Faerie Queene Faery Queen : by Edmund Spenser (1590-96), a masterpiece in six books giving allegorical expression to his moral, political, & religious opinions. The stanza he created, the ‘Spenserian stanza’, is his chief contribution to English poetry.
... Spenser is as good as forgotten, while Chaucer with his generally less poetic temper persists. But to the true lover of poetry who is not altogether lost in the whirlpools of the life-force the "Faerie Queene" must always remain delightful despite its allegorical remoteness and its structural ambiguity. For there are so many individual scenes and episodes rich in the poetic vein that to skip Spenser... That still are wont t'annoy the wall è d town, Might there be heard; but careless quiet lies Wrapt in eternal silence, far from enemies. With such passages cropping up in the "Faerie Queene", it is critical perversity to regard it as worthless; when, however, we are asked to weigh its total coinage of fancy there need be no prejudice in its favour to prevent its very unequal intensity... unmistakable as Shakespeare's and Milton's, and it is the surest test of critical judgment to find amidst contemporary excitements an impartial hour for appreciating the languid greatness of the "Faerie Queene". Page 13 ...
... Toy-Cart and Elizabethan historic and melodramatic pieces, the poetry of the Cloud-Messenger and erotic Elizabethan poetry, the romantically vivid and descriptive narrative method of Spenser's Faerie Queene and the more intellectually romantic vividness and descriptive elaborateness of the Line of Raghu , the tone and manner of Drayton and that of the much greater work of Bharavi. This kinship arises ...
... Spenser, the poet of second magnitude of the time, gives us in his work this beauty in its fullest abundance, but also the limited measure of that greater but not quite successful endeavour. The Faerie Queene is indeed a poem of unfailing imaginative charm and its two opening cantos are exquisite in execution; there is a stream of liquid harmony, of curiously opulent, yet finely tempered description ...
... Shakespeare, from equalling the nobler work of other great periods of dramatic poetry. It throws its limiting shade over English narrative poetry, which after its fresh start in the symbolism of the Faerie Queene and the vital intensity of Marlowe ought either to have got clear away from this first motive or at least to have transmuted it by the infusion of much higher artistic motives. To give only one ...
... "Onward, onward, all to the front With vibrant songs of victory...." This can be sung in the same tune as Bengali. Edmund Spencer (1552-1599): English poet. The Faerie Queene is his major contribution to English Poetry. It is a long dense allegory in the epic form of Christian virtues, tied into England's mythology of King Arthur. Anacreon (563-478 BCE): Greek ...
... I am not sure how this helped me add to my knowledge of warfare or my skill in the art of fighting. During my last days in College, I used to study Mazzini in place of King John or The Faerie Queene. One day I suddenly discovered that they had removed my Mazzini from the shelves of the library, and even the Life and Death of Socrates by Plato had disappeared. These books were no doubt supposed ...
... " I am not sure how this helped me add to my knowledge of warfare or my skill in the art of fighting. During my last days in College, I used to study Mazzini in place of King John or The Faerie Queene. One day I suddenly discovered that they had removed my Mazzini from the shelves of the library, and even the Life and Death of Socrates by Plato had disappeared. These books were no doubt ...
... has its value. Allegory is an intellectual form; one is not expected to believe in the personalisation of the abstract quality, it is only an artistic device. When in an allegory as in Spenser's Faerie Queene the personalisation, the embodiment takes first place and absorbs the major part of the mind's interest, the true style and principle of this art have been abandoned. The allegorical purpose here ...
... not to a great depth. Sri Aurobindo hits off very well the Spenserian Page 62 achievement in Romanticism as compared with the Shakes-pearian. After noting in the poet of The Faerie Queene a fault in the initial conception, a failure due to an over-absorption in the allegorical turn and to the weaving of an over-tangled skein of allegory, and after pointing out also defects in ...
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