Whilst thou didst live, liv'd English poetry
Which fears now thou art dead, that she shall die.
'Nor must we forget, that the expence of his funeral and monument was defrayed at the sole charge of Robert, first of that name, earl of Essex.' The next account is given by Edward Phillips in his Theatrum Po{e"}tarum Anglicanorum, first published in 1675. This Phillips was, as is well known, Milton's nephew, and according to Warton, in his edition of Milton's juvenile poems, 'there is good reason to suppose that Milton threw many additions and corrections into the Theatrum Po{e"}tarum.' Phillips' words therefore have an additional interest for us. 'Edmund Spenser,' he writes, 'the first of our English poets that brought heroic poesy to any perfection, his "Fairy Queen" being for great invention and poetic heighth, judg'd little inferior, if not equal to the chief of the ancient Greeks and Latins, or modern Italians; but the first poem that brought him into esteem was his "Shepherd's Calendar," which so endeared him to that noble patron of all vertue and learning Sir Philip Sydney, that he made him known to Queen Elizabeth, and by that means got him preferred to be secretary to his brother{5} Sir Henry Sidney, who was sent deputy into Ireland, where he is said to have written his "Faerie Queen;" but upon the return of Sir Henry, his employment ceasing, he also return'd into England, and having lost his great friend Sir Philip, fell into poverty, yet made his last refuge to the Queen's bounty, and had 500_l_. ordered him for his support, which nevertheless was abridged to 100_l_. by Cecil, who, hearing of it, and owing him a grudge for some reflections in Mother Hubbard's Tale, cry'd out to the queen, What! all this for a song? This he is said to have taken so much to heart, that he contracted a deep melancholy, which soon after brought his life to a period. So apt is an ingenuous spirit to resent a slighting, even from the greatest persons; thus much I must needs say of the merit of so great a poet from so great a monarch, that as it is incident to the best of poets sometimes to flatter some royal or noble patron, never did any do it more to the height, or with greater art or elegance, if the highest of praises attributed to so heroic a princess can justly be termed flattery.'{6} When Spenser's works were reprinted—the first three books of the Faerie Queene for the seventh time—in 1679, there was added an account of his life. In 1687, Winstanley, in his Lives of the most famous English Poets, wrote a formal biography. These are the oldest accounts of Spenser that have been handed down to us. In several of them mythical features and blunders are clearly discernible. Since Winstanley's time, it may be added, Hughes in 1715, Dr. Birch in 1731, Church in 1758, Upton in that same year, Todd in 1805, Aikin in 1806, Robinson in 1825, Mitford in 1839, Prof. Craik in 1845, Prof. Child in 1855, Mr. Collier in 1862, Dr. Grosart in 1884, have re-told what little there is to tell, with various additions and subtractions. Our external sources of information are, then, extremely scanty. Fortunately our internal sources are somewhat less meagre. No poet ever more emphatically lived in his poetry than did Spenser. The Muses were, so to speak, his own bosom friends, to whom he opened all his heart. With them he conversed perpetually on the various events of his life; into their ears he poured forth constantly the tale of his joys and his sorrows, of his hopes, his fears, his distresses. He was not one of those poets who can put off themselves in their works, who can forego their own interests and passions, and live for the time an extraneous life. There is an intense personality about all his writings, as in those of Milton and of Wordsworth. In reading them you can never forget the poet in the poem. They directly and fully reflect the poet's own nature and his circumstances. They are, as it were, fine spiritual diaries, refined self- portraitures. Horace's description of his own famous fore-runner, quoted at the head of this memoir, applies excellently to Spenser. On this account the scantiness of our external means of knowing Spenser is perhaps the less to be regretted. Of him it is eminently true that we may know him from his works. His poems are his best biography. In the sketch of his life to be given here his poems shall be our one great authority.
Footnotes ————-
{1} Compare 'Underneath this sable hearse, &c.' {2} Works of William Drummond of Hawthornden. Edinburgh, 1711, p. 225. {3} Annales, ed. Hearne, iii. 783. {4} History of Elizabeth, Queen of England. Ed. 1688, pp. 564, 565. {5} Father {6} Theatrum Poet. Anglic., ed. Brydges, 1800, pp. 148, 149.
CHAPTER I.
1552-1579.
FROM SPENSER'S BIRTH TO THE PUBLICATION OF THE SHEPHEARD'S CALENDAR.
Edmund Spenser was born in London in the year 1552, or possibly 1551. For both these statements we have directly or indirectly his own authority. In his Prothalamion he sings of certain swans whom in a vision he saw floating down the river 'Themmes,' that
At length they all to mery London came,
To mery London, my most kyndly nurse,
That to me gave this lifes first native sourse,
Though from another place I take my name,
An house of auncient fame.
A MS. note by Oldys the antiquary in Winstanley's Lives of the most famous English Poets, states that the precise locality of his birth was East Smithfield. East Smithfield lies just to the east of the Tower, and in the middle of the sixteenth century, when the Tower was still one of the chief centres of London life and importance, was of course a neighbourhood of far different rank and degree from its present social status. The date of his birth is concluded with sufficient certainty from one of his sonnets, viz. sonnet 60; which it is pretty well ascertained was composed in the year 1593. These sonnets are, as well shall see, of the amorous wooing sort; in the one of them just mentioned, the sighing poet declares that it is but a year since he fell in love, but that the year has seemed to him longer