e Daniel, is one and the same with her
anagrammatic synonyme,--and that her sorrows and joys, arising out
of the conduct of her husband, must have had the same conditions.

Having identified Rosalinde with Rose Daniel, it may be thought that
nothing further of interest with respect to either party remains,
which could lead us into further detail;--but Spenser himself having
chosen, under another personification, to follow the married life of
this lady, and revenge himself upon the treachery of her husband, we
should lose an opportunity both of interpreting his works and of
forming a correct estimate of his character, if we neglected to
pursue with him the fortunes of Mirabella. Like her type and
prototype, we find that she has to suffer those mortifications which
a good wife cannot but experience on witnessing the scorn, disdain,
and enmity which follow the perversity of a wayward husband. Such,
at least, we understand to be the meaning of those allegorical
passages in which, as a punishment for her cruelty and pride, she is
committed by the legal decree of Cupid to the custody and conduct of
Scorn and Disdain. We meet with her for the first time as:

"a fair maiden clad in mourning WEED,
Upon a mangy JADE unmeetly set,
And a leud fool her leading thorough dry and wet."

Again she is:

"riding upon an ass
Led by a carle and fool which by her side did pass."

These companions treat her with great contempt and cruelty; the
Carle abuses her:

"With all the evil terms and cruel mean
That he could make; and eke that angry fool,
Which followed her with cursed hands uncleane
Whipping her horse, did with his smarting-tool
Oft whip her dainty self, and much augment her dool."

All this, of course, is to be understood allegorically. The _Carle_
and _Fool_--the former named Disdain, the latter Scorn--are
doubtless (as in the case of Holofernes and Armado) the double
representatives of the same person. By the ass on which she rides is
signified, we suppose, the ridiculous position to which marriage has
reduced her haughty beauty; the taunts and scourges are,
metaphorically, the wounds of injured self-respect.

The Carle himself is extravagantly and most "Resolutely" painted as
a monster in nature,--stern, terrible, fearing no living wight,--his
looks dreadful,--his eyes fiery, and rolling from left to right in
search of "foeman worthy of his steel"; he strides with the
st