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Hot was the day; she hotter that did look
For his approach, that often there had been.
Anon he comes, and throws his mantle by,
And stood stark naked on the brook's green brim;
The sun look'd on the world with glorious eye,
Yet not so wistly as this queen on him:

He, spying her, bounc'd in whereas he stood :
Oh Jove! quoth she, why was not I a flood ?

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VII.

Fair is my love, but not so fair as fickle,
Mild as a dove, but neither true nor trusty ;
Brighter than glass, and yet, as glass is, brittle,
Softer than wax, and yet as iron rusty:

A lily pale, with damask dye to grace her,
None fairer, nor none falser to deface her.

Her lips to mine how often hath she joined,
Between each kiss her oaths of true love swearing!
How many tales to please me hath she coined,
Dreading my love, the loss whereof still fearing!

Yet in the midst of all her pure protestings,
Her faith, her oaths, her tears, and all were jestings.

She burn'd with love, as straw with fire flameth ;
She burn'd out love, as soon as straw out burneth:
She fram'd the love, and yet she foil'd the framing;
She bade love last, and yet she fell a turning.

Was this a lover, or a lecher whether?
Bad in the best, though excellent in neither.

VIII.
If music and sweet poetry agree',
As they must needs, the sister and the brother,

7 If music and sweet poetry agree,] This poem was published in 1598, in the first edition of Richard Barnfield's “Encomion of Lady Pecunia," but he excluded it when he printed his second edition of the same work in 1605 : hence we infer that it was by Shakespeare, and not by Barnfield. Recollecting, therefore, who wrote it, this testimony of admiration of Spenser is peculiarly interesting : in Barnfield's “ Encomion," 1598, it is thus headed, "To his friend Maister R. L. in praise of Musique and Poetrie," but this title is omitted in “The Passionate

Then, must the love be great 'twixt thee and me,
Because thou lov'st the one, and I the other.
Douland to thee is dear, whose heavenly touch
Upon the lute doth ravish human sense:
Spenser to me, whose deep conceit is such,
As passing all conceit needs no defence.
Thou lov'st to hear the sweet melodious sound
That Phæbus' lute (the queen of music) makes ;
And I in deep delight am chiefly drown'd
Whenas himself to singing he betakes.

One god is god of both, as poets feign,
One knight loves both, and both in thee remain.

IX.

Fair was the morn, when the fair queen of love",

Paler for sorrow than her milk-white dove,
For Adon's sake, a youngster proud and wild ;
Her stand she takes upon a steep up hill :
Anon Adonis comes with horn and hounds;
She, silly queen, with more than love's good will,
Forbade the boy he should not pass those grounds.
Once, (quoth she) did I see a fair sweet youth
Here in these brakes deep-wounded with a boar,
Deep in the thigh, a spectacle of ruth!
See, in my thigh, (quoth she,) here was the sore.

She showed her's; he saw more wounds than one,
And blushing fled, and left her all alone.

X.

Sweet rose, fair flower, untimely pluck’d, soon faded,
Pluck'd in the bud, and faded in the spring!
Bright orient pearl, alack! too timely shaded,
Fair creature, kill'd too soon by death's sharp sting!

Pilgrim.” We have no clue to the ownership of the initials R. L., but possibly he was the author of a work, of little poetical merit, called “Diella. Certaine Sonnets," &c. 1596, 12mo, " by R, L. Gentleman."

8 Fair was the morn, when the fair queen of love,] The next line is wanting in both editions of “The Passionate Pilgrim :" of course it would rhyme with “ wild,” which closes the fourth line, and it would not be very difficult conjecturally to supply the deficiency.

Like a green plum that hangs upon a tree,

And falls, (through wind) before the fall should be.
I weep for thee, and yet no cause I have;
For why, thou left'st me nothing in thy will.
And yet thou left'st me more than I did crave;
For why, I craved nothing of thee still:

Oh yes, (dear friend,) I pardon crave of thee :
Thy discontent thou didst bequeath to me.

XI.

9

Venus, with young Adonis sitting by her
Under a myrtle shade, began to woo him:
She told the youngling how god Mars did try her,
And as he fell to her, she fell to him '.
Even thus, (quoth she) the warlike god embrac'd me;
And then she clipp'd Adonis in her arms;
Even thus, (quoth she) the warlike god unlac'd me,
As if the boy should use like loving charms :
Even thus, (quoth she) he seized on my lips,
And with her lips on his did act the seizure;
And, as she fetched breath, away he skips,
And would not take her meaning, nor her pleasure.

Ah! that I had my lady at this bay,
To kiss and clip me till I ran away!

XII.

Crabbed age and youth'

Cannot live together;

9 Venus, with YOUNG Adonis sitting by her] This sonnet, with considerable variances, is the third in a collection of seventy-two sonnets, published in 1996, under the title of “Fidessa," with the name of B. Griffin as the author. A syllabic defect in the first line is there remedied by the insertion of “young" before “ Adonis.” A manuscript of the time, in our hands, is without the epithet, and has the initials W. S. at the end of it: very possibly, it was transcribed from "The Passionate Pilgrim," and hence the defect.

| And as he fell to her, she fell to him.] So the line stands in both editions of “ The Passionate Pilgrim," and in the contemporaneous manuscript, perhaps copied from one of them; but in Griffin's “ Fidessa" it is,

“And as he fell to her, so fell she to him." 2 Crabbed age and youth] This poem is in Deloney's “Garland of Good Will,” and we know that that collection was made before 1596; but it may be doubted in what edition “ Crabbed age and youth" first appeared : no very ancient copy

Youth is full of pleasance,

Age is full care:
Youth like summer morn,

Age like winter weather;
Youth like summer brave,

Age like winter bare.
Youth is full of sport,
Age's breath is short;

Youth is nimble, age is lame:
Youth is hot and bold,
Age is weak and cold ;

Youth is wild, and age is tame.
Age, I do abhor thee,
Youth, I do adore thee;

Oh, my love, my love is young !
Age, I do defy thee;
Oh, sweet shepherd ! hie thee,

For methinks thou stay'st too long.

XIII.

Beauty is but a vain and doubtful good,
A shining gloss that fadeth suddenly;
A flower that dies, when first it'gins to bud;
A brittle glass, that's broken presently :

A doubtful good, a gloss, a glass, a flower,
Lost, faded, broken, dead, within an hour.

And as goods lost are seld or never found,
As faded gloss no rubbing will refresh;
As flowers dead lie wither'd on the ground,
As broken glass no cement can redress;

So beauty blemish'd once, for ever lost,
In spite of physic, painting, pain, and cost.

XIV.

Good night, good rest. Ah! neither be

Ah! neither be my share : She bade good night, that kept my rest away;

of Deloney's “Garland " has reached our day, and the pieces seem to have been sometimes varied as the impressions were published. In all the known copies of "The Garland of Good Will" it has several additional stanzas.

And daff’d me to a cabin hang'd with care,
To descant on the doubts of my decay.

Farewell, quoth she, and come again to-morrow:
Fare well I could not, for I supp'd with sorrow.

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Yet at my parting sweetly did she smile,
In scorn or friendship, nill I construe whether:
'Tmay be, she joy'd to jest at my exile,
'Tmay be, again to make me wander thither;

“Wander," a word for shadows like thyself,
As take the pain, but cannot pluck the pelf.

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XV.

Lord, how mine eyes throw gazes to the east !
My heart doth charge the watch, the morning rise
Doth cite each moving sense from idle rest.
Not daring trust the office of mine

eyes,
While Philomela sits and sings, I sit and mark,
And wish her lays were tuned like the lark;

For she doth welcome day-light with her ditty,
And drives away dark dismal-dreaming night:
The night so pack’d, I post unto my pretty;
Heart hath his hope, and eyes their wished sight;

Sorrow chang'd to solace, solace mix'd with sorrow;

For why, she sigh’d, and bade me come to-morrow.
Were I with her, the night would post too soon;
But now are minutes added to the hours;
To spite me now, each minute seems a moon';
Yet not for me, shine sun to succour flowers !

Pack night, peep day, good day, of night now borrow:
Short, night, to-night, and length thyself to-morrow.

XVI.

It was a lording's daughter*,
The fairest one of three,

3 – each minute seems A MOON;) In both the old editions it stands "each minute seems an hour;" but the rhyme shows that there must have been a misprint, and Steevens' emendation of “a moon seems to set all right. The compositor caught hour from the line immediately preceding.

* It was a lording's daughter,] This is the first piece in the division of “The

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