No More Learning

Ah, Dorcas, Dorcas! now adieu
We bid the cruise and pannier too;
Ay, and the flesh, for and the fish,
Doled to us in that lordly dish.
We take our leaves now of the loom
From whence the housewives' cloth did come;
CHOR. The web affords now nothing;
Thou being dead,
The worsted thread
Is cut, that made us clothing.

Farewell the flax and reaming wool,
With which thy house was plentiful;
Farewell the coats, the garments, and
The sheets, the rugs, made by thy hand;
Farewell thy fire and thy light,
That ne'er went out by day or night:--
CHOR. No, or thy zeal so speedy,
That found a way,
By peep of day,
To feed and clothe the needy.

But ah, alas! the almond-bough
And olive-branch is wither'd now;
The wine-press now is ta'en from us,
The saffron and the calamus;
The spice and spikenard hence is gone,
The storax and the cinnamon;
CHOR. The carol of our gladness
Has taken wing;
And our late spring
Of mirth is turn'd to sadness.

How wise wast thou in all thy ways!
How worthy of respect and praise!
How matron-like didst thou go drest!
How soberly above the rest
Of those that prank it with their plumes,
And jet it with their choice perfumes!
CHOR. Thy vestures were not flowing;
Nor did the street
Accuse thy feet
Of mincing in their going.

And though thou here liest dead, we see
A deal of beauty yet in thee.
How sweetly shews thy smiling face,
Thy lips with all diffused grace!
Thy hands, though cold, yet spotless, white,
And comely as the chrysolite.
CHOR. Thy belly like a hill is,
Or as a neat
Clean heap of wheat,
All set about with lilies.

Sleep with thy beauties here, while we
Will shew these garments made by thee;
These were the coats; in these are read
The monuments of Dorcas dead:
These were thy acts, and thou shalt have
These hung as honours o'er thy grave:--
CHOR. And after us, distressed,
Should fame be dumb,
Thy very tomb
Would cry out, Thou art blessed.




246. UPON HIS SISTER-IN-LAW, MISTRESS ELIZABETH HERRICK

First, for effusions due unto the dead,
My solemn vows have here accomplished;
Next, how I love thee, that my grief must tell,
Wherein thou liv'st for ever. --Dear, farewell!




247. TO HIS KINSWOMAN, MISTRESS SUSANNA HERRICK

When I consider, dearest, thou dost stay
But here awhile, to languish and decay;
Like to these garden glories, which here be
The flowery-sweet resemblances of thee:
With grief of heart, methinks, I thus do cry,
Would thou hadst ne'er been born, or might'st not die!




248. ON HIMSELF

I'll write no more of love, but now repent
Of all those times that I in it have spent.
I'll write no more of life, but wish 'twas ended,
And that my dust was to the earth commended.




249. HIS WISH TO PRIVACY

Give me a cell
To dwell,
Where no foot hath
A path;
There will I spend,
And end,
My wearied years
In tears.




250. TO HIS PATERNAL COUNTRY

O earth! earth! earth! hear thou my voice, and be
Loving and gentle for to cover me!
Banish'd from thee I live;--ne'er to return,
Unless thou giv'st my small remains an urn.




251. COCK-CROW

Bell-man of night, if I about shall go
For to deny my Master, do thou crow!
Thou stop'st Saint Peter in the midst of sin;
Stay me, by crowing, ere I do begin;
Better it is, premonish'd, for to shun
A sin, than fall to weeping when 'tis done.




252. TO HIS CONSCIENCE

Can I not sin, but thou wilt be
My private protonotary?
Can I not woo thee, to pass by
A short and sweet iniquity?
I'll cast a mist and cloud upon
My delicate transgression,
So utter dark, as that no eye
Shall see the hugg'd impiety.
Gifts blind the wise, and bribes do please
And wind all other witnesses;
And wilt not thou with gold be tied,
To lay thy pen and ink aside,
That in the mirk and tongueless night,
Wanton I may, and thou not write?
--It will not be: And therefore, now,
For times to come, I'll make this vow;
From aberrations to live free:
So I'll not fear the judge, or thee.




253. TO HEAVEN

Open thy gates
To him who weeping waits,
And might come in,
But that held back by sin.
Let mercy be
So kind, to set me free,
And I will straight
Come in, or force the gate.




