from The American Heritage® Dictionary of the English Language, 4th Edition
- Spenser, Edmund 1552?-1599. English poet known chiefly for his allegorical epic romance The Faerie Queene (1590-1596). His other works include the pastoral Shepeardes Calendar (1579) and the lyrical marriage poem Epithalamion (1595).
from Wiktionary, Creative Commons Attribution/Share-Alike License
- proper n. A surname, a rare spelling variant of Spencer.
- proper n. Edmund Spenser, English poet.
from The Century Dictionary and Cyclopedia
- n. A steward or butler; a dispenser.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. English poet who wrote an allegorical romance celebrating Elizabeth I in the Spenserian stanza (1552-1599)
Sorry, no etymologies found.
Rudyard Kipling, in his 1891 Tomlinson, had the Devil taunt his hero, “Now ye wait at Hell-Mouth Gate,” taking the word Spenser used three centuries earlier in his Faerie Queene.
Spenser is basically pleased with his life, he recognizes that life isn't perfect and that he will not always succeed.
Spenser is beset by the same problems we all are, yet, being a bit larger than life, he triumphs over them in ways that we don't always.
He created one of the most enduring and unique PIs in Spenser, the Boston gumshoe.
And the cutsie banter between Susan Silverman and Spenser is growing a bit tiresome.
Spenser is an interesting example of an unchanging character.
I always read Robert B. Parker's series to see whether Spenser is going to reveal more about himself, whether his core principles will be tested, and whether Susan Silverman is going to be less annoying than usual.
My pal hugh Spenser is a hell of a science fiction writer, and he's got a passion for the golden age of science fiction radio dramas.
When Spenser is approached by Walter Clive, president of Three Fillies Stables, to find out who is threatening his horse Hugger Mugger, he can hardly say no: He's been doing pro bono work for so long his cupboards are just about bare.
If Wordsworth is explicitly disgusted by what he views as a misapplication of sensibility to poetics and history, he is compelled by the relation of virtue to poetry that metrical romance and uses of the medieval, particularly in Spenser, hold forth.