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THE PASSIONATE PILGRIM.

INTRODUCTION.

year

[The Passionate Pilgrime By W. Shakespeare. At London his own. (See the Reprint of “ The Apology for Actors," by

Printed for W. Iaggard, and are to be sold by W. Leake, at the Shakespeare Society, pp. 62 and 66.) He seems also to the Greyhound in Paulés Churchyard. 1599." 16mo. '30 | have taken steps against W.Jaggard ; for the latter cancelled leaves.

the title-page of 76 The Passionate Pilgrim,”. 1612, which The title-page first given to the edition of 1612 ran thus : contained the name of Shakespeare, and substituted another

“ The Passionate Pilgrime. Or Certaine Amorous Sonnets, without any name, so far discrediting Shakespeare's right to betweene Venus and Adonis, newly corrected and aug- any of the poems the work contained, although some were mented. By W. Shakespere. The third Edition. Where- his beyond all dispute. Malone's copy in the Bodleian vnto is newly added two Loue-Epistles, the first from Paris Library has both title-pages. to Hellen, and Hellen's answere backe againe to Paris. To what extent, therefore, we may accept W. Jaggard's Printed by W. Iaggard. 1612.". The title-page substi- assertion of the authorship of Shakespeare of the poems in tuted for the above differs in no other respect but in the “The Passionate Pilgrim, .is a question of some difficulty4. omission of " By W. Shakespere.”]

Two Sonnets, with which the little volume opens, are conIn the following pages we have reprinted “ The Passionate tained (with variations, on which account we print them Pilgrim," 1599, as it came from the press of W. Jaggard, 1 again here) in Thorpe's edition of "Shakespeare's Sonnets, with the exception only of the orthography. Malone omitted 1609: three other pieces (also with changes) are found in several portions of it; soine because they were substantially

"Love's Labour's Lost," which had been printed the repetitions of poems contained elsewhere, and others because before “The Passionaté Pilgrim" originally came out :they appeared to have been improperly assigned to Shake- another, and its “ answer,” notoriously beloñg to Marlowe speare: one piece, the last in the tract, is not inserted at all and Raleigh; a sonnet, with some slight differences, had been in Boswell's edition, although Malone reprinted it in 1780, printed as his in 1596, by a person of the name of Griffin; and no reason is assigned for rejecting it. We have given while one production appeared in "England's Helicon” in the whole, and in our notes we have stated the particular 1600, under the signature of Ignoto. The various circumcircumstances belonging to such pieces, as there is reason to stances attending each poem, wherever any remark seemed believe did not come from the pen of our great dramatist. required, are stated in our notes, and it is not necessary “The Passionate Pilgrim” was reprinted by W. Jaggard, in therefore to enter farther into the question here. 1612, with additions, and the facts attending the publication It ought to be mentioned, that although the signatures at of the two impressions are peculiar.

the bottom of the pages are continued throughout, after the In 1598, Richard Barnfield put his name to a small collection poem beginning, "Lord, how mine eyes throw gazes to the of productions in verse, entitled “The Encomion of Lady east!” we meet with a new and dateless title-page, which Pecunia,” which contained more than one poem attributed to runs thus :-“Sonnets to sundry Notes of Musicke. Shakespeare in “The Passionate Pilgrinn," 1599 : the first London Printed for W. Iaggard, and are to be sold by W. was printed by John, and the last by William Jaggard. Leake, at the Greyhound in Paules Churchyard.” Hence we Boswell suggests, that John Jaggard in 1598 might have may infer that all the productions inserted after this division stolen Shakespeare's verses and attributed them to Barnfield; had been set by popular composers: that some of them had but the answer to this supposition is two-fold-first, that received this distinction, evidence has descended to our day: Barnfield formally, and in his own name, printed them as his we refer particularly to the lyrical poem, " My flocks feed in 1598; and next, that he reprinted them under the same pot,” (p. 965) and to the well-known lines, " Live with me and circumstances in 1605, notwithstanding they had been in the be my love," (p. 966) the air to which seems to have been so mean time assigned to Shakespearea. The truth seems to be common, that it was employed by Deloney as a ballad-tune. that W. Jaggard took them in 1599 from Barnfield's publica- See his “Strange Histories," 1607, p. 28 of the reprint by the tion, printed by John Jaggard in 1598. In 1612 W. Jaggard Percy Society. went even more boldly to work; for in the impression of One object with W. Jaggard in 1612, when he republished " The Passionate Pilgrim” of that years, he not only re

" The Passionate Pilgrim" with unwarrantable additions, was peated Barnfield's poems of 1598, but included two of Ovid's probably to swell the bulk of it; and so much had he felt this Epistles, which had been translated by Thomas Heywood, want in 1599, that, excepting the three last leaves, all the rest and printed by him with his name in his " Troja Britannica,'' of the volume is printed on one side of the paper only, a pecu1609. The epistles.were made, with some little ambiguity, to liarity we do not recollect to belong to any other work of the appear in “The Passionate Pilgrim " of 1612, to have been time : by the insertion of Heywood's translations from Ovid, also the work of Shakespeare. When, therefore, Heywood this course was rendered unnecessary in 1612, and although pablished his next work in 1612, he exposed the wrong that the volume is still of small bulk, it was not so insignificant in had been thus done to him, and claimed the performances as its appearance as it had been in 15995. Only a single copy of

At

1 It professes to be printed for W. Jaggard,” but he was probably | edition is known, although it is very probable that it had been the typographer, and W. Leake the bookseller. Leake published an republished in the interval between 1599 and 1612. edition of " Venus and Adonis" in 1602, contrary to what is stated

4 Nicholas Breton seems to have written his" Passionate Shepherd," on p. 911.

1604, in imitation of the title and of the style of some of the poems in 2 This edition of Barnfield's work was unknown to bibliographers the "Passionate Pilgrim." The only known copy of this production until a copy of it was met with in the library of Lord Francis is in private hands. It is very possible that a second edition of " Tho Egerton. See the Bridgewater Catalogue, 1837, p. 21. It was not a Passionate Pilgrim” (that of 1612, as we have observed, is called "the mere reprint of the edition of 1598, but it was really newly cor- third impression”) came out about 1604, and that on this account rected and enlarged” by the author, as stated on the title-page ; so Breton was led to imitate the title, and the form of verse of some of that Barnfield's attention was particularly directed to the contents of the pieces in it. As "The Passionate Shepherd” is a great curiosity, his small volume, and perhaps to the manner in which part of them not being even mentioned by bibliographers, and as it is thus conhad been stolen by W. Jaggard in 1599. It is to be remarked also nected with the name and works of Shakespeare, an exact copy of that John Jaggard was not concerned in the second edition of Barn- the title-page may be acceptable :field's “Encomion," as he had been in the first: it was printed by

"The Passionate Shepheard, or The Shepheardes Loue : set downe W. I. (probably W. Iaggard, the very person who had committed the in Passions to his Shepheardesse Aglaia. With many excellent

and it was “to be sold by Iohn Hodgets. Both conceited Poems and pleasant Sonnets, fit for young heads to passe editions contain the tribute to Spenser, Daniel Drayton, and Shake away idle houres. London Imprinted by E. Alide for Iohn Tappe, speare : the lines to the latter would hardly have been reprinted in and are to bee solde at his Shop, at the Tower-Hill, neere the Bul1605, if Barnfield had supposed that Shakespeare had in any way warke Gate. 1604.” 4to. given his sanction to the transference of two pieces from the "Enco- 5 It is as small a poetical volume as we remember to have seen, mion” to “The Passionate Pilgrim.”

excepting a copy of George Peele's “ Tale of Troy, which was 3 On the title-page it is called " the third edition," but no second reprinted in 1604, of the size of an inch and a half high by an inch

the edition of 1599, we believe, has been preserved, and that Robert Chester, dated 16011. Malone preceded “ The Phenix is among Capell's books in the library of Trinity College, and the Turtle,", by the song "Take, 0! take those lips Cambridge. No other copy of "The Passionate Pilgrim” of away :" this we have not thought it necessary to repeat, 1612 has the two title-pages, with and without the name of because we have given the whole of it, exactly in the same Shakespeare, but that formerly belonging to Malone, and words, in " Measure for Measure,” Act IV., Sc. 1 The first bequeathed by him, with so many other valuable rarities, to verse only is found in Shakespeare, and the second, which is the

