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Updated: May 2, 2025
John Nagle may have had a daughter marriageable at the time of Spenser's marriage; and she may have married the poet, and did, we are convinced, even though her family belonged to the Romish persuasion, and the bridegroom to the Protestant Church.
If this pastoral is more realistic in texture than either Spenser's or Milton's efforts in the same direction, the result is due, partly to the character of the writer, partly to the circumstance that Jonson's "shepherds" are beings of a definite age and country. It must, however, be observed that the personages in this pastoral are in part not shepherds at all, but Robin Hood and his merry men.
As Sir Philip Sidney, Spenser's friend, says: "Do they not know that a tragedy is tied to the laws of Poesie and not of History, not bound to follow the story, but, having liberty, either to fain a quite new matter, or to frame the history to the most tragical convenience?"* *Sidney, Apologie for Poetrie.
If you read Homer or Virgil, you know his subject in the first strong line; if you read Cædmon's Paraphrase or Milton's epic, the introduction gives you the theme; but Spenser's great poem with the exception of a single line in the prologue, "Fierce warres and faithfull loves shall moralize my song" gives hardly a hint of what is coming.
Other love lyrics which should be read are Spenser's Prothalamion, Lodge's Love in My Bosom Like a Bee and Ben Jonson's To Celia. Among pastoral lyrics, read from Spenser's Shepherd's Calendar for August, 1579, Perigo and Willie's duet, beginning: "It fell upon a holy eve," and Marlowe's The Passionate Shepherd to His Love.
Something in the shape of the head made her concentrate upon this man. She gave a sharp cry, stretched out her hand, touched the man's shoulder. "Rod!" she cried. "Rod!" The head slowly lifted, and the bleary, blowsy wreck of Roderick Spenser's handsome face was turned stupidly toward her. Into his gray eyes slowly came a gleam of recognition.
"The MacMahons in the north were anciently English, to wit, descended from the Fitz-Ursulas, which was a noble family in England; and the same appeareth by the significance of their Irish names. Likewise the M'Sweenies, now in Ulster, were recently of the Veres in England; but that they themselves, for hatred of the English, so disguised their names." Spenser's View of the State of Ireland.
When I think of Angelina there comes to me the picture of the spotless dove in the tempest, as she battles with the storm, seeking for some place to rest her foot. She reminds me of innocence personified in Spenser's poem. In her girlhood, alone, heart-led, she comforts the slave in his quarters, mentally struggling with the problems his position wakes her to.
His bier was carried by poets, who, as they stood beside his grave, threw into it poems in which they told of his glory and their own grief. And so they left "The Prince of Poets in his tyme, whose divine spirit needs no other witnesse than the workes which he left behind him."* *The first epitaph engraved on Spenser's tomb. Faerie Queene, book I, by Professor W. H. Hudson.
We refer to the allegorical personages in Sackville's "Induction to the Mirrour of Magistrates," and in Spenser's description of the "House of Pride." Mr. Collier judges that the play in blank verse first represented on the public stage was the "Tamburlaine" of Christopher Marlowe, and that it was acted before 1587, at which date Shakspere would be twenty-three.
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