No More Learning

_ Nam et dicenti cuidam, _Beatus venter qui te portavit_; ipse
respondit, _Imo beati qui audiunt verbum Dei, et custodiunt_' (Luc.
xi. 27, 28), Augustini _De Sancta Virginitate_, I. 3. (Migne, 40.
397-8. ) If a Protestant in the previous two lines, Donne is here as
sound a Catholic as St. Augustine.

l. 354. _joyntenants with the Holy Ghost. _ 'We acknowledge the Church
to be the house _onely_ of God, and that we admit no Saint, no Martyr,
to be a _Iointenant_ with him. ' _Sermons_ 50. 21. 86.

l. 360. _royalties_: i. e. the prerogatives, rights, or privileges
pertaining to the sovereign. Donne here enumerates them as the power
to make war and conclude peace, uncontrolled authority ('the King
can do no wrong'), the administration of justice, the dispensing of
pardon, coining money, and the granting of protection against legal
arrest.

PAGE =262=, l. 369. _impressions. _ The plural of the first edition
must, I think, be accepted. Her stamp is set upon each of our acts as
the impression of the King's head on a coin: 'Ignoraunce maketh him
unmeete metall for the impressions of vertue. ' Fleming, _Panopl.
Epist. _ 372 (O. E. D. ).

Your love and pitty doth th'impression fill,
Which vulgar scandall stampt upon my brow.
Shakespeare, _Sonnets_ cxii.

ll. 397-9. _So flowes her face, and thine eyes, neither now
That Saint, nor Pilgrime, which your loving vow
Concern'd, remaines . . . _

I have kept the comma after 'eyes' of _1621_ (_1612_ seems to have
no stop) rather than change it with later and modern editions to a
semicolon, because I take it that the clauses are _not_ co-ordinate;
the second is a subordinate clause of degree after 'so'. 'Her face and
thine eyes so flow that now neither that Saint nor that Pilgrim which
your loving vow concern'd remains--neither you nor the lady you adore
remain the same. ' The lady is the Saint, the lover the Pilgrim, as in
_Romeo and Juliet_:

_Rom. _ If I profane with my unworthiest hand
This holy shrine, the gentle fine is this,
My lips two blushing pilgrims ready stand
To smooth that rough touch with a tender kiss.

_Jul. _ Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims hands do touch,
And palm to palm is holy palmers kiss.

Punctuated as the sentence is in modern editions 'so' must mean 'in
like manner', referring back to the statement about the river.

PAGE =263=, l. 421. _this Center_, is the reading of the first edition
and is doubtless correct, the 't' having been dropped accidentally
in _1621_ and so in all subsequent editions. 'This Center' is 'this
Earth. ' The Earth could neither support such a tower nor provide
material with which to build it. Compare:

The Heavens themselves, the Planets, and this Center,
Observe degree, priority, and place.
Shakespeare, _Troil. and Cress. _ I. iii. 85.

As far remov'd from God and light of Heav'n
As from the Center thrice to th' utmost Pole.
Milton, _Par. Lost_, i. 74.

PAGE =264=, l. 442. _For it is both the object and the wit. _ God, the
Idea of Good, is the source of both being and knowing--the ultimate
object of knowledge and the source of the knowledge by which Himself
is known.

ll. 445-6. _'Tis such a full, and such a filling good;
Had th' Angels once look'd on him they had stood. _

After discussion Aquinas concludes (I. lxiii. 5) that the devil was
not evil through fault of his own will in the first instant of
his creation, because this would make God the cause of evil: 'Illa
operatio quae simul incipit cum esse rei est ei ab agente a quo habet
esse . . . Agens autem quod Angelos in esse produxit, scilicet Deus, non
potest esse causa peccati. ' He then considers whether there was any
delay between his creation and his fall, and concludes that the most
probable conclusion and most consonant with the words of the Saints
is that there was none, otherwise by his first good act he would have
acquired the merit whose reward is the happiness which comes from
the sight of God and is enduring: 'Si diabolus in primo instanti,
in gratia creatus, meruit, statim post primum instans _beatitudinem_
accepisset, nisi statim impedimentum praestitisset peccando. ' This
'beatitudo' is the sight of God: 'Angeli beati sunt per hoc quod
Verbum vident. ' And endurance is of the essence of this blessedness:
'Sed contra de ratione beatitudinis est stabilitas, sive confirmatio
in bono. ' Thus, as Donne says, 'Had th' Angells,' &c. _Summa_ lxii. 1,
5; lxiii. 6.

