Academic literature on the topic 'Knight Miscellany Book II'

전양선. "Allegorical Reading of Guyon: The Knight of Temperance in The Faerie Queene, Book II." Journal of Classic and English Renaissance Literature 25, no. 1 (2016): 57–79. http://dx.doi.org/10.17259/jcerl.2016.25.1.57.

Fisher, James R. "Signs and Seasons in Edmund Spenser's Fairie Queene." Journal of Interdisciplinary Studies 5, no. 1 (1993): 57–76. http://dx.doi.org/10.5840/jis199351/25.

Fisher, James R. "Signs and Seasons in Edmund Spenser's Fairie Queene." Journal of Interdisciplinary Studies 5, no. 1 (1993): 57–76. http://dx.doi.org/10.5840/jis199351/25.

Kazantseva, T. G. "THE MISCELLANY OF SONGS FROM THE OLD BELIEVERS-STRANNIKI (WANDERERS) LIBRARY IN A NUMBER OF POMORIAN OBIKHODS." Proceedings of SPSTL SB RAS, no. 4 (January 24, 2021): 17–30. http://dx.doi.org/10.20913/2618-7575-2020-4-17-30.

KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 72, no. 1-2 (1998): 125–99. http://dx.doi.org/10.1163/13822373-90002604.

TYBJERG, KARIN. "J. LENNART BERGGREN and ALEXANDER JONES, Ptolemy'sGeography: An Annotated Translation of the Theoretical Chapters. Princeton and Oxford: Princeton University Press, 2000. Pp. xiii+192. ISBN 0-691-01042-0. £24.95, $39.50 (hardback)." British Journal for the History of Science 37, no. 2 (2004): 193–96. http://dx.doi.org/10.1017/s0007087404215813.

Noonan, Will. "On Reviewing Don Quixote." M/C Journal 8, no. 5 (2005). http://dx.doi.org/10.5204/mcj.2415.

Foley, Gaelen. Lie huo jue ye. Guo shu chu ban she you xian gong si, 2007.

Spenser, Edmund. The Elfin knight: Edmund Spenser's The faerie queene, book II. Canon Press, 2010.

Davis, Parker A., ed. All of Wizardry II - Wizardy II: Knight of Diamonds, The Second Scenario. ASCII Entertainment Software, Inc., 1992.

Inc, Game Counselor. Game Counselor's Answer Book for Nintendo Players. Microsoft Pr, 1991.

Prima. Official Sega Genesis: Power Tips Book, Volume 3. Prima Publishing, 1994.

DeMaria, Rusel, and Tom Stratton. Sega Genesis Secrets, Volume 6. Prima Publishing, 1994.

Tom, Badgett, ed. Ultimate Unauthorized Nintendo Classic Game Strategies. 2nd ed. Bantam Books, 1992.

Tom, Badgett, ed. Ultimate Unauthorized Nintendo Classic Game Strategies. Bantam Books, 1991.

Arnold, J. Douglas, and Zach Metson. Awesome Sega Genesis Secrets 4. Sandwich Islands Publishing, 1994.

Tom, Badgett, ed. Ultimate unauthorized Nintendo game strategies: Winning Strategies for 100 Top Games. Bantam Books, 1989.

Taylor, Andrew. "The Chivalric Miscellany." In Insular Books. British Academy, 2015. http://dx.doi.org/10.5871/bacad/9780197265833.003.0008.

"How the captains García de Alvarado and Saucedo went to ask Cristóbal de Sotelo to pardon the soldiers he had in prison, and of their fate; and of what else happened until García de Alvarado killed the good knight Cristóbal de Sotelo." In Civil Wars of Peru, by Pedro de Cieza de León (Part IV, Book II): The War of Chupas. Hakluyt Society, 2017. http://dx.doi.org/10.4324/9781315572291-64.

