J o u r n a l o f English L i t e r a t u r e a n d British Culture
HACETTEPE UNIVERSITY
Journal o f English Literature and British Culture
1999-2000/No. 8 /pp. 136-148
Edmund Spenser’s “October Eclogue” and the
Renaissance Conventions of Poetic Creativity
Hande SADUN*
This article aims at an analysis of “October Eclogue” as an account of a
discussion on the function and nature of poetry in the Elizabethan Age,
which at the same time includes a debate on whether the materialistic or the
idealistic gains of a poet are more worthy. In the course of the analysis,
references will be made to other significant works, like Sir Philip Sidney’s
The Defence o f Poesy, so as to see the common points of complaint and
concern of the significant literary figures of the age.
Among the eclogues of The Shepheardes Calender, published in 1579,
“October Eclogue” has a significant place. As stated in the “Argument” of
the eclogue, in the character of Cuddie “the perfecte pateme of a Poete” is
presented and the contempt of poet and poetry and at the same time the
poetic conventions of the age is discussed in a pastoral setting offering a
view of the literary world of the age, a world that no longer shows respect to
poets. The ideal and the practical aspects of writing poetry are discussed
side by side, and the place that the poets claim to have in the literary/social
world is presented. Such an argument is one of the most popular topics to
discuss among the literary theoricians of the Elizabethan Age. Similarly,
“the perfecte pateme of a Poete” that Spenser aims to set in the character of
Cuddie is suffering from the same contempt that Sidney similarly presented
in his The Defence o f Poesy (An Apology fo r Poetry) that was published in
1595 after Sidney’s death. According to Sidney, the main problem that a
«
Assistant Professor, Hacettepe University, Faculty of Letters, Department of English
Language and Literature, Ankara.
^
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poet faces is finding no support and praise for his “unelected vocation”
(212) or “now scorned skill”(214), that is the art of writing poetry.
Louis Montrose in his article suggests that in The Shephecirdes
Calender, Spenser “inventories and analyses the heritage o f the English
poet”, that is “he assesses the aims and resources, the limitations and
dangers, of the poetic vocation” (31). While in the ancient times poets and
poetry are respected, the Renaissance poet faces the bitter fact that he could
fade into indistinction because his time-honoured art is now looked down
on. This honoured vocation, as Montrose suggests, is “frustrated by the
constraints of a social order controlled by powers of whom poetry is, at
worst, morally corruptive and politically subversive” (31). In line with what
Montrose suggests, the “October Eclogue” reveals this sad view that the
poets’ divine powers are seem to be forgotten, and the didactive, creative
and pleasure-giving aspects o f poetry underestimated.
In the “Argument” of the “October Eclogue”, it is suggested that poets
and poetry are no longer in their deserved place and as an art, poetry does
not receive the respect that it rightly deserves. E.K. states that “having bene
in all ages, and even amongst the most barbarous alwayes of singular
accounpt and honor” poetry is no longer respected. For him poetiy is “no
arte, but a divine gift and heavenly instinct not to bee gotten by laboure and
learning, but adorned with both”. For poetic creativity “enthusiasmos” - a
word with divine connotations— and “celestiall inspiration” is essential.
Even in the close o f the eclogue, in the “Glosse”, commenting on the
significance o f the “Embleme” E.K. states that “in the whole course” of the
eclogue it is “meant” that “Poetry is a divine instinct and unnatural rage
passing the reache o f comen reason”.
This divine quality attributed to poets is a celebrated issue in the
Renaissance poetic tradition and has its basis in Renaissance Platonism.
Plato in Ion, through Socrates’ words to Ion the poet, states that poetry is
“not an art” but “power divine” and besides he sees the poet as “light and
winged thing, and holy” who is inspired “by lot divine” (32). Similarly, for
Sidney, as for Plato, poetic inspiration is the first step of art and is a divine
gift, and therefore the poets rightly deserves a more respectable status in
society due to the divine power he is thought to possess. He states that,
among “the Romans a poet was called vates, which.is as much as a diviner,
foreseer, or prophet.... so heavenly a title” and among the Greeks the word
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“poet” which as a name “gone through other languages” has come from the
word “poiein”. Sidney draws attention to the meaning of the word “poiein”
which he states to be synonymous with “to make”; a word that gives a rank
to a poet as a “maker”; “high and incomparable a title” (214-215).
