Essays by Rosemond Tuve: On Spenser, Herbert and Milton

Essays by Rosemond Tuve: On Spenser, Herbert and Milton

Copyright Date: 1970
Pages: 305
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  • Book Info
    Essays by Rosemond Tuve: On Spenser, Herbert and Milton
    Book Description:

    Collected here are fourteen articles by one of the leading Renaissance scholars of our age. They range in time from her first critical essay in 1929 to her last in 1964, and reflect the major concerns of her scholarly career.

    Originally published in 1970.

    ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

    eISBN: 978-1-4008-7215-2
    Subjects: Language & Literature

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Introduction
    (pp. vii-x)
    Thomas P. Roche Jr.

    This selection of essays by Rosemond Tuve is intended for two groups of readers—for those of us who regard her work in the field of Renaissance poetry as most highly persuasive, that rare combination of painstaking scholarly detail and imaginative insight, and for those of us who knew and loved Ros and would want her to be remembered. The two groups are not mutually exclusive, for those who have read her books on Elizabethan and metaphysical imagery, on Herbert and on Milton cannot have missed the intelligence and vitality of her personality, and those who knew her personally could...

  3. Table of Contents
    (pp. xi-xii)
    • More Battle than Books (1947)
      (pp. 3-14)

      The traditional issue in a symposium on “the teaching of literature,” the expected, the comfortable, the scarred and symbolic bone, is the place of philological, literary-historical and “research” considerations in that teaching, and in training those who are to teach. I shall pick this bone but little, and that little in whispers. I do not take it very seriously. I take seriously that unhappy figure in whose name the contentions are evoked—the student who is not taught what he needs, does not need what he is taught, and does not much enjoy what he learns. But I would put...

    • AAUW Fellows and Their Survival (1951)
      (pp. 15-27)

      I intend to talk about something which I grant no human being can achieve with any great degree of perfection, but which every human being I respect, up and down the recorded centuries, has believed in and does believe in. And I include the present company among those to whom I give this respect—for there is no conceivable other reason for working for the fellowship cause. I refer to that strange and passionate human belief: that it is necessary and good to look for the truth about things.

      The American Association of University Women has put that value high....

    • The Race Not to the Swift (1955)
      (pp. 28-36)

      This is not my kind of speech. In fact, the only way I can reconcile myself to being here is to remind us both that it certainly is not I that the AAUW is honoring. The achievements to which the award’s title refers were completed, in the case of this award, at latest by 1675.

      Bacon says in that great treatise,The Advancement of Learnings, which he wrote in 1605 to persuade King James to look into the parlous state of studies in the England of that time:

      it may be truly affirmed, that no kind of men love working...

    • The Red Crosse Knight and Mediaeval Demon Stories (1929)
      (pp. 39-48)

      Three times in Canto X of the First Book of theFaerie Queenethe “godly aged Sire” impresses upon Red Crosse the fact of his earthly, rather than elfin, lineage.

      Then come,thou man of earth, and see the way,

      That neuer yet was seene of Faeries sonne (F.Q. I, x, 52).

      Stanza 60 has:

      And thou faire ymp, sprong out from English race,

      How euer now accompted Elfins Sonne,

      and stanza 65 gives the reason for this misconception—the story of the theft of Red Crosse while yet “in tender swadling band,” and of the “chaungeling” who “vnweeting” takes...

    • A Mediaeval Commonplace in Spenser’s Cosmology (1933)
      (pp. 49-63)

      Recent discussions have called attention to the importance of certain “Empedoclean” doctrines in Spenser’s exposition of the creation of the world by Love. The conception of “Love and Strife as combining and disintegrating forces working the changes among the four elements” has been pointed to as “the distinctive doctrine which Spenser took over from Empedocles.”¹ Spenser’s important passages on the creation (Colin Clout,839ff;Hymne of Loue, 57ff) expound this doctrine with many details—Love’s separation and ordering of the parts of the world, the discord of the elements and their reconciliation by Love, the continuing of life and of...

    • Spenser and the Zodiake of Life (1935)
      (pp. 64-82)

      The reference to Spenser’s devotion to the “proper profession of Urania” and his pleasure in the first week of Du Bartas is one of the most familiar of Gabriel Harvey’s observations about him. Harvey remarks upon a certain Palingenius, whose “Aquarius” “M. Digges hath . . . bie hart: & takes mutch delight to repeate . . . often”; he then adds that “M. Spenser conceiues the like pleasure in the fourth day of the first Weeke of Bartas.” He goes on to say that “Excellent Doctor Gesner made as singular account of the most learned Zodiacus of Palingenius Stellatus,...

