• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Early British Survey

  • Early British Literature
  • Gender and Sexuality
    • Key Terms on Queer Themes in the Middle Ages
      • Queer Torture in the Middle Ages and Beowulf
      • Queer Acceptance in the Middle Ages and Sir Gawain and The Green Knight
    • Eve: More Than Just the First Woman
      • Eve: A Rebel in Paradise
      • Eve: The First Queer Woman
    • Gendered Betrayal in Medieval Arthurian Myths
      • Forbidden Love’s Betrayal
      • Punishments of Treason
    • Magic and Femininity
      • Magic and Femininity in Sir Gawain and the Green Knight
      • Magic and Femininity in The Faerie Queene
    • Magic and Gender in Arthurian Romance Poetry
      • Magic and Gender in “Lanval”
      • Magic and Gender in “Sir Gawain and the Green Knight”
    • 50 Shades of Courtly Love
      • Dominator in Love and Life
      • The Hue of Female Power
    • Adultery in the Middle Ages
      • Adultery in “Lanval”
      • Adultery in “Sir Gawain and the Green Knight”
    • Representations Of Femininity In Morality Plays
      • Femininity In Everyman
      • Femininity In Doctor Faustus
    • Monsters and Women
      • BEOWULF AND GRENDELS’ MOTHER
      • Satan and Sin
  • Politics, Power, and Economics
    • Shifting of Political and Economic Structures
      • Feudalism in Gawain and the Green Knight
      • Paradise Lost and Tracing the Fall of Feudalism
    • Knighthood in the Middle Ages
      • knighthood in “Lanval”
      • Knighthood in “Sir Gawain and the Green Knight”
    • The Divine Right to Rule: Past Perceptions of Monarchy
      • Sir Gawain and the Green Knight: A Condescending Commentary on the Monarchy?
      • The Faerie Queene: Spenser’s Ode To Queen Elizabeth I
    • Chivalry & Identity in Early Brit Lit
      • Chivalry in Sir Gawain and the Green Knight: the Establishing of a Literary British Identity
      • Chivalry in the Faerie Queen: Continuing to Establish British Identity
  • Religion
    • GOD: Humanity’s Most Influential Literary Figure
      • My Pain, Your Pain, His Gain: What God Means to Margery Kempe and Julian of Norwich
      • Respect My Authority: How God Rules Over Creation in Everyman & Paradise Lost
    • Imitatio Christi: How Doctor Faustus and Everyman Mimic Jesus through Suffering
      • Imitatio Christi: How Antagonists Mimic Christ
      • Imitatio Christi: Satan as a Jesus Figure
    • Depictions of the Devil in British Literature
      • Faustus: To Laugh Is To Be Against Evil
      • The Devil As Sympathetic: Human Qualities in Paradise Lost
    • Representations of Hell
      • Hell in Beowulf
      • Paradise Lost’s Liquid Hell
    • Medieval Mysticism: A Space For Women’s Authority
      • Julian of Norwich
      • Margery Kempe
    • God, Literature, and Religious Denomination in a Changing Christendom
      • Mysticism and Miracle in Catholic Europe
      • The Reformation and the “Intellectualization” of God
  • Nature and Culture
    • The Environment from the Middle Ages to Early Modern Period
      • Environment in Paradise Lost
      • Environment in Sir Gawain and Utopia
    • Kissing in Medieval Literature- Brooke Zimmerle
      • Kissing in Sir Gawain and the Green Knight
      • Kissing in Margery Kempe
    • Medieval and Early Modern Feasts
      • Feasts in Sir Gawain
      • “Meals in common”: Utopian Dining
    • Ars Moriendi and the Early Modern Period
      • Authors’ Views on Ars Moriendi
      • Ars Moriendi in Everyman
    • Games Medievalists Play
      • Beowulf’s Game: Battle
      • Sir Gawain’s Game: A Courtly Dare
  • Literary Concerns
    • A Brief History of Allegorical Literature
      • Allegory in the Middle Ages
      • 16th vs. 21st Century Allegory
    • Allegory in the Middle Ages and the 18th Century
      • Allegory in Everyman- pg3
      • Allegory Defined
    • Female Readership in the Middle Ages
      • Parenting Through Books
      • Julian of Norwich
    • Heroes of Epic British Literature
      • Beowulf as a Hero
      • Satan as a Hero – Paradise Lost
    • The Role of the Translator
      • Fixers and Their Roles in Translations of Medieval Texts
      • Translations and How They Change the Meaning of Medieval Texts
    • The Self in 15th and 16th Century Dramatic Literature
      • The Self in Everyman
      • The Self in Faustus

The Faerie Queene: Spenser’s Ode To Queen Elizabeth I

Thomas Stothard. Una and the Redcrosse Knight. before 1802. Artstor, library.artstor.org/asset/AGERNSHEIMIG_10313164009

The Faerie Queene was written during a historical time in England’s history. Queen Elizabeth I was ruling the country, disrupting the “patriarchal ideology of the sixteenth-century” (Villeponteaux). One might think that English citizens would not have been approving of Queen Elizabeth’s sole rule of the country. But, by reading The Faerie Queene, we can see how the public was actually in favor of her rule. The author, Edmund Spenser, even dedicated The Faerie Queene to Queen Elizabeth, and he had a “vested interest in flattering both the queen and her court” (Villeponteaux). 

