Gift OF A. F. Morrison wmmmmmmmsmm 4M LUCRECE 1594 FACSIMILE U vi LONDON HENRY FROWDE, M.A. PUBLISHER TO THE UNIVERSITY OF OXFORD zyL ^ - ' ' ' oO vZ^.^^ As silly-jeering idiots are with kings, For sportive words and uttering foolish things. (11. 1811-13.) Bandello in his novel describes Brutus's conduct thus : — ' E fingendo esser pazzo, e cotali sciocchezze mille volte il di facendo, come fanno i buffoni, divenne in modo in opinione di matto^ che appo i figliuoli del J^^ piu per dar loro con le sue pa^e trastullo che per altro^ era tenuto caro^.^ Shakespeare's attribution to Brutus of idiocy characteristic of a * fool ' in a king's household seems coloured by Bandello's phraseology. Shake- In the rhetorical digressions which distinguish Shake- arressions spcatc's pocm he had every opportunity of pursuing his own —origins bent, but even in these digressive passages there emerge bold an para e s. |.j.^^gg q£ j^jg j-gading, not merely in the classics, but in contem- porary English poetry. The 217 lines [ii66-j%i\ which describe with exceptional vividness a skilful painting of the destruction of Troy, betray a close intimacy with more than one book of Vergil's Aeneid, The episode in its main outline is a free development of Vergil's dramatic account (Bk. i. \^6- df x) of a picture of the identical scene which arrests Aeneas' attention in Dido's palace at Carthage. The energetic portrait of the wily Sinon which fills a large space in Shakespeare's canvas is drawn from Vergil's second book (11. 76 seq.).~ * In English the words run : — ' And pretending to be mad, and doing such foolish things a thousand times a day as fools are wont to do, Brutus came to be looked upon as an idiot, who was held dear by the king's sons, more for making them sport with his foolish tricks than for any other cause.' ^ References to more or less crude pictorial representations of the siege of Troy are common in classical authors, notably in Ovid. Ovid in his HeroJdes^ i. 33 seq., causes the Greek soldier to paint on a table with wine the disposition of the opposing armies at Troy. The first lines of this passage are very deliberately quoted in The Taming of the Shrew^ iii. i. a 8, z^ : — Hie ibat Simois ; hie est Sigeia tellus ; Hie steterat Priami regia celsa senis. LUCRECE 17 Shakespeare again enlarges the restricted bounds of the classical tale by introducing a sympathizing handmaiden. Such a subsidiary character (1212-302) is unknown to Ovid or Livy. This new episode coincides, possibly by accident, with a scene in the French tragedy of Lucrece of \^66. No other parallel is met with. Shakespeare makes effective use of the woman's ' heaviness ' when she is summoned by her mistress after the latter resolves to slay herself. In the French drama Lucrece's nurse feelingly endeavours to dissuade her from her purpose. The appeal to personified Opportunity (11. 8(^9 sq.) seems an original device of Shakespeare, but the succeeding apostrophe to Time (11. 939 sq.) covers ground which many poets had occupied before. Two English poets, Thomas Watson in Hecatompathia (1^82, Sonnets xlvii and Ixxvii), and Giles Fletcher in Licia (1^9 3? Sonnet xxviii), anticipated at many points Shakespeare's catalogue of Time's varied activities. Watson acknowledged that his lines were borrowed from the Italian Serafino and Fletcher imitated the Neapolitan Latinist Angerianus ; while both Serafino and Angerianus owed much on their part to Ovid's pathetic lament in Trijtia{iv. 6, i-io). Shakespeare doubtless obtained all the suggestion that he needed from his fellow countrymen. That Shakespeare knew Watson's reflections on the topic seems proved by his verbatim quotation of one of them in Muc/j Jdo about No thing (i. i. 271) ; 'In time the savage bull doth bear the yoke.' Similarly there are plain indications in Shakespeare's Sonnets that Fletcher's Licia was familiar to him.^ In Ovid, An Amatoria^ i. 131 sq., UJysses, for Calypso's amusement, paints the like scene with a wand on the sand of the sea-shore and describes his sketch in terms very like those in the Heroides. But, although Ovid offered hints for Shakespeare's picture, Vergil supplied the precise design. ' Cf. Elizabethan Sonnets^ Introd. by the present writer, vol. i, p. ixxxiii, and vol. ii, p. 348; Life of Shakespeare^ 5th edition, pp. 81 ». a, 1 17 ». a, and 219 ». i . C xt LUCRECE It is pretty certain that the work of other contemporary English poets offered Shakespeare's imagination material susten- ance while he was developing the Roman legend. Several phrases come almost literally from Constable's Diana ^, of which the first edition was in 1 5-94 two years old, and the second was just published. The debt But the closcst parallels with Shakespeare's Lucrece^ alike ^Koscmond ^ ^^ phrasc, episode, and sentiment, are to be found in Daniel's (159^)- contemporary narrative poem, entitled The Complaint of 'Rosamond. This poem was appended in 15-92 to a second * When Tarquin (4.77-c>) describes Lucrece*s complexion — That even for anger makes the Illy pale^ And the red rose Blush at her own disgrace^ he echoes Constable's description of his mistress (ist edit. Sonnet xvii) — My Ladie's presence makes the roses red^ Because to see her lips they hlush for shame. The JJlfs leaves^ for envy^ pale became^ And her white hands in them this envy bred. In the preceding stanza the impression of < whiteness ' which the sleeping Lucrece gives Tarquin seems derived from Constable's description in Sonnet iv (edit. 1 5^92) of his mistress in bed. Constable's * ^whiter skin with white sheet* anticipated Shakespeare's line (471), 'o'er the white sheet peers her whiter skin' In the reference in Utcrece to Narcissus {p.6')-6) Shakespeare echoes his own poem oi Venus and Adonis. The allusion ultimately came from Marlowe's Hero and JLeander, In Venus and Adonis (idi-z) Shakespeare wrote : — Narcissus so himself himself forsook. And died to kiss his shadow in the brook. In Latcrece (zdj-t)) Tarquin reflects on Lucrece's beauty — That had Narcissus seen her as she stood. Self-love had never drowned him in the flood. The classical story of Narcissus, as told by Ovid, Metamorphoses , iii. 407 sq., tells of his metamorphosis into a flower, and not of his death by drowning. Marlowe set Shakespeare the example of adopting a post-classical version, and related in his Hero and Leander, Sestiad i, 11. 74-^, how the Greek boy Leapt into the water for a kiss Of his own shadow, and despising many, Died ere he could enjoy the love of any. LUCRECE 19 edition of Daniel's collection of sonnets, which he christened Delia. In Daniel's poem the ghost of Rosamond, the mistress of Henry II, gives sorrowful voice to her remorse at having submitted to the adulterous embraces of the king, and finally relates her murder by Queen Eleanor. The whole poem is in the omtio recta of the heroine, and the key is that of Lucrece's moaning. Shakespeare adopted in Lucrece the seven- line stanza of The Complaint of J{osamondy and handled it very similarly. At one important point Shakespeare seems to have borrowed Daniel's machinery. Both heroines seek consola- tion from a work of art. Shakespeare's Lucrece closely scans a picture of the siege of Troy, the details of which she applies to her own sad circumstance. Daniel's Rosamond examines a casket finely engraved with ornament suggesting her own sufferings j on the lid is portrayed Amymone's strife with Neptune, while ' figured within the other squares ' is the tale of Jove's pursuit of the love of lo. Rosamond's casket was wrought So rare that art did seem to strive with nature To express the cunning workman's curious thought. (11. 374-r.) To Shakespeare's piece of skilful painting In scorn of nature, art gave lifeless life. (1. 1 3 74.) Daniel's phraseology seems to be echoed in single lines such as these : — .;. ^j. , An expird date cancelPd ere well begun. {Lucrece^ 26.) Cancelled with Time, will have their date expird. [^samofidy 242.) Sable nighty mother of dread and fear, (Lucrece^ ii7-) C 2 ^o LUCRECE Nighty mother of sleep and fear^ who with her sable mantle. (l{osamondy 43 2.) I know what thorns the growing rose defends. (Lucrece^ 49 2.) The ungather^'d l{ose^ defended rvith the thorns. {^osamond^ 210.) 'The precedent whereof in Lucrece view, {Lucrece.^ i2di.) These precedents presented to my view. [l^osamond^ 407.) In sentiment, too, Shakespeare appears often content to follow Daniel. The husband Collatine's inability to speak, owing to the anguish caused him by Lucrece's death, resembles King Henry's enforced silence in presence of Rosamond's dead body (l^gsamondj 904-7): — Amazed he stands, nor voice nor body stirs, Words had no passage, tears no issue found : For sorrow shut up words, wrath kept in tears, Confused affects each other do confound. Collatine's experience is described thus {Lucrece^ 1779-80) : — The deep vexation of his inward soul Hath served a dumb arrest upon his tongue.' ^ Again Daniel, developing Seneca's 'Curae leves loquuntur ingentes stupent', teUs of his hero how Striving to tell his woes, words would not come; For light cares speak, when mighty cares are dumb. (II. 5)09-10.) Shakespeare remarks on the silence of his heroine (]L 13x9-30) — Deep sounds make lesser noise than shallow fords. And sorrow ebbs, being blown with wind of words. Cf. Sidney's Arcadia^ bk. i, Eclogue i — Shallow brooks murmur most^ deep silent slide away, and Raleigh's * Silent Lover ' {Foems, ed. Hannah, No. xiv) — LUCRECE 21 Neither the individuality of style nor the substantive originality of many details in Shakespeare^s poem can be questioned. But it is clear that, working on foundations laid by Ovid, he sought suggestion for his poetic edifice in Livy, and in such successors of the classical poet and historian as Chaucer and Bandello. Nor can it be lightly questioned that he absorbed sentiments and phrases from many contemporary English verse-writers with whom his muse acknowledged a sympathetic affinity. Ill The metre of Lucrece was a favourite one in English The metre literature long before the Elizabethan era. The seven-line ° ^«<^''^'^' stanza is more commonly used by Chaucer than any other. He seems to have borrowed it from the French poetry of his contemporary Guillaume de Machault. It is often met with in the Canterbury Tales (see The Clerk es Tale^ The Man of Lames Tale^ The Second Nonnes Tale)^ as well as in Troylus and Crisyde and many of the shorter poems (cf. ' The complaint to his empty purse '). It is the metre, too, of Lydgate's monumental Fall of Princes. According to Elizabethan critics it was the stanza that was best adapted to serious themes. Gascoigne described it in his Certayne Notes of Instruction concerning the making of verse or ryme in English [1^76) as ' Rithme royalP : * and surely,' he adds, ' it is a royalle kinde of verse, seruing best for graue discourses.' According to Puttenham, The Arte of English Poesie^ is^9y the seven-line stanza was ^the chief Passions are likened best to floods and streams The shallovj murmurs but the deep are dumb^ So when affections yield discourse, it seems. The bottom is but shallow whence it comes. seven-line stanza It LUCRECE of our ancient proportions used by any rimer writing any- thing historical or grave poem ', and he refers to Chaucer's Troylus and Crisyde and Lydgate's Fall of Princes by way of proof that ^ the staffe of seven verses was most usual with our ancient makers '. The rimes, he points out, were capable of seven variations. Shakespeare followed the customary scheme which Chaucer had employed (ababbcc). Putten- ham found fault with those who close the stanza with an independent couplet *■ concording with no other verse that went before ', but he finally admits that the <• double cadence in the last two verses serves the ear well enough '. The comment well applies to Shakespeare's prosody. Spenser's Of English poems in the metre which were written shortly before Shakespeare penned his Lucreccy the most memorable is Spenser's T^uines of Time^ published in 1^90, in which Shakespeare's cadences seem almost precisely anti- cipated. The following is a good example of the stanza in Spenser's hands : — But Fame with golden wings aloft doth flie, Above the reach of ruinous decay, And with brave plumes doth beate the azure skie, Admir'd of base-borne men from far away : Then, who so will with vertuous deeds assay To mount to heaven, on Pegasus must ride. And with sweete Poets verse be glorifide.' Greene's A Maidefis Dreame^ An elegy on Sir Christopher Hatton^ * Spenser employed the seven-line stanza with a different scheme of rhyming (ababcbc) in his Daphnaida^ iTpi? but in his Hymnes, iTp*^? he returned to the Shakespearean plan. Among the Elizabethan poets who used the seven-line stanza in long poems immediately after Lucrece were (Sir) John Davis in his Orckatra^ I5^5>4j Barnfield in Complaint of Chastitie and Shepherds Content ^ 'T5>4-j Drayton in Mortimertados ^ JT9<^) ^"<^ parts of Harmonie of the Churchy ^')9^- At a little later date Nicholas Breton employed it constantly ; cf. his Fasqvlls Fasse and Fasseth not, 1600 ^ Lon^ng of a Blessed Hearty l6oi -^ FasqvUs Mad Cappe^ i6r6. criticism. LUCRECE 23 a pedestrian piece of verse in the seven-line stanza, followed Spenser's poem in ifpi, and next year there appeared Daniel's Complaint of J{osamond. The uses to which Shakespeare put Daniel's preceding experiment have already been noticed. Shakespeare employed the stanza again in the narrative poem, A Lover^s Complaint^ which was first published in 1(^09 with the Sonnets. That piece was probably written very shortly after Lucrece. Though the popularity of Lucrece did not equal that of Feniis and Adonis^ and the \'olume passed through fewer editions during and after Shakespeare's lifetime, its success on its appearance was well pronounced, and it greatly added to Shake- speare's reputation among contemporary critics. Some readers, Early like Francis Meres in his Palladis Tamia (15-98), the anonymous author of the Pilgrimage to Parnassus^ and Richard Barnfield in Poems in Divers Humours^ i f9 8 ', failed to detect any distinction between Lucrece and its predecessor Venus and Adonis. But a i^^ observers like Gabriel Harvey were more discriminating, and pointed out that while the earlier poem delighted ' the younger sort', Lucrece pleased *• the wiser sort'/ Harvey was indeed inclined to exaggerate the serious aspect of the poem and to rank it with Hamlet. Drummond of Hawthornden noted that he read the poem in i5od, and a copy figures in * 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. ^ Harvey's words ran: — *The younger sort take much delight in Shakespeare's Venus and Adonis. But his Lucrece and tragedy of Hamlet, Prince of Denmarke, have it in them to please the wiser sort.* Harvey wrote these words about 1 60^ in a copy of Speght's Chaucer of 1 598. They were transcribed by George Steevens (cf. Variorum ed., 1821, vol. ii, p. 3(19). But the volume containing Harvey's original draft belonged to Bishop Percy, and was burnt in the fire at Northumberland House, London, which destroyed the bishop's library in 1780. 24 LUCRECE Plagiarisms. Heywood's 1{ape of Lucrece. the table ' of his English books Anno 1611 \ Minor indications that the work was familiar to students abound. Fragments of two lines (10% 6-7) are quoted in the disjointed con- temporary scribble which defaces the outside leaf of an early manuscript copy of some of Bacon's tracts in the Duke of Northumberland's library at Alnwick 5 the words were prob- ably written down very early in the seventeenth century.' To poets and dramatists of the early seventeenth century the work especially appealed. It at once received the flattery of imitation or actual plagiarism. As early as i5'9f Richard Barnfield, an inveterate imitator of Shakespeare, transferred many phrases to his Cassandra. In 1600 Samuel Nicholson incorporated lines without ac- knowledgement in his poem of ^colastus — procedure whicli was followed with even greater boldness by Robert Baron in his Fortmie*s Tennis Ball just fifty years later. Remini- scences of the great apostrophe to Opportunity are met with in Marston's play of The Malcontent^ 1^04, and in Ford's Lady^s Trial^ 1(^38. Shakespeare's friend, Thomas Hey wood, produced a five-act tragedy called The J{ape of Lucrece in 1608, the year following the appearance of the fourth edition of Shakespeare's poem. But Heywood's play is a chronicle drama covering much wider ground than Sextus Tarquinius' outrage. Lucrece's tragic experience is merely one of many legendary disasters which occupy Heywood's pen, and the ^ Shakespeare's name is repeated many times, in various forms, on this outside leaf, together with the titles of two of his plays, Rychard the Second and Rychard the Third. The crude excerpt from Lucrece runs : — ' reuealing day through euery Crany peepes and see.' The careless scribble has little significance, and was possibly the work of a scribe testing a new pen. No attention need be paid to the arguments which would treat the manuscript rigmarole as evidence of Bacon's responsibility for Shakespeare's "works. The MS. has been twice reprinted lately, by Mr. T. Le Marchant Douse, who takes a sensible view of the problem offered by the scribble, and by Mr. Thomas Burgoyne, who is inclined to take the incoherences seriously. LUCRECE if indebtedness to Shakespeare does not go beyond the bare suggestion of that single topic. The poet Suckling, Suckling's one of Shakespeare's warmest admirers in the generation men?