1,306 results
1923ref. ST21078Chelsea: Ashendene Press 1923. ST JOHN HORNBY'S WORKSHOP COPY there were 180 paper copies 150 of them for sale and 12 vellum copies of this edition. 440 x 307 mm. 17 1/4 x 12". 2 p.l. 406 2 pp. Original holland-backed blue paper boards flat spine with paper title label identifying this as a workshop copy. Housed in a fine modern drop-back box of blue cloth backed with holland paper labels on spine. Printer's device in colophon. Printed in red black and blue. Front pastedown with bookplate of St John Hornby and ex-libris of David Godine. Hornby 32; Franklin pp. 144-46 240-41. Covers with fading along the top a bit of foxing and extensive though light gray discoloration ends of spine lightly bumped and lower edges of bottom corners slightly rubbed both as expected but the volume completely solid and miles away from what one would imagine for a hefty book like this that would have been expected to incur uncareful use. Isolated very pale foxing and the most trivial signs of use internally. A REMARKABLE COPY the text in beautiful condition soundly protected in its unique binding. With its companion volume "Minor Poems" by Spenser this in Franklin's eyes is the "masterpiece" among the Ashendene folios; and the present distinctive--and presumably unique--copy comes from Charles Harry St John Hornby's own printer's workshop. Unlike most other copies which are typically found in the publisher's calf-backed vellum binding this copy is in the inexpensive and less substantial holland-backed boards that are now less and less commonly seen in large part because they have not stood up well over the years. The present copy somehow has done quite the opposite. In addition to the original Ashendene "Workshop Copy" designation on the spine label scattered finger smudges--perhaps those of Hornby himself--suggest its use in the printer's studio. In our experience this particular designation is extremely rare in connection with private press books in general and certainly for Ashendene volumes. Founded in 1895 by Hornby 1867-1946 the Ashendene Press issued 40 books plus additional minor pieces for four decades. Less elaborate in appearance and design than William Morris' Kelmscott volumes but more ornamental than the products of Cobden-Sanderson's Doves Press the Ashendene volumes have long been considered the most satisfying of English private press books. This volume was formerly in the collection of David R. Godine who founded the Godine Press in 1970 after training with printmaker Leonard Baskin and master printer Harold McGrath. Ashendene Press unknown
1923ref. ST21078Chelsea: Ashendene Press 1923. ST JOHN HORNBY'S WORKSHOP COPY there were 180 paper copies 150 of them for sale and 12 vellum copies of this edition. 440 x 307 mm. 17 1/4 x 12". 2 p.l. 406 2 pp. Original holland-backed blue paper boards flat spine with paper title label identifying this as a workshop copy. Housed in a fine modern drop-back box of blue cloth backed with holland paper labels on spine. Printer's device in colophon. Printed in red black and blue. Front pastedown with bookplate of St John Hornby and ex-libris of David Godine. Hornby 32; Franklin pp. 144-46 240-41. Covers with fading along the top a bit of foxing and extensive though light gray discoloration ends of spine lightly bumped and lower edges of bottom corners slightly rubbed both as expected but the volume completely solid and miles away from what one would imagine for a hefty book like this that would have been expected to incur uncareful use. Isolated very pale foxing and the most trivial signs of use internally. A REMARKABLE COPY the text in beautiful condition soundly protected in its unique binding. With its companion volume "Minor Poems" by Spenser this in Franklin's eyes is the "masterpiece" among the Ashendene folios; and the present distinctive--and presumably unique--copy comes from Charles Harry St John Hornby's own printer's workshop. Unlike most other copies which are typically found in the publisher's calf-backed vellum binding this copy is in the inexpensive and less substantial holland-backed boards that are now less and less commonly seen in large part because they have not stood up well over the years. The present copy somehow has done quite the opposite. In addition to the original Ashendene "Workshop Copy" designation on the spine label scattered finger smudges--perhaps those of Hornby himself--suggest its use in the printer's studio. In our experience this particular designation is extremely rare in connection with private press books in general and certainly for Ashendene volumes. Founded in 1895 by Hornby 1867-1946 the Ashendene Press issued 40 books plus additional minor pieces for four decades. Less elaborate in appearance and design than William Morris' Kelmscott volumes but more ornamental than the products of Cobden-Sanderson's Doves Press the Ashendene volumes have long been considered the most satisfying of English private press books. This volume was formerly in the collection of David R. Godine who founded the Godine Press in 1970 after training with printmaker Leonard Baskin and master printer Harold McGrath. Ashendene Press unknown books
1613ref. 4533London: By Humphrey Lownes for Mathew Lownes 1611- 1613. FIRST COLLECTED EDITION second issue see below for issue points. Hardcover. Fine. Bound in 19th c. sprinkled calfskin gilt hinges discreetly repaired mild wear to corners and extremities. The boards are ruled in gold with shell ornaments at the corners and a gilt arabesque at the center. The text itself is in very nice condition lightly pressed with a few trivial blemishes and small rust holes to four leaves F3 X1-2 C6. The main title page is framed by a fine ornamental woodcut border McKerrow & Ferguson 212. Every canto of the “Faerie Queene” is introduced by an elaborate four-part woodcut frame and concludes with a historiated tail-piece. The “Shepheard's Calendar” is illustrated with twelve woodcut vignettes one for each month. The first issue of Spenser’s collected works appeared in 1611. In the earliest copies the publisher Mathew Lownes used the remaining sheets from his 1609 folio edition of the “Faerie Queene” together with a new title page and dedicatory leaf. Spenser’s other works were then printed in the same format to complete the collected edition. In 1612 the 1609 “Faerie Queene” sheets having run out the poem was re-set and printed anew with the t.p. to the second part dated 1612 and its colophon dated "16012" as in this copy. This issue also includes “Mother Hubberd’s Tale” which had been omitted in the first issue in order not to offend William Cecil whose father Lord Burghley Spenser had satirized in that poem. “Since Cecil died in 1612 the last objection to the republication of that work was removed and so copies of it were separately printed and inserted in those copies of the 1611 works that remained on hand.”Pforzheimer 972 The Omission of ‘Mother Hubberd’s Tale” from the 1611 Collected Works of Spenser: “Two years after Matthew Lownes had issued the first folio edition of the ‘Faerie Queen’ he decided to issue a collected edition of Spenser’s works. Having a number of unsold copies of the 1609 ‘Faerie Queen’ still on hand he determined to use those copies by including them in the collected edition in lieu of a 1611 reprint of the same. In order to effect this end he printed a general title and dedicatory leaf on a single sheet unsigned and so was enabled thus to make-up copies of a collected edition by cancelling the title of the 1609 edition and adding a 1611 edition of the remaining parts. “The 1591 edition of Spenser’s ‘Complaints’ having been officially suppressed on account of the attack on lord Burghley contained in the ‘Mother Hubberd’s Tale’ and in certain passages of the ‘Ruines of Time’ Lownes was not free to include the contents of that volume in this collected edition without obtaining official permission. By 1611 the matter had long blown over and Burghley the object of the satire was now dead but in deference to Sir Robert Cecil his son it was considered advisable to omit the offending satire and to revise the objectionable passages in the ‘Ruines of Time’. Therefore some copies e.g. the present of the 161 edition that were sold soon after publication did not contain the ‘Mother Hubberd’s Tale’ but since Cecil died in 1612 the last objection to the re-publication of that work was removed and so copies of it were separately printed and inserted in those copies that remained on hand.”Pforzheimer 972. By H[umphrey] L[ownes] for Mathew Lownes, 1611- hardcover
1613ref. 4533London: By Humphrey Lownes for Mathew Lownes 1611- 1613. FIRST COLLECTED EDITION second issue see below for issue points. Hardcover. Fine. Bound in 19th c. sprinkled calfskin gilt hinges discreetly repaired mild wear to corners and extremities. The boards are ruled in gold with shell ornaments at the corners and a gilt arabesque at the center. The text itself is in very nice condition lightly pressed with a few trivial blemishes and small rust holes to four leaves F3 X1-2 C6. The main title page is framed by a fine ornamental woodcut border McKerrow & Ferguson 212. Every canto of the “Faerie Queene” is introduced by an elaborate four-part woodcut frame and concludes with a historiated tail-piece. The “Shepheard's Calendar” is illustrated with twelve woodcut vignettes one for each month. The first issue of Spenser’s collected works appeared in 1611. In the earliest copies the publisher Mathew Lownes used the remaining sheets from his 1609 folio edition of the “Faerie Queene” together with a new title page and dedicatory leaf. Spenser’s other works were then printed in the same format to complete the collected edition. In 1612 the 1609 “Faerie Queene” sheets having run out the poem was re-set and printed anew with the t.p. to the second part dated 1612 and its colophon dated "16012" as in this copy. This issue also includes “Mother Hubberd’s Tale” which had been omitted in the first issue in order not to offend William Cecil whose father Lord Burghley Spenser had satirized in that poem. “Since Cecil died in 1612 the last objection to the republication of that work was removed and so copies of it were separately printed and inserted in those copies of the 1611 works that remained on hand.”Pforzheimer 972 The Omission of ‘Mother Hubberd’s Tale” from the 1611 Collected Works of Spenser: “Two years after Matthew Lownes had issued the first folio edition of the ‘Faerie Queen’ he decided to issue a collected edition of Spenser’s works. Having a number of unsold copies of the 1609 ‘Faerie Queen’ still on hand he determined to use those copies by including them in the collected edition in lieu of a 1611 reprint of the same. In order to effect this end he printed a general title and dedicatory leaf on a single sheet unsigned and so was enabled thus to make-up copies of a collected edition by cancelling the title of the 1609 edition and adding a 1611 edition of the remaining parts. “The 1591 edition of Spenser’s ‘Complaints’ having been officially suppressed on account of the attack on lord Burghley contained in the ‘Mother Hubberd’s Tale’ and in certain passages of the ‘Ruines of Time’ Lownes was not free to include the contents of that volume in this collected edition without obtaining official permission. By 1611 the matter had long blown over and Burghley the object of the satire was now dead but in deference to Sir Robert Cecil his son it was considered advisable to omit the offending satire and to revise the objectionable passages in the ‘Ruines of Time’. Therefore some copies e.g. the present of the 161 edition that were sold soon after publication did not contain the ‘Mother Hubberd’s Tale’ but since Cecil died in 1612 the last objection to the re-publication of that work was removed and so copies of it were separately printed and inserted in those copies that remained on hand.”Pforzheimer 972. By H[umphrey] L[ownes] for Mathew Lownes, 1611- hardcover books
1591ref. ST18266London: Imprinted for William Ponsonbie dwelling in Paules Churchyard at the signe of the Bishops head 1591. FIRST EDITION. 182 x 130 mm. 7 1/4 x 5 1/4". 91 leaves lacking blank Z4. Late 19th century green crushed morocco by Riviere & Son stamp-signed on front turn-in covers with decorative gilt lozenge centerpiece raised bands gilt lettering gilt-ruled turn-ins. Housed in a modern brown buckram chemise and attractive morocco-backed slipcase. Main title page with woodcut border McKerrow & Ferguson 117 section titles for three of the poems with woodcut frame woodcut initials head- and tailpieces. Front pastedown with engraved armorial bookplate of Charles Lilburn and ex-libris of Kenneth Rapoport see below. Langland to Wither 235; Hayward 23; Johnson 14; Pforzheimer 968; STC 23078; ESTC S111266. The Rosenbach Company catalogue 45 #690 this copy. Spine sunned to olive brown faint fading and soiling to covers just a hint of rubbing to corners and spine ends contents lightly washed and pressed in keeping with bibliophilic fashion at the time of binding occasional small spot or other trivial imperfection but an excellent copy clean and fresh internally in a perfectly pleasant binding. This is an appealing copy with star-studded provenance of one of the less frequently encountered first editions of Edmund Spenser ca. 1552-99 the first modern English poet to achieve major stature during his lifetime. It comprises a collection of six poems and three translations assembled by publisher William Ponsonby in order to capitalize on the recently experienced success of "The Faerie Queene." In the preface Ponsonby describes these poems as "complaints and meditations of the worlds vanitie very grave and profitable." The included works some dating back to Spenser's college days are: "The Ruines of Time" "The Teares of the Muses" "Virgils Gnat" "Proposia Or Mother Hubberds Tale" "Ruines of Rome" "Muiopotmos or the Fate of the Butterflie" "Visions of the Worlds Vanitie" "Bellayes Visions" and "Petrarches Visions." Six of these are original poems all previously unpublished and three are translations one unpublished and two revised. Unfortunately "Proposia" was a political satire on the attempts to arrange a marriage between Elizabeth I and the Duc d'Alençon that resulted in the entire volume being banned. That poem was omitted from early editions of the collected minor poems. Day says Spenser demonstrated "with his fluency in many meters and stanzaic forms . . . that English was at least the equal to any other language as a vehicle of great poetry." Although his poetry particularly "The Faerie Queene" looks backward--as the culmination of the allegorical verse tradition of the Pearl Poet Langland and Chaucer--Spenser has influenced with "his fertile imagination and especially his sensuous imagery and melodic language" nearly every important English poet who followed him. Our volume has distinguished provenance four times over. The first known owner here Charles Lilburn Esq. 1842-91 was an antiquary businessman Justice of the Peace and Fellow of the Society of Antiquaries of Newcastle-upon-Tyne. George Neasham in "North-Country Sketches" 1893 calls Lilburn "bibliomaniacal" but also "one of nature’s gentlemen." In 1888 the "Proceedings of the Society of Antiquaries of Newcastle-upon-Tyne" claimed that Lilburn’s library "would have charmed the heart of Dibdin himself." The present copy then apparently became the subsequent property of Sir Israel Gollancz 1863-1930 distinguished Shakespearian scholar and editor of early English literature at least he is named as a previous owner when this copy was sold by Swann Galleries in May of 2022 at the Rapoport sale. The book appeared later in the inventory of the rare book firm of A. S. W. Rosenbach 1876-1952 of Philadelphia where it was listed in the 1941 catalogue as item #690 priced at $300. Finally it became part of the library of Ken Rapoport who amassed an outstanding collection over 50 years with special emphasis on works of drama and poetry by English and Spanish authors among them Shakespeare Spenser and Cervantes. "Complaints" is scarce is virtually never found except in a modern binding and is usually seen in unappealing internal condition. Imprinted for William Ponsonbie, dwelling in Paules Churchyard at the signe of the Bishops head unknown books
ref. 4531London: Various printers details below. 1591- 1596. A remarkable volume containing 3 separately-printed works including the first editions of the second part Cantos 4-6 of The Faerie Queene 1596 and Colin Clouts Come Home Againe 1595. Hardcover. Fine. Bound in 17th c. calf the boards gilt-ruled in compartments with ornamental tools at the corners and a large stamp of the Tudor arms at the center of each board hinges and endcaps restored corners bumped later label lacking ties. Inscriptions: In the Shepheards Calender 1. Contemporary signature of Roger Collings on p. 1; 2. Inscription in Latin on title page “To the library of Lord John Bond as a gift by Monsieur Bloncq i.e. Blanc A.D. 1627”. 3. Also on t.p. “Lady Carew” and “June 27 1669” perhaps Mary Morice of Wirrington d. 1698 Lady Carew. 4. Unidentified armorial stamp on verso of t.p. For condition of contents see individual entries below. 