TEE EPITHALAI.!10ITS OF SPENSER AND OF JONSON:
A COMPARATIVE STUDY
by
Mary E liz a b e th . M cClain
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TABLE OF CONTENTS
C h ap ters
I.
II.
III.
IV.
-
Page
NOTABLE EPITHALAMIONS IN GREEK, LATIN,
AND ENGLISH LITERATURE.......................................
1
THE POETIC PURPOSES OF. SPENSER AND
J01IS0N.......................................................................... 14
THE CATULLIAN FORMULA IN THE EPITHA-LAIvlIONS OF SPENSER AND JONSON.... . ..............25
SPENSER'S EPITHALAMION WITH FOOTNOTES.. . 44
BIBLIOGRAPHY
APPENDIX
10VIV?
m sm m
"T here a r e so many "b eau ties i n t e r ­
s p e rs e d th ro u g h o u t th e s e poems t h a t
I can n o t h u t w onder th e y have heen
so l i t t l e known and n o t i c e d ."
F . G. W aldron
FOREWORD
The p e r io d in E n g lis h l i t e r a t u r e from 1580 to 1633,
th e Age o f E l i z a b e t h , saw th e i n t r o d u c t i o n , th e d ev elo p m en t,
an d th e c lim a x o f th e e p ith a la m io n a s a form o f E n g lis h
p o e tr y .
S i r P h i l i p S idney w ro te th e f i r s t E n g lis h e p i t h a ­
lam io n in 1580, and Ben Jo n so n p ro d u ced h i s l a s t i n 1633.
Between th e s e two d a te s th e more im p o rta n t a u th o rs who have
l e f t exam ples o f th e ty p e a r e S p e n se r, 1595, 1596; Chapman,
1602; Jo n so n , 1606, 1608, 1633; Donne, 1613; and D ra y to n ,
1630.
The p u rp o se o f t h i s s tu d y i s to compare th e e p i t h a la m io n s o f Ben Jo n so n and Edmund S p e n se r, th e two g r e a t
m a ste rs o f th e form i n th e E liz a b e th a n Age.
T his co m parison
o f S p e n s e r’ s E p ith a la m io n and P ro th a la m io n and J o n so n 1s
Masque o f Hymen. The Hue and Cry a f t e r C upid,1 and E p ith a ­
lam ion i s b a se d upon th e p u rp o se s o f th e a u th o rs in w r i tin g
th e poems and th e C a tu ll ia n c o n v e n tio n s t h e r e i n .
A re­
view o f th e n o ta b le e p ith a la m io n s in G reek, L a ti n , and
E n g lis h l i t e r a t u r e p re c e d e s t h i s co m p arativ e s tu d y o f
S p en ser and Jo n so n .
The f i n a l c h a p te r p r e s e n ts th e t e x t o f
S p e n s e r’ s E p ith a la m io n w ith e x te n s iv e a n n o ta tio n s .
The
ap p en d ix c o n ta in s c o p ie s o f th e te n e p ith a la m io n s r e f e r r e d
to in th e s tu d y .
CHAPTER I
NOTABLE EPITHALAMIONS IN GREEK, LATIN, AND ENGLISH LITERATURE
To th e c a s u a l r e a d e r o f E n g lish l i t e r a t u r e th e term
e p ith a la m io n s i g n i f i e s a lo n g poem w r i t t e n "by Edmund
S p e n se r.
Yet i t does n o t o f i t s e l f s i g n i f y a poem "by any
one p e r s o n , "but r a t h e r a p a r t i c u l a r ty p e o f song o r poem
sung o r w r i t t e n f o r a s p e c i a l o c c a s io n .
The S h o rte r O xford
D ic tio n a r y d e f in e s ,a n e p ith a la m io n as a " n u p tia l song o r
poem in p r a i s e o f th e "bride and g ro o m ."
I t s c o n te n ts and
u s e have v a r ie d w ith - th e c e n t u r i e s .
S e v e ra l s t u d i e s have .."been made t o d is c o v e r th e u se
w hich th e a n c ie n ts made"o f t h i s form .
C. H. Case h a s
w r i t t e n a v e ry u s e f u l "book upon th e s u b j e c t . E n g lis h E p it h a la m ie s .
A cco rd in g to him th e term e p ith a la m v was
" o r i g i n a l l y u se d to d en o te th e song sung a t th e "bridal
chamber as d i s t in g u is h e d from th o s e sung d u rin g th e w edding
p r o c e s s io n ."
T his song was su n g v e ry sw e e tly "by th e
■2 -■ • ;
m u s ic ia n s " a t t h r e e d i f f e r e n t tim e s d u rin g th e w edding
n ig h t.
The f i r s t p a r t was sung a t th e c lo s e o f th e p u b lic
f e s t i v i t i e s , th e seco n d a t m id n ig h t, and th e t h i r d in th e
m orning some h o u rs b e f o r e th e r i s i n g o f th e b r i d a l c o u p le .12
1 . Case, d. K . . E n g lis h E p ith a la m ie s . p . v i i i .
2 . I b i d . , p . 195. .
:
2
The m u sic ia n s r e tu r n e d a t th e s e s t a t e d tim e s f o r t h i s
s p e c i a l p u rp o s e .
Among th e G reeks th e f i r s t p a r t o f th e
' ...
- 3
•wedding song was sung nhy a number o f boys and g i r l s ”
d u rin g th e e v e n in g , and th e seco n d p a r t on th e .f o llo w in g
m orning.
The Romans fo llo w e d a l i k e custom , ex c ep t t h a t
th e y u se d g i r l s to do th e s in g i n g .
I t i s e v id e n t t h a t th e
f i r s t e p ith a la m io n s , w hich have been c a l l e d " b a lla d e s a t
th e b ed d in g o f a b r i d e , ” w ere g en u in e songs r e a l l y sung by
a c h o ru s.
• C h ro n o lo g ic a lly , Sappho ( s e v e n th c e n tu r y B. C. ) h o ld s
f i r s t p la c e among th e v e ry e a r l y w r i t e r s o f e p ith a la m io n s ,
a lth o u g h o n ly fra g m e n ts o f h e r poems a r e known.
A cco rd in g
to J . A. Symonds,
" In p r d e r to form a rem ote c o n c e p tio n o f what a. .
S ap p h ic: m a rria g e ch o ru s m ight have b e e n , we have
to s tu d y th e i m i t a t i o n o f h e r s t y l e i n C a tu llu s ,
th e m a rria g e ch o ru s a t th e end o f th e TB ir d s ’ o f
A ris to p h a n e s , and th e ’E pithalam ium o f H e le n ’ by
T h e o c r itu s . ” 4
When we r e a d John D ryden’ s t r a n s l a t i o n o f The E p ith a ­
lamium o f H elen and M enelaus from th e E ig h te e n th Id y lH u m
o f T h e o c ritu s we se n se th e f r e s h b e a u ty and p e r s o n a l
:
'
5
:
s e n tim e n t o f th e c e le b r a t e d G re cia n e p ith a la m io n .
V iv id
im agery and a r e g u l a r rh y th m ic p a t t e r n g iv e an e f f e c t o f
ra re s im p lic ity .
From th e c o n te x t we l e a r n t h a t tw elv e
S p a rta n m aidens have come " to s in g a n u p t i a l b l e s s i n g to 345
3 . E n cy c lo p e d ia B r i t a n n i c a . 8 :6 6 2 .
;■ ■; ... ,
4 . Symonds, J . A ~ S tu d ie s o f th e Greek P o e t s ; p . 283,
n o te d in C ase. O .-H ..' U lnglish E p ith a la m ie s . p . x i .
5 . F or a copy o f t h i s poem se e A ppendix. p p . x x - x x ii
3
th e "bed o f M en elau s. n
W ith th e l i n e s
From g en ero u s l o i n s a g e n e ro u s ra c e w i l l s p r in g ,
Each g i r l , l i k e y o u , a queen; each boy, l i k e you,
• ' a k in g ,
"
.
th e y c lim a x t h e i r s u b tl e d e s c r ip tio n s and g en ero u s p r a i s e s
o f th e r o y a l c o u p le , H elen and. M enelaus.
At th e c o n c lu s io n
o f th e song th e prom ise o f th e m aidens to r e t u r n to th e
b r i d a l chamber on th e fo llo w in g m orning i s announced t h u s :
We w i l l be w ith you e r e th e crow ing cock
S a lu te s th e l i g h t , and s t r u t s b e fo re h i s f e a t h e r e d
flo c k .
■
T his example o f a G recian n u p t i a l song shows th e q u a l i t y
and s t y l e o f a w r i t e r i n th e t h i r d c e n tu ry B. C.
From th e f i r s t c e n tu r y B. C. we have an e x c e ll e n t
Roman exam ple, th e famous s i x t y - f i r s t Carmen o f C a t u l l u s .
w r i t t e n on th e n u p t i a l s o f V in ia and M a n liu s.
th e p a ra p h ra s e d form by C o rn ish
. t r a n s l a t i o n by M a rtin
In e i t h e r
o r th e more c o n v e n tio n a l
t h e r e i s th e s i m p l i c i t y and em otion
w hich gave C a tu llu s h i s pow er. Because songs were n o t
'
_
■' : '■ :
■
: 9
. .
c u s to m a r ily sung a t Roman w ed d in g s, F ra n k s u g g e s ts t h a t
t h i s one p ro b a b ly was p r e s e n te d to th e co u p le a s a w edding
g ift.
I t p i c t u r e s sc e n e s a f t e r th e w edding r i t e h as been
com pleted and th e groom h a s gone h u r r i e d l y to h i s new home
t o a w a it h i s b r i d e .
Her jo u rn e y to h e r h u sb a n d ’ s house
6 . C o rn ish , F . W.. C a tu llu s T ib u llu s and P e r v ig iliu m V e n e ris
- p p . 69—85.
~
7 . M a rtin , S i r T heodore, in W arner, C h a rle s D udley, l i b r a r y
o f th e W orld’ s B est L i t e r a t u r e . 6 :3 3 6 7 -8 .
8 . F or a copy o f h is poem se e A p pendix, p p . x x i i i - x x v i .
9 . F ra n k , T enney, C a tu llu s and H o ra ce, p . 5 4 .
4
is -s u g g e s te d .
The p o e t p r e s e n ts h i s b e s t w ish es to each
and co n c lu d e s h i s song a f t e r th e b r id e h as been l i f t e d in
t r u e Roman f a s h io n o v e r th e th r e s h o ld o f h e r new home.
H ere i s th e C o rn ish t r a n s l a t i o n o r th e f i r s t sev en
s ta n z a s o f C a tu ll u s ’ poem:
0 h a u n te r o f th e H e lic o n m ount, U ra n ia ’s
so n , th o u who b e a r e s t away th e te n d e r maid to
h e r b rid eg ro o m , 0 Hymenaeus Hymen, 0 hymen
Hymenaeus ’.
Bind th y brows w ith th e th e flo w e rs o f
f r a g r a n t m arjoram , p u t on th e m a rria g e v e i l ,
h i t h e r , h i t h e r m e r r ily come, w e a rin g on th y snow -w hite f o o t th e y e llo w sh o e ,
and w akening on t h i s jo y f u l d ay , s in g in g
w ith r e s o n a n t v o ic e th e n u p t i a l so n g s, b e a t th e
ground w ith th y - f e e t , shake w ith th y , hand th e
p in e t o r c h .
F o r now s h a l l V in ia wed w ith M a n iliu s ,
V in ia a s f a i r a s Venus who d w e lls i n Id a liu m ,
when she came to th e ,P h r y g ia n ju d g e ; a good
m aiden w ith a good omen,
l i k e th e A sian m y rtle s h in in g w ith f lo w e r in g s p r a y s , w hich th e Hamadryad g o d d esses w ith dewy
m o is tu re n o u r is h a s a p la y th in g fo r- th e m s e lv e s .
E i t h e r th e n , come h i t h e r , h a s te to le a v e
th e A onian cav es o f th e T h esp ian ro c k , w hich th e
nymph A ganippe b e s p rin k e s w ith c o o lin g show er
from a b o v e ;
,.
. .•
c a l l to h e r home th e la d y o f th e h o u s e , f u l l
o f d e s i r e f o r h e r b rid eg ro o m ; b in d h e r h e a r t w ith
lo v e , a s h e re and th e r e th e c l in g in g iv y s t r a y i n g
c la s p s th e t r e e .
-
We r e a d i l y re c o g n iz e h e re th e C a tu llia n fo rm u la w hich
was to e x e r t su ch a g r e a t in f lu e n c e upon th e a u th o r s o f
c o n t i n e n t a l and E n g lis h e p ith a la m io n s c e n tu r ie s l a t e r .
Among th e n o ta b le c o n v e n tio n s a r e th e in v o c a tio n o f th e
g o d s, th e l a v i s h d e s c r i p t i o n o f th e b r i d e , th e o b serv an ce
o f th e u s u a l , Roman n u p t i a l c u sto m s, th e w ish f o r a " l i t t l e
T o rg u a tu s ," and th e hope t h a t th e c o u p le ’ s wedded l i f e may
5
"be happy.
In l a t e r Roman l i t e r a t u r e C a tu llu s was " c o n s ta n tly
ad m ired , q u o te d , and i m i t a t e d , " a g r e a t h o n o r f o r a young
man who l i v e d b u t t h i r t y y e a r s , and whose l i f e re a d s l i k e
10
a f a s c i n a t i n g n o v e l.
H is b io g ra p h y g iv e s us a b e t t e r
u n d e r s ta n d in g o f h i s n u p t i a l poem and a d e e p e r a p p r e c ia t io n
o f i t s e f f e c t upon th e p o e ts o f h is own c o u n try and upon
su c c e e d in g g e n e r a tio n s .
Much o f h i s in f lu e n c e was e x e r te d
th ro u g h in te r m e d ia r i e s who t r a n s l a t e d h i s poems o r u t i l i z e d
h i s e p ith a la m ic fo rm u la and l y r i c c o n v e n tio n s to im prove
t h e i r own p o e t ic e f f o r t s .
By th e s i x t e e n t h c e n tu ry t h i s
in f lu e n c e was s p re a d in g to E n g lan d .
H a rrin g to n a s s e r t s
t h a t " S p e n s e r's E p ith a la m io n g l i t t e r s w ith je w e ls g a th e r e d
from C a t u l l u s ."
He a ls o s t a t e s t h a t " Jo n so n ’s e u ith a la m ia
a r e d e e p ly in d e b te d to C a tu ll u s , n o t m e re ly f o r t h e i r
g e n e r a l id e a s and p r o g r e s s o f th o u g h t b u t a ls o c o n t in u a l ly
■
12
f o r th e e x a c t e x p r e s s io n o f i t . "
The C a tu llia n in f lu e n c e
upon th e s e two E liz a b e th a n s w i l l be f u l l y d ev elo p ed i n
C h a p ter I I I o f t h i s t h e s i s .
A ltho u g h we may l o g i c a l l y e x p e c t th e echo to become
f a i n t e r as th e c e n tu r ie s s e p a r a te u s from C a t u l l u s , y e t a t
th e c lo s e o f T ennyson’s In Memoriam we f i n d much t h a t was
. ■
'
-- 13
i n s p i r e d by C a tu ll u s . In P r a t e r , Ave Atque V a le . 4 - 6 ,
16.
11.
12#
13.
H a r rin g to n , k!. P . , C a tu llu s and H is I n f lu e n c e .
I b i d . , p . 150.
I b i d . , p . 16 5 .
__
E m peror, John B e rn a rd , . The .C a tu llia n In flu e n c e in
E n g lis h L y ric P o e tr y - C irc a 1600-1650. p . 8 .
6
th e V ic to r ia n h as e x p re s s e d h i s lo v e and a d m ira tio n f o r
t h e Roman:
There "beneath th e Roman r u i n where th e p u rp le
flo w e rs grow ,
Came th a t." A v e a tq u e V ale" o f th e P o e t’ s hope­
l e s s woe,
T e n d e re st o f Roman p o e ts n in e te e n houndred y e a rs
ag o .
T urning from th e c l a s s i c a l to th e He"braic t r a d i t i o n ,
we f in d i n two p a r t s o f th e Old T estam ent m a te r ia l w hich i s
e p ith a la m ia l i n c h a r a c te r : The B r id a l P ro c e s s io n in th e Song
o f Solomon, c h a p te r 3 , v e r s e s 6 -1 1 ; and th e F o r t y - f i f t h
P salm .
As i t s t i t l e s u g g e s ts , th e f i r s t song i s a d e s c r i p t i o n
o f th e p r o c e s s io n w hich fo llo w e d th e a c t u a l w edding r i t u a l .
14
In h i s n o te s Dr. J a s tr o w
—
-
o b se rv e d t h a t th e main f e a t u r e
o f th e w edding ceremony was th e p r o c e s s io n in w hich th e
"bride was c a r r i e d on a l i t t e r to h e r b rid eg ro o m ’ s home.
A lthough t h i s Old T estam ent song i s b u t s i x v e r s e s i n le n g th ,
a l l th e O r ie n ta l s p le n d o r o f a Solom onic p r o c e s s io n i s
s u g g e s te d .
D r. J a s tro w c l a s s i f i e d th e d e s c r i p t i o n a s i n ­
t e n t i o n a l e x a g g e r a tio n o r a mere " O r ie n ta l h y p e rb o le ;
how ever, th e c o n c re te r e a lis m o f t h i s n u p t i a l song i s v e ry
e ffe c tiv e :
6. Who i s t h i s t h a t cometh o u t o f th e w ild e r ­
n e s s l i k e p i l l a r s o f smoke, perfum ed w ith m yrrh and
f r a n k in c e n s e , w ith a l l pow ders o f th e m erch an t?
7 . Behold h i s b ed , w hich i s Solomon’s ; th r e e
s c o re v a l i a n t men a r e ab o u t i t , o f th e v a l i a n t o f
Is ra e l.
___
8 . They a l l h o ld sw o rd s, b e in g e x p e rt i n w a r:
14. J a s tr o w , M o rris ,
The Song o f S o n g s, p . 188.
7
ev ery man h a th h is sword upon h is th ig h heoause
o f f e a r i n th e n i g h t .
'
9. K ing Solomon made h im s e lf a c h a r i o t . o f
th e wood o f L e b a n o n .' :
10. He made th e p i l l a r s th e r e o f o f s i l v e r ,
th e bottom th e r e o f of g o ld , th e c o v e rin g o f i t
o f p u r p l e , th e m id s t t h e r e o f g o in g paved w ith
lo v e , f o r t h e d a u g h te rs o f Je ru sa le m .
11. GrO f o r t h , 0 ye d a u g h te rs o f Z ion, and
behold k in g Solomon w ith th e orown w h erew ith h i s
m other crowned him i n the day of h i s e s p o u s a ls ,
and i n th e day of th e g la d n e ss o f h i s h e a r t . 15
M oulton
M arriage Hymn."
c a l l s th e F o r t y - f i f t h Psalm "A Royal
In le n g th and b ea u ty o f p h ra se i t i s
s u p e r io r to th e B r id a l P r o c e s s io n .
However, th e two have
numerous p o in ts of s i m i l a r i t y ; t h e i r a l l e g o r i c a l i n t e r p r e ­
t a t i o n s and t h e i r e p ith a la m ia l c h a r a c t e r i s t i c s b o th a f f o r d
im p o rta n t b a s e s ' f o r co m p ariso n , y e t o n ly th e l a t t e r , as
b e in g o f g r e a t e r i n t e r e s t h e r e , w i l l be d is c u s s e d in some
d e t a i l a t th e end o f th e psalm , h ere g iv e n in f u l l : .
To th e c h i e f M u sician upon Shoshanhim ; f o r th e
sons o f K orah, M aschi1, A song o f lo v e s .
My h e a r t i s i n d i t i n g a good m a tte r : I '
speak o f th e th in g s which I la v e made to u c h in g
the k in g : my to n g u e i s th e pen o f a re a d y w r i t e r .
2 . Thou a r t f a i r e r th a n th e c h ild r e n o f men:
g ra c e i s poured i n t o th y l i p s : th e r e f o r e God h a th
b le s s e d th e e f o r e v e r.
3 . G ird th y sword upon th y th ig h , 0 m ost
m ighty, w ith th y g lo r y and th y m a je s ty . .
4 . And in th y m a je s ty r id e p r o s p e r o u s ly
becuase o f t r u t h and m eekness and r i g h t o u s n e s s ;
and th y r i g h t hand s h a l l te a c h th e e t e r r i b l e t h i n g s .
...... 5, T hine, arrow s a r e s h a rp in th e h e a r t o f th e
k i n g 's e n e m ie s; w hereby th e p eople f a l l u n d er th e e .
15. For a copy o f D r. J a s tr o w 's t r a n s l a t i o n o f C h ap ter 3^
v e r s e s 6-11 o f th e Song o f Solomon se e th e A ppendix,
p . x x v ii.
16. M oulton; R ich ard G ., The L ite r a r y Study o f "th e B ib le ,
p . 488.
.....
8
6. Thy th r o n e , 0 God, i s f o r e v e r and e v e r :
th e s c e p tr e o f th y kingdom i s a r i g h t s c e p t r e .
7. Thou l o v e s t r i g h t e o u s n e s s ,.a n d ’h a t e s t
w ic k e d n e ss: t h e r e f o r e God, th y God, h a th a n o in te d
th e e w ith th e o i l o f g la d n e s s above th y f e llo w s .
8 . A ll th y g arm en ts sm e ll o f m y rrh , and a l o e s ,
and c a s s i a , o u t o f th e iv o r y p a l a c e s , w hereby th e y
have made th e e g la d .
9 . K in g s1 d a u g h te rs w ere among th y h o n o u ra b le
women: upon th y r i g h t hand d id s ta n d th e queen in
g o ld o f O p h ir.
1 0 . H ark en , 0 d a u g h te r, and c o n s id e r , and i n ­
c l in e t h in e e a r ; f o r g e t a ls o th in e own p e o p le , and
th y f a t h e r ’ s h o u se ;
1 1 . So s h a l l th e k in g g r e a t l y d e s ir e th y b e a u ty :
f o r h e . i s th y L ord; and w o rsh ip th o u him .
1 2 . And th e d a u g h te r o f Tyre s h a l l be t h e r e w ith
a g i f t ; even th e r i c h among th e p e o p le s h a l l e n t r e a t
th y fa v o u r .
1 3 . The k in g ’ s d a u g h te r i s a l l g lo r io u s w i t h i n :
h e r c l o th in g i s o f w rought g o ld .
1 4 . She s h a l l be b ro u g h t u n to th e k in g in
ra im e n t o f n ee d lew o rk : th e v i r g i n s h e r companions
t h a t fo llo w h e r s h a l l be b ro u g h t u n to t h e e .
1 5 . W ith g la d n e s s and r e j o i c i n g s h a l l th e y be
b r o u g h t: th e y s h a l l e n t e r i n t o th e k in g ’ s p a l a c e .
1 6 . I n s te a d o f th y f a t h e r s s h a l l be th y c h i ld r e n ,
whom th o u m ayst make p r in c e s i n a l l th e e a r t h .
1 7 . I w i l l make th y name to be remembered i n - a l l
g e n e r a tio n s : t h e r e f o r e s h a l l th e p eo p le p r a i s e th e e
f o r e v e r and e v e r . 17
The in v o c a tio n o f th e gods u s u a lly n o te d i n C a tu ll ia n
and E liz a b e th a n n u p t i a l songs i s a b s e n t, b u t m en tio n i s
made o f th e C h r is t ia n D e ity .
The d e s c r i p t i o n o f th e b r id e
i s r a t h e r s i m i l a r i n th e two e p ith a la m io n s .
I n th e B r id a l
P ro c e s s io n she i s . "perfum ed w ith m yrrh and f r a n k in c e n s e ;
w ith pow ders ( in c e n s e ) o f th e m e rc h a n t. "
In th e F o r t y - f i f t h
Psalm she h as g arm en ts t h a t "sm ell o f m yrrh, and a i d e s , arid
c a s s i a , o u t o f iv o ry p a l a c e s ; " " h e r c l o th in g i s o f w rought
g o l d ; " and "She s h a l l be b ro u g h t u n to th e k in g i n ra im e n t
1 ? . The Hew Indexed .B ible, p p . 4 0 4 -5 .
9
o f n e e d le w o rk .M W arfare custom s a f f o r d o th e r s i m i l a r i t i e s .
The O r ie n ta l custom o f c a r r y in g w eapons, " h is sw ord upon
h i s t h i g h , " a p p e a rs i n "both s o n g s .
"Danger a t n ig h t " i n
th e B rid a l P r o c e s s io n and " k in g ’ s enem ies" in th e F o r t y - f i f t h
P salm show th e n eed f o r t h e . sw ords m en tio n ed .
In th e fo rm e r
th e s o l d i e r i s one " in w a rfa re t r a i n e d ," w h ile i n th e ~
l a t t e r he i s one w ith " a rro w s . . . s h a r p ."
Marked s i m i l a r i t i e s
a ls o a p p e a r in th e e x p re s s io n s o f jo y on n u p t i a l o c c a s io n s .
The B rid a l P ro c e s s io n i s s p o k e n :o f as ta k in g p la c e "on th e
day o f th e g la d n e s s o f h i s h e a r t , " w h ile th e e n t r y o f th e
"bride and th e v i r g i n s i n t o th e k in g ’ s p a la c e i s made "w ith
g la d n e s s and r e j o i c i n g . "
From th e s e com parisons we se e t h a t th e two n u p t i a l
so ngs i n th e Old T estam ent have much in common.
W hether
th e y a r e e x p r e s s io n s o f n a t u r a l o r s u p e r n a tu r a l lo v e does
n o t g r e a t l y a l t e r t h e i r im p o rta n ce as e p ith a la m ia l ex am p les.
When we compare th e w edding songs i n th e E liz a b e th a n
p e r io d w ith th e .tw o so n g s from th e Old T estam ent we
im m ed ia tely n o tic e a d e c id e d l i t e r a r y te n d en cy i n th e
E liz a b e th a n s o n g s .
T his developm ent was d u e , a g a in , to
L a tin i n f l u e n c e , and had begun s e v e r a l c e n tu r ie s e a r l i e r
’ ;
. . , 18
■
'
i n th e works o f S t a t i u s .
The m a te r ia l was e x te n d e d to
r e f e r n o t o n ly to th e w edding n i g h t , b u t a ls o to th e e n t i r e
day and even to th e tim e im m ed ia tely f o llo w in g .
1 8 . C ase. U. a . .
E n g lis h E p ith a la m ie s . p . x l i i .
The p r a is e s
10
o f th e "b rid al c o u p le , th e r e f l e c t i o n s upon th e "beauties
and jo y s o f m a r r ia g e , and th e e x p re s s io n o f good w ish e s
a p p r o p r ia te to th e o c c a s io n w ere r e t a i n e d ,
l i k e th e L a tin
and G reek e p ith a la m io n s , th e E n g lis h n u p t i a l songs were
u s u a l l y w r i t t e n in ho n o r o f a p a r t i c u l a r "b rid al p a i r .
\
A lthough t h e r e w ere E n g lis h poems a b o u tm a r r ia g e "before
th e R e n a is s a n c e , S i r P h i l i p S id n e y , as we have a lr e a d y n o te d ,
i s u s u a lly c r e d i t e d w ith h a v in g w r i t t e n th e f i r s t tr u e
e p ith a la m io n in E n g lis h .
The c h i e f co n cern o f t h i s song,
su n g "by D iscus a t th e m a rria g e o f T h y rs is and K ala i n th e
19
A rc a d ia (1 5 8 0 -8 1 ), i s th e f u t u r e wedded l i f e o f " th e h o n e s t
"bridegroom and th e "bashful " b rid e .”
To in s u r e t h a t th e
co u p le s h a l l ”lo n g t h e i r c o u p le d jo y s m a in ta in ” th e
s e r v i c e s o f M other E a r th , H eaven, th e M uses, - th e Hymphs,
P a n , V ir tu e , and Hymen a re in v o k e d .
T h is f i r s t example
d o es n o t have th e f i n e s s e w hich i s n o tic e a b le in l a t e r
E liz a b e th a n n u p t i a l s o n g s , b u t i s o f i n t e r e s t b ecau se i t
shows a p r e lim in a r y a t te m p t.
The second s ta n z a e x p re s s e s
th e s p i r i t o f th e so n g :
0 H eaven, aw ake! show f o r t h th y s t a t e l y f a c e ;
l e t n o t th e s e slu m b e rin g c lo u d s th y b e a u tie s h i d e ,
But w ith th y c h e e r f u l p re s e n c e h e lp to g ra c e
The h o n e s t b rid eg ro om and th e b a s h fu l b r i d e ;
Whose lo v e s may e v e r b i d e ,
L ike to an elm and v in e ,
W ith m u tu al em bracem ents them to tw in e ;
In w hich d e l i g h t f u l p a i n ,
...... 0 Hymen, lo n g t h e i r co u p led jo y s .m a in ta in I
1 9 . P o r a cony o f t h i s song se e A ppendix, p p . x x v iii - x x x .
