Janet Spens Quotes & Sayings

We have then, in the first part of The Faerie Queene, four of the seven deadly sins depicted in the more important passages of the four several books; those sins being much more elaborately and powerfully represented than the virtues, which are opposed to them, and which are personified in the titular heroes of the respective books. The alteration which made these personified virtues the centre each of a book was probably part of the reconstruction on the basis of Aristotle Ethics.
The nature of the debt to Aristotle suggests that Spenser did not borrow directly from the Greek, but by way of modern translations. — Janet Spens

Thus, on the one hand, Spenser's thought is steeped in sensuous detail, so that for him there is no really abstract thinking; men, he thinks, 'should be satisfied with the use of these days, seeing all things accounted by their showes, and nothing esteemed of, that is not delightfull and pleasing to commune sense' ( Prefatory Letter). But on the other hand the details of the physical universe become translucent from the pulsing light of varied human experience which is seen behind it. His 'haunt and the main region of (his) song' is the inner life of man and it is described in the symbolism of human figures clothed in raiment iridescent with innumerable associations. His art is a development of the mediaeval. — Janet Spens

Now the twelfth canto of Book II is an almost literal translation from Tasso description in the Jerusalem Delivered of the island of Armida. That poem was not printed till 1582. It is likely enough that Spenser may have seen part of it in manuscript, which would account for the general resemblance of the Adonis passages, though the likeness is not close enough to make any debt certain. — Janet Spens

Most critics agree with the seventeenth-century printer who gave them to the world, that the Mutabilitie Cantos seem to be part of some following book of The Faerie Queene. — Janet Spens

The aim I have set before me in this book is to give back to English readers the understanding of and delight in this great poet which thrilled his contemporaries and early successors. — Janet Spens

The most interesting inconsistency in thought is connected with the Bower of Bliss. This passage
the twelfth canto of the second Book
is probably the best known in the whole poem and the most frequently cited as an example of Spenser's sensuous beauty. Professor de Selincourt writes: 'Those who blame Spenser for lavishing the resources of his art upon this canto, and filling it with magic beauty, have never been at the heart of the experience it shadows. It is from the ravishing loveliness of all that surrounds and leads to the Bower of Acrasia that she herself draws her almost irresistible power. When Guyon has bound Acrasia and destroyed the Bower of Bliss he has achieved his last and hardest victory. — Janet Spens