5. Another -and quite marvelous- contemporary inscription on the third preliminary leaf of the Shepheards Calender: “This is Robard Batmans Booke and he that steale et shall be hanged vpon A Roke as Hy as he cane loke.”. I. THE SHEPHEARDS CALENDER. London: Printed by Iohn Windet for Iohn Harrison the yonger dwelling in Pater-noster roe at the signe of the Anger 1591. Quarto: 4 52 lvs. Collation: 4 A-N4 3 preliminary leaves supplied and genuine. FOURTH EDITION. 1st ed. pub. 1579. Title within woodcut border McKerrow & Ferguson 198. The text is illustrated with 12 woodcut vignettes one for each month. Restorations to inner margin of title with some loss to the lefthand portion of the woodcut border small repair to upper outer corner no loss 3 preliminary leaves following title supplied from a shorter copy blank lower margin restored. The woodcut for April shows Queen Elizabeth and her entourage. “This and the edition of 1586 are counterparts of each other… The illustrations are printed from the same blocks; the type however was reset there being slight differences in spelling etc. and the printer’s ornaments at the foot of the eclogues are different.” Langland to Wither No. 229 p. 199-200 “Published in 1579 a decade before ‘The Faerie Queene’ this book of pastorals established Spenser as the leading poet of his generation. Its editor one "E.K." never identified but clearly someone associated with Spenser heralded the work as a major literary event and its author as ‘our new poet.’ It was reprinted four times in Spenser's lifetime and evoked imitations and admiring comments almost from the date of its publication. Spenserians and traditional literary historians still take ‘The Shepheardes Calender’ at E.K.'s valuation and treat it not without reason as inaugurating the great age of Elizabethan poetry… It was the first set of English pastorals in the European tradition and in emulating Virgil's Eclogues it self-consciously inaugurated a poetic career on the model of Virgil's-one that would move from a book of eclogues to a national epic.”Alpers Pastoral and the Domain of Lyric in Spenser's Shepheardes Calender “’The Shepheardes Calender’ was entered into the Stationers' register on 5 December 1579 and was published by the protestant publisher Hugh Singleton soon after that date as the poem bears the imprint 1579 indicating that it must have appeared before the end of February. The ‘Calender’ was a popular work and was reprinted in 1581 1586 1591 and 1597 demonstrating that Spenser did make an impact as 'our new poet'. It contains twelve poems complete with prefatory comments and notes by E. K. which may or may not have been written by Spenser himself and Gabriel Harvey and a series of emblematic woodcuts of allegorical significance. The poems describe events in the lives of a series of fictional shepherds and vary from apparently personal laments on the nature of loss and unrequited love to stringent ecclesiastical satire and attacks on corruption and court patronage. They comment on the nature of love and devotion the pains of exile praise for the queen forms of worship the duties of church ministers forms of poetry the merits of protestantism and Catholicism and impending death. Equally important is the showy technical proficiency of the works and the ways in which the poems and commentary serve to announce the arrival of a major new English poet.”Hadfield Oxford DNB ESTC S111267; STC 23092; Langland to Wither 229; Johnson Edmund Spenser 4; Luborsky & Ingram. Engl. illustrated books 1536-1603 23092 II. THE FAERIE QUEENE Disposed into twelue bookes fashioning XII. morall vertues First and Second Parts. London: Printed by Richard Field for William Ponsonbie 1596 Quarto: 2 590; 518 p. Collation: Part 1: A-Z8 Aa-Oo8; Part 2: A-Z8 signature Z supplied from another smaller copy Aa-Ii8 Kk4. SECOND EDITION OF THE FIRST PART 1st ed. pub. 1590 FIRST EDITION OF THE SECOND PART. With a full-page woodcut at the beginning of book two p. 184 depicting the Red Cross Knight slaying the dragon. Ornamental metal-cut cartouches frame the argument at the opening of each canto. Light dampstain to lower margin of scattered gatherings in second part a bit stronger in gathering Cc. The supplied gathering Z is shorter and lightly damp-stained and