Edmund Spencer-Literary life

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Name:- Sanjaykumar N Jogadiya

Subject:- Paper 1. The Renaissance Literature

Topic:- Edmund Spencer-Literary life

Part:- M.A. Sem-1

Email Id: snjogadiya@amail.com

Submitted: Smt. S.B. Gardi Department of English MKB                                         University.

Edmund Spencer-Literary life

Edmund Spencer- Poet's poet

Edmund Spencer was called "the poet of the poet" because of his very high quality of his poetry and his "deep mastery of his art." He is also called because many other poets thought he was a great poet. He dedicated many of his adult life's energies. Born in London in the early 1550s, Spencer was raised in the early years of the early Elizabethan rule and lived only a few years after his death. His career and beliefs that he manifested throughout his adult life were closely tied to the contradictory physical practices and ideological struggles of the Elizabethan rule, which included the nature and value of the 'literary' experience and, therefore, the whole concept of 'literary' life. Some of the great poets to praise him include John Milton (who wrote Paradise Lost), John Dryden, John Keats (most famous for "OddIsn’t a Grecian Year") and William Wordsworth ("Famous for romantic poems like The World"). General Chat Chat Lounge General Chat Chat Lounge To Much With Our ").

The English essayist and poet Charles Lamb (1775 - 1834) named Edmund Spencer the "poet's poet" for the unique innovations of his poetry. Scholars often begin with Chaucer in English literature, Edmund Spencer progressed English poetry in a way that inspired and influenced poets of different national identities. Arguably, if it had not been Edmund Spencer, English literature would have been national; However, Edmund Spencer's work elevated English poetry around the world, contributing significantly to the English Renaissance. Other poets and writers who have been inspired by Edmund Spencer include John Milton, William Blake, William Wordsworth, Alexander Pope, John Keats, Lord Byron, Alfred Lord Tennyson and sc Scurry Wilde. Edmund Spencer's The Fairy Queen especially earned his status as "poet's poet." Before the creation of the sentence "Charles the Poet" by Charles Lamb, Edmund Spencer's contemporary Water Riley was praised poetically for his most valuable work in the English language. In Camille Paglia's Sexual Personae, a whole chapter is devoted to Edmund Spencer's epic and its singular significance to all Western art and literature.

The Poetical Works of Edmund Spenser.'

The seeded of most entire loue & humble affection into that most braue Knight your noble brother deceased; which taking root began in his lifetime somewhat to bud forth MOST Honorable and bountiful Lady, there bee long sit hens deeper sowed in my Brest,: and to show themselves to him, as then in the weakness of their first spring. And would in their riper strength (had it pleased high God till then to draw out his daies) spired forth the fruit of more perfection. But since God hath disdained the world of that noblest Spirit, which was the hope of all learned men, and the Patron of my young Muses; together with him both their hope of any further fruit was cut off: and also the tender delight of those their first blossoms nipped and quite dead. Yet sit hens my late Cumming into England, some friends of mine (which might much prevail with me, and indeed command me) knowing with howe straight bands of due tie I was tied to him: as also bound veto that noble house, (of which the chief hope then rested in him) have sought to require them by upbraiding me: for that I have not shown any thankful remembrance towards him or any of them, but suffer their names to sleep in silence and forgetfulness. Whom chiefly to satisfied, or ells to avoided that fowled blot of intake fullness, as I have conceited this small Poem, instituted by a general name of the Ruins of the world: yet specially intended to the renaming of that noble race, from which both you and he sprung, and to the eternizing of some of the chief of the late deceased. The I dedicate veto your La. as whom it most especially concerned: and to whom I acknowledge myself bounden, by mania singular fatuous & great graces. I pray for your Honorable happiness’: & so humbly kisses your hades.

 THE FAERY QUEEN.

Gloria, the Faerie Queen, is holding her annual twelve-day feast. As is the custom, anyone in trouble can appear before the court and ask for a champion. The fair lady Unna comes riding on a white ass, accompanied by a dwarf. She complains that her father and mother are shut up in a castle by a dragon. The Red Cross Knight offers to help her, and the party sets out to rescue Unna’s parents. In a cave, the Red Cross Knight encounters a horrible creature, half serpent, half woman. Although the foul stench nearly overpowers him, the knight slays the monster. After the battle, the Red Cross Knight and Unna lose their way. A friendly stranger who offers them shelter is really Arch imago, the wicked magician. By making the Red Cross Knight dream that Unna is a harlot, Arch imago separates Unna from her champion.

Unna goes on her way alone. Arch imago quickly assumes the form of the Red Cross Knight and follows her to do her harm. Meanwhile, the Red Cross Knight falls into the company of Dues’, an evil enchantress. They meet the great giant Rogelio, who overcomes the Red Cross Knight and makes Dues’ his mistress. Prince Arthur, touched by Unna’s misfortunes, rescues the Red Cross Knight from Orgoglio and leads him to Unna. Once again Unna and her champion ride on their mission. At last, they come to Unna’s kingdom, and the dragon that imprisoned her parents comes out to do battle. After two days of fighting, the Red Cross Knight overthrows the dragon. After the parents are freed, the Red Cross Knight and Unna are betrothed. Still hoping to harm the Red Cross Knight, Arch imago tells Sir Guymon that the Red Cross Knight despoiled a virgin of her honor. Shocked, Guyon sets out to right the wrong. The cunning Arch imago disguises Dues’ as a young girl and places her on the road, where she tells a piteous tale of the wrong done by the Red Cross Knight and urges Guyon to avenge her. When Guyon and the Red Cross Knight meet, they lower their lances and begin to fight. Fortunately, the signs of the Virgin Mary on the armor of each recall them to their senses, and Guyon is ashamed that he was tricked by the magician.

