[43]Sic, but should be Faustum (1st line) and is so given by Mr. Dyce and Isham. G.
[43]Sic, but should be Faustum (1st line) and is so given by Mr. Dyce and Isham. G.
[44]MS. "ranging." G.
[44]MS. "ranging." G.
[45]Mastiff. D. [This is an error. A 'mastiff' is not a grumbling dog, and 'masty' is = fatted, and here answers apparently to the over-fed vicious pet. SeeMaste, Prompt. Parv. & p. 151 (Way's ed.)] G.
[45]Mastiff. D. [This is an error. A 'mastiff' is not a grumbling dog, and 'masty' is = fatted, and here answers apparently to the over-fed vicious pet. SeeMaste, Prompt. Parv. & p. 151 (Way's ed.)] G.
[46]Isham 'saist.' G.
[46]Isham 'saist.' G.
[47]'And as' not in Isham, and being superfluous left out. G.
[47]'And as' not in Isham, and being superfluous left out. G.
[48]Supplied from MS. by Mr. Dyce. Isham 'oft.' G.
[48]Supplied from MS. by Mr. Dyce. Isham 'oft.' G.
[49]MS. 'Geron, his.' D. Isham 'Geron whose.' G.
[49]MS. 'Geron, his.' D. Isham 'Geron whose.' G.
[50]Isham corrects the misprint 'yeares,' and of 'time' in next line. G.
[50]Isham corrects the misprint 'yeares,' and of 'time' in next line. G.
[51]Isham 'odde.' G.
[51]Isham 'odde.' G.
[52]The reading in our text, and in all the editions, including Isham, is 'seene': but above from MS, as rhyming with Newhaven seems preferable. Newhaven was formerly called Havre de Grace. All the date-events are commonplaces of History. G.
[52]The reading in our text, and in all the editions, including Isham, is 'seene': but above from MS, as rhyming with Newhaven seems preferable. Newhaven was formerly called Havre de Grace. All the date-events are commonplaces of History. G.
[53]Ill-natured. D. [This is a good-natured explanation. I fear that in this place it means more and worse, though in the Taming of the Shrew we have Kate the curst, without the slightest imputation on her moral character, or any allusion to anything but her vixen temper. G.]
[53]Ill-natured. D. [This is a good-natured explanation. I fear that in this place it means more and worse, though in the Taming of the Shrew we have Kate the curst, without the slightest imputation on her moral character, or any allusion to anything but her vixen temper. G.]
[54]MS. "for newes."—The first edition [and Isham] reads 'from Mins': the other two asabove. Mins' (which perhaps should be written Min's) is, I presume, the name of some person who kept an Ordinary where gaming was practised. D.
[54]MS. "for newes."—The first edition [and Isham] reads 'from Mins': the other two asabove. Mins' (which perhaps should be written Min's) is, I presume, the name of some person who kept an Ordinary where gaming was practised. D.
[55]Isham 'a.' G.
[55]Isham 'a.' G.
[56]Sic: but should be, as Isham, Ciprium: Mr. Dyce reads Cyprium. G.
[56]Sic: but should be, as Isham, Ciprium: Mr. Dyce reads Cyprium. G.
[57]Died October 7th, 1577. His Works have been worthily collected by Mr. W. C. Hazlitt in his Roxburghe Library. G.
[57]Died October 7th, 1577. His Works have been worthily collected by Mr. W. C. Hazlitt in his Roxburghe Library. G.
[58]MS. "notes." D. [first edition and Isham "lookes": others asabove. G.]
[58]MS. "notes." D. [first edition and Isham "lookes": others asabove. G.]
[59]In first edition and Isham "Knowing" and MS. G.
[59]In first edition and Isham "Knowing" and MS. G.
[60]Foolish. G.
[60]Foolish. G.
[61]Dyce's text is 'he': but 'to' is often in Davies' time printed for 'too.' Isham 'Which perceiuing.' G.
[61]Dyce's text is 'he': but 'to' is often in Davies' time printed for 'too.' Isham 'Which perceiuing.' G.
[62]Isham 'scarphes.' G.
[62]Isham 'scarphes.' G.
[63]Isham 'false brayes.' In this place I have restored the reading 'false-brayes' of the 1st edition and of the MS, rejecting 'false-baits' of 2nd and 3rd editions. There is no such word in military engineering or fortification; but there is 'fausse-braye ' or 'false-braye.' There is a not very intelligible description in Bailey's Dictionary. G.
[63]Isham 'false brayes.' In this place I have restored the reading 'false-brayes' of the 1st edition and of the MS, rejecting 'false-baits' of 2nd and 3rd editions. There is no such word in military engineering or fortification; but there is 'fausse-braye ' or 'false-braye.' There is a not very intelligible description in Bailey's Dictionary. G.
[64]With this passage compare the following lines:"See Captaine Martio he i' th' 'Renounce me' band,That in the middle region doth standWo' th' reputation steele! Faith, lets remoueInto his ranke (of such discourse you loue):Hee'l tell of basilisks, trenches, retires,Of pallizadoes, parapets, frontires,Of caluerins, and baricadoes too.What to bee harquebazerd, to lie in perdue," &c.Fitzgeoffrey'sNotes from Black-Friars'Sig.E7, a portion of the volume entitledCertain Elegies, &c., ed. 1620. See our Memorial-Introduction for an impudent appropriation of this epigram. G.
