21 (_TCD_ Second Collection) he is
credited
with the
authorship of Donne's lyric _A Feaver_, but two other poems are also
ascribed to him.
authorship of Donne's lyric _A Feaver_, but two other poems are also
ascribed to him.
John Donne
A fresh edition of his poems by
Professor Saintsbury is in preparation and will show how worthy a
disciple he was of Donne as love-poet, eulogist, and religious poet.
Probably the finest of his poems is _The Surrender_.
It was to King also that Redmer was indebted for the frontispiece to
_Deaths Duell_, the picture of Donne in his shroud, reproduced in the
first volume. 'It was given', Walton says, 'to his dearest friend
and Executor D^r King, who caused him to be thus carved in one entire
piece of white Marble, as it now stands in the Cathedral Church of St.
Pauls. '
The second of the _Elegies_ in 1633 was apparently by the author of
the _Religio Medici_ and must be his earliest published work, written
probably just after his return from the Continent. The lines were
withdrawn after the first edition.
The Edw. Hyde responsible for the third Elegy, 'On the death of Dr.
Donne,' is said by Professor Norton to be Edward Hyde, D. D. (1607-59),
son of Sir Lawrence Hyde of Salisbury. Educated at Westminster School
and Cambridge he became a notable Royalist divine; had trouble with
Parliament; and wrote various sermons and treatises (see D. N. B. ). 'A
Latin poem by Hyde is prefixed to Dean Duport's translation of Job
into Greek verse (1637) and he contributed to the "Cambridge Poems"
some verses in celebration of the birth of Princess Elizabeth. '
It would be interesting to think that the author of the lines on Donne
was not the divine but his kinsman the subsequent Lord Chancellor.
There is this to be said for the hypothesis, that among those who
contribute to the collection of complimentary verses are some of
Clarendon's most intimate friends about this time, viz. Thomas Carew,
Sir Lucius Carie or Lord Falkland, and (but his elegy appears first
in 1635) Sidney Godolphin. The John Vaughan also, whose MS. lines to
Donne I have printed in the introduction (_Text and Canon, &c. _, p.
lxiv, note), is enrolled by Clarendon among his intimates at this
time. If his friends, legal and literary, were thus eulogizing Donne,
why should Hyde not have tried his hand too? However, we know of no
other poetical effusions by the historian, and as these verses were
first affixed with King's to _Deaths Duell_ it is most probable that
their author was a divine.
The author of the fourth elegy, Dr. C. B. of O. , is Dr. Corbet, Bishop
of Oxford (1582-1635). Walton reprinted the poem in the _Lives_ (1670)
as 'by Dr. Corbet . . . on his Friend Dr. Donne'. We have no particulars
regarding this friendship, but they were both 'wits' and their poems
figure together in MS. collections. Ben Jonson was an intimate of
Corbet's, who was on familiar terms with all the Jacobean wits
and poets. For Corbet's life see D. N. B. His poems are in Chalmers'
collection.
The Hen. Valentine of the next Elegy matriculated at Christ's College,
Cambridge, in December, 1616, and proceeded B. A. in 1620/1, M. A. 1624.
He was incorporated at Oxford in 1628, where he took the degree of
D. D. in 1636. On the 8th of December, 1630, he was appointed Rector
of Deptford. He was either ejected under the Commonwealth or died, for
Mallory, his successor, was deprived in 1662. For this information
I am indebted to the _Biographical Register of Christ's College,
1505-1905, &c. , compiled by John Peile . . . Master of the College_,
1910. Of works by him the British Museum Catalogue contains _Foure
Sea-Sermons preached at the annual meeting of the Trinitie Companie in
the Parish Church of Deptford_, London, 1635, and _Private devotions,
digested into six litanies . . . Seven and twentieth edition_, London,
1706. The last was first published in 1651.
Izaak Walton's _Elegie_ underwent a good deal of revision. Besides the
variants which I have noted, _1635-69_ add the following lines:
Which as a free-will-offring, I here give
Fame, and the world, and parting with it grieve,
I want abilities, fit to set forth
A monument great, as _Donnes_ matchlesse worth.
In 1658 and 1670, when the _Elegie_ was transferred to the enlarged
_Life of Donne_, it was again revised, and opens:
Our Donne is dead: and we may sighing say,
We had that man where language chose to stay
And shew her utmost power. I would not praise
That, and his great Wit, which in our vaine dayes
Makes others proud; but as these serv'd to unlocke
That Cabinet, his mind, where such a stock
Of knowledge was repos'd, that I lament
Our just and generall cause of discontent.
But the poem in its final form is included in the many reprints of
Walton's _Lives_, and it is unnecessary to note the numerous verbal
variations. The most interesting is in ll. 25-6.
Did his youth scatter Poetry, wherein
Lay Loves Philosophy?
Professor Norton notes that 'the name of the author of this' (the
seventh) 'Elegy is given as Carie or Cary in all the early editions,
by mistake for Carew'. But the spelling (common in the MSS. ) simply
represents the way in which the name was pronounced. Thomas Carew
(1598? -1639? ) was sewer-in-ordinary to King Charles in 1633, and in
February 1633/4 his most elaborate work, the _Coelum Britannicum_,
was performed at Whitehall, on Shrove Tuesday. It was published
immediately afterwards, 1634. His collected _Poems_ were issued in
1640 and contained this _Elegie_. I note the following variants from
the text of 1640 as reproduced by Arthur Vincent (_Muses Library_,
1899):
3. dare we not trust _1633_: did we not trust _1640_; 5. Churchman
_1633_: lecturer _1640_; 8. thy Ashes _1633_: the ashes _1640_; 9.
no voice, no tune? _1633_: nor tune, nor voice? _1640_; 17. our Will,
_1633_: the will, _1640_; 44. dust _1633_: dung _1640_; rak'd _1633_:
search'd _1640_; 50. stubborne language _1633_: troublesome language
_1640_; 58. is purely thine _1633_: was only thine _1640_; 59. thy
smallest worke _1633_: their smallest work _1640_; 63. repeale _1633_:
recall _1640_; 65. Were banish'd _1633_: Was banish'd _1640_; 66.
o'th'Metamorphoses _1633_: i'th'Metamorphoses _1640_;
68-9.
Till verse refin'd by thee, in this last Age,
Turne ballad rime _1633_:
Till verse, refin'd by thee in this last age,
Turn ballad-rhyme _1640_ (_Vincent_):
Surely 'in this last Age' goes with 'Turne ballad rime'; 73. awfull
solemne _1633_; solemn awful _1640_; 74. faint lines _1633_: rude
lines _1640_; 81. maintaine _1633_: retain _1640_; 88. our losse
_1633_: the loss _1640_; 89. an Elegie, _1633_: one Elegy, _1640_;
91-2.
