Campion's works

Cornell University Library
PR 2228.A1 1909

3 1924 021 745 249

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Minutes of the examination of Thomas Campion on the 26th Oct. 1615,

prior to the arrest of Sir Thomas Monson for complicity in

the Overbury murder. [S. P. Dom. James I. Ixxxii.]

See p. xliv. The signatures of the poet and his examiners are in autograph.

Pyont.

CAMPION'S WORKS

EDITED BY

PERCIVAL VIVIAN

OXFORD
AT THE CLARENDON PRESS

HENRY FROWDE, M.A.

PUBLISHER TO THE UNIVERSITY OF OXFORD

LONDON, EDINBURGH, NEW YORK

TORONTO AND MELBOURNE

PREFACE

Some time ago, when working upon a small edition of Campion's
English poems for Messrs. Routledge's ' Muses' Library ', I had
the good fortune to come across certain information concerning
the poet's descent and early circumstances which had not, so far
as I am aware, been previously noticed. The original clues,
when fully pursued, provided a mass of material too great for
inclusion in that volume, and I was obliged to content myself
with a promise of dealing with the subject more completely in
a subsequent work. The present edition was undertaken by way
of redemption of that promise, partly with the object of placing
the facts on record, and partly to provide for general access a
complete collection of Campion's works, the fullest edition hitherto
produced (Mr. Bullen's 1889 volume) having been privately
printed and limited by subscription.

The text has everywhere been given in the old spelling (reduced
to consistency in the Latin works) ; and I have striven to repro-
duce the character of the originals in typography, indentation,
and punctuation, though discretion has been used in the last-
named. MS. records have been quoted in their native garb of
spelling and abbreviation ; and here let me anticipate a criticism
which I have heard in respect of other books by stating that I am
fully aware that the current MS. abbreviation for ' th ' is not ' y ',
though I have employed that letter as nearest to the character in
question. Except in a very few passages I have adhered to and
occasionally restored the reading of the original texts.

I think I ought at this point to explain the course of reasoning
which led me to my conclusions as to Thomas Campion's identity,
so as to lay my grounds open to examination. Egerton MS.
2599 was first pointed out to me by Mr. Flower of the British
Museum, but, beyond the fact that it referred to a Thomas
Campion at Cambridge, I could at first find no sure footing for
identification. Finally, however, a laborious search through ac-
counts and title-deeds, Latin and EngUsh, disclosed the allusion
to ' Thomas Campion de Grayes ynne '. This was the keystone
to the whole structure of material. It had been shown by
Mr. BuUen that the poet was a member of Gray's Inn, and the
records of the Inn make it clear that it only boasted one Campion

iv Preface.

at this date. This proved, the MS. afforded clues which ramified
in every direction, frequently providing corroborative evidence of
the truth of my original identification.

My obligations are almost too numerous to be acknowledged
in detail, though shift must be made to mention the greater.
To Professor Raleigh, and that veteran of literature, Dr. Furnivall,
I am indebted for encouragement and advice; and I have to
thank Mr. Bullen, the pioneer of the study to which I am a mere
apprentice, for his assistance, and for kind permission to quote
several notes from his own editions. I owe much to Dr. Walker,
Librarian of Peterhouse, who at my instance and armed with
clues of my providing, made successful research among the
College records for proof of Campion's membership ; and who
has shown untiring courtesy in affording me subsequent assistance.

Among other literary creditors mention must be made of my
friend Robin Flower of the British Museum, who, as already
explained, was in a sense the only begetter of the present work ;
of Dr. Thomas Lea Southgate, with whose authoritative voice
I speak on technical questions of music; of my friend Adrian
Collins, for the recollection of many fruitful discussions upon
music and prosody ; of the Rev. F. R. Williams, Rector of
Anstey, for the courtesy of access to the registers of his parish ;
of Messrs. Routledge and Son, for their kind permission to quote
notes from my small edition in their ' Muses' Library ' ; of
Mr. Madan of the Bodleian, and the Librarian of the Cambridge
University Library, for assistance which has saved me time and
labour ; and, finally, of the officials of the Clarendon Press, for
considerate help and useful suggestions, and for a liberality in
the matter of reproductions and illustrations which will have
contributed no little to any success with which this book may
meet.

P. V.

CONTENTS

Introduction. page

Pedigree of Thomas Campion viii

Chapter I. Biographical ix

„ II. The Poetical Works 1

„ III. The Prose Works i lix

A BOOKE OF Ayres I

To the Right Vertuous and Worthy Knight, Sir Thomas

Mounson 3

To the Reader 4

A Table of halfe the Songs contained in this Booke, by

T. C 5

Songs I-XXI 6-18

A Table of the rest of the Songs contained in this Booke,

made by Philip Rosseter 19

Songs I-XXI ... 20-30

Observations in the Art of English Poesie . . 31-56

The Discription of a Maske, presented before the

KiNGES MAIESTIE AT WHITE-HaLL, IN HONOVR OF THE

Lord Hayes and his bride 57

To the most puisant and Gratious lames. King of Great

Britaine 59

An Epigram 59

Ad Inuictissimum, Serenissimumque lacobum Magnse

Britannise Regem 60

To the Right Noble and Vertuous Theophilus Howard,
Lorde of Walden, sonne and Heire to the right Honor-
able the Earle of Suffolke .... . 60
To the Right Vertuous, and Honorable, the Lord and

Lady Hayes 61

Epigramma 61

The Maske 62-75

Songs vsed in the Maske 76

A Relation of the late Royall Entertainment
GIVEN by the Right Honorable the Lord Knowles,
AT Cawsome-Hovse neere Redding: to ovr most
gracious Qveene, Qveene Anne, in her progresse
toward the Bathe, vpon the seven and eight and

TWENTIE DAVES of APRILL 1613 77-88

vi Contents.

PAGE

The Description, Speeches, and Songs, of the Lords
Maske, presented in the Banqvetting-Hovse on the
mariage night of the high and mightie covnt
Palatine, and the royally descended the Ladie

Elisabeth 89-100

Songs of Movrning : bewailing the vntimely death

OF Prince Henry loi-iio

lUustrissimo, potentissimoque principi, Fredrico Quinto,

Rheni Comiti Palatine, Duci Bauarise, &c. . . . 103

An Elegie upon the vntimely death of Prince Henry 104

To the Most Sacred King lames 106

To the Most Sacred Queene Anne 106

To the Most High and Mighty Prince Charles . . 107

To the Most Princely and Vertuous the Lady Elizabeth 108

To the Most Illustrious and Mighty Fredericke the fift,

Count Palatine of the Rhein 108

To the most disconsolate Great Brittaine . . . 109

To the World 109

A Table of all the Songs contayned in this Booke . . no

Two BOOKES OF AYRES. THE FIRST CONTAYNING DIVINE

AND Morall Songs : The Second, Light Conceits of

Lovers 111-142

To the Right Honourable, both in birth and vertue,

Francis, Earle of Cumberland 113

To the Reader 114

A Table of all the Songs contayned in these Bookes . 116

Divine and Moral Songs, I-XXI 1 17-128

Light Conceits of Lovers 129

To the right noble, and vertuous Henry Lord Clifford,
Son and Heyre to the Right Honourable, Francis,

Earle of Cumberland 131

To the Reader 131

Songs I-XXI 132-145

The Description of a Maske, presented in the
Banqveting roome at Whitehall, on Saint Stephens
night last, at the Mariage of the right Honovrable
the Earle of Somerset, and the right noble the
Lady Frances Howard 147-156

The Third AND FovRTH Booke of Ayres . . -157-187
A Table of all the Songs contayned in the two Bookes

following I JO

To my honourable Friend, S' Thomas Mounson, Knight
and Baronet 160

Contents. vii

PAGE

The Third Booke of Ayres. Songs I-XXIX . . . 161-174

The Fourth Booke of Ayres 175

To my worthy friend, M' lohn Mounson, Sonne and

Heyre to Sir Thomas Mounson, Knight and Baronet 175

To the Reader 175

Songs I-XXIIII 176-187

A New Way of making Fowre Parts in Covnter-

poiNT, etc 189

To the Flowre of Princes, Charles, Prince of Great

Brittaine 191

The Preface 192-194

Of Counterpoint 195-212

A short Hymne, Composed after this forme of Counter-
point, to shew how well it will become any Diuine, or

grave Subiect 212

Of the Tones of Musicke 213-218

Of the taking of all Concords, perfect and imperfect . 219-226

Ayres svng and played at Brovgham Castle in West-

merland in the Kings Entertainment . . . 227-234

Epigrammatvm, Libri II 235

Liber primus, Ep. 1-225 237-269

Liber secundus, Ep. 1-228 270-305

Vmbra 306-314

Elegiarvm Liber . . . ... 315-324

Appendix to the Latin Poems 325-348

Ad Dianam 329

Ad Daphnin 329

Ad Thamesin 330-335

Fragmentum Vmbras 335

Elegiarum Liber 336-34°

Epigrammatum Liber 340"348

Occasional Verses 349-354

Notes 355-379

Bibliography 380-383

List of Principal MSS. consulted .... 383-384

Index of First Lines 385-396

Index of Personal Names 397-4oo

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INTRODUCTION

CHAPTER I. BIOGRAPHICAL.

For some generations prior to his date, it is probable that the
forefathers of Thomas Campion were settled in that district of
Hertfordshire which abuts upon the extreme north-eastern border
of the county ; and, to limit their locality still further, in a group
of scattered villages in this neighbourhood,* mention of which will
occur hereafter. The facts upon which this inference is based
cannot now be stated without undue anticipation, but they will be
sufficiently apparent.

There was, of course, an armigerous family of the name whose
pedigree is recorded in the heraldic visitations of the period.
These people appear to have been resident chiefly in London and
Essex ; but some of them undoubtedly had landed interests in the
neighbouring county of Herts.' From such indications it seems
likely that the poet's ancestors had an origin in common with the
Essex Campions; but while the latter had become prosperous
merchants, the former had not flourished to the same extent.

The earliest of the poet's ancestors in the male line of whom
we have any trace is John Campion, his grandfather, described in i
1565 as 'John Campion, late of Dublin, Ireland, deceased'."
I can find, however, no certain trace of him in Ireland ; and
I believe that he was not a native of that country, but had either
visited it on some venture, commercial or otherwise, or held
a petty office there ; for he seems to have originally sprung from
Anstey,* one of the small villages above mentioned. From
the Subsidy Rolls for Herts., we find that at Anstey, ' John

' In illustration of the connexion between the Essex and Herts. Campions see
Feet of Fines, Herts. (1601) Abraham Campion : Robert Curtis and Isabel his
wife. Land in Chesthnnt. (1598) Thos. Hitchin : Thomas Campion and
Anastasia his wife. Messuage and land in Stevenage. (1591) Edm. Nodes
senior gent, and Edw. Norwood, gent. : William Campion and Susan his wife.
Land in Stevenage and Graveley. The Campions mentioned in these docu-
ments belonged to the Essex family. The fact is also suggestive that Margaret,
daughter of Thomas Campion of Essex, married Henry Brograve at Buntingford
in 1574, and on his death married Edward Gyll of Anstey, where she was
buried in 1605. A child of the first marriage was Sir John Brograve, who
married Margaret, daughter of Simeon Steward of Ely, and sister of Augustine
Steward, of whom see p. xix. '^ v. infra, p. xiii.

* See map. The Subsidy Rolls and Feet of Fines are transcribed in the
Herts. Genealogist and Antiquary.

X Introduction.

Campion, g.' paid iijj. iiij</., and the registers' of the parish
disclose the existence of a large family of Campions resident
there. The Christian name of John is very frequent among
these people, and it is accordingly harder to identify the
poet's grandfather. But, as will be seen hereafter," he seems
to have married into a family equally prevailing in the neigh-
bourhood,' which bore a name rendered indifferently as Bawcock,
Beaucock, or Bucock \ the middle form, I take it, being that
which reconciles the dissimilarity of the others. The fruit of this
union was John Campion, the younger.

So far, with the exception of one piece of documentary
evidence, we have been mainly on the ground of inference, but
with this next generation we gain more certain footing.

Of John Campion, the poet's father, we leam nothing until
1564, when he espoused a widow who was a small heiress in her
own right and comfortably off besides. From Chester's London
Marriage Licences we gather that ' John Campion, of St. Clement
Danes, gent, and Lucy Trigg, widow, of St. Andrew's, Holborn ',
obtained a licence on June 21, 1564, for marriage at St. Andrew's,
Holborn. The marriage was accordingly solemnized at St.
Andrew's, in the registers of which parish stands the entry
' William Campion, gent, and Lucy Trigg maried the 26 June '
(1564), a curious instance of an undeniable error in what is
usually such a reliable class of records.

It will now be not amiss to give some account of the origin of
Lucy Campion, the poet's mother, whose maiden name was
Searle. Walter Searle, Mawde his wife, and Thomas Searle

' The registers show 24 baptisms between 1 545 and 1594; 6 marriages between
1541 and 1564; and 13 burials between 1541 and 1592, — of persons bearing this
name. ^ v. infra, p. xxii.

' There were also Campions at Brent Pelham in the same neighbourhood.
In A bill dated 17 April, 12 Elizabeth (1570), Thomas Campion sued John
Rowley in the Court of Requests (XXXVII, 71) for the recovery of certain
copyhold property in Brent Pelham, formerly the possession of Raafe Campion,
from whom it devolved upon his brother John Campion, the complainant's
father. It is clear from the date, however, that this Thomas Campion was not
the poet, but they must have been of the same family.

Rauf or Ralph Campion was vicar of Brent Pelham shortly before this time ;
his will was proved in the P.C.C. in 1552 (16 Powell). On the dissolution
of the Abbey of St. Albans in 1539 he was granted by Henry VIII an annuity
of <C6 13^. 41/., by a charter dated December 14, 1539, making compensation to
the dispossessed monks. He is also mentioned in the Composition Papers
(P.R.O.) for Herts, as 'Radulphns Campyon, Pelham Arsa, 4 Nov., 33
Henry VIII '.

Introduction. xi

their son, who were living in 22 Edward IV (1483), are the
earliest of her ancestors whom we can trace; and Nicholas
Searle,' described as a ' monyer ', i. e. a money-changer, or banker,
son and heir of the bodies of Walter and Mawde, was a brother
of Thomas, and became the grandfather of Lucy Searle. By his
will made on January 6, 1535, he devised some property in
Hoxton and Homsey, of which that in the former neighbourhood
afterwards devolved upon Lucy, and became the subject of
considerable litigation. He died on February 2, 27 Henry VHI
(153!), and his wife Alice, surviving him by a few years, died
in or about 31 Henry VIII (1540).

His son Laurence was a member of a body of officers of whose
functions at this time little seems to be known, the Serjeants-at-
Arms in attendance upon the sovereign. As originally created
the office stood limited to persons of knightly rank : whether this
was so or not in the sixteenth century, the posts were reserved
for gentlemen of good standing, and the appointment was pre-
sumably deemed an honour. Besides attendance on the sovereign
as a kind of guard of honour, their duties comprised the arrest
and possibly custody of noble offenders and those charged with
breaches of parliamentary privilege ; which province of their
function survives to the present day, the Serjeants-at-Arms at the
Houses of Parliament being in theory deputed by the sovereign
to attend the Lord Chancellor and Speaker respectively, to guard
the observance of due privilege, and to execute the warrants and
orders of each House during Session.

Laurence Searle and his wife Lucy had two children, a son,
Leonard, and a daughter, Lucy, afterwards the poet's mother.
Leonard, who had married Johan, daughter of Robert Sonning,
draper, of London, predeceased his father, dying about July 17,
1568; and letters of administration of his estate issued to his
relict out of the Commissary Court of London, on July 27, 1568.
Laurence Searle himself died on January 26, 156!, and administra-
tion of his estate issued out of the same Court — his wife, who

^ As to Nicholas Searle and his descendants, see Feet of Fines, Middlesex,
34 Henry VIII, Mich. : — Nich. Serle, Thos. Armerer, Lanr. Serle, and
Thomas Austen : John Williams and Elizabeth his wife. Land in Hoxton and
Fynnesbnry. 2 and 3 Ed. VI. Hil. : — Sir Clement Smythe, Kt., and Thomas
Curtis : Henry Searle and Alice his wife. The manor of Wyke and premises in
Wyke, Hackeney, Stebenheth, Hoxton, Islington, and Shordych, &c., Co.
Middlesex, and premises in Counties Cambs. and Essex. 10 Eliz. Trin. : —
Thomas Estfielde and John Kaye, gen. ; Leonard Searle and Joan his wife.
Premises in Hoxton and Homsey. (Hardy & Page.)

xii Introduction.

died about October 29, 1553, having predeceased him — to his
daughter Lucy, then the wife of John Campion, on August 27,
1569. Several years before this, Lucy had married Roger Trigg,
an attorney of the Common Pleas, by whom she had one child,
a daughter named Mary. But he had died, presumably in 1563,
for letters of administration of his estate were granted on
November 11, 1563, to Lucy Trigg, out of the Prerogative Court
of Canterbury.

An investigation into the probable means by which the persons
concerned in this history came together is instructive as illustrating
our previous assumption as to the local origin of the Campion
family. The Searles were apparently settled in Hackney, while
their landed interests were in Hoxton, Hornsey, and Shoreditch.
At the same time Laurence Searle is referred to as ' ar(miger) V
and there was an armigerous family resident at Epping, North
Weald, and Bobbingworth in Essex, to which he may have
belonged. The Triggs were Hertfordshire people, and from the
same neighbourhood as the Campions. There were Triggs at
Barkway,* Furneaux Pelham,* and Wyddial,* all villages within
a few miles of each other and Anstey ; while Roger Trigg himself
was concerned," either professionally or in his own interests, with
property in Brent Pelham* and Stocking Pelham,* as we learn from
the Feet of Fines. But he was also similarly concerned with
London property ; and, of course, as an attorney he must have
spent much time in London, where he probably met and married
Lucy Searle. Roger Trigg was probably, therefore, the means by
which his wife became acquainted with the Campions ; and to
their proximity as neighbours we may assign another intimacy,
that of Augustine Steward (of whom more hereafter) with this
little circle. Steward, Campion, and Trigg were either originally
neighbours in Hertfordshire or sprang from families who had
become acquainted in this way.

In 1564, then, John Campion married the widow of Roger

1 Eg. MS. 3599, f. I.

^ See Feet of Fines, Herts., 2 & 3 Phil, and Mary, Trin. :— Roger Trigg,
gent. & Robert Aprice : William Walgrave, gent. & Katherine, his wife.
Manor of Brent Pelham alias Grays & Chamberlens, & messuages & lands in
Brent Pelham & Stokkyng Pelham. 3 & 3 Eliz. Mich. :— Tho. Brand : Roger
Tryg, gent. & Robert Aprice. Lands in Brent Pelham.

Feet of Fines, London, 1 & 2 Phil. & Mary, Mich. : — Roger Trygge, gen. :
Thos. Devyne als. Deane, & Elizabeth, his wife, late the wife of Giles
Harryson deceased. A messuage & brewhouse called le Reed Lyon &
3 gardens in the parish of St. Botolph in Est Smythfelde.

* See map.

Introduction. xiii

Trigg. They had two children, the elder a girl, Rose, who was'
christened at St. Andrew's on June 21, 1565, and a son, Thomas
Campion, the poet, ' borne upon Ash Weddensday being the twelft
day of February, An. Rg. Eliz. nono,' and cristened at St.
Andrewes Church, in Houlborne,' as the registers of that church
inform us, on the day following his birth.

Whether John Campion was possessed of any considerable
means prior to his marriage, or whether, as appears rather likely,
he was indebted to a prudent marriage for a start in life, all the
facts at present extant concerning his career date subsequently to
that event. In 1565 he was admitted to the Middle Temple.
The Minutes of a Parliament held at that Inn on July 26, 1565,
record the admission of ' John Campion, son and heir of John
Campion of Dublin, Ireland, deceased ' ; while the Latin entry
runs, 'Johgs Campion fils & heres Johnis Campion nup. de
Dublina in Hibnia defunct, admissus est in societate medij
Templi spec(ialiter) ^ xxvito die Julij Ao Eliz. reginae Septimo
p. (per) mfiim (magistrum) Bell Lectorg '. He does not appear
to have, been ever called to the Bar, but possibly this was not
his object; for in or after 1566 we find him in enjoyment of the
post and privileges of a Cursitor " of the Chancery Court, for which
it was, no doubt, necessary to qualify by a course of legal study.
These Cursitors, Clerks of Course (clerici de cursu, to follow the
traditional derivation) were a body of 24 or (according to one
account) 19 officers, who drew up the writs of the Court
de cursu, i. e. according to routine. These posts, though not so
Valuable as those of the Six Clerks, were yet worth having, for
according to the MS. below cited,* the remuneration of the whole
19 was 'not so little as 2000I' per ann.', and, originally in the
gift of the Lord Chancellor, the posts ' are brdinarily conferred to
others at the Rates of a thousand pounds a thousand markes,
vc'*, and viijc'' ' ; from which we may infer that some of them
were of more value than others as involving larger salaries.
Doubtless, therefore, some ready money was required to secure
the appointment, and possibly it was furnished by Lucy Campion.

The knowledge of his occupation may help us to make at
least a plausible guess as to the exact locality of John Campion's

I Eg. MS. 2599, f. 30 : that is, Feb. 12, 1567.^^

^ ' Special ' admission was, as a matter of fact, the rule, and implied
admission to the whole Inn with all its privileges. ' General ' admission was
exceptional, and implied partial admission only, as, e. g. to chambers.

^ V. infra, p. xvi. * MS. Titus Bv., f. 302.

xiv Introduction.

residence. It appears that there was a Cursitors' Office or Inn
in Chancery Lane for the reception of these officers, in fact, an
official residence for them. Stow says (p. 163): 'In this street
(Chancery Lane) the first fair building to be noted on the east
side is called the Cursitors' Office, built with divers fair lodgings
for gentlemen, all of brick and timber, by Sir Nicholas Bacon,
late Lord Keeper of the Great Seal.' Stow is apparently working
from the north, but if we assume this Inn to have been some-
where at the present junction of Cursitor Street and Chancery
Lane, it fulfils the necessary conditions of John Campion's
residence, which must have been both in the parish of St.
Andrew's, and within the city boundaries.' These ran, and still
run, from the spot where a stone now stands by Staple Inn down
to Temple Bar, cuttmg through Chancery Lane obliquely, and
including its south-eastern portion together with Cursitor Street.
In this ' fair building ', therefore, we may, with some show of
likelihood, conjecture the poet's early days to have been spent.

In his wife's right John Campion was involved in considerable
litigation. In 1567 he was sued in the Court of Requests by
Henry Lord Morley for the restitution of the title-deeds and
court-rolls of the manors of ' Brent Pelham, Greyes, and Chamber-
lyns ', which had come into his hands in a somewhat curious
fashion. Roger Trigg had in some way gained possession of
these title-deeds, but in what capacity is not clear. From the Feet
of Fines already quoted (footnote to p. xii), it is clear that he was
concerned with these manors ; and upon his death the title-deeds
and court-rolls passed to his relict, in whose right John Campion
stood possessed of them. Lord Morley, by reciting the legal
devolution of the property, proves that the deeds should be in
the possession of one William Walgrave (who was, as a matter of
fact, merely trustee for himself''). John Campion acknowledges
the manner in which the deeds came into his hands, but declines
to give them up without an order from the Court, inasmuch as
there were rival claimants to them, viz. William Walgrave and one
Thomas Brand.' Finally, however, he offered to lodge them with

' V. infra, p. xvii.

^ See Sir H. Channcey's Herts. ' Henry Lord Morley convey'd the Manner
(Brent Pelham) to — Walgrave, Esq., who held Courts here in his own Name,
but it seems it was only in Trust, for this Henry and Elizabeth his wife,
daughter of Edward Earl of Derby, by whom he had issue Edward. . . . Edward
by deed of the 14 of June, 27 Eliz., convey'd this Mannor ... to John Lord
Slurton' (p. 141).

^ See Feet of Fines, Herts., in footnote to p. xii.

Introduction. xv

the Court, to be awarded at its decision. It was alleged by
Morley that Trigg was enfeoffed of the property merely to the
uses of William Walgrave's father. This seems on the whole
likely, and Campion, while acting judiciously in refusing to part
with the documents while there was a disputed title to them,
made no effort to retain them for himself.

In 1569, however, he was involved in a far more tedious
course of litigation, pursued through both the Chancery Court
and the Star Chamber, though with, ultimately, greater profit.
On the death of Laurence Searle in 1569, certain property at
Hoxton ' should have devolved upon Lucy, but her husband had
to resort to law to establish her rights. Briefly, without entering
into the numerous side issues of the case, the facts were these.
By the will of Nicholas Searle the property was entailed ; and on
the death of Laurence Searle — his only son, Leonard, having
predeceased him and died without issue — it descended to Lucy.
Leonard Searle's relict, Johan, had, however, married one Yvon
Gray, who, claiming in her right, alleged the feoffment of certain
persons in the property by Laurence and Leonard Searle, as
trustees for the latter and Johan Sonning on the occasion of
their marriage, equivalent, in fact, to the barring of the entail and
resettlement of the property in their favour. That the feoffment
was contemplated and partly carried out, was not denied, but the
litigation turned mainly upon . the question as to whether the
memorandum of livery of seisin endorsed on the deed of feoffment
was authentic, and whether, in fact, possession was ever formally
surrendered. to the feoffees.

The first suit was commenced in the Court of Chancery,^ when
John and Lucy Campion filed a bill dated April 27, 1569, against
Yvon Gray and Joan his wife, apparently for restitution of the
title-deeds. The facts as already stated were recited at great
length, but from the state of the papers it is not possible to arrive
at the upshot of the case, except that (as we learn from the sub-
sequent proceedings) by an Order of the Court of April 29,
1569, it was decreed that Gray should bring an action of eviction
against Campion in the Common Pleas, and that, instead of doing

' By the aid of a qnaint map in Eg. MS. 3599 it is possible to identify the
position of this property, a house and abont three acres of land. It formed
a strip running east and west ; abutting eastwards on the ' via regia ', or king's
high road, to Ware, now the Kingsland Road, and westwards on the Hoxton
High Street. It occupied roughly the site of the present Diysdale Road,
though, of course several times wider.

" Chancery Proceedings, Eliz. xliv. 36.

xvi Introduction.

this, he granted a lease of the property to certain persons, who
themselves brought actions for eviction against Campion's tenants.

The proceedings were followed by two suits in the Star
Chamber. In the first' of these, Campion and his wife sued John
Turner, in a bill dated November 24, 1572, for forgery in the
matter of the feoffment above referred to, and perjury in the sub-
sequent proceedings ; it being alleged that the defendant, as the
attorney who acted in the matter of the feoffment, forged the
name of Thomas Dunkyn, tenant of the property, as witness to its
livery of seisin, and committed perjury in giving evidence at the
previous trial. The second suit,* begun in the following year by
John and Lucy Campion, pressed the same charges against
Turner, with the additional allegation that, whereas the deed of
feoffment was never properly executed by reason of the absence
of the chief parties on the occasion of livery of seisin, Turner,
when confronted with this fact at the first trial, declared that he
was empowered to act for the parties by Letters of Attorney, and
when pressed for the production of these Letters of Attorney, first
temporized and finally produced a document which, as the con-
dition of the writing and seals proclaimed, was obviously ' faked '.

As these latter papers merely consist of lists of interrogatories
to be administered and the replies thereto, it is not possible to
ascertain the result of the action, but in the end John and Lucy
Campion were successful and gained possession of the property.'

But the interests to which John Campion became entitled in
right of his wife were not always beneficial. He was sued in the
Chancery Court ^ by one John Box, in respect of a debt of
£6 1 1 J. "jd. due to the complainant from Thomas Trigg, Roger
Trigg's brother, for £4 of which the latter had become surety*
His liability had devolved upon John and Lucy Campion through
the latter's grant of representation to her first husband. The
papers are badly damaged, and it is accordingly difficult to glean
a coherent story from them ; but we learn that Box had already
got a judgement in some other court against Campion, who
denied its jurisdiction, pleading the privilege to which, as a
Cursitor, he was entitled, of being sued in the Chancery Court
alone. The upshot of the matter is entirely obscure.

It is clear that the poet's father during these years must have
occupied a position of comfort, if not affluence, for in 1569* he

1 Star Chamber Proceedings, xxx. 35. a Ibid., xxxix. 40.

' See Eg. MS. ic,^^ fassim. < Chancery Proceedings, Eliz. xxxvi. 46.

The papers bear no date, bnt the litigation must have been later than 8 Eliz. by
which time Trigg's estate had been administered* "> Eg. MS. 2599 f. 65.

Introduction.

xvu

purchased the leasehold property, Aveley or Alveleigh Parsonage
(near Purfleet,^ in Essex), from Henry Northey, of Lambeth ; while
he occupied property in Brokenborough "^ (near Malmesbury, in
Wiltshire), and rented other farms, possibly in the same neighbour-
hood. He was also a pillar of the Church, having been elected
one of the Assistants or Vestrymen of St. Andrew's. Stowe
MS. 795 (f. 152) contains a document which is almost an exact
copy of an original memorandum in the registers of that parish,
relating to a ' Confirmation of Assistants '. It runs : — ' Where (as)
Hugh Wadylow one of the assistants hath misbehaved himself
We the parson and assistants now being have in his place
chosen John Campion, Gen. 3 Nov. a.d. 1573.' The original
document in the registers adds the information that he was chosen
assistant ' within the barres ', i. e. for that part of the parish which
fell within the city boundaries ; and, as we have already seen, the
residence which we have assigned him on presumption fulfilled
this condition.

John Campion is always described as ' gentleman ', or ' gen-
(erosus)', but it is possible that he may have aspired in his
prosperity to the more honourable title of 'armiger'. Harl.
MS. 1072, which contains collections of coats-of-arms borne by
different families of the same name, includes such a collection of
those borne by persons of the name of Campion, hastily tricked in
pen and ink (f. 4). Among these is the following coat stated to
belong to ' John Campyon '.

Now, I have not come across one other John Campion of any

1 There were Campions in the neighbourhood of Pnrfleet, of what family is
not clear. The will of John Weme or Wembe, alias Campion, proved in the
P.C.C. in 1568 (21 Babington) refers to a limekiln in Purfleet; and on the
same matter of a limekiln in Purfleet John Campion sued Henry Griffin in
Chancery (Chancery Proceedings, Series II, xxxi. 57).

2 V. infra, pp. xxii, xxiii.

xviii Introduction.

standing besides the object of the present narrative. Further, I
take the central object, which is very rudely sketched in the MS.,
to be a campion flower, and such ' canting ' arms would be pre-
cisely the kind that a man of the name would devise for himself,
having none by right of inheritance. This charge of a campion
flower is met with in none of the other bearings, and the only
point of similarity between this coat and any of the others is the
bordure engrailed, which is found upon the shield of Sir Richard
Campion, one time Lord Mayor of London, of whom I can learn
nothing. But these arms were never granted by the Heralds'
College, and if they had any connexion with John Campion, he
must either have worn them without licence, or, which is equally
likely, devised them with a view to securing a grant, which, how-
ever, was forestalled by his death.

For he died in October, 1576, at an age which, without having
certain knowledge as to the date of his birth, we can only con-
jecture by reference to his contemporaries to have been extremely
early. He was buried at St. Andrew's on October 8, when
the large sum of £50 ' was expended on his funeral. If there was
a monument, as appears likely from the amount of the expendi-
ture, it has disappeared. On October 10, letters of adminis-
tration of his estate issued to Lucy Campion, relict, out of the
Prerogative Court of Canterbury, and soon afterwards the parish
church records his vacation of the post of Assistant in the same
way as it announced his appointment : ' Whereas John Campion,
Gent, one of the Assistants is Deceased. We the Parson and
Assistants now being have in his place chosen John Cowper
Gent. 6 Dec. a. d. 1576.'

After her bereavement, Lucy Campion shook the dust of
London from her shoes and departed to her late husband's
\ property at Brokenborough, where she resided, presumably with
her children, for the better part of a year. But she was not
I destined to mourn alone. Before the expiration of a year she was
\ negotiating with a view to a third venture into matrimony, this
time with Augustine Steward, whose name has already been men-
tioned in these pages.

Augustine Steward was the sixth son of Symeon Steward of
Lakenheath, Suffolk, and grandson of Nicholas Steward, of a
family spread over the north-easterly home counties which was of
considerable standing and importance, and from which Oliver

^ V. infra, p. xxii.

Introduction > xix

Cromwell,* the Protector, was descended through his mother, ;
Elizabeth Steward. The generation to which Augustine belonged
included several brothers who appear to have won a reputation as
examples of brotherly love and amicable concord." Augustine
Steward himself was born in 1542; he was, in 1573 at any rate,
one of the Queen's Serjeants-at-Arms, and he appears to have
been a friend of the Campion family, for he gave evidence in that
year in the Star Chamber suit against John Turner, and in 1574
John Campion apparently witnessed a deed ' of his. Steward had
considerable landed interests in Hertfordshire and the neighbour-
ing counties, while a branch of the family, that of his brother
John, had actually setded in Braughing,* within a few miles of the

1 The Protector's mother, Elizabeth Steward, was grand-daughter of
Nicholas Steward, Augustine's grandfather.

» MS. Ravsrl. C. 929, f. 66b.

» Eg. MS. 2599, f. 17.

* Augustine's brothers, John Steward and Nicholas Steward, D.C.L.,
purchased the manor of Braughing from Thomas, Lord Howard. Nicholas
first held a court there on 34 Oct. 4Eliz. Eg. MS. 3599 is Steward's book of
accounts, containing also copies of the title-deeds of his properties. These
included estates in Wisbech, Guilden Morden, Bassingboum, Ely, Hoxton,
London (Glastonbury Place, in Smithfield), Stradsett, Ontwell, Aveley,
Barking, Canewdon Rectory, and Hadham. There is also the title-page of
a volume which belonged to him in the Bodleian (MS. Rawl. D. 1387, fo. 305)
containing his signature, and coat-of-arms. He is also mentioned in the
following records : —

Feet of Fines, Herts., 37 Eliz. Hil. -. Augustine Steward : Simeon Brograve
and Dorothy his wife. Manors of Albnrye, Braughin, and Pelham. (See map.)
Close Rolls, 36 Eliz. Pt. 10 ; 37 Eliz. 4 ; 38 Eliz. i, 18, 34, 27 ; 39 Eliz. 23 ;
30 Eliz. 14, 16. Court of Requests, cxxxiii. 39 : Sir Henry North against Thomas,
Augustine, and Nicholas Styward, concerning the purchase and removal of
firewood. (Suffolk) xxxvi. 23 ; Rowland Argall and Dorothy his wife against
Augustine Steward and others, concerning a sum of money required to procure
the office of the Clerk to the Council of Connaught. xxx. 104 : Nicholas
Walterton against Augustine Steward and others, concerning a tenement in
Fleet Lane, London.

'Augustine Steward, Lakenheath, Suffolk,' was admitted to the Inner Temple
in April, 1564. By his second wife, Anne, he had issue: Margaret, Thomas,
Augustine, Simeon, Anne, and Mary. Of these children only one of each sex
survived him — a daughter, Margaret, and a son, Austen, who succeeded to his
estates, and, described as of ' Hogsden, Middlesex ', was admitted to Gray's
Inn on January 29, 1622. Augustine Steward, the elder, died in 1597, and his
will was proved in the P.C.C. in that year (45 Cobham). Thomas Campion is
not mentioned therein. He was buried at Braughing, in Herts., in which
church a mural monument was erected to him. This monument, which is in
the chapel north of the aisle, consists of a half-length portrait figure in
armour and a ruff, with his arms above; or, a fess cheeky arg. and az.
surmounted by an ineScutcheon of the second charged with a lion rampant of

b2

XX Introduction,

other Hertfordshire villages mentioned. It was not strange,
therefore, that the families should have been acquainted.

In 1575 he apparently held the Patent of Keeper of the Park
at Downham, in Cambridgeshire, not far from his parents' home
in Lakenheath, and in connexion with this and other matters
he fell exceedingly foul of the Bishop of Ely, Dr. Cox. Strype
{Ann. II, App. i. 5 1) quotes some interesting papers recording
the matter : —

A large book of sundry articles of Complaints against the
Bishop of Ely with his answers to each.

XI. Austen Sty ward having the keeping of the Park at Downham
demanding his Fee of the Bishop, it was withholden and denyed
chalenging the forfeiture of his Office, for that the Chapel within
the House of Downham was made a Milk-house. The said
Styward and a minister with him were both indicted for breaking
of the Milkpans. The Minister having a living of 16 1. pension
in Ely he was forthwith suspended from his Living, and ministring
within the Dioces of Ely. No Copies can be had of the Indict-
ments : and the said Styward must yield Fine at the Bishop's
plesure, or else ly in Prison.

Answer. I never denyed him his Fee, albeit he never did me
Service but this : In mine Absence he entered into mine House,
and brake up my Chapel Doors. And whereas in the Heat of
Summer, for two or three Days in the Time of Thunder my woman
had set her Milk pans in a cold place of the Chapel, he spurned
them down with his foot. And Dr. Turner misliking of his Doings
the said Styward with lavishing words termed him Dr. Pispot.
I suppose this is not the office of an House-Keeper. Notwith-
standing I meant not to take any forfeiture of his Patent. For
since that time he hath received his Fee. But for his leud Dealing
and abusing my House, and breaking up my Doors, he and his
chaplain Peter Tye ^ was discharged of his service by my Chancellor
justly. For divers of Ely have been most offended with him for
his Negligence in Teaching and Catechizing the Children. And
also for that he is a common Dicer, a common Bowler, and a
common Hunter and is indicted for killing of Deer. And I ought
not to suffer him to be Parish Priest and a Minister in the
Cathedral Church also and to keep his Residence in Ely having a
benefice in Northfolk. And yet notwithstanding I cannot drive him
from Ely to his Benefice. And no mervail ; for an evil Beginning
the third debruised by a bendlet raguly of the first. This is the coat contained
in the book above mentioned. Below the figure is the inscription : — ' Augustine
filio Symeonis Stewardi de Lakengheath, Suflfo' Armigeri, moestissima sua
conjux Anna, filia Thomae Argall, armigeri, posuit, per quem habuit filium et
filiam, tantummodo virentem tempore mortis suae, anno Domini 1597.'

1 ' Peter Tye, clarke,' witnessed an indenture and a recognisance for Steward
in 1576. See Eg. MS. 2599, f. 51, .

Introduction,

XXI

seldome hath a good Ending. His Father Dr. Ty hath told me
and others not without grief that he wrote a letter counterfeiting his
Father's hand and carried it to my Lord of Canterbury, and by that
means was made Minister.

The Dr. Tye referred to was, be it noted, the famous Dr.
Christopher Tye, composer, and Master of the Choristers at Ely
Cathedral.

Some ten months, then, after the death of John Campion,
Augustine Steward paid his addresses to the former's widow and was
favourably received. Matters were in the first place put upon a
sound business footing with reference to her property. By a deed
dated August' 19, 1577, she assigned the whole of her possessions
to Steward in consideration of marriage and of certain provisions
for her children which Steward bound himself to make. These
are set forth in the title-deeds*oftheAveley property, which recite
the circumstances and the deed of gift as follows : —

Wd that Lucy Campion administrator of the goods and chattels
of John Campion hir husband decesed by Lres of administracion
to hir graunted out of the progative Court dated the tenth of
October An" Dom 1576 did among other things and for and in
consideracion of a mariage w'in two dayes followinge between hir
& Austin Steward to be solemnized w«*i accordingly in the Churche
of St. Dunstans in the est was done, & for & in consideracon of
dyvers bonnds w"''^ the said Austin entred endorced w'^ condicion
to paye Mary Trigge fifty pounds Rose Campion \f li. at her
mariage and Thoiiis Campio xl pounds by yere during his lyffe or
xiii score pounds in money being all the children of the said Luce,
she the said Luce by hir dead of gift among other hir chattels did
convaye the said psonage of Alveleighe as foUoweth

To all to whom this psent writing shall come be it knowen that
I Lucye Campion of houlborne in the suburbes of the Citye of
London wydowe do by theis psents gyve graunt & confirme unto
Augustin Steward gent, his executors administrators and assignes
to the only use and behofe of the said Augustin his executors
administrators and assignsall & all mann my goods chattels depts
lesses implemts houshold stoffe & things what so ever as well quicke
as dead moveable & unmoveable of what so ever kind qualite or
condicion the same be or in whose so ever hands or possession
the same remayne & be To have hould & enioye to the said
Aug. his executors administrators and assigns as his and thir
owne pp goods for ever In witnesse whereoif to theis psents I the
said Lucye have put my seale. yeven the xix day of August in
the xix yere of the Raigne of o Soveraigne Lady Elizabeth by

• Eg. MS. 2599, f. 69.

xxn

Introduction.

the grace of god quene of Yngland france & Yrland defender
of the faithe etc etc

1577

Lucy Campion

Sealed & delivered in the psence of John Cowp. & John Walker
the writer hereof.

As the recital states, the marriage duly took place at St.
Dunstan's in the East, in Idol Lane, within two days of the
execution of the deed, viz. on the 2rst August,^ and Steward
obtained possession of all the property which had devolved upon
Lucy as Administratrix of Roger Trigg and John Campion. From
his detailed account of the whole transaction given below, it does
not appear that he was much the gainer. [Eg. MS. 2599, f. 62.]

A breif accompt of the goods of Mr. Campion which came to
my handes made 20 novembr. 1577.

First the inventorie of all his goods at London & Brokenborough
exhibited & del. unto the prerogative ofiScer xxiii novembr. Anno
1577 amontinge (to) in both places in all to 1035 12 9

whereof deducted

3li\

Besides ye rents
of his farmes, ser-
vants wages S5I'

sol

50^

Paid to him 260I'

for funerall expenses

for detts mentioned in the 304
inventory

To be paid to Mary Trig in^
consideration y* divers goods
remayning in the hands of
mistris Campion were Mr.
Trigs and so not administered

To Rose Campion for her
porcion

To Thorns Campion an anuite]
after 40!' by ye yere duringev
his liffe j

undg remanet 1

deSma 1035. 12. 9

\ 864"

60"

1711

12

note that xiii'i vi' viii<i due to the testator mentioned in the
inventory was nev^ yet paid as by the bill obligatorye of
Bucocke " appeth quia admodum paup. est et Avunculus intestoris.
Of which i7iii 12' 9'! Mrs, Campion before my mariage had lent
to Mr. Barnard Brocas upon his bill oblig. 7 61' whch could not
be had nor recovered from him in vii yeres after and until more
was spent in pouring him to be arrested then the det amonted

• The entry under that date is : ' Augusthyne Steward & Livcy Campion.'
2 V. supra, p. X.

Introduction. xxiii

vftto and among othF charges expended Wait had xx'i to get him
staid in his house, also to Mr. Harecourts men x'i to get him
staid in his Mrs Lodginge and last iiij'i to two Sergeants watch-
ing in fletstreet ij or three nights for him.

Item ther was sould to him Brocas of the goods mencioned in
thinventorye as much as by a bill of the pticulars amonted to lo" 9^
lo'l which could never be recovered

Item left him to kepe other pticulars whl» remayned in the
house at brokingboroughes till it was sould valued at iiij never
yet had againe

Note that margret Jarvis aucthorised by mistres campion to
sell her things at Brokingb. sould the hay and other implemts
there for lesse then they were prised by 3ili

And divers to whom she sould divers peels being pore folke
never were able to pay for them, and so the det still remayneth
arid mergret Jarvis upo her accompt was found in arrerage above
xli wh*! she never paid leving w* me at hir going away a bill of hir
hand for it. note also that gomershall upo the sale of Brokkingb.
beside such implemts as he bought ther were left divers pticulars
as a stacke of bavine ' and a gret deale of tall wood & sundry other
things whch after his graunt made could never be had from him

Item I had bought of hir before mariage all hir horses to the
value of xxxv^i 6^ 8<l

Item Mrs. Campion maintayned hir selfe & hir familie one
whole yere off the stocke before she was married cc''

Item I paid unto Bartholomew fild ^ kinsman to Mr Campio as
det to him due by Mr Campion as by a letter and a bill of filds
hand appereth iij'i ij'

Item I paid to one Wm East for a legacy unto him bequethed
by alice Bendbrig whose executore Mrs Campion was, as by his
acquitance apperith xl'

Note Mrs. Campion gave awaye to divers hir husbands pore
kinsfolke sundry of his goods and all his apparel

note also all her widdowhood being almost one yere she lyved
of the stocke

' Bundles of brushwood or light underwood, differing from fagots in being
bound with one withy instead of two.

^ Bartholomew Field. His will was proved in the Commissary Court of
London, November 16, 1608. As this will (in which he is described as
a citizen and ironmonger of London) was witnessed by one George Searle, it is
probable that Field was related to Campion through the latter's wife's family.
He was executor of the will of Robert Parminter, proved in the P.C.C. in
1581 (11 Tirwhite) and was sned in the Court of Requests (cxxii. 10) in
connexion with his administration by Thomas Hall. He was also sued in
Chancery (Eliz. F. vi. 7) by Nicholas Woofe concerning money matters.
There was an old and distinguished family of this name in and about Standon,
Herts.

xxiv Introduction.

further the greter pt of the napery and divers other implements
valued in the inventory were the very goods of Rogr Trig whose
administrator Mrs Campion was and never administered, where-
fore they should not have come into the inventory of Mr
Campion's goods.

So deductis deducend. & allocat. allocand. there came to
my hands the remaynd. of the 171'i la' 9"! with the charge there-
upon depending.

I had also by mrs. Campion as much copi hould land as
I sould for 100 marks & the house & land at Hoxton demised
w'out fine to Jo. Curwin for x*" by the yere woh since I offering to
sell because it is liable to a recog. knowledged by Mrs. Campio
upo the sale of Brokingb. I could not get for it above leo*".

Au stewarde
I do accompt the expenses of Mrs Campion that yere she
was wedow at 2oo'> : detts not paid w* charge & expenses in the
Law about obteyninge them 100^: goods gyvenaway; losse on
the sale of other goods deteyned by gomshalelxx^'
So in substance hir land excepted she was worse than enything
by 2oo'i

Au Stewarde.

The will of Alice Bendbrig is interesting, for Lucy Campion's
children were legatees thereunder to a considerable extent. By
this will, made June r8, 1574, and proved in the Bishop of
London's Court on July 7, 1575 (215 BuUocke), the testatrix,
therein referred to as Alice Benbricke, made Lucy Campion
her executrix, and bequeathed to Thomas Campion ' a bason, an
ewer, a quart wine pott, and a damask napkin ' ; to Mary Trigg
' a diaper table cloth with open-work, two dishes, and two platters ';
and to Rose Campion ' a diaper towell, a wine pottle pott, two
dishes, and two platters '. The payment of 40J. to William East
referred to appears to have been in satisfaction of a legacy of
' a hart of silver-gilt and a ring gilt ' in favour of the testatrix's
' cousin Isabell's boy '. The residue of the estate was given to
her three sisters" daughters, and, in default of them, in equal
shares among Thomas Campion, Mary Trigg, and Rose Campion.

Lucy had no children by Steward, and did not long survive the
marriage. She died in March, is|f, and was buried in
St. Andrew's, the entry running : ' Luce Steward ge'w. (gentle-
woman) buried the xvij tdfK^ Letters of Administration of her
estate, in which she is described as 'Lucy Campion, otherwise
Steward ' of the parish of St. Andrew's, Holborn, issued some

' One of these, Alice Bageley, was one of Steward's tenants. (Eg. MS.
2599, f. 231.)

Introduction. xxv

years later, on May 7, 1584, out of the Prerogative Court of
Canterbury to Augustine Steward.

Steward, thus saddled with his orphan stepchildren, did not
long remain a widower. On the 26th January following his first
wife's demise (January 26, is8fl), he married at Great St.
Bartholomew's, Anne,^ daughter of Thomas Argall and relict of
Clement Sisley, of Barking, who brought him yet another stepson,
Thomas Sisley, a lad of about the same age as Thomas Campion.

There is no evidence of the latter having attended any of
the great schools of the time, though we should remember
that there was an excellent grammar school in connexion
with St. Andrew's, and, close at hand also, the old foundation
of St. Thomas Aeon.'' But doubtless it was now high time
that his education should be commenced in earnest, and, possibly,
Anne Steward may have adopted the attitude usually associated
with the title of stepmother. However this may be, the two boys
were packed off a few months after the marriage to Peterhouse,
Cambridge, where they were entered as gentlemen pensioners.
Of Mary Trigg we hear no more ; Rose Campion continued to
live unmarried with the Stewards until 1592, after which date we
lose sight of her also.

Having regard to the local interests of the Campions and
Stewards it was natural that Cambridge should be the University
selected. Further, the famous Dr. Perne, who was at this time
the Master of Peterhouse, was also Dean of Ely, and it is possible
that Steward, who certainly had business dealings with him in
his latter capacity soon after,^ may have been acquainted with him
already. But the choice of Peterhouse at this time requires no
explanation, for it was passing through one of the most flourishing
stages of its whole career.

The two lads did not matriculate, and no admission registers j
were kept by the College at this period. But the Buttery Books
give the surnames of members, and in the entries under the date
of May 13, 1581, the name ' Campyon ' first appears, followed by
that of ' Sizley ' in the October term next after. The two names
gradually approximate by removals until they stand together at
the very head of the undergraduate list, their last appearance
before finally vanishing being under the date of April 26, 1584.

Steward, who appears to have been a methodical person in all
business matters, kept careful accounts of his stepsons' expenditure

1 Eg. MS. 2599, f. I. ^ Now the Mercers' School, Holborn.

* V. inira, p. xxvii.

xxvi Introduction.

at Cambridge from Christmas, 1582, which, if not unique, are
sufficiently interesting to be given in full. We may riote that they
occupied a study apiece, but a bedchamber in common, and that
the living expenses were calculated upon a basis of fifty-two
weeks in the year, from which it may be gathered that they did
not return home during the vacations. [MS. Eg. 2599, f. Z33-]

Allowance for Thofns Sisley and Thorns Campion at Cambridge
begning at cristmas 1582.

First, eche of them for thir diete weakely ijs. vjd. : in

the whole yere it amounteth to xiij.li.

Item, thir tuition yerely xlv.s. for eche iiij.li.

Item, rent for thir chamber and studies xx.s.

Item, ether of them the first day of eche other monethe

a payer of shoes at xvj. d. the pay re, the whole xij

payre of shoes xvj.s.

Item, ech of them quterly a quire of paper at iiij.d. the

quire ij.s. viij.d.

Item, a pound of candell betwen them every fortnight

from michs untill o Lady daye, in all xij. li. at iij.d.

the li. iij.s. vj.d.

Item, thir washing yerely x.s.

Item, for mending thir clothes and shoes yerely vij.s. x.d.

Sin xx.li

Wheli I will qOterly deliver to thir tutor aforesaid.

These things they shal have qflterly sent them

At Cristmas, a cap, a band, a shirt, a doblet, a payer of hose,
a gowne, a payer of netherstockes.

At o Lady Day a new payer of netherstockes, and a hatt.

At midsumr a shirt, a band, a doblet, a payre of hose, a payre
of netherstockes.

At micKs a payre of netherstockes, a band.

And all such bookes as they shall rede from tyme to tyme.
So eche of thir whole yerely allowance is : —

A gowne, a cap, a hat, ij dubletes, ij payres of hose, iiij payres
of netherstockes, vj payre of shoes, ij shirts, and two bandes.

The popularity of Peterhouse at this date was doubtless due to
the prestige of Dr. Andrew Perne himself, a conspicuous figure in
University affairs, and a broad-minded Churchman who has been
much maligned. His changes of attitude during the reigns of
Mary and Elizabeth, ' lackeying the varying tide ' of the alternately
predominating creeds, earned him the doubtful honour of having
given rise to a new verb in current ^zx\%,pernare, to be a turncoat ' ;

^ Certain letters upon the college weather-vane were interpreted according as
the wind blew as ' Andrew Perne, Papist ', or ' Andrew Perne, Protestant '.

Introduction. xxvii

but in reality he was a man who realized that by such conformity
he could best protect and benefit the establishment under his
charge, and do real service to the cause of religion. Where a more
stiff-necked single-mindedness might have wrecked the college, it
prospered under Perne to an unprecedented extent, while he was
enabled to prove the protector of Whitgift through the Marian perse-
cutions, and the patron of Peter Baro. And in some way, either
direct or otherwise, the condition of Peterhouse itself reflected the
attitude of its great Master. It contained at this time examples of
almost every shade of religious creed, from the determined Roman
Catholicism of such men as Henry Walpole the Jesuit (afterwards
hanged) and the Yelvertons, to the opposite Puritan pole of John
Penry, ' Elder Brewster ' of the Mayflower, Dudley Fenner and
Charke, all of whom were contemporary with Campion. The
combination was one calculated to rub off the salient angles of
creed, and this effect it probably had upon the poet, who, though
many of his friends adhered to the older faith, was certainly not
imbued with Roman Catholicism.^ If he had any decided religious
views, they were probably those of a moderate Anglicanism, but it
is more likely that he was not deeply interested in matters of
creed. His hostility to Puritanism cannot be construed as ranking
him among the partisans of Church authority j it was nothing more
than the distaste of a scholarly and fastidious nature for the
fanatical extravagances which masked the real importance of the
movement. Campion probably looked no further.

Of Campion's career at Cambridge we know nothing except that i
he seems to have imbibed a considerable and varied knowledge of
classical literature, together with much reverence for it. Very few
of his friendships made at Peterhouse can be traced in his after life.
There were two Percys at the college in Campion's time, either of
whom may have been William Percy "* the author of C(zlia, and the
subject of Campion's lines.' In the wider field of the University
he probably made the acquaintance at this time of Thomas Nashe,*
with whom from a very early date he was on terms of intimacy.

From the silence of the University records it is clear that the

' No sincere Catholic, however loyal, could have alluded to Elizabeth as
' Faith's pure shield ' (p. 50). See also Poemata, p. 330, Ad Thamesin 11. 1 1-14.

* This William Percy is known to have been at Gloucester Hall, Oxford,
but he might have migrated thither from Peterhouse ; or, more possibly, these
Percys were other members of the family, and the means of Campion's
introduction to William Percy. ' P- 277.

* Nashe matriculated as a sizar at St. John's in October, 1582, and remained
at Cambridge ' for seven yere together, lacking a quarter '.

xxviii Introduction.

poet did not proceed to a degree before his departure in April, 1584.
His movements, moreover, for the two years following are un-
known to us, except that we occasionally sight him in Steward's
account-book. In 1585, for example, he witnessed a bond^ dated
December 10, 1585, entered into by Steward to observe the condi-
tions of a lease of a farm and lands in West Fen, Ely, granted to the
latter by Dr. Perne, as Dean of Ely, on behalf of the Chapter. He
also witnessed the signature to a recognisance '■' of February 10, i58f
given by Thomas Grymesdiche to Steward, with the endorsement
' I Thorns Campion, do know the recognitor ' ; and an indenture
of April 2, 1586. But beyond such trifling mention his name
does not occur until April 27, 1586, when he was admitted to
Gray's Inn, possibly with the object of following, like his father,
some legal or semi-legal profession.

He seems at once to have entered into the life and fellowship of
the Inn. The collegiate character of the Inns of Court was far
more marked during the Elizabethan age than it ever has been
since ; and, if Campion made few friends at Cambridge, he made
plenty here. Of the names mentioned in his pages which we can
identify, by far the greater number were connected with the Inn,
and nearly all those of whom he speaks in the language of affection
were his actual contemporaries ; as, for example, Edmund Bracy,
Francis Manby, John Stanford, William Hattecliffe, George Gervis,
Robert Castell, Thomas Michelborne, James Huishe, and others.
He appears, indeed, to have been one of those persons in whom
friendship rises almost to the level of a passion. Himself an
orphan from an early age, with a stepfather and stepmother who
may have been unsympathetic (we never get a line about Steward
in the 1595 Poemata, so full of other personalities), it is natural
that he may have turned to the solace of friendship with an ardency
unusual in those not deprived of other spheres of affection. That
is at any rate the impression derived from reading his more personal
Latin poems, such as those written to Francis Manby or upon his
death, or the half pathetic lines Ad amicos cum mgrotaret.

The social activities of the Inns of Court were at this time put
forward mainly in the direction of plays and masques, written and
acted by members upon occasions of rejoicing. On such occasions
the honoured guest was usually Queen Elizabeth, who, dearly as she
loved such revels, was best pleased when they were paid for by
others ; and on one occasion expressed herself ' much beholden '

' Eg. MS. 2599, f. 75. 2 lb. f, 107.

Introduction. xxix

to Gray's Inn, ' for that it did always study for some sports to
present unto her.' ' Soon after Campion was admitted, the famous
Misfortunes of Arthur, written by various of the elder members,
was produced. The poet may have taken part in this, but we have
documentary evidence of his participation in some subsequent
revels which took place in January, 1588. Lans. MS. 55 (f. 4)
contains, in Lord Burghley's own hand, the following cast,
endorsed : —

xvii Janv. 1587

The Names of y^ GStillme
of Gray's In y* played ther

a Comedy
befor Ye L. Burghley
Er. of lee.
Er. of warr.
Erl. of Ormod.
& Grey of Wilt,
etc.
The cast itself runs as follows : —

Dominus de purpoole : HatclyflF'
The prologue : Ellis '

Hidaspes ye sonn : Campion

Manilius madd : Anderton *

Pvso : Famley*

Lucius : Astley*

Mummius old man : Toppham '

Byrrhia parasite : Stauerton '

Flamantia curtizan : Sandfort '

Sr Delicate : Sr Peter Shackerley ">

' Nichols's Progresses of Queen Elizabeth, iii. 319.

2 William Hatcliffe, son and heir of Thomas Hatcliffe, of Hatcliffe, Co.
Lincoln, was admitted November 4, 1586. See also p. 339.

' Barnard Ellis, of Warmell, parish of Sebberam, Co. Cumberland, gent., was
admitted May 26, 1587. He played the part of 'Master of the wards and
Idiots ' in the Gesia Graiorum.

* William Anderton, of Enxton, Co. Lancaster, and of Barnard's Inn, was
admitted February 2, 158I.

^ This must be John Femley, son of Thomas Fernley, of Cretyng, Suffolk,
admitted May 29, 1584.

* Is this Andrew Ashley, of London, who was admitted on June 20, 1586,
at the request of Sir Francis Walsingham 1

' Of Barnard's Inn ; admitted to Gray's Inn in 1582.

' Either Francis Stafferton, of Barnard's Inn, admitted in 1578, or Patrick
Stafferton, admitted January 23, I6|^.

' ' Thomas Sandforthe, of Howgill, Westmoreland, gent.' was admitted in
1586.

lo See Notes, p. 376.

XXX Introduction.

Catelyne

: Rhodes'

Clodius

: Stanford

Salust

: Crwe'

8rsus} censors

: Hutton'
: Williamson*

Scilla Dictator

: Montfort"

Cinna i consul!

: Davenport'

„ 2 consuU

: Starkey"

Tribunus plebis

: Smyth'

Melancholy

: Campion

Epilogue

: Ellis

Masquers

Rhodes '»

Ross"

Luttrell "

Peniston

Champnes '"

Daye '*

1 Either Js. or Francis Roodes, specially admitted in 1577, or, more likely,
Geoffrey Rhodes, fourth son of Francis Rhodes, one of the Judges of the
Common Bench; admitted May 11, 1587, absque fine as his father was of
the Inn.

' See Notes, p. 376.

s Of Nantwich, Co. Chester ; admitted in 1585.

* Probably Richard Hutton, admitted 1580 ; afterwards a Judge.

s Richard Williamson, of Barnard's Inn, and Gainsborough, Co. York.,
admitted February 8, 1581-2.

« Thomas Mountford, of Gainsborough, late of Staple Inn, admitted
November 15, 1585. There was a Momford or Montford at Peterhouse in
Campion's time ; and the latter was associated with a Dr. Mountfort in
attendance upon Sir Thomas Monson (p. xlv). But this Dr. Mountfort, who
is mentioned in the poem ' Of London PhisiSons ', is in the notes thereto
stated to be the younger son of Sir Edmund Mountford, Kt., of Feltwell, Co.
Norfolk. [Ed. J. P. Collier.]

' It is impossible to identify this Davenport among the three of the name
who were at the Inn at this time. Two ' Damportes ' took part in the Gesta
Graiorum, one playing ' Lord Chief Baron of the Common Pleas ', the other
' Lord Warden of the Four Ports '.

8 Peter Starkey of Staple Inn, admitted November 1, 1587. He played
' Recorder ' in the Gesta Graiorum,

' There were too many Smiths at this time to allow of identification. Two
of that name took part in the Gesta ; and see p. 376.

•^ See I above.

1' Either Andrew Luttrell, admitted in 1 j8o, or Thomas or George Luttrell,
admitted October 26 of the same year.

'^ Justinian Champneys, son and heir of Justinian Champneys of Bexley,
Kent, Esq., admitted January 24, 158^.

" Thomas Ross, admitted 1585.

" Either Robert Day, of Clavering, Essex, admitted June 21, 1582, or
Henry Day, of Oxborongh, Norfolk (ex relatione Christopher Yelverton,
reader), admitted May 25, 1582.

Introduction. xxxi

This ' Comedy ' cannot be identified, but as to its nature I am
indebted to an acute criticism of Mr. Daniel, who suggests that
the cast involves a confusion of two plays, one on the model of
the ordinary Terentine comedy, the other an historical drama,
similar to Lodge's Wounds of Civil War, based upon Roman
history. It will be noted, however, that the historical characters
introduced are not all contemporary, and I am inclined to think
that the play may really be one, and that it may have contained
a review or procession of great Romans.

In the meantime Campion's financial affairs were put straight
with Augustine Steward. It is presumed that his assent was
necessary to confirm his mother's disposition of her real estate ;
and accordingly by a deed' of March 2, 1587 (in which he is
referred to as ' Thomas Campion de Grayes Ynne '), he releases
Steward of all claims whatsoever which he might have had
against him in respect of his mother's property, excepting in
respect of the sum of £260 secured by the condition of an
obligation delivered to Thomas Hall, gent., and others. Upon
the poet's coming of age, a further deed "^ was executed to the
same effect on October 20, 1588, and witnessed by Rose
Campion. Business matters were also cleared up about the
same time with Thomas Sisley, who had been entered at
Staple Inn some time after he attained his majority, but who
migrated thence to Gray's Inn in 159!. These arrange-
ments were, however, more lengthy, as involving a considerable
amount of property.

Campion was not called to the Bar, and it is evident from his \
Latin epigrams that legal studies were very little to his taste. It i
is tolerably clear, however, that he was already writing the Latin
epigrams which afterwards figured in the 1595 Poemata, and he
had also turned his attention to English verse.' From our
knowledge of his acquaintance, it is certain that, whether in
residence or not, he continued his connexion with the Inn until
at least 1595, for early in that year the friend whom he laments
in his 1619 edition of epigrams, James Huishe, was admitted,
while he had written verses for the Gesta Graiorum, performed
in 1594.

Our knowledge of the next episode in the poet's life is based

on inference only from internal evidence, an inference which

I have in vain endeavoured to confirm from other sources. In

1591 the Queen levied 4,000 men and a small body of horse for

I Eg. MS. 3599, f. 3o> ' lb. f. 33. ' V. infra, p. li.

xxxii Introduction.

the assistance of Henri IV ; this expedition, commanded by the
Earl of Essex, arrived at Dieppe on the 2nd August ; and, though
nominally dispatched as a reinforcement against the Spanish
invaders of Brittany, was employed by the King, much to his
royal sister's disgust, in the reduction of his refractory Catholic
subjects, who were refusing to recognize his accession. With
this object Rouen, then in the hands of the League under their
able general, Villars, was invested on the nth November, but
without success, and the siege was finally raised on the 20th April
following, at the approach of the Spanish troops under Parma. I
believe that Campion accompanied this expedition from its
dispatch until, at any rate, the following winter or spring, for the
following reasons which I give in their natural sequence : —

My attention was first called to the likelihood of the poet
j having at one time undergone military service, by the epigram in
the 1595 Poemata, entitled De Se^ —

Vsus et hoc natura mihi concedit vtrinque,
Vt sim pacis amans, militiae patiens.

It should be remembered that these Poemata are clearly
a collection of scattered epigrams and poems composed at
different times, and it seems natural to conclude from this distich
that at some time prior to 1595 the poet had served as a soldier
and had written the epigram in humorous depreciation of his
miUtary qualifications. On casting about further for indications
of the precise campaign to which allusion is made, one cannot
but be struck with the epigram In obitum fratris clariss. comitis
Essexii (p. 340) in the 1595 Poemata, reprinted as Ep. 9, Book
II, of the 1619 edition. The language of this poem and the
accuracy of the description of the incident, suggest that it was
written by an eyewitness.

According to State Papers in the Record Office (S. P. For.
France, xxv. 290) Villars, in command of Rouen, made an
expedition with the object of surprising Pont de Mer,^ which was
in the King's hands. Essex, seeing an opportunity of ' fleshing '
his hitherto untried English levies, made a reconnaissance in
force on Sept. 8, 1591, from his quarters at Pavilly against the
enemy's position, with 250 French horse, 200 English horse, and
1500 picked English foot. These troops occupied a hill close to
the walls, whence they threatened the town of Rouen, insomuch
that the garrison, in great alarm, sent to recall Villars, and made

^ »• P- 345. '' Now Pont-Audemer.

Introduction. xxxiil

several sallies which were defeated and driven back. In the
course of one of these skirmishes, however, a soldier, in ambush
behind a hedge, fired his piece at Walter Devereux, Essex's
brother, and captain of the cavalry squadron; and the ball,
entering his jaw, passed up into his head and slew him. A
Homeric struggle for the body ensued, in which several captains,
notably Gerard, John Wotton, and Sir Conyers Clifford, after
great efforts, finally succeeded in effecting a rescue. The
reconnaissance then drew off victorious, but in universal mourn-
ing for the death of Devereux, whose noble qualities had made
him generally beloved.

If this account be compared with Campion's, the latter will
appear very close to the facts. His description of the disaster
and of the topography is correct, and his reference to Devereux
dropping from his horse reminds us that, whereas the captains of
infantry must have fought on foot, Devereux, as captain of the
cavalry, was certainly mounted. The vivid style of the narrative
also, in my opinion, strongly suggests the eyewitness.

From the concluding lines of the epigram, ' Peribit ergo Rhona,'
&c., I think it may be fairly inferred that it was written before the
siege was raised. If, therefore, the poet was writing Latin epigrams
during his actual military service, it is most likely that the epigram
De Se was written at the same time.

There is more evidence of a similar character. There is the
epigram in the 1595 Foemata, De Th. Grimstono et Jo.
Goringo (p, 341). In the 1591 expedition Captain Thomas
Grimston commanded 150 Suffolk men, and Captain John
Goring 180 men of York and Rutland; they served through the
siege until December, when, among others, their bands were
' cast ', i.e. the remnants were absorbed into other companies. In
the following February Captain Grimston figures in the musters
held in England as commanding a fresh draft of 150 Hertford-
shire men, and Captain Goring, in joint command with Captain
Sir Thomas Baskerville, of a draft of 350 London men, both
drafts forming part of a reinforcement of 1600.

A stronger piece of evidence is the epigram Ad Rob. Caraum
Equitem Auratum nobilissimum (46, Book I, 16 19 edition). Now
in the original expedition Sir Robert Carey (he was knighted by
Essex during the campaign) commanded 100 London men and
50 Surrey men. The second line of the poem makes it clear that
the reference is to these times of civil war in France, and Carey's
own Memoirs show that his only French military service was on

XXXIV

Introduction.

this expedition until shortly before Christmas, 1591, when he
returned to England with Essex. Further, the word cernebam
must, I think, be regarded as strong evidence of Campion's
actual presence at these wars.

If so much is conceded, it may be seen with sufficient pro-
bability in what capacity the poet joined the expedition. The
musters from which the above figures are extracted refer only to
the men compulsorily levied by the several counties, but in
addition to these there must have been a considerable number
f of ' Gentlemen Adventurers ', or volunteers. Campion was in all
likelihood attached to Carey's London company, and this, as we
know, was particularly rich in volunteers, doubtless owing to the
gallant and chivalrous personality of its young captain. In
a muster held at Mont de Malades on December 17, 1591, Carey's
band, which originally, be it remembered, numbered 150, figures
as —

psent 36

sick 17 ■ 58

for forag(e) 5 J

and is pronounced 'verry wek but for gentlemen Adventurers'
(S. P. For. France, xxvii, 953). Carey himself states in his
Memoirs that Essex had 200 horse and 4,000 foot, ' besides
volunteers which were many,' and relates further that during his own
command he kept ' a table all the while I was there that cost me
thirty pounds a week'< Doubtless the guests entertained were
gentlemen volunteers, with, very possibly. Campion among them.
Coningsby, in his rather disjointed account of the siege {Camden
Misc. I) refers to gentlemen adventurers to the number of about
forty horse, who were in attendance upon the Earl of Essex, but
from the muster above quoted it seems that there were other
volunteers serving on foot in Carey's company, doubtless those
who could not afford to mount themselves.

I think we may fairly conclude from the foregoing that Campion
joined the expedition which reached Dieppe on August 2, 1591,
as a Gentleman Adventurer probably attached to Carey's London
contingent; witnessed the death of Walter Devereux, became
intimate with Goring and Grimston, and finally, perhaps con-
ceiving a distaste for warfare, withdrew himself from the campaign
some time before its termination : I say, before its termination,
inasmuch as the terms of the epigram to Grimston and Goring
suggest that at the time it was written they were on active
service in France, and he was separated from them.

Introduction. xxxv

Campion's foreign service is indicated by yet another piece of
evidence, the epigram In Barnum in the 1595 collection (p. 344),
reprinted as Ep. 80 Book II of the 1619 volume. Now the
epigram as it stands might have been written by any one who
resented Barnes's bragging, on mere suspicion, and without any
knowledge of the facts. But this was not the impression it gave
his contemporaries. Nashe, at any rate, seems to have believed
that Campion was ' showing up ' Barnes with a first-hand know-
ledge of his real cowardice. In Have with you to Saffron Walden
Nashe says of Barnes that, ' hauing followed the Campe for a weeke
or two ... to the Generall he went and told him he did not like of
this quarrelling kinde of life, . . . wherefore hee desir'd license to
depart, for hee stood euerie howre in feare and dread of his person,
and it was alwais his praier from suddain death, good Lord,
deliuer vs . . . One of the best Articles against Barnes I haue
ouerslipt, which is that he is in Print for a Braggart in that
vniversall applauded Latine Poem of Master Campions ; where
in an Epigram entituled In Barnum, beginning thus : —

Mortales decern tela inter Gallica casos,

he shewes how hee bragd, when he was in France, he slue ten
men, when (fearful! cowbaby) he neuer heard peice shot off but
hee fell flat on his face. To this effect it is, though the words
somwhat varie.'

The words certainly do vary considerably (the italics of the last
sentence are mine), but the point is that, whatever the actual words,
Nashe construed them as a first-hand refutation of Barnes's claims
to prowess. It is clear that Barnes served on the 1591 expedition,
from Nashe's sneering allusion in Have with you, &c. (published
in 1596), to 'his doughtie service in France ^fe yeares agoe'.
From another passage in the same book, it appears that Barnes
served under Sir Thomas Baskerville, who was captain of a Glou-
cester company in the original expedition, and later, in February,
1592, in joint command with Goring of a fresh draft of London men.
Barnes, therefore, possibly joined this latter draft, and if Campion's
term of service for any period overlapped that of Barnes, the former
cannot have returned until some date in or after February, 1592.

The connexion with Gray's Inn temporarily broken off by
Campion's association with this expedition was resumed on his
return, for his interests in that institution continued for some time
after this date. Further, while, as we have seen, he had written
Latin verse by this time, it is clear that he had also written

c 2

xxxvi Introduction.

English poetry, for in 1591 his first printed poems, the set of
five anonymous ' Cantos ' included in the Poems and Sonets of
Sundry other Noblemen and Gentlemen appended to Newman's
surreptitious edition of Sidney's Astrophel and Stella, appeared.
It is clear, moreover, that he must have written a considerable
amount of English verse by this time, for Peele refers to it in his
Honour of the Garter, published in 1593, in the lines

Why goest not thou
That richly cloth'st conceite with well made words,
Campion ?

and his poems were already appearing in the commonplace-books
of the time. For example, Newman's 1591 edition of Astrophel
and Stella contains the poems on pp. 349-5 1 ; the common-
place-book of John Sanderson (Lans. MS. 241) contains the verses
' What if a day ' under an entry apparently made in 1592, while
in 1596, the date of Harl. MS. 6910, three of his poems were
transcribed. According to the usage of the time, to which there
are numerous references in contemporary literature, these verses
passed from hand to hand in MS. : it was even a fashion with
some to despise anything which had been given to the public in
print, as we gather from the preface To the Reader, prefixed to
Thio Bookes.

The first entire book that Campion published was, however,
a collection of Latin poems, entered in the Stationers' Register on
December 2, 1594, 'Richard Feild Entred for his copie
vnder the wardens hands in court, a booke intituled Thoma
Campiane Poema . . . v]'^,' and published in 1595. This
book won him a considerable reputation almost immediately.
The same year appeared William Covell's Polimanteia, in which,
after exhorting the University of Oxford, and adducing the
many shining lights in literature which that seat of learning had
brought forth, the author thus addresses himself to the sister
University : ' I know, Cambridge, howsoeuer now old, thou hast
some young, bid them be chast, yet suffer them to be wittie ; let
them be soundly learned, yet suffer them to be gentlemanlike
qualified,' and the marginal note to the passage is ' Sweet Master
Campio'. His allusion is usually held to relate to Campion's
English poems, but I am inclined to believe that, if the words
contain, as they seem to do, any suggestion of criticism or gentle
rebuke, it is the Latin poems at which the writer levels. In the
Poemata, Campion, in imitation of the licence assumed by his
models, the classical epigrammatists, frequently resorts to degrees

Introduction. xxxvii

of obscenity unusual even in that age, while the allusion to sound
learning would not be likely to refer to poems composed in the
vernacular. Further instance of Campion's recognition as a Latin
poet is to be found in Meres's Palladis Tamia (1598) (which
consists of a series of euphuistically balanced parallels between
past and contemporary authors, to the glorification of English
letters), and Fitzgeffrey's Affanim (1601). The passage in the
first book runs : —

As these Neoterickes, louianus Pontanus, Politianus, Marullus
Tarchaniota, the two Strozae, the father and the son, Palingenius,
Mantuanus, Philelphus, Quintianus Stoa, and Germanus Brixius
have obtained renown and good place among the ancient Latine
poets : so also these Englishmen, being Latine poets, Gualter
Haddon, Nicholas Car, Gabriel Haruey, Christopher Ocland,
Thomas Newton with his Leyland, Thomas Watson, Thomas
Campion, Brunswerd and Willey have attained good report and
honourable advancement in the Latin empyre.

The epigrams of FitzgefTrey, who was, by the way, a close friend
of Campion and addressed other epigrams to him, are as follows : —

Primus apud Britones Latiis Epigrammata verbis

More tuo scripsit nomine notus Eques.
Huic setate quidem sed non tamen arte secunda

Cui Campus nomen Delius ingenium.
Ultimus his ego sum, quem quamvis mille sequantur

Prsecipiet vereor hunc mihi nemo locum.

Here it will be seen that Campion is regarded as the second
English writer of Latin epigrams. Sir Thomas More having been
the first with his Epigrammata, published at Basle in 1520. As
a Latin elegist, however. Campion arrogates to himself the first
place in Elegeia I of this 1595 collection. The other epigram of
FitzgefTrey alludes directly to Campion as a Latin elegist, in
support of his claim.

O cuius genio Romana elegeia debet

Quantum Nasoni debuit arte suo, —
lUe sed inuitus Latiis deduxit ab oris

In Scythicos fines barbaricosque Getas, —
Te duce cseruleos inuisit prima Britannos

Quamque potest urbem dicere iure suam.
(Magnus enim domitor late, dominator et orbis

Viribus effractis, Cassiuelane, tuis,
lulius Ausonium populum Latiosque penates

Victor in hac olim iusserat urbe coU.)
Ergo relegatas Nasonis crimine Musas

In patriam reuocas restituisque suis.

xxxviii Introduction.

To Dowland's First Booke of Songs and Ayres which ap-
peared in 1597, Campion contributed a Latin epigram, and in
1 60 1 he published with Philip Rosseter' his first English book,
A Booke of Ayres, in two parts, the music of the first of which was
composed by him, that of the second by Rosseter, while we may
for the present assume'' that all the words were written by the
former. In the following year, 1602, he published a work of con-
I siderable academic importance, the Obseruations in the Art of
' English Poesie, discussed below, to which Daniel in the same year
published a complete and overwhelming counterblast in his Defence
of Ryme. We should note in passing that Daniel refers to
Campion as ' a man of faire parts and good reputation ', and as
one ' whose commendable rymes, albeit now himself an enemy to
ryme, have given heretofore to the world the best notice of his
worth ', a direct and accurate estimate of the relatively greater
value of his English verse, which he was always disposed to
regard as the ' superfluous blossoms of his deeper studies ', as
compared with his Latin verse, of which he seems to have been
extremely proud. Drummond of Hawthornden tells us that
Jonson wrote a Discourse of Poesy both against Campion and
Daniel ; but this has not survived.

In Camden's Remaims of a Greater Worke concerning Britaine,
published in 1605, occurs a mention of Campion among the most
celebrated men of the day, which argues that he had already
attained considerable reputation and popularity. The passage
runs : ' These may suffice for some Poeticall descriptions of our
auncient Poets : if I would come to our time, what a world could
I present to you out of Sir Philipp Sidney, Ed. Spencer, Samuel
Daniel, Hugh Holland, Ben. lonson, Th. Campion, Mich. Drayton,
George Chapman, John Marsion, William Shakespeare, and other
most pregnant witts of these our times, whom succeeding ages
may iustly admire.' To be ranked among these giants was high
praise, the more so when we consider how small a portion of his
English poetry had by this time appeared.

1 Philip Rosseter was one of the patentees and manager of the Queen's
Revels Company in January, 1610. This Company was amalgamated with
Henslowe's in March 161J (Dulwich MS. i. io6) ; when Henslow bought
apparel from Rosseter to the value of {.d^, which suggests that Rosseter was
retiring from management. He was owner of the new Blackfriars house in
1615. He published Lessons for Consort in 1609; ^'^ was universal legatee
under Campion's will (p. xlvii) ; died himself on the May 5, 1633, and was
buried at St. Dunstan's in the West two days later.

2 V. infra, p. lii.

Introduction, xxxix

Despite this significant mention, for a period of four years
reckoned from the production of the Obseruaiions until the ap-
pearance of Barnabe Barnes's Foure Bookes of Offices in 1606 with
Campion's prefatory Latin verses, we are met with a total silence
on his part. This may, however, be explained by his description
in connexion with these verses as ' Doctor in Physic '. After this
date allusions to that degree are frequent, though there is no
extant previous mention of it; and it is natural to infer that
during this lacuna in his literary output he studied for and
obtained it. It is clear that he left Cambridge without a degree ;
and a comparison between his 1595 and 16 19 editions of Latin
poems, from the total absence of medical allusions in the former
and the abundance in the latter, will assure us that he had not
studied medicine before 1595. Ep. 2, Book II, of the later
edition contains, moreover, a curiously definite statement on the
subject in the lines ^

Lusus si mollis, iocus aut leuis, hie tibi. Lector,

Occurrit, vitae prodita vere scias,
Dum regnat Cytheraea : ex illo musa quieuit

Nostra diu, Cereris curaque maior erat :
In medicos vbi me campos deduxit Apollo,

Aptare et docuit verba Britanna sonis.

I think it tolerably clear from all these indications that some
time after 1595 Campion had exhausted his small patrimony and
any other means he may have had, and found himself face to face
with the necessity of adopting some profession. He accordingly '
qualified as a physician, proceeding to his degree at a date which
we are obliged to fix some time between 1602 and 1606.

It remains to inquire at what University this degree was
conferred, and to this query it is to be regretted that we have no
definite answer. It is worthy of notice in passing that the study
of medicine was fostered at Peterhouse, which possessed at this
time an unusually full library of works upon medicine and its
current substitute, astrology, while there were contemporary with
Campion several medical fellows, including Professor Lorkin,
Bartholomew Heath, Thomas Laker, and others. But the
evidence is, on the whole, against the poet having proceeded
to his degree at Cambridge. The records of degrees were not
kept at all between the years 1589 and 1602, as appears from
Fuller's History, in which we find that ' Stokys was made Register

' These lines are an apology for the levity of Book II, which is in the main
a reprint of the 1595 epigrams : hence ex illo means since 1595.

xl Introduction,

by grace 1558 and appears to have been a very good Register,
but he was strangely mistaken in his deputy and successor Tho.
Smith, who was so very false to his trust . , . accordingly we find
no graces at all entered, but a perfect and total neglect of every-
thing from 1589 till 1601 when Tabor came into office.' As we
have seen, however, it is not likely that Campion had obtained
his degree by 1602, and as it was not conferred at Oxford, it
seems necessary to conclude that the poet studied at one of the
continental Universities. Here, again, the usage at Peterhouse is
interesting as bearing upon this point. The college definitely
sought to foster study at the foreign Universities, and throughout
the Tudor period leave was frequently granted to Fellows
to absent themselves for two, three, four, or even ten years for
study at some approved generals studium in partibus trans-
marinis.

It seems probable, therefore, that Campion studied medicine
abroad, though at which university the paucity of records and
their difficulty of access makes it hard to decide. There are no
indications in his Latin poems of his having travelled in any
particular country, saving bare references to 'lingua Gallica'
and ' litterae Gallicae ' ^ which suggest that he was acquainted
with the French language and literature. It is clear that he was
well known as a practising physician. He is referred to in the
satirical poem Of London Physicons " found in the MS. poetical
commonplace-book of a Cambridge student (date about 161 1),
the allusion running : —

How now Doctor Champion, musicks and poesies stout
Champion,
Will you nere leave prating?

while about the same time (viz. 1610-11) the following appeared
among the verses addressed To Worthy Persons, appended to
John Davies of Hereford's Scourge q;^ Folly.

To the most iuditious and excellent Lyrick-Poet,
Doctor Campion.

Vpon my selfe I should iust vengeance take
Should I omitt thy mention in my Rimes,
Whose Lines and Notes do lullaby (awake)
In Heau'ns of pleasure, these vnpleasant Times.

> Epigrams, Book I. 168 (p. 259), Book II. 186 (p. 300). See also the
reference to French orthography in the Obseruations (p. 54). I have ascertained
that Campion did not enter Montpellier : Paris would have been a likely choice,
but I can get no information as to this. " Ed. J. P. Collier.

Introduction. xli

Neuer did Lyricks more then happie straines,
(Straind out of Arte by nature, so with ease,)
So purely hitt the moods and various Vaines
Of musick and her Hearers as do These.
So thou canst cure the Body and the minde,
(Rare Doctor^ with thy twofold soundest Arte;
Hipocrates hath taught thee the one kinde,
Apollo and the Muse the other Part:

And both so well that thou with both dost please
The Minde, with pleasure; and the Corps, with ease.

Further, as we shall see hereafter, Campion attended Sir
Thomas Monson in the Tower.

In 1607 his masque for the marriage of Lord Hayes was per- 1
formed and published, and in 1609 appeared Ferrabosco's Ayres,
with his verses prefixed. In 16 11 appeared Coryate's Crudities
with his prefatory Latin epigram. His output during this period
was indeed slender, but the lean years were atoned for by his
subsequent fecundity. In 16 13 he published the Songs of'
Mourning for Prince Henry, whose universally regretted death
took place on November 6, 161 2, brought about, as was generally
believed, by the sweating sickness : and in the same year he wrote
and published three other masques — the Lords Maske for the
wedding of the Princess Elizabeth to the Count Palatine on
April 14; the masque-entertainment for the amusement of the
Queen during her stay at Caversham House as the guest of Lord
Knowles on April 28 and 29, and a third for the Earl of
Somerset's marriage to Frances Howard, Countess of Essex,
on December 26. To this annus mirabilis of the poet's,
moreover, is attributed with some probability his second col-
lection of English songs. Two Bookes of Ayres. This bears no
date, but it contains allusions to the death of Prince Henry, and
must accordingly be later than 161 2. While, however, on the
whole it seems likely that it was published in 1613, 1 do not think
the evidence of these allusions very satisfactory, having regard to
the fact that the book is a collection of occasional songs which
may have been written some time before their publication.

Of the masques proper performed in this year, the Lords
Maske, and the masque at the marriage of the Earl of Somerset,
some unfavourable criticism is reported in Chamberlain's cor-
respondence. Of the former' he wrote, 'Of the Lords Maske
I hear no great commendation save only for riches, their devices

' Winwood's Memorials, iii. 435.

xlii Introduction.

( being long and tedious, and more like a play than a masque.'

i But whatever this masque may have been, it can hardly be called

\ long, and, as Nichols suggests, Chamberlain, who was not present,

imay have confused it with Chapman's production for the same

occasion, which its author himself confessed to be unduly lengthy.

Of the latter' Chamberlain wrote to Mrs. Alice Carleton on

December 30, 1613 : 'I hear little or no commendation of the

masque made by the Lords that night, either for device or dancing,

' only it was rich and costly.'

To this masque, considerable personal interest attaches by
reason of its connexion and that of its author with the famous
Overbury murder case. For the complete comprehension of
Campion's share in this sordid conspiracy it will be necessary
briefly to recount the course of events." Frances Howard,
Countess of Essex, was enamoured of Robert Car, Viscount
Rochester (afterwards Earl of Somerset), and on 25 Sept., 1613, she
succeeded in getting her marriage annulled. But Car's friends,
including Sir Thomas Overbury, exerted their private influence to
prevent the consequent marriage, which Car and the Countess
were eager to contract, from taking place. Overbury's remon-
strances brought him to an open rupture with Car during an
'interview in the gallery at Whitehall, in the course of which
he said : ' Well, my lord, if you do marry that filthy base woman,
you will utterly ruin your self j you shall never do it by mine
advice or consent ; and if you do, you had best to stand fast.'
Roused to a violent passion, Car replied : ' My own legs are
straight and strong enough to bear me up, but in faith I will
be even with you for this,' and so parted from him in a fit of rage.
A hollow reconciliation was afterwards effected, but Car concealed
his hatred, and neither he nor the Countess ever forgave the
insult. They accordingly resolved upon the death of the unfor-
tunate Overbury, who with extreme credulity believed that the
incident had been forgotten.

The plot was laid with devilish cunning, each link in the long
chain of crime being contrived with careful forethought. Prepara-
tions being ready, Car, who was in high favour at Court, arranged
that Overbury should be offered the post of ambassador to Russia.
The office was an honourable one, and Overbury's own in-
clinations would have caused him to accept, but in private con-

1 Nichols's Progresses of King J antes, ii, 735.

' This account is in the main derived from MSS. Add. 15476 and Sloane

1003.

Introduction. xliii

ference Car, who concealed the fact that he was prime mover
in the appointment, dissuaded him from accepting, adding the
promise of his protection in the event of any displeasure occasioned
by the refusal. Overbury, who appears to have acted throughout
with suicidal credulity, refused the offer, and was promptly
committed to the Tower on April 6, 1613.

Matters had been in the meantime arranged in this quarter.
The Lieutenant of the Tower at this time was Sir William Wade,
and the Keeper in charge of Overbury one Gary, but Car had
made plans for the replacement of these persons by more con-
venient tools, and Sir Jervis Elwes was fixed upon to succeed
Wade. The transaction was carried out with all the circum-
stances of an ordinary venal traffic in office, Sir Thomas Monson
acting as intermediary. As afterwards transpired from Elwes's
evidence on trial (reported in Add. MS. 15476) Monson 'told
him that Wade was to be removed, and that if he succeeded Sir
William Wade, he was to bleed, that is, give 2,oooii'. The
prophetically sinister nature of this language was remarked upon
at the trial ; and the prophecy was indeed fulfilled with Elwes's
execution. The evidence continues : ' And ten days after Wade
was removed, he (Elwes) came into the place, and payd 14001* of
the money at his unkle alderman Helvash his house to Doctor
Campian.' Wade was removed on the 27th April, and Elwes took
his place on the 6th May following.

The next step was the appointment of the keeper. The man
selected was one Weston ; and at the Countess's request Monson
recommended him to Elwes, who gave him the post. The train
was now complete. Between Weston and Anne Turner^ the
infamous serving-woman of the Countess and the accomplice of all
her guilt, an understanding existed that the former should ad-
minister to Overbury whatever was sent him. Elwes's connivance
was already secured.

On the 6th May, the first day of Weston's keepership, rosacre,
or blue vitriol, was sent him and duly administered to Overbury,
who grew very sick, but did not die. Then Car sent the prisoner
a powder to be taken as a specific for his ailment, which Overbury
accordingly took. The powder was white arsenic ; and he grew
exceedingly ill. At this point his suspicions were aroused, and
he wrote to Car taxing him with treachery. But his fears were
allayed by Car's reply, and on the latter's offer to provide him with
any food he might fancy, he asked for tarts and jellies, which were
duly supplied poisoned with corrosive sublimate. These, how-

xliv Introduction.

ever, do not appear to have been consumed. Overbury was by
this time seriously ill, but his progress was not sufificiently rapid
for those who were plotting his destruction; and after he had
lingered on to the 6th September, they procured his final dispatch
by means of a poisoned glyster. His body, covered with
enormous and repulsive sores, was wrapped in a single sheet and
hastily buried in a pit dug in a mean place in the Tower pre-
cincts.

Overbury removed, the wedding took place on the 26th
December following, when Campion's beautiful masque was
produced. Donne wrote an Epithalamium for the occasion, and
Jonson, who had written his Masque of Hymen for Frances
Howard's first ill-starred marriage, now contributed a set of verses.
In 16 15, however, Car fell into disfavour, and rumours of the
crime, previously whispered, now began to be openly reported.
A series of prosecutions ensued, in the course of which the matter
was thoroughly investigated. Elwes, Ann Turner,^ and Weston
I were executed. The Earl and the Countess were arraigned and
! condemned ; then reprieved, and confined to the Tower until
1 1622, when they were released and permitted to live in retire-
ment.

But it is, of course, the share of Campion and his patron,
Monson, in this business which we desire to assess. As already
seen. Campion had acted as agent for Monson in the sale of the
Lieutenancy to Elwes, and on October 26, 16 15, his depositions
were taken, the original minute of which in the Record Office,
signed in autograph by the poet and those sitting to hear evidence,
(S. P. Dom. James I. 82) is reproduced as a frontispiece to this
volume. It runs as follows : —

The exaiation of Thorns Campion docter of phisicke taken
this 26 of Oct. 16 1 5.

He confesseth that he receiued of alderman Helwys for the vse
of Sr Thorns Mounson fourten hundred pounds woi S^ gervis
Elwisleft or provided for him there," and this event was about the
midsommer after S^ gervis became hevetenant of the tower, and
that pt of that 14001' was in gold, and pt in white money and the
gold S' Thorns Mounson took w'l> him and the white money
being in Bagge, Darwyn S' Thorns Mounson's man caused to be

1 She is said to have killed the fashion for yellow starch by being hanged in
a ruff starched yellow.
' ' there ' is preceded in the MS. by the word ' at ' which has been erased.

Introduction. xlv

caried to S^ Thorns Mouns. as he laketh it, And for what con-
sideration it was payd this exaiate saith he knoweth not.

(signed)

Tho: Campion.
J. EUesmere, Cane.

Lenox.
E. Zouch.

The same month Monson was arrested, and after having been
detained in somewhat privileged confinement in the house of an
alderman, was brought before the Court on the 4th December ;
and, no substantial evidence against him being forthcoming, was
remanded to the Tower. Here his health seems to have failed,
for on January 24, 1616, a warrant,^ signed by 'J. Ellesmere,
cane. ', ' Lenox ', and ' Edw. Coke ', was issued to the then
Lieutenant of the Tower, Sir George More, 'to allow Dr.
Montford and Dr. Campian, physicians, to have access to Sir
Thomas Munson, Knt., a prisoner in the Tower, to confer
with the said Sir Thomas on matters relating to his health in the
presence of the said Lieutenant.'

On February 13, 16 17, Sir Thomas Monson pleaded at the
Court of King's Bench for a pardon, but, as he was careful to
make clear, it was not the ordinary pardon implying guilt which
he sought. He still reiterated his innocence, and in this attitude
the Lord Chief Justice supported him, finally stating that the
pardon was granted ' tam pietatis quam iustitia(e) motu.'

Monson admittedly acted as go-between in the sale of the
Tower Lieutenancy, recommended Weston at the Countess's
request, and charged Elwes (on whose authority does not appear,
but probably on Car's) to keep Overbury close without com-
munication with the exterior world. Further, it was a dependant
of Monson's, a musician named Marston or Marson, who actually
carried the poisoned tarts and jellies. But all this does not
necessarily imply a guilty cognizance of the intended crime. He
protested his entire innocence from first to last, and, in spite of
the threatening attitude of the court at his arraignment on the 4th
December, nothing was elicited against him. Elwes himself,
during his examination on October 3, 1615, stated that he thought
Monson innocent, while it transpired during the examination of
John Lepton on February 2, 161 6, that the King also, on perusing
the evidence against Monson, thought that there was not one
count which was unanswerable. We may justly conclude that
1 VII. Rep. Comm. Hist. MSS. p. 671.

xlvi Introduction.

the utmost guilt that can be laid to his charge in this affair is
a reprehensible carelessness and complaisance in putting himself
and his proteges at the service of the great, incurious of what vile
ends he might thereby be furthering. So much for Sir Thomas
Monson. As to Campion, the case stands thus : If Monson had
been guilty, Campion might possibly, though not necessarily,
have been also guilty. But if Monson was innocent, a fortiori
Campion's innocence is established, and his fair fame is un-
challenged by the least suspicion. At his patron's request he
attended to receive a sum of money due to the former ; and, as
he declared in his evidence, ' he knew not for what consideration
• the money was paid.' We may turn the pages of Campion's
beautiful masque with relief that its very beauties are not rendered
a hideous mockery by our sense of an underlying consciousness
of guilt, and we may give ourselves up to the enjoyment of its
rapturous bridal songs, untroubled by the suspicion that the hand
that penned them was, by however slight participation, sullied
with innocent blood.

In 1 6 14 appeared Ravenscroft's Brief Discourse, with Campion's
prefatory verses ; and shortly after Monson's pardon in February,
1 6 1 7, the Third and Fourth Booke of Ayres, dedicated to the
latter and offering congratulations upon his recent enlargement.
The next year (16 18) was published the Ayres that were svng and

played at Brougham Castle for the entertainment of King James
at that seat by the Earl of Cumberland on the former's return
from Scotland in August, 161 7. The music of these songs was
composed by George Mason and John Earsden, while the author
of the words is not stated, but it is tolerably certain that they
were written by Campion. To this time possibly also belongs
the undated New Way of making Fowre Parts in Counter-point, a
technical work on music which was for many years a standard
textbook; while in 16 19 he published his last work, the enlarged
edition of his Latin poems, entitled Epigrammatum Libri II.
Vmbra. Elegiarum liber vnus. This volume contains the epigrams
of the 159S edition in Book II, a further collection as Book I,
nearly all the elegies and the Fragmentum Vmbrae of the earlier book

,in a finished condition, the whole being revised and added to.

■ He died on March i, 1620 (i6^§), and was buried on the
same day at St. Dunstan's in the West, Fleet Street, the entry in
the register under that date being : ' Thomas Campion, doctor
of Phisicke, was buried.' From the fact that his will was made
in the article of death, and that he was buried on the same day,

Introduction. xlvii

it has been suggested that he died of the plague, or some such
sudden malady? But it seems to have been a tolerably frequent
custom at this period to bury soon after the event of death.
This was done in the case of Simon Forman's father, as we learn
from the former's Autobiography, while there is even a closer
parallel in the case of Tarlton, the famous actor, who, like Dr.
Campion, made his will and was buried upon one day.

Campion's will, a nuncupatory one, was proved in the Com-
missary Court of London on August 3, 1620, the Probate Act
Book showing his estate to be of the value of £2 2. The instrument
admitted to Probate runs as follows : —

'MEMORANDUM that THOMAS CAMPION, late of the
parishe of St. Dunstons in the West, Doctor of Phisicke, being in
pfect mynde and memory, did with an intent to make and declare
his last will and testament vpon the first of March, 1619, and not
longe before his death saie that he did giue all that he had vnto
Mr. Phillip Rosseter and wished that his estate had bin farr more,
or he vsed words to that effecte, being then and there present
divers credible witnesses.'

Philip Rosseter was, of course, his old friend and collaborator
in A Booke of Ayres. There is no evidence as to Campion
having ever married, but if he did, I think it may be safely
inferred from the above bequest that he left neither wife nor
children surviving him.

Of Campion's personality we know nothing beside what can be
gleaned from his works. We learn from a Latin epigram,' included
in the 161 9 edition only, that he was of a spare condition of body,
and envied his brethren cast in a stouter mould. His character
seems to have been warm, sensitive, and impetuous ; and, during
the earlier period, to use his own language, dum regnat Cythercea,
he seems to have sowed wild oats with the thoroughness of an
inflammable disposition unchecked by home interests or parental
influence. Orphaned at the age of ten, and thrust forth in his ^1
minority to sink or swim in the midst of the manifold seductions
which Elizabethan London had for a youth of good standing,
means, and attractive parts, it requires no violent effort of
imagination to realize that the lines among his Latin poems,
Ignarum iuvenem nudum cur trudis in urbetn ? were written by him
when looking back in the maturity of ripe experience upon the
follies of his early plunge into the world. Often as the battle has
been fought between those who search for personalities in erotic

' Book II. 23 : p, 375.

xlviii Introduction.

poetry, and those who ignore them as immaterial, I have little
hesitation in saying that the divinities addressed in the Latin
poems were no creatures of the imagination. That is sufficiently
clear from the whole tone and nature of the elegies and epigrams ;
their peculiarly intimate and real atmosphere; their allusion to
obviously real occurrences, passions, and disappointments per-
mitting of little doubt on the point. In particular he seems to
have had ' two loves ', who appear and reappear in his pages as
Caspia and Melka ; and, though not ' of comfort and despair ',
vexed him with tortures arising from causes opposed ; the latter
being too free of her favours, the former not sufficiently free.

This same intimacy and reality extends to the relations of pure
friendship mirrored in the Latin poems. As already stated.
Campion seems to have thrown himself into friendship with the
same abandonment and devotion with which he made the
pilgrimage to Paphos. His passionate regrets for the dead
Manby, and his complaints at the inevitable separation from the
friends addressed in the elegy Ad amicos cum mgrotaret, give us
a clear insight into his generous and affectionate nature. From
that poem, too, we may infer in passing that, prior to 1595, and
probably during his sojourn at Gray's Inn, he was afflicted with
a severe illness, involving insomnia varied by bad dreams resem-
bling delirium. To this illness there are several other references.

A brief account of the friends who played so large a part in
Campion's early life may be of interest. First, the Mychelbumes,
three brothers named Edward, Laurence, and Thomas. Anthony
Wood called Edward Mychelburne ' a most noted Latin poet of
his time ' ; but, saving two copies of verses prefixed to Bales's Art
of Brachygraphy, nothing of his is extant. He was a member of
St. Mary Hall, Oxford, whence he migrated to Gloucester Hall.
He died at Oxford in 1626, and was buried in the Church of St.
Thomas the Martyr. Campion and Fitzgeffrey both strove to
break his resolution not to publish, but apparently in vain.

Laurence was also a poet. I find little of him except what is
told us in the curious sidelight thrown upon his death by a letter
from Dudley Carleton (Stowe MS. 171, fol. 368b), which contains
the following passage : 'There is one Laurence Michalborne
lately drowned in the way betwixt Genoa and Millan as he was
riding through a current which fell fro the mountains : his horse
escaped, and he had ill luck, for he was a Poett and a passing
good fellow, and men of that sort doe commonly end theyre dayes
with better luck. From Venice this sth day of Mch 1620 '

Introduction. xlix

(i62§). The Dictionary of National Biography gives no clue to
the parentage of these brothers, but I am inclined to believe that
they were the children^ of Thomas Mychelburne of Gray's Inn,
and Alice, daughter of William Lawrence of Winchester. Their
father was admitted to the Inn in 1555, and Thomas the younger
in 1580. If these brothers are the sons of Thomas Mychelburne,
we may notice that Edward, Laurence, and another brother, John,
(not mentioned by Campion) died without issue, while Thomas
married Dorothy, daughter of Benjamin Shoyswell, of Shoyswell
in Sussex. Of the sister whose death is referred to in Campion's
elegy, I can find no trace. The family adhered to Roman
Catholicism ; and, for reasons of faith, Edward Mychelburne
abstained from proceeding to a degree.

Fitzgeifrey was another intimate member of the poet's circle.
He was the author of Sir Francis Drake., His Honorable Life's
Commendation, which appeared in 1596, and Affanice, a collection
of Latin epigrams published in 1601, already referred to, severaP
of which were addressed to Campion and Mychelburne. William
Percy was another, the son of Henry Percy, Earl of Northumber-
land, and author of Ccelia (iS95)- Percy is known to have been
a member of Gloucester Hall, Oxford ; but there were two Percys
at Peterhouse in Campion's time, through whom they might have
become acquainted. Of Grimston and Goring mention has
already been made ; while some account will be found else-
where of William Strachey,' Edmund Bracy,* Francis Manby,°
William HatteclifTe,' John Stanford,'' James Thurbarne,' Thomas
Smith,' George Gervis,^" James Huishe,*^ and Robert Castle,"''
among the poet's more private friends. Among those better
known may be mentioned George, Earl of Cumberland, Thomas
Sackville, Earl of Dorset, Sir Thomas Monson, Lord Bacon, Sir
John Davies, Nashe, Camden, Ferrabosco, Dowland, and
Rossiter.

His early extravagances he outlived ; and if it were possible to
recall the time of his later years, we may imagine that we should
find a kindly gentleman, full of ripe experience and judgement,
yet cherishing the memories of old loves and friendships, and the
generous illusions of youth; devoted to the studies of poetry,
music, and medicine, a true son of Apollo, as he was never tired

1 Rawl. MS. B. 435' f. 143. ^ V. p. 373. ' v. p. 376.

^ V. p. xxxiii. ' V, p. xxix. '" v. p. 376.

' ^- P- 373- ' ^- P- 376. " V. p. 372.

* V. p. 376. ' V. p. 376. '2 J) p. jyg.

CAMPION

1 Introduction.

of urging ; clothed with that finer tact and sympathy which comes
to a good physician. And pervaded by the same kindly temper
we may conceive his after life to have been spent until its latest
day, when even in the hour of death his thoughts were occupied
with the kindly wish that his worldly goods had been greater for
his friend's behoof.

CHAPTER II. THE POETICAL WORKS.

Some of the poems in this volume have not been previously
included in the canon of Campion's works; the authenticity of
these, therefore, and of some others I propose to consider before
proceeding to discuss the verse itself. And to clear the way to
some of my attributions, I would call attention to a frequent trick
of the poet's, which can be used as a critical test of some value ;
I mean his habit of versifying the same thoughts and ideas in both
English and Latin. A Ust of the more patent examples will make
this clear.

' It fell on a sommers day ' {A Booke, I, viii, p. lo).
'In Lycium et Clytham' (1619 ed., II, 60, p. 281). 'De
Thermanio et Glaia' (1595 ed., p. 343).

' Thou art not faire for all thy red and white ' {A Booke, I,

xii, p. 12).
'Ad Caspiam' (1619 ed., II, 53; 1595 ed., p. 343).

'I must complain yet doe enioye my Loue' (Fourth Booke,
xvii, p. 183).

fll. 4-6.

I'lnMelleam' (1619 ed., II, 18).

fll. II and 12.

r Ad Cambricum ' (i6i9ed., II, 116).

I ' Why presumes thy pride on that that must so priuate be '

^ {Third Booke, vi, p. 163).

['Ad Learn' (1619 ed., II, 117, p. 291).

I 'Kate can fancy only berdles husbands ' {Obseruations, p. 45).
I' In Laurentiam' (1619 ed., I, 56, p. 244).

There are other examples, but these will be sufficient. Now if
an English poem can be found which is an equally close version
of any of Campion's other Latin poems, I think that, in reliance
upon the habit demonstrated above, we may assign it to him,

Introduction. li

provided that such other evidence as we possess is not hostile to
the conclusion. At the weakest, the parallel would afford strong
presumptive evidence of authorship.

The attribution of the set of live Cantos of 1591 (pp. 349-51)
turns mainly upon this criterion. They occur among the Poems
and Sonets of Sundry Other Noblemen and Gentleman appended
to Newman's surreptitious edition of Sidney's Astrophel and Stella,
edited by Nashe, who, we know, was friendly with Campion.
The poems are obviously a set of five, numbered in series, and
written by one man, whose pseudonym. Content, is subscribed to
the set. Now the first is ' Harke all you ladies ', which we know
to be Campion's. Canto tertio, ' My Loue bound me with a
kisse,' is a poem which afterwards appeared in a more lengthy
form in Jones's Second Booke (1601). On applying our test, we
find a close parallel in Epigram 12 of Book II of the 1619 edition
of Latin poems, 'In Melleam ' (p. 273). Its application in the
case of Canto quarto, 'Ix)ue whets the dullest wittes,' provides
us with an even closer example in Ep. 54 of Book II, 'Ad
Amorem ' ; and I can find little reason to doubt that the whole
set is Campion's.

One other important attribution should be mentioned, though
the use of this critical test might perhaps be extended. The
Ayres that were svng and play d at Brougham Castle, published in
16 1 8, were composed by George Mason and John Earsden, the
author of the words being unstated. There is already, however,
external evidence for their connexion with Campion in a letter
adduced by Nichols, quoted at length in Whittaker's History of
Craven (p. 293). Concerning the festivities at which these Ayres
were performed, the Earl of Cumberland writes to his son, Lord
Clifford, as follows : ' Sonn, I have till now expected your lettres
according to your promis at your departure j so did George
Minson (Mason) your directions touching the musick, whereupon
he mought the better have writt to Dr. Campion. He is now
gone to my Lord Presidents at York, and will be ready to do as
he heares from you,' &c. This is good evidence, as far as it goes ;
but the matter can be almost clinched. Applying our test, we
shall find an interesting parallel between Stanza 2 of III, The
Kings Goodnight, and Ep. 188, Book I of the 1619 edition, De
Regis reditu e Scotia, written about the same event. Here we find
the same conceit of the sun dawning from the north, and close
verbal parallels to lines 4 and 7 of the English stanza. Campion's
style may be traced in some of the verses, notably in VI, ' Robin

d2

lii Introduction.

is a louely Lad ' ; but they are not all up to his best level. It is,
however, in accordance with the unfortunate custom which has
left us in the dark as to the authorship of some of the most
perfect gems in the songbooks that the names of the composers
alone are given ; and the assumption that Campion suppressed
his connexion with these verses as unworthy of him is unwarrant-
able. The Elizabethans were seldom so self-critical.

The next matter which must be dealt with is the authenticity
of A Booke of Ayres, which has always been taken for granted,
but which should, I think, be examined. The chief evidence is
to be found in the address to Sir Thomas Monson, where it is
stated that ' the first ranke of songs are of his owne (Campion's)
composition, made in his vacant houres, and priuately emparted to
his friends, whereby they grew both publicke and (as coine crackt
in exchange) corrupted : some of them, both words and notes,
vnrespectively challenged by others '. By ' first ranke ' is meant
Part I ; and though Campion is only stated to be the composer,
it is clear from the reference to the words being claimed by others,
that these were also his ; the truth being that he paid little
attention or regard to these ' superfluous blossoms of his deeper
studies '. An examination of the poems themselves, besides, bears
out the attribution : there are Latin versions of ' It fell on a som-
mers day ', and ' Thou art not faire ' ; ' Mistris, since you so much
desire ', and ' Your faire lookes enflame my desire ' reappear in a
slightly different dress in the Fourth Booke; 'The man of life
vpright ' reappears in Two Bookes ; while, as we have already seen,
'Harke, all you ladies' had already appeared in circumstances
which leave us litde or no doubt as to its authorship. But when
we proceed to examine Part II, this abundance of evidence
entirely fails. Rossiter's preface continues : ' Yet it hath pleased
him, vpon my entreaty, to grant me the impression of part of
them, to which I have added an equall number of mine owne.'
This must mean that the songs in Part II were composed by
\ Rossiter. Now while, having regard to the intimacy between
I Campion and Rossiter, it is extremely likely that the former
• supplied words for these songs, there is no certainty that he
I necessarily supplied them all. I have no knowledge of Rossiter
ever having written verse, but he might have had recourse to the
general sources whence the other songbooks were compiled. The
songs themselves afford no such evidence as that adduced in the
case of Part I, save the one straw at which, perhaps, we may
clutch, that the name Laura, a favourite one with Campion, occurs

Introduction. liii

in two of them. On considerations of style I am disposed to
assign most, if not all, of them to Campion ; but a personal sense
of style is a slippery thing ; and while we may for the present
include these songs among his works, I do not think that their ap-
pearance in A Booke should be regarded as a rebuttal of any other
attribution of which good evidence may hereafter present itself.

There are no similar doubts in the case of his other songbooks.
The reference in the prefatory verses to the Diuine and Morall
Songs to ' Graue words ', and the sense of ' read them, or else
hear ', are clear enough. The gift of verses for perusal would be a
sorry one if they were not the giver's. The reference in the
prefatory verses to the Light Conceits to ' my Notes and Rime '
is even clearer. And, finally, the whole tenor of the address in
the Third and Fourth Bookes, To The Header, implies that the
words in these books are Campion's.

The inclusion of the rest of the works in this volume needs no
explanation, except, perhaps, as regards 'What if a day', the
authenticity of which has been questioned. But the doubt ex-
pressed by Mr. Swaen in his excellent monograph ^ arises from
incorrect information as to the date of one MS. ; and, as I have
shown in my note upon that poem, no reliance can be placed upon
this evidence. It is certain that there are numerous poems of
Campion's scattered about the songbooks of the time and as yet
unclaimed for him : some few suggested attributions will be found
in the notes ; while from contemporary commonplace-books I have
gleaned a few interesting versions of poems which appear in my
text. Two other poems, in quitting this subject, I must mention
as appearing, on grounds of style alone, to be Dr. Campion's : the
one (an attribution of Mr. Bullen) the charming song, ' The hower
of sleepy night decayes apace'," which occurs at the end of

' V. infra, p. 378.

' The hower of sleepy night decayes apace,

And now warme beds are fitter than this place;
All time is longe that is unwilling(ly) spent
But howeis are miuitts when they yeld content :
The gathered flowers wee love, that breathe sweet sent,
But loathe them, there sweet odours being spente:
It is a life is never ill
To lye and sleep in roses still.

The rarer pleasure is, it is more sweet ;
And friends are kindest when they seldome meet.
Who would not heare the nightingale still singe;
Or who grew ever weary of the Springe ?

liv Introduction.

Nichols's transcript of the Mountebanks Masque ; and the other,
the lines " Do not, oh do not prize thy beauty at too high a rate " *
from Robert Jones's Vliimum Vale. The Mountebanks Masque
formed part of the second part of the Gesta Graiorum in which we
know Campion had a hand. Mr. BuUen, while assigning this song
to him, attributes the masque itself to Marston and includes it in
his edition of Marston's works (vol. iii), but I am almost inclined to
go further and to attribute nearly all the lyrics, except the comic
ones, to Campion on mere grounds of style. For the same reason
I think the song from Vltimum Vale to be Campion's : it seems
to me to have the very ring and lilt which we are accustomed to find
in his verse ; and there is some similarity in the language. But in
neither case have I been able to find any objective evidence.
TTie Masque of Flowers, performed by the gentlemen of Gray's Inn
on Twelfth Night, i6if, has been attributed to our poet, but, I
think, without justification. It is little better than doggerel.

Of the Latin poems it is not necessary to say much ; for their
literary value for the present generation is but slender. Their
chief interest is in the information which they afford concerning the
poet's loves and friendships, and in the clear presentment of his real

The day must have her nighte, the Springe her fall ;
All is divided, none is lorde of all.

It were a most delightful thinge

To live in a perpetnall Springe.

Mr. Bullen's text reads 'sweety night' in 1. i ; 'are better' in 1. 2. The
above text is that of Nichols {^Progresses of Queen Elhabeth, vol. iii).

1 Do not, O do not prize thy beauty at too high a rate :

Love to be loved whilst thou art lovely, lest thou love too late ;
Frowns print wrinkles in thy brows.

At which spiteful age doth smile,
Women in their froward vows
Glorying to beguile.

Wert thou the only world's admired thou canst love but one,
But many have before been loved, thou art not loved alone ;
Couldst thou speak with heavenly grace,

Sappho might with thee compare ;
Blush the roses in thy face,
Rosamond was as fair.

Pride is the canker that consumeth beauty in her prime,
They that delight in long debating feel the curse of time.
All things with the time do change

That will not the time obey;
Some even to themselves seem strange
Through their own delay.

Introduction. Iv

self which he did not hesitate to commit to the discretion of a dead
language. Critically, they afford the test mentioned above, which
has already proved useful, and may do so again. In style purely
imitative, they are nevertheless graceful and elegant, and often
neatly turned; showing considerable control of the Latin lyric
metres. In the earlier book, published when his youth got the
better of his discretion, he pressed the obscenity without which no
imitation of the classical epigrammatists would have been deemed
complete, to unusual lengths ; and, as we have seen, received a
gentle rebuke from William Covell. But these indiscretions were
toned down considerably in the subsequent edition, revised in the
light of riper judgement. Besides revision with this object,
however, Campion had another purpose which is responsible for
much alteration. The more usual scheme of hendecasyllabic, or
Phalaecian, verse commences, as is well known, with a spondee ;
but there was an alternative' employed by Catullus of which
Campion made much use in his first collection, viz. of commencing
with a trochee, or, more rarely, with an iambus. Some time,
however, between the first and second editions he seems to have
become doubtful as to the propriety of this practice, for in the
latter every instance is expunged, in numerous cases the only
purpose of the revision being the elimination of this foot.

But it is Campion's English verse with which we are mainly
concerned, despite its author's low estimate, real or feigned, of its
importance. Not only was he writing good verse at an early age —
his first poem appearing when he was 24 — but its appearance is all
the more striking by its unlikeness to the poetry of the day,
which with few exceptions was heavy and lumbering. Breton,
Lodge, and the rest of the men on Campion's level, were not as
yet emancipated from the trammels of laborious versification ; but
Campion's verse was from the beginning free and musical. This
musical quality is indeed the one which distinguishes the whole of
his poetry ; it is undoubtedly connected with the practice of
musical composition and due to a feeling for musical effect, to
which, with his trained musical ear, he was peculiarly susceptible.

Among the earliest poems, and itself one of the freest and most
charming, is ' Harke, all you ladies '. It will be noticed that this
song has a somewhat curious scheme of dactyls and anapaests ; the
first three lines of each stanza follow the usual iambic or trochaic
rhythm ; but the final quatrain changes, its first two lines being
anapaestic, the third dactylic, and the fourth an Adonic (except in
' Campion refers himself to this practice in the Obseruations (p. 43).

Ivi Introduction.

the last stanza, where dactyls take the place of anapaests through-
out). I am inclined to think that this poem foreshadows Campion's
subsequent experiments in classical metres ; while Canto Secundo
in the same set most certainly does. These curious lines are an
attempt at composition in an accentual version of the Latin First
Asclepiad, the metre of Horace's ' Maecenas atavis edite regibus ' ;
and the effect is certainly extraordinary. As far as the individual
lines are concerned, the result is sometimes fairly melodious,
sometimes almost doggerel; while an occasional deviation from
the strict scheme may perhaps be put down to textual corruption.
But it will be noticed that in such an accentual scheme the last
accent must fall on the antepenultimate syllable ; and unless the
poet makes use of versi sdruccioli or antepenultimate rhymes
(which he never does) the rhymes will be unaccented and almost
unheard. Thisis, in fact, what actually happens; for the rhymes are
submerged, except in so far as it is possible to get a slight secon-
dary accent on the last : and it is quite easy to read the poem at
least once without perceiving that it is actually rhymed. Perhaps,
indeed, this may have marked a second stage in the poet's progress
towards unrhymed verse, as involving the discovery that, in some
forms of ' classical ' prosody, rhyme became a negligible quantity.
The further course of Campion's infection with the prevailing
hostility to rhyme I shall discuss more fully in the next chapter :
suffice it to say here that in the whole of his English works, ex-
cluding the examples in the Obseruations, we only get one complete
specimen of his .'classical ' metres, the abominable Sapphics at the
end of Part \oi A Booke of Ayres. His musical and artistic sense
was too strong for his neoterizing tendencies.

One other aspect of Campion's verse should be noticed, the
extraordinary fluidity and lack of stability in his rhythms. This
again is referable to the purpose of musical composition with which
they were written. The marriage of music to Campion's verse was
no casual or one-sided union ; nor was music a mistress with whom
his poetry dallied, while possessed of more serious interest. Words
and music were born for each other, and in their wedding was
consummated the only object of their existence. Hence, to-day,
in the divorce resulting from the verdict of time that the
poetry is worthy of immortality, while the music is not, we are
guilty of treating the former to some extent as in vacuo, and apart
from its usual environment. It would be exceedingly instructive if
an account could be obtained from a good composer-poet of the
mental processes necessary to the writing of both words and music

Introduction. Ivii

for the same song. In many instances the nature of the air would
suggest the rhythm of the verse ; and conversely a half-phrase or
casual hne would suggest a musical theme ; with the result that
both words and music might have assumed some form before either
had been fully worked out or committed to writing. This must
have occurred in most of Campion's lyrics. On some occasions
he even wrote words to music, thus reversing the usual practice ;
for we find two pairs of songs written to the same music, where one
poem in each pair must^have been written subsequently. And
this close interdependence between his words and his music is the
quality for which above all others he took chief credit, and
received it from his contemporaries. He says himself: 'In these
English Ayres I haue chiefely aymed to couple my Words and
Notes louingly together, which will be much for him to doe that
hath not power over both ' ; from which it seems that the result pro-
ceeded not only from spontaneous causes, but also from conscious
effort. Again, it is to this quality that Davies alludes in the lines
already quoted : —

Neuer did Lyricks more then happie stratnes
(Straind^out of Arte by nature, so with ease,)
So purely hitt the moods and various Vaines
Of Mustek and her Hearers as do These.

While, however, the cause and object of these fluid rhythms
was the musical setting, we are left with nothing of which to
complain in their artificial separation. Campion's verse is always
fresh and melodious, and agreeably varied with subtle cadences.

Campion was one of the last of the Ei^huists ; and to his
position among those, as one who embroidered thought with
a tissue of rich diction, Peele alludes in the reference above
quoted.' This Euphuism was not, however, of the grosser variety,
but of a refined and sublimated type; which upon ultimate
analysis may be reduced merely to an unemphatic balance, or
antithesis, in the structure of his sentences ; a very rare illustra-
tion from natural objects; and an occasional flavour of moral
sentiment. But in many of his poems even this degree of
Euphuism is totally absent, as, for example, in ' Turn back, you
wanton flyer ', ' Harke, all you ladies ', ' If thou long'st so much
to view ', and several others.

Attention should also be drawn to the unlyrical quality of some
of Campion's songs, which are in reality little monologue sketches;

' V. supra, p. xxxvi.

Iviii Introduction.

consisting, not of the lover's prayer or praise in the detached
atmosphere of his contemplation, but in an actual scene of life,
a dramatic dialogue where one voice is not heard. Instances
will be found in ' Come, you pretty false eied wanton ', ' Your
fair lookes urge my desire ', and a few others.

Campion's gift is mainly lyrical, and the value which his masques
have for us is solely lyrical. He served no apprenticeship in
dramatic construction ; and where the practised hand of Ben
Jonson knew just the necessary degree of coherence that a masque
would admit of with advantage, Campion's plots strike me as
either slightly invertebrate or slightly complicated ; the best being
his first, that for the marriage of Lord Hayes. But as to the
poetical quality of these masques there can be no dissentient
voice. They abound with the most perfect lyrical gems, while
the whole web of verse is of a very high order of beauty.

His work supplies a link between two periods of different
inspiration : he was acquainted with the veteran Sackville, Lord
Dorset, with whose Induction came the first promise of light for
Enghsh poetry j and, during his declining years, he was con-
temporary with John Donne, whose influence was already pervading
the world of letters. Campion escaped that influence because
his style was fixed in the earlier school. His fame, which was so
deservedly great in his own time, was soon extinguished. This is
entirely due to historical events, and their effect upon the ephemeral
media in which he worked. The masque was at all times too
expensive an entertainment to be produced by any but rich nobles
and prosperous institutions ; and with the establishment of the
Commonwealth it disappeared, never to return. In the same way
the Puritan ascendancy, with its hatred of music, especially
secular music, slew the short-lived vogue of the songbooks : some
hint of the trend of opinion towards distaste for the madrigal and
madrigal poetry may be seen in the Theatrum Poetarum of
Edward Phillips, Milton's nephew, who only refers to Campion on
account of his mention by Camden, and expresses the opinion
that he was ' a writer of no extraordinary fame '. As might have
been expected, the only song that can be traced as having survived
any considerable time is a sacred one, 'Neuer weather-beaten
Saile,' rightly held up to admiration by Mr. BuUen as an example
of rare lyrical beauty united with sincere rehgious fervour. This
song occurs in a commonplace-book of 1707 in circumstances
which suggest that it was still living at that date as a hymn.^ But

' V. p. 363.

Introduction. lix

after his long oblivion it was Mr. Bullen who acted as a pioneer
of his works, and who restored him, as he has restored so much
else that is good in Elizabethan literature, to a grateful and
appreciative generation, to the occupation of a seat among the
immortals, and to the permanent enjoyment of mankind.

CHAPTER III. THE PROSE WORKS.

Of Campion's prose works, by far the more important is, of
course, his Obseruations in the Art of English Poesie, which
requires careful examination. Its value for literary history consists !
in the fact that it was a final statement of the craze against
rhyming formulated by one of its best equipped and sanest
partisans ; and that, the controversy thus coming to a head, the
movement was finally demolished by Daniel's reply. It is
difficult at this distance to appreciate or to account for the
Renaissance objection to rhyme ; but it was clearly regarded as
a relic of barbarism and the dark ages, the offspring of the
monkish leonine hexameters, and of no greater literary value.

The movement itself, whatever its origin, seems to have
gathered strength first in Italy, with Claudio Tolomei's Versi
e Regoli della Nuova Poesia, and to have spread thence to other
countries, taking root according to the predisposition of the soil.
In Italy itself it did not flourish long : the unchallenged supremacy
of the Sonnet, Canzone, Ottava, and Terza Rima was too strong
for the innovating influence, and put the position of rhyme beyond
danger. In France there were experiments in vers mesur/s, but
the character of the language made even a semblance of quantita-
tive verse impossible ; while Spain was content to follow the lead
of Italy. But in England the soil was predisposed, and the new
poesy found many adherents. There was, in fact, no one settled
system of prosody which held the field without question; no
fewer than three competing schemes were struggling for the upper
hand : the Chaucerian, or blended system, resulting in a kind of
syllabic equivalence ; a revival of aUiterative verse represented by
Poulter's measure and the ballad metres, and strengthened by the
alliterative tendencies of Euphuism ; and the forms newly
introduced from Italy by Wyat and Surrey, who were poets of
promise rather than performance, and did outrage in many ways
to the mother tongue. None of these schemes had won complete
recognition ; and the Renaissance enthusiasts, with their extra-

Ix Introduction.

ordinary veneration for the classics, turned with eager expectation
to the classical models of prosody.

Campion affords an interesting example of the fact that the
movement, so far as we can trace it in England, appears to have
been set on foot and maintained in the courts of Cambridge.
When it originated cannot be stated, but it was no new thing in
the time of Ascham, who says : 'This misliking of rhyming beginneth
not now of any new fangle singularity, but hath been long
misliked, and that of men of greatest learning and deepest
judgment.' uts earliest champions were a little group at St.
John's, comprising the Master, Thomas Watson, Bishop of Lincoln ;
Ascham, one of the fellows ; and Drant, then an undergraduate ;
and the Cambridge tradition in this respect was maintained by
Gascoigne, Spenser, Harvey, Sidney, Dyer, and Webbe. It was
not, therefore, surprising that Campion should have been enlisted
in the crusade against rhyme.

Campion seeks to set aside rhyme altogether as unworthy of
serious notice, and to substitute for rhymed verse certain metres
classified according to the terminology of Greek and Latin
prosody, which he sought to make, and believed to be, imitations
of classical quantitative verse. Now the fallacy of Campion and
all those who seek to harmonize quantitative verse with the
natural structure of the English language, is due to a confusion
between quantitative and accentual prosody, and a misapprehen-
sion of their respective natures j quantitative being, of course, that
based upon the distribution of syllables bearing a proportion to
one another of actual time in enunciation ; accentual being based
upon the distribution of stresses. In Campion's time, the nature
of quantity was not fully understood : classical verse was scanned,
as it has always been until recently in our schools, on an accentual
system ; by substituting a thesis for every long syllable and an
arsis for every short. I do not believe that Campion fully under-
stood the difference between quantitative and accentual prosody ;
I am inclined to think that he had some perception of the nature
of quantity, as a necessary outcome of his studies in music ; but
it was his very connexion with the art of music, to which he is
always appealing by way of example, that vitiated and coloured
his pronouncements on prosody. When he set one of his ordinary
English songs to music, he naturally fitted the stronger accents to
the longer notes, for, as he says himself in this book : ' In ioyn-
ing of words to harmony there is nothing more offensive to the
eare than to place a long Billable with a short note, or a short

Introduction. Ixi

sillable with a long note, though in the last the vowell often beares
it out.' By ' long ' and ' short ' he means ' accented ' and ' un-
accented ' ; and the practice is, of course, quite in accordance
with the rules of good musical composition. Now, the song
having been duly composed, Campion finds his confusion con-
firmed : what was accentual verse when read, becomes quantitative
verse when sung, the words being held out in the singing voice to
the length of the notes, which, of course, bear a time-proportion
to one another ; and Campion's purpose in writing verse was so
purely musical that he was unable to regard his words apart from
their musical setting.

It would seem, therefore, that he had some perception of
quantity, though I do not think he appreciated the nature of
accent. But the essential difference between quantitative and
accentual prosody he certainly did not understand ; and the key
to the Obseruations, difficult as they are to follow, is to be found
in his confusion of the two systems. An example will make this
clearer. Tennyson has written verses on classical models, but
without confusion as to their real basis ; for he drew himself
a clear distinction between his really quantitative verse (' Hexa-
meters no worse ', &c.), and other verse, in ' classical ' metres such
as that of Coleridge, in which the longs and shorts of the true
classical metre are simply translated by accented and unaccented.
In the first, the true quantitative verse, there is no paltering with
accent : all considerations of English accent go by the board, and
the words are given a new pronunciation in strict accordance with
quantity. For example, the usual pronunciation of ' hexameters '
becomes quantitatively ' hexameters '. The accent is ancillary in
the great majority of cases to the long syllable, but this is no concern
of the poet, who has regard only to the quantity arising from the
two considerations of nature and position ; even pushing this
entirely logical position so far as to treat ' the ' in ' the state ' as
long before st, and to pronounce it accordingly. This verse is
therefore strictly quantitative ; but Tennyson is not deluded with
the conviction that it is also English poetry : it is a ' barbarous
experiment ' which does violence to the natural structure of the
language and its current literary pronunciation : it makes English
a foreign tongue.

Neither is he subject to the illusion that ' In the hexameter
rises the fountain's silvery column ' is an example of classical
prosody. It is rhymeless accentual verse composed according
to an arrangement of theses and arses corresponding to the

Ixii Introduction.

arrangement of longs and shorts in the classical hexameter. The
former kind is true quantitative verse which does not purport to
be English poetry, the latter English poetry which no one can
admit to be quantitative.

Logically, all had been well if Campion had taken either of
these positions. Whether productive of good or bad verse,
neither scheme involves the confusion which is everywhere patent
in this book. He saw that quantity proper did enter into his
songs when set to music, out of which condition he could hardly
conceive of them ; and he also saw that it was possible to write
English verse according to the so-called classical metres, replacing'
long with thesis, as in the hexameters of Clough, Kingsley, and
Coleridge. He was possibly further misled by the fact that the
enunciation of a strong accent does involve a slightly increased
time period, so that to an almost imperceptible degree the relation
of accented and unaccented is accompanied by a relation of
longer time to shorter time. But (with the rest of his partisans,
and probably the whole of his contemporaries) he entirely failed
to see that accentual verse is that constructed around the natural
and inherent distribution of accents in the language, while quanti-
tative poetry is that constructed around the equally natural
distribution of quantities, the incidental or ancillary accent or
quantity, which may arise in each case, being entirely secondary,
and not the primary cause of the grouping and selection of words
which constitute verse.

So Campion is constantly sinning against the light ; rationalizing
on quantitative principles, and making feeble compromises with
his conscience where the absurdity of his conclusions is too
patent. He begins : ' But above all the accent of one word is
diligently to be observed, for chiefly by the accent in any
language the true value of the sillables is to be measured.
Neither can I remember any impediment except position that can
alter the accent of any sillable of our English verse. For though
we accent the second of Trumpington short, yet is it naturally
long, and so of necessity must be held of every composer. Where-
fore the first rule that is to be observed is the nature of the
accent, which we must ever follow.' It is clear that confusion
has already crept in. But he proceeds : ' The next rule is
position, which makes euery sillable long, whether the position
happens in one or two words.' There is nothing about vowels
being long by nature ' here, and I imagine that ' accent ', above

' Professor Saintsbury interprets naturally long above as meaning long by

Introduction. Ixiii

referred to, takes the place of ' nature ' in Campion's metrical
scheme. However, realizing that this rule of position is plainly
at variance with actual facts, he attempts a compromise which
knocks the bottom out of the theory. He continues : ' Also
because our English orthography (as the French) differs from our
common pronunciation, we must esteeme our Billables as we
speake, not as we write ; for the sound of them in a verse is to be
censured and not their letters.' No one can quarrel with this
dictum as exempUfied by the words immediately following, as
•dangerous' which is to be reckoned as 'dangerus', but Campion
is forced to a wider extension of the principle, which of course
reduces the rule of position to a nullity. Naturally, if the words
'appear', 'attend', 'oppose', are spelt 'apear', 'atend', 'opose',
the first syllable of each becomes ' short ' by position ; and
Campion does not realize that it is the absence of accent which
renders these syllables ' short ', irrespective of their position, real
or notional. The whole procedure resembles nothing less absurd
than the practice charged by Macaulay against Gladstone, of
bringing forward a forged bond endorsed with a forged release,
of setting up a fallacious principle, and excusing its application by
an irrelevant exception. The whole of the rest of the treatise
consists in a series of empirical rules and examples demonstrating
what syllables are really 'long' or 'short', to avoid the application
of the rule of position, which, once formulated, has got entirely
out of its author's control.

But in spite of the hopeless confusion of all this, we are indebted
to Campion for several striking and acute observations. In some
cases his very perception and delicacy of ear plunged him yet
deeper into the slough. He notes the undoubted fact that some
sounds take relatively longer to pronounce, but in the case of
some of the longer ones, ' warre, barre, starre, farre, marre,' his
rationalizing instinct drives him to conclude that these sounds are
lengthened in position by the double consonants ! Take again
the curious passage where he asserts that the Latin hexameter of
six feet and the English verse of five feet are equal, in that they
both quinque perficiunt tempora, ' fill up the quantity (as it were)

nature ; but this does not make the passage any clearer. ' Nature,' as
understood in classical prosody, is nowhere explained or referred to ; and is,
further, entirely de trap in Campion's system. According to him, there are two
rules only : first, ' the nature of the accent,' and, next, ' position '- On the other
hand, the second of Trumfington being accented short, by what reckoning is
it ' naturally long ' ? By position, or how ?

Ixiv Introduction,

of five sem'briefs,' a passage of considerable difBculty. Campion
means that, in a recitation of equal quickness, such Latin and
English lines would take the same length of absolute time by the
stop watch. ^ There is no question here of the number of accents,
or proportion in time : the meaning is simply that whereas in
Latin a short syllable can be pronounced in a short time because
it is by definition unhampered with consonants, a ' short ' syllable
in English frequently requires changes of position in the organs
of speech involving a hiatus of vocal preparation, and the whole
line takes longer to say. This is a rationalization based upon the
old erroneous practice of reading quantitative verse ; but its real
importance is Campion's appreciation of the fact that English
poetry will not have long lines ; and its purpose in his argument
is to prove the unnatural character of English hexameters and the
validity of his own shorter verse lengths.

Campion also shows himself a pioneer of metrical equivalence,
which was not thoroughly established until Milton ; and, in his
undoubtedly justifiable admission of the tribrach to English
prosody^ was more advanced than even recent critics. His
remarks in connexion with his own unrhymed examples betray an
accurate perception and a delicate ear, which, as he says, ' Poets
Orators and Musitians of all men ought to have most excellent.'
Setting aside the confusion and vitiation which proceed from
his incomplete comprehension of classical prosody, what is the
effect of his book ? It proves that some sort of poetry can be
written without rhyme. But, as Daniel points out, there must
be some considerable inducement before we can make such a
momentous change, and Campion's specimens are hardly sufficient
earnest of a change for the better. ' Rose cheekt Lawra ' and
' lust beguiler ' are certainly most charming, but how much more
charming they would have been in rhyme ! Except in the case of
heroic blank verse, which, as Daniel pointed out, was no innova-
tion, no advantage is to be gained by getting rid of rhyme. Why,
then, get rid of rhyme ?

To this very pertinent question Campion only replies with an
expression of prejudice, thinly veiled beneath rationalization.

' By proving verses to time with the hand Campion does not mean merely
beating time, but beating standard time, such as is afforded nowadays by the
metronome. The practice of singing part music unaccompanied' was so popular
that doubtless most persons of any skill in music could beat a standard time for
the bar, which would in itself conform to a uniform period of absolute time,
and thus serve as a metronome would for the purpose of the above-mentioned test.

Introduction, Ixv

But after this date we have no more of these follies : his practice
was always better than his precept ; and I, for one, believe that
he was converted, either by Daniel or by his own good sense.

Little need be said in a book of this character concerning
Campion's pretensions as a musical theorist. The main value,
however, of the ' New Way ', is, as I have shown with more detail
in the Notes, that it affords a rule of thumb for the harmonization
of a tune with simple concords. Its only originality is that of the
dress in which he presents his rule, a Table of the use of the
Fifth, Third and Octave, which is nothing more than an arithme-
tical formula of the use of the common chord. Instead of
terming this the triad and its inversions, he calls his notes 5, 3,
and 8. There is little enough in this to warrant his claim that he
had effected more in Counterpoint than any man before him had
ever attempted.

But even this small measure of originality may be doubted, if
not denied outright. It is pretty evident that he was well
acquainted with Morley's famous ' Plaine and easie Introduction
to Practical Musick', first published in 1597, the Third Part of
which treats of the Composing and Setting of Songs. At p. 143
Morley gives a Table of proper progressions in three parts ; while
at pp. 146-7 he gives a table containing the usual chords for the
composition of four or more parts profusely illustrated with
examples in score. Campion's rule is a modification of these
tables, very possibly derived from them ; the difference being that
he uses the figures instead of setting down the notes of the
common chord. There are considerable traces in the ' Tones of
Musicke' also that Campion was not free from obligation to
Morley in respect of this portion of the work ; while ' Of the
taking of all Concords ' is probably little more than a translation
from the Latin of Sethus Calvisius, whose works were not
unknown in England prior to this date.

But while we are unable to concede his claims in anything like
their entirety touching ' A New Way ', we must at least admit that
his own compositions possess considerable merit. Many of the
Ayres are arch, dainty little things ; full of charm and lighthearted
grace.

To face p- Ixvi

TO THE RIGHT VERTVOVS

AND WORTHY KNIGHT, SIR

THOMAS MOVNSON.

Sir,

The generall voice of your worthines, and the manie particular
fauours which I haue heard Master Campion, with dutiful!
respect, often acknowledge himselfe to haue receiued from you,
haue emboldned mee to present this Booke of Ayres to your
fauourable iudgement and gracious protection ; especially because
the first ranke of songs are of his owne composition, made at his
vacant houres, and priuately emparted to his friends, whereby
they grew both publicke, and (as coine crackt in exchange)
corrupted : some of them both words and notes vnrespectiuely
challenged by others. In regard of which wronges, though his
selfe neglects these light fruits as superfluous blossomes of his
deeper Studies, yet hath it pleased him, vpon my entreaty, to
grant me the impression of part of them, to which I haue added
an equall number of mine owne. And this two-faced lanus thus
in one bodie vnited, I humbly entreate you to entertaine and
defend, chiefely in respect of the affection which I suppose you
beare him, who I am assured doth aboue all others loue and
honour you. And for my part, I shall thinke my self happie if in
anie seruice I may deserue this fauour.

.,.„_^ Your Worships humbly deuoied,

Philip Rosseter.

B 2

TO THE READER.

WffA T Epigrams are in Poetrie, the same are Ayres in musicke,
then in their chiefs perfection when they are short and well seasoned.
But to clogg a light song with a long Prceltedium, is to corrupt the
nature of it. Manie rests in Musicke were inuented either for
necessitie of the fuge, or granted as an harmonicall licence in songs
of many parts : but in Ayres I find no vse they haue, vnlesse it be to
make a vulgar and triuiall modulation seeme to the ignorant strange,
and to the iudiciall tedious. A naked Ayre without guide, or prop,
or colour but his owne, is easily censured of euerie eare, and requires
so much the more inuention to make it please. And as Martiall
speakes in defence of his short Epigrams, so may I say in th' apologie
of Ayres, that where there is a full volume, there can be no imputation
of shortnes. T7te Lyricke Poets among the Greekes and Latines
were first inuenters of Ayres, tying themselues strictly to the number,
and value of their sillables, of which sort, you shall find here onely
one song in Saphicke verse ; the rest are after thefascion of the time,
eare-pleasing rimes without Arte. The subiect of them is for the
most part, amorous, and why not amorous songs, as well as amorous
attires ? Or why not new Ayres, as well as newfascions ? For the
Note and Tableture, if they satisfie the most, we haue our desire,
let expert masters please themselues with better. And if anie light
error hath escaped vs, the skilfull may easily correct it, the vnskilfiill
will hardly perceiue it. But there are some, who to appeare the more
deepe, and singular in their iudgement, will admit no Musicke but
that which is long, intricate, bated with fuge, chaind with sincopation,
and where the nature of euerie word is precisely exprest in the Note,
like the oldexploided action in Comedies, when if they did pronounce
Memeni, they would point to the hinder part of their heads, ^ Video,
put their finger in their eye. But such childish obseruing of words
is altogether ridiculous, and we ought to maintaine as well in Notes,
as in action a manly cariage, gracing no word, but that which is
eminent, and emphaticall. Neuertheles, as in Poesie we giue the
preheminence to the Heroicall Poeme, so in Musicke weyeeld the chief e
place to the graue, and well inuented Motet, but not to euery harsh
and dull confused Fantasie, where in multitude of points the Har-
monie is quite drowned. Ayres haue both their Art and pleasure,
and I will conclude of them, as the Poet did in his censure, of
Catvllvs th£ Lyricke, and Vergil the Heroicke writer :

Tantum magna suo debet Verona CatuUo:
Quantum parua suo Mantua Vergilio.

A Table of halfe the Songs contained
in this Booke, by T. C.

I. My sweetest Lesbia.

II. Though you are yoong.

III. I care not for these Ladies.

nil. Follow thy faire sunne.

V. My loue hath vowed.

VI. When to her lute.

VII. Turne backe you wanton flier.

VIII. It fell on a sommers daie.

IX. The Sypres curten.

X. Follow your Saint.

XI. Faire, if you expect admiring.

XII. Thou art not faire.

XIII. See where she flies.

XIIII. Blame not my cheekes.

XV. When the God of merrie loue.

XVI. Mistris, since you so much desire.

XVII. Your faire lookes enflame.

XVIII. The man of life vpright.

XIX, Harke all you Ladies.

XX. When thou must home.

XXI. Come let vs sound with melodic.

A Booke of Ayres.

I.

My sweetest Lesbia let vs liue and loue,

And though the sager sort our deedes reproue,

Let vs not way them : heau'ns great lampes doe diue

Into their west, and strait againe reuiue,

But soone as once set is our little light,

Then must we sleepe one euer-during night.

If all would lead their liues in loue like mee,
Then bloudie swords and armour should not be,
No drum nor trumpet peaceful sleepes should moue,
Vnles alar'me came from the campe of loue : lo

But fooles do liue, and wast their little light.
And seeke with paine their euer-during night.

When timely death my life and fortune ends,

Let not my hearse be vext with mourning friends.

But let all louers rich in triumph come.

And with sweet pastimes grace my happie tombe ;

And Lesbia close vp thou my little light.

And crowne with loue my euer-during night.

IL

Though you are yoong and I am olde,
Though your vaines hot, and my bloud colde.
Though youth is moist, and age is drie,
Yet embers liue, when flames doe die.

The tender graft is easely broke,
But who shall shake the sturdie Oke?
You are more fresh and faire then I,
Yet stubs do liue when flowers doe die.

Thou that thy youth doest vainely boast.
Know buds are soonest nipt with frost,
Thinke that thy fortune still doth crie,
Thou foole, to-morrow thou must die.

A Booke of Ayres.

III.

I care not for these Ladies,
That must be woode and praide,
Giue me kind Amarillis
The wanton countrey maide ;
Nature art disdaineth,
Her beautie is her owne;

Her when we court and kisse,

She cries, forsooth, let go.

But when we come where comfort is.

She neuer will say no. lo

If I loue Amarillis,
She giues me fruit and flowers,
But if we loue these Ladies,
We must giue golden showers,
Giue them gold that sell loue,
Giue me the Nutbrowne lasse,

Who when we court and kiss,

She cries, forsooth, let go.

But when we come where comfort is.

She neuer will say no. 20

These Ladies must haue pillowes.
And beds by strangers wrought,
Giue me a Bower of willowes.
Of mosse and leaues vnbought.
And fresh Amarillis,
With milke and honie fed.

Who, when we court and kiss,

She cries, forsooth, let go.

But when we come where comfort is.

She neuer will say no. 30

8 A Booke of Ayres.

iiii.

FoUowe thy faire sunne, vnhappy shadowe,

Though thou be black e as night,

And she made all of light,

Yet follow thy faire sun, vnhappie shadowe.

Follow her whose light thy light depriueth,

Though here thou liu'st disgrac't,

And she in heauen is plac't,

Yet follow her whose light the world reuiueth.

Follow those pure beames whose beautie burneth,

That so haue scorched thee.

As thou still blacke must bee.

Til her kind beames thy black to brightnes turneth.

Follow her while yet her glorie shineth :

There comes a luckles night,

That will dim all her light;

And this the black vnhappie shade deuineth.

Follow still since so thy fates ordained:

The Sunne must haue his shade.

Till both at once doe fade,

The Sun still proud, the shadow still disdained.

My loue hath vowd hee will forsake mee.

And I am alreadie sped.

Far other promise he did make me

When he had my maidenhead.

If such danger be in playing.

And sport must to earnest turne,

I will go no more a-maying.

Had I foreseene what is ensued.
And what now with paine I proue,
Vnhappie then I had eschewed
This vnkind euent of loue:
Maides foreknow their own vndooing,
But feare naught till all is done.
When a man alone is wooing.

A Booke of Ayres. 9

Dissembling wretch, to gaine thy pleasure,

What didst thou not vow and sweare ?

So didst thou rob me of the treasure.

Which so long I held so deare,

Now thou prou'st to me a stranger,

Such is the vile guise of men 20

When a woman is in danger.

That hart is neerest to misfortune

That will trust a fained toong,

When flattring men our loues importune.

They entend vs deepest wrong.

If this shame of loues betraying

But this once I cleanely shun,

I will go no more a-maying.

VI.

When to her lute Corrina sings.

Her voice reuiues the leaden stringes.

And doth in highest noates appeare,

As any challeng'd eccho cleere ;

But when she doth of mourning speake,

Eu'n with her sighes the strings do breake.

And as her lute doth liue or die,

Led by her passion, so must I,

For when of pleasure she doth sing.

My thoughts enioy a sodaine spring, 10

But if she doth of sorrow speake,

Eu'n from my hart the strings doe breake.

VII.

Turne backe, you wanton flyer.

And answere my desire

With mutuall greeting.

Yet bende a little neerer,

True beauty stil shines cleerer

In closer meeting.

Harts with harts delighted

Should striue to be vnited

Either others armes with armes enchayning;

Harts with a thought, 10

Rosie lips with a kisse still entertaining.

I o A Booke of Ayres.

What haruest halfe so sweete is

As still to reape the kisses

Growne ripe in sowing,

And straight to be receiuer

Of that which thou art giuer,

Rich in bestowing?

There's no strickt obseruing

Of times or seasons sweruing,

There is euer one fresh spring abiding;

Then what we sow,

With our lips let vs reape, loues gaines deuiding.

VIII.

It fell on a sommers day.
While sweete Bessie sleeping laie
In her bowre, on her bed.
Light with curtaines shadowed,
lamy came : shee him spies,
Opning halfe her heauie eies.

lamy stole in through the dore.

She lay slumbring as before;

Softly to her he drew neere,

She heard him, yet would not heare,

Bessie vow'd not to speake,

He resolu'd that dumpe to breake.

First a soft kisse he doth take,
She lay still, and would not wake;
Then his hands learn'd to woo,
She dreamp't not what he would doo.
But still slept, while he smild
To see loue by sleepe beguild.

lamy then began to play,
Bessie as one buried lay.
Gladly still through this sleight
Deceiu'd in her owne deceit,
And since this traunce begoon,
She sleepes eu'rie afternoone.

A Booke of Ayres. 1 1

IX.

The Sypres curten of the night is spread,

And ouer all a silent dewe is cast.

The weaker cares by sleepe are conquered;

But I alone, with hidious griefe, agast,

In spite of Morpheus charmes, a watch doe keepe

Ouer mine eies, to banish carelesse sleepe.

Yet oft my trembling eyes through faintnes close.
And then the Mappe of hell before me stands,
Which Ghosts doe see, and I am one of those
Ordain'd to pine in sorrowes endles bands,
Since from my wretched soule all hopes are reft
And now no cause of life to me is left.

Griefe, ceaze my soule, for that will still endure,
When my cras'd bodie is consum'd and gone.
Bear it to thy blacke denne, there keepe it sure.
Where thou ten thousand soules doest tyre vpon.
But all doe not affoord such foode to thee
As this poore one, the worser part of mee.

Follow your Saint, follow with accents sweet;

Haste you, sad noates, fall at her flying feete :

There, wrapt in cloud of sorrowe pitie moue,

And tell the rauisher of my soule I perish for her loue.

But if she scorns my neuer-ceasing paine,

Then burst with sighing in her sight and nere returne againe.

All that I soong still to her praise did tend.

Still she was first; still she my songs did end.

Yet she my loue and Musicke both doeth flie,

The Musicke that her Eccho is and beauties simpathie;io

Then let my Noates pursue her scornfuU flight:

It shall suffice that they were breath'd and dyed for her delight.

12 A Booke of Ayres.

XI.

Faire, if you expect admiring,
Sweet, if you prouoke desiring,
Grace deere loue with kind requiting.
Fond, but if thy sight be blindnes.
False, if thou affect vnkindnes,
Flie both loue and loues delighting.
Then when hope is lost and loue is scorned.
He bury my desires, and quench the fires that euer yet in
vaine haue burned.

Fates, if you rule louers fortune.

Stars, if men your powers importune, lo

Yield reliefe by your relenting:
Time, if sorrow be not endles,
Hope made vaine, and pittie friendles,
Helpe to ease my long lamenting.
But if griefes remaine still vnredressed,

rie flie to her againe, and sue for pitie to renue my hopes
distressed.

XII.

Thou art not faire for all thy red and white.

For all those rosie ornaments in thee.

Thou art not sweet, though made of meer delight,

Nor faire nor sweet, vnlesse thou pitie mee.

I will not sooth thy fancies : thou shalt proue

That beauty is no beautie without loue.

Yet loue not me, nor seeke thou to allure

My thoughts with beautie, were it more deuine,

Thy smiles and kisses I cannot endure,

rie not be wrapt vp in those armes of thine,

Now shew it, if thou be a woman right, —

Embrace, and kisse, and loue me, in despight.

A Booke of Ayres. 1 3

XIII.

See where she flies enrag'd from me,

View her when she intends despite,

The winde is not more swift then shee.

Her furie mou'd such terror makes.

As to a fearfull guiltie sprite

The voice of heau'ns huge thunder cracks :

But when her appeased minde yeelds to delight,

All her thoughts are made of ioies,

Millions of delights inuenting;

Other pleasures are but toies

To her beauties sweete contenting.

My fortune hangs vpon her brow.

For as she smiles or frownes on mee.

So must my blowne affections bow;

And her proude thoughts too well do find

With what vnequal tyrannic.

Her beauties doe command my mind.

Though, when her sad planet raignes,

Froward she bee.

She alone can pleasure moue,

And displeasing sorrow banish.

May I but still hold her loue.

Let all other comforts vanish.

XIIII.

Blame not my cheeks, though pale with loue they be;

The kindly heate vnto my heart is flowne.

To cherish it that is dismaid by thee,

Who art so cruell and vnsteadfast growne :

For nature, cald for by distressed harts,

Neglects and quite forsakes the outward partes.

But they whose cheekes with careles blood are stain'd,
Nurse not one sparke of loue within their harts,
And, when they woe, they speake with passion fain'd.
For their fat loue lyes in their outward parts:
But in their brests, where loue his court should hold,
Poore Cupid sits and blowes his .nailes for cold.

14 A Booke of Ayres.

XV.

When the God of merrie loue
As yet in his cradle lay,
Thus his wither'd nurse did say:
Thou a wanton boy wilt proue
To deceiue the powers aboue;
For by thy continuall smiling
I see thy power of beguiling.

Therewith she the babe did kisse;
When a sodaine fire out came
From those burning lips of his,
That did her with loue enflame,
But none would regard the same.
So that, to her daie of dying,
The old wretch liu'd euer crying.

XVI.

Mistris, since you so much desire
To know the place of Cupids fire,
In your faire shrine that flame doth rest,
Yet neuer harbourd in your brest,
It bides not in your lips so sweete.
Nor where the rose and lillies meete
But a little higher, but a little higher;
There, there, O there lies Cupids fire.

Euen in those starrie pearcing eyes.
There Cupids sacred fire lyes.
Those eyes I striue not to enioy,
For they haue power to destroy.
Nor woe I for a smile, or kisse.
So meanely triumphs not my blisse.
But a little higher, but a little higher,
I climbe to crowne my chast desire.

A Booke of Ayres. 1 5

XVII.

Your faire lookes enflame my desire:

Quench it againe with loue.
Stay, O striue not still to retire :

Doe not inhumane proue.
If loue may perswade,

Loues pleasures, deere, denie not.
Heere is a silent grouie shade;

O tarrie then, and flie not.

Haue I seaz'd my heauenly delight

In this vnhaunted groue?
Time shall now her furie requite

With the reuenge of loue.
Then come, sweetest, come.

My lips with kisses gracing;
Here let vs harbour all alone,

Die, die in sweete embracing.

Will you now so timely depart,

And not retume againe?
Your sight lends such life to my hart

That to depart is paine.
Feare yeelds no delay,

Securenes helpeth pleasure :
Then, till the time giues safer stay,

O farewell, my Hues treasure.

XVIII.

The man of life vpright,
Whose guiltlesse hart is free

From all dishonest deedes.
Or thought of vanitie.

The man whose silent dayes,
In harmeles ioys are spent,

Whome hopes cannot delude,
Nor sorrow discontent;

1 6 A Booke of Ayres.

That man needs neither towers
Nor armour for defence,

Nor secret vautes to flie
From thunders violence.

Hee onely can behold

With vnafrighted eyes
The horrours of the deepe

And terrours of the Skies.

Thus, scorning all the cares
That fate, or fortune brings,

He makes the heau'n his booke.
His wisedome heeu'nly things.

Good thoughts his onely friendes.
His wealth a well-spent age.

The earth his sober Inne
And quiet Pilgrimage.

XIX.
Harke, al you ladies that do sleep;

The fayry queen Proserpina
Bids you awake and pitie them that weep.

You may doe in the darke
What the day doth forbid;
Feare not the dogs that barke.
Night will haue all hid.

But if you let your louers mone.

The Fairie Queene Proserpina
Will send abroad her Fairies eu'ry one.

That shall pinch blacke and blew
Your white hands and faire armes

That did not kindly rue
Your Paramours harmes.

In Myrtle Arbours on the downes

The Fairie Queene Proserpina,
This night by moone-shine leading merrie rounds

Holds a watch with sweet loue,
Downe the dale, vp the hill ;

No plaints or groanes may moue
Their holy vigill.

A Booke of Ayres. 1 7

All you that will hold watch with loue,

The Fairie Queene Proserpina
Will make you fairer then Diones doue;

Roses red, Lillies white,
And the cleare damaske hue.

Shall on your cheekes alight :
Loue will adorne you.

All you that loue, or lou'd before.

The Fairie Queene Proserpina 30

Bids you encrease that louing humour more :

They that yet haue not fed
On delight amorous,

She vowes that they shall lead
Apes in Auernus.

XX.

When thou must home to shades of vnder ground,

And there ariu'd, a newe admired guest,

The beauteous spirits do ingirt thee round,

White lope, blith Hellen, and the rest.

To heare the stories of thy finisht loue

From that smoothe toong whose musicke hell can moue ;

Then wilt thou speake of banqueting delights.

Of masks and reuels which sweete youth did make.

Of Tumies and great challenges of knights,

And all these triumphes for thy beauties sake : 10

When thou hast told these honours done to thee.

Then tell, O tell, how thou didst murther me.

XXI.

Come, let vs sound with melody, the praises
Of the kings king, th' omnipotent creator.
Author of number, that hath all the world in
Harmonic framed.

Heau'n is His throne perpetually shining,

His deuine power and glorie, thence he thunders.

One in all, and all still in one abiding,

Both Father and Sonne.

1 8 A Booke of Ayres.

O sacred sprite, inuisible, eternall

Eu'ry where, yet vnlimited, that all things lo

Canst in one moment penetrate, reuiue me,
O holy Spirit.

Rescue, O rescue me from earthly darknes,
Banish hence all these elementall obiects.
Guide my soule that thirsts to the liuely Fountaine
Of thy deuinenes.

Cleanse my soule, O God, thy bespotted Image,
Altered with sinne so that heau'nly purenes
Cannot acknowledge me, but in thy mercies,

O Father of grace. 20

But when once thy beames do remoue my darknes,
O then I'le shine forth as an Angell of light.
And record, with more than an earthly voice, thy
Infinite honours.

FINIS.

A liable of the rest of the Songs con-

tained in this Booke, made by-
Philip Rosseter.

I. Sweete come againe.

II. And would you see.

III. No graue for woe.

nil. If I vrge my kinde desires.

V. What hearts content.

VI. Let him that will be free.

VII. Reproue not loue.

VIII. And would you faine.

IX. When Laura smiles.

X. Long haue mine eies.

XI. Though far from ioy.

XII. Shall I come if I swim.

XIII. Aie me, that loue.

XIIII. Shall then a trayterous.

XV. If I hope I pine.

XVI. Vnlesse there were consent.

XVII. If she forsakes me.

XVIII. What is a daie.

XIX. Kind in vnkindnesse.

XX. What then is loue but.

XXI. Whether men doe laugh.

c 2

2 o A Booke of Ay res.

I.

Sweete, come againe ;

Your happie sight, so much desir'd,
Since you from hence are now retir'd,

I seeke in vaine.
Stil must I mourn

And pine in longing paine,
Till you, my Hues delight, againe

Vouchsafe your wisht returne.

If true desire,

Or faithfuU vow of endles loue, lo

Thy heart enflam'd may kindly moue

With equall fire;
O then my ioies,

So long destraught, shall rest,
Reposed soft in thy chast brest,

Exempt from all annoies.

You had the power

My wandring thoughts first to restraine.
You first did heare my loue speake plaine,

A child before: 20

Now it is growne

Confirm'd, do you it keepe.
And let it safe in your bosome sleepe,

There euer made your owne.

And till we meete.

Teach absence inward art to find,
Both to disturbe and please the mind.

Such thoughts are sweete
And such remaine

In hearts whose flames are true ; 30

Then such will I retaine, till you

To me returne againe. •

A Booke of Ayres. 2 i

II.

And would you see my Mistris face?

It is a flowrie garden place,
Where knots of beauties haue such grace

That all is worke and nowhere space.

It is a sweete delicious morne,
Where day is breeding, neuer borne,

It is a Meadow yet vnshorne,

Whome thousand flowers do adorne.

It is the heauens bright reflexe,
Weake eies to dazle and to vexe.

It is th' Idaea of her sexe,
Enuie of whome doth world perplexe.

It is a face of death that smiles,
Pleasing, though it killes the whiles,

Where death and loue in pretie wiles
Each other mutuallie beguiles.

It is faire beauties freshest youth.
It is the fain'd Eliziums truth :

The spring that winter'd harts renu'thj
And this is that my soule pursu'th.

III.

No graue for woe, yet earth my watrie teares deuoures;
Sighes want ayre, and burnt desires kind pitties showres :
Stars hold their fatal course, my ioies preuenting :
The earth, the sea, the aire, the fire, the heau'ns vow my
tormenting.

Yet still I Hue, and waste' my wearie daies in grones.
And with wofuU tunes adorne dispayring mones.
Night still prepares a more displeasing morrow;
My day is night, my life my death, and all but sence of
sorrow.

2 2 A Booke of Ayres.

iiii.

If I vrge my kinde desires,
She vnkind doth them reiect;
Womens hearts are painted fires
To deceiue them that affect.
I alone loues fires include;
Shee alone doth them delude.

Shee hath often vow'd her louej

But, alas, no fruit I finde.

That her fires are false I proue,

Yet in her no fault I finde : lo

I was thus vnhappy borne,

And ordain'd to be her scorne.

Yet if humane care or paine,
May the heau'nly order change.
She will hate her owne disdaine
And repent she was so strange :
For a truer heart then I,
Neuer liu'd, or lou'd to die.

V.
What harts content can he finde,

What happy sleepes can his eies embrace.
That beares a guiltie minde?

His tast sweet wines will abhorre :
No musicks sounde can appease the thoughts

That wicked deeds deplore.
The passion of a present feare

Stil makes his restles motion there;
And all the day bee dreads the night,

And all the night, as one agast, he feares the morning light. lo

But he that loues to be .lou'd,

And in his deedes doth adore heauens power.
And is with pitie mou'd ;

The night giue.s rest to his heart,
The cheerefull beames do awake his soule,

Reuiu'd in euerie part.
He Hues a comfort to his friendes.

And heauen to him such blessing sendes
That feare of hell cannot dismaie

His stedfast hart that is enurd the truth still to obey. so

A Booke of Ayres. 2 3

VI.

Let him that will be free and keep his hart from care,

Retir'd alone, remaine where no discomforts are.

For when the eie doth view his griefe, or haplesse eare his

sorrow heares,
Th' impression still in him abides, and euer in one shape

appeares.

Forget thy griefes betimes ; long sorrow breedes long paine,

For ioie farre fled from men, will not returne againe;

O happie is the soule which heauen ordained to Hue in endles

peace ;
His life is a pleasing dreame, and euerie houre his ioyes encrease.

You heauie sprites, that loue in seuer'd shades to dwell,

That nurse despaire, and dreame of vnrelenting hell, lo

Come sing this happie song, and learne of me the Arte of true

content,
Loade not your guiltie soules with wrong, and heauen then will

soone relent.

VII.

Reproue not loue, though fondly thou hast lost

Greater hopes by louing :
Loue calms ambicious spirits, from their brests

Danger oft remouing:
Let lofty humors mount vp on high,

Down againe like to the wind,
While priuat thoghts, vow'd to loue,

More peace and plesure find.

Loue and sweete beautie makes the stubborne milde.

And the coward fearelesse; lo

The wretched misers care to bountie tumes.

Cheering all thinges cheerlesse.
Loue chaines the earth and heauen,

Tumes the Spheares, guides the yeares in endles peace ;
The flourie earth through his power

Receiu's her due encrease.

24 A Booke of Ayres.

VIII.

And would you faine the reason know
Why my sad eies so often flow?
My heart ebs ioy, when they doe so,
And loues the moone by whom they go.

And will you aske why pale I looke?
'Tis not with poring on my booke :
My Mistris cheeke, my bloud hath tooke,
For her mine owne hath me forsooke.

Doe not demaund why I am mute :

Loues silence doth all speech confute.

They set the noat, then tune the Lute;

Harts frame their thoughts, then toongs their suit.

Doe not admire why I admire :
My feuer is no others fire :
Each seuerall heart hath his desire;
Els proofe is false, and truth a lier.

If why I loue you should see cause :
Loue should haue forme like other lawes,
But fancie pleads not by the clawes :
'Tis as the sea, still vext with flawes.

No fault vpon my loue espie :
For you perceiue not with my eie;
My pallate to your tast may lie,
Yet please it selfe deliciously.

Then let my sufferance be mine owne :
Sufficeth it these reasons showne ;
Reason and loue are euer knowne
To fight till both be ouerthrowne.

IX.

When Laura smiles her sight reuiues both night and day:
The earth and heauen viewes with delight her wanton play :
And her speech with euer-flowing musicke doth repaire
The cruell wounds of sorrow and vntam'd despaire.

A Booke of Ayres. 2 5

The sprites that remaine in fleeting aire

Affect for pastime to vntwine her tressed haire,

And the birds thinke sweete Aurora, mornings Queene doth shine

From her bright sphere, when Laura shewes her lookes deuine.

Dianas eyes are not adorn'd with greater power
Then Lauras, when she lists awhile for sport to loure : lo

But when she her eyes encloseth, blindnes doth appeare
The chiefest grace of beautie, sweetelie seated there.

Loue hath no fire but what he steales from her bright eyes ;
Time hath no power but that which in her pleasure lyes :
For she with her deuine beauties all the world subdues,
And fils with heau'nly spirits my humble muse.

I^ng haue mine eies gaz'd with delight,

Conueying hopes vnto my soule ;

In nothing happy, but in sight

Of her, that doth my sight controule :

But now mine eies must loose their light.

My obiect now must be the aire,

To write in water words of fire,

And teach sad thoughts how to despaire :

Desert must quarrell with desire.

All were appeas'd were she not faire.

For all my comfort, this I proue.
That Venus on the Sea was borne :
If Seas be calme, then doth she loue;
If stormes arise, I am forlorne;
My doubtfuU hopes, like wind doe moue.

XI.

Though far from ioy, my sorrowes are as far,

And I both betweene;

Not too low, nor yet too high

Aboue my reach, would I bee seene.

Happy is he that so is placed.

Not to be enui'd nor to bee disdain'd or disgraced.

2 6 A Booke of Ayres.

The higher trees, the more stormes they endure;

Shrubs be troden downe :

But the meane, the golden meane,

Doth onely all our fortunes crowne : lo

Like to a streame that sweetely slideth

Through the flourie banks, and still in the midst his course guideth.

XII.

Shall I come, if I swim ? wide are the waues, you see :
Shall I come, if I flie, my deere loue, to thee?
Streames Venus will appease; Cupid giues me winges;
All the powers assist my desire
Saue you alone, that set my wofull heart on fire.

You are faire, so was Hero that in Sestos dwelt;

She a priest, yet the heate of loue truly felt.

A greater streame then this did her loue deuide ;

But she was his guide with a light :

So through the streames Leander did enioy her sight.

XIII.

Aye me ! that loue should natures workes accuse ;

Where cruell Laura still her beautie viewes,
Riuer, or cloudie iet, or christal bright.

Are all but seruants of her selfe-delight.

Yet her deformed thoughts, she cannot see;

And thats the cause she is so sterne to mee.
Vertue and duetie can no fauour gaine:

A griefe, O death, to Hue and loue in vaine.

XIIIL

Shall then a traiterous kis or a smile

All my delights vnhappily beguile?
Shall the vow of fayned loue receiue so ritch regard,

When true seruice dies neglected, and wants his due reward ?

A Booke of Ayres. 2 7

Deedes meritorious soone be forgot,

But one offence no time can euer blot;
Euery day it is renu'd, and euery night it bleedes,

And with bloudy streames of sorrow drownes all our better deedes.

Beautie is not by desert to be woon ;

Fortune hath all that is beneath the Sunne. lo

Fortune is the guide of loue, and both of them be blind ;

All their waies are full of errors, which no true feete can find.

XV.

If I hope, I pine; if I feare, I faint and die;

So betweene hope and feare, I desp'rat lie,
Looking for ioy to heauen, whence it should come :

But hope is blinde ; ioy, deafe ; and I am dumbe.

Yet I speake and crie ; but, alas, with words of wo :
And ioy conceiues not them that murmure so.

He that the eares of ioy will euer pearse.

Must sing glad noates, or speak in happier verse.

XVI.

Vnlesse there were consent twixt hell and heauen
That grace and wickednes should be combind,
I cannot make thee and thy beauties euen ;
Thy face is heauen, and torture in thy minde;
For more then worldly blisse is in thy eie
And hellish torture in thy minde doth lie.

A thousand Cherubins flie in her lookes.
And hearts in legions melt vpon their view :
But gorgeos couers wall vp filthie bookes ;
Be it sinne to saie, that so your eyes do you :
But sure your mind adheres not with your eies,
For what they promise, that your heart denies.

But, O, least I religion should misuse.

Inspire me thou, that ought'st thy selfe to know.

Since skillesse readers reading do abuse,

What inward meaning outward sence doth show :

For by thy eies and heart, chose and contem'd,

I wauer, whether saued or condemn'd.

2 8 A Booke of Ayres.

XVII.

If she forsake me, I must die :

Shall I tell her so ?
Alas, then strait she will replie.

No, no, no, no, no.
If I disclose my desp'rat state.
She will but make sport thereat.

And more vnrelenting grow.

What heart can long such paines abide?

Fie vppon this loue.
I would aduenture farre and wide.

If it would remoue.
But loue will still my steppes pursue,
I cannot his wayes eschew :

Thus still helpeles hopes I proue.

I doe my loue in lines commend.

But, alas, in vaine;
The costly gifts, that I doe send,

She returnes againe :
Thus still is my despaire procur'd,
And her malice more assur'd :

Then come, death, and end my paine.

XVIII.

What is a day, what is a yeere
Of vaine delight and pleasure?

Like to a dreame it endlesse dies,
And from vs like a vapour flies :

And this is all the fruit that we finde,
Which glorie in worldly treasure.

He that will hope for true delight,
With vertue must be graced ;

Sweete foUie yeelds a bitter tast.
Which euer will appeare at last :

But if we still in vertue delight.
Our soules are in heauen placed.

A Booke of Ayres, 2 9

XIX.

Kinde in vnkindnesse, when will you relent
And cease with faint loue true loue to torment?
Still entertain'd, excluded still I stand;
Her gloue stil holde, but cannot touch the hand.

In her faire hand my hopes and comforts rest:
O might my fortunes with that hand be blest,
No enuious breaths then my deserts could shake,
For they are good whom such true loue doth make.

O let not beautie so forget her birth,

That it should fruitles home returne to earth. lo

Loue is the fruite of beautie, then loue one;

Not your sweete selfe, for such selfe loue is none.

Loue one that onely Hues in louing you;
Whose wrong'd deserts would you with pity view.
This strange distast which your aflfections swaies
Would relish loue, and you find better daies.

Thus till my happie sight your beautie viewes,

Whose sweet remembrance stil my hope renewes,

Let these poore lines sollicite loue for mee,

And place my ioys where my desires would bee. ao

XX,

What then is loue but mourning?

What desire, but a selfe-burning ?
Till shee that hates doth loue returne,
Thus will I mourne, thus will I sing,

Come away, come away, my darling.

Beautie is but a blooming.

Youth in his glorie entombing;
Time hath a while, which none can stay:
Then come away, while thus I sing,

Come away, come away, my darling. lo

Sommer in winter fadeth;

Gloomie night heau'nly light shadeth :
Like to the mome are Venus flowers;
Such are her howers : then will I sing.

Come away, come away, my darling.

3 o A Booke of Ayres.

XXI.

Whether men doe laugh or weepe,
Whether they doe wake or sleeipe,
Whether they die yoong or olde,
Whether they feele heate or colde;
There is, vnderneath the sunne,
Nothing in true earnest done.

All our pride is but a iest;

None are worst, and none are best;

Griefe, and ioy, and hope, and feare,

Play their Pageants euery where:

Vaine opinion all doth sway.

And the world is but a play.

Powers aboue in cloudes doe sit,
Mocking our poore apish wit;
That so lamely, with such state.
Their high glorie imitate :
No ill can be felt but paine,
And that happie men disdaine.

FINIS.

OBSERVATIONS

in the Art ofEngiifK
Poefic.

By Thomas Ctmfm.

Wherein it is demonftra-

tiuely prooued, and by example

confirmed, that the Englilh toong

mllrecHiur eightftUerall kinds of Hum'

bers,proper tote felfe,which arc all

in this baokgfetfimhf and were

)taurbtfottth»6mebjmj

man actempced.

'Printed at London ^tRiCHARO FtSLS
for Andretf fftfe. z 6 o 2 .

To the Right Noble and
worthily honourd, the Lord
Buckhurst, Lord high Trea-
surer of England.

In two things (right honorable) it is generally agreed that man
excels all other creatures, in reason and speech : and in them by
how much one man surpasseth an other, by so much the neerer
he aspires to a celestiall essence.

Poesy in all kind of speaking is the chiefe beginner, and
maintayner of eloquence, not only helping the eare with the
acquaintance of sweet numbers, but also raysing the minde to
a more high and lofty conceite. For this end haue I studyed to
induce a true forme of versefying into our language : for the
vulgar and vnarteficiall custome of riming hath, I know, deter'd
many excellent wits from the exercise of English Poesy, The
obseruations which I haue gathered for this purpose I humbly
present to your Lordship, as to the noblest iudge of Poesy, and
the most honorable protector of all industrious learning ; which
if your Honour shall vouchsafe to receiue, who both in your
publick and priuate Poemes haue so deuinely crowned your fame,
what man will dare to repine ? or not striue to imitate them ?
Wherefore with all humility I subiect my selfe and them to your
gratious fauour, beseeching you in the noblenes of your mind to
take in worth so simple a present, which by some worke drawne
from my more serious studies I will hereafter endeuour to excuse.

Your Lordships humbly denoted,

Thomas Campion.

The Writer to his
Booke.

Whether thus hasts my little booke so fast?

To Paulas Churchyard. What? in those eels to stand,

With one leafe like a riders cloke put vp

To catch a termer ? or lye mustie there

With rimes a terme set out, or two, before?

Some will redeeme me. Fewe. Yes, reade me too.

Fewer. Nay loue me. Now thou dot'st, I see.

Will not our English Athens arte defend ?

Perhaps. Will lofty courtly wits not ayme

Still at perfection? If I graunt? I flye.

Whether? To Pawles, Alas, poore booke, I rue

Thy rash selfe-louej goe, spread thy pap'ry wings:

Thy lightnes can not helpe or hurt my fame.

Obseruations in the Art

of English Poesy, by Thomas
Campion.

The first Chapter, intreating of numbers in Generall.

There is no writing too breefe that, without obscuritie, com-
prehends the intent of the writer. These my late obseruations in
English Poesy I haue thus briefely gathered, that they might
proue the lesse troublesome in perusing, and the more apt to be
retayn'd in memorie. And I will first generally handle the nature
of Numbers. Number is discreta quantitas ; so that when we lo
speake simply of number, we intend only the disseuer'd quantity ;
but when we speake of a Poeme written in number, we consider
not only the distinct number of the sillables, but also their value,
which is contained in the length or shortnes of their sound. As
in Musick we do not say a straine of so many notes, but so many
sem'briefes (though sometimes there are no more notes then sem'-
briefes), so in a verse the numeration of the sillables is not so much
to be obserued, as their waite and due proportion. In ioyning
of words to harmony there is nothing more ofTensiue to the eare then
to place a long sillable with a short note, or a short sillable with a jo
long note, though in the last the vowell often beares it out. The
world is made by Simmetry and proportion, and is in that respect
compared to Musick, and Musick to Poetry : for Terence saith,
speaking of Poets, artem qui tractant muskatn, confounding musick
and Poesy together. What musick can there be where there is no
proportion obserued ? Learning first flourished in Greece ; from
thence it was deriued vnto the Romaines, both diligent obseruers
of the number and quantity of sillables, not in their verses only
but likewise in their prose. Learning, after the declining of the
Romaine Empire and the pollution of their language through the 30
conquest of the Barbarians, lay most pitifully deformed till the
time of Erasmus, Rewcline, Sir Thomas More, and other learned
men of that age, who brought the Latine toong again to light,
redeeming it with much labour out of the hands of the illiterate
Monks and Friers : as a scoffing booke, entituled Epistolm

D 2

36

Obseruations in the

obscurorum virorum, may sufficiently testifie. In those lack-learning
times, and in barbarized Italy, began that vulgar and easie kind
of Poesie which is now in vse throughout most parts of Christen-
dome, which we abusiuely call Rime, and Meeter, of Rithmus and
Metrum, of which I will now discourse.

The second Chapter, declaring the vnaptnesse
of Rime in Poesie.

I am not ignorant that whosoeuer shall by way of reprehension
examine the imperfections of Rime must encounter with many

lo glorious enemies, and those very expert and ready at their weapon,
that can if neede be extempore (as they say) rime a man to death.
Besides there is growne a kind of prescription in the vse of Rime, to
forestall the right of true numbers, as also the consent of many
nations, against all which it may seeme a thing almost impossible
and vaine to contend. All this and more can not yet deterre me
from a lawful defence of perfection, or make me any whit the sooner
adheare to that which is lame and vnbeseeming. For custome I
alleage that ill vses are to be abolisht, and that things naturally im-
perfect can not be perfected by vse. Old customes, if they be better,

20 why should they not be recald, as the yet florishing custome of
numerous poesy vsed among the Romanes and Grecians ? But the
vnaptnes of our toongs and the difficultie of imitation dishartens
vs : againe, the facilitie and popularitie of Rime creates as many
Poets as a hot sommer flies. But let me now examine the nature
of that which we call Rime. By Rime is vnderstoode that which
ends in the like sound, so that verses in such maner composed
yeeld but a continual repetition of that Rhetoricall figure which
we tearme similiter desinentia, and that, being but figtira verbi,
ought (as Tully and all other Rhetoritians have iudicially obseru'd)

30 sparingly to be vs'd, least it should_QffjenjLtlie-eare, with tedious
affectation. Such was that absurd following of the letter amongst
our English so much of late affected, but now hist out of Paules
Church-yard : which foolish figuratiue repetition crept also into
the Latine toong, as it is manifest in the booke of P^ c&lAprcelia
porcorum, and another pamphlet all of F^ which I haue seene im-
printed : but I will leaue these follies to their owne ruine, and
returne to the matter intended. The eare .is-a.j:ationall sence and
a chiefe-iudge. of proportion ; but in our kind of riming what
proportion is there kept where there remaines such a confusd

40 inequalitie of sillables ? lambick and Trochaick feete, which are

Art of English Poesie. 3 7

opposd by nature, are by all Rimers confounded ; nay, oftentimes
they place instead of an lambick the foot Pyrrychius, consisting of
two short Billables, curtailing their verse, which they supply in
reading with a ridiculous and vnapt drawing of their speech. As
for example :

Was it my desteny, or dismall chaunce ?

In this verse the two last Billables of the word Desteny, being both
short, and standing for a whole foote in the verse, cause the line
to fall out shorter then it ought by nature. The like impure errors
haue in time of rudenesse bene vsed in the Latine toong, as the lo
Carmina prouerbialia can witnesse, and many other such reuerend
babies. But the noble Grecians and Romaines, whose s kilfull
nioauments outliue barbarisme, tyed themselues to the strict
obseruation of poeticall numbers, so abandoning the childish
titillation of riming that it was imputed a great error to Quid for
setting forth this one riming verse,

Quot cesium Stellas tot habet tua Roma puellas.

For the estaWishment of this argument, what better confirmation
can be had then that of Sir Thomas Moore in his booke of Epi-
grams, where he makes two sundry Epitaphs vpon the death of 20
a singing-man at Westminster, the one in learned numbers and
dislik't, the other in rude rime and highly extold : so that he con-
cludes, tales lactucas talia labra petunt, like lips, like lettuce.

But there is yet another fault in Rime altogether intoUerable,
which is, that it inforceth a ma n oftentin ies to abiure-bis -«iatter
and ejctgnd a short ^nceit„bey,Dnd alL-bounds of artej for in
Quatorzens me thinks the Poet handles his subiect as tyrannically
as Procrustes the thiefe his prisoners, whom, when he had taken,
he vsed to cast vpon a bed, which if they were too short to fill, he
would stretch them longer, if too long, he would cut them shorter. 30
Bring before me now any the most selfe-lou'd Rimer, and let me see
if without blushing he be able to reade his lame halting rimes.
Is there not a curse of Nature laid vpon such rude Poesie, when
the Writer is himself asham'd of it, and the hearers in contempt
call it Riming and Ballating ? What Deuine in his Sermon, or
graue Counsellor in his Oration, will alleage the testimonie of
a rime ? But the deuinity of the Romaines and Gretians was all
written in verse : and Aristotle, Galene, and the bookes of all the
excellent Philosophers are full of the testimonies of the old Poets.
By them was laid the foundatiQn_of jdlhumanewigedome, and from 40
them the knowledge "of aU. antiquitie is deriued. I will propound

38

Obseruations in the

but one question, and so conclude this point. If the Italians,
Frenchmen and Spanyards, that with commendation haue written
in Rime, were demaunded whether they had rather the bookes
they haue publisht (if their toong would beare it) should remaine as
they are in Rime, or be translated into the auncient numbers of
the Greekes and Romaines, would they not answere into numbers ?
What honour were it then for our English language to be the first
that after so many yeares of barbarisme could second the per-
fection._oLiii.e-industrious Greekes and Romaines ? which how it
10 may be effected I will now proceede to demonstrate.

The third Chapter: of our English numbers in generall.

There are but three feete, which generally distinguish the Greeke
and Latine verses, the Dactil, consisting of one long sillable and
two short, as viuere; the Trochy, of one long and one short, as
vita ; and the lambick of one short and one long, as amor. The
Spondee of two long, the Tribrach of three short, the Anapmstick of
two short and a long, are but as seruants to the first. Diuers
other feete I know are by the Grammarians cited, but to little
purpose. The Heroical verse that is distinguisht by the Dactile

ao hath bene oftentimes attempted in our English toong, but with
passing pitifuU successe ; and no wonder, seeing it is an attempt
altogether against the nature of our language. For both the
concurse of our monasillables make our verses vnapt to slide, and
also if we examine our polysillables, we shall find few of them by
reason of their heauinesse, willing to serue in place of a Dactile.
Thence it is, that the writers of English heroicks do so often repeate
Amyntas, Olympus, Auernus, Erinnis, and such like borrowed
words, to supply the defect of our hardly intreated Dactile. I could
in this place set downe many ridiculous kinds of Dactils which they

30 vse, but that it is not my purpose here to incite men to laughter.
If we therefore reiect the Dactil as vnfit for our vse (which of
liecessity we are enforst to do), there remayne only the lambick
foote, of which the lambick verse is fram'd, and the Trochee, from
which the Trochaick numbers haue their originall. Let vs now
then examine the property of these two feete, and try if they con-
sent with the nature of our English sillables. And first for the
lambicks, they fall out so naturally in our toong, thatj if we examine
our owne writers, we shall find they vnawares hit oftentimes vpon
the true lambick numbers, but alwayes ayme at them as far as their

40 eare without the guidance of arte can attain vnto, as it shall here-
after more euidently appeare. The Trochaick foote, which is but

Art of English Poesie. 3 9

an lambick turn'd ouer and ouer, must of force in like manner
accord in proportion with our Brittish sillables, and so produce
an English Trochaicall verse. Then hauing these two principall
kinds of verses, we may easily out of them deriue other formes, as
the Latines and Greekes before vs haue done : whereof I will make
plaine demonstration, beginning at the lambick verse.

The fourth Chapter: of the lambick verse.

I haue obserued, and so may any one that is either practis'd
in sink ing, or hath a naturall eare able to time a song, that the
Latine verses of sixe feete, as the Heroick and lambick, or of fiue lo
feete, as the Trochaick, are in nature all of the same length of
sound with our English verses of fiue feete; for either of them
being tim'd with the hand, quinque perficiunt tempera, they fill vp
the quantity (as it were) of fiue sem'briefs ; as for example, if any
man will proue to time these verses with his hand.

A pure lambick.
Suis et ipsa Roma viribus ruit.

A licentiate lambick.
Ducunt volentes fata, nolentes trahunt.

An Heroick verse. ao

Tytere, lu patulce recubans sub tegmine fagi.

A Trochaick verse.
Nox est perpetua vna dormienda.

English lambicks pure.

The more secure, the more the stroke we feele
Of vnpreuented harms; so gloomy stormes
Appeare the sterner, if the day be cleere.

Th' English lambick licentiate.
Harke how these winds do murmur at thy flight.

The English Trochee. 30

Still where Enuy leaues, remorse doth enter.

The cause why these verses differing in feete yeeld the same length
of sound, is by reason of some rests which either the necessity of
the numbers or the heauiness of the sillables do beget. For we find
in musick that oftentimes the straines of a song cannot be reduct

40 Obseruations in the

to true number without some rests prefixt in the beginning and
middle, as also at the close if need requires. Besides, our English
monasillables enforce many breathings which no doubt greatly
lengthen a verse, so that it is no wonder if for these reasons our
English verses of fiue feete hold pace with the Latines of sixe.
The pure lambick in English needes small demonstration, because
it consists simply of lambick feete ; but our lambick licentiate offers
itselfe to a farther consideration, for in the third and fift place we
must of force hold the lambick foote, in the first, second, and fourth
10 place we may vse a Spondee or lambick and sometime a Tribrack or
Dactile, but rarely an Anapestick foote, and that in the second or
fourth place. But why an lambick in the third place ? I answere,
that the forepart of the verse may the gentlier slide into his
Dimeter, as, for example sake, deuide this verse :

Harke how these winds do murmure at thy flight.

Harke how these winds, there the voice naturally affects a rest ',
then murmur at thy flight, that is of itselfe a perfect number, as
I will declare in the next Chapter ; and therefore the other odde
sillable betweene them ought to be short, least the verse should
20 hang too much betweene the naturall pause of the verse and the
Dimeter following; the which Dimeter though it be naturally
Trochaical, yet it seemes to haue his originall out of the lambick
verse. But the better to confirme and expresse these rules, I will
set downe a short Poeme in Licentiate lambicks, which may giue
more light to them that shall hereafter imitate these numbers.

Goe, numbers, boldly passe, stay not for ayde

Of shifting rime, that easie flatterer.

Whose witchcraft can the ruder eares beguile.

Let your smooth feete, enur'd to purer arte,
30 True measures tread. What if your pace be slow,

And hops not like the Grecian elegies?

It is yet gracefull, and well fits the state

Of words ill-breathed and not shaft to runne.

Goe then, but slowly, till your steps be flrms ;

Tell them that pitty or peruersely skorne

Poore English Poesie as the slaue to rime,

You are those loftie numbers that reuiue

Triumphs of Princes and steme tragedies :

And learne henceforth f attend those happy sprights
40 Whose bounding fury, height, and waight affects.

Assist their labour, and sit close to them,

Art of English Poesie. 4 1

Neuer to part away till for desert

Tkeir browes with great ApoUos bayes are hid.

He first taught number and true harmonye ;

Nor is the lawrell his for rime bequeathed.

Call him with numerous accents paisd by arte,

HeHe turne his glory from the sunny clymes

The North-bred wits alone to patronise.

Let France their Bartas, Italy Tasso prayse;

Phoebus shuns none but in their flight from him.

Though, as I said before, the naturall breathing-place of our lo
English lambick verse is in the last sillable of the second foote, as
our Trochy after the manner of the Latine Heroick and lambick
rests naturally in the first of the third foote, yet no man is tyed
altogether to obserue this rule, but he may alter it, after the
iudgment of his eare, which Poets, Orators, and Musitions of all
men ought to haue most excellent. Againe, though I said perem-
torily before that the third and fift place of our licentiate lambick
must alwayes hold an lambick foote, yet I will shew you example
in both places where a Tribrack may be very formally taken, and
first in the third place : 20

Some trade in Barbary, some in Turky trade.

An other example :
Men that do fall to misery, quickly fall.

If you doubt whether the first of misery be naturally short or
no, you may iudge it by the easie sliding of these two verses
following :

The first :

Whome misery can not alter, time deuours.

The second :
What more vnhappy life, what misery more? 30

Example of the Tribrack in the fift place, as you may perceiue in
the last foote of the fourth verse :

Some from the starry throne his fame deriues.
Some from the mynes beneath, from trees or herbs :
Each hath his glory, each his sundry gift,
Renown'd in eu^ry art there Hues not any.

To proceede farther, I see no reason why the English lambick in
his first place may not as well borrow a foote of the Trochy as our

42 Obseruations in the

Trochy, or the Latine Hendicasillable, may in the like case make
bold with the lambick : but it must be done euer with this caueat,
which is, that a Sponde, Dadile, or Tribrach do supply the next
place ; for an lambick beginning with a single short sillable, and
the other ending before with the like, would too much drinke vp
the verse if they came immediatly together.
The example of the Sponde after the Trochy :

As the /aire sonne the lightsome heau'n adorns.

The example of the Dactil :
10 Noble, ingenious, and discreetly wise.

The example of the Tribrach :
Beawiy to ielosie brings icy, sorrow, feare.

Though I haue set downe these second licenses as good and
ayreable enough, yet for the most part my first rules are generall.

These are those numbers which Nature in our English destinates
to the Tragick and Heroik Poeme : for the subiect of them both
being all one, I see no impediment why one verse may not serue
for them both, as it appeares more plainly in the old comparison
of the two Greeke writers, when they say, Homerus est Sophocles
30 heroicus, and againe, Sophocles est Homerus tragicus, intimating that
both Sophocles and Homer are the same in height and subiect,
and differ onely in the kinde of their numbers.

The lambick verse in like manner being yet made a little more
licentiate, that it might thereby the neerer imitate our common
talke, will excellently serue for Comedies ; and then may we vse
a Sponde in the fift place, and in the third place any foote except
a Trochy, which neuer enters into our lambick verse but in the
first place, and then with his caueat of the other feete which must
of necessitie follow.

30 The fift Chapter: of the lambick Dimeter, or English march.

The Dimeter (so called in the former Chapter) I intend next of
all to handle, because it seems to be a part of the lambick, which
is our most naturall and auncient English verse. We may terme
this our English march, because the verse answers our warlick
forme of march in similitude of number. But call it what you
please, for I will not wrangle about names, only intending to set
down the nature of it and true structure. It consists of two feete
and one odde sillable. The first foote may be made either a

Art of English Poesie. 43

Trochy, or a Spondee, or an lambkk, at the pleasure of the com-
poser, though most naturally that place affects a Trochy or Spondee;
yet, by the example of Catullus in his Hendicasillables, I adde in
the first place sometimes an lambick foote. In the second place
we must euer insert a Trochy or Tribrach, and so leaue the last
sillable (as in the end of a verse it is alwaies held) common. Of
this kinde I will subscribe three examples, the first being a peace
of a Chorus va. a Tragedy.

Rauing warre, begot

In the thirstye sands lo

Of the Lybian lies,
Wasts our emptye fields ;
What the greedye rage
Of fell wintrye stormes
Could not turne to spoile.
Fierce Bellona now
Hath laid desolate,
Voyd of fruit, or hope.
TK eger thriftye hinde,

Whose rude toyle reuiu'd ao

Our skie-blasted earth,
Himselfe is but earth.
Left a skorne to fate
Through seditious armes:
And that soile, aliue
Which he duly nurst.
Which him duly fed.
Dead his body feeds:
Yet not all the glebe

His tuffe hands manur'd 30

Now one turfe affords
His poore funerall.
Thus still needy Hues,
Thus still needy dyes
TK vnknowne multitude^

An example Lyrical.

Greatest in thy wars,

Greater in thy peace.

Dread Elizabeth;

Our muse only Truth, 4°

44 Obseruations in the

Figments cannot vse.
Thy ritch name to deck
That it selfe adornes:
But should now this age
Let all poesy e fayne,
Fayning poesy e could
Nothing faine at all
Worthy halfe thv fame.

An example Epigrammaticall.

JO Kind in euery kinde

This, deare Ned, resolue.
Neuer of thy prayse
Be too prodigall ;
He that prayseth all
Can praise truly none.

The sixt Chapter : of the English Trochaick verse.

Next in course to be intreated of is the English Trochaick, being
a verse simple, and of it selfe depending. It consists, as the
Latine Trochaick, of fiue feete, the first whereof may be a Trochy,
20 a Spondee, or an lambick, the other foure of necessity all Trochyes ;
still holding this rule authenticall, that the last sillable of a verse
is alwayes common. The spirit of this verse most of all delights
\x\^JBp^rams, but it may be diuersly vsed, as shall hereafter be
declared. I haue written diuers light Poems in this kinde, which
for the better satisfaction of the reader I thought conuenient
here in way of example to publish. In which though sometimes
vnder a knowne name I haue shadowed a fain'd conceit, yet it is
done without reference or offence to any person, and only to make
the stile appeare the more English.

30 The first Epigramme.

Lockly spits apace, the rhewme he cals it.
But no drop {though often vrgd) he straineth
From his thirstie iawes, yet all the morning
And all day he spits, in eu'ry corner ;
At his m^ales he spits, at eu'ry meeting ;
At the barre he spits before the Fathers ;
In the Court he .spits before the Graces ;
In the Church he spits, thus all prophaning

Art of English Poesie. 45

With that rude disease, that empty spitting:
Yet no cost he spares, he sees the Doctors,
Keeps a strickt diet, precisely vseth
Drinks and bathes drying, yet all preuailes not,
'Tis not China (Lockly), Salsa Guacum,
Nor dry Sassafras can help, or ease thee ;
'Tis no humor hurts, it is thy humor.

The second Epigramme.

Cease, fond wretch, to loue, so oft deluded.
Still made ritch with hopes, still vnrelieued. lo

Now fly her delaies ; she that debateth
Feeles not true desire ; he that, deferred,
Others times attends, his owne betray eth :
Learne faffed thy selfe ; thy cheekes deformed
With pale care reuiue by timely pleasure.
Or with skarlet heate them, or by paintings
Make thee louely ; for such arte she vseth
Whome in vayne so long thy folly loued.

The third Epigramme.

Kate can fancy only berdles husbands, ao

Thats the cause she shakes off eu'ry suter,
Thats the cause she Hues so stale a virgin,
For, before her heart can heate her answer.
Her smooth youths she finds all hugely berded.

The fourth Epigramme.
All in sattin Oteny will be suted.
Beaten sattin {as by chaunce he cals it);
Oteny sure will haue the bastinado.

The fift Epigramme.
Tosts as snakes or as the mortall Henbane 30

Hunks detests when huffcap ale he tipples.
Yet the bread he graunts the fumes abateth ;
Therefore apt in ale, true, and he graunts it;
But it drinks vp ale, that Hunks detesteth.

The sixt Epigramme.
What though Harry braggs, let him be noble;
Noble Harry hath not halfe a noble.

46 Obser nations in the

The &&zx3l&i\'Ci\ Eptgramme.

Phoebe all the rights Elisa claymeth,
Mighty riuall, in this only diff'ring
That shees only true, thou only fayned.

The eight Epigramme.

Barnzy stiffly vows that hees no Cuckold,

Yet the vulgar eu'rywhere salutes him.

With strange signes of homes, from eu'ry comer ;

Wheresoere he commes, a sundry Cucco

lo Still frequents his eares ; yet hees no Cuccold.

But this Barnzy knowes that his Matilda,
Skoming him, with Haruy playes the wanton.
Knowes it ? nay desires it, and by prayers
Dayly begs of heau^n, that it for euer
May stand firme for him ; yet hees no Cuccold.
And 'tis true, for Haruy keeps Matilda,
Fosters Barnzy, and relieues his houshold,
Buyes the Cradle, and begets the children,
Payes the Nurces, eu'ry charge defraying,

ao And thus truly playes Matildas husband:

So that Barnzy now becomes a cypher.
And himselfe tK adultrer of Matilda.
Mock not him with homes, the case is altered ;
Haruy beares the wrong, he proues the Cuccold.

The ninth Epigramme.

Buffe loues fat vians, fat ale, fat all things,
Keepes fat whores, fat offices, yet all men
Him fat only wish to feast the gallons.

The tenth Epigramme.

30 Smith, by sute diuorst, the knowne adultres

Freshly weds againe ; what ayles the mad-cap
By this ftiry ? euen so theeues by frailty
Of their hemp reseru'd, againe the dismall
Tree embrace, againe the fatall halter.

The eleuenth Epigramme,
His late losse the Wiueless Higs in order
Eu'rywere bewailes to friends, to strangers ;

Art of English Poesie. 47

Tels them how by night a yongster armed
Saught his Wife {as hand in hand he held her)
With drawne sword to force; she cryed; he mainely
Roring ran for ayde, but (ah) returning
Fled was with the prize the beawtyforcer,
Whome in vain he seeks, he- threats, he followes.
Chan^d is Hellen, Hellen hugs the stranger,
Safe as Paris in the Greeke triumphing.
Therewith his reports to teares he tumeth,
Peirst through with the louely Dames remembrance; lo

Straight he sighes, he raues, his haire he teareth.
Forcing pitty still by fresh lamenting.
Cease vnworthy, worthy of thy fortunes,
Thou that couldst so faire a prize deliuer.
For feare vnregarded, vndef ended,
Hadst no heart I thinke, I know no liuer.

The twelfth Epigramme.

Why droopst thou, Trefeild? Will Hurst the Banker
Make dice of thy bones ? By heau^n he can not.
Can not ? What's the reason t He declare it : 20

Th'ar all growne so pockie and so rotten.

The seauenth Chapter : of the English Elegeick verse.

The Elegeick verses challenge the next place, as being of all
compound verses the simplest. They are deriu'd out of our owne
naturall numbers as neere the imitation of the Greekes and Latines
as our heauy sillables will permit. The first verse is a meere
licentiate lambick ; the second is fram'd of two vnited Dimeters.
In the first Dimeter we are tyed to make the first foote either a
Trochy or a Spondee, the second a Trochy, and the odde sillable
of it alwaies long. The second Dimeter consists of two Trochyes 30
(because it requires more swiftnes then the first) and an odde
sillable, which, being last, is euer common. I will giue you
example both of Elegye and Epigramme, in this kinde.

An Elegye.

Constant to none, but euer false to me.

Trailer still to hue through thy faint desires.

Not hope of pittie now nor vaine redresse
Turns my griefs to teares and renu'd laments.

48 Obseruations in the

Too well thy empty vowes and hollow thoughts

Witnes both thy wrongs and remorseles hart.
Rue not my sorrow, but blush at my name;

Let thy bloudy cheeks guilty thoughts betray.
My flames did truly burne, thine made a shew,

As fires painted are which no heate retayne,
Or as the glossy Vvcapfaines to blaze.

But toucht cold appeares, and an earthy stone.
True cullours deck thy cheeks, false foiles thy brest,
10 Frailer then thy light beawty is thy minde.

None canst thou long refuse, nor long affect.

But turn'st feare with hopes, sorrow with delight.
Delaying, and deluding eu'ry way

Those whose eyes are once with thy beawty chain'd.
Thrice happy man that entring first thy loue

Can so guide the straight raynes of his desires.
That both he can regard thee and refraine:

If gradt, firme he stands, if not, easely falls.

Example of Epigrams, in Elegeick verse.
20 The first Epigramme.

Arthure brooks only those that brooke not him,
Those he most regards, and deuoutly serues :

But them that grace him his great brau'ry skornes.
Counting kindnesse all duty, not desert:

Arthure wants forty pounds, tyres et^ry friend.
But finds none that holds twenty due for him.

The second Epigramme.

If faruy can not erre which vertue guides.
In thee, Laura, then fan(y can not erre.

30 The third Epigramme.

Drue feasts no Puritans ; the churles, he saith,
Thanke no men, but eate, praise God, and depart

The fourth Epigramme.

A Wiseman wary Hues, yet most secure,

Sorrowes moue not him greatly, nor delights :

Fortune and death he skorning, only makes

TK earth his sober Inne ; but still heau'n his home.

Art of English Poesie. 49

The fifth Epigramme.

Thou telst me, Barnzy, Dawson hath a wife:
Thine he hath, I graunt ; Dawson hath a wife.

The sixt Epigramme.

Drue giues thee money, yet thou thattkst not him,
But thankst God for him, like a godly man.

Suppose, rude Puritan, thou begst of him.
And he saith God help, who's the godly man ?

The seauenth Epigramme.

All wonders Bamzy speakes, all grosely faind :

Speake some wonder once, Barnzy, speake the truth.

The eight Epigramme.

None then should through thy beawty, Lawra, pine.
Might sweet words alone ease a loue-sick heart:

But your sweet words alone, that quit so well
Hope of friendly deeds, kill the loue-sick heart.

The ninth Epigramme.

At all thou frankly throwst, while Frank thy tvife,
Bars not Luke the mayn ; Oteny barre the bye.

The eight Chapter : of Ditties and Odes. 20

To descend orderly from the more simple numbers to them that
are more compounded, it is now time to handle such verses as are
fit for Ditties or Odes ; which we may call Lyricall, because they
are apt to be soong to an instrument, if they were adorn'd with
conuenient notes. Of that kind I will demonstrate three in this
Chapter, and in the first we will proeeede after the manner of the
Saphick, which is a Trochaicall verse as well as the Hendicasillable
in Latine. The first three verses therefore in our English Saphick
are meerely those Trochaicks which I handled in the sixt Chapter,
excepting only that the first foote of either of them must euer of 30
necessity be a Spondee, to make the number more graue. The
fourth and last closing verse is compounded of three Trochyes
together, to giue a more smooth farewell, as you may easily obserue
in this Poeme made vpon a Triumph at Whitehall, whose glory
was dasht with an vnwelcome showre, hindring the people from
the desired sight of her Maiestie.

50 Obseruations in the

The English Sapphick.

Faiths pure shield, the Christian Diana,
f^riglands glory crownd with all deuitienesse,
Liue long with triumphs to blesse thy people
At thy sight triumphing.

Loe, they sound ; the Knights in order armed
Entring threat the list, adrest to combat
For their courtly hues ; he, hees the wonder
Whome Eliza graceth.

10 Their plumed pomp the vulgar heaps detaineth,

And rough steeds ; let vs the still deuices
Close obserue, the speeches and the musicks
Peacefull arms adorning.

But whence showres so fast this angry tempest,
Clowding dimme the place ? Behold, Eliza
This day shines not here ; this heard, the launces
And thick heads do vanish.

The second kinde consists of Dimeter, whose first foote may
either be a Sponde or a Trochy. The two verses following are
ao both of them Trochaical, and consist of foure feete, the first of
either of them being a Spondee or Trochy, the other three only
Trochyes. The fourth and last verse is made of two Trochyes.
The number is voluble, and fit to expresse any amorous conceit.

The Example.

Rose-cheekt Lawra, come
Sing thou smoothly with thy beawties
Silent musick, either other

Sweetely gracing.

Louely formes do fiowe
30 From concent deuinely framed ;

Heau'n is musick, and thy beawties
Birth is heauenly.

These dull notes we sing
Discords neede for helps to grace them ;
Only beawty purely louing

Knowes no discord.

Art of English Poesie. 5 1

But still mooues delight,
Like cleare springs rented by flowing,
Euer perfet, euer in them-
selues eternall.

The third kind begins as the second kind ended, with a verse
consisting of two Trochy feete, and then as the second kind had
in the middle two Trochaick verses of foure feete, so this hath
three of the same nature, and ends in a Dimeter as the second
began. The Dimeter may allow in the first place a Trochy or a
Spondee, but no lambick. lo

The Example,

lust beguiler,
Kindest loue, yet only chastest,
Royall in thy smooth denyals.
Frowning or demurely smiling.

Still my pure delight.

Let me view thee
With thoughts and with eyes affected.
And if then the flames do murmur.
Quench them with thy vertue, charme them 30

With thy stormy browes.

Heau'n so cheerefull
Laughs not euer, hory winter
Knowes his season, euen the freshest
Sommer mornes from angry thunder

let not still secure.

The ninth Chapter, of the Anacreontick Verse.

If any shall demaund the reason why this number, being in it selfe
simple, is plac't after so many compounded numbers, I answere,
because I hold it a number too licentiate for a higher place, and in 30
respect of the rest imperfect; yet is it passing gracefull in our
English toong, and will excellently fit the subiect of a Madrigall,
or any other lofty or tragicall matter. It consists of two feete :
the first may be either a Sponde or Trochy, the other must euer
represent the nature of a Trochy, as for example :

Follow, followe, 5
Though with mischiefe
Arm'd, like whirlewind
Now she fly es thee;
E 3

52 Obseruations in the

Time can conquer
Loues vnkindnes ;
Loue can alter
Times disgraces ;
Till death faint not
Then but followe.
Could I catch that
Nimble trayter,
Skornefull Lawra,
lo Swift foote Lawra,

Soone then would I
Seeke auengement.
Whats tK auengement^
Euen submissely
Prostrate then to
Beg for mercye.

Thus haue I briefely described eight seueral kinds of English
numbers simple or compound. The first was our lambick pure
and licentiate. The second, that which I call our Dimeter, being

20 deriued either from the end of our lambick or from the beginning
of our Trochaick. The third which I deliuered was our English
Trochaick verse. The fourth our English Elegeick, The fift, sixt,
and seauenth were our English Sapphick, and two other Lyricall
numbers, the one beginning with that verse which I call our
Dimeter, the other ending with the same. The eight and last
was a kind of Anacreontick verse, handled in this Chapter. These
numbers which by my long obseruation I have found agreeable
with the nature of our sillables, I haue set forth for the benefit of
our language, which I presume the learned will not only imitate

30 but also polish and amplifie with their owne inuentions. Some
eares accustomed altogether to the fatnes of rime may perhaps
except against the cadences of these numbers ; but let any man
iudicially examine them, and he shall finde they close of themselues
so perfectly that the help of rime were not only in them superfluous
but also absurd. Moreouer, that they agree with the nature of
our Enghsh it is manifest, because they entertaine so willingly
our owne British names, which the writers in English Heroicks
could neuer aspire vnto, and euen our Rimers themselues haue
rather delighted in borrowed names than in their owne, though

40 much more apt and necessary. But it is now time that I proceede
to the censure of our sillables, and that I set such lawes vpon

Art of English Poesie. 5 3

them as by imitation, reason, or experience I can confirme. Yet
before I enter into that discourse, I will briefely recite and dispose
in order all such feete as are necessary for composition of the
verses before described. They are sixe in number, three whereof
consist of two sillables, and as many of three.

Feete of two sillables.

lambick :

reuenge

Trochaick:

■ as ■ Beawite

Sponde :

constant

Feete of three sillables.

Tribrach:

miserie

Anapestick :

•as-

miseries

DacHle:

Destenie

The tenth Chapter: of the quantity of English sillables.

The Greekes in the quantity of their sillables were farre more
licentious then the Latines, as Martiall in his Epigramme of
Earinon witnesseth, saying, Musas quicolimus seueriores. But the
English may very well challenge much more licence then either of
them, by reason it stands chiefely vpon monasillables, which, in
expressing with the voyce, are of a heauy cariage, and for that 20
cause the Dactil, Trybrack, and Anapestick are not greatly mist in our
verses. But aboue^Ujlie accent of our wQrd&4& diligently to be
obseru'd, for chiefely by the accent in any Jangu^e-the true value
of the^siilables" laTobe measured. Neither can I remember any
impediment except position that can alter the accent of any
Billable in our English verse. For though we accent the second
of Trumpington short, yet is it naturally long, and so of necessity
must be held of euery composer. Wherefore the first rule that is
to be obserued is the nature_QLth.e_ accent, which we must euer
follow. 30

The next ri^ is .posi^onj which makes euery sillable long,
whether the position happens in one or in two words, according to
the manner of the Latines, wherein is to be noted that h is no
letter.

Position is when a vowell comes before two consonants, either
in one or two words. In one, as in best, e before st makes the
word best long by position. In two words, as in setkd loue,
e before d in the last sillable of the first word and / in the
beginning of the second makes led in setled long by position.

54 Obser nations in the

A vowell before a vowell is alwaies short, asflHing, dltng, going,
vnlesse the accent alter it, in denting.

The diphthong in the midst of a word is alwaies long, as
plating, decduing.

The SynalcRphas or Elisions in our toong are either necessary to
auoid the hoUownes and gaping in our verse, as to and ttu,
finchaunt, tK inchaunter, or may be vsd at pleasure, as for let vs
to say lefs; iorwe will, wee' I; for euery, eu'ry; for they are, tKar;
for he is, hee's ; for admired, admit' d ; and such like.

10 Also, because our English Orthography (as the French) differs
from our common pronunciation, we must esteQine_our_sillables
as wespeake, not aS-We write; for the sound of them in a verse
is to be valued, and not their letters, as for folUnv we pro-
nounce y»//(? ; lor perfect, perfet; for little, littel; for loue-sick,
loue-sik; for honour, honor; for money, mony ; for dangerous,
dangerus ; for raunsome, raunsum ; for though, the ; and their like.
Deriuatiues hold the quantities of their primatiues, as deuout,
deuoutelte ; prophane, prophdnelte ; and so do the compositiues, as
deserted, Undeseru'd.

ao In words of two sillables, if the last haue a full and rising accent
that sticks long vpon the voyce, the first sillable is alwayes short,
vnlesse position, or the diphthong, doth make it long, as desire,
priserue, define, prophane, regard, m&nure, and such like.

If the like dissillables at the beginning haue double consonants
of the same kind, we may vse the first sillable as common, but
more naturally short, because in their pronunciation we touch but
one of those double letters, as atend, apeare, opose. The like we
may say when silent and melting consonants meete together, as
adrest, redrest, oprest, represi, retriu'd, and such like.

30 Words of two sillables that in their last sillable mayntayne
a flat or falling accent, ought to hold their first sillable long, as
rigor, glorie, spitit, furie, Idboicr, and the like : any, many, prety,
M>ly, and their like are excepted.

One obseruation which leades me to iudge of the difference of
these dissillables whereof I last spake, I take from the originall
monasillable ; which if it be graue, as shade, I hold that the first
oi shddie must be long; so trite, trUlie; haue, hdutng; tire, tiring.
Words of three sillables for the most part are deriued from words
of two sillables, and from them take the quantity of their first

^o sillable, as fldrish, flortshing long ; kolie, Iwltnes short ; but mi in
miser being long hinders not the first of misery to be short, because
the sound of the i is a little altred.

Art of English Poesie. 5 5

De, di, and/w in trisillables (the second being short) are long,
as desolate, diUgent, prodtgall.

Re is euer short, as retriedie, reference, redolent, reuerend.

Likewise the first of these trisillables is short, as the first of
benefit, generall, hideous, memorie, numerous, penetrate, separat,
tfmerous, variant, various; and so may we esteeme of all that
yeeld the like quicknes of sound.

In words of three Billables the quantity of the middle sillable is
lightly taken from the last sillable of the originall dissillable, as
the last of deuine, ending in a graue or long accent, makes the lo
second of dminlng also long, and so esfie, espiing, denie, denting :
contrarywise it falles out if the last of the dissillable beares a flat
or falling accent, as glorle, gloriing, enuie, enuiing, and so forth.

Words of more Billables are eyther borrowed and hold their owne
nature, or are likewise deriu'd and so follow the quantity of their
primatiues, or are knowne by their proper accents, or may be
easily censured by a iudiciall eare.

All words of two or more sillables ending with a falling accent
in y or ye, as faireRe, demurelte, beawfle, ptttte, or in ue, as vertue,
rescue, or in ow, as follow, hollow, or in e, as parle. Daphne, or in ao
a, as Manna, are naturally short in their last sillables ; neither let
any man cauill at this licentiate abbreuiating of sillables, contrary
to the custome of the Latines, which made all their last sillables
that ended in u long, but let him consider that our verse of fiue
feete, and for the most part but of ten sillables, must equall theirs
of sixe feete and of many sillables, and therefore may with suffi-
cient reason aduenture vpon this allowance. Besides, euery man
may obserue what an infinite number of sillables both among the
Greekes and Romaines are held as common. But words of two
sillables ending with a rising accent \ny or ye, as denye, descrye, or 30
in ue, as ensue, or in ee, as foresee, or in oe, as forgoe, are long in
their last sillables, vnlesse a vowell begins the next word.

All monasillables that end in a graiie accent are euer long, as
wrath, hath, these, those, tooth, sooth, through, day, play, fedte,
speede, strife, flow, grow, shew.

The like rule is to be obserued in the last of dissillables bearing
a graue rising sound, as deuine, delate, retire, refuse, manure, or
a graue falling sound, as fortune, pleasure, vampire.

All such as haue a double consonant lengthning them, as
wdrre, barre, stdrre, fUrre, miirre, appear to me rather long then 40
any way short.

There are of these kinds other, but of a lighter sound, that, if

56 Obseruatio7is in English Poesie.

the word following do begin with a vowell, are short, as doth,
though, thou, now, they, two, too, flye, dye, true, due, see, are, far,
you, thee, and the like.

These monasillables are alwayes short, as a, the, thi, she, we, be,
he, no, to, go, so, do, and the like.

But if t or y are ioyn'd at the beginning of a word with any
vowell, it is not then held as a vowell, but as a consonant, as iWosy-,
iewce, iade, toy, ludas, ye, yet, yel, youth, yoke. The like is to be
obseru'd in w, as winde, wide, wood : and in all words that begin
10 with va, ve, vi, vo, or vu, as vacant, vew, vine, voide, and vulture.
All Monasillables or Polysillables that end in single con-
sonants, either written or sounded with single consonants, hauing
a sharp liuely accent and standing without position of the word
following, are short in their last sillable, as sca^, fled, parted, God,
of, if, bandog, anguish, stck, quick, riual, will, people, simple, come,
some, htm, them, from, sUmmon, then, prop, prosper, honoiir, Idbotir,
this, his, speches, goddesse, perfect, bUt, what, that, and their like.

The last sillable of all words in the plurall number that haue
two or more vowels before s are long, as vertices, duties, miseries,
io fe Howes.

These rules concerning the quantity of our English sillables

I haue disposed as they came next into my memory; others

more methodicall, time and practise may produce. In

the meane season, as the Grammarians leaue many

sillables to the authority of Poets, so do I

likewise leaue many to their iudgments ;

and withall thus conclude, that

there is no Art begun and

perfected at one

36 enterprise.

FINIS

TH E

DISCRIPTION OF

A

MASE^E,

Prelcnted before the Kinoes Maieflic
atlf^hue-Hally on Twe^th ^Njght

laft^in honour ofthcLord HAYEs,and
his Bride, Daughter snd -Hcire to the

UnuHmble the Lord D B n N Y B,thw

Mvrugehiuingbeen the Tune Daf

ai Court folemnized.

To this byoccafion other fmall P oemes
are nMyned,

Ifiueated and fet forth Jby Tju o m a .
Campion 'D<^or(f Pb^kj.

LOKDON

ImprmtedfiyloHN Wind et for Iohn Brovvn

aneJaretohefolde athijfliopinS. Donftone*

CburcbyeardinFleetftrcct. 1607.

To the most puisant and

Gratious Iames King of great

Britaine.

The disvnited Scithians when they sought

To gather strength by parties, and combine

That perfect league of freends which once beeing wrought

No turne of time or fortune could vntwine,

This rite they held : a massie bowle was brought,

And eu'ry right arme shot his seuerall blood

Into the mazar till 'twas fully fraught. i

Then hauing stird it to an equall floud

They quaft to th' vnion, which till death should last.

In spite of priuate foe, or forraine feare,

And this blood sacrament being knowne t' haue past,

Their names grew dreadfull to all far and neere.

O then, great Monarch, with how wise a care

Do you these bloods deuided mixe in one.

And with like consanguinities prepare

The high, and euerliuing Vnion

Tweene Scots and English : who can wonder then
If he that marries kingdomes, marries men?

An Epigram.

Merlin, the great King Arthur being slaine,
Foretould that he should come to life againe.
And long time after weild great Brittaines state
More powerfull ten-fould, and more fortunate.
Prophet, 'tis true, and well we find the same,
Saue onely that thou didst mistake the name.

6o Description of a Maske

Ad Inuictissimum,

Serenissimumque Iacobvm

Ma^a Britannia Regem. ' - "

AnglicR, et vnanimis Scotia pater, anne maritus

Sis dubito, an neuter, {Hex) ml vterque simul.
Vxores fariter binas sibi iungat vt vnus,

Credimus hoc, ipso te prohibente, nephas.
Atque, maritali natas violare parentem

Complexu, quis non co^tat esse scelus?
At tibi diuinis successibus vtraque nubit ; lo

Vna tamen coniux, coniugis vnus amor.
Connubium O mirum, Unas qui ducere, et vnam

Possis! tu solus sic, lacohe, potes:
Diuisas leuiter terras componis in vnam

Atque vnam cetemum nomine, reque fads:
Natisque, et nuptis, pater et vir f actus vtrisque es ;

Vnitis coniux vere, et amore parens.

To the Right Noble and Vertu-
ous Theophilus Ho'^ard^ Lorde of

Walden, sonne and Heire to the right Hono-
rable the Earle of Suffolke.

If to be sprong of high and princely blood,
If to inherite vertue, honour, grace,
If to be great in all things, and yet good,
If to be facill, yet t' haue power and place,

If to be iust, and bountifull, may get

The loue of men, your right may chalenge it. lo

The course of forraine manners far and wide.
The courts, the countries, Citties, townes and state.
The blossome of your springing youth hath tried,
Honourd in eu'ry place and fortunate,

Which now grown fairer doth adorne our Court
With princelie reuelling, and timely sport.

in honour of the Lord Hayes. 6 1

But if th' admired vertues of your youth

Breede such despairing to my daunted muse,

That it can scarcely vtter naked truth,

How shall it mount as rauisht spirits vse to

Vnder the burden of your riper dayes.
Or hope to reach the so far distant bayes?

My slender Muse shall yet my loue expresse.
And by the fair Thames side of you sheele sing;
The double streames shall beare her willing verse
Far hence with murmur of their ebbe and spring.
But if you fauour her light tunes, ere long
Sheele striue to ra,ise you with a loftier song.

To the Right VertuouSy and Hono-
rable, the Lord and Lady HAYES.

Should I presume to separate you now.

That were so lately ioyn'de by holy vow,

For whome this golden dreame which I report

Begot so many waking eyes at Court,

And for whose grace so many nobles chang'd,

Their names and habites, from themselues estrang'd?

Accept together, and together view

This little worke which all belongs to you,

And liue together many blessed dayes.

To propagate the honour'd name of HA YES.

Epigramma.

HcBredem {vt spes est) pariet noua nupta Scot' Anglum ;

Quern gignet posthac tile, Britannus erit :
Sic noua posteritas, ex regnis orta duobus,

Vtrinque egregios nobilitabit auos.

6 2 Description of a Maske

THE

Description of a Maske presented

before the Kinges Maiestie at IVhite
Hall, on twelft night last^ in honour

of the Lord HATES, and his Bride, daugh-
ter and heire to the Honourable the Lord
DENNTE, their manage hauing been
the same day at Court solemnized.

As in battailes, so in all other actions that are to bee reported,
lo the first, and most necessary part is the discription of the place,
with his oportunities, and properties, whether they be naturall or
artificiall. The greate hall (wherein the Maske was presented)
receiued this diuision, and order : The vpper part where the cloth
and chaire of State were plac't, had scaffoldes and seates on eyther
side continued to the skreene ; right before it was made a partition
for the dauncing place ; on the right hand whereof were consorted
ten Musitions, with Basse and Meane lutes, a Bandora, a double
Sack-bott, and an Harpsicord, with two treble Violins; on the
other side somewhat neerer the skreene were plac't 9 Violins and
30 three Lutes, and to answere both the Consorts (as it were in a
triangle) sixe Cornets, and sixe Chappell voyces, were seated almost
right against them, in a place raised higher in respect of the
pearcing sound of those Instruments ; eighteen foote from the
skreen, an other Stage was raised higher by a yearde then that
which was prepared for dancing : This higher Stage was all en-
closed with a double vale, so artificially painted, that it seemed as
if darke cloudes had hung before it : within that shrowde was con-
cealed a greene valley, with greene trees round about it, and in the
midst of them nine golden trees of fifteene foote high, with armes
30 and braunches very glorious to behold : From the which groue
toward the State was made a broade descent to the dauncing place,
iust in the midst of it ; on either hand were two ascents, hke the
sides of two hilles, drest with shrubbes and trees j that on the
right hand leading to the bowre of Flora: the other to the
house oi Night; which bowre and house were plac't opposite at

(Page 63, line 37)

To face page 63.

in honour of the Lord Hayes. 6 3

either end of the skreene, and betweene them both was raised a
hill, hanging like a cliffe ouer the groue belowe, and on the top of
it a goodly large tree was set, supposed to be the tree of Diana ;
behind the which toward the window was a small descent, with an
other spreading hill that climed vp to the toppe of the window, with
many trees on the height of it, whereby those that played on the
Hoboyes at the Kings entrance into the hall were shadowed :
The bowre of Flora was very spacious, gamisht with all kind of
flowers, and flowrie branches with lights in them ; the house of
Night ample and stately, with blacke pillors, whereon many starres lo
of gold were fixt : within it, when it was emptie, appeared nothing
but cloudes and starres, and on the top of it stood three Turrets
vnderpropt with small blacke starred pillers, the middlemost being
highest and greatest, the other two of equall proportion : about it
were plac't on wyer artificial Battes and Owles, continually mouing ;
with many other inuentions, the which for breuitie sake I passe by
with silence.

Thus much for the place, and now from thence let vs come to
the persons.

The Maskers names were these (whom both for order and 20
honour I mention in the first place).

1 Lord Walden.

2 Sir Thomas Howard.

3 Sir Henrie Carey, Master of the Jewell house.

4 Sir Richard Freston 1 ^ . --,2. ir , - ■ ^>. .
„. r 7 A ,j r (rent, of the K. prtute Chamber.

5 Str John Ashley \ •' ^

6 Sir Thomas larret, Pentioner.

7 Sir John Digby, one of the King's Caruers.

8 Sir Thomas Badger, Master of the Kin^s Hariers.

9 Maister Goringe. 30

Their number Nine, the best and amplest of numbers, for as
in Musicke seuen notes containe all varietie, the eight being in
nature the same with the first, so in numbring after the ninth we
begin again, the tenth beeing as it were the Diappason in Arith-
metick. The number of 9 is framed by the Muses and Worthies,
and it is of all the most apt for chaunge and diuersitie of pro-
portion. . The chiefs habit which the Maskers did vse is set forth
to your view in the first leafe : they presented in their fayned
persons the Knights of Apollo, who is the father of heat and
youth, and consequently of amorous affections. 40

64 Description of a Maske

The Speakers were in number foure.

FLORA the Queene of Flowers, attired in a changeable Taffatie
Gowne, with a large vale embrodered with flowers, a Crowne of
flowers, and white buskins painted with flowers.

ZEPHYRVS in a white loose robe of sky coloured Taffatie,
with a mantle of white silke, prop't with wyre, stil wauing behind
him as he moued ; on his head hee wore a wreath of Palme deckt
with Primmeroses and Violets, the hayre of his head and beard
were flaxen, and his buskins white, and painted with flowers.
10 NIGHT in a close robe of blacke silke and gold, a blacke
mantle embrodered with starres, a crowne of starres on her head,
her haire blacke and spangled with gold, her face blacke, her
buskins blacke, and painted with starres ; in her hand shee bore
a blacke wand, wreathed with gold.

HESPER VS'va. a close robe of a deep crimson Taffatie mingled
with skye colour, and ouer that a large loose robe of a lighter
crimson taffatie j on his head he wore a wreathed band of gold,
with a starre in the front thereof, his haire and beard red, and
buskins yellow.
20 These are the principall persons that beare sway in this inuen-
tion, others that are but secunders to these, I will describe in their
proper places, discoursing the Maske in order as it was performed.

As soone as the King was entred the great Hall, the Hoboyes
(out of the wood on the top of the hil) entertained the time till
his Maiestie and his trayne were placed, and then after a little
expectation the consort of ten began to play an Ayre, at the
sound whereof the vale on the right hand was withdrawne, and
the ascent of the hill with the bower of Flora were discouered,
where Flora and Zepherus were busily plucking flowers from the
30 Bower, and throwing them into two baskets, which two Siluans
held, who were attired in changeable Taffatie, with wreathes of
flowers on their heads. As soone as the baskets were filled, they
came downe in this order; First Zepherus and Flora, then the
two Siluans with baskets after them ; Foure Siluans in greene
taffatie and wreathes, two bearing meane Lutes, the third, a base
Lute, and the fourth a deepe Bandora.

As soone as they came to the discent toward the dauncing

place, the consort of tenne ceac't, and the foure Siluans playd

the same Ayre, to which Zepherus and the two other Siluans did

40 sing these words in a base. Tenor, and treble voyce, and going yp

and downe as they song, they strowed flowers all about the place.

in honour of the Lord Hayes. 6^

Song. Now hath Flora rob'd her bowers

To befrend this place with flowers :

Sirowe aboute, strowe aboute.
The Skye rayn'd neuer kindly er Showers.
Flowers with Bridalls well agree,
Fresh as Brides, and Bridgromes be:

Sirowe aboute, strowe aboute;
And mixe them with fit melodie.

Earth hath no Princelier flowers
Then Roses white, and Roses red, lo

But they must still be mingled:
And as a Rose new pluckt from Venus thorne,
So doth a Bride her Bride-groomes bed adorne.

Diuers diuers Flowers affect
For some priuate deare respect :

Strowe about, strowe about.
Let euery one his owne protect ;
But hees none of Floras friend
That will not the Rose commend.

Strow about, strow about ; ao

Let Princes Frincely flowers defend:

Roses, the Gardens pride.
Are flowers for loue and flowers for Kinges,
In courts desir'd and Weddings:
And as a Rose in Venus bosome worne,
So doth a Bridegroome his Brides bed adorne.

The Musique ceaseth, and
Flora speaks.

Flora. Flowers and good wishes Flora doth present,
Sweete flowers, the ceremonious ornament 30

Of maiden mariage, Beautie figuring.
And blooming youth ; which though we careles fling
About this sacred place, let none prophane
Think that these fruits from common hils are tarn.
Or Vulgar vallies which do subiect lie
To winters wrath and cold tnortalitie.
But these are hallowed and immorfall flowers
With Floras hands gather' d from Floras bowres.
Such are her presents, endles, as her loue.
And such for euer may this nights ioy proue, 40

Zephyras,
the

westerne
wind, of all
the most
mild and
pleasant,
who with
Venus, the
Qtteene of
loue, is said
to bring in
the spring,
when
iiaturall
heate and
appetite
rcuiueth,
and the
glad earth
begins to be
beautified
with
flowers.

66 Description of a Maske

Zeph. For euer endles may tkis nights toy proue,
So eccoes Zephyrus the friend of loue.
Whose aide Venus implores when she doth bring
Into the naked world the greene-leau'd spring.
When of the Sunnes warme beames the Nets we weaue
That can the stubborrist heart 7vith loue deceiue.
That Queene of beauty, and desire by me
Breaths gently forth this Bridall prophecie :
Faithfull and fruitfull shall these Bedmates proue.
Blest in their fortunes, honoured in their loue.

Flor. All grace this night, and, Siluans, so must you.
Off 'ring your mariage song with changes new.

30

The song in forme of a Dialogue.

Can. Who is the happier of the two,

A maide, or wife?
Ten. Which is more to be desired.

Peace or strife?
Can. What strife can be where two are one.

Or what delight to pine alone ?
Bas. None such true freendes, none so sweet

As that betweene the man and wife.
Ten. A maide is free, a wife is tyed.
Can. No maide but faine would be a Bride.
Ten. Why lifie so many single then ?

'Tis not I hope for want of m^n.
Can. The bow and arrow both may fit,

And yet 'tis hard the marke to hit.
Bas. He leuels faire that by his side

Laies at night his louely Bride.
Cho. Sing lo ; Hymen, lo ; lo ; Hymen.

hfe,

This song being ended the whole veil is sodainly drawne, the groue
and trees of gold, and the hill with Dianas tree are at once discouered.

Night appeares in her house with her 9 houres, apparrelled in large
robes of black taffatie, painted thicke with starres, their haires long,
blacke, and spangled with gold, on their heads coronets of stars, and
their faces blacke. Euery houre bore in his hand a blacke torch,
painted with starres, and lighted. Night presently descending from
her house spake as folio weth.

in honour of the Lord Hayes. 6 7

Night. Vanish^ darke vales ; let night in glory shine
As she doth burn in rage: come leaue our shrine
You black-hair'd hours, and guide vs with your lights,
Flora hath wakened wide our drowsy sprights:
See where she triumphs, see her flowers are throwne,
And all about the seedes of malice sowne.
Despightful Flora, ist not enough of grief e
That Cynthia's robd, but thou must grace the theefe 1
Or didst not hear Nights soueraigne Queen complaine
Hymen had stolne a Nimph out of her traine.
And matcht her here, plighted henceforth to be
Loues friend, and stranger to Virginitie ?
And mah'st thou sport for this?

Diana, the
Moone and
Queene of
Virginitie,
is saide to
be regent
and Em-
presse of
Night, and
is therefore
by night
defended,
as in her
quarrel for
the losse of
the Bride,
her virgin.

Flora. Bee mild, sterne night;
Flora doth honour Cinthia, and her right.
Virginitie is a voluntary powre,
Free from constraint, euen like an vntoucht flower
Meete to be gather'd when 'tis throughly bUnvne.
The Nimph ivas Cinthias while she ivas lier owne.
But now another claimes in her a right,
By fate reseru'd thereto and wise foresight.

Zeph. Can Cynthia one kind virgins loss bemone 1
How if perhaps she brings her tenne for one?
Or can shee misse one in so full a traine ?
Your Goddesse doth of too much store complaine.
If all her Nimphes would aske aduise of me
There should be fe^ver virgins then there be.
Nature ordaind not Men to Hue alone,
Where there are two a Woman should be one.

Night. Thou breath st sweet poison, wanton Zephyrus,
But Cynthia must not be deluded thus.
Her holy Forrests are by theeues prophan'd.
Her Virgins frighted, and loe, where they stand
That late were Phoebus Knights, turnd now to trees
By Cynthias vengement for their iniuries
In seeking to seduce her Nymphes with loue:
Here they are flxt, and neuer may remoue
But by Dianaes power that stucke them here.
Apollos loue to them doth yet appeare.

30

Hesperus,
the Etten-
ittg slarre,
foreshews
that the
wisht
marriage-
night is at
hand, and
for that
cause is
supposed to
be the
friend
of Bride-
groomes
andBrides.

30

6 8 Description of a Maske

In that his beames hath guilt them as they grow.
To make their miserie yeeld the greater show.
But they shall tremble when sad Night doth sfeake.
And at her stormy words their boughes shall breake.

Toward the end of this speech Hesperus begins to descend by the
house of Night, and by that time the speech was finisht he was readie
to speake.

Hasp. Hayle reuerend angrie Night, haile Queene of Flowers,
Mild sprited Zephyrus, haile, Siluans and Howers.
Hesperus brings peace, cease then your needlesse iarres
Here in this little firmament of starres.
Cynthia is now by Phoebus pacifiedj
And well content her Nymph is made a Bride,
Since the f aire match was by that Phoebus gradt
Which in this happie Westerne He is pladt
As he in heauen, one lampe enlightning all
That vnder his benigne aspect doth fall.
Deepe Oracles he speakes, and he alone
For artes and wisedomes meeie for Phoebus throne.
The Nymph is honour'd, and Diana pleased :
Night, be you then, and your blacke howers appeased :
And friendly listen what your Queene by me
Farther commaunds : let this my credence be,
View it, and know it for the highest gemme
That hung on her imperiall Diadem.

Night. / know, and honour it, louely Hesperus,
Speake then your message, both are welcome to vs.

Hasp. Your Soueraigne from the vertuous gem she sends
Bids you take power to retransforme the f rends
Of Phoebus, metamorphos' d here to trees.
And glue them straight the shapes which they did leese.
This is her pleasure.

Night. Hesperus, / obey.
Night must needs yeeld when Phoebus gets the day.

Flo. Honot'd be Cynthia for this generous deede.
Zep. Pitie grows onely from celestiall seede.

Night. If all seeme glad, why should we onely lowre ?
Since t'expresse gladnes we haue now most paiver.

in honour of the Lord Hayes. 69

Frolike, gradt Captiues, we present you here
This glasse, wherein your liberties appeare :
Cynthia is pacified, and now blithe Night
Begins to shake off melancholy quite.

Zeph. Who shold grace mirth and reuels but the night?
Next loue she should be goddesse of delight.

Night. TYs now a time when (Zephyrus) all with dancing
Honor me, aboue day my state aduancing.
He now befrolicke, all is full of hart.

And eu^n these trees for ioy shall beare a part: lo

Zephyrus, they shall dance.

Zeph. Daunce, Goddesse? how?

Night. Seemes that so full of strangenes to you now ?
Did not the Thracian harpe long since the same ?
And {if we ripp the ould records of fame)
Did not Amphions lyre the deafe stones call.
When they came dancing to the Theban wall?
Can musicke then ioye? ioy mountaines moues
And why not trees ? iqyes powerful when it loues.
Could the religious Oake speake Oracle 20

Like to the Gods? and the tree wounded tell
T'^neas his sad storie? haue trees therefore
The instruments of speech and hearing more
Then tK haue of pacing, and to whom but Night
Belong enchantments? who can more affright
The eie with magick wonders? Night alone
Is fit for miracles, and this shalbe one
Apt for this Nuptiall dauncing iollitie.
Earth, then be soft and passable to free

TTiese fettered roots : ioy, trees ! the time drawes neere 3°

When in your better formes you shall appeare.
Dauncing and musicke must prepare the way,
Thet's little tedious time in such delay.

This spoken, the foure Siluans played on their instruments the first
straine of this song following: and at the repetition thereof the voices
fell in with the instrumentes which were thus deuided ; a treble and
a base were placed neere his Maiestie, and an other treble and base
neere the groue, that the words of the song might be heard of all,
because the trees of gould instantly at the first sound of their voices
began to moue and dance according to the measure of the time which 40

7 o Description of a Maske

the musitians kept in singing, and the nature of the wordes which they
deliuered.
Song. Moue now with measured sound,

You charmed groue of gould,
Trace forth the sacred ground
Thai shall your formes vnfold.

Diana and the starry Night for your ApoUos sake
Endue your Siluan shapes with powre this strange delight to make.
Much ioy must needs the place betide where trees for gladnes moue :
10 A fairer sight was nere beheld, or more expressing hue.

Yet r^eerer Phoebus throne
Mete on your winding waies,

Your Brydall mirth make knowtie
In your high-graced Hayes.

Let Hymen lead your sliding rounds, and guide them with his light,
While we do lo Hymen sing in honour of this night,
loyne three by three, for so the night by trifle spel decrees.
Now to release ApoUos knights from these enchanted trees.

This dancing-song being ended, the goulden trees stood in rankes
ao three by three, and Night ascended vp to the groue, and spake thus,
touching the first three seuerally with her wand.

Night. By vertue of this wand, and touch deuine.
These Siluan shadoives back to earth resigne:
Your natiue formes resume, with habite faire.
While solemne musick shall enchant the aire.

Either by
the simpli-
city, negli-
gence, or
conspiracy
of the
painter, the
passing
away of the
trees was
somewhat
hazarded;
thepat-
terene oj
them the
same day
hauingbeen
showne
with much
admira-
tion,

Presently the Siluans with their four instruments, and fiue voices,
began to play, and sing together the song following, at the beginning
whereof that part of the stage whereon the first three trees stoode
began to yeeld, and the three formost trees gently to sincke, and this
was effected by an Ingin platft vnder the stage. When the trees had
sunke a yarde they cleft in three parts, and the Maskers appeared out
of the tops of them, the trees were sodainly conuayed away, and the
first three Maskers were raysed againe by the Ingin. They appeared
then in a false habit, yet very faire, and in forme not much vnlike their
principall, and true robe. It was made of greene taffatie cut into leaues,
and laid vpon cloth of siluer, and their hats were sutable to the same.

Night and Diana charge,

And tK Earth obayes,

Opening large

Her secret 7iiaies,

Songe of
transformation.

in honour of the Lord Hayes. 7 i

While Apollos charmed men

Their formes receiue againe.
Giue gratious Phoebus honour then,
And so fall downe, and rest behinde the traine,
Giue gratious Phoebus honour then
And so fall, etc.

When those wordes were sung, the three maskers made an honour
to the King, and so falling backe the other sixe trees, three by three,
came forward, and when they were in their appointed places, Night
spake againe thus :

Night. Thus can celestials work in humane fate.
Transforms and forme as they do loue or hate ;
Like touch and change receiue: The Gods agree
The best of numbers is contained in three.

The song of transformation againe.

Night and Diana, &'c.

Then Night toucht the second three trees and the stage suncke
with them as before : and in breefe the second three did in all points
as the first. Then Night spake againe.

Night. The last, and third of nine, touch, magick wand,
And giue them back their formes at nights command.

Night toucht the third 3. trees, and the same charme of Night and
Diana was sung the third time ; the last three trees were transformed,
and the Maskers raisd. When presently the first Musique began his
full Chorus.

Againe this song reuiue and sound it hie:
Long Hue Apollo, Brittaines glorious eye.

This Chorus was in manner of an Eccho seconded by the Comets,
then by the consort of ten, then by the consort of twelue, and by
a double Chorus of voices standing on either side, the one against the
other, bearing fine voices a peece, and sometime euery Chorus was
heard seuerally, somtime mixt, but in the end all together : which
kinde of harmony so distinguisht by the place, and by the seuerall
nature of instruments, and changeable conueyance of the song, and
performed by so many excellent masters as were actors in that musicke,
(their number in all amounting to fortie two voyces and instruments)
could not but yeeld great satisfaction to the hearers.

While this Chorus was repeated twice ouer, the Nine maskers in
their greene habitts solemnely descended to the dauncing place, in
such order as they were to begin their daunce, and as soone as the
Chorus ended, the violins, or consorte of twelue began to play the

and the 9
trees beeing
left vnselt
together
eiien to the
same night.

30

40

7 2 Description of a Maske

second new daunce, which was taken in form of an Eccho by the
cornetts, and then catch't in like manner by the consort of ten, some-
time they mingled two musickes together ; sometime plaid all at once ;
which kind of ecchoing musicke rarely became their Siluan attire, and
was so truely mixed together, that no daunce could euer bee better
grac't then that, as (in such distraction of musicke) it was performed
by the maskers. After this daunce Night descended from the groue,
and addreste her speech to the maskers, as foUoweth.

Night. Phoebus is plea^d, and all reioice to see
lo His seruants from their golden prison free.

But yet since Cinthia hath so freendly smilde,

And to you tree-borne Knights is reconcild.

First ere you any more worke vndertake,

About her tree solemne procession make,

Dianas tree, the tree of Chastitie,

That pla^t alone on yonder hill you see.

These greene leaued robes, wherein disguisde you made

Stelths to her Nimphes through the thicke forrests shade,

There to the goddesse offer thankfully,
20 That she may not in vaine appeased be.

The Night shall guide you, and her howres attend you

That no ill eyes, or spirits shall offend you.

At the end of this speech Night began to leade the way alone, and
after her an Houre with his torch, and after the Houre a masker ; and
so in order one by one, a torch-bearer and a masker, they march, on
towards Dianas tree. When the Maskers came by the house of
Night, euery one by his Houre receiued his helmet, and had his false
robe pluckt ofif, and, bearing it in his hand, with a low honour oifred
it at the tree of Chastitie, and so in his glorious habit, with his Houre
30 before him march't to the bowre of Flora. The shape of their habit
the picture before discouers, the stuffe was of Carnation saten layed
thicke with broad siluer lace, their helmets beeing made of the same
stuffe. So through the bowre of Flora they came, where they ioyned
two torch-bearers, and two Maskers, and when they past downe to the
groue, the Houres parted on either side, and made way betweene
them for the Maskers, who descended to the dauncing place in such
order as they were to begin their third new dance. All this time
of procession the sixe Comets, and sixe Chappell voices sung a
soUemne motet of sixe parts made vpon these wordes.

40 With spotles mindes now mount we to the tree

Of single chastitie.
The roote is temperance grounded deepe.
Which the coldiewdt earth doth steepe :

in honour of the Lord Hayes, 7 3

Water it desires alone,

Other drinke it thirsts for none:
Therewith the sober branches it doth feede.

Which though they fruitlesse be.
Yet comely leaves they breede,

To beautifie the tree.

Cynthia protectresse is, and for her sake

We this graue procession make.

Chast eies and eares, pure heartes and voices,

Are graces wherein Phoebe most reioyces. lo

The motet beeing ended, the Violins began the third new dance,
which was liuely performed by the Maskers, after which they tooke
forth the Ladies, and danc't the measures with them ; which being
finisht, the Maskers brought the Ladies back againe to their places :
and Hesperus with the rest descended from the groue into the dauncing
place, and spake to the Maskers as followeth.

Hesperus. Knights of Apollo, proude of your new birth.
Pursue your triumphs still with ioy and mirth :
Your changed fortunes, and redeemed estate,
Hesperus to your Soueraigne will relate. 20

Tis now high time he were far hence retit'd,
Th'ould Bridall friend, that vshers Night desit'd
Through the dimme euening shades, then taking flight
Giues place and honour to the nuptiall Night.
I, that wish't euening starre, must now make way
To Hymens rights much wron^d by my delay.
But on Nights princely state you ought f attend.
And f honour your new reconciled f rind.

Night. Hesperus as you with concord came, eu'n so
T'is meet that you with concord hence shold go. 30

Then ioyne you, that in voice and art excell.
To giue this starre a musicall farewell.

A Diologue of foure voices, two Bases and two trebles.

1 Of all the starres which is the kindest

To a louing Bride?

2 Hesperus when in the west

He doth the day from night deuide.
I What message can be more respected

Then that which tells wish't ioyes shalbe effected 1

74 Description of a Maske

2 Do not Brides watch the euening starre?

1 O they can discerne it far re.

2 Loue Bridegroomes reuels?

I But for fashion.
2 And why? i They hinder wisht occasion.

2 Longing hearts and new delights,
Loue short dayes and long nights.

Chorus. Hesperus, since you all starres excell

In Bridall kindnes, kindly farewell, farewell.

lo While these words of the Chorus (kindly farewell, farewell) were in
singing often repeated, Hesperus tooke his leaue seuerally of Night,
Flora, and Zephyrus, the Howers and Siluans, and so while the
Chorus was sung ouer the second time, hee was got vp to the groue,
where turning againe to the singers, and they to him, Hesperus took a
second farwel of them, and so past away by the house of Night.
Then Night spake theis two lines, and therewith all retired to the
groue where they stoode before.

Night. Come, Flora, let vs now withdraw our traine
That th'ecclipst reuels male shine forth againe.

20 Now the Maskers began their lighter daunces as Currantoes,
Leualtas and galliards, wherein when they had spent as much time as
they thought fit, night spake thus from the groue, and in her speech
descended a little into the dauncing place.

N. ILere stay : Night leaden-eied and sprighted growes.
And her late houres begin to hang their browes.
Hymen long since the Bridal bed hath drest,
And longs to bring the turtles to their nest.
Then with one quick dence sound vp your delight.
And with one song week bid you all god-Night.

30 At the end of these words, the violins began the 4. new dance,
which was excellently discharged by the Maskers, and it ended with
a light change of miisick and mesure. After the dance followed this
dialogue of 2 voices, a base and tenor sung by a Siluan and an
Howre.

Ten. Siluan. Tell me gentle howre of night.

Wherein dost thou most delight 1
Bas. Howre. Not in sleepe. Sil. Wherein then?
Howre. In the frolicke vew of men.
Sil. Loitest thou musicke? Howre. O 'tis sweet.
40 Sil. Whats dauncing? Howre. Eu'n the mirth of feete.

Sil. loy you in Fayries and in elues?

in honour of the Lord Hayes. 7 5

How. We are of that sort our selues.

But, Siluan, say why do you hue
Onely to frequent the groue ?
Sil. Zife is fullest of content,
Where delight is innocent.
How. Pleasure must varie, not be long.

Come then lets close, and end our song.
Chorus. Yet, ere we vanish from this princely sight,
Let vs bid Phoebus and his states god-night.

This Chorus was performed with seuerall Ecchoes of musicke, and '°
voices, in manner as the great Chorus before. At the end whereof the
Maskers, putting off their visards and helmets, made a low honour
to the King, and attended his Ma : to the banquetting place.

To the Reader.

Neither buskin now, nor bayes

Challenge I: a Ladies prayse

Shall content my proudest hope.

Their applause was all my scope ;

And to their shrines properly

Reuels dedicated be : '°

Whose soft eares none ought to pierce

But with smooth and gentle verse.

Let the tragicke Poeme swell,

Ray sing raging feendes from hell ;

And let Epicke Dactils range

Swelling seas and Countries strange:

Little roome small things containes ;

Easy prayse qrdtes easy paines.

Suffer them whose browes do sweat

To gaine honour by the great : 3°

Its enough if men me name

A Retailer of such fame.

Epigramma.

Quid tu te numeris immisces? anne medentem

Metra cathedratum ludicra scripta decent?
Musicus et medicuS, Celebris quoque, Phcebe, Poeta as,

Et lepor aegrotos, arte rogante, iuuat.
Crede mihi doctum qui carmen non sapit, idem

Non habet ingenuum, nee genium medici.

FINIS.

76 Songs vsed in the Maske.

III.

Shewes and nightly reuels, signes of toy and peace.

Fill royall Britaines court while cruell warre farre off doth rage,

for euer hence exiled.
Faire and princely branches with strong arms erurease
From that deepe rooted tree whose sacred strength and glory forren

malice hath beguiled.
Our deuided kingdomes now in frendly kindred meet
And old debate to loue and kindnes turns, our power with double

force vniting;
Truly reconciled, griefe appeares at last more sweet
Both to our selues and faithful friends, our vndermining foes

affrighting.

nil.

Triumph now with Joy and mirth;

The God of Peace hath blest our land:
Wee enioy the fruites of earth

Through fauour of his bounteous hand.
We throgh his most louing grace

A King and kingly seed beholde.
Like a son with lesser stars

Or carefull shepheard to his fold:
Triumph then, and yeelde him praise
That giues vs blest and ioyfull dayes.

V.

Time, that leads the fatall round.
Hath made his center in our ground.

With swelling seas embraced ;
And there at one stay he rests.
And with the fates keepes holy feasts.
With pomp and pastime graced.
Light Cupids there do daunce and Venus sweetly singes
With heauenly notes tun'd to sound of siluer strings :
Their songs are al of toy, no signe of sorrow there.
But all as starres glist ring faire and blith appeare.

These Songes were vsed in the Maske, whereof the first two
Ayres were made by M. Campion, the third and last by M. Lupo,
the fourth by M. Tho. Giles, and though the last three Ayres
were deuised onely for dauncing, yet they are here set forth with
words that they may be sung to the Lute or Violl.

[Songs I and II are respectively ' Now hath Flora' on p. 65, and
' Moue now with measured sound ' on p. 70. It has not been
thought worth while reprinting those songs in this place. All five are
given with their music]

RELATION

OF THE LATE ROY

ALL ENTERTAINMUNT

GIVEN BY THE RIGHT HONO-

RABLE THE LORD KNowLns, AT

Cm'/om-HonCc nccrc Reddmg -. to oiirmoft

Cracio-jt QiieeHe^ Qiteene A^ime, in her,

ProRfcflcTowaEd ihe Biube, vpon*

thcpMn Aud'ei^ht audtvreiitic

dtjiet »/■ /J/rrff,

'i St)-

Whcrcuntois annexed 'die Dcfcriptfon,

Spec«h(A;;>and Songsof the Lords Maskc.pre/eiiccd in the

B>'mqaeaiih^-hou& on the Mariiigc night ofthc High

Md Mgfjtie, C o V N T V \lkt \ttt,Mdthe

KtyaUj defuHded the IaMc

'£Lt2ABETl{.

Written by Thomas Campion,

London,
Printed for lohti W^^,aiidnrcto be fold atliii Shop
atihc South-dboreoFS. Prf»&, and at £ri<
tWKi Bnrffe, t^xj.-

A RELATION OF

THE LATE ROYALL

ENTERTAINMENT GIVEN BY

the Right Honorable, the Lord Knowles,
at Cawsome-House neere Redding : to our

tnost graciotts Queen^ Queene Anne,

in her Progresse toward the Bathe

vpon the seuen and eight and

twentie dayes of ApriU .

lo 1613.

For as much as this late Entertainment hath beene much desired in
writing, both of such as were present at the performance thereof, as
also of many which are yet strangers both to the busines and place; it
shall be conuenient, in this generall publication, a little to touch at the
description and situation of Cawsome seate. The house isfcdrely built
of bricke, mounted on the hillside of a Parke, within view of Redding,
they being seuered about the space of two miles. Before the Parke-gate,
directly opposite to the House, a new passage was forced through
earable-land, that was lately paled in, it being from the Parke about
20 two flight-shots in length; at the further end whereof, vpon the
Queenes approach, a Cynick appeared out of a Bower, drest in a skin-
coate, with Bases, of greene Calico, set thicke with leaties and boughes :
his nakednesse being also artificially shadowed with leaues ; on his
head he wore a false haire, blacke and disordered, stucke carelessely
with flowers.

The speech of the Cynick to the Queene and her Traine.
Cynick. Stay; whether you humane be or diuine, here is no
passage; see you not the earth furrowed? the region solitarie?
Cities and Courts fit tumultuous multitudes : this is a place of
30 silence ; heere a kingdome I enioy without people ; my selfe
commands, my self obeyes ; Host, Cooke, and Guest my selfe ;
I reape without sowing, owe all to Nature, to none other
beholding : my skinne is my coate, my ornaments these boughes

Relation of Royal Entertainment. 79

and flowers, this Bower my house, the earth my bed, herbes my
food, water my drinke j I want no sleepe, nor health ; I enuie none,
nor am enuied, neither feare I nor hope, nor ioy, nor grieue :
if this be happinesse, I haue it; which you all that depend on
others seruice, or command, want : will you be happy ? be
priuate, turn Pallaces to Hermitages, noies to silence, outward
felicitie to inward content.

A stranger on horse-back was purposely thrust into the troupe
disgtnsed, and wrapt in a cloake that he might passe vnknowne, who
at the conclusion of this speech beganne to discouer himself e as a fan- lo
tastick Traueller in a silken sute of strange Checker-worke, made vp
after the Italian cut, with an Italian hat, a band of goli and silke,
answering the colours of his sute, with « Courtly feather, long guilt
spurres, and all things answerable.

The Trauellers speech on horseback.
Trauell. Whither trauels thy tongue, ill nurtur'd man ? thy
manners shew madnesse, thy nakednesse pouertie, thy resolution
folly. Since none will vndertake thy presumption, let niee descend,
that I may make thy ignorance know how much it hath injured
sacred eares. 20

The Traueller then dismotints and giues his cloake and horse to his
Foot-man : in the meane titne the Cynick speakes.

Cyn. Naked I am, and so is truth ; plaine, and so is honestie ;
I feare no mans encounter, since my cause deserues neither excuse
nor blame.

Trau. Shall I now chide or pitie thee ? thou art as miserable in
life, as foolish in thy opinion. Answere me ; doest thou thinke
that all happinesse consists in solitarinesse ?

Cyn. I doe.

Trau. And are they vnhappy that abide in societie ? 3°

Cyn. They are.

Trau. Doest thou esteeme it a good thing to liue ?

Cyn. The best of things.

Trau. Hadst thou not a Father and Mother ?

Cyn. Yes.

Trau. Did they not liue in societie ?

Cyn. They did.

Trau. And wert not thou one of their societie when they bred
thee, instructing thee to goe and speake ?

Cyn. True. 4*

Trau. Thy birth then and speech in spite of thy splene

8o Relation of Royal Entertainment

make thee sociable, goe, thou art but a vaine-glorious counterfait,
and wanting that which should make thee happie, contemnest
the meanes ; view but the heau'ns : is there not aboue vs a Sunne
and Moone, giuing and receiuing light ? are there not millions of
Starres that participate their glorious beames? is there any
Element simple? is there not a mixture of all things? and
wouldst thou only be singular? action is the end of life, vertue
the crowne of action, society the subject of vertue, friendship the
band of societie, solitarinesse the breach. Thou art yet yong,
1° and faire enough, wert thou not barbarous; thy soule, poore
wretch, is farre out of tune, make it musicall ; come, follow me,
and learn to Hue.

Cyn. I am conquered by reason, and humbly aske pardon for
my error, henceforth my heart shall honour greatnesse, and loue
societie; leade now, and I will follow, as good a fellow as
the best.

The Traueller and Cynick instantly mount on horse-backe, and
hasten to the Parke-gate, where they are received by two Keepers,
formally attired in green Perpetuana, with ierkins and long hose, all
20 things else being in colour sutable, hatting either of them a home
hanging formally at their backes, and on their heads they had greene
Mommoth-ca/j, with greene feathers, the one of them in his hand
bearing a hooke-bill, and the other a long pike-staffe, both painted
greene : with them stood two Robin-Hood men in sutes of greene
striped with blacke, drest in doublets with great bellies and wide
sleeues, shaped fardingale-wise at the shoulders, without wings j their
hose were round, with long greene stockings j on their heads they wore
broad flat caps with greene feathers crosse quite otter them, carrying
greew Bowes in their hands, and greene Arrowes by their sides.

30 In this space Comets at sundrie places entertaine the time, till the
Queene with her traine is entred into the Parke : and then one of the
■ Keepers presents her with this short speech.

Keeper. More then most welcome, renowned and gracious
Queene, since your presence vouchsafes to beautifie these woods,
whereof I am Keeper, be it your pleasure to accept such rude
intertainment, as a rough Wood-man can yeeld. This is to vs a
high holy-day, and henceforth yearly shall bee kept and celebrated
with our Countrie sports, in honour of so Royall a guest ; come,
friends and fellowes, now prepare your voices, and present your
40 ioys in a Siluan dance.

Here standing on a smooth greene, and enuironed with the Horse-
men, they present a Song of fiue Parts, and withall a liuely Siluan-
dance of sixe persons : the Rohia-Hood-menfaine two Trebles j one of

giuen by Lord Knowles. 8 i

the Keepers with the Cynick sing two Counter-tenors, the other Keeper
the Base J but the Traueller being not able to sing, gapes in silence,
and expresseth his humour in Antike gestures.

A Song and Dance of sixe, two Keepers, two Robin-

hood-men, the fantastick Traueller, and

the Cynick.

I

Dance now and sing; the toy and hue we mve

Let chearfull voices and glad gestures showe :

The Queene of grace is shee whom we receiue: lo

Honour and State are her guides.
Her presence they can neuer leaue.
Then in a stately Siluan forme salute

Her euer flowing grace ;
Fill all the Woods with Ecchoed welcomes,

And strew with flowers this place ;
Let eu'ry bow and plant fresh blossomes yeeld,

And all the aire refine:
. Let pleasure striue to please our Goddesse,

For shee is all diuine. ao

2

Yet once againe, let vs our measures moue.
And with sweet notes record our ioyfull loue.
An obiect more diuine none euer had :
Beautie, and heau'n-borne worth,
Mixt in perfection neuer fade.
Then with a dance triumphant let vs sing

Her high aduanced praise.
And eu'n to heau'n our gladsome, welcomes

With wings of musick raise ; 3°

Welcome, O welcome, euer-honoured Queene,

To this now-blessed place,
That groue, that bowre, that house is happy
Which you vouchsafe to grace.
This song being sung and danced twice ouer, they fall instantly into
a kind of Curranta, with these wordes following :—
No longer delay her,
'Twere sinne now to stay her

From her ease with tedious sport;
Then welcome still crying 40

And swiftly hence flying,
Let vs to our homes resort.

8 2 Relatiojz of Royal Entertainment

In the end whereof the two Keepers canie away the Cynicky and
the two Robin-Hood-»«tf« the Tratiellerj when presently Cornets
begin againe to sound in seuer all places, and so continue with varietie,
while the Queen passeth through a long smooth greene way, set on
each side with Trees in equall distance ; all this while her Maiestie
being carried in her Caroch.

But because some wet had fallen that day in the forenoone (though
the Garden-walks were made artificially smooth and drie) yet all her
foot-way was spred with broad cloth, and so soone as her Maiestie

10 with her traine were all entred into the Lower Garden, a Gardiner,
with his Man and Boy, issued out of an Arbour to give her Highnesse
entertainment : The Gardener was suted in gray with a ierkin double
lagged all about the wings and skirts, he had a paire of great slops
with a cod-peece, and buttoned Gamachios all of the same stuffe : on
his head he had a strawne hat, pnbaldly drest with flowers, and in his
hand a siluered spade : His man was also suted in gray with a great
buttoned flap on his ierkin, hauing large wings and skirts, with
a paire of great slops and Gamachios of the same, on his head he had
a strawne hat, and in his hand a siluered Mattox: The Gardiners Boy

20 was in a prettie sute of flowrie stuffe, with a siluered Rake in his
hand : when they approched neere the Queene, they all valed Bonet;
and lowting low, the Gardner began after his anticke fashion this
speech.

Gard. Most Magnificent and peerelesse Diety, loe, I the
surueyer of Lady Floras workes, welcome your grace with
fragrant phrases into her Bowers, beseeching your greatnesse to
beare with the late woodden entertainment of the Wood-men ; for
Woods are more full of weeds then wits, but gardens are weeded,
and Gardners witty, as may appeare by me. I haue flowers for

3 J all fancies. Tyme for truth, Rosemary for remembrance, Roses
for loue, Hartsease for ioy, and thousands more, which all har-
moniously reioyce at your presence ; but my selfe, with these my
Paradisians heere, will make you such musick as the wilde
Wooddists shall bee ashamed to heare the report of it. Come,
sirs, prune your pipes, and tune your strings, and agree together
like birds of a feather.

A Song of a treble and bass, sung by the Gardiners boy and man, to
musicke of Instruments, that was readie to second them in the Arbour.

I

40 Welcome to this flowrie place,

Faire Goddesse and sole Queene of grace :

All eyes triumph in your sight.
Which through all this emptie space
Casts such glorious beames of light.

giuen by Lord Knowles. 83

2

Paradise were meeter farre

To entertain so bright a Starre :

But why erres my folly so?
Paradise is where you are :
Heau'n above, and heau'n below.

3
Could our powers and wishes meete,
How well would they your graces greete.

Yet accept of our desire : ■ lo

Roses, of all flowers most sweete,
Spring out of the silly brier,

After this song, the Gardiner speakes againe.

Gard. Wonder not (great Goddesse) at the sweetnesse of our
Garden-aire (though passing sweet it be). Flora hath perfumed
it for you {Flora our mistresse, and your seruant) who enuites
you yet further into her Paradise ; shee inuisibly will leade your
grace the way, and we (as our duetie is) visibly stay behinde.

From thence the Queene ascends by a few steps into the vpper
Garden, at the end whereof, neere the house, this Song was sung by an 20
excellent counter-tenor voice, with rare varietie of division unto
two vnusuall instruments, all being concealed within the Arbour.

I
O loyes exceeding.
From loue, from power of your wisht sight proceeding.
As a faire morne shines diuinely,
Such is your view, appearing more diuinely.

2
Your steppes ascending,
Raise high your thoughts for your content contending; 3°
All our hearts of this grace vaunting,
Now leape as. they were moued by inchaunting.

So ended the entertainment without the House for that time; and
the Queenes pleasure being that night to suppe friuately, the Kings
Violins attended her with their sollemnest musick, as an excellent
consort in like manner did the next day at dinner.

G 2

84 Relation of Royal Entertainment

5f Supper being ended, her Maiestie, ac-
companied with many Lords and Ladies, came
into the Hall, and rested Her selfe in Her Chaire of State,
the Scaffoldes of the Hall being on all partes filled with beholders
of worth. Suddainely forth came the Traueller, Gardiner,
Cynicke, with the rest of their crue, and others furnished with
their Instruments, and in maner following entertaine the time.

Traueller.
A hall ; a hall ; for men of moment, Rationals and Irrationals,

10 but yet not all of one breeding. For I an Academicke am,
refined by trauel, that haue learn'd what to Courtship belongs,
and so deuine a presence as this; if we presse past good manners,
laugh at our follies, for you cannot shew vs more fauour then to
laugh at vs. If we proue ridiculous in your sights, we are
gracious; and therefore wee beseech you to laugh at vs. For
mine owne part (I thank my Starres for it) I haue beene laught
at in most parts of Christendome.

Gardiner. I can neither bragge of my Trauels, nor yet am
ashamed of my profession ; I make sweet walkes for faire Ladies ;

20 Flowers I prepare to adome them ; close Arbours I build wherein
their Loues vnseene may court them; and who can doe Ladies
better seruice, or more acceptable? When I was a Child and
lay in my Cradle, (a very pretie Child) I remember well that
Lady Venus appeared vnto me, and setting a Siluer. Spade and
Rake by my Pillow, bade me proue a Gardiner; I told my
Mother of it (as became the duetie of a good Child) whereupon
shee prouided straight for me two great Platters full of Pappe;
which hauing duetifully deuoured, I grew to this portrature you
see, sprung sodainely out of my Cabine, and fell to my pro-

30 fession.

Trau. Verily by thy discourse thou hast Trauelled much, and
I am asham'd of my selfe that I come so farre behind thee, as
not once to haue yet mentioned Venus or Cupid, or any other
of the gods to haue appeared to mee. But I will henceforth boast
truely, that I haue now seen a Dietie as farre beyond theirs, as
the beautie of light is beyond darknesse, or this Feast, whereof
we haue had our share, is beyond thy Sallets.

Cynick. Sure I am, it hath stir'd vp strange thoughts in me ;
neuer knew I the difference betweene Wine and Water before.

40 Bacchus hath opened mine eyes ; I now see brauerie and admire

giuen by Lord Knowles. 85

it, beautie and adore it. I find my Armes naked, my discourse
rude, but my heart soft as Waxe, ready to melt with the least
beame of a faire eye ; which (till this time) was as vntractable
as Iron.

Gard. I much ioy in thy conuersion, thou hast long beene
a mad fellow, and now prouest a good fellow; let vs all there-
fore ioyne together sociably in a Song, to the honour of good
fellowship.

Cyn. A very Musicall motion, and I agree to it.

Trau. Sing that sing can, for my part I will onely, while you Jo
sing, keepe time with my gestures, A la mode de France.

A Song of three Voyces with diuers Instruments.
I
Night as well as brightest day hath her delight.
Let vs then with mirth and Musicke decke the night,
Neuer did glad day such store

Of ioy to night bequeath :
Her Starres then adore.

Both in Heau'n, and here beneath.

Loue and beautie, mirth and Musicke yeeld true ioyes.
Though the Cynickes in their folly count them toyes,
Raise your spirits nere so high,

They will be apt to fall;
None braue thoughts enuie.
Who had ere braue thought at all.

3
Ioy is the sweete friend of life, the nurse of blood.
Patron of all health, and fountaine of air good.

Neuer may ioy hence depart, . 30

But all your thoughts attend;
Nought can hurt the heart.
That retaines so sweete a friend.

At the end of this Song enters Siluanus, shapt after the description
of the ancient Writers; his lower parts like a Goate, and his vpper
parts in an anticke habit of rich Taffatie, cut into Leaves, and on his
head he had a false Haire, with a wreath of long Boughs and Lillies,
that hung dangling about his necke, and in his hdnd a Cypresse branch,
in tnemorie of his loue Cyparissus. The Gardiner, espying him,
speakes thus. 4°

86 Relation of Royal Entertainment

Gard. Silence, sirs, here comes Siluanm, god of these Woods,
whose presence is rare, and importes some noueltie.

Trau. Let vs giue place, for this place is fitter for Dieties
then vs.

They all vanish and leaue Siluanus alone, who camming nearer to
the State, and making a low Congee, speakes.

S I L V A N V s.
That health which harbours in the fresh-air'd groues.
Those pleasures which greene hill and valley moues,

10 Siluanus, the commander of them all,

Here ofifers to this State Emperiall;
Which as a homager he visites now.
And to a greater power his power doth bow.
With all, thus much his duetie signifies :
That there are certaine Semideities,
Belonging to his Siluan walkes, who come
Led with the Musicke of a Spritely drome,
To keepe the night awake and honour you,
(Great Queene) to whom all Honours they hold due.

20 So rest you full of ioy and wisht content.

Which though it be not giuen, 'tis fairely ment.

At the end of this speech there is suddainly heard a great noise
of drums andphifes, and way being made, eight Pages first enter, with
greene torches in their hands lighted; their sutes were oj greene
Satten, with cloakes and caps of the same, richly and strangely set
forth. Presently after them the eight Maskers came, in rich imbrodered
sutes of greene Satten, with high hats of the same, and all their
acoutrements answerable to such Noble and Princely personages,
as they concealed vnder their visards, and so they instantly fell into
30 a new dance : at the end whereof they tooke forth the Ladies, and
danced with themj and so well was the Queene pleased with her
intertainment, that shee vouchsafed to make her selfe the head of their
Reuels, and graciously to adorne the place with her personall dancing :
much of the night being thus spent with varietie of dances, the
Maskers made a conclusion with a second new dance.

At the Queenes parting on Wednesday in the afternoone, the Gardiner
with his Man and Boy and three handsome Countrie Maides, the
one bearing a rich bagge with linnen in it, the second a rich apron,
and the third a rich mantle, appeare all out of an Arbour in the
40 lower Garden, and meeting the Queene, the Gardiner presents this
speech.

giuen by Lord Knowies. 87

GARDI NER.

Stay, Goddess, stay a little space,

Our poore Countrie loue to grace ;

Since we dare not too long stay you,

Accept at our hands, we pray you.

These meane presents, to expresse

Greater loue then we professe.

Or can vtter now for woe

Of your parting hast'ned so.

Gifts these are, such as were wrought to

By their hands that them haue brought.

Home-bred things, which they presumed.

After I had them perfumed

With my flowrie incantation.

To giue you in presentation

At your parting. Come, feate Lasses,

With fine cursies, and smooth faces.

Offer vp your simple toyes

To the Mistris of our ioyes ;

While we the sad time prolong ao

With a mournefuU parting song.

A Song of three voices continuing while the presents
are deliuered and receiued.

Can you, the Author of our ioy,

So soone depart?
Will you reuiue, and straight destroy,
New mirth to teares conuert?

O that euer cause of gladnesse

Should so swiftly turne to sadnesse. 30

Now as we droupe, so will these flowers,
Bard of your sight,

Nothing auaile them heau'nly showres

Without your heau'nly light.

When the glorious Sunne forsakes vs.
Winter quickly ouer-takes vs.

3 8 Relation of Royal^ ^c.

3
Yet shall our praiers your waies attend,

When you are gone;
And we the tedious tirhe will spend,
Remembring you alone.

Welcome here shall you heare euer

But the word of parting neuer.

Thus ends this ample intertainment, which as it was most

nobly performed by the right honourable the Lord and Ladie

10 of the house, and fortunately executed by all that any way were

Actors in it, so was it as graciously receiued of her Maiestie, and

celebrated with her most royall applause.

THE DESCRIPTION,

SPEECHES, AND SONGS, OF

The Lords Maske, Presented In

the Banquetting-house on the mariage night

of the high and mightie Count Palatine,

and the royally descended the Ladie

Elisabeth.

(***)

/ haue now taken occasion to satisfie many, who long since were
desirous that the Lords maske should be published, which, but for
some priuate lets, had in due time come forth. The Scene was lo
diuided into two parts from the roofe to the floore, the lower part
being first discouered {vpon the sound of a double consort, exprest by
seuerall instruments, plaint on either side of the roome) there appeared
a Wood in prospectiue, the innermost part being of releaue or whole
round, the rest painted. On the left hand from the seate was a Caue,
and on the right a thicket, out of which came Orpheus, who was attired
after the old Greeke manner, his haire curled and long, a lawrell
wreath on his head, and in his hand hee bare a siluer bird; about him
tamely placed seuerall wild beasts : and vpon the Ceasing of the
Consort Orpheus spake. »°

Orphevs.
Agen, agen, fresh kindle Phmbus sounds,
T'exhale Mania from her earthie den;
Allay the furie that her sense confounds,
And call her gently forth; sound, sound agen.

The Consorts both sound againe, and Mania, the Goddesse oj
madnesse, appears wildly out of her caue. Her habit was confused
and strange, but yet grace full ; shee as one amazed speaks.

Mania. What powerfull noise is this importunes me,
T'abandon darkenesse which my humour fits ? 3°

loues hand in it I feele, and euer he
Must be obai'd eu'n of the franticst wits.

Orpheus. Mania I

Mania. Hah.

go Description^ Speeches^ and Songs

Orpheus. Braine-sick, why start'st thou so?
Approch yet nearer, and thou then shall know
The will of loue, which he will breath from me.

Mania. Who art thou ? if my dazeled eyes can see,
Thou art the sweet Enchanter heau'nly Orpheus.

Orpheus. The same. Mania, and loue greets thee thus:
Though seuerall power to thee and charge he gaue
T'enclose in thy Dominions such as raue
Through blouds distemper, how durst thou attempt
10 T'imprison Entheus whose rage is exempt
From vulgar censure? it is all diuine.
Full of celestiall rapture, that can shine
Through darkest shadowes: therefore loue by me
Commands thy power strait to set Entheus free.

Mania. How can I? Franticks with him many more
In one caue are lockt vp; ope once the dore,
All will flie out, and through the world disturbe
The peace of Ioue\ for what power then can curbe

Their rainelesse furie?

20 Orpheus. Let not feare in vaine
Trouble thy crazed fancie; all againe,
Save Entheus, to thy safeguard shall retire,
For loue into our musick will inspire
The power of passion, that their thoughts shall bend
To any forme or motion we intend.
Obey loues will then; go, set Entheus free.

Mania. I willing go, so loue obey'd must bee.

Orph. Let Musicke put on Protean changes now ;
Wilde beasts it once tam'd, now let Franticks bow.

30 At the sound of a strange musicke twelue Franticks enter, six men
and six women, all presented in sundry habits and humours : there
was the Louer, the Selfe-louer, the melancholicke-man full oj feare,
the Schoole-man ouer-come zvith phantasie, the ouer-watched Vsurer,
with others that made an absolute medly of madnesses in middest
of whom Entheus [or Poeticke furie') was hurried forth, and tost
vp and downe, till by vertue of a new change in the musicke, the
Lunatickes fell into a madde jneasure, fitted to a loud phantasticke
tunes l>^l i^ ^^^ ^^d thereof the musick changed into a very solemne
ayre, which they softly played, while Orphues spake.

40 Orph. Through these soft and calme sounds, Mania, passe
With thy Phantasticks hence; heere is no place

of the Lords Maske. g i

Longer for them or thee; Entkeus alone
Must do loues bidding now, all else be gone.

During this speech Mania with her Franticks depart, leauing
Entheus behind them, who was attired in a close Curace of the
Anticke fashion, Bases with labels, a Roabe fastned to his shoulders,
and hanging downe behind; on his head a wreath of Lawrell, out of
which grew a paire of wings; in tfie one hand he held a booke, and in
the other a pen.

Enth. Diuinest Orpheus, 6 how all from thee
Proceed with wondrous sweetnesse ! Am I free ? to

Is my affliction vanisht?

Orph. Too too long,
Alas, good Entheus, hast thou brook't this wrong.
What ! number thee with madmen ! 6 mad age,
Sencelesse of thee, and thy celestiall rage.
For thy excelling rapture, eu'n through things
That seems most light, is borne with sacred wings :
Nor are these Musicks, Showes, or Reuels vaine.
When thou adorn'st them with thy Fhxbean braine.
Th'are pallate sick of much more vanitie, ao

That cannot taste them in their dignitie.
loue therefore lets thy prison'd spright obtaine
Her libertie and fiery scope againe;
And heere by me commands thee to create
Inuentions rare, this night to celebrate,
Such as become a nuptiall by his will
Begun and ended. —

Enth. loue I honor still.
And must obey. Orpheus, I feele the fires

Are reddy in my braine, which loue enspires. 30

Loe, through that vaile I see Prometheus stand
Before those glorious lights which his false hand
Stole out of heau'n, the dull earth to enflame
With the affects of Loue and honor'd Fame.
I view them plaine in pompe and maiestie
Such as being scene might hold riualitie
With the best triumphes. Orpheus, giue a call
With thy charm'd musicke, and discouer all.

Orph. Flie, cheerfull voices, through the ayre, and clear
These clouds, that yon hid beautie may appeare. 40

92 Description^ Speeches^ and Songs

A Song.
I
Come away ; bring thy golden theft,

Bring, bright Prometheus, all thy lights ;
Thy fires from Heau'n bereft
Shew now to humane sights.
Come quickly, come: thy stars to our stars straight present,
For pleasure being too much defer'd loseth her best content.
What fair dames wish, should swift as their own thoughts
appeare,
lo To louing and to longing harts euery houre seemes a yeare.

2

See how faire, O how faire, they shine;

What yeelds more pompe beneath the skies?
Their birth is yet diuine.

And such their forme implies.
Large grow their beames, their nere approch afford them so;
By nature sights that pleasing are, cannot too amply show.
O might these flames in humane shapes descend this place,
How louely would their presence be, how full of grace !

20 In the end of the first part of this Song, the vpper part of the Scene
was discouered by the sodaine fall of a curtaine ; then in clowdes
ofseuerall colours (the vpper part of them being fierie, and the middle
heightned with siltter) appeared eight Starres of extraordinarie
bignesse, which so were placed, as that they seemed to be fixed between^
the Firmament and the Earth j in the front of the Scene stood
Prometheus, attyred as one of the ancient Heroes.

Enth. Patron of mankinde, powerful!, and bounteous.

Rich in thy flames, reuerend Prometheus,

In Hymens place aide vs to solempnize
30 These royall Nuptials; fill the lookers eyes

With admiration of thy fire and light.

And from thy hand let wonders flow tonight.
Prom. Entheus and Orpheus, names both deare to me,

In equall ballance I your Third will be

In this nights honour. View these heau'n borne Starres,

Who by my stealth are become Sublunars ;

How well their natiue beauties fit this place,

Which with a chorall dance they first shall grace;

Then shall their formes to humane figures turne,
40 And these bright fires within their bosomes burne.

of the Lords Maske. 9 3

Orpheus, apply thy musick, for it well
Helps to induce a Courtly miracle.

Orp. Sound, best of Musicks, raise yet higher our sprights,
While we admire Prometheus dancing lights.

A Song.

Aduance your Chorall motions now,

You musick-louing lights j
This night concludes the nuptiall vow.

Make this the best of nights : lo

So brauely Crowne it with your beames

That it may liue in fame
As long as Rhenus or the Thames

Are knowne by either name.

2
Once moue againe, yet nearer moue

Your formes at willing view;
Such faire effects of ioy and loue

None can expresse but you.
Then reuel midst your ayrie Bowres ao

Till all the clouds doe sweat.
That pleasure may be powr'd in showres

On this triumphant Seat.

3
Long since hath louely Flora throwne

Her Flowers and Garlands here;
Rich Ceres all her wealth hath showne,

Prowde of her daintie cheare.
Chang'd then to humane shape, descend.

Clad in familiar weede, 3°

That euery eye may here commend

The kinde delights you breede.

According to the humour of this Song, the Starres mooued in an
exceeding strange and delightfull maner, and I suppose fewe haue
euer scene more neate artifice, then Master Innigoe lones shewed
in contritiing their Motion, who in all the rest of the workmanship
which belong d to the whole inueniion shewed extraordinarie Industrie
and skill, which if it be not as liuely exprest in writing as it appeared
in view, robbe not him of his due, but lay the blame on my want
of right apprehending his instructions for the adoring of his Arte. 40

94 Description^ Speeches^ and Songs

Bui to returne to our purpose j about the end of this Song, the
Starres suddainely vanislied, as if they had been drowned amongst the
Claudes, and the eight Maskers appeared in their habits, which were
infinitly rich, befitting States {such as indeede they all were) as also
a time so farre heightned the day before, with all the richest shew
of solemnitie that could be inuented. The ground of their attires
was massie Cloth of Siluer, embossed with flames of Embroidery ;
on their heads, they had Crownes, Flames made all of Gold-plate
Enameled, and on the top a Feather of Silke, representing a cloude of
10 smoake. Vpon their new transformation, the whole Scaene being
Claudes dispersed, and there appeared an Element of artificiall fires,
with seuerall circles of lights, in continuall motion, representing
the house of Prometheus, who then thus applies his speech to the
Maskers.

They are transformed.

Prometh. So pause awhile, and come, yee fiery spirits,
Breake forth the earth like sparks t'attend these knights.

Sixteene Pages, like fierie spirits, all their attires being alike

composed of flames, with fierie Wings and Bases, bearing in either

20 hand a Torch of Virgine Waxe, come forth below dauncing a liuely

tneasure, and the Daunce being ended, Prometheus speakes to them

from abaue.

The Torch-bearers Daunce.

Pro. Wait, spirits, wait, while through the clouds we pace,
And by descending gaine a hier place.

The Pages returne toward the Sccene, to giue their attendance to the
Maskers with their lights : from the side of the Scmne appeared a bright
and transparant cloud, which reached from the top of the heauens to
the earth : on this cloud the Maskers led by Prometheus descended
30 with the musicke of a full song; and at the end of their descent,
the cloud brake in twaine, and one part of it (as with a winde) was
blown ouerthwart the Sccene.

While this cloud was vanishing, the wood being the vnder-part
of the Sccene, was insensibly changed, and in place thereof appeared
foure Noble women-statues of siluer, standing in seuerall nices,
accompanied with ornaments of Architecture, which filled all the end
of the house, and seemed to be all of gold-smithes work. The first
order consisted of Pillasters all of gold, set with Rubies, Saphyrs,
Emeralds, Opals, and such like. The Capitels were composed, and of
40 a new invention. Over this was a bastard order with Cartouses
reversed, camming from the Capitels of euery Pillaster, which made
the vpper part rich and full of ornament, Ouer euery statue was
placed a history in gold, which seemed to be of base releauej the

of the Lords Maske. 9 5

conceits which were figured in them were these. In the first was
Prometheus, embossing in clay the figure of a woman, in the second he
was represented stealing fire from the chariot-wheele of the Sunnej in
the third he is exprest putting life with this fire into his figure of clay;
and in the fourth square lupiter, enraged, turns these new made
women into statues. Aboue all, for finishing, ran a Cornish, which
returned ouer euery Pillaster, seeming all of gold and richly carued.

A full Song.

Supported now by Clouds descend,

Diuine Prometheus, Hymens friend : lo

Leade downe the new transformed fires

And fill their breasts with loues desires;

That they may reuell with delight,

And celebrate this nuptiall night.

So celebrate this nuptiall night

That all which see may say
They neuer viewed so faire a sight

Euen on the cleerest day.

While this song is sung, and the Maskers court the fowre new
transformed Ladies, foure other Statues appear e in their places. ao

Entheus. See, see, Prometheus, four of these first dames
Which thou long since out of thy purchac't flames,
Did'st forge with heau'nly fire, as they were then
By loue transformed to Statues, so agen
They suddenly appeare by his command
At thy arriuall ; Loe, how fixt they stand ;
So did loues wrath too long, but now at last,
It by degrees relents, and he hath plac't
These Statues, that we might his ayde implore,
First for the life of these, and then for more. 3°

Prom. Entheus, thy councels are diuine and iust.
Let Orpheus decke thy Hymne, since pray we must.

The first Inuocation in a full Song.

PowerfuU loue, that of bright starres,
Now hast made men fit for warres.
Thy power in these Statues proue
And make them women fit for loue.
Orpheus. See, loue is pleas'd ; Statues haue life and moue :
Go, new-borne men, and entertaine with loue

9 6 Description^ Speeches^ and Songs

These new-borne women, though your number yet
Exceedes theirs double, they are arm'd with wit
To beare your best encounters ; Court them faire :
When words and Musicke speake, let none despaire.

The Song.

Wooe her, and win her, he that can :

Each woman hath two louers,
So shee must take and leaue a man,

Till time more grace discouers.
This doth loue to shew that want

Makes beautie most respected;
If faire women were more skant,

They would be more affected.

Courtship and Musicke suite with loue,

They both are workes of passion ;
Happie is he whose words can moue.

Yet sweete notes helpe perswasion.
20 Mixe your words with Musicke then,

That they the more may enter;
Bold assaults are fit for men,

That on strange beauties venture.

Promet. Cease, cease your woing strife; see, loue intends
To fill your number vp, and make all friends.
Orpheus and Entheus, ioyne your skils once more.
And with a Hymne the Dietie implore.

T}ie second Inuocation to the tune of the first.
Powerfull loue, that hast giuen fower,
30 Raise this number but once more,

That complete, their numerous feet
May aptly in iust measures meet.

The other four e statues are transformed into women, in the time of
this inuocation.

Enth. The number's now complete, thanks be to loue :
No man needs fear a Riuall in his loue;
For all are sped, and now begins delight
To fill with glorie this triumphant night.

of the Lords Maske. 9 7

The Maskers, hauing euery one entertained his Lady, begin their
first new enlring dance : after it, while they breath, the time is enter-
tained with a dialogue song.

Breath you now, while lo Hymen

To the Bride we sing:
O how many ioyes and honors,

From this match will spring !
Euer firme the league will proue,
Where only goodnesse causeth loue.
Some for profit seeke lo

What their fancies most disleeke :
These loue for vertues sake alone :
Beautie and youth vnite them both in one.

C H o R V s.

Liue with thy Bridegroome happy, sacred Bride;
How blest is he that is for loue enui'd.

ITie Maskers second dance.

Breathe againe, while we with musicke

Fill the emptie space:
O but do not in your dances *°

Your selues only grace.
Eu'ry one fetch out your Pheare,
Whom chiefely you will honor heere.
Sights most pleasure breed.
When their numbers most exceed :
Chuse then, for choice to all is free;
Taken or left, none discontent must bee. .

C H o R V s.

Now in thy Reuels frolicke-faire delight,

To heap loy on this euer honored night. 3°

The Maskers during this Dialogue take out others to daunce with
them, men women, and women men, and first of all the Princely
Bridegroome and Bride were drawne into these solemne Reuels, which
continued a long space, but in the end were broken off with this
short Song.

A Song.

Cease, cease you Reuels, rest a space;
New pleasures presse into this place.
Full of beautie and of grace.

9 8 Description^ Speeches^ and Songs

The whole sccene was now againe changed, and became a pro'spectiue
with Porticoes on each side, which seemed to go in a great way j in
the middle was erected an Obeliske, all of siluer, and in it lights
of seuerall colours ; on the side of this Obeliske, standing on Pedestals,
were the statues of Bridegroome and Bride, all of gold in gratious
postures. This Obeliske was of that height, that the toppe thereof
touched the highest cloudes, and yet Sybilla did draw it forth with
a threed of gold. The graue Sage was in a Roabe of gold tuckt vp
before to her girdle, a Kirtle gathered full, and of siluer j with a vaile
[o on her head, being bare neckt, and bearing in her hand a scrole of
Parchment.

Entheus. Make cleare the passage to Sibillas sight,
Who with her Trophee comes, to crowne this night;
And, as her selfe with Musicke shall be led,
So shall shee pull on with a golden thread
A high vast Obeliske, dedicate to fame.
Which immortalitie it selfe did frame.
Raise high your voices now; like Trumpets fill
The roome with sounds of Triumph, sweete and shrill.

JO A S o N G.

Come triumphing, come with state,

Old Sibilla, reuerend Dame;
Thou keep'st the secret key of fate,

Preuenting swiftest fame.
This night breathe onely words of ioy.
And speake them plaine, now be not coy.

Sib.

Debetur alto iure Principium lout,
Votis del ipse vim meis, dictis fidem.

30 Vtrinque decoris splendet egregium lubar ;

Medio triumphus mole stat dignus sua,
Ccelumque summo Capite dileclum petit.
Quam pulchra pulchro sponsa respondet viro !
Quam plena numinis I Patrem vultu expritnit.
Parens futura musculce prolis, Parens
Regam, imperatorum : Additur Germanim
Robur Britannicum : ecquid esse par potest 1 '
Vtramque iunget vna mens gentem, fides.
Deique Cultus vnus, et simplex amor.

40 Idem erit virique hostis, sodalis idem, idem

Votum periclitantium, atque eadem manus.

of the Lords Maske. 99

Fauebit Hits Pax, fauebit bellica
Fortuna, semper aderit Adiuior Deus.
Sic, sic Sibilla ; vocibus nee his deest
Pondus, nee hoc inane monumentum trahit.
Et aureum est, et quale nee flammas timet.
Nee fulgura, ipsi quippe saeratur lout.

Pro. The good old Sage is silenc't, her free tongue
That made such melodic, is now vnstrung:
Then grace her Trophee with a dance triumphant ;
Where Orpheus is none can fit musick want.

A Song and dance triumphant of the Maskers.

Dance, dance, and visit now the shadowes of our ioy,

All in height, and pleasing state, your changed formes imploy.

And as the -bird of loue salutes, with loftie wing, the morn,

So mount, so flie, these Trophees to adome.

Grace them with all the sounds and motions of delight.

Since all the earth cannot expresse a louelier sight.

View them with triumph, and in shades the truth adore:

No pompe or sacrifice can please loues greatnesse more.

, 2
Turne, turne, and honor now the life these figures beare :
Loe, how heau'nly natures farre aboue all art appeare :
Let their aspects reuiue in you the fire that shin'd so late.
Still mount and still retaine your heauenly state.
Gods were with dance and with musick seru'd of old.
Those happy dales deriu'd their glorious stile from gold:
This pair, by Hymen ioyn'd, grace you with measures then,
Since they, are both diuine and you are more then men.

Orph. Let here Sybillas Trophee stand,
Leade her now by either hand.
That shee may approch yet nearer,
And the Bride and Bridegroome heare her
Blesse them in her natiue tongue,
Wherein old prophesies shee sung,
Which time to light hath brought:
Shee speakes that which loue hath taught :
Well may he inspire her now.
To make a ioyfull and true vow.

H 2

30

lOO Description^ Speeches^ ^c.

Syb. Sponsam sponse toro tene pudicam,
Sponsum sponsa tene toro pudicum.
Non hac vnica nox datur beaiis,
At vos perpetuo hac beabit vna
Prole multiplici, parique amore.
LcBta, ac vera refert Sybilla ; ab alto
Ipse luppiter annuit loquenti.

Pro. So be it euer, ioy and peace,
And mutuall loue giue you increase,
,o That your posteritie may grow

In fame, as long as Seas doe flow.

Enth. Liue you long to see your ioyes,
In faire Nymphs and Princely Boyes;
Breeding like the Garden flowers,
Which kinde heau'n drawes with her warme showers.

Orph. Enough of blessing, though too much
Neuer can be said to such;
But night doth wast, and Hymen chides,
Kinde to Bridegroomes and to Brides.
,0 Then, singing, the last dance induce.

So let good night preuent excuse.

The Song.

No longer wrong the night
Of her Hymenaan right ;
A thousand Cupids call away.
Fearing the approching day ;
The Cocks alreadie crow :

Dance then and goe.

The last new Dance of the Maskers, which concludes
30 all with a liuely straine at their go-

ing out.

FINIS.

To face f. lOo

ILLVSTRISSIMO,

POTENTISSIMOQVE PRIN-

CIPI, FREDRICO QVINTO, RHENI

COMITI PALATINO, DVCI BAVARIA, &C.

Cogimur; inuitis {Clarissime) farce querelis

Te saluo ; Icetis non sinit esse Deus:
Nee speratus Hymen procedit luvtine claro ;

Principis exiindi nubila fata vetant.
Illius inferias mcesto iam Musica cantu

Prosequitur, miseros hac Dea sola iuuat.
Ilia sues tibi sumtnittit {Dux indite) qucestus,

Fraternus fleto quern sodauit amor :
Sed noua gaudia, sed tarn dulda fxdera rupit

Faii infoelids liuor, et hora nocens.
Quod superest, nimios nobis omni arte dolores

Est mollire animus, spes meliora dabit:
Cunctatosque olim cantabimus ipsi Hymenceos,

Lata sitnul fas sit reddere vota Deo.

AN E L E G I E

vpon the vntimely death of
Prince Henry

Reade, you that haue some teares left yet vnspent,

Now weepe your selues hart sicke, and nere repent :

For I will open to your free accesse

The sanctuary of all heauinesse,

Where men their fill may mourne, and neuer sinne:

And I their humble Priest thus first beginne.

Fly from the Skies, yee blessed beames of light;
Rise vp in horrid vapours, vgly night,
And fetter'd bring that rauenous monster Fate,
The fellon and the traytour to our state. lo

Law-Eloquence wee neede not to conuince
His guilt; all know it, 'tis hee stole our Prince,
The Pririce of men, the Prince of all that bore
Euer that princely name : O now no more
Shall his perfections, like the Sunne-beames," dare
The purblinde world : in heau'n those glories are.
What could the greatest artist. Nature, adde
T'encrease his graces? deuine forme hee had,
Striuing in all his parts which should surpasse ;
And like a well tun'd chime his carriage was ao

Full of ccelesliall witchcraft, winning all
To admiration and loue personall.
His Launce appear'd to the beholders eyes,
When his faire hand aduanc't it to the skyes.
Larger then truth, for well could hee it wield.
And make it promise honour in the field.
When Court and Musicke cal'd him, off fell armes.
And as hee had beene shap't for loues alarmes.
In harmony hee spake, and trod the ground
In more proportion then the measur'd sound. 30

How fit for peace was hee, and rosie beds !
How fit to stand in troopes of iron heads.

Songs of Mourning. 105

When time had with his circles made complete

His charmed rounds! All things in time grow great.

This feare, euen like a commet that hangs high,
And shootes his threatning flashes through the skye,
Held all the eyes of Christendome intent
Vpon his youthfull hopes, casting th' euent
Of what was in his power, not in his will :
For that was close conceal'd, and must lye still, 40

As deepely hid as that designe which late
With the French Lyon died. O earthly state,
How doth thy greatnesse in a moment fall.
And feastes in highest pompe turn funerall !

But our young Henry arm'd with all the arts
That sute with Empire, and the gaine of harts,
Bearing before him fortune, power, and loue,
Appear'd first in perfection, fit to moue
Fixt admiration : though his yeeres were greene
Their fruit was yet mature : his care had beene 50

Suruaying India, and implanting there
The knowledge of that God which hee did feare :
And eu'n now, though hee breathlesse lyes, his sayles
Are strugling with the windes, for our auayles
T' explore a passage hid from humane tract.
Will fame him in the enterprise or fact.
O Spirit full of hope, why art thou fled
From deedes of honour? why's that vertue dead
Which dwelt so well in thee? a bowre more sweet.
If Paradise were found, it could not meete. 60

Curst then bee Fate that stole our blessing so,
And had for vs now nothing left but woe.
Had not th' All-seeing prouidence yet kept
Another ioy safe, that in silence slept :
And that same Royall workeman, who could frame
A Prince so worthy of immortall fame,
Liues; and long may hee Hue, to forme the other
His exprest image, and grace of his brother,
To whose eternall peace wee offer now
Guifts which hee lou'd, and fed ; Musicks that flow 70
Out of a sowre and melancholike vayne.
Which best sort with the sorrowes wee sustaine.

io6 Songs of Mourning.

TO THE MOST SACRED
King lames.

I

O Griefe, how diuers are thy shapes wherein men languish !
The face sometime with teares thou fil'st,
Sometime the hart thou kill'st

With vnseene anguish.
Sometime thou smil'st to view how Fate

Playes with our humane state:
So farre from suretie here

Are all our earthly ioys,
That what our strong hope buildes, when least we feare,

A stronger power destroyes. lo

2

O Fate, why shouldst thou take from Kings their ioy and
treasure ?
Their Image if men should deface
'Twere death, which thou dost race
Euen at thy pleasure.
Wisedome of holy Kings yet knowes

Both what it hath, and owes.
Heau'ns hostage, which you bredd

And nurst with such choyce care,
Is rauisht now, great King, and from vs ledd

When wee were least aware. ao

ro THE MOST SACRED
Queene Anne.

I
Tis now dead night, and not a light on earth,

Or starre in heauen, doth shine:
Let now a mother mourne the noblest birth
That euer was both mortall and diuine.
O sweetnesse peerelesse ! more then humane grace !
O flowry beauty ! O vntimely death !
Now, Musicke, fill this place
With thy most dolefull breath :
O singing wayle a fate more truely funerall
Then when with aU his sonnes the sire of Troy did fall, lo

Songs of Mourning. 107

Sleepe, loy, dye, Mirth, and not a smile be scene,

Or shew of harts content:
For neuer sorrow neerer touch't a QVEENE,

Nor were there euer teares more duely spent.
O deare remembrance, full of ruefuU woe !
O ceacelesse passion ! O vnhumane hower !
No pleasure now can grow,
For wither'd is her flower.
O anguish doe thy worst and fury Tragicall,
Since fate in taking one hath thus disorder'd all.

TO THE MOST HIGH AND MIGHTT
Prince Charles.

Fortune and Glory may be lost and woone.
But when the worke of Nature is vndone

That losse flyes past returning;

No helpe is left but mourning.
What can to kinde youth more despightfull proue

Than to be rob'd of one sole Brother?
Father and Mother
Ask reuerence, a Brother onely loue.
Like age and birth, like thoughts and pleasures moue :
What gayne can he heape vp, though showers of Crownes

descend, lo

Who for that good must change a brother and a friend?

2
Follow, O follow yet thy Brothers fame.
But not his fate: lets onely change the name,
And finde his worth presented
In thee, by him preuented.
Or past example of the dead be great.
Out of thy selfe begin thy storie :
Vertue and gloria
Are eminent being plac't in princely seate.
Oh, heauen, his age prolong with sacred heate, ao

And on his honoured head let all the blessings light
Which to his brothers life men wish't, and wish't them right.

I o 8 Songs of Mourning.

TO THE MOST PRINCELT AND VERTVOVS
the Lady Elizabeth.

I
So parted you as if the world for euer

Had lost with him her light:
Now could your teares hard flint to ruth excite,
Yet may you neuer
Your loues againe partake in humane sight :
O why should fate such two kind harts disseuer
As nature neuer knit more faire or firme together?

2

So loued you as sister should a brother

Not in a common straine,
For Princely blood doeth vulgar fire disdaine: lo

But you each other
On earth embrac't in a celestiall chaine.
Alasse for loue, that heau'nly borne affection
To change should subiect be and suffer earths infection.

TO THE MOST ILLVSTRIOVS AND MIGHTY
Fredericke the fift, Count Palatine of the Rhein.

I
How like a golden dreame you met and parted,

That pleasing straight doth vanish :

O who can euer banish
The thought of one so princely and free-harted !
But hee was pul'd vp in his prime by fate,
And loue for him must mourne though all too late.

Teares to the dead are due, let none forbid

Sad harts to sigh : true griefe cannot be hid.

3

Yet the most bitter storme to height encreased

By heau'n againe is ceased: lo

O time, that all things mouest,

In griefe and ioy thou equall measure louest :

Such the condition is of humane life,

Care must with pleasure mixe and peace with strife :

Thoughts with the dayes must change ; as tapers waste.
So must our griefes; day breakes when night is past.

Songs of Mourning. 109

To the most disconsolate
Great Brittaine.

I

When pale famine fed on thee,

With her vnsatiate iawes ;
When ciuill broyles set murder free

Contemning all thy Iawes;
When heau'n enrag'd consum'd thee so
With plagues that none thy face could know,

Yet in thy lookes affliction then shew'd lesse

Then now for ones fate all thy parts expresse.

2
Now thy highest States lament

A Sonne, and. Brothers losse ; lo

Thy nobles mourne in discontent,

And rue this fatall crosse ;
Thy Commons are with passion sad
To thinke how braue a Prince they had :

If all thy rockes from white to blacke should turne

Yet couldst thou not in shew more amply mourne.

To the World.

I
O poore distracted world partly a slaue

To Pagans sinnefull rage, partly obscur'd
With ignorance of all the meanes that saue !

And eu'n those parts of thee that liue assur'd
Of heau'nly grace. Oh how they are deuided
With doubts late by a Kingly penne decided !
O happy world, if what the Sire begunne
Had beene clos'd vp by his religious Sonne !

2
Mourne all you soules opprest vnder the yoake

Of Christian-hating Thrace : neuer appeared lo

More likelyhood to haue that blacke league broke.
For such a heauenly Prince might well be fear'd
Of earthly fiends. Oh how is Zeale inflamed
With power, when truth wanting defence is shamed!
O princely soule, rest thou in peace, while wee
In thine expect the hopes were ripe in thee.

no Songs of Mourning.

A Table of all the Songs contayned in
this Booke.

Griefe.

I

Tis now dead night.

a

Fortune and glory.

3

So parted you.

4

How like a golden dreame.

5

When pale famine.

6

poore distracted world.

7

FINIS.

To face p. no

TO THE RIGHT

HONOVRABLE, BOTH

IN BIRTH AND VERTVE, FRANCIS, EARLE
OF CVMBERLAND.

What patron could I chuse, great Lord, but you ?

Graue words your years may challenge as their owne,
And eu'ry note of Musicke is your due,

Whose House the Muses pallace I haue knowne.

To loue and cherish them, though it descends
With many honours more on you, in vaine

Preceding fame herein with you contends,
Who haue both fed the Muses, and their trayne.

These Leaues I oifer you, Deuotion might

Her selfe lay open, read them, or else heare i

How grauely, with their tunes they yeeld delight
To any vertuous and not curious eare.

Such as they are, accept them. Noble Lord;

If better, better could my zeale afford.

Your Honors,

Thomas Campian.

TO THE Reader.

OvT of many Songs which, partly at the request of friends, partly
for my owne recreation, were by mee long since composed, I haue
now enfraruhised a few, sending them forth diuided, according to
their different subiect, into seuerall Bookes. The first are graue and
pious ; the second, amorous and light. For hee that in publishing
any worke, hath a desire to content all palates, must cater for them
accordingly.

-Non omnibus vnum est

Quod placet, hie Spinas colligit, ille Rosas.

These Ay res were for the most part framed at first for one voyce
with the Lute, or Violl, but vpon occasion, they haue since beene filled
with more parts, which who so please may vse, who like not may
leaue. Yet doe wee daily obserue, that when any shall sing a Treble to
an Instrument, the standers by will be offring at an inward part out
of their owne nature ; and, true or false, out it must, though to the
peruerting of the whole harmonie. Also, if we consider well, the
Treble tunes, which are with vs commonly called Ayres, are but
Tenors mounted eight Notes higher, and therefore an inward' part
must needes well become them, such as may take vp the whole distance
of the Diapason, and fill vp the gaping betweene the two extreame
parts ; whereby though they are not three parts in perfection, yet they
yeeld a sweetnesse and content both to the eare and minde, which is
the ay me and perfection of Musicke. Short Ayres, if they be skilfully
framed, and naturally expr est, are like quicke and good Epigrammes
in Poesie, many of them shewing as much artifice, and breeding as
great difficultie as a larger Poeme. Non omnia possumus omnes,
said the Romane Epick Poet. But some there are who admit onely
French or Italian Ayres, as if euery Country had not his proper

To the Reader. 115

Ayrt, which the people thereof naturally vsurpe in their Musicke.
Others taste nothing that comes forth in Print, as if Catullus or
Martials Epigrammes were the worse for being published. In these
English Ay res, Ihaue chiefs ly aymed to couple my Words and Notes
louingly together, which will be much for him to doe that hath not
power ouer both. The light of this will best appeare to him who
hath paysd our Monosyllables and Syllables combined, both of
which, are so loaded with Consonants, as that they will hardly keepe
company with swift Notes, or giue the Vowell conuenient liberty.
To conclude ; mine owne opinion of these Songs I deliuer thus :

Omnia nee nostris bona sunt, sed nee mala libris ;
Si placet hac cantes, hac quoque lege legas.

Farewell.

A TABLE OF ALL THE SONGS

contayned in these Bookes.

In the first Book

Songs of ^. Parts.
Author of light. I

The man of life vpright, II

Where are all thy beauties now ?

Ill
Out of my soules depth. II 1 1

View me, Lord, a worke of thine.

V

Bravely deckt come forth, bright

day. VI

To Musicke bent is my retyred

minde. VII

Tune thy Musicke to thy hart.

VIII
Most sweet and pleasing. IX

Wise men patience neuer want. X
Neuer weather-beaten saile. XI
Lift vp to heauen, sad wretch.

XII
Loe when backe mine eye. XIII
As by the streames of Babilon.

XIIII
Sing a Song of ioy. XV

Awake, thou heauy spright. XVI

Songs of 3. Parts.
Come chearfuU day. XVII

Seeke the Lord. XVIII

Lighten, heauy heart, thy spright.

XIX
lacke and lone they thinke no ill.

XX

Of "2,. Parts.
All lookes be pale.

XXI

In the second Book

Son^s of I. Parts.

Vaine men whose follies. I

How eas'ly wert thou chained. 1 1
Harden now thy tyred hart. Ill
O what unhopt for sweet supply.

nil

Where she her sacred bowre
adomes. V

Faine would I my loue disclose.

VI
Giue beauty all her right. VII
O deare that I with thee. VIII
Good men, shew if you can tell.

IX
What haruest halfe so sweet is ? X
Sweet, exclude me not. XI

The peaceful! Westeme winde.

XII
There is none, 6 none but you.

XIII
Pin'd I am and like to dye. XIIII
So many loues haue I neglected.

XV
Though your strangenesse. XVI
Come away, arm'd with loues.

XVII
Come, you pretty false-ey'd.

XVIII
A secret loue or two. XIX

Her rosie cheekes. XX

Of^. Parts.
Where shall 1 refuge seeke ? XXI

I.

Author of light, reuiue my dying spright ;

Redeeme it from the snares of all-confounding night.

Lord, light me to thy blessed way :
For blinde with worldly vaine desires, I wander as a stray.

Sunne and Moone, Starres and vnderlights I see,
But all their glorious beames are mists and darknes, being
compar'd to thee.

Fountaine of health, my soules deepe wounds recure,
Sweet showres of pitty raine, wash my vncleannesse pure.

One drop of thy desired grace
The faint and fading hart can raise, and in ioyes bosome
place. lo

Sinne and Death, Hell and tempting Fiends may rage;
But God his owne will guard, and their sharp paines and
griefe in time asswage.

11.

The man of life vpright,

Whose chearfuU minde is free

From waight of impious deedes
And yoake ofvanitee;

The man whose silent dayes
In harmelesse ioyes are spent,

Whom hopes cannot delude
Nor sorrowes discontent;

That man needes neyther towres,

Nor armour for defence: lo

Nor vaults his guilt to shrowd
From thunders violence;

Hee onely can behold

With vnaffrighted eyes
The horrors of the deepe

And terrors of the Skies.

1 1 8 Two Bookes of Ayres.

Thus, scorning all the cares
That fate or fortune brings,

His Booke the Heau'ns hee makes.
His wisedome heau'nly things ;

Good thoughts his surest friends,
His wealth a well-spent age.

The earth his sober Inne,
And quiet pilgrimage.

III.

Where are all thy beauties now, all harts enchayning?
Whither are thy flatt'rers gone with all their fayning?
All fled J and thou alone still here remayning.

Thy rich state of twisted gold to Bayes is turned;
Cold, as thou art, are thy loues, that so much burned :
Who dye in flatt'rers armes are seldome mourned.

Yet, in spight of enuie, this be still proclaymed,

That none worthyer then thy selfe thy worth hath blamed;

When their poore names are lost, thou shall Hue famed.

When thy story, long time hence, shall be perused.
Let the blemish of thy rule be thus excused,
None euer liu'd more iust, none more abused.

nil.

Out of my soules deapth to thee my cryes haue sounded :
Let thine eares my plaints receiue, on iust feare grounded.
Lord, should'st thou weigh our faults, who's not confounded?

But with grace thou censur'st thine when they haue erred,
Therefore shall thy blessed name be lou'd and feared.
Eu'n to thy throne my thoughts and eyes are reared.

Thee alone my hopes attend, on thee relying;
In thy sacred word I'le trust, to thee fast flying,
Long ere the Watch shall breake, the morne descrying.

In the mercies of our God who Hue secured, lo

May of fuU redemption rest in him assured,
Their sinne-sicke soules by him shall be recured.

'The First Booke. 119

V.

View mee, Lord, a worke of thine :
Shall I then lye drown'd in night?
Might thy grace in mee but shine,
I should seeme made all of light.

But my soule still surfets so
On the poysoned baytes of sinne.
That I strange and vgly growe,
All is darke and foule within.

dense mee, Lord, that I may kneele
At thine Altar, pure and white:
They that once thy Mercies feele.
Gaze no more on earths delight.

Worldly ioyes like shadowes fade,
When the heau'nly light appeares;
But the cou'nants thou hast made,
Endlesse, know nor dayes, nor yeares.

In thy word. Lord, is my trust,
To thy mercies fast I flye ;
Though I am but clay and dust.
Yet thy grace can lift me high.

VL

Brauely deckt, come forth, bright day.
Thine houres with Roses strew thy way.

As they well remember.
Thou receiu'd shalt be with feasts:
Come, chiefest of the British ghests,

Thou fift of Nouember.
Thou with triumph shalt exceede

In the strictest ember;
For by thy returne the Lord records his blessed deede.

Britaines, frolicke at yoiir bourd; lo

But first sing praises to the Lord
In your Congregations.
I 2

1 2 o Two Bookes of Ayres.

Hee preserued your state alone,
His louing grace hath made you orie

Of his chosen Nations.
But this light must hallowed be

With your best Oblations;
Prayse the Lord, for onely great and mercifull is hee.

Death had enter'd in the gate,

And ruine was crept neare the State ; 20

But heau'n all reuealed.
Fi'ry Powder hell did make,
Which, ready long the flame to take,

Lay in shade concealed.
God vs helped, of his free grace :

None to him appealed;
For none was so bad to feare the treason or the place.

God his peacefuU Monarch chose.
To him the mist he did disclose,

To him, and none other ; 30

This hee did, O King, for thee.
That thou thine owne renowne might'st see,

Which no time can smother.
May blest Charles, thy comfort be,

Firrner then his Brothers
May his heart the loue of peace and wisedome learne from
thee.

vn.

To Musicke bent is my retyred minde,

And faine would I some song of pleasure sing ;

But in vaine ioys no comfort now I finde.

From heau'nly thoughts all true delight doth spring.

Thy power, O God, thy mercies, to record,

Will sweeten eu'ry note and eu'ry word.

All earthly pompe or beauty to expresse,

Is but to carue in snow, on wanes to write.

Celestiall things, though men conceiue them lesse.

Yet fullest are they in themselues of light :

Such beames they yeeld as know no ineanes to dye.

Such heate they cast as lifts the Spirit high.

The First Booke. 121

VIII.

Tune thy Musicke to thy hart,
Sing thy ioy with thankes, and so thy sorrow:

Though Deuotion needes not Art,
Sometimes of the poore the rich may borrow.

Striue not yet for curious wayes :
Concord pleaseth more, the lesse 'tis strained;

Zeale affects not outward prayse,
Onely striues to show a loue vnfained.

Loue can wondrous things affect.
Sweetest Sacrifice, all wrath appeasing; lo

Loue the highest doth respect;
Loue alone to him is euer pleasing.

IX.

Most sweet and pleasing are thy wayes, O God,

Like Meadowes deckt with Christall streames and flowers :

Thy paths no foote prophane hath euer trod :

Nor hath the proud man rested in thy Bowers :

There Hues no Vultur, no deuouring Beare,

But onely Doues and Lambs are harbor'd there.

The Wolfe his young ones to their prey doth guide ;

The Foxe his Cubbs with false deceit endues;

The Lyons Whelpe suckes from his Damme his pride;

In hers the Serpent malice doth infuse : i

The darksome Desart all such beasts contaynes,

Not one of them in Paradice remaynes.

X.

Wise men patience neuer want;
Good men pitty cannot hide;
Feeble spirits onely vant
Of reuenge, the poorest pride :
-Hee alone, forgiue that can,
Beares the true soule of a man.

12 2 Two Bookes of Ayres.

Some there are, debate that seeke,
Making trouble their content,
Happy if they wrong the meeke,
Vexe them that to peace are bent :
Such vndooe the common tye
Of mankinde, societie.

Kindnesse growne is, lately, colde;
Conscience hath forgot her part;
Blessed times were knowne of old.
Long ere Law became an Art :
Shame deterr'd, not Statutes then.
Honest loue was law to men.

Deeds from loue, and words, that flowe,
Foster like kinde Aprill showres ;
In the warme Sunne all things grow,
Wholsome fruits and pleasant flowres;
All so thriues his gentle rayes.
Where on humane loue displayes.

XI.

Neuer weather-beaten Saile more willing bent to shore,
Neuer tyred Pilgrims limbs affected slumber more.
Than my wearied spright now longs to flye out of my troubled
brest.
O come quickly, sweetest Lord, and take my soule to rest.

Euer-blooming are the ioys of Heau'ns high paradice.
Cold age deafes not there our eares, nor vapour dims our eyes :
Glory there the Sun outshines, whose beames the blessed
onely see ;
O come quickly, glorious Lord, and raise my spright to thee.

XIL

Lift vp to heau'n, sad wretch, thy heauy spright,
What though thy sinnes, thy due destruction threat?
The Lord exceedes in mercy as in might;
His ruth is greater, though thy crimes be great.
Repentance needes not feare the heau'ns iust rod.
It stayes eu'n thunder in the hand of God.

The First Booke. 123

With chearefuU voyce to him then cry for grace,
Thy Faith and fainting Hope with Prayer reuiue;
Remorce for all that truely mourne hath place;
Not God, but men of him themselues depriue :
Striue then, and hee will help ; call him he'll heare :
The Sonne needes not the Fathers fury feare.

XIII.

Loe, when backe mine eye.

Pilgrim-like, I cast.
What fearefull wayes I spye.
Which, blinded, I securely past ?

But now heau'n hath drawne

From my browes that night;
As when the day doth dawne,
So cleares my long imprison'd sight.

Straight the caues of hell,

Brest with flowres I see :
Wherein false pleasures dwell.
That, winning most, most deadly be.

Throngs of masked Feinds,
Wing'd like Angels flye,
Euen in the gates of Friends
In faire disguise blacke dangers lye.

Straight to Heau'n I rais'd

My restored sight,
And with loud voyce I prais'd
The Lord of euer-during light.

And since I had stray'd

From his wayes so wide,
His grace I humble pray'd
Hence-forth to be my guard and guide.

XIIII.

As by the streames of Babilon
Farre from our natiue soyle we sal,
Sweet Sion, thee we thought vpon.
And eu'ry thought a teare begat.

124 'Two Bookes of Ay res.

Aloft the trees, that spring vp there,
Our silent Harps wee pensiue hung:
Said they that captiu'd us, Let's heare
Some song, which you in Sion sung.

Is then the song of our God fit
To be prophaned in forraine land?
O Salem, thee when I forget,
Forget his skill may my right hand !

Fast to the roofe cleaue may my tongue,
If mindelesse I of thee be found :
Or if, when all my ioys are sung,
Jerusalem be not the ground.

Remember, Lord, how Edoms race
Cryed in lerusalems sad day^
Hurle downe her wals, her towres deface,
And, stone by stone, all leuell lay.

Curst Babels seede ! for Salems sake

lust ruine yet for thee remaines !

Blest shall they be thy babes that take

And 'gainst the stones dash out their braines.

XV.

Sing a song of ioy

Prayse our God with mirth :
His flocke who can destroy?
Is hee not Lord of heau'n and earth?

Sing wee then secure,
Tuning well our strings :
With voyce, as Eccho pure.
Let vs renowne the King of Kings.

First who taught the day
From the East to rise?
Whom doth the Sunne obey
When in the Seas his glory dyes ?

Hee the Starres directs
That in order stand :
Who heau'n and earth protects
But hee that fram'd them with his hand?

The First Booke. 125

Angels round attend,
Wayting on his will;
Arm'd millions hee doth send
To ayde the good or plague the ill. 20

All that dread his Name,
And his Hests obserue,
His arme will shield from shame:
Their steps from truth shall neuer swerue.

Let us then reioyce.
Sounding loud his prayse:
So will hee heare our voyce
And blesse on earth our peacefuU dayes.

XVI,

Awake, awake, thou heauy spright.
That sleep'st the deadly sleepe of sinne.

Rise now and walke the waies of light ;
'Tis not too late yet to begin.

Seeke heauen earely, seeke it late:
True faith still findes an open gate.

Get vp, get vp, thou leaden man ;
Thy tracks to endlesse ioy or paine
Yeelds but the modell of a span ;
Yet burnes out thy lifes lampe in vaine. 10

One minute bounds thy bane, or blisse,
Then watch and labour, while time is.

XVII,
Come, chearfuU day, part of my life, to mee :
For while thou view'st me with thy fading light.
Part of my life doth still depart with thee.
And I still onward haste to my last night.

Times fatall wings doe euer forward flye,

Soe eu'ry day we Hue a day wee dye.

