Elizabeth Stanley, daughter of Ferdinando, fifth Earl of Derby,
married Henry Hastings, fifth Earl of Huntingdon, in 1603. Her
mother's second husband was Sir Thomas Egerton, whom Lady Derby
married in 1600. Donne was then Egerton's secretary, and in lines
57-60 he refers to his early acquaintance with her, then Lady Alice
Stanley. If the letter in _Appendix A_, p. 417, 'That unripe side',
&c., be also by Donne, and addressed to the Countess of Huntingdon,
it must have been written earlier than this letter, which belongs
probably to the period immediately before Donne's ordination.
l. 13. _the Magi._ The MSS. give _Magis_, and in _The First
Anniversary_ (l. 390) Donne writes, 'The Aegyptian Mages'. The
argument of the verse is: 'As such a miraculous star led the Magi to
the infant Christ, so may the beams of virtue transmitted by your fame
guide fit souls to the knowledge of virtue; and indeed none are so bad
that they may not be thus led. Your light can illumine and guide the
darkest.'
l. 18. _the Sunnes fall._ In Autumn? or does Donne refer to the fall
of the sun to the centre in the new Astronomy? In the _Letters_, p.
102, he says that 'Copernicisme in the Mathematiques hath carried
earth farther up from the stupid Center; and yet not honoured it,
because for the necessity of appearances, it hath carried heaven so
much higher from it'. Compare _An Anatomie of the World_, l. 274.
PAGE 202, l. 25. _She guilded us: But you are gold, and Shee;_
The _1633_ reading is the more pregnant, and therefore the more
characteristic of Donne. 'She guilded us, but you she changed into
_her own_ substance.' The _1635_ reading implies transubstantiation,
but does not indicate so clearly the identity of the new substance
with virtue's own essence.
ll. 33-6. _Else being alike pure, &c._ This verse follows in the
closest way on what has gone before, and should not be separated from
it by a full stop as in Chambers and Grolier. The last line of this
stanza concludes the whole argument which began at l. 29. 'The high
grace of virginity indeed is not yours, because virtue, having made
you one with herself, wished in you to reveal herself. Virtue and
Virginity are each too pure for earthly vision. As air and aqueous
vapour are each invisible till both are changed into thickened air or
cloud, so virtue becomes manifest in you as mother and wife. It is for
_our_ sake you take these low names.'
ll. 41-4. _So you, as woman, one doth comprehend, &c._ 'One, your
husband, comprehends your being. To others it is revealed, but under
the veil of kindred; to still others of friendship; to me, who stand
more remote, under the relationship of prince to subject.'
l. 47. _I, which doe soe._ The edition of 1633 reads, 'I, which to
you', making a logical and grammatical construction of the sentence
impossible. The editor has failed to note that the personal reference
of 'owe' is supplied in l. 45, 'To whom'. 'I, which doe so' means 'I,
who contemplate you'.
PAGE =203=. TO M^r T. W.
_To M^r T. W._ The group of letters which begins with this I have
arranged according to the order in which they are found in _W_, Mr.
Gosse's Westmoreland MS. In this MS. a better text of these poems is
given than that of _1633_; lines are supplied which have been dropped,
and a few whole letters. The series contains also a reply to one of
Donne's letters. For these reasons it seems to me preferable to follow
an order which _may_ correspond to the order of composition.
In _1633_, which follows _A18_, _N_, _TCC_, _TCD_, the letters are
headed M. T. W., M. R. W., &c., 'M' standing, as often, for 'Mr.'
Seeing, however, that 'Mr.' is the general form in _W_, I have used it
as clearer.
The first of the letters has been headed hitherto To M. I. W., and
Mr. Chambers conjectured that the person addressed _might_ be Izaak
Walton. It is clear from the other MSS. that _A18_, _N_, _TC_, which
_1633_ follows, is wrong and that I. W. should be T. W., Thomas
Woodward. The T and I of this MS. are very similar, though
distinguishable. Unfortunately we know nothing more of Thomas Woodward
than that he was Rowland's brother and Donne's friend. The 'sweet
Poet' must not be taken too seriously. Donne and his friends were
corresponding with one another in verse, and complimenting each other
in the polite fashion of the day.
PAGE =204=, ll. 13-16. _But care not for me, &c._ These lines form a
crux in the textual criticism of Donne's poetry. I shall print them as
they stand in _W_:
But care not for mee: I y^t ever was
In natures & in fortunes guifts alas
Before thy grace got in the Muses schoole
A monster & a begger, am now a foole.
Some copies of the 1633 edition (including those used by myself and by
the Grolier Club editor) print these words, but obscure the meaning
by bracketing 'alas ... schoole'. Other copies (e.g. that used by
Chambers) insert after 'Before' a 'by', which the Grolier Club editor
also does as a conjecture. The 1635 editor, probably following _O'F_,
resorted to another device to clear up the sense and changed 'Before'
to 'But for', which Grosart and Chambers follow. The majority of
the MSS., however, agree with _W_, and the case illustrates well the
difficulties which beset an eclectic use of the editions.
If the bracket in _1633_ is dropt, or rearranged as in the text, the
reading is correct and intelligible. The printers and editors have
been misled by Donne's phrase, 'In Natures, and in Fortunes gifts'.
They took this to go with 'A monster and a beggar': 'I that ever was
a monster and a beggar in Natures and in Fortunes gifts.' This is a
strange expression, taken, I suppose, to mean that Donne never enjoyed
the blessings either of Nature or of Fortune. But what Donne says
is somewhat different. The phrase 'I that ever was in Natures and
in Fortunes gifts' means 'I that ever was the Almsman of Nature and
Fortune'. Donne is using metaphorically a phrase of which the O.E.D.
quotes a single instance: 'I live in Henry the 7th's Gifts' (i.e.
his Almshouses). T. Barker, _The Art of Angling_ (1651). The whole
sentence might be paraphrased thus: 'I, who was ever the Almsman of
Nature and Fortune, am now a fool.' Parenthetically he adds, 'Till
thy grace begot me, a monster and a beggar, in the Muses' school'.
Possibly 'and a beggar' should be left outside the brackets and taken
with 'In Natures and in Fortunes gifts': 'I, that _was_ an almsman
and beggar, was by you begotten a poet, though a monstrous one;'
('monster' goes properly with 'got') 'and am now a fool'--possibly the
last allusion is to his rash marriage. Donne's prose and verse of
the years following 1601 are full of this melancholy depreciation of
himself and his lot. Daniel calls himself the
Orphan of Fortune, borne to be her scorne.
_Delia_, 26.
Compare also:
O I am fortune's fool.
Shakespeare, _Romeo and Juliet_, III. i. 129.
Let your study
Be to content your lord, who hath received you
At fortune's alms.
Shakespeare, _King Lear_, I. i. 277-9.
So shall I clothe me in a forced content,
And shut myself up in some other course,
To fortune's alms.
Shakespeare, _Othello_, III. iv. 120-2.
In _W_ 'All haile sweet Poet' is followed at once by these lines,
presumably written by Thomas Woodward and possibly in reply to the
above. They are found standing by themselves in _B_, _O'F_, _P_,
_S96_. In these they are apparently ascribed to Donne. I print from
_W_:
TO M^r J. D.
Thou sendst me prose and rimes, I send for those
Lynes, which, being neither, seem or verse or prose.
They'are lame and harsh, and have no heat at all
But what thy Liberall beams on them let fall.
The nimble fyre which in thy braynes doth dwell
Is it the fyre of heaven or that of hell?
It doth beget and comfort like Heavens eye,
And like hells fyre it burnes eternally.
And those whom in thy fury and judgment
Thy verse shall skourge like hell it will torment.
Have mercy on mee and my sinfull Muse
Which rub'd and tickled with thine could not chuse
But spend some of her pith, and yeild to bee
One in that chaste and mistique Tribadree.
Bassaes adultery no fruit did Leave,
Nor theirs, which their swollen thighs did nimbly weave,
And with new armes and mouths embrace and kiss,
Though they had issue was not like to this.
Thy muse, Oh strange and holy Lecheree
Being a mayde still, gott this song on mee.
l. 25. _Now if this song, &c._ By interchanging the stops at 'evill'
and at 'passe' the old editions have obscured these lines. Mr.
Chambers, accepting the full stop at 'evill', prints:--
If thou forget the rhyme as thou dost pass,
Then write;
The reason for writing is not clear. 'If thou forget,' &c. explains
''Twill be good prose'. 'Read this without attending to the rhymes
and you will find it good prose.' If we drop the epithet 'good', this
criticism will apply to a considerable portion of metaphysical poetry.
PAGE =205=, l. 30. _thy zanee_, i.e. thy imitator, as the Merry-Andrew
imitates the Mountebank:
He's like the Zani to a tumbler
That tries tricks after him to make men laugh.
