Chapter XX: Part 20

This is doubtless Roe's friend. With Roe as a Falstaff he had probably 'heard the chimes at midnight' in London before he settled down to raise a family in Devonshire.

l. 7. _sleeps House, &c._ Ovid xi; Ariosto, _Orlando Furioso_, Canto xiv; Spenser, _Faerie Queene_, I. i.

PAGE =402=, l. 26. _Epps_. 'This afternoon a servingman of the Earl of Northumberland fought with swaggering Eps, and ran him through the ear.' _Manninghams Diary_, 8th April, 1603 (Camden Club, p. 165). This is the only certain reference to Epps I have been able to find, but Grosart declares he is the soldier described in Dekker's _Knights Conjuring_ as behaving with great courage at the siege of Ostend (1601-4), where he was killed. I can find no name in Dekker's work.

ll. 27-31. As printed in _1669_ these lines are not very intelligible, and neither Grosart nor Chambers has corrected them. As given in the MSS. (e.g. _TCD_) they are a little clearer:

For his Body and State
The Physick and Counsel (which came too late)
'Gainst whores and dice, hee nowe on mee bestowes
Most superficially: hee speakes of those,
(I found by him) least soundly whoe most knows:

The purpose of bracketing 'which came too late' is obviously to keep it from being taken with ''Gainst whores and dice'--the very mistake that _1669_ has fallen into and Grosart and Chambers have preserved. The drawback to this use of the bracket is that it disguises, at least to modern readers, that 'which came too late' must be taken with 'For his Body and State'. I have therefore dropped it and placed a comma after 'late'. The meaning I take to be as follows: 'The physic and counsel against whores and dice, which came too late for his own body and estate, he now bestows on me in a superficial fashion; for I found by him that of whores and dice those speak least soundly who know most from personal experience.' A rather shrewd remark. There are some spheres where experience does not teach, but corrupt.

l. 40. _in that or those_: 'that' the Duello, 'those' the laws of the Duello. There is not much to choose between 'these' and 'those'.

ll. 41-3. _Though sober; but so never fought. I know
What made his Valour, undubb'd, Windmill go,
Within a Pint at most:_

The MSS. improve both the metre and the sense of the first of these lines, which in _1669_ and Chambers runs:

Though sober; but nere fought. I know ...

It is when he is sober that he never fights, though he may quarrel. Roe knows exactly how much drink it would take to make this undubb'd Don Quixote charge a windmill, or like a windmill. But the poem is too early for an actual reference to _Don Quixote_

PAGE =403=, ll. 67-8. _and he is braver now
Than his captain._

By 'braver' the poet means, not more courageous, but more splendidly attired, more 'braw'.

PAGE =404=, l. 88. _Abraham France_--who wrote English hexameters. His chief works are _The Countess of Pembrokes Ivy Church_ (1591) and _The Countess of Pembrokes Emmanuel_ (1591). He was alive in 1633.

PAGE =405=, l. 113. _So they their weakness hide, and greatness show._ Grosart refused the reading 'weakness', which he found in his favourite MS. _S_, and Chambers ignored it. It has, however, the support of _B_, _O'F_, and _L74_ (which is strong in Roe's poetry), and seems to me to give the right edge to the sarcasm. 'By giving to flatterers what they owe to worth, Kings and Lords think to hide their weakness of character, and to display the greatness of their wealth and station.' They make a double revelation of their weakness in their credulity and their love of display.

l. 128. _Cuff._ Henry Cuff (1563-1601), secretary to Essex and an abettor of the conspiracy.

l. 131. _that Scot._ It is incredible that Donne wrote these lines. He found some of his best friends among the Scotch--Hay, Sir Robert Ker, Essex, and Hamilton, to say nothing of the King.

PAGE =406=. SATYRE.

PAGE =407=, ll. 32-3. _A time to come, &c._ I have adopted Grosart's punctuation and think his interpretation of 'beg' must be the right one--'beg thee as an idiot or natural.' The O.E.D. gives: '† 5a. _To beg a person_: to petition the Court of Wards (established by Henry VIII and suppressed under Charles II) for the custody of a minor, an heiress, or an idiot, as feudal superior or as having interest in the matter: hence also fig. _To beg_ (any one) _for a fool_ or _idiot_: to take him for, set him down as. _Obs._' Among other examples is, 'He proved a wiser man by much than he that begged him. Harington, _Met. Ajax_ 46.' What the satirist says is, 'The time will come when she will beg to have wardship of thee as an idiot. If you continue she will take you for one now.'

l. 35. _Besides, her<s>._ My reading combines the variants. I think 'here' must be wrong.

