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A History of Russian Literature
 1
Great Clarendon Street, Oxford, ox2 6dp,
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 Contents

Note on the Text xi

List of Abbreviations xiii
List of Figures xv
List of Plates xvii
Acknowledgmentsxix

Introduction1

Part I The Medieval Period

Introduction: Defining the medieval 13
1. Institutions and contexts: Writing and authorship, 1100–1400 17
A new language for a new people: Old Church Slavonic 19
Monastic writing: Translation, open boundaries, and selectivity 21
The limits of the literary system: Rhetoric, compilation, and genre 24
The meaning of readership 31
Scribal culture and the author function 33
Literary identity: Collective writing and singularity 35
Case study: The Voyage of Afanasy Nikitin: Self and other 37

2. Holy Rus´: Landmarks in medieval literature 44

Founding stories: The Primary Chronicle44
Case study: The bylina and Russia’s magical kingdom 48
The sermon: Ilarion and the chosen people of Kiev 52
The prayer: Daniil Zatochnik 56
Hagiography as life-writing 57
Saints alive 62
Hagiographic collections 62
Founders and Holy Fathers: The example of St. Feodosy 65
Miracle workers, the Virgin, and holy fools 67
Case study: The holy fool in the modern tradition 70
Ilarion redux: The fifteenth-century elaboration of hagiography 72
Keyword: Word-weaving 75

3. Local narratives 82
Unhappy families: The trauma of invasion 82
The Lay of Igor’s Campaign and the princely image 84
vi | Contents

Case study: National identity, medievalism, and the discovery of the

Lay of Igor’s Campaign  88
Narratives of invasion 91
Catastrophic narratives: Defending Holy Russia 95
From Grand Prince to Tsar, 1200–1565: Elevation through charisma 101
Vladimir Monomakh 104
Alexander Nevsky 105
Dmitry Donskoi 107
Ivan the Terrible: Tsardom and the absolutist “I” 110
Center and periphery and the localism of the Tale of Petr and Fevronia114

Conclusion 119

Part II The Seventeenth Century

Introduction: The problem of transition and a new approach 123
1. Paradise lost: National narratives 127
Narratives from the Time of Troubles to the Schism (1613–82) 128
Visions of salvation 132
Case study: Dukhovnye stikhi (poetic songs or spiritual rhymes) 136
Literature of the Schism (Raskol)140
Case study: The Life of Archpriest Avvakum 142

2. Cultural interface: Printing, Humanist learning, and Orthodox resistance

in the second half of the seventeenth century 146
3. Court theater 153
Keyword: Baroque 154

4. Poets 158
New expressions and techniques 168
Paradise regained: Simeon Polotsky’s poetic garden 177
Friendship 178
Mortality 181

5. Prose 184
Popular fiction for a disrupted age: Social satire or literary fantasy? 184
Petrine novellas and fantasy fiction 193

Conclusion 197

Part III The Eighteenth Century

Introduction: The innovation of the eighteenth century 201
1. Defining classicism: The canons of taste 203
Keyword: Russian classicism 207
Questions of language and style 208
Case study: The creation of modern verse  213
Literary quarrels and a culture of contest 219
 Contents | vii

2. Institutions of writing and authorship 226

Court literature and absolutism: The ode 226
Court theater and tragedy 233
The reform of comedy and comedy of reform 236
The literary field: Writers and readership 239
Literary journals 243
Amateur writers, coteries, and readership 245
The authority of the writer: Satirical journals, politics, and society 248
The pleasures of literature 252
The genius of the poet 259

3. National narratives 264

The myth of Peter the Great and the progress narrative 264
Case study: Karamzin’s Letters of a Russian Traveler274
Literary voices on civic virtue and absolute rule  278
Case study: Aleksandr Radishchev and the philosophical life 286
Enlightenment and Counter-Enlightenment: A contemporary critique 292

4. Poetics and subjectivities between classicism and Romanticism 302

Writing a modern self: The discovery of feeling and the diary 303
Case study: Radishchev and the experimental diary 308
Poetry and self-creation 313
Love and death 315
Case study: Horatian monument poems from Lomonosov to Brodsky  320
Modes of landscape 326

5. Prose Fiction 331

Entertainment literature, or the problem of the novel 331

Conclusion 339

Part IV The Nineteenth Century

Introduction: Defining the nineteenth century  345
1. Institutions 348
Male poetic circles: Friendship and intellectual networks  348
Case study: Dueling writers 351
Radical friendships and female networks 354
Case study: Albums 360

2. The literary field: From amateur societies to professional institutions

and literary alliances 363
Professionalization of literature: Thick journals and literary criticism 364
Case study: Imperial censorship 368
Landmarks in criticism 375
Case study: Nikolai Gogol 378

3. Subjectivities 385
Diary-writing and autobiography: Documentary and fictional self-presentation 385
viii | Contents

Case study: Nadezhda Durova  387

Case study: Leo and Sofia Tolstoy as diary-writers 396
Elegy, love, and self-expression 401
Keyword: Romanticism 410

4. Forms of prose 423

The emergence of prose and the genres of fiction 423
The literature of Realism, the realism of literature: Fiction, class, society 427
Case study: Realism/realism 429

5. Literary identity and social structure of the imperial period 431

Cultural spaces 433
Keyword: Regional literature 436
Educated elite 439
Case study: Intelligentsia 441
Peasantry 444
Case study: Narod/The people 446
Merchants 448
The clergy 449
State bureaucrats (chinovniki)452
Where do the raznochintsy fit? 455
Keyword: Nihilism 455
Where all classes meet 457
Case study: Corporal punishment 458

6. Types: Heroes and anti-heroes 460

Romantic outcasts, “superfluous men” 461
The genius 466
Madmen 467
“Little men” 471
The provincial 472

7. Heroines and emancipation 475

Status of women 475
“The necessary woman” 476
Mothers 477
Wives and mistresses 480
Fallen women and seductresses 487
Revolutionaries 490
Case study: Terrorism 491

8. Narratives of nation-building 496

The dramatization and fictionalization of history 496
Case study: War and Peace499
The search for national identity 504
Keyword: Sobornost´512
Case study: The national poet 514

