Whitcomb's aid I was enabled to do this carefully, and he has
subsequently verified references.
subsequently verified references.
Donne - 1
Project Gutenberg's The Poems of John Donne [2 vols.
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Title: The Poems of John Donne [2 vols. ] Volume I
Edited from the Old Editions and Numerous Manuscripts
Author: John Donne
Editor: Herbert J. C. Grierson
Release Date: April 12, 2015 [EBook #48688]
Language: English
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*** START OF THIS PROJECT GUTENBERG EBOOK THE POEMS OF JOHN DONNE [2 ***
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THE POEMS OF JOHN DONNE
EDITED FROM THE OLD EDITIONS AND NUMEROUS MANUSCRIPTS,
WITH INTRODUCTIONS & COMMENTARY
BY
HERBERT J. C. GRIERSON M. A.
CHALMERS PROFESSOR OF ENGLISH LITERATURE
IN THE UNIVERSITY OF ABERDEEN
VOL. I
THE TEXT OF THE POEMS WITH APPENDIXES
OXFORD
AT THE CLARENDON PRESS
1912
HENRY FROWDE, M. A.
PUBLISHER TO THE UNIVERSITY OF OXFORD
LONDON, EDINBURGH, NEW YORK
TORONTO AND MELBOURNE
PREFACE
The present edition of Donne's poems grew out of my work as a teacher.
In the spring of 1907, just after I had published a small volume on
the literature of the early seventeenth century, I was lecturing to
a class of Honours students on the 'Metaphysical poets'. They found
Donne difficult alike to understand and to appreciate, and accordingly
I undertook to read with them a selection from his poems with a view
to elucidating difficult passages and illustrating the character
of his 'metaphysics', the Scholastic and scientific doctrines which
underlie his conceits. The only editions which we had at our disposal
were the modern editions of Donne's poems by Grosart and Chambers, but
I did not anticipate that this would present any obstacle to the task
I had undertaken. About the same time the Master of Peterhouse asked
me to undertake the chapter on Donne, as poet and prose-artist, for
the _Cambridge History of English Literature_. The result was that
though I had long been interested in Donne, and had given, while at
work on the poetry of the seventeenth century, much thought to his
poetry as a centre of interest and influence, I began to make a more
minute study of the text of his poems than I had yet attempted.
The first result of this study was the discovery that there were
several passages in the poems, as printed in Mr. Chambers' edition,
of which I could give no satisfactory explanation to my class. At
the close of the session I went to Oxford and began in the Bodleian
a rapid collation of the text of that edition with the older copies,
especially of 1633. The conclusion to which I came was that, excellent
in many ways as that edition is, the editor had too often abandoned
the reading of 1633 for the sometimes more obvious but generally
weaker and often erroneous emendations of the later editions. As he
records the variants this had become clear in some cases already, but
an examination of the older editions brought out another fact,--that
by modernizing the punctuation, while preserving no record of the
changes made, the editor had corrupted some passages in such a manner
as to make it impossible for a student, unprovided with all the old
editions, to recover the original and sometimes quite correct reading,
or to trace the error to its fountainhead.
My first proposal to the Delegates of the Clarendon Press was that I
should attempt an edition of Donne's poems resting on a collation of
the printed texts; that for all poems which it contains the edition
of 1633 should be accepted as the authority, to be departed from only
when the error seemed to be obvious and certain, and that all such
changes, however minute, should be recorded in the notes. In the
case of poems not contained in the edition of 1633, the first edition
(whether 1635, 1649, 1650, or 1669) was to be the authority and to be
treated in the same fashion. Such an edition, it was hoped, might be
ready in a year. I had finished my first collation of the editions
when a copy of the Grolier Club edition came into my hands, and I
included it in the number of those which I compared throughout with
the originals.
While the results of this collation confirmed me in the opinion I
had formed as to the superiority of the edition of 1633 to all
its successors, it showed also that that edition was certainly not
faultless, and that the text of those poems which were issued only in
the later editions was in general very carelessly edited and corrupt,
especially of those poems which were added for the first time in 1669.
This raised the question, what use was to be made of the manuscript
copies of the poems in correcting the errors of the edition? Grosart
had based his whole text on one or two manuscripts in preference to
the editions. Mr. Chambers, while wisely refusing to do this, and
adopting the editions as the basis of his text, had made frequent
reference to the manuscripts and adopted corrections from them.
Professor Norton made no use of the manuscripts in preparing the text
of his edition, but he added in an Appendix an account of one of these
which had come into his hands, and later he described some more and
showed clearly that he believed corrections were to be obtained from
this source. Accordingly I resolved to examine tentatively those which
were accessible in the British Museum, especially the transcript of
three of the _Satyres_ in Harleian MS. 5110.
A short examination of the manuscripts convinced me that it would be
very unsafe to base a text on any single extant manuscript, or even to
make an eclectic use of a few of them, taking, now from one, now
from another, what seemed a probable emendation. On the other hand
it became clear that if as wide a collation as possible of extant
manuscripts were made one would be able to establish in many cases
what was, whether right or wrong, the traditional reading before any
printed edition appeared.
A few experiments further showed that one, and a very important,
result of this collation would be to confirm the trustworthiness of
1633, to show that in places where modern editors had preferred the
reading of some of the later editions, generally 1635 or 1669, the
text of 1633 was not only intrinsically superior but had the support
of tradition, i. e. of the majority of the manuscripts. If this were
the case, then it was also possible that the traditional, manuscript
text might afford corrections when 1633 had fallen into error. At the
same time a very cursory examination of the manuscripts was sufficient
to show that many of them afforded an infinitely more correct and
intelligible text of those poems which were not published in 1633 than
that contained in the printed editions.
Another possible result of a wide collation of the manuscripts soon
suggested itself, and that was the settlement of the canon of Donne's
poems. One or two of the poems contained in the old editions had
already been rejected by modern editors, and some of these on the
strength of manuscript ascriptions. But on the one hand, no systematic
attempt had been made to sift the poems, and on the other, experience
has shown that nothing is more unsafe than to trust to the ascriptions
of individual, unauthenticated manuscripts. Here again it seemed to
the present editor that if any definite conclusion was to be obtained
it must be by as wide a survey as possible, by the accumulation of
evidence. No such conclusion might be attainable, but it was only thus
that it could be sought.
The outcome of the investigation thus instituted has been fully
discussed in the article on the _Text and Canon of Donne's Poems_ in
the second volume, and I shall not attempt to summarize it here. But
it may be convenient for the student to have a quite brief statement
of what it is that the notes in this volume profess to set forth.
Their first aim is to give a complete account of the variant readings
of the original editions of 1633, 1635, 1639, 1649-50-54 (the text in
these three is identical), and 1669. This was the aim of the edition
as originally planned, and though my opinion of the value of many
of the variants of the later editions has undergone considerable
abatement since I was able to study them in the light afforded by the
manuscripts, I have endeavoured to complete my original scheme; and I
trust it may be found that nothing more important has been overlooked
than an occasional misprint in the later editions. But I know from the
experience of examining the work of my precursors, and of revising
my own work, that absolute correctness is almost unattainable. It has
been an advantage to me in this part of the work to come after Mr.
