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piece of rigid satin cloth -Assorted characters of death and blight Mixed ready to begin the morning right, Like the ingredients of a witches' broth -A snow-drop spider, a flower like a froth, And dead wings carried like a paper kite.
What had that flower to do with being white, The wayside blue and innocent heal-all? What brought the kindred spider to that height, Then steered the white moth thither in the night? What but design of darkness to appall?-If design govern in a thing so small.
||| Analysis | Critique | Overview Below |||
In part, it is saying that if there is so much detail in something so small as a web, imagine the detail in the larger scheme of things. This poem is about how opposing life (or rather how life is filled with opposition.) Note how they use the color "white," constantly. This color is closely associated with purity, but he uses this color to describe a gruesome, evil scene. This is a poem about the disaster life is. The spider is feeling immense pain and suffering, as you can tell by the line "mixed ready to begin the morning right". He obviously feels he is hopeless and cannot do anything right the previous mornings. This poem further shows that there is evil in what seems to be good world (even though the world really is an evil place). A heal-all flower was originally thought to possess healing qualities so this symbolizes the good things in the world as well as the innocent white moth and plus white symbolizes purity. And the white color of the spider disguises the evil of it causing it to fool the innocent moth into its demise. This poem brings light to the hidden evils in the world and that if you aren't careful you can be caught into them. Just a quick thing: God designs everything for a purpose and everything has its own season and time to go. Why does God let bad things happen? Because he wants us to learn from them. One of the moths purposes' is to feed
the spider and that's just the order of life. the poem is referring to the overall grand "design". God, the creator and how we are as humans and in existence stuck between two bleaque realities. 1. that god is only existing to create pain and take joy in our suffering (the moth flies straight into a spider who happens to be the same colour of the flower when the flower is NORMALYL blue). or if this was just a freak occurance. 2. there is no god or creator, rather total chaos and uncontrollable universe where we are all doomed in the end, and there is realy no point in our futile struggle against the inevitable. Design is a poem that is not about "a perfect design from a perfect creator" but rather draws into question the Nature of the creator itself. "If a watch, then a watchmaker." Frost tries to make us understand that if the Design has flaws, or evils, then the creator must be evil itself. It is in no way an anti-religious poem, but rather a philosophy of a sort of trickle-down effect (not economically) of the morality of a creator to its creation.
It has to do with more the relation between the plant, the spider, and the moth. i think considering that the plant is called a heal all plant it still couldn¶t save the moth from the spider. This poem talks about how everything is designed by the hand of God so that it can fit into the environment it was needed in. The DESIGN name was talking about how it (the spider) fits into the area it lives (near the flower) so it can survive. No design, just description. The design is his description...
the poem is talking about the smaller things in life and how we don¶t pay attention to them because we are too busy focusing on the bigger things that are in their face. this poem is trying to say that everything has detail, even something as small, simple, and scary as a spider. we usually don't look at the details and DESIGN of the smaller things in life and we usually focus on the bigger picture. if we just take the time to observe and recognize the smaller things in life, we could find that we are very fascinated with those things. The overall imagery in this poem suggest that evil may masquerade as innocence. THERE IS DESIGN IN SUCH A SMALL ASPECT OF LIFE EVENTHOUGH FROST MIGHT NOT HAVE REALIZED HE SAID IT. THE SPIDER WAZ ALLREADY THERE BECAUSE OF HIS INSTINCTS. HE SEEN THE ALL WHITE HEAL-ALL OUT OF ITS NATURAL COLOR BECAUSE OF DEATH AND WAITED IN ITS WHITE DESIGN FOR FOOD TO SURVIVE This poem was written in 1922. So though a possibility, it is highly unlikely Frost was commenting on the Nazi Party and the German swastika. a little explanation of this is needed. Robert Frost was born in the last 1800's and died in the 1960's. During WWII the German swastika was often referred to a spider. When given the knowledge, humanity used it to create ways to conquer those less fortunate who were not able to pull ahead in the arms race, isn't that the same thing that is happening to the moth??. There is Design in all of life (something Einstein also advocated) which is embedded in both Darkness and Light; this Design -- "the Architecture" -- is ours to discover because it is the revelation of deeper meaning and Darkness has double meaning (entendre) both "evil" and "hidden." It is ours to bring the secrets hidden in darkness, even if evil, into the light of understanding through questions. We must look beyond our small world
of superficial illusion into the depths of truth. Only the moth is real and white; the spider is creating an illusion by being disguised as white, and the heal-all (normally blue-violet) is a medicinal herb which has become the foil for entrapment, and ultimately death. There is no escaping the real inner design by assuming a superficial reality. What's important in the structure of this poem is the ultimate scientific structure: stanza one is observation, stanza two is question; and the deduction and conclusion are the stanzas we must form for ourselves. the thing about design is that when you first glance at it, it appears to be in the format of a Petrarchan or Italian sonnet, however the thing about Frost is that not everything is as it seems. Everything he did, he did on purpose. The poem never gives an answer, which defeats the "Italian sonnet" theory. Instead, the poem is a huge answer, questioning God, on why we are here and why he was brought to witness the strange occurrence of those white creatures. It connects design and ambiguity. We were all put here but it is unclear as to why? Are we given free will, or does God already have a plan for us? Frost used such great word play throughout this whole sonnet, Design the poem was about death's design and it's intricate detail in even the smallest things. It¶s curious if anyone can tell the significance of Frost using positive words in negative connotations. I want to say thats how he is able to make such a morose poem beautiful but I am still unsure. What do you think? Design The witches broth is a simile of God's creation. In which the witch places these creatures into the broth, God has placed his creatures into this world that Frost is witnessing. So, in the end Frost is questioning what darkness or the unknown is out there when such design is found in small things. What purposes do we have in this world if spiders or small creatures have such purpose that can be both beautiful and brutal.
the title I think the title has a way of explaining the poem. it is all a design. thats how nature is...and thats the design that he wrote about. a few questions This poem made me think: Is accident truely accidental; what deeper irony is meant by the diseased heal-all (blight) being unable to save even itself; and of course, does THE GREAT DESIGNER care about or even have the power to exist in the tiniest aspects of life? Naturally, we, in our egomania, believe ourselves to be the designers, controlling aspects of life again, while thinking that our "assorted characters of death and blight" are too small... until they blow up a building or two. Structure All interpretations aside, this poem is an italian sonnet. It has 14 lines, the abbaabba ryhme scheme, follows the iambic pentameter, and is clearly divided between the octet and sestet. The site did mistype it; there are only two stanzas, the break being between lines 8 and 9. Also, just because rules are bent, it doesnt mean the poem isnt a sonnet. John Donne disregarded iambic pentameter and rhyme scheme in most of his poems and they are still considered Petrarchan sonnets design
he mentioned darkness and darkness is considered evil. that spider's daily routine is to kill to eat . The heal-all is |us| the people that care. the moth was white. One more non-existant object in reality. a moth. it seems odd that the only whit healall flower when they are usually blue have this white spider that are usually black have killed this white moth? his last line mentions if evil orchestrated not in people or bombs and war but can be seen in things as small as an insect. in my opinion people like create their own little universe and everything is sort of non-existent. The message he is conveying is basically THINK :. dimpled people of the world. it might also be a deeper darker meaning. humanity ignores the little details. Things that are overpowered.that's nature . atmosphere. less fortunate what? I don't know. they ignore the little details. the fat. the people that think for themselves and THINK in general. making it perfect to keep them happy. the spider was white. 4 . Everything is being materialized. What does it mean? Going back to what we were saying. order of universe Frost mediates whether there is any design or natural rule in this world by discribing the coincidence: a white spider holding a white moth on a white flower. spider. moth's the less fortunate.whatever.This poem is an Italian sonnet that is broken up into an octave and sestet. we're not part of the herd. The octave is asking a question and the sestet is an answer to the question. it would make you think. in this the case the moth. the smaller piece. Everybody just creates their own little world. We're the non-conforming. Nobody would see that the heal-all was white. the "rigid satin cloth" gives the heal-all a brittle appearance. it's given less importance then realistically it deserves. it would be negative space. a REAL analysis :. And I do believe Frost tried to make that vague but also used it to send a message. He questions the existence of God. The higherconscience. "what brought the kindred to that height then steered the white moth thither in the night?" IF the God is there why the x exists? poem :. I absolutely love this poem and looking through some of these so called analyzations of the poem I am not very impressed (especially with the April 28th entry hello this is an amazing poem and if your going to bash on the poem so much at least learn to spell) so i will write my own detailed analysis: I agree with a few of these entries that state this IS NOT A SONNET. animals. or does it deserve it? Does it exist in this poem? Does it exist in this world? But it must be of some importance to be holding up the moth. The spider is humanity. the heal-all is turned into furniture. Although the white moth thought the white healall was safe for its hiding it was still trapped by the sly white spider hiden there before. so here's what I figure. but that's what I figure. and flower. it's alive but gives the appearance of one more materialized object to be usd by society's sake. society.
though there are 14 lines. And not just from a personal standpoint. a new stanza actually starts afte rhte word 'kite'. Do yourselves a favor people. from what Robert Frost previously stated in interviews. "He is really trying to tell us that there are some things that cannot be escaped because of our design.) thus it not possibly being a sonnet.: WELL :. And not just from a personal standpoint. try and do a little professional/scholarly research before you put false information online with such confidence. "He is really trying to tell us that there are some things that cannot be escaped because of our design. they are divided into two stanzas. try and do a little professional/scholarly research before you put false information online with such confidence. they are divided into two stanzas. and that by his poem we can at least now be weary of what we perceive as truth." "It's actually not a sonnet because. and that by his poem we can at least now be weary of what we perceive as truth. from what Robert Frost previously stated in interviews.: Design :. a new stanza actually starts afte rhte word 'kite'. | Posted on 2007-05-30 | by a guest ." "It's actually not a sonnet because.| Posted on 2007-10-09 | by a guest . though there are 14 lines. (it's typed up wrong in this site. (it's typed up wrong in this site.: WELL :. 5 . Do yourselves a favor people." both of these are COMPLETELY wrong. | Posted on 2007-05-30 | by a guest .) thus it not possibly being a sonnet." both of these are COMPLETELY wrong.
and the flower. it is broke into an octave/sestet fashion. This poem has been beautifully crafted to propose the reader to actively question form itself.. | Posted on 2007-05-19 | by a guest . In the poem "Design" by Robert Frost the speaker¶s tone changes in only mood. so not only is he showing you white. And I believe that they are the signifcant parts of christianity. The death that is apart of nature in the poem is being used to describe how we as society are blind. The spider(God) and the moth(Satan) battle it out. the moth. attempt to work through it. Only the observations that the speaker stumbles upon on a walk in nature are being written about. | Posted on 2007-05-19 | by a guest . Through nature we can relate to situations that we as people come across as being blind until the outcome proves to us that death and being discreet are all around us. In the beginning eight lines the speaker is telling in a smooth and comfortable tone about the scene of nature. Is there really no design/ no form? Read this poem aloud and you will hear the "ite" sound throughout the poem. There is a tension and release. Good triumps over evil.: God is everywhere :. and in the end the spider wins. Then out of no where in the last six lines of the poem the speaker is shocked and stunned by the results seen. Frost uses the sonnet b/c it is the tightest form of poetry. | Posted on 2007-03-07 | by a guest 6 . THe all white is a strange coincidence. Only the observations that the speaker stumbles upon on a walk in nature are being written about. although not love. In the beginning eight lines the speaker is telling in a smooth and comfortable tone about the scene of nature. the moth is Satan.: Design :. I see there is ? of the form--the poem is a sonnet. Strange that the spider and the flower and the moth are all white. but you are also hearing it. The death that is apart of nature in the poem is being used to describe how we as society are blind. the spider is God. challaging God. Then out of no where in the last six lines of the poem the speaker is shocked and stunned by the results seen. | Posted on 2007-04-03 | by a guest . it does have resolution. But as I looked at it a bit more I thought of the characters: the spider. Frost uses the tightest form to make the reader question form. Through nature we can relate to situations that we as people come across as being blind until the outcome proves to us that death and being discreet are all around us. he is quoted that writing poetry w/o form is like "playing tennis w/o a net". innocent and in the middle of the war.In the poem "Design" by Robert Frost the speaker¶s tone changes in only mood. When I first read the poem I thought it only meant a spider was balancing the foodchain..: form :. and the flower is the Followers of the Christian faith. balancing life and death.
if you look at my whole argument. that of evil. according to ANY subject matter. eh? maybe this is frost's message: don't read too much into nature. by DESIGN. which presents a peaceful haven for the reader to retreat. the spider). Moreover. and the context of the poem. He is really trying to tell us that there are some things that cannot be escaped because of our design. he poses a question (what is this coincidence about? what does it mean? what/who designed it?) and answers it (darkness. commenting on frost's message. at least in my eyes. And we are fooled. satan or some other evil force did it in order to create a "design of darkness [for us to] appall [at]" 2. reading too much into things. does australia exist? (australians: don't answer). capturing the white moth. that the design we see is a result of darkness. on a more world-rocking note.: reading too much :. look at the last two lines. we know not whether ANYONE has really told us the truth. how do you really know? or. but a mere warning for those of us who are too gullible. The heal-all is unusually white. How do you REALLY know. whoever posted on april 28 did not understand the full meaning of the poem. at least) realise that i am connecting a ver simple thing-. here.: philosophical WHAT? :. the spider is also deceptively white.to the question of whether God exists. Perhaps Australia is just a white spider which we believe to exist. lied to us. if there is no order in a small thing such as this. hopeless abode that we are stuck on for all eternity. Frost is saying that there might not be a God after all. 7 .) | Posted on 2006-06-18 | by Approved Guest . it is NOT. and that by his poem we can at least now be weary of what we perceive as truth.that of a spider and a moth and a flower-. BUT. by DESIGN. or rather evil as we call it. but has. unless you've been there. Frost isn't pointing out that the world is the all-depressing. i think he offer's 2 explanations for the strange occurence/coincidence 1. you would (should. ps. however. humans read too much into nature. If someone tells you he/she loves you. must be the only reason for "design" in such a small thing. then it means that there is no order in the world for something so minute and small. unfortunately. it is not a traditional sonnet (ie not a love poem) but it does resolve something. a decidedly morbid poem.. if it wasn't the result of this evil force. isn't there the possibility that there is no God? God is believed to have control over everything. apply this to real life. the theme of the poem is that there are some things that you simply can't believe to be true (in this case. forces of evil. even such small things. note: this is because "what but" implies that the first reason. In conclusion.
Again Frost needs to take some serious happy medicine and get over the whole whoa is me! Unlike most sonnets. nothing is resolved here. The octet introduces our unusual characters. they are divided into two stanzas. i mean get over the whole melancolyness of life. The first stanza clearly states that there is a white spider. the sestet poses more questions. since God let's us decide for ourselves. The poem is essentially stating that there is no such thing as freedom. Instead of resolving the bizarre nature of this natural occurrence. / Like the ingredients of a witches¶ broth´The idea of beginning the ³morning right´ could mean two things: Beginning the day in the proper manner A witchcraft ritual or ³rite´ he evil that is found in innocence is reflected in our assorted characters as well. the design of nature (or perhaps God¶s will) causes this unusual design in nature.) thus it not possibly being a sonnet. though there are 14 lines. This idea is given to us in a playful manner These characters are ³Mixed ready to begin the morning right. If nature is God¶s design. flower. I think this poem sucks. standing on a white heal all (which is also unusual because heal-all's bear purple-blue flowers). So Robert Frost is asking what BUT the plan of an evil force could create this shocking situation/bring these two unusually white characters together. moth. and flower. | Posted on 2005-04-02 | by Approved Guest . In essence.| Posted on 2006-06-07 | by Approved Guest . an evil force plans everything out for everybody. Overall. The last line is actually really freaky. and that instead.: :. It's actually not a sonnet because. it's saying that if it fate really plays role in such small situations such as the meeting of a white spider. then God is evil according to the speaker. (which is unusual because spiders are usually black). life is not dictated by some evil force it's dicated by our own actions. Frost is saying that there is no such thing as freedom. even such miniscule "characters" such as the spider. (it's typed up wrong in this site. and the spider is holding a dead moth. and moth.: DETAILED analysis :. | Posted on 2006-04-28 | by Approved Guest . a force of evil "designs" fate for everybody. The second stanza is asking.: :. 8 . a new stanza actually starts after the word 'kite'. The speaker asks ³What be design of darkness to appall?´ indicating that something evil must be behind the unusual coloring used here. who could have possibly brought all of these three unusual characters together at once in one situation? Then there is a pun in the 13th line: "What but the design of darkness to appall?" The word ³appall´ actually means to make pale but it also means to shock.
Then steered the white moth thither in the night? 9 5 10 . the design of nature (or perhaps God¶s will) causes this unusual design in nature. The speaker asks ³What be design of darkness to appall?´ indicating that something evil must be behind the unusual coloring used here. then God is evil according to the speaker. On a white heal-all. holding up a moth Like a white piece of rigid satin cloth² Assorted characters of death and blight Mixed ready to begin the morning right. I do offer a main claim--I'm actually pretty repetitive about it. The wayside blue and innocent heal-all? What brought the kindred spider to that height. If nature is God¶s design. I do not offer a neat and tidy "judgment statement. the moth is also unusually white.) ³Design´ by Robert Frost I found a dimpled spider. Sparknotes bookrags the meaning summary overview critique of explanation pinkmonkey. Because the heal-all is white instead of blue. This pure color is used as camouflage in order for violence to occur. Spachman on the poem. The idea of safety is contradicted by the spider¶s also being white instead of black. Like the ingredients of a witches¶ broth² A snow-drop spider. nothing is resolved here. The octet introduces our unusual characters. Definition terms. And dead wings carried like a paper kite. Why did he use? short summary describing. (* Please note: Due to the ambiguity of the poem. Quick fast explanatory summary. | Posted on 2005-03-15 | by Approved Guest Most common keywords Design Analysis Robert Frost critical analysis of poem. This claim works as my controlling "judgment statement" in this commentary. In essence. What had that flower to do with being white.The color white has become a symbol for purity and innocence. the sestet poses more questions. In creating a trinity of curious characters. it seems pure and safe. Analysis of the poem. literary terms. Design Analysis Robert Frost Characters archetypes. fat and white. a flower like froth. Unlike most sonnets." However. pinkmonkey free cliffnotes cliffnotes ebook pdf doc file essay summary literary terms analysis professional definition summary synopsis sinopsis interpretation critique Design Analysis Robert Frost itunes audio book mp4 mp3 mit ocw Online Education homework forum help Below is the sonnet "Design" by Robert Frost and a sample commentary* written by Ms. review school overview. Instead of resolving the bizarre nature of this natural occurrence.
Grey. Instead he sets up a multi-faceted argument about life which his readers have to resolve. does not begin and end with Shakespeare. 10 . for themselves.´ Frost investigates the concepts of ³light´ and ³dark. Plan or Chance?: The Meaning of Life in Robert Frost's "Design" Shakespeare once wrote. ultimately Frost offers no resolution of the tension. and among them is Robert Frost. I ultimately believe that the poem remains ambiguous. imagery. At the heart of the poem. It is this dichotomy that creates the central tension of the poem. While almost every word and its placement. that they are simply puppets on the stage of life? This basic philosophical issue. ³Design. ³All the world¶s a stage. and word choices. design or fluke.´ Clearly. The poem begins simply enough. What draws the audience¶s more serious attention to this situation is that these three figures are all white. In the spider¶s arms is a white moth. every punctuation mark and image works to produce this tension. beneath this simple understanding of Shakespeare¶s statement lie issues surrounding whether the ³players´ are actually in control of the scenes they play. People of all eras have tackled this quandary.´ and ³life´ and ³death´ through various structural elements. Through his poem. this line suggests that life is only a series of unreal scenes put on by people. Although the title and many elements in the poem suggest that Frost sees life as an experience that is controlled and designed by a cruel being--much like the perspective Virginia Woolf offers in her essay "Old Mrs.What but design of darkness to appall? ² If design govern in a thing so small. Frost presents the question of whether these concepts and the characters affected by them are united through design or coincidence. and all the men and women merely players. The ³merely´ is problematic: Does Shakespeare mean ³merely´ as ³only´ or as ³simply?´ Is he suggesting that the players who act out life¶s dramas are under the direction of a higher power or plan. if they can. which readers find out later is dead. Frost tells his readers a story about finding a white spider sitting on a white flower. Frost builds this poem not to offer his readers an easy answer about life. of course. However. Good or bad. In the first three lines.´ ³good´ and ³bad.
Design seems to be Frost¶s initial answer to his own questions not just because ³Design´ is the title of the poem. abbaabbaacaacc. It has iambic pentameter and a very limited rhyme scheme. The idea of ³design´ in the poem suggests that some other entity or force has specifically created the white heal-all. As a result. The final six lines of the poem are a series of questions Frost has about this situation. but anciently thought to be a panacea´ (³Healall´). Finally. and moth are listed in the first two lines and in the last two lines of the octet. in which there are only three different rhymes. The octet can be divided up in three different ways. ³Design´ means to create or draw up. to plan toward a specific purpose. flower. Once readers discover this. then line 3 is a simile. The flower has also attracted the attention of a moth. thereby being the first impression readers receive when reading the poem. which when split in half is perfectly symmetrical. Frost¶s initial answer to these questions is that design has brought these entities together. lines 1 and 2 are a pair. the ³characters´ of the spider. the two similes in the octet act as dividers. The resulting split is 2-1-2-1-2. and the white moth and has brought them together for a particular purpose. the white spider. then line 6 is a simile. and it is this that Frost presents as a concern. and most obvious is the rhyme scheme. destitute of active properties. finally. Flowering plants that are part of the Mint family typically have bluish flowers. In addition. the first four lines mirror the rhyme scheme of the second four lines: abba and abba. Here a flower that is usually blue has attracted a white spider. He wants to know whether the flower. the spider.´ A heal-all is ³a common herb of the Mint family (Brunela vulgaris). lines 7 and 8 are a pair. First. not white ones. It is clearly divided into an octet and sestet in which Frost sets up the situation in the octet and reflects on it in the sestet. who has used the flower as camouflage. and moth have been united in this circle of life and death by contrivance or whether it was merely chance. the heal-all becomes an anomaly. the moth has been killed by the white spider. All of this obvious structure on Frost¶s part suggests that the answer to his questions must be design. There is also symmetry in the octet. but because of the elaborate design of the poem itself.This is especially unusual when readers consider the denotation of ³heal-all. lines 4 and 5 are a pair. ³Design´ is a strict Petrarchan sonnet. 11 . who is by nature drawn toward light and therefore is more likely to move toward a white flower--which radiates light even in dim conditions--than a blue flower.
Moreover. In line 4. tribe. This insinuates that the ³greater power´ behind the planning is not a benevolent being like the Christian God. ³Kindred. and moth not just because they all share the characteristic of being white. and moth as ³ingredients of a witches¶ broth´ is terrifying and wicked since witches are generally associated with the devil. which suggests that if the ³darkness´ (line 13) of ³night´ (line 12) had ended any other way.´ both of which have obvious connotations of decay and degeneration. this deadly result is ³right´ (line 5). The audience would have to buy Frost¶s answer if Frost himself did not express a problem with ³design. flower. In ³Design. the whole balance of life would have been ruined. related. fragile thing has been killed because some higher power wanted it so. a group of related persons. ³Having a similar origin or nature. This word applies to the spider. a creator who. again.Frost¶s imagery and diction further support this answer. specifically designed them. They have no say or control in their fate by themselves but must adhere to a greater power¶s plan. a family. This denotation prompts the audience to see the spider. and moth are ³assorted characters´ that have been selected and put together for the purposes of another being. some other force placed them together.´ he uses the simile ³Like the ingredients of a witches¶ broth´ (line 6) and the word ³mixed´ to suggest that the spider. or clan´ (³Kindred´). means. but a malicious being whose intent is to tempt and destroy. even before the audience knows for sure that the moth is dead. Moreover. The image of the spider.´ according to the American Heritage School Dictionary. Once again. Frost uses the words ³death´ and ³blight. and moth as being made by the same creator. The image ³satin´ and ³paper´ create is one of beauty and fragility. flower. Frost uses the word ³kindred´ in line 11.´ Within the overwhelming evidence of design in the poem are images and words with connotations of evil. 12 . and yet this beautiful. What makes these concepts especially distressing is that death has come to a moth with ³satin´ (line 3) and ³paper´ wings. Frost elaborates on this terrible idea through the use of very strong diction. flower. The words ³brought´ (line 11) and ³steered´ (line 12) enhance this notion of design by implying that the spider and the moth did not come together under their own power. flower.
The ³heal-all.´ which ancient people believed to be a panacea. and moth. He again drives his point home by choosing the color of ³white´ and purposefully using the ³innocent´ (line 10) heal-all as the flower in the poem. a cure-all for evil and disease. however. If the white spider. He sets it up in the sestet of the sonnet by using a series of three questions.Frost does not end his argument about the problem of design there. Even they are not exempt from the master design of the evil being. he leaves the door open for chance. Although life remains devoid of meaning²for if everything is chance. 13 . nor does it have these powers in the poem since Frost uses it as the setting for the ³death´ and ³blight. in reality has no such powers. the death of the moth and the ultimate decay of all things living cannot be stopped by the ³heal-all´ which should be able to heal all. life itself is meaningless because it is so embedded with evil. ³If´ is the consummate harbinger of doubt. Suddenly the audience is reminded of the connotations of harmlessness. although terrible answer throughout most of the poem. In addition. Since Frost questions the situation of the spider. then there is no real meaning or motivation in it²the dissolution of evil in life makes that meaninglessness easier to take. the flower. and white moth are merely pawns in the scheme of life and death. Frost uses irony to reinforce the impotence of the ³characters´ in his poem. and innocence surrounding the descriptions of the spider. flower. Yet look what happens to the pure and innocent characters in the poem. fragility.´ Ironically. He also leaves his audience on a much less threatening note by using the word ³small´ (line 14). This leads to even darker issues. white flower. Frost does allow himself an escape from the impending notion that life is so intolerably planned. First. Frost wants his audience to question the idea that life and death are predestined after setting his readers up for an easy. and the moth and its possible meanings. The ready answer of ³design´ is particularly called into question with the deliberate use of the word ³If´ in the last line. suddenly the associations of ³purity´ and ³innocence´ become meaningless. ³white´ has undeniable connotations of purity and innocence. If life is designed ³to appall´ (line 13).
good or evil. Thou Winter Wind Blow.Ultimately. heigh-ho! the holly! This life is most jolly. heigh-ho! the holly! This life is most jolly. the reader does not receive a tidy answer about life and death from Frost. Heigh-ho! sing heigh-ho! unto the green holly: Most friendship is feigning. thou bitter sky. The overpowering structure. Although thy breath be rude. What Is Poetry? Alfred. 1.William Shakespeare 1. Thy sting is not so sharp As friend remember'd not.´ the question marks. Blow. Thou art not so unkind As man's ingratitude. Wilfred Owen. freeze. The Eagle.´ Perhaps the only thing Frost does resolve. most loving mere folly: Then. and diction of design in the poem always runs up against the ³if. Thy tooth is not so keen Because thou art not seen. Thou dost not bite so nigh As benefits forgot: Though thou the waters warp. and the potent positive associations of ³white. Winter. William Shakespeare. although maybe more for himself than his audience. plan or chance. Freeze. Heigh-ho! sing heigh-ho! unto the green holly: Most friendship is feigning. thou winter wind. it only truly holds meaning when argued about in detailed philosophical discussions or poems. Lord Tennyson. imagery. Dulce et Decorum 14 . is that whatever life involves. most loving mere folly: Then. THE ELEMENTS OF POETRY. . Blow. blow.
