The Political Allegory in " The Faerie Qiicene" 27 



the risk of his own. Then Ralegh, standing with a pistol in one 

 hand and his iron-shod quarter-staff in the other, withstood the 

 rebel force until his straggling escort had crossed the stream." 



Such acts could not fail to reach the ears of the Queen ; and 

 Raleigh was rapidly advanced in the royal favor. In the story, 

 Timias was severely wounded and nursed back to life by Bel- 

 phoebe. In this connection there is a curious mention of tobacco 

 as one of the remedies that Belphoebe may have applied to the 

 wounded squire (St. 32). Raleigh introduced the weed to the 

 western world in 1584. Instantly his heart is fired with love for 

 his benefactress. So in the poem we have Raleigh probably 

 pictured in two roles, the conquering Marinell and the lovelorn 

 Timias — roles that were singularly appropriate for the haughty 

 court favorite. 



In Canto vi the poet now proceeds to give the birth and 

 ancestry of Belphoebe and her twin sister Amoret. They are the 

 daughters of Chrysogone, and raised by Diana and Venus, re- 

 spectively. Some commentators, Upton in particular, have tried 

 to identify Mary, Queen of Scots, with Amoret. But it would 

 have been impossible for the puritan Spenser to celebrate as a 

 heroine of chastity, Mary the paramour of Bothwell and, as was 

 then thought, the murderess of Darnley. Further, it would be 

 hard to identify the cruel magician Busyrane who wished to win 

 Amoret's love by fair or foul means with any of the servants of 

 Queen Elizabeth who kept Mary in captivity. 



I am much more inclined to regard Amoret as another picture 

 of the Virgin Queen, kept from the object of her love. Sir 

 Scudamour (Essex) by the machinations of the old court intriguer, 

 Lord Burleigh. Amoret represents Elizabeth as the faithful 

 lover, as Belphoebe represents her as the dauntless huntress. The 

 allegory of Amoret and Sir Scudamour will be taken up in its 

 place. It is enough here to call attention to the martial daring 

 and romantic nature of Robert Devereaux, well symbolized by 

 the name Scudamour (shield of love). 



In Cantos vii-viii the story now turns to the adventures of 

 Florimel whom we left flying from Arthur. Upton sees in 

 Florimel the character of Mary. Queen of Scots. I shall copy 



185 



