0fq1590.bk2.II.iii.0 1fq1590.bk2.II.iii.argument.1 2fq1590.bk2.II.iii.argument.2 3fq1590.bk2.II.iii.argument.3 4fq1590.bk2.II.iii.argument.4 1fq1590.bk2.II.iii.1.1 2fq1590.bk2.II.iii.1.2 3fq1590.bk2.II.iii.1.3 4fq1590.bk2.II.iii.1.4 5fq1590.bk2.II.iii.1.5 6fq1590.bk2.II.iii.1.6 7fq1590.bk2.II.iii.1.7 8fq1590.bk2.II.iii.1.8 9fq1590.bk2.II.iii.1.9 1fq1590.bk2.II.iii.2.1 2fq1590.bk2.II.iii.2.2 3fq1590.bk2.II.iii.2.3 4fq1590.bk2.II.iii.2.4 5fq1590.bk2.II.iii.2.5 6fq1590.bk2.II.iii.2.6 7fq1590.bk2.II.iii.2.7 8fq1590.bk2.II.iii.2.8 9fq1590.bk2.II.iii.2.9 1fq1590.bk2.II.iii.3.1 2fq1590.bk2.II.iii.3.2 3fq1590.bk2.II.iii.3.3 4fq1590.bk2.II.iii.3.4 5fq1590.bk2.II.iii.3.5 6fq1590.bk2.II.iii.3.6 7fq1590.bk2.II.iii.3.7 8fq1590.bk2.II.iii.3.8 9fq1590.bk2.II.iii.3.9 1fq1590.bk2.II.iii.4.1 2fq1590.bk2.II.iii.4.2 3fq1590.bk2.II.iii.4.3 4fq1590.bk2.II.iii.4.4 5fq1590.bk2.II.iii.4.5 6fq1590.bk2.II.iii.4.6 7fq1590.bk2.II.iii.4.7 8fq1590.bk2.II.iii.4.8 9fq1590.bk2.II.iii.4.9 1fq1590.bk2.II.iii.5.1 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9fq1590.bk2.II.iii.9.9 1fq1590.bk2.II.iii.10.1 2fq1590.bk2.II.iii.10.2 3fq1590.bk2.II.iii.10.3 4fq1590.bk2.II.iii.10.4 5fq1590.bk2.II.iii.10.5 6fq1590.bk2.II.iii.10.6 7fq1590.bk2.II.iii.10.7 8fq1590.bk2.II.iii.10.8 9fq1590.bk2.II.iii.10.9 1fq1590.bk2.II.iii.11.1 2fq1590.bk2.II.iii.11.2 3fq1590.bk2.II.iii.11.3 4fq1590.bk2.II.iii.11.4 5fq1590.bk2.II.iii.11.5 6fq1590.bk2.II.iii.11.6 7fq1590.bk2.II.iii.11.7 8fq1590.bk2.II.iii.11.8 9fq1590.bk2.II.iii.11.9 1fq1590.bk2.II.iii.12.1 2fq1590.bk2.II.iii.12.2 3fq1590.bk2.II.iii.12.3 4fq1590.bk2.II.iii.12.4 5fq1590.bk2.II.iii.12.5 6fq1590.bk2.II.iii.12.6 7fq1590.bk2.II.iii.12.7 8fq1590.bk2.II.iii.12.8 9fq1590.bk2.II.iii.12.9 1fq1590.bk2.II.iii.13.1 2fq1590.bk2.II.iii.13.2 3fq1590.bk2.II.iii.13.3 4fq1590.bk2.II.iii.13.4 5fq1590.bk2.II.iii.13.5 6fq1590.bk2.II.iii.13.6 7fq1590.bk2.II.iii.13.7 8fq1590.bk2.II.iii.13.8 9fq1590.bk2.II.iii.13.9 1fq1590.bk2.II.iii.14.1 2fq1590.bk2.II.iii.14.2 3fq1590.bk2.II.iii.14.3 4fq1590.bk2.II.iii.14.4 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4fq1590.bk2.II.iii.46.4 5fq1590.bk2.II.iii.46.5 6fq1590.bk2.II.iii.46.6 7fq1590.bk2.II.iii.46.7 8fq1590.bk2.II.iii.46.8 9fq1590.bk2.II.iii.46.9
Cant. III.
Vaine Braggadocchio getting Guyons
horse is made the scorne
Of knighthood trew, and is of fayre
Belphœbe fowle forlorne.
[1]
SOoone as the morrow fayre with purple beames
Disperst the shadowes of the misty night,
And Titan playing on the eastern streames,
Gan cleare the deawy ayre with springing light,
Sir Guyon mindfull of his vow yplight,
VproseUprose from drowsie couch, and him addrest
VntoUnto the iourneyjourney which he had behight:
His puissaunt armes about his noble brest,
And many-folded shield he bound about his wrest.
[2]
Then taking Congè of that virgin pure,
The bloody-handed babe vntounto her truth
Did earnestly committ, and her coniureconjure,
In vertuous lore to traine his tender youth,
And all that gentle noriture ensueth:
And that so soone as ryper yeares he raughtrought,
He might for memory of that dayes ruth,
Be called Ruddymane, and thereby taught,
T’auengeavenge his Parents death on thẽthem, that had it wrought.
[3]
So forth he far’d, as now befell, on foot,
Sith his good steed is lately from him gone;
Patience perforce: helplesse what may it boot
To frett for anger, or for griefe to mone?
His Palmer now shall foot no more alone:
So fortune wrought, as vnderunder greene woodes syde
He lately hard that dying Lady grone,
He left his steed without, and speare besyde,
And rushed in on foot to ayd her, ere she dyde.
[4]
The whyles a losell wandring by the way,
One that to bountie neuernever cast his mynd,
Ne thought of honour euerever did assay
His baser brest, but in his kestrell kynd
A pleasing vaine of glory hevaine did fynd,
To which his flowing toung, and troublous spright
GaueGave him great ayd, and made him more inclynd:
He that brauebrave steed there finding ready dight,
Purloynd both steed and speare, and ran away full light.
[5]
Now gan his hart all swell in iollityjollity,
And of him selfe great hope and help conceiu’dconceiv’d,
That puffed vpup with smoke of vanity,
And with selfe-louedloved personage deceiu’ddeceiv’d,
He gan to hope, of men to be receiu’dreceiv’d
For such, as he him thought, or faine would bee:
But for in court gay portaunce he perceiu’dperceiv’d,
And gallant shew to be in greatest gree,
Eftsoones to court he cast t’aduaunceadvaunce his first degree.
[6]
And by the way he chaunced to espy
One sitting ydle on a sunny banck,
To whom auauntingavaunting in great brauerybravery,
As Peacocke, that his painted plumes doth pranck,
He smote his courser in the trembling flanck,
And to him threatned his hart-thrilling speare:
The seely man seeing him ryde so ranck,
And ayme at him, fell flatt to ground for feare,
And crying Mercy loud, his pitious handes gan reare.
[7]
Thereat the Scarcrow wexed wondrous prowd,
Through fortune of his first aduentureadventure fayre,
And with big thundring voice reuyldrevyld him lowd;
Vile CaytiueCaytive, vassall of dread and despayre,
VnworthieUnworthie of the commune breathed ayre,
Why liuestlivest thou, dead dog, a lenger day,
And doest not vntounto death thy selfe prepayre.
Dy, or thy selfe my captiuecaptive yield for ay;
Great fauourfavour I thee graunt, for aunswere thus to stay.
[8]
Hold, O deare Lord, hold your dead-doing hand,
Then loud he cryde, I am your humble thrall.
Ah wretch (qd.quoth he) thy destinies withstand
My wrathfull will, and doe for mercy call.
I giuegive thee life: therefore prostrated fall,
And kisse my stirrup; that thy homage bee.
The Miser threw him selfe, as an Offall,
Streight at his foot in base humilitee,
And cleeped him his liege, to hold of him in fee.
[9]
So happy peace they made and faire accord:
Eftsoones this liegeman gan to wexe more bold,
And when he felt the folly of his Lord,
In his owne kind he gan him selfe vnfoldunfold:
For he was wylie witted, and growne old
In cunning sleightes and practick knaueryknavery.
From that day forth he cast for to vpholduphold
His ydle humour with fine f⁀latteryflatteryſ⁀latteryslattery,
And blow the bellowes to his swelling vanity.
[10]
Trompart fitt man for Braggadochio,
To serueserve at court in view of vaunting eye;
Vaineglorious man, when fluttring wind does blow
In his light winges, is lifted vpup to skye:
The scorne of knighthood and trew cheualryechevalrye,
To thinke without desert of gentle deed,
And noble worth to be aduauncedadvaunced hye:
Such prayse is shame; but honour vertues meed
Doth beare the fayrest flowre in honourable seed.
[11]
So forth they pas, a well consorted payre,
Till that at length with Archimage they meet:
Who seeing one that shone in armour fayre,
On goodly courſercourser courſecourse thondring with his feet,
Eftsoones supposed him a person meet,
Of his reuengerevenge to make the instrument:
For since the Redcrosse knight he erst did weet,
To beene with Guyon knitt in one consent,
The ill, which earst to him, he now to Guyon ment.
[12]
And comming close to Trompart gan inquere
Of him, what mightie warriour that mote bee,
