CXXV. Winter's Tale, Act IV. Scene iii.

CXXX. From As You Like It. In the first line of the refrain "ring time" is Stevens's emendation of "rank time."

CXXXI. Quoted (?) by Scott, in A Legend of Montrose, as "marked with the quaint hyperbolical taste of King Charles's time."

CXXXIII. The apparently defective rhymes, so frequent in our elder poets, are doubtless in many cases due to a pronunciation which has perished, or is only perpetuated in provincial dialects. Had "crown and "done" been pronounced in Waller's time as in our own, it is inconceivable that he could have yoked them as in this lyric.

CXXXVII. From Two Gentlemen of Verona, Act IV. Scene ii.

CXXXVIII. From Love in a Tub.

CXXXIX. Stanza i. line 3. This would scan, which it does not at present, if transposed thus

"If in all thy love there ever

One wav'ring thought was, if thy flame," etc.

I rather think this was what Suckling wrote, or meant to write.

CXL. Twelfth Night, Act I. Scene i. In the penultimate line "fancy" is used to mean "love"-as in "Tell me, where is fancy bred," and "In maiden meditation fancyfree.

CXLI. Query—In last line, should "pain" be "plain"? CXLV. Two Gentlemen of Verona, Act III. Scene i.

CXLVII. These are the first three stanzas of a piece containing seven, which its author calls Song, out of the Italian. Cp. last line

"Feathered with his mother's sparrows,"

with Jonson

"He hath plucked her doves and sparrows

To feather his sharp arrows."

"

CXLIX. These are the third and last stanzas of an ode having four.

CLII. Compare Spenser

Gather, therefore, the rose while yet is prime,
For soon comes age, that will his pride deflower:
Gather the rose of love while yet is time."

CLVII. Merchant of Venice, Act III. Scene ii.

CLX. From The Angel in the House.

CLXI. From Valentinian, by Beaumont and Fletcher.

CLXII. To tamper with the text of Wyatt does certainly appear audacious; yet, as nothing is lost in point of sense or sound, while much is gained in the matter of syntax, by the alteration, I have been so temerarious as to substitute "have" for "hath" in the second line of the second and third stanzas of this beautiful poem.

CLXIII. From The Pirate.

CLXVII. Modern anthologists have mostly printed the beautiful concluding couplet as follows:

"Wise poets who wrap truth in tales

Knew her themselves through all her veils,"

thus disregarding the awkward confusion of tenses which their error produces, and suggesting the suspicion that a corrupt source has been relied upon for the text. I do not know that the error occurs in any editions of Carew antecedent to Chalmers's flagrantly inaccurate one. The correct reading is obviously that in the original edition, 1640.

"

"

CLXVIII. In the earliest editions the first line reads, "Why should you swear I am forsworn," but should'st thou agrees so much better with the " thine" of the line that follows, etc., that I have ventured to adopt it, being further fortified by the known fact that no text of Lovelace can be regarded as quite immaculate.

CLXX. Stanza ii. line 8-

"A captive's captive to remain.'

Compare Shakespeare—

"But slave to slavery my sweet'st friend must be."

CLXXXI. One of the songs of Amy in that vast, amorphous production Balder; a work of which the prevalent

gloom is relieved by passages of great sweetness, and others of extravagant splendour.

CLXXXVIII. From The Sad Shepherd.

CXCIII. From The Captain, by Beaumont and Fletcher. CXCVII. From The Tragicall Historie of Dr. Faustus. CCII. From Gebir, Book IV.

CCIII. From The Poetaster.

CCVI. Written, evidently, in conscious and direct imitation of Wyatt. See Wyatt's two lyrics given in this volume.

Ah me! for aught that ever I could read

3

A slumber did my spirit seal

103

A sunny shaft did I behold

At midnight by the stream I roved

Awake, my heart, to be loved, awake, awake
Away, delights; go seek some other dwelling
A weary lot is thine, fair maid

Beating heart! we come again.

Beauties, have ye seen this toy.

Beauty like hers is genius. Not the call
Because I breathe not love to every one

157

211

128

Because I oft in dark abstracted guise

Believe me, if all those endearing young charms
Biancha, let

Bid me to live, and I will live

Bonny lassie, will ye go, will ye go, will ye go
Bright star of beauty, on whose eyelids sit
Bright star, would I were steadfast as thou art
By Logan's streams that rin sae deep

175

146

151

130

107

137

14

204

Come, Sleep! O Sleep, the certain knot of

Dear, why should you command me to my rest

175

False though she be to me and love.
Farewell, then. It is finished. I forego
Farewell to Northmaven

Fate! I have asked few things of thee

Fie, foolish Earth, think you the heaven wants glory

Forget not yet the tried intent

For love is a celestial harmony

For love is Lord of truth and loyalty

Gather ye rosebuds while ye may

Gaze not upon the stars, fond sage

Give me more love, or more disdain
Go fetch to me a pint o' wine

Go, lovely rose

Hapless doom of woman happy in betrothing
Hark! hark! the lark at heaven's gate sings
Have you seen but a bright lily grow

Having this day my horse, my hand, my lance
Hear, ye ladies that despise

167

J48

6

112

98

132

180

He that loves a rosy cheek

High over the breakers

184

106

His love was passion's essence-as a tree
Honest lover whosoever

How do I love thee? Let me count the ways