The Faerie Queene - Knowledge

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III. First, Scudamore is convinced by the hag Ate (discord) that Britomart has run off with Amoret and becomes jealous. A three-day tournament is then held by Satyrane, where Britomart beats Arthegal (both in disguise). Scudamore and Arthegal unite against Britomart, but when her helmet comes off in battle Arthegal falls in love with her. He surrenders, removes his helmet, and Britomart recognizes him as the man in the enchanted mirror. Arthegal pledges his love to her but must first leave and complete his quest. Scudamore, upon discovering Britomart's sex, realizes his mistake and asks after his lady, but by this time Britomart has lost Amoret, and she and Scudamore embark together on a search for her. The reader discovers that Amoret was abducted by a savage man and is imprisoned in his cave. One day Amoret darts out past the savage and is rescued from him by the squire Timias and Belphoebe. Arthur then appears, offering his service as a knight to the lost woman. She accepts, and after a couple of trials on the way, Arthur and Amoret finally happen across Scudamore and Britomart. The two lovers are reunited. Wrapping up a different plotline from Book III, the recently recovered Marinell discovers Florimell suffering in Proteus' dungeon. He returns home and becomes sick with love and pity. Eventually he confesses his feelings to his mother, and she pleads with Neptune to have the girl released, which the god grants.

1109:, virtue is seen as "a feature for the nobly born" and within Book VI, readers encounter worthy deeds that indicate aristocratic lineage. An example of this is the hermit to whom Arthur brings Timias and Serena. Initially, the man is considered a "goodly knight of a gentle race" who "withdrew from public service to religious life when he grew too old to fight". Here, we note the hermit's noble blood seems to have influenced his gentle, selfless behaviour. Likewise, audiences acknowledge that young Tristram "speaks so well and acts so heroically" that Calidore "frequently contributes him with noble birth" even before learning his background; in fact, it is no surprise that Tristram turns out to be the son of a king, explaining his profound intellect. However, Spenser's most peculiar example of noble birth is demonstrated through the characterization of the Salvage Man. Using the Salvage Man as an example, Spenser demonstrated that "ungainly appearances do not disqualify one from noble birth". By giving the Salvage Man a "frightening exterior," Spenser stresses that "virtuous deeds are a more accurate indication of gentle blood than physical appearance. 1862: 253:, a lady knight. Resting after the events of Book II, Guyon and Arthur meet Britomart, who wins a joust with Guyon. They separate as Arthur and Guyon leave to rescue Florimell, while Britomart rescues the Redcrosse Knight. Britomart reveals to the Redcrosse Knight that she is pursuing Sir Artegall because she is destined to marry him. The Redcrosse Knight defends Artegall and they meet Merlin, who explains more carefully Britomart's destiny to found the English monarchy. Britomart leaves and fights Sir Marinell. Arthur looks for Florimell, joined later by Sir Satyrane and Britomart, and they witness and resist sexual temptation. Britomart separates from them and meets Sir Scudamore, looking for his captured lady Amoret. Britomart alone is able to rescue Amoret from the wizard Busirane. Unfortunately, when they emerge from the castle Scudamore is gone. (The 1590 version with Books I–III depicts the lovers' happy reunion, but this was changed in the 1596 version which contained all six books.) 1846: 1705: 900:, Edmund Spenser employs archetypal patterns to reinforce the actuality of his narrative. Spenser integrates these patterns to focus the meaning of the past on the present, emphasizing the significance of Elizabeth's reign by converting myth into event rather than the other way around. This approach blurs the lines between archetypal and historical elements within the poem. For instance, the British Chronicle, which Arthur reads in the House of Alma, serves as a poetical equivalent for factual history despite its partially imaginary nature. This kind of poetical history is distinct from myth, as it consists of unique events recorded in chronological order. This distinction is evident in the political allegory of Books I and V, where the reality of interpreted events becomes more apparent when the events are closer to the time of the poem's composition. 1684: 374:. He meets Britomart after defeating her in a sword fight (she had been dressed as a knight) and removing her helmet, revealing her beauty. Artegall quickly falls in love with Britomart. Artegall has a companion in Talus, a metal man who wields a flail and never sleeps or tires but will mercilessly pursue and kill any number of villains. Talus obeys Artegall's command, and serves to represent justice without mercy (hence, Artegall is the more human face of justice). Later, Talus does not rescue Artegall from enslavement by the wicked slave-mistress Radigund, because Artegall is bound by a legal contract to serve her. Only her death, at Britomart's hands, liberates him. Chrysaor was the golden 2925: 1831: 274:

wins the affections of Pastorella away from the ultimately agreeable but somewhat cowardly Coridon. This book also features the knight Calepine and his quest for his lady Serena who is cared for by a strangely well-mannered Savage who, like the humble Pastorella, turns out to be a long-lost scion of nobility; Arthur later takes on Serena and leaves her to the care of his page Timias and a Hermit who has been a knight. Calidore rescues his love from the Blatant Beast, capturing and binding the monster, which nonetheless, we are told, eventually escapes to prowl about the world once more to seek the ruin of more reputations.

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as demonstrated in the moral allegory of Book I. Here, allegory is organized in the traditional arrangement of Renaissance theological treatises and confessionals. While reading Book I, audiences first encounter original sin, justification and the nature of sin before analysing the church and the sacraments. Despite this pattern, Book I is not a theological treatise; within the text, "moral and historical allegories intermingle" and the reader encounters elements of romance. However, Spenser's method is not "a rigorous and unyielding allegory," but "a compromise among conflicting elements". In Book I of

1743: 1159: 243:, who is tempted by the fleeing Archimago into nearly attacking the Redcrosse Knight. Guyon discovers a woman killing herself out of grief for having her lover tempted and bewitched by the witch Acrasia and killed. Guyon swears a vow to avenge them and protect their child. Guyon on his quest starts and stops fighting several evil, rash, or tricked knights and meets Arthur. Finally, they come to Acrasia's Island and the Bower of Bliss, where Guyon resists temptations to violence, idleness, and lust. Guyon captures Acrasia in a net, destroys the Bower, and rescues those imprisoned there. 424: 1511:, the modern American adventurers Harold Shea and Reed Chalmers visit the world of The Faerie Queene, where they discover that the greater difficulties faced by Spenser's knights in the later portions of the poem are explained by the evil enchanters of the piece having organized a guild to more effectively oppose them. Shea and Chalmers reveal this conspiracy to the knights and assist in its overthrow. In the process, Belphebe and Florimel of Faerie become respectively the wives of Shea and Chalmers and accompany them on further adventures in other worlds of myth and fantasy. 1781: 205: 267:

battle by guile, and, according to the terms of their duel, he, a stickler for legal agreements, must become her slave as well. Britomart eventually rescues her betrothed and kills Radigund, thereby restoring a just relationship of the sexes. We are introduced to the court of Mercilla, where Duessa is put on trial and found guilty. Departing from Artegall, Spenser presents Prince Arthur's quest to slay the beast Gerioneo in order to restore the lady Belge to her rights. In the final canto, Artegall aids Sir Burbon and slays the monstrous Grantorto.

1762: 1806: 197: 575: 298: 767: 419:, the beautiful sister of Amoret who spends her time in the woods hunting and avoiding the numerous amorous men who chase her. Timias, the squire of Arthur, eventually wins her love after she tends to the injuries he sustained in battle; however, Timias must endure much suffering to prove his love when Belphoebe sees him tending to a wounded woman and, misinterpreting his actions, flies off hastily. She is only drawn back to him after seeing how he has wasted away without her. 1230:"working in the realm of mythopoeic imagination rather than that of historical fact". In fact, Spenser's Arthurian material serves as a subject of debate, intermediate between "legendary history and historical myth" offering him a range of "evocative tradition and freedom that historian's responsibilities preclude". Concurrently, Spenser adopts the role of a sceptic, reflected in the way in which he handles the British history, which "extends to the verge of self-satire". 680: 61: 907:, Spenser's use of archetypal patterns includes numerous mythological equivalents that enhance the narrative's depth and complexity. For example, the characters Florimell and Marinell are related to the myths of Proserpine and Adonis, respectively. Florimell, much like Eurydice, represents the pursuit of the unattainable, highlighting themes of purity and chastity. Marinell's link to Adonis underscores the fragility and vulnerability inherent in beauty and desire. 1724: 1005: 448:. She is young and beautiful, and falls in love with Artegall upon first seeing his face in her father's magic mirror. Though there is no interaction between them, she travels to find him again, dressed as a knight and accompanied by her nurse, Glauce. Britomart carries an enchanted spear that allows her to defeat every knight she encounters, until she loses to a knight who turns out to be her beloved Artegall. (Parallel figure in Ariosto: 1362:, that Jonson's statement "is a skillful epigram; but it seriously misrepresents the truth if taken at anything like its face value". The number of archaisms used in the poem is not overwhelming—one source reports thirty-four in Canto I of Book I, that is, thirty-four words out of a total forty-two hundred words, less than one percent. According to McElderry, language does not account for the poem's archaic tone: "The subject-matter of 535: 621:, a wild half-satyr man raised in the wild and the epitome of natural human potential. Tamed by Una, he protects her, but ends up locked in a battle against the chaotic Sansloy, which remains unconcluded. Satyrane finds Florimell's girdle, which she drops while flying from a beast. He holds a three-day tournament for the right to possess the girdle. His Knights of Maidenhead win the day with Britomart's help. 1146:, which originated in Italy, with the rhyme pattern ABABABCC. Spenser's stanza is the longest of the three, with nine iambic lines – the first eight of them five footed, that is, pentameters, and the ninth six footed, that is, a hexameter, or Alexandrine – which form "interlocking quatrains and a final couplet". The rhyme pattern is ABABBCBCC. Over two thousand stanzas were written for the 1590 791:, which was about the persecution of the Protestants and how Catholic rule was unjust. Spenser includes the controversy of Elizabethan church reform within the epic. Gloriana has godly English knights destroy Catholic continental power in Books I and V. Spenser also endows many of his villains with "the worst of what Protestants considered a superstitious Catholic reliance on deceptive images". 615:. The Redcrosse Knight is declared the real Saint George in Canto X. He also learns that he is of English ancestry, having been stolen by a Fay and raised in Faerieland. In the climactic battle of Book I, Redcrosse slays the dragon that has laid waste to Eden. He marries Una at the end of Book I, but brief appearances in Books II and III show him still questing through the world. 3902: 1117:

demonstrate that Turpine is "morally emasculated by fear" and furthermore, "the usual social roles are reversed as the lady protects the knight from danger. Scholars believe that this characterization serves as "a negative example of knighthood" and strives to teach Elizabethan aristocrats how to "identify a commoner with political ambitions inappropriate to his rank".

