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NOTES:- Allegory in "the Faerie Queen." 1-Letters of QUERIES:-Allusion wanted: Henry Vaughan-American "National Song" Arms of Flemish Families Raph Audley of Sandbach - Bible Illustrations - John Bovey Cathedral Bells - Cobblers' Lambs in ItalyCookes: Cookesey: Cooke - Cornish spoken in Devon shire-The Dragon-Eastern Story-Sir Charles Egerton, Knight - Equivalent Foreign Titles-"Le Farccur du Jour et de la Nuit "- Letter of Galileo-HeraldicHerbert of Muckruss Robert Keck - Laird - Pedigree of Mortimer — Pools, or Mouths of Streams - Privatelyprinted Books-The Print of "Guido's Aurora"- The Pronunciation of Greek and Latin, &c., 11. REPLIES:- The Block Books, 13 — Parodies, 15 - The "Blue-Laws" of Connecticut, 16 St. Augustin's Sermons, 17-A Winter Saying Robur Caroli - Pear Tree -Right to quarter Arms - Baron Nicholson - Epigram on the Walcheren Expedition-Robert de Comyn, Earl of Northumberland - Cucumber-Lothing Land -“Certosino"-Ancient Scottish Deed - Royal Topography Paulet of Amport "There was a Little Man"- The Swan-Song of Parson Avery - Irish Forfeitures -- Patchin The Rochester Hospital-Babies' Bells - Ecstatics Samplers-The Boy-Bishop of the Propaganda for Christmas- Dur or Dour-The Paris Catacombs, &c., 18. Notes on Books, &c. Notes. ALLEGORY IN "THE FAERIE QUEEN." Spenser styles his poem 66 a continued allegory or dark conceit"; but he does not by that mean to say that it forms one continued allegory in the sense in which we now understand the term. In fact there is but one allegory in it-namely, the first book, "The Legend of Holiness"; and in all the rest of the poem the characters are mere impersonations of moral or physical qualities, or of real persons, without any specially connected series of events. I will here briefly state my conception of what I regard as the only allegory of the poem. This, then, I take to be the history of the Church from its commencement till the poet's own time. In Una I see, not Truth simply, but the True Church; in Duessa, not mere Falsehood, but the False Church-that of Rome. The father and mother of Una, the king and queen of Eden, I take to be God the Father and the ancient Adamic or patriarchal Church. In the Dragon I discern the great enemy of man, Satan. In the Red-cross Knight the Christian people, represented by St. George, the patron saint of England, the great champion of the true faith; and finally, in Archimage, Satan in his character of the tempter and seducer. The adventures of the knight begin with his entering the grove of Error, and his encountering and slaying that monster. By this is pro bably meant the conflict with the various forms of religious error or heresy in the Church. Archimage then tries his wiles, and separates the knight from Una; but his doing so by making him suspect her purity seems rather to break the allegory. However, he abandons her, and then falls in with Duessa in company with a "faithless Sarazin" named Sansfoy, that is, Paganism, whom he slays; and he is then deceived by Duessa, who conducts him to the House of Pride, that is, the Roman Empire, which now becomes Christian. Here he encounters and slays a brother of Sansfoy, named Sansjoy, by which is perhaps meant the joyless condition of the Empire when separated from the True Church. On his discovering the real nature of the House of Pride, he seizes the earliest opportunity of flight, and abandons it. Una meanwhile wanders alone in search of the champion who had deserted her. She meets with a lion, who becomes her protector. This lion forces an entrance for her into the house of Corceca and Abessa, and kills Kirkrapine, the paramour of the latter; but is himself slain soon after, defending Una against a Paynim named Sansloy, who had overcome Archimage, who had rejoined her under the form of the Red-cross Knight. From him she is delivered by a band of fawns and satyrs whom her shrieks brought to her aid. They lead her to their abode in the woods and mountains, where she lives among them and instructs them in morals and religion. By the aid of a knight named Sir Satyrane she leaves them, and sets out again in quest of the Red-cross Knight. In this part of the allegory the lion seems to signify the counts of Toulouse, who protected the True Church against that of Rome, and gained its members admission into the religious houses against the will of their inmates, and punished those who made spoil of sacred things. By the Paynim Sansloy may be meant the papal adherents under De Montfort and others, who overcame the counts of Toulouse, and from whom Una is saved by the satyrs, that is, the Waldenses, whose abode was in the woods and valleys of Switzerland. Sir Satyrane, who is connected with them, I take to represent the Huguenots of France, who derived their creed and their name from the reformer of Switzerland; and it is very remarkable that he and Sansloy are left fighting-just as the Huguenots and the Papists were at the time-and are not mentioned any more in this book. The Red-cross Knight meantime is overtaken and again seduced by Duessa, and he drinks of a fountain, the water of which quite enervates him, and he is then seized and thrown into a loathsome dungeon by a huge giant, who makes Duessa his leman, dresses her magnificently, and mounts her on a strange beast with seven heads. |