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In his Pagan Mysteries in the Renaissance, Edgar Wind has traced the
development of the iconography of the VenDsanuata, whom Wind describes
as a "hybrid figure in which the two opposing goddesses, Diana and Venus,
are merged into one," and clearly Bradamante and Britomart are embodiments of this "hybrid. ".Several scholars, namely R.E. Neil Dodge and,
more recently, William Nelson, Paul Alpers, and James Nohrnberg, have
discussed Spenser's borrowings from Ariosto, in particular for his female
warrior, identifying several passages from the Orlando as obvious models
for some of Britomart's adventures.2 What has not been fully articulated,
however, are the reasons behind Spenser's borrowings from these episodes,
nor has there been an investigation into the method governing Spenser's
imitations. More than simply a passive imitation of Bradamante, Britomart
is being used by Spenser to recapitulate and ultimately "redeem" the limitations of Bradamante as a female warrior. The figure of Britomart both subsumes her epic predecessor Bradamante and goes beyond her to present a
new interpretation of how the female warrior may participate more fully
and meaningfully in the epic quest. In particular, in my investigation of
the female warrior in Ariosto and Spenser, I wish to analyze the special
nature of Bradamante's and Britomart's androgyny and how, in Britomart's
case, this androgyny is ultimately accommodated into the founding of
dynasty.
Let us turn first to Bradamante and also Ariosto's other female warrior in the Orlando, Marfisa (whose name translates as "fixated on Mars"
and thus serves as an indication that she, unlike Bradamante, will not be
permitted to resolveher hermaphroditic discord). It is noteworthy that both
women are frequently involved in what I would refer to as miscarriages
or misfirings of justice caused by their status as skilled warriors who are
nevertheless decidedly female. The adventures of Marfisa, who wants
nothing more in life than the opportunity to practice the chivalric code,
are often grotesquely ineffectual and illustrate the inability of the female
warrior to effect true justice and resolution of conflict. Shipwrecked with
a group of knights on Laizzo, ironically a kingdom of Amazonian menhaters, Marfisa learns that she and the other stranded knights can be freed
only if a member of their group can defeat ten of the Laizzans' captive
knights in combat and then survive a night of seduction and love-making
with ten Laizzan Amazons (19-20). Absurdly, Marfisa insists on being
chosen to accept this challenge, apparently unconcerned that the reality of
her womanhood, "what Nature had omitted to accord" (19.69), as Ariosto
so delicately states, would prevent her from successfully completing the second phase of the challenge. Thus, in place of a solution for the problem
of her imprisonment, Marfisa unwittingly poses a further conundrum; the
fact of her womanhood cannot resolve, only obfuscate.
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"malecast," or "badly chaste." Kathleen Williamshas written, " Britomart
is the one person in the third book who has solved the problems of duality
in herself,and consequently...
in her relationswithothers." I 0 Williamsinterprets Britomart's hermaphroditic nature as a symbol of concord, a harmonious union of the male and female principles, but the episodes we have
just looked at do not support such a view. Britomart's androgyny is a source
of tension and irresolution, not concord. The Malecasta episode, in particular, is an indication that Britomart's androgyny attracts, rather than
repels danger, often inviting disastrous consequences. It is incorrect to
allegorize Malecasta simply as lust; she is literally "badly chaste," i.e., she
perverselyseeksout the one mate she cannot have and, thus, servesto parody
right loving between a man and woman. Ironically, even though she
perceives Britomart to be a male, Malecasta's behavior dooms her improbably to chastity, and there is grotesque coinedy in the action of each
woman perceiving the other to be a male.' IBritomart's androgyny poses
a similar problem for Amoret, who, running from Scudamour, seeks safety with Britomart. Like Malecasta, she perceives her protector to be a male,
but, unlike Malecasta, she suffers when Britomart, preserving her knightly
disguise, flirts with her.
