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I II I I A I r I , I) I I I () ,\' () rl ' H F
, If (l R r I; R I' () } .\1 '\ () F
E(il1111nd Spenser ~0~~~~~~
F 1)[ r r /) II }" H' I L I . I A \f A. () R AM
F I .\' .-1 n Ii' () R r .-1 .\' n. f{ () N A L n R () N D
J' H (}.If ,'\ S H (' A I N. A I F X ,-I S ]) E 1\ DUN LOP
1{/('H.-IRlJ S('HEll
} .-1 f r l ,\ I I FRS I r r P R F S S
~'rll' HllI'fIJ .::' 101ll/{11/
1$; , ---
AMORETTI AND
EpithaLunion.
TYritten not long {tncc by Edmundc
Spenjer.
Printed tor William PonfinbJ.I/jf.
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11 JlIOFct ti nlldHpithalarnion ~~~~~~~
1\ 15% .1 liul<: book clltitkd IlMO/wrn AN]) Fpitbala· 1/1/1/11 • • lp~1l·.lrcd in Londoll. All EIJ".lhl·th.l1l who thumbed throu~h 11 might h.we wondered whether It colltain<.:d onc
\l'ork or two or prrh.lps olle or more (OIlClllons of cntirely ~'·p.lr.lte poem~. The pniod ,Iftcr the titk !>ugge~t~ a unit, but the ditkring t"pe SI/,es suggcst two worb. That l~ptthCllamiort looks like .11\ l'xtl'lldnl It.llian CrtllZMIC Imks it with Amor£'tti, whose sonnrt-t(mn .llso ha~ Italian roots, bllt its (;rcck title scparates it. Th,lt sonnets .\Ill! stanzas .IIT both printed one to a page with virtu,tlly identie.ll borders t hrollghout suggests continuity, but Epltlm/llmlll1l:r separate title p,lge sLlggest~ (ltspariry. The tension betwel'l1 whoicness .\IlL! scp.lratcncss .lln:ady apparent in the t\'p()graphic~ll ordering is dl.1r.lCtLristic of Amoretti fmd EpiIIHllmniOl/ ill all its .lslxcts. It suggesb the many tt'llsiol1s the sClllll'l1ce dr.llnati/,es and seeks to recollciic- betwecll domiIWlce ,lIld ll1utu,llitv in love, between the tlesh and the spirit, betweCll lik in tllnc ,1I)d t he til11eks~ stTlIctllrc~ that may givc liti.: meaning.
This is not to ~a\' ,il ,lt SpellScr ,>ought to create tensiom in hi!> work. On the contrar\' It \V,l~ 1m lik\ work to ~uggest unity and h.lrmOn\· helleath thc multiplicity of lit<.:. I h~ lIni~'ing vision procecds from hi~ identity as IO\,.l! male ~ubject of ,I Protestant mOIl<lrcil\ .llld it IS colored in Anllwetti and l:jlithalamir)1t by LOlltinclltal intlucnccs related to love poetry, espccialiv Petr"rchism ,1l1d Ncoplaton ism. At thc heart of this work is the gcner.ll tenSIon between the confilsioll Spenser ICds and the vi,ioll that pcrmih him to den\' that collfi.lsioll. It is a tension th,lt was to be kit cver more acutel" in the years t()liowing 1595: lw Shakespeare. b\' Jonson. bv Milton. Rcconstructing the cultlJr.11 dialogue of Spenser's world may en,lble us to approximate
580 :imO'rctt/ and fpzthalalllum
111 ~omc measure the d\'namlC ot rcadlllg th!\ we,rk III It~ I,wn da\, It is the ,lim of thi'~ !Iltrodm,tloll both to Itkntlh ",me (If th~ s~ 'terns that operate through ,lOd In A l1wrCttt flmll:l'lfhairl mlOll ,md their inherent tensiom, mctrarchism,1he COl1\cntion~ (If poetIC love 111 th~' f{l'/!:!!!:... ;~\HTe thcmseh'e~ freqU\:ntl> in conllin. Th<: fonn II I" 111)11',
English POets inherited dCfI\'cd Iargdv from the llailall PUCI Francis PetrJ.rch I 1304-1;\ 74) whose Rime, a colleniof) of VH1
nets, CIIII::.o1ll, scstin.l5, h.ltJJ.d~, and madrigab, bnanlt: th<: prin cipal subtnt of Europcan lo\'l' poem' for the next \everal hun dred \'Cars. Pctclfch share<, "'itll St. Augu<,t1ne a keen awaJ(:ne~\ of thc frolilt\' of hUn1.l11 will, a taste tllr the ple,l<,ure\ of the physical \I'orki, ,md an lIltrospectl\'e and troubled mind. 'J h,\(' qualities infonn Petrarch \ represent,nion of a per<,oJ1al dr,HlM tholt i),lIlte \ 1265-1321) Iud elabor,lted to \lllh acl.ialm in the ~'ita SIIOl'flollld the C01Jlmcdin: th,lt ofa poet\ profound pa\\lon for.l dist,lI1t Lld\'. But whereas Dante had been able to sublimate his p,lssinn tc)r Ius Iad\' Bcatricc III 1m Ie)\t tilf (,od, l'etrarch .ldmi ts 110 such tr ,1I1scendent resolution. The lovc 01 Laura and the kl\'e of God rcmam in temion ,ll1d the Rime record thl' ctfccts of d13t tension on the lo\'cr o\'Cr time, The fundamental Petr,lrd1.l1l tension is ultimately that between a l;od·u.'ntcred ,1I1d ,I self-centered UI1I\'erse, The onl\' resolution I~ rellunclatlon ofonc of these ccnters, and in the last poelns l'etr.lrch ITIlOUIKes his lmc for Laura. ending his long historv of personal torlll(.'J1t with ,1 hm1l1 to the Virgin Mal'\', the last word of whKh IS
~"rt: ~1(,:.'~
The (h,lr,Kteristic tension of the Ri1nt' mandi.'sts itself III the ttghth- nll1twlkd rh\ll1e s(hellle sep,lr,ltll1g th(' (llt,IH (n""aa/l· bll) from the sestct ((dude, or J \ Jri.ll1t) ,IJltl rl'lntillcillg thl' treqllcntl\ ,1I1tlthcric.l1 oppOSItion between them; in the stnkll1f; diction otien 1I1\ol\Jng sh,up contr.lsh (tl.',lrs/snllks, tire It\',
trccdOl11'illll'r1Solltnent, t(:,lr'hatc. \\.lripe.lcc), 111 till shitts In
the l()\,t'!''s moods through tl1l' seqllellle of P0l'lllS J'hollgh thl' HI/Ile".He gCI1(J.llh slIbth I'CJl\IYl' ,lilt! ljllieth ,lfkul\c, the tt'll SIOIlS I'dI.' Ill' 111 ,1 tn\ P(l('l1lS such ,\.s 134. "Pace nOll rl'(J\tJ,"
introduction 587
II h I' II \C .. IlIS .lIm, l~r .1 p.m lli\ ot the qll,lhtie~ that were so wideh t\lllt.It ... ! III I he tullm"ng lentunes, as Petrarchism became th~ \I,llld,lId 1.lIlgll.lgt' (:1 Ihl' s()nner s~g~ence, Spenser would prob. ,Ibll It.\\ (' Ic.ld .... 11 I h,lm,ls Wyatt ~ trl'e translation of "Pace non fl'I\\I" .IS II .IP!)C.IlS III Fortlr\ A1iscelhmv:
I tllid 110 pc ,Ill' , .lIId all my warre is done: I ti:,m', ,\lid hope: I burne, and fresc likc ysc: I tllt' ,llot!, \'er e\l1 I not arise: ' :\l1d nought I ha\'e, :l!Id all rhc worlde I season,
['lUI lod,l's nul' loserh, holderh me in pryson, And hnkks me not, yet can I scape no wise: Nllr knes me "'vc, nor dye, at my dc\'ise, ;\nd wr of dc,lth It gcvcth mc occasion,
Without evc I sc, Il'ithollt tong I plaync: I ",ish to pcrysh, yet I askc t()r heltb: I IUI'l' ,111orher, .lIJd thus I hatc mv seliC,
I ft'de me III soro\\', and laugh in all my payne, Lo, thus d,spk:'lscth mc both death and life, :\nd 1II\' delight is c,\User of this strife, •
.\ !!,1,IIKe ,It thc diction of some of the central sonnets of ,
.illl/ll'«tl, eg, XU-XLIII, will make it clear that Spenser, who h,ld l'.lrltcr rr.lIIsl.1ted Rim/' 323 as Visions of Petrm'ch, is placing hiS sonnet sequence in the tradition of Petrarchan love·poetry, Th,' slulfs III mood of the Im'er, especially in the first half of thc st'qucnl,', 1m p!'eoccup,ltion with his own emotions, the corrc· S!~ Illdmg !'.ldic,11 limitation of the lady's role, and thc meLm·
~
,-hol, ,t'p.I!'.ltion .It the end all .Ife Pcrr,lrchan, Yet conccptualh -"(','lIsn IS dosn to Dante than to Petrarch, for h.: managcs tn IlHet?,r.lte the 100e of hIS lad\' with the 100T of God. n.mte (1\l'!'Cl'mc~ the problem of Re,ltricc's esscntial human scp.lratc· IWss fn 1111 <..;()d b\ redefining her as parr ofthc spirituallllcr,ll'<:h, b\ ' \Ih'lil iI,' ddine, hlll1sdf. He thus blFlsses e,lrrhh cIrcum· stanl,', to ach,nt" ,I spintllJlunion in PU1lf(ltorio .mel /'amdl,(l,
588 : Amm'etti and EpirhaiamuJ1I
Spemds Ion:, like Dante's, ends in ri.ilfitiment, but u I' _, , . , hi' tu'lfllm' th d' , nlke D.Ulte S It IS an cart ~ I ent tn c' n'me!\- sancr"
, ' E 'I. I ,loned m3JT1age (ekbr~ted In PltJ~ (mIlOn, \\here the nonn tOr the Petran:han scenano, ansmg trom the mabIlltv to reconcile the tensIon oct\\,ee,n the phySICal .1I1d the sptntual, IS the frustrated ~ulcmJte ot. tor mstJl1ce, SIr Philip Sldnn"s .1strophrl -'
, "al' d a~f Stella, Spenser enJOYS a spmtu Ize earthly union, Dantr and Spenser seek to transcend thr separatenrss of the ph\'slcaJ and the spiritual, Dante b\' hanng Beamce r~se, Spenser b\' ha\ing God reach down, Where Dante Ic:\'es God through the SPI~ ltualizcd Beatrice, Spenser lo\"es God through hIS spiritualh' w \' but still earthl\' bride, Elizabeth,
, '
2, 'eoplatonism, The inclination to transcend thr gap be-, the ph~'SICal and the Sptrltual suggests some atfmit\' with
~eoplatonism, an ancient philosophical Svstem of un;vcrsaJ transcendence, which had been revi\'ed by Florentine scholars, most notabh' Marsilio Ficino (1433-1499), and \\hich remained influential through the sixteenth century, :\eoplatonist<; held that as all beauty emanates from the One, with Whom the soul longs to reunite, rarthl\' 100'e ma\' lead us upward to a contemplative or angelic 100'C, Spenser's exploration of :\eo, platonic ideas also in FOW1'C Hnmw ma\' indicate a trend of his thought in this period, In bccAl1 Hmlllt' ill Honol/l'o/LllIle, the tirst of the FOlF],c Hwmm, describe~ as a general process the cour~e of events presented as individual cxpenence in Am.()/'cttt, Love stirs desire in t.he 100'er (HI 120-24) unnl he sees nothing
~
but the lath' (HL 131-33: Amo}' XXXY); at the same time lo\"e hardens the lady's hrart (HL 137-39, 145-4-) causing the 10\"Cr to sutter (HL 120-55: Amm' I-LVI!); but the ~uttcring is remedial (HI 165-66) and 10\'(' is transcendent, rismg a[1o\,\: the ph\'slCU (HI 176-78) and at the sanle time ebating the lm'ef's thoughts (HL 183-88: A,l/.(»" LXYIII); the cnnobkd Io\"('f agJin sees nothing but the lad~' (HL 204-07' :1.11U1/'
L.XX\'I-LXXXIII I, out IllS lo\'l', not \'l't he.n'enl\', is troubled , ,
0\' CIl\'y, spite. and jealous\' (HL 259-69: .11110]' LXXXI\'-I XXXVII; this disqulcnlde IS merel\' .m emf ance to .1 I11llrC
hm-od'lfllOlI 589
hWTnl:- 10 " (HI. 273-.tJ3: Epit/;)_ All !-lYlII1/C III Holltillrl1Love IS 111 dk(~ .1 program tor A lIIorrtti mId 1~/,II"almllloll_ Though llt'lthcr of these works IS dognuticdly or s\'stem.nicall" Ncopi.!tollic, the Ncoplatonic p;lr.ldigm (i prog~cssi\'c lol'c is clear. Yet the eu Imination of the work 111 marri.lgc denies the Ncopl.ltollic impulse to tr.lIlsccnd the e~lrthlv: Spenser remains a ~)f this world_ '--U)rotest.U1tism. ~pcnser's interest in Ncopiaronic ideas ar~ords awkward'" with his English Protest.lJ1tism, which emphasized m.U1's inabilitv to brid e the 'a 1 between himself and
- -Go _ moretti and EpitlJaiamioll is even less dogmatically Prot-eStant than Neoplatonic, bur the Protestant influence is kit in several ways_ Perhaps most fundamental is that Spenser is careful to contain the lover's progression within the limits of common human experience_ The sense of that limit is palpable both at thc end of A moretti, where the lovcr is left awaiting, rather than striving for, what is beyond, and at the end of Epithalamion, where his expression of hope that his postcrity may one day rise from thc earth to increase the number of the blesscd in heaven makes it clear that his business will be not the mvstical , ascent of a disembodied soul toward the One, but the engendcring of an e.lrthly posterity. A second influence of Spenser's Pro'testantism may be seen in his ;Ivoidance of any suggestion that the lover's progression is sclfmotivated. Salvation comes through gr,l(e alone, and if the Im"Cr progn:sses spiritually in Al1lOretti and Epithalamioll it is through the influence of God and Elizabcth.
The influence of Protestantism is evident also in the lover's expression, as he approaches his bctrothal (chiefly Amor LXV), ofthc ideal of mutua lit v in marriage. This ideal, which emerged in the sixteenth century as a tCatun: of Protestant doctrine-no doubt partl" as an alternative to monastic asceticism, remained in conflict in Elizabethan society, as it docs in AnlOretti and Epithalamion, with long-st,mding traditions about the relationships of men and women in courtship and marriagc. One sllch tradition is thc firmly established patriarchal stmctun: of mar-
590 . A morettl and EpithalamIOn
[lagc. Another, largelv litcrJ.t;, IS the tradition of wurth lo\'c, whidl 1l1\ erts the patnardul order dunng courtship so that th ' lovcr tcmoorarih, bccomes thc "servant" of the lad\,. Th,' . ) ( , r . . ~ It 11-Hiers betwcen these int1ucnn:s appear ekarly 111 tht' deVelopment of the 100'cr's relation to hiS lady In Amorcttl U1/d EpithaJmllloli He proceedb through a courtship, Petr.m:han in stvk and mood: m which he must subord1l1ate 11Imself to hiS lad) in order to win her favor. But whereas Dante was abk simply to tr.mstCr this order of courtship to the spiritual rcalm, Spenser is headed towards marriagc. The poet's subordination to the lady in winning her favor gives war to promises of mutuality in LXV and reconciliation. Beginning with sonnet LIX the lover realizes that Elizabeth has withheld her favor not bccause of pride, as he thought earlier (e.g. XXVII), but becaus~ of virtue. This n:cognition makes possible a reversal culmll1atll1g 111 the ritual of her submission in LXVII, their betrothal i.n LXVIII, and finJ.lh th . wedding in Epithalamion. .
4 he Jnale perspC'cti!l(':. Despite this stress on reconcili.ltlon, t Ions remain. Behind these lie dear suggestions of masten'. The poet's assurances of mutual love (LA,'), simple peace a~d joint submiSSIOn to God (LXVIII) arc accompanied by images of caging (LXV), binding (LXVII), conquest (LXIX), capti\'ity, and imprisonment (LXX). Both mutuality .md masten' seem inappropriate for a "sweet Saynt" (XXII) that "ought Lither worshipt be" (LXI). The tension between these social paradigms imposes an artistic dilemma at the POlJ1t of the betrothal (LXVIII) , f()[ to stress the lover's masterv would be to undermine the lady's elevated status established 111 the first part of the sequence. This difficulty may account tor the fact that it is not clear to what extent Elizabeth is physically present in the sonnets after LXVIII lInti.1 her reappearance in Epithalamioll.
