Lucasta

by Richard Lovelace

GRATIANA DAUNCING AND SINGING.

I.
See! with what constant motion
Even and glorious, as the sunne,
Gratiana steeres that noble frame,
Soft as her breast, sweet as her voyce,
That gave each winding law and poyze,
And swifter then the wings of Fame.

II.
She beat the happy pavement
By such a starre-made firmament,
Which now no more the roofe envies;
But swells up high with Atlas ev'n,
Bearing the brighter, nobler Heav'n,
And in her, all the Dieties.

III.
Each step trod out a lovers thought
And the ambitious hopes he brought,
Chain'd to her brave feet with such arts,
Such sweet command and gentle awe,
As when she ceas'd, we sighing saw
The floore lay pav'd with broken hearts.

IV.
So did she move: so did she sing:
Like the harmonious spheres that bring
Unto their rounds their musick's ayd;
Which she performed such a way,
As all th' inamour'd world will say:
The Graces daunced, and Apollo play'd.

AMYNTOR'S GROVE,<37.1>
HIS CHLORIS, ARIGO,<37.2> AND GRATIANA.
AN ELOGIE.

It was<37.3> Amyntor's Grove, that Chloris
For ever ecchoes, and her glories;
Chloris, the gentlest sheapherdesse,
That ever lawnes and lambes did blesse;
Her breath, like to the whispering winde,
Was calme as thought, sweet as her minde;
Her lips like coral gates kept in
The perfume and<37.4> the pearle within;
Her eyes a double-flaming torch
That alwayes shine, and never scorch;
Her<37.5> selfe the Heav'n in which did meet
The all of bright, of faire and sweet.
Here was I brought with that delight
That seperated soules take flight;
And when my reason call'd my sence
Back somewhat from this excellence,
That I could see, I did begin
T' observe the curious ordering
Of every roome, where 'ts hard to know,
Which most excels in sent or show.
Arabian gummes do breathe here forth,
And th' East's come over to the North;
The windes have brought their hyre<37.6> of sweet
To see Amyntor Chloris greet;
Balme and nard, and each perfume,
To blesse this payre,<37.7> chafe and consume;
And th' Phoenix, see! already fries!
Her neast a fire in Chloris<37.8> eyes!
Next<37.9> the great and powerful hand
Beckens my thoughts unto a stand
Of Titian, Raphael, Georgone
Whose art even Nature hath out-done;
For if weake Nature only can
Intend, not perfect, what is man,
These certainely we must prefer,
Who mended what she wrought, and her;
And sure the shadowes of those rare
And kind incomparable fayre
Are livelier, nobler company,
Then if they could or speake, or see:
For these<37.10> I aske without a tush,
Can kisse or touch without a blush,
And we are taught that substance is,
If uninjoy'd, but th'<37.11> shade of blisse.
Now every saint cleerly divine,
Is clos'd so in her severall shrine;
The gems so rarely, richly set,
For them wee love the cabinet;
So intricately plac't withall,
As if th' imbrordered the wall,
So that the pictures seem'd to be
But one continued tapistrie.<37.12>
After this travell of mine eyes
We sate, and pitied Dieties;
Wee bound our loose hayre with the vine,
The poppy, and the eglantine;
One swell'd an oriental bowle
Full, as a grateful, loyal soule
To Chloris! Chloris! Heare, oh, heare!
'Tis pledg'd above in ev'ry sphere.
Now streight the Indians richest prize
Is kindled in<37.13> glad sacrifice;
Cloudes are sent up on wings of thyme,
Amber, pomgranates, jessemine,
And through our earthen conduicts sore
Higher then altars fum'd before.
So drencht we our oppressing cares,
And choakt the wide jawes of our feares.
Whilst ravisht thus we did devise,
If this were not a Paradice
In all, except these harmlesse sins:
Behold! flew in two cherubins,
Cleare as the skye from whence they came,
And brighter than the sacred flame;
The boy adorn'd with modesty,
Yet armed so with majesty,
That if the Thunderer againe
His eagle sends, she stoops in vaine.<37.14>
Besides his innocence he tooke
A sword and casket, and did looke
Like Love in armes; he wrote but five,
Yet spake eighteene; each grace did strive,
And twenty Cupids thronged forth,
Who first should shew his prettier worth.
But oh, the Nymph! Did you ere know
Carnation mingled with snow?<37.15>
Or have you seene the lightning shrowd,
And straight breake through th' opposing cloud?
So ran her blood; such was its hue;
So through her vayle her bright haire flew,
And yet its glory did appeare
But thinne, because her eyes were neere.
Blooming boy, and blossoming mayd,
May your faire sprigges be neere betray'd
To<37.16> eating worme or fouler storme;
No serpent lurke to do them harme;
No sharpe frost cut, no North-winde teare,
The verdure of that fragrant hayre;
But<37.17> may the sun and gentle weather,
When you are both growne ripe together,
Load you with fruit, such as your Father
From you with all the joyes doth gather:
And may you, when one branch is dead,
Graft such another in its stead,
Lasting thus ever in your prime,
'Till th' sithe is snatcht away from Time.<37.18>

