NOTICE: Return or renew all Library Materials! The Minimum Fee for each Lost Book is $50.00. The person charging this material is responsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for discipli- nary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 SHAKESPEARE’S ENGLISH CLASSICS. Edited by WM. J. ROLFE, A.M. Illustrated. 161110, Cloth, 56 cents per volume ; Paper, 40 cents per volume. Shakespeare’s Works. The Merchant of Venice. The Taming of the Shrew. Othello. All ’s Well that Ends Well. Julius Cassar. Coriolanus. A Midsummer-Night’s Dream. The Comedy of Errors. Macbeth. Cymbeline. Hamlet. Antony and Cleopatra. Much Ado about Nothing. Measure for Measure. Romeo and Juliet. Merry Wives of Windsor. As You Like It. Love’s Labour ’s Lost. The Tempest. Two Gentlemen of Verona. Twelfth Night. Tim on of Athens. The Winter’s Tale. Troilus and Cressida. King John. Henry VI. Part I. , Richard II. Henry VI. Part II. Henry IV. Part I. Henry VI. Part III. Henry IV. Part II. Pericles, Prince of Tyre. Henry V. The Two Noble Kinsmen. Richard III. Venus and Adonis, Lucrece, etc. Henry VIII. Sonnets. King Lear. Titus Andronicus. Goldsmith’s Select Poems. Gray’s Select Poems Published by HARPER & BROTHERS, New York. Any of the above works will be sent by mail , postage prepaid , to any part of the United States , on receipt of the price. | Copyright, 1883, by Harper & Brothers. THE DEATH OF LUCK EC1£. INTRODUCTION TO SHAKESPEARE’S POEMS. I. THE HISTORY OF THE POEMS. Venus and Adonis was first published in quarto form, in 1593, with the following title-page : * Venvs I and adonis | Vilia miretur vulgus : mihi flauus Apollo | Pocula Castalia plena mmistret aqua . | London | Imprinted by Richard Field, and are to be sold at | the signe of the white Greyhound in ] Paules Church-yard. | 1593 - * For this title-page, as well as for much of the other information we have given concerning the early editions, we are indebted to the “Cam- bridge ” ed. 10 SHAKESPEARE'S POEMS. 1 he book is printed with remarkable accuracy, doubtless from the author’s manuscript. A second quarto edition was published in 1594, the title- page of which differs from that of the first only in the date. A third edition in octavo form (like all the subsequent editions) was issued in 1596 from the same printing-office “ for Iohn Harison.” A fourth edition was published in 1599, with the following title-page (as given in Edmonds’s reprint) : VENVS | AND ADONIS. | Villa miretur vulgus : mi hi flauus Apollo | Pocula Castalia plena ministret aqua, j Im- printed at London for William Leake, dwel- | ling in Paules Churchyard at the signe of | the Greyhound. 1599. This edition was not known until .1867, when a copy of it was discovered at Lamport Hall in Northamptonshire by Mr. Charles Edmonds, who issued a fac-simile reprint of it in 1870. Of course it is not included in the collation of the Cambridge ed., which was published before the discovery f but it was evidently printed from the 3d edition. Mr. Ed- monds says: “A few corrections are introduced, but they bear no proportion to the misprints.” Of the fifth edition a single copy is in existence (in the Bodleian Library), lacking the title-page, which has been restored in manuscript with the following imprint: “Lon- don | Printed by I. H. | for Iohn Harrison | 1600.” The date may be right, but, according to Halliwell f and Edmonds, the publisher’s name must be wrong, as Harrison had as- signed the copyright to Leake four years previous. The Cambridge editors assumed in 1 866 that this edition (the 4th of their numbering) was printed from that of 1596; but it is certain, since the discovery of the 1599 ed., that it must have been based on that. Of the text they say: “It * It is omitted by Hudson in his “ Harvard” ed. (see account of early eds. of V. and A. vol. xix. p. 279), published in 1881. t Outlines 0/ the Life of Shakespeare (2d ed. 1882), p. 222. INTRODUCTIO. M r . .X~* 1 1 1 seem, which contains many erroneous readings, due, it would partly to carelessness and partly to wilful alteration were repeated in later eds.” Two new editions were issued in 1602, and others in 1617 and 1620. In 1627, an edition (of which the only known copy is in the British Museum) was published in Edinburgh. In the Bodleian Library there is a unique copy of an edi- tion wanting the title-page but catalogued with the date 1630; also a copy of another edition, published in 1630 (discovered since the Cambridge ed. appeared)* A thir- teenth edition was printed in 1636, “to be sold by Francis Coules in the Old Baily without Newgate.” The first edition of Lucrece was published in quarto in 1594, with the following title-page: LVCRECE. | London. | Printed by Richard Field, for Iohn Harrison, and are | to be sold at the signe of the white Greyhound | in Paules Churh-yard. 1594. The running title is “The Rape of Lvcrece.” The Bod- leian Library has two copies of this edition which differ in some important readings, indicating that it was corrected while passing through the press, t A second edition appeared in 1598, a third in 1600, and a fourth in 1607, all in octavo and all “for Iohn Harrison” (or “ Harison ”). In 1616, the year of Shakespeare’s death, the poem was reprinted with his name as “newly revised;” but “as the readings are generally inferior to those of the earlier edi- tions, there is no reason for attaching any importance to an assertion which was merely intended to allure purchas- ers ” (Camb. ed.). The title-page of this edition reads thus : * Bibliographical Contributions , edited by J. Winsor, Librarian of Har- vard University : No. 2. Shakespeare's Poems (1879). This Bibliography of the earlier editions of the Poems contains much valuable and curious information concerning their history, the extant copies, repiints, etc. t On variations of this kind in the early editions, cf. The Two Noble Kinsmen , p. 10. 12 SHAKESPEARE'S POEMS. THE | RAPE | OF | Z VCR EC E. | By { W William Shakespeare. | Newly Reuised. | LONDON : | Printed by T. S. for Roger Jackson, and are | to be solde at his shop neere the Conduit | in Fleet-street. 1616. A sixth edition, also printed for Jackson, was issued in 1624. The fifth and sixth editions differ considerably in their leadings from the first four, in which there are no important variations. A Lover's Complaint was first printed, so far as we know, in the first edition of the Sonnets, which appeared in 1609. The Passionate Pilgrim was first published in 1599, with the following title-page : THE | PASSIONATE | Pilgrime. | By W. Shakespeare. | AT LONDON | Printed for W. laggard, and are | to be sold by W 0 Leake, at the Grey- | hound in Paules Church- yard. | 1599. In the middle of sheet C is a second title: SONNETS | To sundry notes of Musicke. | AT LON- DON | Printed for W. laggard, and are | to be sold by W. Leake, at the Grey- | hound in Paules Churchyard. 1 he book was reprinted in 1612, together with some po- ems by I homas Heywood, the whole being attributed to Shakespeare. The title at first stood thus : THE | PASSIONATE | PILGRIME. | or | Certaine Amorous Sonnets , | betweene Venus and Adonis, | newly corrected and aug- | mented. | By W. Shakespere. | The third Edition. | Whereunto is newly ad- | ded two Loue-Epistles, the first | from Paris to LLellen 1 and | Hellens answere backe | againe to Paris . | Printed by W. laggard. | 1612. The Bodleian copy of this edition contains the following note by Malone: “All the poems from Sig. D. 5 were writ- ten. by Thomas Heywood, who was so offended at Jaggard INTRODUCTION. 13 for printing them under the name of Shakespeaie that he has added a postscript to his Apology for Actors , 4to, 1612, on this subject; and Jaggard in consequence of it appears to have printed a new title-page to please Heywood, with- out the name of Shakespeare in it. The former title-page was no doubt intended to be cancelled, but by some inad- vertence they were both prefixed to this copy and I have retained them as a curiosity.” The corrected title-page is, except in the use of Italic and Roman letters, the same as above, omitting “ By W. Shake - spere." It will be observed that this is called the third edition ; but no other between 1599 ar >d 1612 is known to exist. In 1640 a number of the Sonnets , some of the poems from The Passionate Pilgrim , and A Lover' s Complaint , together with some translations from Ovid and other pieces evidently not by Shakespeare, were published in a volume with the following title : POEMS : | Written | by | Wil. Shake-speare. | Gent. | Printed at London by Tho. Cotes , and aie | to be sold by John Benson , dwelling in | S‘. Dunstans Church-yard. 1640. The first complete edition of Shakespeare’s Poems, in- cluding the Sonnets, was issued (according to Lowndes, Bibliographer’s Manual ) in 1709, with the following title : A Collection of Poems, in Two Volumes ; Being all the Miscellanies of Mr. William Shakespeare , which were Pub- lish’d by himself in the Year 1609, and now correctly Print- ed from those Editions. The First Volume contains, I. Ve- nus and Adonis. II. The Rape of Lucrece. III. The Passionate Pilgrim. IV. Some Sonnets set to sundry Notes of Musick. The Second Volume contains One Hundred and Fifty Four Sonnets, all of them in Praise of his Mistress. II. A Lover’s Complaint of his Angry Mistress. LONDON: Printed for Bernard Lintott , at the Cross-Keys, between the Two Temple-Gates in Fleet-street. ! 4 SHAKESPEARE'S POEMS. The Phoenix and the Turtle first appeared, with Shake- speare’s name appended to it, in Robert Chester’s Loves Martyr: or Rosalins Complaint, published in 1601 (reprint- ed by the New Shakspere Society in 1878). The earliest reference to the Venus and Adonis that has been found is in the famous passage in Meres’s Palladis Tamia (see M. N. D. p. 9, and C. of E. p. 101). As to the date of its composition, Dowden says {Primer, p. 81) : “When Venus and Adorns appeared, Shakspere was twenty-nine years of age ; the Earl of Southampton, to whom it was dedicated, was not yet twenty. In the dedication the poet speaks of these ‘unpolisht lines’ as ‘the first heire of my invention.’ Did Shakspere mean by this that Venus and Adonis was writ- ten before any of his plays, or before any plays that were strictly original— his own ‘ invention ?’ or does he, setting plays altogether apart, which were not looked upon as litef ature, in a high sense of the word, call it his first poem be- cause he had written no earlier narrative or lyrical verse? We cannot be sure. It is possible, but not likely, that he may have written this poem before he left Stratford, and have brought it up with him to London. More probably it was written in London, and perhaps not long before its pub- lication. 1 he year i593> * n which the poem appeared, was a year of plague ; the London theatres were closed : it may be that Shakspere, idle in London, or having returned for a while to Stratford, then wrote the poem.” Even if begun some years earlier, it was probably revised not long before its publication. The Lucrece was not improbably the “graver labour” promised in the dedication of the Venus and Adonis ; and, as Dowden remarks, it “exhibits far less immaturity than does the ‘first heire ’ of Shakspere’s invention.” It is less hkely than that, we think, to have been a youthful produc- tion taken up and elaborated at a later date. A Lover s Complaint was evidently written long after the INTRODUCTION. *5 Lucrece, but we have no means of fixing the time with any precision. The Shakespearian poems in The Passionate Pilgrim were of course written before 1599, when the collection was pub- lished. The three taken from Love’s Labour’s Lost must be as early as the date of that play (see our ed. p. 10). If the Venus and Adonis sonnets are Shakespeare’s, they may have f been experiments on the subject before writing the long poem; but Furnivall says that they are “ so much easier in flow and lighter in handling” that he cannot suppose them to be earlier than the poem. The Phoenix and the Turtle is almost certainly Shake- speare’s, and must have been written before 1601. IT. THE SOURCES OF THE POEMS. The story of the Venus and Adonis -was doubtless taken from Ovid’s Metamorphoses , which had been translated by Golding in 1567. Shakespeare was probably acquainted with this translation at the time of the composition of The Tempest (see our ed. p. 139, note on Ye elves , etc.) ; but we have no clear evidence that he made use of it in writing Venus and Adonis. He does not follow Ovid very closely. That poet “ relates, shortly, that Venus, accidentally wound- ed by an arrow of Cupid’s, falls in love with the beauteous Adonis, leaves her favourite haunts and the skies for him, and follows him in his huntings over mountains and bushy rocks, and through woods. She warns him against wild boars and lions. She and he lie down in the shade on the grass — he without pressure on her part ; and there, with her bosom on his, she tells him, with kisses,* the story of how she helped Hippomenes to win the swift-footed Atalanta, and then, because he was ungrateful to her (Venus), she excited him and his wife to defile a sanctuary by a forbidden * “And, in her tale, she bussed him among.” — A. Golding. Ovid’s Met., leaf 129 bk., ed. 1602. j6 SHAKESPEARE'S POEMS. act, for which they were both turned into lions. With a final warning against wild beasts, Venus leaves Adonis. He then hunts a boar, and gets his death-wound from it. Venus comes down to see him die, and turns his blood into a flow- er— the anemone, or wind-flower, short-lived, because the winds ( anemoi ), which give it its name, beat it down,* so slendei is it. Other authors give Venus the enjoyment which Ovid and Shakspere deny her, and bring Adonis back x from Hades to be with her ” (Furnivall). 1 he main incidents of the Lucrece were doubtless familiar to Shakespeare from his school-days ; and they had been used again and again in poetry and prose. “ Chaucer had, in his Legende of Good Women (a.d. 1386 ?), told the story of Lu- ciece, after those of Cleopatra, Dido, Thisbe, Ypsiphile, and Medea, ‘As sayt’ne Ovyde and Titus Lyvyus ’ (Ovid’s Fasti, bk. ii. 741 ; Livy, bk. i. ch. 57, 58): the story is also told by Dionysius Halicarnassensis, bk. iv. ch. 72, and by Dio- dorus Siculus, Dio Cassius, and Valerius Maximus. In Eng- lish it is besides in Lydgate’s Fades of Princes, bk. iii. ch. 5, and in Wm. Painter’s Palace of Pleasure, 1567, vol. i. fol. 5-7’ where the story is very shortly told : the heading is ‘Sextus 1 arquinius lavisheth Luciece, who bewailyng the losse of her c Ii ast i tie, killeth her self. I cannot find the story in the Rouen edition, 1603, of Boaistuau and Belleforest’s Histoires Tragiques, 7 vols. i2mo ; or the Lucca edition, 1554, of the Novelle of Bandello, 3 parts ; or the Lyons edition, 1573, of the Pourth Part. Painter’s short Lucrece must have been taken by himself from one of the Latin authors he cites as his originals at the end of his preface. In 1368, was entered on the Stat. Reg. A, If. 174, a receipt for 4 d. from Jn. Aide ‘for his lycense for prynting of a ballett, the grevious com- flaynt of Lucrece' (Arber’s Transcript, i. 379) ; and in 1570 the like from ‘James Robertes, for his lycense for the prynt- * Pliny (bk. i. c. 23) says it never opens but when the wind is blow- IN TR OD UC TION. 17 inge of a ballett intituled The Death of Lucryssia ’ (Arber’s Transcript, i. 416). Another ballad of the legend of Lu- crece was also printed in 1576, says Warton. (Far. Shak- speare, xx. 100.) Chaucer’s simple, short telling of the story in 206 lines— of which 95 are taken up with the visit of Collatyne and Tarquynyus to Rome, before Shakspere’s start with Tarquin’s journey thither alone — cannot of course compare with Shakspere’s rich and elaborate poem of 1855 lines, though, had the latter had more of the ear- lier maker’s brevity, it would have attained greater fame” (Furnivall). III. CRITICAL COMMENTS ON THE POEMS. [From Knight's “ Pictorial Shakspere." *] “If the first heir of my invention prove deformed, I shall be sorry it had so noble a godfather.” These are the words which, in relation to the Venus and Adonis, Shakspere ad- dressed, in 1593, to the Earl of Southampton. Are we to accept them literally? Was the Venus and Adonis the first production of Shakspere’s imagination ? Or did he put out of his view those dramatic performances which he had then unquestionably produced, in deference to the critical opin- ions which regarded plays as works not belonging to “ inven- tion ” ? We think that he used the words in a literal sense. We regard the Venus and Adonis as the production of a very young man, improved, perhaps, considerably in the interval between its first composition and its publication, but distin- guished by peculiarities which belong to the wild luxuriance of youthful power,— such power, however, as few besides Shakspere have ever possessed. A deep thinker and eloquent w r riter, Julius Charles Hare, thus describes “the spirit of self-sacrifice,” as applied to poetry : “ The might of the imagination is manifested by its launch- * Vol. ii. of Tragedies, etc., p. 509 fol. B 1 8 SHAKESPEARE'S POEMS. ing forth from the petty creek, where the accidents of birth moored it, into the wide ocean of being, — by its going abroad into the world around, passing into whatever it meets with, animating it, and becoming one with it. This complete union and identification of the poet with his poem,— this suppres- sion of his own individual insulated consciousness, with its narrowness of thought and pettiness of feeling, — is what we admire in the great masters of that which for this reason we justly call classical poetry, as representing that which is symbolical and universal, not that which is merely occasional and peculiar. 1 his gives them that majestic calmness which still breathes upon us from the statues of their gods. This invests their works with that lucid transparent atmosphere wherein every form stands out in perfect definiteness and distinctness, only beautified by the distance which idealizes it. This has delivered those works from the casualties of time and space, and has lifted them up like stars into the pure firmament of thought, so that they do not shine on one spot alone, nor fade like earthly flowers, but journey on from clime to clime, shedding the light of beauty on genera- tion after generation. The same quality, amounting to a to- tal extinction of his own selfish being, so that his spirit be- came a mighty organ through which Nature gave utterance to the full diapason of her notes, is what we wonder at in our own great dramatist, and is the groundwork of all his other powers : for it is only when purged of selfishness that the intellect becomes fitted for receiving the inspirations of genius.”* What Mr. Hare so justly considers as the great moving principle of “classical poetry,” — what he further notes as the pre-eminent characteristic of “our own great drama- tist,” — is abundantly found in that great dramatist's earliest work. Coleridge was the first to point out this pervading * The Victory of Faith ; and other Sermons, by Julius Charles Hare, M.A. (1840), p. 277. // v ik- INTRODUCTION. 19 i O ft P) vr quality in the «« of the young Shakspere’s observation. Not the most expe- rienced-denier ever knew the points of a horse better The wholepoem indeed is full of evidence that the circumstances by which the writer was surrounded, in a country dist hid entered deeply into his mind, ahd were Reproduced in the poetical form. The bird “tangled n a net -the ‘‘didapper peering through a wave ’’-the “blue-veined vio- lets the *• r ed morn, that ever yet betoken’d „ Wrack 10 the seaman, tempest to the field ’ the fisher that forbears the “ ungrown fry ’’—the sli eep “ gone to fold ’’—the caterpillars feeding on “ the tender ea and, not to weary with examples, that exquisite image, “ Look ho w a bright star shoo teth from the sky, "So~g Iider he in tjie night from Venus eye all these bespeak a poet who had formed himself upon nat ure and not upon books. To understand the value as well as the rarity of this quality in Shakspere, we should open “* ^temporary poem. Take Marlowe’s Hero and Lean- del for example. We read line after line, beauljful, ^geot* running over with a satiating luxuriousness ; but we look in va ?n for a single familiar image. Shakspere describes wha le has seen, throwing over the real the dehcious >r . o h own imagination. Marlowe looks at Nature herself ver rarely; but he knows all the conventional images by which the real is supposed to be elevated into the poetical. H. most beautiful things are thus but coptes of copms Th mode in which each poet describes the morning will illus trate our meaning : 24 SHAKESPEARE'S POEMS. “ Lo •’ lie re the gentle lark, weary of rest, From his moist cabinet mounts up on high, And wakes the morning, from whose silver breast The sun ariseth in his majesty; Who doth the world so gloriously behold, The cedar-tops and hills seem burnish’d gold.” VI e feel that this is true. Compare — “ By this Apollo’s golden harp began I o sound forth music to the ocean ; Which watchful Hesperus no sooner heard But he the day’s bright-bearing car prepar’d. And ran before, as harbinger of light, And with his flaring beams mock'd ugly Night, Till she, o’ercome with anguish, shame, and rage, Fang’d down to hell her loathsome carriage.” We are taught that this is classical. Coleridge has observed that, “ in the Venus and Adonis, the first and most obvious excellence is the perfect sweet- ness of the versification; its adaptation to the subject; and the power displayed in varying the march of the words with- out passing into a loftier and more majestic rhythm than was demanded by the thoughts, or permitted by the propriety of preserving a sense of melody predominant.”* This self- controlling power of “varying the march of the words with- out passing into a loftier and more majestic rhythm ” is per- haps one of the most signal instances of Shakspere’s consum- mate mastery of his art, even as a very young man. He who, at the proper season, knew how to strike the grandest music within the compass of our own powerful and sonorous lan- guage, in his early productions breathes out his thoughts “To the Dorian mood Of flutes and soft recorders.” The sustained sweetness of the versification is never cloy- ing; and yet there are no violent contrasts, no sudden ele- vations: all is equable in its infinite variety. The early * Biographia Liter aria, vol. ii. p. 14. INTRODUCTION. 2 5 comedies are full of the same rare beauty. In Love's La- bour 's Lost— The Comedy of Errors— A Midsummer-Night's Dream — we have verses of alternate rhymes formed upon the same model as those of the Venus and Adonis , and producing the same feelin g oLplacid d elight by their exquisite harmony. The same principles on wRTclTKe built the versification of the Venus and Adonis exhibited to him the grace which these elegiac harmonies would impart to the scenes of repose in the progress of a dramatic action. We proceed to the Lucrece. Of that poem the date of the composition is fixed as accurately as we can desire. In the dedication to the Venus and Adorns the poet says : “ If vour honour seem but pleased I account myself highly praised, and vow to take advantage of all idle hours till I have honoured you with some graver labour.” In 1594, a year after the Venus and Adonis, Lucrece was published, and was dedicated to Lord Southampton. This, then, was un- doubtedly the “graver labour this was the produce of the “idle hours” of 1593- Shakspere was then nearly thiity years of age — the period at which it is held by some he first began to produce anything original for the stage. I he poet unquestionably intended the “graver labour” for a higher effort than had produced the “first heir” of his invention. He describes the Venus and Adonis as “unpolished lines”— lines thrown off with youthful luxuriousness and rapidity. The verses of the Lucrece are “untutored lines” — lines formed upon no established model. There is to our mind the difference of eight or even ten years in the aspect of these poems— a difference as manifest as that which exists between Love's Labour 's Lost and Romeo and 'Juliet. Coleridge has marked the great distinction between the one poem and the other: , . . “The Venus and Adonis did not perhaps allow the display of th e deeper passion s^ But the story of Lucretia seems to favour, and even demand, their intensest workings. And 26 SHA KESPEA RE'S POEMS. yet we find in Shakespeare's management of the tale neither pathos nor any other dramatic quality. There is the same minute and faithful imagery as in the former poem, in the same vivid colours, inspirited by the same impetuous vigour of thought, and diverging and contracting with the same ac- tivity of the assimilative and of the modifying faculties; and with a yet larger display, a yet wider range of knowledge and reflection : and, lastly, with the same perfect dominion, often domination , over the whole world of language.”* It is in this paragraph that Coleridge ha & s marked the dif- ference— which a critic of the very highest order could alone have pointed out between the power which Shakspere’s mind possessed of going out of itself in a narrative poem, and the dramatic power. The same mighty, and to most unattainable, power, of utterly subduing the self-conscious to the universal, was essential to the highest excellence of both species of composition, — the poem and the drama. But the exercise of that power was essentially different in each. Coleridge, in another place, says: “In his very first production he projected his mind out of his own particular being, and felt, and made others feel, on subjects no way connected with himself except by force of contemplation, and that sublime faculty by which a great mind becomes that on which it meditates.”! But this “sublime faculty” went gieatly farther when it became dramatic. In the nar- rative poems of an ordinary man we perpetually see the nar- rator. Coleridge, in a passage previously quoted, has shown the essential superiority of Shakspere’s narrative poems, where the whole is placed before our view, the poet unpar- ticipating in the passions. There is a remarkable example of how strictly Shakspere adhered to this principle in his beautiful poem of A Lover's Complaint. There the poet is actually present to the scene : * Biographia Li ter aria, vol. ii. p. 21. t Literary Remains , vol. ii. p. 54. IN.TROD UC 7 ION. 27 “ From off a hill whose concave womb re-worded A plaintful story from a sistering vale, My spirits to attend this double voice accorded, And down I laid to list the sad-tun d tale. But not one word of comment does he offer upon the reve- lations of the “ fickle maid full pale.” The dramatic power, however, as we have said, is many steps beyond this. It dispenses with narrative altogether. It renders a compli- cated story, or stories, one in the action. It makes the chai- acters reveal themselves, sometimes by a word. It tiusts for everything to the capacity of an audience to appreciate the greatest subtleties, and the nicest shades of passion, through the action. It is the very reverse of the oratorical power, which repeats and explains. And how is it able to effect this prodigious mastery over the senses and the understand- ing? By raising the mind of the spectator, or reader, into such a state of poetical excitement as corresponds in some degree to the excitement of the poet, and thus clears away the mists of our ordinary vision, and irradiates the whole complex moral world in which we for a time live, and move, and have our being, with the brightness of his own intel- lectual sunlight. Now, it appears to us that, although the Venus and Adonis, and the Lucrece, do not pretend to be the creations of this wonderful power— their forms did not de- mand its complete exercise— they could not have been pro- duced by a man who did not possess the power, and had assiduously cultivated it in its own proper field. In the second poem, more especially, do we think the power has reached a higher development, indicating itself in a yet wider range of knowledge and reflection.” Malone says : u I have observed that Painter has inserted the story of Lucrece in the first volume of his Palace of Pleas- ure, 1567, on which I make no doubt our author formed his poem.” Be it so. The story of Lucrece in Painter’s novel occupies four pages. The first page describes the circum- 28 SHAKESPEARE'S POEMS. stances that preceded the unholy visit of Tarquin to Lucrece ; nearly the whole of the last two pages detail the events that followed the death of Lucrece. A page and a half at most is given to the tragedy. This is proper enough in a narra- tive, whose business it is to make all the circumstances intel- ligible. But the narrative poet, who was also thoroughly master of the dramatic power, concentrates all the interest upon the main circumstances of the story. He places the scene of those circumstances before our eyes at the very opening : “ From the besieged Ardea all in post, Borne by the trustless wings of false desire, Lust-breathed Tarquin leaves the Roman host, And to Collatium bears,” etc. The preceding circumstances which impel this journey are then rapidly told. Again, after the crowning action of the tragedy, the poet has done. He tells the consequences of it with a brevity and simplicity indicating the most consum- mate art : “ When they had sworn to this advised doom, They did conclude to bear dead Lucrece thence; To show her bleeding body thorough Rome, And so to publish Tarquin’s foul offence: Which being done with speedy diligence, The Romans plausibly did give consent To Tarquin’s everlasting banishment.” He has thus cleared away all the encumbrances to the prog- ress of the main action. He would have done the same had he made Lucrece the subject of a drama. But he has to tell his painful story and to tell it all : not to exhibit a portion of it, as he would have done had he chosen the subject for a tragedy. The consummate delicacy with which he has accom- plished this is beyond all praise, perhaps above all imitation. He puts forth his strength on the accessories of the main incident. He delights to make the chief actors analyze their own thoughts, — reflect, explain, expostulate. All this INTRODUCTION. 29 is essentially undramatic, and he meant it to be so. But then, what pictures does he paint of the progress of the ac- tion,* which none but a great dramatic poet, who had visions of future Macbeths and Othellos before him, could have paint- ed ! Look, for example, at that magnificent scene, when “ No comfortable star did lend his light,” of Tarquin leaping from his bed, and, softly smiting his fal- chion on a flint, lighting a torch “Which must be lode-star to his lustful eye.” Look, again, at the exquisite domestic incident which tells of the quiet and gentle occupation of his devoted victim : “ By the light he spies Lucretia’s glove, wherein her needle sticks ; He takes it from the rushes where it lies.” The hand to which that glove belongs is described in the very perfection of poetry : “Without the bed her other fair hand was, On the green coverlet ; whose perfect white Show’d like an April daisy on the grass.” In the chamber of innocence Tarquin is painted with terrific grandeur, which is overpowering by the force of contrast: This said he shakes aloft his Roman blade, Which, like a falcon towering in the skies, Coucheth the fowl below with his wings’ shade.” The complaint of Lucrece after Tarquin has departed was meant to be undramatic. The action advances not. The character develops not itself in the action. But the poet makes his heroine bewail her fate in every variety of lament that his boundless command of imagery could furnish. The letter to Collatine is written a letter of the most touching simplicity : ‘^Thou worthy lord Of that unworthy wife that greeteth thee, Health to thy person ! Next vouchsafe to afford (If ever, love, thy Lucrece thou wilt see) Some present speed to come and visit me : 30 SHAKESPEARE'S POEMS . So I commend me from our house in grief ; My woes are tedious, though my words are brief.” Again the action languishes, and again Lucrece surrenders herself to her grief. The “ Skilful painting, made for Priam’s Troy ” is one of the most elaborate passages of the poem, essentially cast in an undramatic mould. But this is but a prelude to the catastrophe, where, if we mistake not, a strength of pas- sion is put forth which is worthy him who drew the terrible agonies of Lear : “ Here with a sigh, as if her heart would break, She throws foith larquin’s name : ‘He, he,’ she savs, But more than ‘ he ’ her poor tongue could not speak ; Till after many accents and delays, Untimely breathings, sick and short assays, She utters this : ‘ He, he, fair lords, ’t is he, That guides this hand to give this wound to me.’ ” Malone, in his concluding remarks upon the Venus and Ado- nis, and Lucrece, says: “We should do Shakspeare injustice were we to try them by a comparison with more modern and polished productions, or with our present idea of poetical excellence.” This was written in the year 1780 — the period which rejoiced in the “polished productions ” of Hayley and Miss Seward, and founded its “idea of poetical excellence” on some standard which, secure in its conventional forms, might depart as far as possible from simplicity and nature’ to give us words without thought, arranged in verses without music. It would be injustice indeed to Shakspere to try the Venus and Adonis, and Lucrece, by such a standard of “poet- ical excellence.” But we have outlived that period. By way of apology for Shakspere, Malone adds, “ that few authors rise much above the age in which they live.” He further says, “ the poems of Venus and Adonis, and the Rape of Lu- crece, whatever opinion may be now entertained of them, were certainly much admired in Shakspeare’s lifetime.” This is INTRODUCTION. 