Metaphor. Gwendolyn Brooks. Archibald MacLeish. One Art. *T. Sorting Laundry. Parting at Morning. *David Mason. William Blake. Bright Star. Eros Turannos. Robert Frost. *Adrienne Rich. A Noiseless Patient Spider. *Adrienne Rich. Digging. Robert Frost. *Adrienne Rich. *Billy Collins. Suggestions for Writing. The Hound. William Carlos Williams. Emily Dickinson. Robert Frost. Elisavietta Ritchie. Elizabeth Bishop. John Keats. *Adrienne Rich. *Mari Evans. Robert Frost. Langston Hughes. Sylvia Plath. A Study of Reading Habit. Emily Dickinson. Auden. Out--". After Apple-Picking. Power. Figurative Language 2: Symbol. Allusion. "I Am in Danger--Sir--". *Adrienne Rich. Peace. Naming of Parts. Emily Dickinson. Barbie Doll. Billy Collins. e. Philip Larkin. Gerard Manley Hopkins. John Keats. Metaphors. Miniver Cheevy. in my Brain. It sifts from Leaden Sieves. Hymn to God My God. The Sun Rising. The last Night that She lived. Housman. Facing It. The Writer. Sylvia Plath. Dudley Randall. Sugggestions for Writing. Reading the Poem. Countee Cullen. this is stupid stuff. Robert Browning. The Guitarist Tunes Up. Ellen Kay. 4. 2. Alfred. To the Virgins. General Exercises for Analysis and Evaluation. Lucille Clifton. *Adrienne Rich. Suggestions for Writing. A Considerable Speck. Shall I compare thee to a summer's day? Robert Hayden. American Holiday. John Donne. Walt Whitman. Desert Places. A. William Wordsworth. Bereft. Percy Bysshe Shelley. Edwin Arlington Robinson. Mirror. William Shakespeare. 8. Andrew Marvell. cummings. There is no Frigate like a Book. Fire and Ice. W. The Clod and the Pebble. Song of the Powers. Emily Dickinson. Batter my heart. Z. William Butler Yeats. Journey of the Magi. Incident. *Emily Dickinson. Richard Wilbur. Robert Browning. Spring. On His Blindness. E. The Unknown Citizen. Jean Toomer. Reapers. Is my team plowing. A Hymn to God the Father. Robert Herrick. Ulysses. Seamus Heaney. John Donne. Langston Hughes. Eliot. John Milton. Emily Dickinson. Adrienne Rich. The History Teacher. William Carlos Williams. The Whipping. Metonymy. Imagery. Curiosity. Kitchenette Building. Allegory. John Donne. When in Rome. *Adrienne Rich. Much Madness is divinest Sense. Afterward. Philip Larkin. Hazel Tells LaVerne. My Last Duchess. Exercise. "Out. There's been a Death. Denotation and Connotation. The Chimney Sweeper. Robert Francis. The Widow's Lament in Springtime. Henry Reed. Terence. *Katharyn Howd Machan. Break of Day. The Forge. Ozymandias. Figurative Language 3: Paradox. John Donne. George Gordon. The world is too much with us. Robert Frost. in the Opposite House. *William Blake. Overstatement. Ars Poetica.l. *Joyce Carol Oates. 7. Lord Byron. Emily Dickinson. Alastair Reid. Suggestions for Writing. Exercises. To Autumn. Marge Piercy. I taste a liquor never brewed. *Robert Frost. Robert Hayden. The Red Wheelbarrow. Suggestions for Writing. I felt a Funeral. A Valediction: Forbidding Mourning. John Donne. Thomas Hardy. Because I could not stop for Death. William Blake. Suggestions for Writing. Frances Cornford. A. Langston Hughes. Apostrophe. H. Ghost of a Chance. Lord Tennyson. in the inner city. Living in Sin. From Macbeth ("She should have died hereafter"). Mr. Mind. To His Coy Mistress. Seamus Heaney. S. The Sick Rose. The Man He Killed. Carl Holman. Cross. I Dream I'm the Death of Orpheus. e. Leda and the Swan. 15 . Housman. Exercises. The Destruction of Sennacherib. Suggestions for Writing. Those Winter Sundays. Storm Warnings. When my love swears that she is made of truth. *Emily Dickinson. Exercise. in Just-. Edwin Arlington Robinson. Richard Wilbur. Robert Frost. Introduction to Poetry. 3. Dream Deferred. Toads. Meeting at Night. William Shakespeare. 5. Poetry: I. Pathedy of Manners. Exercises. George Herber. Robert Browning. John Donne.Est. The Road Not Taken. E. Figurative Language 1: Simile. Personification. Suicide's Note. Countee Cullen. M. Irony. *Yusef Komunyakaa. Understatement. Yet Do I Marve. in My Sickness. Ballad of Birmingham. three-personed God. Suggestions for Writing. to Make Much of Time. William Shakespeare. 6.
Alexander Pope.. God's Grandeur. William Shakespeare. Quinceañera. *Emily Dickinson. 16. Love. 12. The Story We Know. *Edwin Denby. William Stafford. Suggestions for Writing. Constantly risking absurdity. The Love Song of J. Acquainted with the Night. Lonely Hearts. Pattern. A Blessing. Michael McFee. Wendy Cope. Robert Herrick. John Keats. Exercise. E. I had heard it's a fight. Emily Dickinson. Alfred Prufrock. *James Wright. Maya Angelou. Eliot. be not proud. Love's Deity. Wilfred Owen. Church Going. Stopping by Woods on a Snowy Evening. William Shakespeare. In Those Years. Little Boy Blue. *Adrienne Rich. Pitcher. Lawrence Ferlinghetti. Sunday Morning. Linda Pastan. Rite of Passage. *Mark Doty. Woodchucks. The Apparition. The Ruined Maid. H. Exercise. Dylan Thomas. 'Twas warm . Theodore Roethke.. That night when joy began. Emily Dickinson. For a Lamb. *Adrienne Rich.9. The Fish. Evaluating Poetry 2: Poetic Excellence. There's a certain slant of light. thou winter wind. A. *Ralph Waldo Emerson. Emily Dickinson. The Toys. *Adrienne Rich. The Turtle. Meaning and Idea. Wallace Stevens. Auden. Emily Dickinson. The Long Voyage. Emily Dickinson. *John Updike. Delight in Disorder. My mistress' eyes. Alfred. Home Burial. Alfred. The Canonization. The Weary Blues. *Thomas Hardy. At the round earth's imagined corners. Didactic Verse. Richard Eberhart. Eight O'Clock. Recital. Had I the Choice. Golden Retrievals. Elizabeth Bishop. The White City. William Carlos Williams. 11. To a Daughter Leaving Home. Pied Beauty. Exercise. The Flea. Emily Dickinson. On the Sonnet. Gwendolyn Brooks. Suggestions for Writing. *Claude McKay. Suggestions for Writing. 15. S. A. A Poison Tree. Lord Tennyson. Suggestions for Writing. Diving into the Wreck. The Indifferent. A Fire-Truck. 13. The Oxen. *Sharon Olds. Suggestions for Writing. Do Not Go Gentle into That Good Night. *William Shakespeare. *Adrienne Rich. John Donne. *Maxine Kumin. Sound and Meaning. Final Notations. Gerard Manley Hopkins. Dover Beach. 1973. Aunt Jennifer's Tigers. On First Looking into Chapman's Homer. Rhythm and Meter. Blackberry Eating. William Blake. Margaret Atwood. Breathes there the man. blow. break. John Donne. Nothing Gold Can Stay. *Gavin Ewart. Since there's no help. Sylvia Plath. Sound and Sense.like Us.at first . I never saw a Moor. Robert Frost. 10. Walt Whitman. 14. We Real Cool. Ode on a Grecian Urn. From Romeo and Juliet. John Donne. In Medias Res. My Number. O Solitude! Suggestions for Writing. break. John Donne. God's Will for You and Me. Exercise. John Donne. Michael Drayton. Robert Frost. Robert Frost. These are the days when Birds come back. Death. John Donne. Lord Tennyson. Landcrab. Housman. The Old-Fashioned Pitcher. *Billy Collins. Evaluating Poetry 1: Sentimental. George Herbert. Emily Dickinson. Crossing the Bar. John Keats. Design. *Claude McKay. One dignity delays for all. Rhetorical. *George Herbert. Robert Frost. Emily Dickinson. The Tropics in New York. Matthew Arnold. The Pulley. 16 . John Donne. The Knight. Miracle Ice Cream. E. Galway Kinnell. *Langston Hughes. The Dance. Old Ladies' Home. Robert Frost. Robert Frost. *John Keats. T.when I died. Suggestions for Writing. Ogden Nash. I like to see it lap the Miles. Loveliest of Trees. The Aim Was Song. "Introduction" to Songs of Innocence. That time of year. Tone. Martha Collins. W. *Billy Collins. As imperceptibly as Grief. I heard a Fly buzz . Housman. Woman Work. *Judith Ortiz Cofer. Traveling through the dark. William Shakespeare. Ending. Break. The Most Vital Thing in Life. "Faith" is a fine invention. Sonnet. Apparently with no surprise. The Waking. *Adrienne Rich. Anonymous. Anthem for Doomed Youth. Richard Wilbur. Blow. Thomas Hardy. Philip Larkin. Adrienne Rich. The Rhodora. Musical Devices. *Marilyn Hacker. When I Have Fears. Virtue. The Engine.
VII. Never Again Would Birds' Song Be the Same. The Colonel. John Keats. Theodore Roethke. Emily Dickinson. Let me not to the marriage of true minds. The Sound of Night. Grammar. William Shakespeare. Theme for English B. Ode to a Nightingale. War Is Kind. Emily Dickinson. A song in the front yard. *Chase Twichell. The Abortion. Two Basic Approaches. W. Donald Hall. My Executioner. *Leon Stokesbury. Dudley Randall. Edwin Arlington Robinson. To Marguerite. Nani. Edwin Arlington Robinson. *Cathy Song. The Youngest Daughter. Warning. *Joyce Carol Oates. For a Lady I Know. Mending Wall. John Donne. Who Stressed the Bunt. *Edmund Spenser. D. *Stephen Crane. Loves of the Parrots. La Belle Dame sans Merci. Thomas Hardy. Parenthetical Documentation (PD1-PD6). D. The Triple Fool. Fear no more. I knew a woman. Papers on a Number of Poems with Some Feature Other than Authorship in Common. Anne Sexton. The Fact of a Doorframe. C. Alberto Ríos. The Victims. I died for Beauty--but was scarce. Theodore Roethke. Choosing a Topic: Papers That Focus on a Single Poem. Bells for John Whiteside's Daughter. Aubade. Thomas Hardy. John Donne. A Work of Artifice. IV. Gary Soto. Birches. Rachel Hadas. L. *Sharon Olds. Listening to My Mother's Comic Banter with Sackboys and Servers.2. Musée des Beaux Arts. Wallace Stevens. R. *Adrienne Rich. *Sylvia Plath. William Blake. Disillusionment of Ten O'Clock. Spinster. One day I wrote her name upon the strand. Auden. Philip Larkin. *Adrienne Rich. Dreamwood. X. H. * Documentation by Works Cited. Randall Jarrell. VIII.. William Shakespeare. POEMS FOR FURTHER READING. Robert Frost. Wuthering Heights. Sylvia Plath. Flood's Party. Samuel Taylor Coleridge. Punctuation. A Light exists in Spring. Why Write about Literature? II. Vincent Millay. David Bottoms. Emily Dickinson. Proving Your Point. Gwynn. The Fly. John Donne. VI. Dylan Thomas. Writing Samples: Explication: "A Study of Reading Habits". Small Town with One Road. The Death of a Soldier. Jenny Joseph. For Whom Do You Write? *III. Writing the Paper. Song: Go and catch a falling star. Usage (U1-U2). *W. Anne Sexton. Matthew Arnold. Delta. Carolyn Forché. *Adrienne Rich. The Mill. John Keats. Maxine Kumin. Robert Frost. Analysis: Diction in "Pathedy of Manners". Langston Hughes. Documentation: Textual Documentation (TDl-TD5). The GoodMorrow. Thomas Hardy. XI. Richard Cory. Countee Cullen. *Wole Soyinka. John Crowe Ransom. Punctuation (P1-P5). Guns. A. The Red Hat. Stance and Style (S1-S6). S. William Blake. Ted Hughes. *Edna St. Berry. Loiterings. Jr. The Oven Bird. Margaret Atwood. Mad Girl's Love Song. Telephone Conversation. On Reading Poems to a Senior Class at South High. Ehrhart. Driftwood. Introducing Quotations (Q1-Q11). *Sherod Santos. Wallace Stevens. Marge Piercy. Sylvia Plath. *Gwendolyn Brooks. Wish You Were Here. *Gwendolyn Brooks. Rice Will Grow Again. Sign for My Father. Our Whole Life. The Death of the Ball Turret Gunner. Emily Dickinson. The Snow Man. *Dave Smith. Mr. V. The Tiger. Siren Song. *Langston Hughes. To an Athlete Dying Young. *Judith Ortiz Cofer. Sadie and Maud. Aunt Sue's Stories. To the Mercy Killers. Blurry 17 . Papers on a Number of Poems by a Single Author. Edwin Arlington Robinson. The Darkling Thrush. Little Ode to the Wheelchair Boys. *Larry Levis. My Son. Fern Hill. Vergissmeinnicht. The Lamb. good times. Cross. Papers of Comparison and Contrast. Lucille Clifton. WRITING ABOUT POETRY. Robert Frost. Kubla Khan. A. Channel Firing. Wallace Stevens. Keith Douglas. IX. Hap. My Papa's Waltz. 3. and Usage: Common Problems: Grammar (G1-G2). Women Who Love Angels. *Frank A. E. I. Pity me not. Housman. Thistles. A narrow Fellow in the Grass. Snow White and the Seven Deadly Sins. I Go Back to May 1937. Her Kind. Karl Shapiro. Sharon Olds. *Robert Phillips. I like a look of Agony. *Adrienne Rich. Robert Frost.
cannot be disregarded by Poetry. feel most strongly (with the Editor) that excuse is needed for an attempt of an obviously presumptuous nature. *William Carlos Williams. Every rough place that slackens her footsteps must be made smooth. The great majority of readers cannot bring either leisure or taste. When I Heard the Learn'd Astronomer. by a law against which protest is idle. to herself. in this Art. of very diverse nature. Even unaccustomed forms of spelling are an effort to the eye. Spring and All.Born 1591 : Died 1674 Those who most admire the Poet from whose many pieces a selection only is here offered. she must work not only for the 'faithful': she has also the duty of 'conversion. These hindrances and clogs. September 3.--a kind of friction. lapsed into the indecorous. a literal reproduction of the original text being occasionally included in this requirement. Derek Walcott. has now. may be defined in language borrowed from a different range of thought. William Butler Yeats. perhaps.Cow. of some poems.' it is certain that less stringent forms of reproduction are required and justified. and much that was admissible centuries since. *Mona Van Duyn. *Judith Wright. which diminishes the ease and enjoyment of the reader. Manners and modes of speech. again. The Solitary Reaper. in a word. Passing from these general considerations. William Butler Yeats. A 18 . And his book to be taken as he left it. to elevate: to convert the world. will be censured:--Whilst others may wholly condemn the process. that a writer's judgment on his own work is to be considered final. William Wordsworth. Walt Whitman. The Second Coming. it is true that a selection framed in conformity with them. William Wordsworth. will. From The Lyrical Poems Of Robert Herrick Arranged with introduction by Francis Turner Palgrave PREFACE ROBERT HERRICK . as of the other Fine Arts. The Virgins.' Like a messenger from heaven. it is probable. What the Motorcycle Said. Poem. The Wild Swans at Coole. 1802. Danse Russe. need there be fear that the way will ever be vulgarized by too much ease. or at least sought admission. in virtue of an argument not unfrequently advanced of late. to console. the absence of more. especially if one of our older poets be concerned. William Butler Yeats. it is hers to inspire. John Updike. Glossary of Terms * Denotes new to this edition. The choice made by any selector invites challenge: the admission. Henzey's Pond. I wandered lonely as a cloud. Portrait. Telephone Poles. have changed. A writer is most thoroughly to be judged by the whole of what he printed. William Wordsworth. If poetry were composed solely for her faithful band of true lovers and true students. not even if it be Spenser's or Milton's. as 'the greatest pleasure of the greatest number. parts with a certain portion of the pleasure which poetry may confer. but if the first and last object of this. In common with everything which aims at human benefit. or left altogether. *Ralph Tejeda Wilson. nor. William Carlos Williams. nor that she will be loved less by the elect. William Carlos Williams. Sailing to Byzantium. or information sufficient to take them through a large mass (at any rate) of ancient verse. for being loved more widely. such a facsimile as that last indicated would have claims irresistible. Composed upon Westminster Bridge.
of his life and studies. on character and life. But such last drops of pleasure are the reward of fully-formed taste. except the names of a few friends.--and that he wearied in Devonshire for London. lastly. will guide some to that more profound and loving study of which the result is. of his reputation during his own time. We know or seem to know them both.' epigrams. But for much fuller elucidation both of words and allusions. then. despite all drawbacks. Some pieces may be traced in earlier collections. No private letter of Shakespeare. But with this our knowledge substantially ends. poems on natural objects. We have. This. with explanatory notes. PECAT FORTITER:--his exquisite directness and simplicity of speech repeatedly take such form that the book cannot be offered to a very large number of those readers who would most enjoy it. through their works. Readers are referred to Mr Grosart's 'Introduction. Highly as he is to be rated among our lyrists. almost nothing. We know that he shone with Ben Jonson and the wits at the nights and suppers of those gods of our glorious early literature: we may fancy him at Beaumanor. we have noticed. A group of Herrick's youthful letters on business has. with singular intimacy. and fully-formed taste cannot be reached without full knowledge. but edited.--which determined the contents of his volume. Hence. probably. Pieces bearing on the poet as such are placed first. Mr Grosart's excellent reprint has been mainly followed. edited by Mr Grosart. the rest lie over a period of near forty years. sitting merry. be allured by this little book to master one of our most attractive poets in his integrity. In Herrick's single own edition of HESPERIDES and NOBLE NUMBERS. those vaguely definable as of idyllic character.selector inevitably holds too despotic a position over his author. --wholly unknown to us. we turn to Herrick's own book.--that his general sympathies were with the Royal cause. when not far from his sixtieth year. Corinna and Dianeme by his side (familiar then by other names now never to be remembered). indeed. The frankness of speech which we have abandoned is an interesting evidence how the tone of manners changes. although reference has been made to the original of 1647-8. we learn little. The spelling is at once arbitrary and obsolete. For the text. for the first time give Herrick a place among books not printed only. with his uncle and cousins. which (like the same scholar's 'Sidney' and 'Donne'). or may bear. The poet's own spelling and punctuation bear. It would hence be unwise to attempt grouping the poems on a strict plan: and the divisions under which they are here ranged must be regarded rather as progressive aspects of a landscape than as territorial demarcations. no record of his conversation. or what were his employments. but with just the sadness of one who hears 19 . in some sweet southern county with Julia and Anthea. no one who reads through his fourteen hundred pieces can reasonably doubt that whatever may have been the influences. but little arrangement is traceable: nor have we more than a few internal signs of date in composition. during a great portion of which we have no distinct account where Herrick lived. haply. kindly placed at the Editor's disposal. inevitably imperfect. a gleam of his personality. a few in his religious vein. For whatever facts affectionate diligence could now gather. the complete reproduction of the original text. supplies materials equally full and interesting for those who may. and that. no poet to whom the reasons here advanced to justify the invidious task of selection apply more fully and forcibly than to Herrick. Lastly. severe taste was not one of them. which this gives. to supplement the picture. some few carry ascertainable dates. again. he published but this one volume. 'his girls.' But if. no account of the circumstances in which his writings were published. or Houghton. And to that edition this book is indebted for many valuable exegetical notes. biographically. the full accomplishment of the poet's mission. been preserved. readers are referred to Mr Grosart's volumes. an anthology may have its place. and of the persons mentioned. So far as is known. remains: hardly any statement how his greatest contemporaries ranked him. keeping a Leicestershire Christmas in the Manor-house: or. Robert Herrick's personal fate is in one point like Shakespeare's. most readers cannot bring. A book which tempts many to read a little.
after barely one hundred and fifty years. as criticism can analyse its charm. but as a Fine Art. men looked up as a father of song: but in points of style and treatment. But 'the dream. narrative. and so most durably and delightfully. fancy and fact curiously blended.--masking also the revolution in poetical manner and matter which we can see secretly preparing in the later 'Cavalier' poets. And hence something constrained and artificial blends with the freshness of the Elizabethan literature. but which was not clearly recognised before the time of Dryden's culmination. the poets of the sixteenth century lie under a double external influence--that of the poets of Greece and Rome (known either in their own tongues or by translation). For its great underlying elements it necessarily reverts to those embodied in our own earlier poets. his language. veiled in poetry during the greater part of Elizabeth's actual reign under the forms of pastoral and allegory. In the period here briefly sketched. and especially in regard to those near his own time. and simplicity in style.hearted man. His subjects are frequently pastoral.. and that. in the forms of which they began to set to music the new material which the age supplied. the fancy. in some meadow among his favourite flowers of spring-time. Apart from obsolete words or allusions. were not yet again attainable: and although satire. and is eminent throughout for a youthful 20 . or 'where the rose lingers latest. A few lines only need therefore here be added. were meanwhile not wholly unknown. such directness. is generally free from intellectual conceits and distortion. this is a real note of the 'Elizabethan' poets.--there. to whom. as Chaucer often shows. movement. before the present. aiming rather to set forth his place in the sequence of English poets.--in which too often we find little more than a dull or florid prose version of what the author has given us admirably in verse. And then also the pressure of political and religious strife. Italy was the source most regarded during the more strictly Elizabethan period. But there are few of our poets who stand less in need than Herrick of commentaries of this description. reappeared. Whilst that influence lasted. At the very outset. infused. more or less slight.' . appears in the writers of the troubled times lying between the last regnal years of Henry VIII and the first of his great daughter.. and that of the modern literatures which had themselves undergone the same classical impulse. than by the allegorical and elaborate style. however. SEDESQUE QUIETAE which. again imperiously breaks in upon the gracious but somewhat slender and artificial fashions of England's Helicon: the DIVOM NUMEN. But with the happier hopes of Elizabeth's accession. the poetry of reflection. The artist's 'claim to exist' is. silent or sick for a century and more after Chaucer's death. during the years of war and revolution. which had been generated in Italy under the peculiar and local circumstances of her pilgrimage in literature and art from the age of Dante onwards. what is Herrick's portion? His verse is eminent for sweet and gracious fluency. disappear. not only as a means of conveying thought.. with a classical tinge.sweet music. until filling the central years of the seventeenth century we reach an age as barren for inspiration of new song as the Wars of the Roses. are coloured much less by pure and severe classicalism with its closeness to reality. in some degree the Elizabethan poets offer. they brought with them foreign modes of art. notices of Herrick should be of the rarest occurrence. upon the secret of which the fullest biography can tell us little--as little. than to point out in detail beauties which he unveils in his own way. it is not less so that the single first edition should have satisfied the seventeenth century. such brilliant pictures of actual life. indeed. than in his art.' is all that Time has spared us. ancient and contemporary. poetry was once more distinctly followed. though not free from exaggeration. Herrick is the best commentator upon Herrick. When our Muses. although the great survivors from earlier years mask this sterility. perhaps. Chaucer above all. And if it be curious that his contemporaries should have left so little record of this delightful poet and (as we should infer from the book) genial. always far less to be looked for in his life. the moralizing philosophy which has characterized the English from the beginning of our national history. whence its lyrical poetry and the dramatic in a less degree. yet they only appear in force at the close of this period.