"understanding its allegory. In an influential essay, his quest. The two related moments when reason is first published in 1949, Woodhouse argues that overcome by amazement or wonder become turning-Book I moves with reference to the order of grace points in the narrative. The first is when Guyon is and Book II to the order of nature: ‘whereas what unable to cleanse Amavia’s bloody-handed babe in touches the Redcross Knight bears primarily upon the waters of the fountain: ‘The which him into revealed religion, or belongs to the order of grace, great amaz’ment droue, | And into diuerse doubt his whatever touches Guyon bears upon natural ethics, wauering wonder cloue’ (ii 3.8–9). He continues in or belongs to the order of nature’ (204). While Book this state until the Palmer offers ‘goodly reason’ by I draws primarily on the Bible and Book II on class-telling him a tale about its pure waters. The second ical texts, they are not isolated within the two orders. is when Arthur’s sword fails to kill Maleger: ‘His In the second canto, for example, the opening wonder far exceeded reasons reach, | That he began tableau of Medina and her sisters relates to the to doubt his dazeled sight, | And oft of error did him Aristotelian concept of temperance as the mean selfe appeach’ (xi 40.1–3). He continues in this state between the extremes of excess and defect (see II i until he recalls the tale of Hercules slaying Antaeus, 58, ii 13.7–9n), the confused battle between Guyon whereupon he is able to slay Maleger by casting him and the suitors that follows relates to the Platonic into ‘a standing lake’. The prominence given won-concept of temperance as the struggle between the der, here and elsewhere, suggests that Book II, and rational part of the soul (Guyon) and the irrational the whole poem, may be a critique of reason, as (the latter being divided into the irascible Huddibras N. Davis 1999:75–120 argues. and the concupiscent Sansloy), and their final recon-ciliation at a feast relates to the Christian humanist concept of the virtue implicit in Milton’s remark: Chastity: Book III." In Spenser: The Faerie Queene. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-30.

"virtues in his poem, the New Historical critics con-Spenser criticism’ (Berger 1998:181). Yet it has also sider how the poem was fashioned by his culture and allowed them to appreciate Virginia Woolf ’s percept-also how its readers today are fashioned by their iveness in calling Spenser a feminist; see III ii 1–3n. culture; see Hamilton 1995:374–75. A seminal essay For example, Quilligan 1983:38–40 suggests that is Stephen Greenblatt’s ‘To Fashion a Gentleman: the reader who is being fashioned by the poem may be Spenser and the Destruction of the Bower of Bliss’, female, its first reader being Elizabeth; and Wofford in Renaissance Self-Fashioning (1980). To illustrate 1988:6–7 claims that the female reader especially is that Spenser is one of the first English writers with ‘a privileged in Book III. (Their claim is contested by field theory of culture’, he argues that Guyon’s D.L. Miller 1988:217–18, and Gregerson1995:124.) destruction of the Bower invites us ‘to experience On the role of gender in earlier Spenser criticism, the ontogeny of our culture’s violent resistance to see Cohee 2000; on the effect of female authority a sensuous release for which it nevertheless yearns on Spenser’s use of the romance genre, especially in with a new intensity’ (175). As a cultural critic, Books III and IV, see Eggert 2000a:22–37; and on he relates Guyon’s act to ‘the European response to the relation between romance’s rapture and rape, see the native cultures of the New World, the English Eggert 2000b. colonial struggle in Ireland, and the Reformation As one who treats the relation between the sexes attack on images’ (179), but not to the one that in singing ‘of Knights and Ladies gentle deeds’, Book II offers: the knight of temperance is avenging Spenser’s central subject is love from which ‘spring the bloody-handed babe whose parents had been all noble deedes and neuer dying fame’ (III iii 1.9). Acrasia’s victims. (See Hieatt 1992:28, and II xii The presence of a woman on the throne may have 83n.) been anathema to some on the religious right of his Greenblatt’s argument has been extended by day but for all poets it was an enormous blessing, so Louis Adrian Montrose. For example, in answer to I have argued: his argument that the Queen was able ‘at once to fashion her identity and to manipulate the identities of her followers’ (1980:19), he claims that ‘such." In Spenser: The Faerie Queene. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-24.

"much more needs to be done before we may begin and are summed up in Book VI, with its climactic to grasp the ‘goodly golden chayne, wherewith yfere vision of the Graces’. Clearly the poem was meant to | The vertues linked are in louely wize’ (I ix 1.1–2). be read as a verse in the Bible was read in Spenser’s For example, in displaying the special powers of a day: any stanza is the centre from which to recon-virtue, each book displays also its radical limitations struct the whole. without the other virtues, and, above all, without A study of the virtues makes it increasingly clear divine grace. No book is complete in itself, for each that before ever Spenser began to write he had seen (after the first) critiques those that preceded it, so at least the outline of each virtue and had mapped that understanding what has been read constantly out their relationships. (On the formal idea of each expands and consolidates until by the end all the virtue, which his narrative unfolds and realizes, see virtues are seen in their unifying relationships. Heninger 1991:147.) Early in his career, he dedicated A general survey of all the books of The Faerie his talents to fashion the scheme of virtues in a poem Queene is offered in a number of introductions to the he could never expect to complete, no more than poem: Spens 1934, Nelson 1963, R. Freeman 1970, could Chaucer in projecting the Canterbury Tales – Heale 1987, Tonkin 1989, Meyer 1991, Waller 1994, on its unfinished state, see Rajan 1985:44–84, and and Oram 1997. Tonkin and Oram especially offer Hamilton 1990 – and he never faltered or changed. close and perceptive readings of each book. In addi-What he says about the Red Cross Knight may be tion, there are studies of individual books. Book applied to him: ‘The noble hart, that harbours ver-I: Rose 1975; II: Berger 1957; III and IV: Roche tuous thought [i.e. knowledge of the virtues], | And 1964, Silberman 1995; IV: Goldberg 1981; III, IV, is with childe of glorious great intent, | Can neuer and V: Broaddus 1995; V: Dunseath 1968, Aptekar rest, vntill it forth haue brought | Th’eternall brood 1969, Fletcher 1971; VI: A. Williams 1967, Tonkin of glorie excellent’ (I v1.1–4). As he testifies in the 1972. See also the entry on each book in The Spenser final canto of the 1596 poem: as a ship may be Encyclopedia. In addition, there are general studies delayed by storms on its way to a certain shore, of the virtues: for example, Horton 1978 finds the ‘Right so it fares with me in this long way, | Whose poem’s unity in the binary pairing of the books (see course is often stayd, yet neuer is astray’ (VI xii also his entry, ‘virtues’, in the SEnc), and M.F.N. 1.8–9). While we may speculate that Spenser wrote Dixon 1996:13 argues that Spenser offers ‘a gram-for patronage, a pension, or a position at court, we mar of virtues’, i.e. ‘an iterative series of interde-know from the opening stanza of The Faerie Queene pendent virtues’. There are also many studies of the that ‘the sacred Muse’ commanded him ‘To blazon techniques used by Spenser to structure the virtues: broade emongst her learned throng’. Clearly he had for example, the ‘resonances sounding at large no choice but to devote his life to writing that poem. throughout the poem’ examined by Lewis 1967, the The third step in relating the virtues is to recog-structural triads by A. Fowler 1973, the poem’s nize that they are fashioned in the poem through the analogical coherence by Nohrnberg 1976, its self-actions of the major characters in order to fashion reflexiveness by MacCaffrey 1976, the ‘echoing’ by readers in ‘vertuous and gentle discipline’. In the Hollander 1981, the demonic parody of the virtues Letter to Raleigh, Spenser distinguishes between his by N. Frye 1963 and Fletcher 1971, the poem’s am-‘general intention and meaning’, which is to fashion bivalence by Fletcher 1964, the structural patterns in the virtues, and his poem’s ‘generall end’, which is Books I and II by Røstvig 1994, the symmetrical to ‘fashion a gentleman or noble person in vertuous ring structure in Book III by Greenfield 1989, the and gentle discipline’ (8). Accordingly, our under-poem’s broken symmetries by Kane 1990, the use of standing of the nature of holiness, for example, is gained image-patterns in which images are repeated in bono only by reading the story of the Red Cross Knight, et in malo by Kaske 1999, the sequence of emblems and not by bringing to it anything more than a which make the poem ‘the most emblematic long general awareness that the virtue relates our life in poem in our literature’ (A. Fowler 1999:23), and this world to God. His quest traces the process of the narrative’s self-reflectiveness by Goldberg 1981. sanctification as his will cooperates with divine grace; The poem interprets and reinterprets itself endlessly, and, through him, we learn how to frame our lives in as Tonkin 1989:43 suggests in commenting on holy living. The virtues do not exist apart from the." In Spenser: The Faerie Queene. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-26.

