Four centuries later, Spenser was using both ortho- dox and unorthodox materials to create a new mythol- ogy and a Renaissance in English poetry (Feinstein, 1968). The Faerie Queene (the first three books ap- peared in 1590) is filled with Egyptian imagery; the hideous storm, stench of smoke and sulphur, and fearful noise are examples in Book III. Sexual analogies for creation and images of an eternal chaos that guarantees renewal appear in the “Garden of Adonis” passages: ... in the wide wombe of the world there lyes, In hatefull darknes and in deepe horrore, An huge eternal chaos, which supplyes The substaunces of Natures fruitfull progenyes. (III, vi, 36). Substance is eternal so that when life decays, form does not fade or return to nothing, “But chaunged is, and often altred to and froe” (III, vi, 37). Hermetic ideas spurred Giordano Bruno to move still further from medieval restriction. Like Spenser's Faerie Queene, Bruno's Expulsion of the Triumphant Beast (1584) repudiates the idea of Creation from Nothing and exalts Nature and the eternally renewing capacity that enjoys mutability and discordance as well as the opposites: