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tified with Richard Lovelace, but more probably used as a type name for a rustic. 12 Vorty] rustic dialect form for 'forty.' 19 course-a-park] a couniry game. 59 Katherne] Catherine; a small and early variety of pear. 7984] We here follow the order of 1648; in 1646 this stanza with tercets in reverse order appears after line 96. 107 Whilst] 1648; 1646 Till'. 120 God b' w' ye] 1648; 1646 'Good boy'. 127 now] 1648; 1646 'out'. 128 do] 1648; 1646 'do't'.

710 The Stationer to the reader H. M.] Humphrey Moseley.

710 Out upon it! I have loved] An answer to this poem by Sir Toby Mathews, included in the editions of Suckling, is worth printing here:

Say, but did you love so long?

In troth, I needs must blame you;
Passion did your judgment wrong,
Or want of reason shame you.
Truth, time's fair and witty daughter,
Shortly shall discover

Y' are a subject fit for laughter,
And more fool than lover.

But I grant you merit praise

For your constant folly;
Since you doted three whole days,
Were you not melancholy?

She to whom you proved so true,
And that very, very face,
Puts each minute such as you

A dozen dozen to disgrace.

711 Song 'I prithee send me back'] set to music in Playford's Select Musical Airs and Dialogues, 1653, and in Henry Lawes's Airs and Dialogues, 1658. Ault, in 17th Century Lyrics, points out that Lawes ascribes the poem to Hughes; but the style and spirit of the poem indicate Suckling.

711 A song to a lute] from Suckling's unfinished play, The Sad One. This poem is a parody of the third stanza of Ben Jonson's Her triumph, p. 504.

RICHARD LOVELACE

RICHARD LOVELACE (1618-1656 or 1657) is remembered for his gallant courtesy. In the judgment of Edward Phillips he was an approv'd both soldier, gentleman, and lover, and a fair pretender to the title of poet,' and Winstanley likens him to Sir Philip Sidney. He was educated at Charterhouse and Gloucester Hall (now Worcester College), Oxford. In his first year at Oxford, he wrote a comedy, The Scholar, produced and applauded at Oxford and London, but of which only the Prologue and Epilogue were printed. In his second year, 1636, during a visit of the King and Queen Lovelace obtained the favor of a great lady in attendance on the Queen, and by her request was granted his M.A., an early instance that he was, as Wood says, 'much admired and adored by the female sex.' Aubrey gives us one of the reasons for this favor, 'one of the handsomest men of England an extraordinary handsome man a most beautiful gentleman.' A Master's degree in two years was such a striking indication of the possibilities of favor that Lovelace took up his residence at court. He served in Goring's regiment on the two Scotch expeditions of 1639 and 1640. In 1642, he presented to Parliament the Kentish Petition in favor of the Bishops, and of the liturgy and common prayer, for which he was imprisoned for seven weeks in the Gate House, Westminster, where he occupied a part of his leisure in writing To Althea, from prison and The Vintage to the Dungeon. During the Civil War his movements cannot be traced with exactness. He saw some service in England with the King's armies, and in Holland with the French army, receiving a wound at the siege of Dunkirk in 1646. This service occasioned the farewells to Lucasta, on 'going to the wars' and 'going beyond the seas.' The identity of Lucasta is still in doubt. Wood says that her name was Lucy Sacheverell, and the recent researches of Hartmann lend

some support to Wood's statement. It has also been conjectured that she was of the family of Lucas (ed. Wilkinson, i. xliv), and that she was a creature of Lovelace's imagination (M. P. xxiii. 77). In 1648 Lovelace was again imprisoned for connection with the Royalist risings in Kent. As before, prison stirred him to poetry and he wrote To Lucasta, from prison. On his release in 1649 he collected his poems and published them in a volume called Lucasta. After his death, his youngest brother collected his scattered pieces, and in 1659 published Lucasta, Posthume Poems, a volume of much lower quality than the earlier Lucasta.

MODERN EDITIONS: The Poems (ed. by C. H. Wilkinson), Oxford, 1925; Lucasta (ed. by W. C. Hazlitt), London, 1864.

