Journal articles: 'Spenser, Edmund, The Faerie Queene (Spenser)'

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Roe, J. "Review: Edmund Spenser: The Faerie Queene: Edmund Spenser: The Faerie Queene." Cambridge Quarterly 32, no. 3 (2003): 277–81. http://dx.doi.org/10.1093/camqtly/32.3.277.

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Russell, Jesse. "Spenser’s Sprites: Platonic Daemons in The Faerie Queene." Renaissance and Reformation 43, no. 1 (2020): 105–34. http://dx.doi.org/10.33137/rr.v43i1.34081.

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Throughout the twentieth century, critics of the poet Edmund Spenser wrestled with the question of the presence of Plato as well as Platonic thought in Spenser’s works. Having recently established the profound presence of Platonism in Spenser via Marsilio Ficino and other sources, the field of Spenser studies is now open to a treatment of exactly what kind of Platonism is present in Spenser. Drawing from the work done by researchers in the field of magic and Platonism, in this article I hope to demonstrate the presence of Platonic daemons in Spenser’s Faerie Queene who are found under the name of “sprites” or “sprights” in the poem. An examination of daemons in The Faerie Queene will elucidate some questions on the role of Merlin in the poem as well as Spenser’s own self fashioning as a poet-magus.

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SCHUETTE, GERHARDT. "Edmund Spenser's Anti-Catholicism: Duessa's Part in it All." Michigan Academician 42, no. 1 (2015): 108–18. http://dx.doi.org/10.7245/0026-2005-42.1.108.

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ABSTRACT This research looks at Edmund Spenser's The Faerie Queene, one of the earliest and most celebrated pieces of epic poetry in the English language. While it has long been recognized that Spenser's work participates in the agenda of the Protestant Reformation, this research illustrates that Spenser's work is much more than a reflection of the norms of the Elizabethan period. Using the character of Duessa as a focal point, this research illuminates the ways in which Spenser used The Faerie Queene to not just echo but present his idiosyncratic stance on the threat of Catholicism to the English people.

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Saenger, Michael. "The Faerie Queene by Edmund Spenser." Comitatus: A Journal of Medieval and Renaissance Studies 38, no. 1 (2007): 280–85. http://dx.doi.org/10.1353/cjm.2007.0040.

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Fisher, James R. "Signs and Seasons in Edmund Spenser's Fairie Queene." Journal of Interdisciplinary Studies 5, no. 1 (1993): 57–76. http://dx.doi.org/10.5840/jis199351/25.

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This essay explores how the Elizabethan poet Edmund Spenser incorporates a zodiac, calendar, and history into his allegory, each based on the twelve signs, and each Christ-centered, In Spenser's historical allegory, Guyon, the Knight of Temperance, symbolically travels through the zodiac, sign by sign, in a quintessentially Christian odyssey. Guyon's Imitation of Christ in the center of Book II of The Faerie Queene marks the structural transition between classical and Christian temperance, reflected in a physical transition from the lunar to the solar signs of the zodiac. By modelling the world of Book II on the zodiac, Spenser epitomizes the Renaissance theory of poetics: To create a poem modelled on the universe was to worship its Creator.

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Fisher, James R. "Signs and Seasons in Edmund Spenser's Fairie Queene." Journal of Interdisciplinary Studies 5, no. 1 (1993): 57–76. http://dx.doi.org/10.5840/jis199351/25.

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This essay explores how the Elizabethan poet Edmund Spenser incorporates a zodiac, calendar, and history into his allegory, each based on the twelve signs, and each Christ-centered, In Spenser's historical allegory, Guyon, the Knight of Temperance, symbolically travels through the zodiac, sign by sign, in a quintessentially Christian odyssey. Guyon's Imitation of Christ in the center of Book II of The Faerie Queene marks the structural transition between classical and Christian temperance, reflected in a physical transition from the lunar to the solar signs of the zodiac. By modelling the world of Book II on the zodiac, Spenser epitomizes the Renaissance theory of poetics: To create a poem modelled on the universe was to worship its Creator.

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Jung, Sandro. "Ephemeral Spenser." Eighteenth-Century Life 44, no. 2 (2020): 78–110. http://dx.doi.org/10.1215/00982601-8218613.

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This essay approaches Edmund Spenser’s Renaissance masterpiece, The Faerie Queene, through a hitherto unknown series of twenty-four vignette illustrations that the eighteenth-century painter and book illustrator, Thomas Stothard, contributed to the nowadays little-known annual, The Royal Engagement Pocket Atlas, in 1794. Apart from making sense of Stothard’s visual interpretation of Spenser’s romance, the article will pay attention to how the painter creates an anthological miniature gallery of moments with which the users of the pocket diary may have been familiar. In other words, these vignettes may have conveyed mnemonically a prior reading experience of The Faerie Queene or have stimulated recall of other engagements with the moments represented. Understanding Stothard’s illustrations as iconic interventions in the reception history of Spenser’s work that, by being included in a disposable, annual pocket diary, were significantly more ephemeral than illustrations issued as part of an edition, I shall investigate how Stothard mediates the text by providing textual excerpts and how these one-line cues evoke a particular allusive experience of the text that affects the reading experience.