Similarly, in Epithalamion, where we might anticipate a celebration of"mutuall good will," Vie tind rather a demonstration of masten'. The epithalamion, or wedding song, IS of Greck nrigin in both name and tc)rm, but its most influential pr:lctitllmer IS the Roman Catullus (84-54 B.C.), who W:lS actively
Introduction : 591
imitated bv French Renaissance poets, most notably Romard (l524-1585). The form includes a series of topoi which Spenser adapts, among them an invocation of Hymen, god of marriage; a description of the bride; an account of the wedding and the bedding of the couple; and a prayer that the marriage be fruitful. Spenser follows Catullus 61 both in the general plan of his poem and its social setting, but he makes more elaborate and specific the sense of hierarchy and the sense of time, and he changes the role of the narrator. The Catullan narrator is a third party, an observer and sometime orchestrator of the events of the wedding day. Spenser-the lover, the poet, and the bridegroom-sings his own wedding song and functions as director of his own wedding celebration, preserving the Petrarchan egocentrism through the very time when he is involved in merging his identity in the union with Elizabeth. On the day they institutionalize their mutual love, the bride does not speak and the bridegroom, even in the bedchamber, does not name her or even address her except very briefly to reassure her at the altar (Epith 238-39). Rather he summons all of the social and natural community to gaze upon her as the priest places his hands on her and she displays her vaunted modesty and humility. Some may see this as a ritual of subordination, not of mutual bonding. The integration of the ideal of mutuality into Spenser's assLUTIptions about social ;md political institutions ,md his fundamentally hierarchical pattern of thought remains partial and problcm-
. I.
~The historical dimension. Another kind of tension is that ~cen the large symbolic structures of the poem and its historical particularity. In accord with thc convention ofthe sonnet sequence, the~e poems are, at least in part, ,specifically auto-
,-biographical. This is a convention that by its nature pulls the reader in different directions-betwecn fiction and history, between text and context-and that at the same time blurs the distinction between those pob (sec Cheney 1984) . We learn from the text that the lover i~ a poet 111 his early t(lrtil's who has completed SIX books of The Faene Qttemc; that he has a fflend
-u ) ,'lllum"m ,lIId f:'pit1Jil/11l1ll011 .'l _
,lOd ad, i~t)r n,lllled l .. )do\\ Id, BrYSkt'tt: th,lt 11I~ qUcen, l1\s l11othn. ,md 1m. Lith' arc .111 n.ll11l·d l:III.I~th: dut Ill: couneo f!il.l[x·th .It k.lsr \Il p.lrt during febru,lry ,lnd ,\13r(h of 1 S9-l .mu th,lt tlwlt" \\eddtn~ (K(lIt"red on 11 T line.: , All of this ,\Ccords \\ Ith \\ h.ll \\e kllO\\ of Spcmn\ litt: from uthe! sources. but ,I re.llier flU\ \\'(1ndn \\ hy Spenser chose jllst rhese .\utobiogr,lpllic.ll dt.·r,lils, Wh\' docs Spl'Ilsn lIlclude lllention of LOlfn\\'ick Bn'skcrt. 11Is ti'il'lld .Uld fellow ci"il sen'Jm in the 1mh gO\'crIll1K'nt ' Whm Spensn i<.kntifies hil1lsdf .\~ the .\u--thor ofT!;( Fllm( !2l1fC1lf (X~\]II ,md 1XXX). tor which he had n:(el\'ed ,l(claim and rcw.lrd in London 1I1 1590, and announces completion of the sccond p.lrt .1 \'Car beti)n: his return to England 111 1595, should we \\'ondn whether his l1lotl\'es arc amo-.. rous, poctic.tl. or poliriclP \\'c ,Ire \cd to ask questions onl\' tangemi.lll\' rd.ited to the text: how long had 1m tirst wife, b~' \\ h;)Tn he h.ld .1 son and .1 d'lllgilter. been de,ld before he m~t EIiz.1hcth
' W.1S tilt' wnnection to Ehz.lbeth's influential kins
man Richard BO\Ie.1.1ter e,lr\ of Cork •• lLh'anragcolls l The auto-, ~
biogr.1plm:,11 det,lil that Spenser places in his work adds a dimen-sion of p,ll'ti(uiaritv thar (()unterbal,ll1(es its s\'mbolic structure, ~ll1d .It the S.ll1le time bre,\ks the pl.ll1e of tiction. pulling us (~\'~'J ,1\\'.1\' irom the pattern of unitied me,ming, CV'he IlJrr.lti\e, A simiLtr complexlt\' eXists in Spenser's treatment of the book's narratl\ e, which relates to the autobiographic.tl clement as docs the gmcr.ll to the particular. The story 011 the simplest len:l is spare, in accord with the sonnet comcntioIl, Hopelessl\' en,ul1ored and emotionallv in turmoil. the lover sets our to win his bd\'; sometimes he is ,lrrogant, sometimes sen Ill', sometimes respectful, sometimes tender, sometimcs COIllIC. The bd\', percei\'ing hiS worth beneath his shortcomings. c\'cnttl.1l1\' accepts him, The\' marry and look t()f\\.mi to a fruitti.1l liiC together. Yet the \\'holencss of this -simple story is brought Illto question by rhc uncertainty of nar-r,Hive progression tt'om sonnet to s()nnct and c\'cn from work to
work, or more prcClscl\' by our inability to sa\' with (crt,linty "'her her ()r not the scgmcn~s ofAmorctti ~11d Ep;thaJamwll arc i~
" , 1 11~','r \\,)1'1-. h)r ~\,Itnpk, {he I()\l'l\ lClltiOIl to '\ t 1" '- , .j • ~
" , '., ; .1 . '" \\<>rki '\ l11{nl~l\)J1 lilt" hl~ 111111>11 \\ltl1 FIII,11x,th , 1 \ \ \ 1\ 1 \ \ \ \ 1 Ius Ill'lther Il.Ut.ltl\C ,',1lISt' nor • ~ , I .: , • 1, 1'1.,,( ,:b,,)iuh' dlsnlptlnll ot { It' ll.ur.lIl\t' ~t'qUl'll(l' IS ." . ,,, ,, 'n ( ["1\\ ,,'11 . -1 J/I,wttti .md Fplt/Jt1JIlIIIIOII l)( li lIll I'i.l\' t~ ",)"'... , .. , ., .",_ )1 tn".lit:cd Imth"I')g\ .1hou{ \'l'nus ,md CUI)ld 111
t-;ll " .i . ~ . ... , , .l ' l ' l ~l· ,'I :he l~rl'(k I'" >et An,Krwll \?S "'2-?4HH H.C.) f'k ,) I l ...
, \' ".!..' Iud Ix'en f,ubhshed 111 I SS4 .1l1d unit.Hl'd \\'idel\' " ~l'~" I.' •
• I . ',' 'I' \1hi lr.lh.m l,(),'b, TIlt' l)ol'ms' Im.1l!.l'r\' scems crotic ""\."'" ... . ).", \ ,I ,nngs .11hl ,1rrO\\ ~ Ilt'.lkd Iw \\ r.ll~l)illg, .1"lllte.1' )~ , 1 '1,. " .... . .... t
~,.,,, ,)1 ,.11\.-, .111,j b.lrhll1~ ill "tilt' \\ ell of de.lre deltght" (Alla-; f.\),':';- -1\ ~,'( }...lsk.- IQ-St l'he .Ktton. t,lkcn continuously,
,1,0\ ... ' :,,'·C.l,j .IS .m ,llkgone.11 n,lIT.ltl\l' The Ix)et is stung lw .- :--,. ••. :',,"1 \11'1,1 t.lke, DI.111l'\ ..1.111, 'H)lll1ds thc poct's lady, .n.~ ,,'n'~;s'-., i1i..'f \\ Itll \'t'IlU~, t11l,11" , <. 'lipId, stung by ,I bce and ~I-'.' ['I \ ,'n\l~. "<Hll1ds the noeL \\'e note th,lt thc LId\' IS l' ~ t .
1I\"I ,),k.i h i.. 'Upl.! ttl .1~~ocIJtion \\ Irh the til\'inc Di,lI1e and "h,,' ,Ien{" ,11'1'X'.11' .11\ tile the lo\t')" i~ \\ 11l1nded bv tht' bestial :'.Y ,~ ' hl Ilh'l1 b, l'ul'ld Il1 .1SS(KI,HI1l11 \\ Il'h rhe bce. Mere bt:c<'1::. II, "Y .• ~ ,-111'(.',j b\ .1 b.lrh ttl "tht' wt'll (lfdt'.lI'C dt'lig:ht," but \\\' ,1,' ,lI)1 k.ln1 110\\ Ih,' ,\ I1ll't()m~ (If the t\\·o ditkrcnt dart
\\,\,I:l.is <)1 "I'f'<)'lI1~ prt)\ ell,lIlet' m.l\ lind .1 (ure. The An.1-,T,·,)m'., ,nei 111 ,\11 llIlr,'~oh t',j tel1~l(ln If thl~ link ,1Hegnr\' is • •
'1 r,'1,;" j ,ls .1 :',1r.hjl~1ll (\f the l'Ce.1Ill1111!!; of .1ttr,lctiol1 bctween ... .... " Kil .1\',' \\ ,)111<'11, Its 1,1.1",' tn the 1l.1IT,lti\ c sCqUCIKc should he ""'t.>r. .1tIh·r !lun .\1 In. -l. "">rat:, \\ h Idl descri ill'S thc pro(css of "" )1\ 11 ::' t h .. f'h lbkm til lo\(' t he( 'n \\ h Idl 1.\ represented in the ~r .:. · . ll, 'n., rh, (1':1 lh.lt till.' prcsldlllg deitIes of the Ana
d\'OI'I!", ,\1, 1',I::,.lt1 ,md t(,'mitlllK \\, )111..1 pLlCc them.n the bcgin
r Ii:: ,\' . ,., ~': ·(\::n',.'lllll11fAlIJorftt/ and FpitlJalmll101/ in which
.',If'' 1'1":-:,,, IS Sl1\"sllt1lcd 111 .1 ('hristl.lI1 li',\l1lc\\ ork ,md the
i. \ "
" , '~ ,
11<1. " ( .hh In .1 p.ltll.ltd1.l1 sDei.11 ~tnIeture. Rut \\,Iute\'cr " ".'111 .m,j ,'(ll1t"cptu.\1 l'cl.tttoll:-i1ip tn AmorL't11 ,md ttl ~ -'1,11, t 'C .\n,l\.TC(\tlth. HTSCS \'Io\.lte the n,lIT.nin: cunri-
:1 , '" )<,)!..
.1 .111'; 1111' tin d()ptnl'1H of the \P\l'l''s not th~'
1.lIh \ 1.·,)nSdllllSI1CS" limns the gCller.ll dr.ullJtl( strlKturr <
\\lthll1 the w( )11. The sonl1l't set]unh:c IS .1 dr Jl1uril mono O(~IC: II e kno\\ I)nh' wh.lt t 1l' tnTr tt' sus . • 1l1d his words, 01 (ourse, tCilllS mUl.h lllore .lht)ut hllll th.111 .lbout hn. The bd\' of the tirst ['.m tlr tlK' se<jUt'llll" he repOtts. (oulltt'rS his .lfgument \l'ith a pun III \\1\, she smiles in XXXIX .md XL .md burns.l p.lprr he h.1S sent \XI \·III ), but in geller.ll she re1l1.llnS, in the PctrJfchan tr.lditlllll, consistmti\' t'nmposed ,md u!1\'idding at the prospect Ilf the lover's histrionit's . SIlt' otkrs little elll:our.lgemmt; indeed. he (OmpLlins, "the more she ttTI'Cnt secs 1111" fit: I the more she trieseth in her wilful! prHit''' (XXXII). In gencr.ll she "l"kc the SpeCf.ltm I'd]\, sits ... beholding me with constant cvt'· I U\"\ while IK' docs '''Ill the page.um pl.l\'J disgLll'sing dil"ersl\' my rmubled wits" \U\,) .1Ild "h'ke NllrrisSlis \'aine" (XXXV) is (oncerned only with his own emotions. E:h:h sonnet represents .1 moment in the itWl'["\ emotion.l] dl'l·dopment. He signals his progress dming the sequellce lw usc of f.lmili.lr terms of Eliz.1brrh.U1 pSI·t'holo!:.'y, which \l".lS, in gener.t!, a dll.llisti( s\,stem of bod\' \St' llSt'S, he.ll1:) .llld soul \ mind, wirs, fancy, imagination, mem()~'), the [In) mediated h\' the spirit. Thc b.lsis and outline nfrhe dl'lTlopment ofthe lo\'er's consciousness afe discussed in rel.ltion to :\'eoplJronisrn. abole. <. 'onsidcratioll ofAmorctti rmd Epithaillmion .1S dr.1l11.1 kad~ rn questions of character and cfkct. Reouse \I 'e undcrst.Uld more .1bOllt the Im'Cr than he docs .lbollt himsdf he is inesc.lp.lbl\, Iwnit'. He is l'11meshed in .l process dut profi)l1l1dh' .1tti:ctS him but ohl hich he onl\" gradually gains S()nK llllderst.ll1dll1g, The lunT. then, is .1 comic tigure because III his l.Kk of self-knowledge he is nude to sec III temporJrily interior to the re.lder, .lIld be(.llJse hiS sutTering is ternpor.lry and he IS led t() J felicitous ending. Yct this comic characterization is undefmined b:; the ljllJsi-heroic rule he .lssumes in Epithalamioll .1S l\"Inner of the !.tell Jnd tempor Jn' (enter of llnll'C[s.ll
1~10I1\" (j)Sl'mb()hc .strucmres. The tension be[llTCn wholeness .md scpr.lteness, hler.lrch, .md lllutu.lhn·, n:ntereLiness and dccell'
I ... [''''''r'','', 111,,'.t. I<.IIIVllld·'I"" til' .tllv III Ii" 1""lltl 1III rCfn f1( " r " . , L. III ~111" 1111 c', ol/111/1i/ 't/1I 111/£1 /-pi/lmllllllillfl Willi II. 1'1 co,
",rill"' . '. '1'l1lbp it ( ll1vlil, 11l1.III1I1V,lh.lt fh, I<.VI 1111 hI', dl.lIl1.11 I< """ •• 11<,"
dol" ""I ,llw.IV\ ',tT A \,,,( ' 1 wit" 1'1,1,,'" ,. ','11111< 1.1111111111" Ill/, ,I
11l'\\'l>q~IJlllln~ (( .XII) .1', tI" flr',1 P'IlIII "I tlte ',f' (1I1d h,lIl <II Ill<'
volunl( (<"(llIlIlll1g <'1 l1 •tll y Ih(' 'Ij',hly 11111< ',"llIl!'l', IIIIH' AII,I
(Il'OIlIt( \t,lIll,I~ •• ut" tW('Illy 111111 I'llllll.d.,,,," \1.111/.1',) I', """
who i, kcrnly ,IW;\I(' of 1111111h, 1\ .111<1 1',1I1('ItI', ,1Iul ("I'C( I.llIv <II \.cnt(Tctinc'\ YCI till' P,IIIl'llIllI;lIknl hy iiII'. <I"VIl( 1""01")1)
lCl1trJl,bul ~~(<fIl('lJ(l'()f Iwe. If W("I'"II11 Ill< 1 •• 111 AI1.III( · I'IIII~ pOCIll \ rather th,lI) till' \ep,lr;lI(' ',1.111/ .. 1'" til< II I ,IX . Ih( "lI1I1I'lol
thc IOl'er\ cl1,lhlll1~ In ()gl1lll( 1I1, d 1\' \1\\, d ,I h"Vt I., II It III 1111<"11
cal ccntcr 01 thl work ')('<)II(,l1tl.ti .llltl t e lilt 1'l1lt I( 1'.1111 r 11\, on i,t thr ollgilollt A mar-clll Ifml l:jJtllm/amulII
Amorcttt and liptlhalflmum I, e2,l)( 01 lill' 11)0\1 ,llIklllg' X,lIll
pb III literature of till' U\C of~\.1 1'0(11< d,'vll( c.,PUIWII\
engaged ,in ,knylTlg thl' I1Il'.lI1l1l!!,k\', 'ol"< 1"(,1111,1111 v of t 1111( hy ldclltih'mg pattnm of Ichgl{)lI\ ;Ind (1)',111< JI<JJ.!,1l al 11ll".1l11llg wlth1J1 it. H1\ u\e III Amoyellt of .1 fl,lIl11'work lel,llnl II) A\h Wedne~dav and Ea.\tn n:lllove\ III!)\( CV U)\', f rl)1l1 I ill lIlcn:
SClJllCIll(, ofh Istor\, .11ld .1 'o\crt \ t h" I r .111\<,('11, kll' c of tilt' pn'olll1
aJand p3rtil.ltiar t'V(,lIts tilat \(,l"1ll I () form till '>cq 1Il"1lll" of h 1'01 or
ical tIme. The toile and IJll;\g('ry ()f XXII ;1Ilt! I.XVIII Id<.:1ltJ1y
them J\ Ash Wedn<':'odav .Int! I~;)\trr \(>1111('1\, IIII' Ill111lhn of
sonncts o<.:twt'<.:n them <':(1 uab the 1l1llllbn of d,I\'\ het W(,(,1I A\h Wednesday and bhtCr. Tim group)'o l<':l1tClcd III Amorcllt, wnh twenty-om: S()IlIl<.:t\ pr<.:c<.:ding and loll()wlIlg ,ll1d ,I 'opllllg son
nct two odim' atld two attn the l('lltral glollp Tltl\ (ollll'ntn<.