Reminding such heavenly titles that the ancients gaye to the poets Sidney, in
his The Defence o f Poesy, refers to the contempt of poets and poetry in his
time, how poetry is looked down on, as E.K. does in the “Argument”.
The Eclogue begins with a debate between Piers “the exponent of
Renaissance poetic and moral idealism” and Cuddie “the poet who must
deal with material reality as well as the ideal” (Cullen 69). The real
identities of Piers and Cuddie have been the subject matter of many studies,
in which the critics mainly attempt to identify whether Piers or Cuddie is
Spenser or whether the eclogue is an expression o f Spenser’s divided self
which reveals the poet’s dilemma between the idealistic and practical
aspects of writing poetry (Hardin 257). De Selincourt, therefore, thinks that
the eclogue “suggests the development o f Spenser’s own genius”, and sees
the conflict as an inner one “in the poet’s own nature” between “two
conflicting elements”; that is between “the practical —eager for fame, and
not inclined to value poetry at its market price, as a means to further his
worldly ambitions - and the ideal, expressed in a passion for an art which,
as he had learned from his master Plato” (xvi-xvii). Cullen offers another
view, and thinks that most of the critical approaches attempt to discover in
the “October Eclogue” the book called “English Poete”, a lost treatise on
poetiy that is mentioned in the “Argument” and attributed to Spenser, which
contains discourses on poetic matters (68). Other than identifying whether
Piers or Cuddie is Spenser, Cullen takes the debate in the eclogue as a
“dramatic conflict of pastoral perspectives”. While on the one hand there is
social engagement o f a shepherd poet, on the other there is his “eternal
mission” of writing poetry capitalised in the question posed by Cullen “how
and to what extent can a man participate in the world and yet preserve
himself and his eternal responsibility from being tainted” (68-69). There is
no enough evidence for a clear identification, but there remains a fact to
consider; that is the eclogue presents the conflicting ideas of Cuddie and
Piers through which one can observe the conflicts present in an artist’s mind
in the process o f poetic creativity, and at the same time the difficulty of
survival in a world that no longer shows respect to poetry.
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The debate in the eclogue can be studied in three parts in which the
Renaissance poetic theory and the origins of poetic creativity is discussed.
In the analysis of the eclogue Cullen’s division of it into three is taken as the
basis, in which he suggests that the first part of the debate takes up “the
rewards of poetry”, the second “its proper subjects and inspirations” and the
third “the Colin-exemplum and the relationship of love to poetry” (70). In
the first part of the eclogue which is strongly connected with “the rewards of
poetry” Cuddie complains that he has not gained enough for all his poetic
efforts:
Piers, I have pyped erst so long with payne,
That all mine Oten reedes bene rent and wore:
And my poore Muse hath spent her spared store,
Such pleasaunce makes the Grashopper so poore,
And ligge so layd, when Winter doth her straine.
(7-12)
Comparing himself to a grasshopper, who did nothing but sang songs in
summer and now sad in winter, Cuddie thinks that poetry is a vain effort.
Piers with a noble idealism, reminds him of a poet’s public and social
mission; thus recommends him to write poems for true fame:
Cuddie, the prayse is better, then the price,
The glory eke much greater then the gayne:
O what an honor is it, to restraine
The lust of lawlesse youth with good advice.
Or pricke them forth with the pleasaunce of thy vaine,
Whereto thou list their trayned willes entice.
(19-24)
In saying so Piers, at the same time, puts emphasis on the moral function of
poetry. In the Elizabethan poetic tradition, the “right poet” is supposed to be
a “persuader to virtue who seeks only the reward of honor” (Montrose 40).
In the course of his search for “honor”, all the materialistic gains and
ambitions have to be avoided, and the poet should follow the virtuous course
in his poetic composition so as to come close with all the divine qualities
attributed to poets and poetry.
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Johnson thinks that in his advice to Cuddie, Piers does not link poetry
to worldly pleasures, instead he recommends “pastoral care, the duties of a
poet that Sidney so eloquently captures in the Apology” (82-83). Both Piers’
moral and virtuous aspirations and Sidney’s remark about the true function
of poetry, underline the most important aspect in the Renaissance poetic
theory; that is the poet should not only celebrate his poetic skill over a
beautiful creation in rhyme, but at the same time must point a moral in his
work. The poet at the same time, in line with what is so far suggested, has to
be a guide for people; urge them to good action by making them learn what
is virtuous and socially affirmed in the age that they live in. The “everpraiseworthy Poesy” as Sidney states, has to have “virtue-breeding
delightfulness” (249). Otherwise poetry can lose its noble name, can be
scorned, and the poets could not make an enduring place for themselves:
... if you have so earth-creeping a mind that it cannot lift itself
up to look the sky of poetry ... your memory die from the earth
for want of an epitaph. (The Defence 250)
It is for this reason that Cuddie’s intention to “feede youthes fancie” is in
conflict with Piers’ noble idea that the poets should “restraine / The lust of
lawlesse youth with good advice”. Although Cuddie is supposed to be “the
perfecte pateme of a Poete” as stated in the “Argument”, he does not seem
to understand the moral function of poetry. Montrose suggests that, Cuddie
is a “purely recreative versifier” and his appeal to “baser instincts of youth
befits the baseness o f his own conception o f the poet’s proper reward” (40).
For Piers, therefore, who seems to be the real “perfecte pateme of a Poete”,
through poetry man learns how to control his passions and thus can be urged
to good action. Sidney in his The Defence o f Poesy, points out a similar
contrast between true (realistic) poetry, poetry with verisimilitude that is
related to real life — heroic poetry that Piers suggests to Cuddie belongs in
this kind—and (unrealistic) poetry which seems to delight with fantasy and
far-fetched images but that which infects the mind of people. He makes a
distinction between poetry which is “eikastike (which some learned have
defined: figuring forth good things)” and “phantastike (which doth,
contrariwise, infect the fancy with unworthy objects)”, and defends the
“right use” o f poetry (The Defence 236).
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In addition to the moral function o f poetry, Piers also suggests another
important aspect of poetry, that is the power of language over people by
making a reference to Orpheus. For Piers just like Orpheus who with his
music tames the wild beasts, so does a poet through his verses; “His musicks
might the hellish hound did tame” (30). Piers’ such poetic idealism is valid
for poetic glory and true fame, but on the contrary is blind to the personal
needs of a poet in real life. Johnson, in this respect, sees Piers as the
“spokesman” for the values which are “unrealized” in the world he lives,
and therefore rather appears as an “impotent agent of change” (85). It is for
this reason that Cuddie does not seem to be persuaded with Piers5 ideas
about the Orphic powers of the poets. Resembling praise to smoke that
vainly fades away with wind, Cuddie then asks how he should survive:
So praysen babes the Peacoks spotted traine,
And wondren at bright Argus blazing eye:
But who rewards him ere the more for thy?
Or feedes him once the fuller by a graine?
Sike prayse is smoke, that sheddeth in the skye,
Sike words bene wynd, and wasten soone in vayne.
(31-36)
And the first part o f the debate ends with no solution offered and Cuddie is
neither moved nor persuaded with the rewards of poetry so far presented by
Piers.
In the second part of the debate, seeing that his idealism is not enough
to persuade Cuddie, Piers turns to offering more practical alternatives. He
suggests Cuddie to try higher poetic genres and seek protection in
patronage; an institution that could make a poet survive. For he thinks that,
the more elevated the poetic genre is the more it could attract aristocratic
attention, which brings patronage as its consequence. He also advises
Cuddie to abandon “the base and viler clowne”, that is rustic poetry, and
write a Virgilian epic which is not only the highest o f all poetic genres but at
the same time that which is most praised:
Abandon then the base and viler clowne,
Lyft up thy selfe out of the lowly dust:
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And sing of bloody Mars, of wars, of giusts,
Tume thee to those, that weld the awful crowne.
To doubted Knights, whose woundlesse armour rusts,
And helmes imbruzed wexen dayly browne.