yellowed. Short worm-trail in lower margin of Dd-Ff in second part not intruding on the text. A few small rust marks. “’The Faerie Queene’ was a new departure in the history of English poetry being a combination of Italian romance classical epic and native English styles principally derived from Chaucer. Spenser signalled this by inventing a new stanza which has come to be known as the Spenserian stanza a hybrid form adopted from the Scots poetry of James I ‘rhyme royal’ and Italian ‘ottava rima’. It contained nine lines the first eight being pentameters and the last line an alexandrine and employed the rhyme scheme ababbcbcc. It was accompanied by seventeen dedicatory sonnets to a variety of figures… addressed to a range of important courtiers among them: Sir Christopher Hatton; Robert Devereux second earl of Essex; Sir William Cecil Lord Burghley; Edward de Vere seventeenth earl of Oxford; Sir Francis Walsingham; Sir Walter Ralegh; Mary Sidney countess of Pembroke; Lady Carew; and 'all the gratious and beautifull Ladies of the Court'… “The poem has survived as a long fragment of six completed books each of twelve cantos of lengths varying from forty to eighty stanzas. A further fragment of a seventh book published after Spenser's death consisted of two complete cantos and two stanzas from a third. There was also a letter appended from the author to Ralegh dated 23 January 1589 explaining the allegorical method of the 'Poet historical'. Scholars are divided on the question of the extant nature of the poem some concluding that Spenser never really intended to complete it others that had he lived longer all twelve books would have emerged… “’The Faerie Queene’ tells a series of discrete but interrelated stories based around the quests of six knights who each represent a particular virtue. Its allegory is flexible and moves easily from the historically specific to deal with theological philosophical and ethical questions many based on readings of Aristotle's Nicomachean Ethics a stated source of the poem. Book 1 tells the story of the redcross knight eventually revealed to be the patron saint of England St George who has to destroy the dragon who holds captive the parents of his lady Una. As with all romances the narrative moves sideways as much as forwards a process known as dilation and a whole series of episodes represent events and problems precipitated by the Reformation. The lovers are united but significantly the knight is recalled to his service to Gloriana the faerie queen before they can get married. Book 2 charts the progress of the knight of temperance Sir Guyon culminating in the famous description of his destruction of the Bower of Bliss an episode which has inspired commentators artists and writers ever since. Guyon's undoubted virtue is shown to be limited when he is defeated by the knight of chastity Britomart the heroine of book 3. While Guyon can only refuse and oppose bodily temptation Britomart is able to experience corporeal ecstasies and agonies and so point to a way beyond the limits of temperance for those who have to live in the ordinary world. Britomart in pointed contrast to the real queen of England the virginal Elizabeth sees her husband-to-be Artegall in Merlin's magic mirror and the dynasty that she will found stretching into the future. The first edition of The Faerie Queene concluded with the striking image of the hermaphrodite created through the passionate embrace of the rescued lovers Amoret and Scudamore a sign that human experience could be equal and satisfying through the institution of marriage. “The second edition of the poem 1596 is generally agreed to be a darker and more diffuse work. Book 4 the legend of Friendship has two central figures Cambel and Telamond who occupy only a small section of the narrative. Many commentators argue that the original version of the poem that circulated in manuscript in the early 1580s consisted of portions of books 3 and 4 later worked into the printed version with varying success. The book contains the famous description of the marriage of the Thames and the Medway—again probably adapted from an earlier work or version of the poem. Book 5 the legend of Justice follows the adventures of Artegall Britomart's future spouse. This has generally been the least popular section of the poem