[64]With this passage compare the following lines:
"See Captaine Martio he i' th' 'Renounce me' band,That in the middle region doth standWo' th' reputation steele! Faith, lets remoueInto his ranke (of such discourse you loue):Hee'l tell of basilisks, trenches, retires,Of pallizadoes, parapets, frontires,Of caluerins, and baricadoes too.What to bee harquebazerd, to lie in perdue," &c.
"See Captaine Martio he i' th' 'Renounce me' band,That in the middle region doth standWo' th' reputation steele! Faith, lets remoueInto his ranke (of such discourse you loue):Hee'l tell of basilisks, trenches, retires,Of pallizadoes, parapets, frontires,Of caluerins, and baricadoes too.What to bee harquebazerd, to lie in perdue," &c.
Fitzgeoffrey'sNotes from Black-Friars'Sig.E7, a portion of the volume entitledCertain Elegies, &c., ed. 1620. See our Memorial-Introduction for an impudent appropriation of this epigram. G.
[65]MS. "forginge." D. Isham 'foorching.' G.
[65]MS. "forginge." D. Isham 'foorching.' G.
[66]Other editions and MS. "Withernams": Isham 'whither names.' G.
[66]Other editions and MS. "Withernams": Isham 'whither names.' G.
[67]Isham 'vnderstanding either.' G.
[67]Isham 'vnderstanding either.' G.
[68]Drayton is here meant. [Malone's Manuscript-note in Bodleian copy. G.]
[68]Drayton is here meant. [Malone's Manuscript-note in Bodleian copy. G.]
[69][Ben] Jonson told Drummond "That S[ir] J[ohn] Davies played in ane Epigrame on Drayton's, who in a sonnet, concluded his Mistress might [have] been the Ninth [Tenth] Worthy; and said, he used a phrase like Dametas in [Sir Philip Sidney's] Arcadia, who said For wit his Mistresse might be a gyant." 'Notes of Ben Jonson's conversations with William Drummond, of Hawthornden,' p. 15 (Shakespere Society). The sonnet by Drayton, which our author here ridicules, is as follows:"TO THE CELESTIALL NUMBERS."Vnto the World, to Learning, and to Heauen,Three Nines there are, to euery one a Nine,One Number of the Earth, the other both Diuine;One Woman now makes three odde numbers euen:Nine Orders first of Angels be in Heauen,Nine Muses doe with Learning still frequent,These with the Gods are euer Resident;Nine Worthy Ones vnto the World were giuen:My Worthy One to these Nine Worthies addeth,And my faire Muse one Muse vnto the Nine,And my good Angell (in my soule Diuine)With one more Order these Nine Orders gladdeth:My Muse, my Worthy, and my Angell, then,Makes euery one of these three Nines a Ten."
[69][Ben] Jonson told Drummond "That S[ir] J[ohn] Davies played in ane Epigrame on Drayton's, who in a sonnet, concluded his Mistress might [have] been the Ninth [Tenth] Worthy; and said, he used a phrase like Dametas in [Sir Philip Sidney's] Arcadia, who said For wit his Mistresse might be a gyant." 'Notes of Ben Jonson's conversations with William Drummond, of Hawthornden,' p. 15 (Shakespere Society). The sonnet by Drayton, which our author here ridicules, is as follows:
"TO THE CELESTIALL NUMBERS.
"Vnto the World, to Learning, and to Heauen,Three Nines there are, to euery one a Nine,One Number of the Earth, the other both Diuine;One Woman now makes three odde numbers euen:Nine Orders first of Angels be in Heauen,Nine Muses doe with Learning still frequent,These with the Gods are euer Resident;Nine Worthy Ones vnto the World were giuen:My Worthy One to these Nine Worthies addeth,And my faire Muse one Muse vnto the Nine,And my good Angell (in my soule Diuine)With one more Order these Nine Orders gladdeth:My Muse, my Worthy, and my Angell, then,Makes euery one of these three Nines a Ten."
"Vnto the World, to Learning, and to Heauen,Three Nines there are, to euery one a Nine,One Number of the Earth, the other both Diuine;One Woman now makes three odde numbers euen:Nine Orders first of Angels be in Heauen,Nine Muses doe with Learning still frequent,These with the Gods are euer Resident;Nine Worthy Ones vnto the World were giuen:My Worthy One to these Nine Worthies addeth,And my faire Muse one Muse vnto the Nine,And my good Angell (in my soule Diuine)With one more Order these Nine Orders gladdeth:My Muse, my Worthy, and my Angell, then,Makes euery one of these three Nines a Ten."
[70]Isham reads badly 'woorthly.' 'Laide.' G.Idea: Sonnet 18 ed. 8vo. n. d. D.
[70]Isham reads badly 'woorthly.' 'Laide.' G.Idea: Sonnet 18 ed. 8vo. n. d. D.
[71]The other editions, as Isham and MS., 'an.' G.
[71]The other editions, as Isham and MS., 'an.' G.
[72]MS. 'cut.' D. [This is unquestionably the right word, not 'out.' Whether 'cut-lawne apron' meant curiously shaped like "the sleeves curiously cut" of Katharine's dress: or whether it was cut-wove lawn, lawn embroidered by cutting out holes and sewing them round, seems uncertain,—probably the latter. G.]
[72]MS. 'cut.' D. [This is unquestionably the right word, not 'out.' Whether 'cut-lawne apron' meant curiously shaped like "the sleeves curiously cut" of Katharine's dress: or whether it was cut-wove lawn, lawn embroidered by cutting out holes and sewing them round, seems uncertain,—probably the latter. G.]
