Lyric Address and Spenser's Reinvention of the Proem.
In The Faerie Queene Edmund Spenser establishes the form of the poetic proem for subsequent English literature. Taking models from Chaucer's Troilus and Criseyde and the lyric addresses to muses and patrons in European epic, he transforms these prefatory lyrics in a constantly changing evolution. As...
| Publicado en: | Studies in Philology Vol. 116; no. 2; pp. 253 - 280 |
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| Autor principal: | |
| Formato: | Poetry Review |
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University of North Carolina Press
Spring2019
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=135826381&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 135826381 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00393738 SPL jtl: Studies in Philology issn: 00393738 maglogo: N pubinfo: dt: Spring2019 vid: 116 iid: 2 pid: 2027 pub: University of North Carolina Press artinfo: ui: 135826381 10.1353/sip.2019.0010 ppf: 253 ppct: 27 formats: fmt: – @attributes: type: T – @attributes: type: P size: 298KB tig: atl: Lyric Address and Spenser's Reinvention of the Proem. aug: au: Oram, William A. affil: Smith College su: European poetry Milton, John, 1608-1674 English literature Mortality Liberty Epic poetry sug: subj: European poetry Milton, John, 1608-1674 English literature Mortality Liberty Epic poetry ab: In The Faerie Queene Edmund Spenser establishes the form of the poetic proem for subsequent English literature. Taking models from Chaucer's Troilus and Criseyde and the lyric addresses to muses and patrons in European epic, he transforms these prefatory lyrics in a constantly changing evolution. As he reconceives it, the form centers on an address in which the poet appeals to a figure of authority, normally Elizabeth I. The proem to book 1 is simply an invocation overgoing earlier invocations, but in the proems to books 2 and 3 he assumes the role of poet-as-courtier. Spenser's shift toward lyric in the 1590s provides the context for his experiments with the proem in the second installment of The Faerie Queene. There he stages himself as an isolated figure, rejecting the court for an idealized past or for the pleasures of an imagined world. He reduces the importance of the appeal to the queen and, in the proem to book 4, does not address her at all. Book 6 begins with his delight in the act of creation and the delayed address to Elizabeth foregrounds his agency in making her a symbol of divine beneficence. In Paradise Lost, John Milton's proems develop out of Spenser's, but his substitution of God for the queen creates a characteristically public inwardness. pubtype: Review doctype: Poetry Review src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Studies in Philology is the property of University of North Carolina Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Studies in Philology holder: University of North Carolina Press dt: @attributes: year: 2019 holdings: @attributes: islocal: N |
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