PAGE =265=, l. 479. _Apostem_: i. e. Imposthume, deep-seated abscess.

PAGE =266=, l. 509. _Long'd for, and longing for it, &c. _ So Dante of
Beatrice:

Angelo chiama in divino intelletto,
E dice: 'Sire, nel mondo si vede
Meraviglia nell' atto, che procede
Da un' anima, che fin quassu risplende.
Lo cielo, che non have altro difetto
Che d'aver lei, al suo Signor la chiede,
E ciascun santo ne grida mercede. '

An Angel, of his blessed knowledge, saith
To God: 'Lord, in the world that Thou hast made,
A miracle in action is display'd
By reason of a soul whose splendors fare
Even hither: and since Heaven requireth
Nought saving her, for her it prayeth Thee,
Thy Saints crying aloud continually. '

and again:

Madonna e desiata in l'alto cielo.

My lady is desired in the high Heaven.

Donne, one thinks, must have read the _Vita Nuova_ as well as the
_Divina Commedia_. It is possible that in the eulogy of Elizabeth
Drury he is following its transcendental manner without fully
appreciating the transfiguration through which Beatrice passed in
Dante's mind.

ll. 511-18. _Here in a place, &c. _ These lines show that _The Second
Anniversary_ was written while Donne was in France with Sir Robert and
Lady Drury. Compare _A Letter to the Lady Carey, &c. _, p. 221:

Here where by All All Saints invoked are, &c.




EPICEDES AND OBSEQUIES, &c.

Of all Donne's poems these are the most easy to date, at least
approximately. The following are the dates of the deaths which called
forth the poems, arranged in chronological order:

Lady Markham (p. 279), May 4, 1609.
Mris Boulstred (pp. 282, 284), Aug. 4, 1609.
Prince Henry (p. 267), Nov. 6, 1612.
Lord Harington (p. 271), Feb. 27, 1614.
Marquis Hamilton (p. 288), March 22, 1625.

Those about whose date and subject there is uncertainty are that
entitled in 1635 _Elegie on the L. C. _ and that headed _Death_. If
with Chambers and Norton we assume that the former poem is an Elegy on
the death of the Lord Chancellor, Baron Ellesmere, it will have been
written in 1617. The conjecture is a natural one and may be correct,
but there are difficulties, (1) This title is affixed to _Elegie_ in
_1635_ for the first time. The poem bears no such heading in _1633_ or
in any MS. in which I have found it. Probably 'L. C. ' stands for Lord
Chancellor (though this is not certain); but on what authority was
the poem given this reference? (2) The position which it occupies in
_1633_ is due to its position in the MS. from which it was printed.
Now in _D_, _H49_, _Lec_, and in _W_, it is included among the
_Elegies_, i. e. Love Elegies. But in the last of these, _W_, it
appears with a collection of poems (Satyres, Elegies, the Lincoln's
Inn Epithalamium, and a series of letters to Donne's early friends)
which has the appearance of being, or being derived from, an early
collection, a collection of poems written between 1597 and 1608 to
1610 at the latest. (3) The poem is contained, but again without any
title, in _HN_, the Hawthornden MS. in Edinburgh. Now we know that
Drummond was in London in 1610, and there is no poem, of those which
he transcribed from a collection of Donne's, that is demonstrably
later than 1609, though the two _Obsequies_, 'Death, I recant' and
'Language, thou art too narrowe and too weak', must have been written
in that year. Drummond _may_ have been in London at some time between
1625 and 1630, during which years his movements are undetermined
(David Masson: _Drummond of Hawthornden_, ch. viii), but if he had
made a collection of Donne's poems at this later date it would have
been more complete, and would certainly have contained some of the
religious poems. At a later date he seems to have been given a copy of
the _Hymn to the Saints and to Marquesse Hamylton_, for a MS. of
this poem is catalogued among the books presented to the Edinburgh
University Library by Drummond. Unfortunately it has disappeared
or was never actually handed over. Most probably, Drummond's small
collection of poems by Donne, Pembroke, Roe, Hoskins, Rudyerd, and
other 'wits' of King James's reign, now in the library of the Society
of Antiquaries, was made in 1610.

All this points to the _Elegie_ in question being older than 1617. It
is very unlikely that a poem on the death of his great early patron
would have been allowed by him to circulate without anything to
indicate in whose honour it was written. Egerton was as great a man
as Lord Harington or Marquis Hamilton, and if hope of reward from the
living was the efficient cause of these poems quite as much as sorrow
for the dead, Lord Ellesmere too left distinguished and wealthy
successors. Yet the MS. of Donne's poems which belonged to the first
Earl of Bridgewater contains this poem without any indication to whom
it was addressed.

