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The Problem of Feminine Authority in Spenser's "Faerie Queene"

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The Problem of Feminine Authority in Spenser's Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 "Her Excellence to Marre": The rP oblem of Feminine Authority in Spenser's "Faerie Queene". Mary Antonia Villeponteaux Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Villeponteaux, Mary Antonia, ""Her Excellence to Marre": The rP oblem of Feminine Authority in Spenser's "Faerie Queene"." (1990). LSU Historical Dissertations and Theses. 4957. https://digitalcommons.lsu.edu/gradschool_disstheses/4957 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon qualitythe of the copysubmitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. 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University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9104176 “Her excellence to Marre”: The problem of feminine authority in Spenser’s “Faerie Queene” Villeponteaux, Mary Antonia, Ph.D. The Louisiana State University and Agricultural and Mechanical Col., 1990 Copyright ©1991 by Villeponteaux, Mary Antonia. All rights reserved. UMI 300 N. ZeebRd. Ann Arbor, MI 48106 "Her Excellence to Marre": The Problem of Feminine Authority in Spenser's Faerie Oueene A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Mary Villeponteaux B.A., The College of Charleston, 1979 M.A., The University of Sussex, 1981 May 1990 TABLE OF CONTENTS ABSTRACT ................................................. iii CHAPTER 1. Queen of Love and Beauty: Elizabeth .... 1 2. Authority and Gender: Britomart ........... 28 3. Identity and Absence: Amoret ............. 124 4. Semper Eadem: Belphoebe ................... 165 CONCLUSION..............................................191 WORKS CITED .............................................195 VITA .................................................... 202 ii Abstract Spenser has difficulty expressing an acceptable version of his queen's authority in The Faerie Oueene. He must valorize her monarchy and its power; but his uneasiness about female political authority emerges throughout the text. Like the Petrarchan poet who fictionalizes his abject devotion to his lady while he also creates and so controls her through the same fiction, Spenser praises the queen's authority while at the same time he attempts to control it and contain it in the poem. This uneasy process is exemplified in the figure of Britomart: Spenser initially presents her as the near-perfect champion of Elizabeth's signature virtue; yet he eventually criticizes her assumption of the very authority which exemplifies her virtue and makes her a potent compliment to Elizabeth. Spenser moves beyond the Petrarchan dynamic of fictionalized subjection and aggression to explore its implications. In the story of Amoret and Scudamour, he examines the nature of courtly love and, in Amoret, the results of the total lack of feminine authority, a lack iii which patriarchy demands. The Petrarchan exchange which characterized Queen Elizabeth as the "cruel fair," the beloved lady whose favors the court pursues, is then undercut by Spenser's portrait of the obdurate Belphoebe. She enters into a Petrarchan relationship with Timias— she is the unobtainable object of desire, he her adoring slave who "calls it praise to suffer tyranny" (Astroohil and Stella. 2)— but neither noble deeds nor ennobling spiritual love appears to be forthcoming for Timias, and Spenser's final word on the squire emphasizes his abandonment of his lord, Arthur. Britomart is the most fully-drawn figure in The Faerie Queen. but her complexity still fails to bridge the gap between the forceful Belphoebe and the formless Amoret. When the virgin knight must prepare to cast off the armor which has signaled her authority and take up her womb's burden, the transition seems untenable: the ideal, the "excellence" of femininity within the patriarchal system, is marred by the monstrosity of feminine authority and becomes inexpressible for the poet who desires to praise his queen and yet explore the implications of her power. Chapter One Queen of Love and Beauty: Elizabeth In July of 1596, Queen Elizabeth's Privy Council ordered all public officers to assist the Serjeant Painter in seeking out and destroying those portraits of the queen which were "to her great offense."1 The "vile copies" of one "ill Painting" were chopped into kindling, providing the cooks at Essex "with Peels for the use of their Ovens" for several years. 2 This• act was the culmination• • of more than thirty years of sporadic attempts on the part of the crown to control the production of images of the queen, attempts whose urgency increased as the great queen aged. Roy Strong claims that Elizabeth never sat again for a painter after the early 1590s, perhaps in part because of her displeasure with the realistic paintings which Marcus Gheeraerts and Isaac Oliver produced during that time. Strong suggests that their "searching realism ... provoked the decision to suppress all likenesses of the Queen which depicted her as Roy Strong, Gloriana: The Portraits of Queen Elizabeth (London: Thames and Hudson, 1987), 14. 2 Ibid., 16. 1 being in any way old and hence subject to mortality." Thereafter, the crown promoted a simplified and formalized "Mask of Youth" developed by Nicholas Hilliard in which the queen's features, far from being presented realistically, were "reduced to only a few schematic lines."3 It might be possible to attribute the ban on realistic portraiture merely to the vanity of an aging queen, except that the overall history of the queen's portraits suggests that such concern about control of the royal image began early in Elizabeth's reign. For example, in 1563 there was an attempt to limit copying of the official portrait pattern only to artists licensed by the crown. This early concern, present long before old age became an issue, suggests that Elizabeth understood the political importance of maintaining control of her image, the representation of her person and her rule. Furthermore, she had definite ideas about what kind of image should be presented. According to Strong, the queen preferred a rather simplistic representation of her actual person: she was disturbed by the new method of chiaroscuro which added detail of shading and tone to her face in the Ditchley portrait, detail which was all but erased when the chiaroscuro was softened (presumably by royal dictate) in the versions produced after the original 3 Ibid., 147. by Gheeraerts' studio.4 But if Elizabeth desired such simplistic depiction of her person, obviously she did not demand equally spare settings, for royal portraits featured increasingly complex symbolism in the queen's dress and surroundings as Elizabeth's reign progressed. An obvious example is the Armada portrait, which shows Elizabeth holding the globe, an imperial crown above it. The attack of the English ships and the subsequent wreck of the Armada appear simultaneously behind her. Her fantastic costume, covered with pearls and ribbons, reflects her status as queen of beauty and exemplar of chastity. Strong identifies a point in Elizabeth's reign when her portraits became elaborately allegorical: the first appeared in 1579.5 Interestingly enough, this was the year it became virtually certain that Elizabeth would never marry. Elizabeth was forty-six, so the hope that she might produce an heir was fading, but when she and the Duke of Alencon renewed their courtship in 1578, some people optimistically commented that the queen's good health and strong body might allow her still to bear children. The possibility of such a marriage had died by the end of 1579, however, killed by Parliamentary hesitation over approving
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