Though every pen should share a distinct part,
Yet art thou Theme enough to tyre all Art;
_1633_: _omit 1640_.
Some of these differences are trifling, but in several instances (3,
8, 50, 59, 66, 91-2) the 1633 text is so much better that it seems
probable that the poem was printed in 1640 from an early, unrevised
version. In 87. 'the' _1633_, _1640_ should be 'thee'.
Sir Lucius Cary, second Viscount Falkland (1610-1643), was a young man
of twenty-one when Donne died, and succeeded his father in the year
in which this poem was published. He had been educated at Trinity
College, Dublin. 'His first years of reason', Wood says, 'were spent
in poetry and polite learning, into the first of which he made divers
plausible sallies, which caused him therefore to be admired by the
poets of those times, particularly by Ben Jonson . . . by Edm. Waller of
Beaconsfield . . . and by Sir John Suckling, who afterwards brought him
into his poem called _The Session of Poets_ thus,
He was of late so gone with divinity,
That he had almost forgot his poetry,
Though to say the truth (and Apollo did know it)
He might have been both his priest and his poet. '
But Falkland is best known through his friendship with Clarendon,
whose account of him is classical: 'With these advantages' (of birth
and fortune) 'he had one great disadvantage (which in the first
entrance into the world is attended with too much prejudice) in his
person and presence, which was in no degree attractive or promising.
His stature was low, and smaller than most men; his motion not
graceful; and his aspect so far from inviting, that it had somewhat
in it of simplicity; and his voice the worst of the three, and so
untuned, that instead of reconciling, it offended the ear, so that
nobody would have expected music from that tongue; and sure no man
was less beholden to nature for its recommendation into the world:
but then no man sooner or more disappointed this general and customary
prejudice: that little person and small stature was quickly found to
contain a great heart, a courage so keen, and a nature so fearless,
that no composition of the strongest limbs, and most harmonious and
proportioned presence and strength, ever more disposed any man to
the greatest enterprise; it being his greatest weakness to be too
solicitous for such adventures: and that untuned voice and tongue
easily discovered itself to be supplied and governed by a mind and
understanding so excellent that the wit and weight of all he said
carried another kind of lustre and admiration in it, and even another
kind of acceptation from the persons present, than any ornament of
delivery could reasonably promise itself, or is usually attended with;
and his disposition and nature was so gentle and obliging, so much
delighted in courtesy, kindness, and generosity, that all mankind
could not but admire and love him. ' _The Life of Edward Earl of
Clarendon_ (Oxford, 1827) i. 42-50. Coming from him, Falkland's
poem is an interesting testimony to the influence of Donne's poetry,
presence, and character.
Jaspar Mayne (1604-72), author of _The City Match_, was a student and
graduate of Christ Church, Oxford, a poet, dramatist, and divine. He
wrote complimentary verses on the Earl of Pembroke, Charles I, Queen
Henrietta, Cartwright, and Ben Jonson--all, like those on Donne,
very bad. He was the translator of the Epigrams ascribed to Donne and
published with some of his _Paradoxes, Problemes, Essays, Characters_
in 1651.
Arthur Wilson (1595-1652), historian and dramatist, author of _The
Inconstant Lady_ and _The Swisser_, had in 1633 just completed a
rather belated course at Trinity College, Oxford, whither he had gone
after leaving the service of the third Earl of Essex. For Wilson's
_Life_ see D. N. B. and Feuillerat: _The Swisser . . . avec une
Introduction et des Notes_, Paris, 1904.
The 'Mr. R. B. ' who wrote these lines is said by Mr. Gosse to be the
voluminous versifier Richard Brathwaite (1588-1673), author of _A
Strappado for the Divell_ and other works, satirical and pious. He is
perhaps the most likely candidate for the initials, which are all we
have to go by. At the same time it is a little surprising that a
poet whose name was so well known should have concealed himself under
initials, the device generally of a young man venturing among more
experienced poets. If he had not been too young in 1633, I should have
ventured to suggest that the author was Ralph Brideoak, who proceeded
B. A. at Oxford 1634, and in 1638 contributed lines to _Jonsonus
Virbius_. He was afterwards chaplain to Speaker Lenthall, and died
Bishop of Chichester. In the lines on Jonson, Brideoak describes the
reception of Jonson's plays with something of the vividness with which
the poet here describes the reception of Donne's sermons. He also
refers to Donne:
Had learned Donne, Beaumont, and Randolph, all
Surviv'd thy fate, and sung thy funeral,
Their notes had been too low: take this from me
None but thyself could write a verse for thee.
This last line echoes Donne (p. 204, l. 24). Most of Donne's eulogists
were young men.
Brathwaite's wife died in 1633, and, perhaps following Donne, he for
some years wrote _Anniversaries upon his Panarete_. W. C. Hazlitt
suggests Brome as the author of the lines on Donne, which is not
likely.
The Epitaph which follows R. B. 's poem is presumably by him also.
Endymion Porter (1587-1649) may have had a common interest with Donne
in the Spanish language and literature, for the former owed his early
success as an ambassador and courtier to his Spanish descent and
upbringing. He owes his reputation now mainly to his patronage of art
and poetry and to the songs of Herrick. For his life see D. N. B. and E.
B. de Fonblanque's _Lives of the Lords Strangford_, 1877.
Daniel Darnelly, the author of the long Latin elegy added to the
collection in 1635, was, according to Foster (_Alumni Oxonienses_,
vol. i. 1891), the son of a Londoner, and matriculated at Oxford on
Nov. 14, 1623, at the age of nineteen. He proceeded B. A. in 1627, M. A.
1629/30, and was incorporated at Cambridge in 1634. He is described
in Musgrave's _Obituary_ as of Trinity Hall. In 1632 he was appointed
rector of Curry Mallet, Somersetshire, and of Walden St. Paul, Herts. ,
1634. This would bring him into closer touch with London, and probably
explains his writing an elegy for the forthcoming second edition of
Donne's _Poems_. He was rector of Teversham, Cambridgeshire, from
1635 to 1645, when his living was sequestered. He died on the 23rd of
November, 1659.
The heading of this poem shows that it was written at the request of
some one, probably King. In l. 35 _Nilusque minus strepuisset_ the
reference is to the great cataract. See Macrobius, _Somn. Scip. _ ii.
4.