<37.1> In the MS. copy this poem exhibits considerable variations, and is entitled "Gratiana's Eulogy."

<37.2> ARIGO or ARRIGO is the Venetian form of HENRICO. I have no means of identifying CHLORIS or GRATIANA; but AMYNTOR was probably, as I have already suggested, Endymion Porter, and ARIGO was unquestionably no other than Henry Jermyn, or Jarmin, who, though no poet, was, like his friend Porter, a liberal and discerning patron of men of letters.

"Yet when thy noble choice appear'd, that by
Their combat first prepar'd thy victory:
ENDYMION and ARIGO, who delight
In numbers—"
Davenant's MADAGASCAR, 1638 (Works, 1673, p. 212).

See also p. 247 of Davenant's Works.

Jermyn's name is associated with that of Porter in the noblest dedication in our language, that to DAVENANT'S POEMS, 1638, 12mo. "If these poems live," &c.

<37.3> This and the five next lines are not in MS. which opens with "Her lips," &c.

<37.4> So original; MS. reads OF.

<37.5> This and the next thirteen lines are not in MS.

<<37.6>> i.e. tribute.

<37.7> FAIRE—MS.

<37.8> HER FAIRE—MS. The story of the phoenix was very popular, and the allusions to it in the early writers are almost innumerable.

"My labour did to greater things aspire,
To find a PHOENIX melted in the fire,
Out of whose ashes should spring up to birth
A friend"—
POEMS OF Ben Johnson jun., by W. S., 1672, p. 18.

<37.9> This and the next eleven lines are not in MS.

<37.10> The MS. reads SHE.

<37.11> The MS. reads for BUT TH' "the."

<37.12> In the houses of such as could afford the expense, the walls of rooms were formerly lined with tapestry instead of paper.

<37.13> So MS.; original has A.

<37.14> An allusion to the fable of Jupiter and Ganymede.

<37.15> MIX'D WITH DROPPINGE SNOW—MS.

<37.16> This and the succeeding line are not in MS.

<37.17> This and the six following lines are not in MS.

<37.18> Here we have a figure, which reminds us of Jonson's famous lines on the Countess of Pembroke; but certainly in this instance the palm of superiority is due to Lovelace, whose conception of Time having his scythe snatched from him is bolder and finer than that of the earlier and greater poet.

THE SCRUTINIE.
SONG.
SET BY MR. THOMAS CHARLES.<38.1>

I.
Why shouldst thou<38.2> sweare I am forsworn,
Since thine I vow'd to be?
Lady, it is already Morn,
And 'twas last night I swore to thee
That fond impossibility.

II.
Have I not lov'd thee much and long,
A tedious twelve moneths<38.3> space?
I should<38.4> all other beauties wrong,
And rob thee of a new imbrace;
Should<38.5> I still dote upon thy face.

III.
Not but all joy in thy browne haire
In<38.6> others may be found;
But I must search the black and faire,
Like skilfulle minerallists that sound
For treasure in un-plow'd-up<38.7> ground.

IV.
Then if, when I have lov'd my<38.8> round,
Thou prov'st the pleasant she;
With spoyles<38.9> of meaner beauties crown'd,
I laden will returne to thee,
Ev'n sated with varietie.

<38.1> This poem appears in WITS INTERPRETER, by John Cotgrave, ed. 1662, p. 214, under the title of "On his Mistresse, who unjustly taxed him of leaving her off."

<38.2> So Cotgrave. LUCASTA reads SHOULD YOU.

<38.3> So Cotgrave. This is preferable to HOURS, the reading in LUCASTA.

<38.4> So Cotgrave. LUCASTA reads MUST.

