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‘A place pickt out by choyce of best alyue,/That natures worke by art can imitate’: the Bowre of Blisse and Armida’s garden revisited
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The second chapter focuses on the best-known and most extensive imitation of Tasso’s poem in all of English literature, Spenser’s re-imagining and re-working of Armida’s enchanted garden in cantos 15 and 16 as the Bowre of Blisse in the final canto of Book 2 of The Faerie Queene (1590). Spenser’s almost immediate engagement with Gerusalemme liberata in his own romantic epic has long seen him acknowledged as ‘the arbiter of Tasso’s glory in the first half century of his life in England’. However, despite the voluminous critical work on Spenser’s episode and its sources, the profound indebtedness to Tasso throughout has, surprisingly, still not been fully appreciated and acknowledged. The second chapter of this study therefore offers a detailed re-appraisal of the complex relationship between the two episodes, to try to underline the sustained imitative virtuosity of Spenser’s emulation of his principal Italian source. The chapter also includes a brief consideration of Milton’s indebtedness to Tasso’s episode, and Spenser’s earlier imitation of it, in the poetic evocation of Eden in Book 4 of Paradise Lost.
Title: ‘A place pickt out by choyce of best alyue,/That natures worke by art can imitate’: the Bowre of Blisse and Armida’s garden revisited
Description:
The second chapter focuses on the best-known and most extensive imitation of Tasso’s poem in all of English literature, Spenser’s re-imagining and re-working of Armida’s enchanted garden in cantos 15 and 16 as the Bowre of Blisse in the final canto of Book 2 of The Faerie Queene (1590).
Spenser’s almost immediate engagement with Gerusalemme liberata in his own romantic epic has long seen him acknowledged as ‘the arbiter of Tasso’s glory in the first half century of his life in England’.
However, despite the voluminous critical work on Spenser’s episode and its sources, the profound indebtedness to Tasso throughout has, surprisingly, still not been fully appreciated and acknowledged.
The second chapter of this study therefore offers a detailed re-appraisal of the complex relationship between the two episodes, to try to underline the sustained imitative virtuosity of Spenser’s emulation of his principal Italian source.
The chapter also includes a brief consideration of Milton’s indebtedness to Tasso’s episode, and Spenser’s earlier imitation of it, in the poetic evocation of Eden in Book 4 of Paradise Lost.
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