Gift OF 
 A. F. Morrison 
 
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LUCRECE 
 
 1594 
 
 FACSIMILE 
 
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 LONDON 
 
 HENRY FROWDE, M.A. 
 
 PUBLISHER TO THE UNIVERSITY 
 
 OF OXFORD 
 
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 ! SHAKESPEARES I 
 
 LUCRECE 
 
 BEING A REPRODUCTION IN FACSIMILE OF 
 
 THE FIRST EDITION 
 1594 
 
 FROM THE COPY IN THE MALONE COLLECTION 
 IN THE BODLEIAN LIBRARY 
 
 WITH INTRODUCTION AND BIBLIOGRAPHY 
 
 BY- 
 
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 OXFORD ; AT THE CLARENDON PRESS g 
 
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CONTENTS 
 
 INTRODUCTION TO LUCRECE— 
 I. General Characteristics 
 II. Sources of the Story- 
 Ill. The Metre and early Criticism 
 IV. The History of the Publication 
 V. The History of the Text 
 VI. A Census of Copies . 
 
 Illustrative Title-Pages — 
 The unique copy of lypS 
 The edition of idoo . . . 
 The edition of 1(^07 
 The title-page to the edition of \6$s 
 The frontispiece to the edition of \6ss 
 
 FACSIMILE OF THE EDITION OF 1^94 
 
 PAGE 
 7 
 
 9 
 21 
 
 30 
 37 
 
 44 
 45- 
 
 4^ 
 
 SI 
 
 Ml.07?53 
 
When dedicating his first narrative poem, Venus and Shake- 
 Jdonisy to his patron, the Earl of Southampton, Shakespeare ^^^^^^^^^^^ 
 wrote : ' If your Honour seem but pleased, I account myself 
 highly praised, and vow to take advantage of all idle hours 
 till I have honoured you with some graver labour.' There 
 is no reason to doubt that Shakespeare's poem of Lucrece was 
 the fulfilment of this vow. Lucrece was ready for the press in 
 May, 1 5*94, thirteen months after Fenus and Jdonis, During 
 those thirteen months his labour as dramatist had occupied 
 most of his time. In the interval he had probably been at 
 work on as many as four plays, on 'Richard III^ Richard Ily 
 Kjng John^ and Titus Andronicus, Consequently Lucrece was, 
 as he had foretold, the fruit, not of what he deemed his 
 serious employment, but of 'all idle hours". At the same 
 time the increased gravity in subject and treatment which 
 
 ' Between the dates of the issue of the two poems, a play, in the 
 composition of which Shakespeare was concerned, had come from the printing- 
 press for the first time. The subject was drawn like JJucrece from Roman 
 history, and the play and the poem must have occupied Shakespeare's attention 
 at the same period. On February <j, I5'5)4, licence had been granted 
 to John Danter for the printing of Thus Andronicus^ in which Shakespeare 
 worked up an old play by another hand. Danter was a stationer of bad 
 reputation. Shakespeare was not in all probability responsible for Danter's 
 action. The first edition of Titus^ of 1594, of which the existence has been 
 doubted, survives in a single copy. The existence of this edition was 
 noticed by Langbaine in i6'9i, but no copy was found to confirm Langbaine^s 
 statement till January, 1905:, when an exemplar was discovered among the 
 books of a Swedish gentleman of Scottish descent, named Robson, who 
 resided at Lund (cf. Athenaum^ Jan. 21, 1905). The quarto was promptly 
 purchased by an American collector for ^'2,000. The title-page runs : — 
 ' The most lamentable Romaine Tragedie of Titus Andronicus ; as it was 
 Plaide by the Right Honourable the Earle of Dartie^ Earle of Femhrooke, and 
 Earle of Sussex^ their Seruants. London, Printed by John Danter, and are 
 
8 LUCRECE 
 
 characterizes the second poem of Lucrece as compared with 
 . Venus ai'Ci Adonis^ its predecessor, showed that Shakespeare had 
 , . , faithfully carried into eflFect the promise that he had given 
 ' ' ' -to his patron of* offering him < some graver labour'. 
 General Lucrece with its 1 8 yy lines is more than half as long 
 
 character of again as Venus and Adonis with its 1104 lines. It is written 
 With a flowing pen and shows few signs of careful planning 
 or revision. The most interesting feature of the poem lies 
 in the moral reflections which the poet scatters with a free hand 
 about the narrative. They bear witness to great fertility 
 of mind, to wide reading, and to meditation on life's com- 
 plexities. The heroine's allegorical addresses (11. 8(^9-1001) 
 to Opportunity, Time's servant, and to Time, the lackey of 
 Eternity, turn to poetic account philosophic ideas of pith and 
 moment. 
 
 In general design and execution, Lucrece^ despite its superior 
 gravity of tone and topic, exaggerates many of the defects 
 of its forerunner. The digressions are ampler. The longest 
 of them, which describes with spirit the siege of Troy, 
 reaches a total of 2 1 7 lines, nearly one-ninth of the whole 
 poem, and, although it is deserving of the critic's close 
 attention, it delays the progress of the story beyond all 
 artistic law. The conceits are more extravagant and the 
 luxuriant imagery is a thought less fresh and less sharply 
 pointed than in Fetius and Adonis. Throughout, there is 
 a lack of directness and a tendency to grandiose language 
 where simplicity would prove more effective. Haste may 
 account for some bombastic periphrases. But Shakespeare 
 often seems to fall a passing victim to the faults of which he 
 
 to be sold by Edward White & Thomas MtUington, at the little North doore of 
 Paules at the signe of the Guane. if^^.* This volume was on sale on the 
 London bookstalls at the same time as the i5'^4. edition of Jjucrece. The 
 story of Lucrece is twice mentioned in Titus (ii. i. 108 and iv. i. (J3). 
 
LUCRECE 9 
 
 accuses contemporary poets in his Sonnets. Ingenuity was 
 wasted in devising ' what strained touches rhetoric could 
 lend ' to episodes capable of narration in plain words. There 
 IS much in the poem which might be condemned in the poet's 
 own terminology as the ' helpless smoke of words '. 
 
 II 
 
 The theme of Shakespeare's poem was nearly as well- The story, 
 worn in the literature of Western Europe as that of his first 
 poem Fentis and Jdonis. For more than twenty centuries 
 before Shakespeare was born, the tale of Lucrece was familiar 
 to the western world. Her tragic fate was the accepted 
 illustration of conjugal fidelity, not only through the classical 
 era of Roman history, but through the Middle Ages. The 
 hold that the tale had taken on the popular imagination of 
 Europe survived the Renaissance, and was stimulated by the 
 expansion of interest in the Latin classics. 
 
 Among Latin classical authors the story was told in fullest Classical 
 detail by Livy in his History of Rome (Bk. i, c. S7-9\ Ovid 
 in his poetic Fasti (ii. 721-8^2) gave a somewhat more 
 sympathetic version of the same traditional details which 
 Livy recorded. The main outlines of the legend figured, too, 
 without variation in the contemporary Greek historians, 
 Dionysius of Halicarnassus and Diodorus Siculus, and in their 
 successor, Dio Cassius, as well as in the work of a later 
 Latin historian, Valerius Maximus.' 
 
 ' Dionysius alone tells the story at length. The other writers narrate it 
 very briefly. Cf. Dionysius of Halicarnassus, Antiquitatum Romanarum quae 
 supersunt^ ed. Riessling, vol. ii, Leipzig, 186^4 i ^^° Cassius, Historia Romana^ 
 ed. Melber, vol. ii, x. 12-18, Leipzig, \%^0', Diodorus Siculus, Bihliotheca 
 Historica^ ed. Dindorf, vol. ii, lib. x. ao-zi, Leipzig, 18(^7; and Valerius 
 Maximus, Facta et Dicta Memorabilia^ vi. i. i. In three papers on Shakespeare's 
 poem — Shakeipeare's Lucrece. Eine litterarhistorische Untersuchung^ — which 
 appeared in Anglia, Band xxii, pp. 1-31, J+^-^^g, ?9?-4T5 (Halle, 1899), 
 
 B 
 
to 
 
 LUCRECE 
 
 St. Augus- 
 tine. 
 
 Mediaeval 
 versions. 
 
 Sixteenth- 
 century de- 
 velopments. 
 
 Among early Christian authors St. Augustine retold 
 the legend in his Civitas Dei (Bk. i, ch. 16-1^), He com- 
 mented with some independence on the ethical significance 
 of Lucrece's self-slaughter, which he deemed unjustified by 
 the circumstances of the case. 
 
 The tale found a place in the most widely-read story- 
 book of the Middle Ages, the Gesta 'B^manorum^ and by the 
 fourteenth century it had become a stock topic among poets 
 and novelists. Of the great authors of the Italian Renaissance 
 Boccaccio was the earliest to utilize it. He narrated it in 
 his Latin prose treatise De Claris Mulieribus. It was doubtless 
 Boccaccio's example that first recommended it to imaginative 
 writers in England. Chaucer and Gower both turned the 
 story into English verse, Chaucer in his Legend of Good Women 
 ($ f, 11. 1(^80-885-) and Gower in his Confessio Amantis (Bk. vii. 
 47y4_^ 1 3 o). Both Chaucer and Gower closely followed Ovid, 
 but derived a few touches from Livy. Half a century later 
 Lydgate noticed the legend in his Fall of Princes (Bk. iii, ch. f). 
 When the Middle Ages closed, Lucrece was a recognized 
 heroine of English poetry. 
 
 The sixteenth century saw a further increase in the 
 popularity of the topic, both in England and on the continent 
 of Europe. It was a favourite theme in Italy both for Latin 
 and Italian epigrams and sonnets. The Italian prose- writer, 
 Bandello, dealt with it in his collection of novels, which, 
 first appearing in 15*^4, at once attained a classical repute. 
 Bandello's fiction was quickly translated into French. The 
 revived drama of the Renaissance found in Lucrece's fate a 
 fit subject for tragedy, and plays in which the Roman matron 
 is the heroine were penned, not in France alone, but, more 
 
 Dr. Wilhelm Ewig has treated of the sources with much learning, but he has 
 not exhausted the interesting topic. 
 
LUCRECE II 
 
 curious to relate, in Germany. One of Hans Sachs' 
 dramas bears the title ' Ein schon spil von dcr geschicht dcr 
 Edlin Romerin Lucretia' (Strassburg, iffo). In France 
 there was performed at the Court at Gaillon, in the presence 
 of the king, Charles IX, on September 29, i ^66^ a short tragedy 
 in alexandrines (with choruses in other metres) by one Nicolas 
 Filleul of Rouen, which bore the title : ' Lucrece, Tragedie 
 avec des Choeurs'.' The plot follows the classical lines. 
 But Lucrece's nurse, an original character, is introduced to 
 offer her mistress consolation and to dissuade her from self- 
 slaughter. In Spain the tale was equally familiar, and about 
 15-90 a celebrated poet, Don Juan de Arguijo, after writing of 
 Venus and Adonis, summed up the current knowledge in the 
 Peninsula concerning Lucrece in an effective sonnet, which is 
 often quoted in anthologies of Spanish poetry. 
 
 Meanwhile the story was running its course anew in The tale's 
 popular English literature. In the same year as the French ElFJabctharT 
 tragedy of Lucrece was produced at Gaillon, William Painter England, 
 included a paraphrase of Livy's version in his massive collec- 
 tion of popular fiction entitled The "Palace of Pleasure. In the 
 years that immediately followed, the tale was made the 
 subject of at least two ballads, which have not survived. 
 In \ ^6% there was licensed to John Allde, by the Stationers' 
 Company's Register (cf. i. 379), * a ballet called " The grevious 
 complaynt of Lucrece",' and in 15-70 there was licensed 
 to James Roberts < A ballad of the Death of Lucryssia ' 
 (i. 4i<^). A third ballad of Lucrece, of which no copy is 
 now known, was, according to Warton, printed in 15-7 (J. 
 
