Spenser's Britomart


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The Faerie Queene


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The Faerie Queene; In three volumes


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Reproduction of the original.




Spenser: The Faerie Queene


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The Faerie Queene is a scholarly masterpiece that has influenced, inspired, and challenged generations of writers, readers and scholars since its completion in 1596. Hamilton's edition is itself, a masterpiece of scholarship and close reading. It is now the standard edition for all readers of Spenser. The entire work is revised, and the text of The Faerie Queene itself has been freshly edited, the first such edition since the 1930s. This volume also contains additional original material, including a letter to Raleigh, commendatory verses and dedicatory sonnets, chronology of Spenser's life and works and provides a compilation of list of characters and their appearances in The Faerie Queene.




The Warrior Princess: Book 3 of Spenser's 'The Faerie Queene'


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Edmund Spenser's tomb at Westminster Abbey has the inscription, the Prince of Poets. If you've read Books I and II of his unfinished English epic, The Faerie Queene, you know why by now. Book III is one of the most unique books, written from the perspective of the heroic Britomart, a warrior princess in search of her true love. Along the way she encounters wizards, monsters, braggarts, sea gods, cheats, and at the end, a deathly palace.




The Faerie Queene


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The Faerie Queene is Edmund Spenser’s magnum opus, composed for Queen Elizabeth I. The epic poem is incomplete, as only six of the intended twelve books were published before his death. Despite that, it stands as one of the longest poems in the English language. During its composition, Spenser invented a new type of verse form: the Spenserian stanza. The form consists of eight lines in iambic pentameter followed by a line in iambic hexameter, with the rhyme scheme ababbcbcc. He purposely included archaic language and spelling to make the work feel comparable to the Arthurian myths written during the Middle Ages. Spenser used Aristotle’s list of virtues as the foundation for his work. Each of the six books follows a different knight who symbolize a unique virtue: the Knight of the Redcross for Holiness, Guyon for Temperance, Britomartis for Chastity, Cambell and Telamond for Friendship, Artegall for Justice, and Calidore for Courtesy. Fragments of an unfinished seventh book—the “Cantos of Mutability”—would have centered on the virtue of Constancy. In a letter to Sir Walter Raleigh, Spenser reveals that King Arthur represents the virtue of Magnificence, “the perfection of all the rest.” The first book opens with the Redcross Knight on a quest ordered by Queen Gloriana to defeat a horrible dragon. Traveling with him is Lady Una and her dwarf servant, who are leading the knight to the land where the dragon dwells. A terrible storm forces the travelers to shelter in the nearest cave—and a monster’s den. This book is part of the Standard Ebooks project, which produces free public domain ebooks.




The Mutabilitie Cantos


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These cantos, published posthumously, are general agreed to contain some of the finest poetry in "The Faerie Queene", and are of central importance in the study of philosophic and religious beliefs in the late sixteenth century.




Fierce Wars and Faithful Loves


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Despite all of his acknowledged greatness, almost no one reads Edmund Spenser (1552-99) anymore. Roy Maynard takes the first book of the 'Faerie Queene, ' exploring the concept of Holiness with the character of the Redcross Knight, and makes Spenser accessible again. He does this not by dumbing it down, but by deftly modernizing the spelling, explaining the obscurities in clever asides, and cuing the reader towards the right response. In today's cultural, aesthetic, and educational wars, Spenser is a mighty ally for twenty-first century Christians. Maynard proves himself a worthy mediator between Spenser's time and ours. (Gene Edward Veith)




Poetry of the Faerie Queene


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Professor Alpers argues that Spenser's purpose in The Faerie Queene was not to create a fictional world or to imitate action, but to create and manipulate the reader’s response. Individual episodes in the poem are considered by the author as developing psychological experience within the reader rather than as actions to be observed. Part I is an examination of the technical poetic devices Spenser used to develop the reader’s response to the action of the poem. Part II concerns interpretation, iconography, and source material. Part III draws on the arguments and conclusions of the first two parts to discuss, in a general way, the nature of Spenser’s poetry, including Spenserian allegory. Originally published in 1967. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.