Of Sidney Godolphin (1610-43) Clarendon says, 'There was never so
great a mind and spirit contained in so little room; so large an
understanding and so unrestrained a fancy in so very small a body: so
that the Lord Falkland used to say merrily, that he was pleased to be
found in his company, where he was the properer man; and it may be
the very remarkableness of his little person made the sharpness of his
wit, and the composed quickness of his judgement and understanding the
more notable. ' _The Life of Edward Earl of Clarendon_, i. 51-2. He
was killed at Chagford in the civil war. Professor Saintsbury has not
included this poem in his collection of Godolphin's poems, _Caroline
Poets_, ii. pp. 227-61.
John Chudleigh's name appears in MSS. occasionally at the end of
different poems. In the second collection in the Trinity College,
Dublin MS. G. 2.
21 (_TCD_ Second Collection) he is credited with the
authorship of Donne's lyric _A Feaver_, but two other poems are also
ascribed to him. He is the author of another in Addl. MS. 33998. f. 62
b. Who he was, I am not sure, but probably he may be identified with
John Chudleigh described in 1620 (_Visitation of Devonshire_) as son
and heir of George Chudley of Asheriston, or Ashton, in the county of
Devon, and then aged fourteen. On the 1st of June, 1621, aged 15,
he matriculated at Wadham College, Oxford. He proceeded B. A. 1623-4,
being described as 'equ. aur. fil. ' for his father, a member of
Parliament, had been created a baronet on the 1st of August, 1622.
He took his M. A. in 1626, and was incorporated at Cambridge in 1629
(Foster, _Alumni Oxonienses_, i. 276). Just before taking his M. A. he
was elected to represent East Looe. He died, however, before May 10,
1634, which is difficult to reconcile with his being the author of
these verses in 1635, unless they were written some time before.
APPENDIX A.
LATIN POEMS AND TRANSLATIONS.
Who the Dr. Andrews referred to was we do not know. Dr. Grosart
identifies him with the Andrews whose poems are transcribed in _H49_,
but this is purely conjectural.
The lines which I have taken out and made into a separate Epigram
are printed in the old editions as the third and fourth lines of the
letter. As Professor Norton pointed out, they have no connexion with
it. They seem to be addressed to some one who had travelled to Paris
from Frankfort, on an Embassy to the King of France, and had returned.
'The Maine passed to the Seine, into the house of the Victor, and with
your return comes to Frankfort. '
If Grosart's conjecture be correct, the author of the epigram may be
the Francis Andrews whose poems appear along with Donne's in _H49_,
for among these are some political poems in somewhat the same vein:
Though Ister have put down the Rhene
And from his channel thrust him quite;
Though Prage again repayre her losses,
And Idol-berge doth set up crosses,
Yet we a change shall shortly feele
When English smiths work Spanish steele;
Then Tage a nymph shall send to Thames,
The Eagle then shall be in flames,
Then Rhene shall reigne, and Boeme burne,
And Neccar shall to Nectar turne.
And of Henri IV:
Henrie the greate, great both in peace and war
Whom none could teach or imitate aright,
Findes peace above, from which he here was far;
A victor without insolence or spite,
A Prince that reigned, without a Favorite.
Of course, Andrews may be only the transcriber of these poems.
PAGE =398=. TO MR. GEORGE HERBERT, &c.
Walton has described the incident of the seals: 'Not long before his
death he caused to be drawn the figure of the Body of Christ, extended
upon an Anchor, like those which Painters draw when they would present
us with the picture of Christ crucified on the Cross; his varying
no otherwise than to affix him not to a Cross, but to an Anchor (the
Emblem of hope); this he caused to be drawn in little, and then many
of those figures thus drawn to be ingraven very small in _Helitropian_
Stones, and set in gold, and of these he sent to many of his dearest
friends, to be used as _Seals_ or _Rings_, and kept as memorials of
him, and of his affection to them. '
These seals have been figured and described in _The Gentleman's
Magazine_, vol. lxxvii, p. 313 (1807); and _Notes and Queries_, 2nd
Series, viii. 170, 216; 6th Series, x. 426, 473.
Herbert's epistle to Donne is given in _1650_. In Walton's _Life_ the
first two and a half lines of Donne's Latin poem and the whole of
the English one are given, and so with Herbert's reply. As printed
in _1650_ Herbert's reply is apparently interrupted by the insertion
between the eighth and ninth lines of two disconnected stanzas, which
may or may not be by Herbert. The first of these ('When Love' &c. )
with some variants is given in the 1658 edition of the _Life_ of
Donne; but in the collected _Lives_ (1670, 1675) it is withdrawn. The
second I have not found elsewhere.
Although the Crosse could not Christ here detain,
Though nail'd unto't, but he ascends again,
Nor yet thy eloquence here keep him still,
But onely while thou speak'st; This Anchor will.
Nor canst thou be content, unlesse thou to
This certain Anchor adde a Seal, and so
The Water, and the Earth both unto thee
Doe owe the symbole of their certainty.
Let the world reel, we and all ours stand sure,
This holy Cable's of all storms secure.
When Love being weary made an end
Of kinde Expressions to his friend,
He writ; when's hand could write no more,
He gave the Seale, and so left o're.
How sweet a friend was he, who being griev'd
His letters were broke rudely up, believ'd
'Twas more secure in great Loves Common-weal
(Where nothing should be broke) to adde a Seal.
[Line 2: Though _1650_: When _Walton_]
[Line 10: of _1650_: from _Walton_]
In the _Life of Herbert_ Walton refers again to the seals and adds,
'At Mr. Herbert's death these verses were found wrapped up with that
seal which was by the Doctor given to him.
When my dear Friend could write no more,
He gave this Seal, and, so gave ore.
When winds and waves rise highest, I am sure,
This Anchor keeps my faith, that, me secure. '
PAGE =400=, l. 22. <_Wishes_> I have ventured to change 'Works' to
'Wishes'. It corrects the metre and corresponds to the Latin.
PAGE =400=. TRANSLATED OUT OF GAZAEUS, &c.
The original runs as follows:
Tibi quod optas et quod opto, dent Divi,
(Sol optimorum in optimis Amicorum)
Vt anima semper laeta nesciat curas,
Vt vita semper viva nesciat canos,
Vt dextra semper larga nesciat sordes,
Vt bursa semper plena nesciat rugas,
Vt lingua semper vera nesciat lapsum,
Vt verba semper blanda nesciant rixas,
Vt facta semper aequa nesciant fucum,
Vt fama semper pura nesciat probrum,
Vt vota semper alta nesciant terras,
Tibi quod optas et quod opto, dent Divi.
I have taken it from:
PIA
H I L A R I A
VARIAQVE
CARMINA
ANGELINI GAZAEI
_e Societate Iesu, Atrebatis_.
[An ornament in original. ]
DILINGAE
_Formis Academicis
Cum auctoritate Superiorum_.
Apud VDALRICUM REM
CI? . I? C. XXIII.
The folios of this edition do not correspond to those of that which
Donne seems to have used.
APPENDIX B.
POEMS WHICH HAVE BEEN ATTRIBUTED TO DONNE.
For a full discussion of the authorship of these poems see _Text and
Canon of Donne's Poems_, pp. cxxix _et seq. _
PAGE =401=. TO S^r NICHOLAS SMYTH.
Chambers points out that a Nicholas Smyth has a set of verses in
_Coryats Crudities_, 1611.
In the _Visitation of the County of Devon_, 1620, a long genealogy is
given, the closing portion of which shows who this Nicholas Smith or
Smyth of Exeter (l. 15) and his father were:
Joan, d. of James Walker = Sir Geo. Smith of Exeter,
who was descended of the | Knt. , ob. 1619.
Mathewes of Wales who |
were descended of Flewellyns |
and Herberts. |
+-----------------+-----------+------+-----------------------+
| | | |
Divers children Elizabeth, Sir Nicholas Smith=Dorothea, d. James,
d. without &c. of Larkbeare in of Sir Raphe &c.
issue. com. Devon, Kt. Horsey de
com. Dorsett.
Seven children of Sir Nicholas are given, including another Nicholas
(aet. 14), and the whole is signed 'Nich Smith'.
This is doubtless Roe's friend. With Roe as a Falstaff he had probably
'heard the chimes at midnight' in London before he settled down to
raise a family in Devonshire.
l. 7. _sleeps House, &c. _ Ovid xi; Ariosto, _Orlando Furioso_, Canto
xiv; Spenser, _Faerie Queene_, I. i.
PAGE =402=, l. 26. _Epps_. 'This afternoon a servingman of the Earl
of Northumberland fought with swaggering Eps, and ran him through the
ear. ' _Manninghams Diary_, 8th April, 1603 (Camden Club, p. 165). This
is the only certain reference to Epps I have been able to find, but
Grosart declares he is the soldier described in Dekker's _Knights
Conjuring_ as behaving with great courage at the siege of Ostend
(1601-4), where he was killed. I can find no name in Dekker's work.
ll. 27-31. As printed in _1669_ these lines are not very intelligible,
and neither Grosart nor Chambers has corrected them. As given in the
MSS. (e. g. _TCD_) they are a little clearer:
For his Body and State
The Physick and Counsel (which came too late)
'Gainst whores and dice, hee nowe on mee bestowes
Most superficially: hee speakes of those,
(I found by him) least soundly whoe most knows:
The purpose of bracketing 'which came too late' is obviously to keep
it from being taken with ''Gainst whores and dice'--the very mistake
that _1669_ has fallen into and Grosart and Chambers have preserved.
The drawback to this use of the bracket is that it disguises, at least
to modern readers, that 'which came too late' must be taken with 'For
his Body and State'. I have therefore dropped it and placed a comma
after 'late'. The meaning I take to be as follows: 'The physic and
counsel against whores and dice, which came too late for his own body
and estate, he now bestows on me in a superficial fashion; for I found
by him that of whores and dice those speak least soundly who know
most from personal experience. ' A rather shrewd remark. There are some
spheres where experience does not teach, but corrupt.
l. 40. _in that or those_: 'that' the Duello, 'those' the laws of the
Duello. There is not much to choose between 'these' and 'those'.
ll. 41-3. _Though sober; but so never fought. I know
What made his Valour, undubb'd, Windmill go,
Within a Pint at most:_
The MSS. improve both the metre and the sense of the first of these
lines, which in _1669_ and Chambers runs:
Though sober; but nere fought. I know . . .
It is when he is sober that he never fights, though he may quarrel.
Roe knows exactly how much drink it would take to make this undubb'd
Don Quixote charge a windmill, or like a windmill. But the poem is too
early for an actual reference to _Don Quixote_
PAGE =403=, ll. 67-8. _and he is braver now
Than his captain. _
By 'braver' the poet means, not more courageous, but more splendidly
attired, more 'braw'.
PAGE =404=, l. 88. _Abraham France_--who wrote English hexameters. His
chief works are _The Countess of Pembrokes Ivy Church_ (1591) and _The
Countess of Pembrokes Emmanuel_ (1591). He was alive in 1633.
PAGE =405=, l. 113. _So they their weakness hide, and greatness
show. _ Grosart refused the reading 'weakness', which he found in
his favourite MS. _S_, and Chambers ignored it. It has, however, the
support of _B_, _O'F_, and _L74_ (which is strong in Roe's poetry),
and seems to me to give the right edge to the sarcasm. 'By giving to
flatterers what they owe to worth, Kings and Lords think to hide their
weakness of character, and to display the greatness of their wealth
and station. ' They make a double revelation of their weakness in their
credulity and their love of display.
l. 128. _Cuff. _ Henry Cuff (1563-1601), secretary to Essex and an
abettor of the conspiracy.
l. 131. _that Scot. _ It is incredible that Donne wrote these lines. He
found some of his best friends among the Scotch--Hay, Sir Robert Ker,
Essex, and Hamilton, to say nothing of the King.
PAGE =406=. SATYRE.
PAGE =407=, ll. 32-3. _A time to come, &c. _ I have adopted Grosart's
punctuation and think his interpretation of 'beg' must be the right
one--'beg thee as an idiot or natural. ' The O. E. D. gives: '? ? 5a. _To
beg a person_: to petition the Court of Wards (established by Henry
VIII and suppressed under Charles II) for the custody of a minor, an
heiress, or an idiot, as feudal superior or as having interest in the
matter: hence also fig. _To beg_ (any one) _for a fool_ or _idiot_: to
take him for, set him down as. _Obs. _' Among other examples is, 'He
proved a wiser man by much than he that begged him. Harington, _Met.
Ajax_ 46. ' What the satirist says is, 'The time will come when she
will beg to have wardship of thee as an idiot. If you continue she
will take you for one now. '
l. 35. _Besides, her<s>. _ My reading combines the variants. I think
'here' must be wrong.
PAGE =407=. AN ELEGIE.
PAGE =408=, l. 5. _Else, if you were, and just, in equitie &c. _ This
is the punctuation of _H39_, and is obviously right, 'in equitie'
going with what follows. He has denied the existence or, at least, the
influence of the Fates, and now continues, 'For if you existed or had
power, and if you were just, then, according to all equity I should
have vanquish'd her as you did me. ' Grosart and the Grolier Club
editor follow _1635-54_, and read:
Else, if you were, and just in equity, &c.
Chambers accepts the attempt of _1669_ to amend this, and prints:
True if you were, and just in equity, &c.
Professor Saintsbury is in preparation and will show how worthy a
disciple he was of Donne as love-poet, eulogist, and religious poet.
Probably the finest of his poems is _The Surrender_.
It was to King also that Redmer was indebted for the frontispiece to
_Deaths Duell_, the picture of Donne in his shroud, reproduced in the
first volume. 'It was given', Walton says, 'to his dearest friend
and Executor D^r King, who caused him to be thus carved in one entire
piece of white Marble, as it now stands in the Cathedral Church of St.
Pauls. '
The second of the _Elegies_ in 1633 was apparently by the author of
the _Religio Medici_ and must be his earliest published work, written
probably just after his return from the Continent. The lines were
withdrawn after the first edition.
The Edw. Hyde responsible for the third Elegy, 'On the death of Dr.
Donne,' is said by Professor Norton to be Edward Hyde, D. D. (1607-59),
son of Sir Lawrence Hyde of Salisbury. Educated at Westminster School
and Cambridge he became a notable Royalist divine; had trouble with
Parliament; and wrote various sermons and treatises (see D. N. B. ). 'A
Latin poem by Hyde is prefixed to Dean Duport's translation of Job
into Greek verse (1637) and he contributed to the "Cambridge Poems"
some verses in celebration of the birth of Princess Elizabeth. '
It would be interesting to think that the author of the lines on Donne
was not the divine but his kinsman the subsequent Lord Chancellor.
There is this to be said for the hypothesis, that among those who
contribute to the collection of complimentary verses are some of
Clarendon's most intimate friends about this time, viz. Thomas Carew,
Sir Lucius Carie or Lord Falkland, and (but his elegy appears first
in 1635) Sidney Godolphin. The John Vaughan also, whose MS. lines to
Donne I have printed in the introduction (_Text and Canon, &c. _, p.
lxiv, note), is enrolled by Clarendon among his intimates at this
time. If his friends, legal and literary, were thus eulogizing Donne,
why should Hyde not have tried his hand too? However, we know of no
other poetical effusions by the historian, and as these verses were
first affixed with King's to _Deaths Duell_ it is most probable that
their author was a divine.
The author of the fourth elegy, Dr. C. B. of O. , is Dr. Corbet, Bishop
of Oxford (1582-1635). Walton reprinted the poem in the _Lives_ (1670)
as 'by Dr. Corbet . . . on his Friend Dr. Donne'. We have no particulars
regarding this friendship, but they were both 'wits' and their poems
figure together in MS. collections. Ben Jonson was an intimate of
Corbet's, who was on familiar terms with all the Jacobean wits
and poets. For Corbet's life see D. N. B. His poems are in Chalmers'
collection.
The Hen. Valentine of the next Elegy matriculated at Christ's College,
Cambridge, in December, 1616, and proceeded B. A. in 1620/1, M. A. 1624.
He was incorporated at Oxford in 1628, where he took the degree of
D. D. in 1636. On the 8th of December, 1630, he was appointed Rector
of Deptford. He was either ejected under the Commonwealth or died, for
Mallory, his successor, was deprived in 1662. For this information
I am indebted to the _Biographical Register of Christ's College,
1505-1905, &c. , compiled by John Peile . . . Master of the College_,
1910. Of works by him the British Museum Catalogue contains _Foure
Sea-Sermons preached at the annual meeting of the Trinitie Companie in
the Parish Church of Deptford_, London, 1635, and _Private devotions,
digested into six litanies . . . Seven and twentieth edition_, London,
1706. The last was first published in 1651.
Izaak Walton's _Elegie_ underwent a good deal of revision. Besides the
variants which I have noted, _1635-69_ add the following lines:
Which as a free-will-offring, I here give
Fame, and the world, and parting with it grieve,
I want abilities, fit to set forth
A monument great, as _Donnes_ matchlesse worth.
In 1658 and 1670, when the _Elegie_ was transferred to the enlarged
_Life of Donne_, it was again revised, and opens:
Our Donne is dead: and we may sighing say,
We had that man where language chose to stay
And shew her utmost power. I would not praise
That, and his great Wit, which in our vaine dayes
Makes others proud; but as these serv'd to unlocke
That Cabinet, his mind, where such a stock
Of knowledge was repos'd, that I lament
Our just and generall cause of discontent.
But the poem in its final form is included in the many reprints of
Walton's _Lives_, and it is unnecessary to note the numerous verbal
variations. The most interesting is in ll. 25-6.
Did his youth scatter Poetry, wherein
Lay Loves Philosophy?
Professor Norton notes that 'the name of the author of this' (the
seventh) 'Elegy is given as Carie or Cary in all the early editions,
by mistake for Carew'. But the spelling (common in the MSS. ) simply
represents the way in which the name was pronounced. Thomas Carew
(1598? -1639? ) was sewer-in-ordinary to King Charles in 1633, and in
February 1633/4 his most elaborate work, the _Coelum Britannicum_,
was performed at Whitehall, on Shrove Tuesday. It was published
immediately afterwards, 1634. His collected _Poems_ were issued in
1640 and contained this _Elegie_. I note the following variants from
the text of 1640 as reproduced by Arthur Vincent (_Muses Library_,
1899):
3. dare we not trust _1633_: did we not trust _1640_; 5. Churchman
_1633_: lecturer _1640_; 8. thy Ashes _1633_: the ashes _1640_; 9.
no voice, no tune? _1633_: nor tune, nor voice? _1640_; 17. our Will,
_1633_: the will, _1640_; 44. dust _1633_: dung _1640_; rak'd _1633_:
search'd _1640_; 50. stubborne language _1633_: troublesome language
_1640_; 58. is purely thine _1633_: was only thine _1640_; 59. thy
smallest worke _1633_: their smallest work _1640_; 63. repeale _1633_:
recall _1640_; 65. Were banish'd _1633_: Was banish'd _1640_; 66.
o'th'Metamorphoses _1633_: i'th'Metamorphoses _1640_;
68-9.
Till verse refin'd by thee, in this last Age,
Turne ballad rime _1633_:
Till verse, refin'd by thee in this last age,
Turn ballad-rhyme _1640_ (_Vincent_):
Surely 'in this last Age' goes with 'Turne ballad rime'; 73. awfull
solemne _1633_; solemn awful _1640_; 74. faint lines _1633_: rude
lines _1640_; 81. maintaine _1633_: retain _1640_; 88. our losse
_1633_: the loss _1640_; 89. an Elegie, _1633_: one Elegy, _1640_;
91-2.