254. AN ODE OF THE BIRTH OF OUR SAVIOUR

In numbers, and but these few,
I sing thy birth, oh JESU!
Thou pretty Baby, born here,
With sup'rabundant scorn here;
Who for thy princely port here,
Hadst for thy place
Of birth, a base
Out-stable for thy court here.

Instead of neat enclosures
Of interwoven osiers;
Instead of fragrant posies
Of daffadils and roses,
Thy cradle, kingly stranger,
As gospel tells,
Was nothing else,
But, here, a homely manger.

But we with silks, not cruels,
With sundry precious jewels,
And lily-work will dress thee;
And as we dispossess thee
Of clouts, we'll make a chamber,
Sweet babe, for thee,
Of ivory,
And plaster'd round with amber.

The Jews, they did disdain thee;
But we will entertain thee
With glories to await here,
Upon thy princely state here,
And more for love than pity:
From year to year
We'll make thee, here,
A free-born of our city.




255. TO HIS SAVIOUR, A CHILD;
A PRESENT, BY A CHILD

Go, pretty child, and bear this flower
Unto thy little Saviour;
And tell him, by that bud now blown,
He is the Rose of Sharon known.
When thou hast said so, stick it there
Upon his bib or stomacher;
And tell him, for good handsel too,
That thou hast brought a whistle new,
Made of a clean straight oaten reed,
To charm his cries at time of need;
Tell him, for coral, thou hast none,
But if thou hadst, he should have one;
But poor thou art, and known to be
Even as moneyless as he.
Lastly, if thou canst win a kiss
From those melifluous lips of his;--
Then never take a second on,
To spoil the first impression.




256. GRACE FOR A CHILD

Here, a little child, I stand,
Heaving up my either hand:
Cold as paddocks though they be,
Here I lift them up to thee,
For a benison to fall
On our meat, and on us all.
Amen.




257. HIS LITANY, TO THE HOLY SPIRIT

In the hour of my distress,
When temptations me oppress,
And when I my sins confess,
Sweet Spirit, comfort me!

When I lie within my bed,
Sick in heart, and sick in head,
And with doubts discomforted,
Sweet Spirit, comfort me!

When the house doth sigh and weep,
And the world is drown'd in sleep,
Yet mine eyes the watch do keep,
Sweet Spirit, comfort me!

When the artless doctor sees
No one hope, but of his fees,
And his skill runs on the lees,
Sweet Spirit, comfort me!

When his potion and his pill,
Has, or none, or little skill,
Meet for nothing but to kill,
Sweet Spirit, comfort me!

When the passing-bell doth toll,
And the furies in a shoal
Come to fright a parting soul,
Sweet Spirit, comfort me!

When the tapers now burn blue,
And the comforters are few,
And that number more than true,
Sweet Spirit, comfort me!

When the priest his last hath pray'd,
And I nod to what is said,
'Cause my speech is now decay'd,
Sweet Spirit, comfort me!

When, God knows, I'm tost about
Either with despair, or doubt;
Yet, before the glass be out,
Sweet Spirit, comfort me!

When the tempter me pursu'th
With the sins of all my youth,
And half damns me with untruth,
Sweet Spirit, comfort me!

When the flames and hellish cries
Fright mine ears, and fright mine eyes,
And all terrors me surprise,
Sweet Spirit, comfort me!

When the Judgment is reveal'd,
And that open'd which was seal'd;
When to Thee I have appeal'd,
Sweet Spirit, comfort me!




258. TO DEATH

Thou bidst me come away,
And I'll no longer stay,
Than for to shed some tears
For faults of former years;
And to repent some crimes
Done in the present times;
And next, to take a bit
Of bread, and wine with it;
To don my robes of love,
Fit for the place above;
To gird my loins about
With charity throughout;
And so to travel hence
With feet of innocence;
These done, I'll only cry,
'God, mercy! ' and so die.