<38.5> So Cotgrave. LUCASTA has COULD.

<38.6> So Cotgrave. LUCASTA reads BY.

<38.7> UNBIDDEN—Cotgrave.

<38.8> THEE—Cotgrave.

<38.9> IN SPOIL—Cotgrave.

PRINCESSE LOYSA<39.1> DRAWING.

I saw a little Diety,
MINERVA in epitomy,
Whom VENUS, at first blush, surpris'd,
Tooke for her winged wagge disguis'd.
But viewing then, whereas she made
Not a distrest, but lively shade
Of ECCHO whom he had betrayd,
Now wanton, and ith' coole oth' Sunne
With her delight a hunting gone,
And thousands more, whom he had slaine;
To live and love, belov'd againe:
Ah! this is true divinity!
I will un-God that toye! cri'd she;
Then markt she SYRINX running fast
To Pan's imbraces, with the haste
Shee fled him once, whose reede-pipe rent
He finds now a new Instrument.
THESEUS return'd invokes the Ayre
And windes, then wafts his faire;
Whilst ARIADNE ravish't stood
Half in his armes, halfe in the flood.
Proud ANAXERETE doth fall
At IPHIS feete, who smiles at<39.2> all:
And he (whilst she his curles doth deck)
Hangs no where now, but on her neck.
Here PHOEBUS with a beame untombes
Long-hid LEUCOTHOE, and doomes
Her father there; DAPHNE the faire
Knowes now no bayes but round her haire;
And to APOLLO and his Sons,
Who pay him their due Orisons,
Bequeaths her lawrell-robe, that flame
Contemnes, Thunder and evill Fame.
There kneel'd ADONIS fresh as spring,
Gay as his youth, now offering
Herself those joyes with voice and hand,
Which first he could not understand.
Transfixed VENUS stood amas'd,
Full of the Boy and Love, she gaz'd,
And in imbraces seemed more
Senceless and colde then he before.
Uselesse Childe! In vaine (said she)
You beare that fond artillerie;
See heere a pow'r above the slow
Weake execution of thy bow.
So said, she riv'd the wood in two,
Unedged all his arrowes too,
And with the string their feathers bound
To that part, whence we have our wound.
See, see! the darts by which we burn'd
Are bright Loysa's pencills turn'd,
With which she now enliveth more
Beauties, than they destroy'd before.

<39.1> Probably the second daughter of Frederic and Elizabeth of Bohemia, b. 1622. See Townend's DESCENDANTS OF THE STUARTS, 1858, p. 7.

<39.2> Original has OF.

A FORSAKEN LADY TO HER FALSE SERVANT
THAT IS DISDAINED BY HIS NEW MISTRISS.<40.1>

Were it that you so shun me, 'cause you wish
(Cruels't) a fellow in your wretchednesse,
Or that you take some small ease in your owne
Torments, to heare another sadly groane,
I were most happy in my paines, to be
So truely blest, to be so curst by thee:
But oh! my cries to that doe rather adde,
Of which too much already thou hast had,
And thou art gladly sad to heare my moane;
Yet sadly hearst me with derision.

Thou most unjust, that really dust know,
And feelst thyselfe the flames I burne in. Oh!
How can you beg to be set loose from that
Consuming stake you binde another at?

Uncharitablest both wayes, to denie
That pity me, for which yourself must dye,
To love not her loves you, yet know the pain
What 'tis to love, and not be lov'd againe.

Flye on, flye on, swift Racer, untill she
Whom thou of all ador'st shall learne of thee
The pace t'outfly thee, and shall teach thee groan,
What terrour 'tis t'outgo and be outgon.

Nor yet looke back, nor yet must we
Run then like spoakes in wheeles eternally,
And never overtake? Be dragg'd on still
By the weake cordage of your untwin'd will
Round without hope of rest? No, I will turne,
And with my goodnes boldly meete your scorne;
My goodnesse which Heav'n pardon, and that fate
MADE YOU HATE LOVE, AND FALL IN LOVE WITH HATE.

But I am chang'd! Bright reason, that did give
My soule a noble quicknes, made me live
One breath yet longer, and to will, and see
Hath reacht me pow'r to scorne as well as thee:
That thou, which proudly tramplest on my grave,
Thyselfe mightst fall, conquer'd my double slave:
That thou mightst, sinking in thy triumphs, moan,
And I triumph in my destruction.

Hayle, holy cold! chaste temper, hayle! the fire
Rav'd<40.2> o're my purer thoughts I feel t' expire,
And I am candied ice. Yee pow'rs! if e're
I shall be forc't unto my sepulcher,
Or violently hurl'd into my urne,
Oh make me choose rather to freeze than burne.

<40.1> Carew (POEMS, ed. 1651, p. 53) has some lines, entitled, "In the person of a Lady to her Inconstant Servant," which are of nearly similar purport to Lovelace's poem, but are both shorter and better.

<40.2> RAV'D seems here to be equivalent to REAV'D, or BEREAV'D. Perhaps the correct reading may be "reav'd." See Worcester's DICTIONARY, art. RAVE, where Menage's supposition of affinity between RAVE and BEREAVE is perhaps a little too slightingly treated.

THE GRASSEHOPPER.
TO MY NOBLE FRIEND, MR. CHARLES COTTON.<41.1>
ODE.

I.
Oh thou, that swing'st upon the waving eare<41.2>
Of some well-filled oaten beard,<41.3>
Drunk ev'ry night with a delicious teare<41.4>
Dropt thee from Heav'n, where now th'art reard.

II.
The joyes of earth and ayre are thine intire,
That with thy feet and wings dost hop and flye;
And when thy poppy workes, thou dost retire
To thy carv'd acorn-bed to lye.

III.
Up with the day, the Sun thou welcomst then,
Sportst in the guilt plats<41.5> of his beames,
And all these merry dayes mak'st merry men,<41.6>
Thy selfe, and melancholy streames.

IV.
But ah, the sickle! golden eares are cropt;
CERES and BACCHUS bid good-night;
Sharpe frosty fingers all your flowrs have topt,
And what sithes spar'd, winds shave off quite.

V.
Poore verdant foole! and now green ice, thy joys
Large and as lasting as thy peirch<41.7> of grasse,
Bid us lay in 'gainst winter raine, and poize
Their flouds with an o'erflowing glasse.

VI.
Thou best of men and friends? we will create
A genuine summer in each others breast;
And spite of this cold Time and frosen Fate,
Thaw us a warme seate to our rest.

VII.
Our sacred harthes shall burne eternally
As vestal flames; the North-wind, he
Shall strike his frost-stretch'd winges, dissolve and flye
This Aetna in epitome.

VIII.
Dropping December shall come weeping in,
Bewayle th' usurping of his raigne;
But when in show'rs of old Greeke<41.8> we beginne,
Shall crie, he hath his crowne againe!

IX.
Night as cleare Hesper shall our tapers whip
From the light casements, where we play,
And the darke hagge from her black mantle strip,
And sticke there everlasting day.

X.
Thus richer then untempted kings are we,
That asking nothing, nothing need:
Though lord of all what seas imbrace, yet he
That wants himselfe, is poore indeed.

<41.1> Charles Cotton the elder, father of the poet. He died in 1658. This poem is extracted in CENSURA LITERARIA, ix. 352, as a favourable specimen of Lovelace's poetical genius. The text is manifestly corrupt, but I have endeavoured to amend it. In Elton's SPECIMENS OF CLASSIC POETS, 1814, i. 148, is a translation of Anacreon's Address to the Cicada, or Tree-Locust (Lovelace's grasshopper?), which is superior to the modern poem, being less prolix, and more natural in its manner. In all Lovelace's longer pieces there are too many obscure and feeble conceits, and too many evidences of a leaning to the metaphysical and antithetical school of poetry.

<41.2> Original has HAIRE.

<41.3> i.e. a beard of oats.

<41.4> Meleager's invocation to the tree-locust commences thus in Elton's translation:—

"Oh shrill-voiced insect! that with dew-drops sweet
Inebriate——"

See also Cowley's ANACREONTIQUES, No. X. THE GRASSHOPPER.

<41.5> i.e. horizontal lines tinged with gold. See Halliwell's GLOSSARY OF ARCHAIC WORDS, 1860, art. PLAT (seventh and eighth meaning). The late editors of Nares cite this passage from LUCASTA as an illustration of GUILT-PLATS, which they define to be "plots of gold." This definition, unsupported by any other evidence, is not very satisfactory, and certainly it has no obvious application here.

<41.6> Randolph says:—

"——toiling ants perchance delight to hear
The summer musique of the gras-hopper."
POEMS, 1640, p. 90.

