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Britomart is a female knight, the embodiment and champion of Chastity. She is young and beautiful, and falls in love with Artegal upon first seeing his face in her father's magic mirror. Though there is no interaction with him, she falls in love with him, and travels, dressed as a knight and accompanied by her nurse, Glauce, in search of her beloved Artegal. She carries an enchanted spear that allows her to defeat every Knight she encounters. After many adventures, it is only at the end of her quest Britomart is challenged by two knights who both seek to avenge their previous defeat at the hand of the unknown “Knight with the Ebony Spear”, who is in reality Britomart. Both challenge, but again are unseated by Britomart. In his defeat the beautiful face of Sir Artegal is revealed and her mind at once recalls the day she first saw his face in her father’s enchanted mirror. Only then does her courage began to falter, and her spirit grow tame, so that she softly withdraws her uplifted hand. Sir Scudamore, who has been observing the joust is glad at heart and exclaims with jest, "Truly, Sir Artegal, I rejoice to see you bow so low, and that you have lived to become a lady's thrall!" When Britomart hears the name of Artegal, her heart leaps and trembles with joy. She flushes deeply, and tries to hide her agitation by feigning anger. But all is put right and Britomart and Artegal fall deeply in love and can’t bear to be parted. But a happy ending is not yet in sight as Sir Artegal is on a quest and takes his leave. Britomart is upset and can hardly bear to be parted. Britomart then joins Sir Scudamour on his quest to find his Lady Amoret and they return to where Britomart had last seen her.
" . . . very readable, lucid, intriguing study . . . " —Spenser Newsletter " . . . a very thoroughgoing inventory of the cruel male fantasies and nightmares imposed on . . . female-gendered figures . . . " —Studies in English Literature 1500-1900 "Cavanagh has managed to give an almost entirely new reading of [The Faerie Queene]; it is the first feminist rereading of the entire epic, and it reshapes the contours of the huge poem in often startling and remarkable ways." —Maureen Quilligan, University of Pennsylvania
Provides a more comprehensive account of Britomart than any previous writer on The Faerie Queene has offered. Her approach, which is thoroughly grounded in contemporary theory, nevertheless manages to avoid the opacity of so much theoretically-based writing. Intellectually sophisticated but blessedly clear and unpretentious, Joanna Thompson's study negotiates the complex issues of cultural confusion in Spenser's representation of his most important female construct.
"This book argues that critical tradition has obscured the mutually constitutive relation between the didactic mission of Renaissance epic and the pathos of the epic self." "Critics usually see Spenser and Milton either as poets dedicated to an autonomous aesthetic that dictates indulgence in pathos for its own sake, or as Christian moralists who subordinate pathos to the didactic demands of society. The Romantic tradition that stretches from Keats to Harold Bloom exemplifies the former option. Neo-Christian, reader response, and new historicist critics assert a contrary, but similarly unbalanced, view by choosing the didactic authority of social custom, tradition, or ideology over the pathos of subjectivity." "Resisting attempts to establish an absolute priority for either pathos or moralizing, David Mikics looks to the debate between subjective passions and didactic imperatives as a sign of the complex relation between literary creation and social norms. In a study that shies away from new historicist endorsements of the force of normative ideology, as well as late Romantic celebrations of the poetic self, the author finds that Spenser and Milton develop an innovative literary subjectivity under the pressure of the Reformation's moralizing aims." "Incorporating moral force within pathos would allow poetic passion to become a worthy and clearly justifiable public stance. But Spenser and Milton, in their pursuit of this rhetorical ideal, find themselves acknowledging, instead, an enduring disjunction between affect and the discursive forms of public morality which aim to discipline or exploit it."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved