Reformation iconoclasts viewed verbal images with the same distrust and aversion as visual images, because they too were capable of shaping and thus waylaying the human imagination; and yet the Reformation also produced the defining monuments of English epic. In an extended analysis, both lucid and theoretically sophisticated, Linda Gregerson traces the contradictory cultural roots of The Faerie Queene and Paradise Lost, illuminating the ideological, political, and gender conflicts that Spenser and Milton confronted as they transformed the epic poem into an instrument for the reformation of the political subject.
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Editorial Reviews
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"Here we have a detailed examination of literary style and achievement in epic poetry that brings Spenser and Milton more clearly into focus." Bibliotheque D'Humanisme
"...a worthy 1990s response to the last two English poetic epics." Diane Parkin-Speer, Sixteenth Century Journal
"...a worthy 1990s response to the last two English poetic epics." Diane Parkin-Speer, Sixteenth Century Journal
Book Description
Reformation iconoclasts found verbal figures dangerous, because SH like pictures or statuary SH they were capable of shaping and thus of waylaying the human imagination; and yet the Reformation produced the defining monuments of English epic. Through detailed readings of The Faerie Queene and Paradise Lost, and using feminist, psychoanalytic, political, and formal analysis, Linda Gregerson traces the strategies by which Spenser, and then Milton, distinguished their poems from idols, while making the epic poem an instrument for the reformation of the reading and political subject.
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Inside This Book
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First Sentence:
The narrative sequence of Spenser's Faerie Queene is such that we know his Knight of Chastity by her prowess and her cause before we know her by her motives, or her causes. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
satanic rhetoric, shadowes light, facsimile repr, whose image thou art, secondary hands, separation scene, mirror sequence, divorce tracts, wedding masque, soundest sleep, representational logic, false rhetoric, referential status, rhetoric books, epic action, iconoclastic controversy, wedded love, domestic love, subject formation, recognition scene Key Phrases - Capitalized Phrases (CAPs): (learn more)
Paradise Lost, New York, Princeton University Press, Francis Bacon, University of California Press, False Florimell, Johns Hopkins University Press, Harvard University Press, Bowre of Bliss, Jacques Lacan, Jonathan Goldberg, Milton Studies, University of Chicago Press, Cornell University Press, George Sandys, Henry Peacham, Patricia Parker, Samuel Shaw, Accession Day, Book of Chastity, Book of Justice, Earl of Essex, Milton's Eve, Cambridge University Press, Clarendon Press New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
The narrative sequence of Spenser's Faerie Queene is such that we know his Knight of Chastity by her prowess and her cause before we know her by her motives, or her causes. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
satanic rhetoric, shadowes light, facsimile repr, whose image thou art, secondary hands, separation scene, mirror sequence, divorce tracts, wedding masque, soundest sleep, representational logic, false rhetoric, referential status, rhetoric books, epic action, iconoclastic controversy, wedded love, domestic love, subject formation, recognition scene Key Phrases - Capitalized Phrases (CAPs): (learn more)
Paradise Lost, New York, Princeton University Press, Francis Bacon, University of California Press, False Florimell, Johns Hopkins University Press, Harvard University Press, Bowre of Bliss, Jacques Lacan, Jonathan Goldberg, Milton Studies, University of Chicago Press, Cornell University Press, George Sandys, Henry Peacham, Patricia Parker, Samuel Shaw, Accession Day, Book of Chastity, Book of Justice, Earl of Essex, Milton's Eve, Cambridge University Press, Clarendon Press New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 100
books:
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29
books
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- The Faerie Queene (Penguin Classics) by Edmund Spenser on 74 pages
- Paradise Lost (Penguin Classics) by John Milton on 67 pages
- The Garden of Eloquence (1593) by Henry Peacham on 8 pages
- Saint Augustine: On Christian Doctrine by D. W. Robertson on 7 pages
- The Cult of Elizabeth: Elizabethan Portraiture and Pageantry by Roy Strong on 6 pages
See all 100 books this book cites
- Imagining Death in Spenser and Milton by Elizabeth Jane Bellamy in Front Matter, page 25, and Back Matter
- Milton and Modernity: Politics, Masculinity and "Paradise Lost" by Matthew Jordan in Back Matter (1), and Back Matter (2)
- The Cambridge Companion to Milton (Cambridge Companions to Literature) by Dennis Danielson on page 190, and page 276
- The Poetics of Melancholy in Early Modern England (Cambridge Studies in Renaissance Literature and Culture) by Douglas Trevor in Back Matter (1), and Back Matter (2)
- Literature and the Politics of Family in Seventeenth-Century England by Su Fang Ng on page 161
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