Abstract This paper examines the life of Edmund Spenser, who was viewed as a love and pastoral poet and also a classical author. It looks at how Spenser's life ran almost identically to the Elizabethan Age, from his birth in a poor family in London to his religious and political views to his eventual move to Ireland, where he wrote his most famous piece, "The FaerieQueen". It discusses how "The FaerieQueen" contains six books and a fragment of a seventh and how, with each book, a virtue is introduced. A story then unfolds to explain how the hero of that particular book obtains the virtue as his ultimate prize. The focus of the paper is on Book One and the virtue of holiness, which was dedicated to Queen Elizabeth I. It shows how his use and skill with ancient language coupled with his creation, the Spenserian stanza, presents the reader with a delightful look at medieval England.
From the Paper "When she finishes the story she starts to faint. The knight comforts her and vows to rescue her hero. They all leave together with the wise dwarf leading the way. Even though Una has been abandoned, misjudged, and betrayed by the man she loves she remains steadfast. She still loves him and wants to free him from his bondage by the giant. On a moral level here she still represents purity and truth. She has never wavered from either although her errant lover certainly has. On the religious level she represents the true church. She is forgiving and welcomes home the worst of sinners. On the historical level she is the Protestant Church."
Abstract This paper discusses the first four books of Edmund Spenser's "The FaerieQueene." It shows how the books offer insight into the author's philosophical and religious observations of the society of his day, in ways that are sometimes comic. It discusses how his work became a substantial contribution to his time's Protestant propaganda and was a saga of human society, politics and even political science.
Table of Contents:
Introduction
A Very Protestant Allegory
Ireland as Faerie Land?
A Magical Queen Human Nature
An Allegory without End
Concluding Discussion
From the Paper "Spenser received a fine humanist education according to the standards of his day, en route to what is now Pembroke College, Cambridge, in 1569. He belonged to a generation raised on stories of the excesses during the short reign of 'Bloody Mary' (1553-1558) in the whole scale persecution of Protestants, as part of her effort to reverse Henry VIII's break from the Church of Rome. As Spenser completed his bachelor's degree in 1573 and a master's degree in 1576, Ireland had become a religious battleground, a charged colonial environment in which Spenser would spend most of his career. Throughout the first four books of The Faerie Queene one finds a great deal of Protestant imagery in terms of kinds of individual virtue, the forces of temptation and human weaknesses to which the greatest of persons can succumb, Book I devoted to the virtue of Holiness, Book II to Temperance, Book III to the virtue of chastity, and IV to friendship. The next book gives way to a long discussion of justice and what is not justice, and the merits of when it is seen to be effected. Spenser carried on to more political themes in the unitary contributions of the Tudors and, of course, the attainments of Queen Elizabeth I who is referred to in Book I as Lucifera, then as Gloriana and in Books III and IV as Belphoebe, too."
Abstract This paper examines the character of Una, in Edmund Spenser's "The FaerieQueene." It describes Una's symbolic nature in the epic poem and the role that she plays and the relationship that she has with the other characters. The paper suggests that Una's role in the FaerieQueene is an allegory for truth and the Protestant Church and describes how this is so.
From the Paper "Una, in Edmund Spenser's The Faerie Queene, is pure and virtuous. Throughout the novel she provides the Redcrosse Knight with the mental guidance he needs to overcome the obstacles that he must face. She symbolizes the Truth of the Protestant church that must provide direction for the Holiness that Redcrosse represents, saving him from certain doom on several occasions. The relationship works both ways, however; Una also needs saving. Without believers to protect it, the truth can be overcome by evil. In addition to Redcrosse, there are also natural elements that come to Una's aid, such as the lion and the satyrs and faunes of the woods. These natural elements represent nature in general and their relationship to Una is shown to be one of deference to God's truth, as natural law is derived from divine power. The foil to Una is Duessa, who tricks Redcrosse into believing that she is the beautiful lady named Fidessa and uses her power to lead him first to the House of Pride, whereas Una takes him to the House of Holiness."
Abstract This paper examines the character of the knight Britomart in the classic story, "The FaerieQueene" by Edmond Spencer. This paper demonstrates how Britomart's character corresponds with the popular interpretation of Queen Elizabeth's personality, where her displays of calm reason as well as those of extreme marital ventures both correspond to the ideals represented in Queen Elizabeth.
Abstract The paper discusses that together the House of Holiness and the House of Pride, good and evil, in Edward Spenser's epic novel, "The FaerieQueene" contribute to the moral growth of every man. The author feels that Spenser, through his writings, seems to seek to encourage us to bypass the poem's romantic indulgences and to seek out the poem's allegorical significance instead.