923:, Spenser creates "a network of allusions to events, issues, and particular persons in England and Ireland" including Mary, Queen of Scots, the Spanish Armada, the English Reformation, and even the Queen herself. It is also known that James VI of Scotland read the poem, and was very insulted by Duessa – a very negative depiction of his mother, Mary, Queen of Scots. 356:, the betrothed of Scudamour, kidnapped by Busirane on her wedding night, saved by Britomart. She represents the virtue of married love, and her marriage to Scudamour serves as the example that Britomart and Artegall seek to copy. Amoret and Scudamor are separated for a time by circumstances, but remain loyal to each other until they (presumably) are reunited. 403:, a fiend from Hell disguised as a beautiful maiden. Ate opposes Book IV's virtue of friendship through spreading discord. She is aided in her task by Duessa, the female deceiver of Book I, whom Ate summoned from Hell. Ate and Duessa have fooled the false knights Blandamour and Paridell into taking them as lovers. Her name is possibly inspired by the 452:.) Britomart is one of the most important knights in the story. She searches the world, including a pilgrimage to the shrine of Isis, and a visit with Merlin the magician. She rescues Artegall, and several other knights, from the evil slave-mistress Radigund. Furthermore, Britomart accepts Amoret at a tournament, refusing the false Florimell. 2419:, p. 16: "In that Faery Queene I meane glory in my generall person of our soueraine the Queene, and her kingdome in Faery land ... For considering she beareth two persons, the one of a most royall Queene or Empresse, the other of a most vertuous and beautifull Lady, this latter part in some places I doe expresse in Belphoebe" 911:

emphasizes Una's role as a symbol of divine grace leading to salvation. Redcross, representing the archetypal Christian Everyman, embarks on a quest that mirrors the soul's journey toward holiness. His ultimate victory over the dragon symbolizes the archetypal triumph of good over evil and the attainment of spiritual purity.

188:. The poem was a clear effort to gain court favour, and as a reward Elizabeth granted Spenser a pension for life amounting to £50 a year, though there is no further evidence that Elizabeth ever read any of the poem. This royal patronage elevated the poem to a level of success that made it Spenser's defining work. 758:, which ("according to Aristotle and the rest") is "the perfection of all the rest, and containeth in it them all"; and that the Faerie Queene herself represents Glory (hence her name, Gloriana). The unfinished seventh book (the Cantos of Mutability) appears to have represented the virtue of "constancy." 1173:

In Elizabethan England, no subject was more familiar to writers than theology. Elizabethans learned to embrace religious studies in petty school, where they "read from selections from the Book of Common Prayer and memorized Catechisms from the Scriptures". This influence is evident in Spenser's text,

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were published in 1590, Spenser found himself disappointed in the monarchy; among other things, "his annual pension from the Queen was smaller than he would have liked" and his humanist perception of Elizabeth's court "was shattered by what he saw there". Despite these frustrations, however, Spenser

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are the numerous animal characters present in the poem. They take the role of "visual figures in the allegory and in illustrative similes and metaphors". Specific examples include the swine present in Lucifera's castle who embodied gluttony, and Duessa, the deceitful crocodile who may represent Mary,

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questions Elizabeth's ability to rule so effectively because of her gender, and also inscribes the "shortcomings" of her rule. There is a character named Britomart who represents married chastity. This character is told that her destiny is to be an "immortal womb" – to have children. Here, Spenser is

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Similarly, the characters Una and Redcross can be seen as archetypal representations of divine grace and the Christian Church in England. Una, equated with Dante's Beatrice, embodies the archetype of divine wisdom and truth, guiding Redcross on his spiritual journey. This alignment with Beatrice also

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is called "The Legend of Cambell and Telamond or Of Friendship." But despite its title, Cambell's companion in Book IV is actually named Triamond, and the plot does not center on their friendship; the two men appear only briefly in the story. The book is largely a continuation of events begun in Book

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knights in the mythical "Faerieland". Presented as a preface to the epic in most published editions, this letter outlines plans for twenty-four books: twelve based each on a different knight who exemplified one of twelve "private virtues", and a possible twelve more centred on King Arthur displaying

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is centred on the virtue of Courtesy as embodied in Sir Calidore who is on a mission from the Faerie Queene to slay the Blatant Beast. After helping reconcile two lovers and taking on the courteous young Tristram as his page, he falls prey to the pleasant distractions of pastoral life and eventually

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Spenser's characters embody Elizabethan values, highlighting political and aesthetic associations of Tudor Arthurian tradition in order to bring his work to life. While Spenser respected British history and "contemporary culture confirmed his attitude", his literary freedom demonstrates that he was

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is related to the problem of his diction because it "involves the principles of imitation and decorum". Despite these initial criticisms, Spenser is "now recognized as a conscious literary artist" and his language is deemed "the only fitting vehicle for his tone of thought and feelings". Spenser's

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suggest that Spenser's contemporaries were unable to come to a consensus about the precise historical referents of the poem's "myriad figures". In fact, Sir Walter Raleigh's wife identified many of the poem's female characters as "allegorical representations of herself". Other symbols prevalent in

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and the traditions of medieval allegory can be observed as well. It is impossible to predict how the work would have looked had Spenser lived to complete it, since the reliability of the predictions made in his letter to Raleigh is not absolute, as numerous divergences from that scheme emerged as

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Despite the historical elements of his text, Spenser is careful to label himself a historical poet as opposed to a historiographer. Spenser notes this differentiation in his letter to Raleigh, noting "a Historiographer discourseth of affairs orderly as they were done ... but a Poet thrusteth

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While writing his poem, Spenser strove to avoid "gealous opinions and misconstructions" because he thought it would place his story in a "better light" for his readers. Spenser stated in his letter to Raleigh, published with the first three books, that "the general end of the book is to fashion a

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is partially based on an early modern English folktale called "Mr. Fox's Mottos". In the tale, a young woman named Lady Mary has been enticed by Mr. Fox, who resembles Bluebeard in his manner of killing his wives. She defeats Mr. Fox and tells about his deeds. Notably, Spenser quotes the story as

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is centred on the virtue of Justice as embodied in Sir Artegall, who defeats a demagogic giant and mediates several conflicts, including a joust held in honor of Florimell's nuptials. The knight then attempts to free several men from their indenture to the Amazon Radigund. She defeats Artegall in

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film also contains elements of a loose adaptation, as well as being influenced by other works, with parallels including the story of the Red Cross Knight championing Una against the evil Archimago in the original compared with Lucas's Luke Skywalker, Princess Leia, and Darth Vader. Keller sees

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original audience would have been able to identify many of the poem's characters by analyzing the symbols and attributes that spot Spenser's text. For example, readers would immediately know that "a woman who wears scarlet clothes and resides along the Tiber River represents the Roman Catholic

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In October 1589, after nine years in Ireland, Spenser voyaged to England and saw the Queen. It is possible that he read to her from his manuscript at this time. On 25 February 1591, the Queen gave him a pension of fifty pounds per year. He was paid in four instalments on 25 March, 24 June, 29

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the discussion of the path to salvation begins with original sin and justification, skipping past initial matters of God, the Creeds, and Adam's fall from grace. This literary decision is pivotal because these doctrines "center the fundamental theological controversies of the Reformation".

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indicates qualities such as cowardice and discourtesy that signify low birth. During his initial encounter with Arthur, Turpine "hides behind his retainers, chooses ambush from behind instead of direct combat, and cowers to his wife, who covers him with her voluminous skirt". These actions

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is centred on the virtue of Holiness as embodied in the Redcrosse Knight. Largely self-contained, Book I can be understood to be its own miniature epic. The Redcrosse Knight and his lady Una travel together as he fights the monster Errour, then travel separately after the wizard

3905: 458:, the evil sorcerer who captures Amoret on her wedding night. When Britomart enters his castle to defeat him, she finds him holding Amoret captive. She is bound to a pillar and Busirane is torturing her. The clever Britomart handily defeats him and returns Amoret to her husband. 1263:, the Tudors had Welsh blood, through which they claimed to be descendants of Arthur and rightful rulers of Britain. The tradition begun by Geoffrey of Monmouth set the perfect atmosphere for Spenser's choice of Arthur as the central figure and natural bridegroom of Gloriana. 396:

of the Round Table, but playing a different role here. He is madly in love with the Faerie Queene and spends his time in pursuit of her when not helping the other knights out of their sundry predicaments. Prince Arthur is the Knight of Magnificence, the perfection of all

1518:'s "Promethean Age" series takes place in a Kingdom of Faerie which is loosely based on the one described by Spenser. As depicted by Bear, Spenser was aware of this Kingdom's existence and his work was actually a description of fact rather than invented fantasy; Queen 645:, an "iron man" who helps Arthegall to dispense justice in Book V. The name is likely from Latin "talus" (ankle) with reference to that which justice "stands on," and perhaps also to the ankle of Achilles, who was otherwise invincible, or the mythological bronze man 661:, the personification of the "True Church". She travels with the Redcrosse Knight (who represents England), whom she has recruited to save her parents' castle from a dragon. She also defeats Duessa, who represents the "false" (Catholic) church and the person of 927:

was then banned in Scotland. This led to a significant decrease in Elizabeth's support for the poem. Within the text, both the Faerie Queene and Belphoebe serve as two of the many personifications of Queen Elizabeth, some of which are "far from complimentary".

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was written during the Reformation, a time of religious and political controversy. After taking the throne following the death of her half-sister Mary, Elizabeth changed the official religion of the nation to Protestantism. The plot of book one is similar to

589:, "the knight of the sea"; son of a water nymph, he avoided all love because his mother had learnt that a maiden was destined to do him harm; this prophecy was fulfilled when he was stricken down in battle by Britomart, though he was not mortally wounded. 1845: 228:. Meanwhile, Una overcomes peril, meets Arthur, and finally finds the Redcrosse Knight and rescues him from his capture, from Duessa, and from Despair. Una and Arthur help the Redcrosse Knight recover in the House of Holiness, with the House's ruler 1290:

use of language was widely contrasted to that of "free and unregulated" sixteenth-century Shakespearian grammar. Spenser's style is standardized, lyrically sophisticated, and full of archaisms that give the poem an original taste. Sugden argues in

289:, in which Jove's sway over the universe is challenged by Mutability, the Titan goddess of change, who takes her case to a court presided over by Nature, who, after spirited arguments on both sides, rules against the Titaness and in favor of Jove. 484:, daughter of Agape and sister to Priamond, Diamond, and Triamond. Cambina is depicted holding a caduceus and a cup of nepenthe, signifying her role as a figure of concord. She marries Cambell after bringing an end to his fight with Triamond. 3662:

Spenser, Edmund (1984), "A Letter of the Authors Expounding His Whole Intention in the Course of the Worke: Which for That It Giueth Great Light to the Reader, for the Better Vnderstanding Is Hereunto Annexed", in Roche, Thomas P. Jr (ed.),

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tricks the Redcrosse Knight into thinking that Una is unchaste using a false dream. After he leaves, the Redcrosse Knight meets Duessa, who feigns distress in order to entrap him. Duessa leads the Redcrosse Knight to captivity by the giant

494:, which is fitting because Calidore is taking a sojourn into a world of pastoral delight, ignoring his duty to hunt the Blatant Beast, which is why he set out to Ireland to begin with. Colin Clout may also be said to be Spenser himself. 232:

and her three daughters joining them; there the Redcrosse Knight sees a vision of his future. He then returns Una to her parents' castle and rescues them from a dragon, and the two are betrothed after resisting Archimago one last time.

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manifested within his mind, blending his experiences into the content of his craft. Within his poem, Spenser explores human consciousness and conflict, relating to a variety of genres including sixteenth century Arthurian literature.

500:, a knight in Book II who is defined by indecision and fluctuations of the will. He and his fiery brother Pyrochles represent emotional maladies that threaten temperance. The two brothers are both slain by Prince Arthur in Canto VIII. 1280:

has been scrutinized by scholars. Despite the enthusiasm the poet and his work received, Spenser's experimental diction was "largely condemned" before it received the acclaim it has today. Seventeenth-century philologists such as

655:, one of the Knights of Friendship, a hero of Book IV. Friend of Cambell. One of three brothers; when Priamond and Diamond died, their souls joined with his body. After battling Cambell, Triamond marries Cambell's sister, Canacee. 1102:"kept his aristocratic prejudices and predispositions". Book VI stresses that there is "almost no correlation between noble deeds and low birth" and reveals that to be a "noble person," one must be a "gentleman of choice stock". 845:, daughter of Chrysogonee and twin to Amoret, the embodiment of womanly married love. Perhaps also, more critically, Elizabeth is seen in Book I as Lucifera, the "maiden queen" whose brightly lit Court of Pride masks a 837:; many prominent Elizabethans could have found themselves partially represented by one or more of Spenser's figures. Elizabeth herself is the most prominent example. She appears in the guise of Gloriana, the 1150:. Many see Spenser's purposeful use of archaic language as an intentional means of aligning himself with Chaucer and placing himself within a trajectory of building English national literary history. 157:

is notable for its form: at over 36,000 lines and over 4,000 stanzas, it is one of the longest poems in the English language; it is also the work in which Spenser invented the verse form known as the

552:, a lady in love with the knight Marinell, who initially rejects her. Hearing that he has been wounded, she sets out to find him and faces various perils, culminating in her capture by the sea god 2010:, p. 1070: "The date of the letter—23 January 1589—is actually 1590, since England did not adopt the Gregorian calendar until 1752 and the dating of the new year began on 25 March, Lady Day" 975:

gentleman or noble person in virtuous and gentle discipline". Spenser considered his work "a historical fiction" which men should read for "delight" rather than "the profit of the ensample".

506:, mother of Belphoebe and her twin Amoretta. She hides in the forest and, becoming tired, falls asleep on a bank, where she is impregnated by sunbeams and gives birth to twins. The goddesses 364:, an evil sorcerer who is sent to stop the knights in the service of the Faerie Queene. Of the knights, Archimago hates Redcrosse most of all, hence he is symbolically the nemesis of England. 1830: 1259:

until the "Boar of Cornwall" (Arthur) again restores them to their rightful place as rulers. The prophecy was adopted by the Welsh and eventually used by the Tudors. Through their ancestor,

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considered Spenser's use of "obsolete language" as the "most vulgar accusation that is laid to his charge". Scholars have recently observed that the classical tradition tucked within

1306:, and "found it a useful source for obsolete and archaic words"; Johnson, however, mainly considered Spenser's (early) pastoral poems, a genre of which he was not particularly fond. 1634:, Granny Next (who is an older version of Thursday Next herself) is condemned to reading the “ten most boring classics” before she can die. She finally passes away after reading 884:, the Book of Justice, is Spenser's most direct discussion of political theory. In it, Spenser attempts to tackle the problem of policy toward Ireland and recreates the trial of 3674: 1742: 1805: 1453:, presumably due to the differences in appeal of the intended audiences (Royal court vs Ordinary people) and their relative appeal to the general American readership. 1723: 3604: 3510: 3225: 1423:

have been made – the work was a popular choice in the 19th and early 20th century with over 20 different versions written, with the earliest being E. W. Bradburn's

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who is represented in the poem as the Faerie Queene Gloriana, as well as the character Belphoebe. Spenser prefaces the poem with sonnets additionally dedicated to

564:, the Knight of Temperance, the hero of Book II. He is the leader of the Knights of Maidenhead and carries the image of Gloriana on his shield. According to the 520:, a distraught man in a cave, his name coming from his mood. Using just rhetoric, he nearly persuades Redcrosse Knight to commit suicide, before Una steps in. 1012:, reading: "To the most mightie and magnificent Empresse Elizabeth, by the grace of god, Queene of England, France and Ireland Defender of the Faith &c." 979:

was written for Elizabeth to read and was dedicated to her. However, there are dedicatory sonnets in the first edition to many powerful Elizabethan figures.

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inception, Spenser worked as a civil servant, in "relative seclusion from the political and literary events of his day". As Spenser laboured in solitude,

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referring to Elizabeth's unmarried state and is touching on anxieties of the 1590s about what would happen after her death since the kingdom had no heir.

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that the archaisms reside "chiefly in vocabulary, to a high degree in spelling, to some extent in the inflexions, and only slightly in the syntax".

1037: 1033: 526:, a lady who personifies Falsehood in Book I, known to Redcrosse as "Fidessa". As the opposite of Una, she represents the "false" religion of the 1222:, Spenser introduces his historical narrative at three different intervals, using chronicle, civil conversation, and prophecy as its occasions. 1057: 1049: 2975: 3729: 3072: 1980: 4295: 1761: 1302: 1061: 4345: 4300: 3082: 1085: 1029: 1317:; for instance, classical allusions and classical proper names abound—especially in the later books—and he coined some names based on 1045: 1041: 639:

has Scudamour united with Amoret through Britomart's assistance, the continuation in Book IV has them separated, never to be reunited.

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extensive parallels between the film and book one of Spenser's work, stating "lmost everything of importance that we see in the

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find the newborn twins and take them: Venus takes Amoretta and raises her in the Garden of Adonis, and Diana takes Belphoebe.

302: 1321:, such as "Poris" and "Phao lilly white." Classical material is also alluded to or reworked by Spenser, such as the rape of 3836: 4246: 4142: 3575: 1592: 1431:

between mother and children – the 19th-century versions oft concentrated on the moral aspect of the tale. In terms of the

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was particularly rich in adaptation for children, and the works richly illustrated, with contributing artists including

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Britomart makes her way through the House, with warning mottos above each doorway "Be bold, be bold, but not too bold".

31: 1649: 1158: 490:, a shepherd noted for his songs and bagpipe playing, briefly appearing in Book VI. He is the same Colin Clout as in 423: 322:, seductress of knights. Guyon destroys her Bower of Bliss at the end of Book 2. Similar characters in other epics: 4325: 4285: 4254: 4038: 2889: 628: 560: 240: 4350: 1734: 1449: 787: 4198: 4135: 3546:

Micros, Marianne (2008), "Robber Bridegrooms and Devoured Brides", in Lamb, Mary Ellen; Bamford, Karen (eds.),

1570:

and Gloriana in season 1 episode 10, entitled "Gloriana". In the final scene, Queen Elizabeth II, portrayed by

1496: 1370: 1339: 491: 347: 204: 4222: 1420: 1300:

also commented critically on Spenser's diction, with which he became intimately acquainted during his work on

472:, the Knight of Courtesy, hero of Book VI. He is on a quest from the Faerie Queene to slay the Blatant Beast. 4162: 1488:

illustrated a six-volume collection of the complete work, published 1897, considered a great example of the

1465: 766: 574: 4330: 4310: 1658: 1582:"All hail sage Lady, whom a grateful Isle hath blessed." Not moving, not breathing. Our very own goddess. 1432: 1017: 632: 404: 3421:

Levin, Richard A. (1991), "The Legende of the Redcrosse Knight and Una, or of the Love of a Good Woman",

1815: 1714: 1562: 1469: 1216:

operate as a unit, representing the entire cycle from the fall of Troy to the reign of Elizabeth. Using

1069: 169:

work, it can be read on several levels of allegory, including as praise (or, later, criticism) of Queen

1477: 665:, in a trial reminiscent of that which ended in Mary's beheading. Una is also representative of Truth. 4030: 3815: 1872: 1690: 1461: 1242: 885: 662: 94: 2876:

The Faerie Queene as Children's Literature: Victorian and Edwardian Retellings in Words and Pictures

4290: 4230: 1972: 1662: 1527: 1523: 876: 860:, but much of the language, spirit, and style of the piece draw more on Italian epic, particularly 735: 679: 2107:

McCabe, Richard (Spring 1987). "The Masks of Duessa: Spenser, Mary Queen of Scots, and James VI".

60: 3761: 3699: 3629: 3621: 3587: 3566: 3535: 3527: 3488: 3438: 3354: 3322: 3314: 3282: 3250: 3242: 3208: 3180: 3148: 2454: 2446: 2307: 2124: 1790: 1504: 1481: 1247: 1065: 1021: 542: 84: 3508:

McElderry, Bruce Robert Jr (March 1932), "Archaism and Innovation in Spenser's Poetic Diction",

1343:, is deliberately archaic, though the extent of this has been exaggerated by critics who follow 1004: 153:. Books I–III were first published in 1590, then republished in 1596 together with books IV–VI. 3026: 478:, one of the Knights of Friendship, hero of Book IV. Brother of Canacee and friend of Triamond. 370:(also spelled Artegal, Arthegal, or Arthegall), a knight who is the embodiment and champion of 4315: 3795: 3777: 3725: 3691: 3649: 3454: 3068: 2346: 2326: 2299: 1976: 1912: 1605: 1129: 993: 857: 774: 570:, St. George's name shares etymology with Guyon, which specifically means "the holy wrestler". 511: 507: 158: 132: 3918: 3109: 1522:

had a secret pact of mutual help with the Queen of Faerie; and such historical characters as

996:

or his long deceased Italian model Ludovico Ariosto, whom he praises in "Letter to Raleigh".

3753: 3683: 3613: 3579: 3519: 3480: 3430: 3346: 3306: 3274: 3234: 3200: 3172: 3140: 3101: 2438: 2338: 2291: 2116: 1964: 1473: 1282: 1205:

was influenced strongly by Italian works, as were many other works in England at that time.

