EPIGRAMS.
Pages 75-8. Of the epigrams sixteen are given in all the editions, 1633-69. Of these, thirteen are in A18, N, TC, none in D, H49, Lec. Of the remaining three, two are in W, one in HN, both good authorities. I have added three of interest from W, of which one is in HN, and all three are in O'F. W includes among the Epigrams the short poem On a Jeat Ring Sent, printed generally with the Songs and Sonets. In HN there is one and in the Burley MS. are three more. Of these the one in HN and two of those in Bur are merely coarse, and there is no use burdening Donne with more of this kind than he is already responsible for. The last in Bur runs:
Why are maydes wits than boyes of lower strayne?
Eve was a daughter of the ribb not brayne.
Donne's epigrams were much admired, and some of his elegies were classed with them as satirical 'evaporations of wit'. Drummond says: 'I think if he would he might easily be the best epigrammatist we have found in English; of which I have not yet seen any come near the Ancients. Compare his Marry and Love with Tasso's stanzas against beauty; one shall hardly know who hath best.' The stanzas referred to are entitled Sopra la bellezza, and begin:
Questo che tanto il cieco volgo apprezza.
Page 75. Pyramus and Thisbe. The Grolier Club edition prints the first line of this epigram,
Two by themselves each other love and fear,
which suggests that 'love' and 'fear' are verbs. As punctuated in 1633 the epigram is condensed but precise: 'These two, slain by themselves, by each other, by fear, and by love, are joined here in one tomb, by the friends whose cruel action in parting them brought them together here.' Every point in the epigram corresponds to the incidents of the story as narrated in Ovid's Metamorphoses, iv. 55-165. The closing line runs:
Quodque rogis superest, una requiescit in urna.
A Burnt Ship. In W the title is given in Italian, in O'F in Latin. Compare James's letter to Salisbury on the Dutch demands for assistance against Spain;—'Should I ruin myself for maintaining them.... I look that by a peace they should enrich themselves to pay me my debts, and if they be so weak as they cannot subsist, either in peace or war, without I ruin myself for upholding them, in that case surely the nearest harm is to be first eschewed: a man will leap out of a burning ship and drown himself in the sea; and it is doubtless a farther off harm from me to suffer them to fall again into the hands of Spain, and let God provide for the danger that may with time fall upon me or my posterity, than presently to starve myself and mine with putting the meat in their mouth.' The King to Salisbury, 1607, Hatfield MSS., quoted in Gardiner's History of England, ii. 25.
Page 76. A Lame Begger. Compare:
Dull says he is so weake, he cannot rise,
Nor stand, nor goe; if that be true, he lyes.
Finis quoth R.
Thomas Deloney, Strange Histories of Songes & Sonets of
Kings, Princes, Dukes, Lords, Ladyes, Knights and
Gentlemen. Very pleasant either to be read or songe, &c.,
1607.
Page 76. Sir John Wingefield. In that late Island. Mr. Gosse has inadvertently printed 'base' for 'late'. The 'Lady' island of O'F is due probably to ignorance of what island was intended. It is, of course, Cadiz itself, which is situated on an island at the extreme point of the headland which closes the bay of Cadiz to the west. 'Then we entered into the island of Cales with our footmen,' says Captain Pryce in his letter to Cecil. Strype's Annals, iv. 398. Another account relates how 'on the 21st they took the town of Cadiz and at the bridge in the island were encountered by 400 horses'. Here the severest fighting took place at 'the bridge from Mayne to Cadiz'. What does Donne mean by 'late island'? Is it the island we lately visited so gloriously, or the island on which the sun sets late, that western island, now become a new Pillar of Hercules? It would not be unlike Donne to give a word a startlingly condensed force. Compare (if the reading be right) 'far faith' (p. [189], l. 4) and the note.
Pages 75-6. The series of Epigrams A burnt ship, Fall of a wall, A lame begger, Cales and Guyana, Sir John Wingefield seem to me all to have been composed during the Cadiz expedition. The first suggests, and was probably suggested by, the fight in the harbour when so many of the Spanish ships were burned. The Fall of a wall may mark an incident in the attack of the landing party which forced its way into the city. A lame begger records a common spectacle in a Spanish and Catholic town. Cales and Guyana must clearly have been written when, after Cadiz had been taken and sacked, the leaders were debating their next step. Essex (and Donne is on Essex's side) urged that the fleet should sail west and intercept the silver fleet, but Howard, the Lord Admiral, insisted on an immediate return to England. The last of the series chronicles the one death to which every account of the expedition refers.
Page 77. Antiquary. Who is the Hamon or Hammond that is evidently the subject of this epigram and is referred to in Satyre V, l. 87, I cannot say. I am disposed to think that it may be John Hammond, LL.D., the civilist, the father of James I's physician and of Charles I's chaplain. I have no proof that he was an antiquarian, but a civilist and authority on tithes may well have been so, and he belonged to the class which Donne satirizes with most of anger and feeling, the examiners and torturers of Catholic prisoners. We find him in Strype's Annals collaborating with the notorious Topcliffe.
Phryne. An epigram often quoted by Ben Jonson. Drummond, Conversations, ed. Laing, 842.
Page 78. Raderus. 'Matthew Rader (1561-1634), a German Jesuit, published an edition of and commentary upon Martial in 1602.' Chambers. Compare: 'He added, moreover, that though Raderus and others of his order did use to geld Poets and other authors (and here I could not choose but wonder why they have not gelded their Vulgar Edition which in some places hath such obscene words, as the Hebrew tongue which is therefore called holy, doth so much abhorre that no obscene thing can be uttered in it)....' The reason which Donne gives is that 'They reserve to themselves the divers forms, and the secrets, and mysteries in this latter which they find in the authors whom they gelde.' Ignatius his Conclave (1610), pp. 94-6. The epigram is therefore a coarse hit at the Jesuits.
Mercurius Gallo-Belgicus. A journal or register of news started at Cologne in 1598. The first volume consisted of 659 pages and was entitled: Mercurius Gallo-Belgicus; sive rerum in Gallia et Belgia potissimum: Hispania quoque, Italia, Anglia, Germania, Polonia, vicinisque locis ab anno 1588 usque ad Martium anni praesentis 1594 gestarum, nuncius. In the seventeenth century it was published half-yearly and ornamented with maps. Its Latin was not unimpeachable (Jonson speaks of a 'Gallo-Belgic phrase', Poetaster, v. i), nor its news always trustworthy.
The Lier. This was first printed in Sir John Simeon's Unpublished Poems of Donne (1856-7), whence it is included by Chambers in his Appendix A. It is given the title Supping Hours. Its inclusion in HN (whence the present title) and W strengthens its claim to be genuine. Probably it was written after the Cadiz expedition, and contains a reminiscence (Mr. Gosse has suggested this) of Spanish fare.
l. 3. Like Nebuchadnezar. Compare: 'I am no great Nebuchadnezzar, sir; I have not much skill in grass.' Shakespeare, All's Well, IV. v.
THE ELEGIES.
Of the Elegies two groups seem to have been pretty widely circulated before the larger collections were made or publication took place. Each contained either twelve or thirteen, the twelve or thirteen being made up sometimes by the inclusion of the Funeral Elegy, 'Sorrow who to this house,' afterwards called Elegie on the L. C. The order in the one group, as we find it in e.g. D, H49, Lec, is The Bracelet,[1] Going to Bed, Jealousie, The Anagram, Change, The Perfume, His Picture, 'Sorrow who to this house,' 'Oh, let mee not serve,' Loves Warr, On his Mistris, 'Natures lay Ideott, I taught,' Loves Progress. The second group, as we find it in A25, JC, and W, contains The Bracelet, The Comparison, The Perfume, Jealousie, 'Oh, let not me (sic W) serve,' 'Natures lay Ideott, I taught,' Loves Warr, Going to Bed, Change, The Anagram, On his Mistris, His Picture, 'Sorrow, who to this house.' The last is not given in A25. It will be noticed that D, H49, Lec drops The Comparison; A25, JC, W, Loves Progress; and that there were thirteen elegies, taking the two groups together, apart from the Funeral Elegy.
[1] I take the titles given in the editions for ease of reference to the reader of this edition. The only title which D, H49, Lec have is On Loves Progresse; A25, JC, and W have none. Other MSS. give one or other occasionally.
These are the most widely circulated and probably the earliest of Donne's Elegies, taken as such. Of the rest The Dreame is given in D, H49, Lec, but among the songs, and The Autumnall is placed by itself. The rest are either somewhat doubtful or were not allowed to get into general circulation.
Can we to any extent date the Elegies? There are some hints which help to indicate the years to which the earlier of them probably belong. In The Bracelet Donne speaks of Spanish 'Stamps' as having
slily made
Gorgeous France, ruin'd, ragged and decay'd;
Scotland which knew no State, proud in one day:
mangled seventeen-headed Belgia.
The last of these references is too indefinite to be of use. I mean that it covers too wide a period. Nor, indeed, do the others bring us very far. The first indicates the period from the alliance between the League and the King of Spain, 1585, when Philip promised a monthly subsidy of 50,000 crowns, to the conversion and victory of Henry IV in 1593; the second, the short time during which Spanish influence gained the upper hand in Scotland, between 1582 and 1586. After 1593 is the only determinable date. In Loves Warre we are brought nearer to a definite date.
France in her lunatique giddiness did hate
Ever our men, yea and our God of late;
Yet shee relies upon our Angels well
Which nere retorne
points to the period between Henry's conversion ('yea and our God of late') and the conclusion of peace between France and Spain in 1598. The line,
And Midas joyes our Spanish journeyes give
(taken with a similar allusion in one of his letters:
Guyanaes harvest is nip'd in the spring
I feare, &c., p. [210]),
refers most probably to Raleigh's expedition in 1595 to discover the fabulous wealth of Manoa. Had the Elegy been written after the Cadiz expedition there would certainly have been a more definite reference to that war. The poem was probably written in the earlier part of 1596, when the expedition was in preparation and Donne contemplated joining it.
To date one of the poems is not of course to date them all, but their paradoxical, witty, daring tone is so uniform that one may fairly conjecture that these thirteen Elegies were written between 1593 and Donne's first entry upon responsible office as secretary to Egerton in 1598.
The twelfth (His parting from her) and fifteenth (The Expostulation) Elegies it is impossible to date, but it is not likely that they were written after his marriage. Julia is quite undatable, a witty sally Donne might have written any time before 1615. But the fourteenth (A Tale of a Citizen and his Wife) was certainly written after 1609, probably in 1610.
The Autumnall raises rather an interesting question. Mr. Gosse has argued that it was most probably composed as late as 1625. Walton's dating of it is hopelessly confused. He states (Life of Mr. George Herbert, 1670, pp. 14-19) 'that Donne made the acquaintance of Mrs. Herbert and wrote this poem when she was residing at Oxford with her son Edward, Donne being then near to (about First Ed.) the Fortieth year of his Age'; 'both he and she were then past the Meridian of man's life.' But according to Lord Herbert his mother left Oxford and brought him to town about 1600, shortly before the insurrection of Essex, i.e. when Donne was twenty-seven years old, and secretary to Sir Thomas Egerton, and Lady Herbert was about thirty-five or thirty-six. It is, of course, not impossible that Donne visited Oxford between 1596 and 1600, but he was not then the grave person Walton portrays. The period which the latter has in view is that in which Donne was at Mitcham and Mrs. Herbert living in London. 'This day', he writes in a letter to her, dated July 23, 1607, 'I came to town and to the best part of it your house.' In 1609 Mrs. Herbert married Sir John Danvers. We know that in 1607-9 Donne was in correspondence with Mrs. Herbert and was sending her copies of his religious verses. Walton's evidence points to its being about the same time that he wrote this poem.
Mr. Gosse's argument for a later date is, regarded a priori, very persuasive. 'Unless it is taken as describing the venerable and beautiful old age of a distinguished woman, the piece is an absurdity; to address such lines to a youthful widow, who was about to become the bride of a boy of twenty, would have been a monstrous breach of taste and good manners' (Life, &c., ii. 228). It is, however, somewhat hazardous to fix a standard of taste for the age of James I, and above all others for John Donne. To the taste of the time and the temper of Donne such a poem might more becomingly be addressed to a widow of forty, the mother of ten children, one already an accomplished courtier, than it might be written by a priest in orders. Donne would have been startled to hear that in 1625 he had spent any time in such a vain amusement as composing a secular elegy. The poem he wrote to Mrs. Herbert before 1609 was probably thought by her and him an exquisite compliment. He expressly disclaims speaking of the old age which disfigures. He writes of one whose youthful beauty has flown. Forty seemed old for a woman, even to Jane Austen, and in Montaigne's opinion it is old for a man: 'J'estois tel, car je ne me considère pas à cette heure, que je suis engagé dans les avenues de la vieillesse, ayant pieça franchy les quarante ans:
Minutatim vires et robur adultum
Frangit, et in partem pejorem liquitur aetas.
