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Full text of "Shakespeares Lucrece : being a reproduction in facsimile of the first edition, 1594, from the copy in the Malone collection in the Bodleian library, with introduction and bibliography"



CENTRE 

for 

REFORMATION 

and 
RENAISSANCE 



STUDIES 

VICTORIA 
UNIVERSITY 




LUCRECE 

J 594 

FACSIMILE 



LONDON 

HENRY FROWDE, M.A. 

PUBLISHER TO THE UNIVERSITY 

OF OXFORD 



SHAKESPEARES 

L U C R E C E 



* 

BEING A REPRODUCTION IN FACSIMILE OF B 

THE FIRST EDITION 



FROM THE COPY IN THE MALONE COLLECTION 
IN THE BODLEIAN LIBRARY 

WITH INTRODUCTION AND BIBLIOGRAPHY 

SIDNEY LEE 




OXFORD .- AT THE CLARENDON PRESS 
MDCCCCV 



BEF f 



OXFORD 
PHOTOGRAPHS AND LETTERPRESS 

BY HORACE HART, M.A. 
PRINTER TO THE UNIVERSITY 



CONTENTS 

PAGE 

INTRODUCTION TO LUCRECE- 

I. General Characteristics . ... 7 

II. Sources of the Story . 9 

III. The Metre and early Criticism . . . . 2,1 

IV. The History of the Publication . . . . 1.6 
V. The History of the Text . . . -30 

VI. A Census of Copies. . ... 37 

ILLUSTRATIVE TITLE-PAGES 

The unique copy of 1 5-5)8 ...... 44 

The edition of 1600 . ... 45- 

The edition of 1607 ....... 46 

The title-page to the edition of 165- 5- . . . . 5-1 

The frontispiece to the edition of 165-3- . SI 

FACSIMILE OF THE EDITION OF 1/94 



WHEN dedicating his first narrative poem, Venus and Shake 
Adonis, to his patron, the Earl of Southampton, Shakespeare 
wrote: If your Honour seem but pleased, I account myself 
highly praised, and vow to take advantage of all idle hours 
till I have honoured you with some graver labour, There 
is no reason to doubt that Shakespeare s poem of Lucrece was 
the fulfilment of this vow. Lucrece was ready for the press in 
May, 1 5-94, thirteen months after Venus and Adonis. During 
those thirteen months his labour as dramatist had occupied 
most of his time. In the interval he had probably been at 
work on as many as four plays, on Richard III, Richard II, 
Kjng Jobiij and Titus Andromcus. Consequently Lucrece was, 
as he had foretold, the fruit, not of what he deemed his 
serious employment, but of < all idle hours 1 . At the same 
time the increased gravity in subject and treatment which 

1 Between the dates of the issue of the two poems, a play, in the 
composition of which Shakespeare was concerned, had come from the printing- 
press for the first time. The subject was drawn like Lucrece from Roman 
history, and the play and the poem must have occupied Shakespeare s attention 
at the same period. On February <>, 15- 94, licence had been granted 
to John Danter for the printing of Titus Andronicus^ in which Shakespeare 
worked up an old play by another hand. Danter was a stationer or bad 
reputation. Shakespeare was not in all probability responsible for Danter s 
action. The first edition of Titus ^ of i^p-f, of which the existence has been 
doubted, survives in a single copy. The existence of this edition was 
noticed by Langbaine in 1691, but no copy was found to confirm Langbaine s 
statement till January, 1905, when an exemplar was discovered among the 
books of a Swedish gentleman of Scottish descent, named Robson, who 
resided at Lund (cf. Athenaeum, Jan. 11, i^o^). The quarto was promptly 
purchased by an American collector for ^"z,ooo. The title-page runs : 
c The most lamentable Romaine Tragedie of Titus Andronicus : as it was 
Plaide by the Right Honourable the Earle of Darbie^ Earle of Pembrooke, and 
Earle of Sussex, their Seruants. London, Printed by John Danter, and are 



8 LUCRECE 

characterizes the second poem of Lucrece as compared with 
Venus and Adonis^ its predecessor, showed that Shakespeare had 
faithfully carried into effect the promise that he had given 
to his patron of offering him < some graver labour . 

General Lucrece with its 1 8 j f lines is more than half as lone: 

ii f 

again as Venus and Adonis with its 1194 lines. It is written 

Lucrece. ? 

with a flowing pen and shows few signs of careful planning 
or revision. The most interesting feature of the poem lies 
in the moral reflections which the poet scatters with a free hand 
about the narrative. They bear witness to great fertility 
of mind, to wide reading, and to meditation on life s com 
plexities. The heroine s allegorical addresses (11. 869-1001) 
to Opportunity, Time s servant, and to Time, the lackey of 
Eternity, turn to poetic account philosophic ideas of pith and 
moment. 

In general design and execution, Lucrece, despite its superior 
gravity of tone and topic, exaggerates many of the defects 
of its forerunner. The digressions are ampler. The longest 
of them, which describes with spirit the siege of Troy, 
reaches a total of 2 1 7 lines, nearly one-ninth of the whole 
poem, and, although it is deserving of the critic s close 
attention, it delays the progress of the story beyond all 
artistic law. The conceits are more extravagant and the 
luxuriant imagery is a thought less fresh and less sharply 
pointed than in Venus and Adorns. Throughout, there is 
a lack of directness and a tendency to grandiose language 
where simplicity would prove more effective. Haste may 
account for some bombastic periphrases. But Shakespeare 
often seems to fall a passing victim to the faults of which he 

to be sold by Edward White & Thomas Mi I tin gt on, at the little North doore of 
Pauks at the signe of the Gunne. 15 94.. This volume was on sale on the 
London bookstalls at the same time as the i^-f edition of Lucrece, The 
story of Lucrece is twice mentioned in Titus (ii. i. 108 and iv. i. 63), 



LUCRECE 9 

accuses contemporary poets in his Sonnets. Ingenuity was 
wasted in devising what strained touches rhetoric could 
lend to episodes capable of narration in plain words. There 
is much in the poem which might be condemned in the poet s 
own terminology as the ( helpless smoke of words . 

II 

THE theme of Shakespeare s poem was nearly as well- The story. 
worn in the literature of Western Europe as that of his first 
poem Venus and Adonis. For more than twenty centuries 
before Shakespeare was born, the tale of Lucrece was familiar 
to the western world. Her tragic fate was the accepted 
illustration of conjugal fidelity, not only through the classical 
era of Roman history, but through the Middle Ages. The 
hold that the tale had taken on the popular imagination of 
Europe survived the Renaissance, and was stimulated by the 
expansion of interest in the Latin classics. 

Among Latin classical authors the story was told in fullest Classical 
detail by Livy in his History of Rome (Bk. i, c. 77-9). Ovid 
in his poetic Fasti (ii. 721-85-2) gave a somewhat more 
sympathetic version of the same traditional details which 
Livy recorded. The main outlines of the legend figured, too, 
without variation in the contemporary Greek historians, 
Dionysius of Halicarnassus and Diodorus Siculus, and in their 
successor, Dio Cassius, as well as in the work of a later 
Latin historian, Valerius Maximus. 1 

1 Dionysius alone tells the story at length. The other writers narrate it 
very briefly. Cf. Dionysius of Halicarnassus, jintiquitatum Romanarum <juae 
supersunt, ed. Riessling, vol. ii, Leipzig, 1864 ; Dio Cassius, Hittoria Romana, 
ed. Melber, vol. ii, x. iz-i8, Leipzig, 185)0- Diodorus Siculus, Bibtiotheca 
Historica, ed. Dindorf, vol. ii, lib. x. ao-zi, Leipzig, 1867; and Valerius 
Maximus, Fact a et Dicta Memorabilia, vi. i. i. In three papers on Shakespeare s 
poem Shakespeare s Lucrece. Eine litterarhistorische Untersuchung^ which 
appeared in Anglia, Band xxii, pp. 1-31, 34-?~^3> 3^3~4T5 (Halle, 1895)), 

B 



10 



LUCRECE 



St. Augus- 



Mediaeval 
versions. 



Sixteenth- 



Among early Christian authors St. Augustine retold 
the legend in his Civitas Dei (Bk. i, ch. 16-19). He com 
mented with some independence on the ethical significance 
of Lucrece s self-slaughter, which he deemed unjustified by 
the circumstances of the case. 

The tale found a place in the most widely-read story 
book of the Middle Ages, the Gesta fymanorum, and by the 
fourteenth century it had become a stock topic among poets 
and novelists. Of the great authors of the Italian Renaissance 
Boccaccio was the earliest to utilize it. He narrated it in 
his Latin prose treatise De Claris Mulieribus. It was doubtless 
Boccaccio s example that first recommended it to imaginative 
writers in England. Chaucer and Gower both turned the 
story into English verse, Chaucer in his Legend of Good Women 
( 7, 11. 1680-887) an d Gower in his Confessio ^mantis (Bk. vii. 
4774-7 1 3 o). Both Chaucer and Gower closely followed Ovid, 
but derived a few touches from Livy. Half a century later 
Lydgate noticed the legend in his Fall of Princes (Bk. iii, ch. 7). 
When the Middle Ages closed, Lucrece was a recognized 
heroine of English poetry. 

The sixteenth century saw a further increase in the 
popularity of the topic, both in England and on the continent 
of Europe. It was a favourite theme in Italy both for Latin 
and Italian epigrams and sonnets. The Italian prose-writer, 
Bandello, dealt with it in his collection of novels, which, 
first appearing in 1774, at once attained a classical repute. 
Bandello s fiction was quickly translated into French. The 
revived drama of the Renaissance found in Lucrece s fate a 
fit subject for tragedy, and plays in which the Roman matron 
is the heroine were penned, not in France alone, but, more 



Dr. Wilhelm Ewig has treated of the sources with much learning, but he has 
not exhausted the interesting topic. 



LUCRECE 1 1 

curious to relate, in Germany. One of Hans Sachs 
dramas bears the title < Ein schon spil von der geschicht der 
Edlin Romerin Lucretia (Strassburg, iffo). In France 
there was performed at the Court at Gaillon, in the presence 
of the king, Charles IX, on September 29, 1 5-6 rf, a short tragedy 
in alexandrines (with choruses in other metres) by one Nicolas 
Filleul of Rouen, which bore the title : ( Lucrece, Tragedie 
avec des ChoeursV The plot follows the classical lines. 
But Lucrece s nurse, an original character, is introduced to 
offer her mistress consolation and to dissuade her from self- 
slaughter. In Spain the tale was equally familiar, and about 
17-90 a celebrated poet, Don Juan de Arguijo, after writing of 
Venus and Adonis, summed up the current knowledge in the 
Peninsula concerning Lucrece in an effective sonnet, which is 
often quoted in anthologies of Spanish poetry. 

Meanwhile the story was running its course anew in The tale s 
popular English literature. In the same year as the French ^"be th 
tragedy of Lucrece was produced at Gaillon, William Painter England, 
included a paraphrase of Livy s version in his massive collec 
tion of popular fiction entitled The Palace of Pleasure. In the 
years that immediately followed, the tale was made the 
subject of at least two ballads, which have not survived. 
In if 58 there was licensed to John Allde, by the Stationers 
Company s Register (cf. i. 379), < a ballet called " The grevious 
complaynt of Lucrece", and in 15-70 there was licensed 
to James Roberts < A ballad of the Death of Lucryssia 
(i. 4i<5). A third ballad of Lucrece, of which no copy is 
now known, was, according to Warton, printed in 1776. 

This piece is printed in a rare volume called Let Theatres de Gaillon. 
A French tragedy by the well-known dramatist, Alexandre Hardy, written 
a little later, bears the title c Lucrece, ou Fadulteur puni% but this play does 
not deal with the story of the Roman matron, but with an imaginary adulteress 
of Spain. Hardy s tragedy was first published in 1616. 

B 2 



12 LUCRECE 

A further proof of the complete naturalization of the story 
in sixteenth-century England is to be deduced from the fact 
that one of the earliest printers of repute, Thomas Berthelet, 
took a figure of the Roman wife for the sign of his business 
premises, and that his successors in trade through Shake 
speare s lifetime continued to employ the same device. From 
1^23 to 15- 62 the sign of Lucretia Romana or Lucrece (as it 
was commonly called) hung before Berthelet s house near the 
conduit in Fleet Street. In 15-62 the well-known Elizabethan 
4 stationer , Thomas Purfoot, placed the same sign over his 
printing-office in St. Paul s Churchyard , and when in 15-78 
he removed his press to a new building c within the New 
Rents of Newgate Market he carried the sign with him. 
It was announced on the title-pages of almost all the 
numerous volumes that Berthelet and Purfoot undertook that 
they were printed < at the sign of Lucrece . When Purfoot 
retired from active work his son and successor, Thomas 
Purfoot, junior, continued the concern under the same symbol 
in Newgate Market until 1640. Another use to which the 
figure of the Roman matron was commonly put is illustrated 
by Shakespeare himself, when he represents Olivia in Twelfth 
Night (ii. 5". 1 04) as employing a seal with the figure of Lucrece 
engraved upon it. 

shake- Shakespeare was continuing a long chain of precedents in 

sources* choosing the story of Lucrece for his new poem. Authorities 

abounded in his own and other languages, and after his wont 

he used or adapted them with much freedom. Despite his 

tendency to amplify details, he adheres to the main lines of 

1 Purfoot permitted one of the chief Italian teachers of Shakespeare s day, 
Claudius Hollyband, to advertize from 1575 on the title-pages of his philological 
handbooks that he was teaching in Poules Churchyarde at the signe of the 
Lucrece . Cf.Hollybande sPre//V andWitte Historic ofArn.tlt and Lueeda y 



LUCRECE 13 

the story as laid down by Ovid and Livy, and first anglicized 
by Chaucer, who frankly acknowledged his indebtedness to 
the two Latin writers. It is clear that Shakespeare studied 
the work of these three authors. Their narratives so closely 
resembled one another that it is not always easy to state with 
certainty from which of the three Shakespeare immediately 
derived this or that item of information. 

Like Chaucer Shakespeare holds up Lucrece to eternal 
admiration as a type of feminine excellence a type of c true 
wife (1. 1841); Chaucer had similarly celebrated her 
(1. i<*85) as 

The verray wyf, the verray trewe Lucrece. 

But, generally speaking, Shakespeare s poem has closer affinity Affinity with 
with Ovid s version (in the Fasti) than with that of any Ovld- 
other predecessor. Like Ovid Shakespeare delights in 
pictorial imagery, and occasionally in Lucrece he appears 
to borrow Ovid s own illustrations. Chaucer had already 
adapted some of the Ovidian similes which figure in 
Shakespeare. But Shakespeare seems to owe more suggestion 
to Chaucer s source of inspiration than to Chaucer himself. 
The three poets, for example, compare Lucrece, when Tarquin 
has forcibly overcome her, to a lamb in the clutch of a wolf. 
Ovid writes (Fasti, ii. 799-800) : 

Sed tremit, ut quondam stabulis deprensa relictis 
parua sub infesto cum iacet agna lupo. 

Chaucer (11. 1798-9) accepts the illustration, but strips it of 
its vivid colouring: 

Ryght as a wolfe that fynt a lambe alone, 

To whom shall she compleyne, or make mone ? 

Shakespeare catches far more of the Ovidian strain in 677-9 



14 LUCRECE 

The wolf hath seized his prey, the poor lamb cries ; 
Till with her own white fleece her voice controll d 
Entombs her outcry in her lips sweet fold. 

Elsewhere Shakespeare borrows from Ovid words which 
escaped Chaucer s notice. His insistence on the snow-white 
of Lucrece s c dimpled chin (420) and his comparison of her 
hair to f golden threads (400) echo the niueusque color 
tiauique capilli (/*.#, ii. 763) of Ovid s heroine. Ovid s ./^/ft 
was not translated into English before 1 640. But there is little 
doubt that Ovid was accessible to Shakespeare in the original. 
The smaller At the same time there are touches in Shakespeare s 

Lj vy- Lucrece which suggest that he assimilated a few of Livy s 

phrases direct. Painter, in the version which he introduced 
into his Palace of Pleasure, very loosely paraphrased the Latin 
historian, and it is unlikely that Shakespeare gained all his 
knowledge of Livy there. The lucid argument in prose 
which Shakespeare prefixed to the poem catches Livy s per 
spicuous manner more exactly than mere dependence on Painter 
would have allowed. The lines (437-41 and 463) in 
which Shakespeare pointedly describes how Tarquin s hand 
rests on Lucrece s breast follow Livy s phrase, sinistraque 
manu mulieris pectore oppresso. The hint is given in Ovid, 
and Painter merely states that Tarquin keeps Lucrece < doune 
with his lefte hande J . At one point Shakespeare corrects an 
obvious misapprehension of Painter a fact which further 
confutes the theory of exclusive indebtedness to him. Livy, 
like Ovid, assigns to Tarquin the threat that in case of Lucrece s 
resistance he will charge her with misconduct with a slave. 
Neither Latin writer gives the word slave any epithet, and 
whether the man is in Tarquin s or in Lucrece s service is left 
undetermined. Painter makes Tarquin refer to a slave of his 
own household. Shakespeare assigns the slave to Lucrece s 



LUCRECE if 

household ; Tarquin warns Lucrece he will place at her side 
4 some worthless slave of thine , i. e. of Lucrece (f i f). Chaucer 
and Bandello are both here in agreement with Shakespeare 
(cf. Chaucer s <thy knave in Legend, 18075 a d Bandello s 
1 uno dei tuoi servi ). From either, the English poet might 
have adopted the detail. In any case he owed nothing, at 
this point, to Painter. 

In his expansive and discursive handling of the theme 
Shakespeare differs from all his predecessors save one. In that 
regard he can only be compared with the Italian novelist Ban 
dello. Bandello mainly depends on Livy and is sparing of 
poetic ornament. But he prolongs the speeches of the heroine 
with a liberality to which Shakespeare s poem alone offers 
a parallel. Bandello s long-winded novel was accessible 
in a French version in the < Histoires Tragiques of 
Francois de Belleforest. Shakespearean students know 
that Bandello s collection of tales, either in the original 
Italian, or in the French translation, was the final source 
of the plot of at least four of Shakespeare s plays, Borneo and 
Juliet, Much Ado about Nothing, Twelfth Nigbt^ and Hamlet. 
It is not customary to associate Shakespeare s poem of Lucrece 
with Bandello s work, but, although the resemblances may 
prove to be accidental, they are sufficient to suggest the 
possibility that Shakespeare had recourse to the Italian 
novelist, when penning his second narrative poem. 

One parallel between Bandello s novel and Shakespeare s 
Lucrece will suffice. Livy emphasizes more deliberately than 
Ovid the pretence of madness in Brutus, the avenger of 
Lucrece s wrong. Bandello liberally developed Livy s notice 
of Brutus mysterious behaviour on lines which Shakespeare 
seems to have followed. Brutus was, according to Shake 
speare s poem, < supposed a fool (1819) : 



16 



LUCRECE 



Shake 
speare s 
digressions 
origins 
and parallels 



He with the Romans was esteemed so 

As silly-jeering idiots are with kings, 
For sportive words and uttering foolish things. 

(11. 1811-13.) 

Bandello in his novel describes Brutus s conduct thus : 

1 E fingendo esser pazzo, e cotali sciocchezze mille volte 
il di facendo, come fanno i buffoni, divenne in modo in opinione 
di mattOj che appo i figliuoli del 7^, piu per dar loro con le sue 
trastullo che per altro^ era tenuto caro"*. 1 Shakespeare s 



attribution to Brutus of idiocy characteristic of a < fool in a 
king s household seems coloured by Bandello s phraseology. 

In the rhetorical digressions which distinguish Shake 
speare s poem he had every opportunity of pursuing his own 
bent, but even in these digressive passages there emerge bold 
traces of his reading, not merely in the classics, but in contem 
porary English poetry. The 217 lines (i$66-f%2\ which 
describe with exceptional vividness a skilful painting of the 
destruction of Troy, betray a close intimacy with more than 
one book of Vergil s Aeneid. The episode in its main outline 
is a free development of Vergil s dramatic account (Bk. i. 456 - 
655) of a picture of the identical scene which arrests Aeneas 
attention in Dido s palace at Carthage. The energetic portrait 
of the wily Sinon which fills a large space in Shakespeare s 
canvas is drawn from Vergil s second book (11. 76 seq.)/ 

1 In English the words run : c And pretending to be mad, and doing 
such foolish things a thousand times a day as fools are wont to do, Brutus came 
to be looked upon as an idiot, who was held dear by the king s sons, more for 
making them sport with his foolish tricks than for any other cause/ 

2 References to more or less crude pictorial representations of the siege 
of Troy are common in classical authors, notably in Ovid. Ovid in his 
Heroides^ i. 33 seq., causes the Greek soldier to paint on a table with wine the 
disposition of the opposing armies at Troy. The first lines of this passage are 
very deliberately quoted in The Taming of the Shre-w y iii. i. 18, z^ : 

Hie ibat Simois ; hie est Sigeia tellus ; 
Hie steterat Priami regia celsa senis. 



LUCRECE 17 

Shakespeare again enlarges the restricted bounds of the 
classical tale by introducing a sympathizing handmaiden. 
Such a subsidiary character (1212-302) is unknown to 
Ovid or Livy. This new episode coincides, possibly by 
accident, with a scene in the French tragedy of Lucrece of 
i?66. No other parallel is met with. Shakespeare makes 
effective use of the woman s < heaviness when she is 
summoned by her mistress after the latter resolves to slay 
herself. In the French drama Lucrece s nurse feelingly 
endeavours to dissuade her from her purpose. 

The appeal to personified Opportunity (11. 869 sq.) 
seems an original device of Shakespeare, but the succeeding 
apostrophe to Time (11. 939 sq.) covers ground which many 
poets had occupied before. Two English poets, Thomas 
Watson in Hecatompatkia (1^82, Sonnets xlvii and Ixxvii), and 
Giles Fletcher in Licia (if 9 3, Sonnet xxviii), anticipated at 
many points Shakespeare s catalogue of Time s varied activities. 
Watson acknowledged that his lines were borrowed from the 
Italian Serafino and Fletcher imitated the Neapolitan Latinist 
Angerianus ; while both Serafino and Angerianus owed much 
on their part to Ovid s pathetic lament in Tristia(i\ T . 6. i-io). 
Shakespeare doubtless obtained all the suggestion that he needed 
from his fellow countrymen. That Shakespeare knew Watson s 
reflections on the topic seems proved by his verbatim 
quotation of one of them in Much Ado about No thing (i. i. 271) : 
In time the savage bull doth bear the yoke. Similarly 
there are plain indications in Shakespeare s Sonnets that 
Fletcher s Licia was familiar to him. 1 

In Ovid, Ars Amatoria, i. 131 sq., Ulysses, for Calypso s amusement, 
paints the like scene with a wand on the sand of the sea-shore and describes his 
sketch in terms very like those in the Heroides. But, although Ovid offered 
hints for Shakespeare s picture, Vergil supplied the precise design. 

1 Cf. Elizabethan Sonnets, Introd. by the present writer, vol. i, p. Ixxxiii, and 
vol. ii, p. 348; Life of Shakespeare, ^th edition, pp. 8r . a, II? . i, and 119 n. \. 

C 



1 8 LUCRECE 

It is pretty certain that the work of other contemporary 
English poets offered Shakespeare s imagination material susten 
ance while he was developing the Roman legend. Several phrases 
come almost literally from Constable s Diana *, of which the 
first edition was in 1 5-94 two years old, and the second was 
just published. 

The debt But the closest parallels with Shakespeare s Lucrece^ alike 

in phrase, episode, and sentiment, are to be found in Daniel s 
contemporary narrative poem, entitled The Complaint of 
~Rosamond. This poem was appended in 15-92 to a second 

1 When Tarquin (+7 "-9) describes Lucrece s complexion- 
That even for anger makes the lily pale, 
And the red rose blush at her own Jirgrace 3 

he echoes Constable s description of his mistress (ist edit. Sonnet xvii) 

My Ladle s presence makes the roses red, 
Because to see her lips they blush for shame. 
The Lily s leaves^ for envy, pale became, 
And her white hands in them this envy bred. 

In the preceding stanza the impression of whiteness which the sleeping 
Lucrece gives Tarquin seems derived from Constable s description in Sonnet 
iv (edit. lypx) of his mistress in bed. Constable s l whiter skin with lahite 
sheet anticipated Shakespeare s line (471), o er the -white sheet peers her 
-whiter skin In the reference in Lucrece to Narcissus ^656) Shakespeare 
echoes his own poem of Venus and Adonis. The allusion ultimately came from 
Marlowe s Hero and Leander. In Venus and Adonis (r6"l-i) Shakespeare 
wrote : 

Narcissus so himself himself forsook, 
And died to kiss his shadow in the brook. 

In Lucrece (idf-tf) Tarquin reflects on Lucrece s beauty 

That had Narcissus seen her as she stood, 
Self-love had never drowned him in the flood. 