11
O th er poems o f t h i s k in d soon ap p e a re d d u rin g th e
n e x t f i f t y y e a r s , a p e r io d d u r in g w hich th e b e s t e p i t h a la m io n s in E n g lis h w ere w r i t t e n .
Of p a r t i c u l a r i n t e r e s t a re
those hy Spenser, Epithalamion and Prothalamion. written in
1595 and 1596, r e s p e c t i v e l y ; and th o se hy Jo n so n —Masque o f
Hymen. The Hue and Cry a f t e r C upid, and E p ith a la m io n —
20
w r i t t e n in 1606, 1608, and 1633.
These f i v e poems
have
many s i m i l a r i t i e s and d if f e r e n c e s w hich w i l l he d is c u s s e d
in l a t e r c h a p te rs .
F ollo w in g th e s e f r u i t f u l y e a rs o f th e E liz a b e th a n
p e r i o d th e r e was a d e c lin e i n th e p o p u la r it y o f th e e p i t h a ­
la m io n in E n g lan d .
I t l o s t i t s a n c ie n t g en u in e song q u a l i t y
and i t s E liz a b e th a n l i t e r a r y c h a r a c t e r i s t i c and became i n
th e s e v e n te e n th c e n tu r y a mere c o n g r a tu la to r y p ie c e w r i t t e n
w ith l i t t l e f e e l i n g and o f te n w ith l e s s p o e t ic g r a c e .
These
s o - c a l l e d b r i d a l poems were "in v a d ed by p o l i t i c s and
21
g e n e ra litie s "
and som etim es ev en by s a t i r e . At tim e s th e y
w ere mere t r a n s l a t i o n s .
A cco rd in g to C a se, we must come w e ll in to th e n in e te e n th
c e n tu r y b e fo re we f i n d exam ples o f E n g lis h n u p t i a l poems
w hich a re a t a l l com parable to th o s e w r i t t e n d u rin g th e
E liz a b e th a n p e r io d .
He c a l l s o u r a t t e n t i o n to th e f o llo w in g :
S h e lle y ’ s B r id a l Song. Tennyson’ s c lo s in g s ta n z a s o f In
20. A copy o f S p en se r^ s E p ith a la m io n i s in C h a p ter i v . . ...
" Copies o f th e o th e r f o u r poems a r e i n th e A ppendix,
pp. v i- x ix .
2 1 . C ase, C. H ., oj3. o i t . . p . x l i .
12
Memorlam, G o sse 's E p ith a la m io n on V io l and F l u t e . and l e
G a llie n n e Ts E p ith a la m io n .
A f te r re a d in g th e more s c h o l a r l y
e p ith a la m io n s o f e a r l i e r c e n t u r i e s , vie n o te a te n d e n c y
to w ard s i m p l i c i t y i n th e s e l a t e r poems. T his i s p a r t i c u l a r 22
l y tr u e o f S h e lle y * s B rid a l Song.
V/ith c h a r a c t e r i s t i c
s k i l l and b r e v ity he e x p re s s e s h i s w ish f o r th e b r i d a l
p a ir:
- '
'
■.
\
The g o ld e n g a te s o f s le e p u n b a r
"
Where s t r e n g t h and b e a u ty , met to g e th e r ,
K in d le t h e i r image l i k e a s t a r
'
I n a s e a o f g la s s y w e a th e r!
:V " v .
.
•
In th e in g en u o u s poem by R ic h a rd l e G a llie n n e on th e
m a rria g e o f W illiam Faversham and J u l i e Opp we f i n d a n o th e r
example o f t h i s l a t e r t y p e .
I t i s q u ite d i f f e r e n t from
o t h e r e p ith a la m io n s in t h a t i t la c k s th e in g e n u ity u s u a l l y
a s s o c i a t e d w ith t h i s g e n re .
To have th e b r i d a l p a i r
c a l l e d "husband and w if e " i s an in n o v a tio n n o t f r e q u e n tly n o tic e d i n m a rria g e s o n g s :
Husband and w if e ! 0 happy, happy p a i r !
A u n io n so p e r f e c t t h a t i t seems
A f a b le d b l i s s , a m a rria g e made in d ream s,
A rain b o w s t r a n g e l y p a in te d on th e a i r .
A lth o u g h th e poem la c k s any e x p r e s s io n o f in te n s e em o tio n ,
y e t t h e r e i s in i t s f i n a l s ta n z a c o n s id e r a b le e m o tio n a l
a p p e a l:
Young k in g and queen, - p a s s to y o u r .p a la c e now;
P a ss i n and from y o u r happy windows gaze
22. F or a conv o f t h i s -poem see A p pendix, p . x x x i.
2 3. I b i d . , p . x x x i i .
13
A long y o u r s t a t e l y avenue o f d a y s ,
Survey th e s h in in g g ard en s o f y o u r p e a c e ,
And a l l th e f u tu r e f i l l i n g w ith in c r e a s e
Of g a rn e re d jo y , and p ro sp e ro u s w ith p r a i s e The lo n g sw eet r ip e n in g o f y o u r m a rria g e vow.
A ltho u g h th e number o f e p ith a la m io n s d is c u s s e d i n t h i s
s tu d y o f th e t r u l y n o ta b le e p ith a lm io n s in G reek, L a ti n ,
and E n g lis h l i t e r a t u r e i s by no means e x t e n s i v e , a c q u a in ­
ta n c e w ith them p ro v id e s a background f o r a more in te n s iv e
s tu d y o f th e n u p t i a l songs o f Edmund S p en se r and Ben
Jo n so n .
We n o te t h a t th e two h ig h p o in ts in e p ith a la m ic
h i s t o r y a re th e s e v e r a l c e n t u r i e s b e fo re C h r is t , i n th e
d ay s o f Sappho, T h e o c r itu s , C a tu llu s , and th e p s a l m i s t s ;
and th e E n g lis h R e n a is s a n c e , w hich p ro d u ced th e e p i t h a l a ­
m ions o f S id n e y , Jo n so n , and S p e n se r.
M ention was, made o f
th e poems o f th e n in e te e n th c e n tu ry p a r t l y b ecau se o f t h e i r
own i n t r i n s i c i n t e r e s t , b u t c h i e f l y b e c a u se , by c o n t r a s t ,
th e y in c r e a s e o u r a p p r e c ia t io n o f th e m a rria g e hymns by th e
a n c i e n t s , th e p s a l m i s t s , and th e E liz a b e th a n s .
CHAPTER I I
. THE POETIC PURPOSES OF SPEHSER AHD JOHSON
I n th is - c o m p a r a tiv e s tu d y o f th e e p ith alam io n - o f
S p e n se r and Jo n so n we a re co n c ern ed f i r s t o f a l l w ith th e
p o e t i c p u rp o se s o f th e s e two a u t h o r s .
S p e n se r, Jen so n * s
p r e d e c e s s o r hy ab o u t tw en ty -o n e y e a r s , w i l l be c o n s id e re d
firs t.
_
He had a h ig h e r p o e t ic o b je c ti v e th a n m ost o f h i s con­
te m p o ra rie s .
Many•s c h o la r s i n E liz a b e th a n E n g lan d , to be
s u r e , e n d e a v o re d .to p e r f e c t t h e i r own work by fo llo w in g
Greek and .Roman m o d e ls.
They re c o g n iz e d th e v a l u e . i n th e
th e o r y o f th e n e w -p o e try : " to c u l t i v a t e th e m other to ngue
by th e im p o r ta tio n o f th e b e s t le a r n in g and t h e •i m i t a t i o n
1
of the best models, wherever these.are to be found."
S p e n s e r, how ever, p ro p o sed to c r e a te a new s t y l e i n E n g lis h
p o e t r y t h a t w ould cau se i t to ra n k h ig h i n th e w o rld ’s
lite ra tu re .
He was d e te rm in e d "to prove h i s m other to n g u e
capable and himself a master."
Although he did not hesitate
to imitate many models, especially the Italian, he did
su c c e e d in m aking h i s work "so g l o r i o u s l y h i s own t h a t no
8
r e a d e r o f h i s e v e r th in k s o f th o s e m odels a s p r im a r y ." 12
1 . Renw ick, W. L . , Edmund S p en se r - An E ssay on R e n aissan c e
P o e t r y , p . 29.
2 . W en d ell," B a r r e t t , The Temper o f th e S e v e n te e n th C entury
in E n g lis h L i t e r a t u r e , p . 135.
15
G ro s a rt h o ld s t h a t i t was " S p e n se r’s m o d esty , n o t h i s n eed
.■
3
•t h a t made him "borrow."
To c a r r y on th e t a s k begun by
Chaucer o f making la n g u a g e , s t y l e , and v e rs e harm onize w ith
t h e c l a s s i c a l and f o r e ig n a r t was a p u rp o se t r u l y w o rth y o f
S p e n s e r’ s g e n iu s .
”He w o u ld , l i k e Du B e lla y , l i f t th e
4
v e r n a c u la r from th e d u s t . "
Many f a c t o r s f i t t e d him f o r t h i s im p o rta n t w ork.
H is
n a t u r a l endowments, h i s 's c h o o l i n g , h i s em ploym ent, th e age
i n w hich he l i v e d , and above a l l e l s e h i s s c h o la r s h ip con­
t r i b u t e d to th e su c c e s s o f h i s h ig h p o e tic p u rp o se ,
lo v e
f o r b e a u ty and en durance o f th e many d isa p p o in tm e n ts o f h i s
l i f e drove him to se e k r e l i e f i n th e w o rld o f th e im ag in a­
tio n .
S p e n s e r’s s e n s i t i v e , lo v in g n a tu r e made him a
re s p o n s iv e p o e t ic in s tr u m e n t.
H is a p p e a ra n c e , as le g o u is
d e s c r ib e s i t , was an in d e x to h i s a r t i s t i c tem p eram en t:
"A s l i g h t f i g u r e , surm ounted by a f in e h e a d . . .
H is fa c e b o re e v e ry mark o f r e f in e m e n t, w ith i t s
l o f t y , b a c k w a rd -slo p in g fo re h e a d , i t s t h i n m o b ile
l i p s , g r e y - b lu e e y e s , au b u rn h a i r and p o in te d
b e a rd ." 5
B r i e f l y , he was a "nob le-m in d ed R en aissan ce s c h o la r , i n 6
f i n i t e l y s u s c e p t i b l e to lo v e and b e a u ty ."
S p e n s e r’ s s c h o o lin g was n o t se c u re d e a s i l y .
A lth o u g h
he r e c e iv e d an a llo w a n c e , and f r e q u e n t a d d i tio n s o f " s ic k S
.6
S . G ro s a rt, A. B ., The Complete Works in Verse and Prose"
- o f Edmund S p e n s e r, Vol. I . , p . 281.
4 . le g o u i s , E m ile, S p e n s e r, p . 52.
5. Ib id .. p. 1.
6 . T E Id. , p . 23 .
16
p a y ," from R o b ert N e w e ll's fu n d , he was n o t p a r t i c u l a r l y
-y '' •
w e ll to do.
In 1569 he was a d m itte d a s s i z a r a t Pembroke
H a ll , Cam bridge. R ecords show t h a t he r e c e iv e d h i s B. A.
•'
'
....... g
-.
d e g re e an d , in 1576, h i s M. A. d e g r e e .
He was f o r tu n a te
i n m a tr i c u la tin g a t Pembroke H a ll and p a r t i c u l a r l y b le s s e d
in h a v in g G a b rie l H arvey f o r a f r i e n d .
S p e n s e r's s e n io r by
s i x o r sev en y e a r s , H arvey assum ed an im p o rta n t r e s p o n s i b i l ­
i t y in g iv in g a d v ic e f r e e l y to th e young p o e t .
In h is
l e t t e r s o f 1580 he a d v is e d : "We must n o t. b l i n d l y fo llo w
C la s s ic p r e c e d e n t."
T his id e a was e x p re s s e d a ls o in
M u lc a s te r 's E le m e n ta rie where he s a y s , " I lo v e Rome. b u t
London b e t t e r . I f a v o r I t a l i e , b u t E ngland m ore. I ho n o r th e
l a t i n . b u t I w o rsh ip th e E n g l i s h . "
P a r t l y b ecau se o f h is
t r a i n i n g , S p en ser e x e m p lifie d th e s e s ta te m e n ts i n h is
p o e t ic o b j e c t i v e s .
.P erh ap s no s i n g l e e v e n t in S p e n s e r's l i f e h ad such a
f a r re a c h in g in f lu e n c e as h i s p o l i t i c a l b an ish m en t t o
I r e l a n d , E n g la n d 's " c o o lin g c a r d . "
Greenlaw s t a t e s t h a t
i t was S p e n s e r 's " c o n n e c tio n w ith L e ic e s t e r w hich cau sed
11
h i s e x i l e to I r e la n d "
and c o n c lu d e s t h a t t h i s was " h ig h ly
f o r t u n a t e f o r th e h i s t o r y o f E n g lis h l i t e r a t u r e . "
A lth o u g h
much h a s been w r i t t e n w ith r e g a r d to S p e n s e r's o f f i c i a l
d u t i e s and a c t u a l d i f f i c u l t i e s in I r e l a n d , G ro s a rt h a z a rd s
7 . J o n e s . H. S . V .. A S p en ser Handbook, p . 21.
8 . F le a y , F . G ., A Guide to C haucer and S p e n s e r, p . 75;
9 . Ormond, T. S . , E n g lis h ~ ~ E e tris ts , p . 10.
1 0 . Renwick, A. B .,o £ . c i t . , p . 1 8 .
1 1 . G reenlaw , Edwin, 'S tu d ie s in S u e n s e r's H i s t o r i c a l A lle g o r y ,
P . 132.
17
t h a t th e p o e t must have had " la r g e l e i s u r e "
upon h i s l i t e r a r y e n d e a v o rs .
a c tu a l c o u r t l i f e
to sp en d
Removed i n t h i s way from th e
snd p o l i t i c a l i n t r i g u e s o f E n g lan d ,
S p en ser g a in e d a p e r s p e c tiv e w hich e n a b le d him to w r ite
p o e try p re g n a n t w ith a l l e g o r i c a l p i c t u r e s o f th e f o i b l e s
o f h is a g e .
T his banishm ent to K ileolm an C a s tle a s s e c r e t a r y
t o l o r d G rey ,m o reo v er, b ro u g h t ab o u t th e p o e t 1s m eetin g w ith
E liz a b e th B o y le.
Because he l a t e r hon o red h e r w ith h i s
g r e a t w edding o d e, t h i s m eetin g was im p o rta n t from an e p i th a la m ia l s t a n d p o in t.
. : . . :
" T h e freedom o f S p e n s e r's Age—a p e r io d marked by an
" e n d le s s d i v e r s i t y o f f o r c e s . . . s t r u g g l i n g to w ard m a n if e s ta ­
t i o n ; m u ltitu d in o u s v o i c e s . . . s t r i v i n g s tr e n u o u s ly to a r t i c u l a t e ; and m ighty im p u lse s s t i r r i n g th e n a t i o n " — a id e d h i s
p o e t ic p u rp o s e .
Such a c h a o tic p e r io d w ould encourage
f l e x i b i l i t y in a l l ty p e s o f th o u g h t.
E x p erim en ts c o u ld be
made w ith o u t a t t r a c t i n g an u n n e c e s s a ry amount o f a t t e n t i o n .
S p e n se r was in l i t t l e need o f t h i s en co u rag em en t, b u t h is
Age d id h e lp him t o a s s e r t f o r h im s e lf " th e r i g h t o f an
o r i g i n a l g e n iu s to g iv e h i s own m essage, i n h i s own s e l f . . . 14
ch o sen fo rm , and i n h i s m o th e r-1 o n g u e." *
A lthoug h he i s p r im a r il y remembered as th e a u th o r o f
th e F a ir y Queen, t h i s s tu d y i s p a r t i c u l a r l y co n cern ed w ith
1 2 . G r o s a r t, A. B .,
1 3 . I b i d . , p . 280.
14. T H d .
"
o p . - c i t . , p . 144.
’ ''
'
‘
18
h i s purp o se i n w r i t i n g h i s e p ith a la m io n s , b r i l l i a n t
exam ples o f h is e f f o r t to show th e f l e x i b i l i t y and power
o f h i s own v e r n a c u la r i n f o llo w in g th e a n c ie n t m odels. '
A p a rt from t h i s i d e a l , he had a tw o fo ld p u rp o se i n w r i t i n g
th e E p ith a la m io n an d th e P ro th a la m io n .
The one was a u to ­
b io g r a p h ic a l, and th e o th e r was l i t e r a r y .
The E p ith a la m io n V a g r e a t w edding ode w hich h as been
c a l l e d "th e f i n e s t c o m p o sitio n o f i t s k i n d ," was p r e s e n te d
by S p en se r to h i s b r i d e , E liz a b e th B o y le , " in l i e u o f many
o rn a m e n ts." T his poem and th e A m o retti have "been f i g u r a .
-.
•: ,
15............
t i v e l y c a l l e d " th e s i l v e r lamp o f t w i n - l i g h t s "
w hich
g u id e s us to an u n d e rs ta n d in g o f S p e n s e r's c o u r ts h i p .
• ...
. 16 '
F o rtu n e had made him a p a i n t e r i n v e r s e ,
an d so i t was
b u t n a t u r a l t h a t he sh o u ld choose to p a i n t v e r b a l l y an
o c c a s io n a s im p o rta n t as h i s own w edding d ay .
I f one f e e l s
t h a t th e r e i s la c k o f m odesty i n such a s e l e c t i o n he has
b u t to remember th e p e r io d i n w hich th e poem was w r i t t e n .
W ilso n s u g g e s ts t h i s e x p l a n a t io n :
"No p o e t i n o u r r e f i n e d - - o u r d e l i c a t e age-—
c o u ld w r i t e h i s own m arriage-hym en o f th a n k s ­
g i v i n g . . . But S p en ser l i v e d in a s tr o n g a g e . And
had he been s i l e n t , he w ould have f e l t t h a t he
wronged Hymen a s w e ll a s th e M uses." 17
A lth o u g h th e poem p a i n t s a h ig h ly im a g in a tiv e p i c t u r e , i t
h as s e rv e d i t s a u t h o r 's p u rp o se to p ro v in g to
1 5 . G ro s a r t, A. B . ,
1 6 . l e g o u i s , E m ile ,
1 7 . .dr os a r t , A. B . ,
I b i d . . 246.
op. c i t . , p . 96 .
ojd . c i t . ,
p . 196.
19
.
Be u n to h e r a g o o d ly ornam ent
And f o r s h o r t tim e an e n d le s s m onim ent.
H is p u rp o se i n w r i t i n g th e P ro th a la m io n was to commem­
o r a t e th e double m a rria g e a t E ssex House o f la d y E liz a b e th
and la d y K a th e rin e S o m e rse t, d a u g h te rs o f Edward S o m e rse t,
to M aster H enry G ilf o r d and M a ste r W illiam P e t e r .
A lth o u g h
i t h as i t s s tr o n g p o i n t s , n o ta b ly " th e d e l i c a t e management
o f th e r e f r a i n ? w hich S a in ts b u ry th in k s i s even more
b e a u t i f u l th a n th e E p ith a la m io n , i t i s c l e a r t h a t S p en se r
d i d n o t in te n d to w r ite a p ie c e o f su ch le n g th a n d .s c h o la r ly
c h a r a c te r a s h i s own n u p t i a l poem.
H is p u rp o se was to pay
a lo v e ly com plim ent to th e g ra c e and b e a u ty o f two young
l a d i e s upon th e o c c a s io n o f t h e i r w eddings r a t h e r th a n to
e r e c t f o r them an " e n d le s s m onim ent, "
In c o n t r a s t t o S p e n se r, " th e v i n d i c a t o r o f n a tiv e
\ " '
18
.".
:
p r i n c i p l e s in p o e t r y , "
Jo n so n showed l i t t l e i n t e r e s t in
most o f th e n a t iv e form s o f l y r i c s .
H is c h i e f p u rp o se was
t o show E n g lis h l i t e r a t u r e " c e r t a i n k in d s o f l y r i c i n w hich
\
.
■
■
19
a n t i q u i t y had done im m o rtal t h i n g s . "
I n w r i t i n g he w orked
f o r " b r e v it y , t e r s e n e s s , and e m p h a s is ."
The p o e tic form
was n o t so v i t a l to him as i t was to S p e n s e r.
i n t e r e s t e d i n th e message and th e c o n t e n t .
He was more
H is w e ll known
rem ark t h a t "he o b je c ts to s ta n z a s b ecau se th e y i n t e r r u p t
1 8 . S c h i l l i n g , P e l i x , P o e tic and Verse C r i t i c i s m . V ol. I .
p . 92.
■
.
"
1 9 . H e rfo rd , C. H ., and Sim pson, P e rc y , Ben J o n s o n . V ol.
I I , p . 339.
20
20
th e flo w o f th o u g h t a t th e wrong p l a c e s n
f e l t upon th e p o i n t .
shows how he
H is d e v o tio n to drama and e s p e c i a l l y
t o th e masque was h i s g r e a t e s t i n t e r e s t , b u t he d id h e lp
E n g lis h p o e tr y to w ard s a " v i t a l s i m p l i c i t y and d ir e c tn e s s
21
o f s p e e c h .,T
H e rfo rd h as sum m arized J o n s o n 's p o e t ic '
p u rp o se in t h i s t e l l i n g p a s s a g e :
H e ...s t o o d f o r a r e v o l u t i o n i n p o e tr y . He
c h a lle n g e d th e supreme p o e t o f th e p re v io u s
g e n e r a t i o n , S p e n se r. He s to o d f o r a m a scu lin e
s p i r i t in p o e t r y , w e ig h ty , p re g n a n t, c o n c e n tr a te d ,
a g a in s t a p o e tr y o f f a c i l e m elody, and m e ltin g
p h r a s e . He so u g h t to e n la r g e th e i n t e l l e c t u a l
compass o f p o e tr y , to ch a rg e i t w ith more i n ­
s i s t e n t th o u g h t, to b r in g i t in to more in tim a te
r e l a t i o n w ith k n o w ledge. 22
To u n d e rs ta n d why he was e s s e n t i a l l y d i f f e r e n t from
S p e n se r one has b u t to c o n s id e r th e f a c t o r s w hich shap ed
h i s p o e t ic o b j e c t i v e s .
A lth o u g h b o th p o e ts a r e th o u g h t o f
a s E liz a b e th a n s , remember t h a t Jo n so n was b u t e ig h t y e a rs
o ld when S p en se r l e f t E ngland to taJce up h i s new assig n m en t
a s s e c r e t a r y t o l o r d G rey.
D uring th e y e a rs , t h a t S p en ser
s p e n t in co m p arativ e r e tir e m e n t in I r e l a n d , Jo n so n was j u s t
grow ing i n t o manhood.
H is m a tu re r y e a rs w ere sp e n t in th e
e x c ite m e n t o f th e c o u r t and th e s ta g e .
He owed many o f h i s
" p l e a s a n t e s t s o c i a l c o n n e c tio n s and much o f h i s p r o f e s s io n a l
s u c c e s s " to h i s l i f e a t c o u r t.
W hile S p en se r had been
f o r c e d to e a rn h i s l i v e l i h o o d as a s e c r e t a r y , Jo n so n upon
2 0 . Dunn, Cloudman E s th e r ,
Hen J o n s o n 's A r t , p . 89l
op. c i t . , p . 412.
2 1 . H e rfo rd , C. H . , and ..Simpson, P e rc y ,
22. I b i d ., p . 411.
21
th e a c c e s s io n o f James I "became th e r e c i p i e n t o f v a r io u s
em ploym ents, h o n o rs ,' and e v e n tu a lly a p e n s io n from th e c o u r t .
C o n tra s t Jonson ta s k in g in th e c o n v iv ia l atm osphere o f a
ta v e r n w ith S p en ser in co m p arativ e s o li tu d e among th e
b e a u tie s o f th e I r i s h m oors.
So c h a r a c t e r i s t i c a r e th e s e
p i c t u r e s t h a t i t w ould be as d i f f i c u l t to im agine th e
s l i g h t , r e f in e d f ig u r e o f S p e n se r among th e r e v e l r i e s o f
Mermaid T avern a s to v i s i o n th e b o i s t e r o u s , f u n - lo v in g
Jo n so n s e c lu d e d f o r lo n g w ith in th e q u ie t w a lls o f
K ilco lm an C a s tle .
Jo n so n 1s e d u c a tio n f i t t e d him f o r h i s c l a s s i c a l p o e t ic
p u rp o s e .
H is e a r l y t r a i n i n g was c a re d f o r by h i s s t e p ­
f a t h e r , who s e n t him to a p r i v a t e sc h o o l a t S t , M a rtin ’ s in -th e -F ie ld s .
l a t e r , th ro u g h th e g e n e r o s ity o f a f r i e n d ,
he was a b le to go to W e stm in ste r.
F o r tu n a te l y , as a
young s tu d e n t he came u n d e r th e in f lu e n c e o f th e g r e a t
s c h o la r W illiam Camden, who h e lp e d to make him ’’th e most
: ■ 23
le a r n e d p o e t o f h i s Age."
E x c e lle n t exam ples o f J o n s o n ’ s w r i t i n g ’’o u t o f th e
24
f u ln e s s and memory o f h i s fo rm er r e a d in g s " a r e h i s e p i t h a la m io n s .
H is c l a s s i c a l s tu d y , e s p e c i a l l y o f p a t u l l u s , and
h is d ra m a tic p r o p e n s ity a re c l e a r l y r e f l e c t e d in th e s e
th r e e so n g s.
As th e a n c ie n t e p ith a la m io n s clim ax ed th e
w edding cerem ony, so J o n so n ’ s n u p t i a l songs came a s con'53. yvmonds. John A d d in g to n , - Hen J o n s o n . p . 3 .
2 4 . Dunn, Cloudman E s th e r , o p . c i t . , p . 65.
22
e lu s io n s to h i s m asques.
An a r t i s t a t f a s h io n in g " th e s e
• ' 25
g l i t t e r i n g b u b b le s o f in v e n tio n ;',’' Jonson was n o t to o
much co n cern ed w ith m a tte r in th e s e p r o d u c tio n s ; he s tr o v e
more f o r t h e i r t r a n s i t o r y e f f e c t .
The f i r s t two o f h i s
n u p t i a l songs la c k e d th e p e r s o n a l se n tim e n t o f S p e n s e r1s
f i r s t one becau se th e y were p a r t o f th e s e p u b lic m asques.
F e e lin g i s a ls o a b s e n t from h i s t h i r d e p ith a la m io n , w r i t t e n
when he was to o o ld " to d e p i c t . th e p a s s io n he had ceased
; 26
k
to f e e l , i f in d e ed he e v e r h a d ."
J o n s o n 1s e p ith a la m io n s c o v e r a p e r io d o f tw e n ty -se v e n
y e a rs.
The f i r s t , d e s c r ib e d by Sm ith a s a " p ie c e o f i n 27
d i f f e r e n t q u a l i t y , " - was p r e s e n te d on Ja n u a ry 5, 1606, in
ho n o r o f th e m a rria g e o f Lady F ra n c e s Howard, in h e r
f o u r te e n th y e a r , to th e young E a r l o f E sse x .
P a r t o f th e
p erfo rm an ce c a l l e d th e Masque o f Hymen was g iv e n a t c o u rt
on th e e le v e n th and t w e l f t h n ig h ts a f t e r C h ristm a s.
Many
a d a p ta tio n s from C a t u l l u s 1 s i x t y - f i r s t Carmen a re n o te d in
t h i s p ie c e .
In h i s in tr o d u c t o r y n o te s Jons on added a
c h a r a c t e r i s t i c b i t when he e x p la in e d t h a t in th e a c tu a l"
p erfo rm an ce o n ly one s t a f f was sung, b u t t h a t s in c e he
w ro te th e e n t i r e p ie c e he was a t l e a s t g o in g to p r i n t a l l
of i t .
W ith t r u e Jo n so n ia n ego he does " h e a r t i l y f o r g iv e
28
t h e i r ig n o ra n c e whom i t c h a n c e th n o t to p l e a s e . "
p.fv.
26.
27.
2 8.
TTftrford. (J. H .. and Simpson. P e rc y , o p . c i t . . n . 266.
I b i d . , p . 405.
S m ith, G. G ., Ben J o n s o n . p . 158.
G if f o r d , W ., and Cunningham, F . , The Works o f Ben
Jo n so n , in n in e v o lu m e s, 7 :6 5 .
23
The masque c a lle d . The Hue and. Cry a f t e r Cupid., p rin te d .
i n 1608, co n clu d es w ith Jons on Ts second, n u p t i a l so n g .
H is
p u rp o se was to a s s i s t th e c e l e b r a t i o n o f th e m a rria g e o f
lo rd . H addin g to n w ith th e la d y E liz a b e th R a d c li f f e .
C ritic s
g r a n t some few b i t s , o f p r a i s e to t h i s e p ith a la m io n .
Sm ith
co n ced es t h a t i t "makes some amends f o r th e s t i f f n e s s o f
29
Ben’ s f i r s t n u p t i a l masque by i t s l y r i c a l q u a l i t y . ”
30
”S k i l l f u l l y c o n s tr u c te d and so n o ro u s s ta n z a s "
i s Symonds’
c h a ra c te riz a tio n .
I f th e s e
c r itic is m s a re a t le a s t
p a r t i a l l y tr u e th e n t h e p o e t ’ s p u rp o se o f w r i t i n g a f i t
t r i b u t e f o r t h i s happy w edding was a c c o m p lish e d .
In Underwoods - M isc e lla n e o u s Poems, s e l e c t i o n X C III,
we f i n d J o n so n ’ s f i n a l m a rria g e o d e , w r i t t e n when he was a .
veteran of sixty.
It is scarcely to be expected that this
p ie c e s h o u ld escap e th e c r i t i c i s m o f owing "more to th e
31
a r t i s t th a n to th e l o v e r . "
W ritte n in c e l e b r a t i o n o f th e
n u p t i a l s o f Hierome W eston w ith th e la d y F ra n ces S te w a r t,
th e poem shows two c h a r a c t e r i s t i c s o f Jo n so n , h is r e t a i n e d
m en tal pow ers and h i s c o n tin u e d i n t e r e s t in h i s w ide
c irc le of frie n d s .
A lthough h i s lo n g e r l y r i c s f a l l " s h o r t o f S p e n s e r’ s
h e a v e n ly m u s ic ," th e y do show many o f h i s p o e t ic c h a r a c t e r ­
i s t i c s and h i s e p i t h a l a n i a l p u r p o s e s .
B9. S m ith, G-. G-., op. c i t . , 1 5 8 .
3 0 . Symonds, J . A ., o p . c i t . , 129.
3 1 . H e rfo rd , C. H . , and Sim pson, P e rc y ,
The d if f e r e n c e s
op,, c i t . , p. 391.
24
n o te d above in th e p o e t ic p u r p o s e s , th e p e r s o n a l q u a l i t i e s ,
and th e l i v e s o f th e s e two g r e a t E liz a b e th a n s a r e shown i n
t h e i r n u p tia l so n g s.
The P la to n i c im agery o f S p en ser con­
t r a s t s w ith th e c o n c re te n a r r a t i v e o f Jo n so n .
Both p o e ts
u se d t h e i r v a s t s c h o la r s h ip to show th e p o s s i b i l i t i e s o f
th e v e r n a c u la r i n l y r i c p o e tr y o f t h i s g e n re , b u t th e
t r i b u t e f o r h a v in g w r i t t e n th e u ltim a te e p ith a la m ia l ex­
ample in E n g lis h l i t e r a t u r e must go to. S p e n se r.
I t was
a s though he had re c o g n iz e d h i s as th e most p e r f e c t E n g lis h
n u p t i a l poem when he named i t E p ith a la m io n .
CHAPTER I I I
THE CATULLIAU FORMULA IN THE
EPITHALAMIONS OF SPENSER AHD JONSON
What P e tr a r c h was to" th e s o n n e t, C a tu llu s was t o ' t he
e p ith a la m io n o f E llz a h e t h a n ’E n g la n d .
H is form ula f o r
w r i tin g n u p t i a l songs hecame su ch an e s s e n t i a l p a r t o f
1
p o e t ic t r a d i t i o n t h a t h i s ' in f lu e n c e i s a p p a re n t i n m o s t
2
o f th e E n g lis h w edding o d e s .
Many p o e ts d is c o v e re d a
fo u n ta in h e a d o f i n s p i r a t i o n i n h i s "lo n g and charm ing e p i 3
th a la m io n j" ~the s i x t y - f i r s t Carmen. The p u rp o se o f t h i s
c h a p te r i s to summ arize what i s m eant by th e C a t u l l i a n .
form ula and to co m p are.th e e x t e n t o f i t s in f lu e n c e upon
the m a rria g e so n g s o f S p e n se r and o f Jons on.
The C a t u l l i a n fo rm u la may he fo llo w e d in two w ays.
A
p o e t may u se th e g e n e ra l p la n o f arran g em en t found in the
s i x t y - f i r s t Carmen, o r he may so c lo s e ly i m i ta t e th e id e a s
found t h e r e in t h a t h is work h as many s i m i l a r i t i e s .
C a tu ll u s ,
h im s e lf, p ro b a b ly ’’e i t h e r s e t o r fo llo w ed th e f a s h io n o f
h is tim e ."
E l l i s b e lie v e s t h a t he was f a m i l i a r w ith the
4
e x ta n t fra g m e n ts from Sappho’s l o s t book o f e p ith a la m io n s . 1234
1. Emperor, J . B ., The C a tu llia n I n f lu e nce in E n g lis h
L y ric P o e tr y . C irc a 1 6 C 0-165^ 3 ;1 5 .
2 . Moorman, F. W ., i n The C am bridge.H is to r y o f E n g lish
lite ra tu re , 7:3..
3 . Munro, H. A. J . , C r itic is m s and E lu c id a tio n s o f
C a tu llu s , p . 134.
4 . E l l i s , R o b in scn , A Commentary on C a t u l l u s . p . 208 f f .
26
The "b e lief t h a t h i s poems m ish t have "been.mere L a tin t r a n s ­
l a t i o n s o f h e r work i s p re c lu d e d , how ever, "by t h e i r many
5
d i s t i n c t l y R o m a n .c h a r a c te r is tic s .
W hatever h is s o u rc e may
have b ee n , C a tu llu s e s ta b li s h e d a d e f i n i t e s e t o f conven­
t io n s when he w rote h i s n u p t i a l sons;.
When a p o e t fo llo w s
th e s e he i s u s in g th e ”C a tu I lia n f o r m u la .”
The f i r s t f a c t n o tic e d in re a d in g th e s i x t y - f i r s t
Carmen is t h a t i t i s o c c a s io n a l.
In a l e t t e r to M an liu s,
th e bridegroom i n th e song, C a tu llu s in d i c a t e s t h a t th e
6
w edding was to o ccu r so o n .
The m a rria g e o f M an liu s, whose
f a t h e r had been c o n s u l i n 66 B. C ., was an im p o rta n t e v e n t♦
To make h is song v ery p e r s o n a l th e p o e t u se d th e names of
th e couple in t h i s way:
/
, /
For now s h a l l Y in ia wed w ith M a n liu s, V in ia a s f a i r a s V e n u s ...
(6 1 .1 6 -1 7 )
7
Not to youj A u ru n c u le ia , i s th e re d an g er t h a t any
f a i r e r woman s h a l l se e th e b r ig h t d a y . ..( 6 1 .8 6 - 8 8 )
May he be l i k e h is f a t h e r M a n l i u s . . . (6 1 .2 1 7 -8 )
S in ce th e song was n o t to be sung a t th e a c t u a l w edding,
t h i s b io g r a p h ic a l to u c h was a p p r o p r ia te .
w ould p r i z e t h e i r f r i e n d ’ s g i f t more
The happy couple
h i g h l y b e c a u se o f
t h i s added d i s t i n c t i o n .
8
The exordium
(6 1 .1 -3 0 ) e s t a b l i s h e s th e atm o sp h ere 5678
5. F ran k , Tenney, C a tu llu s and H orace, p . 5 4 .
6. I b i d .
.. .
7. Throughout th e t h e s i s 61 w i l l sta n d f o r t h e s i x t y - f i r s t
. Carmen and th e num bers fo llo w in g w i l l be th e a p p r o x i­
mate l i n e i n the L a tin poem. For a copy o f C o rn is h ’s
v e r s io n se e A ppendix, p p . x x i i i - x x v i .
8. E l l i s , R obinson, op. o i t . . p . 209.
27
f o r th e so n g .
Many s ta g e d i r e c t i o n s a r e g iv e n and th e
s in g in g of th e r e f r a i n 0 Hymen Hymenaens i s begun i n o r d e r
t h a t e v e ry th in g s h a l l be i n r e a d in e s s when th e b r id e com es.
Such a n im p o rta n t w edding c o a id n o t be c e le b r a te d w ith o u t
in v o k in g th e a s s i s t a n c e of Hymen and Venus and p r a i s i n g th e
b e a u ty o f th e b r id e .
To e u lo g iz e V in ia 's p e r f e c t io n s was
to ccm plim ent th e t a s t e and good f o r tu n e o f M a n liu s.
was m odest (6 1 .7 9 ), c h a s te ,
a fa c e " l i k e a
Venus" ( 6 1 .1 8 ) .
She
(6 1 .2 2 2 ), n o b le (6 1 .2 2 6 ), w ith
w h ite d a is y " (6 1 .1 9 0 ), and a s " f a i r as
Her bosom was s o f t (6 1 .1 0 1 ), h e r w h ite f o o t
(6 1 .1 1 0 ) c la d i n g o ld (6 1 .1 6 3 ).
For th e perfum ed (6 1 .1 3 7 )
M a n liu s, who i n h is " r ic h and m ig h ty " house (6 1 .1 5 2 ^3 )
e a g e r ly (6 1 .1 6 9 ) aw a ite d h e r coming, she was t r u l y a lo v e ly
b rid e .
Many Roman custom s a r e r e f l e c t e d in t h e poem.
The
l i n e "Thou who b e a r e s t away th e te n d e r mafd to h e r b r i d e ­
groom" (6 1 .3 ) r e c a l l s th e p r a c t i c e of c a r r y in g o f f the
b r id e a s o b serv ed by many o f Romulus * w a r r i o r s .
The ch o ic e
o f a jo y f u l day and the " a llu s io n s to the manus by w hich th e
w ife p assed in to h e r husband *s power" a r e lik e w is e s u g g e s t­
io n s of l o c a l cu sto m s.
"The m e rry F escen n in e j e s t i n g "
(6 1 .1 2 4 ), th e l i f t i n g o f th e b r id e a c ro s s th e th r e s h o ld o f
h e r new home (6 1 .1 6 2 ), and th e "h o n e st m a tro n s" (6 1 .1 8 2 )
a t te n d i n g h e r when she i s p la c e d upon h e r m a rria g e couch
a r e o th e r ex p ected r i t u a l s .
The o b serv an ce o f th e s e custom s
g iv e s th e song a Roman atm o sp h ere in s p i t e o f i t s Greek
28
9
m e te r .
C a tu llu s e x p re s s e s h is hope f o r a " l i t t l e T o r-
q u a tu s , s t r e t c h i n g h is hahy h a n d . from h i s m o th e r 's la p "
(6 1 .2 1 2 ).
The w ish t h a t th e co u p le may have a lo n g l i f e i s
supplem ented a t th e c o n c lu s io n o f th e song w ith th e hope t h a t
they w i l l have many wedded jo y s .
T h is s k e tc h o f h i s so ng shows th e co n v e n tio n s which
C a tu llu s fo llo w e d .
His tre a tm e n t o f each p a r t .of th e song
-
* •
_
■
i s so b r i e f t h a t th e p a ra p h ra se d form re a d s lik e an e p ito m e .
But we r e a d i l y 'n o t e h i s e p ith a la m ia l fo rm u la »
A m a rria g e
song w hich fo llo w ed h is p re c e d e n t would be w r i t t e n i n honor
o f th e a p p ro a c h in g m a rria g e o f a s p e c i f i c c o u p le, b u t i t
would n o t be sung a t th e a c tu a l cerem ony.
I t would c o n ta in
a r e f r a i n , a l a v i s h d e s c r i p t i o n of th e b r id e , and some
r e f e r e n c e t o th e b r i d a l p a r t y .
S e v e ra l exam ples o f a n c ie n t
and l o c a l n u p t i a l custom s would be in c lu d e d ,
A w ish f o r a
,Tl i t t i e Tor qua t u s " and a hope f o r a lo n g happy l i f e f o r th e
couple would p ro b a b ly co n c lu d e th e so n g .
These c o n v e n tio n s
a re used a s a b a s is f o r com parison when we c o n s id e r how a
p o e t has fo llo w ed th e C a tu llia n form ulae
We m ig h t n a t u r a l l y
e x p e c t th a t c e n tu r ie s upon c e n tu r ie s of p o e t ic t r a d i t i o n
would make l a t e r e p ith a la m io n s w r i t t e n i n a n o th e r la n g u ag e
and in a n o th e r c o u n try v a s t l y d i f f e r e n t from t h i s e a r l y
Roman’s m arriag e, so n g .
We s h a l l now se e w h eth er the 910
9. J S liis , R obinson, op c i t . , p . 209.
“
10. C o rn ish , P . W., C a tu llu s T ib u llu s and P erv ie-iliu m
V e n e ris , p p . 6 9 -8 5 .
—
—
10
29
e p ith a la m io n s o f th e two E liz a b e th a n s in g e r s were v a s t l y
d i f f e r e n t from t h a t of C a tu llu s o r w h eth e r th e y :
Tuned to th e h ig h e s t key o f a n c ie n t Rome,
R e tu rn (ed) a l l h e r m usic w ith ( t h e i r ) own. 11
' " 12 As was s p e c i f i c a l l y n o te d i n C h a p ter I I ,
a l l f iv e
E liz a b e th a n e p ith a la m io n s were w r i t t e n to c e le b r a t e th e
w eddings o f a c t u a l c o u p le s .
The a d d i t i o n a l c h a r a c t e r i s t i c
t h a t th e y were n o t r e a l l y sung a t th e w edding f e s t i v a l makes
them C a tu llia n i n the f i r s t c o n v e n tio n s .
The exordium i n th e s i x t y - f i r s t Carmen i s p a r a l l e l e d
i n S p e n s e r’s e x c e ll e n t i n t r o d u c t i o n to h i s E p ith a la m io n .
With m a je s tic s tr o k e s he s e t s th e atm osphere f o r h i s ode.
C o u n tless d i r e c t i o n s a r e g iv e n b e fo re th e b r id e i s aw akened.
A ll m ust be in r e a d in e s s f o r t h i s masque o f Hymen b e fo re th e
le a d in g c h a r a c te r a r i s e s from h e r s lu m b e rs .
The k ey n o te o f
th e joyous song is sounded i n th e g lo r io u s r e f r a i n w hich
S p en se r b e g in s :
That a l l the woods may an sw er, and h is echo r i n g .
With i n c r e a s in g e f f e c t t h i s v a r ie d r e f r a i n g a in s momentum
u n t i l a f t e r the w edding and th e p u b lic f e s t i v i t i e s , when i t
su d d e n ly s l i p s in to a m inor key and
The woods no more s h a l l answ er, n o r y o u r echo
rin g .
(314) 13
11. H a rrin g to n , E . p . , C a tu llu s and h is I n f lu e n c e , p . 162.
12. C h ap ter I I , p p . 1 7 ,1 8 ,2 1 ,2 2 .
13. Numbers c i t e d in t h i s way r e f e r to th e l i n e in th e poem
m en tio n e d .
30
14
"T h at v i t a l r e q u i s i t e , . ♦ .u n ity "
w hich we f in d i n t h i s
poem i s p a r t l y th e r e s u l t o f th e p o e t ’s s k i l l f u l u se o f
t h i s d e v ic e , which h e lp s to b in d th e s e v e r a l s ta n z a s i n t o
15
a whole poem.
. " M e lo d io u s n e s s ...s o e s s e n t i a l to and so i n 16
s e p a ra b le from a l l v e r s e t h a t i s p o e try " i s a l s o g ain ed by
t h i s c l e v e r employment o f th e r e f r a i n .
The same im p o rta n t
e f f e c t s a re a c h ie v e d by S p e n se r i n h is seco n d n u p t i a l song,
th e P ro th a la m io n ;
A f te r ea ch o f th e te n s ta n z a s he r e p e a ts
the f o llo w in g r e f r a i n w ith v e ry s l i g h t v a r i a t i o n s :
A g a in s t th e b r i d a l d a y , w hich i s n o t lo n g : (17)
Sweet Thames, run s o f t l y t i l l I, end my song.
A lthough o u r E liz a b e th a n " p a i n t e r , i n v e rs e " m en tio n s
n e i t h e r h i s own: name n o r t h a t of- h is b r id e we a r e l e f t in no
doubt as to th e i d e n t i t y o f th e co u p le m ean t.
T aking
s e p a r a te ly , th e th r e e dozen o r so l i n e s w hich c o n ta in th e
p e rs o n a l pronouns I , my, me, u s , and we, one may e a s i l y
fo llo w th e e v e n ts o f th e e n t i r e w edding d ay .
Not t h a t
S p en ser h a s s p o ile d h is ode by to o much p e r s o n a l r e f e r e n c e .
In f a c t he h as .been extrem ely c a r e f u l upon t h i s p o i n t .
Most
o f th e i n t e r e s t o f th e poem i s c e n te re d in h i s " t r u e s t t u r t l e dove" (2 4 ), h i s " b e a u t i f u l e s t b r id e " (1 0 5 ).
C le a r ly
he s t a t e s h is p u rp o s e : .
1 4 . P r i t c h a r d , F . H . , T ra in in g in L i t e r a r y A p p re c ia tio n .
p . 8. S ta te m e n t made by E dgar A lla n P oe.
1 5 . I b i d . , p . 6.
1 6 . A u s tin , A lf re d ,
In Q u a r te r ly Review 210 (1 9 0 9 ), p . 409.
"The E s s e n t i a l s o f G re at P o e tr y " , p p . 4 0 8 -4 2 8 .
31
Help me m ine own l o v e ’s p r a i s e s to re so u n d ;
(14)
He l e t th e same o f any he en v ied ;
So Orpheus d id f o r h i s won b r id e .
So I unto m y s e lf a lo n e w i l l s in g ;
The woods s h a l l to me an sw er, and my echo r i n g .
The o c c a s io n a l and p e r s o n a l elem en t in h i s second b r i d a l
song i s n o t so s t r o n g l y s t r e s s e d .
We a r e to im agine th e
p o e t s i t t i n g upon a bank o f th e Thames, e n jo y in g a b e a u t i f u l
scene in v/hich he s e e s :
." : ■
‘ :
. . . . . . . . . . Two swans o f g o o d ly hew • (3 7 -8 )
Come s o f t l y swimming down a lo n g th e Lee
These g r a c e f u l b ir d s a r e m e ta p h o r ic a lly th e b r id e s of h i s
so n g .
The grooms a r e r e f e r r e d to a s :
Two g e n t le k n ig h ts of lo v e ly fa c e and f e a t u r e .
(169)
The b r i d a l day i s m en tio n ed a s a n ev en t o f th e n e a r f u t u r e ,
b u t no d e t a i l e d p la n s a r e g iv e n .
T his o m issio n seems s tr a n g e
ly in c o n t r a s t to th e m in u te d e t a i l s g iv e n i n th e E p ith a la rcion.
The few m y th o lo g ic a l term s in th e P ro th a la m io n a re a s
n o th in g compared w ith th e p r o f u s io n i n th e lo n g e r m a rria g e
hymn.
.
.
..
.
r : . .
In h is own n u p t i a l so n g S p en se r c a l l s to h is a s s i s t a n c e
th e m uses, the nymphs, and o v er a s c o re o f gods and g o d d esses
The t a p e s t r y o f h i s ode i s r i c h l y ornam ented w ith th e s e
c h o ic e je w e ls o f a n t i q u i t y . .
So much a p a r t o f h is th in k in g
had th e s e f ig u r e s become t h a t he u se s them v ery n a t u r a l l y .
Were e v e ry tr a c e of c l a s s i c a l l o r e to b e . removed from h is
song much o f i t s charm and s u b t l e c o n n o ta tio n would be l o s t .
,
The l a v i s h d e s c r i p t i o n o f t h e b r id e was an e p i t h a l a -
32
m ia l c o n v e n tio n which appealed-: to S p en ser* s lo v e o f "beauty
and to h i s i n t e r e s t i n b e a u t i f u l women as e x p r e s s io n s o f th e
P la to n ic th e o ry o f tr u e b e a u ty .
From h e r " f a i r e y e s, l i k e
s t a r s t h a t dimmed w ere" (93) to h e r " te n d e r .f o o t " (49) th e
p o e t g iv e s a v ery com plete p i c t u r e o f h i s " b e a u t i f u l e s t
b r id e " (1 0 5 ).
H er " su n sh in y f a c e " (119) and h e r " lo n g lo o se
y e llo w lo c k s " (154) a r e p le a s in g l y r e a l i s t i c a s compared :
w ith th e gorg eo u s s im ile s in th e t e n t h s ta n z a (1 6 7 ). B eing
17
" i n f i n i t e l y s u s c e p ti b le to lo v e and b e a u ty ," he found i t
18
ea sy " to open th e f lo o d g a te s of h is in e x h a u s tib le f a n c y ."
H is c r e a t i o n o f an " o p u le n t tem ple" i s fo llo w e d by a d i s ­
t i n c t l y P la to n i c n o t e :
But i f you,saw t h a t which no eyes can s e e ,
The inw ard b e a u ty of h e r l i v e l y s p r i t e .
(185)
Much p e r s o n a l f e e l i n g and p o e tic s k i l l a re e v in c e d i n t h i s
d e s c r i p t i o n o f th e b r i d e .
P i c t o r i a l i n t e r e s t i s g iv e n t o th e poem by th e p o e t 's
" a d o p tio n o f an I r i s h s e t t i n g and h i s i n t r o d u c t i o n o f n a tiv e
' 19
f o lk l o r e . "
The m in u te d e t a i l s ab o u t th e r i v e r M ulla le n d
r e a lis m to th e poem.
T his f e e l i n g o f a c t u a l i t y i s f u r t h e r
i n t e n s i f i e d by a d e s c r i p t i o n o f th e h u r r ie d p r e p a r a tio n s
f o r the w edding.
The nymphs and muses p e rfo rm in g t h e i r
t a s k s , the b ir d s s in g in g t h e i r lo v e - le a r n e d so n g s, and th e
1 7 . L eg o u is, E m il, S p e n s e r, p . 23%
~
"
—
18. Church, R. W., Edmund S p e n se r, E n g lis h Men o f l e t t e r s
S e r i e s , p . 168.
1 9. Jo n e s, H. S. V ., A S p e n se r Handbook, p . 352.
33
v i r g i n s and boys h u r ry in g ab o u t g iv e a p i c t u r e of c e a s e le s s
a c tiv ity .
T h is b u s tl e i s f i n a l l y rew arded by th e ap p ro ac h
o f th e p r o c e s s io n .
The p e o p le " s ta n d in g a l l a b o u t" (143)
se rv e as a f i t a u d ie n c e f o r th e a p p r e c ia t io n o f th e m odest
b rid e who comes w ith " p o r t l y p a c e ;"
m in a te s in th e w edding i t s e l f .
T his p a g e a n try c u l ­
R o a rin g o rg a n s , jo y o u s
anthems^ and "sw eet a n g e ls " f l u t t e r i n g ab o u t th e m odest b r id e
d r a m a tic a lly s u g g e s t th e g ra n d e u r o f th e w edding s c e n e .
The l o c a l custom s o b serv ed a f t e r t h e w edding a r e q u ite
pagan i n t h e i r i n t e n s i t y .
th a n t h i s " (2 4 6 ).
"S e v e r had a man more j o y f u l day
D rin k in g o f w in e; d an c in g , c a r o lin g ,
r in g in g o f b e l l s , and b u rn in g o f b o n f ir e s c r e a te a f e s t i v e
scene which c o n t r a s t s s h a rp ly w ith th e l a t e r d e s c r i p t i o n o f
th e b r i d a l bower,
l i l i e s , v i o l e t s , perfum ed s h e e t s , " s i l k e n '
c u r t a i n s , and a calm q u ie t n i g h t , d is tu r b e d o n ly by th e moon
a t th e window make th e l a t t e r p i c t u r e d e l i g h t f u l .
20
and C h r is t ia n am otion"
.
"Pagan
.
makes th e poem an e f f e c t i v e t r e a t ­
ment o f "th e n o b le and f ra n k jo y o f p o s s e s s io n ."
In th e f o llo w in g l i n e s S p en se r makes th e custom ary
p r a y e r fo r a lo n g happy l i f e f o r h i s wedded c o u p le ;
And th o u , g r e a t J u n o ,. . .
(390)
E te r n a l ly b in d , th o u -h t h i s lo v e ly band,
And a l l th y b le s s in g s u n to us im p a rt.
To be c e r t a i n o f a "progeny" he c lim a x es h i s song a s f o llo w s :
20. Cory, E. E ., Edmund S p e n s e r, p . 251.
■
.... : _.
” """
34
And ye h ig h h e a v e n s , th e tem ple o f th e gods,
In which a thousand to r c h e s fla m in g b r ig h t
Do b u m , t h a t to us w retch ed e a r t h ly c lo d s
In d r e a d f u l d a rk n e s s lend d e s ir e d l i g h t
And a l l ye powers which i n th e same rem a in ,
More th a n we can f e ig n ,
P our o u t your b le s s in g on u s p le n te o u s ly ,
And happy in f lu e n c e upon u s r a i n ,
T hat we may r a i s e a la r g e p o s t e r i t y .
(409)
In h i s p la n o f arran g em en t S p en ser h as fo llo w e d C a tu llu s
q u ite c l o s e ly .
A ll th e c o n v e n tio n s a r e d u ly o b serv ed y e t
s in c e S penser h as used ab o u t tw ic e jas many l i n e s of p o e tr y ,
h i s d e s c r i p t i o n s a r e more e l a b o r a te .
W ith t h i s e x t r a le n g th
he was a b le to e m b e llis h e a ch e p i th a l a m ia l c o n v e n tio n .
A l­
th o u g h h i s in g e n u ity and. o r i g i n a l i t y a re re m a rk a b le , we do
f in d a few in s ta n c e s i n w hich C a tu I lia n i n s p i r a t i o n i s n o t
c o n c e a le d .
There i s no b e t t e r way to compare th e s e
s i m i l a r i t i e s th an to exam ine th e a c t u a l l i n e s i n b o th poems.
In th e f i r s t s ta n z a o f t th e B p ith alam io n S p en ser c a l l s t o th e
Muses, " t h e l e a r n e d . s i s t e r s , " s a y in g :.
H elp me mine own lo v e ? s p r a i s e s to reso u n d ; (14)
C a tu llu s s a y s :
Ye to o w ith me, unwedded v i r g i n s , . . . i n
m easure s a y , "0 Hymenaeus Hymen, 0 Hymen
Hymenaeus. v ; (36)
H a rrin g to n p o in ts o u t a n o th e r p a r a l l e l i n t h e s e , l i n e s from
21
th e seventh^.and e i g h th s ta n z a s o f .t h e E p ith a la m io n ;
How i s my lo v e read y f o r th to come.
(110)
21. H a rrin g to n , K. P . , C a tu llu s and His I n f lu e n c e , p . 150.
35
L et a l l th e v i r g i n s th e r e f o r e w e ll a w a it,
And ye f r e s h h o y s, t h a t te n d upon h e r groom.
P re p a re y o u r s e lv e s , f o r he i s coining s t r a i g h t .
The w h ile s th e hoys ru n up and down th e s t r e e t ,
C rying a lo u d w ith s tr o n g confused n o is e .
As i f i t were one v o ic e .
"Hymen,lo Hymen, Hymen!” th ey do s h o u t.
(137)
The s i m i l a r p a s s a g e s in th e s i x t y - f i r s t Carmen a r e :
Come f o r t h , 0 h r id e
(6 1 .9 1 )
and
R aise a l o f t th e to r c h e s , h o y s: I se e th e w edding
v e i l ccaning. Go on, s in g i n m easu re, lo Hymen
Hymenaeus, i o , i o . Hymen, Hymenaeus.
R ote t h a t h o th p o b ts u se t h e e x a c t words "come f o r t h , ”
H a rrin g to n p o in ts out a l s o th e rese m b lan c e in t h e i r u se of
22
hoys f o r th e pu rp o se o f c r y in g "Hymen,”
T h is i s d i s t i n c t l y
a Roman custom'.
An a d d i t i o n a l u se o f th e hoys i s found i n
S p e n s e r’s f i f t e e n t h s ta n z a :
R ing ye th e h e l l s , ye young men o f th e town,
And le a v e y o u r w onted la b o r s f o r t h i s d ay .
(261)
And b o n f ir e s make a l l day.
And dance a b o u t th em ,an d about them s in g .
A n o th er p a ssa g e i n S p e n s e r 's poem shows a s tr o n g
C a tu llia n c h a r a c t e r i s t i c :
Now c e a s e , ye d a m se ls, your d e l i g h t s f o r e p a s t;
Enough i s i t t h a t a l l th e day was y o u rs .
(296)
Now b r in g the b r id e in to th e b r i d a l bow ers.