861: 4020: 2907: 3888: 3820: 1668:

became too damaged to continue fighting, in which case the replacement ship was named the

1597: 1552:, from small details of weaponry and dress to large issues of chivalry and spirituality". 1489: 866: 852:

The poem also displays Spenser's thorough familiarity with literary history. The world of

612: 527: 196: 4005: 3992: 3979: 3966: 3953: 3940: 3845: 3388: 1965: 4186: 4061: 2120: 1752: 1613: 1515: 1500: 1436: 1318: 1314: 1297: 1256: 1073: 871: 800: 719: 702: 635:. Scudamour loses his love Amoret to the sorcerer Busirane. Though the 1590 edition of 556:. She is reunited with Marinell at the end of Book IV, and is married to him in Book V. 534: 185: 150: 127: 51: 4279: 3875: 3672:

Turnage, Maxine (1970). "Samuel Johnson's Criticism of the Works of Edmund Spenser".

3645: 3633: 3539: 3326: 3254: 3212: 2458: 2128: 1695: 1631: 1626: 1618: 1457: 1440: 1218: 1081: 607:, hero of Book I. Introduced in the first canto of the poem, he bears the emblem of 566: 829:

suggests that the Tudor lineage can be connected to King Arthur. The poem is deeply

4262: 1771: 1575: 1534: 1485: 1166: 687: 627:, the lover of Amoret. His name means "shield of love". This character is based on 608: 431: 311: 307: 297: 281:

in the Folio of 1609 and generally agreed to have been part of Spenser's plan for

4012: 3999: 3986: 3973: 3960: 3947: 3105: 4097: 2856:

Hamilton, Albert Charles, ed. (1990), "The Faerie Queene, children's versions",

1519: 1444: 1142: 1137: 1077: 838: 755: 710: 440: 250: 177:

was to "fashion a gentleman or noble person in virtuous and gentle discipline".

170: 146: 17: 3261:

Glazier, Lyle (1950), "The Struggle between Good and Evil in the First Book of

611:, patron saint of England; a red cross on a white background that is still the 1571: 1344: 1260: 743: 449: 343: 3722:

Spenser's Ethics: Empire, Mutability, and Moral Philosophy in Early Modernity

3695: 2350: 2303: 709:, in which Spenser describes the allegorical presentation of virtues through 411:, said to have been thrown from Heaven by Zeus, similar to the fallen angels. 165:

as a means to examine different virtues, and though the text is primarily an

4087: 4082: 3204: 2342: 1643: 1539: 1366:

is itself the most powerful factor in creating the impression of archaism."

842: 715: 598: 415: 360: 220: 104: 4154: 3932:

Spenser's Faerie queene. A poem in six books; with the fragment Mutabilitie

3827: 1657:, was published in 1971 by Mike Mayfield. In one of the first instances of 2442: 530:. She is also initially an assistant, or at least a servant, to Archimago. 4238: 4102: 3911: 1428: 1325:, which was reworked into the story of the character Amavia in Book Two. 1322: 984: 834: 830: 814: 751: 739: 593: 445: 225: 166: 3856: 3564:

Parker, Roscoe (1925), "Spenser's Language and the Pastoral Tradition",

3765: 3598:

Pope, Emma Field (1926), "Renaissance Criticism and the Diction of the

3358: 3318: 3184: 3152: 3127:

Craig, Joanne (1972), "The Image of Mortality: Myth and History in the

2450: 2311: 2279: 1359: 1351:, Bruce Robert McElderry Jr. states, after a detailed investigation of 1277: 846: 747: 553: 387: 383: 379: 371: 3866: 3703: 3625: 3591: 3531: 3492: 3442: 3286: 3246: 3000: 2189: 2166: 2143: 754:, the Letter to Raleigh suggests that Arthur represents the virtue of 4092: 3333:

Green, Paul D. (1974), "Spenser and the Masses: Social Commentary in

3293:

Gottfried, Rudolf B. (1968), "Our New Poet: Archetypal Criticism and

1641:

An early, influential text-based computer game that was based on the

1252: 809: 804: 731: 462: 339: 335: 229: 162: 3757: 3412:

Healy, Thomas (2009), "Elizabeth I at Tilbury and Popular Culture",

3350: 3310: 3176: 3144: 2890:"THE CAT'S OUT OF THE BAG : WALTER CRANE'S FAERIE QUEENE, 1897" 2295: 2081: 408: 3687: 3617: 3583: 3523: 3484: 3434: 3278: 3238: 3005:

Allyn Gibson:Made of awesome and Guinness and bright shiny pennies…

2947:

Keller Simon, Richard (1999), "4. Star Wars and the Faerie Queen",

1586:. Forgetting Elizabeth Windsor now. Now only Elizabeth Regina. Yes. 1157: 1003: 678: 646: 573: 533: 422: 375: 327: 323: 296: 203: 195: 1869:

St. George Slaying the Dragon, with Una Praying in the Background

1241:

owes, in part, its central figure, Arthur, to a medieval writer,

2327:"Elizabethan Epideixis and the Spenserian Art of State Idolatry" 1226:

into the midst ... and maketh a pleasing Analysis of all".

822: 4158: 4034: 1251:("Prophecies of Merlin"), Geoffrey's Merlin proclaims that the 3744: 3738:

Whitaker, Virgil K. (1952), "The Theological Structure of the

2926:"An Interview with Elizabeth Bear, conducted by Sarah Monette" 3191:

Davis, Walter (2002), "Spenser and the History of Allegory",

211:: an illustration from Book I, Part l of an 1895–1897 edition 3713:

Allegorical Imagery: Some Medieval Books and Their Posterity

3159:

Cumming, William Paterson (1937), "The Grammar of Spenser's

2949:

Trash Culture : Popular Culture and the Great Tradition

2215: 2213: 2211: 2209: 2207: 2190:"Our New Poet: Archetypal Criticism and "The Faerie Queene"" 2167:"Our New Poet: Archetypal Criticism and "The Faerie Queene"" 2144:"Our New Poet: Archetypal Criticism and "The Faerie Queene"" 378:

of Sir Artegall. This sword was also the favorite weapon of

1097:

September, and 25 December. After the first three books of

943:

Church". However, marginal notes jotted in early copies of

2592: 2590: 2588: 2586: 1435:

adaptions of the work were relatively more popular in the

718:

as his source for these virtues, though the influences of

3919:"The Complete Works in Verse and Prose of Edmund Spenser" 3548:

Oral Traditions and Gender in Early Modern Literary Texts

2429:

Oram, William A. (2003). "Spenser's Audiences, 1589–91".

1661:

in a computer game, the player could abandon ship if the

1140:

used by Chaucer, with the rhyme pattern ABABBCC, and the

3451:

The Cambridge history of early modern English Literature

3378:

Greenblatt, Stephen, ed. (2006), "Mary I (Mary Tudor)",

2549: 2547: 2376: 2374: 2372: 1574:, is being photographed. Prompting Her Majesty's poses, 992:

still being incomplete. This could be either his friend

2827: 2825: 2752: 2750: 2650: 2648: 2646: 2621: 2619: 2617: 2534: 2532: 2530: 2517: 2515: 2513: 2500: 2498: 2496: 2494: 2492: 2230: 2228: 3414:

Literature and Popular Culture in Early Modern England

3001:"Saving the Galaxy, One Quadrant and Sector at a Time" 2737: 2735: 2249: 2247: 2245: 2243: 821:

states that Augustus descended from the noble sons of

239:

is centred on the virtue of Temperance as embodied in

3792:

A Comprehensive Concordance to The Faerie Qveene 1590

1008:

The dedicatory page of the 1590 edition of Spenser's

799:

The poem celebrates, memorializes, and critiques the

3467:

Marotti, Arthur F. (1965), "Animal Symbolism in the

3087:, II.i-ii: Amavia, Medina, and the Myth of Lucretia" 249:

