She comes from a once-powerful royal family, which had lost its extensive kingdom and been forced into exile by the dragon which was now the object of the knight’s quest. Beside him, riding a white ass, is a fine lady wearing a wimple and veil with a black stole as if in mourning, who is leading a white lamb. He is on a mission for his Queen, Gloriana, to tackle a dragon. Across his chest is emblazoned a red cross, in remembrance of Christ.
His shield and armour bear many scars of battle, but none fought by him.
Yet nothing did he dread, but ever was ydrad.Ī knight is riding fully armed across a plain. Right faithfull true he was in deede and word īut of his cheere did seeme too solemne sad Upon his shield the like was also scor’d,įor soveraine hope which in his helpe he had. His angry steede did chide his foming bitt,Īs much disdayning to the curbe to yield.įull jolly knight he seemd, and faire did sitt,Īs one for knightly giusts and fierce encounters fitt.Īnd on his brest a bloodie Crosse he bore,įor whose sweete sake that glorious badge he wore, Yet armes till that time did he never wield. The cruell markes of many a bloodie fielde Wherein old dints of deepe woundes did remaine, Ycladd in mightie armes and silver shielde, Wikimedia Commons.Ī gentle knight was pricking on the plaine, Wikimedia Commons.Ĭanto 1 Walter Jenks Morgan (1847–1924), Una and the Red Cross Knight (1885), illustration in ‘Spenser for Children’, MH Towry, further details not known. Walter Crane (1845–1915), title page for Book 1 of ‘The Faerie Queene’ (1895-97), print, ‘Spenser’s Faerie Queene’, ed TJ Wise, George Allen, London, Folger Shakespeare Library, Washington, DC. Spenser’s Faerie Queene opens with a four-verse proem which invokes the Muse, in imitation of the opening of the English translation of Virgil’s Aeneid, and refers the epic to the Queen of England, Elizabeth I, but not by name.
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