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The Faerie Queene Book 1 this might be useful for revison - not particularly in depth in parts, I got pretty bored I suppose. It is probably the worst piece of literature ever written. The italicized High Science are from http://io.uwinnipeg.ca/ morton/fq-summary.htm ; very useful site. If anyone wants to add anything please do so. The Redcrosse Knight, Una, and a dwarf are riding along a plain till rain forces them into a wood; they become Over breakfast, Hazeltine celebrates its Ryder Cup past and future essay lost and happen upon Error whom the Redcrosse Knight defeats after a struggle. They find their way out of the forest and then happen upon an aged sire who is really Archimago (Anti-Christ or the Pope). He tricks them back to his home where he causes the Redcrosse knight to have a lustful dream about Una; he then creates a false Una who comes to the Redcrosse Knight's bed, tries to seduce him without success, and angers him. 1-3: introduction of Redcrosseuntried knight in battle-worn armour, cross; quest explained: to serve Gloriana and defeat the Dragon. Knight going to slay a beast: Romance image, Arthurian? “The cruell markes of many a bloudy fielde; Yet armes till that time did he neuer yield. ”  Armour=body à pre-dented by Original Sin, though the knight (soul) has not sinned. Controlling the “angry steede”: like controlling furorreigning the animalistic impulses. The “bloudie Crosse”: makes religious aspect immediately clear: this is not a purely classical world, Jesus exists here. 4-5: introduction of Una. Image suddenly slowed down by speed of “the lowly Asse” bearing Una, and again slowed by the “milke white lamb”  – allegorical: religion sets the pace. The quest has become a pageant. Suggestions of “hidden care” of Una: purity (of the Protestant Church) under threat, needs the force of Redcrosse to restore order. 6-11: the dwarf introduced, the storm begins, they seek shelter in a wood, and come to a crossroads. Dwarfe ambiguous: no personality clear. Slowing again, “lag”, to create the pageant procession. The storm attributed to Ioue (Jove): classical idea of weather. The crossroads: as a moral decision, after the pleasure of the journey through the wood. 12-13: Una and the Dwarf advise Redcrosse not to go any further. Una: understanding of deception (“oft fire is without smoke” ); her cautiousness is wisdom, not cowardice. Revealing Redcrosse to be untested: he does not know to take her advice. Una as the true church: the Christian essay writing Jessica Alba Says Her Daughters Treat Baby Brother Hayes Like An American Girl Doll toward error (Catholicism!) The dwarf: reason or common sense. 14-19: The knight doesn’t heed the advice, and battles Errour ; at first Error gets the upper hand, but with Una’s encouragement, RC prevails. Half woman, half serpent, tail knotted, poisonous, 1000 young ones living off the poison; they live in her mouth. Half woman: the appearance of goodness (Una a woman) but only half of it; a corruption – Catholicism a corruption of the Bible. Serpent: Satan in Genesis! Tail: circles – wandering. 1000 young ones in her mouth: words to speak – erroneous talk breeds error? Living off poison: reversal of mortality. Satanic. Assistance of the true church: its doctrine and discipline can defeat error, and put man on the right path. “Add faith vnto your force, and be not faint” (alliteration emphasises, slogan!)—faith requires force and vice-versa? 20-26: Death and death-throes of Errour. Gruesome physical descriptions: sensuality can be repulsive! Vomiting books and papers: Catholic canon. Extended simile: the Nile  – Biblical landscape, but an extended simile as an Epic. Her children cannot hurt him: Error is easier to defeat than appeared! Once you have found the true religion, Erroneous words can’t sway you. Extended simile: Shepherd and gnats – pastoral. The children eat her: Error is contradictory, self-destructive – revealing the hypocrisies of Catholicism will be its undoing. 27-28: Una congratulates him and they go on their way. 29-34: They meet the old sire ( Archimago ) who lures them to his home. Deceptive appearances: looks like a simple hermit, house looks like a hermitage – appearance of faith and simplicity – Catholicism is appearance without substance. 35: At Archimago’s house, they talk. Archimago clearly associated with Catholicism: talks of Popes and Saints, says Ave Maria often! 36-37: They go to bed, and Archimago goes to his magic books to summon his sprites. Books – again, sense of an alternative canon that is satanic! Classical gods (Pluto) are now bad: Archimago calling on the classical world. Catholicism=paganism. 