is centred on the virtue of Chastity as embodied in

4127: 4111: 4075: 3640:Roche, Thomas P. Jr (1984), "Editorial Apparatus", 3067:, vol. A (concise ed.), Broadview Press, 2908:"Featured Book: Edmund Spenser's The Faerie Queene" 126: 118: 110: 100: 90: 80: 41: 3382:(8th ed.), New York: Norton, pp. 663–687 3219:Draper, John W. (1932), "Classical Coinage in the 2912:The Courtauld Institute of Art (Book Library Blog) 1938: 1276:Since its inception four centuries ago, Spenser's 444:, a female knight, the embodiment and champion of 1169:, from book III, Part VII of an 1895–1897 edition 1136:. Spenser varied existing epic stanza forms, the 2951:, University of California Press, pp. 29–37 2690: 1425:Legends from Spencer's Fairy Queen, for Children 434:from Book III, Part VII of an 1895–1897 edition 161:. On a literal level, the poem follows several 3925:(HTML etext version ed.), Grosart, London 3790:Yamashita, Hiroshi; Suzuki, Toshiyuki (1990), 3772:Yamashita, Hiroshi; Suzuki, Toshiyuki (1993), 3389:"Book VII Chapter III: The Prophecy of Merlin" 1908:Edmund Spenser and the Eighteenth-Century Book 1611:Quotes from the poem are used as epigraphs in 184:to Elizabeth I in 1589, probably sponsored by 4170: 4046: 3936:, in six volumes illustrated by Walter Crane 3774:A Textual Companion to The Faerie Qveene 1590 3449:Loewenstein, David; Mueller, Janel M (2003), 3065:The Broadview Anthology of British Literature 2976:"The Crown (2016) s01e10 Episode Script | SS" 956:The House of Busirane episode in Book III in 841:, but also in Books III and IV as the virgin 8: 3675:SEL: Studies in English Literature 1500–1900 3473:SEL: Studies in English Literature 1500–1900 3423:SEL: Studies in English Literature 1500–1900 2860:, University of Toronto Press, pp. 289– 2154:(5). Modern Language Association: 1362–1377. 579:Prince Arthur, the Redcrosse Knight, and Una 4027:incorporating modern rendition and glossary 3373:(9th ed.), London: Norton, p. 775 180:Spenser presented the first three books of 4177: 4163: 4155: 4053: 4039: 4031: 3380:The Norton Anthology of English Literature 3371:The Norton Anthology of English Literature 2219: 2031: 59: 38: 3094:Medieval and Early Modern English Studies 2869: 2867: 2843: 2816: 2804: 2280:"A Note on Spenser and Sir Thomas Browne" 1911:. Cambridge University Press. p. 9. 1530:visited Faerie and had adventures there. 1132:, which Spenser created specifically for 803:(of which Elizabeth was a part), much as 3407:, Cambridge: Cambridge UP, pp. 8–11 2702: 2596: 2577: 2565: 2353:– via Taylor & Francis Online. 2082:"The female rulers in The Faerie Queene" 765: 714:twelve "public virtues". Spenser names 2878:, McFarland and Company, Preface, p.1-4 2792: 2768: 2756: 2416: 2380: 2265: 2200:(5). Modern Language Association: 1365. 2177:(5). Modern Language Association: 1374. 1950: 1897: 1679: 1590:Near the end of the 1995 adaptation of 3837:Wikisource glossary for words used in 3056:Norton Anthology of English Literature 2831: 2780: 2553: 2483: 2471: 2404: 2392: 2363: 2234: 2094: 2067: 2043: 1292:The Grammar of Spenser's Faerie Queene 1112:On the opposite side of the spectrum, 631:, a jousting champion and courtier to 3501:The Oxford Handbook of Edmund Spenser 3471:: Tradition and the Poetic Context", 2678: 2666: 2654: 2637: 2625: 2608: 2538: 2521: 2504: 2253: 2055: 2007: 1995: 1905:Wilkinson, Hazel (30 November 2017). 1647:television show, originally entitled 953:Queen of Scots, in a negative light. 466:, the ruler of the House of Holiness. 7: 3503:, Oxford: Oxford UP, pp. 48–273 2741: 2726: 2714: 2019: 1967:Spenser's The Faerie Queene Book One 1443:compared to contemporary works like 1419:Numerous adaptations in the form of 1410:, 1. 360, 'heed, give attention to'. 1303:A Dictionary of the English Language 1209:draws heavily on Ariosto and Tasso. 931:Though it praises her in some ways, 390:", it could cleave through anything. 3667:, New York: Penguin, pp. 15–18 3416:, London: Ashgate, pp. 166–177 1617:by Robert Galbraith, a pen name of 1533:According to Richard Simon Keller, 1403:, 1. 203, 'harassing, troublesome'; 1369:Examples of medieval archaisms (in 581:, illustrated by William Kent, 1751 27:English epic poem by Edmund Spenser 4341:Cultural depictions of Elizabeth I 3365:Greenblatt, Stephen, ed. (2012), " 2874:Bourgeois Richmond, Velma (2016), 2121:10.1111/j.1475-6757.1987.tb00934.x 684:Prince Arthur and the Faerie Queen 25: 2080:McKay, Belinda (1 January 1975). 1971:. Indianapolis: Hackett. p. 1427:(1829), written in the form of a 342:(Tasso), or the fairy woman from 3900: 3555:Millican, Charles Bowie (1932), 3058:(7th ed.), New York: Norton 2906:Keane, Eleanor (24 April 2013), 1860: 1844: 1829: 1804: 1779: 1760: 1741: 1729:Photograph of six stained glass 1722: 1703: 1682: 4306:Arthurian literature in English 3917:Bear, Risa S., ed. (1993–96) , 3880:Longman Annotated English Poets 3871:(interactive outline of Book I) 3724:, Manchester University Press, 3339:Journal of the History of Ideas 2325:Quitslund, Beth (2 July 2010). 1415:Adaptation and derivative works 1080:(on the subject of her brother 982:Spenser addresses "lodwick" in 730:In addition to the six virtues 705:in 1590 contains a preface for 701:A letter written by Spenser to 386:. Because it was "Tempred with 3847:Summary of 'The Faerie Queene' 3829:Stories from The Faerie Queene 3453:, Cambridge University Press, 3027:"Super Star Trek:Abandon Ship" 1939:Loewenstein & Mueller 2003 1887:House of Pride (Faerie Queene) 1396:, 1. 58, 254, 'clad, clothed'; 1313:relied on much more than just 1309:The diction and atmosphere of 303:Britomart Redeems Faire Amoret 1: 4247:Colin Clouts Come Home Againe 3930:Wise, Thomas J., ed. (1897), 3576:Linguistic Society of America 2188:Gottfried, Rudolf B. (1968). 2165:Gottfried, Rudolf B. (1968). 2142:Gottfried, Rudolf B. (1968). 1963:Kaske, Carol V., ed. (2006). 1819: 1794: 1556:References in popular culture 691: 70: 3193:English Literary Renaissance 3106:10.17054/memes.2007.15.2.383 2109:English Literary Renaissance 1853:Una and the Red Cross Knight 1839:by Walter Jenks Morgan, 1885 1837:Una and the Red Cross Knight 1812:Una and the Red Cross Knight 32:Fairy Queen (disambiguation) 4296:Anti-Catholicism in England 3910:public domain audiobook at 3557:Spenser and the Table Round 3499:McCabe, Richard A. (2010), 3063:Black, Joseph, ed. (2007), 3054:Abrams, M. H., ed. (2000), 1050:High Admiral Charles Howard 723:early as 1590 in the first 382:, the Greek goddess of the 200:Signature of Edmund Spenser 4367: 4346:Fairies in popular culture 4301:Anti-Catholic publications 2284:The Modern Language Review 2278:South, Malcolm H. (1967). 1163:Florimell saved by Proteus 969: 428:Britomart viewing Artegall 29: 4193: 3715:, Princeton: Princeton UP 3400:Heale, Elizabeth (1999), 3393:Historia Regum Brittaniae 2980:Springfield! Springfield! 1735:Cheltenham Ladies College 1212:The first three books of 1046:Earl of Ormond and Ossory 1016:The poem is dedicated to 601:means "pride" in Italian. 