It is it question, perhaps, whether Lovelace intended by the
GRASSHOPPER the CICADA or the LOCUSTA. See Sir Thomas Browne's
INQUIRIES INTO VULGAR ERRORS (Works, by Wilkins, 1836, iii. 93).

<41.7> Perch.

<41.8> i.e. old Greek wine.

AN ELEGIE.
ON THE DEATH OF MRS. CASSANDRA COTTON,
ONLY SISTER TO MR. C. COTTON.<42.1>

Hither with hallowed steps as is the ground,
That must enshrine this saint with lookes profound,
And sad aspects as the dark vails you weare,
Virgins opprest, draw gently, gently neare;
Enter the dismall chancell of this rooome,
Where each pale guest stands fixt a living tombe;
With trembling hands helpe to remove this earth
To its last death and first victorious birth:
Let gums and incense fume, who are at strife
To enter th' hearse and breath in it new life;
Mingle your steppes with flowers as you goe,
Which, as they haste to fade, will speake your woe.

And when y' have plac't your tapers on her urn,
How poor a tribute 'tis to weep and mourn!
That flood the channell of your eye-lids fils,
When you lose trifles, or what's lesse, your wills.
If you'l be worthy of these obsequies,
Be blind unto the world, and drop your eyes;
Waste and consume, burn downward as this fire
That's fed no more: so willingly expire;
Passe through the cold and obscure narrow way,
Then light your torches at the spring of day,
There with her triumph in your victory.
Such joy alone and such solemnity
Becomes this funerall of virginity.

Or, if you faint to be so blest, oh heare!
If not to dye, dare but to live like her:
Dare to live virgins, till the honour'd age
Of thrice fifteen cals matrons on the stage,
Whilst not a blemish or least staine is scene
On your white roabe 'twixt fifty and fifteene;
But as it in your swathing-bands was given,
Bring't in your winding sheet unsoyl'd to Heav'n.
Daere to do purely, without compact good,
Or herald, by no one understood
But him, who now in thanks bows either knee
For th' early benefit and secresie.

Dare to affect a serious holy sorrow,
To which delights of pallaces are narrow,
And, lasting as their smiles, dig you a roome,
Where practise the probation of your tombe
With ever-bended knees and piercing pray'r,
Smooth the rough passe through craggy earth to ay'r;
Flame there as lights that shipwrackt mariners
May put in safely, and secure their feares,
Who, adding to your joyes, now owe you theirs.

Virgins, if thus you dare but courage take
To follow her in life, else through this lake
Of Nature wade, and breake her earthly bars,
Y' are fixt with her upon a throne of stars,
Arched with a pure Heav'n chrystaline,
Where round you love and joy for ever shine.

But you are dumbe, as what you do lament
More senseles then her very monument,
Which at your weaknes weeps. Spare that vaine teare,
Enough to burst the rev'rend sepulcher.
Rise and walk home; there groaning prostrate fall,
And celebrate your owne sad funerall:
For howsoe're you move, may heare, or see,
YOU ARE MORE DEAD AND BURIED THEN SHEE.

<42.1> Cassandra Cotton, only daughter of Sir George Cotton, of Warblenton, Co. Sussex, and of Bedhampton, co. Hants, died some time before 1649, unmarried. She was the sister of Charles Cotton the elder, and aunt to the poet. See WALTON'S ANGLER, ed. Nicolas, Introduction, clxvi.

THE VINTAGE TO THE DUNGEON.
A SONG.<43.1>
SET BY MR. WILLIAM LAWES.

I.
Sing out, pent soules, sing cheerefully!
Care shackles you in liberty:
Mirth frees you in captivity.
Would you double fetters adde?
Else why so sadde?

Chorus.
Besides your pinion'd armes youl finde
Griefe too can manakell the minde.

II.
Live then, pris'ners, uncontrol'd;
Drink oth' strong, the rich, the old,
Till wine too hath your wits in hold;
Then if still your jollitie
And throats are free—

Chorus.
Tryumph in your bonds and paines,
And daunce to the music of your chaines.

<43.1> Probably composed during the poet's confinement in Peterhouse.

ON THE DEATH OF MRS. ELIZABETH FILMER.<44.1>
AN ELEGIACALL EPITAPH.