Conclusion 518
 Contents | ix

Part V The Twentieth and Twenty-First Centuries

Introduction: The shape of the period 523
1. Institutions 525
Defining the Silver Age 525
Literary groups of the 1920s 528
Case study: Formalism 532
Case study: Mikhail Bakhtin 534
Literary life of the emigration, 1918 through the 1980s 536
Creation of the Union of Soviet Writers 542
Case study: Prorabotka, or political rebukes of writers 545
Literature and politics after Stalin: Aesopian language and ideological divisions 549
Samizdat, tamizdat, and the literary underground in the 1960s through 1980s 554
Case study: The Moscow–Tartu School 557
Perestroika and post-Soviet transformations of the literary field 560

2. The poetics of subjectivity  565

Symbolists and Acmeists 566
Keywords: Life-creation and self-construction (zhiznetvorchestvo)568
Case study: Anna Akhmatova 573
Women’s writing as a modernist legacy 575
Late modernism: Neo-Acmeism and other classical poetry 578
Case study: Joseph (Iosif ) Brodsky 580
Russian spiritual poetry 589
Case study: Elena Shvarts 593
Neo-Romanticism 599

Interlude: Misfits in Russian poetry 606

3. The poetics of language 611
Futurism 611
Case study: Elena Guro 617
Avant-gardists of the 1920s 620
OBERIU 621
Neo-avant-garde 624
Concrete and Conceptualist poetry 631
Case study: Dmitry Prigov’s “Militsaner” 635
Metarealism 639
Post-Soviet poetic languages 641

4. Prose and drama: Negotiations with history 644

New forms of prose and drama 645
Case study: Maxim Gorky and Leonid Andreev 646
Utopia and dystopia in early Soviet literature 654
Grotesque modernism of the 1920s and 1930s 661
Keyword: Skaz664
Case study: Vladimir Nabokov 668
Socialist Realism 672
x | Contents

Women’s prose and drama of the 1960s through 1990s 678

Case study: Liudmila Petrushevskaya 680
Existentialist prose and drama of the 1960s through 1980s 684
Underground modernisms of the 1960s through 1980s 688
Postmodernist literature: From late Soviet underground to post-Soviet mainstream 693
Case study: Moscow to the End of the Line by Venedikt Erofeev 694
In-between prose 704

5. Catastrophic narratives 709

Narratives of the Revolution and Civil War 709
Case study: Isaac Babel 714
Narratives of the Great Terror I 717
Narratives of the war 721
Narratives of the Great Terror II 729

6. Intelligentsia narratives 739

Intelligentsia narratives of the 1900s through 1920s 741
Intelligentsia narratives of the 1930s through 1950s 747
Case study: Osip Mandelstam’s “I lost my way in the sky . . .”  751
Intelligentsia narratives of the 1960s through 1980s 756
Post-Soviet intelligentsia narratives 763

Conclusion767

Guides to Further Reading 771

Notes787
Picture Credits 911
Index913
 Note on the Text

T
HE following transliteration conventions and abbreviations have been adopted in the
History of Russian Literature.
We use a modified Library of Congress system of transliteration in the text, adopt-
ing y in names to match the ending -ii. We use the standard spelling of first and last names
adopted in the West: Alexander Pushkin, Alexander Herzen, Alexander Nevsky, Leo Tolstoy,
Maxim Gorky, Vladimir Mayakovsky, Osip Mandelstam, Lydia Ginzburg, Lydia Chukovskaya,
Natalia Baranskaya, Natalia Gorbanevskaya, Tatyana Tolstaya, Liudmila Petrushevskaya,
Ludmila Ulitskaya. We also spell Sofia, Natalia, and Dunia, rather than Sofiia, Nataliia, and
Duniia. Other modifications include: Asya, Ilya, Yakov, Yulian, Yuri, Tatiana, and Olga. We
omit soft signs from the ends of both first and family names, such as Igor, Gogol, Dal. The soft
sign is retained mid-word to indicate underlying phoneme or palatalization, for example,
Murav´ev (and not Muravyev), L´vov (and not Lvov). The soft sign is also retained at the end
of place names. German surnames that have not been Russified include Benckendorff,
Küchelbecker, and the characters Stoltz and Sachs.
When citing Russian sources in the bibliography and notes, we use the Library of Congress
system without diacritics.

Dates
In Parts I and II, the year of composition is given for all works unless otherwise noted. In Part
III, the date given for poems is usually the publication date, as is the case for prose works and
works of theater (for which a performance date is provided). In Parts IV and V, dates reflect
the date of first publication except for most poems, where date of composition is given.
Exceptions are noted.

Translations
Unless otherwise attributed, all translations are our own. Prose quotations at length are given
only in English with no block quotation in Russian. For poetry, we provide original Russian
block quotations in Cyrillic for substantial extracts (usually more than three lines). Otherwise,
when we quote a phrase in the body of the text, English translation comes first followed by
transliteration in parentheses.
 List of Abbreviations

In the notes and Guides to Further Reading the following will be used:
BLDR Biblioteka literatury Drevnei Rusi
NLO Novoe literaturnoe obozrenie
PLDR Pamiatniki literatury Drevnei Rusi
SEER Slavonic and East European Review
SEEJ Slavic and East European Journal
TODRL Trudy otdela drevnerusskoi literatury
 List of Figures

