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The Queene's Christmas draws readers into the magnificent realm of Elizabeth Tudor and the magic of her Court at Yuletide, circa 1564. But in the intoxicating sixth novel of Karen Harper's celebrated Elizabeth I series, the Twelve Days of Christmas are murderously interrupted when the Dresser of the Queen's Privy Kitchen is found hanged and trussed likethe peacock he'd been fashioning for the holiday feast. With foul play afoot in her Court, Elizabeth does her royal utmost to track down the poor man's killer while striving to salvage the joy of Christmas. Doomed to suspect even her most trusted courtiers, she is nevertheless determined to vanquish the Christmas culprit-who will not only strike again but hastargeted Her Majesty as his ultimate prey.

In a time not long from now, the veil between fantasy and reality is ripped asunder—creatures of myth and fairy tale spill into the mortal world. Enchanted yet horrified, humans force the magical beings Underground, to colonize the sewers and abandoned subway tunnels beneath their glittering cities. But even magic folk cannot dwell in harmony, and soon two Worlds emerge: the Lightworld, home to faeries, dragons and dwarves; and the Darkworld, where vampires, werewolves, angels and demons lurk. Now, in the dank and shadowy place between Lightworld and Darkworld, a transformation is about to begin.... Ayla, a half faery, half human assassin, is stalked by Malachi, a Death Angel tasked with harvesting mortal souls. They clash. Immortality evaporates, forging a bond neither may survive. And in the face of unbridled ambitions and untested loyalties, an ominous prophecy is revealed that will shake the Worlds.

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?Great Lady of the greatest Isle, whose light Like Phoebus lampe throughout the world doth shine’ The Faerie Queene was one of the most influential poems in the English language. Dedicating his work to Elizabeth I, Spenser brilliantly united Arthurian romance and Italian renaissance epic to celebrate the glory of the Virgin Queen. Each book of the poem recounts the quest of a knight to achieve a virtue: the Red Crosse Knight of Holinesse, who must slay a dragon and free himself from the witch Duessa; Sir Guyon, Knight of Temperance, who escapes the Cave of Mammon and destroys Acrasia’s Bowre of Bliss; and the lady-knight Britomart’s search for her Sir Artegall, revealed to her in an enchanted mirror. Although composed as a moral and political allegory, The Faerie Queene’s magical atmosphere captivated the imaginations of later poets from Milton to the Victorians. This edition includes the letter to Raleigh, in which Spenser declares his intentions for his poem, the commendatory verses by Spenser’s contemporaries and his dedicatory sonnets to the Elizabethan court, and is supplemented by a table of dates and a glossary.

Scholarship on Middle English romance has done little to access the textual and bibliographical continuity of this remarkable literary tradition into the sixteenth century and its impact on Elizabethan works. And to an even greater extent Spenserian scholarship has failed to investigate the significant and complex debts which The Faerie Queene owes to medieval native verse romance and Malory's Le Morte D'Arthur. This book accordingly offers the first comprehensive study of the impact of Middle English romance on The Faerie Queene. It employs the concept of memory, in which both Middle English romance writers and Spenser show specific interest, to build a sense of the thematic, generic, and cultural complexity of the native romance tradition. The memorial character of Middle English romance resides in its intertextuality and its frequent presentation of its narrative events as historical and consequently the basis for a favourable sense of local or even national identity. Spensers memories of native romance involve a more troubled engagement with that tradition of providential national history as well as an endeavour to see in pre-Reformation romance a prophetic and objective authority for Protestant belief.

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.

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.

Through stories of chivalric adventures, this poem is intended to present the profile of "the perfect gentleman" of the 16th century. Both as a narrative of these adventures and as an allegory, this literary masterpiece has remained a favorite of millions.

Scholarship on Middle English romance has done little to access the textual and bibliographical continuity of this remarkable literary tradition into the sixteenth century and its impact on Elizabethan works. And to an even greater extent Spenserian scholarship has failed to investigate the significant and complex debts which The Faerie Queene owes to medieval native verse romance and Malory's Le Morte D'Arthur. This book accordingly offers the first comprehensive study of the impact of Middle English romance on The Faerie Queene. It employs the concept of memory, in which both Middle English romance writers and Spenser show specific interest, to build a sense of the thematic, generic, and cultural complexity of the native romance tradition. The memorial character of Middle English romance resides in its intertextuality and its frequent presentation of its narrative events as historical and consequently the basis for a favourable sense of local or even national identity. Spensers memories of native romance involve a more troubled engagement with that tradition of providential national history as well as an endeavour to see in pre-Reformation romance a prophetic and objective authority for Protestant belief.

Edmund Spenser first published The Faerie Queene in 1590. The poem tells of the adventures of the Redcross Knight and the Lady Una. The kingdom of Una’s royal parents is menaced by a dragon and the queen of Fairyland, Gloriana, commissions Redcross to accompany Una to her parents’ far-away kingdom to slay the dragon. This prose retelling of the poem, for children, attempts to retain some sense of the original Elizabethan poetic language. Sin is ugly and wicked and is so portrayed in this story; holiness is good and beautiful and is so portrayed in this story. The imagery, action and recurring themes of this tale will delight, caution and inspire young hearts. Older hearts may be enchanted too!

Professor Alpers argues that Spenser's purpose in The Faerie Queene was not to create a fictional world or to imitate action, but to create and manipulate the reader’s response. Individual episodes in the poem are considered by the author as developing psychological experience within the reader rather than as actions to be observed. Part I is an examination of the technical poetic devices Spenser used to develop the reader’s response to the action of the poem. Part II concerns interpretation, iconography, and source material. Part III draws on the arguments and conclusions of the first two parts to discuss, in a general way, the nature of Spenser’s poetry, including Spenserian allegory.Originally published in 1967.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Book 1 presents a powerful allegory of the trials of good against evil. The Red Cross Knight with his companion, Una, sets out on a quest to rid the land of the dragon. The Knight is to become Saint George adn his betrothal to Una signigies the union of the newly established Church with thefaithful.But Spencer's tale moves beyond the allegory reflecting his experience of human frailty in an imaginative romantic narrative that draws on the quest plots of medieval literature and Italian romances. His unique diction with its newly-coined words and rich description adds to the antique flavour ofThe Legende of the Knight of the Red Crosse.

/* LC275, 0-582-09951-X, Hamilton, A.C., Spenser: The Faerie Queene, Second Edition */ The first edition book of this book has become essential to the study of one of the seminal masterpieces of English literature. The Faerie Queen has influenced, inspired and challenged generations of writers, readers and scholars since its completion in 1596. And, due to its epic length, it is also one of the hardest to comprehend. In this fully revised second edition, the poem has been freshly annotated throughout, as has the additional material which includes a chronology, a letter to Raleigh, commendatory verses, and dedicatory sonnets. A list of characters and their appearances has been compiled by Shohachi Fakuda and the text has been newly edited by Hiroshi Yamashita and Toshiyuki Suzuki. Those wishing to read and/or better understand the Faerie Queene.

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.

The first great epic poem in the English language, The Faerie Queene is a long and complex allegory that presents the first-time reader with many difficulties of allusion and interpretation. This book, designed as a handbook to be consulted by students while reading the poem, is the only convenient and up-to-date guide available. Religious and political contexts are explained, while the analysis of Spenser's literary techniques encourages close reading. This revised edition takes account of recent developments in Spenserian criticism, and brings the guidance on further reading up to date.

Follows the adventures of twelve knights, each an example of a different virtue, as they undertake difficult quests for their queen.

An excerpt from the dust jacket: ". . . By focusing on Elizabeth's praise, this book implicitly rehabilitates the study of political allegory and illuminates a major example of the epideictic phenomena that occur in Renaissance culture when literature and government impinge. It explains on entirely new grounds the changes in the poem between 1590 and 1596. Finally, it examines one of the poem's best-known roles: its declared intention to glorify Elizabeth and her realm."

The Faerie Queene is a scholarly masterpiece that has influenced, inspired, and challenged generations of writers, readers and scholars since its completion in 1596. Hamilton's edition is itself, a masterpiece of scholarship and close reading. It is now the standard edition for all readers of Spenser. The entire work is revised, and the text of The Faerie Queene itself has been freshly edited, the first such edition since the 1930s. This volume also contains additional original material, including a letter to Raleigh, commendatory verses and dedicatory sonnets, chronology of Spenser's life and works and provides a compilation of list of characters and their appearances in The Faerie Queene.

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.