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Fleck, Andrew, and Abraham Stoll. "Edmund Spenser: The Faerie Queene, Book Five." Sixteenth Century Journal 38, no. 4 (2007): 1148. http://dx.doi.org/10.2307/20478691.

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Lim, Walter S. H. "Figuring Justice: Imperial Ideology and the Discourse of Colonialism in Book V of The Faerie Queene and A View of the Present State of Ireland." Renaissance and Reformation 31, no. 1 (2009): 45–70. http://dx.doi.org/10.33137/rr.v31i1.11566.

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Edmund Spenser is a vocal spokesman for the colonization of Ireland. In A View of the Present State of Ireland, he provides one of the most sustained imperialist articulations in Elizabethan England. And in Book V of The Faerie Queene, he promulgates a vision of justice that is necessary for containing individual and social dissent, as well as for consolidating monarchical authority. Spenser wants a similar form of relentless justice applied to controlling the recalcitrant Irish, but discovers that his implacable imperialist policy stands in direct opposition to Queen Elizabeth’s own.

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Chloe, Wheatley. "Abridging the Antiquitee of Faery lond: New Paths Through Old Matter in The Faerie Queene*." Renaissance Quarterly 58, no. 3 (2005): 857–80. http://dx.doi.org/10.1353/ren.2008.0881.

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AbstractSixteenth-century history may have been recorded most spectacularly in prestigious folio chronicles, but readers had more ready access to printed books that conveyed this history in epitome. This essay focuses on how Edmund Spenser (1552?– 99) appropriated the rhetoric and form of such printed redactions in his rendition of fairy history found in book 2 of The Faerie Queene (1596). Through his abridged fairy chronicle, Spenser connects to a broadly defined reading public, emphasizes the deeds not only of kings but their imperial and civic deputies, and provides an alternative interpretive pathway through his poem.

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Campana, Joseph. "On Not Defending Poetry: Spenser, Suffering, and the Energy of Affect." PMLA/Publications of the Modern Language Association of America 120, no. 1 (2005): 33–48. http://dx.doi.org/10.1632/003081205x36840.

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Early modern defenses of poetry, such as Philip Sidney's influential Defence of Poesy, respond to long-standing anxieties about the validity of poetry by asserting the primacy of its moral function. Sidney's heroic rhetoric locates poetry's “power” in its capacity to create iconic portraits (“speaking pictures”) of unchanging moral truths. Edmund Spenser departs markedly from Sidney's static moral vision of the function of poetry. Whereas Sidney privileges enargeia, or vividness, The Faerie Queene works consistently to disarm the heroic masculinity that violently produces enargeia as a form of iconic, moral clarity. Spenser's Legend of Temperance finds energeia, or vitality, in moments of suffering and in corresponding moments of sympathy. Through suffering, Spenser highlights the dense networks of affect and obligation that defy moral and visual clarity. For him, poetry resonates with the affective energies of corporeal experience, from which language derives its capacity to move.

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SCHWYZER, PHILIP. "Exhumation and Ethnic Conflict: From St. Erkenwald to Spenser in Ireland." Representations 95, no. 1 (2006): 1–26. http://dx.doi.org/10.1525/rep.2006.95.1.1.

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ABSTRACT This essay explores a range of medieval and early modern English texts, including the alliterative poem St. Erkenwald and Edmund Spenser's Faerie Queene and View of the Present State of Ireland, inwhich the remains of subjugated peoples are exhumed and subsequently made to disappear. These texts, it is argued, participate in a tradition of colonial archaeology in which the cleansing of the earth is a step toward the creation of an English homeland.

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Saenger, Michael. "The Faerie Queene. Book Six and the Mutabilitie by Edmund Spenser." Comitatus: A Journal of Medieval and Renaissance Studies 39, no. 1 (2008): 329. http://dx.doi.org/10.1353/cjm.2008.0008.

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Wolfe, Jessica. "Spenser, Homer, and the Mythography of Strife*." Renaissance Quarterly 58, no. 4 (2005): 1220–88. http://dx.doi.org/10.1353/ren.2008.0987.

