Louisiana State University LSU Digital Commons

LSU Historical Dissertations and Theses Graduate School

1961 The inorM Characters in Spenser's 'Faerie Queene'. James Vincent Holleran Louisiana State University and Agricultural & Mechanical College

Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses

Recommended Citation Holleran, James Vincent, "The inorM Characters in Spenser's 'Faerie Queene'." (1961). LSU Historical Dissertations and Theses. 692. https://digitalcommons.lsu.edu/gradschool_disstheses/692

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]. This dissertation has been 6 2—49 microfilmed exactly as received

HOLLERAN, James Vincent, 1928— THE MINOR CHARACTERS IN SPENSER'S FAERIE QUEENE.

Louisiana State University, Ph.D., 1961 Language and Literature, modern

University Microfilms, Inc., Ann Arbor, Michigan PHI 'NOT? CHARACTERS IN CFLNSER';

F a ERIE QUEENS

D: scert.’at '.on

Pubmi tied to tho Graduate Faculty of the Louisiana Gtate University and icricultural and Mechanical College in partial, fulfillment of the requirements for the dec1’©© of Doc to i’ of Philosophy

' n

The Department of English

by James V. Holleran P. A• , Paint Joseph's C ollege, 1955 H. . , U niversity of Notre Dame, 1957 August, 1961 ACKNOWLEDGEMENT

The author deeply appreciates the help and encourage­ ment of Professor Waldo P. McNeir, under whom this study began, and Professor Esmond L. Karilla, under whom it was completed. Thanks are a lso due to Professors Nathaniel

I'. Caffee and Lewis P. binpson for reading the study and for their helpful suggestions. The author also wishes to express his thanks to Mrs. Magee for her patience with the typing and to Miss Ann Lhaeler for her enlightening observations about the poem. T.'.PLE OF CO’JTEET:

.P'TP'CT...... *.v

r fr.T* T ' r n j ^ T ' > ~ . 1 . Plot Chnroctc:’ * n. tho JOp > c of ;.r! oi’to , Tn::rc, and oponser

CKiPTEP ' T Potrnlo n trrc n '::t OP

chapter :t't ;t Pale tn tf,ron*. c t. i * ...... 10 8

CH'PTEP TV Prarradochio ...... ?l0

CH APT Eli V Kale and F^rruln I rotaf ont ct::...... Pfl

n? PL1 OG IE. PITY...... 31

V I ...... 1

1 i t AH./rRACT

llthourh .'.penserU: Faerie Queene has received a groat

deni of or't'cal attention, moat often the poem hoc been

stud'ed in torn, of t s allegorical implications, its

.-tructurnl form, end the portrayal of the major charac­

ter:.'. the n'ner characters have never been studied in

-ein'l. i !f :: study attempts to establish t he i r » mport-

nre r 'ho poem, to a rrange them i nto groups on the

■ f' le'r fu n ction s, and to evaluate them as

• * c f j ’ures. The rr'ncr characters deserve serious

■*er.‘ on because In many cases they are more r e a lis -

' 11 y t-o rtrayed than are the major figures. In effect,

nil the ho roe: succeed in their endeavors; but the less

inv’ne'hle n‘ nor characters suffer the 11 mi tat ions of

real flesh-and-blood people. . ince they ai*e not

guaranteed success, many of them full. Therefore, the

real dramatic conflicts and tensions in the Faerie s^ueens

often exist among the miner characters*

Of course, not all the minor characters in the

F.aorie Queene are of equal dramatic importance. As e

rule, the minor antagonists are better drawn than the minor protagonists, because, unlike their epic prede­

cessors in Tassofs Jerusalem Delivered and \r:iosto*s LV Orland o Furl oso, they represent the main obstacles which the heroes must face in the course of their quests. Yet even some of the antagonists, such as the hags, the foils, and the abstractions, are insignificant. However, the minor figures of other groups, like the seductressss, the seducers, and the brothers, are realistically de­ lineated. In the persons of Kadigund and Braggadochio the minor antagonists are represented by two of the outstanding figures In the poem. These two, b e tte r than any of the other minor characters, reveal 3penser,s deftness in creating tragic and comic figures. Hadigund, n truly noble Amazon, dies tragically at the hands of her rival, Brltomart, after she has been betrayed by her trusted maid, Clorinda. And Braggadochio, a comic braggart, is really an ironic commentary on the heroes in the Faerie Queene, for the boaster imitates In a comic subplot many of the noble actions of the heroes

In the main p lo t.

Although none of the minor protagonists are as successfully portrayed as Hadigund and Braggadochio, some, such as Timias, Glauce, and datyrane, are admirable dramatic figures. These characters represent, respec­ tively, the three outstanding groups of protagonists: the lovers, the squires, and the savages.

The special advantage of analyzing the minor charac­ ters in the Faerie Queene by arranging them into groups

v is that it permits a fuller appreciation of openser's

dramatic skill. Each group, whether it be the abstrac­

tions, the seductresses, or the squires, reveals the

poet*s careful attention to the dramatic balance of

themes, characters, and incidents. The entire cast of

minor figures have real importance in that they serve

to enhance the dramatic dimensions of the major figures; but even in their own right they deserve the special

attention which this study attempts to give them.

vi CHAPTER I PLOT A Hi) CHARACTER IH THB EPICS OP ARIOSTO, TASSO, AID SPEMSER

By lta vary nature a detailed study of spenser1* minor oharaoters In tha Faerie queens b«oona a many* aldad endeavor. That la, tha minor aharaetara oan naltbar ba truly appraolatad until tbay ara aaan in tha light of thalr aplo pradaoaaaora In Arloato*a Orlanoo **urloao and Taaao'a Jaruaalam Dalimarad, nor can tbay ba effectively atudlad until thay ara aaan in thalr propsr ralatlonahlpa with tha major aharaetara, tha plot, and tha sattlng of tha paaMa queens. quite obviously, a lengthy conaldera- tion of theaa two aapaeta could aaally oarry us far afield from tha minor oharaoters themselves. However, alnaa suoh a consideration la neoessary in order to furnish tha proper baokground for this atudy, tha purpose of this Initial ohap- tar will ba to present these two aspecta of Spenser1s minor oharaoters as briefly as possible* Literature knows few suoh lengthy works as tha Faerie queene, Orlando Purloao, and Jerusalem Delivered. Tat if our purpose la only to furnish a background by attempting to determine how spanser, Ariosto, and Tasso aaeh handled what thay shared in common, tha dangers of digression may be less perilous. An examination of narrative technique 2

and characterisation nay raTaal tha basic dramatic virtues and artistio variations of saeh post without minimising tbs special merits of saoh posa and without losing sight of the fsot that tha minor characters In the Faerie queene arc our primary oonoem. Spenser's literary relationships with both Ariosto and ?asso are perhaps best deaonstrated by the faot that any lengthy study of the Faerie Queene w ill Invariably Include sens observations about Orlando Furl os o and Jerusalem Delivered. In his letter to Raleigh, Spenser hlaself avows his debt to thea and to Honor, V irgil, and Aristotle for his portrait of Arthur, However, with too few exceptions, aost crltlos H alt their consents on the three poens to tracking down various oharaoters and situations in the Faerie Queene to their sources in Orlando Furioso and Jerusalem Delivered, For example, one need only examine a few pages of the Spenser Variorum or glance through Dodge's long list of parallels which appears at the end of his standard article, "Spenser's Imitations from Ariosto," *KLA, XII, (1897), 151-201*. The number of im ita­ tions is overwhelming,^ Certainly, the dlsoovery of new souroes for any great work of literature such as the Faerie Queens is a valuable contribution to scholarship. Tot, It must be remembered that the discovery of a new source is in Itself incomplete. For if two or more poets write about essentially the same subjeot, as la often the case with Ariosto, Tasso, and 3

SptnMr, then It la tha taak of tha critic not only to ba aware of tha sim ilarities but, even more Important, to OTaluata comparatively tha apaelal merits of tha different treatments. It la tha erltloal comparative analyala of tha three poama which haa baan largaly neglected. Lot ua bagln oar dlsouaslon by a conaldaratlon of narrative taohnl<|ua - eonoantrating attantlon on tha plot strootnra, tha tona, and tha setting uaad by tha thraa p o e ta * Tha plot structure of tha thraa poena la obviously dlffarant.2 Orlando Furloao haa a looaa, oonplex unity; Jaruaalan Delivered haa a tight ainpla unity; and tha Faorlo Queens attenpta a combination of tha two. Orlando Furloao la a long sprawling poan whlah follow a tha separate yat related adventures of no fawar than tan major charao- tara through a oonplax aarlaa of queata and aub-quaata. The various thraada of tha narrative oroaa and raorosa as tha dlffarant najor eharaetara naat and leave ona another while pursuing thalr Individual ooooaraa. Vo ona ranalna vary long In ona plaoa baf ora ha or aha la o a lied away on aona new adventure. Suoh lntarwovan narrative a nay at flrat oreate the Inpraaaion of utter eonfualon; but If the reader la willing to exart tha attantlon Arloato demanda, tha complexity of tha plot baoonea laaa annoying; and It aoon emergea aa a vary Intricate and carefully organised atruetura. In addition to ita length, perhaps tha primary difficulty In following tha action of Orlando u

Furloao nay be caused by Ariosto's praotloe of developing one narrative thread to a climax and then breaking it off abruptly In order to develop another thread to Ita climax, which In turn la brought to an end at at 111 another* Hollywood uaea the sane technique with serials; but the aerial followa a single narrative thread* whereas Ariosto'a threads are almost countless. This habit of interrupting the narrative to gain suspense la Ariosto* a most e ha recto* - iatle plot devioe, and It elearly distinguishes Orlando Furloao from Jeruaalea Delivered. Tasso*a plot atruetura In Jeraaalen Delivered la much simpler. There are fewer najor characters, fewer narrative threads, and fewer episodes to entangle the reader, whereas Ariosto constructed hia plot around the adventures of hla traveling heroes, Taaao organises his plot around a situation or action which remains before the reader throughout the peen. The situation, of oourae, la the siege of Jexnsalem; and though at tinea hla heroes are separated from the any at Jerusalem, they are never away long enough or often enough for the reader to lose sight of the central sltuatlon.3 Tasso begins hla narrative at the beginning and carries the action along to Its natural conclusion. There is not a single digres­ sion or eplaode whioh la not clearly and dlreotly related to the siege of Jemaalen. In Orlando ^urloao the connec­ tion between digressions and najor narrative themes la often slight.^ 5

Though Ariosto amd Tasso differ In plot struoture, at laast th»y ara oonslstant In tbs kind of unity they try to achieve; however, In tha Faerie Queene sponsor attempts both kina a. Farts of the poem resemble Tasso’s teohnique of tight simplicity, while others are lntrioately oonstracto !l in the manner of Ariosto* The first two books have the same kind of unity and compeotnesa as Jerusalem ■Delivered; but from Book III on, Spenser turns more to the intermptod narrative teohnique whieh characterises Orlando Furloso.5 Though It is pure speculation, be may have been experimenting In the early books; but after Ouyon destroyed the Bower of B liss, he came to feel that the eplsodlo nature and linear progression of the first two books restricted his more grandiose narrative ambi­ tions and could easily become a monotonous litany of virtues oomplete In themselves sod linked only by the presenoe of Arthur*^ Suoh self-contained narrative units would be too limiting* nlther the reader would lo«e sight of the general pattern of the work as a whole, whloh would lose significance and Interest for the sake of the individual tales, as is the oase In Bocaocio’s ilccamsron; or the figure of Arthur with his quest to find Glorlana would become more Interesting than the tales tbm - selves, as is the oase at times with certain of Chaucer’s pilgrims and their tales* In Ariosto and Tasso, Spenser had two different plot structures to choose from* Let us reexamine them in a 6 little mo I* detail. As already pointed out, In Taaao the slag* of Jerusalem Is always present j srsn ths di­ gressions cauBsd by Amid a are closely tied In with It* It Is ths csntrsl foosl point of ths poem, and everything alaa Is subordinate to It. But, we have observed, Ariosto shifts tbs anphasis. Tha slaga of Paris and tha defeat of thw Saraoans correspond a with the slaga of Jarusalasi| but, actually, in Orlando Furioso this thane merely forms a convenient background while Ariosto sands his Christiana and pagans scurrying about tha world in a complicated and unending series of quests that occupy tha foregound until a sudden shift in the narrative reminds the reader that ths Christians and Saraoans are still fighting before Paris. Both techniques have their respective merits. Tasso's plot being tighter and more simply unified, oreates a more intenae impression. Yet, ths variety and complex­ ity of Ariosto's plot make Orlando £urloao a broader, faster moving, and more interesting view of life. Various themes, individual oharaoters and separate lnoidents are more likely to be remembered than the battle at Paris, whereas no one coulo forget how Jerusalem fe ll. Consider the difference in these examples. Orlando, ths nominal hero of Ariosto's poem, never onoe defends Paris. He is off leading Angelica and getting into all sorts of herolo notions and unherolo sorapes. Also, the Ruggiero - Bradanant love story is both more Interesting and moim fully treated than ths defense of the city, in fact, tha 7

characters thensclves are rather Indifferent in eet if not in word to the onto one of the battle and deaert Charlemagne** war for their private inter# at a with dis- traeting regularity* Ho doubt, thia ia another lnatanee of Ario»to*a intentional ironies ainoe their defections, for the neat part, go hunoroualy unoenaured* In contra at with thla oaaual attitude toward the struggle for Paris in Orlando Purioso, Oodfrey is quite disturbed when Anaida weakens hia any by taking sows of his beat knights and when Rlnaldo desert a* 7 he only digressions In the poen are expeditions to get then beck; and the poen ends just

* as soon as Jerusalen is eaptured* whereas Tasso does not even bother to conclude the interesting lose story of Tattered and nm inia, Ariosto goes on for three eantos after all the Saraoans are dead to eonclude hia Bradauant - Ruggiero love story* Ho doubt, Spenser was aware of theae essential differences; and after experinenting with both, he achieved tha separate advantages of each. Book I and Book II are couplets in themselves; Red Croaa and TJna doninate Book I just as Guy on does Book II* But the books which follow are not as self-contained as narrative units, nor do the heroes doninate so nueh of the action of their respeotlve books* The Britonart - Artegall love story runs through Books III to V; Trianond and Canbell, who represent friend­ ship in Book IV as Red Gross stood for Hollneas In Book I, are really Minor oharaoters; and Calldoxo, the Knight of 8

Courtesy, disappears entirely fro* the action for a largo sactIon of Book VI* Though Spenser Imitated both Ariosto and Taaao In general plot technique, ha made ona Tory aaaantial ohange. Ariosto and Tasso focused thalr narratives respectively on Paris and Jeraaalem} but Spansor shifts tha foous frost book to book In tha Faarla Queens* Thors la no center, so to speak, at laaat no geographic center, in tha narrative atruetura fro* which various aplsodas originate. Sponsor*s narrative technique is to prooaod around tha circumference of a elrela which has psrfsot virtue at Its eantar point* leaping in aind tha sane figure of a wheel with projecting spokes, ona night say that In Orlando Furloao, in vhleh the episodes receive tha najor dranatie stress, the emphasis is on the spokes} and In Jerusalem delivered. In which the oapture of the olty is moat important, the concentration la on the hub or oenter* But no matter how ona ohoosas to analyse ths differences in ths plot structure of these three poems, it must be remembered that the Faarla Qua sms. unlike tha other two poems, is unfinished* Therefore, in a way, it is futile for the oritle to attempt to spaak of tha total plot structure of the Faerie vtuaene whan, in fact, the structure is incomplete*

Perhaps at least part of this difference in the plot structure of the three poems which we have just briefly considered may be accounted for by tha different 9 tons of each poo*.7 In other words, Tasso's plot struc­ ture of tight duplicity, Ariosto*s rslsxod co*plozlty, and Sponsor*s combination of both tochnlquos soo* to bo tho boat aaothods for the offoota which each poet waa attenpting to aohloTo. It m at bo kept in wind that Tasso waa dealing with an historic reality, tho liberation of Jerusale* by tho Christians of tho First Crusade. And his thane is religious: Christian forces struggle with non-Christ Ians for tha Holy City In a kind of seml- rallglous ritual in which not only tha valor of western chivalry is at stake, but, nore Important, the respective spiritual power of two religions hangs in tha balance. Therefore, to be most effective Tasso*s tone had to ba reverent, serious, orderly, and at least remotely factual. Ariosto, however, apart from his self-imposed objective of continuing Bolardo*a Orlando Innamoreta. had no suoh restrictions. He was dealing with a myth, a pseudo- historical event, and with a group of characters who ware well suited to his imagination. Ha could be serious or comic, realistic or fantastic, as ha chose; for ha owed alioglance to no standard of values or coda of beliefa higher than the precedent of Bloardo*s comedy. Ariosto could write as he wanted to; and, fortunately, ha chose to satisfy the tastes of his audlenee by portraying life in all its varieties. As ha says in Orlando Furloao: Just as changing food reawakens the taste, so it seems to me that my story, when it la more varied now In this way and now in that, will bo less wearisome to him who 10

listens to It. It seeas to me that 1 need aany thntdi to carry along the great web I aa wearing. (13* 80-81)” Of course, the beat way for Ariosto to aehlere this web of variety was to giro rein to the flights of his Imagina­ tion, or, In other teras, to proceed by Indirection, to Interrupt the narrative abraptly, and to juxtapose the serious with ths eoale. with Spenser we flna Ariosto*s playfulness and Tasso*s solemnity united In a curious com­ bination. Like Ariosto, sp*n»er could enjoy the liberties of dealing with a myth, the Arthurian legend but at the same tins, like Tasso, he had to exereise a eertaln amount of discretion In treating allegorical situations whloh oould hare contemporary national and political Implications.10 Glorlana was very mneh alire In the person of Queen allsabeth, and she was not one to be offended.11 As a o on sequence, therefore, we fine that the poet*s attitude toward his subject natter nay at least In part account for the different plot structure of eaeh poen. Obviously, the relationship between tone plot at me tune does not explain completely why eaeh poet wrote as he did; for this would diseount not only ths Integrity of the poet but even ths exercise of his own artlstio Impulse. Nevertheless, It Is Important to Indicate ths relationships whloh exist. Hors important than this relationship between plot structure and tone la the connection between tone setting. Beoause of the poets* different attitudes towaitl 1 1

their subjects, the settings are ao dlffarant that we find a dlffarant kind of world In aaah poem* Hone of tha thraa worlda la completely real, at least not In tha noaera eoneeptlon of reality; for In varying degrees aaah contains exaggeraged alawants of tha fantastic* Tasso's world In Jerusalem Dali wared cones oloaast to reality*12 Prom the time that vaat clouds of dust In tha distance warn tha Saraoans of tha approaching Christian a ray U ntil tha city itself falls, Taaao shows a remarkable awareness of m ilitary matters* Tha strategy of tha slaga la master­ fully planned, and tha assaults ara eonvlnoIngly portrayed, even to suoh minute matters as tha construction and deploy­ ment of soaLing devicea*1^ Also, tha numerous combats In the course of the siege ara between real people, none of whom la Invulnerable* Thera is no reliance upon eharmed weapons, magic shields, or flying horses to protect the heroes* They ara all eligible for death* As In battle, so ara they also vulnerable in love* Of ths three major romances In the poem only one, that of Rlnaldo and A raid a, concludes happily* In ths other two, nrmlnla falls to win Tailored, and he loses Clorlnda* It Is true that flights to heaven, m iracles, magicians, and wizards have a place in the poem, but they ara not of primary dramatic signif­ icance*1^ in fact, Tasso's use of supernatural elements in his poem Is completely In keeping with tbs spirit of the accounts of eye witnesses and participants at ths aotual siege of Jerusalem*1*’ His world la exaggerated. 12 but it la tha least exaggerated of tha thraa. la Ariosto*a world of Orlando Furloao wo find our­ selves farther removed fro* reality.1^ Aotually, it la nsallty in ona of its *oat exaggerated for**, for the poo* abounds with supernatural elements. Ona onoountara a one imaginative extravagance on eaeh page: a rational and a flying horse, a hero invulnerable ozoopt for tha solea of hla foot, a trip to the noon, wlsards, nagleians, suoh anohanted objeots as a ring, a shield, a spear, a sword, a horn, and oaatles. And in contrast with the use of supernatural elements in Jerusalem Delivered, objeota suoh as those have an Important dramatis funetlon in the course of tha poem. Had Orlando been vulnerable, ha probably would have died early In the poem, without her anohanted spear Bradamant would not have differed greatly from any woman on a horse; nor would she have sat on It so long with so mteh immunity. Angelloa, too, without the oonvenlenoe of a magic ring would have been a raped heroine. So frequently do supernatural elements reappear in tha poem thet the oourae of the aotlon is largely determined by the magic device whloh Ariosto has a mind to use. Yet In spite of all this display of the fantastic, Ariosto*8 world is not a fairyland. On the contrary, we never lose sight of the fact that it la based on a reality whloh in soma ways is even more oon- vlnolng than Tasso*s.^ The tone of the poem, of course, aooounts for this. Tasso*s seriousness oasts him in the 13 unenviable position of at loast placing surface orodonea in tho supernatural elements which ha used; however, Ariosto*s basically oomle attitude makes it quite evident that his deliberate distortion of reality was ealoulated to achieve an ironle effect• Ariosto nay write about the fantastlo, but be la o art a inly not taken In by It* Con­ sider, for example, how Tasso and Ariosto deal with heavenly agents. Tha opening soene of Jomealom Delivered in which God sends his angel Gabriel to Godfrey to unite tho Christian a my and conquer Jerusalem la treated with reverent seriousness; and at other tines whan angels ooms to help tha Christians, there Is no attenpt at oomedy* But when Ariosto uses heavenly agents in approximately th e name way, a s when °©d sends M ich ael (11;* 75-96) to aid the Christiana In Orlendo Furloao, or when Astolfo goes to the noon to meet St* John, the scene is Invariably conic* Spenser’s world in the Faerie queene is even farther renoved from reality than the settings of ^aaao and a O Ariosto* it is an allegorical world of ohlvalrlo ro- manoe whloh apparently exists on some abstract plane between or beyond heaven and earth* Of course it shares certain qualities of Tasso and Ariosto* For example, the Radlgund episode la extensively developed In the m anner o f T a s s o with penetrating touches of realism; while at the same time many of A riosto's magical props reappear: Arthur's shield Is the same as Ruggiero's; 11*

Tlmiaa* horn resembles A stolfo's; and Britom art's lance la an im itation of Bradamant'a. However, Spanaar*a world la not to ba undoratood if it la tokan aa an aiialga* of Tasso’s and Ariosto's; far It not only dIffara In dagraa but alao in kind* Sinea It la a world of allegory, the raadar m at oontlnnally ba awara that aaah incident, aaoh scene, aaoh character, haa at laaat a double meaning*!1^ For example, tha Had Oross Knight In addition to balng an Impetuous, untriad, young knight la alao a symbol of Holiness, ao that at all tlmea and In all hla activities ha functions both aa a nan and aa a symbol, «han wa con­ sider further that tha other characters aleo have thia doubla role and that both inoldenta and aeenaa ahara in thla dual compl«xlty, wa ara batter able to grasp tha fact that If Spanaar'a world la leas real than Taaso's and Ariosto»sf thia la more than eonpanaatad for by tha depth and aeopa of Ita dimensions* In thla kind of world Spenser la able not only to portray man, but alao to portray essences. Despair la not only an abatraet quality eapabla of driving an Orlando mad, aa it waa in Orlando Furloao; In tha Faarla Huaana, Despair baoonaa a "cursed man** with "grleale locks a “ and “raw-bona cheekes" who la olever enough to oonvinoa tha Rad Croaa Knight that aalelde la hla only alternative. Obviously, to aohlava thla now dimen­ sion Spenser had to saerlflee many of tha realities whloh wa recognize aa being characteristic of humanity. Tat wa shall sea later whan wa examine tha minor characters that no snail part of thaJ r function In tha Faarla wtueana la tholr rathar aoourata roproaontation of raality* AaId# from tb#aa differ# no# a In tha kinds of raality whloh Tasao, Ariosto, and Spans#r ohosa to ha bonndad by in th# world a of Jamaalan i>a lira rad, Orlando Purloao, and tha Paarla Haaana, thas# thraa poana oan also ba dis­ tinguished by tha partionlar eoda whloh pravlala in aaoh world* That la, tha oharaetars in aaoh poaai aot within tha from work of a ooda of absolute ralaes, and thalr aotlona ara portrayad aa being good or avll dapandlng upon whether thay adhora to or dapart fron tha ooda* For axamplo, In Jemaalen .Delivered tha ooda la naaaaaarlly baaad upon Catholicism.20 As alraady polntad out, tha liberation of Jeruaaleu waa pronptad and aneouragad by tha Oathollo Church* All tha prlnolpala ara Cathollea; or if thay ara not, thay ara soon baptised, aa la tha oaaa with Clorlnda and Amlda* ^ha poan beglna #»d and a with Godfrey at prayer; Patar tha Hamit la alwaya avall- abla for spiritual oonaultation; and prlaata and blshopa, singing psalms, load tha Christian amy in a prooesalon outsida tha walls of tha oity* in short, th# antlre poaa is pomaatad with both tha external and Internal narks of Catholiolsn*

Ariosto alao uaaa a ooda baaad upon C.thollolan; but It la not to ba Idantlflad with Taaao'a. for It la «uoh ■ora alaatlo.21 Aotually, hla ooda aaaaa to ba olsarly lnfluanaad b, th. aaoular, Ironla attltnda toward tho 16 olergy and Moral theology whloh were characteristic of tha Italian Renaissanoe* For whan matters of rallglon and Christian morality arlaa In tha poan9 thay ara usually traatad humorously* Tha clergy, as oftan aa not, ara portrayed as religious swindlers* Illio lt love is oftan either a grand Joke, as whan Ruggiero in his eagerness to seduoa Angelloa knots hlmaalf up in tha strings of his amor; or it beoomes a oomlo endurance contest, as la the oase at Alessandria where a nan must face tha test of the ten maidens* Nevertheless, Ariosto's satire on tha avarice and corruption of the clergy and his loose attitude toward sensual love do not prevent the reader from seeing that he was also insisting upon tha adherence to the moral oods of Christianity* If ha poked fun at certain abuses, ha was at tha same time vary serious about Christian prin­ ciples* The war Itself is essentially religious, and it is quite obvious on whloh side his sympathies lie* Con­

sider for a moment, the B rad ament-Rugg la 2*0 love story* Ariosto had great fun having her father draw the distinc­ tion of whether or not Ruggiero was a Christian whan Bradaemnt waa promised to him* Obviously, Ariosto is poking fun at theological hair splitting, but in tha and Ruggiero is baptised* Throughout the poem difference of religion is one of the major distinctions Ariosto makes* And truly noble non-Christian cha ruetere, suoh as Sobrino and MarfIsa, in the end are oonverted* Other pagans may have a certain nobility of character, yet Ariosto insists 17

th a t they have la as than Christian nobility* Agramant, for example, la a noble pareon and a flna warrior, but In a eruolal movant whan Bugglero maata Rlnaldo In combat ha displaye a aarloua moral daflclancy. Ba braaka hla word* Rodomoot and Mandrieardo, too, tha leading Saracen knights, ara llara* In ahort, Ilka tha tone of Orlando Furloao, tha code which governs Ariosto*a world la comlo on tho aurfaoa and aarious beneath; and at both levels it la Catholic* whereas tha worlds of Jerusalem belivered and Orlando Furloao wara aatabllahad within tha moral frame­ work of two dlffarant varieties of Catholicism, tha world of tha Faarla Vtuaana is not Catholic* In fact, Cathol­ icism in Spenser*a world la something to ba ridiculed*2^ Its ministers ara represented In tha character of Archlmago, and Its doctrines ara portrayed as tha slimy offspring of srror. This attitude la representative of commonplaoa view a In Allsabethan sag land • Spenser had no particular religious ax to grind; hia attitude la that of hla day.33 Interests had shifted from tha perfection of God to the perfectibility of man* And to achieve this new human Identity an attempt was being made to unite Greek thought with Christian principles* The ooda of Spenaer*s world Illustrates hla version of the merger.^U ©f Christianity are evident la both symbol and action. The Red Cross Knight, of course, la Identified by the symbol 18

of a rod oroas; and oftor what amounta to a Catholic rotroot at tho Houao of Hdllness, ho la granted a vision 2< of tho Vow Jerusalem on tho Mount of Contemplation. At tho aamo time, however, In contraat with Jerusalem uollvorod and Qrlando furloao, thoro la a notlooable abaonoo of angola, aormona, rollgloua proooaalona, and prayers. Tho angola boaome aprltoa; tho aormona, worldly advice; tha rollgloua proooaalona, proooaalona of tho vloea; and proyora, pl«aa to tho muses. In foot, only remotely dooa one foel the prosonoo of a Cod loitering somewhere in tho baokground. Actually, thoro la no nood for the intervention of God in tho Faorlo Queens. Arthur la quite aufflolont to handle any difficultlea whloh may 26 arise. Aa Sponsor tolls ua In hla letter to Raleigh, Arthur la to represent “magnificence in particular, whloh virtue for that (according to Aristotle and tho rest) it la the perfeetion of all tho rest, and oontoinoth It in them all • • • ." Arthur, therefore, beoomoa a kind of goo at largo, a human!atio god who la Christian in a tti­ tude and Greek makeup. Thla role whloh Arthur plays la, of oourao, essentially in agreement with A.S.P. Woodhouse’s pioneering atudy "Nature and Grace In The Faorlo Queene,» nLH, AVI (19t|9)i 19tt—288. For Arthur la a symbol who funotiona both aa an agent of supernatural grace and alao aa a model of Greek virtue In the order of nature. The oode of conduct In tho Ficrlc Queene la not baaed wholly upon a act of divinely ordained laws. The oharaetora are 19 not notlvated to sot either out of low for a Supreme 27 Btlngf or out of fear of eternal diwttion* Their not1vatIon la self-contained* They choose to do good because tha achievement of their own perfectibility and that of tha raat of humanity dopanda upon It* Godfrey and Charlemagne am fighting at Jerusalem and P*14i for Qod* Arthur la fighting In Spenser's world for nan* Tha Tlllaina in tha Faerie Quaono am not tha adharanta of a rival eraad* Thay am lnpodlnanta to hunan pertect- lbllity* Tha eode, than, of Spenser's world In tha Faarla quccne dlnlnlahaa tha poaalblllty of a world oxisting outalda Itaolf* In fact, Sponsor's eoda was lntandad to aarva as a nodal for tha world of reality, not as a derivative of sona spiritual world of dlvina perfection. This is assantlally diffarant fron tha eodaa of Tasso and A rio sto * Up to this point In our dlaausslon our primary eonoam has baan with tha individual narrative teohnlques of Ariosto, Tasso, and Spansar; and bafora wo bagln a eon* a id erst ion of tha second gene m l aspaet of their poena, characterization, it would bo wall to taka a brief inven­ tory of our findings* As regards tha plot atmoture, we have seen that a difference exists in the nakeup of the poans* Tha structure of Jerusalem Delivered is tight and orderly; Orlando Furloso Is leoae and complex; and the Faerie Huaene represents a combination of tha two* The sane general differences distinguish tha tones of the poems. 20

Tasso's ton* If nw nA t; Ariosto's ton* is humorous; and, again, Spenser's ton# manifests elements of both. The diffaroneoa in aotting, however, a pa parhapa a ran non* clearly distinguishable than thoaa of plot structure and to n e . mo ha to observed that Taaao'a world moat naarly imitates tha world of reality; Arioato'a world ia a mix­ ture of reality and fantasy; and Spenser's worlo ia allegorioal. Human aotiona in eaeh world, wa have further noted, are judged either good or evil, right or wrong, on tha baala of different codes* In Jerusalem i>a lira rad at riot catholic i am ia tha norm; in Orlando Furloao a more liberal form of Cathollelam prevails; and in tha Faerie Quaana a Tar a ion of reformed chriatlanlty marge a with a kind of aeeular human!am* Though other aapeota of nar­ rative technique auch aa point of view and tranaitlenal devices may invite attention for consideration at this point, the scope of this introduction must be limited, arbitrarily perhaps, to thoaa narrative elements which are baale for our purposes* In this regard, plot stric­ ture, tone, and setting seam to be the moat baalo; for they establish a sufficient background for us to begin our study of characterisation* Tha tendency whloh we have observed in our discus­ sion of narrative teohnlque for two of our poeta to represent the extremes of some aspect and the third poet to be the mean is again to be encountered in our study of characterisation, since we find it especially 21 with the major characters and sine# they, In turn, w ill logically direct the course of thla investigation to onr primary concern, the minor oharaotera in the F itrla Quscno, let ua begin our atudy of characterisation in Joruaalom Delivered, Orlando Purloao, and the Faerie <4neene with tie major characters. In speaking of the major characters in these three poems, some distinctions and groupings m at be nade in order to underatana oertaln baalo sim ilarities and dif­ ferences.2^ The first major division will separate those characters who represent the interests of virtue froe those who represent vice. Of oourse, the word “vice" m at be understood in the very special sense of "those who inter­ fere with the progress toward virtue"; for, as we shall

see in this discussion, nany of t h e characters who fight against the "good" h a roes are very noble persons tbeu- oelvea. They sot in the best of faith and ropxmsent "▼Ice’’ only in the particular sense noted. This first najor distinction pa m l 18 aone general observations which w ill help to indicate baslo differences in the poena. First, let us deternine how Ariosto, Tasso, and Spenser distinguish between their protagonists and antagonists. Ariosto's differences between these two groups are the least noticeable. His protagonists fight on the side of Charleuagne and Christianity, and his an­ tagonists fight on the side of Agranant and against Christianity. But aside frou their patriotic and roll- 22 glous allegiances, thare le really little difference between then. Both heroea end villains are essentially noble and courageous nan who are bent on defeating the enemy, achieving their personal interests, and gaining a reputation for herolse In battle* Tasso*s distinction between the heroes and villains Is muoh the sane as that of Ariosto. The heroes are the Christians attacking Jerusalem, while the villains are the pagan enemies of Christianity defending it. Like the villains In Orlando Purloao, those in Jerusalem delivered are noble charac­ ters; but T*sao has fewer major characters than Arloato; and his villains are much less effectively drawn. They lack the complexity of Ariosto*s villains because they are single-mindedly occupied with fighting. They are not involved in any amorous distractions; they do not compete against one another; nor do they folio* any personal quests, as do the Saraoen knights In Orlando Purloao. Their loyalty to Aladlne and the defense of the city la as constant as their desire for personal glory. They are fearless forces of pure vlolenoe uncomplicated by human attachments. They are as impersonal and direct as war maohlnea. But if Tasso*s villains lack the dramatic complexity of Arioeto'a, they share with them the nobility whioh goes with sincerity of intent; and they are even more dedicated to their oause. Therefore, though there la some difference In the presentation of the good and evil characters In Orlando Purloao and Jerusalem Delivered. 23

It la not nearly aa significant as Sponsor*a distinc­ tion between the two kinds* sponsor's heroes are generally like Arlo<*to*s and Tasso's* That Is, Arthur, the Red Cross Knight, Guyon, Brltomart, Artegall, and Calidere correspond with Charle­ magne, Godfrey, Orlando, Bradament, the two Rlnaldos, Tan- ored, and Astolfo* All are of the sane heroic dimension*

Bat there Is very little sim ilarity between the major evil characters such as the uragon, Aoraala, Grantorto, and the Blatant Beast, for example, and Agramant, Aladlne, Solyman, Argantes, Mandricardo, and Rodomont* Spenser uses an entirely different method In portraying the con­ flict between good and aril* Ariosto and ^asso made the opponents of t h e i r h ero es human b ein g s and gave them a certain nobility while, for the moat part, Spenser denied both humanity and nobility to hia evil characters* In effect, he has elevated them to a higher degree of ab­ straction so that they beoome allegorical figures of oertaln vioes* By making his evil characters symbols of evil instead of individual men with evil characteris­ tics, Spenser sacrificed the dramatic appeal which a conflict between two noble men has over a conflict between a noble man and a completely evil abstraction. In conclusion, then, from these general observations on the good and evil characters as groups, it may be said that, generally, all the protagonists are similar; but tho «nt«gonlata aitfrwnt in .'oh po.m. Ariosto's 2k

•vll oharaotera are aa interestingly oomplex and noble aa hi a he roe a; Taaao*a evil oharaotera are noble but laelc complexity; and spenaer'a evil oharaotera are neither noble nor complex. They are simple, undramatlo, allegori­ cal figure a of evil. Sinoe the he roe a have acre in oonon than the eTll oharaotera, lot ua tarn our attention to them firat before wo examine the ot II oharaotera In more detail. To prooeed with order, we am at make a further dia- tinction at thia point, we must diatlngulahthe heroea by degree ana divide them into two major groupa whloh Blight be oalled the super-heroea and the he roe a. The distinction ia baaed on thia difference. The super-hero has no moral flaw, while the hero has some alight flaw in the midst of all hia virtue and nobility, *aeh poem has one super-hero: Charlemagne in Orlando Purloao. Godfrey in Jerusalem Delivered, and Arthur in the Faerie Quoone. it la to be noted that not onee In the poems does the super-hero stray from the path of virtue. Mor­ ally, all three are irreproaohable. But all the heroes at one time or other, either by deoeptlon or oholoe, do wander from tha path of virtue; and beoause of thia, they must suffer some kind of punishment. Let ua firat examine the auper-hero in the three poems. Though Charlemagne la the leading character In Orlando Furloao in the order of rank, dramatically he ia virtually a nonentity. He la a formidable warrior and 25 a wise king, but hia role in tha poem does little more than •atabliah hi* aa a type. Ha defends Paria, aanda Rinaldo off to jsngland for aid, and grants Bredament1a request that aha must marry only the knight who la superior to bar in arms. Yat, in aplta of being dramatically insignificant, Charlemagne * s importance in the total framework of the poem muat not be underrated; for he doaa offer the moral guidanoe whloh directs the major aotlona of the heroea. Thia, In fact, la hia chief function in the poem. He remalna in the background aa a kind of omnipotent paragon of virtuous reassurance. Aa a divinely appointed aymbol of Christian virtue, he la e home baae for goounaaa; and when the heroea are with him or doing something for him, they are Invariably performing a noble deed. But if they are separated from him, they are just th«t far from virtue • Godfrey in Jerusalem Delivered plays much the aame role aa Charlemagne in Orlamdo Purloao. He is another aymbol of moral perfection; but hia presence in the poem la much more immediately felt. In faot, Tasso uses Godfrey aa the center of a rigidly organised dramatic atm cture. If Charlemagne rarely makes an appearance in Orlando Purloao, Godfrey la seldom far from the oenter of the action in Jemaalom Delivered. The aalntly virtue of his character m«k«s him dull as a dramatic figure. However, Ariosto and Taaso, to a leaser degree, must not be too hastily condemned for placing two such dramatlo nonentities at the oenter of their poems. For, undoubt* 26 edly, both poets used a type super-hero deliberately. Their reasons ara not difficult to aaoount for* Both poata saw in nan a fundamental dichotomy* That ia, tha natura of la at tha same tlna both spiritual and tem poral. Ho, thay attempted to portray ona eharaetar who woula raprasant tha spiritual aspaet of nan’s natura and another who would raprasant his temporal aspaet* Obviously, aaeh eharaetar ia incomplete in him­ self; but togathar thay raprasant tha parfact man* As wa have saan, both Charlemagne and Godfrey in the res­ pective poems stand for moral perfection, whloh really means that thay raprasant perfection In tha spiritual asp«»ot of man’s nature* Ana i t Is to be f u r th e r noted that Tasso emphasises spiritual values by giving Godfrey sueh an important role in Jerusalem Delivered s whereas Ariosto stresses tha temporal by assigning Charlemagne suoh an insignificant part* But wa must turn to tha other characters in the poems If wa ara to find tha tem­ poral counterparts of these spiritual leaders* Orlando and Rlnaldo In Orlando Purioso and Rlnuldo in Jerusalem Delivered immediately reoommend themselves for this role* These man represent sian’a natura in its parfact temporal form. Th*t is, physically thay are invulnerable, the two Rlnaldoa in affect and Orlando in fact (axoapt for tha solas of his feetv which ironically keep him in touch with, reality); but the thxme ara leaking in moral perfection, Just as Charlemagne and Godfrey are 27 lioking in physical perfection* Hotice that without the physical assistance of Orlando and Rinaldo, Charlemagne is driven back to Paris; and without Charlemagne's moral direction, Orlando goes mad* A similar scheme appears in Jerusalem Delivered: Jerusalem cannot be taken without Rinaldo; and without Godfrey's direction, RinaIdo becomes an essy prey for Armida. when we compare Spenser's super-hero, Arthur, with Charlemagne and Godfrey, a difference is lsuaedlately obvious; for Spenser has oomblned both spiritual and temporal perfection in the person of Arthur* Hot only is he never guilty of a moral deficiency, but he ia also the

strongest knight in the poem *30 By uniting the spiritual and physical virtues In a single character, Spenser has created a more dynamic super-hero than either Arloato or Tasso offer, because Arthur not only represents the spiritual values of a perfect knight, but his physical perfection alt*o enables him to engage in more of the action of the poem* In fact, it Is the physical aspect of his nature which Spenser emphasizes when he has Arthur resoue the Red Cross Knight from Orgoglio, and Guyon from

Pyroohles and Cymochlea *31 But even though Arthur is mo» interesting dramatically than the other two super-heroes, his magnificence has a dehumanizing effect because It disqualifies him from sharing in the faults which charac­ te r iz e human n a tu re . 32 In short, Arthur is simply too perfect to be oonvlnoing* In conclusion, then, It might 26 be said that tha thraa super-herows ara all admirable oharaotera; but they ara not aa Interesting dramatically aa the haroes. Tharefora, let us turn our attantion to tha heroes* Sinea tha combined number of heroes in tha thraa poena la ao great that an Individual analyaia of aaoh one would be far beyond tha aeopa of thia introduction, It will be necessary to consider tha hero group by following certain thanes rather than by arranging particular charac­ ters In special groups* Tha moat obvious themes ara the quest, tragedy, and redemption* Let ua first consider the them** of the quest* All tha heroes In tha three poena are engaged In a quest; and In tha broader sense of a quest of striving to aeoonpllsh a goal, even the super-heroes nay be Ineluded. Charlemagne wishes to drive out the Saracens; Godfrey hopes to eonquer Jerusalem; and Arthur is on an aotual quest In search of the Faerie queene. Notice the difference In the kinds of quests: Charlemagne*s is both national and religious; Godfrey*s is primarily leliglous; and Arthur*a is a love quest.^ It is Important to note how the quests of the super-heroes i nfluence the tone of each poem. However, what Is most important to observe about the super-hero and his quest la that he never gives it up. This determination In pursuit of a single objec­ tive distinguishes the super-hero from the hero; for the hero usually has more than one quest* 29

Consider these examples* Orlando and Rinaldo in Orlando Purloao ara the two main champions of tha Chris­ tian army; and, tharafora, thalr firat duty la to expel tha Saracens from France; but actually, aaeh ia on a private love quest after Angelica* Bradasumt ia another Christian warrior, but aba spends moat of her time trying to find Ruggiero* Aatolfo, too, la another Christian champion who ia aidetracked by Alolnal; and when released, ha aaana to be more intorested in seeing the world than In defeating the enemy. In Jerusalem delivered, the two main heroea, Rinaldo and Tans red, are both distracted by women, Armlda and Clorlnda, from their m ilitary obliga­ tion of defeating the enemy and taking the city* Likewise, the heroea in the Faerie wueene are turned from their queata by various distractions: JJueasa almost brings the Red Cross Knight to total rain; Mammon brings Ctayon to physical exhaustion and this, in turn, makes him an easy conquest for Pyroohles and Cymoehles; Artegall ia almost undone by Radlgund; and Calidore soon forgets about the Blatant Beast when he meets Paatorella*^ The theme, then, of the her*o being turned from his major quest to some secondary or disastrous occupation ia common to all three poems•

But the distractions are not all the same* They may be good or evil* In Orlando Furloso, who re Angelica is responsible for the desertions of Orlando and Rinaldo, the Christian army is seriously weakened; though 30

indirectly she renders eld to Charlemagne's enemies, her sotlon is not deliberately aimed at helping either side. Angelica simply wishes to get away fro a i all and go home. So, though the effect of her flight is evil, Ariosto no doubt Intended the situation to be eomie; for Angeliea reJeets the two leading Christian knights for the sake of Medoro, a nondescript squire. Ariosto's tongue in cheek treatment of Angeliea and her two suitors is perfeotly elear when compared with similar situations in Jerusalem Delivered and the Faerie vtueene. In Jerusalem Delivered, Armlda deliberately sets out to weaken the Bhrlatlan army be leading off as many of Godfrey's beat knights as ara susceptible to her chama; and her intention at first In taking Rinaldo to the Fortunate Islands was to weaken the Christian army. In the Faerie vgneene, Arohlmago and uueaaa also intentionally set out to undo Red Cross. Hence, Tasso and Sponsor obviously intended the distrac­ tions to be evil. But let us look at some of the other distractions which the heroes meet. In certain oases, the heroes atm sidetracked by a distraction whloh serves to ennoble them and m at therefore be considered good. For example, In Orlando Furloso Bradamant's quest for Ruggiero not only unites her with the Christian army for a craelal battle, but her love brings abokt his coat*raIon to Christianity, and together in marriage they found a noble family, in the Faerie vtuecns the Calidore-Pastorella relationship 31 is also ennobling. On his way to capture tbo Blatant Boast, Calidore meets Pastorella and promptly delays hia quest to enjoy the innocent pleasures of pastoral life* At the same time, he wins the love of the noble Pastorella and leams a lesson in the special virtues of rastlo simplicity. Later, he resumes hia quest.35 In Jerusalem Delivered. Tasso presents a variation of the ennobling love distraction in the oharaotera of Tanered and Clorinda. Tancred's love for Clorinda reduced his effect­ iveness as a knight in Godfrey's army beoause it divided his loyalties between faith and love. Tet in the tragic scene in which he unknowingly kills Clorinda, his problem is resolved; for he eonverta Clorinda to Christianity, wins her eternal love, and is able to return to the siege with renewed detem lnation.^ Prom these few examples, then, we see thet the hero may be taken away from his quest by a distraction which may be good or evil. Tet if the hero were misled by only one distraction, the plot struoture would be relative­ ly simple; but this is not the case. Besides the primary distraction, the hero usually embarks on a number of sub- quests. These sub-quests aooount for the complexity of the poems, and especially for that of Orlando Purloao. Let us oonsider Orlando himself as a typical example. After he leaves the Christian anay at Paris to find Angelica, he helps Olympia and Blreno by defeating the 32 oruel Cimeac© (Canto 9)* Than ha rescues her again fro* tha Ore after Bireno had abandoned her. (Canto 11)*

Ha is trapped in Atlas 1 Castle and freed by Angelica (canto 12), He rescues Isabella in the robber9a cave (Canto 13), and th«n her lo v e r Zerbino (Cant© 23)♦ He fights Mandrlcardo and goes mad (Canto 23)* He fights Rodomont (Canto 29), has his sense restored (Canto 39)»

oaptures Blserte (Canto 140), meets the pagan loaders in a conclusive battle (Canto Ul), and finally neeto Ruggiero

on the hem it9s island (Canto 143)* This series of ad­ ventures which the hero meets while on a private quest is a narrative device found in all three poens; however, the device leads to nany more complications in Orlando Furloso than in Jerusalem Delivered or the Faerie uuoono, because A riosto has more heroes and wore q u ests, and because he Interrupts one quest at a ollnaotic point and shifts to another. A comparison of Orlando9s activities as just out­ lined with Rinaldo9s in Jerusalem Delivered will show this clearly* After killing demando in a fit of anger, Rinaldo deserts the Christian a my because he fears Godfrey9s justice; and while wandering In search of ad­ venture, he rescues the knights imprisoned by Amide Before she trloks him into being her lover carries him to her Fortunate Island. Before long, Godfrey sends Charles and TTbaldo to rescue him from her enchantment; 33 and Rinaldo returns to the a my and halpa captura tha city. In tha and, Armida's lore for Rinaldo overcomes her hate for tha Chrlatlana, and aha la converted and uni tad with Rinaldo. Such a brief aooownt of Rinaldo*a adventures obviously fails to ahow Tasso's flna draaatlo touches, but it doas demonstrate tha relative simplicity of Rinaldo*a adventurea as compared to Orlando's* Rinaldo is involved in one rescue; Orlando is involved in four. And even Rinaldo'a one rescue la reported at second h»na. Also, while separated from Godfrey, Rinaldo is not involved in any fights; Orlando meats two of the strongest pagan knights, Rodomont and Mandrloardo, and la Involved in a fight evexy time he appears* And he appears no less than seven times before Aatolfo restores his sense. Other than the reported raaeue, Rinaldo does not appear before Charles and Ubaido save him from A mid a. simply listing appearances and adding them up la not Intended to point out anything more than that Arloato's heroes meet more opponents in a mors complicated aeries of adventures, we must keep in mind that Ariosto was aiming at multi­ plicity and ooa^>laxity of effect; Tasso was aiming at intensity. The different teefanlquea are calculated to achieve these different effects. When we turn to the Faerie Queens, we find that Spenser, as in almost every other respeot, imitated both Ariosto and Tasso in sending his heroes on quests, in 3U presenting the characters of Arthur and Britomart, he has followed Arioato,s technique of multiple appearances in large sectiona of the poem* while thw other heroes n o v nearly resesible those of Tasso# Arthur appears in every oonpleted book of tha Faerie uueene at a ©racial moment in the action to aid one of the heroes. In Book I he rescues Had Cross from Orgogllo; In Book II he saves Quyon from Pyrochles and Cymoohles; In Book I I I Spenser departs from the formula when Arthur tries to save F lo rlm e ll; in Book IV he fin d s Amoret and Aemylla, k i l l s Corflambo, settles Poena*a problem and saves Scudamore; in Book V he k i l l s Souldan, the wicked ty ra n t, w ith A rte g all he tra p s HalengIn, and then he k i l l s Geryoneo and his Seneohal; in Book VI be is reunited with Tlmlas, defeats Turplne, and rescues Tlmlas from Ulsdaine. This multiple appearance taohnlque is clearly similar to A rio s to 's . When we turn to the other heroea In tbs Faerie Wueexm , we find that except for Britonart their activities aim mostly limited to a single book. True, Spenser*s heroes meet more opponents than Tasso*s heroea; but the series of each hero's adventures Is uninterrupted, and he usually meets only one opponent who causes him muoh difficulty. F or example, except f o r a b r ie f appearance in Book II which obviously serves as a linking device, Red Cross i* seen only in Book I ; and though he encounters a co n sid er­ 35

able numb*r of opponent#, non* oanae# him as much dif­ ficulty aa doe a Duesaa.^7 With Guyon and Art*gall the same is g en erally tru e . Ouyon lin k s Books I I and I I I by mooting Britomart at tho beginning of Book III* and ho appears in Book V to claim hia horse; but hia ootions are mainly oontained in Book II* and oxoept for hia momentary exhaustion after Mammon's temptation* he has relatively little difficulty overcoming hia opponents. Artegall* too* appears mostly in Book V* and Radigund alone causes him any serious trouble* This concentration of the nar­ rative action and having the hero undone by one special opponent is* of oourse* Tasso's practice. Therefore* without additional examples* we see that in handling his heroes' quests Spenser imitated both Ariosto and Tasso. Let us sum up what we have found about the theme of the hero's quest in the three poems. First, we have seen that eaoh hero in each of tha poems has a major quest; but in every case he is drawn away from it by one or more agents who represent either good or evil, with Tasso* it is a single agent who eventually beoom»s good (Clorinda and Armida are oonverted); with Ariosto, the distractions are multiple agents who may be comically (Angelica), evil (Alclnia), or good (Ruggiero; A s to lfo 's geographical c u rio s ity i s shown as goo«* f o r ■ a a r.solt or It b. r-.00T.ra On.ndo.a tnd with Spams.r, V. find both alngl. «nd«iltipi, agant. 36

who u y bo good o p e v il: Rod Oroaa ond Guyon face mul­ tip le otII agents, but Calidore la dlatpootod by * alngl# good agent In Fastorella*

Tho than# of tho boro 1 a quest la elbooly related to the thane of tragic and non-tragle redemption* Actually, the second thane la a further development of the first* What we are to oonslder la the effeot of the quest on each hero* We have seen from our dlaouaalon thus far that each hero in tha th ree poems engages In more than one q u e st; ao If we are to consider the outcome of the quest theme, In moat cases we must deal with a double effeot. For example, In Orlando Furloso Orlando and Rinaldo sought to win Angelica and defeat the enemy* As It turned out, they loot her but won the war* Therefore, these two heroes were only half auecessful In accomplishing their o rig in a l alas* But If we look a t the two more o lo sely , we find that Ariosto was dealing with a favorite theme In all literature: love versus honor* The dramatic effeets of moat of the quests turn on the rival claims of these tvo virtues* If the love Is unworthy or the honor mlsplaoed, then the hero Is saved by the nobler virtue. Rinaldo is saved In the end beoause his honor forced him to postpone his search for Angelica until the war ended* Orlando, driven by a greater love for her, goes mad because he disregarded the obligations 37 of hia honor; hut Aatolfo oomleally restores hia honor and saves him from permanent insanity* For Ariosto, honor amount a to oommon sons# bottlad in htatw* In the ease of Bradamant, the oonfllot between love and honor ia more subtly expressed. Her regard for both honor and love is irreproaehable. Fortunately, both are well placed, on the aide of Christianity and in Ruggiero. The two heroea in Jerusalem Delivered, Rinaldo and Tanored, represent interesting contrasts with the heroes of Orlando FuriOso* Like Bradamant, Rinaldo ia doubly sueoeaaful in maintaining his honor and gain­ ing his love; and like Arlosto*s Rinaldo and Orlando, Tanored looea his love but keeps his honor* However, though the effeets on them are the same, Tasso's treat­ ment of his heroea is different from Ariosto's. Rinaldo in Jerusalem Delivered is far loss oonstant than Bradamant in hia regard for love and honor; for he rejects both before he ia saved. Also, Tanored»s loss of Clorinda is entirely different than Rinaluo'a and Orlando's loss of Angelica. Clorinda's death is tragic with serious spiri­ ts * ! im p lica tio n s; A ngelica's departure ia oomlc* Spenser's version of the love versus honor theme is essentially different from that of both Ariosto and Tasso. His heroes accomplish all they set out to do and are per­ fected through the quest. Red Cross killa the Dragon and is betrothed to Una. Guyon destroys the Bower of 38

