Epic Conventions in Spenser's Faerie Queene

Just as a certain mixture of ingredients is necessary in order to bake a cake, prepare an elaborate dish, or mix a drink, so is true in creating a piece of literature - according to its genre. Whether the work is a fable, a theatrical tragedy or a poem, specific ingredients, or rather conventions are necessary in order to compose a successful piece of literature. One of the most antique, but well known types of literature is the epic, first utilized by such classical greats as Virgil and Homer, displayed in their poems The Aenid, The Iliad and The Odyssey. To get a good taste of what an epic poem entails, one must realize that its recipe requires an enormous number of ingredients. 'Epic', in popular usage, tends these days to mean vast. Therefore, the vast number of necessary ingredients can be found through the variety of characters, settings and stories that help to incorporate the many characteristics of the epic genre.

Even though the epic could be considered one of the most elaborate forms of writing, this type of greatly detailed literature has been adopted by many writers and can be found throughout history displayed in several works by Tasso, Dante and Milton, as well as others. In addition to Tasso and the other previously mentioned epic authors, Edmond Spenser modeled his renowned work The Faerie Queene after the classic style of these literary greats and furthermore, many of the necessary ingredients or conventions can be located within the piece. In order to support the idea that these characteristics can be found throughout the piece and in addition, to provide evidence that the Faerie Queene does indeed fit into the epic category, a description of these characteristics must first be given, along with their respectful locations in the piece. As previously mentioned however, the recipe for an epic calls for a vast number of ingredients, therefore each and every different component to the recipe will not be addressed in this paper. In all actuality, there are as many or more than fifteen different characteristics that can be embodied within an epic poem and in order to keep this examination of Spenser's Faerie Queene within reasonable limits this paper will discuss the invocation of a muse, the epic digression and the epic catalog.

One of the first conventions found in the Faerie Queene, is the idea of the invocation of a muse. The Oxford English Dictionary defines a muse as the inspiring goddess of a particular poet (1136). In order to gain inspiration for the writing of his epic work, Spenser calls upon the classic authors, Virgil and Homer as his muses.

LO I the man, whose Muse whilome did maske,
As time her taught, in lowly Shepheards weeds,
Am now enforst a far vnfitter taske,
For trumpets sterne to chaunge mine Oaten reeds,
And sing of Knights and Ladies gentle deeds;
Whose prayses hauing slept in silence long,
Me, all too meane, the sacred Muse areeds
To blazon broad emongst her learned throng:
Fierce warres and faithfull loues shall moralize my song.
(Spenser, I.i.1)

In addition to calling upon these fellow epic authors, Spenser again exemplifies the convention by inviting the muse of epic poetry, Calliope, to assist him with his task.

Now O thou sacred Muse, most learned Dame,
Faire ympe of Phoebus, and his aged bride,
The Nourse of time, and euerlasting fame,
That warlike hands ennoblest with immortall name;
O gently come into my feeble brest,
Come gently, but not with that mighty rage,
(Spenser, 1.11.5,6)

While the invocation of the muse appears to be merely preparation in the overall directions required for an epic recipe, the digression into the underworld has been found to be a staple ingredient in its genre. Examples of this digression can be found in Virgil's The Aeneid. And likewise, Spenser continues the classic tradition in Book I with Duessa's decent to hell with hopes to bring the recently deceased Sansjoy back to life with the help of Night.

Thence turning backe in silence soft they stole,
And brought the heauie corse with easie pace
To yawning gulfe of deepe Auernus hole.
By that same hole an entrance darke and bace
With smoake and sulphure hiding all the place,
Descends to hell: there creature neuer past,
That backe returned without heauenly grace;
But dreadfull Furies, which their chaines haue brast,
And damned sprights sent forth to make ill men aghast.
(Spenser, I.v.31)

The final ingredient to be discussed will be the epic catalog, whose distinctive flavor can be just as discernable as other conventions found within The Faerie Queene. And although its presence does not necessarily shape the storyline of any epic work, Spenser places at least seven of these encyclopedic-type lists in the piece. The first of these catalogs can be found in Book 1 and was considered to be quite reminiscent of specific passages in Parlement of Foules by Chaucer, but additionally was also similar to passages from works by Ovid, Lucan, Statius, Boccaccio and Tasso.

And foorth they passe, with pleasure forward led,
Ioying to heare the birdes sweete harmony,
Which therein shrouded from the tempest dred,
Seemd in their song to scorne the cruell sky.
Much can they prayse the trees so straight and hy,
The sayling Pine, the Cedar proud and tall,
The vine-prop Elme, the Poplar neuer dry,
The builder Oake, sole king of forrests all,
The Aspine good for staues, the Cypresse funerall.
The Laurell, meed of mightie Conquerours
And Poets sage, the Firre that weepeth still,
The Willow worne of forlorne Paramours,
The Eugh obedient to the benders will,
The Birch for shaftes, the Sallow for the mill,
The Mirrhe sweete bleeding in the bitter wound,
The warlike Beech, the Ash for nothing ill,
The fruitfull Oliue, and the Platane round,
The caruer Holme, the Maple seeldom inward sound.
(Spenser, I.i.8,9)

In this next excerpt from Book II, the epic catalog displayed was discovered through Prince Arthur's character while perusing several ancient books in the library of Eumnestes. Here he encounters a volume record, chronicling the line of Briton kings.

They held this land, and with their filthinesse
Polluted this same gentle soyle long time:
That their owne mother loathd their beastlinesse,
And gan abhorre her broods vnkindly crime,
All were they borne of her owne natiue slime,
Vntill that Brutus anciently deriu'd
From royall stocke of old Assaracs line,
Driuen by fatall error, here arriu'd,
And them of their vniust possession depriu'd.
But ere he had established his throne,
And spred his empire to the vtmost shore,
He fought great battels with his saluage fone;
In which he them defeated euermore,
And many Giants left on groning flore;
That well can witnesse yet vnto this day
The westerne Hogh, besprincled with the gore
Of mightie Göemot, whom in stout fray
Corineus conquered, and cruelly did slay.
And eke that ample Pit, yet farre renownd,
For the large leape, which Debon did compell
Coulin to make, being eight lugs of grownd;
Into the which returning backe, he fell:
But those three monstrous stones doe most excell
Which that huge sonne of hideous Albion,
Whose father Hercules in Fraunce did quell,
Great Godmer threw, in fierce contention,
At bold Canutus; but of him was slaine anon.
(Spenser, II.x.9-11)

The remaining examples of the epic catalog can be discovered throughout the complete work of The Faerie Queene. Again in Book I a list of armor is given, while Book II is able to boast a chronicle of Faeries as well as a catalog of sea monsters. Finally, a record of sea monsters is offered in the fifth Book.

In conclusion, one must understand that Spenser was aware of all the other necessary ingredients in order to compose an epic poem and included them in his work, ranging from the use of in medias res, where one example could have been found in Book XII, as mentioned in his letter to Sir Walter Raleigh to that of foreshadowing. The use of in medias res, while found throughout the piece, is curiously described to Raleigh as a conclusion to his twelve book work, which unfortunately was never completed. The beginning therefore of my history, if it were to be told by an Historigrapher, should be the twelfth booke, which is the last, where I deuise that the Faery Queene kept her Annuall feast xii. Dayes, vppon which xii. Seuerall dayes, the occasions of the xii. Seuerall aduentures hapned… (Spenser).