Author Archives: Rachel Baron

Chastity and Flowers?

In Book 3 Canto 11, stanza 6 Britomart is described as “the flowre of chastity” (3.11.6.47). This connection between flowers and chastity was also something I noted in the reading for Monday. It came up a few times in that reading and seems to be a repeated idea throughout the text. I am wondering why chastity is connected so much with flowers, as flowers seem to me to be usually associated with sexuality? Just something that seems odd to me and I am curious what others think.

Re: A female audience?

Hi Kacie,

I agree with you that the depiction of women within the text appears to be questionable as being particularly feminist–or at least what we would think of today as being feminist. I think that the seeming contradiction you are getting at–that Spenser seems to both advocate for women’s leadership while also advocating for extreme chastity–makes sense when approaching the text as a glorification of Queen Elizabeth, as we discussed in class. In this context, promoting chastity as the supreme feminine virtue while also expressing the strength of exceptional women works when both concepts were part of the image Queen Elizabeth cultivated. One part of Book III that stood out to me along similar lines was in stanza 7 where the narrator comforts Guyon when Britomart  knocked him off his horse: “For not thy fault, but secret powre unseen,/That speare enchaunted was, which layd thee on the greene” (3.1.7.62-63). In the next stanza, the narrator tells Guyon that he would be embarrassed if he realized “that of a single damzell thou wert met” (3.1.8.67). Essentially, it is shameful if a man is overthrown by a woman, but in this case it appears to be somewhat okay because Britomart has an ‘enchaunted’ weapon. This type of thinking allows for the continuing of a general rule–women should not overthrow men–while also saying that in this instance, it’s alright because the reason is outside of anyone’s control. This seems to go along with a justification for a woman to reign as an exception to a general rule and is reminiscent of Queen Elizabeth’s speech where she refers to God’s decision to make her Queen, even though normally the kingdom would be entrusted to a man.

Barnfield’s Sonnet XVII re: Knowles

Knowles discusses Barnfield’s defense against claims of the “dangerous and sodomitical implications” in the sonnets in Cynthia (678).  In Barnfield’s response, Knowles explains that these “implications are rejected and turned back on the reader” but at the same time, may alert the reader to the sexual implications of his poems (678). Knowles leaves it then somewhat ambiguous as to Barnfield’s ideas with respect to the homoerotic implications of the sonnet. However, I would suggest based on Sonnet XVII that Knowles’ second suggestion may be more accurate. My focus is on the last couplet of this poem, where the speaker says “Oh how can such a body sinne-producing,/Be slow to love, and quick to hate, enduring” (13-14)? This line suggests to me Barnfield’s purposefulness and full awareness in the homoerotic implications of the poem–by calling the actions “sinne-producing” this seems to be referencing relations between men which would have been viewed as sinful. If there was nothing socially questionable about this love, this line would be very out of place.