Chambers and the Grolier Club editors, but neither of these editions
records changes of punctuation.
The second purpose of the notes is to set forth the evidence of the
manuscripts. I have not attempted to give anything like a full account
of the variant readings of these, but have recorded so much as is
sufficient for four different purposes.
(1) To vindicate the text of 1633. I have not thought it necessary
to detail the evidence in cases where no one has disputed the 1633
reading. If the note simply records the readings of the editions it
may be assumed that the manuscript evidence, so far as it is explicit
(the manuscripts frequently abound in absurd errors), is on the side
of 1633. In other cases, when there is something to be said for the
text of the later editions, and especially when modern editors have
preferred the later reading (though I have not always called attention
to this) I have set forth the evidence in some detail. At times I
have mentioned each manuscript, at others simply _all the MSS. _,
occasionally just _MSS. _ This last means generally that all the
positive evidence before me was in favour of the reading, but that my
collations were silent as to some of the manuscripts. My collators,
whether myself or those who worked for me, used Mr. Chambers' edition
because of its numbered lines. Now if Mr. Chambers had already adopted
a 1635 or later reading the tendency of the collator--especially
at first, before the importance of certain readings had become
obvious--was to pass over the agreement of the manuscript with this
later reading in silence. In all important cases I have verified
the reading by repeated reference to the manuscripts, but in some of
smaller importance I have been content to record the general trend of
the evidence. I have tried to cite no manuscript unless I had positive
evidence as to its reading.
(2) The second use which I have made of the manuscript evidence is
to justify my occasional departures from the text of the editions,
whether 1633 (and these are the departures which call for most
justification) or whatever later edition was the first to contain the
poem. In every such case the reader should see at a glance what was
the reading of the first edition, and on what authority it has been
altered. My aim has been a true text (so far as that was attainable),
not a reprint; but I have endeavoured to put the reader in exactly
the same position as I was myself at each stage in the construction of
that text. If I have erred, he can (in a favourite phrase of Donne's)
'control' me. This applies to spelling and punctuation as well as to
the words themselves. But two warnings are necessary. When I note a
reading as found in a number of editions, e. g. 1635 to 1654 (1635-54),
or in _all_ the editions (1633-69), it must be understood that the
spelling is not always the same throughout. I have generally noted
any variation in the use of capitals, but not always. The spelling and
punctuation of each poem is that of the _first_ edition in which it
was published, or of the manuscript from which I have printed, all
changes being recorded. Again, if, in a case where the words and not
the punctuation is the matter in question, I cite the reading of an
edition or some editions followed by a list of agreeing manuscripts,
it will be understood that any punctuation given is that of the
editions. If a list of manuscripts only is given, the punctuation, if
recorded, is that of one or two of the best of these.
In cases where punctuation is the matter in question the issue lies
between the various editions and my own sense of what it ought to be.
Wherever it is not otherwise indicated the punctuation of a poem is
that of the first edition in which it appeared or of the manuscript
from which I have printed it. I have not recorded every variant of the
punctuation of later editions, but all that affect the sense while
at the same time not manifestly absurd. The punctuation of the
manuscripts is in general negligible, but of a few manuscripts it is
good, and I have occasionally cited these in support of my own view as
to what the punctuation should be.
(3) A third purpose served by my citation of the manuscripts is to
show clearly that there are more versions than one of some poems. A
study of the notes to the _Satyres_, _The Flea_, _The Curse_, _Elegy
XI: The Bracelet_, will make this clear.
(4) A fourth, subordinate and occasional, purpose of my citation
of the manuscripts is to show how Donne's poems were understood
or misunderstood by the copyists. Occasionally a reading which is
probably erroneous throws light upon a difficult passage. The version
of _P_ at p. 34, ll. 18-19, elucidates a difficult stanza. The reading
of Q in _The Storme_, l. 38,
Yea, and the Sunne
for the usual
I, and the Sunne
suggests, what is probably correct but had not been suspected by any
editor, that 'I' here, as often, is not the pronoun, but 'Aye'.
The order of the poems is that of the editions of 1635 onwards with
some modifications explained in the Introduction. In Appendix B I
have placed all those poems which were printed as Donne's in the old
editions (1633 to 1669), except Basse's _Epitaph on Shakespeare_, and
a few found in manuscripts connected with the editions, or assigned
to Donne by competent critics, all of which I believe to be by other
authors. The text of these has been as carefully revised as that
of the undoubted poems. In Appendix C I have placed a miscellaneous
collection of poems loosely connected with Donne's name, and
illustrating the work of some of his fellow-wits, or the trend of his
influence in the occasional poetry of the seventeenth century.
The work of settling the text, correcting the canon, and preparing the
Commentary has been done by myself. It was difficult to consult others
who had not before them all the complex mass of evidence which I had
accumulated. On some five or six places in the text, however, where
final question to be decided was the intrinsic merits of the readings
offered by the editions and by the manuscripts, or the advisability of
a bolder emendation, I have had the advantage of comparing my opinion
with that of Sir James Murray, Sir Walter Raleigh, Dr. Henry Bradley,
Mr. W. A. Craigie, Mr. J. C. Smith, or Mr. R. W. Chapman.
For such accuracy as I have secured in reproducing the old editions,
in the text and in the notes, I owe much to the help of three friends,
Mr. Charles Forbes, of the Post Office, Aberdeen, who transcribed the
greater portion of my manuscript; Professor John Purves, of University
College, Pretoria, who during a visit to this country read a large
section of my proofs, comparing them with the editions in the British
Museum; and especially to my assistant, Mr. Frederick Rose, M. A. , now
Douglas Jerrold Scholar, Christ Church, Oxford, who has revised my
proofs throughout with minute care.
I am indebted to many sources for the loan of necessary material. In
the first place I must acknowledge my debt to the Carnegie Trust for
the Universities of Scotland for allowing me a grant of £40 in 1908-9,
and of £30 in 1909-10, for the collation of manuscripts. Without this
it would have been impossible for me to collate, or have collated
for me, the widely scattered manuscripts in London, Petworth, Oxford,
Cambridge, Manchester, and Boston. Some of my expenses in this
connexion have been met by the Delegates of the Clarendon Press, who
have also been very generous in the purchase of necessary books, such
as editions of the Poems and the Sermons. At the outset of my work
the Governing Body of Christ Church, Oxford, lent me the copy of
the edition of 1633 (originally the possession of Sir John Vaughan
(1603-1674) Chief Justice of the Common Pleas) on which the present
edition is based, and also their copies of the editions of 1639, 1650,
and 1654. At the same time Sir Walter Raleigh lent me his copy of
the edition of 1669. At an early stage of my work Captain C. Shirley
Harris, of 90 Woodstock Road, Oxford, communicated with me about
Donne's use of the word 'Mucheron', and he was kind enough to lend me
both his manuscript, _P_, and the transcript which he had caused to be
made. By the kindness of Lord Ellesmere I was permitted to collate
his unique copy of the 1611 edition of the _Anatomy of the World_
and _Funerall Elegie_. While I was doing so, Mr. Strachan Holme, the
Librarian, drew my attention to a manuscript collection of Donne's
poems (_B_), and with his kind assistance I was enabled to collate
this at Walkden, Manchester, and again at Bridgewater House. Mr. Holme
has also furnished a photograph of the title-page of the edition of
1611. To the authorities of Trinity College, Dublin, and of Trinity
College, Cambridge, I am indebted not only for permission to collate
their manuscripts on the spot, but for kindly lending them to be
examined and compared in the Library at King's College, Aberdeen;
and I am indebted for a similar favour to the authorities of Queen's
College, Oxford. In Dublin I met Professor Edward Dowden, and no one
has been a kinder friend to my enterprise. He put at my disposal his
interesting and valuable manuscript (_D_) and all his collection of
Donne's works. He drew my attention to a manuscript (_O'F_) in Ellis
and Elvey's catalogue for 1903. Mr. Warwick Bond was good enough to
lend me the notes he had made upon this manuscript, which ultimately
I traced to Harvard College Library. With Professor Dowden, Mr. Edmund
Gosse has given me the most generous and whole-hearted assistance.
He lent me, as soon as ever I applied to him, his valuable and unique
Westmoreland MS. , containing many poems which were not included in any
of the old editions. Some of these Mr. Gosse had already printed in
his own delightful _Life and Letters of John Donne_ (1899), but he has
allowed me to reprint these and to print the rest of the unpublished
poems for the first time. From his manuscript (_G_) of the _Progresse
of the Soule_, or _Metempsychosis_, I have also obtained important
emendations of the text. This is the most valuable manuscript copy
of this poem. It will be seen that Mr. Gosse is a very material
contributor to the completeness and interest of the present edition.
To the Marquess of Crewe I am indebted for permission to examine the
manuscript _M_, to which a note of Sir John Simon's had called my
attention; and to Lord Leconfield for a like permission to collate a
manuscript in his possession, of which a short description is given in
the _Hist. MSS. Commission, Sixth Report_, p. 312, No. 118. With
Mr. Whitcomb's aid I was enabled to do this carefully, and he has
subsequently verified references. Another interesting manuscript
(_JC_) was lent me by Mr. Elkin Mathews, who has also put at my
disposal his various editions of the _Lives_ of Walton and other
books connected with Donne. Almost at the eleventh hour, Mr. Geoffrey
Keynes, of St. Bartholomew's Hospital, discovered for me a copy of the
1612 edition of the _Anniversaries_, for which I had asked in vain in
_Notes and Queries_. I owe to him, and to the kind permission of
Mr. Edward Huth and the Messrs. Sotheby, a careful collation and a
photograph of the title-page.
For the Commentary Dr. Norman Moore supplied me with a note on the
Galenists and Paracelsians; and Dr. Gaster with the materials for a
note on Donne's use of Jewish Apocrypha. Professor Picavet, of the
Sorbonne, Paris, was kind enough to read in proof my notes on Donne's
allusions to Scholastic doctrines, and to make suggestions. But I have
added to these notes as they passed through the Press, and he must not
be made responsible for my errors. Mr. W. Barclay Squire and Professor
C. Sanford Terry have revised my transcripts and proofs of the music.
I desire lastly to express my gratitude to the officials of the
Clarendon Press for the care with which they have checked my proofs,
the patience with which they have accepted my changes and additions,
and the trouble they have taken to secure photographs, music, and
other details. Whatever faults may be found--and I doubt not they will
be many--in my part of the work, I think the part for which the Press
is responsible is wellnigh faultless.
H. J. C. GRIERSON.
LANGCROFT,
DINNET, ABERDEENSHIRE.
_July 15, 1912. _
NOTE
The typography of the edition of 1633 has been closely followed, in
its use for example of 'u' and 'v'; and of long 's', which is avoided
in certain combinations, e. g. 'sk' (but P. 12, l. 27. 'askes'
1633) and frequently 'sb'; nor is it generally used when the letter
following 's' is elided; but there are one or two exceptions to this.
In the following places I have printed a full 'and' where 1633
contracts to '&' owing to the length of the line:
Page 12, l. 4. & whõ; P. 15, l. 40. & drove; P. 65, l. 8. & nought; P.
153, l.
Whitcomb's aid I was enabled to do this carefully, and he has
subsequently verified references. Another interesting manuscript
(_JC_) was lent me by Mr. Elkin Mathews, who has also put at my
disposal his various editions of the _Lives_ of Walton and other
books connected with Donne. Almost at the eleventh hour, Mr. Geoffrey
Keynes, of St. Bartholomew's Hospital, discovered for me a copy of the
1612 edition of the _Anniversaries_, for which I had asked in vain in
_Notes and Queries_. I owe to him, and to the kind permission of
Mr. Edward Huth and the Messrs. Sotheby, a careful collation and a
photograph of the title-page.
For the Commentary Dr. Norman Moore supplied me with a note on the
Galenists and Paracelsians; and Dr. Gaster with the materials for a
note on Donne's use of Jewish Apocrypha. Professor Picavet, of the
Sorbonne, Paris, was kind enough to read in proof my notes on Donne's
allusions to Scholastic doctrines, and to make suggestions. But I have
added to these notes as they passed through the Press, and he must not
be made responsible for my errors. Mr. W. Barclay Squire and Professor
C. Sanford Terry have revised my transcripts and proofs of the music.
I desire lastly to express my gratitude to the officials of the
Clarendon Press for the care with which they have checked my proofs,
the patience with which they have accepted my changes and additions,
and the trouble they have taken to secure photographs, music, and
other details. Whatever faults may be found--and I doubt not they will
be many--in my part of the work, I think the part for which the Press
is responsible is wellnigh faultless.
H. J. C. GRIERSON.
LANGCROFT,
DINNET, ABERDEENSHIRE.
_July 15, 1912. _
NOTE
The typography of the edition of 1633 has been closely followed, in
its use for example of 'u' and 'v'; and of long 's', which is avoided
in certain combinations, e. g. 'sk' (but P. 12, l. 27. 'askes'
1633) and frequently 'sb'; nor is it generally used when the letter
following 's' is elided; but there are one or two exceptions to this.
In the following places I have printed a full 'and' where 1633
contracts to '&' owing to the length of the line:
Page 12, l. 4. & whõ; P. 15, l. 40. & drove; P. 65, l. 8. & nought; P.
153, l. 105. & almes; P. 158, l. 101. & name; do. , l. 107. & rockes,
&; P. 159, l. 30. & black; P. 171, l. 83. & lawes; P. 183, l. 18. &
Courts; P. 184, l. 29. & God; P. 205, l. 2. & pleasure; P. 240, l.
288. & sinke; P. 254, l. 107. & thinke; do. , l. 113. & think; P. 280,
l. 24. & Mines; P. 297, l. 56. & lands; do. , l. 62. & brow; P. 306,
l. 290. & lents; P. 327 (xii), l. 8. & feed; P. 337, l. 35. & thou; P.
360, l. 188. & turn'd; P. 384, l. 78. & face.
In the following places 'm' or 'n', indicated by a contraction, has
been printed in full: Page 12, l. 4. Her whõ; do. & whõ; P. 37, 1. 17.
whẽ (_bis_); P. 82, l. 46. thẽ; P. 90, l. 2. frõ; P. 128, l. 28.
Valẽtine; P. 141, l. 8. whẽ; P. 150, l. 16. thẽ; P. 159, l.
30. strãge; P. 169, l. 31. whõ; P. 257, l. 210. successiõ; P. 266, l.
513. anciẽt; P. 305, l. 255. thẽ; P. 336, l. 10. whẽ; P. 343,
l. 126. Frõ; P. 345, l. 169. thẽ; P. 387, l. 71. Pẽbrooke.
There are a few examples of the same changes in the poems printed from
the later editions, but I have not reproduced any of these editions so
completely as 1633, every poem in which, with the exception of Basse's
_An Epitaph upon Shakespeare_ (1633. p. 149 i. e. 165) has been here
reprinted.
CONTENTS OF VOL. I
SOURCE PAGE
1633 THE PRINTER TO THE UNDERSTANDERS 1
1633 HEXASTICHON BIBLIOPOLAE 3
1635 HEXASTICHON AD BIBLIOPOLAM 3
1650 DEDICATION TO THE EDITION OF 1650 4
1650 TO JOHN DONNE 5
1650 TO LUCY, COUNTESSE OF BEDFORD, WITH M. DONNES SATYRES 6
1650 TO JOHN DONNE 6
SONGS AND SONETS
1633 195 The good-morrow 7
196-7 Song 8
197-8 Womans constancy 9
198-9 The undertaking 10
199-200 The Sunne Rising 11
200-1 The Indifferent 12
201-2 Loves Vsury 13
202-4 The Canonization 14
204-5 The triple Foole 16
205-6 Lovers infiniteness 17
206-8 Song 18
208-9 The Legacie 20
209-10 A Feaver 21
211-12 Aire and Angels 22
212 Breake of day 23
213-14 The Anniversarie 24
214-17 A Valediction: of my name, in the window 25
218-19 Twicknam garden 28
219-21 A Valediction: of the booke 29
222 Communitie 32
223-4 Loves growth 33
224-5 Loves exchange 34
226 Confined Love 36
227 The Dreame 37
228-9 A Valediction: of weeping 38
229-30 Loves Alchymie 39
230-1 The Flea 40
231-2 The Curse 41
186 The Message 43
187-8 A nocturnall upon S. Lucies day, Being
the shortest day 44
189 Witchcraft by a picture 45
190-1 The Baite 46
191 The Apparition 47
192-3 The broken heart 48
193-4 A Valediction: forbidding mourning 49
277-80 The Extasie 51
280-1 Loves Deitie 54
281-2 Loves diet 55
283-5 The Will 56
285-6 The Funerall 58
286-7 The Blossome 59
288-9 The Primrose, being at Montgomery Castle,
upon the hill, on which it is situate 61
289-90 The Relique 62
290-1 The Dampe 63
291-2 The Dissolution 64
292-3 A Ieat Ring sent 65
293 Negative love 66
294 The Prohibition 67
295 The Expiration 68
295 The Computation 69
302 The Paradox 69
1635 63-4 Farewell to love 70
66-7 A Lecture upon the Shadow 71
1650 264-5 Sonnet. The Token 72
391-2 <Selfe Love> He that cannot chuse but love 73
EPIGRAMS
1633 40 Hero and Leander 75
40 Pyramus and Thisbe 75
40 Niobe 75
41 A burnt ship 75
41 Fall of a wall 76
41 A lame begger 76
Westmoreland MS. Cales and Guyana 76
" MS. Sir Iohn Wingefield 76
1633 41 A selfe accuser 76
42 A licentious person 77
42 Antiquary 77
42 Disinherited 77
42 Phryne 77
42 An obscure writer 77
42 Klockius 77
43 Raderus 78
43 Mercurius Gallo-Belgicus 78
43 Ralphius 78
Westmoreland MS. The Lier 78
ELEGIES
1633 44-5 I. Iealosie 79
45-7 II. The Anagram 80
47-8 III. Change 82
49-51 IV. The Perfume 84
51-2 V. His Picture 86
53-5 VI. Oh, let mee not 87
55-6 VII. Natures lay Ideot 89
149-50 VIII. The Comparison 90
151-2 IX. The Autumnall 92
153 X. The Dreame 95
1635 89-93 XI. The Bracelet 96
1669 86-9 XII. His parting from her 100
1635 96-7 XIII. Iulia 104
98-100 XIV. A Tale of a Citizen and his Wife 105
1633 300-2 XV. The Expostulation 108
1635 269-70 XVI. On his Mistris 111
1650 388-90 XVII. Variety 113
1669 94-7 XVIII. Loves Progress 116
97-9 XIX. Going to Bed 119
Westmoreland MS. XX. Loves Warr 122
1633 166-8 HEROICALL EPISTLE: Sapho to Philænis 124
EPITHALAMIONS, OR MARRIAGE SONGS
1633 118-22 An Epithalamion, Or marriage Song on the
Lady Elizabeth, and Count Palatine being
married on St. Valentines day 127
123-27 Eclogue. 1613. December 26 131
127-35 Epithalamion 135
135-8 Epithalamion made at Lincolnes Inne 141
SATYRES
1633 325-8 Satyre I 145
329-32 Satyre II 149
333-6 Satyre III 154
337-45 Satyre IIII 158
346-9 Satyre V 168
1650 262-4 Vpon Mr. Thomas Coryats Crudities 172
_Coryats Crudities_ In eundem Macaronicon 174
LETTERS TO SEVERALL PERSONAGES
1633 56-9 The Storme 175
59-61 The Calme 178
61-3 To S^r Henry Wotton. Sir, more then kisses 180
72-4 To S^r Henry Goodyere. Who makes the Past 183
74-5 To M^r Rowland Woodward. Like one who 185
76-7 To S^r Henry Wootton. Here's no more newes 187
Burley MS. H: W: in Hiber: belligeranti 188
1633 77-9 To the Countesse of Bedford. Madame, Reason is 189
79-82 To the Countesse of Bedford. Madame, You
have refin'd 191
82-4 To S^r Edward Herbert, at Iulyers. Man is a lumpe 193
84-7 To the Countesse of Bedford. T'have written then 195
87-90 To the Countesse of Bedford. This twilight of 198
90-3 To the Countesse of Huntingdon. Madame,
Man to Gods image 201
93-4 To M^r T. W. All haile sweet Poët 203
95 To M^r T. W. Hast thee harsh verse 205
95-6 To M^r T. W.
