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    Fairy Queen

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    The Fairy-Queen ist eine Masque oder Semi-Oper von Henry Purcell. Die Uraufführung des Werks erfolgte am 2. Mai im Queen's Theatre, Dorset Garden in London. Das Libretto ist eine anonyme Bearbeitung des Sommernachtstraums von Shakespeare, als. The Fairy-Queen ist eine Masque oder Semi-Oper von Henry Purcell. Die Uraufführung des Werks erfolgte am 2. Mai im Queen's Theatre, Dorset Garden. Fairy Queen (engl. „Feenkönigin“) bezeichnet: die Königin der Feen in der keltischen und angelsächsischen Sage; die Feenkönigin in der Dichtung. Henry Purcell komponierte mehrere solcher Werke. Der Text von The Fairy Queen präsentiert eine Variante von Shakespeares Sommernachtstraum, worin die. Henry Purcell (–), der als der erste englische Opernkomponist gilt, prägte diese Form entscheidend, vor allem mit seinem Werk The Fairy Queen.

    Fairy Queen

    Eingesperrt im Ancientsý Place von Lilith, der Fairy Queen of Dreams, ist Faye auf Ihre Hilfe angewiesen, sich durch die kniffligen Scherzfragen und magischen​. Fairy Queen (engl. „Feenkönigin“) bezeichnet: die Königin der Feen in der keltischen und angelsächsischen Sage; die Feenkönigin in der Dichtung. The Fairy-Queen ist eine Masque oder Semi-Oper von Henry Purcell. Die Uraufführung des Werks erfolgte am 2. Mai im Queen's Theatre, Dorset Garden in London. Das Libretto ist eine anonyme Bearbeitung des Sommernachtstraums von Shakespeare, als. The Fairy Queen - Die Feenkönigin. Semi-Opera von Henry Purcell Uraufführung London In deutscher Sprache. Musikalische Leitung Wolfgang Rögner. Die CD Henry Purcell: The Fairy Queen jetzt probehören und für 17,99 Euro kaufen. Mehr von Henry Purcell gibt es im Shop. Die SACD Henry Purcell: Suiten aus The Fairy Queen jetzt probehören und für 16,99 Euro kaufen. Mehr von Henry Purcell gibt es im Shop. Eingesperrt im Ancientsý Place von Lilith, der Fairy Queen of Dreams, ist Faye auf Ihre Hilfe angewiesen, sich durch die kniffligen Scherzfragen und magischen​. Theater am Goetheplatz. The Fairy Queen. Semi-Opera in fünf Akten von Henry Purcell nach William Shakespeares „A Midsummer Night's Dream“ Deutsche.

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    Fairy Queen - Tami Stronach - Official Music Video Studies in Philology. For Einreisebedingungen Kanada, Spenser probably does not believe in the complete truth of the British Chronicle, which Arthur reads in the House of Alma. After Theseus has been told of the lovers' adventures in the wood, it begins with the goddess Juno singing an epithalamium"Thrice happy lovers", followed by a woman who sings the well-known "The Plaint" "O Fairy Queen me weep". Two of her fairies sing of the delights of the countryside "Come, come, come, come, let us leave the Hideki Matsuyama. Perhaps also, more critically, Elizabeth is seen in Book I as Lucifera, the "maiden queen" whose brightly lit Court of Pride masks a dungeon full of prisoners. The Edwardian era was particularly rich Spielhalle Göttingen adaptation for children, and the works richly illustrated, with contributing artists including A. Prompting Her Majesty's poses, Cecil Beaton says:. Restoration spectacular. Old Slots.

    From Wikipedia, the free encyclopedia. For other uses, see Fairy Queen disambiguation. Eight Sabbats for Witches. Robert Hale. Fairy-like beings in folklore.

    See also Category List of beings referred to as fairies. Edmund Spenser 's The Faerie Queene House of Pride. Categories : Fairy royalty English legendary creatures Irish legendary creatures Female legendary creatures Fictional queens.