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AbstractThis article examines a central narrative and ethical motif of Edmund Spenser’sFaerie Queene —the golden chain—in the context of Spenser’s broader debts to Homeric epic. While largely neglected in favor of more immediate sources, such as Virgil’sAeneidand Tasso’sGerusalemme Liberata, the influence of Homer’sIliadandOdysseyis profoundly felt in Spenser’s mythography of strife. In its representation of the consequences of cosmological and spiritual strife,The Faerie Queenerealizes the classical and late antique allegorical tradition of interpreting Homeric epic as illustrative of the doctrines of pre-Socratic philosophers such as Heraclitus and Empedocles. Its moral landscape structured according to the oppositional yet complementary forces of love and strife, Spenser’s epic enacts the Homeric-Empedoclean epic of the allegorists so as to offer its own etiology of discord, one sympathetic with, but also distinct from, that of Homer.

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Russell, Jesse. "Edmund Spenser’s Ancient Hope: The Rise and Fall of the Dream of the Golden Age in The Faerie Queene." Explorations in Renaissance Culture 44, no. 1 (2018): 73–103. http://dx.doi.org/10.1163/23526963-04401004.

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In the later twentieth and early twenty-first centuries, a debate has rumbled over the sources and significance of Platonic and Neoplatonic motifs in Edmund Spenser’s poetry. While this debate has focused on the presence (or absence) of various aspects of Platonism and/or Neoplatonism, critics have largely ignored the hints of magic derived from Neoplatonism. Through the probable influence of John Dee, Marsilio Ficino, and Giordano Bruno as well as Spenser’s own wide-ranging and particular reading, The Faerie Queene makes it evident that the English poet found himself attracted to an ancient hope in the restoration of a Golden Age that would be inaugurated by a great monarch. However, by the end of the poem, Spenser has largely lost faith in the restoration of this Golden Age; what he has uncovered along the way forces a retreat to Christian hope in his personal salvation.

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Schmelzer, Mary. "The Tyranny of Temporality: Edmund Spenser, Desire and the Already Written Text." KronoScope 7, no. 1 (2007): 67–77. http://dx.doi.org/10.1163/156852407x164687.

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AbstractThis paper seeks to example the temporal dissonances between acts of imagination or creation and their representation in writing. What one can imagine in its synchronic fullness resists recovery in the diachronic, word by word act of writing, leading to frustration as well as the continued attempt and continued failure to get it right in writing. The artist/scientist tries to navigate this precarious space constantly. This seems to be precisely what Edmund Spenser is getting at in Canto X of Book VI of The Faerie Queene which describes Colin Clout's Vision on Mount Acidale, its interruption and interpretation. I offer it as a model of the tyranny of temporality.

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Druzak, Courtney. "‘Scattred All to Nought’: Feminine Waters, Irish Sources, and Colonialism in Edmund Spenser’s River Mulla." English: Journal of the English Association 68, no. 262 (2019): 213–34. http://dx.doi.org/10.1093/english/efz014.

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Abstract This article examines Edmund Spenser’s use of Irish mythology, particularly in relation to feminized rivers, in order to conceptualize how he constructs English colonialism as necessary for Ireland via the poetically constructed river Mulla. More specifically, it examines ‘Colin Clouts Come Home Again’ and The Faerie Queen, Book IV, Canto xi through the lenses of ecofeminism and a reading of the medieval Irish text Acallam na Senórach. This article argues for understanding the reappearance of the river Mulla from ‘Colin Clouts’ to FQ IV.xi as a materialist effort to dominate the place and space of Ireland through writing. It further argues that the Acallam is a potential source text for Spenser’s own endeavours with his river Mulla. Specifically, Spenser repurposes place-names and Fenian myths from medieval Ireland in his literature, which acts as another form of colonial domination to subsume Irish identification. It is particularly important that this lens is applied to Irish waterscapes, as the ability to reconstruct Ireland rhetorically and poetically in English literature allowed Spenser to ‘map’ Ireland and bring even the finicky Irish land- and waterscapes firmly under English control in violently masculine manners, which are enacted via enforced marriages.

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Borris, Kenneth, and Meredith Donaldson Clark. "Hymnic Epic andThe Faerie Queene’s Original Printed Format: Canto-Canticles and Psalmic Arguments*." Renaissance Quarterly 64, no. 4 (2011): 1148–93. http://dx.doi.org/10.1086/664087.

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AbstractWhen Edmund Spenser (1552?–99) published hisFaerie Queenein 1590 and 1596, two pervasive structural features would have seemed surprising: the abbreviationCant.in sectional and running titles, used instead ofCanto;and a four-line stanza of common meter for each section's argument, instead of a more expansive and prestigious stanza. Study of the relevant early modern Italian and English norms of publication indicates that these were complementary and innovative means of merging heroic form with divine poetry and hymnic discourse, and recognized as such.Cant.readily suggestedcanticleand the Solomonic Canticles, and the poet himself calls one of his so-called cantos a “canticle” (4.5.46). In style and prosodic form, his arguments would have particularly evoked the nationally distinctive Elizabethan Protestant psalmody and hymnody, as well as popular ballads. By incorporating these two metamorphic devices intoThe Faerie Queene's framework, Spenser reconfigured the heroic poem to serve his different, English vision.

