1. Analysis of Amoretti LXXIX
Jocelyn Pappas
Although some poetry of the 16th
century, especially love poetry is associated with a 'rosy' type
of romantic style, there many of these poems were written with a rather realistic approach. Edmund
Spenser was a celebrated poet in 16th
century Britain who, despite being better known for the Faerie
Queen, wrote the Amoretti, a series of sonnets dedicated to Elizabeth Boyle. Although some of the
poems in this anthology depict Boyle as the typical unattainable 'Madonna' character, there is one poem
that speaks on a more 'realistic' level. The poem, labeled as Amoretti LXXIX: Men Call you Fair,
expresses that the speaker in the poem finding other virtues of his beloved, despite the fact that her
physical beauty will fade. Throughout it, Spenser shows an affection centered around the adoration of
valuable, ageless traits as opposed to trivial features such as beauty. This is a much more realistic
approach to poetry at the time, albeit a often overlooked concep. One might even consider how this
compares with other poetry, given its unusual theme for poetry from the post-classical era until the
modern age. However, Men Call you Fair is both similar and different when compared to various other
poems from post-classical era.
The poem starts with the speaker addressing the perspective of other men and how they
consider the lady of subject to be beautiful. He quickly rebuffs that, explaining that appreciates her
mental prowess more. Spenser writes:
“Men call you fair, and you do credit it,
For that your self ye daily such do see:...” (Spenser)
The first line indicates that the woman is beautiful, and the writer himself is noting that the men
surrounding her, possibly suitors, think of her as such. The next words to follow, “...and you do credit
it”, possibly points towards the notion that the lady herself is aware of her fairness. This is all entirely
reinforced by the second, as Spencer brings evidence that the woman sees the adoration from men

2. everyday. The idea of her self-awareness of the men is important, since in the next couplet, Spencer
tries to set himself apart from them. He goes on to explain what he loves the most about her, in
comparison of what other men love:
“But the true fair, that is the gentle wit,
And vertuous mind, is much more prais'd of me.” (Spenser)
In the first line, as if trying to win over her affection this way, Spenser admits that her true charm is her
'gentle wit'. He further states further that her virtuous mind is what deserves his appraisal. This is set
apart from other poems that focus on physical traits. In example, William Shakespeare would
emphasize mention the eyes of his lovers in sonnets. Such an example is Sonnet 1: From fairest
creatures we desire, where he states:
That thereby beauty’s rose might never die,
But as the riper should by time decease,
His tender heir might bear his memory;
But thou, contracted to thine own bright eyes, (Shakespeare)
In these verses, Shakespeare is concerned with his lover's beauty being carried down to his child, as
opposed to any intrinsic quality. He even goes as far as to describe the lover's eyes as 'bright'. This
contrasts from Spenser's poem, which is explicitly states how he cares little for her beauty as the
driving factor of his love.
In the next lines, Spenser goes on to reference aging and how even beauty is a passing phase,
thus reaffirming why he finds her personality to be more important. Spenser states, “Shall turn to
naught and lose that glorious hue:...” (Spenser) The 'glorious hue' is symbolic for beauty, and what
means by 'turn to naught' is that she will 'turn to old age'. This isn't the only time that age is used as the
opposite of beauty. Another poet, John Keats, wrote in his Ode to Melancholy, “She dwells with Beauty
—Beauty that must die;...” (Keats) It is then apparent that the way this metaphor of beauty as vitality
has been used in other poems, there is a sort of tragic side of Spenser's poem. Beauty and the flesh is

3. something temporary in this world, and all his beloved have is only her spirited personality. This
meaning is further supported in the next couple of lines, as Spenser states:
But only that is permanent and free
From frail corruption, that doth flesh ensue. (Spenser)
In the same lines, Spenser continues to describe the decay of the body into old age as 'frail corruption.'
By using the word 'frail' he is eluding to feebleness, which gives age and by that extent, beauty, a
negative connotation. Keats also refers to melancholy as having a similar effect, as he states:
Bidding adieu; and aching Pleasure nigh,
Turning to poison while the bee-mouth sips:...
Ay, in the very temple of Delight
Veil'd Melancholy has her sovran shrine, (Keats)
Keats is effectively relates pleasure and delight in the same 'temple' or grouping as melancholy. Both
poems are similar in giving a negative connotation to things that are generally positive.
The next few lines support the previous ideas by claiming that the beloved's 'spirit', or
personality is of divine makings. Spencer affirms this idea and the previous concepts he previously
implied, saying, “That is true beauty: that doth argue you...” (Spenser) He refers to what he previously
describes as 'true beauty'. Spencer then goes on to describe the ages old concept of a heavenly soul, in
order to further support the idea of her fair personality, writing:
To be divine, and born of heavenly seed:
Deriv'd from that fair Spirit, from whom all true (Spenser)
This is both similar and different from one of Spenser's other poems, in the inverse case of An Hymn In
Honour Of Beauty which praises the body as heavenly. In example, he states;
So it the fairer body doth procure
To habit in, and it more fairly dight
With cheerful grace and amiable sight.

4. For of the soul the body form doth take:
For soul is form, and doth the body make. (Spenser)
In comparison with LXXIX, Spenser is placing the importance of the body above the soul, as evident
especially in the last verse, where the soul's form is dependent on the body. Throughout LXXIX, he is
constantly holding the 'soul' or personality in higher regards. In case of similarities between LXXIX and
Hymn, there are similarities in which there are instances that Spenser reveres the soul, such as when
Spenser says, “Natheless the soul is fair and beauteous still” (Spenser) This line is similar to LXXIX, in
the sense that it echoes the same ideals of the the essence of a person being beautiful, as opposed to a
fair physique.
Finally, the last three verses of Amoretti LXXIX close with expressing how beauty comes and
passes. Spencer starts by writing:
And perfect beauty did at first proceed.
He only fair, and what he fair hath made, (Spenser)
Spenser at first is conveying that the beloved in his poem is beautiful in the present, stating 'he' or in
other words 'God' has made her beauteous. However, he follows this up with a final verse to one last
time clarify his purpose of loving her charm, stating, “All other fair, like flowers untimely fade”.
(Spenser) With that sentence Spenser is comparing the death of beauty to same way flowers die. He
assumes that the same 'perfect beauty' will eventually 'fade' or wither. One poem called The Nymph’s
Reply to the Shepherd, by Sir Walter Raleigh, addresses vitality and eventual in a similar manner.
Raleigh states:
The flowers do fade, and wanton fields,
To wayward winter reckoning yields,
A honey tongue, a heart of gall,
Is fancy’s spring, but sorrow’s fall. (Raleigh)
Raleigh uses the motif of flowers as a metaphor for aging in order to emulate a somber mood in the

5. Nymph's speech. However, in a different fashion from Spencer, he also adds the aspect of seasons. To
this extent, Raleigh implies cyclical death and rebirth of the flesh, as opposed to Spencer, whose poem
implies linearity from beauty to age.
Spenser's poem shares both many similarities and differences with many different poems of this
era. Amoretti LXXIX is about Spencer's love of Miss Boyle's essence and intrinsic qualities as opposed
to her apparent beauty. It is similar to other post-classical era poems for showing the love of one's
admirable essence. However, it also different from just as many poems, because it doesn't share the
adoration of the a physically beautiful woman. This was best exemplified in relation to Shakespeare's
Sonnet 1, John Keats's Ode to Melancholy, Raleigh's The Nymph’s Reply to the Shepherd and one of
Spenser's other poems, An Hymn In Honour Of Beauty. All four of these poems showcase different
facets of either beauty, love, or aging in comparison with LXXIX. Poems often share different themes
and metaphors that reflect on human error an traits. For this reason, it is important to study the
differences and similarities between poems in order to understand better human nature, and how people
express themselves collectively.

6. Works Cited
"Amoretti LXXIX: Men Call You Fair by Edmund Spenser - Poetry Foundation." Poetry Foundation.
Poetry Foundation, n.d. Web. 28 Sept. 2016.
"Ode on Melancholy by John Keats - Poetry Foundation." Poetry Foundation. Poetry Foundation, n.d.
Web. 03 Oct. 2016.
"Sonnet 1: From Fairest Creatures We Desire Increase by William Shakespeare - Poetry Foundation."
Poetry Foundation. Poetry Foundation, n.d. Web. 03 Oct. 2016.
"An Hymn In Honour Of Beauty by Edmund Spenser - Poetry Foundation." Poetry Foundation. Poetry
Foundation, n.d. Web. 04 Oct. 2016.
"The Nymph’s Reply to the Shepherd by Sir Walter Ralegh - Poetry Foundation." Poetry Foundation.
Poetry Foundation, n.d. Web. 04 Oct. 2016.

7. Works Cited
"Amoretti LXXIX: Men Call You Fair by Edmund Spenser - Poetry Foundation." Poetry Foundation.
Poetry Foundation, n.d. Web. 28 Sept. 2016.
"Ode on Melancholy by John Keats - Poetry Foundation." Poetry Foundation. Poetry Foundation, n.d.
Web. 03 Oct. 2016.
"Sonnet 1: From Fairest Creatures We Desire Increase by William Shakespeare - Poetry Foundation."
Poetry Foundation. Poetry Foundation, n.d. Web. 03 Oct. 2016.
"An Hymn In Honour Of Beauty by Edmund Spenser - Poetry Foundation." Poetry Foundation. Poetry
Foundation, n.d. Web. 04 Oct. 2016.
"The Nymph’s Reply to the Shepherd by Sir Walter Ralegh - Poetry Foundation." Poetry Foundation.
Poetry Foundation, n.d. Web. 04 Oct. 2016.