"involve either the rejection of sexual love or its abuse. love chastely but want sexual satisfaction now, for Although Guyon is the servant of the ‘heauenly example Timias at v 48. The lowest stair is occupied Mayd’ (II i 28.7), he never sees the one and only by those who pervert love, either through jealousy spies on the other before binding her and ravaging in loving a woman as an object (as Malbecco at ix 5) her bower. From the opening episode of Book III, it or in using force to satisfy their desire (as Busirane becomes evident that Guyon’s binding of Acrasia has at xi 11). Book III is aptly named ‘the book of sex’ initiated an action that requires the rest of the poem by M. Evans 1970:152, for Spenser’s anatomy of to resolve, namely, how to release women from male love extends outward to the natural order and the tyranny, and therefore release men from their desire cosmos, and to the political order in which the ‘Most to tyrannize women. Chastity is fulfilled when its famous fruites of matrimoniall bowre’ (iii 3.7) are patron, Britomart, frees Amoret from Busirane’s the progeny of English kings. tyranny; friendship is fulfilled when Florimell’s chaste To fashion the virtues of the first two books, love for Marinell leads to her being freed from Spenser uses the motif of the single quest: a knight is Proteus’s tyranny; and Artegall is able to fulfil the guided to his goal, one by Una and the other by the virtue of justice when his lover, Britomart, frees him Palmer, and on his way engages in chivalric action from Radigund’s tyranny to which he has submitted. usually in the open field. To fashion chastity, he uses By destroying Acrasia’s sterile bower of perpetual the romance device of entrelacement, the interweav-summer, Guyon frees Verdant, whose name invokes ing of separate love stories into a pattern of relation-spring with its cycle of regeneration. The temperate ships. (As the stories of the four squires in Books III body, seen in the Castle of Alma, ‘had not yet felt and IV form an interlaced narrative, see Dasenbrock Cupides wanton rage’ (II ix 18.2), but with the cycle 1991:52–69.) The variety of love’s pageants requires of the seasons, love enters the world: ‘all liuing multiple quests, and the action shifts to the forest, wights, soone as they see | The spring breake forth the seashore, and the sea (see ‘Places, allegorical’ and out of his lusty bowres, | They all doe learne to play ‘Sea’ in the SEnc). Thus Britomart, guided by ‘blind the Paramours’ (IV x 45). Once the temperate body loue’ (IV v 29.5), wanders not knowing where to has felt ‘Cupides wanton rage’ in Book III, knights find her lover. As she is a virgin, her love for Artegall lie wounded or helpless and their ladies are either in is treated in the Belphœbe–Timias story; as she seeks flight or imprisoned – all except Britomart, who, to fulfil her love in marriage, her relationship to though as sorely wounded by love as any, is armed Artegall is treated in the Scudamour–Amoret story; with chastity, which controls her desire as she follows and as her marriage has the apocalyptic import ‘the guydaunce of her blinded guest’ (III iv 6.8), prophesied by Merlin at III iii 22–23, its significance that is, her love for Artegall. in relation to nature is treated in the Marinell– Book III presents an anatomy of love, its motto Florimell story. Like Florimell, Britomart loves a being ‘Wonder it is to see, in diuerse mindes, | How knight faithfully; but, like Marinell (see iv 26.6), diuersly loue doth his pageaunts play, | And shewes Artegall scorns love (see IV vi 28.9), neither know-his powre in variable kindes’ (v 1). While there is ing that he is loved. Yet Florimell knows whom she only one Cupid, his pageants vary, then, according to loves while Britomart does not, having seen only his diverse human states. If only because the poem is image. In contrast to both, Amoret loves faithfully, dedicated to the Virgin Queen, virginity is accorded and is loved faithfully in return; and in contrast to all, ‘the highest stayre | Of th’honorable stage of Belphœbe does not know that she is loved by Timias womanhead’ (v 54.7–8), being represented in Book and does not love him. (To complete this scheme: at III by Belphœbe. She was ‘vpbrought in perfect III vii 54, Columbell knows that she is loved by the Maydenhed’ by Diana, while her twin (yet later Squire of Dames but withholds love for him.) The born) sister, Amoret, was ‘vpbrought in goodly pattern formed by these stories fashions the virtue of womanhed’ (vi 28.4, 7) by Venus. Accordingly, chastity of which Britomart is the patron. Amoret occupies the central stair of chaste love, for Since interlaced narratives take the place of the lin-she loves Scudamour faithfully and is rescued by ear quest, Spenser structures Book III by balancing Britomart, the virgin who loves Artegall faithfully. the opening and concluding cantos against the mid-Since both are chaste, their goal is marriage in which dle canto. Canto vi is the book’s centre as it treats." In Spenser: The Faerie Queene. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-31.

"is generally compatible with the teaching of the common and vulgar pride in the power of this world’ Reformed church, and therefore with doctrines (cited Var 1.423). Readers today, who rightly query found in the Book of Common Prayer and the hom-any labelling of Spenser’s characters, may query just ilies, rather than as a system of beliefs. See J.N. Wall how the knight’s pride, if he is proud, is personified 1988:88–127. by Orgoglio. Does he fall through pride? Most cer-Traditional interpretations of Book I have been tainly he falls: one who was on horseback lies upon either moral, varying between extremes of psycho-the ground, first to rest in the shade and then to lie logical and spiritual readings, or historical, varying with Duessa; and although he staggers to his feet, he between particular and general readings. Both were soon falls senseless upon the ground, and finally is sanctioned by the interpretations given the major placed deep underground in the giant’s dungeon. classical poets and sixteenth-century romance writers. The giant himself is not ‘identified’ until after the For example, in 1632 Henry Reynolds praised The knight’s fall, and then he is named Orgoglio, not Faerie Queene as ‘an exact body of the Ethicke doc-Pride. Although he is said to be proud, pride is only trine’ while wishing that Spenser had been ‘a little one detail in a very complex description. In his size, freer of his fiction, and not so close riuetted to his descent, features, weapon, gait, and mode of fight-Morall’ (Sp All 186). In 1642 Henry More praised ing, he is seen as a particular giant rather than as a it as ‘a Poem richly fraught within divine Morality particular kind of pride. To name him such is to as Phansy’, and in 1660 offers a historical reading of select a few words – and not particularly interesting Una’s reception by the satyrs in I vi 11–19, saying ones – such as ‘arrogant’ and ‘presumption’ out of that it ‘does lively set out the condition of Chris-some twenty-six lines or about two hundred words, tianity since the time that the Church of a Garden and to collapse them into pride because pride is one became a Wilderness’ (Sp All 210, 249). Both kinds of the seven deadly sins. To say that the knight falls of readings continue today though the latter often through pride ignores the complex interactions of all tends to be restricted to the sociopolitical. An influ-the words in the episode. While he is guilty of sloth ential view in the earlier twentieth century, expressed and lust before he falls, he is not proud; in fact, he by Kermode 1971:12–32, was that the historical has just escaped from the house of Pride. Quite allegory of Book I treats the history of the true deliberately, Spenser seeks to prevent any such moral church from its beginnings to the Last Judgement identification by attributing the knight’s weakness in its conflict with the Church of Rome. According before Orgoglio to his act of ignorantly drinking the to this reading, the Red Cross Knight’s subjection enfeebling waters issuing from a nymph who, like to Orgoglio in canto vii refers to the popish captivity him, rested in the midst of her quest. of England from Gregory VII to Wyclif (about 300 Although holiness is a distinctively Christian years: the three months of viii 38; but see n); and the virtue, Book I does not treat ‘pilgrim’s progress from six years that the Red Cross Knight must serve the this world to that which is to come’, as does Bunyan, Faerie Queene before he may return to Eden refers but rather the Red Cross Knight’s quest in this world to the six years of Mary Tudor’s reign when England on a pilgrimage from error to salvation; see Prescott was subject to the Church of Rome (see I xii 1989. His slaying the dragon only qualifies him to 18.6–8n). While interest in the ecclesiastical history enter the antepenultimate battle as the defender of of Book I continues, e.g. in Richey 1998:16–35, the Faerie Queene against the pagan king (I xii 18), usually it is directed more specifically to its imme-and only after that has been accomplished may he diate context in the Reformation (King 1990a; and start his climb to the New Jerusalem. As a con-Mallette 1997 who explores how the poem appro-sequence, the whole poem is deeply rooted in the priates and parodies overlapping Reformation texts); human condition: it treats our life in this world, or Reformation doctrines of holiness (Gless 1994); under the aegis of divine grace, more comprehens-or patristic theology (Weatherby 1994); or Reforma-ively than any other poem in English. tion iconoclasm (Gregerson 1995). The moral allegory of Book I, as set down by Ruskin in The Stones of Venice (1853), remains gener- Temperance: Book II." In Spenser: The Faerie Queene. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-29.