Blisa and captures Aerasla. It ia to be noted thut, like

Astolfo, Guyon has no lady, and both heroes are leas intereating beeause of it, Britomart finds Artegall and wins hia love, Artegall himself kills ftrantorto, Cali- dore wins Pastorella and defeats the Blatant Beast, Dramatically, then, the basis difference between the three poems Is that with the heroes in the Faerie W ens there is no tragedy,3® Also, in the Faerie Queens there is little tension between love and honor, beeause the oharao- ter relationships are between protagonists; whereas, Ariosto and Tasso have their protagonists in romantic entma&ements with the antagonists, Orlando and Rinaldo love Angelica; Bradamant loves Ruggiero; Tanored loves Clorinda; and Rinaldo loves Armida, Spenser admits none of those complications; and as a result, his poem is less drematically coraplax. The tensions, then, in the Faerie Quoene between love and honor are slight and resolved without much of a struggle. Red Cross leaves Duessa rather oasually when Una's dwarf tells him the truth about Luelfera's castlo; and ho apparently has no negi*ta whon she is exposed by Arthur, Guyon is only momentarily attracted to the two nuked nymphs In the Bower of Bliss, Artegall*s attraction to Radigund Is an Impersonal ad* miration for a beautiful woman rather than a romantic desire to acquire a lover, in faot, he rejects her ad­ vances, because he is faithful to Britomart. Calldore, 39 too, •▼old* the tensions of a love-honor conflict; for It It hit love of Paatortlla which actually reminds him of hia duty. Though various differences In eharaotor and theme oxlat among tho horooa In tho throo poems, the baalo con­ cept of tho hero ia tho aamo. After a aorloa of aotbaoka and delays, they all com through In tho end the way Christian does In Pilgrim*a Progress* Reconditioned In virtue, they arrive at their separate Cities of Zion. There are no dead and bloody Beowulf a or Achllleaea. j^ach Is an Aeneaa. There are no dead protagonist a, only dead antagonists. As stated before, the antagonists of the three poems exhibit much greater diversity than do the protagonists* Ariosto*a forces for evil are noble and complex charac­ ters; Tasso's are noble but single dlMnslonal; and Spenser's are neither noble nor complex* Let us first examine these in Arloato*s poem. Since the number of characters In Orlwado Purloao la very large, It will be necessary to limit our discussion here to the principal characters such aa Ruggiero, Marflaa, Rodomont, Mand ricardo, Doralloe, and Agra mant - a group which parallels the principal oharaotera in the poem. In Orlando Purloao. the evil characters fall more easily Into groups than do the good ones, the groupings being largely determined by the themes which they repim- 1+0

sent. For instance, Ruggiero and Marfisa aw evil only in the sanaa that thay ara fighting against tha Chris­ tiana. But actually, with Sobrino, thay stand for tha highest order of nobility outside tha pale of Chris­ tianity; and thay exemplify tha thane of the redemption of the virtuous pagan* That la, in the end only theae three antagonists beeone good by being converted to Christianity* The aeoond group, Rodonont, Mandrleardo, and uora- llee, correspond a with Orlando, Hinaldo, ana Angeliea In that the two pagans are two of the leading knights in Agrattent,a army; and they are both eompeting for the love of Dorallee* But, more particularly, they typify the thene of unbridled pagan violence* Their courage makes them noble, but their pride ruins them. Finally, Agramant, as supreme commander of tha Saracen army is th» non—Christian counterpart of the super-hero* Like Charlemagne and Godfrey, his ehlef dramatic function is to keep the headstrong pagan heroes in oheck ana at the task of defeating the enemy* On the other hana, he is no super-hero; for he reveals the same basic moral deficiency which all the other antagonists share* Neither Agramant nor his liegemen can be twisted. He breaks the twice and attacks when Ruggiero seems to be losing hia fight with Rinaldo; Gradasso steals Rinaldo*e horse after promising to U1

fight for it; Ruggiero, whoa deprived of Bradamant'a moral

guldanoa, attempts to rape Angelica after he haa rescued her from the Ore* Mandricardo lies about defeating Orlando; and Rodomont has no intention of keeping his agreement with Isabella* oxoept for the three pagans who ore eventually converted to Christianity, none of the unbelievers holds anything more saored than his own personal desires* They are opportunists with a distorted view of personal honor* By contrasting them with the Christian heroes, we see that Christianity acoounts for the difference between the two groups; for It supplied tha western Europeans with a tn e oode of honor* At the base of Ariosto's comedy, than, is the very sound foundation of Christian doctrine* Though Ariosto distinguished between his good and evil characters on the basis of a oode of honor, they are all of the same order as dramatic figures* The Saracens have the first responsibility of defeating the Christians; but for various reasons they are attracted to minor quests which folio- the same pattern as the adventurous encoun­ ters of the Christiana* In the case of Rodoment, who may be considered typical, the quest corresponds with the q u ests of the p ro ta g o n ists in the th re e poems* We see him first at Paris killing Christians until his arms become weary from the slaughter. Then he departs on his quest for Doralloe, who haa been taken away by his fellow knight, Mandricardo; and in a series of appearances which 1*2 extend through tho entire poem, ho takes Ruggiero's horse. Frontino, from Ippalca (Canto 23)# fighta Mandricardo (Canto 21*) and than Ruggiero (Canto 26), returns to Agramant with tho othora (Canto 27)# quarrala with Man­ dricardo, Ruggiero and saerlpant, ia rejected by Doralice and d e se rts tho army (Canto 27)# hears the Bost*s atory about false women (Canto 28 ), and meets, falls in lore with, and kills Isabella (Cantos 28-29)* Then after b u ild in g a tomb in her honor and decorating I t w ith tho armor of knights whom he defeats on his narrow bridge, he fights with Orlando (Canto 29)# defeats Brandlmart (Canto 3D» Is defeated by Bradamant (Canto 35)# and la finally killed by Ruggiero at the end of the poem (Canto 1*6). In the course of hia adrenturea Rooomont is engaged in combats with most of the leading knights In the poem* when we consider that the other knights are also involved in a similar series of oombata, Ariosto'a skill in weaving such an intricate dramstie structure becomes apparent. Compared to A riosto*a e v il c h a ra c te rs, T asso's are re la tiv e ly sim ple. Measured a g a in st Rodomoat and M andri- oardo, Argantea and Solyman are pale figures* Once they join the army within the walls of Jeraaalem, thay remain tediously loyal to Aladine and their allies. They imfuea to be drawn from their battle stations by any distraction tee nor do women incite disagreements* in fact, they are 1*3 remarkably unaware of the ebinu of Clorinda and jsrmlnla. All that oan ba aaid In their behalf la that they lire and die in the odor of courageous violence. True, they are noble oharaotera with a higher ooneept of honor than either Rodomont or Mandrloardo; but their atatlo nature and unilinear conoeptlon recalls the humor oharaotera of Ben Jonson. Clorinda and nrmlnia, however, are more complexly coneeived because they isuat resolve their internal confliot between love and honor. In a way, they play the same thematic role aa Marflaa and Ruggiero in Orlando Purloao; for they ara converted to Christianity by Tanored a a the other two were by Bradamant. Clorinda la converted in fact, bminia la in effeot. Aladlne is Agramant'a counterpart in Jerusalem Delivered. He la the supreme head of the pagan army and shows the same kind of unmerciful violence which la typioal of the villains. But ainoe hia vaasala and allies are rather piously loyal, he la apared the pains of keeping them in line which caused Agramant no end of trouble. Though Aladlne is a major character only because of hia rank and position and functions ohlefly as a convenient opponent of the equally noble and colorless Godfrey, at times Tasso gives certain humanizing details about hia eharaoter which make him more dramatically effective than hia subordinatea. For instanoe, in the episode where he oondemns Sophronla kk and Ollndo to be burned at tha stake, Taaao notea that ha leaves tha soana leat ha ba moved with compassion and aat tha loTara free* Spenser's evil oharaotara ana differently coneelved. They ana far laaa dramatic than tha evil oharaotara In Orlando Furloao and Jerusalem Dal It# rad. Thla la due In part to tha faot that 3penaerfs point of view Is naTar that of tha evil alda In any conflict* That is, tha raadar never laarna what tha motivation of an evil oharaetar la for eaualng ao much trouhla, jsvery antagonist axlata as a aelf-contained entity. However, wa must remember that the world of tha Faerie Qucenc la allegorical; where a a the world a of Orlando Furloae and Jerusalem Delivered are at laaat pseudo-realistic. Another of the major deficiencies of Spenser's villains la that they are not related to eaeh other in any kino of organised evil conspiracy against the forees of good, aaeh exists as an Individual separate obstacle which a certain agent of good must aubdue* On the level of drama, the Dragon is just aa unaware of Aoraaia aa she is unacquainted with the Blatant Beaat. But we mist not be too hasty to charge Spenser with a deficiency of which he himself was, no doubt, fully aware. That la, wa must not condemn his allegorical opponents of good for not being more human beoausa, in point of fact, though they are tha major embodiments of evil, they are not tha major characters of evil. They U5

represent simply * kind of graduation exercise for tha haro aftar ho has alraady boon schooled in tha particular virtue which ho represents* This la obviously Spenser's intention with auoh figures aa tha Dragon, Aoraala, Orantorto, and the Blatant Beast, baoauaa in eaoh ease tha final meeting between the haro and tha opponent of hia quest is anti-climactic. In faot, with Artagall and Calidore tha reader may easily forget that the haro has yet to face, respectively, Orantorto and tha Blatant Beast until Spenser tacks on the final encounter* In tha Faerie wuaane eaoh of the protagonists meats hia moat effective opponents in the course of hia quest* For example, Rad Cross is weakened by Duessa and captured by Orgoglio aa early aa Canto 7; and Artegall is imprisoned by Radlgund no later than the middle of Book V* The evil characters who actually defeat tha heroes in the Faerie Quoenc are minor figures in the total fraaiework of the poem* Mora will be said of them later* Hare it is sufficient to observe that Spenser uses allegorical figures who are nominally the major opponents of his heroes; but, actually, his most effective evil characters are minor figures* Ariosto and Tasso line up one sat of major figures who are good against another sat af major figures who are evil in carefully organized and well balanced groups* Spenser does not. Thus, tha importance of the role whioh Spenser assigns to his minor figures is enhanced* At 1*6

this point, lot us turn our mttontion to « general oonsid- •rotion of tho minor ohoroctor* in the thro* poems. Thoro aro fowor of thorn in Tasso's poem and thoir dramatio function 1* loaat important, with tho fov exemptions which will bo notod, all Tasso** minor figure* are balanced in tho aonao that oach Christian minor ohar- actor ha* a pagan counterpart. For example, Just aa Potor the Horait acta aa tho spiritual advisor to Godfrey and the Christian army, so Ismeno, the pagan oonjuror, servos Aladlne and the Saracens. L a te r in tho poem when Alecto, a pagan magician, arrives on the scone to help Aladine, he is soon followed by the hermit wlsard who direots the reaoue of Rlnaldo for the Christians. Tasso, intent on schematic relationships, goes so far as to make Ismeno a convert from C h ris tia n ity to Mohammedanism, and the hermit wlsard a convert from Mohammedanism to Christ­ ianity. Angels are set off against demons. aach side has its prudent military advisor in Raymond and Orcanes; and even the squires of Tanored ana Clorlnda (Vafrlne and Arsetes, respectively) are balanced. None of the other principals have squires except solyman, and his is lnoon- aequentlal. It is more important to observe that Tasso*a minor figures, Christiana and Saraoens alike, remain undeveloped extras in the cast. In most oases they seem to be employed merely for the sake of a moral or to oreate an issue which is Important for one of the major U7

characters* For example, the death of Hugo is used to arouse the Christian army to greater heroics, but aa a dramatio figure he never oomes to life. Gernando, too, is no more than a stereotype of the boaster, important only because Rlnaldo k ills him and consequently must flee, jsven suoh men as Charles and TJrbano, who go to rescue Rlnaldo from Armlda, are no more than names. Their questions addressed to an unidentified woman while en route to the Fortunate Island enable Tasso to present a sort of Mediterranean travelogue; and their sojourn on the Island is used simply as a devloe for Tasso to des­ cribe an exotlo natural setting* Ariosto’s minor characters constitute a much larger group than Tasso's, and they are muoh more dramatically functional because, unlike Tasso's minor characters, who are Important only in their relationships with the major figures, they have their own Individual existence in the narrative* &ven the moat Important minor figures in Jerusalem Delivered. suoh as Raymond and Vafrlne, merely play the type roles of the faithful, wise, old warrior—"" and the olever squire who becomes a spy. Their actions are restricted to a single purpose which is completely subordinate to the Interests of the major characters; as individuals they laok any personal desires, Interests or attachments* When their roles are contrasted with those of suoh minor figures as Zertsino or Brandimart in Orlando Furioso, the difference of their functional use In the narrative becomes strikingly clear, Zerhino, like old Raymond, i s an o th er f a i t h f u l C h ris tia n k n ig h t; but h is lo y a lty to Orl*»ndo i s much b e t t e r accounted f o r than Raymond*s to Godfrey, Their relationship is more personal and oomplex, Orlando resoued his lady Isabella; and for a short time Zerblno was suspicious of Orlando*a behaviour with her. However, when Isabella's faithfulness becomes evident, Zerblno regrets his distrust of the two and proves his loyalty and gratitude to Orl«nao by dying In defense of his honor. Again, Zerbino's relationship with Isabella adds further dimensions to his eh*r*eter, In short, whereas Raymond's role In Jerusalem Delivered Is entirely subordinate to characters and Interests greater than him­ self, Zerblno plays a role comparable to those of the heroes in Orlando Jurioso, but on a smaller scale. Like them, he seeks a lady, Isabella, meets adventures during hia quest (his combat with Marfisa), is aided by one of the heroes (Orlando resoues him), and fights one of the enemy heroes (M andrlcardo)• As a dram atic c h a ra c te r, th en , Zerblno f a r surpasses Raymond, in f a o t, the Z erbino- Iaabella tragic love story la among the best of the -any narrative threads which Ariosto need to weave his "great web,"

Brandimart is superior to Vafrine for essentially similar reasons. These two play the same rol« of squirm 1*9 to one of the he roe a: Brandlaart la In effeot Orlando's squire, end Vefrlne la Tanered's a quire, when without hia aqulre Orlando deaerta the ohrlstlan army at Paris to follow Angelloa, Brad1wart leaves to find hia; and through the remainder of the poea the aqulre meets various adventures In hia search for Orlando* He la imprisoned in Atlas* Castle, freed by Astolfo, defeated and captured by Rodoaont, rescued in Africa, reunited with Orlando and Fiordillgi, chosen to fight at Laa* pedusa, and finally killed there by Gradaaso* Such a quest with adventures along the way la precisely the main narrative device which Ariosto used with his heroes* In addition, Brandimart has the ouatomary lady, Flor- dlligl, who causes further complications when sh» sets out to find him* Tho Brandlaart-Flordillgi love story ends llko tho Zerblno-Isabella story In tho traglo death of both lovers. These two pairs of lovers illustrate the praotice of both Ariosto and Spenser of reserving what tragedy there la In the poeas to the minor charac­ ters* All their heroes are eventually successful in accordance with the traditionally romantlo conception of the hero* aven Tancred in Jerusalem Delivered* who comes closest to being a major tragic figure, la roman- tioised when Clorlnda appears to hia in a dream. Compared to Brandlaart, Vafrine seems pale. He does not make an appearance until near the end of the poea 50

(Book xVIII); and then his rolo as a spy is ussd by Tasso as a device to d esc rib e tb s a f f a i r s of tha Egyptian army* Vafrlna is potantially a oharaetar of soaa depth* Ha has tha wisdom ana IntaXliganea to oarry out his mission suooasafully; and he display* tha aarthy common sansa of a Saneho Panza whan with mrminia ha comas upon tha woundad Tanored and advises her to postpone har tears until she has cured him* But Tasso gives him too few opportunities to exercise his talents, so that in tha last analysis ha remains a type, much less individualized than Brandimert • Ariosto presents m«ny other excellently drawn minor figures* Por our purposes, however, the briefly demon* strated superiority of his minor characters over those of Tasao must suffice before we move on to Spenser's minor characters In the Faerie (jueene. Spenser's portrayal of tha minor characters In tha Faerie wuecne Is parhaps the most neglected and least appreciated aspect of his poem*^ Unfortunately, critics have been interested in almost everything else In the poem and have dismissed the minor characters with hasty generalizations* As a matter of faot, Spenser was much more careful in drawing his minor figures than his critics have been in writing about them* For, as a group they reveal previously Ignored aspects of Sponsor's poetic artistry In characterisation; and the most interesting dramatio conflicts and tensions in the poem occur among 51 the minor characters. Generally speaking, Spenser's minor characters be* cause of thalr Important dramatic function mora naarly raaambla Arloato'a than Tasso's, However, it mruat ba kept in mind that thla likeness la a resemblance, not a d ire c t Im itatio n , aa aoma e r ltlo a auoh aa i/odge imply,**0 Parhapa a single comparative example will Illustrate these observations. Among tha minor oharaotara In Jerusalem i>e live red, Tasso prasanta two boa ate rat Qamando and Arglllano, Keithar character comes to life In any dramatio aanae, because both are used aa traditional loud-mouthed boas­ ters who make a great deal of noise but are quickly sllenoed whan they coma before one of tha heroes,*** Gernando la killed by Rlnaluo and Arglllano by Solyman, Neither do«a anything more than boast, ana both die f o r I t , In Orlando Furloao, Hartano la tha bast minor figure of thla type. However, he la much more Interesting than Taaao'a boaatera because Ariosto has given him a place in the dramatic aotlon. He has a lady, Origllla, who haa da l i t t l e regard f o r morala aa he does. But the two a re clever enough to palm off the lie that they are brother and slater when her fonner lever, Orlfon, a minor hero, cornea to reolalm her. In faot, when Orlfon wine first price at Norandino'a tournament, they triok him out of h is p 2*1x 6 and honors bofdm they a 2*o finally discovei'ed and punisimd* Actually, Arloeto haa built a dramatic •pisoda around tho pair* Braggadochio in tha Paarla Quaana represents Spenser's version of tha braggart type* As a character, he is much better drawn than either of Tasso's boasters because of his dramatic function in the poem, which codge claims represents a combination of Mandricardo and Mai*tlno in Orlando Purioso* True, there la a resemblance* Brag- gadoohlo does boast Ilka Mandricardo, and be is a coward like Martino and tries to claim first honors at a tourna­ ment* But Mandrloardo is not the only boaster in Orlando Purioso* In fact, there sre few characters in the poem who do not bo«st* Boasting is as eommonplaoe in Orlando Purioso as in the Iliad. And Braggadoehlo's role in the Faerie v

Ma2*tlno's in Orlando Purioso* Whereas Martino's appear­ ance la lergcly restricted to the single episode of the tournament, for Braggadochio the corresponding tourna­ ment Is the conclusion of a series of appearances which are carefully designed to be a humorous commentary on the heroes and their adventures* Clearly then, from this brief comparison, the basic differences in the portrayal of minor figures emerge* Both Ariosto and Spenser sur­ pass Tasso In characterisation; and though there is a resemblance between certain characters in Orlando Purioso 53

and tha Faerie yueene, It would not bo true to aay that

Sponsor's characters aro diroot imitations of Arldsto's* Thora are too many differences, Certain of those impor­ tant differences will be considered at greater longth in the following chapters, for at this point we are pre­ pared to glTe our complete attention to a detailed examination of the minor characters in Spenser's Faerie knoeno. FOOCTOTuS

10tb#r atudloa of Sponsor1* aonroo* In Orlando Purloao and Jorasalon Doliyorod aro: Allan H. Qlioort, 1rSB5n5#r,a InHStTons rrou Ariosto t Supplementary," FMLA. XXXIV (1919), 225-232? R.B.H. Dodgo, “Sponsor** TSTTatlona fron Ariosto: Addenda," PMLA, XXXV (1920), 91-92j Suasnnsh J* MoMurphy, “Sponsor’s bao of Arlo*to for Allegory.“Unly. Kashins ton nib,, II ( 1 9 2 (4 ) , 1-5U ; Kooppol, Anglia, xi, Harold Hoopsr Blonehard, Italian Influonoo on tho Fsorts Queens (Cambridge, Mass., 192TT,'"ana Hmitatiena tron Taaaoin ins Fsorls VMnono," SP, XXII (1925), 198-221; B.B.C. W » l* ,j5 E " S 5 E : T"oritloal study (Cambridge, »ngland: Unlroralty froas, T9j3 ), p^» 8 1 4 - 8 ^ 5 Alborto C aatelli, Ls Qoraaolomms Liberate noils Inghlltorre dl Sponsor, T5B5TRsoTonl dolla tiniyorsita £afctoiIea dial Uaore cuoro, Sorts Quart a: Selonzo Pllologloho, Vol. XX (Milano: Sooiota* ud itrice "V ita 0 Pan a loro," 1936); Fro da L. Townsend, "Sidney and Ariosto," PMLA. LXI (19U6), 96-108; chandlor B. Bo a ll, "A Tasso im itation In Sponsor," MIA, III (191|2), 559-560; w. J. Court hope, Cambridge HlaTory of ^nallsh Lltoraturo. oda. a. a* Ward atta A7 K« wallsr”TCanEnage, nngiandiTniyeraity Proas, 1909), III* 231| Heibert o. TJnlr- L ew is, 1 9 3 6 ),

^William R. Muollsrin hia Sponsor1* Crltloa (Syraouao: Syraeuao University Pro as, i95^J, p".“7 , olalna that tho atruoturs of tho Maoris Queens ha a Iona boon on* of tho noat popular toplos among'Sponsor's orltloa Hia survey of tho orltlolsn of tho atrueturo of tho Hnooy. pp* 5-10, la exoellent. As a rulo, tho •ritio s admire tho tight straetune of Taaao*a Jo rasa Ion DsllTorod; but thoy gon*rally dlsagroo about tha airae- turo or tho Faerie Queens and Orlando Furloao. For •xa*R1#r R* a* vnuron in hia Sponsor (Wow T orn: Haraar and Brother*, 1887), p. 119, aayT^hat tho Faorto Queens boars on It a faeo a groat fault of eonatraoTTBnT" TEoSaa Kolghtloy in hia "Plan of tho *Faorlo Queens,** HQ, IV ([4 th aor., 1869), 211-12, aaya that tho atracturo la uni- flod booauao tho twelve noral virtue* wars lntondod to 55 bo grouped around thm cardinal virtues. Janet Spans In her Spenser's Faerie Queene(Lendoat Methuen, 193d)# PP* 15-37, Tiaarafa tnat Spenser's plan was to llluatrata tha aeven deadly sins. *mile Legeuia In hia Spenser (New York, 1926), p. 101, ohaaaaa to ignore atm ature for ha believes that “Tha Faaria Qua ana la a s sent 1 ally a aarlaa of gorgaoua dYFBretioiia, of splendid pageants. w.B.C. Watkins in his shake spa are and Spanaar (Princeton: Prlnoaton University Press, ivbbl p. i*o, reals that Spanaar la "more oomplex than either1* Tasso or Arloato. On tha struoture of tha Faaria Queene, Josephine Waters Bennett's study, Tha *roTXCT8K q T^TBs Faaria Queene" (C hleago: UniveraTTy o f C hicago Fire a s , 191*2 ) la pa maps tha most complete and oontains among Its other'virtues nunarous valuable erltiosl Insights, However, at tinea tha Insistence on her thesis of tha apaolal ohronologieal order In which tha various books and episodea were eom- posed leads her to suggest suoh things as changing of nanas (Belphoeba for Diana, p. 51) and Inventing charac­ ters whose role Arthur later assuned (tha angel guarding Guyon in Book II becomes Arthur, p, 57) on the slightest evidence, John Arthos In hia (On tha Poetry of Spanaar and the Powa of Romancea (Lonoen: Allin and TJnwin, 1^56), p p . 18 I4-JO 3 , represents the most recant critical ten­ dency to defend the unity of tha Faerie Queene by in­ sisting that its unity is one based on variety. Criticism of tho structure of Orlando Furioao has undergone some­ what the same development aa c ritic 1am of tha structure of the yaerie Queans. Rymer attacked Spenser for follow­ ing Arloato {preface to Rapln, ed, J, n.Splngara, C ritical naaaya or tne Seventeenth Century (Bloominxton: Indiana unfveralTy Tress, J.y>V;,n,' TF7-lfe8); wart on objected to ^rloato'c irregularities (Observations on th<* Faerie Queene (London, 1908), I, lYITZTHurd' waT“ unable to rlna any unity in Arlobto'a “Gothic composi­ tion" (Letters on Chivalry and Romance, ad, Morlov (L ondon^“FbrwSc7" m i )\ ppT TTB=T3T); and Freda L. Townsend, ("Sidney and Ariosto," PMLA, LXI (191*6), 97- 108) In showing that Sydney's Arcadia has the same baroque quality as Orlando Furioao, says that Ariosto did not forfeit order in nla web of Orlando Furloso; the action is intrloately interwoven. "

. ^Notice how the tltl« s themselves underline this difference. Ariosto's poem, Orlando Furioao, receives its title from a eharaoter; wnereas”Taaao'a, Jerusalem Delivered, is named after an action.

|*To c i t e J u s t a few , 1 have in mind aueh epi­ sodes as the Ariodan-Genevra episode in Canto IV, the Olimpia-BIreno episode in Canto ix, and the Host's tale 56

to Rodomont in Canto aXVIII. ^Waldo F. MoHeir, “Canto Unity in Tho Faerie Queene," PQ, aI a (19U0), 79-87. ^Thia speculation, of oourse, ia completely invalid if one ohooaao to aeoept all tho implications or Mrs. Bonnott *s thwsis in Tho evolution of tho Faerie Qnoono, p. 5, that tho pooTwas -wriiitenpleoeneal and n o T seratlm in its present order . . • ." 7Among tho many critics who have commented on tho different tone of eaoh poem are H.S.V. Jones, A Soenaer Handbook (How York: F. S. Croft a and Co., 19140), p. UjOiWcWr Brooke, ‘'The Renaissance," A Literary H ist­ ory of angland, ed. Albert C. Baugh ot al (How™^^5*k: IpploTorFcenYury - Crofta, 19U8), P.TT97T C. M. Bowra, From Virgil to Milton (Lonuon: Macmillan and Co. Ltd., p7,"l927 andTTT H* Blanchard, Italian Influence on the Faerie Queene (Cambridge, Maas.: harvard univ- HYaYISy FFCTS7 IV21 J , p. 257. Jonoa point a out that Taaao'a Influence on 3p«nser la "In hia doaoriptlvo art and tho prevailing tone of hia poetry." Brooke obaervoa that in addition to giving Spenser "inspiration for apeelfie passages" Tasso must have also "deepened the moral and crusading elem ent in the F a er ie Queene." Bowra illustrates that Taaao*a habit ia to treat "every situa­ tion with the utmost concentration and seriousness," and that hia "seriousness and solemnity are what mott of all separate him from Arloato, and ahow that he lived In a different world from the high Renaissance." Ana, finally, Blanchard in hia analysis of Arloato*a regretable influ­ ence on the tone of the Faerie Queene oaata Suenser in the role of a fair innocent expoadd to the oynlciam and irony of one he feels to be a decadent Italian. But Blanchard is relieved to oonvlnee himself that "Ariosto haa not permanently colored Spenser*a inner thinking. He haa faced dlalllustlonm ent, haa oome to understand the world which produced a spirit aueh aa Ariosto*a, hia spirit haa aunk beneath it and become saddened. but he haa ehoaen to hola himself aloof."

,frow ?flando Furioao have been taken from Allan H. Gilbert's exoilj.ent proai translation (Hew York: S. F. Vanni, 1951*). Also,

ry^M TT Sa2££j*«« Tork! Th. C oT clnI.1' rreaa, lvoij ia still aa good as any in angliah. $1

^Among the outatendlug historical studies of Spenser’s use of the Arthurian legend ere Charles Bowie M llllean's Spenser end the Tehle Round (Cambridge, Haas*: Harvard Uni Ye rally press, i93z/» ana ad win Greenlaw a Studied In Spenser’s Historical Allegory (Baltimore* 1932J*" RTllloan shows tne vogue or materiel about Arthur during Spenser'S time; end Oreenlaw points out that the Arthurian legend took on new life with the aoeeasion of th e T u d o rs 14 beeause the “task was to prove Arthur's his­ toricity and the fulfillm ent of the anelent prophecies with the aeoesslon of the Tudors*" However, Spenser's version of Arthur in the Faerie queene, according to Howard Maynadler, The Arthur of ins engliah Poets (Boston: Houghton M ifflin and Co*, 19o7T » P* Zt>5, u i s h a rd ly recognizable aa the older Arthur*“ According to Mrs* Bennett, he is an "afterthought,” p* 60* T* D* Kendrlok, B ritish Antiquity, (London: Methuen, 1950)* “In the extraordinary complexity and ingenuity of hia attitude to the Brltlah History, Spenser la without a peer , 14 (P . 132)*

10a a Leicester Bradner in hia popular atudy j&dmnnd Spenser and the Faerie queene (Chleaco: Univ- ersTTy oT Cm ago^roaa /T% 8 ); 'pV71, points out: “The writing of a atrlotly historical epic was In those days so loaded with political dynamite that a remote ana Imaginary setting was needed*'*

HThough Legodls in Spenser (Mew York: j&* p . Dutton and Co*, 1926), pp* 18-iv, clearly ahowa Spenser's a tte m p ts to flatter ^lisabeth and Leicester, still we knowfrom Davis' admund Spenser: A C ritical Study. PP* 55ff*» that Spenser's discretion was not at all times servile homage*

^According to C. M. Bowra, From V irgil to M ilt on, p* H 4I, Tasso's world differs from Canoe a V TS os Lualadaa, which is "grounded in history," for Tasso moves in a world of his own making which intermingles elements of sober fact with many others of pure inven­ tio n * "

* ^Boera also observes that Tasso's “accounts ? ape remarkably lively, and even convincing" (p « 154/•

«f interesting dlaouaeion of the element 8 ^' —ew:salem Delivered see Bmm. nn i *"?* hl* eontemporarles, who be- • b S t b n t *"* no T,t7 0l,ar *8

^August C. Krey, The Flrat Crusade, (Prince­ ton: Princeton University Preee, ^Bowra calls Ariosto's world “a world of pure art" which "has no direct relations with actuality” (p. U*3>. f e e l th a t c. S. Lewis (Allegory of Love, pp. 308-309) oones much closer to describing Arloato*a world than Bowra. Lewis says: "what lies immediately below the aurfaoe of the Italian epic is simply the actual - the daily life of travel, war or gallantry in tha Mediterranean world. I am not referring to those stories of the novello type In which the actual appears without disguise, bhV to the Innamorato ana Furioao as a whole. Thus Agra mint's war with the rranks Is, on the surface, purely fantaatlo, and the prowess of its comba­ tants impossible; but beneath all this we detect the fam iliar lineaments of a real war. There are problems of transport and lines of communication. Defeat for the Invader means falling back on cities already taken. The divergent interests of allies show themselves in the councils of war. . . . The whole story could be plaus­ ibly re-written in headlines or generals' memoirs, when we leave the war for subordinate adventures we find the same thing. Knights may be sailing to fabulous cities of the Asmsons or to the dens of ogres, but the squalls and the seamanship are those of the real Mediterranean, and so are the pirates, the brigands, the inn-keepers. . . . Suoh is the Italian eplo: in the foreground we have fan­ tastic adventure, in the middle distance daily life, in the background a venerable legend with a core of moment- uoua historical troth."

^Spenser's world has been commented on by many critics and in many different ways. William H azlltt (William R. Mueller, Spenser's C ritics, p. 73) observes: "If Arloeto transports us inTo the regions of romance, Spenser's poetry la all falry-land. In Ariosto, we walk upon the ground, in a company, gay , fantastic, and adventurous enough. In Spenser, we wander in another world, among ideal beings.l* Janes Russell Lowell (Spen­ ser's C ritics, p. 97) claims: "In the world into w’EToE spencer carries us there is neither time nor space, or rather it Is outside of and Independent of them both, and so la purely ideal, or, more truly, imaginary; yet it Is full of font, color, and all earthly luxury, and so far, if not real, yet apprehensible by the senses. Thezu are no men and woman in it, yet it throngs with airy and immortal shapes that have the likeness of men and women, 59 n^ii hint at some kind of foregone reality." Lowell oontlnuea to say that thla region la "aomewhere between mind and natter, between acnl and aenae, between tha actual and tha possible." A. A. Jack*a observation about spanaar'a world la raninlaoant of Bowra*a oomnant on A rlo a to 1 a worlds Jack aaya In a Co-untary on th. Poetry of Chauoar and Spanaar (Glasgow: naaienose, Jack­ son and“Co., TTOJ), p. z 6?, tn*t In Spanaar*a world “wa foal wa ara mowing in a worlu which la not tha world of actuality, much rathar tha world of Art." Though Lagoia faala that “Tha Paarla Quaana la essentially a acriee of gorgeous decorations,""or attend Id pageants,' ha ia fas­ cinated by Spenser*s world “where wonder ia habitual, where the unexpected la tha rule" (Spanaar, p. 101 ). C. S* Lewia (Allegory of Lore, p. 3lo) claims that in the Faerie Queene there ia wno whan nor where.“ W.B.C. w at kina C?haxs ape a re and Spenser,p. 37) agrees In part with Lewis when he aaya: "though created in spaoe and deeply affected by time, the world of the Faorle Queene la uneonflned by geography, unchanged by tne seasons.1. Unfortunately, Watkins aaya no more about the Faerie uueene being “deeply affooted by time . 11 However, ha does insist that reality lies under symbol, (pp. 37-llO ). In apeaklng of Spenser*a world and Ita symbols, Rosemary Freeman In ^dmund Spanaar, Blbllographloal Series, ad. by Bonamy Uobree (London! Longmans, G reen and C o ., 1957), p. 25, points out: “Its meaning la not oonflned to these abstractions - that la the strength of ita imaginative appeal - but without them It could not exist at all." Douglas Bush in Mythology and the Renalaaanoo Tradition In ^ngHah Poetry (HLanaapoITalfrhlroralfct of~gImSaoga, 1932 )» p. 113, describes Spenser*a world thua: "For him ( 1. e. Spenser) the boundaries between the world of classical myth and the Celtic otherworld dissolve, and Faerie c&ecnc la the most notable example In our literature or tne blending of the two mythologies." And, finally, Tuoker Brooke seams to apeak as an Aneri- can liien he comment a on Spenser* a world (a Literary H litor, of angl«nd. p. I 499 ), In the a. worJeT f a 1rylend ia no mystic fantasy, but a true pioture of the democracy of life." ^

^-^The course of orltlelsm about allegory In the Faerie Queene ia admirably described by Mueller in Spenser's Critics, pp, 10-11*. j^cellent brief eosnent- a n e e on anegory In the Faerie Queene may be founo in C .s. Lewis* ohapter on Spenser in TEs’“Allegory of Love and in Chapter V of B*£,.c. Davla* £3nun3"lJpeneer:T l " -^ e* l S t i l l among th e most omtsYWndltTg ‘sp ec­ ialized studies is Frederick Morgan Padelford*s The 60

Political and *ooleslastloal Allagoiy, ofthe First 2g|j£ ([ifW bPTSoTEoD!^^^ and Co*# Tyli/# aioiiln 7TnaanTainT"S^ttqlc"a"Tn 3panaart« Hlatoi^oal Allogory (Baltim ore:TET7oli5s fo&lfiiT"Pneis, 1V3£), «a* TEllo M. Buck, Jr., "On tha Political Allegory In The Faerie Queens ,!1 Tha University Studlaa of tha University of Habraaka, XI (i9iiu S w fe: ------20^a Bowra points out (p. 11*3) since “Tasso oould not divorce his poem from religion and morality* . . . the result Is & poem which Is consciously and conscientiously C a th o lic ."

21Bl*nchard would have one believe that Ariosto "levels life 's sacred Ideals to oommonplaces with self- indulgent Irony" (p. 185). Such an observation seems to show an obvious failure to understand the basic code of Orlando Purioso. And when Blanchard ooneludes with the pious sentiment that "in the realm of his deepest thinking, Spenser faoed Arloato and refused to accept him" (p . 21k), one feels that the most appropriate ans­ wer would be: Pity. If Spenser h*d accepted a little more of Arioeto's spirit, parts of the Faerie Queene might be better remembered. In fact, lT T rio atoms' eyn- ical Irony destroys morality and Spenser's noble idealism resoues it, It does not appear so to Douglas Bush who In Mythology and the Renalasense Tradition, p. 99 . aavs •' 11 T » T T o n ~Tf~Kri oito*'» Bo'iVTfET la l.J . h i.“ K than Spenser*s.'*

22For example, Legouls (p. 29) points out that bpanser falls to portray one good priest.

23Davis calls Spenser "the representative apostle of that onglish Hensissanee which revealed It­ self, under different aspects, In geographical discovery, religious refonnation and the revival of learning" (p. 58). And Davis states later (p. 61*) that "the poetry of Spenser is olrcumscrlbed by the tastes and beliefs of his age." ^Many critics have conaented upon this merger. D a v is, p . 66 , says "His Christianity Is overlaid with the paganism of the Renaissance. • • •" watklns notes, p. 11*8, th a t G reek and Roman e t h i c s a re Joined to C h r is tia n moril beliefs. A. a . Jack ealla the Faerie Queene "the monument of new Protestantism" (P. lBjTJT" Leg'ouTa, p. 137, describes It In these words: "His poetry, like his own thought, was a battlefield. In his verse the classlo Renaissance and religious Reform ride against each other with spears couched, like the knights In his many jousts 61 and toamanuiits. Hia was a pagan imagination enraptured by ill tha beautiful fom i, eolors and soonda of thla e a r th , w ith b e a u ty , and above a l l th e beauty of woman, for Ita polar star; hia oherlahed faith was Platonism, whloh makes beauty the divine acul of the world. And yet thla Imagination, thla faith, were alwaya repreaaed and held In oheok by the Chrlatian sense of the vanity of all aenaual delights, by the fear of ain and the right­ ful worship of moral virtue.** J. w. Saunders In "The Facade of M orality," That Soverains Light. Assays In Honor of &dmund Spenser, eds. w. H. nuener ana hon Cameron Allen * Baltimore: The John Hopkins Press, 1952), pp. 1-3U* ahowa that Spenser*a attempt to please an audlenee composed of oourtlera and middle olaaa caused a dualism In hia poetry. The order of the first two booka of the Faerie Queene even suggests thla merger of Greek and Chrlatian elements. Hot lee that in Book I the virtue to be demonstrated la, as Bennett, p. 122, says, "ao un-Aristotelian a virtue aa holiness.** Whereas In Book II he emphasise a the A ristotelian eonoem with the attainment of the mean In demonstrating temperanoe. Grace Landrum, ("Spenser's Use of the Bible and his Alleged Puritanism," *MLA. XLI (1926), 517-5M), has discovered over 130 Biblical references In Book I and over ljO In Book I I •

2^Guy Bohs In Chauoer and Spenser, Contrasted as Harratlve Poets (London: hexson, lvzoj, p"T53, " TTsfcs certain of Arthur's qualities In relationship with contemporary models: HPrinee Arthur must have the courage of Drake without his ruthlessness, the ten­ acity of Raleigh without his oholer, the charm of Sidney without his Ineffectiveness."

2?Davis, P* makes this same point in saying that Spenser "dictates his art not to the glory of God but to the praise of the godlike In man, ground­ ing his ethios upon self-knowledge and self-mastery rather than upon abstract righteousness or fear of the L ord." oft Allen H. Gilbert in his artiole "Spenser's Imitations from Ariosto; Supplementary, PMLA, XXXIV (1919), 225-232, points out conclusions and transitions In the Faerie queene whloh are done In the manner of characterisation in these three poems. 3°A rthnr*8 only moment of u n re st In th e F a e rie queene is to be found when he condemns night for havTSg" prevented his pursuit of the fleeing Florimell (III, I f , 62

55-60). However, this condemnation of night ia in keep- ing with Spenser's uao of night aa tha tin* of "Shanefull deoelpt, and else belli ah drerlment"; w hers as day la tha tine whloh "diacoura all diahonaat wayes,/ Ana ahowoth aaoh thing, as it ia indeed . 44 3*Thia la not to say that Arthur*a role hara la exclusively tha physical aapaat of his nature. Rather Ilka tha ehnroh M ilitant, ha rapraaanta physical and spiritual elements both here and elsewhere in the poem. feel that Mrs. Bennett falls to emphasise Arthur's role in tha poem beoausa of her lnslstance on his laok of development. 33 or course, the quest is not exclusively a love quest; for the various levels of allegory permit Arthur's quest to be interpreted as both a national and a reli­ gious endeavour. However, he is primarily motivated by his desire to find the Paerie Queene. 3^j0hn W. draper in "The Narrative-Technique of the Faerie queens / 1 PMLA. XXXIX (1921*), 310-21*, comments on the devioe or the quest. 3^Two studies of special merit dealing with Calidore and courtesy are: H. C. Chang, Allegory and Courtesy in Spanaar. A Chineae View (*dlnburgn: univ­ ersity press. )» and J. 0. Maxwell, "The Truaney of Calidore," That Soueraln Light, Assays in Honor of iiidmund Spenser, oda. w. n. Mueller and B. Alien Tpp. o3-6vj. 3^j. j. Jusserand in a Literal? History of the English People (London: O. p. Putnam^s sons, 1^0©), IT- " ^u*, cans Olorlnda's death in Jerusalem Delivered "one of the most touching scenes in all literatures*" ^Though Orgogllo Is actually the individual who overcomes Red cross, he has been so weakened by his association with Duesaa that even the Dwarf would have had little difficulty in subdueing him. 3^Arthos, p. 1*1*, points out that the indivi­ duals in the Faerie Queene confront evils whloh are “always absolute .'1 3^1 know of no detailed study whloh la primar­ ily eonoeraed with the minor characters in the Faerie Queene. — 63

^ See page 2 above* Thu t i t l e or i)odge*s study is Indicative or his point of view concerning Sponsor's debt to Arloato. ^•^aniel c. Boughner* a The Braggart in Rena is - sanoe Comedy (Minneapolis: University orkinne s o ta Jt'reas, )» is one of the moat valuable studies of the brag­ gart as a type figure. However, his study is concerned with tbs boaster as a type in drama and makes only slde- glances at the type in non-dramatic literature. CHAPTER II FKMAUsi ANTAGONISTS

An effort was made In Chapter I of this study to establish the importance of the minor characters in the Faerie Queene» It now becomes our purpose to ex­ amine them in detail; and again as In the previous discussion of the major characters, we are faced with the problem of a proper method of procedure, for the vast number of minor characters in the Faerie Queene eliminates the possibility of dealing with each one in detail. Some sort of grouping becomes neoessary. Though a number of different approaches might have been adopted, the moat advantageous way for our purposes is to follow the classifications which Spenser himself obviously had In mind while writing the poem. This, of course, was to distinguish his characters morally, to separate them in terms of whether they were bent on doing good or evil* Once this general division of the minor characters haa been made, we may then continue a further breakdown of the characters Into smaller ana more manageable groups. For example, the evil charac­ ters may first be separated by sex; then they may be 65> further arranged Into suoh vocational groups as knlghtsf squires, and magicians.1 With thesa groupings this study will, therefore, fall naturally into two major parts: the minor characters who align themselves with evil, and the minor characters who align themselves with good. Let us first turn our attention to the antagonists in this chapter and reserve our considera­ tion of the protagonists for tho next chapter. One of the curious paradoxes of Spenser's Faerie Queene is that although tho poem abounds in evil charac­ ters (indeed, they seem to lurk behind every tree, in every cave, hermitage, cottage, castle, ocean, beside every stream, even in the privacy of dreams) still there is not one antagonist In the entire poem who approaches in dimension the stature of a major figure.2 This la curious in view of the fact that eaoh of the protag­ onists meets at the end of his quest a final supreme antagonist; and, therefore, the reader might expeot that Spenser would give greater dramatic dimensions to this antagonist than he doos to the other agents whom the heroes meet in the course of their quests* But such is not the case. For the moat pert, this final antagonist appears only at the end of the major character's quest when the hero is well equipped to deal with him success­ fully. Only with Acrasia and the Blatant Beast does Spenser prepare the reader for what is supposed to be a 66 climaotlo teat for the hero by giving preparatory glimp­ ses of the evil effects of the Villain, as with Acrasla, or by the actual appearanee of the villain., aa with the Blatant Beast. All the evil figures are minor charac­ ters when set beside Arthur, Britomart, Artegall, Bed Cross, and Guyon. A few, suoh aa Duessa, Archimago, and Braggadochio, reappear from time to time in a number of different situations; but typically the rolo of a minor ch aracter in the Faerie Queene is larg e ly re s­ tricted to a single appearance in a particular episode in which Spenser uses the minor oharaoter aa a foil for some major figure who Is demonstrating the special effectiveness of his particular virtue in overcoming evil. For example, Red Cross' first encounter with evil takes place when he defeats jirror in Canto 1 of Book I. This is jsrror's only appearanoe in the poem. Later, Red Croaa meets Despair; and when with Una's help he avoids being talked into suicide, we hear no more of Despair throughout the rest of the poem.3 This type evil character, suoh as srror or Despair, who makes only a single appearance is, of course, the least in­ teresting dramatically and will, therefore, attract least of our attention in this study. However, a number of minor antagonists reappear in more than one situation and , consequently, are of greater dramatic stature. Yet, it must be pointed out that the scenes 67 in which they appear are usually juxtaposed, or at least the series of appearances are nearly continuous* For Instance, Maibecco reappears a number of timea in the course of his loas of Helleaone and his attempt to re- oover her before dponser l^avei him with his fate on the rooky cliff* Also, Radigund participates in a number of scenes before her fatal encounter with Brltomart* Aside from these individual agents of evil who make single or multiple appearances, Spenser also deals with what might be called a crime combine* That is, a parti­ cular minor antagonist may join forces with other antag­ onists In a kind of grand conspiracy of evil* Archimago and uuessa, for example, are always ready to join a group which shows signs of progress In corruption* Or the combine may be a family enterprise aa with the three £ans brothers or Pyroohlea and Uymeehles, who in their under­ world loyalty work together like modem crime syndicates* Of course, the combine may be more sophisticated, too, like the elaborate coterie with which Lucifera surrounds herself; or it may even be a kind of ideal vice ring like Acrasia's. Prom these few examples, it may be said, therefore, th*t in the Faerie Queene the characters who represent evil function dramatically both as Isolated in d iv id u a ls and as members of a group, and they make both sin g le and m ultiple appearances* It should be added that the minor antagonists in 68 their dramatic roles practically exhaust the gamut of ways in which evil may be expressed in a character. Like Philotine and Ocoaaion they can be highly abstraot; or like Paridell and Braggadochio they can be highly real­ istic. In physical appearance some like Acrasia are beautiful; others like Ate are ugly. They may, like Grill, be human beings turned to animals; or like the Blatant Beast, animals with certain human qualities; or, finally, like Guyle they may be both. At times, they may like Pyrochles faoe death with unflinching heroism; again, like T romp art, they may be professed cowards.

In their manner, they may be sensually refined like Maleoasta or repulsively vulgar like Ollyphant and Argante. If almost all are objectionable, still there are some like Corldon and Radigund who engage a certain amount of the reader's sympathy. They are the rulors of castles and the servants of aristocrats. They are knights and squires, princesses and ladies in waiting, magicians, idiots, sprites, and fishermen. Indeed, even a member of the deity, Proteus, is included in their ranloe

With them, crime may be an end in its e lf aa with Arehlmago, a way of life as with Lucifera, a comlo pastime as with the Squire of Lames, a means to social position as with Braggadochio, or even a calculated business enterprise as with the Brigants in Book VI. In short, Spenser's minor antagonists range from those who are utterly con- 69 temptible to those who coma vary eloaa to being sympa­ thetically admirable* Let ua begin our analysis of this heterogeneous collection of fairyland residents with the evil wosien In the Faerie queene, the first of the two major groups shall be examined in this ohapter* The women antagonists in the Faerie Queens range from the sublime to the ridiculous; but those who receive the greatest dramatic attention from Spenaer are primarily seductresaes. Their extraordinary beauty and refined oharm enable them to prey upon the noble heroes with remarkable success* jJuessa, Acrasia, Phaedrla, false Florlmell, and Mlrabella leave a wake of vanquished lovers scattered about the fields and dungeons of fairyland before they are finally exposed* However, not a l l the e v il wosien in the Faerie Queene are beautiful seductresaes; some are quite repul­ sive • The term "woman" may be applied to Error only with qualifications, for actually she is an "ugly monater whose body is h alf serpent and h alf woman*Her brood of "a thousand yong ones" suck "upon her poisonous dugs" and creep in to her mouth when Bad Cross approaches her cave* Spenser's description of the fight between the two con­ tains some passages which are perhaps unequalled in their portrayal of filth, surpassing Milton's terrifying por­ trait of Sin in Book II of Paradise Lost* Error attempts 70 to break Red Croas'a grip on her throat In this way: Therewith she spewd out of her filthy new A flood of poyaon horrible and bleoke, Full of great limp*a of flesh and gobbet a raw, Which atunck ao vlldly , that It forst him alaoke Hla grasping hold, and from her turne him baoke: Her vomit full of bookea ana papers was, With loathly frogs ana toedes, whleh eyes did leeke, And creeping sought way in the weedy gras: Her filthy parbreake all the place defiled h as.5 (1 . 1. 2 0 ) Ana when Red Cross finally kills terror, "her scattered Brood" : Gathered themselves about her body round, weening their wonted entrance to haue found At her wide mouth: but being there wlthstooa They flooked a ll about her bleeding wound, And sucked up their dying mothers blood, Making her death th e ir l i f e , and eke her hurt their good. That detestable sight him much amaxde, To see th* vnklndly Impsa of heauen accurst, Deuoure their dam; on whom while ao he gazd, Haulng all satlsflde their bloudy thurat, Their b e llie s awolne he saw with fulness* b u rst, Ana bowels gushing forth: well worthy end Of such as drunke her life, the which them nurst (1 . 1. 25- 2 6 ) Indeed, one must rank Error high among the most repulsive characters In the poem. Among the women, only Duessa's physical appearanoe when she Is stripped by Arthur (I.vlll.)+6-i*8) rivals Error in repulaiveneas.^ But Duessa's filth is revealed only once. Throughout the rest of the poem her disguise as a beautiful woman enables 71 her to pose as a lady worthy of admiration#

Among the other ugly wob «q antagonists in th« Feerlo Queens consideration must be given to the ‘‘Hags#" As each one is introduced, openser seems to take speoial pains in describing her in accordance with the Platonio concept that inner evil manifests itself in physical ugliness# Included in this group Is the blind Abessa (I.111*12), who, although sho "day and night did pray," abused Una and set the v illa in Archlmago on her tra il* Another "wicked Hag" Is Occasion (Il.iv.li*) who hobbles about "In ragged robes, and filthy dlsaray" provoking her son Furor "to wrath ano Indignation#’’? Impotence, and Imps- tlenee, Maleger's squires, are also referred to by Spenser as "two wicked Hags#" Like Abessa and Occasion, they are "wrapt in rags"; and in addition to her ugli­ ness one has the deformity of lameness# However, these two are such reputable fighters that before their suiolde they bring down the mighty Arthur, and he must be rescued by Timlas (II*xi#23-31)• This is the only time in the Faerie Queene that Arthur is in need of help# Later in Book VI (vii#2l|) the savage man comes to his aid at a crucial moment when Arthur might be killed while asleep# But he is not sleeping in his encounter with Impotence and Impatience# However, In spite of their prowess, these two hags are not the most interesting of their group# This distinction belongs to the witch-hsg who Is the name- 72

less mother whose lazy son falls in love with the beauti­ ful Plorimell. Though she is portrayed in the customary fashion, dressed Min loathly weedea," and living in a dirty "little cottage" "In a gloomy hollow glen" "Par from all neighbors," she is not only more talented than her four Hag predecessors bat also more effectively characterized; and, even more important, she has greater influence on the course of the poem's dramatlo action. Whereas Abessa*a ana Occasion's chief a b ilitie s seem to be vituperation ana rabbi® rousing, and Impotence and Impatience are noteworthy for their skill at fighting, none has the supernatural power whioh this Hag demon® strates by dispatching the "hideous beast" after the fleeing Plorimell and manufacturing a convincing rapro~~ ductlon of the real Florlmell out of sueh Incongruous Ingredients as snow, mercury, wax, wire, and two burning lamps. Nor do any of her hag predecessors reveal the true human feelings whioh this one lavished on her lazy, retarded son. If she Is a hag and a witch who practices hellish arts," she is at the sam* time a mother who is more concerned about her son's happiness than certain other mothers in the Faerie ^ueene like Amavla who ara more dignified but less loyal. Amavla, It is to be remembered, leaves her bloody-handed Infant to shift for himself. Spenser underlines this mixtura of gooo and evil In his description of the wltch-hag's reaction to 73

Florlmell*8 tearful plea for help: And th at v ile Hag, a ll were her whole delight In mischiefs, was much moued at ao pltteoua a ig h t• And gan recomfort her In her rude wyae, With womanish coatpaaaion of her p la in t, Wiping the tea res fro* her auffused aye a, And bidding her s it downs, to reat her fa in t And wearle limbs a while* (III.Til.9-10) By th is aot of "womanish compassion" the witch-hag la humanized* she Is capable of being moved to pity - some­ thing beyond the capabilities of her predecessors* In part, her pity is due to the fact that she la ao Impressed with Plorimell*a beauty that she believes her to be "some Goddesse*" However, when Plorim ell fle e s from the amorous advances of her laxy son, her admiration soon turns to vengeanoe* Her son has been rejeoted, and like mo«t of the other haga her method of redress Is violence* She instructs the Hyena-llke beast to bring back Plorimell dead or alive* when the beast returns from hia mission with evidence which suggests that he had devoured Plori­ mell, the witch-hag with the aid of sprites m*kes the false Plorimell In order that "she might heale her son whose senses were decayed."9 This act influences the course of the poem*s dramatic movement; f o r though she and her son soon drop out of the poem, her creation, the false Plorimell, plays In important role in subsequent episodes* ^ Another hag who in her firat appearence (lV,i.l8) givea promise of being extremely intereating ia Ate;11 however, she never quite f u lf ills her dramatle p o ten tial. After she arrives on the aoene in Book IV in th© company of Dueaaa, Blandamour, and Parioell - a f i t company fo r her to associate with - Spenser interrupts the course of the narrative in order to give an extended description of her background and physical appearance (IV .i.19-31)• We learn that her dwelling is "a darksome delve farre under­ ground" "by the gates of hell" surrounded by "thomes and barren brakes," and Inside the "riuen walla" of her dwell­ ing "were hung with ragged monuments of times forepast" such as "rent robes and broken soepters plast Altars defyl'd, and holy things defast." 12 Spenser outdoes himself in describing the grotesqueneas of her phyaloal appearanoe. Her face is foule and filthy" and her squinting eyes are turned "eontrarre wayes," while both her tongue and heart are divided in two parts, one part contending with the other. Her ears are deformed, her feet are of different sizes, "th* one long, the other short," and her hands are "Likewise vnequall" and contend with one another so that what the one made, "the other tnard againe." In short, this "old and crooked" hag is a perfect manifestation of the kind of utter confusion which she hopes to bring about in fairyland. However, her success is rather limited. She arouses Scudamour*s ire 75 against Britomart whan aha in s is ts that his lady, Amoret, has baan unfaithful to him; aha stirs up Paridell into attaoking his traveling comrade Blandamour; she attempts to shame Braggadoohio into fighting for false Florimell; and, fin a lly , she appears as a witness against Duessa at her trial before Mercilla lV,ix.U7)* But for all her scheming, she has little effect on the course of the action* In spite of her lies, Scudamore is soon reconciled with Britomert and recovers his beloved Amoret; the Squire of Barnes stops the fight between Paridell and Blandamour before either is seriously injured; she is completely wasting her taunts when she attempts to provoke the notorious coward Braggadoohio into a fight; and even when she tells the truth at uueasAis trial, her evidence is ineffective; for Duessa is pardoned by Mercilla. In the final analysis, she laoks the complexity of a real indi­ vidual and, somewhat like Occasion, emerges simply as an abstract "mother of debate/ And all diasention." Since the remaining Hags in the Faerie Qu«ene func­ tion in the same kind of abstract manner as Ate, they may be quickly disposed of. Slander appears briefly in Book IV .v iii.22-36 when Arthur with Amoret and Aemylia come to her cottage for a night*s shelter, she is the uncomplicated type of Hag who is dressed in "ragged rude attyre" and "with filthy lockes about her scattered wide/ Gnawing her nayl«s for felnessc and for yre." She Is 76 filled with "rancour and deapight/ Vp to th© throat" whioh ah© pours out in "stream©a of poyson and of gall" that she may "causeless© crimes continually to frame/ With whioh aha guiltless© persona may accuse/ And steal© away the crowns of their good name**' But for all the ahuse which sh© pours upon her three visitors she mak©s little impression on them and is soon forgotten. For Spenser sh© represents no more than an opportunity for him to reminlsoe about the good old days of "simple truth and blameless© ch&stltle" and regret the decay of virtu© in th© "Princes Court," This was a theme that engaged the poot throughout his career, Envy and Detraction are the last two hags who appear in the Faerie wueene,^ Like th© other hags, they are "Two grlesly creatures," "foul© and filthie" with garments "all ragd and tatter*d." With the Blatant Beast they stand in wait for Artegall, who ia returning to th© Faerie Court after having overcome Grantorto and restored Irenae's kingdom to her# when he approaches, they acouae him of injustices and attempt to arouse his anger# But A rtegall w ill not be provoked into attao k ­ ing them. He rides on and orders Talus to ignore their lie s . Though Envy and D etraction amount to l i t t l e more than abstractions, Spenser*s description of Bnvy is oer- tain ly to be ranked among the best of the compaot character sketches in the poem# in no more than three 77

stanzas* ha personalizes an abstraction with anazing precision. The one of the* that elder did appears, With her dull eyes did seems to looks askew* That her mls-shape much helpt; and her foule hears Hung loose and loathsomely: Thereto her hew Was wan and leans* that all her teeth a raw* Ana all her bones might through her cheekss be red $ H er l i p s were l i k e raw le th e r * pale and blew* And as she spake* therewith she slauered; Yet spake she seldom* but thought more* the lease she aed. Her hands were foule and durtle* neuer washt In all her life* with long nayles ouer raught* Like puttocks clawes; with th* one of whioh she soraoht Her cursed head* although It Itched naught; The other held a snake w ith venime fra u g h t* On which she fed* and gnawed hungrily* As if thet long she had not eaten ought; That round about her iawes one might descry The bloudie gore and poyson dropping loth­ somely. Her name was anule* knowen well thereby; Whose nature is to gMeue* and grudge at all, That euer she sees doen prays-w orthily, whose sight to her Is greatest crosse* may fa ll* Ana vexeth so* that makes her eat her gall. For when she wanteth other thing to eat* She feedes on her owne maw vnnaturell* And of her owne foule entraylea makes her meat; Heat fit for suoh a monsters sionsterous dyeat. (V.xli.29-31) With striking directness Sp«nser reveals all the details of Envy*s physical and psychological makeup: her eyes* hair, complexion* teeth* hands* diet* habits* and the nature of her character. She stands before the reader as a vivid 76 archetype of her hag comrades; for Ilk* her they are all dirty, ugly, and dominated by som* moral evil* Their eyea are dull or crossed, hair dishevelled, complexions pale or sallow, taath crookad, mlaalng, or rotting and hands dirty. They eat snakes and frogs, and finger nails,, and some have a physical deformity, sueh as blindness or lameness. In addition to their repulsive appearance. They scratch, ourse, lie, throw stones, and fight; but only the h«g with the Idiot son Is of much dramatic consequence; and only Impotenoe and lmp«tience su ffe r death.All the others are not much worse off for having encountered the heroes. Hor are the herovs themselves given much serious trouble by the begs. In addition to the fact that the hags are all physi­ cally repulsive, they also bear other resemblanoes. For example, they usually appear with another character who may also be a hag. Abessa has a daughter, Corceca, who In the way she complements her mother's deficiencies — she la blind, and her mother Is a deaf mute — apparently is serving her hag apprenticeship; Occasion is accompanied by her son, Furor; the hag-wltoh has an Idiot son; Ate is Duessa*s squire; and Impotence and Impatience and Envy and Detraction work as teams. Of the hags in the poem, only Scandal appears alone. Also of some Intei^at Is the resemblance of the settings In which the hags appear. Abessa, the hag-witch, and Scandal are found in oottagea 79

(little dirty on*a, of course) at which a hero or heroine

(TJna, Florimell, Arthur, A no ret, and Amylia) asks to spend the night. The other hags, Occasion, Impotence, Impatienoe, Ate, Envy, and retraction are more actively aggressive and, therefore, appear traveling about the various plains of fairyland, where their chances of meet­ ing others are increased and where open space permits more opportunities for fighting. The cottage hags are, fo r the most p a rt, woman of words but l i t t l e action; whereas the hags of the road are women of fewer words but much violence. From the settings in which the hags appear, therefore, it woulo seem that Spenser is attempting to portray the aggressive and passive aspeots of evil. The traveling hags invariably oauae violence and bloodshed; whereas the cottage hags oauae psychological unrest. But in the final analysis the hags as a group seem to repre­ sent only the lesser evils. Their dramatic roles a« alight, and their effects on the heroes ere negligible. By drawing them all so physically repulsive Spenser stakes their evil natures manifestly obvious. Consequently, the heroes (and the reader) may be on their guard and take the necessary precautions. It is not the overt agents of evil, such as the hags, who oauae muoh difficulty to the protagonists In fairyland; rather It is the seductresaes who disguise their evil natures with a cloak of moral propriety and physical beauty. 80

In contrast with the repulsiveness, filth, end poverty of the h«gs, the group of minor women antagonists in the Faerie Queen# who are distinguished by their beauty, charm, wealth, and the elaborate settings in whioh they appear come as a welcome relief* In station, they are often the ladies of castles; and by nature, they are generally seductreases* However, not all fit into these categories* For example, Luc ifera is the lady of a caatle, but her role as a seductress is not so clearly defined* To be sure, she has all the physical equipment to be a seductress* As Spenser tells us, "her bright biasing beauty" not only “all mens eyes amaze" but rivals even the brilliance of the sun* Yet she lure a men to their moral and physical destruction not so much by the attrac­ tiveness of the abstract principle which she repreeenta - worldly pride* Men fell by imitating her pride, not by admiring her beauty* In fact, details of Luclfera*s beauty are noticeably lacking.1^ sxeept for a brief description of her •• royall robes*' of "glistring gold" and her resemblance to the sun, Spenser is silent about her physi­ cal makeup* However, he has a great deal more to say about her actions, all of which are intended to reveal her supreme pride. Hating the “lowly," she s its in the high­ est place; and she looks to heaven, "for earth she did disdayne." she constantly gazes into a mirror and admires her own beauty* she struts about with “Princely pace." Ano she takes her piece of honor at the Rad Croes-Sansioy 81 fight “with royall pomp and Princely maieatie.1* It would seems, therefore, that in dalibarataly omitting a detailed physical description of Lucifera while emphasizing her pomposity through her aotiona Spenaar intended to portray Lucifera as an abstract quality rather than as a real woman; for as we hare seen in our discussion of the hags, he coulu do either with skill* As further aridenoe of Spenser*s intention to em­ phasize the abstractness of her character, consider also the dramatic role which she plays in the poem* Duessa leads Red Cross to her castle to rest for the night* Like the other evil castles, it makes an lmpreaaire appearance at a distance; but on close inspection it is really in the last stages of oia&mbllng decay* They are well received by Lucifera and Join her and her court for an afternoon*s outing, when they return to the castle, Rad Cross is challenged to fight by Sanaloy in order to avenge th© death of his brother , Sansfoy. Lucifera disdainfully approves of th© combat, and on the following day Red Cross meets and defeats Sanaioy; but he is unable to kill him because Duessa oovers the villain with a mysterious cloud. Bad Cross returns to an elaborate chamber where his wounds are oared for; but when his Dwarf reports the horrors in the dungeon beneath tho castl©, they leave by a aeoret exit. On learning of thai r departure, Duessa follows them. Aside from showing her 82

"high displeasure" at the disturbance which Red Cross and Sanaloy cause when they first m**et, Lucifera does absolut­ ely nothing to complicate or interfere with the dramatic movement of this episode* She simply orders that the two knights meet In "equall lists.“ This is no more than a stage direction* As we shell see subsequently, the usual role of the seductress 1s to attempt to lure on® of the heroes into sin by offering herself to him* However, sinoe in this episode Bed cross has already committed himself to Duessa, Lucifera la left with little to do* Conse­ quently, she becomes a movable piece of the setting* Sh© arrives on her throne with great majesty, rides in her coach drawn by the seven deadly sins to a field fo r an afternoon of sport, and watohes the Bed Cross-Sansfloy fight.she Is no more than a spectator of the action* She has little to say; and her actions are simply rit­ ualistic gestures of little dramatic import* Duessa is the real dramatic figure of this episode beoause she participates in the action* She brings Bed Cross to Luclfera's castle; she visits Sansloy*s quarters on the eve of the combat to encourage him; on the next day she saves him by magic from certain death at the hands of Bed Cross; and finally, she leaves the castle in pursuit of Bed Cross. The narrative thread, therefore, follows Duessa»a aotlons - not Luclfera's* In fact, Luoifera simply amounts to a morally unattractive abstract element 83

in Duessa*a world. In brief, Sponsor seems to soy that worldly pride is no more then deception by superficial appearance and egotistical geature to create a charaoter of depth, auch a makeup disqualifies a character from being interesting dramatically* Philotime, another beautiful antagonist, resembles Lucifera more closely than any other seductress in the Faerie Queans, for she represents th« abstract quality of Ambition In much the same way that Lucifera represents Pride, She, too, is "richly clad in robes of royaltye" and her beauty is expressed In tems of light: she sits in "glistring glory*1 and "Her face right wondrous fairs did seeme to bee, That her broad beauties beam great brlghtnes threw Through the dim shade, that all men might it see'1 (II.vii.1+5) But, as with Luolfera, Sponsor gives no further parti­ cular details of her beauty, she remains beautifully 17 ▼ague. The only specific details given are those whioh reveal her actions. She holds a "gi^at gold eh*ine" extending from heaven to hell which a "route of people” attempt by various ways to ascend,1® Like Lucifera, therefore, Phllotlme holds a position of “soueraigne maiestye,” and is called beautiful but la never really described except through an action whioh reveals the abstract quality which she represents. The only basic difference between the two is that Philotime 8U plays th© customary role of th© seductress. Sh® Is offered to Guyon as his mistress. But even this rol® as a seductress sh© plays only indirectly; for rather than making any positive advances to arouse Guyon*A desire for her she simply aits on a throne at a distance while her father, Mammon, liko a merchant selling some product to a customer, attempts to use her as the bait to trap Guyon. But Guyon is unimpressed with the idea of acquiring Phllotlme. Indeed, Mammon himself la well aware of her limited appeal, for It is to be noted that she Is not even the oilmactlo temptation in the series which Mammon offers Guyon. He offers wealth before her and the tree with the golden apples after her. Phllotlme, like Luci­ fera, remains too abstract to be interesting dramatically. alissa and Perissa, two more beautiful antatonists, are even less significant as dramatic figures. These two sisters of Medina are simply abstractions who appear and disappear in a single scene (II,ii) which has not even the elaborateness of setting to recommend It. Appropriately, they appear In Book II in which the celebrated virtue is Temperance, ao that with their sister Medina they repre­ sent the Aristotelian concept of the extremes and the mean. Jilissa and Perissa, of course, are th© extremes - excess and deficiency. Like the previous women they the ladles of a castlo, but unlike the previous evil castles theirs Is "wondrous strong by nature, and by 85

skilfull frame." Th© sturdiness of the oastle is, no doubt, a symbol of Madina*s virtue. The three sisters, who are "children of one sire by mothers three," sh«re the rule of the castle but not without discord; for "The eldest did against the youngest goe/ Ana both against the middest meant to worken woe." Yet in spite of the conten­ tions which her sisters arouse, Medina is equal to the task of keeping peace as she demonstrates when her sisters* lovers, Hudibbrae and Sansloy, fight with Guyon. ^lissa and Perissa cheer on their lovers to fight, but they really have little effeot on the action. Neither la described physically and each receives only the briefest considera­ tion as an abstract principle (lI.ii.35-36). They emerge, the ref ore, as two allegorical stage prop se • If the four aeduotresses thus far considered laok depth as dramatic figures, Phaedria represents th© first in our series who, though still partly abstract, is among th© most attractive and least sensually aggressive of the women antagonists in the poem. True, she is obviously an allegorical character representing Mirth. Yet Spenser devotes much more attention to her development than he does to any of the previous aeduotresses. This is not to say, however, that Ph«edrla approaches in importance the station of uuessa or Hadigund; for she shares in many of th© characteristics which we have already noted in th© other women antagonists. Like them, she is another 86

"daintie damzelle" whoa* phyaioal beauty ia suggested ratter than dascrlbad in detail. Aa with tte others, aha ia characterized by her actions, and her dramatic role in the poem ia largely raatrictad to a single appear­ ance (II,vl). And finally, like them, aha ia a lady of soma authority. Indeed, ter authority - limited aa It is to a small boat, a few birds, and a tiny island - is some­ what lass Impressive than Lucifera*s, Philotima 1 s, £.lissa*s, and Perissa*s. But Phaadria uses what she has at her d is ­ posal with greater skill than any of the others; and with a few very helpful assists from Spenser she emerges as one of his more appealing antagonists. No doubt, part of Phaedria's appeal is due to tte fact that she represents Mirth, which is naturally more attractive than Pride or Ambition. Her role is to be merry and gay and amusing, not superior or aggressive or contentious; and she plays ter part effectively. She has a "store-house" of "merry tales," a "fantastleke wit"; she decks herself with garlands and flowers for tte amusement of her guests; and she laughs and sings fo r their pleasure. Indeed, even though she may "passe the bonds of modest merimake," Phaedria Is neither ugly nor vengeful like the hags nor abstractly aloof like Luei- fera and Phllotlme. Nor do we find ter in a dirty cottage, crumbling castle, or deep cave. Her island paradise, though leas elaborate than Aoresla*s Bower of Bliss, ia a 87

"chosen plot of f e r tile land," where flowers are always in bloom and birds sing th e ir "notes sweetly** in every t w e . 19 In short, Spenaer h*s given to Phaedria the beauty, disposition, and environment to moke her a fit precursor of Acrasla. In fact, it may not be going too far to suggest that, because of Phaedria, Acrasia's drama­ tic Impact is diminished. On his way to assist his brother against Guyon, Cyraochles arrives at a riv er and finds a "Lady fresh and fairs" singing to herself in a small boat. He asks to be taken across the river; and she quickly offers her aid; but Instead of carrying him aoroas the river she takes him over the "Idle lake" to her islano, where she sings him to sleep before she returtiB to her post at the river. Soon after her return, Guyon arrives at the river bank and makes the same request, and again Phaedria compiles by carrying him off to her island. There Guyon meets Gymoehles, Just awakened from sleep, who challenges the newly arrived knight to fight for the love of Phaedria. The two fight until Phaedria intervenes. Then in order to keep peaoe she agrees to carry Guyon back to the riv e r bank where she found him.

