The poem is as much allegorical as it is allusive to the point that any Elizabethan of high station could see themselves in any number of the characters presented in The Faerie Queene.
Queen Elizabeth I was a member of the Tudor era of which the Faerie Queene celebrated without fail as in the tradition of Aeneid's writings of Rome during the time of Augustus Caesar.
Spenser hinted at the final product in his letter to Raleigh but between the time of that letter and the earliest publication of The Faerie Queene in 1590 it had already changed.
In 1590, Edmund Spenser introduced the alternate spelling of fairy - faerie - as a way to distinguish between the fanciful pixie-like "fairy" and the beautiful, serious "faerie".
This is often less true in the darker or more elaborate costumes that might be seen in Cosplay or Faerie events, wherein wings might not even be included.
Utilizing symbolism and the love of a queen, Spenser's The Faerie Queene became this author's most definitive work not for content as much as style.
Edmund Spenser's The Faerie Queene is more known for its unique style being the first to ever use what has become known as the "Spenserian Stanza".
The name Isis has indeed the authority of Spenser as applied to the Thames in its course above Dorchester (Faerie Queen, Bk.
Chaucer, when he spoke of Gawain coming "again out of faerie," spoke better than he knew; the home of that very gallant and courteous knight is indeed Fairy-land, and the true Gawain-tradition is informed with fairy glamour and grace.
In 1856 he published his first book, Within and Without, a dramatic poem; following it in 1857 with a volume of Poems, and in 1858 by the delightful " faerie romance Phantastes.