31 consolatory. In Shakspere’s lifetime there were a few men that the world has since thought somewhat qualified to estab- lish an “idea of poetical excellence"’ — Spenser, Drayton, Jonson, Fletcher, Chapman, for example. These were not much valued in Malone’s golden age of “ more modern and polished productions ;” — but let that pass. We are coming back to the opinions of this obsolete school ; and we venture to think the majority of readers now will not require us to make an apology for Shakspere’s poems. [. From Dowdeils “ ShakspereT *] The Venus and Adonis is styled by its author, in the ded- ication to the Earl of Southampton, “ the first heir of my invention.” Gervinus believes that the poem may have been written before the poet left Stratford. Although pos- sibly separated by a considerable interval from its companion poem, The Rape of Lucrece (1594), the two may be regarded as essentially one in kind. The specialty of these poems as portions of Shakspere’s art has perhaps not been sufficiently observed, t Each is an artistic study ; and they form, as has been just observed, companion studies — one of female lust and boyish coldness, the other of male lust and womanly chastity. Coleridge-noticed “ the utter aloofness of the poet’s own feelings from those of which he is at once the painter amTThe analyst ;” but it can hardly be admitted that this aloofness of the poet’s own feelings proceeds from a dramatic abandonment of self. The subjects of these two poems did not call and choose their poet; they did not possess him and compel him to render them into art. Rather the poet expressly made choice of the subjects, and deliberately set himself down before each to accomplish an exhaustive study of it. * Shakspere : a Critical Study of his Mind and Art , by Edward Dow- den ; Harper’s ed. p. 43 fol. t Coleridge touches upon the fact, and it is noted by Lloyd. 3 2 SHAKESPEARES POEMS . If the Venus and Adonis sonnets in The Passionate Pil- grim be by Shakspere, it would seem that he had been try- ing various poetical exercises on this theme. And for a young writer of the Renascence, the subject of Shakspere’s earliest poem was a splendid one-as voluptuous and un- spintual as that of a classical picture of Titian. It included two figures containing inexhaustible pasture for the fleshly eye, and delicacies and dainties for the sensuous imagina- tion of the Renascence— the enamoured Queen of Beauty and the beautiful, disdainful boy. It afforded occasion for endless exercises and variations on the themes Beauty, Lust, and Death. In holding the subject before his imagination! Shakspere is perfectly cool and collected. He has made choice of the subject, and he is interested in doing his duty by it in the most thorough way a young poet can ; but he lemains unimpassioned— intent wholly upon getting down the right colours and lines upon his canvas. Observe his determination to put in accurately the details of each object ; to omit nothing. Poor Wat, the hare, is described in a dozen stanzas. Another series of stanzas describes the stallion- all his points are enumerated : “ Round-hoof’ d, short-jointed, fetlocks shag and long, Broad breast, full eye, small head and nostril wid & e, High ciest, short ears, straight legs and passing strong, Thin mane, thick tail, broad buttock, tender hide.” This passage of poetry has been admired • but is it poetry or a paragraph from an advertisement of a horse-sale? It is part of Shakspere’s study of an animal, and he does his work thoroughly. In like manner, he does not shrink from faithfully putting down each one of the amorous provoca- tions and urgencies of Venus. The complete series of ma- noeuvres must be detailed. In Lucrece the action is delayed and delayed, that every minute particular may be described, every minor incident recorded. In the newness of her suffering, and shame, Lu- INTRODUCTION. 33 crece finds time for an elaborate tirade appropriate to the theme “Night,” another to that of “Time,” another to that of “ Opportunity.” Each topic is exhausted. Then, studi- ously, a new incident is introduced, and its significance for the emotions is drained to the last drop in a new tirade. We nowhere else discover Shakspere so evidently engaged upon his work. Afterwards he puts a stress upon his verses to compel them to contain the hidden wealth of his thought . and imagination. Here he displays at large such wealth as Ihe possesses; he will have none of it half seen. The de- scriptions and declamations are undramatic, but they show us the materials laid out in detail from which dramatic poetry originates. Having drawn so carefully from models, the time comes when he can trust himself to draw from memory, and he possesses marvellous freedom of hand, be- cause his previous studies have been so laborious. It was the same hand that drew the stallion in Venus and Adonis which afterwards drew with infallible touch, as though they were alive, the dogs of Theseus : “ My hounds are bred out of the Spartan kind, So flew’d, so sanded, and their heads are hung With ears that sweep away the morning dew ; Crook-kneed, and dew-lapp’d like Thessalian bulls ; Slow in pursuit ; but match’d in mouth like bells, Each under each. A cry more tunable Was never holla’d to, nor cheer’d with horn, In Crete, in Sparta, nor in Thessaly.”* * The comparison of these two passages is from Hazlitt, whose unfa- vourable criticism of Shakspere’s poems expresses well one side of the truth. “ The two poems of Venus and Adonis and of Tarquin and Lu- crece appear to us like a couple of ice-houses. They are about as hard, as glittering, and as cold. The author seems all the time to be thinking of his verses, and not of his subject — not of what his characters would feel, but of what he shall say ; and, as it must happen in all such cases, he always puts into their mouths those things which they would be the last to think of, and which it shows the greatest ingenuity in him to find out. The whole is laboured, uphill work. The poet is perpetually sin- c iit . 34 SHA KESPEA RE'S POEMS. When these poems were written, Shakspere was cautiously feeling his way. Large, slow-growing natures, gifted with a sense of concrete fact and with humour, ordinarily possess no great self-confidence in youth. An idealist, like Milton, may resolve in early manhood that he will achieve a great epic poem, and in old age may turn into fact the ideas of his youth. An idealist, like Marlowe* may begin his career with a splendid youthful audacity, a stupendous Tamburlaine. A man of the kind to which Shakspere belonged, although very resolute, and determined, if possible, to succeed, re- quires the evidence of objective facts to give him self-confi- dence. His special virtue lies in a peculiarly pregnant and rich relation with the actual world, and such relation com- monly establishes itself by a gradual process. Accordingly, instead of flinging abroad into the world while still a strip- ling some unprecedented creation, as Marlowe did, or as ATic for Hugo did, and securing thereby the position of a leader of an insurgent school, Shakspere began, if not tim- idly, at least cautiously and tentatively. He undertakes work of any and every description, and tries and tests him- self upon all. He is therefore a valued person in his theat- rical company, ready to turn his hand to anything helpful — gling out the difficulties of the art to make an exhibition of his strength and skill in wrestling with them. He is making perpetual trials of them as if his mastery over them were doubted. ... A beautiful thought is sure to be lost in an endless commentary upon it. . . . There is, besides, a strange attempt to substitute the language of painting for that of poetry, to make us see their feelings in the faces of the persons.” — Characters of Shakspere 1 s Plays (ed. 1818), pp. 348, 349. Coleridge’s much more favor- able criticism will be found in Biographia Literaria (ed. 1847), v °k h. ch. ii. The peculiarity of the poems last noticed in the extract from Hazlitt is ingeniously accounted for by Coleridge. “ The great instinct which impelled the poet to the drama was secretly working in him, prompting him ... to provide a substitute for that visual language, that constant intervention and running comment by tone, look, and gesture, which in his dramatic works he was entitled to expect from the players” (pp. 18, 19). INTRODUCTION. 35 a Jack-of-all-trades, a “ Johannes-factotum he is obliging and free from self-assertion ; he is waiting his time ; he is not yet sure of himself ; he finds it the sensible thing not to profess singularity. “ Divers of worship ” report his “ up- rightness of dealing ;” he is “ excellent in the quality he pro- fesses his demeanor is civil ; he is recognized even already as having a “facetious grace in writing.” | Let us not sup- pose, because Shakspere declines to assault . the real world and the world of imagination, and take them by violence, that he is therefore a person of slight force of character. He is determined to master both these worlds, if possible. He approaches them with a facile and engaging air ; by-and- by his grasp upon facts will tighten. From Marlowe and from Milton half of the world escapes. Shakspere will lay hold of it in its totality, and, once that he has laid hold of it, will never let it go. [From Mr. F. J. FttrnivalVs Comments on the Poems. f] In the Venus and Adonis we have the same luxuriance of fancy, the same intensity of passion, as in Romeo and Juliet, illegitimate and unlawful though the indulgence in that passion is. We have the link with the Midsummer- Night's Dream in the stanza “ Bid me discourse,” and the hounds hunting the hare. The poem was entered on the Station- ers’ Register and published in 1593, and must be of nearly the same date as the Romeo and Juliet. It is dedicated to Shakspere’s young patron, Henry, Earl of Southampton ; * On the special use of the word “quality” for the stage-player’s pro- fession, see a note by Hermann Kurz in his article, “ Shakespeare del* Schauspieler,” Shakespeare- Jahrbuch, vol. vi. pp. 317, 318. t Chettle’s “Kind Heart’s Dream,” 1592. But see Mr. Howard Staun- ton’s letter in The Athenceum, Feb. 7, 1874; Mr. Simpson’s article, “Shakspere Allusion Books,” The Academy , April n, 1874; and Dr. Ingleby’s preface to Shakspere Allusion Books , published for the New Shakspere Society. t The Leopold Shakspere (London, 1877), p. xxx. fol. 36 SHAKESPEARE'S POEMS . and I would fain believe the subject was set him by that patron. But from whatever source came the impulse to take from Ovid the heated story of the heathen goddess’s lust, we cannot forbear noticing how through this stifling atmosphere Shaksp ere has blown the fresh breezes of English meads and downs. Midsummer- Night's Dream itself is not fuller of evidence of Shakspere’s intimate knowledge of, and intense delight in, country scenes and sights, whether shown in his description of horse and hounds, or in closer touches, like that of the hush of wind before the rain ; while such lines as those about the eagle flapping, “shaking its wings” (57), over its food, send us still to the Zoological Gardens to ver- ify. Two lines there are, reflecting Shakspere’s own expe- rience of life — his own early life in London possibly — which we must not fail to note ; they are echoed in Hamlet: “For misery is trodden on by many, And being low, never reliev’d by any.” ’T was a lesson plainly taught by the Elizabethan days, and the Victorian preach it too. It has been the fashion lately to run down the Venus as compared with Marlowe’s Hero and Leander . Its faults are manifest. Jt^ shows less restraint and training than the work of the earlier-ripened Marlowe ; but to me it has a fulness of power and promise of genius enough to make three Marlowes. . . . Though the Vejius was dedicated by Shakspere, when twen- ty-nine, to the Earl of Southampton before he was twenty,* * and cannot be called an improving poem for a young noble- man to read, we must remember the difference between the * He was born October 6, 1573 ; his father died October 4, 1581 ; he entered at St. John’s College, Cambridge, on December 11, 1585, just after he was twelve ; took his degree of Master of Arts before he was sixteen, on June 6, 1589 ; and soon after entered at Gray’s Inn, London. He was a ward of Lord Burghley. He became a favourite of Queen Elizabeth’s, but lost her favour, in 1595, for making love to Elizabeth Vernon (Essex’s cousin), whom he married later, in 1598. (Massey’s Shakspere' s Sounds , p. 53, etc.) IN TROD UCTION. 37 Elizabethan times and our own. Then, not one in a thou- sand of the companions of poets would have complained of Shakspere’s choice of subject, or thought it other than as legitimate as its treatment was beautiful. The same subject was repeated perhaps by Shakspere in son e sonnets of The Passionate Pilgrim; and a like one, in higher and happier tone, was made the motive of his All's Well that Ends Well — as I believe, the recast of his early Love's Labours Won. However it grates on one to compare the true and loving Helena with the lustful Venus, one must admit that the pur- suit of an unwilling man by a willing woman — though he was no Joseph, and she no Potiphar’s wife — was not so distaste- ful to the Elizabethan age as it is to the Victorian. Consta- ble’s best poem (printed in 1600) treats the same topic as Shakspere’s first : its title is The Shepherd's Song of Venus and Adonis * Of possession and promise in Shakspere’s first poem, we have an intense love of nature, and a conviction (which nev- er left him) of her sympathy with the moods of men ; a pene- trating eye ; a passionate soul ;f a striking power of throw- ing himself into all he sees, and reproducing it living and real to his reader; a lively fancy, command of words, and music of verse ; these wielded by a shaping spirit that strives to keep each faculty under one control, and guide it while doing its share of the desired whole. . . . The first t allusion to the Venus is by Meres in 1598 : . . . * Lodge has three stanzas in his Glaucus and Scilla , 1589, on Adonis’s death, and Venus coming down to his corpse. t “A young poet can, at most, give evidence of ardent feeling and fresh imagination.” — Mark Pattison, Macmillan's Magazine, March, 1875, p. 386. $ If there really was an earlier edition in 1595, or any year before 1598, of John Weever’s Epigramnies , which we know only in the edition of 1599, then Weever was before Meres in recognizing the merit of Shak- spere’s Venus, Lncrece, Romeo, and Richard. See the Epigram 22, in the New Shakspere Society’s Allusion Books , Pt. I. p. 182. 38 SHAKESPEARE'S POEMS. witness his Venus and Adonis , his fucrecef etc. In 1593 the two poems were again noticed in “ A Remembrance of some English Poets, the fourth tract in a volume called Foems •’ in Diners Humors, of which the first tract bears Richard BarnfielcTs name : “And Shakespeare thou, whose hony-flowing Vaine, (Pleasing the World) thy Praises doth obtaine ; Whose Venus , and whose Lucrece (sweete and chaste), Thy Name in fame’s immortall Booke have plac’t. Liue ever you ! at least, in Fame liue ever ! Well may the Bodye dye ; but Fame dies neuer.” In the same year, 1598, the satirist, John Marston,* pub- lished “ the first heir of his invention,” which he called v p. 202) “the first bloomes of my poesie,” “The Metamorphosis of Pigmalion’s Image. And Certaine Satyres ” {Works, 1856, iii. 199), and in it, says Mr. Minto {Characteristics of Eng- lish Poets, 1874, p. 437), reviving an old theory, “Shakspere’s Venus and Adonis was singled out as the type of dangerously voluptuous poetry, and unmercifully parodied ; the acts of the goddess to win over the cold youth being coarselv par- alleled in mad mockery by the acts of Pygmalion to bring his beloved statue to life.” Now the fact is, that there is no trace of “mad mockery ” or parody in Marston’s poem, though there are echoes in it of Venus, as there are Rich- ard Ill.f Hamlet, etc., in Marston’s Scourge of Villanie, his * See the character given of him in the most interesting Return from Parnassus (about 1602, published 1606), Hazlitt’s Dodsley, ix. 116, A 17. Also the anecdote in Manningham’s Diary. t “ A horse ! a horse ! My kingdom for a horse !” (1607. What You Will, act ii. sc. i. Works, i. 239). “ A man ! a man ! a kingdom for a man !” ( 1598. Scourge of Villanie. Works, iii. 278). And he repeats the call, “A man, a man !” thrice in the next two pages {Shakspere Allu- sion Books, i. 188. New Shakspere Society). See, too, “ A foole, a foole, a foole, my coxcombe for a foole !” {Pawn, 1606, act v. sc. i. Woi-ks, ii. 89) ; and on p. 23, Hercules’s imitation of Iago’s speech to Roderigo, in Othello , ii. 40-60 (Nicholson). Again, in The Malcontent, 1607, act iii. sc. iii. ( Works , i. 239), “ Ho, ho ! ho, ho ! arte there, olde true pennye;” INTRODUCTION. 39 Fawn, etc. : and the far more probable view of the case is that put forward by Dr. Brinsley Nicholson : that Marston, being young, and of a warm temperament and licentious dis- position, followed the lead of a poem then in everybody’s mouth* (Shakspere’s Venus), and produced his Pigma Zion’s Image; but being able only to heighten the Venus’s sensual- ity, and leave out its poetry and bright outdoor life, he dis- gusted his readers, had his poem suppressed by Whitgift and Bancroft’s order, and then tried to get out of the scrape by saying that he had written his nastiness only to condemn other poets for writing theirs ! A likely story indeed ! But let him tell it himself. In his “ Satyre VI.” of his Scourge of Villanie , 1598 (completed in 1599), Works , 1856, iii. 274, 275, he says: “ Curio ! know’st my sprite ; Yet deem’st that in sad seriousness I write Such nasty stuffe as is Pigmalion ? Such maggot-tainted, lewd corruption ! . . . Think’st thou that I, which was create to whip Incarnate fiends . . . Think’st thou that I in melting poesie Will pamper -itching sensualitie, That in the bodies scumme, all fatally Intombes the soules most sacred faculty? from Hamlet , etc. Compare, too, Lampatho in The Malcontent (vol. i. p. 236) with Armado in Love’s Labours Lost. Marston was steeped in Shak- spere, though to little good. * See The Fair Maid of the Exchange : “ Crip[ple\. But heave you sir? reading so much as you haue done, Doe you not remember one pretty phrase, To scale the walles of a faire wenches loue? Bow\dler\ I never read any thing but Venus and Adonis. Crip. Why that’s the very quintessence of loue ; If you remember but a verse or two, He pawne my head, goods, lands, and all, ’t will doe.” In R. Baron’s “Fortune’s Tennis-ball” (Pocula Castalia , 1640) are, says Dr. B. Nicholson, many appropriations from Venus and Adonis, suddenly occurring where hunting is spoken of. Falstaff. is also referred to ; and at the end are many appropriations from Ben Jonson’s Hymenczu 40 SHAKESPEARE'S POEMS , Hence, thou misjudging censor ! know, I wrot Those idle rimes to note the odious spot And blemish that deformes the lineaments Ofmoderne poesies habiliments. Oh that the beauties of invention* For want of judgements disposition, Should all be spoil’d ! ” . . . Then, after describing seven types of poets— of whom the fifth maybe Shakspere,f and the sixth Ben Jonson (comp. p. 2 45) — Marston goes on to satirize the readers of his and other writers’ loose poems, for whom he “slubber’d up that chaos indigest ” of his Pigmalion. This epithet is certainly not consistent with the dedication of his poem to Good Opin- ion and his Mistress ; and his excuse for his failure in it is plainly an after-thought. But whatever we determine as to Marston’s motives and honesty, we shall all join in regret- ting the “ want of judgements disposition ” that let Shakspere choose Venus $ for an early place in his glorious gallery of women — forms whose radiant purity and innocence have won all hearts; though we will remember this fault only as the low level from which he rose on stepping-stones of his dead self to higher things. He who put Venus near the be- ginning of his career, ended with Miranda, Perdita, Imogen, and Queen Katherine. Let them make atonement for her! * Comp. Shakspere’s “ First heir of my invention.” t Yon ’s one whose straines haue flowne so high a pitch, That straight he flags, and tumbles in a ditch. His sprightly hot high-soring poesie Is like that dream’d-of imagery, Whose head was gold, brest silver, brassie thigh, Lead leggs, clay feete : O faire fram’d poesie!’’ That Shakspere’s subject was clay, and his verse gold, is certainly true. t The author of the Return from Parnassus (written about 1602, pub- lished 1606), puts it thus (Hazlitt’s Dodsley , ix. 118) : “ William Shakespeare ? Who loves Adonis’ love or Lucrece rape; His sweeter verse contains heart-robbing life, Could but a graver subject him content. Without love’s foolish, lazy languishment.” THE EARL OF SOUTHAMPTON. TO THE RIGHT HONOURABLE HENRY WRIOTHESLY, EARL OF SOUTHAMPTON AND BARON OF TICHFIELD. Right Honourable, I know not how I shall offend in dedicating my unpolished lines to your Lordship, nor how the world will censure me for choosing so strong a prop to support so weak a burthen : only if your honour seem but pleased, I account myself highly praised, and vow to take advan- tage of all idle hours till I have honoured you with some graver labour. But if the first heir of my invention prove deformed, I shall be sorry it had so noble a godfather, and never after ear so barren a land, for fear it yield me still so bad a harvest. I leave it to your honourable survey, and your honour to your heart’s content, which I wish may always answer your own wish, and the world’s hopeful expectation. Your Honour’s in all duty, William Shakespeare. . VENUS AND ADONIS. Even as the sun witW {/urpTe-iolour’d face Had ta’en his last leave of the weeping morn, ^ r R,pse- cheek’d Adonis hied him to the chase ; Hunting he iov’cl, but love he laugh’d to scorn: Sick-thoughted Venus makes amain unto him, And like a bold-fac’d suitor gins to woo him. ‘ Thrice fairer than myself/ thus she began, 4 The field’s chjef flower, sweet above compare, Start'd all nymphs, more lovely than a man, More white and red than doves or roses are, Nature that made thee, with herself at strife, Saith that the world hath ending with thy life. ‘Vouchsafe, thou wonder, to alight thy steed, And rein his proud head to the saddle-bow ; If thou wilt deign this favour, for thy meed A thousand hAf^secrets shalt thou know: Here come and sit, where never serpent hisses, And being set I ’ll smother thee with kisses : urpTe-col % 4 $ 44 SHAKESPEARE'S POEMS. ‘And yet not cloy thy lips with loath'd satiety, But rather famish them amid their plenty, Making them red and pale with fresh variety, Ten kisses short as one, one long as twenty: A summer’s day will seem an hour but short, Being waited in such time-beguiling sport.' With this she seizeth on his s weating pal m. The precedent of pith and livelihood, And, trembling in her passion, calls it balm, Earth’s sovereign salve to do a goddess good : Being so enrag’d, desire doth lend her force Courageously to pluck him from his horse. Over one arm the lusty courser’s rein, Under her other was the tender boy, Who blush’d and pouted in g dull disdain, With leaden appetite, unapt to toy; She red and hot as coals of glowing fire, He red for shame, but frosty in desire. The studded bridle on a ragged bough Nimbly she fastens — O how quick is love! — The st^ed is stalled up, and even now To tie the rider she begins to prove; Backward she push’d him, as she would be thrust, And govern’d him in strength, though not in List. So soon was she along as he was down, Each leaning on their ejBows and their hips; Now doth she stroke his cbeelc, now dotlWRe frown, And gins to chide, but soon she stops his lips, And kissing speaks, with lustful language broken, 4 If thou wilt chide, thy lips shall never open.’ He burns with bashful shame, she with her tears Doth quench the maiden burning of his cheeks; VEX US AND ADONIS. 45 L-. 'l - Then with her windy sighs and golden hairs To fan and blow them dry again she seeks : He saith she is immodest, blames her miss ; ^ uWhat follows more she murthers with a kiss. Even as an emjDty eagle, sharp by fa|t, J, , ^Ttres 'with her beak on feathers, flesh, and bone Shaking her wings, devouring all in haste, Till either gorge be stuff’d, or prey be gone; Even so she kiss’d his brow, his cheek, his chin, And where she ends she doth anew begin. Forc’d to content, but never to obey, Panting he lies, and breatheth in her face: She feedeth on the steam as on a prey, And calls it heavenly moisture, air of grace ; Wishing her cheeks were gardens full of flowers, So they were dew’d with such distilling showers. Look' how a bird lies tangled in a net, So fasten’d in herarms Ajtapis^lies ; Pure shame and aJvecTresistance riiade him fret, I Which bred more beauty in his angry eyes: Rain added to a river that is rank(-^*- £ 1 Perforce will force it overflow the bank. Tf? 6o 70 Still she entreats, and prettily entreats, Cy . For to a pretty ear she tunes her tale;/t> Still is he sullen, still he lowers and frets, Q ’Twixt crimson shame and anger ashy-pale h Being red, she loves him best; and being white, He' best is better’d with a more delight, c — Look how he can, she cannot choose but love; And by her fair immortal hand she swears From his soft bosom never to remove Till he take truce with her contending tears, 46 SHAKESPEARE'S POEMS . Which long have rain’d, making her cheeks all wet; And one sweet kiss shall pay this countless debt. Upon this promise did he raise his chin, Like a divj^dapper peering through a wave, Who, being look’d on, ducks as quickly in; So offers he to give what she did crave, But when her lips were ready for his pay, He winks, and turns his lips another way. 9 Never did pas&nger in summer’s heat More thirst for drink than she for this good turn. Her help she sees, but help she cannot get; She bathes in W&ter, yet her fire must burn : ‘O, pity,’ gan she cry, ‘flint-hearted boy! ’T is but a kiss I beg ; why art thou coy? 4 1 have been woo’d, as I entreat thee now, Even by the stern and direful god of war, Whose sinewy neck in battle ne’er did bow, Who conquers where he comes in every jar; IO< Yet hath he been my captive and my slave, And begg’d for that which thou unask’d shalt have. ‘Over my altars hath he hung his lance, His batter’d shield, his uncontrolled crest, And for my sake hath learned to sport and dance, To toy, to wanton, dally, smile, and jest, Scorning his churlish drum and ensign red, Making my arms his field, his tent my bed. ‘Thus he that overrul’d I oversway’d, Leading him prisoner in a red-rose chain ; IIO Strong-temper’d steel his stronger strength obey’d, Yet was he servile to my coy disdain. O, be not proud, nor brag not of thy might, For mastering her that foil’d the god of fight! r " ^ u VENUS AND ADONTS . 47 ‘Touch but niy lips with those fair lips of thine, — Though mine be not so fair, yet are they red — The kiss shall be thine own as well as mine. What seest thou in the ground? hold up thy head: Look in mine eye-balls, there thy beauty lies; Then why not lips on lips, since eyes in eyes? 120 ‘ Art thou asham’d to kiss! then wink again, And I will wink; so shall the day seem night; Love keeps his revels where there are but twain; Be bold to play, our sport is not in sight: ( T hese blu e-vein’d violets whereon we lean Never can blab, nor know not what we mean. ‘The tender spring upon thy tempting lip Shows thee unripe, yet mayst thou well be tasted; Make use of time, let not advantage slip; Beauty within itself should not be wasted : Fair flowers that are not gather’d in thei ^ 13° ;ather’d in their prime Rot and consume themselves in little time. ‘ Were I hard-favour’d, foul, or wrinkled-old, Ill-nurtur’d, crooked, churlish,, harsh in v oice, ^O’erworn, despised, rheumatic and cold, Tick-sighted, barren, lean and lacking juice, Then mightst thou pause, for then I were not for thee ; But having no defects, why dost abhor me? ‘Thou canst not see one wrinkle in my brow; Mine eyes are gray and bright and quick in turning; My beauty as the spring doth yearly grow ; r 4 i My flesh is soft and plump, my marrow burning; My smooth moist hand, were it with thy hand felt, Would in thy palm dissolve, or seem to melt. ‘Bid me discourse, I will enchant thine ear, Or, like a fairy, trip upon the green, 48 SHAKESPEARE'S POEMS. Or, like a nymph, with long dishevelPd hair, Dance on the sands, and yet no footing seen ; Love is a spirit all compact of fire, Not gross to sink, but light, and will aspire. i ‘ Witness this primrose bank whereon I lie; 1 hese foiceless flowers like sturdy trees support me ; 1 wo strengthless doves will draw me through the skv, From morn till night, even where I list to sport me:" Is love so light, sweet boy, and may it be That thou shouldst think it heavy unto thee? ‘Is thine own heart to thine own face affected? Can thy right hand seize love upon thy left? Then woo thyself, be of thyself rejected, Steal thine own freedom and complain on theft. Narcissus so himself himself forsook, And died to kiss his shadow in the brook. » ‘ torches are made to light, jewels to wear, Dainties to taste, fresh beauty for the use, Herbs for their smell, and sappy plants to bear; Ihings growing to themselves are growth’s abuse : ^“Seeds spring from seeds and beauty breedeth beauty : Thou wast begot; to ge t it is thy duty. ‘ Cpon the earth’s increase why shouldst thou feed, Unless the earth with thy increase be fed? J7Q By law of nature thou art bound to breed, That thine may live when thou thyself art dead; And so, in spite of death, thou dost survive, In that thy likeness still is left alive.’ By this the love-sick queen began to sweat, For where they lay the shadow had forsook them, And Titan, Tired in the mid-day heat, With burning eye did hotly overlook them; VENUS AND ADONIS. Wishing Adonis had his team to guide, S' V l **{ ] / So he were like him and by Venus,’ side. (j -A v -L> - O' - ^ - — — I And now! Adonis, with a lazfy sprighr, And with a heavy, dark, disliking eye, His lowering brows o’erwhelming his fair sight, Like misty vapours when they blot the sky, Souring his cheeks, cries 4 Fie, no more of love! The sun doth burn my face; I must remove.’ 4 Ay me,’ quoth Venus, ‘young and so unkind? What bare excuses mak’st thou to be gone! I ’ll sigh celestial breath, whose gentle wind Shall cool the heat of this descending sun : 190 I ’ll make a shadow for thee of my hairs ; If they burn too, I ’ll quench them with my tears. ^ . I ; - ^ M L-W ‘The sun tin at shines from heaven shines but warm, And, lo, I lie between that sun and thee : The heat I have from thence doth little harm, Thine eye darts forth the fire that burneth me; And were I not immortal, life were done Between this heavenly and earthly sun. ‘ Art thou obdurate, flinty, hard as steel, Nay, more than flint, for stone at rain relenteth ? 200 Art thou a woman’s son, and canst not feel What ’t is to love? how want of love tormenteth? O, had thy mother borne so hard a mind, She had not brought forth thee, but died unkind ! ‘What am I, that thou shouldst contemn me this? Or what great danger dwells upon my suit? What were thy lips the worse for one poor kiss? Speak, fair; but speak fair words, or else be mute: Give me one kiss, I ’ll give it thee again, And one for interest, if thou wilt have twain. D I If A 5o SH A K ESP E A RE'S POEMS. ‘Fie, lifeless picture, cold and senseless stone, Well-painted idol, image dull and dead, Statue contenting but the eye alone, Thing like a man, but of no woman bred ! Thou art no man, though of a man’s complexion; For men will kiss even by their own direction.’ This said, impatience chokes her pleading tongue, And swelling passion doth provoke a pause; Red cheeks and fiery eyes blaze forth her wrong; Being judge in love, she cannot right her cause: 220 And now she weeps, and now she fain would speak, And now her sobs do her intendments break. Sometimes she shakes her head and then his hand, Now gazeth she on him, now on the ground ; Sometimes her arms infold him like a band: She would, he will not in her arms be bound; And when from thence he struggles to be gone, She locks her lily fingers one in one. > \yJ-\ l-> ' \ ‘Fondling/ she saith, ‘since I have hemm’d thee here Within the circuit of this ivory pale, 230 I ’ll be a park, and thou shalt be my deer; Feed where thou wilt, on mountain or in dale: Graze on my lips; and if those hills be dry, Stray lower, where the pleasant fountains lie. ‘Within this limit is relief enough, - Sweet bottom-grass and high delightful plain, Round rising hillocks, brakes obscure and rough, To shelter thee from tempest and from rain : Then be my deer, since I am such a park; No dog shall rouse thee, though a thousand bark.’ 240 o - p p 7 At this Adonis smiles as in disdain, That in each cheek appears a pretty dimple: V X V r ' VENUS AND ADONIS. Love made those hollows, if himself were slain, He might be buried in a tomb so simple ; Foreknowing well, if there he came toTie, Why, there Love liv’d and there he could not die. These lovely caves, these round enchanting pits, Open’d their mouths to swallow Venus’ liking. Being mad before, how doth she now for wits? Struck dead at first, what needs a second striking? Poor queen of love, in thine own law forlorn, To love a cheek that smiles at thee in scorn ! Now which way shall she turn? what shall she say? Her words are done, lie r .woes the more increasing; The time is spent, hefiobject will away, And from her twining arms doth urge releasing. ‘ Pity,’ she cries, 4 some favour, some remorse 1’ Away he springs and hasteth to his horse. But, lo, from forth a copse that neighbours by, A breeding jennet, fifsty, young* ancl proud, ^ 2 ( Adonis’ trampling courser doth espy, And forth she rushes, snorts, and neighs aloud ; The strong-neck’d steed, being tied unto a tree, Breaketh his rein, and to her straight goes he. Imperiously he leaps, he neighs, he bounds, And now his woven girths he breaks asunder; The bearing earth with his hard hoof he wounds, Whose hollow womb resounds like heaven’s thunder; The iron bit lie crushes ’tween his teeth, Controlling what he was controlled with. His ears up-prick’d; his braided hanging mane , Upon his compass^3 crest now stand on end; His nostrils drink the air, and forth again, As from a furnace, vapours doth he send ; # SHAKESPEARE'S POEMS. His eye, which scornfully glisters like fire, Shows his hot courage and his high desire. Sometime he trots, as if he told the steps. With gentle majesty and modest pride; Anon he rears upright, curvets, and leaps, As who should say ‘Lo, thus my strength is tried, 2 So And this I do to captivate the eye Of the fair breeder that is standing by.’ What recketh he his rider’s angry stir, His flattering ‘ Holla,’ or his ‘Stand, I say’? What cares he now for curb or pricking spur? For rich caparisons or trapping gay? He sees his love, and nothing else he sees, For nothing else with his proud sight agrees. Look, when a painter would surpass the life, In limning out a well-proportion’d steed, 2go His art with nature’s workmanship at strife. As if the dead the living should exceed ; So did this horse excel a common one In shape, in courage, colour, pace, and bone. Round-hoof’d, short-jointed, fetlocks shag and long, Broad breast, full eye, small head, and nostril wide, High crest, shoit eais, straight legs and passing strong, Ihin mane, thick tail, broad buttock, tender hide: Look, what a horse should have he did not lack, Save a proud rider on so proud a back. 30 o Sometime he scuds far off, and there he stares; Anon he starts at stirring of a feather; To bid the wind a base he now prepares, And whether he run or fly they know not whether; For through his mane and tail the high wind sings, Fanning the hairs, who wave like feather’d wings. FENDS and adonis. He looks upon his love and neighs unto her; She answers him as if she knew his mind : Being proud, as females are, to see him woo her, She puts on outward strangeness, seems unkind, Spurns at his love and scorns the heat he feels, Beating his kind embracements with her heels. Then, like a melancholy malcontent, He vails his tail that, like a falling plume, Cool shadow to his melting buttock lent; He stamps and bites the poor flies in his fume. His love, perceiving how lie is enraged. Grew kinder, and his fury was assuag’d. His testy master goeth about to take him; When, lo, the unback’d breeder, full of fear, Jealous of catching, swiftly doth forsake him, With her the horse, and left Adonis there: As they were mad, unto the wood they hie them, Out-stripping crows that strive to over-fly them. All swoln with chafin g, down Adonis sits, Banning his boisterous and unruly beast: And now the happy season once more fits, That love-sick Love by pleading may be blest; For lovers say, the heart hath treble wrong When it is barr’d the aidance of the tongue. . v" An ove njhaJ; i&-Stopft’d, or river stay’d, Burneth more hotly, swelleth with more rage: So of concealed sorrow may be said; Free vent of words lov^ fire doth assuage; But when the heart’s attorney once is mute. &X The client breaks, as desperate in his suit. He sees her coming, and begins to glow, Even as a dying coal revives with wind, / SHAKESPEARE'S POEMS. And with his bonnet hides his angry brow; Looks on the dull earth with disturbed mind, Taking no notice that she is so nigh, For all askance he holds her in his eye. O, what a sight it was, wistly to view How she came stealing to the wayward boy! To note the fighting conflict of her hue, How white and red each other did destroy! But now her cheek was pale, and by and by It flash’d forth fire, as lightning from the sky. Now was she just before him as he sat, And like a lowly lover down she kneels; With one fair hand she heaveth up his hat, Her other tender hand his fair cheek feels: His tenderer cheek receives her soft hand’s print, As apt as ne w-fallen snow takes any dint. O, what a war of looks was then between them ! Her eyes petitioners to his eyes suing; His eyes saw her eyes as they had not seen them ; Her eyes woo’d still, his eyes disdain’d the wooing: And all this dumb play had his acts made plain With tears, which, chorus-like, her eyes did rain. Full gently now she takes him by the hand, A lily prison’d in a gaol of snow, Or ivory in an alabaster band ; So white a friend engirts so white a foe: This beauteous combat, wilful and unwilling, Show’d like two silv£L£lpves that sit a-billing. Once more the engine of her thoughts began: ‘O fairest mover on this mortal round, Would thou wert as I am, and I a man, My heart all whole as thine, thy heart my wound ; 370 36a VENUS AND ADONIS. 55 For one sweet look thy help I would assure thee, Though nothing but my body’s bane would cure thee.’ ‘Give me my hand,’ saith he, ‘ why dost thou feel it?’ ‘ Give me my heart,’ saith she, ‘ and thou shalt have it; O, give it me, lest thy hard heart do steel it, And being steel’d, soft sighs can never grave it . Then love’s deep groans I never shall regard. Because Adonis’ heart hath made mine hard.’ Cj ‘ For shame,’ he cries, ‘ let go, and let me go ; My day’s delight is past, my horsg is gone, - 380 And ’t is your fault I am bereft him so. I pray you hence, and leave me here alone ; For all my mind, my thought, my busy care, Is how to get my palfrey from the mare.’ Thus she replies: ‘Thy palfrey, as he should, Welcomes the warm approach of sweet desire : Affection is a coal that must be cool’d ; Else, suffer’d, it will set the heait on fire. The sea hath bounds, but deep desire hath none ; Therefore no marvel though thy horse be gone. 390 < pjow like a jade he stood, tied to the tiee, Servilely master’d with a leathern rein ! But when he saw his love, his youth’s fair fee, He held such petty bondage in disdain ; Throwing the base thong from his bending crest, Enfranchising his mouth, his back, his breast. ‘Who sees his true-love in her naked bed, . Teaching the sheets a whiter hue than white, ‘ But, when his glutton eye so full hath fed, His other agents aim at like delight? 400 Who is so faint, that dare not be so bold To touch the fire, the weather being cold ? SHAKESPXAK&S POEMS 1 'Let me excuse thy courser, gentle boy; And learn of him, I heartily beseech thee, To take advantage on presented joy ; Though I were dumb, yet his proceedings teach thee: O, learn to love; the lesson is but plain, And once made perfect, never lost again.’ ‘ ^ know not love,’ quoth he, ‘ nor will not know it. Unless it be a bqa r > and then I chase it; 4 ’T is much to borrow, and I will not owe it ; My love to love is love but to disgrace it; For I have heard' it is a life in death, That laughs and weeps, and all but with a breath. ‘ Who wears a garment shapeless and unfinish’d ? Who plucks the bud before one leaf put forth ? If springing things be any jot diminish’d, They wither in their prime, prove nothing worth; T he colt that s back d and burden’d being young Loseth his pride and never waxeth strong. ° 42 ‘You hurt my hand with wringing; let us part, And leave this idle theme, this bootless chat: Remove your siege from my unyielding heart; To love’s alarms it will not ope the gate: Dismiss your vows, your feigned tears, your flattery; For where a heart is hard they make no batjery.’ ‘ What ! canst thou talk ?’ quoth_sbe, ‘ hast thou a tongue ? O, would thou badst not, ofThad no hearing! I hy mermaid s voice hath done me double wrong; I bad my load before, now press'd with bearing: 430 Melodious discord, heavenly tune harsh-sounding, Ear’s deep-sweet music, and heart’s deep-sore wound- ing. VENUS AND ADONIS. 57 6 Had I no eyes but ears, my ears would love That inward beauty and invisible ; Or were I deaf, thy outward parts would move Each part in me that were but sensible: Though neither eyes nor ears, to hear nor see, Yet should I be in love by touching thee. ‘ Say, that the sense of feeling were bereft me, And that I could not see, nor hear, nor touch, 44° And nothing but the very smell were left me, Yet would my lo^e to th egjpe still as much ; For from the stilTitory of tliy face excelling ‘In night,’ quoth she, ‘desire sees best of all. *** ho E . ill ; 66 SHAKESPEARE'S POEMS. ‘But if thou fall, 0 , then imagine this, The earth, in love with thee, thy footing trips, And all is but to rob thee of a kiss. Rich preys make true men thieves; so do thy lips Make modestDian cloudy and forlorn, Lest she should steal a kiss and die forsworn. ‘ Now of this dark night I perceive the reason: Cynthia for shame obscures her silver shine, Till forging Nature be condemn'd of treason, For stealing moulds from heaven that were divine; 730 Wherein she fram’d thee in high heaven’s despite, To shame the sun by day and her by night. And therefore hath she brib’d the Destinies \To cross the curious workmanship of nature, To mingle beauty with infirmities, And pure perfection with impure defeature, Making it subject to the tyranny Of mad mischances and much misery ; ‘ As burning fevers, agues pale and faint, Life-poisoning pestilence and frenzies wood, The marrow-eating sickness, whose attaint Disorder breeds by heating of the blood : Surfeits, imposthumes, grief, and damn’d despair, \ x - Swear Nature’s death for framing thee so fair. 4 And not the least of all these maladies But in one minute’s fight brings beauty under: Both favour, savour, hue, and qualities, Whereat the impartial gazer late did wonder, Are on the sudden wasted, thaw’d, and done, As mountain snow melts with the mid-day sun. ' ^‘Therefore, despite of fruitles s chastity, Love-lacking vestals and self-loving nuns, 740 750 VENUS AND ADONIS . 67 That on the earth would breed a scarcity And barren dearth of daughters and of sons, Be prodigal ; the lamp that burns by night Dries up his oil to lend the world his light. 4 What is thy body but a swallowing grave, Seeming to bury that posterity Which by the rights of time thou needs must have, If thou destroy them not in dark obscurity ? 76a If so, the world will hold thee in disdain, Sith in thy pride so fair a hope is slain. ‘ So in thyself thyself art made away; A mischief worse than civil home-bred strife, Or theirs whose desperate hands themselves do slay, | Or butcher-sire that reaves his son of life. Foul-cankering rust the hidden treasure frets, vBut gold that ’s put to use more gold begets.’ ‘Nay, then,’ quoth Adon, ‘you will fall again Into your idle over-handled theme: 77a The kiss I gave you is bestow’d in vain, And all in vain you strive against the stream; For, by this black-fac’d night, desire’s foul nurse, Your treatise makes me like you worse and worse. ‘If love have lent you twenty thousand tongues, And every tongue more moving than your own, Bewitching like the w anton m ermaid’s songs, Yet from mine ear the tempting tune is blown; For know, my heart stands armed in mine ear, And will not let a false sound enter there, 780 ‘Lest the deceiving harmony should run Into the quiet closure of my breast; And then my little heart were quite undone, In his bedchamber to be barr’d of rest. SHAKESPEARE'S POEMS. No, lady, no; my heart longs not to groan, But soundly sleeps, while now it sleeps alone. * What have you urg’d that I cannot reprove ? The path is smooth that leadeth on to danger: I hate not love, but your device in love, That lends embracements unto every stranger. You do it for increase; O strange excuse, When reason is the bawd to lust’s abuse ! ‘ Call it not love, for Love to heaven is fled, Since sweating Lust on earth usurp’d his name; Under whose simple semblance he hath fed Upon fresh beauty, blotting it with blame; Which the hot tyrant stains and soon bereaves, As caterpillars do the tender leaves. ‘Love comforteth like sunshine after rain, But Lust’s effect is tempest after sun ; Love’s gentle spring doth always fresh remain, Lust’s winter comes ere summer half be done; Love surfeits not, Lust like a glutton dies; Love is all truth, Lust full of forged lies. ‘ More I could tell, but more I dare not say; The text is old, the orator too green. Therefore, in sadness, now I will away: My face is full of shame, my heart of teen ; Mine ears, that to your wanton talk attended, Do burn themselves for having so offended.’ With this, he breaketh from the sweet embrace Of those fair arms which bound him to her breast, And homeward through the dark laund runs apace Leaves Love upon her back deeply distress’d. Look, how a bright star shooteth from the sky, So glides he in the night from Venus’ eye; VENUS AND ADONIS . 6 9 Which after him she darts, as one on shore Gazing upon a late-embarked friend, Till the wild waves will have him seen no more, Whose ridges with the meeting clouds contend : 82a So did the merciless and pitchy night Fold in the object that did feed her sight. Whereat amaz’d, as one that unaware Hath dropp’d a precious jewel in the flood, Or ’stonish’d as night-wanderers often are, Their light blown out in some mistrustful wood, Even so confounded in the dark she lay, Having lost the fair discovery of her way. And now she beats her heart, whereat it groans, That all the neighbour caves, as seeming troubled, 830 Make verbal repetition of her moans ; Passion on passion deeply is redoubled : 4 Ay me !’ she cries, and twenty times 4 Woe, woe !’ And twenty echoes twenty times cry so. She marking them begins a wailing note And sings extemporally a woeful ditty: How love makes young men thrall and old men dote; How love is wise in folly, foolish-witty. Her heavy anthem still concludes in woe, And still the choir of echoes answer so. s^o Her song was tedious and outwore the night, For lovers’ hours are long, though seeming short ; If pleas’d themselves, others, they think, delight In such-like circumstance, with such-like sport; Their copious stories oftentimes begun End without audience and are never done. For who hath she to spend the night withal But idle sounds resembling parasites, 7 ° SHAKESPEARE'S POEMS. Like shrill-tongued tapsters answering every call, Soothing the humour of fantastic wits? * She says ‘ ’T is so they answer all ‘ ’T is so;’ And would say after her, if she said ‘ No.’ Lo, here- the gentle lark, weary of rest, From his moist cabinet mounts up on high, And wakes the morning, from whose silver breast The sun ariseth in his majesty ; Who doth the world so gloriously behold That cedar-tops and hills seem burnish’d gold. Venus salutes him with this fair good-morrow : ‘O thou clear god, and patron of all light, From whom each lamp and shining star doth borrow The beauteous influence that makes him bright, There lives a son that suck’d an earthly mother, May lend thee light, as thou dost lend to other.’ This said, she hasteth to a myrtle grove, Musing the morning is so much o’erworn, And yet she hears no tidings of her love : She hearkens for his hounds and for his horn ; Anon she hears them chant it lustily, And all in haste she coasteth to the cry. And as she runs, the bushes in the way Some catch her by the neck, some kiss her face, Some twine about her thigh to make her stay ; She wildly breaketh from their strict embrace, Like a milch doe, whose swelling dugs do ache, 'Hasting to feed her fawn hid in some brake. By this, she hears the hounds are at a bay ; Whereat she starts, like one that spies an adder VENUS AND ADONIS. 7 * Even so the timorous yelping of the hounds Appals her senses and her spirit confounds. For now she knows it is no gentle chase, But the blunt boar, rough bear, or lion proud, Because the cry remaineth in one place, Where fearfully the dogs exclaim aloud ; Finding their enemy to be so curst, They all strain courtesy who shall cope him first. This dismal cry rings sadly in her ear, Through which it enters to surprise her heart, 89c Who, overcome by doubt and bloodless fear, With cold-pale weakness numbs each feeling part ; Like soldiers, when their captain once doth yield, They basely fly and dare not stay the field. Thus stands she in a trembling ecstasy, Till, cheering up her senses all dismay’d, She tells them ’t is a causeless fantasy, And childish error, that they are afraid; Bids them leave quaking, bids them fear no more : — And with that word she spied the hunted boar, 900 Whose frothy mouth, bepainted all with red, Like milk and blood being mingled both together, A second fear through all her sinews spread, Which madly hurries her she knows not whither : This way she runs, and now she will no further, But back retires to rate the boar for murther. A thousand spleens bear her a thousand ways ; She treads the path that she untreads again ; Her more than haste is mated with delays, Like^ihe proceedings of a drunken brain, 910 Full of respects, yet nought at all respecting, In hand with all things, nought at all effecting. SHAKESPEARE'S POEMS . Here kennell’d in a brake she finds a hound, And asks the weary caitiff for his master, And there another licking of his wound, ’Gainst venom’d sores the only sovereign plaster; And here she meets another sadly scowling, To whom she speaks, and he replies with howling. When he hath ceas'd his ill-resounding noise, Another flap-rnouth’d mourner, black and grim, 930 Against the welkin volleys out his voice ; Another and another answer him, Clapping their proud tails to the ground below, Shaking their scratch’d ears, bleeding as they go. Look, how the world’s poor people are amaz’d At apparitions, signs, and prodigies, Whereon with fearful eyes they long have gaz’d, Infusing them with dreadful prophecies ; So she at these sad signs draws up her breath, And, sighing it again, exclaims on Death. 930 4 Hard-favour’d tyrant, ugly, meagre, lean, Hateful divorce of love,’ — thus chides she Death, — 4 Grim-grinning ghost, earth’s worm, what dost thou mean To stifle beauty and to steal his breath, Who when he liv’d, his breath and beauty set Gloss on the rose, smell to the violet ? 4 If he be dead, — O no, it cannot be, Seeing his beauty, thou shouldst strike at it : — O yes, it may; thou hast no eyes to see, But hatefully at random dost thou hit. 9 w Thy mark is feeble age, but thy false dart Mistakes that aim and cleaves an infant’s heart. 4 Hadst thou but bid beware, then he had spoke, And, hearing him, thy power had lost his power. N^V- VENUS AND ADONIS. 73 l \ ul The Destinies will curse thee for this stroke ; They bid thee crop a weed, thou pluck’st a flower : Love’s golden arrow at him should have fled, " Death’s ebon dart, to strike him dead. ‘ Dost thou drink tears, that thou provok’st such weeping? What may a heavy groan advantage thee? 95° Why hast thou cast into eternal sleeping Those eyes that taught all other eyes to see? Now Nature cares not for thy mortal vigour, Since her best work is ruin’d with thy rigour.’ Here overcome, as one full of despair, She vail’d her eyelids, who, like sluices, stopt The crystal tide that from her two cheeks fair In the sweet channel of her bosom dropt ; But through the flood-gates breaks the silver rain, And with his strong course opens them again. 960 O, how her eyes and tears did lend and borrow ! Her eyes seen in the tears, tears in her eye; Both crystals, where they view’d each other’s sorrow, Sorrow that friendly sighs sought still to dry; But hke a stormy day, now wind, now rain, STghsTdry her cheeks, tears make them wet again. Variable passions throng her constant woe, As striving who should best become her grief ; All entertain’d, each passion labours so, That every present sorrow seemeth chief, 970 But none is best : then join they all together, Like many clouds consulting for foul weather. By this, far off she hears some huntsman hollo ; A nurse’s song ne’er pleas’d her babe so well : The dire imagination she did follow This sound of hope doth labour to expel ; 74 SHAKESPEARE'S POEMS. For now reviving joy bids her rejoice, And flatters her it is Adonis’ voice. Whereat her tears began to turn their tide, Being prison’d in her eye like pearls in glass ; 9S0 Yet sometimes falls an orient drop beside, Which her cheek melts, as scorning it should pass, To wash the foul face of the sluttish ground, Who is but drunken when she seemeth drown’d. C ~0 hard-believing love, how strange it seems 4 • T j\ Not to believe, and yet too credulous ! Thy weal and woe are both of them extremes ; Despair and hope makes thee ridiculous : The one doth flatter thee in thoughts unlikely, In likely thoughts the other kills thee quickly. 990 Now she unweaves the web that she hath wrought ; Adonis lives, and Death is not to blame ; It was not she that call’d him all to naught : Now she adds honours to his hateful name ; She clepes him king of graves and grave for kings, Imperious supreme of all mortal things. ‘ No, no,’ quoth she, c sweet Death, I did but jest ; Yet pardon me I felt a kind of fear Whenas I met the boar, that bloody beast, Which knows no pity, but is still severe * T.OOO Then, gentle shadow, — truth I must confess, - I rail’d on thee, fearing my love’s decease. ‘ T is not my fault ; the boar provok’d my tongue : Be wreak’d on him, invisible commander; T is he, foul creature, that hath done thee wrong ; I did but act, he ’s author of thy slander: Grief hath two tongues, and never woman yet Could rule them both without ten women’s wit. 1 VENUS AND ADONIS. Thus hoping that Adonis is alive, Her rash suspect she doth extenuate ; And that his beauty may the better thrive, With Death she humbly doth insinuate; Tells him of trophies, statues, tombs, and stories His victories, his triumphs, and his glories. ( 0 Jove/ quoth she, ‘how much a fool was I To be of such a weak and silly mind To wail his death who lives and must not die Till mutual overthrow of mortal kind ! For he being dead, with him is beauty slain, And, beauty dead, black chaos comes again. ‘Fie, fie, fond love, thou art so full of fear As one with treasure laden, hemm’d with thieves ; Trifles, unwitnessed with eye or ear, Thy coward heart with false bethinking grieves.' Even at this word she hears a merry horn, Whereat she leaps that was but late forlorn. As falcon to the lure, away she flies — The grass stoops not, she treads on it so light — - And in her haste unfortunately spies The foul boar’s conquest on her fair delight ; Which seen, her eyes, as murther’d with the view. Like stars asham’d of day, themselves withdrew; yOr, as the snail, whose tender horns being hit, Shrinks backward in his shelly cave with pain, And there, all smother’d up, in shade doth sit, Long after fearing to creep forth again ; So, at his bloody view, her eyes are fled Into the deep-dark cabins of her head, Where they resign their office and their light To the disposing of her troubled brain ; 75 IO 1020 IO30 IO4O Who bids them still consort with ugly night, And never wound the heart with looks again ; Who, like a king perplexed in his throne, By their suggestion gives a deadly groan, Whereat each tributary subject quakes ; As when the wind, imprison’d in the ground, Struggling for passage, earth’s foundation shakes, Which with cold terror doth men’s minds confound. This mutiny each part doth so surprise That from their dark beds once more leap her eyes, And, being open’d, threw unwilling light 1051 Upon the wide wound that the boar had trench’d In his soft flank, whose wonted lily white With purple tears that his wound wept was drench’d ; No flower was nigh, no grass, herb, leaf, or weed, But stole his blood and seem’d with him to bleed. This solemn sympathy poor Venus noteth ; Over one shoulder doth she hang her head ; Dumbly she passions, franticly she doteth ; She thinks he could not die, he is not dead : 500 At last she sees a wretched image bound, That piteous looks to Phrygian shepherds lent: His face, though full of cares, yet show’d content; Onward to Troy with the blunt swains he goes, So mild, that Patience seem’d to scorn his woes. In him the painter labour’d with his skill To hide deceit, and give the harmless show An humble gait, calm looks, eyes wailing still, A brow unbent, that seem’d to welcome woe; Cheeks neither red nor pale, but mingled so That blushing red no guilty instance gave, Nor ashy pale the fear that false hearts have. 1510 THE RAPE OF LUCRECE . 13 1 But, like a constant and confirmed devil, He entertain’d a show so seeming just, And therein so ensconc’d his secret evil, That jealousy itself could not mistrust False-creeping craft and perjury should thrust Into so bright a day such black-fac’d storms, Or blot with hell-born sin such saintlike forms. The well-skill’d workman this mild image drew 1520 For perjur’d Sinon, whose enchanting story The credulous old Priam after slew; Whose words like wildfire burnt the shining glory Of rich-built Ilion, that the skies were sorry, And little stars shot from their fixed places, When their glass fell wherein they view’d their faces. This picture she advisedly perus’d, And chid the painter for his wondrous skill, Saying, some shape in Sinon’s was abus’d; So fair a form lodg’d not a mind so ill : 1530 And still on him she gaz’d; and gazing still, Such signs of truth in his plain face she spied, That she concludes the picture was belied. 4 It cannot be,’ quoth she, 4 that so much guile ’ — ■ She would have said 4 can lurk in such a look;’ But Tarquin’s shape came in her mind the while, And from her tongue 4 can lurk’ from 4 cannot ’ took. 4 It cannot be ’ she in that sense forsook, And turn’d it thus, 4 It cannot be, I find, But such a face should bear a wicked mind : 1540 4 For even as subtle Sinon here is painted, So sober-sad, so weary, and so mild, As if with grief or travail he had fainted, To me came Tarquin armed; so beguil’d With outward honesty, but yet defil’d 1 3 2 SHAKESPEARE'S POEMS. With inward vice: as Priam him did cherish, So did I Tarquin ; so my Troy did perish. ‘ Look, look, how listening Priam wets his eyes, To see those borrow’d tears that Sinon sheds ! Priam, why art thou old and yet not wise ? 155° For every tear he falls a Trojan bleeds: His eye drops fire, no water thence proceeds; Those round clear pearls of his, that move thy pity, Are balls of quenchless fire to burn thy city. 6 Such devils steal effects from lightless hell ; For Sinon in his fire doth quake with cold, And in that cold hot-burning fire doth dwell; These contraries such unity do hold, Only to flatter fools and make them bold : So Priam’s trust false Sinon’s tears doth flatter, 1560 That he finds means to burn his Troy with water.’ Here, all enrag’d, such passion her assails, That patience is quite beaten from her breast. She tears the senseless Sinon with her nails, Comparing him to that unhappy guest Whose deed hath made herself herself detest. At last she smilingly with this gives o’er: ‘ Fool, fool !’ quoth she, ‘ his wounds will not be sore.’ Thus ebbs and flows the current of her sorrow, And time doth weary time with her complaining. 157° She looks for night, and then she longs for morrow, And both she thinks too long with her remaining. Short time seems long in sorrow’s sharp sustaining. Though woe be heavy, yet it seldom sleeps ; And they that watch see time how slow it creeps. Which all this time hath overslipp’d her thought, That she with painted images hath spent ; Being from the feeling of her own grief brought THE RAPE OF LUCRECE. r 33 By deep surmise of others’ detriment, Losing her woes in shows of discontent. >5So It easeth some, though none it ever cur’d, To think their dolour others have endur’d. But now the mindful messenger, come back, Brings home his lord and other company, Who finds his Lucrece clad in mourning black ; And round about her tear-distained eye Blue circles stream’d, like rainbows in the sky : These water-galls in her dim element Foretell new storms to those already spent. Which when her sad-beholding husband saw, 1590 Amazedly in her sad face he stares; Her eyes, though sod in tears, look’d red and raw, Her lively colour kill’d with deadly cares. He hath no power to ask her how she fares; Both stood, like old acquaintance in a trance, Met far from home, wondering each other’s chance. At last he takes her by the bloodless hand, And thus begins: ‘What uncouth ill event Hath thee befallen, that thou dost trembling stand? Sweet love, what spite hath thy fair colour spent ? 1600 Why art thou thus attir’d in discontent? Unmask, dear dear, this moody heaviness, And tell thy grief, that we may give redress.’ Three times with sighs she gives her sorrow fire, Ere once she can discharge one word of woe ; At length address’d to answer his desire, She modestly prepares to let them know Her honour is ta’en prisoner by the foe, While Collatine and his consorted lords With sad attention long to hear her words. 1610 134 SHAKESPEARE'S POEMS. And now this pale swan in her watery nest Begins the sad dirge of her certain ending : ‘Few words/ quoth she, ‘ shall fit the trespass best, Where no excuse can give the fault amending ; In me moe woes than words are now depending, And my laments would be drawn out too long. To tell them all with one poor tired tongue. * Then be this all the task it hath to say : Dear husband, in the interest of thy bed A stranger came, and on that pillow lay 1620 Where thou wast wont to rest thy weary head; And what wrong else may be imagined By foul enforcement might be done to me. From that, alas, thy Lucrece is not free. ‘For in the dreadful dead of dark midnight. With shining falchion in my chamber came A creeping creature, with a flaming light, And softly cried “Awake, thou Roman dame, And entertain my love ; else lasting shame On thee and thine this night I will inflict, 1630 If thou my love’s desire do contradict. ‘“For some hard-favour’d groom of thine/’ quoth he, “ Unless thou yoke thy liking to my will, I ’ll murther straight, and then I ’ll slaughter thee And swear I found you where you did fulfil The loathsome act of lust, and so did kill The lechers in their deed; this act will be My fame and thy perpetual infamy.” ‘ With this, I did begin to start and cry ; And then against my heart he sets his sword, 1640 Swearing, unless I took all patiently, I should not live to speak another word ; So should my shame still rest upon record, THE RAPE OF LUCRECE. I 3S And never be forgot in mighty Rome The adulterate death of Lucrece and her groom. ‘ Mine enemy was strong, my poor self weak, And far the weaker with so strong a fear : My bloody judge forbade my tongue to speak ; No rightful plea might plead for justice there : His scarlet lust came evidence to swear 1650 That my poor beauty had purloin’d his eyes; And when the judge is robb’d the prisoner dies. ‘ O, teach me how to make mine own excuse ! Or at the least this refuge let me find : Though my gross blood be stain’d with this abuse, Immaculate and spotless is my mind ; That was not forc’d ; that never was inclin’d To accessary yieldings, but still pure Doth in her poison’d closet yet endure.’ Lo, here, the hopeless merchant of this loss, 1660 With head declin’d, and voice damm’d up with woe. With sad-set eyes, and wretched arms across, From lips new-waxen pale begins to blow The grief away that stops his answer so : But, wretched as he is, he strives in vain ; What he breathes out his breath drinks up again. As through an arch the violent roaring tide Outruns the eye that doth behold his haste, Yet in the eddy boundeth in his pride Back to the strait that forc’d him on so fast, 1670 In rage sent out, recall’d in rage, being past; Even so his sighs, his sorrows, make a saw, To push grief on, and back the same grief draw. Which speechless woe of his poor she attendeth, And his untimely frenzy thus awaketh : ‘Dear lord, thy sorrow to my sorrow lendeth 136 SHAKESPEARE'S POEMS . Another power; no flood by raining slaketh. My woe too sensible thy passion maketh More feeling-painful ; let it then suffice To drown one woe^one pair of weeping eyes. 1680 4 And for my sake, when I might charm thee so, For she that was thy Lucrece, now attend me: Be suddenly revenged on my foe, Thine, mine, his own ; suppose thou dost defend me From what is past : the help that thou shalt lend me Comes all too late, yet let the traitor die, For sparing justice feeds iniquity. 4 But ere I name him, you fair lords/ quoth she, Speaking to those that came with Collatine, 4 Shall plight your honourable faiths to me, 1690 With swift pursuit to venge this wrong of mine ; For ’t is a meritorious fair design To chase injustice with revengeful arms: Knights, by their oaths, should right poor ladies’ harms.’ At this request, with noble disposition Each present lord began to promise aid, As bound in knighthood to her imposition, Longing to hear the hateful foe bewray’d. But she, that yet her sad task hath not said, The protestation stops. 4 O, speak,’ quoth she, 1700 4 How may this forced stain be wip’d from me? 4 What is the quality of mine offence, Being constrain’d with dreadful circumstance ? May my pure mind with the foul act dispense, My low-declined honour to advance ? May any terms acquit me from this chance? The poison’d fountain clears itself again ; And why not I from this compelled stain?’ THE RAPE OF LUCRECE. *37 With this, they all at once began to say, Her body’s stain her mind untainted clears; 1710 While with a joyless smile she turns away The face, that map which deep impression bears Of hard misfortune, carv’d in it with tears. 4 No, no,’ quoth she, 4 no dame, hereafter living, By my excuse shall claim excuse’s giving.’ Here with a sigh, as if her heart would break, She throws forth Tarquin’s name: 4 He, he,’ she says, But more than 4 he ’ her poor tongue could not speak; Till after many accents and delays, Untimely breathings, sick and short assays, 1720 She utters this, 4 He, he, fair lords, ’t is he, That guides this hand to give this wound to me. 3 Even here she sheathed in her harmless breast A harmful knife, that thence her soul unsheath’d: That blow did bail it from the deep unrest Of that polluted prison where it breath’d : Her contrite sighs unto the clouds bequeath’d Her winged sprite, and through her wounds doth fly Life’s lasting date from cancell’d destiny. Stone-still, astonish’d with this deadly deed, 1730 Stood Collatine and all his lordly crew ; Till Lucrece’ father, that beholds her bleed, Himself on her self-slaughter’d body threw ; And from the purple fountain Brutus drew The murtherous knife, and, as it left the place, Her blood, in poor revenge, held it in chase; And bubbling from her breast, it doth divide In two slow rivers, that the crimson blood Circles her body in on every side, Who, like a late-sack’d island, vastly stood Bare and unpeopled in this fearful flood. 1740 138 SHAKESPEARE S POEMS. Some of her blood still pure and red remain’d, And some look’d black, and that false Tarquin stain’d. About the mourning and congealed face Of that black blood a watery rigol goes, Which seems to weep upon the tainted place : And ever since, as pitying Lucrece’ woes, Corrupted blood some watery token shows ; And blood untainted still doth red abide, Blushing at that which is so putrefied. 175° ‘ Daughter, dear daughter,’ old Lucretius cries, ‘That life was mine which thou hast here depriv’d. If in the child the father’s image lies, Where shall I live now Lucrece is unliv’d ? Thou wast not to this end from me deriv’d. If children pre-decease progenitors, We are their offspring, and they none of ours. ‘ Poor broken glass, I often did behold In thy sweet semblance my old age new born ; But now that fair fresh mirror, dim and old, 176° Shows me a bare-bon’d death by time outworn : O, from thy cheeks my image thou hast torn, And shiver’d all the beauty of my glass, That I no more can see what once I was ! ‘ O time, cease thou thy course and last no longer, If they surcease to be that should survive. Shall rotten death make conquest of the stronger And leave the faltering feeble souls alive ? The old bees die, the young possess their hive ; Then live, sweet Lucrece, live again and see <770 Thy father die, and not thy father thee !’ By this, starts Collatine as from a dream, And bids Lucretius give his sorrow place ; And then in key-cold Lucrece’ bleeding stream THE RAPE OF LUCRECE . *39 He falls, and bathes the pale fear in his face, And counterfeits to die with her a space, Till manly shame bids him possess his breath And live to be revenged on her death. The deep vexation of his inward soul Hath serv’d a dumb arrest upon his tongue, 1780 Who, mad that sorrow should his use control, Or keep him from heart-easing words so long, Begins to talk; but through his lips do throng Weak words, so thick come in his poor heart’s aid, That no man could distinguish what he said. Yet sometime ‘Tarquin ’ was pronounced plain, But through his teeth, as if the name he tore. This windy tempest, till it blow up rain, Held back his sorrow’s tide, to make it more ; At last it rains, and busy winds give o’er: i 79 o Then son and father weep with equal strife Who should weep most, for daughter or for wife. The one doth call her his, the other his, Yet neither may possess the claim they lay. The father says 4 She ’s mine.’ 4 O, mine she is,’ Replies her husband : 4 do not take away My sorrow’s interest; let no mourner say He weeps for her, for she was only mine. And only must be wail’d by Collatine.’ £ O,’ quoth Lucretius, 4 1 did give that life 1800 Which she too early and too late hath spill’d.’ 4 Woe, woe,’ quoth Collatine, ‘she was my wife, I owed her, and ’t is mine that she hath kill’d.’ 4 My daughter ’ and 4 my wife ’ with clamours fill’d The dispers’d air, who, holding Lucrece’ life, Answer’d their cries, 4 my daughter ’ and 4 my wife.’ Brutus, who pluck’d the knife from Lucrece’ side, Seeing such emulation in their woe, Began to clothe his wit in state and pride, Burying in Lucrece’ wound his folly’s show. 1810 He with the Romans was esteemed so As silly-jeering idiots are with kings, For sportive words and uttering foolish things; But now he throws that shallow habit bv, Wherein deep policy did him disguise, And arm’d his long-hid wits advisedly, To check the tears in Collatinus’ eyes. ‘ Thou wronged lord of Rome,’ quoth he, ‘arise; Let my unsounded self, suppos’d a fool, Now set thy long-experienc’d wit to school. 1820 t a*. 1 ‘Why, Collatine, is woe the cure for woe? Do wounds help wounds, or grief help grievous deeds? Is it revenge to give thyself a blow For his foul act by whom thy fair wife bleeds? Such childish humour from weak minds proceeds; Thy wretched wife mistook the matter so, To slay herself, that should have slain her foe. ‘Courageous Roman, do not steep thy heart In such relenting dew of lamentations; But kneel with me and help to bear thy part, 1830 To rouse our Roman gods with invocations, That they will suffer these abominations, Since Rome herself in them doth stand disgrac’d, By our strong arms from forth her fair streets chas’d. ( ‘Now, by the Capitol that we adore, And by this chaste blood so unjustly stain’d, By heaven’s fair sun that breeds the fat earth’s store, By all our country rights in Rome maintain’d, And by chaste Lucrece’ soul that late complain’d THE RAPE OF LUCRECE. 141 ( Her wrongs to us, and by this bloody knife, We will revenge the death of this true wife/ This said, he struck his hand upon his breast, And kiss’d the fatal knife, to end his vow; And to his protestation urg’d the rest, Who, wondering at him, did his words allow: Then jointly to the ground their knees they bow; And that deep vow, which Brutus made before, He doth again repeat, and that they swore. When they had sworn to this advised doom, They did conclude to bear dead Lucrece thence, To show her bleeding body thorough Rome, And so to publish Tarquin’s foul offence; Which being done with speedy diligence, The Romans plausibly did give consent To Tarquin’s everlasting banishment. 1840 1850 ,w n&Cf From off a hill whose concave womb re-worded A plaintful story from a sistering vale, My spirits to attend this double voice accorded, And down I laid to list the sad-tun’d tale; Ere long espied a fickle maid full pale, Tearing of papers, breaking rings a-twain, Storming her world with sorrow’s wind and rain. Upon her head a platted hive of straw, Which fortified her visage from the sun, Whereon the thought might think sometime it saw K 146 SHAKESPEARE'S POEMS. The carcass of a beauty spent and done; Time had not scythed all that youth begun, Nor youth all quit, but, spite of heaven’s fell rage, Some beauty peep’d through lattice of sear’d age. Oft did she heave her napkin to her eyne, Which on it had conceited characters, Laundering the silken figures in the brine That season’d woe had pelleted in tears, And often reading what contents it bears ; As often shrieking undistinguish’d woe, In clamours of all size, both high and low. Sometimes her levell’d eyes their carriage ride, As they did battery to the spheres intend ; Sometime diverted their poor balls are tied To the orbed earth ; sometimes they do extend Their view right on ; anon their gazes lend To every place at once, and, nowhere fix’d, The mind and sight distractedly commix’d. Her hair, nor loose nor tied in formal plat, Proclaim’d in her a careless hand of pride, For some, untuck’d, descended her sheav’d hat, Hanging her pale and pined cheek beside ; Some in her threaden fillet still did bide, And true to bondage would not break from thence, Though slackly braided in loose negligence. A thousand favours from a maund she drew Of amber, crystal, and of beaded jet, Which one by one she in a river threw, Upon whose weeping m argent she was set; Like usury, applying wet to wet, Or monarch’s hands that let not bounty fall Where want cries some, but where excess begs all. A LOVER'S COMPLAINT. 147 Of folded schedules had she many a one, Which she perus’d, sigh’d, tore, and gave the flood ; Crack’d many a ring of posied gold and bone, Bidding them find their sepulchres in mud ; Found yet moe letters sadly penn’d in blood, With sleided silk feat and affectedly Enswath’d, and seal’d to curious secrecy. These often bath’d she in her fluxive eyes, 50 And often kiss’d, and often gan to tear: Cried ‘ O false blood, thou register of lies, What unapproved witness dost thou bear ! Ink would have seem’d more black and damned here !’ This said, in top of rage the lines she rents, Big discontent so breaking their contents. A reverend man that graz’d his cattle nigh — Sometime a blusterer, that the ruffle knew Of court, of city, and had let go by The swiftest hours, observed as they flew — 60 Towards this afflicted fancy fastly drew, And, privileg’d by age, desires to know In brief the grounds and motives of her woe. So slides he down upon his grained bat, And comely-distant sits he by her side, When he again desires her, being sat, Her grievance with his hearing to divide ; If that from him there may be aught applied Which may her suffering ecstasy assuage, ’T is promis’d in the charity of age. 70 4 Father,’ she says, c though in me you behold The injury of many a blasting hour, Let it not tell your judgment I am old ; Not age, but sorrow, over me hath power: I might as yet have been a spreading flower, SHAKESPEARE’S POEMS. Fresh to myself, if I had self-applied Love to myself and to no love beside. 4 But, woe is me! too early I attended A youthful suit — it was to gain my grace — Of one by nature’s outwards so commended. That maidens’ eyes stuck over all his face ; Love lack’d a dwelling and made him her place. And when in his fair parts she did abide, She was new lodg’d and newly deified. 4 His browny locks did hang in crooked curls, And every light occasion of the wind Upon his lips their silken parcels hurls. What ’s sweet to do, to do will aptly find ; Each eye that saw him did enchant the mind, For on his visage was in little drawn What largeness thinks in Paradise was sawn. i Small show of man was yet upon his chin; His phoenix down began but to appear Like unshorn velvet on that termless skin Whose bare out-bragg’d the web it seem’d to wear Yet show’d his visage by that cost more dear, And nice affections wavering stood in doubt If best were as it was, or best without. ‘ His qualities were beauteous as his form, For maiden-tongued he was, and thereof free; Yet, if men mov’d him, was he such a storm As oft ’twixt May and April is to see, When winds breathe sweet, unruly though they be. His rudeness so with his authoriz’d youth Did livery falseness in a pride of truth. 4 Well could he ride, and often men would say “That horse his mettle from his rider takes; Proud of subjection, noble by the sway, A LOVER'S COMPLAINT. 149 What rounds, what bounds, what course, what stop he makes !” And controversy hence a question takes, 110 Whether the horse by him became his deed, Or he his manage by the well-doing steed. ‘ But quickly on this side the verdict went : His real habitude gave life and grace To appertainings and to ornament, Accomplish’d in himself, not in his case. All aids, themselves made fairer by their place, Came for additions; yet their purpos’d trim Piec’d not his grace, but were all grac’d by him. ‘ So on the tip of his subduing tongue 120 All kind of arguments and question deep, All replication prompt and reason strong, For his advantage still did wake and sleep: To make the weeper laugh, the laugher weep, He had the dialect and different skill, Catching all passions in his craft of will ; ‘That he did in the general bosom reign Of young, of old, and sexes both enchanted, To dwell with him in thoughts, or to remain In personal duty, following where he haunted : 13° Consents bewitch’d, ere he desire, have granted, And dialogued for him what he would say, Ask’d their own wills, and made their wills obey. ‘ Many there were that did his picture get, To serve their eyes, and in it put their mind; Like fools that in the imagination set The goodly objects which abroad they find Of lands and mansions, theirs in thought assign’d, And labouring in moe pleasures to bestow them Than the true gouty landlord which doth owe them : uq SHAKESPEARE'S POEMS . * So many have, that never touch’d his hand, Sweetly suppos’d them mistress of his heart. My woeful self, that did in freedom stand, And was my own fee-simple, not in part, What with his art in youth, and youth in art, Threw my affections in his charmed power, Reserv’d the stalk and gave him all my flower. 6 Yet did I not, as some my equals did, Demand of him, nor being desired yielded; Finding myself in honour so forbid, With safest distance I mine honour shielded: Experience for me many bulwarks budded Of proofs new-bleeding, which remain’d the foil Of this false jewel, and his amorous spoil. 4 But, ah, who ever shunn’d by precedent The destin’d ill she must herself assay? Or forc’d examples, ’gainst her own content, To put the by-past perils in her way? Counsel may stop awhile what will not stay ; For when we rage, advice is often seen By blunting us to make our wits more keen. 4 Nor gives it satisfaction to our blood, That we must curb it upon others’ proof ; To be forbod the sweets that seem so good, For fear of harms that preach in our behoof. O appetite, from judgment stand aloof! The one a palate hath that needs will taste, Though Reason weep, and cry 44 It is thy last.” 4 For further I could say 44 This man ’s untrue,” And knew the patterns of his foul beguiling, Heard where his plants in others’ orchards grew, Saw how deceits were gilded in his smiling, Knew vows were ever brokers, to defiling, A LOVER'S COMPLAINT \ IS 1 Thought characters and words merely but art* And bastards of his foul adulterate heart. 4 And long upon these terms I held my city, Till thus he gan besiege me 44 Gentle maid, Have of my suffering youth some feeling pity, And be not of my holy vows afraid : That ’s to ye sworn to none was ever said ; For feasts of love I have been call’d unto, Till now did ne’er invite, nor never woo. 4 44 All my offences that abroad you see Are errors of the blood, none of the mind ; Love made them not: with acture they may be, Where neither party is nor true nor kind. They sought their shame that so their shame did find; And so much less of shame in me remains, By how much of me their reproach contains. 4 44 Among the many that mine eyes have seen, 190 Not one whose flame my heart so much as warm’d, Or my affection put to the smallest teen, Or any of my leisures ever charm’d ; Harm have I done to them but ne’er was harm’d ; Kept hearts in liveries but mine own was free, And reign’d, commanding in his monarchy. 4 44 Look here, what tributes wounded fancies sent me, Of paled pearls and rubies red as. blood ; Figuring that they their passions likewise lent me Of grief and blushes, aptly understood *200 In bloodless white and the encrimson’d mood ; Effects of terror and dear modesty, Encamp’d in hearts, but fighting outwardly. 4 44 And, lo, behold these talents of their hair, With twisted metal amorously impleach’d, I have receiv’d from many a several fair, SHAKESPEARE'S POEMS . *52 Their kind acceptance weepingly beseech’d, With the annexions of fair gems enrich’d, And deep-brain’d sonnets that did amplify Each stone’s dear nature, worth, and quality. 210 ‘ “ The diamond,— why, ’t was beautiful and hard, Whereto his invis’d properties did tend ; The deep-green emerald, in whose fresh regard Weak sights their sickly radiance do amend ; The heaven-hued sapphire and the opal blend With objects manifold : each several stone, With wit well blazon’d, smil’d or made some moan. 4 “ Lo, all these trophies of affections hot, Of pensiv’d and subdued desires the tender, Nature hath charg’d me that I hoard them not, 220 But yield them up where I myself must render, That is, to you, my origin and ender ; For these, of force, must your oblations be, Since I their altar, you enpatron me. 4 44 O, then, advance of yours that phraseless hand, Whose white weighs down the airy scale of praise; Take all these similes to your own command, Hallow’d with sighs that burning lungs did raise : What me your minister, for you obeys, Works under you; and to your audit comes 230 Their distract parcels in combined sums. 4 44 Lo, this device was sent me from a nun, A sister sanctified, of holiest note, Which late her noble suit in court did shun, Whose rarest havings made the blossoms dote ; For she was sought by spirits of richest coat, But kept cold distance, and did thence remove, To spend her living in eternal love. A LOVER'S COMPLAINT, \ T 53 ( “ But, O my sweet, what labour is ’t to leave The thing we have not, mastering what not strives, 240 Paling the place which did no form receive, Playing patient sports in unconstrained gyves? She that her fame so to herself contrives, The scars of battle scapeth by the flight, And makes her absence valiant, not her might. ‘ “ O, pardon me, in that my boast is true; The accident which brought me to her eye Upon the moment did her force subdue, And now she would the caged cloister fly: Religious love put out Religion’s eye; 250 Not to be tempted, would she be immur’d, And now, to tempt, all liberty procur’d. iU How mighty then you are, O, hear me tell ! The broken bosoms that to me belong Have emptied all their fountains in my well, And mine I pour your ocean all among ; I strong o’er them, and you o’er me being strong, Must for your victory us all congest, As compound love to physic your cold breast. ‘ “ My parts had power to charm a sacred nun, 260 Who, disciplin’d, ay, dieted in grace, Believ’d her eyes when they to assail begun, All v.ows and consecrations giving place; O most potential love ! vow, bond, nor space, In thee hath neither sting, knot, nor confine, For thou art all, and all things else are thine. ‘ “ When thou impressest, what are precepts worth Of stale example ? When thou wilt inflame, How coldly those impediments stand forth Of wealth, of filial fear, law, kindred, fame ! 270 Love’s arms are proof, ’gainst rule, ’gainst sense, ’gainst shame, SI/A KESPEA RE'S POEMS. r S4 And sweetens, in the suffering pangs it bears, The aloes of all forces, shocks, and fears. Now all these hearts that do on mine depend, Feeling it break, with bleeding groans they pine ; And supplicant their sighs to you extend, To leave the battery that you make 'gainst mine, Lending soft audience to my sweet design, And credent soul to that strong-bonded oath That shall prefer and undertake my troth." 4 This said, his watery eyes he did dismount, Whose sights till then were levell’d on my face; Each cheek a river running from a fount With brinish current downward flow’d apace : O, how the channel to the stream gave grace ! Who glaz’d with crystal gate the glowing roses That flame through water which their hue encloses. ‘ O father, what a hell of witchcraft lies In the small orb of one particular tear! But with the inundation of the eyes What rocky heart to water will not wear? What breast so cold that is not warmed here? O cleft effect ! cold modesty, hot wrath, Both fire from hence and chill extincture hath. ‘ For, lo, his passion, but an art of craft, Even there resolv’d my: reason into tears; There my white stole of chastity I daff’d, Shook off my sober guards and civil fears ; Appear to him, as he to me appears, All melting; though our drops this difference bore, His poison’d me, and mine did him restore. ‘In him a plenitude of subtle matter, Applied to cautels, all strange forms receives, Of burning blushes, or of weeping water, A LOVER'S COMPLAINT. *55 Or swooning paleness ; and he takes and leaves, In either’s aptness, as it best deceives, To blush at speeches rank, to weep at woes, Or to turn white and swoon at tragic shows : 4 That n6t a heart which in his level came Could s<^ape the hail of his all-hurting aim, 310 Showing fair nature is both kind and tame, And, veil’d in them, did win whom he would maim : Against the thing he sought he would exclaim; When he most burn’d in heart- wish’d luxury, He preach’d pure maid and prais’d cold chastity. ‘Thus merely with the garment of a Grace The naked and concealed fiend he cover’d ; That the unexperient gave the tempter place, Which like a cherubin above them hover’d. Who, young and simple, would not be so lover’d ? 32c Ay me ! I fell ; and yet do question make What I should do again for such a sake. ‘O, that infected moisture of his eye, O, that false fire which in his cheek so glow’d, O, that forc’d thunder from his heart did fly, O, that sad breath his spongy lungs bestow’d, O, all that borrow’d motion seeming owed, Would yet again betray the fore-betray’d, And new pervert a reconciled maid 1’ THE PASSIONATE PILGRIM. I. Sweet Cytherea, sitting by a brook With young Adonis, lovely, fresh, and green, Did court the lad with many a lovely look, Such looks as none could look but beauty’s queen. She told him stories to delight his ear; She show’d him favours to allure his eye ; To win his heart, she touch’d him here and there,— Touches so soft still conquer chastity. But whether unripe years did want conceit, Or he refus’d to take her figur’d proffer, 10 THE PASSIONATE PILGRIM, The tender nibbler would not touch the bait, But smile and jest at every gentle offer: Then fell she on her back, fair queen, and toward He rose and ran away — ah, fool too froward ! II. Scarce had the sun dried up the dewy morn, And scarce the herd gone to the hedge for shade, When Cytherea, all in love forlorn, A longing tarriance for Adonis made Under an osier growing by a brook, A brook where Adon us’d to cool his spleen : Hot was the day; she hotter that did. look For his approach, that often there had been. Anon he comes, and throws his mantle by, And stood stark naked on the brook’s green brim ; The sun look’d on the world with glorious eye, Yet not so wistly as this queen on him. He, spying her, bounc’d in, whereas he stood ; ‘ O Jove,’ quoth she , 4 why was not I a flood !’ III. Fair was the morn when the fair queen of love, * # * # * Paler for sorrow than her milk-white dove, For Adon’s sake, a youngster proud and wild. Her stand she takes upon a steep-up hill: Anon Adonis comes with horn and hounds ; She, silly queen, with more than love’s good will, Forbade the boy he should not pass those grounds. ‘Once,’ quoth she, ‘did I see a fair sweet youth Here in these brakes deep-wounded with a boar, Deep in the thigh, a spectacle of ruth ! See, in my thigh,’ quoth she, ‘ here was the sore.’ She showed hers ; he saw more wounds than one, And blushing fled, and left her all alone. 153 SHAKESPEARE'S POEMS. IV. Fair is my love, but not so fair as fickle ; Mild as a dove, but neither true nor trusty ; Brighter than glass, and yet, as glass is, brittle ; Softer than wax, and yet, as iron, rusty : A lily pale, with damask dye to grace her, None fairer, nor none falser to deface her. Her lips to mine how often hath she joined, Between each kiss her oaths of true love swearing ! How many tales to please me hath she coined, Dreading my love, the loss thereof still fearing ! io Yet in the midst of all her pure protestings, Her faith, her oaths, her tears, and all were jestings. She burn’d with love, as straw with fire flameth ; She burn’d out love, as soon as straw out-burneth ; She fram’d the love, and yet she foil’d the framing; She bade love last, and yet she fell a-turning. Was this a lover, or a lecher whether? Bad in the best, though excellent in neither. V. Sweet rose, fair flower, untimely pluck’d, soon vaded, Pluck’d in the bud, and vaded in the spring ! Bright orient pearl, alack, too timely shaded ! Fair creature, kill’d too soon by death’s sharp sting! Like a green plum that hangs upon a tree, And falls, through wind, before the fall should be. I weep for thee, and yet no cause I have ; For why, thou left’st me nothing in thy will : And yet thou left’st me more than I did crave ; For why, I craved nothing of thee still : io O yes, dear friend, I pardon crave of thee, Thy discontent thou didst bequeath to me. THE PASSIONATE PILGRIM. VI. Crabbed age and youth cannot live together : Youth is full of pleasance, age is full of care; Youth like summer morn, age like winter weather; Youth like summer brave, age like winter bare. Youth is full of sport, age’s breath is short; Youth is nimble, age is lame; Youth is hot and bold, age is weak and cold ; Youth is wild, and age is tame. Age, I do abhor thee ; youth, I do adore thee ; O, my love, my love is young ! Age, I do defy thee : O, sweet shepherd, hie thee, For methinks thou stay’st too long. VII. Beauty is but a vain and doubtful good ; A shining gloss that vadeth suddenly; A flower that dies when first it gins to bud ; A brittle glass that’s broken presently: A doubtful good, a gloss, a glass, a flower, Lost, vaded, broken, dead within an hour. And as goods lost are seld or never found, As vaded gloss no rubbing will refresh, As flowers dead lie wither’d on the ground, As broken glass no cement can redress, So beauty blemish’d once ’s for ever lost, In spite of physic, painting, pain, and cost. VIII. Good night, good rest. Ah, neither be my share; She bade good night that kept my rest away, And daffd me to a cabin hang’d with care, To descant on the doubts of my decay. 4 Farewell,’ quoth she, 4 and come again to-morrow Fare well I could not, for I supp’d with sorrow. SHAKESPEARE'S POEMS . Yet at my parting sweetly did she smile, In scorn or friendship, nill I construe whether; ’T may be, she joy’d to jest at my exile, ’T may be, again to make me wander thither: io ‘ Wander,’ a word for shadows like myself, As take the pain, but cannot pluck the pelf. Lord, how mine eyes throw gazes to the east! My heart doth charge the watch; the morning rise Doth cite each moving sense from idle rest. Not daring trust the office of mine eyes, While Philomela sits and sings, I sit and mark, And wish her lays were tuned like the lark ; For she doth welcome daylight with her ditty, And drives away dark dismal-dreaming night: 20 The night so pack’d, I post unto my pretty; Heart hath his hope, and eyes their wished sight; Sorrow chang’d to solace, solace mix’d with sorrow; For why, she sigh’d and bade me come to-morrow. Were I with her, the night would post too soon ; But now are minutes added to the hours ; To spite me now, each minute seems a moon; Yet not for me, shine sun to succour flowers! Pack night, peep day; good day, of night now bor- row ; Short, night, to-night, and length thyself to-morrow. 30 IX. Whenas thine eye hath chose the dame, And stall’d the deer that thou shouldst strike, Let reason rule things worthy blame, As well as partial fancy like ; Take counsel of some wiser head, Neither too young nor yet unwed. THE PASSIONATE PILGRIM. And when thou com’st thy tale to tell, Smooth not thy tongue with filed talk, Lest she some subtle practice smell, — A cripple soon can find a halt; — But plainly say thou lov’st her well, And set her person forth to sell. What though her frowning brows be bent, Her cloudy looks will clear ere night; And then too late she will repent That thus dissembled her delight, And twice desire, ere it be day, That which with scorn she put away. What though she strive to try her strength^ And ban and brawl, and say thee nay, Her feeble force will yield at length, When craft hath taught her thus to say, ‘ Had women been so strong as men, In faith, you had not. had it then.’ And to her will frame all thy ways ; Spare not to spend, and chiefly there Where thy desert may merit praise, By ringing in thy lady’s ear : The strongest castle, tower, and town, The golden bullet beats it down. Serve always with assured trust, And in thy suit be humble-true ; Unless thy lady prove unjust, Press never thou to choose anew: When time shall serve, be thou not slack To proffer, though she put thee back. The wiles and guiles that women work, Dissembled with an outward show, The tricks and toys that in them lurk, THE PHOENIX AND THE TURTLE. Let the bird of loudest lay, On the sole Arabian tree, Herald sad and trumpet be, To whose sound chaste wings obey. But thou shrieking harbinger, Foul precurrer of the fiend, Augur of the fever’s end, To this troop come thou not near! From this session interdict Every fowl of tyrant wing, Save the eagle, feather’d king ; Keep the obsequy so strict. 164 SHAKESPEARE'S POEMS. Let the priest in surplice white, That defunctive music can, Be the death-divining swan, Lest the requiem lack his right. And thou treble-dated crow, That thy sable gender mak’st With the breath thou giv’st and tak’st, ’Mongst our mourners shalt thou go. Here the anthem doth commence: Love and constancy is dead ; Phoenix and the turtle fled In a mutual flame from hence. So they lov’d, as love in twain Had the essence but in one ; Two distincts, division none : Number there in love was slain. Hearts remote, yet not asunder ; Distance, and no space was seen ’Twixt the turtle and his queen : But in them it were a wonder. So between them love did shine That the turtle saw his right Flaming in the phoenix’ sight ; Either was the other’s mine. Property was thus appall’d, That the self was not the same ; Single nature’s double name Neither two nor one was call’d. Reason, in itself confounded, Saw division grow together, To themselves yet either neither, Simple were so well compounded, THE PHCEXrX AND THE TURTLE. i6 5 That it cried, How true a twain Seemeth this concordant one! Love hath reason, reason none, If what parts can so remain. Whereupon it made this threne To the phoenix and the dove, 5 o Co supremes and stars of love, As chorus to their tragic scene. THRENOS. Beauty, truth, and rarity, Grace in all simplicity, Here enclos’d in cinders lie. Death is now the phoenix’ nest; And the turtle’s loyal breast To eternity doth rest, Leaving no posterity: ’T was not their infirmity, 60 It was married chastity. Truth may seem, but cannot be; Beauty brag, but ’t is not she ; Truth and beauty buried be. To this urn let those repair That are either true or fair ; For these dead birds sigh a prayer. ABBREVIATIONS USED IN THE NOTES. Abbott (or Gr.), Abbott’s Shakespearian Grammar (third edition). A. S., Anglo-Saxon. A. V., Authorized Version of the Bible (1611). B. and F., Beaumont and Fletcher. B. J., Ben Jonson. Camb. ed., “ Cambridge edition” of Shakespeare, edited by Clark and Wright. Cf. {confer), compare. Coll., Collier (second edition). D., Dyce (second edition). Et al., and other eds. (that is, following or later ones). H., Hudson (“Harvard” edition). Halliwell, J. O. Halliwell (folio ed. of Shakespeare). Id. {idem), the same. K., Knight (second edition). Nares, Glossary , edited by Halliwell and Wright (London, 1859). Prol., Prologue. S., Shakespeare. Schmidt, A. Schmidt’s Shakespeare- Lexicon (Berlin, 1874). Sr., Singer. St., Staunton. Theo. , Theobald. W., R. Grant White. Walker, Wm. Sidney Walker’s Critical Examination of the Text of Shakespeare (London, i860). Warb., Warburton. Wb., Webster’s Dictionary (revised quarto edition of 1879). Wore., Worcester’s Dictionary (quarto edition). The abbreviations of the names of Shakespeare’s Plays will be readily understood; as T. Al. for Twelfth Night, Cor. for Coriolanus, 3 Hen. VI. for The Third Part of King Henry the Sixth, etc. P. P. refers to The Passionate Pilgrim ; V. and A. to Venus and Adonis ; L. C. to Lover* s Complaint ; and Sonn. to the Sonnets. When the abbreviation of the name of a play is followed by a reference to page, Rolfe’s edition of the play is meant. The numbers of the lines (except for The Passionate Pilgrim) are those of the “ Globe ”ed. NOTES THE FLIGHT OF TARQUIN. VENUS AND ADONIS. * The Early Editions. — Richard Field, the printer of the first ed. (see p. 9 above) was a native of Stratford, and the son of the Henry Field whose goods John Shakespeare was employed to value in 1592. He adopted the device of an anchor, with the motto “Anchora spei,” because they had been used by his father-in-law, Thomas Vautrollier, a celebrated and learned printer, who resided in Blackfriars, and to whose business, at his death in 1589, Field succeeded. The poem was licensed by the Archbishop of Canterbury (Whitgift), and entered in the Stationers’ Register, April 18, 1 593* The second edition, likewise printed and published by Field, must have been brought out early in 1594, as the transfer of the copyright NOTES . 170 from Field to Harrison is recorded as having taken place on the 25th of June in that year. The third edition was printed by Field, though published by Harrison, and must have appeared before June, 1596, when Harrison transferred the copyright to Leake. It is probable that there were editions between this of 1596 and that of !599* The poem had evidently been very popular, and it would be strange if Leake did not issue an edition until three years after he had secured the copyright. When we consider that of the 1st, 4th, 5th, and 10th* eds. only single copies have come down to our day, of the 3d, 6th, and 9th, only two copies each, and of the 2d only three copies, it is not unreasonable to suppose that of some editions not a single copy has sur- vived. It is also probable that there were editions between 1602 and 1627, when the poem was reprinted in Edinburgh. It has been suggested that the book may have fallen under the ban of the Privy Council. A decree of the Star Chamber, dated June 23, 1585, gave unlimited power to the ecclesiastical authorities to seize and de- stroy whatever books they thought proper. A notable instance of this interference with books already printed occurred in 1599, at Stationers’ Hall, when a number of objectionable works were burned, and special admonitions given then and there to the printers, some of the most em- inent of the time, and among them our friend Richard Field (Edmonds). That the poem was considered somewhat objectionable even in that day is evident from certain contemporaneous references to it. Halliwell ( Outlines , etc., p. 221) quotes A Mad World my Masters, 1608 : “ I have convay’d away all her wanton pamphlets, as Hero and Leander, Venus and Adonis ;” and Sir John Davies, who in his Papers Complaint (found in his Scourge of Folly , 1610) makes “Paper” admit the superlative ex- cellence of Shakespeare’s poem, but at the same time censure its being “attired in such bawdy geare.” It is also stated that “ the coyest dames in private read it for their closset-games.” In The Dumbe Knight, 1608, the lawyer’s clerk refers to it as “maides philosophic;” and the stanza beginning with line 229 is quoted both in that play and in Heywood’s hay re Mayde of the Exchange, 1607. The Dedication. — For the Earl of Southampton, see p. 36, foot- note, above. For a much fuller account, with the many poetical trib- utes paid him, see the Var. of 1821, vol. xx. pp. 427-468. 8. Ear. Plough, till. See Rich. II. p. 192. 10. Your honour. Your lordship. Cf. T. of A. p. 137. Venus and Adonis.