As Artegall's earlier dismissal of Britomart in Book 4 taught us, however, rejecting one version of feminine rule is not enough to restore with certainty either masculine heroics or a masculine model of poetic effect. More drastic measures are called for. To return to Goldberg's formulation: if Book 4 conforms to the poetics of castration—of excess compensation for loss—then in keeping with its obsessive decapitations of illegitimate authorities, Book 5 castrates the castrators, proposing a thoroughgoing revision of literary construction that ought for good and all to sever the poem from feminine influence. Feminine rule and feminized poetics are repealed in favor of the most straightforward mode that The Faerie Queene will ever assume, historical allegory. At this point the poem assumes a new literary mode as a way of galvanizing the sense of an ending, the doome that Artegall's adventures first promised before his digression into serving...