Guyon Brings A Body Distinguished By Its Educated Habit

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To this same struggle, as we will see, Guyon brings a body distinguished by its educated habit. Consequently, although the wrestling of games and spectacles may be appropriate metaphors for the agonistic element of rhetorical battle between two poets, two orators, or even, as Walt Whitman once wrote, between an 'orator and his hearers' the palaestra of an educated wrestler will yield a ED Hardy Boots(http://www.myedhardystore.com/ed-hardy-boots-c-29.html)somewhat different set of assumptions from that of the agon. In this case, it is the kind of body prepared by and for the struggle that takes precedence over the contest itself; a body, in other words, whose conditioned bearing has significance beyond the gymnasium:

Just as the individual always brings his body into every occasion of his activity, so he brings himself as an upholder of conduct standards like physical adeptness, honesty, alertness, piety, and neatness. The record of an individual's maintenance of these standards provides a basis others use for imputing a personal make-up to him. This is modern sociology, but because it could just as easily be a passage ...
... of Elyot's or Castiglione's, it is worth remembering that notions of civility share with rhetorical theory an emphasis on ethos, and in the case of wrestling it is an ethos derived solely from the carriage of the body. Thus the wrestling tropes of The Faerie Queene simultaneously invoke and qualify the Greek 'cross-pollination' of athletic and rhetorical language with the Roman tendency to pursue a more literal association with chironomy. And, as a Renaissance education is partially responsible for this qualification, I will allow Spenser's boyhood teacher to explicate its finer points.

Richard Mulcaster, who provided Spenser's early education, is more than any of his contemporary schoolmasters committed to ED Hardy Hoodies(http://www.onsaledhardy.com/ed-hardy-mens-hoodies-c-11.html)the assimilation of physical exercise in the school curriculum. His fundamental theory of education, outlined in Positions, is occupied predominantly with a description of various exercises and their justification, and, when he pauses to consider wrestling, Mulcaster cites Clement of Alexandria as his main authority. Wrestling is the exercise most approved of by Clement, since, as he writes, the 'other exercises of the gymnasium demand the postures beneath our dignity'. Furthermore, wrestling should not be used for 'vain competition's sake', or to 'cultivate the tricks meant only for display'. Rather, by training in the 'art of wrestling erect', an individual encourages movements that 'are much more orderly and manly', and 'are performed with controlled strength'. Mulcaster follows Clement in advocating for his wrestler an 'upright' stance 'without any great stouping' though the Renaissance schoolmaster is more specific about style when he eschews a 'panoramically kind of wrestling'. Pancreatic wrestling uses a combination of holding and boxing, a fighting style we find exhibited by Furor, who attacks Guyon 'as a blindfold Bull at randon fares, And where he hits, thought knows, and whom he hurts, nought cares'. Also known as 'all-in wrestling' it is this form of combat that Roland Barthes would define as 'the spectacle of excess'. But where as Bartb.es' modern 'professional' wrestler is characterized by grandiloquence in gesture, Guyon's manner as an educated wrestler may be identified conversely as physically eloquent. That is, here and elsewhere in the poem, Guyon gives evidence of an education through his use of holds and avoidance of blows, 50 and he is one of only a few characters in The Faerie Queene described as 'upright' a posture approved by Clement for his Christian wrestler, and one distinct from that given to Occasion, who 'could not goes upright'. Furor's lack of education is defined further in the following stanza: