NOTES. 1. Pan's Anniversary. The title of this masque, as printed in the folio of 1631-1641, bears: "As it was presented at Court before King James, 1625." James died in March of that year, and as this masque is more appropriate to summer, Nichols has assigned it to the summer of 1624, Mr. Fleay to June 19, 1623. This was one of the masques in which Inigo Jones, the famous architect, assisted Jonson. As to Jonson, see the editor's Elizabethan Lyrics, Athenæum Press Series, pp. xxxi, lxvi, and 259. See 1. The Shepherds' Holiday. In the original the three stanzas are assigned to successive "nymphs," young women of marriageable age. 11. Rites Are due. Note the omission of the relative. Abbott's Shakespeare Grammar, § 244, and cf. below, pp. 4 3, 9 2, 18 5, 94 9, 107 4. 19. Primrose-drop. Appropriately so called from the appearance of the blossoms as placed on separate peduncles. 1 10. Day's-eyes and the lips of cows. Daisies and cowslips. 1 11. Garden-star. Probably the flower popularly known as the star-of-Bethlehem. 2. Hymn, To Pan. Here, too, the stanzas in the original are assigned to successive nymphs, the refrain being in chorus. 2 3. Can. Knows, is able to perform. Cf. 99 20. 2 7. Hermes would appropriately lead the dance, from the lightness of his winged feet. 2 18. Rebound. Echo back, resound, a not uncommon meaning. Cf. Child, Ballads, ed. 1871, III, 340, and, especially, The Spanish Tragedy, i. I. 30: 2. Both raising dreadful clamors to the sky, That valleys, hills and rivers made rebound. Thomas Dekker. See Elizabethan Lyrics, p. 232. 2. The Sun's Darling is described as "a moral masque," and is the work of Dekker and Ford. These two vigorous songs are assuredly Dekker's. 2. Country Glee. The title is Mr. Bullen's. 27. Bravely. Finely, beautifully. 3 16. Princes' courts. Mr. Bullen, on I know not what authority, reads a prince's courts. The ed. of Ford, 1840, and the reprint of Dekker read as in the text. 3 20. 3 27. Echo's holloa. Ed. 1870 reads echo's hollow. Spring up . . . the partridges. Start, raise. 3 35. Sousing. Swooping down, a term in falconry. 4. Cast away Care. This lively drinking song is put into the mouth of the character Folly. 4 6. Play it off. A term in the old jargon of boon-companionship. Cf. 1 Henry IV, ii. 4. 18. 4 9. Cf. Falstaff's praise of sack, 2 Henry IV, iv. 3. 92. 4. Christ Church MS. This poem was first printed by Mr. Bullen in his More Lyrics from Elizabethan Song Books, 1888, p. 125. 4 6. Years Are yet untold. Note the omission of the relative and cf. 1 2. 5. Thomas May, the historian of the Long Parliament, wrote several plays in his youth. Mr. Fleay places the composition of The Old Couple before The Heir, which was acted in 1620. The poem in the text appears also in Porter's Madrigals and Airs, 1632. 5. Love's Prime. Mr. Bullen (More Lyrics, p. 153) doubts whether May wrote this song. The title is that given in Wit's Recreations, ed. 1641 (not 1640, if I read the Preface to Park's reprint of that interesting work, p. ix, aright). This poem was also printed in John Cotgrave's Wit's Interpreter, 1655, and in Stafford Smith's Musica Antiqua, of about the same date. Both of these versions exhibit several variant readings of minor importance. 5 5. Flaming beams. This is the reading of Wit's Recreations; Bullen reads inflaming beams, etc. 5 9. 59 10. Still young. Ever young. Cf. 33 12. These lines are omitted in the version of Wit's Recreations. 5. Edmund Waller, in the Biographica Britannica, ed. 1766, startlingly described as "the most celebrated lyric poet that England ever produced," has of late been almost as perversely dignified by Mr. Gosse (in his From Shakespeare to Pope) as the absolute founder of the classic school of poetry. I would commend a consideration of this little lyric of Waller's (which his first editor, Fenton, assigns to the year 1627, and which is wholly in the old, free manner) to those who believe that Waller's "earliest verses . . . possess the formal character, the precise prosody without irregularity or overflow, which we find in the ordinary verse of Dryden, Pope or Darwin" (Eighteenth Century Literature, p. 3). 5 1. Stay, Phoebus, stay! Cotton begins a poem with the same words (Poems, ed. 1689, p. 339). 5 6. De Mornay. Probably one of Queen Henrietta's attendants, who upon the misbehavior of Monseigneur Saint George and the Bishop of Mende quitted England (Fenton). 6 7. Well does this prove. The same excellent commentator remarks: "The latter stanza of these verses. . . alludes to the Copernican system, in which the earth is supposed to be a planet, and to move on its own axis around the sun, the center of the universe. Dr. Donne and Mr. Cowley industriously affected to entertain the fair sex with such philosophical allusions, which in his riper age Mr. Waller as industriously avoided." Cf. with this stanza Wordsworth's Poems, ed. Dowden, p. 54: No motion has she now, no force; She neither hears nor sees; Rolled round in earth's diurnal course With rocks, and stones, and trees. Or more poetically Tennyson's beautiful lines beginning (Poems, ed. 1830, p. 377): Move eastward, happy earth, and leave Yon orange sunset. 