　 We have seen so far the background structure of the poem that symbolizes 'time', and the bride's beauty honoured in a symmetrical pattern. In this chapter we shall see the 'action' or movement of the poem's theme, that is to say, the dramatic progression of the entire wedding　celebration. This 'action' also takes a symmetrical pattern, which is formed by division into stanza groups. Throughout Epithalamion Spenser has arranged the metrical scheme so skilfully that one almost feels the whole poem is running smoothly like a rippling stream. This musical relationship is formed by the echoing of sounds, words and recurrent images, which link individual stanzas together in a single flow. So the pattern of the action formed by stanza grouping looks rather implicit than overt. Moreover, the symmetry is not always marked by obvious imagery or clear　parallelism. Yet closer examination reveals that the dynamics of the theme is patterned in a certain symmetry.

　This numerical arrangement will at once show that the whole groups form a symmetry with the　dyad at the centre. Each group, it is to be noted, clearly marks the topography where the action takes place. The setting of the outer triad is nature protected or controlled by nymphs, gods and goddesses. They are commanded to join the nuptial celebration or asked to grant the prayers. Both the tetrads(v-viii and xvii-xx) take place in the chambers: the bride's private chamber where she is arrayed for the ceremony and the nuptial chamber where she is disrobed.

　The action is characterized by dynamics of mind as well as by physical movements, and it seems to have both progression and stasis occurring alternately. The 'come' and 'bring' addressed to the Muses and nymphs in the first triad is followed in the next tetrad by the confine of the chamber. Then the second triad starts the procession moving onto the cathedral. The central dyad itself seems to include both movement and stasis: the 'coming' of the bride(xii) and her 'standing' before the altar(xiii).⁵⁶ The festival scene begins with 'bringing' the bride back home and the slow 'speed' of the sun is mentioned, while the second tetrad is reigned over by Silence and Night. The last triad describes the hope for the future progeny and the spiritual 'ascent' to the heavens.

　 The entire action seems to dramatize the wedding day. The prologue is not altogether bright and happy. The invocation to the Muses for inspiration is answered by the poet's own decision to lay aside 'lament' and 'dolefu1 dreariment'(11). Yet when the poet says he will sing to himself alone(17) just as Orpheus did, we are reminded of Orpheus' plaintive song to regain his bride.

　 The appearance of Phoebus changes the scene to the bride's chamber. The poet's view point is shifted indoors.　'Now my love, awake,'(74) he addresses to the bride. Outside, the birds are heard singing their 'love-learned song' (88). 'Listen to them,' he says, 'they are singing with such sweet concent'. Then he commands the Graces and the Hours to help her dress quickly. Suddenly sounds of merry music rise. Voices are heard shouting 'Hymen, io Hymen'(140) from the outside.

　 The scene changes again. We see the towns people crowding along the path where the bridal procession passes. The bride appears. 'Lo' says the poet, this time to the people, 'She is walking so portly' (148). While she is modestly walking, bright with her 'inward beauty'(186) and with her golden hair loose and long, people are struck with wonder. The procession goes on in front of 'merchants' daughters' eagerly watching the bride. An image of chastity, Phoebe, is reflected on the bride.

　From the mythological universe to the local countryside, then into the urban society--the action moves on against this pictorial setting and at the same time reveals the meanings a wedding event implies. For both natural and social contexts are what the married couple have to 'go through' if their wedding is to be really significant. The poem enacts these stages successively. With the progression of the action the spatial order of the universe unfolds itself step by step in the poem's temporalized structure.

　　The procession arrives at its destination and the gate of the cathedral is opened. The church is the place to which the action is directed and from which it recedes. The people, the angels, the priest: all are now present 'before th 'almighty's view'(211). The bride's appearance is likened to the Saint's when she comes in and ascends to the high altar. Actually she is the Saint who is going to participate in the holy communion with Christ, her bridegroom. She is spotless and pure without even 'a little thought unsound'(237) and is perfectly prepared for 'endless matrimony'(217). Now she stands for the Christian church prepared for the conjugal union with Christ at the end of history. The action, now at its summit, points to something supernatural. It moves in the cycle of time and yet it is directed to the final redemption of human history. Here nature with its cyclical time seems to be harmonized with the divine Grace that leads both man and the universe.

　'Now all is done'(242): matrimony is fulfilled. It is　'made' endless.⁵⁷ The validity of the rite begins to show its effect in the following part. The latter half of the action is a backward movement. Like a reflected counterpart in a mirror, it goes back in reverse order. The reflection, however, is not mere repetition. What was hinted at in the former part now becomes overt; the expectation changes into the joy of fulfilment. Even the lurking images of evil loom large in the latter half. The procession scene is juxtaposed with 'the triumph of our victory' (243) and the spectators who were 'gazing' and 'amazed' before become actual participants in the nuptial festivity. The poet has told 'merchants' daughters' to admire the bride. He now appeals to the 'young men of the town' (261) to ring the bells. After the crowning of the bride with a garland Bacchus　is now crowned with wreaths of ivy. This is partly intended to soften the previous climax. Just when the day of the solstice begins to be felt too long, 'the bright evening star'　(286) appears and signalizes the adjournment of　the festival. 'Now day is done' (298). 'Now night is come'(300). The scene this time shows the bride and the bridegroom retiring into the nuptial chamber. The birds' sweet singing is now replaced by the quiet flutter of 'wingèd loves'(357). And the garland of lilies and roses 'bound truelove-wise' is changed into the sheet of lilies and violets where 'this lovely band'(396) is `eternally' bound. Night and Majesty reign instead of the Sun's 'lifeful heat'. The poet himself, who was among the detached gazers, is now participating: 'Spread thy broad wing over my love and me, /That no man may us see'[italics mine](319-20).

　 Spenser now devotes an entire stanza(xix) to exorcism. As secretary to Lord Arthur Grey, he witnessed some of the most horrible incidents in Ireland; among those were the massacre at Sumerick, the execution of Murrogh O'Brien and, most of all, the devastating famine in Munster.⁵⁸ These bloody experiences no doubt left indelible marks on the poet's imaginative mind. Fear as well as pity must have seized him. We may well conjecture these 'dreadful sights' and 'fear of peril and foul horror'(322) are at the back of his earnest prayer. Perhaps some uneasy visions were associated with those famished Irish who hid themselves in the woods.⁵⁹ It is these stark realities, we may suppose, that underlie this unusually long catalogue of evils. They signify not only the powers which were believed to be especially strong at the time of marriage, but also potential suffering that might be extended for a lifetime.⁶⁰ Epithalamion is not just a song commemorating some special occasion. It contains initself the entire course of marriage with the various dangers that a married life may entail. In my view it is this exorcizing effect of the poem that never fails to give readers of all ages comfort and calm among the misfortunes of life.

　 The appearance of Cynthia, the moon, marks the beginning of the last stage. The image of　chastity which was formerly hinted by Diana's 'lightfoot' nymphs is now fully shown, but this time with an added image of the moon that governs women's conception and childbearing. Juno and Genius, both associated with childbirth, are also summoned. The poet's view is now projected into the future. Throughout the stanzas that form this group 'timely' seems to be the key word. The couple now expect the extension of their life through 'timely seed'(386), 'timely fruit' (404), and eventually 'timely joys'. 'Timely' here seems to mean both 'in future' and 'at a good opportunity'.⁶¹　Primarily this perpetuation signifies the regeneration of their life through 'fruitful progeny'. But the ambiguity of the context seems to be intentional. For 'timely joys' (425) clearly implies the time when both the couple and their posterity inherit their 'heavenly tabernacles'(422). It seems that the action of Epithalamion does not cease at this stage, but goes on and on, and in the end the harmony between natural cycle and Christian ascension is suggested.

　In the Mutabiltie Cantos all the human '1abours' are pictured with the joy of strong generative power that works out the succession of seeds and sexes.⁶² Seed time and harvest time are for Spenser the two poles that generate human activity. Sowing, cultivating by labour, and fruitful　reward---these, Spenser seems to be suggesting, are the 'joys' of which true life is made up. This kind of 'life' and 'joy' can perpetuate themselves from the earthly to the eternal. In heaven there will be great 'joy' when our earthly 'labour' is rewarded: