--which is quite certainly right. Only three manuscripts have the, to
my mind, most probably correct reading in _Satyre I_, l. 58, p. 147:
The Infanta of London;
and only two, _Q_ and the _Dyce MS._ which is its duplicate, the
tempting and, I think, correct reading in _Satyre IV_, l. 38, p. 160:
He speaks no language.
Lastly, there are poems for which _1633_ is not available. The
authenticity of these will be discussed later. Their text is generally
very corrupt, especially of those added in _1650_ and _1669_. Here
the manuscripts help us enormously. With their aid I have been able to
give an infinitely more readable text of the fine _Elegie XII_, 'Since
she must go'; the brilliant though not very edifying _Elegies XVII_,
_XVIII_, and _XIX_; as well as of most of the poems in the Appendixes.
The work of correcting some of these had been begun by Dr. Grosart and
Mr. Chambers, but much was still left to do by a wider collation. Dr.
Grosart was content with one or two generally inferior manuscripts,
and Mr. Chambers mentions manuscripts which time or other reasons did
not allow him to examine, or he could not have been content to leave
the text of these poems as it stands in his edition.
One warning which must be borne in mind when making a comparison
of alternative readings has been given by Mr. Chambers, and my
examination of the manuscripts bears it out: 'In all probability most
of Donne's poems existed in several more or less revised forms, and
it was sometimes a matter of chance which form was used for printing a
particular edition.' The examination of a large number of manuscripts
has shown that it is not probable, but certain, that of some poems
(e.g. _The Flea_, _A Lecture upon the Shadow_, _The Good-Morrow_,
_Elegie XI. The Bracelet_) more than one distinct version was in
circulation. Of the _Satyres_, too, many of the variants represent,
I can well believe, different versions of the poems circulated by the
poet among his friends. And the same may possibly be true of variants
in other poems. Our analysis of _1633_ has shown us what versions
were followed by that edition. What happened in later editions was
frequently that the readings of two different versions were combined
eclectically. In the present edition, when it is clear that there
were two versions, my effort has been to retain one tradition pure,
recording the variants in the notes, even when in individual cases
the reading of the text adopted seemed to me inferior to its rival,
provided it was not demonstrably wrong.
In view of what has been said, the aim of the present edition may be
thus briefly stated:
(1) To restore the text of _1633_ in all cases where modern editors
have abandoned or disguised it, if there is no evidence, internal
or external, to prove its error or inferiority; and to show, in the
textual notes, how far it has the general support of the manuscripts.
(2) To correct _1633_ when the meaning and the evidence of the
manuscripts point to its error and suggest an indubitable or highly
probable emendation.
(3) To correct throughout, and more drastically, by help of the
manuscripts when such exist, the often carelessly and erroneously
printed text of those poems which were added in _1635_, _1649_,
_1650_, and _1669_.
(4) By means of the commentary to vindicate or defend my choice of
reading, and to elucidate Donne's thought by reference to his other
works and (but this I have been able to do only very partially) to his
scholastic and other sources.
As regards punctuation, it was my intention from the outset to
preserve the original, altering it only (_a_) when, judged by its own
standards, it was to my mind wrong--stops were displaced or dropped,
or the editor had misunderstood the poet; (_b_) when even though
defensible the punctuation was misleading, tested frequently by the
fact that it had misled editors. In doing this I frequently made
unnecessary changes because it was only by degrees that I came to
understand all the subtleties of older punctuation and to appreciate
some of its nuances. A good deal of my work in the final revision has
consisted in restoring the original punctuation. In doing this I
have been much assisted by the study of Mr. Percy Simpson's work on
_Shakespearian Punctuation_. My punctuation will not probably in the
end quite satisfy either the Elizabethan purist, or the critic who
would have preferred a modernized text. I will state the principles
which have guided me.
I do not agree with Mr. Chambers that the punctuation, at any rate
of _1633_, is 'exceptionally chaotic'. It is sometimes wrong, and in
certain poems, as the _Satyres_, it is careless. But as a rule it
is excellent on its own principles. Donne, indeed, was exceptionally
fastidious about punctuation and such typographical details as capital
letters, italics, brackets, &c. The _LXXX Sermons_ of 1640 are a model
of fine rhetorical and rhythmical pointing, pointing which inserted
stops to show you where to stop. The sermons were not printed in his
lifetime, but we know that he wrote them out for the press, hoping
that they might be a source of income to his son.