'--we have a finish and condensation which Herrick hardly attains. indeed. whilst Marvell. witness to the extension of the field of poetry after Elizabeth's age. beyond him in imaginative power. he writes throughout far more naturally than these lyrists. the metrical harshness of the first. Yet Marvell's natural description is nearer Herrick's in felicity and insight than any of the poets named above. are qualities of the latter sixteenth century literature. his quick and easy transitions of subject. Herrick has his CONCETTI also: but they are in him generally true plays of fancy. lovely rose. An allegorical or mystical treatment is alien from him: he handles awkwardly the few traditional fables which he introduces. He had 'a pretty pastoral gale of fancy. During the long interval between Herrick's entrance on his Cambridge and his clerical careers (an interval all but wholly obscure to us). we compare Herrick's book with those of his fellow. of the HECATOMPATHIA and the TEARS OF FANCY. or take Lovelace. his great merits have never reached anything like due popular recognition. the Italian graces of Spenser. whilst he is even more remote from the passionate intensity of Sidney and Shakespeare. again. of DIELLA. if fashionable for awhile. further. which too rarely redeem commonplace and conceits in Carew. If. it is natural to suppose that he read. at any rate. in his 'Go. Thus. Cowley. on the other hand.--of a schoolboy. could find no counterpart in Herrick. or Waller.as. also. Love may return. Lovelace. who. of his mistress-- and all sweets leave her. Nor. Compare Herrick with Marlowe. Herrick's directness of speech is accompanied by an equally clear and simple presentment of his thought. but lovers never! Cowley. though twisting it too often into contortion and excess. indeed. the pensive beauty of PARTHENOPHIL. the differences between him and them are not less marked.NAIVETE. Drayton. in their unfrequent successes reach a more complete and classical form of expression. leave also no mark on our poet. perhaps. no poet who writes more consistently and earnestly with his eye upon his subject. youth. The elaborate thought.poets for a hundred years before. Nor is Herrick's resemblance nearer to many of the contemporaries who have been often grouped with him. Habington. 'To Lucasta. do we trace anything of Herbert or Vaughan in Herrick's NOBLE 21 . Herrick's personal eulogies on his friends and others.--in which his enthusiastic geniality. his Elizabethan predecessors: yet (beyond those general similarities already noticed) the Editor can find no positive proof of familiarity. Greene. Such. the learned polish.' said Phillips. have also little precedent. Breton. or other pretty pastoralists of the HELICON--his general and radical unlikeness is what strikes us. we have. of FIDESSA. when Carew speaks of an aged fair one When beauty. pass into forgetfulness. But if these characteristics might lead us to call Herrick 'the last of the Elizabethans. again. if he be compared with a Jonson or a Milton. Donne and Marvell.' born out of due time. He has little in common with the courtly elegance.' which may help us to understand the very small appreciation he met from his age. stronger men. or even of study. cursorily dismissing Herrick in his THEATRUM: not suspecting how inevitably artifice and mannerism. appears to have been little known as a lyrist then:-. very few are the traces which he gives of imitation. Love in her sunny Love walks the pleasant mazes of her hair: eyes does basking play. a literary quality alien from his 'woodnotes wild. whilst the simple cry of Nature partake in her permanence.' Waller. He is also wholly free from Italianizing tendencies: his classicalism even is that of an English student.
have excellence and permanence any other parent.-.reaching issues than were visible to the narrow horizons within which Horace or Martial circumscribed the range of their art. we might have inferred the fact from the choice of Jonson as his model. greatest. The greatest. and so. (he died in 1637). in the old phrase. the epigram as then understood. the encomia of friends. are many points of likeness. rather than excess of fancy: his productions being slow and upon deliberation. are all here represented: even Herrick's vein in natural description is prefigured in the odes to Penshurst and Sir Robert Wroth. that. as a mere light-hearted writer of pastorals. but a true artist. indeed.' No writer could be better fitted for the guidance of one so fancy-free as Herrick. the depth and inner fervour of his high-toned contemporaries. though unfairly judged if held insincere. generally admirable in point of art. of the principal forms under which we may range Herrick's HESPERIDES. in truth. as Clarendon justly remarked. among the French poets of this century. perfect freedom was begotten of perfect art. the UNDERWOODS of 1641.supply models. He has indeed those elements: but with them is joined the seriousness of an age which knew that the light mask of classicalism and bucolic allegory could be worn only as an ornament.' attest the minute and curious care with which Herrick polished and strengthened his own work: his airy facility. the effortless grace. Jonson's non-dramatic poetry. which. The various readings which our few remaining manuscripts or printed versions have supplied to Mr Grosart's 'Introduction. and ranks on the highest list of his friends.' more distinctly. from his songs. for which Jonson afforded the least copious precedents. as with Shelley--his counterpart in pure lyrical art within this century --were earned by conscious labour. He too. But to Ben Jonson. as a rule. with Alfred de Musset. his obligations are much more perceptible. though of very unequal merit in their execution and contents. is wholly absent: and it is remarkable that although Herrick may have joined in the wit-contests and genialities of the literary clubs in London soon after Shakespeare's death. And it is in the religious pieces of the NOBLE NUMBERS. a gay and frivolous Renaissance amourist.--the EPIGRAMS and FOREST of 1616. and certainly lived in friendship with some who had known him. In fact. was ready at once to fill up the moulds of form provided. The graceful love-song. Slowness and deliberation are the last qualities suggested by Herrick. yet his name is never mentioned in the poetical commemorations of the HESPERIDES.' and 'The lusty Spring.NUMBERS. more fertile and varied than Jonson's. Even if we had not the verses on his own book. his seemingly spontaneous melodies. and whose invention. the wild bird-like fluency with which he Scatters his loose notes in the waste of air are not. the celebration of feasts and wit.--nor. in truth.) in proof that Herrick was no careless singer. and Herrick. (the most noteworthy of which are here printed as PREFATORY. of 1616. are obviously far distant from the intense conviction. whom Herrick addresses as his patron saint in song. 'Hear what Love can do. Yet it may be doubted whether the volatile ease. With the error that regards Herrick as a careless singer is closely twined that which ranks him in the school of that master of elegant pettiness who has usurped and abused the name Anacreon. the results of exquisite art working in co. contrasting much with the evidence of labour in his master's work. echoes from Fletcher's idyllic pieces in the FAITHFUL SHEPHERDESS are faintly traceable. was more needful than the spur. He does this with a lively facility. Between the most intensely poetical. might have said 22 .operation with the gifts of nature. Herrick is least successful. had 'judgment to order and govern fancy. That great poet. to whom the curb. It is among the great dramatists of this age that we find the only English influences palpably operative on this singularly original writer. working with conscious knowledge of his art. In Herrick. and that life held much deeper and further.
or rather. in which he lives and moves and loves: his Bucolics show no trace of Sicily: his Anthea and Julia wear no 'buckles of the purest gold. where resemblance might have seemed probable. No poet in fact is so far from dwelling in a past or foreign world: it is the England. and the reason why (until modern effort equals them) the study of that Hellenic and Latin poetry in which these gifts are eminent above all other literatures yet created. Herrick's deepest debt to ancient literature lies not in the models which he directly imitated. If we now tentatively inquire what place may be assigned to him in our literature at large. giving to each its own music. the power to describe men and things as the poet sees them with simple sincerity. Beaumont's elegy on his child Gervase: take Bishop King's 'Surrender': My Must once-dear call thee Love!--hapless. though rarely. . his elves live in an elfin county of their own. is pure English. these gifts are at once the true bequest of classicalism. perfect within his narrower range as Herrick) to-day. or enter the innermost sanctuary of art. take Crashaw's 'Wishes': Sir J. If he has not the exotic blooms and strange odours which poets who derive from literature show in their conservatories. Among his contemporaries. And it is success in precisely these excellences which is here claimed for Herrick. probably.--carrying with it the gift to clothe each picture. beginning without affectation. aiding or injuring mankind. also. also. at least of his youth.-. if we are moved by the wider range of Byron's or Shelley's sympathies. He does not want passion. to dwell on externals: imagination with him generally appears clothed in forms of fancy. Milton in his own time. brilliancy of diction. terre.Quoi que nous Je souffre. What has been here sketched is not planned so much as a criticism in form on Herrick's poetry as an attempt to seize his relations to his predecessors and contemporaries. and rounding off without effort. a narrowness perhaps. there is a charm. he borrows nothing from MIDSUMMER NIGHT'S DREAM or TEMPEST. . Herrick has the fresh breeze and thyme-bed fragrance of open moorland. Herrick has no single lyric to show equal. the peculiar finish and reserve (if the phrase may be allowed) traceable. He is classical in the great and eternal sense of the phrase: and much more so. he too shares the strength and inspiration which come from touch of a man's native soil. Nor has he. Une immense esperance Malgre nous vers le ciel il faut lever les yeux. and beauty as the last impressions lingering on our minds. 23 . that The I rich no affection's more store . Wordsworth and Shelley. as if by unerring instinct. and reflecting human life in a kind of unconscious parody. yet his passion wants concentration: it is too ready. in pomp of music. sanity. Dryden and Gray. the grace and greenery of English meadows: with Homer and Dante. vieux. than he was himself aware of. to leave simplicity.the power. Indeed. or elevation of sentiment to some which Spenser before. and grace: to paint scenes and imaginations as perfect organic wholes. Within that greater circle of Shakespeare. Herrick's imagination has no far horizons: like Burns and Crabbe fifty years since. il est trop tard. he is second to Shakespeare. so. if not of 1648. Herrick cannot walk: and it may have been due to his good sense and true feeling for art. it is his own native land only which he sees and paints: even the fairy world in which. must be essential. yet carrying with it a healthful reality absent from the vapid and artificial 'cosmopolitanism' that did such wrong on Goethe's genius. le a puissions monde s'est traverse fait la faire. insight. But. where Oberon and Ariel and their fellows move. as already noticed. nor in the Anacreontic tone which with singular felicity he has often taken. in this sweet insularity of Herrick. since have given us. at whatever inevitable interval. and are all but severed from humanity.' nor have anything about them foreign to Middlesex or Devon. in fit metrical form. that here. These are common to many writers with him:--nor will he who cannot learn more from the great ancient world ever rank among poets of high order. in Ben Jonson and others of the seventeenth century. in a word. or Barnes (that exquisite and neglected pastoralist of fair Dorset.
how to home our fruitless try. with Rose with delight to us. Collins. with Sidney. forget! loves. that far fewer of his pieces have lost vitality and interest through adherence to forms of feeling or fashions of thought now obsolete. meanwhile received. No one else among lyrists within the period defined. lie. as lyrical poet strictly. like turtle We must in up in many here surrender spent. Yet. then Jonson. lent:-way day set. 'born of the royal blood': the Inflata rore non Achaico verba are rarer with him: although superficially mannered. by Spenser more rarely. sweet and varied as it is. doves tears years. both over Nature and over Art. in the contents of his poetry displays 24 . nature is so much nearer to him. if Greek in respect of his method and style. Unwind a love knit In this one kiss I Back to thyself: so thou again art free:take eight lines by some old unknown Northern singer: When I I spent And now How can I be but eerie! How slow As ye It was When I was wi' my dearie:-think wi' what lands on now exhaust and unto bankrupts study but the which thoughts the and with them art.singers who did not confine themselves to the Lyric.--in the Editor's judgment Herrick's mastery (to use a brief expression). But if we put aside these 'greater gods' of song. is wanting to the HESPERIDES and NOBLE NUMBERS: nor does Herrick's lyre. Marvell. indeed. attractive. offers us by far the most homogeneous. and varied treasury. A Roman contemporary is described by the younger Pliny in words very appropriate to Herrick: who. This tone (whether from temperament or circumstance or scheme of art). Must learn the hateful --Fold back our arms. in the strict and pure sense of the phrase. thee the you. but from many poets--some the unknown contributors to our early anthologies. quality. Waller. lies Like sums of treasure We that did nothing To love each other. not at the selected jewels. ye were na move. of this great and noble multitude. and others. a few of higher.That fed our hopes. in his own phrase. between happy my us days dearie. Single pieces of equal. possessed by poets of greater depth and splendour. Herrick. own that purple chord. that more inwoven harmony. looking at the whole work. take That must new fortunes Dislodged from their haunts. whether in description or in feeling: such easy fitness in language: melody so unforced and delightful. weary! by --O! there is an intensity here. wae sae ye ye heavy and glinted hours. not only from the master. clearly assigns to him the first place as lyrical poet. with whom we reach the beginning of the wider sweep which lyrical poetry has since taken. His dull pages are much less frequent: he has more lines. among all who flourished during the interval between Henry V and a hundred years since. has such unfailing freshness: so much variety within the sphere prescribed to himself: such closeness to nature. in fact.--by Shakespeare and Milton often. a note of passion beyond the deepest of Herrick's. we have.
the 'frankness of nature and vivid sense of life' which criticism assigns as marks of the great Roman poets. FACIT VERSUS, QUALES CATULLUS AUT CALVUS. QUANTUM ILLIS LEPORIS, DULCEDINIS, AMARITUDINIS AMORIS! INSERIT SANE, SED DATA OPERA, MOLLIBUS LENIBUSQUE DURIUSCULOS QUOSDAM; ET HOC, QUASI CATULLUS AUT CALVUS. Many pieces have been, here refused admittance, whether from coarseness of phrase or inferior value: yet these are rarely defective in the lyrical art, which, throughout the writer's work, is so simple and easy as almost to escape notice through its very excellence. In one word, Herrick, in a rare and special sense, is unique. To these qualities we may, perhaps, ascribe the singular neglect which, so far as we may infer, he met with in his own age, and certainly in the century following. For the men of the Restoration period he was too natural, too purely poetical: he had not the learned polish, the political allusion, the tone of the city, the didactic turn, which were then and onwards demanded from poetry. In the next age, no tradition consecrated his name; whilst writers of a hundred years before were then too remote for familiarity, and not remote enough for reverence. Moving on to our own time, when some justice has at length been conceded to him, Herrick has to meet the great rivalry of the poets who, from Burns and Cowper to Tennyson, have widened and deepened the lyrical sphere, making it at once on the one hand more intensely personal, on the other, more free and picturesque in the range of problems dealt with: whilst at the same time new and richer lyrical forms, harmonies more intricate and sevenfold, have been created by them, as in Hellas during her golden age of song, to embody ideas and emotions unknown or unexpressed under Tudors and Stuarts. To this latter superiority Herrick would, doubtless, have bowed, as he bowed before Ben Jonson's genius. 'Rural ditties,' and 'oaten flute' cannot bear the competition of the full modern orchestra. Yet this author need not fear! That exquisite: and lofty pleasure which it is the first and the last aim of all true art to give, must, by its own nature, be lasting also. As the eyesight fluctuates, and gives the advantage to different colours in turn, so to the varying moods of the mind the same beauty does not always seem equally beautiful. Thus from the 'purple light' of our later poetry there are hours in which we may look to the daffodil and rose-tints of Herrick's old Arcadia, for refreshment and delight. And the pleasure which he gives is as eminently wholesome as pleasurable. Like the holy river of Virgil, to the souls who drink of him, Herrick offers 'securos latices.' He is conspicuously free from many of the maladies incident to his art. Here is no overstrain, no spasmodic cry, so wire-drawn analysis or sensational rhetoric, no music without sense, no mere second-hand literary inspiration, no mannered archaism:--above all, no sickly sweetness, no subtle, unhealthy affectation. Throughout his work, whether when it is strong, or in the less worthy portions, sanity, sincerity, simplicity, lucidity, are everywhere the characteristics of Herrick: in these, not in his pretty Pagan masquerade, he shows the note,--the only genuine note,--of Hellenic descent. Hence, through whatever changes and fashions poetry may pass, her true lovers he is likely to 'please now, and please for long.' His verse, in the words of a poet greater than himself, is of that quality which 'adds sunlight to daylight'; which is able to 'make the happy happier.' He will, it may be hoped, carry to the many Englands across the seas, east and west, pictures of English life exquisite in truth and grace:--to the more fortunate inhabitants (as they must perforce hold themselves!) of the old country, her image, as she was two centuries since, will live in the 'golden apples' of the West, offered to us by this sweet singer of Devonshire. We have greater poets, not a few; none more faithful to nature as he saw her, none more perfect in his art;--none, more companionable:-F. T. P. Dec. 1876
** C H R Y S O M E L A **
A SELECTION FROM THE LYRICAL POEMS OF ROBERT HERRICK ** PREFATORY **
THE ARGUMENT OF HIS BOOK I sing of brooks, of blossoms, birds, and bowers, Of April, May, of June, and July-flowers; I sing of May-poles, hock-carts, wassails, wakes, Of bride-grooms, brides, and of their bridal-cakes. I write of Youth, of Love;--and have access By these, to sing of cleanly wantonness; I sing of dews, of rains, and, piece by piece, Of balm, of oil, of spice, and ambergris. I sing of times trans-shifting; and I write How roses first came red, and lilies white. I write of groves, of twilights, and I sing The court of Mab, and of the Fairy King. I write of Hell; I sing, and ever shall Of Heaven,--and hope to have it after all.
TO HIS MUSE Whither, Far Where The Since With There The And Some There, Unto Or With There, May But Is Stay Or mad safer thou 'twere mayst maiden, to sit, wilt roam? home; please cottages. best agree minstrelsy. mayst express happiness; intermix: Bucolics. mayst sing shepherdling; the neat, than violet. as these villages; country wit it. not go for woe; thou at piping,
stay and poor and private cotes and hamlets this thy meaner with the reed thou shepherd's fleecy with thy Eclogues smooth and harmless on a hillock, thou a handsome to a girl, that keeps breath more sweet there, perhaps such lines take the simple for the court, the despicable unto then at home, and do fly abroad to seek
Contempts in courts and cities No critic haunts the poor man's Where thou mayst hear thine own lines By no one tongue there That man's unwise will search for And may prevent it, sitting still.
dwell cell, read censured. ill,
WHEN HE WOULD HAVE HIS VERSES READ In sober mornings, do not thou rehearse The holy incantation of a verse; But when that men have both well drunk, and fed, Let my enchantments then be sung or read. When laurel spirts i' th' fire, and when the hearth Smiles to itself, and gilds the roof with mirth; When up the Thyrse is raised, and when the sound Of sacred orgies, flies A round, A round; When the rose reigns, and locks with ointments shine, Let rigid Cato read these lines of mine.
TO HIS BOOK Make haste away, and let A friendly patron unto Lest, rapt from hence, I see Torn for the use of Or see thy injured leaves To make loose gowns for Or see the grocers, in Make hoods of thee to serve out spice. one thee serve a be thee; lie pastery; well mackarel; trice,
TO HIS BOOK Take mine advice, Those faces, For these, and Ne'er please the supercilious man. and sour nobler
not as numbers,
near vinegar; can
Westmorland. wit. fathers 28 ye.*6* TO HIS BOOK Be bold. nor or swear. it? be humanity long hand. she must. brave two to you. You first of all crown'd her. *8* TO HIS VERSES What When Who'll Or Who'll Although Already --I Some Left. Alive. My Muse in meads has spent her many hours Sitting. ever young as Love. The cutting thumb-nail. or ill read. you. Till you. shed. and to set On many a head here. To make for others garlands. Render for that. But by the Muses If but well read. Or May will I must give credit let ye coin'd cannot race of the as gallant fost'ring Newark. of due. understood. *7* TO MISTRESS KATHARINE THAT CROWNED HIM WITH LAUREL BRADSHAW. ye have to tell: my the then when by a poor world a of large I their stock pay unless old heart and noble which be orphans. and sheltering am fire of for there do. dead? sit. leave ye ye. came and interwove A laurel for her. brow here or is fear severe. and sorting several sorts of flowers. But amongst all encircled here. sweet mistress. my Book. be the all abash'd. . many a coronet. not one Gave her a day of coronation. THE LOVELY. a crown of life to you. good.
expect Ill used. Writ in my psalter. the I. For old religion's sake. altar. to aid me Make When. As the Godhead Thus enraged. when *10* HIS PRAYER TO BEN JONSON When I a verse shall make. than babes left fatherless. to be no less *9* NOT EVERY DAY FIT FOR VERSE ' Tis not ev'ry Fitted am No. day to the then doth lines through the doth cools:--till that spirit I are the holy I prophesy: fills pannicles.If not. world: fire retire. hurl'd. I'll a Saint give new Ben. Look how next Either slakes. be *11* HIS REQUEST TO JULIA 29 . Know I have pray'd thee. Honouring Offer my Lyric. to shalt thee. or So the fancy That brave spirit comes again. knee Candles And And thou. Herrick. write indite. thee way on smooth thy my for me. but when The fantastic Full of fire. Saint Ben. my Like the Sibyl's.
fortunate. desire fire: dead. the fire's by. timely luck or thee. And Memorial Of any men that were. rot 30 .--Farewell! book. my Yet be It may chance good Thee a kinsman That may harbour With my fates If thou know'st not See. I print humbly it my chance my thee to book to the were die poetry. flying minute. 'Tis but That Or And then I must away. --How In And Without a fame in death? a I linger must in little to give more write: o'er. stay. neglected where *13* HIS POETRY HIS PILLAR Only a I have Then I'll And bid the world good-night. O Time. here many vaults piece-meal lie forgot beneath. I lie. dwell. if Ere I I most To commit Better 'twere Than to live not perfected. send friend.Julia. *12* TO HIS BOOK Go thou forth. though may a when to late. it: that scarce cut'st leav'st down all.
that done. envious Time. last line Love's fire read thy honour shines lines. all With solemn tears. of heart. men shall And learn'd musicians shall. close With spice. to Fame. let so is some living for be stone me. GROOM OF 31 . by part. hope. And having wash'd thee. thrown set they my up please. and his name.Behold this I rear Ne'er to Down. must torn much part thee see grief in thee lie confusedly. that I Absyrtus-like. both set and sing his lyrics. a chest *15* UPON HIMSELF Thou shalt not all die. by thee. *14* TO HIS BOOK If hap it must. Herrick's he'd have placed:-- ** IDYLLICA ** *16* THE COUNTRY LIFE: TO THE HONOURED MR THE BED-CHAMBER TO HIS MAJESTY ENDYMION PORTER. Pillars If Here And my Pyramides. but his Life was chaste. I'll leave thee to thy rest. and with I'll recollect thee. To his book's end this Jocund his Muse was. weeping. for while Upon his altar.
less enjoying thee. as backs with wool: And leav'st them. Which though well soil'd. Here thou behold'st thy large sleek neat Unto the dew-laps up in meat: And. For Thou On To sports. thy ambition's master-piece Flies no thought higher than a fleece: Or how to pay thy hinds. eves. yet thou dost know That the best compost for the lands Is the wise master's feet. Not envying others' larger grounds: For well thou know'st.Sweet country life. but sweet content. with the loss of thy loved rest. Thou never plough'st the ocean's foam To seek and bring rough pepper home: Nor to the Eastern Ind dost rove To bring from thence the scorched clove: Nor. Whose lives are others'. then to th' enamell'd meads Thou go'st. not their own! But serving courts and cities. 'tis not th' extent Of land makes life. thou go'st to view thy flocks Of sheep. This done. With a hind whistling there to them: And cheer'st them up. And find'st their bellies there as full Of short sweet grass. Then to thy corn-fields thou dost go. as thou look'st. There at the plough thou find'st thy team. men and and and maids dancing plays. hast which the exercise for thy young their 32 pageantry. by singing how The kingdom's portion is the plough. and ox draw near. To make a pleasing pastime there. and as thy foot there treads. Sweet as the blossoms of the vine. These seen. the wanton steer. A shepherd piping on a hill. and clear All scores: and so to end the year: But walk'st about thine own dear bounds. as they feed and fill. to such unknown. holydays: meet. Bring'st home the ingot from the West. safe from the wolf and fox. cow. be Less happy. feet: . The heifer. When now the cock (the ploughman's horn) Calls forth the lily-wristed morn. No. and hands. Thou seest a present God-like power Imprinted in each herb and flower: And smell'st the breath of great-eyed kine.
-To these. with such And lying down. thy Whitsun-ale. clothing next. thy Christmas revellings: Thy nut-brown mirth. --O happy life! if The husbandmen Who all the day And younglings. and thou shalt eat paste of filberts for thy bread cream of cowslips buttered: 33 . and thou shalt see pleasures I'll prepare for thee: sweets the country can afford bless thy bed. and pit-falls then To catch the pilfering birds. tongues of kids shall be thy meat. have Sweet Sleep. here thou hast. and get The lark into the trammel net: Thou hast thy cockrood. thy Twelve-tide kings And queens. And no man pays too dear for it. Thy Morris-dance. thy quintels. shall be a gown of the fleeces' purest down. these: affright CAETERA DESUNT-- *17* TO PHILLIS. which never fail. crawling woodbine over-spread: which the silver-shedding streams gently melt thee into dreams. not men. Thy May-poles too with garlands graced. that makes more short the night. milk thy drink. snares. and bless thy board. thy russet wit. Thy shearing-feast. The What Shall The With By Shall Thy Made The Their The With live with me. Thy wakes. and thy glade To take the precious pheasant made: Thy lime-twigs. thy wassail bowl. That's toss'd up after Fox i' th' hole: Thy mummeries. thou hast thy times to go And trace the hare i' th' treacherous snow: Thy witty wiles to draw.Tripping the comely country Round. that but themselves sports nought their do as t' good understood! please. Thy harvest home. TO LOVE AND LIVE WITH HIM Live. With daffadils and daisies crown'd. soft sweet moss shall be thy bed.
Thou shalt have possets. and grace of it. Thou shalt have ribbands. At shearing-times. and live with me. On holydays. garters. and this as brave. all simp'ring there. and yearly wakes. --These. bashful pear. and strings Of winning colours. and be the wit. For meat. roses. And shame-faced plum. To make thy maids and self free mirth. A bag and bottle thou shalt have. Be-prank'd with ribbands. Thou shalt come forth. shoes. I'll twice kiss thee. Where thou shalt sit. Nay more. and thou shalt find The name of Phillis in the rind Of every straight and smooth-skin tree. The blushing apple. Walk in the groves. and Red-breast by. the feast. When Themilis his pastime makes. This. All sitting near the glitt'ring hearth. my dearest shepherdling. when virgins meet To dance the heys with nimble feet. Not made of ale. stockings. and more. If thou wilt love. There thou shalt be. So that as either shall express The wearer's no mean shepherdess. nay. To thee a sheep-hook I will send. That richly wrought. *18* THE WASSAIL 34 . than me. Gloves. wassails fine. to this end. and then appear The Queen of Roses for that year. thine own shall be. that shall move Others to lust.Thy feasting-table shall be hills With daisies spread. Where kissing that. but me to love. rings. I'll give thee chains and carcanets Of primroses and violets. In wicker-baskets maids shall bring To thee. and daffadils. but spiced wine. And having danced ('bove all the best) Carry the garland from the rest. this alluring hook might be Less for to catch a sheep. shall give thee melody.
beer. Let's leave a Where rust and And all live here with needy fate. know.Give way. your and sweetest ploughs. mows. solemn lilies. sober and the stream. --Alas! we bless. Next. the more to flow. Where chimneys do For want of warmth. But more's sent in than was served out. too. ere twelve Their silv'ry spheres. mute. 35 . meat. Like to a Bank'd all with Of sweetest cowslips filling them.' when for you'll fortune be sad. your All prosper by your virgin-vows. may As that your But if they do. That brings us In a dry-house all things are near. With noise the servants' eyes from sleep. but we'll or stay away: 'The time will come 'And reckon this 'T'ave lost the good ye might have had. way. give An easy And basket. your and win bin May both with Your larders. to for and ever stomachs weep keep sing. Then may your Nor bee or But sweetly sounding like a lute. Last. cream be you press'd have with be fruit. shares. blessing ye to gates. by our entering in. may your Your stacks. thousand eat. That though a thousand. bad. but either see ale none or here. harrows. longer cobwebs time bind to the wait. plants hive your pans manchet so hung stand with replete. stocks. It is in Our free feet Yet to the Lares this we'll say: vain here. Yet. gate. moons there's shall none whirl may about doubt dairies no ebb prosper may so.
