The Project Gutenberg eBook of A history of English poetry This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: A history of English poetry an unpublished continuation Author: Thomas Warton Editor: Rodney M. Baine Release date: September 6, 2010 [eBook #33658] Most recently updated: January 6, 2021 Language: English Credits: Produced by David Starner, Josephine Paolucci and the Online Distributed Proofreading Team at https://www.pgdp.net. *** START OF THE PROJECT GUTENBERG EBOOK A HISTORY OF ENGLISH POETRY *** Produced by David Starner, Josephine Paolucci and the Online Distributed Proofreading Team at https://www.pgdp.net. The Augustan Reprint Society THOMAS WARTON _A History of English Poetry_: an Unpublished Continuation Edited, with an Introduction, by Rodney M. Baine Publication Number 39 Los Angeles William Andrews Clark Memorial Library University of California 1953 GENERAL EDITORS H. RICHARD ARCHER, _Clark Memorial Library_ RICHARD C. BOYS, _University of Michigan_ RALPH COHEN, _University of California, Los Angeles_ VINTON A. DEARING, _University of California, Los Angeles_ ASSISTANT EDITOR W. EARL BRITTON, _University of Michigan_ ADVISORY EDITORS EMMETT L. AVERY, _State College of Washington_ BENJAMIN BOYCE, _Duke University_ LOUIS BREDVOLD, _University of Michigan_ JOHN BUTT, _King's College, University of Durham_ JAMES L. CLIFFORD, _Columbia University_ ARTHUR FRIEDMAN, _University of Chicago_ EDWARD NILES HOOKER, _University of California, Los Angeles_ LOUIS A. LANDA, _Princeton University_ SAMUEL H. MONK, _University of Minnesota_ EARNEST MOSSNER, _University of Texas_ JAMES SUTHERLAND, _University College, London_ H. T. SWEDENBERG, JR., _University of California, Los Angeles_ CORRESPONDING SECRETARY EDNA C. DAVIS, _Clark Memorial Library_ INTRODUCTION Among the unpublished papers of Thomas and Joseph Warton at Winchester College the most interesting and important item is undoubtedly a continuation of Thomas Warton's _History of English Poetry_. This continuation completes briefly the analysis of Elizabethan satire and discusses the Elizabethan sonnet. The discussion offers material of interest particularly for the bibliographer and the literary historian. The bibliographer, for example, will be intrigued by a statement of Thomas Warton that he had examined a copy of the _Sonnets_ published in 1599--a decade before the accepted date of the first edition. The literary historian will be interested in, inter alia, unpublished information concerning the university career of Samuel Daniel and in the theory that Shakespeare's sonnets should be interpreted as if addressed by a woman to her lover. Critically appraised, Warton's treatment of the Elizabethan sonnet seems skimpy. To dismiss the sonnet in one third the amount of space devoted to Joseph Hall's _Virgidemiarum_ seems to betray a want of proportion. Perhaps even more damaging may seem the fact that Warton failed to mention more sonnet collections than he discussed. About twenty years later, in 1802, Joseph Ritson listed in his _Bibliographia Poetica_ the sonnet collections of Barnaby Barnes, Thomas Lodge, William Percy, and John Soowthern--all evidently unknown to Warton. But Warton was not particularly slipshod in his researches. In his immediately preceding section, on Elizabethan satire, he had stopped at 1600; and in the continuation he deliberately omitted the sonnet collections published after that date. Thus, though he had earlier in the _History_ (III, 264, n.) promised a discussion of Drayton, he omitted him here because his sonnets were continually being augmented until 1619. Two sixteenth century collections which Warton had mentioned earlier in the _History_ (III, 402, n.) he failed to discuss here, William Smith's _Chloris_ (1596) and Henry Lock's _Sundry Christian Passions, contayned in two hundred Sonnets_ (1593). Concerning Lock he had quoted significantly (IV, 8-9) from _The Return from Parnassus_: "'Locke and Hudson, sleep you quiet shavers among the shavings of the press, and let your books lie in some old nook amongst old boots and shoes, so you may avoid my censure.'" A collection which certainly did not need to avoid censure was Sir Philip Sidney's _Astrophel and Stella_; and for Warton's total neglect of Sidney's sonnets it seems difficult to account, for in this section on the sonnet Sidney as a poet would have been most aptly discussed. The _Astrophel and Stella_ was easily available in eighteenth-century editions of Sidney's works, and Warton admired the author. Both Thomas and Joseph Warton, however, venerated Sidney mainly for his _Arcadia_ and his _Apology for Poetry_. For Joseph Warton, Sidney was the prime English exhibit of great writers who have not, he thought, "been able to express themselves with beauty and propriety in the fetters of verse."[1] And Thomas Warton quoted evidently only once from Sidney's verse,[1] and then only by way of _England's Helicon_.[2] The omission of Sidney, then, is the glaring defect; of the dozen or so other Elizabethan sonnet collections which escaped Warton, most were absolutely or practically unknown, and none seem to have been available to him in the Bodleian or the British Museum. At the time of his death, on 21 May 1790, there were in print only eleven sheets,[3] or eighty-eight pages, of the fourth and final volume, which was scheduled to bring the history of English poetry down to the close of the seventeenth century. For four years after the publication of the third volume in 1781 Warton repeatedly promised to complete the work,[4] and a notice at the end of his edition of Milton's _Minor Poems_ advertised in 1785 the "speedy publication" of the fourth volume. But to his printer Warton evidently sent nothing beyond Section XLVIII. The present continuation was probably written during or shortly after 1782: it contains no reference to any publication after William Hayley's _Essay on Epic Poetry_, which appeared in 1782; and according to Thomas Caldecott, Warton for the last seven years of his life discontinued work upon the _History_.