One day I sat, (as was my trade),
Under the foot of Mole, that mountain hoar,
Keeping my sheep among the cooly shade
Of the green alders, by the Mulla's shore;
There a strange shepherd chanced to find me out;
Whether allurèd with my pipe's delight,
Whose pleasing sound yshrilled far about,
(the secret of the authorship of the Shepherd's Calender having by this time oozed out in the praises of Webbe in 1586 and of Puttenham in 1589,)
Or thither led by chance, I know not right,—
Whom, when I askèd from what place he came
And how he hight, himself he did ycleepe
The Shepherd of the Ocëan by name,
And said he came far from the main-sea deep;
He, sitting me beside in that same shade,
Provokèd me to play some pleasant fit,
(that is to say, to read the MS. of the Faery Queen, now approaching completion,)
And, when he heard the music which I made,
He found himself full greatly pleased at it;
Yet æmuling my pipe, he took in hond
My pipe,—before that, æmulèd of many,—
And played thereon (for well that skill he conned),
Himself as skilful in that art as any.
Among the other poems thus read by Raleigh to Spenser at Kilcolman was the 'lamentable lay' to which reference had just been made—the piece in praise of Elizabeth which bore the name of Cynthia. In Spenser's pastoral, the speaker is persuaded by Thestylis (Lodovick Bryskett) to explain what ditty that was that the Shepherd of the Ocean sang, and he explains very distinctly, but in terms which are scarcely critical, that Raleigh's poem was written in love and praise, but also in pathetic complaint, of Elizabeth, that
great Shepherdess, that Cynthia hight,
His Liege, his Lady, and his life's Regent.
This is most valuable evidence of the existence in 1589 of a poem or series of poems by Sir Walter Raleigh, set by Spenser on a level with the best work of the age in verse. This poem was, until quite lately, supposed to have vanished entirely and beyond all hope of recovery. Until now, no one seems to have been aware that we hold in our hands a fragment of Raleigh's magnum opus of 1589 quite considerable enough to give us an idea of the extent and character of the rest.[4]
In 1870 Archdeacon Hannah printed what he described as a 'continuation of the lost poem, Cynthia,' from fragments in Sir Walter's own hand among the Hatfield MSS. Dr. Hannah, however, misled by the character of the handwriting, by some vague allusions, in one of the fragments, to a prison captivity, and most of all, probably, by a difficulty in dates which we can now for the first time explain, attributed these pieces to 1603-1618, that is to say to Raleigh's imprisonment in the Tower. The second fragment, beginning 'My body in the walls captived,' belongs, no doubt, to the later date. It is in a totally distinct metre from the rest and has nothing to do with Cynthia. The first fragment bears the stamp of much earlier date, but this also can be no part of Raleigh's epic. The long passage then following, on the contrary, is, I think, beyond question, a canto, almost complete, of the lost epic of 1589. It is written in the four-line heroic stanza adopted ten years later by Sir John Davies for his Nosce teipsum, and most familiar to us all in Gray's Churchyard Elegy. Moreover, it is headed 'the Twenty-first and Last Book of The Ocean to Cynthia.' Another note, in Raleigh's handwriting, styles the poem The Ocean's Love to Cynthia, and this was probably the full name of it. Spenser's name for Raleigh, the Shepherd, or pastoral hero, of the Ocean, is therefore for the first time explained. This twenty-first book suffers from the fact that stanzas, but apparently not very many, have dropped out, in four places. With these losses, the canto still contains 130 stanzas, or 526 lines. Supposing the average length of the twenty preceding books to have been the same, The Ocean's Love to Cynthia must have contained at least ten thousand lines. Spenser, therefore, was not exaggerating, or using the language of flattery towards a few elegies or a group of sonnets, when he spoke of Cynthia as a poem of great importance. As a matter of fact, no poem of the like ambition had been written in England for a century past, and if it had been published, it would perhaps have taken a place only second to its immediate contemporary, The Faery Queen.
At this very time, and in the midst of his poetical holiday, Raleigh was actively engaged in defending the rights of the merchants of Waterford and Wexford to carry on their trade in pipe-staves for casks. Raleigh himself encouraged and took part in this exportation, having two ships regularly engaged between Waterford and the Canaries. Traces of his peaceful work in Munster still remain. Sir John Pope Hennessy says: