Connotations 18.1-3 (2008/2009)
Connotations 18.1-3 (2008/2009) Connotations 18.1-3 (2008/2009)
186 MAIK GOTH Phantastes, the personification of fantasy, resides in the first chamber; an unspecified agent that might represent judgement in the second; 15 and Eumnestes, i.e. memory, in the third. 16 While Phantastes inhabits a fly-infested chamber, the walls of which are covered with paintings depicting strange beings and romance characters (thus evoking Sidney’s “rich tapestry”), the room of the second sage is painted with the deeds of authorities, political institutions, and the artes. Quite differently, Eumnestes’s chamber is devoid of wall-paintings; instead, it is hung with parchment scrolls and books recording past history. 17 Spenser’s allegorical anatomy of the human psyche hence also presents the interplay between the individual faculties of the soul. It is in Eumnestes’s chamber that Spenser presents his version of the Prometheus myth, to which I shall now turn, before I will eventually return to Phantastes’s chamber at the end of this article. 3. Prometheus’s Creation As is the case with every other classical myth, literary accounts of the Prometheus myth sometimes differ substantially from one author to another. The standardised version narrates how Prometheus, whose name means “forethought” (from Old Greek προ– + μηθ– or μαθ–, to think, as in προ-μηθής), 18 creates Man from clay, modelling him on the form of the Olympian gods, 19 and animates him either with fire stolen from heaven, 20 or with his own divine breath or spirit. 21 As punishment for stealing fire from the gods, Zeus has Prometheus chained to mount Caucasus, where an eagle eats away his ever re-growing liver. 22 According to this myth, Prometheus’s act of creating Man is akin to an artisan manufacturing a clay sculpture. 23 Prometheus thus emerges as a deus artifex, i.e. a divine artificer, a role that is also emphasised by the many versions that depict his creation of the beasts. 24 Spenser’s version of the Prometheus myth is recorded in one of the scrolls stored in Eumnestes’s chamber. While young Arthur, not yet King of Britain, reads the Chronicle of Briton Kings to acquaint himself
Spenser as Prometheus: The Monstrous and the Idea of Poetic Creation with the history of his people and his own destiny, Guyon, a knight of Elfin extraction, devotes his attention to a volume called the “Antiquity of Faery lond,” which begins the history of the Faeries with the tale of their origin: It told, how first Prometheus did create A man, of many parts from beasts deryu’d, And then stole fire from heuen, to animate His worke, for which he was by Ioue depryu’d Of life him self, and hart-strings of an Aegle ryu’d. 187 That man so made, he called Elfe, to weet Quick, the first author of all Elfin kynd: Who wandring through the world with wearie feet, Did in the gardins of Adonis fynd A goodly creature, whom he deemd in mynd To be no earthly wight, but either Spright, Or Angell, th’author of all woman kynd; Therefore a Fay he her according hight, Of whom all Faryes spring, and fetch their lignage right. (II.x.70.5-71) Spenser here invents a Promethean myth of his own to explain the creation of the Elves. The narrative of a deity manufacturing a man who finds his mate in a garden, where both become the authors of the Faery race, presents a procreational pattern substantially based on the Edenic narrative in the Book of Genesis. In his revision, Spenser substitutes God the Maker with the pagan deity Prometheus, who creates the ancestor of all Faeries or Elves in The Faerie Queene as “[a] man, of many parts from beasts deryu’d” (70.6). As Prometheus created “[a] man” and not “Man” as such, the passage clearly identifies the Greek god as the founding father of the Elves, a particular race in Spenser’s literary cosmos that closely resemble humans. Moreover, as neither the characters in Faeryland nor the narrator can distinguish consistently between human beings and Faeries, Spenser implies that there are no physical markers that help tell the Elves from the Britons, despite their different origins. 25 This renders the analogy between humans and Faeries more complete.
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186<br />
MAIK GOTH<br />
Phantastes, the personification of fantasy, resides in the first chamber;<br />
an unspecified agent that might represent judgement in the second; 15<br />
and Eumnestes, i.e. memory, in the third. 16 While Phantastes inhabits<br />
a fly-infested chamber, the walls of which are covered with paintings<br />
depicting strange beings and romance characters (thus evoking Sidney’s<br />
“rich tapestry”), the room of the second sage is painted with the<br />
deeds of authorities, political institutions, and the artes. Quite differently,<br />
Eumnestes’s chamber is devoid of wall-paintings; instead, it is<br />
hung with parchment scrolls and books recording past history. 17<br />
Spenser’s allegorical anatomy of the human psyche hence also presents<br />
the interplay between the individual faculties of the soul. It is in<br />
Eumnestes’s chamber that Spenser presents his version of the Prometheus<br />
myth, to which I shall now turn, before I will eventually return<br />
to Phantastes’s chamber at the end of this article.<br />
3. Prometheus’s Creation<br />
As is the case with every other classical myth, literary accounts of the<br />
Prometheus myth sometimes differ substantially from one author to<br />
another. The standardised version narrates how Prometheus, whose<br />
name means “forethought” (from Old Greek προ– + μηθ– or μαθ–, to<br />
think, as in προ-μηθής), 18 creates Man from clay, modelling him on the<br />
form of the Olympian gods, 19 and animates him either with fire stolen<br />
from heaven, 20 or with his own divine breath or spirit. 21 As punishment<br />
for stealing fire from the gods, Zeus has Prometheus chained to<br />
mount Caucasus, where an eagle eats away his ever re-growing<br />
liver. 22 According to this myth, Prometheus’s act of creating Man is<br />
akin to an artisan manufacturing a clay sculpture. 23 Prometheus thus<br />
emerges as a deus artifex, i.e. a divine artificer, a role that is also emphasised<br />
by the many versions that depict his creation of the beasts. 24<br />
Spenser’s version of the Prometheus myth is recorded in one of the<br />
scrolls stored in Eumnestes’s chamber. While young Arthur, not yet<br />
King of Britain, reads the Chronicle of Briton Kings to acquaint himself