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Edmund Spenser (/ ˈspɛnsər /; 1552/1553 – 13 January O.S. 1599) [ 2 ][ 3 ] was an English poet best known for The Faerie Queene, an epic poem and fantastical allegory celebrating the Tudor dynasty and Elizabeth I.
The characters of Spenser’s Faerie Queene (1590, 1596) especially resist division into allegorical and nonallegorical forms, because of the uneven way the poem blends allegory into conventions of epic and romance.
THE SPENSERIAN DYNAMICS as the central impulse of Spenser's thought, and shows how his poetry reveals "the emergence of order from chaos and of friendship from enmity" (p. 17) in numerous forms and contexts. The discordia concors, however, is in itself so gen-eral that it can be applied to anything with minimal effort,
29 Νοε 2017 · Introduction. The poetry of Edmund Spenser (b. c. 1552–d. 1599) was canonical in Spenser’s own lifetime, and it has generated critical and scholarly attention second only to that devoted to Shakespeare.
Taking a clue from the Book of Revelation, which identifies Satan as a dragon that has enslaved human beings (the fallen descendants of Adam and Eve) and is the great enemy of the Church, the reader might take Una as a “conceit” for the universal body of believers as it has acted through history.
The less truculent Bedell implies a similarly uncomplicated view of Spenser in his poorly executed Spenserian poem, The Shepherds Tale of the Pouder-Plott, which takes as inspiration the Spenserian pastoral satire of The Shepheardes Calender and produces instead pastoral panegyric for King James I. In these two views of what “Spenser” meant ...
Abstract. The Spenserian stanza is the poet’s chief engine for organizing the ongoing, ever-expanding movement of his allegorical poem, an emblem of his attempt to order time and to discover the emergent orders of time, something exemplified in this essay by a crucial stanza from the Garden of Adonis, which shows well the form’s intricacy ...
