What does the Faerie Queene, Books 1 and 2 owe to the traditions Essay Example

code. Despite this, the overarching theme throughout all six books is the battle between good and evil. Additionally, Duessa and Acrasia, two enchantresses from Ariosto's Orlando Furioso and Tasso's Gerusalemme Liberata respectively, serve as notable characters within the poems.

Gransden notes that the sources of these stories can be traced back to earlier works, and there are similar characters in classical literature. Ovid's myths, which focus on transformations, are frequently referenced in The Faerie Queene. For example, in Book 1, Canto ii, there are characters named Fraudubio and Fraelissa who are turned into trees by Duessa. This is reminiscent of Polydorus' fate in Virgil's Aeneid Book 3. In Book 2, the protagonist Guyon saves Amavia's baby and tries to wash off the blood of its parents with water from a fountain.

Spenser chooses to present a challenging task: rather than employing the obvious Christian allegory of original sin, he opts for a pagan approach, weaving an Ovidian narrative of a nymph being pursued by an unwelcome suitor. In order to preserve her purity, the goddess Diana transforms the nymph into a weeping statue, which is the form in which Guyon discovers her. The water refuses to accept the blood as it must remain untainted. Thus, Spenser crafts a powerful symbol of chastity, an essential component of his overall vision. Scholars argue that Spenser drew heavily from the moral philosophy of the classical poets.

He was knowledgeable in the work of both Natalis Comes and Boccaccio, who dedicated much of their time to studying ancient myth and classical literature. They did not view it as pagan or frivolous on the surface, but rather as a means to uncovering the

secrets of humanity. They believed that the ancient poets were profound philosophers, often inspired by the one God. Boccaccio described myth as having many meanings, with the wisdom of the ancients and their speculation on natural philosophy hidden beneath the fables. Comes also believed that the ancient writers provided valuable guidance for human life. Spenser, similarly, did not condemn ancient myth and the epic tradition but instead paid homage to it. Mythology, as interpreted by Spenser, according to Lotspeich, was allegorical. Although The Faerie Queene cannot be solely attributed to any one source, it is evident that Spenser believed the important moral message originated from ancient myth.

The opening of The Faerie Queene, despite its medieval romance form and tone, sets a Virgilian tone in desiring to 'sing of Knights and Ladies gentle deeds'. Along with resemblances in style and language to classical and medieval poetry, there are also more visible connections that can be made. In Book 2, Guyon embarks on a journey to the Bower of Bliss, and the influence of the Odyssey is not concealed: it mostly takes place on water, and ships and guidance play a significant role in conveying the moral message of temperance and good governance.

In the final part of the journey, Spenser presents a significant obstacle for Guyon, comparable to Scylla and Charybdis, called the Gulf of Greediness and the Rock of Vile Reproach. Luckily, Guyon has two trustworthy guides who are well-informed. With their guidance, he successfully navigates between these dangerous obstacles. This represents the concept of temperance, which is symbolized by Medina's character. Medina exemplifies moderation between her extreme sisters. It is important to note that temperance

is not a passive solution; it requires constant effort. Guyon is strongly tempted by the alluring songs of the deceitful mermaids during this challenging part of his journey (2, xii, 17).

The Bower of Bliss teaches us a lesson, as it is described as having a moderate climate. However, we should not be deceived into thinking that this represents the type of moderation Spenser desires. By rejecting the allure of excessive indulgence, which is presented to Guyon in a tempting manner, he can discover true, self-disciplined temperance. The Bower of Bliss is not only a parody of Eden, with its almost comparable beauty, but also the realm of a figure similar to Circe. Both Homer and Virgil depict certain female characters as enchantresses who obstruct the hero's journey, including Circe, Kalypso, and Dido.

Spenser establishes a link between an evil enchantress and Acrasia's bower by depicting Jason and Medea on the ivory gates. He subverts the technique of ekphrasis by portraying 'Art' as negative, with the story on the ivory gates serving as a warning. Nature and Art are presented as opposing forces, with Art striving to undermine nature. Acrasia's character is reminiscent of enchantresses in Tasso and Ariosto, particularly Circe, as she transforms her lovers into pigs. The moral significance of Grill, who chooses to remain in pig form, is that the battle against excess and luxury is ongoing. Similar to the protagonists in Books 1 and 2, they share qualities with Virgil's hero.