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Title: The Poems of John Donne [2 vols. ] Volume I
Edited from the Old Editions and Numerous Manuscripts
Author: John Donne
Editor: Herbert J. C. Grierson
Release Date: April 12, 2015 [EBook #48688]
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*** START OF THIS PROJECT GUTENBERG EBOOK THE POEMS OF JOHN DONNE [2 ***
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THE POEMS OF JOHN DONNE
EDITED FROM THE OLD EDITIONS AND NUMEROUS MANUSCRIPTS,
WITH INTRODUCTIONS & COMMENTARY
BY
HERBERT J. C. GRIERSON M. A.
CHALMERS PROFESSOR OF ENGLISH LITERATURE
IN THE UNIVERSITY OF ABERDEEN
VOL. I
THE TEXT OF THE POEMS WITH APPENDIXES
OXFORD
AT THE CLARENDON PRESS
1912
HENRY FROWDE, M. A.
PUBLISHER TO THE UNIVERSITY OF OXFORD
LONDON, EDINBURGH, NEW YORK
TORONTO AND MELBOURNE
PREFACE
The present edition of Donne's poems grew out of my work as a teacher.
In the spring of 1907, just after I had published a small volume on
the literature of the early seventeenth century, I was lecturing to
a class of Honours students on the 'Metaphysical poets'. They found
Donne difficult alike to understand and to appreciate, and accordingly
I undertook to read with them a selection from his poems with a view
to elucidating difficult passages and illustrating the character
of his 'metaphysics', the Scholastic and scientific doctrines which
underlie his conceits. The only editions which we had at our disposal
were the modern editions of Donne's poems by Grosart and Chambers, but
I did not anticipate that this would present any obstacle to the task
I had undertaken. About the same time the Master of Peterhouse asked
me to undertake the chapter on Donne, as poet and prose-artist, for
the _Cambridge History of English Literature_. The result was that
though I had long been interested in Donne, and had given, while at
work on the poetry of the seventeenth century, much thought to his
poetry as a centre of interest and influence, I began to make a more
minute study of the text of his poems than I had yet attempted.
The first result of this study was the discovery that there were
several passages in the poems, as printed in Mr. Chambers' edition,
of which I could give no satisfactory explanation to my class. At
the close of the session I went to Oxford and began in the Bodleian
a rapid collation of the text of that edition with the older copies,
especially of 1633. The conclusion to which I came was that, excellent
in many ways as that edition is, the editor had too often abandoned
the reading of 1633 for the sometimes more obvious but generally
weaker and often erroneous emendations of the later editions. As he
records the variants this had become clear in some cases already, but
an examination of the older editions brought out another fact,--that
by modernizing the punctuation, while preserving no record of the
changes made, the editor had corrupted some passages in such a manner
as to make it impossible for a student, unprovided with all the old
editions, to recover the original and sometimes quite correct reading,
or to trace the error to its fountainhead.
My first proposal to the Delegates of the Clarendon Press was that I
should attempt an edition of Donne's poems resting on a collation of
the printed texts; that for all poems which it contains the edition
of 1633 should be accepted as the authority, to be departed from only
when the error seemed to be obvious and certain, and that all such
changes, however minute, should be recorded in the notes. In the
case of poems not contained in the edition of 1633, the first edition
(whether 1635, 1649, 1650, or 1669) was to be the authority and to be
treated in the same fashion. Such an edition, it was hoped, might be
ready in a year. I had finished my first collation of the editions
when a copy of the Grolier Club edition came into my hands, and I
included it in the number of those which I compared throughout with
the originals.
While the results of this collation confirmed me in the opinion I
had formed as to the superiority of the edition of 1633 to all
its successors, it showed also that that edition was certainly not
faultless, and that the text of those poems which were issued only in
the later editions was in general very carelessly edited and corrupt,
especially of those poems which were added for the first time in 1669.
This raised the question, what use was to be made of the manuscript
copies of the poems in correcting the errors of the edition? Grosart
had based his whole text on one or two manuscripts in preference to
the editions. Mr. Chambers, while wisely refusing to do this, and
adopting the editions as the basis of his text, had made frequent
reference to the manuscripts and adopted corrections from them.
Professor Norton made no use of the manuscripts in preparing the text
of his edition, but he added in an Appendix an account of one of these
which had come into his hands, and later he described some more and
showed clearly that he believed corrections were to be obtained from
this source. Accordingly I resolved to examine tentatively those which
were accessible in the British Museum, especially the transcript of
three of the _Satyres_ in Harleian MS. 5110.
A short examination of the manuscripts convinced me that it would be
very unsafe to base a text on any single extant manuscript, or even to
make an eclectic use of a few of them, taking, now from one, now
from another, what seemed a probable emendation. On the other hand
it became clear that if as wide a collation as possible of extant
manuscripts were made one would be able to establish in many cases
what was, whether right or wrong, the traditional reading before any
printed edition appeared.
A few experiments further showed that one, and a very important,
result of this collation would be to confirm the trustworthiness of
1633, to show that in places where modern editors had preferred the
reading of some of the later editions, generally 1635 or 1669, the
text of 1633 was not only intrinsically superior but had the support
of tradition, i. e. of the majority of the manuscripts. If this were
the case, then it was also possible that the traditional, manuscript
text might afford corrections when 1633 had fallen into error. At the
same time a very cursory examination of the manuscripts was sufficient
to show that many of them afforded an infinitely more correct and
intelligible text of those poems which were not published in 1633 than
that contained in the printed editions.
Another possible result of a wide collation of the manuscripts soon
suggested itself, and that was the settlement of the canon of Donne's
poems. One or two of the poems contained in the old editions had
already been rejected by modern editors, and some of these on the
strength of manuscript ascriptions. But on the one hand, no systematic
attempt had been made to sift the poems, and on the other, experience
has shown that nothing is more unsafe than to trust to the ascriptions
of individual, unauthenticated manuscripts. Here again it seemed to
the present editor that if any definite conclusion was to be obtained
it must be by as wide a survey as possible, by the accumulation of
evidence. No such conclusion might be attainable, but it was only thus
that it could be sought.
The outcome of the investigation thus instituted has been fully
discussed in the article on the _Text and Canon of Donne's Poems_ in
the second volume, and I shall not attempt to summarize it here. But
it may be convenient for the student to have a quite brief statement
of what it is that the notes in this volume profess to set forth.
Their first aim is to give a complete account of the variant readings
of the original editions of 1633, 1635, 1639, 1649-50-54 (the text in
these three is identical), and 1669. This was the aim of the edition
as originally planned, and though my opinion of the value of many
of the variants of the later editions has undergone considerable
abatement since I was able to study them in the light afforded by the
manuscripts, I have endeavoured to complete my original scheme; and I
trust it may be found that nothing more important has been overlooked
than an occasional misprint in the later editions. But I know from the
experience of examining the work of my precursors, and of revising
my own work, that absolute correctness is almost unattainable. It has
been an advantage to me in this part of the work to come after Mr.
Chambers and the Grolier Club editors, but neither of these editions
records changes of punctuation.
The second purpose of the notes is to set forth the evidence of the
manuscripts. I have not attempted to give anything like a full account
of the variant readings of these, but have recorded so much as is
sufficient for four different purposes.
(1) To vindicate the text of 1633. I have not thought it necessary
to detail the evidence in cases where no one has disputed the 1633
reading. If the note simply records the readings of the editions it
may be assumed that the manuscript evidence, so far as it is explicit
(the manuscripts frequently abound in absurd errors), is on the side
of 1633. In other cases, when there is something to be said for the
text of the later editions, and especially when modern editors have
preferred the later reading (though I have not always called attention
to this) I have set forth the evidence in some detail. At times I
have mentioned each manuscript, at others simply _all the MSS. _,
occasionally just _MSS. _ This last means generally that all the
positive evidence before me was in favour of the reading, but that my
collations were silent as to some of the manuscripts. My collators,
whether myself or those who worked for me, used Mr. Chambers' edition
because of its numbered lines. Now if Mr. Chambers had already adopted
a 1635 or later reading the tendency of the collator--especially
at first, before the importance of certain readings had become
obvious--was to pass over the agreement of the manuscript with this
later reading in silence. In all important cases I have verified
the reading by repeated reference to the manuscripts, but in some of
smaller importance I have been content to record the general trend of
the evidence. I have tried to cite no manuscript unless I had positive
evidence as to its reading.
(2) The second use which I have made of the manuscript evidence is
to justify my occasional departures from the text of the editions,
whether 1633 (and these are the departures which call for most
justification) or whatever later edition was the first to contain the
poem. In every such case the reader should see at a glance what was
the reading of the first edition, and on what authority it has been
altered. My aim has been a true text (so far as that was attainable),
not a reprint; but I have endeavoured to put the reader in exactly
the same position as I was myself at each stage in the construction of
that text. If I have erred, he can (in a favourite phrase of Donne's)
'control' me. This applies to spelling and punctuation as well as to
the words themselves. But two warnings are necessary. When I note a
reading as found in a number of editions, e. g. 1635 to 1654 (1635-54),
or in _all_ the editions (1633-69), it must be understood that the
spelling is not always the same throughout. I have generally noted
any variation in the use of capitals, but not always. The spelling and
punctuation of each poem is that of the _first_ edition in which it
was published, or of the manuscript from which I have printed, all
changes being recorded. Again, if, in a case where the words and not
the punctuation is the matter in question, I cite the reading of an
edition or some editions followed by a list of agreeing manuscripts,
it will be understood that any punctuation given is that of the
editions. If a list of manuscripts only is given, the punctuation, if
recorded, is that of one or two of the best of these.
In cases where punctuation is the matter in question the issue lies
between the various editions and my own sense of what it ought to be.
Wherever it is not otherwise indicated the punctuation of a poem is
that of the first edition in which it appeared or of the manuscript
from which I have printed it. I have not recorded every variant of the
punctuation of later editions, but all that affect the sense while
at the same time not manifestly absurd. The punctuation of the
manuscripts is in general negligible, but of a few manuscripts it is
good, and I have occasionally cited these in support of my own view as
to what the punctuation should be.
(3) A third purpose served by my citation of the manuscripts is to
show clearly that there are more versions than one of some poems. A
study of the notes to the _Satyres_, _The Flea_, _The Curse_, _Elegy
XI: The Bracelet_, will make this clear.
(4) A fourth, subordinate and occasional, purpose of my citation
of the manuscripts is to show how Donne's poems were understood
or misunderstood by the copyists. Occasionally a reading which is
probably erroneous throws light upon a difficult passage. The version
of _P_ at p. 34, ll. 18-19, elucidates a difficult stanza. The reading
of Q in _The Storme_, l. 38,
Yea, and the Sunne
for the usual
I, and the Sunne
suggests, what is probably correct but had not been suspected by any
editor, that 'I' here, as often, is not the pronoun, but 'Aye'.
The order of the poems is that of the editions of 1635 onwards with
some modifications explained in the Introduction. In Appendix B I
have placed all those poems which were printed as Donne's in the old
editions (1633 to 1669), except Basse's _Epitaph on Shakespeare_, and
a few found in manuscripts connected with the editions, or assigned
to Donne by competent critics, all of which I believe to be by other
authors. The text of these has been as carefully revised as that
of the undoubted poems. In Appendix C I have placed a miscellaneous
collection of poems loosely connected with Donne's name, and
illustrating the work of some of his fellow-wits, or the trend of his
influence in the occasional poetry of the seventeenth century.
The work of settling the text, correcting the canon, and preparing the
Commentary has been done by myself. It was difficult to consult others
who had not before them all the complex mass of evidence which I had
accumulated. On some five or six places in the text, however, where
final question to be decided was the intrinsic merits of the readings
offered by the editions and by the manuscripts, or the advisability of
a bolder emendation, I have had the advantage of comparing my opinion
with that of Sir James Murray, Sir Walter Raleigh, Dr. Henry Bradley,
Mr. W. A. Craigie, Mr. J. C. Smith, or Mr. R. W. Chapman.
For such accuracy as I have secured in reproducing the old editions,
in the text and in the notes, I owe much to the help of three friends,
Mr. Charles Forbes, of the Post Office, Aberdeen, who transcribed the
greater portion of my manuscript; Professor John Purves, of University
College, Pretoria, who during a visit to this country read a large
section of my proofs, comparing them with the editions in the British
Museum; and especially to my assistant, Mr. Frederick Rose, M. A. , now
Douglas Jerrold Scholar, Christ Church, Oxford, who has revised my
proofs throughout with minute care.
I am indebted to many sources for the loan of necessary material. In
the first place I must acknowledge my debt to the Carnegie Trust for
the Universities of Scotland for allowing me a grant of £40 in 1908-9,
and of £30 in 1909-10, for the collation of manuscripts. Without this
it would have been impossible for me to collate, or have collated
for me, the widely scattered manuscripts in London, Petworth, Oxford,
Cambridge, Manchester, and Boston. Some of my expenses in this
connexion have been met by the Delegates of the Clarendon Press, who
have also been very generous in the purchase of necessary books, such
as editions of the Poems and the Sermons. At the outset of my work
the Governing Body of Christ Church, Oxford, lent me the copy of
the edition of 1633 (originally the possession of Sir John Vaughan
(1603-1674) Chief Justice of the Common Pleas) on which the present
edition is based, and also their copies of the editions of 1639, 1650,
and 1654. At the same time Sir Walter Raleigh lent me his copy of
the edition of 1669. At an early stage of my work Captain C. Shirley
Harris, of 90 Woodstock Road, Oxford, communicated with me about
Donne's use of the word 'Mucheron', and he was kind enough to lend me
both his manuscript, _P_, and the transcript which he had caused to be
made. By the kindness of Lord Ellesmere I was permitted to collate
his unique copy of the 1611 edition of the _Anatomy of the World_
and _Funerall Elegie_. While I was doing so, Mr. Strachan Holme, the
Librarian, drew my attention to a manuscript collection of Donne's
poems (_B_), and with his kind assistance I was enabled to collate
this at Walkden, Manchester, and again at Bridgewater House. Mr. Holme
has also furnished a photograph of the title-page of the edition of
1611. To the authorities of Trinity College, Dublin, and of Trinity
College, Cambridge, I am indebted not only for permission to collate
their manuscripts on the spot, but for kindly lending them to be
examined and compared in the Library at King's College, Aberdeen;
and I am indebted for a similar favour to the authorities of Queen's
College, Oxford. In Dublin I met Professor Edward Dowden, and no one
has been a kinder friend to my enterprise. He put at my disposal his
interesting and valuable manuscript (_D_) and all his collection of
Donne's works. He drew my attention to a manuscript (_O'F_) in Ellis
and Elvey's catalogue for 1903. Mr. Warwick Bond was good enough to
lend me the notes he had made upon this manuscript, which ultimately
I traced to Harvard College Library. With Professor Dowden, Mr. Edmund
Gosse has given me the most generous and whole-hearted assistance.
He lent me, as soon as ever I applied to him, his valuable and unique
Westmoreland MS. , containing many poems which were not included in any
of the old editions. Some of these Mr. Gosse had already printed in
his own delightful _Life and Letters of John Donne_ (1899), but he has
allowed me to reprint these and to print the rest of the unpublished
poems for the first time. From his manuscript (_G_) of the _Progresse
of the Soule_, or _Metempsychosis_, I have also obtained important
emendations of the text. This is the most valuable manuscript copy
of this poem. It will be seen that Mr. Gosse is a very material
contributor to the completeness and interest of the present edition.
To the Marquess of Crewe I am indebted for permission to examine the
manuscript _M_, to which a note of Sir John Simon's had called my
attention; and to Lord Leconfield for a like permission to collate a
manuscript in his possession, of which a short description is given in
the _Hist. MSS. Commission, Sixth Report_, p. 312, No. 118. With
Mr. Whitcomb's aid I was enabled to do this carefully, and he has
subsequently verified references. Another interesting manuscript
(_JC_) was lent me by Mr. Elkin Mathews, who has also put at my
disposal his various editions of the _Lives_ of Walton and other
books connected with Donne. Almost at the eleventh hour, Mr. Geoffrey
Keynes, of St. Bartholomew's Hospital, discovered for me a copy of the
1612 edition of the _Anniversaries_, for which I had asked in vain in
_Notes and Queries_. I owe to him, and to the kind permission of
Mr. Edward Huth and the Messrs. Sotheby, a careful collation and a
photograph of the title-page.
For the Commentary Dr. Norman Moore supplied me with a note on the
Galenists and Paracelsians; and Dr. Gaster with the materials for a
note on Donne's use of Jewish Apocrypha. Professor Picavet, of the
Sorbonne, Paris, was kind enough to read in proof my notes on Donne's
allusions to Scholastic doctrines, and to make suggestions. But I have
added to these notes as they passed through the Press, and he must not
be made responsible for my errors. Mr. W. Barclay Squire and Professor
C. Sanford Terry have revised my transcripts and proofs of the music.
I desire lastly to express my gratitude to the officials of the
Clarendon Press for the care with which they have checked my proofs,
the patience with which they have accepted my changes and additions,
and the trouble they have taken to secure photographs, music, and
other details. Whatever faults may be found--and I doubt not they will
be many--in my part of the work, I think the part for which the Press
is responsible is wellnigh faultless.
H. J. C. GRIERSON.
LANGCROFT,
DINNET, ABERDEENSHIRE.
_July 15, 1912. _
NOTE
The typography of the edition of 1633 has been closely followed, in
its use for example of 'u' and 'v'; and of long 's', which is avoided
in certain combinations, e. g. 'sk' (but P. 12, l. 27. 'askes'
1633) and frequently 'sb'; nor is it generally used when the letter
following 's' is elided; but there are one or two exceptions to this.
In the following places I have printed a full 'and' where 1633
contracts to '&' owing to the length of the line:
Page 12, l. 4. & whõ; P. 15, l. 40. & drove; P. 65, l. 8. & nought; P.
153, l.
Whitcomb's aid I was enabled to do this carefully, and he has
subsequently verified references. Another interesting manuscript
(_JC_) was lent me by Mr. Elkin Mathews, who has also put at my
disposal his various editions of the _Lives_ of Walton and other
books connected with Donne. Almost at the eleventh hour, Mr. Geoffrey
Keynes, of St. Bartholomew's Hospital, discovered for me a copy of the
1612 edition of the _Anniversaries_, for which I had asked in vain in
_Notes and Queries_. I owe to him, and to the kind permission of
Mr. Edward Huth and the Messrs. Sotheby, a careful collation and a
photograph of the title-page.
For the Commentary Dr. Norman Moore supplied me with a note on the
Galenists and Paracelsians; and Dr. Gaster with the materials for a
note on Donne's use of Jewish Apocrypha. Professor Picavet, of the
Sorbonne, Paris, was kind enough to read in proof my notes on Donne's
allusions to Scholastic doctrines, and to make suggestions. But I have
added to these notes as they passed through the Press, and he must not
be made responsible for my errors. Mr. W. Barclay Squire and Professor
C. Sanford Terry have revised my transcripts and proofs of the music.
I desire lastly to express my gratitude to the officials of the
Clarendon Press for the care with which they have checked my proofs,
the patience with which they have accepted my changes and additions,
and the trouble they have taken to secure photographs, music, and
other details. Whatever faults may be found--and I doubt not they will
be many--in my part of the work, I think the part for which the Press
is responsible is wellnigh faultless.
H. J. C. GRIERSON.
LANGCROFT,
DINNET, ABERDEENSHIRE.
_July 15, 1912. _
NOTE
The typography of the edition of 1633 has been closely followed, in
its use for example of 'u' and 'v'; and of long 's', which is avoided
in certain combinations, e. g. 'sk' (but P. 12, l. 27. 'askes'
1633) and frequently 'sb'; nor is it generally used when the letter
following 's' is elided; but there are one or two exceptions to this.
In the following places I have printed a full 'and' where 1633
contracts to '&' owing to the length of the line:
Page 12, l. 4. & whõ; P. 15, l. 40. & drove; P. 65, l. 8. & nought; P.
153, l. 105. & almes; P. 158, l. 101. & name; do. , l. 107. & rockes,
&; P. 159, l. 30. & black; P. 171, l. 83. & lawes; P. 183, l. 18. &
Courts; P. 184, l. 29. & God; P. 205, l. 2. & pleasure; P. 240, l.