(37-42)
Piers further suggests that writing an epic is at the same time like flying high
- “There may thy Muse display her fluttrying wing, / And stretch herselfe at
large from East to West” (43-44) - which makes the poet “rise above his
everyday circumstances” (Mallette 24). Such an image o f a poet’s
metaphoric flight through following the Virgilian progress in poetry, that is
beginning with the lower style of pastoral - like “rhymes and riddles” that
Cuddie has written - then transcending to higher style of epic, not only
dominates these lines o f the eclogue but also mentioned in the “Dedicatory
Epistle” of The Shepheardes Calender. So comments E.K. on the literary
progress of the “new Poete” and his intention to begin a poetic career with
writing eclogues:
... doubting perhaps his habilitie, which he little needed, or
mynding to furnish our tongue with this kinde, wherein it
faulteth, or following the example of the best and most auncient
Poetes which devised this kind of wryting, being both so base
for the matter, and homely for the manner, at the first to trye
theyr liabilities: as young birdes, that be newly crept out of the
nest, by little first to prove theyr tender wyngs, before they
make a greater flyght. So flew Theocritus, as you may perceive
he was all ready full fledged. So flew Yirgile, as not yet well
feeling his winges. So flew Mantuane....So Petrarque. So
Boccace; So Marot, Sanazarus.... So finally flyeth this our new
Poete, as a bird, whose principals be scarce growen out, but yet
as that in time shall be hable to keepe wing with the best. (418)
However, such a metaphorical flight through the Virgilian progress in
poetry, which promise high poetic success for a poet, does not either make
Cuddie think in the way that Piers does. Cuddie knows that under the
patronage of Maceanas, “the Romish Tityrus” (Virgil) left pastoral for epic
(55) for he lived in such a heroic age that there were not only heroic and
virtuous deeds to be celebrated in poetry at the same time patrons who
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supported such poets. Glory of the ancient times has long been passed away
and for the poets nothing is left to celebrate in their verses. And Cuddie,
sarcastically, states that in the age that they live what people expect from
poetry is “rymes of rybaudrye” (76) other than heroic verses from a learned
and wise poet:
But after vertue gan for age to stoupe,
And mighty manhode brought a bedde of ease:
The vaunting Poets found nought worth a pease,
To put in preace emong the learned troupe.
Tho gan the streames of flowing wittes to cease,
Ans sonnebright honour pend in shamefull coupe.
(67-72)
Despite all his idealism, Piers agrees with all what Cuddie has said, and
moreover he recognises the importance of patronage, for he thinks that
unless one is supported by a strong patron all poetic efforts are nothing but
vain. At this point, poetry as Shepherd suggests, is “associated not with
muses or divine instinct but with economic relations of class and patronage”
(92). Shepherd sees patronage as an “economic structure”, “a feudal
formation” where authors are linked to lords in bonds of personal loyalty;
therefore, any intellectual activity is closely bound to the dominant class
(98-99). If a poet could not find for himself a support from the court, all
Piers’ idealism about the poetic vocation is under great danger; and Piers
says:
O pierlesse Poesye, where is then thy place?
If nor in Princes pallace thou doe sitt:
(And yet is Princes pallace the most fitt)
Ne brest of baser birth doth thee embrace.
(79-82)
In accordance with what is so far suggested, Oram points out a sad situation
in the eclogue that a poet faces. E.K. in the “Argument” calls Cuddie “the
perfecte pateme of a Poete” but under such conditions, according to Oram
Cuddie is not a perfect poet, he is rather “the perfect image of a particular
kind o f a poet - one without patrons” (63). This bitter fact about the
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changing status of a poet from a divinely inspired person to an economically
dependent one is best expressed by Montrose:
In the beginning was the word. In an ideal mystic past, poetry
was the profession of society’s leaders; and, by implication,
poets enjoyed perquisites of a social elite. Intellectual and
imaginative power were then synonymous with political and
metaphysical power. The historical conditions of Spenser’s
society have reduced the Poet-Priest to an inferior and
dependent position in relation to the aristocratic patron and
poetaster. (41-42)
Seeing that the age that they live in can hardly inspire the poets and that
it is so difficult now for a poet to find support from the “Princess pallace”,
Piers reminds Cuddie of the heavenly origins of poetry, that has so far been
mention in the “Argument”. He suggests him to find inspiration then in
heaven which can provide a higher flight for a poet; “Then make thee
winges of thine aspyring wit, / And, whence thou camst, flye backe to
heaven apace” (83-84). Cuddie again does not agree with Piers for he thinks
that he is not qualified enough to “so high to sore, and make so large a
flight” (86) with his imperfect wings - “peeced pyneons” (87). He thinks
that such a flight could be possible for Colin if he were not “with love so ill
bedight” (89). With Cuddie’s remark about love being Colin’s downfall, the
third part o f the eclogue begins where the relation between love and poetic
inspiration is discussed. In Cuddie’s view, love becomes a destructive force
in a poet’s career; an idea that challenges the celebrated function o f love in
the process o f poetic inspiration in the Renaissance poetic tradition. Piers
believes that love inspires the poets, and he discusses this inspiration, as
Johnson suggests, as a “process o f Platonic generation” (83), which can
raise man to contemplative life, to “the starry skie” (94), and thus let him
return to his divine origin by making him avoid and reject all the baser
instincts that worldly love inspires:
Ah fon, for love does teach him climbe so hie,
And lyftes him up out of the loathsome myre:
Such immortall mirrhor, as he doth admire,
Would rayse ones mynd above the starry skie.
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And cause a caytive corage to aspire,
For lofty love doth loath a lowly eye.
(91-96)
For Piers love is an ennobling emotion, an “immortall mirrhor” where a poet
sees himself. Moreover, it is love which liberates the soul from its “fleshly
prison”, from all that is sensual and worldly, and enlarges “its capacity for
knowledge and understanding” (Hardin 259).
Piers’ idea about the ennobling and inspiring aspect of love is a
celebrated issue in the Renaissance poetry not only in England but also in
Italy. Castiglione’s The Book o f the Courtier, printed in 1528 in Venice, laid
down certain rules for lovers as dictated by the fashion of the time, and
which had capitalised in the forth book mainly on Cardinal Pietro Bembo’s
ideas on the sensual and reasonable lovers. For Bembo there are two types
of love. If one loves “not with true knowledge by the choice of reason, but
with false opinion by the longing of sense” the pleasure that the lover gets is
“false” and “full o f errors” (304-305). This type o f love is far removed from
the virtuous conduct and causes “wretchednesse in mens mindes” (305)
instead o f happiness - and this is the type of love that Cuddie thinks to be
the cause Colin’s present state. And on the other hand, there is a socially and
morally affirmed type o f love which is away from the “blind judgement of
sense”, and which enables the lover to see beauty as “an heavenly shining
beame” (313). Love, in this respect, promises happiness for it “giveth unto
soule a greater happinesse” (319), and the lover finds fulfilment in
possessing the virtue that accrues from seeing that beauty. In the
Renaissance love ethic, that has so far been mentioned by Piers, love is seen
within a Neo-Platonic context; a spiritual force, an ennobling emotion which
is capable o f rising the poet to the peak of divine inspiration.
After that the relation between love and poetic skill is justified in
Cuddie’s narrow vision encountered with Piers’ idealistic Renaissance
concept of love, one last remark about the source of poetic creativity and
inspiration is suggested by Cuddie. Despite all what Piers said, Cuddie
denies the inspiring power o f love. Basing his assumption on the grounds
that love takes away all the intellectual powers of a poet - “For lordly love
is such a Tyranne fell: / That where he rules, all power he doth expell” (9899)— he thinks that in a state o f drunkenness a poet can be equally creative.
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What he offers, as Oram calls, is “a comically materialist account of how
inspiration works” (65); an account that directly challenges Piers’ ideas
about the traditional concept o f a divinely inspired poet:
Who ever casts to compasse weightye prise,
And thinks to thro we out thondring words of threate:
Let powre in lavish cups and thriftie bitts of meate,
For Bacchus fruite is trend to Phoebus wise.
And when with Wine the braine begins to sweate,
The nombres flowe as fast as spring doth ryse.
