it is apparent that the appetitive element of the soul is figured. Temperance, then, according to Spenser, is not the golden mean between the excess and defect of pleasure, but between two disturbing passions. “But temperance (said he) with golden squire Betwixt them both can measure out a meane, Neither to melt in pleasures whot desire, Nor fry in hartlesse griefe and dolefull teene.” (II. i. 57.) This struggle between the rational principle and the irrational elements in the soul does not, however, constitute temperance. That virtue, or rather that condition of all virtue, is the harmony and order resulting in the soul after reason has quieted the disturbing passions, and is conceived by Plato as its very health or beauty. “‘Healthy,’ as I conceive,” says Socrates, “is the name which is given to the regular order of the body, whence comes health and every other bodily excellence.... And ‘lawful’ and ‘law’ are the names which are given to the regular order and action of the soul, and these make men lawful and orderly:—and so we have temperance and justice.” (“Gorgias,” 504.) The fruition of this idea in Spenser’s mind is noticeable in his manner of speaking about temperance throughout his poem. Amavia had been able to win her husband back to the ways of purity through wise handling and “faire governaunce.” (II. i. 54.) The Red Cross Knight mentions the “goodly governaunce” of Guyon’s life. (II. i. 29.) Spenser comments in an introductory stanza on the Knight’s demeanor in pleasures and pains: “And _Guyon_ in them all shewes goodly maisteries.” The Knight and the Palmer move on in their path of progress “in this faire wize,” that is, in the ways of temperance. (II. i. 34.) When Archimago meets Guyon, he meets “Faire marching underneath a shady hill, A goodly knight,” · · · · · “His carriage was full comely and upright, His countenaunce demure and temperate.” (II. i. 5, 6.) The feeling of order is conveyed through the movements of Guyon’s charger. The Palmer “ever with slow pace the knight did lead, Who taught his trampling steed with equall steps to tread.” (II. i. 7.) Medina, when she welcomes Guyon to her castle, meets him “Faire marching forth in honorable wize.” (II. ii. 14.) The clearest explanation, however, of Spenser’s conception of temperance as the condition of the soul’s excellence in the body is given in his reflection at the opening of the eleventh book of the second canto, which records the repulse of the bodily senses from the dwelling-place of Alma, or the soul. No war is so fierce as that of the passions with the soul.