[5] The notes which Thomas Warton had made for the completion of the _History_ were upon his death commandeered by his brother, Joseph, at that time headmaster of Winchester College. Joseph Warton made some halfhearted efforts to get on with the volume,[6] but neither Winchester nor Wickham, whither he retired in 1793, was a proper place in which to carry on the necessary research. Moreover he was much more interested in editing Pope and Dryden; and securing advantageous contracts to edit these poets whom he knew well, he let the _History_ slide. Joseph Warton appears, however, to have touched up the present continuation, for a few expansions seem to be in his script rather than in his brother's. It is difficult to be positive in the discrimination of hands here, as Thomas Warton's hand in this manuscript is quite irregular. Pens of varying thicknesses were used; black ink was used for the text and red ink for footnotes, and one note (16) was pencilled. Moreover, certain passages appear to have been written during periods of marked infirmity or haste and are legible only with difficulty if at all. In any case, those additions which were presumably made by Joseph Warton merely expand the original version; they do not alter or modify any of Thomas Warton's statements. In the text of the present edition the expansions which appear to be in Joseph Warton's hand are placed within parentheses, which were not used for punctuation in the text of the manuscript itself. Because of the difficulties of reproduction, all small capitals have been translated into lover case italics. This continuation, discovered by the editor among the Warton papers in the Moberly Library at Winchester College, is here published with the kind permission of the Right Honorable Harold T. Baker and Sir George Henry Gates, retired and present Wardens of Winchester College, and of the Fellows of the College. The editor is indebted also to the Reverend Mr. J. d'E. Firth, Assistant Master and Chaplain; and Mr. C. E. R. Claribut and Mr. J. M. G. Blakiston, past and present Assistant Fellows' Librarians. The Richmond Area University Center contributed a generous grant-in-aid. Rodney M. Baine The University of Richmond Richmond, Virginia NOTES TO THE INTRODUCTION [1] Joseph Warton, _An Essay on the Writings and Genius of Pope_ (London, 1756-1782), I, 270-271. [2] John Milton, _Poems upon Several Occasions_ (London, 1785), ed. Thomas Warton, p. 331, n. [3] Nineteenth-century editions of the _History_ give the false impression that the eight sheets were prepared from manuscript material left at Thomas Warton's death, but these sheets were certainly printed before Thomas died, and probably in the early 1780's. See John Nichols, _Literary Anecdotes of the Eighteenth Century_ (London, 1812-1816), III, 702-703. They contain no reference postdating that to Isaac Reed's revised edition of Robert Dodsley's _Collection of Old Plays_, published in 1780. [4] Thomas Warton to Richard Price, 13 October 1781, in Thomas Warton, _Poetical Works_, ed. Richard Mant (Oxford, 1802), I, lxxviii; Daniel Prince to Richard Gough, 4 August 1783, in Nichols, _Literary Anecdotes_, III, 702. [5] Thomas Caldecott to Bishop Percy, 21 March 1803, in Nichols, _Illustrations of the Literary History of the Eighteenth Century_ (London, 1817-1858), VIII, 372. [6] Joseph Warton to William Hayley, 12 March 1792, in John Wooll, _Biographical Memoirs of the late Revd. Joseph Warton_ (London, 1806), p. 404. A HISTORY OF ENGLISH POETRY: AN UNPUBLISHED CONTINUATION (In enumerating so many of these petty Epigrammatists, I may have been perhaps too prolix,--but I did it to shew the taste & turn of writing at this time; & now proceed to observe, that, in the year, 1614,)[1] the vogue which satire had acquired from Hall and Marston, probably encouraged Barten Holiday of Christ-Church in Oxford, to translate Persius, when he was scarcely twenty years of age. The first edition is dated 1616. This version had four editions from its publication to the year 1673 inclusive, notwithstanding the versification is uncommonly scabrous. The success of his Persius induced Holiday to translate Juvenal, a clearer & more translatable satirist. But both versions, as Dryden has justly observed,[2] were written for scholars, and not for the world: and by treading on the heels of his originals, he seems to have hurt them by too near an approach. He seized the meaning but not the spirit of his authors. Holiday, however, who was afterwards graduated in divinity and promoted to an archdeaconry, wrote a comedy called the _Marriage of the Arts_, acted before the court at Woodstock-palace, which was even too grave and scholastic for king James the first. I close my prolix review of these pieces by remarking, that as our old plays have been assembled and exhibited to the public in one uniform view,[3] so a collection of our old satires and epigrams would be a curious and useful publication. Even the dull and inelegant productions, of a remote period which have real Life for their theme, become valuable and important by preserving authentic pictures of antient popular manners: by delineating the gradations of vice and folly, they furnish new speculation to the moral historian, and at least contribute to the illustration of writers of greater consequence. _Sect._ XLIX. The _Sonnet_, together with the _Ottava Rima_, seems to have been the invention of the Provincial bards, but to have been reduced to its present rhythmical prosody by some of the earliest Italian poets. It is a short monody, or Ode of one stanza containing fourteen lines, with uncommonly frequent returns of rhymes more or less combined. But the disposition of the rhymes has been sometimes varied according to the caprice or the convenience of the writer. There is a sonnet of the regular construction in the Provincial dialect, written by Guglielmo de gli Amalricchi, on Robert king of Naples who died in 1321.