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Sterling's "Bower of Bliss" is a response the Queen Mary's Bower, a raised structure in the 105-acre garden which some believe was built in the 1570s as a space for Mary to exercise while she was held captive for her alleged involvement in plots assassinate her cousin Elizabeth I. Mary was forced to abdicate in 1567 after she was implicated in her husband's murder and was then imprisoned in England by Elizabeth I from 1568 and executed in 1587.
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I lay, as it were, in the Paphian bower of bliss, in a state of exquisite sensations quite impossible to describe.
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Finally, they come to Acrasia's Island and the Bower of Bliss, where Guyon resists temptations to violence, idleness, and lust. Guyon captures Acrasia in a net, destroys the Bower, and rescues those imprisoned there. Book III is centred on the virtue of Chastity as embodied in Britomart, a lady knight. Resting after the events of Book II, Guyon and Arthur meet Britomart, who wins a joust with Guyon.
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82 Hunt's Spenserian adaptation influenced John Keats's later use of Spenser as a model. However, Keats did not rely on the moral interpretation of spenser found in The Palace of Pleasure but instead on the side of Spenser emphasising the beautiful.Kucich 1991 p. 148 Of the works that imitate Spenser's use of the "Bower of Bliss" in Book II of the Faerie Queene, The Palace of Pleasure is connected to Southey's Romance and William Jones's Palace of Fortune.
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The only real difference between Hunt's and Spenser's version is the name of the tempter and that Hunt moved the setting from a Bower to a castle. Like Southey, the poem's allegory is focused more on political justice than morality.Duff 1994 pp. 82–83 Hunt would later rely on the same Spenserian "Bower of Bliss" for the basis of a pleasure garden in The Story of Rimini written years later although he places more emphasis on the sexual aspects in the later work than on the meaning of the scene.
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The more popular English treatments of the Eloisa and Abelard story, particularly the poems by Pope and Cawthorn, continued to be reprinted in the opening decades of the 19th century, bringing fresh imitations in their wake. They began with John Gwilliam's “Paraclete, or the Sorrows of Abelard and Heloise”, a long epistle from Heloise in couplets that appeared first in The Mourning Wreath (London 1813)p.65 and was reprinted next year in The Bower of Bliss. Of two later reworkings, J. Treuwhard's Abelard to Eloisa, a moral and sentimental epistle, was privately printed in 1830.Samuel Halkett, Dictionary of Anonymous and Pseudonymous English Literature, New York 1926-34, Volume 6, p.3 The Epistle from Abelard to Eloise, originally published in 1828 by Thomas Stewart (of Naples), was in heroic couplets and prefaced by a poem to Pope.Napoleon's dying solioquy, and other poems (1834), pp.21-38 The Hughes letters, along with Pope's poem and a selection of imitations, were now beginning to be reprinted in the United States too and also brought poetic responses in their train.
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