    • Spenser’s Reading: The De Claris Mulieribus (1936)
      (pp. 83-101)

      This article will deal with a small but fairly simple and clear example of the relationship between Spenser and Boccaccio: with what traces there are of Spenser’s having read theDe Claris Mulieribus, with the question of which form (and in fact which edition) he read it in, and (the most significant point to be made) with the way in which this reading, often betrayed by mere phrases which it is quite unimportant to remark upon as far as source study is concerned, affected his notion of the significance of his material, pointed and directed it, and gave extra values,...

    • Spenser and Mediaeval Mazers: WITH A NOTE ON JASON IN IVORY (1937)
      (pp. 102-111)

      In the August eclogue of theShepheardes CalenderWillye and Perigot, as is proper for Theocritean and Virgilian shepherds, sing against each other for plighted “pledges.” Willye’s pledge is a carved mazer bowl, E. K.’s excuse for commenting on the way Theocritus’s “booke is ful” of such “shapes or pictures” of things—whence his eclogues are termed Idyllia. Spenser’s description of Willye’s mazer has always been accepted as thoroughly conventional and derivative as are the figures of the shepherds themselves, the idea of their striving against each other in song, or the notion that they would wish thus to contest...

    • Spenser and Some Pictorial Conventions: WITH PARTICULAR REFERENCE TO ILLUMINATED MANUSCRIPTS (1940)
      (pp. 112-138)

      This article will treat of certain figures which receive markedly pictorial descriptive treatment in Spenser, and of certain figures which he uses almost as descriptive “counters,” flashing a picture of them before us for associative (or decorative) purposes, much as modern film technique uses “symbolic” insets. It will describe the form in which such figures appear in actual picture, in texts which it is either certain or highly likely that Spenser read. I think that pictures helped form his conceptions. I shall not point to particular illustrations which he saw and copied; rather I shall show the character of a...

    • “Spenserus” (1964)
      (pp. 139-164)

      On the last page of a Bodleian manuscript of Gower’sConfessio Amantiswritten in a clear early fifteenth-century hand, and bearing the signature of a dedicatee of Spenser’s, we encounter the following Ovidian album-sentiment, written in an Italian hand too ordinary to identify as Spenser’s or not Spenser’s:

      This is not likely as a mistaken attribution; Spenser nowhere translates, quotes, or puts forward as his own the two lines from Ovid’sTristia(I.ix.5) which are the proper form of the tag. The closest it ever came to the Spenser canon—and this is interesting enough—is that it is the...

    • George Herbert and Caritas (1959)
      (pp. 167-206)

      How much did Crashaw mean, when he said with a copy of Herbert’sThe Temple“sent to a Gentlewoman”: “Divinest lovelyes in this booke”? We may ask ourselves whether this has any close relation to what Herbert himself said we should find there, in the well-known words to Ferrar: “a picture of the many spiritual Conflicts that have past betwixt God and my Soul, before I could subject mine to the will of Jesus my Master, in whose service I have now found perfect freedom.” When Herbert’s conflicts of the will are spoken of, it is often too easily...

    • Sacred “Parody” of Love Poetry, and Herbert (1961)
      (pp. 207-252)

      Some conceptions held by Herbert and his predecessors of the relations between sacred and profane love poetry are the matter at issue in this essay—yet it is particularly directed to the attention of two kinds of special students not likely to be especially interested in that issue. I wish it might be read by those who know unpublished Renaissance music, and those who work with semantics and early dictionaries in various European languages. It is written with the hope that someone else may run across an unfound musical setting, and that someone else may adduce earlier uses of a...

    • New Approaches to Milton (1958)
      (pp. 255-261)

      I have tried in vain to find some reason why the matters I wish to discuss should take to the air in 1958. No one I shall mention was born in 1558 or 1758 or 1258, nor died, nor took a wife, nor arrived at a pole, nor named a chrysanthemum; and I am reduced to the admission that I do it because I was asked. At least everyone listening has done twenty things today for the same reason, and perhaps our common condition can take the place of that timeliness which the air seems to demand if there is...

    • Baroque and Mannerist Milton? (1961)
      (pp. 262-280)

      It has become thoroughly conventional during the last ten years to speak of Milton as a baroque artist. When any label for a major figure is no longer simply a provocative term used by knowledgeable critics to suggest relations, or when a cliche in the easy-going journalism that likes to pick up such labels for the great becomes a cliché of the schools as well,¹ then it is valuable for as many serious students as possible to consider its usefulness, before the ticket begins to remake the poet. As is usual, terms beget terms, and the unfortunate tendency of every...

    (pp. 281-284)
  9. INDEX
    (pp. 285-293)