Redcrosse is the main character in the Book of Holiness, while Guyon is the protagonist in the Book of Temperance. A significant characteristic of Aeneas is pietas, which is his devotion and

obedience, even though he worships pagan gods. Despite this, Aeneas is considered a Christian prototype due to his level of dedication. In a way, he is chosen or predetermined, similar to the beliefs of Calvinism within Protestantism, where some individuals are destined to go to Heaven while others are not. Additionally, Spenser portrays his heroes as imperfect and still in need of growth, similar to Aeneas.

Redcrosse, though chosen, is a sinner who represents post-Lapsarian man, the common man made from the Earth, or Adam. Elizabeth Heale draws parallels between Redcrosse and Aeneas. Both are chosen for remarkable achievements, spend much time wandering, and fall into the sexual traps of women. Both eventually achieve their quests and are rewarded with marriage. However, Spenser builds upon the model of excellence and piety to Christianize Redcrosse. He is a fallen man who cannot free himself from Duessa or escape Orgoglio's dungeon. Only through the powerful intervention of Grace is he able to achieve holiness and complete his quest. While Virgil's Aeneid leads to the idealized City of Rome, Spenser's book leads to the heavenly Jerusalem. Heale refers to Aeneas as the perfect man, but I believe Spenser used him as a model because he wasn't perfect. Guyon's struggle to attain temperance is similar to Aeneas' process of overcoming furor, as seen in the character Furor in The Faerie Queene.

According to Roger Ascham's The Schoolmaster, 1570, good government in a nation is the result of good self-government. Ascham uses the metaphor of a ship to illustrate this idea, stating that a ship with a skilled master, even in adverse conditions, can navigate successfully. Conversely, a ship without a skilled

master will likely encounter disaster. Ascham draws parallels between this metaphor and individuals who succumb to vain pleasure or stubbornness.

These notions are also prevalent in both the Aeneid and Book 2 of The Faerie Queene. For example, Phaedria's unpiloted ship symbolizes lack of temperance and poor governance. Belphoebe's speech further expands on Ascham's ideas, presenting her as a harmonious blend of Venus and Diana. She possesses Venus' beauty without her lasciviousness and embodies Diana's chastity and virtuous bravery.

By putting the boastful Braggadocchio in his place, Belphoebe redefines the concept of a hero. She highlights the importance of both engaging in battles and pursuing knowledge, suggesting that true honor is attainable through diligent effort.In (2, iii, 40), Arthur and Guyon discover history books in the House of Alma and their study is approved by Spenser. He believes that improving as a reader is equivalent to personal growth, a philosophy he shares with Sir Philip Sidney. The knights read about numerous examples of past errors in order to gain knowledge, wisdom, and expertise in guiding their ships, thus becoming better individuals and rulers. Additionally, the Belphoebe and Braggadocchio episode connects to Spenser's world.

The author of The Faerie Queene, Edmund Spenser, intended to honor and pay tribute to Queen Elizabeth I, the ruler of England during his lifetime. However, Spenser also disapproved of certain aspects of the lifestyle and behavior exhibited by those in the queen's court. Throughout the poem, there are implicit criticisms of court life, such as the indulgence and excesses in the Bower of Bliss, the prevalent and uncontrolled sexuality, and the obsession with material wealth symbolized by the character Mammon. These representations serve to

reflect what Spenser observed in the court of Queen Elizabeth I.

The House of Pride, represented by Lucifera, is not exactly a replica of the actual Queen, but that doesn't mean that her courtiers, the Seven Deadly Sins, were not representative of reality. It is possible that Spenser saw someone like Braggadocchio as a clear member of the court. As usual, the character's name provides a not-so-subtle hint about their personality, and it is evident that Braggadocchio is completely overwhelmed by the grandeur and impressive display of the court. However, Belphoebe's subsequent words indicate that he lacks a true understanding of knighthood. Despite his outward appearance as a knight, it is merely superficial. To truly embody knighthood, one must endure "painfull toile."

