As a literary device or artistic form, an allegory is a narrative or visual representation in which a character, place, or event can be interpreted to represent a hidden meaning with moral or political significance. Authors have used allegory throughout history in all forms of art to illustrate or convey complex ideas and concepts in ways that are comprehensible or striking to its viewers, readers, or listeners.
Edmund Spenser was an English poet best known for The Faerie Queene, an epic poem and fantastical allegory celebrating the Tudor dynasty and Elizabeth I. He is recognized as one of the premier craftsmen of nascent Modern English verse and is often considered one of the greatest poets in the English language.
The Faerie Queene is an English epic poem by Edmund Spenser. Books I–III were first published in 1590, then republished in 1596 together with books IV–VI. The Faerie Queene is notable for its form: at over 36,000 lines and over 4,000 stanzas it is one of the longest poems in the English language; it is also the work in which Spenser invented the verse form known as the Spenserian stanza. On a literal level, the poem follows several knights as a means to examine different virtues, and though the text is primarily an allegorical work, it can be read on several levels of allegory, including as praise of Queen Elizabeth I. In Spenser's "Letter of the Authors", he states that the entire epic poem is "cloudily enwrapped in Allegorical devices", and that the aim of publishing The Faerie Queene was to "fashion a gentleman or noble person in virtuous and gentle discipline".
The Spenserian stanza is a fixed verse form invented by Edmund Spenser for his epic poem The Faerie Queene (1590–96). Each stanza contains nine lines in total: eight lines in iambic pentameter followed by a single 'alexandrine' line in iambic hexameter. The rhyme scheme of these lines is ABABBCBCC.
The Allegory of Love: A Study in Medieval Tradition (1936), by C. S. Lewis (ISBN 0192812203), is an exploration of the allegorical treatment of love in the Middle Ages and the Renaissance, which was published on 21 May 1936.
Myrtle Grove is an Elizabethan gabled house in Youghal, County Cork, Ireland. The house is notable as a rare example in Ireland of a 16th-century unfortified house. It is situated close to the Collegiate Church of St Mary Youghal.
Hero and Leander is a poem by Leigh Hunt written and published in 1819. The result of three years of work, the poem tells the Greek myth of Hero and Leander, two lovers, and the story of their forlorn fate. Hunt began working on the poem during the summer of 1816, arousing the interest of the publisher John Taylor, and despite repeated delays to allow Hunt to deal with other commitments the poem was finished and published in a collection 1819. Dealing with themes of love and its attempt to conquer nature, the poem does not contain the political message that many of Hunt's works around that time do. The collection was well received by contemporary critics, who remarked on its sentiment and delicacy, while more modern writers such as Edmund Blunden have criticised the flow of its narrative.
Bacchus and Ariadne is a poem by Leigh Hunt written and published in 1819. The result of three years of work, the poem tells the Greek myth of Hero and Leander, two lovers, and the story of their forlorn fate. Hunt began working on the poem during the summer of 1816, arousing the interest of the publisher John Taylor, and despite repeated delays to allow Hunt to deal with other commitments the poem was finished and published in a collection 1819. Hunt later claimed in a poem about Bacchus and Ariadne that he was seeking to humanise myths and make them more understandable to the common people. The collection was well received by contemporary critics and poets, including Thomas Carlyle, while more modern writers such as Edmund Blunden have criticised the flow of its narrative.
Juvenilia; or, a Collection of Poems Written between the ages of Twelve and Sixteen by J. H. L. Hunt, Late of the Grammar School of Christ's Hospital, commonly known as Juvenilia, was a collection of poems written by James Henry Leigh Hunt at a young age and published in March 1801. As an unknown author, Hunt's work was not accepted by any professional publishers, and his father Isaac Hunt instead entered into an agreement with the printer James Whiting to have the collection printed privately. The collection had over 800 subscribers, including important academics, politicians and lawyers, and even people from the United States. The critical and public response to Hunt's work was positive; by 1803 the collection had run into four volumes. The Monthly Mirror declared the collection to show "proofs of poetic genius, and literary ability", and Edmund Blunden held that the collection acted as a predictor of Hunt's later success. Hunt himself came to despise the collection as "a heap of imitations, all but absolutely worthless", but critics have argued that without this early success to bolster his confidence Hunt's later career could have been far less successful.
The Literary Pocket-Book was a collection of works edited by Leigh Hunt and containing material by Hunt, Percy Bysshe Shelley, John Keats, and Bryan Waller Procter. The collection was put together during 1818, and proved so successful that Hunt was able to sell the copyright for £200 a year later. The collection includes written worked, lined pages to write notes on and lists of authors, artists, schools and libraries. It was a public success, bringing new readers to both Shelley and Keats, and served as a model for other collections of poetry written during the Victorian era. Critical reviews were also excellent, with The London Magazine describing it as "for the most part delightfully written", although Keats himself later wrote that the collection was "full of the most sickening stuff you can imagine".
