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Gothic Romance

Edmund Spencer: The Critical Heritage (The Collected by R. M. Cummings

By R. M. Cummings

The severe history gathers jointly a wide physique of serious assets on significant figures in literature. every one quantity offers modern responses to a writer's paintings, permitting scholars and researchers to learn the fabric themselves.

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Edmund Spencer: The Critical Heritage (The Collected Critical Heritage : Medieval Romance)

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Atkinson, Edmund Spenser: A Bibliographical Supplement (Baltimore, 1937), p. 172. 36 On the Fletchers, see Cory, Spenser, the School of the Fletchers and Milton, pp. 314–31. 37 Sir Philip Sidney’s Ourania (1606), sigs. B2V–B3. Dunseath, Spenser’s Allegory of Justice (Princeton, 1968). 39 Bush, p. 76. 40 See Rosemary Freeman, English Emblem Books (1948), p. 71. 41 The first masque to show signs of Spenser’s influence seems to be the Masque of Proteus (1594)—see Gesta Grayorum, ed. Greg, Malone Society Publications (1915), p.

Reviews by, for example, Baldwin Maxwell, PQ, XXIV (1945), 91–3, or Alfred Harbage, MLN, LX (1945), 414–17, damage his wider conclusions. Williams, ‘Changing Attitudes to Virgil: A study in the History of Taste from Dryden to Tennyson’, in Virgil, ed. Dudley (1969), p. 120. Cory, The Critics of Edmund Spenser, University of California Publications in Modern Philology, II (1911), 81–182. Baskerville, ‘The Early Fame of The Shepheardes Calender’, PMLA, XXVIII (1913), 291–313. Harleian 367, fol. 129.

Subsequent discussion has always the character of a reshuffling of those terms. It is almost always very abstract— no one before this century thought to examine thoroughly the precise quality of Spenser’s archaism; and it usually involves generalized praise or blame of Spenser’s mode of affectation rather than discussion of how exactly it operates in Spenser’s poetry. K. (No. 140), Everard Guilpin states both sides of the case (No. ’s terms; Sir Philip Sidney, oddly ungrateful for a dedicatee, states only the case against archaism (No.

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