document_title: Beauty and the Beast (2017 film)

question_text: who played the beast in the 2017 beauty and the beast

text: Beauty and the Beast (2017 film)

text: Plot[edit]

text: A beautiful enchantress disguised as an old beggar woman arrives at a castle during a ball and offers the host, a cruel and selfish prince, a rose in return for shelter from a storm. When he refuses, she reveals her identity. To punish the prince for his lack of compassion, the enchantress transforms him into a beast and his servants into household objects, then erases the castle, the prince and his servants from the memories of their loved ones. She casts a spell on the rose and warns the prince that the curse will only be broken if he learns to love another, and earn their love in return, before the last petal falls.

text: Some years later, in the small town of Villeneuve, Belle, the book-loving daughter of a music box maker and artist Maurice, dreams of adventure and brushes off advances from Gaston, an arrogant former soldier. On his way to a convention and lost in the forest, Maurice seeks refuge in the Beast's castle, but the Beast imprisons him for stealing a rose from his garden as a gift to Belle. When Maurice's horse returns without him, Belle ventures out in search for him, and finds him locked in the castle dungeon. The Beast agrees to let her take Maurice's place.

text: Belle befriends the castle's servants, who invite her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast scares her into the woods. She is ambushed by a pack of wolves, but the Beast rescues her, and is injured in the process. As Belle nurses his wounds, a friendship develops between them. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses the book to visit her childhood home in Paris, where she discovers a plague doctor mask and realizes that she and her father were forced to leave when her mother succumbed to the plague.

text: In Villeneuve, Gaston sees rescuing Belle as an opportunity to win her hand in marriage, and agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to be eaten by the wolves. Maurice is rescued by the hermit Agathe, but when he tells the townsfolk of Gaston's crime but is unable to provide solid evidence, Gaston convinces them to send Maurice to an insane asylum.

text: After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle reveals the Beast in the mirror to the townsfolk, proving her father's sanity. Realizing that Belle loves the Beast, a jealous Gaston claims she has been charmed by dark magic, and has her thrown into the asylum carriage with her father. He rallies the villagers to follow him to the castle to slay the Beast before he curses the whole village. Maurice and Belle escape, and Belle rushes back to the castle.

text: During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers. Gaston attacks the Beast in his tower, who is too depressed to fight back, but regains his spirit upon seeing Belle return. He defeats Gaston, but spares his life before reuniting with Belle. Ungrateful and unrepentant, Gaston fatally shoots the Beast from a bridge, but it collapses when the castle crumbles, and he falls to his death. The Beast dies as the last petal falls, and the servants become inanimate. As Belle tearfully professes her love to the Beast, Agathe reveals herself as the enchantress and undoes the curse, repairing the crumbling castle, and restoring the Beast's and servants' human forms and the villagers' memories. The Prince and Belle host a ball for the kingdom, where they dance happily.

text: Cast[edit]

text:
Emma Watson as Belle, a young benevolent bibliophile woman who develops feelings for the Beast and begins to see the humanity within him.

Daisy Duczmal portrays an infant Belle.

Dan Stevens as Beast, a cold-hearted, selfish, unkind prince who is transformed into a beast and forced to earn back his humanity by learning to truly love and be loved in return, as well as to give rather than take. Stevens portrays the character through motion-capture.[12][13]

Adam Mitchell[1] portrays the younger version of the prince.

Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
Kevin Kline as Maurice, Belle's protective widowed father who works as a music box maker and an artist.[14]

Jolyon Coy portrays the young Maurice.

Josh Gad as LeFou, Gaston's flamboyant and long-suffering sidekick who bolsters his friend's ego but gets very little in return.[15]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[16]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[17]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[18]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[19]
Ian McKellen as Cogsworth, the Beast's gruff but loyal majordomo and the head of the household staff who has been transformed into a mantel clock.[20]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[14]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the enchantress responsible for cursing the Prince.[21] Morahan also narrates the prologue.

Rita Davies portrays the enchantress in her beggar woman form. The film was released posthumously after Davies' death.

Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[22]
Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[21]
Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts' husband and Chip's father.
Haydn Gwynne as Clothilde, a fishmonger and resident of Villeneuve who is later revealed to be Cogsworth's wife.
Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve's local tavern where Gaston and the village residents drink.
Ray Fearon as Père Robert, Villeneuve's local chaplain who encourages Belle to borrow the books in the chapel's meager library.
Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston's henchmen.
Zoe Rainey as Belle's mother, Maurice's late wife who contracted the plague and died when Belle was an infant.
Clive Rowe as Cuisinier, the castle's head chef who has been transformed into a stove.
Gizmo as Frou-Frou, Maestro Cadenza's and Madame de Garderobe's pet Yorkshire Terrier who has been transformed into a footstool.
Thomas Padden as Chapeau, the prince's valet who has been transformed into a coat rack.
Tom Turner[2] as The King, the prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.
Harriet Jones as The Queen, the prince's mother who died of an illness when he was a child.
Dale Branston as Villeneuve's residential baker.
Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
Vivian Parry as the Village Lass' mother, an unnamed seamstress.

text: Cast notes[edit]

text: ^ In the initial theatrical release, Mitchell was miscredited as Rudi Gooman in the cast, but listed under his real name in the soundtrack credits

text: ^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[23]

text: Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes.[24]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[25][26] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[27]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[28] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[29] Later in September of that same year, Stephen Chbosky (who had previously directed Watson in The Perks of Being a Wallflower) was hired to re-write the script.[30]

text: Before Condon was hired to direct the film, Disney approached him with a proposal to remake the film in a more radical way as Universal Studios had remade Snow White and the Huntsman (2012). Condon later explained that "after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, 'We're interested in a musical to a degree, but only half full of songs.' My interest was taking that film and doing it in this new medium—live-action—as a full-on musical movie. So I backed out for a minute, and they came back and said, 'No, no, no, we get it, let's pursue it that way.'"[31] Walt Disney Pictures president of production Sean Bailey credited Walt Disney Studios chairman Alan F. Horn with the decision to make the film as a musical: "We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn't a musical at that time. But we just couldn't get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again?"[32]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[33] She was the first choice of Walt Disney Studios chairman Alan F. Horn, as he had previously overseen Warner Bros. which released the eight Harry Potter films that co-starred Watson as Hermione Granger.[32] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[34][35] and Watson confirmed their casting the following day through tweets.[12][36] The rest of the principal cast, including Josh Gad, Emma Thompson, Kevin Kline, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw, Ewan McGregor and Stanley Tucci were announced between March and April to play LeFou, Mrs. Potts, Maurice, Madame de Garderobe, Cogsworth, Plumette, Lumière and Cadenza, respectively.[15][14][18][20][19][16][17][37]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[38] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[39]

text: According to The Hollywood Reporter, Emma Watson was reportedly paid $3 million upfront, together with an agreement that her final take-home pay could rise as high as $15 million if the film generated gross box office income similar to Maleficent's $759 million worldwide gross.[40]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, United Kingdom, on May 18, 2015.[14][41][42] Filming with the principal actors concluded on August 21.[43][44] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[45]

text: The Beast was portrayed with a "more traditional motion capture puppeteering for the body and the physical orientation", where actor Dan Stevens was "in a forty-pound gray suit on stilts for much of the film". The facial capture for the Beast was done separately in order to "communicate the subtleties of the human face" and "[capture the] thought that occurs to him" which gets "through [to] the eyes, which are the last human element in the Beast." The castle servants who are transformed into household objects were created with CGI animation.[7]

text: Before the release of the film, Bill Condon refilmed one certain sequence in the "Days of the Sun" number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones's character, the Prince's mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince (now played by Adam Mitchell). The King was also recast to Tom Turner, although Harriet Jones was still the Queen, albeit with dark hair. Both Goodman and Garrett's names were mistakenly featured in the original theatrical release's credits, but was later corrected in home releases.[23]

text: Music[edit]

text: When released in 1991, Beauty and the Beast, marked a turning point for Walt Disney Pictures by appealing to millions of fans with its Oscar-winning musical score by lyricist Howard Ashman and composer Alan Menken. In Bill Condon's opinion, that original score was the key reason he agreed to direct a live-action version of the movie. "That score had more to reveal", he says, "You look at the songs and there's not a clunker in the group. In fact, Frank Rich described it as the best Broadway musical of 1991. The animated version was already darker and more modern than the previous Disney fairytales. Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it's not just being literal, now other elements come into play. It's not just having real actors do it".[46]

text: Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Alan Menken, Howard Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a "straight-forward, live-action, large-budget movie musical".[47] Menken returned to score the film's music, which features songs from the original film by him and Howard Ashman, plus new material written by Menken and Tim Rice.[48] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[49] However, an instrumental version of the song "Home", which was written for the musical, is used during the scene where Belle first enters her room in the castle.[50]

text: On January 19, 2017, it was confirmed by both Disney and Céline Dion—singer of the original 1991 "Beauty and the Beast" duet song, with singer Peabo Bryson—that Dion would be performing one of the new original songs "How Does a Moment Last Forever" to play over the end titles.[51] She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: "[The] first Beauty and the Beast decision was made with my husband. Now I'm making decisions on my own. It's a little bit harder. I couldn't say yes right away, because I felt like I was kind of cheating in a way". She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, "I was at the beginning of my career, it put me on the map, it put me where I am today". Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[52][53][54][55]

text: The 2017 film features a remake of the 1991 original song recorded as a duet by Ariana Grande and John Legend.[56][57] Grande and Legend's updated version of the title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney film.[58] Disney debuted the music video for Ariana Grande and John Legend's interpretation of the title song on Freeform television network on March 5, 2017, and it has since been viewed over 100 million views on the Vevo video-hosting service.[59]

text: Emma Thompson also performed a rendition of the title song, which was performed by Angela Lansbury in the original 1991 animated film.[59]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[14] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[60]

text: The world premiere of Beauty and the Beast took place at Spencer House in London, United Kingdom on February 23, 2017;[61] and the film later premiered at the El Capitan Theatre in Hollywood, California, on March 2, 2017. The stream was broadcast onto YouTube.

text: A sing along version of the film released in over 1,200 US theaters nationwide on April 7, 2017.[62] The United Kingdom received the same version on April 21, 2017.[63]

text: The film was re-released in New York and Los Angeles for a one-week engagement starting December 1, 2017. The move is an awards push as awards season heats up.[64]

text: Marketing[edit]

text: Disney spent around $140 million to market the film worldwide.[65] Following an announcement on May 22, 2016,[66] Disney premiered the first official teaser trailer on Good Morning America the next day.[67] In its first 24 hours, the teaser trailer reached 91.8 million views, which was the largest number ever seen for a trailer in that amount of time.[68] This record has since been broken by Thor: Ragnarok,[69] It and Avengers: Infinity War.[70][71] The first official teaser poster was released on July 7, 2016.[72] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine, along with nine new photos.[73][74] One week later, Emma Watson and Disney debuted a new poster.[75] On November 14, 2016, the first theatrical trailer was released, again on Good Morning America.[76] This reached 127.6 million views in its first 24 hours, setting a new record for the most views in one day, beating Fifty Shades Darker;[77] this record has since been broken by The Fate of the Furious.[78] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[79] Disney released the final trailer on January 30, 2017.[80]

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[81] The film debuted at No. 1 on the NPD VideoScan overall disc sales chart, with all other titles in the top 20, collectively, selling only 40% as many units as Beauty and the Beast.[82] The movie regained the top spot on the national home video sales charts during its third week of release.[83] The movie became available on Netflix on September 19, 2017.

text: Reception[edit]

text: Box office[edit]

text: Beauty and the Beast grossed $504 million in the United States and Canada and $759.5 million in other countries for a worldwide gross of $1.263 billion.[5] With a production budget of $160 million, it is the most expensive musical ever made, or the second-most expensive musical ever made if accounting for inflation; only Hello, Dolly! (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more.[4] In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It is currently the second-biggest musical ever overall, behind Disney's Frozen (2013).[85] Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second-biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney.[86] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[87] It surpassed the entire lifetime total of the original film in just six days.[88][89]

text: Beauty and the Beast was the 300th digitally remastered release in IMAX company's history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time,[90] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[91][92][93][94] On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One (also a Disney property) in December 2016 to make over a billion dollars, and did so on its 29th day of release.[95][96][97] It is currently the second-highest-grossing film of 2017 (behind Star Wars: The Last Jedi),[98] the highest-grossing March release,[99] the highest-grossing remake of all time,[100] and the sixth-biggest Disney film.[101] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[100] Deadline Hollywood calculated the net profit of the film to be $414.7 million, when factoring together all expenses and revenues, making it the second-most profitable release of 2017.[102]

text: United States and Canada[edit]

text: In the United States and Canada, Beauty and the Beast topped Fandango's pre-sales and became the fastest-selling family film in the company's history, topping the studio's own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.[103][104][105] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[106][107] It earned $16.3 million from Thursday previews night, marking the biggest of 2017 (breaking Logan's record), the biggest ever for a Disney live-action film (breaking Maleficent's record), the second-biggest ever for both a G- or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third-biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).[108] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest—59%—came from regular 2D shows which began at 7 pm.[109] The numbers were considered more impressive given that the film played during a school week.[110]

text: On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and The Hunger Games ($67 million).[111][112] It was also the biggest opening day ever for a film that wasn't PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday's previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and Cinderella ($67.9 million).[113] Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell 2% but, nevertheless, the dip was paltry, and the grosses are so much bigger compared to the other titles.[90] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[114] This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman,[115][116] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[117] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[118] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[118] and the biggest musical debut ever, supplanting Pitch Perfect 2. Furthermore, it is also Watson's highest-opening, beating Harry Potter and the Deathly Hallows – Part 2 same with Emma Thompson, director Bill Condon's biggest debut ever ahead of The Twilight Saga: Breaking Dawn – Part 2 and the biggest outside of summer, save for Star Wars: The Force Awakens, not accounting for inflation.[114]

text: It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second-biggest film of the year, behind Logan ($184 million), and also the second-highest-grossing musical, behind Grease's $188 million cumulative gross in 1978.[119] Seventy percent of the total ticket sales came from 2D showings signifying that people who don't go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend's gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office.[90] Seventy percent of the film's opening day demographic was female, dropping to 60% through the weekend.[118] According polling service PostTrak, about 84 percent of American parents who saw the film on its opening day said they would "definitely" recommend it for families.[120][121] The film's opening was credited to positive word of mouth from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast's star power (especially Emma Watson), lack of competition, being the first family film since The Lego Batman Movie a month earlier, nostalgia, and the success and ubiquity of the first film and Disney's brand.[120][121]

text: On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per ComScore. Nevertheless, it is the second-biggest March Monday, behind Batman v Superman ($15 million).[122] This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a 32% increase from its previous day. The same day, the film passed $200 million in ticket sales.[123] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[124] In its second weekend, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney.[125] In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens).[85] The hold was notable considering how the film was able to fend off three new wide releases: Power Rangers, Life, and CHiPs.[126] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[127] The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer The Boss Baby ($50.2 million).[128] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[129] By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions. It earned $26.3 million (−48%) and retained second place. By comparison, previous Disney films Moana (−8%) and Frozen (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released.[130] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[131] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[132] By May 28, the film had earned over $500 million in ticket sales becoming the first film of 2017 (until it was later surpassed by The Last Jedi),[133][134] the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman and The Last Jedi) and the eighth overall film in cinematic history to pass the mark.[135][136][137][138]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[139] the biggest musical film (both animated and live-action),[140] as well as the biggest film of 2017 (alongside The Last Jedi).[141]

text: Other countries[edit]

text: Outside the US and Canada, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second-biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG-rated title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second-biggest for a PG title behind The Jungle Book.[142] In its second weekend, it fell just by 35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia.[143] It topped the international box office for three consecutive weekends[144] before finally being dethroned by Ghost in the Shell and The Boss Baby in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion thresold internationally for the first time in 2017.[145][97]

text: It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second-biggest in Germany ($1.1 million), Disney's biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third-biggest in South Korea with $1.2 million, behind only Pirates of the Caribbean: At World's End and Pirates of the Caribbean: On Stranger Tides.[146][147] In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million), and Spain ($5.8 million).[142][143]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG-rated film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012's Les Misérables), the number one opening of 2017 to date and the fifth-biggest-ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million).[148] This included the second-biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[149] It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third-biggest ever (behind the two James Bond films Skyfall (2012) and Spectre).[150][143] In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions.[151][152][153] It earned around ₹15 million (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases—Machine, Trapped, and Aa Gaya Hero—combined.[154] Disney reported a total of ₹92.6 million (US$1.4 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[155][156][157] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[158]

text: In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time—around two months—to market the film nationwide. The release date was strategically chosen to coincide with White Day. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book.[159] The original film was, however, never widely popular in the country.[160] Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country.[161] It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace. Disney on the other hand reported a different figure of $44.8 million.[162][163] Either ways, it recorded the second-biggest opening for a Disney live-action film,[160] with $3.4 million coming from 386 IMAX screens.[142] Japan—a huge Disney market—served as the film's final market and opened there on April 21.[143] It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country.[164][165] The two-day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[166] Due to positive reviews, good word-of-mouth and benefitting from the Golden Week, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The total there is now over $98 million after seven weekends[167][168][169] and is the biggest film release of the year and, overall, the eleventh-biggest of all time.[170] It topped the box office there for eight consecutive weekends.[171][172]

text: The only markets where the film did not top the weekend charts were Vietnam (behind Kong: Skull Island), Turkey (with two local movies and Logan ahead) and India (where Badrinath Ki Dulhania retained No. 1).[142] It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews).[145][173] In the Philippines, it emerged as the most successful commercial film of all time—both local and foreign—with over $13.5 million.[174] In just five weeks, the film became one of the top 10 highest-grossing film of all time in the United Kingdom and Ireland, ahead of all but one Harry Potter film (Deathly Hallows – Part 2) and all three The Lord of the Rings movies (which also starred Ian McKellen).[175] It is currently the eighth-biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[164][176] The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million).[171] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past year (behind Rogue One: A Star Wars Story).[164][167][177]

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for its ensemble cast, visuals, production values, musical score, songs, and faithfulness to the original film with a few elements of the Broadway musical version, while the designs of the Beast and the servants' household object forms received mixed reviews.[10][11] On review aggregator Rotten Tomatoes, as of April, 2018, the film had an approval rating of 70% based on 319 reviews, with an average rating of 6.7/10. The site's critical consensus read, "With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material."[178] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[179] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[180][181]

text: Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[182] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Steven's character of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation.[183] A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy."[184]

text: Likewise, The Washington Post's Ann Hornaday complimented Watson's performance, describing it as "alert and solemn" while noting her singing ability as "serviceable enough to get the job done".[185] Richard Roeper of Chicago Sun-Times awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to Paige O'Hara's and Angela Lansbury's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: "Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast".[186] Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: "There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied."[187] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth, remarking: "There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways."[188] James Berardinelli of ReelViews described the 2017 version as "enthralling".[189]

text: Brian Truitt of USA Today commended the performances of Evans, Gad, McGregor and Thompson alongside Condon's affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an Academy Award for Best Original Song.[190] Peter Travers of Rolling Stone rated the film three out of four stars which he deemed it as an "exhilarating gift" while he remarked that "Beauty and the Beast does justice to Disney's animated classic, even if some of the magic is M.I.A (Missing in Action)".[191] Stephanie Zacharek of Time magazine gave a positive review with a description as "Wild, Vivid and Crazy-Beautiful" as she wrote "Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming." and added that "it's loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version."[192] The San Francisco Chronicle's Mick LaSalle struck an affirmative tone, calling it one of the joys of 2017, stating that "Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along" while referring the film as "beautiful" and also praised the film for its emotional and psychological tone as well Steven's motion capture performance.[193]

text: Tim Robey of The Daily Telegraph gave the film four stars out of five and wrote that "It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical" while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad.[194] Mark Hughes of Forbes also similarly praised the film which he wrote that "it could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original" and also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film's effectiveness in resonating to the audiences.[195] Stephen Whitty of the New York Daily News called it "this year's best new old musical" and "the most magical thing of all" while describing Watson's performance of Belle as "breakthrough".[196]

text: Several critics regarded the film as inferior to its 1991 animated predecessor. David Sims of The Atlantic wrote that the 2017 film "feels particularly egregious, in part, because it's so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it's hard not to notice".[197] Michael Phillips of the Chicago Tribune said that the 2017 film "takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly." Phillips wrote that the film featured some "less conspicuously talented" performers who are "stuck doing karaoke, or motion-capture work of middling quality", though he praised Kline's performance as the "best, sweetest thing in the movie; he brings a sense of calm, droll authority".[198] Peter Bradshaw of The Guardian praised Watson's performance and wrote that the film was "lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails—the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version." In the same newspaper, Wendy Ide criticized the film as "ornate to the point of desperation" in its attempt to emulate the animated film.[199][200]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he said the new songs were "not transporting". He felt the film needed more life and depth, but praised Watson's and Steven's performances as the "film's stronger elements".[201] Dana Schwartz of The New York Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to "advance the plot or theme in any meaningful way" while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.[202]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

Academy Awards
March 4, 2018
Best Production Design
Sarah Greenwood and Katie Spencer
Nominated
[203]

Best Costume Design
Jacqueline Durran
Nominated

Art Directors Guild Awards
January 27, 2018
Excellence in Production Design for a Fantasy Film
Sarah Greenwood
Nominated
[204]

British Academy Film Awards
February 18, 2018
Best Production Design
Sarah Greenwood and Katie Spencer
Nominated
[205]

Best Costume Design
Jacqueline Durran
Nominated

Casting Society of America
January 18, 2018
Big Budget – Comedy
Lucy Bevan, Bernard Telsey and Tiffany Little Canfield
Nominated
[206]

Chicago Film Critics Association
December 12, 2017
Best Art Direction
Sarah Greenwood
Nominated
[207]
[208]

Costume Designers Guild Awards
February 20, 2018
Excellence in Fantasy Film
Jacqueline Durran
Nominated
[209]

Critics' Choice Movie Awards
January 11, 2018
Best Art Direction
Sarah Greenwood and Katie Spencer
Nominated
[210]

Best Costume Design
Jacqueline Durran
Nominated

Best Hair & Makeup
Beauty and the Beast
Nominated

Best Song
"Evermore"
Nominated

Empire Awards
March 18, 2018
Best Actress
Emma Watson
Nominated
[211]
[212]

Best Soundtrack
Beauty and the Beast
Nominated

Best Make-up And Hairstyling
Won

Golden Trailer Awards
June 6, 2017
Best Animation/Family
Nominated
[213]

Best Original Score
Nominated

Best Animation/Family TV Spot
Nominated

Best Fantasy Adventure TV Spot
Nominated

Guild of Music Supervisors Awards
February 8, 2018
Best Music Supervision for Film: Budgeted Over 25 Million Dollars
Sullivan, MattMatt Sullivan
Nominated
[214]

Hollywood Film Awards
November 5, 2017
Costume Design Award
Jacqueline Durran[a]
Won
[215]

Make-Up & Hair Styling Award
Jenny Shircore
Won

Hollywood Music in Media Awards
November 16, 2017
Best Original Song – Animated Film
"How Does a Moment Last Forever" – Alan Menken and Tim Rice
Nominated
[216]
[217]

Best Original Song – Sci-Fi, Fantasy, Horror Film
Won

"Evermore" – Alan Menken and Tim Rice
Nominated

Best Soundtrack Album
Beauty and the Beast
Nominated

Hollywood Post Alliance
Outstanding Color Grading – Feature Film
Stefan Sonnenfeld
Nominated
[218]
[219]

Outstanding Visual Effects – Feature Film
Kyle McCulloch, Glen Pratt, Richard Hoover, Dale Newton, Neil Weatherley and Framestore
Nominated

Houston Film Critics Society
January 6, 2018
Best Original Song
"Evermore" – Alan Menken and Tim Rice
Nominated
[220]

Make-Up Artists and Hair Stylists Guild
February 24, 2018
Feature Motion Picture: Best Period and/or Character Hair
Jenny Shircore, Marc Pilcher and Charlotte Hayward
Nominated
[221]

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[222]

Best Actor in a Movie
Emma Watson
Won

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans
Nominated

NAACP Image Awards
January 15, 2018
Outstanding Supporting Actress in a Motion Picture
Audra McDonald
Nominated
[223]

Nickelodeon Kids' Choice Awards
March 24, 2018
Favorite Movie
Beauty and the Beast
Nominated
[224]

Favorite Movie Actress
Emma Watson
Nominated

Publicists Guild Awards
March 2, 2018
Motion Picture
Beauty and the Beast
Nominated
[225]
[226]

San Diego Film Critics Society
December 11, 2017
Best Production Design
Sarah Greenwood and Katie Spencer
Nominated
[227]
[228]

Best Visual Effects
Beauty and the Beast
Runner-up[b]

Best Costume Design
Jacqueline Durran
Won[c]

Best Use of Music
Beauty and the Beast
Nominated

Satellite Awards
February 10, 2018
Best Costume Design
Jacqueline Durran
Nominated
[229]

Saturn Awards
June 2018
Best Fantasy Film
Beauty and the Beast
Pending
[230]

Best Actress
Emma Watson
Pending

Best Production Design
Sarah Greenwood
Pending

Best Costume Design
Jacqueline Durran
Pending

Seattle Film Critics Society
December 18, 2017
Best Costume Design
Jacqueline Durran
Nominated
[231]
[232]

St. Louis Film Critics Association
December 17, 2017
Best Production Design
Sarah Greenwood
Nominated
[233]

Best Visual Effects
Beauty and the Beast
Nominated

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Won
[234]
[235]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans
Won

Choice Movie Ship
Emma Watson and Dan Stevens
Won

Choice Liplock
Won

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans
Nominated

Dan Stevens
Nominated

Visual Effects Society Awards
February 13, 2018
Outstanding Virtual Cinematography in a Photoreal Project
Shannon Justison, Casey Schatz, Neil Weatherley and Claire Michaud for "Be Our Guest"
Nominated
[236]

Washington D.C. Area Film Critics Association
December 8, 2017
Best Motion Capture Performance
Dan Stevens
Nominated
[237]

Best Production Design
Sarah Greenwood and Katie Spencer
Nominated

Women Film Critics Circle
December 17, 2017
Best Family Film
Beauty and the Beast
Nominated
[238]
[239]

text: Controversies[edit]

text: Gay character[edit]

text: Controversy erupted after director Bill Condon said there was a "gay moment" in the film, when LeFou briefly waltzes with Stanley, one of Gaston's friends.[240] Afterwards in an interview with Vulture.com, Condon stated, "Can I just say, I'm sort of sick of this. Because you've seen the movie—it's such a tiny thing, and it's been overblown." Condon also added that Beauty and the Beast features much more diversity than just the highly talked-about LeFou: "That was so important. We have interracial couples—this is a celebration of everybody's individuality, and that's what’s exciting about it.”[241] GLAAD president and CEO Sarah Kate Ellis praised the move stating, "It is a small moment in the film, but it is a huge leap forward for the film industry."[242]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[243] but instead it was given a 16+ rating (children under the age of 16 can only be admitted to see it in theaters with accompanying adults).[244] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[245] In Malaysia, the Film Censorship Board insisted the "gay moment" scene be cut, prompting an indefinite postponement of its release by Disney, followed by their decision to withdraw it completely if it could not be released uncensored.[246][247][248] The studio moved the release date to March 30, to allow more time for Malaysia's censor board to make a decision on whether or not to release the film without changes.[249] The distributors and producers then submitted an appeal to the Film Appeal Committee of Malaysia, which allowed the film to be released without any cuts and a P13 rating on the grounds that the "gay element" was minor and did not affect the positive elements featured in the film.[250][251] In Kuwait, the movie was withdrawn from cinemas by National Cinema Company which owns most of the cinemas in the country. A board member of the company stated that the Ministry of Information's censorship department had requested it to stop its screening and edit it for things deemed offensive by it.[252]

