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Updated: May 28, 2025
The women are cleanly, pleasant, and industrious, but polished hypocrites, always ready to protest with smooth tongue and honeyed words that they are eager to be "god-women," but never taking the first step forwards. Mary, who is learning to be sarcastic, on occasion, gives them a bit of her mind and goes away heart-sick.
Fallerina, Alcina, Armida, Acrasia, all imitated from the original Calypso, are not strong and splendid god-women, living among the fields and orchards, but dainty ladies hidden in elaborate gardens, all bedizened with fashionable architecture: regular palaces, pleasaunces, with uncomfortable edifices, artificial waterfalls, labyrinths, rare and monstrous plants, parrots, apes, giraffes; childish splendours of gardening and engineering and menageries, which we meet already in "Ogier the Dane" and "Huon of Bordeaux," and which later poets epitomized out of the endless descriptions of Colonna's "Hypnerotomachia Poliphili," the still more frightful inventories of the Amadis romances.
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