tormal wlllho\I'o given spccific t<.:mpor.t1ld<.:lllItv h\' th<.: mUll"
rcoce of LXII, a Ilew year\ SOlln<.:t, Oil til<..' <..I,ltl. WII<.:11 LI\t<.:r occurred In 1594, the v<.:ar A nuwettt and };pztllfllamllJ/l \\,IS <..'11 -
tered in th<.: )tJtlOllCfS' R<.:gTstcr . Yd. though tim Llkndril.a\ ti-am<.:work Illf( JI'lllS A nun-eltt til a tUlld.lIlKl1t,l\ wa\', 11 don not b<.:coJllt thl. S<':QIIC!1Ct'. Sp<.:mn .1ppar<.:ntiv docs !lot tntrnd tor lIS
to date each \( >Jlll<.:t· OJ) the (ontrar\' h<.: 11~t'~ onh ,I kw sonne" ,
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,-'-'llft,llI}, ~ Imup"~il 1l{,Hlllllt! ,.,. 1/,11,,111 Ihrlit\i'llIJ!lWi,ltl
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'tUlI1' ,,(.It\ln~ \ 1..':\ n)J'I\I~h\l\tt till' ''''\llIl'lh,1,.1I1i Itl\1.1 l.lh ... n\\:'o tll\{
dhtllh,thIH' .H1h\llF rhn, 1hf{\ f.huhl .. , Ihr I,Hh)\ul IIh . • 1IPliltJI'\\lid
\\\11I\n .. 1:'o 1l\,H~ \\lth 1Hf.th'J ,U\~dl\. \\Idu\ III ht,:IIlr'., till 111.1IhH1.t1 \11l1,,11\.',tl
h.",h 1.(\lHh.\.'t'\ IH.\ll \\Ith tlh lX'.bh ItH' IIt.II', I, ~\jfl'hh'!t'd p.ut tl' tht hu(h \1, , .... !ltt .'1'-' t\ Ih)I~' II' ttll, ( ntl·UO';/,I)'\· •• ., J'lillil\ ,\\U'/'fI"'J'" \ l,tN.I rh.u
'·'HY rhll'»" \C(I\' til 1'9\ 1 W, tlh \11\\l 11,\ 'pitH Hhllih I~}o,h I tH' 'IHtl
lnd t,,,h \\ d\ tl\ tw \.Htlh' \\'1\ i.httt:rnH fhH\\ (hh i~ltld 1.11. ItHlh\1 b\ 'h" ,,\ \ ~1 t Ii t": \ ~I!, t f~,' r .1 ',rf \ f th' th lr ' (\ (1
~ t""~ 'f:'. t\ t f\. t4 to. i.' _l,
{\e till} 1\ (Illn ,md .1, ,It \ ''1''" I'h""hh .. \'lt 1,\ ""t.' .lb, I It II\fhl\hlt tlt 11\, .l1'1\\" ~ It!;·,.,)
bll \'\ ).: hi .\It I () 'trill '14 '1h'" m~\'\t ,\ I \\\ 'I; • r\ lli.\~ \\ nil ,tIl'" L t ddt Ittl
M, II \" II".. '1", h
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-~'-~
Amoretti
Ih'l1 Ih,)~l' \111.\11 tc.){1s \\'hld1 n: WtTl' WOnt bel,\\,; 'lh h Il.lughl\ \lnlld,,, cnur\j tll h,\rt1\ tight, ' ,h~,Ll\ IK II' \ Il'id unto tilt' first ,\SS,\\"
l,nIH! rhndolT ,\11 thc t()rccs that ve ~U\ , . ,
,\\,,1 Ln \Il,TS\,\nt b,lttcrv to hn hcart;' pl,nnts, pr.\\'Crs, \ O\\'cs, rllth, ~orro\V, and dismav thme t'ngins (,Hl the proudest love l'OllVert, ' ,
.\I1,j It'rhosc L\\'Ie [\Il downe and dv before her, S,) ,hin!,! Ii\e, and living do adore her.
SONNET. XV.
YE tr,\ddull ~1cn:h,U1ts that with wear\, tOyle do secke most pretious things to n~ake' VOur
,\l1d both the Indias of their treasures spoile, \\'Iut llCCLkth vou to seekc so farre in vaine?
for loc my kwe doth in her sl'ife containe ,Ill this \\orlds riches that may farrc be found: if S,lphHCS, loe her eies be Saphyres plaine, If Rubles, loe hir lips be Rubies sound:
game:
If Pc,lrles, hir teeth be pe,lrIes both pure and round;
609
10
5
If Yn)rie, her t()rhead \'Vory weene; 10
If t;old, her locks ,lfC tincst gold on ground; if sTIver, her f~lirc hands arc silver sheene,
But tlut which Llircst is, but tew behold, her mind ,ldornd with vcrtues manifold.
SONNFT. XVI.
ONe day .IS I unwarily did gaze . nn those fane eves mv loves immortal! light:
SONNET XIV a",lu/t .sONNIoT xv
. . .
6 lI'ont bda.v: accustomed ro OC5IQ;C. 8. min.":
. . ,I j " rts called a hlazon, W,h .1 TIltS catJloguc of the at ~ 'pa , 1.., t' I
. 1.. .,. ·11 1 12 . . ,f.,eCl/c: ,,,,\lltt 1I, fa\(>rIte ReI1JJ"J.ll(C ti.mn 10. Il'cmc ,,,,autt I.
hrtght
620 Amorctti and EptthaJamum
with all the plavo£5 whICh to her be applvde What then remal~es but I to ashe~ burne, ,
and she to stones at length all frosen tume~
SONNET. XXXIII.
GReat wrong I doe, I can it not deny, J to that most sacred Empresse mv dear circa,
not finishing her Queene of faery, that motc enlarge her living pravse~ dead:
Bur lodwick, this of grace to me aread: _. doc ve not thinck th'accomplishment ot It suffi~ient worke for one mans ~lmplc head, all wcre it as the rcst but rudely wnt.
How thcn should I without anothcr \\ It: thinck ever to endure so ta:dious toyle, sins that this one is tost with troublous fit of a proud lovc, that doth my spiritc spoyle.
Ceassc then, till she vouchsafe to grawnt me rest, or lend you me anothcr living brest. ,
,SONNET. XXXIIII. "
t 'Ike as a ship that through the Ocean wyde .i bv conduct of some star doth make her way, . - .
r wer~ z] whenas a storme hath dimd her trusty guvde, out of her course doth wander far astra\,: ,
SON NET X X X I I I 2. Empresse: Queen Ehzabeth. dred· object of rc"erence 3. The lover is here gi\en the SpeCltl( hlstorIcalldentJrv of Edmund Spenser, author of FQ. 4. living praym dead: posthumom
10
tame. 5 lodu>ick: Lodowick Rrvskett wa~ a compaJ11on of Phihp Sldne\ who became J friend and admirer of )p while he and Sp held pom III Ireland ; he contnouled "A pastorall Acglogue upon the death of Sir Ph Ii lip Sidnc\, Klllght" to Sp\ collectIon Astmphd (1595), md reprt'>ented Sp Wltl]
great adnllf3tloll III IllS J)/Jumrse 1m en'!i J Ife (1606) aread' cxpl.ltn l\ a.. writ e\CJl though It lllay lack Srv!t,Ul rdincmcnt.
S () N " [, T X X X I v The rok of the lad I' JS b'1.lIdc I~ dciincd lllcraphotllJ/l1' III the general mU;{l1()J1 of rhl> \()l1m-r rhe lover must ......... o.:yond till" darkenlllg W)ml~ (ntpasslon) to toll!}\\ her' Purl' hght
Amcrettl
So I \I'hose star, that wont with hcr bright ra\' me to direct, \nth cloudcs IS overcast, doc wander now 111 darkncsse and disma\', through hidden perils round about me p'!ast.
Y ct hope I well, that \\hen. this storme is past [lW Helice the lodcstar at my hie will shinc again, and looke on me at last, with lovely light to clearc m\ cloudy grief.
TiU then I wander carcfull comfortlesse, in secret sorow and sad pensivcncsse
SONNET. XXXV,
My hungry eycs through greedy cmenzc still to behold the object of their pamc
with no contentment can themselves suftizc, but having pine and ha\'ing not complall1c,
For lacking it the\' cannot hie sustame, and having it they gaze on it the more: in their amazement l\'ke X m'cissus vaine whose eves him starv'd: so plenty makes me poore,
Yet arc mine eyes so filled with the store of that faire sight. that nothing else they brooke. but lathe the things which the\' did like belore, and can no marc endure on them to looke,
All this worlds glon' seemeth \'ayne to me, and all their showcs but shadowcs saying she
,()
1')
10, HtllCC' name gJ\'en to the constellanon Crs •. \\alor EL7Atx'th ,.:.,- c becomes a svmbol of ul11scrsal harmon\', wlIill1g earth Hcucol' '>C( n,er. t,
I 10) and sr~rs ' HelICe), rh" als" cp,romw;\ her role 3' ~",Jc •. \. \c WdmRr' guiding srar 1::1 carif"r full ot (are sad SON NET X X X v ThIS sonner rcpre ....... ·' I s-3g< In [PC I ".,
J l- I • fJJr n dopmcnr In \\ hJCh he (Or C'-~l"JtrJrl 11. dt J t <. r \ 11 I \".
orher goals or person' Ir IS c)r :. J XXX 1\\, h Jrtlc- ~[ "' ... 7 ,VarctJsUJ The prouJ and \' lIn ',,-"l c...1 \, l~ ,.( ( J,~- r 1,,'" t..
Id t~..:~· Image reflecred If" rhe Wlt~r ['lar ,l tU r r '- It •
d d l • I 1 JmJ(.'I1. ,Ie 1 l C ge an his n.:«l\' \I'd.' traP,torrc tntt Y.)\' r
~(lNNI'T XXXVI.
~1"1'lIln" \I IKI1 ,h,11i thoe "t'.mc WIlCS holve end, ()I 'h,11I tlK" IlIthlc,sc [orml.'llt ncver <:casc,
!>til ,1111" d,IH" til 1'1I1111~ 1.\Il~lI()r ~pcnJ, " Il h. 'Ill h. 'I'l'l ,/ ,\.,w .I~emetl[ or rde.lse>
h tho 1<' "" IIIl' .IlIC' tOI IlII.' t" purd1J<:1.' ftCol<:e, "I 111.1", ,lgtCI'IllI·l\t WIth her thrilling eyes: 1'"1 Ih,11 Ihm IIUl'1tV doth srill incre.1ce, ,lIld ,1.\\ h 1110'" ,\l)~nlcnt \11\' miservcs?
HilI" IWI1 H h.n c ,h,'wcd JllnuTIllJn'cs, th.-11 Ihlll",' h,l\' !ttlc glon "C h.lI"C g.wlled 10
h, ,1,1\ III!! 111111, whose 1\'le though ,'e despysc, 111111<' h,1\r nlU) Ide III honour long l11olmtavned,
nIl! h, III' dt'.lIh \\111.:11 some perhaps will monc, ,,' ,h,11I ,IlndCI11I1Cd lIl' of 111J.11" ,lone
SIINNET, XXXVII j
W I !.11 p,11I k IS this, th.lt those: her gokkn tresses SIll' doth .It!\,rc ullder .1 net of gold,
,llld \I 11 h "I, ,"ill s" ':lIl1l11ngll' them dresses , 1 h.1f \\ hldl IS !!"Id ,II he.lre I\1.lV S(Jrse Ix wltP
Is 1\ Ih,\I Illl'n' li.1\1c \'ITS, willd, g.lle too txtld, , ,h .. 1ll,II 1'IlI.lIl~!k 111 th.lt !!olden \11.1n::
,m.! hnug I Illghl Ill.n "'.1 It II,' I.'lllilld
1 hn I \\ ,"I\" ... h.lt I', \\ hllh .1rl.' nnt wcl .1\\ arc? 1,11..<, hr,'d Ihl'l\'ll\l<', 1\1\'nc cn", how 'T dttC ~tdre
1"'""'\<'11 h II'" I.I,hll' PI1 th,lt gUlklull net 10 III \\ hl,h II ," l'I n' "l1tr.II'I'l'l1 ~rc, ' • 'III • 'f h ... h,lI1d" n b\ 11.) I11I\Ull'\ shJ.1l gst.
1-0,".1111",'" \I \\"1", tllf ,1\1\ bctllg Ii'cl'. fI' ,(1"'1 tl-ttn,. thollt.:h tlln goldcn ixI' . , '
\., ~ '\i I· 1 \ \ ), \, t
, 11 ,r 11 I" \\ \;' :'\\,\
(", ,I I P i If ~
r- "/:t14'I"",1 rler mg l' fft(J!( ,'\1l-:ht
.. ~'m~ f \\' \. "t'th4m 'K'c (hft'tlli' "e T'r)\ -
J
)
AlIIlIrrttt .111.1 t.pttlmlnlll/(II/
S(lNN~r IIII
THc P Jnthn kllOlllll1! th"t hi' 'I" II frd 1I",j!' Doth plc.lse JII b:"'1\ bill th.1I III' Iflllh, "WIll
I,.IV
withlll J bush hl\ drc,ldtllll held dOlh hldr, to let thelll ~JZe Idwbt he on them 111.1\' !',.IV
c .
Right so n1l cruell tJ\'rc with nK dOlh pl,'I', tor with the good" scmbl.Hlt of her hc\\'
c .
she doth allure Ille to £Iune owne dCl.II',
and then no mcrc\' will unto nK shcw Great shame it is, thing so djl·im: in li,w,
made t<)r to be the worlds Illost om.lIm'nl : to make the bane her gazers to emb,Tw,
, c
good shames to be to ill ,Ill IIlstrulllent, But merC\' dmh with beautic best Jgree, , ,
as in theIT maker I'e them best mav sec. ,. '
SONNET. LIITI.
OF this worlds,.Thcatrc, in which we sta\', lv1\' lol'c Il'kc thc S xcrator vdll' sits
, ,
beholding me that a t c pageants piaI', disgul'Sing divers Iv my troubled wits,
Sometimes I )0\' when glad occasion fits, and mask In mlTth Ivkc to a Comedv.
, ,
soonc after whcn ml' joy to sornm tlits, I waile and makc mv wocs a Tr.lgcdv.
Yet she beholding mc with constant cve, delights not in my mcrth nor rues IllV smart: but when I laugh shc mocks, and wh'ell I cry .she laughcs, and hardens evcrmore her hart:
10
10
SONNET 1.111 2.ft-av· rnghrcn. 10. /llost· greJIC,r. J I Iii "'nkr tf, make: hcr~df cmbrfTl': Imbrue.'. stain (With hlo(xi J 12. 5iJamls: ,1);1111(" it",11. <.; 0 N 1\ F"I I 1 V 3. f'tlffantr S(Tno. 6. mask, rx:rfOnl1 III .1 ma'''lUf
'.lmatcur rhcdtfKal pcrtomlanu: Jt (OlirtL Jls(): dl.'glll .... l· 11I~ n .... ll kdlllg'
c;
)
Amorettt 633
Wh.lt chell (.m move her? if nor merth nor mom;, she I~ no woman, but a sel1ceksse stone.
SONNET. LV.
SO oft as I her beaut'.' doc behold And therewith d~e her cmelty'compare:
I marvaile of what substance was the mould the which her made attonce so cmell faire.
Not earth: for her high thoghts more heavenly are; 5 not water: for her love doth burne like fvrc . , not .lyre: for she is not so light or rare; not fvre: for she doth friese with faint desire.
Then needs another Element inquire whereof she mote be made; that is the skve. 10
t()[ to the heaven her haughty lookes aspire: and eke her mind is pure irnmortall hve.
Then sith to heaven ye lykened arc the best, be I"ke in mercv as in all the rest. . ,
SONNET. LVI.
FA.\Te ye be sure, but cmell and unkind, As is a Tygre that with greedinesse
hunts after bloud, when he by chance doth find .1 tCcbk beast, doth feU\' him oppresse.
f.l\ re b( \c sure but proud and pittilesse, .l~ I' .1 storme, that all things doth prostrate: finding.1 tree alone all comfortlessc.
c
belts 011 it strongh It to minate <- .
Ln re be \"t' sun.:', but hard and obstinate, .1' is .1 rpcke amidst the ragtng tlood~: ga\llst \\hILh .1 ship of SllIxour de~olate. doth ,ufkr \\Teck both of her selte .1PJ gO<.hlS.
" (" ' fT L \
I' ,," 1\-" '\ P " cf l \ 1
;
()38 Anumtti and EpitbaJamum
and all these stonnes which now his beauty blend. shall mme to caulmes and tymely deare away.
So likewise love cheare vou your heap, spright. and chaunge old year~s ~ov to new delight.
SONNET. LXIII.
AFter long stormes and tempests sad assay. Which hardly I endured heretofore:
in dread of death'and daungerous dismay, with which mr sillv barke was tossed sore,
I doe at length desc~' the happy shore, ~ in which I hope ere long for to arryve, favre sovle it seemes from fir and fraught with store of all th~t deare and da\'nn' is a1we. ., .
Most happy he that can at last atchyve the JOYOUS safen' of so sweet a rest: 10
\\'hos~ least delight sufticeth to deprive remembrance of all paines which him opprest.
All paines are nothing in respect of this, all sorrowes short that game eternall blisse.
'-
SONNET. LXIIII.
COmming to kisse her lyps. (such grace I found) Me seemd I smelt a gardin of sweet tlowres:
Ii. blmli: conceal. SONNET LXIII 1 assaI': trial. 2. hanllv: \\ Ith difficulty. - . 3. dalmgmJUs dismay: fear of danger. 4. S//~v.. sore: poor boat was griel'ously tossed. 5. de.my: espy. 6. In: on or at. 7-8.faxre ail",,: fi-om afar it seems a fair land with an abW1dance of all that is precious and lo\·dv.
SON" E T LX [ v 1. Commmg to kISS£" Tht catalogue of flowers differs h.:re from the catalogue at XXVI 111 ~trcssll1g sight and smell, hIgher senses than those of taste and t()u~h. Irs sensuousness IS lllformcd With the tradmon of the SlnJ!f ofSlf1w 4.12: "My ~isrcr my spouse IS as a garden inclosed" (sec DeNeef 19R2). ,Uld the first kIss is an expression of a lose that IS graduallv
bc,ollling splntualucd as the crcatlon of an avenue between two souls. ~l'l
! I , ,\, 'Uf" tn)n\ them thrc\\ Mound '111 ,,\~'; \ V ,I r,·,d, lit t\l ,k(\..c then \\WCf' tx\\HI..">
• 1\' 'Ill l-k' I"~ ,;,,\ ,,~~,', 1\. (,1\\(\' \..1\ \1 ~)\\ er~.
"f '"\""\\ ,Ile(~.:~ h .: llnt\' Rosc~ fed ., . '," ,,;,'" \ t'f\)\\ (~!.\' l' r.uddcd BcUmloures. ",( 1,",\\ ,\.:~ "~"l'm(ks r.ut n.:wl\ 'Ffed.
H,r >:'.""il\ l,)Sl'tnC IYI,( .1 StrJ.wt.em bcd. th'~ ",.:.:i., h~c h' J. \:>...'\I11(h or Cullml\:>\"Tles' ;,', l,r.:"t h~, hikes. ere thl.'H kJ.\ es tIC shed, '1,\ l\l~'Pi(~ hk.: h)ng t-10ssomd kssem~lles,
',]," tr.l~.U1t tk'\\Te~ ,k)(: g;1\"e ml..)st odorous smelL t'ut h"T me<:t (~lour did them all excell
SO~~ET LX\"
Tt-k ,1,)ubt \\h1<:h ye nusdeeme. rJ.\Te 100'c. IS \ .une. nut ti.)n.:l\\" tI:.lfe to 100<1.' nmr Itbem':
\\\1(1\ loo~lI\g one, rwo libernc-, \'1.' ga\"ne. , , '
.lJld n1J.ke htm oon,1 that bondage carst d\"d t1y '\\,.:t tx the bands, the whKh true k)\e dorh ne,
\\ lth\'ut (l)l1Str.lYnt or drcJ.d or J.l1\ LlI th.: gentle t-Lrde tl:eb no (aptl\Ln \\\thl11 her (J.ge, but smges and feeds her till. , ~
Thefe pndc dJ.re not appro(h, nor dis(ord spill
(J.Sn~ht-'l~c. Ti.,t" Bud: I,."f;iu C{.luYft.t.,- 4 £,_31:; . c:.; .\ll..:r .• btC 0\ ~'M: '-C ~C": a. ~."X .l.' J ":('Ur1lPg ;.)t ... t.)uk~ t"-"Igcther - ~ G:l1.'rti(m~ .1 .. .1~<:",\ t nu .. .k..,
lo{o;.\.: ~~"'r J. ..:.to\(~ h"c ~ent - BfU.1"k;UT('5 up.ldcnntied whIte t\)\\ t~
10 l u..~W./~1US d)tumbmc~. )mali rlJ.nt~ With Inverted t1owe!s ""fier: no!a :~ \.~ ~t.\~ Sec.\( ... \pnl" 136 1:! J' SC1nV7Jt5 la..o;.mH'!t.":'\, ~hru:""') cf ~utnerr \I"'.'t!ll1 \\ It.~ trJ.£.T a.m whn...: (If \.dlow f'O\\ <.:~, U1t!"(..,.jU"-:cd. IntO Er.z:lanJ m :tj<;:
~ ~' -"\t(.~..,.th ..:cnrur.. ~~,~ • lY...-
::: (t ~ ... -C) \':r. "'0' I..Of'tnc.i. lP ",,'ll(k 1-0:- wh\. ~\~ hlm'ioC t lP t')f IDO""hc. .. " ~ .. t- the _;.:! 1oe>. ::)f I..C 1.-....c .. ,'\ ha\C "Tl'iL~' mr.: ntarv m
""mf """ ~ R ~ """Itt hm b "ui' ( "'Far '" f' t thc~ Il., ".th \ -\ \ .. ~. '.2 \\1. 10. I...f XX.\\ fI •. ~ '4 n.vcaL tr,C vnkIn.; ~lt'" ~ t'"'-.c .it'" uoC ): t'lP ... cr \\ltP L \.\111.,3,· 4 ~u~e .... t~ "Ij\. (';r -.::Uli... )~
ll'. (,. t
Mfl 1/1/(lrt'ftl .lI1d tpithnJanl/lm
Ihr 1r,1~lIr 1\\ t\t thcm, that JO~'aJ Jon: hath bound hilI ~1111pll truth ,lIld 1l111tllall gnod \\ ill 't'~'h, II tth '" cct Pt"KC to'Jke cach others wound
I !ttl r t.1I th dnth Ie.lrle .... 'c dwelJ in brascn to\\ rc, .Hld '!,nt Ic"t' pk.mlrc buIlds her sJcred bowre
snNNET. LXVI.
1"') .111 thnsc hJPp\ bbsing~ \\ hich ,·c hJ,'c, , with piclltCOll' h.lIld b~' heJven upon ~·ou
thro\\n tiu, "IH' ,l!'p.I1 .. lgCIIK·1\t rhe,· to H)U gJ"C,
t h.lt IT \ 11111 I\)\c lent to so mcanc J onc. \ rr 1\ hl1\e hll.!.h \\'orths SUl'f',IS,'lI1g paragon, . ~ ~
,()uld 11,>1' (HI c.mh h,I\'c fOllnd onc tit tor mJtc,
Ill' I'llt 111 ht"IIC11 1l1,ltciuhk to 110nc,
II 11\ dId IT stllUP llllto so 10\\'1\' ~r,ltc. nut I,' rhnd)\' 111llch ~rc.ltcr glofl gJtc,
L ~. ~
tl11'11 h.ld \l' ~()rtc,i 1\ tth J pnnccs perc: "\I 111m 10m light d\lth morc It scIt<: dIlatc, • • 1Il.! 111 1111 dJrkllc.,~c grcJter doth Jppc,l[c.
\ rt '111(C 1'>lIl Itglll h.lrh nl1cc cnlul1ullJ mc. "Ilh 1111 Idln \<lllrS ,lull cncn:J.'cd t>e.
J S()~::\ET L X \ I r .
I I "c .1., .1 hUI1[o;Ill.1!1 .Ittn II C,!fI chJ.cc .
. ...1 ,\''\' I11,:! the ,::.111K IrPIll hm1 c~(Jpr J\\ J"
\H' \il>1I 11,' 1\11\.'\t Inn; 111 ,,)OIL 'hJ.d\ rlJ.(~. , 1\ Ill: 1'·\I1I111~ h,>und, '.xsut!c,i l)t'thclf prJ.~.
,"',> ,If" I I. >Il;,! !,lIi"llIt J.1111 \ ,lllll' .b'J\.
'->J \ l \ 'r N\ \,l'\
\""'11' \'1
r", 1\ '- I ,.f t.
I '
• 'y - • • " -
L _
. ,
--
1 I
--
l' •
•
.. l mmn tr 0,4/
when I ,111 \\(,\I'Y h,ld the duee ti)lsnnkc the gentle de,1fe returnd th( sdtl' ~.ln1l' \\.n,
• thinking to <jllend1 her thlr~t ,\t the llnt bl(l<.)ke.
Ther( ~e heholding ilK' with Imllkr louke - sought not to n\" hut tCJreb~~' still did hide
till I in lund her Yet lulte tremhling to<.)kc. , ,lIld with her OWI\( good\\ III hir t\;nneh tnit'.
~
Strange thing Jl)( ~((md to S(( ,1 b(,lSt so \\ "Id, SO good I\' \\Ollne with her O"Il( will b(gmld
~ , . • • #
SONNET, LXVI!I , /
MOst glorious Lord ofl\'tC th .lt on this dJY
Didst make thy rriu;llph 0\ er &,nh ,1l1 .. i ~ill ' 3nd haying hJrrowd hell didst bring ,1W,l\
~ . capti\'in' thellce c1pti\ c us to win,
This JOYOUS d.1Y, dc,lre Lord, \\'ith jO\ begin, ~
,1I1d grant tlut w( tix whom thou d iddcsr d\ .... ~
being \\ ith til\' de.!re blood (kilt' \\ .1sln ti-l)1ll ~1Il,
ma\ live for e\ cr in tClicin , And thJt th\' 1m ( \\e wcighlllg \\ tlrthlh'.
, ~,
mJ\ likn\'ise 100'c tlK( for till' S,llllt' ,1g.llnc III , .
,lIld tor thy ~,lkc that ,11l hke de,1re .. i1Jst bll\. with Ion : rna, one .lnmhcr eTltcrt.l\'Ill'
So let us 10\(, dClr( lo\'c , Iyke .\S \\ C nught, , .
lo\'e is the lesson which th( I ,ord liS t.lught •
SON); F T L X \ ' I I I ~ Ii,'r "n~J( u.uJ. I \ \ 1\ .\Ill" )\\Ih ", Ill"! .11 ,h. 'll(.llh Ul.lt the 11<'\\ honJ .,t Im( 1'l'I\'Ten th" 1.I,h .llhi 1.''''1 ,'.\lI1<' .ll .... ,\IIlh't
through hIS ('lll<jUt'St but thrnu!'h IWf \<,IUlll.\l'\ 'lIbl\\l " h'lI, \'I,· " ,'t! \ \ <>:; :; , ,how, that tlK chId' ,,'mix,lie rkmcnr' 111 thl' I" ""11 dh h.m, \\ .\1,'1 .. \11,\ ,ulllman sut-mlS'lnn aI', th," r I'{ the lIl<'dlt'\ .\1 hlm!!I"'\ tl.hittH'l\ 1'1 th,' ,
F.,"tn he h.lpnsm • ,{ tlK ,.nrdHlll1l't" :; 0:-; }; ~ T I ,,\ I I I rhls nph'lth ",1,,11.11 ,,'nn,t .11 .\\\, l<,~,·tlh·' ,,', \I ,II k'\ds ofnlcJ.l1H1g 111 Amor: It n.:l.trt" \..ul\i\ Ill\t h'\r nUll [() the !,\\\.-i,,:n\(\.'l\
tht" lad\ ,,!lJ the poet and It ,'\\,re",' the I ....... ·t·' 11<'\\ I'lhkr't.llhlulj! ,'I till' m<:,IllUlg of !,)\,'
~I.l~:-"I'r 1'\'\111
B hn~ 111\ ,<:I(C ":,l~,{\,,-',i h,r~' III ',lrt'.
~:h lure \\ hl'Dl l~l)l1<' \\ It II ',n Ik b,llld, ,',\11 t\'C
but the tJ\TC tr,'~"', ,1tH)llr ~)kkl1 11,1\ 11.',
t>n:J.K1l1~ nt~ ~'n,,)n t()nl1 tl' n)t1,i,)th th
III
L \ ",C J~ ,I bY rJ dut m ,)tll', Il,llld doth ,'1'\ :--":!c'-Ir.:..:! r~x-.J, h) it d"th !lukc hI, t1t::;ht .:\cn ,,) m\ 11m, dut \\e)l1f (111 \,(ltlr t:l\n: en' [I.) 11.:"i [m rill. t1\'cs 1:>,1.:kc Ul1h' n)m 'ldlt, ,
Dt.-x- YOU hlnl ukc. ,mJ 111 "'tlr txl~nnK bnl!;ht ,
gcntlY c'n(Jge, th,lt hc m,l\ 1:>1.' "'m thr.!I1 10 ~ -t'<-'ri1Jr~ he there fll.l\ Ie.mlc \\ Itll r.ll'e delight. to ,mg \'llUr name .md pr.I\'se.-; P\'t'r .111.
ThJt ;, hcn:Jltn m.l~ H)U not repent, hIm ioJgll1g In \ our tx1S0tlK t() hJ\c lent,
SO:-';:-';ET. LXXllll
MOst h.,pp\j~tter, frJJ1l\i h skIlti.llI tr.ltk, \Ilth \lhKh thJt h.lpp\ 1l.UllC \\ .1' tirst de" nd '
the: \1 rlleh three times thme hJ~)t'\ 11.lth me m.llie, '
II) '1IIVIfUtJ, ~Cl" ndwgtI't \ st ct.", s "In \, ill!,' I J h.l\\"\Il~ tnm) <;, "" E r < x x I I , ""t t>ilt OP. \' " t 1 •
Amoretti MS
with guift\ of body, fortune and of mind. The first 01\' being to me ga\"(: by kind, ;,
from mothers womb deri\ 'd b\' de\\' descent, the second IS m~' so\'ereigne Quccne most kind, that honour and large richcsse to me lent.
The third m\' 100c, m\' !i\'es last ornament, .. .
by whom my spirit out of dust was r,l\'sed: LO
to speake her pravse and glory excellent, of all alive most worthy to be prJ\'sed.
Ye three Elizabeths for ever live, that three such graces did unto me give.
"SONNET. LXXV.
ONe da~' I wrote her name upon the strand, but came the waves and washed it a wa\':
agavne I wrote it with a second hand, but GUTIe the tyde, and made my pames his pra\'.