PAGE =407=. AN ELEGIE.

PAGE =408=, l. 5. _Else, if you were, and just, in equitie &c._ This is the punctuation of _H39_, and is obviously right, 'in equitie' going with what follows. He has denied the existence or, at least, the influence of the Fates, and now continues, 'For if you existed or had power, and if you were just, then, according to all equity I should have vanquish'd her as you did me.' Grosart and the Grolier Club editor follow _1635-54_, and read:

Else, if you were, and just in equity, &c.

Chambers accepts the attempt of _1669_ to amend this, and prints:

True if you were, and just in equity, &c.

But 'just in equity' is not a phrase to which any meaning can be attached.

PAGE =412=. AN ELEGIE.

Grosart prints this very incorrectly. He does not even reproduce correctly the MS. _S_, which he professes to follow. Chambers follows Grosart, adopting some of the variants of the Haslewood-Kingsborough MS. reported by Grosart. They both have the strange reading 'cut in bands' in l. 11, which as a fact is not even in _S_, from which Grosart professes to derive it. The reading of all the MSS., 'but in his handes,' makes quite good sense. The Scot wants matter, except in his hands, i.e. dirt, which is 'matter out of place'. The reading, 'writ in his hands', which Chambers reports after Grosart, is probably a mistake of the latter's. Indeed his own note suggests that the reading of _H-K_ is 'but in's hands'.

PAGE =417=. TO THE COUNTESSE OF HUNTINGTON.

It looks as if some lines of this poem had been lost. The first sentence has no subject unless 'That' in the second line be a demonstrative--a very awkward construction.

If written by Donne this poem must have been composed about the same time as _The Storme_ and _The Calme_. He is writing apparently from the New World, from the Azores. But it is as impossible to recover the circumstances in which the poem was written as to be sure who wrote it.

PAGE =422=. ELEGIE.

ll. 5-6. _denounce ... pronounce._ The reading of the MSS. seems to me plainly the correct one. 'In others, terror, anguish and grief announce the approach of death. Her courage, ease and joy in dying pronounce the happiness of her state.' The reading of the printed texts is due to the error by which _1635_ and _1639_ took 'comming' as an epithet to 'terror' as 'happy' is to 'state'. Some MSS. read 'terrors' and 'joyes'.

l. 22. _Their spoyles, &c._ I have adopted the MS. reading here, though with some hesitation, because (1) it is the more difficult reading: 'Soules to thy conquest beare' seems more like a conjectural emendation than the other reading, (2) The construction of the line in the printed texts is harsh--one does not bear anything 'to a conquest', (3) the meaning suits the context better. It is not souls that are spoken of, but bodies. The bodies of the wicked become the spoil of death, trophies of his victory over Adam; not so those of the good, which shall rise again. See 1 Cor. xv. 54-5.

PAGE =424=. PSALME 137.

This Psalm is found in a MS. collection of metrical psalms (Rawlinson Poetical 161), in the Bodleian Library, transcribed by a certain R. Crane. The list of authors is Fr. Dav., Jos. Be., Rich. Cripps, Chr. Dav., Th. Carry. That Davison is the author of this particular Psalm is strongly suggested by the poetical _Induction_ which in style and verse resembles the psalm. The induction is signed 'Fr. Dav.' The first verse runs:

Come Urania, heavenly Muse,
and infuse
Sacred flame to my invention;
Sing so loud that Angells may
heare thy lay,
Lending to thy note attention.

PAGE =429=. SONG.

_Soules joy, now I am gone, &c._ George Herbert, in the _Temple_, gives _A Parodie_ of this poem, opening:

Soul's joy, when thou art gone,
And I alone,
Which cannot be,
Because Thou dost abide with me,
And I depend on Thee.

The parody does not extend beyond the first verse.