Jonson, _Every Man out of his Humour_, IV. i.
PAGE =205=. TO M^r T. W.
l. 1. _Haste thee, &c._ By the lines 5-6, supplied from _W_, this poem
is restored to the compass of a sonnet, though a very irregular one in
form. The letter is evidently written from London, where the plague is
prevalent. The letter is to be (l. 14) Donne's pledge of affection if
he lives, his testament if he dies.
PAGE =206=. TO M^r T. W.
l. 5. _hand and eye_ is the reading of all the MSS., including _W_.
It is written in the latter with a contraction which could easily be
mistaken for 'or'.
TO M^r T. W.
l. 3. _I to the Nurse, they to the child of Art._ The 'Nurse of Art'
is probably Leisure, 'I to my soft still walks':
And add to these retired Leisure,
That in trim gardens takes his pleasure.
According to Aristotle, all the higher, more intellectual arts, as
distinct from those which supply necessities or add to the pleasures
of life, are the fruits of leisure: 'At first he who invented any art
that went beyond the common perceptions of man was naturally admired
by men, not only because there was something useful in the inventions,
but because he was thought wise and superior to the rest. But as more
arts were invented, and some were directed to the necessities of life,
others to its recreation, the inventors of the latter were naturally
always regarded as wiser than the inventors of the former, because
their branches of knowledge did not aim at utility. Hence when all
such inventions were already established, the sciences which do not
aim at giving pleasure or at the necessities of life were discovered,
and first in the places where men first began to have leisure. This
is why the mathematical arts were founded in Egypt; for there
the priestly caste was allowed to be at leisure.' _Met._ A. 981^b
(translated by W. D. Ross).
l. 12. _a Picture, or bare Sacrament._ The last word would seem to be
used in the legal sense: 'The _sacramentum_ or pledge which each of
the parties deposited or became bound for before a suit.' O.E.D. The
letter is a picture of his mind or pledge of his affection.
PAGE =207=. TO M^r R. W.
_Muse not that by, &c._ l. 7. _a Lay Mans Genius_: i.e. his Guardian
Angel. The 'Lay Man' is opposed to the 'Poet'. Donne is very familiar
with the Catholic doctrine of Guardian Angels and recurs to it
repeatedly. Compare Shakespeare, _Macbeth_, III. i. 55.
l. 11. _Wright then._ The version of this poem in _W_ is probably
made from Donne's autograph. One of his characteristic spellings is
'wright' for 'write'. The _Losely Manuscripts_ (ed. Kempe, 1836), in
which some of Donne's letters are printed from the originals, show
this spelling on every page. It is perhaps worth noting that the
irregular past participle similarly spelt, i.e. 'wrought', has
occasionally misled editors by its identity of form with the past
participle of the verb 'work', which has 'gh' legitimately. Thus Mr.
Beeching (_A Selection from the Poetry of Samuel Daniel and Michael
Drayton_, 1899) prints:
Read in my face a volume of despairs,
The wailing Iliads of my tragic woe,
Drawn with my blood, and painted with my cares,
Wrought by her hand that I have honoured so.
Here 'wrought' should be 'wrote', used, as frequently, for 'written'.
In Professor Saintsbury's _Patrick Carey_ (Caroline Poets, II.) we
read:
Who writ this song would little care
Although at the end his name were wrought.
i.e. 'wrote'.
See also Donne's _The Litanie_, i. p. 342, l. 112.
PAGE =208=. TO M^r C. B.
Pretty certainly Christopher Brooke, to whom _The Storme_ and _The
Calme_, are addressed. Chambers takes 'the Saint of his affection' to
be Donne's wife, and dates the letter after 1600. But surely the
last two lines would not have been written of a wife. They are in the
conventional tone of the poet to his cruel Mistress. If Ann More is
the 'Saint' referred to, she was not yet Donne's wife. Possibly it is
some one else. Writing from Wales in 1599, Wotton says (in a letter
which Mr. Pearsall Smith thinks is addressed to Donne, but this is not
at all certain), 'May I after these, kiss that fair and learned
hand of your mistress, than whom the world doth possess nothing more
virtuous.' (_Life and Letters of Sir Henry Wotton_, i. 306.)
l. 10. _Heavens liberall and earths thrice fairer Sunne._ I prefer the
_1633_ and _1669_ reading, amended from _W_ which reads 'fairer', to
that of the later editions, 'the thrice faire Sunne', which Chambers
adopts. There are obviously _two_ suns in question--the Heavens'
liberal sun, and the earth's thrice-fairer one, i.e. the lady. Exiled
from both, Donne carries with him sufficient fire to melt the ice of
the wintry regions he must visit--not 'that which walls her heart'.
