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Cosmography and chorography
Tamsin Badcoe

example, a way of approaching coastal space, which Elizabeth Jane Bellamy has described as the possible site of ‘a numinous poetics’ in Spenser’s poem. 4 Spenser’s Knight of Chastity is famously good at crossing thresholds and the origins of her quest are located using both the contours of regional Welsh geography and an unusual interest in the names of places. 5 In order to sound Glauce’s meaning when she avows to her charge that she will try ‘by wrong or right/ To compas [her] desire, and find that loued knight’ (III.ii.46), I connect Spenser’s regional descriptions

in Edmund Spenser and the romance of space
Paul Strohm

London house from the fourteenth century’. 14 The bedchamber is an indispensable place for privacy – either solitude or the mutual privacy that lovers seek. Chaucer’s Troilus uses his chamber for solitary swooning and delicious death-wishing despair. When smitten by Criseyde, Troilus’s first thought is to ‘hiden his desir in muwe’ (I.381). He ‘muwes’ his desire – locks it up in the small cage to which

in Love, history and emotion in Chaucer and Shakespeare
Victoria Coldham-Fussell

2 considered the comic exposure of Red Crosse’s spiritual pride in detail, but the connection between this pride and what I am calling his ‘problem with desire’ demands a chapter of its own. Some will object that ‘The Legend of Holiness’ only superficially concerns romantic themes: Red Crosse looks like a foolish lover, but his foolishness is our collective fallen nature, and he is seduced by falsehood, not a woman. Yet, rather than leaving sexual ethics at the door, we need to recognise the extent to which they go right to the heart of Red Crosse’s spiritual

in Comic Spenser
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Faith, folly, and ‘The Faerie Queene’

Once a byword for Protestant sobriety and moral idealism, Spenser is now better known for his irony and elusiveness. Yet his sense of humour is still underestimated and misunderstood. Challenging the bias behind this neglect, this study shows that humour, far from being peripheral or superficial, goes to the heart of Spenser’s moral and doctrinal preoccupations. It explores rifts between The Faerie Queene’s ambitious and idealising postures and its Protestant vision of corruptible human nature. Figures to be comically ‘undone’ include the hero, the chivalric lover, the virgin, and the ideal monarch – as well as Spenser’s own epic-poet persona. Yet bathos has a positive significance in Christian theology, and Spenserian humour proves to be an expression of tolerance and faith as well as an instrument of satire. On this basis, Comic Spenser contends that the alliance of humour and allegory in The Faerie Queene affirms the value of the creative and ‘errant’ imagination.

Moral conversion and prodigal authorship
Rémi Vuillemin

the production and publication of a printed sequence could be seen as a form of social and public act. Examining why and how Barnes was led to express a sense of repentance and a desire for moral conversion – if it was one at all – is also a way of trying to uncover what Barnes was trying to perform by using print. Throughout this chapter, I will understand the term ‘conversion

in The early modern English sonnet
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Elisabeth Chaghafi

monument, ensuring the perpetuation not only of his works but of his own views regarding their significance. Yet Jonson’s decisions to declare his plays ‘works’ – for which he was mocked by some of his contemporaries – represent more than just an effort to fashion his authorial self. They also illustrate what Joseph Loewenstein has termed Jonson’s ‘possessive’ authorship. 8 Examining the pre-history of copyright, Loewenstein argues for a connection between the phenomenon of print authorship and the growing desire among early modern print authors to retain control of

in English literary afterlives
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Lewis Carroll
Nicholas Royle

✂ Cixous cuts also have to do with the desire for no cut. This is even what she most aspires to, what she loves best: the experience of no-cut, the sense of a book ‘without transition’, a book that ‘begins inside, in the body’ and the desire that it might stay there. 1 It is akin to the appeal of a dream – not being transported to another world but rather: ‘you are already in the other world’. 2 Following in the spirit of Lewis Carroll’s Humpty Dumpty (inventor of the ‘portmanteau’), she proposes a neologism to encapsulate this special sense of being

in Hélène Cixous
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Nicholas Royle

becoming fascinated, immersed or set adrift in a book; and where ‘dream’ is a speech-act, an order, request, plea or desire: dream in literature as one might breathe in the night air, inhale a perfume or strange gas. The first of these might seem the simplest to isolate. A dream – some reference to a dream or some description of a dream – occurs in the course of a poem, story or play, and we can read it as if it is self-enclosed, clearly marked off within the text, something that the poet or narrator or character refers to or experiences

in Hélène Cixous
Unsequenced sonnets in the sixteenth century
Chris Stamatakis

Scholars have often attended to the sonnet’s accretive nature – its ‘propensity for clustering’, in Heather Dubrow’s words, and its ‘predilection for sequences’ that attests wider ‘processes of gathering’ in the period’s lyric productions – treating it as a compulsive form that, seeking to fulfil a futile desire for reproduction and self-copying, aims to beget more of

in The early modern English sonnet
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Spenser, Donne, and the philosophic poem
Yulia Ryzhik

earthly and divine love and beauty offer a dialectical meditation on the relations between matter and form, human and divine, mutability and eternity as they dramatize a desire to uncover the underlying order of the universe. Drawing together aesthetics and cosmology, they suggest that the individual mind makes sense of the world by seeking its ‘Paterne’ ( An Hymne in Honour of Beautie ( HB ), lines 32 – 6), that poetic symmetries can recreate intellectual coherence amidst competing philosophic paradigms. 21 In the final hymn to Heavenly Beautie ( HHB ), Spenser

in Spenser and Donne