 ' This piece is printed in a rare volume called L.es Theatres de Gaillon, 
 A French tragedy by the well-known dramatist, Alexandre Hardy, written 
 a little later, bears the title ' Lucrece, ou Tadulteur puni % but this play does 
 not deal with the story of the Roman matron, but with an imaginary adulteress 
 <rf Spain. Hardy's tragedy was first published in i6\6, 
 
 B 2 
 
I» LUCRECE 
 
 A further proof of the complete naturalization of the story 
 in sixteenth-century England is to be deduced from the fact 
 that one of the earliest printers of repute, Thomas Berthelet, 
 took a figure of the Roman wife for the sign of his business 
 premises, and that his successors in trade through Shake- 
 speare's lifetime continued to employ the same device. From 
 iy23 to 1^62 the sign of 'Lucretia Romana'or 'Lucrece' (as it 
 was commonly called) hung before Berthelet's house near the 
 conduit in Fleet Street. Ims^i the well-known Elizabethan 
 * stationer', Thomas Pur foot, placed the same sign over his 
 printing-office in St. Paul's Churchyard ', and when in 1778 
 he removed his press to a new building 'within the New 
 Rents of Newgate Market ' he carried the sign with him. 
 It was announced on the title-pages of almost all the 
 numerous volumes that Berthelet and Purfoot undertook that 
 they were printed ' at the sign of Lucrece '. When Purfoot 
 retired from active work his son and successor, Thomas 
 Purfoot, junior, continued the concern under the same symbol 
 in Newgate Market until 1^40. Another use to which the 
 figure of the Roman matron was commonly put is illustrated 
 by Shakespeare himself, when he represents Olivia in Twelfth 
 Night (ii. f. 104) as employing a seal with the figure of Lucrece 
 engraved upon it. 
 
 Shake- Shakespeare was continuing a long chain of precedents in 
 
 choosing the story of Lucrece for his new poem. Authorities 
 abounded in his own and other languages, and after his wont 
 he used or adapted them with much freedom. Despite his 
 tendency to amplify details, he adheres to the main lines of 
 
 ' Purfoot permitted one of the chief Italian teachers of Shakespeare's day, 
 Claudius Hollyband, to advertize from 1 5-75 on the title-pages of his philological 
 handbooks that he was 'teaching in Poules Churchy arde at the signe of the 
 Lucrece*. Cf. Hoi lybande's Frette and Witte Hhtorie ofArnalt and Lucenda^ 1 5^ 7 5 . 
 
 speare s 
 sources 
 
LUCRECE 1 3 
 
 the story as laid down by Ovid and Livy, and first anglicized 
 by Chaucer, who frankly acknowledged his indebtedness to 
 the two Latin writers. It is clear that Shakespeare studied 
 the work of these three authors. Their narratives so closely 
 resembled one another that it is not always easy to state with 
 certainty from which of the three Shakespeare immediately 
 derived this or that item of information. 
 
 Like Chaucer Shakespeare holds up Lucrece to eternal 
 admiration as a type of feminine excellence — a type of ' true 
 wife' (I. 1 841); Chaucer had similarly celebrated her 
 (1. 1^85) as 
 
 The verray wyf, the verray trewe Lucrece. 
 
 But, generally speaking, Shakespeare's poem has closer affinity Affinity with 
 with Ovid's version (in the Fasti) than with that of any ^^^^' 
 other predecessor. Like Ovid Shakespeare delights in 
 pictorial imagery, and occasionally in Lucrece he appears 
 to borrow Ovid's own illustrations. Chaucer had already 
 adapted some of the Ovidian similes which figure in 
 Shakespeare. But Shakespeare seems to owe more suggestion 
 to Chaucer's source of inspiration than to Chaucer himself. 
 The three poets, for example, compare Lucrece, when Tarquin 
 has forcibly overcome her, to a lamb in the clutch of a wolf. 
 Ovid writes [Fasti^ ii. 799-800) : — 
 
 Sed t remit, ut quondam stabulis deprensa relict is 
 parua sub infesto cum iacet agna lupo. 
 
 Chaucer (II. 1798-9) accepts the illustration, but strips it of 
 its vivid colouring: — 
 
 Ryght as a wolfe that fynt a lambe alone. 
 To whom shall she compleyne, or make mone ? 
 
 Shakespeare catches far more of the Ovidian strain in 67 7 -t^ — 
 
itiv -Ttm^A 
 
 t% LUCRECE 
 
 ^* The wolf hath seized his prey, the poor Iamb cries ; 
 Till with her own white fleece her voice controlled 
 Entombs her outcry in her lips' swcQtfoi^, 
 
 Elsewhere Shakespeare borrows from Ovid words which 
 escaped Chaucer's notice. His insistence on the ^ snow-white ' 
 of Lucrece's ' dimpled chin ' (420) and his comparison of her 
 hair to 'golden threads' (400) echo the 'niueusque color 
 flauique capilli'(/v?//2, ii. 7(^3) of Ovid's heroine. Ov'id^s Fasti 
 was not translated into English before 164.0. But there is little 
 doubt that Ovid was accessible to Shakespeare in the original. 
 The smaller At the samc time there are touches in Shakespeare's 
 