That rode in golden sell with single spere,
But wanted sword to wreake his enmitee.
He is a great aduentureradventurer, (said he)
That hath his sword through hard assay forgone,
And now hath vowd, till he auengedavenged bee,
Of that despight, neuernever to wearen none;
That speare is him enough to doen a thousand grone.
[13]
Th’enchaunter greatly ioyedjoyed in the vaunt,
And weened well ere long his will to win,
And both his foen with equall foyle to daunt.
Tho to him louting lowly did begin
To plaine of wronges, which had committed bin
By Guyon, and by that false Redcrosse knight,
Which two through treason and deceiptfull gin,
Had slayne Sir Mordant, and his Lady bright:
That mote him honour win, to wreak so foule despight.
[14]
Therewith all suddeinly he seemd enragd,
And threatned death with dreadfull countenaunce,
As if their liueslives had in his hand beene gagd;
And with stiffe force shaking his mortall launce,
To let him weet his doughtie valiaunce,
Thus said; Old man, great sure shalbe thy meed,
If where those knights for feare of dew vengeaunce
Doe lurke, thou certeinly to mee areed,
That I may wreake on them their hainous hateful deed.
[15]
Certes, my Lord, (said he) that shall I soone,
And giuegive you eke good helpe to their decay.
But mote I wisely you aduiseadvise to doon;
GiueGive no ods to your foes, but doe puruaypurvay
Your selfe of sword before that bloody day:
For they be two the prowest knights on grownd,
And oft approu’dapprov’d in many hard assay,
And eke of surest steele, that may be fownd,
Doe arme yourself against that day, them to confownd.
[16]
Dotard, (saide he) let be thy deepe aduiseadvise;
Seemes that through many yeares thy wits thee faile,
And that weake eld hath left thee nothing wise,
Els neuernever should thy iudgementjudgement be so frayle,
To measure manhood by the sword or mayle.
Is not enough fowre quarters of a man,
Withouten sword or shield, an hoste to quayle?
Thou litle wotest, what this right-hand can:
Speake they, which hauehave beheld the battailes, which it wan.
[17]
The man was much abashed at his boast;
Yet well he wist, that who so would contend
With either of those knightes on eueneven coast,
Should neede of all his armes, him to defend;
Yet feared least his boldnesse should offend,
When Braggadocchio saide, Once I did sweare,
When with one sword seuenseven knightes I brought to end,
Thence forth in battaile neuernever sword to beare,
But it were that, which noblest knight on earth doth weare.
[18]
Perdy Sir knight, saide then th’enchaunter bliueblive,
That shall I shortly purchase to your hond:
For now the best and noblest knight aliuealive,
Prince Arthur is, that wonnes in Faerie lond;
He hath a sword, that flames like burning brond.
The same by my deuicedevice I vndertakeundertake
Shall by to morrow by thy side be fond.
At which bold word that boaster gan to quake,
And wondred in his minde, what mote that Monster make.
[19]
He stayd not for more bidding, but away
Was suddein vanished out of his sight:
The Northerne winde his wings did broad display
At his commaund, and reared him vpup light
From 1590.bk2.II.iii.19.5. of: offofoff the earth, to take his aerie flight.
They lookt about, but no where could espye
Tract of his foot: then dead through great affright
They both nigh were, and each bad other flye:
Both fled attonce, ne euerever backe retourned eye.
[20]
Till that they come vntounto a forrest greene,
In which they shrowd thẽseluesthemseluesthẽselvesthemselves from causeles feare;
Yet feare them followes still, where so they beene,
Each trembling leafe, and whistling wind they heare,
As ghastly bug does vntounto them affeare:
Yet both doe striuestrive their fearefulnesse to faine.
At last they heard a horne, that shrilled cleare
Throughout the wood, that ecchoed againe,
And made the forrest ring, as it would riuerive in twaine.
[21]
Eft through the thicke they heard one rudely rush;
With noyse whereof he from his loftie steed
Downe fell to ground, and crept into a bush,
To hide his coward head from dying dreed.
But Trompart stoutly stayd to taken heed,
Of what might hap. Eftsoone there stepped foorth
A goodly Ladie clad in hunters weed,
That seemd to be a woman of great worth,
And by her stately portance, borne of heauenlyheavenly birth.
[22]
Her face so faire as flesh it seemed not,
But heuenlyhevenly pourtraict of bright Angels hew,
Cleare as the skye, withouten blame or blot,
Through goodly mixture of complexions dew;
And in her cheekes the vermeill red did shew
Like roses in a bed of lillies shed,
The which ambrosiall odours from them threw,
And gazers sence with double pleasure fed,
Hable to heale the sicke, and to reuiuerevive the ded.
[23]
In her faire eyes two liuingliving lamps did flame,
Kindled aboueabove at th’heuenlyth’hevenly makers light,
And darted fyrie beames out of the same,
So passing persant, and so wondrous bright,
That quite bereau’dbereav’d the rash beholders sight:
In them the blinded god his lustfull fyre
To kindle oft assayd, but had no might;
For with dredd MaiestieMajestie, and awfull yre,
She broke his wanton darts, and quenched bace desyre.
[24]
Her yuorieyvorie forhead, full of bountie brauebrave,
Like a broad table did it selfe dispred,
For LoueLove his loftie triumphes to engraueengrave,
And write the battailes of his great godhed:
All good and honour might therein be red:
For there their dwelling was. And when she spake,
Sweete wordes, like dropping honny she did shed,
And twixt the perles and rubins softly brake
A siluersilver sound, that heauenlyheavenly musicke seemd to make.
[25]
VponUpon her eyelids many Graces sate,
VnderUnder the shadow of her eueneven browes,
Working belgardes, and amorous retrate,
And euerieeverie one her with a grace endowes:
And euerieeverie one with meekenesse to her bowes.
So glorious mirrhour of celestiall grace,
And souerainesoveraine moniment of mortall vowes,
How shall frayle pen descriuedescrive her heauenlyheavenly face,
For feare through want of skill her beauty to disgrace?
[26]
So faire, and thousand thousand times more faire
She seemd, when she presented was to sight,
And was yclad, for heat of scorching aire,
All in a silken Camus lylly whight,
Purfled vponupon with many a folded plight,
Which all aboueabove besprinckled was throughout,
With golden aygulets, that glistred bright,
Like twinckling starres, and all the skirt about
Was hemd with golden fringe
[27]
Below her ham her weed did somewhat trayne,
And her streight legs most brauelybravely were embayld
In gilden buskins of costly Cordwayne,
All bard with golden bendes, which were entayld
With curious antickes, and full fayre aumayld:
Before they fastned were vnderunder her knee
In a rich iewelljewell, and therein entrayld
The ends of all the knots, that none might see,
How they within their fouldings close enwrapped bee.
[28]
Like two faire marble pillours they weredid seene,
Which doe the temple of the Gods support,
Whom all the people decke with girlands greene,
And honour in their festiuallfestivall resort;
Those same with stately grace, and princely port
She taught to tread, when she her selfe would grace,
But with the woody Nymphes when she did play,
Or when the flying Libbard she did chace,
She could them nimbly mouemove, and after fly apace.
[29]
And in her hand a sharpe bore-speare she held,
And at her backe a bow and quiuerquiver gay,
Stuft with steele-headed dartes, wherewith she queld
The saluagesalvage beastes in her victorious play,
Knit with a golden bauldricke, which forelay
Athwart her snowy brest, and did diuidedivide
Her daintie paps; which like young fruit in May
Now little gan to swell, and being tide,
Through her thin weed their places only signifide.
[30]
Her yellow lockes crisped, like golden wyre,
About her shoulders weren loosely shed,
And when the winde emongst them did inspyre,
They wauedwaved like a penon wyde dispred
And low behinde her backe were scattered:
And whether art it were, or heedelesse hap,
As through the flouring forrest rash she fled,
In her rude heares sweet flowres themseluesthemselves did lap,
And flourishing fresh leauesleaves and blossomes did enwrap.
[31]
Such as Diana by the sandy shore
Of swift Eurotas, or on Cynthus greene,
Where all the Nymphes hauehave her vnwaresunwares forlore,
Wandreth alone with bow and arrowes keene,
To seeke her game: Or as that famous Queene
Of Amazons, whom Pyrrhus did destroy,
The day that first of Priame she was seene,
Did shew her selfe in great triumphant ioyjoy,
To succour the weake state of sad afflicted Troy.
[32]
Such when as hartlesse Trompart her did vew,
He was dismayed in his coward minde,
And doubted, whether he himselfe should shew,
Or fly away, or bide alone behinde:
Both feare and hope he in her face did finde,
When she at last him spying thus bespake;
Hayle Groome; didst not thou see a bleeding Hynde,
Whose right haunch earst my stedfast arrow strake?
If thou didst, tell me, that I may her ouertakeovertake.
[33]
Wherewith reviu’dreviv’d, this answere forth he threw;
O Goddesse, (for such I thee take to bee)
For nether doth thy face terrestriall shew,
Nor voyce sound mortall; I auowavow to thee,
Such wounded beast, as that, I did not see,
Sith earst into this forrest wild I came.
ButBur mote thy goodlyhed forgiueforgive it mee,
To weete, which of the Gods I shall thee name,
That vntounto thee dew worship I may rightly frame.
[34]
To whom she thus, but ere her words ensewd,
VntoUnto the bush her eye did suddein glaunce,
In which vaine Braggadocchio was mewd,
And saw it stirre: she lefte her percing launce,
And towards gan a deadly shafte aduaunceadvaunce,
In mind to marke the beast. At which sad stowre,
Trompart forth stept, to stay the mortall chaunce,
Out crying, O what euerever heuenlyhevenly powre,
Or earthly wight thou be, withhold this deadly howre.
[35]
O stay thy hand, for yonder is no game
For thy fiers arrowes, them to exercize,
But loe my Lord, my liege, whose warlike name,
Is far renowmd through many bold emprize;
And now in shade he shrowded yonder lies.
She staid: with that he crauld out of his nest,
Forth creeping on his caitiuecaitive hands and thies,
And standing stoutly vpup, his lofty crest
Did fiercely shake, and rowze, as comming late frõfrom rest.
[36]
As fearfull fowle, that long in secret cauecave
For dread of soring hauke her selfe hath hid,
Not caring how her silly life to sauesave,
She her gay painted plumes disorderid,
Seeing at last her selfe from daunger rid,
Peepes forth, and soone renews her natiuenative pride;
She gins her feathers fowlefoule disfigured
Prowdly to prune, and sett on eueryevery side,
So shakes off shame, ne thinks how erst she did her hide.
[37]
So when her goodly visage he beheld,
He gan himselfe to vaunt: but when he vewd
Those deadly tooles, which in her hand she held,
Soone into other fitts he was transmewd,
Till she to him her gracious speach renewd;
All haile, Sir knight, and well may thee befall,
As all the like, which honor hauehave pursewd
Through deeds of armes and prowesse martiall;
All vertue merits praise, but such the most of all.
[38]
To whom he thus, O fairest vnderunder skie,
Trew be thy words, and worthy of thy praise,
That warlike feats doest highest glorifie.
Therein I hauehavehauehave I spent all my youthly daies,
And many battailes fought, and many fraies
Throughout the world, wher so they might be foũdfound,
EndeuoringEndevoring my dreaded name to raise
AboueAbove the Moone, that fame may it resound
In her eternall tromp, with laurell girlond cround.
[39]
But what art thou, O Lady, which doest raunge
In this wilde forest, where no pleasure is,
And doest not it for ioyousjoyous court exchaunge,
Emongst thine equall peres, where happy blis
And all delight does raigne, much more 1590.bk2.II.iii.39.5. then: thanthenthan this?
There thou maist louelove, and dearly louedloved be,
And swim in pleasure, which thou here doest mis;
There maist thou best be seene, and best maist see:
The wood is fit for beasts, the court is fitt for thee.
[40]
Who so in pompe of prowd estate (qd.quoth she)
Does swim, and bathes him selfe in courtly blis,
Does waste his dayes in darke obscuritee,
And in obliuionoblivion euerever buried is:
Where ease abownds, yt’s eath to doe amis;
But who his limbs with labours, and his mynd
BehauesBehaves with cares, cannot so easy mis.
Abroad in armes, at home in studious kynd
Who seekes with painfull toile, shal honor soonest fynd.
[41]
In woods, in waueswaves, in warres she wonts to dwell,
And wilbe found with perill and with paine;
Ne can the man, that moulds in ydle cell,
VntoUnto her happy mansion attaine:
Before her gate high God did Sweate ordaine,
And wakefull watches euerever to abide:
But easy is the way, and passage plaine
To pleasures pallace; it may soone be spide,
And day and night her dores to all stand open wide.
[42]
In Princes court. The rest she would hauehave sayd,
But that the foolish man, fild with delight
Of her sweete words, that all his sence dismayd,
And with her wondrous beauty rauishtravisht quight,
Gan burne in filthy lust, and leaping light,
Thought in his bastard armes her to embrace.
With that she swaruingswarving backe, her IauelinJavelin bright
Against him bent, and fiercely did menace:
So turned her about, and fled away apace.
[43]
Which when the Pesaunt saw, amazd he stood,
And grieuedgrieved at her flight; yet durst he nott
Pursew her steps, through wild vnknowenunknowen wood;
Besides he feard her wrath, and threatned shott
Whiles in the bush he lay, not yet forgott:
Ne car’d he greatly for her presence vayne,
But turning said to Trompart, What fowle blott
Is this to knight, that Lady should agayne
Depart to woods vntouchtuntoucht, &and leaueleave so proud disdayne?
[44]
Perdy (said Trompart) lett her pas at will,
Least by her presence daunger mote befall.
For who can tell (and sure I feare it ill)
But that shee is some powre celestiall?
For whiles she spake, her great words did apall
My feeble corage, and my heart oppresse,
That yet I quake and tremble ouerover all.
And I (said Braggadocchio) thought no lesse,
When first I heard her horn soũdsound with such ghastlinesse.
[45]
For from my mothers wombe this grace I hauehave
