'' is an Epic Poem by Edmund Spenser , first published in 1590 (the first half) with the more or less complete version being published in 1596 .
Our best evidence for Spenser's ambitions for his epic--outside the FQ itself--is to be found in his prose letter to Sir Walter Raleigh, which is traditionally published as a preface in most editions of the poem. Unfortunately, there are enough divergences even between this letter and the 1590 FQ (the first 3 books), that there is some question as to its trustworthiness regarding the portions Spenser did not live to complete.
According to the Letter to Raleigh, there were to have been twelve books, each of which was to focus on one of the twelve private virtues. Spenser names Aristotle as his source, but it is more likely that Aquinas and the Thomist tradition (which, of course, derived from the theological reinterpretation of Aristotlean texts, such as the Nichomachean Ethics ) dictated the catalogue. Each book would feature one knight, who would be the embodiment of that book's virtue.
Book I: Holiness;
Book II: Temperance;
Book III: Chastity;
Book IV: Friendship;
Book V: Justice;
Book VI: Courtesy;
In addition to these six virtues, the Letter to Raleigh suggests that Arthur represents the virtues of Magnificence, which ("according to Aristotle and the rest") is "the perfection of all the rest, and conteineth in it them all"; and that the Faerie Queene herself represents Glory (hence her name, Gloriana.) If one tried to use the Letter as a guide to the poem, one might be surprised at the relative absence of Arthur and Gloriana from the plot: though they are both, in a way, integral to the structure of Book I, they continue to fade in importance as the poem progresses and Spenser's acute sense of irony is given more and more free-reign.
The appeal of a project like this should be immediate to anyone with a systematic imagination; even though we regard Scholastic classifications with more than a little skepticism, we continue to rely on the imperfect and ever-evolving diagnoses in the DSM-IV in describing emotional and psychological pathologies. Indeed, some of Spenser's allegorical vices seem all-too-familiar: in Book I, the Knight of Holiness encounters the figure of Despair, and escapes only thanks to the unexpected intercession of Una, the True Church. Spenser's project in the Faerie Queene, then, is not dissimilar from the work of psychoanalysts, empirical psychologists, and analytic philosophers who study ethics and the emotions. This poem is no sermon: it raises more questions about the virtues than it answers.
The poem found political favour with Elizabeth I and was consequently very successful, to the extent of far overshadowing Spenser's other poetry. A measure of the favour which the poem found with the monarch is that Spenser was granted a pension for life on account of it (50 pounds a year).
The poem celebrates and memorializes the Tudor Dynasty (of which Elizabeth was a part), much in the tradition of the Aeneid 's celebration of Augustus Caesar's Rome. The poem is deeply Allegorical and allusive: many prominent Elizabethans could have found themselves--or one another--partially representented by one or more of Spenser's figures. Elizabeth herself is the best example: she appears most prominently in her guise as Gloriana, the Faerie Queene herself; but also in Books III and IV as the virgin Belphoebe, daughter of Venus and twin to Amoret, the emobidment of womanly married love; and perhaps also, more critically, in Book I as Lucifera, the "maiden queen" whose brightly-lit Court of Pride masks a dungeon full of prisoners.
Spenser's use of literary history can be seen as politically relevant, and so it deserves some mention alongside the Faerie Queene's relationship to Elizabethan society. Though he may have been familiar with various aspects of the Arthurian textual tradition which culminates in Malory's Morte d'Artur, it's clear that the spirit, the flavor, and even the structure and language of the chivalrous activity in FQ derive from Italian epic, particularly Ludovico Ariosto's Orlando Furioso and Torquato Tasso's Jerusalem Delivered. Though there are brief moments of allegory in both of these epics, neither takes on the project of FQ, which sets out to allegorize the entire action of the poem. When two knights meet in battle in FQ, we aren't simply being asked to enjoy a jousting match, as we are often invited to do in Italian epic; the figures bent on attacking one another might be Holiness and Faithlessness. Our moral and political imagination is therefore often asked by the poem to do work that operates at some distance from our purely spectatorial interests. If Spenser's poem continues to provide any pleasure, it does so because these conflicts persist for us: we continue to find violence morally abhorrent, politically undesirable and extremely entertaining.
