Disparate, deformed, and hybridised bodies of women have appeared in mythology and literature in myriad allegorical incarnations. Jean d’Arras Histoire de Mélusine (1393) and Edmund Spenser’s The Faerie Queene (1590) both contain serpent-woman hybrids who, through allegorical and symbolic meaning, offer insights ranging from the theological to the political, as well as to the implications of the use of deformity and hybridisation of the female body–especially the mothering body–in medieval and Elizabethan/early modern literature. Spenser’s Errour and d’Arras’s Mélusine are explored here via constructions of narrative allegory, hybridity, teratology, and contemporary disability, queer, and feminist theory. Alice Lamy and Robert Corrington’s theories about nature’s infinite creative force are mobilised to characterise these constructions and to act as a foundation to introduce a new archetypal figure: the Queer Mother, who represents a gender-hybridised, queer-mothering character. This figure acts as a portent of the fragility and inevitable obsolescence of patriarchal political and cultural frameworks.