[4] But the Italian language affords earlier examples. (The multitude of identical cadences renders it a more easy and proper metre to use in Italian than in English verse.) No species of verse appears to have been more eagerly and universally cultivated by the Italian poets, from the fourteenth century to the present times. Even the gravest of their epic and tragic writers have occasionally sported In these lighter bays. (A long list of them is given in the beginning of the fourth Volume of Quadrios History of Italian Poetry.) But perhaps the most elegant Italian sonnets are yet to be found in Dante. Petrarch's sonnets are too learned (metaphysical) and refined. Of Dante's compositions in this style I cannot give a better idea, than in (the ingenious) Mr. Hayley's happy translation of Dante's beautiful sonnet to his friend Guido Calvacanti [sic], written in his youth, and probably before the year 1300. Henry! I wish that you, and Charles, and I, By some sweet spell within a bark were plac'd, A gallant bark with magic virtue grac'd, Swift at our will with every wind to fly: So that no changes of the shifting sky No stormy terrors of the watery waste, Might bar our course, but heighten still our taste Of sprightly joy, and of our social tie: Then, that my Lucy, Lucy fair and free, With those soft nymphs on whom your souls are bent, The kind magician might to us convey, To talk of love throughout the livelong day: And that each fair might be as well content As I in truth believe our hearts would be.[5] We have before seen, that the _Sonnet_ was imported from Italy into English poetry, by lord Surrey and Wyat, about the middle of the sixteenth century. But it does not seem to have flourished in its legitimate form, till towards the close of the reign of queen Elisabeth. What I call the legitimate form, in which it now appeared, was not always free from licentious innovations in the rythmical arrangement. To omit Googe, Tuberville [sic], Gascoigne, and some other petty writers who have interspersed their miscellanies with a few sonnets, and who will be considered under another class, our first professed author in this mode of composition, after Surrey and Wyat, is Samuel Daniel. His _Sonnets_ called _Delia_, together with his _Complaint of Rosamond_, were printed for Simon Waterson, in 1591.[6] It was hence that the name of Delia, suggested to Daniel by Tibullus, has been perpetuated in the song of the lover as the name of a mistress. These pieces are dedicated to Sir Philip Sydney's sister, the general patroness, Mary countess of Pembroke. But Daniel had been her preceptor.[7] It is not said in Daniel's Life, that he travelled. His forty-eighth sonnet is said to have been "made at the authors being in Italie."[8] Delia does not appear to have been transcendently cruel, nor were his sufferings attended with any very violent paroxysms of despair. His style and his expressions have a coldness proportioned to his passion. Yet as he does not weep seas of tears, nor utter sighs of fire, he has the merit of avoiding the affected allusions and hyperbolical exaggerations of his brethren. I cannot in the mean time, with all these concessions in his favour, give him the praise of elegant sentiment, true tenderness, and natural pathos. He has, however, a vigour of diction, and a volubility of verse, which cover many defects, and are not often equalled by his contemporaries. I suspect his sonnets were popular. They are commended, by the author of the _Return from Parnassus_, in a high strain of panegyric. Sweet honey-dropping Daniel doth wage War with the proudest big _Italian_ That melts his heart in sugar'd sonnetting.[9] But I do not think they are either very sweet, or much tinctured with the Italian manner. The following is one of the best; which I the rather chuse to recite, as it exemplifies his mode of compliment, and contains the writer's opinion of Spenser's use of obsolete words. Let others sing of knights & Paladines, In aged accents, and untimely words, Paint shadowes in imaginarie lines, Which well the reach of their high wit records; But I must sing of thee, and those faire eyes Autentique shall my verse in time to come, When yet th' vnborne shall say "Loe, where she lyes, Whose beauty made Him speak that els was dombe." These are the arkes, the trophies I erect, That fortifie thy name against old age, And these thy sacred vertues must protect Against the Darke, & Times consuming rage. Though th' errour of my youth they shall discouer, Suffise, they shew I liu'd, and was thy louer.[10] But, to say nothing more, whatever wisdom there may be in allowing that love was the errour of his youth, there was no great gallantry in telling this melancholy truth to the lady. Daniel is a multifarious writer, and will be mentioned again. I shall add nothing more of him here than the following anecdote. When he was a young student at Magdalen-Hall in Oxford, about the year 1580, notwithstanding the disproportion of his years, and his professed aversion to the severer acadamical [sic] studies, the Dean and Canons of Christchurch, by a public capitular act now remaining, gave Daniel a general invitation to their table at dinner, merely on account of the liveliness of his conversation.[11] About the same time, Thomas Watson published his _Hecatompathia, Or the passionate century of love_, a hundred sonnets.[12] I have not been able to discover the date of this publication:[13] but his _First set of Italian Madrigals_ appeared at London, in 1590.[14] I have called them _sonnets_: but they often wander beyond the limits, nor do they always preserve the conformation [or] constraint,[15] of the just Italian _Sonetto_.[16] Watson is more brilliant than Daniel: but he is encumbered with conceit and the trappings of affectation. In the love-songs of this age, a lady with all her load of panegyric, resembles one of the unnatural factitious figures which we sometimes see among the female portraits at full length of the same age, consisting only of pearls, gems, necklaces, earings, embroidery, point-lace, farthingale, fur, and feathers. The blooming nymph is lost in her decorations. Watson, however, has sometimes uncommon vigour and elegance. As in the following description. Her yellow locks exceed the beaten gold, Her sparkling eyes in heau'n a place deserue; Her forehead high and faire, of comelie mould, Her wordes are musical, of syluer sound, &c. Her eye-browe hangs like Iris in the skies, Her eagle's nose is straite, of stately frame; On either cheeke a rose and lillie lyes; Her breathe is sweet perfvme, or holie flame: Her lippes more red than any coral-stone, &c. Her breast transparent is, like cristal rock, Her fingers long, fit for Apollo's lute, Her slipper such, as Momus dare not mock, Her virtues are so great, as make me mute, &c.[17] Spenser's Sonnets were printed with his _Epithalamium_. They are entered, in the year 1593, under this title to William Ponsonby, "_Amoretti_, and _Epithalamium_, written not long since by Edmond Spencer."[18] In a recommendatory sonnet prefixed, by G. W. senior, it appears that Spenser was now in Ireland. Considered under the idea which their title suggests, undoubtedly these pieces are too classical, abstracted, and even philosophical. But they have many strokes of imagination and invention, a strength of expression, and a stream of versification, not unworthy of the genius of the author of the _Faerie Queene_.[19] On the whole however, with the same metaphysical flame which Petrarch felt for the accomplished Laura, with more panegyric than passion, Spenser in his sonnets seldom appeals to the heart, and too frequently shews more of the poet and the scholar than of the lover. The following, may be selected in illustration of this opinion. When those renowned noble peers of Greece, Through stubborne pride among themselues did iar, Forgetful of the famous golden fleece, Then _Orpheus_ with his harp their strife did bar. But this continual, cruel, civil war, The which myselfe against myselfe doe make, Whilst my weake powres of passions warried arre, No skill can stint, nor reason can aslake. But when in hand my tunelesse harpe I take, Then doe I more augment my foes despight, And grief renew, and passion doe awake To battaile fresh against myselfe to fight. Mongst whom, the more I seeke to settle peace, The more I find their malice to increase.[20] But the following is in a more intelligible and easy strain, and has lent some of its graces to the storehouse of modern compliment. The thought on which the whole turns is, I believe, original, for I do not recollect it in the Italian poets. Ye tradeful Merchants, that with weary toyle, Doe seek most precious things, to make your gaine, And both the Indias of their treasure spoile; What needeth you to seeke so farre in vaine? For lo, my Love doth in herselfe containe All this worlds riches that may farre be found: If saphyres, loe, her eyes be saphyres plaine; If rubies, loe, her lips be rubies sound; If pearles, her teeth be pearles both pure & round; If iuorie, her forehead iuorie were [wene]; If gold, her locks are finest gold on ground; If siluer, her faire hands are siluer sheene: But that which fairest is, but few behold, Her mind adornd with vertues manifold.[21] The last couplet is platonic, but deduced with great address and elegance from the leading idea, which Gay has apparently borrowed in his beautiful ballad of _Black-eyed Susan_. Among the sonnet-writers of this period, next to Spenser I place Shakespeare. Perhaps in brilliancy of imagery, quickness of thought, variety and fertility of allusion, and particularly in touches of pastoral painting, Shakespeare is superiour. But he is more incorrect, indigested, and redundant: and if Spenser has too much learning, Shakespeare has too much conceit. It may be necessary however to read the first one hundred & twenty six sonnets of our divine dramatist as written by a lady:[22] for they are addressed with great fervency yet delicacy of passion, and with more of fondness than friendship, to a beautiful youth.[23] Only twenty six, the last bearing but a small proportion to the whole number, and too manifestly of a subordinate cast, have a female for their object. But under the palliative I have suggested, many descriptions or illustrations of juvenile beauty, pathetic endearments, and sentimental declarations of hope or disappointment, which occur in the former part of this collection, will lose their impropriety and give pleasure without disgust. The following, a few lines omitted, is unperplexed and elegant. How like a winter has my absence been From thee, the pleasure of the fleeting year! What freezings have I felt, what dark days seen! What old December's bareness every where! And yet this time, remov'd,[24] was summer's time; The teeming autumn big with rich increase, Bearing the wanton burden of the prime, &c. For summer and his pleasures wait on thee, And thou away, the very birds are mute: Or, if they sing, 'tis with so dull a chear, That leaues look pale, dreading the winter's near.[25] In the next, he pursues the same argument in the same strain. From you have I been absent in the spring, When proud-pied April dress'd in all his trim, Has put a sprite of youth in euery thing; That heauy Saturn laugh'd and leap'd with him. Yet not the lays of birds, nor the sweet smell Of different flowers in odour and in hue, Could make me any summer's story tell, Or from their proud lap pluck them where they grew: Nor did I wonder at the lilies white, Nor praise the deep vermilion of the rose: They were but sweet, but figures of delight, Drawn after thee, thou pattern of all those![26] Yet seem'd it winter still, and, you away, As with your shadow, I with these did play.[27] Here are strong marks of Shakespeare's hand and manner. In the next, he continues his _play_ with the flowers. He chides the _forward_ violet, a _sweet thief_, for stealing the fragrance of the boy's breath, and for having died his veins with too rich a purple. The lilly is condemned for presuming to emulate the whiteness of his hand, and _buds_ of _marjoram_ for stealing the ringlets of his hair. Our lover is then seduced into some violent fictions of the same kind; and after much ingenious absurdity concludes more rationally, More flowres I noted, yet I none could see, But sweet or colour it had stolne from thee.[28] Shakespeare's _Sonnets_ were published in the year 1599.[29] I remember to have seen this edition, I think with _Venus and Adonis_ and the _rape of Lucrece_, a very small book, in the possession of the late Mr Thomson of Queen's College Oxford, a very curious and intelligent collector of this kind of literature.[30] But they were circulated in manuscript before the year 1598. For in that year, they are mentioned by Meres. "Witness his [Shakespeare's] _Venus and Adonis_, his _Lucrece_, his sugred _Sonnets_ among his priuate friends, &c."[31] They were reprinted in the year 1609; one hundred & fifty four in number. They were first printed under Shakespeares name, among his _Poems_, in the year 1717, by Sewel, who had no other authority than tradition.