Though every pen should share a distinct part,
Yet art thou Theme enough to tyre all Art;
_1633_: _omit 1640_.
Some of these differences are trifling, but in several instances (3,
8, 50, 59, 66, 91-2) the 1633 text is so much better that it seems
probable that the poem was printed in 1640 from an early, unrevised
version. In 87. 'the' _1633_, _1640_ should be 'thee'.
Sir Lucius Cary, second Viscount Falkland (1610-1643), was a young man
of twenty-one when Donne died, and succeeded his father in the year
in which this poem was published. He had been educated at Trinity
College, Dublin. 'His first years of reason', Wood says, 'were spent
in poetry and polite learning, into the first of which he made divers
plausible sallies, which caused him therefore to be admired by the
poets of those times, particularly by Ben Jonson . . . by Edm. Waller of
Beaconsfield . . . and by Sir John Suckling, who afterwards brought him
into his poem called _The Session of Poets_ thus,
He was of late so gone with divinity,
That he had almost forgot his poetry,
Though to say the truth (and Apollo did know it)
He might have been both his priest and his poet. '
But Falkland is best known through his friendship with Clarendon,
whose account of him is classical: 'With these advantages' (of birth
and fortune) 'he had one great disadvantage (which in the first
entrance into the world is attended with too much prejudice) in his
person and presence, which was in no degree attractive or promising.
His stature was low, and smaller than most men; his motion not
graceful; and his aspect so far from inviting, that it had somewhat
in it of simplicity; and his voice the worst of the three, and so
untuned, that instead of reconciling, it offended the ear, so that
nobody would have expected music from that tongue; and sure no man
was less beholden to nature for its recommendation into the world:
but then no man sooner or more disappointed this general and customary
prejudice: that little person and small stature was quickly found to
contain a great heart, a courage so keen, and a nature so fearless,
that no composition of the strongest limbs, and most harmonious and
proportioned presence and strength, ever more disposed any man to
the greatest enterprise; it being his greatest weakness to be too
solicitous for such adventures: and that untuned voice and tongue
easily discovered itself to be supplied and governed by a mind and
understanding so excellent that the wit and weight of all he said
carried another kind of lustre and admiration in it, and even another
kind of acceptation from the persons present, than any ornament of
delivery could reasonably promise itself, or is usually attended with;
and his disposition and nature was so gentle and obliging, so much
delighted in courtesy, kindness, and generosity, that all mankind
could not but admire and love him. ' _The Life of Edward Earl of
Clarendon_ (Oxford, 1827) i. 42-50. Coming from him, Falkland's
poem is an interesting testimony to the influence of Donne's poetry,
presence, and character.
Jaspar Mayne (1604-72), author of _The City Match_, was a student and
graduate of Christ Church, Oxford, a poet, dramatist, and divine. He
wrote complimentary verses on the Earl of Pembroke, Charles I, Queen
Henrietta, Cartwright, and Ben Jonson--all, like those on Donne,
very bad. He was the translator of the Epigrams ascribed to Donne and
published with some of his _Paradoxes, Problemes, Essays, Characters_
in 1651.
Arthur Wilson (1595-1652), historian and dramatist, author of _The
Inconstant Lady_ and _The Swisser_, had in 1633 just completed a
rather belated course at Trinity College, Oxford, whither he had gone
after leaving the service of the third Earl of Essex. For Wilson's
_Life_ see D. N. B. and Feuillerat: _The Swisser . . . avec une
Introduction et des Notes_, Paris, 1904.
The 'Mr. R. B. ' who wrote these lines is said by Mr. Gosse to be the
voluminous versifier Richard Brathwaite (1588-1673), author of _A
Strappado for the Divell_ and other works, satirical and pious. He is
perhaps the most likely candidate for the initials, which are all we
have to go by. At the same time it is a little surprising that a
poet whose name was so well known should have concealed himself under
initials, the device generally of a young man venturing among more
experienced poets. If he had not been too young in 1633, I should have
ventured to suggest that the author was Ralph Brideoak, who proceeded
B. A. at Oxford 1634, and in 1638 contributed lines to _Jonsonus
Virbius_. He was afterwards chaplain to Speaker Lenthall, and died
Bishop of Chichester. In the lines on Jonson, Brideoak describes the
reception of Jonson's plays with something of the vividness with which
the poet here describes the reception of Donne's sermons. He also
refers to Donne:
Had learned Donne, Beaumont, and Randolph, all
Surviv'd thy fate, and sung thy funeral,
Their notes had been too low: take this from me
None but thyself could write a verse for thee.
This last line echoes Donne (p. 204, l. 24). Most of Donne's eulogists
were young men.
Brathwaite's wife died in 1633, and, perhaps following Donne, he for
some years wrote _Anniversaries upon his Panarete_. W. C. Hazlitt
suggests Brome as the author of the lines on Donne, which is not
likely.
The Epitaph which follows R. B. 's poem is presumably by him also.
Endymion Porter (1587-1649) may have had a common interest with Donne
in the Spanish language and literature, for the former owed his early
success as an ambassador and courtier to his Spanish descent and
upbringing. He owes his reputation now mainly to his patronage of art
and poetry and to the songs of Herrick. For his life see D. N. B. and E.
B. de Fonblanque's _Lives of the Lords Strangford_, 1877.
Daniel Darnelly, the author of the long Latin elegy added to the
collection in 1635, was, according to Foster (_Alumni Oxonienses_,
vol. i. 1891), the son of a Londoner, and matriculated at Oxford on
Nov. 14, 1623, at the age of nineteen. He proceeded B. A. in 1627, M. A.
1629/30, and was incorporated at Cambridge in 1634. He is described
in Musgrave's _Obituary_ as of Trinity Hall. In 1632 he was appointed
rector of Curry Mallet, Somersetshire, and of Walden St. Paul, Herts. ,
1634. This would bring him into closer touch with London, and probably
explains his writing an elegy for the forthcoming second edition of
Donne's _Poems_. He was rector of Teversham, Cambridgeshire, from
1635 to 1645, when his living was sequestered. He died on the 23rd of
November, 1659.
The heading of this poem shows that it was written at the request of
some one, probably King. In l. 35 _Nilusque minus strepuisset_ the
reference is to the great cataract. See Macrobius, _Somn. Scip. _ ii.
4.
Of Sidney Godolphin (1610-43) Clarendon says, 'There was never so
great a mind and spirit contained in so little room; so large an
understanding and so unrestrained a fancy in so very small a body: so
that the Lord Falkland used to say merrily, that he was pleased to be
found in his company, where he was the properer man; and it may be
the very remarkableness of his little person made the sharpness of his
wit, and the composed quickness of his judgement and understanding the
more notable. ' _The Life of Edward Earl of Clarendon_, i. 51-2. He
was killed at Chagford in the civil war. Professor Saintsbury has not
included this poem in his collection of Godolphin's poems, _Caroline
Poets_, ii. pp. 227-61.
John Chudleigh's name appears in MSS. occasionally at the end of
different poems. In the second collection in the Trinity College,
Dublin MS. G. 2.
21 (_TCD_ Second Collection) he is credited with the
authorship of Donne's lyric _A Feaver_, but two other poems are also
ascribed to him. He is the author of another in Addl. MS. 33998. f. 62
b. Who he was, I am not sure, but probably he may be identified with
John Chudleigh described in 1620 (_Visitation of Devonshire_) as son
and heir of George Chudley of Asheriston, or Ashton, in the county of
Devon, and then aged fourteen. On the 1st of June, 1621, aged 15,
he matriculated at Wadham College, Oxford. He proceeded B. A. 1623-4,
being described as 'equ. aur. fil. ' for his father, a member of
Parliament, had been created a baronet on the 1st of August, 1622.
He took his M. A. in 1626, and was incorporated at Cambridge in 1629
(Foster, _Alumni Oxonienses_, i. 276). Just before taking his M. A. he
was elected to represent East Looe. He died, however, before May 10,
1634, which is difficult to reconcile with his being the author of
these verses in 1635, unless they were written some time before.
APPENDIX A.
LATIN POEMS AND TRANSLATIONS.
Who the Dr. Andrews referred to was we do not know. Dr. Grosart
identifies him with the Andrews whose poems are transcribed in _H49_,
but this is purely conjectural.
The lines which I have taken out and made into a separate Epigram
are printed in the old editions as the third and fourth lines of the
letter. As Professor Norton pointed out, they have no connexion with
it. They seem to be addressed to some one who had travelled to Paris
from Frankfort, on an Embassy to the King of France, and had returned.
'The Maine passed to the Seine, into the house of the Victor, and with
your return comes to Frankfort. '
If Grosart's conjecture be correct, the author of the epigram may be
the Francis Andrews whose poems appear along with Donne's in _H49_,
for among these are some political poems in somewhat the same vein:
Though Ister have put down the Rhene
And from his channel thrust him quite;
Though Prage again repayre her losses,
And Idol-berge doth set up crosses,
Yet we a change shall shortly feele
When English smiths work Spanish steele;
Then Tage a nymph shall send to Thames,
The Eagle then shall be in flames,
Then Rhene shall reigne, and Boeme burne,
And Neccar shall to Nectar turne.
And of Henri IV:
Henrie the greate, great both in peace and war
Whom none could teach or imitate aright,
Findes peace above, from which he here was far;
A victor without insolence or spite,
A Prince that reigned, without a Favorite.
Of course, Andrews may be only the transcriber of these poems.
PAGE =398=. TO MR. GEORGE HERBERT, &c.
Walton has described the incident of the seals: 'Not long before his
death he caused to be drawn the figure of the Body of Christ, extended
upon an Anchor, like those which Painters draw when they would present
us with the picture of Christ crucified on the Cross; his varying
no otherwise than to affix him not to a Cross, but to an Anchor (the
Emblem of hope); this he caused to be drawn in little, and then many
of those figures thus drawn to be ingraven very small in _Helitropian_
Stones, and set in gold, and of these he sent to many of his dearest
friends, to be used as _Seals_ or _Rings_, and kept as memorials of
him, and of his affection to them. '
These seals have been figured and described in _The Gentleman's
Magazine_, vol. lxxvii, p. 313 (1807); and _Notes and Queries_, 2nd
Series, viii. 170, 216; 6th Series, x. 426, 473.
Herbert's epistle to Donne is given in _1650_. In Walton's _Life_ the
first two and a half lines of Donne's Latin poem and the whole of
the English one are given, and so with Herbert's reply. As printed
in _1650_ Herbert's reply is apparently interrupted by the insertion
between the eighth and ninth lines of two disconnected stanzas, which
may or may not be by Herbert. The first of these ('When Love' &c. )
with some variants is given in the 1658 edition of the _Life_ of
Donne; but in the collected _Lives_ (1670, 1675) it is withdrawn. The
second I have not found elsewhere.
Although the Crosse could not Christ here detain,
Though nail'd unto't, but he ascends again,
Nor yet thy eloquence here keep him still,
But onely while thou speak'st; This Anchor will.
Nor canst thou be content, unlesse thou to
This certain Anchor adde a Seal, and so
The Water, and the Earth both unto thee
Doe owe the symbole of their certainty.
Let the world reel, we and all ours stand sure,
This holy Cable's of all storms secure.
When Love being weary made an end
Of kinde Expressions to his friend,
He writ; when's hand could write no more,
He gave the Seale, and so left o're.
How sweet a friend was he, who being griev'd
His letters were broke rudely up, believ'd
'Twas more secure in great Loves Common-weal
(Where nothing should be broke) to adde a Seal.
[Line 2: Though _1650_: When _Walton_]
[Line 10: of _1650_: from _Walton_]
In the _Life of Herbert_ Walton refers again to the seals and adds,
'At Mr. Herbert's death these verses were found wrapped up with that
seal which was by the Doctor given to him.
When my dear Friend could write no more,
He gave this Seal, and, so gave ore.
When winds and waves rise highest, I am sure,
This Anchor keeps my faith, that, me secure. '
PAGE =400=, l. 22. <_Wishes_> I have ventured to change 'Works' to
'Wishes'. It corrects the metre and corresponds to the Latin.
PAGE =400=. TRANSLATED OUT OF GAZAEUS, &c.
The original runs as follows:
Tibi quod optas et quod opto, dent Divi,
(Sol optimorum in optimis Amicorum)
Vt anima semper laeta nesciat curas,
Vt vita semper viva nesciat canos,
Vt dextra semper larga nesciat sordes,
Vt bursa semper plena nesciat rugas,
Vt lingua semper vera nesciat lapsum,
Vt verba semper blanda nesciant rixas,
Vt facta semper aequa nesciant fucum,
Vt fama semper pura nesciat probrum,
Vt vota semper alta nesciant terras,
Tibi quod optas et quod opto, dent Divi.
I have taken it from:
PIA
H I L A R I A
VARIAQVE
CARMINA
ANGELINI GAZAEI
_e Societate Iesu, Atrebatis_.
[An ornament in original. ]
DILINGAE
_Formis Academicis
Cum auctoritate Superiorum_.
