J. C. WANG, Z. S. LI
nor to the Starres: for they haue purer sight;
nor to the fire: for they consume not euer;
Nor to the lightning: for they still perseuer;
nor to the Diamond: for they are more tender;
nor vnto Christall: for nought may them seuer;
nor vnto glasse: such basenesse mought offend her; (IX,
5-12)
The smile on the lady’s graceful face is also attractive and
sweet. “Indeed, throughout the sequence she is certainly one of
the most smiling and ‘chearefull’ ladies to appear in any Eng-
lish sequences” (Martz, 1991: p. 106). The sweet smile is “the
daughter of the “Queene of loue”, expressing “all thy mothers
powrefull art” to make the lover’s soul “rauished in a trance”
(Sonnet XXXIX). For this smile with “amiable cheare”,
Spenser compares it to the sunlight in the summer which is
pleasant and lovely (Sonnet XL).
But for the lover, love is not always so sweet and so pleasant.
In opposition to the lover’s enjoyment of the physical beauty is
his suffering from the lady. For Spenser, love is a war and bat-
tle, for which the lover must be brave, bright and patient to
fight again and again with his “sweet” and “cruell” warrior
(Sonnets XI, XII, XIIII, and LVII).
All these sufferings seem to be a kind of test. In Sonnet
LXIII, after unendurable trial and testing, the lover does see the
happy shore in front of hi m. And Sonnet LXIIII celebrates their
joyful kiss, in which he tastes the odour of his lady that smells
more fragrant than any flower. And in Sonnet LXVII, unlike
other sonneteers such as Rime 190 of Petrarch and “whoso list”
of Wyatt, the lover finally catches his “deer” after a long pur-
suit and attempt:
There she beholding me with mylder looke,
sought not to fly, but fearelesse still did bide:
till I in hand her yet halfe trembling tooke,
and with her owne goodwill hir fyrmely tyde; (LXVII,
6-12)
The tying of a half-trembling deer suggests the betrothal to
the lady who is still nervous about her new life (Maclean &
Prescott, 1993: p. 614). And the lady’s “paradoxical submission
must be attributed not to the successful suit of the amorous
male, but to her own change of heart and willing participation
in a delicate act of self-conquest” (King, 1990: p. 168). Al-
though sonnet LXVII seems an announcement of the lover ’s
fulfilment of desire, actually t he lov e is a mutu al one indeed for
both the young man and the lady.
Such is the love story that Amoretti tells in the secular world.
In the story Spenser interprets his idea of love between real
human beings. It expresses the un-expectable fate and the long
painful process of the lover’s wooing, and also the pleasant
feelings of true love between a couple of earthlings who can
marry each other finally.
A Sacred Love
Spenser’s love does not only belong to the secular world
between earthlings, but it identifies itself with sacred nature
with characters of Platonism and Christian ideas as well.
Spenser’s attitude toward love in Amoretti agrees with that of
Platonism. According to Plato, man in motion drives, desires
and struggles to achieve the culminating objects of his desire,
and man’s desiring always implies a desire to what is good. For
this supreme object of man’s desiring, Plato calls it the good or
absolute beauty. All man’s driving is motivated by a search for
beauty and goodness (Singer, 1984: pp. 53-54).
Rivers (1979: p. 35) explains that the central theory of Plato
and his followers is that of the two worlds—the Ideas or Forms
theory. The first is the world of Ideas or Forms, which is the
world of Being, stable, eternal, immutable and perfect. The
second world is that of a copy of the first one, which is the
world of Becoming and change. The human being belongs to
the second world, and his soul which comes from the first has a
longing for a return or ascent to the first.
In Symposium, love is a staircase between the two worlds,
and man can get the absolute beauty or the ideal love in the
other world by passing five steps: from love of physical beauty
to love of God (Plato, 1993: pp. 47-48).
The bearing of Platonism can be seen easily in Amoretti.
Sonnet VIII is, first of all, a praise of “absolute beauty” and
virtuous love in Platonic idea. Spenser says that the lady is
more beautiful than any pretty girl and her “living fire” shines
and burns up and up to “the maker”—the God, so that the
blinded Cupid cannot shoot the darts while the “Angels” lead
the frail minds to rest on her “heavenly beauty bound” with
chaste desires.
Lewis (1998: p. 144) sums up that the essential attitude of
Platonism is aspiration or longing: the human soul, imprisoned
in the shadowy, unreal world of Nature, stretches out its hands
and struggles towards the beauty and reality of that which lies
(as Plato says) “on the other sides of existence”. Thus the lady
in sonnet VIII, with an image of ascending up to the real world,
is the avatar of Platonic world of Idea, a world of the original,
real and clear:
More then most faire, full of the liuing fire,
Kindled aboue vnto the maker neere; (VIII, 1-2)
The holy conceptions of Platonic love is implied rather than
stated also in many other sonnets, such as Sonnets III, VII, IX,
XLV, LXI, LXXII, LXXIX and sonnet LXXXVIII. In Sonnet
III, the lady is “the soverayne beauty”, with her heavenly fire
kindled in the frail spirit of the lover raising him from baseness
to pureness. The lover is at loss for her “celestial hew” and he
can only speak and write the ideal love in his heart that his wit
cannot dictate. In Sonnet XLV, Spenser regards the lady a s the
image of “Idea”. Because the world of “forms” is only visible
to intellect, no ear thly eyes c an enjoy the immortal beauty:
Within my hart, though hardly it can shew
thing so diuine to vew of earthly eye,
the fayre Idea of your celestiall hew,
and euery part remai n es immortally; (XLV, 5-8)
In Sonnet LXI, the lady is a saint of the first world and “the
Idoll” of the lover’s thought. She is divinely worked, born of
the brood of heavenly Angels and is brought up “with the crew
of blessed Saynts”. Sonnet LXXIX presents the real nature of
the Platonic ideal beauty:
That is true beautie: that doth argue you
to be diuine and borne of heauenly seed:
deriu’d from that fayre Spirit, from whom all true
and perfect beauty did at first proceed; (LXXIX, 9-12)
Spenser also endows the love between the couple with Chris-
tian idea. Amoretti compares the lover’s wooing for love to the
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