[73]MS. 'sweete.' D.
[73]MS. 'sweete.' D.
[74]Isham again badly 'ilfauoted.' G.
[74]Isham again badly 'ilfauoted.' G.
[75]In first edition and Isham, "then doth he this." G. [MS. "he doth all this." D.]
[75]In first edition and Isham, "then doth he this." G. [MS. "he doth all this." D.]
[76]MS. "valiant and all-daring." D. [First edition, "braue, most all daring." G.]
[76]MS. "valiant and all-daring." D. [First edition, "braue, most all daring." G.]
[77]MS. "Knight." D.
[77]MS. "Knight." D.
[78]Isham, 'dare.' G.
[78]Isham, 'dare.' G.
[79]Hospital: or query prison? So late as Thomson's "Castle of Indolence" (c I. 77) we have the word: "all the diseases which thespittlesknow." G.
[79]Hospital: or query prison? So late as Thomson's "Castle of Indolence" (c I. 77) we have the word: "all the diseases which thespittlesknow." G.
[80]Probably most readers are aware that it was formerly the custom of gallants to smoke tobacco on the stage, during the performance, either lying on the rushes or sitting upon hired stools. D. [In Hutton's 'Satyres' and 'Epigrams' (1619) well edited byRimbaultfor the Percy Society, there are various passages illustrative of above,e.g."Dine with Duke Humfrey in decayed Paules"Confound the streetes with chaos of old braules,Dancing attendance on the Black-friers stageCall for a stoole with a commanding rage, &c. [pp. 68, 69.] Cf.Also Ben Jonson'sDevil is an Ass(1616) who censures the conduct of the gallants allowed seats on the stage. G.
[80]Probably most readers are aware that it was formerly the custom of gallants to smoke tobacco on the stage, during the performance, either lying on the rushes or sitting upon hired stools. D. [In Hutton's 'Satyres' and 'Epigrams' (1619) well edited byRimbaultfor the Percy Society, there are various passages illustrative of above,e.g.
"Dine with Duke Humfrey in decayed Paules"Confound the streetes with chaos of old braules,Dancing attendance on the Black-friers stageCall for a stoole with a commanding rage, &c. [pp. 68, 69.] Cf.
"Dine with Duke Humfrey in decayed Paules"Confound the streetes with chaos of old braules,Dancing attendance on the Black-friers stageCall for a stoole with a commanding rage, &c. [pp. 68, 69.] Cf.
Also Ben Jonson'sDevil is an Ass(1616) who censures the conduct of the gallants allowed seats on the stage. G.
[81]Mr. Dyce spells Heywodum. John Heywood's Epigrammes accompany his Proverbs: 1562. G.
[81]Mr. Dyce spells Heywodum. John Heywood's Epigrammes accompany his Proverbs: 1562. G.
[82]1st edition, 'which in epigrams did;' Isham 'which did.' [The Epigrams of John Heywood are well known. An allusion to this epigram of Davies occurs in Sir John Harington'sMetamorphosis of Ajax, 1596: "This Heywood for his proverbs and epigrams is not yet put down by any of our country, though one [Marginal Note, M[aster] Davies doth indeed come near him, that graces him the more in saying he puts him down," p. 41, edition 1814. (In the same work we find, "But, as my good M. Davies said of his epigrams, that they were made, like doublets in Birchin-lane, for every one whom they will serve, &c. p. 133. D.] [I add fromT. Bastard's'Chrestoleros' [Lib. II: Epigram 15] an answer to this:Heywood goes downe saith Dauis, sikerly,And downe he goes, I can it not deny:But were I happy did not fortune frowneWere I in heart I would sing Dauy downe.Cf. also lib. iii. Ep. 3. Mr.Dycealso quotes from Freeman'sRubbe and a great Cast, 1614. G.]
[82]1st edition, 'which in epigrams did;' Isham 'which did.' [The Epigrams of John Heywood are well known. An allusion to this epigram of Davies occurs in Sir John Harington'sMetamorphosis of Ajax, 1596: "This Heywood for his proverbs and epigrams is not yet put down by any of our country, though one [Marginal Note, M[aster] Davies doth indeed come near him, that graces him the more in saying he puts him down," p. 41, edition 1814. (In the same work we find, "But, as my good M. Davies said of his epigrams, that they were made, like doublets in Birchin-lane, for every one whom they will serve, &c. p. 133. D.] [I add fromT. Bastard's'Chrestoleros' [Lib. II: Epigram 15] an answer to this:
Heywood goes downe saith Dauis, sikerly,And downe he goes, I can it not deny:But were I happy did not fortune frowneWere I in heart I would sing Dauy downe.
Heywood goes downe saith Dauis, sikerly,And downe he goes, I can it not deny:But were I happy did not fortune frowneWere I in heart I would sing Dauy downe.
Cf. also lib. iii. Ep. 3. Mr.Dycealso quotes from Freeman'sRubbe and a great Cast, 1614. G.]
[83]Breeches. D.
[83]Breeches. D.
[84]This is not Decius of Epig. 25, who was Drayton, but (eheu!) Samuel Daniel. Cf. Epig. 45, and relative note. On the elephant (l. 5) see note on Epig. 6. G.
[84]This is not Decius of Epig. 25, who was Drayton, but (eheu!) Samuel Daniel. Cf. Epig. 45, and relative note. On the elephant (l. 5) see note on Epig. 6. G.