Kven from this brief resume of the action Sp«nser*s moral intentions are obvious. Two knights - an antagonist and a protagonist - meet a moral evil - excessive mirth which leads to idleness. The antagonist, Cysiochles, 88 morally equipped to withstand the temptation, la drawn from giving aid to hi a own brother and la lulled Into the idle sleep of Inactivity by Phaedria. The protagonist, how- ever, Guyon, is of ate mer moral mettle. For even though Phaedria manages to get him to her island, "Her dalliance he dispisd, and follies did forsake." He ia never taken in by her acheme and requests that he be given passage back. Cymochles is vanquished; Guyon prev ails. However, clear Spenser’s moral intentions are, they do not reveal Phaedria*s character. For aa with the other women antagonists, we must observe her in action. Phaedrla's role Is that of a mariner. Ostensibly, she operates a ferry bo«t. Her association with water is perhaps significant because it draws her into line with the other characters in the poem who are likewise associated with a stream, a river, a lake, or a sea; and usually when Spenser places a character in the vicinity of water, the reader may prepare himself for some danger. Red Gross is undone because he drinku from a stream.2^ Guyon is exposed to many dangers while making the passage over water to get to Acrasia»s Bower of Bliss. Cissie and Flossie perform their burlesque show in the water. Mal- eger can die only in water. The old fisherman attempts to rape Florimell in his boat; and though rescued by Proteus, she is imprisoned under the sea. Calepine runs into difficulty in trying to cross a river. It would 89 seem, then from these instances that, though water may on occasion serve to revive one of the heroes, more often it provides a setting for some danger or evil, Phaedria*s role then as a mariner is ominous of some d is a s te r. But her occupation does not explain why Phaedria is to inter­ esting as a character. Her dramatic role does. Unlike the previous seductresses, Phaedria takes an active part in the dramatic movement of the episode. She attempts to lure men into the Joys of idle inactivity, and whether they are protagonists or antagonists is of little consequence to her. Also, she is a free-l*nce agent of evil. She has no train of servants to do her bidding, no relatives to offer assistance, no giants or magicians to work her will, Phaedria chooses to succeed or fail on the merits of her own talents* To be sure, she resorts to trickery in luring victims into her trap; but the trick s depend upon her s k ill in working them. Let us observe the strategy which she employs with the two knights. In dealing with Cymochles she is tempting a man who in Spenser*s ethical system is predisposed to yield to any temptation because he is an antagonist. Therefore, once he is in Pheedria’s boat - which, inci­ dentally, like our modem equivalents - moves off by simply turning a pin - he easily fails victim to her vain delights; and she has no trouble carrying him off to her islana paradise and lulling him to sleep with a 90 song which Ironically echoes th© biblical passage Con** aider th© lilliea of th© field." with Guyon, however, Phaedria has a more difficult time. After she has given him the sane idle delight treatment whioh worked so well on Cymochles, Guyon acouses her of having misled him. But she cloverly replies that he "Who fares on sea, may not commaund his way." A response such as this is dearly intended to free Phaedria of the blame of having deliberate­ ly takon Guyon away from his responsibilities and to trick him into thinking that her intended good service has really caused her a great inconvenience but that she is willing to make the best of it. Guyon is silenced, and she continues the charm ritual of trying to sing him into inactivity. The fight, however, prevents her from accomplishing this; and phaedria*a scheme to trap the two knights is only half successful. For Phaedria, unlike the previous seductresaes, is opposed to violence, and she stops the fig h t. Phae- dria*a role of peacemaker is uncommon for a seductress because most of the evil characters thrive on contention, and a number fill up their dungeons with winners and loeers alike. But there are no captured knights or dun­ geons for the vanquished on Phaedria*a island. Her attitude is distinctly unaggressive. Her feelings for Guyon are representative of this, for when sh» finds that her trick s have failed 91 She no l*aae glad, then he desirous was Of hi a departure thenee; for of hwr Joy And vaine delight she aaw he light did pas, A foe of folly and immodest toy, Still aolemne sad, or still disdain­ fully ooy, Delighting all In armea and eruell warre, That her aweet peaoe and pleasurea did annoy, Troubled with terrour and vnqulet iarre, That she well pleased was thenoe to amoue him farre. (II.vi.37) Unlike the others, Phaedria will not force herself on anyone if he Is not receptive to her charms. In fact, she Is glad to be rid of a knight if he interferes with her peace and pleasure• She is, then, In the final analysis an agent of evil who demands cooperation. She has all the gifts of the seductress — beauty, charm, talents; and at the same time she has the qualities of an indivi­ dual and an abstraction; for If her boat and the artificial beauty of her island align her with forces of supernat­ ural evil, she is a woman who thinks for herself, a woman who m*kes her own decisions. In the dramatic movement of the poem Phaedria actually serves as a preparatory figure for Acrasia, for In a num­ ber of waya the two are similar. They are women antagonists who attempt to lure men from th eir ways of life into corruption. They both attempt to bring about a man*s downfall In a setting which is Intended to emphasize their particular charms . 21 Both make it necessary fo r the men to cooperate with them In evil. And both work 92 their wiles on protagonists and antagonists alike* Be­ cause these two ladies do not distinguish between the protagonists and the antagonists their dramatic effect in the poem is somewhat diminished, for it reveals in them a complete moral indifference* It Is true that what they do causes evil; but they do not work in league with other antagonists against the protagonists* They simply ig­ nore any kind of moral distinction* They do not seek revenge, plot against the heroes, or aid the villains* They are not even aware of the distinction between good and evil* The evils which they represent, mirth and lust, are self-contained* They are sufficient unto them­ selves* The two women are so devoted to mirth and lust that they Ignore all else. Consequently, since Pheedria and Acrasia are completely Independent, their Indepen­ dence Isolates them aa dramatic figures and emphasizes the abstract element of their characters* Though Phaedria and Acrasia are sim ilar In many ways, Important differences exist between the two* In the first place, Phaedria is a character who controls the dramatic action of the episode in which she appears* We see her transport her two victims off to her island* We watch her amuse them with her jokes and tricks, sing to them, argue with them, stop them from fighting, and carry Guyon back when he has had his fill of her Idle pleasure*, m short, we see Phaedria; we hear her speak, and we aim 93 witnesses to her thought because Spenser permits us to enter her mind* About Acrasia, on the other hand, though she is obviously intended to be • more important figure, we actually know surprisingly little* For we are given only one glimpse of her before she is captured and car­ ried off. And though Spenser offers a rather detailed description of her physical beauty, as he did not with Phaedria, besides making a vain attempt to get out of Guyon*s net she does nothing when we find her in the arms of her lover* She says nothing; her thoughts are not reported; and her attitude is the most passive of all the seductresaes. Because of Spenser's elaborate description of the Bower of Bliss, the reader ia well prepared for a dramatic encounter between Acrasia and Guyon* But as drama the encounter is disappointing, fo r it ia over with the flick of a net. In the case of Phaedria, on the other hand, Spenser makes no desoriptlve preparations* She Is as much of a surprise to the reader as she is to Cymochlos and Guyon* But a dramatic s itu a ­ tion does follow her meeting with the two knights. This is the basic difference between the two episodes* And from this it follows that the characterization of Acrasia surpasses that of Phaedria only in the elaborateness of the setting In which she appears; for In contrast with tbs Bower of Bliss, Phaedria»a island paradise is no more than a teenage picnic grove. But elaborate settings will not, 914 of themselves, make a character; and therefore, In the final analysis Acraala oannot be taken aerloualyj for her role la no more dramatic than the artificial scenery in her bower. In fact, the two dancing nymphs In the water make a greater impression on Guyon than she does. Many of the characteristics whleh we have observed in the women antagonists thus far in this study are com­ bined in the portrayal of Spenser's prime donna seductress - Duessa. A3 a type character, Duessa represents the seduct­ ress par excellence; for in addition to her extraordinary false beauty and false charm, she does not passively follow the course of the action whloh some one else directs. When Duessa is on the scene, more often th*n not she directs the course of the action. Nor is she the kind of seductress who makes a single appearance and then fades away into oblivion. She appears In four of the completed six books of the poem. She plays a major role in Book I in which she accompanies Red Cross from the time he is separated from Una until he is rescued by Arthur from Orgoglio*s prison (I.ii.l3-viil.5o). in Book II (i.13-2^) her appearance is brief; exoept for serving as a transitional device by pretending that she has been undone by Red Cross so that Guyon will attack him, her role Is inconsequential. In Book IV (I.18-^6) she reappears in the company of Blandamore,Paridell, ai*3 9$

Ate when the group Is involved in complicating the Britomart-Amoret-iicudamore narrative thread* Shortly thereafter (IV.v.ll) ahe appears at the tournament where she is entered by Parldell in the beauty contest. Her final appearance in the poem is appropriately in Book V (ix.38-50) at Merc ilia 1 a D0urt where ahe stands trial for her crimes* And,surprisingly enough, she eacapes punish­ ment* After Book I Duessa's dramatic importance diminishes* for we find her in the oompany of her own kind* Other than Red Dross she fails to engage the attention of any heroes until her last appearance, her trial, Spenser seems to have rendered her so ineffective that she may be set free in the world without running any great risk of her currupting additional knights* Mercilla^s pardon is a tacit admission that she is no longer to be taken as a serious moral danger. This seems to be Spenser's final attitude toward Duessa; but until he does deem that she is relatively haitnloss, Duessa is an extremely energetic and active character*

She manages to convince Red Cross when he has killed her lover that she is really a maiden in d is tre s s ; she successfully diat recta him from understanding Pradubio's prophesy that he will suffer by remaining in her oompany* Her intrigues at Lucifere's castle have already been 22 described; ana when she loses Red Cross to Orgoglio, she acquires the giant as her new lover* Later, ahe 96 pretends that Rad Croas ha a aaducad her before ahe ac­ quires still another lover, enters a beauty contest, and is tried at court. Without doubt, she is the moat con­ niving and successful of the completely evil women characters; for ahe is entirely dedicated to evil, and she has at her disposal all the tricks for carrying out her intentions. Her physical beauty is difficult to resist. She may rely upon supernatural aid to carry out her schemes, and she also has the cooperation of the other antagonists. Yet even though all these advantages assist Duessa In working e v il, they do not ehhance her stature as a drama­ tic figure because rather than Individualising her as a person they emphasise the abstractneaa of her character. That la, as a dramatic character she undergoes no change, experiences no truly human emotions, and engages none of the reader's sympathy. She may be admired fo r her cunning, beauty, ana determination; but because she is so utterly corrupt, we never lose sight of th* fact that she i- an abstraction. Better than any of the other women antag­ onists she illustrates openser's h.bit of revealing evil by disguising it as an apparent good. Pure evil rarely appears as such. Usually the evil is hidden under a veneer of virtue whether it be a woman, a man, or a castle. As a result, that which is evil has two identities - the real and the apparent. In the case of Duessa, we find these two Identities in her phyaloal appearance: the 97

L*u4 aaa la a foul h«g, whcrttt th© sppartot Dueflsa la a beautiful lady. Sh© haa two n»m>, one real, Duessa, and one aaauned, Fidesaa; and ahe has two different origins; the one wtaioh ahe tells Bed Cross and th© real one which Spenser tells the reader# Aa with the other double aapeota of her nature, Duessa also has two different dramatic roles which are clearly distinguishable in the way Sp©nser counterbalances the scenes in whloh ahe appears. She makes eight separate appearanoea in the poem, but th© Duessa of the first four scenes is an entirely different dreststlc figure from the Duessa of the second four. 23 In the first four scenes, she associates with a protagonist, Red Cross; in the seoond four, ahe associates with an antagonist, Parldell, in the fourth soene (I.vii.l-viii.50), she la tried and punished by Arthur; in the eighth scene (V.ix.38-^0), she is tried and freed by Mercilla, In the first scene il.ii. 13*27)# she is th© oooaslon for a combat between Red cross and Sansfoy; In the fifth scene ill.i# 13-33) she fails to cause a combat between Red Cross ana Guyon. In th© first four sceoefi, she is an Imaginatively active schemer who is determined to corropt Red Cross, and succeeds at it; in the second four scenes, she is a rather dull passive stage prop who, like a camp follower, appears to h©ve no clearly defined objective. In oontraat with her series of suc­ cesses in the first four scenes, she is consistently a 98 failure in th** last four. Consider In more detail the attention which Spenser gave this balance in his portrayal of Duessa. In the first four scenes, ahe leads a pro­ tagonist about through the world of evil. She leads Red Cross to a tree which turns out tc be the symbol of her cormpt Influence; she leads him to Luclfera*s castle of Pride; and finally she Is with him when Orgoglio over­ comes him In b a ttle . However, she herself Is led about by the antagonists through the world of gooo In the second four scenes. She is Paridell*s lady when his group meets the cambell-Trlamond group. She attends Satyrane'a Tour­ nament, which In pageantry and splendor la the virtuous equivalent of Luclfera's procession of the seven deadly sins and the enoounter between Rad Cross and Sansloy. And finally each group of the four scenes builds up to a trial. At the end of the first group, Duessa, tried informally, is found guilty and la punished by being stripped of her artificial beauty and revealed in her true ugliness. At the end of the seoond group, however, Duessa in a very formal trial is completely pardoned by Merc 111a. Though most readers may be surprised at Mer- cllla's liberal attitude toward Duessa, on the basis of the interpretation offered her it is both logical and just that Mercllla should have pardoned her, beoause, Ironically, Duessa Is not really guilty of anything. Since her trial and punishment by Arthur for her successful 99 crimes, her schemes h«ve a ll fa Had. Guyon would not fight Rad ^ross; her knight 1 b dafeatad at Satyrane’s Tournament; ahe loaes the beauty oontaat; and her plot to take orar Marc Ilia * a caatla la Ineffective, In fact, even her o-n squire, Ate, provea disloyal by testifying agalnet her at the trial. Therefore, It seems logical to conclude, as I have already pointed out, that In the end uueasa la no longer to be taken seriously aa a moral danger, Maieoaata, another aeduotreaa, more nearly resembles Phaedrla and Acrasla than Duessa, She la a beautiful woman, a woman of authority, a woman dedloated to senaual pleasures, and a woman who apparently does not distinguish between antagonists and protagonists for her victims. But In spite of the characteristic a whloh Malecasta shares with the other seductreases, Spenser Introduces new elements in the portrayal whioh comes as a refreshing deviation from the type. First, and moat Important, he resolves the climaotlo 11 seduction" scene with a display of racy humor one ezpeots to find in Bryon's Don Juan but not In Spenser’s Faerie Vjueene, Ana, second, Malecasta is the first of the seductreases who truly resembles a joal woman. Unlike the previous seductreases and even some of the hags, Malecasta has no supernatural power. In fact, the earthy episode in which she appears is notloeably lacking In supernatural machinery. 100

At the beginning of Book III, after a transitional episode linking with Book IT, Brltomart ehanoes upon a group of knights fighting on a plain* B#cause the fight In unftlr, six knights are attempting to subdue one knight, she stops the struggle and asks then to state the oause of their contention.2** They explain that the lady of a near­ by castle hua ordered that each knight who passea by, whether he has a lady or not, must either enter her service or fight against her six “Champions." If he defeats the six, he wins her. Realizing the absurdity of such an unjust decree, Brltomart offers her aid to the love knight, who happens to be the Red Cross Knight, and together they defeat the six champions. The vanquished knights pledge their loyalty to Brltomart and Invite her and Red Cross to their Lady's castle. The Interior of the castl* Is sumptuously decorated with gold and precious stones and with tapestry depleting the Venus-Adonls myth. The main chamber IS filled with beds "fu ll of Damzele, and of Squires/ Daunceng and reuellng both day and night" and "sweet Musleke did dluide/ Her looser notes with Lydian harmony." Brltomart and Red Cross are welcomed Into this elaborate brothel; and when the lady of the castlo, Malecasta, sees Brlto- mart's beauty her desire Is aroused. After dinner whsn all reture for the night Malecasta, inflamed with lust and Ignorant that Brltomart is really a woman, steals 101

Into the malcMa chamber ana climbs Into bed with her. when Brltomart awakens soon a f te r to find th at she has a bed partner, she springs for her sword; and in the melee whieh folio-s, the whole castle la aroused. But Brltomart and Red Cross fight off Malocaata'a followers and leave the castle In haste. The thematle function of this episode in Book III In which Chastity is the controlling virtue seems emi­ nently clear. Brltomart represents the virtue, and Maleoasta its antithesis. Chastity encounters lust and puts It to flight. Further, as we have seen in discussing the settings of previous episodes, the setting here Is appropriate for the theme. The castle la called "Castle Ioyeous." The elaborate art work, the beds, the music, and the Jolly company of loose, young lovers are all in keeping with "The image of superfluous riotize" which Spenser wishes to establish in portraying sensual ploasure. In short, the Castle Ioyeous is a variation of the Bower of Bliss and Phaedrla's island paradise; and Malecasta la a variation of their respec­ tive mistresses. To be sure, Maleoasta is less sensuously attractive than Acraala, and ahe Is less dramatically Interesting than Phaedrla. As with the other seductreases, the particular details of her beauty remain vague while her controlling passion is revealed through some action. With a single stroke Spenser shows the reader what is 102 to be expected of Malecasta: Her wanton eyes, ill slgnes of womanhed, Did roll too lightly, and too often glaunce, without regard of graoe, or comely amenaunce, (III • i .UX > Most of th© prostitutes in fairyland aeem to have "wan­ ton ©yes," sponsor need say no more. We are prepared for the following stanzas in which he has described Male- casta*s attempted seduction of Britomert: Now whenas a ll the worla in silence deep© Yshrowded was, and euery mortall wight was drowned in the depth of deadly sleep©, Pair© Maleoasta, whose engrleued spright Could find no rest In such perplexed p lig h t, Lightly arose out of her wearle bed, And vnder the blaeke eel© of guilty Night, Her with a sea riot mantle couered, That was with gold and ermine fair© enueloped, Than panting soft, and trembling euerle ioynt, Her fe a rfu ll feet© towards the bowre she moued; where she fo r secret purpose did appoynt To lodge the warlike mayd vnwlsely loued. And to her bed approchlng, first she proouee, Whether she slept or wakt, with her soft hand She softly f e lt, if any member mooued, And le n t her wary ©are to vnderstand, If any puff© of breath, or slgne of ser.ee she fo n d ,

which Whenas none she found, with eaale s h i f t , For feare least her vnwares she shoula abrayd, Th* embrodered quilt ah© lightly vp did l i f t , And by her side her self© she softly layd, Of euery finest fingers touch affrayd; Ne nay noise she made, ne word she epake, 103

But Inly slgh*d. At last the royall Mayd Out of her quiet slomber did awake, And chaungd her weary aide, the better ease to ta k e . where feeling one cloae couched by her aide, She lightly lept out of her filed bed, And to her weapon ran, In minde to gride The loathed leaehour. But the i>ane halfe ded Through suddein feare ana ghastly drerlhed Did shrleke alowd, that through the house it rong, And the whold family therewith ad red, Rashly out of their rouzed couches sprong, And to the troubled chamber all in ames did throng. (III.3.59-62) The comedy of this climactic scene ia Indeed its most outstanding feature. Malecasta steals secretly into Brltomart»s bed, prepared for a night of ploaaure. Then, toe suddenly for Malecasta to retain her senses, her Intended lover turns out to be not only a vlrtuoua knight but a woman! The humiliation ia twofold. Bhe Is not only rejected; she la mistaken. That Spenser Intended th is situ atio n to be humorous is evident from the way which he prepared for it. First, he insists upon keeping Brltomart*s sex a secret by having the maid alt through a dinner in all her armor. It ia to be noted that in a similar situation later at Malbecco,s castle Spenser lots Brltomart reveal her sex before dinner (III.ix.20ff). And second, Malecasta is not portrayed as an utter vlllainess. Her castle unlike the other evil castles in the poems is "stately” and "most goodly edifyde"; there are no horrible dungeons 10k for her thralls unaemeath it; and one can leave the castle at will. None of the thralls are starved, turned into beasts, or humiliated by being given a woman’s occupation* In fa c t, the loose young lovers seem to be perfectly content with their beds and music* In these features Malecasta’s castle resembles Phaedrla's Island paradise* Nor la Malecasta h erself given any kind of extraordinary power to lure In lovers* She is human enough to make a mistake about something as beslo as the sex of her Intended lover; and she Is weak enough and woman enough to be shocked into fainting* Also, after Brltomart and Red Cross fight off her followers they do not destroy the Castle Iouous as Guyon des­ troyed the Bower of Bliss* Nor do they attempt either to capture Malecasta or to aet any of the loo»e, young lovers free* in fact the six who pledged their loyalty to Brltomart, actually fight against her at the end* Nor does Malecasta dispatch any troop of knights to pursue Brltomart ana Red Cross when they leave* She attacks neither verbally nor physically, in short, Spenser makes a d elib erate e ffo rt to avoid making Male- oasta repulsive In any way other than by her excessive sensuality; and even her sensuality becomes a Joke* I f he had chosen, Spenser could easily have turned the Malecasta episode Into a serious moral lesson by simply altering a few details* For example, Maleoasta ooula io$

Just as easily have fallen In love with Red Cross as with Brltomart. If she had, the seduotlon soene would have had some serious meaning. Or he could have made M alecasta a man and thus at le a s t a man woulo have invaded Brltomart *3 bedroom. Or, finally, he could have made Malocaata repulsive either In physical appearance or by some action. But ha did none of these things; and, therefore, it Is difficult to see the Malecasta episode in any other than a humorous light. ^ Spenser is poking fun at his own Knight of Chastity and at un­ bridled lust at the same time. Nothing serious happens in the whole episode: no one is k ille d , captured, or refonned; only Brltomart leaves with a scar, 11 yet was the wound not deepe." And apparently it causes her no great Inconvenience. Malecasta emerges, therefore, in t he end as a kind of semi-humorous character who really makes no lasting impression on the protagonists. Her episode simply furnishes the oocaslon for Brltomart to meet Red Cross and la am about Artegall; and, of oourse, it presents Spenser with the opportunity to build another castle and depict lust in another way -- comically. Thus far In our discussion of the beautiful women in the Faerie uaeene we have hud oooasion to deal with various types, with Lucifera, Philotime, Eliaaa, and Perissa, we found that Spenser was primarily drawing abstractions, women whose roles In the poem were scenic 106

rather than dramatic, with Phaedria, however, the role of the beautiful woman took on dramatic dimenaiona; and for the first time, she directed the course of the ao- tion. Aerasia, though like Phaedria in many ways, found to be no more than an abstraction; but she prepared the way for our consideration off the prime donna of all the seduotresse 8 --Duessa. And, finally, with Malecasta we found that though she too was a seduotress and shared in many of the characteristics of the type, still she was the first to be drawn as a real woman. All the others, if they were developed in any degree, had supernatural powers of some sort; but Malecasta did not. We shall observe the same elements of realism in Hellenore. Although the wife of Malbecco has many of the charac­ teristics of the previous seductreases, strictly speaking she is a seductress only in the sense that she is pre­ disposed to sensuality. Her resemblance to these women is evident in th at, like them, she is a beau tifu l woman who as mistress of a castle holds a position of author­ ity . However, unlike them, she makes no attempt to lure unwary knights into her service. Also, unlike any of the previous seduotnesses, she is a married woman. But what most distinguishes Hellenore from the previous women is the fact that she is a real fiesh-and-blood woman. Unlike Phaedria, Aerasia, and Duessa, for example, she has no allegorical responsibilities. Her 107 rolw is simply that of an unfortunate maid who has some­ how acquired a jealous, old huaband and Is faced with a tedious future of marital boredom* Like the Malecasta episode, this one (III,ix*3-x»60) begins when some traveling knights have difficulty out­ side the walls of a castle* But once they are admitted, the episode speeds to a climax* Malbecco, the master of the castle, is the antithesis of Malocasta; for whereas she hoped to lure men into her castle, he wishes to keep them out* The miser hopes to keep his wife by prevent­ ing her from seeing any other knight* But Satyrane, Parldell, The Squire of Dames, and Brltomart clamor outside for admission; and after they threaten to force their way in, he grants them peraiaaion to enter* Again, as in the Malecasta episode, the critical situation is reached at dinner when Malbecco*a beautiful young wife Hellenore is Introduced to the guests. Paridell, a dedicated sensualist, begins his courtship of her and ahe returns his attentions with signs of her own Interest 27 in him* After dinner all retire for the night; and on the next day Brltomart, Satyrane, ana the Squire of Dames depart; but Faridell remains on the pretense of illness* During the period of his pretended convales­ cence, he woos Hellenore by employing all the conven­ tions of courtly love until she agrees to accept him as her lover and run off with him*2® Their plan to set 108 fire to Malbecco1s money and leave the caatle at the same time la calculated to force the Jealous miser Into deciding between rescuing hla wife or saving his money. Malbecco chooses to save hla money, ana Parldell makes off with his Hellenore. when next we meet Parldell he has discarded Hellenore, having grown tired of her love, and has left her in the service of a group of lusty Satyrs s. However, Malbeeoo s t i l l anxious to recover his wife seeks her out and offers to forgive all h*»r offenses if she will return with him to their castle. Hellenore refuses. Apparently she is happier as a prostitute to Satyres than Bhe was as the wife to Malbecco. Her refusal drives him mad; and the episode ends when Malbecco, having Jumped off a cliff, hides away In the gloomy recesses of a stony cave, completely Isolated from the world. The chief significance of the entire episode seems to be that It serves as Spenser*s commentary on a mar­ riage which is really a mismatch.2^ Hellenore is unable to satisfy her natural sensual inclinations in her marriage with Malbecco; and, therefore, she must look elsewhere for relief. Sinoe Malbecco is unable to keep her hidden away In d efin itely , It becomes simply a m atter of time until Hellenore finds occasion to free herself from the marital oppression of her life with Malbecco. She possesses no supernatural powers or charms to effect 109 her liberation from him; nor does she take the initia­ tive In seeking out a lover* In fact, rather than seduolng a knight, she herself la seduced* But since she is predisposed to sensuality, once Parldell begins his courtship, her complete degeneration Into sensuality Is quickly and easily brought about. Still, Spenser does not Insist upon reproaching Hellenore for her unfaithfulness. To be sure, neither do«s he applaud her for It; but he does sympathize with her because her Initial mistake of uniting with Malbecco has caused her sensual degeneration. But in Spenser*s ey«s Mal­ becco is the real culprit because he has entered upon a relationship In his marriage with Hellenore which Is unnatural. For he is Incapable of fulfilling his responsibilities In marriage. Therefore, by hiding her away in secrecy he deprives her of all the Joys to which she has a natural right. Not only are her phy­ sical desires frustrated but her psychological needs are suppressed by her social isolation so that before the arrival of Parldell Hellenore*s identity is the sterilized equivalent of Malbeoco*s money. Malbecco, Spenser Is saying, has no right to cancel out the

Identity of his wife by isolation; ana because he has tried to, he loses his own identity in the isolation of a cave. Spenser's use of setting In this episode substan­ 110 tiates this interpretation of the Hellenore-Malbecco relationship. For there are two distinct settings, the castlo scene ana the forest soone, which represent the two extremes of Hellenorets condition* Malbecoo's castlo, unlike any of the other castles in the Faerie yueene, noticeably laoks any kind of artistic embellish­ ment. There is no music; tapestries do not hang on the wall*; there are no pageants. Indeed, other than the four visiting knights, Malbecco and Hellenore seem to be the sole ocoupants of the castle. From this evi­ dence, therefore, it would seem that Spenser is symboliz­ ing the sterility of the Hellenore-Malbecco relationship by placing the coupl« In a setting which is devoid of any kind or activity or artistry. Thwir marriage Is as empty of meaning as the castlo In which they liv e . The forest setting, on the other hand, contrasts sharply with tho utter stillness of the oastla. Here, life abounds. The 8 a tyres are a jolly group of sensualists who enjoy the freedom of their natural setting with wild abandon. They dance and sing through the day and proviae Hellenore with a kind of nightly pleasure which Malbecco was Incapable of providing. In this setting Hellenore finds herself at home and refuses to give up the pleasures and freedom of this life for what Malbecco has to offer. Clearly, then, the exces­ sive natural freedom of the Satyras In their noisy, I l l

fun-making sensuality contrasts with the extreme fri­ gidity and secrecy of Malbecco*a castlo. In the final analysis, therefore, in spite of her sensuality Hellenore engages a certain amount of the reader*s sympathy; for she makes no attempt to ooriaipt anyone* Her actions, except where she fires Malbecoo*s money, are not malicious. And her portrayal as an individual is singularly realistic. In fact, the reader regrets that Hellenore did not have access to one of the better-balanced protagonists instead of Malbecco and Parldell who might have directed the course of her spirited, fun-loving nature along more morally proper channels, The elements of realism which we have thus far noted In the characterizations of Malecasta and Hellenore reappear In Spenser's portrayal of Radigund, For, like these two, Radigund Is a very re a l woman, not an ab­ straction, who enjoys neither the advantages of supernat­ ural power nor the protection of mutual aid pacts with other allegorical antagonists. Again, Spenser bases the Radigund episode on the theme of love. In sh o rt, he draws the Amazon's character with suoh precision that she must be ranked among the most interesting of all the women antagonists in the Faerie Queene. This noble Amazon princess engages our sympathy because, unlike any of her colleagues thus far, she is 112 a woman who suffers. She Is first revealed as a woman of 10 violence and wrath (V.iv.294*7)* And alnoe 3he appears In the book in which Just5oe is the theme* the reader may expect that she is to symbolize some in ju stice which Artegall must set to right. At least one would be justified in taking this view of her on the basis of Terpine *s report to Artegall after he is rescued from a crowd of women by the Knight of Justice. As Terpine tells Artegall* Radigund is the leader of a city; ana because she has been rejected in love by a knight* Bellocant, she wishes to avenge herself on all knights by challenging them to a single combat. If they lose* they must promise to subject themselves to her kind of justice or die, Radlgund's Justice is to convert the vanquished knights into women. Artegall, of course, wishes to straighten out the situation ana with Talus and Terpine goes to her city, Hadegone, where they engage the inhabitants of the town in a wild street fight. After witnessing the slaughter which the thive knights cause in the day*s fight, Radigund decides to spare additional trouble for her people by challenging Artegall to single combat. Artegall accepts. They meet on the next day; and though Artegall knocks Radigund unconscious with a blow on the head, he refuses to take her life because he is moved by her beauty. Radigund soon recovers and finding Artegall without a 113

sword, quickly overcomes him and makes him her t h r a l l . Immediately he is stripped of his amor, imprisoned, and

given a woman' s occupation. In the meantime, Talus returns to Brltomart and seeks her aid to rescue Artegall. while the 1ron man is away, Radigund fin d s th at she is in love with Artegall; but unable to reveal her love to him directly, she employs the aid of her trusted maid, Clorlnda, In order to make her love known to him. Clorinda, however, proves false; for Instead of carrying out Radigund*s intentions she falls in love with Arte­ gall herself and bears false reports to each of the principals in order to win Artegall^ love for herself. But before her duplicity is exposed, Brltomart ’ returns with Talus to rescue her lo v er. She and Radigund meet in battle, and in this furious encounter the Amazon dies at the hands of Brltomart. Then Artegall along with the other imprisoned knights Is set free. Spenser*s primary moral intention Is evident. Radigund is obviously guilty of an Injustice by attempt­ ing to make men into women and must be punished for It. Her guilt Is that of subverting the laws of nature upon which chivalry Is based. As Brltomart observes, she does not abide "by the l«wes of Cheualrie" (V.viI.2Q). And as one might expeot, Spenser assigns the task of punishing Radigund and re-establishing justice to Arte- gfill• But let us consider for a moment the circumstances 111+ leading up to the Radigund episode from Artegall'a point of view. Until his meeting with Radigund, Artegall has been something of a circu it Judge riding about the roads of fairyland with a portable instrument of punishment In the person of Talus. During this time, he has, so to speak, tried a number of cases; and each time, depend­ ing upon the seriousness of the crime, he has either given the offender a ponance to carry out op he has killed him. For example, In the Sangliere case a knight who has murdered his lady Is given the penance of carry­ ing her head nrouna for a year -- a rather light sentence for such a crime (V. 1 , 13- 3 0 ). Then In the case of the Giant with the scales who is preaching a kind of Com­ munism, Artegall attempts to refute his arguments (V. ii.?9-5l+) • However, when the Giant refuses to liste n to reason, Talus kills him. The other cases with Pollente (V. 11.2-28), Braggadochio (V.Iii.lO-l+0), Bracidas and Amidas (V.iv.1+0-20) correspond generally with these two examples in that Artegall usually tries to reason with the offender and only when reason falls does the death penalty follow . Radigund, however, is never given the opportunity to present her side of the case because Artegall d isq u alifies himself as her Judge. His dedication to Justice, unlike Talus', Is tempered by his humanity. He finds It impossible to lop off such a beautiful head. Artegall's refusal, therefore, to 115>

kill Radigund Is obviously Spenser*s way of saying that ahe does not deserve it* True, she deserves to be punished, but her punishment should not have been death, for her crime is no more serious than Malecasta*a* She does not draw knights into her service by tricks. They fight her of their o..n accord, and the conditions which she lays down apply as much to her as they do to them. If she loses, she Is prepared to submit herself to what­ ever fate they decree. This is more than Malecasta was willing to concede, and she escaped without punishment. Furthermore, it must be kept In mind that If Radi­ gund * s sense of justice is misguided and If she ignores the laws of chivalry by fighting against the forces of good, at least she has some kind of mbtivation. She is not humiliating knights for the pure sport of It. Rejected love has motivated more serious crimes than Radigund*s. Her motivation distinguishes Radigund from the host of other- women whom we h-jve previously con­ sidered because their* natures directed their actions. They acted as they did because they could not act other­ wise. Radigund, however, has made a deliberate choice; and if she Is acting wrongly, we recognize her fault as a human fa ilin g .

Aside from supplying Radigund with greater motiva­ tion, Spenser emphasizes the human attractiveness of her character in a number of ways. First, he deliberately 116 dis-assoclate 3 her from the world of the supernatural* She has gained her station as Frincess of Hadegone on the merits of her strength and nobility. She has no charmed weapons, armor, or allegorical clap-trap to aid her in overcoming opponents. 31 She meets them a ll as another human; and when Brltomart cuts off her head she is just ea dead as all the other real people who die in fairyland. Second, 3n her station of authority she is highly respected by her subjects, for they stand loyally behind her in the fighting. Third, we have also noted that .ipenser follows the practice of revealing charac­ ters in terms of the settings in which they appear. Lucifera's castle was crumbling; a number of the hags lived in dirty cottages; and Acrasia*s bower was arti­ ficially contrived; but the House of Holiness and the House of Temperance were very well constructed. The completely evil characters, then, are assigned to dwell­ ings which are in some way false or filth y ; the good characters reside in well-built dwellings. It is not without consequence, therefore, when we read that l^adigund liv es In "a goodly citty and a mighty one" (V .iv.35).

Besides T-ad igund 1 s motivation, station, and environ­ ment being In her favor, there is nothing artificial or false about her beauty. Like Brltomart, she Is an excellent mixture of strength and womanly grace. 117

A rtegall* a reaction when he first beholds her face is proof enough of her beauty: But when as he discouened had her face, He saw his senses straunge astonishment, A miracle of natures goodly grace, In her faire visage volde of ornament, But bath»d in bloud and sweat together ment; which in the rudenesse of that e u ill p light, Bewrayd the slgnes of feature excellent: Like as the Moone in foggie winters night, Doth seeme to be her selfe, though darkned be her light (V.v.32) iiven Britomart*s accusation that Radigund does not abide "by the l«wes of cheualrie" needs qualification in view of the fact that is suggest treachery on the Amazon*s part. However, it Is to be remembered that Radigund*s decision to fight Artegall in single com­ bat was made "Rather then see her people spoiled quight." That is , Radigund shows that she has the nobility of character and loyalty to her subjects which demands that she accept whatever consequences result from her decree. Furthermore, ahe is not found wanting in the proprieties of the social graces, cJhe Is so sensitive about the refinements of hospitality that when she sends her challenge to Artegall she also sends along "wine and iuncates fit" which she Mbid him eate." One would hardly expect such courtesy from a coarse woman. That Spenser f e lt sympathy for Radigund and delib­ erately made her attractive is evident In the ways he watches her with Brltomart* Both are beautiful, chaste, impetuous, honorable, and courteous* Both are knights and ladies of authority* Both love Artegall, confide their love for him to another woman, fight him in battle, and are spared by him when he sees their beauty* In fact, even the scenes in which Artegall spares them are strik­ ingly similar. Because he thinks both women are guilty of a wrong, he is the aggressor in each battle and his strategy Is the 3amw in both encounters* He retreats while warding off th eir wrathful blows u n til their f ir s t energy is spent; then he turns his full might against them and strikes them to the ground, when each maid is on the ground without the protection of a helmet, Arte­ gall drops his sword when he sees their beauty and regret3 his cruelty* Such a series of resemblances between Radiguna and Brltomart can hardly be a matter of coincidence. In addition to all these favorable touches with which spenser adorns his portrayal of Radigund, the moat engaging feature of her personality is that she is a woman who has a great capacity to love and that be­ cause of it she must suffer* All the previous wonwn were either, like Lucifera or Philotirae, too abstract to love; or, like Acrasia's or Malecasta * s, their love was no more than lust* But Radigund *s love is so deep that she dies for it. None of the seductreases die for 119 lust. Consider* the circumstances which lead to Radigund* s

tragic death. First, It was because her love for Belle- dant was rejected that she made the foolish decree of humiliating all other knights. This decision reveals her

tragic flaw. Her desire to avenge h«r rejected love prevails over all her noble qualities and establishes a basis for her downfall. Then, logically, because of

the injustice of her decree sho is made to deal with

Spenser* s Knight of Justice, Artegall; and for a second time she finds herself in love. Again as with Bellodant, her love is rejected. But this time the circumstances are altered. For Artegall does not reject her directly.

Actually, because Radigund*s trusted maid has been false, he is not even aware that she loves him. Of course, since Artegall is already betrothed to Brito- mart, there Is little likelihood that he would have reciprocated her love had he known about it. However,

In denying this remote possibility, Spenser creates an anxiety in the leader that Radigund may at least some­ how succeed in making her love known to Artegall. Some pity for Radigund woula have been aroused had she only been rejected by Artegall, but this pity is intensified when we realize that Radigund has been rejected by a man who d oes not even know th a t he i s d oin g s o . As a final tragic irony Radigund, unknowingly rejected by the man she loves, and betrayed by the only woman whom 120

she trusts, dies at the hands of Artegall*s real love,

Britoraart, who is motivated by the same kind of love 32 as Radigund herself.

Few episodes In the Faerie Queene surpass this one

in dramatic refinement, for seldom does Spenser allow

the reader to know more about the actual circumstances

of a situation than do the characters who are involved

in it. Tn support of the major thesis of this study

is the fact that the central figure in the episode

and the cause of its dramatic intensity is Radigund,

a minor character.

Mirabella serves as an appropriate transitional

figure between the seductresses whom we have Just con­

sidered and the reformed women whom we shall turn to next, for she is a former seductress who is attempting

to achieve her redemption, when Timias first sees her appear on the scene in Book VI in the company of Dis­ dain and occm, he is incensed at their rought treat­ ment of her and rides to her rescue; but he Is soon unhorsed and captured by the g ia n t D isd a in and sh ares the same abuses which M Irab ella s u f f e r s . Serena,

Timias* companion at the time, thinking that the giant has killed the squire, flees for her life. Mirabelln pleads with the the two to release Timias but they ignore h er. Then Arthur and n

"life will by his death haue lamentable end.*' Arthur

spares his life and asks how the lady*s fortunes are so bound with the giant* s. Mirabella explains how she h*td been loved by many noble knights, but in her pride she had no pity on them. Angered at her scorn for love,

Cupid has made her travel through the world in the com­ pany of Scom and Disdain "Till she had sau*d so many loues, as she did lose." Again Arthur offers to free her from her two tormentors, but Mirabella answers that

she "needes must by all meanes fu lfill/ This penaunce, which enioyned is to me." Arthur frees Timias and c-nlas while Mirabella rides off with Scom and Disdain.

Besides serving as a device to separate ^emna from

Timias, the Mirabella episode is or little dramatic importance. None of the characters undergo any serioua ohange. Timias and j^nias though captured by Disdain are immediately freed by Arthur, who plays his custom­ ary role of rescuer of the oppressed. The giant Disdain receives a broken leg for his villainy; but allegor­ i c a l le g s have a way of mending f a s t , and he resumes h is office of annoying Mirabella without any great incon­ 122 venience when the two parties separate at the end of the episode. Nor Is Mirabella«s condition changed In any way In aplte of being rescued. She still haa her pen­

ance to carry out. The episode, therefore, Is an exeraplum of Spenser*s a ttitu d e toward women who in th e ir pride treat love lightly. For Mirabella* a penance, which incidentally Is the ironic equivalent of the

Squire of Dames*, is most appropriate in the allegorical

order. Her tormentors, Disdain and Scom, are actually projections of her own previous attitudes toward her fomer suitors. Mirabella realizes this; and, there­

fore, she accepts Cupid*a penanae as Just, she la guilty of trifling with the affections of men and must

suffer for tt.

Let us turn our attention now to a distinct group.

These are the reformed women antagonists, ana they belie the claim that Spenser*s characters are either black or white, good or evil. They are introduced as evil women, but by the end of the episodes in which they appear each one turns from h«r evil ways. As one might expect in the Faerie yuvene, of whioh love may Justifiably be considered the prevailing theme, each of the reformed women achieves her salvation by her love for some man.

However, each of them is reformed by a different kind of love. Poeana is at first a wholly evil seductress, but her love for Amyas and then Placidas brings her con­ 123 version (IV.vlll.l 49 - l x .l 6 )• Flourdelis, had been in low with a noble knight, but she rejected hia love for that of a villain only to be won back by the arguments of Artegall to her first lover (V»xl*>49 - 614), And, finally, Brians is at first led astray and then redeemed by her love for Crudor when Calidore spares his life (VI.1.12- ^7 ), Let us examine In more detail the circumstances which lead to these three conversions from evil to good. The main elements of the episode In which Poeana appears are familiar ones to the readers of romance. A handsome young Squire of low station, Amyas, while waiting to keep a secret rendezvous with his beautiful young lady of high station, Amylia, Is captured by a cruel giant, Corflambo, and le cast into prison beneath the giant1s castle. However, one of the heroes, Arthur, loams of his pitiable captivity, kills the giant, liberates the Squire, and reunites him with his lady. Although this is the framework of the episode, Sponaer modifies this pattern by introducing two additional characters who enrich Its meaning. He gives the giant f beautiful, pleasure-seeking young daughter, Poeana, who fa lls in love with th« captive Squire and seeks to win his love from Amylia by granting him special privi­ leges in return for tokens of his affection. Then to modify the pattern s t ill more, Spenser Introduces another squire, Placidaa, who fortunately resembles Amydas so closely in appearance that the two are hardly d istin ­ guishable* It is not surprising, since the episode appears in Book TV In which friendship is the controll­ ing virtue, that Placidas befriends Amydas and is prepared to take his place In the dungeon. The inter­ vention of Arthur, however, makes this unnecessary and the episode concludes not only with the happy re­ union of Amyas and Amylia but with the betrothel of Plucidas and Poeana. Spenser, therefore, successfully illustrates the virtue of friendship in the persons of Anayas and Placidas, skillfully balances pairs of lovers to Illustrate faithful love and its power to reform, and employs Arthur once again In the role of the hero who makes it a ll possible.

Poeana* s reformation is our main concern here.

H©r allegiance with the foroes of evil i s evident when

Plecidas first describes her to Arthur:

The falre Poeana; who seemes outwardly 50 falre, as euer yet saw liuing ele: And were her vertue lik e her beautie bright, She were as falre as any vnder dkie. But ah she giuen Is to vaine delight, And eke too loose of lif e , and eke of loue too light.

When she see3 Amyas in the prison, she hopes to make him her "paramour." Her courtship of him is, of course, the 125

same procedure which we have already seen employed by Duessa, phaedris, and Malecasta. She simply wishes to acquire a new lover. In fact, In our first view of her, as In that of Phaedria, she is engaged in playing a musical Instrument, "playing on a Rote/ Complayning of her cruell Taramoure/ And singing all her sorrow to the note*" The sight of her slain father causes her to “loudly cry, and weep, and walla*" Then when Arthur has liberated the castle and all Join in rejoicing over their new-found freedom, Poeana refuses to engage In the fe s tiv itie s : “nathemore would she / Show gladsome countenaunce nor pleasaunt g le e :/ But grleued was for losse both of her sire/ And eke of Lordship, with both land and fee*" Yet her main grief is over the "losse of her new loue, the hope of her desire*" But Arthur, seeing her intrinsic virtue, with “speeches well applyde^/

O ld m olllfie, and calme her raging heat*" Turning to Flseidas, he encourages the squire to "accept her to his wedded wife" and "offred for to make him chiefe/

Of all her land and lordship during life," Plucidas agrees, and 'From that day forth in peace and loyous b lis,/ They liu*d together long without debate" And Poeana "reformed her w aies,/ That a ll men much admyrde her change, and spake her praise*" Spenser is showing that if given a chance a beau- 126 tifu l, young, sensual maid can reform* Since her father was Corflambo, evil ways were, no doubt, a ll she knew of life; but his death freed her of hie corrupt Influence and provided her with the opportunity to act otherwise. Corflambo*s Influence la replaced by pia- cidas*, and Poeana is easily reformed by her love for him* Thus she la almost the antithesis of Hellenore, who was also dominated by a force of ev il, Malbecco. But whereas Placidas* love enables Poeana to reveal her essential virtue, Faridell*s lust strips away the veneer of Hellenore*s artificial virtue and reveals her sen­ suality , Though Poeana*s converaion is morally reassuring in the sense that it proves that at least in some cases salvation or damnation is not preordained in fairyland, as a dramatic figure Poeana remains pale. She simply does not engage in enough of the action to acquire significant dimensions* Most of what we kno* of h«r we leam by report. Too seldom does sho appear before the reader in person; ano when she does, she is littlo more than an image of grief and melancholy. Therefore, her conversion is much less satisfying dramatically than it is morally, because she undergoes too few ten­ sions before making the change. Poeana could well have been the most effectively drawn character in this epi­ sode for, like Radigund, she has the greatest dramatic 127 potential. But apparently in order to emphasize the

theme of friendship Spenser unfortunately assigned the

lead role to Placidas, who is a little too allegorically

friendly to be very convincing,.

If Poeana*s conversion fails to be completely sat­

isfying., .Spenser*s account of Flourdelis 1 reformation

from evil to good is even less dramatically convincing because ho fa^ls to supply her with sufficient motiva­

tion. Consider her case. Che had promised her love to

.Sir Burbon until Crantorto "with golden giftes and many

a guilefull word / Hntyced her, to him for to accord."

However, when Artegall accuses her of a "breach of

faith once plight" for the delights of the world and

argues that "Dearer is love, then life, and fame then

r old;/ But dearer then them both, your faith once

plighted hold," Plourdelis is much "Abasht at his rebuke"

and returns to the arms of her true love.

go be sure, Artegall*s argument is nobly sound in

Its honorable sentiments; but the reader may question

whether it would really convince a woman who is as

conscious of worldly gain as Plourdelis. Purther,

if Plourdelis had been troubled by her own unfaith­

fulness or if meeting Burbon aroused in her some sort

of amorous reaction, Artegall*s sermon would have been

more appropriate. But Flourdelis apparently has no

conscience until Artegall gives her one; and when she 128

comas face to face with Burtion, her reaction is almost belligerent: "But she backstarting with diadainefull yre, Bad him auaunt, ne would vnto hia lore Allured be, for prayer nor for meed," (V.xi.61) When Artegall*s noble sentiments immediately reform a woman who could act thus, the reader is not only sur­ prised at Plourdelis* superficiality, but he ale»o ser­ iously wonders whether she was really worth redeeming at all. Not only is her love for Burbon less profound then Poeana*s for Placldas but she seems to lack even the capaoity to appreciate abiding affection. Therefore, Flourdelis emerges In the end, as Spenser apparently intended, as a personification of the kind of a ffin ity which can be dictated by worldly gain. Brians, the third reformed woman character in the Faerie wueene, is better drawn than either of her pre­ decessors because she is Involved in more of the aotlon, and her conversion is better motivated. Her episode begins in Book VI when Calldore finds a squire tied to a tree, frees him, and learns that the lady of a near­ by castle practices the lewd custom of cutting off a ll ladies* locks and knight*s beards who chance to pass by. Brlana, the proud lady of the castle, seeks to win the love of a "doughty Knight" Cimdor, who has refused to return her love "Vntill a Mantle she fo r him doe fynd,/ With beards of Knights and locks of Ladies lynd." 129

Calldore, determined to correct thia abuse, pursues Maleffort, Bbiana's "man of mickle might", Into the castle yard and "cleft his head asunder to his chin."

After fighting off the other guards of the oaatle, Calldore enters Brlana*s hall. She berates him for murdering her man and threatens to send for Crudor. Unimpressed by her threat, Calldore accuses her of gross Inhumanity and advises her to change her ways. Incensed, Briana sends h«r dwarf for Crudor; and Cali- dore awaits his arrival. On the following day, the two knights meet and Calldore defeats Crudor; but when the villain asks for mercy, Calldore spares his life on the condition that he behave better "Vnto all errant knights." Cmdor promises by agreeing to release Briana from her practice of collecting locks and beards. Briana is so grateful to Calldore for having spared her lover that she entertains him with a "goodly glee and feast" and "freely faue that Castle for his paine." Calldore turns it over to the squire, however, "For recompence of a ll their fonner wrong." The offense which Is perpetrated here is of a much less serious nature than those of the previous episodes, whereas in the others, knights stood to lose their life or freedom and ladies their virtue, here thay run tht>

risk of losing their hair. Spenser is obviously draw­ ing a d istin ction between a moral e v il and a social 130 discourtesy. It Is appropriate, therefore, that this ep5 sode appears In Book VI, whioh treats of the virtue of Courtesy. Briana*s rolw, too, is qualified by extenuating circumstances whioh diminish the degree of her culpability. True, she Is discourteous; but she Is motivated to collect the locks and beards by her love for Crudor rather than by any fiendish or com­ pletely selfish purpose. Actually she takes no special delight in collecting the hair of knights and ladies; nor does she exult In their humiliation. The beards and the locks are simply means by which she can get her man. Consequently, it Is Crudor who Is actually res­ ponsible for her discourtesy. But even he Is not a confirmed v illa in , for he is unwilling to sacrifice his life for his foolish request. Calldore does not feel that the offense should be punished by death. He is quite w illing to spare Crudor*a lif e once he has promised to give up the foolish practice. Nor la Briana, whom Spenser describes as proud and shows to be aggressively antagonistic, bent on evil. When her lover*s life is spared, she is quite eager to reform her discourteous ways; she shows her gratitude to Calldore by giving him her castle. Calldore has enabled her to win Crudor; ana this is her solo concern. Unlike Plourdelis, there­ fore, Brian«*s aotions are better accounted for and her reformation is better motivated. Ana much more than 131

Poeana, Briana takes a lively part in the course of the

a ction * There remains for consideration a fin a l group of three women antagonists. In effect, Munera, Adicia, and Blandlna represent the antithesis of tho rafomed group, because though each might have been able to save herself, each refused ana consequently perished. They are also distinguishable from any of the previous groups we have studied. They are neither allegorical abstractions, nor hags, nor seductresses. Nor can it be said that any of them engages In enough of the narrative action to emerge, llkw Radigund, as a truly dramatic charac­ ter. iiven among the minor characters they are minor.

Although these three women differ from the other?

in certain respects, they do not differ completely. For examp It#, Munera and Adicia bear a certain resem­ blance to Poeana ana Briana in that they, too, are associated with evil men in some sort of malicious scheme which has a castle as home base for their v i l ­ lainy. Munera, like Poeana linked with a conupt father, Is the daughter of Pollente who by his great strength oppresses lords and enriches himself and his daughter with their possessions (V.II,1-28). Further, he has the added pastime of running a t e ll bridge.

Those who refuse to pay the penny toll are either

refused passage or thrown off the bridge Into the 132

river. The correction of this injustice falls to the lot of Artegall, who promptly meets Pollente on his bridge and drowns him in the river where so m«ny of the giant»s previous victims had perished# Then Artegall and his squire of justice, Talus, go to the giant*s castle, After breaking down the gate, Talus cuts off the hands and feet c-f !'uners and casts her over the castle wall, "And there her drowned in the durty mud," Then he utterly demolished the castle, MunerA's fate could easily have been that of Poe- ana, for the general framework of each episode is similar, £,ach is a beautiful maid; each has a father who practices extortion through his superior might; each father is beheaded by a hero; each maid resides in the safety of a castle; and each indirectly parti­ cipates in the crimes of her father in that she shares in the b en efits. Munera, however, has not the redeem­ ing feature of a truly human love to recommend her salvation. She is obsessed with money and has been dehumanized by it in the aam© way as is Mammon. Her hands are "hands of geld" and her feet are "feete of silu er trye," She throws "great sackes with endlesse riches" over the castle wall to divert Talus; and when he breaks into the caatlo, she hides "Vnder an heape of gold." when the use of money fails either to dis­ tract Talus from his mission of justice or to conceal 133 h er, she has no r e s o r t . Money i s her only recourse* when it fails, she dies. Put Munera*s death is no great loss, for she was really never very much alive anyway*

A dicia appears when Arthur and A r te g a ll rescue

Samient, Merc Ilia's maid-messenger, from two knights who were pursuing her (V.vii*U-5>1) • Samient tells how the Souldan is attempting to take over M ercilla's king­ dom and kill her. His cruel wife, Adicia, is the instigator of his tyranny. She is a "mortall foe/ to lustice." Samient was sent as an ambassador cf peace but Adicia insulted her, cast her out, and dispatched the two knights to dishonor her. On hearing such a list of wrongs, Arthur and Artegall devise the plan of disguising Artegall in the amor of one of the dead knights and leading Samient back to Adicia*s castle as though a captive so that they can gain entrance. Soon after, Arthur arrives at the castle and challenges the

Souldan t.o release Samient. The Souldan answers by riding out in his chariot drawn by “cruell ateedes" which are "fed/ with flesh of men." A bloody battle follows in whioh the Souldan*a steeds, because of their extraordinary speed, give him the advantage until Arthur draws the veil from his diamond shield and the h o rses run w ild and the Souldan i s torn to pieces when the chariot overturns. When Adicia sees 13k

Arthur return after the chase with the shield and armor

of her dead husband, she attempts to k ill Samient but

Artegall prevents her* Her anger drives her insane and

she flees the castle mad:

She forth did rome, whether her rage her bore, With fran tio k e p a ssio n , and w ith f u r ie frau gh t; And breaking forth out at a posteme dore, Vnto the wyld wood ranne, her dolours to d e p lo r e • (V.vlii.liQ)

Adici9fs mad scene at the end of the episode is

reminiscent of Malbecco*s when Hellenora refuses to

return with him to his castle as his wife. But Adicia

has none of Malbecco*s individualizing features to

recommend her as an in t e r e s t in g ch a ra cter. Both she and

her husband represent such extreme and uncontrollable

violence that they remain outside the pale of humanity*

They are ao dominated by a single passion that it leads

to their destruction* Dramatically, Adicia also fails

to satisfy the reader; for though we learn that she is

the instigator of her husband*s tyranny, we never fully understand why she is so bent on her villainy. In short, by his failure to supply Adioia with sufficient motiva­ tion Spenser chooses to diminish even further the importance of the minor role which he assigns her.

Blandina, the last of the three non-reformers, is a l i t t l e more c a r e fu lly drawn than e it h e r Munera or 135

Adicia; but she is s t i l l admittedly minor in her own episode (VI.iii.39-vii.27). In certain way 8 her rol« bears a resemblance to Briana^s* Since both episodes in which the ladles appear are in the Legend of Cour­ tesy, they may be interpreted as being primarily intend­ ed to illustrate breaches in that virtue. However, whereas Briana is the agent who acts discourteously (clipping locks and beards), it is Blandina»s lord, SirTurpine, who causes the discourtesy while Blandina herself attempts to persuade him to act courteously. Blandina and Sir Turpine fir st appear together when they chance to meet Calepine and the seriously wounded Serena at the bank of a swift river. Calepine asks them to assist in carding Serena over itj but Sir Turpine refuses to offer any help and rides on to his castle. When after much difficulty Calldore manages to get Serena across himself, he goes to the castle ana asks that they be given lodgings for the night. For the second time, i>lr Turpine refuses to help him. According to Turpine's Porter, no knight is admitted "Vnlesse that with his Lord he fonnerly did fight." Calepine and Serena are forced to spend the night with­ out shelter. On the following morning Sir Turpine rides out to fight Calepine and is about to k ill him when a

"saluage man" c o p » 3 to his rescue. Then the savage takes off the two wounded lovers to his forest retreat 136

in order to care for their injuries* Spenser is obviously contrasting courtesy and dis­ courtesy in the way the savage man w illingly shares his meager possessions with the pair, whereas Sir Turpine denies them what he could well afford to give* However, Spenser does not leave Turpine without any motivation for acting as ho does, somewhat like Radigund, he seeks revenge. As the Forter tel]a Calepine, Sir Turpine refuses help ”to euery errant Knight,/ Because of one, that wrought him fowle despight," But vengeance is uncalled for. He has no right to punish all for what one did. uvan his wife, Blandina, realizes this, for on both occasions on whioh he was discourteous to Calepine and Serena she pleaded with him to help them. His rude speech to Calepine at the river bank "his Lady much displeased"; and though she "Did him reproue, yet could him not restrayne*" Later when Turpine denies him admission to the castle for the night, she again "Him of vngentle vsage did reproue/ Ana earnestly entreated that they might/ Finde fauour to be loaged there for that same night." Blandina, therefore, is no flinty- hearted villalness who takes sadistic delight in her husband's rudeness. Though she is not able to make her husband a courteous knight, she is quite aware of what constitutes proper courtesy. After Spenaer interrupts the Sir Turpine episode to 137 folio*, the fortunes of Calepine, Serena, the savage man,

and Timias for two cantos, Arthur arrives on the scene

in Canto v and hears about Turpine's discourtesies from

Serena, Arthur resolves to "auenge the abuses o f th a t proud/ And shamefull Knight"; and leaving Timias ana

Serena under the care or a hennit he, with the savage

as his squire returns to Turpine* s castle. The two make

short work of it. Arthur comers Turpine in the cham­ ber of Blandina but spares his life when she asks his mercy. As punishment for vile crimes against errant knights and ladies Arthur strips him of his armor and deprives him of his knighthood. Again Blandina*s cour­

tesy is revealed in the way she entertains Arthur "with all the courteous glee and goodly feast/ The which for him she could imagine best." But the reader is sur­ prised to leam that at this point Spenser has changed her character; for now at the feast he observes that

"Yet were her words and lookes but false and fayned. . .

Yet were her words but wynd, nnd all her teares but water.*' In any event, "soone she pacifyde/ The wr-ath- ful Prince." When Arthur leaves the castle, Turpine tricks two knights into following him; but the vil- lain*a scheme for revenge is thwarted; and soon after

Arthur seizes Turpine and strings him up on a tree by his feet as a warning example to all others who pass by. 138

In the first part of the episode before Arthur

arrives, Blandina seems to be a courteous lady who is

unfortunately married to a cowardly villain; but in

the second half Spenser reveals all her duplioity. This

obvious change in attitude is extremely rare in th%*

portrayal of characters In the Faerie Queone, with

uuessa we have already seen that a characters dramatic

influence may be de-emphasized; but a complete and un­

explained change of attitude is uncommon* Ana other

than her name the reader is given no hint in the first

part of the episode that Blandina is a falae woman*

nven Flourdelis* reformation was at least partially

explained* On the basis of this evidence, therefore,

it woula seem that Blandlna*s change represents one of

Spenser1s rare lapses. But such a lapse is of no great

consequence, for Blandtna*s role is rather insignifi­

cant — so insignificant, in fact, that Spenser do©s not

even bother to tell the reader what becomes of her when

TuiTpine is captured by Arthur.

An attempt has been made In this chapter to des­

cribe the dramatic functions of the female antagonists

in the Faerie Queene by a consideration of their phy­

sical and psychological makeup, by an analysis of the

settings in whioh they appear, and by an Investigation of

the themes which they represent in regard to their participation In the action of the poem. For example, 139

we have found that n certain group of women, such as

^rror and th® hags, are physically repulsive and psy­

chologically unbalanced, and that they reside in filthy

d w e llin g s and m an ifest in t h e i r u g lin e s s and f i l t h i ­

ness their corrupt natures* Dramatically they are of

little consequence* Another group of women, seduet resaes,

such as Acrasia and Duessa, though Just as corrupt as

the hags, disguise their evil natures* They are all

beautiful women who, for the most part, reside in

splendid castloa where they prey upon the heroes ana

heroines# Because they are more successfully portrayed,

they are of more dramatic significance than the hags,

Still another group of women, such as Helienor# and

Radigund, may be distinguished on the basis of their

realistic portrayals. Though they too are beautiful

women of authority and at times aeductresses, Spenser

draws them with much greater care than the women of

the previous groups* As individuals, they are more

sensitive, and as dramatic figures they are better motivated. Indeed, Kadigund is one of Spenser*a moat outstanding characters in the Faerie Uueene* Finally, a fourth group of women may be classified in terns of whether or not they are able to achieve their salva­ tion. The six women of this group (Poeana, Flourdelis,

Briana, Munera, Adiola, and Blandina) all have the opportunity to reform. Three succeed and three fail. The female antagonists in the Faerie Queene , th ere­ fore, range morally from those who are completely evil to those who m«y reform. They range physically from those who are utterly repulsive to those who are chann- ingly beautiful. And they range dramatically from thoae who are no more than abstract caricatures to those who ire both complex and sensitive individuals. FOOTNOTES

1 The groups cited here will, of oourse, be supplemented by a number of additional groups. For example, the women antagonists have been divided into suoh groups as abstractions, hags, seductresses, and reformed women. The baSis for the groupings, there­ fore, is not at all times vocational. The characters may be separated in terms of their physical appear­ ance, thematic resemblance, and dramatic role. p In this regard Spenser d iffer s from Ariosto and Tasso, who created antagonists dramatically pro­ portionate with their protagonists. -^Red Cross arrives at Despair* s dwelling In I.lx.33 and the episode ends In I.IX.5U. ^For various a lleg o rica l interpretations of arror as a moral and h isto rica l figure too numerous to cite here see Varlorumr l, I4I42, l+5>0, ^53# U56, U58, I466, ^7 9 . since most of the abholarly criticism of the minor characters In the Faerie Quoeno study will limit Itself primarily to an examination of the minor charac­ ters as dramatic fig u res. The Variorum, therefore, Is recommended for these two aspects or the charac­ ters. Little attention will be given to them In this 3tudy unless they assist in a better unde ratanalng of a character*s dramatic function. ^Unless otherwise indicated, all quotations from the Faerie Queem* are taken from J. C. Smith and j d e Se 1 incourt, eds, The Poetical Works of -^dmund Spenser (London: Oxf orcTTTniver'si'ty P ress,“T9i>2}. ^Gerioneo*s "Horrible, hideous" beast who devours victims under the altar (V.xl,23ff*) until killed by Arthur is referred to as a woman and must, of course, be Included as one of the most repulsive. This beast has the face of a woman, body of a dog, claws of a lion, tail of a dragon, and wings of an eagle.

Grille Legouls (Spenser, pp. 108-112) uses

II4I 114 2

Guyon's struggle against Furor and Occasion to Illu­ strate what he ca lls "the numerous moral pantomimes scattered about in the Faerie Queens» Q Impotence and Impatience are usually con­ sidered In their relationship with Maleger rather than as two more members of a group of hags* For example, see C* G* Osgood's "Comments on the Moral Allegory of Faerie QueeneMLN (1931)» 502-507* 9spenser humorously reveals the "decayed" senses of her son In actions which ironically contain courtly love conventions* His heart Is ready to burst "out of his brest"; hs is "deprlued/ Quite of all hope*" His first sight of Florlmell amazes "His feeble eyne." His courtship Is described thus: His caytlue thought durst not so high aspire, But with soft slghes, and louely semblaunces, He ween'd that his affection entire She should aread; many resemblaunces, To her he made, and many kind remem­ bra unce s. Oft from the forrest wildings he did bring, Whose sides empurpled were with smiling red, Ana oft young birds, whioh he had taught to sing His mlstresse prayses, sweetly caroled, Girlonds of flowres sometimes for her falre hed He fine woula deght; sometimes the squirell wild He brought to her In bands, as con­ quered To be her thrall, his fellow seruant v lld ; All which, she of him tooke with coun­ tenance meeke and mild* (III.vii.16-17) When Florlmell leaves, this Is his reaction: But that lewd louer did the most lament For her depart, that euer man did heare; H+3

Ho knookt hla brest with desperate intent, And scratoht his faoe, and with his teeth did teare His rugged flesh , and rent his ragged heare (III.vii.20) (Spenser's opposition to the code of courtly love, not­ withstanding C. S. Lewis's penetrating exposition of It in The Allegory of Love (Oxford, 1936), was shown in waysl;hat have hardly been recognized,) "^We shall investigate false Florlmell'a role in detail in our discussion of Braggadochio in Chapter IV. Clement Notcutt ("The Faerie Queene and Its C r itic s" assays and Studies py Memoers or the Eng­ l i s h Association^ xtl '(’19^6 )» b7-7o» observes that Ate Is "drawn with a wonderful combination of realistic and symbolic power. 1 P Ate is summoned from hell by Duessa. It is to be remembered that Archimago also calls sprites from hell in order to separate Red Cross from Una. ^This r-nvy Is apparently the female counter­ part of the male n.nvy who appeared In Luc If era's pro­ cession In Book I. ■^It is to be noted that even with these, death is a matter of choice. They commit suiolde. Apparently, the hags are indeslrructible; or perhaps they are beneath the dignity of the heroes. ^We shall notice that In describing the beau­ ty of the seductresses Spenser rarely gives many particular details. Apparently, since these women were not truly beautiful, he would describe them only in the moat general terms. The detailed descriptions are reserved for the virtuous ladies. On the basis of such evidence as th is, one may seriously question the position of such critics as Legouls and Grierson that Spenser was taken in by the charms of his own seduct- ressea. Morton w. Bloomfield In his book The Seven Deadly Sins (Michigan State Press, 195>2), pp."nfl-ltj, contends that Spenser's was "the last great treatment of the Sins in English literature” (p. 2U3). He points 114*4 out that the classical elements In Luclfera's procession.

^ N o te Spenser*a comment on P h ilotim e*s beauty:

Yet was not that sank* her owne natue hew, But wrought by art and counterfette shew, Thereby more lo u e r s vnto her to c a ll

This Is typical of his attitude that the beauty asso­ ciated with the antagonists, whether 1t be one of physical appearance or setting, is not natural beauty but rather beauty "wrought by art."

13Philotime also illustrates 3penserfs prac­ tice of assigning a character a name which appropriately expresses the character's chief quality. Philotime represents Ambition; her name Is from Greek, (^vXotv. ml C « , meaning "love of honor." Bee John il. Hankins, in his "Spenser's Lueifera and Philotime," MLK, LIa (19^*4) j !4l3-l5* suggests that the source for Philotime's name may have been from Aquinas* Sumnra Theologlca (Pt. II of First Part, y. 60, k * $ ) •” tte also suggests that Lucifera'a source Is Natalis Comes' Kythologla (III.xvIH).

"Though Phaedria's Island is loss artifi­ cially contrived than Acrasia's Bower of Bliss, still its beauty Is not completely natural. Notice Spenser's 1 ci ..;c ript Ion of it:

it was a chosen plot of fe r tile land, amongst wide vauer set, like a lltle next, if it hec by Natures cunning tana Bene choisely picked out from all the r e s t, And laid fo r th for ensample of thw b e s t ; No daintie flowre or herbe, that growes on ground, No arboret with painted blossomes d r e st, And smelling sweet, but there it might be found To bud out fairs, and her sweet smels throw all around. No tree, whose braunches did not brauely spring; No braunch, whereon n fino bird did not sit: No bird, but did her shrill notes sweetly sing; No song but did contains a louely d i t : Trees, breunches, birds, and songs were framed fit, Por to allure fraile mind to ca re­ less© ease# (II•vi #1?-13) Indeed, such an Island with so much vegetation would be a botanist's paradise and perhaps since the bloBsoms are "painted,” the vegetation might also Interest the artist. Also, every true avlcultur'st would feel obliged to visit an island where a "fine bird" sat on every branch of evei^ tree; and musicians would also flock to the island to hear what the birds had com­ posed; for these talented creatures are not concerned with natural, commonplace bird songs; their "songs were framed fit,/ For to allure frallo mind to care- lesse ease." fuch an excess of details is obviously unnatm -al.

"^Later, in his fight with the Dragon Red rross is revived by water from "The well of life" (I.xi.29-30).

2^C. S. Lewis' (The Allegory of Love, "The Faerie Queene" (pp.297-360) study is stTTl the beinT” pIece of crlt 1 c 1 ?.m of Acr&sla and her Bower of B liss. o o ‘"L‘See above, pp. 59-60.

‘~-JDuessa's appearances m e: J ,11.1 3 , J . i l . ' 8 , l.iv.l, l.vii.l, H.1.13, iv.i.ie, IV.v.ll, V .ix .3 8 .

In a recent article Alastair Fo.ler. "Six Knights at Castle Joyous," sP, LVI (1959), 583-99, deal with the significance of these knights and offers an Interesting analysis of this episode In Its relation­ ship with the Malbecco-Hellenore episode. pp ^The charge that Spenser was Insensitive in regard to humor Is untenable in the light of this inter pretation. Additional examples of his rather sly wit will be pointed out in the course of this study, to­ gether with a detailed examination of his chief comic 1*46

character, Braggadcchlo. Only raoently have critics become truly aware of the element of humor In the Faerie Queene» One such crltlo la Robert 0. tvans, "Spenserian humor: Faerie Queonfr III and IV," Neuphllolog1 so he MlttelXungen. tA, No* 3 (1959),

pi toRecent crlticiara Indicates that Spenser’s ability at comedy la finally being acknowledged. For example, Allen H. Gilbert includes a long list of comic passages In the Faerle Queens in his article "Spenserian Comedy," Tennessee Studies in Literature, II (1957 95-iofl. 71 'Although the humor In this scene is not our primary concern here, even C. £,. Lawrence In his article "English Humor," £R, 270 (193^), 11*0, makes passing inference to it.

^Although the details of this episode do not at all times correspond with those of Homer*s Iliad, still certain parallels are worthy of notice. “TEST* Hellenore-Paridell relationship ironically resembles the Helen-Paris relationship. Spenser intentionally draws the reader*a attention to this when he refers to Hellenore as "This second Hellene, falre uame Hel­ lene re"; and in telling his tale about the fall of Troy at dinner Paridell claims to be a descendant of Paris. The dinner itself is a greatly minimised v e r sio n of Homer*s f e a s t s ; fig h t in g among champions takes place outside the walls of a fortress; strategy is used to gain admission; Hellenore is raped; the castle is fired; and, finally, Malbecco la a kind of ironically comic Ulysses In his wandering search for hia w if e . 2q Though Waldo F. McNeir (l,Ariosto,s Sospetto, Gascoigne’s Suspicion, and Spenser’s Mslbecco," Fest­ schrift fur Walther Fischer (Heidelberg, 1959), 3 h —U8) has 'examined tnls episode rrom an entirely different aspeot, his insistence that the central meaning rests on a moral situation corresponds basically with the findings of this study.

3®when Radigund hears the three knights out­ side the gates of her city, "Her heart for rage did grate, and teeth did grin." Also, she is described as "Like b fell Lionesse" and "a Beane."

3^This is more than can be said for Artegall, who has an iron man squire, and for Brltomart, who has 11*7

•^On the basis of this brief examination of Spenser*s portrayal of Radigund, one seriously regrets that Legouis (Spenser, p, 139), a noteworthy Spenserian soholar, could say in reference to the Faerie uueene that "The characters are so superficially drawn that they are for the moat part interchangeable," CHAPTER II I

MALE ANTAGONISTS

Though a considerable number of accidental d if­ ferences distinguish the male antagonists from the female antagonists in the Faerie Queene, their dramatic r o le s fire e s s e n t i a l l y a lik e * Like some of the women, some of the men such as Despair, Mammon,Furor, and

Guyle — are basically allegorical figures with slight dramatic roles* In a sense, the extraordinary strength of Spenser1s giants corresponds to the repulsiveneas of his hags. The seductresses, or course, are counter­ balanced by the seducers who are juat as dedicated to undoing the ladles of fairyland as the seductresses are bent on cormapting the heroes* And, finally, one male antagonist, Braggadochlo, demonstrates Spensor *3 s k i l l in drawing a comic figure as Radigund revealed hi talent In portraying a tragic figure. In ahort, It may be said that there is a male equivalent for almost all the female antagonists. However, as one might expect in the portrayal of men, Spenser gives emphasis to the element of violence. Most of the villains are knights who enjoy nothing more than a fight vith one of the heroes, eventually they are defeated; but before they Ill 9

die, they leave the heroes with scars to remember them by. Also, we shell see that the men, more than^the women, are prone to travel with a companion or In groups and that they are more oloaely related by blood or common Interests than are the women. This added bond of unity, of course, gives greater dimensions to the violence which they stand for. To be sure, not all of the m*le antagonists repre­ sent violence any more than a ll the women represent lu st. Their characteristics are varied; their particular motivations are distinct. Dramatically they range from those who are simply fo ils for the heroes to such groups as allegorical characters, giants, brothers, and seducers who progressively become more complex as individuals and are more effectively drawn as dramatic figures until the minor character reaches Its finest portrayal In the person of the comic braggart Bragga- dochio. Yet If any antagonist can be singled out as representative of the antagonist as a type, the d is­ tinction must be given to Archlmago. For, like Duessa, he is a person of outstanding s k ill. Because of his numberous appearances, clever scheming, and fam iliarity with the other antagonists in the Faerie Queene, Archlmago amounts almost to an undeivorld czar. For, more than any other male an­ tagonist he is a positive force of evil who aggressively 150 pursues heroes and heroines In his attempt to bring about their f a l l . However, like Duessa, he la so completely dedicated to evil, so completely driven one way In hi a villainy, that he has few really convincing human qualities# Dominated by e v il, he la essen tially an allegorical character In his dramatic role. Like Duessa*3, his supernatural powers and sorcery disqualify him as a real person who must suffer the limitations of humanity. In fact, he has l i t t l e more individual identity than she h a s * At least once in the poem when Arthur strips Dueaaa, we see her as she really la -- an ugly witch. But we never see the tm evil repulalveness of Archimago's nature; for in a ll hla appearances he hides behind some disguise.* H® is a hermit, a knight, a pilgrim, a messenger, a magician, and a gangster. Tc be sure, these disguises are not chosen without reason. He fir s t assumes the role of a hermit because he Is dealing with Holiness and Truth In the persons of Had Cross and Una; and this disguise Is most effective in gaining their confidence. Then he becomes a knight just when Una is looking for Red Cross and is In need of a protector. Later, when she has acquired a pro­ tector, Sstyrane, he turns up as a pilgrim. And, finally, at a cm cisl moment when only a messenger cculd affect the dramatic situation, Archlmago becomes a messenger. It la to be noted that in those first four appearances 151

Archlmago alternates between religious and secular (or courtly) disguises. It seems that Spenaer Is using him as a dramatic whipping poat for the abuses of the two orders. He is a false member of the clergy as a hermit and a false member of the faithful as a pilgrim. In the chlvalric order he is a false knight and then a false messenger, tech time In each order hla station Is lowered from one of high rank to one of a lower rank. Then, It La to be further noted, Archlmago*s assumed d is­ guises are abandoned, and he aligns himself openly with the forces of evil; and again he serves the major roles which Spenser assigns th« antagonists. He is first uuessa's squire -- a mischief-making servant; then he is a freelance agent of ev il — a sword-ateallng magician; and, fin a lly , he la the member of a gang. This method of development seems delibei’ste on Spenser*a pert. The balance Is even more then coincidental when one ack­ nowledges the fact that in Book I Archlmago*a role Is that of a fake protagonist, whereas his role In Book II Is that of an avowed antagonist. But more than anyone else Archimago reveals the chttracteristIca of the type male antagonist. F irst, like many of his evil colleagues, whom we shall deal with as a special group, Arohimago Is an allegorical character, He represents deceit so convincingly that he never Is what h e appears to be -- hence his many die- 152 guises, Second,' like many of the giants, who represent another distinct group of characters In the Faerie kueene, Archlmago la gifted with some extraordinary non-human powers* Ha oan summon axil sprites to eld him in his schemes, and apparently by magic he acquires no less a prize than Arthur*s sword. Third, like the number of male characters In the poem who are related by blood cr by bonds of common purpose, Archlmago aids or is aided by other characters In the poem. He Is not an

Isolated force o f ev il. In fact, he seems to have sotDo kind of underworld reputation, for the other antagonists know him and are acquainted with his power. Fourth, like the sensualists in the poem, Archlmago uses sen­ suality as a means to accomplish evil. This is not to say that he himself is a seducer of maidens like Parl- d ell, But he does employ sensuality as a device to achieve his Intentions, Finally, like the more acoom- pllshod dramatic characters In the poem, Archimago not only actively participates in the movement of the narra­ tive but even directs its course. However, though the arch-villain is Spenser*s archetype of the varieties of evil which are to be found in more specialized mani­ festations in the other antagonists, Archlmago is not among the moat successfully drawn characters in the poem. Like Duesss'a, his allegorical characteristics prevent him from being a truly dramatic figure. To be 3ure, 153

ho is not a failure; but neither is he the most In­ teresting of the antagonists. His basio deficiency as a dramatic figure is thut he lacks sufficient motiva­ tion for his villainy. It has been our purpose in this brief considera­ tion of Archimago’s character simply to establish the general characteristics of the male antagonists. Lot us continue in our study of this group by proceeding from those antagonists who are l*»ast d ramat Ically suc­ cessful as characters to those who are most effectively d rawn. There Is little doubt that the least successful dramatic male antagonists in the Faerie Queene ere those figures whom Spenser assigns the role of foils to the heroes. These antagonists seem to be solely employed for the purpose of embellishing an allegorical setting or serving as th« agents for a moral Illustration. Though they are m«lnly allegorical figures, they need not necessarily be so. For they range from the decora- tively abstract figures of processional pageants to the starkly realistic figures of lecherous fishermen. Kirk- rapine Is the fir s t of this group to appear in the poem. On the allegorical level, he is, as his name suggests, a church robber; and dramatically the sole reason for his appearance Is to be ripped to shreds by Una’s lion. Mordant appears next In Book II. /.gain, his name indi­ 151* cates his role. Re Is a corpse from the start* Drama­ tically, he Is dead on arrival, a part of the setting Intended by Spenser to Illustrate the tragic conse­ quences of Acrasia*a lu at. Hudlbbras Is another of Spenser*8 "stuffed men"; he allegorically serves as a fitting mate for r-llssa ano dramatically is no more than a knight who fights. Spenser adcms Acrasla^

Dower of Bliss with n number of the members of this group, for they make excellent stage props. Verdant, G rill, and Genius a ll appear as a r tific ia l accessories in her manufactured haven of lu st. Genius is her pander; Verdant la her lover of the moment; and G rill represents the dehumanizing effect of her charms. The clod son of the witch-hag is also a member of this group and represents the antagonist counterpart of the noble savage. His rustic simplicity m*kes him a child of na­ ture, while his moronic characteristics contrast with the essential nobility of Satyrane and the noble savage of Book VI, Ferraugh, another uninspiring foil, la no more than a transitional knight In that he enables the false Florimoll to be transferred from Braggadochio to Blandamour. The evil flsheman la also a transitional figure, but Spenser takes more pains to make him realis­ tic. For him, Plorlmell represents the kind of woman that most sailors would like to be lost at sea with; and for Florlmell, the flsheraan represents crude lust. 155

Dramatically he enables her to be transported to a place near Marinell. Proteus, a member of tha mythical deity, la the final character of this group? and like the fisher­ man he, too, Is a character whom Spenser uses to get a heroine from one geographic location to another* For dramatically he Is simply the divine equivalent of the earthy fisherman. His Intentions are the same, and he has only the additional recommendation of supernatural powers to distinguish him. All these characters who serve as foils simply do not appear often enough or long enough In the poem to distinguish themselves. However, a few of the a lle g o r i­ cal characters, whom we may turn to at this point, deserve closer attention beoause they are more drama­ tically conoelved. Since the term allegorical admits a variety of meanings, a description of Its appropriateness to clas­ sify a group in this study is necessary. Practically every character in the Faerie Uueene is in some degree an allegorical figure of some virtue or vice which is usually Indicated by the individual*s name. Yet cer­ tain characters may be distinguished as a group because Spenser chooses to place greater emphasis on the alle­ gorical aspects of their natures, Th«t la, each character In the poem has q u a lities which are human and qualities which are allegorical. When the human quail- 156 ties predominate over the allegorical ones, the charac­ ter la usually more attractive ea a dramatic figure. When, however, the allegorical qualities predominate, the character, often dramatically static, is usually employed as a device to introduce a highly ornate setting and to Illustrate a moral axiom. This la not to say that the allegorical figures in the poem are failures as characters. On the contrary, thay are primarily res­ ponsible for the richness and refinement of color and sound and setting In the Faerie Quoena. Nor can they be summarily dismissed as dramatic figures either, even though their roles are admittedly allegorical. Perhaps better then any of the other allegorical antagonists whom we shall consider, Despair Illustrates this twofold allegorical and dramatic function. After Red Cross’s association with Duessa had brought him to the point of physloal exhaustion, he became an easy con­ quest for the giant Orgoglio. But at the request of Una, Arthur k ills the giant and liberates Red Cross from prison. The recently liberated Knight of Holiness, still weak from his imprisonment and s t i l l as impetuous as ever, then chances to meet a knight, Treuisan, who tellu him how th« "villen" oespair, "A man of hull" with "wounding words and terms of foule reprlef," persuaded another knight, sir Terwin, to commit suicide after he had convinced Ter*rln that he was beyond "all hope of l£ 7 due relief©" (I,ix.21ff.)* Of course, Red Cross wants to meet Despair to hear and to try for himself tho villain's "treaohours art." Treuisan loads him to

Despair,a dwelling which is "in a hollow care,/ Parr© underneath a craggi© clift." On top of his dwelling was a "gastly Owle,/ Shrieking his balefull note"; and all around thy dwelling were "old stockes and stubs of trees,/

Whereon no~ fruit, nor l«afe was ever scene." This type of setting, of course, corresponds generally with the cottages of the hags, and Spenser's description of Des­ pair himself is also reminiscent of the hags:

That cursed man, low sitting on tho ground, Musing full sadly in hi a sulleing mind; Hi a griesle lockes, long growen, and vn- bound, D isord re d hong about his shoulders round, And hid his face; through which his hollow eyne Lookt deadly dull, and stared as astound; His raw-bon© cheekes through penurle and p in e, Were shronko into his iawea, as he did neuer dine.

His garment nought but many ragged clouts, with thomes together pind and patched was, 1 ho which his naked sides he wrapt abouts. (I.ix.35-36) Flub Despair is a much more formidable opponent than the cottage hags. He answers Red Cross' charge of v illa in y by stating th«t he has leally rendered Terwin a service because he "does now enjoy etem all rest/ And happla ease." To this Red Cross retorts that man may neither

prolong, nor shorten" his life. But Despair has a ready answer. He argues that whatever happens "In 156 heaven and earth" *8 In the "etem all booke of fate*" Who then can “ahurme the death ordaynd by deatinle?" Also, the longer a man lives, the more he sins; and the more he aInn, the greater w ill he hia punishment* And to suffor eternal punishment for a life which offers little mere then "Pear, sleknesae, age, losse, labour, sorrow, s t r if e ,/ Paine, hunger, and cold" la foolish . Then, Despair continues hi -j argument for suicide by applying nil these general observations to Red C r o s s 1 "ife. He has just, been freed from Crgogllols "dongeon deepe"; be has been false to his "Ladle mllde" and ^olo hlmaelf to "serve t*ueasa vllde" with whom he bas defilod himself* How dees Led Cros3 appear In the highest heaven" where the law Is "Let every sinner Pie"? since ho must, therefore, die, "Is it not better to doe williuglie?" Despair*s arguments strike Red ^ross like "a swords point"; for he knows the villain speaks tho t:v.th In accusing him of sin. Then to clinch hla argument, oespalr shows him a painted vision of tho torment n which chu damned suffer and the "thousand feends that ioo them endless palne/ with fire and brim­ stone." Red Cross sees "nought but death before his eyes" as the "righteous sentence of th* Almighties law." He accepts the dagger which Despair hands him and is about to plunge it into his heart when Una snatches It away from him ar.o reminds the Knight of Hollne.cs that 159

"Where iustice growes, there grows eke greater grace,/ The which doth quench the brond of h ellish smart," By simply reminding Red Cross of the redeeming power of grace Una demolishes the very basis of Despair’s argu­ ments which were all based on half truths. Appropriately, they d 1 so i-ed 1 led by Truth herself in the person of U na . ‘ To he sure, this encounter between Bed Cross and Despair is not of major consequence in the total drama­ tic movement of Bock I. Yet it is quite possible to unde rest imste It.'3 real significance. It Is to be re­ membered that through his association with Duossa Red Cross was completely incapacitated physically by Or- goglie; but he was not vanquished in tellectu a lly . Spenser saves this role for Despair; for he wishes to bring Red Cross to his knees both physically and in te l­ lectually before he lecondlticns him in both respects rt f.he House cf Holiness. Spenser reveals these inten­ tions in the way he balances details of tho Despair episode with previous and subsequent incidents in Book I. For example, Red Cross1 heedless impetuousity in seeking out Despair Is essentially the came kind of reckless imprudence which he manifested in his abrupt departure from Una at Archlmago1 s hermitage and in his Impulsiveness to attack wrror. Also, Despair’s argu­ ments in tellectu ally disarm Red Cross with tho same 160

kind of gradual effectiveness which uuessa employed to

bring about his physical deterioration* And Despair

is tho same kind of intellectual gigolo with his half

truths as Duessa is physically with her false beauty. The Orgoglio-Hed Cross encounter was one of action but no words; with Despair there are words but no action. Just as Fed Cross was rescued from Orgoglio by Arthur, so is he rescued from Despair by Una, It is even to be noted that Despair*a painted vision of hall tele­ scopes Fed Cross* subsequent actual vision of heaven from the Mount of Contemplation, Such modified and altered resemblances between scenes are characteristic of Spenser*s poetic art and they reveal the extreme care he practices in balancing episodes, scenes, charac­ ters, themes, even stage props, In order to gain the desired artistic proportion. Furor, the second number of this group of a lle ­ gorical antagonists, !s the direct antithesis of Despair

as a dramatic figure. That is, as j*epresented by Spon­ ger, Despair Is a completely intellectual evil. His appeal is entirely to man’s mind, and his only weapons

are words. Furor, however, is a completely emotional evil, and he relies entirely upon physical violence. Also, Despair can exist as an isolated agent of evil, ?n need of no one's aid; but Furor is so dependent upon Occasion, his mother, that without her he becomes com­ 161 pletely inactive, when Occasion is restrained by Guyon, "all his power was utterly defaste" (Il.iv,ll 4). But whan she Is released by Guyon at the request of Pyrochlos, he again resumes his wild assaults. The allegorical Implications of the close relationship between Occasion and Furor are obvious enough. Because Furor is inar­ ticulate, Irrational, insensitive, and unchangeable, as a dramatic figure he remains uninteresting, c,ven Talus, an avowed iron man, has features which are more truly human than Furor*s. He is simply the allegorical force of violence which his name indicates. Mammon, the third of the allegorical antagonists, is more successfully drawn than Furor, bpenser devotes more attention to him as an individual figure, whereas Furor is only on incidental character who makes brief appearances .in tiro different cantos of Bock 11 (iv ,3-113» v,19-?l+). Mammon is the major opponent of a hero, Guyon, throughout an entire canto ( I l .v i i ) . Also, the nature of the evil which Mammon represents (wealth and worldly gain) suipssse3 In moral seriousness Furor's unbridled violence. And, finally, Mammon is more active as a dramatic character than Furor because he directs the course of the temptation whioh h» offers Guyon in his attempt to corrupt the knight. The Mammon episode begins when Guycn, after having been returned from Phaedriafs island, 162

. . . cam** vnto a gloomy glade, Couer*d with bough©s and shrabs from heauena lig h t, whereas he sittin g found in secret shade An vncouth, saluage, and vnclulle wight, Of griesly hew, and fowl® i l l fauour»d sight; His face with smoko was tand, and eyes were belard, His head and beard with sout were i l l bedight, His cole-black# hands did seeme to haue been# seard In smithes fire-spitting forge, and nayles like claves appeard. His yron co«te a ll ouergrowne with rust, Was vnderneath enueloped with gola, whose glistring glosse darkned with filthy dust, well yet appeared, to haue beene of old A worko of rich entayle, and curious moula, wouen with antlckes ano wild Ireugery: And In his lap a masse of coyne he told, And turned vpsidowne, to feede his eye Ana couetous desire with his huge threasury.

the knight a ll the riches of the W3*»ld. For, as he says, he is "Great Mammon," "God of the world and worldlings." Guyon refuses the offer and the two debate tho special advantages of wealth, Mammon claiming that money can satisfy any desire, and Guyon maintaining that It Is the "root© of a ll dlaquetnesse." Though Guyon*s 163 arguments in favor of the temperate use of worldly riches are more convincing, still Mammon cleverly succeeds in arousing the knight's curiosity about his great hoard of riches hidden underground and he conducts the knight by "A darkesome way . . . through the hollow ground" to his "seci-et place." In th*» course of their descent th«y pass a gallery of allegorical figures (Payne, Strife, Reuenge, Despight, Treason, Hate, Gealosie, Peare, Sorrow, shame, for instance) who are meant to be associated with the Intemperate use of riches just as the seven deadly sins were associated with the inordinate pride of Lucifera. They enter a gate which "was next adioyning" to hell and then into a room filled with an "exceeding store" of riches. Mammon offers a ll the riches to Guyon, but the knight refuses. Next, Guyon is led Into another room filled with furnaces where all gola Is made; but again the knight refuses this "fountain of the worldes good,' Then Mammon leads Guyon into s t i l l another room, which Is like n "sclemne Temple," where Philotime, who sym­ bolizes worldly ambition, sits In state. But for a third time, the knight rejects Mammon*a offer. He shows no Interest In Mammon *3 daughter, Ambition. Mammon, angered at tho knight's obstinancy, finally leads him Into a garden, the "Gardin of Proserpina," and encour­ ages him to eat one oi the golden apples which hang from a "goodly tr e e .” But again Guyon refuses; and 161+

having grown "weak and wan,/ For want of food, and

sleep," he asks to be returned "into the world." Mammon

complies; and when Guyon reaches the "vitall aire"

again, he faints from exhaustion,

Tn certain respects this enoounter between Guyon

and Mammon resembles and complements Red Cross* en­

counter with Despair. Both knights are exposed to a

temptation which seriously tests their virtues, and both

come dangerously close to yielding to it. To be sure,

Rod Gross is more severely tried and comes nearer to being vanquished than Guyon; but it Is to be kept in

mind that of all the heroes in the poem Red Cross is

perhaps lea^t able to withstand the assaults of the

antagonists; whereas, Guyon, with his starched sense

of temperance, travels through Book II with remarkable

immunity to villain knights, beautiful seductresses, and

cunr.ing tem pters. Both knight 3 meet approximately eight

opponents in the course of their quests, and whereas

Bed Oros., defeats four and loses to four, Guyon sue-

cessfully deals with all eight.-' In fact, only Mammon

is able to bring him to the point of exhaustion; and

therefore, this temptation represents his most serious

trial. Certainly Guyon is not at the point of yielding

to anyone of Mammon1a four tem ptations. The combined effect of all four cause him the difficulty. His cur­

iosity to see Mammon1s wealth prompted him to spend three days 3n sin and 3 0 drained his physical strength that when he l e f t ^ammon' s kingdom, he would have been an easy victim for Pyrochles and Cymochles had net the Palmer and

‘.rthur come to his rescue. Red Cross was not so fortunate os to hnve two such dependable comrades when he met Or- roglio; hut when he met Despair, Una was present.

The two encounters also complement each other in the kind of temptations which they pose. Both Despair and

Mammon refrain from violence to gain their ways. Their assault of the hero's virtue is an intellectual one; for they attempt to prove to the hero that what they offer is a greater good than the hero believes it to be. However, the recommendations of the tempters ere entirely different.

Despair deals with abstractions; hi a arguments rest upon a spiritual basis and have meaning only in what Woodhouse has termed the Morder of grace." If Red Cross turns to su icid e, Despair must convince him that it is his only spiritual alternative. But Mammon deals with the concrete; his arguments rest upon a temporal basis and have meaning only in the "order of nature." Tf Guyon is to enlist in the service of Mammon, Mammon must convince him that rich­ es are the only temporal good. In short, Despair's temp­ tation is directed to man's spiritual nature, Mammon's to man's temporal nature.

Though Mammon has few attractive features as a drama­ tic character, he doos reveal the same kind of worldly cunning as did Despbir In spiritual matters in his dealings 1 6 6 with Hod Groan. Cleverly enough, Mammon arranges his temptations In a climactic order which iintended to exhaunt all tho possibilities of man *s worldly desires.

The f ‘ rst temp ta t ' on--a s'nrle room full of riches — is the lea rt a ttrvic t. * vr of ell bee a use t of fe rs only a 11. m-

1 ted amount of wealth. However, tho second tempt atton-- tho furnace s wh? c h malre gold--offers an inexhaustible source of wealth. is I.nnron no • nt s out, they represent

4 lie "founts, Inc of tho worldos good." Hut since neither l !n 'J.ed nor 'nexhaust ’hie >• ches appeal to Guyon, Hannon shifts h i r t p c t 'T c s . The th ird tomptat > on--fh; lo t ine —

* * s much more complex; for- at ono and the same time I-lammon*e daurhter a beautiful maid who can satisfy his amorous dec > res, an abstraction, /• mb * 11.on, who can insure his worldly desires, and finally as heiress to Mammon*s w ealth a woman of T nexha us t * ble r ; ches. ’-/hen Guyon re-

,'ects this tempt a t' on, Mammon is beside himself, but he

s still not stymied. Tn the fourth temptation Mammon o ffe rs luycn the p o ll on a pplo s • Coming a f t e r such pre- v’ous extravagant offers, the golden apples may seem to be a n t : cl * mnc t ‘ c ; but consider what they imply. in the purely natural coxier, which /oodhouse rightly points out

's the p re va ‘ 1 * ng order of fool: 17, the apples represent the f ’ '’at '’orm cf nourl shrnent which Guyon has been o f f e r ­ ed ‘n any of she temptations, and it Is to be remembered

ha t he ha:: not eaten in three days. ilso, Ilammon on- 16 7 courages him to sit and rest, After three days, even Guyon needs restl The apples, therefore, in the natural order would satisfy Guyon1s basic human wants: food and rest. But allegorically the apple means much more be­ cause Spanner employs it as a symbolic key which w ill open all doom to tho desires of man. His allusions to mythological figures such as Hercules, Atelanta, and Paris suggest that by eating of the fruit Guyon will share in the special qualities (strength, cunning, and love) which these figures represent. But more important than any of these meanings, the golden apple suggests that Guyon may, if he desires, become a second Adam, Without running the risk of expulsion from paradise (the "Gendin of proserpina") he can acquire all know­ ledge and become God-like. Indeed, none of the previous temptations offered such gandiose rewards. But the tired, hungry hero .refuses; and we hear no more of Imtunon In tho poem, Tho two i’amaining figures of this group of abstract antagonists, Care and Guyle, may be briefly dispensed with becru'-e their dramatic rol«s are sligh t. Carets function (IV,v,32-1*6) in the poem is no more than a modified version of Scandal*s (IV*vli.23); for In both physical appearance, setting, and theme he represents the male equivalent of a hag. He is described thus: •«» a wietched wearlsh elfe, 16 8

With hollow ©yes and rawbone cheekes forspent, As If he h«d in prison long bene pent: Pull blaoke ana griesly did his face appear©, Besmeard with smoke th«t night his eye­ sight blent; with rugged beard, and hoarie shagged heare, The which he neuer wont to combe, or comely shea re. Rude was his garment, and to rags a ll rent, Ne better had he, ne for better cared: with blistred hends emongst the cinders brent, And fingers filthia, with long nayles vnpared, Tight f i t to rend the food, on which he fared. (IV.V.3U-3S) We are alreac‘,r* is familiar with such griesly physical d eta ils as we are with the few pointed detaila of his cottage: Vnder a steepe hilles side it placed was, There where the mouldred earth had cav*d the bankej And fast beside a l i t t l e brooke did pas, Of muddle water, that like puddle stanke, By which few crooked sallowes grew in rank© • (lV .v.33) Scudamore and Glauce, in search of Amoret and Britomart, come to Cai'e 's cottage seeking shelter for the night and are admitted without incident. However, since Care ana his bleckamlthes, "six strong groomes," "neither day nor night from working spared,“ they make sleep all but impossible for their guests. so inconsiderate are they that even when Scudamore dot»a manage to doze off amid 169

All t.he noise, Car© with "A pair© ol’ redwhot yron tongs • • . • Vndor his side him nipt." In th« first light of dawn the pair loave Care,s cottage. Though alight, Care's dramatic function la twofold* Liko Scandal and certain of the other hags, ho is simply an antagonist’c annoyance to one of tho protagonists rather than a serious moral danger. Ana, second, Care with nil his disturbing noise is a symbolic manifesta­ tion of Scudamore’s psychological unrest over the loss of Amoret and Glauce's concern over her separation from Brltomart. We h<_ive already observed this symbolic role in tho case of Mirabella, who was punished for her dis­ dain and scorn of young lovers by being mistreated by Disdain and Scorn* Though not among the most fearsome v illa in s in the poem, Guyle represents a greater moral danger to the protagonists than dooa Care with his Incessant noise- making. As Samient te lls Arthur and Artegall while the three are enroute to Mei*clllaers palace after they have defeated the Soldan and his wife Adlclu, the "wicked villain©" Guyle "robbed all the countrle there about,/ Ana brought the pillage home, whence none could get it out." So notorious is he for his crafty deceit that' he has been given tho name "Maiengin." When the two knights lea m of his treachery, they in sist that Samient lead tin m to his rocky cave which Is "hewen farre under ground"; 170 and they attempt to outmaneuver Guyle by trickery. 3c successful la their strategy of using Samlent as a bait to trap Souldan and Adicia that they again use her to trap Guyle. In order to lure him invo the open, she is stationed outside his cave. Arthur and Artegall stand by and wait for Guyle to pounce upon what appears to be a new victim. .Samient*!: cries soon bring the v illa in out of his cave; and he ensnares hor in his net; but when he turns again to hia cave, he finds its entrance blocked by two formidable knights. Dropping Gamlent to the ground, he escapes the pursuing Artegall by leaping over rocks and "craggy c l l f f e s .” Guyle has l i t t l e trou­ ble outstripping the armor-encumbered knight; but when Artegall dispatches his ir-on man after the villain, his inevitable doom is insured. No one escapes Talus* Yet Guyle makes a valiant effo rt. When he finds that speed alone w ill not save him, he attempts to disguise himself by assuming different shapes. Successively ho tu^Tis him­ self Into a fox, a bush, a bird, a hedgehog, and a snake; but the relentlo s.*, i rresi stable iron m*in is not to be deceived; ana in the end Guyle, shattered and disembow­ eled, is "left a carrion outcast;/ For beasts and foulos to foedo vpon for their repast." tven from such a brief description as this it is obvious that the Guyle episode seriously lacks drama­ tic complexity. Its most commendable feature is Talus* 171 exciting chase after Guyle which, as a swift moving adventure, is a kind of Renaissance equivalent of our present day cowboy in pursuit of a rustler. But Guyle himself never really assumes the distinct churacteristlcs of an Individual. He remains an inarticulate abstrac­ tion whether he be fox, bush, or bird, in fact, hi a only distinction seems to be that he represents a summation of the 1^'iS attractive •; harac te rl st 1c s of the previous antagonists. Fcr example, aside from hia static role 'is a dramatic figure, in physical appearance and in the setting of his rocky abode, h* resembles the hags. Spen­ ser tells us that hia cave, like Mammon*s, “goeth downe to hell11; his endless disguises, though reminiscent of Archlmago* 3 gift at assuming different ioentities, are pure allegorical fancy. And hia role as a robber remallir­ as indistinctly vague as Kirkrapine1 s. in short, the i-eader simply doer net see enough o'* Gayle's deceit to be convinced that ho is really a clever fellow, nor dees Mpense r pem 't him to remain on the scene long enough to rise above the allegorical features of the quality which ho represents. In contract with the abstiactnoas and Intellectual ingenuity of the allegorical antagonists whom we have just briefly considered, the giants in the Faerie Queene impress tho render by their physical dimensions and slow­ ness of wit. with only one exception (PI a in ', 'u.> are 172 } ( portrayed by spencer as real, flosh-and-blood ttian, ' Ihough men of exo«ed ing strength, they are net immune to death na were some of tho allegorical figures. In fact, of the eight giants who appear in the Faerie L>u©ene no le s s than six are killud by the heroes, This rather high mortality .rate suggest *, cf course, t.heir intel­ lectual d u lln ess; for had certain of the giants had the mental agility of Desnair or Mammon a few of the less

'ham-r i c tec ted heroes, like "ed r n r end r'alido're, m Ight

ave ha: a gi'eat many more anxious moments, !n the Faerie Queene Spenser primarily employs the

r - ' glnnt: as nn opponent for one of the heroes," That is, ns a type the giant symbolises an extraordinary physical ''e r f of evil which ’.pens©: distinguishes fi*om the other’ more subtle mar.’for tn tiens i f evil which he represents, ^cr example, we have already jeer; bn our previous dis-

%u n Lion < f the various groups of antagonists that al­ though ’■‘I. > n tagon i st s axe .’eli^ated to the corruption uf the hi© roe j, the different groups attempt . o acoom- ( pllsh this air. .in different ways, phe hags, the neat feeble of th© evil-doers, attempt by jibes and taunic to annoy the hero to some rash act. The seductresss^ rely upon their charm and beauty to distract the hero frop> his moral responsibilities. And the abstractions ly cunning and deceit assault the hei-o Intellectually with clever argument*: nnd attractive briber. These 173 g roups, therefore, test respectively the hero's virtu© by trying, his patience, chastity, and Intellectual stamina* But the giants teat hia physical strength* They me^t the heroes head or*. -- as one brave knight meets another. There Is r.o trlckei’y, duplicity, or subter­ fuge In the enccur. ter. The ati,cngest man prevails* tinea chu giants play such a role, It 3 s not surprising that they m t’e i.,«n of few vrords; but It la sure rising In vie'.-? of all the sdveniivous excitement which they provids that as a group they rwe anting the least d ramat ically -ucae^sful figures* The reason, of course, for this deficiency Is that .ipensnr refuses to supply them with pj-oper motive tier;, "’hey axe a ll greedy tyrants of some

.■jr.rt driven tc the ve r y extxemes of villainy by their selfishness. They dlsxmpt governments, dispossess maidens and ruling fam ilies of their rightful kingdoms. They 3ubjugate neighboring, lords and Indies and impose un­ just taxes. They bully, kidnap, beat, x*ape, rob, pillage, end extort, the defenseless; and their gi'eat sti-ength protects them from redxees* But as a male a ll their notions until the final encounter with a hero are import­ ed so that the wader x’arely sees their villainy at fir s t hand. Consequently, they usually appear in only one scene which, though fille d with great sound and fury, signifies little d rama tic ally • The giants me not knights of the i*oad.^ They a its 1714 men cf authority, rulers of a castle or a kingdom. Or, at least, they are associated with governmental affairs.

The theme, therefore, which they represent Ts the abuse of legislation. &ach giant is, in a sense, a governor; and almost all have usurped this office by brute force.

Such a high, stai Ion, of course, insures them the oppor­

tunity of accomplishing mono extensive corruption. The

role of lyranb-gcvemor, consequently, aligns them with, the evil of political injustice moi'e than any other particular mere! evil. It is not surprising, therefore,

that of the six giants whom we shall deal with, four

■ippear in Book 7 of the Fae rlu Queent* -- the book which

•^elebi*ates Ju stice.

Oi-goglic, thu f i r s t of the giants in the Faerie

Queene, holds the double distinction of making two appear­ ances in the poem rather than the customary one and of defeating one of the heroes, ited Cross. He arrives on the scene in Book I (vli.ti) and easily vanquishes Red r ross, who by his association with uuessa and by drink­

ing water fr n the charmed atienm, has been physically weakened. i)uessa, had Cross* companion, becomes thu giant*s mistress, and the Knight cf Holiness is cast into the dungeon beneath his c astle. It is not long, however, before Una employs tho aid of Arthur to lib e r ­ ate the imprisoned knight. The combat between Arthur and ^rgoglio, though furious for a time, is still a mis­ match. For when the giant might have dealt Arthur a

death blow, the F rln ce f 3 charmed shield makes Orgogllo

"starke blind, and all hia sensea daz»d./ That d^n ho

tumbled on thu durtle field " ( T .v il i . 2 0 ) so that shortly

thereafter* "hoadlease hia bodle lay, " Orgogllo, tho

f i r s t of the giants to aprenr, establishes the precedent

of decapitation which so many of his massive colleagues

are to share. Also, Spenser se ts hi it up n s nn arc he typ o

giant ' n a r.umbe r of other ways* Physically, he \ r. a

"hideous >

tional spear cr sword he uses a "snaggy Oke" as a weapon.

Tie Is the bastard offspring of "uncouth" j^arth and

"blustrlng Aeolus." He is the master of a castle, be­ neath which Is a horrible dungeon with an altar M^u which

irue Christians bloud was often 07 lit." He la associated w'th sensuality in the person of lHiessa; he has one of­

fensive subject, Ignaro; ana he has a "monstrous beast"

with ".even gi-etu heads," "*n y ron bient, and backe of

. c 'i. y b m o ." We ciie 11 enc run le r variations cf a ll these

nc re ssc ;ie with, th« other giants.

J t, ;r ite of a ll these fenr-pi*ovoklng char*acte i-i s 1 1 c s,

the reader .n till mmninr. d issa tisfie d with Orgogllo as a drama sic figure, to be sure, because of hia strength he Is impressive; but he is singularly vague as a person.

We know nothing of his thoughts, feelings, or Inten­

tions. Tacking the human comploXitles cf an Individual, 176

he larks the Identity of* a human being and emerges a prototype of violence. In short, he Is another villain

to be killed,

Corflambc, the second of* the tyi*ant gia n ts, Is even

less attractively pcrt>-ayed as a dramatic figure then

''rgoglic ; for- he appears just long enough for i'penser

:c have Arthur i cp off his head, Fe arrives on the

scene in fook IV (v 1 i 1, g S } pur-suing a sqrl ne. The squire appeals I-. r aid to h"Lhir', whc 1s passing by with Amoi-et

and .".emylla, and the Prince lescuus him by decapitating

Corflarrbo. 'then the squire tells rf the glarit*s villainy

which we have already summarized in cur discussion of corflambo1s daughter Poeann, ^p, 1 2 3 )*

Tike Orgogllo, Corflambc Is another giant "horrible

of hew," tyrant, sensual*at, and lord of a cas tie with a

dungeon for prisoners, P-; I unlike Cbgoglio, in addition

tc his strength ht* Is girted with a special power; from

his "pownrfull eyes" proceeded "two f ie r le beams" that

"secretly his enemies -did slay*"' 'no ho I a a father',

However-, these added festuree, though they enhance the effeetIveness of the erlsoia, contribute little tc his dramatJr stntura, in fact, bpunser diminishes his role

In order to work tut the redemption of his daughter,

Poeana, Consequently, tl0rflambo 1 s encounter with Arthur

Is props i-atcry to tho action of the episode rasher than

climactic, as It was with Arthur*s encounter with Crgog- 177

H o.^C Corflambc emerges, therefore, even more drama­ tically palu than his giant predecessor*

Poliente, the third of the giants, more cloaely resembles Corflambc than Orgogllo* He too has a castle and a daughter (Miners', extorts "great Lordships," has 11 a special advantage In encounters with his opponents, and Introduces thu episode like ^orflambc rather than concluding It as does C'rgo^l * < .

The episode begins when FlorimuII 1 3 dwarf ljifoims ir * rterall of F o llen te ♦ c villainy ^nd his un.’ust te ll, artegall meets ar.o defeat,n thu giant In the water in the isme kind of furious encounter as that in whMh Arthur killed Orgcglic; and th«n the Knight of Justice and hia squire drown Kune ra and raze thu giant castlu. Pol- lente, of ccurae, takes part only in thu f i r s t h a lf of the episode, and even he i^e his role Is undistinguished.

In neither thought, word, ncr act! or; is he individualized.

ndeed, although ohe fight In the river Is exciting,

Instead oh j ursona!. .1 zing Follente It mai-ely ends his zn j'eer a r. a ty rant in the 3 a mu kind of sensational com­ bat in which nil the other giants die. Pollente la dead, therefore, befc le thu reader Is given the chance to know hi it;.

The I * a;:t with th e ccales, the fourth to appear in the haorle Queene, departs radically from the type; for though 3penser alluoes tc him as "a mighty Gyanl," he 178 doe? not emphasize hia physical sti’engthj he assigns

Mr. no castle; he gives him no oppressed subjects, mis­ tresses, or- weapons. In fact, this giant does not even fight with ono of the heroes. However, as a p o litic a l rabbl«-rouser, he manifests the same theme which the other giants :ep. i-esent eb . whereas th«y were already estab­ lished as political tyrants, this giant is aspiring to the office; for he is the pi*ophot of a new social order which "all things would reduce vnto equality." He would level all natural, political, and social hierai*chie s.

The mountains would be made "leuell with the lowly plaine"; rulers would be supressed; and "all the wealth of rich men” would be distributed "to the poore." Of

-curse, the g ian t's philosophy appeals to the lowly masses who cluster about him "Like fo lish flie s . . . In hope by him great benefite to gaino,/ Ana tmcontrolled freedom* to obtain^.” in answer tc the g ia n t's revolu­ tionary measures, Artegall voices Spenser's conservative

_osit Ion which in tlr briefest form appeal’s in the line:

"•Ml change I- pe riH oas, an 1 all ohaunee vnsound"

(V. 11.?''). When A rtegall's arguments Tail tc convince the gian- >f Ms error, ~alus "shouldeied him from off the h.Igher ground,/ And lo*n the rock him throwing, In the sea hi ;ri 3 iWUtlO . "

This glen-, there fere, with his symbolic scales is the only one M this group who does not I'ely upon his 17 9

at. length to work bis will, Unlike any of the others he

Is articulate. If he fails in his speeches to convince

Vils listeners of the advantages of his new order, he doer not bully them into agreement. His appeal is entirely

!,o reason. However, the new order which he champions poses such n serious threat no the basic ways of life that,

t ha giant mu fit be elim inated, fo r otherwise he would com­ pletely disrupt the entire order of being. Perhaps no

,'rlme coulci be more serious in sponsor* s day than one which interfered with and upset the natural order and balance of the universe. The great chain of being was

*1 1 net to be tinkered with.-"1

he two remaining giants, Oerloneo and brantorto, whom we shall nonsider in this study conform generally with the c h a ra c te ristic s whi'h v;e have ali-eudy noted

in our treatment of ^rgogTio, !"orf lanbo, and Pollente*

While at Me roilla's court, Arthur hears of Gerioneo*s

tyranny. beige, n widow, had employed n's aid to defend he i' V. Tngdct- against her enemies; but the giant gradually

assumes control over her possessions Mmueif, murders

twelve uf her seventeen sons, exiles her, and Introduces

oppressive luws on her subjects, and forces them to

offer human sacrifices to an idol which be has set up.

a,rthur, of course, Is not long In -restoring Beige to her

rightful place. Hr Kills tho "Seneschall" who guards

the “strong garrlpone, ” and three knights who attempt tc 180 prevent him f rorr entering the caatle before he cuts lerloneo to pieces In the name manner he killed Orgog­ llo. And, finally, he kills ferioneo's "hideous none ter" which had fed or s,ho bunnn ssc ri,Tloes offered to the

Idol,

-hough he 'id ion In thl s epi sode Is sw'ft moving or.d the cor"hat'’ " >e adventurously exciting, Spenser makes lltt.le effort, to humanize Cericneo, L 1 k« his pie- le'-ec jo’-s he Is c "Of horrible aspect, and di*endf'ull mood," with teeth to a j-ncke of piles, that pitched '“■re aw 1 7 ." F 1 s origin is 31 s reputable • Fa Is of a "Gvsnts race" and came to Feige's kingdom as a fugi­ tive from Tpnln. Further, like each of the others, lerio n eo has n special characteristic which makes him n | doubly formidable as an opponent, lie has three bodies.”1*

This advantage increases the oideal of Arthur's hacking,

ut he coon strikes "Through a ll three bodies" and they fa ll to th« earch In "one senseless lump."

1 hough lerioneo is another* of Spenser* s moaels of a tyrc.it, the : o« t has emphasised a different feature of tho g ian t's misrule from any which ho projects in „he previous tyrants. For example, forflambo was bent on seducing Ms subject victims; Poilente was eager to ncquli’e a massive fortune through extortion, 3ut ler-

’ neo seems especially Inclined neither to women nor to wonllh. His special forte Is religion. What was merely ui alluM. on In the de script Ion of Orgogllo1 a dungeon

("An Alt a re, cp.ni* 1 with cunning Image ry ,/ On which time

Christians bloud wan often split." (l,vill.36) becomes elaborately developed here. The church, th« sacrifi­ c ia l a lta r, th« Jdol, the neast under the a lta r a ll

'oi'ii, rli 'r e ■< "Tphnslr.e the rel iglous nature of Cer- loneo*.. :y canny. ' Iso, 'toss obvious d e ta ils such as his coning from Spain ana conducting an inquisition .for-

‘ * f y his », spec r. of h». j rule, it may not even be amiss

c late ip' re : his three bodies as a symbol of the T rinity however, ’a spite ■ f the obvious care which Spenser exerted to underline the jpecial evil of Gerloneo*3 or ression, the giant r't l l l remains dramatically un-

•11 ra o 11 ve .

Irnntorto, the last of tho giants to appear In tho

Taerie Queenc , F : tho only member of his group fo r whom hpenser :-e re ■ ve ■: he d istin c tio n if Vicing the object of a liero1:. que.;t,‘ The heroes meet the other giants i nr * doutn 1 ly in he : ourse of th e ir q u e st a However, i. Vi is d ! t i’10. t i. ur; '’Ids little to his dramatic stature; for he a pi ea r :< only long enough to fight Artegall and die* T.,IV.e hi.a c^llocgaes be la merely another tyrant.

TTe has usurped the lulu of lraene*s kLngdom and holds he a prisoner. I 3 "Of stature huge and hideous" and

Tils face was ugly, ana his countenance atemtj." He has n castle, a iinij, and a bent of followers -- all the 182 features with which we fij"o already quite familiar, In

‘’act, so c cnvenr, I onal are tho de ta ils of hia character­ ization that even hia favorite weapon, "a Pol axe" follows the g 1 am s r tendenc y to choose a ms other than tho stan- inM sword and lance, Apparently, open so r reserved these more ^ onvent.! um l ly dignified weapons fo r the heroes,

CjVen 1 "an to rto * s tactictaj error which turns the conbat

In Artec,a II 1 f n vc :* is a variation of an earl lei' mistake ww L" h ^'s*orl 1 c. .cade, b rgogl 1 % mi seed a rthur with such a

dchty Mow -hat the for-e of it Im vo his "snappy Oke" tii cee yar-d.s Into the round, Rnd when the giant "could not rearen ur again so lig h t," Arthur "smote off his le f t arme," Irantcrto dM Ivors such a mighty stroke with his

"rolaxe" that ’t racemes embedded In Artegall^s shield and "by no meanes It backe againe he forth could wrast."

