Free Queene Essays and Papers

Edmund Spenser’s epic poem The Faerie Queene is well known as an allegorical work, and the poem is typically read in relation to the political and religious context of the time. The term allegory tends to be loosely defined, rendering a whole work an extended metaphor, or even implying “any writing in verse or prose that has a double meaning”(Cuddon 20). In true Spenserian style, with everything having double meanings, both uses of the term allegory are applicable to his writing. Thus, during the

Theme of Temperance in The Faeirie Queene The themes of temperance, that being the employment of restraint, or at least moderation, especially in the yielding to personal appetites or desires, and of intemperance, the submitting to such desires, pervade Book Two of The Faeirie Queene. Prior to describing individual rooms within the Castle of Alma, it is useful to briefly discuss how the idea of the castle functions within the Book. Spenser compares the towers of the structure with towers at Thebes

In Edmund Spenser’s epic romance titled, The Faerie Queene, the author takes the reader on a journey with the naive Red Crosse Knight on his route to finding holiness. On the Red Crosse Knights journey to holiness, he encounters two very different women that affect his travels to becoming a virtuous man. The first woman the Red Crosse encounters is Una, a woman that represents innocents, purity, and truth. Una is beautiful and graceful yet appears to be the strong force that leads the Red Crosse

The ideal of Justice in The Faerie Queene poem V is a whole disseminated into different law methods which contradict the narrative voice’s intended English antique representation. By ‘antique’, I refer to the time period that the narrative voice specifically asserts in the opening proem of book V as the mythical “golden age” (5.2.1) of England whereby a greater conception of moral authority is created. Since the golden age he references remains chronologically ambiguous, fable-like by the way

Protestant and epic poet, wrote The Fairie Queene in 1590 to showcase an entirely British epic poem. Spencer’s allegory was intended to reveal individual moral qualities that embodied the ideal human being. Thus, each character represents a virtue or vice, and each adventure represents an obstacle or blessing which each true Christian may face. One character who embodies the virtues of truth and purity is Una. Una plays an integral part in Book I of The Fairie Queene in several ways. Una embodies Spencer’s

Role of Women in Edmund Spenser's The Faerie Queene Edmund Spenser in his epic romance, The Faerie Queene, invents and depicts a wide array of female figures.  Some of these women, such as Una and Caelia, are generally shown as faithful, virtuous and overall lovely creatures.  Other feminine characters, such as Errour, Pride, and Duessa are false, lecherous and evil.  This might seem to be the end of Spenser's categorization of women; that they are either good or bad.  Yet upon closer

Dragons in Beowulf and in Edmund Spenser’s The Faerie Queene When one usually thinks of a dragon, one thinks of dragon-slayers, adventure, damsels in distress, and cheap fantasy novels. Dragons in literature have not always been used for such meaningless entertainment. There are many precedents for dragons in medieval literature, two of the most prominent being in the Old English poem Beowulf and in Edmund Spenser’s The Faerie Queene. In both of these epic poems, dragons play major

Prophetic Vision in Edmund Spenser's The Faerie Queene In the First Book of The Faerie Queene, Edmund Spenser reveals his prophetic and apocalyptic vision for the fledgling British Empire, personified in his hero Redcrosse. As the secular instrument of Gloriana, the Faerie Queene, Redcrosse takes on the sacred task of Una (representing religious truth) to free her parents, Adam and Eve, from their bonds of sin. Before he can achieve his task, the Redcrosse knight (representing holiness) must

Two very powerful female figures are presented in Error of The Faerie Queene, and Sin of Paradise Lost. These two characters are quite similar in description, Milton making a clear tribute to Spencer's work. Both characters have the same monster qualities, and both posses allegorical names and qualities. Error is by far the most disgustingly described of the two monsters. In Book 1, Canto 1, she is the first obstacle to meet the knight and his party. She represents the consequences of the night's

such a call with one of the best examples of epic poetry, through his incomplete masterpiece, The Faerie Queene, to the English literature. Unfortunately his life could not let him to finish the whole work as his intents, he is able to write o... ... middle of paper ... ...tion is using epithets re-namings of, mainly, characters by stock phrases. These occur quite a lot in The Faerie Queene. The Knight of the Red Crosse is among others named “the Champion (stout)”, “the valiant Elfe”, “the Elfin

Love and Marriage in Canterbury Tales, Lanval, Faerie Queene, and Monsieur's Departure Medieval and Renaissance literature develops the concepts of love and marriage and records the evolution of the relation between them. In Chaucer's Canterbury Tales, Christian love clashes with courtly love, as men and women grapple with such issues as which partner should rule in marriage, the proper, acceptable role of sex in marriage, and the importance of love as a basis for a successful marriage. Works

In Book Three of The Faerie Queene, the character of Glauce plays an important role in aiding Britomart, the main character, to set off on her journey. Britomart, who represents Spenser's idea of ideal Christian chastity, confronts some challenging and poignant issues before she heads off on her adventure; namely, she sees a vision of her future husband in an enchanted looking glass, and does not quite know how to handle the feelings of all-encompassing love that arise in her. The terror, doubt

Good vs. Evil in Faerie Queene by Edmund Spenser Good versus evil is one of the most commonly used themes in literature. Edmund Spenser’s “Faerie Queene” is no exception to this theme. The story consists of a knight who must save the day and win the hand of his true love. This plot in itself is really common in story plots. The “Faerie Queene,” however, adds a little life to this old tradition. Allegory is placed in this story and really makes up the theme and brings it to life. Allegory is a

Defense of Her Majesty and the Church of England in The Faerie Queene In The Faerie Queene, Spenser presents an eloquent and captivating representation of the Roman Catholic Church, her hierarchy, and patrons as the malevolent forces pitted against England in her exploits as Epic Hero. A discussion of this layer of the allegory for the work in its entirety would be a book in and of itself, so, for the purposes of this exercise, the focus will be confined to Book I, Canto 1, through the vanquishing

Edmund Spenser‘s Dazzling Quest for Virtue in The Faerie Queene "Voyeur: one who habitually seeks sexual stimulation by visual means" (Webster's Ninth New Collegiate Dictionary). According to Baby's Record, as a child my favorite stories included Daniel in the Lions' Den, Jonah and the Whale, Elisha and the 40 Children Eaten by the Bears, The Three Little Pigs, and Goldilocks and the Three Bears. Before sex came violence, tamed by a mother's lap and blessed by the inspired Word. Voyeurism may

Allegory is used in written works to reveal a hidden meaning of something. Typically the hidden meaning is a political or moral one. The Faerie Queene by Edmund Spenser and King Lear by William Shakespeare use allegorical references within its sentences. Spenser once wrote to Sir John Walter Raleigh about his planned structure of his epic poem and revealed that each character and event is supposed to be an allegorical meaning behind it. Shakespeare and Spenser’s characters and events within the epic

An Analysis of Selected Stanzas From Book II, Canto VII of Spenser’s Faerie Queene 1 I Her face right wondrous faire did seeme to bee That her broad beauties beam great brightness threw Through the dim shade, that all men might it see: Yet was not that same her owne native hew, But wrought by art and counterfetted shew, Thereby more lovers unto her to call; Nath’lesse most heavenly faire in deed and vew She by creation was, till that she did fall; Thenceforth she sought

Whether it be of physical significance, as Walter Cohen suggests in his essay "Shakespeare and Calderon in an Age of Transition," or of literary significance, as Judith Boss suggests in her essay "The Golden Age, Cockaigne, and Utopia in the The Faerie Queene and The Tempest," it is an important piece of literature in contribution to Utopianism. Judith Boss does an excellent job in breaking down Utopianism within The Tempest into three different categories, the Golden Age, Cockaigne, and Utopia. All three

explanation it constantly promises to deliver. E. A classic epic poem. The Faerie Queene herself is consigned to the margins of the poem that bears her name, she nonetheless is the symbolic embodiment of a shared national destiny, a destiny that reaches beyond mere political success to participate in the ultimate, millennial triumph of good over evil. To some degree a lack of closure characterizes all of The Faerie Queene in that Spenser’s knights never quite reach the sanctuary they seek may reflect

complexity as The Faerie Queene, while others are still “extolling him as one of the most learned men of his time”. Scholar Douglas Bush agrees, “scholars now speak less certainly that they once did of his familiarity with ancient literature”. In contrast, Meritt Hughes “finds no evidence that Spenser derived any element of his poetry from any Greek Romance”. Several questions still remain unanswered: Was Edmund Spenser as “divinely inspired” to write The Faerie Queene as Virgil and Ariosto were