[85]Isham badly 'a goe.' G.
[85]Isham badly 'a goe.' G.
[86]Id est, horse's [the word means properly—a docked horse.] So much may be found in various books concerning Banks and his wonderful horse, that any account of them is unnecessary here. D. [The 'wonderful horse' is referred to by Shakespeare. G.]
[86]Id est, horse's [the word means properly—a docked horse.] So much may be found in various books concerning Banks and his wonderful horse, that any account of them is unnecessary here. D. [The 'wonderful horse' is referred to by Shakespeare. G.]
[87]Lien, lain. D.
[87]Lien, lain. D.
[88]Col. Cunningham emends 'himself' for 'myself'; but the 'whipping of' (l. 4) is = by: and Davies' wish is that he wielded the rods on Francus. G.
[88]Col. Cunningham emends 'himself' for 'myself'; but the 'whipping of' (l. 4) is = by: and Davies' wish is that he wielded the rods on Francus. G.
[89]Mr. Dyce reads 'Helen's' and confirms from Milton's Comus (1675)—Not that Nepenthes, which the wife of ThoneIn Egypt gave to Jove-born Helena, &c.In first edition there is a misprint "Hekens": in the other editions, asabove"Heauens": in MS. "helvs": Isham 'Heuens.' Helen is admissible, but 'Heavens' what Davies himself printed. See the poem on Tobacco among the hitherto unpublished poems, of which the Epigram seems only a first rough draft—and relative note.
[89]Mr. Dyce reads 'Helen's' and confirms from Milton's Comus (1675)—
Not that Nepenthes, which the wife of ThoneIn Egypt gave to Jove-born Helena, &c.
Not that Nepenthes, which the wife of ThoneIn Egypt gave to Jove-born Helena, &c.
In first edition there is a misprint "Hekens": in the other editions, asabove"Heauens": in MS. "helvs": Isham 'Heuens.' Helen is admissible, but 'Heavens' what Davies himself printed. See the poem on Tobacco among the hitherto unpublished poems, of which the Epigram seems only a first rough draft—and relative note.
[90]Isham 'which.' G.
[90]Isham 'which.' G.
[91]Isham badly 'brought.' G.
[91]Isham badly 'brought.' G.
[92]MS. 'subtle.' D. [Substantial is here = partaking of the substance or essence, or, as we say, properties peculiar to tobacco—a fume holding in it the virtues or substance of the tobacco. The MS. 'subtle' may be regarded as an Author's variant, especially as it is also found in 'Tobacco' among the hitherto unpublished poems, onward. G.]
[92]MS. 'subtle.' D. [Substantial is here = partaking of the substance or essence, or, as we say, properties peculiar to tobacco—a fume holding in it the virtues or substance of the tobacco. The MS. 'subtle' may be regarded as an Author's variant, especially as it is also found in 'Tobacco' among the hitherto unpublished poems, onward. G.]
[93]Mr. Dyce quotes an 'Epigramma' of Sir Thomas More, which, is headed"Medicinæ ad tollendos fœtores, anhelitus, provenientes a cibis quibusdam.""Sectile ne tetros porrum tibi spiret odores,Protenus a porro fac mihi cepe vores.Denuo fœtorem si vis depellere cepæ,Hoc facile efficient allia mansa tibi.Spiritus at si post etiam gravis allia restat,Aut nihil, aut tantum tolleremerdapotest."T. Mori Lucubrationes.&c., p. 261, edition 1563. G.
[93]Mr. Dyce quotes an 'Epigramma' of Sir Thomas More, which, is headed
"Medicinæ ad tollendos fœtores, anhelitus, provenientes a cibis quibusdam."
"Sectile ne tetros porrum tibi spiret odores,Protenus a porro fac mihi cepe vores.Denuo fœtorem si vis depellere cepæ,Hoc facile efficient allia mansa tibi.Spiritus at si post etiam gravis allia restat,Aut nihil, aut tantum tolleremerdapotest."
"Sectile ne tetros porrum tibi spiret odores,Protenus a porro fac mihi cepe vores.Denuo fœtorem si vis depellere cepæ,Hoc facile efficient allia mansa tibi.Spiritus at si post etiam gravis allia restat,Aut nihil, aut tantum tolleremerdapotest."
T. Mori Lucubrationes.&c., p. 261, edition 1563. G.
[94]Isham 'so smooth.' G.
[94]Isham 'so smooth.' G.
[95]That is, Crassus's lies. G.
[95]That is, Crassus's lies. G.
[96]Isham 'Gentleman.' G.
[96]Isham 'Gentleman.' G.
[97]See our Memorial-Introduction with reference to Wordsworth's splendid filling up of this earlier sketch. G.
[97]See our Memorial-Introduction with reference to Wordsworth's splendid filling up of this earlier sketch. G.
[98]Isham 'his.' G.
[98]Isham 'his.' G.
[99]Isham 'hearkening.' G.
[99]Isham 'hearkening.' G.
[100]1st edition and Isham, 'marke.' G.
[100]1st edition and Isham, 'marke.' G.
[101]Isham 'debter poore.' G.
[101]Isham 'debter poore.' G.
[102]No doubt some Ordinary near St. Giles, Cripplegate. Isham 'Gilles.' G.
[102]No doubt some Ordinary near St. Giles, Cripplegate. Isham 'Gilles.' G.
[103]Isham 'then.' G.
[103]Isham 'then.' G.
[104]Bourse, = Exchange. G.
[104]Bourse, = Exchange. G.