“The Passionate Pilgrim," 1599, concludes with a piece of It may be doubted, therefore, whether Shakespeare wrote it, moral satire, “Whilst as fickle fortune smild,?? &c., and we or, like Beaumont and Fletcher, only introduced part of it have followed it by a poem found only in a publication by into his play as a popular song of the time. broad. It contains some curious variations from the text of the first | Penniless," 1592, (Shakespeare Society's reprint, pp. 38. 99) and

Anecdotes and Traditions," (printed for the Camden So1 It is called “ Love's Martyr, or Rosalin's Complaint.” Of the ciety) p. 56. Charles Chester is several times mentioned by name in author or editor nothing is known; but he is not to be confounded “Skialetheia," a collection of Epigrams and Satires, by E. Guilpin, with Charles Chester, called Carlo Buffone in Ben Jonson's “Every printed in 1593, as well as in “ Ulysses upon Ajax," 1536. Man out of his Humour," and respecting whom see Nash's "Pierce

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edition in 1589. 4to.

Thoms's

IV.

1.1
WHEN my love swears that she is made of truth
I do believe her, though I know she lies,
That she might think me some untutor’d youth
Unskilful in the world's false forgeries.
Thus vainly thinking that she thinks me young,
Although I know my years be past the best,
I smiling credit her false speaking tongue,
Out-facing faults in love with love's ill rest.
But wherefore says my love that she is young ?
Ånd wherefore say not I that I am old ?
O! love's best habit is a soothing tongue,
And age, in love, loves not to have years told.

Therefore I 'll lie with love, and love with me,
Since that our faults in love thus smother'd be.

Sweet Cytherea, sitting by a brook,
With young Adonis, lovely, fresh and green,
Did court the lad with many a lovely look,
Such looks as none could look but beauty's queen.
She told him stories to delight his ear;
She show'd him favours to allure his eye;
To win his heart, she touch'd him here and there
Touches so soft still conquer chastity.
But whether unripe years did want conceit,
Or he refus'd to take her figur'd* proffer,
The tender nibbler would not touch the bait,
But smile and jest at every gentle offer :

Then, fell she on her back, fair queen, and toward :
He rose and ran away; ah, fool too froward !

V.5
II.

If love make me forsworn, how shall I swear to love ? Two loves I have of comfort and despair,

0! never faith could hold, if not to beauty vowd: Which like two spirits do suggest me still:

Though to myself forsworn, to thee I'll constant prove; The better angel is a man, right fair,

Those thoughts, to me like oaks, to thee like osiers The worser spirit a woman, colour'd ill.

bow'd. To win me soon to hell, my female evil

Study his bias leaves, and makes his book thine eyes, Tempteth my better angel from my side,

Where all those pleasures live, that art can comprehend. And would corrupt a saint to be a devil,

If knowledge be the mark, to know thee shall suffice; Wooing his purity with her fair pride :

Well learned is that tongue that well can thee comAnd whether that my angel be turn'd fiend,

mend; Suspect I may, but not directly tell;

All ignorant that soul that sees thee without wonder, For being both to me, both to each friend,

Which is to me some praise, that I thy parts admire: I guess one angel in another's hell.

Thine eye Jove's lightning seems, thy voice his dreadThe truth I shall not know, but live in doubt,

ful thunder, Till my bad angel fire my good one out.

Which (not to anger bent) is music and sweet fire.

Celestial as thou art, O! do not love that wrong,

To sing the heavens praise with such an earthly III.3

tongue. Did not the heavenly rhetorick of thine eye,

VI.
Gainst whom the world could not hold argument,
Persuade my heart to this false perjury ?

Scarce had the sun dried up the dewy morn,
Vows for thee broke deserve not punishment.