 Livy. Lucrece which sugg-est that he assimilated a few of Livy's 
 
 phrases direct. Painter, in the version which he introduced 
 into his Palace of Pleasure^ very loosely paraphrased the Latin 
 historian, and it is unlikely that Shakespeare gained all his 
 knowledge of Livy there. The lucid ' argument ' in prose 
 which Shakespeare prefixed to the poem catches Livy's per- 
 spicuous manner more exactly than mere dependence on Painter 
 would have allowed. The lines (437-41 and 4(^3) in 
 which Shakespeare pointedly describes how Tarquin's hand 
 rests on Lucrece's breast follow Livy's phrase, 'sinistraque 
 manu mulieris pectore oppresso.' The hint is given in Ovid, 
 and Painter merely states that Tarquin keeps Lucrece ' doune 
 with his lefte hande \ At one point Shakespeare corrects an 
 obvious misapprehension of Painter — a fact which further 
 confutes the theory of exclusive indebtedness to him. Livy, 
 like Ovid, assigns to Tarquin the threat that in case of Lucrece's 
 resistance he will charge her with misconduct with a slave. 
 Neither Latin writer gives the word ' slave ' any epithet, and 
 whether the man is in Tarquin's or in Lucrece's service is left 
 undetermined. Painter makes Tarquin refer to a slave of his 
 own household. Shakespeare assigns the slave to Lucrece's 
 
LUCRECE j^ 
 
 household 5 Tarquin warns Lucrece he will place at her side 
 
 < some worthless slave of thine ', i. e. of Lucrece ( f i f ). Chaucer 
 and Bandello are both here in agreement with Shakespeare 
 (cf, Chaucer's 'thy knave' in Legend^ 1807; and Bandello^s 
 
 < uno dei tuoi servi '). From either, the English poet might 
 have adopted the detail. In any case he owed nothing, at 
 this point, to Painter. 
 
 In his expansive and discursive handling of the theme Bandello's 
 Shakespeare differs from all his predecessors save one. In that "°^* ' 
 regard he can only be compared with the Italian novelist Ban- 
 dello. Bandello mainly depends on Livy and is sparing of 
 poetic ornament. But he prolongs the speeches of the heroine 
 with a liberality to which Shakespeare's poem alone offers 
 a parallel. Bandello's long- winded novel was accessible 
 in a French version — in the *- Histoires Tragiques ' of 
 Francois de Belleforest. Shakespearean students know 
 that Bandello's collection of tales, either in the original 
 Italian, or in the French translation, was the final source 
 of the plot of at least four of Shakespeare's plays, — Hgmeo and 
 Juliety Much Ado about ISIothing^ Twelfth Nighty and Hamlet, 
 It is not customary to associate Shakespeare's poem of Lucrece 
 with Bandello's work, but, although the resemblances may 
 prove to be accidental, they are sufficient to suggest the 
 possibility that Shakespeare had recourse to the Italian 
 novelist, when penning his second narrative poem. 
 
 One parallel between Bandello's novel and Shakespeare's 
 Lucrece will suffice. Livy emphasizes more deliberately than 
 Ovid the pretence of madness in Brutus, the avenger of 
 Lucrece's wrong. Bandello liberally developed Livy's notice 
 of Brutus' mysterious behaviour on lines which Shakespeare 
 seems to have followed. Brutus was, according to Shake- 
 speare's poem, ' supposed a fool ' (i 8 1 9) : — 
 
U LUCRECE 
 
 He with the Romans was esteemed so - i>^^ 
 
 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<Jo7. All the printers were men of position in the 
 trade. Okes was on intimate terms with Field, who had acted 
 as his surety when he was admitted a freeman of the Stationers' 
 Company on December y, KJ03, while Thomas Heywood, 
 the author, in his Apology for Actors which Okes printed for 
 him in 1612^ addressed him as his ^approved good friend', 
 and commended his care and industry — compliments which 
 were rare in the intercourse of printer and author. 
 
 On March i, 16 1\^ Harrison parted with the copyright of Roger jack- 
 Lucrece and of three other of his publications of a different ^°"' second 
 
 . ^ owner, 
 
 class to a stationer of comparatively minor reputation, Roger March i, 
 Jackson, whose shop over against the Great Conduit in Fleet J^'^J^i^"' 
 Street bore the sign of the White Hart.' The transaction 
 is thus entered in the Stationers' Company's Registers (iii. 
 
 T42) :— 
 
 ' Roger Jackson, son of Martin Jackson, of Burnholme, Yorkshire, had 
 been apprenticed to Ralph Newbery, a well-known stationer, on July 5, i^^i 
 ( Arber, ii. 1 75). He had been admitted a freeman of the Stationers* Company 
 on August 10, If 99, and acquired his first copyright (Greene's Goost Hunting 
 Coney Catchers) on September 3, i6o% (Arber, iii. ai<J). His first apprentice, 
 Richard, son of Thomas Gosson, joined him April aj, 160^. 
 
 D 2 
 
2« LUCRECE 
 
 [idi4] primo Martij i<^i3[-4] 
 
 Eritred [to Roger Jackson] for his Coppies by consent of 
 Master John Harrison the eldest and by order of a Court, 
 these 4 books fbllowinge ij/. 
 
 viz*. ... 
 
 Mascalles first booke of Cattell 
 Master Dentes Sermon of repentance 
 Recordes Arithmeticke, 
 
 LuCRECE 
 
 Shakespeare died on April 23, \6i6^ more than two years 
 after the copyright of Lucrece suffered its first transfer. Jackson, 
 the second holder, retained the copyright for nearly twelve 
 years, till his death early in 1(^2 5, when it passed to his widow. 
 Jackson was responsible for the editions of 1616 and KJ24, 
 the first of which was printed by Thomas Snodham, and 
 the second by John Beale/ His widow assigned the book, 
 Francis with her property in twenty-nine other volumes, on January i d, 
 Williams, 1^26^ to Fraucis Williams. The entry attesting the transfer 
 
 third owner, ' ^ . , •' t> 
 
 Jan. !<?, in the Stationers' Register runs (iv. 149) : — 
 
 19,1^30. [i(^2d] 16° Januarij i62 5'[-(J] 
 
 Assigned over vnto him [to Francis Williams] by mistris 
 Jackson wife of Roger Jackson Deceased, and by order of a 
 full Court holden this Day. all her estate in the [30] Copies 
 here after mencioned xiiij/. 
 