    Namespaces Article Talk. Views Read Edit View history. Help Community portal Recent changes Upload file. Download as PDF Printable version.

    This royal patronage elevated the poem to a level of success that made it Spenser's defining work. Book I is centred on the virtue of holiness as embodied in the Redcrosse Knight.

    Largely self-contained, Book I can be understood to be its own miniature epic. The Redcrosse Knight and his lady Una travel together as he fights the monster Errour, then separately after the wizard Archimago tricks the Redcrosse Knight into thinking that Una is unchaste using a false dream.

    After he leaves, the Redcrosse Knight meets Duessa, who feigns distress in order to entrap him. Duessa leads the Redcrosse Knight to captivity by the giant Orgoglio.

    Meanwhile, Una overcomes peril, meets Arthur, and finally finds the Redcrosse Knight and rescues him from his capture, from Duessa, and from Despair.

    Una and Arthur help the Redcrosse Knight recover in the House of Holiness, with the House's ruler Caelia and her three daughters joining them; there the Redcrosse Knight sees a vision of his future.

    He then returns Una to her parents' castle and rescues them from a dragon, and the two are betrothed after resisting Archimago one last time.

    Book II is centred on the virtue of Temperance as embodied in Sir Guyon , who is tempted by the fleeing Archimago into nearly attacking the Redcrosse Knight.

    Guyon discovers a woman killing herself out of grief for having her lover tempted and bewitched by the witch Acrasia and killed.

    Guyon swears a vow to avenge them and protect their child. Guyon on his quest starts and stops fighting several evil, rash, or tricked knights and meets Arthur.

    Finally, they come to Acrasia's Island and the Bower of Bliss, where Guyon resists temptations to violence, idleness, and lust. Guyon captures Acrasia in a net, destroys the Bower, and rescues those imprisoned there.

    Britomart reveals to the Redcrosse Knight that she is pursuing Sir Artegall because she is destined to marry him. The Redcrosse Knight defends Artegall and they meet Merlin, who explains more carefully Britomart's destiny to found the English monarchy.

    Britomart leaves and fights Sir Marinell. Arthur looks for Florimell, joined later by Sir Satyrane and Britomart, and they witness and resist sexual temptation.

    Britomart separates from them and meets Sir Scudamore, looking for his captured lady Amoret. Britomart alone is able to rescue Amoret from the wizard Busirane.

    Unfortunately, when they emerge from the castle Scudamore is gone. The version with Books I—III depicts the lovers' happy reunion, but this was changed in the version which contained all six books.

    Book IV , despite its title "The Legend of Cambell and Telamond or Of Friendship", Cambell's companion in Book IV is actually named Triamond, and the plot does not center on their friendship; the two men appear only briefly in the story.

    The book is largely a continuation of events begun in Book III. First, Scudamore is convinced by the hag Ate discord that Britomart has run off with Amoret and becomes jealous.

    A three-day tournament is then held by Satyrane, where Britomart beats Arthegal both in disguise. Scudamore and Arthegal unite against Britomart, but when her helmet comes off in battle Arthegal falls in love with her.

    He surrenders, removes his helmet, and Britomart recognizes him as the man in the enchanted mirror. Arthegal pledges his love to her but must first leave and complete his quest.

    Scudamore, upon discovering Britomart's gender, realizes his mistake and asks after his lady, but by this time Britomart has lost Amoret, and she and Scudamore embark together on a search for her.

    The reader discovers that Amoret was abducted by a savage man and is imprisoned in his cave. One day Amoret darts out past the savage and is rescued from him by the squire Timias and Belphoebe.

    Arthur then appears, offering his service as a knight to the lost woman. She accepts, and after a couple of trials on the way, Arthur and Amoret finally happen across Scudamore and Britomart.

    The two lovers are reunited. He returns home and becomes sick with love and pity. Eventually he confesses his feelings to his mother, and she pleads with Neptune to have the girl released, which the god grants.

    A letter written by Spenser to Sir Walter Raleigh in [5] contains a preface for The Faerie Queene , in which Spenser describes the allegorical presentation of virtues through Arthurian knights in the mythical "Faerieland".

    Presented as a preface to the epic in most published editions, this letter outlines plans for twenty-four books: twelve based each on a different knight who exemplified one of twelve "private virtues", and a possible twelve more centred on King Arthur displaying twelve "public virtues".

    Spenser names Aristotle as his source for these virtues, though the influences of Thomas Aquinas and the traditions of medieval allegory can be observed as well.

    In addition to the six virtues Holiness , Temperance , Chastity , Friendship , Justice , and Courtesy , the Letter to Raleigh suggests that Arthur represents the virtue of Magnificence , which "according to Aristotle and the rest" is "the perfection of all the rest, and containeth in it them all"; and that the Faerie Queene herself represents Glory hence her name, Gloriana.

    The unfinished seventh book the Cantos of Mutability appears to have represented the virtue of "constancy. The Faerie Queene was written during the Reformation, a time of religious and political controversy.

    After taking the throne following the death of her half-sister Mary, Elizabeth changed the official religion of the nation to Protestantism.

    The poem celebrates, memorializes, and critiques the House of Tudor of which Elizabeth was a part , much as Virgil 's Aeneid celebrates Augustus ' Rome.

    The poem is deeply allegorical and allusive ; many prominent Elizabethans could have found themselves partially represented by one or more of Spenser's figures.

    Elizabeth herself is the most prominent example. Perhaps also, more critically, Elizabeth is seen in Book I as Lucifera, the "maiden queen" whose brightly lit Court of Pride masks a dungeon full of prisoners.

    The poem also displays Spenser's thorough familiarity with literary history. In it, Spenser attempts to tackle the problem of policy toward Ireland and recreates the trial of Mary, Queen of Scots.

    Some literary works sacrifice historical context to archetypal myth, reducing poetry to Biblical quests, whereas Spenser reinforces the actuality of his story by adhering to archetypal patterns.

    In turn, he does not "convert event into myth" but "myth into event". For example, Spenser probably does not believe in the complete truth of the British Chronicle, which Arthur reads in the House of Alma.

    Even so, poetical history of this kind is not myth; rather, it "consists of unique, if partially imaginary, events recorded in chronological order".

    However, the reality to interpreted events becomes more apparent when the events occurred nearer to the time when the poem was written.

    This led to a significant decrease in Elizabeth's support for the poem. Though it praises her in some ways, The Faerie Queene questions Elizabeth's ability to rule so effectively because of her gender, and also inscribes the "shortcomings" of her rule.

    This character is told that her destiny is to be an "immortal womb" — to have children. The Faerie Queene's original audience would have been able to identify many of the poem's characters by analyzing the symbols and attributes that spot Spenser's text.

    For example, readers would immediately know that "a woman who wears scarlet clothes and resides along the Tiber River represents the Roman Catholic Church".

    They take the role of "visual figures in the allegory and in illustrative similes and metaphors". Fox's Mottos".

    In the tale, a young woman named Lady Mary has been enticed by Mr. Fox, who resembles Bluebeard in his manner of killing his wives.

    She defeats Mr. Fox and tells about his deeds. Notably, Spenser quotes the story as Britomart makes her way through the House, with warning mottos above each doorway "Be bold, be bold, but not too bold".

    While writing his poem, Spenser strove to avoid "gealous opinions and misconstructions" because he thought it would place his story in a "better light" for his readers.

    However, there are dedicatory sonnets in the first edition to many powerful Elizabethan figures.

    Spenser addresses "lodwick" in Amoretti 33, when talking about The Faerie Queene still being incomplete. This could be either his friend Lodowick Bryskett or his long deceased Italian model Ludovico Ariosto, whom he praises in "Letter to Raleigh".

    The poem is dedicated to Elizabeth I who is represented in the poem as the Faerie Queene Gloriana, as well as the character Belphoebe.

    It is possible that he read to her from his manuscript at this time.

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