Finally, it ought to be mentioned that the fifth Book of FQ is the Book of Justice, and it is here that Spenser meditates most directly on what we now call political theory. That it is in many ways the least appealing of the six books to most readers (with the possible exception of professional Spenserians) only speaks to the difficulty of the subject matter. For example, the very fact that the knight of Chastity, Britomart, and the knight of Justice, Artegall, are betrothed--and furthermore, are understood to be the mythic founders of the Tudor dynasty--is a little hard to digest in the abstract. There is also an unusual difficulty of the narrative technique for this book: it makes sense that, in order to allegorize Chastity, you would run her up against various opposites of examples of Inchastity, and demonstrate your heroine's supremacy; and this indeed occupies the majority of the action of Book III. Book V takes a similar tack in that it runs up the knight of Justice against various examples of Injustice. But of course, Britomart's intervention in the case of Amoret, for example, or Guyon's pursuit of Acrasia in Book II, are also cases in which the concept of injustice plays a role. The major question for Book V, then, is whether Spenser can conduct a sophisticated inquiry into the nature of justice in the framework of chivalric epic, even under allegorical auspices. Whether he succeeds or not, it is worth noting that this book's meditation on justice is not only theoretical: it contains Spenser's most explicit meditation in verse on the vexing problem (from his point of view) of Ireland, and culminates with a re-enactment of the trial and sentencing of Mary Queen of Scots, who in the allegory is represented by Duessa (in Book I she represents the False Church: perhaps another distortion of the generic framework necessitated by the discourse of Justice.)
Important allegorical figures include Una, who symbolizes the true Protestant religion; the evil Duessa, who represents Roman Catholicism ; Britomart and Belphoebe, warrior maidens who symbolize English virtue, and Gloriana the Faerie Queene, a nickname often found to refer to Queen Elizabeth I. The Redcrosse Knight introduced in the first canto of the poem bears the emblem of Saint George , patron saint of England ; a red cross still features in the Union Jack as a symbol of England. The Redcross Knight is, in fact, early on declared to be the real Saint George.
Many modern readers find this poem (as much of Spenser's poetry) both difficult to read and even more difficult to comprehend. Its sources are both rich and complex, its language both archaic and arcane. Moreover, the structure of the story is not conventional episodic narrative, but involves fluid and unpredictable transitions in events both forward and backward in time. Nevertheless it is a beautifully crafted epic which richly rewards those patient enough to take it on. The poem becomes much simpler to read once one gets used to the interchangeable nature of some letters and learns to recognize words from their general sound as opposed to strict spelling. The poem contains some terms that are no longer in popular use (such as "whylome" and "wonne"), but these are repeated often enough so that the reader can familiarly read the rest of the poem if he took the time to learn the meaning of these words, which some editions provide definitions of to supplement the poem itself.
- , Seductress of knights in the book of temperance. Guyon destroys her Bower of Bliss at the end of Book 2. See II.12.69.8
- , Her name means "soul." She is the head of the House of Temperance in book 2. See II.9.18.1
- , The wife of Scudamor, kidnapped by Busirane on her wedding night, saved by Britomart. She represents married love. In the first edition (1590) Amoret embraces Scudamour outside the House of Busyrane in a touching scene where Britomart, watching, wishes she could do the same with Artegal. The first edition contained only three of the intended twelve books. In the second edition (1596), which contained three other books (what were to be the final three complete books), Scudamour has fled with Britomart's nurse, thinking Britomart has failed in her task. Britomart travels with Amoret for a while, losing her in Book IV just as she finds Artegall. Amoret escapes from Lust in Book IV, rides with Prince Arthur and Aemylia, a fellow captive in Lust's den, from Book IV, canto VIII, stanza twenty-two, then only with Arthur from canto IX, stanza seventeen, until they meet Britomart and Scudamour who had tried to break up the fight between Druonn, Claribell, Blandamour, and Paridell that Duessa and Ate had been urging on. Britomart and Scudamour are attacked for their efforts but Arthur charges in and saves them. Scudamour is prevailed upon to tell of how he won his love (and, in the process, his very distinct shield). This story is the subject of the next canto. It is presumable that Amoret and Scudamour meet up after this, as Amoret is right with Arthur when they see this fight and nothing is said of her being captured (they are all so close that they should have been able to hear anything like that). Amoret should be able to recognize Scudamour from his distinctive shield, if nothing else, and Scudamour should have been able to recognize Amoret even if she were a little bedraggled from her ordeals. Furthermore, Scudamour actually mentions Amoret's name in the story of the next canto, and Arthur had asked for Amoret's and Aemylia's names when he had first rescued them, although the dialogue in which they give their names is not recorded. Arthur should have been able to recognize that this was Scudamour and that Amoret was the woman he mentions he had been searching for. What is probable, looking at the way people acted, is that Amoret would have waited for Scudamour to finish telling his story, which the whole group is anxious to hear, before making her presence known. It is presumable that Scudamour simply hasn't seen her yet. That they get back together after this story is finished is further supported by the fact that Arthur appears without a companion in later appearances, and Arthur, meant to be a culmination of all these virtues, certainly, if only out of chivalry, wouldn't have abandoned a damsel in distress.
- , An evil sorcerer who is out to get the knights in the service of the Faerie Queene. He especially has it in for Redcross.
- , the Personification and champion of Justice . Britomart sees his reflection in a mirror and sets out to meet and marry him. Conveniently, he also falls in love with her when he sees her (and she handily defeats him with her enchanted sword), although, somewhat like the Amazonian Radigund from Canto V of Book V, Britomart in Canto VI of Book IV is defeated in the combat itself by Arthegall (Artegal). In both cases, Arthegall throws away his weapon and refuses to fight anymore when he sees the beauty of the woman he is fighting against. He usually is only able to see this beauty once he has rendered the woman unconscious and has unlaced the helmet in preparation for the deathblow or because he smashed the helmet in the course of the fight and, having destroyed it, can see the beauty hidden underneath. Britomart often goes around so armored as that she is presumed a man, which leads to humorous episodes in which Amoret in Book IV, Canto I is deadly afraid of being raped by the knight that has saved her (many episodes are humorous because the reader knows the whole story and can appreciate the irony, which the characters cannot) and the Lady of Delight from Book III, canto I, quickly being taken with great lust for this knight (not even so unarmed as to betray that the knight is a female warrior) simply because this knight seems to ignore her beauty. It is true that in Book IV, Canto IV, "the stranger knight" (Britomart), during the evening of the last day of the massive fight held for the girdle of Florimell, charges at Arthegall from out of the crowd and strikes Arthegall with her enchanted spear that will dismount any rider it hits. He obviously falls off his horse and is too tired from his former fighting to get up. Britomart does not know this is Arthegall, the man she has been pining for for years. Oddly enough, while it is admitted by the narrative in the case of Radigund that Arthegall actually won the fight, but yielded because Radigund was so wrathful that that was the only way he could convince her to stop fighting, the narrative doesn't recognize the same in the case of Britomart, perhaps because she represents one aspect of Queen Elizabeth (Gloriana and Belphoebe are the acknowledged representatives in Spenser's letter to Raleigh), and the narrative is inclined always to favor Elizabeth (observe the ambiguity of the trial of Duessa in Book V, Canto IX, which is represents the trial of Mary Queen of Scots, or so her son James I of England thought, and which has a pun on "let" in the ambiguous ending that allows one to conceive of Duessa being pardoned by a weeping queen or Duessa being condemned to death by a queen that is observing justice but feels compassion for Duessa). Artegall is also accompanied by Talus in Book V. Talus is a metal man that wields a flail and never sleeps or grows tired but will beat down whole hordes of enemies however long they assail him and who will savagely beat to death villains, killing sometimes those Artegall would have spared. Talus does this because he has no pity, although he is sentient and obeys Artegall's commands and can deliver messages through speech. He can be said to represent the merciless execution of justice, and he even allows his master to be taken prisoner by the wicked Radigund who starves all the knights she doesn't kill and makes them wear women's clothing and do women's work because, in order to fight with her, Arthegall had made what he considered a legal contract and agreed to be her thrall if he lost.
- , This is the same Arthur of the Round Table, but he plays a different role here. He is madly in love with the Faerie Queene and spends his time in pursuit of her when not helping the other knights out of their sundry predicaments.
- , The very beautiful sister of Amoret who spends her time in the woods hunting and avoiding the numerous amorous men who chase her. Timias, the squire of Arthur, eventually wins her love, after having been tended by her after receiving injuires in battle, but has to go through much suffering to prove his love when Belphoebe sees Timias tending to a wounded woman and, misinterpreting his actions, flies off hastily and is only lured back to see how Timias has wasted away because of her by the luring of a dove that gets her to chase him because he has taken a precious article of hers that Timias had kept with him.
- , a very funny knight with absolutely no sense of honor. He steals Guyon's horse. He is not evil, just dishonorable.
- , the Personification and champion of Chastity . She is young, beautiful, and has an enchanted spear that allows her to defeat every knight she encounters. She travels with Glauce, her nurse, in search of Artegal.
- , the evil sorcer who captures Amoret on her wedding knight. When Britomart enters his castle to defeat him, she finds him holding Amoret's heart in a pan. The very clever Britomart handily overcomes him and returns Amoret to her husband.
- the Knight of Courtesy
- , is a shepherd, noted for his songs and bagpipe playing, that briefly appears in Book VI, being the same Colin Clout from Spenser's pastoral poetry, which is fitting because Calidore is taking a sojourn into a world of pastoral delight, ignoring his duty to hunt the Blatant Beast, which is why he set out to Ireland to begin with. Colin Clout may also be said to be Spenser himself, making this, if that is the case, Spenser's cameo appearance in the poem.
- , the Knight of Temperance
- , the duchess in book III. Malecasta is a decadent, jaded sophisticate who invites the weary knights to dinner. She studies Britomart at the feast, and tries to seduce her, unaware Britomart is a lady until Malecasta feels the sting of Britomart's magic sword.
- , the same Merlin from the Matter of Britain. Her nurse takes Britomart to see Merlin while she is still young after she has been struck with love for the man she saw in the mirror. Glauce seeks to understand from Merlin what to do next.
- , a woman raised by shepherds but revealed in the last Canto of Book 6 to be actually the daught of Sir Bellamoure and Lady Claribell.
- , the lawless knight, a worker of evil and a general villain.
- , the personification of the True Church. She travels with a lot of stuff and the Redcrosse Knight, whom she has recruited to save her parent's castle from a dragon. She and Redcrosse eventually marry.
- , House in book 1 that Redcrosse visits with Duessa. Lucifera serves as the head of the house and has 6 advisors who, along with Lucifera, represent the seven deadly sins.
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- : The First Booke Of The Faerie Qveene contayning The Legende of the Knight of the Red Crosse, or Of Holinesse.
- Canto I: The Patron of true Holinesse,/ Foule Errour doth defeate:/ Hypocrisie him to entrape,/ Doth to his home entreate.
- Canto II: The guilefull great Enchaunter parts/ The Redcrosse Knight from Truth:/ Into whose stead faire falshood steps,/ And workes him wofull ruth.
- Canto III: Forsaken Truth long seekes her loue,/ And makes the Lyonn mylde,/ Marres blind Deuotions mart, and fals/ In hand of leachour vylde.
- Canto IV: To sinfull house of Pride, Duessa/ guides the faithfull knight,/ Where brothers death to wreak Sansioy/ doth chalenge him to fight.
- Canto V: The faithfull knight in equall field/ subdewes his faithlesse foe./ Whom false Duessa saues, and for/ his cure to hell does goe.
- Canto VI: From lawlesse lust by wondrous grace/ fayre Una is releast:/ Whom saluage nation does adore,/ and learnes her wise behest.
- Canto VII: The Redcrosse knight is captiue made/ By Gyaunt proud opprest,/ Prince Arthur meets with Vna great-/ ly with those newes distrest.
- Canto VIII: Faire virgin to redeeme her deare/ brings Arthur to the fight:/ Who slayes the Gyant, wounds the beast,/ and strips Duessa quight.
- Canto IX: His loues and lignage Arthur tells/ The knights knit friendly bands:/ Sir Treuisan flies from Despayre,/ Whome Redcrosse knight withstands.
- Canto X: Her faithfull knight faire Una brings/ to house of Holinesse,/ Where he is taught repentance, and/ the way to heauenly blesse.
- Canto XI: The knight with that old Dragon fights/ two dayes incessantly:/ The third him ouerthrowes, and gayns/ most glorious victory.
- Canto XII: Faire Una to the Redcrosse knight/ betrouthed is with ioy:/ Though false Duessa it to barre/ her false sleights doe imploy.
- : The Second Booke of the Faerie Qveene contayning The Legend of Sir Gvyon. or Of Temperaunce.
- Canto I: Guyon by Archimage abusd,/ The Redcrosse knight awaytes,/ Findes Mordant and Amauia slaine/ With pleasures poisoned baytes.
- Canto II: Babes bloudie hands may not be clensd,/ the face of golden Meane./ Her sisters two Extremities:/ striue her to banish cleane.
- Canto III: Vaine Braggadocchio getting Guyons/ horse is made the scorne/ Of knighthood trew, and is of fayre/ Belphoebe fowle forlorne.
- Canto IV: Guyon does Furor bind in chaines,/ and stops Occasion:/ Deliuers Phedon, and therefore/ by strife is rayld vpon
- Canto V: Pyrochles does with Guyon fight,/ And Furors chayne vnbinds/ Of whom sore hurt, for his reuenge/ Attin Cymochles finds.
- Canto VI: Guyon is of immodest Merth,/ led into loose desire,/ Fights with Cymochles, whiles his bro-/ ther burnes in furious fire.
- Canto VII: Guyon findes Mamon in a delue,/ Sunning his threasure hore:/ Is by him tempted, & led downe,/ To see his secret store.
- Canto VIII: Sir Guyon laid in swowne is by/ Acrates sonnes despoyld,/ Whom Arthur soone hath reskewed/ And Paynim brethren foyld.
- Canto IX: The house of Temperance, in which/ doth sober Alma dwell,/ Besiegd of many foes, whom straunger/ knightes to flight compell.
- Canto X: A chronicle of Briton kings,/ from Brute to Vthers rayne./ And rolles of Elfin Emperours,/ till time of Gloriane.
- Canto XI: The enimies of Temperaunce/ besiege her dwelling place:/ Prince Arthur them repelles, and fowle/ Maleger doth deface.
- Canto XII: Guyon by Palmers gouernance,/ passing through perils great,/ Doth ouerthrow the Bowre of blisse,/ and Acrasie defeat.
- : The Third Booke of the Faerie Qveene contayning, The Legend of Britomartis. Or Of Chastitie.
- Canto I: Guyon encountreth Britomart,/ faire Florimell is chaced:/ Duessaes traines and Malecastaes/ champions are defaced.
- Canto II: The Redcrosse knight to Britomart/ describeth Artegall:/ The woundrous myrrhour, by which she/ in love with him did fall.
- Canto III: Merlin bewrayes to Britomart,/ the state of Artegall./ And shewes the famous Progeny/ which from them springen shall.