[105]1st edition and Isham and MS. 'flying.' G.
[105]1st edition and Isham and MS. 'flying.' G.
[106]Groningen. G.
[106]Groningen. G.
[107]Conquered and added to or 'taken in' with other conquests. G.
[107]Conquered and added to or 'taken in' with other conquests. G.
[108]To the truly 'illustrious'Vere—one of the noblest of England's earlier generals—Dr. Richard Sibbesdedicated his 'Soul's Conflict' in very loving words to him and his Lady. See my edition ofSibbesin loco. G.
[108]To the truly 'illustrious'Vere—one of the noblest of England's earlier generals—Dr. Richard Sibbesdedicated his 'Soul's Conflict' in very loving words to him and his Lady. See my edition ofSibbesin loco. G.
[109]Isham once more badly 'conquerie.' G.
[109]Isham once more badly 'conquerie.' G.
[110]This couplet is given by Mr. Dyce from the MS.: the Isham has it. G.
[110]This couplet is given by Mr. Dyce from the MS.: the Isham has it. G.
[111]Recently: the MS. reads 'that is of late.' G.
[111]Recently: the MS. reads 'that is of late.' G.
[112]In our author's days, it was a common practice for persons, before setting out on their travels, to deposit a sum of money, on condition of receiving large interest for it on their return: if they never returned, the deposit was forfeited. Innumerable allusions to 'putters out' occur in the works published during the reigns of Elizabeth and James. D.
[112]In our author's days, it was a common practice for persons, before setting out on their travels, to deposit a sum of money, on condition of receiving large interest for it on their return: if they never returned, the deposit was forfeited. Innumerable allusions to 'putters out' occur in the works published during the reigns of Elizabeth and James. D.
[113]That is, to the Bear-Garden on the Bank-side, Southwark. D. Near the Globe Theatre: referred to as Palace garden by Hutton, as before. Isham reads badly 'parish.' The Theatre at Paris Garden stood almost exactly at what is now the Surrey starting place of Blackfriars Bridge. In 1632 Donald Lupton in hisLondon and the Country Carbonadoedsays of it, "Here come few that either regard their credit or loss of time; the swaggering Roarer; the amusing Cheater; the swearing Drunkard; and the bloody Butcher have their rendezvous here, and are of the chiefe place and respect." (Col. Cunningham's Marlowe, p. 365). G.
[113]That is, to the Bear-Garden on the Bank-side, Southwark. D. Near the Globe Theatre: referred to as Palace garden by Hutton, as before. Isham reads badly 'parish.' The Theatre at Paris Garden stood almost exactly at what is now the Surrey starting place of Blackfriars Bridge. In 1632 Donald Lupton in hisLondon and the Country Carbonadoedsays of it, "Here come few that either regard their credit or loss of time; the swaggering Roarer; the amusing Cheater; the swearing Drunkard; and the bloody Butcher have their rendezvous here, and are of the chiefe place and respect." (Col. Cunningham's Marlowe, p. 365). G.
[114]Isham 'amongst the dogges and beares.' G.
[114]Isham 'amongst the dogges and beares.' G.
[115]Breeches. G.
[115]Breeches. G.
[116]Misprinted 'countrey shall': Qu—country-Hall, as above? Isham 'country Hall.' G.
[116]Misprinted 'countrey shall': Qu—country-Hall, as above? Isham 'country Hall.' G.
[117]Dunged. D.
[117]Dunged. D.
[118]Isham badly 'forsake.' G.
[118]Isham badly 'forsake.' G.
[119]Plowden. D.
[119]Plowden. D.
[120]Harry Hunkes and Sacarson were two bears at Paris-garden: the latter was the more famous, and is mentioned by Shakespeare inThe Merry Wives of Windsor, Act I., sc. 1. D. Isham 'Sakersone.' G.
[120]Harry Hunkes and Sacarson were two bears at Paris-garden: the latter was the more famous, and is mentioned by Shakespeare inThe Merry Wives of Windsor, Act I., sc. 1. D. Isham 'Sakersone.' G.
[121]Daniel, I believe: [Malone's Manuscript note in Bodlean copy. See Epigram 30. G.] Mr. Dyce adds here, "I am sorry to believe that by Dacus (who is spoken of with great contempt in Epigram xxx.) our author means Samuel Daniel: but the following lines in that very pleasing writer'sComplaint of Rosamond(which was first printed in 1592) certainly would seem to be alluded to here,"Ah beauty syren, faire enchanting good,Sweet, silent rhetorique of perswading eyes,Dumb eloquence, whose power doth moue the bloodMore then the words or wisdom of the wise, &c.1611, p. 39,—Daniel'sCertaine Small Works, &c. 1611.") G.
[121]Daniel, I believe: [Malone's Manuscript note in Bodlean copy. See Epigram 30. G.] Mr. Dyce adds here, "I am sorry to believe that by Dacus (who is spoken of with great contempt in Epigram xxx.) our author means Samuel Daniel: but the following lines in that very pleasing writer'sComplaint of Rosamond(which was first printed in 1592) certainly would seem to be alluded to here,
"Ah beauty syren, faire enchanting good,Sweet, silent rhetorique of perswading eyes,Dumb eloquence, whose power doth moue the bloodMore then the words or wisdom of the wise, &c.
"Ah beauty syren, faire enchanting good,Sweet, silent rhetorique of perswading eyes,Dumb eloquence, whose power doth moue the bloodMore then the words or wisdom of the wise, &c.
