The Collected Works in Verse and Prose of William Butler Yeats. Volume 8 of 8. Discoveries. Edmund Spenser. Poetry and Tradition; and Other Essays. Bibliography. Yeats William Butler
bloodie issues nor no leprosies,
No griesly famine, nor no raging sweard,
No nightly bordrags, nor no hue and cries;
The shepheards there abroad may safely lie
On hills and downes, withouten dread or daunger,
No ravenous wolves the good mans hope destroy,
Nor outlawes fell affray the forest raunger,
The learned arts do florish in great honor,
And Poets wits are had in peerlesse price.’
Nor did he ever understand the people he lived among or the historical events that were changing all things about him. Lord Grey de Wilton had been recalled almost immediately, but it was his policy, brought over ready-made in his ship, that Spenser advocated throughout all his life, equally in his long prose book The State of Ireland as in the Faerie Queene, where Lord Grey was Artigall and the Iron man the soldiers and executioners by whose hands he worked. Like an hysterical patient he drew a complicated web of inhuman logic out of the bowels of an insufficient premise – there was no right, no law, but that of Elizabeth, and all that opposed her opposed themselves to God, to civilisation, and to all inherited wisdom and courtesy, and should be put to death. He made two visits to England, celebrating one of them in Colin Clouts come Home againe, to publish the first three books and the second three books of the Faerie Queene respectively, and to try for some English office or pension. By the help of Raleigh, now his neighbour at Kilcolman, he had been promised a pension, but was kept out of it by Lord Burleigh, who said, ‘All that for a song!’ From that day Lord Burleigh became that ‘rugged forehead’ of the poems, whose censure of this or that is complained of. During the last three or four years of his life in Ireland he married a fair woman of his neighbourhood, and about her wrote many intolerable artificial sonnets and that most beautiful passage in the sixth book of the Faerie Queene, which tells of Colin Clout piping to the Graces and to her; and he celebrated his marriage in the most beautiful of all his poems, the Epithalamium. His genius was pictorial, and these pictures of happiness were more natural to it than any personal pride, or joy, or sorrow. His new happiness was very brief, and just as he was rising to something of Milton’s grandeur in the fragment that has been called Mutabilitie, ‘the wandering companies that keep the woods,’ as he called the Irish armies, drove him to his death. Ireland, where he saw nothing but work for the Iron man, was in the midst of the last struggle of the old Celtic order with England, itself about to turn bottom upward, of the passion of the Middle Ages with the craft of the Renaissance. Seven years after Spenser’s arrival in Ireland a large merchant ship had carried off from Loch Swilly, by a very crafty device common in those days, certain persons of importance. Red Hugh, a boy of fifteen, and the coming head of Tirconnell, and various heads of clans had been enticed on board the merchant ship to drink of a fine vintage, and there made prisoners. All but Red Hugh were released, on finding substitutes among the boys of their kindred, and the captives were hurried to Dublin and imprisoned in the Burningham Tower. After four years of captivity and one attempt that failed, Red Hugh and his companions escaped into the Dublin mountains, one dying there of cold and privation, and from that to their own country-side. Red Hugh allied himself to Hugh O’Neil, the most powerful of the Irish leaders – ‘Oh, deep, dissembling heart, born to great weal or woe of thy country!’ an English historian had cried to him – an Oxford man too, a man of the Renaissance, and for a few years defeated English armies and shook the power of England. The Irish, stirred by these events, and with it maybe some rumours of The State of Ireland sticking in their stomachs, drove Spenser out of doors and burnt his house, one of his children, as tradition has it, dying in the fire. He fled to England, and died some three months later in January, 1599, as Ben Jonson says, ‘of lack of bread.’
During the last four or five years of his life he had seen, without knowing that he saw it, the beginning of the great Elizabethan poetical movement. In 1598 he had pictured the Nine Muses lamenting each one over the evil state in England, of the things that she had in charge, but, like William Blake’s more beautiful Whether on Ida’s shady brow, their lamentations should have been a cradle-song. When he died Romeo and Juliet, Richard III., and Richard II., and the plays of Marlowe had all been acted, and in stately houses were sung madrigals and love songs whose like has not been in the world since. Italian influence had strengthened the old French joy that had never died out among the upper classes, and an art was being created for the last time in England which had half its beauty from continually suggesting a life hardly less beautiful than itself.
III
When Spenser was buried at Westminster Abbey many poets read verses in his praise, and threw then their verses and the pens that had written them into his tomb. Like him they belonged, for all the moral zeal that was gathering like a London fog, to that indolent, demonstrative Merry England that was about to pass away. Men still wept when they were moved, still dressed themselves in joyous colours, and spoke with many gestures. Thoughts and qualities sometimes come to their perfect expression when they are about to pass away, and Merry England was dying in plays, and in poems, and in strange adventurous men. If one of those poets who threw his copy of verses into the earth that was about to close over his master were to come alive again, he would find some shadow of the life he knew, though not the art he knew, among young men in Paris, and would think that his true country. If he came to England he would find nothing there but the triumph of the Puritan and the merchant – those enemies he had feared and hated – and he would weep perhaps, in that womanish way of his, to think that so much greatness had been, not as he had hoped, the dawn, but the sunset of a people. He had lived in the last days of what we may call the Anglo-French nation, the old feudal nation that had been established when the Norman and the Angevin made French the language of court and market. In the time of Chaucer English poets still wrote much in French, and even English labourers lilted French songs over their work; and I cannot read any Elizabethan poem or romance without feeling the pressure of habits of emotion, and of an order of life which were conscious, for all their Latin gaiety, of a quarrel to the death with that new Anglo-Saxon nation that was arising amid Puritan sermons and Mar-Prelate pamphlets. This nation had driven out the language of its conquerors, and now it was to overthrow their beautiful, haughty imagination and their manners, full of abandon and wilfulness, and to set in their stead earnestness and logic and the timidity and reserve of a counting-house. It had been coming for a long while, for it had made the Lollards; and when Anglo-French Chaucer was at Westminster its poet, Langland, sang the office at St. Paul’s. Shakespeare, with his delight in great persons, with his indifference to the State, with his scorn of the crowd, with his feudal passion, was of the old nation, and Spenser, though a joyless earnestness had cast shadows upon him, and darkened his intellect wholly at times, was of the old nation too. His Faerie Queene was written in Merry England, but when Bunyan wrote in prison the other great English allegory Modern England had been born. Bunyan’s men would do right that they might come some day to the Delectable Mountain, and not at all that they might live happily in a world whose beauty was but an entanglement about their feet. Religion had denied the sacredness of an earth that commerce was about to corrupt and ravish, but when Spenser lived the earth had still its sheltering sacredness. His religion, where the paganism that is natural to proud and happy people had been strengthened by the platonism of the Renaissance, cherished the beauty of the soul and the beauty of the body with, as it seemed, an equal affection. He would have had men live well, not merely that they might win eternal happiness but that they might live splendidly among men and be celebrated in many songs. How could one live well if one had not the joy of the Creator and of the Giver of gifts? He says in his Hymn to Beauty that a beautiful soul, unless for some stubbornness in the ground, makes for itself a beautiful body, and he even denies that beautiful persons ever lived who had not souls as beautiful. They may have been tempted until they seemed evil, but that was the fault of others. And in his Hymn to Heavenly Beauty he sets a woman little known to theology, one that he names Wisdom or Beauty, above Seraphim and Cherubim and in the very bosom of God, and in the Faerie Queene it is pagan Venus and her lover Adonis who create the forms of all living things and send them out into the world, calling them back again to the gardens of Adonis at their lives’ end to rest there, as it seems, two thousand years between life and life. He