Apud VDALRICUM REM
CI? . I? C. XXIII.
The folios of this edition do not correspond to those of that which
Donne seems to have used.
APPENDIX B.
POEMS WHICH HAVE BEEN ATTRIBUTED TO DONNE.
For a full discussion of the authorship of these poems see _Text and
Canon of Donne's Poems_, pp. cxxix _et seq. _
PAGE =401=. TO S^r NICHOLAS SMYTH.
Chambers points out that a Nicholas Smyth has a set of verses in
_Coryats Crudities_, 1611.
In the _Visitation of the County of Devon_, 1620, a long genealogy is
given, the closing portion of which shows who this Nicholas Smith or
Smyth of Exeter (l. 15) and his father were:
Joan, d. of James Walker = Sir Geo. Smith of Exeter,
who was descended of the | Knt. , ob. 1619.
Mathewes of Wales who |
were descended of Flewellyns |
and Herberts. |
+-----------------+-----------+------+-----------------------+
| | | |
Divers children Elizabeth, Sir Nicholas Smith=Dorothea, d. James,
d. without &c. of Larkbeare in of Sir Raphe &c.
issue. com. Devon, Kt. Horsey de
com. Dorsett.
Seven children of Sir Nicholas are given, including another Nicholas
(aet. 14), and the whole is signed 'Nich Smith'.
This is doubtless Roe's friend. With Roe as a Falstaff he had probably
'heard the chimes at midnight' in London before he settled down to
raise a family in Devonshire.
l. 7. _sleeps House, &c. _ Ovid xi; Ariosto, _Orlando Furioso_, Canto
xiv; Spenser, _Faerie Queene_, I. i.
PAGE =402=, l. 26. _Epps_. 'This afternoon a servingman of the Earl
of Northumberland fought with swaggering Eps, and ran him through the
ear. ' _Manninghams Diary_, 8th April, 1603 (Camden Club, p. 165). This
is the only certain reference to Epps I have been able to find, but
Grosart declares he is the soldier described in Dekker's _Knights
Conjuring_ as behaving with great courage at the siege of Ostend
(1601-4), where he was killed. I can find no name in Dekker's work.
ll. 27-31. As printed in _1669_ these lines are not very intelligible,
and neither Grosart nor Chambers has corrected them. As given in the
MSS. (e. g. _TCD_) they are a little clearer:
For his Body and State
The Physick and Counsel (which came too late)
'Gainst whores and dice, hee nowe on mee bestowes
Most superficially: hee speakes of those,
(I found by him) least soundly whoe most knows:
The purpose of bracketing 'which came too late' is obviously to keep
it from being taken with ''Gainst whores and dice'--the very mistake
that _1669_ has fallen into and Grosart and Chambers have preserved.
The drawback to this use of the bracket is that it disguises, at least
to modern readers, that 'which came too late' must be taken with 'For
his Body and State'. I have therefore dropped it and placed a comma
after 'late'. The meaning I take to be as follows: 'The physic and
counsel against whores and dice, which came too late for his own body
and estate, he now bestows on me in a superficial fashion; for I found
by him that of whores and dice those speak least soundly who know
most from personal experience. ' A rather shrewd remark. There are some
spheres where experience does not teach, but corrupt.
l. 40. _in that or those_: 'that' the Duello, 'those' the laws of the
Duello. There is not much to choose between 'these' and 'those'.
ll. 41-3. _Though sober; but so never fought. I know
What made his Valour, undubb'd, Windmill go,
Within a Pint at most:_
The MSS. improve both the metre and the sense of the first of these
lines, which in _1669_ and Chambers runs:
Though sober; but nere fought. I know . . .
It is when he is sober that he never fights, though he may quarrel.
Roe knows exactly how much drink it would take to make this undubb'd
Don Quixote charge a windmill, or like a windmill. But the poem is too
early for an actual reference to _Don Quixote_
PAGE =403=, ll. 67-8. _and he is braver now
Than his captain. _
By 'braver' the poet means, not more courageous, but more splendidly
attired, more 'braw'.
PAGE =404=, l. 88. _Abraham France_--who wrote English hexameters. His
chief works are _The Countess of Pembrokes Ivy Church_ (1591) and _The
Countess of Pembrokes Emmanuel_ (1591). He was alive in 1633.
PAGE =405=, l. 113. _So they their weakness hide, and greatness
show. _ Grosart refused the reading 'weakness', which he found in
his favourite MS. _S_, and Chambers ignored it. It has, however, the
support of _B_, _O'F_, and _L74_ (which is strong in Roe's poetry),
and seems to me to give the right edge to the sarcasm. 'By giving to
flatterers what they owe to worth, Kings and Lords think to hide their
weakness of character, and to display the greatness of their wealth
and station. ' They make a double revelation of their weakness in their
credulity and their love of display.
l. 128. _Cuff. _ Henry Cuff (1563-1601), secretary to Essex and an
abettor of the conspiracy.
l. 131. _that Scot. _ It is incredible that Donne wrote these lines. He
found some of his best friends among the Scotch--Hay, Sir Robert Ker,
Essex, and Hamilton, to say nothing of the King.
PAGE =406=. SATYRE.
PAGE =407=, ll. 32-3. _A time to come, &c. _ I have adopted Grosart's
punctuation and think his interpretation of 'beg' must be the right
one--'beg thee as an idiot or natural. ' The O. E. D. gives: '? ? 5a. _To
beg a person_: to petition the Court of Wards (established by Henry
VIII and suppressed under Charles II) for the custody of a minor, an
heiress, or an idiot, as feudal superior or as having interest in the
matter: hence also fig. _To beg_ (any one) _for a fool_ or _idiot_: to
take him for, set him down as. _Obs. _' Among other examples is, 'He
proved a wiser man by much than he that begged him. Harington, _Met.
Ajax_ 46. ' What the satirist says is, 'The time will come when she
will beg to have wardship of thee as an idiot. If you continue she
will take you for one now. '
l. 35. _Besides, her<s>. _ My reading combines the variants. I think
'here' must be wrong.
PAGE =407=. AN ELEGIE.
PAGE =408=, l. 5. _Else, if you were, and just, in equitie &c. _ This
is the punctuation of _H39_, and is obviously right, 'in equitie'
going with what follows. He has denied the existence or, at least, the
influence of the Fates, and now continues, 'For if you existed or had
power, and if you were just, then, according to all equity I should
have vanquish'd her as you did me. ' Grosart and the Grolier Club
editor follow _1635-54_, and read:
Else, if you were, and just in equity, &c.
Chambers accepts the attempt of _1669_ to amend this, and prints:
True if you were, and just in equity, &c.
