The Spenser Archive Prototype

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4fq1590.bk3.III.iv.46.4 5fq1590.bk3.III.iv.46.5 6fq1590.bk3.III.iv.46.6 7fq1590.bk3.III.iv.46.7 8fq1590.bk3.III.iv.46.8 9fq1590.bk3.III.iv.46.9 1fq1590.bk3.III.iv.47.1 2fq1590.bk3.III.iv.47.2 3fq1590.bk3.III.iv.47.3 4fq1590.bk3.III.iv.47.4 5fq1590.bk3.III.iv.47.5 6fq1590.bk3.III.iv.47.6 7fq1590.bk3.III.iv.47.7 8fq1590.bk3.III.iv.47.8 9fq1590.bk3.III.iv.47.9 1fq1590.bk3.III.iv.48.1 2fq1590.bk3.III.iv.48.2 3fq1590.bk3.III.iv.48.3 4fq1590.bk3.III.iv.48.4 5fq1590.bk3.III.iv.48.5 6fq1590.bk3.III.iv.48.6 7fq1590.bk3.III.iv.48.7 8fq1590.bk3.III.iv.48.8 9fq1590.bk3.III.iv.48.9 1fq1590.bk3.III.iv.49.1 2fq1590.bk3.III.iv.49.2 3fq1590.bk3.III.iv.49.3 4fq1590.bk3.III.iv.49.4 5fq1590.bk3.III.iv.49.5 6fq1590.bk3.III.iv.49.6 7fq1590.bk3.III.iv.49.7 8fq1590.bk3.III.iv.49.8 9fq1590.bk3.III.iv.49.9 1fq1590.bk3.III.iv.50.1 2fq1590.bk3.III.iv.50.2 3fq1590.bk3.III.iv.50.3 4fq1590.bk3.III.iv.50.4 5fq1590.bk3.III.iv.50.5 6fq1590.bk3.III.iv.50.6 7fq1590.bk3.III.iv.50.7 8fq1590.bk3.III.iv.50.8 9fq1590.bk3.III.iv.50.9 1fq1590.bk3.III.iv.51.1 2fq1590.bk3.III.iv.51.2 3fq1590.bk3.III.iv.51.3 4fq1590.bk3.III.iv.51.4 5fq1590.bk3.III.iv.51.5 6fq1590.bk3.III.iv.51.6 7fq1590.bk3.III.iv.51.7 8fq1590.bk3.III.iv.51.8 9fq1590.bk3.III.iv.51.9 1fq1590.bk3.III.iv.52.1 2fq1590.bk3.III.iv.52.2 3fq1590.bk3.III.iv.52.3 4fq1590.bk3.III.iv.52.4 5fq1590.bk3.III.iv.52.5 6fq1590.bk3.III.iv.52.6 7fq1590.bk3.III.iv.52.7 8fq1590.bk3.III.iv.52.8 9fq1590.bk3.III.iv.52.9 1fq1590.bk3.III.iv.53.1 2fq1590.bk3.III.iv.53.2 3fq1590.bk3.III.iv.53.3 4fq1590.bk3.III.iv.53.4 5fq1590.bk3.III.iv.53.5 6fq1590.bk3.III.iv.53.6 7fq1590.bk3.III.iv.53.7 8fq1590.bk3.III.iv.53.8 9fq1590.bk3.III.iv.53.9 1fq1590.bk3.III.iv.54.1 2fq1590.bk3.III.iv.54.2 3fq1590.bk3.III.iv.54.3 4fq1590.bk3.III.iv.54.4 5fq1590.bk3.III.iv.54.5 6fq1590.bk3.III.iv.54.6 7fq1590.bk3.III.iv.54.7 8fq1590.bk3.III.iv.54.8 9fq1590.bk3.III.iv.54.9 1fq1590.bk3.III.iv.55.1 2fq1590.bk3.III.iv.55.2 3fq1590.bk3.III.iv.55.3 4fq1590.bk3.III.iv.55.4 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Cant. IIII.

Bold Marinell of Britomart,

Is throwne on the Rich strond:

Faire Florimell of ArthureArthur is

Long followed, but not fond.

[1]

WHhere is the Antique glory now become,

That whylome wont in wemen to appeare?

Where be the brauebrave atchieuementsatchievements doen by some?

Where be the batteilles, where the shield &and speare,

And all the conquests, which them high did reare,

That matter made for famous Poets verse,

And boastfull men so oft abasht to heare?

Beene they all dead, and laide in dolefull herse?

Or doen they onely sleepe, and shall againe reuersereverse?

[2]

If they be dead, then woe is me therefore:

But if they sleepe, O let them soone awake:

For all too long I burne with enuyenvy sore,

To heare the warlike feates, which Homere spake

Of bold PentheſileePenthesileePantheſileePanthesilee, which made a lake

Of Greekish blood so ofte in TroianTrojan plaine;

But when I reade, how stout Debora strake

Proud Sisera, and how Camill’ hath slaine

The huge Orsilochus, I swell with great disdaine.

[3]

Yet these, and all that els had puissaunce,

Cannot with noble Britomart compare,

Aswell for glorie of great valiaunce,

As for pure chastitie and vertue rare,

That all her goodly deedes do well declare.

Well worthie stock, frõfrom which the branches sprong,

That in late yeares so faire a blossome bare,

As thee, O Queene, the matter of my song,

Whose lignage from this Lady I deriuederive along.

[4]

Who when through speaches with the Redcrosse knight,

She learned had th’estate of Arthegall,

And in each point her selfe informd aright,

A frendly league of louelove perpetuall

She with him bound, and Congé tooke withall.

Then he forth on his iourneyjourney did proceede,

To seeke aduenturesadventures, which mote him befall,

And win him worship through his warlike deed,

Which alwaies of his paines he made the chiefest meed.meed

[5]

But Britomart kept on her former course,

Ne euerever dofte her armes, but all the way

Grew pensiuepensive through that amarous discourse,

By which the Redcrosse knight did earst display

Her louerslovers shape, and cheualrouschevalrous aray;

A thousand thoughts she fashiond in her mind,

And in her feigning fancie did pourtray

Him such, as fittest ſ⁀heshehe for louelove could find,

Wise, warlike, personable, courteous, and kind.

[6]

With such selfe-pleasing thoughts her wound she fedd,

And thought so to beguile her grieuousgrievous smart;

But so her smart was much more grieuousgrievous bredd,

And the deepe wound more deep engord her hart,

That nought but death her dolour mote depart.

So forth she rode without repose or rest,

Searching all lands and each remotest part,

Following the guydaunce of her blinded guest,

Till that to thetot he seacoast at length she her addrest.

[7]

There she alighted from her light-foot beast,

And sitting downe vponupon the rocky shore,

Badd her old Squyre vnlaceunlace her lofty creast;

Tho hauinghaving vewd a while the surges hore,

That gainst the craggy clifts did loudly rore,

And in their raging surquedry disdaynd,

That the fast earth affronted them so sore,

And their deuouringdevouring deuoringdevoring couetizecovetize restraynd,

Thereat she sighed deepe, and after thus complaynd.

[8]

Huge sea of sorrow, and tempestuous griefe,

Wherein my feeble barke is tossed long,

Far from the hoped hauenhaven of reliefe,

WhyWho doe thy cruel billowes beat so strong,

And thy moyst mountaines each on others throng,

Threatning to swallow vpup my fearefull lyfe?

O doe thy cruell wrath and spightfull wrong

At length allay, and stint thy stormy stryfe,

Which in thytheſethese troubled bowels raignes, &and rageth ryfe.

[9]

For els my feeble vessell crazd, and crackt

Through thy strong buffets and outrageous blowes,

Cannot endure, but needes it must be wrackt

On the rough rocks, or on the sandy shallowes,

The whiles that louelove it steres, and fortune rowes;

LoueLove my lewd Pilott hath a restlesse minde

And fortune Boteswaine no assuraunce knowes,

But saile withouten starres, gainst tyde and winde:

How can they other doe, sith both are bold and blinde?

[10]

Thou God of windes, that raignest in the seas,

That raignest also in the Continent,

At last blow vpup some gentle gale of ease,

The which may bring my ship, ere it be rent,

VntoUnto the gladsome port of her intent:

Then when I shall my selfe in safety see,

A table for eternall moniment

Of thy great grace, and my great ieopardeejeopardee,

Great Neptune, I avow to hallow vntounto thee.

[11]

Then sighing softly sore, and inly deepe,

She shut vpup all her plaint in priuyprivy griefe;

For her great courage would not let her weepe,

Till that old Glauce gan with sharpe repriefe,

Her to restraine, and giuegive her good reliefe,

Through hope of those, which Merlin had her told

Should of her name and nation be chiefe,

And fetch their being from the sacred mould

Of her immortall womb, to be in heauenheaven enrold.

[12]

Thus as she her recomforted, she spyde,

Where far away one all in armour bright,

With hasty gallop towards her did ryde;

Her dolour soone she ceast, and on her dight

Her Helmet, to her Courser mounting light:

Her former sorrow into suddein wrath,

Both coosen passions of distroubled spright,

ConuertingConverting, forth she beates the dusty path;

LoueLove and despight attonce her courage kindled hath.