 -23 Lucrece by Shackspeare 
 
 John Harri- Francis Williams kept the copyright for little more than 
 
 son, junior, foy^ years, parting with it on June 29, KJ30, to Master 
 
 ^ Snodham, who took up his freedom on June a8, i6'oz, was apprenticed 
 to Thomas East, or Este, the music-printer, whose surname (^altas East) he 
 added to his own. Snodham succeeded to his old master's presses at the sign 
 of the Black Horse in Aldersgate Street. He printed much music, e.g. 
 Campion's music-books (1610 and idia). In idif Wither's Satyre came from 
 his press. He was active in the trade till his death in idiy. Beale, a 
 
LUCRECE 29 
 
 Harrison, apparently a grandson of the original holder, and the fourth 
 printer of the edition of 1 60 o. (He was Master of the Stationers' T^^]^6{o-^ 
 Company in i<^3 8.) This transaction, which involved the March if, 
 transfer to ' Master Harison ' of over thirty books, is thus 
 entered in the Stationers' Registers (iv. 237) : — 
 
 29 Junij KJ30. 
 Assigned over vnto him [i. e. Master Harison] by master 
 Francis Williams and order of a full Court all his estate 
 right title and Interest in the Copies hereafter menconed 
 
 viz'. =''>^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 ' ; 
 <on' (1. i6%o) for <in'; 'it in' (1. i7i3)for <in it.' The 
 inverted commas at the beginning of 11. 8(^7-8 are ex- 
 ceptional, and may also be reckoned among typographical 
 inaccuracies. 
 
 The volume oiFers examples of the ordinary irregularities 
 which are usually met with in specimens of Elizabethan typo- 
 graphy. Capital letters within the line are used little less 
 arbitrarily than in Fenus and Adonis. Such ordinary words as 
 <Tent' (if), 'Bee' (8 3<J, 840, i7<J9), 'Citty' (i5'f4) and 'Foe' 
 (i(Jo 8 ), are always dignified with an initial capital. But the per- 
 sonified ' time ' and ' opportunity ' go without the distinction. 
 No law is observable in such a distribution of capitals. In the 
 first part of the poem, 'Beauty' is invariably spelt with a capital, 
 but in the concluding stanzas it appears with a small letter ; 
 the word is used eighteen times in all, and the capital appears 
 twelve times. 'Sun' occurs eight times in all, ^yQ times 
 
LUCRECE jj 
 
 with a capital. ^ Heaven ' is rarely allowed a capital, although 
 * Ocean' always is. It was obviously the intention of the 
 printer to print all proper names in small capitals; but Small 
 this rule, although often followed, was imperfectly carried "P"*^- 
 out. Cf. line ff^ — 
 
 < And moodie Plvto winks while Orpheus playes.' 
 ^ Pluto ' is with, but ' Orpheus ' is without, due mark of distinc- 
 tion. The place-name ^Ardea ' is in lower-case type in line i ,but 
 in small capitals in line 1332. ' Rome ' appears six times and is 
 never in small capitals. Other signs of careless revision are 
 the substitution of a small letter for a capital at the opening 
 of line 8(^, and the dropping in two places of the catchword — 
 on pp. 28 and 90. Italics are not used at all, save in the 
 < Argument ', which is italicized throughout, proper names 
 only being in roman type. 
 
 The cursive contraction for ' m ' or ' n ' — a long line over Contrac- 
 the preceding vowel — is used thirty-eight times, commonly in 
 order to save space. The ampersand <&'(for 'and') occurs fifteen 
 times for the same reason. Both symbols are employed some- 
 what capriciously. Their employment reflects on the skill 
 of the printer, even if they figured in the author's ' copy '. 
 
 Variations in the spelling of the same word are compara- Mis- 
 tively few J but they are numerous enough to give ground for ^^^ '"^*' 
 criticism. Thus we find ' doore ' ( 3 o d) and « dore ' ( 3 2 f, 3 3 7) ; 
 ' dumbe ' (2d 8) and ' dum ' (474) ; ^ nurse ' {1162) and < nourse ' 
 (813); 'opportunity' (874, 87^, 895-, 932) and ' oportunitie ' 
 (903, 1023); 'rankes' (1439) and ' ranckes ' (1441) ; 'Rome' 
 and ' Roome ' (1(^44, 1 8 y i ) ; ' sometime '(nod) and ' somtime ' 
 (iioj-); 'spirite' (134^), 'sprite' (45-1), and 'spright' (121); 
 « tongue' (14^)-) and 'tong' (14^3, 1718). In the case of 
 ' tongue ' and ' sometime ' the variations occur within a couple 
 of lines of one another. The curious spelling 'pollusion' for 
 
 £ 
 
34 LUCRECE 
 
 'pollution' (i 1 5-7), where the word rimes with 'confusion' and 
 'conclusion', is another orthographical error.' 
 The text of The tcxt of the late impressions of the 15-94 edition was 
 
 °^' followed in the editions of 1^98, kJoo, and 1^07. A few 
 
 changes were introduced by the corrector of the press in each 
 revision, but all were trivial and mainly affected the spelling, 
 the capital letters, and the contractions. The fourth edition 
 of I <Jo7, despite the commendation which Thomas Hey wood 
 bestowed on its printer, Nicholas Okes, introduces some new 
 misprints of bad eminence (e. g. I. 993, ' time ' for ' crime ' ; 
 1. 1024, 'unsearchfuU' for 'uncheerful'). These were slavishly 
 adopted by succeeding printers. In the imprint, the words 
 ' Printed by N. O.' appear as ' Printed be N. O.' 
 ^^^ . Somewhat more extensive alterations marked the fifth 
 
 of 1^1^. edition, printed by T[homas] S[nodham], and published by 
 Roger lackson, in 1616. This edition was described on the 
 title-page as ' Newly ]^uised\ and bore for the first time the 
 new title of The J^ape of Lucrece instead of the Lucrece of 
 the earlier issues. Shakespeare's name also appeared for the 
 first time on the title-page. Traces of the hand of an 
 unskilful editor are apparent. A new list of ' contents ', 
 which preceded the 'Argument' in the preliminary pages, 
 collected together in a slightly abbreviated form twelve 
 marginal notes which were distributed through the text of 
 the poem, and supplied a running analysis of the story. The 
 earlier marginal notes were numbered in the text j but the 
 
 ^ ' Pollution' is only used thrice elsewhere by Shakespeare. In two cases—- 
 in T-welfth Nighty i. i. 4,9, and Measure for Measure, ii. 4. 183 — it is rightly spelt 
 •• pollution * (in the First Folio). But in the third place where it occurs — in 
 Love*s Labour's Lost, iv. i. ^6 — it is farcically misused by Goodman Dull for 
 ' allusion *, and is misspelt ' polusion ' in both the First Quarto and the First 
 Folio. The misspelling there seems deliberately introduced by way of ridicule of 
 popular ignorance. In a serious context ' pollution ' was alone recognized by 
 careful writers or printers. 
 
LUCRECE if 
 
 later notes were unnumbered. This list of contents and 
 
 marginal notes were reprinted in all subsequent editions. 
 
 The latter run thus : — 
 
 (i) The praising of Lucrece as chast, vertuous, and beautiful, 
 
 maketh Tarquin enamor'd. (Stanza i.) ' 
 
 (ii) Tarquin welcom'd by Lucrece. (Stanza 8.) 
 
 (iii) Tarquin disputing the matter at last resolves to satisfy 
 
 his Lust. (Stanza 25-.) 
 
 (iv) Lucretia wakes amazed and confounded to be so surpriz'd. 
 
 (Stanza 66.) 
 
 (v) Lucrece pleadeth in defence of Chastity and exprobates 
 
 his uncivil lust. (Stanza 8 2.) 
 
 (vi) Tarquin all impatient interrupts her, and denied of 
 
 consent breaketh the inclosure of her Chastity by 
 
 Force. (Stanza 93.) 
 
 (vii) Lucrece thus abused complains of her misery. 
 
 (Stanza 109.) 
 
 (viii) Lucrece continuing her laments, disputes whether she 
 
 should kill her self or no. (Stanza lyy.) 
 
 (ix) Lucrece resolved to kill her self determines first to 
 
 send her Husband word. (Stanza 174-) 
 
 (x) Upon Lucrece sending for Colatine in such hast, he 
 
 with divers of his Allies and Friends returns home. 
 
 (Stanza 227.) 
 
 (xi) Upon the Relation of Lucrece her Rape Colatine and 
 
 the rest swear to revenge : but this seems not full 
 
 satisfaction to her losses. (Stanza 243.) 
 
 (xii) She killeth herself to exasperate them the more to punish 
 
 the delinquent. (Stanza 24 y.) 
 
 The character of the textual changes, which are not 
 
 ' The numbered stanza does not appear in the list of contents. I insert 
 it with a view to showing the distribution of the marginal notes through the 
 poem. 
 
 £ 2 
 
3f LUCRECE 
 
 numerous, suggests that there, too, an editorial pen was working 
 albeit clumsily. Metrical considerations probably account 
 for the following alterations :-< so high a rate' (line 19 of 161 6 
 edition) for <such high proud rate'; ^a date expired; and 
 canceld ere begun' (26) for 'an expired date, canceld ere well 
 begun'; <doth march' (301) for 'marcheth' ; 'beneath' (5-43) 
 for 'under'; 'ever dumb' (1123) for 'mute and dumb'; 
 ' throughout Rome ' (i 8 yi) for ' thorough Rome '. In 1. idSo 
 the substitution of 'one woe' for the original misprint 'on 
 woe 'is ingenious, and the introduction of a hyphen in 1. 1 01 8 
 to connect the words ' skill ' and ' contending ' betrays intelli- 
 gence. Other variations of the earlier text are unjustifiable : 
 ' rue ' (45'5') for ' true ' ; ' feeded ' {60 i) for ' seeded ' ; ' bersed ' 
 (dx7) for ' hersed ' ; ' mighty ' (6io) for ' nightly ' ; ' foule lust ' 
 ((J 8 4) for ' prone lust ' ; ' fears ' ((^98) for ' fares ' ; ' of reine ' 
 {706) for 'or reine'; ' disdaine ' (7 8 d) for 'distain'; Palmers 
 that' (790) for 'Palmers chat'; 'bannes' (879) for 'barnes'; 
 'time' (993) for 'crime'; omission of epithet 'goodly' in 
 1247; 'held' (125-7) for 'hild.' 
 The editions The edition of 1624. follows that of 1616 servilely. 
 
 i^32,^^^n, ^^b^ ^^^ title-pages differ. Even the error in the signature 
 and 1707. (B4for A 4) is repeated. The edition of 16^2 adds some new 
 misprints (e.g. 1. 47,' growes ' for ' glowes '; 1. 1 f5, ' konur ' for 
 ' honour ' ; 1. 282, ' cloakt ' for 'choked' ; 1. 8^4, ' iniquity' for 
 'impurity'). The reissue of 16 f^ closely adheres to that of 
 1^32, with a few misreadings of its own. The next reprint 
 figured in the Poems on Affairs of State (1707), vol. iv, 
 pp. 143-204. The text is that of i<^yy, with a f^^ worthless 
 emendations.' Unfortunately the crude misreadings of 1707 
 
 ^ The chief changes were : — J. 35",' from Iheevish Cares ' for ' From 
 theeuish eares' ; ]. idi, « the wretched hatefijl Lays* for ' & wretched hateful 
 dales'; 1. 148, < air for « ill * ; 1. 317, 'the Needle' for «her needle '^ 1. (>5ro, 
 * fresh false hast ' for « fresh fall's haste ' j I. <j 84., * foul ' for « prone ' ; 1. 1 5:10, 
 
LUCRECE 37 
 
 were accepted by Gildon, who brought out an edition of 
 Shakespeare's ' Poems,' by way of supplement to Rowe's 
 collective edition of Shakespeare's plays, in 1710/ Gildon 
 did little more than reproduce the poor text of 1707, and 
 his text was accepted without inquiry by other eighteenth- 
 century editors. Lintott, in one of his impressions of Shake- 
 speare's ^Poems' in 1709, gave Lucrece a title-page bearing the 
 date 1(^3 2, but he did not follow the edition of that year 
 with much precision. It was not until Malone reprinted the 
 poems in 1780, that any collation was attempted of the cur- 
 rent text with the first edition of 1^94. Then at length the 
 poet's words were freed of a century and a half's accumulation 
 of ignorant misread ings. , 
 
 VI 
 
 Eight editions of Lucrece are known to have been Census of 
 published between its first issue in ij'94 and i<Jy.f, when the 
 last of the seventeenth-century editions appeared. Four 
 editions came out in Shakespeare's lifetime respectively, in i ^-94, 
 If 98, i(Joo, and 1^07. A fifth followed in \6i6^ the year of 
 his death, and others in \6^\^ ^^3h ^^^ ^^^T- The number 
 of extant copies of all these early editions are very £eWy and 
 it is possible that there were other editions, of which every 
 exemplar has disappeared. Malone mentions editions of 
 If ^6 and ido2, but no editions dated in either of these 
 years have come to light/ Two of the known editions 
 
 ' woman ' for 'workman ' ^ I. ij^6, 'in pure Revenge ' for ' in poor revenge'. 
 The substitution of 'foul lust' (1. 6^^) for 'prone lust* and of 'peal'd' for 
 'pild' (in the sense of 'peeled') in lines ii6j and 116^9 were attempts 
 to make difficult words clear to eighteenth-century readers. 
 
 ^ See Fenus avd Adonis^ Introduction, pp. "ji-z. 
 
 '^ An edition which was once in the possession of Halliwell-Phillipps 
 Jacked a title-page and was at one time declared by him to belong to the year 
 16^10, but this is probably a copy of the edition of 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<iHfed his ovne father inUxv Scruius TuHius to 
 be cruell') mnrdred ^ and contrarie to the %^mainel..yvcs andcM- 
 fiemes , not reejuiring orfiajingfor the f copies Jujfr ages, hud pojfejfed 
 himfelfeofthekj^gdome : rvent accompanyed vnth hts fonnes and ether 
 Noble men of R^me^ to befege Ardca, during which ficge^ thcpnncipall 
 wen ofthetyirntj meeting one eueningat the Tent o/SextiiS Tarquini- 
 us ?/?(? Kwi^s fonne, in their difcourfes after [upper etiery onectmmcndei 
 the vertues of his owne wife : amor.g whom Colatinus extolled the mccm- 
 f arable chafttty of his wife Lucretia. In that fleafunt humor they allpo - 
 fiedto %emej and int ending by theyr fecret and fodaine arriuall r* make 
 triall of that which euerj one had before auouched^ onely QolztxTWii finds 
 his wife (though tt were late in the night ) fpinning amongefl her matdes^ 
 the other Ladies were all found dauncptg and reuelhngj or in fetter all dif- 
 ports : whereupon the Noble men yeeldedKio[:)X\Vi\i% theviChrj, end 
 Itis Wife the fame, ^t that time SfS.iWi'T^rc^mmMS being enfl.^ttJcd 
 vith Lucrccc beaMtyyet fmocthcnng hispaffionsfor the pre fentf departed 
 with the refl bac^e to the Campe : from 'whence hefhortly after priuily 
 withdrew himfelfe^ and tr.^i f according tc his cfiate ) royally entertayned 
 And lodged by Lucrcce at Colatium. The fame night he tretcherouflte 
 Jlea/eth into her Chamber , ziolently rautfiit her , andearly in the mor- 
 fiin^ fpeedeth away. Lucrccc in this lamentable plight, haHily difpatch- 
 eth Aiefjengers, one to K^me for her father , another to the Campefor 
 Colatinc, Tl^ came, the one accompanyed with lunius Brutus, the O" 
 //p^w/r/jPubliUS Valerius : andfindinghucrcce attired *n mourning 
 habit e^ demanded the caufe of her forrow . Shee frfl taking an Path of 
 them for her retien^e , retfealed the Afior , and whole mancr of his dea- 
 lirrg^andwithall fodameh flabbedher felfe, JVhich done, with onecon- 
 fcr.t they ail vowed te rcote ota the whole hated family of the Tarquins t 
 ttnd bearing the dead body tc Rome ^ Brutus artji/atnted the people with 
 the doer and manner of the vile d-^edc : with a bitter inue^iue againfl the 
 tyrj.nny cfsbe Ki^a, wherewith the people were Jo matted ■, th^:t wuhcne 
 confciit and a goieral accUmaticn, the Tarquins were all {xilcd^ivdiht 
 ftate >-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*li<tWiiiiV'»iiii<i<<pfltil*liiiM»Miiiiiltiii i^MHim'i i>r «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^<si4<«Si^5ft»-5^v 
 
 THE RAPE OF LVCRECE. 
 
