17
Incident of Biaggadocchio and Belphoebe [iii].
|
Temperance set off by the falsely great and the falsely little. Old-world ideal of Temperance, the Maiden-Huntress.
|
In subordination.
|
Allegory of Furor and Occasion [iv.i]—including Episode of Phaon and Claribell [iv.16-36] leading up to Complex of Scenes connected with the First Encounter with Pyrochles and Cymochles (separately). Combat of Guyon and Pyrochles [iv.37-5.18]—Pyrochles and Furor [v. 18-24]—Cymochles in the Bower of Bliss [v.24-38]—the Idle Lake and Encounter
with Cymochles [vi. 1-40]—Pyrrochles and the Idle Lake [vi.41-51]. |
Intemperance on the side of Anger. Intemperance on the side of Love: Jealousy. The names set off Temperance by suggesting the two irrepressible forces of External Nature—two types of Valour divorced from Temperance: Pyrochles on the side of Rage [compare iv.43], Cymochles on the side of Self-indulgence. Temperance as against Idleness and the stupour of Self-indulgence.
|
Rises to Formal Allegory The Allegory is being perpetually obscured and recovered.
|
Temptation in the Cave of Mammon [vii],—Prelude 1-27—Triple Temptation [wealth in store 28-34—wealth-making 35-39—worldliness 40-50]—Final temptation in the Garden: 51-66.
|
Wealth and Worldly Ambition as a further region for Temperance.
|
A steady undercurrent of Allegory felt through the predominating sensation of wonder.
|
Second Encounter with Pyrochles and Cymochles (together) [viii]—introducing the Ideal Knight, Prince Arthur.
|
Temperance in combat pitted against mere embodiments of force.
|
In subordination—almost lost.
|
The Castle of Temperance [ix]—including Digression: Chronicle of British Kings [x] and preparing for
|
Health as a phase of Temperance.
|
Rises to Formal Allegory [of Mediæval type]. Only the faintest thread of Allegory in the spirit of the Chronicle.
|