[13]

As when a foggy mist hath ouercastovercast

The face of heuenheven, and the cleare ayre engroste,

The world in darkenes dwels, till that at last

The watry Southwinde from the seabord coste

VpblowingUpblowing, doth disperse the vapour lo’ste,

And poures it selfe forth in a stormy showre;

So the fayre Britomart hauinghaving disclo’ste

Her clowdy care into a wrathfull stowre,

The mist of griefe dissolu’ddissolv’d, did intointo vengeance powre.

[14]

Eftsoones her goodly shield addressing fayre,

That mortall speare she in her hand did take,

And vntounto battaill did her selfe prepayrepɹepayreprepaireprepare.

The knight approching, sternely her bespake;

Sir knight, that doest thy voyage rashly make

By this forbidden way in my despight,

Ne doest by others death ensample take,

I read thee soone retyre, whiles thou hast might,

Least afterwards it be too late to take thy flight.

Misnumbered as 13 in 1609.

[15]

Ythrild with deepe disdaine of his proud threat,

She shortly thus; Fly they, that need to fly;

Wordes fearen babes. I meane not thee entreat

To passe; but maugre thee will passe or dy.

Ne lenger stayd for th’other to reply,

But with sharpe ſpearesspearesſpearespeare the rest made dearly knowne.

Strongly the straunge knight ran, and sturdily

Strooke her full on the brest, that made her downe

Decline her head, &and touch her crouper with her crown.

[16]

But she againe him in the shield did smite

With so fierce furie and great puissaunce,

That through his threesquare scuchin percing quite,

And through his mayled hauberque, by mischaunce

The wicked steele through his left side did glaunce;

Him so transfixed she before her bore

Beyond his croupe, the length of all her launce,

Till sadly soucing on the sandy shore,

He tombled on an heape, and wallowd in his gore.

[17]

Like as the sacred Oxe, that carelesse stands,

With gilden hornes, and flowry girlonds crownd,

Proud of his dying honor and deare bandes,

Whiles th’altars fume with frankincense arownd,

All suddeinly with mortall stroke astownd,

Doth grouelinggroveling fall, and with his streaming gore

Distaines the pillours, and the holy grownd,

And the faire flowres, that decked him afore;

So fell proud Marinell vponupon the pretious shore.

[18]

The martiall Mayd stayd not him to lament,

But forward rode, and kept her ready way

Along the strond, which as she ouerover-went,

She saw bestrowed all with rich aray

Of pearles and pretious stones of great assay,

And all the grauellgravell mixt with golden owre;

Whereat she wondred much, but would not stay

For gold, or perles, or pretious stones an howre,

But them despised all; for allall, for all;all; for allall; for, all was in her powre.

[19]

Whiles thus he lay in deadly stonishment,

Tydings hereof came to his mothers eare;

His mother was the blacke-browd Cymoent,

The daughter of great Nereus, which did beare

This warlike sonne vntounto an earthly peare,

The famous Dumarin; who on a day

Finding the Nymph a sleepeasleepe in secret wheare,

As he by chaunce did wander that same way,

Was taken with her louelove, and by her closely lay.

[20]

There he this knight of her begot, whom borne

She of his father Marinell did name,

And in a rocky cauecave as wight forlorne,

Long time she fostred vpup, till he became

A mighty man at armes, and mickle fame

Did get through great aduenturesadventures by him donne:

For neuernever man he suffred by that same

Rich strond to trauelltravell, whereas he did wonne,

But that he must do battail with the Sea-nymphes sonne.ſonne

[21]

An hundred knights of honorable name

He had subdew’d, and them his vassals made,

That through all Farie lond his noble fame

Now blazed was, and feare did all inuadeinvade,

That none durst passen through that perilous glade.

And to aduaunceadvaunce his name and glory more,

Her Sea-god syre she dearely did perswade,

T’endow her sonne with threasure and rich store,

BoueBove all the sonnes, that were of earthly wombes ybore.

[22]

The God did graunt his daughters deare demaund,

To doen his Nephew in all riches flow;

Eftsoones his heaped waueswaves he did commaund,

Out of their hollow bosome forth to throw

All the huge threasure, which the sea below

Had in his greedy gulfe deuoureddevoured deepe,

And him enriched through the ouerthrowoverthrow

And wreckes of many wretches, which did weepe,

And often wayle their wealth, which he from them did keepe.

[23]

Shortly vponupon that shore there heaped was,

Exceeding riches and all pretious things,

The spoyle of all the world, that it did pas

The wealth of th’East, and pompe of Persian kings;

Gold, amber, yuorieyvorie, perles, owches, rings,

And all that els was pretious and deare,

The sea vntounto him voluntary brings,

That shortly he a great Lord did appeare,

As was in all the lond of Faery, or else wheare.

[24]

Thereto he was a doughty dreaded knight,

Tryde often to the scath of many Deare,

That none in equall armes him matchen might,

The which his mother seeing, gan to feare

Least his too haughtie hardines might reare

Some hard mishap, in hazard of his life:

For thy she oft him counseld to forbeare

The bloody batteill, and to stirre vpup strife,

But after all his warre, to rest his wearie knife.

[25]

And for his more assuraunce, she inquir’d

One day of Proteus by his mighty spell,

(For Proteus was with prophecy inspir’d)

Her deare sonnes destiny to her to tell,

And the sad end of her sweet Marinell.

Who through foresight of his eternall skill,

Bad her from womankind to keepe him well:

For of a woman he should hauehave much ill,

A virgin straunge and stout him should dismay, or kill.

[26]

For thy she gauegave him warning eueryevery day,

The louelove of women not to entertaine;

A lesson too too hard for liuingliving clay,

From louelove in course of nature to refraine:

Yet he his mothers lore did well retaine,

And euerever from fayre Ladies louelove did fly;

Yet many Ladies fayre did oft complaine,

That they for louelove of him would algates dy:

Dy, who so list for him, he was louesloves enimy.

[27]

But ah, who can deceiuedeceive his destiny,

Or weene by warning to auoydavoyd his fate?

That when he sleepes in most security,

And safest seemes, him soonest doth amate,

And findeth dew effect or soone or late.

So feeble is the powre of fleſhyfleshyfleſhlyfleshly arme.

His mother bad him wemens louelove to hate,

For she of womans force did feare no harme;

So weening to hauehave arm’d him, she did quite disarme.

[28]

This was that woman, this thatthar deadly wownd,

That Proteus prophecide should him dismay,

The whichwichwhich his mother vainely did expownd,

To be hart-wownding louelove, which should assay

To bring her sonne vntounto his last decay.

So ticle be the termes of mortall state,

And full of subtile sophismes, which doe play

With double sences, and with false debate,

T’approueT’approve the vnknowenunknowen purpose of eternall fate.

[29]

Too trew the famous Marinell it fownd,

Who through late triall, on that wealthy Strond

Inglorious now lies in sencelesse swownd,

Through heauyheavy stroke of Britomartis hond.

Which when his mother deare did vnderstondunderstond,

And heauyheavy tidings heard, whereas she playd

Amongst her watry sisters by a pond,

Gathering sweete daffadillyes, to hauehave made

Gay girlonds, from the Sun their forheads fayr to shade,shade;shade.

[30]

Eftesoones both flowres and girlonds far away

Shee flong, and her faire deawy locks yrent,

To sorrow huge she turnd her former play,

And gamesomegameson merth to grieuousgrievous dreriment:

Shee threw her selfe downe on the Continent,

Ne word did speake, but lay as in a swowneswouneswownd,

Whiles al her sisters did for her lament,

With yelling outcries, and with shrieking sowne;

And eueryevery one did teare her girlondgitlondgirlond from her crowne.

[31]

Soone as shee vpup out of her deadly fitt

Arose, shee bad her charett to be brought,

And all her sisters, that with her did sitt,

Bad eke attonce their charetts to be sought;

Tho full of bitter griefe and pensife thought,

She to her wagon clombe; clombe all the rest,

And forth together went, with sorow fraught.

The waueswaves obedient to theyr beheast,

Them yielded ready passage, and their rage surceast.

[32]

Great Neptune stoode amazed at their sight,

Whiles on his broad rownd backe they softly slid

And eke him selfe mournd at their mournfull plight,

Yet wist not what their wailing ment, yet did

For great compassion of their sorow, bid

His mighty waters to them buxome bee:

Eftesoones the roaring billowes still abid,

And all the griesly MonﬅersMonsters MonﬅesMonstesMonﬅersMonsters of the See

Stood gaping at their gate, and wondred them to see.

[33]

A teme of Dolphins raunged in aray,

Drew the smooth charett of sad Cymoent;

They were all taught by Triton, to obay

To the long raynestraines, at her commaundement:

As swifte as swallowes, on the waueswaves they went,

That their brode flaggy finnes no fome did reare,

Ne bubling rowndell they behinde them sent;

The rest of other fishes drawen weare,

Which with theirrheir finny oars the swelling sea did sheare.

[34]

Soone as they bene arriu’darriv’d vponupon the brim

Of the Rich strond, their charets they forlore,

And let their temed fishes softly swim

Along the margent of the fomy shore,

Least they their finnes should bruze, and surbate sore

Their tender feete vponupon the stony grownd:

And comming to the place, where all in gore

And cruddy blood enwallowed they fownd

The lucklesse Marinell, lying in deadly swownd;

[35]

His mother swowned thrise, and the third time

Could scarce recoueredrecovered bee out of her paine;

Had she not beene deuoidedevoide of mortall slime,

Shee should not then hauehave bene relyu’drelyv’d againe;

But soone as life recoueredrecovered had the raine,

Shee made so piteous mone and deare wayment,

That the hard rocks could scarse from tears refraine,

And all her sister Nymphes with one consent

Supplide her sobbing breaches with sad complement.

[36]

Deare image of my selfe, (she sayd) that is,

The wretched sonne of wretched mother borne,

Is this thine high aduauncementadvauncement, O is this

Th’immortall name, with which thee yet vnborneunborne

Thy Gransire Nereus promist to adorne?

Now lyest thou of life and honor refte;

Now lyest thou a lumpe of earth forlorne,

Ne of thy late life memory is lefte,

Ne can thy irreuocableirrevocable desteny bee wefte?

[37]

Fond Proteus, father of false prophecis,

And they more fond, that credit to thee giuegive,

Not this the worke of womans hand ywis,

That so deepe wound through these deare members driuedrive.

I feared louelove: but they that louelove doe liuelive,

But they that dye, doe nether louelove nor hate.

Nath’lesse to thee thy folly I forgiueforgive,

And to myselfe, and to accursed fate

The guilt I doe ascribe: deare wisedom bought too late.

[38]

O what auailesavailes it of immortall seed

To beene ybredd and neuernever borne to dye?

Farre better I it deeme to die with speed,

1590.bk3.III.iv.38.4. Then: ThanThenThan waste in woe and waylfull miserye.

Who dyes the vtmostutmost dolor doth abye,

But who that liueslives, is lefte to waile his losse:

So life is losse, and death felicity.

Sad life worse 1590.bk3.III.iv.38.8. then: thanthenthan glad death: and greater crosse

To see frends grauegrave, 1590.bk3.III.iv.38.9. thẽ: than1590.bk3.III.iv.38.9. then: thanthẽthenthãthan dead the grauegrave self to engrosse.

[39]

But if the heauensheavens did his dayes enuieenvie,

And my short blis maligne, yet mote they well

Thus much afford me, ere that he did die

That the dim eies of my deare Marinell

I mote hauehave closed, and him bed farewell,

Sith other offices for mother meet

They would not graunt.

Yett maulgre them farewell, my sweetest sweet;

Farewell my sweetest sonne, till we againe may meet.ſ⁀ith we no more ſ⁀hall meet.sith we no more shall meet.

[40]

Thus when they all had sorowed their fill,

They softly gan to search his griesly wownd:

And that they might him handle more at will,

They him disarmd, and spredding on the grownd

Their watchet mantles frindgd with siluersilver rownd,

They softly wipt away the gelly blood

From th’orifice; which hauinghaving well vpbowndupbownd,

They pourd in souerainesoveraine balme, and Nectar good,

Good both for erthly med’cine, and for heuenlyhevenly food.

[41]

Tho when the lilly handed Liagore,

(This Liagore whilome had learned skill

In leaches craft, by great Appolloes lore,

Sith her whilome vponupon high Pindus hill,

He louedloved, and at last her wombe did fill

With heuenlyhevenly seed, whereof wise Pæon sprong)

Did feele his pulse, shee knew theretheir staied still

Some litle life his feeble sprites emong;

Which to his mother told, despeyre she frõfrom her flong.

[42]

Tho vpup him taking in their tender hands,

They easely vntounto her charett beare:

Her teme at her commaundement quiet stands,

Whiles they the corse into her wagon reare,

And strowe with flowres the lamentable beare:

Then all the rest into their coches clim,

And through the brackish waueswaves their passage shear;

VponUpon great Neptunes necke they softly swim,

And to her watry chamber swiftly carry him.

[43]

Deepe in the bottome of the sea, her bowre

Is built of hollow billowes heaped hye,

Like to thicke clouds, that threat a stormy showre,

And vauted all within, like to the Skye,

In which the Gods doe dwell eternally:

There they him laide in easy couch well dight;

And sent in haste for Tryphon, to apply

SaluesSalves to his wounds, and medicines of might:

For Tryphon of sea gods the souerainesoveraine leach is hight.

[44]

The whiles the Nymphes sitt all about him rownd,

Lamenting his mishap and heauyheavy plight;

And ofte his mother vewing his wide wownd,

Cursed the hand, that did so deadly smight

Her dearest sonne, her dearest harts delight.

But none of all those curses ouertookeovertooke

The warlike Maide, th’ensample of that might,

But fairely well shee thryudthryvd, and well did brooke

Her noble deeds, ne her right course for ought forsooke.

[45]

Yet did false Archimage her still pursew,

To bring to passe his mischieuousmischievous intent,

Now that he had her singled from the crew

Of courteous knights, the Prince, and FaryFaery gent,

Whom late in chace of beauty excellent

Shee lefte, pursewing that same foster strong;

Of whose fowle outrage they impatient,

And full of firyfiery zele, him followed long,

To reskew her from shame, and to reuengerevenge her wrong.

[46]

Through thick and thin, through mountains &and through playns,

Those two gret chãpionschampions did attonce pursew

The fearefull damzell, with incessant payns:

Who from them fled, as light-foot hare from vew

Of hunter swifte, and sent of howndes trew.

At last they came vntounto a double way,

Where, doubtfull which to take, her to reskew,

ThemseluesThemselves they did dispart, each to assay,

Whether more happy were, to win so goodly pray.

[47]

But Timias, the Princes gentle Squyre,

That Ladies louelove vntounto his Lord forlent,

And with proud enuyenvy, and indignant yre,

After that wicked foster fiercely went.

So beene they three three sondry wayes ybent.

But fayrest fortune to the Prince befell,

Whose chaunce it was, that soone he did repent,

To take that way, in which that Damozell

Was fledd afore, affraid of him, as feend of hell.

[48]

At last of her far offof he gained vew:

Then gan he freshly pricke his fomy ﬅeedsteedﬅeǝdsteǝdﬅeedsteed,

And euerever as he nigher to her drew,

So euermoreevermore he did increase his speed,

And of each turning still kept wary heed:

Alowd to her he oftentimes did call,

To doe away vaine doubt, and needlesse dreed:

Full myld to her he spake, and oft let fall

Many meeke wordes, to stay and comfort her withall.

[49]

But nothing might relent her hasty flight;

So deepe the deadly feare of that foule swaine

Was earst impressed in her gentle spright:

Like as a fearefull DoueDove, which through the raine,

Of the wide ayre her way does cut amaine,

HauingHaving farre off espyde a Tassell gent,

Which after her his nimble winges doth straine,

Doubleth her hast for feare to bee for-hent,

And with her pineons cleauescleaves the liquid firmament.

[50]

With no lesse hast, and eke with no lesse dreed,

That fearefull Ladie fledd from him, that ment

To her no euillevill thought, nor euillevill deed;

Yet former feare of being fowly shent,

Carried her forward with her first intent:

And though oft looking backward, well she vewde,

Her selfe freed from that foster insolent,

And that it was a knight, which now her sewde,

Yet she no lesse the knight feard, 1590.bk3.III.iv.50.9. then: thanthenthan that villein rude.

[51]

His vncouthuncouth shield and straunge armes her dismayd,

Whose like in Faery lond were seldom seene,

That fast she from him fledd, no lesse afrayd,

1590.bk3.III.iv.51.4. Then: ThanThenThan of wilde beastes if she had chased beene:

Yet he her followd still with corage keene,

So long that now the golden Hesperus

Was mounted high in top of heauenheaven sheene,

And warnd his other brethren ioyeousjoyeous,

To light their blessed lamps in IouesJoves eternall hous.

[52]

All suddeinly dim wox the dampish ayre,

And griesly shadowes coueredcovered heauenheaven bright,

That now with thousand starres was decked fayre;

Which when the Prince beheld, a lothfull sight,

And that perforce, for want of lenger light,

He mote surceasse his suit, and lose the hope

Of his long labour, he gan fowly wyte

His wicked fortune, that had turnd aslope,

And cursed night, that reft from him so goodly scope.

[53]

Tho when her wayes he could no more descry,

But to and fro at disauenturedisaventure strayd;

Like as a ship, whose Lodestar suddeinly

CoueredCovered with cloudes, her Pilott hath dismayd,dismayd;

His wearisome pursuit perforce he stayd,

And from his loftie steed dismounting low,

Did let him forage. Downe himselfe he layd

VponUpon the grassy ground, to sleepe a throw;

The cold earth was his couch, the hard steele his pillowpillowe.

