 (‘comfort me with apples: for I am sicke of love’) and distinguishes them from the fruit in Gen (‘yet voyd of sinfull vice’). Cf. the description in the same sonnet of how Cupid transplanted these apples from ‘paradice’ into his own garden. Cf. also Ronsard, Amours 1.145.
sold: derived
55.1-55.3 55.1-3 Ovid tells how Acontius used an apple to trick Cydippe into marrying him (Her 20).
55.4-55.9 55.4-9 References to the apple of discord as the origin of the Trojan War are found in various classical sources; Conti Myth 555 quotes from Lucian, Ovid, Strabo, and Euripides in his summary of the story. (Spenser’s substitution of Ate for the figure of Eris in Greek myth may proceed by way of Conti’s Discordia).
55.6 Idæan: From Mount Ida, the setting for the Judgement of Paris. The apple thrown ‘emongest the Gods’ at the wedding of Thetis and Peleus, inscribed ‘for the fairest’, was claimed by Hera, Athena, and Venus.
fee: wealth
without: beyond
56.8 Cocytus: Gk Κωκυτoς Kōkytos wailing; one of the rivers in the classical underworld.
of: by
shrightes: shrieks
resounden wide: echo into the distance
liquour: liquid
drouth: thirst
couth: could
ment: intended; signified
59.2 ment: The ambiguity raises the question whether Tantalus controls his own meaning— whether he appears as agent or as emblem.
againe: in reply
59.5-59.9 59.5-9 Details of the scene are drawn from Homer (Od 11.582-92), although the fruits after which Tantalus reaches in Homer (pears, pomegranates, apples, figs, olives) would presumably be edible, unlike the ‘golden apples’ in Spenser, which nudge Tantalus in the direction of Midas. Tantalus appears in many classical and medieval texts, often as a symbol of greed: cf. Pindar, Olympia 1; Horace, Satires 1.1; Ovid, Ars Am 2.601-6; Dante, Inf 8.31-39; Boccaccio, Genealogia 1.14; Conti Myth 531-535; Alciati, Embemata 85.
59.6 59.6 Tantalus sought to test the omniscience of the Gods by serving his own son Pelops to them at a banquet. Pelops was restored to life, Tantalus consigned to hell.
59.9 give to eat: Echoing Mark 6:37, ‘Give ye them to eat’.
St. 60 See 59.2n above; in this stanza one ambiguity is resolved—Tantalus is told to ‘be’ an emblem—while another ambiguity opens up. In 1590 Guyon instructs Tantalus to be an emblem of ‘mind more temperate’, whereas in 1596 and 1609 the instruction reads ‘Ensample be of mind intemperate’. Either version can make sense: Tantalus may be an emblem of intemperance punished, but if he does ‘abide the fortune’ of his ‘present fate’, he may become an example of ‘mind more temperate’.
60.6-60.9 60.6-9 Cf. Rev 16:9, ‘And men boyled in great heat, and blasphemed the Name of God, which hathe power over these plagues, and they repented not, to give him glorie’. The Geneva gloss identifies the ‘great heat’ of this passage as ‘Signifying famine, drought and hote diseases which procede thereof’.
dye: i.e., eternally
drent: drowned
61.4-61.5 61.4-5 Cf. Isa 1.15: ‘And when you shal stretch out your hands, I wil hide mine eyes from you: and thogh ye make manie prayers, I wil not heare: for your hands are ful of blood’.
61.6-61.9 61.6-9 Pilate’s failed effort to wash his hands of guilt echoes Guyon’s failed attempt to wash the hands of Ruddymane (ii.3).
fayned: ‘fained’ (desired) and ‘feigned’ (pretended)
62.3-62.9 62.3-9 Based on Matt 27: 22-26.
62.5-62.7 62.5-7 Echoing Acts 3:14-15.
doome: verdict
62.8-62.9 62.8-9 Cf. Ps 26.6, ‘I wil wash mine hands in innocencie’, as well as the Geneva gloss to Isa 1:16: ‘By this outward washig [sic], he meaneth the spiritual’.
