The Faerie Queene is one of the great classics of Renaissance literature, and for very good reasons. Although it is difficult reading (and NO, contrary to another review here, it is NOT in OLD English! Look at the original version of Beowulf and you will see the difference), many of the tensions of the Renaissance, spiritually and philosophically, are masterfully renedered in these brilliant tales. Because its allegory is so rich, this book becomes even more enjoyable to reread, as connections between historical figures and literary history appear repeatedly. (I find something "new" each time I read it, it seems!) It is also a book about the role of the poet in society, and the manner in which Spenser uses allegory illustrates the complex relationship between the poet and his patron. In sum, while, as readers, we are always limited by our modern perspectives, I do think that reading Spenser is perhaps the best way to experience what it must have been like to be a Renaissance reader. Perhaps this is due to the didactic nature of Spenser's epic. In any event, it has forced me to explore more thoroughly the books and concepts to which Spenser refers repeatedly in The Faerie Queene. Furthermore, it has made my study of Shakespeare, Ariosto, Sidney, and other prominent Renaissance writers much more fruitful.

But don't buy the trade paperback edition if you are serious about reading Spenser--buy the edition of The Faerie Queene that is edited by A.C. Hamilton. While it is more expensive, it is by far the best text available of Spenser's epic, and contains useful notes and introductions that will guide all students of Spenser to a greater understanding of the greatest epic poem of the Elizabethan Age.

Spenser's epic is among the most interesting texts in the English language for a number of reasons, including its stunning verse, mythic vision, and its incessant dialogue with other texts. Critics have spilt more ink than Errour herself (see Book One of the Faerie Queene) trying to decide if Spenser is working more closely with or against Christian medieval English poets such as Chaucer and Langland, or if he wants to invoke the Classical tradition. A. C. Hamilton's edition of The Faerie Queene allows virtually any reader to understand these critical discussions, and this is the strength of this particular version.

This is the most accessible, best informed edition of The Faerie Queene I know of. Spenser's stanzas are printed side-by-side with commentary and linguistic analysis culled from years of research and discussion. You could easily spend years wandering through the world of this poem; the critical glosses make the travelling a bit clearer and the landscape more focussed and coherent.

Spenser's the Faerie Queene is one of the first epics to be written in English, and probably the first to draw on such masters as Virgil and Homer. He purposely wrote in archaic English, so it is a bit difficult to understand (just imagine language that was old 400 years ago!), but taking the time to read it provides a very meaningful experience.

The Faerie Queene was supposed to include 12 books, some of which were never completed. Each book was to star a Knight, who would embody some Christian virtue (for example, the Red-Crosse Knight is the hero of book 1--he represents holiness). Additionally, all the books were to feature King Arthur as a hero who was the epitome of a good Christian. The books are very allegorical, and most of the enemies and beasts the knights meet embody some vice or sin (such as the giant who represents Pride in book 1).

The Faerie Queene is a classic medieval text, and is also a great epic poem. As many have commented, it does take a lot of work, but the reward is also very immense. For any fan of the epic format or student of classic English literature, the Faerie Queene is essential.

There's no question that this is a lot of book for the money, and it's an essential volume for the serious student. The introductory matter is a disappointment, though; instead of guiding us into this massive work with a view to our gaining pleasure from it (and above all else, Spenser is _fun_ to read), Hamilton gives us a dense and barely readable collection of quotations from other critics and cross-references to scholarly papers. Many of the footnotes in the text suffer from the same kind of high-priestly scholarship, mixed with a tendency to ferret out sexual symbolism wherever it can be found. There is plenty of information in the notes to clear up the inevitable confusion modern readers must experience, but at times one wishes a giant could wield a club without the accompaniment of chattering from a tribe of commentators about phalluses and biblical parallels. In short, this volume contains all that is good and all that is bad about "literary criticism".

This second edition of "The Faerie Queene," with A.C. Hamilton as the editor, again sets the standard for critical editions of Edmund Spenser's classic poem. This volume replaces Hamilton's first edition of the poem as the standard academic text. Anyone who is serious about studying the poem should purchase this particular edition. In addition to featuring a much clearer typeface than that of the first edition, the second edition contains critical commentary about the poem that is as current as one could expect (i.e., through the '90s). The footnotes are conveniently and unobtrusively placed at the bottom of the text, so one can easily ignore them, if they prefer. However, the labyrinth of cross-references are highly informative, provocative, and illustrate the poem's incredible richness. I find myself so engaged in the contemporary criticism of the poem that I'm constantly going to the library to read the articles to which the notes refer.

If you already have the first edition that was edited by Hamilton (or if you were lukewarm about reading Spenser in the first place), you may not need this updated edition, unless you would like to read the updated essays and commentary. However, if you love "The Faerie Queene," this particular volume will provide you with many hours (and possibly years) of enjoyment. It is well known that the poem is one of the greatest ever to be penned in the English language. In the second edition, Hamilton helps us all understand why this poem speaks so powerfully to us over four hundred years later. This is truly a marvelous poem and a great academic text.

Fortunately, in reviewing this book I am not faced with the usual difficulty of separating the quality of the work itself from the quality of its presentation; both are exquisite.

Edmund Spenser's _The Faerie Qveene_ is rightly considered one of the timeless masterpieces of English literature. Collectively, it is an embodiment of and a response to both medieval and Renaissance themes and devices. The medieval romantic and Arthurian genres are blended with Petrarchan techniques and Neoplatonic philosophy. Nevertheless, Spenser maintains a distinct style all his own; the nine-line stanza is, in my opinion, one of the most beautiful conventions in poetic verse. Oh yeah, and it's a darn good story too.

This edition of the "booke" far outshines any other I've encountered. The text itself is annotated with copious footnotes which explain unclear passages, point out allusions to classical, medieval and contemporary events, and provide criticism. All of the peripheral material associated with _The Faerie Qveene_ is also provided, including the dedication to Raleigh and introductory sonnets. Other value-adding perks include a comprehensive bibliography, a chart showing minor changes made between the poem's three publications, and a character guide.

Though this thick volume may seem daunting, it is in fact quite enjoyable. The notes are fairly unintrusive, so the casual reader can skim or read through the poem at his or her own pace, with the option to delve deeper if he or she desires.

I strongly advise anyone with an interest in Renaissance literature, Shakespeare, poetry, or English literature as a whole, to purchase this book, and to dish out the bit of extra money for this particular edition.

E. de Selincourt's 1912 introduction is very insightful, and there's a useful glossary and critical notes in the back, which, unfortunately, make them cumbersome to access. The complete, original text is included, however, all in one book, making this a very worthwhile reference.