[54]

But gentle Sleepe enuydeenvyde him any rest;

In stead thereof sad sorow, and disdaine

Of his hard hap did vexe his noble brest,

And thousand fancies bett his ydle brayne

With their light wings, the sights of semblants vaine:

Oft did he wish, that Lady faire mote bee

His faery Queene, for whom he did complaine:

Or that his Faery Queene were such, as shee:

And euerever hasty Night he blamed bitterliebitterly.

[55]

Night thou foule Mother of annoyaunce sad,

Sister of heauieheavie death, and nourse of woe,

Which wast begot in heauenheaven, but for thy bad

And brutish shape thrust downe to hell below,

Where by the grim floud of Cocytus slow

Thy dwelling is, in Herebus black hous,

(Black Herebus thy husband is the foe

Of all the Gods) where thou vngratiousungratious,

Halfe of thy dayes doest lead in horrour hideous.

[56]

What had th’eternall Maker need of thee,

The world in his continuall course to keepe,

That doest all thinges deface, ne lettest see

The beautie of his worke? Indeed in sleepe

The slouthfull body, that doth louelove to steep

His lustlesse limbes, and drowne his baser mind,

Doth praise thee oft, and oft from Stygian deepe

Calles thee, his goddesse in his errour blind,

And great Dame Natures handmaide,handmaidehandmaide,hand-maid, chearing eueryevery kind.

[57]

But well I wote, that to an heauyheavy hart

Thou art the roote and nourse of bitter cares,

Breeder of new, renewer of old smarts:

In stead of rest thou lendest rayling teares,

In stead of sleepe thou sendest troublous feares,

And dreadfull visions, in the which aliuealive

The dreary image of sad death appeares:

So from the wearie spirit thou doest driuedrive

Desired rest, and men of happinesse depriuedeprive.

[58]

VnderUnder thy mantle black there hidden lye,

Light-shonning thefte, and traiterous intent,

Abhorred bloodshed, and vile felony,

Shamefull deceipt, and daunger imminent;

Fowle horror, and eke hellish dreriment:

All these I wote in thy protection bee,

And light doe shonne, for feare of being shent:

For light ylike is loth’d of them and thee,

And all that lewdnesse louelove, doe hate the light to see.

[59]

For day discouersdiscovers all dishonest wayes,

And sheweth each thing, as it is in deed:

The prayses of high God he faire displayes,

And his large bountie rightly doth areed.

The children of dayDayes deareﬅ childrenDayes dearest children be the blessed seed,

Which darknesse shall subdue, and heauenheaven win:

Truth is his daughter; he her first did breed,

Most sacred virgin, without spot of sinne.

Our life is day, but death with darknesse doth begin.

[60]

O when will day then turne to me againe,

And bring with him his long expected light?light,

O Titan, hast to reare thy ioyousjoyous waine:

Speed thee to spred abroad thy beames bright,bright?

And chace away this too long lingring night,

Chace her away, from whence she came, to hell.

She, she it is, that hath me done despight:

There let her with the damned spirits dwell,

And yield her rowmero wme to day, that can it gouernegoverne well.

[61]

Thus did the Prince that wearie night outweare,

In restlesse anguish and vnquietunquiet paine:

And earely, ere the morrow did vpreareupreare

His deawy head out of the Ocean maine,

He vpup arose, as halfe in great disdaine,

And clombe vntounto his steed. So forth he went,

With heauyheavy looke and lumpish pace, that plaine

In him bewraid great grudge and maltalent:

His steed eke seemd t’apply his steps to his intent.

2. strond: strand

4. fond: found

1. become: gone

5. which them high did reare: that elevated female warriors to heights of honor

9. reuerse: return

3. Aswell: as well

9. along: continuously, by unbroken succession

9. meed: reward

3. amarous: amorous; also suggesting Lamarusbitter

5. depart: remove

3. lofty creast: helmet

4. hore: white with foam

6. surquedry: arrogance

7. affronted: insulted them to their face; confronted their assault

2. barke: ship

1. crazd: battered or broken

6. lewd: ignorant

7. no assuraunce knowes: lacks confidence or steadfastness

1. God of windes: Aeolus

2. Continent: mainland

7. table: votive tablet, probably stone

9. hallow: devote, consecrate

4. repriefe: reproof

4. dolour: lament

7. coosen: cousin

7. distroubled: deeply troubled

2. engroste: thickened

5. lo’ste: lowest

7. disclo’ste: released

8. stowre: storm

8. read: advise

1. Ythrild: pierced

3. fearen: frighten

4. maugre: in spite of

6. made dearly knowne: made known at great cost

1. againe: in return

3. threesquare scuchin: triangular shield

4. hauberque: a long coat of chain-mail

5. glaunce: pierce obliquely (typically contrasted with ‘glide’, pass directly into)

7. croupe: crupper

8. sadly soucing: falling hard

1. sacred: set apart for sacrifice

7. Distaines: stains

2. ready: direct

3. ouer-went: traversed

5. assay: approved value

6. owre: ore

1. stonishment: unconsciousness

6. Dumarin: Fr ‘of the sea’

9. closely: secretly

5. mickle: much

8. wonne: dwell

5. glade: a forest clearing

7. dearely: affectionately; earnestly; at great cost

2. doen: make

2. Nephew: grandson

3. his . . . his: Nereus’s . . . the sea’s

5. reare: bring about

9. knife: sword

6. eternall skill: knowledge of things eternal

9. straunge: foreign

9. dismay: defeat

1. For thy: therefore

8. algates: by all means

1. deceiue: cheat

2. weene: think

3. That: i.e., his fate

3. security: complacency

4. amate: cast down

6. ticle: uncertain

7. sophismes: plausible but fallacious arguments

9. approue: make good

3. swownd: swoon

7. her watry sisters: the Nereids

8. daffadillyes: another name for the Narcissus

5. Continent: the shore beside the pond (see 29.7)

2. charett: chariot

9. surceast: forbore

7. abid: past tense of ‘abide’

9. gate: gait, i.e. their passage, as described in the next stanza

7. bubling rowndell: swirl of foam

5. surbate: bruise

8. cruddy: clotted (by metathesis from ‘curdy’)

4. relyu’d: revived

6. wayment: lament

9. wefte: ‘waived’, avoided

3. ywis: assuredly

5. abye: suffer

5. bed: bid

8. maulgre: in spite of

5. watchet: light blue

6. gelly: a nonce-adjective formed from either the noun ‘jelly’ or the verb ‘jellied’

3. leaches craft: medicine

7. staied still: remained even now

4. corse: body

5. beare: stretcher

6. clim: ‘climb’ (variant spelling for eye-rhyme)

4. vauted: vaulted (from Lvoltaturn); arched

9. soueraine leach: chief physician

7. ensample: model or precedent

8. brooke: profit or prosper by

4. gent: noble

2. attonce: at once; together

8. assay: make trial

9. Whether: which of the two

9. happy: fortunate

2. forlent: entirely relinquished (as acknowledging a superior claim)

3. enuy: See i.18.2n.

5. ybent: deflected; directed; determined; braced for action

2. pricke: spur, with sexual overtones

1. relent: slow down

4. raine: reign, the ‘realm’ of the sky

5. amaine: with full force

6. Tassell gent: tercel-gentle, the male of the peregrine falcon

8. for-hent: seized, overtaken in flight;

9. liquid: In the Latinate sense favored by Virgil, ‘bright’ or ‘clear’.

4. shent: disgraced

8. sewde: pursued

7. sheene: fair

8. his other brethren: the stars

6. suit: pursuit; wooing

7. wyte: blame

8. aslope: athwart

9. scope: object of desire, from Lscoposa mark set up to shoot at

8. a throw: a while

1. enuyde: denied

6. lustlesse: listless

6. baser: too base

4. rayling: gushing; plaintive

7. dreary: horrifying

3. felony: in early modern usage, a generalized term for wickedness or treachery

7. shent: shamed

9. lewdnesse: wickedness

4. areed: declare

3. hast: haste

3. waine: chariot

8. bewraid: revealed

8. maltalent: ill temper

3.Arthure] 1590; Arthur1596, 1609;

2.5.PentheſileePenthesilee] 1590; PantheſileePanthesilee1596, 1609;

4.9.meed.] 1596, 1609; meed1590;

5.8.ſ⁀heshe] 1596, 1609; he1590;

6.9.to the] 1596, 1609; tot he1590;

7.8. deuouringdevouring ] 1590, 1609; deuoringdevoring1596;

8.4.Why] 1590; Who1596, 1609;

8.9.thy] 1590; theſethese1596, 1609;

13.9.did into] 1590, 1609; into1596;

14.3.prepayre] state 2; pɹepayre state 1; prepaire1596; prepare1609;

ERROR -- APP W/NO LEMMA] ERROR; Misnumbered as 13 in 1609.;

15.6.ſpearesspeares] 1590, 1596; ſpearespeare1609;

18.9.all; for all] state 2; all, for all; state 1; all; for all1596; all; for, all1609;

20.9.sonne.] 1596, 1609; ſonne1590;

27.6.fleſhyfleshy] 1590; fleſhlyfleshly1596, 1609;

28.1.that] 1596, 1609; thar1590;

