LM"
INTRODUCTION.
i'878
IN the Notes and Illustrations appended to this our
reproduction, in extenso and in integrity, of Loves
Martyr, everything that seemed to call for notice will be
found — it is believed — noticed with less or more fulness.
Thither the student-reader is referred on any point that may
either interest or puzzle him. Here I wish to bring together
certain wider things that could not well go into the Notes
and Illustrations, so as to shew that, in the present strangely
neglected book, we have a noticeable contribution to Eliza
bethan-Essex-Shakespeare literature.
I purpose an attempt to answer these questions :
(a) Who was ROBERT CHESTER ?
(b) Who was SIR JOHN SALISBURIE ?
(c) Who were meant by the PHOENIX and the
TURTLE-DOVE of these Poems ?
(d) What is the message or motif of the Poems ?
(e) What is the relation between the verse-con
tributions of SHAKESPEARE and the other
"MODERNE POETS" to Loves Martyr}
(f) Was the 1611 issue only a number of copies of
the original of 1601, less the preliminary
matter and a new title-page ?
(g) Is there poetical worth in the book ?
(k) Who was TORQUATO CCELIANO ?
(a) WHO WAS ROBERT CHESTER ? His name, it will be
observed, appears in full, ' Robert Chester,' in the original
title-page of 1601 ; as ' Ro. Chester' to the Epistle-
dedicatory to Salisburie (p. 4); as ' R. Chester' to "The
Authors request to the Phoenix" (p. 5); as ' R. Ch.' in
address "To the kind Reader" (p. 6); as 'R. C.1 to "Con-
B
vi Introduction.
elusion" (p. 142); and as *R. Chester' at close of "Cantoes"
(p. 167). I have sought almost in vain — and I have had cap
able and earnest fellow-seekers — for contemporary notices of
either the man or his book. Even later, the bibliographical
authorities, e.g., Ritson, Brydges, Lowndes, Collier, Hazlitt,
beyond giving the title-pages and other details with (on the
whole) fair accuracy, yield not one scintilla of light. Neither
do the county-histories, nor editors as Gifford and Cunning
ham in their Ben Jonson, nor Mr. J. O. Halliwell-Phillipps in
his natty little reprint (in ten copies) of the " new composi
tions."
I was thus shut up to an examination of the genealogies
of a somewhat large and widely-distributed tribe, viz., the
CHESTERS. I never doubted of finding in Mr. R. E. Chester
Waters's most laborious and trustworthy work on the
CHESTERS,* some " certain sound " on our poet as the soli
tary Chester, who, in poetry at any rate, has any fame or
interest for us in this late day ; but even in his matterful
tomes I was doomed to disappointment. Equally unex
pected was my failure to obtain from my many-yeared
friend Dr. Joseph Lemuel Chester of Bermondsey — than
whom one rarely meets with so thoroughly-furnished,
unwearied, accurate, and generous a worker — anything
approaching certainty of identification. After very con
siderable reading and comparison of authorities, I found
only one member of the known families of Chester bearing
the Christian name of ROBERT, whose position, circumstances
and dates fitted in with the possible authorship of Love's
Martyr. From his dedicating his book to Sir John Salisburie,
and many incidental evidences of familiarity in courtly and
high circles, I fixed on him. On communicating my conclu
sion to Dr. Chester, he was inclined to doubt ; but since,
he has conceded that there is nothing in the facts of his life
against the identification, and that there really is no other
claimant. Accordingly he has aided me with characteristic
* Memoirs of the Clusters of Chicheley.
Introduction. vii
painstaking and ardour, from his abundant stores, in giving
such data concerning him (eheu ! meagre enough) as remain.
I mean a Robert Chester, who became SIR ROBERT
CHESTER. The first of his family distinctly recognisable,
was William Chester of Chipping Barnett, Herts ; who
died early in 1566. By his wife Maud (or Matilda) he was
father of Leonard Chester, of Blaby, co. Leicester — whose
family is embraced in the Heraldic Visitations of their
County — and of Sir Robert Chester of Royston, Herts,
who was the eldest son. The family is said to have des
cended from an ancient one in Derbyshire, where Chesters
had large possessions, and members of which represented
the town of Derby in Parliament, temp. Edward II and III.
The Derbyshire estates were expended in supporting the
claim of the Earl of Richmond (Henry VII) to the crown.
This Sir Robert Chester was admitted to Gray's Inn in
1532, and is subsequently described in various MSS. as
" Standard Bearer," " Gentleman Usher " and " Gentleman
of the Privy Chamber" to King Henry VIII ; from whom
he obtained a Grant of the Monastery of Royston, with
its manors and possessions, in the counties of Herts and
Cambridge. He was knighted by King Edward VI at
Wilton, 2nd September 1552, and was High Sheriff of Herts
and Essex in 1565. He died 25th November 1574, and was
buried at Royston.* By his first wife Catherine, daughter
of John Throgmorton, Tortworth, co. Gloucester, Esquire,
he had a numerous issue.f He was succeeded by his eldest
son and heir, Edward Chester Esquire of Royston, who
was about thirty years old at his father's death. Curiously
enough, Sir Robert Chester married as his second wife,
Magdalen, widow of Sir James Granado, Knt, on the same
day and at the same place, that his son Edward Chester,
* Among the "Nativities" in Ashmole's MSS. in Bodleian Library, pp. 166,
176, &c., is one which states that Sir Robert Chester was born 25th November,
1510, and died on his birthday, aged 64.
t Clutterbuck, s.n., describes her as daughter of Christopher Throckmorton
of Coorse Court, co. Gloucester, Esq. Cf. Chauncy, s.n.
viii Introdiiction.
married Sir James Granado's only daughter and heiress, t.e.f
father and son married respectively mother and daughter.
This took place at Royston on 27th November 1564. The
wife of Edward Chester survived her husband and was
again married, viz., to Alexander Dyer, Esq. He was
admitted to Gray's Inn in 1562, and was subsequently in
service as a Colonel in the Low Countries. Besides two
daughters (a) Mary, who married an Edward Thornburgh,
or Thornborough of Shaddesden, co. Southampton, Esq.
(b) Another, who married an Edward Roberts — Edward
Chester left a son ROBERT, who was declared heir to his
father by Inquisition post mortem, dated 1 5th January
1578-9, being then aged twelve years, six months and
sixteen days, which fixes his birth about the last of June
1566. This Robert Chester, I indentify with the author of
Love's Martyr. In 1596 HENRY HOLLAND dedicated his
Christian Exercise of Fasting to him, in grave and grateful
and admiring words.* He was a J.P. for Herts and Sheriff
of Herts in 1599. From NICHOLS' Progresses of King
James I, I glean the fallowings light notice of him : — " His
Majestic being past Godmanchester, held on his waye
towards Royston ; and drawing neere the Towne, the
Shiriffe of Huntingtonshire [Sir John Bedell] humbly tooke
his leave ; and there he was received by that worthy Knight
Sir Edward Denny, High Shiriffe of Hartfordshire . . . and . . .
in brave manner he conducted his Majestic to one Mafter
Chester's house, where his Majestic lay that night on his
owne Kingly charge."f On this Nichols annotates : —
" Though ' Master Chester' was then owner of the Priory at
Royston, and attended on the King at his entrance into
the Town, it was more probably at his mansion of Cocken-
hatch (in the parish of Barkway, near Royston), that he had
the honour of entertaining his Royal Master. A view of
this house may be seen in Chauncy, p. IO2."| The words
that the King "lay" at "Master Chester's house" on "his
* See Postscript to this Introduction for this golden little Epistle-dedicatory.
f VoL i, pp. 104-5. % Ibid, p. 105.
Introduction* ix
ownr Kingly charge" does not seem to indicate lavish
hospitality on the part of the host. But he must have given
satisfaction to the King j for he was knighted along with
a shoal of others, at Whitehall, on 23rd July 1603.* The
exact date of his marriage does not appear ; but his wife
was Anne, daughter of Henry Capell, Esq., of Essex, by his
wife, the Lady Catherine Manners, daughter of Thomas,
first Earl of Rutland. She survived him not quite two
years, residing at Kitchen, Herts.f They had issue at
least six sons and six daughters ; and their issue in turn
were for a time equally numerous, but the late Mr. Harry
Chester (who died in 1868) believed himself the last
representative of the race.f He died on 3rd May 1640.
On his death he was possessed of the manor and rectory
of Royston, the manors of Nuthamsted, Cockenhatch,
Hedley, &c., &c. His Will, dated 3rd May 1638, with
codicils, 1 6th March and 7th April 1640, was proved in the
Prerogative Court of Canterbury on 3rd February 1640-1,
by his eldest son and heir, Edward Chester, Esq., whose
age at his father's death was, according to the Inquisition,
forty years and upwards. ||
On these facts I would note — (a) In 1601, when Love's
Martyr was published, he was in his thirty-fifth year ; but
the phrase in his Epistle-dedicatory to Salisbury, ' my long
expected labour} may carry its composition back some few
years at least, (b) Specifically, while long portions were
probably written much earlier, the 'Turtle-dove' being
Essex and being in Ireland, ascertains date of composition
of all referring to 'Paphos He' 1598-9 — the period of
Essex's absence, (c] In 1611 he was in his forty-fifth year,
and no longer plain ' Robert Chester,' but Sir Robert Chester
* Vol. i, p. 2 1 8. Doubtless when the King afterwards built himself a residence
at Royston there would be frequent intercourse.
t Her Will is dated 1 2th and was proved the 26th of March 1642.
J The chief line of descent of these Chesters was by this Edward, son of our
Sir Robert, who was also knighted. The sons entered the various professions.
I notice two of them onward. Harry Chester, above mentioned, was son of
another Sir Robert Chester, well-remembered as Master of the Ceremonies
during the reigns from George III to Victoria. || See Postscript B for Abstract-
x introduction.
Knight, and husband of an Earl's daughter linked to the
Sidneys. Is the explanation of the withdrawal of his name
from the new title-page of 1611 that his early literary
fervours had chilled with his social dignities ? (d) At his
death he was in his seventy-fourth year. One longs to know
more of a man who in his prime personally acquainted
with Shakespeare, Ben Jonson, Chapman, Marston and other
of the 'mighties/ survived them all. The "new compositions'*
for his own book, drawn from them, especially the fact that
it stands alone in having a contribution from Shakespeare,
would make any man remarkable.
(b) WHO WAS SIR JOHN SALISBURIE ? Love's Martyr
is dedicated to him as "To the Honourable, and (of me
before all other) honored Knight " and " one of the Esquires
of the bodie to the Queenes most excellent Maiestie" (p. 3),
and in the title-page of the "diverse Poeticall Effaies" he
is designated "the true-noble Knight" (p. 177). Even these
slight descriptions guide us to the Salisburys or Salisburies
of Lleweni, Denbighshire — long extinct. Dr. Thomas
Nicholas, in his Annals and Antiquities of the Counties and
County Families of Wales, commences his account of the
Salusburys thus : — " The long standing and distinguished
alliances of the Salusburys of Lleweni, in the Vale of Clwyd,
and the high character borne by several of the line, render
them a notable house, and awaken regret at their dis
appearance. The name is spelt differently in early writings —
Salusbury, Salesbury, Salsbury ; Dwnn almost always adopt
ing the phonetic method, spells this name " Salsberie." They
were of Lleweni and Machymbyd. At what time they first
came to Denbighshire, or how the surname originated, is not
known, but it is believed that their origin was Welsh. John
Salusbury, the third of the name known to us, was the
founder of the Priory of White Friars at Denbigh, and died
A.D. 1289. He must therefore have witnessed the great
struggle of Llewelyn and Edward, which was very hot in
those parts. His grandson, William Salusbury, was M.P.
Introduction. xi
for Leominster 1332, long before members were appointed
for Wales. William's grandson, Sir Harry Salusbury (died
circa, 1399), was a Knight of the Sepulchre, and his brother
John was Master of the House for Edward III, and suffered
death in 1388." (p. 392.)
He thus continues : " Sir Harry's grandson, Sir Thomas
Salusbury, Knt, the first mentioned in the pedigrees as of
Lleweni, was a man of great note as citizen and soldier.
His consort was Jonet, daughter and heir of William
Fychan of Caernavon. He took a distinguished part in the
battle of Blackheath (1497) against Perkin Warbeck's
insurrection, for which he was rewarded by He^ry VII.
with the order of knighthood. He died 1505, and was
buried at the White Friars, Denbigh (Whitchurch). Sir
Roger, his son, married a Puleston of Emral, and was
followed by Sir John of Lleweni, who married a Myddleton
of Chester, of the Gwaenynog line. He was constable of
Denbigh Castle in 1530, and served in several parliaments
for the county of Denbigh — died 1578. His son, John
Salusbury, Esq., of Lleweni, was the member of this house
who married the celebrated Catherine Tudor of Berain ;
and his son by Catherine, Thomas Salusbury, Esq., married
Margaret, daughter of Morys Wynn, Esq., of Gwyder, but
had no male issue ; his second son, John, married Ursula,
daughter of Henry Stanley, Earl of Derby, and was suc
ceeded by his son, Sir Henry Salusbury, Bart., who married
Hester, daughter of Sir Thomas Myddelton, Knt, of Chirk
Castle. His line terminated with his grandson Sir John,
whose daughter and sole heir married Sir Robert Cotton,
Bart., of Combermere, Cheshire, from whom the Combermeve
family are derived. Cotton-Hall, named after the Cottons,
was the birth-place of the great General Lord Combermere.
The Lleweni estate was sold by Sir Robert Cotton to the
Hon. Thomas Fitzmaurice" (p. 392).
Turning back on these names, our Sir John Salisburie
was John, second son of John Salusbury — who died in his
father Sir John Salusbury 's life-time — by (as above
xii Introduction.
*
Catherine Tudor of Berain.* He was born "about 1567"
— a portrait of him having been at Lleweny, dated 1591,
set. 24.f He became heir of his brother Thomas, who was
executed, in 1586, for conspiring to deliver Mary, Queen of
Scots, from imprisonment. His wife was (as above) Ursula,
a ' natural ' daughter of Henry, fourth Earl of Derby. The
record of administration of her estate, as of the town of
Denbigh, is dated Qth May 1636. They had four sons and
three daughters. Henry, the eldest and only surviving son,
was created a baronet, as of Lleweni, loth November 1619,
and died 2nd August 1632. His only surviving son was
Sir Thomas Salusbury, author of "Joseph," a poem (1636)
— who died in 1643.! Our Sir John was surnamed "the
* Dr. Nicholas, as before, gives an interesting account of this famous
"Catherine "; and I deem it well to avail myself of it, as follows: — " Catherine
of Berain," the most noted of her race in this country, was of the clan or tribe
of Marchwerthian, and was left sole heiress of Berain. She married four hus
bands, each of a high and honourable house, and had such a numerous offspring
that the name was given her of Mam Cymm, "the mother of Wales." Her
first husband was John Salisbury, Esq., of Llyweni, and her estate of Berain
was inherited by her children gotten by him. The second was Sir Richard
C lough of Denbigh, Knt. of the Sepulchre, who made a pilgrimage to the
Holy Land; the third, Morys Wynn, Esq., of Gwyder; and the fourth, Edward
Th el wall of Plas-y- Ward. Catherine of Berain's father was Tudyr ap Robert
ap levan ap Tudyr ap Gruffydd Lloyd ap Heilyn Frych, which Heilyn Frych
was ninth in descent from Marchwerthian, Lord of Isaled, founder of the
eleventh noble tribe." . . . "The portrait of Catherine, given in Yorke's Royal
Tribes, marks a person of firmness and intelligence, and these qualities, added
to her estate and numerons alliances and offspring, supplied her with a charm
which the bardic heralds of the time knew not how to resist ; they spared no
pains, accordingly, to provide her with a lineage whose antiquity would com
port with their idea of her merits. Tudyr was carried back to Urien Rheged,
and he of course to Coel Godebog, who, although a reputed contemporary with
Herod the Great, was vouched by the bards to have a full blown heraldic coat
— 'Arg., an eagle displayed with two heads, sable.' Coel was in the twelfth
degree from Beli Mawr, King of Britain 72 B.C., who bore, they said, 'Az.,
three crowns Or in pale'; and he was about the fifteenth from Brutus, who, as
the bards believed, came to Britain about B.C. 1136, bearing along with his
father Sylvius, an escutcheon charged thus: — 'Quarterly: I, Or, a lion ram
pant passant Gu.; 2, Az., three crowns Or in bend' I " (p. 393.)
f Pennant's Tour in Wales, vol. ii, p. 145.
t The Bibliographers overlook that Sir John Salisbury has a longish poem
prefixed to Eromena, 1632, folio.
Introduction. xiii
strong " ; and that explains Hugh Gryffith's playing on
'might' — of which anon. He was M.P. for co. Denbigh
43 Elizabeth (1600-1). All the authorities say he died in
1613 ; but no Will nor administration of his estate has been
found. A shadow of obscurity thus lies on the memory of
Chester's " true-noble Knight " - unlifted even from his
(exact) death-date. Spelling of names was so arbitrary
and variant then, that I should have attached no difficulty
to the family-spelling of ' Salusbury ' as against ' Salisburie '
of Loves Martyr. As I write this I am called upon to
annotate a Sir Stephen Poll — according to one of Nicholas
Breton's Epistles-dedicatory — while he really was Sir
Stephen Powle, and so is it endlessly. But I am enabled
absolutely to identify Sir John Salusbury of Lleweni with
Chester's Salisburie. For this is placed beyond dispute by
another Epistle-dedicatory addressed to him as — be it
noted — (a) of ' Llewen,' (b) as ' Esquier for the Bodie to
the Queene's most excellent Maiestie/ as in Chester ; and
which, in the sorrowful absence of other information, is of
peculiar interest. It is found in the following little volume
of Verse, of which only a single exemplar (preserved at
Isham) is known :
"SlNETES
Paffions vppon his fortunes,
offered for an Incenfe at the
fhrine of the Ladies which gui
ded his diftempered
thoughtes.
The Patrons patheticall Po-
fies, Sonets, Maddrigals, and
Roundelayes. Together with
Sinetes Dompe.
Plena verecundi culpa pudoris erat.
By ROBERT PARRY
Gent.
At LONDON
Printed by T. P. for William
Holme, and are to be fould on
Ludgate hill at the figne of
the holy Lambe.
1597 " (sm. I2mo)
C
xiv Introduction.
The Epistle-dedicatory shews (i) That being plain 'John
Salisburie' in 1597 he must have been knighted between
1597 and 1 60 1, (2) That he was of the Queen's household ;
and so could well introduce his friend Chester into court.
It thus runs :
<R"To the right worjli ipfitll John
Salisburie, of Lie wen, Esquier,
for the Bodie to the Queenes
moft excellent Maiestie.
Tile Hope of thefe, and glaffe of future times,
O Heros which eu'n enuie itfelfe admir's,
Vouchfafe to guarde, & patronize my rimes,
My humble rime, which nothing elfe desk's ;
But to make knowne the greatnes of thy minde
To Honors throne that euer hath been inclyn'd.
Geue leaue a while vnto my breathing Muse,
To pause vpon the accent of her fmarte,
From the refpite of this fhort-taken truce,
For to recorde the actions of my Harte :
Which vowed hath, to manifeft thy worth,
That noble fruites to future age bringes foorth.
Eu'n thou alone, which flrengthn'fl my repofe,
And doeft geue life vnto my dead defire,
Which malice daunt'fte, that did thy fame oppofe,
Now, with reuiuing hope, my quill infpire :
So he may write, and I may glorie fmge,
That time, in time, may plucke out enui's fling.
Renowned Patron, my wayling verfe,
To whofe protect I flye for friendly ayde,
Vouchfafe to heare, while I my woes rehearfe :
Then my poore mufe, will neuer be difmaide,
To countenance the babling Eccho's frowne,
That future age may ring of thy renowne.
I that ere- while with Pan his hindes did play,
And tun'd the note, that beft did pleafe my minde,
Content to fing a fheapheard's Round-delay ;
Now by thy might, my Mufe the way did finde,
With Madrigals, to flore my homely ftile,
Graced with th' applaufe, of thy well graced fmile.
Eu'n thou I fay, whofe trauaile hope doth veilde,
That honours worth, may reape a due rewarde,
Which flyes with natiue plume vnto the fielde ;
Whofe paines deferues thy cuntreys juft regarde :
Introduction. xv
Time cannot dafhe, nor enuie blemifh thofe,
Whom on farn's fcrength haue built their chiefe repoie.
Tis only that, which thou mayfl clayme thine owne,
Deuouring time, cannot obfcure the fame,
In future age by this thou mayft be knowne,
When as pofterities renue thy fame :
Then thou being dead, (halt lyfe a newe poffeffe,
When workes nor wordes, thy worthynes expreffe :
Then fliall my rime a fort of ftvength remaine,
To fhield the florifli of thy high renowne,
That ruin's force may neu'r graces ftaine,
Which with fame's found mail through the world bee blowne :
Yf that the ocean which includ's our ftile,
Would paffage graunt out of this noble Ifle.
For ileling tyme of mufes iowe remaine,
Will from the fountaine of her chiefe ccnceyte,
Still out the fame, through Lymbecke of my braine,
That glorie takes the honour to repeate :
Whofe fubiecl though of royall accents barde,
Yet to the fame, vouchfafe thy due rewarde :
So fliall my felfe, and Pen, bequeath their toyle,
To fmg, and write prayes, which it felfe fliall prayfe,
Which time with cutting Sithe, fliall neuer fpoyle,
That often worthy Heros fame delayes :
And I encouraged by thy appiaufe,
Shall teach my mufe on higher things to paufe." (pp. 2-4.)
ROBERT PARRY, Gent., is but a sorry poet ; for, except
here and there a touch of passion and a well-turned com
pliment, 'Sinetes' is sere and scentless. But it is clear
that Salisburie's patronage was highly valued. Besides, an
' H. P.' who writes " In prayfe of the Booke " thus speaks
of him :
"thy worthie patron is thy fort
Thou needes not fhunne t' approch into ech place,
Thy flowring bloome of wit fliall thee report. "
Still further helpful in identification is another poem in
the tiny volume, signed " Hugh Gryffyth, Gent.," which is
headed " Poffe & nolle nobile." That by this our Salisburie
was intended is confirmed by our Chester's placing the same
motto at the head of his Epistle-dedicatory (p. 3), in addi
tion to his name being introduced in the poem itself. I
gladly make room for the lines :
xvi Introduction,
" A worthie man deferues a wortliie motte,
As badge thereby his nature to declare,
Wherefore the fates of purpofe did alot,
To this braue Squire, this fimbole fvveete and rare:
Of might to fpoyle, but yet of mercie fpare,
A fimbole fure to Salifberie due by right.
Who ftill doth ioyne his mercy with his might.
Though lyon like his Pq/fe might take place,
Yet like a Lambe he Nolle vfeth aye,
Right like himfelfe (the flower of Salifberies race)
Who neuer as yet a poore man would difmay :
But princockes finde be vf'd to daunt alway:
And fo doth ftill: whereby is knowen full well
His noble minde and manhood to excell.
All crauen curres that corns of caftrell kinde,
Are knowne full well whe they their might would ftraine,
The poore t' oppreffe that would there fauour finde ?
Or yeilde himfelfe their freindfhip to attayne:
Then feruile fottes triumphes in might a mayne,
But fuch as corns from noble lyons race,
(Like this braue fquire) who yeeldes receaues to grace.
Haud ficta loquor.
I suppose " Poffe et nolle, nobile " — evidently his motto
or impressa — gathers into itself Sir John Salisburie's name
of "the strong" as over-against his gentleness = To have
the power [strength] to do and yet to be unwilling to do
[harm] is noble. It is just Isabella's pleading in Measure
for Measure (act ii, sc. 2, 11. 107-9):
" O, it is excellent
To haue a giant's strength; but it is tyrannous
To ufe it like a giant "
Nor is this all ' Sinetes ' gives us. For before the ' Posies '
— within an arched temple gate-way — is this repetition of
the principal title-page :
"The
Patrone his pa-
thetical Pofies,
Sonets, Maddri-
galls, & Roun-
delayes.
Together
with SINETES
Dompe.
Plena verecu
di culpa pu-
doris erat "
Introduction, xvii
This is somewhat ambiguous ; for one is left in doubt
whether the 'pathetical Posies, Sonets, Maddrigalls, and
Roundelayes ' are Salisburie's, as his productions, or by gift
of Parry. The following are the contents of the division :
i. The patrones conceyte; 2. The patrones affection; 3. The
patrones phantafie ; 4. The patrones pauze an ode ; 5. The
dittie to Sospiros (2); 6. The patrones Dilemma (2); 7. The
Palmers Dittie vppon his Almes ; 8. The Patrones Adieu ;
9. Fides in Fortunam (2); 10. My forrow is ioy ; u. An
Almon for a Parrat ; 12. The authors mufe vpon his Con
ceyte; 13. Fides ad fortunam ; Sonnettos 1-31. To Paris
darling — Buen matina — Maddrigall — Roundelay — Sinettcs
Dumpe— Poffe & nolle nobile — The Lamentation of a Male-
content, &c. I select from these verses, three, to give a taste of
the quality of this other eulogist of our Chester's Salisburie,
and because it is just barely possible (though I confess im
probable) that Sir John Salisburie is their author. There
are gleams in these selections from ' the Patrone's ' division,
not in the body of the poems.*
I. The Patrone's Pauze an Ode.
Dimpl's florim, beauties grace,
Fortune fmileth in thy face,
Eye bewrayeth honours flower,
* These hitherto utterly unknown and unused ' poems ' form part of that
lucky find of my friend Mr. C. Edmonds at I sham. But he had no idea
whatever of their bearing on Lovers Martyr. I am indebted to Sir C. Isham of
Lamport Hall for a leisurely loan of this, as of other of his book-treasures.
Note that I have silently corrected two or three slight misprints and punctuations,
as ' Whose ' for ' Who, ' &c. With reference to the possible Salisburie author
ship of the most of the second division of the small volume, perhaps 11. 37-40
in the Epistle-dedicatory, were meant to refer to his Verses — thus:
" Tis only that, which thou mayft clay me thine owne,
Deuouring time, cannot obfcure the fame,
In future age by this thou mayft be knowne,
When as pofterities renue thy fame, &c."
Then the phrase in the title, 'The Patrone his pathetical Pones,' &c., and
especially its interposition between 'Sinete's Dompe,' makes one hesitate in
rejecting the Salisburie authorship. It does not add to the belief that these
Verses are by the Patron that the lady addressed seems to be one ' of honour '
or ' high rank '; for Parry himself was a ' Gentleman ' as he tells us in his title-
page.
xviii Introduction.
Loue is norif'd in thy bower,
In thy bended brow doth lye,
Zeale impreft with chaftitie.
Loue's darling deere.
O pale lippes of coral hue,
Rarer die then cheries newe,
Arkes where reafon cannot trie,
Beauties riches which doth lye,
Entomb'd in that fayreft frame,
Touch of breath perfumes the fame.
O rubie cleere.
Ripe Adon fled Venvs bower,
Ay m ing at thy fweetcft flower,
Her ardent loue forft the fame,
Wonted agents of his flame :
Orbe to whofe enilamed fier,
Loue incenf'd him to afpire.
Hope of our time.
Oriad's of the hills drawe neere,
Nayad's come before your peere :
Flower of nature filming (hoes,
Riper then the falling ro^e,
Entermingled with white flower ,
Stayn'd with vermilion's power.
Neft'ld in our clime.
The filuer fwann fmg in Poe,
Silent notes of new-fprongc woe,
Tuned notes of cares I fmg,
Organ of the mufes fpringe,
Nature's pride inforceth me,
Eu'n to rue my deftinie.
Starre (hew thy might.
Helen's beautie is defac'cl,
lo's graces are difgrac'd,
Reaching not the twentith part,
Of thy gloafes true defart,
But no maruaile thou alone,
Eu'n art Venus paragone.
Arm'd with delight
Iris coulors are to[o] bafe,
She would make Apelles gaze,
Refting by the filuer flreame,
Tofling nature feame by feame,
Pointing at the chriftall skie,
Arguing her maieflie.
Introduction. xix
II. Loues rampire flronge.
Hayre of Amber, frefh of hue,
Wau'd with goulden wyers newe,
Riches of the fineft mould,
Rareft glorie to behould,
Ympe with natures vertue graft,
Engines newe for dolors fraught, :
Eu'n there as fpronge.
A lem fram'd with Diamounds,
In whofe voice true concord founds,
loy to all that ken thy fmile,
In thee doth vertue fame beguile,
In whofe beautie burneth fier,
Which difgraceth Queene defier :
Saunce all compare.
Loue it felfe being brought to gaze,
Learnes to treade the louers maze :
Lying vncouer'd in thy looke,
Left for to unclafpe the Booke :
Where enroul'd thy fame remaines,
That luno's blufh of glory flames :
Blot out my care.
Spheare containing all in all,
Only fram'd to make men thrall :
Onix deck'd with honor's worth,
On whofe beautie bringeth foorth ;
Smiles ou'r-clouded with difdaine,
Which loyall hearts doth paine :
Voyde of difgrace.
Avrora's blufh that decks thy fmile,
Wayting lovers to beguile :
Where curious thoughts built the neft,
Which neu'r yeilds to louer's reft :
Wafting flill the yeilding eye,
Whilft he doth the beautie fpie.
Read in her face.
Lampe enrich'd with honours flower,
Bloffome gracing Venus bower :
Bearing plumes of feathers white,
Wherein Turtles doe delighte,
Senfe, would feeme to weake to finde,
Reafon's depth in modeft minde :
Yeilding defire.
Lode-flarre of my happie choyfe,
In thee alone I doe reioyce :
xx Introduction.
O happic man vvhofe hap is fuch,
To be made happie by thy tutch :
Thy worth and worthynes could moue,
The ftouteft to incline to loue.
Enflam'd with fier.
III. Pofie xi.
An Almon for a Parrat.
Difdainfull dames that mountaines moue in thought,
And thinke they may louves thunder-bolt controule,
Who paft compare ech one doe fet at naught,
With fqueamifh fcorn's that nowe in rethorick roule :
Yer fcorne that will be fcorn'd of proude difdaine,
I fcorne to beare the fcornes of fineft braine.
Geftures, nor lookes of fimpring coy conceyts,
Shall make me moue for ftately ladies' mocks :
Then SIRENS ceafe to trap with your deceyts,
Leaft that your barkes meete vnexpected rocks :
For calmeft ebbe may yelld the rougheft tide,
And change of time, may change in time your pride.
Leaue to conuerfe if needes you muft inuay,
Let meaner fort feede on their meane entent,
And foare on ftill, the larke it fled awaye,
Some one in time will pay what you have lent,
Poore hungrie gnates faile not on wormes to feede,
When gofhawkes miffe on hoped pray to fpeede. (pp. 18-20.)
I add just one other snatch : —
Buen matina.
Sweete at this mourne I chaunced
To peepe into the chamber ; loe I glaunced :
And fawe white fheetes, thy whyter skinne difclofmg :
And fofte-fweete cheeke on pyllowe fofte repofing ;
Then fayde were I that pillowe,
Deere for thy love I would not weare the willowe.
As with SIR ROBERT CHESTER himself, it is to be
lamented that no personal details have come down to us
concerning SIR JOHN SALISBURIE. It demands infinitely
more than rank and transient influence to keep a name
quick across the centuries. How pathetically soon the small
dust of oblivion settles down — not to be blown off — on
once noisy and noised lives ! So is it — spite of Chester
and Parry and Gryffyth — with our 'true-noble-knight.'
Introduction, xxi
One little after-link between a Salisbury and a Chester I
like to regard as going toward the identification of our
Chester along with Sir John Salisbury of Lleweni. It is this —
Our Sir Robert Chester, having two sons in the church, viz.,
Dr. Granado Chester, Rector of Broadwater, co. Sussex, and
Dr. Robert Chester, Rector of Stevenage ; it is found that
the former was in the gift of Sir Robert Salusbury of Llan-
whern, Monmouthshire, Baronet, of the same house. One
is willing to think that the ancient family friendship between
the two houses led to this ' presentation ' to a son of Sir
John Salisburie's friend by a Salisbury. It is likewise to be
recalled that the Chesters of Derbyshire — as we have seen —
would be brought into relation with the Salisburys by their
common opposition in the field to Perkin Warbeck, and in
support of Henry VII.
(c) WHO WERE MEANT BY THE ' PHCENIX ' AND THE
' TURTLE-DOVE ' OF THESE POEMS ? Turning to the
original title-page, we find that immediately succeeding
the large-type words :
"LOVES QMARTYR:
ROSALINS COMPLAINT."
are these other :
" A llegorically Jhadowing the truth of Lone,
in the'conftant Fate of the Phoenix
and Turtle"
Then below is this further or supplementary explanation :
" To these are added some new compositions, of seuerall moderne Writers
whose names are subscribed to their seuerall workes, vpon the
first fubieft : viz. the Phoenix and
Turtle."
D
xxii Introduction.
Looking next at " The Authors request to the Phoenix "
— which, as it is annexed to the Epistle-dedicatory to Sir
John Salisburie, l one of the Esquires of the bodie to the
Queenes mojl excellent Maieftie] so it is in itself a second
dedication, though not so designated — I ask the student-
reader to weigh the compliments in these Lines, and
especially these :
" Phoenix of beautie, beauteous Bird of any "
" That feedft all earthly fences with thy fauor "
"thy perfections paffing beautie "
I ask also that it be noted how the ' allegory ' of the birds
— as Phcenix and Turtle-dove — is incidentally, though not
I think accidentally, dropped even thus early, and two
things indicated (a) That the Author's poems in so far as
she, the ' Phoenix,' was concerned, sang the " home-writ
praises " of her ' love ' :
" Accept my home -writ praifes of thy loue "
(b) That he was not pleading for himself but another, viz.,
her ' loue' or he whom she loved. He seeks that she will
accept these " home-writ praises " and her ' kind accept
ance ' of him (the ' loue ' of the prior line)
"kind acceptance of thy Turtle-done"
Thus far the 'home-writ praises' are comparatively in "a
lowly flight " (p. 6); but in the Poems-proper all is exagger
ate and hyperbolical. As pointed out in the Notes and
Illustrations/r^?^7//^r,itvery soon appears that the 'Phoenix'
is a person and a woman, and the ' Turtle-doue ' a person
and a male, and that while, as the title-page puts it, the
poet is " Allegorically shadowing the truth of Love," it is a
genuine story of human love and martyrdom (Love's Martyr).
It further very evidently appears — as also shewn in the Notes
and Illustrations (p. 17, 1.4) that the ' Phoenix' was not woman
merely, but a queen, and queen of 'Brytaine' (Ibid). In
short, no one at all acquainted with what was the mode of
speaking of Queen Elizabeth to the very last, will hesitate
Introduction. xxiii
in recognizing her as the 'Rosalin' and 'Phoenix' of Robert
Chester, and the " moderne writers," of this book. Let the
reader keep eye and ear and memory alert, and he will (ineo
judicid] find throughout, that in Loves Martyr and the
related poems, he is listening to the every-day language of
the Panegyrists of the ' great Queen/ That is to say, apart
from theories, he will see that all the epithets, and much of
the description pointed, and could point alone, to Elizabeth.
Her ' beauty' and her kind of beauty, "beauty that excelled
all beauty on earth" — her 'princely eyes,' her 'majestical'
appearance, her palms kissed like a saint's, her chastity —
over and over celebrated — her ' deep counsels,' her fond
ness for and skill in music, her gift of poetry, her
eloquence, the " sweet accents of her tongue," her being a
' Phoenix,' ' Earth's beauteous Phoenix ' (p. 9), and a Phcenix
a prey to the want of a successor — all inevitably make us
think of Elizabeth, and none other possible. Let any one
who may hesitate, take NICHOLS' 'Progresses of Elizabeth*
and study the addresses in verse and prose or the incense of
flattery of the ' Devices ' and similar entertainments of her
nobles. It will surprize me if he hesitate longer. There is
this also to be remembered, that so peculiar, so fantastically
unique, was Elizabeth's position, that no one — with his
fortune to make — would have dared to write thus hyper-
bolically of any woman on English ground while Elizabeth
was alive, he thereby putting Elizabeth in the back-ground,
and infinitely below her. Even Sir Walter Raleigh in 1602,
i.e., subsequent to the date of Love's Martyr, thus closes a
letter to her Majesty: "And so most humblie imbracing
and admiringe the memory of thos celestial bewtyes, which
with the people is denied mee to revew, I pray God your
Majestie may be eternall in joyes and happines. Your
Majesty's most humble slaue."-f
* 2 vols., 4to. See Postscript to this Introduction, C, for quotations from
Nichols.
t Edwards' Life of Sir Walter Ralegh, vol. ii, p. 260 (2 vols., 8vo, 1868,
Macmillan. )
xxiv Introduction.
By my Notes and Illustrations I put it in the power of
anyone to confirm (or to confute if he may) this interpreta
tion of the ' Phoenix ' as intended for Elizabeth. I am not
aware that anyone has ever so much as hinted at the
interpretation ; but neither do I know that any one before
has read or studied the extremely rare book. The excep
tional interest of the " new compositions " by Shakespeare,
Ben Jonson, Chapman, Marston, and others, seems to have
over-shadowed the larger portion, and thereby, likewise, left
these " new compositions " without a key.*
This internal evidence, from Loves Martyr, as to
Elizabeth having been meant by the ' Phoenix ' is equally
established by external That is to say, another contem
porary Poet — and only supercilious ignorance will deny
the name to the author of The Tragedie of Shores Wife, were
there no more — THOMAS CHURCHYARD — the ' Old
* I must state that, having communicated my interpretation of the ' Phoenix '
and ' Turtle-dove ' to my dear friend and fellow- worker in Elizabethan-Jacobean
literature, Dr. Brinsley Nicholson of London, I was more than gratified to learn
that, on reading the proof-sheets of Lovers Martyr (which he had never been for
tunate enough to see previously) he had come to the same conclusions. Thus
wrought-out in absolute independence, the conclusions themselves may, perhaps,
be deemed all the more probable. I must add, that I have had the very great
advantage of Dr. Nicholson's reading of the entire proof-sheets of the text and of
my Notes and Illustrations. Nothing could exceed the enthusiasm and insight of
my richly-furnished friend, whose restored health we are all rejoicing over. As
I write this a letter reaches me from Dr. Nicholson with additional illustrations
and confirmations of the * Phoenix ' being Elizabeth — as follows:
"In reading Henry Peacham, M.A., his Minerva Britannia or Garden of
Heroicall Devices, 1612, a series of pictorial Impresas or Emblems, with verses
in English and Latin, glorifying James and his family and the chief men of rank
and note in England, I came across a passage which seems to shew that
Elizabeth had adopted the Phoenix as * her own ' Emblem. At the conclusion
he has a poetic vision in which Minerva Britannia, as I suppose, shows him a
hall filled with their Impresas and Emblems limned on the shields of renowned
Englishmen, both kings and peers; and having enumerated some he continues :
1 With other munberleffe befide,
That to haue feene each one's deuife,
How liuely limn'd, how well appli'de
Introduction. xxv
Palaemon' of Spenser's Colin Clout — had explicitly cele
brated Elizabeth, years before (1593), as the ' Phcenix.'
