The Faerie Queene
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Marcello Mercado in Medias Res
Press Release MARCELLO MERCADO IN MEDIAS RES Paintings, drawings, objects, video art Goethestraße 2-3, 10623 Berlin Entrance B via the courtyard September 3, 2016 - Oktober 26, 2016 Marcello Mercado, Heinrich, Acryl, Bleistift, 2015. Opening: September 2 2016, 7 - 9 pm Courtesy: The artist and Galerie Bernet Bertram, Berlin The artist is present. Gallery Bernet Bertram is pleased to present the upcoming exhibition by Marcello Mercado, featuring several of his paintings, large scale drawings, objects, and video and audio art. Marcello Mercado’s work is research as practice: the artist engages with a culture of experimentation and his work spans a wide range of media of equal importance. Analogue working methods form a vital part of the artist's work, in addition to his use of data string processing, genetic materials and advanced technologies as media, which he engages with playfully as if he were playing a keyboard. He is a poetic artist; both a transformer and seismograph, he bridges gaps between digital and organic worlds. Mercado's canvases in oil, acrylic, and pigment move between the fictitious and the real, the figurative and the abstract. The artist dedicates himself to ethical and philosophical themes in his use of dark and illuminated areas of the image as displayed in his works 'Schwarzes verwundete s Tier 1/2', 'The Location' and 'Schnee', where dominant dark purple and black, or pale blue tones and patches of colour in vibrant magenta open up new perspectives. Mercado works against the light once again in his large scale painting 'Heimatlicht', a work that serves as a memory of his Argentinean roots and resembles a wall spanning mural. -
(#) Indicates That This Book Is Available As Ebook Or E
ADAMS, ELLERY 11.Indigo Dying 6. The Darling Dahlias and Books by the Bay Mystery 12.A Dilly of a Death the Eleven O'Clock 1. A Killer Plot* 13.Dead Man's Bones Lady 2. A Deadly Cliché 14.Bleeding Hearts 7. The Unlucky Clover 3. The Last Word 15.Spanish Dagger 8. The Poinsettia Puzzle 4. Written in Stone* 16.Nightshade 9. The Voodoo Lily 5. Poisoned Prose* 17.Wormwood 6. Lethal Letters* 18.Holly Blues ALEXANDER, TASHA 7. Writing All Wrongs* 19.Mourning Gloria Lady Emily Ashton Charmed Pie Shoppe 20.Cat's Claw 1. And Only to Deceive Mystery 21.Widow's Tears 2. A Poisoned Season* 1. Pies and Prejudice* 22.Death Come Quickly 3. A Fatal Waltz* 2. Peach Pies and Alibis* 23.Bittersweet 4. Tears of Pearl* 3. Pecan Pies and 24.Blood Orange 5. Dangerous to Know* Homicides* 25.The Mystery of the Lost 6. A Crimson Warning* 4. Lemon Pies and Little Cezanne* 7. Death in the Floating White Lies Cottage Tales of Beatrix City* 5. Breach of Crust* Potter 8. Behind the Shattered 1. The Tale of Hill Top Glass* ADDISON, ESME Farm 9. The Counterfeit Enchanted Bay Mystery 2. The Tale of Holly How Heiress* 1. A Spell of Trouble 3. The Tale of Cuckoo 10.The Adventuress Brow Wood 11.A Terrible Beauty ALAN, ISABELLA 4. The Tale of Hawthorn 12.Death in St. Petersburg Amish Quilt Shop House 1. Murder, Simply Stitched 5. The Tale of Briar Bank ALLAN, BARBARA 2. Murder, Plain and 6. The Tale of Applebeck Trash 'n' Treasures Simple Orchard Mystery 3. -
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. -
READING POUND : SEVEN 1. So That the Vines Burst from My Fingers and the Bees Weighted with Pollen Move Heavily in the Vine-Sho
READING POUND : SEVEN 1. So that the vines burst from my fingers And the bees weighted with pollen Move heavily in the vine-shoots: chirr--chirr--chir-rikk--a purring sound, And the birds sleepily in the branches. ZAGREUS! IO ZAGREUS! With the first pale-clear of the heaven And the cities set in their hills, And the goddess of the fair knees Moving there, with the oak-wood behind her, The green slope, with the white hounds leaping about her; And thence down to the creek's mouth, until evening, Flat water before me, and the trees growing in water, Marble trunks out of stillness, On past the palazzi, in the stillness, The light now, not of the sun. Chrysophrase, And the water green clear, and blue clear; On, to the great cliffs of amber. Between them, Cave of Nerea, she