express. But if I knew, I should have mended myself; but as I never desired the title so have I neglected the means to come by it; only, overmastered by some thoughts, I yielded an inky tribute unto them. Marry, they that delight in poesy itself, should seek to know what they do, and how they do, especially look themselves in an unflattering glass of reason, if they be inclinable unto it. For poesy must not be drawn by the ears, it must be gently led, or rather it must lead; which was partly the cause that made the ancient learned affirm it was a divine, and no human skill, since all other knowledges lie ready for any that have strength of wit; a poet no industry can make, if his own genius be not carried into it. And therefore is an old proverb, "Orator fit, poeta nascitur." {79} Yet confess I always, that as the fertilest ground must be manured, so must the highest flying wit have a Daedalus to guide him. That Daedalus, they say, both in this and in other, hath three wings to bear itself up into the air of due commendation; that is art, imitation, and exercise. But these, neither artificial rules, nor imitative patterns, we much cumber ourselves withal. Exercise, indeed, A DEFENCE OF POESIE AND POEMS we do, but that very forebackwardly; for where we should exercise to know, we exercise as having known; and so is our brain delivered of much matter which never was begotten by knowledge. For there being two principal parts, matter to be expressed by words, and words to express the matter, in neither we use art or imitation rightly. Our matter is "quodlibet," {80} indeed, although wrongly, performing Ovid's verse, "Quicquid conabor dicere, versus erit;" {81} never marshalling it into any assured rank, that almost the readers cannot tell where to find themselves. Chaucer, undoubtedly, did excellently in his Troilus and Cressida; of whom, truly, I know not whether to marvel more, either that he in that misty time could see so clearly, or that we in this clear age go so stumblingly after him. Yet had he great wants, fit to be forgiven in so reverend antiquity. I account the Mirror of Magistrates meetly furnished of beautiful parts. And in the Earl of Surrey's Lyrics, many things tasting of a noble birth, and worthy of a noble mind. The "Shepherds' Kalendar" hath much poesy in his eclogues, indeed, worthy the reading, if I be not deceived. That same framing of his {82} style to an old rustic language, I dare not allow; since neither Theocritus in Greek, Virgil in Latin, nor Sannazaro in Italian, did affect it. Besides these, I do not remember to have seen but few (to speak boldly) printed that have poetical sinews in them. For proof whereof, let but most of the verses be put in prose, and then ask the meaning, and it will be found that one verse did but beget another, without ordering at the first what should be at the last; which becomes a confused mass of words, with a tinkling sound of rhyme, barely accompanied with reason. Our {83} tragedies and comedies, not without cause, are cried out against, observing rules neither of honest civility nor skilful poetry. Excepting Gorboduc (again I say of those that I have seen), which notwithstanding, as it is full of stately speeches, and well- sounding phrases, climbing to the height of Seneca his style, and as full of notable morality, which it does most delightfully teach, and so obtain the very end of poesy; yet, in truth, it is very defectuous in the circumstances, which grieves me, because it might not remain as an exact model of all tragedies. For it is faulty both in place and time, the two necessary companions of all A DEFENCE OF POESIE AND POEMS corporal actions. For where the stage should always represent but one place; and the uttermost time presupposed in it should be, both by Aristotle's precept, and common reason, but one day; there is both many days and many places inartificially imagined. But if it be so in Gorboduc, how much more in all the rest? where you shall have Asia of the one side, and Afric of the other, and so many other under kingdoms, that the player, when he comes in, must ever begin with telling where he is, {84} or else the tale will not be conceived. Now shall you have three ladies walk to gather flowers, and then we must believe the stage to be a garden. By and by, we hear news of shipwreck in the same place, then we are to blame if we accept it not for a rock. Upon the back of that comes out a hideous monster with fire and smoke, and then the miserable beholders are bound to take it for a cave; while, in the meantime, two armies fly in, represented with four swords and bucklers, and then, what hard heart will not receive it for a pitched field? Now of time they are much more liberal; for ordinary it is, that two young princes fall in love; after many traverses she is got with child; delivered of a fair boy; he is lost, groweth a man, falleth in love, and is ready to get another child; and all this in two hours' space; which, how absurd it is in sense, even sense may imagine; and art hath taught and all ancient examples justified, and at this day the ordinary players in Italy will not err in. Yet will some bring in an example of the Eunuch in Terence, that containeth matter of two days, yet far short of twenty years. True it is, and so was it to be played in two days, and so fitted to the time it set forth. And though Plautus have in one place done amiss, let us hit it with him, and not miss with him. But they will say, How then shall we set forth a story which contains both many places and many times? And do they not know, that a tragedy is tied to the laws of poesy, and not of history; not bound to follow the story, but having liberty either to feign a quite new matter, or to frame the history to the most tragical convenience? Again, many things may be told, which cannot be showed: if they know the difference betwixt reporting and representing. As for example, I may speak, though I am here, of Peru, and in speech digress from that to the description of Calicut; but in action I cannot represent it without Pacolet's A DEFENCE OF POESIE AND POEMS horse. And so was the manner the ancients took by some "Nuntius," {85} to recount things done in former time, or other place. Lastly, if they will represent an history, they must not, as Horace saith, begin "ab ovo," {86} but they must come to the principal point of that one action which they will represent. By example this will be best expressed; I have a story of young Polydorus, delivered, for safety's sake, with great riches, by his father Priamus to Polymnestor, King of Thrace, in the Trojan war time. He, after some years, hearing of the overthrow of Priamus, for to make the treasure his own, murdereth the child; the body of the child is taken up; Hecuba, she, the same day, findeth a sleight to be revenged most cruelly of the tyrant. Where, now, would one of our tragedy-writers begin, but with the delivery of the child? Then should he sail over into Thrace, and so spend I know not how many years, and travel numbers of places. But where doth Euripides? Even with the finding of the body; leaving the rest to be told by the spirit of Polydorus. This needs no farther to be enlarged; the dullest wit may conceive it. But, besides these gross absurdities, how all their plays be neither right tragedies nor right comedies, mingling kings and clowns, not because the matter so carrieth it, but thrust in the clown by head and shoulders to play a part in majestical matters, with neither decency nor discretion; so as neither the admiration and commiseration, nor the right sportfulness, is by their mongrel tragi-comedy obtained. I know Apuleius did somewhat so, but that is a thing recounted with space of time, not represented in one moment: and I know the ancients have one or two examples of tragi- comedies as Plautus hath Amphytrio. But, if we mark them well, we shall find, that they never, or very daintily, match horn-pipes and funerals. So falleth it out, that having indeed no right comedy in that comical part of our tragedy, we have nothing but scurrility, unworthy of any chaste ears; or some extreme show of doltishness, indeed fit to lift up a loud laughter, and nothing else; where the whole tract of a comedy should be full of delight; as the tragedy should be still maintained in a well-raised admiration. But our comedians think there is no delight without laughter, which is very wrong; for though laughter may come with delight, yet cometh it not A DEFENCE OF POESIE AND POEMS of delight, as though delight should be the cause of laughter; but well may one thing breed both together. Nay, in themselves, they have, as it were, a kind of contrariety. For delight we scarcely do, but in things that have a conveniency to ourselves, or to the general nature. Laughter almost ever cometh of things most disproportioned to ourselves and nature: delight hath a joy in it either permanent or present; laughter hath only a scornful tickling. For example: we are ravished with delight to see a fair woman, and yet are far from being moved to laughter; we laugh at deformed creatures, wherein certainly we cannot delight; we delight in good chances; we laugh at mischances; we delight to hear the happiness of our friends and country, at which he were worthy to be laughed at that would laugh: we shall, contrarily, sometimes laugh to find a matter quite mistaken, and go down the hill against the bias, {87} in the mouth of some such men, as for the respect of them, one shall be heartily sorrow he cannot choose but laugh, and so is rather pained than delighted with laughter. Yet deny I not, but that they may go well together; for, as in Alexander's picture well set out, we delight without laughter, and in twenty mad antics we laugh without delight: so in Hercules, painted with his great beard and furious countenance, in a woman's attire, spinning at Omphale's commandment, it breeds both delight and laughter; for the representing of so strange a power in love procures delight, and the scornfulness of the action stirreth laughter. But I speak to this purpose, that all the end of the comical part be not upon such scornful matters as stir laughter