Asian Research Journal of Arts & Social Sciences

This article examines how castles function as central allegorical structures in Edmund Spenser’s The Faerie Queene, shaping both the narrative progress of quests and the moral “fashioning of a gentleman.” Its purpose is to demonstrate that castles are not decorative romance backdrops but architecturally concentrated sites where virtues, vices, and ideological conflicts are staged and resolved across the six completed books.

Methodologically, the study employs close textual analysis and formalist analysis of key castle episodes as Lucifera’s House of Pride and Orgoglio’s fortress (Book I); Medina’s and Alma’s castles (Book II); Castle Joyous and Malbecco’s castle (Book III); Corflambo’s stronghold and the fortified Island/Temple of Venus (Book IV); Pollente and Munera’s castle, Geryoneo’s usurped city-castle, and related sites of justice (Book V); and the castles of Briana, Turpine, Aldus, and Belgard (Book VI)—in dialogue with relevant Spenserian criticism.

The analysis argues that these structures consistently externalise inner states and ethical configurations through a system of binary oppositions: House of Pride and Orgoglio’s dungeon versus the restorative House of Holiness; the temperate castles of Medina and Alma versus Acrasia’s Bower of Bliss; Castle Joyous and Malbecco’s stronghold versus the Garden of Adonis; and, in later books, unjust fortresses of extortion, tyranny, and discourtesy versus more muted images of right rule, justice, and courtesy such as Mercilla’s court and Castle Belgard. The study finds a clear shift from predominantly spiritual and erotic architectures in the early books to legal, political, and social architectures of justice and courtesy in the later ones.

The article concludes that Spenser adapts the medieval castle-building tradition into a fully allegorical poetics: his “sandcastles” become durable pedagogical spaces where spiritual, moral, and civic virtues are materially tested, corrupted, or reformed.