28.3.which] state 2; wich state 1; which1596, 1609;

29.9.shade,] 1590; shade.1596; shade;1609;

30.4.gamesome] 1609; gameson1590, 1596;

30.6.swowne] 1596; swownd1590; swoune1609;

30.9.girlond] state 2; gitlond state 1; girlond1596, 1609;

32.8. MonﬅersMonsters ] state 2; MonﬅesMonstes state 1; MonﬅersMonsters1596, 1609;

33.4.raynes] 1590; traines1596, 1609;

33.9.their] state 2; rheir state 1;

39.9.till we againe may meet.] 1590; ſ⁀ith we no more ſ⁀hall meet.sith we no more shall meet.1596, 1609;

41.7.there] 1609; their1590, 1596;

45.4.Fary] 1590; Faery1596, 1609;

45.8.firy] 1590; fiery1596, 1609;

48.1.off] 1596; of1590, 1609;

48.2.ﬅeedsteed] state 2; ﬅeǝdsteǝd state 1; ﬅeedsteed1596, 1609;

53.4.dismayd,] 1590; dismayd;1596, 1609;

53.9.pillow] 1590, 1596; pillowe1609;

54.9.bitterlie] 1590, 1596; bitterly1609;

56.9.handmaide,] state 2; handmaide state 1; handmaide,1596; hand-maid,1609;

59.5.The children of day] 1590; Dayes deareﬅ childrenDayes dearest children1596, 1609;

60.2.light?] 1590; light,1590, 1590;

60.4.bright,] 1609; bright?1590, 1596;

60.9.rowme] this edn.; ro wme1590;

Ee7vEe8rEe8vFf1rFf1vFf2rFf2vFf3rFf3vFf4rFf4vFf5rFf5vFf6rFf6vFf7rFf7vFf8r

1 Marinell: From L marinus of or belonging to the sea, by way of Ango-Norman marin, marine seashore, coast.

4 fond: The unavoidable pun (Florimell isn’t found by Arthur because she isn’t fond of him) sets the tone for a canto in which sympathy for the suffering of characters mingles with amusement at their folly.

1.1

St. 1

On Spenser’s use of Ariosto, see the notes to ii.1 and 2. As Hamilton observes, ‘this stanza is structured on the elegiac ubi sunt [L where are] topos’. The phrase appears in the opening lines or the refrain of medieval Latin works, usually lamenting the brevity of mortal things. Spenser’s focus is different: women’s glory hasn’t faded because of the general mutability of things. The elegiac associations of the language serve rather to set off the sexual politics that take the place of mutability in causing the disappearance to be lamented, even as they also anticipate the sorrowful tone that will prevail in the canto. At the same time, the narrator’s seeming innocence about where all the warlike women have gone, compared to the knowing criticism of masculine bias voiced in the opening of canto ii above, contributes to a wry undertone that qualifies this prevailing sorrow with an amused irony.

2.3 enuy: Like the narrator’s ‘disdaine’, his ‘envy’ may indicate rivalry with the poets who had such warriors to celebrate, contempt for the men who diminish their achievements, or indignant pride on behalf of the women named.

2.4–2.6 2.4-6 Penthesilia is not in Homer, although as Upton observes she is mentioned in para-Homeric additions by other writers; cf. the extended account of Achilles’ infancy incorrectly ascribed to Homer by E.K. in the gloss to SC March 97. Virgil mentions Penthesilia at Aen 1.490-93. Given the narrator’s criticism of male writers who ‘deface’ the deeds of heroic women in their writs (ii.1.9), the errors in this stanza are more than a little ironic.

2.7–2.8 2.7-8 See Judges 4. Debora prophesies the destruction of Sisera, but it is Jaél who drives a tent-stake into his temple.

2.8–2.9 2.8-9 For Camilla’s defeat of Orsilochus, see Virgil, Aen 11.690.

2.9 disdaine: Disdain will become a recurrent motif in the canto, introduced here with a characteristically humorous touch of mildly befuddled exaggeration.

3.1

St. 3

See the similar turn to Britomart and Elizabeth at ii.3.

3.3 Aswell: Echoing ‘I swell’ (2.9).

3.6 stock: The trunk of a tree, as opposed to its roots or branches; in the case of a genealogical tree, the progenitor of later generations. A recurring image for Britomart’s relation to the royal lineage: see ii.17.5n; iii.16.6, 18.3, 22.3.

3.9 along: Cf. iii.4.6-9.

4.4–4.5 4.4-5 Pledges of friendship among Spenser’s protagonists have a special significance in the symbolic structure of the poem; see notes to I.ix.1 and III.i.12.

4.8 win him worship: Echoing I.i.3.4.

5.1

St. 5

Britomart’s refusal to remove her armor is introduced at i.42.7; when she does remove it on going to bed (i.58.6), the consequences are distressing. Here the mention of her unwillingness is not clearly motivated, and so the reader is left to muse upon the relation between Britomart’s keeping to ‘her former course’, her refusal to doff her arms, and her pensiveness as she ‘fashions’ a mental image of Artegall in response to the Redcrosse knight’s rhetorical ‘display’ of his appearance. (For the importance of rhetorical display in the account of Merlin’s prophecy, see the notes to iii.8.9, and 32.1.)

The language of this stanza is dense with terms used by Spenser to describe his own activity as a poet; in its emphasis on the idealizing force of Britomart’s fantasy, the description of her mental activity parallels Sidney’s definition in the Defence of Poetry of ‘right’ poets, ‘who having no law but wit, bestow that in colours upon you which is fittest for the eye to see’ (80). The description of Britomart’s mental activity in this stanza also harks back to the gestation simile (ii.11) that describes her first response to the image ‘displayed’ by Redcrosse.

6.1–6.5 6.1-5 The catachresis of feeding a wound extends the paradox intimated by the spelling ‘amarous’ at 5.3, and suggests that Britomart’s refusal to disarm—which comes too late, since she is already wounded—is doubly futile inasmuch as her thoughts are not only ‘self-pleasing’ but also (and for that very reason) self-wounding.

6.8 6.8 Doubly ironic in that her guide (Cupid) is not only blind but also, as ‘guest’, uninvited—and, as the uninvited guest who blindly presumes to guide, a host’s worst nightmare. Cf. ii.49.2-3, ‘no powre / Nor guidaunce of her selfe in her did dwell’.

7.3 lofty creast: See ii.27.1-2n.

7.6 disdaynd: Spenser’s landscapes characteristically assume the affective and psychological attributes of the poem’s agents. Disdain is a motif throughout the canto, beginning at 2.9 above.

8.1

St. 8-10

The first of three formal complaints in this canto (see 36-39 and 55-60), Britomart’s three stanzas recast Petrarch, RS 189, a sonnet also imitated by Chaucer in the lament of Troilus (T and C 5.638-44) and by Wyatt in ‘My galley chargèd with forgetfulness’. Spenser revisits this topos in Am 34. For the Biblical provenance of the metaphor, see Psalms 69:15: ‘Let not the waterflood drowne me, nether let the depe swallowe me up’.

8.1 8.1 Spenser’s description of the seashore has already presented it as the projection of a psychomachia, preparing the way for Britomart’s apostrophe to a ‘sea of sorrow’ that is both inside and outside of her.

8.5 8.5 This image for the waves marks Spenser's adaptation of the topos to a female speaker.

8.9 thy troubled bowels (these troubled bowels 1596): Cf. ‘my bleeding bowells’ (ii.39.2).

9.4 9.4 As Upton observes, ‘this verse is beyond measure hypermeter, and as rough as the subject requires’. The unstressed rhyming syllable is unusual in Spenser; cf. 53.9, where meter and rhyme together force the accent onto the second syllable of ‘pillow’.

9.5–9.9 9.5-9 Once again (as at 6.8) recalling and expanding upon ii.49.2-4. Merlin’s ‘assurance’ speaks directly to this concern: ‘destiny . . . Guyded thy glaunce’ (iii.24.3-5). See 6.8n.

9.6 lewd: As navigator, the Pilot should be well-versed in the use of compass and in the specific features of the local harbor or coastline. Lewd may also mean ‘unchaste’.

9.7 9.7 The tour de force metrical effects on display in this line are appropriate to a self-conscious set-piece. The counterpoint between words and metrical feet creates a strong trochaic undertow within a perfectly iambic line.

10.2 Continent: The imagery of st. 7 introduces the notion that in opposing the ‘surges’ of oceanic passion, terra firma also represents continence.

10.9 hallow: Upton notes the ‘ancient custom’ whereby ‘the mariner escaped from shipwreck offered his votive tablet to Neptune, Horace, Odes 1.5; Juvenal, Satires 12.27; Tibullus 1.3’.

11.4 repriefe: The rhyme-word ‘reliefe’ retroactively implants an echo of ‘reprieve’ in Glauce’s reproof.

11.8–11.9 sacred . . . immortall: Transferred epithets. Britomart’s offspring will immortalize her on earth through the fame of their exploits and in heaven by enrolling their names in the book of life (cf. Epith 417-23 and Isa 4:3, Geneva gloss: ‘He alludeth to the boke of life, whereof read Exod. 32,33: meaning Gods secret counsel, wherein his elect are predestinate to life everlasting’). The doctrine of predestination thus underwrites the prolepsis.