i.01. Sts. Vladimir, Boris, and Gleb with the Lives of Boris and Gleb,
first half of 16th c. 42
i.02. Tsar Ivan the Terrible arrives on pilgrimage at the Holy Trinity Monastery
of St. Sergii, miniature from an illuminated manuscript chronicle, 16th c.  79
i.03. The Battle of Suzdal and Novgorod, School of Novgorod, second half of
the 15th c.  87
i.04. Anonymous, Parsuna [portrait] of Ivan IV, early 17th c. 111
i.05. Madonna and St. Sergius, 15th c. 117
ii.01. Battle between the Russian and Tatar troops in 1380, 1640s. 130
ii.02. Avvakum, Life of the Archpriest Avvakum (c. 1682), colophon. 143
ii.03. Anonymous, Portrait of Tsar Aleksei Mikhailovich, late 18th c.  147
ii.04. Simeon Polotsky, The Rhymed Psalter (Psaltyr´ rifmotvornaia, Moscow:
Verkhniaia tipografiia, 1680), plate opposite p. 17.  162
ii.05. Simeon Polotsky, The Rhymed Psalter, title page.  163
ii.06. Simeon Polotsky, The Harmonious Lyre (Moscow, 1676), labyrinth.  173
ii.07. L. Tarasevich, Engraving of Sophia surrounded by the seven virtues,
with inscriptions, 1687.  175
ii.08. Andrei Ryabushkin, Zemsky sobor c.1645 under Tsar Alexis (Aleksei
Mikhailovich Romanov), consultation with a council of boyars, 1893.  179
ii.09. Sil´vestr Medvedev, Funerary epitaph for Simeon Polotsky, 1680.  182
ii.10. Illustrated tale, 17th c.  185
ii.11. Ilya Muromets and Nightingale the Robber (Il’ia Muromets i
Solovei-razboinik), lubok print, 18th c. 195
iii.01. D. G. Levitsky, Portrait of Nikolai Novikov, before 1792.  217
iii.02. Jean-Louis Voille, Portrait of Ivan Elagin, c.1789.  222
iii.03. Catherine the Great’s Rules for Good Conduct, c.1760.247
iii.04. Catherine and the Nakaz, miniature enamel. 249
iii.05. Jean-Pierre Ador, Catherine the Great as Minerva, snuff box after medallion of
J. G. Waechter commemorating the accession of the Empress Catherine, 1771.  273
iii.06a–b. Alexander Pope, Essay on Man (Opyt o cheloveke, trans. Nikolai Popovsky),
illustration and opening page of Part III, manuscript copy by Ilya
Savinov, c.1779.  305
iii.07. Aleksandr Radishchev, The Journey from St. Petersburg to Moscow (Puteshestvie
iz Peterburga v Moskvu, St Petersburg, 1790), title page of first edition.  336
iv.01. A. S. Pushkin, Duelists, 1830.  353
iv.02. A. S. Pushkin, Self-portrait, December 1828–January 1829.  362
iv.03. N. V. Gogol, Dead Souls (Mertvye dushi) (1842), cover of the first edition as
designed by Gogol.  381
xvi | List of Figures

iv.04. A. S. Pushkin, A portrait of Jean-Paul Marat, 1823.  390

iv.05. A. S. Pushkin, Portraits of Pavel Pestel, Wilhelm Küchelbecker, and Ivan
Pushchin, 1826.  391
iv.06. A. S. Pushkin, Self-portrait, 1823.  392
iv.07. A. S. Pushkin, Five executed Decembrists, 1826. 393
iv.08. M. Iu. Lermontov, A Caucasian Mountaineer, 1830s–1841. 438
iv.09. F. M. Dostoevsky, A face of a peasant in the rough drafts of The
Adolescent (1874).  445
iv.10. F. M. Dostoevsky, A portrait with “infernal” features in the early rough
drafts of The Idiot (1867).  470
v.01. Aleksei Remizov, Baliev from the album “Teatr,” collage with India ink and
colored paper, 1929. 541
v.02. Leonid Aronzon, “An empty sonnet,” 1969.  585
v.03. Vladimir Burliuk, Portrait of Elena Guro, 1910.  617
v.04. Daniil Kharms (1905–42), Russia, early 1930s.  623
v.05. Elizaveta Mnatsakanova, A page from Das Buch Sabeth (1979).  625
v.06. The First Group Exhibition of Moscow Conceptualists in the Moscow
gallery AptArt, 1982.  634
v.07. Dmitry Prigov in a militiaman cap, late 1970s. 636
v.08. Maxim Gorky and Leonid Andreev, 1901.  647
v.09. Venedikt Erofeev, 1980s. 694
v.10. The closing ceremony of the 22nd Winter Olympics, Sochi, Russia, 2014.  768
v.11. Dmitry Bykov and the “Stroll with Writers” along the Moscow boulevards,
May 13, 2012.  769
 List of Plates

1. Leaf from the Ostromir Gospel, The Evangelist Mark, mid-11th c.

2. Icon, Saints Boris and Gleb, Novgorod, 14th c. 
3. Icon, St George the Victorious (Pobedonosets), Novgorod, 14th c. 
4. Blessing of Grand Prince Dmitry Donskoi by Sergii of Radonezh, from the
Tale of the Rout of Mamai, early 17th c. 
5. Icon, Prince Dmitry of Thessalonike, Vladimir-Suzdal, early 13th c. 
6. Icon, The Church Militant, detail of Archangel Michael and Ivan the Terrible, mid-16th c.
7. Icon, Virgin Orans [Bogoroditsa], Suzdal, c.1224. 
8. View of fortified city of Solovki on White Sea, detail from Panel of Saints
Sabazio and Zosima, c.1645. 
9. Karion Istomin, A Book of Love to Mark a Noble Marriage, 1689.
10. Fedor Rokotov, Portrait of Vasily Maikov, 1760. 
11. Johann Gottfried Tannauer, Peter I at the Battle of Poltava, 1724. 
12. Vigilius Eriksen, Equestrian portrait of Catherine II, c.1762. 
13. Dmitry Levitsky, Portrait of Alexandra Levshina from the series Smolianki,
portraits of young women students from the Smolnyi Institute for Noble Girls, 1772–76. 
14. Nikolai Feofilaktov, Cover of Gold in Azure (Zoloto v lazuri, 1904) by
Andrei Bely. 
15. Aleksei Remizov, A letter of credit for the Monkey Designation of the
First Degree.
16. L. Baskin, Poster “Greeting to the Congress of Soviet Writers,” 1934. 
17. Elena Guro, A Woman in a Headscarf, 1910. 
18. Erik Bulatov, Sunrise or Sunset, 1989. 
19. Komar & Melamid, The Origin of Socialist Realism, oil on canvas, 1982–83.
 Acknowledgments