only, but mix with it that delightful teaching which is the end of poesy. And the great fault, even in that point of laughter, and forbidden plainly by Aristotle, is, that they stir laughter in sinful things, which are rather execrable than ridiculous; or in miserable, which are rather to be pitied than scorned. For what is it to make folks gape at a wretched beggar, and a beggarly clown; or against the law of hospitality, to jest at strangers, because they speak not English so well as we do? what do we learn, since it is certain, "Nil habet infelix pauperatas durius in se, Quam qnod ridiculos, homines facit." {88} But rather a busy loving courtier, and a heartless threatening Thraso; A DEFENCE OF POESIE AND POEMS a self-wise seeming school-master; a wry-transformed traveller: these, if we saw walk in stage names, which we play naturally, therein were delightful laughter, and teaching delightfulness: as in the other, the tragedies of Buchanan {89} do justly bring forth a divine admiration. But I have lavished out too many words of this play matter; I do it, because, as they are excelling parts of poesy, so is there none so much used in England, and none can be more pitifully abused; which, like an unmannerly daughter, showing a bad education, causeth her mother Poesy's honesty to be called in question. Other {90} sorts of poetry, almost, have we none, but that lyrical kind of songs and sonnets, which, if the Lord gave us so good minds, how well it might be employed, and with how heavenly fruits, both private and public, in singing the praises of the immortal beauty, the immortal goodness of that God, who giveth us hands to write, and wits to conceive; of which we might well want words, but never matter; of which we could turn our eyes to nothing, but we should ever have new budding occasions. But, truly, many of such writings as come under the banner of unresistible love, if I were a mistress, would never persuade me they were in love; so coldly they apply fiery speeches, as men that had rather read lover's writings, and so caught up certain swelling phrases, which hang together like a man that once told me, "the wind was at north-west and by south," because he would be sure to name winds enough; than that, in truth, they feel those passions, which easily, as I think, may be bewrayed by the same forcibleness, or "energia" (as the Greeks call it), of the writer. But let this be a sufficient, though short note, that we miss the right use of the material point of poesy. Now {91} for the outside of it, which is words, or (as I may term it) diction, it is even well worse; so is that honey-flowing matron eloquence, apparelled, or rather disguised, in a courtesan-like painted affectation. One time with so far-fetched words, that many seem monsters, but most seem strangers to any poor Englishman: another time with coursing of a letter, as if they were bound to follow the method of a dictionary: another time with figures and flowers, extremely winter-starved. But I would this fault were only peculiar to versifiers, and had not as A DEFENCE OF POESIE AND POEMS large possession among prose printers: and, which is to be marvelled, among many scholars, and, which is to be pitied, among some preachers. Truly, I could wish (if at least I might be so bold to wish, in a thing beyond the reach of my capacity) the diligent imitators of Tully and Demosthenes, most worthy to be imitated, did not so much keep Nizolian paper-books {92} of their figures and phrases, as by attentive translation, as it were, devour them whole, and make them wholly theirs. For now they cast sugar and spice upon every dish that is served at the table: like those Indians, not content to wear ear-rings at the fit and natural place of the ears, but they will thrust jewels through their nose and lips, because they will be sure to be fine. Tully, when he was to drive out Catiline, as it were with a thunderbolt of eloquence, often useth the figure of repetition, as "vivit et vincit, imo in senatum venit, imo in senatum venit," &c. {93} Indeed, inflamed with a well-grounded rage, he would have his words, as it were, double out of his mouth; and so do that artificially which we see men in choler do naturally. And we, having noted the grace of those words, hale them in sometimes to a familiar epistle, when it were too much choler to be choleric. How well, store of "similiter cadences" doth sound with the gravity of the pulpit, I would but invoke Demosthenes' soul to tell, who with a rare daintiness useth them. Truly, they have made me think of the sophister, that with too much subtlety would prove two eggs three, and though he may be counted a sophister, had none for his labour. So these men bringing in such a kind of eloquence, well may they obtain an opinion of a seeming fineness, but persuade few, which should be the end of their fineness. Now for similitudes in certain printed discourses, I think all herbalists, all stories of beasts, fowls, and fishes are rifled up, that they may come in multitudes to wait upon any of our conceits, which certainly is as absurd a surfeit to the ears as is possible. For the force of a similitude not being to prove anything to a contrary disputer, but only to explain to a willing hearer: when that is done, the rest is a most tedious prattling, rather overswaying the memory from the purpose whereto they were applied, than any whit informing the judgment, already either satisfied, or by A DEFENCE OF POESIE AND POEMS similitudes not to be satisfied. For my part, I do not doubt, when Antonius and Crassus, the great forefathers of Cicero in eloquence; the one (as Cicero testifieth of them) pretended not to know art, the other not to set by it, because with a plain sensibleness they might win credit of popular ears, which credit is the nearest step to persuasion (which persuasion is the chief mark of oratory); I do not doubt, I say, but that they used these knacks very sparingly; which who doth generally use, any man may see, doth dance to his own music; and so to he noted by the audience, more careful to speak curiously than truly. Undoubtedly (at least to my opinion undoubtedly) I have found in divers small- learned courtiers a more sound style than in some professors of learning; of which I can guess no other cause, but that the courtier following that which by practice he findeth fittest to nature, therein (though he know it not) doth according to art, though not by art: where the other, using art to show art, and not hide art (as in these cases he should do), flieth from nature, and indeed abuseth art. But what! methinks I deserve to be pounded {94} for straying from poetry to oratory: but both have such an affinity in the wordish considerations, that I think this digression will make my meaning receive the fuller understanding: which is not to take upon me to teach poets how they should do, but only finding myself sick among the rest, to allow sonic one or two spots of the common infection grown among the most part of writers; that, acknowledging ourselves somewhat awry, we may bend to the right use both of matter and manner: whereto our language giveth us great occasion, being, indeed, capable of any excellent exercising of it. {95} I know some will say, it is a mingled language: and why not so much the better, taking the best of both the other? Another will say, it wanteth grammar. Nay, truly, it hath that praise, that it wants not grammar; for grammar it might have, but needs it not; being so easy in itself, and so void of those cumbersome differences of cases, genders, moods, and tenses; which, I think, was a piece of the tower of Babylon's curse, that a man should be put to school to learn his mother tongue. But for the uttering sweetly and properly the conceit of the mind, which is the end of speech, that hath it equally with any other tongue in A DEFENCE OF POESIE AND POEMS the world, and is particularly happy in compositions of two or three words together, near the Greek, far beyond the Latin; which is one of the greatest beauties can be in a language. Now, {96} of versifying there are two sorts, the one ancient, the other modern; the ancient marked the quantity of each syllable, and according to that framed his verse; the modern, observing only number, with some regard of the accent, the chief life of it standeth in that like sounding of the words, which we call rhyme. Whether of these be the more excellent, would bear many speeches; the ancient, no doubt more fit for music, both words and time observing quantity; and more fit lively to express divers passions, by the low or lofty sound of the well-weighed syllable. The latter, likewise, with his rhyme striketh a certain music to the ear; and, in fine, since it doth delight, though by another way, it obtaineth the same purpose; there being in either, sweetness, and wanting in neither, majesty. Truly the English, before any vulgar language I know, is fit for both sorts; for, for the ancient, the Italian is so full of vowels, that it must ever be cumbered with elisions. The Dutch so, of the other side, with consonants, that they cannot yield the sweet sliding fit for a verse. The French, in his whole language, hath not one word that hath his accent in the last syllable, saving two, called antepenultima; and little more, hath the Spanish, and therefore very gracelessly may they use dactiles. The English is subject to none of these defects. Now for rhyme, though we do not observe quantity, we observe the accent very precisely, which other languages either cannot do, or will not do so absolutely. That "caesura," or breathing-place, in the midst of the verse, neither Italian nor Spanish have, the French and we never almost fail of. Lastly, even the very rhyme itself the Italian cannot put in the last syllable, by the French named the masculine rhyme, but still in the next to the last, which the French call the female; or the next before that, which the Italian calls "sdrucciola:" the example of the former is, "buono," "suono;" of the sdrucciola is, "femina," "semina." The French, of the other side, hath both the male, as "bon," "son," and the female, as "plaise," "taise;" but the "sdrucciola" he