CENTRE
for
REFORMATION
and
RENAISSANCE
STUDIES
VICTORIA
UNIVERSITY
TORONTO
THE PASSIONATE PILGRIM
I599
FACSIMILE
LONDON
HENRY FROWDE M.A.
PUBLISHER TO THE UNIVERSITY
OF OXFORD
THE PASSIONATE PILGRIM
BEING A REPRODUCTION IN FACSIMILE OF
THE FIRST EDITION
1599
FROM THE COPY IN THE CHRISTIE MILLER LIBRARY
AT BRITWELL
WITH INTRODUCTION AND BIBLIOGRAPHY
SIDNEY LEE
AC OX
OXFORD: AT THE CLARENDON PRESS
MDCCCCV
OXFORD
PHOTOGRAPHS AND LETTERPRESS
BY HORACE HART1 M.A.
PRINTER TO THE UNIVERSITY
THE PASSIONATE PILGRIM i3
Harrison, who had bought it from its first holder, Richard
Field, three years befbre. Leake retained his property in
Shakespeare's earliest printed book for nearly twenty-one
years. His first edition of llenus and Idonis appeared in
Y99, in the same year as the first edition of The Passionate
Pilgrim, and on the title-pages of both volumes figured his
address---' the Greyhound in Paules Churchyard. 'x Thus in, 1-99,
a year after Leake was clothed with the livery of his Company,
two newly printed volumes, which were identified with Shake-
speare's name and fme, adorned for the first time the sheh'es
of his shop in St. Paul's Churchyard.
The unnamed printer of The Passionate Pilgrim was doubt-
less Peter Short, who had printed for Jaggard the only volume
of verse which he is known to have undertaken previously,
viz. I-lunnies lecreations, in 1-9Y- Short also printed for
Jaggurd his first book, Dove's Sermon, in , 1"94. Short's print-
ing office was at ' the Star on Bread Street Hill, near to the
end of Old Fish St.' ; his business was a large one and many
volumes of verse came from his press. Not only had he
printed recently the work of the poets Spenser and Daniel, but
he had produced for Leake the two editions of lZenus and
Idonis which appeared respectively in , 1-99 and , 602, as well
as Harrison's edition of Shakespeare's Lucrece in 1-98. More
than one song-book, with the literary contents of which The
Passionate Pilgrim had close affinity, also came from his press
one in the same year as Jagg'ard's miscellany, viz.' Ayres for four
loyces composed by Michael Cavendish '?
The typographical quality of the first edition ot Jaggard's
These premises enjoyed a traditional fame. They had been long in
John Harrison's occupation, until at the close of x 596 Leake took them over ;
he remained there till i6oz.
= Cf. Peter Short, Printer, ad his 2tlarks by $ilvanus P. Thompson F.R.S.
(Bibliograph. Soc.), 898.
Peter Shorr
printer.
THE PASSIONATE PILGRIM 9
importance which the publishers attached to' private', or Publishers"
thirst for
unpublished pieces, above 'extant ', or pieces which were 'private
already in print. The compiler of Belvedere claims credit poems'.
for having derived his material not merely from printed
books, but from 'jprivate jpoeras, sonnets, ditties and other witty
conceits.., accerding as they could be obtained by sight or favour
of copyi,g '. In the case of Spenser, Daniel, Drayton,Shakespeare,
Marlowe, Barnfield,and many other living authors whom he
named, he had drawn not merely, fi'om many of their extant
(i.e. published) workes', but from 'some pt in private'.
Of five recently dead authors he stated he had 'perused'
not only their 'divers extant labours' but ' many more held
baclfrom publishing'
In christening his volmne, Jaggard illustrated the habit xhe name
which George Wither had in mind when he wrote of the of Jggara'
miscellany.
stationer that 'he oftentymes giues bookes such names as in
his opinion will make them saleable, when there is little or
nothing in the whole volume sutable to such a tytle'.' The
title which Jaggard devised has no precise parallel, but it
does not travel very far from the beaten track. The ordinary
names which were bestowed on poetic miscellanies of the day
were variants of a somewhat dirent formula, as may be
deduced from the examples 'Bower of Delights', 'Handful
of Pleasant Delights ', and ' Arbor of Amorous Devices '.
The Iffectionate Sbepheard, a collection of poems by Richard
Barnfield, which appeared in x)'94, approaches Jagg:ard's
designation more nearly than that of any preceding extant
volume of verse.'-
Scholars Purgatory (c. x69.5) , p, xzz,
The similitude is not quite complete, Although Barnfield's book
includes many detached pieces the title of the whole applies particularly to the
opening and longest poem of the volume, Jaggard's general title does not apply
to any individual item of the book's contents.
