Spenser, who has been so often noticed as
furnishing the exactly intermediate type of conception between the
mediaeval and the Renaissance, indeed represents Cupid under the form of
a beautiful winged god, and riding on a lion, but still no plaything of
the Graces, but full of terror:
"With that the darts which his right hand did straine
Full dreadfully he shooke, that all did quake,
And clapt on hye his coloured winges twaine,
That all his many it afraide did make."
His many, that is to say, his company; and observe what a company it is.
Before him go Fancy, Desire, Doubt, Danger, Fear, Fallacious Hope,
Dissemblance, Suspicion, Grief, Fury, Displeasure, Despite, and Cruelty.
After him, Reproach, Repentance, Shame,
"Unquiet Care, and fond Unthriftyhead,
Lewd Losse of Time, and Sorrow seeming dead,
Inconstant Chaunge, and false Disloyalty,
Consuming Riotise, and guilty Dread
Of heavenly vengeaunce; faint Infirmity,
Vile Poverty, and lastly Death with infamy."
Compare these two pictures of Cupid with the Love-god of the
Renaissance, as he is represented to this day, confused with angels, in
every faded form of ornament and allegory, in our furniture, our
literature, and our minds.
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