In 1610 Donne sent to the Lord Chancellor a copy of his
_Pseudo-Martyr_, and the following hitherto unpublished letter shows
in what high esteem he held him:

'As Ryvers though in there Course they are content to serve publique
uses, yett there end is to returne into the Sea from whence they
issued. So, though I should have much Comfort that thys Booke might
give contentment to others, yet my Direct end in ytt was, to make it a
testimony of my gratitude towards your Lordship and an acknowledgement
that those poore sparks of Vnderstandinge or Judgement which are in
mee were derived and kindled from you and owe themselves to you. All
good that ys in ytt, your Lordship may be pleased to accept as yours;
and for the Errors I cannot despayre of your pardon since you have
long since pardond greater faults in mee. '

If Donne had written an _Elegie_ on the death of Lord Ellesmere it
would have been as formally dedicated to his memory as his Elegies to
Lord Harington and Lord Hamilton. But by 1617 he was in orders. His
Muse had in the long poem on Lord Harington, brother to the Countess
of Bedford, 'spoke, and spoke her last'. It was only at the express
instance of Sir Robert Carr that he composed in 1625 his lines on the
death of the Marquis of Hamilton, and he entitled it not an Elegy but
_A Hymn to the Saints and to Marquesse Hamylton_.

It seems to me probable that the _Elegie_, 'Sorrow, who to this
house', was an early and tentative experiment in this kind of poetry,
on the death of some one, we cannot now say whom, perhaps the father
of the Woodwards or some other of his earlier correspondents and
friends.

The _Elegie_ headed _Death_ is also printed in a somewhat puzzling
fashion. In _1633_ it follows the lyrics abruptly with the bald
title _Elegie_. It is not in _D_, _H49_, _Lec_, nor was it in the MS.
resembling this which _1633_ used for the bulk of the poems. In _HN_
also it bears no title indicating the subject of the poem. The
other MSS. all describe it as an _Elegie upon the death of M^{ris}
Boulstred_, and from _1633_ and several MSS. it appears that it was
sent to the Countess of Bedford with the verse _Letter_ (p. 227), 'You
that are shee and you, that's double shee'. It is possible that the
MSS. are in error and that the dead friend is not Miss Bulstrode
but Lady Markham, for the closing line of the letter compares her to
Judith:

Yet but of _Judith_ no such book as she.

But Judith was, like Lady Markham, a widow. The tone of the poem too
supports this conclusion. The Elegy on Miss Bulstrode lays stress on
her youth, her premature death. In this and the other Elegy
(whose title assigns it to Lady Markham) the stress is laid on the
saintliness and asceticism of life becoming a widow.


PAGE =267=. ELEGIE UPON . . . PRINCE HENRY.

The death of Prince Henry (1594-1612) evoked more elegiac poetry Latin
and English than the death of any single man has probably ever done.
See Nichols's _Progresses of James I_, pp. 504-12. He was the hope of
that party, the great majority of the nation, which would fain have
taken a more active part in the defence of the Protestant cause in
Europe than James was willing to venture upon. Donne's own _Elegie_
appeared in a collection edited by Sylvester: '_Lachrymae Lachrymarum,
or The Spirit of Teares distilled from the untimely Death of the
Incomparable Prince Panaretus_. By Joshua Sylvester. The Third
Edition, with Additions of His Owne and Elegies. 1613. Printed by
Humphrey Lownes. ' Sylvester's own poem is followed by poems in Latin,
Italian, and English by Joseph Hall and others, and then by a
separate title-page: _Sundry Funerall Elegies . . . Composed by severall
Authors_. The authors are G. G. (probably George Gerrard), Sir P. O. ,
Mr. Holland, Mr. Donne, Sir William Cornwallis, Sir Edward Herbert,
Sir Henry Goodyere, and Henry Burton. Jonson told Drummond 'That Done
said to him, he wrott that Epitaph on Prince Henry _Look to me, Faith_
to match Sir Ed: Herbert in obscurenesse' (Drummond's _Conversations_,
ed. Laing). Donne's elegy was printed with some carelessness in
the _Lachrymae Lachrymarum_. The editor of _1633_ has improved the
punctuation in places.
The obscurity of the poem is not so obvious as its tasteless
extravagance: 'The death of Prince Henry has shaken in me both Faith
and Reason, concentric circles or nearly so (l. 18), for Faith does
not contradict Reason but transcend it. ' See _Sermons_ 50. 36.
'Our Faith is shaken because, contemplating his greatnesse and its
influence on other nations, we believed that with him was to begin the
age of peace:

Ultima Cumaei venit iam carminis aetas,
Magnus ab integro saeclorum nascitur ordo.