hath not; where the English hath all three, as "due," "true," "father," "rather," "motion," "potion;" with much more A DEFENCE OF POESIE AND POEMS which might be said, but that already I find the trifling of this discourse is much too much enlarged. So {97} that since the ever praiseworthy poesy is full of virtue, breeding delightfulness, and void of no gift that ought to be in the noble name of learning; since the blames laid against it are either false or feeble; since the cause why it is not esteemed in England is the fault of poet-apes, not poets; since, lastly, our tongue is most fit to honour poesy, and to be honoured by poesy; I conjure you all that have had the evil luck to read this ink-wasting toy of mine, even in the name of the Nine Muses, no more to scorn the sacred mysteries of poesy; no more to laugh at the name of poets, as though they were next inheritors to fools; no more to jest at the reverend title of "a rhymer;" but to believe, with Aristotle, that they were the ancient treasurers of the Grecian's divinity; to believe, with Bembus, that they were the first bringers in of all civility; to believe, with Scaliger, that no philosopher's precepts can sooner make you an honest man, than the reading of Virgil; to believe, with Clauserus, the translator of Cornutus, that it pleased the heavenly deity by Hesiod and Homer, under the veil of fables, to give us all knowledge, logic, rhetoric, philosophy natural and moral, and "quid non?" to believe, with me, that there are many mysteries contained in poetry, which of purpose were written darkly, lest by profane wits it should be abused; to believe, with Landin, that they are so beloved of the gods that whatsoever they write proceeds of a divine fury. Lastly, to believe themselves, when they tell you they will make you immortal by their verses. Thus doing, your names shall flourish in the printers' shops: thus doing, you shall be of kin to many a poetical preface: thus doing, you shall be most fair, most rich, most wise, most all: you shall dwell upon superlatives: thus doing, though you be "Libertino patre natus," you shall suddenly grow "Herculea proles," "Si quid mea Carmina possunt:" thus doing, your soul shall be placed with Dante's Beatrix, or Virgil's Anchisis. But if (fie of such a but!) you be born so near the dull-making cataract of Nilus, that you cannot hear the planet-like music of poetry; if you have A DEFENCE OF POESIE AND POEMS so earth-creeping a mind, that it cannot lift itself up to look to the sky of poetry, or rather, by a certain rustical disdain, will become such a Mome, as to be a Momus of poetry; then, though I will not wish unto you the ass's ears of Midas, nor to be driven by a poet's verses, as Bubonax was, to hang himself; nor to be rhymed to death, as is said to be done in Ireland; yet thus much curse I must send you in the behalf of all poets; that while you live, you live in love, and never get favour, for lacking skill of a sonnet; and when you die, your memory die from the earth for want of an epitaph. A DEFENCE OF POESIE AND POEMS POEMS POEM: TWO PASTORALS Made by Sir Philip Sidney, upon his meeting with his two worthy friends and fellow poets, Sir Edward Dyer and M. Fulke Greville. Join mates in mirth to me, Grant pleasure to our meeting; Let Pan, our good god, see How grateful is our greeting. Join hearts and hands, so let it be, Make but one mind in bodies three. Ye hymns and singing skill Of god Apollo's giving, Be pressed our reeds to fill With sound of music living. Join hearts and hands, so let it be, Make but one mind in bodies three. Sweet Orpheus' harp, whose sound The stedfast mountains moved, Let there thy skill abound, To join sweet friends beloved. Join hearts and hands, so let it be, Make but one mind in bodies three. My two and I be met, A happy blessed trinity, As three more jointly set In firmest band of unity. Join hearts and hands, so let it be, Make but one mind in bodies three. Welcome my two to me, The number best beloved, Within my heart you be In friendship unremoved. Join hearts and hands, so let it be, Make but one mind in bodies three. Give leave your flocks to range, Let us the while be playing; Within the elmy grange, Your flocks will not be straying. Join hearts and hands, so let it be, Make but one mind in bodies three. Cause all the mirth you can, Since I am now come hither, Who never joy, but when I am with you together. Join hearts and hands, so let it be, Make but one mind in bodies three. Like lovers do their love, So joy I in you seeing: Let nothing me remove From always with you being. Join hearts and hands, so let it be, Make but one mind in bodies three. And as the turtle dove To mate with whom he liveth, Such comfort A DEFENCE OF POESIE AND POEMS fervent love Of you to my heart giveth. Join hearts and hands, so let it be, Make but one mind in bodies three. Now joined be our hands, Let them be ne'er asunder, But link'd in binding bands By metamorphosed wonder. So should our severed bodies three As one for ever joined be. POEM: DISPRAISE OF A COURTLY LIFE Walking in bright Phoebus' blaze, Where with heat oppressed I was, I got to a shady wood, Where green leaves did newly bud; And of grass was plenty dwelling, Decked with pied flowers sweetly smelling. In this wood a man I met, On lamenting wholly set; Ruing change of wonted state, Whence he was transformed late, Once to shepherds' God retaining, Now in servile court remaining. There he wand'ring malecontent, Up and down perplexed went, Daring not to tell to me, Spake unto a senseless tree, One among the rest electing, These same words, or this affecting: "My old mates I grieve to see Void of me in field to be, Where we once our lovely sheep Lovingly like friends did keep; Oft each other's friendship proving, Never striving, but in loving. "But may love abiding be In poor shepherds' base degree? It belongs to such alone To whom art of love is known: Seely shepherds are not witting What in art of love is fitting. "Nay, what need the art to those To whom we our love disclose? It is to be used then, When we do but flatter men: Friendship true, in heart assured, Is by Nature's gifts procured. "Therefore shepherds, wanting skill, Can Love's duties best fulfil; Since they know not how to feign, Nor with love to cloak disdain, Like the wiser sort, whose learning Hides their inward will of harming. "Well was I, while under shade Oaten reeds me music made, Striving with my mates in song; Mixing mirth our songs among. Greater was the shepherd's treasure Than this false, fine, courtly pleasure. "Where how many creatures be, So many puffed in mind I see; Like to A DEFENCE OF POESIE AND POEMS Juno's birds of pride, Scarce each other can abide: Friends like to black swans appearing, Sooner these than those in hearing. "Therefore, Pan, if thou may'st be Made to listen unto me, Grant, I say, if seely man May make treaty to god Pan, That I, without thy denying, May be still to thee relying. "Only for my two loves' sake, In whose love I pleasure take; Only two do me delight With their ever-pleasing sight; Of all men to thee retaining, Grant me with those two remaining. "So shall I to thee always With my reeds sound mighty praise: And first lamb that shall befall, Yearly deck thine altar shall, If it please thee to be reflected, And I from thee not rejected." So I left him in that place, Taking pity on his case; Learning this among the rest, That the mean estate is best; Better filled with contenting, Void of wishing and repenting. POEM: DIRGE Ring out your bells, let mourning shows be spread, For Love is dead: All Love is dead, infected With plague of deep disdain: Worth, as nought worth, rejected, And faith fair scorn doth gain. From so ungrateful fancy; From such a female frenzy; From them that use men thus, Good Lord, deliver us. Weep, neighbours, weep, do you not hear it said That Love is dead: His death-bed, peacock's folly: His winding-sheet is shame; His will, false-seeming holy, His sole executor, blame. From so ungrateful fancy; From such a female frenzy; From them that use men thus, Good Lord, deliver us. Let dirge be sung, and trentals rightly read, For Love is dead: Sir Wrong his tomb ordaineth My mistress' marble heart; Which epitaph containeth, "Her eyes were once his dart." From so ungrateful fancy; From such a female frenzy; From them that use men thus, Good Lord, deliver us. Alas! I lie: rage hath this error bred; Love is not dead, Love is not A DEFENCE OF POESIE AND POEMS dead, but sleepeth In her unmatched mind: Where she his counsel keepeth Till due deserts she find. Therefore from so vile fancy, To call such wit a frenzy: Who Love can temper thus, Good Lord, deliver us. POEM: STANZAS TO LOVE Ah, poor Love, why dost thou live, Thus to see thy service lost; If she will no comfort give, Make an end, yield up the ghost! That she may, at length, approve That she hardly long believed, That the heart will die for love That is not in time relieved. Oh, that ever I was born Service so to be refused; Faithful love to be forborn! Never love was so abused. But, sweet Love, be still awhile; She that hurt thee, Love, may heal thee; Sweet! I see within her smile More than reason can reveal thee. For, though she be rich and fair, Yet she is both wise and kind, And, therefore, do thou not despair But thy faith may fancy find. Yet, although she be a queen That may such a snake despise, Yet, with silence all unseen, Run, and hide thee in her eyes: Where if she will let thee die, Yet at latest gasp of breath, Say that in a lady's eye Love both took his life and death. POEM: A REMEDY FOR LOVE Philoclea and Pamela sweet, By chance, in one great house did meet; And meeting, did so join in heart, That th' one from th' other could not part: And who indeed (not made of stones) Would separate such lovely ones? The one is beautiful, and fair As orient pearls and rubies are; And sweet as, after gentle showers, The breath is of some thousand flowers: For due proportion, such an air Circles the other, and so fair, That it her brownness beautifies, And doth enchant the wisest eyes. Have you not seen, on some great day, Two goodly horses, white and A DEFENCE OF POESIE AND POEMS bay, Which were so beauteous in their pride, You knew not which to choose or ride? Such are these two; you scarce can tell, Which is the daintier bonny belle; And they are such, as, by my troth, I had been sick with love of both, And might have sadly said, 'Good-night Discretion and good fortune quite;' But that young Cupid, my old master, Presented me a sovereign plaster: Mopsa! ev'n Mopsa! (precious pet) Whose lips of marble, teeth of jet, Are spells and charms of strong defence, To conjure down concupiscence. How oft have I been reft of sense, By gazing on their excellence, But meeting Mopsa in my way, And looking on her face of clay, Been healed, and cured, and made as sound, As though I ne'er had had a wound? And when in tables of my heart, Love wrought such things as bred my smart, Mopsa would come, with face of clout, And in an instant wipe them out. And when their faces made me sick, Mopsa would come, with face of brick, A little heated in the fire, And break the neck of my desire. Now from their face I turn mine eyes, But (cruel panthers!) they surprise Me with their breath, that incense sweet, Which only for the gods is meet, And jointly from them doth respire, Like both the Indies set on fire: Which so o'ercomes man's ravished sense, That souls, to follow it, fly hence. No such-like smell you if you range To th' Stocks, or Cornhill's square Exchange; There stood I still as any stock, Till Mopsa, with her puddle dock, Her compound or electuary, Made of old ling and young canary, Bloat-herring, cheese, and voided physic, Being somewhat troubled with a phthisic, Did cough, and fetch a sigh so deep, As did her very bottom sweep: Whereby to all she did impart, How love lay rankling at her heart: Which, when I smelt, desire was slain, And they breathed forth perfumes in vain. Their angel voice surprised me now; But Mopsa, her Too-whit, Too-whoo, Descending through her oboe nose, Did that distemper soon compose. And, therefore, O thou precious owl, The wise Minerva's only fowl; What, at thy shrine, shall I devise To offer up a sacrifice? Hang AEsculapius, and Apollo, And Ovid, with his precious shallow. Mopsa is love's best medicine, True water to a lover's wine. Nay, she's the yellow antidote, Both bred and born to cut Love's throat: Be but my second, and A DEFENCE OF POESIE AND POEMS stand by, Mopsa, and I'll them both defy; And all else of those gallant races, Who wear infection in their faces; For thy face (that Medusa's shield!) Will bring me safe out of the field. POEM: VERSES To the tune of the Spanish song, "Si tu senora no ducles de mi." O fair! O sweet! when I do look on thee, In whom all joys so well agree, Heart and soul do sing in me. This you hear is not my tongue, Which once said what I conceived; For it was of use bereaved, With a cruel answer stung. No! though tongue to roof be cleaved, Fearing lest he chastised be, Heart and soul do sing in me. O fair! O sweet! when I do look on thee, In whom all joys so well agree, Just accord all music makes; In thee just accord excelleth, Where each part in such peace dwelleth, One of other beauty takes. Since then truth to all minds telleth, That in thee lives harmony, Heart and soul do sing in me. O fair! O sweet! when I do look on thee, In whom all joys so well agree, They that heaven have known do say, That whoso that grace obtaineth, To see what fair sight there reigneth, Forced are to sing alway: So then since that heaven remaineth In thy face, I plainly see, Heart and soul do sing in me. O fair! O sweet! when I do look on thee, In whom all joys so well agree, Sweet, think not I am at ease, For because my chief part singeth; This song from death's sorrow springeth: As to swan in last disease: For no dumbness, nor death, bringeth Stay to true love's melody: Heart and soul do sing in me. POEM: TRANSLATION From Horace, Book II. Ode X., beginning "Rectius vives, Licini," &c. A DEFENCE OF POESIE AND POEMS You better sure shall live, not evermore Trying high seas; nor, while sea's rage you flee, Pressing too much upon ill-harboured shore. The golden mean who loves, lives safely free From filth of foreworn house, and quiet lives, Released from court, where envy needs must be. The wind most oft the hugest pine tree grieves: The stately towers come down with greater fall: The highest hills the bolt of thunder cleaves. Evil haps do fill with hope, good haps appall With fear of change, the courage well prepared: Foul winters, as they come, away they shall. Though present times, and past, with evils be snared, They shall not last: with cithern silent Muse, Apollo wakes, and bow hath sometime spared. In hard estate, with stout shows, valour use, The same man still, in whom wisdom prevails; In too full wind draw in thy swelling sails. POEM: A SONNET BY SIR EDWARD DYER Prometheus, when first from heaven high He brought down fire, till then on earth not seen; Fond of delight, a satyr, standing by, Gave it a kiss, as it like sweet had been. Feeling forthwith the other burning power, Wood with the smart, with shouts and shrieking shrill, He sought his ease in river, field, and bower; But, for the time, his grief went with him still. So silly I, with that unwonted sight, In human shape an angel from above, Feeding mine eyes, th' impression there did light; That since I run and rest as pleaseth love: The difference is, the satyr's lips, my heart, He for a while, I evermore, have smart. POEM: SIR PHILIP SIDNEY'S SONNET IN REPLY A DEFENCE OF POESIE AND POEMS A satyr once did run away for dread, With sound of horn which he himself did blow: Fearing and feared, thus from himself he fled, Deeming strange evil in that he did not know. Such causeless fears when coward minds do take, It makes them fly that which they fain would have; As this poor beast, who did his rest forsake, Thinking not why, but how, himself to save. Ev'n thus might I, for doubts which I conceive Of mine own words, my own good hap betray; And thus might I, for fear of may be, leave The sweet pursuit of my desired prey. Better like I thy satyr, dearest Dyer, Who burnt his lips to kiss fair shining fire. POEM: MUST LOVE LAMENT? My mistress lowers, and saith I do not love: I do protest, and seek with service due, In humble mind, a constant faith to prove; But for all this, I cannot her remove From deep vain thought that I may not be true. If oaths might serve, ev'n by the Stygian lake, Which poets say the gods themselves do fear, I never did my vowed word forsake: For why should I, whom free choice slave doth make, Else-what in face, than in my fancy bear? My Muse, therefore, for only thou canst tell, Tell me the cause of this my causeless woe? Tell, how ill thought disgraced my doing well? Tell, how my joys and hopes thus foully fell To so low ebb that wonted were to flow? O this it is, the knotted straw is found; In tender hearts, small things engender hate: A horse's worth laid waste the Trojan ground; A three-foot stool in Greece made trumpets sound; An ass's shade e'er now hath bred debate. If Greeks themselves were moved with so small cause, To twist those broils, which hardly would untwine: Should ladies fair be tied to such hard laws, As in their moods to take a ling'ring pause? I would it not, their metal is too fine. My hand doth not bear witness with my heart, She saith, because I A DEFENCE OF POESIE AND POEMS make no woeful lays, To paint my living death and endless smart: And so, for one that felt god Cupid's dart, She thinks I lead and live too merry days. Are poets then the only lovers true, Whose hearts are set on measuring a verse? Who think themselves well blest, if they renew Some good old dump that Chaucer's mistress knew; And use but you for matters to rehearse. Then, good Apollo, do away thy bow: Take harp and sing in this our versing time, And in my brain some sacred humour flow, That all the earth my woes, sighs, tears may know; And see you not that I fall low to rhyme. As for my mirth, how could I but be glad, Whilst that methought I justly made my boast That only I the only mistress had? But now, if e'er my face with joy be clad, Think Hannibal did laugh when Carthage lost. Sweet lady, as for those whose sullen cheer, Compared to me, made me in lightness sound; Who, stoic-like, in cloudy hue appear; Who silence force to make their words more dear; Whose eyes seem chaste, because they look on ground: Believe them not, for physic true doth find, Choler adust is joyed in woman-kind. POEM: A DIALOGUE BETWEEN TWO SHEPHERDS Uttered in a Pastoral Show at Wilton. WILL. Dick, since we cannot dance, come, let a cheerful voice Show that we do not grudge at all when others do rejoice. DICK. Ah Will, though I grudge not, I count it feeble glee, With sight made dim with daily tears another's sport to see. Whoever lambkins saw, yet lambkins love to play, To play when that their loved dams are stolen or gone astray? If this in them be true, as true in men think I, A lustless song forsooth thinks he that hath more lust to cry. WILL. A time there is for all, my mother often says, When she, with A DEFENCE OF POESIE AND POEMS skirts tucked very high, with girls at football plays When thou hast mind to weep, seek out some smoky room: Now let those lightsome sights we see thy darkness overcome. DICK. What joy the joyful sun gives unto bleared eyes; That comfort in these sports you like, my mind his comfort tries. WILL. What? Is thy bagpipe broke, or are thy lambs miswent; Thy wallet or thy tar-box lost; or thy new raiment-rent? DICK. I would it were but thus, for thus it were too well. WILL. Thou see'st my ears do itch at it: good Dick thy sorrow tell. DICK. Hear then, and learn to sigh: a mistress I do serve, Whose wages make me beg the more, who feeds me till I starve; Whose livery is such, as most I freeze apparelled most, And looks so near unto my cure, that I must needs be lost. WILL. What? These are riddles sure: art thou then bound to her? DICK. Bound as I neither power have, nor would have power, to stir. WILL. Who bound thee? DICK. Love, my lord. WILL. What witnesses thereto? DICK. Faith in myself, and Worth in her, which no proof can undo. WILL. What seal? DICK. My heart deep graven. WILL. Who made