*'^' succeeding the dramatist's death, gave curious proof of his interest in Shakespeare's poem. He claimed to find a detached fragment of verse, of which he failed apparently to recognize the provenance. The fragment consisted of the ten lines from Lucrece[i%6^^6) which somewhat affectedly describe Lucrece asleep in bed; but the stanza was in six lines instead of in the authentic seven lines, and Suckling's text materially diftered from that of the authorized version of Lucrece. To the mysterious excerpt Suckling added a ' supplement ' of fourteen lines of his own. The twenty-four lines, in four stanzas of six lines each, were included in Suck- ling's posthumously collected verse (Fragmenta Aurea^ i ^4^) under the heading ' A supplement to an imperfect Copy of Verses of Mr. Wil. Shakespears '. A marginal note running ' Thus far Shakespear' distinguished Suckling's share of the short poem from that which he assigned to the dramatist.' In \6j^ ^ Gerald Langbaine, in his account of Shakespeare in his Dramatick Poeti^ 16^1, makes the comment: « What value [Suckling] had for this small piece of Lucrece may appear from his supplement which he writ and v/hich he has publisht in his poems.' The first stanza of Suckling's poem runs : — One of her hands, one of her cheeks lay under. Cozening the pillow of a lawful kisse. Which therefore swei'd and seem'd to part asunder. As angry to be rob*d of such a blisse: The one lookt pale, and for revenge did long. Whilst t' other blush't, cause it had done the wrong. This six-lined rendering of the fifty-fifth stanza of Lucrece (in seven lines) is not easy to account for. Suckling had perhaps written out the lines from memory, or from a hurried and incorrect copy. There seems less to recommend the opposing theory, which represents Suckling's crude quotation to be a first draft of the verse by Shakespeare himself, and an indication of an original intention on the poet's part to employ in Lucrece the six-line stanza of Venus and Adonis. Cf. Shakespeare's Centurie of Pray se^ pp. zo^, 21(^-7, t6 LUCRECE Quarles' continua- tion, i5jj. evidence that Shakespeare's poem was still familiarly cherished by men of letters is offered by the fact that John Qi^arles, son of Francis Quarles, the author of the Emblems^ penned a brief continuation in six-line stanzas entitled The 'Banishment ofTarquin^ or, The Toward of Lust, This was appended to a reissue of Shakespeare's Lucrece in 16 ^y — the last of the seventeenth -century editions. The dramatist is described on the title-page as ' The incomparable Master of our English Poetry Will : Shakespeare, Gent.' — a signal testi- mony to his repute at the time when Cromwell was Protector. The copy- right of the poem. John Harri- son the first owner, May 9j 1594- March i6y i5i4. IV In the history of the publication of Lucrece^ two of the personages, the printer Richard Field, and the publisher John Harrison, who were concerned in producing the first edition of Fenus and Adonis^ reappear, but not in quite their former capacities. The copyright changed hands far less often than that of Venus and Adonis, There were only five owners in the course of a century. The copyright of Lucrece was owned at the outset by John Harrison of the White Greyhound in St. Paul's Church- yard, a publisher or stationer who was thrice Master of the Stationers' Company — in i5'83, 15-88, and \^<)6. He had distributed copies of the first edition of Venus and Adonis in the spring of if 93, and acquired the copyright of that poem fourteen months later. The entry in the Stationers' Company's Register attesting his ownership of Lucrece runs under date of May, 1^94, thus': — Arber, ii. (^48. LUCRECE 27 Entred [to Master Harrison, senior] for his copie under thand of master Cawood Warden, a booke intituled the Ravyshement of Lucrece vi** C. Harrison employed Richard Field, Shakespeare's fellow towns- man, to print the work, and Field's device of an anchor, hanging in an oval frame with the motto Anchora Speiy is prominently displayed on the title-page of the original edition. Harrison retained the copyright of the poem for nearly The printers twenty years, until March i, 161^^ and published at least four four editions, editions — in i5'94, i5'98, idoo, 1607. But only the first was printed by Field. Peter Short printed that of i j 9 8 ; Harrison's son, also named John, printed that of i (Joo, and Nicholas Okes that of i Jan. !^JV Lucrece. Master Harison produced an edition in i<^3 2, which was printed by R. B. [i. e. Richard Bishop] ', and he retained the property until his death twenty-three years later. His widow, Martha Harrison, sold it on March ly, K^yJ, to yet another John Harison (or Harrison), apparently a nephew of her late John Harri- husband, and the third of the name to hold the property. fJ".J Jj^^ The third John Harrison was in partnership with William ^fth holder. Gilbertson of the Bible in Giltspur Street, who had lately acquired the copyright of "Venus and Jdonis. Under some arrangement with Harrison, Gilbertson produced in idff, with another coadjutor, John Stafford, the latest edition of Lucrece which appeared in the seventeenth century. master printer from March i, Kj 1 3, and a livery-man of the Stationers' Company from Feb. 4., i()35', was one of the most prosperous printers of his day. ' The initials R. B. alone appear on the title-page, but the full name of Richard Bishop figures as printer for Harrison in the same year of a new edition of John White's Short Catechism. No other member of the Stationers' Company, who was a printer, bore the same initials. Robert Bird, who acquired the copyright of Fericles in i<5'30, was a publisher or bookseller only. John Norton printed for him an edition of the play in that year. But it is puzzling to note that the printer's device with the motto *In Domino Con- fido,' which appears on the last page of the 1^3 z Lucrece^ is found on the title- page of the i6'30 Fericles. 30 LUCRECE The text and typography of the first edition. Discrepan- cies among extant exemplars. The Bod- leian copy, I. Unique readmgs. Harrison and Field's first edition of i f 94 is the sole authentic source of the text of the poem. That alone followed the author's manuscript. The later editions were set up from those that went before. Small typographical changes were introduced into the reissues, but all the alterations may be put to the credit of correctors of the press acting on their own responsibility, excepting possibly in the case of the edition of 1616^ which came out soon after Shakespeare's death. In that volume there are traces of a clumsy editorial revision. It is improbable that the author supervised the production of the first edition, but greater care was taken in its typography than in the case of any other of Shakespeare's works, — not excepting %)enus and Adonis. The work is not free from misprints nor from other typographical irregularities. But an effort was made to reduce their number to the lowest possible limit. The original edition was printed off' slowly j the type was kept standing after the first impressions left the office, and small changes were subsequently introduced into the standing type, with the result that the few surviving copies of the first edition show small discrepancies among themselves. One impression is freer from typographical errors than another, or a correction which has been made in one copy, with a view to improving the sense or the grammar, is absent from another copy. The alterations are not always intelligent, and it is unlikely that Shakespeare had any hand in them. The copy in the Bodleian Library which is reproduced in this volume — one of two in that library — has at least five readings which are met with nowhere else. They were appar- ently all deemed to be defects, and were afterwards changed. LUCRECE 3 1 Their survival in only one extant copy, their absence from all the others, proves that the copy which retains them was the earliest extant impression to leave the printing-office. The five unique readings in the Bodleian copy I, with the cor- rections which appear in all other impressions of the first edition, are : — ' morning' (1. 24) for 'mornings ' [i.e. morning's]; 'Appologie' (I. 31) for 'apologies'; ' Colatium ' (I. yo) for <■ Colatia ' ; ' himselfe betakes ' (1. 1 2 f ) for ' themselves betake ' ; ' wakes ' (I. 126) for ' wake.' Only the first of these readings is a quite obvious misprint. The substitution of ' apologies ' for ' Appologie ' improves the spelling, but the verb ' needeth ', which the noun governs, is suffered to remain in the singular after its subject is put into the plural — a syntactical construction which is defensible but not usual. 1 he alteration < Colatia ' is right. No such town as Colatia w is known, but in spite of its removal from line fo, the erroneous form ' Colat'ium ' is still suffered to deface in all copies line 4 — the only other place where the town is mentioned. The change in line 125- seems intended to get rid of the awkward construction of the singular verb with a plural subject in 'winds that wake/' in the next line, 126. In line 125- the first reading ' And euerie one to rest himself betake/ ' is grammatically better than the second, ' And euerie one to rest themselues betake '; but in order to rime ' wake ' (of the next line) satisfactorily, it was needful to put the verb at the end of the preceding line in the plural and to give it a plural instead of a singular subject. In the following instance the reading in the Bodleian copy Reading which is here reproduced appears in only one other copy — in p^^"^^^^' ^° the second (Caldecott) copy in the same library. copies. 'Euen so the patterne of this worne out age' (1. 13^0.) 3* LUCRECE Misprints peculiar to three extant copies. Misprints in all extant copies. Capital letters within the line. figures in all extant impressions save in the two in the Bod- leian Library, where the line reads — Euen so this pattern of the worne out age. It is difficult to determine which is the better reading, but it is clear that < the patterne of this . . . age ' was deemed the better by the corrector of the press. The following two misprints in the Bodleian copy, which is here reproduced, are also met with in the second copy in the same library and in the Sion College copy as well, but both are corrected in the Devonshire and British Museum copies: — line 1182, ^ which for (instead of hy) him tainted'; line 1 3 3 f , ' blast/ ' for < blast.' The following misprints seem common to all impressions : — Title-page (last line) 'Churh-yard' for 'Church-yard'; 'sleeep' (1. I tf 3) for ' sleep ' ; * to beguild ' (1. i f 44) for ' so beguild ' ; 5ro, * fresh false hast ' for « fresh fall's haste ' j I. 3z (see No. XXIX infra). extant copies. 1 8 LUCRECE only survive in single copies. It is curious to note that a larger number of copies are accessible of the original edition than of any other of the first seven. As many as ten are now traceable. Several of these have been recovered recently. Thomas Grenville asserted some sixty years ago that only three were known. George Daniel, Frederick Locker Lampson, and other collectors of the last half-century raised their estimate to five. That number must now be doubled. It is likely enough that of all the editions more copies will be found hereafter. At present all the known copies of the first seven editions (excluding fragments) number no more than thirty. The eighth edition stands in a somewhat different position. Some twenty copies seem traceable, but of these only six contain the rare frontispiece and are perfect, two of these being in Great Britain and the rest in America. Of the thirty copies of the first seven editions, twenty are now in Great Britain, nine are in America, and one, which has lately changed hands, is not at the moment located. 0£ the twenty British copies, fifteen are in public institutions, — five being in the British Museum, five in the Bodleian Library, two in the Capell Collection of Trinity College, Cambridge, one in the University Library, Edinburgh, one at Sion College, London, and one at Corpus Christi College, Oxford. Five are in the hands of English private owners. Of the nine American copies, one is in a public institution — the Lenox Library, New York — and eight are in private hands.' ' A copy of an unspecified edition of Lucrece^ sold with twenty-two other pieces, brought in 1^80, at the sale of Sir Kenelm Digby's library, three shillings. Comparatively few copies have figured in public auctions of late years. The highest price which the first edition has fetched is ^loo, which it reached at the Perkins sale in 1885). No copy of that edition has occurred for sale since. Of the later editions, ^7^ — the price paid for a copy of the i<>3 z edition at the Halliwell-Phiilipps sale, also in 1889 — is the auction record. For the frontispiece of the 16^ <) edition as much as £110 was paid at LUCRECE 39 The first edition of Lucrece is the only one which ap- First peared in quarto. The signatures run : — A i, A ii, B-N, in ^ ^^J]^^' fours. There are forty-seven leaves in all without pagi- nation. The dedication figures on the recto side, and the 'Argument ' on the verso side, of the leaf signed A ii. The text of the poem commences on the leaf signed B. The title- page runs : — LVCRECE | [Field's device and motto] London | Printed by Richard Field, for lohn Harrison, and are | to be sold at the signe of the white Greyhound | in Paules Churh-yard 15-94. I The pattern of Field's device of the suspended anchor, with his motto Anchora Spei^ slightly differs from that on the title-page of Venus and Adonis. In the Lucrece volume the boughs are crossed in front of the stem of the anchor, instead of being figured behind the stem, as in the Venus and Adonis volume. The copy of the first edition of the poem, which is repro- No. I. duced in facsimile for the first time in this volume, is one Bo'lleian(i). of the two exemplars now in the Bodleian Library at Oxford. It belongs to the collection of books which was presented in \%\6 to the library by the brother of Edmund Malone, the Shakespearean commentator, and is numbered Malone 34. In the spring of 1779, Malone bought for twenty guineas a single volume containing this copy of the first edition of Lucrece^ together with a first edition of Shakespeare's Sonnets^ At a later date he caused these and many other of his quarto editions of Shakespeare's works to be inlaid and a sale in 1901. At the present moment the prices are rapidly rising. A perfect copy of a first edition would be likely to reach ^looc, and a perfect copy of any later edition of the seventeenth century, ^500. Justin Winsor's Bibliography of Shakespeare's Voems (Boston, 1879), and the preface to the Cambridge Shakespeare (new edit. 1891), supply some useful particulars in regard to extant copies, but most of the information recorded here has been dei ived from a personal inspection of the copies, or from correspon- dence with the present owners, or from sale catalogues. ' Charlemont MSS. (Hist. MSS. Comm, Rep.), i. 343. 40 LUCRECE First to be bound up somewhat capriciously — six or seven Edition, together — in a long series of large volumes. His copy of the 15-94 Lucrece now fills the first place in the voliune which is labelled outside * Shakespeare Quartos, volume III,' and contains six quarto tracts. The edition of Lucrece measures 7-,V' X f J t>ut is inlaid on paper measuring 9I" x 7~\ The poem is followed successively by a copy of the Sonnets of 1(^09 (with the Aspley reprint); by Hamlet^ k^oj; by two quartos of Pmc/^/ dated respectively 1^09 and KJ19, and by A Torkshire Tragedy ^ 160%. No, IT. A second copy in the Bodleian Library of the first Bodleian (i). edition oi Lucrece was the gift of Thomas Caldecott in 1833, and is marked Malone 8 85. It is bound up with copies of the If 9 4 edition of Venus and Jdotiis^ and of the first edition of the Sonnets^ \6o^ (with the John Wright imprint). The three tracts were purchased by Caldecott in June, i79<^, *of an obscure bookseller of . . . Westminster'.' The Lucrece^ which comes second in the volume, has been seriously pruned by the binder, and measures only 6\" x 4^". The title-page has been torn in places and roughly repaired. No. HI. Of the two copies in the British Museum the better British one was purchased at the Bright sale, in 1845-, for £y%. The Museum (i). prgss-mark is C.2i.c.4f. It was bound by Hayday in maroon morocco, and, though several leaves have been repaired, is in good condition. It measures 7" x 4--{i". No. IV. The second copy in the British Museum is in the British GrenviUc Collection (G. 1 1 1 78). It was purchased by Thomas Museum (z). Qreuville, the collector, at the Combe sale in 1837. It is well bound in morocco. Grenville described it in a note in the volume as one of only three known copies. It measures 6~' x {'. The last leaf is missing, and its place is filled by a reprint from Malone's copy in the Bodleian Library. No. V. The perfect copy in Sion College, London, formed part SionCollege. of the library of Thomas James, a well-known London printer, * See Venus and Adonisy Introduction, p. 59. Devonshire copy. LUCRECE 41 whose widow, Mrs. Eleanor James, presented it with other First volumes in 171 1 to Sion College 'out of her singular ^^^tion, affection and respect for the London clergy'. The copy, ^'^' which is now separately bound, originally formed part of a volume in which five rare poetical tracts of like date were bound together.' The copy seems to have been printed off somewhat later than the Malone, and earlier than the Duke of Devonshire's copy or the Bright copy in the British Museum. Lines 1182 and i3ro read as in the Malone copy and not as in the Duke of Devonshire's and British Museum (Bright) copies. At other points (lines 31 and 12^-6) the readings are identical with the Devonshire and British Museum (Bright) copies and differ from those of the Malone.^ The measure- ments are 7-' x s~'' The Duke of Devonshire's copy, now at Chatsworth, No. vi. originally belonged to the great actor John Philip Kemble, whose library was acquired by the sixth Duke of Devonshire in 1 8 2 1 . Kemble inlaid and mounted his quarto plays and poems, and bound them up — six or seven together — in a long series of volumes. Lucrece forms part of volume cxxi in his collection of plays. There are six quartos altogether in the volume, the other five being the edition o£ Pericles^ 1^09; and early copies of the four pseudo-Shakespearean plays, Thomas Lord Cromwell^ 161 1 -^ The London Prodigally K^oj") Locrine^ if9Tj ^nd the first part of Sir John Oldcastle^ 1600. Lucrece does not seem to ^ In the original manuscript catalogue of the library there appears the entry 'Shakespeare's Lucrece * ^ &cc» In Reading's Catalogue of Sion College Library (1714.) the tracts bound upwith Lucrece zre indicated. All are now separately bound and are of the highest rarity. They are : — i. Barn field's Affectionate Shepherd^ 1 5" 94, (the only other known copy is at Britwell). z. Michael Drayton's Idea: The Shepherds Garland^ 1 55^3 (only two other copies seem to have been met with, and none is in a public library). 