But Donne did not prepare his poems for the press. Their punctuation
is that of the manuscript from which they were taken, revised by the
editor or printer. One can often recognize in _D_ the source of a stop
in _1633_, or can see what the pointing and use of capitals would have
been had Donne himself supervised the printing. The printer's man was
sometimes careless; the printer or editor had prejudices of his own
in certain things; and Donne is a difficult and subtle poet. All these
circumstances led to occasional error.
The printer's prejudice was one which Donne shared, but not, I
think, to quite the same extent. Compared, for example, with the
_Anniversaries_ (printed in Donne's lifetime) _1633_ shows a fondness
for the semicolon,[45] not only within the sentence, but separating
sentences, instead of a full stop, when these are closely related in
thought to one another. In an argumentative and rhetorical poet like
Donne the result is excellent, once one grows accustomed to it, as
is the use of commas, where we should use semicolons, within the
sentence, dividing co-ordinate clauses from one another. On the other
hand this use of semicolons leads to occasional ambiguity when one
which separates two sentences comes into close contact with another
within the sentence. For example, in _Satyre III_, ll. 69-72,
how should an editor, modernizing the punctuation, deal with the
semicolons in ll. 70 and 71? Should he print thus?--
But unmoved thou
Of force must one, and forc'd but one allow;
And the right. Ask thy father which is shee;
Let him ask his.
With trifling differences that is how Chambers and the Grolier Club
editor print them. But the lines might run, to my mind preferably--
But unmoved thou
Of force must one, and forc'd but one allow.
And the right; ask thy father which is shee,
Let him ask his.
'And the right' being taken as equivalent to 'And as to the right'.
One might even print--
And the right? Ask, &c.
One of the semicolons is equivalent to a little more than a comma, the
other to a little less than a full stop.
Another effect of this finely-shaded punctuation is that the question
is constantly forced upon an editor, is it correct? Has the printer
understood the subtler connexion of Donne's thought, or has he placed
the semicolon where the full stop should be, the comma where the
semicolon? My solution of these difficulties has been to face and try
to overcome them. I have corrected the punctuation where it seemed
to me, on its own principles, definitely wrong; and I have, but more
sparingly, amended the pointing where it seemed to me to disguise the
subtler connexions of Donne's thought or to disturb the rhetoric and
rhythm of his verse paragraphs. In doing so I have occasionally taken
a hint from the manuscripts, especially _D_ and _W_, which, by the
kindness of Mr. Gosse and Professor Dowden, I have had by me while
revising the text. But if I occasionally quote these manuscripts in
support of my punctuation, it is only with a view to showing that I
have not departed from the principles of Elizabethan pointing. I do
not quote them as authoritative. On questions of punctuation none
of the extant manuscripts could be appealed to as authorities. Their
punctuation is often erratic and chaotic, when it is not omitted
altogether. Finally, I have recorded every change that I have made.
A reader should be able to gather from the text and notes combined
exactly what was the text of the first edition of each poem, whether
it appeared in _1633_ or a subsequent edition, in every particular,
whether of word, spelling, or punctuation. My treatment of the last
will not, as I have said, satisfy every reader. I can only say that I
have given to the punctuation of each poem as much time and thought as
to any part of the work. In the case of Donne this is justifiable.
I am not sure that it would be in the case of a simpler, a less
intellectual poet. It would be an easier task either to retain the
old punctuation and leave a reader to correct for himself, or to
modernize. With all its refinements, Elizabethan punctuation erred
by excess. A reader who gives thought and sympathy to a poem does not
need all these commands to pause, and they frequently irritate and
mislead.
[Footnote 1: _Englands Parnassus; or The Choysest Flowers
of our Moderne Poets: with their Poetical Comparisons.
Descriptions of Bewties, Personages, Castles, Pallaces,
Mountaines, Groves, Seas, Springs, Rivers etc. Whereunto
are annexed Other Various Discourses both Pleasaunt and
Profitable. Imprinted at London, For N. L. C. B. And T. H._
1600.]
