Allegory in Spenser and Chaucer
Allegory is one of the most powerful tools that a writer can employ, and many
famous writers throughout history have made very successful use of this tool. Two such
writers who are very well-known for their allegorical writings are Geoffrey Chaucer
(1343-1400) and Edmund Spenser (1552-1599). Many scholars have researched and
written about the allegorical methods of these two poets, often noting their similarities,
particularly in their most famous works: Chaucer’s Canterbury Tales (written in late 14th
century), and Spenser’s The Faerie Queene (1590). Many scholars have noted, for
example, the many ways in which Spenser seems to have been influenced by, or even
has directly imitated, Chaucer’s methods of allegory. Spenser has mentioned in several
of his works that he has been inspired to “borrow” elements of Chaucer’s writing, and
many scholar over the years have attempted to analyze the ways in which Spenser does
this. In general, there are three main elements regarding Spenser’s allegorical
similarities with Chaucer that scholars have focused on: spiritual aspects; social aspects;
and the actual structural aspects of the allegories themselves. By examining several
pieces of scholarly literature that deal with these topics, one can get a better sense of
the allegories employed by both Chaucer and Spenser, the similarities between these
allegories, Spenser went about incorporating ideas or methods of Chaucer’s allegories
into his own.
Spirituality
The writings of both Chaucer and Spenser contain elements of spirituality,
particularly with regards to Christianity. Several of Chaucer’s Canterbury Tales contain
themes or images that suggest an underlying religious allegory to the tale. This is
especially seen in The Franklin’s and Merchant’s tales. Gertrude White, for example,
, examines the underlying religious allegories in these two tales, asserting that many
scholars besides herself view the tales as such, and that this is, indeed, the most logical
way to interpret them. According to White, the concept of truth, in terms of both the
spiritual and physical worlds, is present in both of these tales.
While Chaucer’s religious allegories seem to be more implied than overtly stated,
most of Spenser’s are glaringly obvious, and very central to the plot. In relation to this
aspect, several scholars have chosen to focus on the role that Queen Elizabeth plays as
the Faerie Queene in Spenser’s poem. Two such individuals are John Pendergast and
Ray Heffner, who both write about the role that Queen Elizabeth plays in Spenser’s
religious allegories, which are particularly prominent in Book One. Heffner takes
particular care in explaining that the English people (or at least those who supported
Protestantism) viewed Queen Elizabeth not only as a political leader, but also as a moral
and religious leader (146). Her first task upon taking the throne was to begin working on
restoring the “true religion” of Protestantism to England (148). This is why Spenser’s
entire first book focuses on religious allegory: he is using the struggles that his main
characters, RedCrosse (who represents one of true faith) and Una (who represents the
“true Church”) to represent the struggles of Queen Elizabeth as she worked to restore
the Protestant faith as the “true faith” of the country.
Other scholars have focused on Spenser’s less-overt religious allegories (which
are more similar in style to Chaucer’s), such as those found in Books Three and Four.
According to Maurice Evans, there are three main types of love exemplified in these
books: Venus Vulgaris, the lowest and most lustful love; Venus Dione, the earthly or
sexual love; and Venus Urania, the highest and most divine love (133). This last type of
love found in Spenser is the purest and most spiritual form of love, and is supposed to
lead one to a higher spiritual level, where there will discover the “beauty that dwells in
the realm of God” (135), and thus grow closer to God Himself.
Allegory is one of the most powerful tools that a writer can employ, and many
famous writers throughout history have made very successful use of this tool. Two such
writers who are very well-known for their allegorical writings are Geoffrey Chaucer
(1343-1400) and Edmund Spenser (1552-1599). Many scholars have researched and
written about the allegorical methods of these two poets, often noting their similarities,
particularly in their most famous works: Chaucer’s Canterbury Tales (written in late 14th
century), and Spenser’s The Faerie Queene (1590). Many scholars have noted, for
example, the many ways in which Spenser seems to have been influenced by, or even
has directly imitated, Chaucer’s methods of allegory. Spenser has mentioned in several
of his works that he has been inspired to “borrow” elements of Chaucer’s writing, and
many scholar over the years have attempted to analyze the ways in which Spenser does
this. In general, there are three main elements regarding Spenser’s allegorical
similarities with Chaucer that scholars have focused on: spiritual aspects; social aspects;
and the actual structural aspects of the allegories themselves. By examining several
pieces of scholarly literature that deal with these topics, one can get a better sense of
the allegories employed by both Chaucer and Spenser, the similarities between these
allegories, Spenser went about incorporating ideas or methods of Chaucer’s allegories
into his own.
Spirituality
The writings of both Chaucer and Spenser contain elements of spirituality,
particularly with regards to Christianity. Several of Chaucer’s Canterbury Tales contain
themes or images that suggest an underlying religious allegory to the tale. This is
especially seen in The Franklin’s and Merchant’s tales. Gertrude White, for example,
, examines the underlying religious allegories in these two tales, asserting that many
scholars besides herself view the tales as such, and that this is, indeed, the most logical
way to interpret them. According to White, the concept of truth, in terms of both the
spiritual and physical worlds, is present in both of these tales.
While Chaucer’s religious allegories seem to be more implied than overtly stated,
most of Spenser’s are glaringly obvious, and very central to the plot. In relation to this
aspect, several scholars have chosen to focus on the role that Queen Elizabeth plays as
the Faerie Queene in Spenser’s poem. Two such individuals are John Pendergast and
Ray Heffner, who both write about the role that Queen Elizabeth plays in Spenser’s
religious allegories, which are particularly prominent in Book One. Heffner takes
particular care in explaining that the English people (or at least those who supported
Protestantism) viewed Queen Elizabeth not only as a political leader, but also as a moral
and religious leader (146). Her first task upon taking the throne was to begin working on
restoring the “true religion” of Protestantism to England (148). This is why Spenser’s
entire first book focuses on religious allegory: he is using the struggles that his main
characters, RedCrosse (who represents one of true faith) and Una (who represents the
“true Church”) to represent the struggles of Queen Elizabeth as she worked to restore
the Protestant faith as the “true faith” of the country.
Other scholars have focused on Spenser’s less-overt religious allegories (which
are more similar in style to Chaucer’s), such as those found in Books Three and Four.
According to Maurice Evans, there are three main types of love exemplified in these
books: Venus Vulgaris, the lowest and most lustful love; Venus Dione, the earthly or
sexual love; and Venus Urania, the highest and most divine love (133). This last type of
love found in Spenser is the purest and most spiritual form of love, and is supposed to
lead one to a higher spiritual level, where there will discover the “beauty that dwells in
the realm of God” (135), and thus grow closer to God Himself.
