SPENSERIAN See also:

• STANZA (Low Lat. stantia, Ital. stantia or stanza)

STANZA  , a See also:

• FORM (Lat. forma)

form of See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse which derives its name from the fact that it was invented by the poet Edniund See also:

• SPENSER, EDMUND (c. 1552-1599)
• SPENSER, JOHN (1559-1614)

Spenser, and first used in his Faery Queene in 1590 . The origin of this See also:

• STANZA (Low Lat. stantia, Ital. stantia or stanza)

stanza has been See also:

• MATTER

matter for disagreement among critics of See also:

• PROSODY (Gr. rpovwSta)

prosody . Schipper has argued that it was adapted from the oid See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• BALLADE

ballade-stanza (see BALLADE) . But it is much More probable that it was of See also:

• ITALIAN

Italian origin, and that Spenser, who was See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar with ottava rimy as it had See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long been employed in See also:

• ITALY
• ITALY (Italia)

Italy, and was at that very See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time being used by the school of See also:

• TASSO, TORQUATO (1544-1595)

Tasso, added a See also:

• LINE

line between the Italian See also:

• FOURTH

fourth and fifth, modified slightly the arrangements of See also:

• RHYME

rhyme, and added a See also:

• FOOT

foot to the last line, which became an Alexandrine . The form of the pure Spenserian stanza can best be observed by the study of a specimen from the Faery Queene: Into the inmost See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

temple thus I came, Which fuming all with See also:

• FRANKINCENSE

frankincense I found, And odours rising from the See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar's See also:

• FLAME (Lat. flamma; the root flag- appears in flagrare, to burn, blaze, and Gr. d, XEryew)

flame . Upon a See also:

• HUNDRED

hundred See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble pillars See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round The roof up high was reared from the ground, All decked with crowns and chains and garlands See also:

• GAY, JOHN (1685-1732)
• GAY, MARIE FRANCOISE SOPHIE (1776-1852)
• GAY, WALTER (1856– )

gay, And thousand See also:

• PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious gifts See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth many a See also:

• POUND
• POUND (2)—(a)

pound, The which sad lovers for their vows did pay, And all the ground was strow'd with See also:

• FLOWERS, ARTIFICIAL

flowers as fresh as May." It is necessary to preserve in all respects the characteristics of this example, and the number, See also:

• REGULAR

regular sequences and identity of rhymes must be followed . It is a curious fact that, in spite of the very See also:

• GREAT

great beauty of this stanza and the popularity of Spenser, it was hardly used during the course of the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, although See also:

• GILES (GIL, GILLES), ST

Giles and Phineas See also:

• FLETCHER, ALICE CUNNINGHAM (1845– )
• FLETCHER, ANDREW
• FLETCHER, GILES (c. 1548-1611)
• FLETCHER, GILES (c. 1584-1623)
• FLETCHER, JOHN WILLIAM (1729-1785)
• FLETCHER, PHINEAS (1582-1650)

Fletcher made for themselves adaptations of it, the former by omitting the eighth line, the latter by omitting the See also:

• SIXTH

sixth and eighth . In the See also:

• MIDDLE

middle of the 18th century the study of Spenser led poets to revive the stanza which bears his name . The initiators of this reform were See also:

• AKENSIDE, MARK (1721-1770)

Akenside, in The Virtuoso (1737); See also:

• SHENSTONE, WILLIAM (1714-1763)

Shenstone, in The Schoolmistress (1742); and 1 See Conversations with See also:

• DRUMMOND, HENRY (1786-r86o)
• DRUMMOND, HENRY (1851-1897)
• DRUMMOND, THOMAS (r797-1840)
• DRUMMOND, WILLIAM (1585-1649)

Drummond, See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare Society, PP . 7, 12 . See also:

• THOMSON, JAMES (1822-1892)
• THOMSON, JAMES (1834-1882)
• THOMSON, JAMES (r700-1748)
• THOMSON, JOHN (1778-184o)
• THOMSON, JOSEPH (1858-1895)
• THOMSON, SIR CHARLES WYVILLE (1830-1882)
• THOMSON, THOMAS (1773-1852)
• THOMSON, WILLIAM (1819-189o)

Thomson, in The See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

Castle of Indolence (1748) . Mrs See also:

• TIGHE, MARY (1772-1810)

Tighe (1772-181o) used it for her once-famous epic of See also:

• PSYCHE (//vxi7)

Psyche .

It was a favourite form at the time of the romantic revival, when it was employed by See also:

• CAMPBELL, ALEXANDER (1788–1866)
• CAMPBELL, BEATRICE STELLA (Mrs PATRICK CAMPBELL) (1865– )
• CAMPBELL, GEORGE (1719–1796)
• CAMPBELL, JOHN
• CAMPBELL, JOHN (1708-1775)
• CAMPBELL, JOHN CAMPBELL, BARON (1779-1861)
• CAMPBELL, JOHN FRANCIS
• CAMPBELL, LEWIS (1830-1908)
• CAMPBELL, REGINALD JOHN (1867— )
• CAMPBELL, THOMAS (1777—1844)

Campbell, for his Gertrude of See also:

• WYOMING

Wyoming (18og); by See also:

• KEATS, JOHN (1795-1821)

Keats, in The See also:

• EVE

Eve of St See also:

• AGNES, SAINT

Agnes (182o) ; by See also:

• SHELLEY, MARY WOLLSTONECRAFT (1797-1851)
• SHELLEY, PERCY BYSSHE (1792-1822)

Shelley, in The Revolt of See also:

• ISLAM

Islam (See also:

• LISTON, JOHN (c. 1776-1846)
• LISTON, ROBERT (1794-1847)

Liston and Cythna) (1818) ; by Mrs See also:

• HEMANS, FELICIA DOROTHEA (1793-1835)

Hemans; by Reginald See also:

• HEBER, REGINALD (1783-1826)
• HEBER, RICHARD (1773-1833)

Heber; but pre-eminently by See also:

• BYRON, GEORGE GORDON BYRON, 6TH BARON (1788-1824)
• BYRON, HENRY JAMES (1834-1884)
• BYRON, HON
• BYRON, JOHN BYRON

Byron, in Childe Harold (1812-1817) . See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• COOPER
• COOPER (or COUPER), THOMAS (c. 1517-1594)
• COOPER, ABRAHAM (1787—1868)
• COOPER, ALEXANDER (d. i66o)
• COOPER, CHARLES HENRY (18o8-1866)
• COOPER, JAMES FENIMORE (1789-1851)
• COOPER, PETER (1791-1883)
• COOPER, SAMUEL (1609-1672)
• COOPER, SIR ASTLEY PASTON (1768-1841)
• COOPER, THOMAS (1759–1840)
• COOPER, THOMAS (1805–1892)
• COOPER, THOMAS SIDNEY (1803–1902)

Cooper, the Chartist, wrote his See also:

• PURGATORY (Late Lat. purgatorium, from purgare, to purge)

Purgatory of Suicides (1845) in Spenserian stanza, and See also:

• TENNYSON, ALFRED TENNYSON

Tennyson See also:

• PART

part of his See also:

• LOTUS

Lotus Eaters . By later poets it has been neglected, but See also:

• WORSLEY
• WORSLEY, PHILIP STANHOPE (1835-1866)

Worsley and See also:

• CONINGTON, JOHN (1825—1869)

Conington's See also:

• TRANSLATION

translation of the Iliad (1865-1868) should be mentioned . The Spenserian stanza is an exclusively See also:

• ENGLISH

English form .