Commenting on a similar conceit in Petrarch:
Ite caldi sospiri al freddo core,
Rompete il ghiaccio, che pietà contende,
Tassoni tells how while writing he found himself detained at an Inn
by a severe frost, and that sighs were of little use to melt it.
_Considerazioni, &c._ (1609), p. 228.
TO M^r E. G.
Gosse conjectures that the person addressed is Edward Guilpin, or
Gilpin, author of _Skialetheia_ (1598), a collection of epigrams and
satires. Guilpin imitates one of Donne's _Satyres_, which may imply
acquaintance. He makes no traceable reference to Donne in his works,
and we know so little of Guilpin that it is impossible to affirm
anything with confidence. Whoever is meant is in Suffolk. There were
Gilpins of Bungay there in 1664. It is worth noting that Sir Henry
Goodyere begins one of his poems (preserved in MS. at the Record
Office, _State Papers Dom._, 1623) with the line: 'Even as lame things
thirst their perfection.' Goodyere's poem was written before the
issue of Donne's poems in 1633, and that edition does not contain this
letter. One suspects that E. G. may be a Goodyere.
ll. 5-6. _oreseest ... overseene._ Donne is probably punning: 'Thou
from the height of Parnassus lookest down upon London; I in London am
too much overlooked, disregarded.' But it is not clear. He may mean
'am too much in men's eye, or kept too strictly under observation'.
The first meaning seems to me the more probable.
PAGE =209=. TO M^r R. W.
l. 3. _brother._ _W_ reads 'brethren', and Morpheus _had_ many
brothers; but of these only two had with himself the power of assuming
what form they would, and of these two Phantasus took forms that lack
life. Donne, therefore, probably means Phobetor, but a friend copying
the poem thought to amend his mythology. See Ovid, _Metam._ xi.
635-41.
PAGE =210=. TO M^r R. W.
l. 18. _Guyanaes harvest is nip'd in the spring._ See introductory
note to the _Letters_.
l. 23. _businesse._ The use of 'businesse' as a trisyllable with
plural meaning is quite legitimate: 'Idle and discoursing men, that
were not much affected, how businesse went, so they might talke of
them.' _Sermon_, Judges XX. 15. p. 7.
PAGE =211=. TO M^r S. B.
Probably Samuel Brooke, the brother of Christopher. He officiated at
Donne's marriage and was imprisoned. He was later Chaplain to Prince
Henry, to James I, and to Charles I; professor of Divinity at Gresham
College (1612-29) and Master of Trinity College, Cambridge, 1629. He
wrote Latin plays, poems, and religious treatises. The tone of Donne's
letter implies that he is a student at Cambridge. It was written
therefore before 1601, probably, like several of these letters, while
Donne was Egerton's secretary, and living in chambers with Christopher
Brooke. A poem by Samuel Brooke, _On Tears_, is printed in Hannah's
_Courtly Poets_.
PAGE =212=. TO M^r J. L.
Of the J. L. of this and the letter which follows the next, nothing
has been unearthed. He clearly belonged to the North of England,
beyond the Trent.
TO M^r B. B.
Grosart conjectures that this was Basil Brooke (1576-1646?), a
Catholic, who was knighted in 1604. In 1644 he was committed to the
Tower by Parliament and in 1646 imprisoned in the King's Bench. He
translated _Entertainments for Lent_ from the French. He was not
a brother of Christopher and Samuel. The identification is only a
conjecture. The tenor of the poem is very similar to that addressed to
Mr. S. B.
PAGE =213=, l. 18. _widowhed._ _W_ here clearly gives us the form
which Donne used. The rhyme requires it and the poet has used it
elsewhere:
And call chast widowhead Virginitie.
_The Litanie_, xii. 108.
ll. 19-22. As punctuated in the old editions these lines are somewhat
ambiguous:
My Muse, (for I had one) because I'am cold,
Divorc'd her self, the cause being in me,
That I can take no new in Bigamye,
Not my will only but power doth withhold.
Chambers and the Grolier Club editor, by putting a full stop or
semi-colon after 'the cause being in me', connect these words with
what precedes. This makes the first two lines verbose ('the cause
being in me' repeating 'because I'am cold') and the last two obscure.
I regard 'the cause being in me' as an explanatory participial phrase
qualifying what follows. 'My Muse divorc'd me because of my coldness.
