This analysis attempts to establish that the Faerie Queene is a poem written on the basis of the two main ideals of Renaissance criticism, teaching and delighting. It begins by showing that Elizabethan critics state the primary importance of the two ideals, but never explain how they used them as practical guides for writing poetry. Even Spenser himself, though he wrote a long preface to the Faerie Queene, never explains how he intended to teach and delight in the poem. Furthermore, no critics since the Elizabethan have demonstrated adequately how Spenser applied the ideals. To answer this question, the analysis seeks specific answers throughout the Faerie Queene. Yet all such evidence cannot add up to a complete solution of the poem, for in its thousands of lines it accomplishes many purposes and lends itself to many analyses. Nevertheless the two ideals of teaching and delighting represent one important approach which offers one basis for understanding the poem. The analysis divides the poem into two levels, narrative and allegorical, and approaches first through the simpler narrative. The discussion begins with Canto One Book One and demonstrates that Spenser unfolds a story which ordinary readers can follow with efficiency and interest. He sets it in a deliberately artificial world which allows incidents and persons to be both natural and unreal; He reveals its main conflict with a sufficiently brisk pace, and weaves that conflict firmly through the interaction of character and event. With this simple story-telling level Spenser therefore attempts to retain the attention of ordinary readers to his poem, and hereby reveals his conception of delighting to lie mainly in interesting his readers, in motivating them to read on. The analysis also shows that he begins his teaching within the narrative level through such obviously important instruments as his main characters, who teach because of the kinds of persons they are and the kinds of conflicts in which they become involved. The analysis turns then to the allegory, and since this is a more complex level, attempts first to offer a simple definition of allegory. From this base, the argument shows in detail how Spenser painstakingly develops an allegorical incident. He inserts it carefully within a story sequence; he foreshadows its coming; at exactly the right moment he arranges a marked, symbolic shift from the narrative world into the allegorical and, lastly, he guides his reader into the scene by a series of intricate clues. In such ways Spenser therefore organizes the mechanics of allegory so his reader can follow him efficiently and, at the same time, so designs his clues that he motivates the reader to want to pursue his meanings throughout the entire scene. Hence on the allegorical level, too, the poet's conception of delighting lies in capturing reader interest and here, too, he is able to use the very essence of his pleasure to accomplish his teaching. But the allegory teaches and delights more subtly, and thereby retains the attention of even the most advanced reader. To illustrate this most subtle level fully, the analysis will discuss both humorous and serious allegorical scenes. / Arts, Faculty of / English, Department of / Graduate

Book One of The Faerie Queene is a neatly patterned, moral allegory based on a series of tests of Red Cross Knight's Holiness. Holiness is treated as a virtue compounded of faith, hope, and charity, and the tests are organized according to this triple division. Intimately associated with the triple division of Holiness is the psychological scheme by which moral behaviour, and hence character, is represented in the legend. Each of the parts of Holiness is associated with a portion of the soul which is divided according to the Neoplatonic, tripartite conception. Faith is associated with intellection, hope with reason, and charity with appetite. The tests of the knight's faith, hope, and charity are tests of the moral character of the intellectual, rational, and appetitive soul, and in sum the trial of Holiness is a trial of the knight's soul. The knight faces two series of tests, each comprised of tests of faith, hope, and charity. The knight fails the first set of tests, chiefly as a result of his innocence and his inability to bridle the appetites of the flesh. In the second set, having been perfected in Holiness in the House of Holiness, he succeeds. In the first set of tests of the knight's Holiness, he faces, in order, a test of faith, a test of charity, and a test of hope. The tests, however, are not distinctly separate, as each is a test of the knight's Holiness with a focus on one of its three parts. In the second set of tests, the knight faces, in order, a test of charity, a test of hope, and a test of faith. The order of the first series of tests is based on the order of generation and is emblemized in the antagonists of the three parts of Holiness, the brothers Sans foy, Sans loy, and Sans joy. The knight's initially imperfect Holiness is tried according to the order in which these gross imperfections of faith, charity, and hope were created by their satanic father. In the second set of tests, the perfected knight is tried according to the order of perfection of the three parts of Holiness. The relationship between the flesh and reason figures prominently in the legend, with Prince Arthur as the chief representative of reason and Orgoglio the chief representative of the flesh. As well, there is a hierarchy of figures representing various states of control of fleshly appetite, and ranked from beast to rational man. The figures in the hierarchy are all associated with Una, and the set of relationships involved serves the moral allegory by presenting various states of charity. Rather than using the method of choosing parts of the text to illustrate general conclusions about the nature of Book One, I have chosen the method of sequential, textual analysis. I have tried to be as careful as possible in my schematization of the legend, noting where my scheme separates tests which, in the legend, are overlapped. / Arts, Faculty of / English, Department of / Graduate

In the laissez-faire system of the late nineteenth century, Sir Edmund Walker, Canadian businessman, saw his life in terms not of his personal gain, but of his service to his country. His Victorian curiosity and ethic of service prompted him to work for Canada in many varied areas from banking, to the arts, to planning a new imperial structure in the Round Table. By World War I, however, this Victorian ethic could no longer survive in the modern world which had evolved. Government also ended laissez-faire by entering fields which business philanthropy had neglected. While most Canadians seemed to recognize Sir Edmund's achievements, after the war they scoffed at his outdated views of service. Byron Edmund Walker, born in 1848 in Haldimand County, Ontario, was the eldest son of a poor, but educated, middle class, English family. Their love of culture and science was transmitted to him at an early age. Although he started banking at twelve, becoming president of the Canadian Bank of Commerce in 1907, Edmund Walker did not neglect this cultural heritage. The Champlain Society, Royal Ontario Museum, University of Toronto, National Gallery, Art Gallery of Ontario, and Guild of Civic Art in Toronto are some of the institutions which he worked for, or helped to found. During this same period Sir Edmund also built up the Canadian Bank of Commerce, the nation's second largest bank, and as the foremost banker in Canada, he led discussions at the decennial revision of the Bank Act. A self-made millionaire, Walker died in Toronto in 1924. Because his career coincided with Canada's greatest boom, from about 1900 to 1914, it is difficult to establish how much Sir Edmund's efforts actually contributed to his many accomplishments. This is further complicated by the fact that in these ventures he was assisted ably by Zebulon Lash, his enigmatic, corporation lawyer friend. Yet with qualifications, Walker's 'service' to Canada is still outstanding. This thesis, then, is primarily an examination of Sir Edmund Walker's ideas, and how they functioned in his Canadian environment. / Arts, Faculty of / History, Department of / Graduate

Informe de Seminario para optar al grado de Licenciado en Filosofía

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Esta dissertação procura discutir como a obra de Edmund Burke, Uma Investigação Filosófica sobre a Origem de nossas Idéias do Sublime e do Belo, introduz um sentido novo de sublime, distinto daquele presente nas poéticas e retóricas clássicas, a partir do rompimento dos paradigmas da clareza e do prazer. Ao caracterizar a experiência do sublime como marcada por incertezas, ambigüidades e contradições, em que os objetos da contemplação são vistos apenas de maneira parcial e obscura, Burke descreve uma experiência que não depende do primado da visão e que, portanto, abrange os demais órgãos do sentido e seus vocábulos. Essas questões são pensadas a partir do modo como o autor reorganiza três antigas dicotomias do pensamento clássico: dor e prazer, corpo e mente, palavra e coisa. No capítulo primeiro, acerca dos pressupostos da experiência do sublime em Burke, (as paixões violentas e mistas e o sentimento de autopreservação), discutimos como prazer e dor não se articulam no autor como ganho e perda, mas enquanto relações efetivas de oposição, e como isso se mostra na fruição do espectador, sobretudo em relação aos espetáculos trágicos, sejam eles fictícios ou reais. No capítulo segundo, a descrição das paisagens vastas e ilimitadas servem de argumento para a restrição de Burke à atuação da visão na experiência do sublime. Ao ser incapaz de estabelecer os contornos do objeto que contempla o espectador se vê diante de um jogo de expectativa e surpresa (tensão e relaxamento) que mais se assemelha às ascensões e quedas de uma peça musical, ou aos movimentos respiratórios do corpo, criada por edifícios arquitetônicos e jardinspaisagens. No capítulo terceiro, discutimos a defesa de Burke de uma linguagem não imagética, que não comunica ou afeta por idéias sensíveis. Não mais vista como imagem, ou representação, a palavra ganha um estatuto de coisa em sua dimensão concreta, áspera e irregular. A poesia e a retórica também estão entre os temas debatidos, sobretudo a partir de seu contraste com a pintura e em oposição ao princípio humanista do Paragone, ou a comparação entre as artes. / This dissertation aims to make a discussion on how Edmund Burkes A Philosophical Enquiry into the Origins of our Ideas of the Sublime and Beautiful introduces a new sense of the sublime, distinct from the one conceived by classical poetics and rhetoric, due to its opposition to the paradigm of clarity and pleasure. Once Burke portrays the sublime experience as being tinged with uncertainties, ambiguities and contradictions, where the objects of contemplation are only seen partially and obscurely, the experience he describes doesnt depend on the supremacy of vision and, as such, comprises the other senses. These questions are tackled by looking at the way the author rearrange three old dichotomies in classical thinking: pain and pleasure, body and mind, word and thing. In the first chapter we make a discussion on the grounds of Burkes sublime experience (the violent and mixed passions and the sense of self-preservation), and how pleasure and pain are no longer thought by the author as a loss and gain relation, but as truly and effectively oppositions. This is also shown in the pleasure the spectator feels while contemplating a scene from a real or a fictitious tragedy. In the second chapter, the descriptions of vast and boundless landscapes serve Burke as a further argument on the restricted role vision plays in the sublime experience. Incapable of setting the bounds to the contemplated object, the spectator sees himself winded in a game of expectation and surprise (stress and relief) which somehow resembles the rises and falls of a musical piece, or the breath movements of the body, created by buildings and landscape gardens. In the third chapter, we discuss Burkes attack on the opinion that words communicate and affect by sensible images. Disentangled from the image, or representation, words can then be seen as things, in their tangible, rough and irregular shapes. Poetry and rhetoric are also among the topics discussed in this chapter, especially from their contrast with painting, and from Burkes opposition to the humanistic Paragons principle.

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