The masque referred to is D’Avenant’s “The Temple of Love” (1634). In Thomas Heywood’s “Love’s Mistress or the Queen’s Masque” (1640) the myth of Cupid and Psyche is interpreted in accordance with the notion of Platonic love; and in D’Avenant’s “Platonick Lovers” (1636) the subject of Platonic love is ridiculed. It is probable that the rise of this custom at the court was due to the presence of Henrietta Maria, the queen of Charles I. Margaret of Valois had made Platonic love known in France; and had shown how licentiousness of conduct was compatible with its practice. “She had a high harmonious soul,” writes Howell,[[13]] “much addicted to music and the sweets of love, and oftentimes in a Platonic way; She would have this Motto often in her mouth; Voulez vous cesser d’aymer? possedez la chose aymée.... She had strains of humors and transcendencies beyond the vulgar, and delighted to be call’d Venus Urania.” It is probable that the young queen wished to follow such an example and made known to the English court this new way of love gallantry. The practice of making love in the Platonic way grew so popular at any rate as to become a question of serious discussion. John Norris says, “Platonic Love is a thing in every Bodies Mouth,” and after comparing it with the love described by Plato in the “Symposium,” he concludes, “But why this should be call’d by the name of Platonic Love, the best reason that I know of, is because People will have it so.”[[14]] Algernon Sidney has left an account of love as a desire of enjoying beauty. He concludes that since man is midway between angels and beasts, his love will share in the peculiarities of both the celestial and the sensual passion.[[15]] Walter Charleton ridicules the subject and unmasks its immorality, although his purpose is not in any way to purify the morals of his readers.[[16]] Robert Boyle wrote, but did not publish, a series of letters, “wherein [among other subjects] Platonic love was explicated, celebrated, and wherein the cure of love was proposed and prosecuted.”[[17]]

The ideas expressed in these poems on Platonic love are not essentially different from those in the lyrics which have been already discussed. At times, as in Stanley’s “Love’s Innocence,” the Platonic manner is understood as one devoid of all danger. It was in this way that Vaughan looked upon his love for Amoret. “You have here,” he says, “a flame, bright only in its own innocence, that kindles nothing but a generous thought, which though it may warm the blood, the fire at highest is but Platonic; and the commotion, within these limits, excludes danger.”[[18]] On the other hand, Carew’s “Song to a Lady, not yet Enjoyed by her Husband,” shows how the stock ideas was used to cloak the immorality of the poet’s thought. George Daniel has left a series of poems revealing the several phases of this love ranging between the two extremes. He writes one “To Cinthia, coying it,” in which its innocence is preached. “To Cinthia Converted” describes the union of the two souls. “To the Platonicke Pretender” warns the ladies from listening to this love when taught by a libertine. “Pure Platonicke” explains the spiritual nature of the passion by contrast with sensual love. “Court-Platonicke” shows how at court it was used merely as a means to an improper end. “Anti-Platonicke” recites the feelings of the sensual lover.[[19]] In Lord Herbert are found two other phases of this love. The first and second of his poems named “Platonick Love” are complimentary poems addressed to a lady; the first, telling her how the love inspired by her refines his soul, and the second celebrating Platonic love in general application.

“For as you can unto that height refine

All Loves delights, as while they do incline

Unto no vice, they so become divine,

We may as well attain your excellence,

As, without help of any outward sense

Would make us grow a pure Intelligence.”

(Stz. 2.)

In the third “Platonicke Love” the lover is represented as wavering between despair and hope with a slight balance in favor of the latter. He is disconsolate because he finds no hope