24 THE PASSIONATE PILGRIM
that of I6o9, and his version is on the whole the better
of the two :-
line 8.--
['1y99 ] Wooing his purity with her faire pride.
I-i6o9] Wooing his purity with her fowle pride.
line --
[t Y99-] For being both to me: both to each friend,
Ix 609] But being both t}om 111c both to cach friend,
line r --
i -r '99] The truth I shall not know, but liue in doubt.
1-69] Yet this shal I ncrc know but liue in doubt,
Finally Jaggard's text knows nothing of the I 6(3) n'lis-
print of ' sight ' Ibr ' sidc ' in the important line 6 :-
Tcmpteth my better angel from nay side.
Nos. ItI, V, The three remaining poems which can be confidently
a xvI-- assigned to Shakespeare are all to be found in his play of
excerpts
fi'omShake- Love's Labour's Lost, which was published in I J')8. Other
pere'o, plays of his had been published earlier, but this piece was
0.' thc first to bear on the title-page Shakespeare's name as
Lor.
author (By W. Shakespere). The variations from the text of
the play are in all three pieces unimportant and touch singlc
words or inflexions. But such as they are, they suggest that
Jaggard again printed stray copies which were circulating
'privately', and did not find the lines in the printed quarto
o the play. The distribution of the three excerpts through
the miscellany suggests that .laggard did not know that they
o. Ii. all came from the same source. The first excerpt from Love's
Labour's Lost No. IlIimmediately follows Shakespeare's
two sonnets. It is Longaville's sonnet to Maria, from Act iv,
Sc. , 11. '8-7 r. The variations are as follow :
THE PASSIONATE PILGRIM 29
he sent it to press. "/'he three other sonnets on the theme of
Venus and Adonis in The Passionate Pilgrim have a strong
f)mily resemblance to that attributable to Griffin, and may
well have been similar experiments of his Muse, which
were withheld foln the printer and circulated only in
private.
Griffin is one of three contemporary poets whom o. vlL
XVII, and
Jagg{F-d may be safely convicted of robbing. He was wise xx.-
in laying somewhat heavier hands on the work of Richard tributionsof
Richatd
Barnfield, whose lyric gift was more pleasing than Griffin's. .,-na,.
There is no question that two of Jaggard's piecesNo. VIII,
the sonnet beginning If ,lusicke and sweet Poetrie agree ,
and No. XX, the seven-syllable riming couplets at the
extreme end of the volume, beginning As it fell upon
a day'wcre from Barnfield's Fen. Both were published
in t )-98 in a poetical tract entitled Poems: in diuers humours,
which formed the iburth section of a volume bearing the
preliminary title, The Encomion of Lady Pecunia, or the Praise
of 3Ione),, by Richard Barnfield, Graduate in Oxford.' The
whole book was published by William Jaggard's brother John,
at the Hand and Star in Fleet Street, and there is ground for
believing that Jaggard, with his brother's connivance, borrowed
in this instance from a printed text.
* Poems in diuers humours' was the last of the fbur Barnfield's
Poems in
parts of the Encomion' and had, like each of the three
preceding parts, a separate title-page. It was prefaced by mo,,,-s,
a dedication in three couplets to the author's friend
' Maister Nicholas Blackleech of Grayes Inne'. There the
writer described the poems which followed as fruits of
unriper years'. Barnfield's claim to authorship of the :Poems
in diuers humours' cannot be justly questioned.
The opening piece in Barnfield's tract is headed ' Sonnet I.
THE PASSIONATE PILGRhI 33
followed in that anthology by the first half (twenty-six lines out
of fifty-six of Barnfield's fully accredited ' Ode'--'As it fell
upon a day'), which bore the heading'Another of the same
shepherds '. Though the editor of England's Helicon appended
to the fragment of Barnficld's 'Ode' the siglaature 'Ignoto',
the authorship of those verses is not in doubt. ' The same
shepherd' is Barnfield, and there is no valid ground for rejecting
the attribution to his pen of the preceding poem, ' My flocks
feed not.'
It seems unlikely that Jaggard drew the ' copy ' of
flocks fcd not directly from Wcclkcs' volume. Apart fom
Madrigals
three misprints and minor differences in spelling tbr which 59r.