Now i t i s n i g h t , ye dam sels may be gone,
And le a v e my lo v e a lo n e .
W ith a lm o s t c u r t b r e v i t y C a tu llu s e x p re s s e s th e above id e a s
22. H a rrin g to n , II. P .,
on. c i t . . p . 150.
36
in t h i s way:
Ye, h o n e s t m a tro n s t, •. •. •. s e t th e dam sel in h e r p la c e .
(6 1 .1 8 2 )
and:
M aids, s h u t th e d o o rs .
(6 1 .2 2 7 )
A com parison o f th e s e few q u o ta tio n s shows why. Emperor;’ sa y s
t h a t S p e n s e r 's E p ith a la m io n " g l i t t e r s w ith je w e ls , g a th e re d
■
from C a tu ll u s ."
^
'
'
1
K eeping i n mind S p e n s e r’s arran g em en t o f
h i s poem and h i s a p p a re n t usage of some p h r a s e s , one may
l o g i c a l l y co nclude t h a t he owed much to th e C a tu I lia n fo rm u la .
The th r e e e p ith a la m io n s o f Jonson len d th em selv es to an
i n t e r e s t i n g p a r a l l e l tr e a tm e n t because th e y have so much i n
common w ith C a tu llu s and a t th e same tim e su ch marked
d iffe re n c e s .
l i k e S p e n s e r 's n u p t i a l so n g s, th e s e were a l l
w r i tte n f o r s p e c i a l o c c a sio n s and w ere n o t a c t u a l l y su n g on
th e wedding d a y .
In c o n t r a s t to h is f i r s t e p ith a la m io n ,
J o n s o n 's l a s t two songs m en tio n th e names o f th e happy
•Rat c l i f fe 's b lo o d and R am sey's name:
(160 8 .7 0 )
W eston, t h e i r t r e a s u r e , as t h e i r t r e a s u r e r . (1 6 3 3 .9 7 )
Asks f i r s t , who g iv e s h e r ? . . . I , C h a r l e s . . . (1 633.124)
The la d y F ra n ces d r e s t .
(163 3 .3 7 )
In h i s l a s t m a rria g e ode Jonson f u r t h e r em phasizes th e
s p e c i a l o c c a s io n by m e n tio n in g a s p e c i f i c tim e and a d e f i n i t e
23.
Ib id.
'
'
"
24. To d i s t i n g u i s h J o n s o n 's th r e e e p ith a la m io n s th e y e a r each
was p u b lis h e d w i l l be g iv e n a f t e r ev ery q u o ta tio n . The
number f o llo w in g th e y e a r i s th e l i n e in th e poem.
37
p la c e :
See th e p r o c e s s io n ! What a h o ly day,
(1 6 3 3 .8 )
Hath f i l l e d , w ith c a ro c h e s, a l l the way,
.Prom Greenwich h i t h e r to Rowhampton g a te !
When lo o k 'd th e y e a r, a t b e s t ,
So lik e a f e a s t ;
Or were a f f a i r s i n tu n e , '
By a l l th e sp h e re s c o n s e n t, so i n th e h e a r t o f June?
The p o e t 's u se of th e r e f r a i n i s v e ry u n u s u a l.
e a r l i e s t song he employs th r e e r e f r a i n s .
'T is Cupid c a l l s to arm;
And t h i s h i s l a s t a la rm .
a p p e a rs o n ly tw ic e .
In h i s
The f i r s t one
(1 6 0 6 .7 )
L a te r in th e poem th e fo llo w in g r e ­
f r a i n r e c u r s th r e e tim e s :
On Hymen, Hymen c a l l
(160 6 .2 3 )
T h is n ig h t i s Hymen*s a l l .
H ear th e end Jonson employs a t h i r d r e f r a i n , w hich lik e w is e
is g iv e n th r e e tim e s:
T hat you may b o th e re day
R ise p e r f e c t e v e ry way.
(1606.87)
The i r r e g u l a r u se of t h i s u n if y in g d e v ic e i s p le a s in g to
th e r e a d e r who fin d s h im s e lf w ondering w hich r e f r a i n w i l l
come n e x t .
T h is a lm o st h ap h a za rd p a t t e r n g iv e s th e f i r s t
n u p t i a l song a s p o n ta n e ity w hich a more r e g u la r r e p e t i t i o n
would n o t have g iv e n .
When J o n s o n 's second e p ith a la m io n i s
re a d th e d if f e r e n c e i s n o te d im m ed ia tely , f o r in t h i s ode
e v e ry e le v e n th l i n e i s th e r e f r a i n :
S h in e, H esp e ru s, s h in e f o r t h , th o u w ished
S ta r !
(160 8 .1 1 )
To make t h i s r e p e t i t i o n even more n o tic e a b le th e p o e t
38
manages to end e v e ry e ig h th l i n e w ith th e words "Hymen's
W ar." . T h is c o n tin u a l r e p e t i t i o n o f a. l in e - e n d in g , w hich
rhymes w ith th e r e f r a i n , g iv e s th e whole poem a s tu d ie d
s c h o l a r l y e f f e c t n o t n o tic e a b le i n th e f i r s t n u p t i a l song
and p o in te d ly a b s e n t from th e t h i r d .
t h i s l a s t ode.
No r e f r a i n a p p e a rs i n
E v id e n tly , Jonson was e x p e rim e n tin g w i t h . t h i s
C a tu llia n c o n v e n tio n .
Such a c l a s s i c a l s tu d e n t a s Jonson would be e x p e c te d to
fo llo w th e " in v o c a tio n o f th e gods" c o n v e n tio n .
two songs make e x te n s iv e u se of t h i s id e a .
H is f i r s t
The word Hymen
a p p e a rs tw elve tim es i n h is f i r s t r a t h e r s h o r t e p ith a la m io n .
T h is em phasis by means o f r e p e t i t i o n i s i n k e e p in g w ith th e
f a c t t h a t t h i s so n g came a t th e c lo s e o f th e Masque of Hymen.
O th er m y th o lo g ic a l names m entioned a r e H esperus (1 6 0 6 .2 5 ),
Venus (1 6 0 6 .4 6 -9 7 ), a l s o c a lle d C y p ris (1 6 0 6 .8 4 ), Juno (1606.
8 9 ), G enius (1 6 0 6 .9 4 ), and C y n th ia (1 6 0 6 .1 0 2 ).
A lthough
th e second poem c o n ta in s few er c l a s s i c a l r e f e r e n c e s , i t opens
w ith a t r u l y C a t u l l i a n in v o c a tio n ;
Up, y o u th s and v i r g i n s , u p , and p r a i s e
(1 6 0 8 .1 )
The god whose n i g h ts o u ts h in e h i s d ay s;
Hymen,W hose h allo w ed r i t e s
Could n e v e r b o a s t o f b r i g h t e r l i g h t s ;
In h is f i n a l ode Jonson u s e s th e sun as a s p e c ia l b e in g whom
he e n t r e a t s to rem ain f o r th e e v e n ts of the w edding d ay .
D ir e c t a d d re s s to th e . su n u n i f i e s th e poem.
t h i s sp eech t h a t i t i s v e r y r e a l i s t i c .
So p e r s o n a l i s
When th e p o e t s a y s ,
"H a ste , h a s t e , o f f i c i o u s su n , and send them n ig h t" (1 6 3 3 .1 4 5 ),
39
th e command f i t s w ith h i s o t h e r p e r s o n a l rem arks to t h i s
u n u su a l wedding g u e s t.
J o n s o n 's d im in ish e d u se o f th e i n ­
v o c a tio n o f th e gods c o rre sp o n d s to h i s f i n a l d is r e g a r d f o r
th e r e f r a i n .
•
'
-
In th e second poem th e c o n v e n tio n a l d e s c r i p t i o n o f th e
b r id e i s red u ce d to th e one word " f a i r "
(1 6 0 8 .5 8 ).
A more
e l a b o r a t e - l i s t o f ad j e c t i v e s a p p e a rs in th e f i r s t e p i t h a l a mi on, in c lu d in g such e x p re s s io n s a s " b r i d e 's f a i r ey es"
(1 6 0 8 .7 7 ), " te n d e r la d y " (1 6 0 8 .3 3 ), "g o ld en f e e t " (1 6 0 8 .3 8 ),
"maiden f e a r s " (1 6 0 8 .7 9 ), and "y o u r l i p s so sw eet" (1608.81)
The fo llo w in g q u o ta tio n s show t h a t th e u se o f th is" conven­
t i o n i s much more com p lete i n the f i n a l m a rria g e hymn.
The la d y F ra n c e s d r e s t
(1633.37)
Above th e r e s t
Of a l l th e m aidens f a i r ;
-; ■
In g r a c e f u l ornam ent o f g a r la n d s , gems, and h a i r .
See how she p a c e th f o r t h i n v ir g in - w h i te ,
Like what she i s , th e d a u g h te r o f a duke,
And s i s t e r ; d a r tin g f o r t h i n d a z z lin g l i g h t
On a l l t h a t came h e r sim p le ss e to rebukeJ
Her t r e s s e s tr im h e r b ack .
As she d id la c k
Nought o f a m aiden queen,
W ith m odesty so crow ned, and a d o r a tio n s e e n .
In t h i s l a s t song t h e r e i s a ls o an e x tr a em phasis upon
th e p r a i s e o f th e b r i d a l p a i r .
In h is f i r s t two e p i t h a l a -
m ions Jonson i s c h i e f l y co n cern ed w ith th e custom s o f th e
b r i d a l n ig h t, b u t i n th e l a s t he ta k e s p a in s to s t r e s s th e
im p o rtan ce o f th e r o y a l c o u p le .
He a s k s th e " s u n t o lo o k :
40
And lo o k in g w ith th y b e a t in q u ir y t e l l , (1 6 3 3 .7 3 )
In a l l , th y age o f J o u r n a l s th o u h a s t to o k .
S a w 'a t th o u t h a t p a i r beaame th e s e r i t e s so w e ll ,
Save th e p re c e d in g two?
Who, in a l l th ey d o ,
S earch , su n , and th o u w i l t f in d
They a r e th e exam pled p a i r , and m ir r o r o f t h e i r k in d .
Among th e b r i d a l custom s r e f l e c t e d i n h is so n g s a re th e
b rin g in g f o r th o f th e b r i d e , th e p r o c e s s io n , th e p ro fu s e u se
o f f lo w e r s , th e d an c es, th e o p en in g o f th e c h a p e l d o o r, th e
w edding i t s e l f , th e p u b l i c ' f e s t i v a l , b r in g in g home th e b r id e ,
l i f t i n g h e r o v er th e th r e s h o ld , th e p r e p a r a t io n f o r bed, th e
" p r e d ic tio n o f suprem e m a r i t a l d e l i g h t s , "
f a s t th e d o o r.
.
: Vv: •
and th e c lo s in g
J o n s o n 's f i r s t e p ith a la m io n m e n tio n s more o f
•:
■
■: :
• '
.
th e s e custom s th a n do h i s l a s t two.
. ..
, V. :'•)
Jons on’s p e r s o n a l f e e l i n g f o r h is own fa m ily may be
r e f l e c t e d in h i s fo llo w in g o f th e " l i t t l e T o rq u a tu s" con­
v e n tio n .
T h is one G a tu llia n p re c e d e n t i s amply im ita te d in
each o f h i s th r e e e p ith a la m io n s , a s th e fo llo w in g q u o ta tio n s
in d ic a te :
And when th e babe to l i g h t i s shown
L et i t be l i k e each p a r e n t known;
Much o f t h e f a t h e r 's fa c e .
More o f th e m o th e r 's g ra c e ;
And e i t h e r g r a n d s i r e 's s p i r i t
And fame l e t i t i n h e r i t . . .
(1606.105)
T hat e re th e r o s y - f in g e r e d morn
(1 6 0 8 .6 7 )
B ehold n in e moons, th e r e may be bo rn
A baby t ' uphold th e fame
Of E a t c l i f f e 's b lo o d and R am sey's name: ,
25. Em peror, J . B ., The G a tu llia n I n flu e n c e in E n g lis h
L y ric P o e tr y . C irc a 16OQ-1650, p . 53.
41
T i l l you "behold a ra c e to f i l l your h a l l ,
(1633.185)
A R ic h a rd , and a Hierom e, by t h e i r names
Upon a Thomas, o r a F ra n c is c a l l ;
A K ate, a F ran k , to honor t h e i r grand dam es.
The hope f o r fame in each of th e s e th r e e exam ples i s
in te re s tin g .
P erh ap s h e re i s an example o f th e p o e t ex­
p r e s s in g h i s own p e r s o n a l d e s i r e s .
The f i n a l co n v e n tio n i n th e C a tu llia n fo rm u la , the
a u t h o r ’s hope t h a t th e co u p le w i l l have a lo n g , happy wedded,
l i f e , a ls o a p p e a le d v ery s t r o n g l y to Jons on.
A gain a l l t h r e e
o f h i s son g s have exam ples o f th e c o n v e n tio n .
C o n sid e ra b le
in g e n u ity i s n o te d i n th e s e e x p r e s s io n s :
And, though f u l l y e a rs be t o l d
T h eir form s grow slo w ly o ld .
(1606.119)
L ive what th e y a r e
(1 6 0 8 .1 9 )
And lo n g p e r f e c t i o n s e e .
Be k e p t a l i v e , th o s e sw eet and s a c re d f i r e s
(1633-163)
Of lo v e betw een you and your lo v e ly -h e a d J
T hat when you b o th are o ld .
You f in d no co ld
T h e re ; b u t renew ed, say
A f te r th e l a s t c h ild b o rn . T h is i s our w edding d ay .
A lthough th e r e i s p ro b a b ly more good a d v ic e th a n p o e t ic
b ea u ty in t h i s f i n a l q u o ta tio n i t i s an i n t e r e s t i n g t u r n to
t h i s e p ith a la m ia l c o n v e n tio n .
H a rrin g to n has w e ll s a i d , " Jo n so n ’s e p ith a la m ia a r e
d e e p ly in d e b te d to C a tu llu s n o t m e re ly f o r t h e i r g e n e r a l
id e a s and p ro g re s s o f th o u g h t, b u t a l s o c o n t in u a l ly fo r th e
26
e x a c t e x p r e s s io n of i t ."
The C a tu llia n c o n v e n tio n s found
26. H a rrin g to n , K. B .,
C a tu llu s and His I n f lu e n c e , -p. 165.
42
in h i s work a r e co n v in c in g p ro o f t h a t h i s d eb t f o r h i s
" id e a s and p r o g re s s o f th o u g h t" i s in d eed h ea v y .
H is
r e v e r t i n g to C a tu llu s " f o r th e e x a c t e x p r e s s io n o f" t h i s
th o u g h t i s an exam ple o f J o n s o n 's power to w r i t e "out o f th e
27
f u ln e s s and memory o f h i s fo rm er r e a d i n g s ."
A lthough each song c o n ta in s exam ples o f t h i s d e b t, th e
f i r s t m a rria g e hymn i s th e m ost p re g n a n t w ith borrow ed ex­
p re s s io n s .
At l e a s t a
g en iu s o f C a tu llu s .
t h i r d o f i t was in s p ir e d by th e
28
Emperor
h as c a r e f u l l y p o in te d out th e
s i m i l a r i t i e s in th e poems o f Jonson and C a tu llu s .
There a re
so many p a r a l l e l q u o ta tio n s w hich i l l u s t r a t e t h i s p o in t t h a t
o n ly th e more i n t e r e s t i n g ones w i l l be n o te d .
l i n e s a r e g iv e n f i r s t .
:
.
'
: -
,
•
.
.
;
:
-
:
v
H aste your own good to m eet;
And l i f t y o u r g o ld en f e e t
Above th e th r e s h o ld h ig h .
*.
v
■
:
■
J o n so n 1s
-
■ /
-
.
.
:
:
(160 6 .3 7 )
and:
L i f t a c r o s s th e th r e s h o ld w ith good omen your
g o ld en f e e t .
(6 1 .1 6 2 )
Good m a tro n s , t h a t a r e so w e ll known
To aged husbands o f y o u r own,
P la c e you our b r id e t o n i g h t ;
(1606.49)
and;
Ye, h o n e st m a tro n s , w e ll wedded to a n c ie n t
h u sb an d s,
(6 1 .1 8 2 ) s e t th e dam sel i n h e r p la c e .
L et iv y n o t so b in d
(1606.85)
As when your arm s a r e tw in e d .
27. Dunn, Cloudman E s th e r , Ben J o n s o n 's A rt. n . 65.
28. Emperor, J . B ., op. p i t . , p p . 5 3 -5 8 .
- -
43
and:
But a s th e p l i a n t v in e en tw in es th e t r e e s p la n te d (6 1 .1 0 2 )
n e a r i t , so w i l l he he e n tw in e d " in y o u r em brace.
Love’s w e a lth y cro p o f k i s s e s ,
(1608,27)
And f r u i t f u l h a r v e s t o f h i s m o th e r’s b l i s s e s .
and;
I f th e h a r v e s t o f our k i s s i n g were t h i c k e r th a n th e
r ip e e a r s o f c o m .
(4 8 .5 )
These s p e c i f i c p a r a l l e l s a r e . com plete p ro o f of Jo n so n ’s d e b t
to C a tu llu s .
The v a r io u s com p ariso n s i n t h i s c h a p te r betw een th e e p i th a lam io n s o f S p en se r and Jonson and th o se o f C a tu llu s show
t h a t th e E liz a b e th a n s d id fo llo w t h e arran g em en t and id e a s
in h i s poems, t h a t th e y were in d eed f o llo w e r s o f th e
C a tu llia n fo rm u la .
S p e n s e r’s d e b t was n o t v e ry g r e a t when
compared to th e heavy b o rro w in g o f h i s s u c c e s s o r .
A lth o u g h
th e f o llo w in g q u o ta tio n o r i g i n a l l y was a p p lie d o n ly t o '
Jon so n , th e d e b t w hich b o th g r e a t E n g lish e p ith a la m ia s ts
owed to C a tu llu s makes i t an a p p r o p r ia te c o n c lu sio n to t h i s
c h a p te r .
S p en ser and Jo n so n ,
Tuned to th e h ig h e s t key o f a n c ie n t Rome,
R e tu rn (e d ) a l l h e r m usic w ith ( t h e i r ) own.
CHAPTER IV
SPENSER’ S EPITHAMMION WITH FOOTNOTES
At th e c lo s e o f C h a p ter I I S p e n s e r’ s own n u p t i a l so n g
was c a l l e d " th e u ltim a te e p i th a l a m ia l example i n E n g lish
lite r a tu r e ."
Because h i s E p ith a la m io n i s o u ts ta n d in g among
th e f iv e m a rria g e songs o f t h i s s tu d y , a more co m plete
a n n o ta tio n o f i t h as "been a tte m p te d h e r e .
th e fo llo w in g h o o k s:
I t i s b ased on
H e rb e rt E lls w o rth C ory’s Edmund
S p e n se r. Emile l e g o u i s ' S p e n se r. H enry Gibbons L o ts p e ic h 's
C la s s i c a l M ythology i n th e P o e try o f Edmund S p e n s e r, C h a rles
G. O sgood's Concordance to th e Poems o f Edmund S p e n se r,
F r a n c is T. P a lg r a v e ’s Complete W orks, A lic e E liz a b e th
S a w te l le 's The S o u rces o f S p e n s e r’s C la s s i c a l M ythology,
and C. H. W hitm an's A S u b je c t In d ex to th e Poems o f S p e n se r.
When a c l a s s i c a l r e f e r e n c e a p p e a rs i n th e E p ith a la m io n
and a l s o in one o f th e o th e r b r i d a l poems, t h i s f a c t i s
shown by u s in g a number to i n d i c a t e th e l i n e o f t h e poem
and th e fo llo w in g key to d e s ig n a te th e poem: P r o th . s ta n d s
f o r th e P ro th a la m io n ; 1606 s ta n d s f o r J o n so n ’s n u p t i a l song
a t th e end o f th e Masque o f Hymen: 1608 s ta n d s f o r h is song
a t th e end o f th e Hue and Cry a f t e r C upid: 1633 s ta n d s f o r
h i s l a s t E p ith a la m io n .
The com p lete s ta n z a i s g iv e n to h e lp
th e r e a d e r se n se th e th o u g h t and rhythm of each u n i t w ith o u t
th e in t e r f e r e n c e o f e x p la n a to ry n o t a t i o n s .
45
EPITHALAMION
by
Edmxmd S p en ser
;
'
'
(Prom P o t t e r , E liz a b e th a n V erse and P r o s e , pp» 4 1 4 -4 7 ,
P er th e co n v en ien ce o f th e r e a d e r an a n th o lo g y w ith
m odernized s p e l l i n g i s u s e d . )
r
Ye le a rn e d s i s t e r s , which have o fte n tim e s
Been to . me a id in g , o th e rs to a d o rn ,
Whom ye th o u g h t w orthy o f your g r a c e f u l rhym es,
T hat even th e g r e a t e s t d id n o t g r e a t l y sc o rn
To h e a r t h e i r riames sung in y o u r sim p le la y s ,
(5)
But joyed in t h e i r p r a i s e ;
And when ye l i s t your own m ish ap s to m ourn,
Which d e a th , o r lo v e , o r f o r t u n e 's w reck d id r a i s e ,
* Your s t r i n g could soon to s a d d e r, te n o r tu r n .
And te a c h th e:w o o d s and w a te rs to lam en t
(10)
Your d o le f u l d r e a r im e n t:
How la y th o se s o rro w fu l co m p la in ts a s i d e .
And, h a v in g a l l your heads w ith g a rla n d crowned.
Help me mine own l o v e 's p r a i s e s t o re so u n d ;
He l e t th e same o f any be e n v ie d ;
- ;
(15)
So Orpheus d id f o r h is own b r i d e .
So I un to m y se lf a lo n e w i l l s in g ;
The woods s h a l l fto me an sw er, and my echo r i n g .
~~~ 1. Ye le a rn e d s i s t e r s ) CORY (p . 2 4 6 ); "Having f in is h e d
h is s o n n e ts , S p en se r a p p ro ac h es us w ith a s a c re d in tim a c y
t h a t hushes a l l s c h o l a s t i c c y n ic ism and f i l l s th e r e a d e r w ith
an e c s ta s y t h a t le a p s to an sw er th e w o n d erfu l abandon w ith a
f e r v e n t a p p r e c ia t io n o f i t .
The p o e t in v o k es th e le a rn e d
s i s t e r s w ith a charm ing u n c o n sc io u s f a m i l a r i t y o f one who
has b ro u g h t them g r e a t g lo r y and n a t u r a l l y c a l l s them now to
h e lp him , l i k e O rpheus, to s in g to h i s own b r i d e . " - LOTSPEICH
(p . 8 5 ): "The id e a t h a t th e M uses, as s o u rc e s o f p o e tic i n ­
s p i r a t i o n , have in t h e i r k e e p in g a l l m a tte r s o f p o e t r y , . . . i s
i m p l i c i t in m ost o f S p e n s e r 's r e f e r e n c e s t o them; . . . In
a c c o rd w ith th e p r i n c i p l e t h a t h ig h p o e try m ust be le a r n e d
th e Muses a r e 'le a r n e d s i s t e r s . '"
,
1 6. O rpheus) SAWTELLE (p . 9 4 ): "Orpheus i s th e re p u te d
in v e n to r o f m u sic . Among th e s c a n t t r a d i t i o n s r e s p e c tin g
O rpheus, i s t h a t w hich r e p r e s e n ts th e w o n d e rfu l power o f h i s
m usic, over men, b e a s ts , and in a n im a te n a t u r e . . . Numerous
p a s s a g e s , from th e tim e o f th e l y r i c p o e ts o f G reece down to
a much l a t e r day, m ig h t be quoted to s u p p o rt th e g e n e r a l
r e f e r e n c e s ; b u t p e rh a p s no one b e t t e r shows t h a t h i s m usic
had charms th an M et. 1 0.86 f f . , where t r e e s and b e a s ts and
46
"birds a re d e s c r ib e d as f lo c k in g ab o u t th e t u n e f u l b a rd , when,
in h i s r e tir e m e n t among th e m o u n tain s, he mourns th e lo s s o f
h is w i f e . ”
E a r ly , b e fo re th e worId * s l i g h t - g i v i n g lamp
His g o ld e n beam upon th e h i l l s d o th s p re a d ,
(20)
H aving d is p e rs e d th e n i g h t 's u n c h e e r fu l damp,
Do ye awake, a n d , w ith f r e s h l u s t i h e a d ,
Go to th e bower o f my b elo v ed lo v e .
My t r u e s t t u r t l e dove:
Bid h e r awake; f o r Hymen i s awake,
(25)
And lo n g s in c e read y f o r h i s mask to move.
W ith h i s b r i g h t tG&& ( to r c h ) , t h a t flam e s w ith
many a f l a k e .
And many a b a c h e lo r to w a it on him,
In t h e i r fre s h g arm en ts tr im .
Bid h e r awake th e r e f o r e , and soon h e r d ig h t ( a d o r n ) , (30)
For lo J the w ished day i s come a t . l a s t .
T h at s h a l l , f o r a l l th e p a in s an d so rro w s p a s t .
Pay to h e r u su ry o f lo n g d e l i g h t . .
, ;
And, w h ils t she d o th h e r d ig h t.
Do ye to h e r o f jo y and s o la c e s in g ,
T hat a l l th e woods may an sw er, and your echo r i n g . (35)
25.
Hymen) 10TSPEICH (p . 7 1 ): ’’E xcept f o r Ep. 2 4 -6 ,
where S p e n se r sp e ak s o f Hymen's mask, h i s u se o f th e god o f
m a rria g e i s e n t i r e l y c l a s s i c a l . " See Jons on 1603.3 - 1 608.3
and C a tu llu s 6 1 .4 - 6 2 .4 . .
.....
B rin g w ith you a l l th e nymphs t h a t you can h e a r .
B oth o f th e , r i v e r s and th e f o r e s t s g re e n ,.
And o f th e se a t h a t n e ig h b o rs to h e r n e a r.
A ll w ith gay g a r la n d s g o o d ly w e ll b e se e n .
(40)
And l e t them a ls o w ith them b r in g in hand
A nother gay g arlan d *
For my f a i r lo v e , o f l i l i e s and o f r o s e s ,
Bound tr u e lo v e - w is e w ith a b lu e s i l k rib a n d ;
And l e t them make g r e a t s t o r e o f b r i d a l p o s ie s , (45)
And l e t them -eke b r in g s t o r e o f o th e r f lo w e r s , •
To deck th e b r i d a l bow ers.
And l e t th e ground w hereas h e r f o o t s h a l l tr e a d .
F o r f e a r th e s to n e s h e r te n d e r f o o t sh o u ld w rong.
Be stre w e d w ith f r a g r a n t flo w e rs a l l a lo n g ,
(50)
And d ia p e r e d ( d i v e r s i f i e d ) l i k e th e d is c o lo r e d mead;
Which done, do a t h e r chamber d o o r a w a it,
For she w ill-w a k e n s t r a i g h t ;
The w h ile s do ye t h i s so n g u n to h e r s in g .
The woods s h a l l to you answ er, and y o u r echo r i n g . (55)
47
37. Nymphs) L0TS3PEICH (p . 9 2 ): "S p en se r knows th r e e
c l a s s e s o f Nymphs: D ryads o r Hamadryads, N aiad s, and
N e re id s . Thus a t Bp. 37-9 h e . c a l l s upon th e nymphs o f
r i v e r s , o f f o r e s t s , and o f th e s e a . . . I t i s th e a s s o c i a t i o n
o f Nymphs w ith w a te r t h a t S p en se r d ev elo p s m ost f u l l y . ”
See f r o t h . 20. 55, 83; and C a tu llu s 6 1 .2 9 .
_______
Ye nymphs o f M ulla, w hich w ith c a r e f u l heed
The s i l v e r s c a l y t r o u t s do te n d f u l l w e ll,
And g reed y p ik e s w hich u se t h e r e i n to feed
(Those t r o u t s and p ik e s a l l o th e r s do e x c e l l ) ,
And ye lik e w is e w hich keep th e ru sh y la k e ,
(60)
Where none do f i s h e s ta k e .
Bind up th e lo c k s th e w hich hang s c a t t e r e d l i g h t .
And i n h is w a te rs , w hich your m ir r o r make.
Behold your f a c e s as th e c r y s t a l "b rig h t,
That when you come w hereas my lo v e d o th l i e
(65)
No "blemish she may sp y .
. .
And eke ye l i g h t f o o t m aids w h ich keep th e d e e r
That on th e h o ary m ountain u se to to w er,
And th e w ild w o lv es, w hich seek them to d ev o u r.
W ith y o u r s t e e l d a r t s do chase from coming n e a r , (70)
Be a ls o p r e s e n t h e re ,
To h e lp to deck h e r , and to h e lp to s in g ,
T hat a l l th e woods may an sw er, and your echo r i n g .