It was one of the aims of Herbert to turn the Muse from profane love verses to sacred purposes. Mr. Chambers points to another reference to this poem in some very bad verses by Sir Kenelm Digby in Bright's edition of Digby's _Poems_ (p. 8), _The Roxburghe Club_.

APPENDIX C.

I. POEMS FROM ADDITIONAL MS. 25707. PAGE =433=.

The authorship of the four poems here printed from _A25_ has been discussed in the _Text and Canon, &c._ There is not much reason to doubt that the first is what it professes to be. The order of the names in the heading, and the character of the verses both suggest that the second and corresponding verses are Donne's contribution. There is a characteristic touch in each one. I cannot find anything eminently characteristic in any of the rest of the group. The third poem refers to the poetical controversy on Love and Reason carried on with much spirit between the Earl of Pembroke and Sir Benjamin Rudyerd in their _Poems_ as printed by the younger Donne in 1660. A much finer fragment of the debate, beginning--

And why should Love a footboy's place despise?

is attributed to Donne by the Bridgewater MS. and the MS. in the library of the Marquess of Crewe. It is part of a poem by Rudyerd in the debate in the volume referred to.

II. POEMS FROM THE BURLEY MS. PAGE =437=.

Of the poems here printed from the Burley-on-the-Hill MS., none I think is Donne's. The chief interest of the collection is that it comes from a commonplace-book of Sir Henry Wotton, and therefore presumably represents the work of the group of wits to which Donne, Bacon, and Wotton belonged. I have found only one of them in other MSS., viz. that which I have called _Life a Play_. This occurs in quite a number of MSS. in the British Museum, and has been published in Hannah's _Courtly Poets_. It is generally ascribed to Sir Walter Raleigh; and Harleian MS. 733 entitles it _Verses made by Sir Walter Raleigh made the same morning he was executed_. I have printed it because with the first, and another in the _Reliquiae Wottonianae_, it illustrates Wotton's taste for this comparison of life to a stage, a comparison probably derived from an epigram in the Greek Anthology, which may be the source of Shakespeare's famous lines in _As You Like It_. The epitaph by Jonson on Hemmings, Shakespeare's fellow-actor and executor, is interesting. A similar epitaph on Burbage is found in Sloane MS. 1786:

An Epitaph on Mr Richard Burbage the Player.

This life's a play groaned out by natures Arte
Where every man hath his alloted parte.
This man hath now as many men can tell
Ended his part, and he hath done it well.
The Play now ended, think his grave to bee
The retiring house of his sad Tragedie.
Where to give his fame this, be not afraid:
Here lies the best Tragedian ever plaid.

III. POEMS FROM VARIOUS MSS. PAGE =443=.

Of the miscellaneous poems here collected there is very little to be said. The first eight or nine come from the O'Flaherty MS. (_O'F_), which professes to be a collection of Donne's poems, and may, Mr. Warwick Bond thinks, have been made by the younger Donne, as it contains a poem by him. It is careless enough to be his work. They illustrate well the kind of poem attributed to Donne in the seventeenth century, some on the ground of their wit, others because of their subject-matter. Donne had written some improper poems as a young man; it was tempting therefore to assign any wandering poem of this kind to the famous Dean of St. Paul's. The first poem, _The Annuntiation_, has nothing to do with Donne's poem _The Annuntiation and Passion_, but has been attached to it in a manner which is common enough in the MSS. The poem _Love's Exchange_ is obviously an imitation of Donne's _Lovers infinitenesse_ (p. 17). _A Paradoxe of a Painted Face_ was attributed to Donne because he had written a prose _Paradox_ entitled _That Women ought to paint_. The poem was not published till 1660. In Harleian MS. it is said to be 'By my Lo: of Cant. follower Mr. Baker'. The lines on _Black Hayre and Eyes_ (p. 460) are found in fifteen or more different MSS. in the British Museum alone, and were printed in _Parnassus Biceps_ (1656) and Pembroke and Ruddier's _Poems_ (1660). Two of the MSS. attribute the poem to Ben Jonson, but others assign it to W. P. or Walton Poole. Mr. Chambers points out that a Walton Poole has verses in _Annalia Dubrensia_ (1636), and also cites from Foster's _Alumni Oxonienses_: 'Walton Poole of Wilts arm. matr. 9.1.1580 at Trinity Coll. aged 15.' These may be the same person. The signature A. P. or W. P. at the foot of several pages suggests that the Stowe MS. 961 of Donne's poems had belonged to some member of this family. The fragment of an Elegy at p. 462 occurs only in _P_, where it forms part of an Heroicall Epistle with which it has obviously nothing to do. I have thought it worth preserving because of its intense though mannered style. The line, 'Fortune now do thy worst' recalls _Elegie XII_, l. 67. The closing poem,'Farewell ye guilded follies,' comes from Walton's _Complete Angler_ (1658), where it is thus introduced: 'I will requite you with a very good copy of verses: it is a farewell to the vanities of the world, and some say written by Dr. D. But let they be written by whom they will, he that writ them had a brave soul, and must needs be possest with happy thoughts of their composure.' In the third edition (1661) the words were changed to 'And some say written by Sir Harry Wotton, who I told you was an excellent Angler.' In one MS. they are attributed to Henry King, Donne's friend and literary executor, and in two others they are assigned to Sir Kenelm Digby, as by whom they are printed in _Wits Interpreter_ (1655). Mr. Chambers points out that 'The closing lines of King's _The Farewell_ are curiously similar to those of this poem.' He quotes:

