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And stones did cast; yet he for nought would

swerve

From his right course, but still the way did hold To Faerie Court; where what him fell shall else be told.

[LET us, as usual, take a review of this Fifth Book, which treats, in the form of an allegory, of the most comprehensive of all human virtues.

Herodotus informs us, that the Persian kings celebrated with the highest magnificence their birth-day; when they granted to every one his boon. Nor with less magnificence the Fairy Queen kept her annual feast, on twelve several days, and granted to every just petitioner the requested boon. On one of these days a disconsolate queen, named Irena, attended by Sir Sergis, made her entry according to the custom established; and, complaining that an oppressive Tyrant kept by violence her crown from her, prayed that some Knight might be assigned to perform that adventure: her boon was granted, and Sir Arthegall was the Knight assigned. This hero we have been long acquainted with; and have seen him in Fairy Land, seeking adventures, and perfecting himself in many a chival rous emprise. But we must suppose that he was not to proceed on his grand quest, till joined by his faithful Talus; a man of iron mold, without any degree of passion or affection; but the properest person imaginable to put in act the righteous decrees of Arthegall, or, in one word, to be an executioner. Thus is Justice (imaged in Arthegall) armed with Power (imaged in Talus :) and, thus accoutred, he relieves the oppressed, distributes right, and redresses injured kingdoms and nations.

Though Arthegall appears in a fuller view in this Book, than hitherto, yet our chief hero, who is to be perfected in justice, that he might in the end obtain true glory, is not forgotten. If Homer dwells on the exploits of Diomed, or shows you at large Agamemnon, or describes the success of Hector; yet ever and anon you are put in mind of Achilles; and you plainly perceive the fatal effects of that pernicious wrath, which brought so many woes on Greece. Hence the unity of the Poem is preserved. Why will you not consider Spenser's Poem in the same view, only built on a more extensive plan?

The Briton Prince becomes acquainted with Arthegall by a rencounter, which often happens among knightserrant as soon as they are reconciled (for the really great and good never disagree) they go in quest of adventures; and afterwards visit Mercilla at her royal palace. And here the Briton Prince undertakes the relief of Belge from an oppressive Tyrant: Meantime Arthegall goes to reinstate Irena in her pristine dignity.

The historical allusions in this Book are so very apparent, that the most superficial readers of Spenser never could mistake them, because he mentions the very names. But I wonder that they stopped here, and did not pursue the hint, which the poet had given them. Introduction, B. ii. st. 4.

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Let us trace this fine footing, and take care we do not overrun our game, or start more game than we are able to catch. Sir Bourbon, is Henry of Navarre; who was kept from his crown, because a protestant; and hence in dangerous distress of a rude rout. The Lady Flourdelis is the Genius of France. Bourbon in the encounter with the rude rout, i. e. his rebellious subjects, flings away his shield, (the shield of faith, Ephes. vi. 16, his religion,) and thus becomes a recreant Knight: C. xii. st. 2.

"the love of lordships and of lands "Made him become most faithless and unsound."

Notwithstanding, the Genius of France is forced to take him. See C. xi. st. 64.

"So bore her quite away, nor well nor ill apaid." Let us trace out the episode of Belge. There came two Springalls (viz. the Marquis of Hauree and Adolph. Metkerk,) farre thence from forrein land (from the Netherlands) where they did dwell, to seeke for succour of her (Queen Elizabeth) and her peeres. The Briton Prince, in whom I think imaged the Earl of Leicester, undertakes to deliver Belge from the cruelties of Geryoneo, i. e. the King of Spain. Mercilla is plainly Queen Elizabeth; the Lady brought to the bar, Mary Queen of Scots; the sage old sire that had to name the kingdom's care with a white silver head, means the Lord Treasurer Burleigh: Spenser, by some former poems, had brought himself into this mighty man's displeasure, F. Q. vi. xii. 41. He now seems glad to curry favour; and methinks goes a little out of his way in making himself a party-man by abusing the memory of this unhappy Queen. But this is foreign to my design; let us return to our history. The two paramours of Duessa, the Queen of Scots, are Blandamour and Paridell, i. e. the Earls of Northumberland and Westmorland. Blandamour is the Earl of Northumberland, because the poet calls him, The hotspurre youth, F. Q. v. i. 35. This was the well-known name given to the young Percy in the reign of King Henry IV. And is not this speaking out, as plain as the nature of this kind of poetry admits? Paridell is the Earl of Northumberland: Arthegall, I am thoroughly persuaded, is Arthur Lord Grey of Wilton, Lord Deputy of Ireland, our poet's patron. His military and vigorous executions against the rebels in Ireland, brought upon him a load of envy and detraction, when he came back to England and this is very plainly hinted at in the close of the 12th Canto. Compare Camden, sub ann. 1580, and Lloyd's State Worthies, in the life of Arthur Grey Baron of Wilton. These circumstances are a strong proof that Ireland, agreeably to this kind of prosopopæia, is shadowed out to us by Irena. With this hint given, read and apply the following verses. C. xii. st. 40.

