To me like oaks, to thee like osiers bowed' (P. P. v. 4). [The fable of the oak and osier is illustrated in Whitney's Emblems (1586), by an engraving which is here reproduced.]

Critical Notes.

BY ISRAEL GOLLANCZ.

VENUS AND ADONIS: 156, shouldst'; Quarto I, 'should' 171. cp. Sonnet I.

211. 'lifeless'; Quartos 1, 2, 3, ' liuelesse.'

213. 'Statue'; Quartos 1, 2, 3, ‘Statüe'; cp. 1. 1013; Quartos 3, 4,' statües.'

231; 239; 689. 'deer'; Quartos 1, 2, 3, 'deare.

272. stand,' so Quartos 1-4; the rest, stands.' 283. 'stir'; Quartos 1, 2, 3, 'sturre.'

304. And whether'; Quartos, And where' (ie. whe'er'). 334; 402. 'fire'; Quartos 1, 2, 3, 'fier'; but 'fire,' 1. 494 (rhyming with desire').

351. With one fair hand she heaveth up his hat.' The accompanying example of the form of hat used by Roman and Greek travellers, and consequently in classical representations of Mercury, is taken from a figure in the Panathenaic procession, in the British Museum.

353. 'tenderer'; Quarto I, 'tendrer'; the rest,' tender.'

362. gaol'; Quartos, 'gaile'; 'Iaile.'

392. 'master'd'; Quartos 1, 2, 3, 'maister'd'; cp. 1. 114, 'mastering'; Quartos 1, 2, 3, ' maistring.'

392. 'rein'; Quartos 1-10, 'raine.'

429. mermaid's'; early Quartos, marmaides'; 'marmaids'; cp. 1. 777; Quartos 1, 2, 3, 'marmaids'; Quarto 4, mirmaides.'

434. 'invisible'; Steevens conj. 'invincible.'

454. wreck'; Quartos, 'wracke,'' wrack' (cp. 1. 558).

466. 'bankrupt'; Quartos, 'bankrout,' 'banckrout,' 'banquerout.'

466. 'love'; S. Walker conj. 'loss.'

507. 'verdure'; Quartos 1, 2, 3, 'verdour.'

529. 'gait'; Quartos, 'gate.'

547. 'prey'; Quartos, 'pray' (tho' rhyming with 'obey'); so 'prayes,' line 724, and 'pray' (rhyming with day'), line 1097. 567. venturing'; Quartos ventring.'

599. ' Tantalus''; Quartos, 'Tantalus.

628. 'venture'; Quartos, 'venter' (rhyming with 'enter'). 632. 'eyes pay'; Quartos 1, 2, 'eyes paies.'

680. 'overshoot,' Steevens conj.; Quartos 1, 2, 3, over-shut.' 705. 'doth'; Quartos 1, 2, 3, 'do.'

743. 'imposthumes'; Quartos, 'impostumes.'

781. 'run'; Quartos 1, 2, 3, 'ronne' (rhyming with ́undone'). 832. 'deeply'; S. Walker conj. 'doubly.'

902. together'; Quartos, 'togither' (rhyming with 'whither'); cp. line 971; Quartos 1, 2, 3, 'all together' (rhyming with 'weather'); Quarto 4, 'altogither.'

940. 'random'; Quartos 1-4, 'randon.'

993. 'all to nought' (rhyming with 'wrought'); Dyce, 'all-to naught'; Delius, 'all-to-naught.'

1002. 'decease' early Quartos, 'decesse' (rhyming with 'confess').

1013-1014. stories His'; Theobald's conjecture; Quartos, 'stories, His.'

1041. 'ugly'; Quarto 1, 'ougly.' 1067. limb'; Quartos, 'lim.'

1117. 'been'; Quarto I, 'bin.'

1155. 'severe'; early Quartos, 'seveare' (rhyming with 'fear'). 1161. 'servile'; Quartos 1, 2, 'seruill'; cp. line 392, 'servilely'; Quartos 1, 2, 3, 'seruilly.'

THE PASSIONATE PILGRIM: I. II.; cp. SONNETS, cxxxviii., cxliv. III. V. XVII.; cp. Love's LABOUR'S LOST, IV. iii. 60-73; IV. ii. 109-122; IV. iii. 101-120.

VIII. 5. John Dowland was one of the most famous of Elizabethan musicians; his song-books appeared in 1597, 1600, and 1603; his "Pilgrim's Solace" in 1612. There are many references to him in Elizabethan and later literature, more especially to his 'Lachrymæ; or, Seven Tears figured in seven heavenlie Pavans' (1605); (cp. Bullen's Lyrics from Elizabethan Song-Books). XII. 12. 'stay'st'; old eds. 'staies.'

XIII. Two copies of this poem from a corrected MS." were printed in Gent. Mag. xx. 521; xxx. 39; the variants do not improve the poem.

XV. 8. 'And drives'; perhaps we should read, 'And daylight drives,' (Anon. conj.).

XVIII. 5. Love's denying'; Malone's conj.; old eds., 'Love is dying'; England's Helicon, 'Love is denying.'

7. 'renying'; ed. 1599, 'nenying.'

21. Love hath forlorn me'; Steevens conj. 'Love forlorn I' XVIII. 27-30.' My shepherd's pipe, etc. The accompanying engraving, from a bas-relief on the Hotel Bourgtheroulde at Rouen (temp. Francis I.), rep.. resents a group 'curiously identical with the poet's words.' 31-32. My sighs

Procure to'; edd. 1599, 1612, 'With sighes procures

to'; the reading of the text is Malone's.

43. 'back-peeping'; edd. 1599, 1612, 'blacke peeping.'

XIX. 4. 'fancy, partial wight'; Capell MS. and Malone conj. withdrawn; edd.

1599, 1612, 'fancy (party all might)'; ed. 1640, 'fancy (partly all might)'; Malone (from MS. copy), 'fancy, partial like'; Collier (from MS. copy), 'partial fancy like'; Steevens conj. 'fancy, partial tike'; Furnivall conj. 'fancy's partial might.' 45. 'There is no heaven, by holy then'; the line has been variously emended; Malone read from an old MS.:

'Here is no heaven; they holy then
Begin, when,' etc.

No satisfactory emendation has been proposed, and perhaps the original reading may be allowed to stand without the comma after 'heaven':- there is no heaven by holy then,' i.e. 'by that holy time'; others suggest, 'be holy then,' or 'by the holy then,' etc.

XX. 1. 'Live with me, and be my love'; in England's Helicon, and other early versions the line runs, 'Come live with me, etc., and in this way it is usually quoted. Two verses found in England's Helicon are omitted in the present version, but included in the 1640 ed., where "Love's Answer" is also

in six quatrains; the additional matter was evidently also derived from England's Helicon. After 1. 12 the following lines are inserted:

"A gown made of the finest wool,
Which from our pretty Lambs we pull.
Fair lined slippers for the cold,
With buckles of the purest gold."

The last stanza runs thus:

"The shepherds' swains shall dance and sing,
For thy delight each May morning;
If these delights thy mind may move,

Then live with me and be my love."