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In this study, Kathryn Walls challenges the standard identification
of Una with the post-Reformation English Church, arguing that she
is, rather, Augustine's City of God - the invisible Church, whose
membership is known only to God. Una's story (its Tudor resonances
notwithstanding) therefore embraces that of the Synagogue before
the Incarnation as well as that of the Church in the time of Christ
and thereafter. It also allegorises the redemptive process that
sustains the true Church. Una is fallible in canto I. Subsequently,
however, she comes to embody divine perfection. Her transformation
depends upon the intervention of the lion as Christ. Convinced of
the consistency and coherence of Spenser's allegory, Walls offers
fresh interpretations of Abessa (as Synagoga), of the fauns and
satyrs (the Gentiles), and of Una's dwarf (adiaphoric forms of
worship). She also reinterprets Spenser's marriage metaphor,
clarifying the significance of Red Cross as Una's spouse in the
final canto. -- .
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