317. AN ALTARE, cf. Revelation, vi, 9.
CARV’D WITH CUNNING YMAGERY, “in allusion
to the stimulus given to the fine arts by the Church
of Rome” (Percival).
366. BRAWNED BOWRS, brawny muscles.
375. WHAT EVILL STARRE, etc. In Spenser’s
day, belief in astrology, the pseudo-science of the
influence of the stars on human lives, was still common.
381. There was an old familiar ballad entitled
Fortune my Foe.
384. i.e. your good fortune will be threefold
as great as your evil fortune.
384. GOOD GROWES OF EVILS PRIEFE, good springs
out of our endurance of the tests and experience of
evil.
391. BEST MUSICKE BREEDS DELIGHT, etc.
A troublesome passage. Upton and Jortin emend
delight to dislike; Church inserts no
before delight and omits best; Kitchin
suggests despight; Grosart prefers the text
as it stands with the meaning that although the best
music pleases the troubled mind, it is no pleasure
to renew the memory of past sufferings. I venture
to offer still another solution, based on the context.
When Una shows a desire to hear from her Knight a
recountal of his sufferings in the dungeon, and he
is silent, being loath to speak of them, Arthur reminds
her that a change of subject is best, for the
best music is that which breeds delight in the troubled
ear.
xlvi. In this passage Spenser follows closely
the description of the witch Alcina in Ariosto’s
Orlando Furioso, vii, 73. Rogero has been
fascinated by her false beauty, and her real foulness
is exposed by means of a magic ring. The stripping
of Duessa symbolizes the proscription of vestments
and ritual, and the overthrow of images, etc.,
at the time of the Reformation. Duessa is only
banished to the wilderness, not put to death, and reappears
in another book of the poem.
(Canto VIII)
1. What moral reflections are found in i? 2.
What were the duties of the Squire in chivalry? 3.
What part does Arthur’s Squire play? 4.
What does the Squire’s horn symbolize? 5.
Observe the classical figure in ix. 6. Describe
the battle before the Giant’s Castle, stating
what part is taken by each of the four engaged. 7.
Point out several of the characteristics of a typical
battle of romance, and compare with combats in classical
and modern times. 8. What additional traits of
Una’s character are presented in this Canto?
Note especially her treatment of the Knight. 9.
How is the unchangeableness of truth illustrated in
this story? 10. Who is the old man in xxx seq.?
11. Who is the woful thrall in xxxvii?
12. In what condition, mental and physical, is
the Knight when liberated? 13. How long was he
a captive? 14. What was Duessa’s punishment?
Was it adequate? Explain its moral and religious
meaning. 15. Observe the use of thou and
ye (you) in this Canto. 16. Find
examples of antithesis, alliteration,
Latinisms.
