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GIFT OF
A. F. Morrison
THE PASSIONATE PILGRIM
1599
FACSIMILE
LONDON
HENRY FROWDE, M.A.
PUBLISHER TO THE UNIVERSITY
OF OXFORD
\y(.
I THE PASSIONATE PILGRIM |
♦ «
g BEING A REPRODUCTION IN FACSIMILE OF ®
I THE FIRST EDITION I
i 1599 I
I FROM THE COPY IN THE CHRISTIE MILLER LIBRARY i
f AT BRITWELL f
§ WITH INTRODUCTION AND BIBLIOGRAPHY ©
I SIDNEY LEE f
OX
i OXFORD : AT THE CLARENDON PRESS i
I MDCCCCV g
,^#-^9SE«^^
"'^'RRfiii-ViU
^^^•^^
• ? V /^
GIFT OF
OXFORD
PHOTOGRAPHS AND LETTERPRESS
BY HORACE HART, M.A.
PRINTER TO THE UNIVERSITY
;^iigia^JS3;^
CONTENTS
PAGE
INTRODUCTION TO THE TASSIONATE TTLGRTM^
I. The History of the Publication .... 7
II. 'Private' manuscript Sources . . . . -14
III. The Contents of the Miscellany . . . .20
IV. The Editions of i5i2 and 164.0 . . . •45'
V. A Census of Copies ....... 5-3
Illustrative Title-Pages — ■
The edition of i/f-
w'f»/(i78o), wasthefirst editor to introduce a consecutive numerical notation.
8 THE PASSIONATE PILGRIM
common six-line stanza which Shakespeare employed in his
Venus and Adonis-^ two are in seven-syllabled riming
couplets; one is in four-lined stanzas alternately rimed;
and three are in less regular metres, which were specially
adapted for musical accompaniment.
Internal and external evidence alike confute the assertion
of the title-page that all the contents of the volume were by
Shakespeare. No more than five poems can be ascribed with
confidence to his pen. Of the remaining fifteen, five were
assigned without controversy to other hands in Shakespeare's
lifetime; two were published elsewhere anonymously; and
eight, although of uncertain authorship, lack all signs of
Shakespeare's workmanship. A study of the facts attending
the volume's publication shows, moreover, that it was not
designed by Shakespeare, and that in its production he had
no hand.
William T^he PasAonate Pilgrim owed its origin to the speculative
Jaggard. boldncss of the publisher, William Jaggard, who, according to
the title-page, caused the book to be printed. Jaggard
deserves respectful mention by the student of Shakespeare
in virtue of the prominent part he took in the publication
of the First Folio Edition of Shakespeare's Plays in 1(^23.
He was at the head of the syndicate of stationers who defrayed
the cost of that noble undertaking, and at his press the great
volume was printed. The enterprise of the First Folio was
the closing episode in Jaggard's career. It belonged to the
zenith of his prosperity. He died at the moment that the
work was completed.' The Passionate Pilgrim was a somewhat
insolent tribute paid by Jaggard to Shakespeare's reputation
» Mr. William Jaggard, of Liverpool, who is engaged on a full biography
of his namesake, kindly informs me that the Elizabethan publisher's will was
dated March 28, i6'23, and proved on November 17 following.
THE PASSIONATE PILGRIM 9
four and twenty years earlier. The publisher had just then
begun business for himself, and his prospects were still insecure.
Every detail in the history of the enterprise pertinently
illustrates the unscrupulous methods which the customs of
the trade encouraged the Elizabethan publisher to pursue.
But it is erroneous to assume that it was reckoned by any
extensive public opinion of the day personally discreditable
in Jaggard to publish under Shakespeare's name work for
which the poet was not responsible. In all that he did
Jaggard was justified by precedent, and he secured the
countenance and active co-operation of an eminent member
of the Stationers' Company, whose character was deemed
irreproachable.
William Jaggard, who was Shakespeare's junior by some Jaggaid's
five years, having been born in i5'<^9, enjoyed a good prelimi- '^^'^ ^ ^^'^^^^•
nary training as a publisher. His father, John Jaggard, citizen
and barber-surgeon of London, died in William's boyhood,
and he and a brother, John, both apprenticed themselves on the
same day, September 29, 1 5-84, to two highly reputable printers
and publishers, each of whom was in a large way of business and
owned as many as three presses.* Henry Denham, William's
master, twice Under-Warden of the Stationers' Company, lived
at the sign of the Star in Paternoster Row. John's master
was the veteran Richard Tottel, twice Master of the Stationers'
Company, who won lasting fame at the outset of his career by
his production in 15- 5- 7 of that first anthology of English
verse which is commonly known as TottePs Miscellany.'^ Tottel's
* For the details and dates in the career of Jaggard and his brother I am
indebted to Mr. Arber's Transcript of the Stationers' Registers.
^ The full title of this volume, of which The Passionate Pilgrim was a
descendant, ran : — ' Songes and Sonettes^ written by the ryght honorable Lorde
Henry Howard, late Earle of Surrey, and other. Apud Richardum Tottel,
\')')'l' The book reached an eighth edition in 1587.
B
lO
THE PASSIONATE PILGRIM
John
Jaggardj suc-
cessor to
Richard
Tottel.
William
Jaggard's
early strug-
gle, 1594-
His
prosperous
years,
i^oj-23.
place of business was at the sign of the Hand and Star in
Fleet Street, within Temple Bar, between the two Temple
gates, and there his young apprentice helped him in 15-87
to prepare an eighth edition of his popular anthology.
In due course the brothers were admitted freemen of
the Company, William on December 6^ ly?!, and John
next year, on August 7, i ^92. They were thus fully qualified
to play their part in the history of English publishing, when
Shakespeare was winning his earliest laurels.
John's career only indirectly concerns us here. He
became assistant to his old master Tottel, and in 1^97, four
years after Tottel's death, was established in TottePs well-
seasoned house of business, the Hand and Star in Fleet Street.
Though he did not acquire TottePs printing-presses, and
never printed for himself, he rapidly made a name as a
publisher and bookseller. Among his publications were two
editions of Fairfax's great translation of Tasso's Gerusalemme
Liberata^ and the third, fourth, and fifth editions of Bacon's
Essays [1606^ i(Ji2, 1(^13). He entered the livery of his
Company July 3, 1(^02, and acted as Warden in 1(^19 and 1610.
William, whose rise was less rapid, was a rougher-tempered
man than his brother, and never obtained office in his Company.
He began business on his own account in 1794, acquiring
premises, which have no ascertainable history, at the east end
of the churchyard at St. Dunstan's-in-the-West, in Fleet Street.
There, for eleven years, he published books on a limited scale.
He owned no printing-press, and his operations were restricted.
But in i6qs his position completely changed. He acquired
a preponderating interest, which he soon converted into a sole
interest, in the old-established printing business of James
Roberts, in the Barbican. Thenceforth his fortunes were not
in doubt. Between idof and 1(^23, the year of his death, he
THE PASSIONATE PILGRIM xi
carried on one of the largest printing businesses in London,
and produced and published many imposing folios besides the
First Folio of Shakespeare's Plays. In 16 ii he became printer
to the City of London; in 1^13 he purchased from his
partner Roberts the right of printing ' the players' bills ' or
theatrical programmes; and in i5i8 he issued 'A catologve of
such English Bookes as lately haue bene and now are in Printing
for Publication ', which he promised to continue half-yearly.