63.7-63.9 63.7-9 Cf. the stratagem used by Pluto to ensnare Theseus and Pirithous when they journey to Hades to kidnap Persephone: ‘on the pretence that they were about to partake of good cheer Hades bade them first be seated on the Chair of Forgetfulness, to which they grew and were held fast by coils of serpents’ (Apollodorus, Epitome 1.24). Cf. I.v.35.8n and Aen 6.617-18: sedet aeternumque sedebit / infelix Theseus (‘hapless Theseus sits and evermore shall sit’). For a modern retelling that shows the influence of Spenser’s passage, see Lewis, The Silver Chair. Some commentators suspect a reminiscence of the ‘forbidden seat’ of the Eleusinian mysteries, as described (for example) by Clement of Alexandria in ‘Exhortation to the Heathen’: ‘For Demeter, wandering in quest of her daughter Core [Proserpine], broke down with fatigue near Eleusis, a place in Attica, and sat down on a well overwhelmed with grief. This is even now prohibited to those who are initiated, lest they should appear to mimic the weeping goddess’ (32).
frayle intemperaunce: Transferred epithet: intemperance is itself the frailty.
lust: appetite or desire
beguile the Guyler: Cf. Piers Plowman 18.159-60: ‘the old law granteth, / That beguilers be beguiled’.
three dayes of men: Cf. Matt 12:40: ‘For as Jonas was thre dayes, and thre nighs in the whales bellie: so shal the Sonne of man be thre dayes and thre nights in the heart of the earth’. Brooks-Davies 1977 reports that three days ‘was generally agreed by commentators to be the “permitted time” granted to Aeneas’ in the underworld (157; Aen 6.537).
outwrought: completed
For thy: therefore
66.2-66.3 66.2-3 Upton 1758 cites Plutarch’s de genio Socratis as the source for ‘two nights and one day’ being ‘allowed for surveying, according to the sacred mysteries, the infernal regions’ (490; 590A in Plutarch’s text describes the ritual time allowed for underworld exploration).
66.5-66.6 66.5-6 Cf. Marlowe, Tamburlaine: ‘when this fraile and transitory flesh / Hath suckt the measure of that vitall aire’ (II.v.43-44).
in swowne: See vii.66.8-9. Varying designations of Guyon’s state may be tracked through the present canto.
Acrates sonnes: For the etymology shared by Acrates and Acrasia, see i.51.2-4n.
despoyld: stripped of his armor
Whom: Guyon
1.1 1.1 OED glosses the exclamatory use of ‘and’, ‘expressing surprise at, or asking the truth of, what one has already heard’. Spenser intensifies the sense of wonder by opening with the device, leaving unstated ‘what one has already heard’. A possibility would be 1 Pet 5:7, ‘Cast all your care on him: for he careth for you’. Contrast Virgil, tantaene animis caelestibus irae? (‘Can resentment so fierce dwell in heavenly breasts?’; Aen 1.11). The sense of wonderment at something already there, apprehended yet unapparent, in Spenser’s opening line may intimate the prevenience of grace.
1.2 1.2 Biblical precedent for the ministration of angels may be found at Ps 34:7, Matt 4:11, and Heb 1:14.
evilles: sufferings
1.7 Cf. Ps 145:9, ‘his mercies are over all his workes’.
Angels: From Gk αγγελος aggelos messenger.
succour: aid, assist, or bring reinforcements to
flitting: unstable
Pursuivant: a royal messenger
2.5 militant: Warlike or disposed to combat (cf. ‘Squadrons’); stationed at the end of the clause, ‘militant’ describes the manner of angelic ‘ayd’, but other senses are also available: ‘they militant’ and even ‘us militant’, where the zeugma draws ‘our’ militancy together with ‘theirs’ (the function of grace according to Calvinist doctrine). On spiritual warfare, see 2 Cor 10:4: ‘the weapons of our warrefare are not carnal’. Reformed theology distinguished between the Church Militant, comprised of Christians on earth engaged in combat against sin, and the Church Triumphant, comprised of those in heaven who have triumphed over sin. Cf. Eph 6:11-12: ‘Put on the whole armour of God, that ye may be able to stand against the assaultes of the devil. For we wrestle not against flesh and blood, but against principalities, against powers, and against the worldly governours, the princes of the darkenes of this worlde, against spirituall wickednesses, which are in the hie places’.