Me giuengiven by eternall destiny,
That earthly thing may not my corage brauebrave
Dismay with feare, or cause oneon foote to flye,
But either hellish feends, or powres on hye:
Which was the cause, when earst that horne I heard,
Weening it had beene thunder in the skye,
I hid my selfe from it, as one affeard;
But when I other knew, my selfe I boldly reard.
[46]
But now for feare of worse, that may betide,
Let vsus soone hence depart. They soone agree;
So to his steed he gott, and gan to ride,
As one vnfittunfitt therefore, that all might see
He had not trayned bene in cheualreechevalree.
Which well that valiaunt courser did discerne;
For he despisd to tread in dew degree,
But chaufd and fom’d, with corage fiers and sterne,
And to be easd of that base burden still did erne.
1. Congè: formal farewell
3. coniure: put under oath
5. all that gentle noriture ensueth: everything that follows from, or is proper to, an aristocratic upbringing
4. kestrell kynd: a small breed of hawk that supports itself by facing into the wind
5. vaine: vein
7. portaunce: carriage or bearing
8. gree: favor
4. pranck: show off
7. ranck: headlong, recklessly
2. thrall: slave or prisoner
7. Miser: wretch
7. Offall: piece of refuse
2. liegeman: vassal sworn to the service of his feudal lord
5. Eftsoones: promptly
2. weened well: confidently supposed
3. foyle: defeat
4. Tho: then
4. louting: bowing down
7. gin: either the general quality of cunning or a specific trick
9. wreak: punish or avenge
5. doughtie valiaunce: stout courage
6. meed: reward
8. areed: declare
6. prowest: worthiest; most brave or gallant
7. approu’d: tested or proven.
8. wotest: know
1. Perdy: a mild oath
1. bliue: promptly
2. purchase to: obtain for
5. of: off
5. bug: ghost, scarecrow, or hobgoblin
6. faine: dissemble
1. Eft: then or soon (archaic)
6. Eftsoone: then or soon (archaic)
8. great worth: elevated rank
9. stately portance: dignified bearing
4. persant: piercing
5. bereau’d: took away
2. table: tablet
8. rubins: rubies
3. belgardes: amorous glances
8. descriue: describe or write down
4. Camus: tunic
7. aygulets: spangles
4. bendes: bands
4. entayld: engraved
5. curious antickes: elaborately wrought grotesque figures
5. aumayld: enamelled
6. Before: in front
7. entrayld: interwoven
5. port: gait or bearing
5. Knit: fastened
5. bauldricke: leather belt or girdle
6. Athwart: across, usually (as here) diagonally
1. crisped: curled
7. flouring: blossoming
8. rude: natural, uncultivated
1. hartlesse: without courage or passion
7. Groome: a male servant
3. mewd: hidden
6. to marke the beast: to pinpoint its location
6. stowre: predicament
9. wight: creature or being
4. emprize: chivalric undertaking
3. silly: defenseless
8. prune: preen
4. transmewd: transmuted
1. she: honor
6. bastard: debased; unauthorized
1. Perdy: a mild oath
1. grace: mark of divine favor
7. Weening: supposing
5. cheualree: knightly skills of combat, esp. (as here) horsemanship
9. erne: yearn
2.6.raught] 1590FE, 1596, 1609; rought1590;
4.5.he] 1590; vaine1596, 1609;
9.8.f⁀latteryflattery] 1596, 1609; ſ⁀latteryslattery1590;
11.4. courſercourser ] 1596, 1609; courſecourse 1590;
28.1.were] 1590FE; did1590;
33.7.But] 1596, 1609; Bur1590;
36.7.fowle] 1590; foule1596, 1609;
38.4.I hauehave] 1590; hauehave I1596, 1609;
45.4.one] 1609; on1590, 1596;
1 Braggadocchio: Adds an augmentative suffix from Italian to the English ‘brag’, perhaps reflecting a common Tudor prejudice against ‘Italianate’ manners. Coined by Spenser, the name became an English noun meaning boastful swagger.
4 Belphœbe: Prefixes the Italian bella handsome to the Greek name for the goddess of the moon; cf. ii.44.1, where ‘faire Phebe’ anticipates and translates the name. Cf. also FQ Letter 36-37, where Spenser explains his invention of the name as an epithet for Queen Elizabeth ‘according to your owne [Ralegh’s] excellent conceipt of Cynthia, (Phoebe and Cynthia being both names of Diana)’.
1.7 behight: One of Spenser’s creative archaisms. Here may mean named or mentioned, with reference to Guyon’s account of his quest at dinner the night before (ii.43-45). But since the OE meaning is to promise or vow, the sense ‘pledged’ is also relevant.
1.9 many-folded: Cf. Il 7.220, where Ajax carries ‘a shield of bronze with sevenfold bull’s hide’ (χαλκεον εταβoειον, o οι Τυχ𝜄ος καμε τε𝜐χων; chalkeon etaboeion, o oi Tuchios kame tenchōn). The epithet ‘seven-folded’ is picked up by classical poets (e.g. Ovid, Virgil); it reappears at II.v.6.2-3 (Guyon’s ‘seven-folded shield’) and III.ii.25.7 (Arthegall’s ‘shield enveloped sevenfold’).
2.3 coniure: Etymologically, ‘swear together’.
2.8 Ruddymane: Combining ‘ruddy’ with L manus hands to translate the epithet ‘bloody-handed’.
2.8–2.9 2.8-9 The narrator seems unaware that teaching Ruddymane vengeance might be inconsistent with his training in ‘vertuous lore’ (because vengeance is sinful or belongs to the Christian God).
3.1–3.5 3.1-5, 9 The halting rhythm and the pun on ‘boot’ suggest an amused perspective on Guyon’s predicament, while the Palmer footing it ‘no more alone’ recalls the knight’s too-hasty response to Archimago and Duessa in canto i. These suggestions are gathered up in the final line of the stanza, where we read that Guyon ‘rushed in on foote’ to aid Amavia, abandoning his horse and spear.
3.3 Patience perforce: Proverbial (Smith 1970, no. 598).
4.4 kestrell kynd: As a term of contempt it means something like windbag: thus Nashe in 1596 refers to ‘One of these kistrell birds, called a wind-sucker’ (Saffron Walden Kij). Making Braggadocchio into a species of hawk, the phrase recalls by way of a pun the argument’s statement that he ‘is of fayre / Belphoebe fowle forlorne’.
4.5 vaine: With a pun on ‘vainglory’.
4.9 full light: ‘Light’ functions both as an adverb meaning ‘nimbly’ and as adjective meaning, in a military sense, ‘lightly armed’, while also suggesting that Braggadocchio lacks gravitas. ‘Full light’ is thus a complex oxymoron: being altogether or entirely frivolous, he is fully empty.
5.1 iollity: Carries a range of meanings including festivity, sexual pleasure, gallantry, splendor, jocularity, and, most immediately relevant, insolent presumption. The concentrated assonance of the back-vowels helps make the point, reinforced by the link between ‘swell’ and the wind-sucking behavior of the kestrell (4.4n).
5.4 personage: Close in range of meanings (physical appearance, image) to ‘person’, but more important-sounding. The personage is what Braggadocchio impersonates, taken in by his own imposture.
5.9 t’aduaunce his first degree: To get a promotion, now that he has knighted himself.
6.3 auaunting: Boasting, with an ironic echo of ‘advaunce’ (5.9).
6.3 brauery: Both bravado (looking back to ‘avaunting’) and finery (looking forward to line 4).
6.4 6.4 Cf. 4.4n.
7.6 dead dog: A Biblical insult specific to the books of Samuel: 1 Sam 24:14, 2 Sam 9:8, 2 Sam 16:9.
8.9 hold of him in fee: Legal phraseology (to hold land by virtue of one’s submission to a feudal lord) marking the scene as a parody of the homage ritual.
10.1

Trompart: From Fr tromper to deceive, by analogy to English ‘trump’, ‘trumpant’, ‘trumpery’, also derived from tromper and its forms trompant and tromperie. Parodies the ‘trumpets sterne’ of I.pr.1.4 much as Trompart parodies the function of the epic poet to ‘blazon forth’ praise; the name thus seems to emerge comically from the ‘bellowes’ of the preceding line.

Trompart and Braggadocchio have been read at least since Upton 1758 as glancing satirically at the courtship of Elizabeth by the duc d’Alencon and his agent Simier. For the literary antecedents of these characters in Ariosto, OF, and other texts, see the article on each in SpE.

10.2 vaunting eye: Translating the name ‘Braggadocchio’ through a pun on Ital occhio eye (Hamilton 2001).
10.3–10.4 10.3-4 Note the echo of 4.5 in ‘Vaineglorious’ and the expansion of 4.4 (‘kestrell kind’) in ‘when fluttring wind does blow / In his light winges, is lifted up to skye’—amplifying both the argument’s anticipatory pun on ‘fowle’ and the name ‘Trompart’ as associated with bellows and trumpet.
10.5 10.5 Cf. arg.2-3.
10.8–10.9 10.8-9 Honor as the reward of virtue (opposed to honor ‘without desert’) is most highly regarded among those who are nobly descended; or, honor as the reward of virtue carries its blossom (praise) within its seed (noble deeds).
11.2 Archimage: Last seen at i.25 provoking Guyon to attack Redcrosse.
11.4 thondring with his feet: With Braggadocchio in the saddle, even the horse’s gallop turns to bombast; the pun on ‘feet’ extends the parody of epic poetry (cf. 10.1n).
11.7–11.9 11.7-9 Archimago’s adversarial role both mirrors and opposes the linking of the virtues; cf. i.5.4-5n and i.34.2n.
12.3 golden sell: Repeated from ii.11.6.
12.6 through hard assay forgone: ‘Lost in a difficult adventure’ or ‘renounced in a difficult test’. ‘Despight’ in line 8 may favor the first possibility, whereas at 17.6-9 Braggadocchio will elaborate the second.
12.7–12.8 12.7-8 ‘Has sworn never to wear another sword until he has avenged himself of that outrage’.
13.7–13.8 13.7-8 Archimago’s lies typically misrepresent events that have occurred in the narrative, as if he were competing with the narrator for control over the course of the story; cf. i.10.3-9n and 11.7-9n.
14.3 14.3 As if their lives had been entrusted to him.
15.7 hard assay: Cf. 12.6.
16.7 to quayle: I.e. to daunt or overawe. Given the way bird-references flock to Braggadocchio it is difficult not to hear a pun on ‘quail’.
17.3 on euen coast: Hamilton 2001 compares FQ 1596 IV.iii.24.8 on equall cost, suggesting that the phrases may mean either on level ground or on even terms.
17.6–17.9 17.6-9 A more boastful explanation than the one offered by Trompart at 12.6-8. Cf. OF 14.43 and 23.78, where Ariosto’s Mandricardo, armed only with a spear, swears he will bear no sword but Orlando’s.
17.7 17.7 Comically echoing ‘Seven at one stroke’, the motto of the ‘brave tailor’ in a folktale from the ‘Jack’ cycle. See SpE s.v. ‘folklore’.
18.1 Perdy: From ME ‘par dieu’, ‘by God’.
18.9 what mote that Monster make: What could bring about that wonder (L monstrum marvel or prodigy).
20.4 20.4 Cf. Ps 53:5, ‘There they were afraied for feare, where no feare was’; Lev 26:36, ‘the sounde of a leafe shaken shall chase them’; and Wisd Sol 17:1-18, ‘whether it were an hyssing winde . . . these feareful things made them to swone’.
20.5 20.5 FE corrects ‘vnto’ in this line to ‘greatly’. 1596 and 1609 read ‘their haire on end does reare’, which we take to be authorial revision rather than correction of compositorial error.
21.3–21.4 21.3-4 In Sidney’s New Arcadia the shepherd Dametas ‘fell down flat of my face’ when frightened by a bear, and is seen ‘lying with his breast and head as farre as he could thrust himselfe into a bush: drawing up his legges as close unto him as hee coulde: for, like a man of a very kind nature, soone to take pittie of himselfe, he was full resolved not to see his owne death’ (ed. Dennis 1970, 83-84). Sidney left the revision of his New Arcadia (published in 1590) unfinished at his death in 1586. It is not known whether Spenser saw a copy in manuscript.
21.9 stately portance: Contrast with the ‘gay portaunce’ (5.7) that Braggadocchio ascribes to the court.
21.9 borne of heauenly birth: The surmise of divinity is a frequent motif in Spenser. See SC Apr 163-65 and note, where the emblems trace this courtly compliment back to Aeneas’s wondering recognition of his divine mother, Venus, disguised as a maiden huntress in the woods outside Carthage. Many of the terms used to describe ‘Eliza’ in Colin’s song reappear in the description of Belphoebe. The phrasing ‘borne of . . . birth’ is pure redundancy unless the verb also suggests the past participle of ‘bear’ (carry, endure), a nuance supported by the proximity of ‘portance’, which means ‘bearing’. At Aen 1.405, Aeneas recognizes the disguised Venus by her stride: et vera incessu patuit dea (‘and in her step she was revealed, a very goddess’).
22.1

St. 22-31 These ten stanzas comprise a blazon, or formal pictorial description of female beauty. The primary motive is honorific, but satiric touches can be discerned. The passage interweaves echoes from Tasso’s Rinaldo, Ariosto’s OF, Virgil’s Aen, and Song Sol, which Ponsonby in 1591 (Complaints, ‘The Printer to the Gentle Reader’) says he ‘understands’ Spenser to have translated, although no such text survives.

The Virgilian echoes come from separate but related passages. They include details from the description of Venus as she appears to her son virginis os habitumque gerens et virginis arma (‘with a maiden’s face and mien, and a maiden’s arms’; Aen 1.315): namque umeris de more habilem suspenderat arcum / venatrix dedratque comam diffudere ventis, / nuda genu nodoque sinus collecta fluentis (‘For from her shoulders in huntress fashion she had slung the ready bow and had given her hair to the winds to scatter; her knee bare, and her flowing robes gathered in a knot’; Aen 1.318-20). These details link Belphoebe also to Diana, whom Venus partly impersonates with her virginal disguise; thus when Virgil compares Dido to Diana later in Book 1, the description echoes that of Venus: illa pharetram / fert umero gradiensque deas supereminet omnis (‘she bears a quiver on her shoulder, and as she treads overtops all the goddesses’; 1.500-501). Spenser mingles both passages in the blazon, suggesting that Belphoebe (and allegorically, Elizabeth) combines the beauty of Venus with the chastity of Diana.

22.3–22.4 22.3-4 Her face shines (L clarus) without blemish because the four humors are well-blended in her physical constitution. Cf. Song Sol 4:7, ‘Thou art all faire, my love, and there is no spot in thee’.
22.5–22.6 22.5-6 Cf. SC Feb 130-32, ‘Lilly white, and Cremsin redde, . . . Colours meete to clothe a mayden Queene’. The pairing of lilies and roses, frequent in Renaissance poetry, goes back to Song Sol 2:1, ‘I am the rose of the field, and the lilie of the valleis’. Its use to describe the complexion of the face, also conventional, may owe something to Song Sol 5.10, ‘My welbeloved is white and ruddy, the chiefest of ten thousand’. Also influential are Virgil’s description of Lavinia’s blush, mixta rubent ubi lilia multa / alba rosa (‘white lilies blush with many a blended rose’; Aen 12.68-69) and Ovid’s description of Corinna’s blush, Quale rosae fulgent inter sua lilia mixtae (‘Like roses gleaming among the lilies where they mingle’; Amores 2.5.37).
22.7 ambrosiall: Resembling ambrosia, variously the nectar, food, or ointment of the Gods, which has the power to confer immortality; cf. Virgil’s description of Venus: ambrosiaeque comae divinum vertice odorem / spiravere (‘and from her head her ambrosial tresses breathed celestial fragrance’; Aen 1.403-4).
22.8–22.9 22.8-9 Belphoebe’s cheeks evidently combine the powers of the well and tree of life in Eden (I.xi.30.1, 48.7-8). As indirect royal praise, this stanza’s hyperbolic attribution to Elizabeth of both divinity and the power to convey it to her beholders comes perilously close to blasphemy—or mockery. As Sidney in the New Arcadia drily observes of the queen of Laconia, ‘She was a queen and therefore beautiful’ (The Countess of Pembroke’s Arcadia, ed. Evans 159).
23.1–23.2 23.1-2 Expanding the epithet ‘Cleare as the skye’ (22.3n), these lines will be echoed in FH, where ‘lampe’ and its forms recur as figures for eyes, beauty, light-giving heavenly bodies, Christ, and God’s Beloved (e.g. HL 131, HB 59, HHL 170, HHB 274). This pattern reflects both the Neoplatonic definition of beauty as light and the biblical associations of ‘lamp’ (which appears some three dozen times from Exodus to Revelations).
23.2–23.9 23.2-9 The conventional notion of female beauty as a fire kindled in heaven, which is then darted out through the eyes to pierce the beholder’s gaze, is elaborated in FH, which also develop the contrast between the effects of cupidity (HL 106-140) and those of chaste love (HL 169-203). Spenser seems to be glancing at Ariosto’s description of Alcina’s eyes: intorno cui par ch’Amor scherzi e voli, / e ch’indi tutta la faretra scharchi / e che visibilmente i cori involi (‘around which Love seemed to play and flutter, and from whence he would empty his quiver, and which would visibly steal hearts’; OF 7.12.4-6; trans. modified from Waldman 1974).
24.1–24.6 24.1-6 Presumably Love has not yet engraved any triumphs in the broad, white expanse of Belphoebe’s forehead, since her face remains ‘withouten . . . blot’ (22.3) and the infinitive verbs (for Love . . . to engrave, / And write) suggest rather an inviting prospect than a finished inscription. All good and honour must therefore be red in the blank smoothness of the tablet’s untouched, virginal surface rather than in the text of Cupid’s battles and triumphs—all the more likely if, as 23.9 informs us, Belphoebe’s majesty breaks his warlike instruments. Less elaborately, Ariosto compares Alcina’s fronta lieta (‘serene brow’) to terso avorio (‘polished ivory’; OF 7.11.7). Tasso mentions Clarise’s fronte d’avorio (‘brow of ivory’; Rin 1.55.5), while of the Queen of Media he says, Sembrava a lei ch’Amor quivi locato / Tutte le sue vittrici insegne avesse, / E quale in carro suol di palme ornato / Trionfator altier, lieto sedesse (‘It seemed that Love had leased to her all his triumphant insignia, and that in his carriage ornamented with palms, the proud victor sat happily’; Rin 9.15.1-4).
24.7 dropping honny: Cf. Song Sol 4:11, ‘Thy lippes, my spouse, droppe as honie combes’.
24.8 rubins: Cf. Am 15.8, ‘if Rubies, loe, hir lips be Rubies sound’, and 81.10, ‘The gate with pearles and rubyes richly dight’. This and the lily-rose image from 22.6 are conventional enough that echoes may be incidental, but both occur together with the ivory brow in a single stanza of Tasso (Rin 1.55); cf. also RS 737.1-2: Quell’Angelica voce che si frange / tra bianche perle e bei rubini ardenti (‘That angelic voice [voice of Angelica] that breaks forth between white pearls and [bei] fiery rubies’; Rizzoli 1.713). Ariosto combines coral and pearls with the lily and rose in the description of Isabel: interotta da fervidi signiozzi, / che dai corali e da le preziose / perle uscir fanno i dolci accenti mozzi. / Le lacrime scendean tra gigli e rose (‘ardent sighs kept interrupting the flow of soft words which issued brokenly from her coral lips, which parted to disclose such precious pearls. Her tears descended between lily and rose’; OF 12.94.2-5; trans. Waldman, modified in last line).
24.9 siluer sound: ‘Silver’ is one of Spenser’s favorite adjectives: cf. SC June 61 and note.
25.1–25.2 25.1-2 Cf. Am 40.3-4: ‘on each eyelid sweetly doe appeare / an hundred Graces as in shade to sit’, and SC June 25 gloss: ‘thys same Poete in his Pageaunts sayth. An hundred Graces on her eyeledde satte. etc.’.
25.3 belgardes: Coined by Spenser from Ital bel guardo, ‘lovely look’.
25.3 retrate: Either retreat (from Fr retraite and L retrahere) or portrait (from Ital ritratto). For Spenser’s repeated play on the etymology of drawing and the metaphor of tracking, see II.i.12.7n. Here the combination of portraying-and-withdrawing repeats the dynamic of Love’s inscription at 26.1-6.
25.6–25.7 25.6-7 Cf. I.iv.2, ‘Mirrour of grace and Majestie divine’; this echo followed closely by ‘soveraine’ brings the reference to Elizabeth near the surface. She is a reflection both of her God’s grace and of his majesty, and (therefore) a reminder of her mortal subjects’ allegiance to their sovereign. For the link between ‘moniment’ and L monere to remind see glossary.
25.8–25.9 25.8-9 The inexpressibility topos makes explicit the back-and-forth between inscription and erasure or withdrawal reflected in the preceding lines. Spenser has translated (and intensified) Ariosto’s reference to painting: Di persona era tanto ben formata, / quanto me’ finger san pittori industri (‘She was so beautifully modeled, no painter, however much he applied himself, could have achieved anything more perfect’; OF 7.11.1-2).
26.5 Purfled vpon with many a folded plight: Ambiguous because of the doubled prepositions, and because ‘purfled’ can mean either ‘embroidered [upon]’ or ‘bordered [with]’. The simplest construal is to read as if a comma separated upon from with, which then would begin a new descriptor. Thus unfolded, the line might be paraphrased, ‘Embroidered and having many pleats’.
26.9 26.9 The pattern of writing/withdrawing in the blazon, made explicit by the inexpressibility topos, is now made literal by the unfinished alexandrine, ‘broken’ like Cupid’s darts (23.9). Other half-lines appear at II.viii.55.9, III.iv.39.7, III.vi.26.4 (1590 only), and III.ix.37.5.
27.2 embayld: Spenser appears to be fusing the verbs ‘bale’, to hoop or bind, and ‘embay’, to surround. In TCM he will refer to Faunus in the custody of Diana’s nymphs as ‘within their baile’ (VII.vi.49.2); he uses the verb embay several times to describe immersion in a liquid, most recently at II.i.40.7 where Ruddymane ‘did embay / His little hands’ in his mother’s blood.
27.3 gilden buskins of costly Cordwayne: Knee-boots made of fine leather (named for the Spanish town of Cordova, where it was made), ornamented with gold-leaf.
27.7–27.9 27.7-9 As Hamilton 2001 notes, this description suggests virginity (‘that none might see’) and thus evokes the phrase ‘virgin knot’. Ariosto has little to say about Alcina’s attire; it is her biondo chioma lunga that he describes as annodata (‘her long blond tresses . . . gathered in a knot’; OF 7.11.3). Tasso describes Clarice’s gambe snelle / sino al ginocchio ricoprendo ornava / di cuoio azzurro, e qual con aurei nodi / era da poi legato in mille modi (‘slender legs, up to the knee adorned with a covering of sky-blue leather, which was tied with golden knots a thousand ways’; Rin 5.13.4-8). For the Virgilian echo, see 22-31n.
28.1–28.4 28.1-4 Cf. Song Sol 5:15: ‘His leggs are as pillers of marble, set upon sockets of fine golde’, and 1 Cor 6:19: ‘Know ye not, that your bodie is the temple of the holie Gost . . .’. Given the discreet but persistent attention in the preceding lines to Belphoebe’s ‘golden fringe’ and ‘fouldings close enwrapped’, the ‘temple of the Gods’ supported by these ‘faire marble pillours’, which typologically represents the body as a whole, may be somewhat comically localized in the genitals. In such a reading, the festival crowds resorting to the temple become a preposterously indecorous image, perhaps travestied from the description of Dido’s first approach to Aeneas: regina ad templum, forma pulcherrima Dido, / incessit, magna iuventum stipante caterva (‘the queen, Dido, moved towards the temple, of surpassing beauty, with a vast company of youths thronging about her’; Aen 1.496-97).
28.5 port: Cf. ‘stately portance’ (21.9).
28.7 play: The stanza-form calls for a b-rhyme here (cf. ii.7.7n); Church 1758 suggests ‘sport’.
29.5 bauldricke: Derived from the cingulum militare given by Roman emperors when awarding knighthood to equestrian soldiers. For the traditional use of the baldric as a symbol of knighthood (and in some contexts of chastity or temperance), see Leslie (1983:172-74).
29.5–29.7 29.5-7 For a visual analogue of Spenser’s emphasis on the baldric as accentuating Belphoebe’s breasts, see the band running across the breast of the Virgin Mary in Michelangelo’s first Pietá.