From the Paper "The Faerie Queen's subjects in Faeryland are human beings, and endure the uncertainties and vicissitudes that people undergo in the ordinary, everyday world thereby, allowing the readers to "relate" themselves to the characters in the novel. Faeryland is inhabited by both the good and the bad. There are knights who love and seek out the Faery Queen throughout the poem and there are bad creatures, people and monsters that represent various vices, evils and temptations."
Abstract This paper addresses the roles played by male and female characters in Chaucer's Canterbury Tales and Spenser's "The FaerieQueene". The female characters used in this paper are the Chaucer's "Wife of Bath" and Spenser's "Una".
Abstract This paper will discuss allegorical points of view in the "FaerieQueene" by Edmund Spencer. By looking into the moral lessons in the poem, we can understand deeper dimensions in this knightly tale.
Abstract This paper will discuss the elements of chastity in the FaerieQueen by Edmund Spenser and reveal how this is part of the characters Malbecco, Paridell and Hellenore. By learning how chastity is interwoven in the fabric of the text, we can see how Spencer makes examples of these characters for this end. We can learn how poetry is being used in the text to reveal how men and women get along in the Elizabethan era.
Abstract The paper explores the character of Arthur as a satirical character. The religious themes prevalent in the poem are analyzed in the paper. The paper contends that the poem, "The FaerieQueene," has a strong satirical tone vis-a-vis Christianity and the way society interprets Christianity.
From the Paper "Readers are aware that Arthur's consistent pattern of chivalry, and that there is a kind of unity in The Faerie Queene with Arthur as it's icon. For example, and this is not satire but rather the building of the strength of character: because Arthur is "greater than the other knights, his periodic intervention on their behalf carries a strong suggestion of a 'descent from heaven' (89) motif" (Nohrnberg, 1976). That motif is found in Book I as "the descent of grace and the condescension of the Word," Nohrnberg explains, and in Book II "the ministry of angels to fallen man" is also part of the building up of Arthur to not only be greater than the other knights, but, to be linked, probably, to the deity Christ."
This paper discusses that, in Edmund Spenser's in Stanza 46 of Canto IX, Book One, of "FaerieQueen", the belief in fairies and other pagan elements co-exist with the Christian belief in God.
Abstract This paper explains that, although rooted firmly in the Christian religion, E. Spenser's "FaerieQueen" nevertheless contains frequent positive references, both explicit and implicit, to the pagan Goddess religions, which Christianity worked so hard to replace in the British Isles. The author points out that this assertion is supported not only by the actual imagery, metaphor and other poetic devices but also by Spenser's brilliant conception of time as something nonlinear, a dimension in which past and present mingle to create an imagined reality. The paper illustrates that the first two lines of stanza 46 incorporate a combination of pagan and Christian references: The word "goodly" was closely related to the word "godly"; the reader must think that this is a reference to a tree in the Garden of Eden, which is supported by the next line, which describes the fruit upon this tree as "apples, rosie red".
From the Paper "First, however, it is necessary to give a very brief synopsis of the events that have transpired to this point. Redcrosse Knight has come through a series of terrible ordeals on his quest to free Una's parents from the prison of the evil dragon. (Una is the woman he loves.) Along the way, both she and he have come to death's door many times. What is striking about each of their rescues, however, is that although for the most part the savior comes in godly form (as in the Lion who protected Una until he himself was killed in for his efforts), the presence of Una -- who, at one point, is taken for a goddess by a group of "nature dwellers" (i.e. pagans) as she makes her way back to the Redcrosse Knight -- is a repeating theme of the old pagan religions. Put simply, Una is a goddess-figure who weaves through the text alongside other Christian themes (as well as other, more ambiguous, themes such as the "three sisters" who heal the Redcrosse Knight through resentence so he can continue on his quest to kill the dragon and free Una's parents)."
Abstract Appearance has a strong influence on characters' actions. A person or thing may appear one way, but its meaning may be quite different. This paper shows how, in the "FaerieQueen", Edmund Spenser employs the use of appearances to give characters and passages in his poem double meanings. Sometimes the message of the poem is clearly expressed, but the second meaning is only suggested by subtle means. Other times throughout the poem we can clearly see during the development of the story how characters make irreversible mistakes based on appearance. Often times throughout the story things are not how they appear.
From the Paper "Appearances can be deceiving. In Book II, we are introduced to Sir Guyon and the Palmor. Sir Guyon represents temperance or self-restraint. The Palmor is his mentor or the voice of reason. Sir Guyon has been commissioned by the Faerie Queene to search for and destroy the Bower of Bliss. The focus of Book II is the controlling of human desire. The force throughout book II that seems to be the underlying cause of misery is Acrasia, a beautiful enchantress. Book II centers around temptation. Many things tempt the characters throughout the poem because they appear so pleasing to the senses. We will see how over indulgence can divert a character away from his chosen path."