"whom one would like to have as a friend, a member vertu, and publick civility’ (1953–82:1.816). of the family, or a guest, or whom one would call a The sources of the virtue may be found in Renais-gentleman. (The praise given him at i3.1–5 would sance moral manuals, such as Elyot’s Gouernour not apply to any other knight.) According to Colin, (1531) with its first book treating ‘the best fourme those who possess the virtue may be recognized by of education or bringing up of noble children’ and the gifts given them by the Graces: ‘comely carriage, the planned second volume aiming to cover ‘all the entertainement kynde, | Sweete semblaunt, friendly reminant . . . apt to the perfection of a iuste publike offices that bynde’ (x 23.4–5) – or rather, according weale’ (1.2); or in Seneca’s De Beneficiis (tr. Arthur to the proem, given them by Elizabeth from whom Golding in 1578), as Archer 1987 argues; or in all virtues well ‘Into the rest, which round about you such courtesy books as Castiglione’s Courtier (1528, ring, | Faire Lords and Ladies, which about you tr. 1561) in which ‘The Count with golden vertue dwell, | And doe adorne your Court, where courtes-deckes’ the court, as Sackville wrote in its praise; and ies excell’ (7.7–9). especially Guazzo’s Civile Conversation (1574, tr. It follows, as Spenser acknowledges in the opening 1581/1586; see VI i 1.6n), for sections of it were line of canto i, ‘Of Court it seemes, men Courtesie included in Bryskett’s Discourse of Civill Life, which doe call’. In its wide range of meanings, the simplest claims to report his conversation with Spenser on is courtly etiquette and good manners. In this sense, moral philosophy. The full title of this last work, A it is more a social than a moral virtue, and therefore discourse, containing the ethicke part of morall philo-open to being feigned, as evident in the ‘faire dis-sophie: fit to instruct a gentleman in the course of a sembling curtesie’ seen by Colin at Elizabeth’s court vertuous life, could serve as a subtitle of Spenser’s (Colin Clout 700), which is ‘nought but forgerie’ poem, especially since Bryskett tells Lord Grey that (VI proem 5.3). While it is the virtue most closely his end is ‘to discourse upon the morall vertues, yet associated with the Elizabethan court and Elizabe-not omitting the intellectuall, to the end to frame a than culture generally, Spenser’s treatment of it goes gentleman fit for civill conversation, and to set him far beyond his own culture. As Chang 1955:202–20 in the direct way that leadeth him to his civill felicitie’ shows, it has an illuminating counterpart in the (6). See ‘courtesy books’ in the SEnc. Confucian concept of ritual. Spenser fashions a virtue As the final book of the 1596 edition, appropri-that may best be called civility, which is the basis ately Book VI raises larger questions about the whole of civilization; see VI proem 4.5n. Yet civility in poem. One such question is the relation of Spenser’s its political expression could legitimize violence in art to nature, and, for a generation of critics, the Ireland, as P. Stevens 1995 notes, and it is not sur-seminal essay has been ‘A Secret Discipline’ by Harry prising to see the patron of courtesy slaughtering the Berger, Jr, in which he concludes that ‘the secret (Irish) brigands at VI xi 46. Accordingly, its link with discipline of imagination is a double burden, discord-Machiavelli’s virtù has been rightly noted by Neuse ant and harmonious: first, its delight in the power 1968 and Danner 1998. On its general application and freedom of art; second, the controlled surrender to the uncertain human condition, see Northrop whereby it acknowledges the limits of artifice’ 2000. Ideally, though, it is the culminating moral (1988:242; first pub. 1961). As chastity is to Brito-virtue of The Faerie Queene, and, as such, has the mart, courtesy is to Calidore: the virtue is natural religious sense expressed by Peter in addressing those to him. He is courteous ‘by kind’ (ii 2.2): ‘gentle-whose faith, according to the Geneva gloss, is con-nesse of spright | And manners mylde were planted firmed ‘by holines of life’: ‘be ye all of one minde: naturall’ (i 2.3–4). It is natural also to Tristram one suffre with another: loue as brethren: be pitiful: because of his noble birth (ii 24) and proper nurtur-be courteous’ (1 Peter 3.8); see, for example, ing, as shown by his defence of the lady abused by Morgan 1981, and Tratner 1990:147–57. Without her discourteous knight. Its powers are shown in the courtesy’s ‘civility’ there would be no civilization; three opening cantos: Calidore may reform both without its ‘friendly offices that bynde’ (x 23.5), Crudor when he is threatened with death, and his there would be no Christian community. By includ-lady, Briana, who is ‘wondrously now chaung’d, ing courtesy among the virtues, Spenser fulfils from that she was afore’ (i 46.9) when she sees the Milton’s claim in Reason of Church Government that change in him (41–43). Also, he may restore Aldus." In Spenser: The Faerie Queene. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-35.