[Footnote 2: _A Poetical Rhapsody Containing, Diuerse Sonnets,
Odes, Elegies, Madrigalls, and other Poesies, both in Rime and
Measured Verse. Never yet published._ &c. 1602. The work was
republished in 1608, 1611, and 1621. It was reprinted by Sir
Samuel Egerton Brydges in 1814, by Sir Harris Nicolas in 1826,
and by A. H. Bullen in 1890.
_Englands Helicon_, printed in 1600, is a collection of songs
almost without exception in pastoral guise. The _Eclogue_
introducing the Somerset _Epithalamion_ is Donne's only
experiment in this favourite convention. Donne's friend
Christopher Brooke contributed an _Epithalamion_ to this
collection, but not until 1614. It is remarkable that Donne's
poem _The Baite_ did not find its way into _Englands Helicon_
which contains Marlowe's song and two variants on the theme.
In 1600 Eleazar Edgar obtained a licence to publish _Amours by
J. D. with Certen Oyr._ (i.e. other) _sonnetes by W. S._ Were
Donne and Shakespeare to have appeared together? The volume
does not seem to have been issued.]
[Footnote 3: e.g. Among Drummond of Hawthornden's
miscellaneous papers; in Harleian MS. 3991; in a manuscript in
Emmanuel College, Cambridge.]
[Footnote 4: So on the first page, and the opening sentences
of the letter defend the use of the word 'Understanders'.
Nevertheless the second and third pages have the heading,
running across from one to the other, 'The Printer to the
Reader.']
[Footnote 5: 'Will: Marshall sculpsit' implies that Marshall
executed the plate from which the whole frontispiece is taken,
including portrait and poem, not that he is responsible for
the portrait itself. To judge from its shape the latter would
seem to have been made originally from a medallion. Marshall,
the _Dictionary of National Biography_ says, 'floruit c.
1630,' so could have hardly executed a portrait of Donne in
1591. Mr. Laurence Binyon, of the Print Department of the
British Museum, thinks that the original may have been by
Nicholas Hilyard (see II. p. 134) whom Donne commends in _The
Storme_. The Spanish motto suggests that Donne had already
travelled.
The portrait does not form part of the preliminary matter,
which consists of twelve pages exclusive of the portrait. It
was an insertion and is not found in all the extant copies.
The paper on which it is printed is a trifle smaller than the
rest of the book.]
[Footnote 6: One or two copies seem to have got into
circulation without the _Errata_. One such, identical in other
respects with the ordinary issue, is preserved in the library
of Mr. Beverley Chew, New York. I am indebted for this
information to Mr. Geoffrey Keynes, of St. Bartholomew's
Hospital, who is preparing a detailed bibliography of Donne's
works.]
[Footnote 7: Some such arrangement may have been intended by
Donne himself when he contemplated issuing his poems in 1614,
for he speaks, in a letter to Sir Henry Goodyere (see II.
pp. 144-5), of including a letter in verse to the Countess
of Bedford 'amongst the rest to persons of that rank'. The
manuscripts, especially the later and more ambitious, e.g.
_Stephens_ and _O'Flaherty_, show similar groupings; and in
_1633_, though there is no consistent sequence, the poems
fall into irregularly recurring groups. The order of the poems
within each of these groups in _1633_ is generally retained in
_1635_. In the _1633_ arrangement there were occasional errors
in the placing of individual poems, especially _Elegies_,
owing to the use of that name both for love poems and for
funeral elegies or epicedes. These were sometimes corrected in
later editions.
Modern editors have dealt rather arbitrarily and variously
with the old classification. Grosart shifted the poems about
according to his own whims in a quite inexplicable fashion.