Artegall quickly seizes the advantage, "stroke him with

'"’hrysaor," and "l ’ghtly ref t his head," in both cases, the giant*:; great sti-ength Ironically puts him In a defensele.c.. f u„ Itlo u .

.■’'■side frum the general physical and dramatic .resem­ blances which Iran tcrto shares with tho othor giants, he also serves as a variation of bpenseMs thematic com­ mentary on tho giants a j symbols of tyranny. To sum up our findings o:i this major’ feature of the group, we have seen how bpenser employed frgoglio as an archetype of tyranny. Then by modifying the theme of tyranny, he emphasized the various major abuses which accompany oppression. That is, Spenser seta out to expose what makes a tyrant a tyrant. Corflambo was driven by lust,

^ollente's motivation was wealth. The giant with the scales was observed with an idea: he was a political

lefotmer, «n 1 n* ell ec tual radical, And Gerioneo was a religious fanatic, iny hi-iLoricnl survey of a repre- aer.te ’ i va g roup o'1 *.y ;-ant a w i ^ 1 a t te at to gpenaer* s psychological ac-'v? racy in cho©sing those did ves as basic, in : tho jingl^ remaining 'aslc drive which he has net thus fa r 1 lira t, "a ted with the giants is to bo found

'ii hia portrayal of G rente rt o--amh i 11 on. Sponsor likens him to these n.on who have the "sacred hunger of ambitious nirdon, And impotent deaire of men to raine"

< V» . v V 1 aT , ' •

The motivai'ng drives no -l«arly evident in the previous tyrants are no Lice ably lacking in Grontorto.

He makes m* ittenpt to ravage thu captured Iraene*

^orflambo would have oeen Incapable of exercising such rest ml ru , lilso, unlike Pollonte, Grar. tort© 13 i n- d i f f e ‘rant to wee 1th. Ihsre a .re :ic secret treasure chambers

Tn his castlu. ’Tor ! 3 he a political philosopher or a religious fanatic. He usurped the j*nle of I raene 1 a king­ dom because of hia craving for power; and once he has gained conti'ol he adopts what precautionary measures are nereo.sai-y to* protect himself in o ffice. None of the ieu

tyrants ere surrounded by such e cordon of henchmen ss

Is Grantorto. Go numerous are they that Talus must be dispatched to establish a beach-head before the noble

Artegall can even land. Also, it is to be noted that

though the giant is n tyrant -ipenaer m«k«s no mention of

his governmental, abuses or opp:*sslve laws. In fact,

when I raene is .• an tv red, she Is rot immediately put to

death, G ran t o rt o Is clave r «noirh tr make a pi* tense

<: f h e I n v ; ist by giving her ten days in which to p re­

duce a hemrirn. in short, G rantorto is the moot cautious

and conservative of all the tyrants because the authority

’t-self of the office is sufficient to motivate his se- n : I s i ! Ion c* it , That is, the office Is not a means bv * V w h. I«k. o ’-.he r d n s t i v j may be s a tis fie d . I t Is, fo r him,

an end In If. self,

1 La e’ omerb. vf itsalism. which we Lave noted in our

' uris id a :*a t i on c ^ the giants becomes more noticeable In

the next p,r<; »r c f c h/t r-acte -a whom we shall deal with at

th is ; 1 v . -- tho t ;x t he ; s , 'ir.ee few of t h e c ha ra c -

’ e pc ’ n be ^r^j-ie btaeenc aie .’^elated by . les of blood,

the :-et. ie r to at 1« a s t mildly surprised tc encounter no less than six of brothers among the antagonists,

i'o be sura, some of them have l i t t l e more significance then a piece cf .ooaerj and merit no irxie of our atten­ tion than tc be enumerated. For o-ampl©, Maleca s t 1 l.

_i 1 n pions (Gardante, Purlunte, locante, Basclante, la cch a n t© , and Vcr barite > are b r o th e r s , 1 but they really have no nor© important dt'amatlr roles than the three sons of Dolon who a re killed by Artega'lj ar.d E rl tomert

('V ,v i .3 1 ff*' c-r the three broth© rr whore limias kills

' IIT .v .lQ ff.'. Houever, even these sets of brothers exemplify the prevailing theme of filial loyalty whl'-h

•"‘t ene©r. as ©o'* ie :©.; with the b roth ers as a ? i-cup. Thay a .•© n 1 ( 1 ovu.* to 'jne Mm. t h e” that wher. a h e ’’o b e t t l e

■>ca It. ^ - cue : i-oth'i' n© n.^y just, rs vp 11 prep a re h im self

to deal w!+- b ti e ?©ma inlr.g brothers, for they inva ri«bly

^ie .©eking ’■evonge* Though at least r.wu sets of bro­

thers r.ffl more Ime rest ir.r as figures than the giant e, r= s a f roup ‘he b re the ra do not iepresent such, serious

»vils; nor * m they al : aligned vi ..V 'bo same kind of e v il abuse *■- s th® T itit 5 who '•’© re .s.-. set in ted with t y ­

ranny. '."hey on nr* io” v'odyt;,.i»iHs to seducers to gen© ral 11 at u .-be rr, of the jeuoM, ilor.e of them i«&lly

. avs© much ;e -Vo us t * euM e f c ” the h eroes. Yet Spenser

■■ onpensa le i. be. : toll I. .ef feet i vene at evil by adding a t trac l v e ii'arcnt’. fe a tu r e s in p ortraying them. First., even mo^vj - hpa th.« p.’a r>. >. '■, they are le a l human L elngs. hot one of tho group, baa any sup© m a tu r a l power. fecond since they r- re human :.© irgs and a lnce they aie sc loyal

to on® another, they engage a certain amount of the lead fir’s sympathy in spite cf their villainy. And, third, sin ce they a re related to one another end respond di-ama- tirally t,o the actions of one another, they strengthen *1P6 the n a r r a tiv e thread c f the pcen. by making it more com- plox. Io Illustrate these points, lot us eonsider brlefly the csi’eers of th *1 two most in te r e t i n g . se ta of brothers in the Faerie (jueene * the Sans brothers who

5Ppe? r Pit* Inly In Book , and py h ie s and Cyrnoc h**„ g who op no a)’ In book .1 .

Sansfoy, the float o'* he thre« Sans brothers tc app-v'si In the Fao rl e Cjueena (l.ll.lf-V A, Is the first knight opponent, whom bed C rc s s n.ents, I he " f el t h le s s e

n , M ns Spenser all^, h!r. and as h I s nano suggest s,

■ n order* "to winr.e his T.a Ides M, ©, Duesafl »a ) heart

1 ha i day" attacks the k n ig h t of H o lin e s s , But with a sharp blow on the head r-ed Cross scon ends the career of Banafoy end inherits the Sai*a 2ln fs ml sties:" , t u « s s s ,

0f "rune, Cross 1 acquisition of ouessa is of much greater nriiTat! ve consequence than Is his encounter with bansfcy. However, the vlll«in*s death does forge a chain of nam tive repercussions; f c Y,t as Bed Cross s o o n dis­ severs, he has two brothers who are net the kind to sit

Idly by w h en n brother has been killed.

In the following canto ( 1 , 111* 3 3 ) Ike 'second b r o th e r ,

Bansloy, makes h is appcarfln^f,. In search of Bed Cross,

Bansloy chances to meet Una, and Arehimage who has dis­ guised himself as Bed Cross, in order tc deceive Una,

The villain attacks, unhorses, and Is about to lop ; o f f tht> h e a d c f the a r c h -d e c o lv e r In cp>ite of Uns ’ e plea 187

'or r.e roy, when ho discovers that his victim, Instead of being his Mood enemy, Ped dross, Is really his clu friend Archimagc. He spares his friend’s life and ride a off with Tina, This encounter, of course, i s an i i-onic

reversal of the way In which Ped Cross acquired I'uesso from Sansfoy.

d.annloy, the thii'd and youngest of tho three bro­

thers, makes his appoaranee (i.Iv.J8 ’ befcre Spenaer

retuiTi.'i 'o deaJ with tho plight cf Unn In tho hands or

Sansloy. boon

Tr.clfera*s caatle, Sansloy, nourishing "bloudy von- geaunce" for his slt*in brother, challenges the Knight of

Holt neta and would have shared the anmo fate of the dead

Pansioy had not uuossa counterbalanced Ped Cross1

"charmed sh ield, Ana eke enchaunted ernes" with her magic "darksome olowd." Though Snnioy loses tho fig h t, che s^ves VJ - lif e by e n lis t ing the aid of her under­ world physician, Aesculapius. Apparently, It takes

Aesculapius (I.v.J+.'M longer to cui« tho seriously wounded fansioy than it took lyphon to cure Marinell

'IV .xi.?’', for we hear no more of Sanaioy throughout the rest uf tho p<,e::.

Sansloy, however, appears twice before he, toe, is rendered harmlosa hy .Spenser and drops out of the action.

After having acquiied Una from Archimago and having killed her lion (I. iii .UC-i;^ /, bansloy turns up again 1C 8 with the maid in a forest where he hopes tc make her

"tho vaasail of hi 3 pleasures vilde" (l.vl.2-6). when his courtly "wordos, and lookes, and signer" fall to shake her virtue, he trie? force. But Una*s cries attract

"A troop of Faunea and T'atyiea" and their appearance alone 1? enough to frighten off Sanslc>y* In the ccurae of her stay with the fore at peoplo, Una acquires a new rrctector, i'ntyrane, who promi3C3 to deliver her from thu admiring Untyr-es and to halp her find Ped Cross,

Coon a f t e r the two make their escape, they meet Archi- r.ago, disguised as a pilgrim, who lie3 that he has iuat qAen Ted ^j-oss killed by a Faynim; and when ontyrane demands to know whore the Paynlm Is, Archimago directs pc (.hem to a nearby fountain. There, Satyrane finds no ether than fansloy; and though the villain i-egretfully disclaims that he has killed Red Cress, the two knights

o r engage in the meat evenly roatched fig h t in the poem,

Una leaves them to th e i r f ig h tin g and rid es away*

Apparently, Spenser also decided to leave them to their fighting, for he never- concludes the encounter, Since bcth knights appear- later in the poerr., we can only con­ clude that the Satyrene-Sansloy tussle is the only battle in the poem which ended in a draw.

In his final appearance in Book II (ii.18) as the lover cf Ferlssn, Sanaloy seems to have undergone a change. At least he la no longer driven to avenge the 109

death of his brother. But the change is not surprising

in view of Spenser's tendency to employ an antagonist

for a time as an active, aggressive agent of evil before 21 he exiles him to the company of his own stripe,

iinco bansloy is predisposed to sensuality, as his

interest in Una revealed, the reader may assume that his

services to the "mincing mineon" Fericsa were sufficiently

demanding to keep him fully occupied. Like Kalbecco,

Tansloy eventually finds his place in fairyland; and

;pensar *r willing to leave him there to endure it.

From this brief commentary on the action in which

the three dans brothers are involved, the purposes for

their dramatic existences seem to be sufficiently clear.

The brothers, for all their faithlessness, lawlessness,

and joylessnes;, are loyal to one another. ganafoy's

death brings the other two into the poem. Once in the

poem, they help to balance the two narrative threads into

which the major plot has been divided. dansioy keeps Red

Crocs occupied with fighting vjhile his brother bansloy

keeps Una busy with the defense cf her virginity. And,

finally, each of the brothers is a real human being.

They have neither powers nor gimmicks to make them

allegorically ijnmcrtal. And the fact that Jpenser per­

mits two of them tc live suggests not only that he may

have had some further use for them later in the poem

but also that their deaths would have been dramatically 190

'nappropriate. In attempting to avenge a brother*s death, both Sansloy and Gansioy are supplied with ex­ cellent dramatic motivation; and since neither- la at all successful in his mission of vengeance (Sansloy fa ils to seduce Una, and Aansloy fails to defeat Rad Cress), failin'© alone Is sufficient punishment. Death is un- ne c e s r a ry .

Although tho two sets beai- obvious resemblances, the second set of brothers, Pyrochles ana Cymochles, tllusti*nte n mere dramatically Imp j©ss 1 ve variation of

L^e '’Ilia! loyalty theme than the Sans brothers. Like the bans brothers, they are bent on avenging themselves on a hm’c, Guyon, because of his fight with Pyrochles.

yrochles* quick tempered violence corresponds to Gan- sicy*s. Archtmago Is again involved with their Intrigue.

Cymochles is the same kind of sensualist as fansloy, ana his encounter with Guyon on Ihaedria*s island is remini scent of Sansloyfs fight with Red Cross at Luc * -

castle. Rut whereas two of the Sans brothers live through their dealings with the heroes, Pyrochles and Cymcchlwo die at the hand3 of Arthur. When SpensGr turns Arthur lo o se or. ohai-acters, they are not to be taken lightly. for me these two, for they come dan­ gerously close to killing Guyon.

Pyrochles *s the first of the pair to be introduced

In the poem. in, his squire, heralds his approach by 191 warning Guyor. to pet out of his way• He recounts pyrochles1 or-! fins and Informs Guyon that his master 1-

In search of Occasion (II•iv . 37f f •)• Goon Pyrochles arrives and, without introducing himself, attacks Guyon,

Put the Knight of Temperance prevails and spares the lift of hia fee when hr pleads fcr mercy, Pyrochles then urges

Guyon *. o release Occasion and Furor; and when Guyon com­ plies t the evil pair turn their fury on their liberetc-r,

Guyon rides off, "eavlng Pyrochles to suffer the wrath of Furr---.

;n tho meant irtie, A tin seeks out Cymochlea in

Ac ras I a* s Po«er cf 311 sa and I.nfoms him that hie bro­ ther, Pyrochles, is in need of his help, Cymochlws immediately Gloves his "floclce of Damzels" and hastens

c his . ■ roller *3 aid; but. he travels no farther than a river before ho is sidetracked by the foolish charms of rh«adria, Gin^e we have already c. mside jo d this I srdc

*n oui cons I.oe ra tion of thnedrle, it w ill suffice at this point simply to remind the leader that Gymochles unknow­ ingly figi;.- ire knight, Guyon, whom he is seeKing and that I hardria stops their battle befoie either Is ser­ iously Injured,

Gponsor next turns the reader*s attention back to

Pyrociilaa, whom he had le ft fighting with Furor,

Paving somehow escaped the mge of Furor, Pyi*ochlrtj

*11 spi'inckled with bloud,/ 'no soy Id with durtie gi.re'M 192

plunge3 into a lake tc quench the "implacable fire"

which bums within him. Atin, hia loyal squire, In order

to prevent his master*s suicide leaps in after him but

is unable to pull him out until Arehimago unexpectedly

Uimj ur, saver both knight ana squire, and cures

pyrochles* "hidden fire."

when next we meet the twc brothers, they have joined

fcn es; and with Atin and Arehimago they come upon the

sleeping Guyon, exhausted after hia trial by Mammon. In

spite of the Palmer's pleas not .o despoil Guyon, the

pair are about tc strip the knight of his armor, when

Arthur a r r iv e s on tho scone. Arthur*s encounter with

the two brothers Is another furious affair with much

oloodshad and the added feature of confusion caused by 0~i the borrowing of weapons.''' Cymochles first falls with

a split skull; and soon after, Pyrochles is brought to

his knees by the sura ri or strength of Arthur, However,

the vanquished Py roc hie.-' rejects Arthur* s offer to spare his life with n resounding reply which bespeaks his valor:

',rioole fsald the Pagan) I thy gift defye, But vne thy fortune, as it doth befall, And say, that 1 not ouercono do dye, But in despight of life , for death do call," (31 .vi 11 o f )

Arthur walks away leaving Pyrochles* "he ad lasso body bleeding all the place." ‘'penso r employs the 3»r,e narrative technique

In developing the .'ha roc Lars of Fyrochles and ^ymcchles

the scenes between the two separated brothers, each one dealing separately with the hero. However, Spenser titer

the pattern and lncroaues the dramatic tension with thaa»

two brothers wh*n he h:a s them join force s for ,s final

c 1 ! ma c 11« Mssau1 .. 1 h« 'a”: a t; rother*** though an I ted Ir:

i Vengeful -ause never join as ’n the poem; and,

therefore, their ^lo1" never reaches a dramatic conclu­

sion. For this jeason, the final scene in which Pyroch-

les and '’ymochles are killed by Arthur deserves further

n f tent 1 tin,

hefoi-j the final scene both brothers have unsucoess-

fully fought -ay on. Pyroc hie 3 lost tc him and asked for

ineroy, and Gymoohles would certainly have lost to him

on Fh«ed ria1 s 1 .a land had not she stopped th« fight.

Another fight, Lherefore, between the brothers and

Guyon would have Veen mere repetition, a re turn engage­

ment in which Guyon would have been heavily favored to win. To avoid this, Spenser carefu lly alters the

circumstances. Fy putting Guyon In an exhausted swoon

he eliminates v he ,;cus ir I! I ty *.f his fighting and shifts

all the advantage: in Inver of the two brothers. They

have before them r. defenseless victim. By subtly having

the Palmer trick them into thinking that Guyon is dead, 191*

Sponsor has ingeniously offered them all the satisfac­ tion which they sought* Their vengeance should be complote. But instead of riding on t o enjoy their separate vices, they stoop to despoil a knight whom thoy believe to be dead. They would disarm the knight who not only spare’ Pyrochles h 3 life rut even courteously g i*nrr ed him his foolish reques t to f r*a Occasion and

7 i]!'or, the knight, who willingly left Fhaelria for what,- eve r pleasures '’yrochles wished to enjoy with hei‘. r’penser leaves neither man a scrap of moral just if i cat 1 on

"or what they are about to Jo, Their intended crime is much more serious than the combined abuses of the ions brothers. As the Tnlmer tells then: "To spolle the

■deed of weed/' nc td lege, and doth a ll sinne: exceed1'

' 1 1 . v i I i .. 6 '. "ud Arthur himself advises them that the knight who’'loth against the dead his hand vp t^aie,/ His honour ctaines with rancou '1 and le :pight" (lx • v I ii . ? c/1,

^ o r t ho se riousne s s of the 1 r c r.I me , the ref ore , fy roc hies end Cymochles must die. But even In death P,*. ease does riot erase the admirable quality of the brotherly loyalty.

Poth stand heroically against the magnifI cent Arthur while A tin and Archinago "fled apace." Ana when Cymochit; falls before him, Pyrochles refuses mercy from hi:. 2t brother*:; slayer. *

In our discussion of the previous groups w« have encountered a number of antagonists who were extra­ ordinarily .receptive to the chains of woman -- especially, 195

though n( t always, to the chains of virtuous women. r. I rk rap ln«, Huddibraa, Orgoglio, Corflamho, and fymoch- la-fl are simply a few of the number. However, ell those men were either motivated by sopw desire or dominated by romo .'filing pnsr'on other than lust. To be sure, they did not tske their lusts lightly. But lust was of less importance than r. ome other cort roll inn urge* it in "a, * hereforo, the there of' Illic it love figures so prom* n*r:i,ly In the roam, it Is not surp ri sing to find a group wholly dedicated to tt, ^ group which represents

■he male equivalent of seduc i res?eo. 'omewhut llk« th«ir

^etnnle c oun te rpa rt s, these seducers cover a wide range of dramatic roles. For example, like the savage man who captures Amo re I, flV.vii.I4), the seducer m«y be a barbaric cannibal who rapes his victims before he eats 2r them. - r , like fir Sanglier, he may be a knight

Irnwu by his lust to inuider. Or, finally, the seducer,

Ilk. Busirsne, may be the lord of a castle who "By ct rong enchaun tment s and black® Maglcke" at temp t.s to seduce his victims. in short, the seducer may range from a cannl- 2 C ■si to the lord of a ca3tlo.

Spenser*s attitude toward lust is almost as broad and diversified as the stations which he assigns his seducers. This Is not to say that he ever approves of lust, but It cannot be denied that his tone is quite different in dealing, for example, with Ollyphnnt and with the I',quire of n^mes* For with the giant he treats 196 repulsive lust quite seriously, whereas with the Squire of uames he deals with foolish lust quite comically,

Ollyphant is inherently vile and disgusting. By nature he Is sexually abnomal. Before he and his sister,

Argante, "into the lightsome world were brought,/ In fleshly lust were mingled both yfere" (IIi . vi i . The

Squire, on the other hand, i*e presents the Influence on

•pen so r of flr'usto’s cynic’ .am about feminine virtue.

. n order i<, test that he “would neue r awe rue," hi a lady foolishly < rders bin to wander through the world and "do service vnto gentle uames"; and after a year*a time he

"should bring their names and pledges." The Squire has a rather fruitful year; for, as he tells Satyrane, he has received "Three hundred pledges for my good des- artea,/ And thrice three hundred thanks for my good partes."1"' V/hen he reports back to hislady, she assigns

M m the counter-quest to wand®'" aoout the worlu again until he finds an equal number of ladies who will " refu®

their pledges." The humor, of course, becomes obvious when after three years on his second quest the Bquire

has been able to find only three who were chaste: "a

common court! sane," "an holy Nunne," and a country lass*

At this jute it will take him a century to find as many

virtuous ladles as he found unchaste ladies in one year.

Those who see Sponsor as a starched-laced moralist might profit by i,eading him with a little more care.

H least, he is not to be dismissed on the count of 197 xoi’fll naivete.

Though a nun.her of the sensualists a re well drawn as dramatic characters, Paridell is perhaps the most succesr- pp ful of Spenser* s creations# ' His success is partially due to the fact that Spenser neither completely vllllfies

hit. a a he doe s Ollyphnnt nor laughs a t him as he does at

the Squire of Dsmos. He Is portrayed with subtle touches

■ r-enllsm; and t tivi/h a sensualist, at. times he en-

~ poacher upon the virtue of the prot agoni s ts, He enters

the poum ! r search c** Florl me 11 (1 i. I . v i i i • qU ) and imports

to hRtyrane that though "vnworthy" he has joined the

"traue knights" of "Faerie court" to rescue her. The

"turning hart" which appears "on his brest," of course,

sugge., t c M s subsequent dealings with Hellenore and

LAle s s a. But at the cam© time, the fact that his initial quest aligns him with the knights of Faerie court and

that tyrane, Spen.se r» c equivalent of the noble sava­ ge, re co r n ’ re •, h I r. as n friei.a also Indicates the ambi­ valence ' I. character between good and evil. The

same flue tun Lion between nobility nun villainy is evi­ dent In :>« uemt scene when after Par'dell engages no less than Prltor.art in combat because he refused "In coward comer ly," he off with Halbecco,s wife,

Hellenore. in r,hl.c episode he reveals, in order, his courage, his noble ancestry, his familiarity with court- O Q “1 ( ly conventions, 7 and his sensuality.- ^uch contradictory 198 elements In a che racier Are inre in the Faerie Wugone.

After his dealings with Helienore and Malbecco, r a ridel 1 next :’en p p 0 fii'd (IV.i.3 2 ) in the company of

Plnndar.our, U u « 3G.a, and Ate, and with thin new company he oeer.c tc. have at.tuned n new nature. To he 'sure, the change la net rad Inal; how eve r it Is not.* "ffpblo. While v? 1 t h fety rene and IT ri.tomn rt, Pa rid e l l acted with a certain smount of -

■ */v r.»« me ar. s r "r. rn rcr. c f virtue,9 but even his sensual deal res ■ r. d 1 1 *" l.1 ere of we] leriore ;• o re tore what humoj-- curly dc- sc ril ed .* however, ■: i.ce having joined the party of ant er.in! «*t - both faridel 1 1 s courage and his in teg rity seem to have evaj crated. Let one example .serve to

’ 1 lu s t rn t.e r h 1 s change ! r; ! ! r n-vur'o. I*.i the scene oi:t-

' 1 do Lelt'CC'-c * •'no ti e , Va ridel 1 w ill 1 ’ ste.n to no one 1 1

; aunts, not even ri tone rt * s. lut when 1 e meets the

••atitt n r* t-o;:a rt a second time and 1 o encouraped by

Pi anaamore to a i ‘ acb ho r, his courage is much abated. r e o:;?werr Manatno:e:

"... hi j* him wise x nation held, that hauing onco escaped perlll r.oare, Would afterwards afresh tho sleeping eulll j’eare."

After having been soundly trounced by britcmart at theli' fIi-st nee ting he harbors no thought a of r e v e n g e :

"And Farldell though partly disc cntent With his late fall, and f owle indignity, Yet was soone wonne his malice to relent, Through gracious ; eg a I'd cr her fa tie eye, And knightly worth, which he too late dId t ry , Yet tr'ed did '-lore. . . . " (lil.lx.2?)

Yet afte” ho and hl^ pseudo-friend Pi ancm mo re have foug

«nd then he^n ;*)'!. o:v. 1" eb, er. so ; * n "c id. I® s the i r sec­ ret- he t e .Y,r s :

'h'u well accorded forth they r'ode t o?ether in friendly :ort, hat lasted out vrhiloj "no of a ll old dislikes they made f ai re weather, Yet all wa:; forg'd and sp red with golden fcyle, ■hat vnder it hldde hate and hollow g.uylo. '* ' IV.Ji .291 1 h ! s change in fa ri del 11 chn ree te r is a muted variat ion of the change which we heve previously noted 1 n o» con side lentil, n «. f unt csn and Arch*, mage. Tike ■hem, after dealing Ten a t i me with the protagonists, he occn ■; i n. r to b ho le v e l of his own d 1 srepu table colleague: , and h 1 s me natu:1© man if e ct s its e lf.

"Oi' ;Vie went of i better tern;, this technique might oe called a character's dramatic dichotomy; ana Spen­ ser hanales the technique with remarkable sk ill. Let us examine It a l it t l e more cloaely in the portrayal of Faridell.

This sensual!st* a career falls loosely into two dramatic parts: his ascendency and his decline. His 200 rejection of HeUano:*© marks the end of his ascendency; until this time P arid ell directs his o«n destiny: ho h«s his o«n private quest; and he successfully carries cut his courtly conquest of Hellenore, aven his lone set­ back at tho hands of Britomart reveals his courage in attacking her and his subsequent high-mindednesr and lack of s r 1 tef ul n e v when he lo am s that at* Is n woman. As already ; ol ntei out, these at t!’tides change when in I he second hal** of his career* he is in the company of the antagon! s ts. ?>I «ndar.ore assumes l»adership of t he group; a ll F a r id e ll1:: schemes are thwa rted snd Loth his notions and his attitudes are, like these of other antagonists, Ignoble.

\t least ptii’t of this change in Paridoll*.-; nature is due to Spenser* 3 p;*act1ce of using minor characters ea moral f o i l s for Vis heroes. I hat is, In each book i f tho Fae rle Que ene tho minor characters lapresent the spocial moral a n tith e sis of the p a rtic u la r virtue which is being £-- leh ra :,e. Since ^aridell app»a ra in two different books fill and IV), it is to he expected that two different evil aspects of his personality will pre­ dominate in finch book'. For example, in Book Iil where

Chastity Is celcbraced, Fa ride 11*3 lust Is emphasized, whoi*ea:i, In Bock IV where friendship is celebrated, his false frienduhlp with Blandamour is stressed, with this shift of emphasis ir* mlna, It Is net difficult to under- 201

*itand why tho fir®: half of P arid ellts career Is more interesting than the second half; fo r the knight with the

"burning hurt" is much more acclimated to lust than to false friendship. He is much more at ease seducing

Hellenore than maintaining a feud with Elnndamore,

iiven though Spenser diminishes Pariaell,s dramatic rolo In Pook TV, s t i l l ht> does not reduce the lover to a

stock figure. On the contrary, it seers that he took deliberate rains to balance dranaticai1y the second half 3-5 of his cai-eer with the first. '' Paride3 1*3 pretended courtly manners with Hellenore correspond to his feigned honor-able friendship with bland amore, boon after the beginning of each part, Paridell engages one of the heroes (Britcmart end Scudamore) in combat and on both vCeasier*:: is defeated. Two of the characters of the first r a rt (Pritomart and the Squire of uamos ) reappear

In the second part and piny essentially the same I'clus.

Britomart, ' fight.? with F aridell and la te r with Elsnda- more*' And the Squire of Dames Is on two occasions s peacemaker. and an inf c mat ion clerk. He helps Satyi-ane end the fight between Britomart and Paridell; and ho keeps Blandamore and Paridell from k illin g each other.

He provides the inforrne!ion about Malbecco and Hellenore

In the f i r s t part and about batyrane's tournament in the

second part. Spenser provides Paridell with a lady in both parts of his career -- first Hellenore, then Duttssa; 20 2 ana Paridell casta both aside In the end. In fact, *lp«n- se r even carried over the theme of his quest for Florimell with o clever Ironic twist. In the first part, Paridell Is seeking to rescue the real Florimell; In the second, he Is attempting to seduce the false Florimell. c,ven these few Ironic re-echolngs of resemblances between the two parts or Paridell*s cai-eer in fairyland are suffi­ cient to suggest the attention which Ppenser gave to his knight of the "burning ha rt,. ” Paridell is admittedly a minor character in the Fae rle yuaene: yet he shares the same human qualities which distinguish Spenser*a best drawn figures* No charms ever insure his safety. No characters direct or divert the course of his Intentions. If he Is motivated by lust, he is not co dominated by it that he becomes insensitive to other emotions and passions. In almost every respect Paridell la humanized; for he is complex. His courage is at once hot-headed and cautious; his sensuality is both courtly and base; h's nature 13 respectful and vengeful.; his friends are protagonists ana antagonists. &ven his lust and violence are less than offensive because lie acts with determIn*tion and a certain degiee of tact, and because he practices them on hi a own kind. Since none of the heroes suffer at his hands, he goes unpunished. Paridell leaves the poem as •si he entered it -- s t ill looking for Florimell."'4 203

Two final antagonists remain for our brief con sid era­ tion before we tom our attention to a detailed examlnaticn of Spenser*s most successfully drawn antagonist, his comic knight -- Braggadochio. Thwse two are Malbecco and Coridon. Since Malbecco has already received some attention In our consideration of his wife Hellenore and since we shall again have cause tc deni with him in discussing Braggadochio•s rolo in the poem, we shall lim it this commentary to a particular Aspect of his di'flmatlc charaete r i zation -- the special irony of his failure. Malbecco has been variously commented upon by the critics. Church, merely alluding to him, considers his episode a satire and Malbecco himself a carlcature. "V*" Dradner calls him miserly and frigid.c, p. Lewis claims that he is "pure allegory. And Walao F, Mc’Tei r sees Spanserfs porti'ayal of him as "o rounded cha racteriuation," a f igure "whose complexity es well as the complex response he evokes was not tc be equalled ■until the &1 i zabe than drama ...." Few critics of Spenser who deal with the Fae rle wueene at any length fail to m«ke som« comment about Malbecco; but ueually their ob se rva t. i on s Are variations or elaborations of those cited here. The Malbecco episode is a satire on marriage; Malbecco is a miser and an allegorical charac­ ter'. McNeirfo position that Malbecco la a complex figuw has been too seldom acknowledged. Therefore, it will be 2Cl* the purpose of this brief study of Malbecco to offer additional evidence in support of this position.

All the heroes of the Faerie Uueene share a few basic narrative features In common. They are all young and noble; all but Guyon have a lady from whom they are

separated; all are of high station; all have a quest; in the course of their quests all except Calidore rely upon the aid of a hero-colloague; and all finally suc­ ceed in their quests. Though I am aware of no critic who has drawn an analogy between these features of the heroes ond certain features of Malbecco, there do seem to be some very ironic resemblances. Certainly the similarities are not so clearly evident as those which exist between the heroes and Braggadochio, But consider the following ironic reversals, Malbecco is old and base; he has an unfaithful lady and Is separated from her; he has assumed a high station by villainy; he has a false quest; in the course of his quest he must rely upon the service? of a fake knight; and In the end he is a complete failure -- even at suicide. In ail these respect? Malbecco*s porti*ayal represents a distortion of the hero*a* Th»t Malbecco should be the physical and psychological opposite of the hero is not surprising, for we htive already seen a number of antagonists who were both ugly and cowardly. Indeed, his Impotency and partial blindness are the kind of physioal defi- 2C$ clencies which Spenser employed to manifest the com pt iiHtuies of thu hags. Nor does th« fact that he has

rlren to a high station, the lord of a castle, by "heapes

of eulll gotten masse," distinguish him from many other

antagonist^ {fos example, the tyrants) who employed tha

3 sme means to nchiove the same end. But among the anta­ gonists hie relationship wit Vi Hellenore is unique, for In

fairyland married women are auj^prl singly faithful to

their husoandj, Hellencwe Is an exception. That Mal- lecco has a self-assigned quest further distinguishes

him from his evil colleagues; for though a few anta­ g o n ists, such as F a rid e ll and the Squire of Dames, are on quests, none of them are as single-mindedly dedicated as Malbecco is in his search for Hellenore. His kind of dedication Is to be found only among the heroes* And,

finally, U s meeting with Braggadochlo and Trorapart

at a crucial moment in his quest so ironically contrasts with the way v?hich th» heroes m®t Arthur* and Timias at

a cruelel moment in their quests that Lh« pattern which

sponsor was following in his portrayal of Malbecco

Immediately becomes clear. He has ironically modeled features of the Malbecco episode on those of his heroes.

All the craftiness, deceit, and corruption of this epi­

sode are satirical twists of all that was nobl«, honest, and good in the main plot. Malbecco is th« distorted hero who Is completely deficient in virtue. Hellenore is 206

The unfaithful counteipart of the hero’s lady. Paridell

<-ind the Satyres represent tie vlllain.s whom the false hero trnsi vanquish. 'ind thw cowardly crooks, Bragga­ dochlo and Trompart, symbolize no less than Arthur and

Tintas. Indeed, even the emptiness of Malbecco*s

'-as tie Iron’'•ally contrasts with the vitality of Faerie bon .

I'- 1'>e cu:10, valbecco ;iepresents more than what has been augmented In these brief comments. However, for our- ruiposes this examination of a single aspect of his character seriously questions the judgment, of those critics who woulu dismiss Tialbeceo by labeling him a

caricature or a pme allegorical figure. His complex­ ity deserves more a Mention than these critical observa­ tions have given It.

dor4don Is a much lest "onplex figure than Malbecco.

Bradner's oVise rvntion that he "la held up to ridicule is a boorish lout nnd a c own rd""J seems accurate enough

In de sc rib I rig his chief cha rac te r i s t 1c s • Yet even this

"boorish lout" Is not to be summarily dismissed; for he i^eveala the same human em otions which we have observed

In some of Spenser* r best portrayals. To be su re , foridon^ dramatic role is slight. He serves mainly as

CaHdore*.-: r'vnl for tht» love of Fastcrella. 3ut the shepherd is haj’dly to be considered as a serious compe­ titor for the Knight uf Courtesy. For he Is completely 2C7 out st ripped soon after Calidore’s arrival at Melibee*? pastoral i-etreat.

In neither courtesy nor physical strength Is the a her herd a match for Calidore, who first graciously

T'acres on the honor of leading a dance to Coridon a f te r the othe r shepha I'd s had given It to him; and then soon after when t^e spiteful forldor: challenges him to a

"v i-e s il 1 nr gauie," Calidore throws him with such a fall t.hat 'Vlr uackc he Hlinc.it brake • " Spenne r use -' t wo other incident': cf a more serious nature to enhance his hero*s virtuous sta tu re at Coridon1* expense, Cn a day when tie three (Pastorella, ^alidore, and Coridon) go to the fc-”est "to gather • t rawbe rle s, " Paatorella is attacked by a tig e r (VI , x . 3 '4 - 3 7 ). "Through cowherd feai-e" Corl- don flees; "but Calidore kills the tiger with "his shephesrds hooke" anu wins the gi*atitudo and love of rasiorella. Then, l«ter, in Lho climactic adventure of this arl-ode when the Brigante capture Pastorella,

Coridon, old Mellhee, and the others fexcept Calidore), the Ire ro -sis out ‘o find his love. But he 13 unable to find her until he chances to meet Coridon, who has escaped while the Brlgants were engaged in a fight over

Fautorella. He tells Calidore that Pastorella and all their friends have been Killed, enraged at this news about his lady and friends, Calidore, bent on revenge, orders C0ridon to lead him to the secret hideout of 2C 8

the Brignnts. However, reluctant to expose himself

to the "lawlosse peoplw" again, Coridon. refuses; "Yet.

Hal''do re sc well him wrought with meed,/ And faii’e bespoVe with vjoi’ds, that he a t last agreed" (VI.xl.35)*

0 * 1 id ore rs’/.^s short work of the Brigants In rescuing

rastorella; and for his pains Coridon Is given the

flocks which had been stolon.

Ihose encounters between Pastorella*s two lovers

reveal c le a rly enough that bponser did not po *tray Cori-

!or. ne ho d^d the other 1 antagonists. For the crude

chepher-d 1 s net a figure of evil* He is neither ugly,

no r* vlllalnous, nor lecherous. Nor dot»s he engage In

sorcery or violence. To be sujvj, he repi-esents a dis­

courteous annoyance tc CaHdore, but his intentions are not to bring about the herols moral downfall. All he

seeks i the love of Pastorella; and even his courting of her Is conducted with ^ much gallant ry as hia nature perm it p . To shew her his love, he brings her such tokens

as " 1 1 ttlo .ru rrv ^," "wanton squirrels," and "other dslntle thing" (Vi.lx.f4C). He is a graceful inncer:

"For Coridon could daunee, and trimly traca" (VI.Ix.l 4 2 ). in fact, whatever courtesies Calldoi-e shows Pastorella,

Coridon Imitates:

"And euermore the shopheard Coridon, W h a t euer thing he did her to aggrate, Dio strleu to match with strong contention, And a ll his paines did closely emulate; 209

Whet he i" It were to c a roll, as they sate Keeping their sheep, or games to exercize , Or to present her with their labours l*te." (vi.x.33)

If more of the antagonists had modeled th e ir behavior

or the he roe . 1 , fairyland woula have been a very peace­

ful region*

n :r;1te of n il forldon * 3 efforts to outdo halidcix?

in courtesy and ski lls ana u!n Pastorellafs lcve,

lie f a l l s ; fo r his meanness and cows 1x3100 disq u alify him

both as 0 respectable man and a v.-orthy suiter* One

simply does not impress & rival v.’ith cheap signs of if jealousy nor win a inaid by abendoning her in time of danger, in the end, therefore, Coridon emerges as one

"Fit to keep sheepo, vnfit for loues content" (VI*x*37).

Yet even though Coridon proves to be deficient when

placed beside Calidore, still he laveals a number of dramatically altractive features, F-»st, Spenser sup­ plies him with excellent motivation - love, And it is

tc be noted that there is nothing dishonorable about

h i s love. Second, he completes the only love triangle

in the Faerie Queen« which Involves one of the heroes.

Calidore alone must compete with a rival before he wins his lady. Indeed, Coridon Is a weak rival; but the other

heroes were spared even this minor inconvenience. IhJ i*d,

'‘nd m

straction. Fla thoughts, emotions, and actions, though

much less than admirable, are truly human. His jealousy

Is quite norma] for a man In his position. Until the arrival of Calidore, Coridon had only to compete with his

fellow shapher'ds for Pastorella; and apparently he had

1 1 11 ** e d ifficu lty with lh<°in c a rivals. But Calidore is

so obviously hlr stuperlor that Coridon woula have had ! c ‘■e art angel not to resent, him. Ir. fa.-:,, Calidore* ^ inordinary courtesy might even te at. m angel * s v 1 rtue

n addition to hi j jealousy, C or.i ^ori *. ^ also ridiculed

Tot1 his rowuj-dice. Put. on both occasions when fear makes him flee from, danger his only alternative was foolhardy bravery. : f Calidore can slay a t’ger in a itrawberry patch with a shepherd|s staff, one should not expect as much from Coridon or any other normal person. 'lor should

the 1 owly shephe rd be expected tc s i nglo-handed ly wipe out a band of <-ohbers. ’'or normal people, discretion is

s t i l l the better part of valor. C o I d cn * £ flig h t from

the t ’ger and the robbers, therefore, Is at least par­

tially excusable. ri*ue, he is a coward; but his cowardice is quite different from Braggadochlo•s.

ii-ven f rom this brief sui’vey of Coridon* s ca:,eor we can see that the man whom Bradner dismisses as e "boorish lout” ana a "coward" is a character of some dramatic statu?*©. c$ rt.e inly, his role is slight, but it is 211 nevertholw ss d rawn wUl on re, Sponger might well have provided Calidore with p. more repulsive or a more vio­ lent rival, but instead he created a shepherd who though en::! ly oatolnc red Is not sc easily forgotten, n or in the f Irnl ana'! ; ; i r ho ?•* don represents that which

is ned * oc .e ’ n : :ur. • TTe Is * mplo rustic, neither s i r m r d« „g Lo at i 0 , m. r ou r t ! ng ?•-. stc-rolln and in

'• op. ge ‘ * re; wit! C*»i * do re ho '• r ^eynua h I s derth ' n

. e nr ’ t ! v i ’ y , • n1 er.t, e ,:d v ; r ■ ue • in* St e ns*» :- *..v-v * on s i y had somo fe e l * nr f * -v the "tent." 7 i >r it’ ho rid on 1 r d a f ie 'e n i i n TTui’t.ly >-ef i r.enent r , he

' f ire hi ep :• n t i g©r> •mil a \-,nnd r f robbers, ho * g not. too cowsrilv to challenge Cr.T More to a wrestling, p.a t h

:v'T- ‘o lead ’mm to the robbers* hideout; and if he is a /eel own j ove r, h.e is not n vengeful one, if hie itied 'ocie nature disqualifies him a;. -> hero, his ve^y i‘a ’ 1 1 tig? .«c.oinn*m <1 v * tr a.; '< man, ” 0 ant agon I s I tV.e

-v.erie 'Sueene eve v otopp ’-a t.ed w 'th r. riv a l r. s did

'"’or id on, nor I'd a ay 'reveal ,_uch human emotions s..

Ouridon when 'p-enoe - -h;;o boo his reactio n to (.id i- d ore's question:

T,V/ho i^o i'a.. tc.roll? who fu ll of fresh d i smny, "wd gushing forth In teaj^ea, war •. <; cyprest , i. hn t he no word could speake, but an I t h i s t re s t , Ana vp to henuen his eye- fart strev,ring t.h rew ," fv i . - - , r r ) r i2

.h is V: ind of omul 1 cm 1 sons! t - v5 ty curpat ses that of all the previous an tap on*at a who, though drawn with crucial

Ventures which Coridon lacks, fail to approach him as a t’f' f ‘ H;.k and a^ni; ap.p i,k a! .a i-rctar, The f o i l s simply do not appear often enough; the abstractions are too rem ote; „he r/ant r and sensualist r h i-e tco dorM net eel by

■r o- * al t a cl on; a.ri ! he tro t i, c ' r «\ re too dedicated to v ’ cl r>r,rr : (j as: m e .-•eai * rt I o rr* ; porr 1 ‘ ■ ' o . . Cut ''’orldori, the r;ed • ,..i: ,-r* ran , ’ « p orl, i'y/ed n il U.e f a i l i n g s , r." T i n : : , : id e-f* ’ r*- *•• vhl ch. t/n raoopnlze s s I e 1 nr f m ly

1 nr an ''ri 1 vo ''Y ' 1 1 or so -ve 1 u y re n te r d e t a 1 *1 'n

: he f oi j c ’ ■ j.Si_ chapte-> in o v '■ ecns Ide ra t ion of -ipeiise r* s

; eot d i i a.', non chn n ote r: " rsr.yndechio. "I'. V nul I ue la rk e r ' n s )«nent study The of the Faerie Oueene (Oxf ord, 1990), P*~3r » c*..n- r.ent s or. Frc b Vmn go 1 s ~d i nrul so I u t fa.'1m to r.n ke 1. he j o ’nt i' 'f' th e ir sign ’ f ie arc r> •

'lic e j j«no T! armor* .1 s lie r study lo c i Commune a bea t.h ^nb gu1 c Ida in tho Ll i,enature of the &ngilsn nenolasnnoe, UniversiTy o'^ Minnesota Summaries or Fh. u • J'rheses, 'lii (19V;)* 121-F1,, considers the Hole doctrine n the u.bject of su icide. Yhin doctrine Vie Id that the "wise Pan" may end his own life voluntarily, and under certain circumstances ought to do so • ^ppoaftd to th is view is the belief, supported by Christian doctrine, 1 hat a man must not take Mr ovm life against the will cf Cod. jn the light of Hniir.onfs rtudy, Despair would be a ^Lolc# omest Hrluck In his article "A Note on the rhetoric of Spenser1:; !Desp-ai m,*" I 1T, /.LVII (19 VV* -11, co:;r.ontr on this episode. Despair’s specious argument, whicii persuades ned frees knight of the nec­ essity of suicide, is baaed on a careful omission of the '■’ovenanl of Crnce, Tina saves the unight by i*ecalllng !.uir fovennnt to his ir.Ind. pi ^ ’led Cross defer t s r> rror, Dnnsfoy, hansioy, and the j» rag on; ho den1 s unsucce s:_f ully with A rchlnngc, Hue s s n , 1 rg o rl I.O, arid D e sp a ir, Cuyon faces and prevails wVer fee s. slow, Pi; r o r, .''■till, roc hits s , Fhced ri a, f ymochle Hammer., and ’ e ra.> in and he i fol It. wo rs .

’ "i a ; p ;p r j, ( re hn ve s up e rn a 1; u r -s 1 p c u o r

1 Vie re ru- "rood" giants in the poem. A Cf ccui-30, onch group is not limited exclu­ sively 'tc one particular way. Hags like Impotence rnd impatience a ;■© agents of violence. Luc if era, an ab­ straction, la neither articulate nor profound. And the 11 ant of the scales Is more of an intellectual than he is a foroe of physical violence. The diffei’ent ways suggested here v/hich each group employs are merely gen­ eral tendencies of each group as a whole, and the fact ihet particular exceptions rr-e obvious In each group does wot invalidate the general tendency.

f-*> 'Only Ollyphant and Disdain, the two most T ns ■ gnifleant of the group, represent exceptions.

'J'':,£Cflio»Li blow does net h it Led Cross. The wind of its force knocks him out. Duessa*s plea for ked Cross* life *s inconsistent with her previous actions with the fans h ro4 he rs •

fed C f>or s ’ u t ri r m otcu t three months.

Arthur-CcrflamLc encounter' is described *:i fi ve ti.anras (j V.vi 1 ‘ *h 1—k k ); a rthur-02*goplio con- t inv.e Ihrough twenty stanzas ( i .vIi 1., -kg ) .

o co'ceopona with Corf lr.mbc *.. "powerfull '■yes," "ollente "through. practice vsun11" is a ecu stoned ; o f*i..ht in f ho w ater undo:- h * '• 1 rid ye. ~ ’ > it is to be ni'ted that both of the two pre­ vious episodes employ the dev* ce of a me r r.enge r to kifornr. she ht» ro cf the plant* s villainy, bna'o dwarf 1 nforr.s her of Orgoglio; and the squii'e tells Arthur cf ^ o rf lasiho * s tyranny. 1 ^ " S t i l l one the beet, studies of the "en- slssance sensitivity shout order is o.k.W. 1 lllyerd * s The uliznbethan. World Pictuj*e (London, 19w3)«

■^Gerioneo * a three bodies is reminiscent, of Diamond*;, three s p i r i t s , lb "Disdain appears later in the po«m (Vi.vil,!il ’out he has fionlly little significance beyond what has cl'-e'dy teen 'aid of him lit our discussion of Mii-abella.

"‘Otunlly, except for ' ed Cross, only Arthur and * rte r ail r seat g ia n ts .

- 4 ^ J though certain of the slants, such oc Cor- flambo and ferioneo, possessed non-human characteristic CO s t i l l they were a ll human enough to be capable* of death and thuy were farther removed from supernatural ele­ ments than the abstractions. i c "L'_ri’wo Interesting articles which, consider the a b ro th ers a re Allan H. G iib ert* s "The Ladder of Lechery, The Faerie Qu^ene, Ill.i, ^5, KLN, LV1 (I 9 I4 U , 391+-97, and James Huht on ^ s "Spenser and1 'the *Oinq P oin ts en Amour,*" Mill, LVIT (19!}2), 957-91. 215

x ’.Ipenner 1 a 1 1 terar*y restraint In this scene demand a attention, for It leveals his refined artistic sensibility. in pi©tending that, he has seen Red Cross billed and in pointing out his slayer, Archimago ob­ viously wants to separate Una from Satyrane so that he may no™ easily "bring her to her last decay." But, he accuses Snnsloy, a fellow antagonist. Usually the an­ tagonists work together in order to trick the horoes Into fighting one another. They do not falsely accuse their colleagues of anything but virtue. For example, later in an analogous situation the same Archimago attem pts to tr ic k Guyon into an a tta c k on Red Gross by [if tending lhat.. Red Cross has undone Duessa. The leadev may well ask himself, therefore, why Archimago accuses Mansloy. Gpenser himself does not sny. But if one :ecr. 1.1 a i ha 1 it was the sa;n*j "nnsloy who unhorsed Archi- mgc and treated him lc a very i-ough fell, the decieverfs accusation makes senna. Archimago Is probably still so?© from Ms spill; and when he sees an opportunity to sera rate Una f z’om Ralyrnne °nd at the same time pay back a painful discourtesy to one cf his own kind, he : 1 s not me to hesitate.

‘ M’hls Is the only .’I gh t In the poem in which i he pa rl.l c ip ant s take time out ic °nc then if sums ‘•hel I- sword p lay .

“'"’I lo th Arch Image and buessa a:© q u ite a c tiv e bef'-re they give up the company of the p rotagoni st s and Join .heir fellow antagonists.

"Lin and Fyrochlos are more human! zed mani­ festations of the allegorical qualities represented in Occasion and ^uror. hike Occasion, Atin stirs up strife; and like Furor, Pyrochlos 1 s an aggressive agent i.f violence.

'•~‘T*y roc hies bo mows Ar..hur*s swnid f ron -I'chl- ::.ago and Guyon*a s h ie ld . A rthur borrows Cuyonfs sword f rom the Palmer, "he charms attached to these weapons almost cancel one another out; for Pyrochles cannot wound Arthur with his own sword; and Arthur has diffi­ culty In striking a shield "Whereon the Faery tjueenes r o u r tr a c t war writ." ( 1 } . vi 1 .1 .It3 ) • °J 1 4By way of contrast, it Is to be noted that the same Pyrochles not only accepted GuyonTs mercy but even pleaded for It. T A ‘"Ollyphant, the giant brother of Argante, Is another symbol of the most repulsive kina of lust: 216

For ac the lifter did in feminine fnd f ilth y lu st exceede n il womn Lind, ;'o he surpassed h‘s sex masculine, Tn beastly vse that 1 did euer find. (TTT.xi.l;) on ‘"'"’Indeed, in the person of Froteus even the ue’ty is I’ep resented among the seducers.

■-^The dqui re reports his quests tc _.ntyrane -n I T'r ,v' T . r' 3 -C'C.

IJ,;he dqufre of Dames and blandnmour are also port rayed with conv'nc'ng realism.

‘-'-^dt i 1 1 one of the best commentaries on courtly love conventions in the Faerie Fueene is Earle B. i’ow- lerhs inenser ^nd the tvsTe'm'of'Courtly Love (Louisville, 1 0 3 ?)." ------" ------

'■'"io illustrate these elements, it is to be noted that Paridell * s the only one of the three knights (datyrnne, and the Dquire of Dames) who will not tolerate Britomart*s abuse. He fights. it dinner he claims to be a descendant of Laris. His courtship of Hellenore follows closely the conventions of courtly love. A.nd, finally, having grown tired of her love, he casts her Ofi1. PI - C ertain ly , P aridell*s lu st would have been more offensive had Hellenore been a virtuous lady.

Scudamore defeats him; he f a i l s to win fa lse Florimell from Plandanore; he loses h’s first combat at. iatymne’s tournament: and his lady, Duesra, loses the tou^Ttnnont • s beauty co n test.

a p _ --Fn each of Books ;! - and IV, Per* d e ll appears ?n approximately 76 stansas.

■3*'In our last view of him (TV. ix. 20-30), he is engaged in another fight over her with Blandamour, Druons, and Clnribell.

■^'Church, p. 126.

* . s -^Flrndner, p. 7 8 .

f^Lewis, p. 3 I4 6 . 217

-^Wnluo r. V.cV olv, "/»i*i c.sLo1 :j .’.ospetto, Gaa- eolcn©f2 --’Unplclon, and "'penaor^ Malbecco," Festschrlf t f u r w a3 th er Fl sc he r {Tie ! delbe rg, 1999), PP» 3^”“^ ) •

^ T it.due v f : . . ' r ' f.p enrer da rerther h! n jealousy t.hus:

‘.rid ever- wh«n l.e car.e ’.n oor.yanle, >/he i1© CnVIdi ■•■■o vj?: p .-•eaei.t, he won! d Tl cui’e , ' by t© hi:. 1 1 t and ouen 'Y -■ i ;e a 1 ou r ’© van readte of * ■ '; t.une ho 79: tv deuonre, i t : t I.e.9, \ ^ any • n m ncure , f V J . L7T • 3 \ )

; "n ql r d o re I w nc ; uu~-l-©oua ic f'ui'ldcn th at hY. v ’ rtue ir.ornv Inc !n j • ! ’ u r h v url ■ 7 1: splayr of court© ay e r.: luvnl nr over pfit to r e lln * r "floviiy <;n rl or.d " and her "oaken c no: me11 k*. Oorldon when ! he shepherd due a not -•©ally desej'v© them 1 mr rer. r. the i*ead©?' os be tn£ too con­ descend * nyl v v * . ■ :,u on::. 'b:, •! d on * ■ jo" 1 ousy la much mo:« ?iea l l 3 11 c . CHAPTER TV

■» pppvic-'DOCFlC

j:n;_ padcchf. o ha:. nn ’ i .r c cl ant d rnjr.at.lc fu n ctio n in

hence r 1c Pne rle Oueene, c h o l■■■:: hrvo tended to tver-

Icrk h 1 0 -(.,1^ wh .11« deal in;; w .1 t !: I ’ r r jo r f i£u no: » r !■■’ t icnl c t": c <•>;; nd och h • .uve veen l« n elv J «—• v

1 5 ml tad Lc ; H:a‘nr fen.n i*!;s tn wh I c I: he ' j regarded e ! the ?• at a nflr,fi' " cinr,rt 1© ,dr,v.t < f L ?~e mile a rlor-

’ o ou o type1 w’th immediate l ’ ,.e:'n;vy nitre rt'"y in irloutc's 0rlundo Furloso, c r nc nr enjoyable minor fi^u/'e who ndric iuriher, ibouph not vary 'rircrUnt, d ’.mens I ora to the v a st chaiiac lo r patio/"'r.a of the poem, Vo c te m p t w ill he made here tc a r la b lis h

1 reread ccb * o a:; a jci' oha me ter .In the plot, hut a close examine 1 1 cr. of h. I s cm teBr may furnish evidence of

. 'pence r* c 1 .-•nra L ! o venr i i iv i m -• rd , a t ,.he rnme Lime,

;•© acre • m :‘,;?dc,ch! c f rom the o b scu rity and !ns! £n if i c - cnee which he hu-relf wm t anxious to avoid,

o I m * 1 a x- tm m a tlr pat Lei'll appeal’s In p-eri3e:,,r development of oi.e !’ed Creed fuil^ht, luyon, and

' rtegall. t 'd a evert lolly this: each of the o, o:11 y,h i.s berln.o hla quost" fully p I’Oonrod, phy ri.rnliy, at least, for hi a undo -’taking, out through n series of

.21 8 219

trtalr gradually loses part or all of hlr physical equi;-

;-icr.t • f '■ L " r I ’ meo * p o’ nl ’n the drnria L.1 c ['.ove^oiii ; he

..alien he rc • r> raved by a duro rio r a re n t of good*'’ and 5:;

a hi r : o re "a:io ‘‘Is quo ~ t w ith jrenewed v ig o r. Ap pa >-en tly

vio student > he Fae rie t^ueene has pointed uut that

'pen.ae r * .. development > 7 hrnggndochl o la r. . •cve^aal of

L '• ’ ""Mo ; a .. -.a * ;• a oo:.'" sub-lot • 7 r'.ggndoch to be.' In a

"v. lut^ly noshlng ° ; : gradually °cqu‘ r. enough.

■'nig,1 ‘ > k'Ov ’'‘•"ion t to m lu. h * .ra*? f off n- n r n r l knight •

*r.d .in ; t la *'urr,he^ noted, be nceuMuln tes th 1 a equ T - -

:ient In ■’ nc loon 1. a wl irh *» i«e often j rent f ally and conically

o n - .••noted wl t ‘. p a r a l l e l a 1 ton t j on a 1 n ..be :na i n p lo t.

uo .shall cea, dpenne r gfve.c the kunoroue b rag g a rt a

hoi-re, a rqui'.’O, a quest, a lady, o re r, weapons, and

wenl I k. ' no ; ^e co’/a :*dly boa s te ** tabes pa rt t n p riv a te

"or.latr a.vJ oven * r knlgh tly tou marten t r • ’pen.an r * z

are of ’b --g01 oe h ' o at a ci.rfc <, rid ; rorf c c o n tra s t to Lv'.-«

..rue i'Ti g ’: i ': 'n the na ‘ n p lo t c.‘um..>e c o ir 'der.ee; * :.

■eveal _ tie ; o e l T:: care ’ a ieveloping a oh a m e te ?• who ' r

adrtl t led! y rub o r! inn to to Lbe c e n tra l In te n t * or. * f hit:

a, ‘ c . .ie r. ay no’.i proceed to ''-r. exanlna .> ’ on of 'he p a rt

he rlav.c In the conic subplot fron hook II through bool:

7 of the Foe rlo f uoone.

~ rn r*gad ochl o * a pT-eaence In C ln L f e l t In d ire c tly when

’ruyoa, after going to the aid of A movie, ^U im s to find

thn t h ! n he.ree, gold saddle, rr-anr, and barbs have been ^20

otoleu. luyc:’if ■ lo.;r illu-L-ale:' ''reason1 :■ habit o n

un * rh.I nr a l:n: rh t for soriy rash rc t oy tab Inc away ; a:-L

ijf h 1 ^ cqu a pr:ua t • V/e need only look back a Tew . ■„ a no at

(a ■ . \ *?,. ) to f • nd l o y o n 1': rash act in his impetuous

attack o'; tf.y ’'o 1 n vo ' r. h n r0ht. A.notke r fnrtrncr of

tu I r ' vac. ’rc ‘ ° :’<■ end ' n ■' ante v * 1 ^ t ^be rolnt whe^-c

~ y a o’-'i.a ' 1•'•chloS a ■ bout to 1 Ci'jyon O**

all h I r i o.: -fi.-s ! oii^ wh ! le he lies unconscious nf t.;e r bis

Intorrn'u rr i,a cu iv as * ty p ror.p tel b in lo :,nve s t11 a te 11 nsnmon* s /■- cove. ; i f‘ ve^e ’ :\r. ornri 1 f1 c ” < -v. ” ' ,r-ycr-e.: ' c -

■ n * ‘on t he hr ;• V -' • ■ •

*ncc these vho a ;-e responsible lea* the k n 'yk t * s

vu•l'S'lual or .u/3 Jen lc:;: of the! f raukr * en! a :-o 1 nvn rl aif tjv

.-er *e sent e I by opense r •■■ s ar en * r l ^ '■vl] • n ‘ t a vnrlon

"r'Tc, ' . -ay :ee - ’ p i even Lef c »-v ’ ra,7»;.sdochi o enters

I he rct*on the rcl e which !.« 'a to piny ha., oeen deter-

r bee':. br- *r. ve ■ ■ c jy a J o cl. 1 (, ■.) ' f p« rs f iv ; the other

^nta,■ mi 1 rt r, each who it shed j "'aar-lly to br.'nj_;

a bont the i ownf all o" the beeves rn the •• then to o!• t a ‘ n

nny o.*1 i'.".e: ~i:..rr>r ' on", TTc is not cvnco.’uel with the

ultimate in i.n r..^ o'’ Inis v' c ti n s ; hi r interest is cen-

te i^el In ..he’.r r o r p sr 1 one a „• a mesas of enhf.nc !. n£ his

own sin tun. b-e * u definitely not on the : ide of

'he aayol.-,ne ‘ : he ' c he ' s t r-i c t conf om e n .o any 1 I n- in.Vcfb e c'd o . b enaer* s ability tc d rav; this distinction

*: ri. f y •-e:;:- ons’ld.e boa 1 nay;jndoch ‘ o » s Ind ' v idu' lity : n

r. i 0 earn t * c f • j(u re •

i n n **nc£adoc hi o* :• V ? rat actual arpwb rnnon ( _ 1 # i ! ‘ ', w# lea in that he .:uc 2 P.nn of h it th e ft of Guy on * s horse

not only enaVT m the t-oa.3t.e-' to- see him self tu n knipht b1 j t also t'n d le.: ' V: i !>e 7 a in h'. re cf someday bacon’:r

; he : ;Oiit ’npofvnni bniaht court :

Tow hi s Isij'. ^ 11 ..well * n M l ' t ' e , ' nd of hl.r. .'jet fa ^j-ont hope and helpe n one a I u 1d That p u ffes vp ’■!: th :;;.ioV:e of vnnt U e, ind with sa]fo-loued personare decoiu'i, he £ou to hone, of men 1 0 he .receluH "’or anch, a .i he h! thought, or falne woulu her: Tut "or n court p,ay portunce he percoiu!d, ind £flllunt shew to he in greatest rrefl, nftsoones to court he mat tfaununce hie f ’rst degree* ( • • • \

'• I • t r- ! V 9 .hen, ' r T rapgedoch * c 1 quo a f.: t e 1 e ac cep t,ed a f.

m o ar. !tu f * r.~t kn! r1------k . '-.’a shall ore hovr lurani ourl y \_J xJ

’perse-.* \ n :: '..Tmpn ^ochio ao; . lc.ua-d h* n goal .