 So thy ruruiuing husband (hall remainc 
 The fcorncfull marke of cucrie open eye, 
 Thy kinfmcn haiig their heads at this difdainc. 
 Thy iflueblur^d with namclcffe baftardicj 
 And thou the author of their obloquie, 
 Shah haue thy trefpafle cited vp in rimes, 
 And fung by children in fuccccding times. 
 
 "But if thou y celd, I reft thy fccret friend, 
 
 The fault vnknowne, is as a thought vnaAcd,. 
 
 ^* A little harme done to a great good end, 
 
 For lawful! pollicie remaines enacted. 
 
 *' The poyfonous fimplc fbmctinie is compared 
 
 In a pure compound^ being fo applied. 
 
 His venome in effect is purified. 
 
 Thcnfor thy husbandahd thy childrcrs fakc^ 
 Tender my fuite, bequeath not to ihcir lot 
 The (hanie thai from them no deutfe can take, 
 T he blcmiih that will ncuer be forgot: 
 V Vorfe then a flauidi wipe, or birth howrs blot, 
 Formarkcsdiicriedinmensnatiuitie, 
 Arc natures faultcs,not their ownc infamie, 
 
 \ Here 
 
 11- 519-539 
 
THE RAPE OF LVCRECE. 
 
 Here with a Cockcatricc dead killing eye, 
 
 He rowfeib vp himfelfe, and makes a paufe. 
 
 While ihecthcpidureofpurepietie, 
 
 Like a white Hindc vndcr the grypes lliarpe clawes, 
 
 Pleades in a wildemeflc iwherc are np lawes, 
 
 To the rough bcaft, thatknowes no gentle right, 
 Nor ought obayes but his fowle appetite. 
 
 But when a black-fac^d clowd the world dorh thrct, 
 In his dim mift th'afpiring mountaines hiding : 
 From earths dark-womb,fome gentle gufl: doth get, 
 Which blowthefe pitchie vapours fro their biding: 
 Hindring their prefeht fall by this dcuiding. 
 So his vnhallowed haft her words dchycs^ 
 And moodie Plvto winks while Orpheus playes. 
 
 Yet fowle night-waking Cat he doth but dallie. 
 While inhishold-faftfootthc weak moufepateth, 
 Her iad behauiour feedcs his vulture foliic, 
 A fwallowinggulfe that euen in plentie wanteih. 
 His eareher prayersadmits, but his heart granteth 
 No penetrable cnttancfc to her playning, 
 ^Tears harden luft,though marble w?re with ray- 
 
 E 2 (ning. 
 
 11. 540—560 
 
THE RAPE or LVCRECE. 
 
 Her pittic-plcading eyes are fadlic fixed 
 In the remorfelcfle wrinckles ofhis face. 
 Her modcft eloquence with fighcs is mixed, 
 Which to her Oratorie addcs more grace. 
 She e puts the period often from his place, 
 
 h nd midft the fentencc fo her accent breakcs, 
 1 hat twifc Ihe doth begin ere once Ihc fpcakes. 
 
 She coniures him by high Almightie loue, 
 By knighthood, gentric, and fwcctc friendiliips orh, 
 By her vncimcly teares, her husbands louc. 
 By ho] Ichumaine law, and common trorh, 
 By Heaucn and Earth, and all th^ power of both : 
 Thar to his borrowed bed he make retire, 
 And ftoopc to Monor^ not to fovJe dcfirc. 
 
 ••Quoth niee,rcward not Hofpitalitic, 
 With fuch black payment, as thou haff pretended, 
 j.Muddc not the foiintaine that gauc drinke to ihcc, 
 'Mar not the thing that cannot be amended. 
 *■ End thy ill aymc, before thy flioote be ended. 
 » He is no woodnwn that doth bend his bow, 
 'To ftrikc a pqorc vnfcafonable Doc. 
 
 My 
 
 11. 561-581 
 
THE RAPE OFLVCRECE. 
 
 My husband is thy friend, for his fake fparc me, 
 Thy fclfc art mighcic,for thine own fake leauc me : 
 My felfe a weakling, do not then infnare me. 
 Thou look*ft not like deceiptjdo not deceiue me. 
 My fighcs like whirlewindes labor hence to heauc 
 ' If euer man were mou*d with womas moheS)(thee, 
 ^ Be moued with my teares^ my fighes , niy gf ones. 
 
 All which together like a troubled Ocean, 
 Beat at ihy rockie,and wrackcthreatning heart, 
 To (often it with their continuall motion : 
 For ftones diflblu'd to water doconucrt. 
 O if no harder then a ftor.e thou art, 
 
 Melt at my tearesand be compafTionate, 
 • ' Soft pittie enters at an iron gate. 
 
 In Tarq^vins llkeneflfeldidentertaiiiethec,; 
 Haft thou put on hisfliape, to do him Ihanic ? 
 To all the HoT: of Hcauen I complaine me. 
 Thou wrongft his honor, v oudft his princely name: 
 Thou art nor what thoufeem'ft, and' if th,c fame. 
 Thou fecm*ft not what thou art,a Gcxl', a King; 
 -> 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*'-'&<iSfS^?iiyfe<<s:i:&-V<ri;JSiyi§|^ 
 
 THE RAPE OF LVCRECE. 
 
 And biiblingfrom her brcft, it doth dcuidc 
 In two fiow riuersj that the crimfon bloud 
 Circles her bodie in Qncuerie fide. 
 Who Hke a late fack't Hand vaftlie ftood 
 Bare and vnpcoplcd, in this fcarfiill flood. 
 . ..Some of her bloud ftill pure and red rcmain'd, 
 o. And fom look'd black,& that falfe Tarqvin ftain'd. 
 
 About the mourning and congealed face 
 Of that blackc bloud, a watrie rigoll goes. 
 Which feemes to weep vpon the tainted place, 
 And euer fince as pittying L v c u e c e woes, 
 Corrupted bloud, fome waterie token (howes, 
 ■'• And bloud vntainted, ftill doth red abide, 
 >. 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 
 
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