The reputation of his press for typographical accuracy was
never high, but he violently denounced any authors who were
bold enough to complain of its defects.
The year 15-99, during which Jaggard produced T/;^ His first
Passionate Pilgrim^ was long anterior to the prosperous period P"^^^'^^"'^"^-
of his life, which opened in 160 s with the control of Roberts'
press. Before 15*99 he would seem to have published not
more than two or three books. The first extant book, on the
title-page of which his name figures, was a sermon preached by
John Dove at St. Paul's Cross, Nov. 3, 15*94, which came out
before the close of that year. The title-page stated that it
was printed ' by P. S. [i. e. Peter Short] for W. Jaggard '. Next
year there was issued a new edition of the pedestrian verse of
William Hunnis called Hunnies Recreations. The imprint was
the same, with the addition of Jaggard's address in Fleet Street.
The Stationers' Company granted no licence for the
publication of either of these books, and in fact Jaggard
obtained only one licence from the Company before the end
of the sixteenth century. On January 23, 15-97-8, he was
duly authorized by the Company to publish an embroidery
pattern book, called The true perfection of Cuttrvorkes^ of
which no copy has been met with.
Jaggard was no slave of legal formalities. It was the
exception rather than the rule for him to seek a licence
B 2
12
THE PASSIONATE PILGRIM
His two un-
dertakings
in 1J99.
William
Leake's co-
operation.
for the publication of a book. Though he published several
books in the interval, he did not seek a second licence until
March itf, KJ03, when he obtained one for a work appro-
priately called The Anatomie ofSinne. He faced the risk of
punishment for his defiance of the law, and, when a penalty
was exacted, paid it without demur.'
No extant book which bears Jaggard's name came out
during the three years iy9<^, 1^97, and lypS. In 1^99 two
volumes appeared with the intimation on the title-page that
they were ' printed /or W. Jaggard'.'' In neither case was the
Stationers' Company made officially cognizant of Jaggard's
operations. 0£ these two volumes, one was Thomas HilPs
Schoole of Skily an astronomical treatise in black letter, which
was stated to be < printed for W. Jaggard ' at the press of
T. Judson. The other was The Passionate Pilgrim^ the imprint
of which declared that it was 'Printed for W. Jaggard, and are to
be sold by W. Leake at the Greyhound in Paules Churchyard '.
William Leake's association with the venture guaranteed
it against official censure. He was a prominent and respected
member of the Stationers' Company. He had joined the
livery the year before, and subsequently became assistant (i <^04)
and Master (idi8). Before associating himself with Jaggard 's
venture of The Passionate Pilgrim^ he had given notable proof
of interest in Shakespeare's work. On June 25-, i5"9<^, he
had acquired the copyright of Venus and Adonis from John
* On October 23, i<^oo, William Jaggard and a kindred spirit, Ralph
Blower, were fined by the Stationers' Company ^y. 8^. for * printing without license
and contrary to order a little booke of Sir Anthony Sherley's Travels ', and all
< the said books so printed * were forfeited by the Company. The offenders
were threatened with imprisonment in default of compliance with the
judgement, but Jaggard cheerfully paid his share of the fine on Sept. 7, i(^oi,
and purged his offence. Cf. Arber, ii. 831, 833.
=" The preposition 'for' in the imprint of Elizabethan books usually
precedes the name of the proprietor of the copyright.
THE PASSIONATE PILGRIM ij
Harrison, who had bought it from its first holder, Richard
Field, three years before. Leake retained his property in
Shakespeare's earliest printed book for nearly twenty-one
years. His first edition of Venus and Adonis appeared in
If 99, in the same year as the first edition oi The 'Passionate
Pilgrim^ and on the title-pages of both volumes figured his
address — * the Greyhound in Paules Churchyard.' ' Thus in i y 9 9,
a year after Leake was clothed with the livery of his Company,
two newly printed volumes, which were identified with Shake-
speare's name and fame, adorned for the first time the shelves
of his shop in St. Paul's Churchyard.
The unnamed printer of The Passionate Pilgrim was doubt- Peter Short,
less Peter Short, who had printed for Jaggard the only volume P""^^'*
of verse which he is known to have undertaken previously,
viz. Plunnies 7{ecreations^ in 1S9S' Short also printed for
Jaggard his first book, Dove's Sermon j in i5'94. Short's print-
ing office was at ' the Star on Bread Street Hill, near to the
end of Old Fish St.' ; his business was a large one and many
volumes of verse came from his press. Not only had he
printed recently the work of the poets Spenser and Daniel, but
he had produced for Leake the two editions of Fenus and
Adonis which appeared respectively in 15-99 and 1^02, as well
as Harrison's edition of Shakespeare's Lucrece in i5'98. More
than one song-book, with the literary contents of which The
Passionate Pilgrim had close affinity, also came from his press —
one in the same year as Jaggard's miscellany, viz. ' Ayres for four
Voyces composed by Michael Cavendish '.^
The typographical quality of the first edition of Jaggard's
* These premises enjoyed a traditional fame. Tliey had been long in
John Harrison's occupation, until at the close of 15-96 Leake took them over ;
he remained there till \6oi.
^ Cf. Veter Shorty Frinter^ and his Marks^ by Silvanus P. Thompson, F.R.S.
(Bibliograph. Soc), 1898.
14
THE PASSIONATE PILGRIM
tenstics.
Typographi- miscclkny is not high. Misprints abound. Numerous lines
and cha?ac- ^^^ ^^ ^^^7 Stand barely intelligible. Such defects were
mainly due to imperfections in the 'copy', but they bear
witness, too, to hasty composition and to carelessness on the
part of the press corrector. Few of the irregularities are
beyond the ingenuity of a conscientious overseer to remove.
In Poem IX, the second line of the sonnet is omitted. There
is only one catchword in the whole volume, viz. ' Lord ', at the
foot of B 8 (recto). Capitals within the line are not very common,
but are employed most capriciously. In Sonnet IV, three of the
fourteen lines begin with small letters instead of capitals. At
V, 1. 7, ' eases ' rimes with < there '. Spelling eccentricities
which are scarcely to be differentiated from misprints, include
— II, 1. 1 2, 'ghesse' for 'guess ' ; V, 1. i, 'deawy ' for ' dewy ' ;
XIII, 1. 10, 'symant'for 'cement'; XIV, 1. ly, 'scite' for
' cite ' ; ' scence ' for ' sense ' (the word ' sense ' is correctly
spelt VIII, 1. 6)'yl 1 9, 'ditte ' for ' ditty '; XVII, 1. 4, ' nenying '
for 'renying'; 1. 8, 'a nay' for 'annoy'; 1. 12, 'wo wen for
' women ' ; XVIII, 1. 34,' prease ' for ' press ' ; 1. f r, ' th' are '
for ' the ear '. The volume was a small octavo and the meagre
dimensions of the ' copy ' led the printer to set the type on
only one side of the leaf in the case of twenty-five of the
twenty -eight leaves of text. At the top and bottom of each
page of text is an ornamental device of ordinary pattern — no
uncommon feature in small volumes of verse of the period.
Jaggard's
precedents
II
The part that Jaggard played throughout the enterprise
followed abundant precedents. It was common practice
for publishers to issue, under a general title of their own
devising, scattered pieces of poetry of varied origin. His
brother's master, Tottel, had inaugurated the custom in iffy.
verse.
THE PASSIONATE PILGRIM ly
and TottePs Miscellany had a numerous progeny. Nor was
Jaggard the only publisher arbitrarily to assign the whole of
a miscellaneous anthology to some one popular pen.