• 5 6 . Ye nymphs o f M ulla ) LOTSPEICH (p . 9 2 ): "The c o u n try
g i r l s ab o u t Koleolmon a r e 'y e nymphs of M u lla ' . . . S p e n s e r 's
nymphs have in many p la c e s become c o m p le te ly n a t u r a l i z e d
and a r e q u ite a t home w ith E n g lis h f a i r i e s . ” DEGOHIS (pp.
8 7 -8 8 ): "M ulla, i . e . , th e Awbeg, th e r i v e r t h a t flow s a c ro s s
th e p o e t 's e s t a t e . . . I s t h i s n o t f u l l o f f a m i l i a r and homely
a l l u s i o n s - th e i n v i t a t i o n to th e c o u n try m aids to comb t h e i r
h a i r and wash t h e i r f a c e s c a r e f u l l y , th e p a s s in g r e f e r e n c e
to t h e . e x c e l l e n t q u a l ity o f t r o u t and p ik e s in th e p o e t 's
own r i v e r ? . , .Nymphs i s m e re ly m eant to th ro w a v e i l o f
p o e try o v er d e t a i l s and p e rs o n s th a t would lo o k v u lg a r and
commonplace i f n o t t r a n s f i g u r e d . "
60. Rushy la k e ) DEGOUIS (p . 8 8 ): "K ilcolm on Bake"
Wake, now, my.lo v e , awakei f o r i t i s tim e .
The ro sy morn lo n g s in c e l e f t T ith o n 's bed,
(75 )
A ll read y to h e r s i l v e r coach to clim b ;
And Phoebus b e g in s to show h i s g lo r io u s h e a d .
H ark, how th e c h e e r f u l b ir d s do c h a n t t h e i r la y s
And c a r o l o f l o v e 's p r a i s e !
The m erry l a r k h e r m a tin s s in g s a l o f t ;
(80)
48
The th r u s h r e p l i e s ; th e m avis d e s c a n t ( v a r i a t i o n
on a m elody) p la y s ;
The o u z e l ( b la c k b ird ) s h r i l l s ; th e ruddock ( r e d ­
b r e a s t) w a rb le s s o f t ; '
So goodly a l l a g re e , w ith sw eet c o n s e n t.
To t h i s d a y 's m e rrim e n t.
AhI my d e a r lo v e , why do ye s le e p th u s lo n g ,
(85)
When m e e te r were t h a t ye sh o u ld now, awake,
To aw a it th e c a n in g o f your joyous make (m a te ).
And h ark en to th e b i r d s ' lo v e - le a r n e d song.
The dewy le a v e s among?
For th e y o f jo y and p le a s a n c e to you s in g ,
(90)
That a l l th e woods them an sw er, and t h e i r echo r i n g .
75. T ith o n ) LOTSPEICH (p . 4 1 ): ^S p en ser r e f e r s s e v e r a l
tim e s a l l u s i v e l y to th e myth o f A urora and T ith o n u s , o f .
Aen. 4 .5 8 4 -5 , w hich i s remembered a ls o a t 1 . 2 . 7 . , w here
a ls o o cc u rs t h a t f a m i l i a r Homeric e p i t h e t , 'r o s i e - f i n g e r e d ';
o f . I I . 1 .4 7 7 .'' SAWTELLE (p . 3 5 ): "The f i r s t l i n e s o f
O dyssey: 'Now th e Dawn a r o s e from h e r couch, from th e s id e
o f th e l o r d l y T ith o n o u s, to b e a r l i g h t to th e im m o rtals
and to m o rta l m en."
‘
77 . Phoebus) SAWTELLE (p . 2 2 ); "A gain and a g a in th ro u g h
o u t h i s poems S p en ser r e f e r s to Phoebus as th e god o f th e
su n . Sometimes he u s e s th e name f o r th e su n i t s e l f ; some­
tim e s he sp eak s o f th e ' lam p' o f Phoebus, o r t h e ' c a r * o f
P ho eb u s; and a g a in , o f h i s 'g o ld e n face,' J o r 'g o ld e n h e a d . '
Phoebus was p r im a r il y th e god o f th e su n . Homer and o th e r
o f th e e a r ly G reek w r i t e r s r e p r e s e n t. Phoebus and He l i a s
a s p e r f e c t l y d i s t i n c t , b u t in l a t e r tim es th e two became
i d e n t i c a l . T hat Phoebus was th e god o f th e su n , th e g iv e r
o f l i g h t and warmth and l i f e to th e e a r t h , a c c o u n ts f o r
h is numerous o t h e r a t t r i b u t e s . He f ig u r e s as th e god o f
i n t e l l e c t u a l l i g h t , d e l i g h t i n g in p o e try and a r t , an<* i n
th e fo u n d a tio n o f c i t i e s and c i v i l i n s t i t u t i o n s ; a s th e
p r o te c to r o f f lo c k s ; as th e god o f p ro p h esy , b r in g in g
h id d en th in g s to l i g h t ; a s th e god o f th e h e a lin g a r t ; an d ,
a g a in , a s th e h u r l e r o f d e a th - d e a lin g d a r t s . "
My lo v e i s now awake out o f h e r dream ,
And h e r f a i r ey e s; l i k e s t a r s t h a t dimmed were
W ith darksome c lo u d , now show t h e i r goodly beams.
More b r i g h t th a n H esperus h i s head d o th r e a r .
(95)
Come now, ye d am sels, d a u g h te rs o f d e l i g h t .
H elp q u ic k ly h e r to d ig h t ( a d o r n ) .
49
But f i r s t cane y e , f a i r H ours, which were b e g o t
I n J o v e 's sw eet p a r a d is e o f Bay and N ig h t;
Which do th e se a so n s o f th e y e a r a l l o t ,
(100)
And a l l t h a t e v e r in t h i s w orld i s f a i r
Bo make and s t i l l r e p a i r ;
And ye th re e handm aids o f th e C yprian queen,
The w hich do s t i l l ad o rn h e r b e a u ty 's p r id e .
H elp t o a d o rn my b e a u t i f u l e s t b r i d e .
(101)
And as ye h e r a r r a y , s t i l l th ro w betw een
Some g ra c e s to b e se en ,
And, a s ye u se to Venus, to h e r s in g ,
The w h ile s th e woods s h a l l answ er, and y o u r echo r i n g .
9b. More b r ig h t th a n H e sp e ru s) SAWTBL1E (p . 6 4 ): "The
b r i l l i a n c y o f H esp eru s, a llu d e d to by S p e n se r, i s d e s c rib e d
by H o m er-Iliad 22.317 a s a b r ig h tn e s s s u r p a s s in g t h a t o f
the o th e r s t a r s o f h e a v e n ... The a n c ie n t s , even in the
■
e a r l i e s t tim e s, re g a rd e d H esp eru s, th e evening s t a r ; a s
i d e n t i c a l w ith th e m o r n in g - s ta r ."
98. F a ir H ours) 10THSPEICH(p. 7 0 ): " S p e n s e r 's v e r s io n s
o f th e p a re n ta g e o f th e Hours a r e h i s own, b u t he i s m ani­
f e s t l y w orkin g from t h e i r c o n n e c tio n w ith th e d i v i s i o n s o f
tim e . He may have g o t a s u g g e s tio n from Bocc. 4 .4 who
makes "them d a u g h te rs o f S o l and C ro n is (Time) and sa y s t h i s
i s becau se 't h e y a r e made from a d e f i n i t e m easurem ent of
tim e by th e p r o g re s s o f th e s u n . ' S p e n s e r 's t r a i n o f
th o u g h t i s s i m i l a r . " 12GOUTS (p . 8 7 ): "She awakes a t l a s t ,
and th e Hours and G races - by whom th e b rid e sm a id s a r e
m eant - e n t e r in to h e r bedroom ."
95. H esperus) B ro th . 164, Jonson 1 6 0 6 .2 5 , 1 6 0 8 .1 1 ,
and C a tu llu s 6 2 .1 .
—
99. Jove) B ro th . 4 2 .
103. C y p rian Queen) Jonson 1 6 0 6 .8 4 . SAWTEL1E (p . 5 8 ):
"Very num erous a r e th e p a s sa g e s in th e c l a s s i c s t h a t m ight
be quoted a s p i c t u r e s o f Venus a tte n d e d by th e G ra ce s: i n
Homeric Hymn to Venus
The read y G races w a it, h e r b a th s p r e p a r e ,
And o i n t w ith f r a g r a n t o i l s h e r flo w in g h a i r . "
IOTSPEICH (p . 1 1 4 ): S p en se r fo llo w s "common c l a s s i c a l
usage in c a l l i n g Venus C y th erea and C y p ria n ."
108. Venus) B r o th . 63, Jonson 1 6 0 6 .4 6 , 1 6 0 8 .5 6 , and
C a tu llu s 6 1 .1 8 .
Now i s my lo v e re a d y f o r t h to come.
(110)
l e t a l l th e v i r g i n s t h e r e f o r e w e ll a w a it,
And ye f r e s h boys, t h a t tend upon h e r groom,
P re p a re y o u r s e lv e s , f o r he i s coming s t r a i g h t . _
50
S e t a l l your th in g s i n seem ly good a r r a y ,
P i t f o r so jo y f u l day,
(115)
The j o y f u l l 's t day t h a t e v e r sun d id s e e .
P a ir Sun, show f o r t h th y fa v o ra b le r a y ,
And l e t thy l i f e f u l h e a t n o t f e r v e n t be.
For f e a r o f b u rn in g h e r. su n sh in y fa c e .
Her b e a u ty to d i s g r a c e .
(120)
0 f a i r e s t P hoebus, f a t h e r o f th e Muse, .
I f e v e r I d id honor th ee a r i g h t ,
Or s in g th e t h i n g t h a t mote th y mind d e l i g h t .
Do n o t . th y s e r v a n t 1s sim ple boon refu se^
•
But l e t t h i s d a y , l e t t h i s one day be m in e ,(125)
l e t a l l th e r e s t be t h i n e .
Then I th y s o v e re ig n p r a i s e s loud w i l l s in g ,
T hat a l l th e woods s h a l l answ er and t h e i r eoho r i n g .
121. Phoebus, th e f a t h e r o f th e M u se,) SAWTB1LE (p . 8 6 ):
"There seems t o be v e ry s l i g h t ground f o r c a l l i n g A p o llo
t h e i r (th e Muses) f a t h e r : though h is in tim a te c o n n e c tio n
w ith th e M uses, a s t h e i r le a d e r , would q u ite n a t u r a l l y "
su g g e st i t . "
124. Do n o t th y s e r v a n t 's sim ple boon r e f u s e ) SAWTE11E
(p . 8 5 ); "W ith H esio d , p o e tr y in g e n e r a l in th e p ro v in c e
o f a l l th e M uses, and w ith m a s te r A p o llo th e y g iv e i n ­
s p i r a t i o n to th e p o e t:
B l e s s 'd whom w ith eyes o f lo v e th e Muses view
Sweet flow h i s .w ords, g e n tle a s f a i l i n g dew.
Hark, how th e m in s tr e ls g in to s h r i l l a lo u d
T h e ir m erry m usic t h a t re so u n d s from f a r ,
(130)
The p ip e , t h e . t a b o r , and th e tre m b lin g croud
(a C e lti c m u s ic a l in s tru m e n t, 6 s t r i n g s ) ,
T hat w e ll a g re e w ith o u te n b re a c h o r j a r !
But m ost o f a l l th e dam sels do d e l i g h t ,
V/hen th ey t h e i r tim b r e ls s m ite ,
And th e re u n to do dance and c a r o l sw e e t,
(135)
T hat a l l th e s e n s e s th e y do r a v is h q u ite ,
The w h ile s th e boys ru n up and down th e s t r e e t .
C rying a lo u d w ith s tr u n g confused n o is e ,
As i f i t were one v o ic e .
"Hymen, Io Hymen, Hymen!" th e y do s h o u t,
(140)
T hat even to th e h eav en s t h e i r s h o u tin g s h r i l l
D oth re a c h , and a l l th e firm am en t d o th f i l l ;
To w hich th e p e o p le , s ta n d in g a l l a b o u t,
As i n ap p ro v an ce do t h e r e to a p p la u d ,
And loud advance h e r la u d ,
(145)
51
And everm ore th e y "Hymen, Hymen", s in g .
T hat a l l th e woods them answ er, and t h e i r echo r i n g .
Loi were she comes a lo n g w ith p o r t l y p ace,
Like Phoebe, from h e r chamber o f th e e a s t ,
A r is in g f o r t h to ru n h e r m ig h ty r a c e ,
(150)
Clad a l l in w h ite , t h a t seems a v i r g i n b e s t.
So w e ll i t h e r beseem s, t h a t ye would ween
Some a n g e l she had b e e n .
Her lo n g lo o s e y ello w lo c k s l i k e gold en w ire .
S p rin k le d w ith p e a r l , and p e a r l i n g flo w e rs atw een ,
Do l i k e a g o ld e n m a n tle h e r a t t i r e ;
'
And, b e in g crowned w ith a g a rla n d g re e n ,
Seem l i k e some m aiden queen.
Her m odest e y e s , ab a sh ed to b eh o ld
U.
So many g a z e rs a s on h e r do s t a r e , •
(160)
Upon th e lo w ly ground a f f ix e d a r e ;
Ne dare l i f t up h e r co u n ten an ce too b o ld ,
B ut b lu s h to h e a r h e r p r a i s e s sung so lo u d ,
So f a r from b e in g p ro u d .
H a th le s s do ye s t i l l loud h e r p r a i s e s s in g ;
(165)
T hat a l l th e woods may an sw er, and your echo r in g .
148. P o r tly p a c e ) GOBY (p . 2 4 8 ): "T hat th e la d y o f
th e E p ith a la ro io n i s th e la d y o f th e A m o re tti w i l l seem
s u f f i c i e n t l y l i k e l y to th o s e who w i l l r e c a l l th e n o b le
s o n n e ts d e s c r ib in g th e p e r f e c t harmony o f 'p o r t l y p r i d e 1
and h u m i l i t y . . . a s th e h e r i t a g e o f g r e a t s o u l s . " ______ __
T e ll me, ye m e rc h a n t’s d a u g h te r s , d id ye see
So f a i r a c r e a tu r e in your town b e fo re .
So sw e e t, so lo v e ly , and so m ild a s sh e .
Adorned w ith b e a u ty ’s g ra c e and v i r t u e ’s s t o r e ? (170)
Her goo d ly eyes l i k e s a p p h ir e s s h in in g b r i g h t ,
Her fo re h e a d iv o r y w h ite ,
Her cheeks l i k e a p p le s th e sun h a th ru d d ed ,
Her l i p s l i k e c h e r r i e s charm ing men to b i t e ,
Her b r e a s t l i k e a bowl o f cream u n cru d d ed ,
(175)
Her paps l i k e l i l i e s budded,
^ .
Her snowy neck l i k e to a m arble to w er,
And a l l h e r body l i k e a p a la c e f a i r ,
A scendin g up, w ith many a s t a t e l y s t a i r .
To h o n o r’s s e a t.a n d c h a s t i t y ’s sw eet bower.
(180)
Why sta n d ye s t i l l , ye v i r g i n s , in amaze,
i
Upon h e r so to gaze.
W hiles ye f o r g e t your fo rm e r la y to s in g .
To w hich th e woods d id an sw er, and your echo r in g ?
52
1 7 1 -8 . LEGOUIS (p . 8 9 ): "The p o e t does n o t m iss an
o p p o rtu n ity to giv e an in v e n to ry o f h e r charm s. And we
have h e re a s p le n d id s ta n z a which i s by i t s e l f a com plete
summing up o f h is p o e try - a t r u e S p e n s e ria n s ta n z a , i n
w hich th e abundant and v o lu p tu o u s d e s c r i p t i o n o f th e ,
b r i d e 's b e a u ty i s f i n a l l y i n t e r p r e t e d a s th e mere outw ard
s ig n of h e r p e r f e c t v i r t u e . "
178-80. LEGOUIS (p . 9 0 ): " ...P e r h a p s th e m ost a d m ira b le
e x p r e s s io n o f S p e n s e r 's P la to n i c c o n c e p tio n o f outw ard
b ea u ty w hich, he s a y s , le a d s th e .m in d , 'w ith many a s t a t e l y
s t a i r , ' to th e s e a t o f p e r f e c t , d iv in e v i r t u e . " _____
B ut i f ye saw t h a t w hich ho eyes can. s e e ,
(185)
The inw ard b e a u ty o f h e r l i v e l y s p r i t e ,
'
G arnished w ith h e a v e n ly g i f t s o f h ig h d e g re e .
Much more th e n would ye wonder a t t h a t s i g h t .
And s ta n d a s to n is h e d l i k e to th o s e w hich read
M edusa's m a z e fu l h e a d .
(190)
There d w e lls sw eet l o v e , : and c o n s ta n t c h a s t i t y ,
U n sp o tted f a i t h , and com ely womanhood,
Regard o f h o n o r, and m ild m odesty;
There v i r t u e r e ig n s a s queen in r o y a l th r o n e .
And g iv e th law s a lo n e , .
___
(195)
The w hich th e b ase a f f e c t i o n s do obey,
And y ie ld t h e i r s e r v ic e s u n to h e r w i l l ;
Ne th o u g h t o f th in g uncom ely e v e r may
T h ereto ap p ro ach to tem pt h e r mind to i l l .
Had ye once se en th e s e h e r c e l e s t i a l t r e a s u r e s ,(2 0 0 )
And u n re v e a le d p le a s u r e s .
Then would ye w onder, and h e r p r a i s e s s in g *
T hat a l l th e woods should answ er, arid your echo r i n g .
Open th e tem ple g a te s u n to my lo v e ,
Open them wide t h a t she nay e n te r in .
And a l l th e p o s ts ad o rn a s d o th behove.
And a l l th e p i l l a r s deck w ith g a rla n d s tr im .
For to r e c e iv e t h i s s a i n t w ith honor due.
T hat com eth in to y ou. W ith tr e m b lin g s t e p s and humble re v e re n c e .
She cometh in b e f o r e th e A lm ig h ty 's view .
Of h e r , ye v i r g i n s , l e a r n o b ed ien ce,
. When so ye come i n t o th o se h o ly p la c e s .
To humble your proud f a c e s .
B rin g h e r up to th e h ig h a l t a r , t h a t she may
The s a c re d cerem o n ies th e r e p a r ta k e ,
The w hich do e n d le s s m atrim ony make;
And l e t th e r o a r in g o rg an s lo u d ly p la y
The p r a is e s o f th e Lord i n l i v e l y n o te s .
(205)
( 210)
(2 1 5 )
53
The w h ile s w ith h o llo w t h r o a t s
(220)
The c h o r i s t e r s th e joyous anthem s i n g , :
T hat a l l th e woods may answ er, and t h e i r echo r i n g .
Behold, w h ile s she b e fo re th e a l t a r s ta n d s ,
H ea rin g th e h o ly p r i e s t t h a t to h e r sp eak s
And. b le s s e t h h e r w ith h i s two happy h an d s,
(225)
How th e re d r o s e s f lu s h up in h e r ch eek s.
And th e p u re snow w ith goodly v e rm e il s t a i n
Like crim so n dye in g r a in ;
T hat even th e a n g e ls , w hich c o n t in u a l ly
About th e s a c r e d a l t a r do rem a in ,
(230)
F o rg e t t h e i r s e r v i c e , and a b o u t h e r f l y ,
O ft p e e p in g i n h e r fa c e , t h a t seems more f a i r .
The more th e y do on i t s t a r e .
But h e r sad e y e s, s t i l l f a s te n e d on th e ground.
Are governed w ith goodly m odesty,
(235)
T hat s u f f e r s n o t one lo o k to g la n c e aw ry,
_
Which may l e t i n a l i t t l e th o u g h t u n so u n d .
Why b lu sh y e, lo v e , t o g iv e me your hand.
The p le d g e o f a l l our band?
S in g , ye sw eet a n g e ls . A l l e l u i a s in g ,
(240)
That a l l th e woods may an sw er, and your echo r i n g .
2 04-41. LEGOUIS ( p . 9 0 ): "Now th e p r o c e s s io n e n te r s th e
ch u rch , and we have h e re , i n th e m id st of th e go rg eo u s
Hymen, two a d m ira b le s ta n z a s from w hich a l l m ythology i s
b an ish ed to make room f o r a p u r e ly C h r is tia n cerem ony.
And though i t s u r e l y b r e a th e s much more o f th e C a th o lic th a n
o f th e P u r it a n s p i r i t , th e d e s c r i p t i o n i s so v iv id t h a t we
seem to see th e p o e t and h is b r i d e s ta n d in g in t h a t s a c re d
b u ild in g , w ith p i l l a r s ad o rn ed w ith f lo w e r s , where th e
organs lo u d ly p l a y ."
_______ _____
How a l l i s d o n e; b r in g home th e b rid e a g a in .
B rin g home th e tr iu m p h .o f our v i c t o r y ,
B rin g home w ith you th e g lo r y o f h e r g a in .
W ith jo y a n c e b r in g h e r and w ith j o l l i t y .
(245)
Hever had man more j o y f u l day th an t h i s .
Whom h eaven would heap w ith b l i s s .
Make f e a s t t h e r e f o r e now a l l t h i s liv e lo n g day;
T his day f o re v e r to me h o ly i s .
P o u r. o u t th e wine w ith o u t r e s t r a i n t o r s ta y , (250)
P our n o t by cu p s, b u t by th e b e l l y - f u l l ,
P our out to a l l t h a t w a ll.
And s p r i n k l e a l l th e p o s ts and w a lls w ith w ine.
That th e y may sw ea t, and d ru n k en be w i t h a l .
54
Crown ye god Bacchus w ith a c o ro n a l,
(255)
And Hymen a ls o crown w ith w re a th s o f v in e ;
And l e t th e G races dance u n to th e r e s t .
For th e y can do i t b e s t;
The w h ile s th e m aidens do t h e i r c a r o l s in g .
To w hich th e woods s h a l l an sw er, and t h e i r echo
rin g . :
,
(260)
250. LEGOUIS (p . 9 1 ): nThe pagan mood o f th e f e s t i v a l
b re a k s o u t. In a l i v e l y b a c c h ic s ta n z a we have th e b an q u et
f u l l of tr u e r u s t i c p r o f u s io n o f meat and w ine, and bound.le s s h o s p ita lity ."
.
255. Grown ye god B acchus) SAWTELLE (p . 3 5 ): "A lthough
i t does n o t ap p e ar t h a t th e crow ning o f t h i s god was a
r e g u la r p a r t o f th e m a rria g e f e s t i v a l o f the a n c ie n t s a s
was t h a t o f Hymen w ith th e Romans, y e t i t i s n o t in a p p ro ­
p r i a t e t h a t th e god o f w ine and r e v e l r y sh o u ld be i n t r o ­
duced h e r e . F u rth e rm o re , in a n c ie n t a r t and l i t e r a t u r e th e
crown o f v in e le a v e s was u se d , and iv y i s a n o tic e a b le
f e a t u r e o f t h i s g o d ." LOTSPEICH (p . 4 2 ): "Bacchus and wine
a s i n s p i r a t i o n o f p o e try (O c t. 106) a r e t r e a t e d by B o c ca ccio .
'P o e ts a ls o a re wont to be crowned w ith th e v in e , b ecau se
by t h e i r s k i l l th e y a re s a c re d to B a c c h u s .'" :
256. Hymen) SAWTELLE (p . 6 7 ): "The custom o f crow ning
Hymen w ith a g a rla n d a t m a rria g e f e s t i v a l s i s r e f e r r e d to
by C a t u l l u s ."
257. G races) LOTSPEICH (p . 6 4 ): "The t r a d i t i o n a l con­
c e p tio n o f th e G races a s th e handm aids o f Venus, who
d e l ig h t in d an cin g , and 'p la y and s p o rt* on Mount A c id a le ."
R ing ye th e b e l l s , ye young men o f th e town.
And le a v e y o u r w onted la b o r s f o r t h i s d a y .
T his day is h o ly ; do ye w r ite i t down.
T hat ye f o r e v e r i t remember may.
T his day th e sun i s i n h is c h i e f e s t h e i g h t,
(265)
W ith B arnaby th e b r i g h t .
From whence d e c lin in g d a i l y by d eg ree s
He somewhat l o s e t h o f h i s h e a t and l i g h t ,
When once th e Crab b eh in d h i s back he s e e s .
But f o r t h i s tim e i t i l l o rd a in e d was
(270)
To choose th e lo n g e s t day i n a l l th e y e a r.
The s h o r t e s t n i g h t , when lo n g e s t f i t t e r w ere;
Y et n e v e r day so lo n g b u t l a t e would p a s s .
R ing ye th e b e l l s , to make i t w ear away,
And b o n f ir e s make a l l d ay,
_
(275)
And dance a b o u t them , and ab o u t them s i n g;
T hat a l l th e woods may answ er, and your echo r i n g .
55
266. W ith -B araa b y -th e b r ig h t) POTTER, G. R ., E liz a b e th a n
V erse and P ro se (p . 5 7 4 ): "Barna'by th e b r i g h t r e f e r s to S t .
B a rn a b a‘ s Day, June 1 1 ."
269. When once th e Grab b eh in d h is back he s e e s .)
POTTER ( I b i d . ) : "When th e sun, i n p a s s in g th ro u g h th e con­
s t e l l a t i o n s o f th e Z o d iac, le a v e s th e s ig n o f the Crab
b eh in d , i . e . , tow ard th e end o f J u l y ."
Ahl when w i l l t h i s lo n g w eary day have end,
And le n d me le a v e to come u n to my lo v e .
How slo w ly do th e h o u rs t h e i r numbers spendI
(280)
How slo w ly does sad Time h i s f e a t h e r s move!
H aste th e e , 0 f a i r e s t p l a n e t , to th y home
W ith in th e w e s te rn foam;
Thy t i r e d s te e d s lo n g s in c e t h a t need o f r e s t .
Long though i t be, a t l a s t I se e i t gloom,
(285)
And the b r ig h t ev e n in g s t a r w ith g o ld en c r e s t
A ppear out o f th e e a s t .
P a i r c h i ld o f b e a u ty , g lo r io u s lamp o f lo v e .
T hat a l l th e h o s t o f h eaven i n ra n k s d o s t le a d .
And g u id e s t lo v e r s th ro u g h th e n ig h te s d re a d ,
(290)
How c h e e r f u l ly th o u lo o k e s t from above.
And seem ’s t to la u g h a tw een th y tw in k lin g l i g h t ,
As jo y in g in th e s i g h t
Of th e s e g la d many, w hich f o r jo y do s in g ,
T hat a l l th e woods them answ er, and t h e i r echo r in g !
(291)
Now c e a s e , ye d a m se ls, your d e l i g h t s f o r e p a s t ;
Enough i s i t t h a t a l l th e day was y o u rs .
Now day i s done, and n ig h t i s n ig h in g f a s t ;
Now b rin g th e b r id e in to th e b r i d a l bow ers.
The n ig h t i s come, how soon h e r d i s a r r a y ,
(300)
And in h e r bed h e r la y ;
Lay h e r i n l i l i e s and in v i o l e t s ,
And s il k e n c u r t a i n s o v e r h e r d is p l a y .
And odored s h e e t s , and a r r a s ( ta p e s t r y ) c o v e r l e t s .
Behold how g o o d ly my f a i r lo v e does l i e , .
(305)
In proud h u m ility I
Like unto M ala, whenas Jove h e r to o k
In Tempe, ly in g on th e flo w e ry g r a s s ,
'T w ixt s le e p and wake, a f t e r she w eary was
W ith b a th in g i n th e A o id a lia n b ro o k .
(310)
Now i t i s n i g h t , ye d am sels may be go n e,
And le a v e my lo v e a lo n e ,
And le a v e lik e w is e your fo rm er la y to s in g ;
The woods no more s h a l l an sw e r, n o r your echo r i n g .
56
307. Like u n to M aia) SAWTELLE (p . 8 0 ): "E.
commenting
upon t h i s p a s sa g e , s a y s , ’M a ia 's how er, t h a t i s th e p le a s a n t
f i e l d , o r r a t h e r th e Maye h u s h e s . Maia i s a g o d d ess, and
th e M other o f M e rc u ric , in ho n o r o f whome th e month o f Maye
i s o f h e r name so c a l l e d , a s s a y th M a c ro h iu s .'"
308. In Tempe ) SAY7TELIE . (p . 8 0 ): ."S p en se r names Tempe
a s th e p la c e where Jove and M aia m e t, h u t h i s a u t h o r i t y i s
n o t e v i d e n t." LOTSPEICH (p . 1 1 0 ): "Where S p en se r makes
Tempe th e h a u n t o f M aia, seems to h e o r i g i n a l w ith h im ."
310. A o id a lia n brook) LOTSPEICH (p . 7 9 ): "For the u se o f
th e A o id a lia n h e r e , S p e n se r may p o s s ib ly have re c e iv e d a
•su g g e stio n from Gomes 5 .5 , where he says t h a t .Maia b o re
M ercury in A rc a d ia a t a p la c e where th e re were th r e e
f o u n t a i n s ."
■
Now welcome, n ig h tJ Thou n ig h t so lo n g e x p e c te d ,
T hat lo n g d a y 's la b o r d o s t a t l a s t d e f r a y ,
(316)
And a l l my c a r e s , w hich c r u e l lo v e c o l l e c t e d .
H ast summed i n o n e , and c a n c e lle d f o r a y e .
S pread th y b ro ad wing o v e r my lo v e and me,
T hat no man may us s e e ,
.
(320)
And in th y s a b le m a n tle u s enw rap,
From f e a r o f p e r i l and f o u l h o r r o r f r e e .
L et no f a l s e tr e a s o n s e e k us to e n tr a p .
Nor any d read d i s q u i e t once annoy
The s a f e t y o f our jo y .
(325)
But l e t th e n ig h t be calm and q u ie tso m e ,
W ithout tem p estu o u s sto rm s o r sad a f f r a y ;
l i k e a s when Jove w ith f a i r Alcmena la y .
When he b e g o t th e g r e a t T ir n y th ia n groom;
Or l i k e a s when he w ith t h y s e l f d id l i e ,
(330)
And begot M a je sty .
And l e t th e m aids and young men c e a se to s in g ;
Ne. l e t th e woods th a n an sw er, n o r t h e i r echo r i n g .
~
328. Jove w ith f a i r Alcmena la y ) SAWTELLE (p . 1 8 ):
"S p e n se r fo llo w s M etamorphoses 6 .1 1 2 when he m e n tio n s th e
a f f a i r w ith Alcmena among th e am ours o f J o v e ."
329. T ir y n th ia n groom) SAWTELLE (p . 6 1 ): "The e p i t h e t ,
T ir y th ia n groom, i s a c c o u n te d f o r by th e f a c t t h a t H e rc u le s
was b ro u g h t up a t T iry n s , i n A r g o lis , and was, t h e r e f o r e ,
o f te n c a lle d the T ir y n th ia n h e ro by th e a n c ie n t w r i t e r s . "
331. And b eg o t M a je sty ) LOTSPEICH (p . 9 1 ): "No e x ­
p la n a tio n a p p e a rs, f o r th e s ta te m e n t t h a t Jove and N ig h t
begot M a je sty . A goddess M a je sty , d a u g h te r o f Honor and
R everence, i s m en tio n ed by Ovid - F a s t i 5 .2 3 -5 and B o ccaccio
3 .1 2 ."
57
l e t no la m e n tin g c r i e s n o r d o le f u l t e a r s
Be h e a rd a l l n ig h t w ith in , n o r y e t w ith o u t;
(335)
Ne l e t f a l s e w h is p e rs , "breeding h id d en f e a r s ,
Break g e n tle s le e p w ith m isco n ceiv ed d o u b t,
l e t no d e lu d in g dream s, n o r d r e a d f u l s i g h t s , . .
Make sudden sad a f f r i g h t s ;
(339)
He l e t h o u s e - f i r e s , n o r . l i g h t n i n g ! s h e l p le s s harm s,
Ne l e t the Pouke, n o r o th e r e v i l s p r i t e s ,
lie l e t m isc h ie v o u s w itc h e s w ith t h e i r charm s,
lie l e t h o b g o b lin s , names whose sen se we see n o t,
P ray us w ith th in g s t h a t be n o t .
(344)
l e t n o t th e sc re e c h -o w l n o r th e s t o r k be h e a rd ,
Nor th e n ig h t rav en t h a t s t i l l d e a d ly y e l l s .
Nor damned g h o sts c a lle d up w ith m ighty s p e l l s .
Nor g r i s l y v u l t u r e s make us once a f f e a r e d .
Ne l e t th e u n p le a s a n t c h o ir o f f r o g s s t i l l c ro a k in g
Make us w ish t h e i r ch o k in g .
(350)
l e t none o f th e s e t h e i r d re a ry a c c e n ts s in g ;
Ne l e t th e woods them an sw er, n o r t h e i r echo r i n g .
3 j$4 -3 5 1 . lEQOUIS (p . 9 2 ): "Then b e g in s th e r e ig n o f
n ig h t and s i l e n c e . But a s we a r e in a t r o u b l e d , c o u n try ,
in t h a t I r e la n d where n ig h t a t t a c k s a r e alw ays p o s s i b l e ,
th e p o e t u t t e r s a lo n g p r a y e r to c o n ju re away a l l p e r i l s , . . .
n o t f o r g e t t i n g t h e ‘u n p le a s a n t q u ir e o f f ro g s s t i l l c ro a k ' i n g , ' w hich in h is ;K ilc o lm a n manor he to o o f te n h e a rd from
th e n e ig h b o rin g p o n d ."__________________________ _____________ _
But l e t s t i l l S ile n c e t r u e n ig h t w atch es k eep ,
T hat s a c re d P eace may in a s s u ra n c e r e ig n ,
And tim e ly S le e p , when i t i s tim e to s le e p ,
(355)
May pour h i s lim b s f o r t h on y o u r p le a s a n t p l a i n ,
The w h ile s an hundred l i t t l e winged lo v e s ,
:
Like d iv e r s f e a th e r e d doves,
S h a ll f l y and f l u t t e r round a b o u t our b ed .
And i n th e s e c r e t d a rk , t h a t none r e p ro v e s ,
(360)
T h e ir p r e t t y s t e a l t h s s h a l l work, and s n a re s s h a l l
. sp re a d
To f i l c h away sw eet s n a tc h e s o f d e l i g h t ,
: v
C oncealed th ro u g h , c o v e rt n i g h t .
Ye sons o f V enus, p la y y o u r s p o r ts a t w i l l ;
.For g reed y P le a s u r e ^ c a r e le s s o f your t o y s ,
(365)
Thinks more upon h e r p a r a d is e o f jo y s
Than what ye do, a lb e i t good or i l l .
A ll n ig h t t h e r e f o r e a t te n d your m erry p la y ,
For i t w i l l soon be d a y .
Now none d o th h in d e r you, t h a t say or s in g ,
(370)
Ne w i l l th e woods now answ er, n o r your echo r i n g .
58
357. An hundred l i t t l e winged lo v e s ) LOTSPEICH (p . 4 9 ) :
" In A le x a n d ria n l i t e r a t u r e , C upid was o f te n changed from
one in to many, o r was g iv e n " b r o th e r s ."
364. Ye sons o f V enus) SAWTBLIB (p . 1 2 1 ): "H orace
( Carmina 4 .1 ) a d d r e s s e s Venus a s th e m other o f sw eet lo v e s ,
and S p en se r e x p re s s e s th e same id e a " h e r e .
- Who i s th e same which a t my window peeps?
Or whose i s t h a t f a i r f a c e t h a t s h in e s "bright?
Is i t n o t C y n th ia, she t h a t n e v e r s le e p s
But walks ab o u t h ig h h eav en a l l th e n ig h t?
(375)
0 f a i r e s t g o d d ess, do th o u n o t envy
My lo v e w ith me to sp y ;
For th o u lik e w is e d i d s t lo v e , though now u n th o u g h t.
And f o r a f l e e c e o f w ool, w hich p r i v i l y
The L atm ian sh e p h erd once u n to th e e b r o u g h t, (380)
H is p le a s u r e s w ith - th e e w ro u g h t.
T h e re fo re to us be. f a v o r a b le now;
And s i t h o f women’s la b o r s th o u h a s t c h a rg e ,
And g e n e r a tio n goodly d o s t e n la r g e .
I n c lin e th y w i l l to e f f e c t our w is h f u l vow,
(385)
And th e c h a s te womb in fo rm w ith tim e ly se e d ,
T hat may o u r co m fo rt b r e e d .
T i l l w hich we c e a se our h o p e fu l hap to s in g .
He l e t th e woods us an sw er, n o t o u r echo r i n g .
374. C y n th ia ) SAWTSLIE (p . 4 7 ): "D iana, th e s i s t e r o f
A p o llo , whom th e G reeks knew a s A rtem is, i s d e s ig n a te d by
S p en ser u n d e r th e names o f C y n th ia , D iana, and P h o e b e ...
As A p o llo was th e god o f th e su n , she was th e c o rre sp o n d in g
d i v i n i t y o f th e moon. As A p o llo was c a l l e d C y n th iu s, on
a c c o u n t o f h is b i r t h a t th e f o o t o f Mt. Cynthus so D ia n ia
was known as C y n th ia f o r th e same r e a s o n : he was Phoebus,
she was known a s Phoebe - u n d e r th e s e two names S p en se r
o f te n r e f e r s to h e r a s th e goddess o f th e m oon." P r o th .
121, Jonson 1 6 0 6 .1 0 2 .
380i The la tm ia n sh e p h e rd ) SAWTELLE (p . 4 9 ): "But even
C nythia became a v ic tim o f th e a rc h -g o d . The s t o r y o f
Endym.ion, th e la tm ia n sh e p h e rd , w hich has e v e r been a
f a v o r i t e w ith th e p o e ts , i s r e f e r r e d .to in S . C. J u ly 63
a l s o . . . S p e n se r say s t h a t th e Latm ian sh ep h erd won th e
a f f e c t i o n s o f C y n th ia by p r e s e n tin g h e r w ith a ’ f le e c e o f
w o o l.’ But V i r g i l ( G eo rg ies 3 .3 9 1 ) say s t h a t i t was Pan
who d id t h i s . "
3 7 2 -7 . LEGOUIS (p . 9 3 ): "A b e a u t i f u l p a s s a g e , y e t n o t
w h o lly i n t e l l i g i b l e u n le s s we r e a l i z e t h a t C y n th ia h as a ■
59
tw o fo ld m eaning, and d e s ig n a te s n o t o n ly th e moon b u t a ls o
th e queen, to whom S ir W a lte r R a le ig h had d e d ic a te d a lo n g
poem by t h a t name. The p o e t who remembered h is s o v e re ig n
i n th e m id s t o f h is jo y s , im p lo re s h e r n o t to be an g ry w ith
him f o r g iv in g h is h e a r t to a n o th e r v ir g in ; he makes bold to
rem ind h e r t h a t she to o h as f e l t lo v e ( f o r L e i c e s t e r ) , w hich
ought to make h e r t o l e r a n t o f lo v e r s . But th e a l l u s i o n can
o n ly be a ’d a rk c o n c e i t ; ’ i n th e n e x t l i n e s C ynthia has
once a g a in become th e m y th o lo g ica l- d e i t y whom S p en se r i n ­
vokes to g e th e r w ith Juno, Hebe, Hymen and th e do m estic
g e n iu s , a s k in g them to make h i s u n io n b le s s e d and f r u i t f u l .
"Was S p en ser r e a l l y a f r a i d t h a t Queen E liz a b e th would
be o ffe n d e d by h i s m a rria g e a s th o u g h by th e d e s e r t i o n o f
one o f h e r f a v o u r i t e s o r d e v o te e s ? I t i s n o t p ro b a b le .
But i n th u s f e ig n in g f e a r o f h e r w ra th , he was p ro m o tin g
h im s e lf to th e ra n k o f n o b le r and h ig h e r c o u r t i e r s th an h e .
He assum ed, so to say , a p a t e n t o f n o b i l i t y , s e t h im s e lf on
a le v e l w ith th e L e io e s te r s , R a le ig h s , and E s s e s e s . Even
on h i s m a rria g e n ig h t he had to p la y h i s p a r t as a l a u r e a t e
d ev o ted to th e s e r v ic e s o f th e V ir g in E m p r e s s . " _____
And th o u , g r e a t Juno, w hich w ith aw fu l m ig h t
(390)
The law s o f wedlock s t i l l d o s t p a tr o n iz e ,
And th e r e l i g i o n o f th e f a i t h f i r s t p l i g h t
W ith s a c re d r i t e s h as ta u g h t to s o le m in iz e .
And eke f o r com fort o f te n c a lle d a r t
Of women i n t h e i r s m a rt,
(395)
E te r n a l ly b in d th o u t h i s lo v e ly band,
And a l l th y b le s s in g s u n to us im p a rt. .
And th o u , g la d G enius, i n whose g e n tle hand
The b r i d a l bower and g e n i a l bed rem ain,
W ithout b le m ish o r s t a i n ,
(400)
And th e sw eet p le a s u r e s o f t h e i r l o v e 's d e l i g h t
W ith s e c r e t a id d o s t s u c c o r and su p p ly
T i l l th ey b r in g f o r t h th e f r u i t f u l pro g en y .
Send -us th e tim e ly f r u i t o f t h i s same n i g h t .
And th o u , f a i r Hebe, and th o u , Hymen f r e e ,
(405)
G rant t h a t i t may so b e .
T i l l which we ce a se your f u r t h e r p r a is e to s i n g , .....
He any woods s h a l l answ er, n o r your echo r i n g .
390. Juno) LOTSPEICH(p. 7 6 ): "Juno o c c u p ie s a r a t h e r
u n im p o rta n t p la c e i n S p e n s e r ’ s m y th o lo g y . A ll t h a t he says
of h e r i s in a c c o rd w ith c l a s s i c a l t r a d i t i o n . " SAWTELLE
(p . 7 6 ): "Juno i s invoked a s th e p a tr o n o f m a rria g e , and
th e d i v i n i t y who p r e s id e s o v er c h i l d b i r t h . The o r i g i n o f
th e f i r s t o f th e s e id e a s i s in th e w if e ly r e l a t i o n w hich
3-87177
60
Juno "bore to J o v e : h e r i n t e r e s t in o f f s p r in g a r i s e s from
th e f a c t t h a t she f i r s t made S a tu rn a p a r e n t , t h a t i s ,
she was h i s e l d e s t c h i l d . ” Jonson 1 6 0 6 .8 9 .
398. G enius) LOTHSPEICHfp. 6 1 ): "G enius, as god o f
h i r t h and g e n e r a tio n , i s invoked in th e p o e t ’s p r a y e r f o r
c h i ld r e n . - In u s in g th e words *g e n t l e ’ and ’g e n i a l l , ’
S p en ser i s p la y in g on th e etym ology o f th e g od’s nam e."
Jonson 1 6 0 6 .9 4 .
400. Hebe) 10STPEICH (p . 6 6 ): "Hebe does riot a p p e a r i n
S p en se r a s c u p -b e a re r o f th e gods, b u t a s th e w ife o f H ero u l e s ...a n d a s a d e i ty p r e s id i n g o v er f e r t i l i t y . ”________ _
And ye h ig h h eav en , th e tem ple o f th e gods.
In w hich a th o u san d to r c h e s fla m in g b r i g h t
(410)
Do b u rn , t h a t to us w retch ed e a r t h ly c lo d s
In ' d r e a d f u l d a rk n e ss len d d e s ir e d l i g h t ,
And a l l ye powers w hich i n th e same rem ain .
More th a n we men can f e ig n ,
Pour o u t your b l e s s i n g on us p le n te o u s ly ,
(415)
And happy in f lu e n c e upon us r a i n .
T hat we may r a is e , a la r g e p o s t e r i t y ,
Which from th e e a r t h , w hich th ey may lo n g p o s s e s s
W ith l a s t i n g h a p p in e s s ,
Up to your h au g h ty p a la c e s may mount,
(420)
And f o r th e guerd o n o f t h e i r g lo r io u s m e r it
May h e a v e n ly ta b e r n a c le s th e re i n h e r i t .
Of b le s s e d s a i n t s f o r to in c r e a s e th e c o u n t. \
So l e t us r e s t ,
sw eet lo v e , in hope o f t h i s .
And ce ase t i l l th e n our tim e ly jo y s to s in g ; (425)
The woods no more us answ er, n o r our echo r i n g .
409 . Trie Temple o f th e gods) LEGOUIS (p . 53 ): HThe end
o f th e Hymn l in k s to g e th e r , r a t h e r p r o f a n e ly , a s we sh o u ld
th in k nowadays, th e d e i t i e s o f Olympus, in whom S p en ser had
o n ly p o e t i c a l f a i t h , w ith th e C h r is t ia n God and th e s a i n t s .
Once g r a n te d t h a t c o n fu s io n , which a f t e r a l l i s m e re ly
v e r b a l , th e l a s t s ta n z a h as a t r u l y r e l i g i o u s r i n g . ”______
Song, made i n l i e u o f many ornam ents
W ith which my lo v e sh o u ld d u ly have been decked.
Which c u t t i n g o f f th ro u g h h a s ty a c c id e n ts
Ye would n o t s t a y your due tim e to e x p e c t,
(430)
But prom ised b o th to recom pense,
Be u n to h e r a goodly ornam ent,
And f o r s h o r t tim e an e n d le s s monim ent.
61
427-435. PAIflRAVB Com plete Works (p . x o iv ) ; "S p en ser
w r ite s h ere from th e whole f u ln e s s o f h is h e a r t ; and "being
hence le d to in c lu d e and d w e ll on ev ery "b rid al a s s o c i a t i o n
old or new, which he could r e c a l l , th e w e a lth of th e E p ith a
lam ion h a s , p e rh a p s , te n d e d a l i t t l e to e f f a c e th e im p re s s ­
io n t h a t d e p th o f f e e l i n g i s in v o lv e d . B u t, (even i f i t
w ere n o t i n i t s e l f a k in d o f tr e a s o n to p o e try to suppose
t h i s ) th e lo v e ly s i m p l i c i t y o f th e Em oy may r e a s s u r e u s . "
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J u s s e ra n d , J . J . A L i t e r a r y H is to r y o f th e E n g lis h
P e o p le . H. Y ., G. P . P u tn a m ^ Sons, 1906
Lee, S id n ey . D ic tio n a r y o f N a tio n a l B io g rap h y .
H. Y ,, M acm illan Company, 1692
Le G a llie n n e , R ic h a rd . -Hew Poems.
Lane Company, 1910
L eg o u is, Pknile. S p e n se r.
and Company, 1926
N. Y ., John
N. Y ., E. P . D u tto n
L o ts p e ic h , H enry G ibbons. C l a s s i c a l M ythology i n
th e P o e try o f Edmund S p e n s e r. P r in c e to n ,
U n iv e r s ity P r e s s , 1932
L ow ell, James R u s s e ll. Old E n g lis h D r a m a tis ts .
N. Y ., H oughton, M i f f l i n and Company, 1893
Osgood, C h a rle s G. A Concordance to th e Poems o f
Edmund S p e n se r. C arn eg ie I n s t i t u t e o f Wash­
in g to n , 1915
Ormond, T. S. E n g lis h M e t r i s t s . O xford, C larendon
P r e s s , 1921
P a d e lfo r d , F r e d e r ic k M organ. E a r ly S ix te e n th Cen­
tu r y L y r i c s . B oston, M ass., H eath and Company,
1907
E ssay s on th e S tudy
and Use o f P o e tr y . N. Y ., H enry H o lt a n d '
Company, 1902
P o t t e r , George R euben. E liz a b e th a n V erse and P ro s e .
E. Y ., H enry H o lt and Company, 1928
P r i t c h a r d , F. H. T ra in in g i n L i t e r a r y A p p r e c ia tio n .
N. Y ., Thomas Y. C row ell Company, 1924
Renwiok, W. l . Edmund S p e n se r- An E ssay on R e n a issa n c e
P o e tr y . London, Edward A rnold and Company, 1925
ill
S a w te lle , A lic e E liz a b e th . The S o u rces o f S p e n s e r 's
C l a s s i c a l M ythology. N. Y ., S i l v e r , B u rd e tt and
Company, 1896
S c h e llin g , F e l i x . P o e tic and V erse C r i t i c i s m . V ol. I .
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1891
S m ith, G-. G regory. Ben Jons o n . London, M acm illan and
Company, L im ited , S t. M a r tin 's S t r e e t , 1926
S p in g a rn . J . E. A H is to r y o f L ite r a r y C r itic is m i n th e
R e n a issa n c e (Second e d i t i o n ) , if. Y ., The Columbia
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The U n iv e r s ity o f M in n eso ta P ressT 1930
-
. » ■ * ^
-
-- -
*
Symonds, John A d d in g to n . Ben Jo n so n . London, Longmans,
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APPENDIX
TABLE OP CONTENTS
-- '
•- ' •
PROTHALAMION----------- ' ---------------------Edmund S p en ser
MASQUE OF HYMEN
,
Ben Jons on
- - - - - - - :- . -
THE HUE AND CRY AFTER CUPID
Ben Jons on
Page
vi
-:
x
- - -
x lii
EPITHA LAMION - - ~ > - - - - - - Ben Jonson
/ xv
THE EPITHAIAMIUM OF HELEN .
AND 1IENELAUS
- - - - - - - - T ra n s la te d by .John Dryden
,
xx
CARMEN 61 - - - - - - - -------------- x x i i i
C a tu llu s
THE BRIDAL PROCESSION - - - - - J a s tr o w ’s t r a n s l a t i o n o f
C h a p ter 3, v e r s e s 6-11 o f
th e Song o f Solomon
x x v li
DISCUS; EPITHALMIIUM - - - - - - - x x v i i i
S i r P h i l i p S id n ey .
A BRIDAL SONG — —
P e rc y S h e lle y
— — — — ' x xxi
:
AN EPITHAIAMIUM ON THE MARRIAGE
OF WILLIAM FLAYERSHAM AND JULIE
OPP - - - - - - - - - - - - - R ic h a rd Le G a llie n n e
-
x x x ii
PROTOAMMIOir
•
"by Edmund S p en se r
(From S t u d e n t 's Cambridge E d it i o n ,
The C om plete P o e t i o a l
Works o f Edmund S p e n s e r , p p . 7 5 9 -7 6 2 )
Calme was th e d ay , and th ro u g h th e tre m b lin g a y re
Sweete b r e a th in g Zephyrua d id s o f t l y p la y ,
A g e n tle , s p i r i t , t h a t l i g h t l y d id d e la y
Hot T ita n s beam es, whioh d id g l y s t e r f a y r e :
When I , whom s u l l e i n o a r e .
Through d is c o n te n t o f my lo n g f r u i t l e s s e s ta y
I n p r in o e s o o u r t, and e x p e c ta tio n vayne
Of i d l e h o p e s, w hioh s t i l l doe f l y away,
l i k e empty ahaddow es, d id a f f l i c t by b ra y n e ,
W alkt f o r t h to e a se my payne
(10)
A long th e e h o a re o f s l i v e r s tre a m in g Themmes;
Whose r u t t y banoke, th e w hich h i s r i v e r hemmes,
Was p ay n ted a l l w ith v a r i a b l e f lo w e r s .
And a l l th e meades ad o rn ed w ith d a i n t i e gemmes,
F i t t o decks maydens bow res.
And crowns t h e i r p aram o u rs.
A g a in s t th e b r y d a le d ay , w hich i s n o t lo n g ;
Sweet T h e m e s, runne s o f t l y , t i l l I end my so n g .
-
T h ere, i n a meadow, by th e r i v e r s s id e ,
A f lo c k s o f nymphes I chanced to esp y ,
(20)
A ll lo v e ly d a u g h te rs o f th e flo o d th e re b y .
W ith g o o d ly g r e e n is h lo o k s a l l lo o s e u n ty d e .
As each had bene a b r y d e :
'
And each had a l i t t l e w ic k e r b a s k e t,
Made o f f i n e tw ig s e n tr a y le d c u r io u s ly ,
In w hich th e y g a th e r e d flo w e rs to f i l l t h e i r f l a s k e t ;
And w ith f i n e f i n g e r s o r o p t f u l l f e a t e c u s ly
T h e .te n d e r a t a I k e s on hye«
;
—
Of e v e ry s o r t , w hich i n t h a t meadow grew.
They g a th e re d some; th e v i o l e t p a l l i d blew ,
(30)
The l i t t l e d a z ie , t h a t a t ev e n in g c l o s e s .
The v i r g i n , l i l l i e , and th e p rim ro se tre w .
W ith s t o r e o f v e r m e il r o s e s .
To deck t h e i r b rid eg ro m es p o s ie s
.
A g a in s t th e b ry d a le d ay , w hich was n o t lo n g :
Sw eete T h e m e s, runne s o f t l y , t i l l I end my so n g .
W ith t h a t I saw two swannes o f g o o d ly hews
Come s o f t l y swimming downs a lo n g th e Lee;
..Two f a i r e r Tairds I y e t d id n e v e r s e e :
The Snow w hich d o th th e to p o f P Indus s tr e w
(40)
Did n e v e r w h ite r shew.
Nor Jove h im s e lf e , when he a swan would he
F or lo v e o f le d a , w h ite r d id a p p e a r:
Y et Leda w as, th e y s a y , a s w h ite a s h e.
Y et n o t so w h ite a s th ese^ n o r n o th in g n e a r e :
So p u r e ly w h ite th e y w ere.
T hat even th e g e n tle a tre a m e , th e whioh them h a r e .
Seem 'd f o u le to them , and had h i s h i H ow es s p a re
To w et t h e i r s i l k e n f e a t h e r s , l e a s t th e y m ig h t
S o y le t h e i r f a y r e plum es w ith w a te r n o t so f a y r e ,
And m arre t h e i r b e a u tie s b r i g h t ,
'
(51)
That shone a s heaven l i g h t .
A g a in st t h e i r b ry d a le day; whioh i s n o t lo n g :
Sweet Themmes, runne s o f t l y , t i l l I end my so n g .
E ftso o n e s th e nymphes, w hich now had flo w e rs t h e i r f i l l .
Ban a l l in h a s t e to se e th e s i l v e r b ro o d .
As th e y came f l o a t i n g on th e o h r i s t a l f lo o d ;
Whom when th e y saw e, th e y s to o d amazed s t i l l ,
T h e ir w ondring eyes to f i l l .
Them seem 'd th e y n e v e r saw a s i g h t so f a y r e ,
(60)
Of fo w les so lo v e ly , t h a t th e y d id deeme
Them h e a v e n ly b o rn e , o r to be t h a t same p a y re
Whioh th ro u g h th e s k ie draw Venus s i l v e r teem e;
For s u r e th e y d id n o t seeme
To be b eg o t o f any e a r t h l y s e e d e .
But r a t h e r o f a n g e ls o r o f a n g e ls b r e e d s :
Yet were th e y b re d o f S o m e rs-h e a t, th e y sa y .
I n s w e e te s t s e a s o n , when each flo w e r an d weede The e a r t h d id f r e s h a r a y ;
So f r e s h th e y se e m 'd a s day,
(70)
Even a s t h e i r b r y d a le d ay , w hich was n o t lo n g :
Sw eets Themmes, runne s o f t l y , t i l l I end my so n g .
Then f o r t h th e y a l l o u t o f t h e i r b a s k e ts drew
G re at s t o r e o f f lo w e r s , th e honour o f th e f i e l d .
T hat t o th e s e n s e d id f r a g r a n t odours y e i l d ,
A ll w hioh upon th o s e g o o d ly b ir d s th e y th rew ,
And a l l th e waves d id s tr e w .
T hat l i k e o ld Peneus w a te rs th e y d id seem s,
When downs a lo n g by p le a s a n t Tempos s h o re ,
(79)
S c a tte r e d w ith f lo w re s , th ro u g h T h e ss a ly th e y s tre a m s .
T hat th e y a p p e a re , th ro u g h l i l l i e s p le n te o u s s t o r e ,
L ike a b ry d es cham ber f l o r e .
Two o f th o s e nymphes, meane w h ile , two g a r la n d s bound
Of f r e s h e s t flo w re s w hich in t h a t mead th e y fo u n d .
The w hich p r e s e n tin g a l l in tr im a r r a y ,
v ii
T h e ir anow ie fo re h e a d s t h e r e w i t h a l ! th e y crownd.
W h ile st one d id s in g t h i s la y .
P r e p a r ’d a g a in s t t h a t day.
A g a in st t h e i r b ry d a le d ay , w hich was n o t lo n g :
Sweete Themmes, rm m e s o f t l y , t i l l I end my so n g .
(90)
’Ye g e n tle b i r d e s , th e w o rld s f a i r s ornam ent,
And h eaven g l o r i e , whom t h i s h a p p ie hower
D oth le a d e u n to y o u r lo v e r s b l i s s f u l ! bower,
Joy may you have and g e n tle h e a r t s c o n te n t
Of your lo v e s com plem ent:
And l e t f a i r s Venus, t h a t i s Queens o f lo v e .
W ith h e r h e a r t - q u e l l i n g sonne upon you sm ile ,
Whose s m ile , th e y s a y , h a th v e r tu e to remove
A ll lo v e s d i s l i k e , and f r ie n d s h ip s f a u l t i e g u ile
F or e v e r to s s s o i l e .
(100)
L et e n d le s s e p ea ce y o u r s t e a d f a s t h e a r t s a c c o rd ,
And b le s s e d p l a n t i e w a it upon y o u r b o rd ; .
