The parallel weaving images of Penelope in The Odyssey and Edmund Spenser's narrator in Amoretti's Sonnet XXIII demonstrate that attempts to control love can yield both promising and adverse responses, depending on the power of the speculator. Complementary in roles though varying in the aims they wish to achieve, the "weavers" are both by virtue drawing upon their cunning to fulfill intents only known to themselves, but do so in different positions of power. Penelope is allowed every avenue of bias and subjectivity as an arbiter of her own happiness, and is therefore held only to a personal moral standard with “the worke that she all day did make” (3) and “The same at night she did againe unreave” (4). However, the narrator is left at the hands of his lover--someone we infer is unembracing of his advances, gleaned from her continual rejection of his offerings of love--in which he “must begin and never bring to end” (10).
We know that Penelope’s story ends satisfactorily, as her shrewdness aids her position greatly in staving off her suitors’ advances for quite some time, and she ultimately does reunite with Odysseus. Conversely, the poem’s narrator faces constant uncertainty (and regular bruises to the ego) “when [he thinks] to end that [he] begonne” (11) and is refused, arguably forced into growing pessimism as he is denied time and again. Their characterization is layered further with the physicality of their weaving: Penelope’s shroud neatly weaves and unreaves under her control, whereas the narrator concludes his efforts of “such labour like the Spyders web” (13) in a tangle of failed attempts that grow messier each time he tries (they couldn’t possibly be completely independent events, now could they?). Penelope's particular craft proves tangibly useful to her, but Spenser's narrator's emotional manipulation does not, and is represented accordingly. It is then that we see that no matter what premeditated course of action one pursues in love, its outcome rests upon what leverage he or she holds.
I find it interesting that you chose to write about power dynamics in Spenser's situation versus the situation in "The Odyssey." In "The Odyssey," Penelope appears to have less power over her suitors than Spenser's lover has over him - Penelope weeps because of their presence, but cannot get them to leave. They seem to want her for power or money, but not for love. Conversely, in Spenser's poem, the speaker (or "suitor"), as you mention, "faces constant uncertainty," BECAUSE his "Penelope" does hold so much power over him since he is so in love with her. It's interesting that the "leverage" that one holds over another person that is in love with them seems to be stronger than the "leverage" that superficial reasons (like money or power) has.
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