But, O yee nights, ordain'd for barren rest.

How are my dayes depriu'd of life in you,

When heauy sleepe my soule hath dispossest.

By fayned death life sweetly to renew ! 10

Part of my life in that, you life denye :

So eu'ry day we Hue a day wee dye.

12 6 Two Bookes of Ayres.

XVIII.
Seeke the Lord, and: in his wayes perseuer.

O faint not, but as Eagles flye ;

For his steepe hill is high ;
Then striuing gaine the top, and triumph euer.

When with glory there thy browes are crowned,

New ioys so shall abound in thee,

Such sights thy .soule shall see,
That worldly thoughts shall by their beatnes be -drowned.
Farewell, -World, thou masse of meere confusion,

False light, with many shadowes dimm'd,

Old Witch, with new foyles trimm'd,
Thou deadly sleepe of soule, and charm'd. illusion.

I the King will seek, of Kings adored;

Spring of light, tree of grace and blisse,

Whose fruit so sou'raigne is
That all who taste it are from death restored.

XIX.
Lighten, heauy hart, thy spright,

The ioyes recall that thence are fled;
Yeeld thy brest some liuing light;

The man that nothing doth is dead.
Tune thy temper to these sounds,

And quicken so thy ioylesse minde;
Sloth the worst and best confounds :

It is the ruine of mankinde.

From her caue rise all distasts,

Which vnresolu'd Despaire pursues ;
Whom soone after, Violence hasts,

Her selfe vngratefuU to abuse.
Skies are clear'd with stirring windes,

Th' vnmoued water moorish growes;
Eu'ry eye much pleasure findes

To view a streame that brightly flowes.

The First Booke. 127

XX.

lacke and lone they thinke no ill,

But louing liue, and merry still;

Doe their weeke dayes worke, and pray

Deuotely on the holy day:

Skip and trip it on the greene,

And help to chuse the Summer Queene:

Lash out, at a Country Feast,

Their siluer penny with the best.

Well can they iudge of nappy Ale,

And tell at large a Winter tale ; lo

CHmbe vp to the Apple loft,

And turne the Crabs till they be soft.

Tib is all the fathers ioy.

And little Tom the mothers boy.

All their pleasure is content;

And care, to pay their yearely rent.

loTie can call by name her Cowes,

And decke her windowes with greene boughs ;

Shee can wreathes and tuttyes make,

And trimme with plums a Bridall Cake. 20

lacke knowes what brings gaine or losse;

And his long Flaile can stoutly tosse:

Make the hedge, which others breake,

And euer thinkes what he doth speake.

Now, you Courtly Dames and Knights,

That study onely strange delights;

Though you scorne the home-spun gray.

And reuell in your rich array :

Though your tongues dissemble deepe.

And can your heads from danger keepe; 30

Yet, for all your pompe and traine,

Securer Hues the silly Swaine.

12 8 Two Bookes of Ayres.

XXI.

All lookes be pale, harts cold as stone,
For Hally now is dead, and gone,

Hally, in whose sight.
Most sweet sight.

All the earth late tooke delight.
Eu'ry eye, weepe with mee.
loyes drown'd in teares must be.

His lu'ry skin, his comely hayre,

His Rosie cheekes, so cleare and faire.

Eyes that once did grace
His bright face,

Now in him all want their place.
Eyes and hearts weepe with mee !
For who so kinde as hee?

His youth was like an Aprill flowre,
Adorn'd with beauty, loue, and powre.

Glory, strow'd his way,
Whose wreaths gay

Now are all turn'd to decay.
Then againe weepe with mee
None feele more cause then wee.

No more may his wisht sight returne.
His golden Lampe no more can burne.

Quencht is all his flame;
His hop't fame

Now hath left him nought but name.
For him all weepe with mee
Since more him none shall see.

To face p. 128

TO THE RIGHT

NOBLE, AND VERTVOVS

Henry Lord Clifford, Son and Heyre to
the Right Honourable, Francis, Earle of

CVMBERLAND.

Such dayes as weare the badge of holy red

Are for deuotion markt and sage delight;
The vulgar Low-dayes, vndistinguished.

Are left for labour, games, and sportful! sights.

This seu'rall and so diff'ring vse of Time,
Within th'enclosure of one weeke wee finde ;

Which I resemble in my Notes and Rime,
Expressing both in their peculiar kinde.

Pure Hymnes, such as the seauenth day loues, doe leade;

Graue ,age did iustly chalenge those of mee :
These weeke-day workes, in order that succeede,

Your youth best fits, and yours, yong Lord, they be,
As hee is who to them their beeing gaue :
If th' one, the other you of force must haue.

Your Honors,

Thomas Campian.

To the Reader.

TTuxt holy Hymnes with Louers cares are knit
Both in one Quire here, thou maist thinKt vnfit.
Why do'st not blame the Stationer as well.
Who in the same Shop sets all sorts to sell?
Diuine with stiles prophane, graue shelu'd with vaine.
And some matcht worse ; yet none of him complaine.

132 Two Bookes of Ayres.

Vaine men, whose follies make a God of Loue,
Whose blindnesse beauty doth immortall deeme;
Prayse not what you desire, but what you proue.
Count those things good that are, not those that seeme ;
I cannot call her true that's false to me.
Nor make of women more then women be.

How faire an entrance breakes the way to loue !
How rich of golden hope and gay delight !
What hart cannot a modest beauty moue?
Who, seeing cleare day once, will drearae of night?
Shee seem'd a Saint, that brake her faith with mee.
But prou'd a woman as all other be.

So bitter is their sweet, that true content
Vnhappy men in them may neuer finde :
Ah, but without them none; both must consent,
Else vncouth are the ioys of eyther kinde.
Let vs then prayse their good, forget their ill :
Men must be men, and women women still.

II.

How eas'ly wert thou chained,
Fond hart, by fauours fained !
Why liu'd thy hopes in grace,
Straight to dye disdained?
But since th' art now beguiled
By Loue that falsely smiled.
In some lesse happy place
Moume alone exiled !
My loue still here increaseth.
And with my loue my griefe.
While her sweet bounty ceaseth.
That gaue my woes reliefe.
Yet 'tis no woman leaues me,
For such may proue uniust;
A Goddesse thus deceiues me.
Whose faith who could mistrust?

The Second Booke. 133

A Goddesse so much graced,

That Paradice is placed

In her most heau'nly brest,

Once by loue embraced : 30

But loue, that so kinde proued.

Is now from her remoued,

Nor will he longer rest

Where no faith is loued.

If Powres Celestiall wound vs

And will not yeeld reliefe,

Woe then must needs confound vs,

For none can cure our griefe.

No wonder if I languish

Through burden of my smart; 30

It is no common anguish

From Paradice to part.

III.

^Harden now thy tyred hart, with more then flinty rage;
Ne'er let her false teares henceforth thy constant griefe asswage.
Once true happy dayes thou saw'st when shee stood firme and

kinde.
Both as one then liu'd and held one eare, one tongue, one

minde :
But now those bright houres be fled, and neuer may returne;
What then remaines but her vntruths to mourne?

Silly Traytresse, who shall now thy carelesse tresses place?
Who thy pretty talke supply, whose eare thy musicke grace?
Who shall thy bright eyes admire ? what lips triumph with thine ?
Day by day who'll visit thee and say 'th'art onely mine'? 10
Such a time there was, God wot, but such shall heuer be :
Too oft, I feare, thou wilt remember me.

IIII.

O what vnhop't for sweet supply!

O what ioyes exceeding !
What an affecting charme feele I,

From delight proceeding !
That which I long despair'd to be.

To her I am, and shee to mee.

134 ^w Bookes of Ay res.

Shee that alone in cloudy griefe
Long to mee appeared,

Shee now alone with bright reliefe
All those clouds hath cleared.

Both are immortall and diuine:
Since I am hers, and she is mine.

V.

Where shee her sacred bowre adornes,

The Riuers dearely flow;
The groues and medowes swell with flowres,

The windes all gently blow.
Her Sunne-like beauty shines so fayre,

Her Spring can neuer fade :
Who then can blame the life that striues

To harbour in her shade?

Her grace I sought, her loue I wooed j

Her loue though I obtaine, lo

No time, no toyle, no vow, no faith,

Her wished grace can gaine.
Yet truth can tell my heart is hers,

And her will I adore;
And from that loue when I depart,

Let heau'n view me no more.

Her roses with my prayers shall spring;

And when her trees I praise.
Their boughs shall blossome, mellow fruit

Shall straw her pleasant wayes. ao

The words of harty zeale haue powre

High wonders to effect;
O why should then her Princely eare

My words, or zeale neglect?

If shee my faith misdeemes, or worth,

Woe-worth my haplesse fate :
For though time can my truth reueale,

That time will come too late.
And who can glory in the worth.

That cannot yeeld him grace? 30

Content in eu'rything is not.

Nor ioy in eu'ry place.

The Second Booke. 135

But from her bowre of loy since I

Must now excluded be,
And shee will not relieue my cares,

Which none can helpe but shee;
My comfort in her loue shall dwell.

Her loue lodge in my brest,
And though not in her bowre, yet I

Shall in her temple rest.

VI.

Faine would I my loue disclose,
Ask what honour might denye;
But both loue and her I lose,
From my motion if shee flye.
Worse then paine is feare to mee :
Then hold in fancy though it burne
If not happy, safe He be,
And to my clostred cares returne.

Yet, 6 yet, in vaine I striue
To represse my school'd desire;
More and more the flames reuiue,
I consume in mine owne fire.
She would pitty, might shee know
The harmes that I for her endure :
Speak then, and get comfort so;
A wound long hid growes past recure.

Wise shee is, and needs must know
All th' attempts that beauty moues:
Fayre she is, and honour'd so
That she, sure, hath tryed some loues.
If with loue I tempt her then,
'Tis but her due to be desir'd:
What would women thinke of men
If their deserts were not admir'd?

Women, courted, haue the hand
To discard what they distaste:
But those Dames whom none demand
Want oft what their wils imbrac't.

136 Two Bookes of Ayres.

Could their firmnesse iron excell,

As they are faire, they should be sought : 30

When true theeues use falsehood well,

As they are wise they will be caught.

VII.

Giue beauty all her right,
Shee's not to one forme tyed;
Each shape yeelds faire delight,
Where her perfections 'bide.

ffellen, I grant, might pleasing- be;

And Hos'mond was as sweet as shee.

Some the quicke eye commends ;

Some swelling lips and red;

Pale lookes haue many friends.

Through sacred sweetnesse bred.
Medowes haue flowres that pleasure moue,
Though Roses are the flowres of loue.

Free beauty is not bound

To one vnmoued clime :

She visits eu'ry ground,

And fauours eu'ry time.
Let the old loues with mine compare,
My sou'raigne is as sweet, and fayre.

VIII.

O deare that I with thee might Hue,

From humane trace remoued :
Where iealous care might neither grieue,
Yet each dote on their loued.
While fond feare may colour finde, Loue's seldome pleased;
But much like a sicke mans rest, it's soone diseased.

Why should our mindes not mingle so,

When loue and faith is plighted.
That eyther might the others know,
Alike in all delighted? 10

Why should frailtie breed suspect, when hearts are iixed?
Must all humarie ioyes of force with griefe be mixed?

The Second Booke. 137

How oft haue wee eu'n smilde in teares,

Our fond mistrust repenting?
As snow when heauenly fire appeares,
So melts loues hate relenting.
Vexed kindnesse scone fals off and soone returneth :
Such a flame the more you quench the more it burneth.

IX.

Good men, shew, if you can tell,
Where doth humane pittie dwell?
Farre and neere her I would seeke.
So vext with sorrow is my brest.
She, (they say) to all, is meeke,
And onely makes th' vnhappie blest.

Oh ! if such a Saint there be,

Some hope yet remaines for me:

Prayer or sacrifice may gaine

From her implored grace reliefe; lo

To release mee of my paine.

Or at the least to ease my griefe.

Young am 1, and farre from guile.
The more is my woe the while :
Falshood with a smooth disguise
My simple meaning hath abus'd :
Casting mists before mine eyes,
By which my senses are confus'd.

Fair he is, who vow'd to me

That he onely mine would be; ao

But, alas, his minde is caught

With eu'ry gaudie bait he sees:

And too late my flame is taught

That too much kindnesse makes men freese.

From me all my friends are gone,

While I pine for him alone;

And not one will rue my case,

But rather my distresse deride :

That I thinke there is no place

Where pittie euer yet did bide. 30

K 2

138 Two Bookes of Ayres,

X.

What haruest halfe so sweet is
As still to reape the kisses

Grown ripe in sowing?
And straight to be receiuer
Of that which thou art giuer,

Rich in bestowing?
Kiss then, my haruest Queene,

Full garners heaping;
Kisses, ripest when th' are greene,

Want onely reaping.

The Doue alone expresses
Her feruencie in kisses,

Of all most louing :
A creature as oflfencelesse
As those things that are sencelesse

And void of mouing.
Let vs so loue and kisse,

Though all enuie vs:
That which kinde, and harmlesse is,

None can denie vs.

XI.

Sweet, exclude mee not, nor be divided
From him that ere long must bed thee :

All thy maiden doubts Law hath decided;
Sure wee are, and I must wed thee.
Presume then yet a httle more :
Here's the way, barre not the dore.

Tenants, to fulfill their Land-lords pleasure,
Pay their rent before the quarter:

'Tis my case, if you it rightly measure;
Put mee not then off with laughter.
Consider then a little more:
Here's the way to all my store.

Why were dores in loues despight deuised?

Are not Lawes enough restrayning?
Women are most apt to be surprised

Sleeping, or sleepe wisely fayning.

Then grace me yet a little more :
Here's the way, barre not the dore.

The Second Booke. 139

XII.

The peacefull westerne winde

The winter stormes hath tam'd,

And nature in each kinde

The kinde heat hath inflam'd :
The forward buds so sweetly breathe

Out of their earthy bowers,
That heau'n which viewes their pompe beneath

Would faine be deckt with flowers.

See how the morning smiles

On her bright easterne hill, lo

And with soft steps beguiles

Them that lie slumbring still.
The musicke-louing birds are come

From cliffes and rocks vnknowne,
To see the trees and briers blome

That late were ouerflowne.

What Saturne did destroy,

Loues Queene reuiues againe;

And now her naked boy

Doth in the fields remaine, »o

Where he such pleasing change doth view

In eu'ry liuing thing.
As if the world were borne anew

To gratifie the Spring.

If all things Ufe present.

Why die my comforts then?

Why suffers my content?

Am I the worst of men?
O, beautie, be not thou accus'd

Too iustly in this case: 3°

Vnkindly if true loue be vs'd,

'Twill yeeld thee little grace.

XIII.

There is none, O none but you.

That from mee estrange your sight.
Whom mine eyes affect to view

Or chained eares heare with delight.

140 Two Bookes of Ay res.

Other beauties others moue,

In you I all graces finde;
Such is the effect of loue.

To make them happy that are kinde.

Women in fraile beauty trust,
Onely seeme you faire to mee;

Yet proue truely kinde and iust,
For that may not dissembled be.

Sweet, afford mee then your sight,
That, suruaying all your lookes,

Endlesse volumes I may write

And fill the world with enuyed bookes :

Which when after ages view.
All shall wonder and despaire,

Woman to finde man so true.
Or man a woman halfe so faire.

XIIII.

Pin'd I am and like to die,
And all, for lacke of that which I

Doe eu'ry day refuse.
If I musing sit or stand,
Some puts it daily in my hand,

To interrupt my muse :
The same thing I seeke and flie,
And want that which none would denie.

In my bed, when I should rest,

It breeds such trouble in my brest 10

That scarce mine eyes will close;
If I sleepe it seemes to be
Oft playing in the bed with me,

But, wak't, away it goes.
'Tis some spirit sure, I weene,
And yet it may be felt and seene.

Would I had the heart and wit
To make it stand and coniure it,
That haunts me thus with feare.
Doubtlesse 'tis some harmlesse spright, 20

The Second Booke. 141

For it by day as well as night

Is ready to appeare.
Be it friend, or be it foe,
Ere long He trie what it will doe.

XV.

So many loues hatie I neglected

Whose good parts might moue mee,
That now I Hue of all reiected ;

There is none will loue me.
Why is mayden heate so coy?

It freezeth when it burneth,
Looseth what it might inioy,

And, hauing lost it, mourneth.

Should I then wooe, that haue beene wooed,

Seeking them that flye mee? lo

When I my faith with teares haue vowed.

And when all denye mee,
Who will pitty my disgrace.

Which loue might haue preuented?
There is no Submission base

Where error is repented.

happy men, whose hopes are licenc'd
To discourse their passion,

While women are confin'd to silence.

Loosing wisht occasion. 20

Yet our tongues then theirs, men say.

Are apter to be mouing:
Women are more dumbe then they.

But in their thoughts more rouing.

When I compare my former strangenesse
With my present doting,

1 pitty men that speake in plainenesse,
Their true hearts deuoting;

While wee with repentance iest

At their submissiue passion. 3°

Maydes, I see, are neuer blest

That strange be but for fashion.

142 Two Bookes of Ayres.

XVI.

Though your strangenesse frets my hart,

Yet may not I complaine:

You perswade me, 'tis but Art,

That secret loue must faine.

If another you affect,

'Tis but a shew t'auoid suspect.

Is this faire excusing? O, no, all is abusing.

Your wisht sight if I desire,

Suspitions you pretend,

Causelesse you your selfe retire,

While I in vaine attend.

This a Louer whets, you say.

Still made more eager by delay.

Is this faire excusing? O, no, all is abusing.

When another holds your hand.

You sweare I hold your hart:

When my Riuals close doe stand.

And I sit farre apart,

I am neerer yet then they,

Hid in your bosome, as you say.

Is this faire excusing? O, no, all is abusing.

Would my Riual then I were.

Or els your secret friend:

So much lesser should I feare,

And not so much attend.

They enioy you, eu'ry one,

Yet I must seeme your friend alone.

Is this faire excusing? O, no, all is abusing.

XVII.

Come away, arm'd with loues delights.
Thy spritefull graces bring with thee,
When loues longing fights.
They must the sticklers be.
Come quickly, come, the promis'd houre is wel-nye spent.
And pleasure being too much deferr'd looseth her best content.

The Second Booke. 143

Is shee come? O, how neare is shee?

How farre yet from this friendly place?
How many steps from me?
When shall I her imbrace? lo

These armes He spred, which onely at her sight shall close,
Attending as the starry flowre that the Suns noone-tide knowes.

XVIII.

Come, you pretty false-ey'd wanton,

Leaue your crafty smiling:
Thinke you to escape me now

With slipp'ry words beguiling?
No; you mockt me th' other day;

When you got loose, you fled away;
But, since I haue caught you now.

He clip your wings for flying:
Smothring kisses fast He heape,

And keepe you so from crying. lo

Sooner may you count the starres,

And number hayle downe pouring,
Tell the Osiers of the Temmes,

Or Goodwins Sands deuouring.
Then the thicke-showr'd kisses here

Which now thy tyred lips must beare.
Such a haruest neuer was.

So rich and full of pleasure^
But 'tis spent as soone as reapt,

So trustlesse is loues treasure. lo

Would it were dumb midnight now,

When all the world lyes sleeping :
Would this place some Desert were,

Which no man hath in keeping.
My desires should then be safe.

And when you cry'd then would I laugh :
But if ought might breed offence,

Loue onely should be blamed:
I would liue your seruant still,

And you my Saint vnnamed. 3°

144 Two Bookes of Ay res.

XIX.
A secret loue or two 1 must confesse

I kindly welcome for change in close playing,
Yet my deare husband I loue ne'erthelesse,

His desires, whole or halfe, quickly allaying,
At all times ready to offer redresse:

His owne he neuer wants but hath it duely,

Yet twits me I keepe not touch with him truly.

The more a spring is drawne the more it flowes.
No Lampe lesse light retaines by lightning others :

Is hee a looser his losse that nere knowes?
Or is he wealthy that wast treasure smothers?

My churl vowes no man shall sent his sweet Rose,
His owne enough and more I giue him duely,
Yet still he twits mee I keepe not touch truly.

Wise Archers bear^ more than one shaft to field,
The Venturer loads not with one ware his shipping;

Should Warriers learn but one weapon to weilde,
Or thriue faire plants e'er the worse for the slipping?

One dish cloyes, many fresh appetite yeeld:
Mine own He vse, and his he shall haue duely,
ludge then what debter can keepe touch more truly.

XX.

Her rosie cheekes, her euer smiling eyes.

Are Spheares and beds where Loue in triumph lies :

Her rubine lips, when they their pearle vnlocke.

Make them seeme as they did rise

All out of one smooth Currall Rocke.

O that of other Creatures store I knew

More worthy, and more rare :

For these are old, and shee so new.

That her to them none should compare.

O could she loue, would shee but heare a friend ;
Or that she only knew what sighs pretend.
Her lookes inflame, yet cold as Ice is shee.
Doe or speake, all's to one end,
For what shee is that will shee be.

The Second Booke. 145

Yet will I neuer cease her prayse to sing,
Though she giues no regard :
For they that grace a worthlesse thing
Are onely greedy of reward.

XXI.

Where shall I refuge seeke, if you refuse mee?

In you my hope, in you my fortune lyes.

In you my life, though you vniust accuse me,

My seruice scorn, and merit vnderprise:
O bitter griefe, that exile is become
Reward for faith, and pittie deafe and dumbe.

Why should my firmnesse finde a seate so wau'ring?

My simple vowes, my loue you entertain'd;

Without desert the same againe disfau'ring;

Yet I my word and passion hold vnstain'd. lo

Oh wretched me, that my chiefe ioy should breede
My onely griefe and kindnesse pitty neede !

FINIS.

THE

DESCRIPTION

ofaMaske;

elH Prelented in the

Banqueting roome at Whitehall, on

Saint Srcphen&nighcla(V,A; theMariaeeof

the Right Honourable the Earle o i '?OV— -^m^

Smer/et : And the right noble *-**-***'l^

the Lady F A ANCE S M *r^M*fi^

Written by Thenui Camfico. "

Whereunto are annexed diners choyre Ajrt$ compoftd
foe this Maske that nuy be fung with a (iagle voyce
to the Lute or Bafc-VialL

L ONDON

Printed by E. A. for Uufente Lijlt^ dwelling in Paulci

Church yardjat the fignc of the Tyjwhcad.

Pulchro pulchra datur, sociali fadere amanti
Tandem nuMt amans ; ecquid amabiliusi

Vera vt supersint nuptim
Prceite duplici face:
Prmtendat alteram necesse
Hymen, alteram par est Amor.

Vni ego mallem placuisse docto,
Candida, et fastu sine iudicdnti,
Millium quam millibus imperitorum
Inque videntiim.

The description of a Masque, Pre-
sented in the Banqueting roome at Whitehall,
On St. Stephens night last : At the Mariage
of the right Honourable the Earle of
Somerset, & the right noble the
Lady Frances Howard.

In ancient times, when any man sought to shadowe or heighten
his Inuention, he had store of feyned persons readie for his pur-
pose ; as Satyres, Nymphes, and their like : such were then in
request and beliefe among the vulgar. But in our dayes, although lo
they haue not vtterly lost their vse, yet finde they so little credit,
that our moderne writers haue rather transferred their fictions to
the persons of Enchaunters and Commaunders of spirits, as that
excellent Poet Torquato Tasso hath done, and many others.

In imitation of them (having a presentation in hand for Persons
of high State) I grounded my whole Inuention upon Inchaunt-
mens and several transformations : The work-manship whereof was
vndertaken by M. Constantine, an Italian, Architect to our late
Prince Henry : but he being too much of him selfe, and no way to
be drawne to impart his intentions, fayled so farre in the assurance »o
he gaue that the mayne inuention, euen at the last cast, was of
force drawne into a farre narrower compasse then was from the
beginning intended : The description whereof, as it was performed,
I will as briefely as I can deliuer. The place wherein the Maske
was presented, being the Banquetting house at White Hall : the
vpper part, where the State is placed, was Theatred with Pillars,
Scaffolds, and all things answerable to the sides of the Roome. At
the lower end of the Hall, before the Sceane, was made an Arch
Tryumphall, passing beautiful!, which enclosed the whole Workes :
The Sceane it selfe (the Curtaine being drawne) was in this manner 3°
diuided.

On the vpper part there was formed a Skye of Clowdes very
arteficially shadowed. On either side of the Sceane belowe was
set a high Promontory, and on either of them stood three large

150 The Description of a Maske

pillars ofgolde: the one Promontory was bounded with a Rocke
standing in the Sea, the other with a Wood ; In the midst
betwene them apeared a Sea in perspectiue with ships, some
cunningly painted, some arteficially sayling. On the front of the
Sceane, on either side, was a beautiful! garden, with sixe seates a
peece to receaue the Maskers : behinde them the mayne Land, and
in the middest a paire of stayres made exceeding curiously in the
form of a Schalop shell. And in this manner was the eye first of all
entertayned. After the King, Queene, and Prince were placed,
and preparation was made for the beginning of the Maske, there
entred foure Squires, who as scone as they approached neare the
Presence, humbly bowing themselues, spake as foUoweth.

The first Squire.

That fruite that neither dreads the Syrian heats,
Nor the sharp frosts which churlish Boreas threats,
The fruite of Peace and loy our wishes bring
To this high State, in a Perpetuall Spring.
Then pardon (Sacred Maiestie) our griefe
Vnseasonably that presseth for reliefe.
The ground whereof (if your blest eares can spare
20 A short space of Attention) we'le declare.

Great Honors Herrald, Fame, hauing Proclaym'd
This Nuptiall feast, and with it all enflam'd.
From euery quarter of the earth three Knights
(In Courtship seene, as well as Martiall fights)
Assembled in the Continent, and there
Decreed this night A solemne Seruice here.
For which, by sixe and sixe embarqu'd they were
In seueral Keeles; their Sayles for Britaine bent.
But (they that neuer fauour'd good intent)
30 Deformed Errour, that enchaunting fiend,

And wing-tongu'd Rumor, his infernall freind.

With Curiositie and Credulitie,

Both Sorceresses, all in hate agree

Our purpose to divert; in vain they striue.

For we in spight of them came neere t'ariue,

When sodainly (as Heauen and hell had met)

A storme confus'd against our Tackle beat,

Seuering the Ships: but after what befell

Let these relate, my tongu's too weake to tell.

on

S. Stephens night. 151

The second Squire.

A strange and sad Ostent our Knights distrest;

For while the Tempests fierye rage increast,

About our Deckes and Hatches, loe, appeare

Serpents, as Lerna had been pour'd out there,

Crawling about vs; which feare to eschew,

"the Knights the Tackle climb'd, and hung in view,

When violently a flash of lightning came,

And from our sights did beare them in the flame.

Which past, no Serpent there was to be seene, lo

And all was husht, as storme had neuer beene.

The third Squire.

At Sea their mischeifes grewe, but ours at Land,
For being by chance arriu'd, while our Knights stand
To view their storme-tost friends on two Cliffes neere.
Thence, loe, they vanish'd, and sixe Pillars were
Fixt in their footsteps; Pillars all of golde,
Faire to our eyes, but wofull to beholde.

The fourth Squire.

Thus with prodigious hate and crueltie, 20

Our good Knights for their loue afflicted be;

But, 6, protect vs now, Maiesticke Grace,

For see, those curst Enchanters presse in place

That our past sorrowes wrought : these, these alone

Turne all the world into confusion.

Towards the end of this speech, two Enchanters, and two Enchan-
teresses appeare : Error first, in a skin coate scaled like a Serpent,
and an antick habit painted with Snakes, a haire of curled Snakes,
and a deformed visard. With him Rumor in a skin coate full of
winged Tongues, and ouer it an antick robe ; on his head a Cap like 30
a tongue, with a large paire of wings to it.

Curiosity in a skin coate full of eyes, and an antick habit ouer it,
a fantastick Cap full of Eyes.

Credulity in the like habit painted with eares, and an antick Cap
full of eares.

When they had whispered a while as if they had reioyced at the
wrongs which they had done to the Knights, the Musick and their
Daunce began : strait forth rusht the foure Windes confusedly, The
Easterne Winde in a skin coate of the colour of the Sun-rising, with
a yellow haire, and wings both on his shoulders and feete. 40

The Westeme Winde in a skin coate of darke crimson, with crimson
haire and wings.

CAMPION L

152 The Description of a Maske

The Southerne Winde in a darke russet skin coate, haire and wings
sutable.

The Northern Winde in a grisled skin coate, with haire and wings
accordingly.

After them in confusion came the foure Elements : Earth, in a skin
coate of grasse greene, a mantle painted full of trees, plants and flowers,
and on his head an oke growing.

Water, in a skin coate waved, with a mantle full of fishes, on his
head a Dolphin.
10 Ayre, in a skye-coloured skin coate, with a mantle painted with
Fowie, and on his head an Eagle.

Fire, in a skin coate, and a mantle painted with flames : on his head
a cap of flames, with a Salamander in the midst thereof.

Then entred the foure parts of the earth in a confused measure.

Europe in the habit of an Empresse, with an Emperiall Crowne on
her head.

Asia in a Persian Ladies habit, with a Crowne on her head.

Africa like a Queene of the Moores, with a crown.

America in a skin coate of the colour of the iuyce of Mulberies, on
20 her head large round brims of many coloured feathers, and in the midst
of it a small Crowne.

All these hauing daunced together in a strange kind of confusion,
past away, by foure and foure.

At which time. Eternity appeared in a long blew TafTata robe,
painted with Starres, and on her head a Crowne.

Next, came the three Destinies, in long robes of white Taiiata li^e

aged women, with Garlands of Narcissus Flowers on their heads ; and

in their left hands they carried distafles according to the descriptions

of Plato and Catullus, but in their right hands they carried altogether

30 a Tree of Golde.

After them, came Harmony with nine Musitians more, in long
Taifata robes and caps of Tinsell, with Garlands guilt, playing and
singing this Song.

Chorus.

Vanish, vanish hence, confusion;
Dimme not Hymens goulden light

With false illusion.
The Fates shall doe him right,
And f aire Eternitie,
40 Who passe through all enchantements free.

Eternitie singes alone.

Bring away this Sacred Tree,
JTie Tree of Grace and Bountie,
Set it in Bel-Annas eye,

on S. Stephens night. 153

For she, she, only she

Can all Knotted spels vnty.

Pultd from the Stocke, let her blest Hands conuay
To any suppliant Hand, a bough,
And let that Hand aduance it now

Against a Charme, that Charme shall fade away.

Toward the end of this Song the three destinies set the Tree of Golde
before the Queene.

Chorus.

Since Knightly valour rescues Dames distressed, lo

By Vertuous Diimes let charm'd Knights be released.

After this Chorus, one of the Squires speakes.

Since Knights by valour rescue Dames distrest,

Let them be by the Queene of Dames releast.

So sing the Destinyes, who neuer erre,

Fixing this Tree of Grace and Bountie heere,

From which for our enchaunted Knights we craue

A branche, puU'd by your Sacred Hand, to haue ;

That we may beare it as the Fates direct,

And manifest your glory in th' effect. ao

In vertues fauour then, and Pittie now,

(Great Queene) vouchsafe vs a diuine touch't bough.

At the end of this speech, the Queene puld a branch from the Tree
and gaue it to a Nobleman, who deliuered it to one of the Squires.

A Song while the Squires descend with the bough toward the Scene.

Goe, happy man, like th'Euening Starre,
Whose beames to Bride-groomes well-come are:
May neither Hagge nor Feind withstand
The powWe of thy Victorious Hand.

The Vncharm'd Knights surrender now, jo

By vertue of thy raised Bough.

Away, Enckauntements, Vanish quite,
No more delay our longing sight:
'Tis fruitelesse to contend with Fate,
Who giues vs pow're against your hate.

Braue Knights, in Courtly pompe appeare

For now are you long-looUt for heere,
L a

154 T^h^ Description of a Maske

Then out of the ayre a cloude descends, discouering sixe of the
Knights alike, in strange and sumptuous atires, and withall on either
side of the Cloud, on the two Promontories, the other sixe Maskers
are sodainly transformed out of the pillars of golde ; at which time,
while they all come forward to the dancing-place, this Chorus is sung,
and on the sodaine the whole Sceane is changed : for whereas before
all seemed to be done at the sea and sea coast, now the Promontories
are sodainly remooued, and London with the Thames is very arte-
ficially presented in their place.

10 The Squire lifts vp the Bough.

Chorus.

Vertue and Grace, in spight of Charmes,
Haue now redeem' d our men at Armes,
Tker's no inchauntement can withstand,
Where Fate directs the happy hand.

The Maskers first Daunce.

The third Song of three partes, with a Chorus of fiue partes,
sung after the first Daunce.

While dancing rests, fit place to musicke graunting,
ao Good spels the Fates shall breath, al enuy daunting.

Kind eares with ioy enchaunting, chaunting.

Chorus.

lo, Jo Hymen.

Like lookes, like hearts, like loues are lincKt together:
So must the Fates be pleas'd, so come they hether,
To make this Ioy perseuer, euer.

Chorus.

lo, lo Hymen.

Loue decks the spring, her buds to th' ayre exposing,
30 Such fire here in these bridall Breasts reposing.

We leaue with charmes enclosing, closing.

Chorus.

lo, lo Hymen.

on S, Stephens night. 155

The Maskers second Daunce.

The fourth Song, a Dialogue of three, with a Chorus after the second
Daunce.

1 Let vs now sing of Loues delight,
For he alone is Lord to night.

2 Some friendship betweene man and man prefer,
But I th' affection betweene man and wife.

3 What good can be in life.
Whereof no fruites appeare?

1 Set is that Tree in ill houre, lo
That yeilds neither fruite nor flowre.

2 How can man Perpetuall be.
But in his owne Posteritie?

Chorus.

That pleasure is of all most bountifull and kinde.
That fades not straight, but leaues a lining loy behinde.

After this Dialogue the Maskers daunce with the Ladies, wherein
spending as much time as they held fitting, they returned to the seates
prouided for them.

Straight in the Thames appeared foure Barges with skippers in ao
them, and withall this song was sung.

Come a shore, come, merrie mates,
With your nimble heeles and pates :
Summon eu'ry man his Knight,
Enough honour'd is this night.
Now, let your Sea-borne Goddesse come.
Quench these lights, and make all dombe.
Som£ sleepe ; others let her call:
And so Godnight to all, godnight to all.

At the conclusion of this song arriued twelue skippers in red capps, 30
with short cassocks and long slopps wide at the knees, of white canvas
striped with crimson, white gloves and Pomps, and red stockins : these
twelue daunced a braue and liuely daunce, shouting and tryumphing
after their manner.

After this followed the Maskers last daunce, wherewith they
retyred.

At the Embarking of the Knights, the Squires approach the state,
and speake.

156 The Description of a Maske^ &'c.
The first Squire.

All that was euer ask't, by vow of loue,
To blesse a state with, Plentie, Honor, Loue,
Power, Triumph, priuate pleasure, publique peace,
Sweete springs, and Autumns filld with due increase,
All these, and what good els thought can supplie,
Euer attend your Triple Maiestie.

The second Squire.

All blessings which the Fates, Propheticke, Sung,
At Peleus Nuptialls, and what euer tongue
Can figure more, this night, and aye betide.
The honour'd Bride-groome and the honour'd Bride.

All the Squires together.

Thus speakes in vs th' affection of our Knights,
Wishing your health, and Miriads of goodnights.

The Squires speeches being ended, this Song is Sung while the
Boates passe way.

Hast aboard, hast now away ;

Hymen frownes at your delay :

Hymen doth long nights affect ;

Yeild him then his due respect.

The Sea-borne Goddesse straight will come,

Quench these lights, and make all dombe.

Some Sleepe ; others she will call:

And so godnight to all, godnight to all.

FINIS.

The Names of the Maskers.

1 The Duke of Lennox. 7 The Lord Scroope.

2 The Earle of Fembrooke. 8 The Lord North.

3 The Earle of Dorset. 9 The Lord Hayes.

4 The Earle of Salisburie. 10 Sir Thomas Howard.

5 The Earle of Mountgomerie. 11 Sir Henry Howard.

6 The Lord Walden. 12 Sir Charles Howard.

FINIS.

To face p. 156

A Table of all the Songs contayned in
the two Bookes following.

The table of the first Booke.

Oft haue I sigh'd. I

Now let her change. II

Were my heart as. Ill

Maids are simple, some men say.

nil

So tyr'd are all my thoughts. V
Why presumes thy pride. VI

Kinde are her answeres. VII

O griefe, O spight. VIII

O neuer to be moued. IX

Breake now, my heart, and dye.

X
If Loue loues truth. XI

Now winter nights enlarge. XII
Awake, thou spring. XIII

What is it that men possesse ?

XIIII

Fire that must flame.
If thou long'st so much.
Shall I come, sweet loue ?
Thrice tosse these Oaken.
Be thou then my beauty.

XV

XVI

XVII

XVIII

XIX

Fire, fire, fire, fire ; loe, here. XX
O sweet delight. XXI

Thus I resolue. XXII

Come, 6 come, my lifes. XXIII
Could my heart more. XXI I II
Sleepe, angry beautie. XXV

Silly boy, 'tis full Moone yet.

XXVI
Neuer loue vnlesse you can.

XXVII
So quicke, so hot. XXVIII

Shall I then hope. XXIX

The Table of the seconde Booke.

Leaue prolonging. I

Respect my faith. II

Thou ioy' St, fond boy. Ill

Vayle, loue, mine eyes. II 1 1

Euery Dame affects good fame.

V
So sweet is thy discourse. VI
There is a Garden in her face.

VII
To his sweet Lute. VIII

Young and simple though I am.

IX
Loue me or not. X

What meanes this folly ? XI

Deare, if I with g^ile. XII

Loue, where are thy shafts ?

XIII
Beauty is but a painted hell. XI I II
Are you what your ? XV

Since shee, euen shee. XVI

1 must complaine. XVI I
Thinkest thou to seduce. XVIII
Her fayre inflaming eyes. XIX
Tume all thy thoughts. XX
If any hath the heart to kill. XXI
Beauty, since you. XXII
Your fayre lookes. XXIII
Faine would I wed. XXI I II

FINIS.

TO MY HONOVRABLE FRIEND,

S^ THOMAS MOVNSON, KNIGHT

AND BARONET.

Since now those clouds, that lately ouer-cast

Your Fame and Fortune, are disperst at last:

And now since all to you fayre greetings make;

Some out of loue, and some for pitties sake :

Shall I but with a common stile salute

Your new enlargement? or stand onely mute?

I, to whose trust and care you durst commit

Your pined health, when Arte despayr'd of it?

I, that in your affliction often view'd

In you the fruits of manly fortitude, lo

Patience, and euen constancie of minde.

That Rocke-like stood, and scom'd both wane, and winde ?

Should I, for all your ancient loue to me,

Endow'd with waighty fauours, silent be?

Your merits and my gratitude forbid

That eyther should in Lethean Gulfe lye hid.

But how shall I this worke of fame expresse?

How can I better, after pensiuenesse,

Then with light straynes of Musicke, made to moue

Sweetly with the wide-spreading plumes of loue? 20

These youth-born Ayres, then, prisoned in this Booke,

Which in your Bowres much of their beeing tooke.

Accept as a kinde offring froiri that hand

Which, ioyn'd with heart, your vertue may command.

Who loue a sure friend, as all good men doe,

Since such you are, let these affect you to :

And may the ioyes of that Crowne neuer end,

That innocence doth pitty and defend.

Your deuoted,

Thomas Campian.

The Third Booke of Ay res. 1 6 1

Oft haue I sigh'd for him that heares me notj

Who absent hath both loue and mee forgot.

O yet I languish still through his delay :

Dayes seeme as yeares when wisht friends breake their day.

Had hee but lou'd as common louers vse,
His faithlesse stay some kindnesse would excuse :
O yet I languish still, still constant mourne
For him that can breake vowes but not returne.

n.

Now let her change and spare not :
Since she proues strange I care not :
Fain'd loue charm'd so my delight
That still I doted on her sight.
But she is gone, new ioies imbracing
And my desires disgracing.

When did I erre in blindnesse?
Or vexe her with vnkindnesse?
If my cares seru'd her alone,
Why is shee thus vntimely gone?
True loue abides to th' houre of dying :
False loue is euer flying.

False, then farewell for euer :
Once false proues faithful neuer:
Hee that boasts now of thy loue.
Shall soone my present fortunes proue.
Were he as faire as bright Adonis,
Faith is not had, where none is.

III.

Were my hart as some mens are, thy errours would not moue me ;
But thy faults I curious finde and speake because I loue thee :
Patience is a thing diuine and farre, I grant, aboue me.

1 6 2 The Third Booke of Ayres.

Foes sometimes befriend vs more, our blacker deedes obiecting,
Then th' obsequious bosome guest, with false respect affecting,
Friendship is the glasse of Truth, our hidden staines detecting.

While I vse of eyes enioy and inward light of reason.
Thy obseruer will I be and censor, but in season:
Hidden mischiefe to conceale in State, and Loue is treason.

nil.

Maydes are simple, some men say,
They, forsooth, will trust no men.
But should they mens wils obey,
Maides were very simple then.

Truth, a rare flower now is growne.
Few men weare it in their hearts ;
Louers are more easily knowne
By their follies, then deserts.

Safer may we credit giue

To a faithlesse wandring lew lo

Then a young mans vowes beleeue

When he sweares his loue is true.

Loue they make a poore blinde childe,
But let none trust such as hee :
Rather then to be beguil'd,
Euer let me simple be.

V.

So tyr'd are all my thoughts, that, sence and spirits faile:
Mourning I pine, and know not what I ayle.
O what can yeeld ease to a minde

loy in nothing that can finde?

How are my powres fore-spoke? What strange distaste is this?
Hence, cruell hate of that which sweetest is:
Come, come delight, make my dull braine
Feele once heate of ioy againe.

The louers teares are sweet, their mouer makes them so;
Proud of a wound the bleeding Souldiers grow. lo

Poore I alone, dreaming, endure

Griefe that knowes nor cause, nor cure.

The Third Booke of Ayres. 163

And whence can all this grow? euen from an idle minde,
That no delight in any good can finde.
Action alone makes the soule blest:

Vertue dyes with too much rest.

VI.

Why presumes thy pride on that that must so priuate be,
Scarce that it can good be cal'd, though it seemes best to thee,
Best of all that Nature fram'd or curious eye can see?

'Tis thy beauty, foolish Maid, that, like a blossome, growes;
Which who viewes no more enioyes than on a bush a Rose,
That by manies handling fades ; and thou art one of those.

If to one thou shalt proue true and all beside reiect,

Then art thou but one mans good ; which yeelds a poore effect ;

For the common'st good by farre deserues the best respect.

But if for this goodnesse thou thy selfe wilt common make, lo
Thou art then not good at all; so thou canst no way take
But to proue the meanest good, or else all good forsake.

Be not then of beauty proud, but so her colours beare

That they proue not staines to her that them for grace should

weare :
So shalt thou to all more fayre than thou wert borne appeare.

VII.

Kinde are her answeres.

But her performance keeps no day;
Breaks time, as dancers

From their own Musicke when they stray :

All her free fauors and smooth words.
Wing my hopes in vaine.
O did euer voice so sweet but only fain?

Can true loue yeeld such delay,

Conuerting icy to pain?

Lost is our freedome.
When we submit to women so :
Why doe wee neede them.
When in their best they worke our woe?

164 The Third Booke of Ay res.

There is no wisedome
Can alter ends, by Fate prefixt.
O why is the good of man with euill mixt?

Neuer were days yet cal'd two,

But one night went betwixt.

VIII.

O griefe, O spight, to see poore Vertue scortfd,
Truth far exil'd, False arte lou'd, Vice ador'd,
Free Justice sold, worst causes best adorned,
Right cast by Powre, Pittie in vaine implor'd !
O who in such an age could wish to Hue,
When none can haue or hold, but such as giue?

O times ! O men ! to Nature rebels growne,
Poore in desert, in name rich, proud of shame;
Wise, but in ill ! Your stiles are not your owne.
Though dearely bought, honour is honest fame.
Old Stories onely, goodnesse now containe.
And the true wisedome that is iust, and plaine.'

IX.

O neuer to be moued,

O beauty vnrelenting!
Hard hart, too dearely loued !

Fond loue, too late repenting!
Why did I dream of too much blisse?
DeceitfuU hope was cause of this.

O heare mee speake this, and no more,

Liue you in ioy, while I my woes deplore !

All comforts despayred

Distaste your bitter scorning;
Great sorrows vnrepayred

Admit no meane in mourning:
Dye, wretch, since hope from thee is fled;
He that must dye is better dead.

O dear delight yet, ere I dye,

Some pitty shew, though you reliefe deny.

The Third Booke of Ay res. 165

Breake now, my heart, and dye! Oh no, she may relent.
Let my despaire preuayle ! O stay, hope is not spent.
Should she now fixe one smile on thee, where were despaire?

The losse is but easy, which smiles can repayre.

A stranger would please thee, if she were as fayre.

Her must I loue or none, so sweet none breathes as shee ;
The more is my despayre, alas, shee loues not meer
But cannot time make way for loue through ribs of Steele ?
The Grecian, inchanted all parts but the heele,
At last a shaft daunted, which his hart did feele. lo

XL

If Loue loues truth, then women doe not loue;
Their passions all are but dissembled shewes ;
Now kinde and free of fauour if they proue.
Their kindnes straight a tempest ouerthrowes.

Then as a Sea-man the poore louer fares;

The storme drownes him ere hee can drowne his cares.

But why accuse I women that deceiue?

Blame then the Foxes for their subtile wile :

They first from Nature did their craft receiue :

It is a womans nature to beguile. to

Yet some, I grant, in louing stedfast grow;

But such by vse are made, not nature, so.

O why had Nature power at once to frame

Deceit and Beauty, traitors both to Loue?

O would Deceit had dyed when Beauty came

With her diuinenesse eu'ry heart to moue !
Yet doe we rather wish, what ere befall.
To haue fayre women false then none at all.

XII.

Now winter nights enlarge
The number of their houres;
And clouds their stormes discharge
Upon the ayrie towres.

1 66 The Third Booke of Ay res.

Let now the chimneys blaze

And cups o'erflow with wine,
Let well-tun'd words amaze

With harmonie diuine.
Now yellow waxen lights

Shall waite on hunny Loue lo

While youthfuU Reuels, Masks, and Courtly sights,

Sleepes leaden spels remoue.

This time doth well dispence

With louers long discourse ;
Much speech hath some defence,

Though beauty no remorse.
All doe not all things well;

Some measures comely tread;
Some knotted Ridles tell ;

Some Poems smoothly read. ao

The Summer hath his ioyes,

And Winter his delights;
Though Loue and all his pleasures are but toyes,

They shorten tedious nights.

xin.

Awake, thou spring of speaking grace, mute rest becomes not

thee;
The fayrest women, while they sleepe, and Pictures, equall bee.
O come and dwell in loues discourses,

Old renuing, new creating.
The words which thy rich tongue discourses
Are not of the common rating.

Thy voyce is as an Eccho cleare which Musicke doth beget,
Thy speech is as an Oracle which none can counterfeit :
For thou alone, without ofifending.

Hast obtain'd power of enchanting ; lo

And I could heare thee without ending,
Other comfort neuer wanting.

Some little reason brutish Hues with humane glory share;
But language is our proper grace, from which they seuer'd are.
As brutes in reason man surpasses,

Men in speech excell each other :
If speech be then the best of graces.
Doe it not in slumber smother.

The Third Booke of Ayres, 167

XIIII.

What is it all that men possesse, among themselues conuersing ?
Wealth or fame, or some such boast, scarce worthy the rehearsing.
Women onely are mens good, with them in loue conuersing.

If weary, they prepare vs rest ; if sicke, their hand attends vs ;
When with griefe our hearts are prest, their comfort best be-
friends vs:
Sweet or sowre, they willing goe to share what fortune sends vs.

What pretty babes with paine they beare, our name and form

presenting !
What we get, how wise they keepe! by sparing, wants pre-

uenting ;
Sorting all their houshold cares to our obseru'd contenting.

All this, of whose large vse I sing, in two words is expressed ;
Good wife is the good I praise, if by good men possessed; n
Bad with bad in ill sute well ; but good with good liue blessed.

XV.

Fire that must flame is with apt fuell fed,
Flowers that will thriue in sunny soyle are bred;
How can a hart feele heate that no hope findes?
Or can hee loue on whom no comfort shines?

Fayre, I confesse there's pleasure in your sight:
Sweet, you haue powre, I grant, of all delight :
But what is all to mee, if I haue none?
Churle that you are, t'inioy such wealth alone.

Prayers moue the heau'ns but finde no grace with you;

Yet in your lookes a heauenly forme I view:

Then will I pray againe, hoping to finde.

As well as in your lookes, heau'n in your minde.

Saint of my heart, Queene of my life, and loue,
O let my vowes thy louing spirit mOue ;
Let me no longer mourne through thy disdaine,
But with one touch of grace cure all my paine.

1 68 The Third Booke of Ay res.

XVI.

If thou long'st so much to learne (sweet boy) what 'tis to loue,
Doe but fixe thy thought on mee and thou shall quickly proue.
Little sute, at first, shal win

Way to thy abasht desire,
But then will I hedge thee in
Salamander-like with fire.

With thee dance I will, and sing, and thy fond dalliance

beare ;
Wee the grouy hils will climbe, and play the wantons there;
Other whiles wee'le gather flowres,

Lying dalying on the grasse, lo

And thus our delightfull howres

Full of waking dreames shall passe.

When thy ioyes were thus at height, my loue should turne

from thee;
Old acquaintance then should grow as strange as strange might
be;

Twenty riuals, thou should'st finde,

Breaking all their hearts for mee,
When to all He proue more kinde
And more forward then to thee.

Thus thy silly youth enrag'd, would soone my loue defie ;
But, alas, poore soule too late ; dipt wings can neuer flye. 30
Those sweet houres which wee had past,

Cal'd to minde thy heart would burne ;
And could'st thou flye ne'er so fastj

They would make thee straight returne.

XVII.

Shall I come, sweet Loue, to thee,
When the eu'ning beames are set?

Shall I iiot excluded be?
Will you finde no fained lett?

Let me not, for pitty, more.

Tell the long houres at your dore.

The Third Booke of Ay res. 169

Who can tell what theefe or foe,

In the couert of the night,
For his prey will worke my woe,

Or through wicked foule despight : lo

So may I dye vnredrest,
Ere my long loue be possest.

But to let such dangers passe,

Which a louers thoughts disdaine,
'Tis enough in such a place

To attend loues ioyes in vaine.
Doe not mocke me in thy bed,
While these cold nights freeze me dead.

XVIII.
Thrice tosse these Oaken ashes in the ayre,
Thrice sit thou mute in this inchanted chayre;
And thrice three times tye vp this true loues knot.
And murmur soft, shee will, or shee will not.

Goe burn these poys'nous weedes in yon blew fire,
These Screech-owles fethers and this prickling bryer;
This Cypresse gathered at a dead mans graue j
That all thy feares and cares, an end may haue.

Then come, you Fayries, dance with me a round;
Melt her hard hart with your melodious sound : lo

In vaine are all the charms I can deuise:
She hath an Arte to breake them with her eyes.

XIX.

Be thou then my beauty named.
Since thy will is to be mine :

For by that am I enflamed,
Which on all alike doth shine.

Others may the light admire,

I onely truely feele the fire.

But if lofty titles moue thee,
Challenge then a Sou'raignes place:

Say I honour when I loue thee ;
Let me call thy kindnesse grace. lo

State and Loue things diuers bee.

Yet will we teach them to agree.

lOM M

lyo The Third Booke of Ayres.

Or if this be not sufficing;
Be thou stil'd my Goddesse then :

I will loue thee sacrificing;
In thine honour, Hymnes He pen.

To be thine, what canst thou more?

He loue thee, serue thee, and adore.

XX.

Fire, fire, fire, fire.

Loe here I burne in such desire

That all the teares that I can straine

Out of mine idle empty braine

Cannot allay my scorching paine.

Come Trent, and Humber, and fayre Thames;

Dread Ocean, haste with all thy streames :
And if you cannot quench my fire,
O drowne both mee and my desire.

Fire, fire, fire, fire.
There is no hell to my desire.
See, all the Riuers backward flye,
And th' Ocean doth his waues deny.
For feare my heate should drink them dry.
Come, heau'nly showres, then, pouring downe;
Come you that once the world did drowne :
Some then you spar'd, but now saue all.
That else must burne, and with mee fall.

XXI.

O sweet delight, O more than humane blisse,

With her to liue that euer louing is;

To heare her speake, whose words so well are plac't,

That she by them, as they in her are grac't :
Those lookes to view, that feast the viewers eye.
How blest is he that may so liue and dye !

Such loue as this the golden times did know,
When all did reape, yet none tooke care to sow :
Such loue as this an endlesse Summer makes.
And all distaste from fraile affection takes.

So lou'd, so blest, in my belou'd am I ;

Which till their eyes ake, let yron men enuy.

The Third Booke of Ayres. 171

XXII.
Thus I resolue, and time hath taught me so;
Since she is fayre and euer kinde to me,
Though she be wilde and wanton-like in shew,
Those little staines in youth I will not see.
That she be constant heauen I oft implore:
If pray'rs preuaile not, I can doe no more.

Palme tree the more you presse, the more it growes:
Leave it alone, it will not much exceede. .
Free beauty if you striue to yoke, you lose.
And for affection strange distaste you breede. lo

What Nature hath not taught, no Arte can frame :
Wilde borne be wilde still, though by force made tame.

XXIII.
Come, O come, my lifes delight.
Let me not in langour pine :

Loue loues no delay; thy sight,
The more enioy'd, the more diuine :
O come, and take from mee
The paine of being depriuM of thee.

Thou all sweetnesse dost enclose.
Like a little world of blisse.

Beauty guards thy lookes : the Rose
In them pure and eternall is. lo

Come, then, and make thy flight
As swift to me as heau'nly light.

XXIIIL

Could my heart more tongues implpy
Than it harbors thoughts of griefe,

It is now so farre from ioy,
That it scarce could aske reliefs.

Truest hearts by deedes vnkinde

To despayre are most enclin'd.

Happy mindes that can redeeme
Their engagements how they please ;

That no ioyes, or hopes esteeme,
Halfe so pretious as their ease. lo

Wisedom should prepare men so

As if they did all foreknow.
M 2

172 The Third Booke of Ayres.

Yet no Art or Caution can
Growne affections easily change;

Vse is such a Lord of Man
That he brookes worst what is strange.

Better neuer to be blest

Than to loose all at the best.

XXV.

Sleepe, angry beauty, sleep, and feare not me.

For who a sleeping Lyon dares prouoke ?

It shall suffice me here to sit and see

Those lips shut vp that neuer kindely spoke.
What sight can more content a louers minde
Then beauty seeming harmlesse, if not kinde?

My words haue charm'd her, for secure shee sleepes;

Though guilty much of wrong done to my loue ;

And in her slumber, see, shee, close-ey'd, weepes :

Dreames often more then waking passions moue. 10

Pleade, sleepe, my cause, and make her soft like thee,
That shee in peace may wake and pitty mee.

XXVL

Silly boy, 'tis ful Moone yet, thy night as day shines clearely;
Had thy youth but wit to feare, thou couldst not loue so dearely.
Shortly wilt thou mourne when all thy pleasures are bereaued;
Little knowes he how to loue that neuer was deceiued.

This is thy first mayden flame, that triumphes yet vnstaynedj
All is artlesse now you speake, not one word yet is fayned ;
All is heau'n that you behold, and all your thoughts are blessed ;
But no Spring can want his Fall, each Troylus hath his Cresseid.

Thy well-order'd lockes ere long shall rudely hang neglected;
And thy liuely pleasant cheare reade griefe on earth deiected. 10
Much then wilt thou blame thy Saint, that made thy heart so

holy,
And with sighs confesse, in loue, that too much faith is folly.

Yet be iust and constant still; Loue may beget a wonder,
Not vnlike a Summers frost, or Winters fatall. thunder.
He that holds his Sweet-hart true vnto his day of dying,
Liues of all that euer breath'd most worthy the enuying.

The Third Booke of Ayres. 173

XXVII.

Neuer loue vnlesse you can

Beare with all the faults of man :

Men sometimes will iealous bee,

Though but little cause they see;
And hang the head, as discontent,
And speake what straight they will repent.

Men that but one Saint adore.

Make a shew of loue to more :

Beauty must be scorn'd in none,

Though but truely seru'd in one: to

For what is courtship, but disguise?

True hearts may haue dissembling eyes.

Men when their affaires require,

Must a while themselues retire:

Sometimes hunt, and sometimes hawke.

And not euer sit and talke.

If these, and such like you can beare,
Then like, and loue, and neuer fear.

XXVIII.

So quicke, so hot, so mad is thy fond sute,

So rude, so tedious growne, in vrging mee.

That faine I would with losse make thy tongue mute.

And yeeld some little grace to quiet thee:
An houre with thee I care not to conuerse.
For I would not be counted too peruerse,

But roofes too hot would proue for men all fire ;

And hils too high for my vnused pace ;

The groue is charg'd with thornes and the bold bryer ;

Gray Snakes the meadowes shrowde in euery place : lo

A yellow Frog, alas, will fright me so.

As I should start and tremble as I goe.

Since then I can on earth no fit roome finde.
In heauen I am resolu'd with you to meete,
Till then, for Hopes sweet sake, rest your tir'd minde,
And not so much as see mee in the streete :
A heauenly meeting one day wee shall haue.
But neuer, as you dreame, in bed, or graue.

174 ^^^ 'Third Booke of Ay res.

XXIX.

Shall I then hope when faith is fled?
Can I seeke loue when hope is gone?

Or can I liue when Loue is dead?
Poorely hee Hues, that can loue none.
Her vowes are broke, and I am free;
Shee lost her faith in loosing mee.

When I compare mine owne euents.
When I weigh others like annoy;

All doe but heape vp discontents
That on a beauty build their ioy.

Thus I of all complaine, since shee
All faith hath lost in loosing mee.

So my deare freedome haue I gain'd.
Through her:vnkindnesse and disgrace,

Yet could I euer liue enchain'd.
As shee my seruice did embrace.

, But shee is chang'd, and I am free :
Faith failing her, Loue dyed in mee.

The Fourth Booke of Ayres, 175

TO MY WORTHY FRIEND,

M*" lohn Mounson, Sonne and Heyre to
Sir Thomas Mounson, Knight and Baronet,

On you th' affections of your Fathers Friends,
With his Inheritance by right descends;
But you your graceful! youth so wisely guide
That his you hold, and purchase much beside.
Loue is the fruit of Vertue, for whose sake
Men onely liking each to other take.
If sparkes of vertue shin'd not in you then,
So well how could you winne the hearts of men ?
And since that honour and well-suted Prayse
Is Vertues Golden Spurre, let mee now rayse lo

Vnto an act mature your tender age;
This halfe commending to your Patronage,
Which from your Noble Fathers, but one side,
Ordain'd to doe you honour, doth diuide.
And so my loue betwixt you both I part.
On each side placing you as neare my heart

Yours euer,

Thomas Campian,

TO THE READER.

The Apothecaries haue Bookes of Gold, whose leaves being opened
are so light as that they are subiect to be shaken with the least breath, 20
yet rightly handled, they serue both for ornament and vse ; such are
light Ayres. But if any squeamish stomackes shall checke at two or
three vaine Ditties in the end of this Booke, let thempowre off the clear-
est, and leaue those as dregs in the bottome. Howsoeuer, if they be but
conferred with the Canterbury Tales of that venerable /•(?«/ Chaucer,
they will then appeare toothsome enough. Some words are in these
Bookes, which haue beene cloathed in Musicke by others, and I am
content they then serued their turne : yet giue mee now leaue to make
vse of mine owne. Likewise you may finde here some three or four
Songs that haue beene published before, but for them, I referre you 30
to the Flayers Bill, that is stiled. Newly reuiued, with Additions, /<';■
you shall finde all of them reformed, eyther in Words or Notes. To
be brief e, all these Songs are mine, if you expresse them well, otherwise
they are your owne. Farewell,

Yours, as you are his,

Thomas Campian.

176 The Fourth Booke of Ayres.

Leaue prolonging thy distresse :

All delayes afflict the dying.

Many lost sighes long I spent, to her for mercy crying ;

But now, vaine mourning, cease :

He dye, and mine owne griefes release.

Thus departing from this light

To those shades that end all sorrow.

Yet a small time of complaint, a little breath He borrow.

To tell my once delight

I dye alone through her despight. k

II.

Respect my faith, regard my seruice past;
The hope you wing'd call home to you at last.
Great prise it is that I in you shall gaine,
So great for you hath been my losse and paine.

My wits I spent and time for you alone,

Obseruing you and loosing all for one.

Some rais'd to rich estates in this time are,

That held their hopes to mine inferiour farre :

Such, scofifing mee, or pittying me, say thus.

Had hee not lou'd, he might haue liu'd like vs. n

O then, deare sweet, for loue and pitties sake
My faith reward, and from me scandall take.

III.
Thou ioy'st, fond boy, to be by many loued :
To haue thy beauty of most dames approued ;
For this dost thou thy natiue worth disguise
And play'st the Sycophant t'obserue their eyes;

Thy glass thou councel'st more t'adorne thy skin.
That first should schoole thee to be fayre within.

'Tis childish to be caught with Pearle, or Amber,
And woman-like too much to cloy the chamber;
Youths should the Field affect, heate their rough Steedes,
Their hardned nerues to fit for better deedes. i

Is't not more ioy strong Holds to force with swords
Than womens weakenesse take with lookes or words?

The Fourth Booke of Ayres. 177

Men that doe noble things all purchase glory :
One man for one braue Act haue prou'd a story :
But if that one tenne thousand Dames o'ercame,
Who would record it, if not to his shame ?
'Tis farre more conquest with one to liue true
Then euery houre to triumph Lord of new.

nil.

Vaile, loue, mine eyes ; O hide from me
The plagues that charge the curious minde :
If beauty priuate will not be,
SufiSce it yet that she proues kinde.

Who can vsurp heau'ns light alone?

Stars were not made to shine on one !

Griefes past recure fooles try to heale,

That greater harmes on lesse inflict,

The pure offend by too much zeale,

Affection should not be too strict. lo

He that a true embrace will finde.
To beauties faults must still be blinde.

V.
Eu'ry Dame affects good fame, what ere her doings be,
But true prayse is Vertues Bayes which none may weare but she.
Borrow'd guise fits not the wise, a simple look is best;
Natiue grace becomes a face, though ne'er so rudely drest.

Now such new found toyes are sold, these women to disguise.

That before the yeare growes old the newest fashion dyes.

Dames of yore contended more in goodnesse to exceede.
Then in pride to be enui'd, for that which least they neede:
Little Lawne then seru'd the Pawne, if Pawne at all there were ;
Home-spun thread, and houshold bread then held out all the
yeare. lo

But th'attyres of women now weare out both house and land ;

That the wiues in silkes may flow, at ebbe the Good-men stand.

Once agen, Astraa, then, from heau'n to earth descend,
And vouchsafe in their behalf these errours to amend :
Aid from heau'n must make all eeu'n, things are so out of frame ;
For let man striue all he can, hee needs must please his Dame.

Happy man, content that giues and what hee glues, enioyes ;

Happy Dame, content that lives, and breakes no sleepe for
toyes.

lyS The Fourth Booke of Ay res.

VI.

So sweet is thy discourse to me,
And so delightfull is thy sight,

As I taste nothing right but thee.
O why inuented Nature light?

Was it alone for beauties sake,

That her grac't words might better take?

No more can I old ioyes recall :
They now to me become vnknowne,
Not seeming to haue beene at all.
Alas, how soone is this loue growne to

To such a spreading height in me
As with it all must shadowed be !

VII.

There is a Garden in her face,
Where Roses and white Lillies grow;

A heau'nly paradice is that place,
Wherein all pleasant fruits doe flow.

There Cherries grow, which none may buy

Till Cherry ripe themselues doe cry.

Those Cherries fayrely doe enclose
Of Orient Pearle a double row ;

Which when her louely laughter showes,
They look like Rose-buds fill'd with snow. lo

Yet them nor Peere nor Prince can buy,

Till Cherry ripe themselues doe cry.

Her Eyes like Angels watch them still;
Her Browes like bended bowes doe stand,

Threatning with piercing frownes to kill
All that attempt with eye or hand

Those sacred Cherries to come nigh,

Till Cherry ripe themselues doe cry.

VIII.

To his sweet Lute Apollo sung the motions of the Spheares ;
The wondrous order of the Stars, whose course diuides the yeares ;

And all the Mysteries aboue:

But none of this could Midas moue.
Which purchast him his Asses eares.

The Fourth Booke of Ayres. 179

Then Pan with his rude Pipe began the Country-wealth

t' aduance ;
To boast of Cattle, flocks of Sheepe, and Goates, on hils that
dance,
With much more of this churlish kinde,
That quite transported Midas minde.
And held him rapt as in a trance. lo

This wrong the God of Musicke scorned from such a sottish

ludge,
And bent his angry bow at Pan, which made the Piper trudge :
Then Midas head he so did trim
That eu'ry age yet talkes of him
And Phabus right reuenged grudge.

IX.

Young and simple though I am,
I haue heard of Cupids name :
Guesse I can what thing it is
Men desire when they doe kisse.
Smoake can neuer burne, they say,
But the flames that follow may.

I am not so foule or fayre
To be proud, nor to despayre;
Yet my lips have oft obserued :
Men that kiss them press them hard,

As glad lovers vse to do

When their new-met loves they woo.

Faith, 'tis but a foolish minde,
Yet me thinkes, a heate I finde.
Like thirstlonging, that doth bide
Euer on my weaker side,

Where they say my heart doth moue.

Venus, grant it be not loue.

If it be, alas, what then ?

Were not women made for men?

As good 'twere a thing were past.

That must needes be done at last.
Roses that are ouer-blowne,
Growe lesse sweet, then fall alone.

1 8 o The Fourth Booke of Ayres.

Yet nor Churle, nor silken Gull,
Shall my Mayden blossome pull :
Who shall not I soone can tell;
Who shall, would I could as well :

This I know, who ere hee be,

Loue hee must, or flatter me. 30

Loue me or not, loue her I must or dye;
Leaue me or not, follow her needs must I.
O that her grace would my wisht comforts giue.
How rich in her, how happy should I Hue !

All my desire, all my delight should be.
Her to enioy, her to vnite to mee:
Enuy should cease, her would I loue alone:
Who loues by lookes, is seldome true to one.

Could I enchant, and that it lawfull were,
Her would I charme softly that none should heare.
But loue enforc'd rarely yeelds firme content;
So would I loue that neyther should repent.

XI.

What meanes this folly, now to braue it so,

And then to vse submission?
Is that a friend that straight can play the foe?

Who loues on such condition?

Though Bryers breed Roses, none the Bryer affect :

But with the flowre are pleased.
Loue onely loues delight and soft respect :

He must not be diseased.

These thorny passions spring from barren breasts.

Or such as neede much weeding.
Loue only loues delight and soft respect;

But sends them not home bleeding.

Command thy humour, striue to giue content.

And shame not loues profession.
Of kindnesse neuer any could repent

That made choyce with discretion.

The Fourth Booke of Ayres. 1 8 1
xii.

Deare if I with guile would guild a true intent
Heaping flattries that in heart were neuer meant:
Easely could I then obtaine

What now in vaine I force;
Fals-hood much doth gaine,
Truth yet holds the better course.

Loue forbid that through dissembling I should thriue,
Or in praysing you, my selfe of truth depriue:
Let not your high thoughts debase

A simple truth in me; lo

Great is beauties grace,
Truth is yet as fay re as shee.

Prayse is but the winde of pride, if it exceedes;
Wealth, pris'd in it selfe, no outward value needes.
Fayre you are, and passing fayre;

You know it, and 'tis true :
Yet let none despayre

But to finde as fayre as you.

XIII.

O Loue, where are thy Shafts, thy Quiuer, and thy Bow?
Shall my wounds onely weepe, and hee vngaged goe?
Be iust, and strike him, too, that dares contemne thee so.

No eyes are like to thine, though men suppose thee blinde.
So fayre they leuell when the marke they list to finde:
Then, strike, 6 strike the heart that beares the cruell minde.

Is my fond sight deceiued? or do I Cupid spye.
Close ayming at his breast, by whom despis'd I dye?
Shoot home, sweet Loue, and wound him, that hee may not
flye.

O then we both will sit in some vnhaunted shade, lo

And heale each others wound which Loue hath iustly made :
O hope, 6 thought too vaine, how quickly dost thou fade !

At large he wanders still, his heart is free from paine.
While secret sighes I spend, and teares, but all in vaine :
Yet, Loue, thou know'st, by right, I should not thus complaine.

1 8 2 The Fourth Booke of Ayres.

XIIII.

Beauty is but a painted hell :

Aye me, aye me,
Shee wounds them that admire it,
Shee kils them that desire it.

Giue her pride but fuell,

No fire is more cruell.

Pittie from eu'ry heajrt is fled :

Aye me, aye me,
Since false desire could borrow
Teares of dissembled sorrow.
Constant vowes turn truthlesse,
Loue cruele, Beauty ruthlesse.

Sorrow can laugh, and Fury sing :
Aye me, aye me.

My rauing griefes discouer

I liu'd too true a louer:

The first step to madnesse
Is the excesse of sadnesse.

XV.

Are you, what your faire lookes expresse?

O then be kinde :
From law of Nature they digresse

Whose forme sutes not their minde:
Fairenesse scene in th' outward shape.
Is but th' inward beauties Ape.

Eyes that of earth are mortall made.

What can they view?
All's but a colour or a shade,

And neyther alwayes true.
Reasons sight, that is etefne.
Eu'n the substance can discerne.

Soule is the Man; for who will so

The body name?
And to that power all grace we owe
That deckes our lining frame.
What, or how had housen bin,
But for them that dwell therein ?

The Fourth Booke of Ayres. 183

Loue in the bosome is begot,

Not in the eyes; so

No beauty makes the eye more hot,

Her flames the spright surprise:
Let our louing minds then meete,
For pure meetings are most sweet.

XVI.

Since she, eu'n she, for whom I liu'd.
Sweet she by Fate from me is tome,

Why am not I of sence depriu'd.
Forgetting I was euer borne?

Why should I languish, hating light?

Better to sleepe an endlesse night.

Be't eyther true, or aptly fain'd,
That some of Lethes water write,

'Tis their best med'cine that are pain'd
All thought to loose of past delight. lo

O would my anguish vanish so !

Happy are they that neyther know.

xvn.

I must complain, yet doe enioy my Loue;

She is too faire, too rich in louely parts :

Thence is my grief, for Nature, while she stroue

With all her graces and diuinest Arts
To form her too too beautifuU of hue,
Shee had no leasure left to make her true.

Should I, agrieu'd, then wish shee were lesse fayre?

That were repugnant to mine owne desires :

Shee is admir'd, new louers still repayre ;

That kindles daily loues forgetfuU fires. lo

Rest, iealous thoughts, and thus resolue at last,
Shee hath more beauty then becomes the chast.

XVHL

Think'st thou to seduce me then with words that haue no

meaning ?
Parats so can learne to prate, our speech by pieces gleaning :
Nurces teach their children so about the time of weaning.

184 The Fourth Booke of Ay res.

Leame to speake first, then to wooe : to wooing, much per-

tayneth :
Hee that courts vs, wanting Arte, soon falters when he fayneth,
Lookes a-squint on his discourse, and smiles, when hee com-

plaineth.

SkilfuU Anglers hide their hookes, fit baytes for euery season;
But with crooked pins fish thou, as babes doe that want reason ;
Gogions onely can be caught with such poore trickes of treason.

Ruth forgiue me, if 1 err'd, from humane hearts compassion, 10
When I laught sometimes too much to see thy foolish fashion :
But, alas, who lesse could doe that found so good occasion !

XIX.

Her fayre inflaming eyes,

Chiefe authors of my cares,
I prai'd in humblest wise
With grace to view my teares :
They beheld me broad awake,
But alasse, no ruth would take.

Her lips with kisses rich.

And words of fayre delight,
I fayrely did beseech.
To pitty my sad plight:

But a voyce from them brake forth,
As a whirle-winde from the North.

Then to her hands I fled.

That can giue heart and all;
To them I long did plead,
And loud for pitty call :
But, alas, they put mee off".
With a touch worse then a scoffie.

So backe I straight return'd.

And at her breast I knock'd;
Where long in vaine I mourn'd.
Her heart so fast was lock'd:
Not a word could passage finde,
For a Rocke inclos'd her minde.

The Fourth Booke of Ayres. 185

Then downe my pray'rs made way

To those most comely parts,
That make her flye or stay,
As they affect deserts :

But her angry feete, thus mou'd.

Fled with all the parts I lou'd. 30

Yet fled they not so fast,
As her enraged minde:
Still did I after haste.
Still was I left behinde;
Till I found 'twas to no end,
With a Spirit to contend.

XX.

Turne all thy thoughts to eyes.
Turn al thy haires to eares,
Change all thy friends to spies,
And all thy ioyes to feares :
True Loue will yet be free.
In spite of lealousie.

Turne darknesse into day,
Coniectures into truth,
Beleeue what th' enuious say.
Let age interpret youth:

True loue will yet be free.
In spite of lealousie.

Wrest euery word and looke,
Racke eu'ry hidden thought,
Or fish with golden hooke;
True loue cannot be caught.
For that will still be free,
In spite of lealousie.

XXI.

If any hath the heart to kill.
Come rid me of this woefuU paine.
For while I Hue I suffer still
This cruell torment all in vaine :
Yet none aliue but one can guesse
What is the cause of my distresse.

N

I 8 6 The Fourth Booke of Ayres.

Thanks be to heau'n, no grieuous smart,
No maladies my limbes annoy;

I beare a sound and sprightfull heart,
Yet liue I quite depriu'd of ioy :

Since what I had in vaine I craue,

And what I had not now I haue.

A Loue I had, so fayre, so sweet.

As euer wanton eye did see :
Once by appointment wee did meet :

Shee would, but ah, it would not be :
She gaue her heart, her hand shee gaue;
All did I giue, shee nought could haue.

What Hagge did then my powers forespeake,
That neuer yet such taint did feele!

Now shee reiects me as one weake,
Yet am I all compos'd of Steele.

Ah, this is it my heart doth grieue:

Now though shee sees, shee'le not belieue.

XXII.
Beauty, since you so much desire
To know the place of Cupids fire.
About you somewhere doth it rest,
Yet neuer harbour'd in your brest,
Nor gout-like in your heele or toe;
What foole would seeke Loues flame so low?
But a little higher, but a little higher,
There, there, 6 there lyes Cupids fire.

Thinke not, when Cupid most you scorne.
Men iudge that you of Ice were borne ;
For though you cast loue at your heele.
His fury yet sometime you feele:
And where-abouts if you would know,
I tell you still not in your toe :
But a little higher, but a little higher.
There, there, 6 there lyes Cupids fire.

XXIII.
Your faire lookes vrge my desire:

Calme it, sweet, with loue.
Stay ; 6 why will you retire ?

Can you churlish proue?

The Fourth Booke of Ayres. 187

If loue may perswade,

Loues pleasures, deare, deny not :
Here is a groue secur'd with shade:

O then be wise, and flye not.

Harke, the Birds dehghted sing.

Yet our pleasure sleepes : lo

Wealth to none can profit bring,

Which the miser keepes :
O come, while we may,

Let's chayne Loue with embraces;
Wee haue not all times time to stay,

Nor safety in all places.

What ill finde you now in this.

Or who can complaine?
There is nothing done amisse

That breedes no man payne. ao

'Tis now flow'ry May,

But eu'n in cold December,
When all these leaues are blowne away.

This place shall I remember.

XXIIIL
Faine would I wed a faire yong man that day and night could

please mee,
When my mind or body grieued that had the powre to ease

mee.
Maids are full of longing thoughts that breed a bloudlesse

sickenesse.
And that, oft I heare men say, is onely cur'd by quicknesse.
Oft I haue beene woo'd and prai'd, but neuer could be moued ;
Many for a day or so I haue most dearely loued.
But this foolish mind of mine straight loathes the thing resolued ;
If to loue be sinne in mee that sinne is soone absolued.
Sure I thinke I shall at last flye to some holy Order;
When I once am setled there then can I flye no farther. lo
Yet I would not dye a maid, because I had a mother:
As I was by one brought forth I would bring forth another.

FINIS.

N 2

ANEW WAY

OF MAKING FOWRE

parts in Counter-point ^hy a

mod familiar, and infallible

RVLE.

Secondly, a neccflary diCcomCe of KeyeS)
and chcir proper Chjes.

Thirdly, the allowed paflagcs of all Comordi
perfedl or frnpcrfeAjare declared.

.\^lfo hy X9(ff of Prefice^ themttireofthe Scale is
exprejfed, with a britfe Method ttAchtng to Stng.

ByTno; Campi on.

London :
Printed byT*. .y. for lohn Browne, and are to be
fold at his Ihop in Saint DHitftanu Church-yardi
in Fleetdrccr,

TO THE FLOWRE

OF PRINCES, CHARLES,

PRINCE OF GREAT

B R I T T A I N E.

The first inuentor of Musicke (most sacred Prince,) was by olde
records Apollo, a King, who, for the benefit which Mortalls receiued
from his so diuine inuention, was by them made a God. Dauid a
Prophet, and a King, excelled all men in the same excellent Art.
What then can more adorne the greatnesse of a Prince, then the
knowledge thereof? But why should I, being by profession a
Physition, offer a worke of Musicke to his Highnesse ? Galene either
first, or next the first of Physitions, became so expert a Musition,
that he could not containe himselfe, but needes he must apply all
the proportions of Musicke to the vncertaine motions of the pulse.
Such far-fetcht Doctrine dare I not attempt, contenting my selfe
onely with a poore, and easie inuention ; yet new and certaine ;
by which the skill of Musicke shall be redeemed from much dark-
nesse, wherein enuious antiquitie of purpose did inuolue it. To
your gratious hands most humbly I present it, which if your
Clemency will vouchsafe fauourably to behold, I haue then attained
to the full estimate of all my labour. Be all your dales euer
musicall (most mighty Prince) and a sweet harmony guide the
euents of all your royall actions. So zealously wisheth

Your Highnesse

most humble seruanf,
Tho: Campion.

THE PREFACE.

There is nothing doth trouble, and disgrace our Traditionall
Musition more then the ambiguity of the termes of Musicke, if he
cannot rightly distinguish them, for they make him vncapable of any
rationall discourse in the art hee professeth : As if wee say a lesser
Third consists of a Tone, and a Semi-tone ; here by a Tone is ment
a perfect Second, or as they name it a whole note : But if wee aske in
what Tone is this or that song made, then by Tone we intend the key
which guides and ends the whole song. Likewise the word Note is some-
times vsed proprely, as when in respect of the forme of it, we name it

lo a round or square Note ; in regard of the place we say, a Note in
rule or a Note in space ; so for the time, we call a Briefe or Sem-
briefe a long Note, a Crotchet or Quauer a short note. Sometime the
word Note is otherwise to be understood, as when it is, signum pro
signato, the signefor the thing signified : so we say a Sharpe, or flat
Note, meaning by the word Note, the sound it signifies ; alsoweterme
a Note high, or low, in respect of the sound. The word Note simply
produced hath yet another signification, as when we say this is
a sweet Note, or the Note I like, but not the words, wee then meane
by this word Note, the whole tune, putting the part for the whole: but

20 this word Note with addition, is yet far otherwise to be vnderstood,
as when we say a whole Note, or a halfe Note ; we meane a perfect
or imperfect Second, which are not Notes, but the seuerall distances
betweene two Notes, the one being double as much as the other ;
and although this kinde of calling them a whole and a halfe Note,
came in first by abusion, yet custome hath made that speech now
passable. In my discourse of Musicke, I haue therefore striued to
be plaine in my tearmes, without nice and vnprofitable distinctions, as
that is of tonus maior, and tonus minor, and such like, whereof
there can be made no vse.

30 In like manner there can be no greater hinderance to him that
desires to become a Musition, then the want of the true vnderstanding
of the Scale, which proceeds from the errour of the common Teacher,
who can doe nothing without the olde Gam-vt, in which there is but
one Cliffe, and one Note and yet in the same Cliffe he wil sing re and
sol, // is most true that the first inuention of the gam-vt was

The Preface. 193

a good inuention, but then the distance of Musicke was cancelled
within the number of twenty Notes, so were the sixe Notes
properly inuented to helpe youth in vowelling, but the liberty of the
latter age hath giuen Musicke more space both aboue and below,
altering thereby the former naming of the Notes: the curious
obseruing whereof hath bred much vnnecessary difficultie to the
learner, for the Scale may be more easily and plainely exprest by
foure Notes, then by sixe, which is done by leauing out Vt and Re.

The substance of all Musicke, and the true knowledge of the scale,
consists in the obseruations of the halfe note, which is expressed either lo
by Mi Fa, or La Fa, and they being knowne in their right places,
the other Notes are easily applyed vnto them.

To illustrate this I will take the common key which we call
Gam-vt, both sharpe in Bemi and flat, as also flat in Elami, and
shew how with ease they may be expressed by these foure Notes,
which are Sol, La, Mi, Fa.

r shall neede no more then one eight for all, and that I haue
chosen to be in the Base, because all the vpper eights depend vpon
the lowest eight, and are the same with it in nature ; then thus
first in the sharpe : ao

First obserue the places of the halfe Notes, which are marked with
a halfe circle, and remember that if the lowest be Mi Fa, the vpper
halfe Note is La Fa, and contrariwise if the lowest halfe Note be La
Fa, the vpper must be Mi Fa.

It will giue great light to the vnderstanding of the Scale, if you
trye it on a Lute, or Voyall,for there you shall plainely perceiue that
there goe two frets to the raising of a whole Note, and but one to
a halfe Note, as on the Lute in this manner the former eight may be
expressed.

Z^S.Z^£

rt T

.a f> t X

Here you may discerne that betweene A. and C. andC. andE. is 30
interposed a fret, which makes it double as much as E. and F. which
is marktfor the halfe Note, so the whole Note you see containes in it

194 The Preface.

the space of two halfe Notes, as A.C. being the whole Note, containes
in it these two halfe Notes, A.B. and B.C.

Now for the naming of the Notes, let this be a generall rule, aboue
Fa, euer to sing Sol, and to sing Sol euer under La.

Here in the flat Gam-vt, you may finde La Fa below, and Mi Fa
aboue ; which on the Lute take their places thus :

slS.

.^s.y^J-

7%e lower halfe Note is between C. and D. the higher betweene E.
and A. but next let vs examine this key as it is flat in Elami, which
being properly to be set in Are, so is it to be sung with ease, La
lo instead of "Ke, being the right limits of this eight.

Mi Fa here holds his place below, and La Fa aboue but yet
remoued a Note lower : The same on the Lute.

^jlz:5.j.

X y>i

^JL.

You shall here finde the vpper halfe note placed a fret lower then
it was in the example of the flat Gam-vt which was set downe next
before, by reason of the flat in Elami, which makes that whole Note
but halfe so much as it was being sharpe.

This is an easie way for him that would eyther with ayde of

a teacher, or by his owne industrie learne to sing, and if hee shall well

beare in minde the placing of the halfe Notes, it will helpe him much

20 in the knowledge of the cords, which haue all their variety from the

halfe Note.

Of Counterpoint.

The parts of Musicke are in all but foure, howsoeuer some
skilfuU Musitions haue composed songs of twenty, thirty, and
forty parts : for be the parts neuer so many, they are but one of
these foure in nature. The names of those foure parts are these.
The Base which is the lowest part and foundation of the whole
song : The Tenor, placed next aboue the Base : next aboue the
Tenor the Meane or Counter- Tenor, and in the highest place the
Treble. These foure parts by the learned are said to resemble
the foure Elements, the Base expresseth the true nature of the
earth, who being the grauest and lowest of all the Elements, is as lo
a foundation to the rest. The Tenor is likened to the water, the
Meane to the Aire, and the Treble to the Fire. Moreouer, by how
much the water is more light then the earth, by so much is the Aire
lighter then the water, and Fire then Aire : They haue also in
their natiue property euery one place aboue the other, the lighter
vppermost, the waightiest in the bottome. Hauing now demon-
strated that there are in all but foure parts, and that the Base is
the foundation of the other three, I assume that the true sight
and iudgement of the vpper three must proceed from the lowest,
which is the Base, and also I conclude that euery part in nature 20
doth affect his proper and naturall place as the elements doe.

True it is that the auncient Musitions who entended their
Musicke onely for the Church, tooke their sight from the Tenor,
which was rather done out of necessity then any respect to the
true nature of Musicke : for it was vsuall with them to haue
a Tenor as a Theame, to which they were compelled to adapt
their other parts. But I will plainely conuince by demonstration
that contrary to some opinions the Base containes in it both the
Aire and true iudgement of the Key, expressing how any man at
the first sight may view in it all the other parts in their originall 30
essence.

In respect of the variety in Musicke which is attained to by
farther proceeding in the Arte, as when Notes are shifted out of
their natiue places, the Base aboue the Tenor, or the Tenor
aboue the Meane, and the Meane aboue the Treble, this kinde

196

Of Counterpoint.

of Counterpoint, which I promise, may appeare simple and onely
fit for young beginners (as indeede chiefly it is) yet the right
speculation may giue much satisfaction, euen to the most skilfuU,
laying open vnto them, how manifest and certaine are the first
grounds of Counterpoint.

First, it is in this case requisite that a formall Base, or at least
part thereof be framed, the Notes, rising and falling according to
the nature of that part, not so much by degrees as by leaps of
a third, fourth, or fift, or eight, a sixt being seldome, a seauenth
10 neuer vsed, and neyther of both without the discretion of a skilfuU
Composer. Next wee must consider whether the Base doth rise
or fall, for in that consists the mistery : That rising or that felling
doth neuer exceed a fourth, for a fourth aboue, is the- same that
a fift is ynderneath, and a fourth vnderneath is as a fift aboue, for
example, if a Base shall rise thus :

r^i^H

£i=£

The first rising is said to be by degrees, because there is no
Note betweene the two Notes, the second is by leaps, for G. skips
ouer A. to B. and so leaps into a third, the third example also
leaps two Notes into a fourth. Now for this fourth if the Base
30 had descended from G. aboue to C. vnderneath, that descending
fift in sight and vse had beene all one with the fourth, as here
you may disceme, for they both begin and end in the same keys :
thus

G C

This rule likewise holds if the Notes descend a second, third, or
fourth ; for the fift ascending is all one with the fourth descending,
example of the first Notes.

jjrft'?:

S

—

Of Counterpoint.

197

The third two Notes which make the distance of a fourth, are
all one with this fift following

G D

:t:

"" GO

But let vs make our approach yet neerer. If the Base shall
ascend either a second, third, or fourth, that part which stands in
the third or tenth aboue the Base, shall fall into an eight, that
which is a fift shall passe into a third, and that which is an eight
shall remoue into a fift.

But that all this may appeare more plaine and easie, I haue
drawne it all into these sixe figures.

sfiTT

LiJjJJLl

Though you finde here onely mentioned and figured a third, 10
fift and eight, yet not onely these single concords are ment, but
by them also their compounds, as a tenth, a twelfth, a fifteenth,
and so vpward, and also the vnison as well as the eight.

This being graunted, I will giue you example of those figures
prefixed : When the Base riseth, beginning from the lowest figure,
and rising to the vpper ; as if the Base should rise a second, in
this manner.

e||iE?£*

Then if you will beginne with your third, you must set your
Note in Alamire, which is a third to Ffavt, and so looke vpward,
and that cord which you see next aboue it vse, and that is an 20
eight in Gsolrevt.

After that, if you will take a fift to the first Note, you must
looke vpward and take the third you finde there for the second
Note. Lastly if you take an eight for the first Note, you must
take of the second Note the corde aboue it, which is the fift.

198

Of Counterpoint.

Example of all the three parts added to the Base.
_ 8_J

Trthle. tJ--0— 5i-
Mtane,

zi2!=:aztz:-::~=:

tzt-ill-zz—z:

Textr. \

t^i==i

'IT*. Hi:Eir:zEIz:z::z:=

What parts arise out of the rising of the second; the same
answere in the rising of the third and fourth, thus :

85 85

Treile. HrEil0:jzj:zE~I :S

'• itE?E?=!iiEEEE3E

3 8. . 3 8

Tenor. = tl$I$:Hz=I=:

This riseth a third, this riseth a fourth.

Ht

m

Albeit any man by the rising of parts, might of himselfe con^
ceiue the same reason in the falling of them, yet that nothing may

Of Counterpoint.

199

be thought obscure, I will also illustrate the descending Notes by
example.

If the Base descends or falls, a second, third, or. fourth, or
riseth a lift (which is all one as if it had fallen a fourth, as has
beene shewed before) then looke vpon the sixe figures, where in
the first place you shall finde the eight which descends into the
third, in the second place the third descending into the fift, and in
the third and last place the fift which hath vnder it an eight.

rS:

8383 83

« 58 58 y 8

MeMe.

TeHor,

Thus much for the rising and falling of the Base in seuerall ;
now I will give you a briefe example of both of them mixed 10
together in the plainest fashion, let this straine serue for the Base :

^^-"V-S-f — -Ai-V- -{r

The first two Notes fall a second, the second and third Notes fall
a fift, which you must call rising a forth, the third iand forth Notes
rise a fift which you must name the fourth faUing, the fourth and
fift Notes rise a second, the fift and sixt notes fall a third, the sixt
and seauenth Notes also fall a third, the seauenth and eight rise a
second, the eight and ninth Notes rise a fourth, the ninth and
tenth fall a fourth, the tenth andeleuenth Notes fall a fift, which
you must reckon rising a fourth.

200

Of Counterpoint.

Being thus prepared, you may chuse whether you will begin
with an eight, a fift, or a third ; for as soone as you haue taken
any one of these, all the other Notes follow necessarily without
respect of the rest of the parts, and euery one orderly without
mixing, keeps his proper place aboue the other, as here you may
easily disceme :

838383538 38

-fc — :

ililiiliii^

Mimt.

585 85 838585

Let vs examine onely one of the parts, and let that be the
Tenor, because it stands next to the Base. The first Note in B,
is a third to the Base, which descends to the second Note of the

10 Base: now looke among the sixe figures, and when you haue
found the third in the vpper place, you shall finde vnder it a fift^
then take that fift which is C. : next from F. to B. below, is a fift
descending, for which say ascending, and so you shall looke for
the fift in the lowest row of the figures, aboue which stands a third
which is to be taken ; that third stands in D. : then from B. to F,
the Base rises a fift, but you must say falling, because a fift rising
and a fourth falling is all one, as hath beene often declared before ;
now a third when the Base falls requires a fift to follow it : But
what needes farther demonstration when as he that knowes his

30 Cords cannot but conceiue the necessitie of consequence in all
these with helpe of those sixe figures ?

But let them that haue not proceeded so farre, take this note
with them concerning the placing of the parts ; if the vpper part
or Treble be an eight, the Meane must take the next Cord vnder

Of Counterpoint.^

201

it, which is a fift, and the Tenor the next Cord vnder that, which
is a third. But if the Treble be a third, then the Meane must
take the eight, and the Tenor the fift. Againe, if the vpper-
most part stands in the fift or twelfe, (for in respect of the learners
ease, in the simple Concord I conclude all his compounds) then
the Meane must be a tenth, and the Tenor a fift* Moreouer, all
these Cords are to be scene in the Base, and such Cords as stand
aboue the Notes of the Base are easily knowne, but such as in
sight are found vnder it, trouble the young beginner; let him
therefore know that a third vnder the Base, is a sixt aboue it, and
if it be a greater third, it yeelds the lesser sixt aboue ; if the lesser
third, the greater sixt. A fourth vnderneath the Base is a fift
aboue, and a fift vnder the Base is a fourth aboue it. A sixt be-
neath the Base is a third aboue, and if it be the lesser sixt, then
is the third aboue the greater third, and if the greater sixt vnder-
neath, then is it the lesser third aboue; and thus far haue I
digressed for the Schollers sake.

If I should discouer no more then this already deciphered of
Counter-point, wherein the natiue order of foure parts with vse of
the Concords, is demonstratiuely expressed, might I be mine
owne ludge, I had effected more in Counterpoint, then any man
before me hath euer attempted, but I will yet proceed a little
farther. And that you may perceiue how cunning and how cer-
taine nature is in all her operations, know that what Cords haue
held good in this ascending and descending of the Base answere
in the contrary by the very same rule, though not so formally as
the other, yet so, that much vse is and may be made of this sort
of Counter-point. To keepe the figures in your memorie, I will
here place them againe, and vnder them plaine examples.

ITTTT

202 Of Counterpoint.

38 58 38 83 83

85

In these last examples you may see what variety nature offers
of her selfe; for if in the first Rule the Notes follow not in
expected formality, this second way being quite contrary to
the other, affords vs suflScient supply: the first and last two
Notes rising and falling by degrees, are not so formall as the
rest, yet thus they may be mollified, by breaking two of the
first Notes.

8 y s

-^.

zitz=i±.

iiggi^i

S 8

iSS

^:==«

■ i i> ~»ii ■»

[i:5=:=:0=dfr

How both the waies may be mixed together, you may perceiue
by this next example, wherein the blacke Notes distinguish
10 the second way from the first.

Of Counterpoint.

203

3 5 3

§5ft*™^^^^

8 3 «

|zS|:?y=|£yz|E

r$-$: -r

J 8 5

In this example the fift and sixt Notes of the three vpper parts
are after the second way, for from the fourth Note of the Base,
which is in from G. and goeth to B. is a third rising, so that
according to the first rule, the eight should passe into a fift,
the fift into a third, the third into an eight : but here contrariwise
the eight goes into a third, the fift into an eight, and the third
into a fift ; and by these Notes you may censure the rest of that
kinde.

Though I may now seeme to haue finished all that belongs
to this sort of Counterpoint, yet there remaines one scruple, 10
that is, how the sixt may take place here, which I will also
declare. Know that whensoeuer a sixt is requisite, as in B. or in
E. or A. the key being in Gamvt, you may take the sixt in stead
of the fift, and vse the same Cord following which you would haue
taken if the former cord had beene a fift example.

o 2

204

Of Counterpoint.

The sixt in both places (the Base rising) passes into a third, as
it should haue done if the sixt had beene a fift. Moreouer if
the Base shall vse a sharpe, as in F. sharpe ; then must we take
the sixt of necessity, but the eight to the Base may not be vsed,
so that exception is to be taken against our rule of Counterpoint ;
To which I answere thus, first, such Bases are not true Bases,
for where a sixt is to be taken, either in F. sharpe, or in E. sharpe,
or in B. or in i4. the true Base is a third lower, F. sharpe in D.,
E. in C, B. in G., A. in F., as for example.

W^

^ElE|E?Ep

In the first Base two sixes are to be taken, by reason of the
imperfection of the Base, wanting due latitude, the one in E.
the other in F. sharpe, but in the second Base the sixes are
remoued away and the Musicke is fuller.

Neuerthelesse, if any be pleased to vse the Base sharpe, then
in stead of the eight, to the Base hee may take the third to the
Base, in this manner.

Of Counterpoint.

205

Here the Treble in the third Note, when it should haue past
into the sharpe eight in F. takes for it a third to the Base in A.
which causeth the Base and Treble to rise two thirds, whereof
we will speake hereafter.

Note also that when the Base stands in E. flat, and the part
that is an eight to it must passe into a sharpe or greater third,
that this passage from the flat to the sharpe would be vnformall ;
and therefore it may be thus with small alteration auoided, by
remouing the latter part of the Note into the third aboue, which
though it meets in vnison with the vpper part, yet it is right good,
because it iumps not with the whole, but onely with the last halfe
of it.

Example.

I . . 1

Trtiie.

Meant \

glig||li|ig

8 3

For the second example looke hereafter in the rule of thirds,
but for the first example here : if in the Meane part the third Note
that is diuided, had stood still a Minum (as by rule it should) and
so had past into F. sharpe, as it must of force be made sharpe at
a close, it had beene then passing vnformall.

2o6

Of Counterpoint.

But if the same Base had beene set in the sharpe key, the rest
of the parts would haue falne out formall of themselues without
any helpe, as thus :

TrthU

But if the third Note of the Base in E. flat had been put in his
place of perfection, that is in C. a third lower then the other parts
would haue answered fitly, in this manner.

Trthlt-

Mctme,

T*nort

Safet

flS — _ -- -— I-} — »'<fi<

!i=!?:|:EJ:'~rI:
5;:t::«;fclJ;:::r:|(:

When the Base shall stand still in one key, as aboue it doth in
the third Note, then the other parts may remoue at their pleasure.

Moreouer it is to be obserued that in composing of the Base,
lo you may breake it at your pleasure, without altering any of the
other parts : as for example.

Of Counterpoint.

207

Tmer.

platne,

,. iiiipilflfllil

One other obseruation more I will handle that doth arise out
of this example, which according to the first rule may hold thus :

|lE*3rzrE5z$3S

fzr::le-rzirfc

r;3;~--4-~T--2Z'"f"-
*-— ei— — ••5— »•— l-i«

Herein are two errours, first in the second Notes of the
Base and Treble, where the third to the Base ought to haue
been sharpe, secondly in the second and third Notes of the same
parts, where the third being a lesser third, holds while the Base
falls into a fift which is vnelegant, but if the vpper third had beene

208

Of Counterpoint,

the greater third, the fift had fitly followed, as you may see in the
third and fourth Notes of the Tenor and the Base.

But that scruple may be taken away by making the second
Note of the Treble sharpe, and in stead of a fift by remouing the
third Note into a sixt ;

Example.

H~Esx jE5zix$z :z:

There may yet be more variety afforded the Base, by ordering
the fourth Notes of the vpper parts according to the second rule,
thus :

i=lilE|s

wf..

iil=§i8

But that I may (as neere as I can) leaue nothing vntoucht

Of Counterpoint.

209

concerning this kinde of Counterpoint, let vs now consider how
two thirds being taken together betweene the Treble and the Base,
may stand with our Rule. For sixes are not in this case to be
mentioned, being distances so large that they can produce no
formality; Besides the sixt is of it selfe very imperfect, being
compounded of a third which is an imperfect Concord, and of
a fourth which is a Discord : and this the cause is, that the sixes
produce so many fourths in the inner parts. As for the third it
being the least distance of any Concord, is therefore easily to be
reduced into good order. For if the Base and Treble doe rise
together in thirds, then the first Note of the Treble is regular with
the other part, but the second of it is irregular; for by rule
in stead of the rising third, it should fall into the eight. In
like sort if the Base and Treble doe fall two thirds, the first Note
of the Treble is irregular, and is to be brought into rule by being
put into the eight, but the second Note is of it selfe regular.
Yet whether those thirds be reduced into eights or no ; you shall
by supposition thereof finde out the other parts, which neuer
vary from the rule but in the sharpe Base. But let mee explaine
my selfe by example.

ipiiliiiilli

|3$|i$gi|$||||g^^^

The first two Notes of the Treble are both thirds to the Base,
but in the second stroke,' the first Note of the Treble is a third,
and the second, which was before a third, is made an eight, onely
to shew how you may finde out the right parts which are to be
vsed when you take two thirds betweene the Treble and the Base :

* i. e. bar.

2IO

Of Counterpoint,

For according to the former rule, if the Base descends, the third
then in the Treble is to passe into the eight, and the meane must
first take an eight, then a fift, and the Tenor a fift, then a third,
and these are also the right and proper parts if you retume
the eight of the Treble into a third againe, as may appeare in the
first example of the Base falling, and consequently in all the rest.
But let vs proceed yet farther, and suppose that the Base shall
vse a sharpe, what is then to be done ? as if thus :

i^si""

\tz.ir^

ftE?Ea

H——^ •*—•»«

Fir-i?»-$*S-— ~—^

it=^==;

If you call to minde the rule before deliuered concerning the
10 sharpe Base, you shall here by helpe thereof see the right parts,
though you cannot bring them vnder the rule : for if the first Note
of the Base had been flat, the Meane part should haue taken
that, and so haue descended to the fift; but being sharpe you
take for it (according to the former obseruation) the third to the
Base, and so rise vp into the fift. The Tenor that should take
a fift, and so fall by degrees into a third, is heere forced by reason
of the sharpe Base, for a fift to take a sixt and so leap downeward
into the third. And so much for the thirds.

Lastly in fauour of young beginners let me also adde this, that
JO the Base intends a close as often as it riseth a fift, third or second
and then immediately either falls a fift, or riseth a fourth. In like
manner if the Base falls a fourth or second : and after falls a fift,
the Base insinuates a close, and in all these cases the part must
hold, that in holding can vse the fourth or eleauenth, and so passe
eyther into the third or tenth.

Of Counterpoint. 2 1 1

Thai, or thus. Thus, orthu&

5ir~Tx=^

IftizOrizizizzzzrJ

Thus, or thus. Thus, or thus.

iiliilijt|||ii|i3i|i^^^

x — -3

>

%

Thus

.1.,

^— -r

-d

5£l:Ei:

S:?:f:=:

or thus

t--»^

^r:i-T:s —

z;:^:ii:x;:z:S: zzzz^zzz:: z^z::^—;;;:;

In the examples before set downe I left out the closes, of
purpose that the Cords might the better appeare in their proper
places, but this short admonition will direct any young beginner
to helpe that want at his pleasure. And thus I end my treatise of
Counterpoint both briefe and certaine, such as will open an easie
way to them that without helpe of a skilful Teacher endeauour to
acquire the first grounds of this Arte.

212

Of Counterpoint.

A shorte Hymne, Composed after this forme of Counterpoint, to shew
how well it will become any Diuine, or graue Subiect.

O^

ifii!^iEi!i^;l^^^^

Lord haue mercy vpoa race, O hearemy pca^n both

^^ Lord haue mncv voon mee. O heare mv Dtavrt bat

Lord haue mercy rpoa mre, O heare my pray rs both

Lord hsue mere vvBOn met. O hrare mv nravn bal

0=

Lord haue mercy vpon mee, O heare my prayn both

s

^m^m

Lord haae mercy vpon mee, O heare my prayrsi both

iii^li^^^§

ESEi

-H-

day aad flight, with tearcipour'd forth to thee.

ifi|=^|i5g$^^^^

day and night,vti(h cearespoHt'd forth to thee.

iEii^i=i==il=giiS

day and night, with teares pour'J ioith to thee.

day and night, with t^ires pour'd forth to th'ce*

In this Aire the last Note onely is, for sweetnesse sake, altered
from the rule, in the last Note of the Treble, where the eight
being a perfect Concord, and better befitting an outward part at
the Close, is taken for a third, and in the Tenor in stead of the fift,
that third is taken descending, for in a middle part, imperfection
is not so manifest as in the Treble at a close which is the
perfection of a song.

Of the Tones of 3\dusicke.

Of all things that belong to the making vp of a Musition,
the most necessary and vsefuU for him is the true knowledge
of the Key or Moode, or Tone, for all signifie the same thing,
with the closes belonging vnto it, for there is no tune that can haue
any grace or sweetnesse, vnlesse it be bounded within a proper key,
without running into strange keyes which haue no affinity with the
aire of the song. I haue therefore thought good in an easie and
briefe discourse to endeauour to expresse that, which many in large
and obscure volumes haue made fearefuU to the idle Reader.

The first thing to be herein considered is the eight which
is equally diuided into a fourth, and a fift as thus :

^r-rr--^± ^— ^-^^'--^

S

a^zifc

Here you see the fourth in the vpper place, and the fift in the
lower place, which is called Modus authentus : but contrary thus :

- de 8 <C

4'y I •

M^ 4 "

This is called Modus plagalij, but howsoeuer the fourth in the
eight is placed, wee must haue our eye on the fift, for that onely
discouers the key, and all the closes pertaining properly thereunto.
This fift is also diuided into two thirds, sometimes the lesser third
hath the vpper place, and the greater third supports it below,
sometimes the greater third is higher, and the lesser third rests in
the lowest place, as for example : 20

^

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214 Of the Tones of Musicke.

The lowest Note of this fift, beares the name of the Key, as if
the eight be from G. to G. the fift from G. beneath to D. aboue,
G. being the lowest Note of the fift, showes that G. is the key, and
if one should demaund in what key your song is set, you must
answere in Gamvt, or Gsolrevt, that is in G.

If the compasse of your song shall fall out thus :

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Respect not the fourth below, but looke to your fift aboue, and
the lowest Note of that fift assume for your key, which is C. then
diuide that fift into his two thirds, and so you shall finde out all
10 the closes that belong to that key.

The maine and fundamentall close is in the key it selfe, the
second is in the vpper Note of the fift, the third is in the vpper
Note of the lowest third, if it be the lesser third, as for example,
if the key be in G. with B. flat, you may close in these three
places.

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The first close is that which maintaines the aire of the key, and
may be vsed often, the second is next to be preferd, and the last,
last.

But if the key should be in G. with B: sharpe, then the last
20 close being to be made in the greater or sharpe third is vnproper,
and therfore for variety sometime the next key aboue is ioyned
with it, which is A. and sometimes the fourth key, which is C. but
these changes of keyes must be done with iudgement j yet haue I
aptly closed in the vpper Note of the lowest third of the key, the

Of the Tones of Musicke. 215

key being in F. and the vpper Note of the third standing in A. as
you may perceiue in this Aire :

I

IpiSpiliiiii

In this aire the first close is in the vpper note of the fift, which
from F. is C. the second close is in the vpper Note of the
great third, which from F. is A.

But the last and finall close is in the key it selfe, which is F, as
it must euer be, wheresoeuer your key shall stand, either in G. or
C. or F. or elsewhere, the same rule of the fift is perpetuall, being
diuided into thirds, which can be but two waies, that is, eyther
when the vpper third is lesse by halfe a Note then the lower, or lo
when the lower third containes the halfe Note, which is Mi Fa, or
La Fa.

If the lower third containes the halfe Note it hath it eyther
aboue as La Mi Fa : La Mi, being the whole Note, and Mi Fa
but halfe so much, that is the halfe Note ; or else when the halfe
Note is vnderneath as in Mi Fa Sol: Mi Fa, is the halfe Note, '
and Fa Sol is the whole Note; but whether the halfe Note
be vppermost or lowermost, if the lowest third of the fift be
the lesser third, that key yeelds familiarly three closes ; example of
the halfe Note, standing in the vpper place was shewed before, 20
now I will set downe the other.

2 1 6 Of the Tones of Mustek^.

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But for the other keyes that diuide the fift, so that it hath the
lesse third aboue, and the greater vnderneath, they can challenge
but two proper closes, one in the lowest Note of the fift which is the
fundamentall key, and the other in the.vppermost Note of the same
wherin also you may close at pleasure. True it is that the key next
aboue hath a great affinity with the right key, and may therefore as
I said before be vsed, as also the fourth key aboue the finall key.

Examples of both in two beginnings of Songs.

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In the first example A. is mixt with G. and in the second C. is
ioyned with G. as you may vnderstand by the second closes of both.

To make the key knowne is most necessary in the beginning of
a song, and it is best exprest by the often vsing of his proper fift,
and fourth, and thirds, rising or falling.

There is a tune ordinarily vsed, or rather abused, in our
Churches, which is begun in one key and ended in another,
quite contrary to nature ; which errour crept in first through the
ignorance of some parish Clarks, who vnderstood better how to
vse the keyes of their Church-doores, then the keyes of Musicke,

Of the Tones of Musicke. 217

at which I doe not much meruaile, but that the same should passe
in the booke of Psalmes set forth in foure parts, and authorised by
so many Musitions, makes mee much amazed : This is the tune.

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If one should request me to make a Base to the first halfe of
his aire, I am perswaded that I ought to make it in this manner :

Now if this be the right Base (as without doubt it is) what
a strange vnaireable change must the key then make from F. with
the first third sharp to G. with B. flat.

But they haue found a shift for it, and beginne the tune vpon
the vpper Note of the fift, making the third to it flat ; which is as lo
absurd as the other : For first they erre in rising from a flat
third into the vnison, or eight, which is condemned by the best
Musitions ; next the third to the fift, is the third which makes the
cadence of the key, and therefore affects to be shaipe by nature
as indeed the authour of the aire at the first intended it should
be. I will therefore so set it downe in foure parts according to
former Rule of Counterpoint.

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iiiiifiiiii

2 1 8 Of the Tones of Musicke.

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This was the Authors meaning, and thus it is lawfull to beginne
a song in the fift, so that you maintaine the aire of the song,
ioyning to it the proper parts, but for such dissonant and extra-
uagant errors as I haue iustly reprehended, I heartily wish they
should be remedied, especially in deuine seruice, which is deuoted
to the great authour of all harmony. And briefly thus for the
Tones,

Of the taking of all Concords^

perfect and imperfect.

Of all the latter writers in Musicke, whom I haue knowne, the
best and most learned, is Zethus Caluisius a Germane ; who out
of the choisest Authors, hath drawne into a perspicuous method,
the right and elegant manner of taking all Concords, perfect and
imperfect, to whom I would referre our Musitions, but that his
booke is scarce any where extant, and besides it is written in
Latine, which language few or none of them vnderstand. I am
therefore content for their sakes to become a Translator ; yet so,
that somewhat I wil adde ; and somewhat I will alter.

The consecution of perfect concords among themselues is easie;
for who knowes not that two eights or two fifts are not to be taken
rising or falling together, but a fift may eyther way passe into an
eight, or an eight into a fift, yet most conueniently when the one
of them moues by degrees, and the other by leaps, for when both
skip together the passage is lesse pleasant : The waies by degrees
are these.

I 3

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The fourth way is onely excepted against, where the fift riseth
into the eight, and in few parts it cannot well be admitted, but in ao
songs of many voices it is oftentimes necessary.

The passage also of perfect Concords into imperfect, eyther
rising or falling, by degrees or leaps, is easie, and so an vnison
may. passe into a lesser third, or a greater third; also into the
lesser sixt, but seldome into the greater sixt. A fift passeth into
the greater sixt, and into the lesser sixt; as also into the
greater or lesser third ; and so you must judge of their eights ;

P 2

2 2 o Of the taking of all Concords

for de octauis idem est iudicium, and therfore when you reade an
vnison, or a fift, or a third, or a sixt, know that by the simple
Concords, the Compounds also are meant.

Note here that it is not good to fall with the Base, being sharpe
in F. from an eight vnto a sixt.

As thus.

or thus.

But concerning imperfect cords, because they obserue not all
one way in their passages, we will speake of them seuerally, first
10 declaring what Relation not harmonicall doth signifie, whereof
mention will be made hereafter.

Relation or reference, or respect not harmonicall is Mi against
Fa in a crosse forme, and it is in foure Notes, when the one being
considered crosse with the other doth produce in the Musicke
a strange discord. Example will yeeld it more plaine.

12 3 4*5 6

The first Note of the vpper part is in jE/a«»«' sharpe, which being
considered, or referred to the second Note of the lower part, which

perfect and imperfect. 2 2 1

is Elami, made flat by the cromaticke flat signe, begets a false
second, which is a harsh discorde, and though these Notes sound
not both together, yet in few parts they leaue an offence in the
eare. The second example is the same descending, the third
is from Elami sharpe in the first Note of the lower part, to the
second note in the vpper part, it being flat by reason of the flat
signe, and so betweene them they mixe in the Musicke a false fift,
the same doth the fourth example, but the fift example yeelds
a false fourth; and the sixt a false fift.

There are two kindes of imperfect concords, thirds or sixes, and lo
the sixes wholy participate of the nature of the thirds ; for to the
lesser third which consists but of a whole Note and halfe, adde
a fourth, and you haue the lesser sixt; in like manner to the
greater third that consists of two whole Notes, adde a fourth, and
it makes vp the greater sixt ; so that all the difference is stil in the
halfe note according to that only saying. Mi Et Fa sunt tota
Musica. Of these foure we wil now discourse proceeding in order
from the lesse to the greater.

Of the lesser or imperfect third.

The lesser third passeth into an vnison, first by degrees when 20
both parts meete, then by leaps ascending or descending when
one of the parts stand still, but when both the parts leap or fall
together, the passage is not allowed.

The lesser 3. into the vnison. The passages not allowed.

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Secondly, the lesser third passeth into a fift, first in degrees
when they are seperated by contrary motions, then by leaps when
the lower part riseth by degrees, and the vpper part descends by
degrees, and thus the lesser tenth may passe into a fift. Lastly
both parts leaping, the lesser third may passe into a fift, so that
the vpper part doth descend by leap the distance of a lesser third.
Any other way- the passage of a lesser third into a fift, is disallowed.

30

2 2 2 Of the taking of all Concords

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Allowed.

Ditallowed.

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In the last disallowance, which is when the vpper part stands,
and the lower part falls from a lesser third to a fift, many haue
been deceiued, their eares not finding the absurdity of it : but as
this way is immusicall, so is the fall of the greater third in the
former manner, into a fift, passing harmonious ; in so much that
it is elegantly and with much grace taken in one part of a short
aire foure times, whereas had the fift beene halfe so often taken
with the lesser third falling, it would haue yeelded a most
vnpleasing harmony.

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perfect and imperfect. 223

He that will be diligent to know, and carefuU to obserue the
true allowances, may be bolde in his composition, and shall proue
quickly ready in his sight, doing that safely and resolutely which
others attempt tymerously and vncertainely, But now let vs
proceede in the passages of the lesser third.

Thirdly, the lesser third passeth into an eight, the lower part
descending by degrees, and the vpper part by leaps; but very
seldome when the vpper part riseth by degrees, and the lower part
falls by a leap.

Fourthly, the lesser third passeth into other Concords, as when
it is continued as in degrees it may be, but not in leaps. Also it
may passe into the greater third, both by degrees and leaps, as also
into the lesser sixt if one of the parts stand still. Into the great
sixt it sometime passeth, but very rarely.

8- ' 5

4

Lastly, adde vnto the rest this passage of the lesser third into
the lesser sixt, as when the lower part riseth by degrees, and the
vpper part by leaps.

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2 24 Of the taking of all Concords

Of the greater or perfect Third.

The greater or perfect third being to passe into perfect
Concords, first takes the vnison, when the parts ascend together,
the higher by degree, the lower by leap; or when they meete
together in a contrary motion, or when one of the parts stand still.
Secondly it passeth into a fift when one of the parts rests, as hath
beene declared before : or else when the parts ascend or descend
together one by degrees, the other by leaps ; and so the greater
tenth may passe into a fift; seldome when both parts leape
lo together, or when they seperate themselues by degrees ; and this
is in regard of the relation not harmonicall which falls in betweene
the parts. Thirdly, the greater third passeth into the eight by
contrary motions, the ypper part ascending by degree.

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The greater third may also passe into other Concords ; and
first into a lesser third, when the parts ascend or descend by
degrees, or by the lesser leaps. Secondly it is continued, but
rarely because it falls into Relation not harmonicall, thereby
making the harmony lesse pleasing. Thirdly, into a lesser sixt,
when the parts part asunder, the one by degree, the other by leap.
20 Fourthly, into a greater sixt one of the parts standing, or else the
vpper part falling by degree, and the lower by leap.

I 2 3

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perfect and imperfect, 225

Of the lesser Sixt.
The lesser sixt regularly goes into the fift, one of the parts
holding his place : Rarely into an eight, and first when the parts
ascend or descend together, and one of them proceeds by the
halfe Note, the other by leap.

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Howsoeuer the waies of rising and falling from the lesser sixt
into the dght in the former example may passe, I am sure that if
the Base be sharpe in ffavt, it is not tolleraljle to rise from a sixt
to an eight.

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Lastly, the lesser sixt may passe into an eight in Crotchets, for lo
they are easily tollerated.

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It passeth likewise into other Concords, as into a greater sixt the
parts rising or falling by degrees, as also into a greater or lesser
third, the one part proceeding by degree, the other by leap ; or
when one of the parts stands. It selfe it cannot follow, by reason
of the falling in of the Relation not harmonicall.

2 26 Of the taking of all Concords^ &'c.

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Of the greater Sixt.
The greater sixt in proceeding affects the eight; but it will
hardly passe into the fift, vnlesse it be in binding wise, or when way
is prepared for a close.

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Finally, the greater sixt may in degrees be continued, or passe
into a lesser sixt, as also into a greater third, or a lesser third.

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These are the principall obseruations belonging to the passages
of Concords, perfect and imperfect, in few parts ; and yet in those
few for fuge and formaHty sake, some dispensation may be
ro graunted. But in many parts, necessity enforcing, if any thing
be committed contrary to rule, it may the more easily be
excused, because the multitude of parts will drowne any small
inconvenience.

FINIS.

To face p. 226

A Dialogue sung the first night, the King being
at supper.

Tune thy chearefuU voyce to mine;

Musicke helpes digesting,
Musicke is as good as wine,

And as fit for feasting.
Melodic now is needfull here;
It will helpe to mend our cheare

loyne then, one icy expressing.
Here is a guest for whose content

All excesse were sparing
All to him present

Hourely new delights preparing.

loy. at thy board, health in thy dish,
Mirth in thy cup, and in thy bed
Soft sleepe and pleasing rest wee wish.

Earth and ayre and Sea consent

In thy entertaining.
All is old which they present

Yet all choice contayning.
Musick alone the soule can feast
It being new and well exprest;

loyne then sweet cords enchaining.
Could we to our wisht ends aspire

loy should crowne thy dishes
Proud is our desire

If thou dost accept our wishes.

loy at thy board, health in thy dish,

Mirth in thy cup, and in thy bed

Soft sleepe and pleasing rest wee wish.

230 Ay res sung and playd at

II.

Another Dialogue, to be sung at the same time.

Now is the time, now is the hower
When ioy first blest this happy Bower:
Here is a sight that sweetens euery sower.
So shines the Moon by night

So looks the Sun by day
Heauenly is his light
And neuer shal decay.

There is no voice enough can sing
The praise of our great King:
Fal showers of sweet delight,

Spring flowers of plesant mirth ;
What heauen hath beams that shine more bright?
Here heuen is now ; stars shine on earth.

In one all honor groweth

From one all comfort floweth

Dutie saith that to this one

All it hath it oweth.
Let then that one of all be praised

That hath our fortunes raised.

III.
The Kings Good-night,

Welcome, welcome. King of guests

With thy Princely traine.
With ioyful Triumphs and with Feasts
Be welcom'd home againe.

Frolicke mirth.

The soule of earth.
Shall watch for thy delight :

Knees shall bend

From friend to friend
While full cups doe thee right:
And so, great King, good-night.

Welcome, welcome as the Sunne

When the night is past:
With vs the day is now begunne

May it for euer last.

Brougham Castle. 231

Such a morne

Did nere adorne
The Roses of the East,

As the North

Hath now brought forth :
The Northerne morne is best.
And so, best King, good rest.

IIII.

Come follow me, my wandring mates,
Sonnes and daughters of the Fates :
Friends of night, that oft haue done
Homage to the homed Moone,
Fairely march, and shun not light,
With such stars as these made bright ;

Yet bend you low your curled tops.
Touch the hallowed earth, and then

Rise agen with anticke hops
Vnus'd of men.
Here no danger is, nor feare.
For true Honour harbours here,

Whom Grace attends.
Grace can make our foes our friends.

V.
A Ballad.

Dido was the Carthage Queene

And lou'd the Troian Knight
That wandring many coasts had scene

And many a dreadfull fight :
As they on hunting road, a shower
Drave them in a louing hower

Downe to a darksome caue
Where ySneas with his charmes
Lockt Queene Dido in his armes

And had what he could haue.

Dido Hymens Rites forgot,

Her loue was wing'd with haste.

Her honour shee considered not
But in her breast him plac't.

232 Ay res sung and playd at

And when her loue was new begunne
loue sent downe his winged Sonne

To fright j£neas sleepe;
Bad him by the breake of day
From Queene Dido steale away :

Which made her waile and weepe. so

Dido wept, but what of this?

The Gods would haue it so :
yEneas nothing did amisse,

For hee was forc't to goe,
Learne, Lordings, then, no faith to keepe
With your Loues, but let them weepe :

'Tis folly to be true:
Let this Story serue your turne.
And let twenty Didoes burne

So you get daily new. 30

VI.

The Dance.

Robin is a louely Lad,

No Lasse a smother euer had.

Tommy hath a looke as bright

As is the rosie morning light.

Tib is darke and browne of hue,

But like her colour, firme and true.

Ginny hath a lip to kisse

Wherein a spring of Nectar is.

Simkin well his mirth can place,

And words to win a womans grace. m

Sib is all in all to me.

There is no Queene of Loue but she.

Let vs in a louers round
Circle all this hallowed ground
Softly, softly trip and goe.
The lightfoot Fairies iet it so.
Forward then and backe againe,

Here and there and euerywhere,
Winding to and winding fro,
Skipping hye and lowting low; ao

And like louers hand in hand
March around and make a stand.

Brougham Castle. 233

VII.
A Song.
The shadowes darkning our intents

Must fade, and Truth now take her place :
Who in our right Egyptian race
A chaine of prophecies presents
With which the starry Skye consents,
And all the vnder-Elements.

Thou that art all diuine, giue eare,

And grace our humble Songs

That speak what to thy state belongs
Vnmasked now and cleare, lo

Which wee in seuerall straines diuide,
And Heauenborne Truth our Notes shall guide,
One by one while wee relate
That which shall tye both Time and Fate.

VIII.

Truth, sprung from heauen, shall shine

With her beames diuine

On all thy Land,
And there for euer stedfast stand

Louely peace.

Spring of increase
Shall like a precious gemme
Adome thy Royall Diademe,

Loue that bindes

Loyall mindes lo

Shall make all hearts agree
To magnifie thy state and thee.

Honour that proceeds

Out of noble deeds

Shall waite on thee alone,
And cast a sacred light about thy Throne.
Long shall thy three Crownes remaine
Blessed in thy long-liu'd raigne.
Thy age shall like fresh youth appeare,
And perpetuall Roses beare : aa

Many on earth thy dayes shall be,
But endlesse thy posteritie.
And matchlesse thy posteritie.

2 34 Ayres sung and play d^ &'c.

Truth, Peace, Loue, Honour and Long-life attend
Thee, and all those that from thy loynes descend:
With vs the angels in this Chorus meet;
So humbly prostrate at thy sacred feet,
Our nightly sports and prophesies wee end.

IX.
The Farewell Song.

O stay ! sweet is the least delay

When parting forceth mourning;
O loy ! too soone thy flowers decay :

From Rose to Bryer returning.
Bright beames that now shine here, when you are parted.
All will be dimme, all will be dumbe, and euery breast sad-hearted.

Yet more, for true loue may presume
If it exceede not measure.

O Griefe ! that blest houres soone consume.

But ioylesse pass at leasure. lo

Since wee this light must loose, our loue expressing:
Farre may it shine, long may it Hue, to all a publique blessing.

X.

The Lords Welcome, sung before the Kings

Goodnight.

Welcome is the word
The best loue can afford ;

For what can better be?
Welcome, Lords, the time drawes neare
When each one shall embrace his deare

And view the face hee longs to see.
Absence makes the houre more sweet
When diuided louers meet.
Welcome once againe.
Though too much were in vaine: lo

Yet how can loue exceed ?
Princely Guests, wee wish there were
loues Nectar and Ambrosia here

That you might like immortals feed.
Changing shapes like full-fed loue
In the sweet pursuit of loue.

FINIS.

THO: CAMPIANI

Ep I GRA MMAT VM
libri II.

Vmhra^,
EUgtarnm liler ivtms.

L O N D I N I

Excudcbat^. ^riffiitj
Anno Domini. i6ig.

THO: CAMPIANI

Epigrammatvm
Liber primus.

1 Ad Excelsissimum Florentissimumque

Carolvm, Magnae BRlTANNliE
Principem.

LvDiCRA qui tibi nunc dicat, olim (amplissime Princeps),

Grandior vt fueris, grandia forte canet,
Quseque genus celebrare tuum et tua lucida possunt

Facta, domi crescunt, siue patrata foris.
At tenues ne tu nimis (optime) despice musas ;

Pondere magna valent, parua lepore iuuant.
Regibus athletse spatijs grati esse solebant

Apricis ; nani ridiculique domi.
Magnus Alexander magno plaudebat Homero,

Suspiciens inter prselia ficta deos: lo

Caesar, maior eo, Romana epigrammata legit;

Sceptrigera qusedam fecit et ipse manu.
Talia sed recitent alij tibi (maxime Princeps);

Tu facias semper maxima, parua lege.
Enecat actiuam quia contemplatio vitam

Longa, breuis, necnon ingeniosa, fouet.

2 De libris suis.

Nuper cur natum libro praepono priori ?
Principis est aequum Principe stare loco.

3 Ad Ledorem.

Nee sua barbaricis Galeno scribere visum est,

In mensa nullum qui didicere modum;
Nee mea commendo nimium Lectoribus illis

Qui sine delectu vilia quaeque legunt.

4 In Neruam.

Ad coenam immunis propter ioca salsa vocatur
Nerua ; suum fas est lingere quemque salem.
Q 2

238 Epigrammatum

5 In Tabaccam.

Aurum nauta suis Hispanus vectat ab Indis,

Et longas queritur se subijsse vias.
Maius iter portus ad eosdem suscipit Anglus,

Vt referat fumos, nuda Tabacca, tuos :
Copia detonsis quos vendit Ibera Britannis,

Per fumos ad se vellera cal'da trahens.
Nee mirum est stupidos vitiatis naribus Anglos

Olfacere Hesperios non potuisse doles.

6 De auro potabili.

Pomponi, tantum vendis medicabilis auri,
Quantum dat fidei credula turba tibi :

Euadunt aliqui, sed non vi futilis auri ;
Seruantur sola certius ergo fide.

7 Ad Berinum.

Nomen traxit Amor suum, Berine,
A feruente mari, vnde diua mater
Est e fluctibus orta sals-amans,
(Verum viuida si refert vetustas),
Credo non sine ma.\ima procella.
Nee dici temere hoc putes, Berine;
Quippe instar maris sestuant amantes,
Ssepe et naufragium rei queruntur,
Plusque ilia fidei; vorax Charybdis
Mcecha est, et furia acrior marina.

8 In Villum.
Discursus cur te bibulum iam musaque fallit ?

Humectas mentis lampada, Ville, nimis.

9 In Neruam.

Fratres, cognatos, natos, et vtrunque parentem

Composuit constans Neruaque rectus adhuc;
Solus stirpe manens e tanta, sanguinis omne

lam decus in venis comprimit ille suis.
Ergo beatorum mensas vir prouidus ambit,

Inde sibi sanguis crescat vt vsque nouus.
lamque pater, mater, iam fratres, atque nepotes,

Spreto est externo sanguine, Nerua, tibi.

10 In Mathonem.
Ebrius vxorem duxit Matho, sobrius horret,

Cui nunc in sola est ebrietate salus.

11 De bona Fama.
Qui sapit in multis, vix desipuisse videri

Vila in re poterit; tam bona Fama bona est.

Liber Primus. 239

12 Ad Caluum.
Cantor saltatorque priori de ordine certant,

Calue ; sed ante choros musica nata fuit :
Dignior et motus animi quae temperat ars quam
Corporis est, quanto corpora mens melior.

13 Ad Cosmum.

Plena boni est mulier bona res pretiosaque, Cosme :
Rara sed esse nimis res pretiosa solet.

14 In Lycum.

Non ex officijs quse mutua gratia debet

Ferre per alternas atque referre vices,
Sed Lycus ex vsu priuato pendit amicos;

Nee tacet; et solus quod sapit, inde putat.
Pectore vir bonus et sapiens cemetur aperto;

Non itidem malus ; is, quod sapit, omne tegit :
Sis licet ex fructu nummorum iam, Lyce, diues,

Fictse ne speres fsenus amicitiae.

15 Ad Eurum.

Multum qui loquitur, si non sapit, idque vetustum est;
Caccula causidicus si sapit, Eure, nouum est.

16 Ad Hcedum.

In multis bene cum feci tibi, non bene nosti;
Si malefecissem, notior (Haede) forem.

17 In Barnum.

In vinum solui cupis Aufilena quod haurit,

Basia sic faelix, dum bibit ilia, dabisj
Forsitan attinges quoque cor; sed (Barne) matella

Exceptus tandem, qualis amator eris !

18 In Cacculam.
Caccula causidicus quid ni ditissimus esset?

Et loquitur nemo magis, et verba omnia vendit.

19 In Sabellum.
Nummos si repeto (Sabelle) rides;
Coenam si nego perfuris (Sabelle).
Vtrumuis pariter mihi molestum est :
In re non fero seria iocosuni ;

In re non fero serium iocosa.

20 In Sectorem zonarium.
Artifices inter Sector Zonarius omnes

Lucrum non fallax solus vbique facit;
Namque opera expleta, cuncta sine lite moraue,
Mercedem propria continet ille manu.

240 Epigrammatum

21 In Neruam.

Temperiem laudare tuam vis Neruaque tangi;

Ex tactu tepidus, Nerua, fatebor, eras.
Sed quid homo tepidus sonat Anglis ipse docebo;

Scilicet baud multum qui bonus aut malus est.

2 2 In Tuccam.

Non salue, sed solue tibi Lycus obuius infitj
Vrbanus sed tu nil nisi, Tucca, vale.

23 In Calum.

Colligit, et scriptos Calus in se ridet iambos :
Vix credas homini quam male dicta placent.

Inuidiamque viro ceu quid probat vtile magno ;
Quern metui potius quam placuisse iuuat;

Haec Calus: at Genius quandoque susurrat in aurem,
Est grauis Inuidise ssepe ruina comes.

24 In Marinam.

Docta minus, mcechis vt erat contenta duobus,

Sic etiam bigis vecta Marina fuit :
Nunc eadem solis agitur fastosa quadrigis.

Nunc igitur moechos bis capit ilia duos.

25 In Tatium.

Haud melior Tatio vir erat, nee amicior alter;

Hoc tolerabilior iam Calus ; aula docet.
Nam faciles nondum gustata potentia reddit,

Et prima prohibet plurima fronte pudor.
Simplicitate sua sic virgo educta pudice

Lusus declinat, verbaque nuda nimis:
Aptior haec tandem licet obtrectante labello

Basiolum discit reddere, parque pari;
Inde manum tangi patitur, tectasque mamillas.

Nee refugit quamuis arctior instat amans. 10

Ast Venerem simul ilia sapit, tacitosque Hymenaeos,

Inpune et iieri perdita quseque videt;
Perfricta quid non audebit denique fronte,

Aut quem nequitise ponet aperta modum?
Pessimus ex prauo sic nascitur aulicus vsu ;

Nee mirum, cui non imperat vna Venus.

26 In Acerrum.

Cautus homo est, et Acerrus habet quot lumina quondam
Argus, at haec dubie cuncta nihilue vident.

Liber Primus. 241

27 In Calum.

Ne quern nunc metuas in te atros scribere versus;

Nigrorem ^thiopi qui paret, ecquis erit?
Perfosso quid opus noua figere spicula corde?

Quis dabit in misera pocula dira phthisi?
Omnis cura tibi, Cale, sit de funere, tanquam

Mortuus, et speres iam bona verba licet.

28 Ad Licinium.

Vir bonus esse potest, Licini, cui foemina nulla
Imperat; at contra vir malus esse potest.

29 In Gaurum.

Causidicos in lite paras tibi, Gaure, peritos,

Quorum tu meritis munera nulla negas :
In morbo medicos contra conducis inertes,

Quamque potes minimo; sic tibi, Gaure, sapis?
Hseredi siquidem rem, vitam nemo relinquet;

Haeredi potius viuitur, anne tibi?

30 In Pardalum.

Ex quibus existunt animalia spagyrus ijsdem

Dicit ali; verum est, id ratioque docet.
Ex sale, mercurioque, et sulphure corpora constant,

Vt Paracelsiacse perstrepit aura scholse.
Pardalus idcirco Chymicus tumidusque professor,

Pro modico modium iam solet esse salis;
Idque agit assidue, magis vt se nutriat, inquit :

Sulphur sic vtinam mercuriumque voret.

31 In Coruinum.

Bassano multum debet Coruinus ; honorem

lure suo, gratum munificoque animum :
Bassanus ne hilum Coruino; qui male gratus

Cunctorum amisit mutua iura hominum.

32 In Histricum.

Tritas rogo cur habeat Histricus vestes;
An deficit res, aut fides? negat: qusero
Nouis quid obstet? vestiarium non fert.
Ait, qui adaptet sibi : timet titillari.

33 In Albium.

An te quod pueri in via salutent
Ignoti, grauis intumescis, Albi,
Incedens veluti nouus Senator,
Fixis vultibus, et gradu seuero?

242 Epigrammatum

Erras; non honor hie, metus profecto est;
Nam tristis ferulse memor puellus
Quid nt cogitet ex ineptiente
Ista te grauitate psedagogum ?

34 De Epigrammate.

Sicut et acre piper mordax epigramma palate
Non omni gratum est : vtile nemo negat.

35 In Coruinum.

Quis non te, Coruine, omni iam munere dignum

Et gratum exemplo te celebrante feret?
Nam Venerem tibi dat Galla, idque palam omnibus effers,

Tanti ne meriti non videare memor.

36 De Vtilitate.

Vtilis est nuUi semet qui negligit; omni
Vix vsquam spreta est vtilitate bonus.

37 In Neruam.

Vinum amat, horret aquam; qua visa Nerua recurrit,

Vt solet a rabido morsus, Amate, cane.
Porrecto vini cyatho fugitat canis; illi

Ostendas lympham quando fugare velis.

38 Ad Ponticum.

Argus habet natos sex, nullam, Pontice, natam;
Vulgo si credis, sobrius Argus homo est.

39 Ad Cosmum.

Versum qui semel vt generat nullum necat, idem
Non numeris gaudet, Cosme, sed innumeris.

40 De Henrico 4. Francorum Rege.

Henricum gladio qui non occidere posset,
Cultello potuit : parua timere bonum est.

41 Ad Sereniss. Annum Reginam.
Anna, tuum nomen si deriuetur ab anno,

Nominibus quadrant annua quaeque tuis :
Annua dona tibi debentur, et annua sacra ;
Atque renascendi per noua secla vices.

42 Ad eandem.

Quatuor Anna elementa refert, venerabile nomen ;

Diuisus partes, Anna, tot annus habet.
Anna retro est eadem, sed non reflectitur annus;

Hie in se moriens, salua sed ilia redit.

Liber Primus. 243

43 Ad Sereniss. Carolum Principem.

Scotia te genuit, cepit mox Anglia paruum;

Sed tu, quod spero, Carole, neuter eris.
Vnica te faciei nam magna Britannia magnum;

Nomina conueniunt factaque magna tibi.

44 Ad Augustiss. lacobum Regent.

Curta tuum cur hsec metuunt epigrammata nomen?
Debetur famse maxima musa tuae.

45 Ad Castricum.

Acceptum pro me perhibes te, Castrice, ludis
Admissum; pro te captus at eijcior:

Esse mei similem non est tibi causa dolendi,
Sed me tam similem poenitet esse tui.

46 Ad Rob. Carceum Equitem Auratum

nobilissinium.

Olim te duro cernebam tempore Martis,

In se cum fureret Gallia, qualis eras.
Teque, Carsee, diu florentem vidimus aula,

Dux, idem et princeps, dum tua cura fuit.
Vnus erat vitae tenor, et prudentia iuncta.

Cum grauitate tibi sic quasi nata foret :
Nee mutauit honos, nee te variabilis setas;

Qui nouit iuuenem, noscet itemque senem.

47 In Tuccam.

Consuluit medicum de cordis Tucca tremore ;
Morbum (proh) talem miles habere potest!

48 In Cacculam.

Vulgares medici tussi febrique medentur,

Et vitijs quorum causa cuique patet.
Morbi sed cerebri conuulso corpore, vel cum

Non mouet, exposcunt baud leuis artis opem.
Mmn\\xs hinc causam defendit Caccula nullam

Quae iusta, aut bona sit; pessima sola placet.
Hanc agit intrepide semper, victorque triumphat,

Tanquam is cuius ope est Attica pulsa lues.

49 De Terminis forensibus.

Anglorum lurisconsulti quatuor vno
Exposcunt anno, termini at ijs duo sunt:

Terminus a quo res trudunt, et terminus ad quem ;
Mutua qui sumunt nomina ssepe sua.

244 Epigrammatum

50 Ad Ponticum.

Conuiuas alios quaeras tibi, Pontice; coeno
Lautius atque hodie tutius ipse domi:

Nam me qui monuit vester modo rufus olebat
Ac si esset totus caseus, isque vetus,

Et tostus decies ; atqui hunc meus horret vteruis
Suffitum genius; Pontice, coeno domi.

51 In Tabaccam.

Cum cerebro inducat fumo hausta Tabacca stuporem,
Nonne putem stupidos quos vapor iste capit ?

52 Ad Sabellum.

Filia, siue uxor peccat, tua culpa, Sabelle, est;

Per se nulla bona est; nulla puella mala;
Soli debetur custodi fcemina quicquid

In vita spurce, siue decenter agit.

53 De Gauro.

Nil dum facit temere, nihil facit Gaurus.

54 In Acmen.

Est diues Titus, id fateris, Acme;
Et te coniugio expetit misellam ;
Ilium tu fugis, attamen beatum :
Quare? non sapit, inquis; et quid inde?
An si quis prior est Vlysse coelebs,
Non reddes, simul hunc sinu maritum
Complexa es, stolidum magis Batillo?

55 In Glaucum.

Debilis eunuchus sit, sit castratus oportet;
Tarn Glauco inuisum est omne virile genus.

56 In Laurentiam.

Imberbi, si cui, Laurentia nubere vouit,
Inuenit multos hsec sibi fama procos ;

Impubes omnes, mora quos in amore pilosos
Reddidit; ignoto sic perit ilia viro.

57 In Lalum.

M,6s,s Lalo amplae sat sunt, sed aranea telis

Immunis totas inficit, ille sinit.
Quoque magis numero crescunt, gaudet magis, vnus

Tetras bestiolas has amat atque fouet;
Non tamen vt bellas; nee quod medicina pusillis

Vulneribus tela est; toxica nulla facit.

Liber Primus. 245

Verum est cum muscis lis non medicabilis ; illas
Insequitur demens, omnimodeque necat;

Idque opus imposuit misero festiua puella,
Ala cui muscse laesus ocellus erat.

58 In Neruam.

Dissecto Neruae capite, baud (chirurge) cerebrum
Conspicis; eia, alibi quaere; vbi? ventriculo.

59 Ad Aprum.

Causidicus qui rure habitat, vicina per arua
Si cui non nocuit, iam benefecit, Aper.

60 Ad Pontilianum.

Qua celebrata Lyco fuerant sponsalia luce,
Captus homo tota mente repente fuit:

Idque velut monstri quid demiraris? at illo
Quis non insanit (Pontiliane) die?

61 Ad Berinum.

Vidisti cacodsemonem, Berine;
Qua tandem specie? canis nigri, inquis.
Vah ; dicam melius, canem figura
Vidisti cacodsemonis, Berine.

62 Ad Aulum.

Cum scribal nunquam Coruinus non satur, Aule,
Tantum ieiuni carminis vnde facit?

63 Ad Lauram.

Egregie canis, in solis sed, Laura, tenebris;
Nil bene fortassis non facis in tenebris,

64 Ad Ponticum.

Re nulla genio cum pigro (Pontice) noster

Consentit genius; sed velut ignis aquae
Miscetur, pariter suscepta negotia reptant

Inuite, pariter somnus vtrumque premit.
Mens hebet, herba velut, vicino infecta veneno,

Tota mihi; vel ceu flamma repressa furit.
Tale mihi tuus est solanum, Pontice, summus

Patronus Decius, nescio quale tibi.

65 De honore.

Qui plus quam vires tolerant subit amplior aequo,
Is merito dici possit honoris ovos.

246 Epigrammatum

66 Ad Salustium.

Hesterna tibi gratulor, Salusti,
De coena magis ob iocos inermes,
Et suaues animo calente risus,
Hausto non timide nouo rubello;
Quam de istis auibus quater sepultis,
Selectis dapibus tuo palato;
Qu3e mensa positae, sed expianda,
Efflauere stygem, suoque nostrum
Tetro nunc feriunt odore nasum.
Sed me reprimo quamlibet grauatum,
Nam res Candida fama mortuorum est.

67 In Cossum.

Condidit immense puerilia membra sepulchre

Filioli, multo marmore claustra tegens,
Cossus, quanta duos caperent satis ampla Typhaeos,

Solus consilij conscius ipse sui.
Ergo impar spectator opus miraturj at illud

Ingenium authoris ceu leuis vmbra refert :
^des qui tantas habitat miser, vt bene possent

Cum turba proceres sustinuisse duos.

68 De Nuptijs.

Rite vt celebres nuptias,

Dupla tibi face est opus;
Prsetendat vnam Hymen necesse,

At alteram par est amor.

69 Ad Guil. Camdenum.

Legi operosum iamdudum, Camdene, volumen,
Quo gens descripta et terra Britanna tibi est,

Ingenij fcelicis opus solidique laboris :
Verborum et rerum splendor vtrinque nitet.

Lectorem vtque pium decet, hoc tibi reddo merenti,
Per te quod patriam tarn bene nosco meam.

70 De suis.

Rerum quae noua nunc Britannicarum
Exorta est fades? Vetus recessit
Prorsus sobrietas; gula, insolensque
Cultu insania, futilisque pompa
Pessundant populum manu potentem ;
Sic pauci vt bene de suoque viuant;
Vixque ex omnibus inuenire quenquam est
Qui non accipit ipse foenus aut dat.

Liber Primus. 247

71 Ad Glaucwn.
Exemplo quicquid fit, iustum creditur esse;

Exemplis fiunt sed mala, Glauce, malis.

72 De Medicis.
Gnarus iudicat aurifex metalla,

Dat gemmis pretium at suum valorem :
Doctos sed medicos, bene et merentes,
Tantum ponderat imperita turba.

73 In Ligonem.
Inuideat quamuis sua verba Latina Britannis

Causidicis, docto nunc Ligo fertur equo.
Et medici partes agit vndique notus; Alenum
Scenarum melius vix puto posse decus.

74 De Senedute.

Est instar vini generosi docta senectusj
Quo magis annosa est, acrior esse solet.

75 Ad Caluum.
Insanos olim prior aetas dixit amantes;

Non sanos hodie dicere, Calue, licet.

76 Ad Maurum.

Perpulchre calam'o tua, Maure, epigrammata pingis;

Apparet chartis nulla litura tuis.
Pes seu claudus erit, seu vox incongrua, nunquam

Expungis quidquam; tam tibi pulchra placent.
Pulchra sed hsec oculis vt sint, tamen auribus horrent;

Horrida vox omnis, lusce, litura fuit.

77 In Cinnam.
Notos, ignotos, celsos, humilesque salutat

Cinna; ioco populi dicitur ergo salus.

78 In Tuccam.

Sit licet oppressus, licet obrutus sere alieno
Tucca, nihil sentit : quam sapit iste stupor !

79 In Neruam.

Coctos Nerua cibos crate aut sartagine torret
Vsque in carbonem; deliciasque vocat.

Quid potius cuperet quam carbonarius esse
Helluo inops, cui plus quam caro carbo placet?

80 Ad Eurum,

Solus pauper amat Macer beatas,
Lautas sed nimis atque fastuosas ;
Laudari cupit, Eure, non amari.

248 Epigrammatum

81 Ad Ponticuni.

Propria si sedes iecur est et fomes amoris,
Haud tuus esse potest, PonticCj sanus amor.

82 In Ligonem.

Ligo Latine vulnerariura potum
Dicere volebat; vuluerarium dixit.

83 In Dcedalum.

Parua te mare nauigasse cymba
Magnum, Daedale, praedicas; quid ad me
Cymba si styga transmees eadem?

84 Ad lustinianum.

Vir bonus et minime vis litigiosus haberi,

Et lites coram iudice mitis ais,
Non amo, nee temere cuiquam struo; gratia causae

Maior vt accedat (lustiniane) tuae.
Inuidiam, ah, nescis quantam tua Candida verba,

Quas inimicitias, quae tibi bella parant,
Quosue illic risus astantibus ipse moueres,

Damnans iuridicis vtile litis onus,
Quamque patet turbis bonitas tua : tres tibi scribent

Mane dicas aliqui ; mox alij atque alij ;
Nee succrescenti posthac a lite quiesces,

Idque alieno etiam iudice: iamne tremis?

85 In Cacculam.

Legis cum sensum peruertis; forsitan illud
lure facis, sed non, Caccula, iure bono.

86 Ad Papilum.

Papile, non amo te, nee tecum coeno libenter.
Nee tamen hoc merito fit, fateorque, tuo :

Sed nimis ore refers miscentem tristia Picum
Toxica, suspectum te tua forma facit:

Anguillam quisquis timet, esse banc autumat anguem
Et non esse sciat, cogitat esse tamen.

87 In Lycum^

Coniugio est iunctos qui separat execrandus;
Pugnantes dirimi non sinit ergo Lycus.

88 In Bostillum.
Magna Bostillus magnum se venditat aula;

Aulse magna tamen plus bouis olla capit.

Liber Primus, 249

89 Ad Eurum.

Non laute viuis, sed laete; negligis vrbem;

Attamen vrbani planus es, Eure, iocij
Tarn lepido tibi fit rus ipsa vrbanius vrbe,

Rusque tuum in se nil rusticitatis habet.

90 In Mathonem.

Martis vt aflfirmat, Veneris sed vulnere claudus
It Matho, scit morbum dissimulare suum ;

Et fictum narrat, medico indulgente, duellum ;
Prostrato inflictum sed sibi vulnus, ait.

91 In Myrtillam.

O dira pestis vtriusque Myrtilla
Sexus, liquescens dulcium ore Sirenum :
Parumne ducis credulos amatores
Si perdis omnes, artibus animos ijsdem
Quin optumarum poUuas puellarum,
Vt nulla propter te indole ex sua viuat
Simul aure putrida hauserit tuos cantus?
O pestis omni pestilentior peste !
Haud sseuijt adeo Atticis senex Cous
A moenibus quam depulit sacram tabem :
Madore nee quae languido Britannorum
Terrebat animos omnium noua strage;
Crebraue sternutatione quae lues longe
Grassata miseram solitudinem vidit;
Nee enim parem poeticis inaudire est
Scriptis, sed omnes vna pestis haec pastes
Superat, sit ilia vera, sit licet ficta.

92 In Pseudomedicum.

Inuento ex libro Medicus qui creditur esse;
Fortunae, non is filius artis erat.

93 Ad Mantalum.

Non satis est supra vulgus quod, Mantale, sentis,
Consilium si non exprimis ore graui.

Distinguit ratio a brutis, oratio sed nos
Inter nos, animae lux et imago loquens.

94 De Francisci Draci naue.
En Draci sicco tabescit littore nauis,

.^mula sed sphaerae, pulcher Apollo, tuae.
Ilia nam vectus vir clarus circuit orbem,

Thymbraeo et vidit vix loca nota deo.
Cuius fama recens tantum te praeterit, Argo,

Quantum mortalem Delia sphsera ratem.

250 Epigrammatum

95 In Morachum.

Mors nox perpetua est; mori proinde
Non suadet sibi nyctalops Morachus,
In solis titubans ne eat tenebris.

96 In obitum Hen: Mag: Brit: Principis.
Grandior et primis fatis post terga relictis,

Concipiens animo iam noua regna suo,
Princeps corripitur vulgari febre Britannus;

Hinc lapso vt coepit viuere flore peril.
Sic moriemur? ad haec ludibria nascimur? et spes

Fortunseque hominum tam cito corruerint?

97 De Fran: Draco.
Nomine Dracus erat signatus vt incolat vndas;

Dracum namque anatem lingua Eritanna vocat.

98 In obitum lacobi Huissij.
Heu non maturo mihi fato, dulcis Huissi,

Occidis, heu, annis digne Mathusalijs ;
Occidis ex morbo quern fraus et auara Synerti

Sseuitia ingenuit; cui mala multa viro
Det Deus; et, lachrymis quotquot tua funera flerunt

In diras versis, ira odioque necent.

99 In Bostillum,
Audijt vt cuculos comedi Bostillus in aula

Mcechus, abit metuens prospiciensque sibi.

100 In Fannium.
Hispani bibit indies lagenam
Vini Fannius; vsque cruditatem
Causatur stomachi; nouem decemue
Ante annis cucumem vnicum quod edit
Maturum minus; isthic, isthic vsque
Hserens ventriculum grauat, nee esse
Hispani immemorem sinit Lysei.

loi In Aprum.

Impurus, sexu nee Aper scortator in vno,

Cum lotij clausus forte meatus erat,
Sic perijt; misero sua facta vrina ruina est,

Et poense causa in pene nocente fuit.

102 Ad Caluum.

Non Anglos carnis defectu, Calue, bouinae

Caletum Galli deseruisse ferunt,
Sed condimenti quod profert acre Sinapi;

Hoc ioculoque sibi Gallia tota placet.
Coccineo banc hosti nuper cum dederet vrbem,

Neutrius Gallo copia, crede, fuit.

Liiber Primus. 251

103 In Coruinum.

Effodiat sibi, Calue, oculos Coruinus, Homero,
Vt sperat, similis non tamen esse potest.

104 In Cinnam.
Dsemonis efSgie compressit Cinna puellam-

Deinde sacerdotem se facit; atque fugat
Daemonium vt voluit; grauida sed virgine, nescit
Anne pater Daemon; vel sacer hospes erat.

105 Ad NcBuolam.
Ebrius occurrit quoties tibi Nseuola, vinum

Non nimium, dicis, sed bibit ille malum.

106 In Caluum.
Diuinas bona, Calue, tibi, sed sola futura

Semper; et hsec semper sola futura puto.

107 Ad Eurum.

Vocem Lyctus habet parem cicadis;

Aut qualem tenues feruntur vmbrse

Ad ripas stygis edere eiulantes.

Hunc si quis nouus audiat loquentem,

Exhaustum poterit phthisi putare;

Ipsum sin oculis metit, Cyclopum

Ceu spectans aliquem timebit auctis

Membris horribilem, atque ventricosum.

Vox tam disparilis fit vnde, dicam?

Sic, Eure, expediam : creasse mutum lo

Naturam voluisse credo Lyctum ;

Errantemque dedisse semimutum.

108 Ad eundem.

Mentem peruertit grauis vt iactura Metello,

Sic inopinatum Lysitelique lucrum.
Harum quae maior fuerit dementia quaeris?

Damna ferens; curas nam petit, Eure, duas.

109 Ad Ponticum.

Qualiscunque suam contemnit fcemina famam,
Nullum, etsi decies, Pontice, iurat, amat.

no In Lychen.

Graecia praeclare pulchras vocat dA,<^e(ri)8oias,
Quippe proci prestant munera, forma procos;

Sed formosa Lyche viuit neglecta; quot alma
Nam Cytherea trahit, fusca Minerua fugat.

252 Epigrammatum

111 In Floram,

Omnia consciolis, bona tantum narrat amanti
Flora; ita flaccescit fama, virescit amor.

112 Ad Areanam.

Quod sis casta (Areana) nego, deciesque negabo,

Credaris tota talis in vrbe licet.
Nam tuus insequitur dum putida scorta maritus,

Dum turpi, et vario ruptus amore perit :
Crede mihi quotquot noti meretricibus illis

Sunt homines, noti sunt, Areana, tibi :
Siue equites, seu magnatum de stemmate creti;

Ruris an vrbis erit ; pomifer, anne cocus ;
Omnes, mille licet, te sunt, 6 casta, potiti ;

Omnium et in morbos sic vitiata ruis.

113 Ad Ponticum.

Suspecto quid fure canes cum, Pontice, latrent
Dixissent melius, si potuere loqui?

114 Ad Labienum.

Nonnullis medicina placet noua, notaque sordet ;
Sed tutas praefer tu, Labiene, nouis.

115 In Album,

Quern vitae cursum, quam spem, sortemue sequaris,
Quserendo tremulus factus es, Albe, senex.

Sic tumulo mox vt nequeas inscribere Vixi ;
Embrioque, aut minus hoc, cum morieris, eris.

1 1 6 De Lycori et Berino.

Gratis non amat, et sapit Lycoris :
Mcechse dat nihil, et sapit Berinus.

117 Ad Galium.

Cum loqueris resoni prodit se putrida nasi
Pernicies : si vis, Galla, placere, tace.

118 In Neruam.

Et miser atque vorax optat sibi Nerua podagram,

Solis diuitibus qualis adesse solet.
Errat si putat id voti prodesse gulosis;

Nam quid lauta iuuat mensa, iacente fame?

119 Ad Ponticum.

Femina vindicta citiusne ardescit amore?
Phcebo, si dicis, Pontice, maior eris.

Liiber Primus, 253

120 Ad Labienum.
Vinum Theriacam magnam dixere vetusti

Authores; gratum est hoc, Labiene, tibi.
Hinc te secure Baccho sine fine modoque

Imples; visceribus sanus an seger idem est.
Sed ne deliresj dirum namque ipsa venenum

Theriaca est, sumas si, Labiene, nimis.

121 In Lausum.

Lausus vt seterna degit sub nube tabaccae,
Coniux ardenti sic sua gaudet aqua:

Vir fumum, hsec flammam bibit; infumata maritus
Tanquam perna olim, frixa sed vxor erit.

122 Ad Ponticum.

Poenituisse Mydam voti sat constat auari,

Cumque cibus potusque aureus omnis erat.
Nunc aurum sed eum potare Chymista doceret,

Iratosque sibi ludere posse decs.
Quid mirum tales auri si nectare lactet

Immunes morbis, dijs similesque facit?
Sed non dijs similes sunt quos spes aurea fallit ;

Quales sint igitur (Pontice) dissimiles.

123 In Aulum.

Ex speculo pictor se pinxit vt Aulus, amicse
Dat tabulam ; speculo mallet arnica frui.

124 De Henrico Principe.

Occubuit primis Henricus clarus in annis ;
Nee spolium mortis, sed pudor ille fuit.

125 Ad Paridem.

Vt vetus adsciuit sibi magna Britannia nomen,

Pingere se sexus caepit vterque. Pari;
Haud sine vulneribus veteres tinxere Britanni

Corpora, diuelli nee timuere cutem :
Parcere sed Pictos sibi prsecipit aula nouellos,

Et tenera leues arte polire genas.
Barbariem antiqui mores sapuere; recentes

Mollitiem; neutrum mi placet ergo. Pari.

1 26 In Vacerram.
Damnatis quoties Vacerra turpe
Immiscet ioculis, id esse dictum
Non (vt velle videtur ore blaeso)
Imprudenter ait, sed impudenter.

R 2

2 54 Epigrammatum

127 Ad Furium.

Sub medium culpae, Furi, cum coniuge moechum
Prendit Aper; taurum iam vitulumne vocas?

128 Ad Berinum.

Vxor quod nimium tua sit fcecunda, Berine,
Conquereris ; castae sic tamen esse solent :

Addis vt implacido sit et ore, et more molesta,
Et pugnax ; castse sic tamen esse solent :

Quin alijs lepidam dicis magis atque benignam
Quam tibi : sic castas non tamen esse solent.

129 Ad Eurum.

Mortuus Hermus abhinc tribus est aut quatuor annis ;
Immo viuit, ais; mortuus, Eure, mihi est.

130 Ad Crispum.

Mutua multa licet sestertia poscat amicus,
Maxima relligio est, Crispe, negare tibi.

Sic numeras tamen vt lachrimis credaris obortis
Quod facis officij pcenituisse tui.

Nil tibi, Crispe, deest nisi digni vultus amici;
Nam, non vt decet^ at quod decet vsque facis.

131 Ad Chloen.

Mortales tua forma quod misellos
Multos illaqueet, Chloe, superbis :
Hoc sed nomine carnifex triumphet.

132 In Labienum.

Pedere cum voluit potuit Labienus ; Hybernum
Virtute hac potuit perdere cum voluit.

133 In Brussilium.
Ardet Brussilij uxor histrionemj

Is funambulam ; vtrinque flamma saeuit,
Nullo extinguibilis liquore, nullo.
Primum grande nemus vorauit, inde
Villas tres, ouium greges, boumque
Circum pascua tosta mugientum,
Vix aula furor abstinet paterna;
Et si fas miseris malum ominari.
Tandem cum domino domum cremabit.

134 In Cacculam.
Caccula cum tu sis vetus accusator, adaugens

Crimina, quam causas dsemonis instar agis !

Liber Primus. 255

135 In Cinnani.

Die sapere, et sapiet; stupidum die, Cinna stupeseet;

Si furere, insanus; si premis, seger erit;
Die modo, fiet idem quod dicis ; nee simulare

Nouit, habent vires verba venefieij.

136 Ad Caluum.

Ne tibi, Calue, petas soeios in amore fideles,
Si quod amas metuis perdere, solus ama.

Nocte sue fidum domino domuique molossum
Vna salax eogit prodere cuncta canis :

Noeturni id fures norunt, quantumque libido
Tentabit firmam deijeietque fidem.

137 Ad Harpalum.

Nee bene, nee belle, semper tamen, Harpale, cantas;
Artem disee, eanes sie minus, at melius.

138 In Porcum et Neruam.
Desinit auditis eampanis meiere Poreus,

Sit vesiea lieet mole molesta graui.
Haud lotium eontra, sonuit si fistula, frsenat

Nerua; sed inuito sie ruit omne, miser
Vt penitus madeat; nee ei prodesse matella

Possit, ita audaees euoeat imber aquas.
Motus tarn diseors illis qua vi fit, Aquinus

Quserat; nos risu res satis ipsa iuuat.

139 In Poetastros.
Sulphure vineenda est prurigo poetica nuUo;

Sed neque Mercurio, quem fugat ilia deum.

140 De Germanis.
Germanus minime quod sit malus, effieit aequum

Tota quod explosis gens amat effugijs.
Nam diuertieulis eum lex laetabitur, ansam
Dat fraudi, multos nee sinit esse bones.

141 In Glaucum.

Alas amisit Glaucus, draeo nam fuit olim;
Nunc serpens faetus nee leue virus habet.

142 In Aprum.

Septem ciuis Aper degit, tot et aulieus, annos;
Viuere seit melius quam, Labiene, mori.

143 In Crispinum.
Vxorem Crispinus habet, tamen indigus vnam

Vix alit, extremam sensit vterque famem.
Ipsam diues amat Florus, fremit ergo maritus,
Quanquam riuali nunc opus esse videt.

256 Epigrammatum

Moechum ssepe vocat, sed cum, qui sustinet, ipse
Qua fruitur, victu, vestibus, aere domum,

Dispeream nisi sit vere Crispinus adulter ;
Sponsus, qui sponsi munia Florus obit.

144 De sudore Britannico.
Quid ni pestis sit sudor malus Anglica? ciues

Hybernis gaudent sole vigente togis.

145 Ad Thespilem.
Inferius labrum cur mordes, Thespilis? illi

Ne noceas, si vis basia Iseta tibi.
Alterum iners cupido quamuis famuletur amanti,
At magis hoc docta mobilitate placet.

146 Ad Ponticum.

Quanto causidicum magis arguo, si malus idem est,
Tanto plus laudo, Pontice, si bonus est.

147 Ad Galium.

An tua plus sitiat lingua, an plus, Galla, loquatur,

Ardua res dictu plenaque litis erit.
Nam quoties sitit ilia bibis ; bene potaque garris ;

Procreat vnde nouam multa loquela sitim.
Dum bibis ergo inuita taces, mora nee datur illi

Indefessa anima sed bibis, aut loqueris.

148 De Londinensibus.
Sunt Londinenses Coritani, siue Brigantes,

Seu Cambri; raros vrbs alit ampla suos,
Sic Londinates producit mixta propago,

Plurimus inter quos semicolonus erit,
^gre mutandus; partis nam foenore nummis

Quantum quisque potest praedia ciuis emit,
In rus festinans, aetas ni praepedit, ipse;

Haeredi saltern dant noua rura locum.
Qui, semiurbanus, velut herraaphroditus habetur

Indigenis, nam nil rus nisi rure placet.
Quippe canes, vel equos semper, vel aratra loquuntur;

Illis csetera sunt maxima barbaries.
O vtinam ciuis tantum ciuilia tractet;

Rustica qui ruri non alienus erit.

149 Ad Arethusam.

Cernitur in niuea cito, si fit, sindone labes :
Formosis eadem lex, Arethusa^ datur.

150 Ad lustinianum.
Causidicos ditat, res perdit et vna clientes,

Vno quae verbo est, lustiniane, mora.

Liiber Primus. 257

1 5 1 De horologio portabili.

Temporis interpres, paruum congestus in orbem,
Qui memores repetis nocte dieque sonos :

Vt semel instructus iucunde sex quater horas
Mobilibus rotulis irrequietus agis:

Nee mecum quocunque feror comes ire grauaris,
Annumerans vitae damna, leuansque mese.

152 Ad Eurum.

Nee turpe lucrum, nee deeus, nee in plebem
Inuida potestas, pulchra sed poetarum
Votum pudieum est fama; nam bonis meta
Omnibus, at illis vnica, et mera, et sola;
Auferre quam merentibus furens nescit
Vis vulnerata diuitum : Aulus hine viuit ;
Liberque lunius ; et amabilis Flaecus ;
Et vile quisquis vulgus, Eure, fastidit.

153 Ad Labienum.

Mentiri pro te seruo si sis bonus author;
Pro se mentiri, cur, Labiene, vetas?

154 Ad Haemum.

Difficile est reperire fidem, si quseris in aula,

Pene vbi delator tertius, Haeme, vir est.
Talem pone nouis nimium qui partibus hseret ;

Oflficiosus homo est? insidiosus erit.

155 Ad lustinianum.

Quatuor et viginti Arthuri regia mensa

Conuiuas aluit; quaeque rotunda fuit.
Mensis iam reges longis vtuntur, at vni

Vix est eonuiuse, lustiniane, locus ;
Augustus toto cum maximus esset in orbe,

Illi eonuictor sat Maro gratus erat.
Sed sine compare sit Maro, sic sine compare rex est

Delieias populus quem vocat ipse suas.

156 Ad Faustinum.

Curuam habeat tua ceruicem, Faustine, puella :
Sic, tanquam cupiat basia, semper erit.

157 Ad lustinianum.

Si quaeruntur opes, vel honores, siue voluptas,

Vix est qui fruitur, lustiniane, satis.
Nam satis est quicquid naturae sufficit; vltra

Quod poscit mens, est, lustiniane, nimis.

258 Epigrammatum

158 In Haedum.

Causidicus bene dotatam cum duxerat Hsedus,
Nulla viro vigilis cura clientis erat.

Vere sed expleto, cum dote extinguitur vxor,
Desertoque animi detumuere noui.

Hinc parat omnimodis pulsos reuocare cHentes;
Nam nunc si causas non agit Hsedus, eget.

159 Ad Eurum.

Qui compotorem sibimet proponit amicum,
Compos propositi non erit, Eure, sui.

160 Ad Glubum.

Hseres auari, Glube, foeneratoris
Viperea qui nunc flagra flet tua causa;
Prsedia, age, vende, pasce scorta, scurrasque;
Disperde maleparta alea, gula, luxu,
Egensque quseras foenore at triplo nummos ;
Instesque, licet irrideant trapezitse;
Nee desine vsque dum infimus rogatorum
Te filium fateare foeneratoris.

161 Ad Amatum.

Multas cum visit regiones Psetus et vrbes,

In patriam Isete deinde receptus erat.
Vt mos est, rogat hunc ciuis de mercibus, armis

Miles; de ruris rustica cura bonis;
Aulicus ad vestes quod pertinet; aulica fucos,

Atque oleum talci; singula quisque sua:
Solus qui solo nutritur iure Britanno,

Externa de re quserit, Amate, nihil.

162 In Tuccam.

Plus sequo gladio pacis qui tempore credit,
Tucca, suo, gladio sed sine, ssepe perit.

163 Ad Luciam.

Lucia, vir nihili est qui quanti virgo sit seris
Curat: venalem sic sibi quserat equum.

Nequicquam magna certant de dote puellae.
Plus auro innuptas vita pudica beat.

164 In Cacculam.

Acturus causas amisit Caccula vocem.

Inter prsecones illico quaerit eam,
Causidicosque illos qui vociferare solebant

Ingenti strepitu; deserit inde forum.

Liber Primus. 259

Fcemellasque rogat sua quae venalia clamant,
Vrbanis seruis deinde molestus erat;

Turrim mox adijt, cunctos rogitansque, locosque
Omnes vestigans : vox tamen vsque latet.

Bombarda tandem, quae turrim euertere posset,
Explosa, inuenta Caccula voce redit.

165 De seruo suo.

Seruo iter ingressus gladium committo ferendum;

Mox soli atque omni cum sine teste sumus,
Aurum^ noster ait, gestas, here; nee latet, id iam

Auferre armati vis ab inerme potest;
Factum quis prodet? dominum spoliare sed absit;

Sed facilis res est, si volo; nolo tamen.
Credo, aio, et laudo pro tempore; pergit ineptus

Dicere qualis hero quamque fidelis erit.
Inde domum laetus redeo, gladioque recepto

Eijcio vacuum, despicioque fidem;
Parque pari referens, fidum te sensimus, inquam,

Et retinere licet, si volo; nolo tamen.
Nam neque credendus, nee habendus, talia seruus

Aut qui concipere, aut non reticere, potest.

166 Ad Hcedum.

Ignarum iuuenem nudum cur trudis in vrbem?

Neglecto caecum quis duce tentat iter?
Gnossia non totidem domus est erroribus, Hseme,

Fallax, his filo quamlibet esset opus,
^tati crudae quot vita vrbana tenebras

Obijcit, impuras et sine luce vias.
Ne duce destituas titubantem nocte dieque

Filiolum, saluum si cupis, Hseme, tibi.

167 Ad Labienum.

Tres nouit, Labiene, Phoebus artes ;
Vt narrant veteres sophi; perseque
Quas omnes colui, colamque semper :
Nunc omnes quoque musicum, et poetam
Agnoscunt, medicumque Campianum.

168 Ad Calathen.
Graecas, Latinas, litterasque Gallicas
Laudo : puellae lingua sed si sit bona,
Cur vteretur, Calathe, alia quam sua?

169 In Ncsuolam.

Tres est pollicitus rationes Naeuola Cinnae,
Nummos qut nollet reddere : reddit eas :

Nil quod debetur prima; altera nil quod haberet;
Tertia non presto est: Naeuola debet eam.

2 6 o Epigrammatum

170 Ad Eurum.

Pro patria si quis dulci se dixerit, Eure,
Velle mori, ridens vt sibi viuat, ais,

Ciuis auarus ; et vt seruetur Caccula rostris ;
Splendeat ut picta veste rotaque Calus.

Sic tu ; pro patria fortis cadet attamen omnis ;
Si bona sit, merita est; sin mala, dulce mori.

171 In Crassum.

Crassus ab vrbe profecturus, quam firmiter haerens,

Ludorum causa, desidiosus amat :
Tres licet baud vltra noctes sit rure futurus,

Idque absoluat iter dimidiata dies ;
Solennem ad csenam primos inuitat amicos,

Ceu natalitiam quam celebrare parat;
Magna cum pompa, curua resonante sedetur

Buccina, et in vitrum plena refusa salus,
Conuiuas sequo quse iure perambulat omnes;

Auspicium foelix hinc sibi sumit iter.
Crassus at extremis tanquam rediturus ab Indis,

Mox testamentum perficit; inde noua
Nata salus, reditum faustum quse spondet amico ;

Postremo edictum tempus euntis erat;
Maise nimirum (coelo suadente) calendis

Exibit; nonse iamque Decembris erant.

172 Ad Lollium.

Vt locupleti addat pauper, praepostera res est :
Diuitis est, LoUi, gloria sola, dare.

I 73 Ad Lauram.

Singula dum miror tua labra, oculosque, genasque;

Quicquid id est verbis, Laura, modesta premis.
Crines sin laudo, perfusa rubore silescis;

Quam misere non hos esse fatere tuos.

1 74 Ad Ponticum.

Hie, illic, et vbique, et nullibi, Pontice, lex est ;

Cumque tenes vinctam, te latebrosa fugit.
Pauciloqua antiquis constabat certa Britannis;

At nunc ambigua est lex sine lege loquens.

T75 Ad Afram.

Calcat sublimis vulgaria verba poesis,
Nee narrat, sed res ambitiosa creat.

Ludere si libet, setatis tibi reddere florem,
Par Hecubse quanquam sis, prius, Afra, valet,

Liber Primus. 261

Quadrupedis pigrae quam ros, cerussaue inuncta,

Vel minium Venetum, fulua vel empta coma;
Denies seu vere quos inserit Argus eburnos,

Totaque mangonis pharmacopcea Lami.
Suauiter ilia tibi canet optatos Hymenseos,

Et gratis faciet j quod tamen, Afra, veta : lo

Oscula det iuuenis, sed anus ferat aurea dona,

Carminibus Celebris quae cupit esse bonis.

176 Ad Albericum.

Res est quemlibet vna quse benignum
Et gratis facere (Alberice) possit;
Nullum laedere, quamlibet merentem.

177 -^^ Largum.

Vendit Largus oues, laudatque emptoribus illas
Vt teneras ; teneras sed sibi laudat aues.

178 Ad Carolum Fitzgeofridum.

lamdudum Celebris scriptorum fama tuorum,
In me autem ingenue non reticendus amor.

Frustra obnitentem si non fortuna vetasset,
In veteres dederat, Carole, delicias :

Haec tibi qualiacunque tamen noua lusimus, ut nos
Vsque amplecteris non alieno animo.

179 Ad Stellam.

Vis, Stella, nomen inseri nostris tuum

Compendiosis versibus ?
An sat tibi est, 6 delicata, sidera

Inter minora si mices?

1 80 Ad Ed. Mychelburnum.

Immemor 6 nostri quid agis? nee enim tibi magnus

Natalis frustra redijt, monitorque vetustae

Semper amicitiae nouus, et iam debitor annus;

Accipe nostra prior, tenui sed carmina cultu,

Qualia sunt domini longo de funere rapta;

Posterior tua si compti quid musa resoluet,

Festinans lepido quod portet epistola versu,

Vnicus antidotos facile exuperaueris omnes.

Hsec pauca interea, leue tanquam munus, habeto,

Quae nouus ex vsu merito tibi destinat annus, 10

lusque sodalitij officio quocunque tuetur.

Quanta sit horrifici louis inclementia cernis;

Vt valeas lignis opus est; et si sapis, ipsi

Cum falce, et tento nolles parsisse Priapo.

262 Epigrammatum

181 In Glaucum.

Tempore mitescit quantumvis fructus acerbus;

Fitque sapor gratus, qui modo crudus erat.
At Glaucus quanto euadit maturior annis,

Austerus tanto fit magis atque magis.
Coniugis exemplo iam desinat esse malignus;

Nam suauis, lepida est, nee grauis ilia 'viris.

182 Ad Rut ham.

Non satis hoc caute dixti modo, Rutha, sorori,
Te tarn formosam non pudet esse leuem?

lUud nam dictum subito sic Isesa retorsit,
Te non formosam non iuuat esse leuem.

183 In Gaurum.

Perpetuo loqueris, nee desinis; idque molestum
Omnibus est; et scis; sad tibi, Gaure, places.

184 In Auricium.

Haud quenquam sinis, Aurici, te adire,
Quantumuis humili adlocutione;
At nos alloquimur poli vtriusque
Rectorem, et rutila manu tonantem:
An non tu nimium tumes, sacerdos?

185 Ad Herennium.

Alcinoo mortem toties minitatus (Herenni),

Cur occurrenti postea mitis eras?
Effraenem quamuis nequeas compescere linguam,

At te iam video posse tenere manum.

186 Ad Augustiss: Carolum magnce Britanniee
Principem, Wallice Principatum pro veteri
ritu auspicatuTum, die 4. No:

Loetus Britannis, ecce, festinat dies,

Quintumque nunc prseoccupat
Sacrum Nouembris; perge, ter beata lux,

Quam festa signabit nota.
Maturus annis, mente nee princeps minor

Britanniarum Carolus,
Ornandus hodie regijs insignijs,

Exibit vt sponsus nouus,
Puris ephaebis cinctus, et procerum choro,

Ceu gemma pompa in aurea; 10

Exceptus hilari confluentum murmure,

Clarisque vulgi plausibus.
Prodi, 6 beate, rem capesse publicam,

Vmbra nimis torpes diu :

Liiber Primus. 263

Vestigijs iam assuesce maiorum inclytis

Prsestantioris semulus.
Pulchram tibi hie sit primus ad famam dies ;

At nemo norit vltimum.

187 Ad Magnam Britanniam.

Reddidit antiquum tibi, magna Britannia, nomen
Rex magnus, magnos dum facit ille suos.

188 De Regis reditu e Scotia.

Nil Ptolomaeus agit, caelique volumina nescit,
Nam nunc a gelido cardine (Phoebe) redis,

Et veris formosa rosis Aurora refulget:
Hunc, precor, setemum reddat Apollo diem.

189 Ad ampliss. totius Anglice Cancellarium,

Fr. Ba.

Debet multa tibi veneranda (Bacone) poesis

lUo de docto perlepidoque libro,
Qui manet inscriptus Veterum Sapientia; famee

Et per cuncta tuse secla manebit opus ;
Multaque te celebrent quanquam tua scripta, fatebor

Ingenue, hoc laute tu mihi, docte, sapis.

190 Ad eundem.

Patre, nee immerito, quamuis amplissimus esset,

Amplior, vt virtus, sic tibi crescit honor.
Quantus ades, seu te spinosa volumina iuris,

Seu schola, seu dulcis Musa (Bacone) vocat !
Quam super ingenti tua re Prudentia regnat,

Et tota aethereo nectare lingua madens !
Quam bene cum tacita nectis grauitate lepores !

Quam semel admissis stat tuus almus amor !
Haud stupet aggesti mens in fulgore metalli;

Nunquam visa tibi est res peregrina, dare.
O factum egregie, tua (Rex clarissime) tali

Gratia cum splendet suspicienda viro !

191 Ad Hymettum.

Sis probus vsque licet, timidus tamen ipse teipsum

Deseris, obsequio debet inesse modus,
Vilis erit cunctis sibi qui vilescit, Hymette:

Non omnis pudor aut vtilis aut bonus est.

192 Ad Ed: Mychelburnum.

Nostrarum quoties prendit me nausea rerum,

Accipio librum mox, Edoarde, tuum,
Suauem qui spirat plenus velut hortus odorem,

Et vemi radios setheris intus habet.

264 Epigrammatum

Illo defessam recreo mentemque animumque,

Ad ioca corridens deliciasque tuas ;
Haud contemnendo vel seria tecta lepore,

Cuncta arguraentis splendidiora suis.
Hsec quorsum premis? vt pereant quis talia condit?

Edere si non vis omnibus, ede tibi.

193 Ad Siiim.

Sitis malorum pessimum,
Aegris molestum sobrijs,
Sanis inutile ebrijs,
Si sanus vUo sit modo
Qui non nisi vt bibat, bibit,
Semper palude plus madens,
Sitiens tamen tosta magis
Multis arena solibus.
Nunc est benigna vt sis, Sitis,
Bustis auari Castoris
Diesque noctesque asside,
Qui te volens viuens tulit;
Consors amicum protege,
Picto sedens in marmore;
Qui nubilo cselo caue
Ne sic madescat, Castoris
Vt ossa sicca perluat;
Sed vnicum te sentiat
Qui te colebat vnicus,
Sorore cum tua Fame :
At non amantem me tui
Cum febre pariter desere,
Sitis, malorum pessimum.

194 Ad Lupum.
Nemo virtutem non laudat, saeuit et idem

In vitium, hoc hominum sed, Lupe, more facit.
Nam quis ob hoc drachmam virtuti prsebet egenti?
Aut in se vitium non amat, atque fouet?

195 Ad Eurum,

Insanum cupidis labris ne tange Lyseum ;

Sic minus audentem te trahet, Eure, Venus.
Nee Veneri indulge, quamuis bona forma vocabit;

Nam minus in votis sic tibi Bacchus erit.

196 Ad Galium.

Quod nemo fecit sanus, neque fecerit vnquam,
Tu facis, inuideas cum mala, Galle, Fabro;

Sollicitus domini quod nunc terit atria magni;
At nescis hac quam conditione perit;

Liber Primus. 265

Qui soli parat vsque adeo seruire patrono,

Vt non prospiciat libera tecta sibi.
Idque cauet dominus, modice dum plurima donat;

Perpetuo, at parco fomite spemque leuat.
Vixque solubilibus vinctum tenet vsque catenis,

Exercens varijs nocte dieque modis, lo

Da libertatis nequando cogitet vsu.

lam vice vis fungi, liuide Galle, Fabri?

197 Ad Lecesterlandium.

Amplis grandisonisque, Lecesterlandie, verbis

Implacabiliter vociferare soles,
Vxor dum queritur quod fit tibi curta supellex;

Fibula sed verbis sequiparanda tuis.

198 Ad Hippum.

Quanquam non simplex votum, facis attamen vnum ;
Nam prseter vinum nil petis, Hippe, bonum.

199 Ad Faustinum.

Da mihi, da semper, nam quod, Faustine, dedisti
Esse datum nollem; res cito parua perit.

Sin tsedet, dandoque velis imponere finem ;
Da semel, vt nunquam cogar egere datis.

200 Ad Phloen.

Quid custodita de virginitate superbis,
lam licet annumeres ter tria lustra, Phloe?

Intactam nam te cum vix tria lustra videbas,
Haud potuit cassa vendere lena nuce.

Gloria virginitas formosis, dedecus seque
Turpibus est, aetas si sit vtrique grauis.

201 Ad Volumnium.

Rident rusticulam, anseremque multi :

Ignauos asinos, oues, bouesquej

At non est homine imperitiore

Irridendum animal magis, Volumni;

Tanto ridiculus magis, Volumni, est,

Quanto plus sapere obtinet videri.

Nam quis non medicum excipit Ligonem,

Vectum quadrupede, intimis chachinnis,

Coum qui colit atque Pergamenum?

Multis sed sapit, imperatque multis lo

Vt vitae dominus, tremorque mortis

Tanto ridiculus magis, Volumni, est.

2 66 Epigrammatum

202 Ad Mycillwm.

NuUos non laudas, Suffenos, siue Cherillos,

Seu quos in circo cruda iuuenta legit ;
Candidus hinc censor dici contendis, at omnes

Qui laudat, nullum laude, Mycille, beat.

203 Ad Furium.

Semper ad arma soles, Furi, clamare; cubili

Siue lates, seu te compita plena vident.
Sed nunquam prefers Veneris sint, Martis an arma;

Vtcunque infoelix, te duce, miles erit.

204 In Helyn.

Capiat amatores quoties se dicit amare ;

Fallax obsequium est; non amat, haraat Helys.

205 Ad Vincentium.

Dum placeo tibi, Vincenti, mea plurima poscis

Mutua, te simul at ceperit ira leuis,
Mox eadem quamuis male custodita remittis ;

Lucrum est, Vincenti, displicuisse tibi.

206 In Hebram.

Difficilis non est, nee amantem respuit vnum ;
Vnum vero vnum vix amat Hebra diem.

207 Ad Cacculam.

Dicere te inuitum cuiquam male, Caccula, iuras ;
Inuitus tune es (Caccula) causidicus?

208 Ad Caluum.

Lingua proterua, rapax manus, et gula, Calue, profunda ;

Haec tria sunt Daui commoda sola tui.
Illo praetereunte fremunt quacunque molossi;

Sentit et in primo limine nostra canis.
Adueniente coci remouent patinasque cibosque,

Arctius et retinet pallia quisque sua.
Audito fugitant fcemellse ; Caccula quamquam

Natus litigijs, illius ora timet.
Ssepe domi ne te nunc visam terret imago

Orci, nam seruat Cerberus ipse fores. 10

Dijs genitos qusras, hunc ni dimittis, amicos,

Clauisque accinctos Amphitrioniades.

209 Ad Philochermum.

Quaeris tu quare tibi musica nulla placeret;
Qusero ego, cur nulli tu, Philocherme, places?

Liber Primus. 267

210 Ad dodos Poeias.

Nullus Maecenas dabit hac aetate Poetis
Vt viuant ; melius sed bona fama dabit.

211 Ad Rusticum.

Rustice, sta, paucis dum te moror, auribus adsis;

Die age, cuias es? Salsburiensis, ais?
Pembrochi viduam num tu Sidneida nosti?

Non: saltern natos? cum sit vterque potens;
A thalamis alter regis celeberrimus heros;

Alter at in thalamis? proh tenebrose, negas?
Inclitus ergo Senex Hertfordius an tibi notus?

Tantumdem : coniux quid speciosa senis ?
Non : non ? anne tuum scis nomen ? si id quoque nescis,

Caetera condone hac conditione tibi. lo

212 Ad Cacculam.

Causidicus tota cum sis notissimus vrbe,

Atque alienas res irrequietus agas,
Ducere cur cessas vxorem, Caccula? lites

Non est vt fugias, litigiosus homo es.

213 Ad Caluum.

Atroniam vt pulchram laudas, vt denique bellam,

At minor hac Rhodius forte colossus erat.
Et capite, ac humeris superaret Amazonas omnes;

Ad quam, si confers, Penthesilea foret
Qualis cum vetula pappat nutrice puella;

Sola gigantei est germinis ilia fides.
Cum video, spectrum videor mihi (Calue) videre,

Et vix luminibus cernere vera meis.
Cuius ne temere attentes tu basia, totum

Eius in os poterit nam caput ire tuum. lo

214 De sacra dote.

Verba sacerdotem duo constituunt, sacer, et dos;
Saepe sed occurrit vir sine dote sacer.

215 Ad Rufum.

Quos toties nummos oras, tibi, Rufe, negare

Relligio est; grauius, sed dare, forsan erit.
Nam meus infaustus cunctis solet aureus esse,

Et semper damni plus mea dona ferunt.
Conciet hinc Bacchus, vel fallax alea bellum ;

Labe vel asperget non bene parta Venus;
Omnia sponte sua mala quae vitabit egestas :

Nescis quas turbas plena crumena dabit.

268 Epigrammatum

Damnosos iuueni currus inuitus Apollo
Concessit, nummos sic tibi, Rufe, nego.

Nee promissa Deus potuit reuocare nociua,
Sad tibi promitto, sed tibi done nihil.

Tu fortunatos qui prosint, quare patronos;
Ast ego, ne noceant nostra, cauebo tibi.

2i6 Ad Galium.

Perdidit ebrietas multos, tibi proficit vni,

Galle, licet valide membra caputque grauet.
Hinc morbum simulas et acuta pericula lecto

Postridie stratus vix animamque trahens ;
Tunc inimicitias componis et eximis iris

Expositum pectus soUicitumque metu :
Et pacem accitis euincis ab hostibus, omnes

Expiraturis nam decet esse pios;
Deinde reuiuiscis cuncto securus ab hoste,

Et Martem Bacchum fallere, Galle, doces.

217 Ad Cacculam.

Quae speciem instaurant partes has, Caccula, verum est
Ad speciem quod habes ; nee tamen ad speciem.

218 Ad Stellam.

Pictor formosam quod finxit, Stella, Mineruam
Carpis ; at hoc similis fit magis ilia tibi.

219 Ad Ponticum.
Vxorem nosti Camerini, (Pontice,) quam sit

Toto deformis corpore et ore tetro :
Casta tibi visa, et merito; sed moecha reperta est;

Hanc vir in hesterno prendit adulterio.
Proh quantum sseuisse putas? Nil, Pontice, laetus

Ipsam sed laudans coepit amare magis ;
Nam credebat, ait, turpem prius ; atque adeo vt, se

Prseter, qui ferret tangere nemo foret.

220 Ad Blandinum.
Immemor esse tui dicor, Blandine, mearum

Nulla tuum siquidem pagina nomen habet.
Sed Blandine, iterum atque iterum, Blandine legaris,
Ne, Blandine, ferar non memor esse tui.

221 Ad Marianum.
Prudens pharmacopola saepe vendit
Quid pro quo, Mariane, quod reprendis,
Hoc tu sed facis, cenopola, semper.

Liber Primus. 269

222 Ad Tko: Munsonium, equitem Auratum

et Baronetum.

Quicquid in aduersis potuit constantia rebus,

Munsoni, meritis accumulare tuis
Addidit, et merito victrix Dea, iamque sat ipse

Fama et fortunis integer amplus eris.

223 Ad Eundem.

Ne te spes reuocet nee splendor vitreus aulse ;
In te, Munsoni, spes tua maior erit.

224 Ad Gulielmum Strachceum.

Paucos iam veteri meo sodali
Versus ludere, musa, ne graueris,
Te nee tsedeat his adesse nugis.
Semper nam mihi charus ille comptis
Gaudet versiculis facitque multos,
Summus Pieridum vnicusque cultor.
Hoc ergo breue, musa, solue carmen
Strachseo veteri meo sodali.

225 Ad Lectorem.

Fit sine lege liber, saluo cui demere toto
Particulas licet, aut apposuisse nouas.

Sat, Lector, numeri ; numeris si sat tibi factum est ;
Cui numeri potius, quam numerosa placent.

s 2

THO: CAMPIANI

Epigrammatvm
Liber secundus.

1 Ad Sereniss. Carolvm Principem.

Non veterem tibi dono librum, clarissime Princeps,
Tanquam donatum; si tamen ire iubeSj

Splendorem fortasse nouum trahet, et melior iam
Prodibit cum se nouerit esse tuum.

2 Ad Ledorem.

Lusus si mollis, iocus aut leuis, hie tibi, Lector,

Occurrit, vitse prodita vera scias,
Dum regnat Cytheraea: ex illo musa quieuit

Nostra diu, Cereris curaque maior erat :
In medicos vbi me campos deduxit Apollo,

Aptare et docuit verba Britanna sonis :
Namque in honore mihi semper fuit vnicus ille,

Cuius ego monitis obsequor vsque lubens.
Quid facerem? quamuis alieno tempore, Phoebus,

En, vocat, et recitat pulueris ore scelus.
Respondente cheli, metuendaque dulce sonanti.

Quo sic perfudit mentem animumque meum,
Cogerer vt chartis, male sed memor, ilia referre

Quae cecinit mira dexteritate deus.
Hinc redijt mihi musa vetus, sed grandior, et quae

Nunc aliqua didicit cum grauitate loqui;
£t noua non inuita mihi, diuersaque dictat.

Omnia quae, Lector candide, reddo tibi.

3 Ad Librum.

I nunc, quicquid habes ineptiarum
Damnatum tenebris diu, libelle.
In lucem sine candidam venire
Excusoris ope eruditions:
Exinde vt fueris satis polite
Impressus, nee egens noui nitoris,
Mychelburnum adeas vtrumque nostrum,
Quos aetas, studiumque par, amorque.
Mi connexuit optume merentes :

Liber Secundus. 271

Illis vindicibus nihil timebis
Celsas per maris aestuantis vndas
Rhenum visere, Sequanam, vel altum
Tibrim, siue Tagi aureum fluentum.

4 Ad Pacent de augustiss: Reg. Elizabetha.

O pax beatis, vnicum decus terris,
Quam te lubens osculor, amabilis mater,
Rerumque custos, et benigna seruatrix!
Quae sola te tuetur integram nobis,
Non illam amem, illam venerer omnibus dictis,
Factisque? pro ilia vnquam mori reformidem?
Illam quis amens proditam exteris optet,
Domi suis quae pacem et exteris donat?

5 In Caluum.

Risi, Calue, hodie satis superque,
Notorum quia quemque vt attigisti,
Currentem licet et negotiosum,
Sistebas, retinens, toga prehendens;
Turn demum rogitas equumne grandem
Empturus sit, et optimum, et valentem ;
Nee cessas odiosus abnuentem
Vnumquemque trecenties rogare.
Quin me iam decies eras de eodem
Aggressus; memini, fuit molestum.
Si quisquam interea tuum caballum
Posset ridicule satis tabella
Pro re pingere, squallidum, vietum,
Morbosos timide pedes leuantem,
Pictor vendiderit prius tabellam
Quam tu vendideris tuum caballum.

6 Ad Clonium.

Fitne id quod petimus ? mihi si persuaseris, inquis :
Siccine nos semper ludis, inepte Cloni?

Vnum nunc vtinam tibi persuadere liceret :
Vt cito suspendas te, miser, illud erit.

7 In Crispum.

Crispus amat socios, vt auara Lycoris amantes ;

Vt libros Casinus bibliopola suos;
Ciuis vt emptores Vincentius; vtque clientes

Caccula causidicus; sacra sacrator Helix;
Non laudem, non quod verum mereantur amorem,

Sed prodesse magis quod sua cuique solent.

272 Epigrammatum

8 In Caluum.

In circo modo Calue te prementem

Vt vidi nitidse latus puellse,

Sermonique auide viam astruentem;

Mox diuatn Venerem, Leporem, Amoremque

Orabam tibi, ne inficetus illam

De grandi quid equo tuo rogares.

9 In obitum Gual. Deuoreux fratris

clariss. Comitis Essexice.

Pilas volare qui iubebat impius

Forata primus igne ferra suscitans,

Ei manus cruenta, cor ferum fuit.

Fenestra quanta mobili hinc deae patet

Ferire possit vt malos, bonos simul.

Quid alta fortitudo mentis efferse,

Toriue corporis valent? ruunt globi,

Prseitque c^citas, et atra nubila,

Sonique terror sethera, et solum quatit

Maligna fata, Deuoreux, et vnice,

Et alma frater incliti ducis, sacro

Tibi igne perdidere saucium caput,

Equo labansque funebri, heu, acerbum onus

Tuis, reuectus arduum ad iugum redis ;

Rotaque subgemente curribus iaces

Molesta pompa fratri, et omnibus bonis.

Peribit ergo Rhona, pulsa corruet

Fero canente classicum tuba sono,

Et vita stabis inter vmbra cselites.

10 Ad Melleam.
O nimis semper mea vere amata
Mellea, o nostri pia cura cordis,
Quanta de te perpetuo subit mi

Causa timoris !
Eminus quanquam iaculetur altus
Aureos in te radios Apollo,
Torqueor ne fictus amans in illis

Forte lateret.
Et procul cselo pluuias cadentes
In sinus pulchros agitante vento,
Horreo, insanum placidus tonantem

Ne vehat imber.
Somnians, et res vigilans ad omnes,
Excitor ; noctuque pauens dieque ;
Ssepe si vestra potuit quis esse

Qusero sub vmbra.

Liher Secundus. 273

1 1 De obitu Phil: Sydnm equitis

aurati generosissimi.
Matris pennigerum alites Amorum,
Quid suaues violas per et venustas
Nequicquam petitis rosas Philippum,
Dumis vsque Philip, Philip, sonantes?
Confossum modo nam recepit Orcus,
Omnes dum superare bellicosa
Fama audet iuuenis ; renunciate
Funestum Veneri exitum Philippi,
Vatem defleat vt suorum Amorum.

12 In Melleam.

Mellea mi si abeam promittit basia septem;

Basia dat septem, nee minus inde moror:
Euge, licet vafras fugit hjec fraus vna puellas,

Basia maiores ingerere vsque moras.

13 In Cultellum.

Cultelle, Veneri te quis iratus faber
Tam triste dira contudit ferrum manu?
Labella bellse csesa funesto scatent
Per te cruore : ah nectaris quantum perit !
Heu, heu, puellse personat planctu domus ;
Furit, dolori tantus accessit timor;
Nee acquiescit vspiam ; impotens loqui,
Et basiare iam, quod est miserrimum :
At tu sceleste frustulatim diffluens
Pcenas Amori, sed nimis seras, dabis.

14 Ad Caspiam.

Virgo compressa est, inuitaque, Mellea iurat;

Furem cur noUet prodere voce, rogo.
Se mala respondit elamare cupisse, prehendi

Solam cum solo sed metuisse viro.
O pudor insignis, facilisque modestia, qualem

Optarem soli, Caspia dura, tibi !

15 Ad eandem.

Phoenicem simulas, Caspia, Persicam,
Quae nunquam socijs ardet amoribus,
Flamma sed moriens nascitur e sua.
Exors tu pariter, solaque amantium
Congressus fugis, et contiguas faces;
Verum insana diem ne reparabilis
Expectes volucris, fataque viuidaj
Formae flamma etenim nulla tuse parem
Quibit reddere, non si Venus aurea
Aut pulchrum in cinerem se Charites dabunt.

2 74 Epigrammatum

1 6 Ad Labienum.

Quse celare cupit non peccat foemina, dicis,
Quae celat, peccat; sed, Labiene, minus.

17 In Carinum.

Cogito ssepe, Carine, sed infoeliciter, vnde

Signarit vultus tanta rubedo tuos :
Nam sumptus ne sis vinosus terret, auaro

Conditur gelida nee nisi coena fame.
Porrho inccenatus nonnumquam, sordide, dormis,

Aridulusque siti somnia vana vides.
Esurientis at ora magis pallore notantur,

Et macilenta creat liuida signa fames.
Qusero igitur tanti quse sit tibi causa ruboris ;

Forsitan banc speciem pictus ab arte petis :
Sed reliqua vt pingas quare vis pingere nasum

Non video; totusque haereo et excrucior.

18 In Melleam.

Anxia dum natura nimis tibi, Mellea, formam
Finxit, fidem oblita est dare.

19 Ad Caluum.

Italico vultu donas mihi, Calue, machseram ;

More Britannorum protinus accipio.
Id mi succenses ; nunc ergo remittere conor ;

Quo more id faciam non tamen inuenio.

20 Ad Nceuolam.

Desine, nam scelus est, neu perdere, Nseuola, tentes
Quod mihi suspirat Mellea basiolura.

Qui ferro necat, aut rigido cor transigit ense,
Terrenam molem diuidit ille animae.

Dulcia sed temere qui basia soluit amantum,
Cselitus vnitas diuidit ille animas.

21 Ad Caluum.

Foemina cum pallet ne dicas pallida quod sit.
Si, Calue, ingenui munus obire velis :

Languentem reficit mulier laudata colorem,
Totum quem formse credita culpa premit.

2 2 In Lycum.

Cum, Lyce, vouisti serum tibi funus, opinor
Te latuit lapidem rene latere tuo.

Liher Secundus. 275

23 Ad Lucium.

Crassis inuideo tenuis nimis ipse, videtur

Satque mihi foelix qui sat obesus erit.
Nam vacat assidue mens illi, corpore gaudet,

Et risu curas tristitiamque fugat.
Prsecipuum venit haec etiam inter commoda, Luci,

Quod moriens minimo ssepe labore perit.

24 Ad Marinum.

Parui tu facis optumos poetas;
Laudas historicos, amasque laxum
Sermonem, pedibus grauis Marine ;
Sparsas nee sale fabulas moraris.
Cur mirabilis omnibus, Marine,
Scriptor fit Plato? quippe fabulosus.

25 In Maurum.

Tres elegos Maurus totidemque epigrammata scripsit,
Supplicat et musis esse poeta nouem.

26 In Cottam.

Cotta per sestates vt in hortis dormiat vrgent
Vxor obesa, Canis, torrida Zona, torus.

27 De Catullo et Martiale.

Cantabat Veneres meras Catullus;
Quasuis sed quasi silua Martialis
Miscet materias suis libellis,
Laudes, stigmata, gratulationes,
Contemptus, ioca, seria, ima, summa;
Multis magnus hie est, bene ille cultis.

28 Ad Meroen.

Scortatorem optes, Meroe nasuta, maritum;
Diminui nasum sic puto posse tuum.

29 Ad Lupum.

Aduersus fortem poterit vis nulla valere,
Et fateor ; sed quis turn, Lupe, fortis erit ?

30 Ad Hcemum.
Notorum mandas morientum nomina libro,

Atrum quem merito funereumque vocas :
Sin cupis, Haeme, pius laetusque notarius esse,
Inscribas viuos; sic liber albus erit.

276 Epigrammatum

31 In Otiuellum.
Promissis quoties videt capillis
Blanditur mihi tonsor Ottuellus,
Cum vix curticomo feret salutem.
An tonsoribus, vt suis puellis,
Chari sunt et amabiles comati,
His formse studio, lucelli vtrisque?

32 Ad Philochermum.
Quae potuit riuos retinere et saxa mouere

Musica, te nulla parte, vel arte, mouet;
Quod facit ergo caue, Philocherme, tarantula vulnus,
Ictus enim, ni fit musica grata, peris.

33 Ad lanum.

Cur tibi displiceat tua, lane, quod vxor ametur?
An tibi quam nemo possit amare placet?

34 Ad Laur: Mychelburnum.
Quis votis tibi, somne, supplicabit
Tarn surdo atque hebeti deo, clientem
Qui sex continuas iacere noctes
Molli me vigilem toro sinebas,
Disperdique vaga cor inquietum
Fessa et lumina cogitatione?

Sed postquam salibus cubilibusque,
Laurenti, excipior tuis, solutos
Cepit grata simul quies ocellos.
Quod sane ob meritum puella si quse,
Laurenti, vigiles queretur horas
Dum pulchra speculo intuetur ora,
Mittam ad te, lepidum deum soporis.

35 Ad lustinianum.

Tu tanquam violas, laurum, et thyma dicis olere

Os consobrinse, lustiniane, tuse;
Ac veluti minio buccas, et labra notari:

Ipso quin minio picta labella ruberit,
Atque gense; floresque remansos spiritus halat;

Ex vero omnia habet; sed nihil ex proprio.

36 In Cottam.

Non ego ne dicas vereor si quid tibi dico;
Sed ne non dicas, Cotta, sed adijcias.

37 Ad Caspiam.
Asperas tristis minitetur iras,
Spemue promittat fades serenam.
Semper horresco, quoniam satis te,

Caspia, noui;

Liber Secundus. 277

Cum furis pulso retrahis capillos,
Euocas morsu rigido cruorem,
Quicquid occurrit, nimis ah perite

Dextera torquet :
Fulmen hoc te terribilem, cruentam
Sed manus reddit furibunda, et hinc te lo

Siue ridentem metuo, benigne

Siue loquentem.
Forte sopitum baud aliter leonem
Conspicit siluis tremulus viator,
Et pedem flectens, cauet excitari

Ne fera possit.

38 In Galbam.

Natum Galba suum, domesticumque,
Extremus quasi Persa sit, vel Indus
Tractat, quod nothus estj nee alloquendum
Censet, more nisi et stilo insolenti,
Et nudo capite, hospes vt videri
Omnino nouus exterusque possit;
Annon Galba satis superque ineptit?

39 In Neruam.

Abstrahis a domini coena te, Nerua, sacrati,
Nee tamen vt csecus numinis hostis abas;

Nee tibi quod panis vel vinum displicet : immo
Inuitamenti vim leuioris habent.

Causa duplex prohibet; quia ventri nil emis vna;
Altera quod nimis hsec sit sibi coena breuis.

40 Ad nobiliss: virum Gul: Percium.

Gulelme gente Perciorum ab inclita.

Senilis ecce proijcit niues hiems,

Tegitque summa montium cacumina ;

Et sestuosus vrget hinc Notus, gelu

Coactus inde Thracius, rapit diem

Palustris vmbra, noxque nubibus madet.

Tibi perennis ergo splendeat focus,

Trucemque plectra pulsa mulceant louem :

Refusus intumescat Euhius sciphis,

Nouumque ver amoenus inferat iocus; lo

Nouas minister ingerat faces, ruit

Glocestriensium in te arnica vis, simul

Furorem vt hauriant leuem, facetijs

Simulque molle lusitent per otium.

41 Ad Bassum.

Indiget innumeris vir magnus; maior at illo est
Omnibus his quisquis, Basse, carere potest.

278 Epigrammatum

42 In Hyrcamum et Sabinum.

Hyrcamum grauiter Sabinus odit,
Hyrcamusque male inuicem Sabinum;
Hyrcami cilia atque csecitatem
Rides, ille tuam, Sabine, barbam
Hirsutam, indomitam, et quasi cacatam.
Alternis odijs peritis ambo,
Incondite itidem superbientes
Ambo, turn tetrici, atque curiosi,
Exortes comitum, tenebrici ambo;
Vos sic vnanimes, fere ijdem et ambo,
Quare tarn male conuenitis ambo?

43 In Rufum.

Nupsit anus, sed amans dentes non Isba malignos

Sustinet vt possit, Rufe, nocere tibi.
Nam quern tritum habuit fcelix modo despuit vnum,

lamque suus passer, iamque columba tua est.
Et tenero faciet lepidissima murmura rostro,

Basia per morsus nee metuenda dabit.
Foemineo placeant mala immatura palato,

Sed rugosa viros canaque poma iuuent,
Rufe, nouo fas sit tantum vouisse marito,

Ne reparet dentes viuida nupta suos.

44 Ad Accam.

Partem das animae, sed quae tibi tota fruenda est ;
Tu, mihi da partem qua licet, Acca, frui.

45 In Carinum.

Puluilli totidem colore, vultu,
Textura, imparilique sectione
Distincti, in tenebras tuas. Carina,
Mirabar quibus artibus venirent.
Perspexi modo ; scilicet tabernas
Omnes despolias, trahens ab illis
Ornamenta tuum in cubilulillum :
Quae postquam subigis tuis rapinis
Ignotos penitus lares subire.
More istic faciunt, nee est stupendum,
Puluilli siquidem tui, Carine,
lam spectent varie se, et insolenter.

46 De morte cants.
Desinite, o pueri, ientacula vestra timere,

Non eritis nostras postea praeda cani :
Quod lacera scit plebs errans per compita veste,
Cur manet ex huius parta quiete quies.

Liber Secundus. 279

47 J^fi credulos dues.

Bis sex Londinum vita concedit in vna,

Bis sex iuratos urbs speciosa vocat.
Dispeream praeter speciem vocemque virorum

Bis sex istorum millia si quid habent.
Nam sensus, animosque suos in iudice ponunt;

Ex se non norunt ore fauere reis :
Seruatum quis enim, cui iudex defuit, vnum

Secula per bis sex vidit in vrbe reum?

48 Ad Melleam.

Scelesta, quid me ? mitte, iam certum est, vale :
Longe repostas persequar terrae plagas,
Tuis vel vmbras Tartari fucis procul.
Nee me retentare oris albicans rubor,
Nee exeuntem lucidum hinc et hinc iubar
Lenire speret: Circe, in seternum vale.
Rides inepta? siccine irati stupes
Minas amantis? sic genas guttis lauas?
Magisne rides? tam meus suauis tibi est
Discessus? at nunc non eo, vt fleas magis.

49 In Turbonem.

Turbo, deos manes celsi tu pondere gressus
Tota in se terres ne sua tecta ruant.

50 Ad Caspiam.

Si quid amas, inquis, mea Caspia, desine amarej
Flammas ne caleant sic prohibere potes.

Ecquando coelum frondescit? terra mouebit
Astra? vel auditis non tremet agna lupis?

Omnia naturse iam se contraria vertant ;
Aspera sic tandem Caspia mitis erit.

51 In Lycum.

Quod pulcher puer est, potes videre;
Quod te blandus amat, potes videre;
Quod tecum bibit, et potes videre;
Sed quae Lesbius impudenter audet
A tergo, Lyce, non potes videre.

52 Ad A/ram.

Purgandae praefectum vrbis notat, Afra, lutosa
Frons tua neglecti muneris esse reum.

53 Ad Caspiam.

Ne tu me crudelis ames, nee basia labris
Imprime, nee collo brachia necte meo.

2 8 o Epigrammatum

Supplex orabam satis haec, satis ipsa negabas,
Quae nunc te patiar vix cupiente dari,

Eia age iam vici, nam tu si fcemina vere es,
Hsec dabis inuito terque quaterque mihi.

54 Ad Amorem.

Cogis vt insipidus sapiat, damnose Cupido,
Mollis at insipidos qui sapuere facis.

Qui sapit ex damno misere sapit; o ego semper
Desipuisse velim, sis mode mollis, Amor.

55 Ad Paulam.
Grates, Paula, tuis ago libenter
Magnis pro meritis, anus iocosa;
Languenti mihi quse diem diemque
Assidens, strepitu et leui cachinno
Sustentare animum obrutum solebas.
Nee certe ingenium moror retusum,
Absurdumque satis; valere apud me
Debet plus animi tui voluntas;
Hausta non pharetra facetiarum,
Ridendam quoque te dabas amico.

56 Ad Caspiam.

Cur istoc duro lachrimae de marmore manent
Quaeris, naturae, Caspia, sacra docens.

Docta sed in causas nimium descendis inanes,
Nam lacrimas haec ilent saxa miserta meas.

57 In Berinum.
Demonstres rogo mi tuos amores,
Non vt surripiam tibi, Serine,

Sed tanta vt scabie abstinere possim.

58 In Erricum.

Tene Lycus faecem dicit? tene, Errice, faecem?

Ah nimis indigne dicit, et improprie,
Faex a materia siquidem meliore creatur,

At tua stirps tecum sordida tota fuit.

59 In yEmiliam.

Cum sibi multa dari cupiat, multisque placere,

Quo probior tanto est nequior Emilia.
Namque operam accepto Thais pro munere reddit;

Ilia nihil, sed lucrum ex probitate facit.
Ora, manus, oculosque gerat matrona pudicos;

Vnius baud partis sola pudicitia est.
Omnibus arridere, omnesque inducere amantes,

Quanquam intacta potest, nulla pudica potest.

Liber Secundus. 281

60 In Lycium et Clytkam.
Somno compositam iacere Clytham
Aduertens Lycius puer puellam,

Hanc furtim petit, et genas prehendens

Molli basiolum dedit labello.

Itnmotam vt videt, altera imprimebat

Sensim suauia, moxque duriora ;

Istsec conticuit velut sepulta.

Subrisit puer, ultimumque tentat

Solamen, nee adhuc mouetur ilia

Sed cunctos patitur dolos dolosa. lo

Quis tandem stupor hie? cui nee anser

Olim, par nee erat vigil Sibilla;

Nunc correpta eadem nouo veterno.

Ad notos redit indies sopores.

61 In eosdem.

Assidue ridet Lycius Clytha vt sua dormit;
Ridet et in somnis sed sua Clytha magis.

62 In Ouellum.

Dedecori cur sit multuni quod debet Ouellus?
Nam fidei quis non esse fatetur opus?

63 Ad Melleam.

Insidias metuo quoties me, Mellea, pulchrum
Dicis, sic capitur non bene cautus amans ;

Formosusque sibi visus se credit amari,
Nequicquam ; specie luditur ipse sua.

64 In gloriosum.

In caput, Herme, tuum suggrundia nocte ruebant.
Hand istoc essent scilicet ausa die.

65 In Pharnacem.
Pharnax baud alij vt solent nouellum
Si quando famulum sibi recepit

In tectum, faciem viri, torosque
Inspectat; studia ingeniue dotes;
Sed quantum esuriens edat bibatque.

66 Ad Caspiam.

Per nemus Elisium Dido comitata Sichseum

Pallida perpetuis fletibus ora rigat;
Et memor antiqui semper, Narcisse, furoris

Vmbram sollicitas per vada nigra tuam.
Debet ab aduerso quisquis tabescit amore

Supplicium stygia ferre receptus aqua.
Caspia, si pro te morientem poena moratur,

Esto tuis semper iungere labra labris.

282 Epigrammatum

67 In Coruinum.

Coruinus toties suis iocatur,

Nullum reddere suauiora posse,

Sen nymphas cecinitj trucesue pugnas,

Seu quicquid cecinit bonum, malumue :

Hoc de se toties refert facetus,

Vt tandem fatuus sibi ipse credat.

68 Ad Melbumiam.

Olim inter siluas, et per loca sola, Dianam
Cum nymphis perhibent abstinuisse viris ;

Votiuasque sacris seclusas sedibus, atram
Fama qui bus pepulit relligiosa notam.

Tu sad pulchra, diserta, frequens, Melburnia, viuisj
Virgo et anus nuUis nota cupidinibus.

69 Ad Tho: Mychelburnum.

Tu quod politis ludere versibus

Fratrum elegantum tertius incipis,

Thoma, nee omnes occiduas sinis

Horas relabi prorsus invtiles;

Dijs sic beatis me similem facis,

Vt teter vna iam numero imparl.

Ergo perseque diuiduum tribus

Me dono vobis, quilibet integrum

Vt Campianum possideat sibi,

Primus, secundus, tertius inuicem : 10

De parte ne sis soUicitus tua.

70 Ad Carolum Fits Geofridum,

Carole, si quid babes longo quod tempore coctum

Dulce fit, vt radijs fructus Apollineis,
Ede, nee egregios conatus desere, quales

Nescibit vulgus, scit bona fama tamen.
Ecce virescentes tibi ramos porrigit vitro

Laurus; et in Lauro est viuere suaue decus.

71 Ad Menum.

Te quod amet, quantumque, palam solet omnibus Hermus

Dicere, sic fratres, sic quoque, Mene, patrem,
Et quoscunque tuos; tacet is de coniuge tantum,

Horum quam vestrum plus tamen extat amor.
Exemplo quis enim chari liuescit amici?

Multorum inuidiam sed trahit omnis amans.
Ergo leues populi contemnas, Mene, susurros :

Vero vis testi credere? crede tibi.
Liuida vix vnquam proprijs innititur alls

Fama, sed Icarijs; dum volat ilia, perit. 10

Liber Secundus. 283

72 Ad Papilum.

Cum tibi barba foret quam Zeno, quamque Cleanthes

Optaret, totam deputat Hanno tibi,
Ingentem in te vindictam meditatus vt hostis;

Quod damnum vt repares, Papile, iure paras:
Causidicosque graui turgescens consulis ira,

Quam spe lucrifici Isetitiaque fouent :
Ex notis fore iuratos, quod perditur oris

Qui decus agnoscent, rem grauiterque ferent;
Et mulctam statuent inimici nomine grandem :

Hoc suadent illi, Papile, tuque voras. lo

Sed mihi, quantumuis in neutro iure perito.

Auscultate parum : sint, age, dicta prius
Omnia vera, tamen, citius quam causa adolescet,

Tota renascetur, Papile, barba tibi.

73 Ad Philomusum.
Ridiculum plane quiddam facis atque iocosum,

Et surdo et stupido dum, Philomuse, canis.
Omnia nam surdus miratur, sed nihil audit;
Contra audit stupidus cuncta, probatque nihil.

74 In Miluium.

Quam multa veluti somnia accidunt viuis.

Quae cum palam vident libenter haud credunt !

Quis sat stupescit? toruus et senex ille,

Profectus ima ex sorde, Miluius terram

Vt nauseet, equesque vrbe nobilis tota,

Matronam et banc, et illam, et alteram stupret?

Est nostra tanquam turpe somnium vita;

Id comprobat mors ipsa, cuius aduentu

Expergefacta mens suum petit ccelum,

Terrestriumque infra superbias ridet. lo

75 Ad Crispum.

Crispe mones vt amem, sed caute, ne mihi probro
Sit quod amem ; caute nunquis amare potest ?

Est velut ignis amor, nihil est detectius illo,
Protinus indicio proditur ipse suo.

76 Ad Caluutn.

Nunquam perficies, testeris vt omnia, Calue,
Numina, quin minus assentiar atque minus.

Credita quae primo res est, repetita rubescit,
Labitur et nimium sollicitata fides.

Tam multis homini nemo se purgat amico :
Inuidiam toties deposuisse parit.

284 Epigrammatum

77 Ad Ed: Mychelburnum.

Ibit fraternis elegis ornata sub vmbras,

Munia si ad manes perueniunt superum ;
Et multum veneranda leues, Edoarde, tenebit

Aspectuque animas exequijsque soror.
O foelix si non fata importuna fuissent,

Si non immature optima deficerent !
Quid nunc perpetuum fas est sperare beatis?

Quid connubia? quid floridae amicitiae?
^tas quid? nondum sex luna impleuerat orbes

Deseruit iuuenem cum malefidus Hymen : 10

Cum desiderio sed enim decedere vita,

Non mors, longa mora est; non obit seger, abit.

78 In obitum Fran: Manbcei.
Quid tu? quid ultra, Phoebe, languenti diem
Aperis? beatos ista lux magis decetj
Sordes et vmbras semper infoelix amat
^rumna, misero nulla nox atra est satis.
Heu, heu, sequar quocunque me rapiet dolor,
Et te per atra Ditis inferni loca,

Manbsee, lachrimis ora perfusus, petam;

Flectamque manes planctu et infimos deos,

Liminaque dira moUiam, ac vsque horridas

Acherontis vndas ; cuncta nam pietas potest : 10

Quaqua redibis moeror inueniet viam.

Tum rursus alma luce candebit polus,

Vltroque flores terra purpureos dabit;

Omnia virebunt; sentiet mundus suum

Decus renasci, sentiet tremulum mare,

Suumque flebit ipse Neptunus nephas.

Ah, siste vanos impetus, demens furor,

Ostiaque mente ficta Ditis excute,

Occlusa viuis, nee reclusa mortuis :

Fac iure tu quod quilibet miser potest, 20

Luge; supersit hie tibi semper labor.

79 De homine.

Est homo tanquam flos, subito succrescit et aret ;

Vis hominem floremque vna eademque rapit.
Ceu flos est ? minus est : nam mors vt vtrumque cosequat,

Quam bene flos, hominis tarn male funus olet.

80 In Barnunt.

Mortales decem tela inter Gallica csesos,
Marte tuo perhibes, in numero vitium est :

Mortales nullos si dicere, Barne, volebas,
Seruasset numerum versus, itemque fidem.

Liiber Secundus. 285

81 In Lupum.

Cum tacite numeras annos patris improbus hseres,
Sic, Lupe, succlamas, omnia tempus habent;

Sumptus siue grauet, seu te mulctauerrt vxor,
Concludis vehemens, omnia tempus habent.

Sic semper; chymico nunc te committis Orello,
Mox vere vt dicas, omnia tempus habent.

82 Ad Caspiam.

Nescio quid aure dum susurras, Caspia,
Latus sinistrum intabuit totum mihi.

83 Ad Turanium et Nepheium.

Ml Turanule, tuque, mi Neph^i,
Quin effunditis intimos chachinnos.
Hem, murum prope dirutum videte
Coram qui peragit domi latenter
Quod debent saturi; ecce seruus autem
Caute praemonitus, caputque nudus
Stat praefixus hero, ne obambulantes
Spectent luminibus parum benignis;
Dextra composite tenet galerum
A tergo dominum lubens adorans;
Nasum sed grauiter premit sinistra
A tergo dominum haud lubens adorans.
O seruum lepidum, probum, pudicum,
Vultu qui superat tacente mimos,
Tarltonum et streperi decus theatri!

84 In lanum.

Sabbato opus nullum nisi per scelus igne piandum

Posse exerceri, feruide lane, putas:
lane, voras medice pilulas, at non operantur,

Has puto te sacro sumere posse die.

85 In Sannium.

Quae ratio, aut quis te furor impulit, improbe Sanni,
Fcemineum vt sexum mente carere putes:

Cum mea dififusas foelix per pectus amantum
Vnica possideat Caspia centum animas?

86 Ad Arnoldum.

Non si displiceat tibi vita, Arnolde, graueris;
Hac vt displiceat conditione data est.

87 Ad Genium suum.

Quid retines? quo suadet Amor, locus atque Lyaeus,
Ibo; sed sapiam; iam sine, chare Geni.
T 2

2 86 Epigrammatum

88 Ad Nassum.
Commendo tibi, Nasse, paedagogum
Sextillum et Taciti canem Potitum,
Teque oro tua per cruenta verba,
Et per vulnificos sales, tuosque
Natos non sine dentibus lepores
Istudque ingenij tui per acre
Fulm'en, ridiculis et inficetis,

Irati vt tonitru louis, timendum ;
Per te denique Pierum serenum,
Parnassumque, Heliconaque, Hippocrinenque,
Et quicunque vacat locus camaenis.
Nunc oro, rogoque, improbos vt istos
Mactes continuis decern libellis;
Nam sunt putiduli atque inelegantes,
Mireque exagitant sacros poetas,
Nasonemque tuum et tuum Maronem,
Quos vt te decet sestimas, tegisque
Ne pbssint per ineptias perire.
Quare si sapis, vndique hos latrones
Incursabis et erues latentes ;
Conceptoque semel furore nunquam
Desistes; at eos palam notatos
Saxis contuderit prophana turba.

89 Ad Caspiam.

En miser exclusus iaceo, ceu montibus altis,
Caspia, nix nullo respiciente cadit:

Meque tuus liquefecit amor violentius absens,
Sol teneram iniecto quam solet igne niuem.

90 Ad Caluum.

Est quasi ieiunum viscus tua, Calue, crumena;
Id bile, banc vacuam seruat amore iecur.

91 In Byrseum.

Multis ad socerum queritur de coniuge Byrseus,

Nupta quod externos suescit amare viros:
At breuiter socer, Et talis mi, ait, illius olim

Mater erat; credo, foemina et omnis erit.
Commune et iuuenile malum est, quod serior setas

Sanabit, spero, sanctaque canities.
De me nee socero varum est hoc, Byrsee, clamas :

Sed potuit, sed habet fabula ficta salem.

92 Ad Caspiam.
Ecquando vere promissam, Caspia, noctem,

Praestabis, cupido facta benigna mihi?
Nox ea, si moriar, sat erit mihi sola beato;
Si viuQ, non sunt millia mille satis.

Liber Secundus. 287

93 In Breionem.

Carmine defunctum, Breto, caute inducis Amorem;
Nam numeris nunquam viueret ille tuis.

94 Ad Coruinum.

Sextum perfidise baud satis pudenter,

Coruine, insimulas, redarguisque

Nequaquam meminisse quod spopondit

^quali, vel enim potentiori;

Quin eiudere, si sit vsus, ipsum

Audere intrepide suos parentes.

Lsesam die age vi'n fidem experiri?

Hunc ad coenam hodie vocato, vel eras,

Vel tu postridie, perendieue,

Sin mauis vel ad vltimas caleridas ; lo

Ni prsesto fuerit, per et tabernas

Omnes vndique quseritans volarit,

Quas te nee meminisse iam nee vnquam

Vsurpasse oculis in bunc diem vsque

Audacter mibi deierare fas sit:

Postremo nisi praebeat vocanti

Conuiuam memorem se, et impigellum,

Coenam coxeris banc meo periclo.

Nullumne boc specimen fidelitatis?

95 Ad Hyspalum.

Sanum lena tibi promittat vt, Hyspale, scortum,
Puram sentina quis sibi quaeret aquam?

96 Ad Liciniu7n.

Non quod legitimum id bonum neeesse
Censetur, Licini ; bonum sed ipsum
Semper legitimum putare par est:
Foenus nam licitum fatemur omnes,
Nemo non malus at bonum vocabit.

97 In auarum.

Omnia dum nimium seruas, miser, omnia perdis,
Nee tua sunt toties quae tua, Paule, vocas.

98 In Lupercum.

Vxorem Lycij senex Lupereus
Strato admouerat, imminens puellae;
Absentis domini exilit molossus
Subuenturus herae, vagasque morsu
Partes mollis adulteri reuulsit.
Stat moechus laehrimans sine eiulatu,

2 88 Epigrammatum

Testes nequitise suse recusans,
Testes nequitise suae requirens.
O rem ridiculam ! magisne dicam
Hanc plane miseram? canem viro esse
Plus quam femina, quatn vxor est, fidelem.

99 In Erricum.

Cum stygio terrere vmbras vultu, Errice, possis,
Die per Plutonem quid tibi cum speculo?

100 Ad Tuccam.

Nil seris, magnam sed habes tu, Tucca, crumenam;
Atque animum, quantum nulla crumena capit.

loi Ad Pontilianum.

Quod iuuenis, locuplesque sibi conscisceret ipse

Eutrapilus mortem, Pontiliane, stupes;
Nam neque spretus amor, nee dedecus impulit atrum,

Non iactura grauis, nee sine mente furor;
Haud dolor excrucians, tetri aut fastidia morbi ;

Cunctos causa fugit, sed mihi vera patet;
Hanc voco desidiam, quam res accendere nulla

Cum potuit, vitse nausea summa fuit.

1 02 De Puella ignota.

Regalem si quis cathedram prope percutit hostem,

Exigitur sonti vindice lege manus.
Impune ergo feret quae cor mihi figit amicum,

Virgo, oculis feriens quo stetit ilia loco?
Parce tamen rigidumque nimis summitte vigorem,

Sacrosanctum ius : arbiter assit Amor,
lUe Amor aethereos qui non violarit ocellos;

Non ego, non tanti funera mille forent.

103 Ad Chloen.
Mittebas vetulam, Chloe, ministram,
Lippam, tardipedem, et febriculosam
Ad me luce noua aureos rogatum ;
Si tu cur redijt rogas inanis,

Mane istuc mihi non placebat omen.

104 In Pkilonem.

Dulcis cum tibi Bassiana nupsit,
Nemo non male clamitans ferebat
Tam pulchram illepido dari puellam,
Toruus quique adeo et nigellus esses.
Caedis te, Philo, post reum malignae
Suspensum populus frequens Tyburni

Liber Secundus. 289

Spectans, et querulam expiationem,

Occasunique tuum pie gemiscens,

Turmatim redit; obuijsque narrat

Exemplum iuuenis viri, et torosi, lo

Perdigna facie artubusque pulchris:

Sic prsebet miseris nimis popellus,

Detrectatque male imprecans beatis.

At vobiscum agitur satis benigne

Os durum quibus, horridique vultus,

Aut distorti oculi, patensue nasus,

Pulchri nam fieri, vt lubet, potestis;

Si de quercu aliqua, per aut fenestram,

Vultis prsetereuntibus parumper

Pendere horribili modo intuendi. 20

De vobis bona multa prsedicabunt

Omnes, quique etiam solent in omnes

Quseuis dicere turpiora veris,

Vitse qui leuibus bonis fruuntur.

105 Ad Paulinum.

Non agros, Pauline, tibi, non splendida tecta,
Non aurum inuideo, ferripedes nee equos;

Sed tam casta thoro, tam pulchra quod obtigit vxor,
Tarn lepida, alternoque obuia melle tibi ;

Moribus apta tuis et ficta per omnia votis :
Inuidiam faceret nt prohiberet amor.

106 De se.

Nos quibus vnanimi cura est placuisse puellae,
Quam multa insipide dicimus et facimus?

Quae simul ad sese redijt mens, omnia ridet,
AflSciturque videns ipsa pudore sui :

Sicut ego hesterna; sed quid mea crimina stultus
Profero? non faciam, tuta silentia sunt.

107 In matronam.

Abscidit os Veneris famulse maftrona, marito

Ne mutuum rursus daret :
Quid fecit? culpae cupiens occludere portam,

Insulsa patefecit magis.

108 Ad Cosmum.

Cernit Aper vigilans annos post mille sepultos;
Talia sed csecus cernere, Cosme, potest.

109 De Mellea et Caspia.

Vror amat plures quod Mellea, Caspia nullos;
Non sine riuali est aut amor, aut odium.

2()0 Bjpigrammatum

no Ad Sabellum.

Tuus, Sabelle, lippus iste cum furit
Cunctis minatur clam venena Colchica,
Et atra quicquid ora Cerberi vomunt.
Ab India vsque virus omne colligit,
Per vda stagna, perque murcidos lacus,
Emitque pluris aspidem, quam tu bouem :
Hyberniam odit, namque ibi nusquam nocens
Bestia timetur, pabulum quae toxicis
Prsebere dirum possit, id Pico graue est.
Quiti imprecari Tartarum deo solet
Lernae quod olim tabidam extinxit feram.
Hunc ego, Sabelle, rideo veneficum,
Tu vero ab istoc perdito retrahe pedem;
Vlcisci amicum tutius, quam hostem potest.

111 In Miluum.

In putrem vt sensit se Miluus abire saliuam

Seruatam testa condidit aureola;
Et super inscripsit, Milui non ossa, cinisue,

Sed Miluus, Milui hic sine saliua sita est.

112 In Calpham.

Ridicule semper quantum mihi, Calpha, videtur,

A multis iactas te sine dote peti?
Nam quis quod nusquam est petat? aut captabit inani

Siccum spe patrem, pumiceum vel auum?

1 1 3 Ad Caspiam.

Caspia, laudatur feritas in te, tua quicquid
Atrum in candorem vertere forma potest.

114 In amicum moles tum.

Non placet hostilem nimium propensus ad iram,

Quiue leues grauiter fert inimicitias;
Nee placet eructans odiose plurima quisquam,

Fretus iam veteris nomine amicitise.

115 In Hannonem.
Diuitias vocat Hanno suas sua carmina, tales

Morsus diuitias Irus habere potest.

116 Ad Cambricum.

E multis aliquos si non despexit amantes.

Si tua non fuerit rustica nata fremis?
Aut tam formosam tibi, Cambrice, non genuisses,

Aut sineres nato munere posse frui.
Castas sint facies sua quas sinit esse pudicas,

Pulchrior huic forma est quam decet esse probis.

Liber Secundus. 291

117 Ad Learn.

Priuato commune bonum, Lea, cum melius fit,
Obscurum plane est fcemina casta bonum.

Nam nulli nota, aut ad summum permanet vni,
Omnibus atque alijs est quasi nulla foret;

Sin se diuulget, mala fit; quare ilia bonarum
Aut rerum minima est, aut. Lea, tota mala.

1 1 8 De Amantibus.

Olim si qua fidem violasset fcemina, quanquam
Tunc extra legem viueret, inque notaj

Vna nocte nouo si forte vacaret amanti,
Materies elegis plena furoris erat.

Questus causa fides taceat iam lubrica, nostris
Sat firma est, si sit sana puella satis.

119 De Venerea Lue.

iEgram producit Venerem mundana Senectus,
Contractamque noua perditione Luem ;

Suspectam quse nunc Helenam fecisset, et omnes
Laidis arceret iure metuta procos.

120 In Crassum.

De socijs loquitur prseclare Crassus, et illis
Quae non sunt tribuit prsedia, rus, et agros;

Ingenium, formam, genus, artes, omnia donat;
Tale sodalitium Tucca libenter amat.

121 Ad Ed: Mychelburnum.
Prudenter facis, vt mihi videtur,

Et sentis, Edoarde, qui optumum te
Longe pessima ab vrbe seuocasti,
Vix anno ter eam aut quater reuisens ;
Tum Pauli simul ac vides cacumen.
Ad notos refugis cate recessus,
Vrbis pestifera otia, et tenaces
Vitans illecebras, lubidinesque,
At nos interea hinc ineptiarum
Portenta vndique mille defatigant;
Conuentus, ioca, vina, bella, paces,
Ludi, damna, theatra, arnica, sumptus ;
Inclusos itidem domi fabrorum
Aurigumque tonitrua, eiulatus,
Vagitusque graues agunt Auerni
Vsque in tsedia; rursus ambulanf
Occursu vario in via molestant
Curti causidici, resarcinatis
Qui gestant manibus sacros libellos;

292

Epigrammatum

Horum te nihil impedit diserto
Quo minus celebres lepore musas
Sub iucunda silentia : o meorum
Cunctorum nimis, o nimis beate !

122 In Gallant.

Ilia cur tenue vsque sonent tua nescio, Galla,
Te nisi quod cantor Tressilianus amet.

123 In Fuscinum.

Contrectare tuos nequeam, Fuscine, puellos
Non myrrham, non si thura, rosasque cacent.

Pro turpi est quicquid facilis natura negauit;
Si faciem demas, nee placet ipsa Venus.

124 Ad Caspiam.
Admissum tarde, cito, Caspia, Isesa repellis :

Constans ira, leuis sed muliebris amor.

125 Ad Candidum.

Sis licet ingenuis nunc moribus, aequior ipso
Socrate, vel minima, Candida, labe carens,

Nescis qualis eris cum tu nouus aleo fias,
Teque auctum lucrum qualibet arte trahat.

Victor vt euadas, nullum vt ferat alea damnum,
Attamen ingenium polluet ilia tuum.

126 In Gallant.

Poscit amatorem feruens sibi Galla Priapum,
Frigida sed castum Thespilis Hippolitum :

Hinc ego Lampsacides fieri tibi, Thespilis, opto,
Gallse sed gelido purior Hippolito.

127 In Berinum.

Credita quae tibi sunt mutato nomine prodis,
Nomine mutato cuncta licere putas;

Cur tibi nil credam iam si vis, quaere, Berine;
Mutari nomen nolo, Berine, meum.

128 Ad Sybillant.

Nil non a domino bonum creatum,
Audacter satis hoc, Sybilla, dicis;
Nee non ergo bonam creauit Euam ;
lUam sed tamen oscitante Adamo,
Nequa perciperet bonam creari.

129 In Gallant.

Tactam te, ad viuum sed nunquam, Galla, fateris;
Vah, quota pars camis mortua, Galla, tuae est!

Liber Secundus. 293

130 Ad Eurum.
Rerum nomina, resque mutat ipsas
Vsus multimoda vicissitatej

Id si vis lepide aestimare dictum,
Inspectes capita, Eure, foeminarum j
Nam pars ilia noui satis dat vna,
Ne quid de medijs loquar, vel imis.

131 Ad Paulinum.

Quid, Pauline, meas amationes
Inclamas? Quasi sit parum perire,
Ni tu banc insuper aegritudinem addas.
At si quid ratio ista promoueret,
Declamare aliquot dies polite,
Pulchre, et sobrius ipsemet potessim,
Depingens graphice proterui amoris
Mille incommoda, vel deinde mille,
Quae nusquam tibi dicta, scripta, picta
Occurrunt, neque visa somnianti
Vnquam; sed tamen vsque me moleste
Castigas miserum, diu perorans ;
Obtundis, scio, perditum sinam me
Consulto fieri, lubet perire,
Suaues dum peream per ipse amores.

132 In Cornutos.
Vxoris culpa immeriti cur fronte mariti

Cornua gestari ludicra fama refert?
An quia terribilem furor irritus, atque malignum

Efficit, armatis assimilemque feris?
An quod ad banc faciem satyros, vmbrasque nocentes

Fingimus, atque ipsum Dasmona cornigerum?
An quod apud populum tantum fortuna nocentes

Reddit, nee verum crimina nomen habent?

133 Ad Hermum.

In re si quacunque satisfacis omnibus, Herme,
Cur hoc vxori non facis, Herme, tuae?

134 Ad Aufilenam.

En dat se locus arbitris remotis,
Aufilena, meo tuoque amori:
Quam nunc suaue rubent repente malse,
Inuitoque etiam rubore candent!
Quam mollis manus, et benigna colla!
Tarn belli poterunt pedes latere?
Vicina et genua, inuidente palla?
Quid me tam male pertinax repellis?

294 Epigrammatum

Nempe est foemineum parum efiferari,

Sed tandem furor hie recedet vitro. i

Aufugisti etiam? vale, proterua,

Deformis, pede sordido et fugaci :

Vultus ergone tarn faros probaui?

Ceruices rigidas? manus rapaces?

Non mi esset melius carere ocellis,

Quam sic omnia perperam videre?

1 35 Ad Battum.

Qui tibi solus erat modo formidatus adulter,
lam, Batte, excruciat prodigiosa Venus.

Quseuis Pasiphae est cogente libidine; tu si
Riualem admittas denuo tutus eris.

136 Ad Melleam.

Quid mseres, mea vita, quidue ploras?

Nee fraudem paro, quod solent prophani

Caros qui male deserunt amantes;

Nee, prsedator vti, arduum per aequor

Hispanas reueham Indicasque nugas :

Expers sed Veneris, Cupidinisque,

Siluae iam repeto virentis vmbras,

Et duleem placidamque ruris auram,

Vt memet reparem tibi, et reportem

Luero millia mille basiorum. 1

137 Ad Thelesinam.

Expresses Helense vultus Paridisque tabella
Foedarunt qusedam sicut ab vngue notse;

Hoc, Thelesina, doles, sed et hoe bene conuenit illis,
lurgia nam quouis esse in amore solent :

Quid eum te vrgerem solam, quod amantis in ore
Sseua impinxisti vulnera facta manu?

138 In Fabrum.

Heus, puer, haec centum defer sestertia Fabroj
Quid stas, quid palles? quid lachrimas, asine?

Curre, inquam : pueros quamuis prseeidat inanes,
De nummo poterit lenior esse tibi.

139 In Afram.

Cum tibi tot rugis veterascat nasus, vt illi
Surgere Spartanus debeat, Afra, senex:

Cumque tuos dentes emat antiquarius Hammon,
Prosint et tussi pharmaca nulla tuae;

Nubere vis puero, primo moritura Deeembri :
Sic faeere hasredem non potes, Afra, virum.

Liber Secundus. 295

140 Ad Cosmtim.

Ad vitam quid, Cosine, facit tua mortis imago?

Esse vt te miserum, puluereumque scias?
Cum sit certa tibi satis, obliuiscere mortis ;

Res vitse incertas has age; viue, vale.

141 Ad Aien.

Reginae cum tres pomi de iure coirent,

Te salebris. Ate, delituisse ferunt,
Et miseras risisse : quid hie, dea, si licuisset

Pro porno rigidam supposuisse tibi?

142 In Aprum.

Crispo suasit Aper febricitanti
Pestem protinus banc inebriatis
ToUi, sed penitus furente Baccho.
Assensum est ; bibitur simul ; valere
Crispus ccepit, Aper febricitauit.

143 In Fuscum.

Quasuis te petere et sectari, Fusee, puellas

Credis, ridiculus nee reticere potes.
Haud aliter cymba vectus puer ire carinas

Ad se omnes dicit garrulus, atque putat.

144 Ad Lucillum et Manbceum.

Charior, Lucille, anima vel ilia
Esse si quidquam pote charius mi ;
Tuque, Manbsee, vnanimi sodalis

Delicium et mens.
Ecquid accepistis, eratne Isetum,
Otia exegisse, Cupidinemque,
Et suos iam denique Campianum e

Pectore amores?
Nam sat illuxisse dies videtur

Ilia mi festiuiter, et beate, lo

Quae breui tantas penitus fugauit

Luce tenebras?
I fuge hinc, abiecte Amor, exulatum !
Tam ferum haud par est hominum imperare
MoUibus curis, ad eas redi vnde es

Rupibus ortus.

145 In Mamurram.
Pediculosos esse quis sanus negat
Versus Mamurrae Satyricos, si quis legit?
Mordent, timent vngues, pedes et sex habent

296 Epigrammatum

146 In Vincentium.
Astrictus nunc est Vincentius sere alieno;

In proprio nimium hie ante solutus erat.

147 Ad ^mylium.

^gris imperat vsque pogsitallam
Impostor Litus, ^myli : quousque ?
Nummos ridicule vsque dum dat aeger.

148 In Parcqs,

Parcos ingenui non est laudare poetae,
Cui vetus horrendos antipathia facit.

149 Ad Marcellum.

Scilla verecunda est ; Scilla est, Marcelle, venusta
Si varum vtrumque est, vix habet ilia parem.

150 Ad Matkonem.

Arguo cur veram ficto sub nomine culpam
Quaeris, nee titulis te quoque signo tuis.

Nunquam si fingit non est epigramma poema j
Vix est simpliciter cui, Matho, vera placent.

151 ^ Ad Cosmum.

Laudatils melior fiet bonus, et bona laus est;

Sol!^ at quae sit debita, Cosme, bonis :
Re turgente mali quamuis, et honore fruantur,

Laudem ne sperent, non vacat ilia malis.

152 In Olum.

Sat linguae dedit, Ole, sator tibi; parte sed vlla
Hanc potuit melius figere quam capite:

Nam sentit tanquam lapis hoc; tua voxque palati est,
Faucis, pulmonis, denique mentis egens:

Si foret, Ole, tuam mihi fas disponere linguam,
Haereret qua tu pedere parte soles.

153 In eundem.

Summo vt significet patrem sedisse Senatu,
Hoc aliquando quod is pederat, Olus ait.

154 In Hipponem.

Lites dum premit Hippo fcenerator,
Imam ad pauperiem redit, nee vUus
Ex omni magis est ei molestus
Sumptus, quam misero diu roganti
Assem quod dederat semel minutum,
Solum quem sibi nunc egenus optat;

Liber Secundus. 297

Laetus causidicis volensque cuncta

Praebebat siquidem, daturus et iam

Esset copia si secunda votis :

Inuitus, genioque retrahente, lo

Solum sed tribuit grauatus assem.

155 Ad Eurum.

Eure, bonum, non ordo facit, non res, locus, setas :
Fit licet his melior, nascitur ipse bonus.

156 In Mycillum.

Flagris mono cseditur, Mycillum
PuUum consiliarij Mycilli
Quod stultum vocitauit, at merentem;
Dicat de patre iam, nihil pericli est.

157 Ad Lalagen.

Corpora mille vtinam, Lalage, mea forma subiret;
Vnum spas esset cedere posse mihi.

158 Ad HcBtnuni.

Quasdam sedes narras vbi certis, Haeme, diebus

Vilia de summo culmine saxa cadunt.
Dsemonij hoc opera fieri contendis, at illud

Vix credo; credam si pretiosa cadent.

159 Ad Argentinum.

De gallinarum genere est tua fertilis vxor,
Argentine, viro nam sine saepe parit.

160 Ad Telesphorum.

Nee tibi parca placet, nee plena, Telesphore, mensa;

Amplior haec auida est, ut minor ilia, gula:
Quantus enim cibus est aliena in lance relictus

Expleto quereris tu perijsse tibi.

161 Ad Cassilianam.

Cur proba, cur cunctis perhibetur casta Nerine?
Assueuit nondum, Cassiliana, tibi.

162 Ad Hermum.

Ad latus, Herme, tuum spectans, siquando machaeram

Laudo, tumes, dicens ilia paterna fuit.
Si vel equum celerem pede, siue armenta, vel sedes

Miror, et haec fuerant omnia patris, ais.
Si vultum commendo tuum, fuit ille paternus;

Seruumque et scortum, et singula patris babes.
Sed cum nulla sit, Herme, tuae constantia linguae,

Hanc bene matemam, si fateare, licet.

298 Epigrammatum

163 In Marcellinam.
Virgo olim cinerem et lutum solebat
Marcellina auido ore deuorare ;
Nunc moechos amat, at lutosiores
Ipso, Calue, luto ; quid esse credam ?
Annon pica animi quoque haec laborat?

164 Ad Eurum.
Sacras somniat, Eure, conciones,
Et pronunciat ore sem' aperto
Pyrrhus ; dissimulat, nee est sacerdos.

165 Ad Pontilianuni.
Nascitur in lucem primo caput, vnde gubernat

Pars senior, coelo proxima, sphaera animse :
Huic decor oris inest, huic sermoque, mentis imago,
Et prope totus homo est, Pontiliane, caput.

166 Ad Cosmum.

Sub specie mala, Cosme, boni dominantur : honesti
Vsus ut exoluit, sic decus omne perit.

167 Ad Papilum.

Non sapit in tenui qui re ius, Papile, sperat ;
Solis id magnis diuitibusque datur.

168 Ad Eurum.
Dilutum iudex vinum bibat, vt sonet ore

Ius quoque dilutum ; displicet, Eure, merum :
At nunc iuridicus ius dicit, negligit sequumj
Ius ita qui iudex dicet iniquus erit.

169 Ad Caluum.

Et lare ridiculum est, aliena et quserere terra
Pacem animi ; nusquam est, sit nisi, Calue, domi.

170 In Melissam.

Sex nupta et triginta annis, sterilisque, Melissa
Nata ex se tandem prole triumphat anus :

Cura dei reges vobis proceresque cauete,
Portentum statua parturiente fuit.

171 Ad Daunum.

Carmen, equestris homo, cur fingis, Daune? poeta
Si vis esse nimis forte pedester eris.

172 Ad Cosmum.

Cosme, licet media tua pangas carmina nocte,

Affulget schedse dexter Apollo tuae.
Metrica scripturo sal vel sol adsit pportet

Perpetuo; insulsa et frigida nemo sapit.

Liber Secundus. 299

173 Ad Eurum.

Qui se, nee multis prseter se gaiidet amicis,
Si nihil, Eure, vetat noster amicus erit.

1 74 Ad Labienum.

Dum nimium multis ostendere quaeris amorem
In mensa, et positas extenuare dapes,

Obtundis ; . nee coena gulae bene eompetit, in qua
Plus eondimenti est quam, Labiene, eibi.

175 In Pollionem.
Magnificos laudat, misere sed Pollio viuit ;

Laudem fortassis rem putat esse malam.

176 Ad Sybillam.

Omnes se eupiunt omni ratione valere ;
Attamen est verbum triste, Sybilla, vale.

177 Ad Papilum.

Bellam dieebas Bellonam, Papile, sensi,
Suauius hospitium eastra inimica darent :

Inveniat quicum pugnet, mihi prsefero paeem ;
Vt tua sit soli Penthesilea tibi.

178 Ad Gallam.

Assurgunt quoties laehrimae tibi, si plaeet humor
Vt diuertatur, mingere, Galla, potes.

179 Ad Labienum.

Quseris completo quot sint epigrammata libro ;

Sit lieet incertum, sie numerare potes :
Plus minus, hebdomada quotquot naseuntur in vna

Londini, faciunt tot, Labiene, librum.
Nobiliumque minor numerus censetur vtrinque,

Turba sed obscurse plurima plebis erit.

180 In Marcellinam.

Laruas Marcellina horret, Lemuresque, sed ilia
Nil timet in tenebris si eomitata viro est.

181 Ad Linum.

Henrico, Line, septimo imperante,
Nondum pharmacopola quintus vrbem
Infarsit numero, nee cenopola;
Ingens nunc tribus vtriusque creuit :
Primo sed praeit ordine oenopola,
Ac tanquam alterius parens videtur,
Morbos dum creat, inficitque nostra
Sensim corpora dulcibus venenis.

300 Epigrammatum

Quo tandem met hsec vicissitudo ?
Quid dicam? nisi Daemonas trecentos
Sementem facere his superfluorutn,
Omnes quos patimur licentiates?

182 In Gallant .

Galla melancholicam simulans, hilarare Lyaeo
Se solet, et fit non ficta melancholica.

183 In Tabaccam.

Haud vocat illepide meretricem Nerua Tabaccam,
Nam vendunt illam, prostituuntque lupae.

184 Ad Mauriscwn.
Nullam Brunus habet manum sinistram,
Nee mancus tamen est ; sed est quod aiunt,
Maurisce, vt caueas tibi, ambidexter.

185 Ad Phillitim.
Phillitis, tua cur discit saltare priusquam

Firmiter in terra stare puella potest?
Non metuis mox ne cadat immatura? caducas
Nae sua sic pupas membra rotare facit.

186 Ad Lalagen.

Lingua est Gallica lingua foeminarum ;
Mollis, lubrica, blandiens labellis,
Affundens, Lalage, decus loquenti :
Terra est Anglica terra fceminarum;
Simplex, suauis, amans, locis honestans
Semper praecipuis genus tenellum.

187 Ad Cyparissum.

Ne nimis assuescas carni, Cyparisse, bouinae,
Cornua nam quis scit num generare potest?

188 Ad Hermum,

Castae qui seruit si sit miser, Herme, quid ille
Scortum qui metuit? perditus, et nihili est.

189 Ad Chloen.

Pulchras Lausus amat ; Chloe, quid ad te ?
Pulchras non amat ergo Lausus omnes.

190 Ad Pasiphylen,

Qui te formosam negat haud oculos habet; at te
Nauci qui pendit, Pasiphyle, cor habet.

Liiber Secundus. 301

191 In Hermiam.
Hermia cum ridet tetros hahahalat odores;

Herme, ferenda magis si pepepedat erit.

192 In Mycillum.

Cantat nocte Mycillus ad fenestras
Formosae dominse, vigil, frequensque;
Et cantat lepide, at patent fenestrse
Voci, at ianua clausa sola surda est.

193 Ad Caluum.

Ex reditu lucrum facturus Naeuola, praesens
Quod sperat recipit; quam cito, Calue, redit?

194 Ad HcBmum.
Augese stabulum, Haeme, non inique
Londinum vocitas; scatet profecto
Multa impuritie; haec vt eluatur
lam plane Herculeo est opus labore;
Nam nunc vndique foetidum est, at illic
Non foenum male olet, sed, Hseme, fenus.

195 In Tuccam.

Nil refert si nulla legas epigrammata, Tucca ;
De te scribuntur, non tibi; Tucca, tace.

196 Ad Nisam.

Quod melius saltas insultas, Nisa, sorori,
Vtraque at melior quae neque saltat erit.

197 Ad Publium.

Publi, sola mihi tacenda narras,
Sed quae si taceam, loquuntur omnes :
Die tu tandem aliquid meri nouelli,
Plane quod liceat loqui, aut tacere.

198 Ad Cosmuni.

Qualis, Cosme, tuae est haec excusatio culpae?

Suasit Amor ! quasi non pessima dictet Amor !
lUe deus natos ferro violare parentes

Fecit, patronum quem tibi, inepte, paras.
Die odio potius factum, dum mittis Amorem ;

Die aliud, die tu quicquid, amice, lubet.

199 In Harpacem.

Fcenore ditatus ciuis, nunc rusticus Harpax
Fceno ditescit; re minor, at melior.
U 2

3 o 2 Epigrammatum

200 Ad Olum.

Nupsisse filiam, Ole, foeneratori
Gestis ; quid ita ? corrupta num datur ? prorsus
Vt dicis, ais, et grauidaj te, Ole, iam laudo
Qui fenus addis tale feneratori.

201 Ad Daunum.

Sponsaiiij ne metuas, castam tibi, Daune, remisi
Ipsam, ni credis tu mihi, Daune, roga.

202 In Lagum.

Cum vix grammatice sapiat tria verba ligare,
Dijs Lagus inuitis versificator erit :

Euenit ebriolis vitium par, protinus omnes
Saltare incipiunt cum titubare timent.

203 In Vergusium.

Nil amat inuectum Vergusius, extera damnat ;

Nee, vicina licet, Gallica vina placent :
Haud piper attinget crudus, procul aurea poma

Hesperidum calcat, nee pia thura probat.
Bombycis deridet opes, et patria laudat

Lanea, re vera non aliena sapit.
Sed tamen vxorem Rufini, iamque maritus,

Ardet: at hsec trita et non peregrina putat.

204 In Hipponacem.

Terget linteolis genas manusque,
Vix toto lauat Hipponax in anno,
Rugas dum metuens cutem puellis
Seruat, sed bona perdidit paterna.
Non est lautus homo : quid ergo ? tersus.

205 Ad Calliodorum.

Sollicitus ne sis signum fatale cometa
Vt quid portendat, Calliodore, scias;

Expectes cladem (domini natale propinquat)
Non hominum, sed tu, Calliodore, bourn.

206 Ad Glaucum.

lus qui bonum vendit cocus
Melior eo est qui poUuit
lus omne fucis non bonis ;
Sit, Glauce, turgidus licet,
Raucisque sseuior Notis.

207 In Hannonem.
Carmina multa satis pellucida, leuia, tersa;

Naturae vitrese sed nimis Hanno, creat.

Liiber Secundus. 303

208 In Librarios.

Impressionum plurium librum laudat
Librarius; scortum nee hoc minus leno.

209 Ad Gaurum.

Pollio tam breuis est, tam crassus, vt esse Gigantis
Secti dimidium credere, Gaure, velis.

210 Ad Ligonem.

Gur non salutem te rogas equo vectum?
Ne equum tuum videar, Ligo, salutasse.

2 1 1 Ad Albium.

Dextre rem peragens, vel imperite;
Vera an ficta, loquens, iocosa vel tu,
Albi, seria, semper erubescis :
Hinc te ridiculum, leuemque reddis.
At tandem vitium pudoris omne
Vis deponere? vis? adi lupanar.

212 In Olynthum.

Dum sedet in lasano dormescit praetor Olynthus,
Et facit in lecto quod facit in lasano.

213 In Pandarum.
Scrotum tumescit Pandaro; tremat scortum.

214 In Hannonem.
Scorti trita sui vocat labella

Non mellita, sed Hanno saccaranta;

At nescit miser extrahi solere

Ex dulci quoque saccaro venenum.

215 Ad Ligonem.

Purgandus medici non est ope Csecilianus,

Purgandus tamen est; num, Ligo, mira loquor?

Purgandus grauidse de suspitione puellae,
Ne te detineam, Csecilianus adest.

216 In Mundum.

Mundo libellos nemo vendidit plures,
Nouos, stiloque a plebe non abhorrenti;
Quos nunc licet lectoribus minus gratos
Librarij emptitant, ea tamen lege
Ne Mundus affigat suis suum nomen.

217 Ad Lausum.

Non si quid iuuenile habeant mea carmina, Lause
Sed vulgare nimis, sed puerile veto.

3 04 Epigrammatum

218 Ad Bassum.

Seruum quando sequi cernit te, Basse, cinaedum
Vxori te vult Cinna preire tuae.

219 Ad Lamianam.

Nequidquam Lamiana cutem medicaris, et omni

Detersam tentas attenuare modo:
Innocua ilia satis per se manet ; eripe luxum,

Eripe nocturnae furta nociua guise.
Pulcher vt in venis sanguis fluat atque benignus,

Cures ; curabis sic, Lamiana, cutem.

220 In Ligonem.

Funerea vix conspicimus sine veste Ligonem :
An quia tam crebri funeris author erat?

221 In Marsum et Martham.

Marsus vt vxorem, sic optat Martha maritum :
Ambos quid prohibet quod voluere frui?

22 2 Ad Pontilianum.

Iste Bromus quis sit qui se cupit esse facetum,
Plane vis dicam, Pontiliane? planus.

223 Ad Syram.

Vna re sapere omne foeminarum
Se credit genus : ilia res negare est.
Vna re sapere ut magis studeret
Optandum foret : ilia res tacere est.

224 In Hermum.

Omnibus officij ritu se consecrat Hermus,
Talia sed nunquam sacra litare solent.

225 In Cambrum.

Cum tibi vilescat doctus lepidusque Catullus;

Non est vt sperem, Cambre, placere tibi.
Tu quoque cum Suffenorum suffragia quaeras;

Non est vt speres, Cambre, placere mihi.

226 In E undent.

Disticha cum vendas numerasti, Cambre, bis vnum ;
Pastor oues cuperet sic numerare suas.

227 Ad Graios.

Graij, siue niagis iuuat vetustum
Nomen, Purpulij, decus Britannum,
Sic Astrsea gregem beare vestrum,

Liber Secundus. 305

Sic Pallas velit ; vt fauere nugis
Disiuncti socij velitis ipsi,
Tetrae si neque sint, nee infacetae,
Sed quales merito exhibere plausu
Vosmet, ludere cum lubet, soletis.

228 Ad Librum.

Verborum satis est, oneri sunt plura libello;

Sermo vel vrbanis multus obesse potest.
Partibus ex breuibus quae constat inepta figura est
Si sit longa nimis ; par modus esto pari.

THOMiE

C A M P I A N I

Vmbra.

Foemineos dea quse nigro sub Limine manes

Occludis, coelo ostentans, iterumque reducens

Vmbriferum per iter ; quanquam crudelis amanti,

Sis mihi tu facilis; quanquam non sequa resumis

Formosarum animas, festina morte peremptas.

Abreptas solus resonante reducere plectro

Threicius potuit, lucique ostendere amores ;

Non potuit tamen ; ad tristes deuoluitur vmbras

Quicquid formosum est, et non inamabile natum.

O Sacra Persephone, liceat tua regna canenti, lo

Lucifugasque vmbras, aperire abscondita terris

lura, tenebrarumque arcana adoperta silentum.

Respice qui viridi radiancia tempora lauro

Comprimis; insidias, et furtiuos Hymenaeos,

Et Nympham canimus, sed quae tibi prodita somno

Nupsit; facta parens, etiam sibi credita virgo.

Est in visceribus terrse nuUi obuia vallis,
Concaua, picta rosis, variaque ab imagine florum ;
Fontibus irrorata, et fluminibus lapidosis :
Mille specus subter latitant, totidemque virenti 20

Stant textae myrto casulae, quibus anxia turba
Nympharum flores pingunt, mireque colorant.
Nee minus intenta est operi Berecynthia mater,
Instituens natos frutices quo syderis ortu
Aerio credant capita inconstantia ccelo.
Admonet immaturae hyemis, gelidasque pruinae,
Imbriferumque Austrorum, horrendisonumque Aquilonum ;
Grandine concussam Rhodopen, Taurumque niualem,
Concretosque gelu prohibet transcendere monies ;
Tantum qui placido suspiras ore, Fauoni, 30

Arboreos tibi commendat dea sedula foetus.
Fraga, rosas, violasque iubet latitare sub vmbris;
Forma rosis animos maiores indidit, ausis
Tollere purpureos vultus, et despicere infra
Pallentes odio violas, tectasque pudore.
Diua rosas leuiter castigat, et admonet aeui
Labilis; aspiceres folijs prodire ruborem,
Et suspendentes ora annutantia fiores.

Vmbra. 307

Accelerant Nymphae properata ex ordine matri
Pensa ostentantes, quarum pulcherrima lole 40

Asportat gremio texturas millecolores.
Hanc olim ambierat furtim speciosus Apollo;
Muneribus tentans, et qua suasisse loquela
Posset; ssepe adhibet placidam vim, saepe et amantum
Blanditias cupidus, sed non cupiente puella.
Brachia circumdat cello, simul ilia repellit ;
Instat hie, ilia fugit ; duplicant fastidia flammas ;
Ardet non minus ac rutilo Semeleia proles
Cum curru exciderat, totumque incenderat orbem.
Spes sed vt illusas vidit deus, et nihil horum 50

Virginis auersam potuisse inflectere mentem,
Dira subinde vouet peruertens fasque nefasque ;
Illicitumque parat spreto medicamen amori,
Lactucas humectantes gelidumque papauer,
Cyrceiaeque simul stringit terrestria mala
Mandragorae, condens sudatos pixide rores.

Nox erat, incedit nuUo cum murmure Phoebus,
Nulli conspiciendus adit spelasa puellae;
Ilia toro leuiter roseo suffulta iacebat.

Sola struens flores varia quos finxerat arte. 60

Candida lucebat fax, hanc primum inficit atra
Nube, deinde linit medicati aspergine succi
Puluillosque leues et picti strata cubilis ;
Terque soporiferas demulcet pollice cordas
Plectripotens, nectitque Hecateio carmine somnos.
Virgineos oculos vapor implicat, excipit artus
Alta quies, et membra toro collapsa recumbunt.
Vidit et obstupuit deus ; inter spemque metumque
Accedit, refugitque iterum ; suspirat ab imo
Pectore ; nee pietas, nee siderea ora puellae 70

Plura sinunt ; sed amor, sed ineffrsenata libido
Quid castum in terris intentatumue relinquit?
Oscula non referenda serit, tangitque, premitque ;
Ilia (quod in somnis solet) ambigua edidit ore
Murmura, ploranti similis nee digna ferenti;
Saepe manu vrgentem quamuis sopita repellit,
Nequidquam, raptor crebris amplexibus haeret,
Vimque per insidias fert, indulgetque furori.
Nee satis est spectare oculis, tetigisse, fruique,
Ingratum est quicquid sceleris latet; illaque turpe 80

Quod patitur vitium quia non sensisse videtur,
Maestus abit (reuocante die) spoliumque pudoris
Tanquam inuitus habet; semper sibi quod petat vltra
Inuenit ingeniosus amor, crescitque fauendo.

Tandem discusso noua nupta sopore resurgit,
Illam sed neque turba vocat, neque clari Hymenaei

3o8

Vmbra.

Illius ante fores iuuenum non inclita pompa

Conspicitur, placide charis commista puellis.

Omnia muta tacent, pariter tacuisset lole,

Verum nescio quae morborum insignia terrent; 90

Nee valet a stomacho, nee non tremulum omnia frigus

Membra quatit : cubito incumbens sic anxia secum :

Numquid et hoc morbi est? nam quae mutatio sanas

Attentat vires? nee enim satis ilia placebant,

Postrema quae nocte timens insomnia vidi.

Quos ego praeterij fluctus ! quae preelia sensi

In somnis ! quantis, o dij, transfixa sub hastis

Occubui ! vereor diros ne iratus Apollo

In me condiderit parientia spicula morbos.

Sed nee ApoUineas pestes, nee respicit iras 100

Hie in corde pudor mens ; hoc solamen, lole,

Semper habes, moriare licet, moriere pudica.

Assurgit, cingitque operi se, Candida fecit

Lilia, quae gustare cupit, quia Candida fecit :

Quidque oculi cernunt animus desiderat; aegrum

Pectus ferre moras nescit, votisue carere.

Singula quae grauidae possunt ignara ferebat ;

Torpores lassata graues, fastidia, bilem ;

Luminaque in morbum veniunt, putat ilia fuisse

Obtutu nimio; causas ita nectit inanes. no

Sed simul atque impleri vterum, sensitque moueri

Viuum aliquid, potuitque manu deprendere motus ;

Exanimata metu nemorum petit auia tecta

Tristis, vt expleret miserando pectora planctu.

Crudeles, ait, et genus implacabile, Diui,
Quas tandem aerumnas animique et corporis hausi
Immerita? assurgunt etiam noua monstra; tumere
Ccepit vter nobis ; iam virgo puerpera fiam ;
Nee dubitat natura suas peruertere leges
Quo magis excrucier possimque horrenda videri, lao

Demque pudicitiae, sceleris sed nomine, pcenas.
Quo fugiam? quae nunc vmbrae? quae nubila frontem,
Vel tumulum hunc defuncti animi tectura cupressus ?
Quam bene cum tenebris mihi conuenit ! horreo Solem ;
lam culpa possum, sed non caruisse timore ;
Frangitur ingenuus pudor, et succumbit in ipsa
Suspicione mali, scelerisque ab imagine currit,
Ceu visis fugiunt procul a pallentibus vmbris.
Infcelix partus, nisi quid monstrosius illo est,
Absque tuo genitore venis, nomenque paternum ijo

Si quis quaerat habes nullum ; patrem assere primum,
Post tibi succedam grauis atque miserrima mater.

Talia iactantem venti laeua arbitra risit
Inuida populea latitans sub cortice Nais;

Vmbra, 309

Lsetaqus per sentes repit, tenupsque myricas ;

Sed simul explicuit se, proditione superba,

Praecipitique gradu loca nota perambulat, omnes

Suscipiens nymphas, referensque audita, nee ilia

Per se magna satis, reddit maiora loquendoj

Et partes miserantis agit, vultusque stupentes 140

Effingit, monstrumque horret, crimenque veretur.

Inde per alternos rumores fama vagatur,

Flebiliorque deae tandem florentia tecta

Peruenit, ilia nouo temere conterrita monstro

Exilijt, natamque animo indignata requirit.

Sed procul vt matrem approperantem vidit lole

Concidit exanimis, gemitus timor exprimit altos,

Exortosque vtero creat ingeminatque dolores.

Continue silua effulsit velut aurea, et omne

Per nemus auditur suaue et mirabile murmur. 150

Diua pedem, perculsa soni nouitate, repressit,

Interea sine ploratu parit, ipsaque tellus

Effudit molles puero incunabula flores.

Occurrit natse Berecynthia, prima nepotem

Suscipit, ille niger totus, ni Candida solis

Haeserat effigies sub pectore, patris imago.

Sed non ambiguo iam personal omnia cantu
Phoebus, et ardentes incendit lumine siluas,
Dum sua furta canens miseram solatur lolen ;
Obstupuit dea, nunc lucos, nunc humida natae 160

Lumina suspiciens, vultusque pudore solutos.
Proditor, exclamat, non hsec, si lupiter aequus,
Probra mihi vel tecta diu, vel inulta relinquam.
Quo fugis ? infestum caput inter nubila, Phoebe,
Nequicquam involuis ; scelus et tua facta patebunt.
Nee mihi surripiet fuga te, sequar ocior Euris,
Maternusque dolor vires dabit, iraque iusta.
Nee mora, per nubes summi ad fastigia coeli
Contendit ; nymphae tristi exanimaeque sorori
Circumfusae acres tentant lenire dolores, 170

Et placidis dictis tristes subducere curas.
Ilia immota sedet, tacitoque incensa furore
Ardet, et ingenti curarum fluctuat sestu.

Foelices quibus est concessum, ait, intemerata
Virginitate frui ! mea iam defloruit aetas
Immature; heu maternos sensisse dolores,
Gaudia non potui ; sed me nee gaudia tangunt ;
Nee duri, si non infamia iuncta, dolores.
Nox et somne, meo pars insidiata pudori,
Hos mihi pro meritis partus, haec pulchra dedistis 180

Pignora, formosique patris referentia vultus ?
Nempe ego, Phcebe, tuos amplexus dura refugi,

3 I o Vmbra.

Et simplex, tali quam posses prole beare.

Atque vtinam caruisse tuo, speciose, liceret

Munere ! quantumuis indocta et stulta putarer,

Non tamen infamis, turpique cupidine laesa,

Cogerer ad nigros animam demittere manes.

Sic efFata, aliquid vultu letale minanti,

Deficit, excipiunt Nymphae, manibusque leuatam

Celsa ferunt intecta dese stratisque reponunt. 190

Cuncta loui interea narrauerat ordine Phoebus,
Factaque lasciuis prsetexuit impia verbis ;
Addiderat Cycnumque, et terga natantia tauri,
Furtiuumque aurum, et duplicalse praemia noctis.
lupiter officij tanti memor irrita risit.
Vota deae, "lustumque odium in ludibria vertit.
Ilia sed ingenti luctu confusa recedit,
Conqueritutque fidem diuum, saeuoque vlulatu
Indefessa diu languentes suscitat iras ;

At nulla in terris tanti vis nata doloris 300

Quam non longa dies per arnica obliuia soluat.

lamque puer, tacite praeter labentibus annis,
Paulatim induerat iuueniles corpore vultus ;
Cui quamuis nuUo variantur membra colore,
Multus inest tamen ore lepos, tinctosque per artus
Splendescit mira nouitate illecta venustas.
Si niger esset Amor, vel si modo candidus ille,
lurares in vtroque deum ; non dulcior illo
Ipsa Venus, Charitesque, et florida turba sororum.
Huic olim nymphae nomen fecere Melampo, 210

Lucentesque comis gemmas, laterique pharetram
Aptarunt, qualem cuperet gestare Cupido.
Ille leuem tenera sectatur arundine praedam
Auroras vt primo rarescit lumine coelum ;
Mox feruente aestu viridantes occupat vmbras,
Aut ab euntis aquae traducit murmure somnum.

Tempus erat placidis quo cuncta animalia terris
Soluerat alta quies, solita cum Morpheus arte
(Somnia vera illi nullo mandante deorum)
Florigeram penetrat vallem, sopitaque ludit 330

Pectora nympharum, portentaque inania fingit,
Horribilesque metus ; mox laetis tristia mutat,
Inducitque leues choreas, conuiuia, lusus,
Secretosque toros, simulataque gaudia amoris ;
Saepe alias Satyro inform! per deuia turpes
Tradit in amplexus, alias tibi, pulcher Adoni,
Aut, Hyacynthe, tibi per dulcia vincula nectit.
Sic deus effigies varias imitatus, opaca
Dum loca percurrit, sopitum forte Melampum
Cernit odorato densoque in flore iacentem : 330

Vmbra. 311

Accedit prope, spectanti dat Cynthia lumen.

Et quid, ait, mira nostram dulcedine mentem

Percellit? meue illudis, formose Cupido?

Sideream nigra frontem cur inficis vmbra?

lam placet iste color ? vilescunt lilia ? sordent

Materni flores ? sed vbi nunc arcus et auro

Picta pharetra tibi? cui tu, lasciue, sororum

Hac struis arte malum? tua quem noua capiat imago?

At si non amor es, quis es ? an furtiua propago

Atrigenae noctis? num crescit gratia tanta 340

E tenebris, iucunde, tibi? tam viuidus vnde

Ridet in ore lepos? tale et sine lumine lumen?

Vt decet atra manus, somno quoque moUior ipso,

Qui te sed leuiter tangi sinit, aptus amori !

O vtinam quae forma tuos succenderet ignes

Cognorim ! puer ilk foret, seu foemina, seu vir ;

Quam cupide species pro te mutarer in omnes !

Vtcunque experiar, spes nulla sequetur inertes.

Induit ex illo facies sibi mille decoras,

Versat et eetates sexumque, cuilibet aptans 250

Ornatus varies ; nequicquam, immobilis hseret

Spiritus, et placido pueri mens dedita somno est.

lamque fatigatus frustratum deflet amorem

Morpheus, indulgens animo pronoque furori.

Luce sub obscura procul hinc telluris in imo
Persephones patet atra domus, sed peruia nulli ;
Quam prope secretus, muro circundatus sereo,
Est hortus, cuius summum prouecta cacumen
Haud superare die potuit louis ales in vno.
Immensis intus spacijs se extendit ab omni 260

Parte, nee Elisijs dignatur cedere campis,
Finibus haud minor, at laetarum errore viarum
Delicijsque loco longe iucundior omni.
Et merito, his vmbrae nam diuersantur in hortis
Quot nunc pulchrarum sunt, sseclo quotue fuere
Primo, quotue alijs posthac visentur in annis.
Vallem vulgus amat, quarum peragendaque syluis
Fabula sit, liquidis spectant in fontibus ora,
Aut varias nectunt viuo de flore corollas ;
At quibus vrbanse debetur turgida vitae 370

Mollities, studijs alijs, alioque nitori
Assuescunt animos, nil simplicitatis habentes.
Altior, et longe secretior heroinis
Contingit sedes, Parnasso suauior ipso;
Gemmarum locus, atque oculorum lumine lucet.
Non hue fas cuiquam magnum penetrare deorum ;
Soli sed Morpheo, cui nil sua fata negarunt,
Concessum est, pedibus quamuis incedere lotis :

312 Vmbra.

Ilium durus amor, sibi nil spondente salutis

Arte sua, tandem his languentem compulit hortis, 380

Tot puero ex formis vt fingat amabile spectrum.

Prime fons aditu stat molli fultus arena,
Intranti, gradibus varijsque sedilibus aptus.
Hie se cum redeunt, labem si traxerat vllam
Vita, lauant, purse remeantque penatibus vmbrae.
Morpheus hac vtrumque pedem ter mersit in vnda,
Et toties mistis siccat cum floribus herbis ;
Inde vias licitas terit, et velatus opaca
Nube, lubens saturat iucundis lumina formis.
Aspicit has tacita sua mutua fata sub vmbra 290

Narrantes, choreis certantes moUibus illas
Quas olim didicere, vel ignes voce canentes
Quales senserunt dum lubrica vita manebat.
Sed deus obliquo species sibi lumine notas
Prasterit, Antiopam Nycteida, Deiphilemque,
Tyndaridemque Helenam, desponsatamque priori
Hermionem, calido dotatam sanguine nuptam ;
Argiam, et Rhodopen, victoris et Hippodamiam
Expositam thalamis, pomis captasque puellas,
Roxanamque, Hieramque, ut cognita sydera spectans 300
Negligit, innumerasque pari candore micantes.
Hinc dorsum sublime petit per amcena roseta
Euectus, picta et multo viridaria flore.
Vndanti circum locus est velut insula valle
Inclusus, formis aptus priuusque Britannis,
Densis effulgens tanquam via lactea stellis.
Prima suo celerem tenuit Rosamunda decore
Ingenti, cui Sbora comes rutilantibus ibat
Admiranda oculis, grauis vtraque conscia sortis.
Inde Geraldinam coelesti suspicit ore 310

Fulgentem, Aliciamque caput diademate cinctam,
Casti constantisque animi lucente trophaeo.
Nee tamen his contentus abit deus, altius ardet
Accelerare pedem, fulgor procul aduocat ingens
Apparens oculis, maioraque sidera spondet.
Emicat e viridi myrteto Stella Britanna,
Penelope, Astrophili quae vultu incendet amores
Olim, et voce ducem dulci incantabit Hybernum.
Constitit eximias captus dulcedine formse
Morpheus, atque vno miratur corpore nasci 320

Tot veneres, memori quas omnes mente recondit.
Proxima Franciscse diuina occurrit imago,
Eiaculans oculis radios, roseisque labellis
Suaue rubens, magni senis excipienda cubili
Mollis odoriferis prope Catherina sedebat
Fulta rosis, tacitam minitantur lumina fraudem,

Vmbra. 313

Chara futura viro, toto spectabilis orbe.

Coniugibus Isetse minus huic speciosa Brigetta

Succedit, radijs et pulchris Lucia feruens.

Formam forma parit, noua spectantemque voluptas 330

Decipit oblitum veteris, placidseque figurse.

Vtque satur conuiua deus rediturus, apricam

Planitiem duo forte inter nemora aurea septam

Cernit, et in medio spaciantem, corpora celso,

Egregiam speciem, magnse similemque Dianae.

Nube sed admota propius dum singula spectat;

Digna sorore louis visa est, aut coniuge ; sola

Maiestate leuis superans decora omnia formae,

Hsec comitata suis loca iam secreta pererrat,

Conscia fatorum, dicetur et Anna Britanna 340

Olim, fortunse summa ad fastigia surgens.

Altera subsfequitur foelix, et amabilis vmbra,

Cui Rheni imperium, et nomen debetur Elizae.

Morpheus hie haeret, capiunt hse denique formae

Formarum artificem, nee se iam proripit vltra.

Gratia, nee venus vlla fugit, congesta sed vnam

Aptat in effigiem, Policleto doctior ipso.

Sic redit omatus, tenero metuendus amico,

Cuius in amplexus ruit, baud renuente puello.

Quo non insignis trahis exuperantia formae 350

Humanum genus? hac fruitur, lunonis vt vmbra

Ixion, falso delusus amore Melampus.

Sed patris aduentu, somno iam luce fugato,

Gaudia vanescunt, atque experrectus amata

Spectra puer quaerit nequiequam, brachia nudum

Aera eircundant, nil praeter lumina cemunt.

Saepe repercussis coelo conniuet ocellis,

Amissi cupidus visi, dulcisque soporis ;

Et caput inclinat, sed acutas vndique spinas

Curse supponunt tristes, arcentque quietem. 360

Nusquam quod petit apparet, nee praemia noctis

Permittit constare dies, vt inania tollit.

Saeuit at introrsum furor, et sub pectore flammas

Exacuit, subditque nouas ; inimica dolori

Lux est, oblectat nox, et loca lumine cassa.

Siluarum deserta subit, clausosque reeessus

Insanus puer, et dubio mareeseit amore ;

Sperat et in tenebris aliquid, terraque soporem

Porrectus varie capiat; turn murmure leni

Somne, veni, spirat; prodi, o lepidissime diuum; 370

Et mihi redde meam, prope sponsam dixerat amens ;

Redde mihi quaecunque fuit, vel virgo, vel vmbra,

Qualiscunque meo placuit, semperque placebit

Infcelici animo; veri, vel ficti Hymenaei

314 Vmbra.

Quid refert? vitse domina est mens vnica nostras,

Sed non talis erat quern vidi vultus inanis,

Quod sensi corpus certe fuit, oscula labris

Fixa meis haerent; si quid discriminis hoc est,

Nunc frigent, eadem cum praebuit ilia calebant.

Ilia, quid ilia ? miser quod amo iam nescio quid sit : 380

Hoc tantum scio, conceptu formosius omni est.

Terra sine lates, suspensa vel aere pendes,

Vel caelum, quod credo magis, speciosa petisti;

Pulchra redi, et rursus te amplexibus insere nostris.

Pollicita es longum, nee me mens fallit, amorem.

Die vbi pacta fides nunc? nondum oblita recentis

Esse potes voti cum me fugis, et reuocari

A charo non laetaris, quern spernis, amante.

Sic varias longo perdit sermone querelas,

Atque eadem repetit, nee desinit; igne liquescit 390

Totus, et ardenti cedit vis victa dolori.

Mente sed ereptam vigili dum quaeritat vmbram,

Vmbrse fit similis ; tenui de corpore sanguis

Effluit, et paulatim excussus spiritus omnis

Deserit exanimum pectus, motusque recedit ;

Optatumque diu fert mors, sed sera, soporem.

Corpus at inuentum terrae mandare parabant

Lugentes nymphae, flores, herbasque ferentes

Funereas plenis calathis; quae vidit Apollo

Omnia, et iratus puero hunc inuidit honorem : 400

Vtque erat in manibus nympharum non graue pondus,

Labitur, obscuram sensim resolutus in vmbram j

Et fugit aspectum solis, fugietque per omne

Tempus perpetuo damnatus luminis exul.

THOMiE

C A M P I A N I

ELEGIARVM LIBER
Elegia i .

Ver anni Lunseque fuit ; pars verna diei ;

Verque erat aetatis dulce, Sybilkj tuae.
Carpentem vernos niueo te pollice flores

Vt vidi, dixi, tu dea Veris eris.
Et vocalis, eris, blanditaque reddidit Eccho;

Allusit votis mimica nympha meis.
Vixdum nata mihi simulat suspiria, formam

Quae dutn specto tuam plurima cudit Amor.
Si taceo, tacet ilia ; tacentem spiritus vrit :

Si loquor, oflfendor garrulitate deae.
Veris arnica Venus fetas quoque sanguine venas

Incendit flammis insidiosa suis.
Nee minus hac immitis Amor sua spicula nostro

Pectore crudeli fixit acuta manu.
Heu miser, exclamo, causa non laedor ab vna ;

Vna, Eccho resonat; Quam, rogo, diua, refers?
Anne Sybillam ? illam, respondit : sentio vatem

Mox ego veridicam, fatidicamque nimis :
Nam perij, et verno quae coepit tempore flamma,

lam mihi non vllo frigore ponet hyems.

Cum speciosa mihi mellitaque verba dedisti,

Despectisque alijs primus et vnus eram :
Mene tuos posuisse sinu refouente calores

Vana putas? an sic fcemina nota mihi?
Errabas, fateor, veros non sensimus ignes,

Nee mihi mutandus tam cito crescit amor.
Nos elephantinos nutrimus pectore foetus,

Qui bene robusti secula multa vident;
Dum tua diuersis varie mens rapta procellis

Nescit in assueto littore stare diu >
Qui mihi te pactam vidit per foedera sacra,

Cum redijt, vidit foedera nulla dies.

ION X

3 1 6 Elegiarum Liber.

Ottale, successor meus, baud inuisa tenere

Per me regna potes, non diuturna tamen.
Si promissa semel constaret semper amanti^

Non cuperet tua nunc esse, sed esse mea :
Pacta prius nostris penitus complexibus haesit,

Illius illecebrans gratia nota mihi est ;
Nota sed ante alijs, mecum quos expulit onmes ;

Teque eadem quae nos, Ottale, damna manent. ao

Nee tibi proficiet quod sis formosus, habendi

Foemina non semper pendet ab ore viri.
Carbones aliquse, vel si quid tetrius illis,

Delicijs spretis, ssepe vorare sclent.
Vidi ego quae cinerem lingua glutiret avara,

lamque in amaritie quam mihi suauis ! ait.
Multa suis mulier sentit contraria votis,

Prendere quae nemo prae leuitate potest.
Ottale, nullus eris si tu sincerus amator.

Ni malus et fallax, Ottale, nullus eris. 30

Nam quis earn teneat, cuius leuis ante recurrit

Sidere quam firmo pectore possit amor?

3
Ni bene cognosses, melius me nemo meorum,

Hoc condonassem nunc ego, Calue, tibi.
Nee mihi dum constat satis hoc quo nomine signem;

Erroremne tuum, stultitiamne vocem.
Irascor veteri, quod me magis vrit, amico;

Nee nos vulgari foedere iunxit amor.
Ira loqui cogit quam vellem durius in te ;

Es nimis incautus ; nee tibi, Calue, sapis ;
Formosam qui cum dominam sine teste teneres,

Raro qua, fateor, pulcrior esse solet;
Quaeque tuis multo tibi charior esset ocellis.

Pro qua vouisses forsan, amice, mori :
Hanc mihi, quemque adeo nosti, tu credere bardus

Vt velles? talem siccine, crude, mihi?
Quid facerem ? quis vel potuit minus ? illico captus

Ostendo ingenium, nee bene sanus amo.
Muneribus tento, cunctaque Cupidinis arte,

Qua non est, et scis, notior vUa mihi.
Vici, et iam (testis mihi sit chorus omnis Amorum)

Osculor inuitus, quod tua sola foret.
Iste voluptatem mihi scrupulus abstulit omnem,

Et summe iratus tunc tibi, Calue, fui,
Quod tua culpa minus fidum te fecit amico;

Qua nisi te purges, non cadet ira mihi.

E/egiarum Liber. 317

4
lUe miser faciles cui nemo inuidit amores,

Telle metuque nimis qui sine tutus amat;
Noctes atque dies cui prona inseruit amica,

Officijs, regno, et nomine pulsa suis.
Nam quis te dominam post tot seruilia dicet?

Ora quis ignause victa stupebit iners?
Imperet, et iubeat quae se constanter amari

Expetit; vtcunque est, obsequium omne nocet.
Qua (bene quod sperabat) amantes reppulit arte

Penelope, docta scilicet vsa mora, lo

Hac magis incendit, cupidosque potentius vssitj

Deceptamque sua risit ab arte Deus.
Nee minus ipsa dolos persensit callida, vinci

Fraude sua voluit, dissimulare tamen :
Discite, formosae, non indulgere beatis,

Fletibus assuescat siquis amare velit.
Nee tristes lachrimse, cita nee suspiria desint,

Audiat et dominae dicta superba tremens :
Sit tamen irarum modus, baud illaeta labori

Nox fessum reparet, pacificusque torus ; so

Quseque minas misero iactarunt pulchra labella

Mordeat, et victor pectora dura premat;
Turn leuiter niueis incumbens ore mamillis

Sanguineam exugat dente labroque notam :
Sic velut acer eques per pascua laeta triumphet,

Femina iam partes sola ferentis agat.
Sed simul orta dies peruerterit otia noctis,

Cum veste antiquos induat ilia animos :
lamque assurgenti speculumque togamque ministret,

Praestet aquam manibus, calceolumque pedi. 30

Postilla assideat, fessus si forte videtur;

Sin minus, actutum proijciendus erit.
Custos regni amor est; dominantes seruat amores

S^uitia, et nuUo iure inhibente metus.
Odi quod nimium possim, truculenta sit opto,

Dum mea formosa est, dummodo grata mihi.
Turbato quot apes furem sectantur ab alueo.

Tot mihi riuales displicuisse velim.
Dulce nee inuitam foret eripuisse puellam

E medio iuuenum triste minante choro, 40

Multorumque oculis pariter votisque placentem

Posse per amplexus applicuisse mihi.
Spartanae nomen tantum famamque secutus

Primus apud Graios ausus amare Paris ;
Quodque vir ille palam, timide petiere Pelasgi,

Crimine vtrique pares, vnus adulter erat.
Quoue animo Troiae portas subijsse putatis
X 2

3 1 8 Elegiarum Liber.

Cum rapta insignem coniuge Priamidem?
Aurato curru rex, et regina volentes

Accurrunt; fratres, ecce, vehuntur equis; 50

Et populus circum, iuuenesque patresque, globantur,

^mula spectatum multa puella venit.
Vnam omnes Helenam spectant, gratantur ouantes

Omnes vni Helenae; sed Paris ipse sibi.
lUi vel fratres taletn inuidere, sed illi

Suaue fuit, quod res inuidiosa fuit.
O foelix cui per tantos nupsisse tumultus

Contigit, et dignum bello habuisse torum.
Vt tarn pulchra meis cedant quoque prsetnia cceptis,

Optarein pugnas et tua fata, Pari. 60

5

Prima suis, Farmi, formosis profuit aetas,

Solaque de facie rustica pugna fuit ;
Donee vis formae succreuit, viribus aurum,

Quo sirie nunc vires, et bona forma iacet.
Ergo sapis triplici nummos qui congeris area :

Semper quod dohes, quodque supersit habes.
Vitro te iuuenes, vitro petiere puellse,

Riuales de te diraque bella mouent.
At non arenti color est tibi laetior aruo,

Labra sed incultis asperiora rubis. 10

Vel nuUi, vel sunt atri rubigine dentes,

lamque anima ipsa Stygem et busta senilis olet.
Forsitan ingenium quod amabile duels amantes;

Hei mihi, quod nimium est hsec quoque causa leuis !
Sit tamen ampla satis per se ; tibi nulla fuisset.

Qui nihilo plus quam magna crumena sapis.
Ceu lepidus coleris tamen et formosus, Adoni,

Nee fugit amplexus lauta puella tuos.
NonnuUae accedunt quas tu, furiose, repellis;

Pulsisque, vt par est, lachrima crebra cadit. 30

O foelix, si non odiosa podagra grauaret!

Neruus et effetus, membraque inepta senis.
Si non ingratse Veneris funesta puellae

Supplicia afflictus pesque manusque daret.
Te tamen baud vlli possunt arcere dolores

Cum petit amplexus foemina cara tuos.
Plurima possit amorj verum si olfecerit aurum

Mulcebit barbam Mellia nostra tuam.

Caspia, tot poenas meruit patientia nostra?
Culpa erat insistens primo in amore fides ?

Elegiarum Liber. 319

Mene fugis quod iussa feram? quod fortis amator

Non succumbo malis quae dare multa potes?
Troile, non illud nocuit tibi, Cressis acerbas

Eripuit tandem commiserata moras,
Non illud solis in terris questa puella est

Dum rapit infidum mobilis aura virum,
Ssepe alios leuitas, sed nos constantia laedit;

Supplicium pietas et benefacta timent. lo

Forsan erit miserorum aliquis grauis vltor amantum,

Cui longa pcenas pro feritate dabis,
Ah memini ignoto languentia membra dolore,

Et speciem ereptam pene fuisse tibi;
More meo lachrimans aderam, fidusque minister,

Turn mihi facta malis lenior ipsa tuis;
Protinus insensum tibi supplex inuoco numen,

Et subita ex votis est reuocata salus.
Tanti erit in nostro semel ingemuisse furore,

Tanta erat in proprijs pax aliena malis. ao

Quid precibus valeam tua pectora ferrea norunt,

Et nossent melius, sed mea fata vetant.
Multa tamen cupiam pro te discrimina inire,

Multa iube, dulcis nam labor omnis erit.
Dulcis erit, sed erit labor; heu miserere laboris;

Noster ab hac nimium parte laborat amor.
Sseuitiam natura feris, sed moribus apta

Corpora, et arma manu, fronte, vel ore dedit ;
Humana includi formoso pectore corda

lussit, in hac specie quaeritur vnus amor. 30

Quo speciosa magis tanto tu mitior esses :

Me miserum ! tanto saeuior ira tua est.
Ingentesque animos assumis conscia formae,

Virtutes nouit foemina quaeque suas.
Si lubet accedat reliquis clementia, palmam

Vt sine riuali me tribuente feras.
Dotibus ingenij superas et corporis omnes.

Hoc vno vinci nomine turpe puta.

7

Tene ego desererem? mater velit anxia natum,

Vnanimem aut fratrem prodere chara soror?
Delerem ex animo tam suaues immemor horas?

Delicias, lusus, basia docta, iocos?
Desine iam teneros fletu corrumpere ocellos ;

Ante calor flammis excidet, vnda mari,
Et prius a domina discedent sidera luna,

Quam te destituat, me violante, fides.
Ista manus nobis aequalia fcedera sanxit,

Quam tu nunc lachrimis suspiciosa lauas. 10

3 20 Ekgiarum Lil^er.,

Semper habes aliquid querulo sub corde timoris,

Foemineo multi sunt in amore metus.
Saepe mihi Thesei memoras fugientia vela,

Vtque erat indigno Dido cremata rogo.
Neglectis qusecunque solent miserisque nocere,

Haec tua sed nondum pectora Isesa dolent,
Quid feci? mea tu, cum non sint, crimina ploras;

Hocne fides? mores hoc meruere mei?
Forte licet miseras fiducia fallat amantes,

Plus ilia insanus possit obesse metus. 20

Lugubri exemplo Cephali sat fabula nota est,

Ne nimium ex Procri sit tibi, nostra, caue.

8

Parce, puer Veneris, parce, imperiose Cupido,

lam nimis intentas vertis in ora faces :
Ah pudet, abiectus cecidi, miserere iacentis;

Quern modo Isesisti, nunc tueare, timor.
Rusticus ilia prior fuit, ingratusque puellse,

Hie tamen ingenue signa fatentis habet.
Vixdum prima diem reserarant lumina solis.

Cum thalamum subij, pulchra Sybilla, tuum.
Horrida rura virum, sed non metuenda, tenebant;

Tutum riuali fecit in vrbe locum. 10

Ipsa etiam speciosa toro sed sola recumbens

Aduentum primo visa probare meum.
Dissimulans sic fata, Quid hoc? absente marito

Ad nuptse iuuenem stare cubile decet?
Ast ego, virgineum diffundens ore ruborem,

Respondi blandus quae mihi iussit Amor.
Longa dehinc varijs teritur sermonibus hora

Dum votis obstat sola ministra meis :
Optabam tacitus, licet baud inamabilis esset,

Membra feris miserse diripienda dari. 20

Discedant famulae, quoties locus aptus amori,

Nee domina sistant vel reuocante gradus ;
Aduersatur herse si quae crudelis amanti est,

Inuidiamque sibi diraque bella parit.
lamne vacat monstrare alijs praecepta pudoris

Cum reus indoctae rusticitatis agar?
Forte ministra moras, sed quas abitura, trahebat,

Mansit et ilia diu vt posset abesse diu.
Sed nee eat prorsus, iusta illam causa morata est,

Quae discedenti turn mihi nulla foret. 30

Verbis affari, nudos spectare lacertos;

Csetera ne liceant, haec quoque pondus habent.
Dum velut iratse cupio non esse molestus.

In me odia incendi credulitate mea.

Elegiarum Liber. 321

Tu tamen banc veniam vati concede, Cupido,

Perque tuas iuro, flammea tela, faces
Nulla leues posthac conatus verba repellent;

Cassibus exibit fcemina nulla meis.
Candida seu nigra est, mollis seu dura, pudica

Siue leuis, iuuenis siue adeo ilia senex; 40

Qualiscunque datur, modo sit formosa, rogare

Non metuam, et longa sollicitare prece.
Quae nolit, poterit satis ilia negare petenti;

Quae velit, ilia tamen saepe petita, velit.
Nolit, siue velit, semper repetenda puella est;

Hoc ferri grate munus vtrique solet.
Si peruersa, tamen formam placuisse iuuabit;

Si cupida, optato conuenit apta viro.
Annuit, et vultu probat haec ridente Cupido,

lamque noua incedo mactus amator ope; 50

Indico tamen hoc vobis, mala turba, puellae.

Cum peto vos, culpam ne memorate meam.

9
Ergo meam ducet? deducet ab vrbe puellam

Cui rutilo sordent ora pervsta cane?
Mellea iamne meo valedicere possit amori,

Vrbeque posthabita vilia rura colet?
Anne fides, sensusque simul periere? sequetur

Post tot formosos ilia senile iugum ?
Pauperis vxor sim potius quam regis arnica,

Sic ais ; ah stulte relligiosa sapis !
Verum habeas; quid enim tibi, perfida, tristius optem

Quam tali dignam concubuisse viro? 10

Vtrique et similes parias ; patris exprimat ora

Progenies ; mores ingeniumque tuum.
Vitam igitur nobis pingui de rure maritus

Eripiet, miserae, perfugiumque animae?
Tam tristes taedas poterit nox vUa videre?

Endimeoneis raptaue Luna genis ?
Igneus horrentes inducat turbo procellas,

Et rapiat flores aura prophana sacros;
Tartareique canes diros vlulent Hymenseos,

Praedicat lites scissaque flamma facum. 20

Strataque cum lecti genialis sponsa recludit

Per totum videat serpere monstra torum.
Vos paruique Lares, nocturni et ridiculi dij,

Terrea Pigmaeo gens oriunda Obera;
Raso qui capitis, cilij, mentique capillo

Luditis indignos, turba iocosa, viros :
Raptaque per somnum vehitis qui corpora, et altis

Fossis aut vdo ponitis ilia lacu :

322 Elegiarum Liber,

Confluite hue, vestro nimium res digna cachinno est,

Eia agite, o lepidi, protinus ite, Lares, 30

Pulchramque informi positam cum coniuge sponsam

Eripite, baud vUo conspiciente dolos;
Amplexumque meos cum se sperabit amores,

Stramineam pupam brachia dura ferant ;
Aut tritum teneat carioso pene Priapum,

Praeclare vt miserum rideat omnis ager;
Fabula nee toto crebrescat notior orbe,

Huic cedant claudi probra venusta dei ;
Ipseque nescierim, quamuis dolor intus et ira

2^stuet, in risus soluar an in lachrimas. 40

10

Ilia mihi merito nox est infausta notanda,

Qua votum veneri spreuit arnica torum.
Sic promissa fides? reditum sic ausa pacisci

Improba deque meo vix reuocanda sinu?
Credideram, persuasit Amor, suasere tenenti

Quae mihi discedens oscula longa dedit.
Ergo vigil, tacitusque tori de parte cubaui ;

Esset vt infidae foedifragseque locus.
Adieci porrho plumas et lintea struxi,

MoUius vt terierum poneret ilia latus : 10

Nulla venit,' quamuis visa est mihi saepe venire;

Quae cupidos oculos falleret vmbra fuit.
Audito quoties dicebam murmure laetus

lam venit ! extendo brachia, nulla venit.
Me strepitu latebrosa attentum bestia lusit,

Spemque auido ventis mota fenestra dedit.
Sic desiderio tandem languere medulla

Coepit, inassuetis ignibus hausta fuit.
lamque erat vt cuperem gelida de rupe, Prometheu,

Expectare tuas, vulnere crudus, aues. 20

At quanto leuior iam tum mihi poena fuisset

Captasse impasti ludicra poma senis.
Ecquis erit miser? inueniat quam possit amare,

Quam cupide indicta nocte manere velit.
Me videat quisquis sponsae periuria nescit;

En lachrimis oculi liuidaque era tument,
Insomnique horrent artus, dum forsitan ilia

Immemor, et dulci victa sopore, iacet.
Nee metuit promissa; fidem nam perdidit et me;

Nee timuit, quorum est numine abusa, deos. 30

Conuentum in siluis statuit Babilonia Thisbe

Cum iuuene ardenti, sed prior ipsa venit:
Cumque viro perijt, qui si potuisset abesse,

Haud scio nox miserae tristior vtra foret.

Elegiarum JLiber. 323

Non iter in siluas, nee erat tibi cura cauendi

Custodes, potuit tota patere domus;
Si velles saltern, si non periura fuisses,

Basia si veri signa caloris erant.
Nam quid detinuit? famulis pax vna: quid ergo?

Sex septemue gradus? ianua aperta? torus, 40

Et qui te misere remoratus qu£erat in illo?

Hseccine tarn fuerat triste subire tibi?
Quam vellem causam vel inanem fingere posses,

Inuito vt faceres ista coacta metu:
Sed nihil occurrit, res est indigna, nefasque ;

Impia, fecisti dirum in amore scelus ;
Quod nullis poterit precibus lachrimisue piari,

Ni mihi sex noctes sacrificare velis.

II

Qui sapit ignotas timeat spectare puellas ;

Hinc iuuenum atque senum maxima turba petit.
Incautos nouitate rapit non optuma forma,

Quemque semel prendit non cito soluit Amor.
Quod pulchrum varium est ; species non vna probatur.

Nee tabulis eadem conspicienda Venus.
Siue lepos oculis, in vultu seu rosa fulget,

Compositis membris si decor aptus inest ;
Gratia siue pedes, leuiter seu brachia motat;

Vndique spectanti retia tendit Amor. 10

Distineat iuuenem neque pompa, nee aurea vestis,

Nee picti currus, marmoreseue fores :
Rare vrbem solus prouecta nocte pererret,

Nox tenebris iieri multa proterua sinit;
Siqua die placita est, noctu pulcherrima fiet :

Adde merum, Phaedram possit amare gener.
Haec ego : cum contra est telis facibusque minatus,

Ni sileam, triplex pectore vulnus Amor.

12

Qui gerit auspicijs res et, nisi consulat exta.

Nil agit, hfc subitos nescit abire dies.
Suspiciosa mora est, fortuna irridet inertes,

Omnia prsecipiti dans redimensque manu.
Dum Menelaus abest, Helenen Priameius vrget,

Vrgentique aderant numina Fors et Amor.
Herus aeque omnes voluere cubilia, solus

Lseander Cypria sed duce victor amat.
Solus congreditur dubia sub luce puellam

Defessam sacris ante ministerijs. 10

Saepe opportune cadit importuna voluntas,

Insperataque sors ad cita vota venit.

324 Elegiarum Liber.

Parua sed immemoris sponsi cunctatio Thisben

Seque per vmbrosum praecipitauit iter.
Vna dies aufert quod secula nulla resoluent,

Secula quod dederint nulla, dat vna dies.
Mane rosas si non decerpis, vespere lapsas

Aspicies spinis succubuisse suis.
Dum iuuat, et fas est, prsesentibus vtere; totum

Incertum est quod erit; quod fuit, inualidum. so

13 Ad Ed: Mychelbumum.

Ergone perpetuos dabit vmbra sororia fletus?

Inque fugam moUes ossea forma deas ?
Sic, Edoarde, situ ferali horrenda Thalia

Antiquosque sales deliciasque abiget?
Carmina nequaquam tangunt funebria manes.

Impetrabilior saxa ad acuta canas.
Parce piam cruciare animam, si chara sorori

Extinctae superest, ne sit iniqua tibi.
Aspice, distortis Elegeia lassa capillis

Procubuit, lachrimis arida facta suis; 10

Ecce, premit, frustraque oculos exsoluit inanes :

Prodiga quod sparsim fudit, egena sitit.
Sic proiecta graues Istri glacialis ad vndas

Dicitur emeritum deposuisse caput.
Sic exhausta sacri vatis lugubre canendo

Exilium, et tardos ad meliora Deos.
lam satis est, Edoarde, tui miserere, deseque;

Fessa dea est nimium sollicitata diu.
Assueti redeant animi, solatia, lusus;

Exuat atratam vestra Thalia togam. 20

Nee te detineat formse pereuntis imago;

Ad manes abijt non reditura soror.
Neue recorderis quae verba nouissima dixit;

Praesidio ilia minus proficiente iuuant.
Verba dolorem acuunt, soluunt obliuia curas ;

Immemores animos cura dolorque fugit.
Sed tua si pietas monitis parere recusat,

^graque mens constans in feritate sua est.
Nulla sit in terris regio, non ora, nee aetas

Inscia ploratus, insatiate, tui. 30

Non Hyades tantum celebrent fulgentia coelo

Sidera, fraternus quas reparauit amor;
Quantum fama tuas lachrimas, obitusque sororis ;

O bene defleto funere digna soror !
Et, tibi, si placet hoc, indulge, Edoarde, dolori:

Singultuque grauem pectore pasce animum.
Tristitiam leuat ipsa dies; gaudebit et vitro

Ascitis tandem mens vegetare iocis.

FINIS.

APPENDIX TO THE
LATIN POEMS.

Thomas Campion's 1595 edition of Latin verse to a very large
extent consists of poems which appeared in his subsequent (16 19)
collection. For this reason it has not been thought necessary to
reprint it in full ; but as it contains many poems which were not
subsequently reprinted, and in some cases the modifications
which the poet made in reprinting are of interest, I have given in
this Appendix all such poems as were not included in the subse-
quent edition together with notes of all readings in which the
earlier text differed from the later, in the form of a running
commentary. It will thus be found possible by incorporating the
passages of the 16 19 edition alluded to and making the changes
specified to reconstruct the entire actual text of the 1595 Poemata.

To face p, 326

AD *DIANAM.

Dij nemorum, et vati Thamesinae adsistite nympha;,

Dum struit herbosum vestras altare Dianse

Propter aquas, iaculantis apros, vulpesque Dianas.

Post hiemes aliquot solita inter sydera sydus

Natiuo candore deam splendescere teti

Suspicietis, iniqua arcentem frigora vultu,

Qua formosa poli glacialis parte relucens

Seruatos lustrarit agros, populumque suarum

Virtutum memorem, nee dedignabitur alte

Despectare sues proiecta cacumina coUes. lo

Ilia aquilam (cernetis enim) rigidumque leonem

Frustra obnitentes roseis trahet armamentis,

Atque leui filo spumantia colla refringet.

Ocius 6 nymphas quin fertis ad illius aram
Gramineos flores, mentam, violasque latentes,
Et folijs quae caltha suis se prodit agente
Sole diem, frustra nymphis se illisa requirens
Cum gelidam fugeret retrahens sibi brachia noctem ?
Praecipue asportate rosas, prata ampla rosarum,
Diua suos flores agnoscet debita sacra. 20

Congerite has frondes, stipulaque arente fouete
Candentes prunas, animisque educite flammam ;
Has olim ad Thamesin sparsas in littore voces
Certum est in cineres dare, quid conspergitis undas
O nymphse ? quid iniqua pios manus enecat ignes ?

Parce dea, extinctam superant mea sacra fauillam,
Quasque adolere fuit satius, *fecere sororum
Agmina relliquias, et mi monumenta pudoris.
Sed tibi seu coelum est animus, seu visere terras,
Ad Thamesin tua sceptra canam, tua sceptra canenti 30

Adcurrent nemora, et laurus simul omnia fient.

* Serenissi-

mse reginas

laudes sub

Dianse

nomine

cele-

brantnr.

* Ne qua
pars Eliza-
bethae
landis
interiret.

AD *DAPHNIN.

Ecquis atat superum ? nee enim terrestris in illo
Effulsit splendor, certe aut Latous Apollo
Per virides saltus teneros sectatur amores,
Aut Daphnis formosus adest, quern sordida terra,
Quern nemus abductum, quem si fas Cynthia fleuit.
I Hi nequicquam Fauni, Charitesque quotannis
Omarunt, festosque dies suauesque Hymenaeos,
Montibus et siluis immania lustra ferarum
Eruit, innuptae veneratus sacra Dianae.
Ah nimium intrepidus toruo occursare leoni
Gestit, et ingentes ad pugnam incendcre tauros.

* Claris-

simus

Essexiae

comes sub

Daphnidis

persona

adum-

bratiir.

10

330

Poemata.

Quam modo qua Tagus auriferis incumbit arenis,
Per vaga dorsa freti iuuenum longo agmine cinctus,
Vastatoris apri fugientia terga cecidit !
Non Atlante satse (foelicia sydera munus
Hoc pietatis habent) magis infcelicis Hyantis
Confusae ex abitu steterunt, trepidasque volarunt
Per siluas, resonantibus vndique Hyantida siluis;
Quam te, Daphni, super duplicantes vota Britanni,
Quam te, Daphni, super pendentibus anxia fatis
Diua, notos metuens, longumque quod asstuat aaquor.
Sad postquam sospes tandem patria arua reuisas,
Terra nemusque viret, veteresque ex ordine cultus
Solenni instituunt siluestria numina pompa.
Nee tibi tantum ausit decus inuidisse Menalcas.

AD THAMESIN.

ARGVMENTVM.

Totum hoc poema gratulationem in se habet ad Thamesin de
Hyspanorum fuga, in qua adumbrantur causae quibus adducti
Hyspani expeditionem in Angliam fecerint. Es autem sunt,
auaritia, crudelitas, superbia, atque inuidia. Deinde facta Apostrophe
ad Keginam pastoraliter desinit.

* Elisa- Nympha potens Thamesis soli cessura * Dianas,
bethse. Caeruleum caput effer aquis, charchesia late

Quae modo constiterant signis horrenda cruentis,

Ecce tuos trepide liquere fugacia portus.

Non tulit Hispanos crudelia signa sequentes

Neptunus pater, et multum indignantia spumis

^quora, non deus astherea qui fulminat arce,

Nubi'a qui soluit, ventorumque assidet alis.

Ille suos cultus, sua templa, suosque Britannos

Proteget, vltricemque suam victricibus armis. lo

Nee Romana feret purgatis Orgia fanis

Reffluere, aut vetitas fieri libamen ad aras.

O pietas odiosa deo, scelerataque sacra,

Quae magis inficiunt (damnosa piacula) sontes.

* AmericEe Est * locus Hesperijs, Diti saeer, abditus vndis,
poetica Quern pius oeculuit Nereus, hominumque misertus
descriptio. Oceanus, quemque ipse deis metuendus Apollo

Luminis inditio quod detegit omnia, sensit

Ignotis sub aquis melius potuisse latere.

At pater vmbrarum cui nox parit horrida natos 20

Terribiles, nigro vultus signante corymbo,

Ille per obscuras petit antra immania siluas

Aurea, siluarum Stygiaa sub tegmine nymphas

Atra tenebrosis spectant in fontibus ora.

Eumenides regem comitantur, et ortus Echidna

Cerberus, et quaa monstra tulit furialis origo,

Quos caput horrendum quatiens sic alloquitur Dis :

Paci inimica cohors, nunc iras sumite pleno
Pectore, nunc totas penitus difTundite vires,

Ad Thames in. 331

Exululate sacros, et quos horrere susurros 30

Ipse velim, coUecta simul conflate venena,
Tabe Promethea riguus quas Caucasus herbas,
Tantaleasue ferunt limphEe, Phlegetonue, Acheronue,
Laetificas armate manus, Anioque, Tyburque
Sentiat infusum virus, Duriusque, Tagusque,
Diraque Auernales exuscitet vnda furores,
Irarumque minas, auidique incendia belli.

Dixit, et effugiunt quassantes ore colubros
Anguicomae, Ditem dolor excitat, euolat antro,
Et vagus excurrit sinuosi margine ponti 40

Atra velut nubes ventis agitata, senemque
Oceanum vocat, et rauco clamore remugit.
Constiterant fluctus, egere silentia venti,
Cyaneis os toUit aquis venerabile numen
^quoreum, tnadidasque comas a fronte remouit,
Ismarias superare niues albedine visas.
Quamuis nulla senis subijt reuerentia Ditem,
Sic tamen aifatur, mollitque astutia vultum :
O qui luctantes ciuiliaque artna gerentes

Imperio fluctus componis, et aequora late 50

Fusa, et sidentes ruptis de montibus amnes,
Cur inuisa iacet ? cur base vacat insula cultu ?
Pondere terra gemit, fceto maturuit aluo
Resplendens aurum, ferit hoc mortalia sydus
Pectora, tu solus prohibes quod amabilis auri
Suadet amor facinus ; non has Romanus ad oras,
Non venit Hispanus castris assuetus et armis,
Nee quisquam Italian, tua monstra natantia terrent.
Esto precor facilis, quosque ingens gloria Martis
Extulit Hesperios, animis rebusque potentes 60

Excipe, conde sinu, nostroque in littore siste.
Quem contra Oceanus: Tibi, Dis, patet orcus, et omnis
Vis terrena, nocensque asgris mortalibus aunim,
Verum siquid babent, et habent tua munera pulchri.
Sunt Angli, sunt Troiana de gente Britanni,
Qui pacem, numenque colunt, et templa fatigant.
Sin longa spectes serie numerosa trophaea.
Has etiam spectes immensse molis arenas.
Ingemuit, traxitque imo suspiria corde

Tartareus, spumaque oris barbam albicat atra. 70

Aggressumque tuas, decus 6 regina Britannflm,
Virtutes narrare, fremens occcepit acutis
Obturbare senem stridoribus, et ferus ira
Concussit piceos scabra rubigine dentes.
Ardebant oculi, vultu pax exulat omnis,
Excidit obsequium et meditata precamina, diras
Euomit atque minas quales irata Medea ;
Et tibi, ait, quoniam leuis est mea visa potestas,
Rumpam fundamenta maris quae tegmine nostras
Obfuscant jedes, post imas qujere sub vmbras 80

In fluctus requiem, sedemque cadentibus vndis.
Horruit Oceanus (vitium formido senile est)
Sed quid non ausit demens furor, et mala praeceps
In sua, vix motum longa mulcedine Ditem

332 Poemata.

Lenijt, et malus impetratis rebus abiuit.

Carbasa tenduntur subito venientibus Euris,

Et ruit asquoreos male gratum pondus in armos :

Cogitat Oceanus rapido nunc mergere ponto,

Nunc grauibus scopulis, in acutaque figere saxa.

Cauta iram cobibet mens, at vindicta dolentem 90

Oblectat.sensitque animo te, Drace, futurum

Exitio Hispanis, clarumque insignibus ausis

Frobucerum, pariterque nouis successibus oras

Ampla reportantem ad patrias spolia auripotentem

Candisium, audaces animos fortuna secundat.

Excipit Hesperios Dis quem tegit aurea palla,
Corporis et tenebra vestis fulgore coruscant,
Vix hunc credideris cascas habitare cauernas,
Squallentemque situ Stygijs sordere sub vmbris.
O quam splendescit Venus aurea ! suauis in auro est loO

Gratia, multus honos, absque auro gratia nulla est.

Propter Auarities stat inhospita, lumine laeta
Sollicito, miruni, hoc laetatur in hospite, nullum
* Auaritise Quas colit hospitium ; * Libica est procul inula Syrtis

domns. Per vada, stant tacitae longa insuetudine siluaa,

Semper et obdormit tranquilla in montibus Eccho,

Dissimilisque sui, non est qui suscitet illam.

Moenibus obsepta est sublimibus aerea turris,

Mulciber banc vario torquens errore viarum

Sternum statuit non expugnabile tectum. no

Haec domus, hlc misera insomnis noctesque diesque

Thesaurum obseruat caeca tellure sepultum.

Et quia causa deest, fingit sibi monstra timenda,

Formidatque animo quas non prassenserat vmbras.

Turribus aerijs tuta est si credere posset,

Tuta loco, extructisque ingens super aequor arenis.

Alta per exiguam clauduntur moenia portam,

Hanc sola ingreditur, nunquam egreditur nisi Plutus

Euocet, eximium hunc spretis habet omnibus vnum.

Proxima purpurea succedit cuspide Caedes 120

Suspitiose oculos obliquans, atque cruentum
Vix animo halato cor in ilia gurgitat atra,
Atra aestu, rabieque insana fellis adusti.

Vltima subsequitur manifesta Superbia curru,
Fastiditque solum, sellam baud dignatur eburnam
Qua vehitur, quam traxit auis lunonia pompam
Pennarum expandens, gemmasque elata recludens.
Agmina conueniunt, dextras vtrinque dederunt,
Dis ait: Hesperij satis est dextraeque moraeque,
Mensa diesque vocant, perijt pars optima lucis: 130

Applaudunt regi vmbrarum portuque recedunt.

Ecce fatigatos laeuo curuamine coeli
Lentus agens Hyperion equos, curruque reclinans
Viderat Hesperios, et quis nouus incola terras
Venit in ignotas miratur, eoque morantes
Cursores animat, Tethidosque hortatur ad vndas.
Interea ingentem vino cratera propinant,
Indulgentque epulis Dis cum regaliter usis
Hospitibus, donee gelidis stipata tenebris

Ad Thamesin, 333

Induxit somnos nox, atque papauera sparsit. 140

Postera deformes roseo velamine texit
Vmbras aurora, et simulatis fronte capillis.
Concurrunt stygias feriuntes tympana nymphae,
Et recinunt miserum clamoso gutture carmen.
Ducentesque choros dominum, regemque requirunt.
Turba petit siluas somno experrecta madentes
Rore leui suauesque expirans gramen odores.
Valle sub obscura liquidis argenteus vndis

* Fons erat, Inuidiae sacer, hunc, Narcisse, petisses * Fons

Tutus, in aduersam quia nulla repercutitur lux 150 Inuidiae

Seu lucis radius speciem, sed quicquid in orbe sacer.

Est vsquam limphis manifesto cemitur illis.
Fons mundi speculum est, sed qui speculatur in illo
Morbum oculis haurit macidum, et lethale venenum.
Hue diuertentes cum Dite Hyspana iuuentus
Immisere oculos auide putealibus vndis,
Et sub aqua mirantur aquas, vrbesque, domosque,
Agnouere suos portus, nemora, aruaque et aurei
Lucida signa Tagi : longe omnibus eminet vna
Cuncta mari tellus, celeberrima rupibus albis, 160

Hanc spectant, et agros, vrbes, vada, flumina, fontes
Laudant inuiti, hac vna regione morantur,
QuEeque vident cupiunt, atque inuidere videndo.
Paulatim increuit pulmonibus ardor anhelis,
Liuidus ora color, macies cariosa medullas
Occupat, illi acres pugnant superare dolores,
lamque odio locus est, nee iam discedere possunt.
Sic miseri cum flamma aedes circumflua vastat,
Excussi somnis media sub nocte pauentes
Corpora proriperent, obsistit at obuius ignis, 170

Cernentesque aduersa oculos, et cassa mouentes
Eflugia exurit feralis taeda lacertos.

Postquam irretitas acies, et vulneris aestu
Senserat arderi et frangi iuuenilia corda
Dis, arrisit aquis, laetusque silentia rupit,
Spectatae satis, o iuuenes, nimiumque recedant
Coelestes lymphae, mens est et numen in illis.
Ecce ferunt violas, detexaque lilia nymphae,
Ecce struunt in serla rosas fontemque coronant.
Nondum extrema grauis diuerberat ora loquentis 180

Imber, et obducto recidentia nubila coslo.
Tristis hiems, et nox nuUo suadente resurgit
Vespere, terrarumque orbem intempesta recondit.
Per iuga dissiliunt fluctus, voluuntur et imas
In valles, teretesque trahunt de montibus omos.
Intremuere omnes, Dis autem interritus vmbras
Increpat, et facilem concussit arundine terram.
Terra tremit, nigrasque aditum patefecit ad arces.

At dirupta iam ruituris subuolat Auster
Nube, pruinosisque cadentes sustinet alis. 190

Tasnarium nemus vmbriferum, tacitaque cauernas
Noctis, et aeternum quibus obdorinire sepulchris
Adsueuit Morphei pater, haec praeteruolat aestu
Fulmineo, donee portas prope sensit opacas

334 Poemata.

Stantem Hecaten, medijs qua circumcingitur vmbris,

Desilit hie terramque vagis amplectitur vlnis.

La^ta viro occurrit Platonia, dumque stupescit

Haud expectatos comites, fugit imbrifer^ Auster,

Et numerosa horret niueis concussa capillis

Styria, luctificique fluunt cum grandine nimbi. 200

Delitias facit hospitibus, stygiosque lepores
Dis, et in obscuros Triuia comitante recessus
Monstrat iter, stant mensae epulis vinoque repletse,
Aureo et effulgent operosa cubilia tecto.
Accubuere, canente suam accumbentibus Orpheo
Euridicen, quasque olim inter Rhodopeia saxa
Fudit ad vmbrosas quercus, tenuesque miricas.
Quin etiam immites Thressas fleuisset, et Hebro
Dimersum caput et cytheram, si non dea mater,
Flens dea Calliope nati compresserat ora. 210

Conticuit, subitoque oritur miserabile murmur,
Quale sepulturis cum nsenia flebilis inter
Afifines canitur resono plangore gementes.
Lugentque Hesperij nequaquam in vatis honorem,
Pestiferi sed enim torquentur imagine fontis,
Visorumque memor furit aegris dira cupido
Pectoribus, totasque asdes singultibus implent :
Nee sua turpari moesto conuiuia luctu
Sustinet vlterius Cereris gener, atque ita fatur:

Ite leues vmbras, celsas ad sydera pinus 220

Extruite, et fiuidas lato super aequore turres.
Vosque nisi hospitij pigeat fortassis Iberi
Exhilerate animos, neu quern simulachra dolorem
Vana ferant, nam quae niueis fonte insula saxis
Emicuit spectans Helecen gelidumque Booten
Insula, diues opum, sedes veneranda Britannis,
Ingentes difiisa suis horrere carinas
Discet, et Hispano tandem suecumbere ferro.

Cincta sub haec aderat torto caput angue Megsera,
Horrida tela, ignes, et ahenea monstra ministrans. 230

Ergo incenduntur furijs, Stygiasque ad arenas
Armati ineedunt, nigros vbi cernere manes
Littoribus tot erat, quot apes praesepia circum,
Aut aestate solent turmatim irrepere sulcis
Formicae, cursansque ignito horrenda flagello
Vndique Tysiphone cessantes verberat vmbras.
lam sed in immensum ceu turres seu iuga Pindi
Increuere rates, quas est mirata iuuentus
Hesperia, et Stygio faeiunt vota impia regi.

Ineubuere omnes, et olenti littore classem 240

Diducunt mare per gelidum, Cynosuris euntes
Respicit, aspectu sed dedignante Calistho,
lamque fremens, vt erat vultu illastabilis vrsa
Vnguibus immites nimbos concussit, et auras
Nubibus infestat, pugnamque Aquilonibus Austros
Aduersum instituit, veteresque resuscitat iras.

At tu nympharum Thamesis puleherrima limphis
Alta tuis, procul vt vidisti hostilia signa,

' Corrected in Bod. ed. to ' imbricns '.

Ad Thame sin. 335

Tu dea flumineam spaciosa gurgite frontem

Celata, aequoreas turbasti fluctibus vndas. 250

Donee Ibera cohors ventorum pulsa furore,

Et virtute virum, per Hybernica saxa refugit.

lUic dira fames Scythicas illapsa per auras,

Et Lybico vesana sitis de puluere nata,

Turn Phlegetonteae pestes, rabidique furores,

Ingratusque sibi dolor, et sua funera Erinnis

Exornans, nigra Hyspanos sub tartara mittunt.

Sic 6 sic pereant aduorsis vndique fatis,

Ira Calisthonise trepidisque impendeat vrsse,

Siue bibant Tyberim, vel aquas torrentis Iberi, 260

Siue Aurora nouo, sero vel sole recedens

Hesperus illustret gentes, vmbrasque repellat.

Sic pereat, quicunque tuas fleturus in oras

Vela inimica dabit, Brutique nepotibus, et dijs

vetus hospitium, sanctumque Britannia nomen.
Tuque viresce diu dea ceu Daphneia laurus,

Tu dea, tu foelix Anglorum numen Elisa.

Non aconitutn in te virus, non ensis acumen,

Nee magicum vim carmen habet, nee flamma calorem.

Scilicet integrum diuina potentia pectus 270

Firmat et humane dedit inuiolabile ferro.

Ergo diu vigeas, procul hinc fuge, pigra senectus,

Ismarioque cuba glaciali frigida saxo,

Vel steriles inter quas alluit Ister arenas,

1 fuge, coelestes animas tentare nefandum est.
Fallor? an excessit tardo per inane volatu?
Ecce autem rigidani trahit inter nubila pallam,
Et tremit, et cani recidunt horrore capilli.

At te diua rosis ambit formosa iuuenta,

Atque Heliconiacas aspergit floribus vndas, 280

O diua, 6 miseris spes Elisabetha Britannis

Vna, senectutem superes, pulslsque superstes

Hostibus, innumeros gemines virtutibus annos.

FRAGMENTVM VMBR^.

ARGVMENTVM.

lole Berecynthias filia magicis carminibus sopita ab Apolline
vitiatur, et ex eo grauida fit, puerumque nigrum parit nomine Melam-
pum. Hunc, postquam adoleuerat, Morpheus amare ccepit, dormien-
temque varijs imaginibus cum diu frustra tentasset, Proserpinam adit,
cuius sub ditione formosarum omnium manes habentur. Ibi Troianas,
Grascas, Romanas, aliarumque gentium formas cum satis spectasset,
tandem ad Britannicarum exemplum figuram sibi longe pulcherrimam
effingit eaque indutus Melampum denuo aggreditur, qui falsa pulchritu-
dinis specie deceptus in miserrimum amorem dilabitur, siquidem patris
interuentu mox expergefactus vmbrae ipsius quam per somnium viderat
desiderio tabescit, et in vmbram mutatus est,

1619 text to Et quid ait., reading \. I O dea fcemineos nigro quse :
1. 79 Nee saturat spectando sitim, tangendo, fruendo : 1. 114 Trislis, vt
expleret miseros plangendo dolores.

Y 2

336

Elegiarum Liber.

ELEGIARVM

LIBER.

* Argn-
nntur
enim Se-
ptentrio-
nales
qnantum
a sole
absunt
tantum ab-
esse ab
humanitate
& litteris.

* Aer in-
sularum
inxtaPhilo-
sophos
perpetuo
aesta maris
calescit.

* Estate.

ELEGEIA I.

Ite procul tetrici, moneo, procul ite seueri,

Ludit censuras pagina nostra graues.
Ite senes nisi forte aliquis torpente medulla

Carminibus flammas credit inesse meis.
Aptior ad teneros lusus florentior aetns,

Vel iuuenis, vel me docta puella legat.
Et vatem celebrent Bruti de nomine primum

Qui moUes elegos et sua furta canat.
* Probro nee semper fax sit tua, Phoebe, remota,

Feruet ab innato flamma calore magis. lo

Nobis * egelidas Neptunus mollijt auras

Qui fouet araplexu litora lata suo.
Et nos Phoebus amat, quantumque hieme abdicat, *ardens

Tanto plus facili conspicit ore pater.
Quid sacras memorem nymphis habitantibus vndas,

Siue tuas Thamesis, siue, Sabrina, tuas?
Mille etiam Charites siluis, totidemque Naples,

Tot Veneres, tot eunt Indigenseque deae.
Vt taceam musas, toto quas orbe silentes

Chaucerus mira iecerat arte loqui. 20

lUe Falaemonios varie depinxit amores,

Infidamque viro Chressida Dardanio.
Prodigiosa illo dictante canebat arator

Ludicra, decertans cum molitore faber.
Sic peregrinantum ritus perstringit aniles,

Riualemque dei deuouet vsque papam.
Quis deus, 6 vates magnis erepte tenebris,

Admouit capiti lumina tanta tuo?
Fabula nee vulgi, nee te Romana fefellit

Pompa, nee Ausonij pieta theatra lupi. 30

Imperio titubante nouos sibi finxit honores

Quas mundi dominos callida Roma tenet,
luris sola sui gentes procul Anglia ridet

Tendentes Latio libera coUa iugo.
Sacra libertate dea regnante potimur,

Quae dare iam nobis otia sola potest.
Omnia nunc pacem, montesque vrbesque fatentur.

Cum Venere et nudo qui pede saltat Amor.
Paeis amans deus est, quamuis fera bella Cupido

Corde gerens nostro semper ad arma voeat. 40

Alme puer, teneris adsit tua gratia musis,

Paces siue deae, seu tua bella canunt.

Elegeia 2. Ad amicam qua promissum fefellerat. El. ioofi6i9
ed. Var. : 1. i. Ilia diei nox iam sit contermina nuUi : 1. 20 pectore
ruptus aues : 1. 22 Captasse exanimi : 1. 35 erant tibi decipiendi :

E/egiarum L,iber. 337

1. 38 Si tua non dederas basia signa necis. Elegeia 3. Aditum ad
amorem sibi difficilem optat. El. 4 of 1619 ed. Var.: 1. 3 Infoelix
etiam cui stulta : 1. 9 propulit arte : 1, 10 Scilicet adducta
Penelopea mora : 1. 1 1 ardentius vssit : 1. 16 Fletibus insuescat :
1. 23 ore papillis: 1. 31 Post laeua dominam assidat: 1, 35 possim,
date dij truculentam : 1. 36 Dummodo formosa est : 1. 39 Mellifluam
pulchrum est te diduxisse : 1. 40 torua tuente choro : 1. 42 appro-
priare tibi : 1. 44 Primo inter Graecos cospit amare : 1. 47 intrasse
putatis : 1. 56 Duke fuit.

ELEGEIA 4.
De Mellea lusus.

Pulchra roseta inter mea Mellea pulchrior illis

Dum legit vmbroso moUia fraga solo:
Venit Amor, (jui iam pharetra positisque sagittis

Gestitat igniuomo ferra forata cauo.
Puluis agit sine voce pilas vbi concipit ignem,

Et niuis in tacito puluere candor inest.
Audax 6 nimium puer ! 6 versute Cupido !

Tu ne ferebaris caecus? at ipse vides,
Argutoque minax intendis acumine ferrum.

Intueor, licet hac fronde latere velis. 10

Erubuit deprensus Amor, risuque fugauit

MoUitiem, et dixit tu mihi miles eris.
Si confirmandus de more poposceris aurum,

Aurea virgo tibi hsec oscula quinque dabit.
Post ilia vt nostris possit succedere castris,

Aurea iam de te basia quinque feret.
Immo etiam de me centum, vel millia centum,

Et placeas mage si prodigus esse velis.
Dixi, aufugit Amor, pictasque reuerberat alas,

Nos veriti numen mutua labra damus. 20

Gessimus acre dehinc ductore Cupidine bellum,

Et reparat noua nos in noua bella dies.

Elegeia 5. Ad Cambricum. El. 5 in 1619 ed. Var. : 1. i Cambrice,
prima fuit formosis aptior : 1. 9 Nee tamen arenti: 1. 15 Sed sit
magna satis: 1. 16 Qui pariter trito cum pugione sapis: 1. 18
Fletque supercilijs tesa puella tuis : inserts after 1. 20 Non solum
ingenium tibi formamque indidit aurum, Verum in formosas regna
beata dedit : 1. 22 Penis et effcetus. Elegeia 6. Non differendum
tempus. El. 12 in 1619 ed. Var. : 1. 12. vota ad inempta venit.
Elegeia 7. Ad Caspiam. El. 6 in 1619 ed. Var. : 1. 10 virtus et :
1. II Est aliquis coelo facilis spectator amantum : 1. 17 Sedulus ora-
bam (praesentia numina) diuos : 1. 20 Tanti erat : II. 35 and 36
reliquis virtutibus vna, Et facilis palmam : Elegeia 8. Ad infidam.
El. 2 in 1619 ed. Var. : 1. x Cum mihi blanditias et credula : 1. 3.
Mene statim sub corde tuos posuisse calores : 1. 7 Nos elephae longos:
1.18 Illius interior nota medulla mihi est: 1. 22 spectat in ora viri:
1. 25 digitis immitteret ori : 31 Sed quid eam metuo, cuius. ELEGEIA 9.
Ad Edouardum Mychelbornum de obitu sororis. El. 13 in 1619 ed.
Var. : 1. 7 piam temerare : 1. 30 Inscia moeroris, moestitiaeque tuae.
Elegeia 10. Ad amicant de sua fide sollidtam. El. 7 in 1619 ed.
Var. : 1. 4 Tot noctesque tuo munere, totque dies ? I. 8 Quam manus

338

Elegta

rum Liiber.

ista tuo possit abire sinu : 1. 9 Ilia tnanus : 1. 13 lamque mihi : 1. 14
Conclusam rapidis saepe Ariadnen aquis : 1. 15 Et quascunque solent
miseris in amore: 1. 19-21 Quod superest has trado manus, innecte
catenas, Implexosque meis artubus adde tuos. Sic ego nee faciam,
nee tu patiere, sed vna Tecum et res fuerit, si nequit esse fides.
Elegeia II. Ad Cupidinem. El. 8 in 1619 ed. Var. : 1.8 Intraui
thalamum : 1. 15 ego purpureum : 1. 19 quamuis formosa fuisset.
Elegeia 12. Mellea nuptias execrattir. El. 9 in 1619 ed. Var. :
1. 3 iamne potest nostro valedieere : 1. 4 Cum furcis procul vt degat et
arboribus? 1.6 montibus ^thiopem : 11. 11, 12 Moxque tui similes
parias, vultusque patemos, Matemamque fidem progenies referat :
1. 24 gens Obera geniti : 1. 33 se sperarit : 1. 34 Inuoluant pupam
braehia stramineam : 1. 40 yEstuat.

ELEGEIA 13.

Caspia potitus latatttr.

Ouos cupiam laetus ? quos alloquar ? anne deorum
~ Formosorum aliquem noster adibit amor ?
Tutius an manes tacitasque exuseitet vmbras ?

Sors erit inuidiae facta beata nimis.
Tum neque Shora suos audebit prodere lusus,

Errore implexos nee Rosimunda Lares.
Nocte immortalem me Caspia reddidit vna,

Tanta extirpabit gaudia nulla dies.
Quas ego, quam cupide vidi tetigique papillas !

Quam formosa inter braehia molle latus ! 10

Qualia inhaerenti spirauit basia labro !

Qualia, sed castis non referenda viris !
Delitias tantas miratus et ipse Cupido est,

Quasque dedit nobis optat habere vices.
Inieetis igitur miser asseruare lacertis

Cogor, peetoribusque insinuare meis.
Sed miserum iuuat esse diu, sed ssepius illo

Riualem cupiam posse timere loco,
Quae mihi per longos venit exorata labores,

Non nisi per magnos est retinenda metus. 20

Nox est, si moriar, satis haee mihi sola beato ;

Si viuo, non sunt millia mille satis.

ELEGEIA 14.

Ad amicos cum agrotaret.

^ger eram, non vua* meos lenire dolores,

Nee condita modis mille operosa Ceres,
Non dulces potuere ioci, comitumue lepores,

Ex angore animi mens hebetata fuit.
Deciderat manibus, lyra, nee suspiria erebris

Exitibus numeros sustinuere suos.
Horrebam procul obscurae eonfinia noetis.

Nee lassos artus mollia fulcra iuuant.
Illaetos querimur tarde proserpere soles,

Noxque die grauior fit mihi, nocte dies. 10

Excutiunt placidos insomnia dira sopores,

Somnia non vllam post habitura fidem.

1 This is the MS. corr. in the Bodl. ed. for the original reading ' vna '.

Eiegiarum Liber. 339

In me saepe ruunt armatis agmina turmis,

Sulphureisque boant asnea monstra cauis.
Hispidus hinc serpens inter deserta relicto

Fit mihi, vel frendens obuius ore leo.
Et qua^ nulla aetas tulerit portenta videmus,

Excurrit vario flexilis orbe timor.
lam iam lapsuras capiti impendere ruinas

Suspicor, aut tremulo sub pede sidit humus. 20

lam mare, iam ventos metuo, saxa aspera terrent,

Antennas video fractaque transtra ratis.
Amisos etiam comites in littore flemus,

Et cadit ex oculis lachrima vera meis.
Te mode spectabam tumidas, Hatecliffe, per vndas

yEgre versantem brachia fessa sale,
lamque tuos, Stanforde, tuos, Thurbarne, volutes

Exanimes artus per vada summa lego.
CoUectos manibus moerens amplector, et omnis

Flebilibus resonat qusestibus era meis. 30

Si mihi displiceant somni mirabile non est,

Quos misere afiflictos tarn ferus horror habet.
Nee minus illepide nocturnis territa visis

Mens vigilans toto somniat ilia die.
Sed vos 6 chari multum valeatis amici,

Differor externis dum miser ipse locis.
Inuidiosa via est quas nos disiungit amantes,

Nee socijs socio iam licet esse mihi.
Verum vos video absentes et somnio, somnis

Anxia turba meis non onerosa tamen. 40

Vestra vel in somnis lachrimaui funera, flentes

Vos quoque si moriar tymbon adite meum.

Elegeia 15. A puellarum aspectu penitus abstinendum. Eh II in
1619 ed. Var. : 1.6 Nee templis : 1. 11 non pompa.

ELEGEIA 16.

Postquam Vulcanus Veneris nudarat amores

Fertur frons teners diriguisse deae;
Fracto dedidicit stupra occultare pudore,

lamque odit fabricas conditor ipse suas.
Ah Venus exclamat, spumosa fusior vnda

Quas non nuptibiles vndique miscet aquas :
Nos coniunxit Hymen, nos festa corona deorum,

Nos Charites, tua nos non violanda fides.
Cur non altemos simul exercemus amores?

Hostibus externis cur mea regna patent i 10

Sanguineam ex acie referens Mars horridus hastam

Ibit in amplexus, 6 Cytherea, tuos ?
Proditione illam victor possederit arcem

Quam mihi connubij iure remisit Hynsen?
Dispeream si non pereat male perditus ille

Qui iacit in nostras nubila nigra faces.
Protinus induitur raonichorum more cucuUum,

Et cadit a fusco vertice rasa coma.
Candorem vultu simulat, Germanaque claustra

Ingreditur simplex, quam minimeque malus. 20

34° Elegiarum Liber.

Insidias intus struit, inconcessa recludens

Arcana, ^tnaso sacraque operta cauo.
Fulmina syderei louis arma micantia, et altos

Quod superos tonitru tartaraque ima quatit,
Amens committit miseris mortalibus, amens

Sulphureoque ardens igne odioque deus.
Et quid Thracis, ait, clipeusue vel hasta iuuabit

Inter fulminei concita tela louis.
Ecce Neapolitas Galli obsidione recingunt

Arces, base Marti suaserat arma Venus, 30

Ouos mollis comitatur Amor ; sed vt inclita cernunt

Fulmina, et asratos igne volare globos,
Stragibus hinc atque hinc diris, foedoque cruore

Intrepidus totos sparsit adulter agros.
Insidias risit dea coniugis, atque superbum

Candido amatorem suscipit apta sinu.
Infremuit Lemni pater, eque voragine fumos

CoUigit ^tnaea tartareaque Styge.
Hos consopitis aspergat, fata vetabant

Tangere foelices spurca venena decs. 40

Acre sed laeso feriunt contagia Gallos,

Atque Neapolita coepit in vrbe lues,
Quam vitare satis poterat nee foemina, nee vir,

Dum redit in seriem transitione malum.
Debuerat saltern formosis parcere, at illis

Et color et vires interiere simul.
Respexit tandem Venus, et miserata puellas

Corticibus sacris nigra venena fugat.
Restauratque toris vires, membrisque colorem,

Lacteolumque genis purpureumque decus. 50

Ergo vbi nee cessisse dolos, nee viribus asquum

Vidit se Marti qui paret arma faber
Oblicet, indulgens Veneri et riualis amori,

Si decuma obtingat nox sibi, lastus habet.

EPIGRAMMATVM LIBER.

The references are to the numbered Epigrams in Book II of the
1619 ed.

Ad Librum, Ep. 3. Var. : 1. 2 Damnate in tenebras : 11. 3 and 4
Dedas Feldisio ' male apprehensum Praslo ne quis ineptior prophanet :
1. 5 Deinde vt : 1. 12 visere, lubricumue Tybrim : 1. 13 Aut
hostile Tagi. Ad •pacem de serenissima Regina Elisabetha, Ep. 4.
Var. : 1. I O pax potentis maximum dei munus : 1. 4 Quae te tuetur sola
perstitem nobis. In obitum fratris clariss. comitis Essexij, Ep. 9.
Var. : 1. i quisque iussit impius : 1. 18 Canentque Nemesin fero tubas
sono, Jn Hornsium, Ep. 5. Var. : 1. i Hornsi risi hodie : 1. 1 1
Siquis interea : 1. 14 Morbosos male humi pedes : followed by a
variation of Ep. 8 as follows :

Verum sollicitabat vna me res
Plurimum, modo videram assidentem

' Feldisio is the correction in the errata for the text's Felsidio.

Rpigrammatum Liber. 341

Te iuxta nitidissimam puellam,
Sennonic(ue auide locum aucupantem;
Hei mihi vt metui ne identidem illam
Grandem equum si emeret tuum rogares ?

Ad Melleam, Ep. lo. Var. : I. 7 ne doctus. De interiitt Philippi
Sydnri, Ep. 11. Var. : 1. i Passeres Cypriae alites petulci : 1. 2 per et
niuentes : 1. 3 Et rubras petitis : 1. 4 Usquequaque Philip : 1. 5 to
end :

Mars ilium insidijs modo interemit

Riualem metuens, renunciate

Flebiles Veneri exitus Philippi,

Victus inuoluit caput tenebris.

In Melleam, Ep. 12. In Cultellum, Ep. 13. Var.: 1. 3 Discissa
domina: labra lunesto madent : 1. 4 cruore, sanguine exundant Lares :
1. S puella personat totam domum : 1. 6 Amens, dolori : I. 7 Nee
vspiam potest quiescere, nee loqui : 1. 8 Nee basiare : 1. 9 sceleste
fractus, vt decuit prius : 1. 10 Supplicia Veneri, sera sed nimium
dabis. Ad Melleam resembles Ep. 14 :

Mellea, te inuitam virgo cum vera fiiisses
Raptam ais, et cur vox non fuit inditio ?

Respondit lepide mala se clamare eupisse,
Sed miseram audiri se vt nimium metuit.

Ad Caspiam, Ep. 15. In Robertum Tk,, Ep. 17. Var. : 1. 1 Cogito
saepe Roberte. Ad Melleam Ep. 18. Ad Caluum Ep. 19 shoulder-
note on left margin — Italorum comitas est laudanti quiduis amico
obtrudere, si autem aceeperit tanquam sordidissimum respuere. Ad
Bibricum Ep. 20. Var.: 1. i Bibrice tentes. In tonsorem Ep. 31.
Var. : 1. I Promissis sicubi : 1. 3 dabit salutem : 1. 4 instar et puellis :
1. 6 His propter speciem, ibus ob lueri spem ? In Largum :

Scripserit historiam bene Largus, nam scit apud se
Quis per sex annos ederit aut biberit.

Ad Laurentium Mychelbornum, Ep. 34. Var. : 1. 5 Conficique : I. 9
grata statim : 1. 10 Quod quidem : 1. 12 Pulchra dum. Ad lustinia-
num, Ep. 35. Van: 1. 2 Consobrinas animam: 1. 3 Et veluti. In
Cotium, Ep. 36. Var. : 1. 2 dieas, Cotte.

Ad Caspiam, Ep. 37. Var. : 1. 7 nimis heu perite. Ad Franciscum
Manbceum :

Dum vagus ignotas veheris, Manbaee, per oras
Noetes atque dies vela notosque queror.

Quam vellem misero qui te mihi surpuit illi,
Si lieeat, vento diripuisse caput.

Effossisque oeulis iugulum incidisse prophano,
Ne cui tale dehine spiret ab ore malum.

Ad Gu. Percium, Ep. 40. De Th, Grimstono &» lo, Goringo :

Mirer apud Gallos quid fortis peetore et armis
Noster Grimstonus quidue Goringus agat.

Nulli vnquam bello melius potuere mereri,
Nusquam virtuti terra maligna magis.

Ad Ed. Sfencerum :

Siue canis siluas, Spencere, vel horrida belli
Fulmina, dispeream ni te amem, et intime amem.

342 Epigrammatum Liber.

In Hyrcamtim et Sabinum, Ep. 42. Var. : 1. 7 Inficete itidem.
In Prettum, Ep. 43. Var. : 1. 2 possit Prette : 1. 9 Prette nouo.
In Casfiiam.

Si vnquam quae me odit semper male Caspia amaret,
O quam firma ipso contra in amore foret !

Ad lacohum Tku: Ep. 45. Var.: 1. 2 imparabilique : 1. 3 tuas
lacobe : 1. 11 tui, lacobe. In Rusticum :

Glandem in fatidicam mutatum stultus amator

Kiuali insultans a loue finxit auum ;
At riualis ait, nequid mirere puella,

De quercu ob facinus nempe pependit auus.
In Berinttm :

Tres baccas ederae vorat Berinus,
De repente fit inclitus poeta.

Ira resembles Ep. 48 in its opening lines :

Scelesta quid me ? mitte, iam certum est, vale,

Longe remotas persequar terrje plagas,

Tuis, vel vmbras tartari, insidijs procul.

Nee me retentare oris albicans rubor;

Nee exeuntem lucidum hinc et hinc iubar

Reuocare poterit, improba seternum vale.

Vt dubia certas sensit irarum minas,

Perculsa tremulo cecidit ad pedes metu ;

Quid misera dixit sum merita dignum nece.?

Amans quod in te tam tetrum admisi nephas, 10

Vt me relinquas perditam, vt pro me tuos?

Ah siste, sseuis imperes iris modum,

Nee te immerentem perde, quid paras vide

A me iam vt abeas poscis exilium tibi.

Mane per has lachrymas, ocelle mi, precor,

Resipisce tandem, amans ne amantem deseras.

Sub hsec furenti mi redardescit dolor,

Pluraque parantem dicere his resequor prius :

Periura nullos asthere horrescis decs.

Nee vindicantis scelera Adrastese faces ? 20

Impura non tu maria, terras, sydera

Adhibita falso polluis, spreta fide?

Ah dulce nostros fcedus ignes alligans

Per te caducum cecidit, et tamen rogas

Cur triste pectus opprimat silentium ?

Deuota labra, mique sacratum femur

Eiectus aequore naufragus miles premit,

Disrumpor, eheu primulo vidi die

His exeuntem foribus ipsum militem,

His ipse ocellis militem, et tamen rogas 30

Cur triste pectus opprimat silentium ?

Vale scelesta, vafra, foedifraga vale,

Nee me retentes, nee per banc guttam obsecres

Summis natantem palpebris, corde inscio.

Obfirmor, intuere, postremum vides,

Nunc abeo, iam nunc vltimum dico vale.

Jam taceo, pectus opprimit silentium.

Continuo volucres excipit pedes furor.

Epjgrammatum Liber. 343

Effugio solus deuijs errans locis

lUam perosus, me, meos, diris agent ; 40

Quicquid moras spem dederat in fugam date.
Iras inanes risit aethereus puer,
Frustraque pectus sestuans emoUijt :
Respicio, lenis imber irrorat genas,
Quid hoc? amores dissidens odium parit,
Sedantque nimbi porro fluctiuomum mare.
Amo, peruror, redeo, miseram sordibus
Et lachrymis oppletam et vmbris conspicor,
Supremus animum vix retardauit pudor
Quin impotentiae suas inditium daret. 50

Tandem facetam texui somnis moram,
Horrenda referens visa, caedes, vulnera,
Vultus relictas luridos, tabp illitos,
Aut insequentem summa per iuga montium.
Hsec comminisci varus edocuit amor,
Assensit ilia, et sensit artem subdola,
Sed tacita simulat vda nectens oscula ;
O suaue amoris dissidium ! ita turtures
Pugnando iungunt rostra dulci murmure.
In gloriosiim [Ep. 49] :

Sbaecherlaee, deos tua celsa gradatio manes
Terret ne * tectum corruat in capita.

Ad Caspiam, Ep. 50. Van: 1. 4 Sydera? vel sasuos. In Lytum,
Ep. 51. Var. : 1. 5 tergo, Lyte. In Merinum [Ep. 52]:

Ista * Scauingerulum tua frons lutulenta Merine
Desidiae semper vendicat egregias.

Ad Caspiam, Ep. 53. Ad Amoreni, Ep. 54. Ad anum, Ep. 55.
Var. : 1. 1 Gratias refero tuis libenter : 1. 3 jEgroto mihi : 1. 5 Subleuare
animum : 1. 7 valebit vsque : 1. 8 Grata apud me animi. Ad Caspiam,
Ep. 56. Var. : 1. 1 Quaeris cur durum hoc marmor lachrimare videtur :
U 2 Caspia naturas viribus attribuens : 1. 4 Nam lachrimat tu me quod
miserum excrucias. In Berinum, Ep. 57. In Erricum, Ep. 58.
Var. : 1. 2 Indigne dicit, dij boni, et improprie : 1. 4 At te sordidior
gens tua tota fuit. In ^miliam, Ep. 59. De Thermanio &" Glaia
[Ep. 60] :

Somno compositam iacere vidit

Glaiam Thermanius puer puellam,

Diducit tacita manu solutas

Vestes, ilia silet, femur prehendit,

Suauiumque leui dedit labello,

Ilia conticuit velut sepulta:

Subrisit puer, vltimumque tentat

Gaudium nee adhuc mouetur ilia,

Sed lubens patitur dolos dolosa.

Quis nouus stupor? ante Glaya moUi 10

Ansere, aut vigilans magis Sybilla,

Lethargo quasi iam graui laborans

Noctes atque dies trahis sopores,

AdMelleam,'£.'g.(s2)- Van: 1. 2 Dicis, sic facile stultus amans capitun
In Onellum, Ep. 62. Var. : 1. i sit quod multum : 1. 2 Nam quantum
debet tantum habuit fidei. Ad Edo. Mychelbomum :

* Terra
eniminferis
pro tecto
est

* Magi-
stratunm
genns apud
Londinen-
ses qui
defsecandse
vrbis curara
habent.

344 Epigrammatum Liber.

Cum tibi tam cordi est, age, perdito arundine pisces,

Fleuerit hoc quamuls Pythagorea anitna.
Fleueris ipse licet cum febricitaueris alga,

Aut penitus lapso cum pede tundis aquas.
Vis vera ? hoc studio, ne sit iucundius, at te
Tempora in hoc nolim tam bona conterere.
Quanto elegis melius teneros captabis amores,
Vel tua siluestrem ludet arundo deam.
In gloriosum, Ep. 64. In Largum, Ep. 85. Var. : 1. 1 Largus haud
alij vt solent nouellum : 1. 3 In domum, faciem statim, torosque :
1. 4 Inspicit, studia. In Cottutn ;

Ille miser Cottus quid agit nisi cassa canendo
Vt placeat nulli dum placet ipse sibi?
Ad Caspiam, Ep. 66. Var. : 1. i complexa Sicha^um : 1. 2 Flebilis
astemas soluitur in lachrymas : 1. 3 Attonitusque nouas Narcissus
imagine formas : 1. 4 Vmbram sollicitat. Ad Hymettum :
Vnde tibi ingrat» subeunt fastidia vitae,

Dulcis Hymette, tua non nisi sponte miser?
Nee pede transuerso incedis nee poplite torto,

Non oculo lippis, non tibi naris hiat :
NuUus ab iniusto crescit tibi fcenore census,

Non tua mens fraudis conscia nee sceleris :
Funera non fratris, non sunt tibi flenda sororis.

Nee eatulum audiui condoluisse tuum.
Per te igitur nostros referas obtestor amores

Quo demum inuisa est nomine vita tibi.' 10

lam scio, tu taceas, causae nimium esse recordor,
Vxorem duxti, iam morere, haud veto te.
In Berinum, Ep. 67. Var. : 1. i Berinus toties : 1. 2 NuUos reddere.
Ad Melborniam, Ep. 68. In Thermannum &* Prucium, Ep. 73.
Var. : 1. 2 dum canis, Hermopile. Ad Tko. Smithum, Ep. 75.
Var. : 1. i Smithe mones : In Caluum, Ep. 76. 1. S Neu te tam
multis homini purgabis amico : 1. 6 Inuidiam toties discutiendo paris.
In Miluium, Ep. 74. Var. : 1. 6 Puellam & banc. Ad Edo. Mychel-
bornum, Ep. T]. Var. : 1. 9 Quidue aetas ? 1. 10 Deseruit miseram
cum iuuenilis Hymen : 1. 12 non obitus, abitus. De rerum humanarum
inconstantia :

Constat nulla dies, anno superimminet annus,
Quiequid mortale est hora propinqua rapit.
Sic moriemur? ad hsec ludibria nascimur? et spes
Fortunasque hominum tam cito corruerint ?
Francisci Manbai epicedium, Ep. 78. Var. : I. 7 ora sufTusus : 1. 8
planctu et immites deas: 1. 15 Decus reuerti, sentiet tremulum mare :
1. 18 Sperare nostrum nemini tantum licet : [line 19 of 1619 ed.
omitted :) 1. 19 Fac ergo quiuis iure quod miser potest : 1. 20 asl. 21 in
1619 edition. De homine, Ep. 79. Var. : 11. 3, 4 Quid dixi vt flos est ?
minus est, siquidem examinatis, Dulcis odor flori, paedor inest homini.
In Barnum, Ep. 80. Var. : 1. 4 Seruassent versus et numerum atque
fidem. In Petrum Ha., Ep. 81. Var. : 1. 2 Sic, Petre : 1. 3 Nummus
siue deest : 1. 5 iam camifici mox culpa futurus : 1. 6 Vere illud dices.
Ad Caspiani,'E,'^.%i). AdCastellum& Braceium,^^.^^. Var. :1. I Mi
Castellule, tuque mi Braceie : 1. 3 Murum non prope dirutum videtis : 1. 4
Qui palam peragit : 1. 5 Quod solent saturi : 1. 6 Doctus haud dubie ;
1. 7 Occultauit herum. In Bcecum, Ep. 84. Var. : 1. 1 nullum eerte sine

Epigrammatum Liber. 345

pemicioso : 1. 2 Bsece, exerceri posse putas scelere : 1. 3 Baece
voras. In Caluum, Ep. 85. Var. : 1. I improbe Calue : 1. 2 Vt dubites
anitnam foemina an vUam habeat ? !■ 3 Cum tnea conclusas fcelici
pectore amantum. Ad Erricum, Ep. 86. Var. : 1. I displiceat vita,
Errice, discrucieris. De se :

Vsus et hoc natura mihi concessit vtrinque
Vt sim pacis amans, militise patiens.
Ad Nashutn, Ep. 88. Var. : 11. I & 2 tibi, Nashe, Puritanum Fordu-
sum, & Taciti canem Vitellum : 1. 4 Perque vulniiicos : 1. 7 insipidis et :
1. 8 Perinde ac tonitru : 1. 9 denique candidam Pyrenen : 1. 16 Publium-
que tuum : 1. 17 Quos amas vti te decet, fouesque: 1. 18 Nee sines
per: 1. 19 Ergo si sapis. Ad Caspiam, Ep. 89. Ad Melleam :
Dente vel vngue petat me Mellea perfero : credas
Qui impatienter amat, tarn patienter amet ?
Ad Dolorem :

Si deus est aliquis dolor, aut in vallibus atris

Cum dijs infemis vt perhibent habitat.
Illi ter centum ca^pes mox sacrificarim,
Desinat vt nobis cor miserum exedere.
In Byrseum, Ep. 91. In Bretonem, Ep. 93. Var. : 1. 2 Nempe tuis
nunquam viueret in numeris. Ad Ge. Ckafmannum, Ep. 94. Var. :
1. I Cottum periidise: 1. 2 Chapmanne, msimulas: 1. 3 Neutiquam
meminisse : 1. 7 Responde mihi, vin' ? : 1, 8 I iam, ad ccenam : 1. 10 Si
lubet, vel : 1. 16 nisi praebefit.
In socerum fraudulentum :

Qui iacet ad pontem nudus, Thurbame, rogator
Filius Hepsis erat, sed gener Eudiuali.
In Tricium:

Tres habuit, quartamque potest sperare nouercam,
Et Tricius miserum se tamen esse negat.

In Gellam :

Pura basia fert refertque Gella,
Et puram venerem, salesque puros,
Verum est, non nego, Gella Puritana est.
Ad lo. Dauisium :

Quod nostros, Dauisi, laudas recitasque libellos

Vultu quo nemo candid lore solet :
Ad me mitte tuos, iam pridem postulo, res est
In qua persolui gratia vera potest.
In a-uarum, Ep. 97. Var. : 1. i seruas stulte. Ad Ed. Braceiwm
[Ep. 98] :

O nimis lepidam, Braceie, sortem
In re ludere cum solet iocosa !
Vxorem Bromij senex Morachus
Strato impegerat insuper recumbens,
Intonansque ferociter puellse.
Actutum Bromij exilit molossus
Subuenturus herae, vagasque testes
Impotentis adulteri reuulsit.
Moechus illachrimat sine ululatu'
Testes nequitiae suae recusans.
Testes nequitias suae requirens.
' The text reads • sein latu '.

34^ Epigrammatum Liber.

Quas tandem vt resuat puella suadet,
Nee posse intimat imbecilliores
Sutura fieri, ac prius fuere.
In Erricum, Ep. 99. In Hermum &-» Hermiam :

Adria nee fluetus, Lybicum nee littus arenas,
Hermia nee moechos, scorta nee Hermus habet.
Ad Thusimellatn :

Si sapis inerepitare meam, Thusimella, eauebis

Nequitiam, referet multa tacenda dolor.

Seque tuis thalamis reperisse fatebitur, oliip

Quae sibi famosus prstulit arma deus.

In puellam, Ep. 102. Var. : 1. i Magnum intra delubra deum qui
perculit hostem : 1. 2 Uli sons merito caeditur ense manus : 1. 4 qua stetit
ara dei : 1. 5 Parce tamen paulumque tuo de iure recedas. InPrettum :
Vna tibi manus est, vnus pes, Prette, sed vnus

Pes ad potandum sufiicit, vna manus.
Quin lippis oeulis quoque potio multa noeebit,
Tu quasi non posses absque oeulis bibere ?
At clementer edunt qui potant, tu satur ipso
Nee quo nupsisti diceris esse die.
In Petrum Ha., Ep. 104. Var. : 1. i Bella cum : 1. 3 pulchram stupido :
1. 5 Paulo post Petre te malam ob rapinam : 1. 7 et subitam calamita-
tem : 1. 8 Fortunasque tuas pie : 1. 9 Redit, flebile praedieatque amicis :
1. II Deeora faeie: 1. i2Sicfauet miseronimis : 1. 13 Inuidetque male :
1. 15 Os quibus rigidum : 1. 17 fieri statim: 1. 23 Cuncta dicere. Ad
Coruinum, Ep. 105. Var. : 1. 1 Coruine tibi : 1. 3 Sed tibi tam tenera et
formosa quod obtigit uxor [11. 4 and 5 of 1619 ed. omitted]. De se, Ep.
106. In maironam, Ep. 107. Var. : 1. i Decidit famulse ciinnum
matrona : 1. 3 sceleri cupiens. In Marsium :

Marsie, gente tua quam dudum indigna tulisti,
Quis vel tibicen tam misere vnquam habitus?

De Mellea &• Caspia, Ep. 109. Ad Sabellum, Ep. 1 10. Var. : 1. 9 id
Pretto graue est : 1. 10 Quin Herculem subinde stomachari ferunt :
1. 12 temno venefieum nimis : 1. 13 Tu vero ab homine perdito actutum
fuge. In Miluum, Ep. iii. In Calpham, Ep. 11 2. Var. : 11. 3 & 4
Nam quis quod nusquam est petat, aut dracmam exprimere vUam
Posse ex te speret, vel patre se, vel auo? Ad Caspiam, Ep. 113.
Ad lo. Dolandum :

O qui sonora ccelites altos eheli

Mulces et vmbras incolas atrae Stygis,

Quam suave murmur ! quale fluctu prominens

Lygia madentes rore dum siccat comas,

Quam suaue murmur flaccidas aures ferit

Dum lenis oculos leuiter inuadit sopor !

Vt fake rosa dissecta purpureum caput

Dimittit, vndique folijs spargens humum,

Labuntur, hei, sic debiles somno tori,

Terramque feriunt membra ponderibus suis. 10

Dolande, misero surripis mentem mihi,

Excorsque cordi pectus impulsse premunt.

Quis tibi deorum tam potenti numine

Digitos trementes dirigit? is inter deos

Magnos oportet principem obtineat locum.

Epigrammatum JLtber, 347

Tu solus affers rebus antiquis fidem,

Nee miror Orpheus considens Rhodope super

Siquando rapes flexit et agrestes feras.

At, 6 beate, siste diuinas manus,

lam, iam, parumper siste diuinas manus! 20

Liquescit anima, quam caue exugas mihi.

In Amicum molestum, Ep. 114, In Berinum :

Pegaseo dum se miratur fonte Berinus,
Interijt misere captus amore sui.
Ad Cambricum, Ep. 116. In Cottum :

Scire cupis Cottus quid agat Lyte? cogitat Hermo
Curandam tradat mentulam, an Hersilio.

In Caluum,'E^. 120. Van: 1. 1 praeclare Caluus : 1. 4 Dispeream huic
ni mox Prettus amicus erit. Ad Ed. Mychelbornum, Ep. 121. Var. :
1. 2 Et sapis mi Edouarde qui procul te : 1. 3 Optumum mala ab vrbe
seuocasti: 1.6 Ad tuos refugis : 1. 7 Vrbis immodica: 1. 13 Haecforas;
itidem : 1. 22 Sub aeterna silentia : 1. 23 Omnium nimis. In Gellam,
Ep. 122. Var. : 1. 2 cantor Pyrrimanus ^tuit. In Gulsonum, Ep. 123.
Var. : 1. i Exagitare tuos nequeam, Gulsone, puellos : 1. 4 Nee fas
auersas nee iuuat ire vias. Ad Caspiam, Ep. 124. Var. : 1. i. Caspia
tam cite me eijeiet culpa vna receptum. In Prettum :

Prette, non ita dico, te vt putarim

Seruitutis egere, siue reges,

Siue sceptrigeri ambiant monarch^ ;

Hoc tantum moneo, nee obsecrantem

Te seruire potesse apud sagacem

Vicinumque meum, tuumque Largum ;

Putrem nam ferat vt pedem manumque,

Ferre non poterit voracitatem.

De Gella et Thespili, Ep. 126. 1. 4 Gellas autem rigido purior :
In Berinum, Ep. 127. Ad Sybillam, Ep. 128. Van: 1. i Cuncta erant
bona quae deus creauit : 1. 3 Bonam ergo dominus creauit Euam.
Ad Hallum :

Sors hominum dubitas auium an prsestantior, Halle ?
Perspicuum est, me odit Caspia, psittaeum amat.
Ad Robertum Wo:

Noui dedecoris pudore ruptus
I lie Marsius, vt putas, Roberte,
Armatos homines quot aggregauit?
Quot conduetitios ? quot et clientes ?
Quot summo genere inclitos amicos?
Tantum conijcito, nihil nocebit
Tam magno in numero parum vagari.
Vt putas rogo te quot aggregauit ?
Ipsus si tibi dixero, Roberte,

Vis mi credere iam, profecto nullos. 10

In Gellam :

Ad viuum nunquam dicis te, Gella, fututam,
Vah quota pars cunni mortua, Gella, tui est.
Ad Me II earn :

Anglia quotquot babet iuras mea Mellea soli
Muneribus Veneris eedere posse mihi.

348 Epigrammatum Liber.

Anglia quotquot habet qui scis mea Mellea quanti
Muneribus valeant fortipremae Veneris ?
De vxorefabri :

Lemnia tardipedem dea vix tolerauerit vnutn,

Vulcanos Venus hie sustinet vna duos.
Leno vir et faber est, pariter fabricatur adulter,

Ligneus hie pupos, aeneus ille globos.
Notus vterc[ue, satis, satis 6 nimiumque puellae,
Cui magis vt plaeeam iani faber esse velim.
Ad la. Thurbamum, Ep. 131. Var. : 1. i Quid Thurbame : 1. 4 At
eerte modo promoueret istuc : 1. 6 Et laute, et sobrie : 1. 7 nefandi
amoris : 1. 9 Quas tibi neque dicta, picta, seripta. In Cornua, Ep. 132.
Var. : 1. 2 Cornua plantari : 1 595 ed. inserts before last couplet— Stipitis
anne aliena quod insita virgula sulco Comutam speciem saepe referre
solet. AdHallum,'E.^.ii^. Var. : Halle for Herme in both lines. Ad
Thusimellam, Ep. 134. Var.: 1, i En vacat locus : 1. 2 Thusimella,
meo : 1. 3 Quam suaue : 1. 7 Formosa et genua : 1. 9 Nempe
fcEmineum est : 1. 10 Sed statira : 1. 14 Manus, et toties retorta colla.
Ad Annam :

Das mi animam et Leio, non te bene diuidis, Anna:
Tu mihi da tantum corpus, et illi animam.
In Zelotipum, Ep. 135. Var. : 11. 3 and 4 Eijeis innoeuos thalamo
furiose bacillos, Redde fututorem denuo tutus eris. Ad Melleam, Ep.
136. Var. : 1. 2 Nee fugam : 1. 3 Charas qui : 1. 6 Verum expers : 1. 8
Et pinguem : 1. 9 Me tibi vt reparem et simul reportem. 1. 10 Ter
centum validas fututiones. AdThusimellam,'E.^.\y]. Var. :1. 3 Hoc
Thusimella: 1. 4 lurgia enim : 1. 5 quot amantis. In I^a6rufn,Ep.i38,
In Afrant, Ep. 139. Var. : 1. i Tarn vetus, et grandis cum sit tibi cunnus,
vt illi. In se :

Olim fungus ego, silex verebar,
Ne non vtibilis viro emineret
Penis, qui puero excitatus altum
Momentis caput extulit torosis.
Turn nee apposita manu fouere,
Nee sum tangere, nee repellere ausus,
Nimirum metuens adulta stirps hsec
Vt posset pathico orbe comprehendi.
Vos iam intelligitis, viri et puellae,
Multo sed magis improbse puellse, 10

Quam stulte, illepideque rusticeque
Summas Isetitiae meae dolebam.
Nee si grandior exijsset alnu
Idcirea fore mi magis verendam,
Aut plus peniuoree arduam puelte.
In Norbanum :

Se stupidum semper dicit Norbanus, et est : hoc

Cum vere dicit, quomodo dissimulat ?

Ad Aten de porno aureo, Ep. 141. Var. : 1. i de iure coibant. In

Aprum, Ep. 142. In Sharpum, Ep. 143. Ad laruisium et Stanfordum.

Ep. 144. Var. : 1. 1 Charior laruisi : 1. 3 Tuque Stanforde. AdLibrum:

Desine, iam satis est, nimium lasciue libelle,

Et vix Romano qui pede tutus eas.
At vos 6 Latias peregrinae parcite musas,
Et fiat vestri pars leuis ilia chori.

FINIS.

OCCASIONAL VERSES

The following set of five poems is given in the Poems and
Sonets of Sundry Other Noblemen and Gentlemen appended
to Newman's surreptitious edition of Sidney's Astrophel and
Stella [159 1]. Canto Primo is identical with xviiii of A Booke of
Ayres, Part II, with the exception of a few differences alluded to
in the notes on that song. The first stanza only is given of
Canto tertio : the remaining are supplied from Robert Jones's
Second Booke of Songs and Ayres. See Introd., p. li.

Canto Secundo.

What faire pompe haue I spide of glittering Ladies ;
With locks sparckled abroad, and rosie Coronet
On their yuorie browes, trackt to the daintie thies
With roabs like Amazons, blew as Violet,
With gold Aiglets adornd, some in a changeable
Pale; with spangs wauering taught to be moueable.

Then those Knights that a farre off with dolorous viewing

Cast their eyes hetherward ; loe, in an agonie.

All vnbrac'd, crie aloud, their heauie state ruing :

Moyst cheekes with blubbering, painted as Ebonie 10

Blacke ; their feltred haire torne with wrathful hand :

And whiles astonied, starke in a maze they stand.

But hearke ! what merry sound ! what sodaine harmonie !
Looke looke neere the groue where the Ladies doe tread
With their Knights the measures waide by the melodic.
Wantons ! whose trauesing make men enamoured ;
Now they faine an honor, now by the slender wast
He must lift hir aloft, and scale a kisse in hast.

CAMPION 2

350 Occasional Verses,

Streight downe vnder a shadow for wearines they he

With pleasant daliance, hand knit with arme in arme, 20

Now close, now set aloof, they gaze with an equall eie,

Changing kisses alike; streight with a false alarme,

Mocking kisses alike, powt with a louely lip.

Thus drownd with iollities, their merry daies doe slip.

But stay ! now I discerne they goe on a Pilgrimage

Towards Loues holy land, faire Paphos or Cyprus.

Such deuotion is meete for a blithesome age;

With sweet youth, it agrees well to be amorous.

Let olde angrie fathers lurke in an Hermitage :

Come, weele associate this iolly Pilgrimage ! 30

Canto tertio.

My Loue bound me with a kisse

That I should no longer staie:
When I felt so sweete a blisse

I had lesse power to passe away :
Alas ! that women do not knowe
Kisses make men loath to goe.

Yes she knowes it but too well,

For I heard when Venus' doue
In her eare did softlie tell

That kisses were the seales of loue :

muse not then though it be so.
Kisses make men loth to go.

Wherefore did she thus inflame

My desires, heat my bloud,
Instantlie to quench the same

And starue whom she had giuen food?

1 the common sence can show.
Kisses make men loath to go.

Had she bid me go at first

It would nere have grieued my hart,

Hope delaide had beene the worst;

But ah ! to kiss and then to part !
How deep it strucke, speake, Gods, you know
Kisses make men loth to goe.

Occasional Verses. 351

Canto quarto.

Loue whets the dullest wittes, his plagues be such :
But makes the wise by pleasing, doat as much.
So wit is purchast by this dire disease.
O let me doat ! so Loue be bent to please.

Canto quinto.

A daie, a night, an houre of sweete content
Is worth a world consum'd in fretfuU care.
Vnequall Gods ! in your Arbitrement
To sort vs daies whose sorrowes endles are !
And yet what were it ? as a fading flower :
To swim in blisse a daie, a night, an hower.

What plague is greater than the griefe of mind?
The griefe of minde that eates in euerie vaine,
In euerie vaine that leaues such clods behind.
Such clods behind as breed such bitter paine.
So bitter paine that none shall euer finde.
What plague is greater than the griefe of minde.

Doth sorrowe fret thy soule ? 6 direfuU spirit !
Doth pleasure feede thy heart ? 6 blessed man !
Hast thou bin happie once? 6 heauie plight!
Are thy mishaps forepast? 6 happie than!

Or hast thou blisse in eld ? 6 bUsse too late !

But hast thou blisse in youth ? 6 sweete estate !

Prefixed to John Dowland's First Booke of Songs or Ayres

[iS97]-
Thoma Campiani Epigramma.

De instituto Authoris.

Famam, posteritas quam dedit Orpheo,
Dolandi, melius Musica dat tibi,
Fugaces reprimens Archetypis sonos ;
Quas et delicias prsebuit auribus,
Ipsis conspicuas luminibus facit.
z 2

352 Occasional Verses.

From Francis Davison's Poetical Rapsody [1602].
A Hymne in praise of Neptune.

Of Neptunes Empyre let vs sing,
At whose command the waues obay :
To whom the Riuers tribute pay,
Downe the high mountaines sliding.
To whom the skaly Nation yeelds
Homage for the Cristall fields

Wherein they dwell ;
And euery Sea-god paies a lem,
Yeerely out of his watry Cell,
To decke great Neptunes Diadem. 10

The Trytons dauncing in a ring,
Before his Pallace gates, doo make
The water with their Ecchoes quake,
Like the great Thunder sounding :
The Sea-Nymphes chaunt their Accents shrill,
And the Syrens taught to kill

With their sweet voyce;
Make eu'ry ecchoing Rocke reply,
Vnto their gentle murmuring noyse, 19

The prayse of Neptunes Empery. h. Campion.

Prefixed to Barnabe Barnes's Foure Bookes of Offices [1606].
In honour of the Author by Tho: Campion
Doctor in Physicke. To the Reader.
Though neither thou doost keepe the Keyes of State,
Nor yet the counsels (Reader) what of that?
Though th'art no Law-pronouncer mark't by fate,
Nor field-commander (Reader) what of that?
Blanch not this Booke; for if thou mind'st to be
Vertuous, and honest, it belongs to thee.

Here is the Schoole of Temperance, and Wit,
Of Justice, and all formes that tend to it ;
Here Fortitude doth teach to liue and die,
Then, Reader, loue this Booke, or rather buy. 10

ElVSDEM AD AVTHOREM.

Personas proprijs recte virtutibus ornas,
(Barnesi) liber hie viuet, habet Genium,

Personm virtus vmbra est ; hanc ilia refulcit.
Nee scio splendescat corpus an vmbra magis.

Occasional Verses. 353

From Richard Alison's An Howres Recreation in Musicke\\(io(>\.

What if a day, or a month, or a yeare

Crown thy delights with a thousand sweet contentings?

Cannot a chance of a night or an howre

Crosse thy desires with as many sad tormentings?

Fortune, honor, beauty, youth

Are but blossoms dying;

Wanton pleasure, doating loue,

Are but shadowes flying.

All our ioys are but toyes.

Idle thoughts deceiuing; lo

None haue power of an howre

In their Hues' bereauing.

Earthes but a point to the world, and a man
Is but a point to the worlds compared centure :
Shall then the point of a point be so vaine
As to triumph in a seelly points aduenture?

All is hassard that we haue,

There is nothing biding;

Dayes of pleasure are like streames

Through faire medows gliding. so

Weale and woe, time doth goe,

Time is neuer turning:

Secret fates guide our states.

Both in mirth and mourning.

Prefixed to Alphonso Ferrabosco's Ayres [1609].
TO THE WORTHY AVTHOR.

Musicks maister and the offspring

Of rich Musicks Father,
Old Alfonso's Image liuing.

These faire flowers you gather
Scatter through the BriUish soile;

Giue thy fame free wing.
And gaine the merit of thy toyle :

Wee whose loues affect to praise thee,

Beyond thine owne deserts can neuer raise thee.
By T. Campion, Doctor in Physicke.

354- Occasional Verses.

Prefixed to Coryate's Crudities [1611].

INCIPIT THOMAS CAMPIANVS
MEDICINE DOCTOR.

IN PERAGRANTISSIMI, ITINEROSISSIMI,

Montiscandentissimique Peditis Tho-

mce Coryati, viginti hebdomadarium

Diarium, sex pedibus gradiens,

partim vero claudicans,

Encomiasticon.

Ad Veneios venit corio Coryatus ab vno
Vectus, et, vt vectus, pene reuectus erat.

Naue vna Dracus sic totum circuit orbem.
At rediens retulit te, Coryate, minus.

Illius vndigenas tenet vnica charta labores,
Tota tuos sed vix bibliotheca capit.

Explicit Thomas Campianus.

Prefixed to Thomas Ravenscroft's A Brief Discourse of the
true (but neglected) use of Characfring the Degrees by their
Perfection, Imperfection and Diminution in Measurable Music
[1614].

Markes that did limit Lands in former times

None durst remoue; so much the common good
Preuailed with all men ; 'twas the worst of crimes.

The like in Musicke may be vnderstood,
For That the treasure of the Soule is, next

To the rich Store-house of Diuiiiity :
Both comfort Soules that are with care perplext,

And set the Spirit Both from passions free.
The Markes that limit Musicke heere are taught,

So fixt of ould, which none by right can change, 10
Though Vse much alteration hath wrought,

To Musickes Fathers that would now seeme strange.
The best embrace, which herein you may finde,
And th' Author praise for his good Work and Minde.

Tho: Campion.

NOTES.

A BOOKE OF AYRES.

Part I.

On the back of the title-page, a facsimile of which will be found in
its place in the text, is a representation of Monson's crest and coat-of-
arms.

Page 6. I. Both this poem and Jonson's ' Come, my Celia, let us
prove', from Volpone, Act I, Sc. vi (1605), are imitated and partly
translated from Catullus, v, ' Vivamus, mea Lesbia, atque amemus.'

The following verses occur in Corkine's Second Book of Ayres.
They are also based upon the same poem of Catullus, and resemble
Campion's verses very closely in the first three lines. I believe them
also to be Campion's.

My deerest mistrisse, let vs liue and loue

And care not what old doting fools reproue.

Let vs not feare their censures, nor esteeme

What they of vs and of our loues shall deeme.

Old ages critticke and censorious brow

Cannot of youthful dalliance alow.

Nor euer could endure that we should tast

Of those delights which they themselves are past.

II. The first stanza of this song is found in Add. MS. 24665 without
variation.

Page 7. III. This song occurs in Add. MS. 24665 without
variation.

Page 8. 1 1 II. The air to which this song is set does duty also for
' Seeke the Lord and in his wayes perseuer ' (Diuine and Morall
Songs, xviii, p. 126).

V. This song occurs in Add. MS. 34608 without variation.

Page 9. VI. A fragment of this poem, entitled ' Of Coruina Her
Lute', and consisting only of the first stanza, omitting the second
couplet, occurs in Add. MS. 22603. The poem is given in Davison's
Poetical Rapsody (1602).

VII. The old edition gives this poem without division into stanzas,
while the last two lines run :

Then what we sow with our lips.
Let vs reape, loues gains deuiding.

The arrangement of the text, however, which I believe to be Mr.
Quiller-Couch's, has the merit of giving better sense and two stanzas
of uniform structure. ' Sweruing', in line 19, is Mr. Bullen's excellent
emendation for the old edition's ' changing '. The six lines from ' What
haruest halfe so sweete is ' occur again in No. X of Light Conceits.

Page 10. VIII. Campion wrote a Latin version of this poem which
appeared in the 1595 Poemata under the title 'De Thermanio et Glaia'
(p. 343). In a revised form it appeared in the 1619 edition as ' In
Lycium et Clytham ' (Book II, Ep. 60).

356

Notes.

The following song, closely resembling this poem in idea, occurs in
Add. MS. 24665, which contains several of Campion's poems. It may
possibly be Campion's.

As on a day Sabina fell asleepe,
Unto her bower by stealth then I did creepe,
And first spake softe, then loude vnto my deare ;
And still Sabina heard, but would not heare.

Then to myself more courage did I take,
When I perceiued shee did both winke and wake ;
Then downe I lay'd mee by her on the ground
And still awake a sleepe Sabina found.

Then shewed her sightes more strange to her than mee.
Yet still Sabina sawe but would not see :
Now when as I had try'd all waies but one,
I lookt about and found myself alone.

Then thought it best the best way for to wooe,
And still Sabina did but would not doe :
Then did I touch each part from head to heele
Yet still Sabina felt but would not feele.

Now from the doer whie should shee have hid it,
Yf it be true that 'twas Sabina did it.
But she sales nay : I sweare and sale so too :
Shee did both heare and see and feele and doe.

Page 11. X. The air to which this song is set does duty also for
' Loue me or not, loue her I must or dye ' (Fourth Booke, x, p. 180),
The metre and rhythm, which are somewhat peculiar, are identical in
both.

Page 12. XII. There is a version of this song in MS. Harl. 3991
(fo. 34) with three slight variations ; reading ' fancy 'in 1. 5, ' assure '
in 1. 7, ' now divine ' in 1. 8.

There are also two versions in Harl. 6910 (fo. 150 seq.), which are
more interesting as they appear to be variant drafts of the poet's own
composition. They are as follows : —

dolus

Thou shalt not loue mee, neither shall these eyes
Shine on my soule shrowded in deadly night.
Thou shalt not breathe on me thy spiceryes
Nor rocke me in thy quauers of delight.
Hould off thy hands for I had rather dye
Then haue my life by thy coye touch reprived.
Smile not on me, but frowne thou bitterly;
Slaye me outright : no louers are long-liu'de.
As for those lippes reseru'd so much in store
Their rosy verdure shall not meete with myne.
Withhold thy proude embracements euermore;
I'll not be swadled in those arms of thyne.

Now shew it if thou be a woman right ;

Embrace and kisse and loue me in despight.

FINIS THO. CAMP.

[Then follows a version in sonnet form of ' Thrice tosse these oaken
ashes in the ayre ', Third Booke, xviii (v. p. 366), signed finis idem ;
and followed by]

Notes. 357

Beavtie Withovt Love Deformitie
Thou art not fayer for all thy red and white,
For all those rosye temperatures in thee ;
Thou art not sweet, though made of meere delight,
Nor fayer nor sweet unlesse thou pittie mee.
Thyne eyes are blacke and yet their glittering brightnes
Can night enlumine in her darkest den ;
Thy hands are bloudy thoughts contriu'd of whitnes.
Both blacke and blooddy if they murder men.
Thy brows wheron my good happe doth depend
Fayrer then snow or lyllie in the springe :
Thy Tongue which saues at euery sweete words end.
That hard as Marble, this a mortal! sting,
I will not soothe thy foUyes ; thou shalt proue
That Beautie is no Beautie without Loue.

FINIS IDEM

It will be seen that each of these three versions is a sonnet, the only
sonnets with one except ion — the lines prefixed to Ravenscroft's Brief
Discourse— zxs\a-a% the whole body of works attributed to Campion. In
view of his condemnation of 'Quatorzens' in the Obseruations
(p. 37) it may be that he found the sonnet form intractable both in
prosody and music, and that this is the reason for his desertion of such
fixed forms in favour of his own free metres. ' Thoughts ' in 1. 7 of the
latter of the above-quoted sonnets, is clearly a scribal error for
' though '.

In accordance with his frequent practice (see Introduction, p. 1),
Campion wrote a Latin version of this idea, entitled Ad Caspiam,
1619 ed., Bk. II, Ep. 53.
This poem has been attributed both to Donne and Sylvester.
Page 13. XIII I. This song occurs both in Robert Jones's Vltimum
Vale (1608) and Davison's Poetical Rapsody (1602).

Page 14. XVI. This song reappears in a slightly different form as

'Beauty, since you so much desire ', in the Fourth Booke, xxii, p. 186.

Page 15. XVII. Compare 'Your faire lookes vrge my desire'

(Fourth Booke, xxiii, p. 186), which is an improved version of this

song.

XVIII. This song occurs in Two Bookes {Diuine and Morall
Songs) ; Alison's An Houres Recreation in Music [1606] ; Sloane MS.
4128; Harl. MS. 4064; MS. 17 B.L. ; Rawl. MS. Poet. 31; and
Chetham MS. 8012 (p. 79).

Sloane MS. (fo. 14) contains the following variations from the text :
1. 17, ' care ' ; 1. 22, ' His life.' Harl. MS. reads : 1. 2, ' life is free ' ; 1. 6,
' Harmless joy' ; 1. 9, ' tower' ; it omits the fifth stanza ; 1. 21, ' But
scorning all the chaunce.' MS. B.L. (fo. 2) reads : 1. 8, ' Nor
fortune ' ; 1. 21, ' care ' ; 1. 22, ' His life.' Both in Sloane MS. and B.L.
MS. the verses are headed ' Verses made by Mr. Fra. Bacon '. It is
quite clear, however, that this attribution is incorrect.

Page 16. XIX. This poem occurs among the Poems and Sonets of
Sundry other Noblemen and Gentlemen appended to Newman's sur-
reptitious edition of Sidney's Astrophel and Stella (1591), where it is
headed Canto Primo in a series of five poems signed ' Content '. This
copy contains two misreadings : ' Holds watch ' in 1. 18, and
' Diana's Dove ' in 1. 24 ; and one variation which is an improvement
upon the text of A Booke, and which I have adopted in this edition :
' They that have not yet fed ' in 1. 32, in place of ' They that yet have

358

Noti

es.

not fed '. The same poem with the same variant readings, obviously
derived from the 1591 Astrophel and Stella, occurs in Add. MS. 28253
(fo. 5) endorsed ' A fantasye of Sir Phillype Sydnys out of his Astrophel
and Stella '.

The history of the word ' paramour ' is interesting. It was originally
an adverb, ' paramours ' (par amours) signifying ' by way of sexual
love ', and as such is found in Malory, Le Morte ^Arthur, e.g. Bk. X,
Ch. S3 : ' And as for to say that I love La Beale Isoud paramours,
I dare make good that I do.' In Chaucer :

I lovede never womman herebiforn
As paramours, ne never shall no mo.

— the word has mainly a substantival meaning, though not without
a trace of the original adverbial sense. The final s survives in some
passages where it is clearly a noun : compare Drummond's Madrigal,
' I saw, but fainting saw, my paramours,' where the word is, of course,
singular in number.

It occurs in many authors in the same sense that it bears here, viz.
a lover, without its offensive modem connotation. But surely_ Mr.
BuUen is wrong in saying in his note on this passage (1889 edition)
that it acquired this connotation at a later date. It certainly has it in
A Midsummer Night's Dream, IV. ii (first published in 1600).

Quince. ' Yea, and the best person, too, and he is a very paramour
for a sweet voice.'

Flu. 'You must say 'paragon'; a paramour is, God bless us,
a thing of naught.'

' Apes in Avemus.' The idea that old maids were condemned upon
death to lead apes in hell is alluded to elsewhere. Mr. Bullen quotes
some lines of a song found in William Corkine's Second Book of Airs

(l6l2).

O if you knew what chance to them befell
That dance about with bob-tail apes in hell
Yourself your virgin girdle would divide —
. . . Rather than undergo such shame ; no tongue can tell
What injury is done to maids in hell.
Compare also Shakespeare, Much Ado, II. i : ' I will even take
sixpence in earnest of the bearward, and lead apes in hell ' ; or Taming
of the Shrew, 11. i : ' And for your love to her lead apes in hell.'

Page 17. XX. As Mr. Bullen points out, this poem is reminiscent
of Propertius, ii. 28.

Sunt apud infernos tot millia formosarum:
Pulciira sit in superis, si licet, una locis.
Vobiscum est lope, vobiscum Candida Tyro,
Vobiscum Europe, nee proba Pasiphae.
XXI. One of Campion's attempts at classical metres. . Possibly its
non-success warned him against such close imitations, for he does not
counsel their adoption in his Obseruations.

Part II.

Page 21. II. This song occurs in Davison's Poetical Rhapsody,
Harl. MS. 4286 and Add. MS. 34608. Harl, MS. (fo. 56) reads : 1. 22,
' It is fayned ' ; 1. 23, * A face which ' ; 1. 24, ' And this is it.'

Page 22. V. The last line in this poem in the Brit. Mus. copy is
illegible owing to a crease in the paper, which has in consequence

Notes, 359

missed the impression of the type. At the eleventh hour, after several
years' searching, I have found, with the kind assistance of Dr. T. L.
Southgate, another copy, in the possession of Charles Letts, Esq., from
which I have been able to supply the missing line.

Page 26. XIII. Ibelievethereadinggiveninthetext, 1. 4, 'herselfe-
delight,' is preferable to the hitherto accepted ' herself, delight '. The
first, meaning personal vanity, is required by the context and especially
by the reference to mirrors of various kinds in the preceding line.

Page 28. XVII. There is a copy of this song in Add. MS. 24665,
with unimportant variations in the last two lines.

Page 29. XX. There is a copy of this song in Add. MS. 24665, with
trifling variations due to corruption or careless transcription. A varia
lectio worthy of notice occurs, however, in 1. 8, where the MS. reads
' Time hath a wheele '. This is plausible, but on the whole I prefer
the version of the text.

Notice the internal rhyme in the fourth line of each stanza, rhyming
with the end-rhyme of the previous line. Campion seems rather fond
of this effect. See also Ayres that were sung and flayed at Brougham
Castle (IIII. 1. 9).

OBSERVATIONS IN THE ART OF ENGLISH POESIE.

Page 33. Thomas Sackville, first Baron Buckhurst, was created
Earl of Dorset in 1603, and died in 1608. He was author of the
Induction ioihtMirrourfor Magistrates, and part-author of Gorboduc,
while from Jasper Heywood's preface to his translation of Seneca's
Thyestes, we learn that he had written sonnets, which were probably
the private poems here referred to.

1. 5. In two things. Campion is quoting here from his own song,
'Awake thou spring of speaking grace', No. XIII of the Third Boo ke,
or vice versa ; one can not say which.

1. 24. take in worth, i.e. accept kindly.

Page 34. 1. 1. Whether thus hasts. This poem is reminiscent of the
opening lines of the first satire of Persius.

Page 35, 1. 10. discreta quantitas. See Scaliger, Poetice, iv. i,
and 45. ;

1. 32. Rewcline. John Reuchlin, of Pforzheim, the German humanist,
1455-1522.

1. 35. Epistolm obscurorum virorutn. A series of broadly humorous
compositions mainly by Ulrich von Hutten and his friend Crotus
Rubianus, which appeared in 1515-16, in the dawn of Humanism.
They purported to be written by members of the obscurantist party,
of which they were the cause of much ridicule.

Page 36, 1. 29. as Tully and all other Rhetoritians. See Cicero,
De Oral. iii. 54: Quintilian, ix. 3.

1. 34. prcelia porcorum. The reference is to the Pugna Porcorum
per P. Porcium poetam, written by Joannes Leo Placentius, and
published at Cologne or Antwerp in 1530.

Page 37, 1. 11. Carmina prouerbialia. 'A volume of riming
Latin proverbs entitled Carminum Proverbialium . . . Loci Communes
in gratiam juventutis selecti, 8vo, published at London in 1577, passed
through many editions' (Bullen.)

1. 12. bables=haMh\&s.

1. 21. a singing-man at Westminster. Mr. Bullen states that
Campion was wrong, and that the epitaphs were made upon a singing-
man at Abingdon. But Abyngdon was the man's name, and he was

360

Notes.

master of the Royal Chapel at Westminster in 1465. More's
Epigrammata were published at Basle in 1520.

1. 28. Procrustes the thiefe. This passage was in Ben Jonson's mind
when he uttered the dictum reported in Drummond's Conversations :
'He cursed Petrarch for redacting verses to Sonnets, which he said
were like that Tirrant's bed, when some who were too short were
racked, others too long cut short.'

Page 38, 1. 15. dmor. The second syllable of amor is not, of
course, long by nature ; but possibly Campion is thinking of the line
in Vergil's Eclogues, ' Omnia vincit amor, et nos,' etc., where the or is
long in thesis.

Page 41. 1. 5. /««;/= weighed.

1. 32. last foote of the fourth verse. The old edition has fift
verse, by dittography.

Page 42, 1. 14. ayreable, suitable for setting to music.

Page 45, 1. 20. Kate can fancy. Cf. the Latin epigram In
Laurentiam (p. 244).

1. 27. Beaten sattin. This expression, which is frequently met with,
seems to mean embroidered satin.

1. 31. huffcap a/e= strong ale.

Page 46, 1. 6. Bamzy stiffly vows. Cf. the Latin epigram In
Crispinum (p. 255). In spite of Campion's disclaimer of any personal
point in these lines, they certainly seem to refer to Barnabe Barnes
and Gabriel Harvey.

Page 48, 1. 7. glossy Pirop. Red or gold bronze. Cf. Ovid, Af^/,
ii. 2, ' flammasque imitante pyropo.'

1. 34. A wise man. Cf. The man of life upright (pp. 15 and 1 17).

Page 49, I. 2. Thou telst me. Barmy. This and the seventh
epigram both appear to refer to Barnes.

Page 51, 1. 26. iet=strut, walk proudly.

Page 53, 1. 16. Epigramme of Earinon. Martial, ix. 11.

THE DISCRIPTION OF A MASKE ETC. IN HONOVR
OF THE LORD HAYES.

Page 57. James Hayes or Hay, the son of Sir James Hay of Kingask,
was a Scotch gentleman who came to court upon James's accession
and was a great favourite with the King. He was knighted, created
Lord Hay of the Scotch peerage in 1606, Baron Hay of Sawley in
1615, Viscount Doncaster in 1618, and Earl of Carlisle in 1622. The
dedication by Donne of his Divine Poems to him as the E[arl] of
D[oncaster] was therefore an error. He married, first, on the occasion
of this masque, Honora, daughter of Lord Denny, and secondly, in
161 7, Lucy Percy. Clarendon has a character of him, and he is
eulogized in Lloyd's State Worthies. He was employed on several
important missions, to France in 1616, and to Germany in 1619 to
support the Elector Palatine.

Page 59, 1. 4. The disvnited Scythians. Campion appears to be
thinking of a passage in Herodotus, A. 70.

Page 62, 1. 17. Basse and Meane lutes. The lute was a sort of
guitar with a rounded back. The Bandora resembled both the lute
and orpharion , but little is known of it. The sackbut was a bass trumpet
or trombone. A consort was a band or orchestra of musicians;

1. 31. The State=the chair of state, earlier referred to (1. 14),
reserved for the guest of the evening, on this occasion the King.

Notes. 361

Page 63, 1. 37. The chiefe habit. This illustration, which forms
a sort of frontispiece to the old edition, is reproduced in Mr. BuUen's
1903 edition, Nichols's Progresses of King James, and the present
edition.

Page 60, 1. 18. Can musicke then ioye? This line seems to be
corrupt, but I cannot see how to emend it.

Page 76, I. 30. By the great, i.e. wholesale.

Page 76, 1. 30. M. Lupo : this composer cannot be identified, as
there appear to have been numerous musicians of the name at this
time. M. Tho. Giles was organist of St. Paul's, and father of the
better known Nathaniel Giles, chorister at Magdalen College, Oxford,
master of the choristers at St. George's, Windsor, and master of the
children of the Chapel Royal.

A RELATION OF THE LATE ROYALL ENTERTAIN-
MENT GIVEN BY THE RIGHT HONORABLE THE
LORD KNOWLES, ETC.

Page 77, Title-page (imprint). Britaines Bursse. The New
Exchange opened on 11 April, 1609, in competition with the Royal
Exchange (The Bourse).

Page 78. ' Sir William KnoUys, second son of Sir Francis Knollys,
was created Baron Knollys of Greys in Oxfordshire, by King James
in the first year of his reig^n. Viscount Wallingford in 1616, and Earl
of Banbury in 1626. He died May 25, 1632, at the age of eighty-eight.
It was his second wife, Elizabeth, daughter of the Earl of Suffolk, who
received Queen Anne on her progress towards Bath ' (BuUen).

1. 7. her Progresse toward the Bathe. This progress began on
Saturday the 24th April (Pearsall's Sir Henry Wootton, II, No. 213).

1. 13. The house is fairely built of bricke. 'This fair brick house
was pulled down in the reign of George I by the then possessor, Earl
Cadogan, who erected the present elegant structure somewhat further
from the Thames, and built a cedar room for the reception of the
monarch. Capability Brown was employed in laying out the beautiful
grounds' (Nichols).

1. 20. two flight-shots. A flight was a light kind of arrow. Compare
Beaumont and Fletcher's Bonduca, i. i, ' Not a flight drawn home.'
Mr. BuUen says a flight-shot was about a fifth of a mile.

1. 22. Bases, i.e. skirts.

Page 80, 1. 19 foil. Perpetuana, ' a glossy cloth of durable sub-
stance. Mommoth-caps : a Monmouth-cap was a kind of flat cap.
Wings : appendages to the shoulders of a doublet ' (Bullen).

Page 82, 1. 6. Caroch, i.e. coach, the French carrosse.

1. 18. Gamachios, ' loose drawers or stockings worn outside the legs
over the other clothing' (Halliwell). 'A northern word for short
spatterdashes worn by ploughmen ' (Grose).

I. 30. Rosemary for remembrance. This recalls Ophelia's speech,
' There 's rosemary, that 's for remembrance ' {Hamlet, IV. v). The
expression was probably, however, not original in Shakespeare, but
a current proverbial saying.

Page 84, 1. 9. A hall, i.e. room ! give way ! See Shakespeare's
Romeo and Juliet, I. v.

Page 85, 1. 11. A la mode de France. Mr. BuUen's emendation
for the old edition's A la more. Possibly there was some confusion
with the word moeur.

Page 87, 1. 6. the presents. ' The presents_are described in Mr.

362

Noti

es.

Chamberlain's letter as " a dainty coverled or quilt, a rich carquenet,
and a curious cabinet to the value in all of ^1,500 " ' (Nichols).

THE LORDS MASKE.

Page 90, 1. 26. Obey loues will. Mr. Bullen's emendation for
the old edition's loues willing, the last word having been duplicated
from the next line.

Page 92, 1. 7. Come quickly, come. ^tR Light Conceits of Louers,
XVII, and note thereon (p. 365).

Page95, 1. 16. That all which see may say. Mr. Bullen's emenda-
tion for the old edition's stay.

Page 96, l. 31. numerous, i.e. rhythmical, keeping time.

Page 100, 1. 21. I retain the old edition's preuent excuse, which
Mr. BuUen emends to present. But preuent in its primitive sense of
' anticipate ' is perfectly good here.

SONGS OF MOVRNING.

Page 101. Title-page. Coprario was an Englishman named
John Cooper who studied music in Italy and Italianized his surname.
He was Court Composer to Charles I, and died in 1626.

Page 103, 1. 13. Cunctatosque olim. As Mr. Bullen points out,
this promise was redeemed by Campion with the Lords Maske.

Page 104, I. 15. dare: the word has the meaning of 'stupefy',
' amaze ', here. It has the related sense of ' terrify ' in Peele's Sir
Clyomon and Sir Clamydes : ' Shall such defamed dastards dared by
knights Thus bear their name.'

Page 105, 1. 42. the French Lyon ; Henri IV, assassinated by
Ravaillac in 1610.

1. 51. Suruaying India. Prince Henry had interested himself in
the East India Company.

1. 53. his sayles. An expedition was fitted out by the East India and
Muscovy Companies, and on the 26th July, 16 12, a grant was made by
James I constituting ' a body Corporate and politic ' by the name of
' Governor and Company of the merchants in London, discoverers of
the North- West Passage,' ' with our dear son immediately under our-
selves (whose protection is universal) supreme protector of the discovery
and company.'

Page 106, 1. 19. Is rauisht now. Mr. Bullen reads 'fled' in this
line. I have kept the reading of the old edition, as I am not sure that
the emendation is necessary.

Page 108, 1. 7. O why should fate : Fate is the marginal correction,
written in a contemporary hand, in the Brit. Mus. copy, for the text's
reading ' loue '.

To Fredericke V,\. I. How like a golden dreatne. The Count
Palatine landed at Gravesend on the i6th Oct., 1612, and Prince
Henry died on the 6th Nov. following. Their acquaintance, therefore,
did not last a month.

Page 109, 1. 8. Then now for ones fate. ' Then ' is the reading of
the old text in the music. The separate text of the poetry alone has
' Thou now ', an obvious misprint.

TotheWorld,\.(}. With doubts late by a Kingly penne decided. As
Mr. Bullen surmises, this is probably a reference to King James's
Premonitions to all most mighty Monarchs, Kings, Free Princes and
States of Christendom, written against Bellarmine, and published
in 1609.

Notes. 363

TWO BOOKES OF AYRES.

Page 115, 1. i. /'ayjtfrf means weighed. Compare Marlowe's Hero
and Leander, Sestiad II : 'Where fancy is in equal balance paised.'

First Book (Divine and Morall Songs).

Page 117. I. The meaning of 'a stray' in I. 4 is obvious. See
Drayton, Tke Crier : —

If you my heart do see
Either impound it for a stray

Or send it back to me.
Or Tottel's Miscellany : ' Nor gadding as a stray.'
II. See A Booke of Ayres, Part I, XVIII (p. 15) and notes thereon

(P- 357).

Page 118. V. The old edition reads ' all in darke ' in I. 8, an
obvious misprint.

VI. This song refers of course to the Gunpowder Plot of 1605.
The allusion in the last stanza is to the death of Prince Henry in 161 2
and his consequent succession by Prince Charles as heir to the throne.

Page 122. XI. This song appears to have been living as a devo-
tional hymn as late as 1707, for the first stanza appears in Add. MS.
30023 (fo. 50). ' James Moulton, his Boock. Amen. November 21 1707.
16 years.' It seems to have been written down from memory by the
youthful pietist, possibly as a Sabbath exercise. It is clear, too, from
the thrice repeated 'O come quickly', that it was remembered as a hymn,
and not as a poem, for this repetition occurs in Campion's setting.

Page 124. XIIII. The old edition reads ' And stone and by stone '
in 1. 20, an obvious misprint.

Page 126. XVIII. See notes on A Booke of Ayres, Part I, IIII

(P- 355)-

Page 127. XX. Tut lyes (1. 19) meant nosegays. The word seems
to have survived until recently in the Dorset dialect. See Barnes's
Uncle an' Ant (Poems of Rural Life).

Page 128. XXI. This poem clearly refers to the death of Prince
Henry in 1612.

Second Booke (Light Conceits of Lovers).

Page 132. I. The first line of this song occurs with the air in
Add. MS. 33933.

Page 134. V. Mr, BuUen, unnecessarily, in my opinion, reads in
1. 10 ' Her loue thought to obtaine '. The original text, however,
gives far better sense. There is the usual antithesis between love, i. e.
affection, and grace, i.e. material favours ; and the lover complains
that while he has the first, no entreaties can win the latter. Line 17 in
the old edition contains a misprint, ' prayes ' for ' prayers ', possibly
by anticipation of the next line.

In 1. 24 Mr. BuUen reads ' My words of zeale '. I have retained the
reading of the old edition, which in my opinion is equally good.

Page 135. VI. The old edition has a misprint in 1. 16: 'most
recure ', presumably for ' past recure ', Mr. BuUen's emendation.

Page 136, VII. 'Swelling' in 1. 8 is Mr. BuUen's emendation for
the old edition's ' smelling '.

VIII. The first line of this song occurs together with the air in
Add. MS. 33933.

Page 138. X. The first six lines of stanza i have already appeared
in No. VII of .<4 Booke of Ayres.

364

Notes.

XI. Mr. Bullen quotes the following poem from a MS. Common-
place Book of the middle of the seventeenth century belonging to the
Duke of Buccleugh, which appears to be a draft or version of this song.

Hide not, sweetest Love, a sight so pleasing
As those smalls so light composed.
Those fair pillars your knees gently easing,
That tell wonders, being disclosed.
O show me yet a little more:
Here's the way, bar not the door.

How like sister's twines these knees are joined

To resist my bold approaching !

Why should beauty lurk like mines uncoined.'

Love is right and no encroaching.

O show me yet a little more:

Here's the way, bar not the door.

' Smalls ' means the round parts of pillars. ' Sister's [or sewster's]
twines '=sewing thread. 'Mines uncoined' is Mr. BuUen's emenda-
tion for the MS. ' mine eyes vncoyned '.

Page 139. XIL There is aversion of this song in Add. MS. 15117,
which runs as follows : —

The peaceful! westerne winde

The wintry stormes hath calmde,

And nature hath in every kinde

The vital heate inflam'de.

The flowers so sweetly breathe

Out of the earthlye bowers.

That heaven which seethe their pompe benethe

Would faine be decte with flowers ;

To grace the lyvely springe

Let all the shepheards singe
Fa la la.

See how the morninge smyles
Out of the easterne Cell ;
And softly stealinge forthe beguiles
Them that in sleepe do dwell.
The frolicke birds do come
From cliffs or rocks vnknowne.
To see the treese and briers blow
That late were overflowene.

All things do vs invite

To sing with sweet delite

Fa la la.

What Nature did destroye

Renewes, revives againe ;

And now the wanton naked boye

Doth in the woods remain:

Where he such Change doth Vewe

In everye livinge thinge

As if the worlde were borne a newe

To gratifie the springe.

To Cynthia then lett vs

Recorde our musick thus —

Fa la la.

Notes, 365

This exceedingly charming version proves that the old edition's
reading 'ouerflowne' is correct, and that there is no necessity to
accept Mr. BuUen's emendation 'overthrown', which indeed seems
inapplicable on grounds of sense. 'Ouerflowne' is quite good, and
means ' flooded ', ' drenched '. Compare Mortimer, Husbandry (1707^
12): 'Foul food, as overflown Hay, Grass rotted by the long standing
of water on it in wet summers.' Assuming, however (which is not the
case), that the word is corrupt, the nearest conjecture, typographically,
would be ' ouerblowne ' in the sense of ' overblossomed '. But this is not
necessary.

Page 141. XV. The old edition gives the same rhyme, ' mouing/
in both lines 6 and 8 of stanza 3. I have ventured to correct it in 1. 8
to ' rouing ', which I believe to be what was intended.

Page 14^. XVI. ThissongoccursinJones'sAf«wa/Z'r«a»?(i6o9).
The first line with air is found in Add. MS. 33933, and Eg. MS. 2230
contains a copy with trifling divergences due probably to transcription
only. The old edition reads: 'Some else your secret friend' in 1. 23,
and as Eg. MS. above mentioned has ' Or else some your secret friend ',
I am inclined to think that the correct version is 'Or else some secret
friend '.

XVII. Lines 5 and 6 (Come quickly, come, &c.) closely resemble a
passage in A Song, The Lords Maske (p. 92). The meaning of lines
3 and 4 (which depends upon that of ' sticklers ') is not clear, but I do
not think it is improved by Mr. Bullen's reading, 'when love and
longing fights,' which is ungrammatical. Line 6 in the old ed. reads
' pleasures ', doubtless a misprint.

Page 143. XVIII. I have felt somewhat diffident as to whether the
word ' trustlesse ' in line 20 of this poem is not a corruption of ' thrift-
lesse '. But as Professor Murray very kindly pointed out to me on my
submitting the matter to him, there are numerous instances of the usage
of the word in the sense of 'untrustworthy', and it may accordingly be
construed here as ' fleeting '. What has added to my doubts is a copy
in Add. MS. 24665, which, without variation in other respects, reads ' so
fruitles ', suggesting that ' trustlesse ' was not a well-established reading.
But according to my practice I have refrained from emending unless
absolutely required.

THE DESCRIPTION OF A MASQUE ETC. AT THE
MARIAGE OF THE EARLE OF SOMERSET.

Page 148, 1. 2. Tandem nubit amans. For a narration of the long
history of intrigue and sordid crime of which this bridal was the
consummation, see Introduction (p. xlii).

1.3. Vercevt super sint. Cp.Ep. 68, Book 1, 1619 collection (p. 246).

Page 149, 1. 18. Architect to our late Prince Henry. To Con-
stantine de Servi Prince Henry assigned a yearly pension of ;^2oo in
July, 1612.

Page 150, 1. 23. From euery quarter. I see no reason for adopting
Mr. Bullen's emendation 'twelve' for the old edition's 'three knights'.
' Quarter ' is to be construed strictly, and three from every quarter of
the globe would amount to twelve, the number required by the
subsequent text. This interpretation is supported by the introduction
later of the four winds, the four continents, etc.

Page 152, 1. 42. Bring away this Sacred Tree. It is worthy pf
notice that according to J. Stafford Smith's Musica Antiqua this song

CAMFION A ^

366

Notes.

occurred in Lanier's masque entitled Luminalia, or The Festival of
Light, played by Queen Henrietta Maria and her ladies on Shrove
Tuesday, 1637. From the Ayres made by seuerall Authors appended
to the old edition we learn that this song was ' made and exprest by
Mr. Nicholas Laneir ', and indeed the music there given is that printed
by Stafford Smith. As the latter states in connexion with the song
in Luminalia that it was sung by Eternity, and that ' Towards the end
of the song the Three Destinies set the Tree of Gold before the queen ',
and that 'The other songs set by Coprario were sung by Mr John
Allen and Laneir', statements which are mere quotations from the
stage directions in Campion's masque, the reference to Luminalia
appears to be due to a confusion of the two. Beyond the reference in
Musica Antigua nothing seems to be known about Luminalia, and, as
already shown, Stafford Smith's remarks thereon relate to Campion's
masque.

THE THIRD AND FOVRTH BOOKE OF AYRES.
Page 160, 11. 1-8. See Introduction, pp. xHii, xliv, and xlv. 1. 28.
See Introduction, p. xlv.

The First Booke.

Page 161. II. This song occurs in Add. MS. 29291, headed
' Francis Pilkington, 1605 ', with that musician's setting.

Page 163. VI. This song is given in Playford's Introduction
with Campion's music. Line 3 therein reads ' nature or a curious eye
can see ', probably a mere error in transcription. Stanzas 3-4 were
made the subject of a Latin epigram by the poet {Ad Learn, Book II,
Ep. 117, 1619 ed., p. 291).

Page 166. XI. This song occurs with Campion's music in Play-
ford's Introduction and in his Musical Companion (1672). The first
stanza is also found in Add. MS. 29386 (fo, 85), which is a collection
of Henry Lawes's compositions, superscribed ' Dr Campion. 1652 ',

Page 166. XIII. Stanza 3. Compare the first paragraph of the
Preface to the Obseruations (p. 33).

Page 168. XVII. Versions of this song are found in both Add.
MSS. 24665 and 29431. The copy in MS. 24665 contains 4 stanzas to
the old edition's three, the penultimate line of each stanza being
slightly lengthened. Line 5 reads ' for pity any more '. The additional
stanza comes second : —

When I first of loue did thinke
As a toy I it esteemed ;
Neuer from it did I shrinke,
Cupids darts of lead I deem'd :

Now I find dispaire pursues the game.

Night and day it doth inflame.

Stanza 3 reads in 11. 4 and 5 : —

Or betray me through dispight :
Soe alas shall I die vnredrest.

Stanza 4 reads in I. 5 : —

Only do not mocke me in thy bed.

Page 169. XVIII. The following version of this poem in sonnet
form occurs, together with several other versions of Campion's poems,
in Harl. MS. 6910 (v. note On A Booke, &c., Part I, XII, p. 356):—

Notes. 367

Thrice tosse those oaken ashes in the ayer
And thrice three tymes tye up this true lou's Knot ;
Thrice sitt you downe in this inchanted chaire
And murmure softe Shee will or shee will not.
Goe bume those poysoned weeds in that blew fyre,
This Cypres gathered out a dead mans graue,
These Scretchowles fethers and the prickling bryer
That all thy Thornye cares an end may haue.
Then come you fairyes, daunce with mee a round,
Dance in a circle, let my loue be center.
Melodiously breathe an inchanted sound,
Melt her hard hart that some remorse may enter.

In vain are all the Charmes I can deuise ;

She hath an arte to breake them with her eyes.

The poem is included among the Remains never before imprinted in
the 1633 edition of Joshua Sylvester's Works, but the attribution is, of
course, like that of other poems in the Remains, incorrect.

Page 170. XX. This song occurs in Morley's First Book of
Ballets (1595), Select Ayres and Dialogues (1599), and Eg. MS. 2013,
Harl. 6917, and Add. 10337.

The copy in Eg. MS. is set by Nicholas Lanier, and differs very
slightly from the version of the text ; it reads ' Fyer, fier ' in 1. i ;
'Loe, how I burne', 1. 2 ; 'my empty loue-sicke Braine', 1. 4;
' Humber, Trent and siluer Thames ', 1. 6 ; ' Fyer ', 1. 10 ; ' See how the
Riuers',1. 12; 'hisayde denye', 1. 13; ' like me fall ',1. i». Harl. MS.
contains many similar divergences : ' Fire, Fire ', in 11. I and 10 ; ' Oh,
how I bume in hott desire', 1. 2 ; ' For all the teares ', 1. 3 ; ' From an
empty loue-sick brain ', 1. 4 ; ' Humber, Trent, and siluer Thames ',
1. 6 ; ' Great Ocean ', 1. 7 ; ' Then drown ', 1. 9. The variation in 1. 1 1 is
interesting and plausible, 'There is noe helpe for my desire'; 1. 13,
'The Oceans do their ayde denye'; 1. 14, 'Least my heat'; 1. 15,
'Come pouring down'; 1. 16, 'Yee that once'; 11. 17 and 18 are
repeated from 11. 8 and 9 of the previous stanza. Both these versions
differ from the text in much the same ways and are probably drawn
from another draft of the poem, or, at any rate, from the same original.
The version in Add. MS. 10337 is substantially that of the text,

XXL This song occurs in Eg. MS. 2013 (fo. 9), where the reading in
1. 7 is ' Golden Age ', and in 1. 12, ' Which till eyes ache, let you fond
men enuye.'

Page 171. XXIII L There are two versions of this poem in Add.
MS. 10309 (Brit Mus.), one of which, that on fo. 85, does not differ
materially from the version of the text ; reading, however, ' can ' for
' could ' in 1. 4 ; ' men ' for ' mindes ' in 1. 7 ; ' hope or joy ' in 1. 9 ;
' should demeane man soe ' in 1. 1 1 ; ' As she should all thinges foreknow '
in 1. 12 ; ' But no thought nor ' in 1. 13 ; ' Grow on affections easie ' in
1. 14 ; ' it ' for ' he ' in 1. 16. In addition to these variations the first four
lines of stanza 2 are given as the first four lines of stanza 3, and vice versa.
The other version, which occurs on fo. 94, is, however, quite different.
It runs : —

Could my poore hart whole worlds of toungs employ,
The greifes it ownes that number would out goe ;
Its so enured to greife, s' estranged from ioy
That it knows not, how it releife should know.
Discurteous facts are cor'sives to true hearts,
And those are pronest to dispayring smarts
A a 2

368

Notes,

Noe caution, thought, nor alteration can

Assume affections place ; change harder is

Fancied to be ; use Lords it soe ore man

That it brooks worst what's strange, as being amisse.
And soe much witt should men in this age have
As they might chuse what's good and what's not leaue.

Those men are blest that can their freedom get

Whensoere they will, and free themselves from thrall ;

That hope disdaines, on ioy a rate dot(h) set

Inferiour far to th' blisse that ease men cdl :
A blest estate had better nere been knowne
Then from the height thereof, downe to be throwne.

The first version is unimportant, as the variations are probably due
to errors in transcription only ; the poem being one of those ' as
coine crackt in exchange, corrupted '- The second version is almost
certainly, however, an earlier draft from the poet's own pen. It is
markedly inferior, its involved language and awkward inversion con-
trasting unfavourably with the straightforward fluency of the final copy.

Page 172. XXVI. This song occurs in Add. MS. 24665. The
version is that of the text.

Page 173. XXVIII. I have retained the reading of the old edition in
1.7,' But roofes too hot would proue for men all fire,' not being convinced
that Mr. BuUen's emendation, 'for me all fire ', is an improvement. Both
are obscure, but the reading of the text maintains the parallel con-
struction between lines 7 and 8, in which ' too hot ' and ' too high ' are
both predicates. The lady is excusing herself from an assignation by
raising objections to every possible rendezvous : ' roofes ' (which
mean a dwelling-place or habitation as opposed to the al fresco
meeting-places objected to in the subsequent lines) are ruled out as too
hot for such fiery natures as that of the suitor. The excuses are
intended to be understood as mere excuses. This appears to make
tolerable sense. For ' roofs ' in this sense (not the metaphorical use
which demands the preposition ' under ', but the sheer metonymy) see
Chapman, Rev. of Bussy d'Ambois, I. I, ' To move such bold feet into
others' roofs '.

FovRTH Book of Ayres.

Page 175. To the Reader. 1. 27, Cloathedin Musicke by others, e.g.
VII, IX, and XVII. — Some three or four Songs that haue been published
before, &c., e.g. XVII, XVIII, XXII, and XXIII. All these Songs
are mine : As Mr. Bullen points out, this is a reminiscence of Martial,
i.38:-

Quem recitas mens est, o Fidentine, libellus,
Sed male cum recitas, incipit esse tuus.

Page. 177. V. Line 9 in the old edition contains the misprint ' serue'.
The Pawn was a corridor of shops in the Royal Exchange built by Sir
Thomas Gresham, and opened by Queen Elizabeth on Jan. 23,
1571. The Pawn met the special admiration of the Queen. Gresham's
Exchange, also called the Bourse, is not to be confused with the New
Exchange, or ' Britain's Bourse ' (see p. 361).

Page 178. VII. This song occurs in Alison's Houre^s Recreation
in Musick, Jones's Vltimum Vale, and Add. MS. 17786. It may possibly
have suggested Herrick's ' Cherry Ripe '.

Page 179. IX. This song occurs in Ferrabosco's Ayres, Harl. MS.

Notes. 369

6917, Add. MSS. 14934, and 24665, and Advocates' MS. 5, 2, 14.
The second couplet of stanza 2 in the old edition repeats the second
couplet of stanza i, the correct reading being supplied in the text from
Ferrabosco's copy. Harl. 6917 gives the version of the text ; Add.
14934 omits stanza 2 (fo. 192). This copy is preceded by a Welsh
translation, entitled ' A translation into Welsh of an English song
Composed by Mr. N. Lannear (taken out of Playford's Musical Com-
panion, p. 204) '. Advocates' MS. subjoins the following further stanza
(as given by Mr. BuUen) :—

Married wives may take or leave,

When they list, refuse, receive;

We poor maids may not do so.

We must answer Ay with No.

We must seem strange, coy, and curst.

Yet do we would fain if we durst.

Page 180. X. See the note on A Booke cf Ayres, Part I, X.

XI. ' Diseased ' in 1. 8 means, of course, ' discomforted '. Line 1 1
repeats 1. 7 by a printer's error. I regret that I have been unable to
trace another copy of this song so as to supply the correct version.

Page 18L XII. 'Force', in 1. 4, has the meaning 'desire', 'care
for '. Compare Surrey : ' The shipman forces not the gulph,' or
Tottel's Miscellany :—

For Corin was her only joy.
Who forced her not a pin.

The following poem occurs in William Corkine's Ayres. I take it
to be a version by Campion of the above on account of its general
tendency and 1. 4 in particular, which is almost identical with 1. 12
of the song in the text. ' Diuine concent' has, besides, a distinctly
Campianian flavour. [See Rose-cheekt Lawra : p. 50.]

Some can flatter, some can faine;

Simple trueth shall pleade for mee.

Let not beautie trueth disdaine;

Trueth is euen as faire as shee.

But since Paires must equall proue

Let my strength her youth oppose:

Loue her beautie, faith her loue ;

On eu'n terms so may we close.

Corke or Leade in equall waight

Both one iust proportion yeeld;

So may breadth be pays'd with height,

Steepest mount with plainest field.

Vertues haue not all one kind.

Yet all vertues merits bee :

Diuers vertues are combind

DifTring so Deserts agree.

Let then loue and beautie meete.

Making one diuine concent,

Constant as the sounds, and sweete.

That enchant the firmament.
Page 183. XVII. This song occurs in Dowland's TAtrd Booke
and Add. MS. 15117. The version in the latter has some slight
diflferences in reading : ' Beauties parts,' 1. 2 ; ' Hence,' 1. 3 ; 'To

3 7 o Notes.

frame her,' 1. 5; 'Should I have grieved and wished', 1. 7 ; 'This
kindles,' 1. 10. But an additional stanza is given as follows : —
Thus my complaints from her vntruths arise,
Accusinge her and nature both in one.
For Beautie stainde is but a false disguise,
A Common wonder that is quickly gone.
A false faire face cannot with all her feature
With out a trew hart make a trew fair creature.
Further, Mr. BuUen quotes a version found in Christ Church MS.
I) 5 1 49) which consists of the first stanza of the old edition, followed
by that quoted above and a third not found in either the old edition or
the MS. It runs as follows : —

What need'st thou plain if thou be still rejected ?
The fairest creature sometime may prove strange ;
Continual plaints will make thee still rejected,
If that her wanton mind be given to range:
And nothing better fits a man's true parts
Than to disdain t'encounter fair false hearts.
The two main points in the poem in the text, embodied in the conclud-
ing lines of each stanza, are neatly turned into Latin verse in Epigrams
18 and 1 16 respectively of Book II (1619 edition). See pp. 274 and 290.

XVIII. The following version of this song occurs in William
Corkine's Ayres : —

Thinke you to seduce me so with words that haue no meaning?
Parets can learne so to speake, our voice by peeces gleaning :
Nurses teach their Children so about the time of weaning.
Learne to speake first, then to woe : to woeing much pertaineth :
He that hath not Art to hide soone falters when he faineth,
And as one that wants his wits he smiles when he complaineth.
If with wit we be deceiued, our fals may be excused :
Seeming good with flatterie grac't is but of few refused,
But of all accurst are they that are by fooles abused.

Page 186. XXII and XXIII. See A Booke, Part I, XVI and XVII
respectively, and notes thereon (p. 357). The refrain to XXII is
quoted in Marston's Eastward Ho III. 2, from which it may be
conjectured that the song was popular.

A NEW WAY OF MAKING FOWRE PARTS IN

COVNTER-POINT.

The main value of Campion's addition to the musical knowledge of
his time is the rule of thumb which it affords for the harmonization
of a continuous piece of music. The rule is embodied in the table
given on p. 197, which is to be used as follows : Given the progression
of the bass and the first chord, to find the second and succeeding
chords. The first chord of the melody is, as usual, the tonic major
or minor. The possible progressions of the bass are through
intervals of a second, third, or fourth up or down, all larger
progressions being resolved into these six : thus a fifth below is
equivalent to a fourth above, a major third above to a minor sixth

Notes, 271

below, and so on. The rule of the diagram is applied thus: If the
bass go ^^^^ the interval above for W^t given chord in each other part
is to be looked for in the °^^^ line of the diagram, and the interval
above the bass for the required chord will be found in the correspond-
ing lower ''"^ °^ '^^ diagram, intervals for this purpose including
compounds, the third including the tenth, and the fifth the twelfth.

Page 219, 1. 4. Sethus Calvisius, born at Groschleben, in Thuringia
(1556-1615), was a German astronomer and chronologer. He con-
ducted a school of music established at Pforte, and another at Leipsic
later. He wrote five different works on the theory of music, including
a Melodice condendcB ratio, which is very possibly the book to which
Campion refers. He also published a number of compositions in
various styles. A song of his was popular in Germany for many years.

AYRES SVNG AND PLAYED AT BROVGHAM CASTLE.

Page 230 HI, 1. 16. Such a morne. Compare Ep. 188, Book I,
1619 edition of Latin poems, which contains the central thought of
this stanza, and convinces me that Campion wrote these Ayres. (See
Introduction, p. li).

Page 231. II II, 1. g. Rise agen. The internal rhyme here
resembles that in A Booke of Ayres, Part II, XX.

V. This 'Ballad' is found in Add. MS. 27879, fo. 220, Bishop
Percy's famous 'folio MS.', which reads: 1. i, 'a Carthage queen';
1. 8, 'Whereas'; 1. 10, 'would haue'; 1. 15, 'their loues were'; 1. 18,
'Who bade'; 1. 28, ' And let '.

EPIGRAMMATVM LIBRI IL
Liber Primus.

Page 237, 2. The first book was a new collection of epigrams
previously unpublished ; the second a rdchauffd of the 1595 collection.

Page 239, 15. It is tempting to conjecture that Eurus may be one
of the Easts or Estes, either Thomas Este or his better known son
Michael Este, the composer. There appears to be little individuality
to be gleaned, however, from the epigrams addressed Ad Eurum, of
which there are several.

17. This epigram ridicules Barnabe Barnes's Sonnet LXIII, which
was pilloried by Nashe in Haue with you to Saffron Walden and
Marston in the Scourge of Villainy also. [Sat. viii, U. 126, 127.]

Page 242. 40. Henri IV was assassinated by Ravaillac in 1610. I
gather this to mean that whereas the assassination could not have
been effected with a sword, it was successfully attempted with a knife,
which was the case.

Page 243. 45. The name Castricus suggests that there was some
person with a name involving the syllable Camp, which was confused
with that of the poet and led to the contretemps related.

46. See Introduction, p. xxxiii.

48. Tanquam is, &c., i.e. Hippocrates, who is said to have put an
end to the plague at Athens by burning fires and other means. See
also Ep. 91.

Page 244. 56. Compare the epigram in the Obseruations, 'Kate
can fancy only berdles husbands' (p. 45), and Introduction, p. 1.

372 Notes.

Page 246. 68. See Note on Verce vt supersint nuptia, Maske at
the Manage of the Earle of Somerset (p. 365).

Page 247. 73. Edward Allen or AUeyn, the famous actor, is, of
course, referred to.

Page 249. 91. j««f*- Co«j, i. e. Hippocrates. Madore. In 1563 the
Sweating Sickness raged violently; but the reference may be to
a more recent visitation. Crebraue sternutaMone. 'In 1580 an
influenza of a virulent type passed over Europe ' (Bullen).

94. The Golden Hind, Drake's famous vessel, was preserved at
Deptford for some years.

Page 260. 98. I regret that I cannot trace the circumstances to
which this epigram relates. Who was ' Synertus ' or ' Synertius '
whose ' fraus et auara sseuitia * had such fatal consequences ? James
Huishe, 'son of James Huishe of London, citizen, deceased,' was
admitted to Gray's Inn on February 4, 1594-5. His father was
apparently very wealthy, and owned property in St. Pancras (London),
South Brent, Sidbury (Devon), Shepperton (Middlesex), Surrey and
Essex. In his will proved in the Prerogative Court of Canterbury in
1590 (69 Drury) he is described as a grocer, and directions are given
inter alia for his sons James and Thomas to be brought up at school
till the age of seventeen.

102. In view of the change of title of Ep. 94 of Bk. II, Ad
Coruinum which in the 1595 edition is addressed Ad Ge. Chap-
mannum, I am inclined to think that this epigram also refers to
Chapman in allusion to his translation of Homer.

Page 255. 143. This epigram has a strong resemblance to an
epigram in the Obseruations, Bamzy stiffly vows (p. 46), and
embodies the same idea. I have emended vnum in 1. i to vnam.

Page 257. 151. This epigram must refer not to a striking clock,
which was no novelty, but, as the word portabili implies, a form of
repeating watch.

152, 1. 3. This line will not scan in its original form. I have
inserted nam, metri gratia.

Page 258. 161, 1. 6. Oleutn talci. ' Oil of talc— an esteemed
cosmetic when these epigrams were written ' (Bullen).

Page 26L 175, 1. 5. Quadrupedis pig^ce quam ros. As Mr. Bullen
points out, this must mean asses' milk, used for the complexion.
Cerussa, cp. Jonson, Sejanus : His Fall, 11. i : ' 'Tis the sun Hath giv'n
some little taint unto the ceruse.' Ceruse, originally white lead, was
the term applied both to that substance used as a cosmetic and more
generally to other whitening cosmetics.

Page 262. 186. die 4 No., i.e. Nov. 4, 1616.

Page 263. 188. Compare with this epigram Ay res sung at
Brougham Castle, No. Ill, stanza 2, and see Introduction, p. li.

192. Edward Mychelbume's resolution not to make his writings
public was similarly deplored by Charles FitzGeofTrey in his Affania
(see Introduction, p. xlix). Mychelburne apparently kept his resolu-
tion, for nothing seems to be known of them.

Page 265. 201, 1. 8. Quadrupede. 'At this time doctors usually
rode on mules when they went to visit their patients ' (Bullen). Coum :
Hippocrates. I. g, Pergamenum: Galen.

Page 267. 211, 1. 3. Pembrochi viduam. Mary, daughter of Sir
Henry Sidney ; widow of Henry Herbert, second Earl of Pembroke ;
' Sidney's sister, Pembroke's mother.' 1. 4, natos, William Herbert,
third Earl of Pembroke, and Philip Herbert, created in 1605 Earl of

Notes. 373

Montgomery. 1. 5, A thalamis alter. The Earl of Montgomery, who
was Gentleman of the King's Bedchamber. 1. 6, Alter at in thalamis.
The Earl of Pembroke, who had married the daughter and heiress of
the Earl of Shrewsbury. 1. 7, Hertfordius, Edward Seymour, Lord
Hertford, b. iS47i d. 1621, eldest son (by the second marriage) of the
Protector Somerset. The 'coniux speciosa' was his third wife,
Frances, daughter of Thomas, Viscount Howard of Bindon' (Bullen).

Page 269, 222, 223. See Introduction, p. xlv.

224. There was a William Strachey known as a colonist and writer
on Virginia who was shipwrecked in the Sea Venture on the Bermudas
in the great storm of 1609, and who wrote an account of it to a lady of
rank in London which was published in Purchas his Pilgrimes. There
was a William Strachey who wrote commendatory verses prefixed to Ben
Jonson's Sejanus, and from the epigram it would seem likely that this
was Campion's friend. There was also a William Strachey of SaflTron
Walden, who was married in 1583 and alive in 1620.

Liber Secvndvs.

Page 270. i, 1. i, Non veterem. This book is an edition of the
1595 collection, revised and added to (see Appendix).

Page 272. 9. See Introduction, p. xxxii.

Page 273. 12. This epigram is a Latin version of the song 'My
Loue bound me with a kisse.' See p. 350, and Introduction, p. li.

Page 274. 18. Compare Fourthe Booke, XVII, 11. 3-6, and see note.

19. This Italian custom is alluded to in Jonson's Cynthia's Revels,
I. i. Aso: 'By heaven, sir, I do not offer it you after the Italian
manner ; I would you should conceive so of me.' The custom is fully
explained in a shoulder-note to the corresponding epigram in the 1 595
edition (see p. 341).

Page 275. 23. This epigram contains the only hint we have of the
poet's personal appearance.

Page 276. 32. 'After being bitten by the Tarantula, there was,
according to popular opinion, no way of saving life except by music. . . .
It was customary, therefore, so early as the commencement of the
seventeenth century, for whole bands of musicians to traverse Italy
during the summer months, and, what is quite unexampled either in
ancient or modem times, the cure of the Tarantati in the different
towns and villages was undertaken on a grand scale' (Hecker's
Epidemics of the Middles Ages : apud Bullen).

Page 277. 39, 1. i. Domini coena, i. e. the Lord's Supper.

40. See Introduction, p. xxvii. Glocestriensium. Percy was a
member of Gloucester Hall, Oxford, now Worcester College.

Page 278. 45, 1. 7. I have kept cubilulillum, as Campion insists
upon it in his Errata. Cubiculillum is a more likely form.

Page 279. 53. This epigram is a Latin version of XII, A Booke of
Ayres, Part I, q.v. (p. 12 j and note thereon.

Page 280. 54. This epigram is a Latin version of the epigram
' Loue whets the dullest wittes, his plagues be such', on p. 351.

Page 281. 60, 61. Compare A Book of Ayres, Part I, VIII, and see
note thereon.

Page 282. 69. See Introduction, p. xlviii.

70. See Introduction, p. xxxvii.

Page 284. 78. Francis Manby was the son and heir of Francis
Manby, of Elsham, co. Lincoln, gent. Francis Manby, senior,
whose will was proved in the Consistory Court of Lincoln in 1587, was

374 Notes.

(per MS. Rawl. B. ^^, fo. 138) eldest son of William Manby, who
married, in 1563, the daughter and heiress of Thomas Gibthorpe
and his wife, the widow of J. Dacomb of Elsham, Esq. Francis
Manby, senior, married Anne, daughter of Sir Francis Chough, and
had issue Francis, William, Robert, and Thomas. Francis Manby,
junior, matriculated at Magdalen College, Oxford, in 1581, and was
admitted to Gray's Inn on Jan. 31, 1583-4. From 1. 16 of this epigram
it would seem that he was drowned at sea, and on Nov. 10, 1596,
letters of administration of his personal estate issued from the
Prerogative Court of Canterbury to his next eldest brother, William.

In the epigram in the 1595 edition Ad Franciscum Manbaum
(p. 341), Campion bewails the fate which had severed his friend from him,
and execrates some person who had been the cause of the separation.
The reference to ignotas oras looks as though Manby had been
induced to join one of the numerous exploring or colonizing expeditions,
and, as we have already seen, he seems to have perished at sea. As
this epigram In obitum Francisci Manbcei occurs with a slightly
varied title in the 1595 edition, his death must have occurred before
that date, and no doubt it was necessary to defer the issue of the grant
of letters of administration for some time, in order to support the
presumption of his death.

80. See Introduction, p. xxxv.

Page 285. 85. There seems to be considerable resemblance
between this epigram and a short poem in A. Ferrabosco's Ayres ; —

Had those that dwell in error foule

And hold that women haue no soule

But seene those moue, they would haue then said

Women were the soules of men :

So they doe moue each heart and eye

With the worlds soule, their harmonic.

This song is obviously corrupt, and I should begin by emending
' then said ' in 1. 3 to ' said then ', and possibly ' those ' to ' thee ' in
the same line. It looks as though it were another instance of Campion's
habit of versifying the same idea in both English and Latin.

Page 286. 88. This epigram figures in the 1595 edition with the
title Ad Nashutn. The alteration is possibly due to the death of
Nashe in 1601. See p. xxvii.

Page 287. 93. This epigram is, of course, levelled at Nicholas Breton.
Breton is fond of introducing Cupid, but I cannot come across the
particular instance where he is represented ' carmine defunctum '.

94. This epigram is addressed in the 1595 edition Ad Ge, Chap-
mannuni (p. 345).

Page 290. 116. Pulchrior huic. Compare the last line of XVII,
Fourthe Booke, and see note thereon.

Page 291. 117. With this epigram compare VI, Third Booke, q.v.
(p. 163), and note thereon.

121. seuocasti. Edward Mychelburne, the poet, was a member of
St. Mary Hall, Oxford, whence he migrated to Gloucester Hall. He
continued to reside in Oxford, as it would appear, and died there in
1626. He was buried in the church of St. Thomas the Martyr.

Page 302. 205, 1. 3. domini natale. Christmas Day, the connexion
of which with feasting and good cheer was never closer than in the
seventeenth century, cometa. There were three comets in 1618, but
the great comet, to which reference is probably made, began to be
observed on Nov. 27 (N. S.). It created much concern, as the

Notes. 375

epigram suggests ; some thinking it to be a presage of the death of
the Queen, some a warning against the Spanish Match, while others
thought it to be connected with the fall of Barneveldt.

Page 303. 216. The reference would seem to be to Anthony
Munday, who wrote a little that was good among much that was very
indifferent.

Page 304. 227. Graij, i. e. the members of Gray's Inn, also called
Purfiulij, or natives of the ' State of Purpoole ', as the Inn was jocularly
intituled in the Gesta Graiorum, on account of a local place-name
Portpool. Porte Pool was the old name for Gray's Inn Lane ; and
the name still survives in Portpool Lane, running out of the east side
of Gray's Inn Road. Disiuncti socij : see Introduction, p. xxxi.

VMBRA.

Page 312, 1. 310. Geraldinam : Lady Elizabeth Fitzgerald, the
'Geraldine' of Surrey's sonnets. 1. 311, Aliciam : Alice, daughter of
Sir John Spencer, of Althorpe. She married (i) Ferdinando, fifth
Earl of Derby, (2) Thomas Egerton, Baron EUesmere, Lord Chan-
cellor. 1. 317, Penelope : Lady Penelope Rich, the ' Stella ' of Sidney's
sonnets. The next line refers to her marriage (if marriage it was)
with Charles Blount, eighth Lord Mountjoy, Lord-Lieutenant of
Ireland. 1. 322, Franciscce : Frances, daughter of Thomas Viscount
Howard of Bindon. ' Magni senis excipienda cubili ' refers to her
marriage with the old Lord Hertford. 1. 325, Catherina : Doubtless
Catherine Parr, whose third husband was Henry VIII. She had four
husbands (' coniugibus laetas minus '). Page 313, 1. 328 : Brigetta
may be Bridget Fitzgerald, daughter of the twelfth Earl of Kildare ;
she married (i) Earl of Tyrconnel, (2) Viscount Kingsland. 1. 329,
Lucia : ' The famous Lucy, Countess of Bedford ' (Bullen).

APPENDIX TO THE LATIN POEMS.
Elegiarvm Liber.

Page 329. Ad Daphnin. This poem appears to have been written
at the time of the Queen's reconciliation with Essex in April, 1592,
and his return home soon after from the French wars. Page 330,
I. 12, qua Tagus. This appears to be a reference to the ' Journey of
Portugal ' of 1589, undertaken against Spain and Portugal, chiefly the
latter, by Sir John Norris and Sir Francis Drake almost entirely at
their own expense. Essex's part in this expedition was likewise
carried out at his own expense, and without the Queen's knowledge or
consent. 1. 25, Menalcas : Lord Burleigh is probably indicated.

Page 336. Elegeia i, 1. 7. Etvatem celebrent. Campion seems to
take credit here for being the first English writer of Latin elegies. In
FitzGeof&ey's verses (see p. xxxvii) he gets credit for being the second
Latin epigrammatist in England.

Page 338, Elegeia 14. See Introduction, p. xlviii.

Page 340. Ad Librum. As will be seen on the title-page, the
printer of this book was Richard Field of Stratford-on-Avon, the
printer of Shakespeare's Lucrece and Venus and Adonis, and it is to
him that allusion is made in Feldisio. The epigram had to be adapted
in the 161 9 edition, which was printed by Griffin.

In Hornsium. Nicholas Hornsey of Bonby, co. Lines., was admitted
to Gray's Inn on Nov. 7, 1586, the year of Campion's admission.

37^

Notes.

Page 341. Ad Franciscum Manbceum. See note on Ep. 78, Book
II, I6i9ed. (p. 373).

Ad Gu. Peraum. See note on Ep. 40, Book II, 1619 ed.

De Th. Grimstono &• lo. Goringo. See Introduction, p. xxxiii.

Page 342. In Prettum. Can this be William Pretiman who was
admitted to Gray's Inn in 1583? See also two other epigrams with
the same title, pp. 346, 347.

Ad lacobum Thu. 'James Thurbarne, of New Romsey, Kent,
gent., late of Barnard's Inn' was admitted to Gray's Inn on Feb. 10,
1584-5. See also. Ad la. Thurbamtcm (p. 348).

Page 343. In gloriosum. There were several Shakerleys at
Gray's Inn. Thomas Shakerley of Ditton, Surrey, gent., late of
Staple Inn, was admitted in 1585. 'Syr Peter Shackerley,' who was
admitted in 1576^ took apart in the ' Comedy ' performed at the Inn on
Jan. 16, 1587-8. It is not clear which of these is to be identified as
the ' gloriosus ' of the epigram, but this latter is obviously the person
referred to in the following passage in Nashe's Epistle Dedicatorie to
Strange Newes : ' Nor do I meane to present him and Shakerley to
the Queen'3 foole taker for coatch horses, for two that drew more
equallie in one Oratoricall yoke of vaine glorie there is not under
heaven.'

Page 344. Ad Tho. Smithum. Thomas Smith of London was
admitted to Gray's Inn on May 13, 1586.

Francisci Manbai epicedium. See note on Ep. 78, Book II, 1619
ed. (p. 373)-

Ad Castellum et Bracetum. Robert Castell, of East Hatley, co.
Cambridge, was admitted to Gray's Inn on Nov. 8, 1588. Edmund
Bressy or Bracy (to whom allusion is probably made), of Brainford,
Middlesex, was admitted on May 17, 1588. See also, Ad Ed.
Bracetum (p. 345).

Page 345. JDe Se. See Introduction, p. xxxii.

Ad Nashum. I cannot identify the persons alluded to here. Mr.
BuUen suggests that the epigram refers to the imitations of classical
metres perpetrated by Gabriel Harvey and others.

In Bretonem. See note on Ep. 93, Book II, 1619 ed. (p. 374).

Ad Ge. Chapmannum. See note on Ep. 94, Book II, 1619 ed.
(P- 374).

Ad lo. Dauisium. Sir John Davies, the author of Orchestra.

Ad Ed. Braceiutn. See Ad Castellum et Bracetum., supra.

Page 346. Adio. Dolandum. The famous musician John Dowland,
to whose First Booke Campion contributed an epigram (p. 351).

Page 348. Ad laruisium et Stanfordum, These intimate friends of
the poet are alluded to in Elegeia 14, Ad amicos cum, agrotaret,
George Gervis of Peatling, co. Leicester, gent., late of Barnard's Inn,
was admitted to Gray's Inn on Nov. 24, 1585. John Stanford, of
Leicester, gent., was admitted on Nov. 21, 1586, some months after
Campion. Stanford took part in the ' Coffiedy ' played at the Inn on
Jan. 16, 1587-8.

OCCASIONAL VERSES.

Page 349. What faire pompe, &c. For this set of five poems see
Introduction, p. li.

Page 350. Canto tertio. The three final stanzas are supplied from
Robert Jones's Second Booke of Songs and Ayres (1601), the first only
appearing in the set. The first stanza was probably the original extent

Notes. 3 77

of the poem, for it alone was turned by Campion into the Latin
epigram In Melleam which appears in both collections (Ep. 12,
Book II of the 1619 edition). Seales of lone. The same phrase occurs
in the song 'Take, oh take those lips away' from Shakespeare's
Measure for Measure, iv. i (acted in 1604). When Campion wrote
the additional verses, and whether either he or Shakespeare originated
the phrase, cannot be decided. Add. MS. 29409 (fo. 265) contains a
version of this song in Scots dialect, with unimportant scribal differ-
ences.

Canto quarto. Campion made a very close translation of these lines
in his Latin epigram Ad Amorem, which appears in both collections
(Ep. 54, Book II of the 1619 edition).

Canto quinto. A copy of this poem occurs in Harl. MS. 6910, which
contains copies or versions of several of Campion's pieces. This
version (fo. 1 56), with the exception of the omission of II. 3 and 4 owing
presumably to a mere scribal error, is identical with that of the text.
Stanza 2 is an example of the ' heel treading kind of verse ', as Putten-
ham calls it, in which every line begins with the last words of the
preceding.

Page 361. Famam,posteritas. Campion addressed another Latin
epigram to Dowland in the 1595 Poemata (p. 346).

Page 352. Of Neptunes Empyre. This song was written for the
masque Gesta Graiorum, performed by the members of Gray's Inn in
IJ94. Nichols (Progresses of Queen Elizabeth) gives a version which
differs from Davison's in several details, reading : 1. 3, ' To whom
rivers ' ; 1. 6, 'their crystal ' ; 1. 8, ' sea-god praise again ' ; 1. 13, ' The
waiters with their trumpets ' ; L 18, ' echoing voice ' ; 1. 19, ' mourning
noise ' ; 1. 20, ' In praise '. Some of these variations are merely absurd
corruptions, but ' trumpets' in 1. 13 seems to me quite as plausible as
Davison's text, the Triton's ' wreathM horn ' being his regular attribute.

Though neither thou. These verses are not found in all copies
of Barnes's book. Campion was presumably not on the best of terms
with Barnes when his Poemata appeared in 1595 containing the
epigram In Bamum. These prefatory lines may be regarded as
evidence of a reconciliation, but if there was one it was not permanent,
for Campion retained In Barnum in his 1619 collection of Latin poems
and added another of the same title and equally derisive. Any
reconciliation was presumably later than Campion's Obseruations
(1602), which contains other scurrilous epigrams apparently directed
at Barnes (pp. 46, 49).

Page 353, Whai if a day. This song seems to have had a most
extraordinary vogue. It is quoted and referred to in the following
MSS. and printed books of the sixteenth and seventeenth centuries.

Add. MS. 33933, fo. 81 b (Brit. Mus.), notes in flyleaves of a MS.
Scottish Metrical Psalter : date, early seventeenth century.

Lans. MS. 241, fo. 49 (Brit. Mus.), Diary offohn Sanderson : date
of entry about 1592.

Philotus, pub. Edinburgh, 1603.

An Howres Recreation in Musick, Richard Alison, 1606.

MS. K. K. 5. 30, fo. 82 b (Univ. Libr., Camb.), a Scottish version
copied by Sir fames Murray of Tibbermuir : date about 1612.

Add. MS. 24665, fo. 25 b (Brit. Mus.), Giles Earle his booke, 1615.

Logonomia Anglica. Alexander Gil, 1619.

Golden Garland of Princely pleasures and delicate Delights.
Richard Johnson, 1620.

378

Notes.

Add. MS. 6704, fo. 163 (Brit. y[.w%.), Richard Wiglefs Commonplace
Book (i 591-1643).

Cantits, Songs and Fancies. John Forbes, Aberdene, 1666.

Pepysian Library (Magdalene Coll., Camb.), vol. i, p. 52.

Psalmes or Songs of Sion (p. 36), by W. S. London, 1642.

Skene MS. (Advocates' Library), 1615-35.

Friesche Lust-hof, pp. 65, 77, and 141. J. Starter, 1634.

Stichtelyche Rymen. D. R. Camphuyzen, Rotterdam, 1639.

Lute MSS. Dd. iv, 23 (Camb. Univ. Libr.).

Citharen Lessons. Robinson, 1609.

Hudibras, I, 3, 9. S. Butler.

Nederlandtsehe Gedenck-clanck. Valerius, 1626.

MS. Rawl. poet, 112, fo. 9 (Bodleian).

The version given in the text is that of Alison's An Howres Recrea-
tion, where the poem is signed ' Thomas Campion M.D.' This is the
best, and in all probability the original, form, but the popularity of the
song led to the composition of a vast number of additional stanzas in
which Campion need not be supposed to have had a hand. Some of
the versions referred to above contain three stanzas, some five, while
some contain a second part with a further five stanzas. The abundance
ot the material makes it impossible to discuss the matter in detail in
the limited space available, but those who are desirous of knowing
more about the matter I would refer to Mr. A. E. H. Swaen's exhaustive
monograph on the subject in Modern Philology, vol. iv, No. 3 (Jan.,
1907), and vol. v. No. 3 (Jan., 1908). In his final conclusion, however,
that this poem in its original form could not have been Campion's,
Mr. Swaen is in error. He bases this conclusion upon the assumption
that the date of Add. MS. 33933 cannot be later than 1 578, but he is
misinformed as to this. Whatever the date of the MS. Scottish
Metrical Psalter, the jottings in the subsequent leaves (which are, by
the way, in a different hand) contain, beside ' What if a day ', other
airs inscribed with the first lines of several poems which are un-
doubtedly Campion's, viz. ' Vain men, whose follies ', ' Good men,
shew ', ' Though your strangeness ', all.three from Two Bookes of Ayres.
This MS. cannot therefore be relied upon to contradict the attribution
to Campion, which is directly supported by the subscription to the
poem in Alison's song-book, and the categorical statement of Alexander
Gil.

The allusion in Hudibras runs as follows : —

For though dame Fortune seem to smile

And leer upon him for a while.

She'll after show him, in the nick

Of all his glories, a dog-trick.

This any man may sing or say

r th' ditty called, ' What if a day '.

The song, therefore, was still popular as late as 1663.

Page 353. Musicks maisier. 'Alfonso Ferrabosco, senior
(1544 ?-i587 ?), was pensioned by Queen Elizabeth some time before
1567: he appears to have lived at Greenwich. Peacham, in his
" Compleat Gentleman" (1661), saysof him,"Alphonso Ferrabosco, the
father, while he lived, for judgment and depth of skill (as also his son
yet living) was inferior to none ; what he did was most elaborate and
profound and pleasing enough in Air, though Master Thomas Morley
censureth him otherwise." ' He appears to have been a musician of the
old school which by Campion's time had become obsolete. But

Notes. 379

Peacham is wrong: his son was not living in 1661. The fact is that
there were three Alfonso Ferraboscos, as Mr. Fuller Maitland points
out in the Dictionary of National Biography. There was the one
mentioned above ; his son, of the new school of monodists and
composer of the Airs (1609), for which Campion wrote this poem, who
succeeded Coprario as composer in ordinary, and died in 1628 ; and
his grandson, son of the last named. This last was possibly the
Master Alfonso Ferrabosco who sang in the ' Hymenaei ' on Twelfth
Night, 1606 : he ' was sworn as musician to his Majesty for the viols
and wind instruments in the place of his father deceased ' in March,
1627-8, and died in 1661 ' (Muses' Library Edition).

Page 354. Markes that did limit. One of the only four sonnets by
Campion extant. 'Thos. Ravenscroft was born about 1592. He was
a chorister of St. Paul's Cathedral, and obtained the degree of Mus.
Bac. at Cambridge in 1607. He published Pammelia in 1609, in his
infancy, as he tells us, the Brief Discourse in 1614, and his most
famous work, the Whole Book of Psalms, &c., later. He is said to
have died in 1635 ' (Muses' Library Edition).

BIBLIOGRAPHY.

Syr P. S. / His Astrophel and Stella. / wherein the excellence of
3weete / Poesie is concluded / To the end of which are added, sundry/
other rare Sonnets of diuers Noble / men and Gentlemen. / At
London, / Printed for Thomas Newman. / Anno Domini 1591.

Thomae Campiani / Poemata / Ad Thamesin / Fragmentum Vm-
brae / Liber Elegiarum / Liber Epigrammatum / Londini / Ex officina
Typographica / Richardi Field / 1595. [Text from Bodleian copy.]

The / First Booke / of Songes or Ayres / of foure partes with Ta /
bleture for the Lute : / So made that all the partes / together, or either
of them seue / rally may be sung to the Lute, / Orpherian or Viol de
gambo / Composed by lohn Dowland Lute / nist and Bacheler of
musicke in both the Vniversities / Also an inuention by the sayd /
Author for two to play vp / on one Lute.

A / Booke of / Ayres, / Set forth to be song / to the Lute, Orpherian,
and / Base Violl, by Philip Kosseter / Lutenist : And are to be solde
at his house in Fleetstreete / neere to the Gray-/hound / At Lonond /
Printed by Peter Short, by the assent / of Thomas Morley/1601.
[Text from Brit. Mus. copy: K 2 i 3.]

Obseruations / in the Art of English / Poesie. / By Thomas Campion./
Wherein it is demonstra / tiuely prooued, and by example / con-
firmed, that the English toong will receiue eight seuerall kinds of
num / bers, proper to it selfe, which are all / in this booke set forth,
and were / neuer before this time by any / man attempted. / Printed
at London by Richard Field / for Andrew Wise. 1603. [Text from
Brit. Mus. copy: 1076b. 18.]

A Defence of Ryme, Against a Pamphlet entituled Obseruations in
the Art of English Poesie, wherein is demonstratiuely proued, that
Ryme is the fittest harmonic of words that comportes with our
Language. By Sa. D. At London : Printed by V. S. for Edward
Blount.

A / Poetical Rapsody / Containing, / Diuerse Sonnets, Odes,
Elegies, Madrigalls, / and other Poesies, both in Rime, and /
Measured Verse. / Neuer yet published. / The Bee and Spider by
a diuerse power, / Sucke Hony & Poyson from the selfe same flower./
Printed at London by V. S. for lohn Baily, and / are to be solde at
his Shoppe in Chancerie lane, / neere to the Ofifice of the six Clarkes./
1602.

An Howres Recrea/tion in Musicke apt for Instru/mentes and
Voyces. / Framed for the delight of Gentlemen / and others which are
wel affected to that qualitie, / All for the most part with two trebles,
necessarie for / such as teach in priuate families, with a pray/er for
the long preseruatio'n of the King / and his posteritie, and a thanks-
giuing for / the deliuerance of the whole estate / from the late con-
spiracie. / By Richard Alison / Gentleman and practitioner / in this
Arte. / London / Printed by lohn Windet the Assigne of William
Barley, / and are to be sold at the Golden Anchor in / Pater Noster
Row. 1606.

Bibliography. 381

Foure Bookes / of Offices : Enabling Privat / persons for the speciall
seruice of / all good Princes and Policies / Made and deuised by
Bamabe Barnes / London / Printed at the charges of George Bishop, /
T. Adams, and C. Burbie / 1606.

The / Discription of / a / Maske, Presented before the Kinges
Maiestie / at White-Hall, on Twelfth Night / last, in honour of the
Lord Hayes, and / his Bride, Daughter and Heire to the / Honourable
the Lord Dennye, their / Marriage hauing been the same Day / at
Court solemnized. To this by occasion other small Poemes / are
adioyned. / Inuented and set forth by Thomas / Campion Doctor of
Phisicke. / London / Imprinted by lohn Windet for John Brown / and
are to bfe solde at his shop in S. Dunstones / Churchyeard in Fleet-
street. 1607. [Text from Brit. Mus. copy: C, 21, c. 43.]

Ayres / By / Alfonso Ferrabosco. / London : / Printed by T. Snodham,
for John Browne, / and are to be sould at his shoppe in S. / Dunstones
Churchyard / in Fleetstreet / 1609.

Coryats / Crudities / Hastily gobled vp in five / Moneths trauellsin
France / Sauoy, Italy, Rhetia comonly / called the Grisons country,
Heluetia alias Switzerland, some / parts of high Germany, and the/
Netherlands ; / Newly digested in the hungfry aire / of Odcombe in
the County of Somerset, and now dispersed to the nourishment of the
trauelling Mem/bers of this kingdome.

A / Relation / Of The Late Roy-/all Entertainment / given By The
Right Hono/raljle The Lord Knowles, At / Cawsome House neere
Redding : to our most Gracious Queene, Queene Anne, in her /
Progresse toward the Bathe, vpon / the seuen and eight and twentie /
dayes of Aprill / 1613. / Whereunto is annexed the Description,
Speeches and Songs of the Lords Maske, presented in the / Banquet-
ing-house on the Mariage night of the High / and Migntie, Count
PJJatine, and the / Royally descended the Ladie / Elizabeth, / Written
by Thomas Campion. / London / Printed for lohn Bridge, and are to
be sold at his Shop / at the South-dore of S. Pauls, and at Bri/taines
Bursse. 1613. [Text from Brit. Mus. copy : C. 21, c. 48.]

Songs of Mourning: / Bewailing / the vntimely death of/ Prince
Henry. / Worded by Tho. Campion. / And set forth to bee sung with
one voyce / to the Lute, or Violl : / by John Coprario. / London : /
Printed for John Browne, and / are to be sould in S. dunstons /
Churchyard. 1613. [Text from Brit, Mus. copy : K 2, g. 8.]

Two Bookes / Of / Ayres. / The First / Contayning Diuine and
Morall Songs : / The Second, / Light Conceits of Louers. / To be
sung to the Lute and Viols, in two, /three and foure Parts : or by one
Voyce / to an instrument. / Composed / by / Thomas Campian /
London : Printed by Tho. Snodham, for / Mathew Lownes, and
I. Browne / Cum Priuilegio. [Text from Brit. Mus. copy : K. 2, 1, i.]

The / Description / of a Maske. / Presented in the / Banqueting
roome at Whitehall, on / Saint Stephens night last. At the Manage
of /the Right Honourable the Earle of / Somerset: And the right
noble /the lady Frances / Howard / written by Thomas Campion, /
Whereunto are annexed diuers choyse Ayres composed / for this Maske
that may be sung with a single voyce / to the Lute or Base-ViaU /
London. / Printed by E. A. for Laurence Li'sle, dwelling in Paules /
Church-yard, at the signe of the Tygers head. / 1614. [Text from
Brit, Mus. copy : C. 34, c, 7,] ^

A Briefe / Discourse / of the true (but neglected) vse of cha/ract r-

CAMPION B D

1

8 2 Bibliography.

ing the Degrees by their Per/fection, Imperfection and Diminution/
in Measurable Musicke, against the Common / Practice and Custome
of these / Times. Examples whereof are exprest in the / Harmony of
4 Voyces Concerning the / Pleasure of 5 vsuall / Recreations. / I.
Hunting / 2. Hawking, / 3. Dauncing, / 4. Drinking, / 5. Enamour-
ing. / By Thomas Rauenscroft, Bachelor / of Musicke. / London /
Printed by Edw. AUde for Tho. Adams / 1614. / Cum priuilegio
Regali.

The / Third / and / Fourth Booke / of / Ayres : / Composed / by /
Thomas Campian / So as they may be expressed by one Voyce, /
with a VioU, Lute, or Orpharion. / London : / Printed by Thomas
Snodham. / Cum Priuilegio. [Text from Brit. Mus. copy : K. 2. i. 2.]

The / Ayres / That were / sung and played, / at Brougham Castle
in Westmerland / in the Kings Entertainment : / Giuen by the Right
Honourable the Earle of Cum/berland, and his Right Noble Sonne
the / Lord Clifford / Composed / by / Mr George Mason, and /
Mr. John Earsden / London / Printed by Thomas Snodham / Cum
Priuilegio 1618. [Text from Brit. Mus. copy: K. 8, h. 7.]

A New Way / of Making Fowre / parts in Counter-point, by a /
most familiar, and infallible / Rule. /Secondly, a necessary discourse
of Keyes, / and their proper Closes / Thirdly, the allowed passages of
all Concords / perfect, or imperfect, are declared / Also by way of
Preface, the nature of the Scale is / expressed, with a briefe Method
teaching to sing / By Tho: Campion / London / Printed by T. S. for
lohn Browne, and are to be / sold at his shop in Saint Dunstanes
Church-yard, / in Fleetstreet. [Text from Brit. Mus. copy : 1042 d. 36.]

The Art of / Setting or Composing / of / Musick in Parts. / By
a most familiar and easie Rule : / In Three several Treatises. / L
Of making four parts in Counterpoint. / II. A necessary Discourse of
the several Keyes, / and their proper Closes. / III. The allowed
passages of all Concords perfect / and Imperfect. / By Dr Tho.
Campion. / The second Edition with Annotations thereon, by / Mr
Christopher Simpson. / London, Printed for J. Playford and are sold
at his/ Shop in the Inner Temple. 1660.

A Brief / Introduction / To the Skill of / Musick. / In two Books. /
The first contains the Grounds and Rules of Musick / The second.
Instructions for the Viol, / and also for the Treble-Violin. / The Third
Edition Enlarged. / To which is added a Third Book entituled,
The Art of Descant, / or Composing Musick in Parts By Dr
Tho. Campion. / With Annotations thereon by Mr Chr. Simpson /
London, Printed by W. Godbid for John Playford, / at his Shop in the
Inner Temple 1660.

A Brief/ Introduction / To the Skill of / Musick. / In two Books. /
The First contains the Grounds and / Rules of Musick / The Second,
Instructions for the Viol / and also for the Treble- Violin / By John
Playford, Philo-Musicae / To which is added a Third Book, entituled,
The Art of Setting, / or Composing Musick in Parts, By Dr Tho.
Campion. / With Annotations thereon by Mr Chr. Simpson / London,
Printed for J. Playford and are sold at his / Shop in the Temple in
Fleetstreet. 1662.

A Brief / Introduction / To the Skill of / Musick. / In two Books /
The First containes the General / Grounds and Rules of Musick. /

Bibliography. 383

The Second, Instructions for the Viol / and also for the Treble-Violin. /
To which is added The Art of Descant, or Composing / Musick in
Parts, By Dr Thomas Campion. / With Annotations thereon by Mr
Chr. Simpson. / The Fourth Edition much Enlarged. / London, Printed
by William Godbid for John Playford, and are / to be sold by Zach.
Watkins, at their Shop in the Temple / near the Church-Dore. 1664.

Tho. Campiani / Epigrammatum / Libri II / Vmbra / Elegiarum
liber vnus / Londini / Excudebat E Griffin / Anno Domini 1619.

Excerpta Tudoriana, ed. Sir Egerton Brydges. 18 14.

Ancient Critical Essays upon English Poets and Poesy, ed. J.
Haslewood. 2 Vols. London; 1815.

The works of Dr Thomas Campion, ed. A. H. Bullen. Chiswick
Press : privately printed ; 1889.

Fifty Songs By Thomas Campion. Chosen by John Gray. Ballan-
tyne Press. 1896.

Lyric Poems of Thomas Campion, ed. Ernest Rhys : in Dent's
Lyric Poets. 1896.

Thomas Campion, Songs and Masques with Observations in the
Art of English Poesy, ed. and pub. A. H. Bullen. 1903.

Songs by Dr Thomas Campion. Astolat Press. 1904.

Elizabethan Critical Essays, ed. G. Gregory Smith. 2 Vols.
Clarendon Press. 1904.

Poetical Works (in English) of Thomas Campion, ed. P. Vivian, in
Routledges' Muses' Library. 1907,

LIST OF PRINCIPAL MSS. CONSULTED.

Add. MS. 6704. RichardWigley'sCommonplaceBook (1591-1643).

,, 10309. Commonplace Book of Margrett Bellasys (Seven-
teenth Century).

„ 10337. Elizabeth Rogers's Virginal Book.

» 14934- The miscellaneous collections or Rhapsodia of
Lewis Morris.

„ 15 1 17. A volume containing chiefly the treble-voice part of
various English madrigals, psalms, &c., with
Tablature for the Lute : date about 1630.

„ 15476. ' Nic. Oldisworth's book touching Sir Thomas
Overbury.'

„ 17786. Vocal and instrumental music by English com-
posers. Seventeenth Century.

„ 22603. Miscellaneous poems. Seventeenth Century.

„ 24665. ' Giles Earle his booke ' (1615-1626).

,, 25707-

„ 27879. Bishop Percy's famous 'folio' MS.

„ 28253. Miscellaneous pieces of verse transcribed by
members of the Caryll family and others:
Sixteenth and Seventeenth Centuries.

„ 29291. Madrigals, catches, and canons by various com-
posers. Seventeenth Century.

„ 29386. Glees, catches, and airs by various composers.
Eighteenth Century.

B b 2

384 Bibliography,

Add. MS. 29409. A Collection of ancient Scottish and English
ballads compiled by Peter Buchan (Nineteenth
Century), fos. 256-277, copied from an unprinted
MS. written by Lady Robertson of Lude in
1630.
„ 3O023. 'James Moulton his Boock. Amen. November 21.

1707. 16 years.'
» 33933- Scottish Metrical Psalter, with some additional

(secular) words and airs.
„ 34608. Musical Commonplace Book of John Stafford
Smith. (1785-9).
Harl. MS. 1072. Collections of coats of arms worn by persons of
the same name.
„ 3991. A collection of songs and poems. Seventeenth

Century.
„ 4064. A collection of poems and other miscellaneous

matter.
,, 4286. Abbreviationes Placitorum in Banco Regis with
various poems transcribed on the end leaves.
Seventeenth Century.
„ 6910. A verse miscellany.

„ 6917. ,, „ early Seventeenth Century.

Egerton MS. 2013. Miscellaneous words set by various composers,
Lawes, Hilton, Laneir, &c., the greater part
prior to 1644.
„ 2230. ' E libris Richardo Glouero, pharmacopol. Lon-

dinensi pertinensibus.' (1638.)
» 2599- Book containing accounts and copies of the

title-deeds of Augustine Steward.
Lansdowne MS. 55. ' The names of y^ GentillmS of Grays In y*
playd ther a Comedy.'
„ 341. Diary of John Sanderson : entry on fo. 49,

about 1592.
Stowe MS. 171. Miscellaneous collections, mainly eighteenth-cen-
tury transcripts.
„ 795. Edmondes Papers, Vol VI. Miscellaneous letters.

Sloane MS. 1002. Account of the proceedings in the Countess of
Essex's nullity suit, and the Overbury murder
trials.
MS. Titus B. V.
MS. 17 B.L.

(All the foregoing MSS. are in the Brit. Mus.)

Rawlinson MS. Poet. 31. (Bodleian).

112.
Lute'ksS. Dd!'lV. (Cambridge' Public Library.)
Skene MS. (Advocates' Library.)

Proceedings in Court of Requests. XXXVII. 71 ; LXIII. 67.

„ Chancery: Series II. Bundle XXXVI. 46; XLIV.36.

„ Star Chamber, C. XXX. 35 ; C. XXXIX. 40.

State Papers : Dom. Eliz. CCXLI.

„ For. France. XXV, XXVI, and XXVII.

„ Dom. James I. LXXXII.

(These Proceedings and State Papers are in the
Public Record Office.)

INDEX OF FIRST LINES.

This index comprises all the lyrics and epigrams, Latin as well as English. It
has been found necessary, however, to draw a somewhat arbitrary line in the case
of the masqnes against miscellaneous portions of verse, dialogue, or speeches, and
to include only such pieces as are specifically songs.

PAGE

A dale, a night, an houre of sweete

content 351

A secret lone or two I must confess . 144
A wise man wary lines, yet most

secure 48

Abscidit os Veneris famulje

matrona, marito . . . 289
Abstrahis a domini coena te, Nerna,

sacrati 277

Acceptum pro me perhibes te, Ca-

strice, ludis . . . .243
ActumscansasamisitCacculavocem 258
Ad coenam immnnis . propter ioca

salsa vocatur . . . .237
Ad latus, Herme, tuum spectans,

siqnando machseram . . • 297
Ad Venetos venit corio Coryatus ab

vno 354

Ad vitam quid,, Cosme, facit tua

mortis imago ! . . . . 295
Ad viuura nunquam dicis te, Gella,

fntutam 347

Admissnm tarde, cito, Caspia, Isesa

repellis 292

Adrianecflnctas,Lybicumnec littus

arenas 346

Aduance your Chorall motions now 93
Aduersus fortem poterit vis nulla

valere 275

JEdes Lalo amplse sat sunt, sed

aranea telis . . . -244
JEgei eram, non vua meos lenire

dolores 33**

iEgramprodncit Venerem mundana

Senectus 291

.i^ris imperat vsque possitallam . 296
Alas amisit Glaucus, draco nam fnit

olim 255

Alcinoo mortem toties minitatus

(Herenni) . . . , ■ .262
All in sattin Oteny will be suted . 45
All lookes be pale, harts cold as

stone 128

All wonders Barnzy speakes, all

grosely faind . . . -49
Amplis grandisonisque, Lecester-

landie, verbis . . . .265

PAGE

An te quod pneri in via salutent . 341
An tua plus sitiat lingua, an plus,

Galla, loquatur .... 256
And would you faine the reason

know 24

And would you see my M istris face ? 21
Anglia quotquot habet iums raea

Mellea soli .... 347
Anglise, et vnanimis Scoti^e pater,

anne maritus . . . .60
Anglornm lurisconsulti quatuor vno 243
Anna, tuum nomen si deriuetur ab

anno 242

Anxia dum naturanimis tibi, Mellea,

formam ..... 274
Ardet Brussilij uxor histrionem . 254
Are you, what your faire lookes

expresse? 182

Arguo cur veram ficto sub nomine

cnlpam 296

Argus habet natos sex, nuUam,

Fontice, natam .... 242
Arthure brooks only those that

brooke not him . . . .48
Artifices inter Sector Zonarius

omnes 239

As by the streames of Babilon . 123
As on a day Sabina fell asleepe . 356
Asperas tristis minitetur iras . 276

Assidue ridet Lycius Clytha vt sua

dormit 281

Assurgunt quoties lachrimse tibi, si

placet humor . . . .299
Astrictus nunc est Vincentius sere

alieno 296

At all thou frankly ihrowst while

Frank thy wife . . . .49
Atroniam vt pulchram laudas, vt

denique bellam .... 267
Audijtvt cuculoscomedi Bostillus in

aula 250

Augejestabulum, Hseme,noninique 301
Auru m nauta suis H ispanus vectat ab

Indis 238

Author of light, reuiue my dying

spright 117

Awake, awake, thouheauy spright 125

386

Index of First Lines.

PAGE

Awake thou spring of speaking
grace ! mute rest becomes not thee ! 166

Aye me ! that loue should natures
workes accuse . . . .26

Barnzy stiffly vows that hees no

Cuckold 46

Bassano multum debet Coruinns;

honorem 241

Be thou then my beauty named . 169
Beauty is but a painted hell . .182
Beauty, since yon so much desire . 1S6
Bellam dicebas Bellonam, Papile,

sensi 299

Bis sex Londinum vita concedit in

vna 279

Blame not my cheeks, though pale

with loue they be . . .13
Brauely deckt, come forth, bright

day ....;. 119
Breake now, my heart, and dye ! Oh

no, she may relent . . -165
Breath you now, while lo Hymen . 97
Bring away this Sacred Tree . 152
Buffe loues fat vians, fat ale, fat all

things 46

Caccula causidicus quid ni ditissi-

mus esset \ , . . . 239
Caccula cam tu sis vetus accusator,

adangens 254

Calcat sublimis vulgaria verba

poesis 260

Can you, the Author of our ioy . 87
Cantabat Veneres meras Catullus . 275
Cantat nocte Mycillus ad fenestras 301
Cantor saltatorqne priori de ordine

certant 239

Captat amatores quoties se dicit

amare 266

Carmen, equestris homo, cur fingis,

Daune ? poeta .... 298
Carmina multa satis pellucida,

leuia, tersa .... 302
Carmine defunctum, Breto, caute

inducis Amorem . . . 287
Carole, si quid habes longo quod

tempore coctum . . . 282
Caspia, laudatur feritas in te, tua

quicquid 290

Caspia, tot poenas meruit patientia

nostra? 318

Castse qui seniit si sit miser, Herme,

quid ille 300

Causidicos ditat, res perdit et vna

clientes 256

Causidicos in lite paras tibi, Gaure,

peritos 241

Causidicus bene dotatam cum

duxerat Hsedus .... 258

PAGE

Causidicus qui rure habitat, vicina

per arua 245

Causidicus tota cum sis notissimns

vrbe 267

Cautus homo est, et Acerrus habet

quot lumina quondam . . 240
Cease, cease you Reuels, rest a

space 97

Cease, fond wretch, to loue, so oft

deluded 45

Cemit Aper vigilans annos post

mille sepultos .... 289
Cernitur in niuea cito, si fit, sindone

labes 256

Charior, Lucille, anima vel ilia . 295
Coctos Nerua cibos crate aut sarta-

gine torret .... 247
Cogimnr ; inuitis (Clarissime) parce

querelis 103

Cogis vt insipidus sapiat, damnose

Cupido 280

Cogito ssepe, Carine, sed infoeliciter,

vnde 274

Colligit, et scriptos Cains in se

ridet iambos .... 240
Come a shore, come, merrie mates 155
Come away, armed with loues

delights 142

Come away, bring thy golden theft 92
Come chearfuU day, part of my life,

to mee 125

Come follow me, my wand'ring

mates 231

Come let vs sound with melody

the praises . . . • '7
Come, O come, my lifes delight .171
Come triumphing, come with state 98
Come, you pretty false-ey'd wanton 143
Commendo tibi, Nasse, paeda-

gogum 286

Condidit immenso puerilia membra

sepulchro 246

Coniugio est iunctos qui separat

execrandus .... 248
Constant to none, but euer false to

mee 47

Constat nulla dies, anno super-

imminet annus .... 344
Consuluit medicnm de cordis Tucca

tremore 243

Contrectare tuos nequeam, Kuscine,

pnellos 292

Conuiuas alios quseras tibi, Pontice ;

coeno 244

Corpora mille vtinam, Lalage, mea

forma subiret .... 297
Coruinus quoties snis iocatur . 282
Cosme, licet media tua pangas
carmina nocte . . . . 298

Index of First Lines.

387

PAGE

Cotta per sestates vt in hoitis

dormiat vrgent . . . -275
Could my heart more tongues

imploy 171

Could my poore hart whole worlds

of toungs employ . . . 367
Crassis innideo tennis nimis ipse,

videtur 275

Crassns ab vrbe profectnrns, qnara

firmiter hserens .... 260
Credita quas tibi sunt mutato

nomine prodis .... 292
Crispe mones vt amem, sed caute,

ne mihi probro . . . .283
Crispo snasit Aper febricitanti . 295
Crispns amat socios, vt auara

Lycoris amantes . . . .271
Cultelle, Veneri te qnis iratus faber 273
Cum cerebro inducat fumo hansta

Tabacca stuporem . ■ . 244
Cum loqneris resoni prodit se

putrida nasi .... 252
Cum, Lyce, vonisti serum tibi funus,

opinor 274

Cum mihi tarn cordi est age perdito

arundine pisces .... 344
Cum scribat nunquam Coruinus non

satnr, Anie .... 245
Cum sibi multa dari cnpiat, multis-

que placere . . . .280
Cum speciosa mihi mellitaque

verba dedisti . . .315

Cum stygio terrere vmbras vultu,

Errice, possis .... 288
Cum tacite numeras annos patris

improbus hseres . . . 285

Cum tibi barba foret quam Zeno,

quamqoe Cleanthes . . . 283
Cum tibi tot rugis velerascat

nasus, vt illi .... 294
Cum tibi vilescat doctus lepidusque

Catullus . . . . . 304
Cum vix grammatice sapiat tria

verba ligare .... 302
Cur istoc duro lachrimse de mar-
more manent . . . .280
Cur non salutem te rogas equo

vectnm? 303

Cur proba, cur cunctis perhibetur

casta Nerine? . . . .297
Cnr tibi displiceat tua, lane, quod

vxorametnr? . . . .276
Curta tuum cur hsec metnunt

epigrammata nomen ? . . 243
Curuam habeat tua ceraicem,

Faustine, pnella . . -25 7

Da mihi, da semper, nam quod,
Faustine, dedisti . .265

PAGE

Dsemonis effigie compressit Cinna

puellam 251

Damnatis quoties Vacerra turpe . 253
Dance, dance, and visit now the

shadowes of our ioy . . -99
Dance now and sing ; the ioy and

lone we owe . . .81

Das mi animam et Leio non te

bene diuidis, Anna . . . 348
De gallinarum genere est tua fertilis

vxor 297

De socijs loquitur prceclare Crassns,

et illis 291

Deare, if I with guile would guild

a true intent . . . .181
Debet multa tibi veneranda

(Bacone) poesis . . . 263

Debilis eunuchus sit, sit castratus

oportet 244

Dedecori cnr sit mnltum quod debet

Ouellns? 281

Demonstres rogo mi tuos amores . 280
Desine, iam satis est nimium

lasciue libelle .... 348
Desine, nam scelns est, neu perdere,

Nseuola, tentes . . . -274
Desinit auditis campanis meiere

Porcus 2.<;5

Desinite, o pueri, ientacula vestra

timere 278

Dextre rem peragens, vel im-

perite 303

Die sapere, et sapiet; stupidum

die, Cinna stnpescet . . . 255
Dicere te inuitnm cniquam male,

Caccula, iuras .... 266
Dido was the Carthage Queen . 231
Difficile est reperire (idem, si quaeris

in aula 257

Difficilis non est, nee amantem

respnit vnum .... 266
Dij nemorum et vati Thamesinae

adsistite nymphse , . -329
Dilutum index vinum bibat, vt

sonet ore 298

Discursus cur te bibulum iam

mnsaque fallit ? . . . . 238
Dissecto Neruae capite, hand

(chirurge) cerebrum . . . 245
Disticha cum vendas nnmerasti,

Cambre, bis vnum . . . 304
Diuinas bona, Calue, tibi, sed sola

futura 251

Diuitias vocat Hanno suas sua

carmina, tales .... 290
Docta minus, moechis vt erat

contenta duobus . . • 240
Drue feasts no Puritans ; the

churles, he saith . . • ^^

388

Index of First Lines.

PAGE

Drue gives thee money, yet thou

thankst not him . . -49
Dulcis cnm tibi Bassiana nnpsit . a 88
Dum nimium mnltis ostendere

qneeris amorem .... 299
Dum placeo tibi, Vincenti, mea

plnrima poscis .... 266
Dum sedet in lasano dormescit

prsetor Olynthus . . . 303
Dnm vagns ignotas veheris,Manbsee,

per oras 341

£ multis aliquos si non despexit

amantes 290

Ebrius occarrit qnoties tibi Nseuola,

vinum 251

Ebrins vxorem duxit Matho, sobrius

horret 238

Ecquando vere promissam,

Caspia, noctem .... 286
Ecqnis atat snperum ! Nee enim

terrestris in illo .... 329
Effodiat sibi, Calue, oculos

Corninus, Homero . . . 251
Sgi'egie canis, in solis sed, Laura,

tenebris 245

En dat se locus arbitris remotis . 293
En Draci sicco tabescit littore nanis 249
En miser exclusus iaceo, cen monti-

bus altis 286

Ergo meam ducet! deducet ab

vrbe puellam . . . .321
Ergone perpetnos dabit vmbra

sororia fletns ? . . . .324
Est diues Titus, id fateris, Acme . 244
Est homo tanquam flos, subito

succrescit et aret . . .284
Est instar vini generosi docta

senectus 247

Est quasi ieiunnm viscus tua, Calue,

crumena . . . . .286
Et lare ridiculnm est, aliena et

quserere terra .... 298
Et miser atque vorax optat sibi

Nerua podagram . . .252
Eure, bonum, non ordo facit, non res,

locus, setas .... 297
Eu'ry Dame affects good fame,

what ere her doings be . ■ i?7
Ex quibus existunt animalia spa-

gyrus ijsdem . . . .241
Ex reditu lucrum facturus, Nseuola,

prsesens 301

Exspeculopictor sepinxit vt .\ulus,

amicse 253

Exemplo quicquid fit, iustum

creditur esse .... 247
Expressos Helense vultus Paridisque

tabella 294

PAGE
Famam, posteritas quam dedit

Orpheo 351

Faine would I my loue disclose . 135
Faine would I wed a faire yong

man that day and night could

please mee .... 187
Faire, if you expect admiring . 1 2
Faiths pure shield, ,the Christian

Diana 50

Femina vindicta citinsne ardescit

amore? 252

Filia, siue vxor peccat, tua culpa,

Sabelle, est ... . 244
Fire, fire, fire, fire ! . . .170
Fire that must flame is with apt

fuell fed 167

Fit sine lege liber, saluo cni

demere toto .... 269
Fitne id quod petimus? mihi si

persuaseris, inquis . . -271
Flagris morio cseditur, Mycillum . 297
Foemina cum pallet ne dicas

pallida quod sit . . -274
Foemineos' dea qnse nigro sub

Limine manes .... 306
Foenore ditatus ciuis, nunc nisticus

Harpax 301

Follow, followe . . . -SI
FoUowe thy faire sunne, vnhappy

shadowe ..... 8
Follow your Saint, follow with

accents sweet ! . . . .11
Fortune and Glory may be lost and

woone 107

Fratres, cognatos, natos, etvtrunque

parentem 238

Funerea vix conspicimus sine veste

Ligonem ..... 304

Galla melaucholicam simnlans,

hilarare Lyseo .... 300
Germanus minime quod sit malus,

efficit sequum .... 255
Giue beauty all her right . . 1 36
Glandem in fatidicam mutatum

stultus amator .... 342
Gnarus iudicat aurifex metalla . 247
Goe, happy man, like th' Euening

Starre 153

Goe, numbers, boldly passe, stay

not for ayde . . . .40
Good men, shew, if ypu can tell . 137
Grsecas, Latinas, litterasqueGallicas 259
Graecia prseclare pulchras vocat

aX<l>iat0oias .... 2JI
Graij, siue magis iuuat vetustum . 304
Grandior et primis fatis post terga

relictis 250

Grates, Paula, tuis ago libenter . 280

Index of First Lines. 389

PAGE

Gratis non amat, et sapit Lycoris . 352
Greatest in thy wars . . -43
Gnlelme gente Fercionim ab in-
clita 277

Had those that dwell in error

foule 374

Hseredem (vt spes est) pariet nona

nnpta Scot' Anglum . . .61
Hseres auari, Glube, foeneratoris . 258
Harden now thy tyred hart with

more then flinty rage . . -133
Harke, al yon ladies that do sleep . 16
Hand melior Tatio vir erat, nee

amicior alter .... 240
Hand quenquam sinis, Anrici, te

adire 262

Hand vocat illepide meretricem

Nerua Tabaccam . . . 300
Henrico, Line, septimo imperante 299
Henricum gladio qui non occidere

posset 242

Her fayre inflaming eyes . .184
Her rosie cheekes, her euer smiling

eyes 144

Hermia cum ridet tetros hahahalat

odores 301

Hestema tibi gratulor, Salusti . 246
Hen non matnro mihi fato, dulcis

Huissi 250

Hens, puer, hsec centum defer

sestertia Fabro .... 294
Hie, illic, et vbique, et nullibi,

Fontice, lex est . . . . 260
His late losse the Wiueless Higs in

order 46

Hispani bibit indies lagenam . 250

How eas'ly wert thou chained . 132
How like a golden dreame you met

and parted .... 108
Hyrcamum grauiter Sabinns odit . 278

I care not for these Ladies . , 7
I must complain, yet doe enioy my

Loue! . . . . .183
I nunc quicquid habes ineptiarum . 270
lacke and lone they thinke no ill . 127
lamdudnm Celebris scriptorum

fama tuorum .... 261
Ibit fratemis elegis omata sub

vmbras 284

Ifany hath the heart to kill . .185
If fancy cannot erre which vertue

guides 4^

If I hope, I pine ; if I feare, I faint

and die 27

If I vrge my kind desires . .22
If Loue lones truth, then women doe

not loue 165

PAGE

If she forsake me, I must die . 28
If thou long'st so much to leame

(sweet boy) what 'tis to loue . 168
If to be sprong of high and princely ">.

blood 60

Ignarum iunenem nudum cur trndis

in vrbem 1 259

Ilia cur tenue vsqne sonent tua

nescio, Galla .... 292
Ilia mihi merito nox est infausta

notanda 322

lUe miser faciles cui nemo inuidit

amores 317

Imberbi, si cui, Laurentia nubere

vonit 244

Immemor esse tui dicor, Blandine,

mearum 268

Immemor 6 nostri quid agis ? nee

enim tibi magnus . . . 261
Impressionum plurium librum

landat 303

Impnrus, sexu nee Aper scortator

in yno ..... 250
In caput, Herme, tuum suggmndia

nocte ruebant . . . .281
In circo modo, Calue, te prementem 272
In multis bene cum feci tibi, non

bene nosti 239

In putrem vt sensit se Miluus abire

saliuam ..... 290
In re si quacunque satisfacis omni-
bus, Herme .... 293
la vinum solui cnpis Aufilena quod

haurit 239

Indiget innumeris vir magnus;

maior at illo est ... 277
Inferins labrum cur mordes,

Thespilis ? illi . . . .256
Insanos olim prior setas dixit

amantes 247

Insanum cupidis labris ne tange

Lyseum 264

Insidias metuo quoties me, Mellea,

pulchrum 2S1

Inuento ex libro Medicus qui

creditur esse .... 249
Inuideat quamuis sua verba Latina

Britannis 247

Ista Scauingerulum tua frons lutn-

lenta, Merine .... 343
Iste Bromus quis sit qui se cupit

esse facetnm .... 304
It fell on a sommers day . .10
Italico vultn donas mihi, Calue,

machseram . . . ■ ^74
Ite procul tetrici, moneo, procul ite

seueri 336

lus qui bonnm vendit cocus . . 302
lust beguiler . . . .51

390 Index of First Lines,

PAGE

Kate can fancy only berdles hus-
bands . . . , -45
Kinde are her answeres . . 1 63
Kiiid in euery kinde . . -44
Kinde in vnkindnesse, when will
you relent 29

Laruas Marcellina horret, Lemures-

que, sed ilia . . . -299
Laudatns melior fiet bonus, et bona

laus est 296

Lausus vt setema degit sub nube

tabaccse 253

Leaue prolonging thy distresse ! . 1 76
Legi operosum iamdudum, Cam-
dene, volnmen .... 246
Legis cum sensum peruertis ; forsi-

tan illnd 248

Lemnia tardipedem dea vix tolera-

uerit vnum .... 348
Let him that will be free and keep

his hart from care . . ■ ^3
Let vs now sing of Loues delight . 155
Lift vp to heau'n, sad wretch, thy

heauy spright . . . .122
Lighten, heauy hart, thy spright . 126
Ligo Latine vulnerarium potum . 24S
Lingua est Gallica lingua foemina-

rum ...... 300

Lingua proterna, rapax manus, et

gnla, Calue, profunda . .266
Lites dum premit Hippo foenerator 296
Lockly spits apace, the rhewme he

cals it 44

Loetns Britannis, ecce, festinat dies 262
Loe, when backe mine eye . .123
Long haue mine eyes gaz'd with

delight 25

Lone me or not, loue her I must

or dye 1 80

Lone whets the dullest wittes, his

plagues be such . . -351

Lucia, vir nihili est qui quanti

virgo sit seris .... 258
Ludicra qui tibi nunc dicat, olim

(amplissime Princeps) . . 237
Lusus si mollis, iocus ant leuis, hie

tibi, Lector .... 270

Magna Bostillus magnum se vendi-

tat aula 248

Magnificos laudat, misere sed Pollio

viiiit 299

Markes that did limit Lands in

former times .... 354
Marsus vt vxorem , sic optat Martha

maritum 304

Martis vt affirmat, Veneris sed

vulnere claudus .... 249

PAGE

Matris pennigerum alites Amorum 273
Maydes are simple, some men say 162
Mellea mi si abeam promittit basia

septem . . . . . 373
Mellea, te inuitam virgo cum vera

fuisses 341

Mentem peruertit grauis vt iactnra

Metello 251

Mentiri pro te seruo si sis bonus

author 257

Merlin, the great King Arthur

being slaine . . . . .59
Mt Turannle, tuque, mi Nephei . 285
Miror apud Gallos quid fortis

pectore et armis . . .341
Mistris, since you so much desire , 14
Mittebas vetulam, Chloe, mini-

stram 288

Mors nox perpetua est ; mori pro-

inde 250

Mortales decern tela inter Gallica

csesos 284

Mortales tna forma quod misellos. 254
Mortnus Hermus abhinc tribus est

ant quatuor annis . . • 254
Most sweet and pleasing are thy

wayes, O God . . . .121
Mone now with measured sound . 70
Multas cum visit regiones Psetus et

vrbes 258

Mnltis ad socerum queritnr de con-

iuge Byrseus . . . .286
Multnm qui loquitur, si non sapit,

idque vetustum est . . '239
Mnndo libellos nemo vendidit

plures 303

Musicks maister and the offspring . 353
Mutua multa licet sestertia poscat

amicus 254

My deerest mistresse, let vs Hue

and loue 355

My Loue bound me with a kisse . 350
My loue hath vowd hee will for-
sake mee 8

My sweetest Lesbia, let vs liue and

lone 6

Nascitur in lucem primo caput,

vnde gubernat .... 298
Natum Galba suum, domesticum-

que 277

Ne nimis assuescas camj,Cyparisse,

bouinse 300

Ne quern nunc metuas in te atros

scribere versus . . . .241
Ne te spes reuocet nee splendor

vitrens aulie .... 269
Ne tibi, Calue, petas socios in

amore fideles .... 255

Index of First Lines.

PAGE

Ne tn me crudelis ames, nee basia

labris 279

Nee bene, nee belle, semper tamen,

Harpale, cantas. . . -255
Nee sua barbaricis Galeno scribere

visum est 237

Nee tibi parca placet, nee plena,

Telesphore, mensa . . . 297
Nee turpe lucrum, nee decus, nee

in plebem 257

Neither buskin now nor bayes . 75
Nemo virtutem non laudat, sseuit

et idem 264

Nequidquam Lamiana cutem medi-

caris, et omni .... 304
Nescio quid aure dnm susurras,

Caspia 285

Neuer loue vnlesse you can . .173
Neuer weather-beaten Saile more

willing bent to shore . . .122
Ni bene cognosses, melius me nemo

meomm 316

Night and Diana charge . . 70
Night as well as brightest day hath

her delight .... 85
Nil seris, magnam sed habes tu,

Tucca, crumenam . . . 288
Nil amat inuectnm Vergusius, ex-

tera damnat . . . . 302
Nil dum facit temere, nihil faeit

Ganrus 244

Nil non a domino bonnm creatnm 292
Nil Ptolomseus agit, cselique volu-

mina nescit .... 263
Nil refert si nnlla legas epigram-

mata, Tucca . . . .301
No graue for woe, yet earth my

watrie teares deuoures . .21
No longer delay her . . .81
No longer wrong the night . .100
Nomen traxit Amor snum, Berine . 238
Nomine Dracns erat signatus vt

incolat vndas . . . .250
Non agios, Pauline, tibi, non

splendida tecta . . . 289

Non Anglos carnis defectu, Calue,

boninse 250

Non ego ne dicas vereor si quid tibi

dico .276

Non ex officijs quse mntua gratia

debet . . . . ■ 239
Non lante vinis, sed Isete ; negligis

vrbem 249

Non placet hostilem nimium pro-

pensus ad iram .... 290
Non quod legitimum id bonum

necesse 287

Non salue, sed soke tibi Lycus
obuius infit .... 240

Non sapit in tenui qui re ius,

Fapile, sperat . . . .291
Non satis est supra vulgus quod,

Mantale, sentis .... 249
Non satis hoc caute dixti modo,

Rutha, sorori .... 262
Non si displiceat tibi vita, Arnolde,

graneris ..... 285
Non si quid iunenile habeant mea

carmina, Lanse .... 303
Non veterem tibi dono librum, cla-

rissime Princeps . . .270
None then should through thy

beawty, Laura, pine . . -49
NonnulUs medicina placet nona,

notaque sordet . . . .252
Nos quibus vnanimi cura est pla-

cuisse puellse . . . .289
Nosttarum. quoties prendit me

nausea rerum .... 263
Notorum mandas morientum no-

mina libro .... 275

Notos, ignotos, celsos, humilesque

salutat 247

Noui dedecoris pudore ruptus . 347
Now hath Flora rob'd her bowers . 65
Now is the time, now is the hower 230
Now let her change and spare not ! 161
Now winter nights enlarge . .165
NuUam Brunus habet manum sini-

stram ..... 3°°
Nullos non landas, SniTenos, siue

Cherillos ..... 266
Nullus Maecenas dabit hac setate

Poetis 267

Nummos si repeto (Sabelle) rides . 239
Nunquam perficies, testeris vt o-

mnia, Calue .... 283
Nuper cur natum libro prsepono

priori? 237

Nupsisse iiliam, Ole, foeneiatori . 302
Nupsit anus, sed amans dentes non

Isba malignos . . . . 27S
Nympha potens Thamesis soli ces-
sura Dianse .... 330

O deare that I with thee might Hue 1 36
O dira pestis vtriusque Myrtilla . 249
O Griefe, how diners are thy shapes

wherein men languish ! . .106
O griefe, O spight, to see poore

Vertue scom'd .... 164
O loyes exceeding . . .83
O Loue where are thy Shafts, thy

Quiuer and thy Bow ? . .181
O neuer to be moued . . . 164
O nimis lepidam Braceie sortem . 345
O nimis semper mea vere amata . 272
O pax beatis, vnicum decus terris 271

392 Index of First Lines.

PAGE

O poore distracted world, partly a

slaue 109

O qui sonora coelites altos cheli . 346
O stay I sweet is the least delay . 234
O sweet delight, O more then

humane blisse . . . , 1 70
O what vnhop't for sweet supply ! , 133
Occubnit primis Heniicus clarus

in annis 253

Of all the starres which is the

kindest 73

Of Neptunes Empyre let vs sing . 352
Oft haue I sigh'd for him that

heares me not .... 161
Olim fungus ego, silex verebar . 348
Olim inter siluas, et per loca sola,

Dianam ..... 282
Olim si qua fidem violasset fcemina,

quanquam . , , .291
Olim te duro cernebam tempore

Martis 243

Omnes se cupiunt omni ratione

valere 299

Omnia consciolis, bona tantum nar-

rat amanti .... 252
Omnia dum nimium seiuas, miser,

omnia perdis . . . .287
Omnibus officij ritu se consecrat

Hermus 304

On you th' affections of your Fathers

Friends 175

Out of my soules deapth to thee my

cryes haue sounded . . .118

Papile, non amo te, nee tecum coeno

libenter 248

Parce, pner Veneris, parce, im-

periose Cupido .... 320
Parcosingenui non estlaudarepoetse 296
Partem das animse, sed quse tibi tota

fruenda est 278

Parua te mare nauigasse cymba . 248
Parui tu facis optumos poetas . 275
Patre, nee immerito, quamuis

amplissimus esset . . . 263
Paucos iam veteri meo sodali . 269
Pedere cum voluit potuit Labienus;

Hybemum .... 254
Pediculosos esse quis sanns negat . 295
Pegaseo dum se miratur fonte Beri-

nus 347

Per nemus Elisium Dido comitata

Sichseum . , , , . 281
Perdidit ebrietas multos, tibi pro-

iicit vni 268

Perpetuo loqueris, uec desinis ;

idque molestum . , . 262
Perpulchre calamo tua, Maure,

epigrammata pingis . . . 247

PAGE

Personas proprijs recte virtutibus

ornas 352

Pharnaxhaudalijvtsolentnouellum 281
Phillitis, tua cur discit saltare

priusquam .... 300
Phoebe all the rights Elisa claymeth 46
Phoenicem simulas, Caspia, Persi-

cam ^73

Pictor formosam quod finxit, Stella,

Mineruam .... 368
Pilas volare qui iubebat impius . 37a
Pia'd I am and like to die . . 140
Plena boni est mulier bona res

pretiosaque, Cosme . , . 239
Plus aequo gladio pacis qui tempore

credit 258

Poenituisse Mydam voti sat con-
stat auari 253

PoUio tam breuis est, tarn crassus,

vt esse Gigantis . . . 303
Pomponi, tantum vendis medica-

bilis auri ..... 238
Poscit amatorem fertiens sibi Galla

Priapum 292

Postquara Vulcanus Veneris nudarat

amores 339

Prette, non ita dico, te vt putarim 347
Prima suis, Fanni, formosis profuit

setas 318

Priuato commune bonum. Lea, cum

melius fit 391

Pro patria si quis dulci se dixerit,

Eure ..... 260
Fromissis quoties videt capillis , 276
Propria si sedes iecur est, et fomes

amoris , . . , . 248
Prudens pharmacopolassepevendit 268
Prudenter facis, vt mihi videtur . 291
Publi, sola mihi tacenda narras , 301
Pulchra roseta inter mea Mellea

pulchrior illis .... 337
Fulchras Lausus amat, Chloe, quid

ad te ? 300

Pulchro pulchra datnr, social!

foedere amanti .... 148
Puluilli totidem colore, vultu . 278
Purgandse prsefectum. vrbis notat,

Afra, lutosa . . . .379
Purgandns medici non est ope

Csecilianus .... 303

Qua celebrata Lyco fuerant spon-

salia luce 245

Quae celare cupit non peccat

fcemina, dicis . . . .374
Quae potuit riuos 'retinere et saxa

mouere . . . ■ .276
Quae ratio, aut quis te furor

impulit, improbe Sanni , . 285

Index of First Lines. 393

PAGE

Quae speciem instaurant partes has,

Caccula, varum est . . . 268
Quseris completo quot sint epi-

giammata libro . . . '299
Qaaeris tu quare tibi musica nulla

placeret 266

Qualis, Cosme, tute est hiiec excu-

satioculpse! .... 301
Qualiscunque snain contemnit

fcemina famam . , , .251
Qnammnlta velutisomniaaccidnnt

vinis 283

Quanquam non simplex votum,

facis attamen vnum . . . 265
Quanto causidicum magis arguo, si

malus idem est. . , , 2g6
Quasdam aedes narras vbi certis,

Haeme, diebus .... 297
Quasuis te petere et sectari, Fusee,

pnellas 295

Quaiuor Anna elementa refert,

venerabile nomen. . . . 242
Quatuor et viginti Arthuri regia

mensa 257

Quem vitse cursum, quam spem,

sortemue sequaris . . .252
Qui compotorem sibimet proponit

amicum 258

Qui gerit auspicijs res et, nisi cun-

sulat exta .... 323

Qui iacet ad pontem nudus, Thur-

bame rogator .... 345
Qui pins quam vires tolerant subit

amplior aequo .... 245
Qui sapit ignotas timeat spectare

puellas 323

Qui sapit in multis, vix desipuisse

videri 238

Qui se, nee mnltis prseter se gaudet

amicis 299

Qui te formosam negat baud oculos

habet ; at te . . . .300
Qui tibi solus erat modo formidatus

adulter 294

Qnicquid in aduersis potnit con-

stantia rebus . . . .269
Quid cnstodita de virginitate super-

bis 265

Quid mseres, mea vita, quidue

ploias? . .... 294
Quid nt pestis sit sudor malus

Anglica? ciues . . . 356
Quid, Pauline, meas amationes . 293
Quid retines? quo stmdet Amor,

locus atque Lyseus . . .285
Quid tu ! quid ultra, Phoebe, lan-

gnenti diem . . . .284
Quid to te numeris immisces % anne

medentem . . . '76

PAGE

Quis non te, Coruine, omni iam

munere dignnm . . . 243
Quis votis tibi, somne, supplicabit 276
Quod iuuenis, locuplesque sibi con-

scisceret ipse .... 288
Quod melius saltas insultas, Nisa,

sorori ..... 301
Quod nemo fecit sanus, neqne

fecerit vnquam .... 264
Quod nostros, Dauisi, laudas

re itasque libellos . . . 345
Quod pulcher puer est, potes videre 279
Quod sis casta (Areana) nego,

deciesque negabo , . .252
Quos cupiam Isetus ? quos alloquar !

anne deorum .... 338
Quos totiesnummos oras, tibi, Rufe,

negare ..... 267

Rauing warre, begot , . -43
Re nulla genio cum pigro (Pontice)

noster 245

Reade, you that haue some teares

left yet vnspent . . .104
Reddidit antiquum tibi, magna

Britannia, nomen . . . 263
Regalem si quis cathedram prope

percutit hostem . . . 288
Reginse cum tres pomi de iure coi-

rent 29,5

Reproue not loue, though fondly

thou hast lost . , . .23
Rerum nomina, resque mntat ipsas 293
Remm quse noua nunc Britanni-

carum 246

Res est quemlibetvna quae benignum 261
Respect my faith, regard my seruice

past. 176

Rident rusticnlam, anseremque

multi 265

Ridicule semper quantum mihi,

Calpha, videtur . . .290
Ridiculum plane quiddam facis

atque iocosum .... 283
Risi, Calue, hodie satis superque . 271
Rite vt celebres nuptias . . 246
Robin is a lonely Lad . . , 233
Rose-cheekt Laura, come . . 50
Rustice, sta, panels dum te moror,

auribus adsis .... 267

Sabbato opus nullum nisi per scelns
igne piandum .... 285

Sacras somniat, Eure, condones . 298

Sanum lena tibi promittat vt,
Hyspale, scortum . . . 287

Sat linguae dedit, Ole, sator tibi ;
parte sed vlla .... 296

394 Index of First Lines.

PAGE

Scelesta, quid me ? mitte, iam cer-

tum est, vale . . . 279, 342
Scilla verecunda est ; Sdlla est,

Marcelle, venusta . . .296
Scire cupis Cottus quid agat, Lyte ?

cogitat Hermo .... 347
Scortatorem optes, Meroe nasuta,

maritum 275

Scorti trita sui vocat labella . . 303
Scotia te genuit, cepit mox Anglia

paruum 243

Scripserit historiam bene Largus,

nam scit apud se . . . 341
Scrotum tumescit Pandaro ; tremat

scortum 303

Se stupidmn semper dicit Norbanus,

et est : hoc .... 348
See where she flies enrag'd/rom me 13
Seeke the Lord, and in his wayes

perseuer 126

Semper ad armasoles,Furi,clamare ;

cnbili 266

Septem civis Aper degit, tot et au-

licus, annos .... 255
Seruo iter ingressus gladium com-

mitto ferendum . , -259

Seruum quando seqni cernit te,

Basse, cinsednm . . . 304
Sex nnpta et triginta annis, sterilis-

que, Melissa .... 29S
Sextum perfidise hand satis pu-

denter 287

Shsecherlsee decs tna celsa gradatio

manes 343

Shall I come, if I swim ? wide are

the waues, you see . . . 26
Shall I come, sweet Loue, to thee . 168
Shall I then hope when faith is

fled? 174

Shall then a traiterous kis or a

smile 26

Shewes and nightly renels, signes of

ioy and peace . . . • 1^
Should I presume to separate you

now 61

Si dens est aliquis dolor, aut in

vallibus atris .... 345
Si quseruntnr opes, vel honores,

sine voluptas . . . -257
Si quid amas, inqnis, mea Caspia,

desine amare . . . -279
Si sapis increpitare meam Thusi-

mella cauebis .... 346
Si vnquam quae me odit semper

male Caspia amaret . . .342
Sicut et acre piper mordax epi-

gramma palato . . . .242
Silly boy, tis ful Moone yet, thy

night as day shines clearely . 172

PAGE

Since now these clouds, that lately

ouer-cast . . . . .160
Since she, eu'n she, for whom I

liu'd 183

Sing a song of ioy , , ,124
Singula dum miror tua labra,

oculosque, genasque , . , 260
Sis licet ingennis nunc moribus,

eequior ipso .... 292
Sis probus vsque licet, timidus

tamen ipse teipsum . . , 263
Sit licet oppressus, licet obrutus

sere alieno .... 247

Sitis malorum pessimum . . 264
Sine canis siluas, Spencere, vel

horrida belli .... 341
Sleepe, angry beauty, sleep, and

feare not me . . . . 172
Smith by sute diuorst, the knowne

adultres 46

So many loues haue I neglected . 141
So parted you as if the world for

ener ...... lo3

So quicke, so hot, so mad is thy

fond sute 173

So sweet is thy discourse to me .1 78
So tyr'd are all my thoughts, that

sence and spirits faile . . . 161
SoUicitus ne sis signum fatale

cometa 302

Solus pauper amat Macer beatas . 247
Some can flatter, some can faine . 369
Some from the starry throne his

fame deriues .... 41
Somno compositam iacere Cly-

tham 281

Somno compositam iacere vidit . 343
Sors hominum dabitas auium an

prsestantior, Halle ? . . . 347
Sponsam, ne metuas, castam tibi,

Daune, remisi . . . .302
Sub medium culpae, Furi, cum

coniuge moechum . , . 254
Sub specie mala, Cosme, boni

dominantur: honesti. . . 298
Such dayes as weare the badge of

holy red i M

Snlphure vincenda est prurigo

poetica nnllo . . . -255
Summo vt significet patrem sedisse

Senatu ' 296

Sunt Londinenses Coritani, siue

Brigantes ..... 256
Supported now by Clouds descend 95
Suspecto quid fure canes cum,

Pontice, latrent. . . .252
Sweete, come againe . . .20
Sweet, exclude mee not, nor be

divided . . . 138

Index of First L,mes.

395

PAGE
Tactam te, ad viuum sed nnnqnam,

Galla, fateris . . . .292
Te quod amet, quantumqne, palam

solet omnibns Hermus . .282
Tell me gentle howre of night . 74
Temperiem landare tuam vis Nerua-

que tangi 240

Tempore mitescit quantumvis

frnctus acerbus .... 262
Temporis interpres, paruDm con-

gestus in orbem . . .257
Tene ego desererem? mater velit

anxia natum . . . -319
Tene Lycus fsecem dicit? tene,

Errice, fsecem ? . . . . 280
Terget linteolis genas manusqne . 302
That holy Hymnes with Louers

cares are knit . . . .131
The disvnited Scithians when they

sopght S9

The man of life vpright . 15,117
The peacefull westerne winde 139, 364
The shadowes darkning our in-
tents 233

The Sypres curten of the night is

spread 11

There is a Garden in her face . 178
There is none, O none but you . 1 39
Thinke you to seduce me so with

words that haue no meaning ? . 370
Think'st thou to seduce me then

with words that haue no meaning? 183
Thou art not faire for all thy red

and white 12

Thou art not fayer for all thy red

and white 357

Thou ioy'st, fond boy, to be by

many loued . . . . 1 76
Thou shall not loue mee, neither

shall these eyes .... 356
Thou telst me, Bamzy, Dawson

hath a wife .< . -49

Though far from ioy, my sorrowes

are as far 25

Though neither thou doost keepe

the Keyes of State . . .352
Though you are yoong and 1 am

olde 6

Though your strangenesse frets my

hart .' 142

Thrice tosse these oaken ashes in

the ayre 169

Thrice tosse those oaken ashes in

the ayer 3^7

Thus I resolne, and time hath

taught me so . . . • 1 7i
Time that leads the fatall round . 76
Tis now dead night, and not a light

pn earth io5

PAGE

To his sweet Lute Apollo sung the

motions of the Spheares . .178
To Musicke bent is my retyred

minde 120

Tosts as snakes or as the mortall

Henbane 45

Tres baccas ederae vorat Berinus . 342
Tres elegos Maurus totidemque

epigrammata scripsit . ■ ^75

Tres est poUicitus rationes NiEuola

Cinnse 259

Tres habuit, quartamque potest

sperare nouercam . . . 345
Tres nouit, Labiene, Phoebus

artes 2:9

Tritas rogo cur habeat Histricus

vestes 241

Triumph now with Ioy and mirth . 76
Truth, sprang from heauen, shall

shine 233

Ta quod politis ludere versibus . 282
Tu tanquam violas, laurum, et

thyma dicis olere . . .276
Tune thy cheerful voice to mine . 229
Tune thy Musicke to thy hart . 121
Turbo, deos manes celsi tn pondere

gressus 279

Turne all thy thoughts to eyes . 1 85
Tume back, yon wanton flyer . 9
Tuus, Sabelle, lippns iste cum

furit 290

Vaine men, whose follies make a

God of Loue .... 132
Vanish, vanish hence, confusion I . 152
Veil, loue, mine eyes ! O hide from

me 177

Vendit Largus ones, laudatque

emptoribus illas . . .261
Ver anni Lunseque fiiit ; pars verna

diei 315

Verse vt supersint nnptise . .148
Verba sacerdotem duo constituunt,

sacer, et dos .... 267
Verborum satis est, oneri suntplura

libello 305

Versum qui semel vt generat nullum

necat, idem .... 242
Vidisti cacodsemonem, Berine . 245
View mee. Lord, a worke of thine . 119
Vinum amat, horret aquam; qua

visa Nerua recurrit . . . 243
Vinum Theriacam magnam dixere

vetusti 253

Vir bonus esse potest, Licini, cui

fcemina nulla .... 241
Vir bonus et minime vis Utigiosus

haberi 248

396

Index of First Lines,

PAGE

Virgo compressa est, inuitaque,

Mellea iurat . . . •273
Virgo olim cinerem et lutnm sole-
bat 298

Vis, Stella, nomen inseri nostris

tuum 261

Vna re sapere omne fceminanim . 304
Vna tibi manus est, vnus pes,

Prette, sed vnus . . . 346
Vnde tibi ingratse subeunt fastidia

vitae 344

Vni ego mallem placnisse docto . 148
Vnlesse there were consent twixt

hell and heauen . . ■ -27
Vocem Lycfus habet parem cica-

dis 251

Vror amat plures quod Mellea,

Caspia nullos . . . .289
Vsus et hoc natura mihi concessit

vtrinque 345

Vt locupleti addat pauper, prae-

postera res est . . . . 260
Vt vetus adscinit sibi magna

Britannia nomen . . -253
Vtilis est nuUi semet qui negligit ;

omni. ..... 242

Vulgares medici tussi febrique

medentur 243

Vxor quod nimium tna sit foecunda,

Berine 254

Vxoiem Crispinus habet, tamen

indigas vnam .... 255
Vxorem Lycij senex Lupercus . 287
Vxorem nosti Camerini, (Pontice,)

quam sit . . . . . 268
Vxoris culpa immeriti cur fronte

mariti ..... 293

• 234
. 82

Welcome is the word .
Welcome to this flowrie place
Welcome, welcome. King of guests 230
Were my hart as some mens are,

thy errours would not moue me . 161
What faire pompe haue I spide of

glittering Ladies . . . 349

PAGE

What harts content can he finde . 22
What haruest halfe so sweet is .138
What if a day, or a month, or a

yeaie 3SS

What is a day, what is a yeere . 28
What is it all that men possesse,

monge themselnes connersing ? , 167
What raeanes this folly, now to

braue it so . , . . 180
What patron could I chuse, great

Lord, but you? . . • 113

What then is loue but mourning ? . 29
What though Harry braggs, let

him be noble . . . '45
When Laura smiles her sight re-

uiues both night and day . , 24
When pale famine fed on thee . 109
When the God of merrie loue . 14
When thou must home to shades

of vnder ground . . • 1 7
When to her lute Corrina sings . 9
Where are all thy beauties now, all

harts enchayning ? . . .118
Where shall I refuge seeke, if you

refuse mee ! . . . . 145
Where shee her sacred bowre

adomes 134

Whether men doe laugh or weepe , 30
Whether thus hasts my little booke

so fast ? 34

While dancing rests, fit place to

musicke graunting . . .154
Who is the happier of the two . 66
Why droopst thou, Trefeild ? Will

Hurst the Banker . . -47
Why presumes thy pride on that

that must so priuate be . . 163
Wise men patience neuer want . 121
With spoties mindes now mount

we to the tree .... 73

Young and simple though I am •179
Your faire lookes enflame my

desire 15

Your faire lookes vrge my desire . 186

INDEX OF PERSONAL NAMES.

Abyngdon, 359.

Alison, Richard, 352, 368, 377.

Allen (A-Ueyn) Edward (Alenus), 247,

373-
Anderton, William, xxix.
Anne, Qveen (Anna Regina), 106, 242,

313-
Aprice, Robert, xii.
Argall, Anne, viii, xx, xxv ; Dorothy, xix ;

Rowlani^, xix ; Thomas, viii, xx, xxv.
Armerer, Tl^omas, xi.
Amoldus, 285.
Ascham, Ix,
Ashley (Astley), Andrew, xxix ; Sir

John, 63.
Austen, Thomas, xi.

Bacon, Fr. (Fra.), 263, 351 ; Sir

Nicholas, xix, xlix.
Badger, Sir Thomas, 63.
Bageley, Alice, xxiv.
Barnes, Bamabe (Bamzy, Barnns), xxxv,

xxxix, 46, 49, 239, 284, 344, 352, 360,

371. 377-
Baro, Peter, xxvii.

Baskerville, Sir Thomas, xxxiii, xxxv.
Bedford, Lucy, Countess of (Lucia),

312. 375-
Eell, Mr., xiii.
Bellarmine, Cardinal, 362.
Benbricke (Bendbrig), Alice, xxiii, xxiv.
Box, John, xvi.
Bracy, Edmund (Braceius), xxviii, xlix,

344. 345. 376-
Brand, Thomas, xu, xiv.
Breton, Nicholas (Breto), Iv, 287, 345,

374. 376;,^
Brewster, Elder, xxvii.
Brocas, Barnard, xxii, xxiii.
Brograve, Dorothy, xixj Henry, ix;

Sir John, ix ; Sir Simeon, xix.
Brown, Capability, 361.
Brunswerd, xxxvii.
Buccleugh, Duke of, 364,
Bucocke (Beaucock or Bawcock), viii,

X, xxii.
BuUen, Mr., liii, liv, Iviii, and Notes,

passim.
Burleigh, Lord, xxix, 375.
Butler, Samuel, 378.

Cadogan, Earl, 361.

Calvisius, Zethus (Sethus), 219, 371.
Camden, William (Guil. Camdenus),

xxxviii, xlix, Iviii, 246.
Camphuyzen, 378.

Campion, Abraham, ix; Anastasia, ix ;
John, viii, ix, x, xii, xiii, xiv, xv, xvi,
xvii, xviii, xix, xxi, xxii, xxiii, xxiv ;
Lucy, x, xi, xii, xiii, xv, xvi, xviii, xxi,
xxii, xxiii, xxiv ; Margaret, ix ; Ralph
(Radulphus, Rauf, Kaafe), x; Sir
Richard, xviii; Rose, viii, xiii, xxi,
xxii, xxiii, xxiv, xxv, xxxi ; Susan, ix ;
Thomas, the Poet, see pedigree, p. viii,
and Introduction and Notes, passim ;
Thomas, ix, x ; William, ix, x.

Car, Nicholas, xxxvii; Robert, see
Somerset.

Carey, Sir Henry, 63 ; Sir Robert (Rob.
Caraeus), xxxiii, xxxiv, 243.

Carleton, Mrs. Alice, xiii ; Dudley, xlviii.

Cary, xliii.

Castell, Robert (Castellus, Castellnlus),
xxviii, xlix, 344, 376.

Chamberlain, xii, xiii, 362.

Champneys, Justinian, xxx.

Chapman, George (Ge. Chapmannns),
MKviii, 345, 372, 374, 376.

Charke, xxvii.

Charles, Prince (Carolas Princeps), 107,
120, 191, 237, 243, 262, 270.

Chaucer, 175, 358.

Chough, Anne, 374 ; Sir Francis, 374.

Clifford, Sir Conyeis, xxxiii; Lord, li,
129.

Clough, Ixii.

Coleridge, Ixi, Ixii.

Coningsby, xxxix.

Constantine (C. de Servi), 149, 365.

Coprario (John Cooper), 362, 366, 379.

Corkine, William, 355, 358, 369, 370.

Coryat, Thomas, xii, 354.

Couch, Mr. Quiller-, 355.

Covell, William, xxxvi, Iv.

Cowp(er), John, xxii.

Cowper, John, xviii.

Cox (Bishop of Ely), Dr., xx.

Crewe (Crwe), xxx.

Cromwell, Oliver, xix.

Crotus, Rubianus, 359.

Cumberland, George, Earl of, xlvi, xlix,
li. III, 129.

C C

398 Index of Personal Names,

Cnrtis,Isabel,ix; Robert,ix; Thomas, ix,
Curwin, Jo., xxiv.

Dacomb, J., 374.

Daniel, Mr., xxxi ; Samuel, xxxviii, lix,

Ixiv.
Darwyn, xUv.
Daumis, 298, 30a.
Davenport (Damporte), xxx.
Davres, John, of Hereford, il, Ivii ; Sir

John (Jo. Dauisius), xHx, 345, 376.
Davison, Francis, 35 1 , 355,357, 358, 377-
Day (Daye), Henry, xxx; Robert^ xxx.
Denny, Lord, 360 ; Honom, d. of, 360.
Derby, Edward, Earl of, xiv ;

Ferdinando, fifth Earl of, 375.
Devereux, Walter (Gual. Etevoreux) ;

xxiciii, xxxiv, 2.73.
Devyne, alias Deane, Elizabeth, xii;

Thomas, xii.
Digby, Sir John, 63.
Donne, John, xliv, Iviii, 357, 360.
Dorset, Thoitfas Sackville, Lord Buck-
hurst, Earl of, xlix, Iviii, 33, 359;

Earl of, 156.
Dovifland, John (Dolandns), xxxviii,

xlix, 346, 3i;i, 369, 376, 377.
Drake, Sir Francis (Franciscus Dracns),

H9i 250.372.375-
Drant, Ix.

Drayton, Michael, xxxviii^
Drummond of Hawtbornden, xxjcviii,

358, 360.
Dunkyn, Thomas, xvi.
Dyer, Ix.

Earle, Giles, 377.

Earsden, John, xlvi, li-.

East, William, xxiii, xxiv; (Este),

Michael, 371 ; Thomas, 371.
Elizabeth, Princess, xii, 89, 108, 313;

Queen (Elisa, Elizabetha)-, 271, 335,

340. 368.
Ellis, Barnard, xxix, xxx.
EUesmere, J., xlv ; Thomas Egetton,

Baron, 375.
Elwes (Helwys, Helvash), alderman,

xliii, xliv ; Sir Jervis, xlui, xliv, xlv.
Erasmos, 36.
Essex, Countess of, see Hoii^rd ; Earl

of, xxxii, xxxiii, xxxiv, 375.
Estfielde, Thomas, xi.

Farnley (Fernley), John, xxix ; Thomas,

xxix.
Fenuer, Dudley, xxvii.
Ferrabosco, Alphonso, xii, xlix, 353,

368, 378, 379-
Field (Fild), Barthotemew, xxiii;

Richard (Feldisius), xxxvi, 340, 375.

Fitzgeffrey, Charles (Carolus Fitz-
geofridus), xxxvii, xlvii, xlix, 261,

282, 372. 375-
Fitzgerald, Bridget (Brigetta), 312, 375 ;

Lady Elizabeth (Geraldina), 312, 375.
Forbes, John, 377.
Fordusus, 545,
Forman, Simon, xlvii.
Fuller, xxxix.

Gascoigne, Ix.
Getard', xxxiii,
Gervis, George (laruisius), xxviii, xlix,

348. 376.
Gibth'orpe, Thomas, 374.
Gil, Alexander, 377, 378.
Giles, Nathaniel, 36(1 ; Tho.^ '^6, 381.
GomershaU (Gomshale), xxxii, judv.
Goring, Capt. John (Goringas^ aacjtiii,

xxxiv, XXXV, xlix, 34J, sfS.
Goringe, Maister, 63.
Graij (members of Gray's Inn), 504, 375.
Gray, Joan, xv^ Yvon, viii, xv.
Grey of Wilton, Earl, xxix.
Griffin, Henry, xvii, 375.
Grimstone, Capt. Thomas (Grimsto-

nus), xxxiii, xxjdv, xlix, 54!^ 57S.
Gresham, Sir Thomas, '368.
Grymesdiche, Tholiias, xxvifu
Gulsonus, 347.
•Gyll, Edw., ix.

Ha., Petrus, 344, 346.

Haddon, Gualter, xxxvii.

Hall, Thomas, xxiii; Hallux, 547, 548,

Harecourt, Mr., xxiii.

Harrysou, Giles, xii.

Harvey, Gabriel, xxxvii, Ix, 46, 38b, 376.

Hayes, Lord (James H'i^ or H^yes,
Viscount Dbwcastet, Earl Of Car-
lisle), xii, Iviii, 61, 1^, 35a; Sir
Jasaes, J&o

Hattecliffe, William, xxviii, xadx, xlix,
339-

Heath, Bartholomew, xxxix.

Henrietta Maria, Queen, 36S.

Henri IV (Henri'cus 4),xxxH, ^42,^2,

371-
Henfy, Prince (HeoricUs l^rin'cfeps), xii,

104,105,149, 250,254,364,363,365.
Henslowe, xxxviii.
Herbert, Philip, 372.
Herrick, Robert, 368.
Hertford, Edward Seylnou): L'ora(H'at-

fordius), 267, 373.
Heywood, Jasper, 359.
Holland, Hugh, xxxviii.
Hornsey, Nicholas (Hortisins), 34a, 375.
Howard, Sir Charles, ^'56; PVances,

Countess of Essex, xii, xUi^ xlix,

Index of Personal Names. 399

149; Sir Henry, 156; Sir Thomas,
63, 156; Tliomas Viscofunt Howard
of Bindon, 373, 3.755 his d. Fiances '
(Francisca), 312,373, 375,- Thomas,
Lord; xix.
Huishe, James (lacobus Huissins),
xxviii, xxxi, -xlix, 250, 3,72 ; Thomas,

372-
Hutten, Ulrich von, 359.
Hntton, Ricliard, xxx.

James, King (lacobus Rex), xlv, xlvi,

60, 106, 243, 362.
Jatret, Sir Thomas, 63.
Jarvis, Margret, xxiiL
Joannes Leo Plaefefitios, 359.
Johnson, Richard, 377.
Jones, Innigce, 93; RobiSit, li, liv,

349. 357. 3Ss. 3*8, 376.
Jonsol^ Ben, xxxviii, Iviii, 355, 360.

J&ye, John, xi.

Kildare, Earl of, 375..

Kingsland, Viscount, 575.

KnoUys (Knowles), Sir Francis, 361 ;
Lord (Sir William Knollys, Viscount
Wallingfoid, Earl of Banbwy), xli,
78. 361.

Laker, Thomas, xxxix,
Laneir, Nicholas, 5(66, 367, 3S9.
Laurence, Alice, xlix; William, xlix.
Leicester, Earl of, xxix.
Lennox (Lenox), Duke of, xlv, 15^
I^^pton, John, xlv.
Letts, Esq., Charles, 359.
Lodge, Iv.

Lorkin, Professor, xXxix.
Lupo, M., 76, 361.

Luttrell, Andrew, xxx; George, xxx; '
Thomas, xxx.

Maloiy, 358.

Manby, Francis (Fran. Manbaeos),
xxviii, xlix, 284, 2^95, 341, 344. 373,
374. 376 ; Robert, 3,74 ; Thomas, 374 ;
William, 374.

Marston (Marson), xlv ; John, xxxviii,

liv, 371-
Mason, George, xlvi, li.
Melburaia, 282, 342.
Michelbome (Mychelbumus), Edward,

xlviii, xlix, 261, 263, 284, 291, 3124,

337. 343, 344. 347. 37«. 374; J<*n.
xlix ; Laurence, xlviii.xlix, 276, 341 ;
Thomas, xxviii, xlyiii, xlix, 282.
Monson (Mounson, Munsonius), John,
175; Sir Thomas, xxx, xli, xliii, xliv,
xlv, xlvi, xlix, lii, 3, 160, 175, 269,
355-

Montfort'(Mountford, Mountfort, Motti-

ford). Dr., xxx, jclv; Sir Edmund,

xxx ; Thomas, xxx.
Montgomery, Earl of, 156, 373.
More, Sir George, xlv ; Sir Thomas,

xxxvii, 35, 37, 360.
Morley, Elizabeth Lady, xiv; Hienry,

Lord, xiv, xv ; Thomas, 378.
Moulton, James, 363.
Mountjoy, Charles Blount, Lord, 375.
Munday, Anthony (Mundus), 303, 374.
Murray, Sir James, 37J; Professor,

365-

Kashe, Thomas (Nashus, J^assos),
xxvii, XXXV, xlix, 286, 345, 371, 376.

Newman, xxxvi, li, 357.

Newton, Thomas, xxxvii.

Nodes, Edm., ix.

Norris, Sir John, 375.

North, Sir Henry, xix ; Lord, 156.

Northey, Henry, xvii.

Northumberland, Henry Percy, Eail of,
xlix.

Norwood, Edw., ix.

Ocland, Christopher, xxxviii
Ormond, Earl of, xxix.
Overbury, Sir Thomas, xlii, xliii, xliv,
xlv.

Palatine, Count, xli, 89, loi, 108, 360,

362.
Parminter, Robert, xxii.
Parr, Catherine (Cathariiia]), 312, 375.
Peele, George, xxxvi, Ivii.
Pembroke, Earl of (Pembrochus), 156,

267, 373-
Penry, John, xxvii.
•Percy, Bishop, 371-; Lucy, 360;

William (Gul. Percius), xxv% xliv,

277, 34'. 37-3. . 376-
Perne, Dr. Andrew, xxv, Xxvi, xxvii,

xxviii.
Phillips, Edward, Iviii.
Playford, John, 366, 369.
Preston, Sir Richard, 63.
Prettus (William Pr«timan X), 342, 346,

347-

Ravaillac, 362, 371.

Ravenscroft, Thomas, xlvi, 354, 357,

379-
Reuchlin, John (Rewcline), 36, 359.
Rhodes (Roodes), Francis, xxx;

Geoffrey, xxx ; Js., xxx.
Rich, Lady Penelope (Penelope) ; 312,

375-
Rochester, Viscount, see Somerset.
Rosimunda (Fair Rosamund), 338.

400 Index of Personal Names,

Ross, Thomas, xxx.

Rosseter,' Philip, xxxviii, xlvii, xlix, lii,

3. 19. '
Rowley, Jolm, x.

Salisbury, Earl of, 156.

Sanderson, John, xxxvi, 377.

Sandfoit (Sandforthe), Thomas, xxix.

Scroope, Lord, 156.

Searle, Alice, viii, xi ; George, xxiii ;
Henry, xi; Joan, xi; Laurence, viii,
xi, xii, XV ; Leonard, viii, xi, xv;
Lucy, viii, xi, xii, xv; Mawde, viii,
X, xi ; Nicholas, viii, xi, xv ; Thomas,
viii, X, xi ; Walter, viii, x, xi.

Shakerley (Shackerley), Sir Peter, xxix,
376; Thomas, 376; Shiiecherl3eus,343.

Shakespeare, 'William, xxxviii, 358,

361, 377-
Sharpus, 348.

Shora (Jane Shore), 312, 338.
Shoyswell, Benjamin, xlix; Dorothy,

xlix.
Shrewsbury, Earl of, 373.
Sidney, Sir Henry, 372 ; his d. Mary,

372 ; Sir Philip, xxxvi, xxxviii, li,

Ix, 373. 341. 349. 357. 358.

Sisley, Clement, viii, xxxv; Thomas,
XXV, xxvi, xxxi.

Smith, J. Stafford, 365, 366.

Smith, Thomas (Tho. Smithus), xl,
xlix, 344, 376.

Smyth, xxx.

Smythe, Sir Clement, xi.

Somerset, Robert Car, Viscount Ro-
chester, Earl of, xii, xlii, xliv, 149.

Sonning, Johan, viii, xi, xv; Robert,
viii, xi.

Southgate, Dr., 359.

Spencer of Althorpe, Sir John, 375 ;
his d. Alice (Alicia), 312, 375.

Spenser (Spencer, Spencerus), Edmund,
xxxviii, Ix, 341.

Stanford, John (Stanfordus), xxviii,
xxx, xlix, 339, 348, 376.

Starkey, Peter, xxx.

Starter, J., 378.

Staverton (Stafferton), Francis, xxix ;
Patrick, xxix.

Steward, Anne, viii, xix, xxv; Augus-
tine, viii, ix, xviii, xix, xx, xxi, xxii,
xxiv, xxv, xxviii, xxxi ; Elizabeth,
xix ; Luce, xxiv ; John, xix ; Mar-
garet, viii, ix, xix ; Mary, viii, xix ;
Nicholas, xviii, xix ; Simeon, viii, ix,
xviii, xix ; Thomas, viii, xix.

Stokys, xxxix.

Strachey, William (Gulielmus Stra-

chjeus), xlix, 269, 373.
Sturton, John, Lord, xiv.
Suffolk, Earl of, 60, 361 ; Elizabeth,

his d., 361.
Surrey, lix.

Swaen, Mr. A. E. W., liii, 378.
Sylvester, Joshua, 357, 367.

Tabor, xl.

Tarlton (Tarltonus), xlvii, 285.

Tennyson, Ixi.

Th., Robertns, 341.

Thurbarne, James (Thurbamus, lacobus
Thu.), xlix, 339, 342, 345, 348, 376.

Tolomei, Claudio, lix.

Toppham, xxix.

Tressilianns, 292.

Trigg, Lucy, x, xii ; Mary, viii, xxi,
xxii, xxiv, xxv ; Roger, viii, xii, xiii,
xiv, XV, xvi, xxiv ; Thomas, xvi.

Turner, Ann, xliii, xliv; John, xvi, xix.

Tye, Dr. Christopher, xxi ; Peter, xx.

Tyrconnel, Earl of, 375.

Villars, xxxii.
Vincentius, 296.

Wade, Sir William, xliii.

Wadylow, Hugh, xvii.

Wait, xxiii.

Walden, Theophilus Howard, Lord,

60, 63 ; Lord, 156.
Walgrave, Katherine, xii; William,

xii, xiv, XV,
Walker, John, xxii.
Walpole, Henry, xxvii.
Walsingham, Sir Francis, xxix.
Walterton, Nicholas, xix.
Warwick, Earl of, xxix.
Watson, Thomas, xxxvii, Ix.
Webbe, Ix.

Weme (Wembe), John, xvii.
Weston, xliii, xliv.
Wigley, Richard, 377.
Willey, xxxvii.

Williams, Elizabeth, xi ; John, xi.
Williamson, Richard, xxx.
Whitgift, xxvii.
Wo., Robertas, 347.
Woofe, Nicholas, xxiii.
Wotton, John, xxxiii.
Wyat, lix.

Yelverton, Christopher, xxx; the Yel-
vertons, xxvii.

Zouch, E., xiv.

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