12.6–12.9 12.6-9 The conversion of kindred emotions into wrath begins with Guyon’s first adventure in II.i and culminates in his destruction of the Bower. On Britomart as resuming Guyon’s irascibility, see i.28.6-8n, ii.6.6-9n, and v.21n. Since her sorrow is an aspect of her desire for Artegall, it follows the pathway already traced by her defensive reaction to that desire, ‘Converting’ into ‘suddein wrath’.

12.9 despight: See 2.9, 7.6, and notes.

13.1–13.6 13.1-6 Cf. II.viii.48.1-7, where the simile describes Arthur’s tactics in combat with Pyrochles; here the weather characterizes an internal action, Britomart’s conversion of grief into wrath.

13.7 disclo’ste: The apostrophe does not signal an actual elision, but may be used to create an eye-rhyme with ‘lo’ste’.

14.6 in my despight: See ‘Love and despight’ at 12.9, ‘disdaynd’ at 7.6, and 2.9n.

15.1 deepe disdaine: Extending the motif introduced at 2.9.

15.2–15.3 15.3-4 Both the curtness of Britomart’s reply and the promptness of her charge against the stranger knight in the ensuing lines are very much in character not only with her mood at present but with her pattern of behavior thus far (see 12.6-9n).

15.8–15.9 15.8-9 She is bent over backwards by the force of the blow; the ‘crouper’, or crupper, is a leather strap attached to the saddle and running back under the horse’s tail.

16.5 left side: Proximity to the heart suggests a love-wound.

17.1

St. 17

Classical precedents for the comparison of a sacrificial ox to a warrior struck down in battle include Homer, Il 17.520-24, and Apollonius Rhodius, Apollon 4.468-70, but Spenser’s simile is distinctive in its emphasis on the sacrificial animal’s pride in his ornaments, ignorance of their meaning, and stupefaction on receiving the ‘mortall stroke’—features that sustain the precarious balance between pathos and amused irony characteristic of this canto (see arg.4n).

17.3 deare: The ox’s ‘bandes’ are ‘deare’ to him because he takes pride in them, but also because they will cost him his life. Introduced in the adverbial form at 15.6, the word ‘deare’ becomes a motif in the canto.

17.7 Distaines: Linked by sound to a keyword for the canto, ‘disdain’.

17.9 Marinell: Named (for the first time in the narrative) after the shore he defends (see arg.1n).

17.9 pretious shore: At 16.8 the shore was ‘sandy’; it becomes ‘pretious’ now in anticipation of Britomart’s discovery in the next stanza.

18.9

all was in her powre: Cf. Horace, Odes 2.2.19-24:

Virtus . . . . . . regnum et diadema tutum deferens uni propriamque laurum, quisquis ingentes oculo inretorto spectat acervos.

‘Virtue . . . conferring power, the secure diadem, and lasting laurels on him alone who can gaze upon huge piles of treasure without casting an envious glance behind’.

Britomart does not need to struggle with Mammon; Guyon has won that battle. Cf. i.19.1-3, where Britomart is equally indifferent to Guyon’s other major temptation, ‘beauties chace’.

19.1 stonishment: A favorite Spenserian pun: stunned, Marinell becomes stone-ish.

19.3 blacke-browd Cymoent: Upton derives the nymph’s proper name from Gk κυμα kuma (‘wave’) (cf. ‘Cymochles’ at II.iv.41.5), and her epithet from  kuanophrus (‘dark-browed’).

19.3–19.9 19.3 -20.6 The account of Marinell’s begetting and his growth to become ‘A mighty man at armes’ are derived from the story of Achilles (see Ovid, Met 11.229-265 for the story of Peleus begetting Achilles on the sea-nymph Thetis). This may imply an opposition between Marinell and Artegall, who enters the poem, in imago if not in person, having won ‘Achilles armes’ (ii.25.6).

20.1–20.6 19.3 -20.6 The account of Marinell’s begetting and his growth to become ‘A mighty man at armes’ are derived from the story of Achilles (see Ovid, Met 11.229-265 for the story of Peleus begetting Achilles on the sea-nymph Thetis). This may imply an opposition between Marinell and Artegall, who enters the poem, in imago if not in person, having won ‘Achilles armes’ (ii.25.6).

19.4 Nereus: Sea god and father to the sea nymphs, or Nereids.

20.8 Rich strond: A threshold not only between land and sea but also between mortal and immortal domains, as Marinell descends from the union between a sea-nymph and an ‘earthly’ knight (19.3-6).

21.5 glade: Hamilton suggests that this term is applied (oddly) to the Rich strond in order to associate it with Mammon’s cave (see 18.9n). If Britomart revisits the Bower of Bliss from the point of view of Chastity in Castle Joyeous, then here she revisits Mammon’s cave.

21.6–21.9 21.6-22 Zurcher notes that ‘Neptune has conferred upon Marinell a lucrative monopoly, the franchise of “wreck” on the high seas, or in the Latin wreccum maris’ (2007: 107).

22.1–22.9 21.6-22 Zurcher notes that ‘Neptune has conferred upon Marinell a lucrative monopoly, the franchise of “wreck” on the high seas, or in the Latin wreccum maris’ (2007: 107).

21.7 dearely: The discovery that Marinell’s ‘sandy shore’ is also a ‘pretious shore’ adds to the semantic density of the term; cf. ‘pretious and deare’ at 23.6 and see 17.3n.

23.5 owches: ME ouche originally signified a clasp or brooch but later was used to refer to precious ornaments generally.

24.2 24.2 Ambiguous syntax may be construed ‘often keenly tested to the harm of many’, ‘often tested to the acute harm of many’, or ‘often tested to the harm of many who were highly esteemed’. See 17.3n and 21.7n for the recurrent pressure placed on the modifier ‘deare’ in this episode.

25.1

St. 25

In the prophecy of Proteus concerning Marinell’s ‘sad end’, Spenser combines Thetis’s foreknowledge of Achilles’s death at Troy (Ovid, Met 13.162-3) with Cyrene’s instructions to her son Aristaeus on obtaining prophetic counsel from Proteus (Virgil, Georg 4.387-456).

25.7–25.9 25.7-9 Proteus’s warning may also be indebted to Renaissance versions of the Achilles legend; according to Boccaccio Genealogia 12.52 and Conti Myth 9.12, Achilles fell in love with Priam’s daughter Polyxena, who lured him to his death in Troy.

25.9 straunge: Cf. v.9.8, ‘a forreine foe’.

26.8–26.9 dy: / Dy: The repetition plays the common euphemism for orgasm against the end of life, much as the play on ‘deare’ throughout the canto (see 17.3n) contrasts Marinell’s possessive love of the strand and its riches with their cost to him.

26.9 who so list: Ironically echoing the title of Wyatt’s lyric ‘Whoso list to hunt’.

27.2 weene: Cf. ‘weening’, line 9.

27.4 amate: With a characteristic pun on a-mate, couple in love, and checkmate (cf. ‘mated’ at I.ix.12.2).

27.9 27.9-28.5 Cymoent’s misinterpretation of the prophecy, as it leads her to ‘disarme’ Marinell by arming him, extends the play on martial and erotic ‘arms’ that begins with Britomart in canto i (see i.45.7n): as one who turns to combat in a defensive refusal of love, Marinell mirrors a tendency within Britomart. Cymoent’s ‘vaine’ interpretation also enters into Book III’s extended play on the differences between literal and figurative wounds: indeed, if her son’s battle-wound may be interpreted allegorically as a love-wound (see 16.5n), Cymoent is not entirely wrong; she has merely substituted allegorical meaning for literal action within the fable.

28.1–28.5 27.9-28.5 Cymoent’s misinterpretation of the prophecy, as it leads her to ‘disarme’ Marinell by arming him, extends the play on martial and erotic ‘arms’ that begins with Britomart in canto i (see i.45.7n): as one who turns to combat in a defensive refusal of love, Marinell mirrors a tendency within Britomart. Cymoent’s ‘vaine’ interpretation also enters into Book III’s extended play on the differences between literal and figurative wounds: indeed, if her son’s battle-wound may be interpreted allegorically as a love-wound (see 16.5n), Cymoent is not entirely wrong; she has merely substituted allegorical meaning for literal action within the fable.

28.6–28.9 28.6-9 Contrast iii.25.9 (and note), where Merlin’s confidence that heavenly causes will reach ‘their constant terme’ underplays the ambiguity of his own prophetic utterance. Cymoent’s reliance on Proteus offers a close analogy to Glauce’s reliance on Merlin: at stake in both situations is the interpretation of a wound, which can be understood only by locating it within the right narrative context. In each instance the predestined outcome (‘terme’ as end-point) depends on the hazards of interpretation (‘terme’ as the riddling language of oracular utterance).

28.6 termes of mortall state: Exemplifying the point it states, this line conflates the two senses of ‘terme’ distinguished above.

