A View of the Present State of Ireland by Edmund Spenser

A View of the Present State of Ireland

byEdmund Spenser

Kobo ebook | August 27, 2019

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Irenius: Mary, so ther have bin divers good plotts devised, and wise counsells cast alredy about reformation of that realme, but they say it is the fatall destiny of that land, that no purposes, whatsoever are meant for her good, wil prosper and take good effect: which, whether it proceede from the very genius of the soyle, or influence of the starrs, or that Almighty god hath not yet appoynted the time of her reformacion, or that he reserveth her in this unquiet state still, for some secret scourge, which shall by her come unto England, it is hard to be knowne, but yet much to be feared.
Little is certainly known about Spenser. He was related to a noble Midlands family of Spencer, whose fortunes had been made through sheep raising. His own immediate family was not wealthy. He was entered as a “poor boy” in the Merchant Taylors’ grammar school, where he would have studied mainly Latin, with some Hebrew, Greek, and music.
In 1569, when Spenser was about 16 years old, his English versions of poems by the 16th-century French poet Joachim du Bellay and his translation of a French version of a poem by the Italian poet Petrarch appeared at the beginning of an anti-Catholic prose tract, A Theatre for Voluptuous Worldlings; they were no doubt commissioned by its chief author, the wealthy Flemish expatriate Jan Baptista van der Noot.
From May 1569 Spenser was a student in Pembroke Hall (now Pembroke College) of the University of Cambridge, where, along with perhaps a quarter of the students, he was classed as a sizar—a student who, out of financial necessity, performed various menial or semi-menial duties. He received a Bachelor of Arts degree in 1573. Because of an epidemic, Spenser left Cambridge in 1574, but he received the Master of Arts degree in 1576.
His best-known friend at Cambridge was the slightly older Gabriel Harvey, a fellow of Pembroke, who was learned, witty, and enthusiastic for ancient and modern literature but also pedantic, devious, and ambitious. There is no reason to believe that Spenser shared the most distasteful of these qualities, but, in the atmosphere of social mobility and among the new aristocracy of Tudor England, it is not surprising that he hoped for preferment to higher position.
Spenser’s period at the University of Cambridge was undoubtedly important for the acquisition of his wide knowledge not only of the Latin and some of the Greek classics but also of the Italian, French, and English literature of his own and earlier times. His knowledge of the traditional forms and themes of lyrical and narrative poetry provided foundations for him to build his own highly original compositions. Without the Roman epic poet Virgil’s Aeneid, the 15th-century Italian Ludovico Ariosto’s Orlando furioso, and, later, Torquato Tasso’s Gerusalemme liberata (1581), Spenser could not have written his heroic, or epic, poem The Faerie Queene. Without Virgil’s Bucolics and the later tradition of pastoral poetry in Italy and France, Spenser could not have written The Shepheardes Calender. And without the Latin, Italian, and French examples of the highly traditional marriage ode and the sonnet and canzone forms of Petrarch and succeeding sonneteers, Spenser could not have written his greatest lyric, Epithalamion, and its accompanying sonnets, Amoretti.

Title:A View of the Present State of IrelandFormat:Kobo ebookPublished:August 27, 2019Language:English

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ISBN:9990057819698

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Irenius: Mary, so ther have bin divers good plotts devised, and wise counsells cast alredy about reformation of that realme, but they say it is the fatall destiny of that land, that no purposes, whatsoever are meant for her good, wil prosper and take good effect: which, whether it proceede from the very genius of the soyle, or influence of the starrs, or that Almighty god hath not yet appoynted the time of her reformacion, or that he reserveth her in this unquiet state still, for some secret scourge, which shall by her come unto England, it is hard to be knowne, but yet much to be feared.Little is certainly known about Spenser. He was related to a noble Midlands family of Spencer, whose fortunes had been made through sheep raising. His own immediate family was not wealthy. He was entered as a “poor boy” in the Merchant Taylors’ grammar school, where he would have studied mainly Latin, with some Hebrew, Greek, and music.In 1569, when Spenser was about 16 years old, his English versions of poems by the 16th-century French poet Joachim du Bellay and his translation of a French version of a poem by the Italian poet Petrarch appeared at the beginning of an anti-Catholic prose tract, A Theatre for Voluptuous Worldlings; they were no doubt commissioned by its chief author, the wealthy Flemish expatriate Jan Baptista van der Noot.From May 1569 Spenser was a student in Pembroke Hall (now Pembroke College) of the University of Cambridge, where, along with perhaps a quarter of the students, he was classed as a sizar—a student who, out of financial necessity, performed various menial or semi-menial duties. He received a Bachelor of Arts degree in 1573. Because of an epidemic, Spenser left Cambridge in 1574, but he received the Master of Arts degree in 1576.His best-known friend at Cambridge was the slightly older Gabriel Harvey, a fellow of Pembroke, who was learned, witty, and enthusiastic for ancient and modern literature but also pedantic, devious, and ambitious. There is no reason to believe that Spenser shared the most distasteful of these qualities, but, in the atmosphere of social mobility and among the new aristocracy of Tudor England, it is not surprising that he hoped for preferment to higher position.Spenser’s period at the University of Cambridge was undoubtedly important for the acquisition of his wide knowledge not only of the Latin and some of the Greek classics but also of the Italian, French, and English literature of his own and earlier times. His knowledge of the traditional forms and themes of lyrical and narrative poetry provided foundations for him to build his own highly original compositions. Without the Roman epic poet Virgil’s Aeneid, the 15th-century Italian Ludovico Ariosto’s Orlando furioso, and, later, Torquato Tasso’s Gerusalemme liberata (1581), Spenser could not have written his heroic, or epic, poem The Faerie Queene. Without Virgil’s Bucolics and the later tradition of pastoral poetry in Italy and France, Spenser could not have written The Shepheardes Calender. And without the Latin, Italian, and French examples of the highly traditional marriage ode and the sonnet and canzone forms of Petrarch and succeeding sonneteers, Spenser could not have written his greatest lyric, Epithalamion, and its accompanying sonnets, Amoretti.