1 edition of Allegory, Space and the Material World in the Writings of Edmund Spenser (Studies in Renaissance Literature) found in the catalog.
|LC Classifications||July 20, 2006|
|The Physical Object|
|Pagination||xvi, 54 p. :|
|Number of Pages||81|
nodata File Size: 5MB.
The View is not a descriptive work; there is nothing in the style to indicate that it was written by a poet; it js an elaborate state paper, the exposition in the form of a dialogue of a minutely considered plan for the pacification of Ireland, written out of zeal for the public service for the eyes of the government of the day.
1370—90]The Vision of Piers Plowman, Dent and Dutton, London. The five-rhyme restriction in the Italian octave-plus-sestet pattern abbaabba cdecde was adapted to fit the English pattern of three quatrains plus couplet; instead of the seven rhymes used in most English sonnets, the interlocked rhymes of the Spenserian quatrains created a more intricate, as well as more restricted, form abab bcbc cdcd ee. The two scholarly discourses on memory and bodies on the one hand, and on materiality and poetics on the other, have been running alongside one another without intersecting; yet for early modern poets and intellectuals, I argue, memory, bodies, and poetry were in constant conversation.
An Irish Tower House, Four Courts Press, Dublin. Fletcher, then, is keenly aware of the complications of writing a serious allegory; he is in on all jokes of this kind, especially those seemingly at his own expense. As depictions of landscape reveal social, religious, and national concerns, so too the challenges to each knight in uncertain moral territory are played out a manner that is demonstrably connected to how Spenser and his contemporaries saw England.
He is, according to his testimony, the first and only mortal soul to see Paradise after graduating from the allegoric Armageddon of Hell and Purgatory.
The Spenserian Poets: A Study in Elizabethan and Jacobean Poetry. The discourse of authorization, then, is always inaccessible to the immediate apprehension of its audience, and therefore is absolute in its position. As Healy observes, "The body's order, the poem makes abundantly clear, is constructed around one overriding principle: it must be defended" 345.
Fletcher thus imagines an "individual body, England, and the whole world are rescued by external, divine and unquestionably male forces" Healy 350. The Prothalamion celebrates the marriage of 2 ladies of the Worcester family; and he bewailed the death of Sir Philip Sidney and the Earl of Leicester. The political part of the design does not seem to have even come into sight of the poet.
The Red Cross Knight, the hero of book 1, where he represents both England's patron, Saint George, and Christian man in search of Holiness.
 The cards are interesting because they reveal a sense of pride in the nation through their praise of the physical land in verses which accompany the miniature maps.
Studies on Castles and other Monuments in Honour of David Sweetman, Wordwell, Bray, pp. It is always already an allegory for an order of another scale, and necessarily an imperfect one 1162.
When he stopped the fight, the truth was revealed; the strange knight was really the lovely Britomart, a chaste and pure damsel, who had seen the image of her lover, Artegall, in Venus' looking glass and had set out in search of him.