proem


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10) In the opening stanzas of The Faerie Queene, Spenser will, in turn, revisit this moment when he describes abandoning his pastoral "oaten reeds" for the "trumpets stern" of epic poesis (2006, 1, proem 1).
For Book 6, Proem, Stanza i, I have used The Faerie Queene: Book Six and the Mutabilitie Cantos, eds.
The interplay between the seen and the unseen is a topic Spenser addresses throughout The Faerie Queene, and he comments directly on it in the proem to Book 2.
In either Gloriana let chuse, Or in Belphoebe fashioned to bee; In th' one her rule, in th' other her rare chastitee (III proem 5).
2) Cavallini divides the Dialogo's chapters thematically as follows: Proem (1-2), the Way of Perfection (3-13), the Dialogue (14-25), the Bridge (26-87), Tears (88-97), Truth (98-108), the Mystical Body of the Holy Church (109-134), Divine Providence (135-153) Obedience (154-165), Conclusion (166-167).
CONTI CAMAIORA, Luisa, 'Thematic and Linguistic Ambivalence in the Proem to Book I of Spenser's The Faerie Queene', Englishes, 31 (2007), pp.
I don't know if Tuma was aware of this sentimental proem before he paired Rodefer and me in his consideration.
Moreover, an attempt will be made to read the excerpt from book II in light of the observations obtained in the analysis of the proem.
32) In the proem to Book 2, the vates of the Roman year (as he now is: 3.
I start with a brief discussion of Achilleid's generic secondariness as articulated in the proem, followed by demonstration of how Statius' allusions to Ovid can enlighten our understanding of his ambiguous representations of Achilles' gender--as both essential and constructed.
Out of that milieu emerged most of the 12 essays here on such topics as pragmatic presupposition and complementation, dialogue, whether Greek particles are just a literary phenomenon, text types and narrative structure in Euripidean messenger speeches, the perfect as a situating cohesive device, and the proem of Hesiod's Theogony.
Spenser raises the stakes of fashioning feminine virtue by directly invoking Queen Elizabeth I in the proem to Book 3 as both the addressee and the subject of the poem in her "mirrour" character Britomart.