Ce que je seray doresnevant ce ne sera plus qu'un demy estre, ce ne sera plus moy; je m'eschappe les jours et me desrobe a moy mesme:
Singula de nobis anni praedantur euntes.' Essais, ii. 17.
Mrs. Herbert's marriage was due to no 'heyday of the blood'. It was the gravity of Danvers' temper which attracted her, and he became the steady friend and adviser of her children.
There are, moreover, some items of evidence which go to support Walton's testimony. The poem is found in one MS., S, dated 1620, which gives us a downward date; and in 1610 occurs what looks very like an allusion to Donne's poem in Ben Jonson's Silent Woman. Clerimont and True-wit are speaking of the Collegiate ladies, and the former asks,
Who is the president?
True. The grave and youthful matron, the Lady Haughty.
Cler. A pox of her autumnal face, her pieced beauty! there's no
man can be admitted till she be ready now-a-days, till she has
painted and perfumed ... I have made a song (I pray thee
hear it) on the subject
Still to be neat, still to be drest...
The resemblance may be accidental, yet the frequency with which the poem is dubbed An Autumnal Face or The Autumnall shows that the phrase had struck home. Jonson's comedies seethe with such allusions, and I rather suspect that he is poking fun at his friend's paradoxes, perhaps in a sly way at that 'grave and youthful matron' Lady Danvers. We cannot prove that the poem was written so early, but the evidence on the whole is in favour of Walton's statement.
Page 79. Elegie I.
l. 4. That Donne must have written 'sere-barke' or 'seare-barke' is clear, both from the evidence of the editions and MSS. and from the vacillation of the latter. 'Cere-cloth' is a word which Donne uses more than once in the sermons: 'A good Cere-cloth to bruises,' Sermons 80. 10. 101; 'A Searcloth that souples all bruises,' Ibid. 80. 66. 663. But to substitute 'sere-cloth' for 'sere-barke' would be to miss the force of Donne's vivid description. The 'sere-cloth' with which the sick man is covered is his own eruptive skin. Both Chambers and Norton have noted the resemblance to Hamlet's poisoned father:
a most instant tetter barked about,
Most lazar-like, with vile and loathsome crust,
All my smooth body.
ll. 19-20. Nor, at his board together being sat
With words, nor touch, scarce looks adulterate.
Quum premit ille torum, vultu comes ipsa modesto
Ibis, ut adcumbas; clam mihi tange pedem,
Me specta, nutusque meos, vultumque loquacem:
Excipe furtivas, et refer ipsa, notas.
Verba superciliis sine voce loquentia dicam:
Verba leges digitis, verba notata mero.
Quum tibi succurrit Veneris lascivia nostrae,
Purpureas tenero pollice tange genas.
Si quid erit, de me tacita quod mente queraris,
Pendeat extrema mollis ab aure manus:
Quum tibi, quae faciam, mea lux, dicamve placebunt,
Versetur digitis annulus usque tuis,
Tange manu mensam, quo tangunt more precantes,
Optabis merito quum mala multa viro.
Quod tibi miscuerit sapias, bibat ipse iubeto;
Tu puerum leviter posce, quod ipsa velis.
Quae tu reddideris, ego primus pocula sumam,
Et qua tu biberis, hac ego parte bibam.
Ovid, Amores, I. iv. 15-32.
Thenceforth to her he sought to intimate
His inward grief, by meanes to him well knowne:
Now Bacchus fruit out of the silver plate
He on the table dasht as overthrowne,
Or of the fruitfull liquor overflowne,
And by the dancing bubbles did divine,
Or therein write to let his love be showne;
Which well she red out of the learned line;
(A sacrament profane in mysterie of wine.)
Spenser, Faerie Queene, III. ix.
ll. 21 f. Nor when he, swoln and pamper'd with great fare
Sits down and snorts, cag'd in his basket chair, &c.
Vir bibat usque roga: precibus tamen oscula desint;
Dumque bibit, furtim, si potes, adde merum.
Si bene compositus somno vinoque iacebit;
Consilium nobis resque locusque dabunt.
Ovid, Amores, I. iv. 51-4.