492:Spenser's pastoral poetry 58: 48: 4336:Poetry by Edmund Spenser 4199:The Shepheardes Calender 4136:The Mathematics of Magic 3882:Published September 2001 3720:Wadoski, Andrew (2022), 2858:The Spenser Encyclopedia 1548:movie has its origin in 1497:The Mathematics of Magic 1392:retained in participle: 1340:The Shepheardes Calender 348:La Belle Dame sans Merci 3711:Tuve, Rosemond (1966), 3205:10.1111/1475-6757.00006 3165:South Atlantic Bulletin 3163:by Herbert W. Sugden", 2343:10.1080/108487700115116 1717:, between 1877 and 1878 1514:A considerable part of 1466:Gertrude Demain Hammond 1234:Medieval subject matter 988:33, when talking about 4143:The Palace of Pleasure 3826:Macleod, Mary (1916), 3644:, by Spenser, Edmund, 3387:Geoffrey of Monmouth, 3081:Cañadas, Ivan (2007), 2963:Ecclesiastical Sonnets 1588: 1450:The Pilgrim's Progress 1433:English-speaking world 1373:and diction) include: 1333:Spenser's language in 1170: 1066:Sir Francis Walsingham 1034:Earl of Northumberland 1022:Sir Christopher Hatton 1013: 915:Symbolism and allusion 788:Foxe's Book of Martyrs 778: 698: 582: 545: 435: 315: 212: 209:Holiness defeats Error 201: 4321:Epic poems in English 4223:Mother Hubberd's Tale 3868:Faerie Queene Outline 3858:Summary of Books I–VI 2443:10.1353/sip.2003.0019 1851:An illustration from 1816:George Frederic Watts 1715:George Frederic Watts 1593:Sense and Sensibility 1580: 1421:children's literature 1161: 1154:Theological structure 1007: 769: 682: 577: 537: 528:Roman Catholic Church 426: 300: 207: 199: 3832:(retelling in prose) 2961:William Wordsworth, 2928:. Subterranean Press 2691:Geoffrey of Monmouth 2431:Studies in Philology 1873:Phoebe Anna Traquair 1749:Britomart and Amerel 1691:Fidelia and Speranza 1243:Geoffrey of Monmouth 1078:Countess of Pembroke 970:Spenser's intentions 886:Mary, Queen of Scots 856:is based on English 663:Mary, Queen of Scots 605:The Redcrosse Knight 287:Cantos of Mutability 95:Early Modern English 30:For other uses, see 4025:, Project Gutenberg 3887:6 June 2014 at the 3794:, Kenyusha, Tokyo, 3776:, Kenyusha, Tokyo, 3559:, New York: Octagon 2894:www.library.unt.edu 2331:The European Legacy 1560:The Netflix series 1528:William Shakespeare 1524:Christopher Marlowe 1509:Harold Shea stories 1255:will rule over the 1194:The Faerie Queene's 1058:Lord Grey of Wilton 940:The Faerie Queene's 877:Jerusalem Delivered 849:full of prisoners. 629:Sir James Scudamore 3923:www.luminarium.org 3405:: A Reader's Guide 2131:– via JSTOR. 1791:William Bell Scott 1505:L. Sprague de Camp 1385:1. 201, 'to view'; 1248:Prophetiae Merlini 1171: 1074:Sir Walter Raleigh 1038:Earl of Cumberland 1014: 779: 703:Sir Walter Raleigh 699: 675:Allegory of virtue 583: 546: 543:Washington Allston 539:Florimell's Flight 436: 316: 213: 202: 85:Kingdom of England 4326:Fictional fairies 4286:The Faerie Queene 4273: 4272: 4207:The Faerie Queene 4152: 4151: 4067:The Faerie Queene 3907:The Faerie Queene 3877:The Faerie Queene 3839:The Faerie Queene 3816:The Faerie Queene 3731:978-1-5261-6543-5 3642:The Faerie Queene 3550:, London: Ashgate 3403:The Faerie Queene 3369:, Introduction", 3367:The Faerie Queene 3335:The Faerie Queene 3295:The Faerie Queene 3263:The Faerie Queene 3085:The Faerie Queene 3074:978-1-55111-868-0 1982:978-0-87220-808-7 1953:, pp. 15–16. 1731:Britomart windows 1636:The Faerie Queene 1606:Marianne Dashwood 1602:The Faerie Queene 1584:Glorious Gloriana 1568:The Faerie Queene 1550:The Faerie Queene 1499:", the second of 1364:The Faerie Queene 1353:The Faerie Queene 1335:The Faerie Queene 1311:The Faerie Queene 1287:The Faerie Queene 1239:The Faerie Queene 1214:The Faerie Queene 1207:The Faerie Queene 1203:The Faerie Queene 1198:The Faerie Queene 1176:The Faerie Queene 1134:The Faerie Queene 1130:Spenserian stanza 1126:The Faerie Queene 1114:The Faerie Queene 1107:The Faerie Queene 1099:The Faerie Queene 1092:Social commentary 1082:Sir Philip Sidney 994:Lodowick Bryskett 990:The Faerie Queene 977:The Faerie Queene 958:The Faerie Queene 950:The Faerie Queene 945:The Faerie Queene 933:The Faerie Queene 925:The Faerie Queene 921:The Faerie Queene 905:The Faerie Queene 898:The Faerie Queene 882:The Faerie Queene 854:The Faerie Queene 827:The Faerie Queene 782:The Faerie Queene 707:The Faerie Queene 637:The Faerie Queene 633:Queen Elizabeth I 597:, an evil giant. 279:The Faerie Queene 182:The Faerie Queene 175:The Faerie Queene 159:Spenserian stanza 155:The Faerie Queene 142:The Faerie Queene 138: 137: 133:Spenserian stanza 67:The Faerie Queene 43:The Faerie Queene 16:(Redirected from 4358: 4351:Unfinished poems 4179: 4172: 4165: 4156: 4055: 4048: 4041: 4032: 4026: 4010: 3997: 3984: 3971: 3958: 3945: 3935: 3926: 3904: 3903: 3872: 3862: 3851: 3833: 3804: 3786: 3768: 3734: 3716: 3707: 3668: 3665:The Fairy Queene 3658: 3636: 3594: 3560: 3551: 3542: 3504: 3495: 3463: 3445: 3417: 3408: 3396: 3383: 3374: 3361: 3329: 3305:(5): 1362–1377, 3289: 3257: 3215: 3187: 3155: 3123: 3122: 3120: 3114: 3108:, archived from 3091: 3077: 3059: 3042: 3041: 3039: 3037: 3023: 3017: 3016: 3014: 3012: 2997: 2991: 2990: 2988: 2986: 2972: 2966: 2959: 2953: 2952: 2944: 2938: 2937: 2935: 2933: 2924:Monette, Sarah. 2921: 2915: 2914: 2903: 2897: 2896: 2886: 2880: 2879: 2871: 2862: 2861: 2853: 2847: 2841: 2835: 2829: 2820: 2814: 2808: 2802: 2796: 2790: 2784: 2778: 2772: 2766: 2760: 2754: 2745: 2739: 2730: 2724: 2718: 2712: 2706: 2700: 2694: 2688: 2682: 2676: 2670: 2664: 2658: 2652: 2641: 2635: 2629: 2623: 2612: 2606: 2600: 2594: 2581: 2575: 2569: 2563: 2557: 2551: 2542: 2536: 2525: 2519: 2508: 2502: 2487: 2481: 2475: 2469: 2463: 2462: 2426: 2420: 2414: 2408: 2402: 2396: 2390: 2384: 2378: 2367: 2361: 2355: 2354: 2322: 2316: 2315: 2275: 2269: 2263: 2257: 2251: 2238: 2232: 2223: 2217: 2202: 2201: 2185: 2179: 2178: 2162: 2156: 2155: 2139: 2133: 2132: 2104: 2098: 2092: 2086: 2085: 2077: 2071: 2065: 2059: 2053: 2047: 2041: 2035: 2029: 2023: 2017: 2011: 2005: 1999: 1993: 1987: 1986: 1970: 1960: 1954: 1948: 1942: 1936: 1930: 1929: 1927: 1925: 1902: 1864: 1848: 1833: 1824: 1821: 1808: 1799: 1796: 1787:Una and the Lion 1783: 1764: 1745: 1726: 1707: 1686: 1484:. Additionally, 1478:Brinsley Le Fanu 1357: 1188:Myth and history 1121:Poetic structure 862:Ludovico Ariosto 858:Arthurian legend 771:Una and the Lion 696: 693: 293:Major characters 111:Publication date 75: 72: 63: 54: 44: 39: 21: 18:The Faerie Queen 4366: 4365: 4361: 4360: 4359: 4357: 4356: 4355: 4276: 4275: 4274: 4269: 4189: 4183: 4153: 4148: 4123: 4107: 4071: 4059: 4019: 4004: 3991: 3978: 3965: 3952: 3939: 3929: 3916: 3901: 3897: 3895:Online editions 3889:Wayback Machine 3865: 3855: 3844: 3825: 3821:Standard Ebooks 3811: 3802: 3789: 3784: 3771: 3758:10.2307/2871935 3737: 3732: 3719: 3710: 3671: 3661: 3656: 3639: 3597: 3563: 3554: 3545: 3507: 3498: 3466: 3461: 3448: 3420: 3411: 3399: 3386: 3377: 3364: 3351:10.2307/2708790 3332: 3311:10.2307/1261309 3292: 3267:College English 3260: 3218: 3190: 3177:10.2307/3197672 3158: 3145:10.2307/2872698 3126: 3118: 3116: 3115:on 4 March 2016 3112: 3089: 3080: 3075: 3062: 3053: 3050: 3045: 3035: 3033: 3031:Super Star Trek 3025: 3024: 3020: 3010: 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4029: 4028: 4017: 4016: 4015: 4002: 3989: 3976: 3963: 3950: 3934:, George Allen 3927: 3914: 3896: 3893: 3892: 3891: 3873: 3863: 3853: 3842: 3834: 3823: 3810: 3809:External links 3807: 3806: 3805: 3800: 3787: 3782: 3769: 3752:(3): 151–155, 3735: 3730: 3717: 3708: 3688:10.2307/449795 3682:(3): 557–567. 3669: 3659: 3654: 3637: 3618:10.2307/457619 3612:(3): 575–580, 3595: 3584:10.2307/409365 3561: 3552: 3543: 3524:10.2307/458025 3505: 3496: 3485:10.2307/449571 3464: 3459: 3446: 3435:10.2307/450441 3418: 3409: 3397: 3395:, Caerleon Net 3384: 3375: 3362: 3345:(3): 389–406, 3330: 3290: 3279:10.2307/586023 3273:(7): 382–387, 3258: 3239:10.2307/458021 3216: 3199:(1): 152–167, 3188: 3156: 3139:(4): 520–544, 3124: 3078: 3073: 3060: 3049: 3046: 3044: 3043: 3018: 3007:. 4 March 2023 2992: 2967: 2954: 2939: 2916: 2898: 2881: 2863: 2848: 2846:, p. 159. 2844:McElderry 1932 2836: 2821: 2819:, p. 170. 2817:McElderry 1932 2809: 2807:, p. 144. 2805:McElderry 1932 2797: 2795:, p. 386. 2785: 2773: 2771:, p. 567. 2761: 2746: 2744:, p. 580. 2731: 2729:, p. 576. 2719: 2717:, p. 575. 2707: 2695: 2683: 2681:, p. 555. 2671: 2669:, p. 524. 2659: 2657:, p. 523. 2642: 2630: 2628:, p. 522. 2613: 2611:, p. 520. 2601: 2599:, p. 154. 2582: 2580:, p. 153. 2570: 2568:, p. 151. 2558: 2556:, p. 213. 2543: 2541:, p. 392. 2526: 2524:, p. 390. 2509: 2507:, p. 389. 2488: 2476: 2474:, p. 112. 2464: 2437:(4): 514–533. 2421: 2409: 2407:, p. 273. 2397: 2385: 2368: 2356: 2317: 2270: 2258: 2239: 2224: 2222:, p. 775. 2203: 2180: 2157: 2134: 2115:(2): 224–242. 2099: 2097:, p. 623. 2087: 2072: 2060: 2048: 2036: 2034:, p. 687. 2024: 2012: 2000: 1988: 1981: 1955: 1943: 1941:, p. 369. 1931: 1917: 1896: 1894: 1891: 1890: 1889: 1882: 1879: 1878: 1877: 1866: 1859: 1857: 1850: 1843: 1841: 1835: 1828: 1826: 1810: 1803: 1801: 1785: 1778: 1776: 1766: 1759: 1757: 1753:Mary F Raphael 1747: 1740: 1738: 1728: 1721: 1719: 1709: 1702: 1700: 1688: 1681: 1677: 1674: 1614:Troubled Blood 1557: 1554: 1516:Elizabeth Bear 1501:Fletcher Pratt 1470:T. H. Robinson 1437:United Kingdom 1416: 1413: 1412: 1411: 1404: 1397: 1386: 1377:Infinitive in 1330: 1327: 1315:Middle English 1298:Samuel Johnson 1273: 1270: 1268: 1265: 1235: 1232: 1189: 1186: 1184: 1181: 1155: 1152: 1122: 1119: 1093: 1090: 1062:Lord Buckhurst 1030:Earl of Oxford 1001: 998: 971: 968: 966: 963: 916: 913: 893: 890: 872:Torquato Tasso 801:House of Tudor 796: 793: 775:Briton Rivière 763: 760: 720:Thomas Aquinas 676: 673: 671: 668: 667: 666: 656: 650: 640: 622: 616: 602: 590: 572: 571: 557: 532: 531: 521: 515: 501: 495: 485: 479: 473: 467: 459: 453: 421: 420: 412: 407:of misfortune 398: 391: 365: 357: 351: 294: 291: 193: 190: 186:Walter Raleigh 151:Edmund Spenser 145:is an English 136: 135: 130: 124: 123: 120: 116: 115: 112: 108: 107: 102: 98: 97: 92: 88: 87: 82: 78: 77: 65:Title page of 64: 56: 55: 52:Edmund Spenser 46: 45: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 4363: 4352: 4349: 4347: 4344: 4342: 4339: 4337: 4334: 4332: 4331:Fairy royalty 4329: 4327: 4324: 4322: 4319: 4317: 4314: 4312: 4311:British poems 4309: 4307: 4304: 4302: 4299: 4297: 4294: 4292: 4289: 4287: 4284: 4283: 4281: 4265: 4264: 4260: 4257: 4256: 4252: 4249: 4248: 4244: 4241: 4240: 4236: 4233: 4232: 4228: 4225: 4224: 4220: 4217: 4216: 4212: 4209: 4208: 4204: 4201: 4200: 4196: 4195: 4192: 4188: 4180: 4175: 4173: 4168: 4166: 4161: 4160: 4157: 4145: 4144: 4140: 4138: 4137: 4133: 4132: 4130: 4126: 4120: 4117: 4116: 4114: 4110: 4104: 4101: 4099: 4096: 4094: 4091: 4089: 4086: 4084: 4081: 4080: 4078: 4074: 4069: 4068: 4063: 4056: 4051: 4049: 4044: 4042: 4037: 4036: 4033: 4024: 4023: 4018: 4014: 4009: 4008: 4003: 4001: 3996: 3995: 3990: 3988: 3983: 3982: 3977: 3975: 3970: 3969: 3964: 3962: 3957: 3956: 3951: 3949: 3944: 3943: 3938: 3937: 3933: 3928: 3924: 3920: 3915: 3913: 3909: 3908: 3899: 3898: 3894: 3890: 3886: 3883: 3881: 3878: 3874: 3870: 3869: 3864: 3860: 3859: 3854: 3849: 3848: 3843: 3841: 3840: 3835: 3831: 3830: 3824: 3822: 3818: 3817: 3813: 3812: 3808: 3803: 3801:4-905888-03-4 3797: 3793: 3788: 3785: 3783:4-905888-05-0 3779: 3775: 3770: 3767: 3763: 3759: 3755: 3751: 3747: 3746: 3741: 3740:Faerie Queene 3736: 3733: 3727: 3723: 3718: 3714: 3709: 3705: 3701: 3697: 3693: 3689: 3685: 3681: 3677: 3676: 3670: 3666: 3660: 3657: 3655:0-14-042207-2 3651: 3647: 3646:Penguin Books 3643: 3638: 3635: 3631: 3627: 3623: 3619: 3615: 3611: 3607: 3606: 3601: 3600:Faerie Queene 3596: 3593: 3589: 3585: 3581: 3577: 3573: 3569: 3568: 3562: 3558: 3553: 3549: 3544: 3541: 3537: 3533: 3529: 3525: 3521: 3518:(1): 144–70, 3517: 3513: 3512: 3506: 3502: 3497: 3494: 3490: 3486: 3482: 3478: 3474: 3470: 3469:Faerie Queene 3465: 3462: 3460:0-521-63156-4 3456: 3452: 3447: 3444: 3440: 3436: 3432: 3428: 3424: 3419: 3415: 3410: 3406: 3402: 3398: 3394: 3390: 3385: 3381: 3376: 3372: 3368: 3363: 3360: 3356: 3352: 3348: 3344: 3340: 3336: 3331: 3328: 3324: 3320: 3316: 3312: 3308: 3304: 3300: 3296: 3291: 3288: 3284: 3280: 3276: 3272: 3268: 3264: 3259: 3256: 3252: 3248: 3244: 3240: 3236: 3233:(1): 97–108, 3232: 3228: 3227: 3222: 3221:Faerie Queene 3217: 3214: 3210: 3206: 3202: 3198: 3194: 3189: 3186: 3182: 3178: 3174: 3170: 3166: 3162: 3161:Faerie Queene 3157: 3154: 3150: 3146: 3142: 3138: 3134: 3130: 3129:Faerie Queene 3125: 3111: 3107: 3103: 3100:(2): 383–94, 3099: 3095: 3088: 3086: 3079: 3076: 3070: 3066: 3061: 3057: 3052: 3051: 3047: 3032: 3028: 3022: 3019: 3006: 3002: 2996: 2993: 2981: 2977: 2971: 2968: 2964: 2958: 2955: 2950: 2943: 2940: 2927: 2920: 2917: 2913: 2909: 2902: 2899: 2895: 2891: 2885: 2882: 2877: 2870: 2868: 2864: 2859: 2852: 2849: 2845: 2840: 2837: 2834:, p. 85. 2833: 2828: 2826: 2822: 2818: 2813: 2810: 2806: 2801: 2798: 2794: 2789: 2786: 2783:, p. 97. 2782: 2777: 2774: 2770: 2765: 2762: 2758: 2753: 2751: 2747: 2743: 2738: 2736: 2732: 2728: 2723: 2720: 2716: 2711: 2708: 2704: 2703:Millican 1932 2699: 2696: 2692: 2687: 2684: 2680: 2675: 2672: 2668: 2663: 2660: 2656: 2651: 2649: 2647: 2643: 2640:, p. 95. 2639: 2634: 2631: 2627: 2622: 2620: 2618: 2614: 2610: 2605: 2602: 2598: 2597:Whitaker 1952 2593: 2591: 2589: 2587: 2583: 2579: 2578:Whitaker 1952 2574: 2571: 2567: 2566:Whitaker 1952 2562: 2559: 2555: 2550: 2548: 2544: 2540: 2535: 2533: 2531: 2527: 2523: 2518: 2516: 2514: 2510: 2506: 2501: 2499: 2497: 2495: 2493: 2489: 2486:, p. 24. 2485: 2480: 2477: 2473: 2468: 2465: 2460: 2456: 2452: 2448: 2444: 2440: 2436: 2432: 2425: 2422: 2418: 2413: 2410: 2406: 2401: 2398: 2395:, p. 50. 2394: 2389: 2386: 2383:, p. 15. 2382: 2377: 2375: 2373: 2369: 2365: 2360: 2357: 2352: 2348: 2344: 2340: 2336: 2332: 2328: 2321: 2318: 2313: 2309: 2305: 2301: 2297: 2293: 2289: 2285: 2281: 2274: 2271: 2268:, p. 69. 2267: 2262: 2259: 2256:, p. 11. 2255: 2250: 2248: 2246: 2244: 2240: 2237:, p. 48. 2236: 2231: 2229: 2225: 2221: 2216: 2214: 2212: 2210: 2208: 2204: 2199: 2195: 2191: 2184: 2181: 2176: 2172: 2168: 2161: 2158: 2153: 2149: 2145: 2138: 2135: 2130: 2126: 2122: 2118: 2114: 2110: 2103: 2100: 2096: 2091: 2088: 2083: 2076: 2073: 2070:, p. 39. 2069: 2064: 2061: 2057: 2052: 2049: 2046:, p. 41. 2045: 2040: 2037: 2033: 2028: 2025: 2021: 2016: 2013: 2009: 2004: 2001: 1998:, p. 11. 1997: 1992: 1989: 1984: 1978: 1974: 1969: 1968: 1959: 1956: 1952: 1947: 1944: 1940: 1935: 1932: 1920: 1918:9781107199552 1914: 1910: 1909: 1901: 1898: 1892: 1888: 1885: 1884: 1880: 1874: 1870: 1863: 1858: 1854: 1847: 1842: 1838: 1832: 1827: 1817: 1813: 1807: 1802: 1792: 1788: 1782: 1777: 1773: 1769: 1763: 1758: 1754: 1750: 1744: 1739: 1736: 1732: 1725: 1720: 1716: 1712: 1706: 1701: 1697: 1696:Benjamin West 1693: 1692: 1685: 1680: 1675: 1673: 1671: 1670:Faerie Queene 1667: 1666: 1660: 1656: 1652: 1651: 1646: 1645: 1639: 1637: 1633: 1632:Jasper Fforde 1629: 1628: 1627:Thursday Next 1622: 1620: 1619:J. K. Rowling 1616: 1615: 1609: 1607: 1603: 1599: 1595: 1594: 1587: 1585: 1579: 1577: 1573: 1569: 1565: 1564: 1555: 1553: 1551: 1547: 1542: 1541: 1536: 1531: 1529: 1525: 1521: 1517: 1512: 1510: 1506: 1502: 1498: 1493: 1491: 1487: 1483: 1479: 1475: 1474:Frank C. Papé 1471: 1467: 1463: 1459: 1458:Edwardian era 1454: 1452: 1451: 1446: 1442: 1441:United States 1438: 1434: 1430: 1426: 1422: 1414: 1409: 1405: 1402: 1398: 1395: 1391: 1387: 1384: 1380: 1376: 1375: 1374: 1372: 1367: 1365: 1361: 1354: 1350: 1346: 1342: 1341: 1336: 1328: 1326: 1324: 1320: 1316: 1312: 1307: 1305: 1304: 1299: 1295: 1293: 1288: 1284: 1279: 1271: 1266: 1264: 1262: 1258: 1254: 1250: 1249: 1244: 1240: 1233: 1231: 1227: 1223: 1221: 1220: 1219:in medias res 1215: 1210: 1208: 1204: 1199: 1195: 1187: 1182: 1180: 1177: 1168: 1164: 1160: 1153: 1151: 1149: 1148:Faerie Queene 1145: 1144: 1139: 1135: 1131: 1127: 1120: 1118: 1115: 1110: 1108: 1103: 1100: 1091: 1089: 1087: 1083: 1079: 1075: 1071: 1067: 1063: 1059: 1055: 1051: 1047: 1043: 1042:Earl of Essex 1039: 1035: 1031: 1027: 1026:Lord Burleigh 1023: 1019: 1011: 1010:Faerie Queene 1006: 999: 997: 995: 991: 987: 986: 980: 978: 964: 962: 959: 954: 951: 946: 941: 937: 934: 929: 926: 922: 914: 912: 908: 906: 901: 899: 891: 889: 887: 883: 879: 878: 873: 869: 868: 863: 859: 855: 850: 848: 844: 840: 836: 832: 828: 825:; similarly, 824: 820: 817:'s Rome. The 816: 812: 811: 806: 802: 794: 792: 790: 789: 783: 776: 772: 768: 761: 759: 757: 753: 749: 745: 741: 737: 733: 728: 727:publication. 