Edmund Spenser (1559-99) has earned the title "the poet's poet" because of the high poetry of his epic and because so many great poets, including Milton, Dryden, Tennyson, and Keats, cut their poetic teeth on The Faerie Queene. The hero of Book II is Sir Guyon, the knight of Temperance. But do not let that throw you. This is not a poem about teetotalism. As C.S. Lewis puts it, The Faerie Queene "demands of us a child's love of marvels and dread of bogies, a boy's thirst for adventures, a young man's passions for physical beauty." Toby Sumpter's modernization follows Roy Maynard's Fierce Wars and Faithful Loves, and includes similar notes that explain obscure vocabulary and references. Eat this book. Devour it. Read it and then reread it. Make its characters and adventures and lessons and images a part of your mental furniture. Be enchanted. Feed your hunger for fantasy. Exercise your faith. Test your judgment. Form your imagination. Enter Faerie Land.

Edmund Spenser's tomb at Westminster Abbey has the inscription, the Prince of Poets. If you've read Books I and II of his unfinished English epic, The Faerie Queene, you know why by now. Book III is one of the most unique books, written from the perspective of the heroic Britomart, a warrior princess in search of her true love. Along the way she encounters wizards, monsters, braggarts, sea gods, cheats, and at the end, a deathly palace.

Despite all of his acknowledged greatness, almost no one reads Edmund Spenser (1552-99) anymore. Roy Maynard takes the first book of the 'Faerie Queene, ' exploring the concept of Holiness with the character of the Redcross Knight, and makes Spenser accessible again. He does this not by dumbing it down, but by deftly modernizing the spelling, explaining the obscurities in clever asides, and cuing the reader towards the right response. In today's cultural, aesthetic, and educational wars, Spenser is a mighty ally for twenty-first century Christians. Maynard proves himself a worthy mediator between Spenser's time and ours. (Gene Edward Veith)

As Nehemiah rebuilt the walls of Jerusalem, Gashmu and the enemies of Israel mocked him: "It is reported among the heathen, and Gashmu saith it, that thou and the Jews think to rebel..." (Neh. 6:6). Too many Christians building communities today take the taunts of every modern-day Gashmu seriously. Community is a buzzword, and it turns out there's a lot of bad advice about how to build one. In Gashmu Saith It, Douglas Wilson includes forty years of experience for Christians wanting to build robust communities without retreat or compromise on the foundation of the Gospel. This book is full of wisdom: Get calluses. Be loyal. Fight sin. Build walls on the outside and a church in the middle.

The Faerie Queene is a scholarly masterpiece that has influenced, inspired, and challenged generations of writers, readers and scholars since its completion in 1596. Hamilton's edition is itself, a masterpiece of scholarship and close reading. It is now the standard edition for all readers of Spenser. The entire work is revised, and the text of The Faerie Queene itself has been freshly edited, the first such edition since the 1930s. This volume also contains additional original material, including a letter to Raleigh, commendatory verses and dedicatory sonnets, chronology of Spenser's life and works and provides a compilation of list of characters and their appearances in The Faerie Queene.

Concentrating on major figures of women in The Faerie Queene, together with the figures constellated around them, Anderson's Narrative Figuration explores the contribution of Spenser's epic romance to an appreciation of women's plights and possibilities in the age of Elizabeth. Taken together, their stories have a meaningful tale to tell about the function of narrative, which proves central to figuration in the still moving, metamorphic poem that Spenser created.

National Sylvan Theatre, Washington Monument grounds, The Community Center and Playgrounds Department and the Office of National Capital Parks present the ninth summer festival program of the 1941 season, the Washington Players in William Shakespeare's "A Midsummer Night's Dream," produced by Bess Davis Schreiner, directed by Denis E. Connell, the music by Mendelssohn is played by the Washington Civic Orchestra conducted by Jean Manganaro, the setting and lights Harold Snyder, costumes Mary Davis.

Edmund Spenser and the romance of space advances the exploration of literary space into new areas, firstly by taking advantage of recent interdisciplinary interests in the spatial qualities of early modern thought and culture, and secondly by reading literature concerning the art of cosmography and navigation alongside imaginative literature with the purpose of identifying shared modes and preoccupations. The book looks to the work of cultural and historical geographers in order to gauge the roles that aesthetic subjectivity and the imagination play in the development of geographical knowledge: contexts ultimately employed by the study to achieve a better understanding of the place of Ireland in Spenser's writing. The study also engages with recent ecocritical approaches to literary environments, such as coastlines, wetlands, and islands, thus framing fresh readings of Spenser's handling of mixed genres.