What happened to him in the rebellion we learn generally from two sources, from Camden's _History_, and from Drummond of Hawthornden's Recollections of Ben Jonson's conversations with him in 1619. In the Munster insurrection of October, the new Earl of Desmond's followers did not forget that Kilcolman was an old possession of the Desmonds. It was sacked and burnt. Jonson related that a little new-born child of Spenser's perished in the flames. Spenser and his wife escaped, and he came over to England, a ruined and heart-broken man. He died Jan. 16, 1598/9; "he died," said Jonson, "for lack of bread in King Street [Westminster], and refused twenty pieces sent to him by my Lord of Essex, saying that he had no time to spend them." He was buried in the Abbey, near the grave of Chaucer, and his funeral was at the charge of the Earl of Essex. Beyond this we know nothing; nothing about the details of his escape, nothing of the fate of his manuscripts, or the condition in which he left his work, nothing about the suffering he went through in England. All conjecture is idle waste of time. We only know that the first of English poets perished miserably and prematurely, one of the many heavy sacrifices which the evil fortune of Ireland has cost to England; one of many illustrious victims to the madness, the evil customs, the vengeance of an ill-treated and ill-governed people.
One Irish rebellion brought him to Ireland, another drove him out of it. Desmond's brought him to pass his life there, and to fill his mind with the images of what was then Irish life, with its scenery, its antipathies, its tempers, its chances, and necessities. Tyrone's swept him from Ireland, beggared and hopeless. Ten years after his death, a bookseller, reprinting the six books of the _Faery Queen_, added two cantos and a fragment, _On Mutability_, supposed to be part of the _Legend of Constancy_. Where and how he got them he has not told us. It is a strange and solemn meditation, on the universal subjection of all things to the inexorable conditions of change. It is strange, with its odd episode and fable which Spenser cannot resist about his neighbouring streams, its borrowings from Chaucer, and its quaint mixture of mythology with sacred and with Irish scenery, Olympus and Tabor, and his own rivers and mountains. But it is full of his power over thought and imagery; and it is quite in a different key from anything in the first six books. It has an undertone of awe-struck and pathetic sadness.