It is customary to dedicate art to a monarch and create a character to symbolize the qualities and actions of that monarch. The Aeneid serves as an example: Aeneas not only shares lineage with Augustus, but also embodies similar characteristics. Although the Faerie Queene is never encountered directly, her presence strongly influences and motivates events. Arthur is currently overseas, as he is searching for the Faerie Queene whom he saw in a dream. The connection between them holds significance as the Tudors believed they descended from Arthur.

The history book that Arthur reads may be influenced by Geoffrey of Monmouth and obviously ends before he becomes king. However, the history of 'Elfin kind' that Guyon reads extends the story to the present day, specifically to the daughter of Oberon (Henry VIII): 'Fairer and nobler liveth none this howre, Ne like in grace, ne like in learned skill; Therefore they Glorian call that glorious flowre, Long mayst

thou live, in glory and great powre.' (2, x, 76) Being presented with a royal lineage, whether it is of ancestors or descendants, is clearly a Virgilian technique and places Arthur on the same level as the beloved hero of the Renaissance.

Indirectly, this text celebrates Elizabeth and the House of Tudors. The two genealogies are kept separate, which may be seen as part of Spenser's aim to celebrate his nation and specific virtues. Through numerous British/Tudor genealogies, Spenser traces the Tudor ancestry back to Troy, just like the Aeneas ancestry, but the British descendants far surpass the Roman ones in heroism. These genealogies position the Tudor dynasty at the pinnacle of a divine plan unfolding throughout history, with Gloriana's Court reflecting this idealized vision. Arthur also embodies the virtue of 'Magnificence' and Christian grace. Despite his departure from medieval romance conventions, readers in this genre would see him as an unwelcome change in an established character. Nevertheless, he holds great symbolism within Spenser's epic. (Heale p. 12; Tuve p. 81)

Arthur does not require improvement, as stated in Rosemund Tuve's book "Allegorical Imagery: some Medieval Books and Their Posterity." She quotes a well-known treatise which refers to magnificence as 'an hye werke and happy achyvyng.Our Lord Jhesu Christ...alleth this vertu perseveraunce by whyche the good knyght of God endureth the evulles unto the ende in that hye waye of perfectyon whyche he hath emprysed.' This demonstrates a fusion of Christian and chivalric values, which closely aligns with Spenser's portrayal of Arthur (Heale p.13). Arthur appears throughout each book and arrives during critical moments, symbolizing Divine Grace. He selflessly gives without expectation of repayment for his actions:

'...what need Good turnes be counted, as a servile bond, To bind their doers, to receive their meede? Are not all knights by oath bound, to withstond Oppressours powre by armes and puissant hond? Suffise, that I have done my dew in place.' (2, viii, 56). Whether portrayed by Arthur or not, the concept of Heavenly Grace holds significance in Christian belief. Redcrosse must learn that he must collaborate with his God and the one True Church to achieve success. Even Arthur, in a literal sense rather than allegorical, relies on God's grace. During his battle with Maleger, he is nearly killed but is saved by his squire. Spenser aims to convey that the '...greatest and most glorious thing on ground May often need the helpe of weaker hand;'The text emphasizes the frailty of human life and the necessity of overcoming worldly attachments. It praises the protagonist as the most skilled and noble person in Britain but notes that even they were nearly destroyed by misfortune. The Faerie Queene is a Christian epic that stands out for its incorporation of various sources and its powerful message about the existence of a single God and the importance of living according to His teachings.

One notable episode is the Cave of Mammon, which stands out for its allusions to Christianity and its relevance to contemporary issues. Despite being set in a classical environment, the episode effectively portrays the challenges faced by Guyon, the protagonist. In this episode, Guyon loses his trusted guide, the Palmer, and finds himself in a barren and untamed wilderness. The description of the place being "covered with boughs and shrubs from heavens light" serves

as a foreboding sign that Guyon is now vulnerable and in a precarious situation.