Opportunities for gathering material for such anthologies
abounded. Printed books, for example, novels and plays, which
were interspersed with songs, could always be raided with im-
punity. But it was from manuscript sources that the antho-
logical publishers sought their most attractive wares. Short
poems circulated very freely in manuscript copies through Eliza-
bethan England. An author would oifer a friend or patron Manuscript
a poetic elRision in his own handwriting. Fashion led the
recipient to multiply transcripts at will as gifts for other
worshippers of the Muses. There were amateurs who col-
lected these flying leaves in albums or commonplace books.'
The author exerted no definable right over his work after the
MS. left his hand. His name was frequently omitted from the
transcript. A publisher, in search of ' copy ', recognized no
obligation to consult the writer of unprinted verse before
he sent it to press. It might be to his interest to enlist the aid
of an amateur collector in extending his collections, and to
him he might be ready to make some acknowledgement. But
the author's claim to mention was usually disregarded alto-
gether. As often as not, both collector and publisher were in
ignorance of the name of the author of unsigned poems which
' Numerous manuscript collections of verse, which were formed by amateurs
of the sixteenth and seventeenth centuries, are extant in the British Museum, the
Bodleian Library, and in private hands. Mr. Henry Huth printed for private
circulation in 1870 interesting specimens of such colJections in private hands,
in the volume entitled Inedited Poetical Miscellanies^ i5'84.-i70o. Some
Elizabethans seem to have collected with an eye to business, and to have
deliberately handed their collections over to publishers for some unknown
consideration. Such an one was John Bodenham, to whom the publishers of
England's Helicon (idoo). Belvedere (i()0o), and other miscellanies of the time,
acknowledged indebtedness. Bodenham was hailed in a preliminary sonnet
before Belvedere as ' First causer and collector of these flowers ',
16 THE PASSIONATE PILGRIM
fell into their hands. In that contingency, the publisher deemed
it within his right to append in print what signature he chose.'
Evidence of Jaggard's fraudulent methods of work as an anthologist
Hshel/of" ^^^ capable of almost endless illustration. A venture of
anthologies, the year in which Jaggard became a freeman of the Stationers'
Company precisely anticipates Jaggard's conduct in printing
in a single volume 'small poems' by various pens, which
were 'dispersed abroad in sundrie hands', and in attri-
buting them all on the title-page to one author who was
only responsible for a few of them. A well-known stationer,
Richard Jones, issued in 1^91 an anthology which he called
Brittons Brtttons Bowre of Delights, Jones represented this volume to
^ml\t ^^ ^ collection of lyrics by Nicholas Breton, a poet who was
1^91- just coming into fame. The poet had no hand in the publi-
cation, and was piqued to discover on perusing it that it was
a miscellany of poems by many hands, in which the publisher
had included two or three of his own composition from
scattered manuscript copies. Next year, in the prefatory
note of his Pilgrimage to Paradise^ Breton stated the facts
thus : — ' Gentlemen, there hath beene of late printed by
one Richarde loanes, a printer, a booke of english verses,
entituled Bretons bower of delights : I protest it was donne
altogether without my consent or knowledge, and many
thinges of other mens mingled with a few of mine, for except
Jmoris Lachrimae : an epitaphe vpon Sir Phillip Sydney, and
one or two other toies, which I know not how he vnhappily
came by. I have no part of any of the : and so I beseech yee
assuredly beleeue.' But the author wasted his protest on the
desert air. He had no means of redress.
' Cf. Wither's Scholars 'Purgatory (c. i()Z5'), p. lai : 'If he [i.e. the
Stationer] gelt any written Coppy into his powrc, likely to be vendible, whether
the Author be willing or no, he will publish it ; And it shall be contriued and
named alsoe, according to his owne pleasure : which is the reason, so many
good Bookes come forth imperfect, and with foolish titles.'
The passionate pilgrim 17
The publisher Jones was indifferent to the complaint, and
in I f 94 he exposed the poet Breton to the like indignity for a
second time. Very early in that year Jones published, with the
licence of his Company, a new miscellany which he called 'T^^
Jrhor of Amorous Deuices . . . by N. B. Gent.' In a preliminary
epistle To the Gentlemen J^eaders^ he boldly called attention to
the fact that < this pleasant Arbor for Gentlemen ' was ' many
mens workes, excellent Poets, and most, not the meanest in
estate and degree'. Jones' new miscellany consisted of
thirty short poems. Breton was only responsible for six or
seven of them, yet the title-page ascribed all of them to him.'
Two volumes of the utmost literary interest, which were
also issued in 1^91, illustrate how readily poetic manuscripts
fell, without the knowledge of the author or his friends,
into a publisher's clutches. Firstly, in that year, Thomas
Newman, a stationer of small account, discovering that Sidney's Sidney's
sonnets were < spread abroad in written copies ', put them into f ""j^^'
print on his own initiative, together with an appendix of
' sundry other rare Sonnets ', which he ascribed to divers
anonymous ' noblemen and gentry '. Samuel Daniel, the
poet, soon discovered to his dismay that Newman, without
giving him any hint of his intention, had made free in the
' Of each of these miscellanies assigned to Breton only single copies are
now known to be extant ; they are even rarer than Tke Passionate Fllgrtm. A
unique copy of the Bcnuer is at Britwell, and a unique copy of the Arbor
(defective and without title-page) is in the Capell collection at Trinity College,
Cambridge. Another example of the assignment by an adventurous publisher
of a collection of miscellaneous poems to a single author, whereas the contents
of the volume were from many pens, is oflfered by the second edition of
Constable's D//z»^, issued by James Roberts in i')^\. The printer, Richard
Smith, distributed twenty-one genuine sonnets by Constable, which he had
brought out in a separate and authentic volume in I5'5)i, through a collection
of seventy-five sonnets, of which fifty-four were by ' other honourable and
learned personages '. Eight of the supplementary poems, which the publisher
Smith connected with Constable's name, were justly claimed for Sir Philip
Sidney in the authorized collection of his works in 155^8.
1$
THE PASSIONATE PILGRIM
Spenser's
Complaints^
1591.
Publishers'
habit of
wrongly giv-
ing authors'
names.
appendix with written copies of twenty-three sonnets by
himself which had not been in print before ; they appeared
anonymously in Newman's volume.
Secondly, in 15-91, William Ponson by published a little
collection of Spenser's verse, in a volume on which he and
not the author bestowed the title of Complaints. In an
address ' To the gentle Reader ' Ponsonby announced that
he had ' endevoured by all good means ... to get into his
handes such smale Poemes of the same Authors as he heard
were disperst abroad in sundrie hands and not easie to bee
come by by himselfe, some of them having been diverslie im-
beziled and purloyned from him since his departure Oversea '.
The printer expressed the hope that Complaints might be the
forerunner of a second collection of ' some other Pamphlets
looselie scattered abroad ', for which he was still searching.
Further illustration of various points in Jaggard's
procedure may be derived from yet two other poetic
anthologies, which came out a year later than The Passionate
Pilgrim^ viz. England ^s Helicon y an admirable collection of
Elizabethan lyrics, four of which also find a {)lace in Jaggard's
volume j and Belvedere, or the Garden of the Muses, an ample
miscellany of elegant extracts. In the address to the reader
prefixed to England"* s Helicon reference is made to the
grievance that another man's name was often put in such
works to an author's poems, but the wrong done was treated
by the publisher of England"* s Helicon as negligible.^
The Belvedere anthology indicates the superior
^ To the complaint of stationers, that their copies ' were robbed ' and
their copyright ignored by these collections, the compiler of England's Helicon
makes answer that no harm can be done by quotation when the name of the
author is appended to the extract, and the most eminent poets are represented
in the miscellany. As the author's name was usually either omitted or given
wrongly, the apologist for Jaggardian methods offers very cold comfort.