Abstract This paper explains that Edmund Spenser's "The FaerieQueene" is the story of the knight Redcrosse, who undertakes a quest that is both spiritual and physical and of Una, who travels with him, to help him out of danger in his fight. The author points out that truth, as represented by Una, evidently plays an important role in Book 1 because Una and the Knight love each other romantically and their love is true. The paper relates that truth also has a wider and more important meaning for both characters because truth is the very life of the Knight.
From the Paper "Upon leaving his anchor to truth, Redcrosse, meets a combination of physical and spiritual dangers. Duessa, a witch, appears as an innocent damsel accompanied by Sansfoy. Sansfoy in the allegory represents a lack of faith. Redcrosse easily slays him, apparently rescuing Duessa, who pretends to be Fidessa. In Stanza 34 an enchanted tree, who is in reality a man called Fradubio, attempts to warn Redcrosse of the deceit, Duessa further leads the Knight astray by falling into a faint, from which the Knight revives her with kisses."
Abstract This paper discusses how Edmund Spenser's "The FaerieQueene" is one of the greatest allegorical poems ever written in English and how the religious symbolism connected with the poem is practically the key of the entire allegory. In particular, the paper examines how the way in which Spenser represents nature in his poem is very significant precisely because the text is an allegory in which the real, natural setting is symbolic. Furthermore, the paper attempts to show that Spenser represents nature in two adverse ways which illuminate his vision of the world. The paper concludes that Spenser represents nature as a sympathetic force which is part of God's divine creation and which is moreover able to reflect the spiritual qualities of a certain being.
From the Paper "Nature is therefore itself a part of the great allegory. In fact, Spenser's allegorical poem is a synthesis of his vision of the world, comprising the forces that drive the world and human behavior at the same time. The poem relates mainly the adventures of Redcorsse, the errant knight of Holinesse, and Una, his female companion and the symbol of truth. The Faerie Queene is no less than Queen Elizabeth of England, whom Spenser regarded as a holy person because she was the defendant of Protestantism against the corrupted Catholicism. The allegory opposes these two religions, making it clear that Protestantism is the right religious view. In the first Book of the poem, nature is depicted in its entirely luxurious wilderness. There is a great array of mythological characters and beasts which are met, in turns, by the wandering knight. The divide between the natural and the unnatural forces obviously corresponds to that between good and evil. Although natural law is condemned by Puritanism, Spenser did not reject it. "
Abstract This paper discusses Book One of Edmund Spenser's epic poem, "FaerieQueene," in which nature serves a primary purpose as a testing ground for the human soul. The paper also discusses the plot of the poem and the characters involved. It looks at the imagery and what it portrays about nature as a testing ground. The paper concludes that by the end of Canto Six, Spenser has established nature as the ultimate battle ground between good and evil in the human spirit.
From the Paper "Nature is contrasted with the supernatural in Spenser's story, too. Shape-shifting beings, dragons, and sundry other phantasmagoric creatures populate the woods of the Faerie Queen. Spenser's depiction of dragons and other supernatural beasts suggests an interface between the natural world and human intelligence. The beasts are not part of the natural world but they live in it, just like human beings. Human beings are shown to be in the world but not of it; unlike the trees and beasts of the forests, human beings are not entirely comfortable in nature. They are also unlike the woodland gods, supernatural creatures who are wholly in tune with wilderness but who have yet to transcend the ignorance of the animal mind."
An analysis of Edmund Spenser's poem "The FaerieQueene," focusing on its fairy tale motifs such as the binary oppositions represented by Una and Duessa.
Abstract This paper discusses "The FaerieQueene," by Edmund Spenser, and its apparent affinity to the fairy tale genre, due to the personification of good and evil in the characters Una and Duessa. The writer explains how, while keeping the traditional dichotomy of characters that make up a fairy tale world, Spenser twists what we normally think of as the world of fantasy. Not only does RedCrosse through his fallibility bring it back to reality and the realization that it is impossible for humans to be purely one thing, but in Una Spenser introduces the possibility of the good character being taken over and exploited.
From the Paper "With Spenser's characters operating in the same way as a fairy tale, it is easy to identify with Una and know that it is she, not Duessa that we should most identify with and aspire to be like. In the world of a fairy tale in which the hero triumphs, the beautiful girl is chosen over all others and the wicked are punished, the role of each character is clearly defined and the only one who seems too fleshed out for this fantasy world is RedCrosse. Being outside the story ourselves, the disguise of beauty does not fool us in the same way it does RedCrosse, as he is still childlike in his search for proper placement in society. He must learn the qualities that are most desirable and be able to see past the physical appearances."
Tags: Cinderella traditional impulse, Prince Charming, experience protagonist role faith