2.7 2.7 See Ps 34:7: ‘The Angel of the Lord pitcheth rounde about them, that feare him, and delivereth them’.
2.7-2.8 And . . . and . . .and: Polysyndeton, ‘characterized by the number of connecting particles employed’ (Quintilian, Inst 9.3.51). See 1.1n.
2.9 2.9 See Ps 8:4, ‘What is man, say I, that thou art mindful of him? and the sonne of man, that thou visitest him?’ Also 144:3, ‘Lord, what is man that thou regardest him!’, and Job 7:17, ‘What is man, that thou doest magnifie him, and that thou settest thine heart upon him?’
3.2-3.3 3.2-3 Phaedria denies the Palmer passage on her gondola at vi.19.4-9.
whyleare: formerly
efforced: uttered with effort
4.3 efforced: OED cites only this instance.
by and by: immediately
sunne his threasury: On Mammon’s ‘threasure’, see vii.arg 2n.
senceles dreame: Transferred epithet, applying properly to the dreamer; a dream with no sensory content would be no dream at all. See arg.1n on the ambiguity of Guyon’s state, and compare Redcrosse on the second night of the dragon battle in Book I, lying ‘as in a dreame of deepe delight’ (50.4) while his wounds are healed by a stream of balm trickling from the tree of life.
Beside his head: See I.ix.22.1-2, ‘they might perceive his head / To bee unarmd’, and note. Also John 20:12, ‘[Mary] sawe two Angels in white, sitting, the one at the head, and the other at the feete’.
a faire young man: See Mark 16:5, ‘So they went into the sepulchre, and sawe a yong man siting at the right side, clothed in a long white robe’; also the description of Gabriel in Tasso, GL 1.13-14.
equall peares: coevals
5.5 his snowy front: L frons forehead. See Matt 28:2-3, ‘the Angel of the Lord descended from heaven . . . And his countenance was like lightning, and his raiment white as snowe’.
Phoebus: the sun’s
winged sheares: A metaphor for the wings, in which the tenor reappears as an adjective modifying the vehicle.
diverse: multi-colored
5.8 like painted Jayes: Cf. Chaucer, Parl 356, ‘the pekok, with his aungels fetheres bryghte’.
St. 6 The angel is winged like Cupid, but the simile goes on to specify when the resemblance is apt: when Cupid has laid his bow aside (cf. I.pr.3.5) to play with Venus and the Graces, shadowing Christian agape, divine beauty, and grace. For an account of this simile in the context of a Spenserianian ‘theodicy of Cupid’ that integrates human with divine love, see SpE s.v. ‘Cupid’ and ‘angel, Guyon’s’.
6.1 Idæan hill: Mount Ida; see vii.55.6n.
his goodly sisters: The three Graces are reputed daughters of Venus (Servius ad Aen 1.720, Boccaccio Genealogia 3.22, Conti Myth 325). Cf. VI.x.22 and Teares 401-6.
through sleepe beguild: Sleep in Spenser is regularly associated with deception; see ii.46.6-7 and v.34, as well as the extended tableau of the sleeping Verdant at xii.72-80.
childe: In ME ballads and romances, a young noble awaiting knighthood; Spenser uses the term more generally as a chivalric and slightly archaic title designating a young man of gentle birth.
corage bold respire: again breathe courageous spirit
8.1 8.1 See Ps 91:11, ‘For he shal give his Angels charge over thee to kepe thee in all thy waies’.
arrett: entrust
offend: attack
8.7 offend: From L offedere to strike against.
painted: brightly colored
as . . . flight: ‘As [if he were a] fowle escapt by flight’.
courd: covered
9.8 courd: We make an exception here to our policy of modernizing u/v orthography because the spelling ‘courd’ appears meant to capture a particular pronunciation (a phonetic reduction) in the service of monosyllabic scansion. The phonetically reduced form of ‘covered’ allows it to merge with ‘cured’. OED identifies ‘cure’ as an elided form of ‘cover’, although ‘cure’ (as in ‘curate’, from L curare to care for) is also relevant. (Cf. recured and note at iv.16.7 and discure as a form of ‘discover’ at ix.42.8.)
