17
Incident of Biaggadocchio and Belphoebe [iii].
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Temperance set off by the falsely great and the falsely little. Old-world ideal of Temperance, the Maiden-Huntress.
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In subordination.
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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.
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Rises to Formal Allegory The Allegory is being perpetually obscured and recovered.
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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.
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Wealth and Worldly Ambition as a further region for Temperance.
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A steady undercurrent of Allegory felt through the predominating sensation of wonder.
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Second Encounter with Pyrochles and Cymochles (together) [viii]—introducing the Ideal Knight, Prince Arthur.
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Temperance in combat pitted against mere embodiments of force.
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In subordination—almost lost.
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The Castle of Temperance [ix]—including Digression: Chronicle of British Kings [x] and preparing for
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Health as a phase of Temperance.
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Rises to Formal Allegory [of Mediæval type]. Only the faintest thread of Allegory in the spirit of the Chronicle.
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