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COMPLAINTS (1591) XXXI<br />

beauties revealed to his imagination had power to drive away the sullea<br />

care which afflicted him<br />

Through discontent <strong>of</strong> his long fruitlesse staye<br />

In princes court, and expectation vavne<br />

Of idle hopes, which still doe fly away<br />

At Kilcolman, by the side <strong>of</strong> the Mulla, in the country whose beauty he<br />

had come to love, he was content It is as fatal to high poetic achievement<br />

to live in the strenuous pursuit <strong>of</strong> fortune as to be condemned to uninterrupted<br />

distance from the kind . In truth, life in Ireland, with<br />

occasional visits to England, to quicken and to feed his interest in affairs,<br />

and at the same time to make him appreciate more fully the peace that<br />

awaited him at home, was a good life for the poet, and he knew it<br />

To Ireland he returned, probably in the spring <strong>of</strong> 1591, 1 leaving behind<br />

him, ready for publication, his volume <strong>of</strong> Complaints<br />

This volume, as we have seen, contains work completed during his<br />

stay in London, but it takes us back to his earliest years <strong>of</strong> authorship<br />

We can safely attribute to his undergraduate days the Visions <strong>of</strong> du Bellay<br />

and the Visions <strong>of</strong> Petrarch, a mere rehandling <strong>of</strong> the versions he had<br />

written for Van der Noodt <strong>The</strong> former are turned with as little change<br />

as possible from blank verse to sonnets <strong>of</strong> Shakespearian form, and a few<br />

poems omitted by Van der Noodt are added to the series (6, 8, 13, 14)<br />

<strong>The</strong> latter needed less manipulation, for he had rhymed them in his<br />

earlier version , but in four <strong>of</strong> the first six he had originally kept to the<br />

twelve lines <strong>of</strong> Marot's rendering, and these he expanded to sonnet form, m<br />

place <strong>of</strong> the quatrain which in 1569 closed the series he now added a sonnet<br />

<strong>of</strong> his own rhyme system (abab bcbc cdcd ee) To the same period belongs<br />

1 <strong>The</strong> exact time at which Spenser returned to Ireland cannot be determined with<br />

certainty He dated Daphnaida from London * this first <strong>of</strong> Jan 1591', which<br />

according to the old style <strong>of</strong> reckoning, by which the year began with March 25,<br />

would mean 1592 On the other hand, Colin Clout is dated from Kilcolman, December<br />

27, 1591. A journey from Ireland could hardly have been made m three days,<br />

and we have to choose between regarding either (1) one or other <strong>of</strong> the dates as a misprint,<br />

or (2) the dating <strong>of</strong> Daphnaida as intentionally according to the new style,<br />

or (3) the dating <strong>of</strong> Colin Clout from Kilcolman as a ruse to fit in with the general<br />

conception <strong>of</strong> the poem Mr P Long has argued ably for the last alternative, but<br />

I cannot bring myself to accept it Though much <strong>of</strong> the detail and the setting <strong>of</strong><br />

the poem is undeniably fictitious, its whole spirit suggests to my mind that Spenser<br />

had actually returned to Ireland when he wrote it, and was reviewing for Ralegh's<br />

pleasure and his own satisfaction his visit to London, its disappointments and consolations<br />

But in any case, Spenser was in London in December 1590, when his<br />

Complaints was entered at the Stationers' Hall <strong>The</strong> statement, therefore, in my<br />

preface to the Minor Poems <strong>of</strong> Spenser, Clarendon Press, 1910 (p xvII), that the<br />

venture <strong>of</strong> the publisher was undertaken after Spenser's departure over sea, and that<br />

therefore he had no opportunity <strong>of</strong> correcting the pro<strong>of</strong>s, is justly pointed out by<br />

Mr Long as untenable It is indeed quite likely that he did not see the pro<strong>of</strong>s,<br />

but he cannot have been innocent <strong>of</strong> the publication <strong>of</strong> the volume, though its<br />

contents suggest reasons why he might wish to appear so, and the Preface contributed<br />

by Ponsonby must have been a piece <strong>of</strong> intentional mystification<br />

SPENSER b

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