But by his death this faith becomes heresy. Reason is shaken because
reason passes from cause to effect. Miracle interrupts this progress,
and the loss of him is such a miracle as brings all our argument to
a standstill. We can predict nothing with confidence. ' In his
over-subtle, extravagant way Donne describes the shattering of men's
hopes and expectations.

At the end he turns to her whom the Prince loved,

The she-Intelligence which mov'd this sphere.

Could he but tell who she was he would be as blissful in singing her
praises as they were in one another's love.

A short epitaph on Prince Henry by Henry King (1592-1669), the friend
and disciple of Donne, bears marks of being inspired by this poem. It
is indeed ascribed to 'J. D. ' in _Le Prince d'Amour_ (1660), but is
contained in King's _Poems, Elegies, Paradoxes and Sonnets_ (1657).

PAGE =269=, ll. 71-6. These lines are printed as follows in the
_Lachrymae Lachrymarum_:

If faith have such a chaine, whose diverse links
Industrious man discerneth, as hee thinks
When Miracle doth joine; and to steal-in
A new link Man knowes not where to begin:
At a much deader fault must reason bee,
Death having broke-off such a linke as hee.

But compare _The Second Anniversary_, p. 255, ll. 143-6.


PAGE =271=. OBSEQUIES TO THE LORD HARRINGTON, &c.

The MS. from which _1633_ printed this poem probably had the title as
above. It stands so in _D_, _H49_, _Lec_. By a pure accident it
was changed to _Obsequies to the Lord Harringtons brother. To the
Countesse of Bedford. _ There was no Lord Harington after the death of
the subject of this poem.

John Harington, the first Baron of Exton and cousin of Sir John
Harington the translator of the _Orlando Furioso_, died at Worms in
1613, when returning from escorting the Princess Elizabeth to her
new home at Heidelberg. His children were John, who succeeded him as
Second Baron of Exton, and Lucy, who had become Countess of Bedford in
1594. The young Baron had been an intimate friend of Prince Henry. In
1609 he visited Venice and was presented to the Doge as likely to be
a power in England when Henry should succeed. 'He is learned',
said Wotton, 'in philosophy, has Latin and Greek to perfection, is
handsome, well-made as any man could be, at least among us. ' His fate
was as sudden and tragic as that of his patron. Travelling in France
and Italy in 1613 he grew ill, it was believed he had been poisoned
by accident or design, and died at his sister's house at Twickenham on
the 27th of February, 1614.

There is not much in Donne's ingenious, tasteless poem which evinces
affection for Harington or sorrow for his tragic end, nor is there
anything of the magnificent poetry, 'ringing and echoing with music,'
which in _Lycidas_ makes us forgetful of the personality of King.
Donne's poem was written to please Lady Bedford:

And they who write to Lords rewards to get,
Are they not like singers at dores for meat?

Apparently it served its purpose, for in a letter written a year or
two later Donne says to Goodyere: 'I am almost sorry, that an Elegy
should have been able to move her to so much compassion heretofore, as
to offer to pay my debts; and my greater wants now, and for so good
a purpose, as to come disingaged into that profession, being plainly
laid open to her, should work no farther but that she sent me ? 30,'
&c. _Letters, &c. _, p. 219.

Of Harington, Wiffen, in his _Historical Memoirs of the House of
Russell_, says: 'Whilst he devoted much of his time to literary study
he is reported to have uniformly begun and closed the day with prayer
. . . and to have been among the first who kept a diary wherein his
casual faults and errors were recorded, for his surer advancement in
happiness and virtue. ' Wiffen's authority is probably _The Churches
Lamentation for the losse of the Godly Delivered in a Sermon at the
funerals of that truly noble, and most hopefull young Gentleman Iohn
Lord Harington, Baron of Exton, Knight of the noble order of the Bath
etc. by R. Stock_. 1614. To this verses Latin and English by I. P. , F.
H. D. M. , and Sir Thomas Roe are appended. The preacher gives details
of Harington's religious life. The D. N. B. speaks of two memorial
sermons. This is a mistake.

l. 15. _Thou seest me here at midnight, now all rest;_ Chambers
by placing a semicolon after 'midnight' makes 'now all rest' an
independent, rhetorical statement:

Thou seest me here at midnight; now all rest;

The Grolier Club editor varies it:

Thou seest me here at midnight now, all rest;

But surely as punctuated in the old editions the line means 'at
midnight, now when all rest', 'the time when all rest'. 'I watch,
while others sleep. '

Donne's description of his midnight watch recalls that of Herr
Teufelsdroeckh: 'Gay mansions, with supper rooms and dancing rooms are
full of light and music and high-swelling hearts, but in the Condemned
Cells the pulse of life beats tremulous and faint, and bloodshot eyes
look out through the darkness which is around and within, for the
light of a stern last morning,' &c. _Sartor Resartus_, i. 3.

PAGE =272=, l. 38. _Things, in proportion fit, by perspective. _ It is
by an accident, I imagine, that _1633_ drops the comma after 'fit',
and I have restored it. The later punctuation, which Chambers adopts,
is puzzling if not misleading:

Things, in proportion, fit by perspective.

It is with 'proportion' that 'fit' goes. Deeds of good men show us by
perspective things in a proportion fitted to our comprehension. They
bring the goodness or essence of things, which is seen aright only in
God, down to our level. The divine is most clearly revealed to _us_ in
the human.

PAGE =274=, l. 102. _Sent hither, this worlds tempests to becalme. _ I
have adopted the reading to which the MSS. point in preference to that
of the editions. Both the chief groups read 'tempests', and 'this'
(for 'the') has still more general support. Now if the 's' in
'tempests' were once dropped, 'this' would be changed to 'the', the
emphasis shifting from 'this' to 'world'. I think the sense is better.
If but one tempest is contemplated, then either so many 'lumps of
balm' are not needed, or they fail sadly in their mission. They come
rather to allay the storms with which human life is ever and again
tormented. Moreover, in Donne's cosmology 'this world' is frequently
contrasted with other and better worlds. Compare _An Anatomie of the
World_, pp. 225 et seq.

l. 110. _Which the whole world, or man the abridgment hath. _ The comma
after 'man' in _1633_ gives emphasis. The absence of a comma, however,
after 'abridgment' gives a reader to-day the impression that it is
object to 'hath'. I have, therefore, with _1635-69_, dropped the
comma after 'man'. The omission of commas in appositional phrases is
frequent. 'Man the abridgment' means of course 'Man the microcosm':
'the Macrocosme and Microcosme, the Great and the Lesser World, man
extended in the world, and the world contracted and abridged into
man. ' _Sermons_ 80. 31. 304.

ll. 111-30. _Thou knowst, &c. _ The circles running parallel to
the equator are all equally circular, but diminish in size as they
approach the poles. But the circles which cut these at right angles,
and along which we measure the distance of any spot from the equator,
from the sun, are all of equal magnitude, passing round the earth
through the poles, i. e. meridians are great circles, their planes
passing through the centre of the earth.

Harington's life would have been a Great Circle had it completed its
course, passing through the poles of youth and age. In that case we
should have had from him lessons for every phase of life, medicines to
cure every moral malady.

In _The Crosse_ Donne writes:

All the Globes frame and spheares, is nothing else
But the Meridians crossing Parallels.

And in the _Anatomie of the World_, p. 239, ll. 278-80:

For of Meridians, and Parallels,
Man hath weav'd out a net, and this net throwne
Upon the Heavens, and now they are his owne.

PAGE =275=, l. 133. _Whose hand, &c. _ The singular is the reading of
all the MSS. , and is pretty certainly right. The minute and second
hands were comparatively rare at the beginning of the seventeenth
century. See the illustrations in F. J. Britten's _Old Clocks and
Watches and their Makers, &c. _ (1904); and compare: 'But yet, as
he that makes a Clock, bestowes all that labour upon the severall
wheeles, that thereby the Bell might give a sound, and that thereby
the hand might give knowledge to others how the time passes,' &c.
_Sermons_ 80. 55. 550.

PAGE =276=, l. 154. _And great Sun-dyall to have set us All. _ Compare:

The lives of princes should like dyals move,
Whose regular example is so strong,
They make the times by them go right or wrong.
Webster, _White Devil_, I. ii. 313.