like a great shell curved, And the boat drawn without sound, Without odour of ship-work, Nor bird-cry, nor any noise of wave moving, Within her cave, Nerea, she like a great shell curved In the suavity of the rock, cliff green-gray in the far, In the near, the gate-cliffs of amber, And the wave green clear, and blue clear, And the cave salt-white, and glare-purple, cool, porphyry smooth, the rock sea-worn. No gull-cry, no sound of porpoise, Sand as of malachite, and no cold there, the light not of the sun. Zagreus, feeding his panthers, the turf clear as on hills under light. And under the almond-trees, gods, with them, choros nympharum. -
Soteriology in Edmund Spenser's 'The Faerie Queene'
SOTERIOLOGY IN EDMUND SPENSER’S THE FAERIE QUEENE by STUART ANTHONY HART A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of English Literature School of English, Drama and American and Canadian Studies College of Arts and Law University of Birmingham March 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The thesis demonstrates the extent to which the sixteenth-century allegorical epic poem, The Faerie Queene, engages with early modern theories of salvation. Much has been written about Spenser’s consideration of theological ideas in Book I and this has prompted scholars to speculate about the poet’s own doctrinal inclinations. However, little has been written about the ways in which the remaining books in the poem also explore Christian ideas of atonement, grace and damnation. This study advances Spenserian scholarship by stressing the soteriological dimension of books II, III, IV and VI. It considers how the poem’s doctrinal ambiguity would have meant that Spenser’s readers would have been able to interpret the poem in terms of the different schools of thought on the conditionality, or otherwise, of election and reprobation. -
Spenser's Method of Grace in the Legends of Holiness, Temperance
Spenser’s Method of Grace in the Legends of Holiness, Temperance, and Chastity A thesis submitted to the Graduate School Valdosta State University in partial fulfillment of requirements for the degree of MASTER OF ARTS in English in the Department of English of the College of Humanities and Social Science May 2020 Rachel A. Miller BA, The Baptist College of Florida, 2017 i © Copyright 2020 Rachel A. Miller All Rights Reserved ii ABSTRACT The knights Redcrosse, Guyon, and Scudamour from The Faerie Queene are tasked with quests that curiously do not depend on wit or strength. Rather, the quests depend on each knight’s virtue and his acceptance of grace, the supreme virtue for Spenser. Through the wanderings of each knight, Spenser shows that there is a method of grace fashioned specifically for each knight’s quest both physical and spiritual that always requires the knights to reject false images of grace in exchange for God’s true grace. Grace will not abandon Gloriana’s knights, but as Guyon and Scudamour’s stubborn rejection of this virtue teaches, when grace is rejected, divine harmony, the loving cooperation between God and humanity that Redcrosse glimpses at the end of his quest, will be broken and replaced with fear and all the vices that follow it. iii TABLE OF CONTENTS Chapter I: INTRODUCTION………………………………………………………….1 Spenser’s World: The Faerie Queene’s Historical Context ..............................2 Chapter 2: WHEN A CLOWNISH YOUNG MAN SLAYS A DRAGON…………..13 Redcrosse Receives His Calling………………………………………………13 Discovering Truth……………………………………………………………..16 -
National Pastime a REVIEW of BASEBALL HISTORY
THE National Pastime A REVIEW OF BASEBALL HISTORY CONTENTS The Chicago Cubs' College of Coaches Richard J. Puerzer ................. 3 Dizzy Dean, Brownie for a Day Ronnie Joyner. .................. .. 18 The '62 Mets Keith Olbermann ................ .. 23 Professional Baseball and Football Brian McKenna. ................ •.. 26 Wallace Goldsmith, Sports Cartoonist '.' . Ed Brackett ..................... .. 33 About the Boston Pilgrims Bill Nowlin. ..................... .. 40 Danny Gardella and the Reserve Clause David Mandell, ,................. .. 41 Bringing Home the Bacon Jacob Pomrenke ................. .. 45 "Why, They'll Bet on a Foul Ball" Warren Corbett. ................. .. 