259. TO HIS SWEET SAVIOUR

Night hath no wings to him that cannot sleep;
And Time seems then not for to fly, but creep;
Slowly her chariot drives, as if that she
Had broke her wheel, or crack'd her axletree.
Just so it is with me, who list'ning, pray
The winds to blow the tedious night away,
That I might see the cheerful peeping day.
Sick is my heart; O Saviour! do Thou please
To make my bed soft in my sicknesses;
Lighten my candle, so that I beneath
Sleep not for ever in the vaults of death;
Let me thy voice betimes i' th' morning hear;
Call, and I'll come; say Thou the when and where:
Draw me but first, and after Thee I'll run,
And make no one stop till my race be done.




260. ETERNITY

O years! and age! farewell:
Behold I go,
Where I do know
Infinity to dwell.

And these mine eyes shall see
All times, how they
Are lost i' th' sea
Of vast eternity:--

Where never moon shall sway
The stars; but she,
And night, shall be
Drown'd in one endless day.




261. THE WHITE ISLAND:
OR PLACE OF THE BLEST

In this world, the Isle of Dreams,
While we sit by sorrow's streams,
Tears and terrors are our themes,
Reciting:

But when once from hence we fly,
More and more approaching nigh
Unto young eternity,
Uniting

In that whiter Island, where
Things are evermore sincere:
Candour here, and lustre there,
Delighting:--

There no monstrous fancies shall
Out of hell an horror call,
To create, or cause at all
Affrighting.

There, in calm and cooling sleep,
We our eyes shall never steep,
But eternal watch shall keep,
Attending

Pleasures such as shall pursue
Me immortalized, and you;
And fresh joys, as never too
Have ending.





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? The Project Gutenberg EBook of The Hesperides & Noble Numbers: Vol. 1 and 2, by
Robert Herrick

This eBook is for the use of anyone anywhere at no cost and with
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Title: The Hesperides & Noble Numbers: Vol. 1 and 2

Author: Robert Herrick

Release Date: August 28, 2007 [EBook #22421]

Language: English

Character set encoding: UTF-8

*** START OF THIS PROJECT GUTENBERG EBOOK THE HESPERIDES ***




Produced by Stephen Blundell and the Online Distributed
Proofreading Team at http://www. pgdp. net









ROBERT HERRICK

THE HESPERIDES & NOBLE
NUMBERS: EDITED BY
ALFRED POLLARD
WITH A PREFACE BY
A. C. SWINBURNE

VOL. I.

_REVISED EDITION_

[Illustration]

LONDON: NEW YORK:
LAWRENCE & BULLEN, LTD. , CHARLES SCRIBNER'S SONS,
16 HENRIETTA STREET, W. C. 153-157 FIFTH AVENUE
1898. 1898.




Transcriber's Note:

Original spelling and punctuation has been retained.

^ indicates 'superscript' within the text.

Obvious typesetting errors have been corrected without note, however
additional corrections have been recorded in the Transcriber's
Endnotes at the end each volume.




EDITOR'S NOTE.


In this edition of Herrick quotation is for the first time facilitated
by the poems being numbered according to their order in the original
edition. This numbering has rendered it possible to print those
Epigrams, which successive editors have joined in deploring, in a
detachable Appendix, their place in the original being indicated by the
numeration. It remains to be added that the footnotes in this edition
are intended to explain, as unobtrusively as possible, difficulties of
phrase or allusion which might conceivably hinder the understanding of
Herrick's meaning. In the longer Notes at the end of each volume earlier
versions of some important poems are printed from manuscripts at the
British Museum, and an endeavour has been made to extend the list of
Herrick's debts to classical sources, and to identify some of his
friends who have hitherto escaped research. An editor is always apt to
mention his predecessors rather for blame than praise, and I therefore
take this opportunity of acknowledging my general indebtedness to the
pioneer work of Mr. Hazlitt and Dr. Grosart, upon whose foundations all
editors of Herrick must necessarily build.

ALFRED W. POLLARD.




PREFACE.