726: 725:Faerie Queene 721: 717: 712: 708: 704: 689: 685: 681: 674: 669: 664: 660: 657: 654: 651: 648: 644: 641: 638: 634: 630: 626: 623: 620: 617: 614: 610: 606: 603: 600: 596: 595: 591: 588: 585: 584: 580: 576: 569: 568: 567:Golden Legend 563: 562: 558: 555: 551: 548: 547: 544: 540: 536: 529: 525: 522: 519: 516: 513: 509: 505: 502: 499: 496: 493: 489: 486: 483: 480: 477: 474: 471: 468: 465: 464: 460: 457: 454: 451: 447: 443: 442: 438: 437: 433: 429: 425: 418: 417: 413: 410: 406: 405:Greek goddess 402: 399: 395: 392: 389: 385: 381: 377: 373: 369: 366: 363: 362: 358: 355: 352: 349: 345: 341: 337: 333: 329: 325: 321: 318: 317: 313: 309: 305: 304: 299: 292: 290: 288: 284: 280: 275: 272: 268: 265: 261: 258: 254: 252: 248: 244: 242: 238: 234: 231: 227: 222: 217: 210: 206: 198: 191: 189: 187: 183: 178: 176: 172: 168: 164: 160: 156: 152: 148: 144: 143: 134: 131: 129: 125: 121: 117: 113: 109: 106: 103: 99: 96: 93: 89: 86: 83: 79: 68: 62: 57: 53: 47: 40: 37: 33: 19: 4263:Prothalamion 4261: 4253: 4245: 4237: 4231:Epithalamion 4229: 4221: 4213: 4210:(1590, 1596) 4206: 4205: 4197: 4141: 4134: 4066: 4065: 4021: 4006: 3993: 3980: 3967: 3954: 3941: 3931: 3922: 3906: 3879: 3876: 3867: 3857: 3846: 3838: 3828: 3814: 3791: 3773: 3749: 3743: 3739: 3721: 3712: 3679: 3673: 3664: 3641: 3609: 3603: 3599: 3571: 3565: 3556: 3547: 3515: 3509: 3500: 3479:(1): 69–86, 3476: 3472: 3468: 3450: 3426: 3422: 3413: 3404: 3401: 3392: 3379: 3370: 3366: 3342: 3338: 3334: 3302: 3298: 3294: 3270: 3266: 3262: 3230: 3224: 3220: 3196: 3192: 3168: 3164: 3160: 3136: 3132: 3128: 3117:, retrieved 3110:the original 3097: 3093: 3084: 3064: 3055: 3048:Bibliography 3034:. Retrieved 3030: 3021: 3009:. Retrieved 3004: 2995: 2983:. Retrieved 2979: 2970: 2962: 2957: 2948: 2942: 2930:. Retrieved 2919: 2911: 2901: 2893: 2884: 2875: 2857: 2851: 2839: 2812: 2800: 2793:Cañadas 2007 2788: 2776: 2769:Turnage 1970 2764: 2759:, p. 6. 2757:Cumming 1937 2722: 2710: 2698: 2686: 2674: 2662: 2633: 2604: 2573: 2561: 2479: 2467: 2434: 2430: 2424: 2417:Spenser 1984 2412: 2400: 2388: 2381:Spenser 1984 2359: 2334: 2330: 2320: 2290:(1): 14–16. 2287: 2283: 2273: 2266:Marotti 1965 2261: 2197: 2193: 2183: 2174: 2170: 2160: 2151: 2147: 2137: 2112: 2108: 2102: 2090: 2075: 2063: 2058:, p. 8. 2051: 2039: 2027: 2015: 2003: 1991: 1966: 1958: 1951:Spenser 1984 1946: 1934: 1922:. Retrieved 1907: 1900: 1868: 1852: 1836: 1811: 1786: 1772:Walter Crane 1767: 1748: 1730: 1710: 1689: 1669: 1664: 1654: 1648: 1642: 1640: 1635: 1625: 1623: 1612: 1610: 1601: 1591: 1589: 1583: 1581: 1576:Cecil Beaton 1567: 1561: 1559: 1549: 1545: 1538: 1535:George Lucas 1532: 1513: 1494: 1486:Walter Crane 1462:A. G. Walker 1455: 1448: 1439:than in the 1424: 1418: 1407: 1400: 1393: 1389: 1382: 1378: 1368: 1363: 1352: 1348: 1338: 1334: 1332: 1310: 1308: 1301: 1296: 1291: 1286: 1275: 1246: 1238: 1237: 1228: 1224: 1217: 1213: 1211: 1206: 1202: 1197: 1193: 1191: 1175: 1172: 1167:Walter Crane 1162: 1147: 1141: 1133: 1125: 1124: 1113: 1111: 1106: 1104: 1098: 1095: 1054:Lord Hunsdon 1015: 1009: 989: 983: 981: 976: 973: 957: 955: 949: 944: 939: 938: 932: 930: 924: 920: 918: 909: 904: 902: 897: 895: 881: 880:. Book V of 875: 865: 853: 851: 839:Faerie Queen 826: 818: 808: 798: 786: 781: 780: 777:(1840–1920). 770: 756:Magnificence 729: 724: 706: 700: 688:Henry Fuseli 683: 658: 652: 642: 636: 624: 618: 609:Saint George 604: 592: 586: 578: 565: 559: 549: 538: 523: 517: 503: 497: 487: 481: 475: 469: 461: 455: 439: 432:Walter Crane 427: 414: 400: 393: 367: 359: 353: 331: 319: 312:Tate Britain 308:William Etty 301: 286: 282: 278: 276: 270: 269: 263: 262: 256: 255: 246: 245: 236: 235: 215: 214: 208: 181: 179: 174: 154: 141: 140: 139: 66: 36: 4098:Fairy Queen 3861:, Wordpress 3850:, Montclair 3742:, Book I", 3429:(1): 1–24, 2832:Parker 1925 2781:Draper 1932 2554:McCabe 2010 2484:McCabe 2010 2472:McCabe 2010 2405:McCabe 2010 2393:McCabe 2010 2364:Micros 2008 2235:McCabe 2010 2095:Abrams 2000 2068:McCabe 2010 2044:McCabe 2010 1823: 1860 1798: 1860 1566:references 1520:Elizabeth I 1399:Adjective: 1143:ottava rima 1138:rhyme royal 1105:Throughout 1018:Elizabeth I 965:Composition 919:Throughout 903:Throughout 831:allegorical 813:celebrates 695: 1788 504:Chrysogonee 488:Colin Clout 338:(Ariosto), 171:Elizabeth I 167:allegorical 122:Over 36,000 74: 1590 4291:1590 poems 4280:Categories 4215:Complaints 4185:Poetry by 4076:Characters 3968:Book Three 2965:, XXXVIII. 2679:Craig 1972 2667:Craig 1972 2655:Craig 1972 2638:Heale 1999 2626:Craig 1972 2609:Craig 1972 2539:Green 1974 2522:Green 1974 2505:Green 1974 2254:Heale 1999 2056:Heale 1999 2008:Roche 1984 1996:Roche 1984 1893:References 1867:Detail of 1665:Enterprise 1659:respawning 1653:and later 1630:series by 1572:Claire Foy 1492:movement. 1482:H. J. Ford 1371:morphology 1345:Ben Jonson 1261:Owen Tudor 1245:. In his 1086:Lady Carew 1000:Dedication 892:Archetypes 744:Friendship 736:Temperance 450:Bradamante 354:Amoret(ta) 114:1590, 1596 4255:Astrophel 4128:Influence 4112:Locations 4088:Belphoebe 4083:Archimago 3994:Book Five 3981:Book Four 3696:0039-3657 3634:163503939 3578:: 80–87, 3540:163385153 3327:163320376 3255:163456548 3213:143462583 2932:4 October 2742:Pope 1926 2727:Pope 1926 2715:Pope 1926 2459:163052682 2351:1084-8770 2337:(1): 40. 2304:0026-7937 2129:130980896 2020:Tuve 1966 1768:Britomart 1711:Britomart 1650:Star Trek 1644:Star Trek 1604:aloud to 1563:The Crown 1546:Star Wars 1540:Star Wars 1267:Reception 843:Belphoebe 716:Aristotle 711:Arthurian 625:Scudamour 550:Florimell 498:Cymochles 441:Britomart 416:Belphoebe 361:Archimago 314:, London. 251:Britomart 241:Sir Guyon 221:Archimago 147:epic poem 105:Epic poem 4316:Allegory 4239:Amoretti 4103:Orgoglio 4013:alt link 4007:Book Six 4000:alt link 3987:alt link 3974:alt link 3961:alt link 3955:Book Two 3948:alt link 3942:Book One 3912:LibriVox 3885:Archived 3567:Language 3171:(1): 6, 3119:15 March 3036:7 August 3011:7 August 2985:7 August 1881:See also 1429:dialogue 1401:combrous 1349:Calendar 1337:, as in 1329:Language 1323:Lucretia 1283:Davenant 985:Amoretti 835:allusive 815:Augustus 795:Politics 762:Religion 752:Courtesy 740:Chastity 732:Holiness 653:Triamond 619:Satyrane 599:His name 594:Orgoglio 587:Marinell 470:Calidore 456:Busirane 446:Chastity 397:virtues. 368:Artegall 346:' poem " 310:, 1833. 285:are the 283:Book VII 247:Book III 226:Orgoglio 101:Genre(s) 91:Language 3766:2871935 3359:2708790 3319:1261309 3185:3197672 3153:2872698 2451:4174771 2312:3724105 1676:Gallery 1624:In the 1388:Prefix 1360:diction 1278:diction 1272:Diction 1257:Britons 1192:During 1183:Sources 1084:), and 847:dungeon 748:Justice 554:Proteus 518:Despair 482:Cambina 476:Cambell 388:Adamant 384:harvest 380:Demeter 372:Justice 332:Odyssey 320:Acrasia 271:Book VI 257:Book IV 237:Book II 192:Summary 163:knights 81:Country 4266:(1596) 4258:(1595) 4250:(1595) 4242:(1595) 4234:(1595) 4226:(1591) 4218:(1591) 4202:(1579) 4093:Caelia 4070:(1590) 4022:Book I 3798: 3780: 3764: 3728: 3704:449795 3702: 3694: 3652: 3632: 3626:457619 3624: 3592:409365 3590: 3538: 3532:458025 3530: 3493:449571 3491: 3457: 3443:450441 3441: 3357: 3325: 3317: 3287:586023 3285: 3253: 3247:458021 3245: 3211: 3183: 3151: 3071: 2457: 2449: 2349: 2310: 2302: 2127: 1979: 1924:7 June 1915: 1875:, 1904 1855:, 1905 1774:, 1900 1755:, 1899 1698:, 1776 1600:reads 1480:, and 1445:Bunyan 1406:Verb: 1253:Saxons 1076:, the 1044:, the 1040:, the 1036:, the 1032:, the 1028:, the 819:Aeneid 810:Aeneid 805:Virgil 750:, and 670:Themes 524:Duessa 463:Caelia 394:Arthur 340:Armida 336:Alcina 264:Book V 230:Caelia 216:Book I 3762:JSTOR 3700:JSTOR 3630:S2CID 3622:JSTOR 3588:JSTOR 3574:(3), 3536:S2CID 3528:JSTOR 3489:JSTOR 3439:JSTOR 3355:JSTOR 3323:S2CID 3315:JSTOR 3283:JSTOR 3251:S2CID 3243:JSTOR 3209:S2CID 3181:JSTOR 3149:JSTOR 3113:(PDF) 3090:(PDF) 2455:S2CID 2447:JSTOR 2308:JSTOR 2125:S2CID 1578:says: 1408:keepe 1394:yclad 1383:vewen 1356:' 1319:Greek 647:Talos 643:Talus 561:Guyon 512:Diana 508:Venus 376:sword 344:Keats 328:Homer 324:Circe 128:Metre 119:Lines 3796:ISBN 3778:ISBN 3726:ISBN 3692:ISSN 3650:ISBN 3605:PMLA 3511:PMLA 3455:ISBN 3299:PMLA 3226:PMLA 3121:2016 3069:ISBN 3038:2023 3013:2023 2987:2018 2934:2012 2347:ISSN 2300:ISSN 2194:PMLA 2171:PMLA 2148:PMLA 1977:ISBN 1926:2021 1913:ISBN 1663:USS 1526:and 1503:and 1495:In " 1456:The 870:and 833:and 823:Troy 510:and 4064:'s 3819:at 3754:doi 3745:ELH 3684:doi 3614:doi 3602:", 3580:doi 3520:doi 3481:doi 3431:doi 3347:doi 3337:", 3307:doi 3297:", 3275:doi 3265:", 3235:doi 3223:", 3201:doi 3173:doi 3141:doi 3133:ELH 3131:", 3102:doi 2439:doi 2435:100 2339:doi 2292:doi 2117:doi 1973:210 1871:by 1814:by 1789:by 1770:by 1751:by 1733:at 1713:by 1694:by 1537:'s 1507:'s 1447:'s 1379:-en 1165:by 896:In 874:'s 864:'s 807:'s 773:by 686:by 659:Una 541:by 430:by 409:Atë 401:Ate 334:), 330:'s 306:by 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