His mother was wholly given to works of devotion, but it happened that there lay in her parlour a copy of The Faerie Queene.
The community was founded in 1847 and according to Robert L. Ramsay, was named for the vainglorious knight and horse thief Sir Braggadoccio, in Edmund Spenser's The Faerie Queene.
Cambell, character in epic poem The Faerie Queene, and example of allegory in Renaissance literature
Norris is mentioned by Lodowick Bryskett as one of the company to whom Edmund Spenser on a well-known occasion unfolded his project of the The Faerie Queene.
This character is actually based upon a real person, Sir James Scudamore, a jousting champion and courtier to Queen Elizabeth I.
The depiction of the young Queen as Lady Una (a character from Edmund Spenser's poem The Faerie Queene, from 1590) was seen at the time as a bold design decision as it was the first occasion when a British monarch had been depicted on a coin as a fictional character.
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The "worlds" so examined include not only the Norse world of "The Roaring Trumpet," but those of Edmund Spenser's The Faerie Queene in "The Mathematics of Magic," Ludovico Ariosto's Orlando Furioso (with a brief stop in Samuel Taylor Coleridge's Kubla Khan) in "The Castle of Iron," the Kalevala in "The Wall of Serpents," and finally (at last), Irish mythology in "The Green Magician."
The poem was said to have antagonized Lord Burghley, the primary secretary of Elizabeth I, and estranged Spenser from the English court, despite his success in that arena with his previous (and most famous) work, the Faerie Queene.
"Myrtle Grove," a poem written in Spenserian stanzas by James Reiss, and published in Fugue magazine (the University of Idaho), summer/fall 2007, pp. 22-24, develops the legend that Edmund Spenser wrote portions of his great epic, The Faerie Queene, under an aureole window in the South Gable of Raleigh's house.
The five stories collected in The Complete Compleat Enchanter explore the worlds of Norse mythology in "The Roaring Trumpet," Edmund Spenser's The Faerie Queene in "The Mathematics of Magic," Ludovico Ariosto's Orlando Furioso (with a brief stop in Samuel Taylor Coleridge's Kubla Khan) in "The Castle of Iron," the Kalevala in "The Wall of Serpents," and Irish mythology in "The Green Magician."
Some of his strongest pictures include "Angel releasing Peter from Prison" (life-size), painted in 1831, "Una with the Lion entering Corceca's Cave" (1832), the "Murder of the Innocents," his last exhibited work (1838), "Comus" and "Amphitrite".