Mammon is considered a false representation of God and is associated with money and the desire for wealth. He proclaims himself as the "God of the world and worldlings" (2, vii, 8) and corrupts Christ's Sermon on the Mount by tempting Guyon to prioritize riches over God. Mammon's daughter, Philotime, also symbolizes earthly desires, specifically ambition or glory on Earth. Both Mammon and Guyon discuss a Golden Age. Guyon views this as a time of grace and abundance, where people joyfully embraced the gifts of divine bounty. However, later ages became consumed by pride and indulgence, straying from the true needs of humanity. Mammon refers to this golden age in terms of material wealth. The desire for wealth remains a timeless issue, and our modern capitalist society could be criticized in the same manner. Heale argues that Spenser connects Mammon's concept of a "golden" age with barbarity. Elements such as mining and the luxuries associated with wealth, as well as an overly sophisticated Court, are seen as signs of societal decline and degeneration in this episode (Heale p. [pagenumber]).Guyon refuses to succumb to the allure of wealth, yet he embarks on a journey that traverses a landscape with strong classical influences. Spenser skillfully crafts an ambiance of mythology within this landscape, all the while conveying a Christian message.

The text showcases various elements, including Tantalus, the River Cocytus with wailing souls unable to cross, the gates of Pluto, and the Garden of Proserpine. Alongside these, we also encounter Pontius Pilate, referred to as 'the falsest Judge ... that... delivered up the Lord

of life to die' (2, vii, 62), and the tree of golden apples. The latter symbolizes multiple myths but primarily reminds us of the most significant digression of all – Adam and Eve's act in Eden. Overall, Spenser's epic exemplifies his unwavering Christian faith; however, it does not idealize any specific form of Christianity.

After a contentious struggle against her Catholic half sister Mary Tudor, Protestant Elizabeth ascended to the throne, which added strain to the already divided country regarding religion due to her Spanish alliances. The Faerie Queene by Spenser reflects his Protestant beliefs and also exposes his disdain for Catholics. I believe that Spenser's disapproval of Beauty, who attacks the sense of 'sight' in the House of Alma, and the art found in the Bower of Bliss is linked to the practices of Catholic worship. In contrast to Protestant churches that tend to be simplistic, Catholic churches are often ornate and adorned with exquisite paintings and shrines.

The Protestant attitude towards Catholics stems from the belief that Catholics tried to purchase God's forgiveness, while Protestants chose to keep a respectful distance from God. This contrasts greatly with how a classical author would have portrayed the connection between gods and humans - involving direct personal intervention and communication. Spenser does not hide his explicit criticism of Catholicism.

Duessa, the evil sorceress, is based on the Whore of Babylon as described in Revelation 12, which Protestants associate with the Papacy. Meanwhile, Una represents the primitive Christian Church, which Protestants believe ruled over both the East and West before being overthrown by the Catholic Church. Duessa is described as the daughter of a powerful Emperor who

rules over the vast region of the West and has established his throne where the Tiber River flows. This is clearly a reference to Rome and the Catholic Church. In addition to Duessa, Una also has to confront Kirkrapine, a plunderer of churches, as well as his supporters Corceca, symbolizing blind faith, and Abessa, reminiscent of monasticism.

The text discusses a scene from Spenser's epic poem where Corceca is depicted as devoutly praying with her beads and reciting nine hundred Pater nosters and nine hundred Aves every day. Additionally, she hides Kirkrapine, who has stolen goods, in her house and uses his illicit wealth to support her deaf-mute daughter who works as a prostitute. Gransden suggests that Spenser draws from his experience in Ireland to portray the corrupt and "unreformed" excessive practices of Irish Catholic devotion. He spent many years as a government official there. Spenser's epic also aims to convey personal messages and offers a tribute to a respected sovereign and her nation, while critiquing negative aspects of court life and politics, including religious controversies which are close to his heart. Alongside these intentions, Spenser hopes that readers can gain wisdom and improve by reading his book.

In a non-boring and instructive manner, he utilizes the framework of the popular medieval romance genre, a patriotic figure, the imagery and narratives from antiquity, the style and moral principles of respected epic poets, and incorporates his personal faith and Bible teachings to create a complex tapestry of daring exploits, love, and devotion. He effectively conveys his own beliefs and enhances the works of other authors by skillfully incorporating their material into his own writing, giving it an

everlasting quality.