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.