Nadado 1

Kit A. Nadado English 372 Final Research Paper

The Makings of a True Hero in Spensers The Faerie Queene, Book I What makes a true hero? Is it the relentless pursuit of battles and adventures? Is it the courage and bravery to face countless enemies? Spensers The Faerie Queene explores the reality of true heroism. The story champions the Redcrosse knight, an imperfect and flawed hero, accompanying the lady Una in a perilous quest for salvation. Despite of Redcrosses human weaknesses, his experiences will test his heroism and will serve as opportunities for him to let go of his chivalric pride and learn humility. Redcrosses chivalric definition of heroism leads to pride and recklessness that makes him vulnerable to Errour and Despaires atta cks. Letting go of pride and recognizing his dependence to Unas help enables him to overcome his adversaries and learn that true heroism is achieved by humility. Redcrosse tries to prove his heroism by chivalry, a conduct based on honor and glory, taking pride in physical strength and skill. Throughout Cantos 1 and 9, Redcrosses chivalry has often led him into reckless and relentless pursuits of danger. Proud and haughty of his strength and skill, Redcrosses first response to danger before meeting Errour is to charge despite of any warnings given by his lady, Una. Upon arriving at the opening of the cave, Una actually

Nadado 2 recognized the place and perceived the impending danger that lies ahead. Una knows that the monster Errour lurks beyond their path. Attempting to warn Redcrosse, she said, Least suddaine mischief ye too rash provoke/ the danger hid, the place unknown and wilde/ Sir knight with-hold, till further trial made/ (Spenser 1.1.101-105). There is indeed wisdom and logic in Unas precautious suggestion but Redcrosse did not consider this option. Apparently, the knight already has a plan in mind. Instead of listening to Unas advice, he mockingly replied, Ah ladieshame were to revoke/ the forward footing for an hidden shade:/ Vertue gives her selfe light, through darknesse for to wade. (Spenser 1.1.106-107). Redcrosses reply signifies complete rejection of Unas warning. This response also depicts his overwhelming confidence to his skill and power and that he is needless of any help or assistance. The knight at this moment is obviously bound to the code of chivalry alone and nothing else. Bayley describes the law of chivalry that rules Redcrosses actions at this moment. He stated, The laws of chivalry are the only laws enforced. The laws of the probable, the logical, the natural, even the possible are not current there (101). Truly, anything logical or probable in Unas suggestions is meant to be trampled and discarded by the laws of chivalry. This law labels the hero as brave and courageous by himself, totally independent from any assistance. The voice of reason or suggestion given by anyone who tries to offer assistance is smothered and left to die. And so, disregarding everything Una suggested, Redcrosse full of fire and greedy hardiment/ forth into the darksome hole he went (Spenser 1.1.118-119). Redcrosses response to Una indicates a prideful, know-it-all perception on heroism. He sees that through his own strength and skill, he can sufficiently defeat Errour, not considering the implications his actions would cause.

Nadado 3 In addition to the examples above, Redcrosse further exhibits chivalric pride upon meeting the knight Sir Terwin. Once again fired up upon hearing Sir Terwins story of the monster Despaire, Redcrosse desired to face the monster himself. In response to Sir Terwins story, Redcrosse stated, Hence I shall never rest/ till I that treacherous art have heard and tride;/ and you Sir knight whose name mote I request, of grace do me unto his cabin guide. (Spenser 1.9.280-284). We can imagine Una scratching her head saying, here we go again, during these scenes. Chivalry here is once again playing in the background as Redcrosse desired to prove himself as perhaps a savior to Sir Terwin. Pride has made him blind of Sir Terwins horrific warnings of the monster Despaire. The principle that motivates Redcrosse at this moment, is his pride of his strength and skill to overcome what Sir Terwin failed to overcome. He sees Sir Terwins failure as an opportunity to shine. His pride tells him to go and prove himself a true hero by conquering the monster Despaire. Just like his action upon facing Errour, he will accomplish the task with firie zeal he burnt in courage bold/ him to avenge, before his bloud were cold (Spenser 1.9.328-329). He did the same reckless action of charging alone despite of Sir Terwins severe warnings. In these situations, Redcrosses chivalry gives way for pride that blinds his reason and makes him trust in his own strength alone. Such pride is selfish and refuses assistance from others. As a result, Redcrosses pride and recklessness wrought from his desire to be chivalric renders him vulnerable and helpless to his adversaries. A good example of this instance happened in his battle with Errour. Upon charging relentlessly into Errours den with fire and greedy hardiment (Spenser 1.1.118), Redcrosse was automatically and literally wrapped by Errour who lept fierce upon his shield, and her huge traine/ all suddenly about his body

Nadado 4 wound,/ that hand or foot to stirre he strove in vaine:/ God helpe the man so wrapt in Errours endless traine. (Spenser 1.1.159-163). This predicament was least expected from the knights once fiery zeal. At this moment, Redcrosse was trapped helpless against the monsters crushing body. Chivalry then at this moment failed to assist him. Without any preparations or precautions at all, The Redcrosse knight is trapped in Errours power. Chivalry has rendered him vulnerable and helpless against Errours attacks. Chivalry and pride did not make him a hero at this moment. Instead, chivalry and pride became a great weakness, a pitfall that made him a helpless victim to his foes attacks. Another weakness that can be observed in Redcrosses battle with the monster Errour is his apparent chivalric fear of shame, which in a sense is a kind of pride. This illogical fear of shame is apparent at the middle of Redcrosses battle with Errour. With Errours filthy horrors binding him, His forces faile, ne can no longer fight (Spenser 1.1.193). At this moment of helplessness, when all concerns should be turned on saving oneself, Redcrosse became Thus ill bested, and fearful more of shame, / Then of the certain peril he stood in. (Spenser 1.1.208209). His fear of shame becomes more the driving force to exert all his effort in defeating Errour rather than Unas suggestion to exercise faith. Redcrosse obviously fears to make a fool of himself or appear weak in the presence of his lady Una. He is more concerned with his reputation rather than appearing weak and follow Unas advice to exercise faith. Kellogg and Steele affirms this in their statement, he defeats Error not by strength of his faith but by a desperate fear of shame. (17). For Redcrosse, weakness is not an option for the chivalric knight. He must prove that his strength alone is sufficient for his salvation. Redcrosses failure to acknowledge his own weakness is a hindrance for him in his efforts of becoming a Christian

Nadado 5 hero. Redcrosses failure to acknowledge his weakness is described by Weiner as Redcrosse stuck being a knight of romance. Weiner further explained, A Christian knight can rejoice in his weakness, but the knight of romance cannot afford any defeats. (37). Weiners comment ties well with Redcrosses fear of shame. He fears defeat and he fears the show of weakness. This perspective is contrary to the Christian hero who glories in the recognition of his weaknesses as a necessary measure in achieving grace from God. This fear of shame that Redcrosse exhibits is but a stumbling block that hinders grace from compensating for his weakness. Another example of the pitfall that Redcrosses chivalric pride brought him is shown in his encounter with Despaire. Redcrosse, upon hearing Despaires compelling argument about his sins, almost too willingly tried to kill himself where he was at first boasting firie zeal and courage bold just before this pursuit. Spenser describes this scene, But when as none of them he saw him take/ he to him raught a dagger sharpe and keene at last resolved to worke his finall smart, he lifted up his hand, that backe againe did start. (Spenser 1.9.451, 457). Chivalry and pride once again never worked for him at this moment. Instead, chivalry and pride led him to the brink of utter destruction. He is helpless and vulnerable in both encounters with Errour and Despaire, a situation brought to him by his pride and the overconfidence of his own strength. It seems that Redcrosse is going through a pattern of trouble with his chivalric attitude. According to Freeman, The Redcrosse knight becomes a victim of falsehood, falling into error after error which the Holiness of which he is patron proves too fragile to resist. (88). Redcrosse truly exhibited this pattern of error after error from his encounters with his foes. These experiences are essential for the knights growth. His exposure to falsehood and error is

Nadado 6 part of the learning process of recognizing the consequences of his actions to become the ultimate Christian hero. Furthermore, although Redcrosse always end up in a helpless state as a result of his chivalric actions, this state of vulnerability and helplessness is an essential backdrop for the realization of his human weakness. William Oram describes Redcrosses helpless and fatal state as a kind of paralysis. Explaining further, Oram states, The Faerie Queenes larger concern with paralysis- with a state in which characters find themselves vulnerable and helpless to influence their condition and that of the world around them. (np). This paralysis is apparent in Redcrosses encounters with both Errour and Despaire. Both instances resulted to a certain entrapment that requires more than the knights own physical strength to overcome. These instances of total vulnerability, as Dixon pointed out, are essential events for Redcrosse to accept the inefficacy of fleshy might against spiritual foes (37). Only by experiencing the futility of his strength will Redcrosse acknowledge the need of a savior apart from himself. Dixon adds that Redcrosses paralysis is a prior necessity for the attainment of grace. (37). Redcrosse will eventually receive assistance as well as grace in the person of Una but a state of paralysis is an essential precursor for the reception of grace. Thus will be the commencement of the Redcrosse knights change of perspective as well as development to a Christian hero. In order for Redcrosse to overcome his predicaments mentioned above, he must learn to let go of pride, learn humility and recognize dependence on Unas assistance. Redcrosse has failed to succeed on both encounters with Errour and Despaire because he is alone. This proves the inadequacy of the Redcrosse knight and his need for Una to compensate for his inadequacy.

Nadado 7 According to Williams, Redcrosse cannot stand alone, and is not even strong enough to remain alone (3). He needs Una and must recognize that need in order to succeed. By recognizing that need, he becomes humble. In Redcrosses battle with Errour, where he was wrapped up and trapped against the monsters body, Una provided a solution for Redcrosse to follow. Una suggested to Now now Sir knight, shew what ye bee, / Add faith to your force, and be not faint:/ strangle her, else she sure will strangle thee. (Spenser 1.1.164-166). It takes humility for a Christian knight to exercise faith in the saving power of grace other than his own physical strength. Unas solutions would always provide salvation to Redcrosse, provided that the knight would cast off his chivalric pride and put on the Christian value of humility. Another event where Una provided salvation for Redcrosse is when the knight encountered Despaire. Una once again saved the Redcrosse knight from self-destruction by intervening upon Redcrosses attempted suicide. Upon seeing Redcrosses attempt to kill himself, Una sprang into action: Out of his hand she snatch the cursed knife and threw it to the ground, enraged rife, and to him said, Fie, fie, faint hearted knight , / what meanest thou by this reprochfull strife? (Spencer 1.9.465-466). This act proves that without Unas intervention, Redcrosse could have brought himself to utter destruction. This scene also depicts Unas consistent uprightness versus Redcrosses swaying faith. Redcrosse has apparent issues on his firmness for morality and righteousness. He needs someone constant to compensate for his unstable faith and Una is the perfect person for this role. Jones agrees with this idea stating, Whereas the Redcross Knight changes in the story, Una is constant in her tenderness and moral strength. (151).This is true in both depictions of Una in Redcrosses battles against

Nadado 8 Errour and Despaire. Una has always been the tender, the logical and the morally upright. She is at the same time the giver of the best but least heard suggestions. In addition to Unas role as Redcrosses constant guide to righteousness, Una at the same time is the provider of grace. Speaking regarding Redcrosses battle with Errour, Hamilton stated that Redcrosses victory over Errour, represents the mysterious, unobservable bestowing of grace that dispels perplexity, providing the more than manly force: that makes his victory over Errour possible. (Hamilton quoted by Dughi np). This bestowing of grace is shown in Redcrosses battle with Despaire as well. Una provided Redcrosse with spiritual aid far stronger and powerful than Redcrosses manly force. Redcrosses human weakness is compensated and he is saved from impending peril the moment he lets Una assist him. The grace offered by Una, symbolic of Christs grace is the true force that makes a Christian hero. Through grace, Redcrosse was able to free himself from his enemies and allow salvation to take place. This principle was affirmed by Heale stating, man by his own efforts cannot save himself, cannot achieve that state of being given over to God which is the essence of holiness. (20). This is the reason why Redcrosses attempt of being savior to Una or Sir Terwin is futile. This is the same message Spenser is trying to portray. Man in his fallen state cannot save himself or be in the position to provide salvation for others. He needs the grace of a true Savior in order to obtain the much-needed salvation. In order for man to achieve this grace, he needs to learn humility. In the end, Redcrosse learns that humility, which means recognizing weaknesses and recognizing dependence, is the true saving power that makes a hero. Chivalry never gave him

Nadado 9 salvation; instead, it led him to danger. Redcrosse learned that to succeed, he must let go of the pride that chivalry gives and be humble to accept assistance and correction. Humility also points out that Redcrosses strength alone is not sufficient to conquer enemies like Errour and Despaire. The strength to overcome takes place when Redcrosse lets go of his pride and allow assistance from Una. This story draws a parallel between mens relationship with God. Mens strength alone could not compensate for the promise of salvation. Often times, men consider that they can be independent of Gods assistance and let pride blind their hearts. In reality, without Gods grace and assistance, like Redcrosse, men are bound to utter destruction. So, in order to succeed and obtain salvation, men must learn humility and acknowledge their dependence to Gods assistance. They must learn to acknowledge their human weakness and let the grace of God work for their salvation. This humility is what makes man exalted and glorified in the end. Humility then makes the man a true hero.

Nadado 10 Works Cited

Bayley, Peter. Edmund Spenser: Prince of Poets. London: Hutchinson and Co., 1971. 98-110. Print.

Dixon, M. Redcrosse as Courtier: Narrative as Argument. Polliticke Courtier: Spensers Faerie Queene as a Rhetoric of Justice, 1996: 35-40. JSTOR. Web. 12 Nov 2012.

Dughi, Thomas A. "Redcrosse's 'Springing Well' of Scriptural Faith." Studies in English Literature, 1500-1900 37.1 (1997): 21-38. Literature Resource Center. Web. 12 Nov. 2012. Freeman, Rosemary. The Faerie Queene A Companion for Readers. Berkeley: University of California Press, 1970. 88. Print. Heale, Elizabeth. The Faerie Queene: A Readers Guide. New York: Cambridge University Press, 1987. 20-33. Print. Jones, H.S.V. A Spenser Handbook. New York: Appleton Century Crofts Inc., 1958. 150-171. Print. Kellogg, Robert and Oliver Steele. Introduction. . Books I and II of The Faerie Queene: The Mutability Cantos and Selection from the Minor Poetry. By Edmund Spenser. New York: The Odyssey Press, 1965. 10-17. Print Oram, William A. "Spenserian Paralysis." Studies in English Literature, 1500-1900 41.1 (2001): 49. Literature Resource Center. Web. 7 Nov. 2012.

Nadado 11 Spenser, Edmund. The Faerie Queene, Book 1. The Norton Anthology of English Literature. Ed. Stephen Greenblatt and M.H. Abrams. New York: W.W. Norton and Company, 2006. 714-856. Print.

Weiner, Andrew. ""Fierce Warres and Faithfull Loues": Pattern as Structure in Book 1 of 'The Faerie Queene'." Huntington Library Quarterly 37.1 (1973): 33-57. JSTOR. Web. 9 Nov 2012.

Williams, Kathleen. Spensers World of Glass: A Reading of The Faerie Queen. Berkeley: University of California Press, 1966. 1-33. Print