From its opening scenes--in which the hero refrains from fighting a duel, then discovers that his horse has been stolen--Book Two of The Faerie Queene redefines the nature of heroism and of chivalry. Its hero is Sir Guyon, the knight of Temperance, whose challenges frequently take the form of temptations. Accompanied by a holy Palmer in place of a squire, Guyon struggles to subdue himself as well as his enemies. His adventures lead up to a climactic encounter with the arch-temptress Acrasia in her Bower of Bliss, which provides the occasion for some of Spenser's most sensuous verse. With its mixture of chivalric romance, history, and moral allegory, Book Two succeeds in presenting an exuberant exploration of the virtue of self-restraint.

Originally published in 1907, this book contains the text of Edmund Spenser's philosophical 'Fowre Hymnes'. Winstanley's introduction and notes detail the heavy influence of Platonic philosophy on Spenser's writings, particularly the role and function of the various kinds of love. This book will be of value to anyone with an interest in Spenser's works and in Elizabethan poetry.

Originally published in 1919, this book contains three stories taken from Spenser's The Faerie Queene: the story of the Knight of the Red Cross or of Holiness, the story of Sir Guyon or of Temperance, and the story of Britomart. Minna Steele Smith supplies an introduction with background on Spenser's life, the stories in his unfinished epic and his use of allegory. All the stories are written in readable, modern English. This book will be of value to anyone with an interest in early modern poetry.

Originally published in 1915 as part of the Pitt Press Series, and reprinted many times thereafter, this book contains the text of the first book of Spenser's Faerie Queene. Winstanley prefaces the text with an introduction on the medieval, classical and renaissance sources for the poem, as well as the book's historical allegory. This book will be of value to anyone with an interest in this important English poem.

Originally published in 1923 as part of the Cambridge Plain Texts series, this volume contains the complete text of Spenser's major early work The Shepheardes Calender. A short editorial introduction is also included. This book will be of value to anyone with an interest in Spenser and English Renaissance literature.

This revised and enlarged Fourth Edition expands and improves on the strengths of the previous three editions. All selections are based on early and established texts, fully glossed, and carefully annotated. An Editor's Note follows each section. This new edition addresses the shifts in scholarly and critical interests in Spenser studies since 1993 as well as access provided by new technology. Notes reflect the information that Spenser's best readers would have at their fingertips without spoiling the pleasure of reading Spenser for the first time. Mother Hubberds Tale from the 1591 Complaints is newly included. The Ruines of Rome, Spenser's translation of Joachim Du Bellay's Antiquitez, is also added to give readers the chance to see Spenser at work as a translator and to give the English perspective on Rome. Sixteen critical essays have been added to supplement fourteen earlier commentaries. Among the perspectives new to the Fourth Edition are those of C. S Lewis, Martha Craig, Gordon Teskey, Jeff Dolven, David Wilson-Okamura, and Jennifer Summit. In keeping with the last edition, critical pieces on the House of Busyrane, Spenser's pastoral, Muiopotmos, and Amoretti are grouped together to facilitate classroom discussion. New selections from Jane Grogan, Andrew D. Hadfield, Colin Burrow, Lynn Staley, Lauren Silberman, and A. E. B. Coldiron join the readings on House of Busyrane, and "Amoretti" grows with selections by A. Leigh DeNeef and Helena Mennie Shire. A Chronology of Spenser's life and an extensive Bibliography are also included.

Framed in Spenser's distinctive, opulent stanza and in some of the trappings of epic, Book One of Spenser's The Faerie Queene consists of a chivalric romance that has been made to a typical recipe--fierce warres and faithfull loves--but that has been Christianized in both overt and subtle ways. The physical and moral wanderings of the Redcrosse Knight dramatize his effort to find the proper proportion of human to divine contributions to salvation--a key issue between Protestants and Catholics. Fantastic elements like alien humans, humanoids, and monsters and their respective dwelling places are vividly described.

These paired Arthurian legends suggest that erotic desire and the desire for companionship undergird national politics. The maiden Britomart, Queen Elizabeth's fictional ancestor, dons armor to search for a man whom she has seen in a crystal ball. While on this quest, she seeks to understand how one can be chaste while pursuing a sexual goal, in love with a man while passionately attached to a woman, a warrior princess yet a wife. As Spenser's most sensitively developed character, Britomart is capable of heroic deeds but also of teenage self-pity. Her experience is anatomized in the stories of other characters, where versions of love and friendship include physical gratification, torture, mutual aid, competition, spiritual ecstasy, self-sacrifice, genial teasing, jealousy, abduction, wise government, sedition, and the valiant defense of a pig shed.

Book Six and the incomplete Book Seven of The Faerie Queene are the last sections of the unfinished poem to have been published. They show Spenser inflecting his narrative with an ever more personal note, and becoming an ever more desperate and anxious author, worried that things were falling apart as Queen Elizabeth failed in health and the Irish crisis became ever more terrifying. The moral confusion and uncertainty that Calidore, the Knight of Courtesy, has to confront are symptomatic of the lack of control that Spenser saw everywhere around him. Yet, within such a troubling and disturbing work there are moments of great beauty and harmony, such as the famous dance of the Graces that Colin Clout, the rustic alter ego of the poet himself, conjures up with his pipe. Book Seven, the Two Cantos of Mutabilitie, is among the finest of Spenser's poetic works, in which he explains the mythical origins of his world, as the gods debate on the hill opposite his Irish house. Whether order or chaos triumphs in the end has been the subject of most subsequent critical debate.

From its opening scenes--in which the hero refrains from fighting a duel, then discovers that his horse has been stolen--Book Two of The Faerie Queene redefines the nature of heroism and of chivalry. Its hero is Sir Guyon, the knight of Temperance, whose challenges frequently take the form of temptations. Accompanied by a holy Palmer in place of a squire, Guyon struggles to subdue himself as well as his enemies. His adventures lead up to a climactic encounter with the arch-temptress Acrasia in her Bower of Bliss, which provides the occasion for some of Spenser's most sensuous verse. With its mixture of chivalric romance, history, and moral allegory, Book Two succeeds in presenting an exuberant exploration of the virtue of self-restraint.

Despite all of his acknowledged greatness, almost no one read Edmund Spenser (1552-99) any more. Roy Maynard takes the first book of 'The Faerie Queene, ' exploring the concept of Holiness with the character of the Redcross Knight, and makes Spenser accessible again. He does this not by dumbing it down, but by deftly modernizing the spelling, explaining the obscurities in clever asides, and cuing the reader towards the right response. (from Gene Veith)