COMMENT: C. H. Hartmann, The Cavalier Spirit and its Influence on the Life and Work of Richard Lovelace, London, 1925. TEXT: Lucasta, 1649, Huntington. 712 To Althea, from prison] set to music in Playford's Select Airs and Di

Airs or Ballads, 1660. 7 gods] 1649 and Harleian Ms. 6918; other mss., sometimes followed by modern editors, read 'birds'.

712 The Vintage to the Dungeon] in Lucasta, 1649, said to be set to music by William Lawes.

712 To Amarantha . . .] set to music by Henry Lawes in Airs and Dialogues, 1653.

713 The scrutiny] set to music in Playford's Select Musical Airs and Dialogues, 1652.

714 To Lucasta. The rose] in Lucasta, 1649, said to be set to music by John Wilson. 11 coverled] coverlid, coverlet.

714 To Lucasta. Going to the wars] in Lucasta, 1649, said to be set to music by John Lanier.

714-715 To Lucasta. Going beyond the seas] set to music by Henry Lawes in ms. in possession of the Rev. H. R. Cooper Smith. 10 blew-god's] Palgrave, understanding the reference to

be to Neptune, emends to 'blue-god'. It is as likely that 'blow-god,' olus, is

meant.

715 To Lucasta, from prison 1-4] Lovelace does not ask liberty from the prison, but from Lucasta, so that he may turn his fancy to other things. The phrase another's bride' has been taken to support the identification of Lucasta with Lucy Sacheverell, who, according to Wood, married on the mistaken report that Lovelace died of wounds received at Dunkirk in 1646. Lucy Sacheverell did marry a Mr. Dannet and later her cousin, George Sacheverell, but the dates of her marriages are not known.

716-717 The grasshopper 10 giltplats] plots of ground gilded by the sun's beams. 11-12] The grasshopper makes men, himself, and melancholy streams merry. 18 perch] 1649 'Peirch'. 19 poise] balance. 31 old Greek] Lovelace is probably thinking of hippocras, a cordial made of spiced wine strained through Hippocrates' sleeve or bag, and supposed to be especially wholesome.

GEORGE SANDYS

GEORGE SANDYS (1578-1644) was one of the great band of English travelers. In 1610 he began his travels in the East, a relation of which he published in 1615. When he returned to England he began a translation of Ovid's Metamorphoses, which he completed during his secretaryship of the. Virginia colony, whither he went in 1621. This was probably the first literary work done on the continent of America. Translation proved a congenial task, and, after his return from Virginia, he published paraphrases of the Psalms, Job, Ecclesiastes, Lamentations, and The Song of Solomon. He does not seem to have written much original poetry; at least very little has come down to us. Among his literary friends were Drayton and Lord Falkland. Sandys frequently used the decasyllabic couplet in his translations,

and was undoubtedly one of those who furthered the development of the heroic couplet.

MODERN EDITION: The Poetical Works (ed. by R. Hooper), London, 1872. TEXT: A Paraphrase upon the Psalms of David, 1636 (21724), Harvard; Ovid's Metamorphosis, 1632 (18966), Harvard. 717-719 Deo opt. max.] Deo optimo maximo: 'To God, greatest and best.' 52 all my way] Sandys now rehearses briefly a few of his adventures on his eastern travels, of which he had writ

ten a prose account, A relation of a journey, begun anno dom. 1610, published in 1615. 91 Iam tetigi portum, -valete] 'Now I have reached the haven,-farewell.'

WILLIAM HABINGTON

WILLIAM HABINGTON (1605-1654), a Catholic, received his education at St. Omer's and at Paris. On being strongly urged by the Jesuits to join their order, he returned to England to escape their importunity. Some time between 1630 and 1633 he married Lucy Herbert, the Castara to whom he addresses his poems. As he was out of sympathy with the lyric poetry of his time, it is fitting that he frequently wrote in the sonnet form, which had lost its popularity. He found some audience, for Castara went through three editions. He wrote one play, The Queen of Aragon, 1640, and two volumes of history.

MODERN EDITION: Castara (ed. by E. Arber), London, 1870.

TEXT: Castara, 1640 (12585), Harvard; The Queen of Aragon, 1640 (12587), Harvard.

723 Nox nocti indicat scientiam] Psalm xix. 2. In the Authorized Ver

sion the verse is translated, 'Night unto night showeth knowledge.'

GEORGE HERBERT

GEORGE HERBERT (1593-1633), like Donne, introduced into his religious. poetry an intimate personal note that was scarcely heard among the Elizabethans, and indeed would have been of little interest in that spacious time. Perhaps it is this intimacy which has caused some critics to class Herbert with the mystical poets, but in reality he has little of the mystic about him. His spiritual conflicts, and his moods of rebellion, are far from the calm assurance of the mystic, too completely possessed by the ecstasy of communion with God to be disturbed by the call of the world. Herbert is rather the poet of the church as an institution, hymning his joy in the comeliness and order of the Anglican ritual, in the symbolic beauty of the church building, in the cleanly peace of a holy life. He gives poetic expression to Archbishop Laud's conception of the Church, as exemplifying the 'beauty of holiness.'

Herbert attended Westminster School and Trinity College, Cambridge, where he took his B.A. in 1612, and his M.A. in 1616. While still an undergraduate, he began writing religious verse, thinking that so divine an art as poetry should be turned from the service of profane love to that of heavenly love. As fellow of his college, he continued at Cambridge after taking his Master's degree, commencing a systematic study of divinity; but when the Public Oratorship of the University fell vacant in 1619, he eagerly sought the position and obtained it through the aid of influential friends. His touch with the world as Public Orator filled him with 'ambition to be

something more than he then was,' and he 'seldom looked toward Cambridge unless the King were there, but then he never failed.' Thus he was distracted from his original purpose, and for a time he hoped for civil preferment; but at the death of King James-other of his influential friends having died, and himself out of favor with the Duke of Buckingham-he looked again towards the Church. He became a deacon, and in 1626 was instituted to the prebend of Leighton Ecclesia in the diocese of Lincoln. In 1627 he resigned his Oratorship, but his period of hesitancy in committing himself completely to the Church continued until his marriage with Jane Danvers in 1629. This brought a happier state of mind, and in the next year, his doubts finally settled by Bishop Laud, he was ordained priest and instituted rector at Bemerton, near Salisbury. With the distress of making the decision behind him, he entered enthusiastically on his new duties, and by the piety of his last years deserved Walton's epithet, 'holy Mr. Herbert'. At times, the desire for a more active life of worldly honors disturbed his peace, but such moods seem to have passed away as he gave them poetic expression. Music was his chief recreation, and every week he walked to Salisbury to 'sing and play his part at an appointed private music-meeting.' According to Aubrey, he had a very good hand on the lute' and 'set [to music] his own lyrics or sacred poems.'

At the beginning of his final illness, he thought of his poems and desired his manuscript to be delivered to Nicholas Ferrar, a successful merchant who had retired from the world and established a Protestant monastic community at Little Gidding, with the message that he shall find in it a picture of the many spiritual conflicts that have passed betwixt God and my soul. . . . If he can think it may turn to the advantage of any dejected poor soul, let it be made public; if not, let him burn it.' Ferrar decided at once for publication, and sent the manuscript to the Vice-Chancellor of Cambridge to be licensed for publication. The Vice-Chancellor objected to two lines in The Church Militant,

Religion stands on tip-toe in our land
Ready to pass to the American strand,

but on Ferrar's refusal to change anything Herbert had written, the ViceChancellor waived his objections, and The Temple appeared in 1633, soon after Herbert's death. The book became immediately popular and stimulated other poets, among them Crashaw and Vaughan, to write religious verse.

Herbert had the gift of metrical facility. Palmer finds that of the 169 poems of The Temple, '116 are written in meters which are not repeated.' Several times this facility led Herbert into the over-exercise of ingenuity, but even in the extreme instances of this one marvels at the excellent fitting of the form to the matter.

MODERN EDITIONS: The English Works (ed. by G. H. Palmer), three volumes, Boston, 1907; The Poems (ed. by A. Waugh), Oxford, 1907.