The cause of this divorce, coldness, being in me, the divorced one,
I lack not only the will but the power to contract a new marriage'. I
have therefore, following _W_, placed a colon after 'selfe'.
PAGE =213=. TO M^r I. L.
l. 2. _My Sun is with you._ Here, as in the letter 'To Mr. C. B.' (p.
208), reference is made to some lady whose 'servant' Donne is. See the
note to that poem and the quotation from Sir Henry Wotton. It seems to
me most probable that the person referred to was neither Ann More nor
any predecessor of her in Donne's affections, but some noble lady to
whom the poet stood in the attitude of dependence masking itself in
love which Spenser occupied towards Lady Carey, and so many other
poets towards their patronesses. But in regard to all the references
in these letters we can only grope in darkness. As Professor
Saintsbury would say, we do not _really know_ to whom one of the
letters was addressed.
PAGE =214=, ll. 11-12. These lines from _W_ make the sense more
complete and the transition to the closing invocation less abrupt.
'Sacrifice my heart to that beauteous Sunne; and since being with her
you are in Paradise where joy admits of no addition, think of me
at the sacrifice'; and then begins the prayer to his friend as an
interceding saint. See note to p. 24, l. 22.
The lines seem to have been dropped, not in printing, but at some
stage in transcription, for I have found them in no MS. but _W_.
l. 20. _Thy Sonne ne'r Ward_: i.e. 'May thy son never become a royal
ward, to be handed over to the guardianship of some courtier who will
plunder his estate.' Sir John Roe's father, in his will, begs his wife
to procure the wardship of his son that he be not utterly ruined.
The series of letters which this to Mr. I. L. closes was probably
written during the years 1597 to 1608 or 1610. Donne's first Letters
were _The Storme_ and _The Calme_. These were followed by Letters to
Wotton before and after he went to Ireland, and this series continues
them during the years of Donne's secretaryship and his subsequent
residence at Pyrford and Mitcham. They are written to friends of his
youth, some still at college. Clearly too, what we have preserved is
Donne's side of a mutual correspondence. Of Letters to Donne I have
printed one, probably from Thomas Woodward. Chance has preserved
another probably in the form in which it was sent. Mr. Gosse has
printed it (_Life, &c._, i, p. 91). I reproduce it from the original
MS., Tanner 306, in the Bodleian Library:
To my ever to be respected friend
M^r John Done secretary to my
Lord Keeper give these.
As in tymes past the rusticke shepheards sceant
Thir Tideast lambs or kids for sacrefize
Vnto thir gods, sincear beinge thir intent
Thoughe base thir gift, if that shoulde moralize
thir loves, yet noe direackt discerninge eye
Will judge thir ackt but full of piety.
Soe offir I my beast affection
Apparaled in these harsh totterd rimes.
Think not they want love, though perfection
or that my loves noe truer than my lyens
Smothe is my love thoughe rugged be my years
Yet well they mean, thoughe well they ill rehears.
What tyme thou meanst to offir Idillnes
Come to my den for heer she always stayes;
If then for change of howers you seem careles
Agree with me to lose them at the playes.
farewell dear freand, my love, not lyens respeackt,
So shall you shewe, my freandship you affeckt.
Yours
William Cornwaleys.
The writer is, Mr. Gosse says, Sir William Cornwallis, the eldest
son of Sir Charles Cornwallis of Beeston-in-Sprouston, Norfolk. Like
Wotton, Goodyere, Roe, and others of Donne's circle he followed Essex
to Ireland and was knighted at Dublin in 1599. The letter probably
dates from 1600 or 1601. I have reproduced the original spelling,
which is remarkable.
This letter and that to Mr. E. G. show that Donne was a frequenter
of the theatre in these interesting years, 1593 to 1610, the greatest
dramatic era since the age of Pericles. Sir Richard Baker, in his
_Chronicle of the Kings of England_ (1730, p. 424), recalls his 'Old
Acquaintance ... Mr. John Dunne, who leaving Oxford, liv'd at the Inns
of Court, not dissolute but very neat: a great Visiter of Ladies, a
great Frequenter of Plays, a great Writer of conceited Verses'. But of
the Elizabethan drama there is almost no echo in Donne's poetry. The
theatres are an amusement for idle hours: 'Because I am drousie, I
will be kept awake with the obscenities and scurrilities of a Comedy,
or the drums and ejulations of a Tragedy.' _Sermons_ 80. 38. 383.