His 'Churchyard's Challenge* is so very rare and unknown,
that I think it well to reproduce here his celebrations ; for
as I take it, it makes what was before certain certainty
itself.
The Poems I refer to are these : (a) A fewe plaine verfes
of truth againft the flaterie of time, made when the Queens
Maieftie was lafl at Oxenford ; (6) A difcourfe of the only
Phoenix of the worlde ; (c) A praife of that Phenix ; (d) A
difcourfe of the ioy good subiects haue when they fee our
Phenix abroad ; (e) This is taken out of Belleaux made of
his own Miftreffe. The whole of these follow. I prefix the
Epistle-dedicatory of the entire volume, because in it the
' Queenes Maieftie,' as being the ' Phcenix/ is again
designated.
You were the while in Paradife :
Another fide fhe did ordaine
To fome late dead, fome lining yet,
Who fera'd Eliza in her raigne,
And worthily had honour'd it.
Where turning trift I fpide aboue,
HER OWN DEAR PHCENIX HOVERING,
Whereat me thought in melting Loue,
Apace with teares mine eies did fpring ;
But Foole, while I aloft did looke,
For her that was to Heauen flowne,
This goodly place, my fight forfooke,
And on the fuddaine all was gone. '
It is worth adding, that in the body of the book, Peacham gives the Phoenix to
Cecil." It maybe recalled here that Shakespeare put the 'emblem' of the
' Phcenix ' into Cranmer's mouth at the baptism of Elizabeth — as thus:
" Nor shall this peace sleep with her; but, as when
The bird of wonder dies, the maiden phoenix,
Her ashes new create another heir
As great in admiration as herself,
So shall she leave her blessedness to one. "
(Henry VIII, act v, sc. 5, 11. 39~43-)
Cf. also my edition of Sylvester, p. 5, for kindred prefatory compliment.
M
xxvi Introduction.
I. The Epiflle-dedicatory of " Churchyards Challenge. " (1593.)
To the right worihipfull the Ladie
Anderfon, wife to the right honorable
Lord chiefe luflice of the common
Pleas.
Y boldnes being much, may paffe the bounds
of duty, but the goodnes of your honourable
husband (good Madame) paffeth fo farre the
commendacion of my pen ne, that vnder his
iudgement and fhield (that is fo iuft a Judge) I make a
fauegard to this my prefumption, that hazardeth where
I am vnknowen to prefent any peece of Poetrie or mat
ter of great effect, yet aduenturing by fortune, to giue
my Lady your fifler fomewhat in the honour of the
Queenes Maieflie, in the excellencie of her woorthy
praife'that neuer can decay ; I haue tranflated some ver-
fes out of French, that a Poet feemed to write of his
owne miftreffe, which verfes are fo apt for the honou
ring of the Phenix of our worlde, that I cannot hide
them from the fight of the worthy, nor dare commit fo
groffe a fault as to let them die with my felfe : wherfore
and in way of your fauour in publifhing thefe verfes, I
dedicate them to your good Ladifhippe, though not fo
well penned as the firft Authour did polifli them, yet in
the beft manner my mufe can affoorde, they are plainly
expreffed, hoping they shalbe as well taken as they
are ment, fo the bleffed and great Judge of
all daily blcffe you.
II. A few plaine verfes of truth again ft the flaterie of time, made
when the Queens Maieflie was lafl at Oxenford.*
SIth filent Poets all,
that praife your Ladies fo :
My Phenix. makes their plumes to fall,
that would like Peacockes goe.
Some doe their Princes praife,
and Synthia fome doe like :
And fome their Miftreffe honour raife,
As high as Souldiers pike.
Come downe yee doe prefmount, [sic]
the warning bel it founds :
* In the Contents it is entitled "A difcourfe of the only Phenix of the worlde."
Lady Anderson, supra, was Magdalen, d. of Christopher Smyth, of Annables,
co. Herts.
Introduction. xxvii
That cals you Poets to account,
for breaking of your bounds.
In gluing fame to thofe,
faire flowers that foone doth fade :
And cleane forget the white red rofe,
that God a Phenix made.
Your Ladies alfo doe decline,
like Stars in darkfome night :
When Phenix doth like Phoebus mine,
and leancls the world great light.
You paint to pleafe defire,
your Dame in colours gay :
As though braue words, or trim attire,
could grace a clod of clay.
My Phenix needs not any art,
of Poets painting quil :
She is her felfe in euerie part,
fo fhapte by kindly fkil.
That nature cannot wel amend:
and to that fhape moft rare,
The Gods fuch fpeciall grace doth fend,
that is without compare.
The heauens did agree,
by conftellations plaine :
That for her vertue fhee fhould bee the only queene to raigne,
(In her moft happie daies) and carries cleane awaie :
The tip and top of peerleffe prayfe, if all the world fay nay,
Looke not that I fhould name, her vertue in their place,
But looke on her true well- won fame, that anfwers forme & face.
And therein fhall you read, a world of matter now,
That round about the world doth fpread her heauenly graces throw.
The feas (where cannons rore) hath yeilded her her right,
And fent fuch newes vnto the more, of enemies foile and flight.
That all the world doth found, the glorie Phenix gote
Whereof an eccho doth rebound, in fuch a tune and note,
(That none alive fhall reatch) of Phenix honor great,
Which fhall the poets mufes teach, how they of her fhold treat.
O then with verfes fweete, if Poets haue good ftore,
Fling down your pen, at Phenix feet, & praife your nimphes no more.
Packe hence, fhe comes in place, a ftately Royall Queene :
That takes away your Ladies grace, as foone as fhe is feene.
FINIS.
xxviii Introduction.
III. A praife of that Phenix.*
Verfes of value, if Vertue bee feene,
Made of a Phenix, a King, and a Queene.
My Phenix once, was wont to mount the fkies,
To fee how birdes, of bafer feathers flew :
Then did her Port and prefence pleafe our eies :
Whofe abfence now, breeds nought but fancies new.
The Phenix want, our court, and Realme may rue.
Thus fight of her, fuch welcome gladnes brings,
That world ioeis much, whe Phenix claps her wings.
And flies abroad, to take the open aire,
In royall fort, as bird of ftately kinde :
Who hates foul ftorms ; and loues mild weather fair,
And by great force, can lore the bloftring wind, —loiver
To fhew the grace, and greatnes of the minde,
My Phenix hath, that vertue growing greene,
When that abroad, her gracious face is feene.
Let neither feare of plagues, nor wits of men,
Keepe Phenix clofe, that ought to liue in light :
Of open world, for abfence wrongs vs then,
To take from world, the Lampe that giues vs light,
O God forbid, our day were turnde to night,
And fhining Sunne, in clowds fhould fhrowded be,
Whofe golden rayes, the world defires to fee.
The Dolphin daunts, each fifh that fwims the Seas,
The Lion feares, the greateft beaft that goes :
The Bees in Hive, are glad theyr King to pleafe,
And to their Lord, each thing their duety knowes.
But firft the King, his Princely prefence fhowes,
Then fubiects ftoopes, and proftrate fals on face,
Or bowes down head, to giue their maifter place.
The funne hath powre, to comfort flowrs and gras,
And purge the aire, of foule infections all :
Makes ech thing pure, wher his clear beams do paffe,
Draws vp the dew, that mifts and fogs lets fall :
My Phenix hath, a greater gift at call,
For vaffalls all, a view of her doe craue,
Becaufe thereby, great hope and hap we haue.
* I take this heading from the 'Contents,' — there is added, "and verfes
tranflated out of French." Throughout these poems of Churchyard there are
various instances of verb singular after nominative plural.
Introduction. xxix
Good turnes it brings, and fuiters plaints are heard,
The poore are pleafde, the rich fome purchafe gains,
The wicked blufh : the worthy wins reward,
The feruant findes a meanes to quit his paines :
The wronged man, by her fome right attaines.
Thus euery one, that help and fuccour needes,
In hard diftreffe, on Phenix fauour feedes.
But from our view, if world doe Phenix keepe,
Both Sunne, and Moone, and ftars we bid farewell,
The heauens mourne, the earth will waile and weep.
The heauy heart, it feeles the paines of Hell,
Woe be to thofe, that in clefpaire doe dwell.
Was neuer plague nor peftlence like to this,
When foules of men haue loft fucli heauenly bliffe.
Now futers all, you may fhoote vp your plaints
Your Goddes now, is lockt in fhrine full faft :
You may perhaps, yet pray vnto her Saints.
Whose eares are ftopt, and hearing fare is paft,
Now in the fire, you may fuch Idols caft.
They cannot helpe, like ftockes and ftones they bee,
That haue no life, nor cannot heare nor fee.
Till that at large, our royall PJienix comes,
Packe hence poore men, or picke your fingers endes,
Or blow your nailes, or gnaw and bite your thombs,
Till God aboue, fome better fortune fends.
Who here abides, till this bad world emends,
May doe full well, as tides doe ebbe and flow,
So fortune turnes, and haps doe come and goe.
The bodies ioy, and all the ioints it beares,
Lies in the head, that may commaund the reft :
Let head but ake, the heart is full of feares,
And armes acroffe, we clap on troubled breft :
With heauy thoughts, the mind is fo oppreft,
That neather legs, nor feete haue will to goe,
As man himfelfe, were cleane orecome with woe.
The head is it, that flill preferues the fence.
And feekes to faue, each member from difeafe :
Devife of head, is bodies whole defence,
The fkill whereof, no part dare well difpleafe :
For as the Moone moues vp the mighty Seas,
So head doth guide the body when it will,
And rules the man, by wit and reafons fkill.
xxx Introduction.
But how fliould head, indeede doe all this good,
When at our neede, no vfe of head we haue :
The head is felt, is feene and vnderftood.
Then from difgrace, it will the body faue.
And otherwife, fick man drops dovvne in graue.
For when no helpe, nor vfe of head we finde,
The feete fals lame, and gazing eies grow blinde.
The lims wax ftiffe, for want of vfe and aide,
The bones doe dry, their marrow waste away :
The heart is dead, the body Hues afraide,
The fmnowes mrinke, the bloud doth ftill decay :
So long as world, cloth want the Star of day,
So long darke night, we (hall be fure of heere, ;
For clowdy ikies, I feare will neuer cleere.
God fend fome helpe, to falue fick poore mens fores,
A boxe of baulme, would healc our woundes vp quite
That precious oyle, would eate out rotten cores,
And giue great health, and man his whole delighte.
God fend fome funne, in frostie morning white,
That cakes of yce may melt by gentle thaw,
And at well-head wee may fome water drawe.
A Riddle.
Wee wifli, wee want, yet haue what we defire :
We freefe, wee burne, and yet kept from the fire.
FINIS.
IV. A difcourfe of the ioy good fubie6ls haue when they fee our
Phenix abroad. *
This is to be red fiue ivaies.
IN hat a fauour worne, a bird of gold in Britaine land,
In loyall heart is borne, yet doth on head like Phenix {land.
To fet my Phenix forth, whofe vertues may the al furmout.
An orient pearle more worth, in value, price & good account.
The gold or precious ftone, what tong or verfe dare her diftain,
A peerelefle paragon, in whom fuch gladfome gifts remaine.
Whofe feemly fhape is wroght as out of wax wer made ye mold
By fine deuiie of thought, like Ihrined Saint in beaten gold :
Dame Nature did difdaine, and thought great fcorn in any fort,
To make the like againe, that mould deferue fuch rare report.
Ther needes no Poets pen, nor painters pencel, come in place,
* This heading is from the ' Contents.'
Introduction. xxxi
Nor flatting frafe of men, whofe filed fpech giues ech thing grace,
To praife this worthy dame, a Nimph which Dian holds full deer
That in fuch perfect frame, as mirror bright & chriftal cleer
Is fet out to our view, threefold as faire as shining Sunne,
For beauty grace and hue, a worke that hath great glory won,
A Goddes dropt from fky, for caufes more than men may know,
To pleafe both minde & eie for thofe that dwels on earth below,
And (hew what heauenly grace, and noble fecret power diuine
Is feene in Princely face, that kind hath formd & framd fo fine.
For this is all I write, of facred Phenix ten times bleft,
To fhew mine own delite, as fancies humor thinketh beft.
FINIS.
V. This is taken out of Belleau made of his own
Miflreffe.*
Sad sighes doth fhew, the heat of heartes defire,
And forrow fpeakes, by fignes of heauie eyes :
So if hot flames, proceed from holly fire,
And loue may not, from vicious fancies eyes
In tarrying time, and fauour of the fkies,
My only good, and greateft hap doth lie :
In her that doth, all fond delight difpies :
Than turne to mee, fad fighes I mall not dye.
If that bee fliee, who hath fo much mee bound,
And makes me hers, as I were not mine owne :
She moft to praife, that maie aliue be founde,
Moft great and good, and gracious througly knowne.
Shee all my hope, in briefe yea more than mine,
(That quickly maie, bring life by looke of eye)
Than come chaeft fighes, a close record diuine,
Returne to mee, and I (hall neuer dye.
If from young yeares, mee gainde the garland gaye,
And wan the price, of all good giftes of grace : —prize
If princely port, doe vertuous minde be wraie,
And royall power, be found by noble face,
If (hee bee borne, moft happie graue and wife,
A Sibill fage, fent downe from heauens hie,
O fmothring fightes, that faine would clofe mine eyes,
Returne to mee, fo fhall I neuer die.
* While this piece has nothing of the ' Phoenix ' in it, it is equally good for
our purpose, as shewing how Elizabeth was addressed (as in Chester) by the
titles of ' Sun, ' &c.
xxxii Introduction,
If mod vpright, and faire of forme fhee bee,
That may beare life, and fweeteft manner fhowes,
Loues God, good men, and Countries wealth doth fee,
A queene of kinges, all Chriftian princes knowes,
So iuftly lines, that each man hath his owne,
Sets ftraight each ftate, that elfe would goe awrie :
Whereby her fame, abroad the world is blowne,
Then feace fad fighes, fo mall I neuer die.
If fliee the heart of Alexander haue,
The fharpe efprite, and hap of Haniball,
The conftant mind, that Gods to Scipio gaue,
And Caefars grace, whofe triumphs paffed all,
If in her thought, do dwell the iudgement great,
Of all that raignes, and rules from earth to fkie :
(And fits this houre, in throne and regall feate),
Come fighes againe, your maifter cannot die.
If me be found, to taft the pearcing ayr,
In heate, in colde, in froft, in fnowe and rayne :
As diamond, that mines fo paffing faire,
That funne nor moone, nor weather cannot ftaine :
If blaftes of winde, and ftormes to beautie yelde,
And this well fpringe, makes other fountaines drye,
(Turnes tides and floodes, to water baraine feeld,)
Come fighes then home, I liue and cannot die.
If her great giftes, doth daunt dame fortunes might,
And me haue caught the hayres and head of hap :
To others hard, to her a matter light,
To mount the cloudes, and fall in honours lap.
If fhee her felfe, and others conquers too,
Liues long in peace, and yet doth warre defie :
As valiaunt kinges, and vertuous victors doe,
Then fighe no more, o heart I cannot die.
If fuch a prince, abafe her highneffe than,
For some good thing, the world may geffe in mee :
And iloupes fo low, too like a fillie man,
That little knowes, what Princes grace may bee.
If fhee well waie, my faith and feruice true,
And is the iudge, and toutch that gold (hall trie :
That colour cle'ere, that neuer changeth hue,
Heart figh no more, I liue and may not die.
If I doe vfe, her fauour for my weale,
By reafon off, her gracious countenance ftili :
And from the funne, a little light I fteale,
To keepe the life, in lampe to burne at will.
Introduction. xxxiii
If robberie thus, a true man may commit,
Both I and mine, vnto her merits flie :
If I prefume, it fpringes for want of wit,
Excufe me than, fad fighes or elfe I die.
If fhee do know, her fhape in heart I beare,
Engraude in breaft, her grace and figure is,
Yea day and night, I thinke and dreame each where,
On nothing elfe, but on that heauenly bliffe,
If fo transformde, my mind and body Hues,
But not confumde, nor finde no caufe to cry,
And waite on her, that helpe and comfort giues ,
Than come poore fighes, your maifter shall not die.
If me behold, that here I wifli no breath,
But Hue all hers, in thought and word and deede :
Whofe fauour loft, I craue but prefent death,
Whofe grace attaind, lean foule full fat fliall feede.
If any caufe, do keepe her from my fight,
I know no world, my felf I fliall deny,
But if her torch, doe lend my candle light,
Heart figh no more, the body doth not die.
But if by death, or fome difgrace of mine
Through enuies fting, or falfe report of foes,
My view be bard, from that fweete face diuine.
Beleeue for troth, to death her feruaut goes,
And rather fure, than I fliould ill conceiue :
Sighes mount to Ikies, you know the caufe and why.
How here below, my lufty life I leaue,
Attend me there, for wounded heart mutt die.
If fhee beleeue, without her prefence here,
That anything, may now content my mindc :
Or thinke in world, is fparke of gladfome cheere,
Where fhee is not, nor I her prefence finde :
But all the ioys, that man imagine may,
As handmaides wayt, on her heere vnder fky,
Then fighes mount vp, to heauens hold your way,
And flay me there, for I of force mull die.
If I may feare, that fragill beauty light,
Or femblance faire, is to be doubted fore :
Or my vaine youth, may turn with fancies might
Or fighes full falles fains griefe or torment more,
Than heart doth feele, then angry flars aboue,
Doe band your felues, gainfl me in heauens hie.
And rigor worke, to conquer conflant loue,
Mount vp poore fighes, here is no helpe, I die.
xxxiv Introduction.
And fo fad fighes, the witnes of my thought,
If loue finde not, true guerdon for good will :
Ere that to graue, my body fhalbe brought,
Mount vp to clowds, and there abide me ftill,
But if good hope, and hap fome fuccour fend,
And honor doth, my vertuous minde fupply,
With treble bliffe, for which I long attend,
Returne good fighes, I mean not now to die.
Tranflated out of French, for one that is bounde much to Fortune.
FINIS.
It were easy to multiply contemporary and funereal
' flatteries ' of Elizabeth under the name of the * Phoenix/
and from Cynthia in Spenser to the Rosalind and Orianas
of many 'Madrigals,'* and Atropeion Delion of Thomas
Newton (1603), shew that she was even to old age< re
ceptive of the loftiest names and the most celestial praise,
especially if they lauded her 'beauty' or her intellect. But
for our present purpose more cannot be required.
Having thus determined that Elizabeth was the ' Phoenix/
I proceed now to inquire who was intended by the ' Turtle-
doue.' As with the * Phoenix/ I must request attention to
our Notes and Illustrations on the places wherein the
' Turtle-doue ' occurs. It will there be found that, contrary
to ordinary usage, the ' Turtle-doue ' is distinctly ' sung ' of
as a male, by the necessities indeed of the ' love ' relations
sustained towards the ' Phoenix/ and of the ' Phoenix '
towards the 'Turtle-doue/ e.g.:
Nature.
" Fly in this Chariot, and come fit by me,
And we will leaue this ill corrupted Land,
We'll take our courfe through the blue Azure fkie,
And fet our feete on Paphos golden fand.
There of that Turtle Done we'll vnderftand :
And visit HIM in thofe delightful plaines,
Where Peace conioyn'd with Plenty ftill remaines. " (p. 32. )
It will also be found that, as with Elizabeth as the ' Phoenix,'
* 6ee an interesting paper on ' Madrigals ' in honour of Elizabeth in Notes
and Queries, first series, vol. iv, pp. 185-188. See Postscript D for additional
' Phoenix ' references, &c.
Introduction. xxxv
so with the ' Turtle-doue,' epithet and circumstance and the
whole bearing of the Poems, make us think of but one pre
eminent man in the Court of Elizabeth. Let the Notes
and Illustrations on portions of these Poems relative to the
' Turtle-doue ' be critically pondered ; and unless I err
egregiously, it will be felt that only of the brilliant but
impetuous, the greatly-dowered but rash, the illustrious
but unhappy Robert Devereux, second earl of Essex, could
such splendid things have been thought. Inevitably
' Liberal Honour ' and ' Love's Lord/ are accepted as his
titles of right ; while his Letters to Elizabeth and of
Elizabeth to him reveal the 'envy' and 'jealousy' and
hatreds against which he fought his way upward.-)- I invite
prolonged scrutiny of this description and portraiture :
" Hard by a running ftreame or cry flail fountaine,
Wherein rich Orient pearle is often found,
Enuiron'd with a high and fteepie mountaine,
A fertill foile and fruitful plot of ground,
There fhalt thou find true Honors louely Squire,
That for this Phoenix keepes Prometheus fire.
His bower wherein he lodgeth all the night,
Is fram'd of Caedars and high loftie Pine,
I made his houfe to chaftice thence defpight,
And fram'd it like this heauenly roofe of mine :
His name is Liberall honor, and his hart,
Aymes at true faithfull feruice and defart.
Looke on his face, and in his browes doth fit,
Bloucl and fweete Mercie hand in hand vnited,
Bloud to his foes, a prefident moft fit
For fuch as haue his gentle humour fpited :
His Haire is curl'd by nature mild and meeke,
Hangs careleffe downe to fhroud a bluming cheeke.
Giue him this Ointment to annoint his Head,
This precious Balme to lay vnto his feet,
Thefe mall dired him to the Phoenix bed,
Where on a high hill he this Bird fhall meet :
And of their Aflies by my doome fhal rife,
Another Phoenix her to equalize." (pp. 19-20.)
t See Lives and Letters of the Devereux, Earl of Essex, &c., &c. By the
Hon. W. B. Devereux, 2 vols. 8vo., 1853. (Murray.)
x xx v i In tr eduction
The ' Turtle Dove/ as thus described, was then in ' Paphos
island ' ; and what was meant by it will appear in the sequel.
But I ask any one familiar with the men and events of the
reign of Elizabeth, if Essex is not instantly suggested by
these and parallel passages and allusions in Love's Martyr}
This being so, we would expect that Essex will be found
elsewhere similarly described ; and if, in giving Churchyard's
remarkable * Phoenix ' poems, I felt that I was by them
placing our interpretation beyond cavil, I have much the
same conviction in now submitting certain extracts from a
poem avowedly in his honour, when he was in the golden
sunshine (yet not without broad shadows) of his favour with
Elizabeth. I refer to "An Eglogve Gratvlatorie. Entitled:
To the right honorable, and renowned Shepheard of Albions
Arcadia: Robert Earle of Essex and Ewe, for his welcome
into England from Portugall. Done by George Peele."
(1589.)*
Let these speak for themselves, by help of our italics
occasionally :
Piers.
" Of arms to fmg I haue nor luft nor fkill ; listl
Enough is me to blazon my good-will,
To welcome home that long hath lacked been,
One of the jollieft fhepherds of our green;
16, io paean!
Palinode.
Tell me, good Piers, I pray thee tell it me,
What may thilk jolly fwain or (hepherd be,
Or whence y-comen, that he thus welcome is,
That thou art all fo blithe to fee his bliffe ?
Piers.
.... Thilk fhepherd, Palinode, whom my pipe praifeth,
Where glory my reed to the welkin raifeth,
He's a great herdgroom, certes, but no fwain,
Saue hers that is thefl<nuer of Phcebe1 s plain\
16, io paean!
* Dyce's Greene, pp. 559-563, I vol., 8vo, 1861. It is much to be regretted
that, here as invariably, so competent a scholar and so noble a worker as the
late Mr. Dyce modernized the orthography of his texts, thereby obliterating all
philological and critical value.
Introduction. xxxvii
He's well-allied and loved of the befl,
Well-thew'd, fair and frank, and famous by his creft;
His Rain-deer, racking with proud and {lately pace,
Giveth to his flock a right beautiful grace;
16, io paean!
He waits where our great ihepherdefs doth wun,
He playeth in the (hade, and thriveth in the fun;
He fliineth on the plains, his lufty flock him by,
As when Apollo kept in Arcady;
16, io paean!
Fellow in arms he was in their flow'ring days
With that great fhepherd, good Philifides; Sir Philip Sidney
And in fad fable did I fee him dight,
Moaning the mifs of Pallas' peerlefs knight;
16, io pseanl
With him he ferv'd, and watch'd, and waited late,
To keep the grim wolf from Eliza's gate; \_Anjou, Tyrone, &>?.]
And for their miftrefs, thoughten thefe two fwains,
They moughten neuer take too mickle pains;
16, io psean!
But, ah for grief ! that jolly groom is dead,
For whom the Mufes, filver tears have flied ;
Yet in this lovely fivain, fource of our glee,
Mtin all his virtues fiveet reviven be ;
16, io pceanl "
Again :
Palinode.
" Thou foolifh fwain that thus art over-joy'd,
How foon may here thy courage be accoy'd !
If he be one come new from weftern coaft,
Small caufe hath he, or thou for him to boaft.
I fee no palm, I fee no laurel boughs
Circle his temples or adorn his brows j
I hear no triumphs for this late return,
But many a herdsman more difpos'd to mourn.
Piers.
Pale looked thou, like fpite, proud Palinode ;
Venture doth lofs, and war doth danger bode :
But thou art of thofe harvefters, I fee,
Would at one (hock fpoil all the filberd tree ;
16, io psean!
For (hame, I fay, give virtue honour's duel
I'll pleafe the fhepherd but by telling true :
xxxviii Introduction,
Palm inayil Ihou fee and bays about his head,
That all his flock right fonvardly hath led ;
16, id paean! "
Then comes ENVY, as so frequently in Love's Martyr ami
the Essex letters (to and from), with sinister influence : —
" But woe is me, lewd lad, fame's full of lie?,
ENVY DOTH AYE TRUE HONOUR'S DEEDS DESPISE,
Yet chivalry will mount with glorious wings
SPITE ALL, AND NESTLE NEAR THE SEAT OF KlNGS |
7o, IQ pfcau\
Finally, Chester's ' Liberall Honor' is introduced :—
" O HONOUR'S FIRE, that not the brackiih fea
Mought quench, nor foeman's fearful 'larurns lay!
So high thofe golden flakes done mount and climb
That they exceed the reach of fhepherds rhyme ;
7w, io pecan!
Palinode.
What boot thy welcomes, foolifh-hardy fwaiu 1
Louder pipes than thine are going on the plain ;
Fair Eliza's laffes and her great grooms
Receive this fhepherd with unfeign'd welcomes.
HONOUR is in him that doth it beflow
Piers.
So ceafe, my pipe, the worthies to record
Of thilk great fhepherd, of thilk fair young lord"
The line of Palinode,
" HONOUR is in him that doth it beftow,"
as well as the title of ''Liberal Honour] refers doubtless,
among other things, to the dubbing of knights by Essex as
commander-in-chief — a matter which caused much 'evil-
speaking ' and jealousy.
Subsidiary to this specially noticeable poem of GEORGE
PEELE is another by THOMAS CHURCHYARD. Intrinsically
it is of little or no poetical value ; but from its direct bear
ing on our interpretation of ' Paphos Isle/ — as in Love's
Martyr, designating Ireland, — it has no common interest.
For it is a Greeting to Essex on his departure for Ireland
to put down the rebellion of Tyrone. There is nothing of
Introduction. xxxix
that exaggerate laudation of Essex common at the period ;
but the very homeliness and humbleness of the poem serve
the better to reflect the gravity of his summons to do this
service for his Queen. One phrase in the Epistle-dedicatory
gives a parallel to Shakespeare's assurance of welcome on
return, and to us now the quaintest possible use of the word
' impe.' The august names, e.g., Scipio, Mars, and the like,
tell us of the popular conception of the hero of the Expedi
tion ; and in relation to the ' Liberal Honour* of Love's
Martyr, it does not look like a mere coincidence that
Churchyard names Essex 'Honour ' — " Who must ask grace
on knees at Honor's feet " (p. xlii, 1. 26). I deem it well to
reproduce the whole, from (it is believed) the unique ex
emplar in the British Museum. Unfortunately the head
line of the opening of the poem is cut off by the binder, and
only the word 'happy' can be guessed at in it. The title-
page is as follows :
THE
FORT VN ATE FAREWELL
to the moft forward and noble Earle
of Effc.v, one of the honorable priuic
Counfel, Earle high Marfhal of Eng-
lund, Mafier of the horfe, Maftcr of the
ordinance, Knight of the garter, &°
Lord Lieutenant general of all
the Queenes Maiefties
forces in Ireland.
Dedicated to the right Honorable the Lord
HARRY SEAMER, fecond fonne
to the laft Duke of
Sommerfet.
Written by Thomas Churchyard
Efquire.
Printed at London by Edm. Bollifant,
for William Wood at the Weft
doore of Powles.
1599
Next comes the Epistle-dedicatory — following up the odd
mention of his name in the title-page — to Henry, second
son of the Duke of Somerset, by his second wife, Anne,
xl Introduction.
daughter of Sir Edward Stanhope, Knt. Churchyard calls
him ' the Lord Harry ' by courtesy ; for of course when his
father was stripped of his titles, those of the sons also fell.
But he was knighted, though no record of this appears to have
been preserved. Dr. Chester has notes of the administration
to his estate, dated 6 February, 1606-7, when he was de
scribed as Sir Henry Seymour, Knt., of St. Anne, Blackfriars,
London, the letters being granted to his sister, Lady Mary
Rogers. He married Lady Joan Percy, third daughter of
Thomas, seventh Earl of Northumberland, but died without
issue ; and as his sister administered his estate Lady Sey
mour probably died before him. The Epistle thus runs :
7!? the right honorable the L. Harry Seamer
Thomas C/tun/iyard\vi(heih continuance of
vertue, bleffedneffe of minde, and
wifhed felicitie.
IN all duty (my good Lord) I am bold, becaufe your mod honorable father
the Duke of Sommerfet (vncle to the renowmed impe of grace noble King
Edward the fixt) fauoured me when I was troubled before the Lords of the
Counfell, for writing fome of my firft verfes : in requitall whereof, euer fince I
haue honored all his noble race, and knowing your Lordfhip in fea feruices
forward and ready in all honorable maner (fparing for no charges) when the
Spanyards approched neere our countrie, I bethought me how I might be
thankfull for good turnes found of your noble progenie:* though vnable there
fore, finding my felfe vnfurnifhed of all things woorthy prefentation and accept
ance, I tooke occafion of the departure of a moft woorthy Earle towardes the
feruice in Ireland, fo made a prefent to your Lordfhip of his happy Farewell as I
hope : and truft to Hue and fee his wifhed welcome home. This Farewell onely
deuifed to flirre vp a threefold manly courage to the mercenarie multitude
of foldiers, that follow this Marfhall-like [Martial-like] General!, and efpecially
to mooue all degrees in generall loyally to ferue our good Queene Elizabeth,
and valiantly to go through with good refolution the acceptable feruice they take
in hand. Which true feruice fhall redouble their renowne, and enroll their
names in the memoriall-booke of fame for euer. I feare I leade your Lordfhip
too farre with the flourifh of a fruitleffe pen, whofe blandifhing phrafe makes
many to gaze on, and few to confider well of and regarde. My plot is onely laide
to purchafe good will of vertuous people: what the reft thinke, let their mifcon-
ftruing conceits anfwere their owne idle humors. This plaine prefent winning
your Lordf hips good liking, fhall paffe with the greater grace to his honorable
* = descent, or as we would say, ancestry, i.e., the ' before-births, ' a sense
common at that time. Cf. Shakespeare and Lwfs Martyr.
Introduction. xli
hands, that the praiers & power of good men waites willingly vpon towards
the reformation of wicked rebellion.
Your L. in all at commandement, Thomas Churchyard.
And now we reach the poem itself:*
and foi~ivard mojl noble
Earle of E/ex.
NOw SciPlO fails to Affrick far from lioem,
The Lord of hoefts, and battels be his gied :
Now when green trees, begins to bud and bloem,
On Irifh fcas, ELIZAS (hip fliall vied ;
A warliek band, of worthy knights I hoep,
Aer armd for fight, a bloedy brunt to bied ;
With rebels fliall, boeth might and manhood coep,
Our contreis right, and quarrell to be tried :
Right macks wrong blufli, and troeth bids falihed fly,
The fword is drawn, TYROENS difpatch draws ny.
A traitor muft be taught to know his king,
When MARS flial march, with fhining fword in hand,
A crauen cock, cries creak and hangs down wing,
Will run about the fhraep and daer not ftand, L/7^^?]
When cocks of gaem, corns in to giue a bloe ;
So falfe TYROEN, may faint when he would fight,
Thogh now alowd, on dunghill doth he croe ;
Traitors wants hart, and often taeks the flight :
When rebels fee, they aer furpriefd by troeth,
Pack hence in haeft, away the rebels goeth.
Proud trecherous trafh, is curbd & knockt with bloes,
Hy loftie mindes, with force are beaten down :
Againft the right, though oft rued rebels roes,
Not oen fped well, that did impeach a crowne.
Read the Annaels, of all the Princes paft,
Whear treafons ftill, are punifht in their kinde,
Thear fliall you fee, when faithfull men ftand faft,
Falfe traytors ftill, are but a blaft of winde :
For he that fail formd kings and all degrees,
The ruel of ftates, and kingdoms ouerfees.
Riot and rage, this rank rebellion breeds ;
Hauock and fpoyl, fets bloudflied fo abroetch,
Troethles attempts, their filthy humor feeds,
Raflines runs on, all hedlong to reproetch :
* The spelling of Churchyard is so peculiar in this poem that I must state
that our text is an exact reproduction of the original throughout. We have here
a most noticeable example of a then common practice of making rhyming words
agree in spelling, e.g\, 1L I and 3 ; II. 2, 4, 6, £c., &c.
xlii Introduction.
Boldnes begact theas helhounds all a roc,
The ions of fhaem, and children of Gods wracth;
With woluiih minds, lielc breetchles beares they goe
Throv/ woods and bogs, and many a crooked pueth
Lying liek dogs, in litter, dung and ilrawe,
Rued as brtiet beafts, that knoes ne ruel nor la we.
Foflred from faith, and fear of God or man,
Vnlernd or lauglit of any graces good,
Nurft vp in vice, whear falfehed firfl began,
Mercyles boern, ft ill (heading guiltles blood.
Libertines lewd, that all good order haets,
Murtherers viel, of wemen great with child e,
Cruel! as kiets, defpifing all eftaets,
Diuliflily bent, boeth curriili, ftern and wihle :
Their whole deuice, is rooet of mifeheeues all,
That feeks a plaeg, on their own lieds to fall.
Will God permit, fuch monflers to bear fway ?
His iuflice haets, the fteps of tyrants flill,
Their damnable deeds, cranes vengeance euery day ;
Which God doth fcourge, by his own bleffed will.
He planteth force, to fling down feeble ftrength,
Men of mutch worth, to weaken things ofnoght,
Whoes cloked craft, (hall fuer be feen at length,
When vnto light, dark dealings (hall be broght :
Sweet ciuill Lords, (hall fawfy fellowes meet,
Who muft ask grace, on knees at honors feet.
Ruednes may range awhile in ruffling fort,
As witleffe wights with wanclring maeks world nu;cs
But when powre corns, to cut prowd pra-flifc flicrt,
And fiioe by fword, how fubiecls Prince abues,
Then confliens mail Peccaui cry in feeld,
Tremble and quaek, mutch liek an Afpin leaf,
But when on knees, do conquerd capliues yeeld,
The victor turns his hed as he wear deaf :
Rue th is grown cold, reuenge is hot as fier,
And mercy fits with frowns in angry attier.
World paft forgaue great faults, and let them pas,
Time prefent loeks on futuer lime to com.
All aegis fawe their follies in a glas,
Yet were not taught, by time nor found of drom.
This world groes blinde, and neither fees nor heers,
Their fenfes fail, the wits and reafon faints,
Old world is waxt worm-eaten by long yeers,
And men becom, black diuels that were faints :
Vet Gods great grace, this wretched cans reforms,
And from fayr flows, weeds out the wicked worms.
Introduction. xliii
They com that (hall reclreiTe great things amis,
Pluck vp the weeds, plant rofes in their place.
No violent thing enduers long as hit is,
Falfehed flies fafl, from fight of true mens face,
Traitors do fear the plaegs for them prepard
And hieds their heds, in hoels when troeth is feen.
Tho[u]gh[t] graceleffe giues to duty fmall regard,
Good fubiects yeelds obedience to their Queen :
In quarrels iuft, do thoufands offer liues,
They feel fowl bobs that for the bucklars ftriues.
This Lord doth bring, for ftrength the fear of God,
The loue of men, and fword of iuftice boeth,
Which three is to TYROEN an iron rod,
A birchin twig, that draws blood wliear hit goeth. [ -^ it ]
When IOAK went, to vvarr in DAVIDS right,
He broght hoem peace, in fpite of enmies beard,
For IOZIAS, the Lord above did fight,
With Angels force, that made the foes afeard :
The world doth fliaek, and tremble at his frown,
Whoes beck foon cafts the brags of rebels down.
Stand faft and fuer, falfe traitors turns their back,
True fubiecls veaw, maeks haerbrain rebels blufh ;
Stout heauy bloes, maeks liigheft trees to crack,
An armed pick, may brauely bied a pufli :
Wheel not about, ftand ftiffe liek brazen wall,
For that's the way, to win the feeld in deed ;
Charge the foer front, and fee the enmies fall,
The cowards brag, is but a rotten reed :
Victors muft beare the brunt of eury fhock,
A conftant minde, is liek a ftony rock.
Farewell fweet Lords, Knights, Captains and the reft,
Who goes with you, taeks threefold thankfull pain,
Who fets you forth, is ten times treble bleft,
Who ferues you well, reaps glory for their gain,
Who dies fhall Hue, in faem among the bed,
Who liues fhall loek and laugh theas broils to fcorn :
All honeft harts, doth ciuill warr deteft,
And curfe the time that ear TYROEN was bom :
We hoep good hap waits on the fleet that goes,
And Gods great help, fhall clean deftroy our foes.
FINIS.
I venture to assume that I have sufficiently answered our
question, Who were meant by the 'Phoenix' and the
' Turtle-dove ' of these Poems ? I must hold it as demon-
xliv Introduction.
strated, that the ' Phoenix ' was Elizabeth and the ' Turtle
Dove ' Essex.* No one has, hitherto, in any way thought
of this interpretation of the ' Turtle Dove ' any more than
the other of the ' Phoenix ' ; but none the less do I hope for
acceptance of it.f
Our interpretation of Chester's ' Phoenix ' and ' Turtle
Dove' is the more weighty and important, in that it for the
first time enables us to understand Shakespeare's priceless
and unique 'Phoenix and Turtle' — originally attached to
Loves Martyr. Perhaps Emerson's words on Shakespeare's
poem, as well represents its sphinx-character even to the
most capable critics, as any. They are as follow in his pre
face (pp. v, vi) to his charming Parnassus (1875) —
' ' Of Shakespeare what can we say, but that he is and remains an exceptional
mind in the world ; that a universal poetry began and ended with him ; and that
mankind have required the three hundred and ten years since his birth to fami
liarize themselves with his supreme genius ? I should like to have the Academy
of Letters propose a prize for an essay on Shakespeare's poem, Let the bird of
loudest lay, and the Threnos with which it closes, the aim of the essay being to
explain, by a historical research into the poetic myths and tendencies of the age
in which it was written, the frame and allusions of the poem. I have not seen
Chester's Love's Martyr, and "the Additional Poems" (1601), in which it ap
peared. Perhaps that book will suggest all the explanation this poem requires.
To unassisted readers, it would appear to be a lament on the death of a poet,
* In a small prose book by THOMAS DEKKER, of which I know no other
exemplar than my own (unfortunately not perfect) — the "Prayers" that
compose it are given respectively to the 'Doue,' the 'Eagle,' the 'Pellican,'
and the ' Phoenix." This unique little volume is dated 1609. Anything richer
spiritually or more exquisite and finely quaint in its style, of the kind, I do not
know. His preliminary description of the four birds is exceedingly well-done,
and those of the * Dove ' and ' Phoenix ' vividly set forth what the ' Phoenix ' and
* Turtle Dove ' of Love's Martyr are — only the love and aspiration are heaven
ward. Does any one know of another copy of this book ? I should rejoice to
hear of it.
t The late Mr. Richard Simpson had doubtless studied Chester critically ;
but he gave no inkling of his interpretation beyond announcing through the
New Shakespeare Society that he would connect Love's Martyr with Cymbeline.
I fear this must have proven another of his 'School of Shakespeare' discoveries.
I have looked in vain in Cymbeline for anything save the slightest verbal illus
trations of Love's Martyr. None the less do I regret that Mr. Simpson was not
spared to give us his view of Love's Martyr, &c.
Introduction. xlv
and of his poetic mistress. But the poem is so quaint, and charming in diction,
tone, and allusions, and in its perfect metre and harmony, that I would gladly
have the fullest illustration yet attainable. I consider this piece a good example
of the rule, that there is a poetry for bards proper, as well as a poetry for the
world of readers. This poem, if published for the first time, and without a
known author's name, would find no general reception. Only the poets would
save it."
Perchance there is truth in the close of this penetrative
bit of criticism ; but to myself the ' Phoenix and Turtle ' has
universal elements in it at once of thinking, emotion and
form. Its very concinnity and restraint, e.g. — compared with
the fecundity of Venus and Adonis and Liter cce — differen
tiate it from all other of Shakespeare's writings. I discern
a sense of personal heart-ache and loss in these sifted and
attuned stanzas, unutterably precious.
(d) WHAT is THE MESSAGE OR motif OF THESE POEMS ?
I recall that the original title-page informs us that in Love's
Martyr ', or Rosalins Complaint, we have poems "Allegoric ally
Jhadowing the truth of Lotted I cannot take less out of this
than that the author believed he was celebrating a 'true
love.' More than that, I cannot explain away the so
prominently-given chief title, of Love's Martyr, or the sub
title, Rosalind's Complaint ; which so manifestly folds
within it Elizabeth, as the 'Tudor Rose (just as Rosalind in
As You Like It, is called 'my sweet Rose, my dear Rose/
act i, sc. 2). To me all this means a ' true love ' that ' ran
not smooth,' that was defeated or never completed, and
that led to such anguish as only the awful word ' martyr '
could express. With queen Elizabeth, then, as the 'Phoenix/
and as the ' Rosalind ' whose ' Complaint ' the poems en
sphere, and Essex as the ' Turtle Dove/ it seems to me
unmistakable that ROBERT CHESTER, as a follower not
to say partizan of Essex, designed his Love's Martyr as
his message on the consummation of the tragedy of his
beheading. That there is nothing beyond the insinu
ated martyrdom of the title on the scarcely less wrong
G
xlvi Introduction.
than blunder of Elizabeth — the execution of Essex — is to
be explained by (i) That the words ' long expected labour' in
the Epistle-dedicatory, intimate that the poems had been
composed, substantially, some years before, probably in
1599, when Essex was on his memorable errand to
Ireland ; (2) That Elizabeth was still alive — and a terrible
old lioness still when her pride was touched. The fact that
Elizabeth was living when Loves Martyr was published fills
me indeed with astonishment at the author's audacity in so
publishing. This, however, is mitigated by these considera
tions (a) That throughout Lores Martyr there is abundant
titillation of her well-known vanity in compliments that
' sweet fifteen ' only might have looked for ; (b) That if we
had access to the full data it seems manifest that they would
show that somehow or other Chester had intimate, almost
confidential, knowledge of Elizabeth's feeling for Essex.
Sir John Salisburie, as being ' Esquier of the body to the
Queenes moft excellent majesty/ could tell him much if
he, personally, had not access, (c) That in her unlifted
melancholy over the death of her favorite, the might-have-
been came back upon her with sovran potency and accusa
tion, and perchance imparted a strange satisfaction to her to
have it re-called by a mutual friend ; much as her Bio
graphers have remarked, she chose to simulate quarrels with
Essex, that she might have the pleasure of hearing him
defend himself. Throughout Chester fulfilled his word in
"The Authors request to the Phoenix" (p. 5), [I] " En-
deuored haue to pleafe in praifing thee."* Even in " Sor-
rowes loy " on her death, there seems to me a hint at the
martyrdom, e.g.:
" That Pcllican who for her peoples good
Shirkt not to fpill (alas) her owne deare blood:
That maid, that Pellican."f
* See Postscript E, for an incident in Elizabeth's life that vivifies one of
Chester's compliments to her.
t See further quotations in Postscript D.
Introduction. xlvii
In the Notes and Illustrations I bring out indubitable
allusions that bear us back to Elizabeth's girl-hood, when
she was ' suspect ' and watched and plotted against by her
sister, 'Bloody Mary' (alas! for epithet so tremendous
associated with name so holy and tender !) — bear us back to
her radiant prime when her marriage was the national hope
and prayer — bear us back emphatically, to her first flush of
captivation by the glowing eyes and eloquent tongue of
Essex ; and so onward. That Elizabeth was ' led captive,'
there are a hundred proofs. Take one in a bit of a letter of
Anthony Bagot to his father in May 1587 — "When she
[the queen] is abroad, nobody near her but my L. of Essex ;
and at night, my Lord is at cards, or one game or another
with her that he cometh not to his own lodgings till birds
sing in the morning"* I find here the motif of the poems.
Chester interprets with subtlety and power the real 'passion*
of Elizabeth for Essex — the actual feeling on her part, that if
'I dare' might wait on 'I would' she should have lifted him
to her throne. Our Poet puts himself in her place, and with
a boldness incomparable utters out the popular impression
that Elizabeth did 'love' Essex. Hence — as I think —
those stings of pain, throbs of remorse, cries of self-
reproach, ' feeling after ' died-out emotion and rapture,
that in most unexpected places come out and lay bare that
proud, strong, prodigious heart as none else has ever done.
I am in the dark as to Robert Chester's relation to Elizabeth ;
but it is in broad-breaking light that he pierces to the core,
while in simple-seeming and even ' skilless ' phrase, he tells
us in these strange discoursings between 'Nature' and the
' Phoenix ' the ' truth of Lone' This is ' allegorically ' done
— his phrase is 'allegorically shadowingout ' — but beneath
the allegory is solid fact.
I care not to go searching for ' scandals against Elizabeth.1
The hate of the Jesuits probably manufactured most of
them. But I do not see how any one can study the Life
* Lives and Letters of the Earls of Essex, as before, vol. i, p. 186.
xlviii Introduction.
and Letters of Robert Devereux, Earl of Essex, as told by
Captain Devereux, without having it immovably established
to him, that to the close Elizabeth had a deep passion of
love for him — thwarted earlier by her sense that it would
not do for * Queen ' to marry ' Subject/ and later by his
capricious marriage to the widow of Sidney, but never
extirpated and destined to a weary 'martyrdom' of resurrec
tion when the decollated body lay in its bloody grave.
Except the love-tragedy of Stella and Sidney,* I know
nothing more heart-shatteringly tragic — for pathetic is too
weak a word — than the 'great Queen's' death-cushion
meanings and mutterings over her dead Essex. I, for one,
believe in that story of ' the ring ' as JOHN WEBSTER has
put it :
"let me die
In the diftradlion of that worthy princefs
Who loathed food, and fleep, and ceremony,
For thought of louing that braue gentleman
She would fain haue fau'd, had not a falfe conveyance
Expreffed him ftubborn-hearted : let me fink
Where neither man nor memory may e'er find me. "f
That Webster did not thus introduce the 'ring' at random
seems certain. A hitherto overlooked little book supplies a
self-authenticating record of it, as well as other glimpses of
Elizabeth that strikingly illustrate Loves Martyr. The
title-page is as follows — Historical Memoirs on the reigns
of Queen Elizabeth and King James, 1658 (i2mo).j; The
' ring ' story and related reflections thus run :
* Poems of Sir Philip Sidney in Fuller Worthies' Library, and in Chatto
and Windus's Early English Poets — with Memorial-Introduction, Essay, &c.
f The Devil's Law Case, act iii, sc. 3, Dyce's Webster, p. 128, I vol., 8vo,
1857-
J I am indebted to Dr. Brinsley Nicholson for supra. Earlier reference
is made (as in Love's Martyr) to Elizabeth's poetical gift, e.g., "professing her
self in public a Muse, then thought something too Theatrical for a virgine
Prince" (p. 61). Her prominent part in "the gayeties" of the Court is con
trasted with its ceasing after the death of Essex (p. 70). There are also several
other passages which speak of her affection for Essex. The introductory head
ing is " Traditional Memoirs," £c.
Introduction. xlix
"But the Lady of Nottingham coming to her death-bed and finding by the
daily sorrow the Queene expressed by the losse of Essex, her self a principall
agent in his destruction could not be at rest till she had discovered all, and
liumbly implored mercy from God ®eA forgivetttsse from her earthly Soveraigne:
who did not only refuse to give it, but having shook her as she lay in her bed,
sent her accompanied with most fcarfull curses to a higher Tribunall. Not long
after the Queenes weaknesse did appcare mortall, hastened by the wishes of many
[Cecil and his circle ?] that could not in reason expect pardon for a fault they
found she had condemned so severely in her selfe as to take comfort in nothing after
» * * But upon all occasions of signing Pardons would upbraid the movers for
them with the hasty anticipation of that brave man's end, not to be expiated to
the Nations losse by any future endeavours" (p. 95) * * * " [It were] no
great hyperbole to affirm the Queene did not only bury Affection but her Power
in the Tombe of Essex " (p. 97) * * * * *" For after the blow was given,
the Queene presaging by a multitude of tears shed for him, the great drouth was
likely to appeare in the eyes of her subjects, when the hand that signed the
warrant was cut off, fell into a deep Melancholy wherein she died not long after. " *
Each Reader of Loves Martyr will discover for himself
its allusions to the real under the avowedly 'allegorical/
I would note, in rapidly glancing through the book a few
details that are certainly unmistakeable, e.g.'.
" Bellona rau'd at Lordlike cowardice" (p. 9).
One has but to read Essex's ' Letters/ and to master the
facts about COBHAM and other 'coward' lords in relation to
Essex's 4 Expeditions/ to perceive the blow of this line.
Of the ' Phoenix ' we have this : —
" One rare rich Phoenix of exceeding beautie,
One none-like Lillie in the earth I placed;
One faire Helena, to whom men owe dutie:
One countrey with a milke- white Doue I graced :
One and none fuch, fmce the wide world was found
Hath euer Nature placed on the ground " (p. 10).
Like to a light bright Angel in her gate:
For why no creature on the earth but ihe,
Is like an Angell, Angell let her be " (p. 14).
The former is the universal language of the period, e.g.,
Raleigh in his Cynthia sings of her as a ' milk-white Dove ' ;
* See Postcript F, for a very striking contemporary letter in the Advocates
Library, Edinburgh, on the death-bed, &c. , of Elizabeth.
1 Introduction.
the latter was Essex's favourite word. Thus in acknowledg
ing the queen's gift of her portrait in a ring, he writes :
"Most dear Lady, — For your Maj. high and precious favors, namely, for
sending this worthy knight to deliuer your blessing to this fleet and army, but
aboue all other for your Maj. bestowing on me that/az'r angel -which you sent to
guard me ; for these, I say, I neither can write words to express my humble
thankfulness, nor perform service fit to acknowledge such duty as for these I
owe " (Lives of the Earls of Essex, as before, vol. i, p. 414).
Here is the ( Queen/ and the proud sovereign of England,
speaking, not the mere ' Phoenix ' :
" Honor that Isle that is my sure defence" (p. 33, st. I, 1. 7).
Into whose mouth but Elizabeth's could ever such an excla
mation have been placed ? Then, to render the ' Isle '
certain as not some foreign ' Paphos Isle/ but one near
England, there succeeds an enumeration and celebration of
England's chief cities and sights.
In accord writh this, the 'nine (female) Worthies' (pp. 38—40)
are appropriate as connected with the ' Phoenix = Queen
Elizabeth ; while with equal appropiateness in such case,
but only in such case, 'Windsor Castle' and the Knights of
the Garter, connect the Queen and King Arthur, and also
render the Arthur part of Love's Martyr not wholly out of
place.
Next, here is self-evidently an Elizabethan fact — danger
of no heir to the throne of England if the 'Phoenix' married
not :
" This Ph&nix I do feare me will decay,
And from her afhes neuer will arife
An other Bird her wings for to diiplay,
And her rich beauty for to equalize:
The Arabian fiers are too dull and bafe,
To make another fpring within her place" (p. 15).
Then thus loue fpake, tis pittie Ihe Ihould die,
And leaue no ofspring for her Progenie" (p. 17).
That the ' Phoenix ' was Queen of Britain is implied in this
stanza :
Introduction. li
' ' Nature go hie the^, get thee Phcebus chaire,
Cut through the (kie, and leaue Arabia,
Leaue that il working peace of fruitleffe ayre,
Leaue me the plaines of white Brytania,
Thefe countries haue no fire to raife that flame,
That to this Phoenix bird can yeeld a name " (p. 17).
That the " delightfome Paphos Ile" (p. 17 and onward)
was Ireland — whither Essex had gone — let the reader
verify by studying its characteristics under all its mythical
and impossible assemblage of productions. Specifically
it is to be marked and re-marked that from where the
'Phoenix' is, i.e., England (p. 32), 'Paphos ile' is to be
visited, because there the 'Turtle Doue' was to be found.
The 'course' of the chariot-borne pair ('Nature' and the
' Phoenix '), was to be through ' the blue Azure skie/ as
thus:
" we will ride
Ouer the Semi-circle of Europa,
And bend our courfe where we will fee the Tide,
That partes the Continent of Affricct,
Where the great Cham gouernes Tartaria :
And when the flarrie Curtaine vales the night,
In Paphos facred Ile we meane to light."* (p. 32, st. 4.)
This might very well have taken us to some ideal island
of love, out of space and time, or at least to now much
spoken of Cyprus with its renowned love-shrine of Paphos.
But the real in the Poet's thought effaces the ideal ; for no
Mediterranean or Aegean is passed, and no ' vision ' of the
* Probably Chester drew his designation of ' Paphos Ile ' from his friend
Marston's Metamorphosis of Pigmalions Image (1598) ; in the 'Argument' to
which he says — "After Pigmalion (beeing in Cyprus) begat a sonne of her
[Venus] which was called Paphos ; whereupon that iland Cyprus, in honor of
Venus, was after, and is now, called by the inhabitants, Paphos. " So to at the
close of the poem itself
" Paphos was got ; of whom in after age
Cyprus was Paphos call'd, and evermore
Those ilanders do Venus name adore. "
Marston is mistaken — for ' Paphos ' does not appear ever to have been a name
of the entire island of Cyprus — but he was sufficient authority for Chester's
purpose. Marston, be it noted, contributed to the ' additional poems. '
Hi Introduction.
countries between London and it, is given. Contrariwise
—the ' chief cities ' of England are successively described,
and just after leaving London 'Paphos He' is reached. As
being Ireland, all this is harmonized, but not otherwise.
And as being Ireland, Essex, and Essex alone, and Essex
in every detail — answers. It may be permitted me to ask
the critical weighing of this by my fellow-students of
Shakespeare.* Note also Elizabeth's girlhood and its perils
by suspicion and malice (pp. 22, 24, 26); and later her mature
age — " He drowne my felfe in ripeneffe of my Yeares "
(p. 29), and again :
Nature. " Raile not gainft Fortunes facred Deitie,
In youth thy vertuous patience Ihe hath tyred,
From this bafe earth Ihee'le lift thee vp on hie,
Where in Contents rich Chariot thou (halt ride,
And neuer with Impatience to abide:
Fortune will glorie in thy great renowne,
And on thy feathered head will fet a crowne " (p. 31).
i.e., the ' crown ' of marriage or * heauenly crown ' (cf. 1. 3,
and 11. 4-5.) Then let the reader 'inwardly digest' the des
cription of the ' Turtle Dove ' by the ' Phoenix ' on arrival
in Ireland ('Paphos Isle'):
Phoenix. " But what fad-mournefull drooping foule is this,
Within whofe watry eyes fits Difcontent,
Whofe fnaile-pac'd gate tels fomething is amifie:
From whom is baniiht {porting Meriment:
Whofe feathers mowt off, falling as he goes,
The perfect picture of hart pining woes ?
Nature. This is the carefull bird the Turtle Doue,
Whofe heauy croking note doth fhew his griefe,
And thus he wanders feeking of his loue,
Refufmg all things that may yeeld reliefe:
All motions of good turnes, all Mirth and loy,
Are bad, fled, gone, and falne into decay.
* No doubt Chester is anything but skilful in expressing himself and cceteris
paribuSy I should have explained the absence of the ' vision ' of intervening
countries thereby. But as it is design not ' skill-less '-ness is the explanation.
At p. 17, st. 3, the Poet intermixes the mythical seat of the ' Phcenix' (Arabia)
with that of his ' Phcenix ' ; and so elsewhere. In st. 4, 1. 6, 'a second Phoenix
loue ' doubtless points back to the mythical ' Phoenix ' as = first.
Introduction.
liii
Phoenix. Is this the true example of the Heart ?
Is this the Tutor of faire Conjlancy ?
Is this Loues treafure, and Loues pining fmart ?
Is this the fubftance of all honefly ?
And comes he thus attir'd, alas poore foule,
That Deftinies foule wrath Jhould thee controule.
See Nourfe, he flares and lookes me in the face,
And now he mournes, worfe then he did before,
He hath forgot his dull flow heauy pace,
But with fwift gate he eyes vs more and more:
O lhall I welcome him, and let me borrow
Some of his griefe to mingle with my forrow.
Nature. Farwell faire bird, He leaue you both alone,
This is the Doue you long'd fo much to fee,
And this will proue companion of your mone,
An Vmpire of all true humility:
Then note my Phanix, what there may enfue,
And fo I kiffe my bird. A due, Adue.
Phoenix. Mother farewell; and now within his eyes,
Sits forrow clothed in a fea of teares,
And more and more the billowes do arife:
Pale Griefe halfe pin'd vpon his brow appeares,
His feathers fade away, and make him looke,
As if his name were writ in Deaths pale booke." (pp. 131-2.)
Finally, the words in the 1601 title-page ' conftant fate'
have no sense if not = constancy, i.e., to be 'constant/ with
martyrdom as the penalty for breaking the fate or decree.
The letters of Essex to Elizabeth are a commentary
on the whole of this. One of the many remarkable, very
remarkable letters of Essex to Elizabeth, preserved among
the Hulton MSS., may be accepted as a type of the others.
It is suggestive of a great deal.
"Madam. — The delights of the place cannot make me unmindful of one in
whose sweet company I have joyed as much as the happiest man doth in his
highest contentment ; and if my horse could run as fast as my thoughts do fly,
I would as often make mine eyes rich in beholding the treasure of my love, as
my desires do triumph when I seem to myself in a strong imagination to conquer
your resisting will. Noble and dear lady, though I be absent, let me in your
favour be second unto none; and when I am at home, if I have no right to
dwell chief in so excellent a place, yet will I usurp upon all the world. And
so making myself as humble to do you service, as in my love I am ambitious, I
H
liv Introduction.
wish your Majesty all your happy desires. Croydon, this Tuesday, going to be
mad and make my horse tame. Of all men the most devoted to your service.
[1593.] R. Essex.*
Loves Martyr throughout, as between the ' Phoenix ' and
1 Turtle Dove,' makes it a mutual contest, of subduing the
' Will,' one of the other. So is it in Elizabeth's letters to
Essex, and her sayings of him earlier and later.
That the ' passion ' and ' truth of love ' were reciprocal ;
that Essex apart from ambition, felt that if he was worthy
of Elizabeth, Elizabeth was worthy of him ; I cannot for a
moment doubt. There are words — glowing and alive —
intensities of appeal, wistfulness of longing and odd cap-
riciousnesses of jealousy that only reality can explain. Let
the Reader turn to his Letters to Elizabeth and of Elizabeth
to him ; let him even look within the mad out-break of
his rush over from Ireland and straight going into 'the
presence/ and he will be satisfied that a personal experi
ence lay behind all that, to which nothing short of ' truth
of love ' in the Past, gives congruity or meaning/)- Let his
Poems also speak for him. Curiously enough in his Loyal
Appeal in Courtesy, we have the line
" O let no Phoenix look vpon a Crowe." [An/ouf]
and these exclamations follow : —
" Woe to the world the fonne is in a cloude
And darkfome mifts doth ouerrunne the day
In hope, Conceipt is not content allovv'd,
Fauour muft dye & Fancye weare away :
Oh Heauens what Hell ! The bands of Loue are broken
Nor muft a thought of fuch a thing be fpoken.
* Lives, as before, vol. i, p. 292.
t In the volume of 1658 (already quoted from) it is expressly stated that
Cecil had laid a trap for Essex; caused him to get news of the Queen's illness
and even death, and embargoed all other vessels, hoping that Essex would join
with Tyrone and others, and cross to England at the head of his army. His
sudden appearance with but few followers disconcerted Cecil's plot, who had
troops ready to oppose him. There seems no reason to doubt the authenticity
and good faith of the volume of 1658.
Introduction. Iv
Mars muft become a coward in his mynde
While Vulcan ftandes to prate of Venus toyes :
Beautie mud feeme to go againft her kinde
In eroding Nature in her fweeteft ioyes.
But ah no more, it is too much to thinke
So pure a mouth fhould puddle-watters drinke !
But fmce the world is at this woefull paffe,
Let Loue's fubmiffion Honour's wrath apeafe :
Let not an Horfe be matched with an Affe.
Nor hateful tongue an happie hart difeafe :
So mall the world commend a fweet conceipt
And humble Fayth on heauenly Honour waite. "
I suppose that was for Anjou. Then "The Buzzeinge
Bees' Complaint" will reward full thinking-out. It thus
closes :
" Ffiue years twice tould, wth promafes perfum'd,
My hope-ftuffte heede was cafl into a flumber ;
Sweete dreams of golde ; on dreames I then prefum'd
And 'mongft the bees thought I was in the number."
" The False, Forgotten " is a wail of a bruised heart, e.g.
" Loue is dead and thou free,
She doth lyue but dead to thee.
When f he lou'd thee beft a whylle,
See how ftyll fhe did delay thee :
Vfying fhewes for to beguylle
Thofe vayne hopes wch haue betrayd ye.
Now thou feeft butt all too late
Loue loues truth, w^1 women hate. "
His ' Cantvs ' is explicit enough, e.g.
" I loued her whom all the world admirde,
I was refus'de of her that can loue none :
AND MY VAINE HOPES WHICH FAR TOO HIGH ASPIR*DE
IS DEAD AND BURl'D AND FOR EUER GONE."*
By the necessities of semi-revelation, semi-concealment,
there are things in Love's Martyr that might be brought up
9 I have collected the Poems of Essex in my Miscellanies of the Fuller
Worthies' Library, vol. iv, pp. 430-450.
Ivi Introduction.
in objection to our interpretation ; but the lines, otherwise,
are so deep and broad and sure that I cannot think it
possible to eraze them. Fact and fiction however are inter-
blended, e.g., the ending of the poem-proper by the Author's
evident wish, furtively to pay homage to James, introduces
a disturbing element into our interpretation ; but this and
other accidents cannot be permitted to affect the substance
of the motif of these poems. The word ' allegorical '
covers all such accidents.*
(e) WHAT is THE RELATION BETWEEN THE 'NEW
COMPOSITIONS' AND 'LOVE'S MARTYR'? In the original
title-page is this explanation : " To thefe are added fome new
compositions, of fetter all moderne Writers wJwfe names are
fubfcribed to their feuerall workes, vpon the firfl fnbieEl : viz.
the Phoznix and Turtle? This makes it plain that these
'new compositions' of those 'moderne Writers' in i6oi}
were intended to celebrate precisely what Love's Martyr
celebrated. So that granted, my premiss, viz., that Loves
Martyr had the motif and message for which I have argued,
we have SHAKESPEARE, BEN JONSON, GEORGE CHAPMAN,
JOHN MARSTON and others (anonymous), siding (so-to-say)
with Robert Chester in doing honour to Essex. I do not
greatly concern myself with any in this matter save one —
SHAKESPEARE. Now, one may be sure in one's own mind
of his admiration, in common with the Nation, for Essex,
though the proofs be comparatively slight in themselves.
But with this ' new composition ' super-added, the conviction
deepens. Omitting the ' Phoenix and Turtle ' for the
moment, there are three things that favour the view that
Shakespeare sympathized with Essex.
i. There is the great praise in the Chorus of Henry V\
* Were it not that Love's Martyr was certainly published in 1601 and left
unchanged (except by withdrawal of preliminary pages) one might have deemed
p. 37, st. 2, a later insertion concerning James. As it is, it is impossible. The
explanation is, that James was for long set down as Elizabeth's heir-pre
sumptive.
Introduction. Ivii
" But now behold,
In the quick Forge and working-houfe of Thought,
How London doth powre out her Citizens,
The Maior and all his Brethren in Left fort,
Like to the Senatours of th' antique Rome,
With the Plebeians fvvarming at their heeles,
Goe forth and fetch their Conqu'ring Ccefar in :
As by a lower, but by louing likelyhood,
Were now the Generall of our gracious Empreffe,
As in good time he may, from Ireland comming,
Bringing Rebellion broached on his Sword :
How many would the peacefull Citie quit,
To welcome him ? " (Act v, sc. I (Chorus).
This splendid tribute is so brought in by head and
shoulders on very purpose to win hearts for Essex, that
it is scarcely possible to doubt that Shakespeare was for him
pronouncedly, maugre the evil-speaking and jealousies and
enmities of the day in ' high places.' This is one of those
asides that take new significance from the circumstances
under which it was introduced. It may, or may not, have
been an after-thought and insertion. In either case its
significance and declarativeness of opinion and sympathy
is untouched.
2. The acting of Richard II, before Essex made his final
wild and ill-advised attempt. There was probably in the
minds of those who thus acted a Play so full of warning to
princes who pushed their right to edge of wrong, suggestive
bits in the Play that might be meant to be caught up. But
there is no proof that Shakespeare himself was concerned
in the coincidental playing, or that he knew what such
playing was meant to precede. Neither do I think that
Shakespeare would have countenanced Essex in so unwise
an act, albeit I never can think it was born of disloyalty
to his 'great Queen/ I do not, therefore, receive the play
ing of Richard II as proof that Shakespeare was a partizan
of Essex's. Yet is the thing noteworthy.
3. The silence of Shakespeare on the death of Elizabeth.
Amid the abounding elegies and eulogies contemporaneous
Iviii Introduction.
and later, you search in vain for anything by Shakespeare.
Every one knows that he was reproached in print for his
silence. I regard it as specially memorable. Inferentially
I take it as his verdict for Essex. Perhaps equally worthy
of note is his after-compliment to James ; for he was the
friend of Essex's friends. Southampton's close relations
with Essex also furnished an element of alienation from
Elizabeth to Shakespeare.
Any further evidence, even if it be slight, is important.
And further evidence I find in the 'new composition' of
the ' Phcenix and Turtle ' contributed by Shakespeare to
Loves Martyr. The fact of such a contribution by him is,
in itself, noticeable. For while Ben Jonson and Chapman and
others contemporary lavished their 'Commendatory Verses/
Shakespeare, with this solitary exception, wrote none as he
sought none. This surely imparts special significance to
the exception.
Internally, the ' Phcenix and Turtle ' is on the same lines
with Loves Martyr. To my mind there is pathos in the
lament over the 'Tragique Scene.' Essex himself, as we
have seen — and his Letters to Elizabeth that are still
open to be read, have the same burden — had sung
" I am not liuing, though I feeme to go,
Already buried in the graue of \vo " (p. 133).
and earlier,
" Loue is dead,"
and in the Threnos, Shakespeare regards not the beheaded
Essex only, but his ' Phcenix ' too as dead :
" Truth may feeme, but cannot be,
Beautie bragge, but tis not fhe,
Truth and Beautie buried be.
To this vrne let thofe repaire,
That are either true or faire,
For thefe dead Birds, figh a prayer " (p. 184).
En passant ' Imogen ' later is named ' the dead bird '
(Cymbeline^
Introduction. lix
All this, be it noted, fits in with the ' allegorical shadow
ing out ' of Love's Martyr ; for therein BOTH die. Thus,
after the ' Turtle Dove ' has craved " pardon for prefump-
tion's foule offence" (p. 133), and avowed his life-weariness
much as Essex's letters to Elizabeth did, he is strengthened
to endure and prepared for his own and her martyrdom
(Love's Martyr}, e.g.\
Phoenix. " Come poore lamenting foule, come fit by me,
We are all one, thy forrow mall be mine,
Fall thou a teare, and thou malt plainly fee,
Mine eyes fhall anfwer teare for teare of thine:
Sigh thou, He figh, and if thou give a grone,
I fhall be dead in anfwering of thy mone" (p. 134).
After exactly such love-talk as we can imagine between
Elizabeth and Essex, when after inevitable quarrelling there
came as inevitable reconciliation (pp. 134-36), their twin-
death — the death of "Truth and Beautie" (the 'dead
Birds/ Phcenix and Turtle Dove, of Shakespeare) is set
before us. We have, first, the relation :
Phcenix. " Then to yon next adioyning groue we'll flye,
And gather fweete wood for to make our flame,
And in a manner facrificingly,
Burne both our bodies to reuiue one name:
And in all humbleneffe we will intreate
The hot earth-parching Sunne to lend his heate" (p. 136).
Then the tragedy itself, which I ask the reader to ponder
(pp. 138-9). Both are 'dead' in the pathetic and sugges
tive close :
Phoenix. " O holy, facred, and pure perfect fire,
More pure then that ore which faire Dido mones,
More facred in my louing kind defire,
Then that which burnt old Efons aged bones,
Accept into your euer hallowed flame,
Two bodies, from the which may fpring one name.
Turtle. O fweet perfumed flame, made of thofe trees,
Vnder the which the Mufes nine haue fong
The praife of vertuous maids in mifteries,
To whom the faire-fac'd Nymphes did often throng;
Accept my body as a Sacrifice
Into your flame, of whom one name may rife.
Ix Introduction.
Phoenix. O wilfulneffe, fee how with fmiling cheare,
My poore deare hart hath flong himfelfe to thrall,
Looke what a mirthfull countenance he doth beare,
Spreading his wings abroad, and ioyes withall:
Learne thou corrupted world, learne, heare, and fee,
Friendfhips unfpotted true fmcerity.
I come fweet Turtle, and with my bright wings,
I will embrace thy burnt bones as they lye,
I hope of thefe another Creature fprings,
That (hall poffeffe both our authority:
I flay to long, 6 take me to your glory,
And thus I end the Turlle Doues true ftory " (pp. 138-9).
I ask further, that the ' Comment ' of the ' Pellican ' (pp.
139-41) be critically studied. Finally, I recall the title-page
of the ' new compositions ' thus : — Hereafter follow diverfe
Poeticall Effaies on the former Subiect ; viz: the Turtle and
Phcetiix? This explains how, in Shakespeare's ' Phoenix
and Turtle ' and ' Threnos/ both are dead (' dead Birds '),
though Elizabeth was still living in her great anguish.
I ask special attention to this ; for otherwise the close of
his ' Phoenix and Turtle/ as not conformable to history, will
perplex and be regarded as not pointing to Elizabeth and
Essex. I must iterate and reiterate that (a) The 1601 title-
page expressly states that the " new compositions " (and so
Shakespeare's) were "upon the first subiect : viz., the Phoenix
and Turtle," and again, were "diverse Poeticall Effaies on
the former Subiect ; viz : the Turtle and Phoenix" (b) The
story is ' allegorically ' told, as a ' shadowing out' of the
' truth of loue ' — a very different thing from bare historic
data, (c) The title 'Love's Martyr' meant infinitely more
than ' death ' itself. To conform therefore to Love's Martyr
and to fall in with the ' allegory,' Shakespeare, like Chester,
represents BOTH as dead ('dead Birds'). There might
indeed be policy and wariness alike in Chester and Shake
speare in such representation.
Let the reader take with him the golden key that by
' Phoenix ' Shakespeare intended Elizabeth, and by the
' Dove ' Essex, and the ' Phoenix and Turtle/ hitherto re-
Introduction. Ixi
garded as a mere enigmatical epicedial lay — as already
seen — will be recognized as of rarest interest. I cannot
say that I see my way through it all — st. 5 (p. 182) I do
not quite understand ; but it is a mere accident of the
poem. But I do see that Shakespeare went with Robert
Chester in grief for Essex, and in sad-heartedness that the
' truth of love ' had not been accomplished. Herein I find,
likewise — I would re-impress — why it was that Shakespeare,
though well-nigh stung to do it in print, wrote nothing on
the death of Elizabeth.*
The other 'new compositions' are of unequal value.
Our Notes and Illustrations invite attention to certain/*?/;//.*'
in them. They all go to confirm our interpretation of the
* allegory ' of the ' Phoenix ' and the ' Turtle Dove.' As I
read, all from p. 190 to the end belongs to Ben Jonson
(spelled ' lohnson ' as he was himself wont in earlier years).
I only add that Gifford, after his unhappy manner (with
Cunningham following suit), has deplorably corrupted the
text of these poems of Jonson — as I record in the Notes
and Illustrations. Probably Jonson wrote also the ' Chorus
Vatum.'
(/) WAS THE l6ll ISSUE ONLY A NUMBER OF COPIES
OF THE ORIGINAL OF l6oi, LESS THE PRELIMINARY
MATTER AND A NEW TITLE-PAGE ? I answer — yes. The
identity of the two books — as thus put — is certain. Not
only do all the signatures correspond, but the mis-pagings,
5 for IT, 41 for 14, 59 for 63, are the same. Then, the spur
of the L in Libanon, p. 10, 1. 5 (=p. 18), is off in both ; a
broken O, p. 71, 1. 3 from foot, is the same in both ; a turned
'e/ spaces, dislocated letters, Sec., are all the same. It is also
to be specially observed that the 1601 title-page of the
" new compositions " is retained in the 1 6 1 1 copies. All (in our
reproduction) preceding the title-page of 1611, belongs to
the copies of 1601 alone. The new title-page mispells
'Annals' as 'Anuals,' which suggests that Chester did not get
* See Postscript G. I
Ixii Introduction.
a proof — if indeed proofs were then given to Authors —
albeit on the instant having occasion to turn to Bp. Ellicott's
New Testament Commentary for English Readers (1878), I
find in the first line of his lordship's Preface, this similar
slip — "The present Commentary may in may respects"
for, of course, ' many.' As elsewhere noticed, Chester omits his
own name in the new title-page of 161 1. In naming the book
no longer Love's Martyr, seeing that Elizabeth and Essex
were long dead, and a new sovereign — King James I —
reigning, there was policy. There was policy too in des
cribing the book as A nnals of great Brittainc ; for in the
Poems, Scotland is scarcely named, and ' great Brittaine '
might salve any offence to the royal stickler for his authority
and dignity. Besides, in 1601 the Arthur portion is an
episode in the poem of Loves Martyr or Rosalins Complaint \
but in 1611 the episode becomes (in the title-page) the main
poem, albeit even then Love's Martyr's story is a part of
the ' Annals.'
(g) WHAT is THE POETIC VALUE OF " LOVE'S MARTYR"?
Speaking generally, I do not rate Robert Chester as a poet
very high. The poem of Loves Martyr wants proportion
in its parts. The opening has a certain brightness (pp. 1-6),
and the brightness returns when the ' Annals ' being ended
the Poet resumes with this ' Note ' — " & now, to where we
left!' The 'Annals' themselves are thinly done. With
Arthur for main theme they look meagre and prosaic beside
the old stories of the 'renowned Prince/ such as Mr.
Furnivall has furnished us in his golden little book, and
such as the ' Legend ' of many Chronicles — verse and prose
— furnish, and placed beside the purple splendour of our
Laureate's celebration.* Sooth to say, his ' singing ' of
* With reference to Chester's address " To the courteous Reader" my ever-
obliging friend, Mr. Furnivall, has sent me a number of notes on the various
Arthurian romances and MSS. , and through M. Paulin Paris, further. I must
content myself with a reference to the numerous Arthurian publications in
Introduction. Ixiii
Flowers and Plants and Trees, Birds and Beasts and Fish, and
precious Stones and Shells and Minerals grows wearisome ;
although there are bits of Folk-Lore and quaint myths and
superstitions in wonderful fulness and variety. Whatever
he felt inclined to write, or whatever came into his head, of
which he could manufacture a few or even a couple of
stanzas, is brought in by Chester. The book is, in fact, an
omnium gatherum. It is just possible that this jungle of
irrelevances was of design, that he might conceal in hidden
brake (if I may so speak) the fair flowers and fragrances
and tendernesses of the story he celebrates in Loves Martyr.
I question if Elizabeth had chanced on the volume during
the dim sad days that succeeded the death of Essex, that
she would have persevered to read or to listen.
The poetry itself, is, as a rule, poor. There are almost
innumerable instances of lines and phrases inserted, more
to complete the rhythm and rhyme, than for reason's sake.
For the same reason there are not a few forced, and I might
almost say, unidiomatic constructions. Only " few and far
between " have we aught of inspiration or of fine expression.
All the more remarkable is it that Chester so dared to in
terpret the popular belief of what Essex was to Elizabeth.
But with every abatement I can promise a sympathetic
reader that he will come, now and again, on "brave
translunary things." Thus in the description of the Person
of the ' Phoenix,' that is of Elizabeth, you have daintinesses
that make you pause, e.g.\
Her Hair.
" When the leaft whittling wind begins to fing,
And gently blowes her haire about her necke,
England and France. Suffice it that the most unlikely-looking, viz. , the Greek,
has been published by F. Michel in his Tristram (Pickering), albeit it refers, says
M. Paulin Paris, not to Tristram, as he supposed, but to Guiron le Courtois ;
and there are other Greek Arthur celebrations. M. Paulin Paris, is amused
with Chester's credulity, and writes — that it reminds him of a respected friend,
the Marquis of , who asked, "Can I doubt of the existence of Homer
when I possess his bust and portrait ? " See Hazlitt's Warton, s. n.
Ixiv Introduction.
Like to a chime of bels it foft doth ring,
And with the prety noife the wind doth checke,
Able to lull afleepe a penfiue hart,
That of the round worlds forrowes beares a part " (p. 10),
Eyes.
" Vnder this mirrour, are her princely eyes:
Two Carbuncles, two rich imperial! lights;
That ore the day and night do foueraignize,
And their dimme tapers to their reft fhe frights:
Her eyes excell the Moone and glorious Sonne,
And when fhe riieth al their force is donne" (p. n).
Cheekes.
" Her morning-coloured cheekes, in which is plac'd,
A Lillie lying in a bed of Rofes;
This part aboue all other I haue grac'd,
For in the blew veines you may reade fweet pofies:
When fhe doth blufh, the Heauens do wax red,
When fhe lookes pale, that heauenly Front is dead " (Ibid. )
Chin.
" Her chinne a litle litle pretie thing
In which the fweet carnatian Gelli-flower,
Is round encompaft in a chriftall ring,
And of that pretie Orbe doth beare a power:
No ftorme of Enuie can this glorie touch,
Though many fhould affay it ouermuch" (Ibid.)
Lips.
" Her lippes two rubie Gates from whence doth fpring,
Sweet honied deaw by an intangled kiffe,
From forth thefe glories doth the Night-bird fmg,
A Nightingale that no right notes will miffe:
True learned Eloquence and Poetrie,
Do come betweene thefe dores of excellencie " (Ibid.)
Hands.
" Her hands are fortunes palmes, where men may reade
His firft houres deftiny, or weale or woe,
When fhe this fky-like map abroad doth fpreade,
Like pilgrimes many to this Saint do go,
And in her hand, white hand, they there do fee
Loue lying in a bed of yuorie " (p. 13).
Fingers.
" Her fingers long and fmall do grace her hand;
For when fhe toucheth the fweete founding Lute,
Introduction. Ixv
The wild vntamed beads amaz'd do fland,
And carroll-chanting birds are fudden mute:
O fingers how you grace the filuer wires,
And in humanitie burne Venus fires ! " (Ibid. )
Feet.
" And if by night fhe walke, the Marigold,
That doth inclofe the glorie of her eye,
At her approach her beauty doth vnfold,
And fpreads her felfe in all her royaltie,
Such vertue hath this Phoenix glaffy fhield,
That Flowers and Herbs at her faire fight do yeeld" (p. 14. )
There is occasionally a pleasant ' fmoothneffe ' and
harmony, as in the ' Phcenix ' in her lament for her years so
swiftly passing away without a mate, e.g.:
" What is my Beauty but a vading Flower?
Wherein men reade their deep-conceiued Thrall,
Alluring twentie Gallants in an hower,
To be as feruile vaffalls at my Call ?
My Sunne-bred lookes their Senfes do exhall:
But (6 my griefe) where my faire Eyes would loue,
Foule bleare-eyed Enuie doth my thoughts reprooue.
What is my Vertue but a Tablitorie:
Which if I did beftow would more increafe ?
What is my WTit but an inhumane glorie:
That to my kind deare friends would proffer peace ?
But O vaine Bird, give ore in filence, ceafe;
Malice perchaunce doth hearken to thy words,
That cuts thy thread of Loue with twentie fwords "
(pp. 25-6).
Equally flowing, and informed with a subdued passion is
' Nature's ' remonstrance :
" Is this the fumme and fubflance of thy woe ?
Is this the Anker-hold vnto thy bote ?
Is this thy Sea of Griefe doth ouerflow?
Is this the Riuer fets thy fhip aflote ?
Is this the Leflbn thou haft learn'd by rote ?
And is this all ? and is this plot of Ground
The fubflance of the Theame doth thee confound? " (p. 30).
There are also now terse and now vivid things, eg.\
Ixvi Introduction.
Lufl.
" . . . . Luft is fuch a hot inflamed thing
It gouerneth mans fenfes, rules a King" (p. 45).
Cities.
" Great peopled Cities, whofe earth-gracing fhow,
Time is afliam'd to touch or ouerthrow " (p. 33).
Polution.
" Hels damned fent with this may not compare" (p. 28),
Majefty.
" Stand by faire Phoenix, fpread thy Wings of Gold,
And daunt the face of Heauen with thine Eye " (p. 27).
Cleanfmg.
"... the white fnovv fhe mall excell in whitenefle " (p. 22).
White-luftre of neck.
"... More glorious then the day with all his light" (p. 12).
Lady's hand.
" Then by the lawne-like Hand he tooke his louer" (p. 51).
Troops.
" His barbed Horfes beat the yeelding ground,
And with their neighing terrifide their foe,
Proud of their riders, in whofe harts are found
A promife to the Romanes ouerthrow.
The gliftering fhine of their well-fafhion'd armour,
Tels all men here doth ride a Conquerour " (p. 71-72).
Slaughter.
"... all the greene graffe with their bloud they died" (p. 75).
Arthur.
" they found King Arthurs skull,
Of fuch great largeneffe that betwixt his eyes,
His foreheads fpace a fpanne broad was at full " (p. 82).
Diamond.
'• The Diamond the worlds reflecting eye,
The Diamond the heauens bright ihining ftarre,
The Diamond the earths moft pureft glorie:
And with the Diamond no ftone can compare;
She teacheth men to fpeake, and men to loue,
If all her rareft vertues you will proue" (p. in).
The "fire burns" and flames o' times, e.g.:
Introduction. Ixvii
True and falfe loue.
Turtle. " Falfe loue puts on a Maske to ihade her folly,
True loue goes naked wifhing to be feene,
Falfe loue will counterfeite perpetually,
True love is Troths fweete emperizing Queene:
This is the difference, true Loue is a iewell,
Falfe loue, hearts tyrant, inhumane, and cruell.
Phoenix. Thou fhalt not be no more the Turtfe-~Doue,
Thou fhalt no more go weeping al alone,
For thou fhalt be my felfe, my perfect Loue,
Thy grief e is mine, thy forrow is my mone,
Come kiffe me fweeteft fweete, O I do bleffe
This gracious luckie Sun-mine happineffe" (p. 135).
The "Cantoes, alphabet-wise, to faire Phoenix made by
the Paphian Dove" (pp. 142-48), and " Cantoes, verbally
written" (pp. 149-75), fold within them real love-passion,
though arbitrarily fettered in its expression. The more I
study these the more I am impressed with Chester's evident
knowledge of the secret history of Essex and Elizabeth.
There are touches and allusions throughout that I can
explain alone by interchange of conversation between the
Poet and Essex, if, indeed, Elizabeth herself is to be
excluded. The songs of " Nature " (pp. 86-7) and of "The
Phoenix" (pp. 87-8) have the indefinable graciousness of
Elizabethan poetry.
Besides all this, there are a number of current poetic
phrases of the day, such as we would look for in such a
poet. And while some of them — as pointed out in Notes
and Illustrations — are used by Shakespeare, there is in my
judgment some probability for thinking that these are not
casual coincidences. He clearly alludes, in the lines " To
the kind Reader" (p. 6), to the Rape of Lucrece ; and
doubtless he had also his Venus and Adonis, and not
improbably saw and heard some of the plays. Not only
would these things be natural in a young man of his birth?
but I think I can detect in some of his lines a reflex or
remembrance of the rhythm of Shakespeare's lines. There
Ixviii Introduction.
is, also, the unforgetable fact that Shakespeare, with special
exceptionalness, gave his ' new compofitions ' to the book ;
also, that all the known contributors were Dramatists, and
connected with the theatre.*
Altogether, few I hope will differ from me in affirming
that it had been pity to have left Love's Martyr in the
hazards of a couple of known exemplars (at most); — literary
and historical loss longer to have allowed such a book to be
inaccessible to Shakespearian students. I indulge the
expectation that my interpretations of the ' truth of love '
in the story of the ' Phcenix ' and ' Turtle Dove ' will take
their place as a substantive addition to our critical literature,
and give new interest and its true meaning to Shakespeare's
incomparable ' Phcenix and Turtle.'
(H) WHO WAS ' TORQUATO C^ELIANO ' ? By accident or
design Chester has here combined the Christian name of
TASSO, and the surname of one of the minor poets of Italy
of the same period. The following little book was probably
known to Chester :
RIME
DI DIVERSI
CELEBRI POET!
DelV eta nojlra:
nvovamente raccolte.
e poste in luce
in bergamo, M.DLXXXVII.
Per Comino Ventura, e Compagni.
Pp. 95-148 consists of selections from the Rime of Livio
Celiano ; and then pp. 149-81 of similar selections from
Torquato Tasso — the latter immediately following Celi-
ano's. Whether this circumstance led our Poet to mis-
remember the name of the "venerable Italian Poet"
* The conjunction of Ben Jonson and Marston in the book in 1601 is of
special interest; for it was in the same year Jonson produced his Poetaster,
attacking Dekker and Marston. See Ward's Eng. Drama, s. n. Later (1604-5),
Jonson, Chapman, and Marston, were together in prison for Eastward Hoe.
Introduction. Ixix
under whose mask — as a professed translator — he had
elected to sing Loves Martyr, we can only guess. Certes
the selections from Celiano, in the small volume of
Geo. Battista Licinio, contain nothing whatever to justify
Chester's description of Loves Martyr as a translation ; as,
indeed, the entire scope and substance of his poems forbid.
It is further to be remembered that, while in the 1601
title-page the Poems are designated translations, in the
second title-page of 1611 this is withdrawn, and its native
origin and growth affirmed, e.g., " The Amials [= Annals] of
Great Brittaine. Or A Mofb Excellent Monument, wherein
may be feene all the antiquities of this Kingdome." Our
late-given interpretation of the main subject of Love's
Martyr and related Poems, reveals that the author's own
consciousness of their 'burden' would make him very willing
to be mistaken for a translator, rather than to be known as
the actual composer of such 'perilous stuff.' Notwith
standing willing helpers at home and in Turin, Florence
and Rome, I have not succeeded in obtaining, or so much
as hearing of, an exemplar of any edition of the Poems of
Livio Celiano.* Quadrio mentions also this: "Celiano
(Livio) Rime. Pavia, 1592:' I have no expectation that,
were this other volume before me, any ground-work for
Love's Martyr would be found in it. For Chester's poems
are English throughout, with no touch of Italian grace or
melody or such allusions as were inevitable in any actual
translation of an Italian poet. In the British Museum copy
of the selections of 1587, some former possessor informs us
that Celiano was a native of Genoa. I cherish the pleasures
of hope that some specialist may hereafter enable me to
recover the Rime of 1592, and perchance other works of
Livio Celiano. In such case I shall not fail to communicate
the result. Meantime Dr. Todhunter of Dublin — author
* I owe special thanks to my friends E. W. Gosse, Esq. ; W. M. Rossetti,
Esq.; Dr. Steele, Rome; and Messrs. Dulau and Co., London. Mr. Gosse
guided me to the Selections in the British Museum.
K
Ixx Introduction.
of Lanrella and other Poems, having the genuine mint-
mark — has most kindly favoured me with verse-renderings
of some of Celiano's love-lays, as typical. The translations
are as close to the original as for our object was deemed
needful. I have now to give them, as follows :
The Lovers Parallel.
This lovely new-born plant,
Whose grace doth so enchant,
Mimics that maiden fair
Whose virgin beauty is my life's despair.
It in earth's heavy crust
Its delicate roots has thrust;
. Her's round its cisterns deep
Of my life-drained heart do cling and creep.
It a sweet river laves,
Her my full eyes' sad waves;
It joys in sun and air,
She in the warm sighs of my love's despair.
It hath its leaflets green
Her tresses fair, my Queen;
It hath its glowing flowers,
She her sweet face, like roses after showers.
But it with fruit is graced
Most pleasant to the taste;
Bitter is hers, heigho J
Gall of my life, since I desire it so !
The Envious Lover.
O many-coloured flowers !
Joy of the meadows; and ye verdurous leaves !
Ye whole beloved brood
Of Earth's great motherhood,
How do I envy your thrice-happy state !
When you the hot noontide grieves
The blessed dawn bedews your fainting bud;
And ah ! how happier far
Than me ye are,
When the beloved feet
Ye bend to kiss, of my Urania sweet;
And how in your frail form I long to be
When in her lap she takes you tenderly !
Introduction, Ixxi
The Lover's Complaint.
Who would behold a park
Of trees, thick-planted, dark;
Let him come see my daily-pierced heart,
Thick full of arrows, full of cruel smart :
Thus Love hath shewn his art !
2.
Who would behold a sea
Of tears wept hopelessly ;
Let him come see the wells of bitter brine
Which night and day I weep from out my eyne:
Thus Love's poor captives pine 1
3-
Who would behold a pyre
Of hell's eternal fire ;
Let him come see my bosom, full of flame,
Tormented with love's craving and love's shame:
Thus Love doth write his name !
4-
And she desires to know
The cause of all this woe —
Why Love hath made of me park, sea, and hell,
Let him know this my tigress, loved too well,
So fair, but ah ' so fell I
The Lover's Plea.
If I might pleasure thee
By crying: " Woe is me ! "
" Woe's me ! woe's me ! " a thousand times I'd scream.
So I might compass all my blissful dream !
2.
Or if by sighing deep
Thy favour I could keep,
If that would win thy pity for my plight,
Sweet heavens I I'd sigh all day and sigh all night !
3-
Or if when I should cry
" Oh help me, sweet, I die ! "
Thy comfortable presence I might have,
How oft I'd pray thee lift me from the grave ! "
1 xxi i /// troduction.
4-
Alas ! I still may sigh,
" Woe's me ! " for ever cry,
And crave thy help in my despairful state;
All will not serve to change my cruel fate !
It only remains to state that, throughout, my anxious aim
has been to reproduce the book in absolute fidelity to the
original. Below, I record certain errors of the original and
other minor points.* I would, in conclusion, express my
very cordial sense of obligation to the various friends who
have aided me in my labour. I have to add to the names
that appear in their places, that of the Rev. W. E. BUCKLEY,
M.A., of Middleton Cheney, for excellent aid in tracing
Chester's classical and other quotations ; but I wish em
phatically to reiterate my gratitude to Dr. BRINSLEY
NICHOLSON for his sustained and minute carefulness of
reading after and with me, and giving me the benefit of his
ripe acquaintance with Elizabethan-Jacobean literature. I
send forth the book, especially my Introduction and Notes
and Illustrations, with less hesitancy, that he has read the
whole, and approved, if not in every detail, yet substantially.
I have to thank my friend Professor DOWDEN for several
suggestions that have been utilized.
And so I invite thee, ' gentle Reader,' to the thoughtful
perusal of this ancient book, in the light and shadow of my
interpretation of its 'shadowing the truth of love,' — viz.,
as telling the story of Elizabeth and Essex, with Shakes
peare's version as well. I regard it as no common honour
to address so 'fit audience.' I confidently count on every
genuine fellow-student of Shakespeare receiving generously
my endeavour and weighing text and notes together. HENRY
ELLISON — subtle and vivid Singer of our generation, and
destined to be more amply recognized a century hence —
may close these introductory words :
" Oh turn unto the days of yore,
When Faith her martyr-sons could name;
And Liberty's untainted lore,
From heart to heart, passed as a flame.
* See Postscript H.
Introduction. Ixxiii
Oh turn unto the days when Faith
Could build cathedral piles thro' love;
And hosts therein, as with one breath,
Their true heart-offering sent above !
Oh turn unto the days of old,
When unreproved all, and free,
Old songs were sung, old tales were told,
And Hall and Bower rang to their glee.
Turn ye unto the times I say,
When noble thoughts were welcome more
To English ears, than at this day
Vile clinking gold, by knaves told o'er !
Oh turn ye to the household laws,
The fireside laws of Peace and Love;
Where Wisdom feeds her little ones,
And fashions them for Him above !
Oh turn unto our Shakespeare's page,
And read of Harry's chivalry;
Of gallant deeds, which are a gage
For like unto Posterity.
Oh then shall Freedom on Time's lyre
Strike with a willing hand the strain
Of olden days; and Hampden's fire,
And Milton's tongue, be heard again !
Then Faith shall have her martyr-names,
Tho' not fire-tested be their worth,
And patient Chanty, who tames
Old hatreds, give to Love new birth !
Then Freedom's bright electric chain
Shall stretch o'er hamlet, town, and tower;
And good old songs be heard again
In knightly hall, in cot, and bower !
Then too my Fatherland, thy fame
With rainbow-breadth once more shall rise;
Scattering the storms thro' which it came,
Like dawn unto long watcher's eyes !
And thus, when thou must sink again
Within thine own eternal Sea;
The guardian-angels still their strain
Shall sing, and hail thee, ' bless'd and free. ' *
* Madmoments, vol. i, pp. 99-100, ' On hearing an eld-time song.'
ALEXANDER B. GROSART.
St. George's Vestry, Blackburn, Lancashire.
August, 187%.
POSTCRIPT.
A. Page viii.
Epistle-dedicatory of The Christian Exercise of Fasting^
Private and Pvblike &c. 1596.
"To the right worshipfull and his very Christian good friend, master Robert
Chester, Esquier &c. mercie and peace in lesvs Christ.
"I must look for many aduersaries, for the greatest part hath euer declined from
pietie to superstition and prophanenes. Therefore, (right worshipfull) I come
vnto you for protection of Gods trueth : being the more bolde to aske this fauor,
because I am so well assured of your loue thereunto, and full resolution to
defend the same with al your might during life. Againe, I haue nowe for many
yeares knowen your Christian loue towards me for the truths sake. I desire to
testifie my hearts affection towardes you in the best manner that I can. The most
blessed spirit of lesus Christ guide and gouerne your spirit, keepe and comfort
you and all yours. Februarie 12. 1596.
"Yours assuredly euer to vse in lesus Christ during life. Henry Holland."
Judging from this Epistle one must conclude that Chester
was of the Puritan side as against the Papal. Essex was
avowedly with the Puritans.
B. Page ix.
Abstract of Sir Robert Chester's Will, made by Dr. Joseph
Lemuel Chester, London.
"I, Robert Chester, of Royston, in the county of Herts, Knight" — dated
3 May 1638 — to be buried at Royston, next the body of my sister Mrs. Mary
Thornburgh — to my wife all my plate, jewels, household stuff, goods, chattels,
&c., in my mansion house called Cockenhatch and in and upon my lands in
Barkway and elsewhere in co. Herts. — my said wife to provide for the weekly
distribution forever of i6d worth of bread to the poor of Barkway and 8d worth
to the poor of the hamlet of Northampsted in Barkway aforesaid — to my son
Robert Chester, Doctor of Divinity ;£ioo., with which to educate my godson
Robert Chester son of Henry Chester till he reach the age of fifteen, and then
;£ioo. more to bind him apprentice or make him a scholar — to my said godson
Robert Chester ,£300. when 24 years of age — to my said son Henry a Mourning
cloak, and to his wife ,£10. for mourning — to my son Granado Chester, Doctor
Postcript. Ixxv
of Divinity ;£ioo. — to my son Robert Chester D.D. and his wife each
mourning, and to his son Robert my godson ,£100. — to my brother in law Mr.
John Stone a mourning gown — to my son Edward Chester a gown, my horse,
and my seal ring with arms — to my brother in law Mr. Edward Capon a cloak—
to my son in law Sir Thomas Nightingale Baronet, a cloak — to my son in law
Edward Ratcliffe Esquire, a cloak, and to my daughter his wife ^20. for mourning
and a ring — to my daughter Theodosea Nightingale widow ^"20. for mourning
and a ring — to my son in law Samuel Hinton, Drof the Civil Law a gown.
And to my daughter his wife £20 for mourning and a ring, and to their daughter
Anne Hinton £20. when 1 8 years of age —to my son in law John Piggott Esq.
and my daughter his wife, mourning — to each of my grandchildren a ring of the
value of 20 shillings, with this posy, " Christus unica salus" — to my kinsman
Thomas Smith, Gent, a cloak — to the poor of Royston ,£5. — to the poor of
Barkway and Northampsted ,£5. — to my cousin Magdalen Deane alias Addams
40 shillings a year for life, and to her daughter Anne, my cousin, wife of [blank]
Tymberell, 20 shillings — to my nephew Henry Thornburgh £20. and mourning,
and to each of his children ^5. — to Mr. More, vicar of Royston, 20 shillings
and a gown — to my godson Chester Greene 20 shillings — to Dr. S mith, vicar
of Barkway, 20 shillings — all residue of pesonalty to my son Edward Chester,
Esquire, whom I appoint my sole executor.
Codicil, dated 16 March 1639/40 — to my said sons Granado Chester, D.D.,
and Robert Chester, D.D., £300. which they shall dispose for the benefit of
my son Henry — to my said son Henry an annuity of £20 for life — All my
messuages, lands, tenements, &c. to my said son Edward for life, with remainder
to his son John Chester and his heirs male, remainder to the other sons of my
said son Edward and their heirs male in succession, remainder to my said son
Granado, &c., remainder to my said son Robert, &c., remainder to my said son
Henry, &c.
Codicil, dated 7 April 1640 — to Granado, second son of my said son Robert
Chester, ^50. — to Anne Hinton daughter of my said son Samuel Hinton ^30.
more when 18 years of age, or, if she die before, then same to her 2 younger
sisters when 18."
[The Will was proved in the Prerogative Court of
Canterbury, 3 February, 1640-1, by Edward Chester,
son and executor.
Recorded in Book "Evelyn," at folio 25.]
C. Page xxiii.
NICHOLS' PROGRESSES OF QUEEN ELIZABETH.
Were it not that the title-page of Chester's Loves Martyr
(1601) designates it "the firft Effay of a new Brytijh Poet,"
I should have felt disposed to assign a somewhat vivid piece
Ixxvi Postcript.
in Nichols' Progresses, to Chester. It is entitled " The Prin
cipal Addreffe in Nature of a New Year's Gifte ; feeminge
therebye the Author intended not to haue his Name
knowne." It is taken from Cotton MSS., Vespasian, E 8.
It is possible that, notwithstanding the words "the firft
Effay," this anonymous production really was Chester's, but
not re-claimed by him later. Be this as it may, there are
memorable and illustrative things in it. Thus, in relation to
the prominent part ' Nature ' fills in Loves Martyr, it is
noteworthy that, similarly here, 'Nature' gives the "principal
Addreffe." Equally noteworthy, too, is it, that one of
Chester's titles, Loves Martyr, occurs in this set of courtly
poems, e.g.:
" Horace, honour'd Auguft, the high'ft of names,
And yet his harte from Mecene never fwervde;
Ovid helde trayne in Venus courte, and fervde,
Cheife Secretarye to all thofe noble dames,
Martyr es of love, who fo broylde in his flames,
As bothe their trauth and penance well defervde
All in fine gold to have theyr image kervde."
More noteworthy still is the precise lamentation of Chester
over Elizabeth's un-married state as in our closing quotation.
Again, she is sung of as 4 the Mayden Queen ' with many
lovers :
" . .. . . two Capetts, three Cezares affaylde
And had repulfe of the great Britton Mayde "
And:
" For we fuppofe thou haft forfworne
To matche with man for evermore "
And:
' ' In woman's breft
Hath harbourd fafe the lyon's harte "
And the gazer on her ' bewtye ' has a
" feble eye
That cannot view her ftedfaftlye "
Broadly looked into, this " Principal Addreffe in Nature,"
throughout, is quite in the same vein with Love's Martyr
Postcript. Ixxvii
in its laudation of Elizabeth. A few quotations will doubt
less be acceptable. This is the opening :
' ' Gracious Princeffe, where Princes are in place
To geve you gold, and plate, and perles of price,
It feemeth this day, fave your royall advice,
Paper prefentes fhoulde have but little grace;
But fithe the tyme fo aptly ferves the cafe,
And as fome thinke, you're Highnes takes delighte
Oft to perufe the ftyles of other men,
And eft youre felf, with Ladye Sapphoe's pen,
In fweet meafures of poefye t'endite,
The rare affectes of your hevenly fprighte;
Well hopes my mufe to skape all manner blame,
Utteringe your honours to hyde her owner's name."
Avowedly the author regards Elizabeth as a pre-eminent
theme, e.g., " The Author choofmge by his Verfe to honour
the Queens Majeftie of England, Ladye Elizabethe, boldly
preferreth his Choife and the Excellencye of the Subje6l
before all others of any Poet auncient or moderne." And
again : " That her Majestic furmounteth all the Princesses of
our tyme in Wifedome, Bewtye, & Magnanimitie : & ys a
Thinge verye admirable in nature." In accord with this
are the several 'addresses' placed under the nine Muses.
I must content myself with one further quotation : " That
her Majestie (two things except) hath all the Parts that
justly make to be sayd a most happy Creature in this
World."
Parthe III. Erato.
" Youthfull bewtye, in body well difpofed,
Lovelye favoure, that age cannot deface;
A noble harte where nature hath inclofed
The fruitful feedes of all vertue and grace,
Regall eftate coucht in the treble crowne,
Anceftrall all, by linage and by right,
Stone of treafures, honor, and juft renowne,
In quiet raigne, a fure redouted might:
Faft frindes, foes few or faint, or overthrowen,
The ftranger toonges, and the hartes of her owne,
Breife bothe Nature and Nourriture have doone,
With Fortune's helpe, what in their cunning is —
L
Ixxviii Postcript.
To yelde the erthe, a Princelye Paragon.
But had fhee, oh ! the love joys flie doth miffe,
A Caefar to her hufband, a Kinge to her foone, [son}
What lacks her Highnes then to all erthly bliffe ?
I add, that " Parthe VII, Euterpe," is a summary descrip
tion of Elizabeth's person, of which that in Love's Martyr
is simply an expansion.
D. Page xxxiv.
OTHER ' PHCENIX ' AND KINDRED REFERENCES.
In "Sorrowes Joy" — a somewhat interesting poem among
the many that ' speeded ' the departing Queen and welcomed
the coming King, which Nichols also has reprinted — there
are exactly such descriptions of Elizabeth as are found in
Love's Martyr, with the ' Phcenix' perpetually recurring, e.g.
" Nature, Art, Fortune vexed out of meafure,
All firmely vowed to frame her equall neuer."
" Wild Savadges ador'd her living name
The Earth's bright glorie and the worlds cleare light. "
" Such our Eliza was whilft me did Hue :
One Phoenix dead, another doth serviue. "
" Thus as a Phoenix of her afhes bred
" Since that to death is gone that facred Deitie
That Phoenix rare."
" A sweeter Muse neare breathed on these lands."
" Loue ftrewed cinnamon on Phoenix nest."
' ' Or when as Phoenix dies : Phoenix is dead
And fo a Phoenix follows in her stead
Phoenix for Phoenix."
See our Introduction (p. xlvi) for one very remarkable
parallel with Chester's title of Love's Martyr. With rela
tion to the superlative flatteries of Elizabeth by Chester
and contemporaries, Hume has observed — " Even when
Postcript. Ixxix
Elizabeth was an old woman, she allowed her courtiers to
flatter her, with regard to her excellent beauties." Cf. Birch,
vol. ti, pp. 442-43. When Elizabeth was nearly 70, Coke,
at the trial of Essex in 1601, said gravely, that he and his
partisans "went rather into the city than to the Court, in
regard the lustre of the divine Majesty glistered so brightly
in the Royal Majesty, and did so dazzle their eyes, that
they durst approach no nearer." (Camden, Trans. 614,
Orig. it, 230, and cf. my Dr. Fanner ChctJiam MS., in
Narrative of the Trial of Essex and Southampton.)
E. Page xlvi.
MELVILL'S ACCOUNT OF ELIZABETH.
Whitaker, in his ''Additions and Corrections made in the
second edition of Mary, Queen of Scots, Vindicated" (1789),
has worked in under a passionate animus, many extracts
from contemporary letters, &c. Bating the twist, he gives
them all, they are of the rarest interest, and go to confirm
and illustrate almost every detail in Love's Martyr. I refer
the student-reader to the book. I content myself here with
an incident at Court that vivifies Chester's praise of
Elizabeth's musical gifts (p. 13, st. 2).
" She [Elizabeth] asked, if she [Mary] played well? I said, Reasonably for
a Queen. That same day, after dinner, my Lord of Hunsdean [Hundson] drew
me up to a quiet gallery, that I might hear some musick (but he said he durst
not avow it) where I might hear the Queen play upon the virginals. After I
had hearkened awhile, I took by the tapestry that hung before the door of the
chamber ; and seeing her back was towards the door, I entered within the
chamber, and stood a pretty space hearing her play excellently well. But she
left off immediately, as soon as she turned her about and saw me. She appeared
to be surprized to see me, and came forward seeming to strike me with her hand ;
alledging she used not to play before men, but when she was solitary to shun
melancholy. She asked, how I came there ? I answered, as I was walking
with my lord of Hunsdean, as we past by the chamber-door, I heard such me
lody as ravished me ; whereby I was drawn in ere I knew how : excusing my
fault of homeliness [familiarity] as being brought up in the conrt of France,
where such freedom was allowed, the French easiness of manners being then as
eminent, as it has since been She then called for my lady Strafford
out of the next chamber, for the Queen was alone. She inquired, whether my
Queen or she played best ? In that, I found myself obliged to give her the
praise." (pp. 145-6.)
Ixxx Postcript.
F. Page xlix.
LETTER FROM A CORRESPONDENT IN ENGLAND TO A
SCOTTISH NOBLEMAN, AT THE CLOSE OF
ELIZABETH'S REIGN.
I am indebted to my friend J. M. Thomson, Esq., Edin
burgh, for an exact copy of this very noticeable Letter.
As it has never been printed in extenso I deem it expedient
to give it without mutilation. The italicized lines are surely
very remarkable in their revelation of Elizabeth's too-late
discovery of the wrong against her truest and noblest self in
sacrificing Essex. The Letter is valuable, also, as reflecting
the troubled state of the nation at the time. The original
unsigned MS. — for it was perilous to sign such a letter —
is in the Advocates Library, Edinburgh, and it runs thus :
" Albeit that I haue not aunswcrcd your Lordships letter; neuertheless I
hoope, that my silence shal receiue that favorable conr,tructio[n] which my in-
nocency may challenge of right. For I was resolued to commit no letter to the
hands of Fortune, seing that the expectation of a litl tyme, might secure the
passage of thoose papers, which I decreed to consecrate only to yo-ur self. And
if the debt I owe you, might be payed by woordes, I would frank [ly] spende al
my tyme in acknowlegement of your fauours ; which beare fruite of such sorte,
that so soone as I haue receaued them, they begin to bud forth, & to produce
new blossomes.
" Neuertheless my hoope is, that al the world shal knowe, that pow[er] in re
quiting, hath rather fayled mee then will. Therfor pardon mee I beseech you,
if wanting meanes to discharge the debt I owe I am constreined to runn on the
old skoare, & to spende stil out of your L(IPS stocke.
" I haue at length sent his Ma*y an abstract of such Gentlem[cns] names, as
are in greatest accompt in Englande. The greatest part wherof are knowne
vnto my self : the rest I haue had intelligence of, by many wary questions, £ sun
dry relations, of thoose, that weer well assured of that which they informed.
And concerning the Apologetical preface, I haue deliuered my opinion, wherin
I jumpe just with your LdPs censure therof : hooping that h[is}highnes will take
your woord in my behalfe, that my difference jn the forme of an Apology,
springeth not from any spirit of contra[dic]tion, but from the obedience I owe, to
aunswer, truly, vnto euery demaunde his Majesty shal propounde vnto mee.
Also I haue sent a discoursiue aunswer vnto certeyne questions : wherin I sup-
poofse] that though p'haps I may seeme to shoote at reuers, I haue not shott
very wide from the marke. Our Queene is trubled w\ith] a Rhewme in her arme,
which vcxeth her very much : besides the grcefe. shec hath conceiiied for my Ld of
Postcript. Ixxxi
Essex his deathe, shee slecpeth not somuch by dav as shce used, nether taketh rest by
night : her delight is to sit in the darke, 6° sometimes with shcddinge of tears to
bewayle Essex. This is the reason, that wee haue so many horses about Lon
don : the particularitie wherof I refer to Mr. Foules. In any case let mee in-
treate you to sollicite his Ma'y, to send often, & though the jorney bee longe, &
peynefull, I doubt not, but that Mr. Foules, will gladly vndertake the charge,
wherin so good seruice may bee performed. For it is expedient that the mes
senger bee skilful in our present estate, trusted by us, & knowne to bee confi-
dente with the kinge. Concerning my self, or the seruice which I may per-
forme, ether in this place, or any whatso euer, I protest that I remayne firme,
& ready to bee imploycd, whensoeuer his Majesty, shal grace mee with his com-
maundement. For I breathe no other contentment, then that, which may turne
to the aduancement of so gratious a Prince, & the ease of this distressed Cuntry.
In what state wee stande at this present, may better bee related by Mr. Foules,
Quceque ipse miserrima vidit, then by a short narration of perpetual woes.
"Therfor I will acluertise your LP, of your owne affaire : wherin I haue tra-
ueyled to the vttermoast of my power, & gotten a particular information of al
Caris proceedings touching Whorlton. The common voice of the Tennants is,
that hee payed only a 1000 marks to the Queene : but hauing conferred with
himself, I founde him much discontented as hee pretended, for the great price
hee had payed Videlicet : 1800' : But I beleue him not therm. Neither doth
3 ; or I thinke it fitt that any thirde person should compoundc with him for it.
For it is certeyne that seing it is already leased, it wil not bee bought but at an
vnreasonable rate : & the tyme wil come when hee wilbee glad to take half the
money hee hath disbursed for his interest therin. The Queene hath sold a
greate part of the Duchy of Corn well & Lancaster, v/hich landes must ether bee
recalled, as wee haue a president therof in Henry the fourths tyme, or bought
agayne to vnite them to the Crowne. I haue sent your LP a draught of the
suruay of Whorlton, which I gott cunningly out of the Checker. Likewise you
shal receiue a coppy of a Letters Patients, taken out of the which is
counted to conteyne the moast general woordes, that may bee used in a good &
perfect assurance. And albeit t[hat] the name of a Rectory agree not with your
Manors, it importeth not, seing that mutatis mutandis, forasmuch [as] concern-
eth the names, the whole process of the graunte is to [be] obserued. I feare
that you can hardly reade itt, for it is written in badd Lattin, & abbreuiations,
which is the man[ner] of the clarks that coppy any recorde out of the Chaun-
cery. The graunte you sent mee with the clause of renewinge the Letters pat-
tents in Die Illo. is held to bee better then any other assurance that can nowe
bee made by the kinge. I will deteyne your LP no longer : beseeching you to
build upon that good foundation of my affection, which your merite hath firmely
layd. For my desir is to streyne my vttermoast ability, to bee alwais the for-
most in
Your LPS Seruice."
Ixxxii Postcript.
G. Page Ixi.
SHAKESPEARE CENSURED.
I refer to Henry Chettle's England's Mourning Garment,
&c. (1603). In this somewhat remarkable celebration of
Elizabeth, Shakespeare, as author of the Rape of Lucrece, is
thus appealed to :
" Nor doth the silver-tongued Melicert
Drop from his honied muse one sable tear,
To mourn her death that graced his desert,
And to his lays open'd her royal ear.
Shepherd, remember our Elizabeth
And sing her rape, done by that Tarquin, death. "
Is it accidental that CHAPMAN and MARSTON — other two
of the authors of the "new compositions," be it noted — are
similarly censured and urged ? Could these lines in Chettle
be possibly meant to //// at Chester and the "new com
positions " ?
" worst of worst,
Bayards and beasts accurst, with grossest flattery nurst
Have sting her sacred name, and praised her to their shame,
Who was our first and last " (Harl. Misc., vol. iii, pp. 524-546).
H. Page Ixxii.
ERRATA OF THE ORIGINAL.
Page 12, st. 3, 1. 2, comma after 'springs' instead of period
(.) — corrected.
„ 13, st. 3, 1. 2, comma after 'flower' instead of period
(.) — corrected.
ibid., st. 4, 1. i, ' yee ' for ' yea ' — corrected.
„ 14, st. i, 1. 4, 'Venus' printed ' Venvs' — corrected.
,, 22, numbered 41 instead of 14 — corrected.
„ 23, To thofe of light beleefe — st. 1, 1. 5, no comma after
' conceit ' — corrected.
ibid.y st. 2, 1. 5, comma after ' find ' — corrected.
„ 77, st. 2, 1. 6, no stop after ' fpight ' — corrected.
„ 83, lohannis Leylandij, &c., 1. 12, the comma after
'petit.'
Postcript. Ixxxiii
Page 89, Heading — ' Dialgue ' for 'Dialogue' — corrected.
„ 92, st. 1, 1. 3, no comma after 'enchantment' — corrected.
„ 104, st. 3, 1. 2, 'gods' for 'godd[es]s.'
„ in, numbered ' 101 ' — corrected to '103.'
„ 113, st. i, 1. 3, 'cle' for 'clere,' and 1. 6, 'the m' for 'the
mpnde].'
„ 128, st. I, 1. i, 'Memnodides' should have been 'Mem-
nonides ' certainly.
„ 131, st. 2, 1. 3, 'fometing' for ' fomething ' — corrected
„ 137, st. 4, 1. 4, ' fecrecly ' for 'fecretly.'
„ 142, 143, are mis-numbered ' 118 'and '119' for ' 134'
and ' 135' — corrected.
„ 153 to 175, numbered 141 to 163 for 145 to 167 —
corrected.
„ 167, margin — 1. 14, ' feele ' for ' feele/ and 1. 20, ' poreft '
for ' pureft ' — corrected.
„ 179-195, are mis-numbered 167 to 183 for 171 to 187 —
corrected.
See also various suggestions and criticisms in the Notes
and Illustrations. A comma at the end of a line was a
favorite contemporary punctuation.
ERRATA OF OUR REPRINT.
Those marked with an asterisk (*) the Reader will please correct before
reading — others of lesser moment.
Page 11, st. 3, 1. i, put comma after 'thing.'
„ 29, st. I, 1. 4, spell 'keepe' for 'keep.'
„ 31, st. 2, 1. 4, spell 'harmeleffe' for 'harmleffe.'
„ 34, st. i, 1. i, put comma after ' Elfleda!
„ 37, st. 4, 1. 7, spell ' deedes ' for ' deeds.'
„ 38, st. 4, 1. 2, spell 'tooke ' for 'took/
^ „ 40, st. 1, 1. 8, 'reobtain'd' is printed loosely 're obtain'd.'
„ 43, 1. 7, spell ' owne ' for ' own.'
„ 44, heading, 1. 2, put comma after ' Coronation.'
^,, 45,* st. 2, 1. 5, 'But' is misprinted 'Bet.'
Ixxxiv Postcript.
Page 47, 1. 3., spell 'litle' for 'little/ and st. i, 1. 2, 'wel' for
'well.'
„ 60, 1. 21, l redemaund* is printed loosely ' re demaund.'
„ 61, 1. 2, spell 'inuade' for ' enuade.'
„ 77, st. 2, 1. i, spell 'batteir for 'battel.'
„ 78, st. I, 1. i, spell 'prepar'd' for 'prepared.'
„ 82, st. 3, 1. 6, spell ' bene ' for ' been.'
„ 84, 1. 8, read 'off fpring' for 'offfpring,1 and 1. II, spell
' fweete ' for ' fweet.'
,, 85, Hee endeth, &c., 1. 2, put comma after 'feate.'
„ 8 1, 1. 4, spell 'lye' for 'lie.'
,, 93, st. 4, 1. 3, put comma after ' Hercules.'
„ 96, st. 2, 1. 5, capital to 'Fifties'; and st. 4, 1. I, spell
' lacke ' for ' lack.'
„ 98, st. 3, 1. 7, spell ' verie ' for ' very.'
„ 107,* st. 3, 1. 4, read 'feafon' for 'feafon.'
„ 1 08, st. 2, 1. 2, spell 'Turbut' for 'Turbot.'
„ 112, st. 4, 1. 6, spell 'food' for 'foode.'
„ 115, st. 2, 1. 4, spell ' meate ' for ' meat.'
„ 127, st. 2, 1. 5, put comma after 'way.'
„ 128, st. 5, 1. 3, spell 'dayly' for 'daily.'
„ 1 68, st. 3, 1. 5, spell 'tels' for 'tells.'
„ 172, st. 2, 1. 6, spell 'fauoring' for 'fauouring.'
„ 183, st. 4, 1. i, spell 'itfelfe' for 'itfelf.'
„ 185,* st. 1. 15 ( dropped before 'Peans.'
„ 190,* ETTOS should have been Latin Epos — my printer
having printed it Epos in Greek, I over-hastily
corrected it to ETTO?.
„ 194, Heading of Ode — I have extended the contrac
tions for ov and (jr.
„ 195,* st. i, 1. 4, for 'as' read 'in.' The five asterisk-
marked places I mean to correct in the sterotype-
plates for the new Shakespeare Society.
A. B. G.
NOTES AND ILLUSTRATIONS.
*#* The References are to the Pagination at the bottom, not at the top.
Title-page (1601), p. I. On this see our Introduction. Therein the significance
of these words, "Loves Martyr" — " Rosalins Complaint "-
"truth of Loue" — "the constant Fate of the Phoenix and
Turtle" — "enterlaced with much varietie and raritie" — "now
first translated out of the venerable Italian Torquato Caeliano "
— "some new compositions, of seuerall moderne Writers" —
" whose names are subscribed to their seuerall workes, vpon
the first subject : viz. the Phoenix and Turtle," &c., are
elucidated. The Latin motto is from Martial, Epigr. i, Ixvi, 9.
,, (1611), p. 7. On this, similarly see as above. " Anuals" is a mis
print of the original for "Annals."
Epijlle-dedicatory, pp. 3, 4. SIR JOHN SALISBURIK. See Introduction for
full notices of this specially "honored Knight." Page 3, 1. 8,
" Pofse 6° nolle, nobile" — see our Introduction on this motto ;
I. 14, " ripe iudging "= ripe-judging ; 11. 16-17, ll his mvne
child to befaireft although an ^Ethiopian " — a proverbial saying
found in all languages; cf. Love's L. L., iv, 3, " Ethiops ....
their sweet complexion"; 1. 18, "-infant wit"= first literary
production — answering to the title-page l<lthefirjl EJJ~ay of a
new BritiJJt Poet." Page 4, 11. 6-7, " To the World," &c.=
this shews that "Imprinted for E. B." does not mean a
privately-printed book, but one ' published ' for ' learned '
and ' vulgar, ' if so they were minded to buy.
The Authors request to the Phcenix, p. 5. For abundant proofs that by the
' Phoenix ' was meant Queen Elizabeth, and by the ' Turtle-
doue ' the Earl of Essex — see our Introduction; also the same
for the further confirmation herein of Shakespere's having
favoured Essex. Note — this is the 'Author's request,' not
a translation. Line I, "beauteous Bird of any"= the most
"beauteous " of "any " one, and of all birds ; 1. 9, "paflng"
= surpassing; 1. 12, il Endeuoured haue to pleafe in praifcng
thee" — noticeable and noticed in our Introduction.
To the kind Reader, p. 6, 1. I, " the facke of Troy" = Homer; 1. 2, " Pryams
murdred Sonnes"— Homer; ib.t "nor Didoes fall"= Virgil;
II. 4-5, " OfCccfars Viftories," &c., &c. = Shakespere— "Julius
Caesar" is now generally attributed to 1599-1601 ; 1. 8,
"vntun'd flringed" — untuned-stringed. The motto 'Mea
mecum Porto,' are found in Emblem books under a tortoise.
c c
198 Notes and Illustrations.
Page 9, Heading, 1. 2, "Metaphorically applied to Dame Nature" — see Intro
duction on this; 1. 4, "high Star-chamber" —is*, the starry
sphere — a sphere above the mundane; 1. 6, " heauie burdend"
= heavy-burdened; st. 2, 1. 5, ' ( Lordlike cowardice " — on this
allusion, see Introduction; 1. 6, "fond"= foolish; ib., "nice"
— precise, scrupulous, as in Shakespeare, frequenter ; st. 4, 1. i,
" Imperator" = supreme ruler, emperor (so Love's L. L., iii,
1. 187)— one of Jupiter's titles was " Imperator," and "firie
chair" is used because he was the prince of light and thunder:
cf. p. 1 6, st. i, and p. 15, st. 3; 1. 4 (p. 10), " firie chair" =
throne.
,, 10, st. I, 1. 2, "none-tike" cf. 1. 5, "none fitch." Hence not = nun-
like, albeit there may possibly have been intended, after the
manner of the times and Shakespeare, a quibbling pun and
the secondary meaning of 'nun-like' hinted at; 1. 4, " inilke-
white Done'''' — not = the "turtle-dove," but = the Phoenix;
st. 2, 1. i, " heauenly map" — a. representation in miniature
of the heavens ; 1. 5, " locks of pure/I gold. " The 'lock 'of
Elizabeth's hair preserved at Wilton (within lines by Sir Philip
Sidney), remains to attest that her's was of sunbeam-gold, and
'red' only as 'gold' was called "red monie " in ancient
ballad and story; st. 4, 1. 2, "cenfure"= judge; 1. 5, "find"
= find [wherewithal] to cure the wound? " Tablet" = table-
book — which were often made of ivory.
,, II, st. i, 1. 2, " Two Carbuncles" — from the brilliance, not certainly from
the ' red ' colour of this gem. ' ' Shineth as Fire .... whose
shining is not overcome by night .... and it seemeth as it were
a flame" (Bateman upon B. B., xvi, c. 26; cf. p. 16, st. 4, 1. 5).
1. 3, "foneraignize"= rule as a sovereign; 1. 5, "Sonne"=
sun. Spenser, without metri gratia, thus spells the word. See
Shepherd's Calendar, frequenter, and throughout. St. 2, 1. 6,
" heauenly Front" — hyperbolical and explained by 1. 5 as the
"front of Heaven," the sky. So Shakespeare, "the front
of heaven was full of fiery shapes," Henry IV, act i, sc. i,
I. 14, et alibi-, st. 3, 1. 5, " Enuie" — it would seem that
'crystal' was supposed to prevent or "over-come" — envy;
st. 4, 11. 1-2. Cf. Venus and Adonis, 11. 45 1-2.
" Once more the ruby-colour'd portal open'd,
Which to his speech did honey passage yield."
II. 5-6— universally said of Elizabeth; and st. i, p. 12, and
indeed throughout the portraiture. See Introduction. LI. 5-6
(p. 12), ought to have been put back as in the other stanzas.
This has been inadvertently neglected in two or three instances ;
but is here noted once for all.
,, 12, st. 2, 1. 2, " powers" = disyllabic form of "pours"; 1. 4, " ratietie"
Notes and Illustrations. 199
sic\ but doubtless a misprint for 'rarietie'— rarity, metri causa',
st. 3, 1. 5, " lone-babies" = reflections of himself in her eyes;
ibid., "wanton eyes." See st. 2, 1. 2, "perfect chaftitie" and
1. 6 of the present stanza, "doth cfaiftesfae" =make chaste, with
a play perhaps on 'chastize' in its ordinary sense. Hence
' wanton' is used here much as Shakespeare speaks of " wanton
boys," i.e., pleasure-loving or gamesome or fondling. See
SCHMIDT, s.v. So in Spenser, &c., &c. St. 4, 11. 1-2 — ming
ling of ancient and (apparently) modern fable ; 1. 4, '* glories"
— glories'.
Page 13, st. I, 11. 1-2, "men may reacle His" — men = each man of all men ;
1. 2. evidently the comma after 'woe' is a misprint for a
period(.) Note — all these celebrations from "Head" to
"Bellie" and onward (p. 6 to "Feete"), shew that a per
son and a female was intended by the "Phoenix." The
"Arabian Phoenix," or bird so-called, is distinguished from
the other (st. 3, 11. 3-4); st. 2, 1. I, see our Introduction for
an incident in Elizabeth's life illustrative of this ; st. 4, "yae"—
this is misprinted in the original "yea," and perhaps ought to
have been so left and noted here. See Postscript to our
Introduction for other similar errors, and also certain 'slips'
of our own (of no great moment). St. 5, 1. 2, " Gehon"=
Gihon, Genesis ii, 13 ; 1. 3, "prize"— prized with such honour.
,, 14, st. 2, 11. 5-6. Punctuate (tneo judicio) "why, . . . flic . . . Angell";
st. 3, 1. 4, ttjweetwrit"=svreet'\vrit ; 1. 6, " corporate Soule" -
soul existing in her conjoint body ; st. 4— the " Marigold " that
has at night, i.e., after the setting and so absence of the sun,
closed the glory of her eye, now at her approach unfolds again
as she would at the sun's approach ; 1. 5, " Phcenix " =
Phoenix'; ). 6, "yeeld"= yield obeisance, as acknowledging
their inferiority.
,, 15, st. I, 1. 2, "Arras cloth" — a rich kind of tapestry, and so named
because the best was made at Arras the capital of Artois ; 1. 3,
" Satires " = Satyrs ; st. 2, 1. i, " This Phcenix I do feare me
will decay," &.c. Elizabeth in 1 60 1, when Love's Martyr was
published, was well nigh the close of her long life and reign ;
and making as long an interval as one can well suppose between
the composition and publication of the poem, she must have
been long past possible maternity before these words could
have been written. In the Epistle-dedicatory the Author
speaks of his " long expected labour"; but the "long" could
scarcely cover more than comparatively a few years. Every one
knows, however, that strong-brained as was the great Queen,
she sniffed to the last gratefully and graciously whatever incense
of flattery of her person courtiers and poets chose to offer her.
2oo Notes and Illustrations.
See our Introduction for more on this ; st. 4, " wight" = white —
to agree with its rhyme "outright" (1. 4); 1. 5, "ftrncke"=
[was] ftrucke ; 1. 6, " Doue"— again as in page 10, st. I, 1. 4,
not the "turtle doue" but = the Phoenix still; 1. 5 (p. 16),
"w7/?/>"=vast, limitless. So in Shakespeare, frequenter.
Page 16, st. i, 1. i, " temeritie1'' — used as from timor = timorily, fear; st. 2,
I. 3, "&rf0//a&m=extollation ; 1. 4, either " deuine-maiesticall "
or comma after "deuine"; 1. 5, "painted picture there"* '=
portrait of Elizabeth as was her wont in all the splendor of
"rich wrought . . . gold" and jewels; st. 4, 1. 5, "Eyes
wanting fire" —'woxtiaxg the fire of living eyes. Or does he
mean that they flamed or gleamed, but wanted the anger or
rage of fire like the carbuncle, as before ?
,, 17, st. i, 11. 5-6. In plain prose, get Elizabeth to marry — see next
stanza, 11. 5-6; st. 2, 1. 2, "plaind"= made smooth. So
Dr. Henry More {Chertsey Worthies' Library edition of his
complete Poems, p. 15) :
" Such as this Phyllis would, whenas she plains
Their Sunday-cloths, and the washt white with azure stains."
(Psychozoia, st. 21.)
!• 3) "painted JJiape"— portrait, as before; st. 3, 1. 3, "il
working" = ill- working ; 1. 4, " white Brytania " — so that the
'Phoenix,' beside which that of Arabia was but "fruitlese
ayre," was within the "white cliffs" of Britain. Be it noted
specially — for the punctuation is bad — that while it is
" leaue" (1. 2) and " leaue " (1. 3) as = let alone, seek not there,
in 1. 4, it is "leaue me"= leave to me, in my keeping, or qu.,
Do you leave ? So that neither in Arabia (named as the seat of
the mythical 'phoenix') nor in "white Brytania "= England,
was there a fitting 'mate' (husband) for the Phoenix. Cf. st. 3,
II. 5-6; st. 4, 11. 1-2, " There is a country, &c. . . . Paphos lie."
See our Introduction on this very noticeable bit\ meanwhile, I
here record, that by "Paphos He," I understand Ireland,
whither Essex — as we all know — proceeded. The description
that follows is idealized in correspondence with the love-
imaginative name given to it of "Paphos He," a name than
which none could have been more happily chosen, being that
of the supreme seat of the worship of Venus (i.e., in such a
love-story as this of LovJs Martyr}. 1. 5, " Ciparijfus groue "
= Cyparissus — the ' grove ' of Phocis, not far from Delphi ;
1. 6, "a fecond Phoenix loue"= Phcenix' love; st. 5, 1. i,
"champion "= champaign.
,, 18, st. I, 1. i, "&;§^-0mV"=big-arm'd; st. 2, 1. 5, "/*>"= lay; 1. 6,
"rotmd"= dance; st. 3, 1. 3, " delight fome " — clearly mis-
Notes and Illustrations. 201
print for 'delightsome'; st. 4, 1.4, "Jhclues"= banks; 11. 5-6
= but the country Gallants with Ulysses eares.
Page 19, st. I, 11. 1-2 and 4, " hijjing Adders fling, May not come mere this holy
•plot of ground" and, u Nor poifon-f pitting Serpent may be
found." How could Ireland have been more deftly indicated
than by the two-fold characteristics of (i) The banishing of
all serpents (by St. Patrick), (2) Its proud title of "the
Isle of Saints"? st. 2, 1. 4, " Lycorice" — a plant of the
genus Glycyrrhiza ; ib., "fiueet A rabian fpice" = cinnamon ;
sts. 3-4, with equal deftness are the Irish residence, and the
personal characteristics, and personal appearance, and the
services of Essex herein set forth. Who, of all her subjects,
could have taken this name of " Liberall honor " save Essex?
See our Introduction for quotations from Churchyard, Peele,
and others, wherein he is exactly thus spoken of. St. 5, 1. 3,
" president" = precedent, exemplar;!. 4 (p. 20), " his gentle
humour fpited" — very noticeable in relation to Essex ; 11. 5-6
— a word-photograph of Essex.
,, 20, st. I, 1. 4, " high hill"— royal crag-enthroned Windsor; st. 2, 1. 2,
" Cenfnre"= judgment; st. 2, 1. 6, " loue ioyne thefe fires " &c.
= marry Elizabeth and Essex.
,, 20, An Introduction to the Prayer ; st. I, 1. 2, " Thou elementall fauourer
of the Night" — Is the reference to God's manifestation of
Himself, e.g., on Sinai, and within the temple in "clouds and
darkness"? Cf. Deuteronomy, iv, II ; 2 Samuel, xxii, 12;
Psalm, xcvii, 2; and I Kings, viii, 10-12; Leviticus, xvi, 2;
and cognate passages. St. 2 (p. 21), 1. 6, " Tzirtle-doue"=
Essex — as hereafter will appear.
,, 21, A Prayei made, &>c. See Introduction on this "filuer coloured Dmte"
(not the " Turtle-doue "), and the force of "applyed"; st. 1, 1. 4,
"fad"— serious or solemn: or qu. intentive?
,, 22, st. 2, 1. i, "for" — shewing it is not the 'Turtle-doue' (described as
"he" onward); 1. 4, the comma after "baite" certainly ought
to have been a period (.); st. 4, 1. i, "leadftn= ledst, i.e., past
tense; ib., ll red colotired waues"— red-coloured. The 'Red
Sea' is meant — see Exodus, xiv, and parallel passages. I
remember seeing the 'Red Sea,' off the Desert of Sinai, red
as blood, not merely under the purple splendor of the mar
vellous sunset — a hue common to all sunsets — but from
myriad infusioria so far as I could make out. So that "red-
coloured waues " is not a mere fancy, much less a blunder —
such as Wordsworth's when he speaks of Baalbec rising from
bare sands, whereas its site is a glorious fertile plain. 1. 5
(p. 23) "what"— qu. misprint for 'that' or 'which'?
„ 23, st. i, 11. 6-7 = do not let her [Elizabeth] remain a " Virgin Queen"
202 Notes and Illustrations.
— let her marry — she the ' ' siluer coloured done " to him the
"turtle-doue."
Page 23, To thofe of light beleefe, st. I, 1. 6, "abandoning deceit"^ faction has
hitherto been mingled with fact, e.g. , in the hyperbolical and
so 'deceptive' description of Ireland as " Paphos lie"; st. 3,
1. I, "gentle Reader" — another note of publication.
,, 24, A meeting Dialogue-rvife betweene Nature, 6°^., st. I, L 6, "thy
breafts beauteous Eie"— spots eye-like, as of the peacock,
pheasant, and (of course) the mythical 'phoenix'; st. 2, 1. 4,
" netter with"— never [be] with; st. 3, 1. 4, "relenting" —
sorrowful or sorrowing. Here is touched the popular and
indestructible belief that the only genuine love-passion
Elizabeth ever had was for Essex. More anon. L. 6 (p. 25),
"for vertite " = on account of thy, or in admission of thy
virtue, &c., sing; 1. J, " rci(erend"= reuerenced.
,, 25, st. I, 1. 7, " I do bayte my hooke" — a throb of penitent confession of
her laying 'baits' for Essex, drawing him on and 'hooking'
him, winning his burning love and devotion, yet playing him
false; st. 2, 1. 5, " sullen Mirth" — the very type of Elizabeth's
moody mirth and sadness, bursts of scorn and passion and
aching melancholy ; st. 3, 1. I, "vading." I may refer here to
a note in my edition of Southwell, s. v., for the distinction
between 'vading' and 'fading.' 1. 5> " Sunne-bred " —
speaking as the 'Phoenix'; ibid., ' (exkall"= exhale ; 11. 6-7
— "£nm'e" is the uttermost word that the Poet dared use.
He makes the Queen hint at the contest between the Queen
and the woman, the passionate love and the self-restraint
thought to be clue to herself. She fain "would loue" and
follow it up with marriage; but what, marry a subject?
"There was the rub." Other considerations were also
blended, e.g., I fear what my subjects may say to my
marrying a subject and what their ' envy ' may attempt on
him. We must remember that the nobles were far more
powerful and jealous of one another than in our day, and even
Elizabeth might well fear displeasing them by such a step.
See st. 4, 1. 5, beginning at p. 26, and p. 26, st. I, 11. 3-6 ;
also p. 27, st. i, and p. 28, st. 2 and 3. See too "Enuie" is
changed to " Malice" (p. 26) 11. 6-7 ; st. 4, 1. I, " Tablitorie" '=
the old tablet (metri gratia, as "glorie" is the rhyming word)
given by Minsheu as a necklet, necklace or brooch : "Monile
quod gestantem virtutis admoneat, nam primum ob aliquod
egregium factum clari solebat." One can't vouch for the
accuracy of this Latin explanation ; but it shews the prevalent
idea, and it agrees with the use of "tablitorie" in the text —
a tableriiun is called mappula, mantile.
Notes and Illustrations. 203
Page 26, st. i, 1. 4, "fond fufpitions cage" — here and elsewhere there is a
glance back on the early perilous years of Elizabeth under her
sister Mary; 1. 7. "thy" — sic, but somewhat obscure; st. 2,
I. 7, "And «wr/fe"=while I waste; st. 3, 1. 6, " yong, freJJt,
greene" — no doubt with application to the 'Phoenix,' but
underlying this a reference, as already noted, to Elizabeth's
beautiful youthhood, when beyond all question she was a
magnificent creature; ibid, " pafe" = pass away, die; 1. 7,
" Jleeled glajfe" = mirror of steel. Note — There is intentional
anachronism in order to give scope for just ' praise ' of
Elizabeth ; nor are these touches on her ' yong ' maiden days
the least precious bits for us to-day ; st. 4, 1. I, " Continent" -
container is that which contains anything. So frequenter in
Shakespeare and contemporaries, and later.
,, 27, st. I, 1. 5, "totterd"= tattered — as in Shakespeare and contemporaries;
ibid, "ragd" — ragged ; st. 2, 1. 7, " the performance bears the
greater fwayr' '=deed better than words, action than threats.
,, 28, st. I, 1. 3, " Toades themfelues did wound" — i.e., did wound one
another — so letting out by their ' wounds ' their unfragrant
poison (mythical); 1. 4, " poysoned" i.e., infected with poison,
being a poison-natured thing = poisonous ; 1. 5, "/ent"=
scent ; st. 2, 1. 3, "As he hath had in his dayes fecret prying" — •
hints at ' secret ' influences against Elizabeth in the days of
Mary; 1. 4, " calmie " — calming or qu. — tranquil? 1. 7,
" Amarous" — sic — amorous ; st. 3, 1. i, " Villanie" = Envie —
as previously described; 1. 4, " tnte harfed" — true-hearted ;
II. 6-7 — another genuine cry out. of the woman's heart — let the
title of the poem be remembered of Love's Martyr, &c. Let
it also be remembered, that so early as Peele's " Eglogve
Gratvlatorie. Entituled : To the right honourable, and re-
nowmed Shepheard of Albions Arcadia : Robert Earle of
Essex and Ewe, for his welcome into England from Portugall"
(1589), the burden is "Envy doth aye true honours deeds
despise." See our Introduction.
,, 29, st. I, 1. 4, "coyle"=\.\\mu\t. Cf. Tempest, act. i, sc. 2. St. 2, 1. 2,
"his Throne," i.e., of Essex, who really held the 'Throne' of
Elizabeth's heart — the 'his' here is subtle and fine; 1. 5,
"ore charge" — o'er charge ; st. 3, 1. I, "peeuijli" — petulant,
fretful ; 1. 7, "/"=Aye; st. 4, — query, should the punctuation
be 'Light.' 'deplore;'
» 3°> st- *> !• 7> tf Balftun$tinn = balsam. Comedy of Errors, act iv, sc. i.
st. 2, 1. 2, "Anker-hold" and 1. 6, " plot of Ground"— the soil
that holds your anchor, or fastners of the flukes on the ground ;
st- 3> !• 3> "the Rocke my JJtip did feeke to JJiiuer"— seeke to
shiver my Ship; 1. 7, " diJJ'embling Lone " — another sting of
204 Notes and Illustrations.
conscience — she dissembled the love that was really in her
heart ; st. 4, 1. 5, " perufe = survey or run over with an
observant eye ; 1. 6, " ivhere"= which?
Page 31, st. i, 1. 3, " Mace" = sceptre, as before; 1. 7, " Paphos 7&" = the
island of Venus (Love) as before; st. 2-3 — a passionate
description of Elizabeth's ' suspect ' and dangerous early
years; st. 3, 1. 2, "J?iad0wn = over- shadow, eclipse; st. 4, 1. 2,
" In youth " SLC. — peculiarly true of Elizabeth — 'tyred' seems
a misprint for 'tryed'; 1. 7, "feathered headn = adorned with
feathers as young high-stationed maidens were, but of course
here as being to 'Phoenix'; ib. "a crowne" — explicit enough
surely as to the " Phoenix" being Elizabeth, albeit this ' crown'
(in 1601) is a heavenly crown, or perchance of marriage. See
1. 3, et seq. of the stanza.
,, 32, st. i. The real heart-thoughts of the Queen are here expressed. Be
it thoughtfully marked, that this "He of Paphos" (1. 3) "this
rich He" had held the 'Turtle' and that the 'Turtle' is a
male — " his nefh " (1. 7) and so Nature conducts them thither,
i.e., to Ireland — as before; st. 2, 1. 5, " viiderjland "= learn
of his whereabouts ; st. 3, 1. 3, "/0«rf"=foolish; 1. 4, "vajle
Cell," i.e., however "vaste," a palace itself becomes a prison-
cell where Suspicion and Envy are the keepers — as in Eliza
beth's case.
>• 33> s*' T> !• 3i "vnfret"= musical term with reference to frets or cross
bars; 1. 7, "Honor that Isle that is my fure defence" — here
the Queen speaks rather than the ' Phcenix,' and thus through
out the mask (not unintentionally) slips aside and shews not
' bird ' (however lustrous and wonderful), but the august face
of Elizabeth herself; st. 2, 1.3, " high Jlates " = people of
state; 1. 6, ' ' Pyramides " — a quadrisyllable as frequenter
contemporaneously, being long of naturalizing ; 1. 7, " Strond"
= strand, shore; st. 3, 1. 2, " Greene Springing" = Green-
springing ; 1. 4, " Faire running" = Faire-running ; 1. 5,
" Sweet flmvers Deaw" [= dew] distils — example of
verb singular after nom. plural (perhaps through the inter
position of 'that') and so the previous line; ib., "balmy
2)eaw" — on Hermon I found the abundant dew thus fra
grant. The southern-wood and thyme and other richly-
scented under-growths, being literally steeped in the dew,
so filled the air with perfume as to ' nip ' (so-to-say) one's
eyes. I have found the same in Greece, and indeed in many
places. 1. 6, " Great peopled" = Great-peopled ; st. 4, 1. 3,
"intreate"= treat, elongated, i.e., speak of; 1. 4, "Their
Founder "= [And of] their Founder; 1. 6, " Warres wald" —
this must be intended for 'walled,' albeit the meaning is not
Notes and Illustrations. 205
exactly clear. Query — each of the ' cities ' being ' walled '
was a ' Defender ' in time of ' Warres. ' The singular
' Defender ' answers to the singular ' Founder ' where we
might have expected the plural. It cannot well have been a
misprint for 'wild,' i.e., wild warres Defender, "wa" coming
in through the "wa" of "warres"; 1. 7, ' ' Not battred yet with
Times controlling Mace,'"1 i.e., the 'walls' of the cities cele
brated, which, though no longer in their original strength, were
still to be seen in part, as is still the case.
Page 34, Margin — " Northumbers" — Northumberland; 1. 3, " this large He of
fiveete Britania " — be it noted once more that the ' Phoenix '
as — Elizabeth is naturally observant of the 'cities' of her own
" Large He." There is no meaning in the full enumeration and
description of these cities except as they were under the
sovereignty of Elizabeth. It is not deemed expedient to anno
tate here the numerous persons and places celebrated. The
historical and county authorities are readily accessible, and
thither the student-reader is referred; st. 2, 1. 3, " 'well planted"
= well-planted ; 1. 4, " Called in this age the newly -builded
Minfter, Still kept in notable reparation " — Stowe, in his
Chronicles, tells us of the ' reparation ' of Winchester
Cathedral in Elizabeth's reign, s,i>. ; 1. 6, "famous builded" =•
famous-builded ; st. 3, 1. 5, " Ncotus direction " — Neotus';
st. 4, "new got"— new-got.
,, 35, st. I, 11. 3-4, " the whole RomiJIt Legion to fing. And to record" &c.
— "sing" points apparently to ballads of his exploits, albeit
there is the objection that it was his defeated enemies whom he
made to sing. But our poet is not skilful and o' times oblivious.
Line 4 can scarcely be otherwise explained. Does this use of
'sing' reveal the age of our present expression or of an
equivalant to it, of 'singing small,' as evidence of defeat.
There is also "singing in a lower key," and the like. St. 4,
1. 5, "His"= its; ib., "Leyls"= Leil of st. 3, 1. 2. But all
this semi-fabulous or wholly fabulous chronicle calleth for no
'pains' of elucidation ; 1. 7, "large Brytania" —" large lie,"
p. 34, st. I, 1. 3. So also p. 36, st. 3, 1. 3, " large Britanicus"
— doubtless an early phrase for "Great Britain"— for he
evidently supposed that Scotland was, at that time, a tributary
of England, and the last name he avoids. See p. 36, st. 3, 1. 3.
His use of the word (Scottish) "sect" agrees; for a "sect" is
a part cut off. But "sect " in text is applied to the people, not
to the country.
,, 36, st. 4, 11. 6-7 = the city doth only remain under the newer name ot
Edingburgh, i.e., Edinburgh.
,, 37, st. i, 1. 4, "yftyV"— out stay'd; st. 2, On this significant stanza, see
dd
206 Notes and Illustrations.
our Introduction ; st. 3, 1. 2, "the Princes" = James VI ; 1. 3,
" graces" — singular verb, instead of the previous plural one,
"beautifie," metri causa ; 1. 4, " Emperizing." This type of
verb is frequent contemporaneously. The meaning is — imperial
towers so magnificent as to be worthy of an emperor, or such as
will, of themselves, imperialize either the statues adorning it, or
the persons inhabiting. 1. 5, " Times controlling houres," cf.
p. 33, st. 4, 1. 7, "Times controlling Mace"— " Controlling
seems a favorite word. See again here, st. 4, 1. 4, "controlling
neighbours. "
Page 38, st. I, 1. i, "Pagan"— metri causa, i.e., "yron" in 1. 3; st. 2, 1. 5,
"after timcn= after- time; 1. 6, " deare begotten" = deare-be-
gotten. What an odd jumble of mythology and history we
have here ! St. 3, 1. 2, " this worlds great wonder "= the great
wonder of this world ; 1. 6, " Regiment" = government ; st. 4,
1. 5, "!ightned"= gave light to; 1. 7, " That to her -weake Sexe
yeelded Hector's name" — qu. = that the stronger sex had to yield
or vail Hectors name to hers ?
» 39> st. 2, 1. 2, "boimlie" — deriving it from bonitas, one sense of which is
goodness or honesty; 1. 3, " vncomprehett/ible" = [The character
of her deed] not to be duly estimated. The word is used as
justification of her act in killing a 'guest.' 1. 7, "Si/ar" —
Sisera; st. 3, 1. i, a comma after Hebrew would have shewn
' worthie ' to be an adjective here.
,, 40, st. I, 1. 4, ' ' indubitate " — we should say 'indubitable,' i.e., not to
be questioned; 1. 7, "vfurped"= usurping — the common inter-
change of such words is explained by considering that the ed
form is not passive, and that as a past or perfect it gives the
idea of continuance in, or being in the state of usurpation; 1. 8,
" condefcend "= submit ; 1. 9, "re obtained" = re-obtained ;
st. 2, 1. 2, " Quecne," &c. — one wonders how this was scanned
by the author; 1. 5, "forfakeii" — God-forsaken; st. 3, 1. I —
punctuate "Naples, true-borne"; st. 4, 1. 2, "Progenie"= birth
(by descent) or pedigree — similarly used in I Henry VI, iii, 3,
1. 61; Coriol, i, 8, 1. 12 — not offspring as now; 1. 5, " Which.
Truth can never burne" &c. — Truth is not here the burner or
person who would burn their fames, but a truth which can
never burn, &c.; 1. 7 (p. 41) "tnemorie"= memorial.
,, 41, st. 2, 1. 7, ' 'Sfa tes "= people of state; " brooke" =\xax but rithmi
gratia.
Herefottvweth the Birth, Life, &c.
» 43> 1. 3» "nofuch ma euer to befating"= to have lived; 1. 6, " more be
holding to the French, the Romane, the Scot, the Italian " &c.
See our Introduction on this and other books, &c., referred to.
1. 8, "ivho" — refers not to countrymen, but to the previous
Notes and Illustrations. 207
substantives; 1. 13, " Gallie"— Gallise; 1. 19, "renowmed"—
renowned. Nearer its French source renommt than our spelling.
1. 25, " turned from French prof e into EngliJIi meeter" — see
our Introduction, as before ; st., 1. 4, "M0norie"= memorials,
as before.
Page 44, The ftrange Birth, &c., st. I, 1. 5, "high minded" = high-minded ;
st. 2, 1. 2, "-wittie"= wise; 1. 4, "allies" — not as now used,
but = the verb ' ' ally, " /. e. , the feudatory princes of next stanza ;
st. 3, 1. 2, "&tf $ra/"=hot-bredj st. 4, 1. I, " pa/Jlng" — sur
passing; 1. 3, "fupprizen= suppress, causa metri; 1. 5 (p. 45),
"vnequall"— unequalled — probably a printer's error.
„ 45, st. 2, 1. 2, "fond"= foolish; 1. 3, " not penetrable" = net [being] able
to penetrate; 1. 4, " could no t infift" — licentiously for could not
keep [it] in, &c., i.e., how it sped with her; 1. 5, "Set" is our
misprint for 'But'; st. 3, 1. 2, " darke dujkie mantle " — so the
analogous phrase in Shakespeare "Night's black mantle," not
only in Romeo and Juliet, but also in 3 Henry VI, act iv, sc. 2;
I. 4, "inuade"— cause to invade or make invade any one;
II. 5-6 — the inverted commas may or may not indicate a quota
tion ; for the practice was loose. They seem to have been used
to direct attention to what the writer would hold as a noticeable
saying or golden sentence, much as we use italics.
,, 46, st. i, 1. i, punctuate comma after "Muficke," certainly; 1. 2, "found"
— sounding, i.e., striking or touching ; 1. 5, " immelodiotis" —
better than our unmelodious ; st. 2, 1. 4, " blacke gloom1 d"—
black -gloom'd ; st. 5, 1. 2, " fee -ret folly •"= done in secret ; but
it was the king's folly, not her's ; besides, she had told her
husband. See p. 45, st. 2, 1. 5, "Betjlraight," &c.
,, 47, st. I, 1. 3, "vitai!es''= victuals; st. 2,1. 2, " out" = giving egress;
st. 4, 1. 4, "his ivarres lowd Alarums outrcame" &c. Cf.
Venus and Adonis, 1. 700; Taming of a Shrew, i, i. No doubt
a phrase of the day, an 'alarum' being, from its nature,
peculiarly loud.
,, 48, st. I, 1. 2, "difeafe"— uneasiness, trouble; st. 2, 1. 4, "Moderator"
= mediator ? In Presbyterian Church-order, the president or
chairman, ruler or guider of the Session of a Congregation, of
a Presbytery, of a Synod, of a General Assembly, is still called
the 'Moderator'; see "Synod" at p. 9, st. I, 1. 3. It was
also used in same way in English Universities later. Cf.
Cleveland's Vindicice, 1677, p. 214. 1. 5, "vnfeene"= experi
ence, such as never in other has been 'seen'; st. 3, 1. 3,
"thwarted" — crossed — an odd adaptive use of the word;
1. 5, "bafeneffe"= lowliness, humility; 1. 5, " Alas"-= inter
jection merely, not meaning as now, something to be lamented;
st. 5, 1. i, "hejl"= behest.
208 Notes and Illustrations.
Page 49, st, I, 1. 2, "amaine"— suddenly or forcefully; st. 2, 1. 2, "vncom-
pr£nded"= uncomprehended; 1. 3, " embracements met"—\hz\
met.
,, 50, st. I, 1. 4, punctuate rather "intent." (period); 1. 5, "done." (period);
for "That .... done" is the king's reply; st. 2, 1. 6, " ''pqffeffe
her Huf bands fwtdmjfe, " i.e., the 'sweetncsse' she gives to
her husband — as frequently in Shakespeare; st. 3, 1. 5,
"difeafcd" — uneasy, troubled, as before; st. 4, 1. 4, period,
not comma, after 'ieft'; but in our author the comma serves
for every other punctuation -mark ; 1. 6, ''fweet'Ji got" —
sweet'st-got.
",, 51, st. i, 1. I — rather subtill lust-directed; 1. 2, "newfound"— new
found ; 1. 6, " Caijler" [= Cayster] Swannes. Cf. p. 43, 1. 7
[Greekes]; 1. 6, verb singular to plural nominative again; st. 2,
1. 5, "vnrecalled time"— time past, time already spent, i.e., as
other — ed forms — time that is in a state not to be recalled;
st. 3, 1. 4, " craokt" = croaked — it may have been accidental,
but "craokt" is the more imitative word ; st. 4, 1. I, ttlawne-
like Hand"— white as 'lawne' — taken with next line, it seems
like a poor remembrance of Venus and Adonis, 1. 590, and
Lucrece, 11. 258-9; 1. 2, " dijfeinbling Hufband" — passing him
self off as her husband ; cf. p. 30, st. 3, 1. 7, for the word. =
[She] Being, &c.
,, 52, st. I, 1. i, "late betrayed" --^ late-betrayed; 1. 4, " amaine" — from
Saxon a and meegn = to do a thing forcibly or with one main
object, and therefore also quickly, suddenly. Here it means
much or plentifully. St. 2, 1. 2 — the injuries done to her life
'unspotted' hitherto in intent. Cf. p. 53, st. i, 1. 4. St. 3,
1, 3, <tw/u're"= whereas, since; st. 4, 1. 2, ' ' htjlie Jlomacke
youthftiir' '— lustie-stomacke youthfull.
,, 53, st. i, 1. 3 = to anfwer [as to] .... st. 2, 1. 6, "late did bleffe" = late
in the day ; st. 3, 1. 4, "well-difpOjed"— well-disposed ; st. 4,
1. 2, " pajjing true " = surpassing true ; or it may be "passing-
true" in the sense of Goldsmith's humble Vicar, "passing rich
on forty pounds a year."
,, 54, st. 2, 1. I — punctuate comma after "child," and also after "Pofterne"
(1. 5) ; st. 3, 1. 2, "rich bearing Burthen"— rich, bearing-Bur
then.
,, 55, st. 4, 1. 2 — punctuate comma after "Saxons."
,, 56, st. 4, 1. i, "Regiment"^ government, rule, as before. Every one
remembers John Knox's " Monstrous Regiment of Women" :
st. 4, somewhat jumbled.
„ 57, The Coronation of King Arthur, &c., st. I, 1. 3, " high Jlates" = people
of high state, as before: st. 3, 1. 4, "him"= himself, as fre
quently at that time ; 1. 6 (p. 58) " dignified "= crowned.
,, 58, st. i, 1. 5, "Being the Metropoliticall in nobilitie"— hexameter? ; st. 2,
Notes and Illustrations. 209
I. 3 — a syllable wanting and apparently before "Kings" — qu.
['stoute'J " Kings": st. 3, 11. 4, 5 — such that Envy is unable to
tear the nobility or trueness of their hearts from their breasts ;
st. 4, 1. 5 (p- 59)? " neare'1'' — ne'er.
Page 59, The Epijlle, &c. Be it noted that we have here and onward Llank
verse: 1. II, " or"1 proud'" = over-proud.
,, 60, 1. 7, " Emperie"-= empire, and so p. 61, 1. 5, and p. 64, 1. ij ; 1. 8 —
punctuate comma after "that"; 1. 21, "re deaiaund" ~IQ-
clemaund ; 1. 29, " arbitrement" — arbitrament.
,, 61, Cador the Duke, &c. 1. I, " Renowmed"— renovaied, as before. See
p. 43, 1. 19 : ibid. " Britaine" = Briton, i.e. Arthur: or qu.
= Britons, i.e. Britainejjs] to rhyme with 'veines'; 1. 6 —
bad comma after ' continuall ' — perhaps I ought to have in
this instance deleted it and noted the fact here : qu. — " long-
continuall" = long-continued ?; 1. 13, " But buried in obliuions
loathfome cane " — cf. " Envy in her loathsome cave," 2 Henry
VI., iii, 2; 1. 15, "pale-Jac'd cowardize" — cf. "pale-faced
coward," Venus and Adonis, 1. 569.
,, 62, 1. I, "our armour from our backes" — cf. "armour on our back,"
2 Henry VI, v, 2 ; 1. 8, "dulledgd"= dull-edged.
,, 63,1.6, "braves" — bravadoes ; 1. 13, " garboiles " = Garbouille, Fr.t
tumults: 1. 15 — "this" — put comma after "this"; or qu.—
misprint for 'his'?; 1. 2 (from bottom), "fometimes " = afore-
times (not ' aforetime') it being notorious that there were several
subjections of Britain after Julius Csesar.
,, 64,1.8, "Market place" = Market-place ; 1. 12, "inthrontfd" = en
throned. See Nares, s.v., for interesting examples; 1. 15,
" their " = the Roman; and so 1. 17.
, , 65, The Anfwer^ &c. , 1. i, tl experiment — experience; 1. 4, l* po/l expedition"—
post-expedition; 1. 5, " voyage" —]o\uniQy (not necessarily as now
by sea); 1. 8, " 'Victoria" '— victory; 1. 13, "Which" [read] . . .
with; 1. 12, parenthetical; 1. 17, "for &>"and see p. 66,
II. 14, 15, 17 ; p. 73, st. 3, 1. 4 ; p. 74, st. 2, 1. 2, and st. 3,
!• 3 > P- 76, 1. 2 ; p. 80, st. 3, 1. 2 ; in Spenser, but rarely
in Shakespeare; 1. 20, " Not violating, " 8&. — this line is obscure.
Its intention is to express, probably, that the so doing violates
no laws of arms, or is not a course without justification according
to the established laws which regulate the employment of arms
in defence of one's rights ; but it fails in giving expression to
such a thought. The laws of the duello, i.e., the causes which
would justify such an appeal, were in that age rigidly laid
down. Query — should we read "Not violating lawe and
hostile Armes"? This comes a little nearer to the above-given
meaning; 1. 30, "true hearted "= true-hearted.
,, 66, 1. 9, "gam the Armes'1'1 — The 'armes' that Constantine was supposed
2 1 o Notes and Illustrations.
to bear was a representation of the miraculously-appearing cross —
a white cross (I think) in an azure field. It is the "Roman
empire " Chester refers to ; but there may have been a sub-
reference, and a Protestant argument that the ' armes ' of
Rome did not come from St. Peter ; the first I'ope according
to the Roman Catholic myth. Angufell King, &c., 1. 2, "ful
fraught"1' '— full-fraught, i.e., freighted well or fully.
Page 67, I. 6, " hantie"= haughty, and cf. p. 68, st. 2, 1. i. " haivtie"; see also
p. 74, st. I, 1. 4, " hauiie courage " ; p. 75, st. 4, 1, 2, " haulie
mind"; p. 81, st. 4, 1. 3, " hautie hearts "; 1. 12, " but meet" —
a not uncommon form of phrase at the time, and equivalent
to our now only colloquial and vulgar " let me only meet
you, that's all"; 1. 13, " thrift" = thirst — so in Spenser, Fairie
Queen, ii, vi, 17; ib. "fiveet revenge." Cf. "sweet as my
revenge" (Coriolanus, v, 3). So too ( Titus Andronicus], "O
sweet Revenge, now do I come " (v, 2), and " sweet revenge
grows harsh" (Othello, act v, sc. 2); 1. 22, " mcacocke" — tame,
or cowardly or milk-sop; so Taming of Shrew (ii, i) "a
meacock wretch can make the curstest shrew." Cf. Euphrics
M, 1. 6; 1. 23, "fond"= foolish.
,, 68, st. i, 1. 3, " Martialijl" = soldier. So William Browne— "A brave
heroick, worthy martialist" (Brit. Past., i, 5); st. 2, 1. 4,
" new-decayed "= only lately decaying; st. 3, 1. 2, "loud
winded" = loud- winded ; ib. "checks the aire" Cf. st. 4, 1. 5,
" Cuffing the ayre"; st. 4, 1. 4, " wdl read"= w ell-read ; 1. 6,
*' gaudinejje" — The reference is to the well-appointed and fine
and, as it were, holiday-appearance of King Arthur's joyfulness.
Cf. p. 79, st. I, 11. 3-4 — there is a sub-reference to 'joyful-
ness' as an attendant meaning; st. 5, 1. 4 (p. 69), " de Gr"=
of gold or golden.
,, 69, st. i, 1. i, " ajjfumptcd." = assumed, taken up; 1. 5, "Vert"= green
(in heraldry); st. 3, 1. 2, "bad defaming"— bad-deseruing ;
1. 4, "full refold" = full-refined; st. 4, 1. 3, "vnjsure"=
impure; 1. 6, " by this Signe" = in baptism, i.e., the sign of
the cross as used by Roman Catholics and Church cf England
in baptism.
,, 70, st. I, 1. 4, " Apoftatas"= apostate in its transition-form. It occurs
thus in the well-known Optick Glasse of Humours (1639),
applied to Julian and elsewhere ; st. 3, 1. i, punctuate with a
comma (,) after 'Charles'; 1. 3, "early rifmg"= early-rifmg.
»» 7r> st. 3, 1. 3, "three Toades" — The nickname for a Frenchman to this
day or for a Jerseyite is Johnny Crapaud = Johnny (the) toad.
The line is parenthetical ; for the only " pourtraiture of com
mendation by honor" belonging to the English Kings were the 3
fleurs de lis or lilia, st. 2, 1. 6; st, 4, 1. i, "barbed" — as in Shakes-
pere (Richard II, act iii, sc. 3) "barbed steeds to stables," and
Notes and Illustrations. 2 1 1
(Richard III, act i, sc. i) "mounted barbed steeds "= barbed
by corruption from barde or barred = armed ; st. 4, 11. 5-6,
wrong grammar 'their' and 'conqueror.'
Page 72, st. i, 1. 3, " Who" .... no antecedent to this "Who "—Who ( =
Time) with their guilded shews in opposition to those whose
armour is strongly made (1. i)— the combined nominative to
"are"; st. 2, 1. I, "Calis"= Calais ; 1. 3, "regiment"— rule,
government; 1.4, "ccnuince"= conquer — so too p. 85, 1. 9;
1. 5, "Koane" = Rouen; st. 3, 1. 5, " I/land" =. Iceland —
a very mythical conquest of Arthur, if he be meant. Query —
is " Iflancl " a misprint for "Ireland" ? Singularly enough the
same question has to be put on the use of the word by Raleigh,
e.g., "If my fleet go for Ilande, and that your Lordshipp," &c.
The Editor annotates, "So in MS." (Edwards' Ralegh, vol. ii,
p. 121.)
,, 73, st. i, 1. 6, " lojl" — perhaps the Author intended "lose"; st. 2, ]. 2 —
a third example of a parenthetical line ; 1. 3, "fo ineftimable" —
[was] so inestimable — understood from 1. I ; st. 4, 11. 2 and
4 — Lucius and Tiberius of course the same man ; st. 5, 1. I,
"rctraite"= retreat ; 1. 5, " Who" (p. 74) — another example
of "Who" with an odd antecedent "Who foraged about"
meaning they [the British], but the only expressed ante-cedent
is the "British name" and only becomes "Britains"in next
stanza.
,, 74> st* 2> !• *» ' ' MinnedonSy " i.e., myrmidons = Primarily a people on the
borders of Thessaly who went with Achilles to the Trojan war.
Hence it came to designate unscrupulous followers.
» 75> st- 4> !• 2> " Coufm" i.e., for relationship generally. He was uncle.
Such is royal style still.
,, 76, st. I, 1. I, "Haggard"— a wild hawk, i.e., a hawk un-mannered or
un-reclaimed, agrius, unmansuetus\ st. 2, 1. 4, "fond"— foolish;
Mordreds smart, i.e., the smart caused by Mordred. The
"who" (1. 5) is "Arthur," as shown by next line, though the
ill-chosen word "unnatural" (like the "intemperate" of 1. 3)
seems to make against this; st. 4, 1. 6, "landing" — a landing (ib. )
,, 77, st. I, 1. 5, " with/land" = stand against him with or withstand him
with; st. 4, 1. 2, " mappe of Honor." Cf. Richa>d II, act v,
sc. i, "Thou map of honor," and so 2 Henry VI, act iii, sc. i.
1. 4, "life Liege" = life - Liege ; st. 5, 1, 3, "fcan" — punctuate
with ; and , after ' memorie ' in next line — ' fcan ' is used, as so
often, rythmi causa.
,, 78, st. I, 1. 4, "aunce/Me" — odd use of the word; 1. 6, "loofe"= lose;
st. 2, 1. 2, " Angufel" .... He was king of Scotland and
brought 10,000 horse-men to assist Arthur; 1. 5, "was" =
verb singular after nominative plural ( ' bones '= body ) ; st. 3,
1. 6, " quaild"— quelled — so spelled to rhyme with 'sail'd.'
2 1 2 Notes and Illustrations.
Page 79, st. 2, 1. 3, " proud-gathered'''' : st. 3, 1. 2, t(fame-actfrwtmg"—fame"
atchieving or achieving; 1. 4, " Pridwin "= Arthur's shield.
Drayton has celebrated it (along with his sword) — "With
Pridwin his great shield, and what the proof could bear."
{Polyolb. songiv.) Chester calls it his 'sword' (erroneously.)
st. 3, 1. 5, "vnfctne immortalitie" — mere "words, words,
words," rythnii causa', st. 4, 1. 3, "lofed"= loosed ; 1. 4,
" amaz'd" — frequently used contemporaneously for 'amated'
or disheartened or disturbed — also in the sense of our own
'maze,' signifying to be in a maze, or as one in a maze —
the latter in the text.
,, So, st, i, 1. 3, lt defends" — perhaps 'deferu'd' was intended by the Au
thor ; st. 2, 1. 5, " gane" — again, and like the use of 'funerall'
in line before, rythmi causa ; st. 3, 1. 3, " Bardth "-— sic ; ibid.,
" dhrifwn"— Welsh (divided into) verse, or music. Cf. Romeo
and Juliet, act iii, sc. 5, "The lark makes sweet division";
1.5, "forefaid"= fore-said; st. 4, 1. 6, " infcripted" = inscribed,
as 'affumpted' before (p. 69, st. i, 1. I.)
,, Si, st. i, 1. 2, "vitaU"= actes when vitall ; st. 2, 1. 6, "etiter"= inter ;
st. 3, 1. 4, "out cries'1'1— out-cries ; 1. 6, ll«w/r<w/i?"=haue
power over, metri causa : st. 4, 1. 3=high-proud or high-proud-
hautie.
,, 82, st. i, 1. 4, " Meinorie"= memorial, as before; 1. 6, put hyphen (-)
thus certainly — "well-fit . . . . bigge-liirfd" \ st. 3, 11. 5-6 —
a typical instance of Chester's extremely unskilful use of lan
guage sometimes. Line 4 and 11. 3-4 must be accounted paren
thetical, and then we obtain this — But that [one] was greater
than the rest ; had it been ' lesser ' [,] Britain would have been
blessed, i.e., Arthur had not died.
,, 83. lohannis Leylandij , &c. 1. 12, the "gut" has got somehow disjoined
from "./Etherij." The comma after 'petit' is an error of the
original.
84, 1. 5, " Verities sole intent" — curious translation of or rather substitute
for "virtutis alumnus"
,, 85, The true Pedigree, £c. The ' curious reader ' of 11. 3-4 must refer to
the Chronicles. The matter does not seem worth an Editor's
labour. 1. I, " borne" = boren in pronunciation, i.e., dissylla
bic — also [fair] is needed before " Igrette" ; 1-4, l'end"=
close or conclude, r.g. ; 1. 7, "fotnetimes "= sometime, as be-
gore : 1. 9, cf. with 1. 10, where " Melianus" is trisyllabic;
"conuince"— conquer, as before (p. 72> st- 2> !• 4) 5 ^ I^ —
qu. — did he intend this to be scanned as an hexameter or pen
tameter line ? Probably as the latter; 1. 17, "foueragnize" —
frequent verb form with Chester, and later.
THE POEM-PROPER RESUMED.
,, 86, st. i, 1. i, " Troynouant"— new Troy — the mythic name of ' Lon-
Notes and Illustrations. 2 1 3
don'; 1. 5, " raifd" — qu, 'raife'? st. 2, 1. I — punctuate
comma after 'when'; ibid., "more nearer''' — reduplicated
comparative; 1. 3, "famous builded"— famous-builcled ; 1. 7,
" neare "= ne'er ; ibid., "tani'd" — a quaint etymology for
'Thames' certes ; st. 3, 1. 2, "raz/"V"= praised ; 1. 3, " Coun-
cel chamber" = Councel-chamber ; 1. 4, "Experiment" —
experience. Here Nature, &c.
Page 87, 1. 2 — What's Cupid but a boy? (of Poem continued)— ought doubt
less to have had ' Phoenix ' in the margin.
,, 88, st. 2, 1. 2, "farre remofed " = farre-remoted, i.e., removed; Poem
continued — st. 2, 1. 3, fweete fmoolhd " = sweete-smoothd ; 1. 4,
"Z0«*"=Loue's, the 's' being in "felfe" \ st. 3, 1. 3, "JJial-
low TO/#dV/''=shallo\v-witted ; 1. 4, "force materiall" =•& forced
phrase for the ge\v-gaws and wanton toys of which Nature had
said Loue [in shallow-minds] was fond ; st. 4, 1. 2, *f parted" -
departed; ibid. 1. 3 (p. 89), "this Wagon'1'' — printer's error for
'his Waggon' the ' th ' being caught from previous 'with'.
Chester has here lapsed ; they are in Phrebus' chariot — see
p. 17, st. 3. But now Nature says that Phoebus has 'parted'
from their sight and mounted in[to] the sky with his Waggon,
thus giving passage to the 'gloomie night'; 1. 7, " bottome
plaints"— bottome-plaines.
„ 89, st. I, 1. 3, "tafie"— feel. So Chapman (Odyss xxi), "He now began
to taste the bow. " St. 2, li Looke" &c. Here again, 'Nature'
should be in the margin ; 1. 2, "mfad<nv plots " = meadow-plats;
1.3, " amaine"— forcefully ; 1.4, " found" = in a quasi-nautical
sense, r.c. ; st. 3, 1. 4, "extenuate''''— extend — a curious use of
the word, rythtni causa ; 11. 6 7, " Of plants," &c. = the glories
of, &c. (1. 3) — 11. 4-5, as so frequent in Chester are of a paren
thetical character.
,, 90, st. I, 1. I, "Mandrake" — I found it still believed in, as here, on and
in the villages at the foot of, Carmel in Palestine. It abounds
near Nazareth; st. 2, 1. I, " Yello^v Crawbels" — said to be
peculiar to Wilts (Aubrey) = Crowbells — Tent lily, asphodil,
daffodil, — Narcissus Pseudonacissus. So Prior; but in text we
have Daphedill immediately following ; 1.2, " Good Harry "- -
in full, Good-King-Harry, i.e., Allgood, English Mercury,
goose-foot, Chenopodium Bonus Henricus L. ; ibid.^ " herbe
Robei't"— stork-bill, i.e., Geranium Robertianum L. — its de
rivation is differently accounted for; ibid., "while Cotula"=
Mayweed, foetid, and otherwise, Matricaria Chamomilla, L.
and Pyrethium Parthenium, L. ; 1. 3, ' l Adders graffe " — ac
cording to Gerarde cynosorchis ; probably = adder's tongue —
for this is called in old MSS. nedderis grcs (grass) as well as
nedderis tonge, Serpentaria, Ophioglossum vulgatum, L. ; ibid,^
€ e
2 1 4 Notes and Illustrations.
i], i.e., a species of daffodil ; 1. 4, "Agnus
Ca/lus " = the chaste tree; zW</., " Acatia " — acacia, an
American Robinia — Rob. Pseudocacia ; 1. 5, " Blacke Arke-
Angell" = \\\z dead, deaf or blind nettle — colours white, red
and yellow, not ' black ' Lamium alb, purpur. L. and Galeob-
dolon Cr. — the name was also applied to the umbelliferous
plant Angelica, archangelica L. ; ibid., " Coloquintida" — still
well known = colocynth ; 1. 6, " Sinkefoile " = Cinquefoil =
five-leaved grass, Potentilla, L. ; ibid., " Boies Mercuric'1'' qu.
— Child's or Childing Mercury, of which Parkinson gives a
drawing and calls it Phyllum manficum and feminificum ; 1. 7,
" Goofefoot" •— Chenopodium L. See 1.2, under "Good
Harry"; ibid., tl Gold/nap" — qu. golden cudweed ? or a form
of ' gold-knappe ' = gold or butter-cup = King or Gilt cup,
ranunculus, L. ; ibid., " Gratia Zfo""=Gratiola, Hedge Hyssop,
Scutellaria minor, L.; st. 3, 1. I, " Mofle of the Sea " = sea-
moss, coraline ; ibid., " Succorie" — still so called — wild
endive, Cichorium Intybus ; 1. 2, " Wcediuind" = With wind,
convolvulus arvensis, L. ; 1. 3, ' ' Muskmealons " — or 'musk-
million,' a species of sweet melon in opposition to the water
melon ; ibid., lt MouJlaUd* = little stone-crop = a species of
the house-leek — said by Prior to be Myosurus minimus; ibid.,
*' Mercuric" =%$> before, st. 2, 1. 7, but the French M. seems to
be called the 'Mercury' Mercur. annua, L. ; 1.4, "Arkangell"
— as before, st. 2, 1. 5 ; 1. 5> ' ' Souldiers perrow " — qu. soldiers'
yarrow, millefoil, achilloea millefolium, L. ? ibid., (( Southcrne-
wood" = Southern wormwood, Artemisia Abrotanum, L. —
I found this covering acres on the gentler slopes of Sinai ;
1. 6, " Stone hearts tongtie " — Abrotanum, L. ; ibid,, " Bleffed
M//?/<?"= sacred — the emblem of Scotland, i.e., Carduus bene-
dictus ; ibid., " Sea Trifoly" — can find none with epithet
'Sea'; 1. 7, " Ladies cujliion " = Thrift ? Sea Gilliflower,
Cushion Pink, Armeria Vulgaris, W. ; ibid., " Spaines Pelli-
torie" — called in Latin Pyrethrum, L., "by reason of his hot
and fiery taste," Gerarde, Anacydus Pyrcthrum, De Candole ;
st. 4, 1. i, " where as " = whereat ; 1. 3, "aches" — disyllabic
as in Shakespeare ; 1. 7. "Agnus Cajlus" — as before, st. 2, 1. 4
— a fitting request by the * Virgin -queen.'
Page 91, st. I, 1. 4, " that bends " = the hot inflamed spirite 'that bends' to
Luxury is 'allaid' by Agnus Castus ; st. 2, 1. I, " Burn me"
— this way of speaking, not uncommon in Shakespeare, was
also not uncommon in the colloquial speech of the time
and later, and even now is not; ibid., "Jlraw " = strow ;
1. 2, " Whereas " = whereat, as before; 1. 5, " auarmt" —
begone — note again that as descriptive of Paphos He =
Notes and Illustrations. 2 1 5
Ireland — all this is peculiarly appropriate ; st. 3, 1. I, " Clary
or Cleare-eie " = Oc. Christi, God's eye, Seebright, from M.
Lat. sclarea, Salvia sclarea, L. ; 1. 2, " Calues fnout " —
Lion's Snap, Snap-dragon, Antiirrhinum Majus, L., but
in old works given to ragged robin, Lychnis flos cuculi, L. ;
ibid., " Cukoe flowers" = wilde water cresses, cardarnine
( Gerard e) ; ibid., " Cuckoes meate" — C. Bread or Gowks
Meat — blossoms at the season that the cuckoo is heard
— Oxalis acetosella, L. Wood sorrell ; 1. 3, " Calathian
Violets " — Autumn bells, Sing flower, Gentiana Pneumon-
antlie, L. ; ibid., " De^vberrie " = Rubus chamaemorus; L 4,
** Leopards foole" — can't find; I. 5, "Indian Sunne" — ibid.\
1. 6, " Valerian" — capon's tail and ('improperly,' Parkinson)
Setwal, Valeriana Officinalis, L. ; ibid., " Withie wind" —
A.S. Wib, about, same as bindweed, Convolvulus arvensis, L.,
also ' Weedwind, ' p. 90, st. 2 ; 1. 7, Woodbind" — given by
Parkinson as the honeysuckle : but it must have been also used
for a different plant. Cf Mids. N. D., iv, I. Prior says it
may be the bitter sweet, Solanum Dulcamara ; also he gives it
to the Lonicera Periclymenum, L. The ' honey-suckle ' was not
ague-curing. It is simply impossible that Shakespeare meant
that the honeysuckle enwreathed the honeysuckle and called it
by two different names. There is, however, no reason why the
'with wind' or 'bind- weed' (i.e., convolvulus) should not have
been called in Warwickshire or elsewhere the woodbine, the
derivation being not a * bine '.found in woods, but a ' bine ' that
clings to a tree or other shrub; st. 4, 1. I, " Coliander" —
Coriander C. Sativum, L; 1. 2, " Galingal " — aromatic root
of the rush cyperus longus, L. ; ibid., " Goldcups " = meadow
ranunculus = butter cups ; ibid. , ' ' Bupreftis " — Buprestis
Theophrasti referred by Parkinson to the hares-eares, genus
Bupleurum, L. ; 1. 3, "j'mall hone/lies " = Pinckes (pinks) in
Parkinson; ibid., " Eye-bright" — Ocul. Christi, q.v. ; ibid.,
" Coculus Panter" — can find nothing but Coculus Indus or
Indi ; 1. 4, "Double tongue'1'' — the plant horse-tongue; ibid.,
" Moly" — Homer's plant — called by Parkinson Hungarian or
Saracen's Garlic ; ibid., ll Anthillis" = sea chickweed and sea
ground pine according to Parkinson ; but it seems to be a name
of Dioscorides, on which no definite conclusion could be come
to : p. 281 and at p. 569, he speaks of the ground pine as
called by some AnthylHs ; 1. 5, " Clauer" = clover, also called
Mellilot ; ibid., "^Ethiopis" = an ^Ethiopian plant which Par
kinson first classed among the Mulleins (the Verbascas, L. ) but
afterwards put with the Clarys (the Salvias, L.) ; 1. 6, "fYora-
more " = fleur d' amour, Fr., from a mistaken etymology of
2 1 6 Notes and Illustrations.
Amaranthus, Am. tricolor, L. ; ibid., " Euphorbium " — see on
st. 3, 1. i ; ibid., " Efula" = some of the Tithimailes or
Spurges (Euphorbia) (Parkinson, s.v.) ; 1. 7, " Caffia fijlula"
= an Indian plant producing a pulp still used medicinally. It
has preserved its name to this day.
Page 92, st. I, "By the way" — note this now familiar phrase ; 1. 2, " Moly"
— as before; 1. 5, " loden " = ladened ; st. 3, 1. I, ''Mug-
wort " — said by Prior to be a form of Mothwort, also called
Mothenwort Artemisia Vulgaris, L.; ibid., "Sena" = senna,
the well known drug ; ibid., " Tithimailes" = " Herbe a laict,
Spurge, Tithimal, Milkweed (Milkwort, Parkinson), Wolves
Milk." Cotgrave; 1. 2, " Oke of lerufalem " = (leaf sup
posed to resemble oak leaf) — Oak of Cappadocia Chenopo-
dium Ambrosioides, L. ; ibid., " Lyryconfaucie or Liriconfancy"
— corruption of lilium convallium, or lily of the valley, Conval-
laria majalis, L. ; 1. 3, " Larkes fpurre " — so known at present, L.
heel — toe or claw, Knights spurs Delphinium, L.; ibid.,
"Larkes daw" — I find no such word, but Prior gives it as a
synonym for Lark's spur, and Chester is no authority ; 1. 4,
" Garden Nigella " = a Fennel flower, Nigella damascena, L. ;
ibid., "Mill" — I can't find ; ibid., ' ' Pionie " = peony ; 1. 5,
" Sentoric" — ccntaury ; 1. 6, "Sowbread" — its tuber eaten by
swine, Cyclamen europoeum, L. ; ibid., " Goates oregan," or
goat's organy, or goat's marjoram; 1. 7, " Pelemeum " - - 1
can't find ; ibid., " Ofmond the Waterman " = Osmund Fern,
Os. royal, St. Christopher's Herb=Osmunda regalis, L. ; st. 4,
1. I — punctuate , after " Mugioort" — see before, p. 92, st. 3,
1. I.
„ 93, st. 2, 1. 3, " Mdampus" 1. 4, " Proettts" — see Myth. Diet., s.v., the
first mortal endued with prophetic powers and medical skill
undertook to cure Proetus' daughters, king of Argos, and got
two-thirds of kingdom and married one daughter (one account);
st. 3, 1. I, " Centrie" — seep. 92, st. I, 1. 5 ; 1. 6, "aches" —
disyllabic, as before noted.
,f 94, st. i, 1. 7, "hath" — another of the author's curious change of tenses ;
st. 2, 1. i, " Ofmond balepate " — I know not unless is — Osm.
the Waterman, that being " singular for wounds, bruises and
the like" — see p. 92, st. 3, 1. 7 ; ibid., " Plebane" — I can't
find —might be error for Fleabane=lnula Pulicaria, L. ; ibid.,
" Oculus Chrijli" = Wild clary, God's eye, See-bright, Salvia
Sclarea, L. ; 1. 2, " Salomons feale" — Solomon's, i.e., Ladder
to heaven, Convallaria Polygonatum, L., root stock cut across,
being marked like two triangles reversed ; ibid., " Sampire"=
samphire — every one knows Shakespeare's reference to it —
"one that gathers samphire" (Lear, act iv, sc. 6); />. St.
Notes and Illustrations. 2 1 7
Pierre, and so Sampire from its growing on sea cliffs ; 1. 3,
"Sage of lerufalem " — cowslips of Jerusalem, Lingwort,
Bugloss cowslip, spotted Comfrey, Pulmonaria officinalis, L. ;
1. 4, " Great Pilofella" — Mouseear, Hieracium Pilosella, L. ;
ibid., " Sengreene " — see note under ' Water Sengreene,' p. 96,
st. 4, 1. 2; ibid., "Alexander" = horse-parsley, Smyrnium
Olus atrum, L.; 1. 5, " Knights Milfoile " — qu., the hooded
Milfoil, Bladder- wort, Utricularia vulgaris, L. ; ibid., " Maf-
ticke" — Masticke, gum from Pistacia Lentiscus, from Scio;
ibid., " Stocke gillofer" = Our present 'stock,' Matthiola
incana, L. ; 1. 6, " herbe twopence" — money wort from its pairs of
round leaves, Lysimachia Nummularia, L. ; ibid., " Hermo-
dactill" — roots sold as medicine in Parkinson's time, but the
plant unknown — ' Redflower Pimperndl ' Anagallis arvensis,
L. ; st. 4, 1. I, "imperious" — punctuate with , after; 1. 2,
" crie dif darning — crie-disdaining ; 1. 6, "lower" — lowered ;
1. 7, " neare" — ne'er.
Page 95, st. I, 1.6, " Hard hearted " = hard-hearted ; st. 2, 1. 2, " morne
excelling" = morne-excelling ; st. 1-2 — profoundly suggestive
of the radiant, impulsive, passionate Essex. See our Introduc
tion ; st. 3, 1. 5, "refine " — odd yet noticeable use of ' refine ' ;
st. 4, 1. I, "Garrets" — see p. 96, st. I ; ibid., " Cheruile" —
Chaerophyllum sylvestre, L.. -)(a.ipt$\)\\ov , xatPwJ I rejoice,
(t>v\\oi/, leaf; ibid., 1. 2, "Red Patiens" — Patience or Monks
rhubarb, dock, Rumex Patientia, L. ; " Pur/lane" — seep. 96,
st. 3 ; ibid., " Gingidiuni " — Parkinson calls it strange chevrill,
and says that all the varieties come from Syria, except one from
Spain ; 1. 3, " Oxe eie" = the great daisy, from Lat. buphthal-
mus, Chrysanthemum Leucanthemum, L. ; « ' Penygraffes " -
The sheep-killing p-g. is = penny-rot, the white-rot — marsh
pennywort, Hydrocotyle vulgaris, L. Cotgrave gives, "Herbe
qui tue les brebis, Moneywort, herb two-penny, two-penny
grass," and Parkinson the same ; but these names seem to have
been given rather confusedly to Hydrocotyle vulg., Pinguicula
vulg., and Lysimachia Nummularia, L. ; 1. 4, " Cuckoe pintell"
— arum maculatum, L. See wake-robin, p. 96 ; ibid., " Ladies
feale" — Sigill. S. Marise — Bryonia nigra. Prior, following
some of our old herbalists, says that it and Solomon's seal are the
same, i.e., Convallaria Polygonatum, L. ; but Parkinson differs
and makes the S. S. Marise, black bryony, Tamus communis, L ;
ibid., " Saga pinum" = Sagapenum, a gum like Galbanum
from Media ; 1. 5, " Theophrajlus violet" = (old names) white
violet or wallflower ; ibid., " Vincetoxwim" — Parkinson calls
it Gentianella minor verna j 1. 6, "Saint Peters wort" — cow
slip, from resembling a bunch of keys, Primula veris, L.; ibid.,
2 1 8 Notes and Illustrations.
" Fenus&aire"=Maiden.liazrfern} Adiantum, L. ; 1. 6, " Squil-
la " = squills. I saw huge shrub-like plants of it in Palestine.
Page 96, st. i, 1. 6, " Sad dreaming^1 = Sad-dreaming; 1. 7, "honie working"—
honie- working ; 1. 5, "But" — They would sell, &c., rather
than not vie\v or experience thy sweete, &c. ; st. 2, 1. 2,
" raui/Jied " = ravished infernal Pluto ; st. 3, 1. I, "Pur/lane"
— Portulaca oleracea, L., as before, p. 95, st. 3, 1. 2 ; st. 4, 1. I,
"Rocket" — corruption of diminutive of eruca, Eruca sativa
Lam.; ibid., "lack by the hedge" = -more properly 'Jakes,'
from its offensive garlicky smell, Sauce alone, Alliaria offi-
cinalis, L. ; ibid. "Lone in idleneffe" = [small] pansy: Viola
Tricolor, L. ; 1. 2, "Knights water Sengreene" — Sengreene is
the houseleek, sin (Sax.) ever, also aigreen, Jupiter's eye,
Bullock's eye, Jupiter's beard, Sempervivum Tectorum, L.
Parkinson speaks of an Egyptian water plant looking like a
houseleek which was called Stratiotes, and this or the Stratiotes
Aizoides he calls in his Index Water Sengreen ; 1. 3, "Paris
JVattews" — query, Herb Paris or Truelove, its four leaves re
sembling a truelove knot — but ' Navews ' are rapes, turnips,
and sometimes it would seem radishes ; ibid., " Tornefol" =
(sun-flower 1 ) Wartwort, Euphorbia helioscopia, L. ; 1. 4,
" Starre thi/le" — so called from its spiny involucre, Centaurea
Solstitialis, L.; 1. 5, " Seia" — 1 can't find this; 1. 6, " Wake-
robbins" = Cuckoo-Pint, Wake-Pintle, Arum maculatum, L.,
one among several repetitions, shewing that Chester repeated
without knowledge: cf. 'Cuckoe Pintle,' p. 95, st. I, 1. 4, et
alibi-, ibid., " Hartichocke " = artichoke.
,, 97, st. i, 1, i, "'Hyacinthus." See Apollod., i, 3, § 3, for the ancient myth.
1- Si "fprinckled"— a trisyllable here; 1. 7, "red white mingled"
= red-white mingled, or red-white-mingled; ib., "Gilli-fower"
— carnation. But Shakespeare distinguished between the carna
tion and gillifiower, e.g.
' ' The fairest flowers of the season,
Are our Carnations and streaked Gillyflowers "
Winter's Tale, iv, 3.
which is kindred with Spenser's distinction between 'Carna
tions ' ( ' Coronations ' as he rightly spells — from coronae =
garlands) and Sops-in-wine, which, nevertheless, are only two
of the numerous names of this one beautiful plant. I met with
it wild on the plain of Esdraelon, at the foot of the mountains of
Gilboa in Palestine — white, streaked with pale red. Cf. Mid
summer Nighfs Dream, act. ii, sc. 2, for an exquisite descrip
tive bit. Dr. Brinsley Nicholson — to whom, as throughout, I
am extremely indebted for most painstaking researches on
Notes and Illustrations. 2 1 9
Chester's flowers, &c. — thus writes me hereon : "The carna
tion and gilliflower seem to have been different species (or at
least varieties) of the same genus. Parkinson (Paradisus Ter.,
p. 314) says, ' Most of our later writers call them by one gene-
rail name, Caryophylhim sativum andyfor Caryophylleus, adding
thereunto maximus, when wee mean carnations, and maior
when we would express gilloflowers, which name is taken from
cloves, in that the sent of the ordinary red gilloflower (quasi
July flower) especially doth resemble them.' I give this to
clear up the difficulty that has always existed as to Shakes
peare's and Spenser's lines. Even now I find a distinction
made between carnations and pinks and gilloflowers, and I am
much inclined from this to believe in the derivation from camis
and not from corona; — the 'popular carnation' being, as I un
derstand it, of a red colour with the barest mingling of a reddish
white." St. 2 — this and other contextual stanzas are to be
read between the lines. ' Nature ' is pleading with the
'Phoenix' (Elizabeth) for the 'Turtle dove' (Essex). St. 3,
1. 2, "Jilner coloured Lillie "= silver-coloured. Cf. p. 21,
heading of 'A Prayer' — 'a silver coloured Dove'; 1. 6, " A? of '
= the exclamation of woe by Apollo for the mortally wounded
Hyacinthus or the letter T of "toMivQos ; st. 4, 1. I, "Jhift"=
trick; 1. 4, " Treauants "= truants ; 1. 5, " deepe reade"—
deepe-reade.
Page 98, st. I, 1. I, " Rocket" —see on p. 96, st. 4, 1. I ; 1. 2, " in your Maijlers
brow"= frowns indicative of displeasure? 1. 7, " That what is
feene without comes not "within" i.e., I suppose, the 'wheals'
are there but no ' blood ' drawn or pain caused ; st. 2, 1. 4,
" Artichocks" — see p. 96, st. 4, 1. 6 ; il>., 'who"1 — note this for
which; 1. 5, "Sod" = sodden or steeped ; st. 3, 11. I & 3, put
hyphen in 'Sommer-time and Winter-time' ; st. 4, 1. I, "Sow
bread' — see p. 99, sts. 1-3, and note p. 92, st. 3, 1. 6 —
Cyclamen Europoeum, L. ; ib., "Stanwort" — qu. stonecrop?
or as we have had stonecrop, qu. error for Stab-wort, Oxalis
acet., L., or Star- wort, Aster Tripolium, L. ? ib. " Starre of
Hiemfalem " — qu. Star of Bethlehem ? Prior makes the Star
of Bethlehem to be Ornithogaldum umbellatum, L., and the
Star of Jerusalem or girasole, Tragopogon porrifolium ; but Par
kinson in his Index makes them the same, and gives as syno
nyms Goats-beard, Go-to-bed-at-noon, Joseph's flower, also a
Tragopogon (pratense), L. ; 1. 2, " Veruine"= vervain or ver-
vine — anciently used in sacred rites and ceremonies — also
called holy herb, pigeon's grass, Juno's tears, &c., Verbena
officinalis, L. ; ib.t " Tanfte" — a yellow ill-savoured wild
plant, still so-named — Tanacetum vulgare j Fr., tanaise —
12O Notes and Illustrations.
1 tansy ' from Athanasia Gr. from a misinterpretation of Lucian
(Dial, of Gods, iv) ; 1. 3, " Go to bed at noone" — see 'Starre
Hierusalem,' 1. I ; ib., " Titimalem" — see note on p. 92, st.
2, 1. i; 1. 4, " Hundred headed thiftle" — I imagine the refe
rence is to the abundant 'thistle-clown' that bears the seed
in a 'hundred' directions; ib., "luie" — see p. 98, st. 4.
Shakespeare says —
" The female Ivy so
Enrings the barky fingers of the elm."
Midsummer Nighfs Dream, act. iv, sc. I.
One rarely or never sees it round the (traditional) 'vine.'
Pliny tells us (s.v.~) that the yellow berries of ivy drunk secure
one from drunkenness, and Cato and Varro that there is such
antipathy between the ivy and wine that if wine and water be
put into an ivy cup, the water remains but the wine soaks
through. Hence the appropriation of both to Bacchus might
have arisen from the ivy being thought a preservative from all
but the good effects of the grape. Milton sings of " the ivy never
sear." 1. 5, ' ' Storks bill " — an herb still so named ; ib., " Stone-
crop "= the Sedum acre of Linnaeus ; ib., "Canary "= canary-
seed — so known still j 1. 6, " Dwarf e gentian "• — seep. 100, st. 3;
ib., " Snake-Meed" — adder's wort or bistort, Polygonum Bistorta;
ib., " Sauory." This plant gets its name from the Latin
Satureia through the Italian Savoreggia. Winter V Tale, act. iv,
sc. 3 (Ellacombe). 1. 8, "Bell rags'1'' = a kind of water-cress?
ib., "prickly Boxe" — either our buck-thorn rhamnus cathar-
ticus, L., "the buck being a misrendering of Germ, buxdorn
= box-thorn irvj-aKavOa" Prior; or another plant called by
Parkinson box-thorn (p. 1009) Lycium sive Pyxacantha, he
having spoken of buck-thorn in the previous chapter; ib.,
" Rafpis of Coventry" — the 'raspberry.' Gerarde describes
it by the name of ' Rubus idseus, the raspis bush, or hind-berry.
He has this notice of it : — " The raspis is planted in gardens:
it groweth not wilde that I know of, except in a field by a
village in Lancashire, called Harwood, not far from Black
burn" (p. 1273). As resident in Blackburn I may state that
the 'raspberry' abounds in the woods all around us. See
Nares's s.v. for a full note.
Page 99, st. I, 1. 5, " Vnleffe too much,'1'' &c., i.e., unless they wish abortion or
miscarriage; st. 2, 1. 5, " When Mother Lullabie with ioyjhould
fmg" = Mother sing Ltillabie with ioy; 1. 6, "Yet wanton
fcaping Maides," &c. Cf. st. I, 1. 5, and relative note; also
the next stanza here. St. 4, 1. 4, "the maiden Cijfiis" =
KIOTO-OS ivy. There seems at p. 100, st. I, 11. 1-5, a reminis
cence of the story of Ariadne and Dionysus.
Notes and Illustrations. 2 2 1
Page 100, st. i, 1. 3, " infnared"— drawn thither; but by stress of rhyme, and
so too in 1. 5. St. 3, 1. 2, " hot JJiining" = hot-shining ; 1. 5,
"notjhunne"= not [otherwise]; st. 4, 1. I, "Carduwbmedictus
Bleffed thi/lle. So Shakespeare—
Margaret. Get you some of this distilled Carduus Benedictus,
and lay it to your heart; it is the only thing for a qualm.
Hero. There thou prickest her with a Thistle.
Beatrice. Benedictus ! Why Benedictus ? You have some
moral in this Benedictus.
Margaret. Moral ! No by my troth, I have no moral mean
ing; I meant plain Holy Thistle,"
(Much Ado About Nothing, ac. iii, sc. 4.)
The ' Holy Thistle ' or < Blessed Thistle ' was long held to be a
heal-all. See Steevens' Shakespeare in loco ; 1. 2, " Nefwort"
see p. 101, st. I — Parkinson calls it White Hellebore. Prior,
under sneeze-wort, says — Achillsea Ptarmica ; ibid., " Peni-
royall" — (so called still) Latin puleium regium and L. Mentha
pulegium — supposed to destroy fleas — also called pudding
grass, because used in 'stuffings' ; ibid., " AJlrolochia " — can
not find anywhere; 1. 3, " Yellow Wolfs-bane" = aconite —
usually blue, but one kind has pale yellow flowers ; ibid.,
"Bramble" See a most interesting note on this familiar plant
(or shrub) in Ellacombe's Plant-Lore and Garden Craft of
Shakespeare (1878), s.-v. 1. 4, "Our Ladies Bedflraiv " = the
plant Galium ; ib.. " Brookelime" = water-pimpernell, Vor-
mica Beccabringa, L. ; ibid., "Lunar/a" — seep. 101, st. 4;
1. 5, "Cinque foile "= five-leaved grass, but Prior makes them
different — Typha latifolia and Phleum pratense L.; ib., "Cats
taile"—\hQ, plant horse-tail? Potentilla, L. ; ib., " Crejfe Scia
tica" — so-called (I suppose) as good for alleviating sciatic and
rheumatic pains — a kind of candytuft, Ihoris amara, L; 1. 6,
ttHollihockesn —holly-hock — still well-known and admired;
ib., "Moufeare"= Latin, myosotis, Hieracium Pilosella, L.
— appearance of chickweecl, but the flower larger and the fruit
ox-horn shape, open at the top and full of small round seeds.
There is a mouse ear chickweecl and a mouse ear scorpion grass,
but they are both different. Holland's Pliny, however, gives
as a synonym for mouse ear { Myosotis) chick weed. Prior gives
mouse ear chick weed, stellaria media ; ib., " Pety Morrell"=
garden night-shade, i. e. , solanum nigra ; 1. 7, " Sage " — see
p. IOI, sts. 2-3; ib., "Scorpiades"= scorpion-grass or cater-
pillers, though the word ought to be Scorpioides. It is the
mouse ear scorpion grass, now called forget-me-not — Myosotis
palustus, L. , from its spike, says Prior, resembling a scorpion's
222 Notes and Illustrations.
tail, it was supposed by the doctrine of signatures to be good
against a scorpion's bite; ib., "garden forrell" — the wild
'wood' sorell cultivated — a sallet.
Page 101, st. 1, 1. 3, "fod"= sodden or steeped. Cf. p. 98, st. 2, 1. 5 ; st. 2, 1. 3,
" s£tius"= probably Aetius of Amida, a physician and writer
on medicine? He refers to Egyptian medicine in his B. 'larpi/co
ew/catSe/co; st. 4, 1. 4, " horflocke" — a horse's fetter to prevent
anything but a gentle pace and straying — qu. — get twisted
among the leaves and stems and so un-locked ?
,, 102, st. I, 1. i, " Standergras " — having double tubers, it was thought
on the doctrine of signatures to have aphrodisiac powers, Prior,
Orchis mascula, L. This and ' Hares ballockes ' and 'great
Orchis ' are different names for one plant, as shown by descrip
tion and name, and by the text 'provoketh' and 'procureth,'
1. 2, and 'It,' 11. 3 and 5, et seq.\ 11. 6~7=only to be used
fresh or newly pulled; st. 3, 1. I, " Rofeinarie" — See Ella-
combe, as before, for a full note on this once wonderfully
popular plant ; ib., " iujlifie"= uphold or state or make just ;
1. 6, " Confemes re/lores" — plural nominative to verb
singular; st. 4, 1. I, " Divale or Night/hade" — the latter ex
plains the former name. The ' Dwale-Bluth ' of young Oliver
Maclox-Brown has revived the older name unforgetably; 1. 4,
"coile"= disturbance, tumult; 1. 6, " Almaine" — Germany ;
1. 7, "nought"— naught, naughty, bad.
As this ends our Author's rapid naming and description of
plants and flowers, I must semi-apologize for my attempt to
give each its scientific name. I have ventured to do so (through
Dr. Nicholson's ready aid) first from the tendency people then
had to give the same name to different flowers, second that the
then Botanists placed different species of different genera under
under one generic name. I would now introduce here a hitherto
unprinted poem from a MS. in the Chetham Library, Man
chester, wherein the most popular flowers are daintily intro
duced, as follows :
MUSA AMATORIA.
1. In funny furriers heatinge
Cloffe in an arbour fittinge
Under a mirtle fhade ;
For my kinde loue the fairefl
Wth flowers of the rareft,
A Pofie thus I made.
2. The firft of maidens fancie
Wth purple coloured panfy,
The goold that fhutt at night ;
Notes and Illustrations. 223
And then I platt a maidens bluih,
A Tulupp and Narciffus,
Wth Campions red and white.
3. The violett and the Eglantine,
Wth Cowflips fweet and fops in wine,
Svveete marjoram and ox eye ;
The flowers of mufke millions,
Come blowe me downe, fweet Williams,
Wall-flowers and favorye.
4. The cheifeft flowers for pofes,
Are pinks, gilliflowers and rofes ;
I pluckt them in their prime.
The Larkheele and the Lillie,
The fragrant Daffa-dillie,
\ytii Lauender and tyme.
5. The cheifeft flowers for taftinge,
The flower euerlaftinge
I puld it from the baye ;
The blew and coloured collobine,
The Dafie and the woodbine,
And next, the flower of Maye.
6. Thefe flowers beinge culled
And from their branches pulled
They yield a fragrant fent ;
And I obferud their places
And had them in bride-Laces,
And to my Lone I went.
7. Where I perceiud her fportinge
With other maides refortinge,
Nigh by a riuer ftode;
When fhe had well perufed
My pofie not refufed
Upon her arme ihe tyed.
8. With modeft kind behauior
She thankes me for my fauor,
And weares it for my fake;
And with ten thoufand kiffes
The reft remayne in wifhes
Her Loveinge leaue Ihe takes. Finis.
(8010 Chetham Library, 8055 Farmer's Catal.)
Page 103, st. I, 1. I, " Oke of Terufalem" or of Cappadocia, Chenopodium
Ambrosioides, L. — leaf supposed to resemble that of the oak ;
224 Notes and Illustrations.
St. 2, 1. 2, "Times increafe" So Shakespeare ' earth's increase'
(Tempest, act. iv, sc. I (Song) and 2 Henry VI, act iii, sc. 2)
and 'womb's increase' (Coriol, act i, sc. i); 1. 5, "their"—
there, as frequenter contemporaneously ; 1. 6, " 'fiveete fpreadr' '=
fvveete-fpread ; st. 3, 1. 6, " nominate" =mcct\z, r.g.\ st. 4, 1. 3,
" loftie bearing'1'' = loftie-bearing ; 1. 5, " C hiifts -thorn e"—
Spina Christi — I found it in enormous growth near Jericho; 1. 6,
"Tamarijke" — tamaris, Fr. and Sp. : tamarisco, It. : tamariscus,
Latin — wood and fruit medicinal ; st. 5, 1. I, " mojl chajl tree,
that Chajlnejfe doth betoken''1 — no opportunity is 'let slip' of
pleasing the 'FzVgvVz-queen,' as she rejoiced to be called, by
such references; 1. 2, "Holly holme " = a holm holly; 1. 3,
" Corke" — Gerarde and Parkinson describe this tree, though it
was not planted in England until the latter part of the seven
teenth century ; ib., " Goofeberrie.'1'1 It may be noted that Dr.
Prior has shewn that this word is a corruption of ' Cross-berry/
and so has nothing to do with the 'goose'; 1. 3 (page 104)
"JJiooken"= shaken, r.g. ; 1. 4, " Philbert "= filbert ; ib.,
" Barberie" or Berberry = the pipperidge-bush — a prickly
shrub, bearing a long red tart 'berry'; 1. 5, "Majlicke" — lentisk
tree — I saw it plentiful in Cyprus and Scio = gum from it.
Page 104, st. i, 1. i, " ludas tree" — resembles the apricot — grows in hedges of
Italy and Spain, but in England it was the elder of Shakespeare;
st. 2, 1. i, " AJJi-tree. " See Ellacombe, as before, s.v. ; ib.,
" Maple" — a fine naturalized English tree, with odd-shaped
winged seeds that when I was a boy used to be called 'cocks
and hens'; ib., " Sycamore " — Acer pseudoplatanus, L., of
the maple genus; 1. 2, " Pomegranate" = the kernelled apple
(pomum granatum) — delicious in Palestine as I proved at
Shunem, &c. ; ib., "Apricockes" See Ellacombe, as before,
for a full note (s.v.} hereon ; ib., " lunipere" — ~Lz.\!\n,jiiniperus
— the well known tree or shrub. It grows very large in the
Sinaitic peninsula; 1. 3, "Turpentine" — resinous clear gum
from the pine, juniper, &c. ; ib., " deplore"1' '= weep or pour out;
ib., " Peare-tree " — poire, French: pyrum, Latin — innumerable
varieties; ib., "Medlar" — mespilum, Latin — like the laurel;
1. 5, "Orenge." See Ellacombe for a matterful note, s.v. ; ib.,
" Lemmon"; Ibid., \. 6, "Nutmeg" — see Gerarde, s.v., but
it was not introduced into England for two centuries later ; ib.,
"Plum-tree." See Ellacombe, as before, s.v. ; st. 3, 1. I,
"Mirtle" — "Holy Writ," and the classical myths have immortal
ized it. See Ellacombe, as before, s.v.; 1.2, "gods" — misprint
for ' goddess •' ; 1. 3, "Merfm." Is this mythological story of
Mersin a classical one ? Or is it coined by Chester ? I do not
remember it, nor can I find it. Moreover, the ' myrtle ' was
Notes and Illustrations. 225
sacred to Aphrodite or Venus (Murcia or Murtea), and not to
Athene" or Pallas. I incline also to think it Chester's because
he has made rather a mess of the name, fj.vpcrivr) being a myrtle
branch, and pvpros the myrtle tree" (Dr. Brinsley Nicholson,
to me). 1. 4, the colon (:) certainly ought to have been
deleted here ; st. 4, 1. 3, " gouernement" — of set rule.
Page 105, st. I, 1. I, " fore pajfcd" = fore-passed ; 1. 5, " vanquiJJier," i.e., the
vanquished — a probable misprint ; st. 3, 1. I, " greene
remaining" = greene-remaining ; ib., "Bay." See Ellacombe,
as before, for a full note, s.v. ; 11. 5-6. See note on p. 97,
st. 2; st. 5 (p. 106), 1. 3, "to his hearts delight " = for the
delight of his own heart.
,, 106, st. I, 1. I, " opin ion "— good repute in knowledge ; 11. 5-6 = Apollo
as god of the sun. Cf. the preceding context ; st. 2, 1. I, " Afofe-
ti-ee" — see on 11. 5-6; 1. 4, " Herborijls " = "one skilled in
herbs" (Ash., s.v.) It occurs in its more correct form of
Herbrtrist in Philemon Holland's Pliny, either in this sense, or
as one who gathers herbs for medical purposes. 11. 5-6, unin
telligible to the editor. It can't possibly mean that near or in
Niniveh or the ' Aleph ' (= first or foremost — as being the first
letter of the Hebrew alphabet) citie some merchant-ship trading
from ' Venetia ' found this ' Mofe-tree ' there. The next stanza
only deepens the obscurity; st. 4, 1. 4, " Tellus gloru" — Tellus'
glorie ; 1. 5 (p. 107), put hyphen in " while sillier d"1 and "rich
refembling. "
,, 107, st. 3, 1. I, " Prawn e" — a small crustaceous fish, like a shrimp, but
larger; ib., " Pickerell"= young pike ; 1.3, " Puffin" = a kind
of sea water-fowl then called 'feathered fish' (Rider, s.v.,
1640); ib., "Sole" — the well-known flat marine fish, of the
genus Pleuronectes, P. solea of Linnaeus — so called probably
from its keeping on or near the bottom ('sole ') of the sea ; ib.,
" Sommer lotting" = Sommer-louing ; st. 4, 1. 3, "brimme"—
edge.
,, 108, st. I, 1. I, "Ray" — a genus of cartilaginous plagiostomous fishes,
e.g., sting ray, spotted torpedo, thornback, skate, &c. ; ib.,
" Sea-calf e" — the common seal, a species of phoca — phoca
vitulina of Linnaeus; ib., " Porpoife" — from porco, a hog and
pesce — a fish (Italian), hence called hog-fish and sea-hog — in
zoology cetaceous mammals of the genus Delphinus of Linnaeus ;
1. 3, " Sea-horfe" — the morse, a species of Trichechus or walrus,
the T. rosmarus; ib., " Sea- hound." Cotgrave gives, 'Hound
fish'= Fr., sorrat, Ash, ' name of a fish. ' Rider gives, ' Hound
fish '= Galerus ; and under 'Galerum,' a Dogge-fish, also a
Sea-Calfe. Ib. , "Plaice " = flat fish of the ' sole ' species ; 1. 4,
" Spitchcoke" — was not as now, an eel broiled, &c., but 'a great
226 Notes and Illustrations.
eel,' Anguilla decwnana (Rider, and so Kersey) — possibly the
conger. So 'stocke-fish' was not a salted fish as now, but was used
as the name of the live fish (Rider). Ib., "Pitcher" = pilchard ;
1. 6, " Aches "— - disyllabic as ususal ; st. 2, 1. I, "SpitfiJIi" —
sea-pike. Cf. for further description Cotgrave, s.v., Spet.
/#., " Spurting" = sparling or sperling? 1.2, " Thornebacke" —
a kind of 'ray,' as before ; 1, 3, " Twine''' — Rider has "A fish
called a twin before it be a year old. Pelamys — and pelamys
is a thunny or tunny. Ib., "Scallop" — a fish in hollow and
pectinated shell ; 1. 4, " pretie Wrincle"= a welke ; st. 3, 1. I,
"£«#/?"= cuttle-fish j il>., " Stocke-fiJJi " — already named
supra (st. i, 1. 4); 1. 4, "Ruffe" — a small fish, a species of
Perca, Perch, cernna, native of England ; ib., "Piper"— pipe
fish — or Horn-back, or Horn or Gorn-fish — of the genus
Syngnathus, so called from the length and slenderness of its
body, which in its thickest part is only equal to a swan's quill ;
1. 5, "Barbell" — of the genus Cyprinus, of the order of
Abdominals; st. 4, 1.5, "Jiubborne necked " = stubborne-
necked ; st. 5, 1. 3 — remove comma (,) certainly after "vn-
feene"
Page 109, st. I, 1. i, *Mwrt^2"= amethyst— see p. no, st. 2; ib., "Abe/lone"
= asbestos? but see infra, ; 1. 2, " 7 birches" = turquoise ; 1. 3,
"Adamant" — see p. 109, st. 4; 1. 3, "Dionife" — Dionisias —
Batman (xvi, 35) calls it Dionyso, a stone, black or brown, hav
ing red spots. See Batman, as supra, and Isidore for more on
it. Ib., " Calcedon " = calcedony ; 1. 4, "Elutropia" — qu.
heliatrope? 1. 5, " After ites"—*. gem shining within like a star,
mentioned by Isidore; 1. 6, "Argiritis" — a silver-like gem
mentioned also by Isidore; 1. 4, "Berill" — see p. no, st. 5;
1. 5, " Saphire" — see p. 114, st. 2-3 ; 1. 6, " lacinth" — seep.
113, st. 2; st. 2, 1. I, " Smaragd" — see p. 114, st. 4; ib.,
"Alabl after" — so spelled contemporaneously, and onward. So
too the Poet — Spenser's friend — had his name spelled; ib.,
" Cru/0j!>affe"= chiysopi-a.se ; 1. 3, "fparkling Diamond" — see
p. in, st. 2-3. The most exquisite thing I ever have met with
on the diamond was in a most unlikely place, viz., in James
Arbuckle's poem of " Snuff." He describes the tapered, pink-
nailed finger of Beauty, whereon "The diamond spills its drop
of light." 1. 4, " Margarite "= pearl ; ib., " bright-ey'd
Chryftall. " This recalls Sir John Davies' splendid description
of the sea, looking up with his ' great crystal eye ' to the moon ;
1. 5, " Ligurius "= a species of carbuncle or the lynx stone, or
jacinth, or amber; ib., " <9»z.* "= onyx ; tl>., " Gagates" — see
p. 112, st. 4 — Minsheu and Cotgrave give it = agate, but
Rider and Lovell as 'jeat' or agath stone, and so Pliny, xxxvi,
Notes a nd Illustra tions . 227
19 ; 1. 6, "Abjl/los" — Batman gives Abeston for Asbestus, but
Absciso from Isidore as a precious stone, "black heavie and
ftreaked with redde veines," &c. ; ib., " Amatiles" — see p.
no, st. 4; ib., "Achates" — see p. no, st. 3; st. 3, 1.
5, " Lipparia"— Liparium or rock alum ; 1. 6, " Enidros" —
seep. 112, st. 3. This gem, enhydros = eVvSpos, is now un
known. Pliny 37, II, 73 ; Solin. 37, 67; st. 4, 1. I, ft Ada
mant" = lode-stone.
Page 1 10, st. I, 1. I, " lately " = living. Cf. " lively oracles " (Acts vii, 38),
" lively hope" (i Peter i, 3), "lively stones" (i Peter ii, 5) ;
st. 2, 1. i, "/«;-/& r0/^wra/"=purple-coloured ; ib., " Amatift"
— amethyst — see p. 109, st. I, ]. I ; st. 4, 1. 5, " fiers light"
= in the fire, r.g.
,, in, st. i, 1. 5, " the honfe " ~ life ; st. 2-3. Cf. note p. 109, st. 2, 1. 3,
and note the feminine there as here ; st. 4, 1. 6, "whereas"—
whereat.
,, 112, st. i, 1. i, " Achites" — qu. = cf. description p. 112, st. I, 1. I, and
p. no, st. 3, 1. i. Minsheu gives as = Gagates; but Lovell,
making Gagates or Agath one of the sulphurs = a black stony
earth full of bitumen, gives Achates among the stones or jewels
most precious, as like the jasper. Doubtless Chester meant
the 'agate.' 1. 6, ";r/?" = ease from pain; st. 2, 1. 4, "her
humours is rehafing" — sic, and so another example of verb
singular following a nominative plural ; 1. 6, " forfake his
meate"—\Qse his appetite; st. 3, 1. I, "Enidros" — see p.
109, st. 3, 1. 6; after st. 3, " Perpetui," &c., from Marboclsei
Carmen de Gen. §47 : Franzias, Lips. 1791 — Chester slightly
different; st. 4, 1. I, "Gagates" — seep. 109, st. 2, 1. 5; 1. 2,
" whereas " — whereat, as before; st. 5 (p. 113), 1. 3, "fame
men neuer thinke"= will not believe.
,, 113, st. i, 1. i, " lacinth" Cf. Batman upon Barthol., B xvi, c. 57.
Our Poet has drawn on one or other; 1. 3, " de" — the origi
nal's misprint for 'elere' or 'cleare' through length of the line;
1. 6, " them " — not misprint for ' them ' but for ' to the m[inde] '
— as revealed by the rhyme and scansion ; st. 4, 1. i, " Meade
ftone" — see Batman upon Barthol. B xvi, c 67 Medo— whence
this is fetched ; 1. 4, "Mingled" &c., i.e., mingled with the
milk of a woman having a male infant (not a female one).
,, 114, st. I, 1. i, " Orites" — see Batman, as before, B. xvi, c. 74; st. 2,
1. i, " Skie colour1 d" — Skie- colour 'd ; ib., " Saphire" — see
Batman, as before, B xvi, c 87 ; 1.2, " iudging" —judicial,
well-judging ; st. 3, 11. 5-6. Whence this ' consecration ' of the
sapphire to Apollo ? Batman, Ixvi, c. 87, gives the story of the
spider and says he has oft seen it proved. St. 4, 1. I, read
— ' fresh -greene-colour'd ' or 'fresh grene-colour'd ' ; #.,
" Sm aragd" — see Batman, as before, B. xvi, c 88.
228 Notes and Illustrations.
Page 115, st, i, 1. i, "valiant Ccesar" viz., Nero; 1. 2, ^apovs, sic, but =
2fj.apa.y8os, doubtless written contractedly by Chester ^papayas,
r.g. See Batman, xvi. 88, from Isidore; 1. 4, "wards" =
acts of guard or guarding, fences; st. 2, 1. 5, " keepes" —
disyllabic; st. 3, 1. i, " Titrc/ies"— turquois. Mentioned in
Batman, but no virtues given it nor in Pliny. I gathered a
handful myself in the ancient turquois mines of the Sinaitic
peninsula.
,, 116, st. I, 1. 3, "Bugle" = Bugill or Buffell, Latin, Bubalus, i.e., the
buffalo; 1. 4, " Onocentaure " — a mythical animal compounded
of ass (ovos) and man, as the hippocentaur was of horse and
man. Even Batman has his doubts of its existence ; 1. 5,
"Dromidary" i.e., standing for itself and the 'camel'; but
see st. 3 ; 1. 6, "^;v"=boar, see p. 115, st. i ; ib. "Dragon"
= mythical serpent; st. 2, 1. I, "ftrong nccfrd" — ftrong-
neck'd; 1. 4, " Goatbucke"= he-goat? Batman speaks of the
he-goat as 'goat-bucke' (B xviij, c. 89) ; but in his index gives
'of the goat bucke ' c. 101, where he treats of the hircocervus
or tragelephus, but never calls it goat-bucke, contrariwise in
explaining tragelephus calls tragos a goat-bucke. From p. 119
(st. i, 1. i) it is quite clear that Chester intended the he-goat ;
1. 5, " Cameleoapard"-—*. fabulous ^Ethiopian beast, not the
animal now so named ; 1. 6, "Deare"= deer ; st. 3, 11. 3-4 —
a common and classical belief (e.g., Juvenal, xii, 3, 4) — he
knowing himself to be hunted for them as being greatly
esteemed in various diseases. It was similarly said of the
'hunted ' elephant that he clashed and broke his tusks, knowing
that was why he was hunted (Batman, xviij, 44); Richard
Barnfield (Poems, p. 28, st. xliii — my edition for the Rox-
burghe Club), and Hump. Gifford (Posie (1580) — my edition)
have the same myth; 11. 5-6, " Stellio, Camelion, Vnicorne"
Either Chester has borrowed from Batman (or Bartholomew
Giant ville from whom he translated) or both have taken from
a common source. Batman mentions under ' camelion ' the
' stellio, a lizard ' said by some to be one with the ' camelion. '
Philemon Holland's Pliny, calls it the star-lizard stellion, and
Holyoke's Rider, gives ' stellio ' a beast like a lizzard having
spots on his neck, like stars. ttVnicornff" &c. Sir Thomas
Browne, s.v., will interest and amuse with his quaint lore and
as quaint credulity and incredulity (Works by Wilkin, 4 vols.,
8vo., 1835.) The old Preachers abound in illustrations fetched
from the 'unicorn' whereby to exalt our Lord ; st. 4, "Beared
See Batman, B. xviii, c. 112, where he quotes Avicenna for this.
The virtue of bear's grease dates from Batman's days (1582) at
least,
Notes and Illustrations. 229
Page 117, Latin line — from Isidore; lib. xii, cap, ii, but 'Sic' for 'Hie,' and
'cum' for 'quern'; st. I, "^0^"= boar ; 1. 2, " Ttt/7zes"=
tusks — still in use for the tusks of boar and elephant, and in
the nursery for infant's teeth — see also p. 118, st. 3, 1. I ; 1. 5,
*' Marioram and Organic"— marjoram and penny-royal — see
Ellacombe, as before; st. 2, " Btigle" — see p. 116, st. I, 1. 3,
and relative note; 1. 6, "thy"— sic = they ; st. 3, "Came//,"
st. 3-4. No one who has travelled on camel-back across a
desert will refuse praise to the camel's long patience and liquid
ever-onward-looking eye. Times over I have seen the camel go
without water for more than the ' four days ' here named.
He has faults of temper and otherwise, and it is a kind of
martyrdom to use him at all for one's self; yet with every
deduction he is an admirable and extraordinary creature ;
st. 5, 1. I, "Dragon" &c. The mythical 'dragon' was
supposed to love the elephant's blood (Batman); (p. 118)
11. 5-6 — the slayer is timely slain, says Batman.
,, 118, st. I, 1. I, '* bunch-backt" — hunch-backed, or with protuberance;
st. 2, " Dogge" — Baroness Coutts has raised a monument
(combining a 'fountain') to a little Scotch terrier that broke its
heart over its dead master, scraping its way down to the coffin-
lid and there dying. It is one of the sights of Edinburgh ; st.
3, 1. 6, "fau V hi 's /tfe"= his life sav'd; st. 4, 1. I, "feenc"=
skilled, knowing.
,, 119, st. i, 1. I, " Gote-bucke "= he-goat, as before; st. 2, 1. I, " quicke"
= lively; 1. 3, " incontinent" = instantly ; 1. 6, "by kind" '=
of his nature; 1.4, " Ligaritis" — rather Ligurius. See Batman,
as before, B xvi, 60 and B xviii, c. 69, and Pliny Lyncurium viii,
38. Cf. p. in.
,, 120, st. 4, 1. i, " Onocmfaw." See relative note, p. 116, st. I, 1. 4;
st. 5, 1. i, "Stellio.n See ib., p. 116, st. 3, 11. 5-6.
,, 121, st. I, 11. 5-6 — the 'He' being Ireland, as before; read 1. 6, with
hyphen, 'fweete-fmelling'; st. 2, 1. 2, " moorijli plot" = one of
the bogs for which Ireland was and is celebrated, and in which
still, spite of St. Patrick, frogs if not serpents are found. Be
it noted this held only of "a little corner" (1. i) ; 1. 6,
" poifonous ayre"=two disyllables ; st. 3, 1. 2, "Rinatrix."
See page 123, st. 3 ; 1. 3, ib., " Afpis." See page 122, st. i.
,, 122, st. I, 1. 3, "neare"=^ ne'er; st. 2, "Thisis"&.c. Chester would
later read his friend Shakespeare's great celebration of it ;
st. 3, "Lizard"— anything prettier or more amusing than the
swift-darting lizards of the desert (of Sinai) can scarcely be
imagined. Their agility is very remarkable. Closely examined
their jewel-like colouring is exquisite. In the loneliness of
some of the Wadys it was a kind of living companionship
99
2jo Notes and Illustrations.
to have these interesting little creatures beside one. Some were
veiy very large and hideous — as large as a good-sized kitten ;
st. 4, 1. I, "Ant or Emote is a labouring thing.'1' Sir John
Lubbock imagines that he has disproved the ' wisdom ' of the
' ant ' by his sets of experiments and by observations. A greater
delusion I can scarcely conceive. Why, the very dis-regard of
the 'ants' for the near roads provided and the humanly- con
trived plans for ingress and egress, and removal of difficulties,
goes to confirm the little creature's quick ' wisdom.' If it could
speak, it might retort on the great-eyed human monster stooping
over and ' planning ' for it, and say, ' I will take my own way —
I will manage for myself — I don't know what of evil may be
under all these nice arrangements.' Personally I have made
scores of observations on the ' ant ' both at home and in foreign
countries, especially in the East ; and all confirm its ' wisdom ' —
as in the text ; 1. 2, " piiblike ivea!e," i.e., commonweath ; st. 5>
1. 5 (p. 123) "ciuiW= living a common ordered and subordinate
life, like ants and men.
Page 123, st. 4, 1. 5, "caldoffome the flattering ivorme" Batman (B xviij, c.
98) says, "This maner fcorpion commeth of Scorte that is
fweet, and of pogo, is, that is to feine ; for before [stinging] he
feineth pleafaunce."
,, 124, st. 2, 1. 4, " Oliues "= ol-i-ues — a trisyllable to rhyme with ' trees ' —
note ' some ' verb singular (11. 2-4), and in 1. 7 with verb plural;
st. 4, 1. I, " Caddes" — cadesse, i.e., jackdaw (Wright, s.v.} —
from its place among birds cannot be the caddes, or caddis, or
cadworme (Ash, Kersey, and Bailey); st. 5> !• 3> put hyphen
thus, " big-neck' d"; 1. 5 (p. 125) "Griffon" = mythical bird ;
1. 6, " Puttocke" = greale, i.e., kite.
,, 125, st. I, 1. 4, "Herein" — " Hircania is a province in Afia .... it is
fharpe of woodes . . . .There breedeth birdes that are called
Hircanie ; their feathers shine by night, and such birdes are
founde in Germany, as Isidore sayeth " (Batman, B xv, c. 74).
I presume = the Hercinian forest, Germany ; ib. , put hyphen,
" fwift-'winged " ; 1. 5, " Caladrins." See next stanza — Bat
man (B xii, c. 22) speaks of Kaladrius in the same terms, and
says it ' ' hath no parte of blackneffe. " If the man is to die he
turns his face from him. His only authority is "as the Philo
sopher faith"; st. 2, 1. 2, " profperitie" — qu. propertie or
propensitie? line is unscannable ; st. 3, "Crane" — curious
old-fashioned lore, found everywhere.
,, 126, st. I, 1. i, " The Winters enuious blajl JJie neuer tafteth" Michael
Bruce in that Ode to the Cuckoo, which John Logan so
treacherously sought to rob him of, has very daintily put this : —
" Sweet bird ! thy bow'r is ever green,
Thy sky is ever clear ;
Notes and Illustrations. 231
Thou hast no sorrow in thy song,
No winter in thy year."
(my edition, p. 124, 1865).
1. 4, "for to" — so also st. 5, 1. 2 — rare in Shakespeare.
Page 126, st. 2, 1. 3, " Croffe " = ill-fate or luck; st. 4, 1. 4, "runne" =
ranne, r.g.
,, 127, st. I, 1. I, "Griffon" — fabulous bird, as before; st. 2, 1. 2,
" Hircinie" — see on p. 125, st. I, 1. 4.
,, 128, st. 1, 1. I, " Memnodides" — the original's misprint for 'Memnonides';
st. 2, 1. 3, " Hunts-vp.n Mr. J. Payne Collier has printed a
curious song, from which it appears that * hunts vp ' was known
as early as 28 Henry VIII. Cf. Barnfield in his " Affectionate
Shepheard " :
"And euery Morne by dawning of the day,
When Phoebus riseth with a blushing face,
Siluanus Chappel-Clarks shall chaunt a Lay,
And play thee hunts-up in thy resting-place."
(My edition of his complete Poems for the
Roxburghe Club, p. 12, st. xix.)
1. 3, " doth delight her •," i.e., his mate — for it is the male which
alone sings. This Chester knew and so likens the male-bird to
a ' Bridegroome ' (1. 5); 11. 5-6 — unskilful verse; but the
meaning is that Greeks and Romans trained the ' nightingale ' ;
st. 4, 1. 2, " StefichorusY '= the Greek poet of Himera in Sicily.
For the fable see Christod. Ecphr. ap. Jacobs, Anth. Grac. i,
p. 42 : Pliny, H. N., x, 29 ; 11. 5-6, the well-known legend ;
st. 5, 1. I, " daftard Oivle" — much too strong a word for this
timid but not at all ' cowardly ' bird.
„ 129. Latin couplet — from Ovid, Met. v, 549, 550. 1. 7, "Jluggijli" —
because he 'sleeps' all day, possibly ; st. 2, 1. I, "illbedoom-
ing"= ill-bedooming, i.e., adjudging or pre-judging ill or evil;
Cf. 3 Henry VI, v, 6, " cried, aboding luckless time " ; st. 3,
1. 5, " They haue bene known to giue great Emperors wine " —
some now forgotten anecdote of trained parrots ; st. 4, 11. 5-
6. The old Puritans are never weary of pointing ' a moral '
from the 'base blacke Feete' of the peacock, swan, &c., &c.,
in contrast with their plumage ; and so too the elder Poets ;
st. 5 (p. 130), 1. 4, "/» Indie fpies a Peacocke" &c., one of the
many myths about this bird.
„ 130, st. I, " The Pellican " — this myth is met with in all the Fathers, &c.
The pressure of the huge bill on its crop or pouch wherein is
store of food, doubtless originated it. This mention of the
' Pellican ' calls for special note of the curious and remarkable
turn given to the fable, in that the ' Turtle dove ' dies first, and
23 2 Notes and Illustrations.
then the Phoenix. Also, be it observed, that the ' Turtle dove '
— "chearfully did die," &c., while the Phoenix "with a pale
heavy countenance grieved for to see him first possesse the
place." Only as of Essex and Elizabeth is this appropriate or
explicable. I take the opportunity here to supplement pre
ceding notes on the same lines as all this. ' Applied ' (p. 9)
appears to mean that ' The Complaint of Rosalin ' is put into
the mouth of Dame Nature ; for Dame Nature's Complaint is a
complaint in behalf of Rosalin or the Phoenix, or in other words
Rosalin's own 'Complaint.' Again, at p. 21, the explanation
is that like Raleigh he had spoken before of Elizabeth as ' the
silver-coloured dove ' as he calls her in st. 4 (and in 5, 6, 7).
But as he is now speaking of her as the ' Phoenix ' in his
'Love's Martyr,' he applies it (really to the same person) to
her as to the ' Phoenix '. This is surely reduplicated proof that
the * silver-coloured Dove' (= sacred, holy) and the 'Phoenix'
are one, and that both are Elizabeth. Note finally here, that
in the 'Prayer' she is 'the' and 'thy' silver-coloured dove,
but in the title ' a, ' because he would avoid the very obvious
absurdity that she was both the silver-coloured dove and the
phoenix. She could be the ' Phoenix ' and ' a ' silver-coloured
dove, i.e., the 'Phoenix' with the properties of such a dove,
though not the bird the dove itself; st. 2, " vnfaliate Sparrow. "
Dean Donne has quaintly celebrated the ' vnfatiate ' amorous
ness of this bird in his Metempsychosis ; 1. 4, " animadtiertion "
= perception. In this sense Glanville also uses it, and, spite
of the Dictionary-makers, it is correct; 11. 5-6, " A flight of
Sparrowes" — the old myth and superstition; st. 3, 1. I, read
rather, ' The artificiall-nest-composing ' ; 1. 6, "His" — caught
doubtless from previous line, should be 'He'; ib., " Cake-
donies " — is this a mistake of a gem for a flower ( ' herb ') ?
st. 4, 1. I, " Cecinna" = Csecina ; ib., " Volateran" = Caecina
of Volaterrse — Etruscan remains still extant preserve this once
great family-name. Qu. — Has Chester confounded Cascina
and L. Cinna? 1. 3, "Sent letters" &c. Carrier-pigeons
have been long so used and still are (e.g. , in the recent Germano-
Franco war), but it is doubtful if the ' swallow ' ever has been
similarly trained).
Page 131, st. I, 1. i, "fweete recording"= sweete-recording, i.e, sweet -singing.
Cf. Two Gent, of Ver., act v, sc. 3. One is utterly at a loss to
account for the everywhere-found notion of the swan's ' sing
ing,' especially on the approach of death. As for the 'footed
verse,' 1. 3, it is of course mere credulity. Latin couplet — from
Isidore, Hisp. Episcop. Origines, lib. xii, cap. vii, in Gotho-
fredi Auctores Linguse Latinse 1622, who quotes it from an old
Notes and Illustrations. 233
Poet GEmilius. Chester inadvertently prints ' Hoc ' for ' Hanc '
and 'undis' for 'undas.' st. 2, 1. 5, "mowt"= moult ; 1. 6,
put hyphen, "hart-pining"', st. 3, 1. I, " the carefull [ = full-
of-care] bird the Turtle Doue" be it noted, is designated by
'Phoenix' in preceding stanza " drooping fouU" and again in
st. 4, 1. 5> J 11- 3~4j '' And thus he wanders feeking of his lone. "
This goes right to the mark for Essex.
Page 132, st. I, 1. i, " lookes me in the face. " Another touch in Elizabeth for
Essex; 1. 4, "gate"= gait; 1. 4, " he eyes vs more and more"
— as in 1. I ; 1. 5, " O JJiall I welcome him."'' The oft-put
question of the woman against the queen and of the queen
against the woman in Essex's case. The context has no sense
unless you bring to it the story of Elizabeth's love-passion —
the passion, if not the love in its deepest and tenderest sense —
for Essex, from her first sight of him in his young bloom on
ward ; st. 3, 1.4, "kalfe pin'd" = halfe-pin'd ; st. 4 — The
placing of ' Turtle ' in the margin seems at first a mistake ; but
the 'Turtle' is addressing itself (i.e., himself) in gazing on the
'eye-dazling Sunne' of the 'Phoenix's' 'excelling beauty.'
This was the mode, to the last, of speaking of and to Elizabeth.
See our Introduction for quotation from Coke. With all her
brain-force, Elizabeth had not courage to refuse the idle
flattery of her 'beauty,' or to recognise that she really was
growing old and haggard. I know not that the following
very striking bit in Nichols Progresses of Queen Elizabeth, from
an Harleian MS. (contemporary) 6207, has been noticed —
"Afterward, in the melancholy of her sickness, she desired to
see a true looking glass, which in twenty years she had not sene,
but of such a one as was made of purpose to deceiue her sight :
which glasse being brought her, she fell presently into exclaym-
ing against [those] which had so much commended her ; and
took it so offensively, that some which before had flattered her,
dourst not come into her sight " (vol ii, pp. 25-30 — end of the
volume). Surely anything more tragical than the italicized
words is inconceivable ; 1.5, " rariety "= rarity. Cf. former
note on this ; 1. 6, "For wit," &c., the bird is forgotten and
the queen-woman remembered.
» I33> st- !> !• I, " Tur" seems wrongly placed here, being intended for
the left margin in the words ' Haile map of forrow ' (see p. 124,
st. I, 11. 5-6); whilst 'Phoenix' in the right margin begins
'Welcome,' &c. st. 2, 1. 4, " prefumptions foule offence"
Essex, on his departure for Portugal and elsewhere later, was
again and again brought to his knees for his ' presumption ' and
kindred impulsive faults, as facts and letters superabundantly
prove. See Devereux' Lives, &c. Meanwhile it is all-important
234 Notes and Illustrations.
to note that the ' wooing ' is dated by circumstances in Essex's
early time — not later when he had married and when Elizabeth
was old; st. 3, 1. I, " Turtle" = mate ; 1. 2, " her want" =
her loss; 1. 3, " the foule that's fled" &c. How natural all
this was in the mouth of Essex on the death of his noble young
brother who fell so miserably at Rouen. See Devereux, as
before, st. 4, 1. 3, "for to," as before, common contempo
raneously, rare in Shakespeare: see p. 132, 1. 4 : p. 133,
1. 12 ; st. 4, 1. 4, " aduance" = lift up 'our fiery altar.' So
Shakespeare, " the fringed curtains of thine eye advance "
{Tempest, act i, sc. 2); 1. 6, " Solamen" &c. The origin of
this has long been sought for in vain. It is in most collections
of Common-places ; and was enquired about in Notes and
Queries, iv, x, but not traced back to its source ; st. 5, Elizabeth
actually thus comforted Essex for his brother when he ' came
over' at the queen's imperious summons. See Devereux, as
before.
Page 134, st. 2, punctuate 1. 4 with semi-colon or period after 'labour,' and
again, period after 'paine'; but except in misleading cases I
shall not note the singular punctuation of the original. My part
is to reproduce it. St. 3, punctuate period or semi-colon after
'leave' (1. l); 1. 6, "fond"= foolish, as frequenter.
,, 135, st. I, 1. 4, " emperizing" — verb-form, as before; st. 3, 1. I, "JJialt
not be no more " — a double negative for emphasis ; st. 3,
Elizabeth's autograph letters fully warrant more than this ;
st. 4, 1. 2, " thy feruant " — Essex's constant asseveration in his
letters to Elizabeth ; st. 5, Historically, it is a common-place
that Elizabeth exercised a mother's watchfulness over Essex.
„ 136, st. I, 1. 4, "f pright incarnate" = Impurity (as in preceding stanza);
1. 5, "whight"— white; st. 2, 1. 6, put hyphen, ' earth- parching.'
st. 3, 1. I, "doome"— sentence or judgment ; 1. 5, 'licorice' —
the sugar-cane perchance meant ; 1. 6, "Sweete Itiniper" — not
the happiest adjective applied to 'luniper'; ib.y "flaw" — shew;
st. 4, 1. 3, " nominate" '= name, as before; 1. 4, "wot" =
wit or know.
,, 137, st. 3, 1. 4, "liuely"= living; st. 4, 1. 4, "fecrecly" — should be
' secretly. '
,, 138, st. 4, 1. 2, "Dido mones" — see 'To the Reader.' This reminds me
to note on 1. 4 of * To the Reader ' that Lucan was probably
in Chester's mind on ' Caesars victories. '
„ 139, st. I, 1. 4, put hyphen, "faire-fac'd"-, st. 3, 1. 6, "truejlory" On
all this symbolism veiling a real martyrdom, and so fulfilling
the title, Love's Martyr — see our Introduction. Pdlican :
1. 5, "He" — note a man throughout.
,, 140, 1. 6 (from bottom), put hyphen, " loue-wandring."
Notes and Illustrations. 235
Page 141, 1. 7, "fond"= foolish; 11. 15-16, &c., i.e., suggesting how Elizabeth
sacrificed her ' true desire ' to State-craft or expediency.
Conclufion. 1. I, put hyphen, '* true-meaning" ; 1. 9, "paine"=
painstaking.
,, 142, Cantoes Alphabet-wife, 6°<r., 1. 2, the second 'will' no doubt a
printer's mistake ; 1. 4, put comma after ' fauvour ' ; 1. 6, put
hyphen, " lame-leg* d" ; 11. 9-18. See Introduction on these
suggestive lines. James I. is evidently intended. He was the
friend of all Essex's friends.
*#* In the ' Cantoes Alphabet-wife ' that follow, we must
not look for ordinary construction or much sense.
The self-imposed fetters hinder both.
,, 143, st. 1,1. 7, "dares not glue to any.'''' There lay the secret. It recurs
and recurs. In 1. 6, ' Blotted by things vnfeene ' — secretly
spoken of by some of no fame. Most clearly Elizabeth here
again. St. 2, 1. I, " Chajlnejfe" = virginity ; ib., "the bed of
Glorie" = thoughts of the 'Queen' marrying a subject; st. 4,
1. I, "Enuie is banifht." See Introduction on the 'Enuie'
that beset Essex as recognized by other poets as well as Chester;
1. 4, ^ thing'' s"= thing is.
,, 144, st. I, 1. 3 — verb singular to plural nominative; 1. 7, " Fetcht
from the ancient records of a Qtteene. " Query — marrying a
subject? St. 2, 1. 5, "map of beauty'"1— Cf. p. 77, st. 4, 1. 2,
and relative note ; st. 4, reflection of Elizabeth's would and
would not.
,, 145, st. I, 1. 3, read ' greene-spred ' ; 1. 5, ''when "= whence ; 1. 7,
" dorter "= dortour, i.e., sleeping-place — here bed-room —
audacious enough certes; but Essex knew to whom he was
speaking, and Chester knew both. St. 2, 1. I, "Aduotrix"=
advocate (feminine); st. 3, 1. I, " ''nice Cha/lity"— virginity, as
before; 1. 5, "time is ouer fpent" — a perilous reminder to
Elizabeth; 1. 6, "a kind of feare" — admirable selection of
words, revealing yet concealing ; st. 4, 1. i, put hyphen,
11 freJJt-bloon? d " ; 1. 2, " Rofe" — fitting symbol of England's
Queen ( ' Rosalin ' ) in this faint anticipation of Herrick's
delicious ' Gather the rosebuds while ye may.'
,, 146, st. 1, 1. 7, read, 'all-disgrace'; st. 3, 1. 3, "Quit"= requite or quite;
st. 4, 1. 2, "J?act"= racked or rakt.
,, 147, st. 2, 1. 2, "womani/7i"—not a mere 'Phoenix' bird; 1. 7, put
hyphen, "new-fram'd"; st. 4, 1. 4 (p. 148), "vale"= veil.
,, 148, st. I, 1. I, " Xantha"= Xanthe, one of the daughters of Oceanus ;
1. 3, 'more-milder' — double comparative; 1. 5, "difeafe"=
disturb, make ill-at-ease; st. 2, 1. 4, "feZfe-will" — again the
mark is hit. Read with hyphens, ' selfe- will-anguish. '
236 Notes and Illustrations.
Cantocs Verbally 'written.
%* The headings of these stanzas seem to be posies out of
rings. Cf. As You Like It, act iii, sc. 2. Be it kept
in mind that Chester is not speaking in his own per
son, but is interpreting the 'truth of love' between
Elizabeth and Essex.
Page 149.' i. 1. 4, "Zfe"— used as causal; 1. 6, "it>oe" = woo; 2. 1. 5,
punctuate ';' for comma; 3. 1. 3, "containing "= contained.
,, 150. "4. st. 2, 1. 2, put hyphen, lt true-fworne" ; 1. 6, ""Not in thy flowring
youth" — repeat 'do not smother' (in thought), and read [do]
Not in thy flowring youth [smother] — else you turn a compli
ment into a jeer; 5. 1. I (motto) 'u,' misprint for 'n'; 1. 8,
"J&iowne" — to be read as 'knowen.'
„ 151. 5. 1. 4, ">////"= fill full r.g.i 6. motto, " idolatnze "— verb-form,
frequenter in Chester ; 1. 3, put hyphen, "Heart-comfortable"
— qu. comfortable? 1. 7, "furphet"= surfeit ; 7. st. 2, 1. 3,
tl rarietie"— rarity, as before.
,, 152. 8. 1. i, "What"— whatever, and put hyphen, " thunder-ftormes" ;
1. 4, " inexorable'1' '= unchangeable; 1. 6, 'dayes,' disyllabic un
less 'the' have been omitted, at [the] or [at] midnight; 9. 1. 6,
put hyphen, " true-fworne, " as before; st. 2, 1. 5, " Of holy
loue, Lane's Temple to afpire" — the Church and marriage
thei'ein; st. 3, 1. 4, delete comma after 'desire.'
,, 153. Motto. This third repetition of this couplet shews skilful flattery of
the kind that most pleased Elizabeth; 1 1. 2, punctuate ' ; ' after
will; 1. 7, "denayes"— denials.
,, 154. Motto, 1. 2, "empiring"— over-queenly, stately — see st. 2, 1. 3;
1. 4, read 'happie-bleft'; 1. 9 — metre faulty — some word left
out.
,, 155. 14. 1. 2, " difgrafme" — disgracing; 1. 4, " our" — misprint for 'or'j
15. 1. I, "For"= through ; 1. 5, punctuate ';' after 'pride.'
,, 156. 18. 1. 4, put hyphen, "night-waking"-, 1. 5, read " Hart-fore ";
19. 1. I, " 0 tongue," &c., viz., by talking of her 'bright brow
wrinckled w\t\\ disdaine' — the wrinkles, not the 'disdaine,' be
ing the ground of offence; 1. 8 — qu. ' Dear [I give] that to thee
[to whom] I offered wrong. '
,, 157. 21. 1. 6, "//k?"=thee; 22. 1. 3, " aduotrix" — see p. 145, st. 2, 1. i;
23. 11. 5-6 — certainly at most a comma for ' ; ' in 1. 5, or,
'hower I may,' &c.
,, 158. 25. 1. 2, "felfe-ivill"— self- will or foolishnesse sprung of self-will —
a constant word between Elizabeth and Essex in their Letters ;
26. 1. 3, put hyphen, " harueft-labores " ; 1. 4, put ';' after
'feene,' and delete comma in next line; 1. 6, "Should I be
welcome ere thy beautie fade " — another perilous reminder, but
just the bold kind of speech fitting from Essex to Elizabeth — as
witness their letters. See Devereux, as before.
Notes and Illustrations. 237
Page 159. 27. Motto, and 1. 8, "Nar"= near ; 28. 1. 5, "Cau/e"= [Thou
are] cause, and ';' for comma and comma after 'best,' 1. 6;
29. st. 2, 1. i, "AJfsrtions"— qu. ' Affection '— cf. 1. 2, 'her';
1. 3, "foule bondage" = slavery of ' selfe-will.'
,, 160. 29. 1. I — put (.) after 'courtefie' — required by change of person in
next line ('Thou'); 31. 1. 6, put hyphen, "dwelling-placed
,, 161. 32. 1. 6, " Niobes cup "= of tears; 1. 7, "Mydutieyet remembred" —
Essex's ever-recurring phrase in letters to Elizabeth ; 34. This
should have been numbered ' 33 ' in order, it will be noticed.
From this the numbering ceases without explanation. 1. 3,
"Not 0#£5' = No one; 1. 4, punctuate ';' after cruelty;
Thoughts, &c., 1. 2, "faining" = fanning — but with a double
sense; 1. 3 (p. 162), "fond"— foolish, as before; 1. 4, "further'1''
= cast further or off.
,, 162, st. I, 1. 4, " Selfe-will" — the thing in Elizabeth that needed over
coming; 11. 6-7 suggestive of Essex's conciousness of his royal
Mistress's favour (to say the least); 1. 6, "te/s" — qu. 'tel'?
st. 3 — the very things wherein Elizabeth was pre-eminently
praised, and the very strain followed by all who essayed to re
count her virtues and greatness.
,, 163, 1. i, "curelej/efmart" — so Shakespeare, 'cureless ruin' (Merchant
of Venice, act iv, sc. i); st. i — a reflection again of Elizabeth's
capricious favour and as capricious angers and withdrawals;
st. 2, 1. 3, "»0m#0&"=name, as before, qu. — punctuate ';'?
st. 3, I. 2, put hyphen, " Jharpe-conctited" \ ib., ";/«r"=e'er
— double negative otherwise; 1. 4, " ignoble" — courage of the
author: specially note " imperial? crowne" — again no sense unless
to Elizabeth or of Elizabeth ; st. 4, Motto. Essex's letters to
Elizabeth are full of the word and thing 'friendship.' See
Devereux, as before. 1. 2, "Ebone"1"1— ebony or black?
,, 164, 1. 2, " regreet " = salute ; st. 3, 1. 5, "/"=aye; 1. 6, read " true-
approued. "
,, 165, st. I, 1. I, "Scene in all learned arts is my beloued" — true as simple
matter-of-fact of Elizabeth, who was of rare and unquestionable
accomplishments as well as of natural intellectual capacity after
the type of her prodigious father, 'King Hal.' 'Scene' —
skilled, as in Taming of the Shrew, " It's a schoolmaster well
seen in music" (act i, sc. ii) ; 1. 4, " Eye for eye"" — the first
' Eye ' so spelt on account of the marginal ' eie,' is really the old
'I'=yea, i.e., she not only moves the stony savage, but her
eye indeed tempts chastity itself; 11. 5-6 — this is a very fre
quent contemporary tribute to Elizabeth. I have been surprized
at the universality of belief in her poetical gifts ; and I have a
suspicion that much of her verse has perished ; st. 2, 1. I,
"feeke" — used as sometimes in that age without an objective
hh
238 Notes and Illustrations.
— try to find and does not — query semicolon (;) after 'seeke'
and colon (:) after 'thee'; st. 3, 1. 4, " a mazing " = confused
wonderment, as elsewhere; ib., punctuate comma (,) after
'not' and nothing after 'amazing,' or at most a comma (,);
I. 5, " To" — infinitive form used as in that age. We should
write ' Do or [continue] to ' ; st. 4, motto — reflection of Essex's
suspense and mingled hope and despair, expectation and wea
riness, as expressed in his poems and letters to Elizabeth ;
II. 5-6 — In this rather oddly-constructed sentence, the subject
to 'In all things gracious' is his unnamed Mistress, i.e., Eliza
beth. For throughout these 'Cantoes,' as in LovJs Martyr,
Chester is interpreting his conception — based on close personal
knowledge — of the 'feeling' between Elizabeth and Essex.
All the known facts make it simply impossible that he could
have been speaking for himself. Besides, in " The author's re
quest to the Phoenix " he avows his purpose. There his plead
ing is —
" Accept MY home-writ praifes of THY LOUE
And kind acceptance of THY TURTLE-DOUE (p. 5).
1. 5, "gracious" — he means [thou art] gracious.
Page 1 66, st. I, 1. 2, "faireft faire" — not objective after 'maintained,' but =
O fairest faire ; 1. 5, " Turtle- Done " = mate of himself the
Turtle Done. See note on st. I, 11. 5-6, supra ; st. 2, 1. I,
" Great Mi/Iris " — clearly applicable (and in those times most
especially) to Elizabeth, and to no subject ; st. 3, 1. 4, "Loue"
— being emphatic is counted as one foot, ' Loue | that eaf | eth
minds | oppreft J with neede | ; 1. 6 — only to be relieved by
thee that [always] yeeld'st relief. Again words only at that
time to be applied to Elizabeth; st. 4, 1. 5, "yeafo they fay"
— is supposed to be her answer, and therefore her " owne con-
feffion" \ st. 5, 1. 2, "for to"— as before. See also p. 168,
st. 4, 1. 2 ; 1. 4 (p. 167) — Of whom in the Court of Elizabeth
could this be said but of Elizabeth ? 11. 5-6 — not intelligible
to me ; but qu. — faith-denying?
,, 167, st. I, 1. 4, "thee mo/l admirable"— O most admirable [one]; st. 2,
1. 3, " Mefometimes" &c. — this line is made rather mysterious
by the necessity of finding a rhyme to " afraid" '= yet sometimes
terrifying me that I am nevertheless given up to him, 'unless?
&c. ; st. 3, 1. I, " Remorce triumphantly" — (as fre
quently at that time) pitifulness, albeit here tacitly implying
penitence for past delays and cruelty. So in Shakespeare and
in Parry, quoted in our Introduction, st. 4, 1. 4 (p. 1 68, 1. l),
" not named" = not [to be] named, unnameable.
,, 168, st. 2, 1. I, *' Thine euer vnremorfd and still kept word" — most notice-
Notes and Illustrations. 239
able as between Elizabeth and Essex. It seems to me more
than ordinarily remarkable that Chester does throughout with
such triumphant audacity give expression to the popular belief
cf Elizabeth's real sentiment toward Essex. The way in which
he works into his pleadings personal traits seems to me declarative
of dramatic ability of no mean type. I have no idea that Eliza
beth herself ever made revelation of her ' love ' for Essex to
Chester. One can only guess whether Essex exchanged con
fidence with him. But certes from fii'st to last our Poet shows per
fect skill in his giving shape and colouring to what was in the air
concerning the ' Phoenix ' and her ' Turtle-doue.' These ' Can-
toes,' with Posies for ground- work that perchance were known
in society as circulating in the Court, equally with Love's Mar
tyr, bring Chester before us as consecrating all his gifts and
knowledge and sympathy to celebrating this story, tjkadowing
the truth of Lone'' between Elizabeth and Essex when the latter
burst upon her in her still susceptible and passionate mid-age
in all the brilliance and fascination of his young prime. I
would also here notice what follows in the title-page (of 1601)
"in the constant fate of the Phcenix and Turtle" i.e., ' fate to
be constant ' to each other. Chester evidently believed that the
' love ' awakened in Elizabeth for Essex lived on uneradicated
even by his marriage and her advancing age. Save Sidney's
and Stella's Move ' so tragically re-discovered when it was 'too
late/ I know nothing more truly a 'Love martyrdom' than
that of Elizabeth and Essex. The great Queen's closing me
lancholy and bursts of weeping with the name of Essex on her
lips, and slow-drawn-out dying, reveal Chester's prescience of
insight.
Page 169, st. I, 1. I, "from'1'1 — qu. — error for 'for.' The latter yields sense,
the former scarcely; 1. 6, "By thy faire," &c. — again only
applicable to Elizabeth in her Court. See Churchyard's Poems
given in our Introduction ; motto, 1. 3, "/"= aye ; st. 2, 1. 3,
"he," as in the margin and as required by the sense should be
"ffo."
„ 170, st. 2, 1. 6, " mountains top of ivill afpires" = ambition. In the Song
(in italics) it is to be noted that the 2nd and 4th lines of each
stanza (the alternate lines) are answers to the question or remark
in 1st and 3rd. In st. I, 1. 2, the first ' loue ' should be ' Loue '
and have comma (, ) after it.
„ 171, st. 2, 1. 4, "7"=aye; st. 3, 1. 4, " awaies" =alwaies ; st. 4, 1. I,
read 'foules Life' = his Mistress ; 1. 2, delete comma (,) after
"vttlaine" ; st. 4, 1. 8 (p. 172, 1. 2), "deare" delete comma (,)
— it is — ' deare ' shall, or ' deare ' is the nominative to ' shall. '
„ 172, st. i, 1. 4, read 'wind-oppressing.' I may as well note here that
240 Notes and Illustrations.
there are so many compounded words in Chester not marked by
hyphen, that I could only call attention to the more important ;
others the reader will fill in or not at his discretion ; st. 2, 1. 8,
" by my" — qu. — "by thy" — -true Bird as I = true Bird as I
[am] — see 11. 1-3, for these interpretations ; st. 3, 1. I, "Till
that leane flejliles cripple, pale-fac'd Death " — so in Old Fortu-
natus "There's a lean fellow beats all conquerors."
Page 173, 1. 3, read 'spring[s], i.e., whence springs all these my 'passions';
punctuate in 1. 6, ; after 'sonne' ; " Mojl deuine" &c., 1. 6,
"/"=aye; 1. 8, put hyphen, " neuer-ceafeng. " The want,
&c., 1. 2, "want" — verb — its nominative ' day and night.'
,, 174, st. 3, 1. I, "my affeftion" = [by the object of] my affection ; st. 3,
1. 2, punctuate ' ; ' after ' disgrace. '
,, 175, st. 2, 1. i, " Where two harts" &c. — a final impassioned appeal to
Elizabeth to let ' Loue ' be ' Soueraigne ' — quite in accord with
the style she was addressed to the end, as though she never
could be other than ' young, ' and with possibilities or impossi
bilities of result at her command; 1. 5, "dignified'1'' = given
dignity.
„ 177, Title-page — The Latin motto is from Horace, Od. iv, 8, 28. In the
original is a rude wood-cut of an anchor.
,, 179, 1. 6, "Bromins" — one of the varying names of Bacchus ; 1. 9, "Ingles
his cheeke"= treats his cheek as one does one's ingle or delight,
or loved youth playfully pinches or strokes it ; 1. 12, "fit/lend"
— our present 'subtend'; 1. 14, " honorable friend" viz., Sir
John Salisburie, as on title-page ; 1. 15, " illuftrate " — used as =
illustrious or giving lustre, and by Ben Jonson on p. 182, last
st. but one; 1. 19, " profufe" =• pour forth. In olden days
each did not as now drink the health from his own glass, but
a large bowl being filled, it was passed to each successively,
thus going the 'round.' (1.2i)
„ 1 80, Heading — Sir lohn Salisburie. See our Introduction on this
' worthily honor'd Knight'; 1. 4, "exhauft"— drawn out; 1. 14,
" Refponfeble" = answering. These 'Vatum Chorus' pieces
are in good sooth poor enough. They have touches like
Chapman at his worst.
,, 181, 1. 5, " But one ficke Phoebe" — an unmistakeable allusion to Elizabeth
as ' sick ' — such indeed as it was impossible to apply to any
other at the time; ibid., " fever-JJiaking Light. " "The influ
ence of the moon on disease was so prevalent an opinion that
this may have meant = ' causing fever-shaking '; but it might
also refer to the shaking glimmering light of the moon likened
to the shivering in a fever. Possibly both meanings were
intended to be understood by the reader." So Dr. Brinsley
Nicholson to me ; but qu. — is not the latter half of the line an
Notes and Illustrations. 24 1
ep-exegesis of the former, i.e., ' one ficke Phosbet = t Light feuer-
shaking ' by its sickness the nation ? Men spoke even recently
of England as in a 'feverish state of excitement and suspense '
during the illness of the Prince of Wales. Note likewise that
Shakespeare in his ' Phoenix and Turtle' introduces the 'feuer'
— p. 182, st. 2, ' Augour of the fetters end? Notice also that
the 'vrne* of "The Burning" (1. 7) reappears in 'Threnos,'
st. 3,1. I, 'To this vrne* — see on 11. 15-16; 1. 6, "the world
one Phcsnix ' — once more who would have then dared to sing of
any save Elizabeth as the ' one Phoenix ' of ' the world '? 11. 15-16,
— these are purposely enigmatical — the words, "Her rare-
dead aJJies, Jill a rare-Hue vrne" evidently point at the fact that
the Phoenix or Elizabeth was really living, although as ' Love's
Martyr, ,' dead. The last line is obscure; 1. 17, "Jgnoto" —
This was Raleigh's signature ; but it is also contemporaneously
found attached to pieces certainly not his. Everything forbids
our regarding these Lines as by him.
Page 182, st. I, 1. i, "birdoflowdejtlay" — Because the 'Phoenix' is the bird
associated with the 'Turtle' in Love's Martyr, and throughout,
it has been assumed, by apparently all the commentators on
Shakespeare, that it is intended here. Surely this is a gross
mistake, inasmuch as (i) It is the ' Phoenix's ' death
('shadowing' Elizabeth) that the poem celebrates; and it were
absurd to imagine it could be called on to ' sing ' its own death.
See 'Threnos' and st. 6 of this poem. (2) Nowhere — even
supposing the ' Phoenix ' possible — is this legendary bird
represented as gifted with 'song.' I think it was left inten
tionally indefinite. I would suggest the 'Nightingale'; others
may think of another. 1. 2, " On the f ok Arabian tree. " Malone
has excellently adduced a parallel passage in The Tempest :
" Now I will believe
That there are unicorns; that in Arabia
There is one tree, the phoenix' throne: one phoenix
At this hour reigning there " (act iii, sc. 3, p. 23).
He remarks: "This singular coincidence, likewise, serves to
authenticate the present poem " (Variorum Shakespeare, vol.
xx, p. 421, edition 1821). By the 'sole Arabian tree' the
Palm is meant. In Greek phoinix, and meaning both phoenix
and palm-tree (Dr. Cobham Brewer's Dictionary, s.v.) 1. 3,
' ' trumpet. " Steevens addresses King John —
" Be thou the trumpet of our wrath
And sullen presage of your own decay " (i, i).
Variorum Shakespeare, as before; 1. 4, " chafte wings obey"
I have, myself, often watched the lifting and tremulous motion
242 Notes and Illustrations.
of the 'singing' Nightingale's wings, and chaste was the
exquisitely chosen word to describe the nightingale, in reminis
cence of the classical story; st. 2. 1. I, "Jliriking harbinger" =
shreek or scritch-owl ; 1. 2, " precurrer" = fore-runner —
scarcely 'procurer.' Cf. Midsummer Nights Dream:
" Now the wasted brands do glow,
While the scritch-owl, scritching loud;
Puts the wretch that lies in woe,
In remembrance of a shroud " (act v, sc. 2).
Steevens, as before; 1. 3, "Augour"= augur, fore-teller; ib.,
"fever's end"= death (by fever); 1. 4, "To this troupe come
thou not neere." Steevens, as before, recalls another bit in Mid
summer Nights Dream — "Ye spotted snakes, &c. . . . come
not near our fairy queen." St. 3, 1. 3 — punctuate "feather'd
King" — " So in Gray's Ode on the Progresses of Poetry :
"thy magick lulls the feather *d King
With ruffled plumes and flagging wing"
(Steevens, as before).
St. 4, 1. 2, "defunctiue Muficke can" — "That understands
funereal musick. To can, in Saxon, signifies to know " (Malone,
as before). Hut query — Is it here used from the Latin 'cano'?
(Dr. Brinsley Nicholson, to me. ) St. 5, punctuate and read —
" And thou treble-dated Crow, —
That thy fable gender mak'ft
With the breath thou giu'ft and tak'ft;
Mong'ft our mourners malt thou goe."
Steevens, as before, on 1. I, 'treble dated Crow' aptly quotes
Lucretius [5, 1053] :
"cornicum ut secla vetusta.
Ter tres setates humanas garrula vincit
Cornix. "
1. 2, "that thy fable gender maKJl," &c. It is a ' Vulgar Error '
still, that the 'Crow' can change its 'gender' at will. My
friend Mr. E. W. Gosse puts it — 'thou Crow that makest
[change in] thy sable gender, with the mere exhalation and
inhalation of thy breath ' (letter to me). 1. 3, ' ' With the breath, "
&c. — query, Is there a sub-reference to the (mythical) belief
that the crow re-clothes its aged parents with feathers and feeds
them ? As being ' sable ' it is well fitted to be a ' mourner. ' It
is so introduced in our child-hood favorite of the ' Death and
Burial of Cock Robin.' Cf. Batman upon Earth., B 12, C 9.
Notes and II Lustrations. 243
Sir Thomas Browne has a note on 'White Crows' (=the aged).
St. 6, This, as supra, makes it impossible that the 'bird of
lowdest lay' could be the 'phoenix'; st. 7, 11. 1-2. Query —
punctuate comma (,) after 'Joued,' and delete comma (,) after
'twaine'? It is to be remembered that the compositor of
Love's Martyr was especially fond of a comma at the end of a
verse line. We have an exactly similar instance in p. 183, st. I,
as infra.
Page 183, st. I, 1. i, punctuate comma for (;) ; 1. 2, punctuate comma after
'Distance' and delete it after 'feene,' as supra; 1. 4, "2?«/in
them it were a wonder "= Except — another Elizabeth sign;
for only of the ' Queene ' as placing no e distance and no space '
betwixt herself and 'this Turtle,'1 could it have been said 'it
were a wonder '; ib., punctuate comma after ' them '; st. 2, 1. 2,
" Jiis right" &c. — It is merely a variant mode of expressing
seeing love-babies (or one's self imaged) in the other's eyes. This
gives the true sense to the 'mine ' of 1. 4 ; st. 3, 1. I, "Property
was thus appal fd} " &c. = great proprietors, or the nobility. I
imagine there is an enigmatical hitting at the jealousy of Essex
among the nobility of England, in the possibility of marriage
between him and Elizabeth. Malone, in loco, muddles the
matter (meojudicio] ; 1. 2 — qu. — delete comma after ' together, '
and put comma after ' themselues' — making the whole from
' saw ' to 'themselues ' one clause ; 1. 4, "simple" &c. — were so
well compounded into a simple, i.e., into one. Punctuate
comma for period ; st. 5 — as in Loves Martyr, I detect here,
and throughout, Shakespeare's feeling, that Elizabeth's and
Essex's relations meant infinitely more than 'friendship'; st.
6, 1. i, "Whereupon" &<i. 'This funeral song.' So in Kendal's
poems, 1577 :
" Of verses, threnes and epitaphs,
Full fraught with tears of teene. "
A book entitled David's Threanes, by J. Heywood, was
published in 1620. Two years afterwards, it was reprinted
under the title of David's Tears ; the former title probably was
discarded as obsolete. For this information I am indebted to
Dr. Farmer (Malone, as before).
„ 184 — Thenos — st. 2, 1. 3, "reft." Punctuate with comma; st. 3, 1. i,
punctuate ; or : for comma.
On the significance of these Poems by Shakespeare, in
relation to Elizabeth and Essex, see our Introduction.
„ 185, 1. 9, "Dians tier "= Dian's tyre ; 1. 3 (from bottom) — read ' all ' [,]
and delete comma after ' thoughts ' in next line. Perhaps
comma should also be deleted after ' Woman ' in 1. 3 (from
bottom).
244 Notes and Illustrations.
^T Note, that though in the heading it is out of the ' ashes '
of both, the ' wondrous creature ' arises, in the poem
(1. 17) he only speaks of what arises from ' the Turtle's
afhes ' — all this natural, for Essex really was dead,
but the 'Phoenix,' or Elizabeth, only allege rically so.
And so is it throughout, the real peeps through the
'allegorical,' and the 'allegorical' loses itself in the
actual.
11. 23-4, That whilft my labouring thoughts [do] sing with,
&c., of this, &c. [nor] God [nor] Man, nor, &c.
Page 186, 1. 2 — qu. — delete comma after 'prefume,' the sense being ' Perfume
[to] define,' rithmi causa ; 1. 4 — vouchsafe that my Muse may
greet; 1. 7, "Jlighteft, "i.e., [the] slightest [of the perfections]
that adorn'd, &c. Query — lightest, i.e., most light, the 's'
being caught from 'was'?; 1. IO, ^'Perfection had no meane" =
was limitless; 1. 12, "inftructed" — which 'even instructed
vertue, clothed ['inuested'] and therefore substantial; 1. 17,
remove comma after ' Hyperbolicall ' ; st. 4, 1. I, " means" =
was limitless or had no equal; st. 5) !• ij " decked andftained "
— decked and adorned, or were lively coloured as an adornment.
,, 187, st. I, 1. 3, " Maskes" — verb singular, nominative plural, through
intervention of 'that,' as frequenter. Punctuate ' Maskes [,J
fo choicely fheltred ' ; st. 2, 1. 2, " wanted" — used as neuter-
were or have been wanting ; 1. 10, " penny-Jhffuoes" i.e., made-
up shows, as at penny shows at a fair. Perfectioni Hymnus, 1. 3,
*'feature" = making, or thing made ; used also in the following
verses by Ben Jonson : Cf. p. 193, 1. 22, and p. 194, 1. 14 ;
and also, some think, by Touchstone to Audrey in the sense
of 'the verses he has made.' Punctuate 'excellence, ....
confin'd. ' This excellence, [that is] confined within all that is
best; 1. 7, "/" = Aye; 1. 10, " nomination "= naming ; ib.,
"Jlraight "— narrow ; 1. 12, " giue" — may be— 'giues';
delete period and supply comma.
, , 188, 1. I, punctuate comma after " Suberbes" ; 1. 2, "Has "= as, with the
unlucky ' H '; the signature " lohn Mar/ion" includes Per
fectioni Hymni and preceding poems from p. 183; " Peri/leros^"
&c. , 1. 4, " Sights " = eyes, or mode of view ; 1. 8 = ' ftaid
ludgemets blow Loues fires, but humorous Pafnons only blow
falfe fires whose Loues, &c., and quench, ' &c. ; 1. II, "con
tend" — in Latinate sense^aim at or stretch forward to ; 1. 18,
"alluded" — another Latinate word = had reference to, with
perhaps a sub-reference to 'favoured'; 1. 19, " Excejfe" &c.
It would be a little more intelligible if we read Exceffefd]; but
all is in Chapman's most forced manner ; 1. 23, " Excejfe of all
things " = [He that was], &c.; 1. 24, "But"= except ; 1. 25,
Notes and Illustrations. 245
"change me from"— [her] that is. Specially note the change
to 'me,' showing that the Phoenix is not only a living person
but a present person So that albeit Love's Martyr necessitated
an ' allegorical ' death, the ' Phoenix ' really was alive while the
' Turtle Done ' was dead. All this has no motif, much less
significance, unless Elizabeth were meant. See our Introduc
tion. Last line, ft forme" seems to be a word in vogue (prob
ably from the philosophy of the day) and = pattern, mould, or
ideal thought on which I act. Cf. p. 192, 1. 10.
Page 189, "Presidium" As noticed in our Introduction, Gifford — to put it
mildly — prints this most corruptly. He deliberately changes all
the we's to I's, and our's to my's ; 1. 6, " Lefs" — in Gifford,
'IV; St. 5, 1. I, "Mankind" = masculine; st. 6, 1. I — con
struction is, Light Venus go cramp, &c. ; 1. 2, " Tribade" —
one may hope he used this word as = artful only. See Latin
Dictionary and Martial ; st. 7, 1. 2, " old Boy," i.e., Let Cupid
turn to lie, &c. , alluding to the custom exemplified by Moth in
Love's Labour Lost.
,, 190, st. 1, 1. I, "cannot" — 'shall not' in Gifford; 1. 3, " Petafits"= broad-
leaved hat or cap ; st. 3, 1. 3 — note the words ' deep eaves ' ;
last line, "fo/&"= discover.
„ 191, 1. 8, "Jlial "— ' should ' in Gifford ; 1. 20, "their "— ' the ' in Gifford ;
1. 3 (from bottom) "gentile" — Latinate, whence ' genteel " =
one of good or honourable family. In Gifford, ' far more gentle,
fine.'
,, 192, 1. 22, " Luxurie"= lasciviousness or lust ; 1. 5 (from bottom), "our
felfe ' — in Gifford ' ourselves. '
,, 193, 1. I, "or" in Gifford 'and'; 1. 22, "Feature" — making. So in
'The Phoenix Analyfde,' st. 2, 1. 3. In connection with this
word it is to be noted that Shakespeare uses it curiously in verb
form, e.g., " a glass that feated them " (Cymbeline, act i, sc. i)
= featured ; ' Defeat thy favour with an usurped beard '
(Othello, act i. sc. 3) — defeature or disfeature.
,, 194, 1. 5, " Man may fecurely finne* but fafely neuer" Note the distinc
tion between ' securely ' and ' safely ' ; note the spelling
'lohnfon' always used by 'rare Ben' prior to 1604. The.
Phanix Analyfde. St. 2, 1. I, "our Turtles Augure"— Robert
Chester's augury; 1. 3, " Feature" = making, as before. Ode
\vQova •laffTiit}), 1. 3, "illustrate' — illustrious in Gifford.
,, 195, 1. 4, "as" — our unhappily over-looked misprint for 'in.'
A. B. G.
Printed by Charles Simms & Co., Manchester.
PH Chester, Robert
2233 cLove ! s martyr.,
C6A67
1878
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