II.

AIRELLES.

NOTE.

See Note on page 184 for reference on the title here and elsewhere of 'Airelles.' G.

UPON THE KING'S CORONATION.[89]

Sound forth, coelestiall organs, let heauen's quire Ravish the dancing orbes, make them mount higher With nimble capers, & force Atlas tread Vpon his tiptoes, e're his siluer head Shall kisse his golden curthen. Thou glad Isle, That swim'st as deepe in joy, as seas, now smile; Lett not thy weighty glories, this full tide Of blisse, debase thee; but with a just pride Swell: swell to such an height, that thou maist vye With heauen itselfe for stately majesty. Doe not deceiue mee, eyes: doe I not see In this blest earth heauen's bright epitome, Circled with pure refined glory? heere I view a rising sunne in this our sphere, Whose blazing beames, maugre the blackest night, And mists of greife, dare force a joyfull light. The gold, in wch he flames, does well praesage A precious season, & a golden age. Doe I not see joy keepe his revels now, And sitt triumphing in each cheerfull brow? Vnmixt felicity with siluer wings Broodeth this sacred place: hither Peace brings The choicest of her oliue-crownes, & praies To haue them guilded with his courteous raies. Doe I not see a Cynthia, who may Abash the purest beauties of the day? To whom heauen's lampes often in silent night Steale from their stations to repaire their light. Doe I not see a constellation, Each little beame of wch would make a sunne? I meane those three great starres, who well may scorn Acquaintance with the vsher of the morne. To gaze vpon such starres each humble eye Would be ambitious of astronomie Who would not be a phoenix, & aspire To sacrifice himselfe in such sweet fire? Shine forth, ye flaming sparkes of Deity, Yee perfect emblemes of divinity. Fixt in your spheres of glory, shed from thence, The treasures of our liues, your influence, For if you sett, who may not justly feare, The world will be one ocean, one great teare.

UPON THE KING'S CORONATION.

Strange metamorphosis! It was but now The sullen heauen had vail'd its mournfull brow With a black maske: the clouds with child by Greife Traueld th' Olympian plaines to find releife. But at the last (having not soe much power As to refraine) brought forth a costly shower Of pearly drops, & sent her numerous birth (As tokens of her greife) vnto the Earth. Alas, the Earth, quick drunke with teares, had reel'd From of her center, had not Ioue vpheld The staggering lumpe: each eye spent all its store, As if heereafter they would weepe noe more: Streight from this sea of teares there does appeare Full glory naming in her owne free sphere. Amazed Sol throwes of his mournfull weeds, Speedily harnessing his fiery steeds, Vp to Olympus' stately topp he hies, From whence his glorious rivall hee espies. Then wondring starts, & had the curteous night Withheld her vaile, h' had forfeited his sight. The joy full sphaeres with a delicious sound Afright th' amazed aire, and dance a round To their owne musick, nor (untill they see This glorious Phoebus sett) will quiet bee. Each aery Siren now hath gott her song, To whom the merry lambes doe tripp along The laughing meades, as joy full to behold Their winter coates couer'd with naming gold. Such was the brightnesse of this Northerne starre, It made the virgin phoenix come from farre To be repair'd: hither she did resort, Thinking her father had remou'd his Court. The lustre of his face did shine soe bright, That Rome's bold egles now were blinded quite; The radiant darts shott from his sparkling eyes, Made euery mortall gladly sacrifice A heart burning in loue; all did adore This rising sunne; their faces nothing wore, But smiles, and ruddy joyes, and at this day All melancholy clouds vanisht away.

VPON THE BIRTH OF THE PRINCESSE ELIZABETH.[90]

Bright starre of Majesty, oh shedd on mee, A precious influence, as sweet as thee. That with each word, my loaden pen letts fall, The fragrant Spring may be perfum'd withall. That Sol from them may suck an honied shower, To glutt the stomack of his darling flower. With such a sugred livery made fine, They shall proclaime to all, that they are thine. Lett none dare speake of thee, but such as thence Extracted haue a balmy eloquence. But then, alas, my heart! oh how shall I Cure thee of thy delightfull tympanie? I cannot hold; such a spring-tide of joy Must haue a passage, or 'twill force a way. Yet shall my loyall tongue keepe this command: But giue me leaue to ease it with my hand. And though these humble lines soare not soe high, As is thy birth; yet from thy flaming eye Drop downe one sparke of glory, & they'l proue A praesent worthy of Apollo's loue. My quill to thee may not praesume to sing: Lett th' hallowed plume of a seraphick wing Bee consecrated to this worke, while I Chant to my selfe with rustick melodie. Rich, liberall heauen, what hath yor treasure store Of such bright angells, that you giue vs more? Had you, like our great sunne, stamped but one For earth, t' had beene an ample portion. Had you but drawne one liuely coppy forth, That might interpret our faire Cynthia's worth, Y' had done enough to make the lazy ground Dance, like the nimble spheres, a joyfull round. But such is the coelestiall excellence, That in the princely patterne shines, from whence The rest pourtraicted are, that 'tis noe paine To ravish heauen to limbe them o're againe. Wittnesse this mapp of beauty; euery part Of wch doth show the quintessence of art. See! nothing's vulgar, every atome heere Speakes the great wisdome of th' artificer. Poore Earth hath not enough perfection, To shaddow forth th' admired paragon. Those sparkling twinnes of light should I now stile Rich diamonds, sett in a pure siluer foyle; Or call her cheeke a bed of new-blowne roses; And say that ivory her front composes; Or should I say, that with a scarlet waue Those plumpe soft rubies had bin drest soe braue; Or that the dying lilly did bestow Vpon her neck the whitest of his snow; Or that the purple violets did lace That hand of milky downe; all these are base; Her glories I should dimme with things soe grosse, And foule the cleare text with a muddy glosse. Goe on then, Heauen, & limbe forth such another, Draw to this sister miracle a brother; Compile a first glorious epitome Of heauen, & Earth, & of all raritie; And sett it forth in the same happy place, And I'le not blurre it with my paraphrase.

VPON A GNATT BURNT IN A CANDLE.

Little, buzzing, wanton elfe Perish there, and thanke thy selfe. Thou deseru'st thy life to loose, For distracting such a Muse. Was it thy ambitious aime By thy death to purchase fame? Didst thou hope he would in pitty Haue bestow'd a funerall ditty On thy ghoast? and thou in that To haue outliued Virgill's gnatt? No! The treason thou hast wrought Might forbid thee such a thought. If that Night's worke doe miscarry, Or a syllable but vary; A greater foe thou shalt me find, The destruction of thy kind. Phoebus, to revenge thy fault, In a fiery trapp thee caught; That thy winged mates might know it, And not dare disturbe a poet. Deare and wretched was thy sport, Since thyselfe was crushed for't; Scarcely had that life a breath, Yet it found a double death; Playing in the golden flames, Thou fell'st into an inky Thames; Scorch'd and drown'd. That petty sunne A pretty Icarus hath vndone.