the band so fast? DICK. Wonder that, by two so black eyes the glitt'ring stars be past. WILL. What keepeth safe thy band? DICK. Remembrance is the chest Lock'd fast with knowing that she is of worldly things the best. WILL. Thou late of wages plain'dst: what wages may'sh thou have? DICK. Her heavenly looks, which more and more do give me cause to crave. WILL. If wages make you want, what food is that she gives? DICK. Tear's drink, sorrow's meat, wherewith not I, but in me my death lives. WILL. What living get you then? A DEFENCE OF POESIE AND POEMS DICK. Disdain; but just disdain; So have I cause myself to plain, but no cause to complain. WILL. What care takes she for thee? DICK. Her care is to prevent My freedom, with show of her beams, with virtue, my content. WILL. God shield us from such dames! If so our dames be sped, The shepherds will grow lean I trow, their sheep will be ill-fed. But Dick, my counsel mark: run from the place of woo: The arrow being shot from far doth give the smaller blow. DICK. Good Will, I cannot take thy good advice; before That foxes leave to steal, they find they die therefore. WILL. Then, Dick, let us go hence lest we great folks annoy: For nothing can more tedious be than plaint in time of joy. DICK. Oh hence! O cruel word! which even dogs do hate: But hence, even hence, I must needs go; such is my dogged fate. POEM: SONG To the tune of "Wilhelmus van Nassau," &c. Who hath his fancy pleased, With fruits of happy sight, Let here his eyes be raised On Nature's sweetest light; A light which doth dissever, And yet unite the eyes; A light which, dying, never Is cause the looker dies. She never dies, but lasteth In life of lover's heart; He ever dies that wasteth In love his chiefest part. Thus is her life still guarded, In never dying faith; Thus is his death rewarded, Since she lives in his death. Look then and die, the pleasure Doth answer well the pain; Small loss of mortal treasure, Who may immortal gain. Immortal be her graces, Immortal is her mind; They, fit for heavenly places, This heaven in it doth bind. But eyes these beauties see not, Nor sense that grace descries; Yet eyes deprived be not From sight of her fair eyes: Which, as of inward glory They are the outward seal, So may they live still sorry, Which die not in that weal. A DEFENCE OF POESIE AND POEMS But who hath fancies pleased, With fruits of happy sight, Let here his eyes be raised On Nature's sweetest light. POEM: THE SMOKES OF MELANCHOLY I. Who hath e'er felt the change of love, And known those pangs that losers prove, May paint my face without seeing me, And write the state how my fancies be, The loathsome buds grown on Sorrow's tree. But who by hearsay speaks, and hath not fully felt What kind of fires they be in which those spirits melt, Shall guess, and fail, what doth displease, Feeling my pulse, miss my disease. II. O no! O no! trial only shows The bitter juice of forsaken woes; Where former bliss, present evils do stain; Nay, former bliss adds to present pain, While remembrance doth both states contain. Come, learners, then to me, the model of mishap, Ingulphed in despair, slid down from Fortune's lap; And, as you like my double lot, Tread in my steps, or follow not. III. For me, alas! I am full resolved Those bands, alas! shall not be dissolved; Nor break my word, though reward come late; Nor fail my faith in my failing fate; Nor change in change, though change change my state: But always own myself, with eagle-eyed Truth, to fly Up to the sun, although the sun my wings do fry; For if those flames burn my desire, Yet shall I die in Phoenix' fire. POEM: ODE When, to my deadly pleasure, When to my lively torment, Lady, mine eyes remained Joined, alas! to your beams. With violence of heavenly Beauty, tied to virtue; Reason abashed A DEFENCE OF POESIE AND POEMS retired; Gladly my senses yielded. Gladly my senses yielding, Thus to betray my heart's fort, Left me devoid of all life. They to the beamy suns went, Where, by the death of all deaths, Find to what harm they hastened. Like to the silly Sylvan, Burned by the light he best liked, When with a fire he first met. Yet, yet, a life to their death, Lady you have reserved; Lady the life of all love. For though my sense be from me, And I be dead, who want sense, Yet do we both live in you. Turned anew, by your means, Unto the flower that aye turns, As you, alas! my sun bends. Thus do I fall to rise thus; Thus do I die to live thus; Changed to a change, I change not. Thus may I not be from you; Thus be my senses on you; Thus what I think is of you; Thus what I seek is in you; All what I am, it is you. POEM: VERSES To the tune of a Neapolitan song, which beginneth, "No, no, no, no." No, no, no, no, I cannot hate my foe, Although with cruel fire, First thrown on my desire, She sacks my rendered sprite; For so fair a flame embraces All the places, Where that heat of all heats springeth, That it bringeth To my dying heart some pleasure, Since his treasure Burneth bright in fairest light. No, no, no, no. No, no, no, no, I cannot hate my foe, Although with cruel fire, First thrown on my desire, She sacks my rendered sprite; Since our lives be not immortal, But to mortal Fetters tied, do wait the hour Of death's power, They have no cause to be sorry Who with glory End the way, where all men stay. No, no, no, no. No, no, no, no, I cannot hate my foe, Although with cruel fire, First thrown on my desire, She sacks my rendered sprite; No man doubts, A DEFENCE OF POESIE AND POEMS whom beauty killeth, Fair death feeleth, And in whom fair death proceedeth, Glory breedeth: So that I, in her beams dying, Glory trying, Though in pain, cannot complain. No, no, no, no. POEM: SONG To the tune of a Neapolitan Villanel. All my sense thy sweetness gained; Thy fair hair my heart enchained; My poor reason thy words moved, So that thee, like heaven, I loved. Fa, la, la, leridan, dan, dan, dan, deridan: Dan, dan, dan, deridan, deridan, dei: While to my mind the outside stood, For messenger of inward good. Nor thy sweetness sour is deemed; Thy hair not worth a hair esteemed; Reason hath thy words removed, Finding that but words they proved. Fa, la, la, leridan, dan, dan, dan, deridan, Dan, dan, dan, deridan, deridan, dei: For no fair sign can credit win, If that the substance fail within. No more in thy sweetness glory, For thy knitting hair be sorry; Use thy words but to bewail thee That no more thy beams avail thee; Dan, dan, Dan, dan, Lay not thy colours more to view, Without the picture be found true. Woe to me, alas, she weepeth! Fool! in me what folly creepeth? Was I to blaspheme enraged, Where my soul I have engaged? Dan, dan, Dan, dan, And wretched I must yield to this; The fault I blame her chasteness is. Sweetness! sweetly pardon folly; Tie me, hair, your captive wholly: Words! O words of heavenly knowledge! Know, my words their faults acknowledge; Dan, dan, Dan, dan, And all my life I will confess, The less I love, I live the less. POEM: TRANSLATION A DEFENCE OF POESIE AND POEMS From "La Diana de Monte-Mayor," in Spanish: where Sireno, a shepherd, whose mistress Diana had utterly forsaken him, pulling out a little of her hair, wrapped about with green silk, to the hair he thus bewailed himself. What changes here, O hair, I see, since I saw you! How ill fits you this green to wear, For hope, the colour due! Indeed, I well did hope, Though hope were mixed with fear, No other shepherd should have scope Once to approach this hair. Ah hair! how many days My Dian made me show, With thousand pretty childish plays, If I ware you or no: Alas, how oft with tears, - O tears of guileful breast! - She seemed full of jealous fears, Whereat I did but jest. Tell me, O hair of gold, If I then faulty be, That trust those killing eyes I would, Since they did warrant me? Have you not seen her mood, What streams of tears she spent, 'Till that I sware my faith so stood, As her words had it bent? Who hath such beauty seen In one that changeth so? Or where one's love so constant been, Who ever saw such woe? Ah, hair! are you not grieved To come from whence you be, Seeing how once you saw I lived, To see me as you see? On sandy bank of late, I saw this woman sit; Where, "Sooner die than change my state," She with her finger writ: Thus my belief was staid, Behold Love's mighty hand On things were by a woman said, And written in the sand. The same Sireno in "Monte-Mayor," holding his mistress's glass before her, and looking upon her while she viewed herself, thus sang:- Of this high grace, with bliss conjoined, No farther debt on me is laid, Since that in self-same metal coined, Sweet lady, you remain well paid; For if my place give me great pleasure, Having before my nature's treasure, In face and eyes unmatched being, You have the same in my hands, seeing What in your face mine eyes do measure. Nor think the match unevenly made, That of those beams in you do tarry, The glass to you but gives a shade, To me mine eyes the true shape carry; For such a thought most highly prized, Which ever hath Love's yoke A DEFENCE OF POESIE AND POEMS despised, Better than one captived perceiveth, Though he the lively form receiveth, The other sees it but disguised. POEM: SONNETS The dart, the beams, the sting, so strong I prove, Which my chief part doth pass through, parch, and tie, That of the stroke, the heat, and knot of love, Wounded, inflamed, knit to the death, I die. Hardened and cold, far from affection's snare Was once my mind, my temper, and my life; While I that sight, desire, and vow forbare, Which to avoid, quench, lose, nought boasted strife. Yet will not I grief, ashes, thraldom change For others' ease, their fruit, or free estate; So brave a shot, dear fire, and beauty strange, Bid me pierce, burn, and bind, long time and late, And in my wounds, my flames, and bonds, I find A salve, fresh air, and bright contented mind. * * * Virtue, beauty, and speech, did strike, wound, charm, My heart, eyes, ears, with wonder, love, delight, First, second, last, did bind, enforce, and arm, His works, shows, suits, with wit, grace, and vows' might, Thus honour, liking, trust, much, far, and deep, Held, pierced, possessed, my judgment, sense, and will, Till wrongs, contempt, deceit, did grow, steal, creep, Bands, favour, faith, to break, defile, and kill, Then grief, unkindness, proof, took, kindled, taught, Well-grounded, noble, due, spite, rage, disdain: But ah, alas! in vain my mind, sight, thought, Doth him, his face, his words, leave, shun, refrain. For nothing, time, nor place, can loose, quench, ease Mine own embraced, sought, knot, fire, disease. POEM: WOOING-STUFF Faint amorist, what, dost thou think To taste Love's honey, and not A DEFENCE OF POESIE AND POEMS drink One dram of gall? or to devour A world of sweet, and taste no sour? Dost thou ever think to enter Th' Elysian fields, that dar'st not venture In Charon's barge? a lover's mind Must use to sail with every wind. He that loves and fears to try, Learns his mistress to deny. Doth she chide thee? 