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Buckley, Gloria Roxanne. "Merlin the Political, Spiritual and Romantic Shape-Shifter in Robert de Boron’s, Joseph of Arimathea, Merlin, Perceval: The Trilogy of Prose Romances and Edmund Spenser’s The Faerie Queene." Journal of English Language and Literature 8, no. 2 (2017): 638–47. http://dx.doi.org/10.17722/jell.v8i2.333.

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Merlin as an allegorical character has been dwelling in caves and forests casting spells and operating as a political, spiritual and romantic shape-shifter within our minds for centuries. Merlin’s shape-shifting and clairvoyance dates back to Greek mythology with Tiresias who shape-shifts gender and sees all as a blind seer. Much like Merlin our early seer sees the future as it is happening and offers truthful forecasts of fate (Schutz 277). An examination of the Trilogy and The Faerie Queene shall reveal that Merlin whether rooted in Christian scripture or Christian Cabalistic Imperialistic white magic has remained throughout the centuries as a truly omnipresent shape-shifter through his props and has created a legend of spiritual, political and romantic transcendence. Robert and Spenser utilized Merlin for different purposes, Robert to foster Christianity and Spenser to foster the strength of the monarchy. Ultimately, both writers created a humanistic character that would change the course of events.

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Van der Laan, Sarah. "Songs of Experience: Confessions, Penitence, and the Value of Error in Tasso and Spenser." PMLA/Publications of the Modern Language Association of America 130, no. 2 (2015): 252–68. http://dx.doi.org/10.1632/pmla.2015.130.2.252.

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As the Reformation and Counter-Reformation swept Europe in the sixteenth century, penance (or its rejection) became a cornerstone of individual and confessional identities. Extending a post-Tridentine view of sacramental penance as consolation, Torquato Tasso's Gerusalemme liberata suggests that penance offers a means to recover and even to benefit from the experience of error—and to incorporate romance error into epic action and ethics. Through extensive intertextual dialogue, Edmund Spenser's Faerie Queene engages this view to explore the fears produced in some lay people by the English Reformers' rejection of penance. Book 2 interrogates the possibilities for epic heroism in a fictional environment lacking any visible means to recover from error and therefore profoundly skeptical of experience and the errors to which it might lead. Spenser's virtuoso act of cultural translation reforms Tasso's penance-based ethics, exposes the shortcomings of one approach to reformation, and affirms the educational value of human error.

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Piepho, Lee. "Edmund Spenser and Continental Humanism: The St. George Legend in The Faerie Queene, Book I, and Mantuan’s Georgius." Spenser Studies 26 (June 2011): 31–43. http://dx.doi.org/10.7756/spst.026.002.31-43.

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Stapleton, Paul J. "The Cross cult, King Oswald, and Elizabethan historiography." British Catholic History 33, no. 1 (2016): 32–57. http://dx.doi.org/10.1017/bch.2016.4.

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In Thomas Stapleton’s The History of the Church of Englande (1565), the first modern English translation of Bede’s Historia Ecclesiastica Gentis Anglorum, the cross cult is promoted as a definitive element of English religious and national identity, via the legend of the Saxon king Oswald. The version of the legend in Stapleton’s narrative, which includes textual supplements like illustrations, appears to be intended as a corrective in light of attacks upon the cross cult made in works of religious controversy by the reformists William Turner, John Jewel, and James Calfhill, but also in works of historiography such as the 1559 edition of Robert Fabyan’s Chronicle. In response to Stapleton’s expanded presentation of the Oswald legend, John Foxe reconfigures the narrative in the 1570 Acts and Monuments or Book of Martyrs, but in a bifurcated manner, perhaps to appease members of Matthew Parker’s circle of Saxon scholars. Surprisingly, in Book Three of The Faerie Queene (1590), Edmund Spenser carries on Stapleton’s iconodule understanding of Oswald’s cross in contrast to his reformist Protestant precursors.1

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SAVANI. "EDMUND SPENSER'S "THE FAERIE QUEENE"." Princeton University Library Chronicle 52, no. 3 (1991): 384. http://dx.doi.org/10.2307/26404311.

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Russell, Jesse. "The bear myth in Edmund Spenser’s Faerie Queene." Reinardus / Yearbook of the International Reynard Society 31 (December 31, 2019): 115–34. http://dx.doi.org/10.1075/rein.00028.rus.

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Abstract The animals in Edmund Spenser’s Faerie Queene have been skillfully treated as allegories, but these creatures also deserve a look from a mythological perspective. Perhaps the most important animal to begin with is the bear, which French historian Michel Pastoureau recently has explored in his monumental, The Bear: History of a Fallen King. Using many of Pastoureau’s insights (and criticizing others), we can make room for an analysis of The Faerie Queene as a text in which pre-modern and even ‘prehistorical’ images of bears meet with Early Modern views of the noble creature, demonstrating that, despite Spenser’s allegorical tendencies, the bears in The Faerie Queene still speak.

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Svensson, Lars-Håkan. "Remembering the Death of Turnus: Spenser'sFaerie Queeneand the Ending of theAeneid*." Renaissance Quarterly 64, no. 2 (2011): 430–71. http://dx.doi.org/10.1086/661796.

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AbstractMost of the key episodes in book 1 of Edmund Spenser's Faerie Queene (1590) replay famous passages in Virgil's Aeneid. However, the concluding canto, describing the Redcrosse knight's betrothal to Una, is based on Maffeo Vegio's fifteenth-century Supplementum to the Aeneid, while, surprisingly, the Aeneid's much-disputed ending appears in triplicate in early sections of book 1. This article examines the place and function of book 1’s three imitations of the Aeneid's ending, while also relating them to Spenser's appropriations of the ending in later books of The Faerie Queene. It argues that, in making Redcrosse assume the position of Aeneas in largely negative contexts, book 1 opposes standard sixteenth-century interpretations of Aeneas's pietas, whereas later books of The Faerie Queene usually conform to prevalent early modern interpretations of the moral import of this powerful cultural memory.

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Moshenska, Joe. "Spenser at Play." PMLA/Publications of the Modern Language Association of America 133, no. 1 (2018): 19–35. http://dx.doi.org/10.1632/pmla.2018.133.1.19.

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Reading The Faerie Queene is like playing. his article develops an account of three relevant tendencies of play—to change through time, to animate its object, and to remain opaque in meaning—and distinguishes this account from other critical understandings of play. It then introduces a historical analogue to Spenser's playfulness—the giving of formerly holy objects to children as toys during the Reformation—and uses it as a lens through which to read the ending of the first book of Spenser's poem, where the vast dragon not only becomes a posthumous plaything but also displays surprisingly playful propensities of its own. Readers respond both to this moment and to their own responses to it, playing in the presence of the poem's opaquely foregrounded meanings.

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Milburn, Michael. "Coleridge on Spenser: "Imaginative Fancy" in The Faerie Queene." Explorations in Renaissance Culture 39, no. 2 (2013): 1–21. http://dx.doi.org/10.1163/23526963-90000445.

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Vitkus, Daniel. "The Unfulfilled Form of The Faerie Queene: Spenser’s Frustrated Fore-Conceit." Renaissance and Reformation 35, no. 2 (2013): 83–112. http://dx.doi.org/10.33137/rr.v35i2.19372.

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Cet article propose une reconstruction des intentions autoriales d’Edmund Spenser, au moment où il compose un poème épique en douze livres. Afin d’atteindre cet objectif, l’auteur y réexamine le processus compositionnel qui a donné lieu à la forme « inachevée » de l’oeuvre. Elle fait valoir que la structure en six parties de l’édition de 1596 a vu le jour à travers la révision et l’adaptation par Spenser de son plan architectonique, développé au début de son travail d’écriture. L’article montre que la conception préliminaire qu’avait Spenser du contenu et du propos du poème reposait sur la prévision d’un mariage royal entre Elizabeth Tudor et un courtisan protestant militant, le candidat le plus probable étant Robert Dudley, comte de Leicester. Suivant ce plan, le poème aurait pris fin avec un épithalame royal pour le mariage d’Arthur-Magnificence et Gloriana-Gloire, une union qui aurait également représenté un triomphe millénaire pour la réforme protestante, dirigé par l’église anglaise militante. L’article montre également comment, étant donné que la prévision ne s’est pas réalisée et que l’histoire n’a pas répondu à l’intention de Spenser, le poète a changé et adapté le texte, afin que, dans l’édition de 1596, le poème exprime la déception et la désillusion qui a résulté du refus de la reine de se marier et, de façon générale, du « compromis élisabéthain » qui a maintenu le contrôle sur la faction militante de la cour.

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Erickson, Wayne. "Spenser Reads Ralegh’s Poetry in(to) the 1590 Faerie Queene." Spenser Studies 15, no. 1 (2000): 175–84. http://dx.doi.org/10.1086/spsv15p175.

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Porges Watson, Elizabeth. "The Faerie Queene." Reinardus / Yearbook of the International Reynard Society 11 (November 15, 1998): 161–74. http://dx.doi.org/10.1075/rein.11.12por.

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Abstract A high proportion of the animal imagery in The Faerie Queene serves a function that is effectively heraldic. The actual blazons of knights are seldom given: occasionally they provide a fixed point of reference that still allows for more fluent delineation of character and motivation, where animal imagery plays a vital part. Spenser may have been influenced by Sidney's Arcadia, where characters choose their heraldic devices for tournament or battle so as visibly to express their present states of mind. Sidney is elaborating from real life. Spenser's use of allegory allows him to invert this technique so as to offer and control subjective insight. This he does in three main ways, all of which have immediate and overall structural effect. His characters may ride, encounter or appear with specific beasts that express or project qualities of mind or character, as the Lion ridden by Cupid (FQ III xii 22), the beasts subdued by the young Satyrane, (F I vi) Mercilla's Lion (FQ V 33). They may have names reflected in their actions: Sanglier (FQ V i), Bruin (FQ VI iv). Simile may be specific to an occasion, as Marinell falling before Britomart's spear 'like sacred Ox' (FQ III iv 17) or cumulative over an episode, as in Arthur's fight with Maleger (FQ II xi). In particular, the reader's responses are educated by associative repetition so as to give an unexpected image special force, shifting or clarifying moral perspective.

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FARRELL and ROCHE. "Edmund Spenser's "The Faerie Queene": Annotated Checklist of the Exhibition." Princeton University Library Chronicle 52, no. 1 (1990): 78. http://dx.doi.org/10.2307/26403784.

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Dunn-Hensley, Susan. "Henry viii and the “Bewhoring” of the Petrarchan Beloved in Sixteenth-Century English Literature." Explorations in Renaissance Culture 46, no. 1 (2020): 2–16. http://dx.doi.org/10.1163/23526963-04601003.

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This article examines the ways in which changes in Marian theology and the defaming and execution of two of Henry viii’s queens affected early modern literary representations of female power. It argues that, through the translations of Thomas Wyatt, Petrarchan poetry entered into a world of state-sponsored iconoclasm, a world where images of the sacred feminine, once revered, could be destroyed, and queens, once exalted as beloveds, could quickly be reduced to “whores” and executed. The first part of the article considers Wyatt’s “Whoso list to hunt,” a translation of Petrarch’s “Rime 190,” as a lens for examining the female body as both object of desire and site of violent destruction. The second part of the article considers English Petrarchism late in the reign of Elizabeth i, examining how John Donne’s “Love’s Progress” and Edmund Spenser’s The Faerie Queene (Book ii) construct violent fantasies of male control over the powerful female.

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Timmis, Patrick. "Sanctifying Rites in Milton’s A Masque Presented at Ludlow Castle, 1634." Christianity & Literature 68, no. 2 (2018): 193–212. http://dx.doi.org/10.1177/0148333118790583.

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This article seeks to challenge Stanley Fish’s picture of the heroine of Milton’s Comus as a complete and immaculate soul, and thus a static one with no need to grow. In conversation with Book II of Edmund Spenser’s Faerie Queene, I argue that Milton presents the Christian virtues as developed through the ritual enactment of prevenient grace. Thus, the pattern for the Lady’s growth into sanctified maturity is a ceremonial or even liturgical movement intended to lead masquers and audience heavenward.

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Sherbo, A. "Gleanings from Thomas Warton's Observations on the Faerie Queene of Spenser." Notes and Queries 56, no. 2 (2009): 252–53. http://dx.doi.org/10.1093/notesj/gjp056.

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Curbet Soler, Joan. "Writing and Weaving: The Textual and the Textile in Spenser’s 1590 Faerie Queene, III.i." Sederi, no. 30 (2020): 47–68. http://dx.doi.org/10.34136/sederi.2020.3.

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Most often, Ovidian allusions are woven into Edmund Spenser’s The Faerie Queene (Books I–III, 1590) without developing into an open re-telling of myths. One significant exception occurs in Book III, Canto 1: there the action comes to a temporary stop in order to make space for a detailed description of the tapestry in the hall of Castle Joyous, which depicts the story of Venus and Adonis. This article intends to offer a reading of that episode that focuses on the importance of materiality and self-reflexivity as keys to its significance at the opening of Book III, and in the larger structure of The Faerie Queene. Here, the descriptive powers of the poet are both foregrounded and questioned, in a double movement of ekphrasis which gestures towards a serious interrogation of the value of representation, both in poetry and the visual arts. Implicitly, it is the poet (and through him, the reader him/herself) that must question his/her role and participation in the gradual and often painful awareness of the body that is foregrounded throughout Book III.

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Woodcock, M. "JANE GROGAN. Exemplary Spenser: Visual and Poetic Pedagogy in The Faerie Queene." Review of English Studies 62, no. 253 (2010): 136–38. http://dx.doi.org/10.1093/res/hgq010.

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ROCHE. ""The Faerie Queene" on Exhibit: Celebrating Four Centuries of Edmund Spenser's Poetry." Princeton University Library Chronicle 52, no. 1 (1990): 10. http://dx.doi.org/10.2307/26403781.

