The Faerie Queene, Edmund Spenser
The Faerie Queene Edmund Spenser
This entry represents criticism of Spenser's The Faerie Queene.
Spenser's epic poem The Faerie Queene (1590-96), an allegorical romance designed to glorify Queen Elizabeth I of England, is celebrated as one of the greatest and most important works of English verse. Spenser's aim in writing The Faerie Queene was to create a great national literature for England, equal to the classic epic poems of Homer and Virgil. The Faerie Queene is divided into Books I through VI, each focusing on the adventures of a different hero or heroine and a different virtue, including Holiness, Temperance, Chastity, Friendship, Justice, and Courtesy. To suit his literary purposes, Spenser invented a verse form that has come to be known as the Spenserian stanza. Spenser was celebrated as a great national poet in his lifetime, and has since been recognized as a major influence on later writers, particularly the nineteenth-century Romantic poets. Critics have long recognized The Faerie Queene as an allegorical tale, including within its many subplots a variety of political, social, psychological, and religious allegories. Critics in the twentieth century and beyond have explored other aspects of The Faerie Queene, reading Spenser's representations of political figures, religious conflicts, and national politics in the historical and cultural context of Elizabethan England and the Protestant Reformation. Critics since the 1980s have taken a particular interest in Spenser's depictions of Queen Elizabeth I, offering a variety of analyses of The Faerie Queene concerned with representations of gender and power.
By 1590, Spenser had published a collection of poetry, The Shepheardes Calendar (1579), and a volume of personal correspondence, Three Proper, and Wittie, Familiar Letters (1580), but was not yet considered a major literary figure of the day. In 1588 or 1589 he acquired a large plantation in Kilcolman, Ireland. There, as a minor British official, he became acquainted with the poet Sir Walter Raleigh, a neighboring landowner. Raleigh convinced Spenser to travel with him to London and present to Queen Elizabeth I the completed portions of The Faerie Queene. Spenser and his poetry were well received by the Queen, who approved the publication of Books I, II, and III of The Faerie Queene in 1590. This publication included an appendix reprinting Spenser's letter to Sir Walter Raleigh, in which he explains his original intention in writing The Faerie Queene. Spenser wished to write a specifically English epic poem, thereby creating a great national literature to glorify both England and the Queen. His stated purpose was to emulate the accomplishments of such classic epic writers as Homer and Virgil. In 1591 the Queen rewarded Spenser for his literary success with a small lifetime pension. Books IV, V, and VI of The Faerie Queene were published in 1596. Spenser included a reference to his own marriage to his second wife, Elizabeth Boyle, in Book VI of The Faerie Queene, representing himself as the shepherd Colin Clout (a reference to his earlier, pastoral poetry), who plays his pipes in celebration of the woman he loves. Spenser's allegorical treatment of the political conflicts in Ireland in Book V may have been motivated by his own experiences as a representative of the British monarchy who lived for some twenty years in Ireland. Spenser remained in Ireland until 1598, when an Irish rebellion resulted in the burning of his estate. He then fled to London, carrying official letters about the state of affairs in Ireland, and died soon afterward, in 1599. Spenser's status in England is indicated by his burial in the Poets' Corner of Westminster Abbey, near the grave of Geoffrey Chaucer. Spenser continues to be celebrated as one of England's greatest and most influential poets.