Mab in up. Who Mab will pinch her by the toe. Christmas superstitious there left leaves there trust to *21* CEREMONIES FOR CANDLEMAS EVE Down with Down Instead of The greener box. rosemary the now and bays. the the the dress'd the branch many maids. the and and so misletoe. ivy. which houses surrender 36 now to must hath his grace renew. Unto the crisped yew. find behind. domineer. hitherto now dancing did sway. *20* CEREMONY UPON CANDLEMAS EVE Down with Down with Down with Wherewith ye That so No one least For look. be me. sun cleanse to doth find his and be your the not grace. misletoe. rosemary. ere Wash your pails and Sluts are loathsome Sweep your house. how Neglected there. up-raise The holly Let box Until the Or Easter's eve appear. all hall. box. So many goblins you shall see.*19* THE FAIRIES If ye will with Set each platter Rake the fire Water in. bays holly. Easter-day. place . the with holly. Then youthful Your Grown old. fairies. dairies. get set. for show. place. so.
kin. --What gentle winds perspire! as if here Never had been the northern plunderer To strip the trees and fields. as former things grow old. And look how when a frantic storm doth tear A stubborn oak or holm. Part must be The Christmas And where 'tis Can do no mischief there. and now the lusty Spring Gives to each mead a neat enamelling. Green rushes then. boughs. then succeeds a breeze That scarcely stirs the nodding leaves of trees. does hold. Christmas let then lay brand. The while the Daulian minstrel sweetly sings With warbling notes her Terean sufferings.When yew And Both of To honour Whitsuntide. log safely wherewith next kept. long growing there. beside. With cooler Come in for To re-adorn Thus times do shift. is many a out. again. it it and up then burn. house. 37 . OR WELCOME SPRING Fled are the frosts. and now the fields appear Reclothed in fresh and verdant diaper. Till Christmas next return. fiend *23* FAREWELL FROST. The palms put forth their gems. kept. Leaving them to a pitied nakedness.-But lull'd to calmness. and oaken comely the his sweetest thing turn bents. to the teend year. Thaw'd are the snows. *22* THE CEREMONIES FOR CANDLEMAS DAY Kindle the Till sunset Which quench'd. and every tree Now swaggers in her leafy gallantry. to their distress. each New things succeed. ornaments. fresh then birch flowers and comes fragrant in.
on Demophon. this That dress. swan. at The gentle dove may. and And smiling at our selves. how Put on all shapes to get a As now a satyr. sands. woo. tell Philomel. rings. 38 tree. at If not. our corn. and so we'll end. once more. two. which tempest-like doth Our salt. we'll next A kiss to each. and who shall That wedding-smock. that leaf. when these turmoils Bring in her bill. we'll draw lots who shall And gild the bays and What posies for our wedding What gloves we'll give. man. make bridal-cake. *24* TO THE MAIDS. be. whom hard fate forced To kill herself for But fables we'll relate. made kine. at draw-gloves we will So spend some minutes of the Or else spin out the thread of Playing at questions and Or tell what strange tricks Love can By quickly making one of Thus we will sit and talk. decree be. Jove Love. and doth mildly His inconsiderate frenzy off. we will act how young men And sigh and kiss as lovers And talk of brides. our honey. but No cruel truths of Or Phillis. day. do.So when this war. this sprig. wit. columbine. not of And maiden's-blush for spiced Thus having talk'd. cast last. commend . ribbonings. vine. and Falls to a temper. sit we under yonder Where merry as the maids we'll And as on primroses we We'll venture. wine. if we can. the branch of Peace. then a A bull but then. and now a Next. wine. TO WALK ABROAD Come. buy rosemary. said. commands: do. Who then the joining priest shall What short sweet prayers shall be And how the posset shall be With cream of lilies. play. this That smooth and silken This done. spoil oil. cease. sit.
*25* CORINA'S GOING A MAYING Get up. come. Take no For jewels for your gown. and coming. the childhood of the day has Against you come. the leaves will Gems in abundance upon Besides. a tabernacle is Made up of white-thorn neatly interwove. some orient pearls Come. by staying. As if here were those cooler shades of love. come. fresh and And sweet as Flora. when once we go a Maying. Rise. unwept: light night: hill still praying: Come. and bow'd toward the Above an hour since. Can such delights be in the street. get up for shame! the blooming Upon her wings presents the god See how Aurora throws her Fresh-quilted colours through the Get up. let's go a Maying. 39 . to fetch in May. be brief in Few beads are best. and be To come forth. dress. And open fields. But. ere this. like the Spring-time. and The dew bespangling herb and Each flower has wept. my Corinna. bed? said. my Corinna. we'll abroad: and let's obey The proclamation made for May: And sin no more. each door. yet you not Nay! not so much as out of When all the birds have matins And sung their thankful hymns: 'tis Nay. as we have done. east. and put on your foliage. drest. seen green. and receive them while the Hangs on the dew-locks of the And Titan on the eastern Retires himself. or else stands Till you come forth. care hair: strew you: kept. mark How each field turns a street. profanation. morn unshorn. and we not see't? Come. and trimm'd with trees: see how Devotion gives each house a bough Or branch: each porch. Wash.-day. to keep Whenas a thousand virgins on this Spring. or Fear not. sooner than the lark. in. each street a park Made green. sin. sweet-slug-a-bed. fair air: see tree. An ark.
it. all Lies drown'd with us in endless --Then while time serves. those compose to may granting that bridal my my ye girls. is come Back. A deal of youth. Some have dispatch'd their cakes and cream. or girl. or fleeting All love.There's not a budding boy. --Come. like to fishes. time! die liberty. or a drop of Once lost. can ne'er be found So when or you or I are A fable. let's go a Maying. this day. is me the garlands unto did the around up. and with white-thorn laden home. while we are in our And take the harmless folly of the We shall grow old apace. too. ere we can cast off sloth: Many a green-gown has been given. wed bed. and plighted troth. decaying. let us go. *26* THE MAYPOLE The May-pole Now give I'll drink to But first Whose hands The glory of flowers that crown'd it. A health Whose husbands Or lords be. Before that we have left to dream: And some have wept. and our days As fast away as does the And as a vapour. and woo'd. and Before we know our Our life is short. And chose their priest. my Corinna! come. But is got up. earls wishes. run sun:-rain again: made shade. Many a kiss. 40 . delight night. and gone to bring in May. love's firmament: Many a jest told of the keys betraying This night. has been sent From out the eye. And when To the Then multiply all. and locks pick'd:--yet we're not a Maying. song. and we are but Come. both odd and even: Many a glance. ere this. prime. cup. all liking.
then Crown'd with the ears of And. And a mimic Many grinning Players there will Base in action Yet with strutting The incurious Near the dying There will be Where a coxcomb Ere a good word But the anger Drench'd in ale. please villages. spoke: here. lord. let Go to feast. sheet. EARL OF WESTMORLAND Come. resort.*27* THE WAKE Come. We rip up first. wakes. as they of a will can ends drown'd best cheapest other be be all in and in will the two do: cakes. Are the junkets Unto which the Where the business Morris-dancers thou Marian. us others and at tribes the shalt to be. broke. come. lands. Tarts and custards. whose and rough our now toil oil: hands. as 41 HOME: by wine and reap corn. up here spotless my with a pure. Anthea. As forth. day cudgel-play. sweet: . to the pipe. pageantry. devise properties. fear. content merriment. too. We are the lords of By whose tough labours. or --Happy rusticks! With the And possess no Than to want the Wake next year. all maukin. beer. Sons of Summer. those clothes. Come Drest See. as creams still is in *28* THE HOCK-CART. OR HARVEST TO THE RIGHT HONOURABLE MILDMAY. sing Harvest Home. sport: see. and the there it see the country a is cart art.
there a pie. stroke the home-borne wheat: While other rustics. But for to make it spring again. stout beer: Which freely drink to your lord's health Then to the plough. ye must revoke The patient ox unto the yoke. About the cart. And that this pleasure is like rain. besides. for your mirth. And all go back unto the plough And harrow. Glitt'ring with fire. Ye shall see first the large and chief Foundation of your feast. whose food fills you. though they're hang'd up now. to see the Hock-Cart crown'd. brave boys. Those with a shout. in linen white as lilies. With upper stories. till all be blythe. Clad. And here. And for to make the merry cheer. With sev'ral dishes standing by. The harvest swains and wenches bound For joy. the common-wealth. where. mares. less attent To prayers. And. If smirking wine be wanting here. Feed. and as ye eat. As here a custard. Not sent ye for to drown your pain. Some prank them up with oaken leaves: Some cross the fill-horse. Be mindful. mutton. Feed him ye must. *29* 42 . and these with laughter. Some bless the cart. And know. and frisking fillies. As you. some with great Devotion. Run after with their breeches rent.-Drink. that the lab'ring neat. may have their fill of meat. some kiss the sheaves. and crookt scythe. and grow fat. how the rout Of rural younglings raise the shout. your lord's word's true. Then to the maids with wheaten hats: To the rough sickle. your vats. on. your fanes. some coming after. to your lord's hearth. than to merriment. all tempting frumenty.The horses. Pressing before. you must know. all. Next to your flails. hear. There's that which drowns all care. boys. which makes full the meal. --Well. fat beef. frolic. veal And bacon.
My masters all.THE BRIDE-CAKE This day. From all mischances Your pleasing slumbers Mercy secure ye The goblin from ye. For Mistress Bride Knead but the dough. or twice. fro. may run benizon. --Past one a clock.-- *33* TO THE GENIUS OF HIS HOUSE Command the Into this That through Of living roof. while and ye may the and ye almost free Benedicite.' rest that in all. affright night. thou the and it turn'd once must make wedding-cake: will be by thee. To paste of almonds Or kiss it thou but And for the bride-cake there'll be spice. fright night keep sleep. house each great Genius. aye. my Julia. come forth and Us i' th' city and the Safely guard us. shield field. . *31* THE BELL-MAN From noise of scare-fires From murders. day. pour down room a golden water by 43 and thy pipe thy from thence influence. 'Good day to you. two. now and From the blast that burns by And those sounds that us In the dead of dampish Drive all hurtful fiends us By the time the cocks first crow. *30* THE OLD WIVES' PRAYER Holy-Rood.
slight things do lightly please. none. Charm then the chambers. 44 clock.Fulfil the larders. to give my heart some Where None is. dam dead: cat house. after that. The master's charge and care to recompence. lately A I keep. and with strength'ning bread Be ever-more these bins replenished. loose near. with a jealous Lets Her tongue. tame. and let the roof Grow old with time. I've A I have to sing how day draws I A maid. Next. Fates me gave or A I keep. Fix the foundation fast. but yet keep weather-proof. hen day. lamb fed. my Prue. to tell what danger's A I keep. That lucky fairies here may dance their round. by good luck To That little. *33* HIS GRANGE. OR PRIVATE WEALTH Though To tell how night draws hence. lay down some silver pence. cock on: have sent. make the beds for ease. with my morsels Whose An orphan left him. creeking day by Tells She goes her long white egg to A I have. More than for peevish pining sicknesses. when lay: goose ear. that plays about my Grown With eating many a miching To A Trasy I do keep. which. which. fat mouse: these whereby please privacy: are ease:-care . like a bishop consecrate my ground. And. save lent. I The more my rural Which But toys.
And to you no less. 'tis but a fault of love. AND SET BY MR NIC. some have told to me. LANIERE THE SPEAKERS: MIRTILLO. CHOR. and bleats of lambs and sheep Let lullaby the pretty prince asleep! MIRT. From whence? AMAR. But. though not so great an offering. (With whitest wool be ever crown'd that day!) To all our joy. with store of spices sweet. While golden angels. indeed. CHORUS:--Pan pipe to him. With all white luck to you. fair. Not so. none better I can tell: Or that this day Menalchas keeps a feast For his sheep-shearers. And lend a gentle ear to one report The country has. I have heard it told. Mirtillo. Sung out his birth with heav'nly minstrelsy. A neat. these are the least. And laid them down for offerings at his feet. if we three Should wend along his baby-ship to see? MIRT. lambs.*34* A PASTORAL UPON THE BIRTH OF PRESENTED TO THE KING. What news Stirs in our sheep-walk? AMIN. True. 45 . 'Tis true. But if it chance to prove At most a fault. and fat. AMAR. AMIN. From countries far. AND AMARILLIS PRINCE CHARLES: AMIN. At noon of day was seen a silver star. save that my ewes. More tender than the childhood of the morn. which guided them To God's sweet babe. MIRT. and each of us will bring Unto our smiling and our blooming King. But say. and sweet Amarillis. dear Mirtillo. A garland for my gift shall be. Rest but a while here by this bank of lilies. myrrh. not so. The Court. MIRT. and wanton kids are well. Three days before the shutting-in of May. AMAR. when born at Bethlehem. From whence? MIRT. Smooth. AMINTAS. None. AMAR. O rare! But is't a trespass. My wethers. MIRT. and gold. Of flowers ne'er suck'd by th' thieving bee. And all fair signs lead on our shepherdess. Those learned men brought incense. And that his birth should be more singular. But dear Amintas. a sweet-faced child was born. Good day. AMIN. MIRT. Bright as the wise men's torch.
as new. CHOR. though too-high dearest. And when before him we have laid our treasures. I' th' court that's half so comely. and quickly let's be drest. And leave me For love or The place where I may find thee. And quickly give:--the swiftest grace is best. In And set There. AMARIL. yet all less sweet than he. one AMARIL. sever. I prithee Let's kiss AMBO And We shall not part for ever. as sweet. know meadows. Let country With posies. stay. about with pearl'd with with cowslips. And I a sheep-hook will bestow To have his little King-ship know. first. Believe it. We'll bless the babe:--then back to country pleasures. we then bid I must we'll adieu to away.And all most sweet. meads where to do youthful thou with mayst thee. AMIN. the thy court. *35* A DIALOGUE BETWIXT HIMSELF WHEELER. lilies. AMARIL. For thee with And like the stars to glitter. UNDER THE NAME OF AMARILLIS My dearest Love. a so there's rate not upon homely. not flowers. With oaten pipes. MIRT. What have Or with Live thou at The queen of men. thee. 46 . You set A shepherdess HER. day. hours? be wenches since richest make 'tis gems 'em to fine fitter shine. dew. As he is Prince. Come. he's Shepherd too. And I will bear along with you Leaves dropping down the honied dew. country maunds since here pity. you HER. AND MISTRESS ELIZA thou let behind me wilt go. let's away. filling May find your Amarillis.
funeral. and clear of Sharply pointed as a With a neck by yoke From the which hung down by Balls of cowslips. shape. Me. rings. strings. unworn. ape. pensiveness. and I'll lay down my pipe. call all. and did Ay. night bite. do thy To fulfil Say. neat-herdess? the hill? so still. deep. LACON Alack. THYR. what is't that thou dost ail? THYR. eye. THYR. ai me! ai me! Last Came a mad dog. thorn. None of A mischance is And I'll tell See. Lacon. if I Tears will spring where woes are Now. ribbonings. pye. 47 . so adieu! for I'll for sad evening be time doth playmates steer. and my To his Live long. large of Party-colour'd like a Smooth in each limb as a Clear of hoof. or this lovely on thee heard kine the two. daisy Interplaced with Faultless every way for Not a straw could him Ever gamesome as an But yet harmless as a Pardon. weep. For a kiss What doth cause Thou most Why so lonely Why thy pipe by That erewhile was Tell me. escape. mine eyes LACON. But Hence I must. sheep. grief! brief. LACON.*36* A LACON AND THYRSIS BUCOLIC BETWIXT TWO. die. it weeping thee alas! pass. was: ripe. these. horn. I have lost my lovely That to me was far more Than these kine which I milk Broad of forehead. so shrill? now fail milking-pail? but come to what are out. dear here. confess. Lacon. Tell. and kill'd my dear delight.
A sweet sad passion---In dewy mornings. None crowns the cup wassail now. Love. MIRT. sigh and weep. grief-drown'd. MIRT. Amarillis! MON. these she gave me here. dock of wool.. No. she is gone. To what? SIL. SIL. SILVIO. AND MIRTILLO. tell us whither? Where she and I shall never meet together. MIRT. Troth. thou didst set thy feet. The Of And Youthful AMBO. Hark!-This way she came. for thy sake. SIL. Voice's Daughter ne'er spake syllable. my mirthful roundelay. worse fruit. Ah. and this way too she went. Sweet And Daisies Besides The But MIRT.. I will languish still. O never! Still I may endure wound I suffer. would shut. This grew sweet Amarillis. Amarillis! farewell mirth and pipe. when she came this way. And Bad are the times. Hark! SIL. Fore-fend it. MON. never find a cure. Pan! and Pales. SHEPHERDS MON. ball of cowslips. Mirtillo. or sets the quintel up: he. like a meadow being lately mown. *37* A PASTORAL SUNG TO THE KING MONTANO. Behold him weeping-ripe. And here the breath kine sheep grew more sweet by that breath of thine. Poor pitied youth! MIRT. And worse than they are we. Such griefs these. when at night she folded had her sheep. The MON. MIRT. no more I mean to play these smooth lawns. and this rich lock of hair. 48 . each thing smells divinely redolent! to a field of beans. Let's cheer him up. SIL. Mirtillo. MON. Mark! MIRT. (Ai me!) since she went hence to dwell. and closing. here he comes. How Like Or MON. Never. bad are both. and ill the tree: feast of shepherds fail. MIRT. MON. bents would bow. farewell to you. will bring her to these hills dales again. Words sweet as love itself. To as MIRT. SIL. to give my Love the day. Since To Dear earth Where.LACON Mournful Earth afford ye flowers to strew! maid. AMBO of And This This SIL. who used to lead the country-round. do thou please give an end. thou art gone. when newly blown.
all true men lost and love plant maids the best. OBERON'S CHAPEL 49 . The shades grow our But let's Our eyes And meet To-morrow. Bedew'd with tears. Set with the sun. head. maid. are worn. maids love lost the rewarded their lover's only bane. go in to flocks but to greater weep. weep *38* TO THE WILLOW-TREE T hou art to The only Wherewith young And left of love. day old. sheep.And all the while my And with my sighs call And in the rind I'll carve thy name. gain And underneath When weary The love-spent Come to weep out the night. thy of youth. light. are crown'd. When with Poor For their Is but a wreath from thee. OR. fold. *39* THE FAIRY TEMPLE. The full-fed great. When once the Or laid Then willow-garlands. grows sorrow:-steep sleep. tree thee. part shall be to home my bleating of every comely in that name kiss thy woes! SIL. and cooling the love-sick shade. and MON. neglect. found. distrest lover's aside 'bout rose the is dead forlorn. grows And time it is our CHOR. be.
shall see His Temple of Idolatry. here set down are In this most curious calendar. call'd here FATUUS IGNIS. instead of walls. Where he of god-heads has such store. Saint Itis. alias. His idol-canker seated is. As Rome's Pantheon had not more. Saint Will o' th' Wisp. Into the which who looks. for his holy rest. Who 'gainst Mab's state placed here right is. Saint Frip. His idol-cricket there is set. I could not speak the saints here painted. Saint Fill. Cantharides. in an arch. I AND RICH FOR IN AND OUTWARD SURVEY THIS CHAPEL BUILT. Saint Filly. THE TEMPLE KNOW. no cornice free. Saint Nit.-Neither those other saint-ships will I Here go about for to recite Their number. more black than jet. So that where'er ye look. Which. that to the Chapel leads. almost infinite. Theirs is a mixt religion: And some have heard the elves it call Part Pagan. STONE. Girt with small bones. of no great bigness. akin to this. WITHOUT OR LIME. FINE A way enchaced with glass and beads There is. ye see No capital. THE FAIRIES' ONCE. Saint Trip. OR THEN SAY. His house of Rimmon this he calls. Then in a polish'd oval by There stands his idol-beetle-fly. SHOW. Now this the Fairies would have known. part Papistical. Then in a round. is placed by these His golden god. Is here the Halcyon's curious nest. OR WOOD. First in a niche. Or frieze. Saint Is. Saint Tit. from this fine frippery.DEDICATED COUNSELLOR AT LAW TO MR JOHN MERRIFIELD. Whose structure. But. NOW THINE. ALONE. Next. IF ONE THOU'ST SEEN MORE THAN THIS. 50 . one by one. If unto me all tongues were granted. RARE TEMPLES THOU HAST SEEN.
hands bring hither. which they read: if report of them be true. in the platter. Which With The Is Which. o'er the board is smoothly spread little seal-work damasked. of odd. 'Hence. squeaks to all the comers there. your tongues. have their text for what they do. in mood and perfect tense. not even pairs. holy-water there is put. in a form triangular. They And They And A The To A entrance of the gate.First. fringe that circumbinds it. this fetuous board doth stand for shew-bread. offering up the holy-grist. Right And They Ay. made of glass. the Fairy-psalter. or wood. altar is not here four-square. and ductile codling's skin. of a little transverse bone. gently gleaming. or stone. other Scriptures. little brush of squirrels' hairs. that design short. the elves are led by the Rubric. to the altar stands the priest.' second pules. or close by. purge the fairy family. we must know. little pin-dust. makes a show. hence. who enter here. with the trout-flies' curious wings. and at hand in the middle of the altar) an end. And. little puppet-priest doth wait. bason stands the board upon take the free-oblation. without stain. (much good do't him) reverence. A Who 'Favour 'Pure A Hard The A Composed Stands To Near There Ducking With The Nor Nor But Which (Playing Whose Subtile. and their book of canons too. have their book of articles. too. but righteous discipline. which they hold 51 at the . profane!' by. frost-work glitt'ring on the snow. linen-drapery is a thin. serve for watchet ribbonings. Like Upon Something (Just Upon Graced Which Now. boys and bruckel'd children call for points and pins) cockall. spangle-work of trembling dew. if that Fairy knight not lies have their book of homilies. i' th' shell of half a nut. as Sir Thomas Parson tells.
books. then he dons the silk-worm's shed. there's hope Boniface shall next be Pope.More Which Poor Upon Hatch'd The Two In Burns For Their Of In They To Their And Their Their Of Ay. beads of nits. sacred salt here. many a dapper chorister. curious copes and surplices cleanest cobweb. holy oil. their fumigations. upon the chanter's side apple's-core is hung up dried. 52 . a trifle. hanging by their religious vestery. not a little. and waxforsooth. rattling kernels. sanctity. pardons and indulgences. to these. lady of the lobster is. purge the chapel and the rooms. have their cups and chalices. chips. saint. ush'ring vergers here likewise. then. they have. chives of saffron brings his most cheerful offerings. For When. in formal manner. lowly to the altar bows. he's paid his vows. foot-pace he doth stroke and kiss. He And Like And precious than we prize our gold. and trinket. canons and their chaunteries. and bones. elves. charity they give to many of the parish. the ends of these neat rails. which is rung call to morn and even-song. fix pure and holy candlesticks. a Turk's turban on his head. with the silver-light of snails. much affect the papacy. humbly. have their ash-pans and their brooms. rags. cloister-monks they have enow. scarce man would think it. after these. too. bells. if there's any. And They And Elve They Their Their Candles. grease. to which the most he prays offers incense nights and days. reverently departeth thence. many mumbling mass-priests here. and other knacks. either which a tall small bent for the altar's ornament. since the last is dead. Their Their Dry Beside Many And Next An With To The And The Whose And. their fasting-spittle. for what use. and their abbey-lubbers too:-if their legend do not lie. old shoes.
now. was too coarse. to quench his thirst. all this while his eye is served. where he spies horns of papery butterflies. That He Of And Gladding Of But A With little FAIRY STATE DEDICATE: THAT ARE UNFAMILIAR. the chirring grasshopper. elves present. a newt's stew'd thigh.Hid in a And by the Goes to the Feast that's now provided. and tastes a little that we call the cuckoo's spittle. which he eats. bloated earwig. THESE WE'LL SEE THE FAIRY COURT ANON. must not think his ear was sterved. they set on bread. little fuz-ball pudding stands yet not blessed by his hands. kitling eyes begin to run through the table. his palate with some store emmets' eggs. *40* OBERON'S FEAST SHAPCOT! TO THE THE I WITH DISCRETION BECAUSE THOU PRIZEST THINGS CURIOUS AND TAKE FIRST THE FEAST. and a fly. that there was in place to stir spleen. and eats the sagge well-bestrutted bees' sweet bag. and besweeten'd in a blue pregnant violet. mushroom-table spread. to eat choice bits with. piping gnat for minstrelsy. moon-parch'd grain of purest wheat. we must imagine first. that's shut 53 . A After A With His They But We But His The The And The A Brought And His Quite The Of Of A By. then in a trice make a feast less great than nice. puling fly. but then forthwith ventures boldly on the pith sugar'd rush. merry cricket. what would he more? beards of mice. short prayers. the red-capt worm. DISHES GONE. some small glitt'ring grit. which done. guided. cloud glow-worm's of light well frankincense. pure seed-pearl of infant dew.