Jaggard's printer may be held responsible (c. g. nenying' tbr
,renying ', I. 4 ; ' wowen ' for ' women ', I. I 2 ; blackc ' for
, backe', I. 28), there are textual discrepancies between his
and Weelkes' versions which suggest that Jaggard employed
'copy' other than that which Weelkes tbllowed. In neither
volume are the words carefiflly printed, and the sense is in
both texts difficult to follow. At the end of the first stanza
(11. I - 2), Weelkes reads :
For now I see inconstancie
More in women then in maff men to be"
Jaggard reads :
For now I see, inconstancy,
lXtore in wowen [i.e. women] then in mtn remaine.
Here the rime with ' dame', though not good, is improved by
Jaggard.
In the second stanza, 11. Io-I appear in Weelkes thus :
With howling noyse to see my dolfilll plight;
How sighes resound through harcklesse gound.
E
34
THE PASSIONATE PILGRIM
The text of
Harl. MS.
69to.
Jaggard reads :-
In howling 7vise, to see my dolefi, ll plight,
How sighes resound through battles ground.
In the third stanza Jaggard's text dittirs from that of
Weelkes in nearly every line. For example :-
line ,_ Weelkes- Lowde bells ring not chercfi.lly;
Jaggard: Greene plants bring not lbrth their die.
line 4, Wcelkcs. Nimphcs backcrcping
Jaggard. Nimphcs blacke [i.e. backe] peeping.
line 9, Wcelkes- Farewell, sweet lasso, the like here was.
Jaggard: Farewell sweet louc thy like here was.
line z, Wcclkcs- Other help for him I know thor's none.
Jaggard : Other hclpe I-br him I see that there is none.
The text of this poem in Egland's Helico, bllows
closely that of The Passionate Pilgrim, and was doubtless taken
from the latter volume direct or from the same manuscript.
Misprints are corrected. The only textual change of importance
is in the last stanza, line i o} where 'woe' is replaced by
moane ' lbr the sake of the rime with nonc ' in the concluding
line.
The poem was clearly very popular, and was constantly
copied in private commonplace books. A transcript of it in
a contemporary script in the British Museum Harleian MS.
69 % fol. -6 b, without author's nanc, supplies lnany readings
which dirtier from the printed versions. These variations are
often improvements and probably present the verse in the
tbrm that it left the writer's hand. For exampl% in Stanza x
1.6, the four lines read in the manuscript :
All my merry jiggs are cleane forgot
All my layes, of Love are lost God wot
Where my ]oyes were firmly iinl(t by love
There annoyes are placst without remove.
THE PASSIONATE PILGRIM 43
Heywood Bright's library in 1884, the MS. passed to Halliwell,
who gave in his Folio Shakespeare, vol. xvi, p. 466, a facsimile
of the 'very early MS. copy of this poem with many varia-
tions'. Halliwell dated the compilation of the poetical
miscellany 'some years before the appearance of The Passionate
Pilgrim'. In the MS., stanzas 3 and 4 change places with
stanzas r and 6.
For Jaggard's unintelligible 1. 4,
As well as fancy (ioarall might),
the MS. reads: As well as fancy, partial lilze.
In line 12 of the hiS.,
And set thy person forth to sell
is an improvement on JagFard's
And set her person forth to sale.
In 1. I4 the hiS. reads :-
Her cloudy lookes will clear ere night
for Jaggard's
Her cloudy lookes will calme yer night.
In 11. 43-6 the MS. gives :
Think, wonen love to match with nen,
tnd not to live so lie a saint:
Here is no heaven; y .
the holy then
Begin, rohen age doth ttieln attaint.
Jaggard's less satisfitctory version runs :
Thinke Wonen still to striue with nen,
To sinne and neuer .for to saint,
There is no heauen (by holy then)
When time with age shall thegn attaint.
Finally, in line -i the MS. reads :
She will not stick to ringe my eare
F
THE PASSIONATE PILGRIM 4Y
that much of it was entrusted to William Jaggard's brother
John, who printed an ample but by no means exhaustive
selection from it in x y98. Barnfield's imitative habit of mind
rendered the six-lined stanza, which Shakespeare had glorified
in his Ienus and 4donis a favourite instrument and the internal
quality of the many six-line stanzas in The Passionate Pilgrim
justifies the theory that Barnfield was their author at any rate
of those of them that are in a serious vein.