-p u l ;■ '■ 1 ;.h ;:y on * .j heme art1 ^pear a ud with a

. e lf - a ~ Ioihj que o , t, c p n d o c h 'r ! c i*endy f o fr o rhi a h i f3

] ' :• of ’ ph, 1 :• h: v rlry •1/ .hi a occurs nmedlatelv v (- % ) / 'n t. he rw’ f t ■'• '.-oqoH :: t of . compart,. '.he p seudc-ka ‘ rh t

me;; rcu.j: a t. h 7 a .iri.iy *r nnr and bravely attach:: the unn r. itid rowa rd , ’.’he, of course , su 2‘rende ru w ithout any

:-ea i stance : 1 rn. gndochio re lu c ta n tly spa re a h is 1 Vf e on condition that, ho will become his faithful squire.

1 rompiArt, an ^ven [u*/»ater a own I'd than his vanquisher, pled pet. hi a f e a lty and e ve rla 0 L Mi£ devotion by ki csln»- .?2"2 t.v.0 b o a s te r1:; ’ /-Mr, 7 hue B ••'»rt;ndoeh!.o adds to h! s t'nlrh. tly :: tn t * on now ho ha s n squire.

'1 hI r. scene ha2 L^o dnntlu Tunc lion cf ' ntroducinti

reread coh ; ■.’ d ' .*ec tly rnd of un 1 t ! r^* him with I romi'arl.

>■ .■evfl'il.u - ••"--n rloch • «>*••- © ..sen t In] bn;>ene re in hi s r'" a. h-':- <-.•-*. ! . '« theft . ** • iuyt. n 1 - hoi'uft • ho !r 11 u

'. o ie 1 i -.-1 •’ iL :o : ie y , " ';nrt-nno med a boa i "honour'1'

u t • s-nn t l ;: a . ; , ;:t0 ^ r y "hi j f 1 ow ' ny, t. o n r u e , and t rou-

’ ( v - ” > ’/h;. ’ h ’ : r n r n 01 v> r :, 11 ; 1 ’.MM. *• :*7 *>»• va ine •"

tfln.M ' 01 -r " ’ *' 1.0 r- M * r lr;t .-ndnc sory do jc r t r l io n by r flin s i.M' r r ;■ ■ t ; r : a t« " ■ ;’U re .1 • .• ••^r*^

. 'o: :f. ;j ■ !

. . . aununtM nr .1 rj i;i,©ot b r a u e r y , ■M. Peacoele, that kit trMnted jduria^ doth \ rancko, TTo 0 : rote hi n coui'"R. hi i.ht* I rem bl 1 nr f lone V.e, "nd to h'r. 1, }..*»••> tried hie h art-th rill 11 r£ 07-0 a re :

he rpL o ’tr:,., 9 r> ; ; -a j ‘ I ’oral ^vitool V1 of : * old© ana va 1 nrl W cvv, v J ' ; 00 .vinlly a ■- :,) p f a , fiv.'.iwn jd, cov/r. ."dly b iI’d whose r-'-'/o.' nb ‘.]i[\ * .. to ~e :, La.-e 'nd joue Mot* adm iration.

. h.o second f ’^u.-e •• 01 vey .s 5 rn p oc h 1. o 1 r y] eo at hi r, nioxroc v.©d . u n « i: In overcoming i romp ar t: 'Mhei-eal the ^ c r re 0 row woxed wond rour. prows." A ;ca:recruw is

' 'o'ha slow an, a deceiver disguised in cast off clothe;; '-n.a „ tuffed with straw where only existence ' s qprec ranee ^ nd who se rn-"'C;.e 1 s c I nc i te fe a r in r e s ts and rodent:' -- exact.dy what; hrm'padochiu sc comically succeed - in dclnp he re, and inter in his scenes with ' ; t ' i ! r” P. ^ o n *' J • a 1 '*0 c c c •

I hie sv.oa t rl nr* d ,“run i, ■ c f one ' ' t r. ..-f t]r: T s rcan©

■ the ,• o ? n * iip. <-f 7 ray^nl crh ‘ o \f* th h! a sieve r oqul t*

■orr ^ r ; , "'he ’ >• ■el n 4 1 cn r1' ■ r has been cnn^mred l <> that' rf ‘Jon t.’ii'xr'ip m l '-.-.'ir.V r or to that of F nee

'"r'-~l •. :1 r i af *' , . 'v.r..rn . t 11 .nef ' a te ly roes ihivurh ' * o o t ' •*/ 4 i ' ,mm> ,A ri '; {

1 r* ho uyl ’ e ‘ t te-1, rud y rowne old n ''aim'ni; r l e l r h l r nr.d p ?*a r t ! r i: la rue ry . ■’i-Oi'; th at day f o r th he r : i t let to vphol d r. 'H e hiuitov : with f i ,ie f l a t t e r y , ltd If. ow the belloweo to hi r rwell'.uo vault',', C ; . ; i.:. '>)

1 ho i«i ’ei..a '*-> - r-r..: tan ;■ o rip an I c a r • . ^ey r- , r." dcuVL,

* * rh.ended by hyensor- t< he ! he "ct’o ram llel of the t :*ne onTjh : r i ■ i- -on.I re t.. nov i-or.r a rt • r o ften ?. i-

' el ;■ '’ul :.c . u ■’ p a ■. oo h ’ r ^ .. Tim w to .ef C , -c a a } he iiC^k :! oiml* v :'”>■* ?t t Vn> "ano 1 bid of round tdvl ee that the F a l: .e '• • ‘ ve.; hiy t i l he I" t l t i ji, m devoted r,

■ ^ o - ; ‘ ‘.^e.-al" . ho -ony t the } a railed ' r the

° (' '• ’ at o! : m , he .;qu' ;■<:*, ' ho aft nt L tc r ■ n r In r ,

: t ’ r ' ... ’v* • • 1 r -m . • ha n h ‘ : a me . ■ 0 *. n 1 or :. .b f the hii ‘ y/..: • he o ! e . ou ‘ it) 1 ■■ ( f i e f role I n the 1 r /•ela t Lon-

•hl: j :. ^ h . r <. f r rl; rawd ar.ent who r e ts up v ictim s fo r

Fit! I. c K ) •.> t «'• '' re.;- t.h Itr r t'-iundo r Inr s] eecher. rtid v'clent ye.h iir-eo vj’i'le they both lot to oxplo’t the uu-

::u "vo' t ! n-y v I c L h , 'j.'he rlfiver I’oo'-er’fl iim between the two Is dernon- t ■ ted In the next * ’ in * dent (I .’• 1 f I • i 1 -1 9 ) when Arch.! - apo "i r iv e r or. the "conu :*osh. f i -or. hi j an sir? ce a nful t.t.epp i t' ' nve C.uyi u eU acl; the .led rj-c.ss lin ic h t. ?ro r j:1cit : lv n: w ' *p • r:st l l *» :;wr hwrre s end coo*: ir. i r e ; - q.1. ,oh ’ . • . v . :•,»* o - • wh o riti*’ r o;j - .! L1 y no rve n t he

-on ‘ ■ ^ 1 "■ ' ~ vol./ft • b r;'."?’Re:.e!-! c t * •'* C ° U • I Oil, j» **! • ’ '-.-i r I. 1* '* : { : V : '<■- n c he : rui'ii it n il que :•••*< n:; r I .

-a: 1. * mote , f* ' o „ . :h. v^. ” ni'o rt.urm te ly

... v or,■ ec' ch i o % tuyou 1 ’ n v.' : i--*r ve :.' ’ e h l rv], th e qr. I e , ty '. j •.:' i! ':/■ ' ‘nn il ve '•.I-nr.'! < -n, 1.1‘V rr.n Arch ' - n -<: : ’ r~ I". , n. ;,e 1.h v * no .<*11 iiqu 1 shed hi s i wo I’d In

r *<*ri i us ■ ^ ’'ii'e j novo ■”* ; ; wen r one u n t i l he r nve:;0e! » ’ e »'o •> r r.l one, he eve e", In ruffle lent

^ r.au i *’ r -ynd ;.c v’ 1 1...1 ,r nptr.le, Deceived hir'icol f , b.e n ;-r i- ■’'‘r e ’ ve then le lv r i y nceuror ”ed Cross end uy i.>u r f : -u ■■derlr.t T!o-;,dm it -cub '.i in v ' • and I nr le r e v the

I A o'i ' s * c!.«J - n 'll h ., ^ lr;s : .r; i e r r i v e i y do ..ha1 Ins__ h is to le n 1 ' - m , '' cc h ’ c von- n.ri, " ‘.: :d " a r vjhe .-•e vhe r.u r.ie j-e car. be ?> ama • Ihe rncl I-" I ' rc’.’ir •( I now. I1, x^ouid be oonrerou.. Inr

.*r qd .. o : I o t o encounte r two ruch p owe i*r ul k u l ^ t . r

I thou I o cwoifl ; but 1 ocV.i o nnr ■’ ly ins ‘ r t r itiet e 'tur. be ~ - r i n ’ v.; c r m ’ ty Li' he In Ltc. I n^j :.o Jud^e i-C'werr on e bn. 1^ ..1 cunt: n n r out i,enen I s s.-. won]' on s.

■ • 11 in'.1 y t * he ;.nrO; ly oi in I I hood .1 ^ I he o n ly real rr5

.. V.I ?;c- <*V*cul lecb’ o - n • f :.l • -h e.n he olaburn tes on ’ ponrr nt * n H e V* r ’ybp* n v n H a n l end r.ore 1 nee ! na­ tive version t. f !’h <;n > : because be killed seven ,i,er.

•’! ‘.h U r .:wc :•:!, he vonod n«v« : !.o use another unless ? t vj e re I l.e be:;;.. .h.^vessed h rn ~£nd or hi o * r vnuntin£,

* * 7 ;-or. 1 •*<*: 1 l •«t v 1 r. tho ift: .nrov,d ever made,

'I ;1 Mi ; ■ * , 1 ::.: ,-nr 1 u T v/ . ' ’ ' . * 0 * r. od ., ’ '_ h f a *■ : •

y ";••*' * "(.• * . *".'1' ‘ ! h'i, " : * re ^ :;d 1 5 r o u e :• t.c .’*«•- nr ■ -n ; 1. : y a •■> oa ‘ . ;.e

* * ■" ' h ;'■ * ■ 1 in ^ • • * V- r\r< 1' . i _ '; i ] • *, ■. t ■

« • • 1 • r» 1' e n* * i,b ’. ‘ ' n ‘ o . a .i ’ 1 1 ; . .. , -on ! c n i l v ,

. ; e ,,;jp kn • • ; h 1. n lo n e c ; e h ‘ ' 1 e . •

■. e o * y ■ r f': -e , '■’'■■■ ’• a .. :.nve •• ’ een i ro-

, 0 , 1 ** ny ^ ’ a lp I , ' * ‘ re I! ! . 1 ' ;■ .:none r. , ■<* ►- .1 -

: ’• e :-;a . -.e ■ , -f 1 Ir received H r;.self; f * »•:;t

■ j :,ony . , vr*''« o v n ,h.ev ' o t.o be -> vi i n cow?.-' vet. r :-oclv * • ! * . ; ■„ I a * 11-c* unque rJn

".ben " f . n • • nl a- - U ” 1 e , ■ ; ; .• e on] le i el V * ' “

( ' 1 ■ .1 1, ; ve.li' 1 eaTier* > ,rj a i ^ ,. a 0 > I ’1tJ '

*•;!;’ 1 ^ . ’ o l :n ^ ’:rj.r 1 n r. ever, make H i. loch 1 V..e •;

I *••. * • 1.1 - e '• «.• hi:' L ' l e ;'i ,v:'. fuvu.’i* :e f'n n'! .1 . 0 :1',

• aV I ’*. :.e;; ;• ' 1 ‘ r.e eur'ies no.: n i l tho L •• l In.n;: ‘

n ' > ' ’ ry^. ' • . a. . m. t... nps, u; ' .

‘ p! \ ’■ 1 ':r . V’ ’ : . " } J lv . lb ‘ ' ’’.x h .l.

'/ i .• " r r ■ ' ... <- -. ■ n J ,, m ‘ a # b.fi " ^ .] L c h ^ :' e : • ^6

' :• ■ 'n : : -i-v! cr'nv;!,1" In.; 1 * in Iny of t Lh qr.d v< w o f>

vftn'efii'.re, r. ■ :?ne »•' i.h » ©; ■ on

e \* e IVj * 1 ‘ ! nr * ‘ l.h.

'• ‘ - 1‘? . ** iij n * -n ; ;;n ■.]or r.! c - i ; j*oripB r’t int.v

n r’o ■ ■' ■© no ' ' . 'v»x* r:-'' 0 ;i0 ( 1 J • 1 ! ‘ • ■' > vie i* * r-rj

’-'e"' . rf>” U1 In r q t Aver*;’ e n o i se vj!.1 l e

' : r < ' .e ‘ ([}e" v \ 1 V* f o l^ .n e >•«£© , " he : ; ■[ • J ] i . '

1 i* ^ t ° • : < *’ ; . . '• f» ;.. • ’ e < f : e : e • \ r*

^ sa ' ' 1 j ■ (. r. - ’ i ' , 1 ‘1 •' •■' : ' ■ ■ -e t ■ ■. t ; J e r .•fl'jL ’ ’ '1 * r. ■ ■ , ‘ , A, e ' 1 '. r' U • . ’ • t. ’• P. *yl . f'iV""1 j nl . .« p ■ ’ i : i 1 " • r* ' ■ ’ 1 ‘ 1 £ J'jA ' " - •• .

1 h '-e-.:. ■'lnce: of ’ mr , • > q >••. e \ \ ?

■ n ■1 ' "i' ’ r.. ; • ’ y . r> fi, 1 <'*._!e ; ’ ^ c t': : ’ e. c ;' f e . ,

• 1 * • .e 1 ,o • r. • u ”’ '• o n nr‘ '■1 . v t. ■.■ Ll] or1 -i vw •9 . ue.

c C.n ^ ,-r . • •. o I ■ : , . •:» * v r; t— i ^ C. I 1 -e 1. ^ ' e L > :'.(=( : * .. "f\:. l‘e VA '.;r.Lv I , - v* s -

' . > f% ; r> -- n , " . . ‘ ’ ^ . • i -1 1 ' - - - '• -'•*•- • • ‘ - - i j • I I.:. «... . I .. .

' ’ v ^ L ' ‘. 1 0* ' • ’ . ‘ ’ • . ;. ' • :■ , •• - n ^ V ~ I I 1

' ' ' ’ • ' ■ ! ,■ ’u 1 ;. I , e ' . V —

- ■ 1 v r ^ ^ 1- . q u *, -f» •ip'prfiiri ;

^ !. ’ v" ‘ ■ I"' ■, e i ‘ - , ,-r . '•!« . ll'o ‘-.tlr.l n:‘ir, 1'cr.f v.'onln

° . o'1 1 n 1 i l.bor';: (*! v o . n: ,i j * n ; .

1 ‘“e ' X ’ ft’ 1 1 « • o f < • r*r , I'V.o +.wc ‘:.rcr*o ;■ . ■, r 7; 1 “ ; "!;• o f r c u ;’n -o • *V * “ u • ^.o*- q ir glp J r: <. ’ ;(>r>e . i u7

■ o . i. i .-yr.pol! c o f the 1 n _*■' "V e \ ‘ y c f h * n o r .o d

li’rh; he. o'* • ' 'n J.:;, ! ’ o "v. ' . ••: n * r. '-cut . r . : ft*. vraa'.

;j"-r a',l (C V' I l;:h i. t "r -1 > y i.^a ..udder* r h r 1 j ] e f * ! I it.

,-iu t ho /O'1] I rr. *:1 " ur.i.c ; "O'? T y one onouo.' ! r; ncr:lr i.

'•Jo : v avert ~<-'t 1 ‘ ° .•■vrribihl ‘ r f o V,^dc■,•;.* u- if h i s *J j * •s- eventual f a ll ancl exposu -o i; ■< u,/- {’.e ,, •,»,, rtf...' ry 1 \ r\

> ' • .a., ■'/::' I ] ,

• ' j > ' •■ i _ . : . n ” l, . o / a iy , " ' i o . Tri :

v'-n i t . 1 ■ a ‘ a . -a ; . -a v a *: * ' ■ i .; u W ! L ’.

; « yn ' ■ '' ’ ] .,/ n °: n i y : it. !. l '*lr?e he rcuntf

’1 o ho its • 1 ’’ u ' s.! t- cuuii! " .v * ; -ov o 7 v V ia- -

] ..a 1 hf c " Ui 11 /n o f ■ ni',1 a •n.-nlj. r j •«.. ie c t h h ,

* * ore even Lv e v*'no’!; i . i' o h ..aaroo rJ ln j ‘ ;w c . p1 ow the-

‘ oy n!i-J i.;Wo:-i.hy t f .(•* • , y ’ r. < i a ;•

" n, ;l.H*Tr- 1 * i e ■}r' i ’vfl'vc •-;-aoi ' u " -/I'vnooch 1c.

r i ”• ’ • ''vej'-y ' , i .f orui-re, I he o ’y;ht

1; hC'Olo, ;/hi !' v.a . .' :,o . • . - (-Jdo^r. i-■ v "■ ' . . 1 : ■ a , ■: ' „' • • ’ ' ; o • • V a v

‘ ■ ’!' r ' h ' '; ha ' -O'- ‘ • - " o r , ' ‘ e - • 1 0 o 1 ‘ t

•o | , ; ; j n j --fi ( ■ •-> / L .1 , i.; .»•* . -e lit,:,:1: (/ / p ' ;

' o, ^ a , y , .1. i• . *" * ;■ io ■ ’ un te , oh 1 p.a. ■ I.1

•eve-ije, n]h ,0 o T O’. l'.o '.;oi'..,doJ M u ci;

’ •*•- -1' n . a '0 u a lly i. 11 ” i * ■' p o . . i i ? ’:» r c ! v iny, 'i i h - '-

'•r.oa *' ro:' he ; n ’ : •. In the ; rev iou.o ‘ h.e tv> i-;-

a ••n i y -■ r. v f •; a • ir*p r f ; ' e ; e a doceiviny a rid ho.ln"

:aoe * vpd j hut he na r {. l^ar.; o.e t ’*utV ’ :it iv>d« r ’ t V-e •8

- e r.~c:i oT i>li hoebe.

'.i. V.r* j ■ a -si mo f:n :w cf .help I’Oo’re * c res ri'l f r* - the

■'ovr;1ri'?^ V. ' nd '1 " ' ■ ‘ v r > r -or her roiie c r ! un h f r .- , but J t. or'nv * ver ryr-i-cl T r nennlrc a: nn f.nl Ic ip a tio n of h<=> r

■■ele t, * c. n eh ’.?' w\ x,h ' rt.bur* u :-qu' ie, Ti nl ay, vrho may he token to ret :*> .’m L iho o'-r.o 1 Lnd of r.a tu eel • nnccenee

_h " t *. V e h ’ ivl '.uaih: fi’r. "' '.nil , • I rr.ciff! ie elu ted

■y, i , * ’■<' ,n\-.i e * « r,:,th ■, ’ .k t <_ ve !\ . f nip hoebe In

1 r> . n :'.h ’ ■'■a ; ■ t .

* f ' e ornate ie rc v ' ion of ter- e^ *, ;to^irjn !

e r u ! y •' i i . * * i » ° l - j l ' , t hoeh© ? «? nV on 1 tc ’■ever, 1 he "

'don'. ^ ^ ••: ,Then rke : ee;: tie hr :he r.c ve uhe ”o

i - hi h Id lr*.£• ikhiklr,^ * f '• c. he the h in d ,

he ‘■.id v o n c o ■ er> 3y ’ c • hoot, vhen i rorci-a rt r * cpc he *"• by ort 1 m ! rh a . he t. L i , ’ ■* I * b .•eve :\roi.e ?■ ;-eriiii£’ ’n the

>:ho* 3e nf ter haI’d labors• Then hrnr-^R h,ot r cf j uetendinu that he !',n .• /uu L sunken, o., no out of h ;d rno mid 11a

■ i. os i -1 i nj • •' h h. \ oner-, ui:; 1 ] hn oeeo J e :• we opens,

el: k c A i.-e » „■ flu rh 1 r.|__ oi.t- ■ nor ^'-Jool.lv f i - or. 1 ' r

■ ov; '1 •;:- r o • ’ r.eio "ii t j r I; r o ■'. • a ’ n :.‘r : h'.rhi

. . u ■ " -j ‘.nd h ;'or.j a r t 1 o ccih.i/ t-o h ‘ a

; n :: ta i 1. n ? ti : ’ o 1 1 ? e ! s r.r1 .! ,'Or. ’c ec 1-0 of the r, ocis- f nnA--> vh: eh l he ,■ t> i krh rhtr joceived fnon their squl co o

- he oor.e ?y c. he. catia cones thi*on£;v' ’ T-penner* o doc-

" :T ; t * (.-n 1 eme * £ence fror, hr’din^t

'he la id : ;? 51 h the I he c rnujd out oT hie rie t , 229

For;h c re©]. \ ng on 1,1." on it! jo band s rind th ie s , And standing ntcutly vp, his loftie c ?•©::! F i d f ie r c e ly shako, and r-ewze, nt corr.min" Into f '■■on l-o £ t •

*.. f aa i*ef ul 1 f ovfj.d, that lenp in ;;eCi«t CQUe Fo>i di’pfic ol‘ son-, !nc* hnuke h er celfe hath hid, ” t-+ on rir.r how, her1 .-Illy l i f e tc

;; nie » ■ 1P ho ” /ay r'-‘nled I'luw.ac d ir e id a rid , "a.inr, n ‘ ] ■:„ hoc ..elfe fror v nun^e r t ■ H ' p a rej : * foojoh, and .. i o:\e .-o’ ewon he r nnt Ive y ride ; f u.e w rir he.- ferilh rn rru le d Ir f 1 p,u red ■•owdly o ; m n e, nnd et tin °ue ry - * f1 rt, y h shakes cff shone, ne t hlnh r low a srt "ha did he !■ hide. ( i 1' :

■ i-nyynd' ch.io 1 " j retense of havlnp Just awakened ! p h• • a -ane ’• ’ rvi of’ rcnnl e ’••fe i t. rw.ya whi ch !.o taskes i.u { e >•

‘ the f.ii’.rc'n a; whe:« to r v <:• 1 d n fiyht he pre­ tend i- «,(■' he •• neuron: led w' [. 1 n saddle ad justm ent • Ihe yule' I.;,.-' r-J’feo t vfhis! * ho ’ r\ " he .•• weapons has on

‘i i “■ ”j mine * 1.. n o i . \ c 1 ©a;w ha s i s o f h ! a r r o n r •:• own ><] iro •

‘ 'h ri, he ' ’ ^ ’ :r.M;-e used ;.r he s r ni ne '/- varp,ndoeh 1 c * o

■ ..-n v ~ ‘ i v ! v f v !d 1 r£ '’nd he "ray ps’nted x I ’lPies"

■ eccl "i •' nd <© ' nf 'n--c he y rev • our ‘ sase of the y onewek.

TTowe vev, M.jcnser * rcnl cally ru/^ects n difference: w’Lh

. I'oi'i u h , h:. rno^adcehl u .Is n : encocV.; with I.’e l phoebe, he

'.a n ha i ny a id he r .

’.then ii rap pad ochi o briefly lay sec into cowardly ollenco at the ?ty,ht of her weapons, 3 elph.eebe yollioly 230 compliment;: the boaster and all other* worthy knights for their honorable chivalry (37)* heassured of his safety, the coward praises Belphoebe for her* beauty, continues to boast of his own virtue, and concludes by asking the me ’ d why she dvrellr in the forest with beasts instead of at court, where ease and 'pleasure abound and where her v*. rtre would be art rnr in ted G) *

"a l r hoe be *.. ter ly ' s r: i gni f t cant:

Who so in pompe of proud estate (quoth she) boes swim, and bathe'1 himsalfe in courtly bliss, Does waste his dayes ‘n da rite ob- rnui’.i tee, And in obliuion euer buried is: where ease abounds, yt*s esth to doe amis; Put who his limbs with labours, and his mind hehaues will. ccttc, cannot so easie mi s s . Abi-oad in aimes, a I home in studious k i nd , Who seekes with painfull toilo, shall honor soonest f ind.

in woods, in waues, In wsj’rei she wonts to dwell, 'nd w ill be found with fe r ill and with pa ine; t!e can the man, that moulds in idle cell, Vnto her happie mansion attaine: 1efoi'e her gate high God did Sweat crdaine, And wakefull watches auer to abide: hut easie is the way, and passage plaine io pleasures pullace; it may soone be npide, And day and night her dores to all stand op-rn wide. (II. 1H ,!,C-t|l) 2 31

These comments of Belphoebe’s end ^i»aggac3ochio*s

reaction to them form the crux of this sceneHer attempt to Instruct Breggndce hio about the real meaning of honor serves ns an Ironic parallel to the education which the ked t»csc Knight received from Una and in the

House of Holiness, Huy on f rom the Palmer and in the

TTr use of Top.persnc e, and A rtepall from Asti-aea ana in

Me rc Illee * s Palace. Braggedochie, unfortunstely, fel la

tc heed the advice which the true knights were wise enough to follow. His mind * s dial,reeled with thu same base thoughts about Belpho«be which the bed Cross Knight

In hie period of moral aridity entertained about uuesss.

Thus he forfeits his opportunity for salvation by dis­ regarding Belphoobe 1 s ins t me t ion.

Instead, ..he "foolish r.on" Intari'upt? the lessen by a ttemp t ing. to er;tince K^lphoobe, only tc have his ad­ vancer rorloiuly i-egulsed bj the maid’s Javelin as she move*1 away C,"1'. ^earing tc fellow, Braggedochi o pouts to his ::ou] :t> tha t she Insulted the dignity of n

t rue knight (,3'» T rompa rt cauti ons against pursuit because ho1' divinity portends trouble; and Prargadochio, agi-eeinr with this i-*e a soiling, ra L ionalize a his apparent cowardice by claiming that he recognized her divinity in the sound of the horn, and th a t by a sp ecial grace riven him at birth only hellish fiends or heavenly agents can make his show fear His explanation not only 232 exonerates him from cowardice hei’e where Belphoebe rep­ resent? n heavenly agent, but it alao explains away his cowardice In the previous scene where Archimago repre- l cJ sented a hellish fiend, " The scene ends with Brag- gadochio and T impart fleeing lost something else should come ur on ther there, while Bpenser hVself Intrudes to pol n‘ out the t t he fake l.ni ghu 1 ^ ;.cor riding indicates 1 h that he ! : untrained hi chivalry

The strongest; Irony here Is the fact that the first lady Braggedochio attempts to seduce rep resents the goddess of chastity, BeIp hoebe Is, perhaps, the Inst character ' n the whole Fee rie Queene who would receive hi? amorous advancer,

ho ond : B ra ggfi d oc fc 1 o * s f I r.-.t and lon gest appear­ ance In the poem. Tils next entrance is In hook 111, wheie by overcoming the Witch's idiot son with boa eta he lemt ornrily adds a lady, the fake Flortmell, to his incongruous collection of knightly paraphernalia and meets his f I rat . se ricua challenge from fir- Fe rraugh

(v iiI•11-19 } • In this brief scene fptmser Ingeniously echoes several pi*v'ous situations and forecasts a num­ ber- of succeeding incident s.

BrnrgRdochio1s conquest of the idiot, his second knightly conquest, Is reminiscent of his earlier victory over Irompart. o.n both cases the fc« is vanquished by boa;;t r and gestures; and both amply victories have the sane kind of hollow I'ewardc: the unreliable se i-vlces

a coward and *' disguised evil spirit fcr a lady.

The fako ^lorImell, In addition tc supplying 3i*ag- gadochlo*s need for a Indy In his comic development no n knight, later- f t. gu ;*s In an 1 n:p ortnnt cont rove rs I all j-cle nr.d : j the ; :'ox'niri:e cause of 3 raggedochic•s eventual c 1 sgrnce and ex;, cm: re. I he cont, rest, with kelpV oene I a errt 1 a si sod hy t. he fact that she 1 r the f 1 rr t Mornn ’Whom brnpgadoch 1c encounte ra a fte r hi flig h t

i'om the forest. it should s'1 a: be noted the1 the des- c ''1 p 1.1 on of fake Florlmell ) echoes the elaborate

: e sc :•* r t 4 on of bel phoabe ' n look 1 j ^ ’ end Invites f u r- ther cont rest wit, h the , *e,il Fieri m o l l . 1 ' Ttp. r. menuf ac cured «•• rt i f 1 c i nl ve«uty and borrowed cloth es make

1e r n fit n c :r r s !un fci "rangedochIo, and the materials the witch used tc construct e r -- mow, wnx, and mer­ cury syti.l oil ze \ e -■* ; ;..p e mnnence and Instability -- make h*» r evni ore t i on In k

’ ’u t*L he mm :*e, S.e .• being menuf ne tu red by the hag ana given life m the Infusion ».-f a I i f o r the y ury ose cl dfcep t! on e c i 1 & to in 1 nd *rchimapo 1 _ mnnufac tuned Vur f c r the purpose uf deceiving, the ked dross Knight.^'’ 1dd- iL ionel echoes of mou i m e eviden t i f we no'-ire; that wa gadochio acquired his semblance of a lady froi; Lh*#

’diet just as tho kr 1 r sua: knight acquired uuessa from

Pausfoy; and ^he a t tom t r‘ to flay the ansae coquettish 23 h role with Bragga dcchlo that 1H vjthh the bed r’roai iinight. Tier ri m ila ri ty to Uuessa must not be ova r- emphasized, however, Tor 'ponaer Insists on the came kind of distinction with false Florimell that he does with his fake knight. She is not an active agent of evil llrce Duesra and kernels. in fact, we even tend to excuse her on the grounds the!. u.cst of the ti.; i f° which she cause s is among the unworU y k n i g it s , end even th a t the brings about on1 y ass! vely .

± hi ? scene provider oraggadochLu w ! t h another oppor­ tunity to demonatre te his cowardice by flight, but before that he proves his craftiness ry putting Flhrimell on Tromp a rt * c horse r<- th at if they shoulo be pursued he will be better able to nuke a hasty exit. TTts clover- bluff of .Sir ?o rraugh .1 s one of bpenser’s test t cue tier of humor:

.’i t h then (said b raggeducch! o ) need© s thou w ilt ^hy dayes abridge, |.iriou(;!J roofe of pulr canoe, i urae we ou r r leedec, ths t b o th In equall tilt . .uy meet againe, °.ia each taka hap pie chance. " hi a said, they both a furlong?: mountenance ketyrd their steeds, to ronno in euen ra c e : 3ut Brapgadochlo with hi a bloudle lance '"'nee haulng lumd, no more i*e turned his f ac e , rut left his loue to losse, and fled him­ self apace. By marking off the distance before turning to charge,

Brnggedochio 1r able to prolong his bluff to the maxi­ mum and yet perfectly protect himself from being caught and ilno fi"om the possibility of embarrassment by ridi­ cule. Be it no1 jo successful the next time he enters a dispute ove r f oV« ?lo rimel1 •

!T ‘ r brief runcem' in counting a lady : I t h fine sseech is a re ml -ider cf h ‘s unsucce scfu'j a tempt to

seduce Belphoebe as well a c a pa rody of the turn kn ights

in ihei •• chi vn] ruu : ;©1 i L ' i\i s w.i i.h the 5 r ladies. Ihe

■■cr.'c pn r°l lei ox tends h. is se I. nr .v**p e ra Led from his lady just a the ’::od Cross i.night end ■Irlegall are from

theirs. fhe bii-d Imagery previously associated with

B ragged och 1 o is V. i nteJ a t her© where Bpunser refers to him ss e cepon (iIl.v1 M.il). Ironically, this occurs

in he Loeno in which he wins bln lady. But the keenest

c t. >*oke in this scene, i rt which. ^ ragged oc hie captures o disguised devil f i,or. r.n idiot and then flees when chal­ lenged t.o fight f<. r her, is that he l-e he at I « n n does

something tc gain her before losing her to dir F erreu g h•

T a fce r, a i hr i.y rnne 1 s tournament, he does absolutely noth-

bug to merit the fake Florlnell, end yet he receives her s.v the f 1 rQt prise In the tournament wh ioh he did not even enter.

B rsrgadoch 1 o 1 s flight from fir Forraugh cax*riea him Into his next scene with F-albecco (lii.x), one of the mo at suggestive in the whole subplot centering 2 b around the bossier. it begins when halbocco, dir- gulsed es a pilgrim, sees two figures in the distance at the edge of a forest who he mistakenly thin ks are

Hellenore and Paridell (PC-22). Trompart brings him before Bragged oc V o (2 3 ), who rreets him with an abu­ sive tirade and demand.-; that he explain his presence the re (2) ; i • "bak * :ig with f r a r, "slhecco ancwe ra that ire is in saarcl of h's wife, who hsj been taken from him "-."j fovf'p, and offers to pay well for knightly assistance (21-1°), ‘ raggadochio .sharply tai.rliuanfls him for ! jy hir 1 r. boy the .services a true knight but vow 3 to find her* «nd punt sh her seduce r -- for h o n o y,t.c snV.e (2 2 -3 2 )• Thortly after the three have started their quest for tin adullr-ess Hellenore, they meet ^nrldoll, her seducer, and learn that she is in a forest nearby (33"37)* As coon as Faridell rides away, 2 raggedoch 1o, who has been adjusting hia saddle during the conversetion, pretends that h« wants to pur­ sue him; but "slbecco prefers to rescue Hellenore fi rot

(3 8 -3 ?). Trompart tricks Halbecco into leaving his money behind for safekeeping, and the th ree enter the forest boon after, they hear the sound of horns. immediately, Braggadochio and Trompart flee, taking with them i*albecco,s money (’^3 ) wr.ilw he remains to discover that Hellenore is the common property of 23 7

the satyres find completely satisfied with her condi- 21 tion (■ 4L - T l ) •

This scene serves as a humorous commentary on the

main plot in that it represents the same kind of trial

or quest within a quest which the true knights had to

undertake before they we « prepared to over-come a final

ext ia c H ? nc iy evil. by n corg.lete reve real of valuer,

every tiling connected with this quest is fraudulent.

'The wronged husband ! « really a jealous miser who got

vha t he do se rved* His wife, the maiden In d is tr e s s , is

an adult iese who w'llhrgly left him and does net wish tc.

be rescued. We n ■.** already familiar with the credentials

of the valiant knight and his faithful squire* rut. with

all th’s, the deepest Irony of the quest Is that :-.rag-

gadochlo if '< ;■ completely successful, because he makes

off with the money.

be sides presenting a humorous reversal of the se »—

! our; quests in the poor, thl 3 episode advanced and deepens the ac tion of the subplot. in its general frame­ work it resemblos the earlier scene with /* rch imago, for iislbecco and ^rchimago r*epresent different aspects of moral evil. After meeting 3raggadochic through Trompert and being verbally abused by the boaster, they ask his aid for their unworthy causes. With this, however, the

i-esemblance ends; for though Brapgq^ oc^'-° agreed to help;

them both, the Arch*-n^ro scene remains dramatically 23 8

Incomplete -- perhaps because Braggadochio himself was

an Incomplete knight at that time. He lacked a swo:xJ.

How he has a cwoi-d which has the impressive name of

fanglamort, and he is able to pursue knightly quests. 2?

Brnrgadcchio replays his usual role in the scene

but with the additional poise that comes from experience.

He insults I'nlbeoco with a little more arroganoe than he

did 'rehdmarn, 1T1disdainful superiority in rejecting

!!«lbecco,r. hr! be not only echoes Cnyon* s attitude in his

reject ’ on of Hr. mm. on 1 s o ff e r ( } J . vi 1.9-3 9,39) hut even

has a more knightly sound. One of the most effective

strokes Is k ra gga d sc hi o ' attempt to inatmci Malbecco

In virtue In the samo way that Belphoebe earlier lec­

tured him. Hi p pretended saddle adjustment is another

of his humorous excuses to avoid a f*ght. Spenser calls

on the previous b! ;-d Image here, but vrith a differ­

ence that. Indicates how far ~? ragged och ’ o has risen in

the world, by likening him tc a hawk hanging poised

above its victim before the strike. 1 he 0 rs twirl le

t'uffled hen, in comparison with the abject Malbecco,

■s a veritable falcon (ill.x.3 0 ).

T romp art also gives one of his best perfonuances

In this epic ode: he not only lures Malbecco into meet­

ing Braggedochl o but also dovisec the plan to rob him.

The plan reveals very clever thinking on the squirof 3 rart. When Malbecco reveals that he is carrying a g r e a t niu of money on his person, the i*eader knows that the two knaves w ill non be satisfied until they have It as a reward -- not pa ft of It, but the whole amount* So we wait anxiously for their plan to unfold, knowing that t h e ir cow ard' ne and their desire to keep up a c h iv a lr lo apr es ranee will m t rr.it ^ d ire c t attack - - even on

T'nl bee ot • 1 y the t * me th©y jeach the f c r e s t , 1 romp nrt he a had enough 1 1 n« t' v i a l y .e the I t uh i 1 on and is

Lendy to :.rr! up : he trap * ! nasor.ing th a t hrlbecco is b o t h a r ‘ j- and a c c wa rd and that he la not aj i to run r he ri sk of 1 or f n>- h* ° wife a ./a in to another knight,

1 romp *> rt -uggects tint ’’slbecco j*»ma i n safely beh'nd

*:h lie he and p> rapped oc hie go to the re scue of he lie - nora , Tie * p ner a i-e 1 fc-:- albeccc1 a refusal with what aeen.. be tire onl y other-' reasonable alternative: to leave the money "afely behind • h a lb e c c o agrees and is t rnrp t»d • i-cmpe rt ' ■- p lan * s cnlculu ted to take advan­ tage of Ini re coo 1 s ; rimsry moral def i c lenc le ? J covrn i'd : ce, a va rice , and jealousy. !y playing off one against the oiko v h.e frreor 1 rlhecco in to- the 1 Lie; son o-f ''horns Tng between hi s sa fe ty , h is money, and his w^fe.

This *s an enlarge-3 version of the position which

TTellenox,e forced bin; into earlier when she set flrr^e to his money arc ran off wit!: Pa rid e ll. halbecco, i ron-

! a a 11 y, chose one and then another only to lc> 3e loth wife and money. When the customei^y flight conej to end this scene,

P pnr’gadocMc bnf rn'sed Mr rtntion cons !de rnbly . He he s enough coir.posui’fi now to stey on his horse when horns sound. Fu rthe rmu re, by adding wealth to his Ill-gotten collection of o^Ivnlr' r ft c ce s so rl e s , he fin d s h im self very close f r the end of his quest. In feet, It I'oraalns only 1 hot he Va ;-eur.i ted with his lady and that he be

« r teamed the f' '■ r ~ i h n M h t In c ow'd. to have h is r! d 1 cu- lou :: er.b ’ 1 1 on r c crrple tely Pulf * 11u 1 •

I hns been rc Inted out that, the uencj Ln the sub-

; lot ;i'..+ only v re sen I com! r r ont. :,n;:tr with ** 1 tuatlens

‘ u :.he i tab. r 1 c. t b u t ^ re • nte rrele ted iheruelves, 1 he

! n ro m p lete d rnmn * * c p. n I be:ii of the Arch* marc scene we. a developed • : n« tu ra 1 r o t r ln n ! m ‘ it e :!nl hecco ey 1-

.ole . '■' . r: 1 In r~ v, ‘M r : r r i ey .*. rc-le , ‘ . w l.'rh B rn rg a-

1 oc h * f ‘ r 1 ; ed m ‘ tl the tele F" o rime 11, serves to

: epei'e he r- ft ■■ the clu-sx of the ruby: lot.

' i lu a l! v : h * r ^ * s <. d e ! a ^ . eerier w‘ ih _epo re ..e :eii-

’ (i 1 * H’e .eu •. c r> n t c. ..>, m u . he f ra :n t * c r.ioveinen t Is

'’Oiit/'iiH 'U , .. ■ .b ■ , howevo*1, n , ■*» ;ullt around

* * ourneren ’. ’ u uh ‘ c 1 -..lie " o - u n e i of Brnrgsdochi o a i’e reversed . r ; *r. ty rune 1 r tournament flV.v), he rides off with, the r : t re ; ’r ' amlneHM tournament, (V . .!. T ? ), he

'r expo..eu a r TTI s Indy suffers the same 2 ■eve r— unl : ’ m the H u t ' rn'nanont the fake Flo rime 11 wins the v'e nu Iy O' -n'e. 1 , nnd in the .;ec ond uhe evn p oisl e i In ‘■4 the presence of the re-.‘ fieri :■ ell. _n odd! o Ion to the

■ rer flriln ryfv o a i' on, these er ' so:! *■*.. r-ee-jphn :•! *;eJ :\nny

’ rt.nl «:• of the : "ov ’ on;, rcene

-.he f 1 L of the .:e c lo se ly nted opt acde:; bepins

t h r ™ ^fld o cM r thunda : ■* rip, nnd 1 o d 5 e r*■ ‘ '-vnj r, if* on I^e 1 y to :’: p vos ^ he • t l* our). 1 ook !n£ foi* a

1 j h h, ■ e !■; * u" ; ! 9 i ' v ■ id °iur.e r o ;.e«*caf nl a:- -

f, ~ ■ '.r; o'lp P *. •* 0r>” y ■ r* r. • * . ; ;0 0 I the !.i > J I, ienl chq] 1 en^e f 7 ). ' v - ' ' u same kind of i^ney thn :v

, c , • <.-7>l:ed . c ;-imcrrr;-,fi.l 3 y • • r e ! n o t. 1 romp n i-t end

h e 1 ' ’ < t f n ’ !.« . ' v 1 v.hn f '• e ; ee^ ! nv me :e

‘ r * ’ o: e c< ny he >■><-• . 1 ■ : . c..,‘ r 1 ho *„ r bfr!.h.

••• •••/. led by he . ‘V.o r \ r»! -J~ . 1 ’-e > .p.j bee,-. . <. ariXiou."

i, 1 : ’ 1 ; ' ■ e " t : « .l. o .. - r‘: ip •

f noe hti ’ r* c w.-h.eour-1 y ‘ .r : ' ted i.' Join she p«rt,y ,

0 not 1 c. • efo « ' : - ,f nv oul ( -1 te M Involve s

1 * ;■ ’ Pi nnoi.he *• d i o. >n te eve- l h,e f eke I’l c rlr.el !• 1 ::

w he : ; "v p " hi,, coi ipor 1 <.a <.h' h la n d noon- ; -• r,d v h eu In s

J . . ’h ’ < ei,, - he :e rhnl J ui^ec :.ue • synli;. hnl^h to iPstc/e her f J - . 1, '•Inndar.our nccc-pir sh.e oowai-d * g

challenge; % u t : v ■ 1; ".I atir.^ that the v; lhjip '■ vet :■

^1 o-li'.ell nn-'* -he lo ■ •' te , he p 1 ve :: h i'ni;cadcch* ^ la ;*,. :r»- ; eh en'it.he M n 4 v ’ bL1© out of rnoLhpn h’th t f " ' , C.ve ’.y one ,-pr . ♦ i v.v,\ ‘ v ex c’.U:^ ; >1 :;d he 1 r o-v.hy

^ ve ' I * . h ;P , ’ ” ’ r- 1 n h : eon oni ohle o'’ Cry, i. y F \ 2

n o ie 1 1 1 'UL,£P :: t 1 o; ’ ].n I ' key ! o I tk« ^eoide

^3c r'f.ell ».; M .e (1: -1.^' .

’ ’hen < !t vW ' - ! vp -it I hec c’i matce-i I . 9 : he r -a .-tv

rl 1 t.. Into .• -c. ,'i ou; ■ headed 1 y 1lend <■: .ou end 1 id a -

•\cnd :f};r«nti v«ly * c i-nr^ad r-chJtc choo;^ ' t r .•<,

'i’ cp.o . o ?■».: ;< he '*->«=* t t» :• -pen ( l j - l ^ ) . - h ! e d e c j r 1. on to

. f»i * •fll*' : Ine®!'" :' no: . : o ‘ !. : a nl ’a :.• nr.rte r ^ c r e : : hi r'

; 'V7 i v * d uq 1 1 l,y - n r-or?:'! reuL ► •*■>'’ . .’• ‘ nee f'-a I.Mi ' rouy r

- .i<> v c* r ^ l r.;: no:. ’ t.e ' , 1 id arrond 1 £ i-ou’* .,oi if*: a n t ' ny, the

\ - ( <• -... c-.i nd riMnrt'i: Ci'i 1 : ! -ha f C' :*re - or> o v ! 1 »

re rya d or 1: i r. V;> :-eject'ri£ l o l l . x.ur L * ; p

.i'•.1 * !)rir>'/»rlr](f?rioe t-.’h i c h . ense :•* r e th 'c . v 111 rot tele ra te. r -A : *> io x V 'u 1’; , r ** : a i-l of " m ry«d cc h * < 1 r

1 'l ’ *" t r .' i.i'' "■ o , n r; | n ; r t e ’ ' ’ r .; I' a !, r- 1 • j f ' nd " v I -■ d u a l' ’ ’ ' • •. . a 1 reo 1 .-a! - r i • t-eV s d a I : n i e z :- n v.ari,

i ! .a i. ou m e n e :, i. i L I f , f ' v . 7-<■. r 1 j .teftl t'iot. fi^La'::

V-£ana t e * •. U •. co,i;.>LP v h er. >. lie i'nkc

" lorlne] i ? n " ..’-y t a r>utvw r‘ !i . e - L nr*d ohc-C'Pa r i-nr- (_,

£pd oc!”' u •• r •! vi,; 1 : i ^ ! l (v.v-PC ' , evon iX o u ;1!- ’! i (' i. vary -- •. a : n r-ai’u n o t v ; I ro v>: !

C' ^ ! .e :• "r> r> '•hffrp n quite '-cn -sonnbl?, hcvjrvo i.-,

: .Punu'-a .;d'a l -.e ;‘rel T • a '.?•! •: i nM e tc .•■ecog-i’ i:e the i;.*’ r l - r u'l* t'u e •:! • ‘ 1 • j*,v i d a -: 1 y , ! i' i V.e 1’e k e F3 c ivu r l l

r : :"e : a. r • t : cl led.y , : he:'. !■ • a r £".d cc V ! o \ys y

■ a . e :.osL kc '-tl'y ■ :j'rhiV.e tu 'o rirti;a n kr;:ty exit -,3 n nxl i- v.'h. ’ 1 e i he **» jpr- !. •; 1 1 o .t \ Inn • '’

ho* { bn t '-n have I’'•'I' owed the "d veut.u re t; of ou v r . ’i" ’ < -Vu1 ;'1 • ••(-.>:; V: * ‘ mphr vM t h 1 romp** i*t through

V- ■ - ;-rnnP . • • • V- f hoi T-huPhe , t. \ e f o’/e F ie ? ’ -

:• «' 1, • ‘O le<-’” c , n n ! 1 i ’■ ’.7 :.o 1 ■ 'cisraflriBnt, merits Lb * rx

•-^cvl ; e at •_ ut «>. :•<» ? *. t :e tho -'1 cf ('pen'n^ 9 nci

]o :'-i; ‘ be ' , r x \ ^ ... ^ ; r ye ry rl:\i le .

■ f i.,r* he ” !: i a 1 c. a p ne j ’ <- e oc.-nalcl f np Tt, all

:.-a , / i w ' ! • ra,v.r'•'*<■ '' ' .1 the •< : -p t j : x r ••o:- h ‘ it fl ' Lh I J •. ‘ho ' 1 y 1 v * < ' i ■ --''•'.pi r r t-undo ” ■ r*x down ori a ;ie« v-e-

t. * ru; and a l l '~ud i n .'1 ’pt’ L. - he i in Lhi R ;\ethud

a :.■'■> luue«d c y 1 ip*;] r.ovor.eni >'!'! " !l. 0 end uni ly ! no ver. s<“ii

..he d nnmnt ; ■ ■ ten:;! cr \,nt.j 1 -.he -cade v wa i t. r nnx 1 c-u -ly

. c •* the * oene • n •'?*" : d < c v‘ ’ o w i l l uc.-t ee n b le to Or ive M m:-elh t>v :'' ■'■ ^ ' u,’*. - 1 ‘~.e ? * r-r- l ‘ nd ieti I. len i>f 11 s-

j le r sv;n * i.' ti|_; ^ '.•nprncoch ’ ! n hi r i‘'n°l :c r ne ’ ? thr.

•hr a .1 1: ;

".i t i-e a t. ! '.\ti !' ’m’i.i IT. \ ji. t c r ' huivi e t; a . >: i nnvo. i© .

:'rt ' .*• « 'Ike ' '11 n ‘ :-.e 1 1 ^ n Le *• un^e :■<*! .t-r. 1 cn ; ly 1 ' h

'• ; • i e ;. 1.

'•> :’ee l he i e tro !-.e ; i’^ e n ;• i-ep f r ! r»i, t \ r ■. h. I. n

nc^ne «vfi ... h.ce ! e x. nt.- rtvlucod Hi-cfxadcchlc. beck in loci:

i l , end we w e i t tc In e it: the even tu al fate of the he n a-

: e !■ v;hen 1 ,e 1 « a1 w f 1 1. \ !,o '.n' l - 1 of J u s tic e . '.uot lie ?•

mr.ce i-n ' a vrha I w t j 1 hnj.poi' "hen the / n he Flo f* me 11

••ee? " the .enulne 'rlo:h:. e ll. in ha :i, the 1 ’ ne i.T L\ 16 ocnlc subplot, stn rted !n book I.:, and prndually £.1 ven i\- ir «nd d i me n n 1 on r t V: rcu^h n variety c-f epi poder has finally cor.o tc Inte rner t 1 bt> lin e cf tht» ms ' n p lo t.

l h t ° c 1 *: .■■• r t. ‘ r: scone op the subplot bee* nf? when

:; norpndoch * c> u * t b V. * s 1 ndy and square a rriv e on the t h i ’ft <,rv] * ’ n«1 .3 '"j of la nine IT * a tournament 1 n the

'■u;-up‘ /'• '•!.« •*•• 1 (V. T • ,1C ) • When "M eoal

] ’ or . ve >,o i. he I ‘ ' . ’f e l l kn :•. *u i> !. V. «•*:;. 1 «ken ’ i'i f-or.fl be b <. i’no*..*" '"■■■, y 1 r r i ■'1 1 ^",' a nd • i e ;• t.i* t b.e neo-

' 1’ -,e • \ hey ooye the ? eve rcone the v nyn. ’ bn ! ■ p. I r ^rd the ton nr. a men t . ( 1 * — 1 I ). ; ju.e- ynl ^ f lu'1:' she bo in-owed h.'f*!.!, "h 'cb !. r*c-ri i molly bear:.

•-• .mi 11 r. ;:ed or. a -old f Leld. then :v!'cn the judpes

:■ u! ir.on -.he .•• l :-«nyo *•:.*£•' t w * . l- l ho r t-.l d shield to be

r r 1 a 7 ned ■— rharp ion re." he *b * rd 1 <: y , '■ m ppadcch f o deee ‘ fu ll y . • .-a r.e.nl y ; > f r. fo rth f. m rloir. c.he r*e-

■; H : . • e ; ,,r- : pe and £ i- u’ : udo the •■ovl ric.ri m«ll

, •'■’I *)’■ h I-a opr lochia 1

" lly arb ’eye ;. T'o bn / t’-e cor.r let© kn 1 tly equir ment

he * H,ed t o •- ol lent a t the out ~et of b.‘ s on >*ec r: horse.-, ■•':■(.:■, rni.id, rh 'el '3, ;:quf .*e, Indy, n.ua money: he bn:, b e -• n ' nvrived in no mb ft t e , enp.nped ’ n i,f nm- qne. * ", a t (ondrd ’i.rnyhMy 'curnar.e:kr ; arid niow he ! s to be hoonm-e:] a.: h-'.e V ; art ' n cou”!,, whii eh elovs t J.on he ''Ol 0 t a ! ; " . ■ o r 1 . . h ! o r h r moment of tihumph* 1 ron'.c qnett, r. cc: q Lcle.

put : ate:<' ej, te-i with hip jucco^: , 2 ra^^dochio ova r—

:-f!fiche: h.in.nelf vhen Vo i.nsui in Floriniell by paying, th&t

"he did *t act/ Tor ho;-, V.ut for hi 9 owne deare Lad

;.nk*,M «nd con' t.nuo" tc r.-ike ttf urther • . . uncomely

rppei’h^ wh ' eh ?nuna Fin ;• ’ i- a l j to turn .qj f de (I't). 2 o r-

be f ? : f't t • i’;e, rereadoch *.c1 c n 1. L 11 uda ce«oeo to be

n\\\:ny -- n ; ‘ t.p i-a r : i < r': *1: "a r- •- r-en t;e r: w • lb e ?e • Fite —

’. .e"’ 1 * ^ ej;! f r-ely dof>n■"a 1 e - r and undese rvlnr of hi r

\ n so It " . ’v: t. 'b ‘ ~ c undue t ‘ ne t a on t ri v e o n unnetu i-ni

' h ■ ; - t -r-i ■. * f - r% , ] , ; ■ - ^ £* [■ ^ ^ ^ ’ [ > f* ^ V * » . < 1 * p .'J *"* I IfcS

•: -• y • f ali '.be : r\ ‘ rid e ;-.ot; vut tie y , w * th the

('^rort’on < f pal r hoe he, o'. nu'te o;: nil e of taking

■ ,-e i ** ha t a 1 ] ° -9-*ve i ! n * nrul t r> , J he n c t ion c

'• r-v jniL r-h lo ••?!: * cb we ”e • n the conic cubplot

econo inIole i-nV Ip in the cn ‘ n i.U t,

■ ft© i- ’.e hr ^ or.bo run o end Florir.ei J ‘ a to w t thd rev; ing,

- och 1 o L-c«.. a . er l’uet.ly' i- • n nudoc I ty and attempte

L c t-‘hp c v« >* the p r-t.eeed.! )yj tenting !Fr f^he

T-'1 -j c* rte7. j ft-1- ! 'r

. l inn', o i t h arin: er.oru. a I h e o ;a ..eril rlenee tc the jf*nl

"“lor1 ‘ mell (17-lr-). Tbit h \ r pnp ♦'em© m o n e n t cf tc’urqr h tie r

^rr1 go t bo s ide the fsV.» Florirr.ol 1 1 who r.eltn in to rioth.1 np* ness, vent shed , '..e.-,v ! n^ behind he:1 only ?lor! c e llf a b e lt which a he her} won a t fnty mne 1 a tournament ) •

The t’ni.e flciM me 11 1 s sxpoiiure Is sudden, but her runlahrent 1: neither painful nor embe run ss lng; she is not :«eveelt>d r : upl v - - she sir-fly evflf ore to s , Thus

> enae r J T s ( I non l she a he tween the nr tiv e and nop re salve r v ? i of Dv.p a s" , who -.i'-,: ~I r lr r ed and revealed r. s a f oul has (l.v l’l), end the phente ay of passive evil vrh 5 c h

T7I1 o r:el 1 "*] re s e n ts . "he I r a r- ruoh of an nmoster a?

? scrpadoch! o b’mself, tut unlike hir ale is only an

' 1 Inn * on . "he did 1 i f t.l e tc Involve any '• :ue knipht

In "erlous difficulty, nhue nan d id . TTe r sole c o n s is ts chiefly ' n rink* nr V:« raelf "'n ! Table s s an ccrm lon for

: hose who uo -e a2,.-«rdy f . *»dl apcr.e 1 • r nnce her pur. I sh- r-.ent can rmoi’t.t onlv v o the lo ss o'’ her a ssuii.od id on I i 17, t / beer, use he i I. n il . : e be r . • he n I m: 1i v * roes t_j Leek to O'* 1

t'fifvctio-t ’ o, 1 - r; the other hand, ' s more then an

: 1 Iv,r tor:; consequently, his disgrace i.s still not ci,r- i le t e . fext, buy or. steps for*!, to reclaim hi a horse, - r, addins '.’u rthe r ccurtroorc a Lutosphe i*e to the scene by f j’pv Inp to f\ ”te;-al * r sa ti s f ac t i on the t h rappadochl o had

■t olen hi a r.ouni. (Zr—?[ ). ~snrpadoch*o, a t ' 11 *n chfU'fic- te r, --ant" a,. rte y a l * r ju s tic e and na rrcwly es capes dea th bp^un oe o f h* s inaul t a, Irtepal has nli-eady d ravin •-» 7

'• I r? r’Moi^ when Cay on, hrlrr, hi of Tempe ranee, stops

him by saying the'. It would be dishonorable tc kill such

a churl (2-U Obviously, ? raggedochio does not desei-ve

to be killed by a oi-u a knight. But if he escapes death

n t the hands o'" he doer; net Tflpgle out of the

Iron hand s. «. ’ ; a; u-‘ • .' a enff. .'-rcr h the 1 rresi alible

and ’ rtevI table or sequin~r-, of j u r * ar re rrler; out the

: an! ckr.er ! . j••hr-v! iht* I k. ? s fe ••*sen i*d , reve rs I.ng h !.r

.field af>u e / -as *no I to 3 a v I e c , frank : r.y ar.d .ran tiering

■ I- "r avonr and fra a i-nor, and .• ’ vl nr be th ... ra. gadoch! c

-Id krorrnrt a sound b e M trig " ^n .an instant

*'11 that he had so j I r.fully ncqu I red ’ Icat. The fa he a , - s'.n.I ght la r a s ■' out." "'pander And: the adven tuter of

r----'p.ndoch I o i v- a f I.:\t> 1 condomne tlcn :

'.to ourh.t a ll '’nvt ou»* , 11 e t t >-ue ^ hr.i cht- boor shame, ■"d fi t-ne.:: d 1. shcnou r •.* • b • n ,.e ” i ll;jnl e , r ror. a ll b i-cue knlph . ue l,nni «?ht ‘ ! h drt tame : ”< •• of ‘ thel r 1 ewdnes j V 1 otte th gi o.: •V ve i‘tr. ■.•? 1th hi a me • t ■ • • • ?r\ - * _ • '

- he •'v-.i uflti: oh ::: si end I ng appearance contra:

ted with r-eality dominate., the scenes in which Ilragga-

dcchl c f tgr. ra . . lie whole subplot analyzed he r a I r

: id rely a i * at.- rted J adow of the r.ain p lo t. P'.irthe ra

tcue, a ll t he h r -> sous eke rac le re who c lu s te r about.

Bra.-pad oc h. i o a ra list# fin . they a;1? nor-;. o reel ve rr v;hc.. e via lor. : ^ raO .1 ty s'" out of focus, ’./ha t they

•ee * s ha zy and In d is tin c t. They a t ten:;. I to cloak 'he r ?I'M oc ’\ i y of the * .• rwr. real Lty w ! t.} endlo r? d .! S£.u.? sen end doccr t, \ or.r. \ z r< hhey nftVP" n i>o whet they n r i^ T to Vr>, i-b«y (irie no1 even nwn t« of whet anyone els* I a, because they r ie not able to see rast a ll nmie

nj yea i-ano'?. •

••U L : • :: - y ■’ » t, h; " " r a ’ co h 5 o rincl h ’ " o ‘ role n :■©

’“rOivo'’ \ t. 1 ■■ or i ..’o M>. * I -av v that tte oharrn-

■ ft ; i-p-. r> "1 vo :: *-• r‘ un :na 1 . ' \, ’ tr i. ho r >- •■it ; -q > «y 'h; <• ) ■ p- ; y> ' i r \r r r "t ’; o ’, o’ ftf >j ; v ; o , f 1 ft ■ ■ r - n i ] (. ;> V* \ ^ j f ; ■ * y* f>

? p t’-’r •’<" ?•" •'• ' 1 ’. : : '00 >. r; ‘ "'. V • T • •■ > V 1 ;; rj j a "7; ■ : •: b eh"! V , O' ’ (1Q * i ’. 10 for: ’,Vr> ‘ft * g r, 1 ’ (. tie of

V ■ i- !r. r. •• 1". 1 , * o ‘ a 1 ( r'nrl^ t axj>£ ?e rated by

'ran,'o >i: ye ; ' he ’ n te jy : o :. r ; 'on .. 1' 7 o : 13 J he :*» nakec I1

(i • o ■- • r,,y » ^ .-eye id V! a ; holy '-yye of 'illwyov'.-

" ■ 1 f y'j. I’e i..f ° g'.;« id *_ o * : < n * fy « ’ "a n c {. _i on? r i*e

a -o CC'mpleTly : IrtU:’.* ;.-l^ tc : « .r. 1 1 -or'- n ;u: «= **f i r * n 1

' r.; a if- : n , ’ t.:. . :j f r, r l, ]r o r . r*'il sn 1 nd lv l- d u a l th e t t.*'e »•• * ■■ r-o • -nv v 1 f ’ : I r‘ f v o ■ he o ►- oi— r e * i.

’ n .cch '. . ' r.. ! * •■ «ven ... :-A : ' ri, ; o ’ r: I h 1L I he i hen-

••e r orve . h ' she 1 the P n e r I e h,ueene ; hr: -u i-ely « i' ; r fev hiio.ro ’ n which i.o •. ow <- :;?r her- id , i-n,:yal och i o would have beer, bark luoklny for "nothe •> hoi- -e. JTej;

■‘•Pnnif'I P. Boughne c. The Bragga rt In he en n ic- .anco o no - :hyj y ( . ‘ nn»'. r-o]r-o.i * •", 10>7T» r* . 17T• if p . JoFn-jonn ^ neon T.-fndsay, "Bragg?<3ochi o : "penac i*f ~i T egncy tc the 0h» t** i.« J1\-J !•: t° , *' i ~T >' t _ 'I V-'* rugpert- Bra ;•- gaJocht o * {*ej at ion"hip *.j’ th 1 he I'kecp*' rnj t t a n type of ni: .p ", "the I - jarkd?/.:, " a ad M the rlaulo- ie i*ent I n,i *• < ':vr'»n t: ’ o c I I. m ■l_,n .■* ~ol :!>»’, the r 11 a a • ■1 or ! < r u a . "

J:e :lo r'Ar uf r.chmmd i'j.enne.", n . .. neoiilav;, ” ■/V'11 IY ^ « t n * '(""-'Ti * ",c:*e “ h 're John" Pupkin- ", 1 j j. ’ > 7a ;■! c run J , \ - u . ■•'-> ;r> e :• hY ” *11 r oltod " V1rl u:ru; ,.

■'T’of an * me r-e r; L tag d * "cuosii.n of knight a cud •.hei :• qu© j I r, nee John Ar-lho;:, On l he -. i h a ;-T an legend.

" h ’ s k : " c" ; h y .: .-.1 •"rm 1 ~ loua'. "o JIeci- ■ : c ofl.ron'l trig i.i'cl dec ay .

' .••ihur * r L be r 0 .11 . h. '. " ;-e c eve :• ‘ i

/. . •: Lee:1 oxami-j.w r a :-e Lc. :..© I oun.; m .••o«aP.-

• :v! " , '>ed 0 r’Or ■ > * '•hi 7 nreu:-e v r ra of adul Lex* he / ra Ju n lly b-econe u both \ hy r-I c ally and :ao ra lly uoak th rough h! r c . ‘p * < >n :r th iJue.°aa u n til he * r -o:\- lo te ly ' i CP .-,•]] hi a knlrirtly ; c c re : : I onr: In ^ • v o p llc 1:: proton uhei,« ’-.© lie:: -.mlting '’or yd.ryolcal lea t.h na<3 roor^I 5 arm a t ■ r n . In book 7, -Ii’tepnl lose l. "11 h 15? po.-i oe .n. * on : and I p huj.stlin ted by j^.lng Jcnced !. c r e t-ve '•fonen when he k ‘h; to ndr. !.nl a te r :■ t,r!rk end ' r:v a ;• t ! a 1 Jur; t * "e eel I jjund .

! f' -k1-j 7 r ", Oy; one !.le . t I y .ceil o -'.(1 "■■n; ’ yn nd •ill r lay ::ueh "• pa

,9 V. H. .’’.chef iela p oin led ou *• -he si rills r*l sy ict.woen Don Ouizote and fancko Fan:^ on the one hand and ?.rnggadochi o and Tronpnrt on the other; VarIo run, 11, ?.(P, f o r the 'an^gsdochlo - Falatnff resemblance, . ee W.B.'i. Wn In?, bhakesren:® and Spenser (Prince ton ' r'r ) ■>- , f. * ■ *' '■■■ 1

i.,- ■ -> t igaoVa, nd-mmd j e.-ise r ^herd on* ' ' , ' . “I'/'b’., . "v i V n ~h od sound.

”"ir:o ■. d he lllegorlcol 1'oiupe r 1 "e« a V }, i i • 1.' ’ ‘ — 1 • merger discU" ner Tlh d ■ reene " rr\ ,r. bang i h , but he s :uo.re concerned v.»* th help l.oebe than *Tj th. fragga doch 1 <' • Arinin J irrenlow, ''lud'e: 'in "nen.co r * z TTintor j cnl Mlerorar (; V7~T:^7 "TTd’-T’ r!Vr "^eTi^ oeVe if ■ ;;nh.;,h.

. -co- hi ;.n 'ir :: "im e U , I ho tdvolut i on of ■"ce ■' e tuo^iie, n (gh'cn'U:, }■['• \ 7 . I n n . ef cn of Lh.ic scene, she rayr pt, * s " tpen- ■•e ” * r f ! rc t a ttempt a t 'i ri o:: to-1 In© ur! t lu g .11 She s i r obse rvec, " The passage t a oo:arnonly inte it re ted as an •h Ic.-o:";; c. f * loncon * • rh *: V' I'ue'ui'* h i i ai.©th. "

a:i io ■■ C . i.' ad ..m i, rh e fy p g c f a j r r i u n q ’a on-ft " ( r" * no .-a , ' ;..I } t : . ' "1he T? raggadochT ;; - J ronpart-3eIphoehe n\ \ rode i n ^ lie 7aorie Queene, if It ur ual I nte rpa-e tat* on ' or ah’," "ndlcntes how deeply '.he thought cf on * .• icanairii' ;♦;!! njbeth offended w “ : once n : " Ty ierhuo'-e 1 comraent "Iso r u o i. o" :: fp.eoi- -o t. ■: nh * vnlcn' " 1 11 Lude tcna;*d ohe c ouo’i • ♦!.! s a t I tu ’a 'a rhown -vein and on a mcce .:ei‘!:\s lt»vel * al. ‘ door' » c r " r, to;-ail inte ;0 ade In book VI.

^ Pail utaff need a o.ooct I ally the j-.nie qxcjco 'n .'.iayrnt; -hat his flight at Gadshlll vfos due to a special gif t uh.'ch, in ci .ite of hi s undaunted courage, vinde hir a cower'd by Instinct when It cmae to striking the he ’ r apparent i o the throne of a*nr InrtJ . (Penry IV, b K I , :■ _ . 1 v. I v°-3o ^ • 1 f ’’.".'I. ’’lodge, "’’pense r1 r I rf tat Iona f ,-or: lid or-to," VJV, XI_. (1^97 ), J 91-192, felt that this scene wlth Vthers in book li was one of "a strong of unpror* r-e as I ve op I codec" which "riar the naru*atlve unity if they dc not absolutely destroy It." ■j n ^Though not co detailed, the descriptive nethod is essentially the same. it covers in order: her body, eyes, hair, and kind of vitality. 1 p Roth Florlmells are Involved in a series of escapes and i*e sucos: the .real Florime11 passes fi*om idiot to the di*sgon tc the evil f* she man to Fi*oteu and, finally, to TInrlnell and happiness; the fake Floid.mell passes from the same idiot to 3rargadochio to clr He rraugh tc 31 and amour to 3ra ggadnchlo again and d ' s.p ra ce.

r . Chang, 11 log cry and Courtesy in bp en- se r (Hid ’ nburge, IR’T),j , _ ; y p• . • r . i • ' 7 The ■ j chIefI * ,i_ -i. enemy.i j 1 **} or A. 'ou’'lo c: t s Courtliness. . . . Courtliness i. r to Co u r- • o sy, in she rt, like the "al^a T,I o r * n e ll of Rock, a II.*., ;V ^nd V ' s to i ’ p ti-ua."

^ , ' C’-ense r * r a on fc m a t ’ tig T>li« n t'.e wi t h Una, whom the*---' ■•r.u -a iy rn Y onoi-ed «•.. s rodCo s r. ( ± , v i • !/.- - r \ #

v g 1 v ! n.g 3 mi-gad och i o - suc-'d w' th sue's. a h ' gh r <-andnr name, Spenser scons to be poking fun at the re a 1 ’.m ight s and the 1r c ha i tried weapons. For ex­ ample, ' rlhur* 2 s wo I’d 's c a lle d Uoi-ddu"©; T'ed Cross has a cha:r:e.! sf n eld ; and U rllonnrt has a charmed spear.

The group cone's: a of 31a.id amour, I a rid e l l , cues an, \;.e, fake PI o rlmel!, Cambell, T riomond, Panacea and Cnmblna.

3en-.e 11, pi* 1'''1-132, f ‘ nd ^ a source o ?• h ‘ s i o’.:, uiato n t sc a na ■ n * o t,to * a 0 j 1 a.id o Fu r * o s o, " a n te . XXVp:,

n, ■ ' ? ccasl./na'i ly , : pence ^ lies thu com "o subplo into the nair r] o: by juxtap osing scenes which have the same theme* He i>e the theme of ^■evange connects the two riots: ^l o rimell »s -‘ejected su - tors set off after 3i aggndochio (v.fO), while in the following scene bcud- amoi'e seeks Rrltoinnrt (v. fCff.). The same device was used before in the Kalbecco episode, with the theme of a quest for a woman carried over into the following scene where Prltoruirt and Ucudnmore are attempting to i’eacue i. mo ret f rom the castle of Bus! mne ( ill .x l. PCf f .

- the balance and symmetry of the sul plot u e shown by the fo llo w in g o u tlin e of the Rraggadochlo c e n e . i: .r.rv

V. * v*-' - 1, . Gnii.’-n.: ’ n /col; ‘.V - ‘ e.;i:i - or- i v . v . n'

rr. 1 * ’ .To " ;/' r-r.'- :n . col: V - 1 cuuU

■/'Vie ! s d ro a r’ rc'i V ^ L o ? c© p te »- i!- i*nd - /I©. rt * > r ]..’.u .. n n ry, •’>pwnr©“ V, ' 1 :• ^ nd M I ’.:e ——— T,''r.i©ro.e - Ciueon©" 1 (rhlcnfo, ■ ’ > . : • i •

; 11:- -.c r- *•* r. uccui uccui ~ ~ 1:. 1:* 1- 1_t.l.t.<. 1. . . w’ wheii ■r V * O.o '• t ■/ ? ^ r • . • 1 ■ ; * e r' , ~ . id he j r, c^rt ! -i i. ! "oo .

' * : o: ’ r'o..:o ••;r. ;*? ; t e ° • r o n ;•;! h ■'" o

’ c oo . 1 °v- ‘ i o'; „hn .- tend l; ,’o ;• ° c ‘ ■ \ i ' U'.ou , ??<, •>] c • •. r-j«l 1■? -r opnd c c, h ’ o , u c od s w*. thou f nr1!.' o:i.

- ” o --= y :*-i • -i thy :‘oo " . -n r^ r - ■- ’ t- * *? .-one :■*, t e d he--© '< .. f c ’ "■ .' 1 : ' r e *■? n 1 ■ " r n # ^•TT a ''■'"’m* ’ V

.,tr. ' r:r r : i i '.tctt: --t

■ 0? L.-f> ,-e - ■.v* .-luour, n n n. :de r.Inor

; i ir r ■■r' 'a l~© : ’

: r> ” © : i. * t' ; . a a • I. r - • \ . d o " ‘,e :i 1.1'R ? i*

•• * . *" © '.'irv ,.nly l ’a;Vu Lon o f a

. ' :y ■ lo ’ . • .. * • h • .rt ’• ♦ 7 V\R : ° ’ 1.." y ia - :\n 7 d M . " ,

•a1 i ■ >a ■ a :?© ; a r • *••« ' b.© ♦«*- ':«.j iir .© ] © : ’o Ln * rbM,

• •© © a ' * . •© I ; . e : : • ’ '. I » v. Lrc :. *.nL* 'a.©'. „• honu!' by

' OR ‘ a ' J' .•< •:••reduce '■*» • .. ’ O :i©a, c f RrU’^ e , ©n _•*>(•.© * .:

• ' ^ ^ ..,©■ :: 1 inj. •• "’a i>o Infl i*„.

' i, " 11n ] 1 " L h a ■; ; o " a ! "1 *,' ° r. ' - ~

'•• ’ t.V ! M . ' ©.i t:h© v ‘ 1 'i '■ ■© UL to r 1 a!.;.

■ ,* ■ 1 e 7 c'’n • ■© * . ‘ .<© ’ • ..'. ' ° 1 ^ .f x ■ i.o , •© r n a©

]© uV ’ r 1: ’ Y© ’ M’.< r.. 1 !.v:© : ’t ^ i ' 1! p r, v ’a.l ‘ ° —

. ” j ac© r ,v ©,. a ' u ’ L •• rd r ~ ^a j © L'l©: :o ;/'•> • 0’ ■ .'O 1 ■ ^ vri

'•• 7. ■ •© ^ 3 y *.1 . R r ' • ' idj’ -he •. :;t.ny or..' a : ' , n^’Tnc' f n IcLr: botweeii :'7.-.oa ro:i’ ’ ta- rr..av . ;■ ac ^■_ri' rtn Mid thou iflLOlvo. e :.

;-v ‘ .i !.:•<.'due ;.r ■ ^ . c © r . r o atn ’ la , -a ••.11 the . <-i.- f ^ •'I a© ; v©d ’.n t ie . ° : i© ’ ‘ad c f d r-a:a« I ‘ ^

*. v: ° l ’;.. If©*, a. I©.- ‘a-e a., v© a: ©d in th© I r d ;-nr?. L! r

3 Ik cun^P:' Lion *• . r> .*■' > 0 l e o f !.,,e ^nt n ry n *. p L. " . * hey

m o y 0 r rvr: i-Miy1" vM nneen: L,rivn;e: rv,;'ilr’finr;

they ;• ny yp ' "i rt * "it !.£■ r r ■ u< I ^uer»f ~ or* ’ r.vulu© .•''bio .’> 0:1

■p''.‘ * r v " -h rii'V'Ci ■ J q ’1^3 * r .•’n"i r# . r nd nenVip < ,**

: ’~n ]■’■:1, I.1' ■ r - 1 V * I ti1 7 .\> L . J V.o’/e ve '• d * f fe ;«n t lh « i ’* "ol« r

' '. e , l!‘:oy r •« •.?..I "r’led * n f H'1 ^ . hey 0 ”0 '•.11

' • 0 1 ..■■ : ’ V ‘n- •• • • I • Vfi '.

1 .-p: i.r. r oV.n ;-nr Le’-■r tho \•ct'1/ : : . ! r t 1 e .C* 11

oi-e ee-- ’ “ y ! h.rn M u ■ n '.n.;,un I r t r MM o 1 ’ rt in'-1 _ , uu; .

1'c -M-ai' MM.r •••>(;* be rt ' 0 - , :-tr 1] y :oe t <_ t he i’nc !,

1 ’ n - ' P - o p ’ ■r> ■ . f1 { t- 0 ■ ■■■;.,ta I t !' A V P 1*0UEUOl j.y

1 •. ■ * 0 1 r ;r ’ vp- • i nee ° .. c* v'9;,ie i t i.r the 7 ,i'* .•Me C'ueen© n > in ^he An t rt ■ f ,; ' r !■" . , , * * r ■ ’ ■ p * ^ 1 ir r ■ M0 0 r r r ■ * "* 1

. ^ '..0 * I'0 ,. : ij yf* -i■■■■.' 1 p-' ' n: ■ e : . i_ iT *> -a* si, r , 1) * «■ * r

1.1 .■'•■j t ’... *0 vo j !' p c 1 ’:' i. p - ‘ t,. iT 3 l r ' e " ; ' ^ *7 " ' ’ ^ • ' r* m r" o k'* ^ ; -O ^ rfc k ■ ," 4 ^ ** j ^

0 • ; • - , >* _ — [ '.r- » . " : j ’ r : n ’ :i .

' <-» a *■ ■ r ‘ r, ,, '■.r ■ 1 ^ p . t : * ° r ^ 'id ' 0 I %jv ' ;0 J. .•0 '

> ■ . .p k. p i ! n ’ - ■: ' ' 1 1 ■ 1 r . •' ; • - ; w < „ 1 p • '0 ' 0 ■ ' .*-0 , .. '.(.*1. ' o 1 r j ’ , 0 .. y .

' *■ ' ...’ ’ . f* r . 7. ‘ . c:M. i*0V©'>l e::rr* r I ^ - _o" y

‘ ; i ‘ . ■o . ‘ 7 " i ' * n • r • .n r ci Mn t 'n 0 :. 9 . - . [ 1*

IV; „ M-0 ^ c-y Mrovv o eq.m l : v ^, 1L ! t i n t.’r ‘

!' y . '' u . 0 ' • . '..f't y 0 7 ■■' 0 ...I ! p ••* . '.** ,-r. n .*© rv.. 0 * . 0 0 ' '■ . . p _ .' . - l ’ n. 1 -Hey np ;-0 ^ ■ 11n- ■;0 u '.’“e; '■■•<> vjriil ,1m:. "> ra r; 5

p :■■' '.:0 n r» : >■

’ v . • ■ ' m \] e Y; t> co ■' ^ • • »• -r a- * r *■ v

•p; ' .. ... • «-1 o ’ ■ ., i o i. j * ? .n t © I ■ .e •*n i If) * 4 * . y '1 ’ T ? © ' • ■'

■ f* '■ T ‘ r> *■ . p r v ' ' r » A

• . ■. 1 O r, r i r 9 , '-O ' */7 ' ‘ ‘ 70 •• . ■. -n£°nlst;' --

A P ' • n ' -v* -p V o ” l 6 . " . oro : . £.u • '!• ■ .< r l>V . .ij. o i o • e : -c p .. ^

e . :

w ^ . vp • ’ o H

U . -

•r p , ■

p . n;!. : o.."

.n ■ . o ■ n; <. . ' A ' .i

■;1 ;.r e

• ■ .ill n ■ . '"i

»"» I

. c 6

' - ■ ' o ■ ■ ; 1 . l ’ ‘ ■ — ;« .:c i ■ -e... ..n

1 p ' • 1 «■ : * , I . ' ■ 1 .. • n ,n t-’• o -O. . 1 ‘ • : ^ ;<► ; O'. : -p -

< • ‘ 1 r* v ' : ''••in’ v'll ur. v c~’’ ‘ >p c 'j '■ .v ■ 1 ’ e: .© ’-l ' r '■

- ^ vr> - y e> v © : V- ! 'i »‘0 ?

a • • r- *. * :• e '. v 'Iftc; lr . p 1 t o I ho V© :*o 1 c r \vr r - ft! n n:?

t p" •. "p ' ' • *. i ■* r p »: r c_ ! auer". • ’■

* * ’ ' ’ p 1 c m , • h«y "■ . -n ■-■ . „ * o ’ y i'n rp>. L p Vir,'1! , •

' p ' r’ • . ~ * r ■, * ** ' ~ . * (Jft ’ ’ * c i u " i: y on 1.

■ i .r> p • t <- ■ i "'ti ■ ■ ’ . " T v n r 11 , ^ v 1 ': ;© ■" r. l r. o:i—

p ’ o' ^ p t ■ ■' 0 ’ ■ ■'c - •- *' pc : ■ vp ■ L© . ’.u .’TP j ‘ p -■

* y V . ’ . ' ' r. . ’ :'_V ‘ . r ' . ~ • • ,1 ' I. ‘'

• 3 P . | ' ' ' '. - ° . , : ' v. - - e ' ! . r n.rr:' p vp \

’ ' • p . *» : • .'Al n " p 1. n1; * p ! .. ' r \ ■ . ’ ' !! r ■' , t ° . ir ■ f‘i r> ^ j. ; - ’ : i l « 1 o'. ?. j. ’ * n .

" c© p ‘ ;i"! v ''.e » .. u ", l 0 ; ; • qii -e i; IVp : »••'•: ,

* * r ' . .l . ■: • ■' u,!..'-.' ■ '. ’ "■ ^ \ . v. p .loi,' e .

! p p : .-or ei'.d . '*n ! 1 e ■ p

p .. : 1 * " 'ftp. < .. - - ' 1 p -vc.

p.p. r ' - e - . r ” '■ . I. • . p 1/

1 ' r <■! ' ' . . P' C v ; P p : . 1 • I* • p . . ' *. P , I.; -

r • i ‘ ” ’ p • * h ’ ’1 ’ • P i j' ' -P ’ ' ' ! e . U P p ."'u j.

“ ^ l-*' ’ p ’ .. .p : , * ftp . r< • 'V ;• oft© j ^ p ■: r ft t- 7“ < ■ 1 p ' H ^ ^ ’ *" ° * 1 ^ ^ 1 ' 1“ ^ 0 ‘ ^

p -■ vf> . ■, J : i/ -a Piift ’ uo ■' p r.irl

■ • tAj -r ,o7 ■ y * vp ’ ; j ; ~<"'VP . ■ :.e *■ . 'I v,e / ’ vp .p . " r ^

a. vp ' ■ "’.A. . ■ ’ ts ■ ' * • : c'„i . o ‘p;.er.I :-i : © c

’ e ■: ‘.Tr» v.r\ - • ■: ** , -ic!

, o ••• 1 ■ c * . : ■-W 1 ve' - : ft lu : V ■© . ’ ft ft *. bill "0 <;'

" /OCuP , ” r\r-, n.rn.l :•!. i.cr.n ; Yu

L i .r •• i he* ; sol. * V© W on 1 s v?ft3 2 c r- n n n ■ ^ ", ft e ; • i"ft•' . -f r.ll "• * fid J v * •111''3 ’ .-ft'!

1' v. ■ n: r» *.: ' Uf1 ’

■ : ou" . *' • ’U iif : r

'■ ■-■ . ft • .ft j n : « •• ■ <-«-<«

1. o t>r •>* ; .-o : e i

. ft ft■ *l 1 *-j." ft / c t n 1 r- ft '*ft ftrone : ft ft ', u: -

r i. \-ft ■ft; .n ft ' ft "'''ft '' ' ft ..ft ]oe-:. c " Vo iv :

■ -P r> f ‘ , c V v ■ ftuo: c :• r ojftr© vft u**

\ V ' r- f, ft ' pi Vo 7 0 0 :, . ; 00I; :.ft

t.dV'.r; ft,’1 bevy ; r 1 v.r: Vu :vjpvo or ” o i:-

V-ft ” ■ ual ly ""Or; o: - • Vo . Uvj.ftoqae*!

. i. 1 ■■,. -ft , f t

■( , 1 i r ;

ft . ft ■ ■ . O ; f 7' o,ft V ft> . o 1'Ci.a.' »

ft c o ; ‘,:v~ ’:: . ool '.*.. or* ;.uW A r Vi ■ ■ ' u . _Vo;:o ft ....0: 1 lerl

' ft ' V; ; ,'i* ” o.l *::: ' ft * 11 :se ?*ve * « ’ 11. v s j -n l e

W o 'W ft t.-j.' ’ ft J i ■(. W 1 r ^ ... •v W l r . ;- W

' : 1 ‘ f t f t ^ ft;. Q,

- ■ , i .. • .. . v ,_,.e 1-. i Vi.;.:-is ’Tuu so «W 7cI‘- r.ft ’’ft ■or-ft V re v* . ttre ;• v’!* irh r . >r ! ' l:M b '.-tie ” <.0 ’ ne t : [■'li’oro ' e ree t r

_>e i>; ror:, * hu t o J >; ■ 11 ; on«n. < ° 1 * a qu« '•«, '"'no?. In, .he

"".rh ,-one • itv '1 • • t'!-'T he *«" < f ‘.he !7oure, ha: three •inr- rh ’’ ‘rtc7 ’ a > "■' n : !,n za , ^na '’’ha r* ssr.. ‘ ho:=t el

,'U eh, ih; ! i^ ‘nr -f* ' "V * h a j e^a, '-■nr! e v e ^ n c e , *”ah.e

11 ,.h*» ’,o7 r( v.'iv ’ i ,,ee "i! 71.e°-] ! he • •.'c 'u« r i r .. i.

” - rt- • o . 'j.':n ^ l. r • .n • n v*» . ^ ■ '.. a f :-oou9 ■ ,

*hft. • , :. ’ r - e ‘ ru1 ! e ■. :-o " ,,c; ,c ef the ! ;• ( ■ fi /"> ^ p r 1 ^ i 'T* ‘ i '" * j * r' : TX"! ."* c f ^ rl f' *C 4' r ’ f * L * ^

' e ■ <: ’ ■ " •.*' '; ' ’ ^1 ' ■ ■> • H ■ '* • -1 ?.ur'.ve I,,' ' * e # . e „ * « . e D'1 !';■ 1 ” ■ : e7 t * T! t *' 1 ■ - '■1 ■' *-■■ n i.;. r> c r-r. - ...e ’ . .h:!'’ ; .fl” ; t ” f* n '1: i.e c } e: ;<.• •„• f r [-:1 ' eren i.en'> e

u7 • /ee *, ■ o i,el clean: ' nj „or r. rienh : h ’.e!.

••■» rev ' 77 ~ ' n ^ •' ■ n .' e ■- ^ ~ ^ an r.lc oholc CU1« •' .r."''. :"■ e; or1 ^ ■' - .e' L .. rt’ a - ’ " " ^ ' ’ ■ . ‘ '.e • ' : 4 o ■ ■* n ' ‘; ■ . .a - 0e i ’ e :-c a i; o

'" G:. . ' l'.'.e ’ ’ r -a * . * >. • n v ’1 ° • :*a ’ a o 11 • 7 :: 1 ‘ r. ' r

^ ' ’’ ’ o : a ’'' :. o 11: eve n ~ -: en!‘ ' e

e\ - ■ m • ,!.e : r

■VI*! a . a- . Ir ’" i : l ”, :h.e ;.a . e a ’• hr. n ^on vemyla t *

r • .#»!, i • , ’ U f ‘ , ar \ 1*v *! nrlun * ■ vi n of f1 ■ iV1- a e 1 "nei;* 177 e -.tir-e l f "

; ' 1:n 7i j 7r ... l ur/7 11. • nn.*

' . :. 1 1« ' < 7n r C . ' : !, 7 f f; <' f 1.Q " . c e :; k, J7

' :u. 7 ..e^ere. ' ' Ci-,,.. t v'^‘: ! he 7(1;^ c.f

*V7 ‘.a ' a I: j h .1 v' :■ gi u'ton^ahl e J huh a ii a l :-a!\a l ! c ei * -

’ ’ t * • m e 7 e - : .7: ‘ ’-able. he e^ * 1 o c h a r.c i. i n;, or 9

l.enr' on, on 1 u vif ? be be rune, heel Crof: ruffern

In nine the r ler nr ’ n<_ y i-oee no ; but o n l y cnee leer by net n :; n rrn, ' ^ be v h ’ r virion on ;.he bount rT C on temp 1 a 11 on be jfiquert .'• in i-ennln ’hone ^ iic re ^ c on i, 6rup j_n. ■ - r vo * b u ! }'r .ecr.f*::'. ’ n 'on led, '■’"’I h.e *n quickly rncV.ee off

c Urn . be*rornl no oror.r ‘v-1 1 ' 1 be::, O n n i l o*. he r

i. c o n :.1 or. ~ -'u •*::/ V. * r r * - * i. p ’ n n u "■ ‘ " r .e 1 u] cr. • ; hr

•> ve ■.J " . 1 i.;. e " ’ ■ r . ■;: i l .r h * • e r . <_. i.’ ■ v ' ' i. rlv v

11 e ' <’ r i p ' 1 . „ > ■ ~ ^ ^ 11 e m , ' or i-'op ;; o f "-^1 ino n>

e d no: .o I * e- ? 1; ■ ■ ; « ~ ' in, . or pm r-i l rt, ' 1 el • n ‘ r

1 ' "0 i e : ’ ' : v h ' o 'f; ■ t.J-# : o 1 .".••ll*-

y ~ o 1i > : , 1 r-.. ! p i • ’ r , n ' r ■ 'O' n - i n ( bore ) • t h

■.url :i« ’ ’ ’f ’ o Vi i i.'P b c-f'e ” co p ^ ,(j;rr' l i o , ' non hen

11 eh ' ■ * ” 1 n ~ ~ !'■, r r-11 , ° J ' ^ . n 11. uim ; e r ; ,** r 1 o' : h *' •© i r g

• e^vem- ' ‘ b ■..1' 1 e ' r ; ■ -o ' ^ *'*■ ’ ’ 111 ’ i i ” vh 'tr»" j r he ■> •

yh ' rrv1 . 1 © ; e o .--r' ,fo;.r of 1.1 M ^ ’ 1 led n f Lh \i '■ ne "iv1

n ■■■’*. 1 > i : o ‘-'p;. v ; 'o ’ p. belt,, ’*f hooi:ou ' lie d

I( ’ • ••, y ‘ ■ . " ' • ° . °ii:n- , ■ r. , ! .e i •• I he ; iinnl , r c] . *e r j e d

" * n i n p’T. " ' ■ , u; : ■I'1, el',' rl e ’ r. ""ob f'i j ;.i.. c b r ] 1"

*■he • • ’ ^ p s ' r.\! ■ -t bn'. • r: .;b>e e o i e r " o . ' Iv e r

r no’ rr." • ' c.Oi r'-- • be: e -le ;-n.* lo n ne ^ H o t ted '.o the

r iebe c .n* bh lr noiti conl'ilont 1 her. TTope

urt r, nnreqreo :h *■ ’ r "e.c •! lor1 i'r. ie :T.s rf T I.rb 1 . i* le

f non ! by i-o;innrp f be: free, 'u'th I r tier, el ’n nhi Le;

T’cj.e in c ln l 1 blue • > h.e jc lo cm , rhe In. oh, n j l ho

^■'■-'h ... n o b 1 non ’ ’n..' :be qunl ‘ • ' p .. of enoh 260 sister. But the sisters, or for that matter all the members of the family and staff, fail to come to life. They simply do not do enough. Though generally in­ accurate Legouis* charge that "The Faerie Queene is essentially a series of gorgeous decorations, of splendid pageants" is not completely Invalid when applied to these allegorical figures. Like these symbols of virtue, the members of the deity are inactive. Their dramatic parts are at a ll times supporting roles. They are introduced to emphasize the worth of some d etail (Vulcan made Florim ell's b e lt), enhance a characters origin (Venus reared Amoret), cure a wounded knight (Typhon cured M arinell), or rescue a captured maid (Neptune ordered Proteus to release F lori- mell). They educate, cure, rescue, protect, and weep over their charges; but their parts 1n the various lines of the narrative are slight; and none emerges as a well drawn dramatic figure. Except for Fradubio and Fraelissa the protagonists who appear in the episodes are for the most part more realistically delineated. These two lovers (I. i 1 . 3 0 —14’4 ) having been turned into trees after Fradubio had proved false and succumbed to the charms of Duesse, reveal the disasterous effects of associating with Duessa just as later in Book II Mordant and Amavia show the consequences of his dealings with Acrasia. But whereas the latter two died, Fradubio and Frae­ lissa are destined to grow on through the seasons 2(,1

! un'J] they "be V-Lhei 'r e 1'iv'nf veil."' tuaytny fnc:

*,he eft'ec hr wh’oh end '■ c:*ns? e have on the'.:- lov- dn. , t'e ’ nylutr’ 1 ,:u Tt'e’• :k i_’.ontnr.e

nr, ( v ' i ; r : .•<-• ’-ft. y <..** t he IV- i,o n.u.i,r f m-" hen C :■ Cor r hou!! d ’ e ’i • f ': .1 ** ..1 e r on] m y vou.' the t , .rri

* do ; " * oed : y h*vv ” 1m _ o

' . e? ' n’ rv * m. ’e oh even y no - . e - ■ no"' e nonrequonco r th*' r i.Ufc. *e;. : OT‘«l " •rsd in * r. '.nd !n ’ e 1 .: Min 1'■

ero' r :..vc mo1 ho • ! roe ” "Vol ' ’v. *

1 e ’ ’ o j .n ‘ . ’ “m r ^ nCl-ed "hod'''”: f : *ort

»'H 01", :r'e . /1 Y r*i : n o' r ■ ; ‘tn, i he o oilin' .lO'j ' :«

''"I. h ' <-• ^ - .. f* ^ "i ’ e m 1y ' e*n ; j, 1.uve * 'h

~Y I., i • e I “* e-..* ‘ ,' 0 ': ; n ; d ~ - f r.'in ; •: I ^ 11, oY ’ ^ ’ r mo . v • -el "h.' ler.cn, * ! then cut 0.1. envy c .• " <. . ■'••'M.i .. ' ^ 1 'h :-i -ell. ' r \

;. er i ' ^ . r- ‘ 1 o h m r.o .'o^i-eo • “ * o p:-ovo

■ ‘ .. cl' ‘ ., ' 1 e vh 1' ‘ n ’" e: on *■•. ■ -n *v e .■ , ’ nvo 0 ie ■ - i e ' I t . '• n ,v h -n ' ' ‘ L 0. iO I ,-e .. ; ' n -rr> H ’ ., 1 e . ' ul!J * v s L 1

;.yem - ; e - .-o" -'i'1 c nee'. ; ’ n ..he * .• o e c . o t " np, < .> ’.4 1: - e 1 • ’ n ' s " hen '• _■•'«; h:.'clny ' ueoon tn"a oecnoi. 'M m en’1 ’le"< :. 1 ‘ ;p ' ‘ ■? : ■;e'! r i he yvoor, mvI "nh I* Roe.

‘ r "eve- "’-e^i.-n '(oh:, on, ;.eh .e Lvu .cn'.e

"o°-n" iho \ ’ •', ' e ' I .. "]■. -h hen "hoM.'ny

■ '. ‘' e c '. ” • eM ‘ o - (. ’ rori" ' •' .’ Icion ‘Uid \:’ }' ; t ’\le ■<_ i.r '62

•' r . . - u n c u t 1:: ' h e ^e? *,n,_ " " ‘©".e u n . ’ 7 '•>, • ’ 0 -; rt —

- ? -.r. l a ’ e '. ,r,c^ 1 ' C rru’^o, luyor. end the P O n c i ir*r vove 6 ’; 'h'” ’’’ - ;w'ch tier•-. nun -.dv* :-e ’ I.i\ tc ; :*ec tic© leure :"ww. J :h.u, or; e j r u : " h Tr,, "nli ycut huule top ;/

:x o r.« thiou,6 .,©•r -■'v-ee h e <->°:ec,r' ('•" . ' v * 6 6 0 •

t h o u . ’!' t h e ” ! o i r.v, »>'• * rvde ’ r on! 7 P ’ T,e j Ipuc.-■■loci'" r . %i * o ’ _■■■-.,’o.1 ' ''■ r ’ i-o :.qu.l •'© 1 :: e ' ' ' '-Its

' - ■/.!. ” o ' r ol ” or nee Lved ’ n ’ 1 ^ ' lo t • :'»<1 c In : p c .e : ■" :'■ —

‘ •_ ‘i c c / t n / > (■ ' :■ * r ;.o t! a , on? V o' l . i u l ' h o v e c

o n * :v i.,' y ' • . H ‘ , 0 Y i ^ n : • r - : ': , v e ‘Vu , ■'

e i • .1 n p - chance ; .e e I' u j. ol* ’ '-© 6 ' i-e - ' . c-c-l vert , cl'p-oi;: ho “ ’ r,u :*» r ’ - ’-o ' ! •ed or. ° T' ! cede h e v e hrnun

.r.e c u '4 ’ e . f -o: ' • -J ' . ' : ’ r to tic de;-eo.r te : ric n c c

»u° Lp ’* • ■ ~ v. i , w'e.. I.l'ie ' '• e \ • .i Iced r ..c •

•1' -.r.e . ‘ t ” ■ a.c'.i;' « h u - ^ J e : ‘ <3 d i e t . i.bo

<>or.'lo :c p -^riPvel » ' * :. "’1 oo n f 'O l -

’6U3 n - r ; ■ cl ’ ' r> y • r. r # . ’-.O ‘ ' C»'j M i. 1 Oi I • S 3 U" 0 OI * n ., iO "‘ 1

0 : ' ’ . ' . ’ rl'O 1 I, ,» . i .V.ore < ' " ‘ ''.n "

1 ;. .;.c' ’ .. " o' ^ ' c v 611 c ‘.i *... '-uo.ee:' .• '

■ n r- * • v ’ > i l e o , • . ‘cl., ‘ : i n -

, *. 'e : '. e'-,o'^ ..Uj^otoc .6":ol!.rcr: h

"'ovei'lir he : t'*vnl th c . ;1 r - • * he lacl^ht i-e-ully I p ..

1 T ti.lw i-c tec’.^eu, le aolec to Dues;-•-. I t " i h o i i

1 ' . le -e nlone, when none v:p ^ i’cii’e In p lac e "

? let.iOii, he utive r, nee:, uul^ 1 nrul"©~ end

! r o '- ::. l.-^enu' ioce i.ve 'h e :o n . 11? lao no .uro c- 2(3

-Aln .w,, 1 L'V.C-- • .-^i ; -.r i.;i. '.i.'1 1 o ,r ’;louo:;i('nu

!• uvij/* '•cvp :.6 ,i.-j u v •.3 ■ i^oque.’icr ^ of t.l'"3 71 i‘r: >■■'-> I" °

■! rt : ■*'c v e J ■1 . a " <•:• •1,3C r ’ fri" "iid "la ado ".e'sd :..o a

...•i.“i^1 u. • o*:i ' ■■'";. acU :' a0 :• >i'j do o x o o o l ,eu ur • .'V.1 low. ■ d o ■■ :J ii. ’ ■ * .. ' ' ^ ° 1'G ’ "firvP G-1'. •*,.* dj’ .'d'lxiCO n r\ ' fi ■ o on 1 ' ■' n ' n ! I n ; . <- .n' j Lj / L’. j ; ■

• g ’V.; * r! :

^ ’ tj . ^ . n :; ^ ^ ... * . . k * - i ^ -

■ ’ V '* 1 ~ ■■ p ^ P ' V P P ■■ . ‘ V P ’ ‘ • r ■ 1 , * -1 | ^ 0> G ’ O ' * ^

_ ‘ .e Vn •, no (» r'-'vrv V ' - : >n ’ ' ; e: i L :.; u • i i „ i 'f ,.„n« .k. V I L ‘ L_,1

°,e. J-'.'O ’■ p, / , a i '. ::4 , •. ’--.e r.'rtc P o, '"a 7 ..h« Gad,

<» . f v o ’ .•'’(iij w r» ^ do ’<■■~ . id : * :t>1 v n hGy.o o

" ° • a . ' r 3 ~n u ..:. ■'; ’7^* "or .. i l ' ‘o ’ 2.o •- .. *' i uo ' v.ed <■..' •

' - ' '1 I-' ' . ' .. * ■ . ^ . '• n •.’!' ■ r \ ; :: . •L-ha’. T. o " :':d :ie r- ^ c -

1 ^ *' ' . . ^ o . l . -n ” -• 1 !’ , i '1 n ■■: j P ' t ‘ ° ■' "Z T ’ 1' i ’ o -o i/G i- '> ! p ’’ ;■ fz ^" j.

/■ I T I. . : « ■ 1 o. 'u;., 'P lu j*- L e “ 1 , zr. : - 'j ,-n.ie

“n . -fi — ~” fc O , * f; i'4 (i -• a-I ^V ;' J aUG * r> '■ " n. 1 n ' ^ -I'-ir’ ~ nd —

.. ‘ _ _ ^ ’V- T. ly n cu e JJ;>©o:';* M jo LLe

■' 1 n. L * i r • .c. o 1 ze-.7un r.e * . .** . ^ ‘ ’i 1 1 .

’ e ^ (i - . ’ e :■ ad 3 o v g ' v , J .e :n r _-c ° ] ..

■■d/G c M;e i- du'ce, lad, d'nnlja; j

b ” v.r ' ca ' < ’ -ire b o ' l o • . .ot lvr I ‘ «'>• li.e lfc v.3j- 'I , : pig • r-. '•:,

'.i; " !.* " o ’ -.i. .1 ' r ' . c > :•: i t • e y •' ! •• n r. ' 1 ' n j - - c . ; v y •

' : ■r>n,~ :■ ! .> I ‘ ten ‘in c e ::, * v*> 7 ;* y - L , l o v , •‘me!

, r . ! o T n on 3 ,v r:c t ' vr L ‘ on eeer s to 're , " L ” t; r- .; : ft 1 v t l n ft ■ T'' > r ft ' ■' o Vn . ■ ■’ ; •" ft 7 * : ■ " n he - ft u. p ft he

.! uri y ** r» ■ ^ • * r .■.. /.ft*- u .? •*n.lf ^ : r' * ‘ ft . •- ■ n -ft ■ I * . r', a“ l( 1 , ■ ! v'' • * • -ii, L1 « ft1"' . ft ^ft •" ‘ o uh» ‘'I'edci- " .ip ;•> t ■ ■ n. _hr . ft ' u 1‘ ft "* i'ft.llv.h ••' ft" * " > 1 0 * _ ;; C r ' , ’ 'O ft ■' ’ ft: ft •. ’• ft ; , C' - t " • 7 7 ' i. ^ j 1. ' ■“ ft. n u ' " ’-j wftd

<. ' '■ e ■’ * v<» •;! ’ ft!: ft c', a ••’ no. ‘ '*• * r .•or.' •

r*r* * ••. . ■» ^ n v- ' i ,t ' -■ - - ;ii f ? v w‘ •• ** e f t *■•■*'> • ; r ; v g

' ft ft " e : n ‘ ,*ft ft r • -o . i' ' . ': c ■ .y a g — " 1 e • .*

}''■*? thin k. J , J ,Te . \S hi:.*, e..-n-

^ ‘ft ' ■' ri u v. . ft ' . : o :.ft 2■* ;' ,6 ' 1 .. ft ~~ 1 v.Ti O' 1 e ’ “i .. r. : w * r ft ’-' * ft,.]

^ ■ - o ' : ■ ' r 1 ■ , ^ft • . ( , ' . . . ' , ' ■ ^ - T ‘ 'I f I., ^* i » ’ “ • j ■ . ft ” •ft” g . ft ’ ; *ih . ft ■' i id , ■. ; :ft r. f v- ■- ’ ’ .a . "i r ft ‘ ‘ ft , u :■ ‘ ;iV. 1 ' ‘ d . id ft -v '"our:,

..■ft'; 1 l.i.t r ftn * '■c.dft • ’. r\ ' liftQii r: v ? or:v'3. * 'r! ft i c ° ft mr

• v'?v '-ft ft i-el . ^ '.’‘'.e oh i.lie e v'ft one ■.r'. . i . i’ec i.,

•. h.fty • ‘0 no '■’! ft . .h:'-ft c :: • hi ‘e the c” ..e r. ft : 1-: c * d ^ h e 1 ; / .u. . u:-. ft " -fted 'eor. i v*rc n r nd r'ft'iftlted " : h

’ ' ^ '"h'.4‘ # ft-l., ' 'ft 1 a l ' e • -,n 0 L lift eenftftftd I .•or; to.e „*•- w .. 7 '■. i : id ; ri oft Vo 5 ' * 1 ’ ‘ r: Iru^'-.tG: , ^Oftnnft,

ft r ift’c .! e " r‘ L * o .. ■''• 1; 'ft rft ' 0: 7 .7 o n he '-e . .1 ft ftu ■■'©, •5

’ ■'.v'u • ’*e: i lYr' .he; ** u: 1 ’ e •• •: * . 1 « o. e ; ' h '

-• •• ‘ :* C-C, n t : ’ .0 *T| ■ * Xl1. > !.rv j ’ \y .

f. ’ 1-' ' .0 ’ 7.' ■ o ’, .n _*oo q ;•! r .1 ’ c: 1 n 1 e .-Xv ■ ur —

- c- o 0 ' > ‘ t *»r ’ r o d o ; ' v - r .•! ,\n ;■: ' y c o o r.u '.«?

. 1 1 : .« ••• t.. h - <• : ’ ' i . 1 •. ~ •■'>cty;i I o ' I •. .

j ^ ? T• CT'j.k-.~. ! i L O - i, J_t-

fa ' n fa . *1 1 • * . ’ **■ * ; o cx Y O HA r-. ■ 1 4 ( ' O ." ' • w —

* ' . ' ' . . o e ' f ’ 1 ’■ ‘ r ■■',■■ - - -> ;o .a ■ t, ■

■ ] v ' ' ■ ‘ V ^ "* ’ ’ 0 ^ * ’ • ** 0 1 ’ * rS ^ r» ' 1 ’ ‘ r, ; • ‘ ' ^

, > y"‘ ,■; *i ■ ** v ■ yn >i ' * 1 1 ^ ^ 1 1 , ' i1 ^

'' o f "H >e r- y , < 1 y! .’ r o - ' ■■ 1 o ’ .n _■ l.>e

X V ' ■. t-n '• n ' r;y ^ i -'•n.... ; oc led c ; ■ ■oXoyo

t-f ■ ■ ‘ ^ X;. • * '■:.’ ;1 * ” o ;i” o '1 *: * n * r h e *. '• ° 1'.. r> —

■ ' 1: ’ , ' a W^\ •, ' I. .,0 ' ^ 1 ^ '? 0 ' ,Dly ' : C'*.-

' ' ' I . r>- •' : c ' e . : r ' ■ ' e •. ‘: . ■

' • r j ', ri • ..; y n ^ ' . p u ^ I ^ '' &>_l. c o ' . ^ • > <9

' 1 r» ^ . - . • ' t... . ' ; .y ° j j ' ! ■ '' ’ i , ly n . a . . "1 J ; i ^ ' O ’ ^ ■ J '' ( ’■'*' r ” ^ ■ T ' r- t - -p

- ' ■ n‘- ■ ^ '! ■ ^ v. v v ; !. v o o. i™ v ‘ nc ' r>^; •.. j.' ' r !1 X y '«. v. 1 * a ‘-' n ’ X, oven . u ,. r. t ‘ r ■: . n

"T> ^ he ■ '• . '. • r?:: »,«, o ■ 1, .’"co V.e i- "1 ‘ :*n i ed “ r.'va r ,

. ::.io ■ . ’' . • ■•c coy c !.oc r'liri.«

"::'-'3e T .'o:. I ^ 1 ■■■)' n c I e *. r. n I ’ on tc u niany c i vcun: Lfinco r dcyen^uy cn ol.niio n . - ’ nee '.yl'ily’ : rivn ;■ ly r? iyy ve or*

■ *'e’ce .io ’ -i v! o ' c-o.. ' u.: I ’.a t ‘ r .o ‘ u .:ctic ; oi..eone, ?r 6 the vc ode '* ? ;• "h, i a r l ' ° 1 -j \ roi 0 i*6 ' f o v \ho ><»,:nao

~"uo‘d'_: ’■-■■ "her; t h ‘r ^ ;ie oqu’ j-o -'v . o

•p .••erLlo ArAvn:,; cio el;’ that the 1 ’.H r e ' ::rj * n t ’ u :_,u ’ rh* oh' >? ond "' nr, V e ' ; ,»opu :*o- tc :r,c vl C* ce '" ; s 1!. fe fc v

" M i U'1’. " o '. o.. ".flve: . oen h : :■ ' ©Tc ?•©. t! or: oho p ■■■ 1« ° ’ ■' ■ ' r :; ■_h n o ■ * r< do ‘ :: ,0 ri.u' > h’ ^ •"

<: ' ' ' ' ^ ,v " : ••'.■'•• o ■ : .e, : >■ . ' , ‘ ^ ‘ ^1 h ‘ o •'■ ' i. :i: ; 1. o o ■ ' -

\ •, id .

\ e " o - ‘ ■ . ■ 1 ‘ ‘ e . \ • o ' ." : f' ’ ' 1 ,o u " ! ; i ■ M * L V r»

o ‘ vie : ‘d Me : T' ° - ~. ^ 0 " e '. ' " ; <) e ..ho o i ' h 0 * r.o o i . c. ■ *“ ! 1.

’: ;o . ’ p ■ n " ■' '. j o '' i ’• o r.e;: ‘T1: ' o t h y ~ :-o

1', ;11' * ;v„ < v° h e o :• .o h o-.' •. ..-o r-vi.-o ;ho : t . .rh.or.

' *» ' i-1 . e >■ ' ■■.. or t 1 ' ’ :o . ha L !.o :. <.: ' " . >. ° . ' ■ ’ ' 3 ^ r ■ ’ n • , ’. ' o or. r- ] rl' ' i i > ; v-u; hi !,ho r-viir^o oi' h ■ .o h .e . o

! nc ’f.. he ' v • t * /’ ' 'r * rhrh ,.:;d 5et)0. ‘.rod h, .■■;■

■ W> ’ ' • h i h , '■ o i h ’ o lo d v V r h i ] to r^; rn:: . - c ’ d •. _ 1

■ r-lov.d he ’ j4i- ''o^ho' r.vioy, : he "d.’.d c l ley o r i. .:rs ■ ... vr-:y11

-’’h ' ’ ■ \ 1- . o-:o - • ’.rod hi.: r lor-yo i‘he dct.'rr,

’ C.r^Vf* w I jjji *■ . .••oo. oi.d ? a t o ?• eve _ed ; • the

’ '• i " V. ■'• u. ; ' , ‘ d • j •“ ' . o c ' o o ted ^ r. " 1 ■ • ' p » ToXti o O:.;jo b- [ ~'ir. ^r. j

,:e^j. •OTToon0 a B«; ou4; oq ; u; .-« 1 T; o- j ■■ j p uo'^u- o.i o#poj..:o aqT jo :;::ux eqr. o x- ; au.>X-

*..' b o s aq ] ^ l a / * b." ^ o *, j o j _ ;

b * ’ b w ■ _ w p ^ i‘-i O o J- "T1 ^ p* u *"' r^ w ^ ^ - t -' ^ ^ . t ^ "*-* ‘ ^ u - ' '-*■ l

■ o u x ^ ] " ■->' a p ^ .' # i o © q r ^ i>* \ t o x * * ^ -i x i# &• ’ o * t l - o a , j o

-M b’X1 e r' :)'a ^ ’;0 ■ pi’u °i: ; /!.", j '; ' -,- ;' ^ v;,.. •..> . _ j, R y; ••»

■:'- h a, VvQ^.;'; a- *. o ,v„ # i yr- «■: ] f a.’ '\. b

* p 0 j> * ^ b*.' St.'.t^ ( A ■ I b ( 0 ' * 1 J T ' b o cl*' . L o* 1 ,'. '■' V ' r . . L> '.; ,

_ U t u ^ *'■ I I _[ pT * ’ ■, Li' ' ' f ; ■ I Ui a . j 1 O' ; ■ -’ li ■ - b [ • ■ O ^ 1

I q a b 1 ■ ■1 t .j ft" [■ ■. o o ~ ■ g , ■ ‘.- .; _T i1 ■ ■ ^ a - ■*■ i .*xl• i. '♦ ■ j >i ■ ^ y - O' » ^ J T b. . ^ L l^a J ■ ' - : - t-* . : - * r , '■ ■ ^ p . [ U f lL. , A # p..T 4 O’ L* i. J ’ ij 0 r; L. . ^ ^ d :. ^ J- J •-< * x -J b s' l> I, | I ' w Ui ■

^ ' 1 X’ ^ *ug«j j J/-1 -v w i J . ^ r ' t> - - ^ v. b .l.^o

1 jLITj A J 11 'M i'.! 0 ^ ' O u ^^''L r Li; I f > ^vi 1 j JOUlf',-.-

-i fnj.: p r; o ^ r; Tu oA ^ ^ ^ L 0vi ’ * *-' . \ r ^ t

j - u . .0 r o/i o L ;\ ; .,b .( ■ .'; . _ • -i ■ . ■" L I u■-43 .'■ *

’X X AOu'.. ^ ! .’ i " c - t ■*' o T. ’ ^ O & >01,'. J." . L b U ^ V r-J ', Li . .

^ b ' ■•' -' J , * b b r \ ^ ' •4 - ‘ ' A -' • ^ *■* ^’ l ‘ «-*’•' *1 • " i ''v*',

\ ^

uilOA 1; -. v ♦ u r» • A *.>r’ uii obi- c -[ ■ j H u --J jt I ... 'a > . j _ u.. b ’ * , - ^.

* U b w b l[ 0 ’ -i I' # ?t O 1,.JO . ’ ^ - b » -L a O . (,JT J Li } 1 . ^ b *0 b | L . b

X -f oq u o j i yuu bx ■■:- ■ - 1 T ’ # ^ b L j * Li *r l v

1 ‘j^ * kj * ■ LiO l, ^ ' ' , b *t j .' I -. ) j P ( J u ^ ^ f ci I. fci ■> ^ u J 9 ^ J -

’■•*■.•! J-i L>-LL\r-.0.; - ptmoj-ndXT ^ .rp L;r^ p : -IT.'To j j o ^ \

pc [?*i umiar &; ^..' puo ^' ■ oo o q 'j ■ * X a *.*toj_ ,'Qr‘ j . - d>f u p * o tit^ ^ i: r.CQ

’•ner. ov^" he v uor.nde^ lev© *.• ’n ^Ve L'o " e n wher,e Lhe

two h.'vS i ie L * nc’xl © :• to ©voth d * sc eve i”j j 1© '• In uher,

•?hc ^ * nn'j.-j.. i‘ov e 1 o f ' i " .: .’::©« -h e I'n* r h t o'* c o o a e ,;;:

■’nil nr I. :•© ;. ©. ’ * © v\ ;© hy n::r.’ rtlrv; r i>* nc 1 lln * n it i,u "r.- * * TV"* ^ 1 ’? ' ■ ' i ^ ^ ^ * " * 1 { 1 " r* n |, Vi pj ■ - ^ ^ (1 1 i f , ^ip'i q ^ u p ■

~' © *■ •. . ' i .t "«.© *. ■1tv. : ’•• :-o J. *, r he r " ■'!' ‘ ,

~ •• ’’■. * ' •- . •© . ■■1 " - he j* t.c h© •• ''-*©■ ^* .r! v •:•©!©.' '*< : hao • ,-• .

-r - ■ - ’ • • ,:-V \ h.rle^i .;•© o' • !-.©

• r - " -• - '■ : • •- ' ] © . * :, ! u ; •• r ,

* 1 ' r» ' j * . *0' * * 1 _ ^ ^ 1 - ^ i i • « *1 t .i •-. ■ " L < ■ . . • ’ _ ’. *©

’ " , " ^ ■'. 'n ~ ' v° ’■ e '• . v • 7 ©•,•. ■ c V. v-hde ' ’

r. - p • ••• m '• ,-i»n ' " ’ r r* ■•(* n ^ '* . f> -o p rl t* '

,■ ■ t 1 * * r i r» ' f f ^ P ■ x ^ ^ ' * f h 1' ' i ‘ ^ 1 ] * dC

V.v- ,,, c .•■ ': 1©:■ e ' ‘ ..o n ’ m : y

‘ rzlie . iiL :■ e r ^ ‘r .^ i rede •

” . ‘ "C ‘ 7 7.r 1 “• . •-.© •• 1 t‘ur ' r . c; . ..l- M?.;d ’ rje *

1 ’ ’ ' .'1 ''. © ••• . ' ! © •*• -f ; 1© ' :n :: r . ’• © © ” .

^ ’d; © « t © v©.- 'h e 1c v a ;-r • nm ■■•. v©' *•' v Mi'-’ ! i-.i nnd ^ ••©.•© i've;; lhe :.©c ;*ec;; of *„hoj i-

;••■©©L.'.nj• ':u t !.’■© love ther.nelve:: hnve :. * II ;.c : © ■ . ’ ©

J © ' ou*~ ; .‘-O' l©n. ' r. Lh ’ © re£©.;«if :,h© ;-©f c r>?, ',!io

'7 - .I’.-.©-' . ©’ ‘ -• > ' ‘ 1: c,r. h © f:u. ; ■•ev’uU:

* * nrde " • '■© 1 ■" ' '' * c, ■ •: ■.1 ‘..he x- u©don er r-'-o o r :•© ©ch.ed

°l:ry O' :t '' v. ’ ■ h©;:e, fotu’ 1 eve v: 1 ?e -'© © * . he.-

■©'. , !'e 'on h. th© r©-;.l : *o- - ' 9

■; r* r: ' ; J.O ' 1 • ‘ or ' r r ' j *1 ■ f>v ' - > e " ’ c r L'. or ed .

"r l'n. . '' - r . •~r ' r j * ' And*'! ■ ■ ■ : *J ■. v.: * i ■- 1_1© 1 o v n ' ••

^ r ) n ■ ‘ vi 1: r; r " * e -hrr . ' e vie r. Vrj ha:. n<. o v en ! ' i .r ’co ~ n 1.1 1 ■«r r l v e e l l l:\e -1 ‘ 11’ Voul r r

jf '

t,1 f> r ' 'O v * 1' -i " ♦ r. ” ■ ». e _ ^ , ii :.e'•©■'. . * .>© 1 ...n* - . i / 1■' "> i .a.. l ^

’• ed '1 ' 'o 'O - ’ ; v "I ” i 'o" i' o 1,rt 1 r.d r .'■©v.o .;><1 ':<• f ’ 7_ ' ■ '' * d r ^ ^ n '■ * r; ■ ■ ' .'''■ *■* ^ ^ ' -1' ‘ ■ r' ' e ‘ ” , le (' © ’ :_i l 1 ’ ! :© — ’ ' r " - ^ ” 1 ■ r * ■ . , . n * r> - i, p ' # ' ’ .

• ' ■ * . n ’ (> ■ ^ n (-■ o ’ r \ o ! p o p ] o ■ ' p o * rj o (";r _

' ’ r■-. ry * _ ’ r » • * « * <-1 ‘ . . 4 r ' ^ \ ‘ ” - ’'

^ ■ ‘ n ■ ^ ^ : ,ci ' ~ 1 C'.' " n, \: ' ° ' ■ <. n ."If.”

V r I o V 4 V *V • ■ ’ p - - ■ o ; . > p ^ ^ p ’P

■r 1 ■ ■ •' . , , r. - • ij (> , ;• r n •: •» ' tj1 ' ‘ •.•© • : e . # 7 o p v o;. 1 ■ ‘ ^ r * e C ‘ n '■ V ' . ■ "i

r o :. c.m .u . i <=• n' i . 1' ‘

•e 1 ■ '< . ' .. ’ r '0 ° .> ' ‘ 0

r L ‘ i. l i ; e c ’:e : ■ r .a ; ':n; e j r;' .• - - t ' " ;; ' vn 1

■e . • : ’■ n ' v "]r. .e ■•^v\n 'nr u ^ ' ,u.r' r 1:... .. i

'■'■ ' >' i.' t * r. * ,• .,v • ’v 7e^'

-IJ _ i (.J r, ' n lo r' * ' < • • W nr-' 1 * i . ,i 1 _k i . .. fc i.