54 . Brought in a dainty daisy. which He fully quaffs up. Give me then an ant to eat. But gently prest from the soft side Of the most sweet and dainty bride. with a wine Ne'er ravish'd from the flattering vine. That your plenty last till when I return your alms again. that's too good For a man in needy-hood. this done. then give me such Little bits that nestle there In the pris'ner's pannier. sweet lady. The broke-heart of a nightingale O'ercome in music. Or commend a cricket's hip. Or the cleft ear of a mouse Over-sour'd in drink of souce. The feast is ended. Brown as his tooth. Give for bread. a little bit Of a pease that 'gins to chit. to my scrip. Late fatten'd in a piece of cloth. *41* THE BEGGAR TO MAB. A little moth. The unctuous dewlaps of a snail. Or. So a blessing light upon You. Flour of fuz-balls. and mighty Oberon. to bewitch His blood to height. mandrakes' ears. But the meal of mill-dust can Well content a craving man. from out your store Give an alms to one that's poor. Moles' eyes: to these the slain stag's tears. THE FAIRY QUEEN Please your Grace. Black I'm grown for want of meat. commended Grace by his priest. And my full thanks take for it. Or his huckson. With wither'd cherries. But if this may seem too much For an alms. reach to me The abdomen of a bee. That your mickle may have more.Within the concave of a nut. Any orts the elves refuse Well will serve the beggar's use.
*42* THE HAG The Hag This night The devil Through thick Now out. *43* THE MAD MAID'S SONG Good morrow Good morning. tomb come. to to the sir. Good morrow Bedabbled with the dew. together. mine day to own torn so fair. The storm And trouble This night. ride. On land At noon of night are a-working. to to flowers 55 this the primrose each tomb too. Dares now But hush'd in his While mischiefs. skies wonder. lurking. wood. seas. you. hair. mires. Good morning Good morrow That will with Wherein my Love is laid. is for and and and to she through then astride. No beast. maid. bestrew . these. briars. Though ne'er so foul be the weather. and. more from shall will the for the the arise. now. The ghost Affrighted Call'd out by the clap of the thunder. or for a and and bramble a a she through rides bur spur. thin. A thorn She takes With a lash of Through brakes O'er ditches She follows the spirit that guides now. in. for range lair and he by his the lies on food.
doth send ere shake a this. tender. eyes. rested. me molested.Ah! woe is Alack For pity. of him cowslips home. night creature unto my of late. sleepy? fear. kiss not. him. He's soft With bands And bring That I shall never find him. 56 . him I him think in in they've your made bonnet your his brave. THE UNGENTLE GUEST One silent When every Came one And knocking. to awake him. Which bore my Love away. decreed *44* THE CHEAT OF CUPID. him. head. the beats all there. I. well-a-day! bee. lighted. cold But I will By you. sir. me. have wet who swerved. now I' th' bed of strawberries. soon pitiful a taper arose. out woe that is me. For I By moonless And all And e'en with cold half starved. earth go. OR. I'll seek I'll seek Nay. gate. and find woe. sir. boy nights showers am. I And a with said thus said he. I or know. who green though do turfs he rear be love his dead.--but pray take bind 'tis heed. and there. And let not locks thus keep ye. And troubles Cast off. Who's that. Pray hurt him He knows well And who with And who do rudely move him. through. him. grave lI'l seek him The cold.
and Adieu. be him once cross-line be Prince more show of prove. and And by That I could Though here the Princely Poet. a me hand. like And did To see my He might foretell my fortune. I tell thee. here.And Unto the lad benighted. mine. did myself disclose he too. importune same He saw my palm. I to Brought him. looking had which down a did bow. my as his hands chimney's Love with shine professes. this months. I smiled. he this if felt bow they him of be warm'd. said score shalt he. adieu. it. mine I'll leave thy heart a-dying. 57 . Love. went loud. *45* UPON CUPID Love. arrow. bow string me. But when Let's try And string. he said flew flying. with these late showers. shiver. I saw And wings And I spied he had a quiver. ours harm'd. Forthwith his And wedded And struck Quite through my heart and marrow Then laughing Away. gipsy. bade some ne'er and then. within few The youthful Prince D'Amour here. below. that he and it bent. by That thou. that much by lately the came. thus host. Said he. And chafed And dried his dropping tresses.
*46* TO BE MERRY Let's now While we're And old. old For the Will come Before we can be aware of. thrice be three. commingled. descry *48* AN HYMN TO THE MUSES Honour Near to And drink your fill of it! Glory To you. opposite. *47* UPON HIS GRAY HAIRS Fly me not. though I the white are. our our is evil on afar time. prime. And teach Unto My measures ravishing! to the you well who of sit wit. me the how lyric to sing string. red. 58 . this Better look When with Black your hairs This begets When things As in Venus standing Vulcan by. off. and sweet worship Maids. Lady. white. say. days apace. the meet pictures mine more most we are know I be you'll roses gray. Who still inspire me. take in age evil. delight.
Are by the sun-beams. Content makes Here we rejoice. known *51* HIS RETURN TO LONDON 59 . great. board afford. and Like noiseless snow.--as did of the light. or wort or Whatever comes. bays *49* THE COMING OF GOOD LUCK So Good-Luck came. or Not all at once. see privacy. sweet. night. where we're To very few. me: beet. and batten Because we feed on no man's But pity those whose flanks grow Swell'd with the lard of other's We bless our fortunes. trees *50* HIS CONTENT IN THE COUNTRY HERE. and never The landlord or the The quarter-day does ne'er Our peaceful slumbers in the We eat our own. affright night: more. fear usurer. because no We pay for our poor Wherein we rest.Then. rent tenement. meat. when we Our own beloved And like our living. be. while My priest-hood Green to the end of days! I sing crown your with praise. tickled by degrees. score. or else to none. Here I live with what my Can with the smallest cost Though ne'er so mean the viands They well content my Prue and Or pea or bean. on as but my roof the dew gently.
To see the day spring from the pregnant east. feasts. man world dares roof's it falls. I come. O native country. O fruitful Genius! that bestowest here An everlasting plenty year by year. a-tottering. mad? how we. Give thou my sacred reliques burial. though by hard fate sent Into a long and irksome banishment. and must in short time fall. Weak I am grown. rather than I'll to the west return. Tun. we made us the such nobly 60 or thy those the Triple clusters wild. customs. not lyric . nay more. repossess'd by thee! For. henceforward let me be. Ravish'd in spirit. at at Dog. I'll beg of thee first here to have mine urn. blest place of my nativity! Thus. continues that with is rifts clearly not is dull. languages! I am a free-born Roman. thus with hallow'd foot I touch the ground. still *53* AN ODE FOR BEN JONSON Ah Say Shall Meet Made The Where As Ben! when guests. O place! O people! manners! framed to please All nations. London my home is. *52* HIS DESIRE Give me a When all the But unamazed Whenas the And though Tickling the Cittern with his quill. I fly To thee. Yet since call'd back. sing. With thousand blessings by thy fortune crown'd. suffer then That I amongst you live a citizen. kindreds. had. full.From the dull confines of the drooping west. Sun.
The golden For now Made of Rich beads of amber here. A To goblet Ovid. us overplus. out-did the frolic wine. the Arabian uncontrolled Rose. verse of thine My Or come Or send Thy wit's But teach Wisely to Lest we that And having once brought That precious Of such a wit the world should have no more. An Indian commonwealth. dew and now besmears brow. time tongue [the] flowery for be mirth. to great us husband talent to stock.--the an Ben! again. health of would such make to a thee thee! kind. spend. Now reigns Th' My And my retorted hairs. yet it. earth pomp each her tree pap is does and come. wear. end store *54* T O AND TO TRUST TO GOOD VERSES Now is Nor cheek For with The golden pomp is come. health worth next and 61 I'll drink suppose . the or LIVE MERRILY.And yet each Out-did the meat. gum. this In sack That it Though thou wert ne'er so blind Next. see. dumb. Virgil To pledge In wine. I'll this whose each call second cup's forth. Homer.
Made he The world had all one nose. good only pyramids. burnt. all to numbers bodies be meet drown'd. To my Propertius. And Come. to I I Tibullus drink see to a next. thus. up am cool I now with thy shall heat: rays. This flood --But stay. Then Of Catullus! To that terse muse of thine. men. thee. silvery wherever wings. tun Now. our and souls like fly to OF HIS. eat the will roof ravish'd drink does a run. ashes Tibullus whose scarce small lies return suffice Trust to They When Are lost i' th' funeral fire. round. And when In Lethe Then only With endless life are crown'd. being I this the pledge. and bite the Bays! Round. text. he'd think immensive aromatic I quaff cup wine. two th' 62 doves with shades. aspire. springs . sweet *55* THE APPARITION CALLING HIM TO ELYSIUM DESUNT NONNULLA-Come Let then. Wild I O Bacchus! Or frantic Thy Thyrse. will as verses then. MISTRESS. Behold! Here Of To fill a little urn. That this presents to me.
Where ev'ry tree a wealthy issue bears Of fragrant apples. Horace. Then unto dancing forth the learned round Commix'd they meet. Juvenal. blushing plums. while perpetual day So double-gilds the air. fill'd.--welcome he shall thee thither. to Anacreon. and see Love's chorus led by Cupid. both drink and dance together. Herrick. tinselling the dew. Here in green meadows sits eternal May. then I'll bring Thee to the stand. thou shalt there Behold them in a spacious theatre: Among which glories. Then stately Virgil. sharp-fang'd Martial. witty Ovid. And towering Lucan. Where poets sing the stories of our love. two recite their plays. with endless roses crown'd. Then soft Catullus. then to Pindar. handsome striplings. run Their goals for virgins' kisses. 63 . And in his raptures speaking lines of thine. Besmear'd with grapes. where balm and oil. crown the untill'd soil. where honour'd Homer reads His Odyssees and his high Iliads. or pears. Roses and cassia. There thou shalt hear divine Musaeus sing Of Hero and Leander. that. crown'd with sacred bays And flatt'ring ivy. t' engage All times unto their frenzies. as that no night Can ever rust th' enamel of the light: Here naked younglings.Sit smiling in the meads. Like to his subject. but amber-gris and gums. by Whom fair Corinna sits. and doth comply With ivory wrists his laureat head. Where both may rage. And all the shrubs. like sirens in their spheres. This. which when done. Beaumont and Fletcher. while they. And here we'll sit on primrose-banks. Dropt for the jars of heaven. and we'll he Two loving followers too unto the grove. and ev'ry thicket doth transpire More sweet than storax from the hallow'd fire. and as his frantic Looks shew him truly Bacchanalian like. Quaffing his full-crown'd bowls of burning wine. About whose throne the crowd of poets throng To hear the incantation of his tongue: To Linus. I'll bring thee. to whom all ears Listen. and those whom rage. swans. Where no disease reigns. and that done. or infection comes To blast the air. with sparkling spangles. Purfling the margents. these. and steeps His eye in dew of kisses while he sleeps. shew Like morning sun-shine. And snaky Persius.
that doth include Those prophets of the former magnitude. and still more for thee There yet remains to know than thou canst see By glimm'ring of a fancy. thy guest. And in a burnish'd flagonet. --Well. Which. And for no less than aromatic wine Of maidens-blush. The like not Heliogabalus did eat: And richer wine would'st give to me. Away! *56* THE INVITATION To sup with thee thou didst me home invite. And he one chief. now is placed As in a globe of radiant fire. proclaim the clock Of late struck One. and look'd for fowl of price. I came. on such lautitious meat. and pond'ring on the food. the mantle larded jet. and now I see the prime Of day break from the pregnant east:--'tis time I vanish:--more I had to say. Jonson. I curst the master. bird of Paradise. At last i' th' noon of winter. with sick vinegar. I'll bring a fever. stood by Beer small as comfort. and how it chill'd my blood. And mad'st a promise that mine appetite Should meet and tire. hung weeping wet. The bastard Phoenix. dead as charity.Sing their Evadne. The bell-man of the night. did appear A ragg'd soused neats-foot. But hark! I hear the cock. 'tis true. commix'd with jessamine. and I damn'd the souce. But night determines here. Do but come. How cold it was. *57* TO SIR CLIPSBY CREW 64 . Than Roman Sylla pour'd out at his feast. And swore I'd got the ague of the house. since thou keep'st no fire. wanting Lar and smoke. At which amazed. and graced To be in that orb crown'd. when to eat thou dost me next desire. And there I'll shew thee that capacious room In which thy father. Clean was the hearth.
MR THOMAS HERRICK Thrice. both last and better vow. spirit. for exchange. 65 . last is but the least. inherit. keep one centre. than to live well:-both are known to thee. with intent grow the sooner innocent. things thou knows't to th' height. and dost prevent plague. the first doth tell less to live. two. I not As I did. noble For those gifts you do Upon him. not mint. art thou. the city. came. bereft. blest. because thou art content that Heaven gave thee with a wary hand. thou canst tersely live to satisfy belly chiefly. who now canst live by thy conscience. my ravish'd If I write a verse or 'Tis with very much In regard I want that Which should conjure up a Yet. ado. blessed in thy brass than land) keep cheap Nature even and upright. not cocker appetite. to see country's sweet simplicity. cool. left sir. canst instruct that those who have the itch craving more. and to show and she together go. methinks. not the eye. though now of Muse I have still the manners For to thank you.Since to the country first I I have lost my former And. know that riches have their proper stint the contented mind. flame. my soul's half. This with that conspires teach man to confine desires. wine line. confer can *58* A COUNTRY TO HIS BROTHER. In Could'st The And To By More The Ways And Led Justice Wisdom And To And In And Of These That With (More To To Thus The and thy leave LIFE: above. who only Be in prose a grateful man. are never rich. it to know and practise. to give to soon-pleased nature. studying to know virtue. and to aim at her nature than her name.
Whom. And viewing them with a more safe survey. without or tide or gale. that man Had. but first to sacrifice. Present their shapes. Untaught to suffer Poverty. while thy whiter hap But sees these things within thy map. By whose warm side thou dost securely sleep. and well weaved bowers. 'A heart thrice walled with oak and brass. As not to rise when Chanticlere Warns the last watch. and believ'st that there be seas. birds. With fields enamelled with flowers. that meet To make sleep not so sound as sweet. But that which most makes sweet thy country life. Less with a neat than needful diet. and so guess By those fine shades. blest with securest ease. Making thy peace with Heaven for some late fault.-But thou at home. ye hear the lamb by many a bleat Woo'd to come suck the milky teat. With those deeds done by day. Mak'st easy fear unto thee say.--but with the dawn dost rise To work.' Nor are thy daily and devout affairs Attended with those desp'rate cares Th' industrious merchant has.Keeping the barking stomach wisely quiet. The damask'd meadows and the pebbly streams Sweeten and make soft your dreams: The purling springs. doth fly. And watery dangers. who for to find Gold. Nor call these figures so thy rest endear. while fantasy discloses Millions of Lilies mix'd with Roses. which ne'er affright Thy silken slumbers in the night: Nor has the darkness power to usher in Fear to those sheets that know no sin.' But thou at home. Canst in thy map securely sail. their substances. runneth to the Western Ind. first durst plough the ocean. Is the fruition of a wife. Which done. And back again. tortured with fears. groves. Sitt'st. thou hast Got not so beautiful as chaste. While Love the sentinel doth keep. Seeing those painted countries. With holy-meal and spirting salt. While Faunus in the vision comes. 66 . 'Jove for our labour all things sells us. to keep From rav'ning wolves the fleecy sheep: With thousand such enchanting dreams. thy painful thumb this sentence tells us. Then dream. stars consenting with thy fate.
or all. as dainty meat:-While soft opinion makes thy Genius say. and kings. makes so rare. the foul or fair:-A wise man ev'ry way lies square. Vice rules the most. 67 .' Nor is it that thou keep'st this stricter size So much for want. though thou not there. not nature. and sour herbs. Till that the green-eyed kitling comes. Wealth cannot make a life. and inure Thyself. Fame tell of states. Nor art thou so close-handed. not taste it. Nor are thine ears so deaf but thou canst hear. or second bread. Who keep'st no proud mouth for delicious cates. (Counsel concurring with the end). To taste boil'd nettles. and moved her sphere. --And thus thy little well-kept stock doth prove. forsake that larded fare. Thy pious wishes are. Then to her cabin. unmoved. And be not only thought. if want comes. should sin haste it. prepared dost stand To take her by the either hand. 'Content makes all ambrosia. and thy face ne'er shows Fortune when she comes. coleworts. as exercise. of countries. Yet can thy humble roof maintain a quire Of singing crickets by thy fire. or goes. Be so. To numb the sense of dearth. Virtue had. Which art. strongly vex'd. which. for thy desires are Confined to live with private Lar: Nor curious whether appetite be fed Or with the first. courts. but love. and unurged. but canst spend. And the brisk mouse may feast herself with crumbs. bold Spirit. beets. Far more with wonder than with fear. stand centre-like.And from thy compass taking small advice. Buy'st travel at the lowest price. And so thou dost. And believe there be such things. Canst. delicates. at court. to endure. Nor car'st which comes the first. But thou liv'st fearless. and eat These. When of these truths thy happier knowledge lies More in thine ears than in thine eyes. blest she can escape The sudden danger of a rape. Hunger makes coarse meats. but proved To be what I report thee. Thou might'st but only see't. But with thy equal thoughts. And when thou hear'st by that too true report. And like a surly oak with storms perplex'd Grows still the stronger.
to see An over-leaven look in thee. breath.As well as spare. thrice happy pair. in such assurance live. Yet. true few. I sing the more. and live blest. reach. and turn the beer To an exalted vinegar. one faith. or wish your dying day. --Yet should I chance. To sour the bread. breach. one Be so one death. both. measure. and known to Thus let thy rural sanctuary Elysium to thy wife and There to disport your selves with golden For seldom use commends the Live. and close. one grave to Till when. MR JOHN WICKS Since shed or cottage I have none. theme. though poor. or third-day's fish. peep? . Or should'st thou prize me as a dish Of thrice-boil'd worts. still conning o'er this To shun the first and last Ordaining that thy small stock find no Or to exceed thy tether's But to live round. let But lost to one. extreme. my Wicks. Paying but common thanks for it. soon OR ADVISIVE VERSE to as 68 break day thy doth sleep. And eat with thee a savoury bit. and free door I may a Poet come. be th' other's And as there is one love. may *59* TO HIS PECULIAR FRIEND. be thee. MR JOHN WICKS Is To this rise a as life. that thou hast one. TO HIS FRIEND. ye Nor fear. To whose glad threshold. death: troth. I'd be One that should drop his beads for thee. pleasure. and wisely To thine own self. in my depth of grief. *60* A PARANAETICALL. I'd rather hungry go and come Than to thy house be burdensome.
And we glide hence away with them: No sound recalls the hours once fled. the man alone public admiration. sing and play. As is that air that circles thee. Whose life with care is overcast. and to endear Those minutes Time has lent us here. Not knowing this. and nuptial bed. as men who know. And thus less last. Both to be blended in the urn. Some few sands spent. That man's not said to live. and let thy good days pass. or melted frost. than live our day. sweat. t' adulce man's miseries? --No. seven years to tell. And turn the iron age to gold. Then. live thou free. that Jove decrees Some mirth. --Time steals away like to a stream. --This is to live. when we are lost. 'tis a life to have thine oil Without extortion from thy soil. that by thy side Lies softly panting like a bride. Or roses.To tire thy patient ox or ass By noon. but last. not thy own self. Let's feast and frolic. Like to a dew. From whence there's never a return. yet of influence. . *61* TO HIS HONOURED MR CHARLES COTTON For Words Thou Worthy Who brave fully art that with thine AND MOST INGENIOUS FRIEND comportment. And that we'll do. To have thy mind. --Then live we mirthful while we should. my friend. and let Thy servant. yet little pain. men. man of the own eyes 69 wit without offence. while fates suffer. read'st what we do write. Thy faithful fields to yield thee grain. But for to live that half seven well. To strut thy barns with sheaves of wheat. And crown thy temples too. Nor is't a life. Nor us. we hence must go. flowing. being withered. With fears and cares uncumbered A pleasing wife. Although with some.
or wring free-born nostril of the King. or not. as to be loved of thee:-Long may I live so. what symmetry below. these. closet plot or open vent. the fired chestnuts leap 70 . send instead of New-year's gift. than thy praise. noise of late spawn'd tittyries. of pease and beans. Tell'st when a verse springs high. Not so much known. ye make those merry scenes. us in cups full crown'd. through the young maids and the men. and of the care young men have to shoe the Mare. *62* A NEW SENT TO SIR SIMEON STEWARD No No No That No To No The We Verse That That Of That Of That Of Wherewith Whenas And Of Husbands Of A Of We --Read With Remember And Quite To Until YEAR'S GIFT.And giv'st our numbers euphony and weight. after Fox-i'-th'-hole. how understood To be. my Charles. let our city-health go round. crackling laurel. ye chuse your king and queen. the ninth number. Christmas sports. and my wreath of bays Be less another's laurel. cry out. 'Hey for our town green!'-ash-heaps. and such like things. if not ten. read by th' stars the kingdom's sick. news of navies burnt at seas. it is my pride to be. frights men with a Parliament: new device or late-found trick. tells of winter's tales and mirth milk-maids make about the hearth. the wassail-bowl. born of the royal blood What state above. send to you. in the which ye use and wives by streaks to chuse. Lines have. then. twelf-tide cakes. and when your faces shine buxom meat and cap'ring wine. or should have. but here a jolly crown'd with ivy and with holly. Blind-man-buff. gin to catch the State. for shift. which fore-sounds plenteous harvest to your grounds. toss'd up. thou the best can show:-For which.
fires. your cares. carouse. year. wine sit. the week. crown'd. divine. *63* AN ODE TO SIR CLIPSBY CREW Here we The And By which As And rage inspires. In And The thus we wine make month. and lay The year. To praise his verse. year. said. Thus. weariness. live. securely cream keep we live. plays. Decembers. that are t' As daughters to the instant Sit crown'd with rose-buds. do If full. Throughout.-embers. address. that's fled and And let the russet swains the And harrow hang up resting And to the bag-pipe all Till sleep takes place of And thus throughout. of eternal and and eat meat. the we then frantic raise call upon Thyrse: shout a Horace to both to or the swell'd and be read. Of lyric wine. Around We quaff to him. with Christmas Frolic the full twelve holy-days. reap. appear. we Anacreon To grace And having drunk. house upon gone: plough now. cup up. and Till LIBER PATER twirls the About your ears. day . 71 and and spend frolic the the instant hours flowers.For joy to see the fruits ye From the plump chalice and the That tempts till it be tossed Then as ye sit about your Call not to mind those fled But think on these. the charm. brim. Then cause we Which sung A goblet.
few:-heart part *64* A PANEGYRIC TO SIR LEWIS PEMBERTON Till I shall come again. and there stay To sun his thin-clad members. Invites to supper him who dines: Where laden spits. Sir friend. pray go 'You to some other chimney. Wherein And Which love And Shall fetter you. 'You've fared well. Take horse. I send my salt. younglings. To the worn threshold. and as far As to thy Genius and thy Lar. but give relief To the lank stranger and the sour swain.To The longer here. For thou no porter keep'st who strikes. is:-this and send but shall come. 'And with our broth and bread and bits. which in The wholesome savour of thy mighty chines. my sacrifice To thee. Where both may feed and come again. ye know. brave my and Knight. porch. yirk'd with corns. parlour. in think I or your be numbers have so the kind mind. 'Two days you've larded here. each may Take friendly morsels. is scourged with taunts Of some rough groom. thy lady. warp'd with large ribs of beef. hall. let this suffice. To Though And I Or Of Clipsby Crew. --Come then. says. who. No comer to thy roof his guest-rite wants. I and enchantments noble see the stay freedom cell dwell. Not represent. Or. 'Makes guests and fish smell strong. if he likes. kitchen. But from thy warm love-hatching gates. too. and there take 72 . The fat-fed smoking temple. For no black-bearded Vigil from thy door Beats with a button'd-staff the poor. 'Sir. a third. staying there. 'You've dipp'd too long i' th' vinegar. pray make an end.
thy son. not a dish more known To thee. 'Manners knows distance. But all who at thy table seated are. thy bread. Jove. Thy house. thy jocund beer Is not reserved for Trebius here. while the salt.'--No. rail. thou thy gate Early sets ope to feast. Which fain would waste upon thy cates. and so will run A course in thy fame's pledge. When checked by the butler's look. and late. or a knife that bites Skin-deep into the pork. the appetite. thy veals. waiting at the bashful board. or lights Upon some part of kid. the wit. thy wine. No. and thy choicest viands. like to that hospitable god. reeve. joy'st when guests make their abode To eat thy bullocks thighs. and a man unrude 'Would soon recoil. And by the arms-full. and never grudged at. The pheasant. As the old race of mankind did. Thou dost redeem those times: and what was lost Of ancient honesty. can show No such crabb'd vizard: Thou hast learnt thy train With heart and hand to entertain. and graces it. may boast It keeps a growth in thee. and not intrude 'His stomach to a second meal. no. While Reverence. gotwit. like a Roman Tribune. partridge. the curlew. These. than unto any one: But as thy meat. Honours my lady and my lord. Thus. thy fat Wethers. with a breast unhid. ruff. When either's heart. no.'Essay of other giblets. And spring fresh rose-buds. make 'Merry at another's hearth. No scurril jest. equal fare. no open scene is laid 73 . And thou. Find equal freedom. and the quail. as if mistook. The cock. Keeping no currish waiter to affright. do extend Their tastes unto the lower end Of thy glad table. and either's hand did strive To be the nearer relative. Flows from the wine. but that The trencher creature marketh what Best and more suppling piece he cuts. and by Some private pinch tells dangers nigh. so thy immortal wine Makes the smirk face of each to shine. well fed and taught. With blasting eye. you're here 'Welcome as thunder to our beer. A hand too desp'rate.