because of its disturbing defence of English policy in Ireland and more overtly its historical allegory but it has recently received far more attention for the very reason that it was previously ignored. Artegall abandoned by his tutor Astrea has to resolve a number of difficult disputes foolishly falls prey to the Amazon Radigund and has to be rescued by Britomart before his violent suppression of rebellion in Ireland is prematurely truncated by Gloriana. Book 6 the legend of Courtesy depicts the adventures of Sir Calidore a confused and misdirected knight who tries to give up his elusive quest for the Blatant Beast when he stumbles across a pastoral world at odds with the courtly world he is less than keen to defend. The book like its predecessor is replete with disturbing images of violent disruption principally of disguised rebels ambushing small peasant communities undoubtedly an echo of Spenser's experience in Ireland. It ends when Calidore finally manages to capture the Blatant Beast but it escapes to terrorize the world with its awful slanders which include attacks on the poet himself.”Hadfield Oxford DNB ESTC S117748; STC 23082; Langland to Wither 233; Pforzheimer 970; Johnson Edmund Spenser 11; Luborsky & Ingram. Engl. illustrated books 1536-1603 23082 III. COLIN CLOUTS COME HOME AGAINE. London: Ponsonbie 1595 Quarto: 80 p. Signatures: A-K4 FIRST EDITION. The colophon reads: “London Printed by T.C. for William Ponsonbie. 1595.” With a woodcut printer’s device McKerrow 299 and decorative border to the title page and numerous head- and tailpieces throughout. With "worthylie" on leaf C1 recto line 24. Moderated dampstain to first two gatherings a little light staining thereafter fraying to a few margins small worm-trail in lower margin final leaf soiled on verso. With a dedicatory epistle to “The Right worthy and noble Knight Sir Walter Raleigh” dated “from my house of Kilcolman the 27. Of December. 1591.” In addition to “Colin Clout” this volume also includes Spenser’s “Astrophel: A pastorall Elegie upon the death of the most Noble and valorous Knight Sir Phillip Sidney” dedicated to Sidney’s widow who had by then become the Countess of Essex; An untitled poem beginning “Ay me to whom shall I complaine…” often referred to as “The dolefull lay of Corinda”; “The mourning Muse of Thestylis” by Ludowick Bryskett; “A pastorall Aeglogue upon the death of Sir Phillip Sidney Knight” signed L.B. Ludowick Bryskett; “An Elegie or friends passion for his Astrophill” by Matthew Roydon; “An Epitaph upon the right honourable sir Phillip Sidney Knight: Lord governor of Flushing” by Walter Raleigh; “Another of the Same” almost certainly by Sir Edward Dyer. “Spenser’s “Colin Clout’s Come Home Again’ a pastoral poem in the tradition of Petrarch was inspired by the poet’s visit to England from 1590 to 1591 a journey undertaken at the urging of Walter Raleigh. Spenser wrote the poem dedicated to Raleigh upon his return to Kilcolman castle in Ireland –the ‘Home’ referred to in the poem’s title. “Spenser's adoption of an Anglo-Irish identity was publicly expressed in the title poem where the 'home' that Colin refers to rather bitterly in the poem is Ireland not England. At the same time the elegies on Sidney as the English nation's poet imply Spenser's claim to be his successor. “The poem has been called Spenser’s most biographical and indeed it includes not only the visit from Raleigh to Spenser’s home in Ireland in 1589 but also an account of Spenser’s sea voyage and his time in England during which he presented the first three books of his ‘Faerie Queen’ to Queen Elizabeth. “The poem fits neatly into a tradition of advice literature that exempts the monarch from the general failings of his or her courtiers and includes strong criticisms of the court as well as attacks on the vanity ignorance and greed of courtiers in general. It is possible that Colin Clout was intended as a criticism of Elizabeth's regime in the 1590s especially if we bear in mind Spenser's own lack of preferment in England and his posthumous criticisms of the queen in 'Two cantos of Mutabilitie'.”Hadfield Edmund Spenser's Irish Experience 1997 chap. 6 ESTC S111281; STC 23077; Langland to Wither 236; Pforzheimer 967; Johnson Edmund Spenser 16. Various printers (details below). 1591- hardcover books