- Canto IV: Bold Marinell of Britomart,/ Is throwne on the Rich strond:/ Faire Florimell of Arthur is/ Long followed, but not fond.
- Canto V: Prince Arthur heares of Florimell:/ three fosters Timias wound,/ Belphebe finds him almost dead,/ and reareth out of sownd.
- Canto VI: The birth of faire Belphoebe and/ Of Amoret is told./ The Gardins of Adonis fraught/ With pleasures manifold.
- Canto VII: The witches sonne loues Florimell:/ she flyes, he faines to die./ Satyrane saues the Squire of Dames/ from Gyants tyrannie.
- Canto VIII: The Witch creates a snowy Lady,/ like to Florimell,/ Who wrongd by Carle by Proteus sau'd,/ is sought by Paridell.
- Canto IX: Malbecco will no straunge knights host,/ For peeuish gealosie:/ Paridell giusts with Britomart:/ Both shew their auncestrie.
- Canto X: Paridell rapeth Hellenore:/ Malbecco her pursewes:/ Findes emongst Satyres, whence with him/ To turne she doth refuse.
- Canto XI: Britomart chaceth Ollyphant,/ findes Scudamour distrest:/ Assayes the house of Busyrane,/ where Loues spoyles are exprest.
- Canto XII: The maske of Cupid, and th'enchaunted/ Chamber are displayed,/ Whence Britomart redeemes faire/ Amoret, through charmes decayd.
- : The Fovrth Booke of the Faerie Qveene contayning The Legend of Cambel and Telamond, or Of Friendship.
- Canto I: Fayre Britomart saues Amoret,/ Duessa discord breedes/ Twixt Scudamour and Blandamour:/ Their fight and warlike deedes.
- Canto II: Blandamour winnes false Florimell,/ Paridell for her striues,/ They are accorded: Agape/ doth lengthen her sonnes liues.
- Canto III: The battell twixt three brethren with/ Cambell for Canacee/ Cambina with true friendships bond/ doth their long strife agree.
- Canto IV: Satyrane makes a Turneyment/ For loue of Florimell:/ Britomart winnes the prize from all,/ And Artegall doth quell.
- Canto V: The Ladies for the girdle striue/ of famous Florimell:/ Scudamour comming to Cares house,/ doth sleepe from him expell.
- Canto VI: Both Scudamour and Arthegall/ Doe fight with Britomart,/ He sees her face; doth fall in loue,/ and soone from her depart.
- Canto VII: Amoret rapt by greedie lust/ Belphebe saues from dread,/ The Squire her loues, and being blam'd/ his dayes in dole doth lead.
- Canto VIII: The gentle Squire recouers grace,/ Sclaunder her guests doth staine:/ Corflambo chaseth Placidas,/ And is by Arthure slaine.
- Canto IX: The Squire of low degree releast/ Poeana takes to wife:/ Britomart fightes with many Knights/ Prince Arthur stints their strife.
- Canto X: Scudamour doth his conquest tell,/ Of vertuous Amoret:/ Great Venus Temple is describ'd,/ And louers life forth set.
- Canto XI: Marinells former wound is heald,/ he comes to Proteus hall,/ Where Thames doth the Medway wedd,/ and feasts the Sea-gods all.
- Canto XII: Marin for loue of Florimell,/ In languor wastes his life:/ The Nymph his mother getteth her,/ And giues to him for wife.
- : The Fifth Booke of the Faerie Qveene contayning The Legend of Artegall or Of Ivstice.
- Canto I: Artegall trayn'd in Iustice lore/ Irenaes quest pursewed,/ He doeth auenge on Sanglier/ his Ladies bloud embrewed.
- Canto II: Artegall heares of Florimell,/ Does with the Pagan fight:/ Him slaies, drownes Lady Munera,/ Does race her castle quight.
- Canto III: The spousals of faire Florimell,/ where turney many knights:/ There Braggadochio is vncas'd/ in all the Ladies sights.
- Canto IV: Artegall dealeth right betwixt/ two brethren that doe striue,/ Saues Terpine from the gallow tree,/ and doth from death repriue.
- Canto V: Artegall fights with Radigund/ And is subdewd by guile:/ He is by her emprisoned,/ But wrought by Clarins wile.
- Canto VI: Talus brings newes to Britomart,/ of Artegals mishap,/ She goes to seeke him, Dolon meetes,/ who seekes her to entrap.
- Canto VII: Britomart comes to Isis Church,/ Where shee strange visions sees:/ She fights with Radigund, her slaies,/ And Artegall thence frees.
- Canto VIII: Prince Arthure and Sir Artegall,/ Free Samient from feare:/ They slay the Soudan, driue his wife,/ Adicia to despaire.
- Canto IX: Arthur and Artegall catch Guyle/ whom Talus doth dismay,/ They to Mercillaes pallace come,/ and see her rich array.
- Canto X: Prince Arthur takes the enterprize/ for Belgee for to fight,/ Gerioneos Seneschall/ he slayes in Belges right.
- Canto XI: Prince Arthure ouercomes the great/ Gerioneo in fight:/ Doth slay the Monster, and restore/ Belge vnto her right.
- Canto XII: Artegall doth Sir Burbon aide,/ And blames for changing shield:/ He with the great Grantorto fights,/ And slaieth him in field.
- : The Sixte Booke of the Faerie Qveene contayning the Legend of S. Calidore or Of Covrtesie.
- Canto I: Calidore saues from Maleffort,/ A Damzell vsed vylde:/ Doth vanquish Crudor, and doth make/ Briana wexe more mylde.
- Canto II: Calidore sees young Tristram slay/ A proud discourteous knight,/ He makes him Squire, and of him learnes/ his state and present plight.
- Canto III: Calidore brings Priscilla home,/ Pursues the Blatant Beast:/ Saues Serena whilest Calepine/ By Turpine is opprest.
- Canto IIII: Calepine by a saluage man/ from Turpine reskewed is,/ And whylest an Infant from a Beare/ he saues, his loue doth misse.
- Canto V: The saluage serues Serena well/ till she Prince Arthure fynd,/ Who her together with his Squyre/ with th'Hermit leaues behynd.
- Canto VI: The Hermite heales both Squire and dame/ Of their sore maladies:/ He Turpine doth defeate, and shame/ For his late villanies.
- Canto VII: Turpine is baffuld, his two knights/ doe gaine their treasons meed,/ Fayre Mirabellaes punishment/ for loues disdaine decreed.
- Canto VIII: Prince Arthure ouercomes Disdaine,/ Quites Mirabell from dreed:/ Serena found of Saluages,/ By Calepine is freed.
- Canto IX: Calidore hostes with Meliboe/ and loues fayre Pastorell;/ Coridon enuies him, yet he/ for ill rewards him well
- Canto X: Calidore sees the Graces daunce,/ To Colins melody:/ The whiles his Pastorell is led,/ Into captiuity.
- Canto XI: The theeues fall out for Pastorell,/ Whilest Melibee is slaine:/ Her Calidore from them redeemes,/ And bringeth backe againe.
- Canto XII: Fayre Pastorella by great hap/ her parents vnderstands,/ Calidore doth the Blatant beast/ subdew, and bynd in bands.
- which, both for forme and matter, appeare to be parcell of some following booke of The Faerie Qveene under The Legend of Constancie. ''Neuer before imprinted.''
- Canto VI: Proud Change (not pleasd, in mortall things,/ beneath the Moone, to raigne)/ Pretends, as well of Gods, as Men,/ to be the Soueraine.
- Canto VII: Pealing, from Ioue, to Natur's Bar,/ bold Alteration pleades/ Large Euidence: but Nature soone/ her righteous Doome areads.
- The VIII Canto, vnperfite.
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