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Dear all, May I tentatively suggest that the billets-duo are billets-trio (though we loose the pun)? 'Colin Clouts Come Home' and Ralegh's 'Cynthia' are in dialogue, but Spenser in CCCHA is also in cahoots with Lodowick Bryskett's 'Pastorall Aeglogue' for Sidney in Spenser's 'Astrophel'. Bryskett has a bay tree in which Philisides had inscribed Stella's name, which he wishes may grow 'fair' and spread its sacred branch, which (being bay) crowns emperors and poets. Spenser/Colin will endoss Cynthia's name in every tree . . .'That as the trees do grow, her name may grow:/And in the ground each where it will engrosse,/And fill with stones, that all men may it know'. A tree that brings forth stones - how very fruitful! Wayne Erickson thinks that both Ralegh's poem and Spenser's references to the Shepherd of the Ocean (Ralegh himself) are written in such a tone as to invite the speculation that they were indulging in some 'mildly dangerous fun' at Elizabeth's expense (Wayne Erickson, 'Spenser Reads Ralegh's Poetry in(to) the 1590 Faerie Queene,' Spenser Studies 15 (2001), 175-84, 175.) I think it could be worse than that. Colin was filled with 'furious insolence' to sing to Cynthia. OED tells us that 'insolence' can mean 'swelling, exulting, in good sense', citing Puttenham. Puttenham (curiouser and curiouser) says Ralegh writes 'loftie, insolent, and passionate' odes (Arte, CUP, p. 63). But perhaps 'Puttenham' is in on the plot (see Jonathan Crewe, 'Hidden Designs'). I suspect that 'insolent' means 'insolent', not 'swelling, exulting, in good sense'. More grist for the anti-Elizabeth mill. Best wishes. Penny McCarthy