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Fidelity in the English Renaissance was a versatile term that carried immense weight for the population of men and women living in a society that asked them to understand that fealty, whether it be of a national, romantic, platonic, or gendered nature was what made your reputation as well as your personhood. We see these aspects of fidelity, their basis, and their consequences play out in The Courtier, Arden of Faversham, and Tamburlaine as characters and their actions either express the versatility of fidelity, or do not express it at all.
In The Courtier there is a specific expression of fidelity within the realm of national allegiance as well as fidelity in your own personhood. When exploring the idea of national allegiance in The Courtier almost all the voices within the conduct book truly believe that a good courtier must have a sense of national fidelity. Count Lodovico says, “…I judge that the first and true profession of the courtier must be that of arms; and this above everything else I wish him to pursue vigorously” (Castiglione 57). Lodovico presents readers with this idea that at the core of the courtier’s life is this pledge to loyalty in arms in order to be ready for attack from outside forces. He goes on to say, “…we shall be content, as we said, for the courtier to show complete loyalty and an undaunted spirit and for these to be always in evidence” (Castiglione 58). A good courtier is one who understands that military battle is first and foremost the most important aspect of his person and, because of this, national allegiance is the basis on which a courtier’s reputation lies. Lodovico even touches on this saying, “And he will win a good reputation by demonstrating these qualities whenever and wherever possible, since failure to do so always incurs the gravest censure” (Castiglione 57). The reputation of the courtier then, lies in this idea of allegiance to military prowess and the ability to defend in order to show where your loyalties lie. Other than national allegiance, there is this distinct line that The Courtier draws, and that line is one in which a man and a woman understands where their places are and how they need to be loyal to that placement. Count Lodovico also comments on this idea of personhood when he says, “I don’t want him to appear soft and feminine as so many try to do, when they not only curl their hair and pluck their eyebrows but also preen themselves…they appear so effeminate and languid in the way they walk, or stand, or do anything at all…” (Castiglione 61). Count Lodovico’s commentary on the perfect courtier is one in which the courtier understands how to be a “man” and, in essence, is loyal to that picture of masculinity. The consequence of turning your back on such a picture is one in which the courtier becomes effeminate, which is something a courtier cannot be. The reason for this goes back to the idea of national allegiance. A courtier cannot be a good soldier at arms if he is constantly concerned with curling his hair and plucking eyebrows. These conflicting ideas of a man not being able to act womanly also explains the loyalty that women must have to their own personhood when Lodovico says, “Just as once a woman’s reputation for purity has been sullied it can never be restored, so once the reputation of a gentleman-at-arms has been stained through cowardice or some other reproachful behaviours, even if only once, it always remained defiled in the eyes of the world and covered with ignominy” (Castiglione 57).
In The Courtier there is a specific expression of fidelity within the realm of national allegiance as well as fidelity in your own personhood. When exploring the idea of national allegiance in The Courtier almost all the voices within the conduct book truly believe that a good courtier must have a sense of national fidelity. Count Lodovico says, “…I judge that the first and true profession of the courtier must be that of arms; and this above everything else I wish him to pursue vigorously” (Castiglione 57). Lodovico presents readers with this idea that at the core of the courtier’s life is this pledge to loyalty in arms in order to be ready for attack from outside forces. He goes on to say, “…we shall be content, as we said, for the courtier to show complete loyalty and an undaunted spirit and for these to be always in evidence” (Castiglione 58). A good courtier is one who understands that military battle is first and foremost the most important aspect of his person and, because of this, national allegiance is the basis on which a courtier’s reputation lies. Lodovico even touches on this saying, “And he will win a good reputation by demonstrating these qualities whenever and wherever possible, since failure to do so always incurs the gravest censure” (Castiglione 57). The reputation of the courtier then, lies in this idea of allegiance to military prowess and the ability to defend in order to show where your loyalties lie. Other than national allegiance, there is this distinct line that The Courtier draws, and that line is one in which a man and a woman understands where their places are and how they need to be loyal to that placement. Count Lodovico also comments on this idea of personhood when he says, “I don’t want him to appear soft and feminine as so many try to do, when they not only curl their hair and pluck their eyebrows but also preen themselves…they appear so effeminate and languid in the way they walk, or stand, or do anything at all…” (Castiglione 61). Count Lodovico’s commentary on the perfect courtier is one in which the courtier understands how to be a “man” and, in essence, is loyal to that picture of masculinity. The consequence of turning your back on such a picture is one in which the courtier becomes effeminate, which is something a courtier cannot be. The reason for this goes back to the idea of national allegiance. A courtier cannot be a good soldier at arms if he is constantly concerned with curling his hair and plucking eyebrows. These conflicting ideas of a man not being able to act womanly also explains the loyalty that women must have to their own personhood when Lodovico says, “Just as once a woman’s reputation for purity has been sullied it can never be restored, so once the reputation of a gentleman-at-arms has been stained through cowardice or some other reproachful behaviours, even if only once, it always remained defiled in the eyes of the world and covered with ignominy” (Castiglione 57).