6. Love's Hue and Cry. This poem appears in several places, first in Shirley's Witty Fair One, published in 1633, in the Poems of Carew, 1640, and in Shirley's octavo volume of 1646. The versions differ considerably. I have preferred the first - that of the play — which seems to me, barring the conclusion, the simplest and the best. The title is that of Shirley's octavo, in which the poem is thus concluded : That, that is she; O straight surprise And bring her unto Love's assize; But lose no time, for fear that she Ruin all mankind, like me, Fate and philosophy control, And leave the world without a soul. The question of authorship is not easily decided and is rendered the more difficult as this is not the only poem in which there is a confusion of authorship between Shirley and Carew. Shirley edited his poems in 1646 with greater care than was usual in his age. In a Postscript to the Reader he says in excuse for setting forth his volume: "When I observed most of these copies [of his verses] corrupted in their transcripts, and the rest fleeting from me, which were by some indiscreet collector, not acquainted with distributive justice, mingled with other men's (some eminent) conceptions in print, I thought myself concerned to use some vindication " (Works of Shirley, ed. Gifford and Dyce, VI, 461). On the other hand, there is every reason to believe that the poetry of Carew was not only printed but prepared for the press after the poet's death. Dyce in his notes on Shirley's poems does not venture an opinion; Hazlitt claims the poem for the poet he happens to be editing; includes a well-known poem of Drayton's, from its similar title, in his collection, claiming it also for Carew; says that Dyce did not know of the insertion of the Hue and Cry in the works of Carew; and, happening upon Dyce's notes before his own ed. of Carew appeared, concludes by retracting his own words in his Index of Names. (See Hazlitt's Carew, pp. 128, and 244 under Shirley.) Such external evidence as we have at hand, then, would assign the authorship of this poem, together with the two others mentioned below, to Shirley rather than to Carew. When we consider the style of the poems, this view is substantiated. Love's Hue and Cry is an imitation, though not a slavish one, of Drayton's Crier (see Elizabethan Lyrics, p. 195), whilst To his Mistress Confined is decidedly Donnian, and the Song, “Would you know what is soft?" a variation on the third stanza of Jonson's Triumph of Charis. Now such imitations, adaptations, or reminiscences of the literature of the past are characteristics of the dramatic work of Shirley, characteristics, by the way, which take less from his praise than might be supposed. (See Ward's estimate, History of the English Drama, first edition, II, 334.) Reminiscence is emphatically not a trait of the undoubted poetry of Carew, whose delicately wrought and finely polished lyrics elude the paternity of both Jonson and Donne, and sparkle with an originality their own. 6 12. As. That. Cf. 7 8. 6 16. Weed. Garment. This is the reading of the original ed. Gifford reads red. 6 17. As. As if. But see Shakespeare Grammar, § 107. 7. John Ford, the famous dramatist, tried his hand at other forms of literature, even moral treatises. Of his life little is known save that he was matriculated at Oxford and was later admitted a member of the Middle Temple. He does not seem to have depended upon the stage for a livelihood, and most of his work is characterized by elaborated care in conception and in diction. Ford retained not a little of the great lyrical touch of the previous age. 7. The Lover's Melancholy was the first play that Ford printed, although many preceded it on the stage. 7 8. As. That. Cf. 6 12. 7. The Broken Heart. There is no account of the first appearance of this famous play. 7 2. Hours. Dissyllabic, as generally. 7 4. Envying. Accent on the penult. Cf. Campion's Song, "Silly boy 't is full moon yet," Elizabethan Lyrics, p. 187: He that holds his sweetheart true unto his day of dying, 8 7. So graced, not, etc. So graced as not, etc. Grammar, § 281, and cf. Merchant of Venice, iii. 3. 9. See Shakespeare 9. Thomas Goffe was a clergyman, who, in his youth, wrote several plays, some of them performed by the students of his own college, Christ Church, Oxford. The Careless Shepherdess was acted before the king and queen, apparently after Goffe's death. This may possibly not be Goffe's own. 9 1. Impale. Encircle, surround. Cf. 3 Henry VI, iii. 2. 171. 9 2. Flowers the time allows. Cf. 1 2,4 3. 9. Hesperides. The title of Herrick's collected poetry. The chronology of Herrick is attended with peculiar difficulties, as there is little attempt at order or arrangement in either of the divisions of his work that he has left us. He began to write in the twenties, perhaps earlier; and we have nothing certainly his after 1649. Some of his poems, many of his epigrams - more it is likely than appear in his accredited work strayed into publications like Wit's Recreations (a hodge-podge of everything the bookseller could lay his hands on), whether before publication elsewhere or not, it is often not easy to determine. In the arrangement of Herrick's poems in this volume I have followed Professor Hale. See his Dissertation, Die Chronologische Anordnung der Dichtungen Robert Herricks, Halle, 1892. 10. Corinna's Going A-Maying. Mr. Palgrave says of this poem: "A lyric more faultless and sweet than this cannot be found in any literature. Keeping with profound instinctive art within the limits of the key chosen, Herrick has reached a perfection very rare at any period of literature in the tones of playfulness, natural description, passion, and seriousness which introduce and follow each other, like the motives in |