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And for Minos he made statues which spoke and moved, and the temple of Britomartis, and the dancing-hall of Ariadne, which he carved of fair white stone. And in Sardinia he worked for Iolaos, and in many a land beside, wandering up and down for ever with his cunning, unlovely and accursed by men. But Theseus stood before Minos, and they looked each other in the face.
But being unable to performe it by reason of the hard enchauntments, after long sorrow, in the end met with Britomartis, who succoured him, and reskewed his love.
And for Minos he made statues which spoke and moved, and the temple of Britomartis, and the dancing-hall of Ariadne, which he carved of fair white stone. And in Sardinia he worked for Ioelaos; and in many a land beside, wandering up and down forever with his cunning, unlovely and accursed by men. But Theseus stood before Minos, and they looked each other in the face.
Wessel returned to his reading-table, opened to the Legend of Britomartis or of Chastity and waited. Almost a minute later there was a scramble on the stairs and an intolerable hammering at the door. Wessel sighed and, picking up his candle, rose. "Who's there?" "Open the door!" "Who's there?" An aching blow frightened the frail wood, splintered it around the edge.
In the midst of the tale, Carme suspends the action by a long reference to Minos' earlier passion for her own daughter, Britomartis, which caused the girl's destruction, but the lament in which this story is disclosed merely alludes to but does not tell the details of the story.
As to the meaning of the allegorical figures, one is generally in doubt. In the first three books the shadowy Faery Queen sometimes represents the glory of God and sometimes Elizabeth, who was naturally flattered by the parallel. Britomartis is also Elizabeth. The Redcross Knight is Sidney, the model Englishman.
The first of the Knight of the Redcrosse, in whome I expresse holynes: The seconde of Sir Guyon, in whome I sette forth temperaunce: The third of Britomartis, a lady knight, in whome I picture chastity. But because the beginning of the whole worke seemeth abrupte and as depending upon other antecedents, it needs that ye know the occasion of these three knights severall adventures.
The first three books tell the adventures of the Red Cross Knight St. George, or Holiness; of Sir Guyon, or Temperance; and of the Lady Britomartis, or Chastity. The whole poem is an allegory. Everywhere we are meant to see a hidden meaning. But sometimes the allegory is very confused and hard to follow.
Evans has pointed out evidences of a metrical arrangement among the signs, and has suggested that the inscription may conceivably be a hymn in honour of the Anatolian Great Mother, a goddess who corresponded to the Nature Goddess worshipped in Minoan Crete, whose traditions have survived under the titles of Rhea, Britomartis, Aphrodite Ariadne, and Artemis Dictynna.
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