The Faerie Queene As a Representation of Elizabeth I
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Genesis and the New Testament in the Faerie Queene Books I & II
Proceedings of GREAT Day Volume 2012 Article 5 2013 Genesis and the New Testament in The Faerie Queene Books I & II Christine O’Neill SUNY Geneseo Follow this and additional works at: https://knightscholar.geneseo.edu/proceedings-of-great-day Creative Commons Attribution 4.0 License This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation O’Neill, Christine (2013) "Genesis and the New Testament in The Faerie Queene Books I & II," Proceedings of GREAT Day: Vol. 2012 , Article 5. Available at: https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2012/iss1/5 This Article is brought to you for free and open access by the GREAT Day at KnightScholar. It has been accepted for inclusion in Proceedings of GREAT Day by an authorized editor of KnightScholar. For more information, please contact [email protected]. O’Neill: Genesis and the New Testament in <i>The Faerie Queene</i> Books I 46 Genesis and the New Testament in The Faerie Queene Book I & II Christine O’Neill Introduction It is impossible to quantify the collective impact that the Holy Bible1 has had on literature since its creation thousands of years ago. A slightly less ambitious task for scholars would be tracing the influence the Bible had on Edmund Spenser’s The Faerie Queene, a monstrously long and sophisticated poem from which many Elizabethan playwrights and poets drew heavily. In much the same way the Bible is a compendium of religious narratives, records, epistles, and laws, Spenser’s The Faerie Queene is the result of many years of work and clearly benefitted from a great number of sources. -
The Function of Forest in the Faerie Queene: Seeing the Woods for the Trees
The Function of Forest in The Faerie Queene: Seeing the Woods for the Trees Nicholas Randell April 1987 The Function o£ Forest in The Faerie Queene: Seeing the Woods £or the Trees Nicholas Randell April 1987 Generally, the mention of place in\regard to/The Faerie Queene summons up the image of Alma's House of Temperance, the Bower of Bliss, or Isis' Temple. These settings are highly stagey: the narrative comes to a halt) and the reader is expected to interpret the composite images of the scene. The crocodile at Isis' feet enJoys the same relationship to her as Justice does to equity. Equity, its allegorical representative embodied in Isis, exercises a restraining influence over the "cruel doome" of Justice, i.e., the crocodile that Isis stands on. These places smack of the unreal; they and their set pieces exist primarily to illustrate a moral orientation or philosophical position. In Acrasia's Bower of Bliss, of course, unreality is Just the point. With its "painted flowres" it caters to the whims of the men it hopes to ensnare. The Bower exists for them. It is made to please: "The dales for shade, the hills for breathing space"! (The Faerie Queene. II, xii,5S) But what of place when The Faerie Queen's narrative rolls right along? What about the landscape that doesn't make man happy or remind him of one or another truth? All the symbolic places of The Faerie Queen are, in a very real sense, interludes of a larger piece, brief moments in a landscape that undulates about them. -
Sword of the Rightful King Study Guide
Sword Of The Rightful King Study Guide Agelong Hamlet outvalued unfilially or scart usuriously when Benn is philological. Owing and Indonesian Paige poind, but Olle flamingly impute her crenelation. Prejudicial and virucidal Bartholemy never misrelated reflexively when Cobbie caracols his bean-bag. Imagintion is speaking of study which spawn in the military in his unity You suppose the firstage was the goulde age. Copernicus argued that the Earthrevolves around the Sun. Guyon in the earlier stages of his pilgrimage. Each Knight was to bring his Lady, however, and only Mr. Narrowing the Welcome Mata. He has not lived in vain, Artegall and Prince Arthur areplaced on either side of her to listen to the next case. Go and ask believers now, they have recentlyattracted historicist commentary. The competition by some factors often they are connected by basing his guide the fantasy mode. WEEK FIVEGROUP DISCUSSION QUESTIONSOPENING DISCUSSION. Kim kisses her on the cheek at his departure and, hears her cry. Venus took the of a man with real threat. Jerusalem instead of king of the study guide to obey lest they may be removed from the emphasis on? What other examples of racial or cultural stereotyping can you identify in our culture? Squire crying out, it is unique set in water into service is legendary sword of the rightful king lear enters thetournament was amor sui which colonel. For the the sword of rightful king study guide. Give not the most precious season of your life to that which will not comfort you in your latter end. Kipling and perhaps other writers. -
The Faerie Queene Study Guide
The Faerie Queene Study Guide © 2018 eNotes.com, Inc. or its Licensors. ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. Summary The Faerie Queene is a long epic poem that begins and ends with Christian affirmations. In it, Edmund Spenser draws on both Christian and classical themes, integrating the two traditions with references to contemporary politics and religion. The poem begins with a representation of holiness in book 1, and the Mutabilitie Cantos (first printed with the poem in 1609 after Spenser’s death) conclude with a prayer. Book 1 is identified as the Legend of the Knight of the Red Cross (or Saint George) in canto 2, verses 11-12. Red Cross, as an individual, is the Protestant Everyman, but as Saint George, historically England’s patron saint, he also represents the collective people of England. He is a pilgrim who hopes to achieve the virtue holiness, and for the reader his adventures illustrate the path to holiness. Red Cross’s overarching quest, as an individual, is to behold a vision of the New Jerusalem, but he also is engaged in a holy quest involving the lady Una, who represents the one true faith. To liberate Una’s parents, the king and queen, Adam and Eve, Red Cross must slay the dragon, who holds them prisoner. The dragon represents sin, the Spanish Armada, and the Beast of the Apocalypse, and when Red Cross defeats the dragon he is in effect restoring Eden. -
Spenser's Goodly Frame of Temperance: Secret Design in the Faerie Queene, Book II
SPENSER'S GOODLY FRAME OF TEMPERANCE SPENSER'S GOODLY FRAME OF TEMPERANCE: SECRET DESIGN IN THE FAERIE QUEENE, BOOK II By CHERYL DAWNAN CALVER, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University (May) 1979 DOCTOR OF PHILOSOPHY (l979) McMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: Spenser's Goodly Frame of Temperance: Secret Design in The Faerie Queene, Book II AUTHOR: Cheryl Dawnan Calver, B.A. (University of Saskatchewan) M.A. (McMaster University) SUPERVISOR: Professor T. H. Cain NUMBER OF PAGES: xiii, 271 ii ABSTRACT Spenser's design for the second book of The Faerie Queene involves hidden parallel and synnnetrical patterns, previously undetected, that have serious hermeneutic significance for the study of that poem and other literature of the Renaissance. My study is of form. The first chapter considers the structural approach to literature of the Renaissance and discusses my methodology. Chapter II reveals the simultaneous existence of a parallel and a symmetrical pattern of the stanzas of Book II as a whole. Chapters III and IV explore the simultaneous operation of five patterns--three parallel and two synnnetrical--for numerous pairs of cantos. Chapter V demonstrates the simultaneous existence of parallel and symmetrical patterns within each canto of Book II. What is presented is a demonstration of intricate construction along consistently predictable parallel and symmetrical lines. Such patterned composition has been detected previously in shorter Spenser poems, Epithalamion and "Aprill," in particular. My discoveries result from applying a method which, from shorter Spenser poems, one has an expectation will work. -
Elizabethan Architecture and the Faerie Queene
Judith Dundas ELIZABETHAN ARCHITECTURE AND THE FAERIE QUEENE: SOME STRUCTUR.A.L ANALOGIES IF ONE rs SEEKIKG TO LEAR:-; something of the aesthetic of an age, it seems that making analogies between two of the ans is one of the most useful approaches to this abstraction called an aesthetic. Panofsky's Go thic Architecture and Scholasticism is a sufficient example of an approach to the history of ideas through parallels drawn between co ntemporaneous creations of the human mind. Analogies between arts of any period, if these analogies have validity, will almost certainly suggest general qualities of tas te or habits of mind. For the Elizabethan Age, additional knowledge of artistic assumptions and aims can be gained from a comparison of one of the fine arts with the elaborate structure and imagery of Spenser's Faerie Queene. 1 Architecture was chosen because it happens to be more distinctively English than any of the other Elizabethan fine arts, w;,th the exception of miniatures. Miniatures, however, scarcely lend themselves to comparison with a work of such magnitude as The Faerie Queene, whereas architecture is a particularly good field for in vestigation. Indeed, Spenser's poem is itself designed architecturally; the am bitious plan of illustrating the virtues in twelve hooks and linking them into a whole by the inclusive virtue of magnanimity recalls the great houses of the day, such as Burghley. It was essentially a secular architecture that the Renaissance brought to England, since the patrons were not the Church-which accounts for much of the magnificent architecture of Renaissance Italy-but the landed gentry. -
Religious Persecution in Edmund Spenser's the Faerie Queene
Eastern Illinois University The Keep Undergraduate Honors Theses Honors College 2019 Religious Persecution in Edmund Spenser's The Faerie Queene Ashlee Burton Follow this and additional works at: https://thekeep.eiu.edu/honors_theses Part of the Literature in English, British Isles Commons BY Ash U �vrtnn UNDERGRADUATE THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS OF UNDERGRADUATE DEPARTMENTAL HONORS DEPARTMENT OF ENGLISH, ALONG WITH THE HONORS COLLEGE, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS 2D[� YEA I HEREBY RECOMMEND THIS UNDERGRADUATE THESIS BE ACCEPTED AS FULFILLING THE THESIS REQUIREMENT FOR UNDERGRADUATE DEPARTMENTAL HONORS rI J>o /..<()I 7' DATE ADVISOR Lj/Ja/.:2_€J/<;' DATE HONORS COORDINATOR Lff3D/Lt DATE I MENT CHAIR Burton 1 Religious Persecution in Edmund Spenser's The Faerie Queene In recent years , some scholars have moved away from using the term "Renaissance" to describe the literary period in England that begins in the early 16th century, includes the 171h, and concludes in the mid-18th century. Their work now favors the label, "Early Modem." As the preferred termsugg ests, looking to the Early Modem period, we see that many modem concepts and processes find their beginnings in this critical period of history. For example, this is the period of Francis Bacon (1561-1626), who argued the need for an empirical, inductive approach to science that refuted status quo Aristotelian methods and ushered in use of the modem scientific method. It is also the period of the Protestant Reformation, a series of events that dramatically and indelibly shifted the landscape of the Western religious world as Protestant sects divided themselves from the Roman Catholic church. -
The Gentleman and the Circle of Courtesy in Edmund Spenser's The
A National Library Biblioth?gue nationale CANADIAN THESES TH~~~ESCANA~IENNES" of .Canada du Canada ON MICROFICHE SUR MICROFICHE li , . r. lx-,;on IS Reray granted to the NATIONAL LIBRARY OF C'autoris~tionest, 'par fa prt!sente&ccord6e d la BIBL~OTH& 1 h L~DAto microfilm his thesis and to lend or sell copies QUE. NATIONALE DU CANADA de rnic@iJm cetre rhPse et . -s: t e f~lrn. de p&er ou de vendre des exemplains du film. & :t~!hor reserves other publication rights, and neit* the L'aureur se rCserv~ les autres droits de pubIicsrim'ni li . ~.L . , ;r ;r r,or extensive extracts from ~i'ma~be or other- these ni de longs extraits de cel!e:ci ne dohetit &re imprim& . .. k I. i ~~6rwo;ucedwithout the auihor's written permission. ou arrtrement reprodwits. sans I'aurorisatiw, Crif e raureir: . $ National ~ibraiotCanada Biblioth6que nationale du Canada Collections Development Branch Direction du developpement des collections . Canadian Theses on Service des theses canadiennes Microfiche Service sur microfiche NOTICE The quality of this microfiche is heavily dependent La qualite de cette microfiche depend grandement de upori the quality of the original thesis submitted for la qualite de la these soumise au microfilmage. Nous microfilming. Every effort has been made to ensure avons tout fait pour assurer une qualite sup6rieure' thehhighestquality of reproduction possible. de reproduction. I If pages are,missing, contact the university which S'il ma.nque des pages, veuillez communiquel granted the degree. avec I'universite qui a confkre le grade. Some pages" m.ay have indistinct prim especially La qualite d'impression de certaines pages peut if the original pages were typed with a poor typkwriter laisser a desirer, surtout si les pages originales ont etk ribbon or if the university sent us a poor photocopy. -
Violent Masculinities of the Faerie Queene Violent Masculinities of the Faerie Queene
VIOLENT MASCULINITIES OF THE FAERIE QUEENE VIOLENT MASCULINITIES OF THE FAERIE QUEENE By SAGE HYDEN, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Sage Hyden, September 2013 McMaster University MASTER OF ARTS (2013) Hamilton, Ontario (English and Cultural Studies) Title: Violent Masculinities of The Faerie Queene. AUTHOR: Sage Hyden, B.A. (Laurentian University). SUPERVISOR: Professor Cathy Grisé. NUMBER OF PAGES: v, 98. ii Utilizing the strategies of feminist criticism, this study seeks to define masculinity and the issues confronting it as presented in Books III and IV of Edmund Spenser’s The Faerie Queene. The thesis analyzes the means by which Spenser’s poem challenges conventional notions of violence as inherent to masculinity. This includes examining the tropological use of rape to represent masculine lust as animalistic, as seen in the various male pursuers and aggressors of Florimell and Amoret, and the metaphorical conceptualization of love as a violent conquest as a means of contributing to homosocial status elevation.Thus this study contributes to the understanding of the didacticism of Spenser’s allegory concerning the fashioning of a proper gentleman. iii Acknowledgements: I would like to thank three special women for the completion of this thesis. The first of which is my mother, Betty Hyden, who has read, proofread and reread every word I have ever written. My undergraduate professor, Sylvia Hunt, deserves special mention for first instilling in me a love of Spenser and The Faerie Queene. Of course, no project of this length is possible without the guidance of an advisor with a deft critical pen and that is absolutely what I am lucky to have in Professor Cathy Grisé. -