1611, p. 39,—Daniel'sCertaine Small Works, &c. 1611.") G.
[122]See note on this under Epigram 43. G.
[122]See note on this under Epigram 43. G.
[123]Isham 'Pease.' G.
[123]Isham 'Pease.' G.
[124]Isham 'so.' G.
[124]Isham 'so.' G.
[125]See note on this under Epigram 30. G.
[125]See note on this under Epigram 30. G.
[126]Isham corrects 'Hay' here with 'hogge.' G.
[126]Isham corrects 'Hay' here with 'hogge.' G.
[127]That is 'Lepidus's printed dog.' The following epigram by Sir John Harington determines that he is the Lepidus of this passage, and that his favourite dog Bungey is the "printed dog." In a compartment of the engraved title-page to Harington'sOrlando Furioso, 1591, is a representation of Bungey (see too the Annotations on Book xli. of that poem); and hence he is termed by Davies the "printed dog.""AGAINST MOMUS, IN PRAISE OF HIS DOG BUNGEY."Because a witty writer of this timeDoth make some mention in a pleasant rimeOf Lepidus and of his famous dog,Thou, Momus, that dost loue to scoffe and cog,Prat'st amongst base companions, and giv'st outThat unto me herein is meant a flout.Hate makes thee blind, Momus: I dare be sworn,He meant to me his loue, to thee his scorn.Put on thy envious spectacles, and seeWhom doth he scorn therein, the dog or me?The dog is grac'd, comparèd with great Banks,Both beasts right famous for their pretty pranks;Although in this I grant the dog was worse,He only fed my pleasure, not my purse:Yet that same dog, I may say this and boast it,He found my purse with gold when I haue [had] lost it.Now for myself: some fooles (like thee) may judgeThat at the name of Lepidus I grudge:No sure; so far I think it from disgrace,I wisht it cleare to me and to my race.Lepus, or Lepos, I in both haue part;That in my name I beare, this in mine heart.But Momus, I perswade myself that no manWill deigne thee such a name, English or Roman.Ile wage a but of Sack, the best in Bristo,Who cals me Lepid, I will call him Tristo."Epigrams, Book iii. Ep. 21. edition folio. D.
[127]That is 'Lepidus's printed dog.' The following epigram by Sir John Harington determines that he is the Lepidus of this passage, and that his favourite dog Bungey is the "printed dog." In a compartment of the engraved title-page to Harington'sOrlando Furioso, 1591, is a representation of Bungey (see too the Annotations on Book xli. of that poem); and hence he is termed by Davies the "printed dog."
"AGAINST MOMUS, IN PRAISE OF HIS DOG BUNGEY."
Because a witty writer of this timeDoth make some mention in a pleasant rimeOf Lepidus and of his famous dog,Thou, Momus, that dost loue to scoffe and cog,Prat'st amongst base companions, and giv'st outThat unto me herein is meant a flout.Hate makes thee blind, Momus: I dare be sworn,He meant to me his loue, to thee his scorn.Put on thy envious spectacles, and seeWhom doth he scorn therein, the dog or me?The dog is grac'd, comparèd with great Banks,Both beasts right famous for their pretty pranks;Although in this I grant the dog was worse,He only fed my pleasure, not my purse:Yet that same dog, I may say this and boast it,He found my purse with gold when I haue [had] lost it.Now for myself: some fooles (like thee) may judgeThat at the name of Lepidus I grudge:No sure; so far I think it from disgrace,I wisht it cleare to me and to my race.Lepus, or Lepos, I in both haue part;That in my name I beare, this in mine heart.But Momus, I perswade myself that no manWill deigne thee such a name, English or Roman.Ile wage a but of Sack, the best in Bristo,Who cals me Lepid, I will call him Tristo."
Because a witty writer of this timeDoth make some mention in a pleasant rimeOf Lepidus and of his famous dog,Thou, Momus, that dost loue to scoffe and cog,Prat'st amongst base companions, and giv'st outThat unto me herein is meant a flout.Hate makes thee blind, Momus: I dare be sworn,He meant to me his loue, to thee his scorn.Put on thy envious spectacles, and seeWhom doth he scorn therein, the dog or me?The dog is grac'd, comparèd with great Banks,Both beasts right famous for their pretty pranks;Although in this I grant the dog was worse,He only fed my pleasure, not my purse:Yet that same dog, I may say this and boast it,He found my purse with gold when I haue [had] lost it.Now for myself: some fooles (like thee) may judgeThat at the name of Lepidus I grudge:No sure; so far I think it from disgrace,I wisht it cleare to me and to my race.Lepus, or Lepos, I in both haue part;That in my name I beare, this in mine heart.But Momus, I perswade myself that no manWill deigne thee such a name, English or Roman.Ile wage a but of Sack, the best in Bristo,Who cals me Lepid, I will call him Tristo."
Epigrams, Book iii. Ep. 21. edition folio. D.
[128]In other editions as Isham, but dropped out inadvertently from our text. G.
[128]In other editions as Isham, but dropped out inadvertently from our text. G.
[129]Isham badly 'last.' G.
[129]Isham badly 'last.' G.
[130]= plumage. G.
[130]= plumage. G.
[131]= motley-dressed jester or fool. G.
[131]= motley-dressed jester or fool. G.
[132]= foolish. G.
[132]= foolish. G.
[133]A trisyllable. G.
[133]A trisyllable. G.
[134]= were. G.
[134]= were. G.
