Love And Self-Referentiality In Spenser's Amoretti

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Self-referentiality in Amoretti
Spenser’s Amoretti (1595) is one of the best records of Elizabethan Petrarchan love sonnet tradition. The sonnets serve the purpose of personal revelation about his courtship with Elizabeth Boyle. Along with the expression of love, Spenser’s sonnets highlight the centrality of art (Brown). The paper attempts to study instances of self-referentiality in Amoretti that emphasize the element of ‘metapoetry’, wherein the poems explore the craft of its own creation and are conscious of being written. The speaker of the Amoretti is a fictionalized “poet-lover-worshipper” (Kellogg). The emphases on the power of poetry combined with the conventional theme of love show the role of art as a means of articulating the abstract.
Spenser’s sonnets highlight the Status of Art. Unlike the deliberate deconstructive attempt of postmodern writers, who use self-referentiality to draw attention to the artificiality of art and fictionality of fiction, Spenser privileges the position of art and poet. In Sonnet 75, he affirms that a poet’s creation has the ability to immortalize mortal human beings. The privilege endowed upon art is a means of asserting the conventional role of the poet as the creator. Robert Kellogg suggests the speaker-figure in the sequence as a conscious allegory of a poet is another poetic technique used skillfully by Spenser. The speaker’s stress on him being a poet gives him a special status of power, within the context of his

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