You that shall live awhile, before
Old time tyrs, and is no more:
When that this ambitious stone
Stoopes low as what it tramples on:
Know that in that age, when sinne
Gave the world law, and governd Queene,
A virgin liv'd, that still put on
White thoughts, though out of fashion:
That trac't the stars, 'spite of report,
And durst be good, though chidden for't:
Of such a soule that infant Heav'n
Repented what it thus had giv'n:
For finding equall happy man,
Th' impatient pow'rs snatch it agen.
Thus, chaste as th' ayre whither shee's fled,
She, making her celestiall bed
In her warme alablaster, lay
As cold is in this house of clay:
Nor were the rooms unfit to feast
Or circumscribe this angel-guest;
The radiant gemme was brightly set
In as divine a carkanet;
Of<44.2> which the clearer was not knowne,
Her minde or her complexion.
Such an everlasting grace,
Such a beatifick face,
Incloysters here this narrow floore,
That possest all hearts before.

Blest and bewayl'd in death and birth!
The smiles and teares of heav'n and earth!
Virgins at each step are afeard,
Filmer is shot by which they steer'd,
Their star extinct, their beauty dead,
That the yong world to honour led;
But see! the rapid spheres stand still,
And tune themselves unto her will.

Thus, although this marble must,
As all things, crumble into dust,
And though you finde this faire-built tombe
Ashes, as what lyes in its wombe:
Yet her saint-like name shall shine
A living glory to this shrine,
And her eternall fame be read,
When all but VERY VERTUE'S DEAD.<44.3>

<44.1> This lady was perhaps the daughter of Edward Filmer, Esq., of East Sutton, co. Kent, by his wife Eliza, daughter of Richard Argall, Esq., of the same place (See Harl. MS. 1432, p. 300). Possibly, the Edward Filmer mentioned here was the same as the author of "Frenche Court Ayres, with their Ditties englished," 1629, in praise of which Jonson has some lines in his UNDERWOODS.

<44.2> Original reads FOR.

<44.3> "Which ensuing times shall warble,
When 'tis lost, that's writ in marble."
Wither's FAIR VIRTUE, THE MISTRESS OF PHILARETE, 1622.

Headley (SELECT BEAUTIES, ed. 1810, ii. p. 42) has remarked the similarity between these lines and some in Collins' DIRGE IN CYMBELINE:—

"Belov'd till life can charm no more;
And MOURN'D TILL PITY'S SELF BE DEAD."

TO MY WORTHY FRIEND MR. PETER LILLY:<45.1>
ON THAT EXCELLENT PICTURE OF HIS MAJESTY AND THE DUKE OF YORKE,
DRAWNE BY HIM AT HAMPTON-COURT.

See! what a clouded majesty, and eyes
Whose glory through their mist doth brighter rise!
See! what an humble bravery doth shine,
And griefe triumphant breaking through each line,
How it commands the face! so sweet a scorne
Never did HAPPY MISERY adorne!
So sacred a contempt, that others show
To this, (oth' height of all the wheele) below,
That mightiest monarchs by this shaded booke
May coppy out their proudest, richest looke.

Whilst the true eaglet this quick luster spies,
And by his SUN'S enlightens his owne eyes;
He cures<45.2> his cares, his burthen feeles, then streight
Joyes that so lightly he can beare such weight;
Whilst either eithers passion doth borrow,
And both doe grieve the same victorious sorrow.

These, my best LILLY, with so bold a spirit
And soft a grace, as if thou didst inherit
For that time all their greatnesse, and didst draw
With those brave eyes your royal sitters saw.

Not as of old, when a rough hand did speake
A strong aspect, and a faire face, a weake;
When only a black beard cried villaine, and
By hieroglyphicks we could understand;
When chrystall typified in a white spot,
And the bright ruby was but one red blot;
Thou dost the things Orientally the same
Not only paintst its colour, but its flame:
Thou sorrow canst designe without a teare,
And with the man his very hope or feare;
So that th' amazed world shall henceforth finde
None but my LILLY ever drew a MINDE.

<45.1> Mr., afterwards Sir Peter, Lely. He was frequently called Lilly, or Lilley, by his contemporaries, and Lilley is Pepys' spelling. "At Lord Northumberland's, at Sion, is a remarkable picture of King Charles I, holding a letter directed 'au roi monseigneur,' and the Duke of York, aet. 14, presenting a penknife to him to cut the strings. It was drawn at Hampton Court, when the King was last there, by Mr. Lely, who was earnestly recommended to him. I should have taken it for the hand of Fuller or Dobson. It is certainly very unlike Sir Peter's latter manner, and is stronger than his former. The King has none of the melancholy grace which Vandyck alone, of all his painters, always gave him. It has a sterner countenance, and expressive of the tempests he had experienced."—Walpole's ANECDOTES OF PAINTING IN ENGLAND, ed. 1862, p. 443-4.