text: The film also received criticism over its portrayal of LeFou, as many felt that it relied on stereotypes[253] and was used as a way of teasing LGBT+ viewers without providing adequate representation.[254] LeFou's status as a sidekick to the main villain brought about criticism over Disney's queercoding of villains in the past, and his infatuation with Gaston was seen as relying on a stereotype of gay men being predatory towards straight men.[255] Furthermore, the only gay interaction LeFou has is a three-second clip of him dancing with another man at the end of the film. Many saw this as Disney cheating its LGBT+ audiences.[256]

text: Belle and the Beast's relationship[edit]

text: Disney has sought to portray Belle as an empowered young woman,[257] but a debate questioning whether it is possible for a captor to fall in love with their prisoner, and whether this is a problematic theme, has resulted.[258] As was the case with the original animated film, one argument is that Belle suffers from Stockholm syndrome (a condition that causes hostages to develop a psychological alliance with their captors as a survival strategy during captivity). Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale.[259][260] Watson described Stockholm Syndrome as "where a prisoner will take on the characteristics of and fall in love with the captor. Belle actively argues and disagrees with [Beast] constantly. She has none of the characteristics of someone with Stockholm Syndrome because she keeps her independence, she keeps that freedom of thought", also adding that Belle defiantly "gives as good as she gets" before forming a friendship and romance with the Beast.[261]

text: Psychiatrist Frank Ochberg, who coined the term "Stockholm syndrome", said he does not think Belle exhibits the trauma symptoms of prisoners suffering from the syndrome because she does not go through a period of feeling that she is going to die.[262] Some therapists, while acknowledging that the pairing's relationship does not meet the clinical definition of Stockholm syndrome, argue that the relationship depicted is dysfunctional and abusive and does not model healthy romantic relationships for young viewers.[263][264] Constance Grady of Vox writes that Jeanne-Marie Leprince de Beaumont's Beauty and the Beast was a fairy tale originally written to prepare young girls in 18th-century France for arranged marriages, and that the power disparity is amplified in the Disney version.[265] Anna Menta of Elite Daily argued that the Beast does not apologize to Belle for imprisoning, hurting, or manipulating her, and his treatment of Belle is not painted as wrong.[266]

text: Notes[edit]

text:
Jump up ^ Also credited for Darkest Hour.
Jump up ^ Tied with Dunkirk.
Jump up ^ Tied with Mark Bridges for Phantom Thread.


document_title: The Faerie Queene

question_text: what does the redcrosse knight represent in the faerie queene

root

text: The Faerie Queene

text: Summary[edit]

text: Book I is centered on the virtue of Holiness as embodied in the Redcross Knight. He and his lady Una travel together as he fights the dragon Errour, then separate as the wizard Archimago tricks the Redcross Knight in a dream to think that Una is unchaste. After he leaves, the Redcross Knight meets Duessa, who feigns distress in order to entrap him. Duessa leads the Redcross Knight to captivity by the giant Orgoglio. Meanwhile, Una overcomes peril, meets Arthur, and finally finds the Redcross Knight and rescues him from his capture, from Duessa, and from Despair. Una and Arthur help the Redcross Knight recover in the House of Holiness, with the House's ruler Caelia and her three daughters joining them; there the Redcross 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.

tag: p

text: 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 Redcross 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.

text: Book III is centred on the virtue of Chastity as embodied in Britomart, a lady knight. Resting after the events of Book II, Guyon and Arthur meet Britomart, who wins a joust with Guyon. They separate as Arthur and Guyon leave to rescue Florimell, while Britomart rescues the Redcross Knight. Britomart reveals to the Redcrosse Knight that she is pursuing Sir Artegal because she is destined to marry him. The Redcross Knight defends Artegal 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 1590 version with Books I-III depicts the lovers' happy reunion, but this was changed in the 1596 version which contained all six books)

text: 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. Wrapping up a different plotline from Book III, the recently recovered Marinel discovers Florimell suffering in Proteus’ dungeon. 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.

text: Book V is centred on the virtue of Justice as embodied in Sir Artegal.

text: Book VI is centred on the virtue of Courtesy as embodied in Sir Calidore.

text: Major characters[edit]

text:
Acrasia, seductress of knights. Guyon destroys her Bower of Bliss at the end of Book 2. Similar characters in other epics: Circe (Homer's Odyssey), Alcina (Ariosto), Armida (Tasso), or the fairy woman from Keats's poem "La Belle Dame sans Merci".
Amoret(ta), the betrothed of Scudamour, kidnapped by Busirane on her wedding night, saved by Britomart. She represents the virtue of married love, and her marriage to Scudamour serves as the example that Britomart and Artegal seek to copy. Amoret and Scudamor are separated for a time by circumstances, but remain loyal to each other until they (presumably) are reunited.
Archimago, an evil sorcerer who is sent to stop the knights in the service of the Faerie Queene. Of the knights, Archimago hates Redcross most of all, hence he is symbolically the nemesis of England.
Artegal (or Arthegall), a knight who is the embodiment and champion of Justice. He meets Britomart after defeating her in a sword fight (she had been dressed as a knight) and removing her helmet, revealing her beauty. Artegal quickly falls in love with Britomart. Artegal has a companion in Talus, a metal man who wields a flail and never sleeps or tires but will mercilessly pursue and kill any number of villains. Talus obeys Artegal's command, and serves to represent justice without mercy (hence, Artegal is the more human face of justice). Later, Talus does not rescue Artegal from enslavement by the wicked slave-mistress Radigund, because Artegal is bound by a legal contract to serve her. Only her death, at Britomart's hands, liberates him. Chrysaor was the golden sword of Sir Artegal. This sword was also the favorite weapon of Demeter, the Greek goddess of the harvest. Because it was "Tempred with Adamant", it could cleave through anything.
Arthur of the Round Table, but playing a different role here. He is madly in love with the Faerie Queene and spends his time in pursuit of her when not helping the other knights out of their sundry predicaments. Prince Arthur is the Knight of Magnificence, the perfection of all virtues.
Ate, a fiend from Hell disguised as a beautiful maiden. Ate opposes Book IV's virtue of friendship through spreading discord. She is aided in her task by Duessa, the female deceiver of Book I, whom Ate summoned from Hell. Ate and Duessa have fooled the false knights Blandamour and Paridell into taking them as lovers. Her name is possibly inspired by the Greek goddess of misfortune Atë, said to have been thrown from Heaven by Zeus, similar to the fallen angels.
Belphoebe, the beautiful sister of Amoret who spends her time in the woods hunting and avoiding the numerous amorous men who chase her. Timias, the squire of Arthur, eventually wins her love after she tends to the injuries he sustained in battle; however, Timias must endure much suffering to prove his love when Belphoebe sees him tending to a wounded woman and, misinterpreting his actions, flies off hastily. She is only drawn back to him after seeing how he has wasted away without her.