Vayne man, sayd she, that do cst in vaine assav, a mortall thing so to immortalize. fix I nw sdve shall lvke to this deca\', , . . and e<.:k my nanK b<.:e wyped out lykewize.
Not so, (quod 1) let baser things devize to d\' in dust, but yOU shall live b\' fame: . , . ow verse \'our vertlles rare shall eternize, . . and in the hevcns wryte vour glorious name,
Where whenas death shall all the world subdew, our lo\e .,hall h\'e, and later life renew.
10
) () N N I', r L x XI\' 13 three flizabrtl1S' Thl\ " Sp" onh mUltl<)l1 01 hIS
mother\ Of wit",; name .., 0 N " I T I X X v I, ,,{rand: ,hore. 14: Throl1!!h It' C\ample of ho\\ tf, .tT.m· tlUt' 1<>1 ( Oil eJrth 111' \'cr\c wdl "I.ltn lit(> relll'w." hmh 'plr1nulll .Jl1d ph\'\I' .111, The\c hiles prondc J Sl1(Ullct hut DcautItul surcmcl1t nf Sp\ p<xtl< purl" J\l' III .4 mlJr
(1.#.' A mor£ttl and EimhaJamw1Z
C;O:-;;!'<El. LXXIX.
MEn call vou faHe. and \'ou doe credit it, For that \"O~r selfc ~ .. c dayl~ mch doc see:
out t.f)c trC'\\ tavrc. that IS thc gentle wit. and \'crtuous ~nd. is much more pravsd of me.
For all the rcst. how eYer fa\Tc it be, ;>
shall rume to nought and lome that glorious hew: but ond\" that is permanent and frec from (ra~'1e corruption. that doth flesh ensew.
That is true beaune: that doth arguc ,'ou to be dinne and bornc of hca\'enh' seed: 10
deri\·'d from that fayrc Spirit, from whom aJ truc and pertect beauty did at first procecd.
He onc!\- fane, and \\'hat he fa\Tc hath madc. all other t~\TC l\'kc tlowres u~t\'md\' fade. . . ..
SO~~ET LXXX.
A Ftcr so long a race as I ha\'c nm ..n. Through Faw' land. which those si.x books
g1\'c leayc' to rest me being haJJ;: fordonne, and gather to m\' selfe nc\\' breath awhile.
~ .
Then as a stccd refrcshed after rodc.
compile,
5 0 ~ ~ E T L X X I X 1. Me credit /t' do credit to It 1 I.e Justif\' the a.:>-<ccnon , or do behc\'C It 7 -9 bitt ondy that The difticultv of the"" Llpe,,, n detcrmullne: \\ hlch of the four I!lstanccs of "that" arc rcl3ti\'C ,
-::>
pmnoaf1' and whICh dcmomtrauvc One of several possible readll1g>. all of "I, I (oc',e\ the samc general Idea' only that (which) is permanent and free trorr the fraIl corruptIon that aITends the flesh. lonh') that IS true beau~,
1\ ."'1t d"th argue YOU to be dll'II Ie, 13, He a>lfly ja.l't'c In accord With t II "" lplaWlllC U Ikept rhat tmL beaut\ derJ\'Cs trom God. rhe pocr Ir r tie ;!,. tt> C' Oil thL' 'plfJrual tx'Jut\' of Eli7..Jbeth Jlld of rhelr lo\'l' '. I h • ,- "lit" rl'n3H" III tCll\lon lIlt) t e eaIThl\' I",'c whKh hi,s ., nc "c lf~l'"'S \1' IS "'uddlllg to\\ ard, thc I11nhlcal u:kbrJt!"!l 111
'pm (",~( ~]rT( I" "I <crt .I" Jill.! 'plrltlI.lII""e
\( ........ " 'x I >s Th·,l' III ('S IIldll.1ft' th.lt SI' cOll1l'ktcd till' SJ'\th ..... K)~ ~"li'J '. or !>OIT h<:lor" 15<)4 and th,lt he dctiflltd\ pl.lI1llcd \1\ niJ:C tw:Jt).;.1 it t 1" ttf
•
Epithalamion
F l' 1 T HAL AMI 0 N . 1110. new tIlle p.lge ""parates tim work. III '. >rne nWa
MIre from the precedmg poems. The title dc."gnates a weddmg song ·1 hc trrc~ll I.lf stal17.!S resemble 111 some ways those of the PmdarK ode and 111 othe" th',,,, nfthe Pcrrarchan ""'Wile, but here, as in A»wr, Sp elevate., fOlm to the level ,,{ s\,mbol, cre.lting a symbolic framework. that enlarges the mnce!'t 01 the poem. V.trious elements of crcation participate m the historical expenence of Sp\ wedding: dements physical and spiritual, ancIent and modern; plants, bIrds, manmllls. and fish; minstrels, priests, town folk. bov,. and malden,; ghost', goblins, screech-owls, and frogs; sun and moon, stars and planets, g(xh and angels. These elements play their roles during the wedding day m a pageant-like progression from the lady's maiden bedroom to the church to the nuptial bedroom. This progression may reflect Sp's awareness of the dcnvation of the titk from epi (=upon) and tha/amos (=bride chamber), but the conceptual and structural center of the work is unquestionablv the wedding ceremony at the church in stanzas 12 and 13. From that spiritual experience flows the force that bmds the disparate elements of Sp's world.
In the lornl of the stan7"" there IS a tensIon between regulanty and Irregularity reflecting the larger tension between universalIty and particularity. Like the sonnets ofAmor. tile staMAl; were printed one to a page, but they vaty m length from seventeen to nineteen lines (excluding the seven-line envoy) according ro no pattern tllJt has been explained. The rhyme scheme of eacb begms with the same pattern, tllCl1 diverges. Most, but not all, arc divided mt<> four sectiOn> by the occurrence of short lines (mostly trimeter) in approximately. but not cx""ly, the same places. 111e refrain of each stanza is similar, yet subtly and SIgnificantly varied.
The narrative .uld thematic relationships among stanza, arc multiply ordered. The progressive nantre of the narrative is emphasized by it, I,>!ward bias. Witll the exception of the wedding stanzas 12 and 13, Epith deals consistentl\' with the time before the evcnt that is its stated or implied focus at all\" POlllt. Thus successi\TI\ tile poet anticipates the awakemng of the bnde as he summons attendJllts (stanzas 2-5), her emergence as he directs her adornmcnt (5t=_<1$ 6-8). the weddlllg ceremony as she approaches tile church (stanzas 9-11), withdrawal 10 their bedchamber" he desenbes the festivities (stamAls 14-16). consurnm.ltion of the marriage as he invokes protective and supportive SP"'ts (!<tan7A1s 17- 20). childbirth and progen\ as he asks bbsUlg> of the gods {stanza., 21-231. The anaciparory lOCus extends beyond the poem, IIllplving an mlinlte hnear progressIon. On the other hand thIS progression IS franled Iw Qal17,a., 1 and 24. which deal WIth the poem ItSelf, and centered on stmz .. , 12 md 13. wh"h dlrectlv represent the weddlllg ceremon\, Itself
659
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•
•
,
•
•
'" , .til?' . ~ •. ~~t'<¢~ ':
~'"
4 ,~~~'
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I
I •
/-;plthaIIlIllW/I (1(, I
Ill< "'1"enee of the npCnCIKe\ of thc lI'("ddll1!: d \\ \'1 )" 'I . ~. .... ( Eon':"l" (111 .1 n foil ,If
(ernl"",,1 Ichcdulr from liN ~wakcnll1g untliilte 1l 111"ill II , . t II • <..' , ::- O\\l\~ I \\\,.' n 11\\
11K IlIle'" progrC\)lon 01 the <'lent, not I" d,xk tllnc l'ul h" ti" I . I , ,ll'1U1I"11f1\,10
,dCIlIJI hghl tWlltght, lunnse, II lI"h II1e , dUlk, IlIghu,IIL me. mlt!dlt (n<intll hI' poet trrat'- tlK motion", of ~lln. moon .. :md \jt.lr' nOllnrn:h .1\ (Jll!..lIln:nt pht
llf)mCn,t Iw Whllh \\'t mt'a<"url' hUIl13n c\l~ncll(c, but tCI11pOr,\III\ .1\ .\1 tt\('
I'"nlupant l Ifl Ihe event, of hll weddmg da" along Wllh Ihe ",lrll'llI olhn
I'anlupantl trom the whoic range of nJtural Jnd SOCl,11 order., ht Ihl' 1Il11'~r,1 flOIl of natllrai jorcel with human ,lsp"'Jtions II, the P'''I rCUl~()~IIJ/,cI, onll lel1ll"""')' "In thll o ne d,IY he nwnc ,/ (,ct ,111 the relt bl' thmc," he IInpl",,', 111<' "Ill (125 2()),
The (OCX1!.tl'IlCC of the COl1l..xntnr onk'r of Sp \, \'\\1011 \vlth the ,rq\K'IlIl.d
order of dally event.\ 1\ txprcs~ed abo In the n.pcrK:lltC Dr rhe.: bnd .. · .lIlt! )!.IOOIJ1
,md In rhe.: ,1rrangCll1cnt of the :..t3.I1/ .. .1:-'. Thl" tl"l1 \tan/..J, ... be.:twctn tilt 1Il\'("X .. ,l\lOIl
(;talllAl I) Jnd Ihl' weddmg ccremonl' (stanl.ll 12 Jnd 13) ,lie Lit-,Il'11' prl'l'.>r.1
tory The lIexllcn Ital17"" t\Clore' the CIl\'O)' (lIan/.l24) ,Ire ,dllc!,l11111Il.ld h, alld
thcn.:f{)rt (,.{Hl\cqucnr to the n:n:mOilV, Thl" ba!o.ls oft/lI .... \,'-Ol1lclltnr onh:r I) no\
hU11l,Hl CXpcrH:IlU.:, t()f tht groom ~lI1d, Imrncdtatl"ly or aprroxllnatd~' , th ... bnde ,Irc pr(\cnt throughout. Rather It is rfu: di\'im: \.l11CtlOIl through churl"h and
pnc ... t rh,l{ fCJf1ll ... rhe (cnter and il11part:-. order to the.: \vhok. Thi .. "'l1pcrllnl~'\1
nUll oj hnLlr and (onccntm.: order,) ha" cnabkd rcadcr\ to Idclltlt\' \CVn Ji p,ulerlll of maldlln!, 'tanzas, l",th conccntric (sec Greene 1957 aJld Wicken
11J6K) ,1I1d ,cquential (ICC j-heatt 1960 and 1<}61. Fowler I <}70, and bdc 1'172)
A. ... III A mor Sp undcr ... um,:o.; the ptT!o.onal and hlstortcal dlll1Cn .... Hm of hi) \'j ... IOTl
) II rOllgh ,1 ,ymbol" uicndnolllll k to a 'pecitie ,bte and tlllle. In Idcnllf\'ll1!, and
clu<1d,ulIlg Ihar link III f:/'t/I! A. Kent Hie,lIt (!9()0) r"beall\, ,hanged ollr
nndC,. ... r,IIH.lmp; of thiS poem and imparted :1 new dm.:ctJon to Spcn,\u ... tudl(\
~rnrr,llIv I Ie notcd thaI lil" lotals of ,tan/.1> (=24·hour day ) alld long hncs
( .l(,S d.II' \'C,II) wm!>oll!.e calcndnC3lunm; further that Sp was marned Oil II III"r ~t B.II",lh",\ ciaI' (11Ile 266) and that the phLl,e "now I1Ighl 1\ mOle" Itt \ 1\1" ;lhn ... ,x{n:ll .wd ,\ qU;lrtcr \t.lIlZJ~, corn:\ponding to tht.: II1di(,tt1on III
( t "IIl'IllI)( )f,1f\' ,1Im,lIMl ... of \lxtn'n-J.lld-a-quartcr hour ... of d<whghr t<x \Ollt hern II(."I.IIHI til JIIllt IdrlltdH"tt ioJl ofothrr po\sibk .1strOl)OIllllJ! allu .. ion\, \lIdl a\
h>\\ kr\ , ,1,,(1'1 .1111 ," ( I1J70) I h,lll h" I ""emy three',mel ',I'half 11.111 la' mal' wm'
hohl(" lilt ikgrn" of IIKlm.lfloll otrhr l'L!tptll.. .1I1d hCll\.T the \un\ fllh.:hummcr
lin I 111 ,If 11l11, ... ,," \( ! 0 1Illdn\t nrc lilt II11P0rt .. 1I1n: of Sp \ (OI1((rn \\ It h tim\' .md If ...
Id,lflOJ}\/Hp tn IlH.',tnlll}!, 111 lift-
662 Amormi and EpithaJamwt1
III
YE learned ~isters which have oftentJ~~~ beene to me avdmg, others to adomt:
-< "'-:-1:, f· ur gracdul! r\'m..:~, Whom \'t: thought wortn~ () \ 0 ,
That t:\'~n the great..:st did not gr..:atJy scome To h..:ar..: thl.:yr names sung in your simp!..: layes, But joyed in theyr prayse: , And wh..:n ve Jist your owne nushaps to mourne, Which death, or 101'e, or fortunes wreck did rayse, Your string could soone to sadder tenor rurne And tl.:ach the woods and waters to lament Your dolefull dreriment: Now lav those sorrowfull complaints aSide, And ha~'ing all your heads With girland crownd,
,;Hclpl.: me ~n.CJwc.s pra)s~ to resound, N..: let thl.: same of any be em'ide, So Orpheus did for his owne bride, So I unto mv selfe alone will sing, . The' woodrsFlalrto me ~swer ~v Eccho ring.
I STAN ZA 11 1 leanl(d nITn'5: the IlIne .\!U'>e~ 0ftmtJ>lU'.< bunt UJ".",
u,Yd"tlf 5p e;tabli,he'> hI, Idcnm\' a, poet 3. Jll'1uefidl (Ol'l<:rrmg
gract 4 That ,0 graceful that grramt e g l-.Iu,,aOC1' I epee all: ,~
J-Q 5,la.m ;ong;. 7 lISt de'lre 16.0rphtur icgendar, Gree~.
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.f)
poet famed for the ,upcrnarural power of hI, mu'>Jc ;,nil I()r hI, fatalh ardent dn'otJ()11 to 1m Witt Eut\dlce whom he won accordmg t() one '.radJt:loll. b'
hi, tllll\K, hut \I hom he faded to free from tht under,'orld alter her deatt: becau\( he \'jolated the Itl)uncl!on not to look back at her ',p 'he \\a\
Orphcu; wa' wlJeI\' (eltbratcd Itl the Rcna",anlc br,th as a rP\ ,tllal '>Cer and as a POCtiC emhdntlr Thc bndlg((}om 'l1W,IC Itll-.plth has the OrphIC p'",er both to \\111 1m bnde and to Imokl the linter' al t-rarn()f]Y oj all the pamupant' and the ,>urrrHlnding an,wennt! • {J'Ki.' 'c ( <lIP 19- I a!:~
AlimaI' I 'JHO, J 8. The rdram. W"rllf ha< • ,'1I '" t r "l!cl< j.1><')' \r
leg)( June 52 F!!,111i 8 Jllu 20. \'1 ,Jf) lr< ,t,(' e 2 1,,< nl, H l'crrJrc!' limit 61 \ ,rgriAm 149 lind, 't' ,(,,1' m ,la'e l'>e .re II'
<plt()!" fill;; the c, "alldea ofEptth 'hat ()f unI <~ <)tlFlr, t\. t"
p<lrtu ular C\ "pf
Ji/,zilJfllllmWII M.I
III
EArl" b .. :tilrl' thl' world~ ilgill gh IItg I.IJ11Pl' 1 [I~ golden hl'.lI11C upon IIll' l\tls doth ,'plnl,
H,lvttlg dispcrH tlte nights lItldll'.lrdull d.III1Pl', Dol' It' .1\\ ,Ike .lIld with tinlt hl,tv hed, <";0 to thc bow!"c of Ill\' bdowd low, M\' Huest 11111k do"e; Rid hl'r .IWJkc; tiJr II\'mCl1 I~ .Iw.lke, And long sincc rCJd\, t(llTh 1m 11I;lske to 1I1IlH',
With hi~ bright Tc.ld that t1~IllCS wIth tIl.lIlY .1 n.lk(·, And many a bal'helor to waltl' on him, [n theyr fi'csh garmcnts trim.