'tis to show it, That thy coldness makes her do it: Is she silent? is she mute? Silence fully grants thy suit: Doth she pout, and leave the room? Then she goes to bid thee come: Is she sick? why then be sure, She invites thee to the cure: Doth she cross thy suit with "No?" Tush, she loves to hear thee woo: Doth she call the faith of man In question? Nay, she loves thee than; And if e'er she makes a blot, She's lost if that thou hit'st her not. He that after ten denials, Dares attempt no farther trials, Hath no warrant to acquire The dainties of his chaste desire. POEM: SONNETS Since shunning pain, I ease can never find; Since bashful dread seeks where he knows me harmed; Since will is won, and stopped ears are charmed; Since force doth faint, and sight doth make me blind; Since loosing long, the faster still I bind; Since naked sense can conquer reason armed; Since heart, in chilling fear, with ice is warmed; In fine, since strife of thought but mars the mind, I yield, O Love, unto thy loathed yoke, Yet craving law of arms, whose rule doth teach, That, hardly used, who ever prison broke, In justice quit, of honour made no breach: Whereas, if I a grateful guardian have, Thou art my lord, and I thy vowed slave. When Love puffed up with rage of high disdain, Resolved to make me pattern of his might, Like foe, whose wits inclined to deadly spite, Would often kill, to breed more feeling pain; He would not, armed with beauty, only reign On those affects which easily yield to sight; But virtue sets so high, that reason's light, For all his strife can only bondage gain: So that I live to pay a mortal fee, Dead palsy-sick of all my chiefest parts, Like those whom dreams make ugly monsters see, And can cry help with naught but groans and starts: Longing to have, having no wit to wish, To starving minds such is god Cupid's dish. A DEFENCE OF POESIE AND POEMS POEM: SONG I To the tune of "Non credo gia che piu infelice amante." The nightingale, as soon as April bringeth Unto her rested sense a perfect waking, While late bare earth, proud of new clothing, springeth, Sings out her woes, a thorn her song-book making; And mournfully bewailing, Her throat in tunes expresseth What grief her breast oppresseth, For Tereus' force on her chaste will prevailing. O Philomela fair! O take some gladness, That here is juster cause of plaintful sadness: Thine earth now springs, mine fadeth; Thy thorn without, my thorn my heart invadeth. II. Alas! she hath no other cause of anguish, But Tereus' love, on her by strong hand wroken, Wherein she suffering, all her spirits languish, Full womanlike, complains her will was broken, But I, who daily craving, Cannot have to content me, Have more cause to lament me, Since wanting is more woe than too much having. O Philomela fair! O take some gladness, That here is juster cause of plaintful sadness: Thine earth now springs, mine fadeth; Thy thorn without, my thorn my heart invadeth. POEM: SONG To the tune of "Basciami vita mia." Sleep, baby mine, Desire's nurse, Beauty, singeth; Thy cries, O baby, set mine head on aching: The babe cries, "'Way, thy love doth keep me waking." Lully, lully, my babe, Hope cradle bringeth Unto my children alway good rest taking: The babe cries, "Way, thy love doth keep me waking." Since, baby mine, from me thy watching springeth, Sleep then a little, pap Content is making; The babe cries, "Nay, for that abide I waking." I. The scourge of life, and death's extreme disgrace; The smoke of hell, A DEFENCE OF POESIE AND POEMS the monster called Pain: Long shamed to be accursed in every place, By them who of his rude resort complain; Like crafty wretch, by time and travel taught, His ugly evil in others' good to hide; Late harbours in her face, whom Nature wrought As treasure-house where her best gifts do bide; And so by privilege of sacred seat, A seat where beauty shines and virtue reigns, He hopes for some small praise, since she hath great, Within her beams wrapping his cruel stains. Ah, saucy Pain, let not thy terror last, More loving eyes she draws, more hate thou hast. II. Woe! woe to me, on me return the smart: My burning tongue hath bred my mistress pain? For oft in pain, to pain my painful heart, With her due praise did of my state complain. I praised her eyes, whom never chance doth move; Her breath, which makes a sour answer sweet; Her milken breasts, the nurse of child-like love; Her legs, O legs! her aye well- stepping feet: Pain heard her praise, and full of inward fire, (First sealing up my heart as prey of his) He flies to her, and, boldened with desire, Her face, this age's praise, the thief doth kiss. O Pain! I now recant the praise I gave, And swear she is not worthy thee to have. III. Thou pain, the only guest of loathed Constraint; The child of Curse, man's weakness foster-child; Brother to Woe, and father of Complaint: Thou Pain, thou hated Pain, from heaven exiled, How hold'st thou her whose eyes constraint doth fear, Whom cursed do bless; whose weakness virtues arm; Who others' woes and plaints can chastely bear: In whose sweet heaven angels of high thoughts swarm? What courage strange hath caught thy caitiff heart? Fear'st not a face that oft whole hearts devours? Or art thou from above bid play this part, And so no help 'gainst envy of those powers? If thus, alas, yet while those parts have woe; So stay her tongue, that she no more say, "O." IV. And have I heard her say, "O cruel pain!" And doth she know what mould her beauty bears? Mourns she in truth, and thinks that others feign? Fears she to feel, and feels not others' fears? Or doth she think all pain the mind forbears? That heavy earth, not fiery spirits, may plain? That eyes A DEFENCE OF POESIE AND POEMS weep worse than heart in bloody tears? That sense feels more than what doth sense contain? No, no, she is too wise, she knows her face Hath not such pain as it makes others have: She knows the sickness of that perfect place Hath yet such health, as it my life can save. But this, she thinks, our pain high cause excuseth, Where her, who should rule pain, false pain abuseth. * * * Like as the dove, which seeled up doth fly, Is neither freed, nor yet to service bound; But hopes to gain some help by mounting high, Till want of force do force her fall to ground: Right so my mind, caught by his guiding eye, And thence cast off where his sweet hurt he found, Hath neither leave to live, nor doom to die; Nor held in evil, nor suffered to be sound. But with his wings of fancies up he goes, To high conceits, whose fruits are oft but small; Till wounded, blind, and wearied spirit, lose Both force to fly, and knowledge where to fall: O happy dove, if she no bondage tried! More happy I, might I in bondage bide! * * * In wonted walks, since wonted fancies change, Some cause there is, which of strange cause doth rise: For in each thing whereto mine eye doth range, Part of my pain, me-seems, engraved lies. The rocks, which were of constant mind the mark, In climbing steep, now hard refusal show; The shading woods seem now my sun to dark, And stately hills disdain to look so low. The restful caves now restless visions give; In dales I see each way a hard ascent: Like late-mown meads, late cut from joy I live; Alas, sweet brooks do in my tears augment: Rocks, woods, hills, caves, dales, meads, brooks, answer me; Infected minds infect each thing they see. If I could think how these my thoughts to leave, Or thinking still, my thoughts might have good end; If rebel sense would reason's law receive; Or reason foiled, would not in vain contend: Then might I think what thoughts were best to think: Then might I wisely swim, or gladly sink. If either you would change your cruel heart, Or, cruel still, time did your beauties stain: If from my soul this love would once depart, Or for my love some love I might obtain; Then might I hope a change, or ease of mind, By your good help, or in myself, to find. A DEFENCE OF POESIE AND POEMS But since my thoughts in thinking still are spent. With reason's strife, by senses overthrown; You fairer still, and still more cruel bent, I loving still a love that loveth none: I yield and strive, I kiss and curse the pain, Thought, reason, sense, time, You, and I, maintain. POEM: A FAREWELL Oft have I mused, but now at length I find Why those that die, men say, they do depart: Depart: a word so gentle to my mind, Weakly did seem to paint Death's ugly dart. But now the stars, with their strange course, do bind Me one to leave, with whom I leave my heart; I hear a cry of spirits faint and blind, That parting thus, my chiefest part I part. Part of my life, the loathed part to me, Lives to impart my weary clay some breath; But that good part wherein all comforts be, Now dead, doth show departure is a death: Yea, worse than death, death parts both woe and joy, From joy I part, still living in annoy. * * * Finding those beams, which I must ever love, To mar my mind, and with my hurt to please, I deemed it best, some absence for to prove, If farther place might further me to ease. My eyes thence drawn, where lived all their light, Blinded forthwith in dark despair did lie, Like to the mole, with want of guiding sight, Deep plunged in earth, deprived of the sky. In absence blind, and wearied with that woe, To greater woes, by presence, I return; Even as the fly, which to the flame doth go, Pleased with the light, that his small corse doth burn: Fair choice I have, either to live or die A blinded mole, or else a burned fly. A DEFENCE OF POESIE AND POEMS POEM: THE SEVEN WONDERS OF ENGLAND I. Near Wilton sweet, huge heaps of stones are found, But so confused, that neither any eye Can count them just, nor Reason reason try, What force brought them to so unlikely ground. To stranger weights my mind's waste soil is bound, Of passion-hills, reaching to Reason's sky, From Fancy's earth, passing all number's bound, Passing all guess, whence into me should fly So mazed a mass; or, if in me it grows, A simple soul should breed so mixed woes. II. The Bruertons have a lake, which, when the sun Approaching warms, not else, dead logs up sends From hideous depth; which tribute, when it ends, Sore sign it is the lord's last thread is spun. My lake is Sense, whose still streams never run But when my sun her shining twins there bends; Then from his depth with force in her begun, Long drowned hopes to watery eyes it lends; But when that fails my dead hopes up to take, Their master is fair warned his will to make. III. We have a fish, by strangers much admired, Which caught, to cruel search yields his chief part: With gall cut out, closed up again by art, Yet lives until his life be new required. A stranger fish myself, not yet expired, Tho', rapt with Beauty's hook, I did impart Myself unto th' anatomy desired, Instead of gall, leaving to her my heart: Yet live with thoughts closed up, 'till that she will, By conquest's right, instead of searching, kill. IV. Peak hath a cave, whose narrow entries find Large rooms within where drops distil amain: Till knit with cold, though there unknown remain, Deck that poor place with alabaster lined. Mine eyes the strait, the roomy cave, my mind; Whose cloudy thoughts let fall an inward rain Of sorrow's drops, till colder reason bind A DEFENCE OF POESIE AND POEMS Their running fall into a constant vein Of truth, far more than alabaster pure, Which, though despised, yet still doth truth endure. V. A field there is, where, if a stake oe prest Deep in the earth, what hath in earth receipt, Is changed to stone in hardness, cold, and weight, The wood above doth soon consuming rest. The earth her ears; the stake is my request; Of which, how much may pierce to that sweet seat, To honour turned, doth dwell in honour's nest, Keeping that form, though void of wonted heat; But all the rest, which fear durst not apply, Failing themselves, with withered conscience die. VI. Of ships by shipwreck cast on Albion's coast, Which rotting on the rocks, their death to die: From wooden bones and blood of pitch doth fly A bird, which gets more life than ship had lost. My ship, Desire, with wind of Lust long tost, Brake on fair cliffs of constant Chastity; Where plagued for rash attempt, gives up his ghost; So deep in seas of virtue, beauties lie: But of this death flies up the purest love, Which seeming less, yet nobler life doth move. VII. These wonders England breeds; the last remains - A lady, in despite of Nature, chaste, On whom all love, in whom no love is placed, Where Fairness yields to Wisdom's shortest reins. A humble pride, a scorn that favour stains; A woman's mould, but like an angel graced; An angel's mind, but in a woman cased; A heaven on earth, or earth that heaven contains: Now thus this wonder to myself I frame; She is the cause that all the rest I am. * * * Thou blind man's mark; thou fool's self-chosen snare, Fond fancy's scum, and dregs of scattered thought: Band of all evils; cradle of causeless care; Thou web of will, whose end is never wrought: Desire! Desire! I have too dearly bought, With price of mangled mind, thy worthless ware; Too long, too long, asleep thou hast me brought Who shouldst my mind to higher things prepare; But yet in vain thou hast my ruin sought; In vain thou mad'st me to A DEFENCE OF POESIE AND POEMS vain things aspire; In vain thou kindlest all thy smoky fire: For Virtue hath this better lesson taught, Within myself to seek my only hire, Desiring nought but how to kill Desire. POEM: FROM EARTH TO HEAVEN Leave me, O love! which reachest but to dust; And thou, my mind, aspire to higher things: Grow rich in that which never taketh rust; Whatever fades, but fading pleasure brings. Draw in thy beams, and humble all thy might To that sweet yoke where lasting freedoms be, Which breaks the clouds, and opens forth the light That doth both shine, and give us sight to see. O take fast hold! let that light be thy guide, In this small course which birth draws out to death, And think how evil becometh him to slide, Who seeketh heaven, and comes from heavenly breath. Then farewell, world, thy uttermost I see, Eternal Love, maintain thy life in me. A DEFENCE OF POESIE AND POEMS SPLENDIDIS LONGUM VALEDICO NUGIS Footnote: {1} Edward Wotton, elder brother of Sir Henry Wotton. He was knighted by Elizabeth in 1592, and made Comptroller of her Household. Observe the playfulness in Sidney's opening and close of a treatise written throughout in plain, manly English without Euphuism, and strictly reasoned. {2} Here the introduction ends, and the argument begins with its Part 1. Poetry the first Light-giver. {3} A fable from the "Hetamythium" of Laurentius Abstemius, Professor of Belles Lettres at Urbino, and Librarian to Duke Guido Ubaldo under the Pontificate of Alexander VI. (1492-1503). {4} Pliny says ("Nat. Hist.," lib. xi., cap. 62) that the young vipers, impatient to be born, break through the side of their mother, and so kill her. {5} Part 2. Borrowed from by Philosophers. {6} Timaeus, the Pythagorean philosopher of Locri, and the Athenian Critias are represented by Plato as having listened to the discourse of Socrates on a Republic. Socrates calls on them to show such a state in action. Critias will tell of the rescue of Europe by the ancient citizens of Attica, 10,000 years before, from an inroad of countless invaders who came from the vast island of Atlantis, in the Western Ocean; a struggle of which record was preserved in the temple of Naith or Athene at Sais, in Egypt, and handed down, through Solon, by family tradition to Critias. But first Timaeus agrees to expound the structure of the universe; then Critias, in a piece left unfinished by Plato, proceeds to show an ideal society in action against pressure of a danger that seems irresistible. {7} Plato's "Republic," book ii. {8} Part 3. Borrowed from by Historians. {9} Part 4. Honoured by the Romans as Sacred and Prophetic. {10} Part 5. And really sacred and prophetic in the Psalms of David. A DEFENCE OF POESIE AND POEMS {11} Part 6. By the Greeks, Poets were honoured with the name of Makers. {12} Poetry is the one creative art. Astronomers and others repeat what they find. {13} Poets improve Nature. {14} And idealize man. {15} Here a Second Part of the Essay begins. {16} Part 1. Poetry defined. {17} Part 2. Its kinds. a. Divine. {18} Philosophical, which is perhaps too imitative. {19} Marcus Manilius wrote under Tiberius a metrical treatise on Astronomy, of which five books on the fixed stars remain. {20} Poetry proper. {21} Part 3. Subdivisions of Poetry proper. {22} Its essence is in the thought, not in apparelling of verse. {23} Heliodorus was Bishop of Tricca, in Thessaly, and lived in the fourth century. His story of Theagenes and Chariclea, called the "AEthiopica," was a romantic tale in Greek which was, in Elizabeth's reign, translated into English. {24} The Poet's Work and Parts. Part 1. WORK: What Poetry does for us. {25} Their clay lodgings - "Such harmony is in immortal souls; But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it." (Shakespeare, "Merchant of Venice," act v., sc. 1) {26} Poetry best advances the end of all earthly learning, virtuous action. {27} Its advantage herein over Moral Philosophy. {28} It's advantage herein over History. {29} "All men make faults, and even I in this, Authorising thy trespass with compare." Shakespeare, "Sonnet" 35. {30} "Witness of the times, light of truth, life of memory, mistress of life, messenger of antiquity."--Cicero, "De Oratore." {31} In what manner the Poet goes beyond Philosopher, Historian, and all others (bating comparison with the Divine). A DEFENCE OF POESIE AND POEMS {32} He is beyond the Philosopher. {33} Horace's "Ars Poetica," lines 372-3. But Horace wrote "Non homines, non Di"--"Neither men, gods, nor lettered columns have admitted mediocrity in poets." {34} The moral common-places. Common Place, "Locus communis," was a term used in old rhetoric to represent testimonies or pithy sentences of good authors which might be used for strengthening or adorning a discourse; but said Keckermann, whose Rhetoric was a text- book in the days of James I. and Charles I., "Because it is impossible thus to read through all authors, there are books that give students of eloquence what they need in the succinct form of books of Common Places, like that collected by Stobaeus out of Cicero, Seneca, Terence, Aristotle; but especially the book entitled 'Polyanthea,' provides short and effective sentences apt to any matter." Frequent resort to the Polyanthea caused many a good quotation to be hackneyed; the term of rhetoric, "a common- place," came then to mean a good saying made familiar by incessant quoting, and then in common speech, any trite saying good or bad, but commonly without wit in it. {35} Thus far Aristotle. The whole passage in the "Poetics" runs: "It is not by writing in verse or prose that the Historian and Poet are distinguished. The work of Herodotus might be versified; but it would still be a species of History, no less with metre than without. They are distinguished by this, that the one relates what has been, the other what might be. On this account Poetry is more philosophical, and a more excellent thing than History, for Poetry is chiefly conversant about general truth; History about particular. In what manner, for example, any person of a certain character would speak or act, probably or necessarily, this is general; and this is the object of Poetry, even while it makes use of particular names. But what Alcibiades did, or what happened to him, this is particular truth." {36} Justinus, who lived in the second century, made an epitome of the history of the Assyrian, Persian, Grecian, Macedonian, and Roman Empires, from Trogus Pompeius, who lived in the time of Augustus. {37} Dares Phrygius was supposed to have been a priest of Vulcan, A DEFENCE OF POESIE AND POEMS who was in Troy during the siege, and the Phrygian Iliad ascribed to him as early as the time of AElian, A.D. 230, was supposed, therefore, to be older than Homer's. {38} Quintus Curtius, a Roman historian of uncertain date, who wrote the history of Alexander the Great in ten books, of which two are lost and others defective. {39} Not knowledge but practice. {40} The Poet Monarch of all Human Sciences. {41} In "Love's Labour's Lost" a resemblance has been fancied between this passage and Rosalind's description of Biron, and the jest:- "Which his fair tongue--conceit's expositor - Delivers in such apt and gracious words, That aged ears play truant at his tables, And younger hearings are quite ravished, So sweet and voluble is his discourse." {42} Virgil's "AEneid," Book xii.:- "And shall this ground fainthearted dastard Turnus flying view? Is it so vile a thing to die?" (Phaer's Translation [1573].) {43} Instances of the power of the Poet's work. {44} Defectuous. This word, from the French "defectueux," is used twice in the "Apologie for Poetrie." {45} Part II. The PARTS of Poetry. {46} Can Pastoral be condemned? {47} The close of Virgil's seventh Eclogue--Thyrsis was vanquished, and Corydon crowned with lasting glory. {48} Or Elegiac? {49} Or Iambic? or Satiric? {50} From the first Satire of Persius, line 116, in a description of Homer's satire: "Omne vafer vitium ridenti Flaccus amico Tangit, et admissus circum praecordia ludit," &c. Shrewd Flaccus touches each vice in his laughing friend. Dryden thus translated the whole passage:- "Unlike in method, with concealed design Did crafty Horace his low numbers join; And, with a sly insinuating grace Laughed at his friend, and looked him in the face: Would raise a blush where secret vice he found; A DEFENCE OF POESIE AND POEMS And tickle, while he gently probed the wound; With seeming innocence the crowd beguiled, But made the desperate passes while he smiled." {51} From the end of the eleventh of Horace's epistles (Lib. 1): "Coelum non animum mutant, qui trans mare currunt, Strenua nos exercet inertia; navibus atque Quadrigis petimus bene vivere. Quod petis, hic est, Est Ulubris, animus si te non deficit aequus." They change their skies but not their mind who run across the seas; We toil in laboured idleness, and seek to live at ease With force of ships and four horse teams. That which you seek is here, At Ulubrae, unless your mind fail to be calm and clear. "At Ulubrae" was equivalent to saying in the dullest corner of the world, or anywhere. Ulubrae was a little town probably in Campania, a Roman Little Pedlington. Thomas Carlyle may have had this passage in mind when he gave to the same thought a grander form in Sartor Resartus: "May we not say that the hour of spiritual enfranchisement is even this? When your ideal world, wherein the whole man has been dimly struggling and inexpressibly languishing to work, becomes revealed and thrown open, and you discover with amazement enough, like the Lothario in Wilhelm Meister, that your America is here or nowhere. The situation that has not its duty, its ideal, was never occupied by man. Yes, here, in this poor, miserable hampered actual wherein thou even now standest, here or nowhere, is thy Ideal: work it out therefrom, believe, live, and be free. Fool! the Ideal is in thyself, the impediment too is in thyself. Thy condition is but the stuff thou art to shape that same Ideal out of. What matter whether such stuff be of this sort or that, so the form thou give it be heroic, be poetic? O thou that pinest in the imprisonment of the actual, and criest bitterly to the gods for a kingdom wherein to rule and create, know this of a truth, the thing thou seekest is already with thee, here or nowhere, couldest thou only see." {52} Or Comic? {53} In pistrinum. In the pounding-mill (usually worked by horses or asses). {54} Or Tragic? {55} The old song of Percy and Douglas, Chevy Chase in its first A DEFENCE OF POESIE AND POEMS form. {56} Or the Heroic? {57} Epistles I. ii. 4. Better than Chrysippus and Crantor. They were both philosophers, Chrysippus a subtle stoic, Crantor the first commentator upon Plato. {58} Summary of the argument thus far. {59} Objections stated and met. {60} Cornelius Agrippa's book, "De Incertitudine et Vanitate Scientiarum et Artium," was first published in 1532; Erasmus's "Moriae Encomium" was written in a week, in 1510, and went in a few months through seven editions. {61} The objection to rhyme and metre. {62} The first of these sentences is from Horace (Epistle I. xviii. 69): "Fly from the inquisitive man, for he is a babbler." The second, "While each pleases himself we are a credulous crowd," seems to be varied from Ovid (Fasti, iv. 311):- "Conscia mens recti famae mendacia risit: Sed nos in vitium credula turba sumus." A mind conscious of right laughs at the falsehoods of fame but towards vice we are a credulous crowd. {63} The chief objections. {64} That time might be better spent. {65} Beg the question. {66} That poetry is the mother of lies. {67} That poetry is the nurse of abuse, infecting us with wanton and pestilent desires. {68} Rampire, rampart, the Old French form of "rempart," was "rempar," from "remparer," to fortify. {69} "I give him free leave to be foolish." A variation from the line (Sat. I. i. 63), "Quid facias illi? jubeas miserum esse libenter." {70} That Plato banished poets from his ideal Republic. {71} Which authority certain barbarous and insipid writers would wrest into meaning that poets were to be thrust out of a state. {72} Ion is a rhapsodist, in dialogue with Socrates, who cannot A DEFENCE OF POESIE AND POEMS understand why it is that his thoughts flow abundantly when he talks of Homer. "I can explain," says Socrates; "your talent in expounding Homer is not an art acquired by system and method, otherwise it would have been applicable to other poets besides. It is a special gift, imparted to you by Divine power and inspiration. The like is true of the poet you expound. His genius does not spring from art, system, or method: it is a special gift emanating from the inspiration of the Muses. A poet is light, airy, holy person, who cannot compose verses at all so long as his reason remains within him. The Muses take away his reason, substituting in place of it their own divine inspiration and special impulse . . . Like prophets and deliverers of oracles, these poets have their reason taken away, and become the servants of the gods. It is not they who, bereft of their reason, speak in such sublime strains, it is the god who speaks to us, and speaks through them." George Grote, from whose volumes on Plato I quote this translation of the passage, placed "Ion" among the genuine dialogues of Plato. {73} Guards, trimmings or facings. {74} The Second Summary. {75} Causes of Defect in English Poetry. {76} From the invocation at the opening of Virgil's AEneid (line 12), "Muse, bring to my mind the causes of these things: what divinity was injured . . . that one famous for piety should suffer thus." {77} The Chancellor, Michel de l'Hopital, born in 1505, who joined to his great political services (which included the keeping of the Inquisition out of France, and long labour to repress civil war) great skill in verse. He died in 1573. {78} Whose heart-strings the Titan (Prometheus) fastened with a better clay. (Juvenal, Sat. xiv. 35). Dryden translated the line, with its context - "Some sons, indeed, some very few, we see Who keep themselves from this infection free, Whom gracious Heaven for nobler ends designed, Their looks erected, and their clay refined." {79} The orator is made, the poet born. {80} What you will; the first that comes. A DEFENCE OF POESIE AND POEMS {81} "Whatever I shall try to write will be verse." Sidney quotes from memory, and adapts to his context, Tristium IV. x. 26. "Sponte sua carmen numeros veniebat ad aptos, Et quod temptabam dicere, versus erat." {82} HIS for "its" here as throughout; the word "its" not being yet introduced into English writing. {83} Defects in the Drama. It should be remembered that this was written when the English drama was but twenty years old, and Shakespeare, aged about seventeen, had not yet come to London. The strongest of Shakespeare's precursors had not yet begun to write for the stage. Marlowe had not yet written; and the strength that was to come of the freedom of the English drama had yet to be shown. {84} There was no scenery on the Elizabethan stage. {85} Messenger. {86} From the egg. {87} Bias, slope; French "biais." {88} Juvenal, Sat. iii., lines 152-3. Which Samuel Johnson finely paraphrased in his "London:" "Of all the griefs that harass the distrest, Sure the most bitter is a scornful jest." {89} George Bachanan (who died in 1582, aged seventy-six) had written in earlier life four Latin tragedies, when Professor of Humanities at Bordeaux, with Montaigne in his class. {90} Defects in Lyric Poetry. {91} Defects in Diction. This being written only a year or two after the publication of "Euphues," represents that style of the day which was not created but represented by the book from which it took the name of "Euphuism." {92} Nizolian paper-books, are commonplace books of quotable passages, so called because an Italian grammarian, Marius Nizolius, born at Bersello in the fifteenth century, and one of the scholars of the Renaissance in the sixteenth, was one of the first producers of such volumes. His contribution was an alphabetical folio dictionary of phrases from Cicero: "Thesaurus Ciceronianus, sive Apparatus Linguae A DEFENCE OF POESIE AND POEMS Latinae e scriptis Tullii Ciceronis collectus." {93} "He lives and wins, nay, comes to the Senate, nay, comes to the Senate," &c. {94} Pounded. Put in the pound, when found astray. {95} Capacities of the English Language. {96} Metre and Rhyme. {97} Last Summary and playful peroration