"Adonis. Perhaps because the image is largely inex-second half of the poem that treats the public rather pressible by the usual scholarly vocabulary, its philo-than the private virtues. sophical sources and analogues in mythology have Since the virtues are based on temperance, their been extensively studied, confirming Kenelm Digby’s product is friendship, for virtue ‘doth beget | True judgement (c. 1643) that Spenser ‘hath a way of loue and faithfull friendship’ (IV vi 46.8–9); and expression peculiar to him selfe; he bringeth downe since friendship is social in being the offspring of the highest and deepest misteries that are contained Concord (x 34.2), it is fashioned on commonplaces, in human learning, to an easy and gentle forme of as C.G. Smith 1935:27–53 shows. Being social, it deliuery’ (Sp All 213). Two symmetrically placed may not be described through the adventures of a cantos enforce its place at the centre: the balancing single knight, or even of several knights. Spenser accounts of Britain’s historical destiny in Merlin’s chooses to fashion it by the elaborate relationship of prophecy to Britomart concerning her famous pro-various stories, beginning with the homoerotic bond-geny in canto iii, and in the account of her ancestry ing of Britomart and Amoret that replaces the usual in canto ix. male contest for the woman as prize. As ‘the band of The opening canto provides an initial statement vertuous mind’ (ix 1.8), the virtue is paradigmatically of the nature of chastity by distinguishing its state represented in the first three cantos, which are set from its opposite: both Malecasta and Britomart are apart from the rest. The friendship which the ‘fickle’ infected by love through an evil casting (male-casta) Blandamour and ‘false Paridell ’ (i 32.5, 8) are of their eyes on a passing stranger (see i 41.7–9n), reported to have sworn (see ii 13.3) is only ‘faynd’ but the one is evilly chaste (see 57.4n), that is, not (18.9) because ‘vertue is the band, that bindeth harts chaste at all, for she lusts after every passing stranger, most sure’ (29.9). Their fitting mates are ‘false while the other loves one alone. The house of Duessa’ and ‘Ate, mother of debate’ (i 18.1, 19.1). Malecasta where love is promiscuous is balanced in In contrast, true friendship is illustrated in the bond the concluding cantos by the house of Busirane between Triamond and Cambell, both of whom are where love is bound. Amoret had been nurtured by virtuous, and is sealed by their cross marriages – Venus in the Garden of Adonis where she had been Triamond to Cambell’s sister, Canacee, and Cambell ‘lessoned | In all the lore of loue, and goodly woman-to Triamond’s sister, Cambina – because ‘true, and head’. Accordingly, once she enters the world ‘To perfite love . . . maketh the Flower of Friendship be th’ensample of true loue alone, | And Lodestarre betweene man and wyfe freshly to spring’ (Tilney of all chaste affection’ (vi 51.8–9, 52.4–5) and loves 1992:110). True friendship is also illustrated in Scudamour, she refuses to yield her body to Triamond’s filial bond with his brothers, Priamond Busirane. When she is freed by Britomart, she yields and Diamond, who live ‘As if but one soule in them herself freely to her lover – in the 1590 text – in an all did dwell’ (ii 43.3). The concord achieved by true ecstasy of physical delight. friendship is contrasted in the next two cantos by the discord among the knights in Satyrane’s tournament Friendship: Book IV." In Spenser: The Faerie Queene. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-32.