In his travels, Guyon falls in with Prince Arthur, and the two visit the Castle of Alma, the stronghold of Temperance. The most powerful enemy of Temperance is the demon Maligner. In a savage battle, Prince Arthur vanquishes Maligner. Guyon goes on to the Bower of Bliss, where his archenemy Acres lives. With a stout heart, Guyon overthrows Acres and destroys the last enemy of Temperance. After sending Acres back to the fairy court under guard, Guyon and Prince Arthur go on their way until on an open plain they see a knight arming for battle. With Prince Arthur’s permission, Guyon rides against the strange knight, and in the meeting, Guyon is unhorsed by the strong lance of his opponent. Ashamed of his fall, Guyon snatches his sword and continues the fight on foot.

The palmer, attending Guyon, sees that the champion cannot prevail against the stranger, for the strange knight is enchanted. When he stops the fight, the truth is revealed: The strange knight is really the lovely Britomart, a chaste and pure damsel, who saw the image of her lover, Artegall, in Venus’s looking-glass and sets out in search of him. With the situation explained, Britomart joins Guyon, Prince Arthur, and Arthur’s squire, Times, and the four continue their quest. In a strange wood, they travel for days, seeing no one, but everywhere they meet bears, lions, and bulls. Suddenly a beautiful lady on a white palfrey gallops out of the brush. She is Florimell, pursued by a lustful forester who spurs his steed cruelly in an attempt to catch her. The three men join the chase, but out of modesty, Britomart stays behind. She waits a long time; then, despairing of ever finding her companions again, she goes on alone.

CHARACTERISTICS OF SPENSER'S POETRY.

characteristics in Renaissance ' s poems sir Walter Ralesh :

 Ralkesh ' s poems often suggest a man playing out a role or a series of roles as the formal knightly lover, 5 the courtly poet, or as the bold actor in a drama of passion, adventure, and mortality . ! Many of the fragmentary translations from classical writers included in The History of the World reinforce the idea of a latter-day stoic whose morale is supported by the hope of Christian resurrection. Ralegh s powerful lyric ' The Le ' goes against a court which glows And shines like rotten wood ' , the body of his poetry is overtly supportive of the Queen - centered courtly Culture which Elizabeth ' s propagandists presented as an ideal. The Queen ruled a court that embodied the idea of unchanging perfection. Less paganly, the fact that Elizabeth ' s birthday fell on the Christian feast of the Nativity of the Blessed Virgin Mary was regarded as a sign of her partaking both of the grace and of the honor accorded to the second Eve. Edmund Spenser His play The Faerie Queene is influenced by The image of Elizabeth of 1588. It may well have contributed to the Queen, the warrior virgin, Britomart. Spenser had modeled Britomart on a parallel figure in Ariosto ' s Orlando Furioso and had adapted her name from that of a character in a poem by Virgil. Elizabeth is effectively present in each of the six massive books of The Faerie Queene. Spenser looked back on the past from an essentially Renaissance perspective, and with modern Italian models in mind, hs allegory and his language Suggest a more intmediate response to native literary traditions.

Edmund Spenser: His play The Faerie Queen is influenced by The image of Elizabeth of 1588. It may well have contributed to the Queen, the warrior virgin, Britomart Spenser had modeled Britomart on a parallel figure in Ariosto's Orlando Furious and had adapted her name from that of a character in a poem by Virgil. Elizabeth is effectively present in each of the six massive books of The Faerie Queen, Spenser looked back on the past from an essentially Renaissance perspective, and with modern Italian models in mind, his allegory and his language suggest a more immediate response to native literary traditions The Faerie Queen demands a response both to a literal meaning and to a series of allegorical constructions (historical, moral, mystical, socio-political). Much as his characters face moral choices and dilemmas, so Spenser's readers need both to deconstruct his metaphors and to discriminate between a variety of possible 'meanings. Chaucer was also a major influence on Spenser's style. Spenser's own poetic language was an artificial language which served to draw attention to the very artifice of his poem. It recalled the romance through its terminology, armorial adjectives, and its stock comparisons, but it also served to alert readers to the anti-naturalistic tenor of the narratives Spenser's epic syncretically blends and antithetically opposes aspects of the old and the new, the Pagan and the Christian, the revived Roman and the residual Gothic, the pastoral and the courtly.

 The influence of buildings in Spencer's poem: Like the great Elizabethan country houses built for show by pushily ambitious English noble families in the dosing decades of the sixteenth century, The Faerie Queen elaborates the setting of courtly ceremonial and lordly entertainment within the context of architectural regularity, ordered display, and shapely structural cross-reference. It is likely that when Spenser for grounded accounts of buildings, gardens, and pageants in his narrative he intended them to be 5een as reflections of Renaissance pictorial and architectural deploy. His architecture and his horticulture are presented precisely and symbolically while his untamed forests, his thickets, plains, and pastures remain vague.