And scarce the herd gone to the hedge for shade, A woman I forswore; but I will prove,

When Cytherea, all in love forlorn, Thou being a goddess, I forswore not thee:

A longing tarriance for Adonis made,
My vow was earthly, thou a heavenly love;

Under an osier growing by a brook,
Thy grace being gain'd cures all disgrace in me. A brook, where Adon us’d to cool his spleen :
My vow was breath, and breath a vapour is :

Hot was the day; she hotter that did look
Then thou fair sun, that on this earth dost shine, For his approach, that often there had been.
Exhale this vapour now; in thee it is :

Anon he comes, and throws his mantle by, If broken, then it is no fault of mine.

And stood stark naked on the brook's green brim; If by me broke, what fool is not so wise

The sun look'd on the world with glorious eye, To break an oath, to win a paradise ?

Yet not so wistly as this queen on him; 1 This sonnet is substantially the same as Sonnet cxxxviii. in the quarto published by Thorpe, in 1609. 2. This sonnet is also included in the collection of 1609, (Sonnet cxliv.) but with some verbal variations. 3 This sonnet is found in “Love's Labour's Lost," but with some slight variations, published in 1598. 4 We may suspect, notwithstanding the concurrence of the two ancient editions in our text, that the true reading was sugard, the long s having been, as in other places, mistaken for the letter f. 5 This poem, with variations, is read by Sir Nathaniel, in “Love's Labour's Lost."

XII.

He, spying her, bounc'd in, whereas he stood : I weep for thee, and yet no cause I have;
O Jove! quoth she, why was not I a flood ?

For why ? thou left'st me nothing in thy will.

And yet thou left'st me more than I did crave;
VII.

For why? I craved nothing of thee still :
Fair is my love, but not so fair as fickle,

O yes, (dear friend,) I pardon crave of thee : Mild as a dove, but neither true nor trusty;

Thy discontent thou didst bequeath to me. Brighter than glass, and yet, as glass is, brittle,

XI.3
Softer than wax, and yet as iron rusty:

Venus with Adonis sitting by her,
A lily pale, with damask dye to grace her,
None fairer, nor none falser to deface her.

Under a myrtle shade, began to woo him :
She told the youngling how god Mars did try her,

And as he fell to her, she fell to him.
Her lips to mine how often hath she joined,
Between each kiss her oaths of true love swearing !

Even thus, (quoth she) the warlike god embrac'd me;

And then she clipp'd Adonis in her arms; How many tales to please me hath she coined,

Even thus, (quoth she) the warlike god unlac'd me, Dreading my love, the loss whereof still fearing ! Yet in the midst of all her pure protestings,

As if the boy should use like loving charms: Her faith, her oaths, her tears, and all were jestings. And with her lips on his did act the seizure;

Even thus, (quoth she) he seized on my lips,

And as she fetched breath, away he skips, She burn'd with love, as straw with fire flameth;

And would not take her meaning, nor her pleasure She burn'd out love, as soon as straw out burneth :

Ah! that I had my lady at this bay, She fram’d the love, and yet she foil'd the framing ;

To kiss and clip me till I ran away
She bade love last, and yet she fell a turning.

Was this a lover, or a lecher whether ?
Bad in the best, though excellent in neither.

Crabbed age and youth

Cannot live together;
VIII.1

Youth is full of pleasance,
If music and sweet poetry agree,

Age is full of care : As they must needs, the sister and the brother,

Youth like summer morn, Then, must the love be great twixt thee and me

Age like winter weather; Because thou lov'st the one, and I the other.

Youth like summer brave, Douland to thee is dear, whose heavenly touch

Age like winter bare. Upon the lute doth ravish human sense :

Youth is full of sport, Spenser to me, whose deep conceit is such,

Age's breath is short; As passing all conceit needs no defence.

Youth is nimble, age is lame: Thou loy'st to hear the sweet melodious sound

Youth is hot and bold, That Phæbus lute (the queen of music) makes ;

Age is weak and cold And I in deep delight am chiefly drown'd

Youth is wild, and age is tame. Whenas himself to singing he betakes.

Age, I do abhor thee, One god is god of both, as poets feign,

Youth, I do adore thee; One knight loves both, and both in thée remain.

O, my love, my love is young !

Age, I do defy thee;
IX,

O, sweet shepherd ! hie thee,
Fair was the morn, when the fair queen of love,

For methinks thou stay'st too long.

XIII. Paler for sorrow than her milk-white dove,

Beauty is but a vain and doubtful good, For Adon's sake, a youngster proud and wild ;

A shining gloss that fadeth suddenly; Her stand she takes upon a steep up hill :

A flower that dies, when first it ’gins to bud; Anon Adonis comes with horn and hounds;

A brittle glass, that's broken presently: She silly queen, with more than love's good will,

A doubtful good, a gloss, a glass, a flower,
Forbade the boy he should not pass those grounds.

Lost, faded, broken, dead within an hour.
Once, (quoth she) did I see a fair sweet youth
Here in these brakes deep-wounded with a boar,

And as goods lost are seld or never found,
Deep in the thigh, a spectacle of ruth!

As faded gloss no rubbing will refresh ; See, in my thigh, (quoth she, here was the sore.

As flowers dead lie wither'd on the ground, She showed hers; he saw more wounds than one,

As broken glass no cement can redress; And blushing fled, and left her all alone.

So beauty blemish'd once, for ever lost,

In spite of physic, painting, pain, and cost.
X.

XIV.
Sweet rose, fair flower, untimely pluck’d, soon faded, Good night, good rest. Ah! neither be my share
Pluck'd in the bud, and faded in the spring !

She bade good night, that kept my rest away; Bright orient pearl, alack! too timely shaded,

And daff'd me to a cabin hang'd with care,
Fair creature, kill'd too soon by death's sharp sting ! To descant on the doubts of my decay.
Like a green plum that hangs upon a tree,

Farewell, quoth she, and come again to-morrow: And falls, (through wind) before the fall should be. Fare well I could not, for I supp'd with sorrow. 1 This poem was published in 1598, in Richard Barnfield's "Encomion of Lady Pecunia."

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arnfield's “Encomion of Lady Pecunia." There is little doubt that it is his property, notwithstanding it appeared in the "Passionate Pilgrim,” 1599; and it was reprinted as Barnfield's in the new edition of his “Encomion,

3 This sonnet, with considerable variations, is the third in a collection of seventy-two sonnets, published in 1596, under the title of "Fidessa," with the name of B. Griffin, as the author. A syllabic defect in the first line is there remedied by the insertion of "young” before - Adonis.” A manuscript of the time, now before us, is without the epithet, and has the initials W. $. at the end. 4 The line so stands in both editions of "The Passionate Pilgrim," and in the contemporaneous manuscript; but in Griffin's "Fidessa," it is : And as he fell to her, so fell she to him.

in 1605.

2 The next line is lost:

Yet at my parting sweetly did she smile,
In scorn or friendship, nill I construe whether :
'T may be, she joy'd to jest at my exile,
'T may be, again to make me wander thither

“Wander," a word for shadows like thyself,
As take the pain, but cannot pluck the pelf.

XV.
Lord, how mine eyes throw gazes to the east !
My heart doth charge the watch, the morning rise
Doth cite each moving sense from idle rest.
Not daring trust the office of mine eyes,

While Philomela sits and sings, I sit and mark,
And wish her lays were tuned like the lark ;

XVII°.
On a day (alack the day !)
Love, whose month was ever May,
Spied a blossom passing fair,
Playing in the wanton air:
Through the velvet leaves the wind,
All unseen, 'gan passage find ;
That the lover (sick to death)
Wish'd himself the heaven's breath,
Air (quoth he) thy cheeks may blow;
Air, would I might triumph so !
But, alas! my hand hath sworn
Ne’er to pluck thee from thy thorn:
Vow, alack ! for youth unmeet:
Youth, so apt to pluck a sweet.
Thou for whom Jove would swear
Juno but an Ethiop were ;
And deny himself for Jove,
Turning mortal for thy love.