When what is strongly built. thus devoting wine. and hast read All oeconomics. Safe stand thy walls. these last may yield. But temp'rate mirth dealt forth. but not their ever. As the Canary isles were thine. no piece Was rear'd up by the poor-man's fleece. virtue's hand It is which builds 'gainst fate to stand. Virtue dies when foes Are wanting to her exercise. Which tries. And adds perfumes unto the wine. on the iron and rock. and thee. whose firm foundations trust Is more in thee than in her dust. or bath[e] in asses' milk. No widow's tenement was rack'd to gild Or fret thy cieling. know'st to lead A house-dance neatly. Or depth. courtship. or has cause to cry Repentance to his liberty. than allow By cruse and measure. and so both will. since no stud. Such is thy house. ethics. What gesture. to anoint the silkSoft skin. which thou Dost rather pour forth. served to set The pillars up of lasting jet. and canst truly show How far a figure ought to go. as No one that's there his guilty glass Drinks of distemper. With those thy primitive decrees. by her own power And well-laid bottom. and by vexation grows The stronger. and counter-stands the shock And ram of time. Or in the damp jet read their tears. For which their cries might beat against thine ears. For these. No plank from hallow'd altar does appeal 74 . comeliness agrees. or to build A sweating-closet. and what pace Can give. and so discreetLy. great And large she spreads by dust and sweat.Here. Forward or backward. no stone. Goodness and greatness. and proof What Genii support thy roof. Since neither's height was raised by th'ill Of others. that it makes the meat more sweet. thou know'st orders. To give subsistence to thy house. no chink Or yawning rupture can the same devour. No orphan's pittance. left him. and marbles have their whiles To last. side-ward. and yearly shrink. But fix'd it stands. and what retract a grace. No. not the oaken piles. for to make the face afraid. But with that wisdom and that method. but.
But stay the time till we have bade good-night. dies. shook hands. 75 . wherein thy dust is laid. for I'll keep none To warm my breast. take not so soon thy flight. Then. which three-score lustres The proud dictator of the state-like I mean the sovereign of all plants. *66* TO HIS DYING BROTHER. art gone. my pulse. Let us not then so rudely henceforth go Till we have wept. a harmless shade. they find them all in thee. see *65* ALL THINGS DECAY AND DIE All things decay with time: The forest The growth and down-fall of her aged That timber tall. There's pain in parting. About this urn. Thou hast both wind and tide with thee. thy way As soon dispatch'd is by the night as day. seal even heaven. I will bequeath my heart Into thy loving hands. as just men A thousand times more swear. MASTER WILLIAM HERRICK Life of my life. as nothing here shall be Heavy. but all things Make for thy peace. sees trees. Pay we our vows and go. oak. What? shall we two our endless leaves take here Without a sad look. the Droops. stood wood. who Teach men to keep a God in And when wise poets shall search out to Good men. or does A curse to thee. or so. No. or a solemn tear? He knows not love that hath not this truth proved. and falls without the cleaver's stroke. kiss'd. and a kind of hell When once true lovers take their last farewell. sigh'd. may say can man. and pace to --Go on directly so. even then. To guard it so.To yond' Star-chamber. when thou. Love is most loth to leave the thing beloved. or thine. than This is that princely Pemberton. to hurt those sacred seeds of thee. here I'll last. yet when we part. and walk.
made. The pleasing Must all be To Save only --A Looks forward. see to their lost. blend seed. And moons But they fill But Like to a Ne'er can His days to see a second spring. short. cypress-tree! mind behind. decreed. buried. life ere to long us a is tend. my And here enjoy our holiday. again. bring must. shade. and sacred infernal rich and thither Tullus Jove be song. or Can keep the wrinkle from the But we must As fate does lead or draw us. left. are us we is roses for then. could e'er The doom of cruel Proserpine. the no house. Posthumus. when dead. can. Let's live. or and the ebbs ne'er these seas. wane. none. times. man. wife. we may. follow the merry scorns Wickes. since Let's make it full up by our sport. We've seen the Will ne'er return. left while the plant fly piety. None. Crown And We The Then we 'noint world live our with two past we best up vanish'd lily repullulate. one curst what's then. on. decline ground found thee. free . OF Ah. heads Tyrian with 76 with balm. HIS UNDER PECULIAR THE NAME AGE: FRIEND. Posthumus! our years hence And leave no sound: nor Or prayers. But on we Where Ancus Their Thus has We must Ere long a Why then. vow brow.*67* HIS DEDICATED MR JOHN POSTUMUS TO WICKES.
As is the Our own fair Day with the white and lucky stone.
We are not poor, although we No roofs of cedar, nor our Baiae, nor Account of such a flock of Nor bullocks To lard the shambles; barbels To kiss our hands; nor do we For Pollio's lampreys in our dish. If we can Both by And have Although not And From that We'll eat our As we were lords of all the earth. meet, a arch'd, cieling bean cheap with and shining our yet so
have brave keep sheep; fed bred wish
confer, salt-cellar, roof, weather-proof, free, candle-baudery; full mirth
Well, then, on what seas we Our comfort is, we can't Let the winds Our bark, yet she will Amidst the 'Tis constancy, my Wickes, The pinnace up; which, though I' th' seas, she saves her passengers. Say, we must Us both i' Can we Stray, to Than we No, no, that Which made us Or ravel so, to make us two. Live in When I Of My locks When The cough, Unto an The ages fled, I'll call again, thy am time, behung with the almost part; th' become self-same one, are heart, shall sea, so less sweet
are be keep which she
tost, lost. drive alive deeps; keeps errs
bless wilderness! far circular now? vow undo,
peace; bruised with pthisic,
as on and frost the I nothing;
for the and
myself, shelf show snow; rheum, consume then,
And with a Lame and bad While My old lean And so By th' fire, And weather Now old enough to be our own
tear times Baucis wife, foretelling by
compare with shall we'll snow our those kiss
these are it and
last past, by, dry; sit slit grown
True calendars, Wash'd o'er 's, to Then The gripings of I'll call Iulus to sing I made upon And of her blush at such a feast. Then shall he Enclosed within A A piece then For In me a Than that Which crept into each aged sire read
as tell to the what chine my such my
puss's change by a Julia's
ear near; assuage age, young song breast,
a primrose of to more
flower crystal a higher
mine shrine; next; text; beget heat, fire
When the fair Helen from Shot forth her loving At which I'll Mine aged limbs above And hearing Flutter and crow, as in Of fresh concupiscence, 'No lust there's like to Poetry.' Thus frantic, crazy I'll call to mind And oft Repeat the times that Thus ripe And twisting my Doting, I'll weep and Baucis, these were my sins of youth.' Then If To Lar Then next a thus I'Il cause wild apple crown conspiring to
my a and
eyes sorceries; rear chair; it, fit cry,
man, things I with Iulus' say,
wot, half-forgot; between seen; tears, hairs, truth,
my can the with
hopeful be our
lad, had, hearth; mirth; infuse
Our browner Which, sweetly Unto the Genius of the house.
Then the next health Loving the brave High sons Whose fortunes I Such as Bear up the magic And dancing 'bout Give up the just applause to verse;
friends of Burgundian of have frolick'd could bough and the mystic
mine. wine, pith, with; well spell; Thyrse,
To those, and then again We'll drink, my Wickes, until Plump as the Though not so fresh, yet full As the The untamed heifer, or Until our tongues shall tell We're younger by a score of years. Thus, till we From th' embers We'll still Sphering about To all Which gave me The coal once Far more than night bewearied. see than the honour spent, those for we'll then the the sit fire
to we as the our
thee, be cherry, merry cricket, pricket, ears,
less kitling's wassail my to
shine eyne, up, cup, times rhymes; bed,
THE BAD SEASON MAKES THE POET SAD Dull My Lost Puts Sick More But And If As I In and almost dead to these, fresh and fragrant mistresses; to all music now, since every thing on the semblance here of sorrowing. is the land to th' heart; and doth endure dangerous faintings by her desperate cure. if that golden age would come again, Charles here rule, as he before did reign; smooth and unperplex'd the seasons were, when the sweet Maria lived here; should delight to have my curls half drown'd Tyrian dews, and head with roses crown'd: many
*69* ON HIMSELF A wearied pilgrim I have wander'd Twice five-and-twenty. not. tell. fear here. Knock at a star with my exalted head. ere I am laid out dead. and be to my bed and two. was made thee my then.And once more yet. but last. mould. 'tis But yet those years that I have lived. have grave. rest. one hugging close. Lust Where As And Or Here. From And Do The who art the wine all I've grace. laws . men who Their ends for pleasure. sheet. rest. intend End. opprest. well: he three: cast *70* HIS WINDING-SHEET Come Of The Piece Thou The And Thee. meet. and the did to chaste will not or prisoners his wit writ. year. as reliques left. be free. and what was made. but Of all those three-score has not lived half He lives who lives to virtue. forgot. but Who by his gray hairs doth his lustres Lives not those years. here. best rest. side bride. true few. but he that lives them One man has reach'd his sixty years. Come Both We One And. bate me but one Long I have lasted in this world. the glory. long here find wronged client ends 80 thou. we need entering all desires are dead is the all affections are trouble here the slaves and shackles weeping widows. do not live. and of the art of what I All. cold.
lie. keep. mould here. conceal'd. was to in to that I know. peace. engrost. and all i'th' we here to fear the court or bears no sway o'er all are securer place we'll lull'd a little time we'll robes laid another day but not old testaments up. reveal'd year. *71* ANACREONTIC Born I And for After that. in be the to die the lie day be old. just dust. . tombs *72* TO LAURELS A Or funeral I 81 verse. kings. lost. Or like Lock'd And for To Next. Request best. And all Or Here needs Where All wise. covet stone none. Alike Nor need Of Where fortune There In this As Or for As To be Turn'd. and long suits or his of Chancery Star-chamber bills do hold their no court for our all are all equal. re-worn. lie die.Here. cease. by. bousing. at And then meet here. here. comes. not a-while lie here be that great Platonic cause. Long for But before Still For I There's no carousing. things. torn. frown crown. asleep. Here those Quiet.
lost under to this myself. *73* ON HIMSELF Weep for the dead. For epitaph. only I springing being from perpetual to call'd may my a crave have grave: seen green. HERE. *74* ON HIMSELF Lost to the world. let With leaves and moss-work And while the wood-nymphs Sing thou my dirge.But Of you that A sacred laurel Which Blest with May grow Not so much As the eternal monument of me. be tree. or make Who writ for many. in foliage. cold corpse inter. night. yield. marble alone stone. heard and seen of none. sweet-warbling chorister! next write this: THE OLIVE BRANCH Sadly To I see what walk'd comfort 82 within it the would field. Or mourn. BENEDICTE. And weep for me. *75* TO ROBIN RED-BREAST Laid out for dead. HERE THE TOMB OF ROBIN HERRICK IS! *76* thy for my last kindness be to cover me. me. for lost a they have lost this in an endless marble verse for light. . Here now I rest In depth of silence.
and A divination That in short time my And love shall crown my end with peace. sands hands. shore. this shall way. be me. Be. whose each tree relique of a saint doth for some sweet-heart's sake. my made view'd said let unto woes private me a it. oar. OR END OF LIFE If after rude and boisterous My wearied pinnace here finds If so it be I've gain'd the With safety of a faithful If having run my barque on Ye see the aged vessel What's to be done? but on the Ye dance and sing. lay.And as I went An olive-branch before And seeing it. come martyrdom! knows. and Kissing the omen. and their wounded hearts. but (we It is the last commends the Play. crown'd. give way to me. cease. prove Love:-saints complaints. did fire and martyrdom of is the legend of those died for love. stay. and names we upon the leaves and way. then Amen. Love to be canonized 'mongst 83 here wear. those . and now clap --The first act's doubtful. find rind. *77* THE PLAUDITE. ground. I And took it up. * seas ease. say) AMORES *78* TO GROVES Ye Some Who The Here That Their Encarved Give Scorch'd And As silent shades. be it so. who with the self-same have deserved as much.
--By all those virgins' fillets hung Upon! your boughs. By all those tears that have been shed. said I. By all those true-love knots. There thou shalt find her lip and cheek. There thou shalt have her curious eye. To make of parts an union. know'st thou not this? In every thing that's sweet she is. There waves the streamer of her blood. said I. said Love. Like those short sweets here knit together. By sweet Saint Phillis! pity me. At which I stopp'd.--here admit Among your myrtles to be writ. In that enamell'd pansy by. 84 . For as these flowers.Whose deeds and deaths here written are Within your Greeny-kalendar. Me. Here honour'd still with frankincense. Said Love. me forsaken. Where I may find my Shepherdess? --Thou fool. these be The true resemblances of thee. and requiems sung For saints and souls departed hence. --'Tis true. thy joys must die. LOST SHEPHERDESS UNDER THE NAME OF THE Among the myrtles as I walk'd Love and my sighs thus intertalk'd: Tell me. In bloom of peach and rose's bud. that be With mottoes carved on every tree. That my poor name may have the glory To live remember'd in your story. And all thy hopes of her must wither. By dear Saint Iphis! and the rest Of all those other saints now blest. in deep distress. And in the turning of an eye. But on a sudden all were gone. As a drink-offering to the dead. ** AMORES ** *79* MRS ELIZ: WHEELER. In yond' carnation go and seek. and thereupon I went to pluck them one by one.
flows clothes! see free. in no brought. *82* UPON JULIA'S CLOTHES Whenas in silks Till. vial a drank. contemn.--since I have. think my crystal enchased earthen I with cups pearls. methinks. prize. do. that the I did do drink. I.*80* A VOW TO VENUS Happily Of my Make her And I'll roses give to thee! I dearest this had dear day smile a last on sight night. it: thought the soon so. contain O Cupid! threshold. *81* UPON LOVE A crystal Which had Of which who Of Love he should admit. Give me The Which. My For all Thou still wilt cozen me. or come I else not can to see. me. then. That liquefaction Next. again. though A deadly draught in them. when I cast That brave vibration O how that glittering taketh me! 85 my how of mine each Julia sweetly her eyes. greedy of And emptied Which burnt me The fire of hell it was. . And thou. Cupid juice he said. and way goes. glass.
and Diamond. Opal. Made of the Ruby. There plays the Sapphire with the Chrysolite. for thy Queen-ship on thy head is set Of flowers a sweet commingled coronet. I would not so. A golden ring. In each thy dainty and peculiar part! First.*83* THE BRACELET TO JULIA Why I tie about thy Julia. part art? heart. Between thy breasts. wrist. waist. love. go. that shines upon thy thumb. About thy neck a carkanet is bound. *85* TO JULIA How rich and pleasing thou. No part besides must of thyself be known. 86 . than down of swans more white. About thy wrist the rich Dardanium. me. and fast bound That from thee I cannot If I could. Pearl. But by the Topaz. art. free. Calcedon. 'tis that Wherein all pleasures of the world are wove. my Julia. *84* UPON JULIA'S RIBBON As shews the air when with So smiles that ribbon 'bout Or like----Nay. a my Zonulet rain-bow Julia's of graced. thee. twist? is't. this my silken For what other reason But to shew thee how in Thou my pretty captive But thy bond-slave is my 'Tis but silk that bindeth Knap the thread and thou art But 'tis otherwise with I am bound. so.
mine eye and heart Dotes less on nature than on art. *87* HER BED See'st thou that Plump. when those lawny films I see Play with a wild civility. and 'Tis Julia's bed. cloud swelling as silver every clear. or True-love tie. And all those airy silks to flow. soft. and tempting so-I must confess. there . and she sleeps there. where: girl. Then. Next. Alluring me. or round. AND THE QUARRY OF PEARLS Some ask'd me where the Rubies And nothing I did But with my finger pointed The lips of Some ask'd how Pearls did grow. and the top-gallant too. Which. like a pinnacle. When I behold another grace In the ascent of curious lace. where? *88* THE ROCK OF RUBIES. 87 grew: say. And when I see that other dress Of flowers set in comeliness. doth shew The top.*86* ART ABOVE NATURE: TO JULIA When I behold a forest spread With silken trees upon thy head. Can tell by tongue. And knit in knots far more than I. and Then spoke I to my To part her lips. square. when I see thy tresses bound Into an oval. to Julia. and shew me The quarrelets of Pearl.
or hang the head. her lips. Now strength. too. do now appear As beams of coral. was Over the which a Of tiffany. Ye roses almost withered. droop no more. or Then in that Parly Voted the Rose the But so. O primroses! let this day be A resurrection unto ye. drawn lawn. be in for the spotless state was cob-web all those Queen of herself should *90* UPON JULIA'S RECOVERY Droop. And to all flowers allied in blood. but more clear. beams . *91* UPON JULIA'S HAIR FILLED WITH DEW Dew And Like With Or As sate leaves glitter'd when 88 on spangled that trembling to the Julia's laden my hair. and newer purple get. sight. For health on Julia's cheek hath shed Claret and cream commingled. as that The Maid of Honour unto thee. rest breast.*89* THE PARLIAMENT OF ROSES TO JULIA I dreamt the Roses To meet and The place for these. powers flowers. And those. Each here declining violet. are dew. Of flowers. Or sworn to that sweet sisterhood. one sit and thy time went Parliament.
Have Danced by the streams.
CHERRY RIPE Cherry-ripe, ripe, Full and fair ones; If so be you They do grow? Where my Julia's There's the land, Whose plantations All the year where cherries grow. ripe, come, ask I lips or fully I and me answer, do cry, buy: where there smile;-cherry-isle; show
THE CAPTIVE BEE; OR, THE LITTLE FILCHER As Julia once a-slumb'ring lay, It chanced a bee did fly that way, After a dew, or dew-like shower, To tipple freely in a flower; For some rich flower, he took the lip Of Julia, and began to sip; But when he felt he suck'd from thence Honey, and in the quintessence, He drank so much he scarce could stir; So Julia took the pilferer. And thus surprised, as filchers use, He thus began himself t'excuse: 'Sweet lady-flower, I never brought Hither the least one thieving thought; But taking those rare lips of yours For some fresh, fragrant, luscious flowers, I thought I might there take a taste, Where so much sirup ran at waste. Besides, know this, I never sting The flower that gives me nourishing; But with a kiss, or thanks, do pay For honey that I bear away.' --This said, he laid his little scrip Of honey 'fore her ladyship, And told her, as some tears did fall,
That, that he took, and At which she smiled, and And take his bag; but When next he came He should from her Honey enough to fill his hive.
that was bade him thus much a-pilfering full lips
all. go know, so, derive
UPON ROSES Under a lawn, than skies more Some ruffled Roses nestling And snugging there, they seem'd to As in a flowery They blush'd, and look'd more fresh than Quickened of late by pearly And all, because they were But of the heat of Julia's Which, as a warm and moisten'd Gave them their ever-flourishing. clear, were, lie nunnery; flowers showers; possest breast, spring,
HOW HIS SOUL CAME ENSNARED My soul would one day go and For roses, and in Julia's A richess of those sweets she As in another But gathering roses as she Not knowing what would come to it chanced a ringlet of her Caught my poor soul, as in a Which ever since has been in --Yet freedom she enjoys withal. seek cheek found, Rosamond; was, pass, hair snare; thrall;
UPON JULIA'S VOICE When I'll I wish I thy singing might
next turn all
To drink-in As blessed Then melted Entranced, And by Die, and be turn'd into a Lute.
notes souls down, and thy
and can't there music
numbers, hear too let me lost strucken
such much lie confusedly; mute,
THE NIGHT PIECE: TO JULIA Her eyes the The shooting And the Whose little Like the sparks of fire, befriend thee. No Will-o'th'-Wisp Nor snake or But on, Not making Since ghost there's none to affright thee. Let not What though The stars Will lend Like tapers clear, without number. Then, Julia, Thus, thus And when Thy My soul I'll pour into thee. the the of thee glow-worm lend stars attend elves eyes thee, thee; also, glow
mis-light slow-worm thy a
thee, thee; way, stay,
thee does the their
cumber; slumber? night light,
let to I silvery
me come shall
thee, me; meet feet,
HIS COVENANT OR PROTESTATION TO JULIA Why As Hast After I Take, dost if thou a would if thou we not day, come thou wound should heard or back dost
and for an two, and
break oath live distrust
my ever from or with that
heart, part? me, three, thee? vow,
So farewell. but thus I'm half returned before I go.-Give my dead picture one engendering kiss. And go with me to chuse my burial My fates are ended. then close thou up his eyes. and too bold. That my wing'd ship may meet no Remora.-win sin. spangled roses dried thy much now:-tear. And look upon our dreadful passages. Will from all dangers re-deliver me. For one drink-offering poured out by thee. ear. know. Work that to life. room: dies. Those deities which circum-walk the seas. dearest Julia. But yet for love's-sake. when thy Herrick Clasp thou his book. to unsluice a tear. *100* HIS LAST REQUEST TO JULIA I have been wanton. there. my Julia. Devoutly to thy Closet-gods then pray. Julia! he doth Grace with the gods who's sorry for his That done. let thy lips do this. and let me ever dwell In thy remembrance. I To chafe o'er-much the virgin's cheek or Beg for my pardon. Mercy and Truth live with thee! and forbear. before door. Julia. come.This second protestation Upon thy cheek that Which sits as dew of That tear shall scarce be I'll kiss the threshold of Then weep not. *101* THE TRANSFIGURATION 92 .-- *99* HIS SAILING FROM JULIA When that day comes. whose evening says I'm gone Unto that watery desolation. fear. Sweet. In my short absence.
*103* UPON LOVE 93 . Still I write a sweet-heart down. here. with to human incorrupted sight light. rough. Locks incurl'd I shall find enchantment there. I put am on gone Thou. I Julia. Be she So my She's to me most excellent. or fancy be be she rent. whole. sluttish. Be she When I For to let affection in. Be she Be she I'm a man for every scene. or be be she she lean. fat. or of does other she wear hair. clothing as.Immortal So soon To mine eternal mansion. frown. be. when refulgent thou art set thronelet. In thy That shin'st thus in thy counterfeit! text-indent: 24px. content. or I smooth then of skin. clean. *102* LOVE DISLIKES NOTHING Whatsoever Rich or --'Tis a mistress unto me. thou art Clothed all --But yet how more admir'dly bright Wilt thou appear. or or fair does or she brown. thing poor I although it see. begin Be she bald. touch. Be my girl Does she smile.
There's still more cause why I the more should love. but a the javelin see thee fretful suck'd yesterday bee. and I and not admire smile desire composed unkind stories of will gentle to be mould. limb diffused thence unfamiliar excellence. shall else me. . my shall who grief we must be be still'd? find kill'd *104* TO DIANEME I could Stung by And I And heal'd the wound in thee. the But every line and A fair and So that the more I look.I held Love's But so The cruel And forthwith came to me. brings As Love shall How thou To see me To staunch the blood the while. the more I prove o'er. away. told *105* TO PERENNA When I thy parts run In any one. Art so What dismal Of those that cruel be! help canst bleed. poor salve and which stings breast. be. sit me. A thousand I have Yet ne'er My passions any rest. me. forsake. If thou. 94 I can't espy least indecency. Ai me! how Or where One like to For being too-too-kind? head it pain while chanced did it to his did ache. thorns. in can see and my that briars.
give 95 . thine. Protestant love. and to and I will I will live be. Of my Only to That lately kissed thee. or a send pity. to me live. just. [won] me. shew but part that if with thou thou art dost neither. Covet not Resolve to Why! yet to Take me and mine together. me now loving kindly incline part. When I a To take away And to retain thy own? For shame To play Either to Or give me back my heart. *107* TO ELECTRA I dare I dare Lest having I might grow proud the while. air *108* TO ANTHEA. heart that is had heart it in one.*106* TO OENONE. from thee. the desire kiss utmost shall that share be. What conscience. No. this. ask beg or a a kiss. no. WHO MAY COMMAND HIM ANY THING Bid me Thy Or bid A loving heart to thee. not not that. both. say. smile.
me. Bid that To Or bid And't shall do so for thee. part. free find. --Thou art my The very And hast To live and die for thee. dare my of love. heart honour it soft. it. *109* ANTHEA'S RETRACTATION Anthea laugh'd. me. mistress pleaseth or with or from be. tree. keep Bid me despair. stay. pleased still. to die for thee. I'm my she or be thing stand. see. walk. . E'en death. let posture let is or or her her's. sit. her *110* LOVE LIGHTLY PLEASED Let Or Or The Or Graceful fair low. Under that Or bid me die. and. away. life. eyes command and cypress and I I'll will despair.A heart as A heart As in the That heart I'll give to thee. her tongue every 96 foul tall. to weep. fearing lest Might stretch the cords of civil She with a dainty blush rebuked And call'd each line back to his rule and space. Bid me While I And having A heart to weep for thee. and eyes yet I I will to will weep. stir her. as whole a sound world heart and thou as canst kind. of every my heart. excess comeliness face. and thy languish it quite will stay decree. have none.
restore two- *112* UPON HER EYES Clear Like Discovering A That Like an Intelligence. pretty snails out. thence there sphere. be. *114* UPON A DELAYING LADY 97 . *113* UPON HER FEET Her Like A little As if Did soon draw in again. her grant. they played did and at feet creep then. or else deny. Bo-peep. are purest from baby turns each her eyes.Or let My love will fit each history. one kiss. me no so you enrich that one. skies. *111* TO DIANEME Give And If Makes To I'll For Thousand score. more: this poor you.
but way. If My The You Or To frost. they. lily will not long the snow continue rose. one both these lady-flowers you must fade as well as it may chance that love may like to mine. turn. grow *115* THE CRUEL MAID --AND. and trouble you no more.Come. dead. tell. where you shall never is become of me. day decay. wait. You I'll My What Will Or You Ere What This And --The Nor The See And And And. so. And That When For cruel maid. the violet.--yet me. stay slow. come let I you're will continue me here away go. I A And I Henceforth For needy fate. scorn slave since will at to to I'm not such a be state. be. know this from will in time your fortune to your coyness I will having spoke it once. rate. free. burn do. Or Must Because And --Troth. Farewell. lady. no. or snow. make your heart weep to see't. . you. because I scornful of my love. endure. you spark peeping must shall should I quickly desire glow. go know I die. yet this thing my last vow commends to you shall see that I am pity let a tear be 98 see me. pure. fire blow. shed. there find me out a path to learn some way how to and your name for I go hence. forget ever.
last. o'er me kiss at need not live more tomb to despised READER. who now hates me. me. KNOW. No more. That chiding streams betray small depth below. to please those babies in your eyes. because I can't devise Some sport. creep sleep:-see . since my love is tongueless. So when love speechless is. you That I shall stir or Next hollow out a Me. 'cause I love so much. know me such. or flakes of If you can see that drop of Lost in the wild sea once If you can see how dreams do Into the brain by easy --Then there is hope that you may Her love me once. I must here confess it. come plum. Shall griefs find tongues. The most I love. 99 see tree. the most And write thereon. and this we know. By Love's religion. yet but little sound. *116* TO HIS MISTRESS. and kiss the time away. 'cause I do not play Still with your curls. Now. she doth express A depth in love. or the If you can see the colour Into the blushing pear or If you can see the water To cakes of ice. if any. too. but so. You blame me. cover lover. grow snow. THIS. rain again. if you can The fruit to grow up. LOVE KILL'D THIS MAN. with your mantle Give my cold lips a If twice you kiss. *117* IMPOSSIBILITIES: TO HIS FRIEND My faithful friend. Who speak but little. full casks are ever found To give. TOYING OR TALKING OBJECTING TO HIM NEITHER You say I love not. cast. and that depth bottomless. fear here. when I the least express it.And. Deep waters noiseless are.