O
UR work on this History has been helped by many colleagues in and beyond the field
of Russian literature. Several generously read and extensively commented on por-
tions of the draft manuscript, sometimes very large portions: Catherine Ciepiela,
Nicholas Cronk, Evgeny Dobrenko, Caryl Emerson, Ann Jefferson, Ilya Kukulin, Olga
Maiorova, Jennifer Nuttall, Cathy Popkin, Kelsey Rubin-Detlev, William Mills Todd III,
Alexandra Vukovich, Justin Weir, and Wes Williams. We are grateful for their deep engage-
ment with our ideas as well as their corrections, additions, and emendations, and we extend
the same thanks to our anonymous readers, who offered scrupulous readings and suggestions
for improvement on the final draft. We also thank the following individuals for much valued
help of different kinds: Natalia Ashimbaeva, Jennifer Baines, Nadezhda Bourova, Tatiana
Goriaeva, Catriona Kelly, Irina Koshchienko, Ilja Kukuj, Henrike Lähnemann, Peter McDonald,
Deborah A. Martinsen, Martin McLaughlin, Nikita Okhotin, Florentina Viktorovna-Panchenko,
Lynn E. Patyk, Stanley Rabinowitz, Ritchie Robertson, Gisèle Sapiro, Fiona Stafford, Jonathan
Stone, Natalia Strizhkova, and Boris Tikhomirov.
For generous financial and other research support, the authors would like to acknowledge
the British Academy (Conference Grant); the Arts and Sciences Fund of Excellence and Eugene
Kayden Research Fund at the University of Colorado-Boulder; the Publication Committee of
the Harriman Institute at Columbia University; the FAS Tenured Faculty Publication Fund,
Harvard University; the John Fell Fund, the University of Oxford; the Fellows’ Research Fund,
St Edmund Hall, Oxford; the Humanities Division, University of Oxford; and CEELBAS,
University College London. Librarians at several institutions have offered generous help dur-
ing our work. We would like to thank Nick Hearne and Elena Franklin of the Taylor Institution
Library, Oxford; Amanda Saville, The Queen’s College, Oxford; the staff at Houghton Library,
Harvard University; Tanya Chebotarev, Curator, Bakhmeteff Archive, Columbia University;
the Amherst Center for Russian Culture.
In preparing the manuscript, we have been aided by Alison Oliver, Gillian Pink, Rebecca du
Plessis, and Philip Redko; and by Emily Kanner, Jenya Mironova, Sara Powell, Alex Tullock,
and Sarah Vitali, who fact-checked the draft manuscript.
We owe special gratitude to our editors at Oxford University Press. Jacqueline Norton has
been a stalwart source of expert advice and deft encouragement from the conception of this
project and over its long gestation. Eleanor Collins has offered good-humored, astute guid-
ance. We thank Ela Kotkowska for her copyediting and work on translations of poetry. For
advice about the reproduction and rights to images included here, we are grateful to Deborah
Protheroe, and we thank our picture researcher Sophie Basilevitch, Penny Trumble, Viki
Kapur, and Hannah Newport-Watson, Senior Production Editor, for their skillful assistance.
Warm thanks to all.
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 Ere that huge stroke arriued on him neare,
He had him surely clouen quite in twaine.
But th’Adamantine shield, which he did beare,
So well was tempred, that for all his maine,
It would no passage yeeld vnto his purpose vaine.

Yet was the stroke so forcibly applide, xi

That made him stagger with vncertaine sway,
As if he would haue tottered to one side.
Wherewith full wroth, he fiercely gan assay,
That curt’sie with like kindnesse to repay;
And smote at him with so importune might,
That two more of his armes did fall away,
Like fruitlesse braunches, which the hatchets slight
Hath pruned from the natiue tree, and cropped quight.

With that all mad and furious he grew, xii

Like a fell mastiffe through enraging heat,
And curst, and band, and blasphemies forth threw,
Against his Gods, and fire to them did threat,
And hell vnto him selfe with horrour great.
Thenceforth he car’d no more, which way he strooke,
Nor where it light, but gan to chaufe and sweat,
And gnasht his teeth, and his head at him shooke,
And sternely him beheld with grim and ghastly looke.

Nought fear’d the childe his lookes, ne yet his threats, xiii
But onely wexed now the more aware,
To saue him selfe from those his furious heats,
And watch aduauntage, how to worke his care:
The which good Fortune to him offred faire.
For as he in his rage him ouerstrooke,
He ere he could his weapon backe repaire,
His side all bare and naked ouertooke,
And with his mortal steel quite throgh[362] the body strooke.

Through all three bodies he him strooke attonce; xiv

 That all the three attonce fell on the plaine:
Else should he thrise haue needed, for the nonce
Them to haue stricken, and thrise to haue slaine.
So now all three one sencelesse lumpe remaine,
Enwallow’d in his owne blacke bloudy gore,
And byting th’earth for very deaths disdaine;
Who with a cloud of night him couering, bore
Downe to the house of dole,[363] his daies there to deplore.

Which when the Lady from the Castle saw, xv

Where she with her two sonnes did looking stand,
She towards him in hast her selfe did draw,
To greet him the good fortune of his hand:
And all the people both of towne and land,
Which there stood gazing from the Citties wall
Vppon these warriours, greedy t’vnderstand,
To whether should the victory befall,
Now when they saw it falne, they eke him greeted all.

But Belge with her sonnes prostrated low xvi

Before his feete, in all that peoples sight[364],
Mongst ioyes mixing some tears, mongst wele, some wo
Him thus bespake; O most redoubted Knight,
The which hast me, of all most wretched wight,
That earst was dead, restor’d to life againe,
And these weake impes replanted by thy might;
What guerdon can I giue thee for thy paine,
But euen that which thou sauedst, thine still to remaine?

He tooke her vp forby the lilly hand, xvii

And her recomforted the best he might,
Saying; Deare Lady, deedes ought not be scand
By th’authors manhood, nor the doers might,
But by their trueth and by the causes right:
That same is it, which fought for you this day.
What other meed then need me to requight,
But that which yeeldeth vertues meed alway?
That is the vertue selfe, which her reward doth pay.

She humbly thankt him for that wondrous grace, xviii

And further sayd; Ah Sir, but mote ye please,
Sith ye thus farre haue tendred my poore case,
As from my chiefest foe me to release,
That your victorious arme will not yet cease,
Till ye haue rooted all the relickes out
Of that vilde[365] race, and stablished my peace.
What is there else (sayd he) left of their rout?
Declare it boldly Dame, and doe not stand in dout.