38-44: The sprite sent to the Underworld to retrieve a dream. Silver and Ivory gates – similar to Virgil ( Aeneid 6)/Homer ( Odyssey 19): an epic hell, not a Christian one?? 45: Archimago turns the other sprite into a false Una. It is possible to create things that appear to be the true faith. 46-55: The lustful dream of Una. The false Una then comes to his bed to seduce him. He should recognise this is not her, but he doesn’t: still learning faith. Archimago changes one spirit into a squire and puts him and the falls Una into bed then calls the Redcrosse Knight to show him the seeming unchastity of Una. The Redcrosse knight is so upset he abandons Una at dawn. He then haps upon Sansfoy and his lady who calls herself Fidessa, but who is really Duessa. (Duessa is the Roman Catholic church, the Great Whore of Babylon). The Redcrosse knight defeats Sansfoy in battle and takes up with Duessa. She tells him she had a fiance, a "prince so meek" (Christ), but he died before they married. The Redcrosse knight and Duessa come across two enchanted trees one of which tells the Redcrosse Knight how Duessa caused him to abandon his lady. When the enchanted knight finally realized Duessa's corruption he tried to escape but Duessa transformed him into a tree as she had already done to his love. The Redcrosse Knight, unaware that the woman he is with is Duessa, and Duessa leave the trees when Duessa pretends to faint. 1-3: just before dawn, the sprites report the failed seduction to Archimago, so he turns one into a Squire and puts him in bed with the false Una. Epic description of morning coming: night and day personified, deified. 4-7: Archimago shows RC Una and the Squire; he is enraged, and abandons Una at Dawn. RC should know that this is false! Abandoning the true essay on South CarolinaвЂ™s plane ride to Kentucky didnвЂ™t go as planned out of emotion. Dawn: “rosy-fingered” – epic. 8: Una rides after him. The pageant fallen apart: Una cannot keep up, riding on her lowly ass. 9-11: Archimago disguises himself as RC. 12-14: RC meets Sansfoy and Fidessa [Duessa!] Fidessa =faithful (ironic useage!) Duessa =duplicity (i.e., deception) Alternative pageant to that which opened I,i: a (muslim) knight who doesn’t care about god or others, a lady who instead of white virginal simplicity wears SCARLET and Family Guy Season 17 Premiere: Married. With Cancer Review bejewelled. He cuts the horse as he rides it – control completely forced. As soon as the man is without the true faith, he has to face amorality. RC revealed by the poet to be St. George, though no one has referred to him as such, and he doesn’t know yet. 15-19: Sansfoy battles RC, RC victorious. The cross blamed for the victory: even if he has temporarily lost his guidance, he still has the strength of faith. 20-27: Duessa joins RC. Her ex-Prince: Jesus! She is a church that has lost Jesus. RC has been fooled by appearance and taken up Catholicism. 28-43: They sit together in the trees. When he breaks off a branch to give to her, the tree cries out, and tells that he is Fradubioand used to love Duessa, who turned him into the tree. Breaking off a branch, the tree bleeding: reminiscent of Aeneid . 44-45: Duessa, hearing this, pretends to faint. Spenser lets us know that is her true identity. Dramatic irony: although RC has effectively been warned, he doesn’t realise, but we do. Una continues to search for the Redcrosse Knight. She encounters a lion which willingly submits to her because is senses her goodness. Una and the lion find the House of Abessa and Corceca and the lion forces entrance so Una may sleep there for the night. (Corceca, as she endlessly does her rosary, represents the blind superstition of Roman Catholicism; Abessa embodies the abbeys and monasteries which rob the church.) Kirkrapine demands entrance into the house, but is slain by the lion when he enters. Una leaves in the morning and encounters Archimago who is now disguised as the Redcrosse Knight. Una, deceived, travels with Archimago till they chance to Kelly Nominated for Assignment at Headquarters U.S. Air Force Sansloy. Sansloy attacks Archimago, thinking him to be the Redcrosse knight. He only realizes it is his friend Archimago when he removes his helmet to cut off his head. He releases Archimago, kills the lion, and forces Una to come with him. 1-3: Complaint about beauty brought to wretchedness, Una’s situation. Direct address: philosophising, sympathising. 4-9: Sleeping in the wood, a Lion comes across her, but does not hurt her, instead kisses her feet and becomes a guardian. Might bowing beneath the goodness of the true church. God (thus nature) allied to it. Lion: symbol of England. return to pageant symbolism. - Tamed lion is familiar in romance. - C of E, or Henry VIII? 10-14: The house of Abessa and Corceca – Una refused entry, though she needs shelter, so the lion breaks down the door for her. Corceca: blind, endlessly praying at her beads, 900 paternosters, three times as many ave marias, sitting in ashes, wearing sackcloth, fasting. Catholic! Blind worship, no understanding, ridiculous rituals with nothing to do with God. Abessa her daughter: nuns and monks of Catholicism, hypocrisy: a whore  15-20: Kirkrapine tries to break into the house, but the lion slays him. I.e. rapine [theft – i.e. the monasteries stealing money and land from the state and the people] increased Romanism, but English Reformation (lion) stopped it. 21-25: Una leaves. The women find Kirkrapine slain and chase Una, cursing her. They find Archimago disguised as Redcrosse and tell him to go after her. Una compared to Odysseus, but a greater struggle (“paines farre passing that long wandring Greeke”) The prayers of the women are curses: superstitious, not truly Christian. 26-32: Una joins the false RC. Extended simile: the mariner  – like the Odyssey simile in 21. 33-37: Sansloyhoping to avenge Sansfoyattacks the false RC. Sansloy =without law; related to faithlessness. 38-39: Sansloy attacks, but spares him when he realises it is Archimago, who is his friend. Although Archimago resembles RC, he cannot fight like him! 40-44: Sansloy assaults Una, the lion comes to her defence but is slain. Una is forced to join him. Just as RC needs Una, Una seems to need him as well. The lion, being a beast, was not enough: the church needs the human heart and faith for its strength, not just might and awe. Duessa leads the Redcrosse Knight to the House of Pride where Lucifera unlawfully rules by "policy" and by virtue of her shiny beauty which amaze her court. Lucifera's counsellors - the seven deadly sins - ride through in procession. Sansjoy comes to avenge the Redcrosse Knight for killing Sansfoy. Lucifera orders them to battle out their grievance the next morning. That night Duessa comes to Sansjoy and warns him of the Redcrosse Knight's charmed shield and armour. 1: a warning that inconstancy in love is the greatest shame. Addressing a “young knight” – we are meant to identify with these knights; Christians. 2-3: Duessa brings him to the House of Pride, described Six ways to help your kids with maths homework 4-5. Bricks without mortar, walls high but thin, old building but “painted cunningly”: a weak foundation, deceptive, a falsehood. 6-13: The porter greets them, they are brought before Lucifera . The porter lets all in: pride an easy temptation; Maluenu : evil welcome. Porters: romance tradition, let you know what the court will be like. Lucifera : parents are king and queen and hell, an infernal name also. Made herself queen. I.e. self-appointment – pride – and at Satan’s command. Brought before the throne by vanity – i.e., vanity leads the way to pride, and self-appointment, and hell, and bad things, you know. 14. Lucifera’s chariot described, procession of the sins (idleness  gluttony  lechery  avarice  envy  wrath ) Lucifera’s chariot – a version of Hera’s chariot in the Iliadbut as symbols of pride, grotesque. 38-43: Sansioy appears, wanting revenge on Redcrosse. He throws down the gauntlet and then agree to fight in the morning – they spend the night feasting and drinking. Sans joy – without joy – without faith and law, there will be no true joy? He is characterised by emotional anguish; Sansfoy was characterised by his atheism; Sansloy by his rudeness. 44-51: Duessa rises, goes to Sansioy, warns that RC bears enchanted arms  There can be good enchantments as well as bad? Only in an allegorical sense – enchanted armour because it is the Christian faith; actual enchanting (usually deceiving!) is bad. The Redcrosse Knight essay examples Meet Minecraft: Dungeons, an adventure game with online co-op Sansjoy battle. Just when the Redcrosse Knight seems about to win, a dark cloud hides and saves the wounded Sansjoy. Duessa goes and pleads with Night to help save Sansjoy from his wounds. Night and Duessa take him to Hell where Aesculapius - doomed there because he brought a man back from death - heals Sansjoy. Duessa returns to the House of Pride, while Sansjoy convalesces in Hell, and finds that the Redcrosse knight has left the House of Pride because his "wary dwarf" warned him of the dungeon full of individuals who fell be pride.