FROM PETRONIUS.[91]

_Ales Phasiacis petita Colchis, &c._

The bird that's fetch't from Phasis floud, Or choicest hennes of Africk-brood; These please our palates; and why these? 'Cause they can but seldome please. Whil'st the goose soe goodly white, And the drake, yeeld noe delight, Though his wings' conceited hewe Paint each feather, as if new. These for vulgar stomacks be, And rellish not of rarity. But the dainty Scarus, sought In farthest clime; what e're is bought With shipwrack's toile, oh, that is sweet, 'Cause the quicksands hansell'd it. The pretious barbill, now growne rife, Is cloying meat. How stale is wife? Deare wife hath ne're a handsome letter, Sweet mistris sounds a great deale better. Rose quakes at name of cinnamon. Unlesse't be rare, what's thought vpon?

FROM HORACE.

_Ille et ne fasto te posuit die, &c._

Shame of thy mother soyle! ill-nurtur'd tree! Sett, to the mischeife of posteritie! That hand (what e're it wer) that was thy nurse, Was sacrilegious (sure) or somewhat worse. Black, as the day was dismall, in whose sight Thy rising topp first stain'd the bashfull light. That man---I thinke--wrested the feeble life From his old father, that man's barbarous knife Conspir'd with darknes 'gainst the strangers throate; (Whereof the blushing walles tooke bloody note) Huge high-floune poysons, eu'n of Colchos breed, And whatsoe're wild sinnes black thoughts doe feed, His hands haue padled in; his hands, that found Thy traiterous root a dwelling in my ground. Perfidious totterer! longing for the staines Of thy kind Master's well-deseruing braines. Man's daintiest care, & caution cannot spy The subtile point of his coy destiny, Wch way it threats. With feare the merchant's mind Is plough'd as deepe, as is the sea with wind, (Rowz'd in an angry tempest), Oh the sea! Oh! that's his feare; there flotes his destiny: While from another (vnseene) corner blowes The storme of fate, to wch his life he owes; By Parthians bow the soldier lookes to die, (Whose hands are fighting, while their feet doe flie.) The Parthian starts at Rome's imperiall name, Fledg'd with her eagle's wing; the very chaine Of his captivity rings in his eares. Thus, o thus fondly doe wee pitch our feares Farre distant from our fates, our fates, that mocke Our giddy feares with an vnlook't for shocke. A little more, & I had surely seene Thy greisly Majesty, Hell's blackest Queene; And Oeacus on his tribunall too, Sifting the soules of guilt; & you, (oh you!) You euer-blushing meads, where doe the blest Farre from darke horrors home appeale to rest. There amorous Sappho plaines vpon her lute Her loue's crosse fortune, that the sad dispute Runnes murmuring on the strings. Alcaeus there In high-built numbers wakes his golden lyre To tell the world, how hard the matter went, How hard by sea, by warre, by banishment. There these braue soules deale to each wondring eare Such words, soe precious, as they may not weare Without religious silence; aboue all Warre's ratling tumults, or some tyrant's fall. The thronging clotted multitude doth feast: What wonder? when the hundred-headed beast Hangs his black lugges, stroakt with those heavenly lines; _ears_ The Furies' curl'd snakes meet in gentle twines, And stretch their cold limbes in a pleasing fire. Prometheus selfe, and Pelops sterved sire Are cheated of their paines; Orion thinkes Of lions now noe more, or spotted linx.

EX EUPHORMIONE.

_O Dea, siderei seu tu stirpe alma tonantis, &c._

Bright goddesse (whether Joue thy father be, Or Jove a father will be made by thee) Oh crowne these praiers (mov'd in a happy bower) But with one cordiall smile for Cloe. That power Of Loue's all-daring hand, that makes me burne, Makes me confess't. Oh, doe not thou with scorne, Great nymph, o'relooke my lownesse. Heau'n you know And all their fellow-deities will bow Eu'n to the naked'st vowes. Thou art my fate; To thee the Parcae haue given vp of late My threds of life: if then I shall not live By thee, by thee yet lett me die; this giue, High Beautie's soveraigne, that my funerall flames May draw their first breath from thy starry beames. The phoenix' selfe shall not more proudly burne, That fetcheth fresh life from her fruitfull vrne.

AN ELEGY VPON THE DEATH OF MR. STANNINOW,

FELLOW OF QUEENE'S COLLEDGE.[92]

Hath aged winter, fledg'd with feathered raine, To frozen Caucasus his flight now tane? Doth hee in downy snow there closely shrowd His bedrid limmes, wrapt in a fleecy clowd? Is th' Earth disrobed of her apron white, Kind Winter's guift, & in a greene one dight? Doth she beginne to dandle in her lappe Her painted infants, fedd with pleasant pappe, Wch their bright father in a pretious showre From heaven's sweet milky streame doth gently poure Doth blith Apollo cloath the heavens with joye, And with a golden waue wash cleane away Those durty smutches, wch their faire fronts wore, And make them laugh, wch frown'd, & wept before? If heaven hath now forgot to weepe; o then What meane these shoures of teares amongst vs men? These cataracts of griefe, that dare eu'n vie With th' richest clowds their pearly treasurie? If Winters gone, whence this vntimely cold, That on these snowy limmes hath laid such hold? What more than winter hath that dire art found, These purple currents hedg'd with violets round. To corrallize, wch softly wont to slide In crimson waueletts, & in scarlet tide? If Flora's darlings now awake from sleepe, And out of their greene mantletts dare to peepe O tell me then, what rude outragious blast Forc't this prime flowre of youth to make such hast? To hide his blooming glories, & bequeath His balmy treasure to the bedd of death? 'Twas not the frozen zone; one sparke of fire, Shott from his flaming eye, had thaw'd its ire, And made it burne in loue: 'twas not the rage, And too vngentle nippe of frosty age: 'Twas not the chast, & purer snow, whose nest Was in the modest nunnery of his brest: Noe, none of these ravish't those virgin roses, The Muses, & the Graces fragrant posies. Wch, while they smiling sate vpon his face, They often kist, & in the sugred place Left many a starry teare, to thinke how soone The golden harvest of our joyes, the noone Of all our glorious hopes should fade, And be eclipsed with an envious shade. Noe 'twas old doting Death, who stealing by, Dragging his crooked burthen, look't awry, And streight his amorous syth (greedy of blisse) Murdred the Earth's just pride with a rude kisse. A winged herald, gladd of soe sweet a prey, Snatch't vpp the falling starre, soe richly gay, And plants it in a precious perfum'd bedd, Amongst those lillies, wch his bosome bredd. Where round about hovers with siluer wing A golden Summer, an aeternall Spring. Now that his root such fruit againe may beare, Let each eye water't with a courteous teare.

UPON THE DEATH OF A FREIND.

Hee's dead! Oh what harsh musick's there Vnto a choyce, and curious eare! Wee must that Discord surely call, Since sighs doe rise and teares doe fall. Teares fall too low, sighes rise too high, How then can there be harmony? But who is he? him may wee know That jarres and spoiles sweet consort soe? O Death, 'tis thou: you false time keepe, And stretch'st thy dismall voice too deepe. Long time to quavering Age you giue, But to large Youth, short time to liue. You take vpon you too too much, In striking where you should not touch. How out of tune the world now lies, Since youth must fall, when it should rise! Gone be all consort, since alone He that once bore the best part's gone. Whose whole life, musick was; wherein Each vertue for a part came in. And though that musick of his life be still, The musick of his name yett soundeth shrill.

AN ELEGIE ON THE DEATH OF DR. PORTER.[93]

Stay, silver-footed Came, striue not to wed Thy maiden streames soe soone to Neptune's bed; Fixe heere thy wat'ry eyes upon these towers, Vnto whose feet in reuerence of the powers, That there inhabite, thou on euery day With trembling lippes an humble kisse do'st pay. See all in mourning now; the walles are jett, With pearly papers carelesly besett. Whose snowy cheekes, least joy should be exprest, The weeping pen with sable teares hath drest. Their wronged beauties speake a tragoedy, Somewhat more horrid than an elegy. Pure, & vnmixed cruelty they tell, Wch poseth Mischeife's selfe to parallel. Justice hath lost her hand, the law her head; Peace is an orphan now; her father's dead. Honestie's nurse, Vertue's blest guardian, That heauenly mortall, that seraphick man. Enough is said, now, if thou canst crowd on Thy lazy crawling streames, pri'thee be gone, And murmur forth thy woes to euery flower, That on thy bankes sitts in a uerdant bower, And is instructed by thy glassy waue To paint its perfum'd face wth colours braue. In vailes of dust their silken heads they'le hide, As if the oft-departing sunne had dy'd. Goe learne that fatall quire, soe sprucely dight In downy surplisses, & vestments white, To sing their saddest dirges, such as may Make their scar'd soules take wing, & fly away. Lett thy swolne breast discharge thy strugling groanes To th' churlish rocks; & teach the stubborne stones To melt in gentle drops, lett them be heard Of all proud Neptune's siluer-sheilded guard; That greife may crack that string, & now vntie Their shackled tongues to chant an elegie. Whisper thy plaints to th' Ocean's curteous eares, Then weepe thyselfe into a sea of teares. A thousand Helicons the Muses send In a bright christall tide, to thee they send, Leaving those mines of nectar, their sweet fountaines, They force a lilly path through rosy mountaines. Feare not to dy with greife; all bubling eyes Are teeming now with store of fresh supplies.

VERSE-LETTER

TO

THE COUNTESS OF DENBIGH

(1652).

NOTE.

To the volume of 1652 ('Carmen Deo Nostro' &c.) was prefixed a Verse-letter to the COUNTESS OF DENBIGH, illustrated with an engraving of a 'locked heart,' as reproduced in our quarto edition. In 1653 ('Sept. 23, 1653'), as appears from a contemporary marking in the unique copy in the British Museum, the following was printed: 'A Letter from MR. CRASHAW to the Countess of Denbigh. Against Irresolution and Delay in matters of Religion. London, n.d.'(4to). Collation: title-page and 3 pages, page 1st on reverse of title-page (British Museum E. 220. 2.). The Paris copy is very imperfect from some unexplained reason (68 as against 90 lines), and it would seem that some friend of the deceased poet, dissatisfied with it, and having in his (or her) possession a fuller MS., printed, if not published it. We give the enlarged text--never before noticed, having been only named, without taking the trouble to consult and compare it, by TURNBULL; and for the student add the abbreviated form from 1652 'Carmen,' as it, in turn, has lines and words not in the other. See our Essay for more on this most characteristic poem, and relative to the Countess of Denbigh. G.

AGAINST IRRESOLUTION AND DELAY IN MATTERS OF RELIGION.

What Heav'n-besieged heart is this 1 Stands trembling at the Gate of Blisse: Holds fast the door, yet dares not venture Fairly to open and to enter? Whose definition is, A Doubt 5 'Twixt life and death, 'twixt In and Out. Ah! linger not, lov'd soul: a slow And late consent was a long No. Who grants at last, a great while try'de And did his best, to have deny'de 10 What magick-bolts, what mystick barrs Maintain the Will in these strange warrs? What fatall, yet fantastick, bands Keep the free heart from his own hands? Say, lingring Fair, why comes the birth 15 Of your brave soul so slowly forth? Plead your pretences (O you strong In weaknesse!) why you chuse so long In labour of your self to ly, Not daring quite to live nor die. 20 So when the Year takes cold we see Poor waters their own prisoners be: Fetter'd and lock'd up fast they lie In a cold self-captivity. Th' astonish'd Nymphs their Floud's strange fate deplore, 25 find themselves their own severer shoar. Love, that lends haste to heaviest things, In you alone hath lost his wings. Look round and reade the World's wide face, The field of Nature or of Grace; 30 Where can you fix, to find excuse Or pattern for the pace you use? Mark with what faith fruits answer flowers, And know the call of Heav'n's kind showers: Each mindfull plant hasts to make good 35 The hope and promise of his bud. Seed-time's not all; there should be harvest too. Alas! and has the Year no Spring for you? Both winds and waters urge their way, And murmure if they meet a stay. 40 Mark how the curl'd waves work and wind, All hating to be left behind. Each bigge with businesse thrusts the other, And seems to say, Make haste, my brother. The aiery nation of neat doves, _pure_ 45 That draw the chariot of chast Loves, Chide your delay: yea those dull things, Whose wayes have least to doe with wings, Make wings at least of their own weight, And by their love controll their Fate. 50 So lumpish steel, untaught to move, Learn'd first his lightnesse by his love. What e're Love's matter be, he moves By th' even wings of his own doves, Lives by his own laws, and does hold 55 In grossest metalls his own gold. All things swear friends to Fair and Good Yea suitours; man alone is wo'ed, Tediously wo'ed, and hardly wone: Only not slow to be undone. 60 As if the bargain had been driven So hardly betwixt Earth and Heaven; Our God would thrive too fast, and be Too much a gainer by't, should we Our purchas'd selves too soon bestow 65 On Him, who has not lov'd us so. When love of us call'd Him to see If wee'd vouchsafe His company, He left His Father's Court, and came Lightly as a lambent flame, 70 Leaping upon the hills, to be The humble king of you and me. Nor can the cares of His whole crown (When one poor sigh sends for Him down) Detain Him, but He leaves behind 75 The late wings of the lazy wind, Spurns the tame laws of Time and Place, And breaks through all ten heav'ns to our embrace. Yield to His siege, wise soul, and see Your triumph in His victory. 80 Disband dull feares, give Faith the day: To save your life, kill your Delay. 'Tis cowardise that keeps this field; And want of courage not to yield. Yield then, O yield, that Love may win 85 The Fort at last, and let Life in. Yield quickly, lest perhaps you prove Death's prey, before the prize of Love. This fort of your fair self if't be not wone, He is repuls'd indeed, but you'r undone. 90

FINIS.