)0
Bid hcr JWJkl' thcn:ti>n: and M)Ont' lin .lIght, ~or 10 thl' wishcd tf.1y is conw .It i.Jsr,
.lO
That ~hall tilr .11 thc paynt:s .1Ilt! sorrowl', p.lsl, I' J)' to ha usury of long dcltghr, And whylcst she doth hl'r dIgit!, Doc yc to her of jo" .Inti ml.lll· '1IIg, That all the woods 1ll.IY .IIIS\\CI .lIld \,0111 Cll 110 lIng
131
BRing Wllh 1'01\ .111 rill' NVI1ll'hn th.lI \"01\ ,.111 11l'.1t\' both of the nvl'Is .\!Id II\(' h II I cst., W ("('nc
And of the ,t:.1 th.lt nl'lghholll"s In 1ll'1 liLlie.
AI \\lIh g.l" glrbnd .. goodh \\"d IW"Tllc 10
I S'I A N I." 21 21 v{ I hI' Ilt}('! .lpp,lInllh "'11111 ,hldl\''''\lI)!. III~ ' ~'\"t'\ (If litH..' I {wrv bai . lhlTlIllllll-" J 1 JII\' /ldOI'..,lllIl'( "I.1Il/,\ 1\\11 ... 11111\
.lttClHlIlIl trnllllht" lit It· I 11I1ll,t'1I 1IIIIh hili!! .ll, IIHnol r.t'd III
ll1.lrfJ,l~r 10 IIl1lll-t 11.1~(:.1I1I ., !",'od Itlhh fl"h drl.hlud pint·
of tlJIllllIg Ill.Uln .lO d~/,JJI dlt·" .{ 1 ,hn 1.\ lomf .\I.III1.".J 1111 \ 'IIr,1I 4 .lrc rWIIIl!.ht '!.U1I.,I" 32 /,"l'lI(1 tlwi \/'l1tJ/J'fI l t', 11111'( 1)1 , Imo, \ \1I J VII Jlld I \\\1\ 1\\\1\ I '-; I .... N /. A 3 I .r:\vmphn 1Il\ 1I1111ugh .11 kll 1II1II it· ',plIl" 11I11.Ihtllll~ IlJtUfl' WhIHll .\p tll".H' ," I~'''(I dnw'" till ' III!. 11\ h,I' ,1I11Inllllllll Ilh !,p,", III
"It.lI1/J I filllK hluk 1I\211Idll" ILlIUI.tll·'I\IIIIIIIIHIII1I1.~ .Hld I WII,MI
iJtllrf l·.111 hr,lI VOlt .~X·H J ill' ~ 1I11l1 "l1lhlll, 111.1\ •• I1""t'.~" Ih,1I \ 1a.lIlh
.lnd Luth (11.'d ,lnd \\illlt'! 111.\ ,t"lIIIIV III hop(' 1) .. I,In '1I1 ,111 \IlHlnl h, llH' t){lIhl
"t ICI\·,tJ hUIll.m!p\(' (Il/tll"! ()I\ I lilt " ... ,n J ).lIlh JI/II"''',I'''' .")
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• • Am{rrrtti and l:./JltbalnmlOlI
;\nd let them J1so with them hring In hand, ;\nother gar glrland
• • For m\ faHe Im'e of lill\'es .1Ild of roscs, . ,
Bound tmekwc wizc \\'ith able\\" silke rlb,lild, .\nd let them make gre.lt storc of hridal poses, 45 .\nd let them ceke hring start' of othcr flowers To de..:\;. the bridJ.1e bowers. And let the grOlUld wherc.ls her t()()t shall tread, For teare the stones her tender foot should wrong, Be strewed with fragrant tlowers Jjj .liong, 50
And di.lpred I\'ke the discolored meJ.d. \\ 11ich done, doc at her dumber dOTe .1\\,<1\'t,
For she will \\aken stra\'t, The whiles d(X' \'e this song unto her sing, The woods shall to yOU answer and your Eccho ring, S5
,41 VE l':vmphes of MuUa which with c.lrct"ull heed, .1 The sih'er seal\, trouts doc tend full well,
.Uld greed\' pikes which usc therein to ked, (Those trouts .md pikes .111 others doo excell) And \'e likewise which keepe the rushy lake, 60
Where nonc doo tishcs take, R\Ild lip the locks the which hang scatterd light, And in his waters which \'our mirror make, Behold mur tJces as the christall bright, That when YOU comc whereas Ill\' lo\'c doth lie, t-5
~o hknmh she n1.1\' spie, And eke \"e Iighrt{)()t m.l\'ds which keepe the den:, That on the ho.lf\' mountJvne use to towre,
, ,
And the ",vide wolves which seeke them to de\,ourc,
51 dUlprcd 1l1l' .Id, m'l.lnd, 1111<' I
mead: stn:wll 111 ~l \ dried p.lttrnl to IInir.ltf (he..' p.Ul1(tllllrn.i
54·55 '1'h,"c lint' l'Ild thl' .• <idrl''' [(l thl' IcJrntd '''te~ "I
I STA)'.; ZA 4 5(>. Iflllln Iri,h niH 00 01 Rl'p"nn\ll till' 'null I.lk(,., tx'\I(k }\ lilollllall to\\ rr, the rt'mJIJ1~ of Sp \. r('·~ldc.·n(l· III lrdJIH.I. II" ,ttl! 'II1n"'r.tJt-k to ",h .. t>7 'tlfiJlt""1 mar,,", thl' woodl.lI1d 1II'lI\ph,
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\\'Ith ,our stl'de d.lIi~ doo ch.lcc frOI1lCOnUlllll~ nCt·r. -II
...... Ik .lis(1 pro,rllt hCCfl'. 1'(1 hdpl' tll dn'kl' hn .Ind tIl hl'lp to sin!!. Th,lt .111 the \\nods m.l\' .1I1S\\t'r .1Ild your l'\:cho nng, ,
151
W:u.c 110\\ my Ion" .1\\ .u..c: tCJr Ir IS tlllK' Thc Rosy J\ torne long sincc kft Tlrho~t's tx'l.L
:\\1 rc,ld\' to hl'f sil\'t:r clKhe to c1\'lllt'. , ,
And Phccbus gillS to shew his glonous ht'ci. , , t iJrk ho\\ the Chl'l:rctlill birds do ch.Hmr rhe\T bit'S And (,Irroll of loYl'S pr.lisl', Thl' n1l'IT\, LJ.rke hir ll1.lttins sings .lloft, . , The rhrush rl'pIYes, rhe i\1.l\is cit-SC.lnt pl.lYcs, Thc 01171:11 shrills. the Ruddock \\,.Irbles sott, So goodh' .111 .lgrl'e \\ 'i th S\\l'l't cnn,cnt. , . , Til this d.l\TS merriment. Ah Ill)' del'fl' lo\'(: why doc vc..skq't' {fttl~ long. Wht'll meerer \\ ere dut \'C should no\\ .m.lkt" r.lI\ ,1\'t the cOl1lll1ing of your jll\'OtlS 1l1.1kc, , And he,lrkl'l1 to rhe bmis IO\l'k.lrlled song, , The dt"I\\,\, ll'.lH'S .Ullong. . ,
--~
, -,:-
For the\' of jo\' .111d pk.l>.lIKl' tIl \Otl Sill!!, 'ltl rh.lt .111 rhe \HXlds them .1I1S\\t'r .11ld thcH \'cl'ho nng ,
,161
My Ill\(' i~ llO\\' .1\\.lkt~()lIt Ill' her dre.mK, .11ld her t:l\Tl' l'n's like surs th.lt dUllmed wcrt'
\\'Ith d.lrksoml' cloud, nO\\ shl'\\ rhcH glXldh IX'.lms ,
IST.'\ \: z.\ S I -4 }Ill' 101'( tht.· til ... t .lddrl"" n,) tile.' i'tndr 75. lit/,,,"o- ,\ mort.11 rn)l.m pnnl.·{·ln\'t.'d b\ rill' d.ml\ ~~.l'xldr ... ~ F\l .... I".lr
:\lII\lr,l ~thl' "RpM' ~l11nlt.'''). whtl ,t,k.l'd I.{'\I~ r~l m,t~~' tum m\ll\\lM.ll hut nc.."!!k·(trd tP.\"l ,\I'tl rh.1t hl' lx' 111.1dr J(!des-' .md ~\l l'H"nnl.llh h,\.,t mh.'I\."r H1 , 111111_ ~ ... PJurim" 1l11J.\' til Jhc'II': rill' ~Ull hq~1Il~ m .• 1'1.(.'m XO I -" .... e" , ' \( H l!!hll d .1 'M X l.lh.'d " It h tll\\"n: .l tter rlu' :"IplrH' \ 'If w\ l\ '" t .1.11..1 \\ J{\.' t Ih)\\ (h\.' hln,b nftht.' .ur .1Il' t.Jllrd (l) IOIll till' ,,:'"<:Of ~l \1,,1'1," .\ \.In .. 'tY "fthnbh \I uh ,I 1111"1<1\\ "'11':. III O"ul/. bl.ld,blrd. RmU,"A' I\)hlll , X(" nur(tr IlHlI't.' .1I'prnpn.ttr
r
666 Ammrtti and EpithmolllUl1I
More hright then Hesperus his head do th rere, C(lIlK' IlO~\" ~'e d.lIl1Ze/S. dJughrers of delight. Hdpc qUKkh- her to dighr. But first come \"(' laue houres which ,,'ere begOt [n ftwes S\\'cct paradice, of Dal' and ;-':ight, Which doe the seasons of the I'eare allot, And ,II that ClU in this lI"orld is flyrt' Doc make .1I1d stiH repalTe, And \'l' thrcl' handmJnis of thl' CypriaJl Qul'ene, The ~\ 'hi(h doc still adome her tX-'Juril's pridl', Hdpc ro ,Iddonll' ml' he.mtifullcst bridl' And .IS \"e her Jrr .II', stiJJ throw l:x[wl'cne
, '
Some gr.Kes to he scene, And .IS \'C lISC to \' ellllS, to her sing,
, L
The whiles thl' \\'(xxis shal .U1Sll"er Jnd your e(cho ring,
n N O\I' is m\' Itl\'e .11l reJdl' torth to come,
Let all the \'irgins tlJc:r~tl)re IIdl .11I",1\'t, L ,
:\nd \T tiTsh bOl'es that tend upon Qer gnX)f11C I'rlT.lrl' l'Our Sl'i\ 'CS; tllr hc is (omming srr .111:,
Set .Ill \'Our rhings in sl'cmcl\' -;Xxi arj\' . ~ . ~ . Fir lor so j(wfull da\"
1ST ..... N Z.'\ 6 / 95 _ HCSptTU ... I"· rhr C:\('nill~ sf.l r, rlw pLmt"l \ ,,'ml.'_ % , dam.::~-b·: the hriJl'SrnJlds; rile gr.1JlIJUr ~n)Jdt'ntrlg tl":U" Ihl\\ Uh lu,1,;.'.\ h lll11.Hl.';{l( lt'[1 to n hich .l f e .tddrd ~'JO\\ t lJS, I(3 ) rhe Hnur'\ .1I1d lirJ,:\'" RTrt'$Ciltmg tJ u .llinc~ { llJr f1l,1~' Illh,lhlr t'lr(,)rh nUll ,lIl~f 1l .l(Ul'l· '" iJ_I It, JCtin:. gn rc.l lh 9S, J"'lIm The r I llr.lt.'. Hl)Ur, .• ue rhrl.'l· d.llIdw.:',--,· ~ I
1..(·u.'I .l~'ii\)!. 1,l h.'d \\ (tit ria: pnnnpk t If nf\.kr, mon.' ~p..;.·\:lfil.\Jh \\ Irh~ r.1~ 'l' .. Jnd I.th,:!' \\Irh the htlul' l)(thc d .H .md Idrnn ti('\t dIke J.IIlU-'- ,1'1....,\.'1'·1' I"
100
10,
110
II ~
"
''''lICI1''''lr,'H'r' j "(1 1 11 , - I ' • _ ~' ~. (, (. .lIlt .If.).;. \ II 'T:-t , \\ ll'l"t' tunc J.\.I \.\'11£1.11 ~l'J"'-q'l ""
Ilknntl(,'\ rhnr flltlrhn .IS :\l:!ln Llt1wr rh.m rh .... \.'.urh ~\lt.l~k" rh~'ml" Hhi!'~ r \.'l'll1Ilhmh Il.lrllcd .1~ rhnt" moll,,'!' Th\., Imr~)(T.Hk\·llt'tlllh.' lil {fl, t,
., "l:I1.,kd b\ rhl' f,C! rh lftl 'h ~ , I." , '. H; dtl~ Jrc tm' til\( Il.llll\.\i .1rh:lhf.H',,\ n ,!h
hnd .. · ltl~ bu t i" . ; \lof' ,I lI",a\'t\{~'ft/I'( ''P',mlQIII'O,r til .. \;f.h.~,' Sc~' l\h \
~ft". roo 08· It, dw HL1Ur., .tnd lir.h.e, _,fhllll,,' ,ld,llll \' J
~~'.I~I~\ ~rll:.ll,·rh 1I1'f .. b tilt.·\ ~tt\ \ 1,:1l1h, bur \ -,-,bh ':10.1 ,Ith "1\
.'\ I 111 l't':mlls th,' "d,tnlld," til hlh, \)0
..
Epithalamwn 66i
I hr \(llhlbl d.l\' th.lt ever Sllnne did sec. 1-.111 r "'UI1, ,hl'\\ t(llth thy favourable rav, . , \nd III till' Itl'ull hr.lt not tCrvent be hll k.m: of bllrtllllg her sunshyny face, I kl bLllII' to disgrace. 120
() l.lIlTst Phn:hus, hlthcr of the Muse, H el'cr I did honour thee aright, (), sing the thing, that mote thy mind delight, Dol' Ilot thl' serv.lIlts simple boone refuse, I J' But let tim day let this one d~ be myne,..j 125
Let .111 the rest be thllle. Theil I thy Mlverayne prayses loud wil sing, Th.1l .tll the woods shal .lIlswer and theyr eccho ring.
181
H Arke how the Minstrels gin to shrill aloud Theil melT\' Musick that resounds from far,
Ihl' pipe, the t.lhor, and the trembling Croud, Th.1l well .Igree withoutcn breach or jar. But l110st of .tli the Dannels doc delite, Whl'll tlll'1' their tvmbrels snwte, , Alld t hLTl'lIllto doc d.lullce .l1ld carrol swect, Th.1l .111 the Sl'IlCl'S thcv doc ravish quite, TIl( wh\,ks the hoves run up and downe the strcet, (:1"\ Ill/,: .tloud With strong conttlsed noyce, A \ 11 It \\TIl' olle \'ovee. II\'mell 10 IIVl11en, I (I'men thel' do shout, . . Ih.II t'lCIl to the heavens thevr shouting shrill nllt h ILIl h, .111d all the firmament doth fill, To willd, t he people standing .111 abollt,
J I H. "1111/ '"'I.II11J1 lg (JI g" IIII' hk. 121 l'I}(f/ltlJ norm.lll, uu> wa.\ ".",,,k,,,1 1.111t" "I lltl j\JII\,"" bUI ""c TJI 2. 124 /""",e 1.11 Or
I .\ 1 A " /. A H I 13 J 1"11t Ihu, wh",. \l1ull drum (mud 'trmgcd
"1\1""11<111 I {3 13 /la/llub I/IIYfJ pwplt "mId"", all "bvllt JlK '" ,ii" IO\\I1"p('l)l'lt oh"r!\"([o.;, /lp( dlrl"I..tlv 0 1 thl" wrdJmg pJrr", J .l1 Iy",hrrb 1.1I11111 It II 11K'.
130
135
140
M8 Atlllwt'tti and JiptllJrllamlO~1
i\~ III .lppnll'.lIKt' dot' therl'to applaud And loud .ldv.ll11ll"t' her bud, And \'I'l'rmore t hl'v I I ymCll H ),ml'll sing, th.1t .11 the \\'oods thcm answer and theyr l'ccho ring.
