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Updated: June 2, 2025
The present is not of course the place to discuss this wider influence of Spenser's work: it is with its relation to pastoral tradition and its influence upon subsequent pastoral work that we are immediately concerned. This is an aspect of the Shepherd's Calender to which literary historians have naturally devoted less attention.
Sidney, we know, was not altogether pleased with the homeliness of the verses dedicated to him; and there must have been not a few among Spenser's academic friends to feel a certain incongruity between the polished tradition of the Theocritean singing match and the present poem.
Doubtless there is a certain general fitness, in various stanza forms, for this or that poetic purpose: the stanzas employed by English or Scotch balladry are admittedly excellent for story-telling; Spenser's favorite stanza is unrivalled for painting dream-pictures and rendering dream-music, but less available for pure narration; Chaucer's seven-line stanza, so delicately balanced upon that fourth, pivotal line, can paint a picture and tell a story too; Byron's ottava rima has a devil-may-care jauntiness, borrowed, it is true, from his Italian models, but perfectly fitted to Byron's own mood; the rhymed couplets of Pope sting and glitter like his antitheses, and the couplets of Dryden have their "resonance like a great bronze coin thrown down on marble"; each great artist in English verse, in short, chooses by instinct the general stanza form best suited to his particular purpose, and then moulds its details with whatever cunning he may possess.
The occasional obscurities, which had risen from an imperfect control over the resources of his native language, had almost wholly disappeared, together with that worse defect of arbitrary and illogical phrases, at once hackneyed and fantastic, which hold so distinguished a place in the technique of ordinary poetry, and will, more or less, alloy the earlier poems of the truest genius, unless the attention has been specially directed to their worthlessness and incongruity . I did not perceive anything particular in the mere style of the poem alluded to during its recitation, except indeed such difference as was not separable from the thought and manner; and the Spenserian stanza, which always, more or less, recalls to the reader's mind Spenser's own style, would doubtless have authorized, in my then opinion, a more frequent descent to the phrases of ordinary life, than could without an ill effect have been hazarded in the heroic couplet.
I can easily conceive the emphatic indifference, if my conjecture be well founded, with which Lord Byron must have said to him, "I have occasionally written short poems, besides a great many stanzas in Spenser's measure, relative to the countries I have visited: they are not worth troubling you with, but you shall have them all with you, if you like."
Thus all Spenser's works might be called A Hymn to Heavenly Beauty; or all Mr. Bernard Shaw's bound books might be called You Never Can Tell. In the same way the whole substance and spirit of Thackeray might be gathered under the general title Vanity Fair. In the same way too the whole substance and spirit of Dickens might be gathered under the general title Great Expectations.
Such identifications, at any rate, have no importance for our present task, which is to ascertain in what measure and in what manner Peele's work paved the way for the advent of the Italian pastoral; and we note, with regard to the present scene, that the more polished and more homely elements alike both Colin on the one hand, and Diggon, Hobbinol, and the rest on the other are inspired by Spenser's work, and by his alone.
The copy she had found was in small volumes, of which she now carried one about with her wherever she wandered; and making her first acquaintance with the sea and the poem together, she soon came to fancy that she could not fix her attention on the book without the sound of the waves for an accompaniment to the verse although the gentler noise of an ever flowing stream would have better suited the nature of Spenser's rhythm; for indeed, he had composed the greater part of the poem with such a sound in his ears, and there are indications in the poem itself that he consciously took the river as his chosen analogue after which to model the flow of his verse.
Memorable, too, in this branch of literature is Harington's Apologie for Poetry , prefixed to his translation of the Orlando Furioso. But it was not criticism only which had been advancing. The publication of the first part of Lyly's Euphues and of Spenser's Shepherd's Calendar in 1579 may be said to have initiated the golden age of our literature.
That his father was very poor we know, for Edmund Spenser's name appears among "certain poor scholars of the schools about London" who received money and clothes from a fund left by a rich man to help poor children at school. When he was about seventeen Edmund went to Cambridge, receiving for his journey a sum of ten shillings from the fund from which he had already received help at school.
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