nown of Spenser's poems; though, as his first work, it is below
many others in melody. It consists of twelve pastoral poems, or eclogues,
one for each month of the year. The themes are generally rural life,
nature, love in the fields; and the speakers are shepherds and
shepherdesses. To increase the rustic effect Spenser uses strange forms of
speech and obsolete words, to such an extent that Jonson complained his
works are not English or any other language. Some are melancholy poems on
his lost Rosalind; some are satires on the clergy; one, "The Briar and the
Oak," is an allegory; one flatters Elizabeth, and others are pure fables
touched with the Puritan spirit. They are written in various styles and
meters, and show plainly that Spenser was practicing and preparing himself
for greater work.

Other noteworthy poems are "Mother Hubbard's Tale," a satire on society;
"Astrophel," an elegy on the death of Sidney; _Amoretti_, or sonnets, to
his Elizabeth; the marriage hymn, "Epithalamion," and four "Hymns," on
Love, Beauty, Heavenly Love, and Heavenly Beauty. There are numerous other
poems and collections of poems, but these show the scope of his work and
are best worth reading.

IMPORTANCE OF THE SHEPHERD'S CALENDAR. The publication of this work, in
1579, by an unknown writer who signed himself modestly "Immerito," marks an
important epoch in our literature. We shall appreciate this better if we
remember the long years during which England had been without a great poet.
Chaucer and Spenser are often studied together as poets of the Renaissance
period, and the idea prevails that they were almost contemporary. In fact,
nearly two centuries passed after Chaucer's death,--years of enormous
political and intellectual development,--and not only did Chaucer have no
successor but our language had changed so rapidly that Englishmen had lost
the ability to read his lines correctly.[125]

This first published work of Spenser is noteworthy in at least four
respects: first, it marks the appearance of the first national poet in two
centuries; second, it shows again the variety and melody of English verse,
which had been largely a tradition since Chaucer; third, it was our first
pastoral, the beginning of a long series of English pastoral compositions
modeled on Spenser, and as such exerted a strong influence on subsequent
literature; and fourth, it marks the real beginning of the outburst of
great Elizabethan poetry.

CHARACTERISTICS