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Updated: June 2, 2025
The subject, however, is treated in a more subtly allegorical manner than by Ovid's direct imitators, and this mode of presentment likewise characterizes Spenser's tale of Molanna in the fragment on Mutability. Browne returned to a more crudely metamorphical tradition in the loves of Walla and Tavy, while a similarly mythological Naturanschauung may be traced in Drayton's chorographical epic.
But, strange as the medley is, it reflects truly enough the stranger medley of warring ideals and irreconcileable impulses which made up the life of Spenser's contemporaries.
Walking through King Street, Westminster, you will not forget the great poet Edmund Spenser, who, a victim to barbarity, died there, in destitution and grief. Ben Jonson's terse record of that calamity says: "The Irish having robbed Spenser's goods and burnt his house and a little child new-born, he and his wife escaped, and after he died, for lack of bread, in King Street."
There are not a few later productions in the kind which may be reasonably held to surpass it in poetic merit, but all alike sink into insignificance by the side of Spenser's eclogues when the influence they exercised on the history of English verse is taken into account.
As the Elizabethans felt that real life meant activity in exploring a new and interesting world, both physical and mental, they demanded that their literature should present this life of action. Hence, all their greatest poets, with the exception of Spenser, were dramatists. Even Spenser's Faerie Queene, with its abstractions, is a poem of action, for the virtues fight with the vices.
But none of these found favour. The choice has always been of the language of children. Let us suppose that the flock of winged Loves worshipping Venus in the Titian picture, and the noble child that rides his lion erect with a background of Venetian gloomy dusk, may be the inspirers of those prattlings. "See then thy selfe likewise art lyttle made," says Spenser's Venus to her child.
THE POETRY OF BURNS. The publication of the Kilmarnock Burns, with the title Poems Chiefly in the Scottish Dialect , marks an epoch in the history of English Literature, like the publication of Spenser's Shepherd's Calendar.
George Grenville was brother-in-law of Pitt, and had always been reckoned one of Pitt's personal and political friends. But it is difficult to conceive two men of talents and integrity more utterly unlike each other. Pitt, as his sister often said, knew nothing accurately except Spenser's Faery Queen. He had never applied himself steadily to any branch of knowledge. He was a wretched financier.
She, the gracious lady, yet no paines did spare To doe him ease, or doe him remedy: Many restoratives of vertues rare And costly cordialles she did apply, To mitigate his stubborne malady. Spenser's Faerie Queens. Mr. Henry Brierly was exceedingly busy in New York, so he wrote Col. Sellers, but he would drop everything and go to Washington.
He cast about for an illustration which would at once make clear the distinction and enliven his lecture. His eye lit upon Hyacinth, upon whose cheek there still burned a long red scar. Dr. Spenser's face brightened. 'For instance, gentlemen, he said, 'if I should reason from the fact that our friend Mr.
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