288. & sinke; P. 254, l. 107. & thinke; do. , l. 113. & think; P. 280,
l. 24. & Mines; P. 297, l. 56. & lands; do. , l. 62. & brow; P. 306,
l. 290. & lents; P. 327 (xii), l. 8. & feed; P. 337, l. 35. & thou; P.
360, l. 188. & turn'd; P. 384, l. 78. & face.
In the following places 'm' or 'n', indicated by a contraction, has
been printed in full: Page 12, l. 4. Her whõ; do. & whõ; P. 37, 1. 17.
whẽ (_bis_); P. 82, l. 46. thẽ; P. 90, l. 2. frõ; P. 128, l. 28.
Valẽtine; P. 141, l. 8. whẽ; P. 150, l. 16. thẽ; P. 159, l.
30. strãge; P. 169, l. 31. whõ; P. 257, l. 210. successiõ; P. 266, l.
513. anciẽt; P. 305, l. 255. thẽ; P. 336, l. 10. whẽ; P. 343,
l. 126. Frõ; P. 345, l. 169. thẽ; P. 387, l. 71. Pẽbrooke.
There are a few examples of the same changes in the poems printed from
the later editions, but I have not reproduced any of these editions so
completely as 1633, every poem in which, with the exception of Basse's
_An Epitaph upon Shakespeare_ (1633. p. 149 i. e. 165) has been here
reprinted.
CONTENTS OF VOL. I
SOURCE PAGE
1633 THE PRINTER TO THE UNDERSTANDERS 1
1633 HEXASTICHON BIBLIOPOLAE 3
1635 HEXASTICHON AD BIBLIOPOLAM 3
1650 DEDICATION TO THE EDITION OF 1650 4
1650 TO JOHN DONNE 5
1650 TO LUCY, COUNTESSE OF BEDFORD, WITH M. DONNES SATYRES 6
1650 TO JOHN DONNE 6
SONGS AND SONETS
1633 195 The good-morrow 7
196-7 Song 8
197-8 Womans constancy 9
198-9 The undertaking 10
199-200 The Sunne Rising 11
200-1 The Indifferent 12
201-2 Loves Vsury 13
202-4 The Canonization 14
204-5 The triple Foole 16
205-6 Lovers infiniteness 17
206-8 Song 18
208-9 The Legacie 20
209-10 A Feaver 21
211-12 Aire and Angels 22
212 Breake of day 23
213-14 The Anniversarie 24
214-17 A Valediction: of my name, in the window 25
218-19 Twicknam garden 28
219-21 A Valediction: of the booke 29
222 Communitie 32
223-4 Loves growth 33
224-5 Loves exchange 34
226 Confined Love 36
227 The Dreame 37
228-9 A Valediction: of weeping 38
229-30 Loves Alchymie 39
230-1 The Flea 40
231-2 The Curse 41
186 The Message 43
187-8 A nocturnall upon S. Lucies day, Being
the shortest day 44
189 Witchcraft by a picture 45
190-1 The Baite 46
191 The Apparition 47
192-3 The broken heart 48
193-4 A Valediction: forbidding mourning 49
277-80 The Extasie 51
280-1 Loves Deitie 54
281-2 Loves diet 55
283-5 The Will 56
285-6 The Funerall 58
286-7 The Blossome 59
288-9 The Primrose, being at Montgomery Castle,
upon the hill, on which it is situate 61
289-90 The Relique 62
290-1 The Dampe 63
291-2 The Dissolution 64
292-3 A Ieat Ring sent 65
293 Negative love 66
294 The Prohibition 67
295 The Expiration 68
295 The Computation 69
302 The Paradox 69
1635 63-4 Farewell to love 70
66-7 A Lecture upon the Shadow 71
1650 264-5 Sonnet. The Token 72
391-2 <Selfe Love> He that cannot chuse but love 73
EPIGRAMS
1633 40 Hero and Leander 75
40 Pyramus and Thisbe 75
40 Niobe 75
41 A burnt ship 75
41 Fall of a wall 76
41 A lame begger 76
Westmoreland MS. Cales and Guyana 76
" MS. Sir Iohn Wingefield 76
1633 41 A selfe accuser 76
42 A licentious person 77
42 Antiquary 77
42 Disinherited 77
42 Phryne 77
42 An obscure writer 77
42 Klockius 77
43 Raderus 78
43 Mercurius Gallo-Belgicus 78
43 Ralphius 78
Westmoreland MS. The Lier 78
ELEGIES
1633 44-5 I. Iealosie 79
45-7 II. The Anagram 80
47-8 III. Change 82
49-51 IV. The Perfume 84
51-2 V. His Picture 86
53-5 VI. Oh, let mee not 87
55-6 VII. Natures lay Ideot 89
149-50 VIII. The Comparison 90
151-2 IX. The Autumnall 92
153 X. The Dreame 95
1635 89-93 XI. The Bracelet 96
1669 86-9 XII. His parting from her 100
1635 96-7 XIII. Iulia 104
98-100 XIV. A Tale of a Citizen and his Wife 105
1633 300-2 XV. The Expostulation 108
1635 269-70 XVI. On his Mistris 111
1650 388-90 XVII. Variety 113
1669 94-7 XVIII. Loves Progress 116
97-9 XIX. Going to Bed 119
Westmoreland MS. XX. Loves Warr 122
1633 166-8 HEROICALL EPISTLE: Sapho to Philænis 124
EPITHALAMIONS, OR MARRIAGE SONGS
1633 118-22 An Epithalamion, Or marriage Song on the
Lady Elizabeth, and Count Palatine being
married on St. Valentines day 127
123-27 Eclogue. 1613. December 26 131
127-35 Epithalamion 135
135-8 Epithalamion made at Lincolnes Inne 141
SATYRES
1633 325-8 Satyre I 145
329-32 Satyre II 149
333-6 Satyre III 154
337-45 Satyre IIII 158
346-9 Satyre V 168
1650 262-4 Vpon Mr. Thomas Coryats Crudities 172
_Coryats Crudities_ In eundem Macaronicon 174
LETTERS TO SEVERALL PERSONAGES
1633 56-9 The Storme 175
59-61 The Calme 178
61-3 To S^r Henry Wotton. Sir, more then kisses 180
72-4 To S^r Henry Goodyere. Who makes the Past 183
74-5 To M^r Rowland Woodward. Like one who 185
76-7 To S^r Henry Wootton. Here's no more newes 187
Burley MS. H: W: in Hiber: belligeranti 188
1633 77-9 To the Countesse of Bedford. Madame, Reason is 189
79-82 To the Countesse of Bedford. Madame, You
have refin'd 191
82-4 To S^r Edward Herbert, at Iulyers. Man is a lumpe 193
84-7 To the Countesse of Bedford. T'have written then 195
87-90 To the Countesse of Bedford. This twilight of 198
90-3 To the Countesse of Huntingdon. Madame,
Man to Gods image 201
93-4 To M^r T. W. All haile sweet Poët 203
95 To M^r T. W. Hast thee harsh verse 205
95-6 To M^r T. W.