Then wote you, Sir, that in this Church hereby, xix

There stands an Idole of great note and name,
The which this Gyant reared first on hie,
And of his owne vaine fancies thought did frame:
To whom for endlesse horrour of his shame,
He offred vp for daily sacrifize
My children and my people, burnt in flame;
With all the tortures, that he could deuize,
The more t’aggrate his God with such his blouddy guize.

And vnderneath this Idoll there doth lie xx

An hideous monster, that doth it defend,
And feedes on all the carkasses, that die
In sacrifize vnto that cursed feend:
Whose vgly shape none euer saw, nor kend,
That euer scap’d: for of a man they say
It has the voice, that speaches forth doth send,
Euen blasphemous words, which she doth bray
Out of her poysnous entrails, fraught with dire decay.

Which when the Prince heard tell, his heart gan earne[366] xxi
For great desire, that Monster to assay,
And prayd the place of her abode to learne.
Which being shew’d, he gan him selfe streight way
Thereto addresse, and his bright shield display.
 So to the Church he came, where it was told,
The Monster vnderneath the Altar lay;
There he that Idoll saw of massy gold
Most richly made, but there no Monster did behold.

Vpon the Image with his naked blade xxii

Three times, as in defiance, there he strooke;
And the third time out of an hidden shade,
There forth issewd, from vnder th’Altars smooke,
A dreadfull feend, with fowle deformed looke,
That stretcht it selfe, as it had long lyen still;
And her long taile and fethers strongly shooke,
That all the Temple did with terrour fill;
Yet him nought terrifide, that feared nothing ill.

An huge great Beast it was, when it in length xxiii

Was stretched forth, that nigh fild all the place,
And seem’d to be of infinite great strength;
Horrible, hideous, and of hellish race,
Borne of the brooding of Echidna base,
Or other like infernall furies kinde:
For of a Mayd she had the outward face,
To hide the horrour, which did lurke behinde,
The better to beguile, whom she so fond did finde.

Thereto the body of a dog she had, xxiv

Full of fell rauin and fierce greedinesse;
A Lions clawes, with powre and rigour clad,
To rend and teare, what so she can oppresse;
A Dragons taile, whose sting without redresse
Full deadly wounds, where so it is empight;
And[367] Eagles wings, for scope and speedinesse,
That nothing may escape her reaching might,
Whereto she euer list to make her hardy flight.

Much like in foulnesse and deformity xxv

Vnto that Monster, whom the Theban Knight,
 The father of that fatall progeny,
Made kill her selfe for very hearts despight,
That he had red her Riddle, which no wight
Could euer loose, but suffred deadly doole.
So also did this Monster vse like slight
To many a one, which came vnto her schoole,
Whom she did put to death, deceiued like a foole.

She comming forth, when as she first beheld xxvi

The armed Prince, with shield so blazing bright,
Her ready to assaile, was greatly queld,
And much dismayd with that dismayfull sight,
That backe she would haue turnd for great affright.
But he gan her with courage fierce assay,
That forst her turne againe in her despight,
To saue her selfe, least that he did her slay:
And sure he had her slaine, had she not turnd her way.

Tho when she saw, that she was forst to fight, xxvii
She flew at him, like to an hellish feend,
And on his shield tooke hold with all her might,
As if that it she would in peeces rend,
Or reaue out of the hand, that did it hend.
Strongly he stroue out of her greedy gripe
To loose his shield, and long while did contend:
But when he could not quite it, with one stripe
Her Lions clawes he from her feete away did wipe.

With that aloude she gan to bray and yell, xxviii

And fowle blasphemous speaches forth did cast,
And bitter curses, horrible to tell,
That euen the Temple, wherein she was plast,
Did quake to heare, and nigh asunder brast.
Tho with her huge long taile she at him strooke,
That made him stagger, and stand halfe agast
With trembling ioynts, as he for terrour shooke;
Who nought was terrifide, but greater courage tooke.
As when the Mast of some well timbred hulke xxix
Is with the blast of some outragious storme
Blowne downe, it shakes the bottome of the bulke,
And makes her ribs to cracke, as they were torne,
Whilest still she stands as stonisht and forlorne:
So was he stound[368] with stroke of her huge taile.
But ere that it she backe againe had borne,
He with his sword it strooke, that without faile
He ioynted it, and mard the swinging of her flaile.

Then gan she cry much louder then afore, xxx

That all the people there without it heard,
And Belge selfe was therewith stonied sore,
As if the onely sound thereof she feard.
But then the feend her selfe more fiercely reard
Vppon her wide great wings, and strongly flew
With all her body at his head and beard,
That had he not foreseene with heedfull vew,
And thrown his shield atween, she had him done to rew.

But as she prest on him with heauy sway, xxxi

Vnder her wombe his fatall sword he thrust,
And for her entrailes made an open way,
To issue forth; the which once being brust,
Like to a great Mill damb forth fiercely gusht,
And powred out of her infernall sinke
Most vgly filth, and poyson therewith rusht,
That him nigh choked with the deadly stinke:
Such loathly matter were small lust to speake, or thinke.

Then downe to ground fell that deformed Masse, xxxii

Breathing out clouds of sulphure fowle and blacke,
In which a puddle of contagion was,
More loathd then Lerna, or then Stygian lake,
That any man would nigh awhaped make.
Whom when he saw on ground, he was full glad,
And streight went forth his gladnesse to partake
 With Belge, who watcht all this while full sad,
Wayting what end would be of that same daunger drad.

Whom when she saw so ioyously come forth, xxxiii

She gan reioyce, and shew triumphant chere,
Lauding and praysing his renowmed worth,
By all the names that honorable were.
Then in he brought her, and her shewed there
The present of his paines, that Monsters spoyle,
And eke that Idoll deem’d so costly dere;
Whom he did all to peeces breake and foyle
In filthy durt, and left so in the loathely soyle.

