A History of English Literature
A History of English Literature
A History of English Literature
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devourer <strong>of</strong> the lives <strong>of</strong> men.<br />
To the beauty <strong>of</strong> Spenser's imagination, ideal and sensuous, corresponds his<br />
magnificent command <strong>of</strong> rhythm and <strong>of</strong> sound. As a verbal melodist,<br />
especially a melodist <strong>of</strong> sweetness and <strong>of</strong> stately grace, and as a harmonist<br />
<strong>of</strong> prolonged and complex cadences, he is unsurpassable. But he has full<br />
command <strong>of</strong> his rhythm according to the subject, and can range from the most<br />
delicate suggestion <strong>of</strong> airy beauty to the roar <strong>of</strong> the tempest or the<br />
strident energy <strong>of</strong> battle. In vocabulary and phraseology his fluency<br />
appears inexhaustible. Here, as in 'The Shepherd's Calendar,' he<br />
deliberately introduces, especially from Chaucer, obsolete words and forms,<br />
such as the inflectional ending in _-en_, which distinctly contribute<br />
to his romantic effect. His constant use <strong>of</strong> alliteration is very skilful;<br />
the frequency <strong>of</strong> the alliteration on _w_ is conspicuous but apparently<br />
accidental.<br />
5. _The Spenserian Stanza._ For the external medium <strong>of</strong> all this beauty<br />
Spenser, modifying the _ottava rima_ <strong>of</strong> Ariosto (a stanza which rimes<br />
_abababcc_), invented the stanza which bears his own name and which is<br />
the only artificial stanza <strong>of</strong> <strong>English</strong> origin that has ever passed into<br />
currency. [Footnote: Note that this is not inconsistent with what is said<br />
above, p. 102, <strong>of</strong> the sonnet.] The rime-scheme is _ababbcbcc_, and in<br />
the last line the iambic pentameter gives place to an Alexandrine (an<br />
iambic hexameter). Whether or not any stanza form is as well adapted as<br />
blank verse or the rimed couplet for prolonged narrative is an interesting<br />
question, but there can be no doubt that Spenser's stanza, firmly unified,<br />
in spite <strong>of</strong> its length, by its central couplet and by the finality <strong>of</strong> the<br />
last line, is a discovery <strong>of</strong> genius, and that the Alexandrine, 'forever<br />
feeling for the next stanza,' does much to bind the stanzas together. It<br />
has been adopted in no small number <strong>of</strong> the greatest subsequent <strong>English</strong><br />
poems, including such various ones as Burns' 'Cotter's Saturday Night,'<br />
Byron's 'Childe Harold,' Keats' 'Eve <strong>of</strong> St. Agnes,' and Shelley's<br />
'Adonais.'<br />
In general style and spirit, it should be added, Spenser has been one <strong>of</strong><br />
the most powerful influences on all succeeding <strong>English</strong> romantic poetry. Two<br />
further sentences <strong>of</strong> Lowell well summarize his whole general achievement:<br />
'His great merit is in the ideal treatment with which he glorified common<br />
things and gilded them with a ray <strong>of</strong> enthusiasm. He is a standing protest<br />
against the tyranny <strong>of</strong> the Commonplace, and sows the seeds <strong>of</strong> a noble<br />
discontent with prosaic views <strong>of</strong> life and the dull uses to which it may be<br />
put.'<br />
ELIZABETHAN LYRIC POETRY. 'The Faerie Queene' is the only long Elizabethan<br />
poem <strong>of</strong> the very highest rank, but Spenser, as we have seen, is almost<br />
equally conspicuous as a lyric poet. In that respect he was one among a<br />
throng <strong>of</strong> melodists who made the Elizabethan age in many respects the<br />
greatest lyric period in the history <strong>of</strong> <strong>English</strong> or perhaps <strong>of</strong> any<br />
literature. Still grander, to be sure, by the nature <strong>of</strong> the two forms, was<br />
the Elizabethan achievement in the drama, which we shall consider in the<br />
next chapter; but the lyrics have the advantage in sheer delightfulness<br />
and, <strong>of</strong> course, in rapid and direct appeal.<br />
The zest for lyric poetry somewhat artificially inaugurated at Court by<br />
Wyatt and Surrey seems to have largely subsided, like any other fad, after<br />
some years, but it vigorously revived, in much more genuine fashion, with<br />
the taste for other imaginative forms <strong>of</strong> literature, in the last two<br />
decades <strong>of</strong> Elizabeth's reign. It revived, too, not only among the courtiers<br />
but among all classes; in no other form <strong>of</strong> literature was the diversity <strong>of</strong>