England's Antiphon. George MacDonald
are ill, nothing sure is;
Kind heart is wrapt in heaviness.
The stern is broke, the sail is rent, helm or rudder—the
The ship is given to wind and wave; [thing to steer with.
All help is gone, the rock present,
That will be lost, what man can save? that which will be lost.
When power lacks care and forceth not, careth.
When care is feeble and may not, is not able.
When might is slothful and will not,
Weeds may grow where good herbs cannot.
Wily is witty, brainsick is wise; wiliness is counted
Truth is folly, and might is right; [prudence.
Words are reason, and reason is lies;
The bad is good, darkness is light.
Order is broke in things of weight:
Measure and mean who doth nor flee? who does not avoid
Two things prevail, money and sleight; [moderation?
To seem is better than to be.
Folly and falsehood prate apace;
Truth under bushel is fain to creep;
Flattery is treble, pride sings the bass,
The mean, the best part, scant doth peep.
With floods and storms thus be we tost:
Awake, good Lord, to thee we cry;
Our ship is almost sunk and lost;
Thy mercy help our misery.
Man's strength is weak; man's wit is dull;
Man's reason is blind these things t'amend:
Thy hand, O Lord, of might is full—
Awake betimes, and help us send.
In thee we trust, and in no wight;
Save us, as chickens under the hen;
Our crookedness thou canst make right—
Glory to thee for aye. Amen.
The apprehensions of the wiser part of the nation have generally been ahead of its hopes. Every age is born with an ideal; but instead of beholding that ideal in the future where it lies, it throws it into the past. Hence the lapse of the nation must appear tremendous, even when she is making her best progress.
CHAPTER V
SPENSER AND HIS FRIENDS.
We have now arrived at the period of English history in every way fullest of marvel—the period of Elizabeth. As in a northern summer the whole region bursts into blossom at once, so with the thought and feeling of England in this glorious era.
The special development of the national mind with which we are now concerned, however, did not by any means arrive at its largest and clearest result until the following century. Still its progress is sufficiently remarkable. For, while everything that bore upon the mental development of the nation must bear upon its poetry, the fresh vigour given by the doctrines of the Reformation to the sense of personal responsibility, and of immediate relation to God, with the grand influences, both literary and spiritual, of the translated, printed, and studied Bible, operated more immediately upon its devotional utterance.
Towards the close of the sixteenth century, we begin to find such verse as I shall now present to my readers. Only I must first make a few remarks upon the great poem of the period: I mean, of course, The Faerie Queen.
I dare not begin to set forth after any fashion the profound religious truth contained in this poem; for it would require a volume larger than this to set forth even that of the first book adequately. In this case it is well to remember that the beginning of comment, as well as of strife, is like the letting out of water.
The direction in which the wonderful allegory of the latter moves may be gathered from the following stanza, the first of the eighth canto:
Ay me! how many perils do enfold
The righteous man to make him daily fail;
Were not that heavenly grace doth him uphold, it understood.
And steadfast Truth acquit him out of all!
Her love is firm, her care continual,
So oft as he, through his own foolish pride
Or weakness, is to sinful bands made thrall:
Else should this Redcross Knight in bands have died,
For whose deliverance she this Prince doth thither guide.
Nor do I judge it good to spend much of my space upon remarks personal to those who have not been especially writers of sacred verse. When we come to the masters of such song, we cannot speak of their words without speaking of themselves; but when in the midst of many words those of the kind we seek are few, the life of the writer does not justify more than a passing notice here.
We know but little of Spenser's history: if we might know all, I do not fear that we should find anything to destroy the impression made by his verse—that he was a Christian gentleman, a noble and pure-minded man, of highest purposes and aims.
His style is injured by the artistic falsehood of producing antique effects in the midst of modern feeling.54 It was scarcely more justifiable, for instance, in Spenser's time than it would be in ours to use glitterand for glittering; or to return to a large use of alliteration, three, four, sometimes even five words in the same line beginning with the same consonant sound. Everything should look like what it is: prose or verse should be written in the language of its own era. No doubt the wide-spreading roots of poetry gather to it more variety of expression than prose can employ; and the very nature of verse will make it free of times and seasons, harmonizing many opposites. Hence, through its mediation, without discord, many fine old words, by the loss of which the language has grown poorer and feebler, might be honourably enticed to return even into our prose. But nothing ought to be brought back because it is old. That it is out of use is a presumptive argument that it ought to remain out of use: good reasons must be at hand to support its reappearance. I must not, however, enlarge upon this wide-reaching question; for of the two portions of Spenser's verse which I shall quote, one of them is not at all, the other not so much as his great poem, affected with this whim.
The first I give is a sonnet, one of eighty-eight which he wrote to his wife before their marriage. Apparently disappointed in early youth, he did not fall in love again,—at least there is no sign of it that I know,—till he was middle-aged. But then—woman was never more grandly wooed than was his Elizabeth. I know of no marriage-present worthy to be compared with the Epithalamion which he gave her "in lieu of many ornaments,"—one of the most stately, melodious, and tender poems in the world, I fully believe.
But now for the sonnet—the sixty-eighth of the Amoretti:
Most glorious Lord of Life! that, on this day,
Didst make thy triumph over death and sin,
And having harrowed hell, didst bring away
Captivity thence captive, us to win:
This joyous day, dear Lord, with joy begin;
And grant that we, for whom thou diddest die,
Being with thy dear blood clean washed from sin,
May
The first poem he wrote, a very fine one, The Shepheard's Calender, is so full of old and provincial words, that the educated people of his own time required a glossary to assist them in the reading of it.