<45.2> Original reads CARES.

THE LADY A. L.<46.1>
MY ASYLUM IN A GREAT EXTREMITY.

With that delight the Royal captiv's<46.2> brought
Before the throne, to breath his farewell thought,
To tel his last tale, and so end with it,
Which gladly he esteemes a benefit;
When the brave victor, at his great soule dumbe,
Findes something there fate cannot overcome,
Cals the chain'd prince, and by his glory led,
First reaches him his crowne, and then his head;
Who ne're 'til now thinks himself slave and poor;
For though nought else, he had himselfe before.
He weepes at this faire chance, nor wil allow,
But that the diadem doth brand his brow,
And under-rates himselfe below mankinde,
Who first had lost his body, now his minde,

With such a joy came I to heare my dombe,
And haste the preparation of my tombe,
When, like good angels who have heav'nly charge
To steere and guide mans sudden giddy barge,
She snatcht me from the rock I was upon,
And landed me at life's pavillion:
Where I, thus wound out of th' immense abysse,
Was straight set on a pinacle of blisse.

Let me leape in againe! and by that fall
Bring me to my first woe, so cancel all:
Ah! 's this a quitting of the debt you owe,
To crush her and her goodnesse at one blowe?
Defend me from so foule impiety,
Would make friends grieve, and furies weep to see.

Now, ye sage spirits, which infuse in men
That are oblidg'd twice to oblige agen,
Informe my tongue in labour what to say,
And in what coyne or language to repay.
But you are silent as the ev'nings ayre,
When windes unto their hollow grots repaire.<46.3>
Oh, then accept the all that left me is,
Devout oblations of a sacred wish!

When she walks forth, ye perfum'd wings oth' East,
Fan her, 'til with the Sun she hastes to th' West,
And when her heav'nly course calles up the day,
And breakes as bright, descend, some glistering ray,
To circle her, and her as glistering haire,
That all may say a living saint shines there.
Slow Time, with woollen feet make thy soft pace,
And leave no tracks ith' snow of her pure face;
But when this vertue must needs fall, to rise
The brightest constellation in the skies;
When we in characters of fire shall reade,
How cleere she was alive, how spotless, dead.
All you that are a kinne to piety:
For onely you can her close mourners be,
Draw neer, and make of hallowed teares a dearth:
Goodnes and justice both are fled the earth.

If this be to be thankful, I'v a heart
Broaken with vowes, eaten with grateful smart,
And beside this, the vild<46.4> world nothing hath
Worth anything but her provoked wrath;
So then, who thinkes to satisfie in time,
Must give a satisfaction for that crime:
Since she alone knowes the gifts value, she
Can onely to her selfe requitall be,
And worthyly to th' life paynt her owne story
In its true colours and full native glory;
Which when perhaps she shal be heard to tell,
Buffoones and theeves, ceasing to do ill,
Shal blush into a virgin-innocence,
And then woo others from the same offence;
The robber and the murderer, in 'spite
Of his red spots, shal startle into white:
All good (rewards layd by) shal stil increase
For love of her, and villany decease;<46.5>
Naught<46.6> be ignote, not so much out of feare
Of being punisht, as offending her.

So that, when as my future daring bayes
Shall bow it selfe<46.7> in lawrels to her praise,
To crown her conqu'ring goodnes, and proclaime
The due renowne and glories of her name:
My wit shal be so wretched and so poore
That, 'stead of praysing, I shal scandal her,
And leave, when with my purest art I'v done,
Scarce the designe of what she is begunne:
Yet men shal send me home, admir'd, exact;
Proud, that I could from her so wel detract.

Where, then, thou bold instinct, shal I begin
My endlesse taske? To thanke her were a sin
Great as not speake, and not to speake, a blame
Beyond what's worst, such as doth want a name;
So thou my all, poore gratitude, ev'n thou
In this wilt an unthankful office do:
Or wilt I fling all at her feet I have:
My life, my love, my very soule, a slave?
Tye my free spirit onely unto her,
And yeeld up my affection prisoner?
Fond thought, in this thou teachest me to give
What first was hers, since by her breath I live;
And hast but show'd me, how I may resigne
Possession of those thing are none of mine.