Then all the people, which beheld that day, xxxiv

Gan shout aloud, that vnto heauen it rong;
And all the damzels of that towne in ray,
Came dauncing forth, and ioyous carrols song:
So him they led through all their streetes along,
Crowned with girlonds of immortall bales,
And all the vulgar did about them throng,
To see the man, whose euerlasting praise
They all were bound to all posterities to raise.

There he with Belge[369] did a while remaine, xxxv

Making great feast and ioyous merriment,
Vntill he had her settled in her raine,
With safe assuraunce and establishment.
Then to his first emprize his mind he lent,
Full loath to Belge, and to all the rest:
Of whom yet taking leaue, thenceforth he went
And to his former iourney him addrest,
On which long way he rode, ne euer day did rest.

But turne we now to noble Artegall, xxxvi

Who hauing left Mercilla, streight way went
On his first quest, the which him forth did call,
To weet to worke Irenaes franchisement,
 And eke Grantortoes worthy punishment.
So forth he fared as his manner was,
With onely Talus wayting diligent,
Through many perils and much way did pas,
Till nigh vnto the place at length approcht he has.

There as he traueld by the way, he met xxxvii

An aged wight, wayfaring all alone,
Who through his yeares long since aside had set
The vse of armes, and battell quite forgone:
To whom as he approcht, he knew anone,
That it was he which whilome did attend
On faire Irene in her affliction,
When first to Faery court he saw her wend,
Vnto his soueraine Queene her suite for to commend.

Whom by his name saluting, thus he gan; xxxviii

Haile good Sir Sergis, truest Knight aliue,
Well tride in all thy Ladies troubles than,
When her that Tyrant did of Crowne depriue;
What new ocasion doth thee hither driue,
Whiles she alone is left, and thou here found?
Or is she thrall, or doth she not suruiue?
To whom he thus; She liueth sure and sound;
But by that Tyrant is in wretched thraldome bound.

For she presuming on th’appointed tyde, xxxix

In which ye promist, as ye were a Knight,
To meete her at the saluage Ilands syde,
And then and there for triall of her right
With her vnrighteous[370] enemy to fight,
Did thither come, where she afrayd of nought,
By guilefull treason and by subtill slight
Surprized was, and to Grantorto brought,
Who her imprisond hath, and her life often sought.

And now he hath to her prefixt a day, xl

 By which if that no champion doe appeare,
Which will her cause in battailous array
Against him iustifie, and proue her cleare
Of all those crimes, that he gainst her doth reare[371],
She death shall by[372]. Those tidings sad
Did much abash Sir Artegall to heare,
And grieued sore, that through his fault she had
Fallen into that Tyrants hand and vsage bad.

Then thus replide; Now sure and by my life, xli

Too much am I to blame[373] for that faire Maide,
That haue her drawne to all this troublous strife,
Through promise to afford her timely aide,
Which by default I haue not yet defraide.
But witnesse vnto me, ye heauens, that know[374]
How cleare I am from blame of this vpbraide:
For ye into like thraldome me did throw,
And kept from complishing the faith, which I did owe.

But now aread, Sir Sergis, how long space, xlii

Hath he her lent, a Champion to prouide[375]?
Ten daies (quoth he) he graunted hath of grace,
For that he weeneth well, before that tide
None can haue tidings to assist her side.
For all the shores, which to the sea accoste,
He day and night doth ward both far and wide,
That none can there arriue without an hoste:
So her he deemes already but a damned ghoste.

Now turne againe (Sir Artegall then sayd) xliii

For if I liue till those ten daies haue end,
Assure your selfe, Sir Knight, she shall haue ayd,
Though I this dearest life for her doe spend:
So backeward he attone with him did wend.
Tho as they rode together on their way,
A rout of people they before them kend,
Flocking together in confusde array,
As if that there were some tumultuous affray.

To which as they approcht, the cause to know, xliv

They saw a Knight in daungerous[376] distresse
Of a rude rout him chasing to and fro,
That sought with lawlesse powre him to oppresse,
And bring in bondage of their brutishnesse:
And farre away, amid their rakehell bands,
They spide a Lady left all succourlesse,
Crying, and holding vp her wretched hands
To him for aide, who long in vaine their rage withstands.

Yet still he striues, ne any perill spares, xlv

To reskue her from their rude violence,
And like a Lion wood amongst them fares,
Dealing his dreadfull blowes with large dispence,
Gainst which the pallid death findes no defence.
But all in vaine, their numbers are so great,
That naught may boot to banishe them from thence:
For soone as he their outrage backe doth beat,
They turne afresh, and oft renew their former threat.

And now they doe so sharpely him assay, xlvi

That they his shield in peeces battred haue,
And forced him to throw it quite away,
Fro dangers dread his doubtfull life to saue;
Albe that it most safety to him gaue,
And much did magnifie his noble name.
For from the day that he thus did it leaue,
Amongst all Knights he blotted was with blame,
And counted but a recreant Knight, with endles shame.

Whom when they thus distressed did behold, xlvii

They drew vnto his aide; but that rude rout
Them also gan assaile with outrage bold,
And forced them, how euer strong and stout
They were, as well approu’d in many a doubt,
 Backe to recule; vntill that yron man
With his huge flaile began to lay about,
From whose sterne presence they diffused ran,
Like scattred chaffe, the which the wind away doth fan.

So when that Knight from perill cleare was freed, xlviii

He drawing neare, began to greete them faire,
And yeeld great thankes for their so goodly deed,
In sauing him from daungerous despaire
Of those, which sought his life for to empaire.
Of whom Sir Artegall gan then enquire[377]
The whole occasion of his late misfare,
And who he was, and what those villaines were,
The which with mortall malice him pursu’d so nere.

To whom he thus; My name is Burbon hight, xlix

Well knowne, and far renowmed heretofore,
Vntill late mischiefe did vppon me light,
That all my former praise hath blemisht sore;
And that faire Lady, which in that vprore
Ye with those caytiues saw, Flourdelis hight,
Is mine owne loue, though me she haue forlore,
Whether withheld from me by wrongfull might,
Or with her owne good will, I cannot read aright.

But sure to me her faith she first did plight, l

To be my loue, and take me for her Lord,
Till that a Tyrant, which Grandtorto hight,
With golden giftes and many a guilefull word
Entyced her, to him for to accord.
O who may not with gifts and words be tempted?
Sith which she hath me euer since abhord,
And to my foe hath guilefully consented:
Ay me, that euer guyle in wemen was inuented.

And now he hath this[378] troupe of villains sent, li

By open force to fetch her quite away:
 Gainst whom my selfe I long in vaine haue bent,
To rescue her, and daily meanes assay,
Yet rescue her thence by no meanes I may:
For they doe me with multitude oppresse,
And with vnequall might doe ouerlay,
That oft I driuen am to great distresse,
And forced to forgoe th’attempt remedilesse.

But why haue ye (said Artegall) forborne lii

Your owne good shield in daungerous dismay?
That is the greatest shame and foulest scorne,
Which vnto any knight behappen may
To loose the badge, that should his deedes display.
To whom Sir Burbon, blushing halfe for shame,
That shall I vnto you (quoth he) bewray;
Least ye therefore mote happily me blame,
And deeme it doen of will, that through inforcement came.

True is, that I at first was dubbed knight liii

By a good knight, the knight of the Redcrosse;
Who when he gaue me armes, in field to fight,
Gaue me a shield, in which he did endosse
His deare Redeemers badge vpon the bosse:
The same longwhile I bore, and therewithall
Fought many battels without wound or losse;
Therewith Grandtorto selfe I did appall,
And made him oftentimes in field before me fall.

But for that many did that shield enuie, liv

And cruell enemies increased more;
To stint all strife and troublous enmitie,
That bloudie scutchin being battered sore,
I layd aside, and haue of late forbore,
Hoping thereby to haue my loue obtayned:
Yet can I not my loue haue nathemore;
For she by force is still fro me detayned,
And with corruptfull brybes is to vntruth mis-trayned.
To whom thus Artegall; Certes Sir knight, lv
Hard is the case, the which ye doe complaine;
Yet not so hard (for nought so hard may light,
That it to such a streight mote you constraine)
As to abandon, that which doth containe
Your honours stile, that is your warlike shield.
All perill ought be lesse, and lesse all paine
Then losse of fame in disauentrous[379] field;
Dye rather, then doe ought, that mote dishonour yield.

Not so; (quoth he) for yet when time doth serue, lvi
My former shield I may resume againe:
To temporize is not from truth to swerue,
Ne for aduantage terme to entertaine,
When as necessitie doth it constraine.
Fie on such forgerie (said Artegall)
Vnder one hood to shadow faces twaine.
Knights ought be true, and truth is one in all:
Of all things to dissemble fouly may befall.

Yet let me you of courtesie request, lvii

(Said Burbon) to assist me now at need
Against these pesants, which haue me opprest,
And forced me to so infamous deed,
That yet my loue may from their hands be freed.
Sir Artegall, albe he earst did wyte
His wauering mind, yet to his aide agreed,
And buckling him eftsoones vnto the fight,
Did set vpon those troupes with all[380] his powre and might.

Who flocking round about them, as a swarme lviii

Of flyes vpon a birchen bough doth cluster,
Did them assault with terrible allarme,
And ouer all the fields themselues did muster,
With bils and glayues making a dreadfull luster;
That forst at first those knights backe to retyre:
As when the wrathfull Boreas doth bluster,
 Nought may abide the tempest of his yre,
Both man and beast doe fly, and succour doe inquyre.

But when as ouerblowen was that brunt, lix

Those knights began a fresh them to assayle,
And all about the fields like Squirrels hunt;
But chiefly Talus with his yron flayle,
Gainst which no flight nor rescue mote auayle,
Made cruell hauocke of the baser crew,
And chaced them both ouer hill and dale:
The raskall manie soone they ouerthrew,
But the two knights themselues their captains did subdew.

At last they came whereas that Ladie bode, lx

Whom now her keepers had[381] forsaken quight,
To saue themselues, and scattered were abrode:
Her halfe dismayd they found in doubtfull plight,
As neither glad nor sorie for their sight;
Yet wondrous faire she was, and richly clad
In roiall robes, and many Iewels dight,
But that those villens through their vsage bad
Them fouly rent, and shamefully defaced had.

But Burbon streight dismounting from his steed, lxi

Vnto her ran with greedie great desyre,
And catching her fast by her ragged weed,
Would haue embraced her with hart entyre.
But she backstarting with disdainefull yre,
Bad him auaunt, ne would vnto his lore
Allured be, for prayer nor for meed[382].
Whom when those knights so froward[383] and forlore
Beheld, they her rebuked and vpbrayded sore.

Sayd Artegall; What[384] foule disgrace is this, lxii

To so faire Ladie, as ye seeme in sight,
To blot your beautie, that vnblemisht is,
With so foule blame, as breach of faith once plight,
 Or change of loue for any worlds delight?
Is ought on earth so pretious or deare,
As prayse and honour? Or is ought so bright
And beautifull, as glories beames appeare,
Whose goodly light then Phebus lampe doth shine more cleare?

Why then will ye, fond Dame, attempted bee lxiii

Vnto a strangers loue so lightly placed,
For guiftes of gold, or any worldly glee,
To leaue the loue, that ye before embraced,
And let your fame with falshood be defaced[385]?
Fie on the pelfe, for which good name is sold,
And honour with indignitie debased:
Dearer is loue then life, and fame then gold;
But dearer then them both, your faith once plighted hold[386].

Much was the Ladie in her gentle mind lxiv

Abasht at his rebuke, that bit her neare,
Ne ought to answere thereunto did find;
But hanging downe her head with heauie cheare,
Stood long amaz’d, as she amated weare.
Which Burbon seeing, her againe assayd,
And clasping twixt his armes, her vp did reare
Vpon his steede, whiles she no whit gainesayd,
So bore her quite away, nor well nor ill apayd.