COMMENT: A. G. Hyde, George Herbert and his Times, London, 1906. TEXT: Izaak Walton, The Life of Mr. George Herbert, 1670, Harvard; The Temple, 1633 (13183), Harvard.

724 To his mother] written when Herbert was a student at Cambridge, possibly in 1610, and sent, with another sonnet on the same subject, in a letter to his mother; not included in The Temple.

725 Jordan [1]] Herbert probably

chose the name of the meandering River Jordan as title for this and the following poem to symbolize the intricate meanderings of the poetry he is describing. 12 pull for prime] draw for a winning hand in a card game.

725-726 Jordan [2] 16 wide] wide of the mark.

726 The British Church 13 She on the hills] the Roman Catholic Church. 19 She in the valley] the more extreme Protestants, the Puritans.

727 The altar] The Renaissance delight in ingenuity produced some poems in which the lines are arranged to form various figures-columns and pyramids were especially popular. The author of The Art of English Poesy, 1589, discusses at length the various patterns. In this poem, and in Easter wings, Herbert has exercised his ingenious metrical skill, yet he has transcended mere ingenuity in the organic union of matter and form.

728 Easter wings 19 imp] a term in falconry; to repair the damaged wing of a hawk by inserting feathers from another bird.

Scotland in the 19th century: ""You had better not begin to me," is the first address of the schoolboy, half angry, half frightened, at the bullying of a companion.'

735-736 Frailty 9 regiments] rules, ways of life. 22 It] refers to 'honor, riches, or fair eyes' of line 3.

737 The pearl. Matthew xiii] verse 45. 2 press] Beeching thinks that 'Herbert intends a quibble here between the printing press and some other, such as a wine or olive press.'

738-739 Peace 22 prince] Christ. 23 Salem] used, both literally and figuratively, for Jerusalem. 28 twelve stalks] the twelve Apostles.

739-740 Conscience 14 his board] Communion.

744 The odor. 2 Corinthians ii] verse 15.

de

747 The flower 3 demean] meanor. 18 passing bell] the bell tolling to announce death.

732-734 Man 38-40] see Genesis, i. 9-10.

734-735 Affliction 25 began] made a menacing move; Palmer notes that this is an idiom which was still in use in

748 Virtue 11 closes] a technical term for the cadence or conclusion of a musical phrase.

FRANCIS QUARLES

FRANCIS QUARLES (1592-1644), after taking his B.A. at Christ's College, Cambridge, studied law at Lincoln's Inn, 'not so much out of desire to benefit himself thereby,' his wife tells us, 'as his friends and neighbors . . . by composing suits and differences amongst them.' In 1613 he went in the train of the Princess Elizabeth to the Palatinate, and later for a few years lived in Dublin as the secretary of James Usher, Archbishop of Armagh. His Feast for Worms, the first of his volumes of religious poetry, appeared in 1620. He proved to be an energetic writer, often rising at three in the morning to begin his work. Of his many books, his Emblems-poems of pious moralizing written to accompany woodcut illustrations-achieved the greatest popularity. During the Civil War he supported the Royalists with a series of pamphlets; but because of the nature of his poetry this fact was soon forgotten, and he was called 'an old puritanical poet' by Wood. His books were widely popular among people who were not habitually readers of poetry. Phillips says that Quarles was 'the darling of our plebeian judgments, that is, such as have ingenuity enough to delight in poetry, but are not sufficiently instructed to make a right choice and distinction.' There was a difference of opinion among the critics, however, for Winstanley, who frequently merely copied the opinions of Phillips, praises 'those excellent works' of Quarles. MODERN EDITION: The Complete Works (ed. by A. B. Grosart), Edinburgh, 1880.

TEXT: Argalus and Parthenia, 1629 (20526), B. M.; Divine Fancies, 1632 (20529), Harvard; Emblems, 1635 (20540), Harvard; Hieroglyphics, 1638 (20548), Huntington.

749 Hos ego versiculos] Quarles has the best claim to the authorship of these widely imitated stanzas. His general

idea had been anticipated by Barnabe Barnes in a sonnet beginning ‘A blast of wind, a momentary breath' (see p.

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