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Butler, Todd. "That “Saluage Nation”: Contextualizing the Multitudes in Edmund Spenser’s The Faerie Queene." Spenser Studies 19 (January 2004): 93–124. http://dx.doi.org/10.1086/spsv19p93.

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Hill, Christopher A. "Learning to Read Big Books: Dante, Spenser, Milton." Religions 10, no. 4 (2019): 291. http://dx.doi.org/10.3390/rel10040291.

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The interpretive challenges posed by dense and lengthy poems such as Dante’s Inferno, Spenser’s Faerie Queene, and Milton’s Paradise Lost can prove daunting for the average undergraduate reader whose experience of texts has been circumscribed by pedagogical mandates focused on reading for information. While information-retrieval based reading certainly has its place, the experience of reading these longer, more allegorical and symbolic poems can create in the attentive reader a far more valuable kind of learning, understood by Dante and his heirs, all working from Homeric and Virgilian models, as understanding. Each of these long poems pay very close attention to acts of interpretation, foregrounding the experiences of their characters to illustrate the proper way to move from sense, past speculation, to true understanding. Those who heed these lessons, and embrace the experience offered by the poet, find that the daunting task has been outlined as the necessary step to true knowledge rather than mere information.

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Parkin-Speer, Diane, and Thomas Francis Bulger. "The Historical Changes and Exchanges As Depicted by Spenser in the Faerie Queene." Sixteenth Century Journal 25, no. 3 (1994): 706. http://dx.doi.org/10.2307/2542667.

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Maley, Willy. "Radical Spenser: Pastoral, Politics and the New Aestheticism / Self-interpretation inThe Faerie Queene." English Studies 88, no. 6 (2007): 727–31. http://dx.doi.org/10.1080/00138380701566292.

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Prescott, Anne Lake. "Complicating the Allegory: Spenser and Religion in Recent Scholarship." Renaissance and Reformation 37, no. 4 (2001): 9–23. http://dx.doi.org/10.33137/rr.v37i4.8735.

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Presque tous les travaux récents sur la poésie d’Edmund Spenser et les convictions qui la soutiennent ont insisté sur la complexité, l’ambivalence ou l’ambiguïté de l’auteur. Certains critiques maintiennent que la situation de la religion dans l’Europe pré-moderne était flou en elle-même et qu’elle offrait plus de choix qu’une simple division entre Protestant et Catholique. D’autres mettent en valeur les nuances qui existaient même au sein d’une seule communauté confessionnelle. Et pour à peu près tous les spensériens actuels,The Faerie Queene, Amoretti et Epithalamion possèdent trop de subtilité linguistique et un esprit trop interrogatif pour être facilement classés. Cet article conclut que le traitement par Spenser de la réforme grégorienne du calendrier et les traces de textes liturgiques plus anciens Catholiques ou inspirés par le Catholicisme indiquent aussi que son imaginaire religieux était à la fois large et en quelque sorte indécis.

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Milburn, Colin. "Syphilis in Faerie Land: Edmund Spenser and the Syphilography of Elizabethan England." Criticism 46, no. 4 (2005): 597–6332. http://dx.doi.org/10.1353/crt.2005.0017.

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Mohsen, Emilien. "Sexual Generation and the “two-bodied” shapes of creatures in Edmund Spenser’s Faerie Queene." Moreana 43 & 44 (Number, no. 4 & 1-2 (2007): 150–77. http://dx.doi.org/10.3366/more.2007.43-44.4_1-2.9.

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This article follows an aspect of Spenser’s structure of the The Faerie Queene, namely that of duality, to discuss how the notion of the body is treated. This representation gives way to doubleness, if not to say problematic expression of bipolarity, someties as both male and female figures, in the process of “sexual” regeneration or creation. The article, thus, mostly highlights the role of Britomart, the heroine of Book III, and Artegall, hero of Book V, as the one is presented in an armour, brandishing a “phallic” lance, and the other is introduced in a woman’s attire. In both of them, therefore, one finds the principle of the duality of bodily representation, or as Pico della Mirandola has it, that the male and female representation can be seen as “two powers in the same substance.”

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Glasser, Marvin. "Spenser as Mannerist Poet: The "Antique Image" in Book IV of The Faerie Queene." Studies in English Literature, 1500-1900 31, no. 1 (1991): 25. http://dx.doi.org/10.2307/450442.

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Oram, William A. "Reading and Not Reading “The Faerie Queene”: Spenser and the Making of Literary Criticism." Modern Language Quarterly 82, no. 3 (2021): 376–78. http://dx.doi.org/10.1215/00267929-9090335.