THE PASSIONATE PILGRIM 19
importance which the publishers attached to < private ', or Publishers*
unpublished pieces, above ' extant ', or pieces which were c "4tr
already in print. The compiler of Belvedere claims credit poems'.
for having derived his material not merely from printed
books, but from ^private poems^ sonnets^ ditties and other rvitty
conceits . . . according as they could be obtained by sight or favour
of copying \ In the case of Spenser, Daniel, Drayton, Shakespeare,
Marlowe, Barnfield, and many other living authors whom he
named, he had drawn not merely ' from many of their extant
(i. e. published) workes ', but from « some kept in private '.
0£ five recently dead authors he stated he had * perused '
not only their ' divers extant labours ' but ' many more held
back^from publishing"*.
In christening his volume, Jaggard illustrated the habit The name
which Georee Wither had in mind when he wrote of the of Jaggard's
o miscellany.
Stationer that < he oftentymes giues bookes such names as in
his opinion will make them saleable, when there is little or
nothing in the whole volume sutable to such a tytle'.' The
title which Jaggard devised has no precise parallel, but it
does not travel very far from the beaten track. The ordinary
names which were bestowed on poetic miscellanies of the day
were variants of a somewhat different formula, as may be
deduced from the examples < Bower of Delights', 'Handful
of Pleasant Delights', and « Arbor of Amorous Devices'.
The Affectionate Shepheard^ a collection of poems by Richard
Barnfield, which appeared in 15-94, approaches Jaggard's
designation more nearly than that of any preceding extant
volume of verse.^
' Scholars Furgaiory {c. 16^25), p. iza.
^ The similitude is not quite complete. Although Barnfield's book
includes many detached pieces, the title of the whole applies particularly to the
opening and longest poem of the volume. Jaggard's general title does not apply
to any individual item of the book's contents.
C 2
ao THE PASSIONATE PILGRIM
Jaggard used the word ' passionate ' in the affected sense
of ' amorous '.' ' Passionate ' in that signification was a con-
ventional epithet of ^shepherd' and
These lines, if less polished, are somewhat more pointed than
the later version : —
Although she knowes my dayes are past the best,
Simply I credit her false speaking tongue.
On both sides thus is simple truth supprest :
But wherefore sayes she not she is uniust?
Line u,
O, Loues best habite is a soothing toung,
became in 1(^09,
O loues best habit is in seeming trust;
while the concluding couplet —
Therefore He lye with Loue, and Loue with me.
Since that our faults in Loue thus smother'd bej
appeared ten years later in the different but equally
ambiguous form : —
Therefore I lye with her, and she with me,
And in our faults by lyes we flattered be.
Jaggard's second sonnet shows fewer discrepancies with The second
sonnet.
24 THE PASSIONATE PILGRIM
that of i(Jo9, and his version is on the whole the better
of the two : —
line 8 —
[i^-pp] Wooing his purity with her faire pride,
[idop] Wooing his purity with her fowle pride.
line Ti —
[ 1 5-99] For being both to me : both to each friend,
[1(^09] But being both from me both to each friend,
line 13 —
[1^99] The truth I shall not know, but liue in doubt.
[1^09] Yet this shal I nere know but liue in doubt,
Finally, Jaggard's text knows nothing of the 160^ mis-
print of ' sight ' for ' side ' in the important line 6 : —
Tempteth my better angel from my side.
Nos. Ill, V, The three remaining poems which can be confidently
excerpts ~ assigned to Shakespeare are all to be found in his play of
from Shake- Love^s Labour ^s Losty which was published in is 9^- Other
Lo-ve's plays of his had been published earlier, but this piece was
Labour's ^\^q fjj.g|- ^q ^^^ar ou the title-page Shakespeare's name as
Lott.
author [By W, Shakespere). The variations from the text of
the play are in all three pieces unimportant and touch single
words or inflexions. But such as they are, they suggest that
Jaggard again printed stray copies which were circulating
« privately ', and did not find the lines in the printed quarto
of the play. The distribution of the three excerpts through
the miscellany suggests that Jaggard did not know that they
No. Ill, all came from the same source. The first excerpt from Love's
Labour"* s Lost — No. Ill — immediately follows Shakespeare's
two sonnets. It is Longaville's sonnet to Maria, from Act iv,
Sc. 3, 11. f8-7i. The variations are as follow: —
THE PASSIONATE PILGRIM
25"
Lovers Labour'* s Lost (1^98)
I. 2. cannot
Vows are but breath
which on my earth dost
Exhalest
If broken then,
To lose an oath
9-
10.
II.
12.
14.
Passionate 'Pilgrim (15*9 9)
could not
My vow was breath
that on this earth doth
Exhale
If broken, then
To breake an oath
The second excerpt from Lovers Labour V Lost stands next No. V.
but one to the first. It is Dumain's sonnet to 'most divine
Kate' (in lines of six feet), from Act iv, Sc. 2, 11. 100-13.
The different readings are : —
Lovers Labour'*s Lost (i 5'98)
1. 2. Ah
1. 3. faithful
1. 4. were oaks
1. 6. Art would comprehend
1. 1 1 . Thy eye loues lightning-
bears
1.13. O pardon love this wrong
1. 14. That sings
Passionate Pilgrim (1^99)
O
constant
like Okes
Art can comprehend
Thine eye loues lightning-
seems
O, do not loue that wrong
To sing
The third excerpt from Lovers Labour '/ Lost is Biron's No. XVI.
verse-address to Rosaline, in seven-syllable riming couplets
(beginning, 'On a day, alack the day'), from Act iv, Sc. 3,
11. 97-11(5. This poem is the sixteenth in Jaggard's volume,
being the second of the appended 'Sonnets To sundry
notes of Musicke', and the sole piece by Shakespeare in
that portion of Jaggard's volume. The only difference
worthy of record between Jaggard's version and the text
of the play is the omission from the former of the eighth
couplet of the latter, viz. : —
an
sonnets
25'ext, shew thyself that thou hast gone to schoole,
Commende her wit although she be a foole.
Speake in her prayse, for women they be proud;
Looke what she sayes for trothe must be aloude.
If she be sad, look thou as sad as shee ;
But if that she be glad, then joy with merry glee.
THE PASSIONATE PILGRIM 43
Hey wood Bright's library in 1884, the MS. passed to Halliwell,
who gave in his Folio Shakespeare, vol. xvi, p. 4.66^ a facsimile
of the ' very early MS. copy of this poem with many varia-
tions '. Halliwell dated the compilation of the poetical
miscellany ^ some years before the appearance oiThe Passionate
Pilgrim'*. In the MS., stanzas 3 and 4 change places with
stanzas f and 6.
For Jaggard's unintelligible 1. 4,
As well as fancy {^partyall might\
the MS. reads : As well as fancy, partial like. i
In line 1 2 of the MS.,
And set thy person forth to sell
is an improvement on Jaggard's
And set her person forth to sale.
In 1. 14 the MS. reads : —
Her cloudy lookes will clear ere night
for Jaggard's
Her cloudy lookes will calme yer night.
In 11. 43 -<^ the MS. gives : —
Think, women love to match with men,
j^nd not to live so like a saint :
Here is no heaven j they holy then
Begin^ when age doth them attaint.
Jaggard's less satisfactory version runs : —
Thinke Women still to striue with men.
To sinne and neuer for to Saint,
There is no heauen {hy holy theri)
When time with age shall them attaint.
Finally, in line f i the MS. reads : —
She will not stick to ringe my eare
F 2
44
THE PASSIONATE PILGRIM
No. xiri.
Suppositi-
tious MS.
Theory of
Barnfield's
authorship
of the poems
in six-line
stanzas.
and Jaggard reads: —
She will not stick to round me on th' are.
The poem No. XIII ('Beauty is but a vaine') was
printed in ijyo in the Gentleman^ s MagaTJne^ vol. xx, p. 5'2i,
under the title ' Beauty's Value by Wm. Shakespeare. From
a corrected MS.' This was reprinted with what was claimed
to be greater accuracy in the same periodical ten years later
(vol. XXX, p. 3 9). The variations are not important, and have
a too pronouncedly eighteenth-century flavour to establish
their pretension to greater antiquity. In line 7, where
Jaggard reads : —
And as goods lost, are seld or never found,
the Gentleman"* s Maga:{tne manuscript reads : —
As goods when lost are wofid'rous seldom found.
To improve the rhymes ' refresh ' and ' redress ' (at the
end of lines 8 and 10 respectively), the 'corrected' manu-
script reads awkwardly ' excite ' in the first case and ' unite '
in the second. There can be little question that search
must be made elsewhere for any contemporary illustration of
this poem of Jaggard 's miscellany.
The authorship of these five poems, which Jaggard first
printed from manuscript, can in the present state of the
evidence be matter for conjecture only. It is very possible
that they are from Barnfield's pen. Barnfield was a volumi-
nous writer, and not all his verse found its way to the
printing-press. Much of it circulated in manuscript only, and
is still extant in that medium.' It is probable, moreover,
^ Dr. Grosart printed in full, in his edition of Barnfield's Toems for the Rox-
burghe Club, a 'manuscript' commonplace book bearing Barnfield's autograph,
which was in the library of Sir Charles Isham of Lamport Hall, The volume
contained some previously unprinted poems from Barnfield's pen together
with transcripts of otheis* work. The first page gives, without indication of its
THE PASSIONATE PILGRIM 4/
that much of it was entrusted to William Jaggard's brother
John, who printed an ample but by no means exhaustive
selection from it in ifpS. Barnfield's imitative habit of mind
rendered the six-lined stanza, which Shakespeare had glorified
in his Venus and Adonis^ a favourite instrument, and the internal
quality of the many six-line stanzas in The Passionate Pil^im
justifies the theory that Barnfield was their author, at any rate
of those of them that are in a serious vein.
IV
It may be assumed, although the indications are obscure. Popularity
that despite its equivocal claims to respectful notice, lapgard's ^f J^gp"^^ '
i: ^ r 7 J t>o miscellany.
venture met with success. There is small doubt that the
compiler of the popular anthology called England^s Helicon^
which appeared next year, was influenced by the example of
the publisher of The Passionate Pilgrim. The former printed four
of Jaggard's ' Sonnets To sundry notes of Musicke ', viz. XVI,
' On a day, alack the day ', from Love's Labour"* s Lost^ XVII,
Barnfield's 'My flocks feed not 'j XIX, Marlowe's lyric with the
reply ; XX, Barnfield 's < As it fell upon a day '. Although the
editor of England's Helicon depended in most cases on difi^erent
transcripts, the coincidence of his choice and the order which
he followed in introducing these four pieces to his reader can
hardly be regarded as fortuitous.
No copy of a second edition of The Passionate Pilgrim is The lost
extant, and there is no clue to the date of its issue.' The ^^j^°"^
' edition.
poet Drummond of Hawthornden noted that he read the
book in 1606^ possibly in a second edition. A third edition The third
source, a Latin quotation from Ovid's Vasti^ ii. 77 1-4, which describes Tarquin's
admiration of Lucrece's beauty. Shakespeare's poem of Lucrece no doubt
suggested to Barnfield the transcription of these lines.
^ See p. 48, infra.
4'99 edition of
Venus and Adonis^ of which no other copy is known, and an un-
dated edition of ' The Epirrammes and Elegies by I. D. and C. M?
(i. e. Sir John Davies and Christopher Marlowe), This copy
measures \\" x i\" and is in very clean condition. It is here
reproduced in photographic facsimile for the first time by kind
permission of Mrs, Christie Miller. A typed reproduction
edited by Mr. Charles Edmonds was published in a limited
edition of 1 3 1 copies, together with the two tracts with which
it is bound up, in 1870.
Third The third edition is enlarged to sixty-four leaves by the
Edition, unwarranted addition of Heywood's rendering of two of
Ovid's Epistles. The title runs :— THE | PASSIONATE |
PILGRIME. I OR I Certaine Amorous Sonnets^ \ betweene Venus and
Adonis, | newly corrected and aug-\mented. | By W.Shakespere. \ The
third Edition. | Where-unto is newly ad-|ded two Loue-Epistles,
the first I from Paris to Hellen^ and Hell ens an s were backe
againe to Paris. \ Printed by W. laggard. 1612..
The text of The Passionate Pilgrim was set up again with
small alteration. Rather more italic type was used in the
new composition. The signatures of the enlarged volume ran
from A-H 8 in eights. The first and last leaves were blank,
i6ii.
THE PASSIONATE PILGRIM
rr
T^
THE PASSIONATE PILGRIM
Third
Edition,
i6i%.
No. III.
Bodleian
copy, i<^iz.
No. IV.
The Love-
day copy,
1612.
and there was no pagination. The reprint of The Passionate
Pi/grim followed the example of the original edition in leaving
the verso of the leaves blank through the first three sheets
A-C. Sheet D was differently treated. The type was set on
both sides of the page, with the result that the text ended on
the verso of D y, and did not reach as in the first edition the
verso of D7. The second title reappears on C3, with the
altered date 16 n^ thus: —
Sonnets : To sundry Notes of Musicke [scroll device]
At London Printed by W. laggard 1612.
The Bodleian copy, which measures ^j' x 37^'', is in the
Malone collection. It is numbered Malone 328, and bears a
manuscript note signed 'E. M.' and dated October 22, 178^.
Malone there points out that Heywood's translations from
Ovid were generally assumed to be by Shakespeare until
Dr. Farmer noted their true authorship in 1766. The copy
is peculiar in having two title-pages, of which one has the
words By W. Shakespere^ in the central space, and the other is
without them. There is no question that Shakespeare's name
was removed by the publisher Jaggard, at the request either
of Shakespeare or of Heywood, and that the title-page
bearing Shakespeare's name was cancelled and another sub-
stituted to accompany late impressions of the book. By a
happy accident the two titles survive together in Malone's
copy. The title which lacks Shakespeare's name is not known
to be extant anywhere else.
The second copy, which measures \W" x 3 -re", belongs
to Mr. John E. T. Loveday of Williamscote, near Banbury.
The title-page has in the centre the words By W. Shakespere,
The existence of this copy was only made known in 1882.
It was originally bound in rough calf with five other rare
tracts of contemporary date. The Passionate Pil^im occupied
the second place. The volume bore on the fly-leaf the words :
« e libris Jac ; Merrick
e. coll. Tr : Oxon
1738'
The inscription is in the handwriting of the former owner,
THE PASSIONATE PILGRIM S7
James Merrick, fellow of Trinity College, Oxford, who made Third
some reputation in his day as a religious poet and classical ^^'T'°n,
and biblical scholar. Merrick died in i7<^9, within three days
of his forty-ninth birthday, and left this, with many other
scarce and valuable books, to his friend John Loveday of
Williamscote (171 1-89), great-grandfather of the present
owner. The Passionate Pilgrim and the five accompanying
tracts have been lately separately bound in morocco and are
kept together in a case of the same material/
* Mr. Loveday, who carefully described his copy of The Fassionate Pilgrim
and the rare tracts (originally bound with them) in Notes and ^lueries (Aug. iz,
1 88a), sixth ser. vol. vi, kindly gave me the opportunity of making a personal
examination of them. The accompanying tracts are in the order in which
they were originally bound toj;ether, as follows : —
I. The Picture of Incest Lively Portraicted in the Historic of Cinyras
and Myrrha. By James Gresham. London Printed for R. A. 161.6.
3. The Mirror of Martyrs, or the Life and death of that thrice valiant
Capitaine, and most godly Martyr Sir John Oldcastle Knight Lord Cobham.
Printed by V. S. for William Wood i^oi.
4. The Kings Prophecie : or Weeping Joy. Expressed in a Poeme, to
the Honor of Englands too great Solemnities. Jos : Hall London : Printed
by T. C. for Symon Waterson. Reprinted for Roxburghe Club by Mr. J. E. T.
Loveday.
5". Britain's Ida. Written by that Renowned Poet, Edmond Spencer.
London : Printed for Thomas Walkley, and are to be sold at his shop at the
Eagle and Child in Britaines Bursse. i6^a8.
6. John Marston's The Scourge of Villanie. Three Bookes of Satyres.
Perseus. Nee scompros [x/V] metuentia carmina, nee thus. At London. Printed
by I. R., and are to be sold by John Busbie, in Paules Church-yard, at the signe
of the Crane, 155)8.
The last three tracts have linear ornaments at the top and bottom of
each page of text, as in The Fassionate Filgrim,
H
A
^JEiS&SS
THE
PASSIONATE
PILGRIME.
^T LO ND ON
Printed for W. laggard , and arc
tobe foia by VV. Leake, at the Grey-
hound in Paules Churchyard.
' 5 ? ?•
VVTHen my Loue fvvcarcs that (V.c is ma^c of truth,
I doebekeuc her (though 1 know fnchcs)
That {he micht thinkeme lomc vntutor d youth,
VnikilfuU irf the worlds falfe forgeries,
Thusvanilv thinking that {he thmkesnicyounj,
Although I know my yearcsbc paft the bd\ :
1 fmihnq, credite her talfe fpeaking toung.
Outfacing faults in Louc, with loucs ill rcfV.
Bui wherefore fayes my Louc that (he is younf; ^
And wherefore fay not I , that I am old >
OjLoucsbefthabitcis afoothingtoung, __
And Age ' in Louc) loucs net to haue ycarcs tolcf.'
Therh^rc lie lye with Loue, and Louc with mc,
Smce that our faults in Louc tlius In/athcr d be.
^
•-nVoLoucsIhauc, ofComfort, and Dcfpairc,
^ Thac hke two Spirics, do fu^gert me iliU:
My better An^eU is a Man (right hue)
i^v worfer fpinte a Woman (colour d Ul.)
To wmne n^c ioonc to hell, my Female euiU
Tcmptcth mv better AngeUtrom my fide,
And would coriupc my Saint to be a DiucU,
V/oom^ his purity wiih her fane pride.
fnd whc^cTthat my Angcllbetumdcfcend,
:Surpeaimav(yctnotdireaiytell:
Vor being both to mc : both, tocachtoeiw,
^cWefl'eonsAncellmanothershell:
The truth 1 {hall not ki\ow, but hue m doubt,
Till my bad An§cil fire my good one out,
A4
mmM &iim m^^MMmkjMmt!^ ? ! ii S
B iW i' ii i mm mm^if
p\I J not the hcauenly Rhetonkc of ihmc ci^
Ciai:ift whom t.ic world could not hold ar^unict,
Perl watlc mv luri to this tailc pci luric :
\'owcbt',»r thfC broke dcftTii* not puiuhrrcnt.
A womnn 1 torlwiic : but I will piouc
"1 hoo being a OoddcHc, I torrvoic not thcc :
Mv vo-¥ wak rarihlv, thou a hcaucnlv louc»
I hy grace Ix-ing ciin^le, ciirc^ oJl dil^racc m mc.
My vow was breath, and breath a vaj>or is,
Then thou taire iun,ihat on thi<- earth doth limine.
Exhale this vapor vow, in thcc it is :
It broken, then it is n.) tault ( »f m t>c .
If by me broke, what tcxjlc is not fo wife
To brcake an Oath, to win a Parauilc f
IWMiMMIMNnMPMipMWiiMeMHiew^
^Wcct Cytherca, fitting by a Brooke,
^With yctvng Adonis, loucly, frcdi and green?.
Did cowt the Lad with injuiy a !ouc!y 1 Jokc,
5 Jell lookcs as none could k>ot> my fclte foH'worn, to tine He conftaat prou^
£ h(/c tiioghti to me like Okes,to thee like Oficrs bowc«i.
Smddy li)^ bvas Icaues, and makes hjs booke thmceics,
where all thole plcalures hue, that Art can comprehend*
Ir knowledge be the marke,to know thee (liall lufficc:
V/tl kaincd is that toung that well can thee comment.
All ignorant tlutloule^that lees thee without wonder,
Wlud . i^ to me lome praile, that I thy pai ts admyre :
Thirvcevcloiicsljghtnmg lcems,thv voice hii drcadmll
whuh 'not to anger bcnt}ii mahck & Tweet hrc(chun*itt
Cclci>ialJ as thou art, O, do net loue that wron^ •
Tormglu-aucns praile, wiihiudi an earthly loun^.
^Cariehad the Simne dndc vp the dea^vy niome,
*^Aiid fcarfc chc heard ^onr to chc hcd-'cwc «jiad«f
When Cy thcre.1 (all m Lou; toilorne)
A longiiig tariancc for Adonis mr.dc
Vnder m Ofyer growing by a bror )ke,
A brookc, where Aden vfdc to coolc his fplceac:
Hot was the dav, (he hotter thit did iooke
For his approch, that orten there had bcene.
Anon he comes, and thiowcs his Mantle by.
And flood ftarkc naked on the Brookes grccnc briia?
The Sunne look t on the world with glorious cie.
Yet not To w: ftly, as this Quccnc on him ■
He fpying her, bounrt in (whereas lie ftood)
j Oh 1 o V £ (quoth ihc) why was not 1 a flood »
FA" re is my louc, but not fo fairc as fickle.
Mi^d" as a Done, but neith-r trjc nor truftic,
V rl'hx'r then glaflc, and yet as glafl'c is bnttlc.
Sorter th.-n waxe, and vet as Iron rufty :
A iJiy pale, with damaske die to grace ha.
None fairer, nor none falfcr to dciacc her.
Her lips to mine how often hath (he ioyncd,
rctw -n • cachUilichcr othcs of true louc fwwrrn^
Ho.vinanv t-.lestoplcircmchathll^ecoyncd,
Drcadm^'nv loue,thcloiVeNvhcrcofft.lifcarin5.
Yet in't'ic nrds of all her pure proteft:ngs, __
Her taKh,hcr othcs, her t=arcs, and aU were leaftmgt.
Shcb-..rnt with louc, as I^raw witli fire flamcth.
She burnt out louc, as foanc a. llraw ou t burr.cth .
She framathclouc, r.ndyctnK-fovldthcframme,
She bad lou: Lvt, and yn ihc tell a ti.rnmg.
Was thi > a loucr, or a Letcher wherhcr >
Bad m the bell, though excellent in ncidicr.
Wm
^:ig«?*»»«*;*rvr*'fv ^/■!:^"K''\^^j>,
Wt
F M'-ulckc and fwectPactric agr:c.
As tlu-v m ;ft nccd-i (the Siikr and thcbrother)
TiiC'i niu .1 th.' loiic be ijc\t tw ixt d)cc and me,
I'iccauj J tlioa lou it tiu- o:-c, and 1 tiw ochcr.
i:)owl.iad to tlicc IS dccrc, whole hcaucnly tuth
Vpoii the Lute, dooth raiulh human. Icnfc;
Spctitci to inc, whole dccpc Conceit is filch.
As palsine all conceit, need ^ no Jetcncc.
Thou lou ll to h:are the f.vcet nxlodiou^ {i>un J,
That Pli i-Lius Lilt-- ^tl-.c Q^'ccnc of Mu -ckt) nia^:« :
Ar.d I VA deep J Dcli:h; ani clucfiy dio.vnd,
Vv'iien as himlbltc to !ui nn • h. bc.akts.
One God is God ofhodi ^r.s Tocr-. f^i:u')
OacKnijht louciEoch, andb.Khm thcc icmainc.
0.
P Aire was the morne, when the fauc (^uccnc r ' •
Paler tor forrow then htr iiiilkc white Douc,
For AdonsCike, a j-ou^igftcr pioud and wildc,
Her ftanJ ihc takes vpon a ftccpc vp 'mV
Anon Adonis comes v. i:h home jmcI hounds,
ShcfiUv Quccne, with more thea loucs good will.
Forbad tlicboy he Ihould not palle thofc crounds.
Once (quoth (he) did I fc-c a fairc (wect youth
Here m thtfe brakes, deepc wounded with aBoarc,
Decpc in the thigh a fpci^taclc of ruth,
Sat m my thigh (qnoth fhc} here vsis the fore.
She (Kcwed hers Hefaw more wounds thcnoric.
And blu{hingflcd, and left her all alone.
■wm^fmiili'rtii;ii,& ., ^
SWcct Rofc, tairc flower, vntimdy p'tukt, r«x>n vadc' ,
Pluckt in the bud, and vadcd in ihc fpring •
Br:£;iu orient j'carle, alackc too imx!^ i'ladcd.
Fane creature kj'.dc coo foon by Death'. ll.ar|'c Uin-j :
Like J jrccnt p'.uir.bc that han^s vjt.)n a ti :c:
And hU ^through winde) bclOiC the lall lliould he.
T weep? tor thee, and yet no caufe I h i 'Jr,
For wh ' thiadc began to wooe him,
ShetoldthcYoun5bn5howgodMarsd.dtncbcr,
Andashcfeiltohcr,thcfcUcoh!m.
Fuen^hus (quothfuc) the warlike god cn^rac t «c:
And then (he clint Adorns m her ar.ncs-:
A^thebiy ihoald vfchkclomn.charmcs :
tucn thus (quoth the) he le;zed on my hppcs,
Andw.thherhmonhtsdidaathcre.xurc:
And as (hefetcU breath, away Ik sk.ps,
Zd would not take her meanmg nor ha rkafurc.
Ah, that 1 had n^y La Jv at this b-y :
To kjirc and dip nv; till 1 run away.
/^--fo^.-gstSldHrTi*:'
>yi^^'
it>^)
r^ra'obed aeeandyouthcannotliue together,
^^Youchi?fuUofplcarance,A^cistullofc3rc,
Youihhkcrummcrmoi-ne,Agcljkcw)ntcrwca.hcr,
YouthhkfammcrbraucAi^dikcwuacrLuru
Youth is ftill ofiport, A-cs orcath is ihort,
lYouthis nimble, Ai^c IS lame ^
Youth isbotanaboa,Agciswcakcana.oid,
^^llJ^a^^^u^HH-^^^-thcc,
;^&S':£^'ohS..Ucphea.dh.cthcc:
for mc tliinks ilvM ftaies too long.
n Eauty is but a vainc and doabttufi good,
^A fhiTin; glofle, tliit valcth lodamly,
Aflowa th It dies, when fir' t it gi"« lobud,
Abrictlc^lalfc, chat sbroken prciertly.
A dou-ttuil euod, a §lo!r:,a elafle, r flower.
Loft, vadcd,"bi:oken, dcjd ^lOun an bourc.
And as goodb \o% arc fcld or ncucr found.
As vaded gioill no rubbing will rdVcfh :
Ai aov^ crs dead , he wuhcrcd on the ground.
As bio'.en gblfc nofvmam L*n raiicflc.
So beauty olemiri .t on :c,for cucr brt, ^
T'l r;>ucotplunjK,pamung,k).uncand co'v.
pood night, good lefVjah nt^ibcr be my fuarc,
^Shc bad good nigbc, tb.it kept my rdt away.
And daft mc to a cabbca har.^dc wuh care:
To dclcant on the doubts of my decay.
Faicwcll (quoth Ibc) and come again'- to morro-,t
I-arc well I could not,6>r I lupt with fotrow.
Yet at my parting fwcctly did ihcluiil?,
In fcornc or biendibip, mil I conlb.r whctlier -
• Imay be Ibe ioyd to icart at my exile,
'Tmay be againc,to nuke me wander thither. _
Wander ( a word ) tor ibadowcs lil:c n-.y fclt^.
As take the painc but cannot pluckc the pclTc
■si
I.or4
"^^^^1
Lord how mine cics throw gazes to the Eaft,
My hart dorh charge die watch.ihe morning riTc
Doth fcitc each mouing fcence from idle reft ,
Not daring truft the othce of mine ties.
While Ph Jomela fits and fmgs, I fit and mark.
And with her laves were tuned hk e tlie larke.
liPor fliC doth welcome dayUght with her dittc,
lAnd driucs away darkc dreaming night:
[The night To packt, 1 poft viuo njy pretty,
rH.irtluthl-ushim.in, die uiircft ih.ntic tuul
Her faacic fell a uirr.inq.
T one was th : combac ci(>!iht lurnc -.htm both to p\^
For of the two the li ally knii.'hc was wounded with dil'
Alas (lie could IK-K helpc it.
Thus art with armcs cont' nd-.n p;,'Tas v.aor of .iic diy
Which bv a f,ift oi Icaininr,, did be.ire ihr; imid iv av.
Then lullaby the learned man hath not ib.c Lady i!,ay ,
For now my long is ended.
QN aday(alackcthcday)
Louc whofc monch \v.ii cucr May
Spied a bloflbme pashng fair,
Playing in the wanton ayrc,
Throuuh the vcliii.-t Icaucs the v> inri
AH vnfccnegm piflagc; find,
1 hat thcli)ucr (fidcc to death)
Wiiiit himfclfc the heaiicn^bisath,
Ayre (quoth he) thy chcckt-^ m.iy blowe
Ayre, would I might triiiin;oh io
But (alas)my hand bath /w^rnt,
Ncrc to j)!ucke tfiec from thy throne,
Vo\v(ala(ke) for yourh viiiiKct,
Youthjfo apt to pluck a fwect.
Thou for whoinc louc would fwearc,
I u no but an Hthiopc wctc
And deny hv mfclfc for louc
Turnmg moitail for thy Loue.
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im
Y flocks fccde not,n»y F-,vcs breed not,
^MyKr.o.sriKcdr.o:,aUi5aims:
Louc IS dviti^,VaKhei dety ing,
Harts ncnying,caurct of ilns.
Ml my merry Ussc^ ^re M^'^^^f ^?^ '
AU my Lad.cs loucs loll (pi vs^t,
Cvhcrehcr faith ,v.s firmclv fi« m louc.
There a nay is plac t without ^txv.o^'^-
Oac filly croflc, wrounht all mv «olk,
o'frowmngfo.-tunc curfcd fickle dame.
For now 1 fcCjinconftancy,
More in wowtn then m incn rcmainc.
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liiiliiiMiiiiii
InWacVc nnorncT, all fcarcs rcx)rnc T,
1,000 hach forlornc me, liumg \n du oil:
Hare is bleeding, all hclpc nccdinc,
O crucll ij'eedin^, fraui^hccd wuhgall.
My flici>l>cards Pipe can found no dcalc.
My weathers bell rine;s ddctuU knc'l.
My ctirtailc do^^c that wont to hauc plaij,
rlaits not at all butfcancs afraid.
With fighes fo dccpc,procures to wccpc.
In howling Wife,to Ice my dolefull plight.
How fighcs rtlbiuidtluowgh hartlcs ground
Like a moulatid vanqiurtu men in blodic h^hu
I f^j^f^^^^'^'^'^^^^^^ii^S'^^
t^i
Clcaic w els fpi inf^, noc, fv^^ecrc Uirds fingoc*,
< irecnc plane, bring not ro: tii then die,
Heard* lUndsNVcepin^Hocks all ilecpmg,
Nimphcs bUckc pccp:ng fcarctully:
AUourpUarurekiio.vnctovspoorc.wamer
AH our incrnc mccungjon tl^ plauicj.
All our eutninc Tporc from vff is Hcd,
Ail our lo acts loa,fbr louc is dead,
1- arcw ell i^jvcct louc thy lil:c ncrc was,
I ot a Ivvcct content the caule of all my v^•v>c,
Poorc Condon mu'.t hue alone.
Other hclpe lor bni 1 tec rhat there h none.
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w
hen as thine evchach chofc the Dame,
And ftiWc ihc deare that thoa ihoiadit ftnkc,
I.er rcalon rule thmgs wor chy bUir.e,
As well as f.-ncyrpartyall mi-ylu)
Take counfdl ofiome wiler i cad,
Neither too young, nor yet vnwcd.
Aod when thon comft thy talc to tell,
S.nootU not thy toung with filed talke,
Lcaft Ihe fomc llibtill niacbie tinell,^
A Crpple foone can hnde a halt.
But plainly fay thou louft her well.
And fet her perfon foi th to falc.
D
What though her frowning browcs be bent
Her cloudv lookcs wdl calnncycr nlsh^
And then too htc (he w U rcpcnt,
That thus diiTcmblea her daic;hc
And twice dcfirc vcr it be dav.
That which with fcori^ (he put away.
Wliat though (he ftriue to try her ftrcngch.
And ban andbrauk,and fay the n.iy:
Her feeble force will yeeld at kneth.
When craft hath taug'^ t her thus to . ay:
Had women bccne fo ftron^ as men
In feith you had noc had it then.
And to her will frame all thy waies,
i)pare not to fpend,and chiefly there.
Where thy defan may merit praifc
By ringiugin thy Ladies eare.
The ftrongeftcaftle, tower and xawnc.
The golden bullet beats it downc.
Scruc alwaies with aflured truft.
And m thy lute be humble true,
Vnlelfc thy Lady proue vniuft,
Prcafe neuer thou to chufe a new:
When ume (hall ferucbc thou not flackc.
To proffer thongh (he put thee back.
r^Cgi^/;^ nhjwp
The wiles and croilcs that women wocke,
D flcroblcd wuh an outward fl-.cw:
The tricks and toycs that in them lurfcc,
Tlic Cock that neads the ihall not know,
Hauc you not heard it faid Ml oft,
A Won»aiv> nay doth Itand for nought.
ThJnke Women ftill to ftriue with men,
Tofinne and ncuer for tolairit.
There is no hcauen(by Iwly then)
When time with ae;e (haU them attainc.
Were kiffo all the loycs ;n bed.
One Wonvin would another wed.
BtK foft enough,too much 1 feaic,
Lcaft that my iiuftreffe Keare my ton?.
She wiU not ftick to round meon th asc.
To teach my toune tobe fo long-^
Yet will ftK blulTi,herebe it laid.
To hearcher Iccrets fobcwraid.
r lucwithmcandbcmyLovic,
And we wiil all the pkafures prouc ,
That hales and vrdlies, dales and fidds.
And all the craggy mouncaincsvecld.
There will wc fit vpon the Rocks, '
And fee tlie Shcphcards feed their floc'cs,
By ihallow Riuers, by whofe rak
Melodious birds fing Madrigals.
There will I make thee ;» be^ of Rofcs,
With a thou fa nd fragrant pofes,
A cap of flowers, and a Kuile
InibioJcrcdallwuhlcauesof Min:c.
il bcft offiMW and Yuye buds,
Wi h Corall Clafps and Am' cr ftiuls,
And if liicft: pL-afuKS may thcc moue.
Then Luc widi mc, and be my Loue.
LomTunfwere,
lT thjt the World and Lmiewerefoung,
* And truth in euerv fhcphcards toung^
Thtf.; pretty p!ea!urcs irucht me nvxjc.
To liuc wjth thee and be trw Loue.
ASitfellvponaDay,
^ in the merry Month of May,
Sitting in a pleafam (hade.
Which a groue of Myrtles made,
Beaftes cUd lcape,ai>a Birds did fing,
Trees did p:ow,and Plants old IprmS;
Eucry thing did bantfti mone,
Saue the Nighan§ale alone.
Shcc(poore Bud;as all torlomc,
Leand her breaft vp-tdl a th»rne,
Andiherefungthcdokfulft Ditty,
That to heare it was great Pitty ,
Fte,(ic,fie, now would (he cry
TcrUjTcrUjbyandby:
That to hcarc her Co complainc.
Scarce I couJdfrom tearcsrcfr.iine':
Fcr iKr gricfes fo liuely l"ho wnc,
Miue n • ihinke vpon mine ownc.
Ah'thou 'uI)thou rjourn'l m vaine.
None cakes ptiy on thy painc:
S-nfidl: Trees, rhev caimot hcarc Aec,
Ruthldr-BearcSjtlKy will not chcactbcc,
King Pandion, he is dead;
All chy fr:cnds arc lapt in Lead.
All chy tdlow Birds doc fing,
Carciefli of thy forrowing.
Whilft as fickle Fortune fmildc.
Thou and I,vrcrcbothbc§uild.
Euery one thai flatters tlicc,
1 s no friend m irulerir.
Words arc eafiCjlikc the win^
Faithfull ftiends are hard to find:
Euery roan will be thyfricnd,
WhiHt thou haft whci cwich to lpen