28.9 approue: The narrator suggests that the misinterpretation of ambiguous prophecies may itself serve the purposes of destiny.

29.5–29.9 29.5-30.4 Cymoent’s grief on hearing of her son’s fall recalls both Homer’s account of Thetis as she hears Achilles groan in anguish (Il 18.35-38) and Virgil’s of Clymene when she hears Aristaeus’s lament (Georg 4.333-57).

30.1–30.4 29.5-30.4 Cymoent’s grief on hearing of her son’s fall recalls both Homer’s account of Thetis as she hears Achilles groan in anguish (Il 18.35-38) and Virgil’s of Clymene when she hears Aristaeus’s lament (Georg 4.333-57).

29.7 her watry sisters: See 19.4 and note.

29.9 29.9 The unusual overrunning of the stanza close adds formal emphasis to the ‘turn’ described in 30.3-4; the repetition of ‘girlonds’ emphasizes the turn.

30.5–30.9 30.5-9 Cymoent’s actions mimic Marinell’s fall (cf. ‘swownd’ at 29.3 with ‘swowne’ at 30.6); her ‘sisters’ follow suit when they lament ‘for her’ rather than for him. These details may elaborate a hint in the name of the flowers they were gathering at 29.8: the nymphs first crowning themselves with Narcissus and then tearing the garlands from their ‘crownes’ figuratively mirror Marinell’s narcissistic wound. For the ongoing contrast with Britomart, see the notes to 27-28 and Britomart’s comparison of herself to ‘Cephisus foolish chyld’ at ii.44.6-9.

31.1–31.6 31.1-6 Both the motif of narcissistic mirroring and the blending of pathos with amused irony are sustained in the parallels between Cymoent and her chorus of sister-nymphs, most emphatically in the lumbering chiasmus of line 6.

32.1

st. 32

Neptune’s unsolicited response to Cymoent and her sisters contrasts with the absence of any response to Britomart’s prayer and vow at 10.6-9, immediately preceding her encounter with Marinell. His response also extends the motif of mirroring, both in the repetition of line 3 (‘mournd at their mournfull’) and in the closing rhyme (‘See’ with ‘see’). In Ovid, the great flood summoned by Neptune recedes when Triton sounds his conch (Met 1.330-42); with Cymothoë, he helps Neptune calm the storm that opens the Aeneid (1.142-45).

33.1–33.3 33.1-3 Based on passages from Virgil and Apollonius, Conti infers that Triton was half-dolphin (Myth 8.3, 708).

33.7 bubling rowndell: Evidently Cymoent is so opposed to the love of women that even her dolphins refrain from creating the sort of froth from which Venus was said to have been born.

33.9 33.9 The smoothness of the dolphins’ progress is suggested by the muting of the caesura.

34.5–34.6 34.5-6 That fish don't literally have ‘tender feete’ (any more than dolphins have a ‘gate’, 32.9) belongs to the curious humor of the episode, as it plays back and forth across the border between sea and land.

34.9 34.9-35.1 For the second time in five stanzas Spenser violates the norm of syntactic closure at stanza end. Here the effect is complicated by the emphasis on the ‘margent’ as a border between the mythic seas and the land inhabited by mortals, and by the mirroring across that border between Cymoent and her son, signaled as before by the repetition of ‘swownd/swowned’.

35.1 34.9-35.1 For the second time in five stanzas Spenser violates the norm of syntactic closure at stanza end. Here the effect is complicated by the emphasis on the ‘margent’ as a border between the mythic seas and the land inhabited by mortals, and by the mirroring across that border between Cymoent and her son, signaled as before by the repetition of ‘swownd/swowned’.

35.4 relyu’d: The expression implies that Cymoent is ‘reliving’ her son’s demise in her own repeated swooning.

35.6 deare: For the importance of this term as a motif in the canto see 17.3n, 21.7n.

35.8–35.9 35.8-9 Musical terms: ‘consent’, harmony; ‘breaches’, divisions; ‘complement’, completion by filling in the pauses (OED); ‘breaches’ also describes the breaking of waves. The combination of hyperbolically weeping rocks with this aestheticizing of lament may distance Cymoent’s grief. The nymphs’ musical ‘complement’ may also echo the ‘most melodious sound’ heard by Guyon and the Palmer (II.xii.70.1) as they approach Acrasia and Verdant—another ironic pietá, expressing self-indulgent sexuality rather than, as here, self-indulgent grief.

36.1

St. 36-39

The second of three formal complaints in this canto (see st. 8-10n).

36.1 Deare image of my selfe: This phrasing brings together two motifs running through the episode: the recurrent play on senses of ‘deare’ and the repeated hints of narcissism (see st. 30-32 and notes).

36.6–36.9 36.6-9 The addition of the question-mark comes like an after-thought, recasting what initially were declarative clauses in the interrogative mood and reminding us that in fact Marinell is not yet dead.

36.9

wefte: On Spenser’s use of this form, see Zurcher (2007: 103).

Hamilton declares of ‘irrevocable’, ‘fittingly, the word cannot be scanned’. The scansion is difficult but not impossible: ‘thy’ and the first syllable of ‘irrevocable’ must be read as elided into a single unaccented syllable: ‘thy’revocable’.

37.1 37.1 Proteus’s reputation as a prophet derives from Virgil, Georg 4.387-529.

37.9 deare: For this word as a motif in the canto, see 36.1n.

38.1

St. 38

In keeping with the narcissistic themes of the episode, Cymoent is here bewailing her own misfortune, not Marinell’s, and by the end of the stanza is arguing that he’s the lucky one. In the process she echoes the laments of Juturna for her brother Turnus in Virgil and of Inachus for his daughter Io in Ovid: quo vitam dedit aeternam? cur mortis adempta est /condicio? (‘Wherefore gave he me life eternal? Why of the law of death am I bereaved?’; Aen 12.879-80); sed nocet esse deum, praeclusaque ianua leti (‘It is a dreadful thing to be a god, for the door of death is shut to me’; Met 1.662).

38.8–38.9 38.8-9 ‘It is a greater burden to see a friend’s grave than to be dead and fill one’s own’.

39.4–39.5 39.4-5 Cf. the lament of Eryalus’ mother in the Aeneid: nec te, tua funera, mater produxi pressive oculos aut volnera lavi (‘Nor have I, thy mother, led thee—thy corpse—forth to burial, or closed thine eyes, or bathed thy wounds ’; 9.487-88)

39.7 39.7 The submetric line may be deliberate, corresponding to the supposed broken thread of Marinell’s life; it also marks a shift from accusing heaven to bidding the son farewell. For other submetric lines in the poem, see II.iii.26.9 and note.

39.9 till we again may meet: sith we no more shall meet 1596

40.1 sorowed their fill: Cymoent and her sisters lament Marinell’s death for ten stanzas before examining his wound.

40.8–40.9 40.8-9 Cf. Thetis tending to the body of Patroclus in Homer (Il 18.39-40) and Venus tending to the wound of Aeneas in Virgil (Aen 12.416-19).

41.1–41.6 41.1-6 Hesiod mentions Liagore (Gk  leukoenos, ‘white-armed’) as one of the Nereids (Theog 257). Spenser transfers to her the story of Oenone, ravished by Apollo and then instructed in the arts of medicine (Ovid, Her 5.145-50). They had no offspring, but Paeon is mentioned in Homer as physician to the gods (Il 5.401-02, 899; Od 4.232).

41.1 lilly handed: Other lilly-handed maidens in the poem include Una, Belphoebe, Amoret, and Florimell.

41.4 Pindus: Thessalian mountain range associated with whiteness (cf. Proth 40-41, ‘The snow which doth the top of Pindus strew, / Did never whiter shew’) and with potent herbs (Ovid’s Medea gathers magical ingredients there at Met 7.224-27).

41.7 staied still: With a secondary suggestion in each word that the pulse is barely detectable (‘stay’ as stop or delay, ‘still’ as quiet or motionless).

42.5 beare: Since ‘corse’ can mean dead body and ‘bier’ is often used for the pallet on which a body is carried to the grave, Spenser is still playing on Marinell’s condition as close to death (cf. 41.7n).

43.2 43.2 Cf. Homer's description of Poseideon’s seduction of Tyro disguised as the river-god Enipeus: πορφύρεον δ’ ἄρα κῦμα περιστάθη οὔρεϊ ἶσον, /κυρτωθέν, κρύψεν δὲ θεὸν θνητήν τε γυναῖκα; porphyreon d’ ara kūma peristathē oureï ison, / kyrtōthen krypsen de theon thnētēn te gunaika (‘And the dark wave stood about them like a mountain, vaulted-over, and hid the god and the mortal woman’; Od 11.243-44). Virgil translates this line in describing Aristaeus’ descent to the underwater dwelling of his mother Cyrene: at illum / curvata in montis faciem circumstetit unda (‘And lo, the wave, arched mountain-like, stood round about’; Georg 4.360-61). Tasso echoes the same line when the Wise Man of Ascalon escorts Charles and Ubaldo to his cell beneath a river (GL 14.36.5-8).

43.7 Tryphon: This sea-god Spenser derives from an error in Boccaccio, Genealogia 7.36, who gives triphon for Cicero’s Trophonius (Nat Deor 3.22). From his being brother to Aesculapius, Spenser invents that he is a physician, and from the resemblance of ‘Tryphon’ to ‘Triton’, that he is a sea-god.

44.9 44.9 Cf. 5.1, ‘kept on her former course’; these phrases frame the episode.

45.1–45.4 45.1-4 The mention of Archimago here looks like the trace of an abandoned plot line, which may have involved his long-standing partnership with Duessa. It is his last appearance in the poem. Cf. i.arg.3n, ii.4.1n for similar traces of incomplete revision.

45.5–45.9 45.5-9 Further evidence that this transitional stanza reflects an earlier stage of composition, since abandoned: Arthur and Guyon are spoken of as pursuing the Foster, whereas at i.18-19 above and again in st. 46 below they pursue Florimell, leaving Timias in sole pursuit of her assailant.

46.4–46.6 46.4-5 Tellingly, Spenser echoes the account of Daphne’s flight from Apollo in Ovid, Met 1.533-39: ut canis in vacuo leporem cum Gallicus arvo / vidit, et hic praedam pedibus pedit, ille salutem (‘just as when a Gallic hound has seen a hare in an open plain, and seeks his prey on flying feet, but the hare, safety’). Compare Spenser’s implicit questioning of the motives behind ‘beauties chace’ at i.18-19.

46.9 pray: The positive sense associated with Biblical usage (OED 3.b) is not infrequent in Spenser, but the hunting simile in this stanza necessarily activates the predatory senses of the term as well.

47.1 Timias: Resuming the narrative from i.18.9.

47.5 ybent: Contrast Britomart’s undeviating ‘right course’ at 44.9.

48.2 fomy steed: See II.xi.19.7n.

48.6–48.9 48.6-9 See 46.4-5n for the echo of Daphne and Apollo. Ovid implies a comparable self-deception on the part of the god, who had earlier (Met 1.504-07) called out to Daphne just as Arthur is here said to call out to Florimell.

49.2–49.3 49.2-3 Florimell recognizes no distinction between fleeing from Arthur and from the Foster. Arthur insists on the distinction, while the Ovidian intertext questions it.

49.4–49.9 49.4-9 For the flight of the dove cf. the lines from Ovid just cited (Met. 1.504-07) and Arethusa’s description of her flight from Alpheus (5.605-06).

49.8 49.8 The syntax lends added emphasis to the main verb; deferred for three-and-a-half lines, it arrives just in time to speed the movement of the verse.

49.8 for-hent: Cf. ‘forlent’ (47.2).

50.1

St. 50

Dilates upon the sense of 49.1-3. As usual, Spenser’s narrator takes Arthur at face value, and is careful not to notice ironies that might complicate this assessment of motive.

50.4–50.5 50.4-5 The phrasing here and at 49.1 conveys a sense of something involuntary in Florimell’s flight, almost as if her emotions were acting on her from without.

50.7 insolent: The normal sense of the word is ‘presumptuous’. Spenser appears to be extending its meaning.

51.1–51.2 51.1-2 For an extended description of Arthur's arms, see I.vii.29.4-36; his shield is ‘uncouth’ (unknown) because ‘all closely cover’d’ (I.vii.33.1).

51.5 corage keene: Among the range of meanings evoked by this phrase would be ‘ardent sexual desire’.

51.6 golden Hesperus: Venus, the evening star. Cf. Epith 286-87, where the groom impatient for the arrival of night sees ‘the bright evening star with golden creast / Appeare out of the East’, where it should appear in the west. Venus always appears near the setting sun, above the horizon, and so would never be ‘mounted high in top of heaven sheene’ at nightfall. Its placement in these lines may be a joke at Arthur’s expense: he has followed Florimell so long that his Venus is in the ascendant, ‘mounted high in top’ of his heaven wherever it may appear in the night sky.

53.2 at disauenture: Spenser seems to have coined this idiom to mean something like ‘at random’, with the added suggestion of misfortune.

53.3–53.4 53.3-4 Echoing the conceit embedded in Britomart’s complaint (st. 9; see st. 8-10n).

53.7–53.9 53.7-9 Cf. I.ix.13.1-4, where Arthur lies down to dream of Gloriana. Both passages echo the account Chaucer’s Sir Thopas gives of his dream (CT Thopas 7.778-96).

53.9 53.9 Rather an uncomfortable pillów, with the accent wrested onto the second syllable.

54.4–54.5 54.4-5 Echoing the simile that compares Maleger’s troops to gnats (II.ix.16), the description of Phantastes’ chamber (II.ix.51), and the ‘guilefull semblants’ deployed by ‘Pleasures porter’ (II.xii.48.6), these lines identify Arthur’s pursuit of Florimell with the temperate soul’s vulnerability to erotic fantasies.

54.8 54.8 Insofar as both ladies defined by their inaccessibility, Arthur’s Fairy Queen is precisely ‘such, as shee’.

55.1

St. 55-60

The third and final complaint in this canto’s series (see st. 8-10n). All three evoke amused sympathy as they balance pathos against various qualifying ironies, underlined by the parallels among them. Spenser’s account of Night in these stanzas is based principally on Conti, Myth. 3.12, which in turn gathers references from Euripedes, Cicero, and Hesiod. Arthur’s hostile address to ‘hasty Night’ (54.9) specifically echoes that of Chaucer’s Troilus, who also blames night for its haste (3.1427-42). For the praise of sleep, see Sidney, AS 39, ‘Come sleep, oh sleep, the certain knot of peace’. Both the longing for rest and the need to resist that longing are deeply rooted in Spenser’s sense of life as moral struggle: see especially the seductive rhetoric of Despair (‘sleepe after toyle, port after stormie seas’; I.ix.40.8).

55.1

St. 55

At I.v.20-44, Night accompanies Duessa on a journey to seek out Aesculapius in the classical underworld. Her genealogy is given at I.v.22.2-6.

55.1–55.2 55.1-2 Here the language of genealogy is metaphoric, as Spenser reenacts the emergence of personification allegory from figurative language.

55.5 Cocytus: Named from Gk Κωκυτός Kōkytos (‘wailing’); one of the rivers in the classical underworld.

55.6 Herebus: Erebus, generally the region of the underworld (see II.iv.41.7-9n).

55.6–55.8 55.6-8 Night’s link to Herebus is featured in the genealogy of Pyrochles and Cymochles at II.iv.41.6-9.

55.9 Halfe of thy dayes: Punning on ‘day’ as contrasted with and as inclusive of night. During her own proper half of each inclusive ‘day’, Night leaves the underworld and ascends into the sky (cf. I.v.44.4-9).

56.1–56.2 56.1-2 Referring to Gen 1:3-5, where God creates light and separates it from darkness: ‘And God called the light, Day, and the darkenes, he called Night’.

56.5–56.9 56.4-9 The syntax in these lines is difficult because two different phrases, ‘in sleepe’ and ‘Calles thee’, end up doing overlapping duty as the sentence proceeds. The slothfull body loves to steep his limbs ‘in sleepe’ and also ‘Calles thee in sleepe’; he ‘Calles thee, his goddess . . . [up] from Stygian deepe’ and also ‘Calles thee . . . great Dame Natures handmaide’.

57.4 rayling: Cf. Visions of Bellay 155, ‘I saw a spring out of a rocke forth rayle’.

57.6–57.7 57.6-7 See the description of death’s ‘dreary image’ at TCM VII.vii.46.1-5, where life and death are similarly mingled.

58.5 dreriment: Coined by Spenser from ‘dreary’ (57.7).

58.7–58.9 58.7-9 See John 3:20, ‘For everie man that evil doeth, hateth the light, nether commeth to light, lest his dedes shulde be reproved’.

59.1–59.2 59.1-2 See 1 Cor 3:13, ‘Every mans worke shalbe made manifest: for the day shal declare it, because it shalbe reveiled by the fyre: and the fyre shall trie everie mans worke of what sort it is’.

59.5 children of day: Cf. I.v.25.7, and 1 Thess 5:5-6, ‘Ye are all the children of light, and the children of the day; we are not of the night nether of darkenes. Therefore let us not slepe as do other’. 1596 (‘Dayes dearest children’) mutes the scriptural but reiterates one of the canto’s key terms (see 17.3n).

59.7 Truth is his daughter: Cf. the motto Temporis filia veritas, ‘Truth the daughter of time’, alluded to at I.ix.5.9 and 14.4 in Arthur’s account of his training and his dream of the Faery Queene.

60.3 Titan: See Conti Myth 6.20 on the identificatio of Titan with the sun (542).

61.5 disdaine: For disdain as a motif in the canto, see 2.9n.

61.6 61.6 Echoing the similar use of this verb form at 31.6.

61.9 61.9 In a parody of the tendency for knights’ horses in FQ to reflect their owners’ temperaments, Spumador (cf. II.xi.19.7n) adopts a ‘lumpish’ pace to suit Arthur’s mood.

Introduction

Textual Changes

Apparatus