9.8-9.9 9.8-9 Cf. Matt 23:37, ‘I have gathered thy children together, as the henne gathereth her chickens under her wings’. The syntax (‘courd it . . . from’) indicates a defensive gesture.
newly hatcht: For the hatchling as a conventional symbol of the soul’s immortality, see e.g. Camerarius 1590, Symbolorum et Emblamata Centuria 3.69, Nulla mihi mora est (‘death is nothing to me’)
Paynim: heathen
10.2 Paynim: The ‘two sonnes of Acrates’ are not identified as Saracen knights during their earlier appearance in cantos iv-vi.
10.3 Archimago plays the Palmer’s part, as in the first episode of Book 2.
10.6 two sonnes of Acrates: See arg.2 and i.51.2-4n.
10.7-10.8 10.7-8 At vi. 47-51 the brethren encounter Archimago on the shore of the ‘Idle lake (vi.10.1-2).
dearly: heartily; keenly; at a high cost
11.4-11.5 11.4-5 Cf. Prov 26:21, ‘As the cole maketh burning coles, and the wood a fyre, so the contentious man is apt to kindle strife’.
stryful: strife-full
11.4 Atin: See iv.42.5n.
whot: hot
slombred: unconscious; corse: body
11.7 slombred: A Spenserianism. Cf I.vii.15.6, the sole instance cited by OED.
debate: combat
brutenesse shendst: stupidity disgrace
comely: In ME usage, ‘applied in courtesy to those of noble station’ (OED). Cf. i.7.2.
caytive: vile
stile: title
13.7 envy . . . to barke: Cf. SC ‘To His Booke’ 5, ‘And if that Envie barke at thee’. Early modern envy commonly barks and often bites as well.
14.5 Proverbial (Smith 1970, no 336).
14.7-14.9 14.7-9 Misapplies a well-known saying attributed to Solon the Lawgiver by Herodotus (Persian Wars 1.30) and Plutarch (Parallel Lives, Solon 37).
recke: care
hire: spoils
blame: bring into disrepute
16.4-16.5 16.4-5 See Mark 15:24 on the soldiers casting lots for Christ’s garments; Faith’s rebuke to the Roman soldier who wounds Christ’s body on the cross in Langland, Piers Plowman: ‘Cursede caytyues! Knighthood was it nevere / To misdo a dead body, by daye nor by nyght’ (Crowley 1550, 18.96-97,); and Achilles’ treatment of Hector’s corpse in Homer (Il 22.375-404).
weed: garments
trap: deck
dight: decked with trappings
16.9 16.9 See Goliath’s threat to David at 1 Sam 17:44, ‘I wil give thy flesh unto the foules of the heaven, and to the beastes of the field’.
heben: ebony
17.7 17.7 For the shield covered to protect onlookers from its blinding brightness, see I.viii.19 and OF 2.55-56.
Well kend him so far space: Archimago recognizes Arthur from a distance.
amenaunce: bearing
bylive: ‘belive’, immediately
prowest: worthiest, having the most ‘prowess’
Sar’zins: Saracens
18.6 Sar’zins: From late L Saracēni, the people of Arabia. Applied to Muslim combatants in the Crusades; a medieval etymology going back to Jerome derives the term from the name of Abraham’s wife Sarah while identifying the Muslims who bear the name as descendants of Hagar.
19.1 19.1 The first mention of this lack, although Pyrochles is described at vi.41.3-4 as having abandoned his horse.
faine: willingly
Beteeme: yield
kend: understood, discovered
20.5 Medæwart: Herb also known as ‘meadow-sweet’. The etymology of the name is uncertain; see OED s.v. ‘meadwort’.
20.7 Aetna: The location of Vulcan’s forge, where both the sword of Turnus and the armor of Aeneas were made.
20.8-20.9 20.8-9 Virgil reports that the sword of Turnus was tempered in ‘the Stygian wave’ (Stygia tinxerat unda, Aen 12.91); it was also in the ‘Stygian lake’ that Occasion is said to have kindled the fire-brand she brings to Furor (v.22.6-8).
20.8 seven times: The number of times Elisha tells Naaman to dip himself in the river Jordan to be cleansed (2 Kings 5:10).