Lucasta

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<33.1> The punctuation of this piece is in the original edition
singularly corrupt. I have found it necessary to amend it
throughout.

<33.2> The marigold.

<33.3> A flower so called.

<33.4> More commonly known as THE GILLIFLOWER.

<33.5> i.e. the lady gathers the flowers, and binds them in her
hair with a silken fillet, making of them a kind of chaplet
or crown.

<33.6> i.e. silvery or white milk.

<33.7> An uncommon word, signifying WRINKLED. Bishop Hall seems
to be, with the exception of Lovelace, almost the only writer who
used it. Compare, however, the following passage:--

"Like to a WRITHEL'D Carion I have seen
(Instead of fifty, write her down fifteen)
Wearing her bought complexion in a box,
And ev'ry morn her closet-face unlocks."
PLANTAGENET'S TRAGICALL STORY, by T. W. 1649, p. 105.

<33.8> Original has PRIZE THEIR.

<33.9> The fish with their silvery scales.

<33.10> Fins.

<33.11> Original reads BUT LOOK.

<33.12> Original has THERE.

<33.13> i.e. condemned.

<33.14> This word does not appear to have any very exact meaning.
See Halliwell's DICTIONARY OF ARCHAIC WORDS, art. POSSE, and
Worcester's Dict. IBID, &c. The context here requires TO TURN
SHARPLY OR QUICKLY.

<33.15> Original has SIGHT.

<33.16> Original reads I. The meaning seems to be, "I crave
that my woes may be smothered in me, and I may be smothered
in my grave."

<33.17> Reverence.

<33.18> i.e. in heaven.

<33.19> i.e. than among human kind.

<33.20> It may be presumed that LUCASTA had adopted the name
of CAELIA during her sylvan retreat.

<33.21> Impatient.

<33.22> Tranquil or secluded.

TO ELLINDA, THAT LATELY I HAVE NOT WRITTEN.

I.
If in me anger, or disdaine
In you, or both, made me refraine
From th' noble intercourse of verse,
That only vertuous thoughts rehearse;
Then, chaste Ellinda, might you feare
The sacred vowes that I did sweare.

II.
But if alone some pious thought
Me to an inward sadnesse brought,
Thinking to breath your soule too welle,
My tongue was charmed with that spell;
And left it (since there was no roome
To voyce your worth enough) strooke dumbe.

III.
So then this silence doth reveal
No thought of negligence, but zeal:
For, as in adoration,
This is love's true devotion;
Children and fools the words repeat,
But anch'rites pray in tears and sweat.

ELLINDA'S GLOVE.
SONNET.

I.
Thou snowy farme with thy five tenements!<34.1>
Tell thy white mistris here was one,
That call'd to pay his dayly rents;
But she a-gathering flowr's and hearts is gone,
And thou left voyd to rude possession.

II.
But grieve not, pretty Ermin cabinet,
Thy alabaster lady will come home;
If not, what tenant can there fit
The slender turnings of thy narrow roome,
But must ejected be by his owne dombe?<34.2>

III.
Then give me leave to leave my rent with thee:
Five kisses, one unto a place:
For though the lute's too high for me,
Yet servants, knowing minikin<34.3> nor base,
Are still allow'd to fiddle with the case.

<34.1> i.e. the white glove of the lady with its five fingers.

<34.2> Doom.

<34.3> A description of musical pin attached to a lute. It was
only brought into play by accomplished musicians. In the address
of "The Country Suiter to his Love," printed in Cotgrave's WITS
INTERPRETER, 1662, p. 119, the man says:--

"Fair Wench! I cannot court thy sprightly eyes
With a base-viol plac'd betwixt my thighs,
I cannot lisp, nor to a fiddle sing,
Nor run upon a high-strecht minikin."

In Middleton's FAMILIE OF LOVE, 1608 (Works by Dyce, ii. 127)
there is the following passage:--

"GUDGEON. Ay, and to all that forswear marriage, and can be
content with other men's wives.
GERARDINE. Of which consort you two are grounds; one touches
the bass, and the other tickles the minikin."

BEING TREATED.
TO ELLINDA.

For cherries plenty, and for corans
Enough for fifty, were there more on's;
For elles of beere,<35.1> flutes<35.2> of canary,
That well did wash downe pasties-Mary;<35.3>
For peason, chickens, sawces high,
Pig, and the widdow-venson-pye;<35.4>
With certaine promise (to your brother)
Of the virginity of another,
Where it is thought I too may peepe in
With knuckles far as any deepe in;<35.5>
For glasses, heads, hands, bellies full
Of wine, and loyne right-worshipfull;<35.6>
Whether all of, or more behind--a
Thankes freest, freshest, faire Ellinda.
Thankes for my visit not disdaining,
Or at the least thankes for your feigning;
For if your mercy doore were lockt-well,
I should be justly soundly knockt-well;
Cause that in dogrell I did mutter
Not one rhime to you from dam-Rotter.<35.7>

Next beg I to present my duty
To pregnant sister in prime beauty,
Whom well I deeme (e're few months elder)
Will take out Hans from pretty Kelder,
And to the sweetly fayre Mabella,
A match that vies with Arabella;
In each respect but the misfortune,
Fortune, Fate, I thee importune.

Nor must I passe the lovely Alice,
Whose health I'd quaffe in golden chalice;
But since that Fate hath made me neuter,
I only can in beaker pewter:
But who'd forget, or yet left un-sung
The doughty acts of George the yong-son?
Who yesterday to save his sister
Had slaine the snake, had he not mist her:
But I shall leave him, 'till a nag on
He gets to prosecute the dragon;
And then with helpe of sun and taper,
Fill with his deeds twelve reames of paper,
That Amadis,<35.8> Sir Guy, and Topaz
With his fleet neigher shall keep no-pace.
But now to close all I must switch-hard,
[Your] servant ever;
LOVELACE RICHARD.

<35.1> This expression has reference to the old practice
of drinking beer and wine out of very high glasses, with
divisions marked on them. A yard of ale is even now a well
understood term: nor is the custom itself out of date, since
in some parts of the country one is asked to take, not a glass,
but A YARD. The ell was of course, strictly speaking, a larger
measure than a yard; but it was often employed as a mere synonyme
or equivalent. Thus, in MAROCCUS EXTATICUS, 1595, Bankes says:--
"Measure, Marocco, nay, nay, they that take up commodities make no
difference for measure between a Flemish elle and an English yard."

<35.2> In the new edition of Nares (1859), this very passage is
quoted to illustrate the meaning of the word, which is defined
rather vaguely to be A CASK. Obviously the word signifies
something of the kind, but the explanation does not at all satisfy
me. I suspect that a flute OF CANARY was so called from the cask
having several vent-holes, in the same way that the French call a
lamprey FLEUTE D'ALEMAN from the fish having little holes in the
upper part of its body.

<35.3> Forsyth, in his ANTIQUARY'S PORTFOLIO, 1825, mentions
certain "glutton-feasts," which used formerly to be celebrated
periodically in honour of the Virgin; perhaps the pasties used on
these occasions were thence christened PASTIES-MARY.

<35.4> Venison pies or pasties were the most favourite dish in
this country in former times; innumerable illustrations might be
furnished of the high esteem in which this description of viand
was held by our ancestors, who regarded it as a thoroughly English
luxury. The anonymous author of HORAE SUBSECIVAE, 1620, p. 38
(this volume is supposed to have been written by Giles Brydges,
Lord Chandos), describes an affected Englishman who has been
travelling on the Continent, as "sweating at the sight of a pasty
of venison," and as "swearing that the only delicacies be
mushrooms, or CAVIARE, or snayles."

"The full-cram'd dishes made the table crack,
Gammons of bacon, brawn, and what was chief,
King in all feasts, a tall Sir Loyne of BEEF,
Fat venison pasties smoaking, 'tis no fable,
Swans in their broath came swimming to the table."--
Poems of Ben Johnson Junior, by W. S. 1672, p. 3.

<35.5> An allusion to the scantiness of forks. "And when your
justice of peace is knuckle-deep in goose, you may without
disparagement to your blood, though you have a lady to your mother,
fall very manfully to your woodcocks."-- Decker's GULS HORN BOOK,
1609, ed. Nott, p. 121.

"Hodge. Forks! what be they?
Mar. The laudable use of forks,
Brought into custom here, as they are in Italy,
To the sparing of napkins--"
Jonson's THE DEVIL IS AN ASS, act. v. scene 4.

"Lovell. Your hand, good sir.
Greedy. This is a lord, and some think this a favour;
But I had rather have my hand in my dumpling."
Massinger's NEW WAY TO PAY OLD DEBTS, 1633.

<35.6> The sirloin of beef.

<35.7> Rotterdam.

<35.8> AMADIS DE GAULE. The translation of this romance by Anthony
Munday and two or three others, whose assistance he obtained, made
it popular in England, although, perhaps with the exception of the
portion executed by Munday himself, the performance is beneath
criticism.

TO ELLINDA.
VPON HIS LATE RECOVERY.
A PARADOX.

I.
How I grieve that I am well!
All my health was in my sicknes,
Go then, Destiny, and tell,
Very death is in this quicknes.

II.
Such a fate rules over me,
That I glory when I languish,
And do blesse the remedy,
That doth feed, not quench my anguish.

III.
'Twas a gentle warmth that ceas'd
In the vizard of a feavor;
But I feare now I am eas'd
All the flames, since I must leave her.

IV.
Joyes, though witherd, circled me,
When unto her voice inured
Like those who, by harmony,
Only can be throughly cured.

V.
Sweet, sure, was that malady,
Whilst the pleasant angel hover'd,
Which ceasing they are all, as I,
Angry that they are recover'd.

VI.
And as men in hospitals,
That are maim'd, are lodg'd and dined;
But when once their danger fals,
Ah th' are healed to be pined!

VII.
Fainting so, I might before
Sometime have the leave to hand her,
But lusty, am beat out of dore,
And for Love compell'd to wander.

TO CHLOE, COURTING HER FOR HIS FRIEND.

I.
Chloe, behold! againe I bowe:
Againe possest, againe I woe;
From my heat hath taken fire
Damas, noble youth, and fries,<36.1>
Gazing with one of mine eyes,
Damas, halfe of me expires:
Chloe, behold! Our fate's the same.
Or make me cinders too, or quench his flame

II.
I'd not be King, unlesse there sate
Lesse lords that shar'd with me in state
Who, by their cheaper coronets, know,
What glories from my diadem flow:
Its use and rate<36.2> values the gem:
Pearles in their shells have no esteem;
And, I being sun within thy sphere,
'Tis my chiefe beauty thinner lights shine there.

III.
The Us'rer heaps unto his store
By seeing others praise it more;
Who not for gaine or want doth covet,
But, 'cause another loves, doth love it:
Thus gluttons cloy'd afresh invite
Their gusts from some new appetite;
And after cloth remov'd, and meate,
Fall too againe by seeing others eate.

<36.1> This is not unfrequently used in old writers in the sense
of BURN:--

"But Lucilla, who now began to frie in the flames of love,
all the company being departed," &c.--Lyly's EUPHUES, 1579,
sig. c v. verso.

"My lady-mistresse cast an amourous eye
Upon my forme, which her affections drew,
Shee was Love's martyr, and in flames did frye."
EGYPT'S FAVORITE. THE HISTORIE OF JOSEPH.
By Sir F. Hubert, 1631, sig. C.

<36.2> The estimation in which it is held, its marketable worth.

GRATIANA DAUNCING AND SINGING.

I.
See! with what constant motion
Even and glorious, as the sunne,
Gratiana steeres that noble frame,
Soft as her breast, sweet as her voyce,
That gave each winding law and poyze,
And swifter then the wings of Fame.

II.
She beat the happy pavement
By such a starre-made firmament,
Which now no more the roofe envies;
But swells up high with Atlas ev'n,
Bearing the brighter, nobler Heav'n,
And in her, all the Dieties.

III.
Each step trod out a lovers thought
And the ambitious hopes he brought,
Chain'd to her brave feet with such arts,
Such sweet command and gentle awe,
As when she ceas'd, we sighing saw
The floore lay pav'd with broken hearts.

IV.
So did she move: so did she sing:
Like the harmonious spheres that bring
Unto their rounds their musick's ayd;
Which she performed such a way,
As all th' inamour'd world will say:
The Graces daunced, and Apollo play'd.

AMYNTOR'S GROVE,<37.1>
HIS CHLORIS, ARIGO,<37.2> AND GRATIANA.
AN ELOGIE.

It was<37.3> Amyntor's Grove, that Chloris
For ever ecchoes, and her glories;
Chloris, the gentlest sheapherdesse,
That ever lawnes and lambes did blesse;
Her breath, like to the whispering winde,
Was calme as thought, sweet as her minde;
Her lips like coral gates kept in
The perfume and<37.4> the pearle within;
Her eyes a double-flaming torch
That alwayes shine, and never scorch;
Her<37.5> selfe the Heav'n in which did meet
The all of bright, of faire and sweet.
Here was I brought with that delight
That seperated soules take flight;
And when my reason call'd my sence
Back somewhat from this excellence,
That I could see, I did begin
T' observe the curious ordering
Of every roome, where 'ts hard to know,
Which most excels in sent or show.
Arabian gummes do breathe here forth,
And th' East's come over to the North;
The windes have brought their hyre<37.6> of sweet
To see Amyntor Chloris greet;
Balme and nard, and each perfume,
To blesse this payre,<37.7> chafe and consume;
And th' Phoenix, see! already fries!
Her neast a fire in Chloris<37.8> eyes!
Next<37.9> the great and powerful hand
Beckens my thoughts unto a stand
Of Titian, Raphael, Georgone
Whose art even Nature hath out-done;
For if weake Nature only can
Intend, not perfect, what is man,
These certainely we must prefer,
Who mended what she wrought, and her;
And sure the shadowes of those rare
And kind incomparable fayre
Are livelier, nobler company,
Then if they could or speake, or see:
For these<37.10> I aske without a tush,
Can kisse or touch without a blush,
And we are taught that substance is,
If uninjoy'd, but th'<37.11> shade of blisse.
Now every saint cleerly divine,
Is clos'd so in her severall shrine;
The gems so rarely, richly set,
For them wee love the cabinet;
So intricately plac't withall,
As if th' imbrordered the wall,
So that the pictures seem'd to be
But one continued tapistrie.<37.12>
After this travell of mine eyes
We sate, and pitied Dieties;
Wee bound our loose hayre with the vine,
The poppy, and the eglantine;
One swell'd an oriental bowle
Full, as a grateful, loyal soule
To Chloris! Chloris! Heare, oh, heare!
'Tis pledg'd above in ev'ry sphere.
Now streight the Indians richest prize
Is kindled in<37.13> glad sacrifice;
Cloudes are sent up on wings of thyme,
Amber, pomgranates, jessemine,
And through our earthen conduicts sore
Higher then altars fum'd before.
So drencht we our oppressing cares,
And choakt the wide jawes of our feares.
Whilst ravisht thus we did devise,
If this were not a Paradice
In all, except these harmlesse sins:
Behold! flew in two cherubins,
Cleare as the skye from whence they came,
And brighter than the sacred flame;
The boy adorn'd with modesty,
Yet armed so with majesty,
That if the Thunderer againe
His eagle sends, she stoops in vaine.<37.14>
Besides his innocence he tooke
A sword and casket, and did looke
Like Love in armes; he wrote but five,
Yet spake eighteene; each grace did strive,
And twenty Cupids thronged forth,
Who first should shew his prettier worth.
But oh, the Nymph! Did you ere know
Carnation mingled with snow?<37.15>
Or have you seene the lightning shrowd,
And straight breake through th' opposing cloud?
So ran her blood; such was its hue;
So through her vayle her bright haire flew,
And yet its glory did appeare
But thinne, because her eyes were neere.
Blooming boy, and blossoming mayd,
May your faire sprigges be neere betray'd
To<37.16> eating worme or fouler storme;
No serpent lurke to do them harme;
No sharpe frost cut, no North-winde teare,
The verdure of that fragrant hayre;
But<37.17> may the sun and gentle weather,
When you are both growne ripe together,
Load you with fruit, such as your Father
From you with all the joyes doth gather:
And may you, when one branch is dead,
Graft such another in its stead,
Lasting thus ever in your prime,
'Till th' sithe is snatcht away from Time.<37.18>

<37.1> In the MS. copy this poem exhibits considerable variations,
and is entitled "Gratiana's Eulogy."

<37.2> ARIGO or ARRIGO is the Venetian form of HENRICO. I have no
means of identifying CHLORIS or GRATIANA; but AMYNTOR was probably,
as I have already suggested, Endymion Porter, and ARIGO was
unquestionably no other than Henry Jermyn, or Jarmin, who, though
no poet, was, like his friend Porter, a liberal and discerning
patron of men of letters.

"Yet when thy noble choice appear'd, that by
Their combat first prepar'd thy victory:
ENDYMION and ARIGO, who delight
In numbers--"
Davenant's MADAGASCAR, 1638 (Works, 1673, p. 212).

See also p. 247 of Davenant's Works.

Jermyn's name is associated with that of Porter in the noblest
dedication in our language, that to DAVENANT'S POEMS, 1638, 12mo.
"If these poems live," &c.

<37.3> This and the five next lines are not in MS. which opens
with "Her lips," &c.

<37.4> So original; MS. reads OF.

<37.5> This and the next thirteen lines are not in MS.

<<37.6>> i.e. tribute.

<37.7> FAIRE--MS.

<37.8> HER FAIRE--MS. The story of the phoenix was very popular,
and the allusions to it in the early writers are almost
innumerable.

"My labour did to greater things aspire,
To find a PHOENIX melted in the fire,
Out of whose ashes should spring up to birth
A friend"--
POEMS OF Ben Johnson jun., by W. S., 1672, p. 18.

<37.9> This and the next eleven lines are not in MS.

<37.10> The MS. reads SHE.

<37.11> The MS. reads for BUT TH' "the."

<37.12> In the houses of such as could afford the expense,
the walls of rooms were formerly lined with tapestry instead
of paper.

<37.13> So MS.; original has A.

<37.14> An allusion to the fable of Jupiter and Ganymede.

<37.15> MIX'D WITH DROPPINGE SNOW--MS.

<37.16> This and the succeeding line are not in MS.

<37.17> This and the six following lines are not in MS.

<37.18> Here we have a figure, which reminds us of Jonson's famous
lines on the Countess of Pembroke; but certainly in this instance
the palm of superiority is due to Lovelace, whose conception of
Time having his scythe snatched from him is bolder and finer than
that of the earlier and greater poet.

THE SCRUTINIE.
SONG.
SET BY MR. THOMAS CHARLES.<38.1>

I.
Why shouldst thou<38.2> sweare I am forsworn,
Since thine I vow'd to be?
Lady, it is already Morn,
And 'twas last night I swore to thee
That fond impossibility.

II.
Have I not lov'd thee much and long,
A tedious twelve moneths<38.3> space?
I should<38.4> all other beauties wrong,
And rob thee of a new imbrace;
Should<38.5> I still dote upon thy face.

III.
Not but all joy in thy browne haire
In<38.6> others may be found;
But I must search the black and faire,
Like skilfulle minerallists that sound
For treasure in un-plow'd-up<38.7> ground.

IV.
Then if, when I have lov'd my<38.8> round,
Thou prov'st the pleasant she;
With spoyles<38.9> of meaner beauties crown'd,
I laden will returne to thee,
Ev'n sated with varietie.

<38.1> This poem appears in WITS INTERPRETER, by John Cotgrave,
ed. 1662, p. 214, under the title of "On his Mistresse,
who unjustly taxed him of leaving her off."

<38.2> So Cotgrave. LUCASTA reads SHOULD YOU.

<38.3> So Cotgrave. This is preferable to HOURS, the reading in LUCASTA.

<38.4> So Cotgrave. LUCASTA reads MUST.

<38.5> So Cotgrave. LUCASTA has COULD.

<38.6> So Cotgrave. LUCASTA reads BY.

<38.7> UNBIDDEN--Cotgrave.

<38.8> THEE--Cotgrave.

<38.9> IN SPOIL--Cotgrave.

PRINCESSE LOYSA<39.1> DRAWING.