Nathlesse the yron man did still pursew lxv

That raskall many with vnpittied spoyle,
Ne ceassed not, till all their scattred crew
Into the sea he droue quite from that soyle,
The which they troubled had with great turmoyle.
But Artegall seeing his cruell deed,
Commaunded him from slaughter to recoyle,
And to his voyage gan againe proceed:
For that the terme approching fast, required speed.
 FOOTNOTES:
[362] xiii 9 through 1609
[363] xiv 9 doole 1609
[364] xvi 2 sight; 1596
[365] xviii 7 vile 1609 passim
[366] xxi 1 yearne 1609
[367] xxiv 7 And] An 1609
[368] xxix 6 stonn’d 1609
[369] xxxv 1, 6 Belge] Belgæ 1596, 1609
[370] xxxix 5 vnrigteous 1596
[371] xl 5 reare 1596
[372] 6 She death shall sure aby 1611
[373] xli 2 too blame 1596, 1609: corr. 1679
[374] 6 know] knew 1596, 1609: corr. Upton
[375] xlii 2 prouide: 1596, 1609
[376] xliv 2 dangerous 1609
[377] xlviii 6 enquere 1609
[378] li 1 this] his 1609
[379] lv 8 disaduentrous 1609
[380] lvii 9 withall 1596
[381] lx 2 had] haue 1609
[382] lxi 7 meed] hyre conj. Church. But cf. II ii 7, &c.
[383] 8 forward 1596
[384] lxii 1 what 1596
[385] lxiii 5 defaced. 1596
[386] 9 hold; 1596
 Cant. XII.

Artegall doth Sir Burbon aide,

And blames for changing shield:
He with the great Grantorto fights,
And slaieth him in field.

O Sacred hunger of ambitious mindes, i

And impotent desire of men to raine,
Whom neither dread of God, that deuils bindes,
Nor lawes of men, that common weales containe,
Nor bands of nature, that wilde beastes restraine,
Can keepe from outrage, and from doing wrong,
Where they may hope a kingdome to obtaine.
No faith so firme, no trust can be so strong,
No loue so lasting then, that may enduren[387] long.

Witnesse may Burbon be, whom all the bands, ii

Which may a Knight assure, had surely bound,
Vntill the loue of Lordship and of lands
Made him become most faithlesse and vnsound:
And witnesse be Gerioneo found,
Who for like cause faire Belge did oppresse,
And right and wrong most cruelly confound:
 And so be now Grantorto, who no lesse
Then all the rest burst out to all outragiousnesse.

Gainst whom Sir Artegall, long hauing since iii

Taken in hand th’exploit, being theretoo
Appointed by that mightie Faerie Prince,
Great Gloriane, that Tyrant to fordoo,
Through other great aduentures hethertoo
Had it forslackt. But now time drawing ny,
To him assynd, her high beheast to doo,
To the sea shore he gan his way apply,
To weete if shipping readie he mote there descry.

Tho when they came to the sea coast, they found iv

A ship all readie (as good fortune fell)
To put to sea, with whom they did compound,
To passe them ouer, where them list to tell:
The winde and weather serued them so well,
That in one day they with the coast did fall;
Whereas they readie found them to repell,
Great hostes of men in order martiall,
Which them forbad to land, and footing did forstall.

But nathemore would they from land refraine, v

But when as nigh vnto the shore they drew,
That foot of man might sound the bottome plaine,
Talus into the sea did forth issew,
Though darts from shore and stones they at him threw;
And wading through the waues with stedfast sway,
Maugre the might of all those troupes in vew,
Did win the shore, whence he them chast away,
And made to fly, like doues, whom the Eagle[388] doth affray.

The whyles Sir Artegall, with that old knight vi

Did forth descend, there being none them neare,
And forward marched to a towne in sight.
By this came tydings to the Tyrants eare,
 By those, which earst did fly away for feare
Of their arriuall: wherewith troubled sore,
He all his forces streight to him did reare,
And forth issuing with his scouts afore,
Meant them to haue incountred, ere they left the shore.

But ere he marched farre, he with them met, vii

And fiercely charged them with all his force;
But Talus sternely did vpon them set,
And brusht, and battred them without remorse,
That on the ground he left full many a corse;
Ne any able was him to withstand,
But he them ouerthrew both man and horse,
That they lay scattred ouer all the land,
As thicke as doth the seede after the sowers hand.

Till Artegall him seeing so to rage, viii

Willd him to stay, and signe of truce did make:
To which all harkning, did a while asswage
Their forces furie, and their terror slake;
Till he an Herauld cald, and to him spake,
Willing him wend vnto the Tyrant streight,
And tell him that not for such slaughters sake
He thether came, but for to trie the right
Of fayre Irenaes cause with him in single fight.

And willed him for to reclayme with speed ix

His scattred people, ere they all were slaine,
And time and place conuenient to areed,
In which they two the combat might darraine.
Which message when Grantorto heard, full fayne
And glad he was the slaughter so to stay,
And pointed for the combat twixt them twayne
The morrow next, ne gaue him longer day.
So sounded the retraite, and drew his folke away.

That night Sir Artegall did cause his tent x

There to be pitched on the open plaine;
 For he had giuen streight commaundement,
That none should dare him once to entertaine:
Which none durst breake, though many would right faine
For fayre Irena, whom they loued deare.
But yet old Sergis did so well him paine,
That from close friends, that dar’d not to appeare,
He all things did puruay, which for them needfull weare.

The morrow next, that was the dismall day, xi

Appointed for Irenas death before,
So soone as it did to the world display
His chearefull face, and light to men restore,
The heauy Mayd, to whom none tydings bore
Of Artegalls[389] arryuall, her to free,
Lookt vp with eyes full sad and hart full sore;
Weening her lifes last howre then neare to bee,
Sith no redemption nigh she did nor heare nor see.

Then vp she rose, and on her selfe did dight xii

Most squalid garments, fit for such a day,
And with dull countenance, and with doleful spright,
She forth was brought in sorrowfull dismay,
For to receiue the doome of her decay.
But comming to the place, and finding there
Sir Artegall, in battailous array
Wayting his foe, it did her dead hart cheare,
And new life to her lent, in midst of deadly feare.

Like as a tender Rose in open plaine, xiii

That with vntimely drought nigh withered was,
And hung the head, soone as few drops of raine
Thereon distill, and deaw her daintie face,
Gins to looke vp, and with fresh wonted grace
Dispreds the glorie of her leaues gay;
Such was Irenas countenance, such her case,
When Artegall she saw in that array,
There wayting for the Tyrant, till it was farre day.