Plot and Major Characters
The Faerie Queene is set in the fictional Faerie Land, ruled by the Queen Gloriana, an allegorical figure for Queen Elizabeth I, representing the quality of Glory. Spenser's original plan for The Faerie Queene was to write twelve books, each narrating the adventures of a different knight and focused on a particular virtue. In the beginning of the epic, these twelve knights were to be gathered at the annual feast of the Faerie Queene, where each was to be assigned a quest. Spenser's intention was to make Prince Arthur, representing the quality of Magnificence, the central character running throughout all twelve books, although critics agree that Arthur's role in the narrative of The Faerie Queene does not fulfill this plan. Scholars confirm that Spenser certainly intended for Gloriana and Arthur to be married in Book XII. By the time of Spenser's death, he had published Books I through VI, and left a fragment that was published posthumously as “The Mutability Cantos” (1609). Many of the same characters and storylines recur throughout The Faerie Queene. This complex narrative scheme is known as intrelacement, or interlacing narratives. Each book within The Faerie Queene is further subdivided into cantos. While the canto was a traditional Italian literary device, Spenser was the first English poet to use it effectively. For his epic tale, Spenser invented his own stanza form, now known as the Spenserian stanza. It consists of nine iambic lines, the first eight lines having five stresses each and the last line having six stresses. The rhyme pattern of the Spenserian stanza is ababbcbcc. The slow build-up created by this arrangement of lines, leading up to the final line, has been described as that of a wave swelling and breaking onto shore. The hero of Book I is the Red Cross Knight, also referred to as St. George, the patron saint of England. During the course of his adventures, the Red Cross Knight acquires the virtue of Holiness. Una, a young woman, travels to the court of the Faerie Queene to ask for help in defeating a dragon that threatens her parents. Una there obtains the aid of the Red Cross Knight. Temporarily held captive by the villainess Duessa, the Red Cross Knight is rescued by King Arthur and goes on to defeat the dragon. At the end of Book I, Una and the Red Cross Knight are married. Book II features the hero Guyon, who represents the virtue of Temperance. After being rescued by Arthur, Guyon travels to the Bower of Bliss, a garden of delight representing the temptations of sensual pleasure. There, Guyon defeats the villainess Acrasia, who seduces men and turns them into beasts. Book III tells of the adventures of Britomart, a female knight, who represents the virtue of Chastity. Britomart has seen an image in a magic mirror of Artegall, the knight who is destined to be her beloved. She has also been told by Merlin that England will one day be ruled by her descendents. Thus, Britomart is on a quest to find Artegall, whom she has never met. Skilled in the art of battle, Britomart rescues the Red Cross Knight from a villain and goes on to rescue Amoret, a young bride held prisoner in a castle. Book IV concerns the virtue of Friendship, exemplified by the characters Cambel and Triamond. Critics have noted, however, that these two friends and the theme of friendship are not actually central to the actions related in Book IV. Rather, the continued adventures of Britomart and other secondary characters occupy the central narrative of this book. During a tournament, Britomart, disguised as a man, defeats the knight Artegall. Later, Artegall wins over Britomart in a fight, but when he discovers that she is a woman, the two fall immediately in love. Artegall is the hero of Book V, known as the Book of Justice. He sets out on a quest to rescue Irena from the villain Grantorto. In the course of his adventures, Artegall is held captive by Radigund, a villainous Amazonian queen who is in love with him. When Britomart learns of his imprisonment, she rescues Artegall by defeating Radigund in a fight and cutting off her head. In Book VI, the hero, Calidore, demonstrates the virtue of Courtesy. Calidore goes on a quest to subdue the Blatant Beast. Along the way, he falls in love with and becomes engaged to Pastorella, a shepherd girl. When Pastorella is abducted and held captive on an island by a band of outlaws, Calidore rescues her. He then goes on to subdue the Blatant Beast. “The Mutability Cantos” include two cantos of what critics sometimes refer to as Book VII. The tale related in these cantos concerns the goddess Mutability, who rebels against the rule of Jove and wreaks havoc on the universe. For her offense, Mutability is put on trial in a court over which the goddess Nature presides as judge. During this trial, the status of Mutability (the force of change) in the universe is debated among the gods.
The major themes of The Faerie Queene may be determined by the subject of each of the six books: Holiness, Temperance, Chastity, Friendship, Justice, and Courtesy. These themes are expressed through the allegorical meanings of the many plots and subplots in The Faerie Queene. Critics have seen in Spenser's epic poem a variety of types of allegory, including social, political, historical, religious, moral, philosophical, and psychological. Allegorical meanings and thematic focus within the six books of the Faerie Queene are in part a matter of interpretation and therefore tend to vary with any given critic. However, there are some generally accepted interpretations. Both religious and political allegory are central to the long, complex plot structure and diverse characterization of The Faerie Queene. The Faerie Queene is understood to be a political allegory concerning the domestic and international status of Elizabethan England. Spenser explicitly stated that both the Faerie Queene and Britomart represent Queen Elizabeth I. Critics have concluded that several other female characters within the story, for example Una and Belphoebe, also stand as allegorical figures for the Queen. Specific historical events and political circumstances during the reign of Queen Elizabeth I are thus addressed through Spenser's use of allegory. Book V is understood as an allegory about the conflict in Ireland between the forces of British rule and various rebellious local factions. Artegall's quest to rescue Irena from the clutches of Grantorto represents England's efforts to wrest Ireland from the sway of Catholicism. The political turmoil surrounding Mary Stuart (also known as Mary Queen of Scots) is represented through the characters Radigund and Duessa; the trial and execution of Duessa on charges of conspiracy in Book V is thus an allegory for the fate of Mary Stuart under the rule of Elizabeth I. The relationship between Elizabeth I and Sir Walter Ralegh, a poet, political figure, and one-time favorite of the Queen, is allegorically represented in the relationship between Belphoebe and Timias, who appear in Books III and V. The Faerie Queene also includes major elements of religious allegory. Book I is generally interpreted as a religious allegory concerning the split between the Catholic Church and the Church of England during the era of the English Reformation. The adventures of the Red Cross Knight are an allegory for the struggle of the individual between the forces of sin and holiness, as well as the struggles of England to assert itself as a Protestant nation against the threat of Catholic countries, particularly Spain. In the course of Book I, The Red Cross Knight moves from the House of Pride, a den of sin, to the House of Holiness, where his Christian virtues are revitalized. The religious allegory of Book I may additionally be seen in the designation of Una's parents as the King and Queen of Eden (Adam and Eve), whose home is under the thrall of a dragon, representing Satan. Critics have further interpreted Una as representative of the Church of England and the Red Cross Knight as the nation of England. Thus, their union at the end of Book I is an allegory for the union of the Anglican Church with the English monarchy and citizenry. Other major religious themes addressed in The Faerie Queene may be seen in Book II, in which the hero must learn to overcome the temptations of sensual pleasure and excess in order to develop the virtue of Temperance, or moderation and restraint. The theme of Chastity in Book III centers on the hero Britomart. Britomart's chastity may be interpreted not in terms of the modern sense of chastity as sexual abstinence, since Britomart does fall in love during the course of her adventures, but chastity as a more general moral purity as well as social and religious virtue. The Faerie Queene additionally addresses themes of social virtue on the part of the individual through the focus of Book IV on the virtue of Friendship and Book VI on the virtue of Courtesy. For example, the Blatant Beast in Book VI represents the maliciousness of false appearances and public slander. Spenser explicitly stated in his letter accompanying the first published edition of The Faerie Queene that he wished through this tale to improve the social graces of the reader, “to fashion a gentleman or noble person in virtuous and gentle discipline.” This statement indicates that Spenser's tale is in part concerned with the theme of proper social behavior among individuals in society. “The Mutability Cantos” address the theme of change, transformation, and decay as a natural force in the universe. Spenser here concludes that all change is a part of God's larger plan, and must be accepted as a natural element of life.
Upon initial publication, The Faerie Queene was recognized by both the Queen of England and prominent literary figures of the day as the greatest work of English verse to be written by a poet of Spenser's generation. Over the centuries since Spenser's death, critical response to The Faerie Queene has varied. Certainly, Spenser has exerted tremendous influence over generations of poets and has rightly been called “a poet's poet.” Spenser was recognized as an important influence on major English poets of the seventeenth century, most notably John Milton. Spenser's tremendous influence on writers of the eighteenth century is indicated by the countless imitations of The Faerie Queene to be produced by a broad range of poets throughout that century. In the nineteenth century, critics generally dismissed The Faerie Queene, criticizing Spenser for his didactic use of moral and religious allegory. For the Romantic poets of the nineteenth century, however, Spenser's influence was crucial. All of the major English Romantic poets considered Spenser a primary influence on their writing, including William Wordsworth, Samuel Tayler Coleridge, John Keats, Percy Bysshe Shelley, and Lord Byron. These poets regarded Spenser as an inspiration and model, admiring his poetic form, particularly the Spenserian stanza, use of language, and rich sensual imagery, as well as his use of the traditional romantic epic style in medieval fantasy settings. By the beginning of the twentieth century, Spenser's The Faerie Queene was less influential, but drew increasing interest from literary scholars. Between the 1950s and the 1970s, scholars of the New Criticism devoted much critical attention to Spenser's The Faerie Queene. These critics focused on close analysis of formal elements of Spenser's epic poem, a type of analysis to which The Faerie Queene readily lends itself. Beginning in the 1980s, critical response to The Faerie Queene has been informed by theoretical developments such as post-structuralism and cultural criticism. Current approaches to Spenser include semiotics, Marxist cultural theory, feminist criticism, and the New Historicism. Critics have increasingly interpreted Spenser's epic within the cultural and historical context of Elizabethan England during the era of the English Protestant Reformation. During the past couple of decades, critics have taken a particular interest in analyzing Spenser's representations of Queen Elizabeth I in terms of the dynamics of gender and power in Elizabethan England.
The Shepheardes Calendar: Conteyning Twelve Æglogues Proportionable to the Twelve Monethes 1579
*The Faerie Queene, Disposed into Twelve Bookes Fashioning XII Morall Vertues [Books I-III] 1590
Complaints: Containing Sundrie Small Poemes of the Worlds Vanitie 1591
Amoretti and Epithalamion 1595
Colin Clouts Come Home Againe 1595
†The Faerie Queene, Disposed into Twelve Bookes Fashioning XII Moral Vertues: The Second Part of the Faerie Queene, Containing the Fourth, Fifth, and Sixth Bookes 1596
Fowre Hymnes 1596
Prothalamion; or, A Spousall Verse 1596
‡Three Proper, and Wittie, Familiar Letters Lately Passed between Two Universitie Men: Touching the Earthquake in Aprill Last, and Our English Reformed Versifying (letters) 1580
The Works of Edmund Spenser: A Varorium Edition [11 vols.] (poetry and prose) 1932-57
*This work was not published in its entirety until 1609, when the two “Cantos of Mutabilitie” were added.