Representations of Queen Elizabeth I

William Hilton II. Una in forest surrounded by dancing satyrs and nymphs. first half 19th Century. Artstor, library-artstor-org.ezproxy-eres.up.edu/asset/AGERNSHEIMIG_10313159662

There are many female characters in The Faerie Queene which can be seen as allegorical to Queen Elizabeth. In the first book, when the character Una is first introduced, she is described as being “so pure an innocent, as that same lambe….and by descent from Royall lynage came” (Spenser, 255). Within the first few lines of her introduction, Una is described as being a descendant from a royal bloodline, a clear connection to the queen. Using innocent and lamb in the description of Una could have been Spenser attempting to emulate Queen Elizabeth’s virginity, something she is famous for. Much less subtly, later in Book I Spenser uses “of beautie soveraigne Queene” to describe Una (265). 

Spenser closely juxtaposes Una with other female characters in the first book. The main section we encounter this is when we are introduced to the character Error. Error’s first description depicts her lying on dirty ground, “her huge long taile her den all overspred…a thousand young ones…sucking upon her poisonous dugs” (257). Clearly, in comparison to Una’s initial depiction of innocence and royalty, Error is meant to repulse the audience by her rather gruesome physical description. Some critics read the character of Error as Spenser trying to signify Queen Elizabeth’s political adversaries, with some scholars reading The Faerie Queene as “a political allegory concerning the domestic and international status of Elizabeth” (The Faerie Queene). At the end of their confrontation, Error is slain, and Una and the knight continue on their journey. If Una is meant to symbolize Queen Elizabeth, and this is meant to be a political allegory, Error being slain could represent Queen Elizabeth and her army—as represented by the knight—slaying any potential threats to the English crown. 

There are also other female characters who critics argue could be potential characterizations of Queen Elizabeth. Belphoebe in Book III is one of them, who is introduced as being given “all the gifts of grace and chastitee on her they poured forth of plenteous horne” (Spenser, 418). Once again, using words such as grace and chastity can point to Queen Elizabeth’s virginity, connecting the two characters. One of the most common characters to be seen as an allegory for Queen Elizabeth is Queen Gloriana. Already by her title, it is obvious why critics would argue she is an allegory for Queen Elizabeth. Nevertheless, she is the ruler of the fictional world the poem is set in, her character meaning to represent “the quality of glory” (The Faerie Queene). 

Representation of Political Adversaries

But Queen Elizabeth is not the only monarch who has representation in The Faerie Queene. There are multiple characters within the poem that critics read as representing Mary Queen of Scots, who was a major political adversary for Queen Elizabeth. One of the characters could be the aforementioned Error, but the most common is the character of Duessa. In Book V, she is tried and executed for conspiracy, which is meant to represent “the fate of Mary Stuart under the rule of Queen Elizabeth I” (The Faerie Queene). 

Clearly, Spenser favored some monarchs over the others. His passionate poem can be seen as an act of patriotism, glorifying the Queen of England while spitting on her adversaries. He is selectively loyal, which does not necessarily prove that he is in complete favor of the system of monarchy. Perhaps it is just that he loved Queen Elizabeth. His clear disdain for other rulers could, in some respects, be read as his distaste for other monarchies. Or, perhaps he did truly support the system of monarchy, so long as Queen Elizabeth was the one who was in charge.  

Spenser’s Bias

Thomas Stothard. A lady riding accompanied by a knight. before 1802. Artstor, library.artstor.org/asset/AGERNSHEIMIG_10313164061

Regardless, it is important to note that Spenser is an incredibly biased figure. He is known to have been an extremely avid supporter of Queen Elizabeth. Because of this, viewing The Faerie Queene as a reflection of the public’s thoughts on Queen Elizabeth is a bold claim. While the same can be said about any writer, Spenser’s words may not capture the thoughts of the society he lived in, and that is particularly important to keep mind while reading The Faerie Queene. Yes, there were people besides Spenser who supported Queen Elizabeth and thought she was a great ruler. But there must have been many others who did not think so. After all, she was a virgin, female queen in the sixteenth century. She did not have a king ruling beside her. Society at the time was extremely patriarchal, and because of that, it is hard to believe that the abundance of positive attributes given to the Queen by Spenser were ubiquitous in England at the time. 

William Edward Frost. Una sitting on a bank under trees, surrounded by nymphs. c. 1847. Artstor, library.artstor.org/asset/AGERNSHEIMIG_10313157573

Further Reading:

Homepage

The Divine Right to Rule: Past Perceptions of Monarchy

Sir Gawain and the Green Knight: A Condescending Commentary on the Monarchy?

Works Cited:

“The Faerie Queene.” Poetry Criticism, edited by David M. Galens, vol. 42, Gale, 2003. Literature Resource Center, https://link.gale.com/apps/doc/H1410000807/LitRC?u=s8474154&sid=LitRC&xid=0081861a.

Spenser, Edmund. “The Faerie Queene.”The Norton Anthology of English Literature: The Sixteenth Century and The Early Seventeenth Century,edited by Stephen Greenblatt, vol. A, no. 10, W. W. Norton & Company Inc., 2018, pp. 253-486.

Villeponteaux, Mary. “Displacing feminine authority in ‘The Faerie Queene.’.” Studies in English Literature, 1500-1900, vol. 35, no. 1, 1995, p. 53+. Literature Resource Center, https://link.gale.com/apps/doc/A16985956/LitRC?u=s8474154&sid=LitRC&xid=07239c65. 

Primary Sidebar

Recent Posts

  • Hello world!

Recent Comments

  • A WordPress Commenter on Hello world!

Archives

  • August 2019

Categories

  • Uncategorized

Meta

  • Log in
  • Entries feed
  • Comments feed
  • WordPress.org

Copyright © 2025 · News Pro with Full Header on Genesis Framework · WordPress · Log in