And l e t y o u r bed w ith p le a s u r e s c h a s t abound,
T hat f r u i t f u l ! is s u e may to you a f f o r d .
Which may y o u r fo e s confound.
And make y o u r jo y e s red o u n d .
Upon y o u r b r y d a l d ay , w hich i s n o t lo n g :
Sw eete Themmes, ru n s o f t l y , t i l l I end my so n g .
So ended s h e ; and a l l th e r e s t aro u n d
To h e r re d o u b le d t h a t h e r u n d erso n g ,
(110)
Which s a id , t h e i r b ry d a le days whould n o t be lo n g .
And g e n tle Ecoho from th e n e ig h b o u r ground
T h e ir a c c e n ts d id re so u n d .
So f o r t h th o s e joyous b ir d e s d id p a sse a lo n g ,
Adowne th e Lee, t h a t to them murmurde low s,
As he would speaks', b u t t h a t he la o k t a to n g ,
Y eat d id by. s ig n e s h i s g la d a f f e c t i o n show.
Making h i s stre a m s ru n slo w .
And a l l th e f o u ls w hich i n h i s flo o d d id d w e ll
Gan f lo c k a b o u t th e s e tw a in e , t h a t d id e x o e ll (120)
The r e s t so f a r a s C y n th ia d o th abend
The l e a s e r s t a r r e s . So th e y , en ran g ed w e ll,
Did on th o s e two a t t e n d .
And t h e i r b e s t s e r v ic e le n d .
A g a in s t t h e i r w edding day, w hich was n o t lo n g ;
Sweete Themmes, ru n s o f t l y , t i l l I end my so n g .
At le n g th th e y a l l to m erry London came.
To m erry London, my m ost k y n d ly n u r s e .
T hat t o me gave t h i s l i f e s f i r s t n a t iv e s o u r s e ;
Though from a n o th e r p la c e I ta k e my name,
(130)
An house o f a u n o le n t fam e.
•
v iii
T here when th e y came, w hereas th o s e "bricky to w re s.
The w hich on Themmes h rode -aged haoke doe ry d e ,
Where now th e s tu d io n s la w y e rs have t h e i r h ew ers,
There whylome wont th e Tem pler K n ig h ts to hyde,
T i l l th e y decayed th ro u g h p r id e :
Next w hereunto th e r e s ta n d s a s t a t e l y p la c e .
Where o f t I gayned g i f t e a and g oodly g ra c e
Of t h a t g r e a t lo r d w hich t h e r e i n wont to d w e ll,
Whose want to o w e ll now f e e l e s my f r e e n d le s c a s e ; (140)
But a h ! ,h e r e f i t s n o t w e ll
Olde w oes, h u t jo y e s to t e l l ,
A g a in s t th e h r i d a l e d ay e , w hich i s h o t lo n g :
Sweete Thetames, runne s o f tly * t i l l I end my song.
Yet t h e r e i n now d o th lo d g e a n o h le p e e r,
G reat E n g la n d 's g lo r y and th e w o rld s w ide w onder,.
Whose d r e a d f u l l name l a t e th ro u g h a l l S p ain e d id th u n d e r,
And H e rc u le s two p i l l o r s s ta n d in g n e e re
Did make to quake and f e a r s .
E a ire b ran ch o f h o n o r, flo w e r o f o h e v a lr ie ,
(150)
T hat f i l l e s t E ngland w ith th y triu m p h e s fame,
Joy h ave th o u o f th y n o h le V i c t o r i a ,
And e n d le s s e h a p p i n e s s e o f t h i n e owne name
T hat p ro m is e th th e same:
T hat th ro u g h th y prow esse and v i c t o r i o u s arm es
Thy c o u n try may he f r e e d from f o r r a i n e h arm es;
And g r e a t E lis a e s -g lo r io u s :tlarne may r in g
Through a l l th e w o r l d ,' f i l ' d w ith th y wide a la r m s s ,
Which some b ra v e Muse may s in g
To a g e s f o llo w in g ,
(160)
Upon th e h ry d a le d ay , w hich i s n o t lo n g :
Sweet Themmes, runne s o f t l y , t i l l I end my so n g .
Prom th o s e h ig h to w ers t h i s n o h le lo r d is s u in g ,
l i k e r a d i a n t R eaper when h i s g o ld en h ay re
In t h ' ocean h illo w e s he h a th h ath ed f a y r e ,
D escended to th e r i v e r s open-vew ing.
W ith a g r e a t t r a i n e e n s u in g .
Above th e r e s t were g oodly to bee seen e
Two g e n tle k n ig h ts o f lo v e ly f a c e and f e a t u r e .
Beseem ing w e ll th e bower o f a n te queene,
(170)
W ith g i f t s o f w it and ornam ents o f n a tu r e .
P i t f o r so g o o d ly s t a t u r e :
T hat l i k e th e tw in s o f Jove th e y seem 'd in s i g h t .
Which deck s th e h a u ld ric k e o f th e heavens b r i g h t .
They tw o, f o r t h p a c in g to th e r i v e r s s i d e .
R eceived th o se two f a i r s b r i d e s , t h e i r lo v e s d e l i g h t .
Which, a t t h ' a p p o in te d ty d e .
Each one d id make h i s h ry d e .
A g a in st t h e i r h ry d a le d ay , w hich i s n o t lo n g :
Sweete Themmes, ru n n e s o f t l y , t i l l I end my so n g .
ix
MASQUE OP HYMM
"by Ben Jons on
(Prom G if fo r d , The Works o f Ben Jo n so n , Vol V II, p p . 65-7)
Glad tim e i s a t h i s p o in t a r r i v e d ,
P or w hich l o v e 's hopes were so lo n g l i v e d .
. le a d . Hymen, le a d a w a y ;.
And l e t no o b je c t s ta y .
Nor b a n q u e t, b u t sw eet k i s s e s ,
The t u r t l e s from t h e i r b l i s s e s .
'T is Cupid c a l l s to arm;
And t h i s h is l a s t a la rm .
S h rin k n o t , s o f t v i r g i n ; you w i l l lo v e .
Anon, what you so f e a r to p ro v e .
T his i s no k i l l i n g w ar
To w hich you p r e s s e d a r e ;
But f a i r and g e n tle s t r i f e , .
Which lo v e r s c a l l t h e i r l i f e .
'T is Cupid c r i e s , to arm;
And t h i s h i s l a s t a la rm .
H elp, y o u th s and v i r g i n s , h e lp to s in g
#he p r i z e , w hich Hymen h e re d o th b r in g .
And d id so l a t e l y ra p
B rin g f o r t h th e m o th e r's la p ,
To p la c e h e r by t h a t s id e
Where she m ust lo n g a b id e .
On Hymen, Hymen c a l l .
T h is n ig h t i s Hymen-:'s a l l .
S e e ' H esperus i s y e t in view .
What s t a r can so d e se rv e o f you?
Whose l i g h t d o th s t i l l a d o rn
Your b r id e , t h a t , e re th e m om .
S h a ll f a r more p e r f e c t b e.
And r i s e a s b r i g h t a s h e;
When, l i k e to him, h e r name
I s changed, b u t n o t h e r flam e .
H a ste , te n d e r la d y , and a d v e n tu re ;
The co v e to u s house would have you e n t e r ,
T hat i t m ig h t w e a lth y b e,
And you, h e r m i s t r e s s , s e e :
H aste y o u r own good to m eet;
And l i f t y o u r g o ld e n f e e t
Above th e th r e s h o ld h ig h ,
W ith p ro sp e ro u s a u g u ry .
x
(10)
(20)
(30)
(40)
Now, y o u th s,, l e t go y o u r p r e t t y arm s;
The p la c e w ith in c h a n ts o th e r charm s.
Whole show ers o f r o s e s flo w ;
And v i o l e t s seem to grow,
S tre w ’d i n th e chamber t h e r e ,
As V enus’ mead i t w ere.
On Hymen, Hymen c a l l ,
T his n i g h t i s Hymen’ s a l l .
Good m a tro n s , t h a t ; s o w e ll a r e known
To aged husbands o f y o u r own,
P la c e you o u r b r id e to n ig h t;
And s n a tc h away th e l i g h t ;
T hat she n o t h id e i t dead
B en eath h e r s p o u s e ’s b ed ;
Nor he r e s e r v e th e same
To h e lp th e f u n e r a l fla m e .
SoJ now you may adm it him in ;
The a c t he c o v e ts i s no s i n ,
But c h a s te and h o ly lo v e .
Which Hymen d o th ap p ro v e ;
W ithout whose h a llo w in g f i r e s
A ll aim s a r e b ase d e s i r e s .
On Hymen^ Hymen c a l l ,
T his n ig h t i s Hymen’ s a l l .
Now f r e e from v u lg a r s p i t e o r n o is e ,
May you e n jo y y o u r m u tu al jo y s ;
Now, you no f e a r c o n t r o ls .
B ut l i p s m y m in g le s o u ls ;
And s o f t em braces b in d
To ea ch th e o t h e r ’s m ind,
Which may no power u n t i e .
T i l l one o r b o th m ust d ie !
And lo o k , b e fo re you y ie ld to slu m b er,
T hat y o u r d e l i g h t s be drawn p a s t number;
Jo y s, g o t w ith s t r i f e , in c r e a s e .
A f f e c t no s le e p y p e a c e ;
But keep th e b r i d e ’s f a i r eyes
Awake w ith h e r own c r i e s ,
Which a r e b u t m aiden f e a r s ;
And k i s s e s d ry suoh t e a r s .
Then c o in them 't w i x t y o u r l i p s so sw e e t.
And l e t n o t c o c k le s c l o s e r m eet;
Nor may y o u r m urm uring lo v e s
Be drow n’d by C y p r is ’ d o v es;
xi
(5 0 )
(60)
(70)
(80)
l e t iv y n o t so "bind
As when your arms a r e tw in e d :
T h at you may "both e re day,
R ise p e r f e c t e v e ry way.
And, Juno, whose g r e a t powers p r o t e c t
The m a rria g e -h e d , w ith good e f f e c t ,
. The la b o u r o f t h i s n ig h t
B le ss th o u , f o r f u tu r e l i g h t : ;
And th o u , th y happy c h a rg e ,
Glad G en iu s, e n l a r g e ;
T hat th e y may b o th , e re day
. R ise p e r f e c t , e v ’r y way.
„
And Venus, th o u , w ith tim e ly s e e d ,
Which may t h e i r ad d e d -c o m fo rts b re e d .
Inform th e g e n tle womb:
Hor l e t i t p ro v e a tomb:
B u t, e r e te n moons be w asted ,
The b i r t h , by C y n th ia h a s te d .
So may th e y b o th , e re day,
- R ise p e r f e c t e v e ry way.
And, when th e babe to l i g h t i s shown,
l e t i t be l i k e each p a r e n t known;
Much o f th e f a t h e r ’s f a c e ,
More o f th e m o th e r’s g ra c e ;
. And e i t h e r g r a n d s i r e 's s p i r i t .
And flam e l e t i t i n h e r i t .
. T hat men may b le s s t h ’ em b races,
T hat jo in e d two su c h r a c e s .
(90)
(100)
(110)
C ease, y o u th and v i r g i n s , you have done;
S hut f a s t th e d o o r: and a s th e y soon
To t h e i r p e r f e c t i o n h a s t e ,
(120)
So may t h e i r a rd o u r s l a s t .
So e i t h e r 's s t r e n g t h o u t - l i v e
A ll lo s s t h a t age can g i v e :
And, th o u g h f u l l y e a rs be t o l d .
T h e ir form s grow s lo w ly o ld .
x ii
THE HUE AND CRY AFTER CUPID
by Ben Jonson
(From G if f o r d , The Works o f B e n 'J o n so n , V o l. V I I ., p p . 1 0 0 -2 )
Up, y o u th s and v i r g i n s , up, and p r a i s e
The God whose n ig h ts o u ts h in e h i s d a y s;
Hymen, whose h allo w ed r i t e s
Could n e v e r .b o a s t o f b r i g h t e r l i g h t s ;
Whose bands p a ss l i b e r t y .
. .
Two o f y o u r tr o o p , t h a t w ith th e morn were f r e e .
Are now waged to h i s w ar.
And w hat th e y a r e ,
I f y o u 'l l p e r f e c t i o n s e e ,
Y o u rselv e s m ust b e .
:
S h in e , H esp eru s, s h in e f o r t h , th o u w ished a t a r i
What jo y o r h onours can compare
W ith h o l y , n u p t i a l s , when th e y a r e
Made ou t o f :e q u a l p a r t s
Of y e a r s , o f s t a t e s , o f h a n d s, o f h e a r t s 1
When in th e happy c h o ic e
The spo u se and spoused have th e fo rm o st v o ic e !
Such, g la d o f Hymen's w ar,
l i v e w hat th e y a r e ,
And lo n g p e r f e c t i o n s e e :
And such o u rs b e . .
S h in e , H esp eru s, s h in e f o r t h th o u w ished s t a r !
T he.solem n s t a t e o f t h i s one n ig h t
Were f i t to l a s t an a g e 's l i g h t ;
But t h e r e a r e r i t e s b eh in d
Have l e s s o f s t a t e , b u t more o f k in d :
l o v e 's w e a lth y cro p o f k i s s e s .
And f r u i t f u l h a r v e s t o f h i s m o th e r 's b l i s s e s .
Sound th e n t o Hymen's w ar:
T hat w hat th e s e a r e ,
Who w i l l p e r f e c t i o n s e e ,
Make h a s te to b e .
S h in e, H esp eru s, s h in e f o r t h , th o u w ished s t a r !
l o v e 's commonwealth c o n s is ts o f t o y s ;
H is c o u n c il a r e th o se a n t i c b o y s.
Games, la u g h te r , S p o rts , D e lig h ts ,
T hat triu m p h w ith him on th e s e n i g h t s ;
To whom we m ust g iv e way,
For now t h e i r r e ig n b e g in s , and l a s t s t i l l d ay .
They sw eeten Hymen's w ar,
x iii
(10)
(20)
(30)
(40)
And in t h a t j a r .
Make a l l t h a t m a rrie d he
P e r f e c tio n s e e .
S h in e , H esp e ru s, s h in e f o r t h , th o u w ished s t a r !
Why s ta y s th e brid eg ro o m t o in v ad e
H er t h a t would be a m atro n made?
G ood-night w h i l s t y e t we may
G ood-night to you a v i r g i n s a y :
(50)
To-morrow r i s e th e same
Your m o th er i s , and u se a n o b le name.
Speed w e ll i n Hymen’s w ar.
T hat what y o u a r e .
By y o u r p e r f e c t i o n we
And a l l may s e e .
S h in e , H esp eru s, s h in e f o r t h , th o u w ished s t a r !
T o -n ig h t i s V enus' v i r g i l k e p t.
T his n ig h t no brid eg ro o m e v e r s l e p t ;
And i f th e f a i r b r id e do.
The m a rrie d sa y , ’t i s h i s f a u l t to o .
(60)
Wake th e n , and l e t y o u r l i g h t s
Wake to o ; f o r t h e y 'l l t e l l n o th in g o f y o u r n ig h ts ,
But t h a t o f Hymen's war
You p e r f e c t a r e .
But such p e r f e c t i o n we
Do p ra y sh o u ld b e .
S h in e, H esp eru s, s h in e f o r t h , thou w ished s t a r !
T hat e re th e r o s y - f in g e r e d morn
Behold n in e moons, th e r e may be b o rn
~ A babe t ' u p h o ld th e fame
(70)
Of R a t c l i f f e 's b lo o d and R am sey's nam e:
T hat may, in h i s g r e a t s e e d ,
^fear th e lo n g honours o f h i s f a t h e r 's d e e d .
Such f r u i t s o f Hymen's war
Most p e r f e c t a r e ;
And a l l p e r f e c t i o n we
Wish you sh o u ld s e e .
S h in e, H esp eru s, s h in e f o r t h , th o u w ish ed s t a r !
x iv
EPITHALAMION
by Ben Jonson
(From G if fo r d , The Works o f Ben Jonson, V ol. IX, pp. 21-9)
Though th o u h a s t p a s t th y sum m er-standing^ s ta y
A w hile w ith u s , b r i g h t su n , and h e lp o u r l i g h t ;
Thou o a n s t n o t m eet more g lo r y on th e way,
Between th e t r o p i c s , to a r r e s t th y s i g h t ,
Than th o u s h a l t se e to - d a y :
We woo th e e s t a y :
And se e w hat can be se e n ,
The b o u n ty o f a k in g , and th e b e a u ty o f h i s queen.
See th e p ro c e s s io n ! w hat a h o ly day,
B e a rin g th e p ro m ise o f some b e t t e r f a t e ,
'
H ath f i l l e d , w ith o a ro c h e s , a l l th e way.
From Greenw ich h i t h e r to Rowhampton g a te J
When lo o k 'd th e y e a r , a t b e s t .
So l i k e a f e a s t ;
Or were a f f a i r s i n tu n e ,
By a l l th e sp h e re s c o n s e n t, so i n th e h e a r t o f June?
What b e a u ty o f b e a u tie s , and b r ig h t y o u th s a t ch arg e
Of summers l i v e r i e s , and g la d d in g g re e n .
Do b o a s t t h e i r lo v e s and b r a v e r ie s so a t l a r g e .
As th e y came a l l to s e e , and to be se e n !
When lo o k 'd th e e a r t h so f i n e ,
Or so d id s h in e ,
In a l l h e r bloom and flo w e r,
To welcome home, a p a i r , and deck th e n u p t i a l bower?
(10)
(20)
I t i s th e k in d ly se a so n o f th e tim e,
’
The month o f y o u th , w hich c a l l s a l l c r e a tu r e s f o r t h
To do t h e i r o f f i c e s i n n a t u r e 's chim e.
To c e l e b r a t e , p e r f e c t i o n , a t th e w o rth ,
M a rria g e , th e end o f l i f e ,
1 T hat h o ly s t r i f e ,
(30)
And th e a llo w e d w ar.
Through w hich n o t o n ly we, b u t a l l o u r s p e c ie s a r e .
Hark how th e b e l l s upon th e w a te rs p la y
T h e ir s i s t e r tu n e s from Thames h i s e i t h e r s i d e .
As th e y had l e a r n ' d new changes f o r th e day.
And a l l d id r i n g th e a p p ro a c h e s o f th e b r id e ;
The la d y F ra n ces d r e s t
-
•
.
-
-
"
Above th e r e s t
Of a l l th e m aidens f a i r ;
In g r a c e f u l ornam ent o f g a r la n d , gems, and h a i r .
(4 0 )
See how she p a o e th f o r t h in v ir g in - w h i te ,
Like what she i s , th e d a u g h te r o f a duke,
And s i s t e r ; d a r t i n g f o r t h a d a z z lin g l i g h t
On a l l t h a t oome h e r s im p le s s e to reb u k e!
H er t r e s s e s tr im h e r back,
As sh e d id la c k
Nought o f a m aiden queen,
.
•
W ith m odesty so crow n’d and a d o r a t io n s e e n .
S ta y , th o u w i l t se e w hat r i t e s th e v i r g i n s do.
The c h o ic e s t v i r g i n - t r o o p o f a l l th e la n d !
P o r tin g th e e n s ig n s o f u n ite d tw o.
Both crowns and kingdoms in t h e i r e i t h e r hand:
Whose m a je s t ie s a p p e a r,
To make more c l e a r
T his f e a s t , th a n can th e d ay .
A lth o u g h t h a t th o u , 0 su n , a t o u r e n t r e a ty s ta y !
(50)
See how w ith r o s e s , and w ith l i l i e s h in e ,
L i l l i e s and ro ses^ flo w e rs o f e i t h e r s e x ,
The b r i g h t b r i d e 's b a th s , e m b e llis h ’d more th a n th in e
(60)
W ith l i g h t o f lo v e t h i s p a i r d o th i n t e r t e x i
S ta y , se e th e v i r g i n s sow.
Where she s h a l l go.
The emblem o f t h e i r way.
0, now th o u , s m i l ’s t , f a i r su n , and s h i n 's t , a s th o u
w o u ld 1s t s ta y J
W ith what f u l l h an d s, and i n how p le n te o u s show ers
Have th e y bedew 'd th e e a r t h , where she d o th t r e a d .
As i f h e r a i r y s te p s d id s p r in g th e f lo w e r s .
And a l l th e ground were g a rd e n w here she le d !
See, a t a n o th e r d o o r.
On th e same f l o o r .
(70)
The bridegroom m eets th e b r id e
W ith a l l th e pomp o f y o u th , and a l l o u r c o u r t b e s id e !
Our c o u r t, and a l l th e g ra n d e e s! now, su n , lo o k ,
And lo o k in g w ith th y b e s t in q u ir y , t e l l .
In a l l th y age o f jo u r n a ls th o u h a s t to o k .
Saw’s t tho u t h a t p a i r became th e s e r i t e s so w e ll,
Save th e p re c e d in g two?
Who, i n a l l th e y do,
S e a rc h , su n , and th o u w i l t f in d
They a r e th e exampled p a i r , th e m ir r o r o f t h e i r k in d .
xvi
(8 0 )
F orce from th e P h o en ix , th e n , no r a r i t y
Of se x , to ro b th e c r e a tu r e ; b u t from man.
The k in g o f c r e a t u r e s , ta k e h i s p a r i t y
W ith a n g e ls , muse, to sp eak th e s e : n o th in g can
I l l u s t r a t e th e s e , b u t th e y
T h en selv es to - d a y .
Who th e whole a c t e x p r e s s e s ;
A ll e l s e , we see b e s id e , a r e shadows, and no l e s s .
I t i s t h e i r g ra c e and fa v o u r t h a t makes se e n ,
And w o n d er'd a t th e b o u n tie s o f t h i s day ;
A l l i s a s t o r y o f th e k in g and queen:
And what o f d i g n i t y and honour may
Be d u ly done to th o se
Whom th e y have ch o se.
And s e t th e mark upon.
To g iv e a g r e a t e r name and t i t l e to ! t h e i r own!
(90)
W eston, t h e i r t r e a s u r e , a s t h e i r t r e a s u r e r .
T hat mine o f wisdom, and o f c o u n s e ls deep.
G reat s a y -m a s te r o f s t a t e , who c a n n o t e r r ,
But d o th h i s o a r a c t , , and j u s t s ta n d a r d k eep ,
(100)
In a l l th e p r o v 'd a s s a y s .
And l e g a l ways
Of t r i a l s , to work down
M en's lo v e s u n to th e law s, and law s to lo v e th e crow n.
And t h i s w e ll m ov'd th e judgm ent o f th e k in g
To pay w ith ,h o n o u rs to h is n o b le so n
To-day, th e f a t h e r ’s s e r v i c e ; who c o u ld b r in g
Him up, to do th e same h im s e lf had done:
T hat f a r a l l - s e e i n g eye
Could soon espy
What k in d o f w aking man
He had so h ig h ly s e t ; and in w hat B a rb ic a n .
(110)
S tand t h e r e ; f o r when a n o b le n a t u r e 's r a i s 'd .
I t b r in g s f r ie n d s jo y , f o e s g r i e f , p o s t e r i t y fam e:
In him th e tim e s , no l e s s th a n p r in c e , a r e p r a i s ’d.
And by h i s r i s e , in a c t i v e men, h i s name
Doth e m u la tio n s t i r e ;
To th e d u l l a s p u r
I t i s , to th e e n v io u s m enat
A mere u p b ra id in g g r i e f , and t o r t u r i n g p u n ish m en t.
(120)
See now th e c h a p e l opens, where th e k in g
And b ish o p s ta y to consummate th e r i t e s ;
The h o ly p r e l a t e p ra y s , th e n ta k e s th e r in g ,
x v il
Asks f i r s t , who g iv e s h e r? - — I , C h a rle s ---- th e n
he p l i g h t s
One in th e o t h e r ’s hand,
W hile th e y b o th s ta n d
H ea rin g t h e i r c h a rg e , and th e n
The solem n c h o ir c r i e s , Joy! and they r e t u r n . Amen!
Happy hands! and th o u more hanpy p la c e ,
Which t o t h i s u se w e rt h u i l t and c o n s e c r a te I
To have th y God to "bless, th y k in g to g ra c e ,
And t h i s t h e i r ch o sen b ish o p c e l e b r a t e .
And k n i t th e n u p t i a l k n o t,
Which tim e s h a l l n o t.
Or c a n k e r 'd je a lo u s y ,
With a l l c o rro d in g a r t s , be a b le to u n tie I
(130)
The c h a p e l, em pties," and th o u m ayst be gone
Now, sun, and p o s t away th e r e s t o f d ay :
These twoj now h o ly ch u rch h a th made them one,
Do lo n g make th e m se lv e s so a n o th e r way:
(140)
T here i s a f e a s t b e h in d ,
To them o f k in d
Which t h e i r g la d p a r e n ts ta u g h t
One o f th e o th e r , lo n g e re th e s e t o l i g h t w ere b ro u g h t.
H a ste , h a s t e , o f f i c i o u s su n , and send them n ig h t
Some h o u rs b e fo re i t s h o u ld , t h a t th e s e may know
A ll t h a t th e ir , f a t h e r s and t h e i r m o th ers m ig h t
Of n u p t i a l s s w e e ts , a t su c h a se a so n , owe.
To p ro p a g a te t h e i r nam es,
And keep t h e i r fames
A liv e , w hich e l s e would d ie ;
F or fame k eep s v i r t u e up, and i t p o s t e r i t y .
(150)
The ig n o b le n e v e r l i v e d , th e y w ere a w h ile
Like sw in e, o r o th e r c a t t l e h e re on e a r t h ;
T h e ir names a r e n o t re c o rd e d on th e f i l e
Of l i f e , t h a t f a l l so ; C h r is t ia n s know t h e i r b i r t h
A lone, and such a r a c e .
We p ra y may g r a c e .
Your f r u i t f u l s p r e a d in g v in e .
But d a re n o t a s k o ur w ish in la n g u ag e F e sc e n n in e .
(160)
Y et, a s we may, we w i l l , - — w ith c h a s te d e s i r e s .
The h o ly perfum es o f th e m a rria g e -b e d ,
Be k e p t a l i v e , th o s e sw eet and s a c re d f i r e s
Of lo v e betw een you and y o u r l o v e l y - h e a d ! '
x v iii.
T hat when you "both a r e o ld .
You f in d no co ld
T here; h u t renew ed, sa y .
A f te r th e l a s t c h i ld h o rn , T his i s our w ed d in g -d ay .
T ill
A
Upon
A
you "behold a ra c e to f i l l y o u r h a l l ,
R ic h a rd , and a H ierom e, hy t h e i r names
a Thomas, o r a F ra n c is c a l l ;
K ate , a F ran k , to honour t h e i r grand-dam es,
And 'tw e e n t h e i r g r a n d s i r e s ' th ig h s ,
lik e p r e tty s p ie s .
Peep f o r t h a gem; to see
How each one p la y s h i s p a r t o f th e la r g e p e d ig re e 1
And n e v e r may th e r e want one o f th e stem .
To he a w a tc h fu l s e r v a n t f o r t h i s s t a t e ;
But l i k e an arm o f em inence 'm ongst them,
E xtend a re a c h in g v i r t u e e a r l y an d l a t e !
W h ilst th e m ain t r e e s t i l l found
U p rig h t and sound,
By t h i s s u n 's n o o n s te d 's made
So g r e a t ; h i s body now a lo n e p r o j e c t s th e s h a d e .
They b o th a r e s l i p p 'd to bed; s h u t f a s t th e d o o r.
And l e t him f r e e l y g a th e r l o v e 's f i r s t - f r u i t s .
H e 's m a s te r o f th e o f f i c e ; y e t no more
E x a c ts th a n she i s p le a s e d to pay: no s u i t s .
S t r i f e s , murmurs, o r d e la y ,
W ill l a s t t i l l day;
N ig h t and s h e e ts w i l l show
The lo n g in g co u p le a l l t h a t e l d e r lo v e r s know.
x ix
(1 7 0 )
(180)
(190)
THE EPITHAMMIUM OP HELEN AND MENELAUS
Toy T h e o c ritu s
(Prom C ase, E n g lis h E p ith a la m ie s , pp» 16 6 -7 )
Twelve S p a rta n v i r g i n s , n o b le , young, and f a i r .
W ith v i o l e t w re a th s ad o rn ed t h e i r flo w in g h a i r ;
Arid to th e pompous p a la c e d id r e s o r t ,
Where M enelaus k e p t h i s r o y a l c o u r t.
T here, hand in hand, a com ely c h o ir th e y le d .
To s in g a b le s s in g to h i s n u p t i a l bed,
W ith c u rio u s n e e d le s w ro u g h t, and p a in te d flo w e rs b e s p re a d .
J o v e ’s b e a u te o u s d a u g h te r now h i s b r id e m ust b e,
And Jove h im s e lf was l e s s a god t h a t h e;
For t h i s t h e i r a r t f u l hands i n s t r u c t th e l u t e to s o u n d ,(10)
T h e ir f e e t a s s i s t t h e i r h an d s, and j u s t l y b e a t th e gro u n d .
T his was t h e i r s o n g :. . . Why, happy b rid eg ro o m , why.
E re y e t th e s t a r s a r e k in d le d i n t h e sk y ,
Ere t w i l i g h t sh a d e s, o r e v e n in g dews a r e sh e d .
Why d o s t th o u s t e a l so soon away to bed?
Has Somnus b ru sh ed th y e y e lid s w ith h i s ro d .
Or do th y le g s r e f u s e to b e a r t h e i r lo a d ,
W ith flo w in g bow ls o f a more g en e ro u s god?
I f g e n tle slu m b er on th y te m p le s c re e p ,
(B ut, n au g h ty man, th o u d o s t n o t mean to s l e e p , )
(20)
B etake th e e to th y bed, th o u drowsy d ro n e .
S leep by t h y s e l f , and le a v e th y b r id e a lo n e :
Go, le a v e h e r w ith h e r m aiden m ates to . p la y
A t s p o r ts more h a rm le ss t i l l th e b re a k o f day;
Give u s t h i s ev e n in g ; th o u h a s t morn and n ig h t.
And a l l th e y e a r b e fo re th e e , f o r d e l i g h t .
0 happy y o u th I to th e e , among th e crowd
Of r i v a l p r in c e s , Cupid sn eezed a lo u d ;
And ev e ry lu c k y omen s e n t b e f o r e ,
To m eet th e e la n d in g on th e S p a rta n s h o r e .
(30)
Of a l l our h e r o e s , th o u c a n s t b o a s t a lo n e .
T hat Jo v e, w hene’ e r he th u n d e rs , c a l l s th e e so n .
B e tw ix t two s h e e ts th o u S h a lt e n jo y h e r b a r e .
W ith whom no G recian v i r g i n can com pare;
So s o f t , so sw ee t, so balm y, and so f a i r .
A boy, l i k e th e e , would make a k in g ly l i n e ;
But oh2 a g i r l l i k e h e r m ust be d iv in e .
Her e q u a ls we in y e a r s , b u t n o t in fa c e .
Twelve s c o re v i r g i n s o f t h e S p a rta n r a c e ,
W hile naked to E u r o ta s 1 banks we bend,
(40)
'r .
xx
And th e r e in m anly e x e r a is e c o n te n d ,
When sh e a p p e a rs a r e a l l e c lip s e d and l o s t ,
And h id e th e "beauties t h a t we made o ur b o a s t.
So, when th e h ig h t and w in te r d is a p p e a r ,
The p u rp le m orning, r i s i n g w ith th e y e a r,
S a lu te s th e s p r in g , a s h e r c e l e s t i a l eyes
Adorn th e w o rld and b r ig h te n a l l th e s k i e s ;
So b e a u te o u s H elen s h in e s among th e r e s t .
T a ll , s le n d e r , s t r a i g h t , w ith a l l th e G races b l e s t .
(5 0 )
As p in e s th e m o u n ta in s, o r a s f i e l d s th e co rn ,
Or a s T h e s s a lia n s te e d s th e ra c e a d o rn ;
So ro s y c o lo u re d H elen i s th e p r id e
Of Lacedaemon, and o f G reece b e s id e .
Like h e r no nymph can w i l l i n g o s i e r s bend
In b a s k e t-w o rk s , w hich p a in te d s t r e a k s commend;
With P a l l a s in th e loom she may c o n te n d ;
But none, ah! none can an im ate th e l y r e .
And th e mute s t r i n g s w ith v o c a l s o u ls i n s p i r e ;
W hether th e le a r n e d M inerva be h e r them e,
Or c h a s te D iana b a th in g i n th e s tre a m ,
(60)
None can re c o rd t h e i r h e a v e n ly p r a i s e so w e ll
As H elen, in whose eyes te n th o u san d Cupids d w e ll.
0 f a i r , 0 g r a c e f u l! y e t w ith m aids e n r o lle d ,
But whom to -m o rro w ’s sun a m atro n s h a l l b e h o ld !
Yet e re to -m o rro w ’s su n s h a l l show h i s h ead ,
The dewy p a th s o f meadows we w i l l tr e a d ,
For crowns and c h a p le ts to ad o rn th y h e a d .
Where a l l s h a l l weep, and w ish f o r th y r e t u r n .
As b l e a t i n g lambs t h e i r a b s e n t m other mourn.
Our n o b le s t m aids s h a l l to th y name b e q u e a th
(70)
The boughs of L o to s, formed i n t o a w re a th .
T h is monument, th y m aiden b e a u ty ’s due,
High on a p l a n e - t r e e s h a l l be hung to view ;
On th e sm ooth r in d th e p a s s e n g e r s h a l l see
Thy name en g rav e d , and w o rsh ip H e le n 's t r e e ;
Balm, from a s i l v e r box, d i s t i l l e d around^
S h a ll a l l bedew th e r o o t s , and s c e n t th e s a c re d g ro u n d .
The balm , ' t i s t r u e , can aged p l a n t s p ro lo n g ,
But H e le n ’ s name s h a l l keep i t e v e r young.
H a il b r id e , h a i l b rid eg ro o m , s o n - in - la w to Jove!
(80)
W ith f r u i t f u l jo y s L atona b le s s y o u r lo v e !
L et Venus f u r n i s h you w ith f u l l d e s i r e s ,
Add v ig o u r t o y o u r w i l l s , and f u e l to your f i r e s !
A lm ighty Jove augm ent y o u r w e a lth y s t o r e .
Give much to you, and t o h i s g ran d so n s more ? .
From generous l o i n s a g en ero u s r a c e w i l l sp rin g ,,
Each g i r l , l i k e you, a queen; each boy, l i k e you, a k in g .
Now s le e p , i f s le e p you can; b u t w h ile you r e s t ,
xxi
S le e p c lo s e , w ith fo ld e d arm s, and forest to fo re s t.
R ise in th e m om ; font ohl foefore you r i s e ,
(9 0 )
F o rg e t n o t to p erfo rm y o u r m orning s a c r i f i c e .
We w i l l foe w ith y o u e r e th e cro w in g cock
S a lu te s th e l i g h t , an d s t r u t s foefore h i s f e a th e r e d f lo c k .
Eymen, Oh Hymen, to th y triu m p h s ru n ,
And view th e m ig h ty s p o i l s th o u h a s t in b a t t l e won
xx i i
CARMEN 61
"by C a tu llu s
(From C o rn ish , C a tu llu s T ib u llu s and P e re v ig ilitu n V e n e ris ,
pp. 69-85)
•
0 h a u n te r o f th e H e lic o n ia n mount, U ra n ia ’s so n , th o u
who b e a r e s t away th e te n d e r maid to h e r b rid eg ro o m , 0
Hymenaeus Hymen, 0 Hymen Hymenaeusl
Bind th y brows w ith th e flo w e rs o f f r a g r a n t m arjoram ,
p u t on th e m a rria g e v e i l , h i t h e r , h i t h e r m e r r ily oome,
w e a rin g on th y snow -w hite f o o t th e y ello w sh o e ,
(10)
and w akening on t h i s jo y f u l day, s in g in g w ith r e s o n ­
a n t v o ic e th e n u p t i a l so n g s, b e a t th e ground w ith th y f e e t ,
shake w ith th y hand th e p in e to r c h .
F or now s h a l l V in ia wed w ith M a n illa s , Y in ia a s f a i r
a s Venus who d w e lls in Id a liu m , when sh e came to th e
P h ry g ia n ju d g e; a good m aiden w ith a good omen,
* (20)
l i k e th e A sia n m y rtle s h in in g w ith flo w e rin g s p r a y s ,
w hich th e Hamadryad g o d d esses w ith dewy m o is tu re n o u r is h
a s a p la y th in g f o r th e m se lv e s.
. ;
H ith e r then,oom e h i t h e r , h a s te to le a v e th e A onian
caves o f th e T h esp ian ro c k , w hich th e nymph A ganippe b e ­
s p r in k le s w ith c o o lin g show er f r a n above;
(30)
c a l l to h e r home th e la d y o f th e h o u se, f u l l o f d e ­
s i r e f o r h e r b rid eg ro o m ; b in d h e r h e a r t w ith lo v e , a s
h e re and th e r e th e c l in g in g iv y s t r a y i n g c la s p s th e t r e e .
Ye to o w ith me, unwedded v i r g i n s , f o r whom a l i k e
day i s coming, come, in m easure s a y , ”0 Hymenaeus Hymen,
0 Hymen Hymenaeus1M.
(40)
t h a t -h earin g h im s e lf summond to h is own o f f i c e , th e
god may come more r e a d i l y h i t h e r , th e h e ra ld o f g e n i a l
Venus, the c o u p le r o f h o n e s t lo v e .
What god i s more w o rth y to be invoked by lo v e r s who
a r e loved? whom o f th e h e a v e n ly ones s h a l l men w o rsh ip
more th a n th e e ? 0 Hymenaeus Hymen, 0 Hymen Hymenaeus 1 (50)
Thee f o r h i s c h i ld r e n th e aged f a t h e r in v o k e s, f o r
x x iii
th e e th e m aidens lo o s e t h e i r garm en ts from th e g i r d l e :
f o r th e e th e "bridegroom l i s t e n s f e a r f u l l y w ith e a g e r e a r .
. Thou t h y s e l f g i v e s t in t o th e hands o f th e f i e r y y o u th
th e "blooming m aiden from h e r m o th e r 's "bosom, 0 Hymenaeus
Hymen, 0 Hymen HymenaeusJ
(60)
No p le a s u r e oan Venus ta k e w ith o u t th e e , su ch a s
h o n e s t fame may a p p ro v e ; b u t oan, i f th o u a r t w i l l i n g .
What god d a re m atch h im s e lf w ith t h i s god?
No house w ith o u t th e e oan g iv e c h i ld r e n , no p a r e n t
r e s t on h i s o f f s p r in g ; b u t a l l i s w e ll i f th o u a r t w i l l i n g
What god d a re m atoh h im s e lf w ith t h i s god?
(70)
A lan d t h a t sh o u ld w ant th y s a n c t i t i e s would n o t be
a b le to p ro d u ce g u a rd ia n s f o r i t s b o rd e rs - b u t c o u ld , i f
th o u w e rt w i l l i n g . What god d a re m atoh h im s e lf w ith t h i s
god? .... . . . . .
_
_
:.
:
Throw open th e f a s te n in g s o f th e d o o r; th e b r id e i s
com ing. See y o u how th e to r c h e s shake t h e i r s h in in g
t r e s s e s ? . . . n o b le shame d e l a y s . . . Yet l i s t e n i n g r a t h e r to
t h i s , she weeps t h a t she m ust go.
(80)
Weep no m ore. Not to you, A u ru n c u le ia , i s th e r e d an ­
g e r t h a t any f a i r e r women s h a l l se e th e b r i g h t day coming
from o cean .
So i n th e gay g a rd e n o f a r i c h owner s ta n d s a h y a ­
c i n t h flo w e r - b u t you d e la y , th e day i s p a s s in g ; come .
f o rth , 0 b rid e .
(90)
Come f o r t h , 0 b r i d e , i f now y o u w i l l , and h e a r o u r
w ords. See how th e to r c h e s shake t h e i r g o ld e n t r e s s e s i oome f o r t h , 0 b r i d e .
Your husband w i l l n o t, l i g h t l y g iv e n to some w icked
param our, and fo llo w in g sh am efu l ways o f d is h o n o u r, w ish
to l i e away from y o u r s o f t bosom;
(100)
b u t a s th e p l i a n t v in e en tw in es th e t r e e p la n te d
n e a r i t , so w i l l he be en tw in ed in y o u r em brace. But th e
day i s p a s s in g ; - come f o r t h , 0 b r i d e .
0 b r i d a l bed, to a l l . . . w h ite f o o t . . . b ed,
(110)
What jo y s a r e coming f o r y o u r lo r d , 0 what jo y s f o r
x x iv
him to know in th e f l e e t i n g n i g h t , jo y s i n th e f u l l d a y l - h u t th e day i s p a s s in g ; oome f o r t h , 0 b r i d e .
R aise a l o f t th e to r c h e s , b o y s: I se e th e w edding v e i l
com ing. Go on, s in g i n m easu re, lo Hymen Hymenaeus io , io
Hymen Hymenaeus I
(120).
L et n o t th e m erry F eso en n in e j e s t i n g be s i l e n t lo n g , •
l e t th e f a v o u r ite boy g iv e away n u ts to th e s la v e s , when
he h e a rs how h i s lo r d h as l e f t h i s lo v e .
Give n u ts to th e s l a v e s , f a v o u r i t e : y o u r tim e i s p a s t :
you have p la y e d w ith n u ts lo n g enough: you m ust how be th e
s e r v a n t o f T a la a s iu s . Give n u ts , b elo v ed s l a v e .
(130)
To-day and y e s te r d a y you d is d a in e d th e c o u n try w iv es:
now th e b a r b e r sh av es y o u r .c h e e k s . W retched, a h l w re tch e d
lo v e r , throw th e n u ts .1
They w i l l sa y t h a t you, perfum ed b rid eg ro o m , a r e u n ­
w i l l i n g to g iv e up y o u r o ld p le a s u r e s ; b u t a b s t a i n . Io
Hymen Hymenaeus i o , io Hymen Hymenaeus1
(140)
We know t h a t you a r e a c q u a in te d w ith no u n la w fu l jo y s ;
b u t a husband has n o t th e same l i b e r t y . Io Hymen, Hymenaeus
i o , io Hymen HymenaeusI
(150)
You to o , 0 b r id e , be s u r e you r e f u s e n o t w hat yo u r
husband c la im s l e s t he go e lse w h e re to f i n d i t . Io Hymen,
Hymenaeus i o , i o Hymen HymenaeusI
See how m ig h ty .a n d r i c h f o r you i s th e house o f y o u r
husband; be c o n te n t to be m is tr e s s h e r e , ( Io Hymen
Hymenaeus i o , io Hymen Hymenaeus 1)
even t i l l h o a ry o ld a g e , sh a k in g a tre m b lin g h ea d , nods a s s e n t to a l l f o r a l l . Io Hymen Hymenaeus io , io
Hymen HymenaeusI
(160)
L i f t a c r o s s th e th r e s h o ld w ith a good omen y o u r
g o ld en f e e t , and e n t e r w ith in th e p o lis h e d d o o r. Io Hymen
Hymenaeus io ; i o Hymen Hymenaeus1
. •
See how your husband w ith in , r e c l i n i n g on a p u rp le
couch, i s a l l e a g e rn e s s f o r you. Io Hymen Hymenaeus i o , io
Hymen Hymenaeus!
(170)
In h i s inm ost h e a r t no l e s s th a n i n y o u rs glows th e
xxv
flam e, b u t d e e p e r w ith in , lo Hymen Hymenaeua io , io Hymen
Hymenaeus io , io Hymen HymenaeusZ
Ye, h o n e s t m a tro n s , w e ll wedded to a n c ie n t h u sb a n d s,
s e t th e dam sel in h e r p la c e . Io Hymen Hymenaeus io , io
Hymen Hymenaeusl
Now you may come, b rid eg ro o m ; y o u r w ife i s i n th e
b rid ech am b er, s h in in g w ith flo w e ry f a c e , l i k e a w h ite d a is y
o r y ello w poppy,
(190)
B u t, h u sb an d , so th e gods h e lp me* you a r e no le s s
f a i r , n o r does Venus n e g l e c t yo u . But th e day i s p a s s in g .
Go on th e n , d e la y n o t .
Not lo n g have you d e la y e d . A lre a d y you come. May k in d ­
ly Venus h e lp you, s in c e you o p en ly ta k e y o u r d e s i r e and
do n o t h id e your h o n e s t lo v e .
(200)
L et him f i r s t co u n t up th e number o f th e d u s t o f
A f r ic a and th e g l i t t e r i n g s t a r s , who would number th e many
th o u sa n d s o f your jo y s .
S p o rt a s ye w i l l , an d so o n b r in g c h ild r e n f o r t h . I t
i s n o t f i t t h a t so o ld a name sh o u ld be w ith o u t c h i ld r e n ,
b u t t h a t th e y sh o u ld be e v e r b o m from th e same s to c k .
(
210 )
I would s e e a l i t t l e T o rq u a tu s, s t r e t c h i n g h i s baby
hands from h i s m o th e r 's l a p , sm ile a sw eet sm ile a t h is
f a t h e r w ith l i p s h a l f p a r te d .
May he be l i k e h i s f a t h e r M anlius and e a s i l y be
re c o g n is e d by a l l , even th o s e who do n o t know, and d e c la r e
by h i s fa c e th e f a i r fame o f h i s m o th e r.
(220)
May such p r a i s e , due to h i s c h a s te m o th er, ap p ro v e h is
d e s c e n t, a s f o r Telem achus so n o f P en elo p e rem ain s u n p a ra ­
goned th e h o n o u r d e r iv e d from h i s n o b le m o th e r.
M aidens, s h u t th e d o o r s . We have s p o r te d enough. But
ye, happy p a i r , l i v e h a p p ily , and i n y o u r wedded jo y s em­
p lo y y o u r v ig o ro u s y o u th .
xxvi
THE BRIDAL PROCESSION
(Prom Ja a tro w , The Song o f S ongs, p . 181)
Who i s t h i s coming up from th e meadows
L ike a dense clo u d o f smoke?
Perfum ed w ith m yrrh and fa n k in c e n s e ;
W ith th e powders o f th e m e rc h a n t.
Three sc o re w a r r io r s a b o u t h e r .
Of th e w a r r io r s o f I s r e a l .
A ll armed w ith sw ords;
In w a rfa re t r a i n e d .
Each w ith h i s sw ord upon h i s th ig h ,
A g a in st d an g er a t n i g h t .
The k in g h as made him a convey an ce.
Of th e woods o f th e Lebanon.
I t s s u p p o rts he h a s made o f s i l v e r ;
I t s s e a t o f g o ld .
I t s body o f p u rp le w ith in .
I n l a i d w ith ebony.
Go f o r t h and gaze on th e k in g .
On th e day o f h is n u p t i a l s .
W ith th e crown w ith w hich h i s m other crowned him.
On th e day o f th e g la d n e s s o f h i s h e a r t .
x x v ii
DISCUS: EPITHALAMIUM .
(From S id n ey . The C ountess o f P em broke's A rc a d ia , p p . 505
l e t M other E a rth now deck h e r s e l f in flo w e rs .
To see h e r o f f s p r i n g se e k a good in c r e a s e .
Where j u s t e s t lo v e d o th v a n q u ish Cupid *s pow ers,
And war o f th o u g h ts i s sw allow ed up in p e a c e .
Which n e v e r may d e c re a s e ,
B ut, l i k e th e t u r t l e f a i r ,
l i v e one in two, a w e ll - u n it e d p a i r ;
Which t h a t no oharm may s t a i n ,
0 Hymen, lo n g t h e i r co u p led jo y s m a in ta in .
0 Heaven, awake! show f o r t h th y s t a t e l y f a c e ;
(10)
l e t n o t th e s e s lu m ! ’r in g c lo u d s th y b e a u tie s h id e .
B ut w ith th y c h e e r f u l p re s e n c e h e lp to g ra c e
. The h o n e s t b rid eg ro o m and th e b a s h f u l b r id e ;
Whose lo v e s may e v e r b id e ,
l i k e to th e elm and v in e .
W ith m u tu a l em bracem ents them to tw in e ;
In w hich d e l i g h t f u l p a in ,
0 Hymen, lo n g t h e i r co u p led jo y s m a in ta in !
'
‘
•
'
-
'
•
.
Ye Muse, a l l , w hich c h a s te e f f e c t s a llo w .
And have to T h y rs is shewed y o u r s e c r e t s k i l l ,
(20)
To t h i s c h a s te lo v e y o u r s a c re d fa v o u rs bow;
And so t o him and h e r y o u r g i f t s ’d i s t i l l ,
T hat th e y a l l v ic e may k i l l , •
And l i k e to l i l i e s p u re .
May p le a s e a l l e y e s , and s p o t l e s s may e n d u re ;
Where t h a t a l l b l i s s may r e ig n ,
•
0 Hymen, lo n g t h e i r co u p led jo y s m a in ta in !
Ye nymphs w hich in th e w a te rs em pire h av e.
S in ce T h y r s is ' m usic o f t d o th y ie ld you p r a i s e .
G rant to th e th in g w hich we f o r T h y rs is c r a v e :
(30)
l e t one tim e , b u t lo n g f i r s t , c lo s e up t h e i r c a y s,
One g rav e t h e i r b o d ie s s e i z e ;
And l i k e two r i v e r s sw e e t.
When th e y , though d iv e r s , do to g e th e r m eet,
One strea m d o th stre a m s c o n ta in :
0 Hymen, lo n g t h e i r co u p led jo y s m a in ta in !
x x v iii
Pan, F a th e r Pan, th e god o f s i l l y sh eep ,
Whose o are is .o a u s e t h a t th e y i n number grow.
Have much more o are o f th a n t h a t them do k eep .
S in ce from th e s e good th e o t h e r s ' good d o th f l o w ,(40)
And make t h e i r is s u e show
In number l i k e th e h e rd
Of y o u n g lin g s , w hich t h y s e l f w ith lo v e h a s t r e a r e d ;
Or l i k e th e d ro p s o f r a i n :
0 Hymen, lo n g t h e i r co u p led jo y s m a in ta in !
V ir tu e , i f n o t a god, y e t G od's c h i e f p a r t ,
Be th o u th e k n o t o f t h i s t h e i r open vow*
T hat s t i l l he be h e r h ea d , sh e be h i s h e a r t ,
He le a n t o h e r , she u n to him do bow,
Each o th e r s t i l l a llo w ;
(50)
l i k e oak and m is tle to e ^
H er s tr e n g t h from him , h i s p r a i s e from h e r do grow:
In w hich m o a t:lo v e ly t r a i n ,
0 Hymen,; lo n g t h e i r co u p led jo y s m a in ta in !
Be th o u , f o u l C upid, s i r e to la w le s s l u s t .
Be th o u f a r hence w ith th y em poisoned d a r t .
Which, though o f g l i t t e r i n g g o ld , s h a l l h e re ta k e r u s t .
Where sim p le lo v e , w hich c h a s tn e s a d o th im p a rt.
A voids th y h u r t f u l a r t ;
Not n e e d in g charm ing s k i l l ,
(60)
Such m inds w ith sw eet a f f e c t i o n s f o r to f i l l ;
Which b e in g p u re and p l a i n ,
0 Hymen, lo n g t h e i r co u p led jo y s m a in ta in !
A ll c h u r l i s h w ords, shrew d a n sw e rs, crab b ed lo o k s ,
A ll p r i v a t e n e s s , s e l f - s e e k i n g , inw ard s p i t e ,
A ll w ayw ardness, w hich n o th in g k in d ly b ro o k s.
A ll s t r i f e f o r to y s and c la im in g m a s t e r 's r i g h t s ,
Be hen ce, aye p u t to f l i g h t ;
A ll s t i r r i n g h u s b a n d 's h a te
‘G a in st n e ig h b o u r 's good f o r womanish d e b a te .
Be f l e d , a s th in g s m ost v a in :
0 Hymen, lo n g t h e i r co u p led joys m a in ta in !
A ll peacock p r id e , and f r u i t s o f p e a c o c k 's p r id e ,
lo n g in g to be w ith lo s s o f su b sta n c e gay;
With r e tc h le s s n e s s w hat may th e house b e t id e .
So t h a t you may on h ig h e r s l i p p e r s s ta y ,
F or e v e r hence away;
Y et l e t no s l u t t e r y .
The s in k o f f i l t h , be co u n ted h o u se w ife ry ;
But k e e p in g wholesome mean,
0 Hymen, lo n g t h e i r co u p led jo y s m a in ta in !
x x ix
But above a l l , away v i l e je a lo u s y ,
The e v i l o f e v i l s , j u s t cause to be u n j u s t ;
How can he lo v e , s u s p e c tin g tr e a c h e r y ?
How can sh e lo v e where lo v e ca n n o t win t r u s t ?
Go, s n a k e , h id e th e e in d u s t,
He d a r e once show th y fa c e
Where open h e a r t s do h o ld so c o n s ta n t p la c e
T hat th e y th y s t i n g r e s t r a i n :
0 Hymen, lo n g t h e i r coupled jo y s m a in ta in J
The e a r th i s decked w ith f lo w e r s , th e h eav en s d is p la y e d ,
Muses g ra n t g i f t s , Nymphs lo n g and jo in e d l i f e .
Pan s to r e o f j.ab es. V irtu e t h e i r th o u g h ts w e ll s ta y e d ,
C u p id 's l u s t gone, and gone i s b i t t e r s t r i f e .
Happy man, happy w ife !
No p r id e s h a l l them o p p re s s ,
Nor y e t s h a l l y ie ld to loathsom e s l u t t i s h n e s s ,
And je a lo u s y i s s l a i n ;
For Hymen w i l l t h e i r co u p led jo y s m a in ta in .
xxx
A BRIDAL SONG
"by P ercy S h e lle y
(Prom A lex a n d er, S e le c t Poems o f S h e lle y , p p . 279
The g o ld e n .g a te s o f S le e p u n b ar
Where S tre n g th and B eauty m et to g e th e r
K in d le t h e i r image l i k e a s t a r
In a .sea o f g la s s y w e a th e r.
N ig h t, w ith a l l thy: s t a r s lo o k down, D ark n ess, weep th y h o l i e s t dew, N ever sm iled th e in c o n s ta n t moon .
On a p a i r so t r u e .
L et ey es n o t see t h e i r own d e l ig h t
H aste, s w if t Hour, and th y f l i g h t
O ft renew .
F a i r i e s , s p r i t e s , and a n g e ls keep h e r !
Holy s t a r s , p e rm it no wrong!
And r e t u r n to wake th e s le e p e r ,
Dawn, - e r e i t be lo n g
Oh joy! oh f e a r ! w hat w i l l be done
In th e ab sen ce o f th e sun!
Come a lo n g !
xxxi
AN EPITHALAMimr ON THE MARRIAGE OP
WILLIAM PLAVERSHAM AND JULIE OPP
by R ich ard Le G a llie n n e
(From Le G a llie n n e , New Poems, p p . 193-196)
No one to -d a y i s happy as you a r e .
No one go happy i n any p la c e o r l a n d , Not i n s e a - h id d e n is l a n d s rin g e d w ith sp ra y ,
Nor y e t in any im p reg n ab le b r ig h t s t a r ,
Nor any g i r l or b o y , •
N e a re st ap p ro ach ed to your b e a tit u d e
Are we who w atch y o u r w o n d erfu l g la d eyes
Here a t th e a w fu l g a te s o f P a r a d is e ;
Our h u n g ry h e a r t s e a g e r w ith g r a t i t u d e Only to lo o k on th e r a r e fa c e o f jo y .
0 W i ll2 Oh J u l i e I do you u n d e rsta n d ?
T his i s th e day!
Do you remember how t h e lo n g d ays wore?
So lo n g , so many, so empty, and so slo w ;
I t seemed in d eed t h a t th e y could n e v e r go:
And 02 th e lo n e ly sound o f a l l t h a t " s e a 2
The days w i l l n o t be em pty any m ore.
And you would s e a r c h th e c a le n d a r in v a in ,
Nor f in d one lo n g day in th e lo n g e s t y e a r ;
Yes2 p ra y some god to make them l o n g a g a i n 0 you w i l l n e v e r have one m in u te t o s p a re
From th e g rav e b u s in e s s o f f e l i c i t y 2
(5)
(10)
(15)
(20)
Husband and w ife ! 0 happy, happy p a i r !
A u n io n so p e r f e c t t h a t i t seems
A fa b le d b l i s s , a m a rria g e made i n d re a m s;,
(25)
A rainbow s tr a n g e ly p a in te d on th e a i r .
Husband and w ife - th o s e o ld unhappy words
Glow w ith m y s te rio u s b le s s e d n e s s once m ore,
L ike an o ld w orld made young a g a in w ith f lo w e r s .
And th e g re e n l e a f and th e r e t u r n i n g b i r d s ,
(30)
And th e warm murmur s o f t o f gleam ing sh o w ersYoung A p r i l packed w ith sw e e tn e ss to th e c o r e .
Young k in g and queen, - p a ss to y o u r p a la c e now;
P ass in and from y o u r happy windows gaze
A long your s t a t e l y avenue o f d ay s,
(35)
S urvey th e s h in in g g a rd e n s o f your p e a c e .
And a l l th e f u tu r e f i l l i n g w ith in c r e a s e
Of g a rn e re d jo y , and p ro sp e ro u s p r a i s e The lo n g sw eet r ip e n in g o f y o u r m a rria g e vow.
x x x ii