Изображения страниц
PDF
EPUB

In the Arcadia, however, 1598, it appears as a sonnet by the omission of the refrain as here, and the addition of six lines, the final one being the refrain.

XXII. From Greene's Pastoral Romance, Menaphon. 'What manner of woman is she, quoth Melicertus? As well as I can, answered Doron, I will make description of her :

Like to Diana, &c.

Thou hast, quoth Melicertus, made such a description as if Priamus' young boy should paint out the perfection of his Greekish paramour.'

XXIII. From Pandosto, or The Triumph of Time, 1588, called in some later editions Dorastus and Fawnia, the prose romance of Greene, on which Shakspere founded his Winter's Tale. The lines are written by Dorastus in praise of Fawnia, the characters of which correspond to Florizel and Perdita.

XXV. These lines are a paraphrase of a Greek Epigram, attributed by some to Poseidippus, by others to Plato, the Comic Poet, and by others to Crates the Cynic. The paraphrase is ascribed to Bacon by Thomas Farnaby, who published a collection of Greek Epigrams three years after Bacon's death, including the original epigram and the paraphrase, the only English lines in the book.

XXVI. The Song of the First Chorus from Hymen's Triumph, A Pastoral Tragi-comedy.

[ocr errors]

XXVIII. England's Helicon, 1600, is the authority for the ascription of this song to Marlowe, where however it appears in a different form to the version here quoted from the Passionate Pilgrim. The Answer there given is probably by another hand. In England's Helicon, the Answer' consists of six stanzas, and bears the signature Ignoto, said to have been that often adopted by Raleigh.

XXIX. No hint is found of the name of the author either in England's Helicon, 1600, or in Byrd's Songs of Sundry Natures, 1589, from which it was copied into England's Helicon.

XXX. From Much Ado About Nothing.

XXXI. From A Midsummer Night's Dream.

[ocr errors]

XXXII. From The Merchant of Venice, whilst Bassanio comments on the caskets to himself.'

[blocks in formation]

XXXIX. From Henry VIII.

Queen Katherine. Take thy lute, wench: my soul grows sad

with troubles;

Sing, and disperse 'em, if thou canst.

XL, XLI. From Cymbeline.

Leave working.

XLIV. From Patient Grissel, a Comedy, by Thomas Dekker, Henry Chettle, and William Haughton. The song is almost universally attributed to Dekker.

XLV. bona.

From The White Devil; or, Vittoria CoromCharles Lamb in his Specimens of English Dramatic Poets, says 'I never saw anything like this dirge, except the ditty which reminds Ferdinand of his drowned father in The Tempest. As that is of the water, watery; so this is of the earth, earthy. Both have that intenseness of feeling which seems to resolve itself into the elements which it contemplates.'

[ocr errors]

XLVII. Dr. Grosart notices, in his edition of Donne, 1873, that the image of the compasses in this poem, used also elsewhere in the poet's works, was fetched from a family fact,' for the Impressa of John Haywood, Donne's maternal grandfather, was a compass with one foot in centre, the other broken, with the words 'Deest quod ducerit orbam.'

Ben Jonson, in his Verse Epistle to Selden, has the same image:

You have been

Ever at home, yet have all countries seen;
And like a compass, keeping one foot still
Upon your centre, do your circle fill

Of general knowledge.

L. From Cynthia's Revels.

LI. From The Poetaster.

LII. From The Silent Woman.

The lines are

imitated from the Latin verses of Jean Bonnefons, born 1554 at Clermont in Auvergne. The poem makes a part of his Pancharis, in which he imitates Catullus.

LIII. The boy thus renowned acted in Cynthia's Revels and in The Poetaster, in the years 1600 and 1601, in which year he probably died.

LIV. From Volpone; or, The Fox. Imitated from Catullus,

Vivamus, mea Lesbia, atque amemus.

LV. Versified from passages in letters of Philostratus the Sophist.

LVII. From A Celebration of Charis, in Ten Lyric Pieces. The last two stanzas are given also in The Devil is an Ass as a song of Wittipol.

LVIII. Jonson did not always admire the King's new cellar built by Inigo Jones. He laughs at 'The cave for wine or ale' in the lines to Inigo Marquis WouldBe. The dedication was written when the match with

the Infanta was in contemplation, and Charles was at Charles embarked on Feb. 14th,

the Spanish court.

1623.

LXI. From The Rape of Lucrece. It is also printed among the Epithalamions in Heywood's Dialogues and

Dramas.

LXII. From The Woman Hater.

LXIII. From The Faithful Shepherdess.

LXIV. From The Faithful Shepherdess.

LXV. From The Captain.

LXVI. From Valentinian.

LXVII. From The Nice Valour; or, The Passionate Madman.

LXVIII. From The Maid's Tragedy.

LXIX. From Blurt, Master Constable.

XCII. From Love in a Maze.

XCIII. From The Imposture.

XCIV. From The Contention of Ajax and Ulysses. Sung before the body of Ajax, as going to the Temple.

XCIX. From Comus, which Milton himself called merely A Masque presented at Ludlow Castle.

C. From Aglaura.

« ПредыдущаяПродолжить »