3. O. B.'s Display of Vain Ufe^ printed by Richard Field and dedicated to the Earl of Essex, 15-5)4 (fairly common). 4. Lamentation of Troy for the Death of Hector ^ 'I'^'fj by I. O. (fairly common). 5'. An old facioned hue . . . by T. T. Gent. 15" 5)4- (a translation of Watson's Latin poem Amyntas) ; the only other copy known is in the Capell collection at Trinity College, Cambridge. The last two tracts were both printed by Peter Short for William Mattes. =" See pp. 3 i-x supra. 4* LUCRECE First Edition, U94- No. VI r. Mr. A. H. Huth's copy. No. viir. Holfoid copy. No. IX. Mr. "White's copy. No. X. Mr. E. Dwight Churches (Rowfant) copy. have been collated by Kemble, but it is quite perfect ; the other pieces in the volume have a note, ^ Collated and perfect, J.P.K.,' with date either 1792 or 1798. The original page measures 6~' x 4-I'', but the page in which the text is inlaid, 8f x 6^^", It is one of the later impressions of the first edition, closely resembling the copies in the British Museum. The copy owned by Mr. A. H. Huth was purchased at the Daniel sale, in 18^4, for ^ly? 10/. od. It is a perfect exemplar. A copy belonging to Capt. George Lindsay Holford, of Dorchester House, Park Lane, London, was purchased by the present owner's father, Robert Stayner Holford, for ^i 00, about 1 8 6oy and is stated to be quite perfect. Two fine copies are now in America. One of these belongs to Mr. William Augustus White, of Brooklyn. Mr. White's copy, which measures 7-^" x s\'\ seems to have been at the beginning of the nineteenth century in the Chapter library of Lincoln Cathedral.' It subsequently passed into the pos- session of Sir William Bolland, Baron of the Exchequer, who died in 1840. On Sir William Bolland's death, it appears to have been purchased by the well-known bookseller, Thomas Rodd, for 100 guineas. It then passed into the library of Frederick Perkins, of Chipstead (1780-18(^0). At the sale of Perkins' library on July 10, 1889, when the catalogue noticed ^ a small hole burnt in two leaves, destroying a few letters', it was purchased by Mr. Bernard Quaritch, the London bookseller, for ^200, and was acquired by the present owner. "" A copy in the library of Mr. E. Dwight Church, of New York, was formerly in that of Frederick Locker Lampson, at Rowfant, Sussex, which was sold to Messrs. Dodd, Mead & ^ See Dibdin's Ubrary Companion^ p. 6^6^ and 'Bibliographical Decameron^ vol. hi, p. 26^4. ^ A facsimile of the title-page of this copy is given in Contributions to English Bibliography^ Grolier Club, i8(?5', p. l8a. LUCRECE 43 Co., of New York, in 19 04. It is a perfect copy, measuring First 6y/' X f\ and is bound in red morocco with tooled sides Edition, by Zaehnsdorf. It was apparently at one time the property of ^'^' Sir William Tite, at the sale of whose library in 1874 it fetched ^i i o.' A fragment of the first edition was sold in 1 8 5-2, at the sale Fragment. of the library of Edward Vernon Utterson, for £^ los. od. Mr. White, of Brooklyn, possesses sixteen leaves (B i, B 4, C i-F 2) of a second copy, measuring j—' x ')~z\ It is possible that this is the Utterson fragment. The first edition of Lucrece has been twice issued in Photo- facsimile; firstly, in the series of reproductions of Shake- g'j^phic re- spearean quartos undertaken by E. W. Ashbee under J. O. Halliwell-Phillipps' direction in 18^7 (of which fifty copies were prepared and nineteen of these destroyed); and secondly, in the series of Shakspere-Quarto facsimiles with introduction by F. J. Furnivall, \%%6 (No. 35-), published by Mr. Bernard Quaritch, of Piccadilly, from the copy in the British Museum. The second edition appeared in 1^98. Unlike the first Second edition, which was a quarto, the second, like all its edition, successors, is an octavo. The signatures run A-E 4 in \^q xi. eights. The leaves number thirty-six and the pages are Capell copy, unnumbered. Only a single copy of the second edition is known. It is in the Capell collection at Trinity College, Cambridge. The title-page runs : — LVCRECE. | at London, | Printed by P. S. for lohn | Harrison, i5'9 8. | It was printed by Peter Short. The title-page bears the signature of two former owners — Robert Cheny, who seems to have paid i ^d. for the copy, and of Count Fieschi. The ornaments are those usually associated with Peter Short's press. Notes of * Justin Winsor's statement that Capell's copy is missing from the collection in Trinity College, Cambridge, is incorrect. Capell never possessed a copy, but in the Catalogue of his Shakespearean Library he mentions that one is in the library of Sion College, London, and that he had collated it with his own exemplar of i5'98. E 2 44 LUCRECE Second Edition, IS 9^. Third Edition, No. XIL Bodleian copy (i). L V C R E C E. a thorough collation by Capell of this copy with one of the first edition of i ^94 in Sion College Library are scat- tered through the volume. The di- mensions of the volume are 4I-'' I " X 3f • The edition of 1600 is in octavo, with signa- tures A-E 4 in eights. Signature E 3 is misprinted B3. It has thirty- six leaves, and no pagination. Only one perfect copy is known. This is in the Malone collec- tion (Malone 327) in the Bodleian Library, Oxford. It is bound up with a copy of Venus and Adonis which has a title- page supplied in manuscript (see Venus and Adonis^ Census, No. VIII). The volume was presented to Ma- lone by Dr. Richard Farmer in 1779.^ in good condition. The measurements »*!!. The Lucrece is X3 . are A 9 ■ * There is a note to that eflfect in Malone's autograph in the volume. Malone soon afterwards lent the volume to Steevens so that he might read the 1600 edition of "Lucrece, He returned it with a sarcastic drawing which still LUCRECE 4T The title-page runs : — LVCRECE | London. | Printed by I. H. Third for lohn Harison. | idoo. | ^^^"^J^^^ There is in the Bodleian Library a second and imperfect no. xiir. COpyof this edition Bodleian (z). pii W Ssr (without title-page and wanting last leaf), which mea- sures 4 -J x 3^ . The text breaks off at line 1797, 'My sorrowes in- terest, let no mour- ner say ' with the catchword below ' He '. The signa- tures are as in the perfect copy of 1600. The leaves number thirty- four. The tract is inserted in a volume (8° L 2 Art. BS.) which was probably bound in Oxford for the Bodleian Library about i(^yo, and comes between ' Chan- sons spirituelles, mises en musique a quatre parties par Didier Lupi. Nouuelle- ment reueues & augmentee's. A Paris. Par Adrian le Roy & Robert Ballard, Imprimeurs du Roy 1^71' (music book) ; and < A Wittie Encounter Betweene Monsieur du Moulin & Monsieur remains pasted on the fly-leaf; a bust of Shakespeare is shown with the words written on a label proceeding from his lips : ' Would that I had all my commentators in Lipsburry pinfold ! * Third Edition, 1600. Fourth EDITIONj 1^07. 45 LUCRECE De Balzac, translated out of the french coppy by A. S. Gent' (London, 16^6). The fourth edition of 1607^ in small octavo, was printed y ' l"l"l i nftii. i ai l l li EE. ^S^' by Nicholas Okes for John Harrison. The title-page runs: — LVCRECE. I AT LONDON, I Printed be N. O. for lohn Ha- 1 rison. 1607. I The leaves number thirty-two without pagina- LUCRECE 47 tion. The signatures run A-D 8 ; A 4 is misprinted B4. On Fourth the title-page appears the misprint be for by (in the imprint edition, ' Printed be N. OP). Harrison's device and motto, Diim spero^ fero^ figTire as in the edition of 1600. There is a circular ornament at the end of the ' Argument '. Two copies are known. The Capell copy in Trinity No. x[v. College, Cambridge, measures /' x i\'\ Capell copy. The second copy, in the library of the Earl of Ellesmere, No. xv. at Bridgewater House, London, measures yi'' x 3^". The leaves ^"'^gewater are much cut down. The volume is bound in orange morocco. This copy possesses much historic interest. It was purchased by John Egerton, second Earl of Bridgewater, who took the part of the Elder Brother in the performance of Milton's Conuu at Ludlow Castle, in \6i\. The words 'By W: Shake- speare' are written in a contemporary hand across the title- page. The copy was described at length, but not with accuracy, by John Payne Collier in his Early English Literature at Bridgewater House ^ 1^373 PP- 280-2, and m his Bibliographical Account of Early English Literature^ 18 (^7) vol. ii, pp. 332 seq. Collier claims for the edition textual superiority to the preceding edition of k^oo, which a careful collation seems hardly to justify. It follows the text of k^oo with very trivial modification. The fifth edition of \6i6 (in small octavo), in spite Fifth of many typographical changes, is of the same size (thirty-two Edition, leaves without pagination) and has the same signatures as the issue of 1607, The signature A 4 is again misprinted B 4. Of this fifth edition four copies are known. The title-page runs :— THE | RAPE OF I LVCRECE | By | Mr. Wtlltam Shakespeare | Newly Reuised. | London : | Printed by T. S. for \oger Jackson^ and are | to be solde at his shop neere the Conduit I in Fleet-street, \6i6. | Of the four extant copies, two are in America. The copy in the British Museum was acquired on No. xvi. April 5", 1 8 5" 8. It seems to have been sold by auction at ^"^^^ Sotheby's, May, 18 f(^, for ^23 10/. od. It is not in very clean copy. condition. Many leaves are pieced or patched, and the last five. 48 LUCRECE Fifth EdITIONj 1616. No. xvir. Bodleian copy. No. XVIII. Lenox Library, New York. No. XIX. Mr. Dwight Church's (Rowfant) copy. Sixth Edition, 1^24. No. XX. British Museum (i) (Grenville). No, XXI. British Museum (z). which were defective, have been repaired in facsimile. The measurements are j^'x ^~\ The volume was in recent times bound by Bedford in red morocco. The press-mark is C. 34. a. 44. The copy in the Bodleian Library was part of the bequest of Thomas Caldecott and reached the Library in 1833 (Malone 892). The leaves have been much cut by the binder. The measurements are Ste' ^ 3A''- There is a copy in the Lenox Library in the New York Public Library which has been cut close at top and bottom. This was probably the one priced by the bookseller Rodd in his catalogue of 1837 at four guineas, and may be that sold with the Vemis and Adonis of 167,6 and other poetical tracts at the sale of Thomas Pearson's library in 1788. The copy formerly in the library of Frederick Locker Lampson, of Rowfant, now belongs to Mr. E. Dwight Church, of New York. Measuring ^^" x i\" and being bound by Riviere, it was formerly in the library of Frederick Ouvry. It is cut in the lower margin. It was bought in the Ouvry sale, in 1 8 8 2, by Bernard Quaritch, for £1^1 os. od,^ and shortly afterwards went to Rowfant. It passed to the present owner early in 1 9 o y. Of the edition of 1(^24, in small octavo, six copies are now traceable, of which only two are now in England, and both of these are in the British Museum. The text with list of contents and marginal notes follows that of 1616. The signatures are the same, and the leaves number thirty-two, without pagination. The title runs : — The | Rape | of | Lvcrece. | By Mr. William Shakespeare. \ Newly Revised. I LONDON I Printed by I. B. for I^ger Jackson^ and are | to be sold at his shop neere the Conduit | in Fleet-street, 162^. A fair copy is in the Grenville collection (No. 11179) at the British Museum. It was possibly bought at the JoUey sale in 1844. The measurements are Stt' ^ Iti"- The title and last leaf are not in good condition and a few of the headlines are cut into. It is bound in green morocco. The second copy now known to be in Great Britain is also in the British Museum — press-mark C. 39. a. 37 (2). It LUCRECE 49 measures ^^" x i\'\ and is bound with four other poetical Sixth tracts of like date. f^™^' Four other copies are now in America. The best belongs no. xxii. to Mr. E. Dwight Church. It was in the eighteenth century Mr. Dwight the property of Sir John Fenn (1739-94), the editor of ^p"^^^* the ' Paston Letters '. A subsequent owner was Philip Howard Frere (i%\i-6%\ It is a fine and clean copy. Sir John Fenn cut out the woodcut and imprint of the title-page, placing the excised slips in his collection of cuttings. These were discovered in a scrapbook formerly in the possession of Sir John Fenn, by Dr. Aldis Wright, who replaced them in the title-page of the copy, while Frere was its owner. The copy passed into the hands of the American collector, Thomas Jefterson McKee, at whose sale in 1901 it was acquired by the present owner. The size of the leaf is ^~' x 3-I". The volume is bound in green levant morocco. The Rowfant copy, which formerly belonged to Frederick No. xxiir. Locker Lampson, has the inscription on title-page : ' Pretium ^^\^^^^ 4N: L: S:' It measures Tt ' x 3^''. It at one time be- (Rowfant) longed to Narcissus Luttrell (155-7-1732), and seems to have <^opy- been sold at the Ouvry sale in 1882, for £1 1, to Messrs. Ellis and White, the booksellers of Bond Street. It was acquired by Messrs. Dodd, Mead & Co., booksellers of New York, in 1 904. The copy belonging to Mr. Folger, of New York, No. xxiv. seems to have been sold at Sotheby's in a miscellaneous Mr. Folger's sale on June 18, 1903, and bought by Messrs. Sotheran for ^°^^' ^130. A ^Q"^ headlines are shaved. A copy belonging to Mr. Marsden J. Perry, of Provi- No. xxv. dence, formerly belonged to Halliwell[-Phillipps], who Mr. Perry's] paid Quaritch A 2 for it in November, i88f. It measures *^°^^* In the seventh edition of 1(^32, the signatures run A in Seventh fours, B-D7 in eights; B4 is misprinted B2. On the last edition, page (D7 verso) the word 'Finis' is followed by a wood- cut with the motto In Domino confido. The typography is distinguished by the excessive use of italics for ordinary words. The leaves number thirty. There is no pagination. G so LUCRECE Seventh Edition, i6^z No. XXVI. Corpus Christi College, Oxford. No. XXVII. Britwell copy. No. XXVIII. Untraced copy. No. XXIX.^ Edinburgh University copy. There are five extant copies of the edition of 16^2 — one at Corpus Christi College, Oxford; another in the library of Mrs. Christie Miller at Britwell ; a third in unknown hands y the fourth (defective) at Edinburgh University Library; and the fifth in America, in Mr. Perry's library at Providence. The title-page runs : — The | Rape | of I Lucrece | by | Mr. William Shakespeare | Newly revised. [Printer's device with motto Dum spero fero7\ London. | Printed by R. B. for lohn Harrison and | are to be Sold at his shop at the golden | Vnicorne in Pater-noster l{pn>. | i<^3 2. | In one of the impressions of the edition of Shakespeare's Poems issued by the bookseller Lintott in 1 7 1 o, he gives a title-page of Lucrece bearing the date 1(^3 2. A copy of that edition was doubtless in his possession. The Corpus Christi College copy, which measures s\" X It\ ^^s presented to the college by a seventeenth- century Fellow, John Rosewell, Canon of Windsor. It is in old calf, and bound up with a defective copy (having no title) of^ an English translation by Thomas Hudson of the History of Judith (i5'84) from the French of Du Bartas. The Britwell copy formerly belonged to George Steevens, and was bought at his sale in 1800 by Richard Heber for fifteen shillings. It passed from the Heber Library into the possession of William Henry Miller, the founder of the library at Britwell, in 1834. The measurements are S~" X 3y''. It is bound up with a copy of Charles Fitz- GefFry's Blessed Birthday (Oxford, 1616). A copy belongmg to John Mansfield Mackenzie, of Edinburgh, of which some leaves had rough edges, was sold at Sotheby's at the sale of the Mackenzie Library, March 11, 1889, and was purchased by Pearson & Co., the London booksellers, for £26 lox. od. Its present owner has not been traced. A defective copy (consisting of twenty-seven leaves of the thirty) is in the Edinburgh University Library/ The ^ Thanks are due to Dr. Eggeling and to Mr. Alex. Anderson of Edinburgh University for the opportunity of determining the date of this copy. LUCRECE rr measurements are y^ ' x Itz'- It has no title-page, and the Seventh leaves C and C2 (lines 7<^4-903) are missing. The bottom Edition, edges are closely shaved throughout. It was bound by ^ ^^' r ^pppiwswr I The Rape of I LUCREC [^ C'ommlitcu by •^ T A Pv Q^U 1 N the Sixi ; ^ flht: TtmiffiAhU judgments that hefd himf^r ii» I Tbt incomparable Mafter ofour En%lifh Pmiy^ , WitLsSHAKii s? BARB Gem. fy^'hereunto it annsxsd^ . -'. ' I 7i6^ 'Banifhment o/Fa r q^u r fejl Or, the %e^ard ofLtiJl. ^ LONDON, '' " Printed by f . (7. for 7flA;# Stafford xn George- ii^er Fleet-bridge, .and FVllli Gilbntfm at , U'r.-r^%^: Tuckett. It was presented, in 1872, to the Edinburgh University by J. O. Halliwell-Phillipps, who, in a manuscript note, describes it as a unique exemplar, in ignorance of the G 2 s% LUCRECE Eighth Edition, Seventh survival of any other copy of the 1(^32 edition. Halliwell- f^'r^^' Phillipps had, in his Folio Shakespeare (iS^f), dated this defective copy before 1616^ assigning it tentatively to the year idio, but his final opinion that it was issued in KJ32 is undoubtedly right. No. XXX. The copy belonging to Mr. Marsden J. Perry, of Provi- Mr. Perry's Jencc, was purchased for £7^ at the Halliwell-Phillipps sale, in 1889. It measures fii'' x3t') ^^^ is bound in red morocco, by Lortic freres. Some of the lower and outer leaves are uncut. A reissue in 16s s^ for which William Gilbertson, who had just purchased the copyright, was mainly responsible, bears this title : — The Rape of | LUCRECE, | Committed by I TARQUIN the Sixt; | and | The remarkable judgments that hefel him for it. \ by | The incomparable Master of our Eiiglish Poetry^ | Will : Shakespeare Gent. | Whereunto is annexed^ | The Banishment of Tarquin: | Or, the leeward of Lust, I By J. Quarles. | london. | Printed by J. G. for John Stafford in George-yard | neer Fleet-bridge, and Will: Gilbertson at | the Bible in Giltspur-street, 16 ss- \ The pages are numbered 1-7 1 for Shakespeare's poem and 1-12 for Quarles' brief sequel. The signatures are continuous throughout — A 4, B-F 8 in eights, G 4. The volume opens with an engraved frontispiece, by William Faithorne. In the upper part of the page is a small oval portrait of Shakespeare, adapted from the Droeshout engraving in the First Folio, and below are full-length pictures of Collatinus and Lucretia with the inscription in large italics; — The Fates decree that tis a mighty wrong To Woemen Kinde, to have more Greife, then Tongue. Will : Gilbirson : John Stafford excud. On the title-page, which faces the frontispiece and is in ordinary type, is the device of a wreath containing the initials I. S. and W. G. (i.e. John Stafford and William Gilbertson). A dedication follows on sig. A3, ^To my LUCRECE T3 esteemed friend Mr. Nehemiah Massey,' and is signed John eighth Quarles. The * Argument' is on A 4, and the text of Shake- edition, speare's poem on B--F4 (verso blank). The separate title-page c.(Fafa £cnzkhat its a^mmjpm of Quarles' poem is on Fy: — Tarqvin Banished: Or, The Reward O^ Lust. Written by J. Q^ There follows an address < To the Reader ' (F d), and the text of Quarles' poem fills F7-G4. y4 LUCRECE Eighth EdITIONj 1655. With the Frontis- piece, No. XXXI. British Museum (i). No. XXXII. Bodleian copy. No. XXXIII. Barton collection, Boston Public Library. The frontispiece is met with in very few copies, and lends the vohime its main vahie and interest. It supplies the third engraved portrait of Shakespeare in point of time, that by Droeshout of the First Folio of 162^ being the first, and the second being the engraving by William ^Marshall before Shakespeare's Poems of 16^0. Of the three early engraved portraits of Shakespeare, this by Faithorne is most rarely met with. Halliwell[-Phillipps], writing before iSyd, stated that he had seen thirty copies of the 16 ^y edition of Lucrece without the title-page and only one with it. Only two copies of the volume with the frontispiece seem acces- sible in Great Britain, while four seem to be in America. Three copies of the edition are in the British Museum, but only one of them has the frontispiece (C. 34. a. 45-). The perfect copy, which measures s-h" '^ iTe'y ^^s acquired by the Museum, April 3, 18(^5-. It is stained and very closely trimmed, but the impression of the frontispiece is singularly brilliant, though the verses beneath it have been cut into by the binder. This copy was at one time in the possession of Halliwell[-Phillipps], who sold it by auction at Sotheby's in May, 18 yd, for ^27 lox. od. Halliwell[-Phillipps] inserted a manuscript note, calling attention to the extreme rarity of the edition with the frontispiece, and to its comparatively frequent occurrence without that embellishment. The copy in the Bodleian Library (Malone 889) was be- queathed by Thomas Caldecott in 1 8 3 3. It measures Sti' ^ 3i" '• The frontispiece is mounted, and may possibly have come from another copy. The title-page is cropped and mutilated at the bottom. The binding is probably of the late eighteenth century. At the back of the Lucrece title-page the ' Wriothesley ' dedication is copied in manuscript from the \6\6 edition. The copy in the Barton collection at the Boston Public Library has the frontispiece inlaid. This copy was thus described by the bookseller, Thomas Rodd, on October y, 1835- : — 'The title-page torn and laid down. The frontis- piece inlaid. Several leaves cut into the side margin & LUCRECE yj- dirty. The back margin sewed in.' Rodd thought it eighth might be identical with the copy sold in 1827 at the Field ^^™^' sale for £1 19/. od. It was purchased by T. P. Barton of New York, from Rodd, in 1835*, and bequeathed by Barton to the Boston Public Library in \%76. It is bound in green morocco by Mackenzie, and the binder has misplaced pages f and 8. An interesting copy, belonging to Mr. Dwight Church No. of New York, bound in old calf, has the frontispiece, but w^^ji^" . it is cut into at the bottom. Some of the pages of the chmciTo^f text are also closely cut. The copy, which measures New York. ^~' X 3I-", seems identical with one which was purchased at Sotheby's, by [Sir] William Tite, in 185-0, for £16 ^s. od. and sold at the Tite sale in 1 8 74, for £1 1 5-/. od. Mr. Church's copy is carefully described in Contributions to English Biblio- graphy^ Grolier Club, 1895-, p. 183. Mr. Folger, junior, of New York, possesses a perfect No. copy. This was apparently the copy which belonged to ^^^[ Dr. Richard Farmer, and was for a time in the library of ofNewYork. Henry F. Sewall of New York, at the sale of whose books in 1897 it fetched ^37 (Si8f). A fourth perfect copy was sold at the Daniel sale in ^t^^T 18(^4, for £^0 19/. ody and was subsequently in the library of untraced E. G. Asay of Chicago. (Daniel) Of two copies in the British Museum without the frontis- ^°P^* piece one is bound up with a volume of pamphlets in the the^fron- King's Library, E. 1672/1, The date, 'Aug: 31,' is written tispiece. in a contemporary hand above the imprint, and was probably No. the day of publication in the year 16 ss- The book is in g^ft^iJ^^^' good condition. It measures ff " x 37V''- Museum (2). The second copy without the frontispiece, which is at No. the British Museum, is in the Grenville collection (G. 11432). ^^^^^^y^ All the leaves are stained and have been mended. The Museum (3). volume is bound in olive morocco and measures ^7" x 3^". This may be the copy formerly in the library of George Hibbert, of Portland Place, which was sold at the Hibbert sale in 1829, for £z 6s. od» r<^ LUCRECE Eighth Edition, No. XXXIX. Edinburgh University. Nos. XL. and XLl. Britwell copies. There is a copy in the University Library at Edinburgh, without the frontispiece, and two copies without the title- page are at Britwell ; one of the latter formerly belonged to Richard Heber.' * Notices of other imperfect copies without the frontispiece appear in sale catalogues. In the *Bibliotheca Anglo-Poetica * (iSiy), a catalogue of rare books on sale at Messrs. Longmans, of Paternoster Row, a copy is priced at £i I ox. od. but no particulars of its condition are given. One was sold at the Utterson sale in 1852, for four guineas (without frontispiece and the bottom line of title cut off) ; another at the Frederick Perkins' sale in 1889, bound by Roger Payne, for ^5 6s. od. ; a third, belonging to Halliwell- Phillipps, bound by Bedford in morocco, was sold at the sale of his library, July I, 188c;, to Raglan for £iz os. od. At two miscellaneous sales at Sotheby's, on June 18 and December 4, 190a, respectively, the frontispiece and title-page were sold detached from the volume. On the first occasion they were bought for ^13 los. od. by Mr. Gribble, and on the second occasion Messrs. Pearson & Co. were the purchasers for ^i 10. L V C R E C E: ^. iv^* LONDON. Slu printed by Richard Ficldj for lolin Harrlfon^and arc tcJbc fold at ihc fignc of the v^ hire Greyhound in Pauley Churh yard, i '■ ^ /\. i TO THE RIGHT . H O N O V R A B L E, H E N R Y VViloihcncVjl^arlcofSouthhampConj and Baron otTitchficld. ^^S^^^^ H E loue 1 dedicate to your Lordfliipi; without endrwhcr- of this Pamphlet without be- ginning is but a fupciHuous Moity. The warrant I hauc of your Honourable difpofition, not the worth of my vntutord Lines makes it affured of acceptance, V Vhat I hauc done is yours, what 1 hauctodoeisyours, being part in allIhaue,deuotedyours. Were my worth greatcr^my ducty would Ihew greater, meanc time, as it is,it is bound to your Lordlhip^To whom I wi(h long life ftill Icngthned with all happineflc. Your LordQiips in all duety. William Shnkcfbcarc, THE ARGVMENT. LVcius Tarquinius (for hit exc:(Jine pride fMrn,tMf£l Suf>crbus) after hee had c-3:i>;rypncr}t cb-.zr.^edfrom Kt*:£s to Ccnuls, T HE R A P E O F L V C R E C E. FRoM thcbcfieged Ardea allinpon-, Borne by the truftleffe wings offalle defire, Luft-breathedTARQyiN,lcaucs the Roman hod,. And to Colatium bcarcs the lighdefTc fire, Which in pale embers hid^ lurkes to afpirc, And girdle with embracing flames, the waft Of CoLATiNES fairloue, LvcRECE thechaft. Hap'Iythat nameofchaft, vnhaply fet This bateleffe edge on his kecne appetite: When C o L A T I N E vnwifely did not let, To praifc the clearc vnmatchcd red and white, Which triumpht in that skie of his delight: VVhere mortal ftars as bright as heaues Beauties, With pure afpeits did him peculiar ducties. B 11. 1-14 ;* THE RAPE OF LVCRECE, For he the nightbcforc inTarquinsTcnt, Vnlockt the trcafure of his happic ftatc : V V hat prifeleflc wealth the hcauens had him Icn^ In the poflcifion of his beauteous mate. Reckning his fortune at fuch high proud rate, That Kings might be efpowfed CO more fame, But King nor Peerc to fuch a peerelcfle dame. O happineffeenioy'dbutofafew, Andit poffeft as foone decayed and done: As is the morning filuer mehing dew , Againft the golden fplcndourot the Sunne. > An expir'd date canccld ere well begunnc. - Honour and Beautie in the owners amies, » Are weakelie fortreft from a world of harmcs. • Beautie it fclfe doth of it felfe pcrfvvade, • The eies of men without an Orator, What needcth then Appologic be made To fct forth that which is fb fingulcr ? > Or why is Colatine the pubJifher J Of that rich iewell he fhould keepe vaknown, *. From theeuiih cares becaufc it is his ov^ne ? Perchance 11- 15—35 THE RAPE OFLVCRECE. Perchance his boft of Lucrccc Sou'raigntie, Suggcfted this proud ifluc of a King : For by our cares pur hearts oft tayhtcd be : Perchance that cnuic ot fo ric h a thing Brauing compare, di(claineful!y did fting (vant, His high pijcht thoughts that meaner mciilhould That golden hap which their fiiperiors want. But fome vntimelie thought did inftigatc. His all too timeleflc fpeede if none of ihofe, His honor, his affaires, his friends, his ftate, Neglected all, with fwift intent he goes. To quench the coale which in his liuer glowcs. O rafli falfe heatc, wrapt in repentant cold, Thy haftic fpring (till blafts and nerc growes old. When at Colatium thisfalfc Lord ariucd, V Veil was he wclcom'd by the Romaine dame, Within whofc face Beautie and Vcrtue flriucd. Which of thbm both ihould vndci prop her fame. WheVcrtuebrag'd, Beautie wold blulhforfhamc, When Beautie boflcd bluilies,in defpighi Vcrtue would ftaine that ore with filucr w hite. B 2 11. 36-56 THE RAPE OF LVCRECE. ButBcautleinthatwhitccntitulcd, From Venus doucs doth challenge thai fairc field, T hen Vcrtuc clalmes from Beautie, Beauties red, Which Vert uc gaue the golden age, to guild Their filucr cheekes, and cald it then their (hicld. Teaching them thus to vfe it in the fight, VVhe Ihamc afTaild^the red Ihould fccc the white. This Herauldry inLvcRECE face was fecne, Argued by Beauties red and Vertucs white, Of cithers colour was the other Quecnc ; Prouingfrom worlds minoriry their right, Yettheir ambition makesthemftill to fight: The foucraignty of either being fo great, That oft they interchange cch others feat. This filcnt warrc of Lillics and. of Roles, Which Tar Qji n vcw'd in hcrfaire faces field, ^ In their pure rankes his tray tor eye enclofe^^, Where lead betweene them both it Ihould be kild. The coward captiue vanquiihed, doth yceld To thofctwo Armies that ^vould let him goe, Rather then triumph in fo falfc a (oc, Kow 11. 57—77 THE RAPE OF L VCRECE Now think ci he that her husbands fhallow tongue. 1 he niggard prodigall that praifde her fo: In that high taskc hath done her Beauty wrong. Which tarrc excccdes his barren skil! to ihow. Therefore that praiic which C o l a t i n e doth owe, Inchaunt'jd I a v (ly i n aunfwcrs withfurmifc, In illcnt wonder of ftill gazing eyes. This earthly (aind adored by this deuill, Little rui])e6leththe fahcworihipper: *^ For vnftaind thoughts do fcldom dream on eulll. "Birds ncuerlim'Jjnofecretbuihcsfcarc: So gui'ti tiTc il icc fccurcly giues good chcare. And rcucrcnd welcome to her princely gucQ-, V Vhofc inward ill no outward harme cxprcft* For that he colour.^ w ithhishigh eftatCj Hiding bafe fin in pleats of Maicilie : That fK)thing in him feemd inordinate, Sauc fometimc too much wonder of his'eye. Which hauing all, all could not faiisfie; But poorly rich fo wantcth in his ftorc, - Th^t cloy'dwithmuch^ he pineth (1111 for more* B 3 11. 78—98 THE RAPE OF LVCRECE. But fhc that neucr cop'twith ftraungcr cics, Could picke no meaning from their parUng lookes, Nor read the fubtle Ihining fccrccies, Writ in the glaflle margents of ^ch bookes, Shcctouchtno-vnknown baits, norfcard no hook% Nor could (hec moraliz-e his wanton fight, More then his eics were opcnd to the hght« He (lories to her cares her husbands famc> VVonncintheficlds offruitfuIUtalic: And decks with praifcs Colatines high name. Made glorious by his manlicchiualric, With bruifed amies and wreathes of vidoric, Hcrioiewi hheaued-vp hand (he doth cxprcffc. And wordleflfe fo grcctc* hcauen for his fucccfle. Far from the purpofe of his comming thither, He makes cxcuf es for his being there, Noclowdic (how offtormic bluftring wether. Doth yet in his fairc welkin once appeare. Till iaole N ight mother of dread and fcarc, Vppon the world dim darkneflfc doth di(plaic, And in her vaultie prifon, (lowcs the dale. For ^•«* 11. 99 — 119 |jp>JfJ**',SW'«J>)fi .<♦■■ THE RAPE OFLVCRE C.E For then is Tarquine brought vnto his bed, Intending wcariaeflc with hcauie /prite : For after fuppcr long he queftioned, V Vith modeft Lucrcce, and wore out the night, Now leaden (lumber with Hues ftrength doth fight, And cucric one to reil: himfclfc betakes, Saue thceueSjand cares^ and troubled minds that (wakes. As one ofwhichdoth Tarquin lie rcuoluing The fundi ie dangers oi his wik obtaining : Yet eucr to obraine his will refoluing, ('ihig Though wcakc bult hopes pcifwadc himtoabftai- Difpaire to gainc doth traffique oft for gaining, ' And when great trcalure is 'he mccdc propo cd, ■ 1 hough death be adiu6t^thcr's no death fuppofcd, Tlio^c that niuch couet are w ith gaine fofond, Thar v. ha. they hauc not,that which they pofTcffe They fcat.er and vnloofe it from ihcir bond, And (o by hoping more they hauc but Icflc, Qrj^ainin^moie.thcprofiteofcxceiTc h buc to furfctjand futh gricfcs fuftainc, That they proue backrout in this poore rich gain. 11. I20 — 140 THE RAPE OFLVCRECE. ^W The aymc of allis but to nourfc the life, V V iih honor, wealth, and eafe in wainyng age: And in this aymc there is fuch thwarting (Irife, That one for all, or all for one we gage: As life for honour, in fell battailes riagc, Honor for wealth, and oft that wealth doth coft The death of all, and altogether loft. So that in ventring ill, we leaue to be The things we are, for that which wc cxpcd : And this ambitious foule infirmitie, In hauing much torments vs with defeat Of that wc haue: fo then wc doe neglcd The thing we haue, and all for want of wit, Make fomcthing nothing,by augmenting it. Such hazard now muft dotingT a r qv i n make, Pawning his honor to obtainc his luft, And for himlblfe, himfelfe he muft forfake. ^Then where is truth if there be no fclfe- truft? ^ V Vhen ftiall he thlnkc to find a ftrangcr iuft, 'When he himfelfejhimfclfe confoundsjbctraies, 'To fclandrous tongues 6c wretched hateful daies? JMow 11. 141 — 161 THE RAPE OF LvCRECE. Now dole V ppon the time the dead of night, V V hen hcauic flcecp had clofd vp niortall eyes, No comfortable ftarre did lend his light, No noifc but O wlcs, & wolues death-boding cries: Now ferues the fcafon that they may furprifc The fillic LambeSj pure thoughts are dead & ftill, While Luft and Murder wakes to ftaine and kill. And now this luflfuU Lord leapt from his bed. Throwing his mantle rudely ore his aniic. Is madly toft betwecne defire and drcd^ Th'onc fwectely flatters, th'othcr feareth harmc, But honed feare,bewicht with liiftes foule charme, Doth too too oft betake him to retire, Beaten away by braincficke rude defire. His Faulchon on a flint he foftly fmiteth, That from the could ftone fparkes of fire doe flic, Whereat a waxen torch forthwith he lighteth, Which muft be lodeftarre to his luftfull eye. And to the flame thus fpcakes aduifedlie^ As from this cold flint I cnforft this fire, So L V c R-E c E muft I force to my defire. C 11. 162—182 THE RAPE OFLVCRECE. Here pale with feare he doth premeditate, Thcdaungersofhislothromeenterprile: And in his inward mind he doth debate, What following forrow may on this arife. Then lookingfcornfully^ he doth dcfpife His naked armour offtill flaaghtcred lui% Andiuftly thus controlls his thoughts vniuft. Fairc torch burne out thy light, and lend it not To darken her whofe liglit excellcth thine: And die vnhallowed thoughts, before you blot V Vith your vnclcanncfle,that \a hich is deuine: Offer pure incenfe to fo pure a ihrine : Let faire humanitie abhor the decde, That ipots & ftains loues modeft fnow-white weed. O (hame to knighthood , and to fl)ining Armcs, O foulc dilhonor to my houfhoulds graue : O impious a6t including all foule harmcs. A martiall man to be fbft fancies flauc, True valour Hill a true rcfpcd (hould hauc, - Then my digreflion is fo vile, fo bafc, That it will Hue engrauen in my face. 11. 183—203 THE RAPE OF LVCRECE. Yea though ^ die the icandale will furuiuc, Ard be an eie- lore in my golden coatc : Some lothfomc dafh the Herrald will contriuc. To cipher mc how fondlie I did dote : That my pofteritie fhanVd with the note Shall curfc my bones, and hold it for no finne, To wilh that i their father had not beenc. What v/in I if I gainc the thing! fecke ? A di eame, a breath, a froth ot Heeting ioy, Who buics a minutes mirth to waile a wceke ? Or fc'S eternitie to get a toy ? ^ For one fwcete grape t\ ho will the vine deftroy ? Or what fond begger^but to touch the crownc. Would with the Iceptcr flraight be (Irokc down? If Cot ATTN vs dreamc of my intent, V\- ill he not wake, and in a defp'rate rage Pod hither, this vile purpofe to preuent? This ficge that hath ingirt his marriage, This blur to youth, this forrow to the fage, This dying vertue, this (iiruiuinglhame, Whole crime will beareaneuer-during blamc# C2 II. 204 — 224 THE RAPE OF LVCRECE. O what cxcufc can my inucntion make V Vhen ihou Ihalt charge me with fo blacke a deed? V Vil not my tongue be mute,my fraile ioinrs (liakc? Mine eics lorgo their light, my falfc hart bleede? The guilt bccing great,thc fearc doth (till cxcccde^ And extreme feare can neither fight nor flie, ' ButcowardUkc with trcmbhng terror die. Had C o L A T I N V s kild my fbnnc or fire. Or laine in ambulh to betray my life, Or were he not my deare friend, this dcfire Might haue cxcufc to workc vppon his wife : As in reuengc or quittall of (uch ftrife. But as he is my kinfman, my deare friend. The Ihame and fault finds no cxcufc nor end. ShamefuUitis :T,ifthefad bcknownc, Hatefull it is : there is no hare in louing. He beg her loue: but (he is not her own e : The worfl: is but dcniall and rcproouing. My will is ftrong pad reafons weakc remoouing : 'Who fearcs a fentcnce or an old mans (aw, ' Shall by a painted doth be kept in awe. Thus 11. 225—245 THE RAPE OF LVCRECE. Thus gracclcffc holds he di/putation, Twcenc frozen confcicncc and hot burning will, And wuhgood thoughts makes difpcnfarion, Vrging the worfcr fence for vantage ftill. Which in a moment doth confound and kill All pure effcdsy^nd doth Co farre proceede, That what is vikjftiewes like a vcrtuoiTsdccdc. Quoth he, fhee tooke me kindlie by the hand. And gaz'd for tidings in my eager eyes, Fcaripgfomc hard newes from the warlike band, V\Tiercheri>elouedCoiATiNvs lies. ' O how her fcarc did make her colour rife 1 Firft red as Rofes that on Lawne we laie. Then white as Lawne the Rofes tooke a wale. And how her hand in my hand being lockt, Forftittotremble with her loyall fcarc; Which ftrooke her fad 5 and then it fafter rockt, Vntill her husbands welfare fhee did heare. Whereat fhee fmiied with fofvviCGtc a ch'carc, • ^ That had Nar<:i ssvs feciic her as tticc flood, Selfc-louc hadneuer drown'd him in the flood. ^ C 3 11. 246—266 >-'»- «awK ai»TiiW^ ' THE RAPE OF LVCRECE. Why hunt I then for colour or cxcufcs ? All Orators arc dumbc whenBcautic plcadcth, Poorc wretches haucremorfc in poorc abufcs, Loue thriucs not in the hart that Ihadows drcadeth, Affeclion is my Captainc and he leadcth. And when his gaudic banner is diiplaide, The coward fights, and will not be dilmaidc. Then childifli fcarc auaunt, debating die, ..Refped and reafon waite on wrincklcd agcr My heart iliall ncuer countermand mine ci >, Sad paufe, and deepe regard bcfcenics the fig^, My part is youth and beates thefe from the ib i^e. Defire my Pilot is, Beautie my prifc. Then who feares finking where fuch treafure lies? As come orc-growne by weedes: fo hcedfuU fcarc Is almollchoakt by vnreliflcd lull : Away he ftcales with open liftning eare, Full offoule hope, and full of fond mittrufl: :• Both which as fcruitors to the vniuft. So crofle him with their oppcfit perfwafion, That now he vov/cs a league, and now inuafion. ^ VVith- 11. 267 — 287 THE RAPE OF LVCRECE. Within his thought her hcaucniy image fits, And in the fclfe fame feat fits C o l a t i n f, That eye which lookes on her confounds his wits, That eye which him bcholdcs, as more deuinc, Vnto a view fb falfc will not inchne; But with a pure appeale feckcs to the heart. Which once corrupted takes the worfer part. And therein heartens vp his feruilc powers, VA^ho flattred bv their leaders iocound (how, lie vp his luft : as minutes fill vp howres. >a^rheirGtfptaine:fo their pride doth grow, ig nP^ flauifli tribute then they owe. iy rcpruhacc dcfirc thus madly led, The Romane Lora marcheth toLvcRECE bed. The lockes betweene her chamber and his will, Ech one by him inforft retires his ward : But as they open they all rate his ill, Which driues the creepingtheefe to fome regard, The threlliold grates the doore to haue him heard. Night wandring weezcls (hreek to fee him there, They fright him, yet he ftill purfues hi;> fcarc. 11. 288—308 THE RAPE OF L V C R E C E. As each viiwilling portiall ycelds him way, Throughlittle ycnts and cranies ofthe place, The wind warrcs with his torch, to make him flaie, And blowes the fmoake of it into his face, Extinguifhing his conducl in this cafe. But his hot heart, which fond defirc doth fcorch, IJuffcsforth another wind that fires the torch. And being lighted,by the Hght he (pies L V c R E c I A s gloiie, wherein her needle flicks, He takes it from the rulhes where it lies, * And griping it, the needle his finger pricks. As who fhould (ay, this gloueto wanton trickcs Is not inur'd^ rcturne againe in ha% Thou feed our miftreffc ornSments are chaft. But all thefe poore forbiddings could not ftay him, He in tlic worft fSnce confters their deniall: The doresjthawindjthcgloue that did delay him, He takes for accidentall things of triall. Or as thofe bars which ftop the hourely diall, VVhowithalingringftaiehiscourfe doth let, Till euciie minute pay cs the hovyre his debt. So 11. 309—329 THE R A P E O F L V C R E C £• So Co, quoth he, thefe lets attend the time, LikeHttlcfrofts that fbmctime threat the /pi ing, To ad a more reioyfing to the prime, And giue the fncaped birds more caufe to fing. . Pain payes the income of ech precious thing, (fands ■ ■■f Huge rocksjhigh winds,(lrong pirats^flielucs and .The marchantfearcs, ere rich at home he lands. Now is he come vnto the chamber dore. That Ihuts him from the Hcaucn ofhis thought, Which with a y eelding latch, and with no more, Hath bard him from the blcflcd thing he fought. S o from himfelfe impiety hath wrought. That for his pray td pray he doth begin, As ifthc Heaucns (hould countenance his fin. But in the midft of his vnfruitfull prayer, Hauing fohcited th'eternall power, That his foule thoughts mightcopaflc his fair fairc, And they would ftand aufpicious to the howrc. Eucn there he ftartSj quoth he, I muft deflowrc; The powers to whom I pray abhor this fad, How can they then aflift me in the ad ? D II- 330—350 5 Tssr - ■« '. '^'?^'l''^''^.'^^*'WirMf»y ^I'Ty'^ ~ " " ,'T^ ,■• •-:-■■ - - MJW^i^Jfi^^^ft' THE RAPE OF LVCR ECE. T hen Louc and Fortune be my G ods, my guide, My will is backt with refoluiion : Thoui;hrs arc but drcamcs till their cfTecls be tried. The blacked fii^inc isclcar'd with abfolution, Againft loues fire, fcares froft hath diflolution. The eye of Hcaucn is out^and millie night Couers the flume that foUowcsiweec delight. This faid, his guiltic hand pluckt vp the latch, And wiih his knee the dore he opens wide, 'The doueflecpsfaiUhatdi is night Owie will catch. Thub treafon workcs ere traitors be c/picd. ;.VV hofccsthelurkingfcrpentfteppesafiile; But Ihee found deeping fearing no fuchdiing, Lies at the racrcie of his mortal] (ting. Into the chamber wickcdlie he ftalkcs. And gazeth on her yet vnftaincd bed : The curtaines being clofc, about he w alkes, Rowling his grcecliccye-bals in his head. By their high treafon ishis heart mif led, Which giues the watch word to his hand ful foon, To draw the clowd that hides the filuer Moon. Locke 11. 35T- 37J ■iilliWd||p*lir «ii I'll I THE RAPE OFLVCRECE. Lookc as the fairc and ficric poinred Suiinc, Rufliingfrom forth a cloud, bereaucs cur fight: Euen fo the Curtainc drawnc, his eyes begun To winkej being blinded with a greater light. V V hether it is that fhee reflects io bright, That dadeth them, or clfc fbme fhame fuppofed, But blind they arc^an J keep thcnrifeiUcs inclofed, O had they in that darkefome prifbn died, 7 hen had they fcene the period oftheir ill : Then Colatine againeby LvcRECElide, In his clearc bed might hauc rcpofcd ftill. But they muft ope this bleflcd league to kill, Andholie-thoughted Lvcrece to their fight, Muft fell her ioy,hcrlife,her worlds delight. Herlilliehandjherrofiecheekeliesvridcr, ^ Coofning the pillow of a lawfiill kiflc : Who therefore angrie fcemes to part in fiindcr, Swelling on either fide to want his bliffc. Betwccnewhofchils her head intombed is; Where like a vertuous Monument (lieelics^ •To beadmir'd oflcwd \;nhallowed eyes. D a ^i^^ 11. 372—392 THE RAPE OF LVCRECE. Without iSc bed her oth cr fair c hand was, On the grccnc coucrlet whofe perfed white Showea like an Aprill dazie on the graflfe, With pearl ic {\vet refemblingdcw ofnighr. Her eyes Hke Marigolds hadfheath'd their light, . And canopied in daikencfle fwcedy lay, . . Till they might open to axiornc the day. Herhaire likegoldethrecdsplayd with herbrcath^ O modeft wantons, wanton modeflie ! Showing lifes triumph inthc map of death, And deaths dim lookcin lifes mortilitie. Ecb in hi^ flecpc thcmfclucs ib beautific^ > As ifbctweenc them twaine there were no drife,. But that life liu'd in death, and death in life,' Her breaftdikcluory globes circled with blew, A pair^^i^fiaiden worJdsynconquered, Saue ofthcir Lord, no bearing yoke they knew,. Andhim byoath they trucly honored. Thefe worlds in Tar Qv IN new ambition bred,. V Vho like a fowle viurper went abour, '' From^this fairc throne to heauc the owner out. What: 11- 393—413 THE RAPE OF L V C'R E C E VVhatcouIdhcfccbutmightily he noted? What did he note, but ftrongly he dcfired? V V hat he beheld, on that he firmcly doted, ' And in his will his wilful! eye he tyred. .With more then admiration he admired ^ Her azure vaines, her alablafter skinnc, ' Her corall lips, her fnow-white dimpled chio.^^ As the grim Lion fawneth ore his pray, Sharpe hunger by the conqueft fatisfied t So orethislleepingfouledoth T ARQjviN ftay,, Hisrage ofluft by garingqualifiedj Slakt, not fuppreft, for (landing by her fide, His eye which late this mutiny reftraines, Vnto a greater vprore tempts his vaines. And they likeftragling flaues for pillage fighting Obdurate vaffals fell exploits effecting, ;! , In bloudy death and rauilhment delighting; Nor childrens tears nor mothers grones refpeding. Swell in their pride, the onfet ftill expeding : • Anoahis beating heart allarum ftriking, Giues the hotcharge, & bids the do their liking. -■■ -—^ D J II. 414—434 T H E RAPE OF LVCRECE. His drumming heart chcarcs vp his burning eye, His eye commends ihc leading to his hand5 _ His hand as proud of fuch a dignitic , Smoaking with pride, nurcht on, to make his ftand On her bare brefl:,thc heart of all her land- VVhofe ranks ot blew vains as his hand did fcalc. Left iheir round turrets deditutc and pale. They mudring to the quiet Cabinet, Where their dearc gouerncflc and ladie lies, Do tell heriheeisdreadfullicbefet. And fright her with confufion of their cries. Shec much amaz'd brcakcs ope her lockt vp eyes. Who peeping foorth this tumult to behold, Arc by his flaming torch dim'd and controld. Imagine her as one in dead of night. From forth dull flecpe by dreadfull fancic waking, That thinkes Ihce hach beheld feme gaftlic fpritc, VVhofe grim afpcct fets cucrie ioint a fluking, V Vhat terror tis: butflieein worfcrtaking, From flecpe difturbcdjheedfullic doth view The fight which makes fijppofcd terror trcw. Wrapt 11. 435—455 THE RAPE OF tVCREC5. Wrapt and confounded in a thoiiilanKl feare^ •Like to a aew kild bird jliec trembling lies : Shcc dar^s not lookc,y;ef winding chcrcappcarcs Quickc-lhifting Antiques vgli^ in her eyes. " Such Ihadowes are the weakcj-brain* forgeries, V,Vho angrie that the eyes fliefrqm their h'ghts, ' In darknes daunts the with moiQ dreadful! fights. His hand thatyctremainesvppon her brefl-, (Rude R am to batter fuch anluorie v/all :) May feele her heart (poorcCittizen) diftrcft, Wounding it fclfc tQ^eiathjfifc vp and &l}^ Beating her bulke,that his hand ihak^s withaH, This moues in hiiii jpore rage and leffer pittie. To make the breach and epter thisfwect Gitty. Firft like a Tronipct doth hif jiqnguf bcgin^ TofoundaparlietohisheartleiTefoe,^ - * Who ore the wliite {b,cet peershcr whiter chin. The reafon of this rafti^Barmc tp know, V Viichhchy dum detn^anor fcekes tcf iliow. But fticewijdi vehement prayers vrgcthftill, Ynder whatcoiourhGcommits this ill. 11. 456—476 9S THE RAPE OF LvCRECE. Thus he rcph'es, the colour in thy face, That eucii for anger makes the Lilly pale, Andtheredrofe blulli at her own c dii^racc, shall plead for me and tell my louing tale. Vnder that colour am I com e to fca! e •_ Thy neuer conquered Fort, the fault is thine, ' For thofe thine eyes betray thee vntominc. Thus I forcftall thee, if thou meane to chide, Thy beauty hath enfnar'd thee to this night. Where thou with patience mud my will abide, My will that markes thee for my earths delight, VVhich I to conquer fought with all my might. ^' Butas reproofe and reafon beat it dead, ' By thy bright beautie was it newlie bred. I fee what croflcsmy attempt will bring, I know what thornes the growing rofedefcnd5, I thinkc the honie garded with a iHng, All this before-hand counfell comprehends. > But Will is dcafc, and hears no heedfull friends, Onely he hath an eye to gaze on Beautic, And dotes on what he looks, gainll law or duety. I 11. 477—497 m M£m:mmmmmim^^^mBj^m>i^^^m THERAPE OF LV.GRECE. I hauc debated cucn in my (bulc. What wrong>what iliamc^what fbrrow I flial brec J, Butnothingcan afFcdions courfe controuU, Or ftop the headlong furic of his fpeed, I know repentant teares infewc the deed, Reproch, difdaine5 and deadly enmity, Yet ftriuc I lo em brace mine infamy. This faid, hee (liakcs aloft his Romaine blade, Which like a Faulcon towring in the skies, Cowcheth the fowle below with his wings flia de^ V Vhofe crooked beakcthreats,ifhe mount he dies. So vnder his iiifultlng Fauchion lies • Harmeleflfc L v c r i t i a marking what he tels, With trembling feare:as fowl hear Faulcos bcls. LvcRECE, quothhe,thisnightImu(lenioythee, If thou deny, then force mtift workc my way : For In thy bed I purpofe to deftroie ihcc. That done, fome worthleffe flaue of thine ilc flay. To kill thine Honour with thy liues decaic. And in thy dead armes do f meanc to place him, Swearing 1 flue him feeing thee imbrac c him. E 11. 498— 5 t8 »^!ii«*^aitiii:'i vi<'.:~i.'-..v:V:.'-\ i.'.^;i viV:,,.. , j.i;:;>^^.j!::^i;i^ For kings like Gods fliould goucrnc cuery thing. 11. 582 — 602 THE RAPE OF LVCRECE. How will thy (hamc be fecdcd in tlanc age V yh^n diMS thy vices bud before thy fpring > If in thy hope thou darft do fuch outrage. What dar'ft thou not when once thou art a King ? O bcremfmbrcdj np'outragious thing ' From vaffaJl actors can be wipt away, ^ Then Kings miidccde^ cannot be hidin clay. This dcedp will mak<5;^epnly lou'd for fcarc, But h^ppit Monarchs liiji ar-c fcard for loue; V V ith fo wlc oiFcndops thpup^rforcc iti uft bcarc. When they jo thee thd like pffcncc5 prouc^ IfbutforfeareofthiSjthywiUrcmoue. ^ , ^For Princes arc theglafle^thclchoolcjthebookc, ^ Where fubieds eics do Icarn^do rcad^do lookc. And wil; thou be the fcboole where l^f^ fliall learnc? Mufthe in .thee readJedurcs of (iich fliame c» Wilt thou be glaflewhcrein-itlhalldifcerne Awhoritie for (inne, warrant for blame? Topriuilcdg^diftionormthynamjC. ^^ ,, ^ THou bickf^repf och ag4\n(l long-jiujng lawd, - > < Aiad mak'ft jfaircrepuutif^ b^ut a bawd.; > ^ Haft 11. 603 — 623 THE RAPE OF L V C R E C E. Haft thou commaund ? by him thatgaueit thee From a pure heart commaund thy rcbcll wHl j > Draw not thy (word to gard iniquitic, / For it was lent thee all that broode to kill* Thy Princelicofficc how-canft thou fulfill ? ^ V Vhen patternd by thy fault fowlc fin may fav^ Helearnd to fin, and thou didftteaeh the way, Thinke but how vile a fpcd:acle it were, To vi ew thy prefent trelpalfc in another : - '■ Mens faults do feldome to themfelues appearc, ^ Their own tranfgrcffions partiallie they fmother, Thibguik would Teem death- worrhie in thy brother. O how are they wrapt in with infamies. That fro their own mifdeeds askaunce their eyes? Tothce,toihcc,my heau'd vp hands appcale, NottofeducingluftthyralhrclisF: '. I fucfor cxil'd maieiiics repcale, Let him rcturne, and flatiring thoughts retire. His true rcfpe A will prifon falfc dellre. And wipe the dim mill from thy doting eicn, That thou flialt fee thy ftate, and pittie minc^ 11. 624 — 644 THE RAPE OF LVCRECE. Hauc done, quoth he, my vncoatrollcd tide ^ Turncs not, but fwels the higher by this let, ^ Small lightes arc foonc blown ouc, huge fires abide, ' And with the winde in greater furic fret: The petty ftreames that paie a dailie dec To their fait (bueraigne with their frcdi falshaft, Addc to his flowc^ but alter not his taft. Thou art, qut)th lliec, a fca, a foucraigncKing, And loe there fals into thy boundlcfle flood , Blacke Iufl-,dilhonor,iliame, mif-gouerning, Who feeke to ftaine the Ocean of thy blood. If all thefe pctcie ils (hall change thy good, Thy fea within a puddels wombc is hcrfcd, And not the puddle in thy fea difperfed. So (hall thefe flaues be King,artd thou their flaue, Thou noblie bafe , they bafclic dignified ; Thou their faire life, and they thy fowler grauc : Thoulothed in their ihamc, they in thy pride, ^ The leflcr thing fhould not the greater hide. > The Cedar ftoopes not to the bafe ihrubs foote, ^Butlow-fhrubs wither atthcCedarsroote. So 11. 645-665 THERAPE OFL V.C R E C E. So let thy thoughts low vaflfals to thy ftatc, No more quoth hc^by Heaucn I will not hcarc thee. Yceld to my louc, if not inforccd hate. In fteed of loucs coy tutch lliall rudelic tcarc thee. ^ That done, defpitefuUic I meanc to bcarc thee flH Vntothebafebedoffomerafcallgroomej To be thy partner in this ihamefull doome. This faid, he fets his foote vppon the light, }■ For light and luft are deadlic enemies. Shame folded vp in blind concealing night, magk When moftvnrcenc,thcnmoft doth tyrannize. ^^ The wolfe hath ceazd hi > pray, the poor lamb cries. Till widi her own white fleece her voice controld, Intombes her outcrie in her lips fweet fold. For with the nightliclinricn that (heewcares, He pens her piteous clamors in her head, CooHng his hot face in the chafteft teares, That euer modeft eyes with forrow ihcd. O that prone luft (hould ftainc fb pure a bed, The fpots whereof could weeping purifie, Her tears (hould drop on them perpetuallic. F II. 666—686 THE RAPE OF LVCRECE. >.Butflicc hath loft a dearer thing then life, And he hath wonnc what he would loofc againe, This forced 1 eaguc doth force a furth er ftrife, ^-This momcntarie ioy breeds months of paine, ' This hot defire coouerts to colde difdainej Pure chaftitie is rifled of her (lore, And liift the theefcfarre poorer ihen before. Looke as the full-fed Hound, or gorged Hawkc, Vnipt for tender fmell,orfpeedieflighr, Make (low purfuite, or altogether bank. The praic wherein by nature they delight; So furfet- taking Tarqjin fares this night: His taft delicious, in digeftion fowring, Deuoures his will that liu'd by fowlc deuouring. O deeper finne then bottomleflc conceit Can comprehend in ftill imagination 1 Drunken Defire muft vomite his receipt Ere he can fee his owne abhomination. » VVhile Lufi: is in his pride no exclamation » Can curbc his heat, or reine his ralh defire, '• Till like a ladc/elfcwill himfclfe doth tire. And 11. 687 — 707 THE RAPEOFLVCRECE. And then with lankc,and Icane difcoloufdchcckc, With hcauic cye^knit-browjand ftrengthleffc pace, Feeble defirc all recrcanr,poore and mcckc, Like to a banckrout beggcr wailes his cace : , The fle(h being proud, Defire doth fight with gracq > For there it reuels, and when that dccaies, ' Theguiltic rebell forremiflion praies. So fares it with this fault- full Lord of Rome, Who this accomplifliment fo hotly chafed. For now againft himfelfe he fdunds this doomc, That through the length of times he ftads di^raced: Befides his fbules faire temple is defaced, To whofe weakc mines mufter troopes of cares. To aske the fpotted Princcflfe how (he fares. Shee faycs her fubieifb Avithfowle infurrcdion, Haue batterd downe her confecratcd wall, And by their mortall fault brought in fubiedion Her immortalitie, and made her thrall, Tpliuing death and payne pcrpetualL Which in her prcfcienccfhce controlled flill, B ut her forefight could not for eftall their will, F 2 11. 708—728 '%4 THE RAPE OF LVCRECE. Eu'nin this thought through the dark-night he ftca- A captiuc victor that hath loft in gainc, (leth, Bearing away the wound that nothing hcalctlf, The fcarre that will difpight of Cure rcmainc, Lcauinghisfpoilepcrplcxt in greater paine, > Shecbearesthe lode ofluft he left bchinde, ^ And he the burthen of a guikie minde. Hce like a theeuifli dog creeps fadly thence, Shee like a wearied Lambe lies panting there, He fcowles and hates himfelfe for his offence, Shee defperat wich her nailes her flcfh doth tearc. He faintly flies fweating with ^uiltie feare; Shee ftaicsexclayming on ihcdirefull night, Herunnesandchideshisvaniilit loth'ddelight. He thence departs a heauy conuertite, Shee there remaincsa hopelefle calKaway, He in his fpeed lookesfor the morning light : Shee pray es (hee neucr may behold ihe day. 'For daie, quoth IheCjnights fcapes doth open lay, -» And my true eyes haue neuer pradiz'd how ^ To cloake oflcnccs with a cunning brow. They 11. 729—749 THE RAPE OFLVCRECE. They thinke not but that cucric eye can fee. The fame difgracc which they thcmfclues behold : And therefore would they ftill in darkenefTe be, To haue their vnfccnc finnc remaine vntold. For they their guilt with weeping will vnfold, And graue like water that doth catc in fteelc, Vppon my cheeks, what helpclcffcfliamelfeclc, H ere fhee exclaimes againft repofc and reft, And bids her eyes hereafter ftill be blindc, Shee wakes her heart by beating on her breft, And bids it leape from thence, where it maicfirvdc Some purer cheft, to clofc fo pure a mindc. Frantickc with griefc thus breaths ihccforthhcr Againft the vnfecne fecrecie of night. (fpitc, O comfort killing night, image of Hell, Dim regiftcr, and notarie of (hame, Blacke ftagc for tragedies, and murthers fell, Vaft fin-concealing Chaos, nourfe of blame. Blinde muffled bawd^darkc harber for defame. Grim caue of death, whifpring confpirator. With clofe-tong'd treafon & the rauiilier* F 3 11- 750—770 THE RAPE OFLVCRECE. O hatcfuUjVaporous, and foggy nighr, Since thou art guilty of my cureleflc crime : Muftcr thy mifts to meete the Eafternc light, Make war againfl proportion*d courfe of time. Or if thou wilt permit the Sunne to cliriic His wonted height, yet ere he go to bed. Knit poy(bnou5 clouds about his golden head. With rotten damps rauiih the morning aire, Let their exhald vnholdfbme breaths make fickc The life of pufitie, the fupreme faire. Ere he arriue his wearie noone-tide prick e, And let thy muftie vapours march fb thick e, That in their fmoakie rankes,his fmothred light May fet at noone,and make perpetuall night. Were T a r qy i k nigh^ as he is but nights child. The filuer fhining Queene he would diftaine; Her twinckling handmaids to(by him defij'd) Through nights black bofom ihuld not peep again. So fhould 1 haue copartners in my paine, > Andfellowfliip in woe doth woe affwagc, ' As Palmers chat makes (hort their pilgrimage. Where 11. 771—791 THE RAPE OFLVCRECE Where now 1 hauc no one to blufli with mc, To croffe their armes & hang their heads with tninc^ To maske their browes and hide their infamic. But I alone, alone muft fit and pine, Seafoning the earth with fhowrcs of filuer brine; ' Mingling my talk with tcarsjinygrcef with grones, • Poore wafting monuments of lafting mones, O night thou furnace of fowle reeking fmokc! Lctnotthcicalous daic behold that face, V V^ hich vndemeath thy blacke all hiding clokc Imniodcftjy Iksmartira withdifgracc. Keepc ftill poflcfTion of thy gloomy place, That all the faults which in thy raignc are made, May likcwifc bcftgulchcrdinthy (hade. Make mc not obied to the tell-talcday, The light willfhcw charadterd in my brow, The florid of fwcetc chaftitics decay, Theimpiou^ breach of holy wedlocks vowc. Yea the illiterate that know not how To cipher what is writ in learned bookes, V Vifl cotcmy lothfomc trcfpaflcin my Ipokcs*- 11. 792 — 812 THE RAPE OFLVCRECE. The nourfe to ftillhcr child will tell my (lorie, And fright her crying babe with T a r qj i n s name. The Orator to dcckehis oratorie, V Vill couple my reproch to T a r qv i n s (hamc. Fcaft-findingminftrels tuning my defame, Will tie the hearers to attend ech line, How Tarqjin wrongedme,I Colatine. Let my good name^that fcncelefTc reputation, For CoLAiiNES deare loue be kept vnfpottcd : Ifthat be made a theame for difpucation, The branches of another roote arc rotted; And vndeleru'd reproch to him alotted, That is as clearcfrom this attaint of mine, As I ere this was pure to Colatine. O vnfccnc (hamc, inuifiblc di/gracc, O vnfelt fore, creft-wounding priuat fcarre ! Reproch is ftampt in Colatinvs face, And Tarq^vins cyemaiereadthemocafarrc, ^^ How he in peace is wounded not in warre. «^. Alas how nianie beare fuch ihamefull blowcs, .Which not ihcfclucs but he that giues the kno wes. If 11. 813—833 THE RAPE OF LVCRECE. irC o L A T I N E, thine honor laic in mc, From me by ftrong affault it is bereft: My Honnie loft, and I a Drone-like Bee, Haueno perfection ofmyfommer left, Btitrob'd and ranfak'tby iniuriousthefr. ^ In thy weake Hiue a wandring wafpe hath crept, ' And fuck'c the Honnie which thy chaft Bee kept. Yet am I guiltie of thy Honors wracke, Yet for thy Honor did I entertaine him, Comming from thee I could not put him backe: For k had beene dilhonor to difdainc him, Befidcs of wearinefle he did coraplaine him, And talk't of Vcrtuc (O vnlook't for euill,) When Vertue is prophan'd in fuch a Deuill. Why fliould the worme intrude the maiden bud ? Or hatefull Kuckcowes hatch in Sparrows nefts > Or Todcs infcdtfaire founts with venome mud ? Or tyrant follie lurke in gende brefts ? OrKings be breakers of their owne beheftcs* " But no perfection is fo abfblute. That fome impuritic doth not pollute. G 11. 834-854 HE RAPE OF LVCRECL r Tlic a^cd man that coffers vp his gold, Is plagu'd with cramps, and goutSjand painefull fits, And fcarcc bath eyes his treaiui e to behold^ But Hke dill pining TANXAtvshc fits, And vfeleffe barnes the harucft of his wits: Hauing no other plcafure of his gainc, But torment that it cannot cure his pa inc. So then he hath it when he cannot vfe ir. And Icaucs it to be maiftrcd by his yong : Who in their pridcrdo prcfently abiK^e it, T heir father was too wcakc, and they too ftrong To hold their curfcd-bleffed Fortune long. *^ The Tweets we wifhfor, turne to lothed fbwrs, ^^ Euen in the moment that we call them ours. Vnruly blafts wait on the tender (pring, Vnholfome weeds take roote with precious fiowr% The Adder biffes where the fweetc birds fiHg^ ^ V Vhat Vertue brcedes Iniquity deuours: ^. V Ve baue no good that we can (ay is ours, ' But ill annexed opportunity » Qrkils his lifcjOrclfe his quality. O WSiS^i^0^ 11. 855-875 TtiERAPE or LVCRECL O opportunity thy giiik is great, Tis thoiuhat execut'il the rray tors treafon: Thou fcts the wolfc \\4ierc he the lambc may get, V Vho eucr plots the finnc thou poind: the lealon. Tis thou that (purn'll: at rights at law, at reafon, __ And ill thy ihadie Cell where none may fpie him, Sits fin to ceaze the ibules that wander by him. Thou makeft the veftall violate her oath, •Thou bloweft the fire when temperance is thawd, Thou imotherfthoncfiie, thou murthreft troth, Thoufowie abbcttor,thou notorious bawd, Thou plantcft fcandall, and difplaceft lawd. Thou rauillier, thou traytor, thou falfe thccfc, . Thy honie turnes to gall,thy ioy to greefe. Thy fctrct pleafurc turnes to open (hame, Thy priuatc feafting to a publicke faft, Thy finoothing tides to a ragged name, •Thy fugrcd tongue to bitter wormwood taft, Thy violent vanities can neuer laft. ^ How comes it then, vile opportunity Being fo bad^fuch numbers feeke for thee? G z II. 876-896 THE RAPE OF LVCRECE. V Vhcn wilt thou be the humble fuppliants fricn i And bring him where his fuit may be obtained? V Vhcn wilt thou (on an howre great fb ifcs to end? Or free that (bu!c which wretchednei hath chained ? Giue phifickc to the fickc, eafc to the pained? The poore,lame,blind,hault,creepc5cry out for But they ncre meet with oporcunitic. (thee. The patient dies while the Phifuian deepen, The Orphane pines while the oppreifor fcedes. luftice is feafting while the widow wcepes, Aduife is (porting while infedion breeds. Thou graunt'ft no time for charitable deeds. Wrath, enuy, treafbn, rape, and murthers rages. Thy heinous houres wait on them as their Pages* When Tructh and Venue hauc to do with thee, A thoufand croffes keepe them from thy aide: They buie thy hclpe,but finnc ncre giucs a fee, He gratis comes, and thou art well apaide. As well to heare, as graunt what he hath faidc. MyCoLATiNE would elfe haue come to me, VVhenTARQviNdid,buthcwasftaiedbythcc. Guilty 11. 897—917 THE RAPE OF LVCRECE. Guilty thou artof nnirthcrjand ofthcft, Guilty of pcriuriejand fiibornation, Guilty oftrcafon,ibrgeriCjand (hift, Guilty of iuceft that abhomination, An acceflaric by thine inclination. To all llnnes paft and all that are to come, From the creation to the gcnerall doome. Mifihapcn time, copefmate of vgly night, Swift fubtle poft, carrier of grieflie care, Eater of youth, falfe flaue to fahe delight : Bafe watch of woes, fins packhorfejvcrtucs fnarc. Thou nourfeft all, and munhreft all that arc. O heare me then, iniuriouslhifting time. Be guilticofmy death fmce of my crime. Why hath thy feruant opportunity Betraide the howres thou gau'ft me torepofc? Canceld my fortunes, and inchainedmc Tk> endlefTc date ofneuer-cnding woes? Times office is to fine the hate offocs. To cate vp crrours by opinion bred, Notfpcndthedowric ofalawfuUbedo G 3 II. 918—938 THE RAPE. OF LyCRECE. Times gloric is to c^lmc contending Kings, To vnmaske falijiood, and bring truth to light, To ftampe the fealc of time in aged things. To wake the mornCjan.! Ccntinell the night, To wrong the wronger till he render right, To ruinate proud buildings with thy howres, And fmeare with duft thcirglitring golden towrs. To fill with worme-holes (lately monuments, To feede obliuion with decay ofthings, Toblot old bookcs, and alter tlieir contents. To pluckc the quils from auncientrauens wings. To drie the old oakes (appe, and cheriihiprings : To fpoile Antiquities of hammcrd fteele, And turne the giddy round of Fortunes wheele. To (hew the beldame daughters of her daughter, To make the child a man, the man a childe, To flay the tygre that doth Hue by flaughter, To tame the Vnicornc, and Lion w ild, To mockc the fubtle in themfelues beguild. To chearc thcPl^wman with increafefull crops^ -'And waft huge fton^s withJittle water drops. Why 11. 939—959 THE RAPB OF LVCRECE. Why work'ft thou mifchJefc in thy Pilgrimage, VnlcfTc thou could'ft i cturnc to make amcndsr? One poofe retytiiig minute in an age V Vould purchafc ihce a thoufand thoufand friends, Lcndinp him wit that to bad dcttecs lends, (bacfce, this dread night-jwoulci'ft thou one howr CGfme 1 could prcuenvthis'ft<)rme,aodi]iimthy wracke. Thou ccafelefle laekie to Eternitic, VVith(omcmifchance(5r4)ire Tarqv'in inhisflighfi Deuife cxtretfmciibcy^MutcxtFCiTiitic, • To make him curfethis dltfetl crimcfulPnighc Let gaftlylhadaweshisieNxd eyes affright, .: And the dire thought of his committed euill, Shapcctjery buih a hideous fhapclcflc deuilL Difturbc his h<5wrcsofrcft withrcftlcffc trances, Aftlid hiirt IhhiS bed with bedrcdg^ones, Let there bcchamicclam.piti{ull raikhances. To make him mone, but pine not his moncs: Stpnc him with hardncd hearts harder then ftones,J And hcmihle women to him loofc their miidncflej, Y ViJdcr tohim then Tygers in their wildnfefl^. II. 960 — 980 -Ms THE RAPE OF L V C R E C E. Let him hauc time to tcare his curled haire. Let him hauc time agaiuft himfelfc to raue. Let him haue time oftimes helpc to difpairej Let him liaUe time to Hue a lothcd flauc, Let him haue time a beggers orts to crauc, '. And time to fee one that by almcs doth Hue, . Difdainc to him difdainca fcraps to giuc. Let him hauc time to (cc his friends his foes, Andmerriefoolestomockcathimrefort: Let him haue time to marke how flow time goes In time of forrow, and how iwift and iliort His time of follie,and his time of /port. And euer let his vnrecaUing crime Haue time to wailc th'abufing of his time . O time thou tutor both to good and bad. Teach me to curfe him that thou taught*ft this ill : At his owne fhado w let the thcefe runne mad, Himfclfe,himfelfc(eckeeuerie howre to kill, Such wretched hadsfuch wretched blood (huld fpilL ■ For who fo bafc would fiich an office haue, As iclandrous deaths-man to fo bafe a flaue. The 11. 981 — lOOI THE RAPE OF LVCRECE. The bafcr is he comrning from aKing, To ih^mc his hope with deedes degenerate, ' The mightier man the mightier is ihc thing 'That makes him honord, or begets him hate : For grcaieft fcandall waits on greareft flate. ' The Moone being clouded^ prefently is mid, •' ButHttle liars may hide them when they Hfl:. The Crow may bath hiscoaleblackc winces in mire, And vnperceau'd flie wii h the filth away, But ii the Hkc the fiiow-whitc Swan defire, The ftaine vppon his filuer Downc will ftay, • Poore grooms are fightlcs night,kings glorious day, . ' Gnats arc vnnotcd whcrcioere they flic, 'But Eagles gaz'd vppon wi:h cucrie eye. Out idle wordes, fcruants to fhallow fooles, Vnprofitable founds,wcake arbitrators, Bufie your fclues in skill contending fchoolcs, Debate where ley ure ferucs with dull dcbators: To trembling Clients be you mediators. For me, I force not argument a ftraw, Since that my cafe is pail the helpe of law. H 11. I002 — 1022 THE RA'PE OF LVCREGE. Invainclrailc atoportunitic, At time, at T a ii qj i n, and vnchcdrfull night, In vaine I cauill with mine infamie, In vaine I fpurne at my confirm'd dc/pight, Thishelpclcffefmoakeofwords doth mc no right: The rcmcdie indccde to do mcgood, Is^to let fonh my fowlc defiled blood. Poore hand why quiucrfl: thou at this decree ? Honor thy felfe to rid me of this ihamc, For if I die, my Honor liues in thee. But if I liuc thou liu*ft in my dcfamej Since thou couldfl: not defend thy loyall Dame, And wad: afFeard to fcratch lier wicked Fo, Kill both thy felfc, and her for yeeldingfo. This faid, fi-om her bctombled couch ihcc ftartcth. To finde fbmc defp'rat Inftrumcnt of death, But this no (laughter houfe no toole impartcth, To make more vent for paffage of her breath, Which thronging through her lips (bvanilhcth, Asfmoakefrom ^tna, that in aire confumcs, Or that which from diichargcd Cannon fumes. In 11. 1023 — 1043 THE RAPE OFLVCRECE. In vainc (quoih llicc) I Hue, and fcckc in vainc Somchappicmcanetocndahaplcflclifc. Ifear'd by Tar covins Fauchiontobcflainc, Yet for the fclfe fame purpofe fceke a knifcj But when I fcar'd I was a loyall wife, So am I now, 6 no that cannot be, Of that true tipe hath T a r qj i n rifled me. that is gone for which I (ought to Hue, And therefore now I need not feare to die. To clearc this fpot by death (at leaft) I giuc A badge of Fame to fclandcrs liucrie, Adying]ife,toliuinginfamic: Poorc hclpleffc heipe, the trcafure ftolne away, To burnc the guiltleffe casket w here it lay. Well well dearc C o l a t i n e, thou fhalt not know The (laincd taft of violated troth : 1 will not wrong thy true affedion (b, To flatter thee with an infringed oath: This baftardgraffe (hall ncuercome to growth, He fliall not boaft who did thy ftocke pollute, T-hat thou ait doting father of his fruitc, H 2 11. 1044 — 1064 THE RAPE OF LVCRECE. ^ Nor (hall he ftnile at thee in fccret thoughr, Nor laugh wiih his con^panions at thy Rate, But thou (halt know thy intreft was not bought Bafely with gold, Lut ftolne from foorth thy gate. For me I am the miftreffe of my fate, And with my trefpaffeneuerwilldifpence, •T ill Hfe to death acquit my forft offence. I will not poy fon thee with my attaint, Nor fold my fault in cleanly coin'd excufcs, g My fable ground of finnc I will not paint, J To hide the truth of this falfe nights abufes. My tonguediall vtter all^mine eyes likefluccs. As from a mountaine fpringthat feeds a dale, Shal gu(h pure ftrearas to purge my impure tale. By this larhentingPhilomele had ended Th6 well- tun'd warble of her nightly fbrrow, And folemnc night with flow fad gate defcendcd To ouglic rtell, when loe the blulhing morrow Lends lightto all fair e eyes that light will borrow. Butcloudie LvcRECE(h^mesher(clfetofee, And therefore fiill in night would cloiftred be. Rcuealing 11. 1065 — 1085 JHE RAPE OFLVCRECE Reucaling (fay through cuerycrannicfpies. And Teems to point her out where Ihe (us weeping. To whom lliec fobbing fpeakes, 6 eye of eyeSj(ping, Why pry1i thou throgh my window:* leaue thy pee- Mock with thy tickling beamsjeies ihat arc flccpingj Brand not rriy forehead with thy percing light, For day hath nought to do what's done by night. Thus cauils fliec with eucrie thing flicc fcc5, True eriefe is fond and tcftic as a childc. Who wayward oncejhis mood with naught a^^recs, Old woes, not infant forrowes bearc them mildc^ Continuance tames the one, the oiherwildc, Like an vnpradiz'd fwimmer plunging ftill, With too much labour drov/ns for want of skill; So flicc dcepc drenched in a Sea of care, Holds difputation with ech thingfliec vcwcs, And to her felfe all forrow doth compare, No obicd but herpaffions rtrength rencwcs : And as one fliiftes another ftraightinfewes, Somtimchcrgriefcisdumbcandhathnovvordj, Sometime lis mad and too much talke affords. Hi 11. 1086 — 1 106 THE RAPE OF L V C R E C E. The little birds that tunc their mornings k)y, Make her moncs mad, with their <\\'cct melodic, *' For mirth doth fearch the bottome ofannoy* "Sad follies are (laine in merrie companie, "'Griefc beft is plcafd withgricfcsfocietic; *'• True forrow then is feeliiiglie fuffiz'd, " V Vhen with like fcmblance it is fimpathiz'd. " Tis double death to drowne in ken of Ihorc, " He ten times pines,that pines beholding food, '^ To fee the faluc doth make the wound ake more : *^ Great griefc grecucs moft at that wold do it goodj; " Dcepe woes roll forward like a gentle flood, Who being fcopt,die bouding banks oreflowcs, • . Griefe dallied with, nor law, nor limit knowcs. You mocking Birds(quoth (hc)your tunes intombc V Vithin your hollow (welling feathered breads^ And in my hearing be you mute and dumbc. My rcdlefle difcord loucs no flops norrefts : " A woefull Hoftcflc brookes nor mcrric gucfls. Ralilh your nimble notes to pleafing cares, ^ Diftrcs likes dups whe time is kept with tearcs. Come 11. 1 107 — 1 127 i^iwiMifiiiiiiiTiiiift'ii^^ -t THE RAPE OF LVCRECE. Come Philomclc ihat ilng'fl: of rauilhmenr, Make thy f;id grouc in my diflicucld hearc, hs the daiike earth v/ccpcs at thy languill^.mcnt: So I at each fad ftraine, wil! draine a tearc, AndwithdeepcgroncsrheDiapafonbearc: For burthen-wife ilc hum on T a r qj i n ftil!, While thou on Terevs defcants better skill And whiles agalnft a thorne thou bear'ft thy part, Tokeepc thy fliarpe woes wakingj wretched I To imitate thee well, againft my heart Will fixe a fliarpe knife to affright mine eye, Who ifit winke fliall thereon fall and die. Thcfemeanesasfretsvponaninflrument, Shal tune our hcart-Ilrings to true languilhmcnt. And for poore bird thou fing'ft not in the day, As fliaming anie eye fliould thee behold : Some darke deepe defertfeatedfrom the way. That knowes not parching heat, nor freezing cold Will wee find out : and there we will vnfold To creatures ftern,(ad tunes to change their kinds, ' Since meprouebeafts^letbeafts bear getic minds. II. 1128 - 1148 iilKMilMilMiiMI THE RAPE OF LVCIIECE. As the poore frighted Deare that (bnds at gaze, VVildlydcterminingvhichway toflie, Or one incompaft with a winding maze. That cannot tread the way out rcadiiic: So with hericlfe is ihee in mutinie, To Hue or die which of the tvvainc were better, When hfe is fiiam'd and death rcproches dctter. To kill my fclfe,quoth fliee, alacke v/hat were it. But with my body my poore foules pollufion? They that loofe halfe with greater patience bcare it, Then they whofe whole isfwallowed in confufion. That mother tries a mcrcilefTc conclufion, } Who hauing two fweet babesjwhcn death takes '. Will flay the other, and be nurfe to none. ';(onc, My bodic or my foule which was the dearer? V Vhcn the one pure, the odier made dcuinc, Whofcloueofeytherto my lelfc was nearer? When both were kept for Heauen and Colaiine: Ay me, the Barke pild from i he loftie Pine, > Hislcaues will wither, and his Tap decay, So muft my foule her baikc bcinp pild away. Her II. 1 149 — 1 1 69 THE RAPE OF LVCRECE. Her hoiife is fackt, her quiet interrupted, Her manfion batlcrd by the cnemic, Her facrcd temple fpottcdj fpoild, corrupted, Groflic ingirt with daring infamie. Then let it not be cald impiciic, If in this blemillit fort I make fbmc hole, Through which I may conuay thii> troubled foulc, Yet die I will not, till my C o l a 1 1 n e Hauc heard the caufe of my vntimelie death, That he may vow in diat fad houre of mine, Reuenge on him that made me flop my breath, My ftaincd bloud to T a r qy i n ilc bequeath, Which for him taintedjiliall for him befpent. And as his due writ in my teftament. My Honorile bequeath vnto the knife That wounds my bodie fo difhonorcd, Tis Honor to depriue diihonord life, The one will liuc, the other being dead. So offliames aflhes fhall my Fame be bred, ' Forinmydearhlmurrhcrlhamefull fcornc, My (liamc fo dead,mlnc honor is new borne, I 11. 1170 — 1190 THE RAPE OF LVCRECE. Dearc Lord of that dearc iewcll I haue loft. What legacie (hall 1 bequeath to thee :* My rcfolution louc lliall be thy boft, By whofc example thou rcucng'd mayft be. How T A R Qv I N muft be vrd,read it in me, My felfe ihy friend will kill my felfe thy fo, And for my fake ferue thou falfe T a r ct.v i n fo. This briefe abridgement of my will I make. My foulc and bodie to the skies and ground: My refolution Husband doc thou take, Mine Honor be ihe knifes that makes my wound, My llumc be his that did my Fame confound^ Ahdallmy Famcthatliuesdisburfedbc, To thofe that Hue and thinke no Ihame ofmc. Thou CoLATiNEflialcoucrfecthiswill, Ho vv was { ouerfeene that thou flialt fee it ? My bloud Ihall wafli thefclanderofminc ill, My Hues foule deed my lifes fairc end (liall free it. Faint not faint heart, but ftoutlie fay fo be it, Yecid to my hand, my hand ihall conquer thcc, Thou dcad,both die, and both (hall vigors be. Thi5 11 1191 — 1211 THE RAPE OF LVCRECE. This pJot of death when (adiicflicch^dlcvd, And wip'cihc briniih pcailc from her bfilht eie^ \' Viih vntun'd tongue fhec hoai flic cals licr mayd, VVhofcfwift obedience to her millreflc hies, ^^ For fleet-wing'dduetic with ihoghts fcaiheiiflicF, PooreLv c kece checks vnto her maid feem (o, As winter meads v\ hen inn doth mek dicinnow. HermidrefTeinee doth giue demure good morrow, With foft flow-tongue, true marke ofmodcftiv, A nd ibrts a fad lookc to her Ladies (orrcvw, (For why her face wore forrov/cshuerie.) But durll not aske oi her audacioufiie, Why her two funs were clovv d ecclipled fo, Nor why her faire cheeks ouer-waiht with woe. But as the earth doih wccpc the Sun being fct, Each flowrc moiftned hke a melting eye ; Eucn fo the maid withfweHing drops gan wet Her circled cien inforft, by fimpathie Of thofc faire Suns (et in her miftreflc skic, Who inafaltwau'dOcean quench their light, Which makes the maid weep like the dewy night. I 2 II. I2I2 — 1232 THE RAPE OFLVCRECE. A prcttie while thcfcprettic creatures ftand, . Like luorie conduits corall ceftcnis filling : One iurtlie vvecpes, the other takes in hand No caufe, but cbmpanie of her drops fpilling. Their gentle fex to weepe are often willing^ Greeuing themfelues to geffe at others fmarts, And the they di own their eies^or break their harts. For men haue marble, women waxen mindes, And therefore are they form'd as marble will, The weake oppreft^th'impreflion offtrangekindcs Is form*d in them by force, by fraud, orskill. Then call them not the Authors of their ill, No more then waxe fliall be accounted cuill, VVherein is (lamptthe femblancc of a Dcuill. Their feioothncflc^like agoodly champainc plaine, Laies open all the little wormes that crcepe, In men as in a rough growne grouc remainc, Cauc keeping euils that obfcurely (lecpc. Through chrifl-all wals cch little mote will pcepe, ^ Though me cacouer crimes with bddflernlooksj v-Poore womcns faces are their owne faults books. No 11. 1233— 1253 '.AiiiiiHlMiiili T H E R A P E OF LVCRECE. No man inueigh againfl: the withered flowrc, But chicle rough w iir cr that the flowre hath kild^ Not that dcuour u, but diat which doth dcuour Is worthic blame, 6 let it not be hild Poore w omens faults, that they arc fo fulfild With mcnsabufes, tho(e proud Lords to blame, Make weak made wome tenants to their (hame. The prefident whereof in Lvcrece view, Afiail'd by night with circumftanccsftrong Of prefent deaths and (hame that might inluc. By that her death to do her husband wrong. Such danger to rcfiftancc did belong : That dying feare through all her bodie ^red, And who cannot abufe a bodie dead ? By this milde patience bidfaire Lvcrece /pcakc, To the poore counterfaite ofhcr complayning, My girle, quoth (hce, on what occafion breakc Thofc tears fro theCjthat downc thy cheeks arc raig- If thou dofl: wcepe for griefe of my fuftaining: (ning? Knowi^endc wench it fmall auailcsmvmood, , JUcars could help.minc own would dome good. 11. 1254— 1274 THE RAPE" OF LVCRECE. But tell mc giric, when went (and rhere Hice ftaidc, Till after a dcepc gronc) T a a qj i n from hence, Madame ere I was vp (repli'd the maide,) The more to blarne my iluggard negligence. Yet with the fault I thus farre can dilpcnc c ; My lelfe \\ as ftirring crc the brcake of day. And ere I rofc was T a r qjv i n gone away. But Lady, if your maide may be fo bold, Shee would requeft to know your hcauineflc : (O peace quoth L v c r e c E)if it ihould be told, The repetition cannot make it leflc : For more it is, then I can well exprefle, • And that deepe torture may be cal'd a Hell, '■ When more is felt then one hath power to telL Go get mce hither paper, inkc, and pen, Yetfaticthatlabour,forlhauethcmhcarc, (What Ihould I fay) one ofmy husbands men Bid thou be readie, by and by, to bcarc Aletter to my Lord, my Loue, my Deare, Bid him with (pecdc prepare to carrie it, The caufc craucs haft, and it will foonc be writ. Her 11. 1275— 1295 THE RAPE OF LVCRECE. Her nuide is gone, and llice prepares to write, Firfthoucring ore the paper with her quill: . . Conceiptandgricfcancagercombatfightj V V hat wit fets downc is blotted ftraight with will. This is too curious good, this blunt and ill. Much like a prcflc of people at a dore, ^1 hrong her inuentionj which fliall go before. At laft (bee thus begins : thou worthie Lord, Ofthatvnworthic wife that grcctcth thee, [ Health to thy perfon, next, touch (afct^aiFord (Ifcuctloucjthy LvcRECE thouwik/ce,). Some prefcntfpecd, to come and vifitcmc: '■ So 1 commend mcjfrom our houfe in gricfc^ > My woes arc tcdious,thoiigh my words are bricfc. Here folds fliecvp the tenure ofher v^c. Her ccrtaine forraw writvncertainely> By this (hortCcdulc Co LATIN Emayknow 1' Her gricfe, but no.t her griefcs true quality, Shee dares not thereof make difcouery^ Left hiJlhould hold it hcrown grbflcabufe^ Ere Ihe with bloud hadftain'd hferftain'd excviic. 1]. 1296 — I3I6 l^iUttPf^^^ih'SiCAM THERAPE OF LVCRECE. Bcfidcsthciife and feeling of her paflfion, Shce hoords to fpcnd, when he is by to hcare her, Vv^hcn fighs,Lk groncs,& tears may grace the faQii 3 Of her difgrace, the better fo to cicarc her From that fufpicio which the world mjght bear her. To ihuii this blotj ftiee would not blot the letter V Vith words5tilladion might becom the better. »To fee fad fights^moues more then hcare ihem told, For then the eye interpretes to the earc T he hcauic motion thatit doth behold, . , V V hen cueric parr, a part of woe doth beare. Tis but a part of forrow that wc heare, ^ Deep founds make leflcrnoifcthelballowfoords. And forrow ebs,being blown with wind of words. Her letter now is feal'd, and on it writ At A R D E A to my Lord with more then hafl-. The Pod attends, and tlicedeliuersir. Charging the fowr-fac'd groome, to high as faft: As lagging fowles before the Northcrne blafts, Speed more then fpccd,but dul & flow flic deems, Extremity ftill vrgeth fuch extremes. The 11. 1317— 1337 •*s^*tiwe' HE RAPE OF LVCRE C E. The homclic villainc curfics to her low, And blufliing on her with a ftedfaft eye, Rcccaues the fcroU without or yea or no, . And forth with bafhfuU innocence doth hie. But they whofe guilt within their bofomcs lie, Imagine cueric eye beholds their blame, For LvcRECE thought, he bluiht to fee her (hame. When fcclie Groome (God wot) it was defccl OffpiritCjlife, and bold audacitie, Such harmleflc creatures haue a true vefpcd: To talke in deeds, Vvhilc dthers faucilic Promife more fpeed, but db it leyfurelie. Eucn fo this patterne of the worne-out age, Pawn'd honeft Iooks,but laid no words to gagc» His kindled duetie kindled her miftruft, That two red fires in both their faces blaxcd, Shee thought he bluflij:, as knowing Tarqvins luft, And blufliing with him,wiRlie on himgazed. Her earned eye did make him more amazed. The mxDrc.flice faw the bloud his checks rcplenifh, The more (bethought he fpicd in her fom olcmifh. K 11. 1338— 1358 TE^E RAPE OF LVCRECE. B ut long ihcc thinkcs till he rcturne againc. And yet the dutious vaflall fcarcc is gone, The wearjc time (hec cannot entcrtaiae, For now tis ftalc to figh, to wecpc, and gronc, So woe hath wearied woe^monc tired monc, That ftice her plaints a little while doth ftay, Pawfingformcans to mourne Come newer way. At laft ihee cals to mind where hangs a pecce Of skilfull painting, mide for P r i a m s Troy, Before the which is drawn the power of Greece, For HBLENS,rapc,thcCimetodeftroy, Threatning doud-kifling I l l i o n with annoy, Which the conceiptcd Painter drew fo prowd, , AsHcauen(itfccmd)tokifre the turrets bow'd. A thoufand lamentable obieds there, ' - In fcotne of Nature, Art gaue liueleflc life, Maay.a dry drop feem'd a weeping teare, Shed for the flaughtred husband by the wife. The red btoud reek'd to ihew the Painters ftrifc, ^ And dying eyes gleenVd fonh their afhic lights, , : like dying coalcs burnt out in tedious nights. There 11. 1359— 1379 THE RAPE OFLVCRECE. There might you fee the labouringPyoncr Bcgr invd with 1 wcat, and iinearcd all with duft, And from the towres of Troy, there would appcare The veric eyes of men through loophblcsthruft, Gazing vppon the Grcckcs with htde luft, Such fweer ob^eruancc in this workc was had, That one might fee thofc farrc of eyes iookc fid. In great commaunders, Grace, and Maieftiej -N You might behold triumphing in their faccs^ In youeh quick-bearing and dcxteritie, And here a nd there the Fainter interlaces Pale cowards marching on with tremWing paces. •' Which hartlclTcpcalaunts did fowelrefemblc, That one would (wear he faw them quake 6<: treble. In At AX and VLrssEs,6whatArt ' Of Phifiognomy might one behold ! The face of eythcr cy pher'd cythcrs heart, Their face, their manners moftexprcflie told, ', In A I A X eyes blunt rage and rigour rold. But the mild glance that flic? V J- y s s e s lent, Shewed decp.c regard and ihiiling gpuernmcBt, K 2 II. 1380 — 1400 ..i1E.'"t^3Xi.!-.- THE RAPE OF LVCRECE. There pleading might you fee grauc Nestor (land, As'tvvcrcincouragingthcGreckcstofighr, Making fuch fobcr adion with his hand, That it bcguild attention, charnvd the fight, In fpecch it feemd his beard, all filuer white, V Vag*d vp an J downe, and from his lips did flie, Thin winding breath which purl'd vp to the skie. About him were a prefTe ofgaping faces, Which feem'dto fwallow vp his found aduicc, All ioyntlie liftning, but with feucrall graces, As if fome Marmaide did their eares intice. Some high, fbme low, the Painter was fo nice. The fcalpes of mani^almofl: hid behind. To iump vp higher feem'd to mockc the mind. Here one mans hand leand on anothers head, His nofe being (hadovvcd by his neighbours care, Here one being throng*d,bears back all boln,&red. Another rmothcrd,(cemes to pelt and fwcare. And in their rage fuch fignes of rage they bcare, Asbutforlofleof Nestor s golden words, Ix feem'd they would debate with angrie fwords. For 11. 1401 — 1421 THERAPEOFLVCRECE.. For much imaginaric workc was there, Conccipt deceitfully io compact lo kinde, That for A c H I L L E s image ftood his (pc^rc Grip't in an Armed hand^himfelfe behind Was left Ynfecne, faue to the eye of mind, A hand, a foote, a face^a leg, a head Stood for the whole lo be imagined. And from the wats offtrong bcficged Troy, (fields When their brauehopCjboldH ect oRmarch'dto Stood manieXroian mothers Iharingioy, To fee theiryouthfullfons bright weapons wield, And to their hope they fuchoddeadionyccld, That through their light ioy feemed to appcare, (Like bright things ftaind) a kind of heauic fcarc. And from the ftrond of Dardan where they fought^ To S I M o I s reedie bankes the red bloud ran, V Vhofe waues to imitate the battaile fought V Vith fwelling ridges, and their rankes began To breake vppon the galled (liore, and than Retire againe, till meeting grcaterranckes They ioine, & ilioot their fome at SiMoisbancks. 11. 1422 1442 THE RAPE OF X VCR EC E. To this well painted pcccc is Ly c r e cb come. To fitid a face where all diftrcffc 1$ ftcld, Manieihcc fees, where cares haue carued fomc,' But none where all diftreflc anddolor dwcld, Till flice difpayring H E c V E A b tjicld, Staringon'P-R I A>i5 wouaids withhcrold eyes, V Vhich bleeding vndcrPiRRHVsproud footlic5. In her the Painter had ahathomi^'d Times ruine, beauties wracke,ari*d grim cares raign. Her cheeks with chops and wrinclcs were difguiz'd^ Of what (liee was^noferiiblaacc did rcmaiac:. Her bl^wjJoudcJhahg'djtloblackciRC^edjtfVainc^i . VVatwing ^he fpring, thai; thofeftir'uukc pipes had Shew'dlifeimprilbn'dinabodiedead. (fed, OAthJ^fadfliaddw kyt?R:^ci«;fpcndsLJi*crcycs, Andlh^pcs(hpf)fen©WitotbfcBdld:imc$\\x>cs',; V Vho nothing wants to anfwcr h er but cries, '. And bitter words cp baiihi:r crucll Foes. The Painter was no^Godto lend her tbofcy And therefore Lycrbce fwcars ht; did her wrbhg. To glue her fo much griefe,and not a tong, Poorc 11. 