The Grolier Club edition preserves the groups and their
original order (except that the _Epigrams_ and _Progresse of
the Soule_ follow the _Satyres_), but corrects some of the
errors in placing, and assigns to their relevant groups the
poems added in _1650_. Chambers makes similar corrections and
replacings, but he further rearranges the groups. In his first
volume he brings together--possibly because of their special
interest--the _Songs and Sonets_, _Epithalamions_, _Elegies_,
and _Divine Poems_, keeping for his second volume the _Letters
to Severall Personages_, _Funerall Elegies_, _Progresse of the
Soul_, _Satyres_, and _Epigrams_. There is this to be said
for the old arrangement, that it does, as Walton indicated,
correspond generally to the order in which the poems were
written, to the succession of mood and experience in Donne's
life. In the present edition this original order has been
preserved with these modifications: (1) In the _Songs and
Sonets_, _The Flea_ has been restored to the place which it
occupied in _1633_; (2) the rearrangement of the misplaced
_Elegies_ by modern editors has been accepted; (3) their
distribution of the few poems added in _1650_ (in two sheets
bound up with the body of the work) has also been accepted,
but I have placed the poem _On Mr. Thomas Coryats Crudities_
after the _Satyres_; (4) two new groups have been inserted,
_Heroical Epistles_ and _Epitaphs_. It was absurd to
class _Sappho to Philaenis_ with the _Letters to Severall
Personages_. At the same time it is not exactly an _Elegy_.
There is a slight difference again between the _Funerall
Elegy_ and the _Epitaph_, though the latter term is sometimes
loosely used. Ben Jonson speaks of Donne's _Epitaph on Prince
Henry_. (5) The _Letter, to E. of D. with six holy Sonnets_
has been placed before the _Divine Poems_. (6) The _Hymne to
the Saints, and to Marquesse Hamylton_ has been transferred
to the _Epicedes_. (7) Some poems have been assigned to an
Appendix as doubtful.]
[Footnote 8: The edition of 1633 contained one Latin, and
seven English, letters to Sir Henry Goodyere, with one letter
to the Countess of Bedford, a copy of which had been sent
to Goodyere. To these were added in _1635_ a letter in Latin
verse, _De libro cum mutuaretur_ (see p. 397), and four prose
letters in English, one _To the La. G._ written from _Amyens_
in February, 1611-2, and three _To my honour'd friend G.
G. Esquier_, the first dated April 14, 1612, the two last
November 2, 1630, and January 7, 1630.]
[Footnote 9: In the copy of the 1633 edition belonging to the
Library of Christ Church, Oxford, which has been used for the
present edition, and bears the name 'Garrard att his quarters
in ϑermyte' (_perhaps_ Donne's friend George Garrard or
Gerrard: see Gosse: _Life and Letters &c._ i. 285), are some
lines, signed J. V., which seem to imply that the writer had
some hand in the publication of the poems; but the reference
may be simply to his gift:
An early offer of him to yo^r sight
Was the best way to doe the Author right
My thoughts could fall on; w^ch his soule w^ch knew
The weight of a iust Prayse will think't a true.
Our commendation is suspected, when
Wee Elegyes compose on sleeping men,
The Manners of the Age prevayling so
That not our conscience wee, but witts doe show.
And 'tis an often gladnes, that men dye
Of unmatch'd names to write more easyly.
Such my religion is of him; I hold
It iniury to have his merrit tould;
Who (like the Sunn) is righted best when wee
Doe not dispute but shew his quality.
Since all the speech of light is less than it.
An eye to that is still the best of witt.
And nothing can express, for truth or haste
So happily, a sweetnes as our taste.
W^ch thought at once instructed me in this
Safe way to prayse him, and yo^r hands to kisse.
Affectionately y^rs
J. V.
tu longe sequere et vestigia
semper adora
Vaughani
The name at the foot of the Latin line, scribbled at the
bottom of the page, seems to identify J. V. with a Vaughan,
probably John Vaughan (1603-74) who was a Christ Church man.
In 1630 (_D.N.B._) he was a barrister at the Inner Temple, and
a friend of Selden. He took an active part in politics later,
and in 1668 was created Sir John Vaughan and appointed Chief
Justice of the Common Pleas.]
[Footnote 10: I am inclined to believe that Henry King, the
poet, and later Bishop of Chichester, assisted the printer.
The 1633 edition bears more evidence of competent editing
by one who knew and understood Donne's poems than any later
edition. See p. 255.]
[Footnote 11: Professor Norton (Grolier Club edition, i,
p. xxxviii) states that the _Epistle Dedicatory_ and the
_Epigram_ by Jonson are omitted in this edition. This is an
error, perhaps due to the two pages having been torn out of
or omitted in the copy he consulted. They are in the Christ
Church, Oxford, copy which I have used.]
