Show simple item record

dc.contributor.authorDarnill, Elizabeth Janeen_GB
dc.date.accessioned2011-06-23T12:47:21Zen_GB
dc.date.accessioned2013-03-21T09:56:21Z
dc.date.issued2010-03-26en_GB
dc.description.abstractThis thesis examines the role of readerly engagement in the allegorical poetry of Edmund Spenser and William Blake. An analysis of their poetry reveals important affinities between the two poets. Not only was Blake aware of Spenser’s work, he can be seen to incorporate and build upon Spenser’s self-conscious poetic style in order to engage readers in the active process of interpretation. Meaning in their poetry can be shown to unfold gradually by way of complex interactions between the reader and the text, interactions fostered by the reader’s imagination and the (differently) visual quality of the two poets’ works. Blake promotes this way of seeing as being “four-fold,” the ability to perceive on several dimensions. The first chapter of this thesis looks at the definitions and attitudes towards allegory from the early sixteenth century onwards, showing how the mode has been constantly redefined. Chapter two investigates the self-conscious nature of allegory through an analysis of the placement of words, metaphors, unconventional language, and the way the poems may be read by readers. Both poets encourage a heightened awareness of the process of reading which may be termed allegorical. Blake owned his own printing press allowing him greater control over the words and design of his text. This enabled him to be more forceful in his communication of images and ideas than Spenser. Chapter three focuses upon the multiple (and contradictory) ways in which the text may be interpreted by the reader. Allegory is a means of communicating and simultaneously disguising criticism. Both poets can be seen to use it to voice resistance to forms of authority, even as they encourage readers to recognise these meanings within their texts. Spenser and Blake had to combat different forms of censorship with differing strategies. Whereas Spenser felt compelled to uphold the status quo, Blake sought to deconstruct rigid social conventions. Chapter four explores the relation between allegory and the imagination. Spenser uses allegory to inspire the imagination, whereas for Blake the imagination encourages allegory. The imagination is a means of pushing readers towards further learning and a deeper appreciation of allegorical meaning. Chapter five analyses Spenser and Blake’s verbal and imagistic visuality in relation to allegory. Blake’s illustrations promote further reader engagement, while Spenser’s illuminations are a part of his metaphorical and allegorical text. Both poets use the visual to trigger imaginative readerly interaction and to promote new ways of perceiving and relating to their poems.en_GB
dc.description.sponsorshipArts and Humanities Research Councilen_GB
dc.identifier.grantnumber2005/114456en_GB
dc.identifier.urihttp://hdl.handle.net/10036/3156en_GB
dc.language.isoenen_GB
dc.publisherUniversity of Exeteren_GB
dc.subjectAllegoryen_GB
dc.subjectVisionen_GB
dc.subjectImaginationen_GB
dc.subjectDidacticismen_GB
dc.title"Four-fold vision see": Allegory in the Poetry of Edmund Spenser and William Blakeen_GB
dc.typeThesis or dissertationen_GB
dc.date.available2011-06-23T12:47:21Zen_GB
dc.date.available2013-03-21T09:56:21Z
dc.contributor.advisorEdwards, Karenen_GB
dc.publisher.departmentEnglishen_GB
dc.type.degreetitlePhD in Englishen_GB
dc.type.qualificationlevelDoctoralen_GB
dc.type.qualificationnamePhDen_GB


Files in this item

This item appears in the following Collection(s)

Show simple item record