| dc.description.abstract | There is a quality in the poetry of Edmund Spenser, John Milton, and William Blake that makes readers and critics want to connect these works, despite their vast differences. In 1975 Joseph Anthony Wittreich labeled that quality vision, establishing the critical term "line of vision." Unfortunately, the quality is easier to sense and label than to identify and define. This vagueness is seen in the inconsistencies and variety of terms in critical works. "Line of vision" is often used to introduce ideas on both visionary poetics and prophetic poetics. I chose the term prophetic poetics throughout this thesis because, as I develop in Chapter I, it is the more accurate term for identifying the authority and didacticism that is inherent in prophetic poetry but not always found in or essential to visionary poetry. Also, I use prophetic poetry and prophetic poet rather than prophecy and prophet to emphasize the difference between the person who uses a literary form and mode to express an idea and the person who uses the same form and mode for presentation of a message without concerns for literary value. While biblical prophecy has influenced literary prophecy, claims to divinity of inspiration or content are a concern only in the biblical and not the literary practice.One of the difficulties in studying prophetic poetry is that what makes a poem prophetic cannot easily be separated from other elements in the poem. The major prophetic poems in the English tradition are epics, use allegory in varying degrees, and respond to the Christian tradition. so to study prophetic poetry is to study epic, allegory, and religion. Prophetic poetry is a very political expression, so both history and politics as well as social concerns must be considered. In addition to these larger ideas outside the poetry, there is a variety of language uses that are found within the poetry. The frequency of allegory in prophetic poetry suggests a significant link between the mode of expression and the message. The framework that allows the poet to assert a hierarchy of values through allegory allows the additional authority of the prophetic message. Once a poem is labeled prophetic, the various uses of language take on added significance, which is the key to discussing prophetic poetics; particular parts of a poem when isolated may not be significantly different from nonprophetic uses but the prophetic element gives these particulars added significance. One quality that is drastically increased in prophetic poetry is the poet's authority. When a poet claims to write prophetic poetry, readers are forced to consider the message of the poem to discover not only if the poet has been true to the experience presented but also if the poet is "right." The skill of presentation must be set aside for a bit so we can evaluate the message. For example, the preblem of Milton's Eve for modern readers is a problem of message not aesthetics. We do not want a poet as great as Milton to be chauvinistic. we, in the same way, do not want Spenser to be in favor of genocide under the guise of justice. For modern readers, the authority that these poets claim and earn emphasizes their failure to be far-sighted and universal in their views. We expect prophetic poetry to be timeless, as so often we assume truth to be. When many of us began reading, the written word was exciting because of what it could be, not necessarily how well it was written. We wanted to take part in lives and stories other than our own. Some of us turned to stories to see how things should be, a desire expressed in Sidney, and how we, in turn, should be. The instructive or didactic aims of literature are part of why we read. The prophetic poet exploits our desire to be told how things should be and would be if we behaved or thought in a particular way. Perhaps the history of failure of prophetic poetry to affect significant social change comes from the nature of the reader who wants to be instructed, but can only really change when instruction ceases and self-instruction begins. This change takes place in the narrator of The Faerie Queene and is part of the goal in fashioning a gentleman. Once fashioned, the gentleman will be self-instructive and instructing others like the courtiers in Castiglione's The courtier. The use of prophetic poetry, and it is a poetry designed to be used, is most significant when it is not instruction but information. As W. H. Auden wrote, you cannot tell people what to do, you can only tell them stories and let them draw their own conclusions (341). For literary prophecy, such story telling is imperative. As critics, we must move into the grey shadows of messages to correctly evaluate a prophetic poem. If we read a poem by a poet who makes no claims as prophetic and we find that the poem is well written and true to the experience presented, we cannot justly denounce the poem because we do not like what it says. Art has moved away from the realm of liking for enough years that pleasing is no longer a valid criterion. We may dislike, disagree, and disapprove all we want, but we cannot use those as a basis for critical conclusions. But when a poet claims to be prophetic, claiming the rights and responsibilities of a tradition that requires an evaluation of message, we do have the justification to see if the poet is correct. If a poet, based on his authority, tells the reader that a particular action will lead to salvation or damnation, such an assertion must be evaluated not only for the aesthetic quality but also to see if it is correct. Book V of The Faerie Queene fails because we do not judge it correct; it is too limited by time and particulars to be universal. The solution to the Irish problems suggested by Spenser cannot be brought into our time without violating other more essential truths that our culture now accepts. To be true to the prophetic purpose of The Faerie Queene critics cannot simply ignore the parts that they do not like; we must consider the parts in the same way as we do the whole. After all, even Homer nodded. In my thesis I focus on the political motivation for Spenser's prophetic poem The Faerie Queene; this is not to suggest that th~re are not other and equally important motivations for Spenser. One of the joys of poetry as complex as Spenser's is the variety of ideas and concerns. As an allegory, The Faerie�Queene demands the .multiplicity of meaning and motives. Likewise, in emphasizing Spenser's humanism, I do not want to slight his Protestantism and Puritanism. But to consider all the subtopics adequately would be to write a thesis as long or longer than the poem itself. The bulk of criticism focuses on various subtopics, but rarely develops criteria for judging The Faerie Queene as prophetic. In Chapter I, I establish two major criteria, authority and criticism, for prophetic poetics as distinguished from visionary poetics. One of the problems facing both prophetic poets and their readers is authority. The implied authority of so many poets is not adequate for the prophetic poet. To avoid making the problem of prophetic inspiration a problem of religion, I develop in Chapter II the point that Spenser's humanism provided him with a means of establishing authority. It is also humanism that provided a tradition of criticizing the monarch and society, as I develop in Chapter III. The tradition of Christian prophets provides similar models, but again, the problem of divinity arises. Recognition of Spenser as a prophetic poet and the critical quality it brings to his poem should lay to rest the facile assumption that Spenser was simply a court flatterer, an assumption that turns The Fairie Queene into a beautiful but trite poem. | |
