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    Edmund Spenser

     


    07/08/2024
    Amoretti and Epithalamion cover

    Amoretti and Epithalamion

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    “These Sonnets furnish us with a circumstantial and very interesting history of Spenser’s second courtship, which, after many repulses, was successfully terminated by the marriage celebrated in the Epithalamion. As these poems were entered in the Stationers’ Registers on the 19th of November, 1594, we may infer that they cover a period of time extending from the end of 1592 to the summer of 1594. It is possible, however, that these last dates may be a year too late, and that Spenser was married in 1593. We cannot be sure of the year, but we know, from the 266th verse of the Epithalamion, that the day was the feast of St. Barnabas, June 11 of the Old Style. In the 74th sonnet, we are directly told that the lady’s name was Elizabeth. In the 61st, she is said to be of the “Brood of Angels, heavenly born.” From this and many similar expressions, interpreted by the laws of Anagram, and taken in conjunction with various circumstances which do not require to be stated here, it may be inferred that her surname was Nagle.” (Summary by Francis James Childe)     [chương_files]  

    04/08/2024
    Faerie Queene (version 2) cover

    Faerie Queene (version 2)

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    Spenser planned a 24-book romance-epic consisting of two parts, of which he completed half of the first. The first twelve books were to illustrate the development of virtues within the individual soul, and the second twelve were to depict the application of these moral virtues to remedying evils that afflict the world. Each of the first set of quests was to begin at the court of the Fairy Queen, Gloriana, and the knights were to return thither after having defeated some foe representing a personal weakness. Having thus proved themselves, they were qualified to undertake the second quests, in the world. The neat plan becomes somewhat muddled by Book 3, which nevertheless contains the philosophical core of the poem’s allegorical structure: the Platonic notion that love (grace) unifies the cosmos and draws the will, through the pursuit of beauty, into virtuous action, returning to God at last in worship. The plot structure of the poem is rich and complex, with many strands interlinked and overlapping, each replete with allegorical significance. (Summary by Thomas Copeland)     [chương_files]