Allegory, Space and the Material World in the Writings of by Christopher Burlinson

By Christopher Burlinson

This publication presents a thorough reassessment of Spenserian allegory, particularly of The Faerie Queene, within the gentle of up to date ancient and theoretical pursuits in area and fabric tradition. It explores the ambiguous and fluctuating consciousness to materiality, items, and substance within the poetics of The Faerie Queene, and discusses the best way that Spenser's production of allegorical which means uses this materiality, and transforms it. It indicates extra severe engagement with materiality (which has been so very important to the new learn of early glossy drama) needs to come, on the subject of allegorical narrative, via a research of narrative and actual area, and during this context it is going directly to supply a examining of the spatial dimensions of the poem - quests and battles, forests, castles and hovels - and the spatial features of Spenser's different writings. The e-book reaffirms the necessity to position Spenser in his historic contexts - philosophical and clinical, army and architectural - in early glossy England, eire and Europe, but in addition offers a serious reassessment of this literary historicism. Dr CHRISTOPHER BURLINSON is a learn Fellow in English at Emmanuel university, Cambridge.

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Extra resources for Allegory, Space and the Material World in the Writings of Edmund Spenser (Studies in Renaissance Literature)

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33 Space and Materiality He may it fynd; ne let him then admyre But yield his sence to bee too blunt and bace That no’te without an hound fine footing trace. And thou, O fayrest Princesse vnder sky, In this fayre mirrhour maist behold thy face And thine owne realmes in lond of Faery, And in this antique ymage thy great auncestry. 1–4) This passage seems to place Faeryland somewhere between imagination and reality. 25 It seems odd that Spenser should choose to defend a charge against allegory (as ‘painted forgery’) through empirical means (that Faeryland might, as other previously unknown places, come to be known to exist).

27 In a way, by explicitly disavowing the importance of Ireland in the poem, Clifford-Amos’s work marks a geographical intervention in the argument over what is centrally important to Spenser studies. But it also makes demands on our conception of the poem’s narrative space, and demands that the poem have a geographical coherence that corresponds to that of the world: the journey in Faeryland has to start and finish in a specific, 24 25 26 27 Ronald Arthur Horton, The Unity of ‘The Faerie Queene’ (Athens, GA: University of Georgia Press, 1978), p.

Materials of Memory (Cambridge: Cambridge University Press, 2000); Paul Yachnin, ‘Magical Properties’, and Anthony Dawson, ‘Props, Pleasure, and Idolatry’, in Anthony B. Dawson and Paul Yachnin, The Culture of Playgoing in Shakespeare’s England: A Collaborative Debate (Cambridge: Cambridge University Press, 2001), pp. , Staged Properties in Early Modern English Drama. 21 Chapter 2 SPACE, PLACE, AND LOCATION: INSIDE AND OUTSIDE THE POEM But sith my web so diuerse now doth grow, To weave with many threads I must deuise.

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