By Bart Van Es
This booklet presents an authoritative consultant to discuss on Elizabethan England's poet laureate. It covers key themes and gives histories for the entire basic texts. a few of cutting-edge so much renowned Spenser students supply debts of debates at the poet, from the Renaissance to the current day. crucial for these generating new study on Spenser.
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Additional resources for A Critical Companion to Spenser Studies
McCabe produce valuable complementary studies: Montrose’s seminal series of essays (1983, 1996, 2002) on Spenser’s career as an English author in reciprocal relation with Queen Elizabeth; and McCabe’s authoritative monograph (2002) on Spenser’s career as an “exiled” author in conflicted relation with the bards and other leaders in Ireland. In this opening chapter, we shall look into this “state of the art” on Spenser’s life and career, and trace its origins. ”1 This commentary is not merely inaugural but paradigmatic, because it uncannily predicts the singular feature organizing Spenser commentary for the centuries to follow: the fusion between biographical and literary criticism.
Yet, if in one way the Cambridge convention can be taken as a picture of intellectual stability, in another it also holds the seeds of new developments. The theme of the conference was ‘The Place of Spenser’, and work on ‘places’ (in multiple senses, from the geographic to the institutional) have come to stimulate fresh thought on the poet’s writing in recent years. As the boundaries defining ‘the Renaissance’ and ‘English Studies’ receive ever more sceptical scrutiny, that ‘place’ looks to be increasingly, and productively, uncertain.
Principally, Church sees Spenser as “the harbinger and announcing sign” of “a new poetry, which with its reality, depth, sweetness and nobleness took the world captive,” the fulfillment of which emerges where we should expect: with “Shakespere” (35–6). Church is admirably aware of the historical significance of Spenser’s time in Ireland: “The first great English poem of modern times, the first creation of English imaginative power since Chaucer, and like Chaucer so thoroughly and characteristically English, was not written in England” (87).