The Goodly Frame of Temperance: The Metaphor of Cosmos in <i>The Faerie Queene</i>, Book II

Carscallen, James

doi:10.3138/utq.37.2.136

Cited by 2 publications

References 15 publications

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Temperance, Interpretation, and “the bodie of this death”: Pauline Allegory inThe Faerie Queene, Book II

Miller

2016

English Literary Renaissance

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This essay reinterprets the “dark conceit” of Mortdant, Amavia, and Ruddymane near the beginning of Spenser's Legend of Temperance. The argument examines the counterpoint between Paul's lament for “the body of this death” in Romans and the death scene of Dido in the Aeneid. The essay reads key episodes of Book II as a sustained allegory of misrecognition, according to which Guyon persists in trying to do combat with forces in his own flesh as if they were opponents to be confronted by force of arms. The recognition implicitly demanded by this allegory of misrecognition is shadowed in Arthur's interpretation of Maleger as an Antaeus‐figure, and then triumphantly repudiated in Guyon's violent destruction of the Bower. [D.L.M.]

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Temperance, Interpretation, and “the bodie of this death”: Pauline Allegory inThe Faerie Queene, Book II

Miller

2016

English Literary Renaissance

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Reconciling matter and spirit

Daigle¹

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This project asserts that in works by Edmund Spenser, William Shakespeare, John Donne and Aemilia Lanyer, early modern knowledge of Galenic brain physiology is an essential part of Renaissance formulations of identity. As the accepted residence of the soul, the Galenic brain is a place where important questions about subjectivity can be addressed, and my project reads references to the brain in early modern literature as confluences of anatomical knowledge and Christian theories of spiritual identity. These readings uncover a more nuanced picture of the early modern subject as a complex union of flesh and spirit. I begin with an in depth overview of the legacy of Renaissance Galenism. I then read Galenic brain theories that are influential in the early modern texts in my study. This discussion progresses through my reading of the reconciliation of Galenic medicine with Christian doctrine that occurs over several centuries. Chapter two is a focused analysis of how Edmund Spenser constructs the character of Prince Arthur as a compromise between current medical and Christian ideas. I argue that in a critically popular passage in Book II of Spenserʼs Faerie Queene, contemporary theories of the brain ventricles contribute to an anatomical definition of Christian temperance that contributes to the complexity of Prince Arthurʼs behavior. In chapter three, I read Richardʼs famous prison speech in act 5, scene 5 of Shakespeareʼs Richard II as a theory of his cognition, or the process by which his behavior becomes manifest, and I argue that this reveals

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The Goodly Frame of Temperance: The Metaphor of Cosmos in The Faerie Queene, Book II

Cited by 2 publications

References 15 publications

Temperance, Interpretation, and “the bodie of this death”: Pauline Allegory inThe Faerie Queene, Book II

Temperance, Interpretation, and “the bodie of this death”: Pauline Allegory inThe Faerie Queene, Book II

Reconciling matter and spirit

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