The classical story of Narcissus, as told by Ovid, Metamorphoses, iii. 4.07 sq., 
tells of his metamorphosis into a flower, and not of his death by drowning. 
Marlowe set Shakespeare the example of adopting a post-classical version, and 
related in his Hero and Leander, Sestiad i, 11. 74-6, how the Greek boy 

Leapt into the water for a kiss 
Of his own shadow, and despising many, 
Died ere he could enjoy the love of any. 



LUCRECE 19 

edition of Daniel s collection of sonnets, which he christened 
Delia. In Daniel s poem the ghost of Rosamond, the mistress 
of Henry II, gives sorrowful voice to her remorse at having 
submitted to the adulterous embraces of the king, and finally 
relates her murder by Queen Eleanor. The whole poem is 
in the o rat to recta of the heroine, and the key is that of 
Lucrece s moaning. Shakespeare adopted in Lucrece the seven- 
line stanza of The Complaint: of Rosamond, and handled it very 
similarly. 

At one important point Shakespeare seems to have 
borrowed Daniel s machinery. Both heroines seek consola 
tion from a work of art. Shakespeare s Lucrece closely scans 
a picture of the siege of Troy, the details of which she 
applies to her own sad circumstance. Daniel s Rosamond 
examines a casket finely engraved with ornament suggesting 
her own sufferings ; on the lid is portrayed Amymone s 
strife with Neptune, while < figured within the other squares 
is the tale of Jove s pursuit of the love of lo. Rosamond s 
casket was wrought 

So rare that art did seem to strive with nature 
To express the cunning workman s curious thought. 



To Shakespeare s piece of skilful painting 

In scorn of nature, art gave lifeless life. (1. 1374.) 

Daniel s phraseology seems to be echoed in single lines such 
as these : 

An expird date canceled ere well begun. (Lucrece , 2 6.} 

Canceled with Time, will have their date expird. 

(Rosamond, 242.) 

Sable nighty mother of dread and fear. (Lucrece, 117.) 



C 2 



20 LUCRECE 

" Night, mother of sleep and fear, who with her sable mantle. 

(tysamond) 452.) 

I know what thorns the growing rose defends. 

(Liter ece y 492.) 

The ungatber d T(ose, defended with the thorns. 

(fysa m otjdj 210.) 

The precedent whereof in Lucrece view. (Lucrece, 1261.) 
These precedents presented to my view. (tysamond) 407.) 

In sentiment, too, Shakespeare appears often content to 
follow Daniel. The husband Collatine s inability to speak, 
owing to the anguish caused him by Lucrece s death, 
resembles King Henry s enforced silence in presence of 
Rosamond s dead body (fysamond^ 904-7): 

Amazed he stands, nor voice nor body stirs, 
Words had no passage, tears no issue found : 
For sorrow shut up words, wrath kept in tears, 
Confused affects each other do confound. 

Collatine s experience is described thus (Lucrece, 1779-80) : 

The deep vexation of his inward soul 

Hath served a dumb arrest upon his tongue. 1 

1 Again Daniel, developing Seneca s Curae leves loquuntur ingentes 
stupent , tells of his hero how 

Striving to tell his woes, words would not come- 

For light cares speak, when mighty carts are dumb. (11. 909-10.) 

Shakespeare remarks on the silence of his heroine (11. ^9-30) 

Deep sounds make lesser noise than shallow fords, 
And sorrow ebbs, being blown with wind of words. 

Cf. Sidney s Arcadia^ bk. i, Eclogue i 

Shallow brooks murmur most, deep silent slide a-way. 
and Raleigh s c Silent Lover (Poems, ed. Hannah, No. xiv) 



LUCRECE 21 

Neither the individuality of style nor the substantive 
originality of many details in Shakespeare s poem can be 
questioned. But it is clear that, working on foundations 
laid by Ovid, he sought suggestion for his poetic edifice 
in Livy, and in such successors of the classical poet and 
historian as Chaucer and Bandello. Nor can it be lightly 
questioned that he absorbed sentiments and phrases from 
many contemporary English verse-writers with whom his muse 
acknowledged a sympathetic affinity. 



Ill 

THE metre of Lucrece was a favourite one in English The metre 
literature long before the Elizabethan era. The seven-line 
stanza is more commonly used by Chaucer than any other. He 
seems to have borrowed it from the French poetry of his 
contemporary Guillaume de Machault. It is often met with in 
the Canterbury Tales (see The Clerk es Tale, The Man of Larves 
Tale y The Second Nonnes Tale], as well as in Troy/us and Crisyde 
and many of the shorter poems (cf. The complaint to his 
empty purse ). It is the metre, too, of Lydgate s monumental 
Fall of Princes. According to Elizabethan critics it was the 
stanza that was best adapted to serious themes. Gascoigne 
described it in his Certayne Notes of Instruction concerning the 
making of verse or ryme in English (if 7 6) as < Rithme royall : 
< and surely, he adds, < it is a royalle kinde of verse, seruing 
best for graue discourses. According to Puttenham, The ^rte 
of English Poesie, 1 5- 8 9, the seven-line stanza was < the chief 

Passions are likened best to floods and streams 
The shallow murmurs but the deep are dumb^ 
So when affections yield discourse, it seems, 
The bottom is but shallow whence it comes. 



22 LUCRECE 

of our ancient proportions used by any rimer writing any 
thing historical or grave poem , and he refers to Chaucer s 
Troylus and Crisyde and Lydgate s Fall of Princes by way of 
proof that < the stafte of seven verses was most usual with 
our ancient makers . The rimes, he points out, were capable 
of seven variations. Shakespeare followed the customary 
scheme which Chaucer had employed (ababbcc). Putten- 
ham found fault with those who close the stanza with an 
independent couplet < concording with no other verse that 
went before , but he finally admits that the < double cadence 
in the last two verses serves the ear well enough . The 
comment well applies to Shakespeare s prosody. 

Spenser s Of English poems in the metre which were written 

shortly before Shakespeare penned his Lncrece, the most 
memorable is Spenser s l^uines of Time, published in 1^90, 
in which Shakespeare s cadences seem almost precisely anti 
cipated. The following is a good example of the stanza in 
Spenser s hands : 

But Fame with golden wings aloft doth Hie, 
Above the reach of ruinous decay, 
And with brave plumes doth beate the azure skie, 
Admir d of base-borne men from far away : 
Then, who so will with vertuous deeds assay 
To mount to heaven, on Pegasus must ride, 
And with sweete Poets verse be glorifide. 1 

Greene s A Maidens Dreame, An elegy on Sir Christopher Hatton, 

1 Spenser employed the seven-line stanza with a different scheme of 
rhyming (ababcbc) in his Daphnaida, 1^91, but in his Hymnes, I ?<?<>, he 
returned to the Shakespearean plan. Among the Elizabethan poets who 
used the seven-line stanza in long poems immediately after Lucrece were 
(Sir) John Davis in his Orchestra^ I5"<?4j Barnfield in Complaint of Chastltle 
and Shepherds Content, 1594.; Drayton in Mortimer I ados ^ 1596, and parts of 
Harmonic of the Church^ 1596. At a little later date Nicholas Breton 
employed it constantly ; cf. his Pa;<ji>ils Passe and Passeth not y 1600 Longing 
of a Blessed Heart , 1601 j Pastji ils Mad Cappe y 



LUCRECE 23 

a pedestrian piece of verse in the seven-line stanza, followed 
Spenser s poem in 15*91, and next year there appeared 
Daniel s Complaint of Rosamond. The uses to which 
Shakespeare put Daniel s preceding experiment have already 
been noticed. Shakespeare employed the stanza again in 
the narrative poem, A Lovers Complaint, which was first 
published in 1609 with the Sonnets. That piece was probably 
written very shortly after Lucrece. 

Though the popularity of Lucrece did not equal that of 
Venus and Adonis, and the volume passed through fewer 
editions during and after Shakespeare s lifetime, its success on its 
appearance was well pronounced, and it greatly added to Shake 
speare s reputation among contemporary critics. Some readers, Early 
like Francis Meres in his Palladis Tamia (15-98), the anonymous 
author of the Pilgrimage to Parnassus, and Richard Barnfield in 
Poems in Divers Humours, 1 5-9 8 , failed to detect any distinction 
between Lucrece and its predecessor Venus and Adonis. But a 
few observers like Gabriel Harvey were more discriminating, 
and pointed out that while the earlier poem delighted c the 
younger sort , Lucrece pleased < the wiser sort . 1 Harvey was 
indeed inclined to exaggerate the serious aspect of the poem 
and to rank it with Hamlet. Drummond of Hawthornden 
noted that he read the poem in 1606, and a copy figures in 

1 And Shakespeare thou, whose hony- flowing vaine 
(Pleasing the World] thy Praises doth obtaine, 
Whose Venus and whose Lucrece (sweete and chaste) 
Thy name in fame s immortall Booke have plac t. 
- Harvey s words ran: The younger sort take much delight in 
Shakespeare s Venus and Adonis. But his Lucrece and tragedy of Hamlet, Prince 
of Denmarke, have it in them to please the wiser sort. Harvey wrote these 
words about 1604. in a copy of Speght s Chaucer of 1 5-98. They were transcribed 
by George Steevens (cf. Variorum ed., 1811, vol. ii, p. 369). But the volume 
containing Harvey s original draft belonged to Bishop Percy, and was burnt in 
the fire at Northumberland House, London, which destroyed the bishop s library 
in 1780. 



LUCRECE 



Plagiarisms. 



Hey wood s 
]{ape of 
Lucrece. 



the table c of his English books Anno 1 6 1 1 . Minor indications 
that the work was familiar to students abound. Fragments 
of two lines (1086-7) are quoted in the disjointed con 
temporary scribble which defaces the outside leaf of an early 
manuscript copy of some of Bacon s tracts in the Duke of 
Northumberland s library at Alnwick ; the words were prob 
ably written down very early in the seventeenth century. 1 

To poets and dramatists of the early seventeenth 
century the work especially appealed. It at once received 
the flattery of imitation or actual plagiarism. As early 
as i5"9f Richard Barnfield, an inveterate imitator of 
Shakespeare, transferred many phrases to his Cassandra. In 
i doo Samuel Nicholson incorporated lines without ac 
knowledgement in his poem of dcolastus procedure which 
was followed with even greater boldness by Robert Baron 
in his Fortunes Tennis Bat/ just fifty years later. Remini 
scences of the great apostrophe to Opportunity are met 
with in Marston s play of The Malcontent^ 1604, and in Ford s 
Lady^s Trial \ 163 8. Shakespeare s friend, Thomas Hey wood, 
produced a five-act tragedy called The type of Lucrece in 1608, 
the year following the appearance of the fourth edition of 
Shakespeare s poem. But Heywood s play is a chronicle 
drama covering much wider ground than Sextus Tarquinius 
outrage. Lucrece s tragic experience is merely one of many 
legendary disasters which occupy Heywood s pen, and the 

1 Shakespeare s name is repeated many times, in various forms, on this 
outside leaf, together with the titles of two of his plays, Rychard the Second and 
Rychard the Third. The crude excerpt from Lucrece runs : f reuealing day 
through euery Crany peepes and see. The careless scribble has little 
significance, and was possibly the work of a scribe testing a new pen. No 
attention need be paid to the arguments which would treat the manuscript 
rigmarole as evidence of Bacon s responsibility for Shakespeare s^works. The 
MS. has been twice reprinted lately, by Mr. T. Le Marchant Douse, who takes 
a sensible view of the problem offered by the scribble, and by Mr. Thomas 
Burgoyne, who is inclined to take the incoherences seriously. 



LUCRECE 25- 

indebtedness to Shakespeare does not go beyond the 
bare suggestion of that single topic. The poet Suckling, Sucklings 
one of Shakespeare s warmest admirers in the generation mc " p t p>e ~ 
succeeding the dramatist s death, gave curious proof of his 
interest in Shakespeare s poem. He claimed to find a 
detached fragment of verse, of which he failed apparently 
to recognize the provenance. The fragment consisted of 
the ten lines from Lucrece (^ 6-96} which somewhat affectedly 
describe Lucrece asleep in bed ; but the stanza was in six 
lines instead of in the authentic seven lines, and Suckling s 
text materially differed from that of the authorized version 
of Lucrece. To the mysterious excerpt Suckling added a 
supplement of fourteen lines of his own. The twenty-four 
lines, in four stanzas of six lines each, were included in Suck 
ling s posthumously collected verse (Frogmen fa ^furea^ 1 64.6} under 
the heading i A supplement to an imperfect Copy of Verses of 
Mr. Wil. Shakespears . A marginal note running Thus far 
Shakespear distinguished Suckling s share of the short poem 
from that which he assigned to the dramatist. 1 In 



1 Gerald Langbaine, in his account of Shakespeare in his Dramatick Poets, 
1691, makes the comment: c What value [Suckling] had for this small piece 
of Lucrece may appear from his supplement which he writ and which he has 
publisht in his poems. The first stanza of Suckling s poem runs : 

One of her hands, one of her cheeks lay under, 

Cozening the pillow of a lawful kisse, 

Which therefore swel d and seem d to part asunder, 

As angry to be rob d of such a blisse: 

The one lookt pale, and for revenge did long, 

Whilst t other blush t, cause it had done the wrong. 

This six-lined rendering of the fifty-fifth stanza of Lucrece (in seven lines) is 
not easy to account for. Suckling had perhaps written out the lines from 
memory, or from a hurried and incorrect copy. There seems less to recommend 
the opposing theory, which represents Suckling s crude quotation to be a first 
draft of the verse by Shakespeare himself, and an indication of an original 
intention on the poet s part to employ in Lucrece the six-line stanza of Venus 
and Adonis. Cf. Shakespeare s Centurie ofPrayse^ pp. 105, ^^6-J. 

D 



Quarles 
continua 
tion 



26 LUCRECE 

evidence that Shakespeare s poem was still familiarly 
cherished by men of letters is offered by the fact that John 
Quarles, son of Francis Quarles, the author of the Emblems, 
penned a brief continuation in six-line stanzas entitled 
The Banishment ofTarquin, or, The Reward of Lust. This was 
appended to a reissue of Shakespeare s Lucrece in 165- 5- -the 
last of the seventeenth-century editions. The dramatist is 
described on the title-page as < The incomparable Master of 
our English Poetry Will : Shakespeare, Gent. a signal testi 
mony to his repute at the time when Cromwell was 
Protector. 



poem. 



IV 

The copy- IN the history of the publication of Lucrece, two of the 

" sht f rhe personages, the printer Richard Field, and the publisher John 
Harrison, who were concerned in producing the first edition 
of Venus and Adonis, reappear, but not in quite their former 
capacities. The copyright changed hands far less often than 
that of Venus and Adonis. There were only five owners in 
the course of a century. 

The copyright of Lucrece was owned at the outset by 
son the first j o h n Harrison of the White Greyhound in St. Paul s Church 
yard, a publisher or stationer who was thrice Master of 
the Stationers Company in 15-83, 15-88, and 15-96 . He had 
distributed copies of the first edition of Venues and Adonis in 
the spring of 15-93, anc ^ acquired the copyright of that 
poem fourteen months later. The entry in the Stationers 
Company s Register attesting his ownership of Lucrece runs 
under date of May, 15-94, thus : 



John Harri 
son the first 
owner, May 



March 
1614. 



1 Arber, ii. 648 . 



LUCRECE 27 

Entred [to Master Harrison, senior] for his copie under 
thand of master Cawood Warden, a booke intituled the 
Ravyshement of Lucrece vi d C. 

Harrison employed Richard Field, Shakespeare s fellow towns 
man, to print the work, and Field s device of an anchor, 
hanging in an oval frame with the motto Ancbora Spei^ is 
prominently displayed on the title-page of the original edition. 

Harrison retained the copyright of the poem for nearly The printers 
twenty years, until March i, itfi-f-, and published at least four four editions. 
editions in 15-94, 1^98, idoo, 1607. But only the first was 
printed by Field. Peter Short printed that of 1 5- 9 8 ; Harrison s 
son, also named John, printed that of itfoo, and Nicholas Okes 
that of 1607. All the printers were men of position in the 
trade. Okes was on intimate terms with Field, who had acted 
as his surety when he was admitted a freeman of the Stationers 
Company on December j-, 1603, while Thomas Heywood, 
the author, in his Apology for Actors which Okes printed for 
him in 1612, addressed him as his < approved good friend , 
and commended his care and industry compliments which 
were rare in the intercourse of printer and author. 

On March i, itfi-f-, Harrison parted with the copyright of Roger jack- 
Lucrece and of three other of his publications of a different son second 

x owner, 

class to a stationer of comparatively minor reputation, Roger March r, 
Jackson, whose shop over against the Great Conduit in Fleet 
Street bore the sign of the White Hart. The transaction 
is thus entered in the Stationers Company s Registers (iii. 

742): 

1 Roger Jackson, son of Martin Jackson, of Burnholme, Yorkshire, had 
been apprenticed to Ralph Newbery, a well-known stationer, on July ^ 15*91 
( Arber, ii. 1 75). He had been admitted a freeman of the Stationers Company 
on August 10, 1 5-99, and acquired his first copyright (Greene s Goost Hunting 
Coney Catchers ] on September 3, itfox (Arber, iii. ^l6). His first apprentice, 
Richard, son of Thomas Gosson, joined him April 13, 1604. 



D 2 



28 



LUCRECE 



Francis 
Williams, 
third owner, 
Jan. 1 6, 



29, 1630. 



John Harri 
son, junior, 



[1614] primo Martij i <* 1 3 [-4] 

Entred [to Roger Jackson] for his Coppies by consent of 
Master John Harrison the eldest and by order of a Court, 
these 4 books fbllowinge ij - 

viz*. . . . 

MASCALLES first booke of Cattell 
Master Dentes Sermon of repentance 
RECORDES Aritbmeticke. 
LUCRECE 

Shakespeare died on April 23, 1 6 1 tf, more than two years 
after the copyright of Lucrece suffered its first transfer. Jackson, 
the second holder, retained the copyright for nearly twelve 
years, till his death early in 1626, when it passed to his widow. 
Jackson was responsible for the editions of 1616 and 1624, 
the first of which was printed by Thomas Snodham, and 
the second by John Beale. 1 His widow assigned the book, 
with her property in twenty-nine other volumes, on January itf, 
1626, to Francis Williams. The entry attesting the transfer 
in the Stationers Register runs (iv. 149): 

[lo^tf] 16 Januarij iday[-6] 

Assigned over vnto him [to Francis Williams] by mistris 

Jackson wife of Roger Jackson Deceased, and by order of a 

full Court holden this Day. all her estate in the [30] Copies 

here after mencioned xiiijj-. 

-23 Lucrece by Shackspeare 

Francis Williams kept the copyright for little more than 
four years, parting with it on June 29, 1630, to Master 

1 Snodham, who took up his freedom on June z8, 1601, was apprenticed 
to Thomas East, or Este, the music-printer, whose surname (alias East) he 
added to his own. Snodham succeeded to his old master s presses at the sign 
of the Black Horse in Aldersgate Street. He printed much music, e.g. 
Campion s music-books (lo io and lo ia). In 1615 Wither s Satyre came from 
his press. He was active in the trade till his death in itfay. Beale, a 



LUCRECE 29 

Harrison, apparently a grandson of the original holder, and the fourth 
printer of the edition of i tfoo. (He was Master of the Stationers ^"i^o"- 
Company in 1638.) This transaction, which involved the March 1 5, 
transfer to c Master Harison of over thirty books, is thus 
entered in the Stationers Registers (iv. 237) : 

29 Junij 1^30. 

Assigned over vnto him [i. e. Master Harison] by master 
Francis Williams and order of a full Court all his estate 
right title and Interest in the Copies hereafter menconed 

xijj- vj d . / 
viz 1 

Lucrece. 

Master Harison produced an edition in 1632, which was 
printed by R. B. [i.e. Richard Bishop] 1 , and he retained the 
property until his death twenty-three years later. His widow, 
Martha Harrison, sold it on March if, i^fi, to yet another 
John Harison (or Harrison), apparently a nephew of her late John Hani- 
husband, and the third of the name to hold the property. ^".J e the 
The third John Harrison was in partnership with William fifth holder. 
Gilbertson of the Bible in Giltspur Street, who had lately 
acquired the copyright of IJenus and Adonis. Under some 
arrangement with Harrison, Gilbertson produced in itfff, 
with another coadjutor, John Stafford, the latest edition of 
Lucrece which appeared in the seventeenth century. 

master printer from March i, 1613, and a livery-man of the Stationers Company 
from Feb. 4, 163?, was one of the most prosperous printers of his day. 

1 The initials R. B. alone appear on the title-page, but the full name of 
Richard Bishop figures as printer for Harrison in the same year of a new 
edition of John White s Short Catechism. No other member of the Stationers 
Company, who was a printer, bore the same initials. Robert Bird, who 
acquired the copyright of Pericles in 1630, was a publisher or bookseller only. 
John Norton printed for him an edition of the play in that year. But it is 
puzzling to note that the printer s device with the motto In Domino Con- 
fido, which appears on the last page of the itf^z Lucrece, is found on the title- 
page of the i 30 Pericles. 



LUCRECE 



The text and 
typography 
of the first 
edition. 



Discrepan 
cies among 
extant 
exemplars. 



The Bod 
leian copy, I. 
Unique 
readings. 



V 

HARRISON and Field s first edition of 1 5-94 is the sole 
authentic source of the text of the poem. That alone followed 
the author s manuscript. The later editions were set up from 
those that went before. Small typographical changes were 
introduced into the reissues, but all the alterations may be put 
to the credit of correctors of the press acting on their own 
responsibility, excepting possibly in the case of the edition of 
1616, which came out soon after Shakespeare s death. In that 
volume there are traces of a clumsy editorial revision. 

It is improbable that the author supervised the production 
of the first edition, but greater care was taken in its typography 
than in the case of any other of Shakespeare s works, not 
excepting Uenus and Adonis. The work is not free from 
misprints nor from other typographical irregularities. But an 
effort was made to reduce their number to the lowest possible 
limit. The original edition was printed off slowly j the type 
was kept standing after the first impressions left the office, and 
small changes were subsequently introduced into the standing 
type, with the result that the few surviving copies of the first 
edition show small discrepancies among themselves. One 
impression is freer from typographical errors than another, or 
a correction which has been made in one copy, with a view 
to improving the sense or the grammar, is absent from another 
copy. The alterations are not always intelligent, and it is 
unlikely that Shakespeare had any hand in them. 

The copy in the Bodleian Library which is reproduced 
in this volume one of two in that library has at least five 
readings which are met with nowhere else. They were appar 
ently all deemed to be defects, and were afterwards changed. 



LUCRECE 3 1 

Their survival in only one extant copy, their absence from 
all the others, proves that the copy which retains them was the 
earliest extant impression to leave the printing-office. The 
five unique readings in the Bodleian copy I, with the cor 
rections which appear in all other impressions of the first 
edition, are : i morning (1. 24) for l mornings [i.e. morning s]; 
1 Appologie (1. 31) for apologies ; c Colatium (I. yo) for 
< Colatia ; * himself e betakes (1. 125-) for c themselves betake ; 
4 wakes (1. 126) for l wake. 

Only the first of these readings is a quite obvious misprint. 
The substitution of < apologies for < Appologie improves the 
spelling, but the verb f ncedeth , which the noun governs, is 
suffered to remain in the singular after its subject is put into 
the plural a syntactical construction which is defensible but 
not usual. The alteration < Colatia is right. No such town 
as Colati^w is known, but in spite of its removal from line 5-0, 
the erroneous form c Colati//w is still suffered to deface in 
all copies line 4 the only other place where the town is 
mentioned. The change in line 127 seems intended to get 
rid of the awkAvard construction of the singular verb with 
a plural subject in < winds that wake/ in the next line, 126. 
In line 125- the first reading And euerie one to rest himself 
betake/ is grammatically better than the second, < And euerie 
one to rest tbemselues betake ; but in order to rime < wake 
(of the next line) satisfactorily, it was needful to put the verb 
at the end of the preceding line in the plural and to give it 
a plural instead of a singular subject. 

In the following instance the reading in the Bodleian copy Reading 
which is here reproduced appears in only one other copy in peculi 

** J two ex 

the second (Caldecott) copy in the same library. copies. 

1 Euen so the patterne of this worne out age (1. 1370. 



ar to 
two extant 



Misprints 
peculiar to 
three extant 
copies. 



Misprints in 
all extant 

copies. 



Capital 
letters 
within the 
line. 



32 LUCRECE 

figures in all extant impressions save in the two in the Bod 
leian Library, where the line reads 

Euen so this pattern of the worne out age. 

It is difficult to determine which is the better reading, but 
it is clear that the patterne of this . . . age was deemed the 
better by the corrector of the press. 

The following two misprints in the Bodleian copy, which 
is here reproduced, are also met with in the second copy in 
the same library and in the Sion College copy as well, but 
both are corrected in the Devonshire and British Museum 
copies: line 1182, which for (instead of by] him tainted ; 
line 1 3 3 f, blast/ for blast. 

The following misprints seem common to all impressions : 
Title-page (last line) Churh-yard for Church-yard ; sleeep 
(1. 163) for sleep ; to beguild (1 . 15-44) for so beguild ; 
on (1. 1680) for in ; it in (1. 171 3) for in it. The 
inverted commas at the beginning of 11. 867-8 are ex 
ceptional, and may also be reckoned among typographical 
inaccuracies. 