thou made bubble of my sighs and tears! In the wild air. mount. like a globe. Then. And. found her out. tempestuous petticoat. thrown a fine distraction. when thou hast roll'd about. And break thyself in shivers on her eye! *119* DELIGHT IN DISORDER A sweet Kindles in A lawn Into An erring Enthrals A cuff Ribbons A winning In the A careless I see Do more Is too precise in every part. Fly. confess shamefacedness:-not Jove all 100 . can be wise and love. My kiss out-went the None is discreet at Himself. fly. lace. in whose tie a wild civility. pass by to take her eye--then glare Like to a dreadful comet in the air: Next.*118* THE BUBBLE: A SONG To my revenge. I of no. wave. and thereby to flow confusedly. or ball of wild-fire. neglectful. which here and there the crimson stomacher. Stoop. dress wantonness. at one time. than when art disorder clothes about the in the a shoulders *120* TO SILVIA Pardon my trespass. like a blasting planet. deserving note. Silvia! bounds times.-bewitch me. and to her desperate fears. shoe-string. when thou dost perceive her fixed sight For thy revenge to be most opposite.
lovely they soft smiling. OR. past. wed. . at last. THREE DAINTY DESTINIES: sisters were and curious them 101 working closely dainty what they ask'd were. kept of what may pris'ners plagues we here the fear I worst. And loving lie in one devoted Thy watch may stand. bed. can be wise. did. remove! *122* BARLEY-BREAK. all scruples hence No man. my minutes fly post No sound calls back the year that once is Then. set. haste. OR.*121* TO SILVIA TO WED Let us. delay. *124* THE PARCAE. stay. maiden-hair. hell. THE ARMILET Three As Of A I. *123* ON A PERFUMED LADY You say you're sweet: Whether that you --From powders and Then we shall smell how sweet you be! how be should sweet perfumes we or keep know no? free. precipitates Away with doubts. my Silvia. we know. let's no longer True love. sweetest Silvia. though late. Armilet. and love. LAST IN HELL We two are last in To be tormented or Alas! if kissing be We'll wish in hell we had been last and first. at one time.
if cut by you. bless sorceress. done. on perfection. the Hecate. spun thereto. pith with. be nunnery. Three forms By all aspects The sober While juice she To make her By Time. I Where the Endless ice. grain. will northern and I winter's once face chuse winds to do endless would in go blow snow.' Destinies me they and me then I not now had 'twas how fine replied how soon all drawn for a 'twas 'tis three? thread me. tods air tinctures the drizzling golden sweets and of that strains. see thee. my In love with none but me.Fair Who told Of life. the Electra! the and that of is wool. that Things to And by your Conjurement of --O. They shew'd And 'I care Or cut. *125* A CONJURATION: TO ELECTRA By those soft With which the By all those That paint By dews and That swell the By all those I'th' flowery By silent nights. be *126* TO SAPHO Sapho. full. best rest. philtres hastens self. there hemisphere. rain. Rather than But a To benumb my hopes and me.-- 102 .
there. came. know. this That when from hence she The outlet then is from the heart. like the soul. Thy But I (If Or Thy O. whole This troubles me. hair air. art. star-like. I do Whether by th'eye. only do beseech thee. see free. last part it now did grief ere fair maids Love's rather me to bid does we thou should me be a hell. no. but I As any other. wear. Nor be you All hearts your Be you not Which wantons Whenas that Sunk from the Will last to When all your world of beauty's gone. same. be not Which. than to make cruelty in thee 103 languish th' . merciful. 'Tis though to Dianeme. ear. proud sparkle proud. well tell. Me. not or it the or every as can does know. or ear. proud with ruby tip be of in that of the which of a you yours. depart. that those their can yet rich love-sick you your soft precious two eyes. *128* TO DIANEME Sweet. captives. as else desir'st that pity by Dianeme. infused with Whether in part 'tis here Or. stone. Yet. where.*127* OF LOVE: A SONNET How Love came in. farewell! go. Or whether with the soul At first. part. frown night whither. tell chronicle) kill still! height. skies. *129* TO DIANEME Dear.
pleasure. come He must To th' Make payment (By this Of Who has a little measure. If Ten For I'll If Unto a million. Me I owe Thou And Will render ten for this. have Julia. let debt kiss me. if By sudden death. thee pay thee lend'st I for the a to to thou will that clear it so rich wilt not a the will say. principal: skin crystalline: choice voice. ease. please. mite. to give And thus devised.--do thou --Bequeath to me one So sup'rabundant joy The executioner of me. kiss! be *130* KISSING USURY Biancha. for the lost.Thus. . Sweet Myrha. of a the and these mistresses:-all. thus to wound. kill thou me but parting shall outright. next. and Electra. of utmost for I his right. this. dainty prime a for heaven-like and lute 104 and lately. guess) happiness *131* UPON THE LOSS OF HIS MISTRESSES I Many Stately Sapho Smooth White. Anthea. not Yet there's a way found. pay one. sum.
for And the graceful With Perilla:--All Only Herrick's For to number Their departures hence. and die. by *132* THE WOUNDED HEART Come. make ache *133* HIS MISTRESS TO HIM AT HIS FAREWELL You may vow I'll not To pay the Which to thy memory stands as As faith can seal it --Take then tribute of my So long as I have To prompt me. there. dart tear. your's can ne'er will your a here think sampler. alone. 105 forget debt due you. . Corinna. it. fears ever never. air. Draw And Not Can Or Yet May This Though That For me. I shall Languish and look.Next. kind lieu. gone. I by see. but thy return see Oh then to lessen my Print thy lips into the So by Means.--that art heart. in My lips shall send a thousand back to you. where. I may kiss thy Whenas some Wind Shall hither waft it:--And. despair. bring in't dropping that make pierce do I your's it it to secret you heart to bleed. this kiss. tears. her use are left sorrow of wit. and with wounded and that any bleed a any this end.
is thou. I: gown. was that though thou the time Anthea. and to Upon thee many a benison. be debility: cry. or say Lucia. fires. Lucia.-hand stand down *135* TO ANTHEA Anthea. I'll A ruin underpropt Don will I then my And when so feeble I As my weak shoulders The burden of a Yet with the bench of When I and they keep With my weak voice I'll Some odes I made Then will I heave my To Jove the mighty. see me. for Thy faithful friend. while thou laugh'st. or thou may'st wax dim. year shall provided my sighing am beadsman's am cannot aged termly sing. begin. see'st not. 106 when the lights withdraw Dearest. going of gates unto thou hence innocence. think upon . thy all must servant: holy-oak.-- I *136* TO ANTHEA Now And Who Under Where. grown bear grasshopper. I am With some small stock But yet those blessed Withstanding entrance To pray for me do The porter then will let me in. of wither'd to pour droop. from him bury me gospel-tree.*134* CRUTCHES Thou see'st me. sires. stoop. I Let crutches then To shore up Then. this Three zodiacs fill'd more.
This I may do. kiss:-bring spring. when I'm there. first cast in salt. when I'm laid by thee. when thou Or. wash my hands and done. come. *138* TO PERlLLA Ah. Though then I smile. Trust me. or cast a frown on you. that tomb have room. no fears more on your fancies fall. let some weekly strewings 107 see thee? come. then wind me in that very wrapt thy smooth limbs. sheet implore before. No spices wanting. yearly lay reliques Sweetest. my dearest Beauties. and with it a lastly. Me. and my gray hairs bid haste away to mine eternal not be long. when thou didst Gods' protection. after I must give thee the supremest when I am. Look ye not wan or colourless for fear. me go'st in shall there procession. for mine honour. Though paleness be the livery that I wear. because I've lost The world so soon. And bring those dew-drink-offerings to my tomb. In which thy sacred For my embalming. but the night me weeping to my turf. Nor shall the tapers. When thence ye see my reverend ghost to rise. there tear: be .Me. as I glide by. or once show The least grim look. And there to lick th' effused sacrifice. Perilla. Or fold mine arms. Age And 'Twill That Dead Part With That Which The Follow Let Then my Perilla! dost thou grieve to day by day. Perilla. and sigh. and in it. I will not hurt ye. and speak no words at all. and of the cream from that religious which. and fall a primrose. perhaps. feet. to steal away from calls me hence. you the most: --Than these. home. this. and loving eye.-Cast on my girls a glance. burn blue. will be *137* TO HIS LOVELY MISTRESSES One night i'th' year.
a wind. some enclosed crystal well shell. Within the virgins coronet. entwine. the maker of this song. shower. You are the But die you As he. stay.Devoted to the Then shall my ghost Still in the cool and silent shades of sleep. not memory walk of about. *140* TO THE VIRGINS. TO MAKE MUCH OF TIME Gather ye Old Time And this same To-morrow will be dying. or Yet lost ere you transfuse your smell. rose-buds is flower while still that smiles ye may: a-flying. all fair maid. but me. ere you distil your wine. Dearest. 108 . and in an hour. You are like In amber. You are Yet wither'd. ere that chaste Can show where you or grew or stood. of That where you grew. scarce man can say. Tulip so short seen a to-day. lovely or ruffling July-flower. blood fair-set love Vine. flowers ere among. Balm. set Queen must. to-day. a ere you full-spread tendrils Rose flesh i'th' and bud. You are a sparkling Yet lost. You are a And can with Yet dried. keep *139* A MEDITATION FOR HIS MISTRESS You are a But. You are Yet one rude Will force you hence. long. dainty can be Violet.
When youth and But being spent. *142* HIS LOSS All has been plunder'd Fortune herself can lay no claim to it. *144* NO MAN WITHOUT MONEY 109 . still succeed the former. from me but my wit: *143* THINGS MORTAL STILL MUTABLE Things are uncertain. run. ** EPIGRAMS ** *141* POSTING TO PRINTING Let others to the Since after death comes glory. and the more we get. worst but may. I'll not haste. not lost coy. prime. lamp higher will of his heaven. Times. marry. printing-press run fast. That age is best. warmer. but once use your go your time. he's race the be Sun. ye which blood the worse. --Then be And while For having You may for ever tarry.The glorious The The sooner And nearer he's to setting. The more on icy pavements we are set. is are the and first. a-getting.
*149* THE DEFINITION OF BEAUTY Beauty no other thing Flash'd out between the middle and extreme. And what we blush to speak. *148* WRITING When words we want.No man such rare If favour or occasion help not him. they that will. this age best pleaseth me! times past: I joy to see *146* WANT Want is a softer This. that. she bids us write. *145* THE PRESENT TIME BEST PLEASETH Praise. Love teacheth to indite. that he can swim. wax. Myself now live. *147* SATISFACTION FOR SUFFERINGS For all our works 'Tis sweet to think on what was hard t'endure. a recompence is sure. than a beam 110 . parts hath. that takes thereon. is. and every base impression.
though they're Above. should it not last a day. sweet.*150* A MEAN IN OUR MEANS Though frankincense the We must not give all Such be our gifts. take thy life away. but laugh. fire. *154* ON LOVE Love's of itself too Is. deities the be require. when love's honey has a dash of gall. here below the sinner's brine. to such hallow'd our *151* MONEY MAKES THE MIRTH When all birds else Money's the still-sweet-singing nightingale! do of their music fail. expense. *153* UPON TEARS Tears. *152* TEARS AND LAUGHTER Knew'st thou one month would Thou'dst weep. the best of all *155* 111 . and As for ourselves to leave some frankincense. they are the Angels' spiced wine.
the best contentment bring. Good wits get more fame by their punishment. they'll find worse foes at home. to live in. Man's fortunes are according to his pains. NO GAINS If little labour. . if there be none *156* PARDONS Those ends in war Whose peace is made up with a pardoning. *159* BURIAL Man may want land Nature finds out some place for burial. error. T' invade from far. truth is only one. little 112 are our gains. *157* TRUTH AND ERROR Twixt truth and Error is fruitful. on with thine intent. but for all *160* NO PAINS.PEACE NOT PERMANENT Great cities seldom rest. there's this difference known *158* WlT PUNISHED PROSPERS MOST Dread not the shackles.
here blitheful while ye may. let's the too. and live The morrow's life too late is. not in the smiling skin. away. Live to-day. ne'er act the winning part 113 . be fatal whirls merry. *165* THE HEART In prayer the lips Without the sweet concurrence of the heart. here that's *164* MIRTH True mirth resides The sweetest solace is to act no sin. must life.*161* TO YOUTH Drink wine. short by made to up be felicity. *162* TO ENJOY THE TIME While fates Pass all And this With the rotation of the day. seems longer than a year. *163* FELICITY QUICK OF FLIGHT Every time seems That's measured But one half-hour With grief. permit we our us. ferry.
ambition Each one by nature loves to be a king. *171* 114 . where late they danced before. Trust to the shore. *170* UPON A PAINTED GENTLEWOMAN Men say you're fair. *169* SAFETY ON THE SHORE What though the sea be calm? Ships have been drown'd. by night we're hurl'd *168* AMBITION In man. WHAT IT IS Love is a circle. and But. each one into a several world. fair ye are. is the common'st thing. hark! we praise the painter now.*166* LOVE. day. not you. 'tis true. by By dreams. that doth restless move *167* DREAMS Here we are all. In the same sweet eternity of Love.
Could life return. Jove will not let *175* MAN'S DYING-PLACE UNCERTAIN Man knows where first Never can tell where shall his landing be. means 115 oft are overthrown. 'twould never lose a day. that come of Than those which come by sweet contingencies. *172* CASUALTIES Good things. but he *176* LOSS FROM THE LEAST Great men by small He's lord of thy life. who contemns his own. far less do please *173* TO LIVE FREELY Let's live in haste. here. if not bought with sweat. more are.UPON WRINKLES Wrinkles no Than beauty turn'd to sourness. use pleasures while we may. *174* NOTHING FREE-COST Nothing comes free-cost His gifts go from him. course. he ships himself. or no less. .
little cannot be content. she *179* PURPOSES No wrath of Can shake No threats of Visage of But what he That he holds firmly to the end. *181* THE WATCH 116 . Art presupposes Prepares the way for man's docility. *178* UPON MAN Man is composed The first of nature. can at rage man's or of the alter first seas. first rich good lent disposition by to no men. intend. of the a twofold next of nature. purposes. with friends t' enjoy our days. here and nature. *180* FOUR THINGS MAKE US HAPPY HERE Health is the A gentle Next. art. to be Lastly.*177* POVERTY AND RICHES Who with a Endures an everlasting punishment. men. grim him. part. then: by-ways. a them doth or just tyrants.
** NATURE AND LIFE ** *184* I CALL AND I CALL I call. wound up at Wound up again. all passions sleep in peace. *182* UPON THE DETRACTER I ask'd thee oft what And lik'st the best? Still --I shall. gone. take Yet. me! do. Once down. ere long. to are. poets thou green thou repli'st. first. *183* ON HlMSELF Live by thy Muse thou Leaving no fame When monarchies trans-shifted Here shall endure thy vast dominion. posterity. and maids. when long others and die. shalt. leave the flowers. or thou wilt envy. he's The watch once down. down then but for do never ever.Man is a watch. all motions The man's pulse stopt. turfs hast The cover'd read. cease. and I'll take you. I call: who do ye The maids to catch this cowslip But since these cowslips fading Troth. *185* THE SUCCESSION OF THE FOUR SWEET MONTHS 117 . dead. if that neither you will Speak but the word. me. with Then sure thou'lt like. call? ball! be. be.
I cannot tell. April. she with mellow Opens the way for early Then after her comes smiling In a more rich and sweet Next enters June. she *186* TO BLOSSOMS Fair pledges Why do Your date But you To blush And go at last. fast? past. are of ye is may stay and a fall not yet fruitful so so here gently tree. glide *187* THE SHOWER OF BLOSSOMS Love Down. or my smell. and More wealth brings in than all those three. they you. July comes. into a bee. ye or to Nature show born half's bid brought your to ye be delight. array. lastly. What. sweets commingled. of hurt or fear. were An hour And so 'Twas pity Merely to And lose you quite. and brings us Gems than those two that went Then. were white and red. a-while. And after Like Into the grave. soon ne'er shown a-while. as I roll'd there. of .First.--they where things so their we have brave: pride. The But As My But Without Love in and blooms with whether sight true a turn'd was it a half that shower drown'd fell such (this) pleased was. May. But you May read Their end. showers flowers. thought himself 118 blossoms came me with the same. more. more before. good-night? forth. lovely how though have leaves. worth. smile.
Kisses and favours But those have thorns. and head. Take thou my blessing And tell her this. still. bind she must longer and my not interwove Love. flowing. I have For to tame. *189* THE FUNERAL RITES OF THE ROSE The And. javelin this there are wounded use lies sweet I a me. among. the her. too. flowers. Say. fretful. her a was sick. *188* TO THE ROSE: SONG Go. solemn sisters dirge and what sweets had spent when prayers 119 trental smelt all perfumes for the . bed.--but Lest a handsome Like a lightning And burn thee up. do from and not anger her go so!-fly eye. kept. while water forth. About The Some To Some But The The But As At Rose being the sweet hung wash laid all holy sacred ah! heaven last. happy With other Tell her. snake.And with his From which mishap Where most sweets are. will. gold. spring. and these have stings. wept. stood sisterhood. be free. everywhere. bring. Rose. sung. to there and be sighing flowery some from while fast some did the others there smiling died. if she's Of pearl and Tell her. Longer That so oft has fetter'd me. if myrtle to she rods I bind have her struggle at bands hands. though not to kill. sanctified. there! dead. as well as I! thus. things.--make.
And rites, They, weeping, And closed her up as in a tomb.
all a lawny
THE BLEEDING OR THE SPRIG OF EGLANTINE GIVEN TO A MAID From this bleeding Take this sprig Which, though sweet Yet the fretful He who plucks the Many thorns to be in love. hand of unto briar sweets, your will shall of
mine, Eglantine: smell, tell, prove
TO CARNATIONS: A SONG Stay while And leave Yet trust The place where I may find ye. Within (Whose Play ye I'm sure to find ye there. ye no me, will, scent I or behind shall go, ye: know
my livery at
Lucia's ye hide or
cheek, wear) seek,
TO PANSIES Ah, Cruel Love! Thy many scorns, and Say, are thy medicines Helps to all others I'll leave thee, and Comforts you'll afford You can ease my What Love could ne'er be brought unto.
must find made but to heart,
I no to to Pansies me and
endure cure? be me? come: some: do
HOW PANSIES OR HEARTS-EASE CAME FIRST Frolic virgins once these Overloving, living Being here their ends Ran for sweet-hearts mad, and Love, in pity of their And their loss in blooming For their restless here-spent Gave them hearts-ease turn'd to flowers. were, here; denied died. tears, years, hours,
WHY FLOWERS CHANGE COLOUR These fresh Once were Turn'd to Colours go and colours come. beauties, virgins, flowers: we sick still can of in prove, love, some,
THE PRIMROSE Ask me why This sweet Infanta Ask me why This Primrose, thus I will whisper The sweets of love are mixt with tears. Ask me why So yellow-green, Ask me why And bending, yet I will What fainting hopes are in a lover. I I send of send bepearl'd to you the to with your here year? you dew? ears,--
this and the it
flower sickly stalk doth answer,--these
does is not
show too? weak break? discover
TO PRIMROSES FILLED WITH MORNING DEW Why do ye weep, sweet babes? can Speak grief in Who were but just as the modest Teem'd her refreshing Alas, you have not known that That mars a Nor felt th' Breath of a blasting Nor are ye worn with Or warp'd as Who think it strange to Such pretty flowers, like to orphans To speak by tears, before ye have a tongue. Speak, whimp'ring younglings, The reason Ye droop Is it for want Or childish Or that ye have not The Or brought From that Sweet-heart, --No, no, this By your Would have this That things of greatest, so Conceived with grief are, and with tears brought forth. and and of seen a to sorrow tears lecture of meanest as make tears you, born morn dew? shower flower, unkind wind, years; we, see, young,
known why weep; sleep, lullaby? yet violet? kiss this? shown shed, read, worth,
TO DAISIES, NOT TO SHUT SO SOON Shut not Has To make Or to seal up the sun. so not a soon; as seizure the yet on the dull-eyed night begun light,
No marigolds No shadows Nor doth the Shine like a spangle here. Stay Her but till
yet great early
are, appear; star
we away the attain'd weep so early-rising his hasting the pray'd together. of *199* TO VIOLETS Welcome. and summer's morning's you. Like to Or as the Ne'er to be found again. You In And wait upon her. die dry rain. decay. graced. dew. having Will go with you along. You haste As yet Has not Stay. day run even-song. She Fresh Yet More sweet than any. . we time as growth or hours the pearls to short to stay. Until the Has But to And. thing. stay. are the so 123 maiden posies. spring. bring Spring. a meet any as do. sun noon.And let Itself to live or die. We As your Away. fair. to see soon. We have short We have As quick a As you. You're And has and you maids do the of honour. the whole world then dispose *198* TO DAFFADILS Fair Daffadils. virgins many.
you Tomb'd in More fair in Than when And had but single grace. An odour More pleasing The lap of Proserpine. stone. neglected. though be placed thus and do respected. She smiling And She look'd By young Favonius. cream in a tincture. divine. *200* THE APRON OF FLOWERS To gather And homeward Within her The treasure of the Spring. was *201* THE LILY IN A CRYSTAL You have beheld When virgins' O'er it And here. --Yet. bring continent. she more than did ever pass. thereto. this. By Ye Poor girls. the 124 but the like sight naked to is. You Nor Without Or Which see dances some draws fine how a hands a see. blush'd. flowers. child Her apron gave. case alone. thus. she lawny Sappha did went. a this it this lily crystal transparent grew smiling have rose drawn cobweb-lawn: shows. as too. by lie.To 'Fore damask roses. . sweetly as she'd and been blushing blushing got with smiled. eye strawberry.
Thus let this crystall'd A rule. rose. see laid end shade. that when the wantoning paler with it. how far Your nakedness must And that no further than Those glaring colours By art's wise hand.More by Than No mixture did admit. --So though you're And have A world Yet. when they A weak. white the of lawns white your as power men and doubtful swan lily to we this cream. hue You see how More gently With some Than when he Into the Where either too Doth all Or set it little forth. More Them. Put purple To glass. snow. Thus lily. hidden pride or 125 . stood. over. blood. cherry. worth impair. amber strokes darts much at through the the conceal'd his radiant boundless light his once streams sight. silks shall flow. all.--then. be teach reach. a soft. delight. when your And that Into a Then will Raise greater fires in men. And strawberry do More love. cloud divide twilight. to move to love. stir transfer beam. from Than if And had But their And tinctures natural. but to They should obey a Lest they too far extend. beams air. discover excellence. grapes and beauty that no own clean they other or they to and naked pride flesh cherries will subtle at and insend commend skin. a broken Than if they should At full their proper Without some scene cast To juggle with the sense. grape.
*202* TO MEADOWS Ye have been Ye have been And ye the Where maids have spent their hours. because you say. been how did bear they come. Your stock. when. it comes to pass. beheld arks and fresh fill'd walks and with have green. we feet see dishevell'd none did here. round. spring. you have but your day! time will come when you shall wear frost and snow upon your hair. You've heard And seen Each virgin. question with your looking-glass. I dare swear. OBJECTING TO HIM HIS GRAY HAIRS Am And Know. that I am gray? Lady. With honeysuckles crown'd. Like unthrifts. And Such And You And But Nor Where Ah! It despised. will be told 126 I . flowers. You have With wicker To kiss The richer cowslips home. though long. any bed to give the shew such a rare carnation grew:then too late. close in your chamber keeping. tread hair having and here needy to spent grown lament *203* TO A GENTLEWOMAN. You're left Your poor estates alone. away them them like in sweetly a a sing. But now. Whose silvery And with Adorn'd this smoother mead. in that sincere crystal seek find no rose-bud in your cheek.
her: pry eye. ye long.That you By those true tears you're weeping. plow brow: eye imply. stir. hairs. flew view. Time. are old. beat heat.-- *204* THE CHANGES: TO CORINNA Be Your You Sometimes You As You Numberless You High. life. ear in but to your sometimes face and comes or doubts. Loathed And Will But As well as I. there did of either to let out Robin flew dead. will furrows in the dimness no other you *205* UPON MRS ELIZ.-away. and your that do less of must be must be come and your of your thing must now incline discipline. flows. not soft have have your have have and are to ere peace. About the arch The lid began At which poor And seeing her not He chirpt for joy. by a soul-melting sleeping. ebbs health hopes. goes. die young. day. strife. fears. disleaved. You And. and thus A Robin-red-breast. Not seeing her Brought leaves and But while he. but all spring's murmurings. old:-told. but these. UNDER THE NAME OF AMARILLIS Sweet Amarillis. 127 . WHEELER. Soft and Slept. to see himself deceived. as pulses passions changes and of or and are proud. thither who at at all to moss to cover perking.
little --No fault in women. dye deny. on vermilion. OR. *207* THE BAG OF THE BEE About the sweet Two Cupids And whose the They vow'd to ask the Gods. *208* THE PRESENT. boldness from thither stript each his came. to The offer which they most would --No fault: in women. flame. them. true it is. THE BAG OF THE BEE: 128 . them. refuse chuse. to How tedious they are in their --No fault in women. when they're nothing When. confess dress. and never fall. eyes.*206* NO FAULT IN WOMEN No fault in women. swells else. bag fell pretty of at prize should a bee odds. Which done. to still When quiet grown She kiss'd and wiped And gave the bag between them. show so. though they But seldom from suspicion --No fault in womankind at If they but slip. Which Venus And for their And taking thence With rods of myrtle whipt them. be free. to lay The tincture of And there to give the cheek a Of white. all. the outside With inward buckram. to make Of largeness. be hearing. where Nature doth --No fault in women. their she'd their wanton seen dove-like cries.
your crystal about whiter of the hands the cup to shall me spring. found. . take. nymphs. kiss *210* HOW SPRINGS CAME FIRST These springs were maidens once that But lost to that they most My story tells. we live. hum. sweet To th' And I shall The water turn'd to wine. loved. glass see do your by you lips that but one this-incline. placed. by Love they Turn'd to these springs which we see The pretty whimpering that they When of the banks their leave they Tells ye but this. they are the In nothing changed but in their name. where in not all one 129 so with is such that least your comely diffused admirable solecism face grace. me. if not. *209* TO THE WATER-NYMPHS DRINKING AT THE FOUNTAIN Reach with Some And I Fresh lilies flourishing. Toll forth my death. pretty pilfering honey-bag from thy sweet dew slyly steal a with mournful bee. approved: were here: make. to my burial come. taste. round. *211* TO THE HANDSOME MISTRESS GRACE POTTER As Touch'd As There is your every that is name. next.Fly to my mistress. And say thou bring'st this When on her lip thou hast Mark if her tongue but If so. see Or else. same.
deity. rooms. others hands 130 will thing so her all likes confess cheerfulness. In While Their no. Keeps line for line with beauty's parallels. me fall all-- I'll fetters they for sit be free. withal. Graces! as when welcoming some I make have am me of temples told old. blubb'ring late did at repents I. fit it! be. wringing pain. and each way to allay my unsmooth know you have the prune. cry. not. too.And as that part. woo. me. ah! too That I To love Since love so much contents me. see. let On me I'll kiss the hand that strikes me. lay day. . I will Now It. as entertain that words wherewith to and successful postures. musical. though not to any wood ye *213* A HYMN TO LOVE I With Love is a That. shall. *212* so every portion else A HYMN TO THE GRACES When I Love I O ye For the Clean my To Give me Suppling Winning Manners Sweetness And For I Vines to And of You can make a Mercury. love. sour behaviour: skill kill. No.
Love I bring ye ANS. love. seen . I bring ye ANS. all: come. leave no pression to be Where'er they met. or parting place has been. do? ye. love. QUES. ye. Love.I'll The wounds of love with singing. Stock I bring ye ANS. Love I bring ye ANS. cakes I come and will no tempt entertain wine. love. QUES. fall. and make no noise at So silently they one to th' other As colours steal into the pear or And air-like. more before *214* UPON BY WAY OF QUESTION AND ANSWER I bring ye ANS. do? *215* LOVERS HOW THEY COME AND PART A Gyges ring they bear about them To be. With And To strike Which I'll Thee and thine altars empty. divine. plum. do? ye. do? ye. love. do? ye. do? ye. love. QUES. QUES. will. thee. love. will QUES. ye. love. and not seen when and where they They tread on clouds. Heat I bring ye ANS. I bring ye ANS. gifts love. and QUES. flowers me done. will QUES. QUES. to kill ye. Stroke I bring ye ANS. Kiss ye. and though they sometimes They fall like dew. Like. ye. 131 still. do? ye. What What to What What to What will What to What What will dislike will strike will be-fool will cool will send will spend will fulfil will love love love love love love love love LOVE: do? ye.
then CHOR. then the now 'tis ear. CHOR. virtue? Do you speaks 2 but your Yes. fed. place race saints? mirth. And here. lullabies. here. 2 Then to the chin. And this Love's sweetest language is. and every where. but never stings. kiss? It is a creature Between the lips. CHOR. It frisks and flies.-kiss. 2 It is an active First to the babies And charms them there CHOR. when she cries. And stills the bride. too.-- flame.*216* THE KISS: A DIALOGUE 1 Among thy What is the 2 I shall resolve ye what it is:-fancies. of with that the flies eyes. on done earth: . the now and born all and desires bred cherry-red. And makes more soft the bridal bed. sings-- *217* COMFORT TO A YOUTH THAT HAD LOST HIS LOVE What When Has Of In She What's In needs she with endless thinks said 132 a the not or complaints. gently and wings. and there. By love and warm CHOR. 2 rare it Ay. say? 2 Part your join'd lips.-- cheek. encolourings. there: near. 1 Has it a body? With thousand And as it flies. 'Tis now far off.-- 1 Has it a speaking 1 How speaks it. thing we tell call me a this. Love honey yields. this.
asleep weep *218* ORPHEUS Orpheus he went. hell. and show but yet full of temptation. he obscurity. softness be endued: it to blush. *219* it poets from was while he dreadful loving did strict look. too. sever A REQUEST TO THE GRACES Ponder Known Let With Teach Demure. smoothness. what is graceless. now. or but lightly please. lisp. upon condition. if so that any be guilty here of incivility. tone groan hears.She Or Of She Nor Or That Wast But She As Thy --Forbear. and rude. And Thy No more. sweetness. here. they have some wanton carriages:-133 my . hell's as or look tell. therefore. discomposed. but This short. that Him and Eurydice for ever. His passage through that Revolve he did his For gentle fear And looking back. there. made shade. sees any thy does think ever changed likes she no deep she on't not did lull woes. thou kind:-above. and tears. mind. love. but Backward he should not Led her through But ah! it happen'd. as To fetch Eurydice And had her. jealousy. Numbers Unless words. eye. to curtsey. ne'er tickle.
that Urge no Daffadils giv'n up to thee. thee? this. please. maid. woo. not kiss so that when and I I a me and I be thee. that Here and there That doth like --Thus a I have now: Having all. in't. a me. when I Taste her lips. there want no a no pleasure to shall more! shore! stint. being This way. please Hercules. Love doth I me.-is. hurry of that fresh this thousand yet way. let graced. me seas drinking no drank more. let Wild are When our There is I have Thee. With love's sirop. but Let me. mistresses alone. each And graceful made by your neat sisterhood. piece will here be good *220* A HYMN TO VENUS AND CUPID Sea-born goddess. overlaid may pray. Kiss the altar. enjoy not one! thou full way. By thy son thus That whene'er I Virgins coy. *222* A HYMN TO BACCHUS Bacchus.This if ye do. up great and 134 drink that has one for cup. be . find unkind. confess *221* TO BACCHUS: A CANTICLE Whither dost Bacchus. In your temple. There's in love no bitterness.
*223* A CANTICLE TO APOLLO Play. hell. And we By listening That sets all ears on fire. lullabies. *225* TO MUSIC: A SONG Music. heaven. As men. the he the God leads very does the play! way spheres. and With thy Fall down. and a-while him Lost in the civil wilderness of That done. TO BECALM A SWEET SICK YOUTH Charms. then let him. As to entrance his pain. thou queen of That strik'st a Thou that tam'st tigers. that call down the moon from out her On this sick youth work your enchantments Bind up his senses with your numbers. turn all to ears! on will to sit thy all thy lute. awake again. here! so woe. keep sleep: pain. rise. care-charming stillness into fierce storms. dispossess'd of Like to a slumbering bride. mute. down. Phoebus. that soul-melting those thy chiming spell. lyre. or cure his Fall gently. Hark. hark! And as Through heaven. spheres *226* SOFT MUSIC 135 . down. as thou enchant'st our ears. from To charm our souls. sphere. gently. *224* TO MUSIC.
itself: but when we sing *229* TO MUSIC.-still. bed. ears tears. weep asleep. asleep. fire. sink down into a silvery And make me smooth as balm and oil again. music most doth wound *227* TO MUSIC Begin to charm. and melt delicious hence easy sick my canst this me I so numbers. kill sweetly a a make make canst it pains 136 convert consuming gentle-licking thus me the same fire. melt me into Then let thy active hand scud o'er thy And make my spirits frantic with the That done. Thou From Into And Then My me thy being in my make Power me quickly thou not that ravish'd. when it doth rather sigh. and as thou strok'st mine With thine enchantment. then 'tis ravishing. lyre. expire. *228* THE VOICE AND VIOL Rare is the voice To th' lute or viol. strain. . sever ill.The mellow touch of The soul. TO BECALM HIS FEVER Charm With That Away Ease And Thou From And Though My fever. than sound. flame. head. go slumbers.
fate. A Melt. FOR HIS HOUSE Lord. Some Make Close And thou little the hast house. as void yet the threshold worn by thither come. Wherein A Is Under Both Where Hast Of Me. bread unflead. to while is my porch. showers. Fall Or Which. kitchen's little buttery. lie dry. Low Both And Is Who Good Like And A A Which Unchipt. little keeps my little brittle by sticks me whose glow of living 137 . strew flowers. on give I. briar fire. as my parlour. ward. hall small. the my soft me this my silent do ease full dew. my chamber set harmless thoughts. roof proof. die me like the baptism melt thy having leave take by like those peep o'er a of maiden day. given. guard keep sleep. flight ** MUSAE GRAVIORES ** *230* A THANKSGIVING TO GOD. get meat. spars soft thou. therein bin. delight. light. I. and words. me think. thereby. live such poor and reposes. it. door poor. dwell. given to whose weather of me humble which and for a watch I is of of th' or so and loaf thorn a coal like of or I I to and my my freely my a cell. With That With I And For Heaven. pains strains. sit.And That May I 'Mongst roses. state.
my Me The while Run All these. drink. hearth mirth.-part.Lord. 138 . be. Of Which of And Makes those. kine wine: send end. Me. heart. other purslain. 'tis That And giv'st Twice Thou mak'st Her Besides. Next to the altar humbly kneel. render. then bring Pure hands. by Thee. confess pulse those placed the thy and be that me to soils me. That I A Which. kindness my my when is bits by and thou I that the hast beloved crown'st guiltless wassail thy for teeming healthful conduits better. thine. pure habits. Crossing thyself come thus to sacrifice. lay day. ten my egg twins the cream. sent. resign. one. First wash thy heart in innocence. I The And all There The worts. thine. dine. pure every thing. fired As --But the My Christ. brink. sweet. content beet. and to should with too. that wholly acceptance. mess water-cress. Thy golden censers fill'd with odours sweet Shall make thy actions with their ends to meet. bear year. sown. hand land. be thee. pure. and thence Give up thy soul in clouds of frankincense. *231* MATINS. OR MORNING PRAYER When with the virgin morning thou dost rise. To 'Tis thou With And giv'st Spiced Lord. thankful more my glittering bowls to the plenty-dropping my my bushel for hen to each ewes to each of my for thou dost this for my I must incense.
make payment. *234* THE BELL-MAN Along With And Thus --Death To To All Scores Wiped Rise. be thou Still with a well prepared Nor let the shackles make thee Thou canst but have what others And this for comfort thou must Times that are ill won't still be Clouds will not ever pour down A sullen day will clear First. To the my the I walk.*232* GOOD PRECEPTS. hear. Shall run as rivers all throughout thy soil. thy field and meads Shall smile and smell the better by thy beads. again. and turn thy ground to gold. fall call: and this and dreadfulness the general whose dismal bar. cream. there clear: many. and wine. then. Would'st thou to sincere silver turn thy mould? --Pray once. any. ye debtors. had. know. peals of thunder we must When lutes and harps shall stroke the ear. possest breast. then. Butter of amber. tell: on session. accounts must come of sins we've made out few. sad. light bell. *233* PRAY AND PROSPER First offer incense. OR COUNSEL In all thy need. and oil. dark lantern tinkling and and of silent my my I call we to here if and I night. twice pray. while 139 . The spangling dew dredged o'er the grass shall be Turn'd all to mell and manna there for thee. so: rain. God knows.
shall then No joy to thee. behold gold. gone. --By the clock 'tis almost One. their sickly lord. and And shed with silver. when content again An In which were As he He shew'd.--and Mine end And so away he flew. on stay. prove to The drawers of the Thy wife. pearl. few. when I am gone: *235* UPON TIME Time The wing. thy children. sands did told near but me hour-glass. pass.-- *236* MEN MIND NO STATE IN SICKNESS That flow of gallants which To kiss thy hand from out the That fleet of lackeys which do Before thy swift Those strong-hoof'd mules. held as ask'd would pay me. fly out he then went. which we Rein'd in with purple. be was to call'd awhile be to upon away. state plate: afford . be axle-tree. and more. 140 approach coach. He A writing. too was. And False man To What God and Nature lent. run postilion. and the Of Persian looms and antique --All these.Ponder this. And I Him but But he'd For aught that I could say.
a groans yet flower is are not hid fled. still. that lightly covers her. of soon little strewings. . a flesh fell eyes but pretty and fast did not bud. peep. asleep? more silent. Whenas your And. pretty child. Those pains it lately felt before. are: place. All now is Your child lies But rather like To spring again another year. dead. *238* declining.*237* LIFE IS THE BODY'S LIGHT Life is the body's light. once Those crimson clouds i' th' cheeks and lips leave Those counter-changed tabbies in the The sun once set. when death comes. *239* UPON A CHILD THAT DIED Here she Lately made Who as As her --Give her The earth. UPON THE DEATH OF HER CHILD Why. all of one colour So. stir *240* UPON A CHILD Here Sung a asleep 141 pretty with baby lies lullabies. asleep. blood. lies. will baby's feels ye now longer lull'd no weep. fresh tinctures lose their And dismal darkness then doth smutch the face. TO THE LADY CREWE. which. here. Madam. shining:air.
but Lightly. fast lies no of such noise a as we keep. debts *242* AN EPITAPH UPON A VIRGIN Here a While all Hush'd be But the Or a Cowslips for her covering. dress pay my your I died. bed in it praise in REQUIEM see was too a ye of spice. lightly o'er the dead. when each evening. such. bring *243* UPON A MAID Here she lies. tomb. silent. here tear. and Her supremest Then depart. solemn all toning sigh of beauty things. asleep. Poets could not Virgins come. much.Pray be Th' easy earth that covers her. and not stir *241* AN EPITAPH UPON A CHILD Virgins promised That they would Duly. Maids. ring sing. primrose-tide come. and here strew violets. paradise. tread *244* THE DIRGE SUNG BY THE VIRGINS OF JEPHTHAH'S DAUGHTER: 142 . in Fair as Eve For her beauty. morn and And with flowers --Having promised.
the buy. before Our sighs for storax. of thy for will thine. But to thy And in the purchase of The cure was worse than the disease. we lay round ground. thus. fine here our our vials. woe. Thus. of all. liberty. bond he did and the won Jephthah our cov'nant. for Receive this Receive these With From teeming Each maid. hairs. we Four times bestrew thee every year. nay. know. peace. thus. dear loss. to thy praise. dear. 143 . and Thy harmless And as we The And other The altar of our love. too By thy sad His was the Thou paid'st Lamented Maid! But for the conquest thou didst pay. tears And to make And fresh thy hearse-cloth. her silver filleting. day: Thy father brought with The olive branch and He slew the Ammonites. shrine. thy stone. smooth from whence liest dearest the we here. wine. yet debt. Thou wonder Of daughters The eye of Of this And all sweet The primrose and the violet. we eyes. these tears. and O Virgin-martyr. wonder pearl of of ever all the maiden-train! We days! praise! blest rest come. maids. get Too soon. For which obedient zeal We offer here. meads. Above Of all the And bring fresh strewings to thy tomb. the O paragon. will daffadil.O thou. thy we compass unhaunted dirge. of him victor's we our along song. fill'd distill'd bring. this offering crystal tears. queen green. Receive. upon all the virgins. and sing flowers.
falls. 144 all on ye the ye who see willow-tree. make. paradise. or screech thy storms or but. We. hung us. balls. Or if One seed of A Lent for thee. art to of shall dead. bring since coy at cowslip columbines thou brides yearly these these to her cauls. from hence frankincense. festivals. And leave thee sleeping in thy urn. bed. cassia thy place and bed all smoke send spice. May all shy maids. life maiden winding-sheet though not we left. our Wrapt in the 'Tis we are dead. Or chains For this or that occasion's sake. when they Male-incense Upon thine altar. and These veils. flowers. passers-by. wither spring. THE WIDOWS' TEARS. mourn. groom. all we lay upon thy tomb. No more. besides. Come forth to strew thy May virgins. pleasures with i' th' 'tis to be thee. their scent of May no wolf howl. No. Love keep it ever flourishing. *245* at tomb come then wonted with to hours. A wing about No boisterous winds or To starve Thy soft sweet earth. . grave. DIRGE OF DORCAS Come Our Come pity harps pity us. more. wherewith we use The bashful When we conduct her to All. like owl come a stir sepulchre! hither. burn return. OR. no. no Shall we e'er No more. hide bride. ribbons.To gild thy tomb. These laces. to fast and weep. have keep peace. Sleep in thy And make May sweets grow Fat Let balm and From out thy maiden-monument. this here.
or us. and laid out for O modest matrons. who dead Clean wash'd. worth the thee. the morsels. thee. bier. way.Who see Come pity And eyes CHOR. And Then A Our eyes out all together. keep weep For Tabitha. The web affords now Thou being The worsted Is cut. Thy widows stand forsaken. All's gone. flax thy coats. Farewell With Farewell The Farewell That CHOR. Of gentle paste and That thou on widows CHOR. lies the and must of were for here. and the flesh. Tabitha! meal. night:-speedy. and hand. that made us clothing. bestow. wail! fail. to when we fast. and Away from Our maundy. thread the went or found wool. door. woe That reft us of For we have lost. fire out thy and reaming house was the garments. bread. deal dough. taken us thus Ah. weep For now the corn and wine The basket and the bin Wherewith so many souls CHOR. fed. Dorcas! now We bid the cruise and pannier Ay. dish. rugs. dead. for and the Doled to us in that lordly We take our leaves now of the From whence the housewives' cloth did CHOR. Dorcas. light. fish. ears tears. hither. Woe worth the time. made by thy and thy by day or zeal so a adieu too. plentiful. nothing. Stand empty here And ah! the At thy worn Shall be relieved never. thy ne'er No. That the which the sheets. loom come. 145 . hear and pity you poor bring are will and widows' your widows' come cry. poor. the and the yielding did death hath day. with The bits. ever.
And though thou here liest dead. yet spotless. be ways! praise! drest! rest plumes. the wither'd ta'en the hence the of late our almond-bough now. read dead: have grave:-distressed. alas! And olive-branch is The wine-press now is The saffron and The spice and spikenard The storax and CHOR. The carol Has taken And our Of mirth is turn'd to sadness. chrysolite. in of acts. dumb. neat wheat. we A deal of beauty yet in How sweetly shews thy smiling Thy lips with all diffused Thy hands. beauties garments coats. calamus. we thee. cinnamon. grace! white. and honours after very here. And comely as the CHOR. Thy belly like a hill Or as a Clean heap of All set about with lilies. street feet see thee.By peep To feed and clothe the needy. Thou art blessed. gladness wing. while made by these are Dorcas thou shalt o'er thy us. face. perfumes! flowing. though cold. of day. spring How wise wast thou in all thy How worthy of respect and How matron-like didst thou go How soberly above the Of those that prank it with their And jet it with their choice CHOR. is gone. But ah. is. And Should fame Thy Would cry out. from us. Sleep with thy Will shew these These were the The monuments These were thy These hung as CHOR. tomb *246* 146 . Thy vestures were not Nor did the Accuse thy Of mincing in their going.
love. hath path. I thus do Would thou hadst ne'er been born. dearest. And that my dust was to the earth commended. to languish and Like to these garden glories. *248* ON HIMSELF I'll write no more of Of all those times that I'll write no more of life. farewell! due have that unto here my grief the dead. which here The flowery-sweet resemblances of With grief of heart. end.UPON HERRICK HIS SISTER-IN-LAW. Wherein thou liv'st for ever. me no will wearied a foot I cell dwell. spend. *249* HIS WISH TO PRIVACY Give To Where A There And My In tears. thou dost But here awhile. how I love thee. MISTRESS ELIZABETH First. for effusions My solemn vows Next.--Dear. methinks. or might'st not die! stay decay. must tell. ended. accomplished. *247* TO HIS KINSWOMAN. be thee: cry. MISTRESS SUSANNA HERRICK When I consider. I but in but it wish now have 'twas repent spent. years 147 .
or thee. and --It will not be: For times to come. for to A sin. now.--ne'er Unless thou giv'st my small remains an urn. voice.*250* TO HIS PATERNAL COUNTRY O earth! earth! earth! hear thou my Loving and gentle for to Banish'd from thee I live. begin. do thou Thou stop'st Saint Peter in the midst of Stay me. and bribes do please other witnesses. to pass by sweet iniquity? and cloud upon transgression. by crowing. thou not write? And therefore. I'll make this vow. And wind all And wilt not thou To lay thy pen That in the mirk Wanton I may. and ink aside. cover to and be me! return. to live free: but thou wilt 148 . My private Can I not woo A short and I'll cast a mist My delicate So utter dark. *251* COCK-CROW Bell-man of night. premonish'd. be protonotary? thee. From aberrations So I'll not fear the judge. than fall to weeping when 'tis done. if I about shall For to deny my Master. go crow! sin. with gold be tied. shun *252* TO HIS CONSCIENCE Can I not sin. and tongueless night. that no eye hugg'd impiety. as Shall see the Gifts blind the wise. ere I do Better it is.
thy who might held mercy to I set will me back weeping come by gates waits. a homely manger. straight *254* AN ODE OF THE BIRTH OF OUR SAVIOUR In numbers.*253* TO HEAVEN Open To him And But that Let So kind. place base neat interwoven fragrant and kingly gospel nothing enclosures osiers. Out-stable for thy court here. in. did disdain entertain await thee. be free. tells. Instead of Of Instead of Of daffadils Thy cradle. else. thee here. The But With Jews. But we with With sundry And lily-work And as Of clouts. here. here. precious will we make not dress dispossess a for cruels. scorn princely thy a these oh born port few. silks. thee. As Was But. here. Baby. jewels. ivory. we'll Sweet babe. and I sing thy Thou pretty With sup'rabundant Who for thy Hadst for Of birth. Of And plaster'd round with amber. or force the gate. thee. JESU! here. sin. stranger. we glories they will to 149 but birth. thee chamber. And Come in. posies roses. .
Go. hand: be. and bear this flower Unto thy little Saviour. To charm his cries at time of need.-Then never take a second on. fall all. Made of a clean straight oaten reed. either they to I stand. And tell him. if thou canst win a kiss From those melifluous lips of his. *255* TO HIS A PRESENT. *257* 150 . princely for year make love to thee. And tell him. a up as I a our meat. To spoil the first impression. pretty child. But if thou hadst. Heaving Cold Here For On Amen.Upon thy And more From We'll A free-born of our city. and known to be Even as moneyless as he. *256* GRACE FOR A CHILD Here. That thou hast brought a whistle new. BY A CHILD SAVIOUR. for good handsel too. stick it there Upon his bib or stomacher. Tell him. pity: year here. by that bud now blown. he should have one. When thou hast said so. state than here. for coral. thee. thou hast none. A CHILD. Lastly. lift paddocks them benison and little my though up to on us child. He is the Rose of Sharon known. But poor thou art.
comfort me! When With the the sins hour temptations I of me my sins my distress. few. potion none. or Meet for Sweet Spirit. lie heart. passing-bell furies fright in a doth a parting toll. confess. comfort me! When his Has. TO THE HOLY SPIRIT In the When And when Sweet Spirit. tempter of 151 me all my pursu'th youth. sleep. decay'd. knows. comfort me! When I Sick in And Sweet Spirit. with and within sick doubts my in bed. comfort me! When the And I 'Cause my Sweet Spirit. comfort me! When the No one And his Sweet Spirit. the I'm or glass tost be about doubt. oppress. tapers comforters number now more burn are than blue. skill artless but runs doctor of on his the sees fees. out. shoal soul. head. keep. comfort me! When the And the And that Sweet Spirit. before Sweet Spirit. comfort me! When the And the Come to Sweet Spirit. God Either with Yet. priest nod speech his to is last what hath is now pray'd. skill. comfort me! When. said. nothing and or but his little to pill.HIS LITANY. despair. discomforted. . comfort me! When the And the Yet mine Sweet Spirit. true. lees. house world eyes doth is the sigh drown'd watch and in do weep. hope. kill.
pray winds to blow the tedious night away. *259* TO HIS SWEET SAVIOUR Night And Slowly Had Just The That Sick To hath no wings to him that cannot sleep. me no to of repent the to and my the my charity to of I'll only take wine robes place loins travel shed come longer some former some present a with of away. is my heart. 'God. and and terrors fright me hellish mine cries eyes. mercy!' and so die. love. comfort me! When the Fright mine And all Sweet Spirit. comfort me! damns me with untruth. about throughout. appeal'd. who list'ning. as if that she broke her wheel. her chariot drives. surprise. I might see the cheerful peeping day. bit it. flames ears. but creep. Of bread. tears years. seal'd. *258* TO DEATH Thou bidst And I'll Than for For faults And to Done in And next. so it is with me. Judgment open'd Thee which I is was have reveal'd. 152 . or crack'd her axletree.And half Sweet Spirit. Time seems then not for to fly. above. hence innocence. stay. crimes times. comfort me! When the And that When to Sweet Spirit. cry. O Saviour! do Thou please make my bed soft in my sicknesses. To don Fit for To gird With And so With feet These done.
streams. say Thou Draw me but first. years! I and I do age! farewell: go. Drown'd in one endless day. and I'll come. sit terrors WHITE ISLAND: the by are Isle of sorrow's our Dreams. and And make no one stop till my race be done. And night. nigh eternity. 153 . know And these All times. mine i' eyes how th' shall see they sea moon but shall shall sway she. ETERNITY O Behold Where Infinity to dwell. Are lost Of vast eternity:-Where never The stars. whiter evermore and Island.Lighten my candle. be *261* THE OR PLACE OF THE BLEST In While Tears Reciting: But More Unto Uniting In Things Candour Delighting:-this we and world. themes. when and once from more young hence approaching we fly. that are here. so Sleep not for ever in Let me thy voice betimes Call. lustre where sincere: there. hear. where: run. *260* that the i' the after I vaults of th' morning when and Thee I'll beneath death.
steep. fresh such immortalized. all in our eternal calm eyes watch and shall cooling never shall sleep. joys. We But Attending Pleasures Me And Have ending. no of create. hell or monstrous an cause fancies horror at shall call. too The Life of Robert Herrick | IV M: England Through 1635 154 . There.There Out To Affrighting. keep. as and as shall never pursue you.
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