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XVIII.4
My flocks feed not,
My ewes breed not,
My rams speed not,

All is amiss :
Love is dying, 5
Faith's defying,
Heart's denying,

Causer of this.
All my merry jigs are quite forgot,
All my lady's love is lost (God wot) :
Where her faith was firmly fix'd in love,
There a nay is plac'd without remove.
One silly cross
Wrought all my loss :

O frowning Fortune, cursed, fickle damer
For now I see
Inconstancy

More in women than in men remain.

Long was the combat doubtful,
That love with love did fight,
To leave the master loveless,
Or kill the gallant knight:
To put in practice either,
Alas! it was a spite

Unto the silly damsel.

But one must be refused,
More mickle was the pain,
That nothing could be used,
To turn them both to gain ;
For of the two the trusty knight
Was wounded with disdain :

Alas ! she could not help it.

In black mourn I,
All fears scorn I,
Love hath forlorn me,

Living in thrall :
Heart is bleeding,
All help needing,
O cruel speeding !
Fraughted with gall!
My shepherd's pipe can sound no deal,"
My wether's bell rings doleful knell;
My curtail dog that wont to have play'd,
Plays not at all, but seems afraid;
My sighs so deep,
Procure to weep;

In howling-wise, to see my doleful plight:
How sighs resound
Through heartless ground,

Like a thousand vanquish'd men in bloody

Thus art with arms contending
Was victor of the day,
Which by a gift of learning
Did bear the maid away;
Then lullaby, the learned man
Hath got the lady gay ;

For now my song is ended.

fight!

1 an hour: in old eds. Steevens made the change; moon having the sense of month. 2 This is the first piece in the division of "The Passionate Pilgrim," 1599, called “Sonnets to sundry Notes of Music." As the signatures of the pages run on throughout the small volume, we have continued to mark the poems by numerals, in the order in which they were printed. 3 This poem, in a more complete state, and with the addition of two lines only found there, may be seen in “Love's Labour's Lost." The poem is also printed in "England's Helicon,” (sign. H.) a miscellany of poetry, first published in 1600, (reprinted in 1812,) where “ W. Shakespeare” is appended to it. 4 In "England's Helicon," 1600, this poem immediately follows "On a day (alack the day !)” but it is there entitled, “The unknown Shepherd's Complaint," and it is subscribed Ignoto. Hence, we may suppose that the compiler of that collection knew that it was not by Shakespeare, although it had been attributed to him in “The Passionate Pilgrim,” of the year preceding. It had appeared anonymously, with the music, in 1597, in a collection of Madrigals, by Thomas Weelkes. Ś Love's denying: in England's Helicon." 6 Heart's renying: in "England's Helicon."

8 Both editions of “The Passionate Pilgrim,'' have With for My, which last not only is necessary for the sense, but is confirmed as the true reading by Weelkes' Madrigals, 1597.

7 Part.

Serve always with assured trust,
And in thy suit be humble, true;
Unless thy lady prove unjust,
Seek never thou to choose a new.

When time shall serve, be thou not slack
To proffer, though she put thee back.

.1

Clear wells spring not,
Sweet birds sing not,
Green plants bring not

Forth their dye;
Herds stand weeping,
Flocks all sleeping,
Nymphs back peeping

Fearfully:
All our pleasure known to us poor swains,
All our merry meetings on the plains,
All our evening sport from us is fled;
All our love is lost, for love is dead.
Farewell, sweet lass, 2
Thy like ne'er was

For a sweet.content, the cause of all my moan
Poor Coridon
Must live alone,

Other help for him I see that there is none.

The wiles and guiles that women work,
Dissembled with an outward show,
The tricks and toys that in them lurk,
The cock that treads them shall not know.

Have you not heard it said full oft,
A woman's nay doth stand for nought?

Think, women still to strive with men
To sin, and never for to saint:
There is no heaven; be holy then,
When time with age shall them attaint.

