He soon becomes sleepy and sees a dream in his sleep, which is shown to the audience by the use of the discovery space: "He [St Dunston] layeth him down to sleep; Lightning and Thunder; the Curtains drawn, on a sudden Pluto, Minos, AEacus, Rhadamantus set in Counsell, before them Malbecco
his Ghost guarded with Furies" (G2v).
69) Feeling sleepy, "He layeth him down to sleep; lightning and thunder; the curtains drawn, on a sudden Pluto, Minos, AEacus, Rhadamantus set in counsell, before them Malbecco
his ghost guarded with Furies" (1.
By contrast, Malbecco
mistakes both Hellenore and his wealth as ends in themselves rather than as paths to God, generation, or public commerce, sequestering both along with himself, and in this idolatrous misreading becomes himself an icon, both a sign of jealousy and the thing itself.
Her splendid opening chapters contrast the constructed subjectivities of Britomart, the heroine of Book iii, and Malbecco
, whom Gregerson casts as her counterpart, the one looking outwards into the mirror that forces her into a process of fluid self hood and a constant revision of the boundaries of separating enemy and kindred, the other seeing nothing beyond the image itself and so plunging into a dangerous stasis until he becomes the abstract personification of a deadly sin, jealousy.
Meanwhile Sir Satyrane meets the libertine Sir Paridell, and they come to the castle of Malbecco
(Jealousy), an aged miser, and his beautiful young wife, Hellenore.