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First performed and published in 1592, two years after the appearance of the first three books of The Faerie Queene, The Spanish Tragedy represents the theatrical translation of the Spenserian world view.
Burrow shows how the Virgilian and Ovidian strains are not necessarily at odds in the Spenserian text, and how Ovid is such a key figure.
Imitation is both specular and rhetorical; hence the peculiar weight which the verb ‘to read’ bears within the Spenserian text.
I have, of course, been guilty of many longer poems, certainly not long poems in the Miltonic sense, in the Spenserian sense.
That phrase is stressed by its position as an extra foot at the end of the penultimate stanza, the only stanza that uses the Spenserian hexameter for its last line.
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