<46.1> i.e. Anne, Lady Lovelace, the poet's kinswoman, who seems to have assisted him in some emergency, unknown to us except through the present lines.

<46.2> Caractacus(?).

<46.3> The mythology of Greece assigned to each wind a separate cave, in which it was supposed to await the commands of its sovereign Aeolus, or Aeolos. It is to this myth that Lovelace alludes.

<46.4> A very common form of VILE among early writers.

<46.5> This reads like a parody on the fourth Eclogue of Virgil. The early English poets were rather partial to the introduction of miniature-pictures of the Golden Age on similar occasions to the present. Thus Carew, in his poem TO SAXHAM, says:—

"The Pheasant, Partridge, and the Lark
Flew to thy house, as to the Ark.
The willing Oxe of himself came
Home to the slaughter with the Lamb.
And every beast did thither bring
Himself, to be an offering."
Carew's POEMS, 1651, p. 34.

<46.6> Vice.

<46.7> We should read THEMSELVES.

A LADY WITH A FALCON ON HER FIST. TO THE HONOURABLE MY COUSIN A[NNE] L[OVELACE.]

I.
This Queen of Prey (now prey to you),
Fast to that pirch of ivory
In silver chaines and silken clue,
Hath now made full thy victory:

II.
The swelling admirall of the dread
Cold deepe, burnt in thy flames, oh faire!
Wast not enough, but thou must lead
Bound, too, the Princesse of the aire?

III.
Unarm'd of wings and scaly oare,
Unhappy crawler on the land,
To what heav'n fly'st? div'st to what shoare,
That her brave eyes do not command?

IV.
Ascend the chariot of the Sun
From her bright pow'r to shelter thee:
Her captive (foole) outgases him;
Ah, what lost wretches then are we!

V.
Now, proud usurpers on the right
Of sacred beauty, heare your dombe;
Recant your sex, your mastry, might;
Lower you cannot be or'ecome:

VI.
Repent, ye er'e nam'd he or head,
For y' are in falcon's monarchy,
And in that just dominion bred,
In which the nobler is the shee.

A PROLOGUE TO THE SCHOLARS.
A COMAEDY PRESENTED AT THE WHITE FRYERS.<47.1>

A gentleman, to give us somewhat new,
Hath brought up OXFORD with him to show you;
Pray be not frighted—Tho the scaene and gown's
The Universities, the wit's the town's;
The lines each honest Englishman may speake:
Yet not mistake his mother-tongue for Greeke,
For stil 'twas part of his vow'd liturgie:—
From learned comedies deliver me!
Wishing all those that lov'd 'em here asleepe,
Promising SCHOLARS, but no SCHOLARSHIP.

You'd smile to see, how he do's vex and shake,
Speakes naught; but, if the PROLOGUE do's but take,
Or the first act were past the pikes once, then—
Then hopes and joys, then frowns and fears agen,
Then blushes like a virgin, now to be
Rob'd of his comicall virginity
In presence of you all. In short, you'd say
More hopes of mirth are in his looks then play.

These feares are for the noble and the wise;
But if 'mongst you there are such fowle dead eyes,
As can damne unaraign'd, cal law their pow'rs,
Judging it sin enough that it is ours,
And with the house shift their decreed desires,
FAIRE still to th' BLACKE, BLACKE still to the WHITE-FRYERS;<47.2>
He do's protest he wil sit down and weep
Castles and pyramids . . .
. . . . . . No, he wil on,
Proud to be rais'd by such destruction,
So far from quarr'lling with himselfe and wit,
That he wil thank them for the benefit,
Since finding nothing worthy of their hate,
They reach him that themselves must envy at:

<47.1> This was the theatre in Salisbury Court. See Collier, H. E. D. P. iii. 289, and Halliwell's DICTIONARY OF OLD PLAYS, art. SCHOLAR. From the terms of the epilogue it seems to have been a piece occupying two hours in the performance. Judging, I presume, from the opening lines, Mr. Halliwell supposes it to have been originally acted at Gloucester Hall. Probably Mr. Halliwell is right.

<47.2> A quibble on the two adjacent theatres in Whitefriars and Blackfriars.