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THE ensuing collection of irrelative poems, some probably from Shakespeare's hand, but some certainly belonging to other writers, was first published by William Jaggard, in small octavo, with the title, - "The Passionate Pilgrime. By W. Shakespeare. At London. Printed for W. Iaggard, and are to be sold by W. Leake, at the Greyhound in Paules Churchyard, 1599." In 1612 another edition was printed bearing the title of, "The Passionate Pilgrime. Or Certaine Amorous Sonnets, betweene Venus and Adonis, newly corrected and augmented. By W. Shakespere. The third Edition. Where-unto is newly added two Love-Epistles, the first from Paris to Hellen, and Hellen's answere backe againe to Paris. Printed by W. Iaggard, 1612."* The "Love Epistles" which Jaggard had the audacity to particularise in his title-page, and insert in this reprint as the works of Shakespeare, were two of Ovid's Epistles, that had been translated by Thomas Heywood, and printed with his name in his "Troja Brittannica," &c. 1609. It was not likely that Heywood would patiently submit to this flagrant injustice, and accordingly at the close of a work entitled, "The Apology for Actors," &c. which was published by him in 1612, he appended the following letter to his bookseller, Nicholas Okes :

"To my approved good friend, Mr. Nicholas Okes.

"The infinite faults escaped in my booke of Britaines Troy, by the negligence of the Printer, as the misquotations, mistaking of sillables, misplacing halfe lines, coining of strange and never heard of words. These being without number, when I would have taken a particular account of the Errata, the Printer answered me, hee would not publishe his owne disworkemanship, but rather let his owne fault lye upon the necke of the Author: and being fearfull that others of his quality, had beene of the same nature, and condition, and finding you on the contrary, so carefull and industrious, so serious and laborious, to doe the author all the rights of the presse; I could not choose but gratulate your honest endeavours with this short remembrance. Here likewise, I must necessarily insert a manifest injury done me in that worke, by taking the two Epistles of Paris to Helen, and Helen to Paris, and printing them in a lesse volume ander the name of another, which may put the world in opinion I might steal them from him; and hee, to do himselfe right, hath since published them in his owne name: but as I must acknowledge my lines not worthy his patronage under whom he hath publisht them, so the Author I know much offended with M. Jaggard that (altogether unknowne to him) presumed to make so bold with his name. These, and the like dishonesties, I know you to be cleare of; and I could wish but to bee the happy author of so worthie a worke as I could willingly commit to your care and workmanship THOMAS HEYWOOD

* Although this edition purports to be the third, no intermediate impression between it and the first copy is now known.

"Yours ever,

This exposure, aided probably by the indignant remonstrance of Shakespeare, compelled Jaggard to cancel the original title-page of the 1612 edition, and substitute another, which bore no author's name. Such at least is presumed to have been the case, from the fact that Malone's copy of this edition, by the "fortunate negligence" of the old binder, contains two title-pages, one with and the other without an author's name.

I.

a

If knowledge be the mark, to know thee shal suffice;

Well learned is that tongue that well can thee commend;

All ignorant that soul that sees thee withers wonder; Which is to me some praise, that I thy parts

DID not the heavenly rhetoric of thine eye,"
'Gainst whom the world could not hold argument,
Persuade my heart to this false perjury?
Vows for thee broke deserve not punishment.
A woman I forswore; but, I will prove,
Thou being a goddess, I forswore not thee:
My vow was earthly, thou a heavenly love;
Thy grace being gain'd cures all disgrace in me.
My vow was breath, and breath a vapour is;
Then, thou fair sun, that on this earth doth shine,
Exhale this vapour vow; in thee it is :
If broken then, it is no fault of mine.

If by me broke, what fool is not so wise
To lose an oath to win a paradise ?

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admire:

Thine eye Jove's lightning seems, thy voice his dreadful thunder,

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 tongue!

IV.

Scarce had the sun dried up the dewy morn,
And scarce the herd gone to the hedge for shade,
When Cytherea, all in love forlorn,

A longing tarriance for Adonis made
Under an osier growing by a brook,

A brook where Adon used to cool his spleen:
Hot was the day; she hotter that did look
For his approach, that often there had been.
Anon he comes, and throws his mantle by,
And stood stark naked on the brook's green brim:
The sun look'd on the world with glorious eye,
Yet not so wistly as this queen on him:

He, spying her, bounc'd in, whereas he stood; "O Jove," quoth she, "why was not I a flood!"

V.

Fair is my love, but not so fair as fickle;
Mild as a dove, but neither true nor trusty;
Brighter than glass, and yet, as glass is, brittle;
Softer than wax, and yet, as iron, rusty:

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

Her lips to mine how often hath she join'd,
Between each kiss her oaths of true love swearing!
How many tales to please me hath she coin'd,
Dreading my love, the loss thereof still fearing!
Yet in the midst of all her pure protestings,
Her faith, her oaths, her tears, and all were
jestings.

"When my love swears that she is made of truth," &c. and No. CXLIV.: "Two loves I have," &c.

b

to delight his ear;) The old text has, "ears."

c If love make me forsworn, -) See "Love's Labour's Lost," Act IV. Sc. 2.

She burn'd with love, as straw with fire flameth,
She burn'd out love, as soon as straw out-burneth;
She fram'd the love, and yet she foil'd the
framing,

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.

VI.

If music and sweet poetry agree,

As they must needs, the sister and the brother,
Then must the love be great 'twixt thee and me,
Because thou lov'st the one, and I the other.
Dowland to thee is dear, whose heavenly touch
Upon the lute doth ravish human sense;
Spenser to me, whose deep conceit is such,
As, passing all conceit, needs no defence.
Thou lov'st to hear the sweet melodious sound
That Phœbus' lute, the queen of music, makes;
And I in deep delight am chiefly drown'd,
Whenas himself to singing he betakes.

