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The ten thousand things and the one true only.

by Kip Manley

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Things to keep in mind:
The secret of Spenser.

It would be interesting to take one of the vast famous passages of the work and show how these devices are fitted together into larger units of rhythm, but having said that every use of the stanza includes all these uses in the reader’s apprehension of it I may have said enough to show the sort of methods Spenser had under his control; why it was not necessary for him to concentrate on the lightning flashes of ambiguity.

The size, the possible variety, and the fixity of this unit give something of the blankness that comes from fixing your eyes on a bright spot; you have to yield yourself to it very completely to take in the variety of its movement, and, at the same time, there is no need to concentrate the elements of the situation into a judgment as if for action. As a result of this, when there are ambiguities of idea, it is whole civilisations rather than details of the moment which are their elements; he can pour into the even dreamwork of his f--ryland Christian, classical, and chivalrous materials with an air, not of ignoring their differences, but of holding all their systems of values floating as if at a distance, so as not to interfere with one another, in the prolonged and diffused energies of his mind.

William Empson

—posted 22 days ago

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