(103-108)
In saying these words, for Hardin, Cuddie appears as “the failed artist”
rather than a poet, “who wastes his talent and turns to nursing his libido on
the bottle” (260). And the eclogue ends with Cuddie recognising his poetic
limitation. He is left seated in the shade with his slender pipe; a shade that
foreshadows a farewell to the high poetic career suggested so far by Piers:
But ah ray corage cooles ere it be warme,
For thy, content us in thys humble shade:
Where no such troublous tydes han us assayde,
Here we our slender pipes may safely charme.
(115-118)
With Cuddie’s “resignation to the poetiy of pastoral triviality” and
Piers’ “gesture toward the poetry of spiritual transcendence” (Montrose 46)
the eclogue comes to a close with none o f the discussed issues resolved.
However, both views about the conventions of poetic creativity, with its
idealistic and materialistic aspects are presented side by side, both of which
are somehow valid. Seeing this open-endedness of the eclogue, Cullen
comments that “the whole thrust and intent of the eclogue was not to resolve
them, but to expose and explore them” (74). This is exactly what happens in
the “October Eclogue”. Almost none of the things that Piers idealistically
offers are compatible with real life conditions. Cuddie, therefore, appears as
the frustrated poet who seem know almost all what Piers has said but still
complains for lack of praise, support and materialistic gain which is to
motivate and finance a poet for high poetic fame. Both perspectives
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evidently have certain limitations yet the decision is left to the reader. In the
closing lines to The Shepheardes Calender, Spenser states his intention
clearly; he assigns himself the role of a more experienced shepherd (the poet
in the case with this particular eclogue) who is to instruct and show way to
the younger ones:
Loe I have made a Calender for every yeare,
That steele in strength, and time in durance shall outweare:
And if I marked well the starres revolution,
It shall continewe till the worlds dissolution.
To teach the ruder shepheard how to feede his sheepe,
And from the falsers fraud his folded flocke to keepe.
BIBLIOGRAPHY
CASTIGLIONE, Baldassare. 1966. The Book of The Courtier. Trans. Sir Thomas
Hoby. London: Dent.
CULLEN, Patrick. 1970. Spenser, M arvell, and Renaissance Pastoral.
Massachusetts: Harvard UP.
HAJRDIN, Richard F. 1976. “The Resolved Debate of Spenser’s “October”.”
M odern Philology. 73:257-263.
JOHNSON, Lynn Staley. 1990. The Shepheardes Calender: An Introduction.
University Park: Pennsylvania State UP.
MALLETTE, Richard. 1979. “Spenser’s Portrait of the Artist in The Shepheardes
Calender and Colin Clouts Come Home A g a i n e Studies in English
L iterature. 19: 19-41.
MONTROSE, Louis. 1996. “ ‘The Perfecte Pateme of A Poete’: The Poetics of
Courtship in The Shepheardes Calender.” Edmund Spenser. Andrew
Hadfield, ed. London: Longman: 30-63.
ORAM, William Allan. 1997. Edm und Spenser. New York: Twayne.
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PLATO. 1989. Ion. Ed. David H.Richter. The Critical Tradition: Classic Texts
and Contem porary Trends. New York: St. Martin’s Press.
SHEPHERD, Simon. 1989. Spenser. Hertfordshire: Harvester.
SIDNEY, Sir Philip. 1990. Sir Philip Sidney. Ed. Katherine Dimcan-Jones.
Oxford: Oxford UP.
SPENSER, Edmund. 1942. The Poetical W orks of Edmund Spenser. Eds. J.C.
Smith and E. De Selincourt. London: Oxford UP.
A bstract
Among the eclogues o f The Shepheardes Calender “October Eclogue”
has a significant place, for in the “Argument” of the eclogue it is suggested
that in the character of Cuddie “the perfecte pateme of a Poete” is to be “set
out”. Along with this, through the debate between Piers and Cuddie, the
Renaissance conventions of poetic creativity, the rewards of poetry, the
subjects of poetic inspiration, the idealistic and materialistic sides of poetic
vocation and the contempt of poet and poetry is presented and discussed.
Although the eclogue ends with no solution offered to the debate where
neither side appears to be fully persuaded to what the other said, the eclogue
presents two different views on the art of writing poetry. The eclogue, at the
same time, offers a picture of the literary world of the time that no longer
shows respect to poets and poetry — a condition which Cuddie sadly
complains and to which Piers still idealistically offers advises.
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