tag: ul

text:
Britomart, a female knight, the embodiment and champion of Chastity. She is young and beautiful, and falls in love with Artegal upon first seeing his face in her father's magic mirror. Though there is no interaction between them, she travels to find him again, dressed as a knight and accompanied by her nurse, Glauce. Britomart carries an enchanted spear that allows her to defeat every knight she encounters, until she loses to a knight who turns out to be her beloved Artegal. (Parallel figure in Ariosto: Bradamante.) Britomart is one of the most important knights in the story. She searches the world, including a pilgrimage to the shrine of Isis, and a visit with Merlin the magician. She rescues Artegal and several other knights, from the evil slave-mistress Radigund. Furthermore, Britomart accepts Amoret at a tournament, refusing the false Florimell.
Busirane, the evil sorcerer who captures Amoret on her wedding night. When Britomart enters his castle to defeat him, she finds him holding Amoret captive. She is bound to a pillar and Busirane is torturing her. The clever Britomart handily defeats him and returns Amoret to her husband.
Caelia, the ruler of the House of Holiness.
Calidore, the Knight of Courtesy, hero of Book VI. He is on a quest from the Faerie Queene to slay the Blatant Beast.
Cambell, one of the Knights of Friendship, hero of Book IV. Brother of Canacee and friend of Triamond.
Cambina, daughter of Agape and sister to Priamond, Diamond, and Triamond. Cambina is depicted holding a caduceus and a cup of nepenthe, signifying her role as a figure of concord. She marries Cambell after bringing an end to his fight with Triamond.
Colin Clout, a shepherd noted for his songs and bagpipe playing, briefly appearing in Book VI. He is the same Colin Clout as in Spenser's pastoral poetry, which is fitting because Calidore is taking a sojourn into a world of pastoral delight, ignoring his duty to hunt the Blatant Beast, which is why he set out to Ireland to begin with. Colin Clout may also be said to be Spenser himself.
Cymochles, a knight in Book II who is defined by indecision and fluctuations of the will. He and his fiery brother Pyrochles represent emotional maladies that threaten temperance. The two brothers are both slain by Prince Arthur in Canto VIII.
Chrysogonee, mother of Belphoebe and her twin Amoretta. She hides in the forest and, becoming tired, falls asleep on a bank, where she is impregnated by sunbeams and gives birth to twins. The goddesses Venus and Diana find the newborn twins and take them: Venus takes Amoretta and raises her in the Garden of Adonis, and Diana takes Belphoebe.
Despair, a distraught man in a cave, his name coming from his mood. He persuades Redcross Knight to nearly commit suicide through rhetoric alone, before Una steps in.
Duessa, a lady who personifies Falsehood in Book I, known to Redcross as "Fidessa". As the opposite of Una, she represents the "false" religion of the Roman Catholic Church. She is also initially an assistant, or at least a servant, to Archimago.

text:
Florimell, a lady in love with the knight Marinell, who initially rejects her. Hearing that he has been wounded, she sets out to find him and faces various perils, culminating in her capture by the sea god Proteus. She is reunited with Marinell at the end of Book IV, and is married to him in Book V.
Guyon, the Knight of Temperance, the hero of Book II. He is the leader of the Knights of Maidenhead and carries the image of Gloriana on his shield. According to the Golden Legend, St. George's name shares etymology with Guyon, which specifically means "the holy wrestler".

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Marinell, "the knight of the sea"; son of a water nymph, he avoided all love because his mother had learnt that a maiden was destined to do him harm; this prophecy was fulfilled when he was stricken down in battle by Britomart, though he was not mortally wounded.
Orgoglio, an evil giant. His name means "pride" in Italian.
The Redcross Knight, hero of Book I. Introduced in the first canto of the poem, he bears the emblem of Saint George, patron saint of England; a red cross on a white background is still the flag of England. The Redcross Knight is declared the real Saint George in Canto X. He also learns that he is of English ancestry, having been stolen by a Fay and raised in Faerieland. In the climactic battle of Book I, Redcross slays the dragon that has laid waste to Eden. He marries Una at the end of Book I, but brief appearances in Books II and III show him still questing through the world.
Satyrane, a wild half-satyr man raised in the wild and the epitome of natural human potential. Tamed by Una, he protects her, but ends up locked in a battle against the chaotic Sansloy, which remains unconcluded. Satyrane finds Florimell's girdle, which she drops while flying from a beast. He holds a three-day tournament for the right to possess the girdle. His Knights of Maidenhead win the day with Britomart's help.
Scudamour, the lover of Amoret. His name means "shield of love". This character is based on Sir James Scudamore, a jousting champion and courtier to Queen Elizabeth I. Scudamour loses his love Amoret to the sorcerer Busirane. Though the 1590 edition of The Faerie Queene has Scudamour united with Amoret through Britomart's assistance, the continuation in Book IV has them separated, never to be reunited.
Talus, an "iron man" who helps Arthegall to dispense justice in Book V. The name is likely from Latin "talus" (ankle) with reference to that which justice "stands on," and perhaps also to the ankle of Achilles, who was otherwise invincible, or the mythological bronze man Talos.
Triamond, one of the Knights of Friendship, a hero of Book IV. Friend of Cambell. One of three brothers; when Priamond and Diamond died, their souls joined with his body. After battling Cambell, Triamond marries Cambell's sister, Canacee.
Una, the personification of the "True Church". She travels with the Redcross Knight (who represents England), whom she has recruited to save her parents' castle from a dragon. She also defeats Duessa, who represents the "false" (Catholic) church and the person of Mary, Queen of Scots, in a trial reminiscent of that which ended in Mary's beheading. Una is also representative of Truth.

text: Themes[edit]

text: Allegory of virtue[edit]

text: A letter written by Spenser to Sir Walter Raleigh in 1590[4] 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.[5] It is impossible to predict how the work would have looked had Spenser lived to complete it, since the reliability of the predictions made in his letter to Raleigh is not absolute, as numerous divergences from that scheme emerged as early as 1590 in the first Faerie Queene publication.

text: 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."