It is singular that the first great age of English lyric poetry should
have been also the one great age of English dramatic poetry: but it is
hardly less singular that the lyric school should have advanced as
steadily as the dramatic school declined from the promise of its dawn.
Born with Marlowe, it rose at once with Shakespeare to heights
inaccessible before and since and for ever, to sink through bright
gradations of glorious decline to its final and beautiful sunset in
Shirley: but the lyrical record that begins with the author of "Euphues"
and "Endymion" grows fuller if not brighter through a whole chain of
constellations till it culminates in the crowning star of Herrick.
Shakespeare's last song, the exquisite and magnificent overture to "The
Two Noble Kinsmen," is hardly so limpid in its flow, so liquid in its
melody, as the two great songs in "Valentinian": but Herrick, our last
poet of that incomparable age or generation, has matched them again and
again. As a creative and inventive singer, he surpasses all his rivals
in quantity of good work; in quality of spontaneous instinct and
melodious inspiration he reminds us, by frequent and flawless evidence,
who above all others must beyond all doubt have been his first master
and his first model in lyric poetry--the author of "The Passionate
Shepherd to his Love".

The last of his line, he is and will probably be always the first in
rank and station of English song-writers. We have only to remember how
rare it is to find a perfect song, good to read and good to sing,
combining the merits of Coleridge and Shelley with the capabilities of
Tommy Moore and Haynes Bayly, to appreciate the unique and
unapproachable excellence of Herrick. The lyrist who wished to be a
butterfly, the lyrist who fled or flew to a lone vale at the hour
(whatever hour it may be) "when stars are weeping," have left behind
them such stuff as may be sung, but certainly cannot be read and endured
by any one with an ear for verse. The author of the Ode on France and
the author of the Ode to the West Wind have left us hardly more than a
song a-piece which has been found fit for setting to music: and, lovely
as they are, the fame of their authors does not mainly depend on the
song of Glycine or the song of which Leigh Hunt so justly and so
critically said that Beaumont and Fletcher never wrote anything of the
kind more lovely. Herrick, of course, lives simply by virtue of his
songs; his more ambitious or pretentious lyrics are merely magnified and
prolonged and elaborated songs. Elegy or litany, epicede or
epithalamium, his work is always a song-writer's; nothing more, but
nothing less, than the work of the greatest song-writer--as surely as
Shakespeare is the greatest dramatist--ever born of English race. The
apparent or external variety of his versification is, I should suppose,
incomparable; but by some happy tact or instinct he was too naturally
unambitious to attempt, like Jonson, a flight in the wake of Pindar. He
knew what he could not do: a rare and invaluable gift. Born a blackbird
or a thrush, he did not take himself (or try) to be a nightingale.

It has often been objected that he did mistake himself for a sacred
poet: and it cannot be denied that his sacred verse at its worst is as
offensive as his secular verse at its worst; nor can it be denied that
no severer sentence of condemnation can be passed upon any poet's work.
But neither Herbert nor Crashaw could have bettered such a divinely
beautiful triplet as this:--

"We see Him come, and know Him ours,
Who with His sunshine and His showers
Turns all the patient ground to flowers".

That is worthy of Miss Rossetti herself: and praise of such work can go
no higher.

But even such exquisite touches or tones of colour may be too often
repeated in fainter shades or more glaring notes of assiduous and facile
reiteration. The sturdy student who tackles his Herrick as a schoolboy
is expected to tackle his Horace, in a spirit of pertinacious and stolid
straightforwardness, will probably find himself before long so nauseated
by the incessant inhalation of spices and flowers, condiments and
kisses, that if a musk-rat had run over the page it could hardly be less
endurable to the physical than it is to the spiritual stomach. The
fantastic and the brutal blemishes which deform and deface the
loveliness of his incomparable genius are hardly so damaging to his fame
as his general monotony of matter and of manner. It was doubtless in
order to relieve this saccharine and "mellisonant" monotony that he
thought fit to intersperse these interminable droppings of natural or
artificial perfume with others of the rankest and most intolerable
odour: but a diet of alternate sweetmeats and emetics is for the average
of eaters and drinkers no less unpalatable than unwholesome. It is
useless and thankless to enlarge on such faults or such defects, as it
would be useless and senseless to ignore. But how to enlarge, to
expatiate, to insist on the charm of Herrick at his best--a charm so
incomparable and so inimitable that even English poetry can boast of
nothing quite like it or worthy to be named after it--the most
appreciative reader will be the slowest to affirm or imagine that he can
conjecture. This, however, he will hardly fail to remark: that Herrick,
like most if not all other lyric poets, is not best known by his best
work. If we may judge by frequency of quotation or of reference, the
ballad of the ride from Ghent to Aix is a far more popular, more
generally admired and accredited specimen of Mr. Browning's work than
"The Last Ride Together"--and "The Lost Leader" than "The Lost
Mistress". Yet the superiority of the less-popular poem is in either
case beyond all question or comparison: in depth and in glow of spirit
and of harmony, in truth and charm of thought and word, undeniable and
indescribable. No two men of genius were ever more unlike than the
authors of "Paracelsus" and "Hesperides": and yet it is as true of
Herrick as of Browning that his best is not always his best-known work.
Everyone knows the song, "Gather ye rosebuds while ye may"; few, I
fear, by comparison, know the yet sweeter and better song, "Ye have been
fresh and green". The general monotony of style and motive which
fatigues and irritates his too-persevering reader is here and there
relieved by a change of key which anticipates the note of a later and
very different lyric school. The brilliant simplicity and pointed grace
of the three stanzas to OEnone ("What conscience, say, is it in thee")
recall the lyrists of the Restoration in their cleanlier and happier
mood. And in the very fine epigram headed by the words "Devotion makes
the Deity" he has expressed for once a really high and deep thought in
words of really noble and severe propriety. His "Mad Maid's Song,"
again, can only be compared with Blake's; which has more of passionate
imagination, if less of pathetic sincerity.