Were kisses all the joys in bed,
One woman would another wed.

XIX.4
When as thine eye hath chose the dame,
And stall'd the deer that thou shouldst strike,
Let reason rule things worthy blame,
As well as partial fancy like:

Take counsel of some wiser head,
Neither too young, nor yet unwed.

But soft! enough,--too much, I fear;
Lest that my mistress hear my song,
She will not stick to warm my ear,
To teach my tongue to be so long:

Yet will she blush, here be it said,
To hear her secrets so bewray'd.

And when thou com’st thy tale to tell,
Smooth not thy tongue with filed talk,
Lest she some subtle practice smell;
A cripple soon can find a halt:

But plainly say thou lov'st her well,
And set thy person forth to sell.”

XX.?
Live with me and be my love,
And we will all the pleasures prove,
That hills and valleys, dales and fields,
And the craggy mountain yields.

What though her frowning brows be bent,

There will we sit upon the rocks, Her cloudy. looks will clear ere night;

And see the shepherds feed their flocks And then too late she will repent

By shallow rivers, to whose falls
That thus dissembled her delight;

Melodious birds sing madrigals.
And twice desire, ere it be day,
That which with scorn she put away.

There will I make thee a bed of roses,

With a thousand fragrant posies; What though she strive to try her strength,

A cap of flowers, and a kirtle And ban and brawl, and say thee nay,

Embroider'd all with leaves of myrtle. Her feeble force will yield at length,

A belt of straw and ivy buds, When craft hath taught her thus to say, " Had women been so strong as men,

With coral clasps and amber studs

And if these pleasures may thee niove,
In faith you had not had it then."

Then, live with me and be my love.
And to her will frame all thy ways:

LOVE'S ANSWER.
Spare not to spend, and chiefly there
Where thy desert may merit praise,

If that the world and love were young,
By ringing in thy lady's ear:

And truth in every shepherd's tongue,
The strongest castle, tower, and town,

These pretty pleasures might me move,
The golden bullet beats it down.

To live with thee and be thy love. 1 So both editions of " The Passionate Pilgrim," and "England's Helicon.” Malone preferred the passage as it stands in Weelkes' Mad rigals:

"Loud bells ring not

Cheerfully.” 2 « The Passionate Pilgrim," and "England's Helicon,” both have love for lass, which the rhyme shows to be the true reading, as it stands in Weelkes Madrigals, 1597. 3 So “Engļand's' Helicon” and Weelkes' Madrigals : "The Passionate Pilgrim," 1599, has woe for

4 In some modern editions, the stanzas of this poem have been given in an order different to that in which they stand in Passionate Pilgrim," 1599 : to that order we restore them, and that text we follow, excepting where it is evidently corrupt. The line, well as partial fancy like, we have corrected by a manuscript of the time. The edition of 1599 reads: "As well as fancy party all might,” which is decidedly wrong. Malone substituted "As well as fancy, partial tike.” The manuscript by which we have corrected the fourth line of the stanza also gives the two last lines of it thus :-.

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The

6 Ask counsel of some other head,
Neither unwise nor yet unwed."

5 So the But no change from the old printed copy is here necessary. In the manuscript the whole has Shakespeare's initials at the end. manuscript in our possession, and another that Malone used : the old copies read, with obvious corruption, And set her person forth to sale."

7 This 6 So the manuscript in our possession : "The Passionate Pilgrim,” *1599, has it, “She will not stick to round me on th’ear."

here incomplete, and what is called "Love's Answer," still more imperfect, may be seen at length in "Percy's Reliques," Vol. I. They belong to Christopher Marlowe and Sir Walter Raleigh : the first is assigned by name to Marlowe, in "England's Hélicon,” 1600, (sign A 2) and the last appears in the same collection, under the name of Ignoto, which was a signature sometimes adopted by Sir Walter Raleigh. They are, besides, assigned to both these authors in Walton's “Angler,” (p. 149, edit. 1808) under the titles of "The milkmaid's song," and "The Milk-maid's Mother's answer.”

moan.

66 AS

poem,

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