My woeful Monument shall be a cell,
The murmur of the purling brook my knell;
My lasting Epitaph the Rock shall groan;
Thus when sad lovers ask the weeping stone,
What wretched thing does in that centre lie,
The hollow echo will reply, 'twas I.

I cannot understand why Mr. Chambers, to whom I am indebted for most of this information, was content to print so inadequate a text when Walton was in his hand. Two of his lines completely puzzled me:

Welcome pure thoughts! welcome, ye careless groans!
These are my guests, this is that courtage tones.

'Groans' are generally the sign of care, not of its absence. However, I find that Ashmole MS. 38, in the Bodleian, and some others read:

Welcome pure thoughts! welcome ye careless groves!
These are my guests, this is that court age loves.

This explains the mystery. But Mr. Chambers followed Grosart; and Grosart was inclined to prefer the version of a bad MS. which he had found to a good printed version.

SUPPLEMENTARY NOTES.

PAGES =5=, =6=. The poems of Ben Jonson are here printed just as they stand in the 1650, 1654, 1669 editions of Donne's _Poems_. A comparison with the 1616 edition of Jonson's _Works_ shows some errors. The poem _To John Donne_ (p. 5) is xxiii of the _Epigrammes_. The sixth line runs

And which no affection praise enough can give!

The absurd 'no'n' of 1650 seems to have arisen from the printing 'no'affection' of the 1640 edition of Jonson's _Works_. The 1719 editor of Donne's _Poems_ corrected this mistake. A more serious mistake occurs in the ninth line, which in the _Works_ (1616) runs:

All which I meant to praise, and, yet I would.

The error 'mean' comes from the 1640 edition of the _Works of Ben Jonson_, which prints 'meane'.

_To Lucy, &c._, is xciii of the _Epigrammes_. The fourteenth line runs:

Be of the best; and 'mongst those, best are you.

The comma makes the sense clearer. In l. 3, 1616 reads 'looke,' with comma.

_To John Donne_ (p. 6) is xcvi. There are no errors; but 'punees' is in _1616_ more correctly spelt 'pui'nees'.

PAGES =7=, =175=, =369=. I am indebted for the excellent copies of the engravings here reproduced to the kind services of Mr. Laurence Binyon. The portraits form a striking supplement to the poems along with which they are placed. The first is the young man of the _Songs and Sonets_, the _Elegies_ and the _Satyres_, the counterpart of Biron and Benedick and the audacious and witty young men of Shakespeare's Comedies. 'Neither was it possible,' says Hacket in his _Scrinia Reserata: a Memorial of John Williams ... Archbishop of York_ (1693), 'that a vulgar soul should dwell in such promising features.'

The engraving by Lombart is an even more lifelike portrait of the author of the _Letters_, _Epicedes_, _Anniversaries_ and earlier _Divine Poems_, learned and witty, worldly and pious, melancholy yet ever and again 'kindling squibs about himself and flying into sportiveness', writing at one time the serious _Pseudo-Martyr_, at another the outrageous _Ignatius his Conclave_, and again the strangely-mooded, self-revealing _Biathanatos_: 'mee thinks I have the keyes of my prison in mine owne hand, and no remedy presents it selfe so soone to my heart, as mine own sword.'

After describing the circumstances attending the execution of the last portrait of Donne, Walton adds in the 1675 edition of the _Lives_ (the passage is not in the earlier editions of the _Life of Donne_): 'And now, having brought him through the many labyrinths and perplexities of a various life: even to the gates of death and the grave; my desire is, he may rest till I have told my Reader, that I have seen many Pictures of him, in several habits, and at several ages, and in several postures: And I now mention this, because, I have seen one Picture of him, drawn by a curious hand at his age of eighteen; with his sword and what other adornments might then suit with the present fashions of youth, and the giddy gayeties of that age: and his Motto then was,

How much shall I be chang'd,
Before I am chang'd.

And, if that young, and his now dying Picture, were at this time set together, every beholder might say, _Lord! How much is_ Dr. Donne _already chang'd, before he is chang'd!_' The change written in the portrait is the change from the poet of the _Songs and Sonets_ to the poet of the _Holy Sonnets_ and last _Hymns_.

The design of this last picture and of the marble monument made from it is not very clear. He was painted, Walton says, standing on the figure of the urn. But the painter brought with him also 'a board of the just height of his body'. What was this for? Walton does not explain. But Mr. Hamo Thornycroft has pointed out that the folds of the drapery show the statue was modelled from a recumbent figure. Can it be that Walton's account confuses two things? The incident of the picture is not in the 1640 _Life_, but was added in 1658. How could Donne, a dying man, stand on the urn, with his winding-sheet knotted 'at his head and feet'? Is it not probable that he was painted lying in his winding-sheet on the board referred to; but that the monument, as designed by himself, and executed by Nicholas Stone, was intended to represent him rising at the Last Day from the urn, habited as he had lain down--a symbolic rendering of the faith expressed in the closing words of the inscription

Hic licet in Occiduo Cinere
Aspicit Eum
Cuius nomen est Oriens.

PAGE =37=, l. 14. The textual note should have indicated that in most or all of the MSS. cited the whole line runs:

(Thou lovest Truth) but an Angell at first sight.

This is probably the original form of the line, corrected later to avoid the clashing of the 'but's.

PAGE =96=, l. 6, note. The _R212_ cited here is Rawlinson Poetical MS. 212, a miscellaneous collection of seventeenth-century prose and poetry (e.g. Davies' _Epigrams_. See II. p. 101). I had cited it once or twice in my first draft. The present instance escaped my eye. It helps to show how general the reading 'tyde' was.

PAGE =115=, l. 54. _goeing on it fashions_. The correct reading is probably 'growing on it fashions', which has the support of both _JC_, and _1650-69_ where 'its' is a mere error. I had made my text before _JC_ came into my hand. To 'grow on' for 'to increase' is an Elizabethan idiom: 'And this quarrel grew on so far,' North's _Plutarch, Life of Coriolanus, ad fin._ See also O.E.D.

I should like in closing to express my indebtedness throughout to the _Oxford English Dictionary_, an invaluable help and safeguard to the editor of an English text, and also to Franz's admirable _Shakespeare-Grammatik_ (1909), which should be translated.

PAGE =133=, l. 58. To what is said in the note on the taking of yellow amber as a drug add: 'Divers men may walke by the Sea side, and the same beames of the Sunne giving light to them all, one gathereth by the benefit of that light pebles, or speckled shells, for curious vanitie, and another gathers precious Pearle, or medicinall Ambar, by the same light.' _Sermons_ 80. 36. 326.

PAGES =156-7=. _Seeke true religion, &c._ All this passage savours a little of Montaigne: 'Tout cela, c'est un signe tres-evident que nous ne recevons nostre religion qu'à nostre façon et par nos mains, et non autrement que comme les autres religions se reçoyvent. Nous nous sommes rencontrez au païs où elle estoit en usage; ou nous regardons son ancienneté ou l'authorité des hommes qui l'ont maintenue; ou creignons les menaces qu'ell' attache aux mescreans, ou suyvons ses promesses. Ces considerations là doivent estre employées à nostre creance, mais comme subsidiaires: ce sont liaisons humaines. Une autre region, d'autres tesmoings, pareilles promesses et menasses nous pourroyent imprimer par mesme voye une croyance contraire. Nous sommes chrestiens à mesme titre que nous sommes ou perigordins ou alemans.' _Essais_ (1580), II. 12. _Apologie de Raimond Sebond_.