text: Religion[edit]

text: 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.[6] The plot of book one is similar to Foxe's Book of Martyrs, which was about the persecution of the Protestants and how Catholic rule was unjust.[7] Spenser includes the controversy of Elizabethan church reform within the epic. Gloriana has godly English knights destroy Catholic continental power in Books I and V.[8] Spenser also endows many of his villains with "the worst of what Protestants considered a superstitious Catholic reliance on deceptive images".[9]

text: Politics[edit]

text: 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 Aeneid states that Augustus descended from the noble sons of Troy; similarly, The Faerie Queene suggests that the Tudor lineage can be connected to King Arthur. 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. She appears in the guise of Gloriana, the Faerie Queen, but also in Books III and IV as the virgin Belphoebe, daughter of Chrysogonee and twin to Amoret, the embodiment of womanly married love. 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.[citation needed]

text: The poem also displays Spenser's thorough familiarity with literary history. The world of The Faerie Queene is based on English Arthurian legend, but much of the language, spirit, and style of the piece draw more on Italian epic, particularly Ludovico Ariosto's Orlando Furioso and Torquato Tasso's Jerusalem Delivered.[10] Book V of The Faerie Queene, the Book of Justice, is Spenser's most direct discussion of political theory. In it, Spenser attempts to tackle the problem of policy toward Ireland and recreates the trial of Mary, Queen of Scots.[citation needed]

text: Archetypes[edit]

text: 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.[11] Throughout The Faerie Queene, Spenser does not concentrate on a pattern "which transcends time" but "uses such a pattern to focus the meaning of the past on the present".[11] By reflecting on the past, Spenser achieves ways of stressing the importance of Elizabeth's reign. In turn, he does not "convert event into myth" but "myth into event".[11] Within The Faerie Queene, Spenser blurs the distinction between archetypal and historical elements deliberately. For example, Spenser probably does not believe in the complete truth of the British Chronicle, which Arthur reads in the House of Alma.[11] In this instance, the Chronicle serves as a poetical equivalent for factual history. Even so, poetical history of this kind is not myth; rather, it "consists of unique, if partially imaginary, events recorded in chronological order".[11] The same distinction resurfaces in the political allegory of Books I and V. However, the reality to interpreted events becomes more apparent when the events occurred nearer to the time when the poem was written.[11]

text: Symbolism and allusion[edit]

text: Throughout The Faerie Queene, Spenser creates "a network of allusions to events, issues, and particular persons in England and Ireland" including Mary, Queen of Scots, the Spanish Armada, the English Reformation, and even the Queen herself.[12] It is also known that James VI of Scotland read the poem, and was very insulted by Duessa – a very negative depiction of his mother, Mary, Queen of Scots.[13] The Faerie Queene was then banned in Scotland. This led to a significant decrease in Elizabeth's support for the poem.[13] Within the text, both the Faerie Queene and Belphoebe serve as two of the many personifications of Queen Elizabeth, some of which are "far from complimentary".[12]

text: 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.[14] There is a character named Britomart who represents married chastity. This character is told that her destiny is to be an "immortal womb" – to have children.[14] Here, Spenser is referring to Elizabeth's unmarried state and is touching on anxieties of the 1590s about what would happen after her death since the kingdom had no heir.[14]

text: 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".[12] However, marginal notes jotted in early copies of The Faerie Queene suggest that Spenser's contemporaries were unable to come to a consensus about the precise historical referents of the poem's "myriad figures".[12] In fact, Sir Walter Raleigh's wife identified many of the poem's female characters as "allegorical representations of herself".[12] Other symbols prevalent in The Faerie Queene are the numerous animal characters present in the novel. They take the role of "visual figures in the allegory and in illustrative similes and metaphors".[15] Specific examples include the swine present in Lucifera's castle who embodied gluttony, and Duessa, the deceitful crocodile who may represent Mary, Queen of Scots, in a negative light.[citation needed]

text: The House of Busirane episode in Book III in The Faerie Queene is partially based on an early modern English folktale called "Mr. 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." [16]

text: Composition[edit]

text: Spenser's intentions[edit]

text: 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.[17] Spencer stated in his letter to Raleigh, published with the first three books,[14] that "the general end of the book is to fashion a gentleman or noble person in virtuous and gentle discipline".[17] Spenser considered his work "a historical fiction" which men should read for "delight" rather than "the profit of the ensample".[17] The Faerie Queene was written for Elizabeth to read and was dedicated to her. However, there are dedicatory sonnets in the first edition to many powerful Elizabethan figures.[18]

text: 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".[19]

text: Dedication[edit]

text: The poem is dedicated to Elizabeth I who is represented in the poem as the Faerie Queene Gloriana, as well as the character Belphoebe.[20] Spenser prefaces the poem with sonnets additionally dedicated to Sir Christopher Hatton, Lord Burleigh, the Earl of Oxford, the Earl of Northumberland, the Earl of Cumberland, the Earl of Essex, the Earl of Ormond and Ossory, High Admiral Charles Howard, Lord Hunsdon, Lord Grey of Wilton, Lord Buckhurst, Sir Francis Walsingham, Sir John Norris, Sir Walter Raleigh, the Countess of Pembroke (on the subject of her brother Sir Philip Sidney), and Lady Carew.

text: Social commentary[edit]

text: In October 1589, Spenser voyaged to England and saw the Queen. It is possible that he read to her from his manuscript at this time. On 25 February 1591, the Queen gave him a pension of fifty pounds per year.[21] He was paid in four instalments on 25 March, 24 June, 29 September, and 25 December.[22] After the first three books of The Faerie Queene were published in 1590, Spenser found himself disappointed in the monarchy; among other things, "his annual pension from the Queen was smaller than he would have liked" and his humanist perception of Elizabeth's court "was shattered by what he saw there".[23] Despite these frustrations, however, Spenser "kept his aristocratic prejudices and predispositions".[23] Book VI stresses that there is "almost no correlation between noble deeds and low birth" and reveals that to be a "noble person," one must be a "gentleman of choice stock".[23]

text: Throughout The Faerie Queene, virtue is seen as "a feature for the nobly born" and within Book VI, readers encounter worthy deeds that indicate aristocratic lineage.[23] An example of this is the hermit to whom Arthur brings Timias and Serena. Initially, the man is considered a "goodly knight of a gentle race" who "withdrew from public service to religious life when he grew too old to fight".[23] Here, we note the hermit's noble blood seems to have influenced his gentle, selfless behaviour. Likewise, audiences acknowledge that young Tristram "speaks so well and acts so heroically" that Calidore "frequently contributes him with noble birth" even before learning his background; in fact, it is no surprise that Tristram turns out to be the son of a king, explaining his profound intellect.[24] However, Spenser's most peculiar example of noble birth is demonstrated through the characterization of the Salvage Man. Using the Salvage Man as an example, Spenser demonstrated that "ungainly appearances do not disqualify one from noble birth".[24] By giving the Salvage Man a "frightening exterior," Spenser stresses that "virtuous deeds are a more accurate indication of gentle blood than physical appearance.[24]

text: On the opposite side of the spectrum, The Faerie Queene indicates qualities such as cowardice and discourtesy that signify low birth. During his initial encounter with Arthur, Turpine "hides behind his retainers, chooses ambush from behind instead of direct combat, and cowers to his wife, who covers him with her voluminous skirt".[25] These actions demonstrate that Turpine is "morally emasculated by fear" and furthermore, "the usual social roles are reversed as the lady protects the knight from danger.[25] Scholars believe that this characterization serves as "a negative example of knighthood" and strives to teach Elizabethan aristocrats how to "identify a commoner with political ambitions inappropriate to his rank".[25]

text: Poetic structure[edit]

text: The Faerie Queene was written in Spenserian stanza, which was created specifically for The Faerie Queene. In this style, there are nine iambic lines – the first eight of them five footed and the ninth a hexameter – which form "interlocking quatrains and a final couplet".[26] The rhyme pattern is ABABBCBCC. Over two thousand stanzas were written for the 1590 Faerie Queene.[26] Many see Spenser's purposeful use of archaic language as an intentional means of aligning himself with Chaucer and placing himself within a trajectory of building English national literary history.

text: Theological structure[edit]

text: In Elizabethan England, no subject was more familiar to writers than theology. Elizabethans learned to embrace religious studies in petty school, where they "read from selections from the Book of Common Prayer and memorized Catechisms from the Scriptures".[27] This influence is evident in Spenser's text, as demonstrated in the moral allegory of Book I. Here, allegory is organized in the traditional arrangement of Renaissance theological treatises and confessionals. While reading Book I, audiences first encounter original sin, justification and the nature of sin before analysing the church and the sacraments.[28] Despite this pattern, Book I is not a theological treatise; within the text, "moral and historical allegories intermingle" and the reader encounters elements of romance.[29] However, Spenser's method is not "a rigorous and unyielding allegory," but "a compromise among conflicting elements".[29] In Book I of The Faerie Queene the discussion of the path to salvation begins with original sin and justification, skipping past initial matters of God, the Creeds, and Adam's fall from grace.[29] This literary decision is pivotal because these doctrines "center the fundamental theological controversies of the Reformation".[29]

text: Sources[edit]

text: Myth and history[edit]

text: During The Faerie Queene's inception, Spenser worked as a civil servant, in "relative seclusion from the political and literary events of his day".[30] As Spenser laboured in solitude, The Faerie Queene manifested within his mind, blending his experiences into the content of his craft. Within his poem, Spenser explores human consciousness and conflict, relating to a variety of genres including sixteenth century Arthurian literature.[31] The Faerie Queene was influenced strongly by Italian works, as were many other works in England at that time. The Faerie Queene draws heavily on Ariosto and Tasso.[32]

text: The first three books of The Faerie Queene operate as a unit, representing the entire cycle from the fall of Troy to the reign of Elizabeth.[31] Using in medias res, Spenser introduces his historical narrative at three different intervals, using chronicle, civil conversation, and prophecy as its occasions.[31]

text: Despite the historical elements of his text, Spenser is careful to label himself a historical poet as opposed to a historiographer. Spenser notes this differentiation in his letter to Raleigh, noting "a Historiographer discourseth of affairs orderly as they were done…but a Poet thrusteth into the midst…and maketh a pleasing Analysis of all".[33]

text: Spenser's characters embody Elizabethan values, highlighting political and aesthetic associations of Tudor Arthurian tradition in order to bring his work to life. While Spenser respected British history and "contemporary culture confirmed his attitude",[33] his literary freedom demonstrates that he was "working in the realm of mythopoeic imagination rather than that of historical fact".[33] In fact, Spenser's Arthurian material serves as a subject of debate, intermediate between "legendary history and historical myth" offering him a range of "evocative tradition and freedom that historian's responsibilities preclude".[34] Concurrently, Spenser adopts the role of a sceptic, reflected in the way in which he handles the British history, which "extends to the verge of self-satire".[35]

text: Medieval subject matter[edit]

text: The Faerie Queene owes, in part, its central figure, Arthur, to a medieval writer, Geoffrey of Monmouth. In his Prophetiae Merlini ("Prophecies of Merlin"), Geoffrey's Merlin proclaims that the Saxons will rule over the Britons until the "Boar of Cornwall" (Arthur) again restores them to their rightful place as rulers.[36] The prophecy was adopted by the Welsh and eventually used by the Tudors. Through their ancestor, Owen Tudor, the Tudors had Welsh blood, through which they claimed to be descendants of Arthur and rightful rulers of Britain.[37] The tradition begun by Geoffrey of Monmouth set the perfect atmosphere for Spenser's choice of Arthur as the central figure and natural bridegroom of Gloriana.

text: Reception[edit]

text: Diction[edit]

text: Since its inception four centuries ago, Spenser's diction has been scrutinized by scholars. Despite the enthusiasm the poet and his work received, Spenser's experimental diction was "largely condemned" before it received the acclaim it has today.[38] Seventeenth century philologists such as Davenant considered Spenser's use of "obsolete language" "the most vulgar accusation that is laid to his charge".[39] Scholars have recently observed that the classical tradition tucked within The Faerie Queene is related to the problem of his diction because it "involves the principles of imitation and decorum".[40] Despite these initial criticisms, Spenser is "now recognized as a conscious literary artist" and his language is deemed "the only fitting vehicle for his tone of thought and feelings".[40] Spenser's use of language was widely contrasted to that of "free and unregulated" sixteenth century Shakespearian grammar.[41] Spenser's style is standardized, lyrically sophisticated, and full of archaisms that give the poem an original taste. Sugden argues in The grammar of Spenser's Faerie Queene that the archaisms reside "chiefly in vocabulary, to a high degree in spelling, to some extent in the inflexions, and only slightly in the syntax".[41]

text: Samuel Johnson also commented critically on Spenser's diction, with which he became intimately acquainted during his work on A Dictionary of the English Language, and "found it a useful source for obsolete and archaic words"; Johnson, however, mainly considered Spenser's (early) pastoral poems, a genre of which he was not particularly fond.[42]

text: The diction and atmosphere of The Faerie Queene relied on much more than just Middle English; for instance, classical allusions and classical proper names abound—especially in the later books—and he coined some names based on Greek, such as "Poris" and "Phao lilly white."[43] Classical material is also alluded to or reworked by Spenser, such as the rape of Lucretia, which was reworked into the story of the character Amavia in Book Two.[44]

text: Language[edit]

text: Spenser's language in The Faerie Queene, as in The Shepheardes Calender, is deliberately archaic, though the extent of this has been exaggerated by critics who follow Ben Jonson's dictum, that "in affecting the ancients Spenser writ no language."[45] Allowing that Jonson's remark may only apply to the Calendar, Bruce Robert McElderry, Jr., states, after a detailed investigation of the FQ's diction, that Jonson's statement "is a skillful epigram; but it seriously misrepresents the truth if taken at anything like its face value."[46] The number of archaisms used in the poem is not overwhelming—one source reports thirty-four in Canto I of Book I, that is, thirty-four words out of a total forty-two hundred words, less than one percent.[47] According to McElderry, language does not account for the poem's archaic tone: "The subject-matter of The Faerie Queene is itself the most powerful factor in creating the impression of archaism."[48]

text: Examples of medieval archaisms (in morphology and diction) include:

text:
Infinitive in –en: "Vewen," 1. 201, 'to view.'
Prefix y- retained in participle: "Yclad", 1. 58, 254, "clad", "clothed".
Adjective: "Combrous", 1. 203, "harassing", "troublesome".
Verb: "Keepe", 1. 360, "heed", "give attention to".[47]