FROM 'CARMEN DEO NOSTRO' (1652).

_Non vi._

''Tis not the work of force but skill To find the way into man's will. 'Tis loue alone can hearts unlock; Who knowes the Word, he needs not knock.'

To the noblest and best of Ladyes, the Countesse of Denbigh, perswading her to Resolution in Religion, and to render her selfe without further delay into the Communion of the Catholick Church.

What heau'n-intreated heart is this 1 Stands trembling at the gate of blisse? Holds fast the door, yet dares not venture Fairly to open it, and enter. Whose definition is a doubt 5 'Twixt life and death, 'twixt in and out. Say, lingring Fair! why comes the birth Of your brave soul so slowly forth? Plead your pretences (O you strong In weaknes!) why you choose so long 10 In labor of your selfe to ly, Nor daring quite to liue nor dy? Ah! linger not, lou'd soul! a slow And late consent was a long no; Who grants at last, long time try'd 15 And did his best to haue deny'd: What magick bolts, what mystick barres Maintain the will in these strange warres? What fatall yet fantastick, bands Keep the free heart from its own hands? 20 So when the year takes cold, we see Poor waters their own prisoners be: Fetter'd and lockt vp they ly In a sad selfe-captivity. The astonisht nymphs their flood's strange fate deplore, 25 To see themselues their own seuerer shore. Thou that alone canst thaw this cold, And fetch the heart from its strong-hold; Allmighty Love! end this long warr, And of a meteor make a starr. 30 O fix this fair Indefinite! And 'mongst Thy shafts of soueraign light Choose out that sure decisiue dart Which has the key of this close heart, Knowes all the corners of't, and can controul 35 The self-shutt cabinet of an vnsearcht soul. O let it be at last, Loue's hour! Raise this tall trophee of Thy powre; Come once the conquering way; not to confute But kill this rebell-word 'irresolute,' 40 That so, in spite of all this peeuish strength Of weaknes, she may write 'resolv'd' at length. Vnfold at length, vnfold fair flowre And vse the season of Loue's showre! Meet His well-meaning wounds, wise heart, 45 And hast to drink the wholsome dart. That healing shaft, which Heaun till now Hath in Loue's quiuer hid for you. O dart of Loue! arrow of light! O happy you, if it hitt right! 50 It must not fall in vain, it must Not mark the dry, regardless dust. Fair one, it is your fate; and brings Aeternal worlds upon its wings. Meet it with wide-spread armes, and see 55 Its seat your soul's iust center be. Disband dull feares; giue faith the day; To saue your life, kill your delay. It is Loue's seege, and sure to be Your triumph, though His victory. 60 'Tis cowardise that keeps this feild And want of courage not to yeild. Yeild then, O yeild, that Loue may win The fort at last, and let life in. Yeild quickly, lest perhaps you proue 65 Death's prey, before the prize of Loue. This fort of your faire selfe, if't be not won, He is repulst indeed; but you are vndone.

END OF VOL. I.

LONDON: ROBSON AND SONS, PRINTERS, PANCRAS ROAD, N.W.

FOOTNOTES:

[1] TURNBULL in line 19 misprints 'Diseased his ...' making nonsense. Disease is = dis-ease, discompose, as used by PHINEAS FLETCHER: cf. vol. iii. p. 194 et alibi.

[2] TURNBULL again misprints in line 3 'But' for 'Best,' once more making nonsense.

[3] Edition of 1834, p. 295; of 1839, vol. i. p. 301. TURNBULL adds not one iota to our knowledge, and repeats all WILLMOTT'S erroneous dates, &c.

[4] The present eminent Head of 'Charterhouse,' Dr. HAIG-BROWN, strove to find earlier documents in vain for me.

[5] As before, vol. ii. p. 302.

[6] I feel disposed to think that it must have been some other RICHARD CRASHAW, albeit attendance at both Universities was not uncommon. WOOD'S words are, that he was 'incorporated' in 1641 at Oxford; and his authority 'the private observation of a certain Master of Arts, that was this year living in the University;' and he adds, 'afterwards he was Master of Arts, in which degree it is probable he was incorporated' (Fasti, _s. n._).

[7] I owe very hearty thanks to my good friend Mr. W. Aldis Wright, M.A., Trinity College, Cambridge, and to the Masters and other authorities of Pembroke and Peterhouse, for unfailing attention to my inquiries and the most zealous aid throughout.

[8] My 'document' was an extract from an old Register of the Church. I lent it to the late Mr. ROBERT BELL (who intended to include CRASHAW in his 'Poets'), and somehow it got astray. My priest-correspondent at Loretto was dead when I applied for another copy, and the Register has disappeared. Of the fact, however, that CRASHAW died in 1650 there can be no doubt.

[9] Life of COWLEY, in Lives of the Poets.

[10] Works, vol. i. (1707) pp. 44-7. Line 3 by a strange oversight is misprinted in all the editions I have seen 'The hard, and rarest....' I accept WILLMOTT'S correction.

[11] Query, the legal term 'seized' = taken possession of? So VAUGHAN, Silurist,

'O give it ful obedience, that so _seiz'd_ Of all I have, I may not move thy wrath' (i. 154),

and

'Thou so long _seiz'd_ of my heart' (ib. p. 289). G.

[12] = Iamblichus, the celebrated Neo-Platonic philosopher, author of {peri Pythagorou haireseus}, concerning the Philosophy of Pythagoras. G.

[13] Cf. poem on Lessius, lines 18 and 38. G.

[14] See our Memorial-Introduction and Essay, for remarks on HERBERT'S relation to CRASHAW. G.

[15] '_Seven shares and a halfe._' The same phrase occurs in Ben Jonson's _Poetaster_. The player whom Captain Tucca bullied and fleeced, was one of Henslowe's company, as shown by Tucca's stinging taunt that they had 'fortune and the good year on their side;' the facts being that the Fortune theatre had just been built, and that the year had been an exceptionally bad one with the hitherto prosperous players. To call attention tacitly to the allusion 'fortune' is, in the original editions, printed in italics. Various other players having been mimicked, ridiculed, and reviled, Tucca then bids farewell to his new acquaintance with--'commend me to seven shares and a half;' a remark which by its position seems to point to the chief men of the company. But a great part of the office of a manager like Henslowe was, as exhibited in Henslowe's own Diary, just such as is depreciatingly described in our text. He had various dramatic authors, poetasters, and others in his pay and debt. Hence as the Poetaster was written in 1601, and this preface in 1646, it may be concluded, that 'seven shares and a half' was the established proportion taken by, and therefore a theatrical cant name for, the Manager. It follows also that as the Player was one of Henslowe's company, the seven shares and a half alluded to by Jonson was Henslowe himself, from whom he had seceded, and with whom he had probably quarrelled. The question, however, yet remains open, whether seven shares and a half was the proportion received by a manager, or that taken by a proprietor-manager, such as Henslowe was. Malone has conjectured that Henslowe drew fifteen shares; if so, the other seven and a half may have been as rent, and out of one of the two halves may have come the general expenses of the house. G.