PAGE =220=, l. 46. Compare: 'One of the most convenient Hieroglyphicks of God, is a Circle; and a Circle is endlesse; whom God loves, hee loves to the end ... His hailestones and his thunderbolts, and his showres of blood (emblemes and instruments of his Judgements) fall downe in a direct line, and affect or strike some one person, or place: His Sun, and Moone, and Starres (Emblemes and Instruments of his Blessings) move circularly, and communicate themselves to all. His Church is his chariot; in that he moves more gloriously, then in the Sun; as much more, as his begotten Son exceeds his created Sun, and his Son of glory, and of his right hand, the Sun of the firmament; and this Church, his chariot, moves in that communicable motion, circularly; It began in the East, it came to us, and is passing now, shining out now, in the farthest West.' _Sermons_ 80. 2. 13-4.

l. 47. _Religious tipes_, is the reading of _1633_. The comma has been accidentally dropped. There is no comma in _1635-69_, which print 'types'.

PAGE =241=, ll. 343-4. _As a compassionate Turcoyse, &c._ Compare:

And therefore Cynthia, as a turquoise bought,
Or stol'n, or found, is virtueless, and nought,
It must be freely given by a friend,
Whose love and bounty doth such virtue lend,
As makes it to compassionate, and tell
By looking pale, the wearer is not well.
Sir Francis Kynaston, _To Cynthia_.
Saintsbury, _Caroline Poets_, ii. 161.

PAGE =251=, ll. 9-18. The source of this simile is probably Lucretius, _De Rerum Natura_, III. 642-56.

Falciferos memorant currus abscidere membra
Saepe ita de subito permixta caede calentis,
Ut tremere in terra videatur ab artubus id quod
Decidit abscisum, cum mens tamen atque hominis vis
Mobilitate mali non quit sentire dolorem;
Et semel in pugnae studio quod dedita mens est,
Corpore reliquo pugnam caedesque petessit,
Nec tenet amissam laevam cum tegmine saepe
Inter equos abstraxe rotas falcesque rapaces,
Nec cecidisse alius dextram, cum scandit et instat.
Inde alius conatur adempto surgere crure,
Cum digitos agitat propter moribundus humi pes.
Et caput abscisum calido viventeque trunco
Servat humi voltum vitalem oculosque patentis,
Donec reliquias animai reddidit omnes.

PAGE =259=, ll. 275-6. _so that there is
(For aught thou know'st) piercing of substances._

'Piercing of substances,' the actual penetration of one substance by another, was the Stoic as opposed to the Aristotelian doctrine of mixture of substance ([Greek: krasis]), what is now called chemical combination. The Peripatetics held that, while the qualities of the two bodies combined to produce a new quality, the substances remained in juxtaposition. Plotinus devotes the seventh book of the _Enneades_ to the subject; and one of the arguments of the Stoics which he cites resembles Donne's problem: 'Sweat comes out of the human body without dividing it and without the body being pierced with holes.' The pores were apparently unknown. See Bouillet's _Enneades de Plotin_, I. 243 f. and 488-9, for references.

PAGE =368=. HYMNE TO GOD MY GOD, IN MY SICKNESSE.

Professor Moore Smith has at the last moment reminded me of a fact, the significance of which should have been discussed in the note on the _Divine Poems_, that a copy of this poem found (Gosse, _Life &c._ ii. 279) among the papers of Sir Julius Caesar bears the statement that the verses were written in Donne's 'great sickness in December 1623'. Professor Moore Smith is of opinion that Sir Julius Caesar may have been right and Walton mistaken, and there is a good deal to be said for this view. 'It seems', he says, 'more likely that Walton should have attributed the poem wrongly to Donne's last illness, than that the MS. copy should antedate it by seven years.' In 1640 Walton simply referred it to his deathbed; the precise date was given in 1658. Moreover the date 1623 seems to Professor Moore Smith confirmed by a letter to Sir Robert Ker (later Lord Ancrum) in 1624 (Gosse, _Life &c._ ii. 191), in which Donne writes, 'If a flat map be but pasted upon a round globe the farthest east and the farthest west meet and are all one.'