29.7 young fruit in May: Ariosto describes Alcina’s breasts as due pome acerbe, e pur d’avorio fatte, that vengono e van come onda al primo margo, / quando piacevole aura il mar combatte (‘a pair of apples, not yet ripe, fashioned in ivory’, that ‘rose and fell like the sea-swell at times when a gentle breeze stirs the ocean’; OF 7.14.3-5, trans. Waldman). The Chorus in Tasso’s Aminta sings about a golden age when naked virgins unveiled le poma del seno acerbe e crude (‘the young and unripe apples of their bosoms’; I.2.692).
29.8–29.9 29.8-9 Cf. Ariosto: Non potria l’altre parti veder Argo: / ben si può guidicar che corrisponde / a quel ch’appar di fuor quel che s’asconde (‘Argus himself could not see them entire, but you could easily judge that what lay hidden did not fall short of what was exposed to view’; OF 7.14.6-8, trans. Waldman).
30.1–30.5 30.1-5 Tasso says that Rinaldo saw il crin parte ondeggiar al vento / parte in belli aurei nodi avolto e stretto (‘part of the hair to flutter in the wind, and part in lovely golden knots tightly wound’; Rin 1.54.3-4). For the Virgilian echo, see 22-31n.
30.7 flouring: Combines ‘flowering’ and ‘flourishing’, both from L florere.
30.8 rude: Cf. line 6.
30.8–30.9 30.8-9 For a visual analogue to this description see Boticelli’s Primavera.
31.1–31.2 31.1-2 Another echo from the first book of the Aeneid (see 21.9n and 28.1-4n), once again alluding to Dido’s appearance on her first approach to Aeneas: qualis in Eurotae ripis aut per iuga Cynthi / exercet Diana choros (‘Even as on Eurotas’ banks or along the heights of Cynthus Diana guides her dancing bands’; 1.498-99). Eurotas is the principle river in Laconia, named after a legendary king of the region; Cynthus is a hill on the island of Delos where the goddess Diana was born, from which Roman poets derived the epithet ‘Cynthia’.
31.5–31.6 that famous Queene / Of Amazons: Penthesilea, at whose picture Aeneas is gazing when Dido approaches him: ducit Amazonidum lunatis agmina peltis / Penthesilea furens mediisque in milibus ardet, / area subnectens exsertae cingula mammae, / bellatrix, audetque viris concurrere virgo (‘Penthisilea in fury leads the crescent-shielded ranks of the Amazons and rages amid her thousands; a golden belt binds her naked breast, while she, a warrior queen, dares battle, a maid clashing with men’; Aen 1.490-93).
31.6 whom Pyrrhus did destroy: Most classical authors report that Penthesilea was slain at Troy by Achilles, not his son Pyrrhus. The exception is Dares Phrygius in de bello Troj (Upton 1758, qtd Var 2.218), but as Upton points out, this exception was the version that entered into the romance tradition, where Spenser would have found it echoed by Lydgate, Caxton, and Sir Philip Sidney.
31.7–31.9 31.7-9 According to Apollodorus, Proclus, and other classical sources, Penthesilea was first seen by Priam when she came to be purified of guilt for the accidental slaying of her sister Hippolyte while hunting (the fate that threatens Braggadocchio in Spenser’s episode). Presumably ‘The day’ refers forward to line 8, not backward to line 6: Caxton and Lydgate, for example, both report that Penthesilea fought with Pyrrus and the Myrmidons for a month before she was slain (III.96; Troy Book IV.4260-64). Spenser does seem to have picked up details from Caxton’s account: the verb ‘succour’ appears there in connection with Penthesilia (‘When she knew that the Greeks had beseiged Troy, she went to succor it with a thousand Virgins, for the love of Hector’; III.93), and at the end of her first day’s combat with the Greeks, ‘Queen Penthasilia returned into the City with glory and honour where King Priamus received her with joy, and gave her many rich jewels’ (The Destruction of Troy, in Three Books [ed 1670], III.94).
32.8 right haunch: Tasso’s Clarice is likewise pursuing a deer wounded entro la spalla destra (‘in the right shoulder’; Rin 1.53.8).
32.8 stedfast arrow: An arrow well-trimmed for accurate flight. Cf. Ascham 1545: ‘To make the ende compasse heauy with the fethers in fliyng, for the stedfaster shotyng’ (2.127).
33.1 St. 33 Following closely the address of Aeneas to Venus:‘nulla tuarum audita mihi neque visa sororum, / o—quam te memorem, virgo? namque haud tibi voltus mortalis, / nec vox hominem sonat; o dea certe!’ (‘None of thy systers have I heard or seen—but by what name should I call thee, O maiden? for thy face is not mortal, nor has thy voice a human ring; O goddess surely!’; Aen. 1.326-28; cf 21.9n). Tasso’s Rinaldo asks Clarice qual che vi siate, o donna o dea (‘whatever you may be, woman or goddess’; Rin 1.58.6). The topos originates with Odysseus’ address to Nausicaa: ‘I beseech thee, O queen,--a goddess art thou, or art thou mortal?’ (Od 6.149-50).
33.7 goodlyhed: Excellence either of appearance or of character (a deferential mode of address).
34.3 mewd: Hawks and falcons are ‘mewed’, or enclosed in a cage, while moulting; barnyard poultry are ‘mewed’ for fattening.
35.6–35.9 nest . . . crest . . rowze: Cf. arg.3-4n, 4.4n, and 10.3-4n, reinforcing the sense of ‘rowze’ (both technical and rare) as a reference to the action of a hawk in ruffling its feathers. Cf. I.xi.9, where the dragon shaking his scales is compared to an eagle that ‘His aery plumes doeth rouze’.
36.1 St. 36 The mock-epic simile in this stanza unpacks the diction of 35.6-9 while reversing the species implied: Braggadocchio is no longer hunter but prey (or no longer ‘Scarcrow’, as at 7.1, but scared crow). These passages culminate a series of jesting references to birds at arg.4, 6.4, 7.1, 10.3-4, and 34.3.
36.7 fowle: Pun intended.
37.4 transmewd: Echoing ‘mewd’ at 34.3.
38.2 38.2 Braggadocchio awkwardly conflates Belphoebe’s ‘words’ with the ‘deeds’ and ‘vertue’ they praise (37.8-9)—as might be expected of one whose deeds exist only in words.
38.8 Aboue the Moone: Cf. ‘O fairest under skie’ (38.1), and Aen. 1.379: fama super aethera notus (‘my fame is known above the stars’).
38.9 with laurell girlond cround: Cf. I.i.9.1-2, ‘The Laurell, meed of mightie Conquerours, / And Poets sage’. As a conqueror who awards himself the laurel for purely verbal feats of arms, Braggadocchio offers a moment of sly self-parody by the poet whom Helgerson describes as a ‘self-crowned laureate’ (1983); cf. 10.1n.
39.1 St. 39 Cf. st. 5; Braggadocchio is himself en route to the court, where he hopes ‘to be receiv’d / For such as he him thought, or faine would bee’.
39.9 is fit . . . is fitt: Cf. 37.4, ‘Soone into other fitts he was transmewd’.
40.1 St. 40 The irony of putting this speech into the mouth of a character identified with queen Elizabeth is unmistakable. For precedents in Boiardo and Tasso, see OI 2.1.36-36 and GL 17.61-63.
40.6–40.7 who his limbs with labours, and his mynd Behaues with cares: Who exercises his limbs with activity and regulates his mind with attention to serious matters (as Spenser’s own paraphrase in the next two lines suggests).
41.7–41.9 41.7-9 Reprising the contrast from Book I between the House of Pride (iv.2.8-9) and the House of Holiness (x.5.9), which in turn restate Matt 7:13-14. These passages also echo Hesiod, Works and Days 287-91: ‘Badness can be got easily and in shoals: the road to her is smooth, and she lives very near us. But between us and Goodness the gods have placed the sweat of our brows: long and steep is the path that leads to her, and it is rough at the first’.
42.5–42.6 42.5-6 At this point Braggadocchio corresponds neither to Aeneas beholding Venus in the Aen nor to Ruggiero greeting Alcina in OF, but to Ruggiero when Angelica escapes from his grasp (11.1-9).
43.1 Pesaunt: Here, a broad term of abuse implying both low social status and contemptible character.
43.7 fowle blott: For the pun on fowle, see the notes to the argument and subsequent references throughout the canto; blott signifies ‘disgrace’.
43.9 leaue so proud disdayne: Presumably Braggadocchio should mean to say that she leaves ‘with so much’ proud disdain; what he actually says is that she leaves the disdain behind, which implies that it is his, not hers (at 46.6-9 it passes over to Guyon’s horse). He projects his own affect onto Belphoebe more coherently in line 6, ‘Ne car’d he greatly for her presence vayne’.
Building display . . .
Re-selecting textual changes . . .

Introduction

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Textual Changes

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Off: That a large share it hewd out of the rest, (blest.And glauncing downe his shield, from blame him fairely (FQ I.ii.18.8-9)On: That a large share it hewd out of the rest,And glauncing downe his shield, from blame him fairely blest.

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Off: Sweet slõbring deaw, the which to sleep them biddes:(FQ I.i.36.4)On: Sweet slombring deaw, the which to sleep them biddes:

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Off: And all the world in their subiection held,Till that infernall feend with foule vprore(FQ I.i.5.6-7)On: And all the world in their subjection held,Till that infernall feend with foule uprore

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Most lothsom, filthie, foule, and full of vile disdaine(FQ I.i.14.9)14.9. Most lothsom] this edn.;Mostlothsom 1590

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Apparatus

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And shall thee well rewarde to shew the place,(FQ I.i.31.5)5. thee] 1590; you 15961609

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To my long approoved and singular good frende, Master G.H.(Letters I.1)1. long aprooved: tried and true,found trustworthy over along period
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