The Descent of Liberty was a masque written by Leigh Hunt in 1814. Held in Horsemonger Lane Prison, Hunt wrote the masque to occupy himself, and it was published in 1815. The masque describes a country that is cursed by an Enchanter and begins with shepherds hearing a sound that heralds change. The Enchanter is defeated by fire coming out of clouds, and the image of Liberty and Peace, along with the Allied nations, figures representing Spring and art, and others appear to take over the land. In the final moments, a new spring comes and the prisoners are released. It is intended to represent Britain in 1814, emphasising freedom and focusing on the common people rather than the aristocracy. Many contemporary reviews from both Hunt's fellow poets and literary magazines were positive, although the British Critic described the work as a "pert and vulgar insolence of a Sunday demagogue, dictating on matters of taste to town apprentices and of politics to their conceited masters".
The Feast of the Poets is a poem by Leigh Hunt that was originally published in 1811 in the Reflector. It was published in an expanded form in 1814, and revised and expanded throughout his life. The work describes Hunt's contemporary poets, and either praises or mocks them by allowing only the best to dine with Apollo. The work also provided commentary on William Wordsworth and Romantic poetry. Critics praised or attacked the work on the basis of their sympathies towards Hunt's political views.
The Story of Rimini was a poem composed by Leigh Hunt, published in 1816. The work was based on his reading about Paolo and Francesca in hell. Hunt's version gives a sympathetic portrayal of how the two lovers came together after Francesca was married off to Paolo's brother. The work promotes compassion for all of humanity and the style served to contrast against the traditional 18th century poetic conventions. The work received mixed reviews, with most critics praising the language.
The Nymphs was composed by Leigh Hunt and published in Foliage, his 1818 collection of poems. The work describes the spirits of a rural landscape that are connected to Greek mythology. The images serve to discuss aspects of British life along with promoting the freedom of conscience for the British people. The collection as a whole received many attacks by contemporary critics, but later commentators viewed the poem favourably.
The Calendar of Nature is a series of articles by Leigh Hunt about aspects of various months and seasons published throughout 1819 in the Examiner. It is also included in his Literary Pocket-Book and published on its own as The Months. The work places emphasis on the season of autumn as a time for justice and prosperity, and influenced John Keats's poem "To Autumn". The emphasis on both works is on a temperate landscape and the positive political aspects of living in such a place. The work also stresses the sickness that is connected to a temperate landscape, which is related to the physical problems that Keats was suffering from at the time.
Colin Clouts Come Home Againe is a pastoral poem by the English poet Edmund Spenser and published in 1595. It has been the focus of little critical attention in comparison with the poet's other works such as The Faerie Queene, yet it has been called the "greatest pastoral eclogue in the English language". In a tradition going back to Petrarch, the pastoral eclogue contains a dialogue between shepherds with a narrative or song as an inset, and which also can conceal allegories of a political or ecclesiastical nature.
Mother Hubberd's Tale is a poem by English poet Edmund Spenser, written in 1578–1579. The more commonly read version of the poem is a revision of the original, created sometime in 1590, and published in 1591 as a part of Spenser's collection Complaints. "Mother Hubberd's Tale" was sold separately from the rest of the collection it was published with, though the reason why is debated among scholars. The poem follows the story of a sick, bedridden poet, who has visitors who try to entertain him with stories. The only one the poet finds worthy enough to retell is the tale told by Old Mother Hubberd about an ape and a fox. The poem is an allegorical poem, with overarching themes in search of political reform. The poem was said to have antagonized Lord Burghley, the primary secretary of Elizabeth I, and estranged Spenser from the English court, despite his success in that arena with his previous work, The Faerie Queene.
A Fig for Fortune is a 1596 long allegorical poem by the English Catholic writer Anthony Copley written as a parodying response to Edmund Spenser's The Faerie Queene. It intended to reject both Protestant portrayals of English Catholics as inherently disloyal to Queen Elizabeth, as well as hard-line Jesuit calls for Catholics to become martyrs by resisting the Protestant Queen.
The House of Pride is a notable setting in Edmund Spenser's epic poem The Faerie Queene. The actions of cantos IV and V in Book I take place there, and readers have associated the structure with several allegories pertinent to the poem.
The Political and Ecclesiastical Allegory of the First Book of the Faerie Queene is a book written by Frederick Morgan Padelford to explain the allegories within the poem The Faerie Queene by Edmund Spenser. The book was first published in 1911 in Boston by Ginn and Company as part of a series of University of Washington publications. The book has been republished since and is widely cited in papers and books related to the study of Spenser and his works.