On the other hand, Walton's final date is very precise, and was probably given to him by King. If the poem was written at the same time as that 'to God the Father', why did it not pass into wider circulation? Stowe MS. 961 is the only collection in which I have found it. The use of the simile in the letter to Ker is not so conclusive as it seems. In that same letter Donne says, 'Sir, I took up this paper to write a letter; but my imagination was full of a sermon before, for I write but a few hours before I am to preach.' Now I have in my note cited this simile from an undated sermon on one of the Penitentiary Psalms. This, not the poem, may have been the occasion of its repetition in this letter. Donne is very prone to repeat a favourite figure--inundation, the king's stamped face &c. It is quite likely that the poem was the last, not the first, occasion on which he used the flat map. Note that the other chief figure in the poem, the straits which lead to the Pacific Sea, was used in a sermon (see note) dated February 12, 1629.

The figure of the flat map is not used, as one might expect, in the section of the _Devotions_ headed _The Patient takes his bed_, but the last line of the poem is recalled by some words there: 'and therefore am I _cast downe_, that I might not be _cast away_.'

Walton's dates are often inaccurate, but here the balance of the evidence seems to me in his favour. As Mr. Gosse says, Sir Julius Caesar may have confounded this hymn with 'Wilt thou forgive'. In re-reading the _Devotions_ with Professor Moore Smith's statement in view I have come on two other points of interest. Donne's views on the immortality of the soul (see II. pp. 160-2) are very clearly stated: 'That light, which is the very emanation of the light of God ... only that bends not to this _Center_, to _Ruine_; that which was not made of _Nothing_, is not thretned with this annihilation. All other things are; even _Angels_, even our _soules_; they move upon the same _Poles_, they bend to the same _Center_; and if they were not made immortall by _preservation_, their _Nature_ could not keep them from sinking to this _center_, _Annihilation_' (pp. 216-17).

The difficult line in the sonnet _Resurrection_ (p. 321, l. 8) is perhaps illuminated by pp. 206-8, where Donne speaks of 'thy first booke, the booke of _life_', 'thy second book, the booke of Nature,' and closes a further list with 'to those, _the booke with seven seals_, which only _the Lamb which was slain, was found worthy to open_; which, I hope, it shal not disagree with the measure of thy blessed _spirit_, to interpret, the _promulgation of their pardon, and righteousnes, who are washed in the blood of the Lamb_'. This is possibly the 'little booke' of the sonnet, perhaps changed by Donne to 'life-book' to simplify the reference. But the two are not the same.

ADDENDUM.

Vol. I, p. 368, l. 6. Whilst my Physitions by their love are growne Cosmographers ... Sir Julius Caesar's MS. (Addl. MS. 34324) has _Loer_, scil. _Lore_. This is probably the true reading.

ERRATUM.

=P. 274=, l. 28. _for_ figure-inundation _read_ figure--inundation

INDEX OF FIRST LINES.

(VOL. II.)

PAGE

A learned Bishop of this Land 53
Amongst the Poets Dacus numbered is 101
An ill year of a Goodyere us bereft 145
As in tymes past the rusticke shepheards sceant 171

Esteemed knight take triumph over death 145

Goe catch a star that's falling from the sky 12

Henrie the greate, greate both in peace and war 261
How often hath my pen (mine hearts Solicitor) 103

Loe her's a man worthy indeede to travell 129

No want of duty did my mind possess 7

Stay, view this Stone, and if thou beest not such 213

This Lifes a play groaned out by natures Arte 268
Thou send'st me prose and rimes, I send for those 160
Though Ister have put down the Rhene 261
'Tis not a coate of gray or Shepheardes Life 141
Titus the brave and valorous young gallant 101

Whoso termes love a fire, may like a poet 52
Wotton the country and the country swaine 141

* * * * *

Oxford: Horace Hart, M.A., Printer to the University

* * * * *

Transcriber's note:

Although Scotland had accepted the Gregorian calendar in 1600,
until 1752, England still followed the Julian calendar (after
Julius Caesar, 44 B.C.), and celebrated New Year's Day on March
25th (Annunciation Day). Most Catholic countries accepted the
Gregorian calendar (after Pope Gregory XIII) from some time
after 1582 (the Catholic countries of France, Spain, Portugal,
and Italy in 1582, Belgium, the Netherlands, and Switzerland
within a year or two, Hungary in 1587, and Scotland in 1600),
and celebrated New Year's Day on January 1st. England finally
changed to the Gregorian calendar in 1752.