A. C. SWINBURNE.




LIFE OF HERRICK.


Of the lives of many poets we know too much; of some few too little.
Lovers of Herrick are almost ideally fortunate. Just such a bare outline
of his life has come down to us as is sufficient to explain the
allusions in his poems, and, on the other hand, there is no temptation
to substitute chatter about his relations with Julia and Dianeme for
enjoyment of his delightful verse. The recital of the bare outline need
detain us but a few minutes: only the least imaginative of readers will
have any difficulty in filling it in from the poems themselves.

From early in the fourteenth century onwards we hear of the family of
Eyrick or Herrick at Stretton, in Leicestershire. At the beginning of
the sixteenth century we find a branch of it settled in Leicester
itself, where John Eyrick, the poet's grandfather, was admitted a
freeman in 1535, and afterwards acted as Mayor. This John's second son,
Nicholas, migrated to London, became a goldsmith in Wood Street,
Cheapside, and, according to a licence issued by the Bishop of London,
December 8, 1582, married Julian, daughter of William Stone, sister of
Anne, wife of Sir Stephen Soame, Lord Mayor of London in 1598. The
marriage was not unfruitful. A William[A] Herrick was baptized at St.
Vedast's, Foster Lane, November 24, 1585; Martha, January 22, 1586;
Mercy, December 22, 1586; Thomas, May 7, 1588; Nicholas, April 22, 1589;
Anne, July 26, 1590; and Robert himself, August 24, 1591.

[A] A second William is said to have been born, posthumously, in "Harry
Campion's house at Hampton," in 1593.

Fifteen months after the poet's birth, on November 7, 1592, Nicholas
Herrick made his will, estimating his property as worth ? 3000, and
devising it, as to one-third to his wife, and as to the other two-thirds
to his children in equal shares. In the will he described himself as "of
perfect memorye in sowle, but sicke in bodye". Two days after its
execution he was buried, having died, not from disease, but from a fall
from an upper window. His death had so much the appearance of
self-destruction that ? 220 had to be paid to the High Almoner, Dr.
Fletcher, Bishop of Bristol, in satisfaction of his official claim to
the goods and chattels of suicides. Herrick's biographers have not
failed to vituperate the Bishop for his avarice, but dues allowed by law
are hardly to be abandoned because a baby of fifteen months is destined
to become a brilliant poet, and no other exceptional circumstances are
alleged. The estate of Nicholas Herrick could the better afford the fine
inasmuch as it realized ? 2000 more than was expected.

By the will Robert and William Herrick were appointed "overseers," or
trustees for the children. The former was the poet's godfather, and in
his will of 1617 left him ? 5. To William Herrick, then recently knighted
for his services as goldsmith, jeweller, and moneylender to James I. ,
the young Robert was apprenticed for ten years, September 25, 1607. An
allusion to "beloved Westminster," in his _Tears to Thamesis_, has been
taken to refer to Westminster school, and alleged as proof that he was
educated there. Dr.