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This book sets the scene for the reinterpretations and explorations of the ways William Shakespeare and his contemporaries worked mythological material on their looms. In Ovid, each text leaves a trace in the others, introducing an enriching leaven that expands the text. Reading Holinshed's efforts to place Samothes or Brutus on England's family tree, one feels sorry for those chroniclers who had to reconcile a variety of founding tales and defend mutable causes. Founding myths need a renowned ancestor; warlike feats; identification with a territory, continuity, purity of blood; and someone to tell the story: fame must be recorded by pen if it is to survive marble monuments. The book discusses the Trojan matter of King John, which powerfully structures and textures the scenes of the siege of Angiers and, more specifically, the tragic fates of Constance and Arthur. It also considers some metamorphoses of Shakespeare and Ovid. The book reiterates imaginative association, influence, historically diachronic descent study, as evidenced in that kind of critical work that finds in a keyword an attractive pretext for projecting an author's particular interest or, a critic's. Yves Peyré's work opens perspectives on post-Shakespeare reworkings and Shakespearian myths that were also explored during the ESRA conference and inspired a separate collection of essays, Mythologising Shakespeare: A European Perspective.

This book is the first ever concordance to the rhymes of Spenser’s epic. It gives the reader unparalleled access to the formal nuts and bolts of this massive poem: the rhymes which he used to structure its intricate stanzas.

As well as the main concordance to the rhymes, the volume features a wealth of ancillary materials, which will be of value to both professional Spenserians and students, including distribution lists and an alphabetical listing of all the words in The Faerie Queene. The volume breaks new ground by including two studies by Richard Danson Brown and J. B. Lethbridge, so that the reader is given provocative analyses alongside the raw data about Spenser as a rhymer. Brown considers the reception of rhyme, theoretical models and how Spenser’s rhymes may be reading for meaning. Lethbridge in contrast discusses the formulaic and rhetorical character of the rhymes.

Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power.

This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.

Tales of origins in medieval and early modern France and England
Dominique Goy- Blanquet

fathers.’ 1 The problem is that they want to resemble their fathers. Founding myths, as Colette Beaune has shown, need a renowned ancestor, warlike feats, identification with a territory, continuity, purity of blood – and someone to tell the story: fame must be recorded by pen if it is to survive marble monuments. 2 Too little has been written about the high deeds of early French kings, notes the

in Interweaving myths in Shakespeare and his contemporaries
Rhyme, meaning and experience
Richard Danson Brown

word forms he chooses. The constraints which rhyme imposes on Spenser are readily evident in this passage. Word forms and syntax are repeatedly distorted to secure the desired rhyme, particularly when new names are introduced: But sooth he is the sonne of Gorlois ,   And brother vnto Cador Cornish king,   And for his warlike feates renowmed is (III.iii.27.1–3) This is one Spenser

in The art of The Faerie Queene
Abstract only
Richard Danson Brown and J.B. Lethbridge

there lenger soiourne and abode 4.3.11.2 The meede of thy mischalenge and abet ‘Prowest’ . . . man/Dame . . . ‘aliue’ 2.11.30.6 Proofe be thou Prince, the prowest man aliue 1.9.4.3 In warlike feates th’expertest man aliue 2.6.45.2 That am, I weene, most wretched man aliue 3.1.18.8 Most goodly meede the fairest Dame aliue 3.10.27.2 Sith I enioyd the gentlest Dame aliue 4.8.25.8 Ne euer thing so well was doen aliue 2.3.18.3 For now the best and noblest knight aliue 2.8.18.3 For yonder comes the prowest knight aliue 489 5.11.38.2 Haile good Sir Sergis truest Knight

in A concordance to the rhymes of The Faerie Queene
An Introduction to the Faerie Queene Rhymes Concordance
Richard Danson Brown

A Concordance to the Rhymes of The Faerie Queene offers a unique insight into Spenser’s creative processes and the tools of his trade. It enables readers to review the variety of Spenser’s rhyming in a detail which has not previously been possible. In this study, Richard Danson Brown illustrates this rhetorical variety by focusing on a selection of key devices which are characteristic of the poem as a whole, and which stress the radical and hybrid aesthetic which underpins The Faerie Queen.

in A concordance to the rhymes of The Faerie Queene
Moderate ‘this Ornament of Rhyme’
J.B. Lethbridge

The general argument of this study is that Spenser weakens rhyme, and does so because of the problems it poses for narrative, and because he wishes to direct attention away from the manner of his writing to the subject of that writing, to what he is writing about: Spenser’s verse aspires to the condition of blank verse, Spenser’s language aspires to the condition of transparency. Each of these entails the weakening of rhyme, of which the massive repetition in various forms is one factor. After some general comments about rhyme, the author analyses some relevant practices of poets other and often later than Spenser, to gain some purchase by comparison and contrast, before coming to a detailed examination of the relevant aspects of Spenser’s rhyme. Lastly the author bruits some consequences of Spenser’s treatment of rhyme for his language and our reading of The Faerie Queene.

in A concordance to the rhymes of The Faerie Queene
Christopher Burlinson and Andrew Zurcher

This section contains the full text of A Supplement of the Faery Queene, produced and annotated by Christopher Burlinson and Andrew Zurcher. The aim in producing the present edition of the Supplement is to give a wider readership access to a seventeenth-century manuscript poem of considerable interest and importance. In this edition, the editors have not sought to erase or to reform the poem’s presentation in its single textual witness, but to record that appearance in a way that will be legible and intelligible to modern readers.

in A Supplement of the Faery Queene