†This work includes a revision of the earlier The Faerie Queene, Disposed into Twelve Bookes Fashioning XII Morall Vertues [Books I-III]
‡This work also includes letters written by Gabriel Harvey.
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SOURCE: Hughes, John. “Remarks on The Fairy Queen.” In Spenser's Critics: Changing Currents in Literary Taste, edited by William R. Mueller, pp. 18-27. New York: Syracuse University Press, 1959.
[In the following excerpt, originally published in 1715, Hughes points out significant flaws in The Faerie Queene but also demonstrates its beauty.]
The chief Merit of this Poem consists in that surprizing Vein of fabulous Invention, which runs thro it, and enriches it every where with Imagery and Descriptions more than we meet with in any other modern Poem. The Author seems to be possess'd of a kind of Poetical Magick; and the Figures he calls up to our View rise so thick upon us, that we are at once pleased and distracted by the exhaustless Variety of them; so that his Faults may in a manner be imputed to his Excellencies: His Abundance betrays him into Excess, and his Judgment is overborne by the Torrent of his Imagination.
That which seems the most liable to Exception in this Work, is the Model of it, and the Choice the Author has made of so romantick a Story. The several Books appear rather like so many several Poems, than one entire Fable: Each of them has its peculiar Knight, and is independent of the rest; and tho some of the Persons make their Appearance in different Books, yet this has very little Effect in connecting them. Prince Arthur is indeed the principal...
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SOURCE: Lewis, C. S. “The Faerie Queene.” In Spenser's Critics: Changing Currents in Literary Taste, edited by William R. Mueller, pp. 206-32. New York: Syracuse University Press, 1959.
[In the following excerpt, originally published in 1936, Lewis discusses the various levels of moral and philosophical allegory in The Faerie Queene.]
Let us return to the Knight and the Lady in the opening stanzas [of The Faerie Queene.] The knight has a red cross on a silver shield; the lady is leading a lamb. The lamb has puzzled many readers; but we now know1 that it had a real function in earlier versions of the legend of St. George, and (what is much more important) we know that the lady was commonly represented leading her lamb in the pageants of St. George and the dragon. In other words, the two figures which meet us at the beginning of The Faerie Queene were instantly recognized by Spenser's first readers, and were clothed for them not in literary or courtly associations, but in popular, homely, patriotic associations. They spoke immediately to what was most universal and childlike in gentle and simple alike. This at once suggests an aspect of Spenser's poetry which it will be fatal for us to neglect, and which is abundantly illustrated in the First Book. The angels who sing at Una's wedding probably come from the same pageant source as the lamb.2 The well in which...
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SOURCE: Bradner, Leicester. “The Narrative Poet (Faerie Queene, III-V).” In Edmund Spenser and The Faerie Queene, pp. 70-103. Chicago: University of Chicago Press, 1948.
[In the following excerpt, Bradner provides an overview of the multiple storylines and the central themes in Books III, IV, and V of The Faerie Queene.]
When Gabriel Harvey read the specimen of the Faerie Queene sent him by Spenser in 1580, he could not decide what kind of work it was. In his perplexity he resorted to a characteristically sixteenth-century simile. He said it was “Hobgoblin run away with the garland from Apollo.” It is very unlikely that he saw what is now Book I; in fact, his second comment, that Spenser seemed to be trying to outdo Ariosto, the most amusing of Renaissance poets, points rather clearly to an early version of some part of Book III or Book IV. The implications of the whole passage on the poem in Harvey's letter are fascinating but must not now detain us. The essential facts which come out of it are that the work was even then called the Faerie Queene (and therefore aimed at Queen Elizabeth as a patron), that it was an imitation of Ariosto, and that it was not sufficiently dignified and classical. The combination of Hobgoblin with Apollo suggests that mixture of medieval romance with classical myth which is so characteristic of the completed poem as we have it.
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SOURCE: Parker, M. Pauline. “Justice and Equity.” In The Allegory of The Faerie Queene, pp. 202-27. Oxford: Clarendon Press, 1960.
[In the following excerpt, Parker discusses Book V of The Faerie Queene as an allegory about justice and equity.]