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Walls, Kathryn. "The Christian Lark: Spenser’s Faerie Queene I. x.51 and Shakespeare’s Sonnet 29." Explorations in Renaissance Culture 46, no. 2 (2020): 200–218. http://dx.doi.org/10.1163/23526963-46020005.

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Abstract The likening of the lark to the Christian worshipper as in Herbert’s “Easter Wings” was anticipated by both Spenser and Shakespeare in references that have been overlooked to date. These stand in a tradition most richly represented by the early fourteenth- century French allegorist Guillaume de Deguileville, in his Pèlerinage de l’Ame, in which the pilgrim soul, guided towards the gate of Heaven by his guardian angel, finds himself surrounded by larks whose cruciform shapes in flying match their singing of the name “Jhesu.” Having fallen for the second time when fighting the dragon, Spenser’s Red Cross Knight rises on the third morning to find himself victorious. In his rising he is compared with the lark at dawn. The Edenic setting (which underlines the theme of the redemption of “fallen” man by the risen Christ) is also illuminated by Deguileville’s Ame; Spenser’s two trees are reminiscent of the “green and the dry” in the French allegory, according to which Christ appears as the apple pinned to the dry tree in reparation for the apple stolen by Adam. When one examines Shakespeare’s reference to the lark in Sonnet 29 in the light of the tradition represented by Deguileville (whose work not only Spenser but also Shakespeare might have read in English translation) the question arises as to whether the beloved addressed in line 10 (“thee”) could be Christ, and the speaker a Christian worshipper moving from self reproach to Christian gratitude. Such an interpretation is challenged by the standard assumption that the sonnets reflect a narrative produced by a love triangle. But from Petrarch’s Canzoniere on, sequences of love sonnets had contained poems of religious adoration.

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McHale, B. "Affordances of form in stanzaic narrative poetry." Literator 31, no. 3 (2010): 49–60. http://dx.doi.org/10.4102/lit.v31i3.57.

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This article develops the notion that poetry is crucially distinguished from other forms of verbal art by its foregrounding of segmentivity, the spacing of language. If a measure is regarded as the smallest unit of resistance to meaning, measure determines where gaps open up in a poetic text. Poetry is, however, not only measured, but typically countermeasured and narrative in poetry can also be countermeasured against the segmentation that is specific to narrative. The present article investigates segmentivity in one particular type of narrative poem, namely poems in discontinuous stanzaic forms. The concept of affordances (referring to different potentials for use) is applied to the stanzaic form in Edmund Spenser’s “The faerie queene” (1590; 1596) and to the “ottava rima” stanza, as exemplified by Kenneth Koch’s postmodernist narrative poem, “Seasons on earth” (1960; 1977; 1987).

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Nohrnberg, James. "“Swords, ropes, poison, fire”: The Dark Materials of Spenser’s Objectification of Despair-Assisted Suicide, with Notes on Skelton and Shakespeare." Explorations in Renaissance Culture 43, no. 2 (2017): 158–201. http://dx.doi.org/10.1163/23526963-04302003.

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In the Despair episode in Spenser’s Faerie Queene i.ix, the provocative material means for self-slaughter are emblematically doubled with the psychological inducements, particularly on the models of predecessor texts in Skelton’s Magnyfycence and the Cordela story in The Mirrour for Magistrates. The pairing of means and causes is part of a tradition. So also is the despair of a Christian believer over his own sinfulness, in the face of God’s law, as voiced by a conspiratorial evil conscience, leading to a sinful “unbelief and despair of God” (Luther) and likewise unbelief in salvation—and to an unconquerable self-accusation, which doubles the sinner with tormentors, or a diabolic Accuser, and tempts him or her to cut his/her losses, relieve his/her pain, sorrows, and world-weariness, and take his/her life. Other suicidal types in The Faerie Queene and elsewhere, who are not theologically confirmed in their wanhope or assisted by it to their end, such as Phedon or Malbecco, can nonetheless illuminate the projections, temptations, demons, and motions of the Christian despair-er, and his or her adversity, depression, distress, impatience, furor, world-weariness, melancholia, and driven-ness. The despair-er’s condition, as found in Kierkegaard’s Sickness unto Death, can be further illustrated, diagnosed, and ministered to, by means of a variety of early modern and medieval moralizing and homiletic texts. And while the death of Shakespeare’s Cordelia by hanging conforms to Spenser’s account ( fq ii.x.32), her suicidal despair is only a slander bruited by the character Edmund. Rather, it is her would-be rescuer Lear who is the picture of misery and despair.

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Lockey, Brian C. ""Equitie to measure": The Perils of Imperial Imitation in Edmund Spenser's The Faerie Queene." Journal for Early Modern Cultural Studies 10, no. 1 (2010): 52–70. http://dx.doi.org/10.1353/jem.0.0039.

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Journal articles on the topic 'Spenser, Edmund, The Faerie Queene (Spenser)'

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