PAGE =279=, l. 250. _French soldurii. _ The reading of the editions
is a misprint. The correct form is given in _D_, _H49_, _Lec_, and
is used by Donne elsewhere: 'And we may well collect that in Caesars
time, in France, for one who dyed naturally, there dyed many by
this devout violence. For hee says there were some, whom hee calls
_Devotos_, and _Clientes_ (the latter Lawes call them _Soldurios_)
which enjoying many benefits, and commodities, from men of higher
ranke, alwaies when the Lord dyed, celebrated his Funerall with their
owne. And Caesar adds, that in the memorie of man, no one was found
that ever refused it. ' _Biathanatos_, Part I, Dist. 2, Sect. 3. The
marginal note calls them 'Soldurii', and refers to Caes. , _Bell.
Gall. _ 3, and _Tholosa. Sym. _ lib. 14, cap. 10, N. 14.


PAGE =279=. ELEGIE ON THE LADY MARCKHAM.

The wife of Sir Anthony Markham, of Sedgebrook in the county of Notts.
She was the daughter of Sir James Harington, younger brother of John,
first Baron Harington of Exton. See note to last poem. She was thus
first cousin to Lucy, Countess of Bedford, and died at her home at
Twickenham on May 4, 1609. On her tombstone it is recorded that she
was 'inclytae Luciae Comitissae de Bedford sanguine (quod satis) sed
et amicitia propinquissima'. It is probably to this friendship of
a great patroness of poets that she owes this and other tributes
of verse. Francis Beaumont wrote one which is found in several MS.
collections of Donne's poems, sometimes with his, sometimes with
Beaumont's initials. In it he frankly confesses that he never knew
Lady Markham. I quote a few lines:

As unthrifts grieve in strawe for their pawnd Beds,
As women weepe for their lost Maidenheads
(When both are without hope of Remedie)
Such an untimelie Griefe, have I for thee.
I never sawe thy face; nor did my hart
Urge forth mine eyes unto it whilst thou wert,
But being lifted hence, that which to thee
Was Deaths sad dart, prov'd Cupids shafte to me.

The taste of Beaumont's poem is execrable. Elegies like this, and I
fear Donne's among them, were frankly addressed not so much to the
memory of the dead as to the pocket of the living.

According to two MSS. (_RP31_ and _H40_) the _Elegie_, 'Death be
not proud', was written by Lady Bedford herself on the death of
her cousin. It is much simpler and sincerer in tone than Donne's or
Beaumont's, but the tenor of the thought seems to connect it with the
_Elegie on M^{ris} Boulstred_, 'Death I recant'. The same MSS. contain
the following _Epitaph uppon the Ladye Markham_, which shows that she
was a widow when she died:

A Mayde, a Wyfe shee liv'd, a Widdowe dy'd:
Her vertue, through all womans state was varyed.
The widdowes Bodye which this vayle doth hide
Keepes in, expecting to bee justlie [highly _H40_] marryed,
When that great Bridegroome from the cloudes shall call
And ioyne, earth to his owne, himself to all.

l. 7. _Then our land waters, &c. _ 'That hand which was wont _to wipe
all teares from all our eyes_, doth now but presse and squeaze us as
so many spunges, filled one with one, another with another cause of
teares. Teares that can have no other banke to bound them, but the
declared and manifested _will of God_: For, till our teares flow to
that heighth, that they might be called a _murmuring_ against
the declared will of God, it is against our Allegiance, it is
_Disloyaltie_, to give our teares any stop, any termination, any
measure. ' _Sermons_ 50. 33. 303: _On the Death of King James_.

PAGE =280=, l. 11. _And even these teares, &c. _: i. e. the

Teares which our Soule doth for her sins let fall,

which are the waters _above_ our firmament as opposed to the _land_
or _earthly_ waters which are the tears of passion. The 'these' of the
MSS. seems necessary for clearness of references: 'For, _Lacrymae sunt
sudor animae maerentis_, Teares are the sweat of a labouring soule,
. . . Raine water is better then River water; The water of Heaven,
teares for offending thy God, are better then teares for worldly
losses; But yet come to teares of any kinde, and whatsoever occasion
thy teares, _Deus absterget omnem lacrymam_, there is the largeness of
his bounty, _He will wipe all teares from thine eyes_; But thou must
have teares first: first thou must come to this weeping, or else God
cannot come to this wiping; God hath not that errand to thee, to wipe
teares from thine eyes, if there be none there; If thou doe nothing
for thy selfe, God finds nothing to doe for thee. ' _Sermons_ 80. 54.
539-40.

The waters above the firmament were a subject of considerable
difficulty to mediaeval philosophy--so difficult indeed that St.