Book Five of The Faerie Queen belongs on the whole, to the knight it is assigned to, Artegall; a severe figure, of character akin to Guyon's, but lacking the sweetness which is one of Guyon's qualities. Was Spenser simply writing as a psychologist, or should we read an allegorical significance into Britomart's lack of sure confidence in Artegall's fidelity? As a theologian, the poet might have remembered that justice was precisely the virtue specially attacked by the original sin of man; and he may well have thought it the one most to seek in human, social, political, relations as he knew them by experience. It is true also that Artegall shadows Lord Grey of Wilton, and that Lord Grey was credited with an early sympathy for Mary Queen of Scots, which is figured in Artegall's captivity to Radigund.1 In the whole of this book the historical allegory is much more evident and continuous than in any of the others, thus of course influencing the course of the story. Yet, allowing for this, and in spite of Talus, Artegall appears less strong in his aim, less single-minded in his purpose, than Guyon is. Were it not for Britomart he would not...
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SOURCE: Bednarz, James P. “Ralegh in Spenser's Historical Allegory.” In Spenser Studies: A Renaissance Poetry Annual, Vol. 4, edited by Patrick Cullen and Thomas P. Roche, Jr., pp. 49-70. New York: AMS Press, 1984.
[In the following essay, Bednarz discusses the historical context of The Faerie Queene and focuses on representations of the relationship between Queen Elizabeth I and Sir Walter Raleigh in the poem.]
The allegory of Timias and Belphoebe in The Faerie Queene documents two distinct periods in the ongoing relationship between Sir Walter Ralegh and Queen Elizabeth. The first describes an early era of mixed fortune in which Ralegh's preeminence was being undermined by the earl of Essex, and the second alludes to a later time of disgrace, occasioned by his clandestine marriage to Elizabeth Throckmorton in 1592. The 1590 and 1596 installments of The Faerie Queene, considered together, trace a historical pattern that moves from Ralegh's participation in the quelling of the Desmond Rebellion, through which he gained the queen's attention, to their first meeting, his rejection, and later reconciliation with her. The 1590 edition of the poem shows Ralegh engaged in acts of war (III.v.12-26) and love (III.v.27-55). The 1596 sequel continues this allegory, but shifts its interest to the more pressing issue of whether or not Ralegh had broken faith with the queen by violating her...
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SOURCE: Benson, Pamela Joseph. “Rule, Virginia: Protestant Theories of Female Regiment in The Faerie Queene.” English Literary Renaissance 15, no. 3 (autumn 1985): 277-92.
[In the following essay, Benson discusses Spenser's depiction of female monarchy in Books III and V of The Faerie Queene noting what it reflects about Spenser's own attitude toward Elizabeth I.]
Elizabeth I's sex posed a problem for Edmund Spenser in his attempt to praise her in The Faerie Queene. Her unmarried state and chastity offered opportunities for enthusiastic praise of her personal virtue, but her sex itself was an obstacle to his celebration of her public character as a ruler because the natural right of women to rule was not universally accepted in Elizabethan England. Spenser's two major treatments of this controversial issue seem to contradict each other. Book III is dedicated to epic praise of the Queen's ancestry and a pair of encomia of her celebrate great women of the past (ii.1-3, iv.1-3). In Book V Britomart deposes the Amazon queen Radigund and installs a male ruler. These passages generally are not examined together because of the tendency of critics to work with single books or with either the first three or the second three books. Those who have worked on Book III see it as pro-feminist, those who have discussed Book V have seen it as extremely conservative. The distance between the...
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SOURCE: Panja, Shormishtha. “A Self-Reflexive Parable of Narration: The Faerie Queene VI.” Journal of Narrative Technique 15, no. 3 (fall 1985): 277-88.
[In the following essay, Panja applies structuralist and poststructuralist critical theories to an analysis of Spenser's narrative in Book VI of The Faerie Queene, emphasizing how the text of the poem comments on itself and on the nature of storytelling.]
The charm of applying structuralist and post-structuralist narratology to a “classic” text like Spenser's The Faerie Queene lies not only in the confidence of sounding modish and polemical; today scholars and critics have the freedom to analyze certain “occurences” in the text and admit that they do not have to be wound into a watertight, perfectly closed argument. Critics can present it “like it is” and admit that they are occasionally baffled. Not only that, they can thereby avoid the pitfall of an easy and fallacious attribution of excessive unity to a text that has little intention of having it. This does not mean that twentieth-century narratology is a boon to the lazy critic. On the contrary. As soon as critical closure ceases to be of prime importance, he may discover worlds upon worlds of knowledge opening before his eyes; no longer does his study have to remain exclusively historical or textual or generic.
In this paper I shall be...