— 3. Rose-cheek\i Adonis. Marlowe applies the same epithet to the youth in his Hero and Leander : “The men of wealthy Sestos every year. For his sake whom their goddess held so dear, Rose-cheek’ d Adonis, kept a solemn feast.” * This is true of both the ed. known to have been published in 1630 and the one in the Bodleian ascribed to that year. VENUS AND ADONIS . 171 6. dins. H. and some others print “’gins but see Macb. p. 153. 9. Stain to all nymphs. That is, by eclipsing them. Cf. 1 Hen. VI iv. 1. 45. ic. Doves or roses. Farmer conjectures “and” for or ; but the latter is doubtless what S. wrote. 11. With herself at strife. Cf. 291 below. See also T. of A. p. 135, note on 39. 16. Honey. For the adjective use, cf. 452 and 538 below. 19. Satiety. The first four eds. * and the 10th have “sacietie.” 20. Famish them, etc. Cf. A. and C. ii. 2. 241 : “ Other women cloy The appetites they feed; but she makes hungry Where most she satisfies.” 25. His sweating palm. Steevens quotes A. and C. i. 2. 53 : “Nay, if an oily palm be not a fruitful prognostication,” etc. See also 143 below, and Oth. iii. 4. 36 fol. 26. Pith. Vigour. Cf. Hen . V. p. 162. 32. Her other. The 5th and later eds. have “the other.” 40. Prove. Try ; as in 608 below. 53. Miss. Misbehaviour. Malone and others print “’miss.” 54. Murthers. The 1st, 2d, 3d, and 4th eds. have “murthers,” the others “smothers.” 55. Empty eagle. We have the same expression in 2 Hen. VI. iii. 1. 248 and 3 Hen. VI. i. I. 268. 56. Tires. Tears and feeds ravenously upon. Cf. Cymb. p. 195. 61. Forc'd to content. “ Forced to content himself in a situation from which he had no means of escaping” (Steevens). 62. Breatheth. The reading of the first three eds. ; “ breathing ” in the 4th and the rest. 66. Such distilling. Walker would read “such-distilling.” 71. Rank. Exuberant, high. Cf. the use of the noun in K. John , v. 4. 54 : “ And, like a bated and retired flood, Leaving our rankness and irregular course, Stoop low within those bounds we have o’erlook'd.’* 76. Ashy-pale. Malone at first made this refer to Adonis, but subse- quently saw that it goes with anger. 78. More. Cf. R. of L. 332 : “ A more rejoicing,” etc. Gr. 17. 82. Take truce. Make peace. Cf. K. John, iii. 1. 17 : “ With my vex'd spirits I cannot take a truce,” etc. The 4th ed. has “ takes truce.” * The 4th of the early eds., or that of 1599 (see p 10 above) is not collated in the Camb. ed. or any other ed. known to us. We have had the opportunity of consulting the fac-simile reprint in the Harvard library, and have noted all the variations that seem worth mentioning in an edition like this. For misprints not found in any other early ed. (or at least not recorded in the Camb. ed.) see on 82, 313, 350, 365, 506, 655, 700, 704, 754, 868, 901, 969, 1002, 1073, 1136, 1143, 1168, etc. Of course the 5th ed. of our numbering is the 4th of the Camb. ed., our 6th is their 5th, and so on. The dated ed. of 1630 (see p. 11 above) is not collated in any ed., and has not been reprinted. We have therefore omitted it in the numbering of the early eds. For the readings of all these eds. except the \th we have depended on the Camb. ed. 172 NOTES. 90. Winks. Shuts his eyes ; as in 12 1 below. 91. Passenger. Wayfarer ; the only sense in S. Cf. 7 '. G. of V. iv. 1. 1, 72, v. 4. 15, etc. 94. Yet her. The reading of the first four eds. ; the rest have “ Yet in.” 97. I have been wooed , etc. For other allusions to the loves of Mars and Venus, see Temp. iv. 1. 98, A. and C. i. 5. 18, etc. 106. To toy. All the early eds., except the 1st and 2d, have “ To coy.” 109. He that overrul'd. For he = him, see Gr. 207. 1 18. In the ground. That is, on it. Cf. M. N. D. ii. 1. 85, etc. 1 19. There. Changed to “where” in the 4th and later eds. 123. There are. The reading of the 1st ed. ; “there be” in the rest, except the 10th, which has “they be.” 126. Nor knozv not. The 5th and later eds. read “ nor know they.” 133. Hard-favour d. Hard-featured, ill-looking ; as in 931 below. The hyphen in wrinkled-old is due to Malone. 134. I l l- nurtur'd. Ill-bred ; used again in 2 Hen . VI. i. 2. 42 : “ Pre- sumptuous dame, ill-nurtur’d Eleanor,” etc. 135. O'er-worn. Cf. Rich. III. i. 1. 81 : “The jealous, o’er-worn wid- ow,” etc. In 866 below, the word is used of time — spent. 140. Grey. Explained by Malone, H., and others as =blue; but see R. and J. p. 172. 142. Plump. The 4th ed. has “plumbe the 5th, 6th, 7th, 8th, and 10th (according to the Camb. ed.) have “plum.” 143. Moist hand. See on 25 above. 148. No footing seen. Malone quotes Temp. v. 1. 34 : “ And ye that on the sands with printless feet Do chase the ebbing Neptune,’ : etc. 149. Compact of fire. Cf. M. N. D. v. 1. 8 : “of imagination all com- pact A. Y. L. ii. 7. 5 : “compact of jars,” etc. 150. Not gross to sink , etc. Cf. C. of E. iii. 2. 52 : “Let Love, being light, be drowned if she sink ;” and see our ed. p. 128. 152. These. Changed to “the” in the 5th and following eds. 153. Doves. Cf. Temp. iv. 1. 94, where Venus is referred to as “dove- drawn.” See also 1190 below, and R.and J. p. 177. 160. Complain on. The 3d and subsequent eds. have “complain of.” See Gr. 181, and cf. 544 below. 1 6 1 . Narcissus. Cf. R. of L. 265 and A. and C. ii. 5. 96. 168. To themselves. For themselves alone, “ without producing fruit or benefiting mankind” (Malone). Cf. 1180 below. Wast. The 4th and later eds. have “wert.” 177. Titan. The sun ; as in T. and C. v. 10. 25, R. and J. ii. 3. 4, Cymb. iii. 4. 166, etc. Tired is explained by Boswell as —attired ; and Schmidt favours that explanation. Cf. L. L. L. iv. 2. 131 : “ the tired horse ;” and see our ed. p. 147. Coll, prints “ ’tired.” 1 81. Spright. Spirit. Ci. R. of L. 121. The word is often monosyl- labic when printed spirit . Gr. 463. 193. Chines but warm. “Affords only a natural and genial heat; it warms but it does not burn ” (Malone). VENUS AND ADONIS. 173 199. Obdurate. Accented on the second syllable, as elsewhere in S. Cf. R. of L. 429, M. of V. iv. 1. 8, etc. . , 203. Hard. The reading of the 1st ed. ; “bad” in all the rest. 204. Unkind. Leaving none of her kind , or race ; childless. Malone explains it as “ unnatural.” Cf. Lear, p. 176. 20Z Contemn me this. “ Contemptuously refuse this favour (Ma- lone) The 10th ed. has “thus” for this, and Steevens was inclined to that reading. “ Thus and kiss,” he says, “ correspond in sound as well as unlikely and quickly , adder and shudder, which we meet with aftei- wards.” J , . , . , 21 1. Lifeless. The early eds. have “liuelesse,” except the 4th, which has “ liueles.” „ • „ ■ „ . , 222. Intendments. Intentions. Cf. A. Y. L. p. 139* S. uses the woid four times, intention only twice. 229. Fondling. Darling ; used by S. only heie. 230. Pale. Enclosure ; as in C. of E. ii. 1. 100, etc. 231 A park. The 3d and following eds. have “the parke. 242. That. So that. Gr. 283. Cf. 599, 830, and 1 140 below. 247. These round* Changed in the 5th and later eds. to * those round. 237 .Remorse. Pity, tenderness. Cf. Tick. III. p. 221, note on 210. 272 Compass'd. Curved, arched. In T. and C. i. 2. 120, “compassed window ” = bow-window, and in T. of S. iv. 3. 140, “ compassed cape - round cape. , , . . . . . Stand is the reading of the first four eds. ; changed in the later ones to “stands.” Mane “as composed of many hairs” (Malone) is here used 3,s a. plural. 275. Scornfully glisters , Some editors follow Sewell in transposing these words. On glisters , see M. of V. p. 145. 277. Told. Counted; as in 520 below. Cf. Temp. p. 123. 27Q Leaps. Malone infers from the rhyme that the word was pro- nounced leps, as it still is in Ireland ; but it is hardly safe to draw an inference from a single rhyme. In Sonn. 128. 5, we have leap rhymed with reap. . T j y> 2S1. This I do. The 4th and later eds. have thus I do. 293. Round-hoof d, etc. See p. 3 2 above. . 296. Eve. Changed to “ eyes ” in the 5th and following eds. 301. Sometime. The 8th, 9th, 1 ith, and 12th eds. have Sometimes. The words were used by S. interchangeably. ... e 303. To bui the mind a base. To challenge the wind to a race. See Cvm b. p. 213, note on Base. 304. And whether. The early eds. have “ And where. Malone prints “ And whe’r.” See J. C. p. 1 28, note on Whe'r. Gr 466. 206. Who. The 10th ed. “ corrects this to which. See Gi. 264. 312. Embracements. Cf. 790 below. S. uses the word oftener than embrace (noun), though in this poem the latter is found three times (539, 81 1, 874), or as many times as in all his other woiks.^ 313. Malcontent . The 4th ed. has “male content. 314. Vails. Lowers ; as in 956 below. See M. of V. p. 128. 315. Buttock. Changed to the plural in the 4U1 and following eds. 319 * Goeth about . Attempts. Cf. R. of L. 412; and see M. A T . D. p. 177. 325. Chafing . The 4th, 5th, 7th, and 10th eds. have “chasing.” For chafe , see J. C. p. 13 1. 326. Banning. Cursing. Cf. 2 Hen . F 7 . iii. 2. 319: “to curse and ban,” etc. 334. Fire. A dissyllable; as not unfrequently. The first three eds. print it “fier;” as they do in 402 below, where it is a monosyllable. Sewell reads “doth oft.” 335. The hear? s attorney. That is, the tongue. Steevens aptly quotes Rich . Ill . iv. 4. 127 : “ Duchess ■ Why should calamity be full of words? ' Queen Elizabeth. Windy attorneys to their client woes,” etc. 343. Wistly. Wistfully; modifying came stealing, not view. Cf. R. of L. 1355: “wistly on him gaz’d,” etc. Schmidt makes it =*-* attentively, observingly, with scrutiny,” in both passages. 346. How white and red, etc. Steevens compares T. of S. iv. 5. 30 : “ Such war of white and red within her cheeks !” 350. Lowly. The 4th ed. has “slowly.” 352. Cheek. Made plural in the 5th and later eds. In the next line the 4th and the rest read “cheeks (or “ cheekes ”) reuiues” or “cheekes receiue;” and all eds. except the 1st have “tender” for tenderer. 359. His. Its. Gr. 228. The allusion is to the chorus , or interpreter, in a dumb-show, or pantomime. Cf. Ham. p. 228, note on Chorus. 365. And unwilling. The 4th ed. has “and willing.” 367. The engine of her thoughts . That is, her tongue. On engine, cf. T. G. of V. p. 140. 376. Grave. Engrave, impress. Schmidt makes it —“cut a little, wound slightly, graze.” 370. Thy heart my wound . “Thy heart wounded as mine is” (Ma- lone). 3 88. Suffer'd. That is, allowed to burn. Cf. 3 Hen. VI. iv. 8. 8 : “A little fire is quickly trodden out,- Which, being suffer’d, rivers cannot quench.” 397. Sees. The 2d, 3d, and 4th eds. have “ seekes.” In her naked bed, as H. takes the trouble to inform us, means “naked in her bed.” This rhetorical transference of an epithet is familiar to every schoolboy. Cf. “ idle bed ” [J. C. ii. 1. 1 17), “ lazy bed ” ( T and C. i. 3. 147), “ tired bed ” [Lear, i. 2. 13), etc. So sick bed, etc. 398. A whiter hue than white. Cf. Cymb. ii. 2. 14: “ How bravely thou becom’st thy bed, fresh lily, And whiter than the sheets!” and R. of L. 472 : “ Who o’er the white sheet peers her whiter chin.” 41 1. Owe. Own, possess. Cf. R. of L. 1803, etc. 424. Alarms. Alarums, attacks. The 5th and later eds. have “alarrne.” The 4th has “alarum.” 429. Mermaid. Siren ; the usual meaning in S. Cf. 777 below. 432. Ear's. Misprinted “Earths” in the 4th and later eds. VENUS AND ADONIS. *75 434. Divisible. Steevens conjectures “ invincible but, as Malone re- marks, “ an opposition is clearly intended between external beauty, of which the eye is the judge, and a melody of voice (which the poet calls inward beauty) striking not the sight, but the ear.” 436. Sensible. Endowed with sensibility, sensitive. Cf. L. L. L. p. 152. 443. Stillitory. Alembic, still ; used by S. only here. Malone, H., and others print “still’tory.” 447 Might. The reading of the 1st and 2d eds. ; “should in the rest. 448. And bid Suspicion , etc. Malone thinks that “ a bolder or happier personification than this” is hardly to be found in Shakespeare’s works ! 454. Wrack. The regular form of the word in S. Cf. the rhymes in 558 below, R. of L. 841, 965, etc. 456. Flaws. Sudden gusts, or “squalls.” Cf. Cor. p. 268, or Ham. P * 462.* Struck. Spelt “strucke,” “stroake,” “stroke,” and “stvooke” in the early eds. Cf. J. C. p. 14b (on Hath stricken ) and p. 160 (on Struck - en by many princes). Gr. 344. 466. Bankrupt. “ Bankrout,” “banckrout,” or “banquerout * in the. old eds. See R. and J. p. 187. H. adopts Walker’s plausible conject- ure of “ loss ” for love. 469. All amaz'd. The 4th and later eds. have “ in a maze.” 472. Fair fall , etc. May good luck befall, etc. Cf. K. John, p. 133. 482. Blue windows. That is, eyelids. See R. and J. p. 172, note on Grey eye. 484. Earth. All the early eds. except the 1st have “ world. 488. Shine. For the noun, cf. 728 below. See Per. p. 134. 490. Repine. The only instance of the noun in S. The verb occurs only three times. 492. Shone like the moon , etc. Malone compares L. L. L. iv. 3. 30 fol. 497. Annoy. For the noun, cf. 599 below, R. of L. 1 109, 1370, etc. 500. Shrewd. Evil. Cf. Hen. VIII. p. 202, or J. C. p. 145. 506. Their crimson liveries. Referring, of course, to the lips. The transition to verdure in the next line is curious, and the whole passage is a good example of the quaint “ conceits” of the time. I he allusion, as Malone remarks, is to the practice of strewing rooms with rue and other strong-smelling herbs as a means of preventing infection. The astrological allusion is also to be noted. Writ on death —predicted death by their horoscopes. The 4th ed. has “ neither ” for never. ' 51 1. Sweet seals. Cf. M. for M. iv. 1.6; and see our ed. p. 160. 515. Slips . A play on the word as applied to counterfeit coin. Cf. R. and J. p. 1 73, note on Gave us the counterfeit. 519. Touches. “ Kisses” in the 5th and following eds. 520. Told. Counted ; as in 277 above. 521. Say, for non-payment, etc. “The poet was thinking of a condi- tional bond’s becoming forfeited for non-payment ; in which case the en- tire penalty (usually the double of the principal sum lent by the obligee) was formerly recoverable at law” (Malone). 524. Strangeness. Bashful ness, reserve. Cf. 310 above. NOTES . 176 526. /vj. Or “small fry,” as we still say. Cf. A. W. iv. 3. 250, Mach . iv. 2. 84, etc. 529. The world's comforter . Cf, 799 below. 540. Incorporate. Cf. M. N. D. iii. 2. 208 : “As if our hands, our sides, voices, and minds, Had been incorporate. So we grew together,” etc. 544. Complain on. Cf. 1 60 above. 550. The insulter. The exulting victor ; the only instance of the noun in S. For insult— exult, cf. Sonn. 107. 12, 3 Hen. VI. i. 3. 14, etc. 565. With tempering . Cf. 2 Hen. IV. iv. 3. 140 : “ I have him alreadv tempering between my finger and my thumb, and shortly will I seal with him and see our ed. p, 189. 568. Leave. License. Cf. the play on the word in 3 Hen. VI. iii. 2, 34 : ‘ ‘ Ay, good leave have you ; for you will have leave Till youth take leave, and leave you to the crutch.” 570. Wooes. The 4th ed. has “woes.” 571. Had she then gave. Elsewhere S. has the participle given (usu- ally monosyllabic). It is a wonder that all the editors have let gave alone here. Cf. Gr. 343, 344. 574. Prickles . The 5th and later eds. have “pricks,” and “is it” for V is. 589. Pale. For the noun, cf. R. of L. 1512 and W. T. iv. 3. 4. 590. Like lawn , etc. Cf. R. of L. 258. 591. Cheek. Made plural in the 4th ed. et al. See on 352 above. 593. Hanging by. The 4th and later eds. have “hanging on.” 595. Lists of love. Steevens quotes Dryden, Don Sebastian : “The sprightly bridegroom on his wedding night More gladly enters not the lists of love.” 597. Prove. Experience. Cf. 608 below, and A. and C. i. 2. 33 : “You have seen and prov’d a fairer former fortune,” etc. 598. Manage. For the noun as applied to the training of a horse, see M. of V. p. 153. This is the only instance in S. of the verb similarly used. 599. That. So that. See on 242 above. For the allusion to Tanta- lus , cf. R. of L. 858. 600. Clip. Embrace. Cf. Oth. p, 192. 602. Pine. Starve. For the transitive use, cf. Rich. II. p. 210. 604. Helpless. Affording no help, or sustenance. Cf. R. of L. 1027 and 1056. See also Rich. III. p. 183. The allusion, as Malone notes, is to the celebrated picture of Zeuxis, mentioned by Pliny, in which some grapes were so well represented that birds came to peck them. Cf. Sir John Davies, Nosce Teipsum , 1599: “ And birds of grapes the cunning shadow peck.” 612. Withhold. Detain, restrain ; as in Rich. Ill iii. I. 3° ? etc. 615. Be advis'd. Take heed; as often. 616. Churlish boar. Cf. T. and C. i. 2. 21 : “ Churlish as the bear,” etc. 618. Mortal. Death-dealing ; as in 950 below. See also R. of L. 364, 724, etc. Schmidt takes it to be here —human. VENUS AN 1 ) ADONIS . i :i 619. Battle. Battalion, host Cf. Hen. V. p. 171. 624. Crooked. The Var. of 1821 has “cruel;” apparently accidental, as it is given without comment. 626. Proof. Defensive armour. Cf. Macb. p. I 55 > note 011 Lapp d in proof . , 632. Eyes pay. The early eds. have “eyes (or “eies ) paies (or «• paves ”) or “ eie (or “ eve ”) paies ” (or “ payes ”) ; corrected by Malone. Evne . The old plural, used for the sake of the rhyme, as in R. of L. 643 ,M. N. D. i. 1. 244, ii. 2. 99, iii. 2. 138, v. 1. 178, etc. In R. of L. 1229, it is not a rhyming word. , . . . 639. Within his danger. Cf. M. of V. iv. 1. 180 : “ You stand within his danger, do you not ?” T. N.v. 1. 87 : “for his sake Did I expose myself, pure for his love. Into the danger of this adverse town,” etc. 652. Kill , kill l The old English battle-cry in charging the enemy. Cf. Lear, iv. 6. 19 1, etc. . 655. Bate-breeding. Causing quarrel or contention. Cf. 2 Hen. IV. ii. 4. 271 : “breeds no bate with telling of discreet stories and see our vd. p. 1 71. The 4th ed. has “ bare-breeding.” 656. Canker. Canker-worm. See M. N. D. p. 150. love's tender spring— “ the tender bud of growing love” (Malone). Cf. C. of E. iii. 2.3: “ Even in the spring of love thy love-springs rot.” 657. Carry-tale. Used again in L. L. L. v. 2. 463: “Some carry- tale,” etc. 662. Angry-ckafing . Fretting with rage. The hyphen was inserted bv Malone. ' 668. Imagination. Metrically six syllables. Gr. 479. For tremble, the 3d and later eds. have “trembling.” 673. Uncouple. Set loose the hounds ; as in M. N. D. iv. 1. 112, etc. 677. Fearful. Full of fear, timorous. Cf. 927 below; and see J. C. p. 175, note on With fearful bravery. 680. Overshoot. The early eds. have “ ouer-shut ” or “ ouershut ;” corrected by D. (the conjecture of Steevens). 682. Cranks. Turns, winds. Cf. 1 Hen. IV. iii. 1. 98: “ See how this river comes me cranking in.” 683. Musits. Holes for creeping through. Cf. Two Noble Kinsmen , p. 175. 684. Amaze. Bewilder. Cf. K. John , p. 166. 694. Cold fault. Cold scent, loss of scent. Cf. T.ofS. ind. I. 20 : “ Saw’ st thou not, boy, how Silver made it good At the hedge-corner, in the coldest fault? I would not lose the dog for twenty pound.” See our ed. p. 1 26. 695. Spend their mouths. That is, bark ; a sportsman s expression. Cf. Hen. V. ii. 4. 70 : “for coward dogs Most spend their mouths when what they seem to threaten Runs far behind them.” M NOTES. 178 697. Wat. “ A familiar term among sportsmen for a hare ; why, does not appear. Perhaps for no better reason than Philip for a sparrow [cf. K. John , p. 137], Tom for a cat, and the like ” (Nares). 700. Their. The 4th ed. has “ with.” 703. Wretch. On the use of the word as a term of pity or tenderness, see Oth. p. 183. On this whole passage, see p. 20 fol. above. 704. Indenting. The 4th ed. has “ intending.” 705. Envious. Malicious. See Rich. JII. p. 187, or M. of V. p. 151. 712. Myself. The 4th and following eds. have “thy selfe.” 724. True men thieves. The 1st and 2d eds. have “ true-men theeves,” the 3d “rich-men theeve,” the rest “rich men theeves.” On the use cf true men in opposition to thieves , see I Hen. IV. pp. 160, 168. 726. Forsworn. “ That is, having broken her vow of virginity ” (Stee- vens). 734. Curious. Careful, elaborate. Cf. A. W. i. 2. 20 : “Frank Nature, rather curious than in haste, Hath well compos’d thee.” 736. Defeature. Deformity ; as in C. of E. ii. 1. 98 and v. 1. 299. 738. Mad. “ Sad ” in the 5th and later eds. 740. Wood. Mad, frantic. See I Hen. VI. p. 156, on Raging-wooa. 743. Imposthiimes. Abscesses. Cf. Ham. p. 245. 746. Fight. The 5th and following eds. have “sight and in 748 the 4th and the rest have “imperiall” for impartial. 751. Fruitless. Barren. Cf. M. N. D. i. I. 73 : “the cold fruitless moon,” etc. 754. Dearth. The 4th ed. has “ death.” 755. The lamp, etc. “Ye nuns and vestals, says Venus, imitate the example of the lamp, that profiteth mankind at the expense of its own oil.” (Malone). 760. Dark. The 4th and later eds. have “their.” 762. Sith. Since. See Cor. p. 236, note on Sithence. Cf. 1163 below. 766. Reaves. Bereaves. For the participle, still used in poetry, see 1 1 74 below. Cf. 2 Hen. VI. p. 177. 768. Use. Interest. See Much Ado, p. 133. 774. Treatise. Discourse, talk, tale. Cf. Much Ado, i. 1. 317 and Mach. v. 5. 12, the only other instances of the word in S. 777. Mermaid's. Siren’s. Cf. 429 above. 780. Closure. Enclosure; as in Sonn. 48. 11 and Rich. III. iii. 3. 11. In T. A . v. 3. 134 it is =close, conclusion. 787. Reprove. Disprove, confute; as in Much Ado, ii. 3. 241 : “’tis so ; I cannot reprove it,” etc. 795. Simple. Artless, guileless. 807. In sadness. In earnest. Cf. R. and f. p. 144. 808. Teen. Sorrow. See R. aiid J. p. 150, or 7'emp. p. 1 13. 813. Laujid. Lawn. The 4th and later eds. have “lawnes.” See 3 Hen. VI. p. 154. 825. Midrustful. Causing mistrust. See Gr. 3. VENUS AND ADONIS . 179 830. That . So that. See on 242 above. 833. Av me! Changed by H. to “Ah me!” which S. never uses. See M. N. D. p. 128. 837. Thrall. Enslaved. C f. R. of L. 725. For the noun, see Mach. p. 225. 840. A nszver. The plural may be explained either by the implied plu- ral in the collective choir or by “confusion of proximity” (Gr. 412). The 12th ed. has “answers.” 848. Idle sounds resembling parasites. That is, servilely echoing what she says, as the context shows. St. reads “ idle, sounds-resembling, par- asites. ” 849. Sh rill - tongued tapsters , etc. Cf. 1 Hen. IV. ii. 4, where Prince Henry amuses himself with the tapster Francis. 850. Wits. Theo. conjectured “ wights,” for the sake of the rhyme ; but parasites is spelled “parasits ” in the first three eds., and may have been intended to be so pronounced. See on 1001, 1002 below. But the rhyme of parasites and wits, is no worse than many in the poem. Cf., for instance, 449, 450, and 635, 636 above. 854. Cabinet. Poetically for nest, as cabin in 637 above for lair or den. 858. Seem burnished gold. Malone compares the opening lines of Sonn. 33. 865. Myrtle grove. It will be recollected that the myrtle was sacred to Venus. 866. Musing. Wondering. See K. John , p. 158, or Macb. p. 219. 868. For his hounds. The 4th ed. omits his. 869. Chant it. For the it, see Gr. 226. 870. Coasteth. Schmidt well explains the word : “ to steer, to sail not by the direct way but in sight of the coast, and as it were gropingly.” Cf. Hen. VIII. iii. 2. 38 : “The king in this perceives him, how he coasts And hedges his own way.” See our ed. p. 183. 873. Twine. The 1st and 2d eds. have “twin’d,” the 3d “twind,” and the 4th “ twinde ;” corrected in the 5th. 877. At a bay. The state of a chase when the game is driven to ex- tremity and turns against its pursuers. Cf. T. ofS.w. 2. 56, 1 Hen. VI. iv. 2. 52, etc. 884. Blunt. Rough, savage. See 3 Hen. VI. p. 163. 887. Curst. Snappish, fierce. Cf. W. T. iii. 3. 135 : “they [bears] are never curst but when they are hungry;” Much Ado , ii. I. 22 : “a curst cow,” etc. See also M. N. D. p. 167. 888. Cope him. Cope with him, encounter him. Cf. T. aitd C. i. 2. 34, ii. 3. 275, etc. 891. Who. For who used “to personify irrational antecedents” see Gr. 264. Cf. 956 and 1041 below. 892. Cold-pale. The hyphen is in the early eds. Ecstasy. Excitement. Cf. Macb. p. 21 1. i8o NOTES. 896. All dismay'd. The reading of the 1st and 2d eds.; “Sore dis- may’d ” in the rest. 899. For the second bids the 6th and some later eds. have “will’s.” 901. Bepainted. The 4th ed. has “be painted.” 907. Spleens. Passionate impulses. Cf. 1 Hen. IV. p. 161. 909. Mated. Bewildered, paralyzed. Cf. Macb. p. 247. 91 1. Respects. Considerations, thoughts ; as in L. L. L. v. 2. 792, etc. The 3d and later eds. have “ respect.” 912. In hand with. Taking in hand, undertaking. 930. Exclaims on. Cries out against. Cf. R. of L. 741, M. of V. iii. 2. 176, etc. 933. Worm. Serpent. See Cymb. p. 193, or Macb. p. 215. 947. Love's golden arrow , etc. Malone remarks that S. had probably in mind the old fable of Love and Death exchanging their arrows by mistake ; and he quotes Massinger, Virgin Martyr: “ Strange affection ! Cupid once more hath chang’d his darts with Death, And kills instead of giving life.” 956. Vail'd. Let fall. See on 314 above. 962. The tears. The 4th and following eds. have “ her teares ;” and in 968 “ which ” for who. 969. Passion labours. The 4th ed. has “ passions labour.” 975. Dire. The 4th ed. misprints “ drie,” which is repeated as “ dry ” in the 5th and 7th. The 10th has “ drie ” again. 988. Makes. “ Make ” in the 5th and following eds. 990. In likely. The reading of the 1st and 2d eds. The 3d and 4th have “ The likely,” and the rest “ With likely.” 993. All to naught. Good for nothing. Some print “all-to naught,” and others “all to-naught.” Cf. Per. p. 147, note on 17. 995. Clepes. Calls. See Macb. p. 209. 996. Imperious. “ Imperial ” (the reading of the 5th ed. et all). See Ham. p. 264. 998. Pardon me I felt. That is, that I felt. Some make pardon me parenthetical. 999. Whenas. When. See C. of E. p. 142. 1002. Decease. The early eds. have “ decesse,” “ deceass,” or “ de- ceasse.” See on 850 above. For my love's the 4th ed. has “thy loues.” 1004. Wreak'd. Revenged. Cf. R. and J. iii. 5. 102 and T. A. iv. 3. 51. See also the noun in Cor. iv. 5. 91, T. A. iv. 3. 33, etc. The 4th ed. prints “ Bewreakt.” 10 10. Suspect. For the noun, see Rich. III. p. 188. 1012. Insinuate with . Try to ingratiate herself with. Cf. A. Y. L. p. 201. 1013. Stories. For the verb, cf. R. of L. 106 and Cymb. i. 4. 34. 1021. Fond. Foolish ; the usual meaning in S. Cf. R. of L. 216, 1094, etc. 1027. Falcon. The reading of the 5th ed., and to be preferred on the whole to the plural of the earlier eds. 1037. His bloody view . Walker (followed by H.) conjectures “this” * for his. See Gr. 219. . VENUS AND ADONIS . 181 1038. Deep-dark. Hyphened in the first three eds. 1041. Who. See on 891 above. 1051. Light. The reading of the 1st and 2d eds. The 3d and 4th have “ night,” and the rest “ sight.” 1052. Trench'd. Gashed. See Macb. p. 214* d he 3d and 4th eds. have “drencht.” 1054. Was. The first four eds. have “ had ;” corrected in the 5th. 1059. Passions. Grieves. See V G. of V. p. 150. 1062. That they have wept till noiv. That is, that they have wasted their tears on inferior “hints of woe.” 1073. Eyes' red fire. The 1st and 2d eds. have “ eyes red fire,” the 3d has “eyes red as fire,” the 4th “eies as red as fire,” and the rest have “ eyes, as fire.” 1080. True-sweet. The hyphen was inserted by Malone. 1083. Fair. Beauty ; as in C. of E. ii. 1, 98, A. V. L. iii. 2. 99, etc. 1094. Fear. Frighten. See M. of V. p. 137, or K. fohn,p. 147. 1098. Silly. Innocent, helpless. Cf. R. of L. 167 : “ the silly lambs ; 3 Hen. VI. ii. 5. 43 : “silly sheep,” etc. See also V G. of V. p. 145* 1105. Urch in -snouted. With snout like that of a hedgehog. For urchin, cf. Temp. p. 1 19. 1 1 10. He thought to kiss him , etc. This conceit, as Malone notes, is found in the 30th Idyl of Theocritus, and in a Latin poem by Antonius Sebastianus Minturnus entitled De Adoni ab A pro Interempto : “iterum atque juro iterum, Formosum hunc juvenem tuum liaud volui Meis diripere his cupidinibus ; Verum dum specimen nitens video (Aestus impatiens tenella dabat Nuda femina mollibus zephyris), Ingens me miserum libido capit Mille suavia dulcia hinc capere, Atque me impulit ingens indomitus.'* Cf. Milton, Death of a Fair Infant : “ O fairest flower, no sooner blown but blasted I Soft silken primrose fading timelessly, Summer’s chief honour, if thou hadst outlasted Bleak Winter’s force that made thy blossom dry; For he, being amorous on that lovely dye That did thy cheek en vermeil, thought to kiss, But kill’d, alas! and then bewail’d his fatal bliss.” 1 1 13. Did not. All the eds. except the 1st have “ would not.” 1 1 15. Nuzzling. Thrusting his nose in ; the only instance of the word in S. It is spelled “ nousling” in all the early eds. 1120. Am /. The reading of the 1st and 2d eds. ; “ I am ” in the rest. 1125. Ears. The 4th and later eds. have “ear,” and in the next line “ he ” for they. 1128. Lies. For the singular, see Gr. 333. 1134. Thou. The 4th and following eds. have “you,” and in 1139 the 5th et al. have “ too high ” for but high. 182 NOTES. 1143. O'erstrazv'd. Overstrewn; used of course for the rhyme. The 4th ed. has “ ore-straw.” 1144. Truest. The reading of the first three eds. ; “sharpest” in the rest. 1148. Measures. P'or measure grave and formal dance, see Rich. II. p. 168. 1 15 1. Raging-mad and silly-mild. The hyphens were first inserted by Malone. 1157. Toward. Forward, eager. Cf. P. P. 13, T. of S. v. 2. 182, etc. For shows the 5th and later eds have “seems ” or “seemes.” 1 162. Combustions. Combustible ; used by S. nowhere else. 1163. Sith. See on 762 above. 1164. Loves. “Love” in the 4th and later eds. 1168. A purple flower. The anemone. The 4th ed. has “purpul’d.” 1174. Reft. See on 766 above. 1183. Here in. The reading of the 1st and 2d eds. ; “here is” in the rest. 1187. In an hour. The 5th and later eds. have “of” for in. 1190. Doves. See on 153 above. 1193. Paphos. A town in Cyprus, the chief seat of the worship of Venus. Cf. Temp. iv. 1. 93 and Per . iv. prol. 32. THE RAPE OF LUCRECE. The Dedication. — 2. Moiety. Often used by S. of a portion other than an exact half. See Ham. p. 174. 6. Would. The reading of the first three eds.; “should” in the rest. The Argument. — “This appears to have been written by Shake- speare, being prefixed to the original edition of 1594 ; and is a curiosity, this and the two dedications to the Earl of Southampton being the only prose compositions of our great poet (not in a dramatic form) now re- maining” (Malone). 3 .Requiring. Asking. Cf. Hen. VIII. ii. 4. 144 : “ In humblest man- ner I require your highness,” etc. 14. Disports. P'or the noun, cf. Oth. i. 3. 272, the only other instance in S. The Rape of Lucrece. — For the title, see p. 11 above. The Camb. editors give “ The Rape of Lucrece ” throughout. 1. Ardea. As D. notes, S. accents the word on the first syllable, as it should be. The Var. of 1821 and some other eds. have “besieg’d,” which requires “ Ardea.” In post. Cf. C. of E. i. 2. 63 : “I from my mistress come to you in post,” etc. We find “ in all post ” in Rich. III. iii. 5. 73. 3. Lust-breathed. Animated by lust. THE RAPE OF LUCRECE . 183 8. Unhappily. The early eds. have “ vnhap’ly ” or “ vnhaply,” except the 7th, which misprints “ unhappy.” . 9. Bateless. Not to be blunted. Cf. unbated in Ham. iv. 7. 139 and v. 2. 328. See also the verb bate in L. L. L. i. 1. 6. ... 10. Let. “ Forbear ” (Malone). Cf. 328 below, where it is = hinder. 14. Aspects. Accented on the first syllable, as regularly in S. Cf. 45 2 below. , . . .. ... „ 19. Such high-proud. The 5th, 6th, and 7th eds. have “so high a. 21. Peer. The reading of the 1st ed. ; “ prince ” in all the rest. 23. Done. Brought to an end, ruined. Cf. V. and A. 197, 749, A. W. ^'26^ Expir'd. Accented on the first syllable because preceding a noun so accented. Cf. unstain'd in 87, extreme in 230, supreme in 780, unfelt in 828, dispers'd in 1805, etc. The 5th, 6th, and 7th eds. have “ A date ex- pir’d : and canceld ere begun.” 37. Suggested. Incited, tempted. See Rich. II. p. 153, note on 101. 40. Braving compare. Challenging comparison. For the noun, cf. V. and A. 8, Sonn. 21. 5 > etc * ,, . . , , - A/r , 44. A ll-too-timeless. Too unseasonable ; first hyphened by Malone. 47. Liver. For the liver as the seat of sensual passion, cf. Temp. iv. 1. z6 M. W. ii. 1. 1.2 1, etc. For glows the 7th ed. has “growes.” 49. Blasts. For the intransitive use, cf. T. G.of V.i. I. 48 : “blasting in the bud.” , , . . . .. , 56. O'er. “ Ore ” or “ or’e ” in the early eds. Malone was inclined to take it as the noun ore “in the sense of or or got a." 58. Venus' doves. Cf. V. and A. 153 and 1190. 57. In that white intituled. Consisting in that whiteness, or taking its title from it (Steevens). . Trr .. . ... 0 ^ 63. Fence. Defend, guard ; as in 3 Hen. VI. 11. 6. 75, 111. 3. 98, etc. 72. Field. There is a kind of play upon the word in its heraldic sense and that of a field of battle. 71. War of lilies and of roses. Steevens compares Cor. 11. 1. 232 and V. and A. 345 ; and Malone adds T. of S.v. 2. 30. 82. That praise which Collatine doth owe. Malone and 0. make praise — object of praise, and owe - possess. This interpretation seems forced and inconsistent with the next line, which they do not explain. We pre- fer to take both praise and owe in the ordinary sense. For owe — pos- sess, see Rich. II. p. 204, and cf. 1803 below. ... , , 87. Unstain'd thoughts . The words are transposed in the 5th and later eds. # 88. Lim'd. Ensnared by bird-lime. Cf. Ham. p. 233. 89. Securely. Unsuspiciously. Cf. M. W. ii. 2. 252, K. John, 11. I. 374, etc. 92. For that he colour'd. For that inward ill he covered or disguised. 93 Plaits. That is, plaited robes. The old eds. spell it “pleats.” Boswell quotes Lear, i. 1. 183 : “Time shall unfold what plaited cunning hides.” These are the only instances of the words in S. 94. That. So that. See on V. and A. 242. For inordinate , cf. 1 Hen . IV. iii.2. 12 and Oth. ii. 3. 31 1. NOTES . i- 84 100. Purling. Speaking, significant. The verb occurs again m A / , L. v. 2. 122. & 102. Murgents . Margins. For other allusions to the practice of writ- ing explanations and comments in the margin of books, see M. N. D p. 142. 104. Moralize. Interpret Cf. T. of S. iv. 4. 81 : “Biondello. F aith, nothing ; but has left me here behind, to expound the meaning or moral of his signs and tokens. & Lucentio. I pray thee, moralize them.’