entitled _Complaints_, followed in 1591, and the three remaining books of the _Faerie Queene_ in 1596. In 1595-1596 he published also his _Daphnaida, Prothalamion,_ and the four hymns on _Love_ and _Beauty_, and on _Heavenly Love_ and _Heavenly Beauty_. In 1598, in Tyrone's rebellion, Kilcolman Castle was sacked and burned, and Spenser, with his family, fled to London, where he died in January, 1599. The _Faerie Queene_ reflects, perhaps, more fully than any other English work, the many-sided literary influences of the Renascence. It was the blossom of a richly composite culture. Its immediate models were Ariosto's _Orlando Furioso_, the first forty cantos of which were published in 1515, and Tasso's _Gerusalemme Liberata_, printed in 1581. Both of these were, in subject, romances of chivalry, the first based upon the old Charlemagne epos--Orlando being identical with the hero of the French _Chanson de Roland_: the second upon the history of the first crusade, and the recovery of the Holy City from the Saracen. But in both of them there was a splendor of diction and a wealth of coloring quite unknown to the rude mediaeval romances. Ariosto and Tasso wrote with the great epics of Homer and Vergil constantly in mind, and all about them was the brilliant light of Italian art, in its early freshness and power. The _Faerie Queene_, too, was a tale of knight-errantry. Its hero was King Arthur, and its pages swarm with the familiar adventures and figures of Gothic romance: distressed ladies and their champions, combats with dragons and giants, enchanted castles, magic rings, charmed wells, forest hermitages, etc. But side by side with these appear the fictions of Greek mythology and the personified abstractions of fashionable allegory. Knights, squires, wizards, hamadryads, satyrs, and river gods, Idleness, Gluttony, and Superstition jostle each other in Spenser's fairy land. Descents to the infernal shades, in the manner of Homer and Vergil, alternate with descriptions of the Palace of Pride in the manner of the _Romaunt of the Rose_. But Spenser's imagination was a powerful spirit, and held all these diverse elements in solution. He removed them to an ideal sphere "apart from place, withholding time," where they seem all alike equally real, the dateless conceptions of the poet's dream.