The volume offers examples of the ordinary irregularities 
which are usually met with in specimens of Elizabethan typo 
graphy. Capital letters within the line are used little less 
arbitrarily than in Venus and Adonis. Such ordinary words as 
Tent (ij), Bee (836, 840, 1769), Citty (15-5-4) and Foe 
(i rfo8), are always dignified with an initial capital. But the per 
sonified time and opportunity go without the distinction. 
No law is observable in such a distribution of capitals. In the 
first part of the poem, Beauty is invariably spelt with a capital, 
but in the concluding stanzas it appears with a small letter ; 
the word is used eighteen times in all, and the capital appears 
twelve times. Sun occurs eight times in all, five times 



LUCRECE 33 

with a capital. Heaven is rarely allowed a capital, although 
1 Ocean always is. It was obviously the intention of the 
printer to print all proper names in small capitals ; but Small 
this rule, although often followed, was imperfectly carried 
out. Cf. line ^^3 

And moodie PLVTO winks while Orpheus playes. 
Pluto is with, but Orpheus is without, due mark of distinc 
tion. The place-name Ardea is in lower-case type in line i,but 
in small capitals in line 1332. Rome appears six times and is 
never in small capitals. Other signs of careless revision are 
the substitution of a small letter for a capital at the opening 
of line 85, and the dropping in two places of the catchword 
on pp. 28 and 90. Italics are not used at all, save in the 
1 Argument , which is italicized throughout, proper names 
only being in roman type. 

The cursive contraction for c m or n a long line over Conu-ac- 
the preceding vowel is used thirty-eight times, commonly in 
order to save space. The ampersand & (for c and 5 ) occurs fifteen 
times for the same reason. Both symbols are employed some 
what capriciously. Their employment reflects on the skill 
of the printer, even if they figured in the author s c copy . 

Variations in the spelling of the same word are compara- Mi$- 
tively few, but they are numerous enough to give ground for s P ellin S s - 
criticism. Thus we find doore (306) and c dore ( 3 2 y, 3 3 7) 
dumbe (268) and dum (474) ; nurse (1162) and nourse 
(813); opportunity (874? 876, 895-, 932) and < oportunitie 
(903, 1023); < rankes (1439) and < ranckes (1441) ; Rome 
and < Roome (i 644, 1871)- < sometime (nod) and c somtime 
(noy); spirite (1345), sprite (45-1), and spright (121)- 
tongue (i4tfy) and tong (14*3, 1718). In the case of 
tongue and sometime the variations occur within a couple 
of lines of one another. The curious spelling pollusion for 

E 



34 LUCRECE 

pollution (i 1 5-7), where the word rimes with confusion and 
4 conclusion , is another orthographical error. 1 

The text of The text of the late impressions of the 15-94 edition was 

followed in the editions of 1^98, itfoo, and 1607. A few 
changes were introduced by the corrector of the press in each 
revision, but all were trivial and mainly affected the spelling, 
the capital letters, and the contractions. The fourth edition 
of i do 7, despite the commendation which Thomas Hey wood 
bestowed on its printer, Nicholas Okes, introduces some new 
misprints of bad eminence (e. g. 1. 993, < time for < crime ; 
1. 1024, unsearchfull for uncheerful ). These were slavishly 
adopted by succeeding printers. In the imprint, the words 
< Printed by N. O. appear as < Printed be N. O. 

T . he Somewhat more extensive alterations marked the fifth 

alterations 

oi6\6. edition, printed by T[homas] S[notlham], and published by 
Roger lackson, in 1616. This edition was described on the 
title-page as < Nercfy 7^7//W, and bore for the first time the 
new title of The J^ape of Lucrece instead of the Lucrcce of 
the earlier issues. Shakespeare s name also appeared for the 
first time on the title-page. Traces of the hand of an 
unskilful editor are apparent. A new list of < contents , 
which preceded the f Argument in the preliminary pages, 
collected together in a slightly abbreviated form twelve 
marginal notes which were distributed through the text of 
the poem, and supplied a running analysis of the story. The 
earlier marginal notes were numbered in the text , but the 

1 Pollution is only used thrice elsewhere by Shakespeare. In two cases 
in Twelfth Night, i. T., 49, and Measure for Measure, ii. 4. 183 it is rightly spelt 
c pollution (in the First Folio). But in the third place where it occurs in 
Love s Labour s Lost, iv. ^. 46 it is farcically misused by Goodman Dull for 
c allusion , and is misspelt c polusion in both the First Quarto and the First 
Folio. The misspelling there seems deliberately introduced by way of ridicule of 
popular ignorance. In a serious context f pollution was alone recognized by 
careful writers or printers. 



LUCRECE 35- 

later notes were unnumbered. This list of contents and 
marginal notes were reprinted in all subsequent editions. 
The latter run thus : 
(i) The praising of Lucrece as chast, vertuous, and beautiful, 

inaketh Tarquin enamor d. (Stanza i.) 
(ii) Tarquin welcomed by Lucrece. (Stanza 8.) 
(iii) Tarquin disputing the matter at last resolves to satisfy 

his Lust. (Stanza 25-.) 
(iv) Lucretia wakes amazed and confounded to be so surpriz d. 

(Stanza 66.) 
(v) Lucrece pleadeth in defence of Chastity and exprobates 

his uncivil lust. (Stanza 8 2.) 

(vi) Tarquin all impatient interrupts her, and denied of 
consent breaketh the inclosure of her Chastity by 
Force. (Stanza 93.) 
(vii) Lucrece thus abused complains of her misery. 

(Stanza 109.) 
(viii) Lucrece continuing her laments, disputes whether she 

should kill her self or no. (Stanza ify.) 
(ix) Lucrece resolved to kill her self determines first to 

send her Husband word. (Stanza 1 74.) 
(x) Upon Lucrece sending for Colatine in such hast, he 
with clivers of his Allies and Friends returns home. 
(Stanza 227.) 

(xi) Upon the Relation of Lucrece her Rape Colatine and 
the rest swear to revenge : but this seems not full 
satisfaction to her losses. (Stanza 243.) 
(xii) She killeth herself to exasperate them the more to punish 

the delinquent. (Stanza 245-.) 
The character of the textual changes, which are not 

1 The numbered stanza does not appear in the list of contents. I insert 
it with a view to showing the distribution of the marginal notes through the 
poem. 

E 2 



$6 LUCRECE 

numerous, suggests that there, too, an editorial pen was working 
albeit clumsily. Metrical considerations probably account 
for the following alterations :- c so high a rate (line 19 of 1616 
edition) for such high proud rate ; a date expired; and 
canceld ere begun (26) for an expired date, canceld ere well 
begun ; doth march (301) for marcheth ; beneath (74 3) 
for under ; ever dumb (1123) for mute and dumb ; 
throughout Rome (i 8 f i) for thorough Rome . In 1. 1 68 o 
the substitution of one woe for the original misprint on 
woe is ingenious, and the introduction of a hyphen in 1. 1018 
to connect the words skill and contending betrays intelli 
gence. Other variations of the earlier text are unjustifiable : 
rue (4 f y) for true ; feeded (603) for seeded ; bersed 
(6$ 7) for hersed ; mighty (rf8 o) for nightly ; foule lust 
(684) for prone lust ; fears (698) for fares ; of reine 
(706) for or reine ; disdaine (786) for distain ; Palmers 
that (790) for Palmers chat ; bannes (85-9) for barnes ; 
time (993) for crime ; omission of epithet goodly in 
1247; held (125-7) for hild. 

The editions The edition of id 24 follows that of 1 6 1 6 servilely. 

i^ z *^yj 3 Only the title-pages differ. Even the error in the signature 

and 1707. (64 for A 4) is repeated. The edition of 1632 adds some new 

misprints (e.g. 1. 47, growes for glowes ; 1. 1 jtf, konur for 

honour ; 1. 282, cloakt for choked ; 1. 8 5-4, iniquity for 

impurity ). The reissue of 165-5" closely adheres to that of 

1632, with a few misreadings of its own. The next reprint 

figured in the Poems on Affairs of State (1707), vol. iv, 

pp. 143-204. The text is that of itffy, with a few worthless 

emendations. 1 Unfortunately the crude misreadings of 1707 

1 The chief changes were: J. 3?, from theevish Cares" for e From 
theeuish cares ; 1. 161, e the wretched hateful Lays for & wretched hateful 
dales ; 1. 148, all for e ill ; 1. 317, <the Needle for c her needle ; 1. 670, 
( fresh false hast for e fresh fall s haste ; 1. 6"8.f, c foul for c prone ; 1. 



LUCRECE 37 

were accepted by Gildon, who brought out an edition of 
Shakespeare s c Poems, by way of supplement to Rowe s 
collective edition of Shakespeare s plays, in 17 io. J Gildon 
did little more than reproduce the poor text of 1707, and 
his text was accepted without inquiry by other eighteenth- 
century editors. Lintott, in one of his impressions of Shake 
speare s < Poems in 1709, gave Lucrece a title-page bearing the 
date 1632, but he did not follow the edition of that year 
with much precision. It was not until Malone reprinted the 
poems in 1780, that any collation was attempted of the cur 
rent text with the first edition of 15-94. Then at length the 
poet s words were freed of a century and a half s accumulation 
of ignorant misreadings. 

VI 

EIGHT editions of Lucrece are known to have been Census of 
published between its first issue in 1594 and itfff, when the 
last of the seventeenth-century editions appeared. Four 
editions came out in Shakespeare s lifetime respectively, in 1 5-94, 
15-98, i tf oo, and 1607. A fifth followed in 1616, the year of 
his death, and others in i<5n, 1632, and 165$. The number 
of extant copies of all these early editions are very few, and 
it is possible that there were other editions, of which every 
exemplar has disappeared. Malone mentions editions of 
15-95 and itfoi, but no editions dated in either of these 
years have come to light.- Two of the known editions 

woman for workman 1. 1736, c in pure Revenge for in poor revenge . 
The substitution of c foul lust (1. 684) for prone lust and of peal d for 
pild (in the sense of peeled ) in lines 1167 anc ^ 1169 were attempts 
to make difficult words clear to eighteenth-century readers. 

1 See feaus and Adonis^ Introduction, pp. 71-1. 

2 An edition which was once in the possession of Halliwell-Phillipps 
lacked a title-page and was at one time declared by him to belong to the year 
i6"io, but this is probably a copy of the edition of 1631 (see No. XXIX infra). 



38 LUCRECE 

only survive in single copies. It is curious to note that 
a larger number of copies are accessible of the original edition 
than of any other of the first seven. As many as ten are now 
traceable. Several of these have been recovered recently. 
Thomas Grenville asserted some sixty years ago that only three 
were known. George Daniel, Frederick Locker Lampson, and 
other collectors of the last half-century raised their estimate 
to five. That number must now be doubled. 

It is likely enough that of all the editions more copies 
will be found hereafter. At present all the known copies 
of the first seven editions (excluding fragments) number no 
more than thirty. The eighth edition stands in a somewhat 
different position. Some twenty copies seem traceable, but 
of these only six contain the rare frontispiece and are perfect, 
two of these being in Great Britain and the rest in America. 
Of the thirty copies of the first seven editions, twenty 
are now in Great Britain, nine are in America, and one, which 
has lately changed hands, is not at the moment located. Of the 
twenty British copies, fifteen are in public institutions, five 
being in the British Museum, five in the Bodleian Library, two 
in the Capell Collection of Trinity College, Cambridge, one 
in the L T niversity Library, Edinburgh, one at Sion College, 
London, and one at Corpus Christi College, Oxford. Five are 
in the hands of English private owners. Of the nine American 
copies, one is in a public institution the Lenox Library, 
New York and eight are in private hands. 1 

1 A copy of an unspecified edition of Lucrece, sold with twenty-two other 
pieces, brought in 1680, at the sale of Sir Kenelm Digby s library, three 
shillings. Comparatively few copies have figured in public auctions of late 
years. The highest price which the first edition has fetched is ^2.00, which it 
reached at the Perkins sale in 1889. No copy of that edition has occurred 
for sale since. Of the later editions, 75 the price paid for a copy of the 1^3 ?, 
edition at the Halliwell-Phillipps sale, also in 1889 is the auction record. 
For the frontispiece of the i^f^r edition as much as 110 was paid at 



LUCRECE 39 

The first edition of Lucrece is the only one which ap- FIRST 
peared in quarto. The signatures run : A i, A ii, B-N, in f 
fours. There are forty-seven leaves in all without pagi 
nation. The dedication figures on the recto side, and the 
Argument on the verso side, of the leaf signed A ii. The 
text of the poem commences on the leaf signed B. The title- 
page runs : LVCRECE | [Field s device and motto] 
LONDON I Printed by Richard Field, for lohn Harrison, and 



are 



to be sold at the signe of the white Greyhound 



in 



Paules Churh-yard 1^94. | The pattern of Field s device of 
the suspended anchor, with his motto Ancbora Spei y slightly 
differs from that on the title-page of Venus and Adonis. 
In the Lucrece volume the boughs are crossed in front of the 
stem of the anchor, instead of being figured behind the stem, 
as in the Venus and Adonis volume. 

The copy of the first edition of the poem, which is re pro- No I 
duced in facsimile for the first time in this volume, is one 
of the two exemplars now in the Bodleian Library at 
Oxford. It belongs to the collection of books which was 
presented in 1816 to the library by the brother of Edmund 
Malone, the Shakespearean commentator, and is numbered 
Malone 34. In the spring of 1779, Malone bought for twenty 
guineas a single volume containing this copy of the first 
edition of Lucrece^ together with a first edition of Shakespeare s 
Sonnets. 1 At a later elate he caused these and many other of 
his quarto editions of Shakespeare s works to be inlaid and 

a sale in 1901. At the present moment the prices are rapidly rising. 
A perfect copy of a first edition would be likely to reach ^fiooo, and a perfect 
copy of any later edition of the seventeenth century, 500. Justin Winsor s 
Bibliography of Shakespeare s Poems (Boston, 18751), anc * the preface to the 
Cambridge Shakespeare (new edit. 1891), supply some useful particulars 
in regard to extant copies, but most of the information recorded here has 
been dei ived from a personal inspection of the copies, or from correspon 
dence with the present owners, or from sale catalogues. 
1 Charlemont MSS. (Hist. MSS. Comm. Rep.}, i. 34.3. 



LUCRECE 



FIRST 

EDITION, 

1594- 



No. II. 
Bodleian (2). 



No. III. 
Brirish 

Museum (i 



No. IV. 
British 
Museum z 



No. V. 
Sion College. 



to be bound up somewhat capriciously six or seven 
together in a long series of large volumes. His copy of the 
iy94 Lucrece now fills the first place in the volume which 
is labelled outside Shakespeare Quartos, volume III, and 
contains six quarto tracts. The edition of Lucrece measures 
7~" x / , but is inlaid on paper measuring- O i" x 7-". The 
poem is followed successively by a copy of the Sonnets of 
1609 (with the Aspley reprint); by Hamlet, itfo/; by two 
quartos of Pericles dated respectively 1609 and 1619, and by 
A Yorkshire Tragedy, idoS. 

A second copy in the Bodleian Library of the first 
edition of Lucrece was the gift of Thomas Caldecott in 1833, 
and is marked Malone 885. It is bound up with copies of 
the if 94 edition of Venus and Adonis, and of the first edition 
of the Sonnets, 1609 (with the John Wright imprint). The 
three tracts were purchased by Caldecott in June, 1796, 
4 of an obscure bookseller of ... Westminster . The Lucrece, 
which comes second in the volume, has been seriously 
pruned by the binder, and measures only 6--" x 4y 6 ". The 
title-page has been torn in places and roughly repaired. 

Of the two copies in the British Museum the better 
one was purchased at the Bright sale, in 1847, for ?%. The 
press-mark is C. 2 i.e. 45-. It was bound by Hayday in maroon 
morocco, and, though several leaves have been repaired, is 
in good condition. It measures 7" x 4y-f"- 

The second copy in the British Museum is in the 
Grenville Collection (G. 11178). It was purchased by Thomas 
Grenville, the collector, at the Combe sale in 1837. It is 
well bound in morocco. Grenville described it in a note 
in the volume as one of only three known copies. It 
measures 6~" x ?". The last leaf is missing, and its place 
is filled by a reprint from Malone s copy in the Bodleian 
Library. 

The perfect copy in Sion College, London, formed part 
of the library of Thomas James, a well-known London printer, 

1 See Venus and Adonis^ Introduction, p. 59. 



LUCRECE 41 

whose widow, Mrs. Eleanor [ames, presented it with other FIRST 
volumes in 1711 to Sion College c out of her singular EDITION > 
affection and respect for the London clergy . The copy, 
which is now separately bound, originally formed part of 
a volume in which five rare poetical tracts of like date were 
bound together. 1 The copy seems to have been printed off 
somewhat later than the Malone, and earlier than the Duke 
of Devonshire s copy or the Bright copy in the British Museum. 
Lines 1182 and i3ro read as in the Malone copy and not as 
in the Duke of Devonshire s and British Museum (Bright) 
copies. At other points (lines 31 and 125-6) the readings 
are identical with the Devonshire and British Museum (Bright) 
copies and differ from those of the Malone. 1 The measure 
ments are -- x ^~ r . 

The Duke of Devonshire s copy, now at Chatsworth, No. vi. 
originally belonged to the great actor John Philip Kemblc, ^ cvonshue 
whose library was acquired by the sixth Duke of Devonshire in 
1821. Kemble inlaid and mounted his quarto plays and poems, 
and bound them up six or seven together in a long series of 
volumes. Lucrece forms part of volume cxxi in his collection 
of plays. There are six quartos altogether in the volume, the 
other five being the edition of Pericles, 1609; and early copies 
of the four pseudo-Shakespearean plays, Thomas Lord Cromwell^ 
1613; The London Prodigal^ 1605-; Locrinc^ ifpfj and the first 
part of Sir John Oldcastle, 1600. Lucrece does not seem to 

1 In the original manuscript catalogue of the library there appears the entry 
Shakespeare s Lucrece , &c. In Reading s Catalogue of Sion College Library 
(lya^thetractsbound up with Lucrece are indicated. All are nowseparately bound 
and are of the highest rarity. They are : i. Barnfield s Affectionate Shepherd, 
15-94. (the only other known copy is at Britwell). i. Michael Drayton s Idea: 
The Shepherds Garland^ \ 593 (only two other copies seem to have been met with, 
and none is in a public library). 3. O. B. s Display of V a - in Life, printed 
by Richard Field and dedicated to the Earl of Essex, 1594 (fairly common). 
4. Lamentation of Troy for the Death of Hector^ I^c^f, by I. O. (fairly common). 
^. An old facloned hue . . . by T. T. Gent. 1594 (a translation of Watson s 
Latin poem Amyntas} ; the only other copy known is in the Capell collection 
at Trinity College, Cambridge. The last two tracts were both printed by 
Peter Short for William Mattes. 

2 See pp. 3i-a supra. 



FIRST 

EDITIOK, 

1594- 



No. VII. 
Mr. A. H. 
Huth s copy. 

No. VIII. 

Holford 

copy. 



No. IX. 
Mr. White s 
copy. 



No. X. 

Mr. E. 

Dwight 

Church s 

(Rowfant) 

copy. 



42 LUCRECE 

have been collated by Kemble, but it is quite perfect ; the 
other pieces in the volume have a note, ( Collated and 
perfect, J.P.K., with date either 1792 or 1798. The original 
page measures 6~^" x 4!", but the page in which the text is 
inlaid, ^>\" x 6~" . It is one of the later impressions of the 
first edition, closely resembling the copies in the British 
Museum. 

The copy owned by Mr. A. H. Huth was purchased at 
the Daniel sale, in 1864, for .15-7 IQJ-. od. It is a perfect 
exemplar. 

A copy belonging to Capt. George Lindsay Holford, of 
Dorchester House, Park Lane, London, was purchased by the 
present owner s father, Robert Stayner Holford, for i oo, about 
i Stfo, and is stated to be quite perfect. 

Two line copies are now in America. One of these belongs 
to Mr. William Augustus White, of Brooklyn. Mr. White s 
copy, which measures 7~- " x ff", seems to have been at the 
beginning of the nineteenth century in the Chapter library 
of Lincoln Cathedral. 1 It subsequently passed into the pos 
session of Sir William Bolland, Baron of the Exchequer, who 
died in 1840. On Sir William Bolland s death, it appears to 
have been purchased by the well-known bookseller, Thomas 
Rodd, for TOO guineas. It then passed into the library of 
Frederick Perkins, of Chipstead (1780-1 8 60). At the sale 
of Perkins library on July 10, 1889, when the catalogue 
noticed a small hole burnt in two leaves, destroying a few 
letters , it was purchased by Mr. Bernard Quaritch, the 
London bookseller, for 200, and was acquired by the 
present owner/ 

A copy in the library of Mr. E. Dwight Church, of New 
York, was formerly in that of Frederick Locker Lampson, at 
Rowfant, Sussex, which was sold to Messrs. Dodd, Mead 



1 See Dibdin s Library Companion^ p. 6t)6 3 and Bibliographical Decameron, 
vol. iii, p. 2.64. 

2 A facsimile of the title-page of this copy is given in Contributions to 
English Bibliography^ Grolier Club, 1895-, p. 181. 



LUCRECE 43 

Co., of New York, in 1904. It is a perfect copy, measuring FIRST 
6^-" x / , and is bound in red morocco with tooled sides EDITION > 
by Zaehnsdorf. It was apparently at one time the property of ] 
Sir William Tite, at the sale of whose library in 1874 it 
fetched L i o. 1 

A fragment of the first edition was sold in 1 8 5-2, at the sale Fragment:. 
of the library of Edward Vernon Utterson, for /4 ios. od. 
Mr. White, of Brooklyn, possesses sixteen leaves (B i, B 4, 
C i-F 2) of a second copy, measuring 7~" x f-^-". It is 
possible that this is the Utterson fragment. 

The first edition of Lucrece has been twice issued in Photo- 
facsimile : firstly, in the series of reproductions of Shake- S ra P h:c . re - 

, , , __; A , , , T productions. 

spearean quartos undertaken by E. W. Ashbee under J. O. 
Halliwell-Phillipps direction in 1X67 (of which fifty copies 
were prepared and nineteen of these destroyed) ; and 
secondly, in the series of Shakspere-Quarto facsimiles with 
introduction by F. J. Furnivall, 1886 (No. 3 ?\ published by 
Mr. Bernard Quaritch, of Piccadilly, from the copy in the 
British Museum. 

The second edition appeared in 1798. Unlike the first SECOND 
edition, which was a quarto, the second, like all its EDITION 3 
successors, is an octavo. The signatures run A-E 4 in No 9 XL 
eights. The leaves number thirty-six and the pages are Capell copy. 
unnumbered. Only a single copy of the second edition 
is known. It is in the Capell collection at Trinity College, 
Cambridge. The title-page runs : LVCRECE. AT LONDON, | 
Printed by P. S. for John Harrison. 15-98. It was printed by 
Peter Short. The title-page bears the signature of two 
former owners Robert Cheny, who seems to have paid 1 2d. 
for the copy, and of Count Fieschi. The ornaments are 
those usually associated with Peter Short s press. Notes of 



1 Justin Winsor s statement that Capell s copy is missing from the 
collection in Trinity College, Cambridge, is incorrect. Capell never possessed 
a copy, but in the Catalogue of his Shakespearean Library he mentions that 
one is in the library of Sion College, London, and that he had collated it with 
his own exemplar of ly^S. 

F 2 



44 



LUCRECE 



SECOND 
EDITION 



THIRD 
EDITION, 
1 600. 
No. XII. 
Bodleian 
copy (i). 



a thorough collation by Capell of this copy with one 
of the first edition of 1 7-94 in Sion College Library are scat 
tered through the 
volume. The di 
mensions of the 
volume are 4-!-" 



The edition 
of 1600 is in 
octavo, with signa 
tures A-E 4 in 
eights. Signature 
E 3 is misprinted 
1^3. It has thirty- 
six leaves, and no 
pagination. Only 
one perfect copy is 
known. This is in 
the Malone collec 
tion (Malone 327) 
in the Bodleian 
Library, Oxford. 
It is bound up 
with a copy of 
Venus and Adonis 
which has a title- 
page supplied in 
manuscript (see 
Venus and Adonis, 
Census, No. VIII). 
The volume was 
presented to Ma 
lone by Dr. Richard 
in good condition. 








L VC RE C 













ri :i 



JSS6& 




Farmer in 1779. The 
The measurements are 



Lncrece is 

47^x3". 



1 There is a note to that effect in Malone s autograph in the volume. 
Malone soon afterwards lent the volume to Steevens so that he might read the 
lo oo edition of Lucrece. He returned it with a sarcastic drawing which still 



LUCRECE 4 y 

The title-page runs : LVCRECE LONDON. Printed by I. H. THIRD 
for John Harison. 1600. 



EDITION^ 
1600. 



There is in the Bodleian Library a second and imperfect 

CO pyof this edition Bodleian (i). 

(without title-page 
and wanting last 
leaf), which mea- 



Printed bvI.H.for lohn. Hsrifon 




sures 4-- x 3i"- 
The text breaks 
off at line 1797, 
< My sorrowes in- 
terest,let no mour 
ner say with the 
catchword below 
4 He . The signa 
tures are as in the 
perfect copy of 
1600. The leaves 
number thirty- 
four. The tract 
is inserted in a 
volume (8 L 2 
Art. BS.) which 
was probably 
bound in Oxford 
for the Bodleian 
Library about 
itfyo, and comes 
between c Chan 
sons spirituelles, 

mises en musique a quatre parties par Didier Lupi. Nouuelle- 
ment reueues & augmentee s. A Paris. Par Adrian le Roy ck 
Robert Ballard, Imprimeurs du Roy 15-71 (music book); and 
( A Wittie Encounter Betweene Monsieur du Moulin & Monsieur 

remains pasted on the fly-leaf; a bust of Shakespeare is shown with the 
words written on a label proceeding from his lips : Would that I had all my 
commentators in Lipsburry pinfold ! 



THIRD 

EDITION, 

1600. 

FOURTH 

EDITION, 

1607. 



4<* LUCRECE 

De Balzac, translated out of the French coppy by A. S. Gent 
(London, 163(5). 

The fourth edition of 1607, in small octavo, was printed 





by Nicholas Okes for John Harrison. The title-page runs: 
LVCRECE. | AT LONDON, Printed be N. O. for lohn Ha- 1 
rison. 1607. The leaves number thirty-two without pagina- 



LUCRECE 47 

tion. The signatures run A-D 8 ; A 4 is misprinted 64. On FOURTH 
the title-page appears the misprint be for by (in the imprint EDITION 3 
Printed be N. O. ). Harrison s device ana motto, Dum 
spero^ fero, figure as in the edition of idoo. There is 
a circular ornament at the end of the ( Argument . 

Two copies are known. The Capell copy in Trinity NO. xiv. 
College, Cambridge, measures f " x 3-^". Opellcopy. 

The second copy, in the library of the Earl of Ellesmere, NO. xv. 
at Bridgewater House, London, measures yi" x 3^". The leaves Bnd s ewater 
are much cut down. The volume is bound in orange morocco. 
This copy possesses much historic interest. It was purchased 
by John Egerton, second Earl of Bridgewater, who took the 
part of the Elder Brother in the performance of Milton s 
Comas at Ludlow Castle, in 1634. The words c By W: Shake 
speare are written in a contemporary hand across the title- 
page. The copy was described at length, but not with 
accuracy, by John Payne Collier in his Early English Literature 
at Bridgewater House, 1837, pp. 280-2, and in his Bibliographical 
Account of Early English Literature^ i8<5j-, vol. ii, pp. 332 seq. 
Collier claims for the edition textual superiority to the 
preceding edition of idoo, which a careful collation seems 
hardly to justify. It follows the text of i<5oo with very trivial 
modification. 

The fifth edition of 1616 (in small octavo), in spite FIFTH 
of many typographical changes, is of the same size (thirty-two EDITION J 
leaves without pagination) and has the same signatures as the 
issue of 1607. The signature A 4 is again misprinted B 4. 
Of this fifth edition four copies are known. The title-page 
runs : THE RAPE OF I LVCRECE | By Mr. William 
Shakespeare Newly Reuised. LONDON : | Printed by T. S. 
for fyger Jackson^ and are | to be solde at his shop neere the 
Conduit in Fleet-street, 1616. Of the four extant copies, 
two are in America. 

The copy in the British Museum was acquired on No. xvi. 
April r, i8f8. It seems to have been sold by auction at J" tlsh 

,, ; -r i Museum 

Sotheby s, May, 185-6, for 2$ ios. od. It is not in very clean copy . 
condition. Many leaves are pieced or patched, and the last five, 



4 8 



LUCRECE 



FIFTH 

EDITION, 

1616. 

No. XVII. 

Bodleian 

copy. 



No. XVIII. 
Lenox 

Library, 
New York. 



No. XIX. 
Mr. D wight 
Church s 
(Rowfant) 
copy. 



SIXTH 

EDITION, 

1614. 



No. XX. 

British 
Museum (i) 
(Grenville). 



No. XXI. 
British 
Museum (2). 



which were defective, have been repaired in facsimile. The 
measurements are ^"x $-" . The volume was in recent times 
bound by Bedford in red morocco. The press-mark is C. 34. a. 44. 

The copy in the Bodleian Library was part of the 
bequest of Thomas Caldecott and reached the Library in 
1833 (Malone 892). The leaves have been much cut by the 
binder. The measurements are <)-" x 3-^" . 

There is a copy in the Lenox Library in the New York 
Public Library which has been cut close at top and bottom. 
This was probably the one priced by the bookseller Rodd 
in his catalogue of 1837 at four guineas, and may be that 
sold with the Vetms and Adonis of 16 3 6 and other poetical 
tracts at the sale of Thomas Pearson s library in 1788. 

The copy formerly in the library of Frederick Locker 
Lampson, of Rowfant, now belongs to Mr. E. Dwight Church, 
of New York. Measuring <>-" x $~" and being bound 
by Riviere, it was formerly in the library of Frederick Ouvry. 
It is cut in the lower margin. It was bought in the 
Ouvry sale, in 1882, by Bernard Quaritch, for $? io/. o^/., 
and shortly afterwards went to Rowfant. It passed to the 
present owner early in 1907. 

Of the edition of 1624, in small octavo, six copies are 
now traceable, of which only two are now in England, and 
both of these are in the British Museum. The text with 
list of contents and marginal notes follows that of i 6 1 6. The 
signatures are the same, and the leaves number thirty-two, 
without pagination. The title runs : The Rape of 
Lvcrece. | By Mr. William Shakespeare. Newly Revised. 
LONDON Printed by I. B. for tyrer Jackson, and are | to 
be sold at his shop neere the Conduit | in Fleet-street, 1^24. 

A fair copy is in the Grenville collection (No. 11179) 
at the British Museum. It was possibly bought at the 
Jolley sale in 1844. The measurements are fr/ x 3Tg". 
The title and last leaf are not in good condition and a few of 
the headlines are cut into. It is bound in green morocco. 

The second copy now known to be in Great Britain is 
also in the British Museum press-mark C. 39. a. 37 (2). It 



LUCRECE 49 

measures $- ><$- , and is bound with four other poetical SIXTH 
tracts of like date. f> 

Four other copies are now in America. The best belongs NO. xxii. 
to Mr. E. Dwight Church. It was in the eighteenth century Mr. Dwight 
the property of Sir John Fenn (1739-94), the editor of cop y tc 
the c Paston Letters . A subsequent owner was Philip Howard 
Frere (1813-58). It is a fine and clean copy. Sir John 
Fenn cut out the woodcut and imprint of the title-page, placing 
the excised slips in his collection of cuttings. These were 
discovered in a scrapbook formerly in the possession of Sir 
John Fenn, by Dr. Aldis Wright, who replaced them in the 
title-page of the copy, while Frere was its owner. The 
copy passed into the hands of the American collector, Thomas 
Jefterson McKee, at whose sale in 1901 it was acquired by 
the present owner. The size of the leaf is 5--^" x 3-5-". 
The volume is bound in green levant morocco. 

The Rowfant copy, which formerly belonged to Frederick No. xxnr. 
Locker Lampson, has the inscription on title-page : ( Pretium ^ 
4N: L: S: It measures yf" x 3-^". It at one time be- (Ro 
longed to Narcissus Luttrell (i5; 7-1 7 3 2), and seems to have copy- 
been sold at the Ouvry sale in 1882, for i i, to Messrs. Ellis 
and White, the booksellers of Bond Street. It was acquired by 
Messrs. Dodd, Mead & Co., booksellers of New York, in 1 904. 

The copy belonging to Mr. Folger, of New York, NO. xxiv. 
seems to have been sold at Sotheby s in a miscellaneous Mr - Fol g er s 
sale on June 18, 1903, and bought by Messrs. Sotheran for 
i 30. A few headlines are shaved. 

A copy belonging to Mr. Marsden J. Perry, of Provi- NO. xxv. 
dence, formerly belonged to Halliwellf-Phillipps], who Mr - Pe y s ] 

paid Quaritch 42 for it in November, 1885-. It measures 
1 1 " i " 

rH- x 3f 

In the seventh edition of 1632, the signatures run A in SEVENTH 
fours, B-Dy in eights- 64 is misprinted 62. On the last EDITION, 
page (D 7 verso) the word < Finis is followed by a wood 
cut with the motto In Domino confido. The typography is 
distinguished by the excessive use of italics for ordinary 
words. The leaves number thirty. There is no pagination. 



SEVENTH 
EDITION 



No. XXVI. 

Corpus 

Christ! 

College, 

Oxford. 



No. XXVII. 
Britwell 

copy- 



XXVIII. 

Untraced 
copy. 



No. XXIX. 
Edinburgh 
University 
copy. 



TO LUCRECE 

There are five extant copies of the edition of 1632 one at 
Corpus Christi College, Oxford j another in the library of 
Mrs. Christie Miller at Britwell ; a third in unknown hands j 
the fourth (defective) at Edinburgh University Library ; 
and the fifth in America, in Mr. Perry s library at 
Providence. The title-page runs : - - The Rape | of 
| Lucrece j by Mr. William Shakespeare | Newly revised. 
[Printer s device with motto Dum spero feroJ] London. | 
Printed by R. B. for lohn Harrison and | are to be sold at his 
shop at the golden Vnicorne in Patcr-noster J^ow. 1632. In 
one of the impressions of the edition of Shakespeare s Poems 
issued by the bookseller Lintott in 1710, he gives a title-page 
of Lucrece bearing the date 163 2. A copy of that edition was 
doubtless in his possession. 

The Corpus Christi College copy, which measures 
5"T x ST > was presented to the college by a seventeenth- 
century Fellow, John Rosewell, Canon of Windsor. It is 
in old calf, and bound up with a defective copy (having 
no title) of an English translation by Thomas Hudson of 
the History of Judith (1784) from the French of Du Bartas. 

The Britwell copy formerly belonged to George Steevens, 
and was bought at his sale in 1800 by Richard Heber for 
fifteen shillings. It passed from the Heber Library into the 
possession of William Henry Miller, the founder of the 
library at Britwell, in 1834. The measurements are 
yf" x 3!". It is bound up with a copy of Charles Fitz- 
Geffry s Blessed Birthday (Oxford, 1656). 

A copy belonging to John Mansfield Mackenzie, 
of Edinburgh, of which some leaves had rough edges, 
was sold at Sotheby s at the sale of the Mackenzie Library, 
March n, 1889, and was purchased by Pearson & Co., the 
London booksellers, for 26 ios. od. Its present owner has 
not been traced. 

A defective copy (consisting of twenty-seven leaves of 
the thirty) is in the Edinburgh University Library. 1 The 

1 Thanks are due to Dr. Eggeling and to Mr. Alex. Anderson of 
Edinburgh University for the opportunity of determining the date of this copy. 



LUCRECE 



measurements are j-f" x 3-^". It has no title-page, and the SEVENTH 
leaves C and Ci (lines 7^4-903) are missing. The bottom ED I"" ON , 
edges are closely shaved throughout. It was bound by 



The Rape of 

Ll 1 /"~~* Hf F" /""^ T* 
LI C RE C E 

Committed by 

T A RQJJ IN theSmJ 

*yf ^, 7^ 
7/^ remark tilt jttdgmtnts that befdhirff? li\ 

BY 

The incomparable Mafter of our E*i*li/h ?&?r} t 
WILL: SHAKE sp B AR.K Gent. 



The TZanifhinent of Y A R c^u i 

^^u i ry\ I r T n 

Or, /A^ T&Ward of Lti!t 

* - J ^ *. 




Printediby f.C. for ^ 



in George-v 
?ac = 



Tuckett. It was presented, in 1872, to the Edinburgh 
University by J. O. Halliwell-Phillipps, who, in a manuscript 
note, describes it as a unique exemplar, in ignorance of the 



G 2 



T2 LUCRECE 

SEVENTH survival of any other copy of the 1632 edition. Halliwell- 

EDITION, Phillipps had, in his Folio Shakespeare (1865-}, dated this 

defective copy before itfitf, assigning it tentatively to the 

year 1610, but his final opinion that it was issued in 1632 

is undoubtedly right. 

NO. xxx. The copy belonging to Mr. Marsden J. Perry, of Provi- 

Mr. Perry s j encej was purchased for 7? at the Halli well- Phillipps sale, 

in 1889. It measures Hi" x 3i"> an( l is bound in red 

morocco, by Lortic freres. Some of the lower and outer 

leaves are uncut. 

EIGHTH A reissue in 165-7, for which William Gilbertson, who 

had just purchased the copyright, was mainly responsible, 
bears this title: The Rape of LUCRECE, | Committed 
by | TARQUIN the Sixt; AND The remarkable judgments 
that befel him for it. \ BY The incomparable Master of our 
English Poetry^ | WILL : SHAKESPEARE Gent. | Whereunto is 
annexed, | The Banishment of TARQUIN : J Or, the Reward of 
Lust. | By J. Quarles. | LONDON. Printed by J. G. for 
John Stafford in George-yard | neer Fleet-bridge, and Will: 
Gilbertson at the Bible in Giltspur-street, 16??. \ The pages are 
numbered 1-71 for Shakespeare s poem and 1-12 for Quarles 
brief sequel. The signatures are continuous throughout A 4, 
B-F 8 in eights, G 4. The volume opens with an engraved 
frontispiece, by William Faithorne. In the upper part of 
the page is a small oval portrait of Shakespeare, adapted 
from the Droeshout engraving in the First Folio, and below 
are full-length pictures of Collatinus and Lucretia with the 
inscription in large italics : 

The Fates decree that tis a mighty wrong 
To Woemen Kinde, to have more Greife, then Tongue. 
Will: Gilbirson: John Stafford excud. 

On the title-page, which faces the frontispiece and is in 
ordinary type, is the device of a wreath containing the 
initials I. S. and W. G. (i.e. John Stafford and William 
Gilbertson). A dedication follows on sig. A3, c To my 



LUCRECE n 

esteemed friend Mr. Nehemiah Massey, and is signed John EIGHTH 
Quarles. The Argument is on A 4, and the text of Shake- E D ITION J 
speare s poem on B-F4 (verso blank). The separate title-page 




of Quarles poem is on Fy: Tarqvin Banished: Or, The 
Reward Of Lust. Written by J. Q.^ There follows an 
address < To the Reader ? (F <5), and the text of Quarles poem 
fills F7-G4. 



f4 LUCRECE 

EIGHTH The frontispiece is met with in very few copies, and 

f!7 N lends the volume its main value and interest. It supplies 
the third engraved portrait of Shakespeare in point of time, 
that by Droeshout of the First Folio of 1623 being the 
first, and the second being the engraving by William Marshall 
before Shakespeare s Poems of 164.0. Of the three early 
engraved portraits of Shakespeare, this by Faithorne is most 
rarely met with. Halliwellf-Phillipps], writing before iSyo , 
stated that he had seen thirty copies of the 16 55 edition of 
Lucrece without the title-page and only one with it. Only 
two copies of the volume with the frontispiece seem acces 
sible in Great Britain, while four seem to be in America. 
WITH THE Three copies of the edition are in the British Museum, 

FRONTIS- but only one of them has the frontispiece (C. 34. a. 45-). The 

PIECE. r . J 1-1 7 // 3 // J U 

VVVT perfect c Py> which measures 5--^ x 3-^ , was acquired by 

British tne Museum, April 3, i86 y. It is stained and very closely 

Museum ( i ). trimmed, but the impression of the frontispiece is singularly 

brilliant, though the verses beneath it have been cut into 

by the binder. This copy was at one time in the possession 

of Halliwell[-Phillipps], who sold it by auction at Sotheby s 

in May, i8fd, for 2? io/. od. Halliwell[-Phillipps] inserted 

a manuscript note, calling attention to the extreme rarity 

of the edition with the frontispiece, and to its comparatively 

frequent occurrence without that embellishment. 

NO. The copy in the Bodleian Library (Malone 889) was be- 

xxxii. queathed by Thomas Caldecott in 1 8 3 3. It measures ?^- 6 " x 3^". 

c e The frontispiece is mounted, and may possibly have come from 

another copy. The title-page is cropped and mutilated at 

the bottom. The binding is probably of the late eighteenth 

century. At the back of the Lucrece title-page the 

4 Wriothesley dedication is copied in manuscript from the 

1616 edition. 

NO. The copy in the Barton collection at the Boston 

Public Library has the frontispiece inlaid. 7 his copy was thus 
coneaion } described by the bookseller, Thomas Rodd, on October y, 
Boston 1837: c The title-page torn and laid down. The frontis- 
Lib b r ar piece inlaid. Several leaves cut into the side margin & 



LUCRECE fj- 

dirty. The back margin sewed in. Rodd thought it EIGHTH 
might be identical with the copy sold in 1827 at the Field ^ ION 
sale for $ i$s. orf. It was purchased by T. P. Barton of 
New York, from Rodd, in 183 $, and bequeathed by Barton 
to the Boston Public Library in 1876- It is bound in 
green morocco by Mackenzie, and the binder has misplaced 
pages y and 8. 

An interesting copy, belonging to Mr. Dwight Church NO. 
of New York, bound in old calf, has the frontispiece, but * xx * v 

11 r i c \- Mr. Dwight 

it is cut into at the bottom. Some or the pages or the church of 
text are also closely cut. The copy, which measures New York. 
j-^g" x 3-f-", seems identical with one which was purchased 
at Sotheby s, by [Sir] William Tite, in 185-0, for 26 $s. od. 
and sold at the Tite sale in 1874, for i i j-j. c//. Mr. Church s 
copy is carefully described in Contributions to English Biblio 
graphy , Grolier Club, 1897, p. 183. 

Mr. Folger, junior, of New York, possesses a perfect No. 
copy. This was apparently the copy which belonged to x ^ V j 
Dr. Richard Farmer, and was for a time in the library of 
Henry F. Sewall of New York, at the sale of whose books in 
1897 it fetched 37 (gi8r). 

A fourth perfect copy was sold at the Daniel sale in 
1864, for 40 i9/. cW., and was subsequently in the library of 
E. G. Asay of Chicago. (Daniel) 

Of two copies in the British Museum without the front is- copy 
piece one is bound up with a volume of pamphlets in the ^"FRON- 
King s Library, E. 1572/3. The date, c Aug: 31, is written TISPIECE. 
in a contemporary hand above the imprint, and was probably No. 
the day of publication in the year itff f. The book is in xxx y I! 

j ; j- ; /, a // British 

good condition. It measures f x 3^ . Museum (i). 

The second copy without the frontispiece, which is at No ; 
the British Museum, is in the Grenville collection (G. 11432). Brit 
All the leaves are stained and have been mended. The Museum (3). 
volume is bound in olive morocco and measures yf" x 3-^". 
This may be the copy formerly in the library of George 
Hibbert, of Portland Place, which was sold at the Hibbert 
sale in 1829, for 2 6s. od. 



EIGHTH 
EDITION 



No. 
XXXIX. 

Edinburgh 
University. 
Nos. XL. 
and XLI. 
Britwell 
copies. 



$6 LUCRECE 

There is a copy in the University Library at Edinburgh, 
without the frontispiece, and two copies without the title- 
page are at Britwell one of the latter formerly belonged to 
Richard Heber. 1 

1 Notices of other imperfect copies without the frontispiece appear in 
sale catalogues. In the Bibliotheca Anglo-Poetica* (1817), a catalogue of 
rare books on sale at Messrs. Longmans, of Paternoster Row, a copy is priced 
at i i or. od. but no particulars of its condition are given. One was sold at 
the Utterson sale in 185-1, for four guineas (without frontispiece and the 
bottom line of title cut off) ; another at the Frederick Perkins sale in 1889, 
bound by Roger Payne, for $ 6s. od. a third, belonging to Halliwell- 
Phillipps, bound by Bedford in morocco, was sold at the sale of his library, 
July i, 1889, to Raglan for ^^ os. od. At two miscellaneous sales at 
Sotheby s, on June 18 and December 4, 1901, respectively, the frontispiece 
and title-page were sold detached from the volume. On the first occasion they 
were bought for 13 ior. od. by Mr. Gribble, and on the second occasion 
Messrs. Pearson & Co. were the purchasers for 110. 







L V C R E C E. 




^.- *-. ">^siv >r ^^-"^ J-> * s^^^ 

& SS^^^^^t^^^ 

^D ^>^wf r T>^7^e>^ v ^ 

-<R> . l i~--..Uvs: i!CsT^; 



LONDON. 



Printed by Richard Field^orlohnHarrifonjandare 

tcJbc fold anhc figncot the v hire Greyhound 

inPaulcsChuihyr.ro, i f - 9 4. 



T O T H E RIGHT 

. H O N O V R A B L E, H E N R Y 
VVrioihefley,HarleofSouthhampConj 

.iiui Riron oi Ticchficld. 

H E loue I dedicate to your 
Lordfhip i; without end:\vhcr- 
of this Pamphlet without be 
ginning is but a iupcirluous 
X Moity. The warrant I hauc of 
your Honourable difpofition, 
notthewonh of my vntutord 
Lines makes it aflurcd of acceptance. What I hauc 
done is yours, what 1 haue to doe is yours, being 
part in all I haue,deuotcd yours. Were my worth 
greatcr,my ducty would (hew greater, meane time, 
as it is,it is bound to your Lordlhip^To whom I with 
long life dill lengthned with all happinefle. 

Your Lordlhips in all duety. 




William Shakefbcare. 

i 

A i 



THE ARGVMENT. 

r 

LVcius Tarquinius (for hucxcefliue pride fnm t tmed Superbus) 
after bee had VAU fed his owne father inhw Scruius Tullius to 
be cruelly nt trdred, and contrane to the T{om.iiiic l-.wcs andcti- 
jlomes , not requiring orftayin?for the peoples pi fjr.tvcs, hnd pojfefled 
himfclfeofthe kwgdome : went accompanied with hu fomtes and other 
Noble men of f{o mc } to bcjiege Ardea, during which fic^e, the principal! 
mm oftheislrmy meeting one etteningat the Tent 0/ScxfUS Tarquini- 
US the Ktn^sfonne, in their dtfcourfesafter fupptr every one c tmmc nd:d 
the venues of his ownewife : s.mo",<j whom Colatinus extoUedthemcem~ 
parable chaHitj ofhij mfe Lucrct Ja. In that p/eafont humor they allpo - 
ftedtoT{of)e, and intending by theyrfecret And (odame arrmall ta mjl^e 
trtttll of that which euery one had before avouched^ onely Col.ltinus/W.f 
hit VPtfe (though it were fatt in the ni^ht) /pinning (tmonaeft her maidcs^ 
the other Ladtes were all found eUnnCfftg and revelling or in feHers. Uif- 
portf : whereupon the Nokle WfWj fr/cW-Colatinus thevifiory, end 
hit wife the F*mt. zslt that time Scxtus Tarqumius kctH^enflnKicd 
vith Lucrecc betHtyyet finoothering hupajjionsfor thcpre[e*t t depjrtcd 
fptththe rtftbacke to the Carafe \from whence hefljortlj after pnuily 
withdrew himfdfe, andrr.u ( accoraingta his cftate} royally entertained 
And lodged by Lucrece at Colatium. 7 he fame night he trctcheroujlte 
ftealeth into her Chamber , violently ramfot her , and early in the mor- 
nin^ fpeedeth away. Lucrecc inthu lamentable flight t hastily difpatch- 
eth A jeflen^er.t >one to T{pme for her father , another to the Campefor 
Colatme. They came, the one accompanied with lunms Brutus, the o- 
therirtrbPablius Valtnus : andfindtng Lucrece atttredtn mournwg 
habit e , demanded the caufe of her /arrow . Shee fir ft taking an cath of 
them for her retim^e , rctttaled the A ft or , and vehole mancr of his dea- 
littViandvpiihattfodairiefy flawed her fitfe. Which djne, with onecen- 
fcnt they all vowed to root t out the whole hxtedfi&Ki/j of the Tarquins : 
find bearing the dead body to Rome , Brutus fl r Attaint fd the pcop. c with 
thf dvtr ti idm.inntr of the Z t/c d"edc : with j hitter inncthta againft the 
lyr.invj c~ t ft s tx?, wherewith the people were jo mo:>ed , / v:. Wit/yone 
- jnfe,;: andagcMralaccUmtinon, the Tarquins were nlttxi!cd l :i:dthe 
fratt 3 urn?r e ?nt cbr,:?edfrom KWS to Ccn uls. 

J I , U * > J 



^MS^g^ftS 




THE RAPE OF 

L V C R E C E. 

FROM thebefieged Ardea allinpoft. 
Borne by the truftlefle wings off alfedefire, 
Luft-brcathed TAR QviNjleaucs the Roman . 
And to Colatium bcarcs the lightleffc fire. 
Which in pale embers hid, lurkes to afpire, 
And girdle with embracing flames, the waft 
Of COL MINES fairloue, LVCRECE the chad. 

Hap ly that name of chad, vnhap ly fct 
This bateleflc edge on his keene appetite: 
When C o L A T i NK vnwifely did not let ? 
To praife the clcare vnmatched red and white, 
Which triumpht in that skie of his delight: 
Where mortal ftars as bright as heaues Beauties, 

O 7 

With pure afpe&s did him peculiar dueties. 

B 



11. i -14 



i THE RAPE OF LVCRECE, 

For he the night before inTarquins Tent, 
Vnlockt the trcafurc of his happic ftate : 
V Vhat prifelefle wealth the hcauens had him lent, 
In the pofleffion of his beauteous mate. 
Reckning his fortune at fuch high proud rate, 
That Kings might be efpowfed to more fame, 
But King nor Peerc to fuch a peerelefle dame. 

O happinefle enioy d but of a few. 
And it poded: us foone decayed and done: 
As is the morning filuer melting dew , 
Againfti.be golden fplendourohheSunne, 
An expir d date canceld ere well begunne. 
j Honour and Beautie in the owners armes, 
-Are weak el iefortreft from a world ofharmes. 

Beautie it felfe doth of ic felfe perfv/ade, 

The eies ofmen without an Orator, 
What needah then Appologie be made 
To fet forth that which is ib finguler ? 

> Or why is Colatine the publifher 

; Of that rich iewell he ihould keepe vaknown, 
/ From theeuiih cares becaufe it is his ov^ne ? 

Perchance 



H - 15 35 



THE RAPE OF LVCRECE. 

Perchance his bod of Lucrece Sou raigntL , 

Suggcfted this proud ifluc of a Kint* : 

For by our cares our hearts oft tayfitcd be : 

Perchance that cnuie otfo rich a thing 

Brauing compare, difciaineful. y did (ting (vane, 
His high plcht thoughts that meaner iiienihoulcl 
That golden hap which their (uperiors want. 

But fbme vntitnclie thought did inftigate, 
His all too timcleflfe fpcede if none ot ihofe, 
His honor, his affaires, his friends, his ftate, 
Ncglcded all, with fwift intent he goes, 
To quench the coale which in his liucr glowes. 
O rafh falfe heate, wrapt in repentant cold, 
Thy haftic fpring ftill blafts and nere growes old* 

When at Colatium thisfalfc Lord ariucd, 
V Veil was he welcom d by the Romaine dame, 
Within whofc face Beautic and Yertue (Iriued, 
Which of them both iliould vndei prop her fame. 
V Vhe Vcrtuebrag d , Beautic wold blulh for ft 
When Bcautie bofted bluilies^in defpight 
Vcrtuc would ftaine that ore with fllucr \s hite. 

B 2 



11. 36-56 



THE RAPE OF LVCRECE. 

ButBeautieinthat \vhitccntitulcd, 
From Venus denies doth challenge thai fairc field, 
Then Vcrtucclaimes from Beautie, Beauties red, 
Which Vertue gaue the golden age, to guild 
Their filuercheekes, and cald it then their fhicld, 
Teachingthem thus to vfe it in the fight, 
V Vhe ihamc afkild,thc red ihould fece the >vhitc. 

This Herauldry in LVCRECE face was feene, 
Argued by Beauties red and Vertues white, 
Of cithers colour was the other Quccnc: 
Prouingfrom worlds minoriry their right, 
Yettheir ambition makesthcm dill to fight: 
The foueraignty ot either being ib great, 
That oft they interchange cch others feat. 

This filent warre of Lillics and. of Roles, 
Which TARQJI N vcw d in her fairc faces field, 
In their pure rankes his tray tor eye enclofe^, 
Where leaft betweene them both it Ihould be kild. 
The coward captiue vancjuHhed, doth yceld 
To thofetwo Armies that would let him goe, 
Rather then triumph in io falfc a foe. 

Now 



5777 



THE RAPE OFLVCRECE. 
Now think ci he that her husbands fhallow tongue, 

C? 

1 he niggard prodigall that praifde her fo : 
In that high taskc hath done her Beauty wrong. 
Which fane cxcccdcs his barren skill to fhow. 
Therefore that praiie which C o L A T i N E doth owe, 

Inchaunted I A ,i qj/ i N aunfwcrs withfurmife. 

In illent wonder of ftill gazing eyes. 

This earthly fainft adored by this deuill, 
Little fufpedeth the falfcvvorlhippcr: 
" For vnftaind thoughts do fcldom dream on euill. 
"Birds neuer!im J 5 nofecretbulhesfeare: 
So Ljiii tlciTc ilicc fccurcly giucs good cheare, 
And rcucrend welcome to her princely gucty, 
V Vhofe inward ill no outward harme expreft* 

Forthathecolourcl withhishigricftate > 
Hiding bafe fin in pleats of Maicllie : 

That nothing in him feemd inordinate, 

& 

Sauc fometime too much \vond cr ofhis eye> 
Which hauing all, all could not fatisfie. 
But poorly rich To wanteth in his ftorc, 
That cloyd with much, he pineth dill for more* 



11, 78-98 



THE RAPE OF LVCRECE. 

Butilic that neucr cop t with ftraungcreies. 
Could picke no meaning fro;n their parling lookes, 
Nor read the fubtle ihinmg fccrecies, 
V Vrit in the glatfie margents of <iic h bookes, 
Shcc touchtno-vnknown baits , nor feard no hooks, 
Nor could (hee moralize his wanton fight, 
More then his eies were opend to the light. 

He (lories to her cares her husbands fame, 
VVonne in the fields of fruitful! Italic: 
And decks with praifcs Colatines high name, 
Made glorious by his manlic chiualrie, 
V Vithbruiiedarmes and wreathes of viclorie, 
Her ioie wi h heaucd-vp hand (he doth exprefle, 
And wordlefle fo greeted heauen for hii fucccflc. 

Far from the purpofe of his camming thither, 
He makes excuies for his being there, 
No clowdie ihow offtormic bluftring wether, 
Doth yet in his fairc welkin once appcare, 
Till (able N ight mother of dread and fcarc, 
Vppon the world dim darkncilc doth difplaic, 
And in her vaultic prifon,ftowcs the daie. 

For 



11. 99 119 



THE RAPE OFLVCRECE 

For then is Tarquine brought vnto his bed, 
Intending wearioefle with heauie /prite : . 
For after fuppcr long he <queftioned, 
With modeft Lucrece, and wore out the ni<?hr, 
Now leaden (lumber with Hues ftrength doth fight, 
And eueric one to reft himfelfe betakes, 
Saue theeues,and cares^ and troubled minds that 

(wakes. 
As one of which doth Tarquin lie reuoluing 

The fundiie dangers oi his wiL obtaining : 
Yet euer to obraine his will refoluing. ( n n g 

Though wcake -built hopes pcrfwadc him to abftai- 
Difpaire to gaine doth traffique oft for gaining, 
> And when great trcafure isihcmecdepropo ed, 
- 1 hough death be adiuut^ther s no death fuppofcd. 

Tho^e that much couet are with gaine Co fond, 
T hat whai they haue not,that which they poffcfle 
They icat.cr and vnloofe it from their bond, 
And fo by hoping more they haue but lefle, 
Or gaining moi e. the profite of exceffc 
Is but to furfct,and fuch griefes fufbine, 
That they prone backrout in this poore rich gain. 



11. 120 140 



THE RAPE OFLVCRECE. 

The aymc of all is but to nourfc the Ijfc, 

V V ith honor, wealth, and cafe in wainyng a;e: 

And in this aymc there is fuch thwarting ftrife, 

That one for all, or all for one we gage: 

As life for honour, in fell battailes rage, 

Honor for wealth, and oft that wealth doth coft 
The death of all, and altogether loft. 

So that in ventring ill, we leauc to be 
The things we are, for that which we expcd : 
And this ambitious foule infirmitie, 
In hauing much torments vs with defect 
Of that we haue: fo then we doe ncglcd 
The thing wehauc, and all for want of wit, 
Make fomcthing nothing,by augmenting it. 

Such hazard now muft doting T A R QJ i N make, 
Pawning his honor to obtainc his Juft, 
And for himlfclfe, himfelfe he mutt forfake. 
Then where is truth if there be no felfe- truft? 
5 When (hall he thinke to find a ftranger iuft, 

V Vhcn he himfelfe,himfclfe confoundsjbctraics, 
To fclandrous tongues & wretched hateful daies? 

JMow 



11. 141 161 



THE RAPE OF LVCRECE. 

Now dole v ppon the time the dead of night, 
VV hen hcauicfleecp had clofdvp mortal! eyes, 
No comfortable ftarre did lend his light, 
No noifc but Chvles, & wolues death-boding cries: 
Now femes the fcafon that they may furprife 

The fillie Lambes, pure thoughts are dead & dill, 
While Luft and Murder wakes to ftaine and kill. 

And now this luftfull Lord leapt from his bed. 
Throwing his mantle rudely ore his arme, 
Is madly toft betwecne defire and drcd; 
Th onc fwectely flatters, th other fearethharmc, 
But honed fcare,bewicht with luftes foule charme, 
Doth too too oft betake him to retire, 
Beaten away by braineiickc rude deiire. 

His Faulchon on a flint he foftly fmiteth, 
That from the could ftonc fparkes of fire doe flie, 
Whereat a waxen torch forthwith he lighteth, 
Which muft be lodeftarrc to his luflfull eye. 
And to the flame thus fpeakes aduifcdliej 
As from this cold flint I enforft this fire, 
SoLvca-lCE muft I force to my defirc. 

C 



11. 162182 



THE RAPE OFLVCRECE. 

Here pale with feare he doth premeditate, 
The daungers of his lothfome enterpriie: 
And in his inward mind he doth debate. 
What following forrow may on this anfe. 
Then looking fcornfully> he doth defpife 
His naked armour offtillflajghtcredluft, 
Andiuftly thus controlls his thoughts vniuft. 

Faire torch burne out thy light, and lend it not 
To darken her who/c liglit excellcth thine: 

o 

And die vnhallowed thoughts, before you blot 
V Vith your vncleanne(Te,that \A hich is deuine: 
Offer pure incenfe to (o pure a fhrine : 

Let fairc humanitie abhor the dccde, 

That ipots & ftains loucs rnodeft fhow-whitc weed. 

O lhamc to knighthood , and to (hining Armes, 
O foulc difhonor to my houihoulds grauc : 
O impious a6t including all foule harmes. 
A martial] man to be fbftfancics flaue, 
True valour Hill a true rcfpeit fhould hauc, 
Then my digreflion is fb vile, fb bafc, 
That it will liue cngrauen in my face. 

Yea 



II. 183203 



THE RAPE OF LyCRECE. 

Yea though r die the (candale will furuiue, 
Ard be an eie-fore in my golden coatc : 
Some lothfome da(h the Hcrrald will contriuc, 
To cipher me how fondlie I did dote : 
That my pofteritie fham d with the note 

Shall curfc my bones, and hold it for no finne, 
To with that 1 their father had not beenc. 

What win I iflgainc the thing! feeke ? 

A drcame, a breath, a froth oi fleeting ioy, 

Who buies a minutes mirth to vvaile a wceke ? 

Orfels eternitietogetatoy? 

For one fwecte ^rape ft ho will the vine deftroy ? 
Qr what fond begger,but to touch the crownc, 
Would with the iceptcr ilraight be (iroke down? 

IfCoLATiNVS dreame of my intent, 
V V ill he not wake, and in a defp rate rage 
Pod hither, this vile purpofe to prcuent? 
This fiege that hath ingirt his marriage, 
This blur to youth, this forrow to the fage, 
This dying vertue, this furuiuingiliame, 
Whofe crime will beareaneuer-during blame. 

C2 



11. 204224 



THE RAPE OF L V C R E C . 

O what excufe can my inucntion make 
V Vhen thou ihalt charge me with fo blacke a deed? 
V Vil not my tongue be mute,my fraile ioinrs (hake? 
Mine eics forgo their light, my falfe hart bleede? 
The guilt bccinggrear,thcf care doth (till excecdej 

And extreme feare can neither fight nor flic, 
Butcowardlikc with trembling terror die. 

Had C o L A T i N v s kild my fonnc or fire, 
Or laine in ambuih to betray my life, 
Or were he not my deare friend, thisdcfire 
Might haue cxculc to worke vppon his wife : 
As in reuenge or quittall of (uch ftrife. 

But as he is my kinfman, my dearc friend, 
The lhamc and fault finds no excufe nor end. 

Shamcfullitis :T,ifthefad beknownc, 
Hatcfull it is : there is no hare in louing, 
Uc beg her loue: but (he is not her owne : 
The word is but deniall and rcproouing. 
My will is flrong paft rcafons weakc remoouina ; 
Who fcarcs a lenience or an old mans Taw, 
Shall by a painted doth be kept in awe. 

Thus 



11. 225245 



THE RAPE OF LVCRECE. 

Thus gracclcilc holds he deputation, 
Twecnc frozen conscience and hot burning will, 
And with good thoughts makes difpenfation, 
Vrgingthe worfer fence for vantage ftill. 
Which in a moment <doth confound and kill 
All pure effeds 5 and doth Co farre proceede, 
That what is vik, ihewes like a vertuous decde. 

Quoth he, fhee tooke me kindlie by the hand, 
And gaz d for tidings in my eager eyes, 
Fcaripgfomc hard newes from the warlikeband, 
V \1ierchcrbeloucd6oiATiNvs lies. 
Ohowherfearc did make her colour rife I 
Firft red as Rofes that on Lawne welaie, 
Then white as Lawne the Rofes tooke awaie. 

And how her hand in my hand being lockt, 
Forft it to tremble with her loyall fearer 
Which (Irooke her fad , and then it rafter rockr, 
Vntill her husbands welfare fhee did heare. 
Whereat (hee/milcd with ibfwcete a cheare, < 
That had N A R<: i s $ v s fecit c her aa feee flood, 
S elfc-louc had neuer drown d him in the flood. 
1 C 3 



11. 246 266 



THE RAPE OF LVCRECE. 

Why hunt I then for colour or cxcufes ? 
All Orators arc dumbc when Bcautie pleadcth, 
Poorewr etches haueremorfc in pooreabufcs, 
Loue thriues not in the hart that Ihadows dreadeth, 
Affection is my Captaine and he leadeth. 
And when his gaudic banner is difplaidc, 
The coward fights, and will not be dilmaide. 

Then childifh fcare auaunt, debating die, 
Rcfpeil and reaion waitc on wrincklcd age: * ^ 
My heart mall ncucr countermand mine ei ^ 
Sad paufe, and deepe regard befeemes the fjgc, 
My part is youth and beatcs thefe from the fta^e. 
Defirc my Pilot is, Beauticmyprife, 
Then who feares finking where fuch treafure lies? 

As conic ore-growne by wcedes: fo heedfull fearc 
Isalmoitchoaktbyvnreiiftedluih 
Away he ftcales with open liftning care, 
Fiilloffoulehope,and full of fond miltruft:- 
Both which as fcruitors to the vniufr, 

So croffe him with their oppofitpcrfwafion, 
That now he vo v/es a league, and now inuafion. 
"^ VVith- 



11. 267287 



THE RAPE OF LVCRECE. 

Within his thought her heauenly image fits, 
And in the felfc fame feat fits C o L A r i N F, 
That eye which lookcs on her confounds his wits, 
That eye which him bcholdcs, as more dcuinc, 
Vnto a view fo falfc will not incline; 

But with a pure appeale fcckes to the heart, 
V Vhich once corrupted takes the workr part. 

And therein heartens vp his fcruilc powers, 
VVi>o flattrcd by their leaders iocound ihow, 
p his Juft : as minutes fill vp howrcs. 
hcirGaptainerfb their pride doth grow, 
nf^c flauim tribute then they owe. 
T>y reprobate dcfirc thus madly led, 
The Romanc Lor a marcheth to LVCRECE bed. 

The lockes betwcene her chamber and his will, 
Ech one by him inforft retires his ward : 
But as they open they all rate his ill, 
Which driues the creeping theefc to fome regard, 
The threiliold grates the doore to hauc him heard, 
Night wandring weezcls ihrcek to fee him there, 
They fright him, yet he (till purfues hi* fcare. 



11. 288308 



THE RAPE OF L V C R E C E. 
As each vriwilling portall yeelds him way, 
Through little vents and craniesofthe place, 
The wind warres with his torch, to make him flaie , 
And blowes the (moake of it into his face, 
Extinguifhing his conduft in this cafe. 

But his hot heart, which fond defirc doth fcorch, 
Puffes forth another wind that fires the torch. 

s 

And being lighted,by the light he (pies 
LVCRECIAS gloue, wherein her needle {licks, 
He takes it from the ruihes where it lies, 
And griping it, the needle his finger pricks. 
As who mould fay, this gloue to wanton trickes 
Is not inur d$ returne againc in hat, 
Thou feed our miftrefie ornaments are chaft. 

Butallthefe pooreforbiddings could not (lay him, 
He in the worft fe~nce confters their deniall: 
The dores, the wind^the gloue that did delay him, 
He takes for accidemall things of trial!. 
Or as thdfe bars which ftop the hourely diall, 
VVhowithalingringftaiehiscourfcdothlet, 
Till eueiie minute payes the howre his debt. 

So 



11. 309329 



THE R A P E O F L V C R E C 

So Co, quoth he, thefe lets attend the time, 
Like little frofts thatfbmetime threat the /piing, 
To ad a more reioyfing to the prime, 
And giue the (heaped birds more caufe.to fing. 
Pain payes the income of cch precious thing, (lands 
>*> Huge rocks,high winds, flrong pirats^dielucs and 
.The marchantfearcs, ere rich at home he lands. 

Now is he come vnto the chamber dore, 
That thuts him from the Hcauen ofhis thought, 
V Vhich with a y eelding latch, and with no more, 
Hath bard him from the blcfled thing he fought. 
So from himfelfe impiety hath wrought, 
That for his pray to pray he doth begin, 
As ifthc Heauens mould countenance his fin, 

But in thcmidftofhisvnfruitfull prayer, 

Hauing folicited th cternall power, 

That his foule thoughts mightcopaflc his fair faire ? 

And they would ftand aufpicious to the howre. 

Euen there he ftarts 5 quoth he, I muft defiowre; 
The powers to whom I pray abhor this fa 6t, 
How can they then afTift me in the ad ? 

D 



1- 330350 



THE RAPE OF L V C R E C E. 

T hen Loue and Fortune be my Gods, my gui Jc, 

My will is backt with rcfoiwion : 

Thoughts are but drcames till their cflccts be tried, 

The blackeftfimie is clear d with abfolution. 

AgainflloucsfirCjfcares frofthathdiflolution. 
The eye ofHeaucnisout,andmiflicniglu 
Couei s the fliame that followcs fv/eet delight. 

This faid, his guiltle hand pluckt vp the late h, 
And with his knccthe dore he opens wide, 
T he doue ilecps fail chat this night O wlc will cateh. 
Thub treafon workes crciraitoi s be c/picd. 
VV ho foes the lurk ing fcrpcntftcppc sail dc; 
P,ut Ihec found fleeping fearing no futh tiling 
Lies at the mercie of his mortall tting. 

Into the chamber wickcdlie he flalkcs, 

And gazcth on her yet vnftained bed ; 

Thecurtaines being clofc, about lie walk es ? 

Rowling his greedieeyc-bals in his head. 

By their high trcafbnishishcartrjiij led. 
Which giucs the watch word to his hand lul foon, 
To draw the clowd that hides the iiluer Moon. 

Lookc 



- 37 J 



THE RAPE OFLVCRECE. 
Lookc as the fairc and ficric pointed Sunne, 
Rulhingfrom forth a cloud, bcreaucs cur fight: 
Euen fo the Curtaine drawnc, his eyes begun 
To winke, being blinded with a greater light. 
V V hether it is that dice reflects fo bright, 

Thatdazlethrhcm,orelfefomefhamefuppofed, 
But blind they arc> an j keep themfe!u:sinclofed. 

had they in that darkefomc prifbn died, 

1 hen had they fcene the period ofthcir ill : 

T hen C o L A T i N E againc by L v c R E c E lidc, 
In his clearc bed might haue repofcd dill. 
But they muft ope this blcfled league to kill, 

Andholic-thoughted LVCRECE toth:irfight, 
Muft fell her ioy,hcrhfe p her worlds delight. 

Her lilliehandjherrofiecheeke lies vndcr, 
Coofning the pillow of a lawfull kiflc : 
Who therefore angrie fcemes to part in fitndcr, 
Swelling on either fide to want his bliiTc. 
Betwecnc whofe hils her head intombcd is; 
Where like a vertuous Monument (hcelics^ 
To be admir d of lewd vjihallowed eyes. 

D a 



- 37239 2 



.THE RAPE OF L VC R E C E. 

Without i Kc bed her other fairc hand was, 
On the greene coucrlet whofe perfect white 
Showed like an April! dazie on the graflfe, 
YVithpearlicfwetrcfembling dew of night. 
Her eyes like Marigolds hadiheath d their light, 

And canopied in daikeneffe fweedy lay, 
. . Till they might open to adornc the day. 

Herhaire like goldethreeds play d with her breath, 
O modeft wantons, wanton rnodeflie I 
Showing lifes triumph inthe map of death, 

fj 1 1 S 

Anddeaths dim looks in lifes monilitie. 
Ech in he/fleepethcmfcluesfb beautjfie,, 

As ifbctweene them twaine there were no ftrife,. 
But that life liu d in death, and.death in life. 

Her breads like luory globes circled with blew, 
A pa ire of maiden worlds reconquered, 
Saue ofthcir Lord, no bearing yoke they knew,. 
And him by oath they truely honored. 
Thefe worlds in TARQJIN new ambition bred, 
V Yho like a fowle v/iirpcr went abour, 
From.this faire throne to heaue the owner out. 

What 



11. 393413 



THE RAPE O F L V C R E C E 

What could he fee but mightily he noted? 
V Vhat did he note, but ft rongly he defired? 
V V hat he beheld, on that he firmely doted, 
And in his will his wilfull eye he tyred. 
-With more then admiration he admired 
Her azure vaines, her alablafter skinne, 
-Her corall lips, her fnow- white dimpled chip* 

As the grim Lion fawrieth ore his pray, 
Sharpe hunger by the conqueftfatisfied : 
So orethisileepingfouledothTARQjviN (lay, 
His rage ofluft by gaiing qualified; 
Slakt, not fuppreft, for ftanding by her fide, 
His eye which late this mutiny reftraines, 
Vnto a greater vprore tempts his vaines. 

And they like ftraglingQaues for pillage fighting,. 
Obdurate vafTals fell exploits effecting, 
In bloudy death and rauilhment delighting; 
Nor childrens tears nor mothers groncsrefpeding. 
Swell in their pride, the onfet dill expeding : 
Anoahis beating heart allarum ftriking, 
Giues the hot charge, & bids the do their liking. 



11. 414434 



THE RAPE OTLVCKECE. 

His drumming heart chcarcsvp his burning eye, 
His eye commends vhc leading to his hand; 
His hand as proud of filch a dignitie , 
Smoaking with pride, murcht on, to make his Hand 
On her bare breathe heart ofall her land- 

VVhofc ranks ot blew vains as his hand didlcale. 

Lcfc their round turrets ddlitutc and pale. 

They muflrinq to the quiet Cabinet, 
Where their dcarc gouernefTc and ladie lies, 
Do tell her ihcc is dreadf ullic bcfcr, 
And fright her with confufion ofthcir cries. 
Shee much amaz d brcakcsopcherlocktvp eyes, 
Who peeping foorth this tumult to behold, 
Are by his flaming torch dim d and controld. 

Imagine her as one in dead of night, 
From forth dull flecpcby dreadTullfancie waking, 
That thinkcsihce hath beheld fomcgartlic Ipntc, 
Whole grini aipc^t (cts eucric Joint a fluking, 
VVlut terror tis: butfhccin woffer taking, 
From (Icepedifluibed^eediullic doth view 
The fight which makes fu^pofcd terror trc\v. 

Wrapt 



H- 435455 



THE RAPE OF LVCRECE 

Wrapt and confounded in a thousand feares, 
Like to a new kild birdlhee trcrnbling lies : 
Shee dares not looke ? yet winding there appearcs 
Quicke-fhifting Antique svglie in her eyes. 
" Such ihadowes are the weake r brains forgeries, 
YVhoangrie that the eyesHiefrom their lights, 
In darknes daunts the witlmio^c dreadfull fights. 



His hand that yetremnincsvppon 
(Rude R am to batter fuch anJuorie wall :) 
May feele her heart (poore Cittjzen) diftreil, 
VVoundingitrdfetodeathjrife vp andfaU; 
Beating her bulke>that his hand fhakes withall. 
This moues in hin more rage and lefler pittie, 
To make the breach and enter this fvvcet Citty. 

Firftlike aTrompet doth his ; tongue bcgi^ 
TO found a parlie to his heartleffe foe^ 
Who ore the white (beet peers her whiter chin, 
The reafon ofthis ralh allarme to know^ 
Wthichheby dum demeanorfeekes to llvow. 
But ihec with vehement prayers vrgcthftill, 
Vndcr what: colour he commits this ill . 



11. 456476 



THE RAPE OF LVCRECE. 

Thus he replies, the colour in thy face. 
That euen for anger makes the Lilly pale, 

Andtheredrofe blulli atherowncdifcracc, 

*_j * 

Shall plead for me and tell my louing tale. 
Vnder that colouram Icome to fcalc 
_ Thy neuer conquered Fort, the fault is thine, 
For thofe thine eyes betray thee vnto mine. 

Thus I foreftall thee, if thou meane to chide, 
Thy beauty hath enfnar d thee to this night. 
Where thou with patience mud my will abide, 
.My will that markes thee for my earths delight, 
V Vhich I to conquer fought with all my might. 
, But as reproofe and reafon beat it dead, 
By thy bright beautie was it newlie bred. 

I fee what croflesmy attempt will bring, 
1 know what thorncs the growing rofe defends, 
I thinke the honie garded with a tiing, 
All this before-hand counfell comprehends. 
But Will is deafc, and hears no heedfull friends, 
Onely he hath an eye to gaze on Beautie, 
And dotes on what he looks, gainltlaw or ducty e 

I 



11. 477-497 



THE RAPE OF LVGR ECE. 

I hauc debated eucn in my fbule, 
What wrongjwhat mamc,what forrow I (hal brce J, 
But nothing can affedions courfe controull, 
Or flop the headlong furic of his fpeed* 
I know repentant tcares in/ewe the deed, 
Reproch, difdaine 5 and deadly enmity, 
Yet ftriue I to cm brace mine infamy. 

This faid> hec fiiakes aloft his Romainc blade, 
Which like a Faulcon towring in the ski es, 
Cowchcth the fowle below with his wings ilia de, 
V V Kofe crooked beakc thrcats,ifhe mount he dies. 
So vndcr his infulting Fauchion lie? 
Harmclefle L v c R E T i A marking what he tels, 
With trembling feare:as fowl hear Faulccs bcls. 

Lv c R E c E, quoth he, this night I mud enioy thec, 
If thou deny, then force mud worke my way : 
For in thy bed I purpofe to dcftroie ihee. 
That done, fome worthleffe (laue ofthine ile flay. 
To kill thine Honour with thy liucs decaic. 

Andinthydeadarmesdo fmeanc to place Hm, 
Swearing 1 flue him feeing thee imbrac c him. 





11. 498518 



THE RAPE OF L V C R E C E. 

So thy furuiuing husband ihali remainc 
The fcorncfull marke of cucrie open eye, 
Thy kinfmen hang their heads at this difdainc, 
Thy ifTucblur d with namclcflebadardic; 
And thou the author ofthcir obloquie, 
Shalt haue thy trcfpaffe cited vp in rimes, 
And iung by children in fuccecding times. 

But if thou yecld, I red: thy fccret friend, 
The fault vnknowne, is as a thought vnadcd, 

O f 

u A little harmedonc to a great good end, 

For lawful! pollicie remaines enacted. 

i Thepoyfbnousfimple fbmetime is compared 

In a pure compound; being fo applied, 

.His venome in eiledt is purified. 

Then for thy husband and thy childrers fake, 
Tender my fuite, bequeath not to iheir lot 
The fhamc thai from them no dcui ic can take, 
The blemiilithat will neuer be forgot: 
V Vorlc then a flauifti wipe, or birth howrs blot, 
Formarkcsdifcricdinmensnatiuitie, 
Are natures faultcs ; not their owne infamie, 

Here 



11- 519-539 



THE RAPE OF L V C R E C E. 
Here with a Cockcatrice dead killing eye. 
He rowfeth vp himfelfc, and makes a paufe, 
VVhilcfhccthcpidureofpurepietie, 
Like a white Hindc vnderthegrypcs (harpeclawes, 
Pleades in a wildcrneffe where are no lawcs. 

To the rough bead, that knowcs no gentle right, 
Nor ought obayes but his fowle appetite. 

But when a black- fac d clowd the world doth thret, 
In his dim mid th afpiring mountaines hiding : 
From eanhs dark-womb,lome gentle gull doth get, 
V Vhich blowthefe pitchic vapours fro their biding: 
Hindring their prefent fall by this dcuiding. 
So his vnhallowed haft her words dclaycs^ 
And moodie PLVTO winks while Orpheus playes. 

Yet fowle night-waking Cat he doth but dallie, 
While in his hold-faft foot the weak moufcpateth. 
Her lad bchauiourfeedes his vulture follic, 
A fwallowinggulfe thateuen in plentic wanteth. 
His eare her prayers admits, but his heart grantcth 
No penetrable entrance to her playning, 
"Tears harden luft Aough marble w?rc with ray- 

E 2 ( n n g 



11. 540560 



THE RAPE O 1 ; L V C R E C E. 

Her pittic-pleading eyes are fadiic fixed 
In the remorfcleiTe wrinckles ofhis face. 
Her modcft eloquence with iighcs is mixed, 
V V hich to her Oratorie addes more grace. 
She e puts the period often from his place, 

Andmidftthcfcntencefoheraccentbreakcs, 
1 hat twifc ihe doth begin ere once ihc fpcakes. 

She coniurcs him by high Almightie louc, 
By knighthood, gentric, and fvvcctc friendfhips orh, 
By her vp.timely tcares, her husbands louc, 
By holichumainelawjandcommoiuroth, 
By Heaucn and arth> and all the power of both : 
That to his borrowed bed he make retire. 
And ftoopc to Honor, not to fowle defire. 

Quoth fhce,rcward not Hofpitalitie, 
With fuch black payment, as thou haft pretended, 
> Muddc not the fountaine that gauc d rinke to thcc, 
Mar not the thing that cannct be amended. 
* End thy ill ayme, before thy flioote be cncfcd. 
He is no wood- man that doth bend his bow, 
To ftrikc a poorc vnfcafonable Doc. 

My 



11. 561581 



THE RAPE OF LVCRECE. 

My husband is thy friend, for his fake (pare me, 
Thy fclfe art mighcie,for thine own fake leauc me : 
My fclfe a weakling, do not then infnare me. 
Thou look ft not like deceipt,do not decciue me. 
My fighes like whirlcwindes labor hence to heaue 
If euer man were mou d with womas moneSj(thee. 
Be moucd with my teares > my fighes , my groncs. 

All which together like a troubled Ocean, 
Beat at thy rockie,andwracke threatning heart, 
To (often it with their continuall motion : 
For ftones diflblu d to water do conucrt. 
O if no harder then a ftor.e thou art. 

Melt at my teares and be compadionate, 
Soft pirtic enters at an iron gate* 

In TAR QJ INS likeneflfe I did entertains thee, 
Haft thou put on hisfhapc, to do him ihamc ? 
Tc all the Ho l of Heaiien I complaine me. 
Thou wrongft his honor, voudfthib princely name: 
Thou art not \\hatthou feem fr, and if th^e fame, 

Thou fcem ft not what thou art,a God, a King; 
> For kings like Gods (hould gouernc euery thing. 

3 



11. 582602 



THE RAPE OF L V C R I- C F, 

Howwiilthyfhamcbcfccdcdintliincagc 
When thus thy vices bud bctorc thy ipring ? 
if in thy hope thou darft do fuch outrage. 
What dar ft thou not when once thou art a King ? 
O be remcmbred, no oiuragious thing 
From vaflall actors can be wipt a way, 
Then Kings mifdccdes cannot be hid in clay. 

This dcede will make 1 thce only lou d for fcarc, 
But happ je Monarch* llijl, arc Icard for louc: 
VVithfowleorlcndorstliDLipcrforceinuft bcarc, 
When they in thcc tho like orknccs prouc^ 
If but for feare of this, thy will rcmoue. 

> For Princes are the glailc,thc Ichoolcjthc bookc, 

> Where fubieds cics do Icarn 5 do rcad^do lookc. 

And wilt thou be the fchoole where lufl Hull Icarnc? 
Muft he in thec read lectures of iuch fliamc e 
Wilt thou be glaflc wherein it (hail difcernc 
Authoritie for (inne, warrant for blame? 
Topriuilcdg^diQionorinthy name. 

Thou backft rcproch aga\n(l lon^_liujng lawd, 
And mak ft fairc reputation but a bawd. 

Had 



11. 603 623 



THE RAPE OF L V C R E C E. 

Haftthou commaund ? by him that gauejt thee 
From a pure heart coFrimaund thy rtbcll wril t 
Draw not thy (word to- gard iniquitic, 
/ For it was lent thee all that broode to kiJK 
Thy PrincelieonSce how-canft thou fulfill ? 

When pattcrnd by thy fault fowlc fin may {ay > 
He learnd to fin, and thou-didft teach the way. 

Thinke but ho\v vile a fpcdtacle it were. 
To view thy prefent trcipalfe in another : 
MensfauJtsdofeldometothcmfelue^ appeare, 
. Their own tranfgrefTions partiallie-they fmother, 
Thib ^uilt would Teem death- worthie in thy brother. 
O how are they wrapt in with infamies, 
That fro their own mifdeeds askaunce their eyes? 

To trice, to thce, my heau d vp hands appeal^ 
NottofeducingluftthyralKrclier: ^- 

I fuc for cxil d maiefdcs repcale, 
Let him rcturne, and flatiri ng Ihoughts retire. 
His true reiped will priibnfalicdeiire^ 

And wipe the dim mitt from thy doting eicn, 
That thou fhalt fee thy ftace, and pittie minc^. 



11. 624644 



THE RAPE OF LVCRECE. 

Hauc done, quoth he, my vncontrollcd tide 
Turn js not, but fwels the higher by this let. 
Small lightes are foone blown out, huge fires abide, 
And with the windc in greater furic fret: 
The petty ftreames that paie a dailie dec 

To their fait foueraigne with ihar frefh fals had, 
Adde to his flowc, but alter not his tail. 

Thou art, quoth ihce, a fca, a fbucraigncKing, 
And loe there fals into thy boundlcilc Hood , 
Blacke luft, diihonor, ihamc, mif-gouermng, 
Who fecke to ftaine the Ocean of thy blood. 
If all thefcpctticils (hall change thy good, 
Thy lea within a puddels wombe is herfcd, 
And not the puddle in thy Tea difperfcd. 

So lliall thefe flaucs be King,artd thou their (lane, 
Thou noblie bafe , they balelic dignified : 
Thou their fairc life, and they thy fowler graue : 
Thou lothed in their ihame, they in thy pride, 
Theleffer thing fhould not the greater hide. 
The Cedar ftoopes not to the bafe ihrubs fooce, 
Butlow-ihrubs wither at the Cedars roote. 

So 



n. 645665 



THERAPE OFL V C R E C E. 

So let thy thoughts low vaflals to thy ftatc, 
No more quoth hc,by Hcaucn I will not hcarc thee. 
Yceld to my loue, if not inforccd hate. 
In fteed of loues coy tutch mall rudelie tcarc thec. 
That done, defpitcfullic I meanc to beare thee 
Vnto the bale bed of feme rafcall groome, 
To be thy partner in this ihamcfull doome. 

This faid, he fets his foote vppon the light, 
For light and lull are deadlic enemies, 
Shame folded vp in blind concealing night, 
VVhenmoftvnfeene, then rnoft doth tyrannize. 
The wolfe hath ceazd hi ; pray, the poor lamb cries, 
Till with her own white fleece her voice controld, 
Intombesheroutcrie in her lips fweetfold. 

For with the nightlie linnen that fhee wcarcs, 
He pens hcrpiteous clamors in her head, 
Cooling his hot face in the chatted: tearcs, 
That euer modcft eyes with forrow ilicd. 
O that prone luft (liould ftaine fo pure a bed, 
The fpots w hereof could weeping purifie, 
Hertears Ihould drop on them perpetuallic. 

F 



11. 666-686 



THE RAPE OF LVCRECE. 

>-But (lice hath loft a dearer thing then life, 
And he hath wonnc what he would loofc againe, 
This forced league doth force a further ftrife, 
> This momcntarie ioy breeds months of paine, 
This hot defire coouerts to coldc difdaincj 
Pure chaftitie is rifled of her (lore, 
And lull the theefcfarre poorer then before. 

Looke as the full-fed Hound, or gorged Hawke, 
Vnipt for tender fmell, or fpeedieriighr, 
Make flow puriuite, or altogether bauk, 
The praie wherein by nature they delight: 
So furfet-taking T A R QJV i N fares this night: 
His tad delicious, in digcftion fowring, 
Deuoures his will that liu d by fowle deuouring, 

O deeper finne then bottomleflc conceit 
Can comprehend in ftill imagination ! 
Drunken Deilrc mufl vomite his receipt 
Erchecanfeehisowneabhomination. 
> VN 7 hiIe Lufl is in his pride no exclamation 
Can curbc his heat, or rcine his ralh deilrc, 
Till like a Iade,felf-will himfclfe doth tire. 

And 



11. 687 707 



THE RAPE OFLVCRECE. 

And then with lanke,and Icane difcolour dchcckc, 
With heauic cy e,knit-brow,and ftrengthlefTc pace, 
Feeble defire all recrcant,poore and mccke, 
Like to a banckrout begger wailcs his cace : 
The flefh being proud, Defirc doth fight with grace; 
> For there it reucls, and when that dccaies, 
Thcguiltiercbell forremiffion praies. 

So faresit with this fault-full Lord of Rome, 
VVho this accomplilhmcntfb hotly chafed, 
For now againft himfelfe he founds this doomc, 
That through the length of times he ftads difgraccd: 
Befides hisibulcs faire temple is defaced, 

To whofe weake mines mufter troopes of cares, 
To aske the fpotted Princcflfe how (he farea. 

Shee fayes herfubieds^/ithfowle infurrc&ion, 
Haue batterddowne her confccrated wall, 
And by their mortall fault brought in fubie&iori 
Her immortalitie, and made her thrall, 
Toliuing death and payne pcrpetuall. 

Which in her prefcienceihee controlled (till, 
B ut her forcfightcould not foreflall their will, 

Fi 



11. 708728 



THE RAPE OF LVCKECE. 

EuUin this thought through the dark- night he ftea- 
A captiue vidor that hath loft in gainc, (leth, 

Bearing away the wound that nothing hcaleth, 
The (carre that will dilpightof Cure remaine, 
Lcauinghisfpoilcperplext in greater paine. 
> Sheebearcsthelodeofluilliclchbchinde, 
And he the burthen of a guiltie minde. 

Hcc like a thccuifh dog;crceps (adly thence, 
Shce like a wearied Lambe lies panting there, 
He fcowles and hates himfelfc for his offence, 
Shce defpcrat wich her nailes her flefh doth tcare. 
He faintly flies (wearing with uiltiefearc; 
Shce ftaiesexclayming on the direiull night, 
He runnes and chides his vaniilit loth d delight. 

He thence departs a heauy conuertite, 

Shee there remainesa hopcleffe calKa\vay, 
He in his fpeed lookesfor the morning light : 
Shec pray eslheeneuer may behold the day. 
For daie, quoth ihee^ighrs Tcapcs doth open lay, 
> And my true eyes haueneuerpra&iz d how 
> To cloake offences with a cunning brow. 

They 



11. 729749 



THE RAPE OFLVCRECE. 

They thinke not but that cucrie eye can ice, 
The fame difgracc w hich they thcmfclues behold : 
And therefore would they ftill in darkencfTc be, 
To hauc their vnfeene llnnc remaine vntold. 
Forthey their guilt with weeping will vnfold, 
And graue like water that doth cate in ftcclc, 
Vppon my cheeks, what helpclefle (hame I fcclc. 

Here l"hce exclaimes againd repofc and reft, 
Ami bids her eyes hereafter ft ill be blindc, 
Shoe wakes her heart by beating on her brcft, 
A nd bids it Icape from thence, where it maic findc 
Some purer chcft, to clofc fo pure a minde. 

Frantickcwithgrietethus breaths (lice forth her 
Againd the vnfeene fecrecie of night. 

O comfort killing night, image of Hell, 
Dim rcgiftcr, and notarie oflhame, 
Black e ftagc for tragedies, and murthcrs fell, 
Vafllin-concealing Chaos, nourfe of blame. 
Blinde muffled bawd^darkcharber for defame, 
Grim caue of death, whifpring confpirator, 
V Vith clofe-tong d treafon & the rauiilicr. 

F 3 



750770 



THE RAPE OFLVCRECE. 

O hatefulljVaporous, and foggy nighr, 
Since thou artguilty of my curcleflc crime : 
Muftcr thy mifts to meete the Eafterne light, 
Make war againft proportion d courfe ot time. 
Or if thou wilt permit the S unne to clime 
His wonted height, yet ere he go to bed, 
Knit poy (bnous clouds about his golden head. 

With rotten damps rauilh the morning airc, 
Let their cxhald vnholdfome breaths make iickc 
The life of puritie, the fupremc faire, 
Ere he arriuc his wcarie noone-udc prick e, 
And let thy muftic vapours march fb thickc, 

That in their fmoakie rankes,his (rnothred light 
Mav fet at noone,and make perpetuall night. 

Were T A a QJ i N night, as he is but nights child, 
The (lluer mining Queene he would diftaine; 
Her twinckling handmaids to(by him derij d) 
Through nights black bofom ihuld not peep again. 
So fhould 1 haue copartners in my painc, 
And fellowmip in woe doth woe afTwagc, 
> As Palmers chai makes Ihort their pilgrimage. 

Where 



11. 771791 



THE RAPE OFLVCRECE 

Where now I haue no one to blulh with me, 
Tocrofle rheir armes & hang their heads 
To maske their browes and hide their infamic, 
But I alone, alone muft fit and pine, 
Scafoning the earth whh fhowres of filuer brinej 
^Mingling my talk with tcars 3 my grcef with grones, 
Poore wafting monuments of lading moncs. 

O night thou furnace offowle reeking fmokc! 

Let not the iealous daie behold that face, 

V V 7 hich vnderncath thy blacke all hiding clokc 

Immodeftjy liesmartird withdifgrace. 

Keepe ftill poflcfTion of thy gloomy place, 

That ah rhc faults which in thy raignc arc made, 
May likewife be fegulchcrd in thy (hade. 

- *!. > 

Make me not obicd to the tell-talcday, 
The light will (licw charadcrd in my brow, 
The ftorie of fwcctc chaftities decay, 
Thcimpiou> breach of holy wcdlocke vowc. 
Yea the illiterate that know not how 

To cipher what is writ in learned book e% 

V V ifl cote my tothfome trefpaflc in my lookes* 



11. 792 812 



THE RAPE OFLVCRECE. 

The nourfc to ftillher child will tell my ftorie, 

And fright her crying babe with T A R Q^V i N s name. 

The Orator to dccke his oratorie, 

V Vill couple my rcproch to T A R QJ i N s fhamc. 

Feaft-finding minftrels tuning my defame, 
VVilltiethchearers to attend ech line, 
How TARQ_VIN wronged me, 1 COLA TINE. 

Let my good name ? thatfcncc!c{Te reputation, 
For COLAIINES deare louche kept vnfpottcd: 
Ifthat be made a theame for deputation, 
The branches of anotherrootc arc rotted^ 
And vndcferu d rcproch to him alotted, 
Thatisasclearcfrom this attaint of mine, 
As I ere this was pure to C o L A T i N E. 

O vnfeenc (hamc, inuifiblc difgrace, 
Ovnfelt fore, crcft-wound ing priuatfcarrc! 
Reprochisftamptin COLATINVS face. 
And T ARQJT i NS cyemaiereadthcmorafarre, 
<c Hov^ he in peace is wounded not in v. arrc. 
cc Alas how manie bcare fuch ihamefull blowes, 
Which not thefclucs but he that giues the kno wcs. 

If 



11. 813833 



THE RAPE OF LVCRECE. 

If C o L A T i N E, thine honor laic in me, 
From me by ftrong aflault it is bereft : 
Nty Honnic loft, and I a Drone-like Bee, 
Hauc no perfection ot my {bmmer Jcft, 
But rob d and ranfak t by iniurious thefr. 
> In thy weake Hiue a wandring wafpe hath crept, 
And fuck t the Honnte which thy chaft Bee kept. 

Yet am I guiltie of thy Honors wracke, 
Yet for thy Honordidlentertainehim, 
Comming from thec I could not put him backe: 
For k had beene diihonor to difdainc him, 
Befidcsofwearineffehedidcomplainehim, 
And talk t of Vertue (O vnlook t for euill,) 
When Vertue is prophan d in fuch a Dcuill. 

Why tliould the worme intrude the maiden bud ? 

Or hatefullKuckcowes hatch in Sparrows nefts ? 

Or Todesinfcctfaire founts with venome mud? 

Or tyrant follie lurke in gentle brcfts 

OrKings be breakers of their o\vne bchcftcs* 
"But no perfection is fo abfolute, 
That fomeimpuritie doth not pollute. 

G 



11. 834-854 



THE RAPE OF LVCRECE. 

The aged man that coffers vp his gold, 
Isplagu d with cramps, and gourmand paincfullfits, 
And karcc hath eyes his treaiui e to behold. 
But like ftill pining TANTAtvshc fits, 
And vfelcffe barnes the harucil of his wits: 
Hairing no other plcafurcof his gaine, 
But torment that it cannot cure his painc. 

o then he hath it \vhcnhc cannot vie ir, 
And leaucs it to be maiftred by his yong : 
Who in their pride-do prcfently abitfe it, 
T heir father was too wcake, and they too ftrong 
To hold their curfed-blefled Fortune long. 

" The fwects we with for, turne to lothed fbwrs, 
a Euen in the moment that we call them ou is. 

Vnruly blafts wait on the tender Spring, 
Vrfholfome weeds take roote with precious flowrs, 
The Adder bifles where the fweete birds fiug, 
What Vertue breedes Iniquity deuoiirs: 
V Vc haue no good that we can (ay is ours, 
But ill annexed opportunity 
> Or kils his lifc ? or clfc his quality. 

O 



11. 855-875 



THE RAPE OF LVCRECL 

O opportunity thy guilt is great, 
Tis thou that cxecut ft thcrraytors treafon: 
Thou fcts the woife where he the lambe may get, 
V Vho euer plots the finne thou poinft the leaion. 
Tis thou that fpurrfft at nght> at law, at reafon, 
And in thy ihadie Cell where none may fpie him, 
Sits fin to ceaze the ibules that wander by him. 

Thou makcft the veftall violate her oath, 
Thou bloweft the fire when temperance is thawd, 
Thou imotherft honcftie, thou murthreft troi h, 
Thou fow le abbettor, thou notorious bawd, 
Thou planted fcandall, and difplaceft lawd. 
Thou rauillier, thoutraytor, thou fa lfe theefc, 
Thy honic turnes to gall,thy ioy to greeie. 

Thy fccret pleafure turnes to open fhame, 
Thy priuatc feafting to a public ke fa ft, 
Thy {moothing titles to a ragged name, 
-Thy fugred tongue to bitter wormwood taft, 
Thy violent vanities can neuer lad. 
^ How comes it then, vile opportunity 
Being fobad,fuch numbers feeke for thee? 

G ^ 



11. 876896 



THE RAPE Or L V C II E C E. 

V Vhcn wilt thou be the humble fuppliants fricn i 

And bring him where his fuit may be obtained? 

V Vhcn wilt thou fort an howrc great (b ifcs to end? 

Or free that foulc which wretchedncs hath chained ? 

G iuc phifickc to the f ickc, cafe to the pained? 
The poore^amejblindjhauJtjCrccpc, cry out for 
But they ncie meet with oporcunitic. (thcc, 

The patient dies while the Phifuian flcepcs, 

The Orphane pines while the opprcilbr fccdes. 

lufticc is feafting v\ hilc the widow wecpcs. 

Aduifc is fporting while infection breeds. 

Thou graum ft no time for charitable deeds. 

Wrath, cnuy, trcafon, rape, and murthcrs rages, 
Thy heinous hourcs waiton them as their Pages* 

When Trueth and Venue haue to do with thee, 
A thoufand erodes kccpc them from thy aide: 
They buic thy helpe,but fmne neregiucs a fee. 
He gratis comes, and thou art well apaide, 
As well to heare, as graunt what he hath faide. 
My C o L A T i N E would clfe haue come to me, 
V Vhcn TAR QJIN did,but he was ftaicd by thce. 

Guilty 



11. 897917 



THE RAPE OF LVCRECE. 

Guilty thou art of murther,andofthefr, 

Guilty of pcriurie,and hibernation, 

Guilty oftrcafon,lbrgcrie,and fhifr, 

Guilty of inceft that abhomination, 

An acceflaric by thine inclination. 

To all ilnncs part and all that are to come, 
From the creation to the generall doome. 

Miflhapen time, cope/mate oi vgly night, 
S wilt lubtlc pott, carrier ofgrieflic care, 
Eater of youth, falfc flaue to falic delight : 
Dale watch of woes, fins packhorie,vertucs marc. 
I hou nourfcft all, and murthreft all that are. 
O hcarc me then, iniurious fhifting time, 
Be guiltic of my death fmcc of my crime. 

Why hath thy feruant opportunity 
Betraide the howrcs thou gau ft me to repofe? 
Canccld my fortunes, and inchained me 
To cndlefie date of ncuer-ending woes? 
Times office is to fine the hate oftocs, 
To eate vp crrours by opinion bred, 
Not fpcnd the dowrie of a la\\ full bed. 



11. 918-938 



THE RAPE OF LVCRECE. 

Times glorie is to calme contending Kings, 
To vnmaske faliJiOQcl^and bring truth to light, 
To ftampe the fcalc of time in aged things, 
To wake the morne^n.iCentinell the night, 
To wron<* the wronger uM ne render ri^ht, 

p D . O * 

To ruinate proud buildings with thy howres, 
And imeare with dud theirglitring golden to wrs. 

To fill with worme-holes ftately monuments, 
To fcede obliuion with decay ofthings, 
Toblot old bookes, and alter their contents, 
To plucke the quils from auncient raucns wings, 
To drie the old oakes fappe, and cherilh-fprings : 
To fpoile Antiquities oihammerdfteele, 
And turne the giddy round of Fortunes \\ heele. 

To (hew th e beldame daughters of her daughter, 
To make the child a man, the man a childe, 
To flay the tygre that doth liueby (laughter, 
To tame the Vnicornc, and Lion wild, 
To mocke the fubtle in themfelues beguild, 

To cheare the Plowman with increafefull crops, 
j And waft huge (tones \\ ith little water drops. 

Why 



11. 939959 



THE RAPE OF LVCRECE. 

Why work ft thou mifchiefe in thy Pilgrimage, 
VnlciTc thou couldft i eturnc to make amends ? 
One poore rctyring minute in an age 
V Vould purchafe thee a tboufand thoufand friends, 
Lending him wit that to bad dcttets lends, (backe, 

this dread night,would $ thou one hour ccrme 

1 could preuent; th4s<ftormc,and Ihun thy wracke. 

Thou ccafelcffc lackie to Eremitic, 
VVithfomemifchancecrolle TA*QVIN inhisflighr* 
Deuife extreamcs bey<6n<i ext^cmiticy 
To make him curfdthisdtrfed crin>cfuil nighc 
Let gaftlyihadoweshislevvd eyes affright, ; 

And the dire thoughtot his committed euill, 
Shape-cuery buih a hideous lhapelefle deuilh 

Difturbe his ho wres ofreft with rcftlefTe trances, 
Affliol hiirt inhis bed with bedreJgroney, 
Let there bechauncctflmpitifull milchances, 
To make him monei, but pitie not his moncs: 
Stone him with hardncdhearts harder then ftones^ 
And I ecmilde women to him loofc thqir mildnciTe, 
V V 7 iJder toiiini then Tygers in their wildnefle. 



11. 960 980 



THE RAPE OF LVCRECE. 
Let him haue time to tearc his curled haire, 
Let him hauc time agatnft himfelfe to raue, 
Let him hauc time of times helpe to difpaire, 
Let him haue time to Hue a lothcd flaue, 
Let him haue time a beggers orts to crauc, 
And time to fee one that by almes doth Hue, 
Difdainc to him difdained (craps togiue. 

Let him haue time to fee his friends his foes, 
Andmerriefoolestornockcathimrefort: 
Let him haue time to marks how (low time goes 
In time of forrow, and how fwift and ihort 
His time of follic,and his time of /port. 
Andcuerlethisvnrecallingcrime 
Haue time to waile th abufing of his time. 

O time thou tutor both to good and bad, 
Teach me to curfe him that thou taught ft this ill : 
Athisowne fhadow let rhethccferunne mad, 
Himfclfe 5 himfelfefckeeuerie howre to kill, 
Such wretched hads fuch wretched blood iliuld fpill. 
For who fo bafc would fuch an office haue, 
As fclandrous deaths-man to fo bafe a flaue. 

The 



11. 981 1001 



THE RAPE OFLVCRECE. 

The bafer is he comming from aNing, 
Tollwnc his hope with deedes degenerate, 
, The mightier man the mightier is die thing 
/That makes him honord, or begets him hate : 

> For grcatcft fcandall waits on greateft ftate. 

> The Moonc being clouded^ prefently is mift, 
But little liars may hide them when they lift* 

The Crow may bath his coaleblackc wings in mire, 
And vnpcrceau d flic wii h the filth away, 
But it the like the (how-white Swan defire, 
The ftaine vppon his illuer Downc will ftay. 

> Poore grooms are ilghtles night,kings glorious day, 
. Gnats arc vnnoted whercioere they flic, 

But Eagles gaz d vppon wi;h cuerie eye. 

Out idle wordes, feruantsto (hallow fooles, 
Vnprofitable fouuds^wcake arbitrators, 
Eufie your (clues in skill contending fchoolcs, 
Debate where ley. ureferucs with dull debaters: 
To trembling Clients be you mediators, 
For me, I force not argument a ftraw, 
Since that my cafe is pull the hclpc of law. 

H 



11. 1002 1022 



THE RAPE OF L V C R E G E. 

Invainelrailc atoportunitic, 
At time, at T A n qj i N T , and vnchcarfull night, 
Invainelcauillwithmincinfamic, 
In vainc I fpurne at my confirm d defpighc, 
This helpclefTe fmoake of words doth me no right: 
The remedie indeede to do me good, 
Is to let forth my fawle defiled blood. 

Poore hand why quiuerft thou at this decree ? 

Honor thy ielfe to rid me of this (hamc, 

For if I die, my Honor liues in thee, 

But if I liuc thou liu ft in my defame; 

Since thou couldfl not defend thy loyall Dame, 
And waft affeard to icratch her wicked Fo, 
Kill both thy felfe, and her for yeeldingfo. 

This faid, from her betombled couch iliec ftartcth, 
To finde fome defp rat Inftrument of death, 
But this no (laughter houfe no toolc imparteth, 
To make more vent for p aflage of her breath, 
Which thronging through her lips fbvanilheth, 
As fmoake from / T N A, that in aire confumcs, 



Or that which from diicharged Cannon fumes. 



In 



11. 10231043 



THE RAPE OFLVCRECL ? . 

In vainc (quo;h fhcc) I Hue, and fccke in vainc 
SomehappicmeanetoendahaplciTclife. 
Ifcar d by TARQJ/INS Fauchiontobcflainc, 
Yetforthefelfeiamcpurpofefeekeaknire; 
But when I fcar d I was a loyall wife, 
So am I now, 6 no that cannot be. 
Of that tiuetipe hath TAKQJVIN rifled me. 

that is gone for which I fought to Hue, 
And therefore now I need not teare to die, 
To clearc this fpot by death (at leaft) I giue 
A badge of Fame to fclandcrs liucrie, 
Adyinglife,toliuinginfamic: 

Poore helpleile helpe, the treafure (lolne away, 
To burne the guiltleile casket where it lay. 

Well well deare C o L AT i N E, thou ftialt not know 
The Rained tad of violated troth : 

1 will not wrong thy true affe6\ion (6, 
To flatter thee with an infringed oath: 
Thisbaftardgraffcfhall ncucrcome to growth, 

He (hall not boaft who did thy ftocke pollute, 
ou ait doting father of his fruite. 
Hz 



11. 1044 1064 



THE RAPE OF LVCRECE. 

Nor (hall he faile at thee in fecret thoughr, 
Nor laugh \viih his companions at thy Rate, 
But thou (halt know thy intreft was nor bought 
Bafely with gold, uut ftolne from foorth thy gate. 
For me I am the miftreiTe of my fate. 

And with my trefpaffe neuer will difpence, 
Till life to death acquit my forft offence. 

I will not poyfbnthee with my attaint. 
Nor fold my fault in cleanly coin d excufcs, 
My fable ground of finne I will not paint, 
To hide the truth of this falfe nights abufes. 
My tongue (hall vtter all^mine eyes like (luces, 
As from a mountaine fpringthat feeds a dale, 
Shal guUh pure ftreams to purge my impure tale. 

By this lamenting Philomelc had ended 
The well- tun d warble of her nightly forrow, 
And folemnc night with flow fad gate defcendcd 
To ouglic rt ell, when loc the blulhing morrow 
Lends lightto all fairc eyes that light will borrow. 
But cloudie LVCRECE fha,mcs her felfe to fee. 
And therefore ftill in night would cloiftred be. 

Rcuealing 



11. 1065 1085 



jtk* ft 



THE RAPE OF LVCRECE. 

*. 

Reucaling day through cuerycrannicfpies, 
And ieems to point her out where the (us weeping, 
To whom iliec fobbing Ipeakes, 6 eye of eyes ? (ping, 
Why pry it thou throgh my windows leaue thy pee- 
Mockwiththy tickling bcams,eicsthat arc flecping; 
Brand not my forehead with thy percing light, 
For day hath nought to do what s done by night. 

Thus cauils fhee with cuerie thing fhee fees, 
True eriefe is fond and teftie as a childc, 
Who wayward once,his mood with naught agrees, 
Old woes, not infant forrovves beare them milde, 
Continuance tames the one, the other wilde, 
Like an vnpradiz d fwimmer plungingftill, 
With roo much labour drowns for want of skill. 

So fhee dcepe drenched in a Sea of care, 
Holds difputation with ech thing fhee vewes, 
And to her felfe all forrow doth compare, 
No obied but herpaffions rtrength rcnewes : 
And as one fliiftes another ftraightinfewes, 

Somtime hcrgriefe is dumbe and hath no words, 
Sometime tis mad and too much talke affords. 



11. 1086 1106 



THE RAPE OFLVCRECE. 

The little birds that tune their mornings k>y, 
Make her moncs mad, with their fweet melodic, 
" For mirth doth fearch the bottome ofannoy, 
"Sad foules are (laine in merrie companie, 
Griefcbeftispleardwithgriefcsfocietie; 
Cv True forrow then is feelinglie fuffiz d, 
<c V Vhen with like femblancc it is flmpathiz d. 

cc Tis double death to drownc in ken of ihore, 
cc He ten times pines,that pines beholding food, 
IC To fee the falue doth make the wound ake more : 
<c Great griefc greeues moft at that wold do it good; 
a Dcepe woes roll forward like a gentle flood, 

Who being fcopt,the bouding banks oreflowcs, 
G riefe dallied with, nor law, nor limit knowcs. 

You mocking Birds(quoth Ihe)your tunes intombc 
Within your hollow fwclling feathered breafts, 
And in my hearing be you mute and dumbe, 
My redlclTe difcord loucs no (lops norrefts : 
" A woefull Hoftefle brookes not mcrric gucfts. 
Ralilli your nimble notes to pleafing cares, 
<c Diftrcs likes dups whe time is kept with teares. 

Come 



11. 1107 1127 



THE RAPE OF LVCRECE. 

Come Philomclc that fing ft of rauiihment, 
Make thy (ad grouc in my dilheucld hearc, 
As the danke earth wecpes at thy languilhmcnt: 
So I at each fad ftraine, will ftraine tearc. 
And with deepe grones the Diapafon bearc: 
For burthen-wife ile hum on T A R QJ/ i N ftill, 
VVhilethouon TEREVS defcants better skill 

And whiles againft a thorne thou bcar ft tliy part, 
To keepe thy fharpe woes waking, wretched I 
To imitate thee well, againft my heart 
Will fixe a fharpe knife to affright mine eye, 
Who ifit winke fliall thereon fall and die. 
Thefemeanesasfretsvponaninftrument, 
Shal tune our heart-ftrings to true languiihmcnt. 

And for p oore bird thou fing d not in the day, 
As fhaming anie eye (hould thee behold : 
Some darke deepe defertfeated from the way, 
That knowes riot parching heat, nor freezing cold 
Will wee find out : and there we will vnfold 

To creatures ftern,(ad tunes to change theirkinds, 
1 Since me prouebeafts^letbeafts bear getle minds. 



11. 11281148 



THE RAPE OF LVCKECE. 

As the poore frighted Deare that (lands at gaze, 
Wildly determining \ hichway toflie, 
Or one incompaft with a winding maze, 
That cannot tread the way out readilic: 
So \vith her iclfe is lliee in mutinic, 

To line ordie which ofthetwainc were better, 
When life is fliam d and death rcproches dctter. 

To kill my felfe,cjuoth (hec, alackc what were it, 
But with my body my poore (oulcs pollution? 
They that loofe halre with greater patience beare it, 
Then they whofe whole isfwallowed in confufion. 
That mother tries a mercileffc conclufion, 
Who hauing two fweet babes 3 \vhcn death takes 
> Will (lay the other, and be nurfe to none, ^ 



My bodie or my foule which was the dearer? 
V Vhcn the one pure, the other made deuinc, 
V Vhofc loue of eyther to my /elfc was nearer ? 
When both were kept for Heauen and COLATINE: 
Ay me, the Barke pild from i he loftic Pine, 
> His lec-.ues will wither, and his fap decay, 
So muft my foule her baikc bcinp pild away. 

Her 



11. 1149 1169 



THE RAPE OF LyCRECE, 

Her houfe is fackt, her quiet interrupted. 

Her manfiou batterd by the cncmie, 

Her facred temple fpotted, fpoild, corrupted, 

Groflie ingirt with daring infamie. 

Then let it not be cald impictic, 

If in this blemifht fort I make fbme hole. 
Through which I may conuay thib troubled ibulc. 

Yet die I will not, till my C o L A 1 1 N E 
Haue heard the caufe of my vntimelie death, 
That he may vow in that fad houre of mine, 
Reucngc on him that made me Hop my breath, 
My ftained blond to TAKQJ/IN ile bequeath, 

Which for him tainted,(liall for him be /pent, 

And as his due writ in my teftament. 

My Honor ile bequeath vnto the knife 

That wounds my bodie fo difhonored, 

Tis Honorto depriue difhonord life, 

Theone will liue, the other being dead. 

So offhames ames fhall my Fame be bred, 
ForinmydeatMmurrherlliamefull fcorne, 
My (liame Co dead^mine honor is new borne. 

I 



11. 1170 1190 



THE RAPE OF LVCRECE. 

Dcarc Lord ofthatdearc iewell I haue loft, 
What legacie (hall I bequeath to thec t 
My refolutkm loue (hall be thy boft, 
By whofc example thou reucng d mayft be. 
How T A R QJV i N mutt be vfd,read it in me, 
My felfc ihy friend will kill my felfc thy fo, 
And for my fake ferue thou falfe T A R QV t N fo. 

This briefe abridgement of my will I make. 
My foulc and bodie to the skies and ground: 
My refolution Husband doe thou take, 
Mine Honor be the knifes that makes my wound, 
My ihame be his that did my Fame confound^ 
And all my Fame that Hues disburfed be, 
TO thofe that Hue and thinke no (hame of me. 

Thou C o L A T i N E fhalc oucrfec this will, 
Ho w was I ouerfeenc that thou (lialt fee it ? 
My bloud lhall wafluhefclanderofmineill, 
My liues foulc deed my lifes faire end (hall free it. 
Faint not faint heart, but iloutlie fay fo be it, 

Yeeld to my hand, my hand mall conquer thec, 
Thoudead^both die, and both (hall vigors be. 

This 



11. II9I I2II 



THE RAPE OF LVCRECE. 

This pJot of death when fadiicflice had layd, 
And wip t the briniOi pearl e from her bfi^htcies, 
With vntim d tongue ihee hoarllie cals her mayd, 
VVhofefwift obedience to her miftrefle hies. 
cc Forfleet-wing d duetie with thoghts feathers flics, 
Poore LVCRECE cheeks vnto her maid feem fo, 
As winter meads when fun doth melt their f how. 

Her miflr effe (bee doth giue demure good morrow, 
With (oft flow-tongue, true markc ofmodeftk, 
A nd forts a fad Jooke to her Ladies forraw, 
(For why her face wore forrov/cs liuerie.) 
But durlt not aske of her audaciouflie, 

Why her two funs were clowd ecclipfed fo, 
Nor why her faire cheeks ouer-walht with woe. 

But as the earth doth weepc the Sun being fet, 
Each flowre moiftned like a melting eye : 
Euen fo the maid with fwclling drops gan wet 
Her circled cien inforft, by iimpathie 
Ofthofcfaire Suns fet in her miftrefle Ude, 
Who in a fait wau d Ocean quench their light, 
Which makes the maid weep like the dewy night. 

I ^ 



11. 1212 1232 



THE RAPE OFLVCRECE. 

A prettie while thefeprettie creatures ftand, . 
Like luoric conduits coral! ceftcrns filling : 
One iuftlic wecpes, the other takes in hand 
No caufc, but cbmpanie of her drops fpilling. 
Their gentle fex to weepe arc often willing^ 
Greeuincr themfelues to geffe at others fmarts, 
And the they di own their eies>or break their harts. 

For men hatic marble, women waxen mindes, 
And therefore arc they form d as marble will. 
The weake opprcft^th impreflion of ftrange kindes 
Is form d in them by force, by fraud, or skill. 
Then call them not the Authors oftheir ill, 
No more then waxe (hall be accounted euill, 
Wherein is framptthe femblance of a Deuill, 

Their fmoothneffe-like a-goodly champaine plaine, 
Laies open all the little wormes that creepe, 
In men as in a rough growne groue remainc. 
Cauc keeping euils that ob(curely flecpe. 
Through chrifialf wals cch little mote will pcepe, 
> Though me ca couer crimes with bold ftern looks, 
^Poore womcns faces are their owae faults books. 

No 



11. 12331253 



THE RAPE OF LVCRECE. 

Nomaninueigh againft the withered flowre, 
But chide rough win:er that the flowre hath kild> 
Not that deuour dj but that which doth dcuour 
Is worthic blame,6 let it not be hild 
Poore \v omens faults., that they arcfo fulfild 

With mensabufes, thofe proud Lords to blame, 
Make weak-made wome tenants to their fhame. 

The prefident whereof in LVCRECE view, 
Aflail dby night with circumftanccsdrong 
Of prcfent death, and fhame that might iniue. 
By that her death to do her husband wrong, 
Such danger to refinance did belong : 

That dying feare through all her bodic fprcd, 
And who cannot abufe a bodie dead ? 

By this milde patience bidfaire LVCRECE ipcake, 
To the poore counterfaite of her complayning. 
My girlcj quoth (hcejon what occafionbreakc 
Thofe tears fro thce,that downe thy cheeks are raig- 
Ifthou doft weepc for griefe of my fuftaining: (ning? 
Know gentle wench it/mail auailes mvmood, 

O j 

, If tears could help 3 mine own would do me good. 



11. 12541274 



THE RAPE" OF LVCRECE. 

But tell me girle, when went (and there fhee (laide, 
Till after a deepe grone) T A a QJ i N from hence, 
Madame ere I was vp (repli d the maide,) 
The more to blame my iluggard negligence. 
Yet with the fault I thus farre can dilpcncc : 
My felfe was (Hiring ere the brcake of day, 
And ere I rofe was T A R c^v i N gone away. 

But Lady, ifyourmaidc may be fo bold, 
Shce would requeft to know your hcauineflc : 
(O peace quoth L v c R E c E)if it ihould be told, 
The repetition cannot make it JefTe : 
For more it is, then I can well exprefle, 

And that deepe torture may be cal d a Hell, 
When more isfclt then one hath power to tell. 

Go get mee hither paper, inkc, and pen, 
Yet faue that labour, for 1 haue them hearc, 
(What ihould 1 fay) one of my husbands men 
Bid thou be rcadie, by and by, to bearc 
A letter to my Lord, my Loue, my Deare, 
Bid him with fpeede prepare to carrie it, 
The caufc craues ha(i, and it will foone be w TIC. 

Her 



11. 1275-1295 



THERAPE OF LVCRECE. 

Her maidc is gone, and llice prepares to write, 
Firfthoucring ore the paper with her quill: . . 
Conceipt and grief c an eager combat fight, 
V V hat wit fcts downc is blotted (traight with will. 
This is too curious ^ood, this blunt and ill. 
Much like a preffc of people at a dore, 
,1 hrong her inuentions which fhall go before. 

At laftihee thus begins: thouworthieLord, 
Of that vnworthic wife that grecteththee, [ 

Health to thy pcrfon, ncxtj*ouch(afc t afford 
(lfcucrloue,thy LVCRECE thou wilt fee,) . 
Someprefcntfpeedjtocomcandvifitcme: r , 

Solcommendmc^fromourhoufemgricfcj 
My woes are tedious^though my words are briefc. 

Here folds flicc vp the tenure ofher woe^ 
Her certaiiic forro.w writvnccrtainely> 
BythisfhortCcdulcGoLATiNEinayknow- <[ [" 
Her griefc, but no,; her gricfcs true quality, 
Shee dares not thereof make difcouery^, 
. Left hfcihould hold it herown grbif ahu(ey 
Ere ihe widb bloud hadftain d bfet" ftain d excvfe. 



11. 12961316 



THE RAPE OF LVCRECE. 

Befidestheltfeandfcclingofherpaffion, 
Shec hoords to fpend, when he is by to hearc her, 
V Vhcn fighs,& groncs,& tears may grace the fa (hi 5 
Of her difgrace, the better fo to clearc her 
From that (ufpicio which the world might bear her. 
To ihun this blot, ihec would not blot the letter 
V Vith words,tiliadion might becom the better. 

To fee fad fights 5 moues more then hcare them told. 
For then the eye mterpretes to the eare 
T he hcauic motion thatit.doth behold, 
V V hen eyerie parr, a part of wo doth bcare. 
Tis but a part of forrow that we hcare, , 
> Deep founds make lefler noilc the ihallow foords, 
A nd (orrow ebs ; being blown with wind of words. 

Her letter now is fcal d, and on it writ 
At A a D E A to my Lord with more then had. 
The Poft attends, and iheedeliuersir, 
Charging the fowr-fac d groome, to high as faft 
As lagging fowles before the Northcrneblafts, 
Speed more then fpeed,but dul & flow ftc deems, 
Extremity dill vrgeth fuch extremes . 

The 



11. 13171337 



THE RAPE OF LVCRECE, 

The homclic villaine curfics to her low, 
And bluihing on her with a ftedfaft eye, 
Rcccaucs the fcroll without or yea 01 no, 
And forth with bamfull innocence doth hie. 
But they whofe guilt within their bofomes He, 
Imagine eueric eye beholds their blame, 
For LVCRECE thought, he bluiht to fee her mame. 

When feelie Groome (God wot) ic was defed 
Of fpi rite, life, and bold audacitie, 
Such harmlefle creatures haue a true refpeft 
To talkc in deeds, while dthers faucilie 
Promife more fpeed, but cib it leyfurelie. 
Euen fo this patterne of the \vorne-out age, 
Pawn d honeft looks,but laid no words 10 gage* 

His kindled duetie kindled her miftruft, 
That two red fires in both their faces blaxcd, 
Shec thought he blulhj:, as knowing TARQVINS luft, 
And blu(hing with him,wifUie on hinrgazcd, 
Her carneft eye did make him more amazed. 
The more.fhee (aw the bloud his cheeks replenifh, 
The more metlioughthe fpiedin herfoniDlemifh, 

K 



11. 13381358 



THE RAPE OF LVCRECE. 

K ut long llice thinkes till he returne againc, 
And yet the dutious vaflall fcarcc is gone. 
The wearjc time (hee cannot entertaine, 
Fornowtisftaletofigh, towccpc, andgrone, 
So woe hath wearied woe, nionc tired mone, 
That (hec herplaints a little while doth (lay, 
Pawling formeans to mournc fome newer way. 

At laft ihec cals to mind where hangs a peece 
Of skilfull painting, made for P R i A M s 1 roy, 
Before the which is drawn the pow er of Greece, 
For HELENS rape, the Cittie to deftroy, 
Threatning cloud-kifling I L L i o N with annoy, 
Which the conceiptcd Painter drew fbprowd, 
, AsHeauen(itfcemd)tokifle the turrets bow d. 

A thoufand lamentable obieds there, 
In fcocne of Nature, Art gaue liuelefle life, 
Maray a dry drop fcem d a weeping teare, 
Shed for the flaughtred husband by the wife. 
The red bloud reek d to ihew the Painters ftrifc, 

And dying eyes glccm d forth their afhje lights, 
, Like dying coalcs burnt out in tedious nights. 

There 



11. I359I379 



THE RAPE OFLV CRECE. 

There might you fee the labouringPyoner 
Be.giim d with iweat, and finearedall with duft, 
And from the towrcs of Troyjthere would appeare 
The veric eyes of men through loop-holes thruft, 
Gazing vppon the Greckcs with little luft, 
Suchfweet ob^cruanccinthisworkc was had, 
That one might fee thofefiirrc of eyes JookcJad. 

In grcatcommaunders, Grace, and Maieftie, 
YOU miht behold triumphing in their face.^ 
In youch quick-bearing and dexteritie. 
And here and there the Painter interlaces 
Pale cowards marching on with trembling paces. 
VVhichhartldTcpeaiauntsdidfowelrefemble, 
That one would (wear he faw them quake & treble. 

In Ar AX and VL rss s,6 what Art 
Of Phifiognomy might one behold 1 
The face of eyther cy pher d cythcrs heart, 
Their face 3 their manners moft exprcflic told, 
In A i A x eyes blunt rage and rigour rold, 
But the mild elance that (lie V L x s s E s lent, 

O 

She wed deep.c regard and fmilinggouernmecu 

K 2 



11. 1380 1400 



THE RAPE OF LVCRECE. 

There pleading might you fee grauc NESTOR (land, 
As twcrc incouraging the Grcekes to fight, 
Making fuch fober adion with his hand, 
That it bcguild attention, charm d the fight, 
In fpeech it fccmd his beard, all illuer white, 

V Vag d vp and downc, and from his lips did flic, 
Thin winding breath which purl d vp to the skie. 

About him were a prcflc ofgaping faces, 
Which feem dto fwallow vp his found aduice, 
All ioyntlic liftning, but with feuerall graces, 
As if fome Marmaidc did their cares intice, 
Somehighjfbme low, the Painter was fonice. 
The fcalpcs of manie,almoft hid behind, 
To iump vp higher fecm d to mockc the mind. 

Here one mans hand leand on anothers head, 
His nofe being (liado wed by his neighbours care, 
Here one being throng d,bears back all boln,& red, 
Another fmotherd,fe ernes to pelt and fwcare, 
And in their rage fuch iignes of rage they bearc, 
As but for lofle ofNfiSTORS golden words, 
h fecm d they would debate with angrie fwords. 

For 



11. 1401 1421 



THE RAPE OFLVCRECE. 

For much imaginaric works was thcre ? 
Conccipt deceitfullj fo compaft fo kinde ? 
That for ACHILLES image ftood his fpcarc 
Grip cin an Armed hand 3 himfclfc behind 
Wasleftvnfeenc^uetothceyeofmind, 
A hand, a footc, a facc,a leg, a head 
Stood for the whole to be imagined. 

And from the wals offtrong befiegcd TROY, (ficlc^ 
When their brauehopc,boldH ECT oRmarch dto 
Stood manic Troian mothers during ioy, 
To fee their youthful! fons bright weapons wield ? 
And to their hope they fuch odde action yccld, 
That through their light ioyfcemed to appeare, 
(Like bright things ftaind) a kind of hcauie feare. 

And from the ftrond of DARDAN where they fought, 
To S iMOisrccdiebankcstheredbloudran^ 
V Vhofe waues to imitate the battaile fought 
With fwelling ridges, and their rankcs began 
To breake vppon the galled (Lore, and than 
Retire againe,till meetinggreaterranckcs 
They ioinc, & {hoot their fomcatSiMoisbancks. 



11. 1422 1442 



THE RAPE OF LVCRECE. 

To this well painted peccc is L,VCRECE come, 
To fiiid a face where all diftreflc is field, 
Manielhee fees, where cares haue carued fomc^ 
But none where all diftrefle and dolor dwcld, 
Till fhee difpayring H E c v B A beheld, 

Staring on P-RJAMS wouiids with her old eyes, 
V Vhich bleeding vnder PIRRHVS proud foot lies, 

In her the Painter had anathofni^ d 
Times ruine, beauties wracke ? aricl grim cares raign, 
Her cheeks with chops and wrinclesw ere difguiz- d, 
OfwhatOiee waSjnofemblaacedid rcmaiac: 



Warning the fpring, tha t thofefL^unkc pipes had 
She w- d life imprifon d in a bodie dead. . (fed, 



Q n thi^ d fiia4d w Lv t^ PL 13 $ Tp^ndslicr cyc v 



V Vho nothing wants to anfwer her but cries^ 
And bitter words t& bian bcr crucjl Foes. 
The Painter w a,s mjQdi * lend herithpfe^ . d ; 1 
An<d therefore LvcRBC5.fwcars he did her wrbhg, 
To giue her fo much griefc,and not a tong. 

Poorc 



11. 14431463 



THE RAPE OFLVCRECE. 

Poore Inftrument (tjiicth (hce) withe ut a found, 
He tune ; hy woes with my lamenting tongue, 
AnddropfwectBalmein PRIAMS painted wound,- 
Andrailcon i j \ RRHVS thathathdone him wrong; 
And v.-iih my rears quench Troy that burns fo long; 
And with my knife (cratch out the angric eyes, 
Of all the Grcekcs that are thine enemies. 

Shew me the {trumpet that began this ftur, 
That with my nailes her bcautic I may tcarc: 
Thy heat of lull: fond P A R i s did incur 
This lode of wrath, that burning Troy doth bcarej 
Thy eye kindled the fire that burneth here, 
And here in Troy for trefpaflc of thine eye, 
The Sire, the fonne, the Dame and daughter die. 

Why lliould the priuate pleafure of fome one 
Become the publicke plague ofmaniemoc ? 
Let imnc alone committed, light alone 

o 
Vppon his head that hath tranlgreiTed fo. 

Let guiltleffc foules be freed from guilty woe, 
1 For ones offence \\ hy fhould io many fall ? 
> To plague a priuate fcne in generall. 



11. 1464 1484 



THE RAPE OFLVCRECE. 

Lo here weeps H E c v B A, here PRIAM dies, 
Here manly H EC T OR faints^hereTROYLvs foundsj 
Here friend by friend in bloudic channel lies : 
And friend to friend giucsvnaduiied wounds. 
And one mans lull thefe manic lines confounds. 
Had doting PRIAM chcckt his Tons defirc, 
TaoY had bin bright with Fame, &: not with fire. 

Here feelingly the weeps TROVES painted woes, 
For fbrrow, like a hcauic hanging Bell, 
Once fct on ringing, with his own waight goes, 
Then little ftrcngth rings out the dolcfull knell, 
So L v c R E c E fee a workc, fad tales doth tell 
To penccl d penlmcnes, &: colour d forrow, (row, 
She lends them words, &: (he their looks doth bor- 

Sbccthrowcsher eyes about the painting round, 
And who fhec finds forlorne,lhec doth lament : 
At lafl dice fees a vrctchcd image bound, 

O 

That piteous lookcs, to Phrygian ilieaphcards lenr, 
His face though full of cares, yet (hcw d content, 
Onward :o T R o Y with the blunt (wains he goes, 
So mild that patience fccm d to fcorne his woes. 

In 



11. 14851505 



THE RAPE OF LVCRECE, 

In him the Paintcrlabour d with his skill 
To hide dcceipt, and giuc the harmlcfTc (how 
An humble gate,calmclooks,eyes way ling ft ill, 
A brow vnbentthatfeem dto welcome wo, 
Cheeks neither red,nor pale, but mingled fo, 
Thatblulhingred,noguiltiein(tancegaue, 
Norafhie pale,the fcarc that falfe hearts hauc. 

But likcaconftant and confirmed Dcuill, 
He entertain d a (how, (b feeming iuft. 
And therein (o enfconc t his iecret euill, 
That Icaloufic it felfe could not miftruft, 
Falfe creeping Craft, and Periuric (hould thruft 
Into fo bright a daic 5 fuch blackrac d dorms, 
Or blot with Hell-born iiniuch Saint-like forms. 

The well- skil d workman this milde Image drew 
For pcriur d S i N o N, whofe inchaunting ftoric 
The credulous old PRIAM after (lew. 
V Vho(c words like wild fire burnt the shining gloric 
Ofrich-built ILL ION, that the skies were forte, 
And little ftars (hot from their fixed places, 
VVhe their glasfel,wherin they view d their faces. 

L 



11. 15061526 



THE RAPE OF LVCRECE. 

This picture fhec aduifedly perufd, 
And chid the Painter for his wondrous skill : 
Saying,forne lhape in S i N o N s was abui d, 
So fairc a forme lodg d not a mind fo ill, 
And dill on him ihec gaz d, and gaz-ing ftiJl, 

Such fignesoftruthinhis plaine facclliccfpicd, 
That fhee concludes, the Picture was belied. 

It cannot be (quoth (lie) that fo much guile, 
(Shec wouldhaue faid) can lurkc in fuch a looker 
But T A R QJT i N s ihape,camc in her mind the while, 
And from her tongue, can lurk,from cannot, tookc 
It cannot be, ihee in that fence forfookc, 
And turn d it thus, it cannot be I find, 
But fuch a face mould bearc a wicked mind. 

Forcuenasfubtill SIN ON here is painted, 
So fbberfad, fb wearie, and Co mildc, 
( As if\vi h gricfe or trauailehc had fainted) 
To me came T A R QJV i N armed to beguild 
With outward honelHc, but yet dcfild 

With inward vicc,as PRIAM him did cherim : 
So did I T A R QV j N ? fo my Troy did pcriih,, 

Lookc 



11. 15271547 



THE RAPE OF LVCRECE. 

Lookc lookc how liftning PRIAM wets his eyes, 
To fee thofc borrowed tcares that SINON (heeds, 
PRIAM why art thou old, and yet not wife? 
For euerie tcare he fals a Troian bleeds: 
His eye drops fire, no water thence proceeds, 
Thofe roud cleat pearls of his that moue thy pitty, 
Are bals of quenchleflc fire to burne thy Citty. 

Such Deuils (kale e fifed* from lightlefle Hell, 

For SINON in his fire doth quake with cold, 

And in that cold hot burning fire doth dwell, 

Thcfc contraries fuch vnitic do hold, 

Only to flatter fooles, and make them bold, 

; So P R i A M s trull falle S i N o N s tcares doth flatter, 

= That he finds means to burne his Troy with water. 

Here all inrag d fuch paffion her aflailcs, 
That patience is quite beaten from her breaft, 
Shce tears th c fcncelefTc SINON with hernailcs, 
Comparing him to that vnhappiegucft, 
VVhofe dcede hath made herfelfe, herfclfc dctcft, 
At lad fhcc fmilingly with this giucs ore, 
Foolcfool/juothlhcjhis wounds wil not be fore. 

L 2 



11. 15481568 



THE RAPE OF LVCRECE. 

1 hus ebs and flowes the currant of herforrow, 
/ nd time doth wearic time with her complayning, 
Shee looks for nighr, & then fhce longs for morrow, 
A nd both fliee thinks too long with her remayning. 
Short rime fecms long/mforrowes fharp faftayningj 
Though wo be heauie, yet it fetdomc fleepcs, 
> And they that watch, (eetime^how flow it creeps. 

V Vhic h all this time hath ouerflipt her thought, 
1 hat ihee with painted Images hath (pent, 
P eing from the feeling of her own griefe brought^ 
By deepe furmHe of others detriment, 
Loofingher woes in thews of difcontcnt: 
> It eafethfbme, though none it euer cured, 
; . To thinke their dolour others haue endured. 

But now the mindfull MeiTenger come backe, 
Brings home his Lord and other companie. 
Who finds his L.VCKECE clad in mourning black, 
And round about her reare-diftained eye 
Blew circles ftreanVdj like Rain bows in the skie. 
Thefc watcrgalls in her dim Element, 
Foretell new ftormes to thofe alreadic ipcnt. 

VVhick 



11. 15691589 



THE RAPE OFLVCRECE. 

V Vhich when her fad beholding husband faw> 
Amazedlie in her fad face he flares : 
Her eyes though (od in tears look d red and raw, ^ 
Her liuclie colour kil d with deadlie cares, 
He hath no power to aske her how fhee fares, 
-Both ftood like old acquaintance in a trance, 
Met far from home,wondring ech others chance, 

At laft he takes her by the bloudlefle hand, 
And thus begins : what vncouth ill euent 
Hath theebefalne, that thoudoft trembling (land?. 
Sweet louc what fpite hath thy faire colour fpenc? 
Why art thou thus attir d in difcontcnt ? 

V nmaske deare deare, this moodie hcauinefle, 
And tell thy griefe, that we may giue redrcfle. 

Three times with fighes fhee giues her farrow fire, 
Ere once fhee can difchar^e one word ofwoe : 

c 
At length addrell to aniwer his defire, 

O 

,Shec modeftlie prepares, to let them know 

Her Honor is tane prilbncr by the Foe, 

While C o L A T i N E and his conforted Lords^ 
With fad attention long to heare her words,. 

L 



11. 



THE RAPE OF LVCRECE. 

And now this pale Swan in her watric neft, 
Begins the fad Dirge of her ccrtainc ending, 
Few words (quoth Ihec) (hall fit the trcfpatTcbeft^ 
Where no excufc can giuc the fault amending. 
In me tnoc woes then words are now depending, 
And my laments would be drawn out too 
To tell them all with one poorc tired cong. 

Then be this all the rasltc it hath to (ay, 
Deare husband in the intcrcftofthy bed 
A Granger came, andon that pillow lay, 
Where thou waft wont to reft thy wearic head, 
And what wrong elfejnay be imagined, 
By foulcinforcement might be done to me, 
From that (alas) thy L v c R E c E is not free. 

For in the dreadfull dead of darkc midnight, 
With mining Fauchion in my chamber came 
A creeping creature with aflaming light, 
And foftly cried, awakcjthou Romainc Dame^ 
And cntcrtainc my louc, elfc lading fhame 
On thcc and thine this night I will infliv^ 
If thou my loues dcfirc do contradift, 

For 



11. 16111631 



THE RAPE Ob LVCRECE. 

For fbme hard f auour d Groomc of thine, quoth he, 
Vnlefle thou yoke thy liking to my svill 
lie murther ftraight, and then ilc (laughter thee, 
And fwcarc I found you where you did fulfill 
The Jothfome aft of Lu(r,and fo did kill 
The lechors in their deed, this Ad will be 
My Fame, and thy pcrpetuall infamy. 

With this I did begin to ftart and cry, 
And then againft my heart he fet his fword, 
Swearing, vnleiTe I tookc all patiently, 
I Ihould not Hue to fp cake another word. 
So mould my iliamc (till reft vpon record, 
And neucr be forgot in mightic Roomc 
Th adultcrat death ot LVCRECE, and her Groomc. 

Mine enemy was ftrong, my poore felfe wcake, 
(And farre the weaker w itli !o frrong a feare) 
My bloudi-j ludge forbod my tongue to fpeake, 
No righrfull plea might plead for fuftice there. 
His fcarlet Lull came euidencc to fwcarc 

Thatmy poore bcautie had purloiu d his eves, 
And when the ludgc is rob d ? the priicncr dies* 



11. 1632 1652 



THE RAPE OF LVCRECB. 

O teach me how to*make mine owne excufe, 
Or (at the leaft) this refuge let me finde, 
Though toy grofle bloudbe ftaind with this abufc, 
Immaculate, and fpotleffe is my mind. 
That was not forc d, that neucr was inclind 
To acceflarie yeeldingSjbiit ftill pure 
Doth in her poy fqn d elofet yet endure, 

Lo heare thehopclefljc Marchantofihis lofTc, 
With head declin d, and voice dam d vp with wo, 
With fad fet eyes and wreic.hed arme.s acrofTe, 
From lips nw waxen pale, begins tQ.blpvr, ". 
The griefe away> that ftops his answer fb. 
But wretched as he is he (times in vainc> 
What he breaths out,his breath drinks vp again. 

As through an Arch, the violent roaringtide, 
O utruns the eye that doth behold his haft : 
Yet in the Edie boundcth in his pride, 
Backe to the ftrait that forft him on Co faft : 
In rage fent out, rccald in rage being paft, 
Eucn fo his fighcs,hi$ fbrrowcs make a /aw, 
To pulh griefe on, and back the fame grief draw. 

Which 



11. 16531673 



THE RAPE OFLVCRECE. 

Which fpeechlefle woe of his poore flic attendeth, 
And his vntimclie frenzie thus awaketh, 
Dcarc Lord> thy fbrrow to my forrow lendeth 
Another power, no floud by raining (lakcthj 
My woe too fencibl e thy paffion mak eth 

More feeling painfull, Jet it than fuffice 
.. To drowne on woc,onc pake of weeping eyes. 

And for my fake when I might charme thce fb, 
For thcc that was thy L v c R E c E, now attend me, 
Befodaineliercucnged on my Foe, 
Thine, mine, his own,fuppofc thou doft defend me 
From what is paft, the helpe that thou malt lend me 

Comes all too late, yet let the Tray tor die, 

cc For fparingluilice feeds iniquitie. 

But ere I name him, you faire Lords, quoth (hce, 
(Speaking to thofe that came with COLATINE) 
Shall plight your Honourable faiths to me, 
VVithfvviftpurfuitto venge ihis wrong of mine, 
Foftis a meritorious faire defigne, 

To chafe iniuftice with reucngcfull armes, 
> Knights by their oaths Lhould right poore Ladies 

M (harmes. 



11. 16741694 



THE RAPE OF L V G R E C E. 

A: this requeftj with noble difpofirion, 
Each prefent Lord began to promifc aide, 
As bound in Knighthood to her impofition, 
Lousing to hcarc the hatefull Foe bewraide. 

o o 

But ihce that yet her /ad taskc hath not /aid, 
The proteftation ftops, 6 fpcake quoth fhce, 
How may this forced ftaine be wip d from me? 

V V hat is the qualitic of my offence 
Bcingconftrayn dwithdrcadfullcircumftancc? 

May my pure mind with the fowle ad di/pcncc 
My low declined Honor to aduance? 
May anie termes acquit me from this chance ? 
-Thepoyfoned fountaiucclearesitfclfe againc. 
And v, hynot I from this compelled ftaine ? 

With this they all at once began to iaicj. 
Her bodies (laine, her mind vntaimed clearcs,. 
While with a ioyleiTc fmile> fhee turnes awaic 
The face, that map which deepeimpreffion bcares 
Of hard misfortune, caru d it in with tears. 
> No no ? quoth iheCj-no Dame hereafter lining, 
By my cxcufe iliall claime excufes giuing. 

Here 



11. 16951715 



THE RAPE OF LVCRECE. 

Here with a figh as if her heart would breakc, 
Shecthrowcs forth TAiQyiNsname:hchcj flic faics, 
But more then he>hcr poorc tong could not fpcakc, 
Till after manic accents and dcluics, 
Vntimclic breathings, fickc and ihort a (Talcs, 
Shce vttcrs this, he he faire Lords, tis he 
That guides this hand to giue this wound to me. 

Eucn here (he fhcathcd in her harmlcfle brcaft 
A harmfull knife, that thence her foulc vnihcaihcd, 
That blow did bailc it from the decpevnreft 
Of that polluted prifon, where it breathed: 
Her contrite fighcs vnto the clouds bequeathed 
He* winged iprirc, & through her wouds doth flie 
Liues lafting date, from canccl d dcftinic. 

Stone ftilljadoniiht with this dcadlie deed, 
Stood C o L A T i N E, and all his Lordly crew, 
Till LVCRECE Father that beholds her bleed, 
Himfclfcj on her fclfc-dati^htrcdbodic threw, 
And from the purple foumainc B R v T v s drew 
The murdrous knife, and as it kit the place, 
Her bloud in poore rcuengc, held it in chafe. 

M 2 



11. 1716 1736 



THE RAPE OF LVCRECE, 

And bublingfrpm her brcft, it doth deuidc 

In two (low riuersj that the crimfon bloud 

Circles her bodie in Q n cueric fide. 

Who like a latefack t Hand vaftlie flood 

Bare and vnpeopled, in this fcarfull flood. 

,. Some of her bloud ftill pure and red rcmain d, 

> And fom look d black, & that falfe TARQVIN ftain d. 

About the mourning and congealed face 
Of that blackc bloud, a watrie rigoll goes, 
Which fcemes to weep vpont the tainted place, 
And euerfmce as pittying L VCUBCE woes, 
Corrupted bloud, fomewaterictokenfhowes, 
-> And bloud vntainted, dill doth red abide, 
> Blufhing at that which is fo putrified. 

Daughter, dearc daughter, old L v c R E T i v s cries, 
That life was mine which thou haft here depriued, 
If in the childc the fathers image lies, 
Where ihall 1 Hue now LVCRECE is vnliued ? 
Thou waft not to this end from me deriued. 
> -If children praedeceafc progenitours, 
? V Ve are their oflpring and they none ofours. 

Poorc 



11. 17371757 



THE R APE 6F LV CRECE 

poore broken glafTe, I often didbehoJd 
In thy fweet femblance, my old age new borne/ 
But nowthatfaire frdli mirrordim and old 
Shewes me a bare bon d death by time out-wornc, 
O from thy cheekes my image thou haft tornc, 
And iliiuerd all the beautie of my glafle, 
That I no more can fee what once I was. 

O time ccafe thou thy courfe and laft no longer, 
If they furccafe to be that (hould furuiue : 
Shall rotten death make conqueft of the ftronger, 
And leauc the foultring feeble foulcs aliue? 
The old Bees did,the young poflefle their hiuc, 
Then Hue fwect L v c R EC E 5 liue againe and ice 
Thy father die, and not thy father thce. 

By this {tarts COLATINE as from a dream e, 
And bids LVCRECIVS giue his forrow place, 
And than in key-cold L v c R E c E bleedingftreame 
He fals, and bathes the pale feare in his face, 
And counterfaitsto die with her a fpace. 
-Till manly fliame bids him poffefle his breath, 
And Hue to be rcuenged on her death. 

M 3 



11. 17581778 



THE RAPE OF LyCRECE. 

..*Thc decpc vexation ofhis inward foul e, 
-y Hath feru d a dumbc arreft vpon his tongue, 

Who mad that forrow fhould his vie control!, 
- Of keepe him from heart-eafing words fo long, 
Begins to taike, but through his lips do throng 
~VVeakc\\ords,fo thick come in his poor harts aid, 
That no man could diftinguiQi what he faid. 

Yet fometime T A R ojr i N was pronounced plaine, 
But through his teeth, as if the name he tore, 
This windic ternpeft, till it blow vp raine, 
Held backe his forrowes tide, to make it more. 
At laft it raines, and bufic windes giue ore, 
.-, . Then fonne and father weep with equall ftrifc, 
, . Who (huld weep mod far daughter or for wife. 

The one doth call her his, the other his, 
Yet neither may pofTefle the claime they lay. 
The father faies, (lice s mine, 6 mine (hee is 
Replies her husband, do not take away 
My forrowes intereft, let no mourner fay 
He wcepes for her,for fhee was onely mine, 
And onelie muft be wayl d by C o L A T i N E. 

o, 



n. 17791799 



THE RAPE OF LV ORECE. 

O, quoth L v c R E 1 1 v s, I did gfue that life v - 
V Vhich ihee to earely and too late hath fpil d. 
V Voe woe, quoth C o L A T i N E, fliee was my wife, 
I owed her, and tis mine that fhee hatnkil d. 
My daughter and my wife with clamors fild 
The difperft a ire, who holding L vc R E c E life, 
Anfwer d their cries, my daughter and my wife. 

BRVTVS who pluck t the knife from LVCRICE fide, 
Seeing fuch emulation in their woe, 
Began to cloath his wit in fhte and pride, 
E ury ing inLvcRiCE wound his follies (how, 
He with the Remains was-eftcemed fb 
As feelie ieering idiots arc with Kings, 
For fportiue words, and vttring foplilh things-.. 

But now he throwes that ftrallow ha|?it by, 
-Wherein deepe pollkie did him difguifc, 

And arm d his Ions hid wits aduilcdlie, 

* . 

To checkc the teares inCoLATiNvs eics, 

-Thou wronged Lord of Rome, quoth he,arifej 
Let my vnfounded felfe fuppofd a foole, 
Now fct thy long experienc t wit tQ fchoolo,/ 



11. 1800 1820 



THE R A P Z OF L V C R E C E. 

Why C o L A T i N E, is \voc the cure for woe ? 

Do wound shelpc wounds, or griefehelpegreeuous 
-Is it rcucnqe to giuc thy (cite a blow, (deeds? 

For his fowlc Act, by whom thy faire wife bleeds ? 

Such childiih humor from \vcakc mi , ids proceeds, 

Thy wretched \vitc midookcthe matter fo, 

j 

.> To ilaie her fclfe that ihould hauc flaine her Fee. 

Couragious Romainc, do not fteepe thy hart 
- In fuch relenting dew of Lamentation^ 
But kneele with me and helpc to bearc thy part, 
To rowfe our Romainc Gods with inuocations, 
That they will fuller thele abhominations. 
^Since Rome her felt in the doth (land difgraccd>) 
By our ftrong arms fro forth her fair ftrccts chaced. 

Now by the CapitoII that we adore, 
Andbythischattblcud fb vniuftlic flained, 
By heauens fairc fun that breeds the fit earths (lore, 
By all our countrey rights in Rome maintained, 
And by chad L v c R E c E foulc that larc complained 
Her wrongs to v^ and by this bloudie knife, 
We will reucntrc the death of this true wife. 

This 



11. 18211841 



THE RAPE OFLVCRECE. 

This fayd, he ftrooke his hand vpon his bread, 
And kilt the fatall knife to end his vow: 
And to his protection vrg d the reft, 
V V ho wondring at him, did his words allow. 
Then ioyntlie to the ground their knees they bow, 
-And that deepc vow which BRVTVS made before, 
He doth againe repeat, and that they fwore. 

When they had fwornc to this aduifed doome, 
They did conclude to bearc dead LVCRECE thence, 
To {hew her bleeding bodie thorough Roomc, 
And Co to publifh TAR Q^V i N s fowlc ofTencq 
Which being done, with fpecdie diligence, 
ThcRomainesplauilblydidgiueconfent, 
To T A * QJ i N s euerlafh ng banifhmcnt. 

N 
FINIS. 



11. 18421855