54 Clemente's Entry into Organized Baseball Stew Thornley. ................. 61 The Winning Team Rob Edelman. ................... .. 72 Fascinating Aspects About Detroit Tiger Uniform Numbers Herm Krabbenhoft. .............. .. 77 Crossing Red River: Spring Training in Texas Frank Jackson ................... .. 85 The Windowbreakers: The 1947 Giants Steve Treder. .................... .. 92 Marathon Men: Rube and Cy Go the Distance Dan O'Brien .................... .. 95 I'm a Faster Man Than You Are, Heinie Zim Richard A. Smiley. ............... .. 97 Twilight at Ebbets Field Rory Costello 104 Was Roy Cullenbine a Better Batter than Joe DiMaggio? Walter Dunn Tucker 110 The 1945 All-Star Game Bill Nowlin 111 The First Unknown Soldier Bob Bailey 115 This Is Your Sport on Cocaine Steve Beitler 119 Sound BITES Darryl Brock 123 Death in the Ohio State League Craig -
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. -
Boy Toys and Liquid Joys: Pleasure and Power in the Bower of Bliss
Boy Toys and Liquid Joys: Pleasure and Power in the Bower of Bliss JOSEPH CAMPANA Rice University Early in Edmund Spenser’s The Faerie Queene (1590), the Redcrosse Knight, just having departed the House of Pride, rests by a fountain “Disarmed all of yron-coted Plate” (1.7.2).1 The duplicitous Duessa will soon discover him in this vulnerable state, as will the giant Orgoglio, who defeats Redcrosse largely as a result of his separation from Una. Although his companion dwarf has warned him away from the House of Pride, with its parading vices and rotting foundations, Redcrosse’s moral and psychic states justify his defeat at the hands of the giant, who finds him “Pourd out in loosnesse on the grassy grownd” (1.7.7). Spenser, however, takes extra time to explain Redcrosse’s lassitude. The fountain from which he drinks bubbles up from a mythic sub- strate. In these waters dwells a nymph suffering from Phoebe’s curse who, having wearied during a hunt and rested, was fixed to the spot: “her waters wexed dull and slow / And all that drinke thereof, do faint and feeble grow” (1.7.5). After Redcrosse drinks, his “chearefull bloud in fayntnes chill did melt” (1.7.6). It would be easy to read this upwelling mythographic moment as a concretization and a condemnation of Redcrosse’s moral situation. However, the fountain remains, as either a narrative or allegorical detail, superfluous. Superfluity is precisely its point, inasmuch as these episodes are concerned with the excess and scarcity of flows of pleasure and energy. -
"Ego, Scriptor Cantilenae": the Cantos and Ezra Pound
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 1991 "Ego, scriptor cantilenae": The Cantos and Ezra Pound Steven R. Gulick University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©1991 Steven R. Gulick Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Literature in English, North America Commons Recommended Citation Gulick, Steven R., ""Ego, scriptor cantilenae": The Cantos and Ezra Pound" (1991). Dissertations and Theses @ UNI. 753. https://scholarworks.uni.edu/etd/753 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. "EGO, SCRIPTOR CANTILENAE": THE CANTOS AND EZRA POUND An Abstract of a Thesis Submitted in Fulfillment of the Requirements for the Degree Master of Philosophy Steven R. Gulick University of Northern Iowa August 1991 ABSTRACT Can poetry "make new" the world? Ezra Pound thought so. In "Cantico del Sole" he said: "The thought of what America would be like/ If the Classics had a wide circulation/ Troubles me in my sleep" (Personae 183). He came to write an 815 page poem called The Cantos in which he presents "fragments" drawn from the literature and documents of the past in an attempt to build a new world, "a paradiso terreste" (The Cantos 802). This may be seen as either a noble gesture or sheer egotism. Pound once called The Cantos the "tale of the tribe" (Guide to Kulchur 194), and I believe this is so, particularly if one associates this statement with Allen Ginsberg's concerning The Cantos as a model of a mind, "like all our minds" (Ginsberg 14-16). -
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. -
Xerox University Microfilms
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