[16] '_Sixpenny soule, a suburb sinner._' This was the ordinary town courtesan, who, eschewing the penny and twopenny rabble of the pit and gallery, frequented the cheapest of the better-class seats, or main body of the house. G.

[17] = swollen. G.

[18] = as taught by Lessius, whose praise CRASHAW sang. See the Poem in its place in the 'Delights.' G.

[19] = drinkers of Canary (wine)? G.

[20] On the authorship of this Preface see our Preface. G.

[21] This couplet appeared first in 1648 edition of the 'Steps to the Temple;' but it properly belongs to the engraving in 'Carmen Deo Nostro' of 1652, which is reproduced in our illustrated 4to edition. G.

[22] 'The Weeper' appeared originally in the 'Steps' of 1646 (pp. 1-5): was reprinted in editions of 1648 (pp. 1-6), 1652 (pp. 85-92), 1670 (pp. 1-5). For reasons stated in our Preface, our text follows that of 1652; but see Notes and Illustrations at close of the poem for details of various readings, &c. &c., and our Essay for critical remarks on it from POPE to DR. GEORGE MACDONALD. G.

[23] Appeared originally in 'Steps' of 1648 (pp. 7-9): reprinted in 1652 and 1670. As before, our text is that of 1652 (pp. 55-61); but see Notes and Illustrations at close. The illustration, engraved by MESAGER, is reproduced in our illustrated quarto edition. G.

[24] Appeared originally in 'Steps' of 1646 (pp. 6-7): reprinted in 1648 (pp. 9-11) and 1670 editions. As it does not appear in 'Carmen Deo Nostro,' &c. (1652), our text follows that of 1648; but see Notes and Illustrations at close of the poem. G.

[25] Most of 'The Office of the Holy Crosse' appeared in the 'Steps' of 1648, but in a fragmentary form. First came a piece 'Upon our B. Saviour's Passion,' which included all the Hymns. Then 'the Antiphona,' which was the last so called here; then 'the Recommendation of the precedent Hymn;' then 'a Prayer;' and lastly, 'Christ's Victory,' including three other of the verses, called 'the Antiphona.' Our text is from 'Carmen Deo Nostro' &c. of 1652, as before (pp. 31-48)--the engraving in which is reproduced in our illustrated quarto edition. See Notes and Illustrations at close of this composition. G.

[26]

Mors et vita duello Conflixero mirando: Dux vitae mortuus, regnat vivus.

_Latin Sequence_ 12th-13th century: Vict. Pasch. G.

[27] The engraving of our text (1652) here, is reproduced in our illustrated quarto edition. For the Latin 'Expostulatio' belonging thereto, see our vol. ii. G.

[28] Appeared originally in 'Steps' of 1648 (pp. 30-1): reprinted in 1652 (pp. 49-51) and 1670 (pp. 174-6). Our text is that of 1652, as before. See Notes and Illustrations at close of the poem. G.

[29] Originally appeared in 'Steps' of 1646 (p. 15): was reprinted in editions 1648 (pp. 21-2) and 1670 (p. 15). Our text is that of 1648: but there are only slight orthographic differences in the others. G.

[30] Appeared originally in the 'Steps' of 1646 (p. 21): was reprinted in 1648 (p. 29) and 1670 (p. 22). Our text is that of 1648, but the others are the same except in the usual changes of orthography. The SANCROFT MS. in line 7 reads 'Then shall He drink;' line 9, 'My paines are in their nonage: my young feares;' line 10 I have adopted, instead of 'Are yet both in their hopes, not come to yeares,' which isn't English; line 12, 'are tender;' line 14, 'a towardnesse.' I have arranged these poems in numbered couplets as in the SANCROFT MS. I insert 'd,' dropped by misprint in 1648, but found in 1646 (line 13). G.

[31] Appeared originally in 'Steps' of 1646 (pp. 21, 22): was reprinted in editions of 1648 (pp. 29, 30) and 1670 (pp. 22, 23). Our text is that of 1648; but all agree save in usual orthographic slight changes. In 1646 stanza ii. line 2 spells 'too' as 'two.' The SANCROFT MS. varies only, as usual, in the orthography. G.

[32] Appeared originally in the 'Steps' of 1646 (pp. 23, 24): was reprinted in editions of 1648 (pp. 32, 33), 1652 (pp. 61-63) and 1670 (pp. 24, 25). Our text is that of 1652, as before, but with an entire stanza from 1646 overlooked. See Notes and Illustrations at close of the poem. G.

[33] Appeared originally in 'Steps' of 1648 (pp. 33-40); was reprinted in 1652 (pp. 1-9) and 1670 (pp. 146-153). Our text is that of 1652, as before, and its engraving here is reproduced in our illustrated 4to edition. See Notes and Illustrations at close of the poem. G.

[34] Appeared originally in the 'Steps' of 1646 (pp. 25-27): was reprinted in editions of 1648 (pp. 40-42) and 1670 (pp. 26-28). Our text is that of 1648: but see Notes and Illustrations at close of the poem. G.

[35] Appeared originally in 'Steps' of 1646 (pp. 27, 28): reprinted in editions of 1648 (pp. 42, 43) and 1670 (pp. 28, 29). Our text is that of 1648, with which the others agree, except in usual slight changes of orthography, and the following adopted from the SANCROFT MS.: line 7, a second 'they' inserted; line 17, 'than' for 'then;' line 21 '_vnpearch't_' = without perch or support. G.

[36] Appeared originally in the 'Steps' of 1646 (pp. 28-31): reprinted in editions of 1648 (pp. 43-47), 1652 (pp. 10-16) and 1670 (pp. 29-32). Our text is that of 1652, as before, and its engraving here, is reproduced in our illustrated quarto edition. See Notes and Illustrations at close of this composition. G.

[37] Appeared originally in the 'Steps' of 1646 (pp. 94, 95), where it is headed 'An Himne for the Circumcision day of our Lord:' reprinted in edition of 1648 (pp. 47, 48) with 'A' for 'An' in heading, and in the 'Carmen &c.' of 1652 (pp. 17, 18), being there entitled simply 'New Year's Day,' and in the edition of 1670 (pp. 72-74). Our text is that of 1652, as before, but there are only slight differences besides the usual orthographical ones, in any. See Notes and Illustrations at close of the poem. G.