1443— 1463 lE^im^^m^ii THE RAPE OFLVCRECE PoorcInnrumeiit(c|ucth{hcc)\vithcutafound, lie tunc I hy woes with my lamcniing tongue, Andclropfv/cctBalmein Priam s painted wound,. And railc on i^irrhvs that hath done him wrong; And v.'iih my tears cjucnch Troy that burns fo long; And with my knife fcratch out the angric eyes, Of all the Grcekcs that are thine enemies. Shew me the ftrumpct that began this ftur, That with my nailes her beautic I may tearc: Thy heat of luft fond P a r i s did incur This lode of wrath, that burning Troy doth bcarc^ Thy eye kindled the fire that burncth here, And here in Troy for trefpafTc of thine eye, -^ The Sirc,thcfonnc,the Dame and daughter die. Why lliould the priuatc plcafurc of fome one Become the publicke plague of manie moc ? Lctfinne alone committed, light alone Vppon his head that hath tranfgrefTed fo. Let guiltlcfTc foules be freed from guilty woe, > For ones offence why ihould fo many fall ? ' To plague a priuate finnc in generall. 11. 1464 — 1484 THE RAPE OFLVCRECE. Lo here weeps HicvBA,herc Priam dies, Here manly Hector faints^hercTROVLVs foundsj Here friend by friend in bloudic channel lies : And friend to friend glues vnaduifed wounds. And one mans luft ihcfe manie Hues confounds. > Had doting Priam chcckt his fons defirc, Troy had bin bright with Fame, &: not with fire. Here feelingly ihc weeps T r o y e s painted woes, For fbrrow, like a heauic hanging Bell, Once fct on ringing, with his own waight goes, Then little ftrength rings out the dolcfull knell. So L V c R E c E fet a worke, fad tales doth tell To penceld pcnfiucncs, & colour'd forrow, (row, She lends them words, S: (he their looks doth bor- Sbee throwesher eyes about the painting round, And who ftiee finds forlorne,(hce doth lament : At lail fhee fees a vrctchcd image bound. That piteous lookes, to Phrygian llicapheards lent. His face though full of cares, yet ihew'd content. Onward to Troy with the bluntf.vains he goes, So mild that patience fcem'd to fcorne his woes. In 11. 1485— 1505 THE RAPE OF LVCRECE. In him the Painter laboured with his skill To hide deceipt, and giue the harmlcflc (how An humble gatc,calmclooks,eycswayling ft ill, A brow vnbent that fcem'd to welcome wo, Cheeks neither red,nor pale, but mingled fo. That bluihing red, no guiltie inftancegaue, Nor ailiie pale,the feare that falfe hearts hauc. Butlikcaconftantandconfi!medDeuil!, He entertain'd a (how, fo fccming iuft, And therein fo enfconc't his iecrct euill^ That Icaloufie it felfe could not miftruft, Falfe creeping Craft, and Periurie fhould thruft Into fo bright a daic,ruch blackfac'd ftorms, Or blot with Hell-born fin fuch Saint-like forms. The well- skil'd workman this milde Image drew For periufd S i n o n, whofc inchaunting ftoric The credulous old P R I A M after flew. Whofc words like wild fire burnt the ihining gloric Of rich-built I l l i o n, that the skies were for ie, And little ftars (hot fi-om their fixed places, V Vhe their glasfeljwherin they viewdthcirfaces. L 11. 1506 — 1526 •j^^y^? ^,-. - j^^ .mir:s' ;i ;! msmm THE RAPE OF LVCRECE. This pidlurc (liec aduifcdly pcrufd, Andchid the Paintcrfor his wondrous skill: Sayingjfomc Ihapc in S i n o n s was abui'd, So fairc a forme lodg'd not a mind (o ill, And dill on him (hec gaz'd, and gazing ftiJI, Such fignesoftruthinhis plainc facclhccfpicd. That fhee concludes, the Pidurc was belied. It cannot be (quoth (he) that fo much guile, (Shce would haue faid) can lurke in fuch a looker But T A R Qjr I N s Ihape^camc in her mind the while, And from her tongue, can lurk,from cannot, lookc It cannot be, Ihee in that fence forfooke. And tum'd it th us, it cannot be I find, But fuch a face Ihould bcarc a wicked mind. For euen as fubtill S i n o n here is painted. So fbberfad, fo wearic, and fb mildc, (As ifwihgricfc or trauaile he had fainted) To me came T a r c^v i n armed to beguild With outward honelHe, but yet defild With inward vicc,as Priam him did chcrifli : ' • So did I T A R Qv I N, fo my Troy did pcrifh. Lookc 11. 1527— 1547 THE RAPE OF LVCRECE. Lookc lookc how liftning Priam wets his cyc5, To fee thofc borrowed tearcs that S i n o n (heeds, Priam why art thou old, and yet not wife? For eueric teare he fals a Troian bleeds: His eye drops fire, no water thence proceeds, Thofe roud cleat pearls of his that rtioue thy pitty, Arc bals of cjuenchlelTc fire to burne thy Citty. Such Deuils flealc effeds from lightlefle Hell, For S I N o N in his fire doth quake with cold. And in that cold hot burning fire doth dwell, Thcfc contraries fuch vnitie do hold, Only to flatter foolcs, and make them bold, ^ So P R I A M s trurt falie S I N o N s teares doth flatter, > That he finds means to burne his Troy with water. Here all inrag*d fuch pafTion her aflailes, That patience is quite beaten from her breaft, Shee tears the fenceleflc S i n o n with hcrnailcs, Comparinghim tothatvnhappiegucft, V Vhofc deede hath made hcrfelfc, herfelfe dctcd. At laft flicc finilingly with this giues ore, Foolc fooI,quoth flic,his wounds wil not be lore L 2 11. 1548- 1568 ai) /i ig r ! g ! «j;;^! j tii THE RAPE OF L V C R E C E. 1 husebs and flowcs the currant of hcrforrow^ y\nd time cloth wearie time with her coinplayning) Shce looks for nighr^ & then (hec longs for morrow, A nd both fhce thinks too long with her remayning, • Short rime fecnis longjinforrowes (harp fiiftayningj ■> Though wo be hcauic, yet it fefdome fleepcs, ^ And they that watch, fee time^how. flow it creeps* V Vhicfh all this time hath ouerflipt her thought^ 7 hat ihee with painted Images hath (pent, Being from the feeling of her own griefe broi^ht,, By d eepe furmife of others detriment, Loofingher woes in (hews of difcontent : ^ i It eafethfome, though none it cuer cured, ; . To tliinke their dolour others haue endured. But now thcmindfuU Meflfengcrcomcbackc, Brings home his Lord and other companie. Who finds bis L.v cr e c e clad in mourning black. And round about her teare-diftained eye Blew circles ftream*d, like Rain bows in the skic* Thefe watergalls in her dim Element, Foretell new ftormes to thofe alreadic (pent. Which II. 1569 - 1589 THE RAPE OFLVCRECE. V Vhich when her fad beholding husband faw^ Amazedlie in her fad face he ftarcs ; Her eyes though fod in tears look'd red and raw,^ Herliuclie colour kil'd with deadlie cares. He tiath no power to aske her how (hee fares, -Both ftood like old acquaintance in a trance, Met far from homc,woudring ech others chance, At laft he takes her by the bloudleflfe hand, And thus begins : what vncouth ill euent Haththeebefalne, that thou doft trembling ftand?. Sweet loue what fpite hath thy faire colour fpent? Why art thou thus attir'd in difcontcnt ? V nmaskc deare deare, this moodie hcaulneflc. And tell thy griefe, that we may giue redrcffe, Thrcetimcs with fighes (hee giues her forrow fire. Ere once (hee can di/charge one word ofwoe :. At length addrell to anfwcr his defire, Shec modcftlic prepares, to let them know Her Honor is taneprifoncr by the Foe, V Vl>jle C o L A T I N E and his conforted Lords^ With fad aitcntion long to heare her words.. 11. 1590— 1610 ^ THE RAPE OF LVCRECE. And now this pale Swan inhcr wacric neff^ Begins thcfad Dirge of her ccrtaine ending, Few words (quoth flice) (hall fit the trefpaffebef^ Where no excufe can giuc the fault amending. In me moe woes then words are tK>w depending. And my laments would be drawn out too lon& To tell them all with one poore tired tong. Then be diis all the taste it hath to fijr, Deare husband in the intereft of thy bed Aftranger came, andon that pillow lay, Where thou waft wont to reft thy wearfe head, And what wrong e]fe«iay be imagined, By fouleinforcement might be done to me, From that (alas) thy L v c r e c e is not free. For in the dreadfull dead of darke midnigh^ With fliining Fauchion in my chamber came A creeping creature with a flaming 1 ight, And foftly cried, a wakejthou Romaine Dam^ And enteruinc my loue, elfe lafting fliamc On thee and thine this night I will infli^ If thou my loues defire do contradiA, For 11. 1611 — 1631 THE RAPE OF LVCRECE. For Tome hard fauour'd Groomc of thinCj quoth he, Vnlcffe thou yoke thy liking to my will lie murthcr (Iraight, and then ilc flaughtcr thee, And fwcare I found you where you did fulfill The lothfome act of Luft^and fo did kill The lechors in their deed, this Ad: will be My Fame, and thy perpetuall infamy. With this I did begin to ftart and cry. And then againfl: my heart he fet his fword, Swearing, vnlcfTc I tooke all patiently, I (houldnotliue to fpeake another word. So (hould my fliame ftlll reft vpon record, And ncucr be forgot in mi^htic Roomc Th'adultcrat death of Lvcrece, and her Groomc, Mine enemy was ftrong, my poore felfe weake, (And farre the weaker with !o ftrong a fcare) My bloudi'j ludgc forbod my tongue to ipeakc. No righrfull pica might plead for luftice there. His fcarlct Lull: came euidcnce to fwcarc Thatmypoorebcautichad purloiii'd his eves. And when the ludgc is rob'd, the priioncr dics^ 11. 1632 — 1652 THE RAPE OF LVCRECE. ^K O teach me how tcwnake mine ownc excufe. Or (at the leaft) this refuge let me findc, Though rny groffc bloud be ftaind with this abufc, Immaculate, and fpotlefle is my mind, . j| |. That was not forc*d, th;lt ncuer was inclind * "" To acceflarieyccldingSjbut ftill pure Doth in her poyfon'd clofet yet endure, Lo heare thehopcleflc Marchant ofthis loflfc, With head declined, and voice dam'd vp with wo, With fad fet eyes and wretched armes acroffe. From lips new waxen pale, begins to blow The griefe away, that ftops his anfwerfb. But wretched as he is he ftriues in vainc^ What he breaths out,his breath drinks vp again. As through an Arch, the violent roaringtidc, O utruns the eye that doth behold his haft : Yet in the Edic boundeth in his pride, Backe to the ftrait that forft him on fo faft : In rage fent out, recald in rage being paft, Euen fo his {ighcs,hi$ fbrrowcs make a /aw, To pulh gr icfe on, and back the fame grief draw. Which 11. 1653— 1673 THE RAPE OFLVCRECI:. VVhich fpccchlcffc woe of his poorc (he attcndcth, And his vntimclie frenzic thus awakcth, Dcarc Lord, thy forrow to my forrow lendeth Another power, no floiid by raining (lakcth, My woe too fenciblc thy paffion maketh More fceUng painfull, let it than fuffice . To drownc on woc,onc pairc of weeping eyes. And for my fake when I might charme thee (b, For Ihec that was thy L v c r e c e, now attend me, Befodainehe rcuenged on my Foe, Thine, mine, his own,ruppofc thou doft defend mc From what is pad, the helpe that thou (halt lend mc Comes all too late, yet let the Tray tor die, "For fparing luftice feeds iniquitie. But ere I name him, you faire Lords, cjuoth (Lee, (Speaking to thofe that came with C o l a t i n e) Shall plight your Honourable £ihhs to me, With fwift purfuit to vengc ihis wrong of mine, For'tis a meritorious faire defigne, To chafe iniufticc with reucnpcfull armcs, ^ Knights by their oaths ihould right poore Ladies M (harmes. 11. 1674^ — 1694 THE RAPE OF LVGRECE. At this requeftj with noble difj:)ofition, Each prefent Lord began to promifc aide, As bound in Knighthood to her impofition, Longing to hearc the hatefull Foe bewraidc. But Ihec that yet her fad taskc hath not faid, The proteftation flops, p fpcake quoth (hcc, How may this forced flaine be wip'd from mc? What is the qualitic of my offence Being conftrayn'd wich dreadfull circumftancc ? •M ay my pure mind with the fowie ad difpcncc My low decHned Honor to aduance? May anie termes acquit me from this chance ? The poy/bned fountaine cleares it felfe againc,^ And V. hynot Ifrom this compelled flainc ? With this they all at once began to faicj. Her bodies flaine, her mind vntainted cleares,. While with a ioyleffe fmile, fhee turnes awaic The face, that map which deepeimprefTion bcares Of hard misfortune, caru'd it in with tears. ^ f ' No no, quoth lhee,tio Dame hereafter lining, ' By my excufe Ihalldaime cxcufesgiuing. Here 11. 1695— 1715 THE RAPEOFLVCRECE. Here with a figh as if her heart would brcakc, ShecthrowcsforthTARQyiNsname:hchc,(hc(aie$, But more then hc^her poorc tong could not ipcake, Till after manic accents and dclaies, Vmimelie breathings, fickc and ihortaflaics, Shce vttcrs this, he he faire Lords, tis he That guides this hand to glue this wound to mc. • Eucn here (lie flieathed in her harmlcfle bread A harmfuU knife, that thence her foulc ^nfbeathcd, That blow did bailc it from the deepevnreft Of that polluted prifon, where it breathed: Her cpntrite fighes vnto the clouds bequeathed Hcf winged iprirc, &c through her wouds doth flie • Liues lalHng date, from canccl'd deftinie. Stone ftrll,a{loniiht with this deadlic deed, Stood C o L A T I N E, and all his Lordly crew, Till L V c R E c E Father that beholds her bleed, Himfelfe, on her fclfe-flaughtredbodie threw, And from the purple fountaine B r v t v s drew The niurdrous knife, and as it left the place. Her bloud in poorc reuenge, held it in chafe. M 2 . 11. 1716 — 1736 >.~Jtft*'-'&. Blufhing at that which is fo putrified. Daughter, dearc daughter, old L v c r e t i v s cries, That life was mine which thou haft here depriued, If in the childe thefathcrs image lies, VVhereftialllliuenov/ Lvcrece isvnliued? Thou waft not to this end from me dcriued. > If children praedeceafc progenitours, > . V Vc are ilicir oflpring and ihey none of ours. Poorc 11. 1737— 1757 THE RAPE OFLVCRECE. Poorc broken glaffc, I ofcen did behold In diy fwcct fcmblance, my old age new borne, But now that fai re frcJh mirror dim and old Shcwcs me a bare bon*d death by time out-worne, O from thy chcckes my image thou haft tornc, And Ihiucrd all the bcautic of my glaiTc, That I no more can fee what once I was. O time ccafe thou thy courfe and laft no longer. If they furccafe to be that (hould furuiue : • Shall rotten death make conqueft of the ftronger, And Icauc the foultring feeble foules aliue? , The old Becsdidjihe young pofTeflfe their hiuc, Then Hue fwcet L v c r e c e, Hue againc and fee Thy father die, and not thy father thee. Bythisftarts Colatine asfromadreamc, And bids Lvcrecivs giue his forrow place. And than in key-cold L v c r e c e bleedingftrcamc rHe fals, and bathes the pale feare in his face, And countcrfaits to die with her a fpace. -Till manly iliamc bids him poffeffe his breath, And Hue to be reuenged on her death. M 3 11. 1758— 1778 THE RAPE OF LVCRECE. .*.Thc decpc vexation ofhis inward foulc, ■r Hath fcru'd a dumbc arreft vpon his tongue, Who mad that (brrow (liould his vfe controll, - Or keepe him from hcart-eafing words (o long, Begins to talke, but through his lips do throng - V Veakc words,fo thick come in his poor harts aid, That noqian could diftinguiili what hefaid. Yet fometime T a r qjr i n was pronounced plaine, But through his teeth, as if the name he tore, This windie tempeft, till it blow vp rainc. Held backe his fbrrowes tide, to make it more. At laft it raines, and bufic windes giue ore, ..> . Then fonne and father weep with equal! ftrifc, , . Who flnild weep moft for daughter or for wife, Thconcdoth call her his, the other his. Yet neither may poffefTe the claime they lay. The father faies,ihee's mine, 6 mine (hee is Replies her husband, do not take away My forrowes intereft, let no mourner fay He weepes for her,for fhee was onely mine. And onelie mud: be wayl'd by C o l a t i n e, o. 11. 1779— 1799 mm&Mi[ymkMmdm:&}MMMM^MM . THE RAPE OF LVCRICE. O, quoih LvcREiivs, I did g?Ue that life , V Vhich iliee to carely and too hte hath fpil'd^ V V^oe woe, quoth C o l a t i n e, fliee was my wifc^ I owed her, and tis xnine that fhec hatlftil'd. My daughter and my wife with clamors fild .The difperft aire, who holding L v c r e c e life, Anfwcr*d their cries, my daughter and my wife. B R VTVS who pluck'tthc knife from LvcRiCE fide, Seeingfuch emulation in their woe, ' Began to cloath his wit in ft;itc and pride, B urying inLvcRiCE wound his follies (how. He with the Romains was eftecmcd fo • As feehe ieering idiots arc with Kings, For fportiue words, and vttringfoplifli things.. But now he throwcs that flrallow hajiit by, -Wherein deepe pollicie did him difguifc, And arm'd his long hid wits aduifcdliCj To checke the teares inCoLATiNvs cies* - Thou wronged Lord of Rom e, quoth hc,arifej, 'Let my vnfbundcd felfc iuppofd a foolc, ^ Now fct thy long experienc't Nam tp fchoolp. . • II. 1800 — 1820 THE RAPE OF LVCRECE. J Why C o L A T I N E, is woe thc curc for woe ? •'Do wounds heipe wounds, or griefe helpe grccuous Is it rcucngc to giue thy fclte a b!ow, (deeds? For his iovAc Act, by whom thy fairc wife bleeds ? Such childilh humor from wcakc mi .ids proceeds, •» Thy wretched wife miftookc the matter fb, . v . To flaie her felfe that ihould hauc (lainc her Foe. Couragious Romaine, do not ftcepe thy hart -In fuch relenting dew of Lamentations, But kncclc with mc and helpc to bearc thy part. To rowfc our Romaine Gods with inuocations, That they. will fufFer thefc abhominations. (SinccRonaeherfclfinthcdothftanddifgraccdj) •By our ftrong arms fro forth her fair ftrccts chaccd. Now by thc CapitoU that wc adore, •Andbythischaltbloudfovniufthcflained, • By heauens fairc fun that breeds the fat earths ftorc, By all our countrcy rights in Rome maintained, And by chart: L v c r e c e foulc that late complained Her wrongs to v*, and by this bloudic fcnifc, •VYc will rcucngc thc death ofthis true wife. This 11. 1821— 1841 ii-. *,«:..;« >;v.^f,..5^.^.,^ THE RAPE OFLVCRECE. This fayd, he ftrookc his hand vpon his brcaft. And kitt the fauU knife to end his vow : • And to his protcRation vrg'd the reft, Who wondring at him, did his words allow. Then ioyntlic to the ground their knees thev bow. And that deepe vow which Br vtvs made before, He doth againe repeat, and that they fwore. When they had fworne to this aduifed doome. They did conclude to beare dead Lvcrece thence, To (hew her bleeding bodie thorough Roomc, And (b to publifli Tar q^v i n s fowle offence^ Which being done,withfpeedie diligence. The Romaines plaufibly didgiue confent, •To T AK Q^v INS cuerlaftingbanifliment. N FINIS. 11. 1842 — 1855 14 DAY USE RETURN TO DESK FROM WHICH BORROWED LOAN DEPT. This book is due on the last date stamped below, or on the date to which renewed. Renewed books are subject to immediate recall. ,Arr'63[«'i^ a r»»-> FEB 14 196/ I& %XS h '^iVt^o APR? 196aWR;^Q^67^ ^SPrtT tOAN de;pt. >- l >^ ^ '^- -' ^u ^IJW 7J9g3 MAR 3 1 196S 9 1 ^Ci^ ' ^'^^ m^^ W General Library University of California Berkeley f'mmmmmmmmm ^i M10V753 r THE UNIVERSITY OF CALIFORNIA UBRARY YE ^ I