* See also Rich. III. p. 209. 106. Stories. For the verb, cf. V. and A. 1013. 1 17. Mother. The 5th and later eds. change this to “sad source-” and stows in 1 19 to “shuts.” For stows, cf. Oth. i. 2. 62 : “where hast thou stow’d my daughter ?” 121. Intending. Pretending. See Rich. III. p. 215. For stright, see on V. and A. 181. * 122. Questioned. Talked, conversed. Cf. M. of V. iv. i. 70, etc. 125. Themselves betake. The Bodleian copy of 1st ed. (see p! 1 1 above) has himseife betakes,’ 7 and “wakes” in the next line ; and these are the readings in the Var. of 1821. * 33 ' Though death be adjunct. Cf. K. Joint , iii. 3. 57: “Though that mv death were adjunct to my act.” These are the only instances of adjunct in S. except Sonn. 91. 5. 135. For what, etc. The first four eds. have “That what,” etc., and die rest “That oft,” etc. The earliest reading may be explained after a fashion, as by Malone : “ Poetically speaking, they may be said to scat- ter what they have not , that is, what they cannot be truly said to have; what they do not enjoy, though possessed of it.” Malone compares Dan- iel, Rosamond : “As wedded widows, wanting what we have;” and the same author’s Cleopatra : “For what thou hast, thou still dost Iacke.” “ l am avaro deest quod habet, quam quod non habet ” is one of the sayings of Publius Syrus. But we have little hesitation in adopting Staunton’s conjecture of For what, etc., as do the Camb. editors (in the “Globe” ed.) and H. It is supported by the context: they scatter or spend what they have in trying to get what they have not, and so by hoping more they have but less. Bond must here be = ownership, or that which a bond claims or secures. The reading of the 5th ed. seems to be a clumsy attempt to mend the corruption of the 1st. 140. Bankrupt. Spelled “ backrout,” “ banckrout,” or “ bankrout ” in the early eds. See on V. and A. 466. 144. Gage. Stake, risk. 150. Ambitious foul. Walker would read “ambitious-foul.” ^ 160. Confounds. Ruins, destroys; as in 250, 1202, and 1489 below. Cf. confusion — ruin, in 1159 below. 164. Comfortable. Comforting. See Lear , p. 193, or Gr. 3. 167. Silly. See on V.and A. 1098. 168. JVakes. Malone and some others have “ wake.” See Gr. 336. 174. Too too. D. and H. print “ too-too.” See M. of V. p. 143. For retire as a noun, cf. 573 below. THE RAPE OF LUCRECE. 185 177. That. So that. See on 94 above. The 5th and following eds. have “doth” for do. 179. Lode-star, The preftrab e spelling. S. uses the word again in M, N. D. i. 1. 1S3. . . 0 , . _ 180. Advisedly. Deliberately; as in 1527 and 1816 below. 188. Naked. As Schmidt notes, there is a kind of play upon the word. Still-slaughtered (first hyphened by Malone) =ever killed but never dying. 196. Weed. Robe, garment. Cf. M. N. D. p. 149* 200. Fancy's. Love’s ; as often. See M. of V. p. 148. 202. Digression. Transgression ; as in L. L. L. i. 2. 12 1 (see our ed. P 206^ Some loathsome dash , etc. “ In the books of heraldry a particu- lar mark of disgrace is mentioned by which the escutcheons of those persons were anciently distinguished who ‘discourteously used a widow, maid, or wife, against her will ’ ” (Malone). 207. Fondly. Foolishly. Cf. the adjective in 216, 284, and 1094 be- low ; and see on V. and A. 1021. 208. That. So that; as in 94 and 177 above. Note = brand, stigma. See Rich. II. p. 151, note on 43. 217. Strucken . The early eds. have “stroke,” “stroken,” or “struck- en.” See on V. and A. 462. 221. Marriage. A trisyllable. See Per. p. 141, or T. of S. p. 152. 230. Extreme. For the accent, see on 26 above. 236. Quittal. Requital ; used by S. only here. Cf. quittance in 2 Hen. IV. i. 1. 108, Hen. V. ii. 2. 34, etc. 239. Ay , if. The first four eds. have “ I, if” (ay is regularly printed I in the early eds.) ; the rest have “ if once.” 244. Saw. Moral saying, maxim. Cf. Ham. p. 197. For the prac- tice of putting these saws on the pamted cloth or hangings of the poet’s time, see A. Y. L. p. 176, note on I answer you right painted cloth. 246. Disputation. Metrically five syllables. See on V. and A. 668. 258. Roses that on lawn , etc. Cf. V.*and A. 590. 260. How. The 5th and later ed; . have “ now.” 264. Cheer. Face, look. Cf. M. 424. Qualified. “Softened, abated, diminished” (Steevens). Cf. M. of V. iv. 1. 7, W. T. iv. 4. 543’ etc. 429. Obdurate. For the accent, see on V. and A. 199. 426*. Commends. “ Commits ” (Malone). 4^9. Breast. Made plural in the 5th and following eds. 448. Controlled. Restrained. Cf. 500, 678, and 1781 below. 4=a Taking Now used only colloquially in this sense. Cf. M. W. iii.3 491 : “What a taking was he in when your husband asked who * Wrapp'd. Involved, overwhelmed. H. reads “ rapt.” Cf. 636 be 4S8.* Winking. Shutting her eyes. See on V. and A. 90. 459. Antics. Fantastic appearances. The early eds. have antiques. See M. N. D. p. 179, note on Antique. 467. Bulk. Chest. Cf. Rich. III. p. 193- That = so that; as in 94, 177, and 208 above. . , c 471 Heartless . Without heart , or courage; as in 1392 below, bee also R. and J. i. i. 73 : “ heartless hinds.” These are the only instances ° f 472. ^ Petri Lets appear, shows. Elsewhere in S. peer is intransitive. 476*. Colour. Pretext. For the play on the word in the reply, cf. 2 Hen. IV. v. 5* 9 1 : . “ Falstaff. Sir, I will be as good as my word ; this that you heard was but a colour. Shallow. A colour that I fear you will die m, Sir John. ^493- / think, etc. “ I am aware that the honey is guarded with a sting” (Malone). 496 Only. For the transposition of the adverb, see Gr. 420. 497. On what he looks. That is, on what he looks on. See Gr. 394. coo. Affection's. Passion’s, lust’s. C i.W.T. p. 154. 502. Ensue. Follow ; as in Rich. II. ii. 1. 197 : “ Let not to-morrow, then, ensue to-day.” See also 1 Peter, iii. II. co6. Toiverin*. A technical term in falconry. See Mach. p. 203. Like may possibly be =w (cf. Per. p. 143), or there ma Y be ? “ confuslo “ of construction ” (see Gr. 415). H. adopts the former explanation, and gives the impression that like is “ repeatedly so used by S. 4 he fact is, that there is not a single clear instance of it in all his works- The two examples in Pericles are not in Ms part of the play ; and in M. JV. H. w. 1. 178 (the only other possible case of the kind) the reading is doubtful (see our ed. p. 177), and with either reading the passage may be pointed so as to avoid this awkward use of like. If S. had been willing to em- ploy it, he would probably have done so “ repeatedly ; but it seems to have been no part of his English. . 507. Coucheth. Causes to couch or cower. Cf. the intransitive use in A. W. iv. 1.24, etc. f 1 r 1 1 Falcon's bells. For the bells attached to the necks of tame fal- cons, cf. A. Y. L. iii. 3. 81 and 3 Hen. VI. i. 1. 47 (see our ed. p. 141). 522. Nameless. “ Because an illegitimate child has no name by inher- itance, being considered by the law as nullius films" (Malone). Ci. 1 . NOTES. 188 G. of V. iii. i. 321 : “bastard virtues, that indeed know not their fathers, and therefore have no names.” 530. Simple. Cf. A. Y. L. iv. 1. 16: “compounded of many simples,” etc. 531. A pure compound. The 5th and later eds. have “purest com- pounds.” In the next line, his — its. Pui'ified— rendered harmless. 534. Tender. Favour. It is often similarly used (= regard or treat kindly) ; as in T. G. of V. iv. 4. 145, C. of E. v. 1. 132, etc. 537. Wipe. Brand ; the only instance of the noun in S. For birth - hour's blot , cf. M. N. D. v. 1. 416 : “And the blots of Nature’s hand Shall not in their issue stand ; Never mole, hare-lip, nor scar, Nor mark prodigious, such as are Despised in nativity, Shall upon their children be.” 540. Cockatrice ’ dead-killing eye. For the fabled cockatrice, or basi- lisk, which was supposed to kill with a glance of its eye, see Hen. V. p. 183, note on The fatal balls. 543. Gripe's. Griffin’s (Steevens). The word is often =vulture ; as in Sidney’s Astrophel : “ Upon whose breast a fiercer gripe doth tire, Than did on him who first stole down the fire Ferrex and Porrex : “ Or cruel gripe to gnaw my growing harte,” etc. For allusions to the griffin, see M. N. D. ii. 1. 232 and 1 Hen. IV. iii. 1. 152. 547. But. The reading of all the early eds. Changed by Sewell to “ As,” and by Malone to “ Look.” Boswell explains the text thus : “ He knows no gentle right, but still her words delay him, as a gentle gust blows away a black-faced cloud.” 550. Blows. The early eds. have “blow;” corrected by Malone. 553. Winks. Shuts his eyes, sleeps. See on 458 above. For Orpheus , •cf. T. G. of V. iii. 2. 78, M. of V. v. 1. 80, Hen. VIII. iii. 1. 3, and T. A. ii. 4- 5 1 - 559. Plaining. Complaining. See Lear, p. 216, or Rich. II. p. 164. 565. His. Its ; as in 532 above. Steevens quotes M. N. D. v. 1. 96 : “ Make periods in the midst of sentences,” etc. 568. Conjures. The accent in S. is on either syllable without regard to the sense. Cf. M. N. D. p. 164. 569. Gentry. His gentle birth. Cf. W. T. i. 2. 393, Cor. iii. I. 144, etc. 576. Pretended. Intended ; as in T. G. of V. ii. 6. 37 : “ their pretend- ed flight,” etc. 579. Shoot. For the noun, cf. L. L. L. iv. 1. 10, 12, 26, 2 Hen. IV. iii. 2. 49, etc. Malone conjectures “suit,” with a play on the word, which was then pronounced shoot. See L. L. L. p. 144, note on 103. 580. Woodman. Huntsman. See M. W. p. 164. 581. Unseasonable. Cf. M. W. iii. 3. 169 ; and see our ed. p. 154, note on Of the season. 592. Convert. For the intransitive use, cf. 691 below. See also Rick. II. p. 210. For the rhyme, cf. Sonn. 14. 12, 17. 2, 49. 10, 72. 6, etc. THE RAPE OF LUCRECE. 189 c 9 $. At an iron gate . Even at the gates of a prison (Steevens). 607. Be remember' d. Remember, bear in mind. Cf. A. Y. L. p. 184, note on / am remember' d. . . , ..... 609. In clay. That is, even in their graves. 1 heir misdeeds will live after them. _ „ 615, 616. For princes are the glass , etc. For the arrangement, see Ham. p. 219, note on 15 1. . , . . 618 Lectures. Lessons. Elsewhere in S. read lectures^- give lessons, not receive them. Cf. A. Y. L. iii. 2. 365, T. of S. i. 2. 148, Cor. 11. 3. 243, etc. . 622. Laud. Cf. 887 below, 2 Hen. II . iv. 5* 2 3 ^j e ^ c * . 637. Askance . Turn aside; the only instance of the verb in b. Schmidt paraphrases the line thus: “who, in consequence of their own misdeeds, look with indifference on the offences of others.” 639. Lust , thy rash relier . “That is, lust which confides too rashly in thy present disposition and does not foresee its necessary change” (Schmidt). The 5th and following eds. have “reply” for relier. 640. Repeal. Recall. Cf. J. C. p. 157. 643. Eyne. See on V. and A. 632. The 5th and later eds. have “ eies ;” and in 649 “ pretty ” for petty. 646. Let. Hindrance ; as in 330 above. 6ci To his. The reading of the 1st and 2d eds. The 3d has to the,” and the others “ to this.” The 7th has also “ not thee ” for not his. 6«. Who. See on 388 above. 6S7- Puddle's. The reading of 1st, 2d, and 4th eds. ; the others have “puddle.” For hears'd the 5th and 6th have “ bersed,” and the 7th “ persed.” Hears'd is found also in M. of V. iii. I. 93 and Ham. 1. 4- 47 - 661. Thy fouler grave. H. points “ thy fouler, grave ;” and adds this strange note : “ Grave is here a verb, meaning to bury or be the death of” He seems to take the line to mean, Thou buriest their fair life, and they bury thy fouler life ; but how he would explain the former clause we cannot guess. Of course the meaning is, Thou art their fan: life — a repetition of the idea in they basely dignified. 678. Controll'd. See on 448 above. 680. Nightly. The 5th and 6th eds. misprint “ mighty. 684. Prone. Headlong. The 3d, 5th, 6th, and 7th eds. have “proud. 691. Converts. Changes. See on 592 above. 696. Balk. Disregard, neglect. Cf. Davies, Scourge of Folly, 1611 : “ Learn'd and judicious lord, if I should balke Thyne honor’d name, it being in my way, My muse unworthy were of such a walke, Where honors branches make it ever May. 698. Fares. The 5th and 6th eds. have “feares,”and in 706 “of reine” for or rein. 701. Conceit. Conception, thought. Cf. 1298 below. 703. His receipt. What he has received; as in Cor. i. 1. 116: “The discontented members, the mutinous parts That envied his receipt that is, the stomach’s. NOTES . 190 707. Till , like a jade, etc. Steevens aptly quotes Hen. VIII. i. 1. 132 : “Anger is like A full-hot horse, who being allow’d his way, Self-mettle tires him.” For jade (—a worthless or vicious horse), cf. V. and A. 391. 721. The spotted princess. The polluted soul. For spotted, cf. M. N. D. i. 1. no, Rich. II. iii. 2. 134, etc. 728. Forestall. Prevent; as in 2 Hen. IV. iv. 5. 141, etc. The 7th ed<> has “forest, all ;” as “presence” for prescience in 727, and “swear- ing” for sweating in 740. 733. Perplex'd. Bewildered, confounded. Cf. Oth. v. 2. 346 : “ Per- plex’d in the extreme,” etc. 741. Exclaiming on. Crying out against. Cf. V. and A. 930. 743. Convertite. Convert, penitent. The word is found also in A.. Y. L. v. 4. 190 and K. John , v. 1. 19. 747. Scapes . Transgressions; as in W. T. iii. 3. 73: “some scape,” etc. 752. Be. The 5th and later eds. have “ lie.” 766. Black stage. In the time of S. the stage was hung with black when tragedies were performed (Malone). Cf. 1 Hen. VI. p. 140, note on Hung be the heavens with black. 768. Defame. Cf. 817 and 1033 below. These are the only instances of the noun in S. 774. Proportion'd. “ Regular, orderly ” (Schmidt). 780. Supreme. For the accent, see on 26 above. 781. Arrive. For the transitive use, cf. J. C. i. 2. no, Cor. ii. 3. 189, etc. For dial-point, see R. and J. p. 175, note on Prick of noon. 782. Misty . The 1st and 2d eds. have “mustie ;” corrected in the 3d ed., which, however, misprints “ vapour ” for vapours. 783. In their smoky ranks his smother'd light. That is, his light smothered in their smoky ranks. Gr. 419^?. 786. Distain. The 5th and later eds. have “disdaine.” 791. Palmers \ Pilgrims’. See A. W. p. 161. 792. Where. Whereas. See L. L. L. p. 136, or Gr. 134. 805. Sepidchred. For the accent, see Lear , p. 210. 807. Character' d. For the accent, see Ham. p. 189. 81 1. Cipher. Decipher ; used by S. only here and in 207 and 1396 of this poem. 812. Quote. Note, observe. Cf. R. and J. p. 154. The word is spelled cote in the 1st and 2d eds. Cf. T. G. of V. p. 132. 817. Feast-finding. “Our ancient minstrels were the constant attend- ants on feasts” (Steevens). Their music of course made them welcome. 820. Senseless. Not sensible of the wrong done it. 828. Crest-wounding. Staining or disgracing the family crest or coat of arms. 830. Mot. Motto, or word, \ as it was sometimes called. See Per. p. 140. 841. Guilty. Malone reads “guiltless.” Sewell makes the line a ques- tion ; but, as Boswell says, Lucrece at first reproaches herself for hav- THE RAPE OF LUCRE CE. 191 ing received Tarquin’s visit, but instantly defends herself by saying that she did it out of respect to her husband. 848. Intrude. Invade ; not elsewhere transitive in S. 849. Cuckoos. For the allusion to the cuckoo’s laying its eggs in other birds’ nests, see the long note in 1 Hen. IV. p. 195. 851. Folly. “ Used, as in Scripture, for wickedness ” (Malone). Schmidt explains it as “inordinate desire, wantonness,” both here and in 556 above. Cf. Oth. v. 2. 132 : “ She turn’d to folly, and she was a whore ;” and see our ed. p. 206. 858. Still-pining. Ever-longing. Cf. “ still-vex’d ” {Temp. i. 2. 229), “ still-closing ” {Id. iii. 3. 64), etc. For Tantalus , see V. and A. 599. 859. Barns. Stores up ; the only instance of the verb in S. The 5th and later eds. have “bannes” or “bans.” 879. Point'' st. Appointest; but not to be printed “’point’st,” as by some editors. Cf. T. of S. p. 148. 884. Temperance . Chastity. Cf. A. and C. p. 201. 892. Smoothing. Flattering. See Rich. III. p. 188. The 5th and fol- lowing eds. have “ smothering.” 899. Sort. Sort out, select. Cf. T. G. of V. p. 144. 914. Appaid. Satisfied ; used by S. only here. 920. Shift. Trickery. Nares (s. v. Shifter) quotes Rich Cabinet fur- nished with Varietie of Excellent Descriptions , 1616 : “ Shifting doth many times incurre the indignitie of reproach, and to be counted a shifter is as if a man would say in plaine tearmes a coosener.” Cf. 930 below. 925. Copesmate. Companion ; used by S. nowhere else. 926. Grisly. Grim, terrible. Cf. 1 Hen. VI. p. 145. 928. Watch of woes. “ Divided and marked only by woes” (Schmidt). Cf. Mac b. p. 187, note on Whose howls his 7 vatch. 930. Injurious , shifting. St., D., and H. adopt Walker’s conjecture of “injurious-shifting but shifting may be —cozening, deceitful. See on 920 just above. 936. Fine. Explained by Malone as = soften, refine, and by Steevens as = bring to an end. The latter is on the whole to be preferred. 943. Wrong the wronger. That is, treat him as he treats others, make him suffer. Farmer would read “wring” for wi'ong. 944. Ruinate. Cf. Sonn. 10. 7 : “ Seeking that beauteous roof to ruin- ate,” etc. With thy hours. Steevens conjectures “with their bowers,” and Ma- lone was at first inclined to read “with his hours.” 948. To blot old books and alter their contents. As Malone remarks, S. little thought how the fate of his own compositions would come to illus- trate this line. 950. Cherish springs. That is, young shoots. Cf. V.and A. 656.. Warb. wanted to read “tarish” ( = dry up, from Fr. tarir) ; Heath conjectured “sere its;” and Johnson “perish.” 953. Beldam. Grandmother ; as in 1458 below. 962. Retiring. Returning ; as in T. and C. i. 3 - 281, etc. 981. Curled hair. “ A distinguishing characteristic of a person of rank” (Malone). Cf. Oth. p. 160, note on Curled. 192 NOTES. 985. Or/s. Scraps, remnants. Cf. T. and C. v. 2. 158 and T. of A. iv. 3. 400. 993. Unrecalling. Not to be recalled. See Gr. 372. For crime, the 4th and following eds. have “time.” 1001. Slanderous. Disgraceful; as in J. C. iv. 1. 20: “To ease our- selves of divers slanderous loads.” The office of executioner, or deaths- nian (cf. Lear, p. 248), was regarded as ignominious. 1016. Out. The 4th and following eds. have “Our.” 1021. Force not. Regard not, care not for. See L . L. L. p. 161. 1024. Uncheerful. The 4th and later eds. have “ unsearchfull.” 1027. Helpless. Unavailing; as in 1056 below. See on V. and A. 604. 1035. Afeard. Used by S. interchangeably with afraid. 1045. Mean. For the singular, see R. and J. p. 189. 1062. Graff. Graft. All the early eds. except the 1st and 2d have “grasse.” 1070. With my trespass never will dispense . That is, will never excuse it. Cf. 1279 and 1704 below. See C. ofE.p. 117, note on 103. 1079. Philomel. The nightingale. Cf. 1 128 below. ^ 1084. Cloudy. Cf. V. and A. 725. See also 1 Hen. IV. p. 180, note on Cloudy men. For shames— is ashamed, cf. 1143 below. 1092. Nought to do. That is, nothing to do with, no concern in. 1094. Fond. Foolish; as in 216 above. 1105. Sometime. The 4th and following eds. have “ sometimes.” The two forms are used indiscriminately. 1109. Annoy. See on V. and A. 497. 1 1 14. Ken. Sight. Cf. 2 Hen. VI. iii. 2. 1 13 : “losing ken of Al- bion’s wished coast,” etc. 1 1 19. Who. See on 388 above. 1124. Stops. Referring to the slops of musical instruments. Cf. Ham. iii. 2. 76, 376, 381, etc. 1 126. Relish your nimble notes to pleasing ears. Tune your lively notes for those who like to hear them. With pleasing cf. unrecalling in 993 above. 1127. Dumps. Mournful elegies. Cf. T. G. of V*. iii. 2. 85 : “Tune a deploring dump.” See also Much Ado, p. 137. 1128. Of ravishment. Referring to her being ravished by Tereus. See T. A. ii. 4. 26 fol. and iv. 1. 48 fol. 1132. Diapason. Used by S. only here. 1133. Burden-wise. As in the burden of a song. 1 134. Descant' st. Singest. For the noun, see T. G. of V. p. 125. Here the early eds. all have “descants.” See Gr. 340. Skill must be regarded as the direct object of descant' st, not governed by with understood, as Malone makes it, pointing “descant’st, better skill.” Ir 35 * Against a thorn. The nightingale was supposed to press her breast against a thorn while singing. See Two Noble Kinsmen, p. 179, note on 25. 1140. Frets. The stops that regulated the vibration of the strings in lutes, etc. See Ham. p. 230, or Much Ado, p. 144 (on A lute-string). 1142. And for. And because. PREFACE. Shakespeare’s Poem j have generally received less attention from editors and commentators than his plays, and in some editions they are omitted altogether. It has been my aim to treat them with the same thoroughness as the plays. All varies lectiones likely to be of interest to the student are recorded. The 1599 edition of Venus and Adonis is col- lated for the first time, so far as I am aware, though it was discovered some fifteen years ago. Certain of the recent editors do not appear to know of its existence. The text is given without expurgation. The Rape of Lucrece needs none, and the Venus and Adonis (like the sonnets on the same subject in The Passionate Pilgrim) does not admit of it without being mutilated past recognition. Of course these poems will never be read in schools or “Shakespeare clubs.” In The Passionate Pilgrim , the pieces which are certainly not Shake- speare’s are transferred from the text to the Notes. Most of the others are of doubtful authenticity, but I give Shakespeare the benefit— if bene- fit it be— of the doubt. A Lover's Complaint is generally conceded to be his; and The Phoenix and the Turtle has, I think, a better claim to be so regarded than anything in The Passionate Pilgrim . These points, however, are more fully discussed in the Notes. THE RAPE OF LUCRECE. *93 114^. Shaming. Being ashamed ; as in 1084 above. 1 144. Seated from the way. Situated out of the way. 1149 . At gaze. Staring about. 1160. Conclusion. Experiment. Cf. A. and C. p. 217. „ „ 1167. Peel'd. Here and in 1169 the early eds. have pil d, pdd, or “ pill’d and this last form might well enough be retained. Cf. Gen. XXX Tk7 ^o# 1186.’ Deprive. Take away ; as in 1752 below. See Ham. p. 195. 1202. Confound. Ruin ; as in 160 above. 12 03. Oversee. The overseer of a will was one who had a supervision of the executors. The poet, in his will, appoints John Hall and his wife as executors , and Thomas Russel and Francis Collins as overseers. In some old wills the term overseer is used instead of executor ( Malone). 1206. Overseen. Bewitched, as by the “evil eye. Cf. o erlooked in M. IV. v. S. 87 and M. of V. iii. 2. 15 (see our ed. p. 148). 1221. Sorts. Adapts, as if choosing or selecting. Cf. 899 above. See also 2 Hen. VI. p. 162. „ 0 , c n ' n r 1/ 1222. For why. Because ; as in P. P. 5. 8, 10, etc. See T. C. of V. p. 139, or Gr. 75. 1229. Eyne. See on 643 above. . . , 1211 Pretty. In this and similar expressions pretty may be explained as =“ moderately great” (Schmidt), or “suitable, sufficient, as some make it. Cf. R. and J. i. 3. 10 : “a pretty age,” etc. 1241. And therefore are they , etc. “ Hence do they (women) receive whatever impression their marble-hearted associates ( men ) choose (Malone). 1242. Strange kinds. Alien or foreign natures. 1244. Then call them not , etc. Malone compares T. N. n. 2. 30 : “How easy is it for the proper- false In women’s waxen hearts to set their forms ! Alas, our frailty is the cause, not we, For such as we are made of, such we be ; and M. for M. ii. 4 - * 3 ° : “ Women ! Help Heaven ! men their creation mar In profiting by them. Nay, call us ten times frail. For we are soft as our complexions are, And credulous to false prints.” 1247. Like a goodly. The 5th and 6th eds. have simply “ like a,” and the 7th reads “ like unto a.” . . 1254. No man inveigh. Let no man inveigh. All the eds. but the 1st have “ inveighs.” , 1257. Hild. For held , for the sake of the rhyme. The 5th and later eds. have “held.” Cf. Spenser, F. Q. iv. 11. 17 : 1 How can they all in this so narrow verse Contayned be, and in small compasse hild? ^ Let them record them that are better skild. 1258. Fulfill'd. Filled full. See T. and C. p. 162. 1261. Precedent. Example, illustration. 1263. Present. Instant ; as in 1307 below. N etc. ic;4 NOTES . 1269. Counterfeit. Likeness, image; as in M. of V. iii. 2. uc, Mach 11. 3. 81, etc. 1279* With the fault I thus far can dispense. See on 1070 above. 1298. Conceit. Conception, thought; as in 701 above. 1302. Inventions. Elsewhere used of thoughts expressed in writing • as 111 A. K L. iv. 3. 29, 34, T. N. v. 1. 341, etc. l 3 ? 5 ' Interprets. The figure here is taken from the old motion , or dumb-show, which was explained by an interpreter. CL T. of A p ik ( note on 35), or Ham. p. 228 (on 228). * 3 2 9 * Sounds. That is, waters (which may be deep , though not fath- omless). Malone conjectured “ floods.” 1335. Fowls. The 6th and 7th eds. have “soules ;” an easy misprint when the long s was in fashion. I 33 ^» Villain. Servant, bondman. Cf. Lear , p. 232. 4345 - Cod wot. God knows. Cf. Rich. III. ii. 3. 18: “no, no, good friends, God wot.” See our ed. p. 203. I 353 * That. So that ; as in 94 above. * 355 - Wistly. Wistfully. See on V. and A. 343. * 357 > 1358. Note the imperfect rhyme. 1368. The which. Referring to Troy. 1370. Cloud-kissing Ilion. Cf. T. and C. iv. 5. 220 : “ Yond towers whose wanton tops do buss the clouds,” etc. 1371. Conceited. Fanciful, imaginative. Cf. W. T. iv. 4. 204 : “ an admirable conceited fellow ;” L . C. 16: “conceited characters,” etc. 1372. As. That. Gr. 109. * 377 * Strife. That is, “his art with nature’s workmanship at strife” ( V . and A. 291). Cf. T. of A. i. 1. 37. v 1380. Pioneer. The early eds. have “pyoner” or “pioner.” See Ham. p. 198. Here the rhyme requires pioneer. 1384. Lust. Pleasure. Cf. T. and C. p. 200, note on 132. 1388. Triumphing. Accented on the second syllable ; as often. See Z. Z. Z. p. 148. 1400. Deep regard and smiling government. “ Profound wisdom and the complacency arising from the passions being under the command of reason ” (Malone) ; or deep thought and complacent self-control. For deep regard , cf. 277 above. 1407. Purl d. “ Curl’d ” (Steevens’s conjecture) ; used by S. only here. 1411. Mermaid. Siren. See on V.and A. 429. 3417. Pollen. Swollen; used by S. nowhere else. Cf. Chaucer, Black Knight , 101 : “Bollen hertes,” etc. The later form boiled occurs in Exod. ix. 31. 1418* Pelt. Probably =throw out angry words, be passionately clam- orous; as Malone, Nares, and Schmidt explain it. Cf. Wits, Fits , and Fancies: “all in a pelting chafe,” etc. The noun is also sometimes = a great rage ; as in The Unnatural Brother : “ which put her ladyship into a horrid pelt,” etc. 1422. Imaginary. Imaginative; as in Sonn. 27.9: “mv soul’s imag- inary sight,” etc. “ 1423. Kind. Natural. See Much Ado , p. 118. THE RAPE OF LUCRECE . J 95 1436. Strand. All the early eds. have “strond.” See I Hen . IV. p. 139 - 1440. Than. The old form of then, sometimes found in the early eds. (as in M. of V. ii. 2. 200, 3 Hen. VI. ii. 5. 9, etc.), here used for the sake of the rhyme. 1444. StelPd. Spelled “steld” in all the early eds., and probably = placed, fixed. Cf. Sonn. 24. 1 : “ Mine eye hath play’d the painter, and hath stell’d Thy beauty’s form in table of my heart.” In Lear, iii. 7. 61, we find “the stelled fires,” where stelled is commonly explained as derived from stella, though Schmidt may be right in making it = fixed, as here. K. and H. suspect that stell'd is “simply a poetical form of styled, that is, written or depicted as with a stilus or stylus 1449. Bleeding under Pyrrhus' proud foot. Cf. Ham. ii. 2. 474 fol. 1450. Anatomiz'd. “Laid open, shown distinctly” (Schmidt). Cf. A. Y. L. i. 1. 162, ii. 7. 56, A. W. iv. 3. 37, etc. 1452. Chaps. Spelled “chops” in all the early eds. except the 7th. Cf. chopt or chopped in A. Y. L. ii. 4. 50, 2 Hen. IV. iii. 2. 294, etc., and choppy in Mach. i. 3. 44. 1460. Ban. Curse ; as in V. and A. 326. 1479. Moe. More. See A. Y. L. p. 176. i486. Swowids. Swoons. All the early eds. have “sounds,” as the word was often spelled. 1488. Unadvised. Unintentional, inadvertent. Cf. T. G. of V. p. 149. 1489. Confounds. Destroys. See on 160 above. 1494. Oit ringing. A-ringing. See Gr. 180. His — its. 1496. Set a-work. See Ham. p. 21 1, or Gr. 24. 1499. Painting. All the early eds. except the 1st and 2d have “ painted.” 1500. Who. The reading of all the early eds. changed in some mod- ern ones to “ whom.” See Gr. 274. 1504. Blunt. Rude, rough. The 5th and later eds. have “ these blunt.” 1505. His woes. “That is, the woes suffered by Patience ” (Malone). Cf. T. N. ii. 4. 1 17 and Per. v. 1. 139. 1507. The harmless show. “The harmless painted figure ” (Malone). 15 1 1. Guilty instance. Token or evidence of guilt. For instance , see Much Ado, p. 135. 1521. Sinon. Cf. 3 Hen. VI. iii. 2. 190 and Cymb. iii. 4. 61. 1524. That. So that. See on 94 above. 1525. Stars shot from their fixed places. Cf. M. N. D. ii. 1. 1 53 : “ And certain stars shot madly from their spheres.” 1526. Their glass, etc. “Why Priam’s palace, however beautiful or magnificent, should be called the mirror in which the fixed stars beheld themselves, I do not see. The image is very quaint and far-fetched” (Malone). Boswell cites what Lydgate says of Priam’s palace : “That verely when so the sonne shone Upon the golde meynt among the stone, They gave a lyght withouten any were, As doth Apollo in his mid-day sphere.” 1527. Advisedly. Deliberately, attentively. NOTES. 196 1544. Beguil'd. Rendered deceptive or guileful. C f. gulled in M. of V. iii. 2. 97 ; and see Gr. 374. The early eds. have “armed to beguild ” (or “ beguil’d ”) ; corrected by Malone. 1 55 x * Bulls. Lets fall. Ct. M. N. D. p. 184, or y. C. p. 175. 1 555 * Effects- Outward manifestations or attributes. Cf. Lear, p. 171. Some make it —efficacies, powers, or faculties. r 5 ^ 5 * Unhappy. Mischievous, fatal, pernicious; as in C. of E. iv. 4. 127, Lear , iv. 6. 232, etc. I 57 ^- Which all this time. This (namely, time ) has passed unheeded by her during this interval that she has spent with painted images ; or which may perhaps refer to the slow passage of time just mentioned, and the meaning may be, This she has forgotten all the while that she has been looking at the pictures. H. says ; “ Which refers to time in the preceding stanza, and is the object of spent: Which that she hath spent with painted images, it hath all this time overslipped her thought.” This seems needlessly awkward and involved. 1588. Water-galls. The word is evidently used here simply as = rain- bows , to avoid the repetition of that word. Nares and Wb. define it as “a watery appearance in the sky, accompanying the rainbow;” accord- ing to others, it means the “secondary bow” of the rainbow (which H. speaks of as being “within” the primaiy bow). Halliwell ( Archaic Diet.) says: “I am told a second rainbow above the first is called in the Isle of Wight a watergeal. Carr has weather-gall , a secondary or broken rainbow.” P'or element— sky, see f. C. p. 140. 1589. To. In addition to. Gr. 185. 1592. Sod. The participle of seethe , used interchangeably with sodden. See L. L. L. p. 145. 1595. Both. The 5th and later eds. have “But.” 1598. Uncouth. Strange (literally, unknown). Cf. A. Y. L. ii. 6. 6: “this uncouth forest,” etc. 1600. Attir'd in discontent. Cf. Much Ado , iv. 1. 146: “so attir’d in wonder,” etc. 1604. Gives her sorrow fire. The metaphor is taken from the discharge of the old-fashioned fire-lock musket. Cf. T. G. of V. ii. 4. 38 : “ for you gave the fire.” 1606. Address'd. Prepared, ready. See J. C. p. 156. 1615. Moe. The reading of the first three eds. ; “more” in the rest. See on 1479 above. 1632. Hard favour' d. See on V. and A. 133. 1645. Adulterate. Cf. C. of E. ii. 2. 142, Ham. i. 5. 42, etc. 1661. Declin'd. All the eds. except the 1st have “inclin’d.” 1662. Wretched. Walker plausibly conjectures “wreathed.” Cf. T. G. of V. ii. 1. 19 : “ to wreathe your arms.” 1667. As through an arch , etc. Doubtless suggested by the tide rush- ing through the arches of Old London Bridge. See Cor . p. 271 (note on 47) and 2 Hen. IV. p. 29, foot-note. 1671. Recall'd in rage , etc. Farmer wished to read “recall’d, the rage being past.” THE RAPE OF LUCRECE. *97 1672. Make a saiu. The metaphor is quaint, but readily understood from the context. The noun saw is used by S. nowhere else, though handsaw occurs in 1 Hen . IV. ii. 4. 187 and Ham. ii. 2. 397. 1680. One woe. The 1st and 2d eds. have “on” for one , a common knelling. Cf. Two Noble Kinsmen , p. 164, note on 70. * 1691. Venge. Not ’ venge , as often printed. See Rich. II. p. 158. 1694. Knights , by their oaths , etc. Malone remarks : “ Here one of the laws of chivalry is somewhat prematurely introduced.” See T. and C. p. 174, note on 283. 1698. Bewray'd. Exposed, made known. Cf. Lear, p. 199. 1704. With the foul act dispense. See on 1070 above. 1705. Advance. Raise; opposed to lozv-declined. For advance = lift up, see Cor. p. 210. 1713. Caw'd in it. All the early eds. have “it in” for in it, except the 7th, which omits it. The correction is Malone’s. 1715. By my excuse , etc. Livy makes Lucretia say: “Ego me, etsi peccato absolvo, supplicio non libero ; nec ulla deinde impudica exem- plo Lucretiae vivet which Painter, in his novel (see p. 16 above) translates thus : “ As for my part, though I cleare my selfe of the offence, my body shall feel the punishment, for no unchaste or ill woman shall hereafter impute no dishonest act to Lucrece.” 1720. Assays. Attempts ; as in T. of A. iv. 3. 406, Ham. iii. 3. 69, etc. 1728. Spright. See on 121 above. 1730. Astonish'd. Astounded, thunderstruck. Cf. 2 Hen. VI. v. I. 146, etc. 1738. That. So that; as in 1764 below. See on 94 above. 1740. Vastly . “Like a waste” (Steevens) ; the only instance of the word in S. 1745. Rigol. Circle. See 2 Hen. IV. p. 193. 1752. Depriv'd. Taken away ; as in 1186 above. 1754. Unliv'd. Probably the poet’s own coinage, and used by him only here. 1760. Fair fresh. D. reads “fresh fair,” and St. and H. “fresh-fair.” 1765. Last. All the early eds. but the 1st and 2d have “hast,” and in the next line “ thou ” for they. 1766. Surcease. Cease ; as in Cor. iii. 2. 121 and R. and J. iv. 1. 97. 1774. Key-cold. Cf. Rich. III. i. 2. 5 : “ Poor key-cold figure of a holy _'.ing ;” and see our ed. p. 183. 1784. Thick . Fast. Cf. thick-coming in Mack . v. 3. 