"And that bright sword, the sword of Justice lent,
"Had stained with reproachful crueltie
"In guiltlesse blood of many an innocent."

The sword of Justice, i. e. according to the fable, the sword of gold given him by Astrea; according to the moral, the sword he received as Lord Deputy of Ireland, and the ensign of his command. But I have still farther proofs: for what is Irena, but Ierna, a kingdom or state that stands in need of succour, as much as Belge? See likewise how the situation of the island is pointed out, C. vi. st. 7. Arthegall was going towards Ireland, which lay West of England. See likewise C. xii. st. 3. And he calls it a ragged common-weale; as certainly it was, distracted with civil wars, and torn in pieces with perpetual rebellions, fomented by the King of Spain and the Pope.

Old Sir Sergis, I take to be Walsingham. The King of Spain is imaged in the son of Geryon, in the Soldan, and in Grantorto. The Seneschal seems to be the Duke of Alva. Will it appear too refining, if we suppose that the Sarazin Pollente, with his trap-falls, and his groome of evil guize, hence named Guizor, alludes to Charles the IXth, King of France, who by sleights did underfong the Protestants, and thus perfidiously massacred them? If this is

allowed, who can help applying the name of Guizor to the head of the Popish league, and chief persecutor, the Duke of Guise? And, to carry on still this allusion, what is all that plot laid in the dead of night, by the same sort of miscreants, to murder the British Virgin (C. vi. st. 27.) but a type of that plot laid against the chief of the British, as well as other Protestant noblemen, "that being thus brought into the net," as Camden relates, "both they, and with them the evangelical religion, might with one stroke, if not have their throats cut, yet at least receive a mortal wound" a plot, which though not fully accomplished, yet ended in a massacre, and was begun at midnight, at a certain signal given, on the eve of St. Bartholomew, anno 1572.

What shall we say of the tilts and tourneyments at the spousal of fair Florimell? Had the poet his eye on those tiltings, performed at a vast expence, by the Earf of Arundel, Lord Windsor, Sir Philip Sidney, and Sir Fulk Greville, who challenged all comers; and which were intended to entertain the French nobility and the ambassadors, who came to treat of Anjou's marriage with the Queen? Methinks also I sometimes see a faint resemblance between Braggadochio and the Duke of Anjou, and their buffoon servants, Trompart and Simier.

In the fifth Canto Arthegall is imprisoned by an Amazonian dame, called by a French name Radigund; for Radegonda was a famous Queen of France. Now as Spenser carries two faces under one hood, and means more always than in plain words he tells you; why, I say, does he, who writes in a "continued allegory,” give you this episode, if there is not more meant than what the dull letter contains? The story, I think, is partly moral, but chiefly historical, and alludes to Arthegall's father being taken prisoner in France; who almost ruined his patrimony to pay his ransom. See Camden, and Lloyd's life of Arthur Grey, Baron of Wilton. 'Tis not at all foreign to the nature of this Poem to mix family histories, and unite them in one person.

In the ninth Canto we read of a wicked villian which wonned in a rocke, and pilfered the country all around: he is named Malengin, from his mischievous disposition. Is not this robber a type of those rebels, who had taken their refuge in Glandilough, "beset round about with craggy rocks," as Camden relates, "and a steep downfal, and with trees and thickets of wood, the paths and crossways whereof are scarce known to the dwellers thereabouts?" This villain is destroyed without mercy or remorse, as the rebels were with their accomplices, crying in vain for help, when help was past, C. ix. st. 19. But if the reader has a mind to see how far types and symbols may be carried, I refer him to my own note on C. viii. st. 45. And, upon a review of what is here offered relating to historical allusions, if the reader thinks my arguments too flimsy and extended beyond their due limits, and should laugh

"To see their thrids so thin, as spyders frame,

"And eke so short, that seem'd their ends out shortly

came;"

I would desire him to consider what latitude of interpretation all typical and symbolical writings admit ; and that this Poem is full of historical allusions, as the poet hints in many places.

UPTON.]

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