IV
I-r may be assumed although the indications are obscure,
that despite its equivocal claims to respectihl notice Jaggar&s
venture met with success. There is small doubt that the
compiler of the popular anthology called England's Helicon,
which appeared next year was influenced by the example of
the publisher of The Passionate Pilgrim. The former printed four
of Jaggards Sonnets To sundry notes of lusicke , viz. XVI,
On a day, alack the day ' t?om Lov?s Labour's Lost; XVII
Barnfields My flocks feed not'; XIX Marlowe's lyric with the
reply ; XX, Barnfield's As it fell upon a day . Although the
editor of England's Helicon depended in nost cases on different
transcripts the coincidence of his choice and the order which
he followed in introducing these Ibur pieces to his reader can
hardly be regarded as tbrtuitous.
No copy of a second edition of The Passionate Pilgrim is
etant , and there is no clue to the date of its issue. The
poet Drummond of Hawthornden noted that he read the
book in o possibly in a second edition. A third edition
source, a Latin quotation from Ovid's Fasti, ii. 7 7 -%which describes Tarquin's
admiration of Lucrece's beauty. Shakespeare's poem of Lucrece no doubt
suggested to Barnfield the transcription of these lines.
* See p. 4 8, infra.
Popularity
of Jaggard
miscelhny.
The lost
second
edition.
The third
edition.
Jaggard's
additions to
the text.
Heywood's
Troia
Britan ica
609.
4 6
THE PASSIONATE PILGRIM
was undertaken by the unabashed Jaggard in x 6,2, when his
prosperity was secure and he had become his own printer.
Exceptional interest attaches to the issue of the third
edition of The Passionate Pilgrim. in 6 2. The volulne was
n0wprinted at William Jaggard's own press, which he had
controlled only since 6o)-. Jaggard in this reissue bettered
his carlier instruction. He enlarged the text to more than
twice its original lengxh by the addition of two Solnewhat
long narrative poclnS in which Shakespeare had no hand.
The third edition, ill fhCt, ga'ossly exaggerated the offence of
the first in assigning to Shakcspcarc work by other hands.
The additions to the third edition were from T_.Lroia Eritanica,
a collcction of" poetry by a well-known wntcr, Thomas
Heywood. That volume Jaggard had himself published in
6o9, contrary, as would appear, to the wish of the author.
Heywood proved less COlnplaisant than those whose name and
rights were ignored in the first edition of The Passionate Pilgrim.
Jaggard obtained the licence for the publication of
Heywood's Troia Britanica on December -, x 608, on somewhat
peculiar conditions. The entry ill the Stationers' Company's
Register described the work, without mention of Heywood's
name, as A booke called B[ytans Troye', and the exceptional
provision was added that yf any question or trouble growe
hereof. Then he [i. e. Jaggard] shall answere and discharge yt
at his owne losse and costes '.' When the book duly appeared,
Heywood did not question Jaggard's right to publish it, and
no strictly legal question or trouble' seems to have grown
thereof'. But Heywood bitterly complained of Jaggard's typo-
graphical carelessness. He requested Jaggard to insert a list
of' the infinite faults escaped '. But Jaggard was obdurate and
insolently retorted (according to Heywood's statement) that
" Arber iii, 397"
THE PASSIONATE PILGRIM 47
' hee would not publish his owne disworkemanship, but rather
let his owne tault lye upon the neck ot the author '.
Three years later, in x 6 2, Jaggard inflicted on Heywood
the further indignity of filching tom Troia Britanica transla-
tions in verse of two of Ovid's Epistles, which were first
published in that volmne. He added them to the third edition
of The Passionate Pilff, rim, all the contents of which Jaggard
continued to assign on the title-page to Shakespeare's pen.
Heywood was in no temper to suffer this new injury at Jag-
gard's hands in silence. In an address to another printer,
Nicholas Okes, who published for him his prose Atpology for
.4ctors, in 6 r z (soon after the appcarance of the third edition
of Jaggard's ' Passionate Pilgrim '), Heywood not only exposed
Jaggard's misconduct, but claimed to have interested Shake-
speare in the matter. His protest was issued (he declared) in
the great dramatist's name as well as in his own. Heywood's
words run : 'Here, likewise, I must necessarily insert a manifest
injury done me in that worke [i. e. Troia Britanica] by taking
the two epistles of Paris to Helen, and Helen to Paris, and
printing them in a lesse volume (i. e. The Passionate Pilgrim
of , 2) under the name of another, [i. e. Shakespeare], which
may put the world in opinion I might steale them from him,
and hee, to doe himselfe right, hath since published them in
his owne name: but, as I must acknowledge my lines not
worth his [i. e. Shakespeare's] patronage under whom he [i. e.
Jaggard] hath publisht them, so the author, I know, much
offended with M. Jaggard that altogether unknowne to him
presumed to make so bold with his name.'
Jaggard was not, as we have seen , the only publisher Shae-
who had made ' so bold with' Shakespeare's name as to put it veae'
alleged pro-
test.
Heywood's Ipologyfor Ictors 6I Sh. Soc. ,8+x p. 6z.
See p. zx note I.
Gildon's
reprint of
t7to.
-o THE PASSIONATE PILGRIM
Sundry Notes' were each introduced by a separate title-page,
of which the imprint ran: London, Printed in the year
x '99-' In the preliminary Advertisement' Lintott wrote :
'The Remains of lIr. William Shakespeare call'd The
Passionate Pilgrime & Sonnets to Sundry Notes of Musick
(at the end of this collection) came into my hands in a
little stitch'd Book, printed at London br IV. aggard in the
year J'99.' Lintott's Collection' was reissued next year,
with the addition of a second volume supplying a reprint
of the original 16o 9 edition of Shakespeare's Sonnets and
I Lover's oraplaint. The nev title-page was curiously in-
accurate as to the date of the first edition of Shakespeare's
narrative poems and of "l-be Passiotmte Pilgrim. The words
ran : A Collection of Poems in Two Volumes : being all The
miscellanies of llr. William Shakespeare, which were Publish'd
by himself in the year x 609, and now correctly Printed from
these Editions.' There were at least two impressions of this
Collection in Two Volumes'. In one of these impressions
The Passionate Pilgrim and 'Sonnets to Sundry Notes' bore
the correct date of 99. In another impression, the title-
pages were reprinted with the date changed to x6o 9. "Ihere
is no ground for assuming that Lintott knew of an edition,
belonging to that year, of The Passionate Pilgrim, or of the
appended Sonnets to Sundry Notes '. The date was invented
to agree with that of the first edition of the Sonnets.
Another collection of Shakespeare's poems followed
independently in 7 x o. This edition formed an un-
authorized ' Seventh' or supplementary volume to Rowe's
more or less critical edition of Shakespeare's Plays of 17o 9 .
This supplement was undertaken by Edmund Curll, the
notorious printer-publisher, with the editorial assistance
of Charles Gildon. Rowe's publisher, Jacob Tonson, had
THE PASSIONATE PILGRIM
THE PASSIONATE PILGRIM
THIRD
EDITION
16IZ.
No. III.
Bodleian
copy) , 6, z.
No. IV.
The Love-
day copy
16IZ.
and there was no pagination. The reprint of The Passionate
Pilgrim, followed the example of the original edition in leaving
the verso of the leaves blank through the first three sheets
A-C. Sheet I) was differently treated. The type was set on
both sides of the page, with the result that the text ended on
the verso of D-, and did not reach as in the first edition the
verso of D T. The second title reappears on C3, with the
altered date x 6 2, thus :
Sonnets. To sundry Notes of Musickc [scroll device]
At London Printed by W. laggard 6 2.
'" is in the
The Bodlcian cop)', which measures 4}"x 3 ,
Malone collection. It is numbered Malone 328, and bears a
lnanuscript note sigaacd E. 1I.' and dated October 22, x78y.
2Xlalonc there points out that Heywood's translations from
Ovid were generally assumed to bc by Shakespeare until
Dr. Farmer noted their truc authorship in 766. The copy
is peculiar in having two title-pages, of which one has the
words By HC Shakespere, in the central space, and the other is
without thcln. There is no question that Shakespeare's name
was removed by the publisher Jaggard, at the request either
of Shakcspeare or of Heywood, and that the title-page
bearing Shakespeare's nalne was cancelled and another sub-
stituted to accompany late impressions of the book. By a
happy accident the two titles survive together in Malone's
copy. The title which lacks Shakespeare's name is not known
to be extant anywhere else.
The second cop),, which measures 4-"x 3,'6 , belongs
to Mr. John E.T. Lovcday of Williamscotc, near Banbury.
The title-page has in the centre the words By I. Sbakespere.
The existence of this copy was only made known in 88z.
It was originally bound m rough calf with five other rare
tracts o contemporary date. The Passionate Pilgrim occupied
the second place. The volume bore on the fly-leaf the words :
e libris Jac : Merrick
e. coll. Tr- Oxon
1738 '
The inscription is in the handwriting of the former owner,
A
P
THE
ASSIONATE
PI LGRI:E.
.I'T LONDOX
Printed i\,r W. laggard, and ar.
tobc ,1, bv'V. Leake, at thc Gre}'-
} ,, m Pauls Churd) ard,
599"