One god is god of both, as poets feign;
One knight loves both, and both in thee remain.

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Χ.

Crabbed age and youth
Cannot live together:
Youth is full of pleasance,
Age is full of care;
Youth like summer morn,
Age like winter weather;
Youth like summer brave,
Age like winter bare.
Youth is full of sport,
Age's breath is short;

Youth is nimble, age is lame;

Youth is hot and bold,
Age is weak and cold;

Youth is wild, and age is tame.

Age, I do abhor thee,

Youth, I do adore thee;

O, my love, my love is young!

Age, I do defy & thee :

O, sweet shepherd, hie thee!

For methinks thou stay'st too long.

XI.

Beauty is but a vain and doubtful good,
A shining gloss that fadeth suddenly;
A flower that dies when first it 'gins to bud;
A brittle glass that 's broken presently :

A doubtful good, a gloss, a glass, a flower,
Lost, faded, broken, dead within an hour!

a If music and sweet poetry agree,-] This poem, according to Mr. Collier, was published in the first edition of R. Barnfield's "Encomion of Lady Pecunia," 1598, but was omitted by the author in his edition of 1605. From which circumstance, Mr. Collier infers that it was written by Shakespeare.

b A line has here been lost.

e For why-] Because.

d Venus, with young Adonis sitting by her-] This Sonnet, with some variations, occurs in a collection of Poems by B. Griffin, called Fidessa more Chaste then Kinde, 1596; and there the opening line is given as in our text. "The Passionate Pilgrim" reads,

"Venus with Adonis sitting by her," &c.

• And as he fell to her, so fell she to him.] In "The Passionate Pilgrim" this line is imperfect, "so" being omitted. The word is supplied from Griffin's Fidessa.

f "Even thus," quoth she, "the warlike god embrac'd me,"-] In the latter part of this Sonnet the version in Fidessa differs considerably from the one before us. There, it runs as follows:

""Even thus,' quoth she, 'the wanton god embrac'd me;'
And thus she clasp'd Adonis in her arms :

'Even thus,' quoth she, 'the warlike god unlac'd me,'
As if the boy should use like loving charms:
But he, a wayward boy, refus'd her offer,

And ran away, the beauteous queen neglecting;

Showing both folly to abuse her proffer,
And all his sex of cowardice detecting;

Oh, that I had my mistress at that bay,

To kiss and clip me till I ran away."

g-defy thee:-) Renounce or contemn thee. So, in "Romeo and Juliet," Act V. Sc. 3,

"I do defy thy conjurations," &c.

And as goods lost are seld or never found,
As faded gloss no rubbing will refresh,
As flowers dead lie wither'd on the ground,
As broken glass no cement can redress, -
So beauty blemish'd once for ever's lost,
In spite of physic, painting, pain, and cost.

XII.

"Good night, good rest." Ah, neither be my share! She bade good night, that kept my rest away; And daff'd me to a cabin hang'd with care, To descant on the doubts of my decay. "Farewell," quoth she, "and come again tomorrow;"

Fare well I could not, for I supp'd with sorrow.

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 myself,
As take the pain, but cannot pluck the pelf.

XIII.

Lord, how mine eyes throw gazes to the east!
My heart doth charge the watch; the morning rise

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SONNETS TO SUNDRY NOTES OF MUSIC.

XIV.

It was a lording's daughter,
The fairest one of three,b
That liked of her master
As well as well might be,
Till looking on an Englishman,
The fair'st that eye could see,

Her fancy fell a-turning.
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,

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For of the two the trusty knight Was wounded with disdain:

Alas, she could not help it!

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.

XV.

On a day (alack the day !),d
Love, whose month was ever May,
Spy'd 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.

"of

valuable work, "A Critical Examination of the Text of Shake speare," &c. which has been published while these pages were in preparation for the press, suggests that we should read, master;" that is, a scholar by profession, a master of arts. d On a day (alack the day!),-] This, as we have before re marked, is one of the three Sonnets found in "Love's Labour's Lost." It was printed also, with Shakespeare's name attached, in a collection of poems entitled, "England's Helicon," 1600, where it is entitled, The Passionate Sheepheard's Song.

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b Thou for whom Jove would swear-] In this line, unless some epithet to "Jove" has been lost, "swear" is employed as a dissyllable.

c My flocks feed not, &c.] These verses, under the title of The Unknown Sheepheard's Complaint, and subscribed Ignoto, are printed in "England's Helicon." They are found also, with music, in Weelkes's Madrigals, 1599. That Shakespeare had any hand either in them or in the poor effusion beginning, "It was a lording's daughter," &c. is inconceivable.

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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,h

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.

XVII.

Whenas thine eye hath chose the dame,
And stall'd the deer that thou shouldst strike,
Let reason rule things worthy blame,
As well as fancy partial might : k

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

And when thou com'st thy tale to tell,
Smooth not thy tongue with filed1 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.m

What though her frowning brows be bent,
Her cloudy looks will clearn ere night;

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k As well as fancy partial might :) This is very probably corrupt, but the change proposed by Steevens, "partial tike," is unendurable; and we have no faith in the reading said to be derived from a MS. of this poem in the possession of Mr. Collier,

"As well as partial fancy like," &c.

Query,

"As well as fancy martial might"?

Compare, "Lucrece,"

"A martial man to be soft fancy's slave!"

1-filed talk,-] Polished diction.

m And set thy person forth to sell.] A reading supplied by a manuscript copy of this poem, of the age of Shakespeare, which Malone used. "The Passionate Pilgrim" has,

her person forth to sale."

n-will clear-] So the MS. just referred to. "The Passionate Pilgrim" reads, "will calm," &c.

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