[38] Appeared originally in the 'Steps' of 1648 (pp. 48-55), reprinted in 'Carmen' &c. of 1652 (pp. 19-28) and in 1670 (pp. 153-161). Our text is that of 1652, as before: but see close for Notes and Illustrations. In our illustrated quarto edition we reproduce the engraving here of 1652. G.

[39] Appeared originally in 'Steps' of 1648 (pp. 55, 56): reprinted in editions of 1652 (pp. 29, 30) and 1670 (pp. 161, 162). Our text is that of 1652, as before: but see Notes at close of the poem. G.

[40] Appeared originally in 'Steps' of 1646 (pp. 22, 23): reprinted in 1648 (pp. 56, 57) and in 1670 (pp. 23, 24). Our text is that of 1648, with the exception of reading in line 10, 'live' for 'lives,' from 1646 (and so in 1670). Other slight differences are simply in orthography, and not noted. In the SANCROFT MS. the heading is 'Vpon Christ's Resurrection.' G.

[41] For critical remarks on the present very striking expansion and interpretation rather than translation of MARINO, the Reader is referred to our Essay. The SANCROFT MS. must have contained this poem, for it is inserted in the index; but unfortunately the pages of the MS. containing it have disappeared. It was first published in the 'Steps' of 1646 (pp. 51-73), and was reprinted in the editions of 1648 and 1670: and separately, with a brief introduction, a few years since. Our text is that of 1648 (pp. 57-74); but it differs from the edition of 1646 only in slight changes of spelling, _e.g._ 'hee' for 'he,' 'guild' for 'gild,' and the like--not calling for record. The edition of 1670, in st. i. line 3, misprints '_so_ what' for 'O what,' and TURNBULL repeats the error, and of himself misreads in st. xxii. 'Who thunders on a throne of stars above' for 'Who in a throne of stars thunders above,' and in like manner in st. xxiv. line 8 substitutes 'getting' for 'finding,' and in st. xxvi. line 3 'serve' for 'serves.' Again in st. li. first line of which is left partially blank, from (probably) the illegibility of CRASHAW'S MS., TURNBULL tacitly fills in, 'By proud usurping Herod now was borne,' and in line 3 misprints 'lineage' for 'image'--fetching it from the 'linage' of 1670--a plausible reading, yet scarcely in keeping with the verb 'worn.' So too, besides lesser orthographic alterations, in st. xxxvi. line 2 he does not detect the stupid misprint 'whose' for 'my,' nor that of 'fight' for 'sight' in st. xlvii. line 8, while in st. lxi. he drops 'all,' which even the 1670 edition does not do, any more than is it responsible for a tithe of TURNBULL'S mistakes here and throughout. G.

[42] Appeared first in 'Steps' of 1648 (pp. 74-75): was reprinted in 1652 (pp. 66-69) and 1670 (pp. 185-187). Our text is that of 1652: but see Notes and Illustrations at close of the poem, and our Essay for critical remarks. The engraving of 1652 is reproduced in our illustrated quarto edition. G.

[43] Appeared originally in 'Steps' of 1648 (pp. 76-78), where the title is 'A Hymne on the B. Sacrament:' reprinted in 1652 (pp. 70--73) and 1670 (pp. 187-190). Our text is that of 1652; but see Notes at close of the poem. G.

[44] Appeared originally in 'Steps' of 1646 (pp. 74-78), where it is headed 'On a prayer booke sent to Mrs. M.R.:' was reprinted in 1648 (pp. 78-82), where the title differs from that of 1652 (pp. 108-112) in leaving out 'Prayer' and 'little,' and in 1670 as in 1646. Our text is that of 1652; but see Notes and Illustrations at close and on M.R. in our Essay. G.

[45] Appeared originally in 'Steps' of 1648 (pp. 82-84), and was reprinted in 1670 (pp. 198-200). Our text is that of 1648; but see Notes and Illustrations at close of the poem. G.

[46] Appeared originally in 'Steps' of 1648 (pp. 84-5): reprinted in 1652 (pp. 121-2) and 1670 (pp. 204-5). Out text is that of 1652, as before; but see Notes at close of the poem. G.

[47] Appeared originally in 'Steps' of 1646 (p. 78): reprinted in editions of 1648 (pp. 88-9) and 1670 (p. 60). Our text is that of 1648, with a few adopted readings as noted onward. See our Essay on Crashaw's relation to Herbert. In the SANCROFT MS. the heading is 'Vpon Herbert's Temple, sent to a Gentlewoman. R. CR.' Line 3 in the MS. spells 'fire,' and has 'faire' before 'eyes;' adopted: line 5th, books were used to be tied with strings: line 6th, 1646, 'you have ... th':' line 7th, MS. reads 'would' for 'will;' adopted: line 8th, 'to waite on your chast.' G.

[48] Appeared originally in 'Steps' of 1646 (pp. 79-84): reprinted in editions of 1648 (pp. 89-94), 1652 (pp. 93-100), and 1670 (pp. 61-67). Our text is that of 1652, as before, and its engraving of the Saint's portrait, and French lines here, are reproduced in our illustrated quarto edition. See Notes and Illustrations at close of the poem, and our Essay on Teresa and Crashaw. G.

[49] Appeared originally in the 'Steps' of 1646 (pp. 85-6): reprinted in editions of 1648 (pp. 97-8) and 1670 (pp. 67-8). Our text is that of 1648. See our Essay for the biographic interest of this poem, and also Notes at its close. G.

[50] Appeared originally in 1648 'Steps' (pp. 94-6): reprinted in editions of 1652 (pp. 103-107) and 1670 (pp. 194-7). Our text is that of 1652, as before. G.

[51] Appeared originally in 'Steps' of 1648 (p. 98): reprinted in 1652 (p. 107) and 1670 (pp. 197-8). Our text is that of 1652, as before; but the only difference in the others is (except the usual slight changes in orthography), that in 1648, 2d part, line 5 reads 'longing' for 'louing,' which I have adopted, as pointing back to the 'longing' of the 1st part, line 2. The title I take from 1648, as in 1652 it is simply 'A Song.' G.

[52] Appeared originally in the 'Steps' of 1646 (pp. 90-1): reprinted in 1648 (pp. 99-101), 1652 (pp. 81-3), 1670 (pp. 70-2). Our text is that of 1652, as before; but see Notes and Illustrations at close of the poem. G.

[53] From 'Five Piovs and Learned Discourses:

1. A Sermon shewing how we ought to behave our selves in God's house.

2. A Sermon preferring holy Charity before Faith, Hope and Knowledge.

3. A Treatise shewing that God's Law now qualified by the Gospel of Christ, is possible, and ought to be fulfilled of us in this life.

4. A Treatise of the Divine attributes.

5. A Treatise shewing the Antichrist not to be yet come.

By Robert Shelford, of Ringsfield in Suffolk, Priest. Printed by the printers to the Universitie of Cambridge. 1635 [quarto].' See Note at close of the poem, and our Essay, for more on Shelford. G.

[54] Appeared originally in 'Steps' of 1648 (pp. 106-7), where it is headed 'A Hymne in Meditation of the Day of Judgement:' reprinted 1652 (pp. 74-78), 1670 (pp. 191-4). Our text is that of 1652, and its engraving here is reproduced in our illustrated quarto edition. See our Essay for critical remarks on this great version of a supreme hymn. G.

[55] Appeared originally in 'Steps' of 1648 (pp. 107-9): reprinted 1652 (pp. 52-54) and 1670 (pp. 176-8). Our text is that of 1652, as before. In 1648 lines 1 and 2 read 'you' for 'thee;' and line 33 'Thou' for 'you,' the latter adopted. G.

[56] Appeared originally in 'Steps' of 1648 (pp. 109-110): reprinted 1652 (pp. 79-80) and 1670 (pp. 194-5). Our text is that of 1652, as before, and its engraving here is reproduced in our illustrated quarto edition in two forms (one hitherto unknown) from the Bodleian copy. G.

[57] Appeared first in 'Steps' of 1646 (pp. 96-9): reprinted in 1648 (pp. 111-113), 1652 (pp. 128-131), and 1670 (pp. 74-77). Our text is that of 1652, as before; with the exception of better readings from 1646, as noted below. See our Memorial Introduction and Essay for notices of the friendship of Cowley and Crashaw. G.

[58] As with Cowley's lines: see foot-note _ante_. G.

[59] See our Essay for critical remarks on this and related poems. G.

[60] May be 'kings;' but the MS. doubtful. G.

[61] Appeared originally in 'Delights' of 1646 (pp. 103-7): was reprinted in 1648 (pp. 1-5), and 1670 (pp. 81-6). Our text is that of 1648, as before; but all agree. See Notes and Illustrations at close of this poem for other two earlier translations, and our Essay for the original Latin, with critical remarks. In our illustrated quarto edition will be found a pathetic and daintily-rendered illustration, done expressly for us by Mrs. Blackburn of Glasgow, and engraved by W.J. Linton, Esq. G.

[62] Appeared originally in the 'Delights' of 1646 (pp. 110-1), and was reprinted in editions 1648 (pp. 7-8) and 1670 (pp. 106-7). Our text is that of 1648, as before, with the exception of 'gentlest' for 'gentle' from 1646 edition (line 2d), which is confirmed by the SANCROFT MS. The MS. in line 10 reads 'chatting:' line 16, I have corrected the usual reading of 'bosome' by 'blosome,' from the SANCROFT MS. The heading of the MS. is 'E Virg. Georg. particula. In laudem Veris. R. Cr.' _i.e._ Georg. ii. 323-345. G.

[63] Appeared originally in the 'Delights' of 1646 (pp. 111): was reprinted in 1648 (p. 8) and 1670 (p. 107). Our text is that of 1648, as before; but all agree. G.

[64] Our text is from the 'Hygiasticon' of LESSIUS in the English translation of 1636, the title-page of which is as follows: 'Hygiasticon: or the right course of preserving Life and Health unto extream old Age: Together with soundnesse and integritie of the Senses, Iudgement, and Memorie. Written in Latine by LEONARD LESSIUS, and now done into English. The third Edition. Cambridge, 1636.' [42mo.] It is there entitled 'To the Reader, upon the Book's intent,' and begins at line 15; these opening lines being taken from the 'Delights' of 1646 (pp. 112-3). See our Essay for remarks on this poem, and at close Notes and various readings. G.

[65] Appeared originally in 'Delights' of 1646 (p. 114): was reprinted in 1648 (p. 10) and 1670 (pp. 109-110). Our text is that of 1648; but all agree. Our Poet has turned the prose of the original into verse (Aethiopica, lib. i. cap. 1). There was an early English translation of the whole, as follows: 'Heliodorus, his Aethiopian History: Done out of Greeke, and compared with other Translations. 1622' [quarto]. In line 2, 1646 and 1670 read 'in' for 'with:' line 7, 1646 misprints 'thy' for 'they.' The heading in the SANCROFT MS. is 'The faire Aethiopian, R. Cr.' TURNBULL perpetuates 1670's misprint of 'in' for 'with' in line 2, and adds one of his own in line 26, by misprinting 'guest' for 'guests.' G.

[66] Appeared originally in the 'Delights' of 1646 (pp. 115-117): was reprinted 1648 (pp. 11-13) and 1670 (pp. 110-112). Our text is that of 1648; but all agree, save as follows: 1646 misprints 'cease' for 'ceaze' = seize, in line 17 from end; and 1670, line 8 from beginning, misprints 'own' for 'owe;' the latter perpetuated by TURNBULL. The poem is an interpretation of the first Idyll of Moschus. Line 5, 'O yes' = the legal _oyiez_: line 8, 'owe' = own. G.

[67] The first edition of Bishop Andrewes' Sermons was published in 1629. Its title was 'XCVI Sermons by the Right Honourable and Reverend Father in God, Launcelot Andrewes, late Lord Bishop of Winchester.' It is dedicated to the King by Laud and Buckeridge, Bishop of Ely, the latter adding a funeral sermon. It has no frontispiece. LOWNDES, as other bibliographers, does not seem to have known the edition of 1629. He calls that of 1631 the first, while it was the second; and he says it had a frontispiece, which is incorrect, if I may judge from a number of copies personally examined. The third edition (1635) I have not seen: but in the quarto (1641) appears a frontispiece-portrait, having the lines above, but no name or initials. Line 8 TURNBULL misprints 'and, with holy.' G.

[68] Appeared originally in 'Steps' of 1646 (pp. 31-2): was reprinted in 1648 'Delights' (pp. 18-19) and 1670 (pp. 86-7). Our text is that of 1648; but all agree. The SANCROFT MS. gives us the name of the 'gentleman' celebrated, being thus headed, 'In obitum desideratissimi Mri Chambers, Coll. Reginal. Socij. R. CR.;' and in the margin in the archbishop's hand, 'The title and Name not in ye print.' The same MS. supplies us with lines 11-12 and 21-22, never before printed. This MS. in line 23 reads 'If yet at least he' ... and in line 32, 'are' for 'be.' Only other slight orthographic differences. G.

[69] Appeared originally in the 'Steps' of 1646 (pp. 32-3): was reprinted in 1648 'Delights' (pp. 19-20) and 1670 (pp. 87-9). Our text is that of 1648; but all agree. See our Essay, as before, for notice of HERRYS or HARRIS. In the SANCROFT MS. the heading is 'In ejusdem praematur. obitu. Allegoricum. R. CR.;' and line 9 reads 'tree' for 'plant;' adopted. For a short Latin poem added here, see our vol. ii. G.

[70] Appeared originally in 'Steps' of 1646 (pp. 33-5): was reprinted in 1648 'Delights' (pp. 20-2) and 1670 (pp. 89-91). Our text is that of 1648, as before; but see Notes and Illustrations at close of the poem. G.