I saw a little Diety,
MINERVA in epitomy,
Whom VENUS, at first blush, surpris'd,
Tooke for her winged wagge disguis'd.
But viewing then, whereas she made
Not a distrest, but lively shade
Of ECCHO whom he had betrayd,
Now wanton, and ith' coole oth' Sunne
With her delight a hunting gone,
And thousands more, whom he had slaine;
To live and love, belov'd againe:
Ah! this is true divinity!
I will un-God that toye! cri'd she;
Then markt she SYRINX running fast
To Pan's imbraces, with the haste
Shee fled him once, whose reede-pipe rent
He finds now a new Instrument.
THESEUS return'd invokes the Ayre
And windes, then wafts his faire;
Whilst ARIADNE ravish't stood
Half in his armes, halfe in the flood.
Proud ANAXERETE doth fall
At IPHIS feete, who smiles at<39.2> all:
And he (whilst she his curles doth deck)
Hangs no where now, but on her neck.
Here PHOEBUS with a beame untombes
Long-hid LEUCOTHOE, and doomes
Her father there; DAPHNE the faire
Knowes now no bayes but round her haire;
And to APOLLO and his Sons,
Who pay him their due Orisons,
Bequeaths her lawrell-robe, that flame
Contemnes, Thunder and evill Fame.
There kneel'd ADONIS fresh as spring,
Gay as his youth, now offering
Herself those joyes with voice and hand,
Which first he could not understand.
Transfixed VENUS stood amas'd,
Full of the Boy and Love, she gaz'd,
And in imbraces seemed more
Senceless and colde then he before.
Uselesse Childe! In vaine (said she)
You beare that fond artillerie;
See heere a pow'r above the slow
Weake execution of thy bow.
So said, she riv'd the wood in two,
Unedged all his arrowes too,
And with the string their feathers bound
To that part, whence we have our wound.
See, see! the darts by which we burn'd
Are bright Loysa's pencills turn'd,
With which she now enliveth more
Beauties, than they destroy'd before.

<39.1> Probably the second daughter of Frederic and Elizabeth
of Bohemia, b. 1622. See Townend's DESCENDANTS OF THE STUARTS,
1858, p. 7.

<39.2> Original has OF.

A FORSAKEN LADY TO HER FALSE SERVANT
THAT IS DISDAINED BY HIS NEW MISTRISS.<40.1>

Were it that you so shun me, 'cause you wish
(Cruels't) a fellow in your wretchednesse,
Or that you take some small ease in your owne
Torments, to heare another sadly groane,
I were most happy in my paines, to be
So truely blest, to be so curst by thee:
But oh! my cries to that doe rather adde,
Of which too much already thou hast had,
And thou art gladly sad to heare my moane;
Yet sadly hearst me with derision.

Thou most unjust, that really dust know,
And feelst thyselfe the flames I burne in. Oh!
How can you beg to be set loose from that
Consuming stake you binde another at?

Uncharitablest both wayes, to denie
That pity me, for which yourself must dye,
To love not her loves you, yet know the pain
What 'tis to love, and not be lov'd againe.

Flye on, flye on, swift Racer, untill she
Whom thou of all ador'st shall learne of thee
The pace t'outfly thee, and shall teach thee groan,
What terrour 'tis t'outgo and be outgon.

Nor yet looke back, nor yet must we
Run then like spoakes in wheeles eternally,
And never overtake? Be dragg'd on still
By the weake cordage of your untwin'd will
Round without hope of rest? No, I will turne,
And with my goodnes boldly meete your scorne;
My goodnesse which Heav'n pardon, and that fate
MADE YOU HATE LOVE, AND FALL IN LOVE WITH HATE.

But I am chang'd! Bright reason, that did give
My soule a noble quicknes, made me live
One breath yet longer, and to will, and see
Hath reacht me pow'r to scorne as well as thee:
That thou, which proudly tramplest on my grave,
Thyselfe mightst fall, conquer'd my double slave:
That thou mightst, sinking in thy triumphs, moan,
And I triumph in my destruction.

Hayle, holy cold! chaste temper, hayle! the fire
Rav'd<40.2> o're my purer thoughts I feel t' expire,
And I am candied ice. Yee pow'rs! if e're
I shall be forc't unto my sepulcher,
Or violently hurl'd into my urne,
Oh make me choose rather to freeze than burne.

<40.1> Carew (POEMS, ed. 1651, p. 53) has some lines, entitled,
"In the person of a Lady to her Inconstant Servant," which are
of nearly similar purport to Lovelace's poem, but are both shorter
and better.

<40.2> RAV'D seems here to be equivalent to REAV'D, or BEREAV'D.
Perhaps the correct reading may be "reav'd." See Worcester's
DICTIONARY, art. RAVE, where Menage's supposition of affinity
between RAVE and BEREAVE is perhaps a little too slightingly
treated.

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