19 1
L( k \\ hl'rt' she comcs along with.[?ortly pace, I.yke l'hn.:bl' from her chamber of the East,
Arysing limh to nm her mightY-race, Cl.ld all in whitl', that seemcs a virgin best. So wdl it hcr beseemes that ye would weene Some .U1gell she had bcene. I in long loose yellow locks Iyke golden wyre, Sprincklcd with perle, and perling flowres a tweene, Doc Iykc a golden mantle her attyre, And being crowned with a girland greene, Seell1l' Iyke some maydcn Queene. Her modest eyes abashed to behold So many gazers, as on her do stare, Upon the lowly ground affixed arc. Nt' dare lift up her collntCllaIlCe too bold, But blush to hearc her pravscs sung so loud, So farrl' from being proud. Nathlcsse doc yc still loud her prayses sing, That all the woods may .lllswcr and your eccho ring.
[lOJ
TEll me )'l' merchants daughters did ye see So t:\Vrc a creature in your townc before,
145. lalld: pralS<:.
j
145
150
155
160
165
1ST AN Z A 9 I 148. portlv: stately, 149. l'h(£be: the moon goddess DIana, ;lss()(i;ucd with 1'1 rgi 111 tV . lSI. seemes: is appropriate to, ocseems (as 111 !Inc 152), 155. ptrli,~q.f'()JI'rcs a tll'cClle: studded with glistel1lng tJowccs. 165. yc: prohably the "ga7,cr;" of line 160 who arc also the "p':opic standing all Jbum" of the preceding stanza. r S TA" Z A I 0 J 167 JCC: Movement (181) and eVCIl sound (1831 s!Of) In the pretiunllllanril \'isual experience of rhis stanza, Cf. A»Ior XXVI and
p
fplthalRmum f,I/1
, .. t "l IllI':", ,md <;() mild a: he ,( ) ,\\\,.l.
i i ll Irh tX'aurH'~ grace and \l'rtU! s 'Of \, "rll' ' Il(1 I!,.,dh CI'" I~ ke 'iaphvre\ ~hlrlml! bnZl '
I kr t(lrdKad nof' \1 hltc I kr .-hc<:k.:' h'ke 'lpplt:< II hKh the 'iur. hat:. -udd~~ Ikr Ill" like (h,me~ (ha~mg men tf> O;1C
lIer brc'~t 11k.: to a bowie ot (rcamc uncrolddcd
Her f',If" Ilkc l"li.:s hudded. I kr ,!lOWIC ne(ke h ke to a marble to' ~ ~t , :\nd ,til hcr body like a panace fayre, ' i\,(endLn~ uppc with man; a sratel: qaHC, rn hOI1<1f' scat and (hastines ,\\ ce:: b()'~re \rh, ,[,md I 'e still n: \'Irg-ins In amaze,
, ~
l'f,<lll her '0 to gaze, \\'hd,< Ie forgct H)ur tonner !3 \ ~() SinG
, '" r,l II hl(h the woods dId an,we and • j~: c ... c,') ~ •. 2'
J 1
B l'r 11'1 t' ,a\\ that \\'hh:h r,) t:\ L< ~.1n <;Cc
rhl' InW Jrll tx:.1U[Y of her I:," • S::': . .!".
l;,mll,IH WIth he.\\ ,:nll ;:U!tt, or .1.~"1 k ,':'.: , - ~
.\\II(h 1l1llre then \I<lll"~ n, \I'md r d' ... ~. s_-' \I1,i ,'t,m.! ,btnlll,<ht !I kc [l ) rhns<. 1\ l!~r r ... J \ biu"ll> 111,1]cl1l1 hl li
•
, 'i!\ l-or ~ \\ ... ,r-ll· ... " til ... h 1.1(; h( ~ , •
t~:lh '!d t !h.- ~\,h . ' l' -, 1M - • -,'\\ llr~' 11 ~\ i ,
Ie 4" ," r • - • " '" ~ - . ' ..... .,'U.t!It\ ,\t '~t ·"1· f .' . ~ 1 -• • • [",h -I ' 1 ~'JJ. '-'.( l. ~ •
, , • ~ . -• , ... ' .... ~ ., ~ A
l~';:\\ , , , ~, H .. - • - ~
4
" \, • \, • , ., • , h. f
" , • " l- i I· ~ , , • , , " • ~' • • , V \ . •
, , • l\ 1," l" '" '< " • , ~ '" . ~ , '< \C , - ·H - I
• r::C
• •
• •
•
.'
,
()70 . . A morrttl ami /:pahaltmUIJ11
There dwcls sweet love and t()ll'>! Jill I..h"~lJty lln'l)(>tled tavth and comdv wornan/1<,.. xi Regard of honour . .lJ1d ITIl Id In( ;desty There \'Crtue rayne~ as Qu<.:ene in my;!l th,< lll"
And gi\'eth lawes alan<.: The which the ba'>e atlcctJoll'> dc)(; (Ji)ay, And vecld thevr 1>en·ice,> unto her will, . . Ne thought of thing uncomely ever may Thereto approch to tempt her m1l1d 1<; ill Had ve once 1>cene these her cclc'>tial lhrea')u rt'.,
•
And unre\ealed pleasures, Then would yc wonder and her pray'><::'> '>JOg That al the woods ~hould answer and your c<..h<; rrng
1l2]
O Pen the temple gate~ unto my l(J'.e, Open them \-I.'ide that .,he may tntu lfl,
And all the poste~ adorne a<, doth b<:h()\ e And all the pillour .. deck with girland\ trim, For to recvve thi~ <)a\nt wIth heJT)our dew , , That commeth 1Il to vou . With trembling step" and humbk r<..'ven:nu: She commeth in, bd(xe th'almlghtln vcw, Of her yc nrglm Iearne ob<:dlelJu: \Yhen so ~'e come 111 to tlH J'>C hoh plau~.,: To humble your proud tacc,>. Bring her up to th'hlgh altar that "he may The sacred cermollle<, there partake, The which do cndlc~ .. c matnm(JT)Y make, And let the roring Organs loudly play
2lJS
2JO
21:
[ S TAN Z A 1 2 J 21) She wmmeth In here rhe OI(.rI<,n l\ In the pTe~:T.r tense, the fixu\ 1\ dm:ct. 2) 7 Thl\ 1\ thc mldp'Jlnt ,A E:pllh b:-. lme COWlt.:\ rrudpOlOt 1\ an IdcaillTlpo'>Cd e,r. the h<,\/; {,fumc (I,n,lIar. to lhe
definItIOn of a bcgInnmg and an end. Th..: .... ()rd ~cndk"'\'><:" .t the (cllter f Jf thiS lIne cplwmw.:s bOTh the \ynrf-a<...m {II Jnl' cndJ and pdrun .. )ar (sward, WhKh Amor Iwd l:.ptth m{;';,c, and :h<: tnlS1(J'1.< 1 .lc:r(,l".' "'a'lr"gjle
l:pit lJain 111 l()//
rhl I'r,lI'es of the Lord lJl hH:!\' note\. rhc ,,11Ik' \\ Ith hollO\\ throate~ rhe ChClrl.\rn\ the joyous ,'\ntheme ~ing. Th,ll .11 the wood, ma\, answere and their eecho nng
~
113 J
Behold whiles she before the altar stands I !caring the hoi v priest that to her 5peakes
And bbscth her I\ith his t\\'o happ) h,lJld~, lIow the red rmes Hush lip 111 her eheeke5, And the pure SIlOW with goodl" ,emull ~tayllt" Like lrllllSlI1 link 111 graVlle, I'h,lt elTIl th 'Angels which colltll1uallv, Abou( the s,ICred Altare doc remaine, forger (heir ~e!'\'lee Jnd about her fly, , . Ofre peeping in hn bee that Ioeemes more ta~'n:, The l1lore thC\' Oil It stare. Hur her sad e\es still bstened on the ground, Arc gmerlled with goodly modesty, .. ....... Th.lt sutiers not one looke to glaunce awry, Which I1U\, let in a little thought ul1Sownd. Whl' blush vc lo\(: to gilT to me your hand, The pledge of all our b,lIld?
Slllg \'l' s\leer Angels, Allcluya sing, ThJt ,111 the woods mal' answere and your eecho ring.
230
235
240
1\) A N I,~ /31 227 . .. /'171111/· ,cHin. red. 234, sad serious. sotl<:r. 23' II}(!lIrrlit 11II.1IJll'1ld: ( I. the "llIHIIIIU thought" whllh rhl ron allowed to
(1\ nUlIllC 111m ,If the Iwgllllllllg ot A "un' 238. ,rr'l'( to 1Il( YOI'" hand P,,,h.lbl\' I /IC' hmlr ,111.1 /(n H 1m h,I\'( ochanged rill/(, 'IXTh" f1S lull' 21 (, I .lnd
''''<lIcd rbcl"IC'S!\ ble'Sll1g 122S). now he /"'11' thl'lr right h,1I1d, ,1110 will 1" 1""0111"" thelll "llr,IIl,lIld \\'1/1: together" bd(>n' pron:eding til til<: rC.ldltl!,."
.111.1 • "11 II II iI II II "', III ,Innrd \\Ith riw hlltn "fS"kmlll/,ltll>1l ot ~!atnmnn\'
,,/ tI" IlIl.Ih. th.11l Ih" .. 01 ( /In/ilion I'm,,.,. 23<). plcrl..w bawl "lItward
"):11 "I 1,," IIIIIIiI,l/ ,""11.1" ()f hOlld 2.J.O A,~lft'b till' IlIghl"\ r.1I1k U' till'
"11111111111111' "I ,ekln.lIlt' Ih.lt "I' hJ' ,\sSl'mhlcd,
672 Amqretti and Epithalamwn
114]
NO~v aI is do~ bring home the bndc agatne, bnng home the tnwnph of our victory,
Bring home with you the glory of her gaine, With joyance bring her and with jollity. Never had man more joyfull day then this, Whom heaven would heape with blis. Make feast therefore now all this live long day; This day for ever to me holy is.
J Poure out the wine without restraint or stav, Poure not by cups, but by the belly full, Poure out to all that wull,
,
And sprinkle all the £ostes and wals with ~ine>_ That they m~ sweat, and oomKcn be withall Crowne ye God Bacchus with a coronall, And Hymen also crowne with wreathes of vine, And let the Graces daunce unto the rcst; For they can doo it best: The whiles the maydens doc theyr carroll sing, To which the woods shal answer and theyr eccho ring.
115] DIng ye the bcls, ye yong men of the towne, .RAnd leave your wonted labors for this da),: This day is holy; doc ye write it downe, that ye forever it remember may. ~ '>" -c f
This da)' the sunne is in his chiefcst hight, With Barnaby the bright, From whence declining daily by degrees, He somewhat loseth of his heat and light, When once the Crab behind his back he sees.
245
251)
2.~
2611
1ST AN Z A I 4 I 255. Bacchus: g(xi of wille. . I STAN ZA 15 J 263- 73. This rekrence to 5t llarnabJ" ciJI' "ieltlftr' Ihe wedding date a, II June; became thc old calendar had !(onen Il'n ri,,, behind. II J lInc also marked the ,umma ,ol,tice, the longc't .1,1\' "frhe year 269 The ,un movc, from the wdiacal hOll'" of the tr.lh to ,h.lt "I the lion in mid J IIl1e.
-
Epitbalnmioll
Ih.lI nO rn.l.l1 rna\' us sec, ;\nd \11 tin sable m.l.!:t\e us enwrap. hom fare of.QCrrill and fouk horror free Jet no blse treaS~)\1 seeke us to entrap. ,,(lr .un dread disquict once annoy the safet\ of our JOY: But let the night be calme and qUletsome. Without tempestuous storms or sad 'lfra\': I \'ke as \\hen Jo\'e with fane Akmena 1.1\
, '
When he he got the gre.tt T If\'mlll.lll groome: Or I\'kr .1S when he with th\' sdk did he.
, '
And hegot ~Lllem" , And let the n1.lyds .1Ilt! \'nngmen ce;lse tn slOg: :\,' let the woods them .U1swer. nor thcn cccho ring ,
[ 191
LEt n,o lamcnting <:..r\'cs, nor dokfllll tCJJ:es~_ Ik hc.mi .111 night \\lthin nor \'ct \\ lthout. ,
;\" let tlhc whispers hrccding hiddcn tearcs. Rn:.lkc gentle slecpc \\'ith misconccl\'Cd dout, t,'t no dcl~ldillg dre.lme~, nor drcadful sights ~l.lke sudden sad .ltli'ights;
~
i\,' let how,et\'res. nor lightI1lngs hdpdesse harmes. i\e let the Pnuke, nor other ~\'ill sprights. ;\l' kt 11lIS(\1l\OUS witches with the\'[ charmes.
•
"r A N /,'\ I S I 322 2S. Onc 'I'c(lti( '<)tlr«' of ,tI,11 le.1t m.l\ 11,1\,'
"0 .'.
330
340
t-t ... '11 ,.1Id, bl Imh \!tll'rnll.", til IS9R .1 <"<lIK<TlCd ,ltt.lI.\.. on I\.lk(lIIll.lI~ t,>rlcd 'f' t,. Ie.l'( Ird,IIl.!· 32S, 29 HI ,)Ill ICC,"1I1 h'Il· .ll'f"'.lrcJ tl' .\\-111(11.1 111 ,\ ,holln ill ~f)ld .llld ,h«()rdtll~ [(\ '<:Il'r.rl ,,)m(l" hl' (lrcllTcd thl' '11Il1"'!
tn ,11111<': .. n .1' [;} Icn\!thrll [hI.' I11gtH In rhl' trmlX'tlHlll' lHt.ln \\ .1' 1.\1111..1..'1\\",1
th( "'1 H\lltlll.ll1 cn~)flH.' I {rr.klc\. 330,~ 1 III lk,(nblllt. th .... . 1!k·~'11 ii."JI
tlgUl\." ,\\.l}I.·'t\ .l~ the ()tl'pnll~' of JO\( .lIll! '\:lg.ht "t' I' .1\,\,.lInuh dU\\'!'r
nt"llf I'll .111 tlll~IHl\\Jl "'llh.( l'f on hi' 0\\11 tn1.l~1i1.ltll11l h.l"d wr lJ.P\ 'I' tl
( tll1P \1.1"\ll.11.1"llllljlfhllllh.lt \\J)t'q\" 11\1,r lit' '1\1. 1rOlll r \ lit ()~ I",'
fl\(, IIlHlt f d ld R('\.(rcl .. 1. .1' nJfl.' ~s \It \\lllst\ t~ .. nwY tli
~, ,1......... J 1)(, l \! lP" ,(I "- tl ( 'l·t· nt ttl\.. \\1' H)t,C\.' lf1 rllH ~ r, 111' n lid ... \\ "
" '" , 'I
674 Anwretti and Epithalamum
(17]
Now ceasse ye damsels your delights forepast; Enough is it, that all the day was youres:
Now day is doen, and night is nighing fast: Now bring the Bryde into the brydall boures. Now night is come, now soone her disarav , , And in her bed her lay; Lay her in lillies and in violets, And silken courteins over her display, And odourd sheetes, and Arras coverlets. Behold how goodly my faire love does Iv , In proud humility, Like unto Maia, when as Jove her tooke, In Tempe, lying on the flowry gras, Twixt sleepe and wake, after she weary was With bathing in the Acidalian brooke. Now it is night, ye damsels may be gon, And leave my love _alone, And leave likewise your former lay to sing: The woods no more shal answere, nor your echo ring.
[18]
N Ow welcome night, thou night so long expected, that long daies labour doest at last defray,
And all my cares, which crueiliove collected, Hast sumd in one, and cancelled for aye: Spread thy broad wing over my love and me,
[ S TAN Z A 1 7] 296. damsels; the bridesmaids of st.ul7..} - . 299. bot/res: bowers, private bedrooms, as in the medlc\'allx)\\cr-,lllJ·hall arrangement. 300. Now night is come: Sp's symbolism IS pr",,,c The
300
305
310
.m
placement of this phrase one-fourth through stanza 17 relk(!, the "hhe.l""" in contemporary almanacs of 16 and one-fourth hours ofd,nitght elll II I"", in southern Ireland (see Hieatt 1960). 304 ArTa." norrhcNrrIli-r"n,h city formerly noted for its tapestries. 307 10. The .\udait.lI' or"" , associated with Venus. The idea here is that Hern1e,' moth", .\l.lIJ. ",(c,1 II'
the Homeric hymn to Hermes (lUlcS 5 ·6) as retiring. rrmJIill'..t 1111xk,: t' n , under the mfluence of Venus.
dl.ll II" 11\.111 111.11 II' ''"''' ,\11,1 III dll ,.Ihl, \11,\1111. 11\ <111\ 1.11', . 1."111 I('.IIl "I l'('I I III J\\,I !, \Ilk Ill'l \( II trl'l'
1 .. 1 lUI 1.11,.1.0\\1\\ ,,'d..l" Il\ hi "1Ilr.l f'. ",II ,1111 dll'.l.! .11"1 1111 '1 1I11<l' .lIlllll'
\
\ , , "
dll "llcll <1111111 1<1\ ,~2S
Bllt kt lite IIlght b<, "IIIllt' ,md ljlll('t'Iln1l',
V"'Ir!I<lUI 1,'1111''''1111111' ,It II 111, til S,It! ,lli,lI:
l.\'kr ,IS \\ Iw" In,,' with 1:1, It' Akml'll,l 1.11,
WltciliK hq1,tlt lilt' 1-\ 11',11 'l'lr\'ntlll,H1 grtltll1lC 01 1\,"<' .1' wh(lI hI' \\It h I hI' s<:lli: did ht" ~30 Alld IKI-\<l1 M,IIl'sl\'
And kl d\(' lIul'd, ,11\,1 I'tlll!!,n1l'n (l',bl' ttl sing: Nl' kl Ihl' WI x Ilb thelll ,IIlS\,,'I, nor thl'yr cn:ho ring.
11 9 1
L EI \10 i.1tl)Cllllng IDn, nor dulchllll(JIc.. _ lit' hc,tnl ,11I1\'g11l within I\tl1' I'ct Without: 335
Nc kl I:tlse whispers hrccding hidden fe,ln:s, Brc.lkc gemk slecl'c with I\1IS(OIKCil't:d dOllt. L(t tlo ddlldillg dlt:.Il11t:S, I\or drt:.ldflll sights Makc SlIddt:l\ s.Id .dli·lglm; ;-';c kt hOllSdvrcs, nor lightnings hdpt:icsst: harmes, 340 Nt: kt th, ('ollke, nor other nill spnghts, ;-';C kt Il\l\chil'olls Witch,s \\·;th the\'[ (h.lrm.:s,
I S I A N ZA I H I .~22 25 Olll 'Ileuli, ","re'l of >tICh I'·.lr 111,\\ h,,,' beclll.lld, hv In,h guurtll.b ; 111 IS9R.\ l0I111Ttcd .1ru(k on Klkolman forced \p to 1e,1\(' Irc.:lJnd 32H 29: Bv one H:r~llll\ JO\'l' .lppc.lrl·d to Akmcll.l 111 J ,howl'r 01 gold ,UlJ .K(Ortimg to \C\'l'r.ll 'Ol.m.:e!\ he ordered the sun not
to ,111111.; \() .1' 10 lengthell Iht' lltghr. [11 rhl~ tl'lnpcsruou, mght W.1S I..'onl..:ein:d Ih~ "T'I'Yl1lhl,\I1 !(I'(X)ln~ " I !tracks. 330 31. III dC'LI'In\l1g tilt' .llIcgo",;aJ figure Mapt\" ." thl ofhl'nllg of low alld Night , Sp " ,II'P<m'nrll' drl\\lIlg (:Hher 011 .1Il1lnkllov.n .,)OU!U: or 011 hl\ OWl) Illlagin.ltIOIl, b.1\cd, pcrh.lp\, on
the IHIIl 1..'1J\"IIlili J\\lImptloll that ~bJe\t\' 11111\r den,"c from roy,llry . O\"ld
glv<.:\ IlollOf .lI1d R(.'\'t:reno: .1'" pJf(·nt ... of J\ttIC\n' 332 . ma.'Yfis alld YY'lIfmol: Tlh:\l' "'C(ill cn h(;' tht.' \'oLlth of rill' lOVdl lI1\'okcd 111 ,C.lllt J. H. .1\ the
hndn l11 ,lId, wen: dp .. ml"i\(:d IJ1 \tJll/ .. :1 17. hnt' 311 I '> 1 A " Z A I <) I ,H I I'ouk( hongobhn, Puck, Ronlll Gooc.!tdlow
I
'\, 1 t. I It. ,Il \ ,,,1>1111 ' 11 ,'1.11,' \1 • , 11 , , ( "" I h i' \\. \( '- I' t It
I, .\ II' \ \11" "Illig' 111.11 hI 11 •• 1
I. I ",'1 till , 1,,1" It (1,,1. II." tI .. \I"I~' h, ' Ill ,,," '\,,,.1111 1"1'111 H,,,, \l IIt,II ' liIl,t. , .. II \, , L'\
N"I -1 .111111 •• 11'111,'.1', \,tI.I ''1' """ 111I ~'I'I\ 1.1"" :-':"1 !·,II. , " \ lilt "I 1\ I1LI", ' '" "1111 111 .. ".\ "\;. hi Ih 'III'l,I, I.,Illl 1)11\1. ' .. 1 t 11I~' '.1 til 'ltl~ 1111'
i\\.t1" "" III \I "h tll\'\I ,hll\..III'~ I d Ihll" "llh,,, IIt('\'I .1"'1\' ,I" !'II'" '"111 p .
N, 1'1 Ih, \1"",,, dWI1\ ,11""'1 . 11'11 1!t1'\1 n.tltlllli~
I'll 1
1) lllill \Itl ~lkll'l 11,\\ 1111'.111 \1.11.11,\ kl'll"', ) \ h.1I ".hll'\ 1'1',1\\ 111.1\ 111.1"111,111<\ I,I\lIl
:\\1.1 1\1\1\'1\ \I<-rl" ,,1\l1l1l 1'1\1111 I" ,lnlK ~\.I\ \,111111' Ill, ltl11h, 1111 til 111\ \11111 p\\'.I\.l1l1 I'I.I~II' I'll, \\ l11k,.1II hlilldint IUlk \\ IIIgllt Ill\(\ IlkI' .1",'1\ Irlhl'lnt d,,\C\. \h.11\ Ih ,HId Hillin 1111111.1 ,Ih .. 111 \'0\11 hnl. ,\Ild III II\(' ~~"II'I d.lIk,. ,h.1I 1111111' 11'1'")\(" ,
I'hnl \,Il'\ \ \I",IIt h,,\ ,h.t! \\, II kr. ,l1Id \11.11"\ ,h,l\ '1'"',1.1
I'" hi, II .1\\.1\' ,\\\ I'l'l '11.11, hl'\ .11 .II' It ".hl ,
l 't)II\ clld tllltlllgh "1\1'1\ night \,' \'111111'\ .It \ 1'1111\, l'l.t\ \"111'1)(11" ,II \I 11\ , hlt ~Irl'lh 1,1,"1\111(" ',lIrlr" III \"111 hl\\,\ ,
1'''1111-... 1111 II" 111'1111 hl'l p,II.ltI", "I I' '\ r" ItwlI \\ h.1I \'t' .I", ,llhl' II \~,\(,d III 11\
•
. \lIl1ll~hl Ihl'1d,lI( .lIllml \tllllll1<'11\ \,\'1\ •
h It I I \\ 111 \\),11\1 hI' .1,1\ NII\\ IIlIth ,h)lh hlll'\1'1 \ '\lll , th.1I ,.1\' 01 ""~. NI' \\Itl thl \\\10.1\ IIll\\ .\11\\"'1,11111 \\\\\1 \.,,1\1' I Ill \!.
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I .plf IJilI" 11111/1/
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Willi IS I Ii, , .1111< , II III! " .11 11I V W IIHtl'V. I'CCPI" )
(h \\h,," I', Ih .II 1.1111 /.1« 'h,lI ',llIltc ' ',IJ hfl~"I , h II !lol ( Ilit/",I, ,hI' I h,lI linn ,I'TI " ", HilI \I',llk", ,Iholll 11Igh hl',lV('1l ,II til<' 1111'.111;
() I,\I'Il"I g"ddrssr, do ,!tllll nol (11\ v ,\\1' lo\( ",,"h Ill\' 10 IJl\':
1'(111 11(111 IlknvlI" did,1 love, though now lIl1thollght , And 101 .1 IIcl'« ' 01 woll, Wilidl 11I1Vrly, Thl' L.1I1111,111 ~hl'pha,d OflU: 111110 tht:" brought, Ili~ pk.I'I"'C~ with Ihl'\' wrought. Thcrl'fi)J'(: to li~ Il,' '.IVOI,lbl<: now;
And ~ith of Wl'llll:lI~ I.lhour, tholl ha't l'hargt:, And gl'llt:r;ltioll goodly dme t:fllargl',
17S
Encilllc thv will t'dlt:<.t our wi"hfull vow, o 3115
And tht: dla~l wombt: IIllill'lllt: with timely st:t:d, That ma\, our COIll!! >rt brt:t:d : Till which Wt: Ct:,l~t: our hopdtlll hap ro slflg, Ne kt the woods liS answere, nor our Eceho ring,
1221 A Nd thou great Juno, which With awful might
.l"l.thc Iawt:s of wt:dlock st! 1/ dost patronize,
I STA N ZA 2 I 1 Stanza, 21 through 23 ,hdt atttntion t,"ward to
390
proue~ti()n and progeny, 374, On/hm The moon godde" el'nthla lalso 1)1,1na. Arttlll", Seiene) wa., ""K:latcd With hunting and cha'tlty, but aLso, as Sp 1I1(!icatn, with childbltth , and women's 1I11ert"" generally 380, I.atm/all shephard' Accordlllg to legend Cl'nthla madc 100c on ,'-1ount tatmo; With thc handsomc ,hcpht:rd End}'lTiion aher he brought her. accorcill1g ro pmt-das,ilal ,ources. a flcecc, In retribution Zeus made Endymion 'kep etemally.3l!7.comlim: aId, support, 388, we, The lover's per,onal ,ong (line 17) ha, now oc(()me thClr mutual song:, Thc pronoull ofrhe la't threc rcirains ,,'wc," The >cwnd person plural pronoun fit'! appeared at hnt 320, ,hortly after night tell, our hopefull hap to SI1tll,
In ,JIll( 01 our hoped-for event, I.e, C(lIllCpnOn The promIse to cease to,tng of tim event IS fulfilled 111 that stJJlIAl 22 mo\es on from the topIC of conception to that of chIldbirth and 23 to that of I'rogcnv I STA N ZA 221 390, JU110 : )OI'e\ LO""ort, the chief goddess of women. asS!x lated . ilke Cvnthl,l, With marnage, chIldbirth Jnd women \ intereS". aufil/: ,nvcsomt ,
078 A 11wrettl ,l/ld Fpltlmlllmi()l1
And the rl"iiglol1 ot the l,lIth first phght 'vVlth saned ntt'S hast t,lught to soit-mni/'(':: ,lIld n'h' lor com/I)ft ottcn calkd ,m Of womcn IJ1 their sm,lrt, Eternally hllld thou this lowly band, And all thy blessings unto us imparl. And thou glad Gmills, in whose genrk hand TIlt: bridalc bowrc and geniall bed rnnail1c Without blemish or staine, And the sweet pleasures of theyr lows delight With secret ayde doest succour and supplv Till they bring f(lI,h the truitfull progeny, Send us the timely flouit of this same I1Ight. And thou 1;lyre Hebe, and tholl HymCl\ tree, Grant that it may so be. Til which we cease your furthn prayse to sing, Ne any woods shal answCT, nor your Eccho ring.
1231 A Nd ye high heavens, the temple of the gods,
.fl..rn which a thousand torches flaming bright Doc burne, that to liS wretched earthly clods In ~readful darknesse lend lksired light; And all ye powers which in the same n:mayne, More then we men can bYlle, ,
POllrc Ollt your blessing on LIS plcntiollsly, And happy influcnce upon LIS raitlt:, That we may raist' a large posterity, Whidl from the earth, which they may long possessc
With lasting happinesse,
Up to your haughty pallaces may mount,
And t()r the guerdon of theyr glorious merit Mav heavenly tahernacles then: inhcnt,
, 0
400
405
410
420
391l. (,'CrJllIJ . • 1 111 a I\- 'pmt assocl.1tnl with tCrnltlv. .~99 !f'"Il/llI/. l1\1pn,\1 40S f/ebl': .1 daughter of :tAliS .Ind I ferJ, ,ISWU,Ifl'd \11th \·"lIthtillncss ,\Ild rqun·J1JtHJIl.
rSTANZABI 414 .f;~1'1J1'. 1IT1,I~lIlt" 421. IIII(I"I/vll reI' ,ud ,
•
Epithalamion 679
\ )1 bk"".! S,IIIl\S I'lr III II1l1'eil~e the count. "" 1.1 \1\ lot , SlItTt Ion:, In hope hr this, _ \11.1 ll'.l\( 11ll thtn our tvmcly joytS to sing, 425
II" II .Iod .. 110 mil\"(: us illlswer, nor Ollr eccho ring.
[241
Sl )Il~ Ilulk III lieu of many ornaments, ' ') ~ Wl1 h II hKh my love should duly have bene dect, \ \'llIlh llltnng otfthlOlIgh lusty accidents, \' l' 1\11\ tid lIot sr,lY your dew time to expect, 430
lllil I'fIlmist both to recompcns, tk unto her a goodly ornament, And lill' short riml>an endlesse moniment.
FINIS.
Imprinted by P S.for Wi/liam Ponsonby.
I ~ , .• N Z -' 24 I Tht mvo}', or tornata, a brief concludmg stanza ,hhln:'''l"d h.tlk to the (X')em It\clf, I~ c.:h.lr3ctcristic of the It.liial1 canzone. The p.l'i ... lgl: "lhllh_lIh. ,met mav IX' re~\d many ways. The lexical notes below '1l1}!,f.!,n,1 \ome oj the l)().\slhlht lc,. I -lUl', tor tht sake of clarity and coherence, h niH ,impk p.u'aphr.l{,C rha[ II IS hopt'J llUY serve sttldcnts m :l non
Illl'.'lIIIJCI\'c \\.W ,l' ,1 MJJ1lllg pe)in!- j()r Illtaprl'tJtlon: thiS song was made in pl.tn: 01 thr Ill.m, OlTlament:oi dur hi ... bnde (kservcd~ as circumstances Il\IlNI"'l'd 11.l~rl' , the time: dut ought to havc heen spent 011 the song was ,hUrfl'lll'd, ,lilt.! 'i0 In rnornp<.'n ... l' hl' ofll:rs the song ~l<; ooth an appropriate ')IIl.lIlh. 1l1 Id Ill, hi Ide ,md.l pnl11.1l1l'nt monumenr to fkcting tlmc.
·f!K ,1M ... Iolllni 429. C/Ittll(1/ off: prC\cntlllg. hasty: ru,hed, sudden. Uldd(1lI1 nul/rn·flu· ... , lonttllp;Cnncs, mishaps (scc: Neu~c 1966). 430. Ye: t hl' ,.,lIIiM Jtuv: n..'JnJIIl, \\'.lIt, delay. d(lI': marking .1 term of fulfillment or dll1lph::tUHI the nornulloursl' ()f~ owed to you; owed bv yOl1~ that which l~
tl\\fll (tl \10\1, rh.1l \\'111[11 j" ()\\l·d by ~'ou . fXPt'ct: delay, awa1t, anticipate HI Ih"" till' 1."1 ,h,)rt IlIlt. The loul of 68, I-heart suggests (1960), may ('(:pln~:t1l rill: tot .• 1 of \\ Cl'ks, months .U1d se<\~on~. pl'omist: ha\'ing been PIUllll'l'" ,hn\\,l11~ prol1l1\c. botiJ. the hndc and tlmc; the bndc and the " "'g 4 n .'/,wdly ,,<II p"'portlllllnl, well ,,,,tcd, ampk. 433. fUr: nHlfut to; III hOl1ur of. III plJlr of short tmu· tll.'etlng time in genera.!. the IIH"."lIll· "I hlll11.111 lllortJIIt\, ( ... Cl FQ VII viII 9)~ thiS partiCular ,hon span of tUth' 111\ wl'lldlllg d,1\ .1I1d !light f1ldJc_\\t': rhl.·luXfapO\ltlon of "short" ,1.nd '\·lh.lIr,,1..' . In thl' I,) ... t hm rl.·~t.lh." thl VI~ioll of synthesis of the partKuiar . .md ,,,,,,((, .• 1, Ih"phl,,,,,.1 ,md 'p,ntu.ll, th.lt umkrltes all ofAmqralld fplth