Donald Cheney has written that one traditional interpretation of the
I 3
Though Dodge, Alpers, Nohrnberg, and others have all been diligent
in pointing out the influence"of Bradamante as a prototype for Britomart,
there have been no suggestions offered as to how Bradamante's and
Britomart's unresolved androgyny stands in relation to their epic quest to
find their dynastic partners, Ruggiero and Artegall. This relationship needs
to be fully articulated. The epic quest in general is characterized by the iter
durum, the long, hard road which sets up obstacles to completion of the
quest. I would argue that the delays of the prototypical dynastic progenitor
Aeneas in encountering the "false Troys" (pergamea, Buthrotum, Carthage,
etc.) which block his founding of Rome have their specific counterparts
in Bradamante's and Britomart's "false" sexual encounters, their androgynous, lesbian, even transvestite episodes--all of which obfuscate their
distinctly feminine characteristics and, more significantly, delay their "right
sexual" encounters with their dynastic partners. Ferrara and Troynovant
become endangered by the entanglements of the female warriors in their
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androgyny.
Furthermore, one must finally consider the puzzling relationship between androgyny and injustice and how this relationship factors into the
epic quest. It is interesting to consider the extent to which Spenser uses
Britomart to "redeem" the miscarriages in justice of Marfisa and
Bradarnante. Spenser's use of Britomart to surpass Bradamante may be seen,
in fact, as one manifestation of the impulse of the epic poet to, as Giamatti
has observed, "contain and include all that went before."" Though
Britomart is frequently entangled in the same androgynous misadventures
as Bradamante, her eventual reunion with Artegall is a much richer resolution of her androgyny and a much more complete restoration of justice
than is Bradamante's eventual marriage to Ruggiero.
Let us first reconsider the importance of the very concept of justice
in both epics. In the Orlando Merlin's prophecy to Bradamante includes
a vision ofthe return of Astraea to earth during the reign of Alfonso (3.51).
The injustices which characterize so much of the Orlando, however, serve
as a disappointing reminder that Astraea's return will be a long time coming. In The Faerie Queene Astraea too has fled, leaving her pupil Artegall
to struggle with injustice. However, his campaign against injustice collapses
ignominiously with his imprisonment and emasculation by the Amazon
Radigund, who dresses the knight in women's clothing and forces him to
perform menial tasks, and it is important to consider at this point that,
Britomart-like, Artegall's ineffectual justice becomes associated with his
incomplete sexuality, his compromised masculinity. It is, therefore, that
much more significant that Artegall's rescuer, Britomart, is herself suffering the effects of incomplete sexuality, her androgyny. Britomart rescues
Artegall by conquering Radigund, and Donald Cheney has interpreted the
episode as symbolic of Britomart's defeat of the Radigund-like elements
in her.. SHowever, it is important that we understand exactly what it is that
Britomart is defeating in Radigund. Jane Aptekar offers as a source for
the Amazon's name, "Saint Radegund, [who] was remarkable for her
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pp. 236-55; Paul J. Alpers, The Poetry 01 the Faerie QueeDe (princeton: Princeton Univ. Press,
1967), pp. 160-99; James Nohrnberg, The ADalogy 01 the Faerie QueeDe (princeton: Princeton
Univ. Press, 1976), pp. 447-48, 474-75.
'This perverse imposing of "feminine justice" has its counterpart in The Faerie QueeDe,
where Britomart, having freed Artegall from Radigund, forces the Amazons to "sweare fealty to Arthegall" (5.7.42).
'My intention at this point is not to discuss the hermaphroditic paradox of Britomart
in general, but rather only those episodes which combine androgyny and injustice. The sexual
double entendres which pervade Britomart's combat with the Amazon Radigund, for example, have been fully discussed in the past. (See A.C. Hamilton, The Structure 01 Allegory
ID The Faerie QueeDe [Oxford: The Clarendon Press, 19611, p. 182; T.K. Dunseath, SpeDser's
ADegory 01 Justice ID Book V 01 The Faerie QueeDe [princeton: Princeton Univ. Press, 19681,
p. 177; and Angus Fletcher, The Prophetic MomeDt [Chicago: Univ. of Chicago Press, 19711,
pp. 252-53.). What concerns me, rather, are those episodes in which Britomart's androgyny
is the cause of injustice, irresolution, and unhappiness.
'Alpers, pp. 180-85, and Nohrnberg, pp. 447-48.
Andrew Fichter offers an interesting gloss on Malecasta's grief at the conclusion of the
episode. He interprets Malecasta as a type of Dido abandoned by Aeneas, in this case
her lover Britomart (poets Historical: DYDastic Epic ID the ReDalssaDce [New Haven: Yale
Univ. Press, 19821. p. 160.). Fichter's interpretation indicates the extent to which the episode
parodies Britomart's quest for her true dynastic partner, Britomart's androgyny serving to
delay her union with ArtegaiI.
'The parallels between the two episodes have been noted by Alpers, p. 197.
'As Thomas P. Roche has observed, at the time the virgin Amoret faIls under the protection of Britomart, she herself, fearful of her own sexuality, has been avoiding her partner
Scudamour (The KIndly Flame [Princeton: Princeton Univ. Press, 19641, p. 80.). Thus,
Britomart becomes a parallel to Amoret as she, too, is delaying union with her husband-to-be.
'The night in bed that Britomart spends with Amoret is the second of three unresolved
bedroom scenes that she is involved in throughout The Faerie QueeDe. As we have already
seen, she is approached by the seductress Malecasta while in bed, and much later, when the
hermaphroditic
Britomart is mistaken by Dolon for Artegall, whom he is seeking to entrap,
she is invited to spend the night at his castle (5.6). Her androgyny is never so apparent as
in the circumstances for which she beds down for the night.
I'Kathleen Williams, Spenser's World 01 Glass (Berkeley: Univ. of California Press, 1964),
p.93.
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who characterizes the Malecasta episode as one in which "chasity embraces its own contrary"
(p. 434).
I 'Donald Cheney, "Spenser's Hermaphrodite and the 1590 Faerie Queene," PMLA, 87
(1972), p. 195. Giamatti also discusses the imagistic significance of the many scenes throughout
the OriaDdo and The Faerie QueeDe in which Bradamante and Britomart raise the visors of
their helmets to reveal their womanhood: "...the revelation is communicated in terms of opposites reconciled, here a masculine knight and a feminine beauty contained and displayed
in the single figure [of the female warrior]." ExIle aDd Change In ReDalssaDce literature (New
Haven: Yale Univ. Press, 1984), p. 78.
I'Not only does Britomart's androgyny serve as a source of humiliation for Malecasta
and Amoret, but it also serves to humiliate men, as she defeats a number of knights, including
Artegall himself, at Satyrane's tournament (4.4-6), not to mention her unhorsing of Guyon
(3.1.6) and her defeat of the knights outside the Castle Joyeous (3.1.28-29). Furthermore,
Scudamour bears a grudge against her because he believes that she has stolen Amoret from him.
"A. Bartlett Giamatti, Play 01 Double SeDses: SpeDser's Faerie QueeDe (New York:
Prentice-HaD, Inc. 1975), p. 32.
I'Donald Cheney, Spenser'slmll8e 01 Nature: WUd MaD Shepherd In "The Faerie QueeDe"
(New Haven: Yale Univ. Press, 1966), pp. 170-71.
"Jane Aptekar,lcoDS 01 Justice: IcoDography aDd Thematic Imagery ID Book V of The
Faerie QueeDe (New York: Columbia Univ. Press, 1969), p. 97.
"Angus Fletcher, for example, states, " ...after she has rescued her lover from his misplaced
obedience, she reestablishes the bond of justice and male donimance"
(p. 253). However,
in addition to "male dominance,"
there results another significant byproduct of "the bond
of justice," i.e., Britomart's resolution of her androgyny.
I'Plutarch, De IsIde et Oslrlde, ed. J. Gwyn Griffiths (Cambridge:
1970), p. 121.