[71] Appeared originally in 'Steps' of 1646 (pp. 36-7): was reprinted in 1648 'Delights' (pp. 23-4) and 1670 (pp. 91-3). Our text is that of 1648; but see Notes and Illustrations at close of the poem. G.

[72] Appeared originally in 'Steps' of 1646 (pp. 38-9): was reprinted in 1648 'Delights' (pp. 24-6) and 1670 (93-4). Our text is that of 1648; but all agree. The SANCROFT MS. is headed 'Epitaphium in eundem R. CR.' Line 31, TURNBULL misprints 'breast' for 'breath.' G.

[73] Appeared originally in 'Steps' of 1646 (pp. 39-40), where it is headed 'An Epitaph vpon Husband and Wife, which died and were buried together.' G.

[74] Appeared originally in 'Steps' of 1646 (pp. 40-1), where it is headed 'Vpon Mr. Staninough's Death:' was reprinted in the 'Delights' of 1648 (p. 27), with the simple inscription, 'At the Funerall of a young Gentleman,' and in 1652 (pp. 24-5), as 'Death's Lectvre and the Fvneral of a yovng Gentleman,' and in 1670 (_bis_), viz. p. 96 and pp. 206-7. Our text is that of 1652, as before; but see Notes at close of the poem. G.

[75] Appeared originally in 'Steps' of 1646 (p. 40): was reprinted in 1648 'Delights' (p. 28) and 1670 (p. 95). Our text is that of 1648; but all agree. In the SANCROFT MS. the heading is 'In obitum Dris Brooke. R. CR.' It reads 'banck' for 'bankes' in line 7. See our Essay for notice of Dr. Brooke. G.

[76] Appeared originally in 'Steps' of 1646 (pp. 45-6): was reprinted in 'Delights' of 1648 (pp. 28-9) and 1670 (pp. 101-2). Our text is that of 1648, as before; but see Notes and Illustrations at close of the poem. G.

[77] Appeared originally in 'Steps' of 1646 (pp. 47-8): was reprinted in 1648 'Delights' (pp. 30-1) and 1670 (pp. 102-4). Our text is that of 1648, as before; but see Notes and Illustrations at close of the poem. G.

[78] Appeared originally in 'Steps' of 1646 (pp. 49-50): was reprinted in 'Delights' of 1648 (pp. 32-3) and 1670 (pp. 104-6). Our text is that of 1648, as before; but see Notes and Illustrations at close of the poem. G.

[79] Appeared originally in the 'Delights' of 1646 (pp. 123-4), along with the other two (pp. 125-6): reprinted in 1648 (pp. 35-7) and 1670 (pp. 117-19). Our text is that of 1648; but all agree. G.

[80] TURNBULL glaringly misprints 'The heart commanding in my heart,' and in line 15, 'O love;' the latter after 1670 as usual, the former his own. G.

[81] Appeared originally, without signature, in the work celebrated, which is a great folio. It was preceded by another, which, having been inserted in the 'Steps' of 1646 and the other editions (1652 excepted), has been continued to be reprinted as CRASHAW'S. It really belonged to Dr. EDWARD RAINBOW, Bishop of Carlisle, for whom, so late as 1688, it was first claimed by his biographer, Banks. This was pointed out in Notes and Queries by Rev. J.E.B. Mayor, M.A. of St. John's College, Cambridge (2d s. vol. iv. p. 286). One is thankful to have the claim confirmed by the non-presence of the poem in the SANCROFT MS., where only the above shorter one appears as by CRASHAW. Lines 5-8 of RAINBOW'S poem it was simply impossible for our singer to have written. I add the other at close of CRASHAW'S, as some may be curious to read it: but as the details of the grotesque 'Frontispiece' are celebrated by RAINBOW, not CRASHAW, I have departed from my intention of reproducing it in our illustrated quarto edition, the more readily in that I have much increased otherwise therein the reproductions announced. RAINBOW contributed to the University Collections along with CRASHAW, MORE, BEAUMONT, E. KING, &c. &c. See our Essay on Life and Poetry. G.

[82] Appeared originally in 'Delights' of 1646 (pp. 130-1): was reprinted in 1648 (pp. 40-1) and 1670 (pp. 122-3). Our text is that of 1648, as before; but all agree. G.

[83] Appeared originally in 'Delights' of 1646 (pp. 132-3), and was reprinted in 1648 (p. 42); but not in 1670. Our text is that of 1648; but all agree. The original is found in Carm. v. = 2. The SANCROFT M.S. reads line 4 'Blithest:' line 9 'numerous:' line 12 'A:' line 17 'our.' G.

[84] Appeared originally in 'Delights' of 1646 (pp. 134-8): was reprinted in 1648 (pp. 43-7) and 1670 (pp. 124-8). Our text is that of 1648, as before; but see Notes and Illustrations at close of the poem. G.

[85] Appeared originally in 'Voces Votivae ab Academicis Cantabrigiensibus pro novissimo Carolo et Mariae principe filio emissae. Cantabrigiae: apud Rogerum Daniel. MDCXL.' This poem did not appear in the edition of 1646; but it did in that of 1648 (p. 48). Not having been reprinted in 1670, it was overlooked by TURNBULL. Our text is from 1648; but the only variation from the original in 'Voces Votivae' is in line 7, 'to' instead of 'for.' G.

[86] Appeared as in last piece: 1648 (pp. 49-53), 1670 (pp. 97-100). Our text is that of 1648, as before, which corrects TURNBULL in many places as well in errors of commission as of omission; the latter extending to no fewer than forty-nine entire lines, in addition to the 'Apologie' of fourteen lines. See Notes and Illustrations at close of the poem. G.

[87] Appeared originally in 1648 'Delights;' but is not given in 1670 edition. Line 14 is an exquisitely-turned allusion to COWLEY'S title-page of his juvenile Poems, 'Poetical _Blossoms_,' 1633. 'Apricocks' = apricots. So HERRICK in the 'Maiden Blush,'

'So cherries blush, and kathern peares, And _apricocks_, in youthfull yeares.'

(Works, by HAZLITT, vol. ii. p. 287.) G.

[88] Appeared originally in the 'Delights' of 1648 (pp. 67-8): was reprinted in 1652 (pp. 115-120) and 1670 (pp. 200-4). Our text is that of 1652, as before; but see various readings at close of the poems. See also our Essay for critical remarks. Our poet translates from the Latin of FRANCIS REMOND. G.

[89] Charles I. See our Essay on this and kindred poems, and their relation to the Latin royal poems. G.

[90] See our Notes to Panegyric on the Queen's 'numerous progenie.' G.

[91] Petronius, Satyricon, cap. 93. G.

[92] See notice of Staninough in our Essay, as before. G.

[93] See our Essay, as before, for notice of PORTER. G.