[Footnote 12: In 1779 Donne's poems were included in Bell's
_Poets of Great Britain_. The poems were grouped in an
eccentric fashion and the text is a reprint of _1719_. In
1793 Donne's poems were reissued in a _Complete Edition of the
Poets of Great Britain_, published by Arthur Arch, London, and
Bell and Bradfute, Edinburgh, under the editorship of Robert
Anderson. The text and arrangement of the poems show that this
is a reprint of Bell's edition. The same is true of the text,
so far as I have checked it, in Chalmers's _English Poets_,
vol. v, 1810. But in the arrangement of the poems the editor
has recurred to the edition of 1669, and has reprinted some
poems from that source. Southey printed selections from
Donne's poems in his _Select Works of the British Poets from
Chaucer to Jonson_ (1831). The text is that of _1669_. In
1839 Dean Alford included some of Donne's poems in his very
incomplete edition of the _Works of Donne_. He printed these
from a copy of the 1633 edition.
There were two American editions of the poems before the
Grolier Club edition. Donne's poems were included in _The
Works of the British Poets with Lives of their Authors_, by
Ezekiel Sanford, Philadelphia, 1819. The text is based on the
edition of 1719. A complete and separate edition was published
at Boston in 1850. This has an eclectic text, but the editor
has relied principally on the editions after _1633_. Variants
are sparingly and somewhat inaccurately recorded.
In 1802 F. G. Waldron printed in his _Shakespeare Miscellany_
'Two Elegies of Dr. Donne not in any edition of his Works'. Of
these, one, 'Loves War,' is by Donne. The other, 'Is Death so
great a gamster,' is by Lord Herbert of Cherbury. In
1856-7 Sir John Simeon printed in the _Miscellanies_ of the
Philobiblon Society several 'Unpublished Poems of Donne'. Very
few of them are at all probably poems of Donne.
Of Grosart's edition (1873), the Grolier Club edition (1895),
and Chambers's edition (1896), a full account will be given
later.]
[Footnote 13: Huyghens sent some translations with the letter.
He translated into Dutch (retaining the original metres,
except that Alexandrines are substituted for decasyllabics)
nineteen pieces in all. An examination of these shows that the
text he used was a manuscript one, the readings he translates
being in more than one instance those of the manuscript, as
opposed to the printed, tradition. In a note which he prefixed
to the translations when he published them many years later
in his _Korenbloemen_ (1672) he states that Charles I, having
heard of his intention to translate Dr. Donne, 'declared he
did not believe that anyone could acquit himself of that task
with credit'--an interesting testimony to the admiration
which Charles felt for the poetry of Donne. A copy of the 1633
edition now in the British Museum is said to have belonged to
the King, and to bear the marks of his interest in particular
passages. Huyghens's comment on Charles's criticism shows what
it was in the English language which most struck a foreigner
speaking a tongue of a purer Germanic strain: 'I feel sure
that he would not have passed so absolute a sentence had he
known the richness of our language, a moderate command of
which is sufficient to enable one to render the thoughts of
peoples of all countries with ease and delight. From these I
must, however, except the English; for their language is all
languages; and as it pleases them, Greek and Latin become
plain English. But since _we_ do not thus admit foreign words
it is easy to understand in what difficulty we find ourselves
when we have to express in a pure German speech, _Ecstasis_,
_Atomi_, _Influentiae_, _Legatum_, _Alloy_, and the like. Set
these aside and the rest costs us no great effort.'
At the end of his life Huyghens wrote a poem of reminiscences,
_Sermones de Vita Propria_, in which he recalls the impression
that Donne had left upon his mind:
Voortreffelyk Donn, o deugdzaam leeraer, duld
Dat ik u bovenal, daar'k u bij voorkeur noeme,
Als godlijk Dichter en welsprekend Reednaer roeme,
Uit uwen gulden mond, 'tzij ge in een vriendenzaal
Of van den kansel spraakt, klonk louter godentaal,
Wier nektar ik zoo vaak met harte wellust proefde.
'Suffer me, all-surpassing Donne, virtuous teacher, to name
you first and above all; and sing your fame as god-like poet
and eloquent preacher. From your golden mouth, whether in
the chamber of a friend, or in the pulpit, fell the speech
of Gods, whose nectar I drank again and again with heartfelt
joy.'