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Amoretti is a sonnet cycle written by Edmund Spenser in the 16th century. The cycle describes his courtship and eventual marriage to Elizabeth Boyle. Amoretti was first published in 1595 in London by William Ponsonby. It was printed as part of a volume entitled Amoretti and Epithalamion. Written not long since by Edmunde Spenser.
The Spenserian sonnet is a sonnet form named for the poet Edmund Spenser. [1] A Spenserian sonnet consists of fourteen lines, which are broken into four stanzas: three interlocked quatrains and a final couplet, with the rhyme scheme ABAB BCBC CDCD EE. [2] It uses iambic pentameter. [3]
Edmund Spenser (/ ˈ s p ɛ n s ər /; born 1552 or 1553; died 13 January O.S. 1599) [2] [3] was an English poet best known for The Faerie Queene, an epic poem and fantastical allegory celebrating the Tudor dynasty and Elizabeth I. He is recognized as one of the premier craftsmen of nascent Modern English verse, and he is considered one of the ...
The Faerie Queene is an English epic poem by Edmund Spenser.Books I–III were first published in 1590, then republished in 1596 together with books IV–VI. The Faerie Queene is notable for its form: at over 36,000 lines and over 4,000 stanzas, [1] 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 Spenserian ...
An exception is Edmund Spenser's Amoretti, where the wooing is successful, and the sequence ends with an Epithalamion, a marriage song. The arrangement of the sonnets generally reflects thematic concerns, with chronological arrangements (whether linear, like a progression, or cyclical, like the seasons) being the most common.
The Shepheardes Calender (originally titled The Shepheardes Calendar, Conteyning twelve Aeglogues proportionable to the Twelve monthes.Entitled to the Noble and Vertuous Gentleman most worthy of all titles both of learning and chevalrie M. Philip Sidney) [1] was Edmund Spenser's first major poetic work, published in 1579.
Spenser’s poetic interest in the earthly nature of joy takes Epithalamion beyond an expression of celebratory, communal joy and into a more private, secret joy that remains ineffable. Finally, the poem moves toward affective joy, bestowing a kind of blessedness, or even grace, upon the listener, much like the practice of reciting the Psalms ...
Some of the sonnets in this section, and the final Visions of Petrarch, had earlier versions in A theatre wherein be represented as wel the miseries & calamities that follow the voluptuous worldlings (1569) translated by Spenser (and others) from the original by Jan van der Noot. [13]