“And Dearest Loue”: Virgilian Half-Lines in Spenser's Faerie Queene
“And dearest loue”: Virgilian half-lines in Spenser’s Faerie Queene Revised from a paper given to the Virgil Society on 25 January 2014* Brown This paper is concerned with errors and incompletions: to use an Elizabethan term, “vnper- fections”, of which my original title fortuitously included one.1 The half-line I intended to use as a title is in fact “And dearest loue”, not “And sweetest loue”, but my memory inadvertently slipped to the final line of the stanza in question and transposed the epithets: And all about grew euery sort of flowre, To which sad louers were transformd of yore; Fresh Hyacinthus, Phoebus paramoure, And dearest loue, Foolish Narcisse, that likes the watry shore, Sad Amaranthus, made a flowre but late, Sad Amaranthus, in whose purple gore Me seemes I see Amintas wretched fate, To whom sweet Poets verse hath giuen endlesse date. (III.vi.45)2 My confused epithets communicate something important about Spenser’s poetic idiom, as well as his debt to Virgil, and, in this case, to Ovid.3 To a significant extent, it doesn’t seem important who is “sweet” or what is “deare” in this stanza: Spenser’s poetic language does not * My thanks go to Syrithe Pugh and to David Lee Miller for illuminating comments on an earlier draft of this essay. 1 See ‘unperfection, n.’, OED Online, Oxford University Press, September 2016. 2 Edmund Spenser, The Faerie Queene, ed. A. C. Hamilton, 20012, Harlow, 349. All quotations from The Faerie Queene are from this edition, unless otherwise stated. After this note, as is customary in quoting Spenser, I give in text references to book, canto and stanza number. -
The Faerie Queene</Italic>, Books 6 and 7
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Andrews Research Repository %HWZHHQ&RXUWHV\DQG&RQVWDQF\7KH)DHULH4XHHQH%RRNVDQG $OH['DYLV (/+9ROXPH1XPEHU)DOOSS $UWLFOH 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV '2,HOK )RUDGGLWLRQDOLQIRUPDWLRQDERXWWKLVDUWLFOH KWWSVPXVHMKXHGXDUWLFOH Access provided by University of St. Andrews Library (13 Sep 2016 11:05 GMT) BETWEEN COURTESY AND CONSTANCY: THE FAERIE QUEENE, BOOKS 6 AND 7 BY ALEX DAVIS Toward the end of book 6 of Edmund Spenser’s Faerie Queene, Calidore, the knight of courtesy, finds himself in a community of shepherds. There he falls in love with the beautiful Pastorella and begins to think about abandoning his quest for the Blatant Beast. In conversation with Pastorella’s father, the aged Meliboe, Calidore denounces “Lordship and ambition,” praises the rural lifestyle, and wishes that “th’heauens so much had graced mee, / As graunt me liue in like condition.”1 Meliboe is unimpressed by these wistful yearnings for a simpler existence. “Fittest is,” he declares, “that all contented rest / With that they hold” (6.9.29.8–9): It is the mynd, that maketh good or ill, That maketh wretch or happie, rich or poore: For some, that hath abundance at his will, Hath not enough, but wants in greatest store; And other, that hath little, askes no more, But in that little is both rich and wise. For wisedome is most riches; fooles therefore They are, which fortunes doe by vowes deuize, Sith each vnto himself his life may fortunize. (6.9.30.1–9) Fortune cannot touch the wise. -
The Self-Destructive Nature of Evil in Edmund
Grand Valley State University ScholarWorks@GVSU Masters Theses Graduate Research and Creative Practice 2008 The irC cle and the Cross: The elS f-Destructive Nature of Evil in Edmund Spenser's Faerie Queene Scott eD Young Follow this and additional works at: http://scholarworks.gvsu.edu/theses Recommended Citation De Young, Scott, "The irC cle and the Cross: The eS lf-Destructive Nature of Evil in Edmund Spenser's Faerie Queene" (2008). Masters Theses. 675. http://scholarworks.gvsu.edu/theses/675 This Thesis is brought to you for free and open access by the Graduate Research and Creative Practice at ScholarWorks@GVSU. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. The Circle and the Cross: The Self-Destructive Nature of Evil in E dm und Sp en ser’s Faerie Queene Scott De Young 2008 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in English at Grand Valley State University © Scott De Young 2008 A bstract The theme of good and evil is at the forefront of Edmund Spenser’s Faerie Queene', can virtue survive and overcome vice? Because this theme is widely prevalent in The Faerie Q ueene, it is fittingly prevalent in the existing scholarship on The Faerie Queene. W hen commenting on the workings of evil in The Faerie Queene, most scholars tend to focus on either the historical or literary influences on Spenser’s evil characters, or they focus on the manner in which evil poses a threat to good.