[135]= slipper-shoes. G.
[135]= slipper-shoes. G.
[136]= serious; and so 'sadly' = seriously, e. g. Skelton:"I have not offended, I trust,If it besadlydiscust." G.
[136]= serious; and so 'sadly' = seriously, e. g. Skelton:
"I have not offended, I trust,If it besadlydiscust." G.
"I have not offended, I trust,If it besadlydiscust." G.
[137]= recover (a legal term) G.
[137]= recover (a legal term) G.
[138]This and the three following, are from the celebrated collection of early English poetry called the 'Poetical Rhapsody' by Davison. Our text is from the third edition (1621) which in our case is preferable, as having presumably been revised (in his contributions) by Sir John: It is to be noted that in this edition the original simple I. D. is in the second poem changed to Sir I. D., and that to the third his name is given in full. I have included the Hymn on Music, though the initials I. D. have been assigned to Dr. John Donne by Sir Egerton Brydges and others. It seems to me that as (1) I. D. is our Poet's designation in the 'Rhapsody' throughout, and as (2) the Lines were not claimed for Donne by himself, or by his son when he collected his father's Poems—we are warranted in assigning them to Sir John Davies. Sir Egerton favours their Donne authorship simply because "they seem rather to partake of the conceits of Donne than of the simple vigour of Davies" but he forgot the 'Hymnes to Astræa' and 'Orchestra'; which are in the same vein. It is to be regretted that Sir Nicholas Harris Nicolasmodernizedthe text in his reprint of the 'Rhapsody': (2 vols. crown 8vo. 1826, Pickering): and perhaps equally so, that Mr. Collier in his careful and beautiful private one, has selected the first incomplete edition. The following is the title-page of the edition of the 'Rhapsody' used by us:DAVISONSPOEMS,ORA POETICALL RAPSODIE.Deuided into sixe Bookes.The first,contayning Poems and Deuises.The second,Sonets and Canzonets.The third,Pastoralls and Elegies.The fourth,Madrigalls and Odes.The fift,Epigrams and Epitaphs.The sixt,Epistles and Epithalamions.For variety and pleasure, the like neuerpublished.The Bee and Spider by a diuers power,Sucke hony and poyson from the selfe same flower.The fourth Impression,Newly corrected and augmented, and put intoa forme more pleasing to the Reader.London.Printed by B. A. forRoger Iackson, 1621 (small 12o.) See our Preface for account of an autograph MS. of "Yet other Twelve Wonders of the World." G.
[138]This and the three following, are from the celebrated collection of early English poetry called the 'Poetical Rhapsody' by Davison. Our text is from the third edition (1621) which in our case is preferable, as having presumably been revised (in his contributions) by Sir John: It is to be noted that in this edition the original simple I. D. is in the second poem changed to Sir I. D., and that to the third his name is given in full. I have included the Hymn on Music, though the initials I. D. have been assigned to Dr. John Donne by Sir Egerton Brydges and others. It seems to me that as (1) I. D. is our Poet's designation in the 'Rhapsody' throughout, and as (2) the Lines were not claimed for Donne by himself, or by his son when he collected his father's Poems—we are warranted in assigning them to Sir John Davies. Sir Egerton favours their Donne authorship simply because "they seem rather to partake of the conceits of Donne than of the simple vigour of Davies" but he forgot the 'Hymnes to Astræa' and 'Orchestra'; which are in the same vein. It is to be regretted that Sir Nicholas Harris Nicolasmodernizedthe text in his reprint of the 'Rhapsody': (2 vols. crown 8vo. 1826, Pickering): and perhaps equally so, that Mr. Collier in his careful and beautiful private one, has selected the first incomplete edition. The following is the title-page of the edition of the 'Rhapsody' used by us:
DAVISONSPOEMS,ORA POETICALL RAPSODIE.Deuided into sixe Bookes.
The first,contayning Poems and Deuises.The second,Sonets and Canzonets.The third,Pastoralls and Elegies.The fourth,Madrigalls and Odes.The fift,Epigrams and Epitaphs.The sixt,Epistles and Epithalamions.
The first,contayning Poems and Deuises.The second,Sonets and Canzonets.The third,Pastoralls and Elegies.The fourth,Madrigalls and Odes.The fift,Epigrams and Epitaphs.The sixt,Epistles and Epithalamions.
The first,contayning Poems and Deuises.The second,Sonets and Canzonets.The third,Pastoralls and Elegies.The fourth,Madrigalls and Odes.The fift,Epigrams and Epitaphs.The sixt,Epistles and Epithalamions.
For variety and pleasure, the like neuerpublished.The Bee and Spider by a diuers power,Sucke hony and poyson from the selfe same flower.The fourth Impression,Newly corrected and augmented, and put intoa forme more pleasing to the Reader.London.
Printed by B. A. forRoger Iackson, 1621 (small 12o.) See our Preface for account of an autograph MS. of "Yet other Twelve Wonders of the World." G.
[139]'The earth my faults doth hide.' This recalls the somewhat irate remonstrance of a bibulous Sexton under the reproaches of a medical church-warden at a parish-meeting: "O Sir,youare the last that ever I expected to expose me, seeing I have covered up many of your faults" (i.e. in the graves of his patients.) G.
[139]'The earth my faults doth hide.' This recalls the somewhat irate remonstrance of a bibulous Sexton under the reproaches of a medical church-warden at a parish-meeting: "O Sir,youare the last that ever I expected to expose me, seeing I have covered up many of your faults" (i.e. in the graves of his patients.) G.