38. See also Cymb. p. 189, note on Speak thick. 1788. This windy tempest , etc. Cf. T. and C. p. 198 (note on 55), or 3 Hen. VI. p. 146 (note on 146). 1801. Too late. Too lately. Cf. 426 above and V. and A. 1026. See also Rich. III. p. 209. 1803. I owed her. She was mine. For owe — own, see Rich. II. p. 204, or K John, p. 141. 1805. Disperse . For the accent, see on 26 above. 1816. Advisedly. Deliberately. Cf. 180 and 1527 above. So advised — deliberate, in 1849 below. NOTES . 198 1819. Unsounded. Not sounded or understood hitherto. Cf. 2 Hen. VI. iii. 1. 57. 1822. Wounds help. Walker would read “ heal ” and St. “ salve ” for help. 1829. Relenting. The 5th and later eds. have “ lamenting.” 1832. Suffer these abominations, etc. That is, permit these abominable Tarquins to be chased, etc. 1839, Complain'd. Bewailed. For the transitive use, cf. Rich. II. p. 197. Or. 291. 1845. Allow. Approve. Cf. 2 Hen. IV. p. 185. 1851. Thorough. Used interchangeably with through. Cf. M. of V. p. 144, note on Throughfares. The 5th ed. has “ through out,” and the 7th “ throughout.” 1854. Plausibly. With applause or acclamations (Malone and Stee- vens) ; or “readily, willingly” (Schmidt). It is the only instance of the adverb in S. Plausible occurs only in M. for M. iii. 1. 253, where it is = pleased, willing. A LOVER’S COMPLAINT. For the feminine use of lover in the title, cf. A. Y. L. p. 181. 1. Re-worded. Compare Ham. iii. 4. 143: “I the matter will re- word.” 2. Sistering. We find the verb in Per . v. prol. 7 : “her art sisters the natural roses.” 3. Spirits. Monosyllabic ; as not unfrequently. Cf. 236 below ; and see on V. and A. 181. Accorded— agreed. 4. Laid. Malone reads “ lay,” which is the form elsewhere in S. 5. Fickle. Apparently referring to her behaviour at the time. 6. A-twain. So in the folio text of Lear , ii. 2. 80, where the quartos have “in twain.” In Oth . v. 2. 206, the 1st quarto has a-twain , the other early eds. “in twain.” 7. Her ivorld \ Malone quotes Lear , iii. 1. 10 : “ Strives in his little world of man to outscom The to-and-fro-conflicting wind and rain.” See our ed. p. 215. 11. Done. Past, lost. Cf. V. and A. 197, 749, and R. of L. 23. 14. Sear'd. Withered. H. has “sere.” 15. Heave her napkin . Lift her handkerchief. For heave, cf. Cymb. v. 5. 157: “O, would Our viands had been poison’d, or at least Those which I heav’d to head:” and for napkin see Oth. p. 188. 16. Conceited cha7'acters. Fanciful figures. See on R. of L. 1371. 17. Laundering. Wetting; used by S. only here. Malone calls the verb “ obsolete but it has come into use again in our day. A LOVER'S COMPLAINT. 199 18. Season'd. A favourite figure with S. See Much Ado , p. 155. For pelleted (^rounded), cf. A. and C. iii. 13. 165. 21. Size. This use of the word seems peculiar now ; but cf. Hen. VIII. v. 1. 136, A. and C. iv. 15. 4, v. 2. 97, etc. 22. Carriage. The figure is taken from a gun-carriage. Levell'd was a technical term for aiming a gun. See Rich. III.p. 232. 30. Careless hand of pride. That is, hand of careless pride. 31 .Sheav'd. Straw. Cf. 8 above. 33. Threaden . The word is used again in Hen. V. iii. chor. 10: “ threaden sails.” 36. Maund. Hand -basket; used by S. only here. Cf. Drayton, Poiyolbiou, xiii. : “ And in a little maund, being made of oziers small. Which serveth him to do full many a thing withall, He very choicely sorts his simples got abroad;” Herrick, Poems : “ With maunds of roses for to strew the way,” etc. Hence Maundy Thursday , from the baskets in which the royal alms were distributed at Whitehall. 37. Beaded. The quarto (the 1609 ed. of Sonnets , in which the poem first appears) has “ bedded corrected by Sewell. K. retains “ bed- ded” as = imbedded, set 40. Applying wet to wet. A favourite conceit with S. See A. Y. L. ii. I. 48, R. and J. i. 1. 138, 3 Hen. VI. v. 4. 8, Ham. iv. 7. 186, etc. 42. Cries some. Cries for some. Malone puts some in italics (— “ cries ‘ Some ’ ”). 45. Posied. Inscribed with posies, or mottoes. Cf. M. of V. p. 164. Rings were often made of bone and ivory. 47. Moe. More. Cf. R. of L. 1479. 48. Sleided. Untwisted or unwrought. Cf. Pericles , p. 149. Feat— featly, dexterously. See Temp. p. 120. 49. Curious . Careful ; as in A. W. i. 2. 20, Cytnb. i, 6, 191, etc. 50. Fluxive. Flowing, weeping ; used by S. only here. 51. Gait. The quarto has “gaue,” which K. retains (as “gave”); corrected by Malone. 53. Unapproved. Not approved, or proved true. Cf. Ham. p. 171, note on Approve. 55. In top of rage. Cf. 3 Hen. VI. v. 7. 4 : “ in tops of all their pride ;” A. and C. v. I. 43" : “ in top of all design,” etc. Rents— rends. See M. N. D. p, 166. 58. Sometime. Formerly ; used interchangeably with sometimes in this sense. Gr. 6 8 a. Ruffle— bustle, stir ; the only instance of the noun in S. 60. The swiftest hours. “The prime of life, when Time appears to move with his quickest pace ” (Malone). They , according to Malone, re- fers to the fragments of the torn-up letters ; though he admits that the clause may be connected with hours, meaning that ‘‘this reverend man, though engaged in the bustle of court and city, had not suffered the busy and gay period of youth to pass by without gaining some knowledge of the world.” This latter explanation is doubtless the correct one. 200 NOTES. 61. Fancy . Often =love (see on R. of L. 200), and here used concretely for the lover. Cf. 197 below. Fastly is used bv S. only here. 64. Slides he down , etc. That is, lets himself down by the aid of his staff, as he seats himself beside her. Grained^ of rough wood, or show- ing the grain of the wood. Cf. Cor. iv. 5. 1 14 : “My grained ash” (—spear). 69. Ecstasy. Passion, excitement. Cf. V. and A. 895. 80. Outwards. External features ; not elsewhere plural in S. For Of the quarto has “ O corrected by Malone (the conjecture of Tyr- whitt). 81. Stuck. Cf. M. for M. iv. 1. 61 : “O place and greatness! millions of false eyes Are stuck upon thee/’ 88. What's sweet to do , etc. “Things pleasant to be done will easily find people enough to do them ” (Steevens). 91. Sawn. Explained by some as a form of the participle of see, used for the sake of the rhyme ; by others as — sozun, which Boswell says is still pronounced sawn in Scotland. The latter is the more probable. 93. Phoenix . Explained by Malone and Schmidt as matchless, rare.” So ter 7 nless= indescribable. 95. Bare. Bareness ; not elsewhere used substantively by S. 104. Authoriz'd. Accented on the second syllable ; as in the other two instances in which S. uses the word (Sonn. 35. 6 and Mach. iii. 4, 66). 107. That horse , etc. H. does not include this line in the supposed comment. 1 12. Manage. See on the verb in V. and A. 598. 1 16. Case. Dress ; as in M. for M. ii. 4. 13, etc. 1 18. Came. The quarto has “Can;” corrected by Sewell. K. re- tains “ Can.” 126. Catching all passions , etc. Steevens says : “ These lines, in which our poet has accidentally delineated his own character, would have been better adapted to his monumental inscription than such as are placed on the scroll in Westminster Abbey.” 127. That. So that. See on V. and A. 242. 139. Moe . Cf. 47 above. 140. Owe. Own. See on R. of L. 1803. 144. Was my own fee-simple . “ Had an absolute power over myself” (Malone). See A. W. p. 171. 153. Foil . The background used to set off a jewel. Cf. Rich. III. p. 242. 155. Assay. Essay, try. Cf. V. and A. 608. 162. Blood. Passion. Cf. Much Ado, p. 13 1, note on 162. 163. Proof. Experience. Cf. Much Ado, p. 13 1. 169. Further. St. conjectures “ father.” 170. The patterns of his fond beguiling. “ The examples of his seduc- tion” (Malone). 1 71. Orchards. Gardens. See J. C. p. 142. For the figure, cf. Sonn . 16. 6. A LOVER'S COMPLAINT. 201 I. 173. Brokers. Panders, go-betweens. Cf. Ham. p. 191. 174. Thought. Malone took this to be a noun. 176. My city. For the figure, cf. R. of L. 469 (see also 1547), A. W. i. 1 37, etc. 182. Woo . The quarto has “vow;” corrected by D. 185. A dure. Action ; not found elsewhere. Cf. enactures in Ham. iii. 2. 207. Malone paraphrases the passage thus : “ My illicit amours were merely the effect of constitution [or animal passion], and not approved by my reason : pure and genuine love had no share in them, or in their conse- quences; for the mere congress of the sexes may produce such fruits, without the affections of the parties being at all engaged.” 192. Teen. Trouble, pain. See on V. and A. 808. 193. Leisures. Moments of leisure. Schmidt makes it =“ affections, inclinations,” which it implies. 197. Fancies. See on 61 above. 198. Paled. The quarto has “palyd,” and Sewell reads “ pallid.” Paled is due to Malone. 204. These talents , etc. “ These lockets , consisting of hair platted and set in gold" (Malone). 205. Impleach'd. Interwoven. Cf. pleached in Much Ado, iii. 1. 7, and thick-pleached in Id. i. 2. 8 (see our ed. p. 126). 207. Beseech' d. Cf. the past .tense in Ham. iii. 1. 22. 208. Annexions. Additions ; used by S. only here, as annexment only in Ham. iii. 3. 21. 210. Quality . “ In the age of S. peculiar virtues were imputed to ev- ery species of precious stone” (Steevens). 212. Invis'd. “ Invisible ” (Malone) ; or, “ perhaps ^inspected, inves- tigated, tried” (Schmidt). No other example of the word is known. 214. Weak sights, etc. Eye-glasses of emerald were much esteemed by the ancients ; and the near-sighted Nero is said to have used them in watching the shows of gladiators. 215. Blend. Walker makes this a participle —blended. He adds: “ The expression is perhaps somewhat confused, but it refers to the ever-varying hue of the opal.” 217. Blazon'd. Interpreted, explained. Cf. the noun in Much Ado, ii. 1. 307. 219. Pensiv'd. Found only here. Pensive occurs in 3 Hen. VI. iv. I. 10 and R. and J. iv. 1. 39. H. adopts Lettsom’s conjecture of “ pensive ” here ; but the “pensiu’d” of the quarto could hardly be a misprint. 223. Of force. Perforce, of necessity. Cf. L. L. L. i. 1. 148, M. A T . D. iii. 2. 40, etc. 224. Enpatron me. Are my patron saint. 225. Phraseless. Probably = indescribable, like termless in 94 above. Schmidt thinks it may possibly be =silent, like speechless (hand) in Cor. v. I. 67. 229. What me, etc. Whatever obeys me, your minister, for (or instead of) you, etc. 231. Distract. Disjoined, separate. For the accent, see on R. of L. 26. 202 NOTES . 232. ^ sister. The quarto has “ Or sister ;” corrected by Malone. 2 33. Note . Notoriety, distinction. Cf. Cymb. p. 170, on A crescent note. 234. Which late , etc. Who lately withdrew from her noble suitors. 235. Whose rarest havings , etc. “ Whose accomplishments were so extraordinary that the flower of the young nobility were passionately enamoured of her ” (Malone). 236. Spirits . Monosyllabic, as in 3 above. Coat may be =coat-of- arms (Malone), or dress as indicative of rank, as some explain it. 240. Have not . H. adopts Barron Field’s conjecture of “ love not ” — a needless if not an injurious change. 241. Paling the place , etc. The quarto has “ Playing the place,” etc. ; for which no really satisfactory emendation has been proposed. Paling, which is as tolerable as any, is due to Malone, who explains the line thus : “ Securing within the pale of a cloister that heart which had never received the impression of love.” Lettsom conjectures “Salving the place which did no harm receive.” St. proposes “ Filling the place,” etc. Paling is adopted by K., D„ W., and H. For pale = enclose, cf. A. and C. ii. 7. 74, 3 Hen. VI. i. 4. 103, etc. 243. Contrives. Some make this —wear away, spend ; as in T. of S. i. 2. 278 (see our ed. p. 141). 250. Eye. The rhyme of eye and eye is apparently an oversight, no mis- print being probable. 251. Immur'd . The quarto has “enur’d” and “procure;” both cor- rected by Gil don. 252. To tempt , all. Most eds. join all U tempt, which, to our thinking, mars both the antithesis and the rhythm 258. Congest. Gather in one ; used by S. only here. 260. Nun. The quarto has “ Sunne.” The correction was suggested by Malone, and first adopted by D. 261. Ay, dieted. The quarto has “ I dieted,” not “ I died,” as Malone (who reads “ and dieted ”) states. 262. Believ'd her eyes, etc. “ Believed or yielded to her eyes when they, captivated by the external appearance of her wooer, began to assail her chastity” (Malone). “ When I the assail” was an anonymous con- jecture which Malone was at first inclined to adopt. 265 . Sting. Stimulus, incitement. 271. Love's arms are proof, etc. Another corrupt and perplexing line. The quarto has “ peace ” for proof which was suggested by Malone. Steevens conjectures “ Love aims at peace,” D. “Love arms our peace,” and Lettsom “ Love charms our peace.” 272. And szoeetens. And it {Love) sweetens. 273. Aloes. The only mention of the bitter drug in S. 276. Supplicant . Not found elsewhere in S. 279. Credent. Credulous. Cf. Ham. i. 3. 30 : “ too credent ear,” etc. 280. Prefer and undertake . Recommend (cf. M. of V. p. 140) and guar- antee, or answer for (see 1 Hen. VI. v. 3. 158, Hen. VIII. prol. 12, etc.). 281. Dismount. “The allusion is to the old English fire-arms, which were supported on what was called a rest” (Malone). For levell'd— aimed, see on 22 above. THE PASSIONATE PILGRIM. 203 286. Who glaz'd with crystal gate , etc. Malone points thus : “ Who, glaz’d with crystal, gate making gate “ the ancient perfect tense of the verb to get." Flame he took to be the object of gate. 293. O cleft effect ! The quarto has “ Or ” for O ; corrected by Gildon. 294. Extincture . Extinction ; used by S. only here. 29 7. Daff'd. Doffed, put off. See A. and C. p. 203, or Much Ado , p. 138. Stole (=robe) is not found elsewhere in S. 298. Civil . Decorous ; as in Oth. ii. 1. 243 : “ civil and humane seem- ing,” etc. 303. Cautels. Deceits. Cf. Ham. p. 187. 305. Swooning. The quarto has “sounding,” and “sound” in 308 below. See on R. of L. i486 ; and cf. R. and J. p. 186 (on Swounded). 309. Level. See on 281 above. 314. Luxury . Lust, lasciviousness ; the only meaning of the word in S. Cf. Hen. V. p. 166. 315. Preach'd pure maid. Cf. A. Y. L. iii. 2. 227 : “speak sad brow and true maid.” 318. Unexperient. Used by S. only here, as unexperienced only in T. of S. iv. 1. 86. 319. Cherubin. Used by S. ten times. Cf. M. of V. p. 162. Cherub he has only in Ham. iv. 3. 50, cherubim not at all. 327. Owed. That is, owned, or his own. See on 140 above. Bor- row'd motion^ counterfeit expression of feeling. THE PASSIONATE PILGRIM. Swinburne remarks: “What Coleridge said of Ben Jonson’s epithet for ‘turtle-footed peace,’ we may say of the label affixed to this rag- picker’s bag of stolen goods : The Passionate Pilgi'im is a pretty title, a very pretty title ; pray what may it mean ? In all the larcenous little bundle of verse there is neither a poem which bears that name nor a poem by which that name would be bearable. The publisher of the booklet was like ‘one Ragozine, a most notorious pirate ;’ and the meth- od no less than the motive of his rascality in the present instance is pal- pable and simple enough. Fired by the immediate and instantly prover- bial popularity of Shakespeare’s Venus and Adonis, he hired, we may suppose, some ready hack of unclean hand to supply him with three doggrel sonnets on the same subject, noticeable only for the porcine quality of prurience ; he procured by some means a rough copy or an incorrect transcript of two genuine and unpublished sonnets by Shake- speare, which with the acute instinct of a felonious tradesman he laid atop of his worthless wares by way of gilding to their base metal ; he stole from the two years published text of Love's Labour 's Lost, and re- produced with more or less mutilation or corruption, the sonnet of Lon- gaville, the 4 canzonet ’ of Biron, and the far lovelier love-song of Dumain. The rest of the ragman’s gatherings, with three most notable exceptions, 204 NOTES . is little better for the most part than dry rubbish or disgusting refuse ; unless a plea may haply be put in for the pretty commonplaces of the lines on a ‘sweet rose, fair flower,’ and so forth; for the couple of thin and pallid if tender and tolerable copies of verse on ‘ Beauty ’ and ‘ Good Night,’ or the passably light and lively stray of song on ‘crabbed age and youth.’ I need not say that those three exceptions are the stolen and garbled work of Marlowe and of Barnfield, our elder Shelley and our first -born Keats ; the singer of Cynthia in verse well worthy of Endymion, who would seem to have died as a poet in the same fatal year of his age that Keats died as a man; the first adequate English laureate of the nightingale, to be supplanted or equalled by none until the advent of his mightier brother.” The contents of Jaggard’s piratical collection, stated more in detail, were as follows (the order being that of the “Globe” ed.) ; I., II. Shakespeare’s Sonnets 138 and 144, with some early or corrupt readings (to be noted in our ed. of the Sonnets). III. Longaville’s sonnet to Maria in L. L. L. iv. 3. 60 fol. : “ Did not the heavenly rhetoric of thine eye,” etc. The verbal variations in the two versions (as in V. and XVI.) are tew and siignt. IV. (I. of the present ed.). V. The sonnet in L. L . L. iv. 2. 109 fol. : “ If love make me forsworn,” etc. VI. , VII. (II. and IV. of this ed.). VIII. The following sonnet, probably by Richard Barnfield, in whose Poems: In diners humors , 1598 (appended, with a separate title-page, to a small volume containing The Encomion of Lady Pecunia and The Com- plaint of Poetrie,for the Death of Libera/itie), it had first appeared, with this heading : “To his friend Maister R. L. In praise of Musique and Poetrie :” “If music and sweet poetry agree, As they must needs, the sister and the brother, Then must the love be great ’twixt thee and me, Because thou lov’st the one, and I the other. Rowland to thee is dear, whose heavenly touch Upon the lute doth ravish human sense ; Spenser to me, whose deep conceit is such As, passing all conceit, needs no defence. Thou lov’st to hear the sweet melodious sound That Phoebus’ lute, the queen of music, makes ; And I in deep delight am chiefly drown’d Whenas himself to singing he betakes. One god is god of both, as poets feign ; One knight loves both, and both in thee remain.” Barnfield terms these poems “fruits of unriper years,” and expressly claims their authorship. The above sonnet is the first in the collection, hoi a this and XX. are omitted in the second edition o { Lady Pecunia y 1605 ; but so also are nearly all of the “Poems in Divers Humors,” so that no substantial argument can rest upon the absence of the two P. P . sonnets from that edition (Halliwell). IX. , X. (III. and V. of this ed.). XI, The following sonnet, probably by Bartholomew Griffin, in whose THE PASSIONATE PILGRIM. 205 Fnlessa more Chaste than Kinde, 1596, it had appeared with some varia- tions :* “Venus, with young Adonis sitting by her Under a myrtle shade, began to woo him : She told the youngling how god Mars did try her, And as he fell to her, so fell she to him. * Even thus/ quoth she, ‘ the warlike god embrac’d me/ And then she clipp’d Adonis in her arms ; ‘Even thus,’ quoth she, ‘the warlike god unlac’d me/ As if the boy should use like loving charms ; ‘Even thus/ quoth she, ‘he seized on my lips/ And with her lips on his did act the seizure : And as she fetched breath, away he skips, And would not take her meaning nor her pleasure. Ah, that I had my lady at this bay. To kiss and clip me till I run away!” XII., XIII., XIV. (VI., VII., and VIII. of this ed.). XV. Here begin the “Sonnets to sundry notes of Musicke” (see p. 12 above) with the following, which is certainly not Shakespeare’s, though it is not found elsewhere : “ It was a lording’s daughter, the fairest one of three, That liked of her master as well as well might be, Till looking on an Englishman, the fair’st that eye could see, Her fancy fell a-turning. Long was the combat doubtful that love with love did fight, To leave the master loveless, or kill the gallant knight: To put in practice either, alas, it was a spite Unto the silly damsel! But one must be refused ; more mickle was the pain That nothing could be used to turn them both to gain, For of the two the trusty knight was wounded with disdain: Alas, she could not help it! Thus art with arms contending was victor of the day, Which by a gift of learning did bear the maid away : Then, lullaby, the learned man hath got the lady gay; For now my song is ended.” XVI. Dumaiu’s poem to Kate, in L. L. Z. iv 3. 101 fol. : “On a dav — alack, the day 3 ” etc. The chief variations are noted in our ed. of Z. L. L. p. 149. XVII. The following, from Thomas Weelkes’s Madrigals , 1597. pretty certainly not Shakespeare’s :f “ My flocks feed not, My ewes breed not, My rams speed not, All is amiss; # Instead of lines 9-14, the following are given in the Fidessa : “ But he a wayward boy refusde her offer, And ran away, the beautious Queene neglecting: Shewing both folly to abuse her proffer, And all his sex of cowardise detecting. Oh that I had my mistris at that bay, To kisse and clippe me till I ranne away!” t Weelkes was the composer of the music, but not necessarily the author of the words. The poem is found also in England's Helicon , 1600, with the title “The Unknown Sheepheard's Complaint,” and subscribed “ Ignoto ” (Halliwell). 206 NO TE5. XVIII. (X. XIX. The f me,” etc., with ter Raleigh :* Love’s denying, Faith’s defying, Heart’s renying, Causer of this. All my merry jigs are quite forgot, All my lady’s love is lost, God wot ; Where her faith was firmly fix’d in love, There a nay is plac’d without remove. One silly cross Wrought all my loss; O frowning Fortune, cursed, fickle dame i For now I see Inconstancy More in women than in men remain. In black mourn I, All fears scorn I, Love hath forlorn me. Living in thrall : Heart is bleeding, All help needing, O cruel speeding, Fraughted with gall. My shepherd’s pipe can sound no deal; My wether’s bell rings doleful knell ; My curtal dog, that wont to have play’d, Plays not at all, but seems afraid ; My sighs so deep Procure to weep, . In howling wise, to see my doleful plight. How sighs resound Through heartless ground, . Like a thousand vanquish’d men in bloody fight 5 Clear wells spring not, Sweet birds sing not, Green plants bring not Forth their dye ; Herds stand weeping, Flocks all sleeping, Nymphs back peeping F earfully : All our pleasure known to us poor swains, All our merry meetings on the plains, All our evening sport from us is fled, All our love is lost, for Love is dead. Farewell, sweet lass, Thy like ne’er was For a sweet content, the cause of all my moan : Poor Corydon Must live alone; . Other help for him I see that there is none. )f this ed.). _ .. . , llowing imperfect version of Marlowe’s “ Come, live with Love's Answer (a mere fragment), attributed to Sir Wal- * For complete copies of both these poems see our ed. of M W p 150. THE PASSIONATE PILGRIM, 207 “ Live with me, and be my love, And we will all the pleasures prove That hills and valleys, dales and fields, And all the craggy mountains yields. There will we sit upon the rocks, And see the shepherds feed their flocks, By shallow rivers, by whose falls Melodious birds sing madrigals. There will I make thee a bed of roses, With a thousand fragrant posies, A cap of flowers, and a kirtle Embroider’d all with leaves of myrtle. A belt of straw and ivy buds, With coral clasps and amber studs; And if these pleasures may thee move, Then live with me and be my love. Love’s Answer. If that the world and love were young, And truth in every shepherd’s tongue, These pretty pleasures might me move To live with thee and be thy love.'’ XX. The following (except lines 27,28) from Richard Barnfield’s Poems: In divers humors , 1598 (the first 28 lines also found in England's Helicon , 1600, where it is subscribed “ Ignoto ”) : “ As it fell upon a day In the merry month of May, Sitting in a pleasant shade Which a grove of myrtles made. Beasts did leap, and birds did sing, Trees did grow, and plants did spring ; Every thing did banish moan, Save the nightingale alone ; She, poor bird, as all forlorn, Lean’d her breast up-till a thorn, And there sung the dolefull’st ditty, That to hear it was great pity: 4 Fie, fie, fie,’ now would she cry ; ‘ Tereu, tereu!’ by and by ; That to hear her so complain, Scarce I could from tears refrain ; For her griefs, so lively shown, Made me think upon mine own. Ah, thought I, thou mourn’ st in vain ! None takes pity on thy pain : Senseless trees they cannot hear thee ; Ruthless beasts they will not cheer thee : King Pandion he is dead ; All thy friends are lapp’d in lead; All thy fellow birds do sing, Careless of thy sorrowing. Even so, poor bird, like thee, None alive will pity me. Whilst as fickle Fortune smil'd, Thou and I were both beguil’d. Every one that flatters thee Is no friend in misery. 208 NOTES. Words are easy, like the wind ; Faithful friends are hard to find : Every man will be thy friend Whilst thou hast wherewith to spend ; But if store of crowns be scant, No man will supply thy want. If that one be prodigal, Bountiful they will him call, And with such-like flattering, ‘ Pity but he were a king If he be addict to vice, Quickly him they will entice ; If to women he be bent, They have at commandement : But if Fortune once do frown, Then farewell his great renown ; They that fawn’d on him before Use his company no more. He that is thy friend indeed. He will help thee in thy need: If thou sorrow, he will weep; If thou wake, he cannot sleep; Thus of every grief in heart He with thee doth bear a part. These are certain signs to know Faithful friend from flattering foe.” Some editors have divided the above poem, making the first 28 lines (or the portion printed in England's Helicon) a separate piece ; but the whole (except lines 27, 28) forms a continuous “ Ode ” in Barnfield’s book, and there is no real division in the 1599 ed. of the P.P. The editors have been misled by the printer’s arrangement of his matter in that little book, where each page has an ornamental head-piece and tail- piece, with unequal portions of text between. The first 14 lines of this poem are on one page, the next 12 on the next page (27 and 28 want- ing), the next 14 on the next, and the last 16 on the next. As there is something like a break in the piece between the 3d and 4th pages as thus arranged, it might appear at first sight that it was a division be- tween poems rather than in a poem ; but, as Mr. Edmonds has pointed out, “ the poet’s object being to show the similarity of his griefs to those of the nightingale, he devotes the lines ending with sorrowing to the bird,” and then “takes up his own woes with the line Whilst as fickle fortune smil'd , and enlarges upon them to the end of the ode.” The editor of England's Helicon seems to have taken the first two pages from the P. />., supposing them to be a complete poem ; but feel- ing that it ended too abruptly, he added the couplet, “ Even so, poore bird like thee, None a-live will pitty mee,” to round it off. It may be added that his signing the poem “ Ignoto shows that he was not aware it was Barnfield’s, and did not consider that its appear- ance in the P. P. proved it to be Shakespeare’s; and the same may be said of XVII., the Helicon copy of which is evidently from the P. P, not from Weelkes. On the other hand, XVI. of the P. P. ( On a day, alack the day,” etc.), taken from Z. Z. Z., is given in the Helicon with THE PASSIONATE PILGRIM. 209 Shakespeare’s name attached to it. Furnivall says : “Mr. Grosart has shown in his prefaces to his editions of Barnfield’s Poems and Griffin’s Fidessa that there is no reason to take from the first his Ode (XX.) and his Sonnet (VIII.), or from the second his Venus and Adonis Sonnet (XI.), many of whose readings the Passionate Pilgrim print spoils.” See also Mr. Edmonds’s able plea in behalf of Barnfield’s title to VIII. and XX. in the preface tb his reprint (London, 1870) of the 1599 ed. of the P. P. p. xiv. fol. I. — 1. Cytherea. Cf. T. of S. ind. 2. 53, W. T. iv. 4. 122, and Cymb . ii. 2. 14. 9. Conceit. Understanding. Cf. Pericles , p. 145. 10. Figur'd. Expressed by signs. Coll, conjectures “sugar’d.” II. — 4. Tarriance. The word occurs again in T. G. of V. ii. 7. 90. 6. Spleen. Heat ; as often in a figurative sense. Cf. K. John , p. 14 1. 12. Wistly. Wistfully. See on V. and A. 343. 13. Whereas. Where. See Pericles, p. 136, or 2 Hen. VI. p. 153. III. The 2d line is wanting in all the editions ; the omission being first marked by Malone. 3. Dove. See on V. and A. 153. 5. Steep-up . Cf. Sonn. 7.5: “the steep-up heavenly hill.” We find steep-down in Oth. v. 2. 280. 11. Ruth. Pity. Cf. Rich. II. p. 199. IV. This may be Shakespeare’s. Cf. Sonn. 138. 3. Blighter than glass, etc. Steevens quotes the following lines “ writ- ten under a lady’s name on an inn window “ Quam digna inscribi vitro, cum lubrica, laevis, Pellucens, fragilis, vitrea tota nites!” 14. Out-burneth. Sewell has “ out burning.” V. This is probably not Shakespeare’s. 1. Vaded. Faded. Cf. vii. 2 below. See also Rich. II. p. 157, note on Faded. 3. Timely. Early. Cf. A. and C. p. 188. 8. For why. Because. See on R. of L. 1222. The old eds. have “ lefts ” for left' st in both 8 and 9. Cf. Gr. 340. VI. This may possibly be Shakespeare’s. In the eds. of 1599 and 1612 it is printed, as here, in twelve lines. Malone and others make twenty of it. 2. Pleasance. Pleasure. Cf. Oth. p. 180. 4. Brave. Fair, beautiful. See M. of V. p. 154. VII. Probably not Shakespeare’s ; perhaps by the same author as V. I. Doubtful. A copy of this poem, said to be from an ancient MS. and published in the Gentleman's Magazine, vol. xxii. p. 521, has “ fleet- o 2 10 NOTES. ing ” for doubtful both here and in 5 below. In 3 it has “ almost in the bud” for first it gins to bud ; in 4, “that breaketh ” for that 's broken; in 7, “ As goods, when lost, are wond’rous seldom found in 8 “ can excite” for will refresh, and in 10 “unite” for redress ; in 11 “once, is ever ” for once 's forever ; and in 12 “ pains ” for pain. A second copy, “from a corrected MS.,” appeared in the same maga- zine, vol. xxx. p. 39. The readings are the same as in the other copy, except that it has “a fleeting” for “and fleeting” in 1, and “fading” for vaded in 8. 7. Seld. Seldom. Cf. T. and C. iv. 5. 150: “As seld I have the chance.” We find “seld-shown” in Cor. ii. 1. 229. VIII. Probably not Shakespeare’s. All recent eds. make the last three stanzas a separate poem ; but this is unquestionably a mistake. See Ad- dendu 7 n, p. 214 below. 3. Dajf'd me. Put me off, sent me away. See Much Ado, p. 138 ; and cf. L. C. 297. 4. Descant. Comment ; as in Rich. III. i. 1. 27. Cf. R. of L. 1 134. 8. NHL Will not. Cf. Ham. p 259. 9. 'T maybe. Steevens says: “I will never believe any poet could begin two lines together with such offensive elisions. They may both be omitted without injury to sense or metre.” 12. As take. Cf. Gr. 112. 14. Charge the watch. Probably = accuse or blame the watch (for mark- ing the time so slowly). 17. Philomela. The nightingale. See on R. of L. 1079. The Camb. editors conjecture that sits and should be omitted ; and they are proba- bly right. 21. Pack'd. Sent packing, gone. Ct. Rich. III. i. I. 146: “Till George be pack’d with post-horse up to heaven.” 23. Solace, solace. The old eds. have “solace and solace;” corrected by Malone. 27. Moon. The old eds. have “ houre corrected by Malone. 30. Short, night, to-night. Shorten to-night, O night. For the antithe- sis, cf. Cymb. i. 6. 200 : “ I shall short my word By lengthening my return." IX. This may perhaps be Shakespeare’s. Furnivall says: “That ‘to sin and never for to saint,’ and the whole of the poem, are by some strong man of the Shakspere breed.” 1. Whenas. When. See on V.andA. 999. 2. Stall'd. Got as in a stall , secured. Cf. Cymb. iii. 4. ill : “when thou hast ta’en thy stand, The elected deer before thee.” 4. Partial fancy like. For fancy— love, see on R. of L. 200. The early •eds. have “fancy (party all might”). Malone gave in 1780 “fancy, par- tial tike,” but later from an ancient MS. “ fancy, partial like.” St. con- jectures “ fancy martial might ;” the Camb. editors read “ fancy, martial 2 1 1 THE PHOENIX AND THE TURTLE . wight” (a conjecture of Malone’s); and W.“ fancy’s partial might. The text is from a MS. in the possession of Coll. As Schmidt notes, like is “almost =love;” as in A. Y. L. in. 2. 43 1 . K - 7 oh ", "• 5 U > R T Filed talk!" Studied or polished language ” (Malone). See L. L. L. P ' I!. 3 *//. 6 T'he^early^sfhave “sale corrected by Malone, from his old MS., which also has “thy” for her. The editors have generally adopted “thy,” but the other reading magr be =“ praise her person highly, as a salesman praises his wares (W.). CL T. and C. iv. i.JS ■ “ Wee’ll but commend what we intend to sell L. L. L. iv. 3. 240 : I o things of sale a seller’s praise belongs Sonn. 21. 14 : “ I will not praise The reading of Malone’s MS. for the “calme yer” of the old eds. 20. Ban . Curse. See on V. and A. 326. „ 28. In thy lady's ear. Malone reads “always in hei ear. 30. Humble-trne . First hyphened by St. 42. Nought. On the rhyme with oft , cf. Lear , , p. 193* 3 ° 9 ” 313 * In Rich. III. iii. 6. 13 and Mach. iv. 1. 70, nought rhymes with thou (f L 43-46. Think women still , etc. Expect women always, etc. Malone reads from the old MS. thus : “Think : women love to match with men, And not to live so like a saint: Here is no heaven ; they holy then^ Begin, when age doth them attaint.” The early eds. have in 45, 46 : “ There is no heaven, by holy then. When time with age shall them attaint.” The reading in the text is due to W., and gives a clear meaning with very slight changes in the old text. In a passage so corrupt, emendation is but guess-work at best ; but this seems to us a happier guess than that of the writer of Malone’s MS. We do not, however, think it necessaiy to put “seek” for still in 43, as W. does. , „ co. Lest that. The early eds. have “ Least that. Malone reads For if” from his MS., connecting the line with what follows. ci.' To round me i’ the ear. To whisper in my ear. Cf. A. John, p irt, note on Founded. The early eds. have “ on th’ are and on th ere.” Malone changed “on” to f in 1780 ; but in 179° he read ring mine ear.” Coll, has “warm my ear” (from his old MS.). W. reads “ She’ll not stick to round me i’ th’ ear.”^ H. follows Coll. 54 . Bewray’d. Disclosed, exposed. Sec on R. of L. 1695. THE PHCENIX AND THE TURTLE. The title-page of Chester’s Loves Martyr , after referring at some length to that poem and “the true legend of famous King Arthur, which fol- 212 NOTES. lows it continues thus: “ To these are added some new compositions of seuerall moderne Writers whose names are subscribed to their seuerall worker, vfon the first subsect: viz. the Phcenix and Turtle ” title-page,' as > follows ) - )k theSC “ COm P 0sitions ” has a separate HEREAFTER | FOLLOW DIVERSE | Poetical! Essaies on the S/T/ f" 1 | ,eCt V ' Z : th - e TurtU ahd I Done by the best and chsefest of our | moderne writers, with their names sub- I scribed to their particulai workes : | inner before extant. | And (now first) consecrated sl/inlf Pu er - lly ,’ l tU loue and merite of the true-noble Knight, \ Sir Iohn Sahsburie. | Dtgnum laude virum Musa vetat mori. I fwood- cut of anchor] Anchora Sfei. | MDCI. 1 1 Among these poems are some by Marston, Chapman, and Ben Jonson. Malone has no doubt of the genuineness of The Phcenix and the Turtle w says: 1 here is no other external evidence that these verses are Shakespeare s than their appearance with his signature in a collection Oi poems published in London while he was living there in the height of his reputation The style, however, is at least a happy imitation Sf his, especially in the bold and original use of epithet.” Dowden writes us that he has now no doubt that the poem is Shakespeare’s (cf. his Primer, ed. 1078, p. 1 12) ; and Furnivall also believes it to be genuine. Dr. Grosart (see his introduction to the New Shaks. Soc. ed. of Ches- ter s Loves Martyr) sees a hidden meaning in this poem and those asso- ciated with it in Chester’s book. “The Phcenix is a person and a wom- an, and the T u irtle-dove a person and a male ; and while, as the title-page puts it, the poet is ‘ Allegorically shadowing the truth of Love,’ it is a genuine story of human love and martyrdom (Love's Martyr). . . . No one at all acquainted with what was the mode of speaking of Queen Elizabeth t0 c ™ e . ver yJ ast > w51] hesitate in recognizing her as the Rosalin and Phcenix ol Robert Chester, and the ‘moderne writers’ of this book So with thp T nr tie- dove, epithet and circumstance and the whole bearing of the Poems make us think of but one pre-eminent man in the Court of Eliza- beth . . . and d will be felt that only of the brilliant but impetuous, the greatly-dowered but rash, the illustrious but unhappy Robert Devereux second Earl of Essex, could such splendid things have been thought.” Dr. Grosart believes The Phcenix and the Turtle to be Shakespeare’s and calls it “priceless and unique .” He adds: “Perhaps Emerson’s words on Shakespeare’s poem as well represent its sphinx -character t ° 1 ] h 1 ?i most ca P able critics, as any [preface to Parnassus , 1875] : i should like to have the Academy of Letters propose a prize for an essay on Shakespeare’s poem, Let the bird of loudest lay, and the Thre?ios with which it closes, the aim of the essay being to explain, by a historical research into the poetic myths and tendencies of the age in which it was * is a point in favour of their being Shakespeare’s which, so far as we are aware, other cities have overlooked ; and it seems to us of some importance. It must be borne in rmnd that Chester s book was not a publisher’s piratical venture, like The Passionate Pugrim, but the reputable work of a gentleman who would hardly have ventured to in- sult his patron to whom he dedicates it, by palming off anonymous verses as the contri- bution of a well-known poet of the time. THE PH CE NIX AND THE TURTLE . 213 written, the frame and allusions of the poem. I have not seen Chester 1 s Love's Martyr and “ the Additional Poems ” (1601), in which it appeared. Perhaps that book will suggest all the explanation this poem requires. To unassisted readers, it would appear to be a lament on the death of a poet, and of his poetic mistress. But the poem is so quaint, and charm- ing in diction, tone, and allusions, and in its perfect metre and harmony, that I would gladly have the fullest illustration yet attainable.- I consider this piece a good example of the rule, that there is a poetry foi baids proper, as well as a poetry for the world of readers. This poem, if pub- lished for the first time, and without a known author’s name, would find no general reception. Only the poets would save it.’ Mr. Halliwell-Phillipps, in his recent Outlines of the Life of Shakespeare (2d ed. 1882) says : “ It was towards the close of the present year, 1600, or at some time in the following one, that Shakespeare for the first and only time, came forward in the avowed character of a philosophical writ- er.” After giving an account of Chester’s book, he adds : “ The contri- bution of the great dramatist is a remarkable poem in which he makes a notice of the obsequies of the phoenix and turtle-dove subservient to the delineation of spiritual union. It is generally thought that Chester himself intended a personal allegory, but, if that be the case, there is noth- ing to indicate that Shakespeare participated in the design, nor even that he had endured the punishment of reading Love's Martyr .” 1. The bird of loudest lay . As Dr. Grosart remarks, this is not the Phoenix , as has generally been assumed, as “ it were absurd to imagine it could be called on to ‘sing’ its own death,” and besides it is nowhere represented as gifted with song. 2. The sole Arabian tree. Malone cites Temp . iii. 3. 22 : “Now I will believe That there are unicorns; that in Arabia There is one tree, the phoenix’ throne ; one phoenix At this hour reigning there.” He adds : “ This singular coincidence likewise serves to authenticate the present poem.” The tree is probably the palm, the Greek name of which is the same as that of the phoenix poivd i). 3. Trumpet. Trumpeter. See Ham . p. 176, or W. T. p. 168. 4. To. For its use with obey , cf. T. and C . p. 187. Dr. Grosart, who takes the bird to be the nightingale, says : “ I have myself often watched the lifting and tremulous motion of the singing nightingale’s wings, and chaste was the exquisitely chosen word to de- scribe the nightingale, in reminiscence of the classical story.” 5 Shrieking harbinger. The screech-owl (Steevens). Cf. A/. N. D. v. 1.383: “ Whilst the screech-owl, screeching loud, Puts the wretch that lies in woe In remembrance of a shroud/’ The fever's end is of course death. 14. That defunctive music can. “That understands funereal music” (Malone). For this can— know, see Wb. Cf. Chaucer, C. T. 5638 (ed. Tyrwhltt) . << j wo t wel Abraham was an holy man, And Jacob eke; as fer as ever I can,” etc. 214 NOTES. 1 6. His. Its. 17. Treble-dated. Living thrice as long as man. Steevens quotes Lu- cretius, v. 1053 : “Cornicum ut secla vetusta. Ter tres aetates humanas garrula vincit • Cornix.” 18. That thy sable geitder mak'st, etc. “Thou crow that makest [change in] thy sable gender with the mere exhalation and inhalation of thy breath ” (E. W. Gosse). It was a popular belief that the crow could change its sex at will. .25. As. That. Cf. R. of L. 1372 and 1420. 32. But in them it were a wonder. “ So extraordinary a phenomenon as hearts remote, yet not asunder, etc., would have excited admiration, had it been found anywhere else except in these two birds. In them it was not wonderful ” (Malone). 34. Saw his right , etc. “ It is merely a variant mode of expressing seeing love-babies (or one’s self imaged) in the other’s eyes. This gives the true sense to mine in 35 ” (Grosart). 37. Property. Property in self, individuality. 43. To themselves. Grosart suggests that these words should be joined to what precedes. 44. Simple were so well cojnpounded. That is, were so well blended into one. 45. That. So that. Cf. V. and A. 242. 49. Threne. Threnody, funeral song. It is the Anglicized threnos (Srpijvog), with which the following stanzas are headed. Malone quotes Kendal’s Poems, 1577 : “ Of verses, threnes, and epitaphs, Full fraught with tears of teene.” A book entitled David's Threanes was published in 1620, and reprinted two years later as David's Tears. 67. These dead birds. That these birds are not Elizabeth and Essex has been shown clearly in Dr. F. J. Furnivall’s paper “On Chester’s Love's Martyr" in Trans . of New Shahs. Soc. 1877-79, p. 451 fol. ADDENDUM. Passionate Pilgrim, VIII. (p. 210). Dowden (in his Introduction to the “Griggs” fac-simile of the 1599 ed. of P . P.) gives good reasons for not dividing this poem, but neither he nor any other critic has seen that the 1599 ed. proves its unity beyond a doubt. The first two stanzas are on one page, the next two on another, and the last stanza on a third ; but the third stanza does not begin with the large initial letter, which elsewhere in the book is used to mark the beginning of a poem. We may add that there is similar typographical evidence in the 1599 ed. that XX. (cf. p. 208 above) should not be divided. Dowden notes that in the 1640 ed. of the Poems , the five stanzas of VIII. appear as one poem, with the title Loth to Depart. Malone (in his Supple- ment, 1780) seems to have been the first editor to divide it. INDEX OF WORDS AND PHRASES EXPLAINED. accorded (=agreed), 198. acture, 201. addressed (=ready), 196. adjunct, 184. adulterate, 196. advance (=raise), 197. advised, be, 176. advisedly, 185, 195, 197. afeard, 192. affection (=lust), 187. alarms, 174. . all to naught, 180. allow (=approve), 198. all-too-timeless, 183. aloes, 202. amaze (=bewilder), 177. anatomized, 195. and for, 192. angry-chafing, 177. annexions, 201. annoy (noun), 175, 192. antics, 187. appaid, 191. applying wet to wet, 199. Arabian tree, 213. Ardea (accent), 182. arrive (transitive), 190. as (=that), 194, 214. askance (verb), 189- aspect (accent), 183. assays (^attempts), 197, 200. astonished ( = astounded ), 197. at a bay, 179. at gaze, 193. attired in discontent, 196. a-twain, 198- authorized (accent), 200. a-work, 195. ay me ! 1 79. balk (=neglect), 189. bankrupt (spelling), 175, 184. banning (=cursing), 174, 195, 21 1. bare (noun), 200. barns (verb), 191. bateless, 183. bate-breeding, 177. battle (=battalion), 177. be remembered, 189. beaded, 199. beguiled (active), 196. beldam, 191. bells (of falcon), 187. beseeched, 201. beseems, 185. bewrayed, 197, 211. bid a base, 173. bird of loudest lay, 213. birth-hour’s blot, 188. black stage, 190. blasts (intransitive), 183. blazoned, 201. blood (^passion), 200. blue windows, 175. blunt (^=rude), 195. blunt (=savage), 179. bollen, 194. bond (=ownership), 184. borrowed motion, 203. brave (^beautiful), 209. braving compare, 183. brokers (—panders), 201. bulk ( — chest), 187. burden-wise, 192. cabinet (=nest), 179. can (=know), 213- canker (=worm), 177. careless hand of pride, 199. carriage (figurative), 199. carry-tale, 177. case (=dress), 200. cautels, 203. chafe, 174. chaps (spelling), 195. charactered (accent), 190. charge the watch, 210. cheer (—face), 185. cherish springs, 191. cherubin, 203. churlish (boar), 176. cipher (= decipher), 190. city (figurative), 201. civil (=decorous), 203. clepes, 180. clip (^embrace), 176. closure, 178. cloud-kissing Ilion, 194. cloudy, 192. coasteth, 179. coat, 202. cockatrice 1 dead-killing eye, 188. cold fault, 177 colour (j>lay upon), 187. combustious, 182- comfortable, 184. compact of, 172. compare (noun), 183. compassed (^curved), 173. complain on, 172, 176. complained (transitive), 198. conceit (=conception), 189, 1 94 - conceit ( = understanding ), 2°g. < conceited ( — fanciful), 194, 198 - conclusion ( = experiment ), 193. conduct (^conductor), 186. confounds (=ruins), 184, 193, * 95 - congest, 202. conjures (accent), 188. contemn me this, 173. contrives, 202. controlled ( = restrained), 187, 189. convert ( intransitive ), 188, 189. convert (rhyme), 188. convertite, 190. cope him, 179. copesmate, 191. coucheth (transitive), 187. counterfeit (=likeness), 194. cranks (=turns), 177. credent, 202. crest- wounding, 190. cries some, 199. cuckoos, 191. 2 1 6 INDEX OF WORDS AND- PHRASES EXPLAINED . curious (=careful), 178, 199. curled hair, 191. curst, 179. Cytherea, 209. daffed, 203, 210. decease (rhyme), 180. deep regard, 194. defame (noun), 190. defeature, 178. defunctive, 213. deprive (=take away), 193, 197. descant (^comment), 210. descant (arsing), 192. diapason, 192. digression (—transgression), 185. dismount (figurative), 202. dispense with, 192, 194, 197. dispersed (accent), 197. disports (noun), 182. disputation (metre), 185. distract (accent), 201. done (=ruined), 183, 198. doves (of Venus), 172, 182, 209. dumps,. 192. ear (=plough), 170. ecstasy (^excitement), 179, 200. effects, 196. element (=sky), 196. embracements, 173. empty eagle, 171. engine of her thoughts, 174. enpatron, 201. ensue (transitive), 187. envious ^malicious), 178. exclaims on, 180, 190. expired (accent), 183. extincture, 203. extreme (accent), 185. eyne, 177, 189, 193. fact (=deed), 186. fair (=beauty), 181. fair fall, 175. falcon’s bells, 187. fall (=let fall), 196. fancy (=love), 185, 210. fancy (=lover), 200, 201. fnstly, 200. fault (in hunting), 177. fear (^frighten), 181. fear (=object of fear), 186. fearful (^full of fear), 177. feast-finding, 190. teat (adverb;, 199. fee-simple, my own, 200. fence (=guard), 183. fickle, 198. field (play upon), 183. fiery-pointed, 186. figured, 209. filed talk, 2x1. fine (=bring to an end), 19 1. fire (dissyllable), 174. flaws (=gusts), 175. fluxive, 199. foil (noun), 200. folly {— wickedness), 191. fond (—foolish), 180, 185, 192. fondling (^darling), 173. for (^because), 192. for why, 193, 209. force not (=regardnot\ 192. forced to content, 171. forestall (^prevent), 190. forsworn, 178. frets (noun), 192. from (=away from), 193. fruitless (^barren), 178. fry (= small fry), 176. fulfilled (=filled full), 193. gage (=risk), 184. gentry (—gentle birth), 188. gins (=begins), 171. gives her sorrow fire, 196. glisters, 173. go about (—attempt), 174. God wot, 194. government, 194. grained (bat), 200. grave (=bury?), 189. grave (=engrave), 174. graff, 192. grey, 172. gripe (^griffin), 188. grisly, 191. had gave, 176. hard-favoured, 172, 196. harmless show, 195. hearsed, 189. heart’s attorney, 174. heartless, 187. heave her napkin, 198. helpless, 176, 192. honey (adjective), 171. honour (=lordship), 173. hild (=held), 193. his (=its), 174, 188, 195, 214. his (=of him), 180. ill-nurtured, 172. imaginary, 194. imagination (metre), 177. imperious (=imperial), 180. imposthumes, 178. impleached, 201. in (=on), 172. in clay (=in the grave), 189. in hand with, 180. in post, 182. in sadness (=in earnest), 178. incorporate, 176. insinuate with, 180. instance (=evidence\ 195. insult (=exult), 176. insulter, 176. intend (=pretend), 184. intendments, 173. interprets, 194. intituled, 183. intrude (=invade), 191. inventions, 194. invised, 201. invisible, 175. jade, 190. ken (=sight), 192. key-cold, 197. kill, kill! 177. kind (^natural), 194. laid (=lay), 198. land (noun), 189. late (=lately), 197, 202. laund, 178. laundering, 198. leaps (rhyme), 173. leave (=license), 176. lectures (=lessons), 189. leisures, 201. let (=forbear), 183. let (=hinder), 186. let (^hindrance), 189. levelled (=aimed), 199, 202, 203. like (=as?), 187. limed, 183. lists of love, 176. liver (seat of passion), 183. lode-star, 185. lover (feminine), 198- love’s golden arrow, 180. lust (^pleasure), 194. lust-breathed, 182. luxury (=lust), 203. make a saw, 197. manage (noun), 200. manage (of horses), 176. mane (plural), 173. map (=picture), 186. margents, 184. marriage (trisyllable), 185. mated (=bewildered), 180. maund, 199. mean (=means), 192. measure (=dance), 182. mermaid (—siren), 174, 178. miss (—misbehaviour), 171. mistrustful, 178. moe, 195, 196, 199, aoo. INDEX OF WO EDS AND PHRASES EXPLAINED. 217 moiety, 182. moralize, 184. more (=greater), 171. mortal ( = death - dealing ), 176. mot (=motto), 190. musing (^wondering), 179. musits, 177. naked (play upon), 185. nameless, 187. napkin ( = handkerchief ), 198. Narcissus, 172, 185. needle (monosyllable), 186. nill, 210. nimble notes, 192. note (--notoriety), 202. note (—stigma), 185. nought (rhyme), 211. nought to do, 192. nuzzling, 181. obdurate (accent), 173, 187. obey to, 213. o’er-worn, 172. o’erstraw’d, 182. of force, 201, on (omitted), 187. on ringing, 195. only (transposed), 187. orchard (=garden), 200. Orpheus, 188. orts, 192. outwards (noun), 200. overseen (=bewitched), 193. overseer (of will), 193. owe (=own), 1741 ! 83 , i 97 > 200. packed (=sent packing), 210. painted cloth, 185. pale (^enclosure), 173 - pale (^paleness), 176. paling the place, etc., 202. palmer, 193. Paphos, 182. parling, 184. passenger, 172. passions (=grieves), 181. peeled (spelling), 193. peers (verb), 187. pelleted, 199. pelt (verb), 194- pensived, 201. perplexed ( = confounded ), 190. Philomel, 192, 210. phoenix (adjective), 200. phraseless, 201. pine (=starve), 176. pioneer (spelling), 194. pith (= vigour), 171. plaining, 188. plaits (noun), 183. plausibly, 198. pleasance, 209. pleasing (passive), 192. point (=appoint), 191. posied, 199. power (plural), 186. preached pure maid, 203. precedent, 193. prefer and undertake, 199- present (= instant), 193. pretended (^intended), 188. pretty, 193- . prick (= dial-point), 190. prime (= spring), 186. prone (^headlong), 189. proof (=armour), 177. proof (^experience), 200. property, 214- proportioned, 190. prove (^experience), 176. prove (=try), 171. purified, 188. purled, 194. qualified, 187. quality (of gems), 201. questioned ( == talked), 184. quittal, 185. quote (—note), 190. rank (adjective), 171. read lectures, 189. reaves, 178. receipt, 189. . remorse (=pity), 173* rents (=rends), 199. repeal (=^recall), 189. repine (noun), 175. reprove (=disprove), 178- requiring (— asking), 182. resolution (metre), 186. respect (=prudence), 185. respects (= considerations), 180. retire (noun), 184. retire (transitive), 186. retiring (—returning), 191. re-worded, 198. rigol, 197. rose-cheeked, 170. round (= whisper), an. ruffle (=bustle), 199- ruinate, 191. ruth (=pity), 209. sad (=serious), 185. saw (=maxim), 185. sawn (=sown ?), 200- scape (noun), 190. seared, 198. I seasoned (figurative), 199. seated from the way, 193- securely, 183. seeks to, 185. seld, 210. senseless, 190. sensible (^sensitive), 175. sepulchred (accent), 190. set a- work, 195. shame (intransitive), 192, * 93 - sheaved, 199. shifting (—deceitful), 191. shift (^trickery), 191. shine (noun), 175. shoot (noun), 188. short (verb), 210. shrewd (=evil), 175. silly (=innocent), 181, 184. simple (=artless), 178. simple (noun), 188. Sinon, 195. sistering, 198. sith, 178, 182. size, 199- slanderous, 192. sleided, 199. slips (play upon), 175- smoothing (^-flattering', 191. sneaped, 186. sod (=sodden), 196. sometime, 192, 199. sort (=adapt), 193. sort (=select), 191. sounds (waters), 194. spend their mouths, 177. spirit (monosyllable), 172, 198, 202. spleen (=heat), 209. spleens, 180. spotted (^polluted), 190. spright, 172, 184, 197. spring (=bud), 177, 191. stain to all nymphs, 171. stalled, 2x0. steep-up, 209. stelled, 195. stillitory, 175. still-pining, 191. still-slaughtered, 185. sting (—stimulus), 202. stole (=robe), 203. stops (of musicalinstrument), 192. stories (verb), 180, 184. strand (spelling), 195. strange kinds, 193. strangeness, 175. struck (spelling), 175. strucken, 185. suffered, 174. suggested (=tempted), 183. supplicant, 202. supposed, x86. supreme (accent), 190. surcease, 197. suspect (noun), 180. sweating palm, 171. swooning (spelling), 2C3. swounds, 195. take truce, 171. taking (noun), 187. tarriance, 209. tender (^favour), 188. teen (=sorrow), 178, 201. temperance (=chastity), 191. tempering, 176. termless, 200. than (=then), 195. thorough (=through), 198. threaden, 199. threne, 214. timely (nearly), 2^9. tired (=attired), 172. tires ( = feeds ravenously), *7*- litan (—sun), 172. that (=sothat), 173, 176, 179, 183, 185, 187, 194, 195, 197, 200, 214. to (=in addition to), 196. too late (=too lately), 197. too too, 184. told (^counted), 173, 175. top of rage, 199. toward (^forward), 182. towering (in falconry), 187. treatise (=talk), 178. treble-dated, 214. trenched, 181. triumphing (accent), 194. true men, 178. trumpet (--trumpeter), 213. unadvised, 195. unapproved, 199. uncouple, 177. uncouth (=strange), 196. undertake ( = guarantee ), 202. unexperient, 203. unhappy ( — mischievous ), 196. unkind (=childless), 173. unlived, 197. unrecalling (passive), 192. unseasonable, 188. unsounded, 198. urchin-snouted, 181. vaded, 209. vails (^lowers), 173, 180. vastly, 197. venge, 197. villain (= servant), 194. ward (=bolt), 186. was my own fee-simple, 200. Wat (=hare), 178. watch of woes, 191. water-galls, 196. weed (= garment), 185. whenas, 180, 210. who (=which), 173, 179, i8r, 186, 192. where (=whereas), 190. whereas (=where), 209. whether ( monosyllable ), , I 73 > wink (=shut the eyes), 172, 187, 188. wipe (noun), 188. wistly, 174, 194, 209. withhold (=detain), 176. within his danger, 177. wits (rhyme), 179. wood (=mad), 178. woodman (^hunter), 188. wot, 194. worm (=serpent), 180. wrack, 175. wrapped ( = overwhelmed ), 187. wreaked (=revenged), 180. wretch (as a term of pity) 178. writ on death, 175. wrong the wronger, 191. SHAKESPEARE. WITH NOTES BY WM. J. ROLFE, A.M. The Merchant of Venice. The Tempest. Julius Caesar. Hamlet. As You Like it. Henry the Fifth. Macbeth. Henry the Eighth. A Midsummer -Night’s Dream, Richard the Second. Richard the Third. Much Ado About Nothing. Antony and Cleopatra. Romeo and Juliet. Othello. Twelfth Night. The Winter’s Tale. King John. Henry IT. Henry IY. Illustrated. FRIENDLY King Lear. The Taming of the Shrew. All ’s Well That Ends Well Coriolanus. Comedy of Errors. Cymbeline. Merry Wives of Windsor. Measure for Measure. Two Gentlemen of Verona« Love’s Labour ’s Lost. Timon of Athens. Henry YI. Part I. Henry YI. Part II. Henry YI. Part III. Troilus and Cressida. Pericles, Prince of Tyre. The Two Noble Kinsmen. Poems. Sonnets. Titus Andronicus. Part I. Part II. i6mo, Cloth, 56 cents per vol. ; Paper, 40 cents per vol. EDITION, complete in 20 vols., i6mo, Cloth, $30 00; Half Calf, $ 60 00. {Sold only in Sets.) In the preparation of this edition of the English Classics it has been the aim to adapt them for school and home reading, in essentially the same way as Greek and Latin Classics are edited for educational pur- poses. The chief requisites are a pure text (expurgated, if necessary), and the notes needed for its thorough explanation and illustration. Each of Shakespeare’s plays is complete in one volume, and is^ pre- ceded by an Introduction containing the “History of the^Play, the “ Sources of the Plot,” and “ Critical Comments on the Play. From Horace Howard Furness, Ph.D., LL.D., Editor of the “ Neiv Variorum Shakespeare .” No one can examine these volumes and fail to be impressed with the conscientious accuracy and scholarly completeness with which they are edited. The educational purposes for which the notes are written Mi. Rolfe never loses sight of, but like “a well-experienced archer hits the mark his eye doth level at.” 2 Rolfe' s Shakespeare . From F, J. Furnivall, Director of the New Shakspere Society , Lojulon. The meiit I see in Mr. Rolfe’s school editions of Shakspere’s Plays over those most widely used in England is that Mr. Rolfe edits the plays as works of a poet, and not only as productions in Tudor English. Some editors think that all they have to do with a plav is to state its source and explain its hard words and allusions ; they treat it as they would a charter or a catalogue of household furniture, and then rest satisfied. But Mr. Rolfe, while clearing up all verbal difficulties as carefully as any Dryasdust, always adds the choicest extracts he can find, on the spirit and special note ’ of each play, and on the leading characteristics of its chief personages. He does not leave the student without help in getting at Shakspere’s chief attributes, his characterization and poetic power. And every practical teacher knows that while every boy can look out hard words in a lexicon for himself, not one in a score can, unhelped, catch points of and realize character, and feel and express the distinctive individuality of each play as a poetic creation. From Prof. Edward Dowden, LL.D., of the University of Dublin, Au- thor of “ Shakspere : His Mind a?id Art.” I incline to think that no edition is likely to be so useful for school and home reading as yours. Your notes contain so much accurate instruc- tion, with so little that is superfluous; you do not neglect the aesthetic study of the play ; and in externals, paper, type, binding, etc., you make a book “ pleasant to the eye ” (as well as “ to be desired to make one wise ”) — no small matter, I think, with young readers and with old. From Edwin A. Abbott, M.A., Author of “ Shakespearian Grammar.” I have not seen any edition that compresses so much necessary infor- mation into so small a space, nor any that so completely avoids the com- mon faults of commentaries on Shakespeare— needless repetition, super- fluous explanation, and unscholar-like ignoring of difficulties. From Hiram Corson, M.A., Professor of Anglo-Saxon and English Literature, Cornell University, Ithaca , N. Y. In the way of annotated editions of separate plays of Shakespeare, for educational purposes, I know of none quite up to Rolfe’s. Rolfe's Shakespeare . 3 From Prof. F. J. Child, of Harvard University . I read your “ Merchant of Venice ” with my class, and found it in every respect an excellent edition. I do not agree with my friend White in the opinion that Shakespeare requires but few notes— that is, if he is to be thoroughly understood. Doubtless he may be enjoyed, and many a hard place slid over. Your notes give all the help a young student requires, and yet the reader for pleasure will easily get at just what he wants. You have indeed been conscientiously concise. Under date of July 25, 1879, Prof. Child adds: Mr. Rolfe’s editions of plays of Shakespeare are very valuable and convenient books, whether for a college class or for private study. I have used them with my students, and I welcome every addition that is made to the series. They show care, research, and good judgment, and are fully up to the time in scholarship. I fully agree with the opinion that expeiienced teachers have expressed of the excellence of these books. From Rev. A. P. Peabody, D.D., Professor in Harvard University . I regard your own work as of the highest merit, while you have turned the labors of others to the best possible account. I want to have the higher classes of our schools introduced to Shakespeare chief of all, and then to other standard English authors ; but this cannot be done to ad- vantage unless under a teacher of equally rare gifts and abundant leisure, or through editions specially prepared for such use. I trust that you will have the requisite encouragement to proceed with a work so hap- pily begun. From the Examiner and Chronicle , N. Y. We repeat what we have often said, that there is no edition of Shake- speare which seems to us preferable to Mr. Rolfe’s. As mere specimens of the printer’s and binder’s art they are unexcelled, and their other merits are equally high. Mr. Rolfe, having learned by the practical ex- perience of the class-room what aid the average student really needs in order to read Shakespeare intelligently, has put just that amount of aid into his notes, and no more. Having said what needs to be said, he stops there. It is a rare virtue in the editor of a classic, and we are propor- tionately grateful for it. 4 Rolfe's Shakespeare. From the N. Y. Times. This work has been done so well that it could hardly have been done better. It shows throughout knowledge, taste, discriminating judgment and, what is rarer and of yet higher value, a sympathetic appreciation of the poet’s moods and purposes. From the Pacific School Journal , San Francisco. This edition of Shakespeare’s plays bids fair to be the most valuable aid to the study of English literature yet published. For educational purposes it is beyond praise. Each of the plays is printed in large clear type and on excellent paper. Every difficulty of the text is clearly ex- plained by copious notes It is remarkable how many new beauties one may discern in Shakespeare with the aid of the glossaries attached to these books Teachers can do no higher, better work than to incul- cate a love for the best literature, and such books as these will best aid them in cultivating a pure and refined taste. From the Christian Union , N. Y. Mr.W. J. Rolfe’s capital edition of Shakespeare ... by far the best edi- tion for school and parlor use We speak after some practical use of it in a village Shakespeare Club. The notes are brief but useful ; and the necessary expurgations are managed with discriminating skill. From the Academy , London. Mr. Rolfe’s excellent series of school editions of the Plays of Shake- speare , . . they differ from some of the English ones in looking on the plays as something more than word - puzzles. They give the student helps and hints on the characters and meanings of the plays, while the word-notes are also full and posted up to the latest date. . . . Mr. Rolfe also adds to each of his books a most useful “ Index of Words and Phrases Explained.” Published by HARPER & BROTHERS, New York. IW Any of the above works will be sent by mail , postage prepaid , to any part of the United States or Canada , on receipt of the fir ice. OLIVER GOLDSMITH. SELECT POEMS OF OLIVER GOLDSMITH. Edited, with Notes, by William J. Rolfe, A.M., formerly Head Master of the High School, Cambridge, Mass. Illus- trated. i6mo, Paper, 40 cents ; Cloth, 56 cents. ( Uni- form with Rolfe' s Shakespeare) The carefully arranged editions of “ The Merchant of Venice ” and other of Shakespeare's plays prepared by Mr. William J. Rolfe for the use of students will be remembered with pleasure by many readers, and they will welcome another volume of a similar character fiorn the same source, in the form of the “ Select Poems of Oliver Goldsmith,” edited with notes fuller than those of any other known edition, many of them original with the editor.— Boston Transcript. Mr. Rolfe is doing very useful work in the preparation of compact hand-books for study in English literature. His own personal culture and his long experience as a teacher give him good knowledge of what is wanted in this way. — The Congregationalist, Boston. Mr. Rolfe has prefixed to the Poems selections illustrative of Gold- smith’s character as a man, and grade as a poet, from sketches by Ma- caulay, Thackeray, George Colman, 1 homas Campbell, John Forster, and Washington Irving. He has also appended at the end of the volume a body of scholarly notes explaining and illustrating the poems, and dealing with the times in which they were written, as well as the incidents and circumstances attending their composition. — Christian Intelligencer, N. Y. The notes are just and discriminating in tone, and supply all that is necessary either for understanding the thought of the several poems, or for a critical study of the language. The use of such books in the school- room cannot but contribute largely towards putting the study of English literature upon a sound basis ; and many an adult reader would find in the present volume an excellent opportunity for becoming critically ac- quainted with one of the greatest of last century’s poets. — Appleton's Journal, N. Y. Published by HARPER & BROTHERS, New York. p W~ Sent by mail, postage prepaid , to any part of the United States or Canada, on receipt of the price. THOMAS GRAY. SELECT POEMS OF THOMAS GRAY. Edited, with Notes, by William J. Rolfe, A.M., formerly Head Master of the High School, Cambridge, Mass. Illus- trated. Square i6mo, Paper, 40 cents ; Cloth, 56 cents. ( Uniform with Rolfe’ s Shakespeare .) Mr. Rolfe has done his work in a manner that comes as near to per- fection as man can approach. He knows his subject so well that he is competent to instruct all in it ; and readers will find an immense amount of knowledge in his elegant volume, all set forth in the most admirable order, and breathing the most liberal and enlightened spirit, he being a warm appreciator of the divinity of genius. — Boston Traveller. The great merit of these books lies in their carefully edited text, and in the fulness of their explanatory notes. Mr. Rolfe is not satisfied with simply expounding, but he explores the entire field of English literature, and therefrom gathers a multitude of illustrations that are interesting in themselves and valuable as a commentary on the text. He not only in- structs, but stimulates his readers to fresh exertion ; and it is this stimu- lation that makes his labor so productive in the school-room.- — Saturday Evening Gazette , Boston. Mr. William J. Rolfe, to whom English literature is largely indebted for annotated and richly illustrated editions of several of Shakespeare’s Plays, has treated the “ Select Poems of Thomas Gray ” in the same way — just as he had previously dealt with the best of Goldsmith’s poems. — Philadelphia Press. Mr. Rolfe’s edition of Thomas Gray’s select poems is marked by the same discriminating taste as his other classics. — Springfield Republican. Mr. Rolfe’s rare abilities as a teacher and his fine scholarly tastes ena- ble him to prepare a classic like this in the best manner for school use. There could be no better exercise for the advanced classes in our schools than the critical study of our best authors, and the volumes that Mr. Rolfe has prepared will hasten the time when the study of mere form will give place to the study of the spirit of our literature. — Louisville Courier- Journal. An elegant and scholarly little volume. — Christian Intelligencer , N. Y. Published by HARPER & BROTHERS, New York. 1ST Sent by mail , tost age prepaid, to any part of the United States or Canada, on receipt of the price.