This is the reason for the double dates in the early months of
the years in some parts of this book. e.g., there is a
statement, on page 134, that "He died February 7, 1627/8. (i.e.
1627 in England; 1628 in Scotland). Only after March 25th
(Julian New Years Day) was the year the same in the two
countries. The Julian calendar was known as 'Old Style', and
the Gregorian calendar as 'New Style' (N.S.).

Page lxiv, Footnote 9: 'Garrard att his quarters in ??'
Perhaps ϑermyte with U+03D1 GREEK THETA SYMBOL: thermyte ?
perhaps meaning "(at the sign of) The Hermit"?
(The printer, rightly or wrongly, seems to have used a
'theta' at the beginning of the word).

Page lxv, a facsimile of a Title Page, split a cross-page
paragraph. One sentence was on page lxiv; the rest of the
paragraph was on page lxvi. In the interest of a link to the
page, it seemed beneficial to leave the paragraph as it was
split.

Page lxv: 'VVith' is as printed.

Page lxxxvi: 'Lo:' retained, although 'Ld.' is printed above.
From the context, 'Lo:' may not be a typo, as this form occurs
elsewhere.

"and the _Obsequies to the Lo: Harrington_."

Page cxvi, footnote 39 (cont.: '17-8.' corrected to '17-18.'.

"_To Sr Henry Wotton_, p. 180, ll. 17-18."

Page cxxx: 'p. 406' corrected to 'p. 412'

"'Dear Love, continue nice and chaste' (p. 412)"

Pages cxxxi-cxxxii: missing word at page-turn? 'and' added in
brackets.

"And as one is ascribed to Roe on indisputable (and) three on
very strong evidence,..."

Page 23: 'll. 140-6' corrected to 'll. 440-6'

"_The Second Anniversary_, ll. 440-6 (p. 264)"

Page 34: 'coporales' corrected to 'corporales'.

"'quanto subtilius huiusmodi immutationes occultas corporales
perpendunt.'"

Page 84: 'p. 308, ll. 27-8' corrected to p. 308, ll. 317-8

"in the _Progresse of the Soule_, p. 308, ll. 317-8:"

Page 187: (See Pearsall Smith, _Life and Letters of Sir Henry
Wotton_ (1907). is as printed.

Page 214: p. 416 corrected to p. 422.

"For the relation of this _Elegie_ to that beginning 'Death,
be not proud' (p. 422) see _Text and Canon, &c._, p. cxliii."

Page 213: 'p. 404' corrected to p. 410'

"('Shall I goe force an Elegie,' p. 410)"

Pages 235, 263: The inscriptions have a character which
looks like a reversed capital C, but which is actually a
ROMAN NUMERAL REVERSED ONE HUNDRED Ↄ (U+2183 or &#8579;).

On Page 235, the date of Anne (More) Donne's death is given as
CIↃ. DC. XVII.
i.e. hundreds, ten, (1000) plus 600 plus 17, or the year 1617,
which is correct.

On Page 263, the date given is CIↃ. IↃC. XXIII.

CIↃ = 1000;
IↃC =500+100 (600),
XXIII = 23, so the date is 1623.

(Reference for page 263: [http:// hypotheses.org/17871] ... 'Le
latin de Locke ... Goudae apud Justum Ab Hoeve

CIↃ IↃC LXXXIX ...
CIↃ = 1000
IↃC se décompose en IↃ = 500 + C = 100 soit 600
LXXXIX = 89
La date correspondante est 1689*.

* 2011 serait CIↃ CIↃ XI '.)

(So 2015 would be CIↃ CIↃ XV ').

Page 251: _S69_ corrected to _S96_

"_S96_ and _O'F_ differ from the third group...."

Page 275: Erratum, p. 274.... This has been corrected.