[140]= usury. G.
[140]= usury. G.
[141]= pinch. G.
[141]= pinch. G.
[142]= foolish. G.
[142]= foolish. G.
[143]In Sir Egerton Brydges edition of the Rhapsody this line stands"Mydyinghusband knew," &c.an interpolation which, though perhaps called for by the metre, does not appear to be justified by either of the four editions supposed to have been printed during the life-time of the original editor. Nicolas. [True, but as itisfound in an autograph MS. of the poem, it is inserted. See our Preface. G.]
[143]In Sir Egerton Brydges edition of the Rhapsody this line stands
"Mydyinghusband knew," &c.
"Mydyinghusband knew," &c.
an interpolation which, though perhaps called for by the metre, does not appear to be justified by either of the four editions supposed to have been printed during the life-time of the original editor. Nicolas. [True, but as itisfound in an autograph MS. of the poem, it is inserted. See our Preface. G.]
[144]See Introductory Note to the first of these Minor Poems,ante. In Mr. Collier's History of English Dramatic Poetry, Vol. I. p. 323seqq.interesting details are given of an Entertainment to the Queen at Sir Robert Cecil's "newe house in the Strand," at which she was "royally entertained." From Extracts from a Barrister's Diary among the Harleian MSS. adduced herein, we glean a notice of the present Poem,e. g."Sundry devises at hir entrance: three women, a maid, a widow and a wife, eache contending [for] their own states, but the virgin preferred." In Nichols' Progs. of Elizabeth (iii. 601) the poem is also ascribed on authority of John Chamberlain to Davies (6th December, 1602). See Letters of Chamberlain published byCamdenSociety, p. 169: December 23rd, 1602. Miss Sarah Williams, in her careful edition ofChamberlain'sLetters for the Camden Society, by an oversight, has annotated this referencein locoas to Davies of Hereford. Chamberlain calls it a "pretty dialogue." The Barrister's Diarysupra[Manningham] has been edited for the Camden Society by the late lamented Mr. John Bruce of London. G.
[144]See Introductory Note to the first of these Minor Poems,ante. In Mr. Collier's History of English Dramatic Poetry, Vol. I. p. 323seqq.interesting details are given of an Entertainment to the Queen at Sir Robert Cecil's "newe house in the Strand," at which she was "royally entertained." From Extracts from a Barrister's Diary among the Harleian MSS. adduced herein, we glean a notice of the present Poem,e. g."Sundry devises at hir entrance: three women, a maid, a widow and a wife, eache contending [for] their own states, but the virgin preferred." In Nichols' Progs. of Elizabeth (iii. 601) the poem is also ascribed on authority of John Chamberlain to Davies (6th December, 1602). See Letters of Chamberlain published byCamdenSociety, p. 169: December 23rd, 1602. Miss Sarah Williams, in her careful edition ofChamberlain'sLetters for the Camden Society, by an oversight, has annotated this referencein locoas to Davies of Hereford. Chamberlain calls it a "pretty dialogue." The Barrister's Diarysupra[Manningham] has been edited for the Camden Society by the late lamented Mr. John Bruce of London. G.
[145]Misprinted 'sent.' G.
[145]Misprinted 'sent.' G.
[146]A legal phrase = freedom or liberty. G.
[146]A legal phrase = freedom or liberty. G.
[147]Nicolas, as before, has 'observes.' G.
[147]Nicolas, as before, has 'observes.' G.
[148]Nicolas, as before, reads 'net.' G.
[148]Nicolas, as before, reads 'net.' G.
[149]The reference is to the wavy or vandyked cutting of the vellum MS. whereby the one copy fits into the other. Recently two very ancient MSS. were thus unexpectedly brought together in H. M. Public Record Office. G.
[149]The reference is to the wavy or vandyked cutting of the vellum MS. whereby the one copy fits into the other. Recently two very ancient MSS. were thus unexpectedly brought together in H. M. Public Record Office. G.
[150]= cultivated. G.
[150]= cultivated. G.
[151]Cf. 'Orchestra,' Vol. I., page 192, with relative note. G.
[151]Cf. 'Orchestra,' Vol. I., page 192, with relative note. G.
[152]= in the fabric. G.
[152]= in the fabric. G.
[153]= peer. G.
[153]= peer. G.
[154]In the previous editions of the Rhapsody, this line has always been imputed to the Wife, and the following one to the Widow; but as throughout the Contention each party praises her own state, whilst she ridicules that of the other, the transposition in the text appeared to be imperiously called for. Nicolas.
[154]In the previous editions of the Rhapsody, this line has always been imputed to the Wife, and the following one to the Widow; but as throughout the Contention each party praises her own state, whilst she ridicules that of the other, the transposition in the text appeared to be imperiously called for. Nicolas.
[155]By the rule of note 8, Wife seems necessary to be here prefixed; but see our Memorial-Introduction for a critical notice of this and other portions. G.
[155]By the rule of note 8, Wife seems necessary to be here prefixed; but see our Memorial-Introduction for a critical notice of this and other portions. G.
[156]= alloy. G.
[156]= alloy. G.
[157]It was long a "Vulgar Error" that certain 'christall glasses' flew into bits on poison being put into them. G.
[157]It was long a "Vulgar Error" that certain 'christall glasses' flew into bits on poison being put into them. G.
[158]See Introductory-note to the preceding poem. G.
[158]See Introductory-note to the preceding poem. G.