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SOURCE: Imbrie, Ann E. “‘Playing Legerdemaine with the Scripture’: Parodic Sermons in The Faerie Queene.” English Literary Renaissance 17, no. 2 (spring 1987): 142-55.
[In the following essay, Imbrie discusses the characters in The Faerie Queene who emerge as “false preachers,” delivering sermons that represent perversions of biblical rhetoric.]
Guyon's encounter with Mammon, however we judge his success in that episode from Book II of The Faerie Queene, has long been recognized as a parody of Christ's temptation in the wilderness. Patrick Cullen has discovered a similar scriptural parody in Redcrosse's encounter with Despayre in Book I.1 In fact, the poet frequently shows an evil character producing holy witness with a smiling cheek in order to dissuade a hero from moral action. It is not surprising that Spenser's villains will often pervert rhetorical power, even language itself, to evil ends; this is a fairly standard means of characterizing evil, familiar to all readers of such Renaissance figures as Iago, Cassius, or Milton's Satan. That the language of Spenser's villains is so often biblical, however, casts these characters much more specifically. They are not simply false rhetoricians, but rather false preachers. Such characters as Despayre, Phaedria, and the Giant with the Scales deliver parodic sermons on biblical texts, and their speeches register...
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SOURCE: Quilligan, Maureen. “The Comedy of Female Authority in The Faerie Queene.” English Literary Renaissance 17, no. 2 (spring 1987): 156-71.
[In the following essay, Quilligan discusses Spenser's use of humor in writing about Queen Elizabeth I in The Faerie Queene.]
Basing his argument on Anthony Munday's recasting of an Italian play acted before Queen Elizabeth in 1585, Albert Baugh reasoned some time ago that “it would seem the Queen's taste was for the braggadocchio of Captain Crackstone, who adds malapropism to his other absurdities of the miles gloriosus.”1 Baugh's shrewd guess not only shows how Spenser's coinages have entered the language, but also supports the notion that Spenser's decision to present Belphoebe on her first appearance in The Faerie Queene in the company of Braggadocchio and Trompart may owe something to his sense of what the Queen might herself have found amusing. If she liked to laugh at braggadocio captains—a taste further exhibited by her affection for Falstaff—the conspicuously irrelevant scene of Book II, canto iii may have been a subtle hint that Spenser deliberately aimed to please by shadowing his dread sovereign's chastity and womanly beauty in the figure of Belphoebe.2
Readers' responses are generically central to allegory, and the response of Elizabeth, Spenser's first reader and the imperial dedicatrix...
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SOURCE: Mallette, Richard. “The Protestant Art of Preaching in Book One of The Faerie Queene.” Spenser Studies: A Renaissance Poetry Annual, Vol. 7, edited by Patrick Cullen and Thomas P. Roche, Jr., pp. 3-25. New York: AMS Press, 1987.
[In the following essay, Mallette examines Book I of The Faerie Queene in the context of English Reformation ideas about Protestant preachers and preaching.]
At a privotal point in Spenser's Legend of Holiness, with Redcross cast into Orgoglio's dungeon and Una's spirits languishing, Arthur makes his ceremonious entrance into the poem. The scene in which he consoles Una and volunteers as her champion deserves closer attention than it has usually received, because the method Arthur employs “in saving Una from despair” (to quote a recent editor)1 is firmly bound to Reformation ideas about the role of the preacher in the Protestant ordo salutis. The scene can therefore serve as the gateway to the wider implications of the art of preaching in Book One. More broadly speaking, I would like to demonstrate how an awareness of English Reformation homiletics casts a bright light on a signal dimension of the Book's artistry, how Spenser's preoccupation with “words of wondrous might” (I. x. 24) merges with the Protestant preacher's mindfulness of “how we heare Gods word, that it may be effectual to our salvation.”2...
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SOURCE: Bowman, Mary R. “‘She there as Princess rained’: Spenser's Figure of Elizabeth.” Renaissance Quarterly 43, no. 3 (autumn 1990): 509-28.
[In the following essay, Bowman discusses Spenser's treatment of Queen Elizabeth I in Book V of The Faerie Queene.]
“The woman who has the prerogative of a goddess, who is authorized to be out of place, can best justify her authority by putting other women in their places”: so concludes Louis Montrose with equal reference to Raleigh's vision of Elizabeth in the Discovery of Guiana and Spenser's reflection of her in Britomart in the Radigund episode in the fifth book of The Faerie Queene.1 In the case of Spenser at least that conclusion is an insightful one, suggesting that Britomart's actions can in part be explained in terms of the political and ideological constraints faced by the queen. It is an insight that I hope to pursue in this essay, for I find it leads to a better understanding of a rather bewildering episode.
On a simple narrative level, of course, the episode is straightforward enough: Artegall leaves Britomart, shortly after the two are betrothed, to continue on his mission; on the way, he encounters Radigund and her woman-ruled city of Radegone, where he loses a joust with her. While she keeps him imprisoned and dressed in women's clothing, and gradually falls in love with him, his servant Talus...
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SOURCE: Stump, Donald V. “The Two Deaths of Mary Stuart: Historical Allegory in Spenser's Book of Justice.” Spenser Studies: A Renaissance Poetry Annual, Vol. 9, edited by Patrick Cullen and Thomas P. Roche, Jr., pp. 81-105. New York: AMS Press, 1991.
[In the following essay, Stump discusses the role of Mary Stuart (also known as Mary Queen of Scots) in Book V of The Faerie Queene.]
Scholars seem to have reached a consensus on Spenser's treatment of Mary Queen of Scots in Book V of The Faerie Queene. The prevailing view is that she is represented twice: first as Radigund in Cantos iv-vii and then again as Duessa in Cantos ix-x.1 This is, I think, a useful insight. As it has usually been presented, however, the theory leads to at least one embarrassment: it requires Mary to die twice, once when Britomart cleaves her helmet in Canto vii and again when Mercilla sends her to be executed after Canto ix. It seems bizarre that Spenser should present the death of Mary in some detail and then, only two cantos later, circle back to the same event all over again. The problem is further compounded by major discrepancies between the two accounts. In Canto vii the character representing Queen Elizabeth is seeking revenge and strikes furiously:
The wrothful Britonesse Stayd not, till she came to her selfe...
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SOURCE: Walker, Julia M. “Spenser's Elizabeth Portrait and the Fiction of Dynastic Epic.” Modern Philology 90, no. 2 (November 1992): 172-99.
[In the following essay, Walker discusses Spenser's exposition of Queen Elizabeth I and her royal lineage through the epic narrative of The Faerie Queene.]
Suggesting that the royal houses of Renaissance Europe were “consciously … intensifying the mystique of monarchy” because rulers were “assuming more and more of a messianic role in an age which had witnessed the breakdown of the universal church and the shattering of the old cosmology,” Roy Strong argues for the consequent importance of images of the monarch.1 Recent work on the “Siena/Sieve” portrait and the “Rainbow” portrait has established in impressive detail just how true this intensification had become for court artists in the last years of Elizabeth's reign.2 Strong's assertion, I will argue, also holds true for the work of Edmund Spenser as he produced perhaps the greatest portrait of Elizabeth's reign: Britomart in The Faerie Queene. Spenser's Elizabeth portrait surpasses all the painted panels, however richly encoded with meanings, because through the force of epic narrative it can present a changing image, one confronted by physical and political realities and altered by those confrontations. Because the changing portrait of ink on paper is linear,...
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SOURCE: Fruen, Jeffrey P. “The Faery Queen Unveiled? Five Glimpses of Gloriana.” In Spenser Studies: A Renaissance Poetry Annual, Vol. 11; edited by Patrick Cullen and Thomas P. Roche, Jr., pp. 53-88. New York: AMS Press, 1994.
[In the following essay, Fruen discusses the place and significance of Queen Elizabeth I in the allgorical scheme of The Faerie Queene.]
In a previous essay I argued that Gloriana, despite appearances to the contrary, is indeed to be regarded as the unifying “argument” (I.Pr.4) of Spenser's narrative, her pivotal importance being obscured only by the “couert vele” (II.Pr.5) of an autonomous but quasi-biblical typology.1 The question of her allegorical significance I left at that time for later consideration, and a comprehensive treatment I must still postpone, but the preliminary observations that follow point clearly, I think, to a decisive answer. For in what little Spenser does tell us about his elusive heroine we get at least five glimpses of an allegorical characterization that well befits both the poem's “generall end” of “fashion[ing] a gentleman or noble person in vertuous and gentle discipline” (“Letter to Raleigh”) and the scripture-like manner in which its title character is presented.
I. GLORIANA, WISDOM, AND THE ZURICH LATIN BIBLE
Naseeb Shaheen has all but exhaustively cataloged the wealth...
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SOURCE: Hadfield, Andrew. “Another Look at Serena and Irena.” Irish University Review 26, no. 2 (autumn-winter 1996): 291-302.
[In the following essay, Hadfield explores the characterizations of Irena and Serena in The Faerie Queene in relation to Queen Elizabeth I and to Spenser's general attitude toward women.]
There has been much recent criticism of The Faerie Queene which has concentrated on Spenser's representation of gender. Sheila Cavanagh's attack on Spenser's misogyny and his masculinisation of concepts of virtue has been countered by Pamela Joseph Benson and Lauren Silberman, who have argued that Spenser was, in fact, a proto-feminist, keen to challenge the hierarchical assumptions underpinning gender roles.1 Interestingly enough, the arguments of all three critics include most of the obviously eroticised women in the poem—Britomart, Amoret, Belphoebe, Florimell, Radigund. With the exception of Benson, they are more concerned with an understanding of sexual politics as a politicisation of sexual relations rather than the sexualisation of wider or more formal political relations. One should have no particular problem with this emphasis, as such an enterprise is long overdue; however, it is noticeable that in their readings of the poem, Benson, Silberman and Cavanagh pay little attention to the figures of Irena and Serena, or the very deliberate portrayal of...
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SOURCE: Stump, Donald. “A Slow Return to Eden: Spenser on Women's Rule.” English Literary Renaissance 29, no. 3 (autumn 1999): 401-21.
[In the following essay, Stump focuses on Spenser's perception of Queen Elizabeth I as a female monarch of the English Reformation in Books III and V of The Faerie Queene.]
A number of recent studies of gender roles in The Faerie Queene have concentrated on what has been perceived as the narrator's shifting (and perhaps shifty) appraisal of women's ability to rule.1 In Book III, the narrator suggests that women are at least as capable as men in “warlike armes,” the “artes,” and “pollicy”—which are, of course, the principal areas in which a Renaissance prince was expected to excel (ii.2).2 In Book V, however, the narrator seems to retreat from the conclusion implicit in his earlier claims, saying of women that “wise Nature did them strongly bynd, / T'obay the heasts of mans well ruling hand” (v.25).
Although the apparent shift in the poet's attitude has been the subject of a good deal of critical debate, little has been resolved. Some scholars (best represented by Susanne Woods) see an outright contradiction between the two books, although perhaps one that is part of an intentional dialectic with the reader.3 Others argue that, by and large, Spenser takes a consistent stand on the issue,...
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SOURCE: Mazzola, Elizabeth. “‘O unityng confounding’: Elizabeth I, Mary Stuart, and the Matrix of Renaissance Gender.” Exemplaria 12, no. 2 (fall 2000): 385-416.
[In the following essay, Mazzola discusses the portrayals of Queen Elizabeth I and Mary Stuart (also known as Mary Queen of Scots) in Spenser's The Faerie Queene and Shakespeare's King Lear in terms of gender discourse in Renaissance poetry.]
For almost two decades in the sixteenth century, a specter haunted England. The twisted shape of twin queens, the closely linked bodies of Elizabeth I and her cousin Mary Stuart, aroused a range of fears and hopes, some secret, some openly expressed, and a variety of speculations political, psychological, or biological. To be sure, bodies are as much the stuff of fiction as they are the hard material of history; if their limits and cavities are easily detected or quickly registered through sensation, their opacities always remain hypothetical. But the bodies of Elizabeth and Mary were especially subject to such imaginings, for in and around their bodies were invested pressing concerns about royal succession and Protestant reform. My argument is that the specter of twin queens not only provoked those anxieties but occasionally relieved them, in the process giving rise to a spectacular network of royal spies and tutors, guards and executioners. We should see Shakespeare and Spenser as...
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Bellamy, Elizabeth J. “The Vocative and the Vocational: The Unreadability of Elizabeth in The Faerie Queene.” ELH 54, no. 1 (spring 1987): 1-30.
Analyzes Spenser's representation of Queen Elizabeth I in The Faerie Queene.
Boehrer, Bruce Thomas. “‘Carelesse Modestee’: Chastity as Politics in Book 3 of The Faerie Queene.” ELH 55, no. 3 (fall 1988): 555-73.
Discusses Spenser's representation of Queen Elizabeth I in The Faerie Queene in relation to the virtue of Chastity.
Broaddus, James W. “Renaissance Psychology and Britomart's Adventures in Faerie Queene III.” English Literary Renaissance 17, no. 2 (spring 1987): 186-206.
Analyzes Book III of The Faerie Queene in terms of sixteenth-century ideas about human psychology and the moving forces of history.
Burchmore, David W. “The Unfolding of Britomart: Mythic Iconography in The Faerie Queene.” Renaissance Papers 1977, edited by Dennis G. Donovan and A. Leigh Deneef, pp. 11-20. Durham, N.C.: Southeastern Renaissance Conference, 1977.
Discusses Spenser's treatment of the virtue of Chastity in The Faerie Queene.
Christian, Margaret. “‘The ground of Storie’: Genealogy in The Faerie Queene.” In Spenser...
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