I !. • " ' 7 V. r ’ t y ~ : u 9 • r- - 1 op o . p -u . p,

r* ' ^ ! : 'i . r* ^ ^ ■ n 1 , ^ * ' 1 r?o

^7 2

■T! * ‘ o . <-> '• --c-V' p * : ! e "I". . - r' " ■■ ■ > ” ^ ^ ^ ■■ . •;; - ; ^ :. ; ' r1 n ^ •». . °

r ' 1 h o v e ■"* ! ■' '*© .*.• o n ' 1 ‘ r r o rr. ■ L . <=‘■.1 h y s. 7j -1 ; c l c b e ^

: ^ r • ; " j - - \\n . . ' : 1 e * . ■ o c I t '' ye • 7 o- iy on I ri£.. V ~

' ’ o . ’ . ’ . 1 . 1 • .i . ° : , : V| © . :; ' " * !. ?. * VO C , 7 c . , g :!o

i. V ‘..o ; ’' o . ’ o , ’ ■ n 7 ; ? o ■ ’ ■ * ’ p ‘. h <*• ’ . • " * ; ’ * p 3 fj r' - ' I e -o .

- ' .rl "* ‘ ' ’ ’’ ' e V.o : o " " *■ r .. V-.p

- ' . ' n^ ’ w ' * r ‘ ! o - .' :.. ■" he ~ 7 ‘: o s h ' “7.

■ i . *'• • • ~ L \ . "'i ' ^ n t ^ . ’ c . - r ^ • • ft c ‘ ou

** ** . * - ■ ' rs pv ^ * ''l f] f t T . ^ ^ t] - 7^ *• } ' 0 f * ■ ’ ’ * ' r

■ >- , - ' r- ' * t' - , . ■ . ' o '■^ ' i ' f ° O

i ! ' ' * % * P ’ ^ ^ - r* o ^ *1 ^ * j ; ^ ^"

«* p ‘ 1 7 " r> " ‘ 1 f> ' ' - ^ r- ,

‘ . .o- ' r’’. .n ’ rngB . t ' ' ' ^ •'•■oe n o n c e r 1 a

1 ‘r.: o l r ■ nfi Zo*.-< ~ ■ ’ nr.!. ' .' ’’o ' ’ n* 11, ■ .ve rcor.c ’ :-7

■ 1 rs : ■ I; . ' n■ ’ v ■ ; . . ‘ ^ " ' / i C • . r\ \ ■ • , . ^ ^ ‘ V 1.,‘ . n — n : ' -ft 1 ’' ■ . !"' r« ■ ’ 7 o •'-• . ' '1 C : o i *f? _ f* ;. c ‘ : -

• c" ”, ii - . ■ - • : ' ••• . r Pi- •: „ : '' ‘ .1 «• . 1 . ’ ' : 0 '.”

1 ..n ' ■ . " . ' ■ : ^ :■ or . L ” P ' ’ - I Lit . ■ . ' ,t - ' e

^e:'. r' < _ ' :. '• ’• * *- ‘ n .. or., i. he r 'v,,, ^ . ~ i '-.e

.•V.n }':<'• _■ . ” o' o re 7 ■■ n c. u ’.... r. rnd Z or c'.nr . -l ;'.. "r ’ ir h n

h e j' --ovo ..11 r!,;. C' ru e 1 e .f c r 13 eh . • Fl

7'’^•o ! n (7 e con:.o •ho • p-pc7al -ece r t-ra; ln or jc ie

' n c ' ^ ? ''"re: 1 * ^ f ' T’ ■ -1 ’ r • onro ‘,*.0 oerri-’l ‘ 'v'ont :• c 7

'’r!' o . y , ^ rid V.o or:0 1 r.e • fldln Gr'.r i.he 7^'. . *o ■-i.

...... : . v 1 ■. ; . ’’ ‘ : r - ^ ’ 11 ■’ h e •'::en t ; h ' : ' .; h -i.i. 73

•, v- • ' ■*-’1 r

li.. Is 7 i. V/. j. Z oar. - c i-ell- '-‘vl : e r .M e / .‘.c :-o 7u:-n.

-!-c*-n y o : r -Bturn "c ’Tp-ie, Ca ] 1^o .«

if'^rue.. ' w. ■ . ^ 7 !•• . o.. I ‘ " « i» 'ari i.Lon I.hIp ■ f aor: 7 he * * ,’/ }A ' •' ’. " . ’ * r •: O'1 L:-o 7 n.i'. L le . ur r * " . ^ar’

: ‘ p p . .r.if* . ’ r> ' "t > ca '1 . ■;i,p1x

P ’ ' ' o " a ■ .r> *; i p . r> ; ‘ ■ ’ ; v-. " . •_( * ^ * ( ■ • p J

•p P r ' P ‘ n ~ - n _ o ; : 1 >- ' ,'' , P "I I' T: r' .. '' * 1 r* I ’ P P

' .n 1 - ■' ■ ' . r : ■'■’ Vi p - rip 7° 17 . an a •oil'” ': • {, o I ' *p p

'■ ‘ ' ' ' ' ~ • ’ P 7 r o ■' , 7 •<' : ^ ' 7 i 1 l '-e* a aa' vrl u'iI1.1 Vr* ’p’nDo-’r la ' r ' p * ■’.-•I e, '• p :•* <..•! c.f ponce ’ ' ‘ a, ‘ e ,■■, ‘ 1 v ' p : 'VO r V . 'V \ - :-en ; * c c - . \ ‘ ' ’ . 7; a-I . ' .ic . ’ a p . a: ' • ; i. f . V ' r

1 <... ' p p-a :.n r> . ., 1 ' ■■ v ’ " ‘ i r. c ^ 7 n 7 - c<->

i ’.a.' ' -p p ., p.. - p •: p .. ■ .7 u'.e <_ -.-I 7: -

, : . Zp .a O ■ ■ 7 .-P : n,a ‘ p

„ :-p ocr^e’i l '« .. ; v p 'an 1 ( "..c 7 / r 'm ' , ' ;o w

. ’ -p ■ ■ ' ’ . i ^ i ■' l. ' ■ ‘p 7 1 ,'* p - ■; 7. 7ad a 7 .7..°' 7cin *

7 n - -n 7 ' r o. 1 r ’ '; i o 1 7 , n i»i. 7): if>o, 1 rot • h ! r vo L u,'t:

■ _0p. ’'p'd'-l.o "... ' 1 !-.e aonu.oj ! ' c que: , Z c r. : p >’! u c r e ' * v .*" v'\ -o co: tor o, ;• •••t r vr* L,h 7V.e

c i pr if* evil r. noi*r l 4:c"o " : !te 1* curie:- pwnco.

..1 o c-p-:e > L ' o *<-!>•.! e , ’• 1 ic e:1 o: i. i ’ r 7a cVe rvn

r* • d d ”1 e o f t h e n'. * : c-d n ' Ptv:«pr; l1' 0 r t n t r e s t in £ :.cone s o f

'he : uni In;- In reqre nnd viq r, i r. no' t ill. y "he c l ’mnetic

.-(ifin* of ibis rn*: q, .-i,-. [,u t * s '.Iso of r en-- . 1 'i'j o r ,( nticn

.11 r. o ■, i ■. h <-« > <- : o - n ' ,, ,-r I h«» nni : •*© V ook » ^ o . * ■ i s i n

i" e 4 V-o ! ij or;op^‘ r> dd '.he ho. ; d*nen.-;cn to l . r*

r ! r a . .no J T • 1 l- oe*-, iL;.':" ® ve j o r ! ]

c. r ' ~ I ;.t the ~on '. I li>:; o r -

p y . f ' r , *' o p r . r ’ r j • • 1 « o n e , 1 a *rr :v. r.r.en t e.; l.,.. V \.:b on n

^ . : e : ■ . <■■ L-f ; 1 i; : e n : f . e 'ori r.r,: ; y ^ op i i>e ‘ Iny

. v se r v s ' ' < : ■;■ . e . r rw 1 . o f ” . 0 . Ohor^.

!'(.W(jvo ••, i'! u . •’ !■ o r l " y ' ni. p ’-o1:: i e ! f n * he e e n e

■ '■n'i v ‘ .j f - ; s 1 Kir' ^vi donor* ‘ o , o :t q t h e m

” h ! " h •'"«;/ -e ' r i r>^# r *»:f * s . in’re ofully defend.:

o-f't" n-o ins’ ‘>e rhfl'ye t* c ‘.ml _-enoUfll i ty erid

' h"C ; e t, • o f '!iir: e •••' I y by ..1 j :;y •.;• o t i ! e e f f ec t c f the er-i'-n rfiu' 1 v "fln.'Ur;l s e e r.e t > ^ r r ;■• * ovnf] ; y n : - t if lr,e e nd i he t th e y f: r ,, u e X1 y j-e.oe.n' :• i , e r i l 1 ly , f i m i> toe lio n ,

•old ' r» n ? h ; 1\: ! ... he 1 • e e i: *„ y c ** .> e *• •: o -a . c. r ’’iP ■ i s

: ^ o'1 ' iin !!,e..e f -t ; . -o-: ■ n f e ■■'■ l : v ' ‘ 1 y pr.d ’!o o^e;.

!.h'r' r o e no» ; < o on:, "hi he f in o c o n dno.o’ o^ i. the nanftcl

' ; e . /» r v;’ i.h e . p ’i:o ,' vr f 1 ■ : ■ l T r.^ "f i s o L e n no

" If; r * e" In i’ e v ‘.:c . c.f "•! .1 s :

" ’ o j■ ° :j ,i b i ; two youn^ worr.en (ih e li n.erne:: n;« chviuvnnly Ci rsle end Flossie'' n i*e duoh.ing end £.t ggl inn in n bni h- ‘.nr \ col for the benefit of c v r.jce rby; q men does not need to ,-c r>

'.c fni. r-:e l«nH tc iTfit. U\©r;. 1 be : i'flf01' n .’•© oa^.flred * n doin^ eor.e- 1 h I iu worth doln^,* tiemely, danc !:v ‘n n rl .•!*; 1 In ordo v excellent. 1 • hhey nr1©, fit f ! :*rt, much t o o bury tc rr'tirc ''r.l'dore,r ni-rivfO , and «l':en they do not, dee hi in they Vflnirb. ^hr r. on *.i**i y t we heve he r*e ! s a l mo: . 1 oo ; * ■; 1 e to be worth. m encionin^; and ! t i r only me ! nel to cu r ' r;ne diet** cubjoe L, f o r the G r-e r r r vntrio.l 1 re m .•exr0!) '"o p ' An**r - • n T . ■* . * '» r

i V,

" 1 •? r.n!i:,ti0 o V the 'i . r ^ . e : -el a t 1 on a' Gold :i C lo u t, d r. ■ o rfec t! y c le n r: t hey e :>e ' t . o i r — el’on*, r he i’u; I ‘ ' ve thiry that, ei.ehle.j r i .*• n t i_ ..rite one d •• •. y end ^ a eve i- h ’ r; 1 ry ° e ;• tone the n e x t, * * 1 e t e . ■! ore ■ '. i • ■ ^ p .• if v a^ut v,^ ° 1 en:•, .© i : he »• 1 n id ’ -i ''• *w! nr «nee

no r : e u .

id to : e one

ne * d >r> I : i.r r nu !■: e r

■pie r.d no en. V-J nor. T ", T.T r he! i ro I t VI dnnbl t ^ e lefc ’■

C C f -ve t. i.ior c ith e r bv ex-oi In­

in i nen© imu.a t ‘ c con!, ext

iper.-p r* . pho • •?© of lere'l In e j tnbil 1 rhm nj_ the _ei

‘ 1t_. t.h« one t o mliid C. Lew i a • nbPP;vB M on <. ut netur©! end :" r -nui'c c In jt«©d u ty • 7 6

'■'MM'"' ‘ r " l 1 **. o r V.’l.o;, ^ . r : I t i ! d :t 1 O'1

... c w . » "i « re

i /' u ' v 4 rr>d t: ..v r’i. .1 ©1 ! M. 1 , v _• :-n ! bft i-e^

i-o . * . ” ’ nr'* r-.n .. •*» * r ^r.M fely f© ::pon ^ T1 le /*«.*» ; be

i-p'-iv. i.y rf t'hn : ©i 1 (•■»’ t-’.' r.c I. ri j I«ce of* t © j © c L , ■'/,

: ' n I ‘ .I;-, or © .* * 1 d ■ ‘1 fU o;.© :• ! n th© re ’

t r'(o:') Me ’ © r‘. ’ '• " i • * • • -.©’I ? *>•.* : :■© ■ V. © 1 .V ’ .

■ • V' M .rnfl • ' "7 be : .: 1 " v ' ^ rn . o.- t ©' • M*h .-

,*s V * '1 '*■ 1 A ^ ( ** " " P ^ 1 ' ' *-1 ' ^ V ^ F ■ ; ■ ; ^ V. '* pi «p V * ‘ * , f* I ; - rt # ip t. ■ .

w ' • •-© * ’ , i., M' - ', •:«>©• :• ' . 1 © r rt h i, M r MM !':e t _ . T 71 ‘ ©!, ' M r. r- f i -. ' ■ n ■ e ’ ■ * * < C'M , ■-M -V.rl 'MM M r A .. . • ; ■L,;-U:-.0 ■ L Ur! , f Tf „„ » 9 9 '

*■ *■ I ^ . / ' ; ° • ’ r. • _ O ^ I , ^ ‘ ’ t **5 * r £ . J'

n ' »■> * - I ' i I : «» r : ■ i'G m 'M-©-, ile i ev:’,..., cor r flbool.

t bi© 1 : • ‘ ■* e : ‘ "! v r 1 . -r> q.. i r , ^ c or

: U'.'. M. ;'1 “ '.w:1: 4 p ' ', , ” ' ■ A '-1- i o. ' ■ r o • w’ ]. .1

*• !; ‘ MM •" ; : , ’ 1 n '■ -• . o ; , ■ ■ r 11TM 1'6 , " ■ iM ' e t1 F O " ’’ko © : ^cM.c:.'- n 1 Z r ; u ] >iL r .

■ ° ’ . 11 v' . .n: ’ ^ ’* "M ' : 7 ,i,j. i-.© r c : 1 r 1 e i.lp. c©

.'‘i. ;■ : ' © c CM ; . ; -* ' n '■■'■■ ' o

• : r':.rc;r c f ‘ M;. a :cr.;^, ! t Cot ir> c Mile e v e n rhp rp© : '’ •' t’. • ..© ‘‘^ M. \ M. e i ,,,©;i© r> ',••© . : X*ie© M’i

i b© " '• v pv - r’ n r « : 1 ; .*«e L • o © c T n •. i n>’, r? •‘r; fm d

— ' 1 . ^ ■ M ’ :•. — • r c r .. ; © : t r ■ if* (• c o i © n d ° v i 1 * * - J ^ j r ^ J (■ L« ■* ^ ’ 1 ■ J H ^' 1 - * f h.' ! [ 0 L* ■ ^.! " J v i "T ■ ' K .

^ --'TO tjt u m ; j .' e ? ^ u .l H^C- ri J : . £ . Ti :; ;,.

-• (Jf: • yl'i-.J • Ob- n ■ * r '.T 1 r It-1 rv p.jMb" o-- .T- A auo

” .'■> ; :•» n o';. ; y^.' w~ ui ,i:b :; ;' i ' a v • v ’. .< «’ _ ;

• u o *1 .u oq'i v.o 1 'i •" i X I u t

*<- ' O /“ .:.'i •’io .r d a p t / . . ;:o '.. •Jll&'n B 76-1 •; J •' no ' i , ’4 . 1 J iV i O A ^ O n 1 ! ■ 1 ’ : ti ’O'1 y r j ' t ^ | 1 'J . c* r/^ *!:’.' 1 f 0 1 - j .,

o -j lt ^ i f ^;T ’ 1 r »- vj T . ■-.* ; v ' O -* - *'•'

__ !-I ’ - O . Tj ^ ^ ; ^ , - t#t - %J ...

y j • i. . 1 ’ ■ I 1 ' i I t/ . i O u- J I

* * ^ ; - 1 A 4>. l. * v '

t/' * u L L - ' i ^ ' ’, ' v ' ' * t ' ^ f ^ L 1 ' 1 ' ^1 ** k- . * ‘ , ' J A ^ B f ■> U

^ *. y : u-! l ^..- ^ oU a • J L o '.•' ^. w j v. ^ u ‘ , ..' L• .*i *• v m .

• -s c € ■ \J | . 1 . , t ^ ^ ' » ! ’ ' ' * *■ 1 *■ ^ '-t •

*J " . J * ^ u T . ■ t> ^ t iV 1 t ; - ^ • ‘_;o ■. ^ ’ 4

; s ‘ i- . j o . . * - i . -* ^ '-1 ^ < '. ■' - ' ' • 4 1 1 L -;-i w ; y -i ; t-'■1.'• • ■ ■ i ' - •*■ • ■ .,. * ^ -■1 • l- l . • ■•'- ^ u'■■ ’ . i

t# ■ n, t.-- \J .1 /■. ■ ■ ■ 1 1 . - I j M *J ■ , ( . f /■ i u ! . v v , > t 41

; _ i n ! v , *'"> J ^ '■■*.* o ^ ^ \ ■ j j t' ■ j p ^ 1 ^1 ; j | j t ’ ^1 j ^ i,

S ^ *- t j r* ^ i. I -1 J ^^ -^o[ * u ' u , 9TJ w ^ ^ i t ~i - t ^4 *' -■ k . : . ' >•■•} i.bq ' * : ; ? I : ■'' ' ^ • ©!-1 . ‘ ; -

f t '1 ' , ’ ■ U Ij O' ' j-. ll t> \ • j j J ■) ; ' ck■'■'... U> i :

O ’ " U ' . A U b U • >i ( , ■ ' . " j |'| - ' ‘ ' ■_ "J 1 . ‘ ‘ b - j ■-■ ■ ‘ . 1 ■-

"1 o/

v \ e

■ p p H i H f Tlol 1 : e-

(J p '

n :r -■ :

t ,

p " P

■rn

« , ’ ..1 ■:." ' ■, i p jp -

r ■ r 11.. "p ~ «■

■■ -i ' ■ p T'ri i V:np ,

p * - r - !> *.

iP

,n . 1 t» ; Iilfl ' in . . • p i WOP;'. ! r 1' ( •.o n 1 * n '. 1 i ■ p : ~ ■el e f: •: U:p ’-.e ?*c »•> * ■ ‘ :.o ’"['.e *■:I. , • ■ • T ^ ' P Y p ' p p I • I * 1

v i.e ■' e,” .u

'■ -p "o?, ’ Ti p . p ;;t > : :p *,. ,qr. ',>ie 00

6 . v:1

' ■ : 1 ' . " P : l ° . r ^ ’ ,P r '

' ’ ' O .• " : - •> • . ;«1 ; ' ' ~ \ ; ' ' ’ • ’' V ‘ C '' ? • P ' " n * n' , 1 n * a , o i'l' e <• f ; p (- ^ •

h p »/ • ' r* * e " p ■ ^ ’ '_1, --e 1 p ' 1 o ■ m • ■ i ■ ; ; o

r> n ’ - ’ ’ r, rt ft ■ , i- ' * ’ ‘ ft 'J ,, p : \ ' ,

‘ p* r it.” m ’ T ■ . ^ ' 1 ; r» '* ** f t 1 6 1

■ 1 ! P ‘ .' . 'TV1 ' r ■ />; . c *tV . ■> ■ , o;;- * * ^ n ] T ’ ’■ -i f ’ ^ i'. < 'ft 'L. ' 1 , ’ flj'P" f t ' U ■

al , H 1 , fc, i . ’ft ’ ft . ' ^ ' ■ j *r* P ' ft 1 ^ ft ' . 1 t , \ ... ft

i ■ *p : . i , . ’ •*' ‘ , . i • • ■> ■" . p ; .. i .. ■ ' •' . •': n ■ / i } ," r 1 : ■ ; .n •

. • p p ft • , ■ ■ ! 1 "■ r e ';p

.i. vjp ;■ "1 ^ : p . 1 ■ p •; p c t.ep; ■ p . It..:. e 'V. v .*. o ' .p *v - .iA i ‘ r i r*.

ft ° p p ': . '■ ■ ■! e:."" ■'' I p • ‘ O r. i

!Tp '■' ... 1 * i r .. p ’3 v: ’ : ■ ! o -v. - \ i \ l L . r ' ^ t : .e ^ . 1

. p . n "le.! ‘ c ^''e ■ '' l lt> ' • o f I ft !.n , - r i. •••p-*1!.

: -a . ;i>/. !•« f ore ■' p 1 a ’. • r. ove w ‘ t.K p.-i ’.kip t t «! nn'; 1 e

■ • or !•., ’ v, .: ■■ 1 ! “" 7 p. . - o i,e Llij !: i a ^hPi'hei-^ .° rs.xrl::

*. ‘ b° p t j ^ * ’p i.p;\ t. ? hcu ^’r. l'.e : ' P :-p vr h lo^::

c •■ * > '. * f;-’ ] p 1: .e - v*. ' ifli; -p . '. ' ii' VP .'’r :• ;,p

Mu '’■ic”‘p Oueo.iO ^ c I ■ . "i ‘ ^ Lee 1

r. : ( vfi

. 1 o e- 'Ml ai

n i ■#*; e ’ P ..

. :l'rn Mu n I : ■ ,r>

On! ‘9 . rrjr> H t- ' A , i i • „ £ 1('rn . I'

e * ‘ n — ri 1 t . R e e. ;

■r- • f\ P r o ; ? ! r. ■ A

r> . ■*<* , t-f . : -ft ^ . i n

•• r 1 ■ * p ■u.

R . f* V ', i '' n r. ' ■ v e

« . ’

r :pi.' :e

u

.■Pi . o o

R n • t ‘ o I R

.o'- o •Hi, ■o- t,io t VP

■f •“ Ro'-." ■, v-’i pr. ! e

' C. : o : i i.'..

- • W r „ ■ L : ; >.r' *' f 9 ‘ t VP li R ". u 9 R

c i a ■ . O r rt:’r';'d r R;, v " n I p lp v ^ ii; r . ** "j-eri re ;• 1 r ?<:••:-

■ T11■ „ 1 y behpv ‘ Ol’. + hfl j V ' r O' t :.t r.'R’u ° ' 1, * R : p p

. ,r „ p . 1 ; v p • 1 j ■f' . ’ p ;<> ■ '<» ' ’ C i t e J hi.-!' e •

■ h■ t V 1 ■- ' * ■.. 1 s ’*i • t, \h o , f» vp •- • r* 0 p • „"] ‘ ^ ^ . <0 t o i ■ ... . .r>>1■ I - n; ■ • ■ V i- • ’ r. r - " ■ ' ) ,r1 » V ' p ' ' ■ v */ ' .. 1 " • t * -

1 a p fi-.e »c 0 • -1 ;. ” I I*' hi " v .'ll " ’ i i. 0 r. ‘ '. v/ »

" r f 1 ’' r 0 P1 ,T ^ ^ i ' T ' p ' "1 '■ .1 ' n r-. ' ' °

t p . ' 70 ". , ' ’0 . L . • v ^ o v *>1 r, 7 ;’eo hp 0 1. o ■ ° . ' ^ ‘ « p

q * q

- q ■ p -t 'P . 1 . P ' ' . ., ; ; ■ ' r> ; ; p ; f r , . >p , o —

*p ■ . ‘ d ' 0 0 ' P . ■ ' P ’1 . ’ p\ P ; ’ • • p ■■ ’ ' 0 ' p t •• <■ p ; . p . ' ’ • •

•I" ' ^ * -p - °p ’ . ' ,,, ^ j "-‘ t * ” ' ' - V P

. ’ 'n_ ' 1 p'. ■■ p ;. 1 ; ■ (.3 ' - . ■r :. oa. ' vp

' ' ' ’ ' . ' < . "■ q. ■ ‘ o vp - p p , : e

.. :.n :

0 ■ -,.J t-0 ‘.h p vp r.i - p I h . p " '•• . ■ ,p • ..... n I. p; ■' m n 1! r t ^ ;

•'• p ■" '.'p ■ I '.'r I’c i loi'/G , wv,(„ t-p .. "i.e Iv.g ■ v0 I.pp'.p , . i. - ••' •.:» . v;. , - r:n ;hu :

■' p 1 ■ v-!. t. " ,'P'U ' _ ,p 1 ’ v; [j' I * 1, v , p p u ‘.h e ’; 1 [\ ‘ >. ’. Lhn

6 - r ? r--, f

>

t -o , * ^ A y - n

r- r* • ft i , '.^lo ' ! *- ' '^r* -• , •

H • r. n ' r> r- r-*

I*

n • r\

' J ' T.* -r* 1 ■ ir’T' . 9

•r> r- , [ • il t.1 ' * 'v.-l 1 1- *:"; . w : ] ' r in

1 1 a *"m \ o ; ‘ n t ! e r ? ; ir? ■ u: e ■ 1 n [ e \t - . p ■ y

• n ’ p n i i f* :\n\'\ ^ • id.P rrviv«:-.l x. I : i n

: fl H >: B f'°9

E .■ $• ' r '■ r. ° t ' 1 ’ r' ‘ ‘ • ‘ 1 t.: 'O r.fttt.e

-■'V' . n r i - ■ » f : a ' r ,tle: r . -•-> h a v e o' i-V!5,1 ! :> Lha

■ ^ ■ ■ ‘ < v •' • ■ - p: . ’ : -o' ft I V ' " u "ft / 1 , .. C ;'

■ p •n(' > ■ ■’ r . ’ e ». ,uee•in. " or-;" •, Ip, •/<» '.^ve

np; , ; i ft T ; ^ Y * 1. \ -f:’ P !. V'.*’ ’ (? .-*• V n riy : •'•*■>: i • f t '1. ’ ,i

; L 1 x~ii ^r> ' ^ \’j~' f* ; ; ; ‘ n <■

Kft ■' ’ ft 14’ ' .ft . r i, i -ft

> ’ 1 o , fi v <•» ^ * ’ . - o ^ ^ '' n ■ ’ n ^ ^ h

■ " ’ " : w 1 ft -ft ■ ’ ’ , A : • • -L '■ p ___ rt 'J' 3 " * - J 1 'ft ft’ ’ p " "" i. ft 1 ft . , ■ p I -■. , 1 ft ft ;. * . ft 1 " : ‘Ti •i'.J •.ft1 ‘ -ft ft ! ‘ t.s • ' . 4 ft ‘ " : ' ft ' :. ‘ , - ...I ft 1.. : ’ ,ft pt ft i-ft r , •• v' .■ - ‘•'y • ■ fce rot »r ' •, : ’ ft p<-u :<.•

ft ' *" . V ft ' ' 1 . 'ft • '" ' ' ft V ft 1 , : I ■ ' ft 1 ft J ft I; " ’ *0 ' ft . P1

■ ' '1 ^ ^ fi ~ ■ r-1 P ’ ■ ■ ■ ’ p : t A ’ -'ft (_ . 1‘ r 1 A ”r ft f ,

’ ft ■ ^ ■ _ ^ - f i 1 p <- . * a ; ■ ’ 1; ft * , i ‘ *•( p | ft p ft ;

■ft ’. ’ ft ft ' ■] ' ' ’ d 1 •*• ■*’ ft ft . 4,1 o > _

_ ; p ■'r*c J

: ' ft ; • ft 'ft ft • •(.'•' 1 ft *: ’. 1 ( 1. ’ ft 1 ' (' • ^ ft "ft ft ft . A ' ’ —

■ftr v;h * ft '• ••Jft’l^ : Jft’.l. ...ftp' 4 ft. ■ r ft.pftftp, rn-- ' :,

\- ■ 1 ft 1 v t> p u ' -ft ... r Pft r:' p vO : :iv.!. :r.ft ft -.x\p. e v

•: •' •. :*• r I*.ft - l-*;1 :-ft • y , .! >j ,.wc r ' j

’ n:-; •<» :j e c t- •' 2 al'i.ft. L hey all V r 1 i

• : e ' : .ft \ n : Icr., nftd L Y f» y ft: ft ' 1" ' c yftl o We iq;;;'a - 9 0

o • . 1 .■ ■ ■ ■ I 9 r - o '- if . fl : ". ^ t ^

' * f> fik ■*% ; r ^ t j 1 ‘ r» ; 1 r * p 1 ' ' '% ^ rt ' . ' * .

ii f j ■ - 1 , | ‘ ■-* . 1 n ■ c* -1 *

, V- * - . ' ^ , V - p * 1 ! * I'.f i ^ v* ^ * i ■ '1 T- I * '

[ O ;' •"■ ^

: d

p* ri <■- r» ^r» ^

.” ’ p . 1 :,ouf' - * ;. - . ..' j ^ ,

'• ■ ** • ; i-> • o . . 1 : Pi " ’ ' . 1 . , i i', nfH '• •f' ''■ * '''.o*> v ^ 4T-.) \ ■ . T • • - ‘ ■“ ^ ■ r r-i v * t 1> • "* 1 p. /i» * ■ • • > * •

’ '•) ’ ' ’ .. ’ tr n ' ’ n * • • ,..•

A -■ 1 I ' ^ ' o - r» * r

O j_ '> ; f-4 - \ n p . • f p ^ r\ < f% c- \ ■ i' ri

^ <. 1 * - f ’.*• r r' i ’ * f* • rt 1 , t. •' ■’ *'n ■ ■•'i I d ’.'. :1, <* c , ■ ^ ' ,' ■ . r> ' <» ■ ; , r*

■ ', . .e ' m . An t • 'i r 1 « v * ■ f ' - •, •«» 1 ’ ‘ ‘ " ** ■ . *» ! ^: ,n ‘ ' ■ - ” ;; ■,' k>.. n i.' L v n <■ „ f t ■ ;: • ;iU

i « i i , " (■*;«• • >’.. ’'n * v « ; :-O V * l l‘i I ;; c 11 - ' d 11 . *o .. . . ! .e r ■, ’ -

. ’ f . n ','c.!-. ' . ' ' ’, :!’ y i m * : JiC .. .• c> o : ^ f ' » r'.'Cc-f»; ' *• .li.J’f r. 1 „ ■ :r> r- , * . 1(j *■ *: ‘ L i ■ phr, cd **■' n ...-.rl ! . , i .,’.o i ,

•-• V f* r ’.iP, * > I ' J. M4: * t ! . r -L '~.L : A U . I. j. j. » ^ ' 1 " ... '■ ' .:. •:. ; & . le ■ . ■ • ' ' •_ r ' 1

<-• c i--’ n n ■f* H ?-'2 o i-n '’'. 5 vr ■-.'in '-bor: ' cV: * ' ’• Ihn-". bf r.ouvro, the knl^h,

■ <_• * .-on”! * ;• • ’v-_ • v>n • cOie ••! ' '■ n wo’-"'., bo I ? eve:, that jho )- n . t ] uyo-] 1'; f 9l;:e !W;.i In :-:i ' ' r •::•*» I *-• co .llonon,

'./ho n/' r-i-fO.’l 7 a r, r, .1 rt r h ' ! b ’ e *• ""if!;;. ^ut * th

" (.V ■» 'H. •' 'e c 1: :. f r.nT ’ on o Icvo:1; •-,ni : ■ on el* to j--,

or, * ; ' e -o'11 * '■< ■’'■'• h° ' - i i , * : *"»v < *\opi " *• 1 1 / •:* n i*t •

*V ‘ ' .!.'«! • ''ft ! ’ r>. f C. t ■“ ■ ••'••. , -i " y ’ .. / I o po ‘ P n .. eni f < •.• ' ., a t ’ ' O '- 1 ■ : 1 e w . , '■ ’v’ ►» •- H . ■ n - ' r ; 1 : a ,

r t > . ■ r t 1 ■* N f f l • 1 * * ’ - * ‘ ^ ^ (-J '• ■ * [ • ; * * ' "j, f

.o . ' . , . *! ' - J , ' y '. ? fJi

, : ’. , v. n ' -• •' ’ • w i«ovo ’ J ’ .o - rt -nvn |r 1 ‘

.- ■ . n i - ,:»~o •* - : , *• rt - > p• H- v r. >•- , ,o h * p : o.r’ •

w ’ o h y. , tt r v ^ r‘o r: i. . -o ~ ^

, : o . ■* . • • ", ; « i -v - ’1 • o ... "I eve ^ y y£ i-n ‘ ! o r ...

- ,-o w-.' e o 't ^ '- 5'4 ' ' ho i . ■ 0 he

'!:: ■ 1o ; ' ’ a . ■ 1 r ’ ■ r" :« .. ; 1 e I : ,o ’1 -1 o $ 1. o r, -

- ’■« . '• o«: oto ■ - t. "nn \ M e 1 s -<»o ?ni ^ ■■ * o ’• rt 1'

„ . i ' . r J' .. ' -o ■ 1 ■ P !’ ! p ■ j -

• ■ '• ' ’ ' ' i.. :• i4 ; ;*r .• ..l.ou^h r o * no ^ j . qu ’

•Ve ' " . • T1 .'ir, ".■O'-'! nn •■m who * r i-onJ^ tt, -ju^Tor n il . Vp

■ : on’.'? . ‘ o.-.■■ - i " ! e n * p, ii ' rn *-j o"dnr ; c heir, ho;

‘ °1 . •" . - • " • f * • , r-ob ’1 o it- •) • o v o ? r o ] t,o . 1 h-ou ’V. r'Y n v.-'j bo v.inVjp ! i ■ vo :.ho- , :,«V 8 /•; h e l o r. he ui-’o. ,

Who . -•« ■ o ’ V .■ r ■- r ( I ■ i Ci, . 1 ’ ’ J ■. Lc T. : ■ e I. '?$

r q '0 r.n • f p : •

• t r * 4 1,

r ’^Vil "w ornv’1- ,-.iy j 0" " Irinas T.;« r-p ' e \v ’> ;.(•]■'

•* -1 ^ ;n ?V -J. ;•!■•♦ 1 .- , •> Vi ’ 'i 0■;' 0 :■ i’n ■ r ! h© '1 • Y coi*! 1 e .• . I .•? 1 n ‘ 0:.

0 * "* t ■’ 1 ' n ■ " ' P n \ I '"' ’ "1 ' ! 1 ' P " ' j 1 r> T n n ■ O ’/0 ft 1 ;j

. i q U p "> • ' p q . • * : 1 ■/ * ! ■• *’ 1 i. r-.p . ■' ' . 'n ■’* ' , ^ Cl"1

■ 0 u ’ f* ’ ‘ p -p 1 . p '.,'; i ' 1 ‘ ' *' -",pVi n p ■ ; j p :; : L- . o l e ; .

. ~ 1 ! ^ \ •'*. '': pvi t- ■■ * 'f . 1 ^ r i, qr ’ e i ' "7 it ' r ^ ^ 1 r' i , -■ T rT . e\ 11V. H t ^ *’'■ i r V ;

p " •:'■ - p '•1 H ! •» . ’■»'!!■. c . ;'i. rj , ]’t . ' .-h : ^ •... ' ‘P • ,

f i , >1 ',1 ,• P t-(! r ^ q ~ f ~ f ' r T o pi. ’ -fl rt 1 !.pf' p I’ pP t f 1 \ O • 1 'J:> q . ;

i'T'p : ! | ; , ri i ■ ■ ; r’ q t P V. tt ! 1 n f; . ! Vtt

’ ' •» 1A , I. u ■ ~ 1 .■ P ■ V: .p

• r --'n

- v ' •) ■' , p n :; *-.

:' ^ . P;., 1.0 : 5 ,’0. ,r : ’ r- 1 , r t,: r:. .

•■. r Hnr ;; ‘ i. h :ip ] ^ h.-oV'-p ’.a c c r i ^'n Ja

- '«.. ; ^ ’ p ' r »©... p up ... ?'t ;■ px ,: ?. o,

p 1 r m .r ’ i ’ t p t r L ' o;4 . -o;. 0 ••••erl 1 c 1

e.-p r* _ *! I :.nc>: :• •

1 ~ p 1 f N.p : e

0 t'1 ',0 ■ 70’)i ff-,- r ?•, ncne oT Fbpr. ei:-

‘ i 7 P 1 '-;b? r h cc.c-jt led Lh©I. !• i'-.n y L 0 :>r . Y: i * " .1 i * i ‘ 1...1 : •' h ' r •••. ’ « rqu I ,

*" ■ - ■ C| lop ^ n > . •? it p \ 1 ' m ' * n .■* r TJ Cl , 2 O V 0 V* * I V Bo "! —

• v c r.:'-p, TT‘ « 11 v e ?.■ "■ ho *•, l ho *'p -'p * r 1 Y;*!'5 b : • h h 1 1..

"ort ' i'N.o1 e ■•■i- th© ^ ' r th n rui ~ - »•..’} c*1 r.lnc r

' : ■<: ’ ° " o". i' 0 u r : . V-e 1 - ,

1 0 , " t --p • . " ' '• v:f‘ n ■ ' e> .. . t * n 1 - ! i, «1 f* ' 1 ‘ n , • •" ' 4 ' > v^‘ .. <■ ’i'1.

T ’ 1 • <. 0 f " • •. 1 r< ‘ r* # « • .n T ,*»] Br. :ni B B * —

R . ' ' n • p •' -• ’ ; »'f r'r p . " O . ” • • n1 ' a ' 7 dV . !' h« . *V P

, . q r • p ^ 1 . , rt t ' * r * ^ . -1 * 1- *#•» ** ,**-.. r* ^ /T. *f? '•

^ v 0 # "

* ( .h: ^:: " ! : t. •j\ Jc h ' \ ■ ' ' c r . 1 -• :, *■ ^ r>' ■ r ** " ” ^ ^ o i . ■ , ; o ’ ' •£* r) 1 ' »ro ^ ' '0 1' ‘ | * f ^ *1 ; ’ '

« ■ .• 1 ' p , , ■ r> - * is j ' ’ ''■I'- <* : *»» , r ■:. *. o tip 11 • v;h«r.

’■ * c ’ o:." ' . " ■ ■ ■ : . l.1 n . • - . • • ^ c T v ' n o ; ■ p .. !.. ; ’ p o /l; p ' ' p ■■■ i n. ■ ! ' ■ _■ ' o ; no ^ 2 m n ; ' ; i '

'■ ° * p ‘ ’ ;; n . v . . *" ' r , V'j * o i, ’■ P h:' »• ’ ' '' ! i

p , ' ■ v p | ; *• P ’ r ' ■ 1 _ . ] ■ ’■ g i . j • - 1 r . f. U© " ; • : P ■ ! p

‘ ° <- . ' ' ■ m" \ T 0 , O 1 • _

■p ■ ■ O ' ' 0 : '• "t '.’O p oork 1 F» - ; ifl f),; # ';:••» r i* L R

. ’.o’ •• Anjn/o-ien o ! r ••<.. ro I-’1 ":i oo ’. ’ c- 'jap : •• •

. ho :Y flu.io c n ci !.ft r lc vo :•?; ^ .•© :r !. ‘.ci®-.L 1 o ?.l

- - ‘ V ' ; ' v• 1 ^ k • *'- r ■■■ "* ' ^ • J • ^ * J T . i * i. . O .1 ^a. .• . © r?1 f 6i ‘ j ~ L ;

l®'• «.. " «-•; ‘ :••■* -C .'..p h.R i- : ■ 1 ■ i.r !! 1 , n rtt.e r

! h R h o VR i pp./ ' p . -o n 1 , *"i * ;• , v R p;'.C 1 V hj - vR l',P

T' ^ 0 v ", T''% ; ! ’ r p ' p ® o * vp I p ^ & buino 9 3 0 0 301

n ^ ’ 1 * A ' a A ; a , (. ’ •■'■<■■ f ' ■

' » r o ■' <° v . ! ’ ■ v * n 1 : V ' '©’■ : * * ,.. - '- . • L . . . •> -J " , v n ’ •. ’’l.'Jf'V'' < t i. ' A C l * .A "O ' l' A * ; . *! i .-. ■ . A i ' v**-, W1 1 " '

I 1 e ■ ■ ' _ ■■ n. * . , ’ ■ . ‘ A ■ - ^ V ' < ^ '

;d _ ': h / '' * u'.Ti‘ . a ■ 1; j ’ ' a

i i r I r* i * 0 rj

hi o C np I ‘ V- , •' ' e* ■ .',11- 1 o ! A' A v p A n *

a va 1 o v i.1 v * ■ ■ ■' "! vi. ' o "w . - , ... . • - •••;J O ‘.'a i • O lOA • ** ' « i L 1 A ; A r ,' f • ’• A ' ' -•

p ‘ ; / 1 (J ] A ’.T ’ : <- 'in ’ ••; ' . .. .

!n ' a ■ fl . ~ :-el J *.r.« t-.'i j: . .-. t ; ft • U H • .H w ! 1 ’ . f t ‘*1 “ ’ ’ . 'V '■ !'n '. f I, : , ■ ; C :"

vt , .A tj n ■ ■ n , v 1... >11 f”1 \ f*

r . t

A ’1 U <5 ; i c o.'i.e vpr ]■: mh Viiiu 1,1 If" ' _ . "' ‘ : . ' ' . ' .-I e • ^ la i r . ■' . o ' o O v.o :. ;•; i t.|4n >•(. * * cm-.; lo a 1 • p ie. (; V. ‘ cd C ' .a ohve:.

■ r 1.l ’‘C"* ’ i. H '' . • i- . n. e •• i: " . r ' j-r 1 'n °; , , I.■"v- !-a

: a ,;r o':c ! i * 1 -) no

’ n -a '• r V H . a ‘ ft'-., ft- • u n ' '' 5" L , r' ’' r ' . r T ft

■O ' . r. •’ / ‘ «*'!• ' r'- . ; .a . ! h 01 ' ' ’T ft ^ . I C ft 1

• ''V-A' ■ a ■ ■ -a i ' V-a '-' - .; a , ;. - , ’ ’ ft ; .:' ^ * ■ , ft a ■ • t.

if i O c,T* n ' v ’ i*r- . " ‘ o T i • L “V: - ’ ■■ " , *-ft • « -

^ ! e '•• ’ ’ »7.. r ? , ? ’'i.i:;1! ; r^'vi''ie>i,

n ’ ' ' * i ■ 0 . 0 T' . ", , e O < ■ . ' V-a " ’ ... i p

V-- A "V V- n . e a ’ ' r ' " 'ft ^ . -ft . ft11. ■: 'i £- ' t " ’ " • ’ c. n ' <-■■ ■ . * - ^ ' ci «> n - '■'v fi * r "Af ■ cP

T-- ■ - n T rv - < , 1 ' ° " 'y ^ f •11 * * —

. 3 ' ■ 4 V r. T ■, *- -T rt * n --o' 1 ft ■ ' - 1 ' ^ o "9 " k r ^ .

* ' , ' * 1 1 , . ■ ri -4 ■ • y. * r , -f* ' ■ , ' ^ y- j-* '

l $ ■ ft <■■ ft£t n : , . '■ T (3 ; ' ' ’«•> ’

ft ft • ' 1 ' , ‘ ’ ^ * ■■' V-A . , ’; y - • * r'

ft "ft 1 • .. ' . 4 hft. ft i1 ' i! ,'H l • ft? ; v ' : e

. nr' ' " ? ' f- - ’ t 1 ft ; ’ ° ' ] ft a a t • a • - - ,

f ’a ft'.l'i , ? v . ■ : ? ? , * .c ft L | *■:;<1 '-ft i^ ' , ■'' > ' :i

.i £. - *• ’ h I e '-/ft ft ••: : .^ .V-e . ’■] '■, ° *ui , \ - ft ;i:. ? •/ 1 ft ft ? n. c ft n .. ; e . . ' nevft; ft'.n _• 'ft ’ t !" ft ' -:;vb wenpor.f I' \.' ' ^

.e nee ' ft 5- « ‘. *

1 ft ;• > ■'■Jut 'To ctift .e ll:, be :• wh a I t. o J'.-; he i * peet r he :• 1 - " ■ I i-j . ' .1 ‘ ' ' I l l 1 * (M >_ ft ' . ‘u? : ... u ft^i; i.n? 303

<. i

; »'L- .p ; '9

> ■■ i » t Vi T f> ■ * * » I

•T 1 3 ■ ■ I. j' ; t. r'©." .,1 „ - - ’.-d * ■ * ‘ ‘ ‘ ■ V J • , 0 t ; f'l

■q ■ r* r> o.- n > . o r T’ t 0 n ° r *

, 1

fc> *

. '-1C

'F> « p ■■ c ■ ^ J ■ n r ' p ■ „ L ' l.: ; t i i ■ n r.'- ’ ’ * O ■'* ' £ ^ « • • • «.

n .. (=>.; 1. '. -j ■ :.fl 1. c . 0 : r '-'I 1 <■

c hp n r e ' • . . . ui t i , . ' . '. n . i :y-(.

‘ /« “ , •. . 1 : ’ e ■' , - 9 ' - a -

.• x P ht» 'X . up; ; P 1 VP ; ,

" * *"' r~' ' 1 ’,ri f . t, "f* l ^ r' n * | Vr.c*. ^ r ”L

, ' ’ thi r ctivly c f the :■ ' :K T1 r-h, ,”oc '^ .•; * i,

. t e W ;-pr no . •, !, l,er.j- [. •?:. c r.«n;e * C^ar wp :•

o **: ; abl • 1 « .♦’la cri^h',r' o'* the c >h '■■r r Le :■? is th s :'nr .■ * p uueo -n ’ t h tho^C ' :i A r,la 1,' 1 :• C rl ^ -idcj

"’ri -*1 ■ pn. ’ n; c .’U r: ! . V j . f " - d *... r r '.r-' 301)

'• y ' l 1 t. 9". ‘ » ** '■ v',r~ hi T,T '■ #V\ ’ . i 1 e &

( < (•>.•-.(» .p W 1 o o " ' " , .d ’ V p ’ r 1 j i [i , po T * f „ ! j“rt Vl 9 1 0

r> - » r •n , ’• p 1 o ; * f! L ^ ^ • C V'. Ke fT. ! F, ' :. *«.. ,• f'pa ; ♦ • ' >:f - . « «'-■■■ - ' '•© '-V 1 ;■,ri' nur ;/ *' ; v.- - b.y C\i« v •• • 'i - p ••; {. • tV- f *'-*V , i~> . i"1 r> ' ■ V r» ; ( 1 . W * I. h1

i •, * i ' ' ’ ' 1 « ■ • n : I :T1 »> v f» fi t :: p 11 v . er • r ^ j

■ - ' ' * il b 1 » ■ < a ■ ‘ ~ . -p r * ■ ■■: 1 e r" 1 I * ' ’ 9 ” ■pii!.'' ’t1 .• e rt - ' ' , r> . •; 1 ■ -9 7 ■; p v * ' , . • r •* ; ■; ; d ; r 1 j 7 { *j 7 -> r . y ^ v ' ■ ■ - ■ , • 7 r - , . : ; "Iv’’ h * • a ~ 9 " 9 V

1 , ■ « ’• " # t> r •• f* ' • n ", r- ; n ,-1 d S 1*0 V r ,

fi ’ (_r» ^ t;p

•P < 9 • * «»n *.« * 9 . , ’ P ■( , ! 9 1 < ;. ' 9 ■ . ■ , ' ’ i .

t r 1 v» r» ' r ’ ' ' ‘ p ^ -• y H f , , 1 a / • r * , .q r- p * ■ •

• ■1 ^ e-: ' .e.i- ! v ; 1 o: u::-

■•• ' 1 •• : f> ■ 1 1 « - r. n ■ -.1 ■ « . ■ ’ . . Io ?;. '1 .c .* t u . ;:

.. ■ 1 ‘ .*0 ■ ift « i ■ ■,.!' J' i :•.. v.’ho i,fl «v ! 1 1 i e ^ i V'; I C> i;'er1 . o °

' ■ ■■ . 1 ;■■ j : ’ p * ■ rw iC f < •** ' 1 p ,'i ]p '.-7 V ' c I ’; e n - ; - .» *■• I 1 ' ; ‘ : ) . •<"; p P ;■)' " " fcJ'T

- v.^r- ( t‘ 1 '-a ••, f ,>c pb' f» f i. r * h“ be r c e . •

l ■ft >' ® r*^ l, L‘ C "• ! ft r'flC te l-f , '..C’l-t of *■ *■ ; • I ' 9 L p f F ^ ; * o r> ; ■ " ■ 'j '

' r-, ■ 'n r t.e : '■ 9 .. *■ ' r <: v. e , ’ a . A v’: : c 1 G .’ ! c -

*■' ie • -pp (. 9 ■ •*. J * '■ •. ~l " . ' 1 ] ii'i 1 ‘ c 119 .1 L V p «; _• f ,• t . 1 p f ■ ■ i -p I" •. ' ' e ' •. - n ' ’ V ‘ ■ 1.. I- y ■ r ; , 1' . 3 0?

^hhpt p 306

V'i i ■ p -_t V. 1 rv L r - - m

w rv

- A 0.0 t- n

I-<» - - p v p

r c .. b

, ( . •

T O H

u ■- - •

I i n , ">.■. . « J e W..: e,' . " <.

l '. •■.• v ' f■! ■ u .■ '■ <=i t .r; u r : ■ f i . —

v.i :! c-r M ’ *. ' r t 1 p V o l./ '* I “ 1 V O .

•/' . - O '.<.H~~ - t ' , I p r

r ' f '' ,1 j ' ;■ m V'p : o r j i l

l-r

b

v-w -o :.or>co

r* <

• t h £ 'j r -o o <-> ■ • o ,

p ■ ■■ o • h«-- ’ . n .:e . 9 ” : *• -^n ti.cl..* o 307

p I e ■ . B

f t o - It... * ft . ~~T r y 1 ' ft ; TTT:■ o ft ■ r p r

r 1 1 * ^

^ 1 p • n ■ • •

ft ■ J : ^ '1 — • 1: .u. .'I

i- > ! t, ? a o ■ *n ■ 1 . •.>:;! Phnieir., n . ‘ r ■> "I 1" t-H . J * :; ,v • • • ft > ■ ft ft 1 •e ■ ■? ‘ r 1 r e-.-nr- (■ T ’ M VP 1 ■ ft : ift : r, :■ . i u ; n J Ili .<1 ' i rh??. "T ft .'ft t'Vft 1 1 1" : U;11 . *1r . ■ p • * *• rs v y ' • . ‘ ' T .

1 ■ ,.»n * 4 ’■ft } V-,

! .« ' 1 i ft • : i•. i ' v ft ' . ; ft . ft r- ■. 'i ' 1 . ; e P' so f 9 v- o 3 'L : ‘ 1 • ■ ’ .» " ,V « •- . Lr ■ c.

. e .:~ v ■ ft - V ■ v . i

! - i. ft ? 1 ** \ ‘-e . ift : ft .’,1 : 'I .ft - ; |p ;i 1 t . ft . - id f * * re '...loro • i

■■ * 11 ". u . i. ft ..

309 310

V r*i * r ■ !\ r d n d o ; [ n e I fl I 1 ; ; , ; V e ".iVfi ♦*, n , i he 0 - v* v ' ’ on I n :. oci: . 1 yo :;; |ii n ] (,Vy ^ ^ 11 ■•"!. 'ft P f (' * •• C WO ’ , 4 be ori ’0 of ‘ be > vere ’.’bo • rip i,f c •* ned Muo i« t ' n "cv! rt 'be c '•'/(* of ':n * lt» ’n boeV. ^_ ‘ ve end -be ‘ ’70 ue bln : ’n ?cob sir* e rl n\1: enve I • •0 ® r.flv ! o n; excoi t,I on ; but I Lh! ah 1 hs !. the of the whole cc.irtft nu <--o'. b.T:. r eve r e one <. J L ; ‘R r- • <•• M'f >: . i ry < .n ^ e ^ r *p o v . bb.oajb he ' 1 p * *> "y ^ ; j^ *■ ^ ft # i;p'] * *■> ^ C'VR ■' '^f) 1 - A j • O

• e ’-bee :•! e uueene , . . d i’.el ol en . n ,n e on ’ * * r Inn ;[.f bbjb’ n .''tnrvd- n ‘T' . n v f pfA •• * !. ' c;, ’ ^ ■ " * d t ; - P 1 ■ ,-V ’ 11

- 1 ' r-bc 1 • . ■ e ’ ttVft n' •J n :-Y ;• 0 v.Vi: o'O*’ , n L»t, 0 " ~ , n' _ P '■■'■nd o. I n «i, (,r •■•’oa" 1 *. ri -4 1 "tl bi Clout s done bor.e f\ _ - o ii?," --T'T, r r t ; ; /V .^ST , . , . Z-1 . } ...; ecuTnTTr^TT TTr.4 ’ 'b "r.1 • -e b e tlf br yTo ; dnf Ohn j-leo c,. b a n w , •. 11 r;d :. 'n d o l r n dlcut r r or-e borne

■obi. n! t. b r eyle *■ :id :; ji' bnVv^'- r’1' jp . be -She - he a .dp:- do ilen ^e » p -ifl; e : ' vd ■ C "no > r ; '•/■obnc'Ly, •-be a 1 he m ont 1 "J 1 e . ~ ^ ' A O ■ ' " \V‘ i'i - * C ' d Ip ; < - ’nee rwe - h b t r* , 1 P ' ; b* v : rnI f ; - b« " .'.: ; ‘ ! ve ov** .■• >*> * t A ‘ f ' ' o i..wn, * ! A * * n r'. I . T| . ; - ^ ■ T ^ i • . ■ - d j .

o e ■ o ' lP : V P J'U 1 n ^ ,1 n ‘'o i o . •

' r 1 v" i': - ' p ' - 5 j Vb ______*> v-f% ’• * d II e V 0-; ad v ’ ’ i ^ .’'■-j ’en 11 p:e :;t , '■• nd ^ei.-iono- ;o^y ( r erfi-: I d;-e, 4 ) ^ 1p • : T!n: ’v i b T rrv e r“rrry - V i i , PIn i n : , r. p .. ■ r Lv r - . 't:d ; ' o : n V, . n v n r-e of’ t- v V j. • ’ -olor:-' ' t L'’e t. - I * !. i'i ‘ ' ho \i -d !".h n* ^ n :: * s vrr rp!.. : "’ o ’ *e 7*11 ] I t e .f li ..U ."O i“,nd ^ -. rn e “he I Lh ‘nu^h vr: i.h tbo : y Lhol o, 'y L n th e ■;n ■ j ’’.a .'l : pp r id b ' i\ In Lho rII;- l„ . v o ’ r o o f A ' i e . ■< -; n ', i n f. b e p'~ ■ r .. c - i1 .. • rK: i ° - ' ’ :i - t. ; -o 1 : ^ : » W '■•' i 'I i * " ■'b C Co . -VO . - \ O P“ fi j; n i11 f ■ • •

ve" ■ o "■ . 'p p, 11F r I ■ 1’0 bee !.o f'rOP:ie , 11 JbJGP, XT _V )» b : ; oTb “l-roiToTcr' * r-.] m ii p-i? ;.o -n] •o I q • r” * o F;o :;sp ?'■ * P ' ‘.o 11 e p VP I 311

* - * ~ r. • r' .> t ‘ . * P <5 );; f> • , ^ <% t j 0-*> ' > 1 , p t. ; 0 n ; ' ^ n »’ * n i v,<'.0:'- ■ « \ O t V 4 ”. 0 IT > • • rv i • P ' p • ■ 0 i 1 ‘c "-• r ' : u ^ '1a rf • 1 ; u p r ' ~ . ■* u . * , * ■ r P 0 c •1 1 v ‘ ; . . * f n '■ 1 '• * r i> * * j r T ■ ;', n t ; ;. - ; ■ ■ n e 1 . i p '■ i. r f l u y , p , 9 n I r-..4 r T f , I ; l ‘ n \ 4 ' *o n p -p J ' ' • •>V , ■ Ul. 0 ■ *’.e : w ; ; i~ * r- r- \- * O '-1 ^ if r- 7 * j (. fl V ■ f ^ !> r r .-.’ v L C *7 i • , • * • • * * • ^ y ■ ‘.b e b P CP i : o " £ t..bA tT(,’ ; b 0 ( f ‘. I n n \ > 0 1 1 *1 n ' P o o h I %> f ■■■ ; J 1 *:e ;’ l . . ! -i ’ :1 •' ’• c..::0 . r> ^ 1 •p ■' * ;■i ^ 1 1 ; " ^ ■ P p . i. f • ° ; p I i t 10 | b p : ^ b l a V l- o r* *" p v ’ A ■ 1 o > ? r ‘ ' ■; p ' ^ r» > ■ C * r: ) . - p t , ‘ f ' - : u n ^ ^ n . p ^ o ■'■ - •:-.« •' •r» 1 n - -ri *• 1 \ * •

*T • - - r\ —■i - <■• • r P ~ * ~ r' < . 11 . /-i • ' rv ^ P f P • r* i ■ • v ‘ n ‘ "

e •

„ . t • • f } . j * J • 9 * . > * - ■ •u't Kr |,j i

312 313

. i -r yr:----• « I O' j b !

'i. ± 0\ , J A | (Xs •.., ( '

, _ ~ »-• .i - . ■'<•*-*■■■. ,■ ■ ^ . ■XL- * ptlQ.' 0 A '-■ b 't 4 )uj ;<-? i o | ) u ■-> V t I OVl.e 1. -' O J £UTM^.,;:Ou_ tO «JT.; o- ■’ D -I'.:©! L. *> ^ : • • • iw ' f - ‘ *. pim'-.r; ©iq P Ui O

■ r- r • t * ' “ 1 — .j^XJhU P. “1 ■ : *-'-i

1fxC 31? L U . . p U L -r e r e w 7'- . . „ ,, . . , . 0 ' ' ' ' y • "Ht" yr \.R'; ■ ■ ■< ■ •. 1 ~ 1 ■ JJ1 ^ inM M a ■ ■ ■ : : . 1 u H •, 'V ^1 * i f . , , ^ ■ — * '■-’UC A A ’i ’ : ^ ■, 1 '■-’UC pL n ' . _ r.n L T ’ e i , p , i :vi :vi r: ** £ P • r- 4‘ ■ -r» ■ 4‘ P £ r- • ** ,® ,® « f; r- ^ ■© : - , 1 VYY <=» ;.P ' *’ ' ' *’ ' ;.P <=» • » V'O : . < • * 1 1 • • * j J • • • onr ■ r., onr ■ . |C 316

1 q '' r 1 - 'p . r> V- j ' • 1 v • _ ti ::b" lo^l'rnp ..’"a ' f " < • 'F—iy1 r ru ^ T-ir-ru: -■ 7 H1 _ - M< ►'e

, c ° r** Ft , ■ O f I 1 1 Ft Ft , Q

, p-7-"VV An, "r^ / T’o ~r^r^ 'r~T ^ — ■*,<“,r----- '

) _ O Ck

I1 v ■ I r y I TI ft iMp r^^r' ’ . ; rj *

0 ‘ e . : . : ,e ■ ik ^ : :i 1‘ .,, U<1 ■ O t^--—7----— — •ii ' ^ v'

A '•

{ , \ ‘ I : - V- 4 w y f ■ t 1 T o ft

. " ' - . - ■ n : .\ -.i;w .n.we _i- 317 VIT A

James V. Holleran was bom on September 28, 1928, in Ashland, Pennsylvania. He attended elementary school in Ashland, Pennsylvania, and graduated from

St. Joseph*s High School in 1 9 1 4 6 . He received the

B. A. in English and Philosophy from Saint Joseph*s

College, Philadelphia, in 1955 and the M. A. in

E n g lish from the U n iv e rs ity of Notre Dame in 1957*

After a year of teaching at the University of Detroit,

Detroit, Michigan, he entered the Graduate School of

Louisiana State University as a teaching assistant and

"s now a candidate for the degree of Doctor of Philosophy.

318 EXAMINATION AND THESIS REPORT

Candidate: James Vincent Holleran

Major Field: E n glish

Title of Thesis: M inor C h a ra cters in S p en ser 's F a e r ie Queene

Approved:

Majof Inrofessor and Chairman

theJ^fraduate School

EXAMINING COMMITTEE:

Date of Examination:

June 28. 1961