[32] But that they were undoubtedly written by Shakespeare, the frequent intermixture of thoughts and expressions which now appear in his plays, and, what is more, the general complexion of their phraseology & sentiment, abundantly demonstrate, Shakespeare cannot be concealed. Their late ingenious editor is of opinion, that Daniel was Shakespeare's model.[33] I have before incidentally mentioned Barnefield's Sonnets,[34] which, like Shakespeare's, are adressed [sic] to a boy. They are flowery and easy. Meres recites Barnefelde among the pastoral writers.[35] These sonnets, twenty in number, are written in the character of a shepherd: and there are other pieces by Barnefield which have a pastoral turn, in _Englands Helicon_. Sir Philip Sydney had made every thing Arcadian. I will cite four of this authors best lines, and such as will be least offensive. Some talk of Ganymede th' Idalian boy, And some of faire Adonis make their boast; Some talke of him whom louely Leda lost And some of Echo's loue that was so coy, &c.[36] Afterwards, falling in love with a lady, he closes these sonnets with a palinode.[37] I have before found occasion to cite the Sonnets of H. C. called _Diana_ printed in 1592.[38] As also _Dieella_ [sic], or _Sonnets_ by R. L. printed in 1596.[39] With these may be mentioned a set of Sonnets, entitled _Fidessa more chaste than kinde_. By B. Griffin, Gent. At London. Printed by the Widow Orwin for Matthew Lownes, 1596.[40] They are dedicated to Mr William Essex of Lambourne in Berkshire. Then follows a deprecatory address to the gentlemen of the Inns of Court, who are earnestly requested to protect at least to approve this first attempt of a stranger; and who promises, if now successful, to publish a pastoral the next time. It is possible that some other writers of this class may have escaped my searches. I do not wish to disturb their repose, which is likely to be lasting. NOTES TO THE TEXT Warton's notes, which in the manuscript are designated by letters or symbols, have been numbered. Brackets enclose all the editor's corrections, expansions, and comments. The parentheses are Warton's. [1] [Thomas Warton's original version began "The temporary vogue which ..." The final version, here parenthesized in the text, represents, it seems fairly certain, Joseph Warton's expansion. Although this deprecatory comment seems rather abrupt coming after five sections devoted to the Elizabethan satirists, Joseph Warton is not disparaging where his brother praised. Thomas Warton had already (IV, 69) belittled the "innumerable crop of _satirists_, and of a set of writers differing but little more than in name, and now properly belonging to the same species, _Epigrammatists_."] [2] [Warton here combined several remarks in Dryden's essay "The Original and Progress of Satire." See John Dryden, _Essays_, ed. W. P. Ker (Oxford, 1900), II, 111-112. There were six, not four editions of Holiday's _Persius_.] [3] [Warton refers presumably to Isaac Reed's _Collection of Old Plays_ (London, 1780).] [4] [Jehan de] Nostredam [e]. _[Les] Vies des [...] Poet[es] Provens[aux]._ [Lyon, 1575] n. 59. pag. 199. [5] [William Hayley. _An] Ess[ay]_ on _Epic Poetry_. [London, 1782] _Notes, Ess._ iii. v. 81. p. 171. [6] They are entered to him, feb. 4, under that year [1591/92]. Registr. _Station._ B. fol. 284. a. In sixteens. I have a copy. Wh[ite] Lett[er i. e., roman]. With vignettes. [7] [Daniel was tutor to her son William Herbert and preceptor to Ann Clifford, Countess of Pembroke, but Sidney's sister seems to have been the patroness rather than the pupil of Daniel.] [8] His sister married John Florio, author of a famous Italian dictionary, and tutor to queen Anne, consort of James the first, in Italian, under whom Daniel was groom of the Privy-Chamber. [Anthoney a] Wood, _Ath[enae]_ _Oxon[ienses]_. [London, 1691-92.] i. 379. col. 1. [Warton's mention of "Daniel's Life" refers presumably to the brief biography by Wood, here cited.] [9] A. i. _Sc._ i[i]. [Warton was evidently quoting from the edition prepared by Thomas Hawkins and sold by his own printer, Prince--_The Origin of the English Drama_ (Oxford, 1773), III, 213.] [10] _Sonn._ 50. [To show how "One of Spenser's cotemporary poets has ridiculed the obsolete language of _The Fairy Queen_" Warton had already quoted the first two lines of this sonnet in the second edition of his _Observations on the Faerie Queene_ (London, 1762), I, 122, n.] [11] From a manuscript note by bishop Tanner inserted in Wood's _Athen. Oxon._ i. 379. Bibl. Bodl. ["Aug. 9. Jac. 1. The Dean and Chapter of Cht. Ch. by grant under their Common Seal out of regard for the learning wit and good conversation of Sam. Daniel gent. gave him leave to eat and drink at the Canons Table whenever he thought fit to come."--Tanner's marginal note (I, col. 447) in his copy (Bodleian MS. Top. Oxon. b. 8) of the second, 1721, edition of Wood. Although Philip Bliss in his edition of _Athenae Oxonienses_ (London, 1813) incorporated many of the marginalia inserted by Tanner in his copy of Wood, Bliss evidently overlooked this particular note. The editor is grateful to the Bodleian Library for a photostat and for permission to quote. According to Mr. W. G. Hiscock, Deputy Librarian at Christ Church, no mention of the "act" concerning Daniel is now to be found in the records under his care.] [12] See supr. iii. [433]. [Warton used Greek capitals in his title.] [13] At London in quarto [1582]. There is a fine manuscript copy, at present, in the British Museum. Watson has many pieces in _Englands Helicon_, 1600. [14] In quarto. [15] [Above the word "conformation" Warton added "constraint." It is not clear whether he intended both to stand.] [16] I have discovered, says Mr Steevens, in a Letter to me, that Watson's Sonnets, which were printed without date, were entered on the books of the Stationer's Company, in 1581: under the Title of, "Watsons Passions, manifesting the true frenzy of Love". The Entry is to Gabriel Cawood, who afterwards published them. [See _A Transcript of the Registers of the Company of Stationers of London_, ed. Edward Arber (London, 1875-1894), II, 409.] Ad Lectorem Hexasticon is prefixed "Green's Tullie's Love", & subscribed "Tho. Watson. Oxon."--[Robert Greene, _Ciceronis Amor. Tullies Love_ (London, 1601), Sig. A3 verso.] I find in [Joseph] _Ames' Typographical Antiquities_. [London, 1749] page 423. Amintae Gaudia. Authore Tho. Watsono. Londinensi. Juris studiosi [sic]. 4.'to. 1592 [This unique pencilled annotation seems to be in Joseph Warton's hand.] [17] [A note to accompany this Sonnet No. VII has been almost completely destroyed by the excision, unique in the notebook, of what was originally folio 17. The mutilated line ends of the note read thus: "... nd/ ... on/... omas/... s _Tr._" This note presumably referred to Thomas Watson and cited Section XI of "A Comparative Discourse of our English Poets," in Francis Meres's _Palladis Tamia: Wit's Treasury_ (London, 1598, fol. 280), where among those praised for their Latin verse are Christopher Ocland, Thomas Watson, Thomas Campion, Walter Haddon, and "Thomas Newton with his Leyland."] [18] Novemb. 19. [1594, not 1595.] Registr. _Station_. B. fol. 315. a. [19] There is [a] Sonnet by Spenser, never printed with his works, prefixed to Gabriel Harveys "Foure Letters, &c. Lond. 1592." I have much pleasure in drawing this little piece from obscurity, not only as it bears the name of Spenser, but as it is at the same time a natural unaffected effusion of friendship ... [four words illegible]. (See _Observations_ on Spenser's _Fair. Qu._ [II]. [245-247?].) "_Harvey_, the happy aboue happiest men, I read: that sitting like a looker-on of this worldes stage, doest note with critique pen The sharpe dislikes of each condition; And, as one carelesse of suspition, Ne fawnest for the favour of the great, Ne fearest foolish reprehension of faulty men, which daunger to thee threat; But freely doest, of what thee list, entreat, Like a great lord of peerlesse liberty: Lifting the good vp to high honours seat, And th' euil damning euermore to dy. For life and death is in thy doomefull writing So thy renowme liues euer by endighting. _Dublin_ this 18 of July, 1586. _Your devoted Friend during life, Edmund Spencer._" I avail myself of an opportunity of throwing together a few particulars of the life and writings of this very intimate friend of Spenser, more especially as they will throw general light on the present period. He was born at Saffron-Walden in Essex, [John] Strype's [_Life of the Learned Sir Thomas] Smith_. [London, 1698] p. 18. He was a fellow of Pembroke-Hall, Spenser's college: and was one of the proctors of the university of Cambridge, in 1583. [Thomas] Fuller's [_History of the University of] Cambridge_, p. 146. [in his] _Ch[urch] Hist[ory of Britain_]. [London, 1655.] Wood says, he was first of Christ's college, and afterwards fellow of Trinity-Hall, _Ath. Oxon._ F[asti, I, col. 755]. But Wood must be mistaken, for in the _Epilogus_ to his _Smithus_, addressed to John Wood Smith's amanuensis, Harvey dates from Pembroke-Hall. _Smithus_, Signat. G. iij. [G4 verso.] [Warton probably did not intend to deny that Harvey was a fellow of Trinity, but evidently felt that Wood was ignorant of the intermediate fellowship at Pembroke.] He was doctorated in jurisprudence at both universities. With his brother Henry, he was much addicted to Astrology. (See supr. [Vol. IV], p. 23.) He seems to have been a reader in rhetoric at Cambridge from his _Ciceronianus, vel Oratio post reditum habita Cantabrigiae ad suos auditores_. Lond. 1577. 4to. It is dedicated to William Lewin, I suppose of Christ's college. (See Wood, ubi supr.) He published also _Rhetor, vel duorum dierum oratio de natura arte et exercitatione_ rhetorica, Lond. 1577. 4'o. It is dedicated to Bartholomew Clark, the elegant translator of Castilios _Courtier_, who has also prefixed an address to our author's _Rhetor_, dated at Mitcham in Surrey, Cal. Sept. 1577. He published in four books, a set of Latin poems called _Gabrielis Harveii Gratulationum Valdinensium Libri quatuor_, &c. Lond. 1578. 4to. This book he wrote in honour of queen Elisabeth, while she was on a progress at Audley-end in Essex, "afterwards presenting the same in print to her Highnesse at the worshipfull Maister Capels in Hertfordshire." _Notes_ to Spenser's _September_. He mentions a most perfect and elegant delineation or engraving of all England, _perartificiose expressa_, procured by his friend M. Saccoford, to which the queen's effigy, _accuratissime depicta_, was prefixed. Lib. i. p. 13. In his character of an accomplished _Maid of Honour_ of the queen's court, some curious qualifications are recited. One of the first, to make her truly amiable, is what he calls _Affectatio_. She is to understand painting her cheeks, to have a collection of good jokes, to dance, draw, write verses, sing, and play on the lute, and furnish her library with some approved recipt-books. She is to be completely skilled in cosmetics. "_Deglabret_, lavet, atque ungat, &c." Lib. iiii. p. 21. 22. (See supr. ii[i]. [426, n].) Another book of Harvey's Latin poetry is his _Smithus, vel Musarum Lacrymae_, on the death of Seceretary [sic] Sir Thomas Smith, Lond. 1578. 4to. The dedication is to Sir Walter Mildmay. When Smith died, he says, Lord Surrey broke his lyre. _Cant._ v. He wishes on this mournful occasion, that More, Surrey, and Gascoigne, would be silent. _Cant._ vi. Ascham, Carr, Tonge, Bill, Goldwell, Watson, and Wilson, are panegyrised as imitators of Smith. [Nicholas Carr, 1524-1568, was Regius Professor of Greek at Cambridge. William Bill, d. 1561, was Master of Trinity College, Cambridge. Perhaps Tonge is the Barnaby Tonge who matriculated at Christ Church, Cambridge, in 1555. There were two John Goldwell's at Cambridge in Smith's day: one was a fellow at Queen's from 1538 to 1542; the other was named fellow of Trinity in 1546. For Wilson see Warton's discussion earlier in the _History_ (III, 331-344), where this very praise in Harvey's _Smithus_ is quoted.] _Cant._ vii. Signat. D. iij. See also, Sign. L. i. And C. ij. Wilson, the author of the _Art of Rhetoric_, is again commended. Ibid. Sign. E. ij. Again, Sign. F. i. F. ij. He thinks it of consequence to remember, that Smith gave a Globe, _mira arte politum_, to Queens College Library at Cambridge. Ibid, Sign. E. iij. [E4 verso.] He praises Lodovice Dolci's odes, and Ronsard. _Cant._ ii. Sign. C. i. His iambics are celebrated by his cotemporaries. See Meres, _Wits Tr._ fol. 280. 282. [283 verso.] (See supr. ii [i]. [401, n].) Nothing can be more unclassical than Harvey's Latin verse. He is _Hobbinol_ in Spenser's Pastorals. Under that name, he has prefixed two recommendatory poems to the first and second parts of the _Faerie queene_. [There was only one such poem, but in some folio editions it was inadvertently printed twice.] The old annotator on Spenser's Pastorals prefaces his commentary, with an address, dated 1579, "To the most excellent and learned both oratour and poet master _Gabriel Harvey_, &c." In the notes to _September_, he is said to have written many pieces, "partly vnder vnknowne titles, and partly vnder counterfeit names: as his _Tyrannomastix_, his _old [ode] Natalitia_, his _Rameidos_, and especially that part of _Philomusus_ his divine _Anticosmopolite_, &c." He appears to have been an object of the petty wits & pamphlet-critics of his times. His chief antagonists were Nash and Greene. In the _Foure Letters_ abovementioned, may be seen many anecdotes of his literary squabbles. To these controversies belong his _Pierces supererogation_, Lond. 1593. Sub-Joined, is a _New Letter of notable contents with a strange sound sonnet called_ Gorgon. To this is sometimes added _An Advertisement for Pap-Hatchet_ &c. Nash's _Apology of Pierce Penniless_, printed 1593, is well known. Nash also attacks Harvey, as a fortune-teller & ballad maker, in _Have with you to Saffron-Walden_. Nash also wrote a confutation of Harvey's _Foure Letters_, 1592. [_Strange News, of the Intercepting Certaine Letters_, to which Warton evidently refers, is actually the early title of the _Apology_.] I pass over other pieces of the kind. The origin of the dispute seems to have been, that Nash affirmed Harvey's father to have been a rope-maker at Saffron-Walden. Harvey died, aged about 90, at Saffron Walden, in 1630. [20] Sonn. xliii. [21] Sonn. xv. [22] Except in in [sic] such a passage as when he calls this favourite by "The master-mistress of my passion," _Sonn._ 20. And in a few others, where the expressions literally shew the writer to be a man. [Warton of course wanted to preserve Shakespeare's sonnets from the charge of homosexuality. In the eighteenth century the distaste for conceits and an acute sensitivity to the suspicion of homosexuality made the _Sonnets_ so unpopular that they were omitted from the editions of Shakespeare by, among others, Rowe, Pope, Theobald, Warburton, Capell, and Johnson.] [23] The last of these is that which begins, "O thou, my lovely Boy." _Sonn._ 126. [24] "When _absent_ from thee". [25] _Sonn._ 97. [26] They were _sweet_ indeed, but they wanted animation; and, in appearance, they were nothing more than beautiful resemblances or copies of you. [27] _Sonn._ 98. [28] _Sonn._ 99. [29] [Warton originally wrote "1609," but immediately scored it out and replaced it with "1599."] [30] In 16mo. With vignettes. Never entered in the Register of the Stationers. [Possibly Warton saw a volume registered by Eleazer Edgar on 3 January 1599/1600 as "A booke called _Amours_ by J. D. with certen oy'r sonnetes by W. S. vj'd" (Arber's _Stationers Register_, III, 153). This entry may indicate that Edgar held manuscripts of some of Shakespeare's sonnets, and some copies of the book so registered may have been published. However, if Warton had seen this hypothetical volume he should have correctly identified it: he had already (III, 402, n.) printed the Edgar entry from the Stationers Register. If this volume which Warton mentions ever actually existed, it cannot now be located. Concerning Warton's statement Mr. G. B. Oldham, Principal Keeper of Printed Books, British Museum, wrote as follows: "I have examined the sale catalogue which contains books from the library of the Reverend William Thomson of Queens College, Oxford, but have failed to find anything at all corresponding with the volume which Warton describes. There are not, in fact, many really scarce books in this catalogue and it rather looks as though the rarer items in Thomson's collection were otherwise disposed of. In any case I think there is a strong presumption that Warton's memory betrayed him." Thus, in the absence of any evidence concerning a 1599 edition of the _Sonnets_ and in the light of Thorpe's claim in 1609 that they were "Never before Imprinted," it seems probable that what Warton was vaguely recalling was actually a copy of Shakespeare's _Passionate Pilgrim_. This book, printed for Jaggard in 1599, my have misled Warton by its separate title page, _Sonnets to Sundry Notes of Musicke_. Such a volume as Warton describes was, it seems evident from surviving copies, frequently bound up to contain _The Passionate Pilgrim_, _Venus and Adonis_, and other small collections of poetry. The fact that Warton recollected the book as a l6mo. does not argue much against this identification. Though _The Passionate Pilgrim_ is actually an octavo, surviving copies measure about 4-1/2 by 3-1/4 inches, and as late as 1911 William Jaggard, in his _Shakespeare Bibliography_ (p. 429), described it as a 16mo. In explanation of Warton's probable error two extenuating facts should be remembered. First, since Thomson died about 1766, Warton's recollection was at least fifteen years old; and second, only in 1780 did Edmond Malone edit the _Sonnets_ and _The Passionate Pilgrim_ as discriminate texts comprising Shakespeare's lyrics. Even then Malone omitted without comment the separate title page _Sonnets to Sundry Notes of Musicke_. Previously, except in George Steevens's edition of the _Sonnets_, Shakespeare's poems were lumped together, with lyrics of several other Elizabethan poets, and printed as Shakespeare's _Poems on Several Occasions_. Moreover, Warton was not the first to write of a 1599 edition of the _Sonnets_. His friend Bishop Percy may have helped to create this false impression in Warton's memory. In his interleaved copy of Langbaine's _Account of the English Dramatick Poets_, immediately after Oldys's statement that Shakespeare's _Sonnets_ were not printed until 1609, Percy commented, "But this is a mistake. Lintot republished Shakespeare's Sonnets from an edition in 1599." Malone, in his transcript of Steevens's transcript of Percy, corrected Percy's mistake: "This is a mistake of Dr. Percy's. Lintot republished from old ed's but not from any ed. of 1599, except a very _few_ sonnets called the _Passionate Pilgrim_ printed in that year." (Photostat of Bergen Evans's transcript of Bodleian Malone 129-132.) Warton, however, may well have been misled by Percy's comment, for in the winter of 1769 he had borrowed and used Percy's annotated copy of Langbaine. (_The Percy Letters, The Correspondence of Thomas Percy and Thomas Warton_, ed. M. G. Robinson and Leah Dennis [Baton Rouge, 1951], pp. 135, 137.) It is unfortunate that the matter was not cleared up in discussion with Malone, whom at some time during the 1780's Warton furnished with a copy of the 1596 _Venus and Adonis_ and with whom he corresponded around 1785 concerning sonnets in general and Shakespeare in particular. (William Shakespeare, _Plays and Poems_, ed. Edmond Malone [London, 1790] X, 13, n. 1; and James Prior, _The Life of Edmond Malone_ [London, 1860], pp. 122-123.)] [31] _Wits Tr._ fol. 281. b. [The brackets in the text are Warton's.] [32] [Warton was of course much mistaken. Following the 1640 edition of Benson, Gildon had reprinted them under Shakespeare's name in 1709 (dated 1710) and again in 1714. The two Sewell editions appeared in 1725 and 1728. Invariably the poems seem to have been printed under Shakespeare's name, though perhaps not always in a collected edition of his complete poems. See Hyder Rollins's New Variorum edition of the _Sonnets_ (Philadelphia, 1944).] [33] [See Malone's _Supplement to the Edition of Shakespeare's Plays_ (London, 1780), I, 581.] [34] See supr. vol. iii. [p. 405]. [35] _Wits Tr._ fol. 284. a. He is again mentioned by Meres for his distich on king James's _Furies_ & _Lepanto_. fol. 284. b. [The distich, printed by Meres, is the final couplet of Barnfield's Sonnet II.] [36] _Sonn._ xii. [37] It begins thus. Nights were short, and daies were long, Blossoms on the hauthorns hong; Philomel, night-musickes kinge, Tolde the comming of the springe, &c. He does not scruple to insert these lines, Loue I did the fairest boy, That these fields did ere enioy. Loue I did faire Ganymed, Venus darling, beauties bed, &c. This piece was afterwards inserted in _Englands Helicon_. [38] See supr. vol. iii. p. [292, n.] I [am] now most inclined to think, that these initials mean Henry Constable, and not Henry Chettle. The Sonnets do not justify the applauses paid to Constable, by his contemporaries, Edmond Bolton, Meres, the author of the _Return_ from _Parnassus_, and many others. Some of his sonnets are prefixed to Sydney's _Apology for Poetry_. The initials H. C. often occur in _Englands Helicon_. I take this opportunity of saying that some pieces of Chettle were among Mr. Beauclerc's books. (See supr. iii. [291-292, n.?]) [Indeed the annotations in the Harvard Library copy of the _Bibliotheca Beauclerkiana_ (p. 102) suggest that either Thomas Warton or, more probably, his brother may have purchased the copy of Chettle's _Englands Mourning Garment_ owned by Thomas Warton's former student. It was sold to "Dr. W."] [39] See supr. iii. [480.] [R. L. was Richard Lynch.] [40] In 16'mo. With vignettes. They are sixty two in number. The best is that which begins, Venus, and yong Adonis sitting by her, Vnder a myrtle shade began to woe him She told the yongling, &c. Sonn. iii. He calls Sleep, "Balme of the brused heart." Sonn. xv. PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY FIRST YEAR (1946-47) Numbers 1-6 out of print. SECOND YEAR (1947-1948) 7. John Gay's _The Present State of Wit_ (1711); and a section on Wit from _The English Theophrastus_ (1702). 8. Rapin's _De Carmine Pastorali_, translated by Creech (1684). 9. T. Hanmer's (?) _Some Remarks on the Tragedy of Hamlet_ (1736). 10. Corbyn Morris' _Essay towards Fixing the True Standards of Wit, etc._ (1744). 11. Thomas Purney's _Discourse on the Pastoral_ (1717). 12. Essays on the Stage, selected, with an Introduction by Joseph Wood Krutch. THIRD YEAR (1948-1949) 13. Sir John Falstaff (pseud.), _The Theatre_ (1720). 14. Edward Moore's _The Gamester_ (1753). 15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_ (1712); and Arthur Mainwaring's _The British Academy_ (1712). 16. Nevil Payne's _Fatal Jealousy_ (1673). 17. Nicholas Rowe's _Some Account of the Life of Mr. William Shakespeare_ (1709). 18. "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 (1719); and Aaron Hill's Preface to _The Creation_ (1720). FOURTH YEAR (1949-1950) 19. Susanna Centlivre's _The Busie Body_ (1709). 20. Lewis Theobold's _Preface to The Works of Shakespeare_ (1734). 21. _Critical Remarks on Sir Charles Grandison, Clarissa, and Pamela_ (1754). 22. Samuel Johnson's _The Vanity of Human Wishes_ (1749) and Two _Rambler_ papers (1750). 23. John Dryden's _His Majesties Declaration Defended_ (1681). 24. Pierre Nicole's _An Essay on True and Apparent Beauty in Which from Settled Principles is Rendered the Grounds for Choosing and Rejecting Epigrams_, translated by J. V. Cunningham. FIFTH YEAR (1950-51) 25. Thomas Baker's _The Fine Lady's Airs_ (1709). 26. Charles Macklin's _The Man of the World_ (1792). 27. Frances Reynolds' _An Enquiry Concerning the Principles of Taste, and of the Origin of Our Ideas of Beauty, etc._ (1785). 28. John Evelyn's _An Apologie for the Royal Party_ (1659); and _A Panegyric to Charles the Second_ (1661). 29. Daniel Defoe's _A Vindication of the Press_ (1718). 30. Essays on Taste from John Gilbert Cooper's _Letters Concerning Taste_, 3rd edition (1757), & John Armstrong's _Miscellanies_ (1770). SIXTH YEAR (1951-1952) 31. Thomas Gray's _An Elegy Wrote in a Country Church Yard_ (1751); and _The Eton College Manuscript_. 32. Prefaces to Fiction; Georges de Scudéry's Preface to _Ibrahim_ (1674), etc. 33. Henry Gally's _A Critical Essay_ on Characteristic-Writings (1725). 34. Thomas Tyers' A Biographical Sketch of Dr. Samuel Johnson (1785). 35. James Boswell, Andrew Erskine, and George Dempster. _Critical Strictures on the New Tragedy of Elvira, Written by Mr. David Malloch_ (1763). 36. Joseph Harris's _The City Bride_ (1696). 37. Thomas Morrison's _A Pindarick Ode on Painting_ (1767). 38. John Phillips' _A Satyr Against Hypocrites_. William Andrews Clark Memorial Library: University of California THE AUGUSTAN REPRINT SOCIETY _General Editors_ H. RICHARD ARCHER Wm. Andrews Clark Memorial Library R. C. BOYS University of Michigan RALPH COHEN University of California, Los Angeles VINTON A. DEARING University of California, Los Angeles _Corresponding Secretary_: MRS. EDNA C. DAVIS, Wm. Andrews Clark Memorial Library The Society exists to make available inexpensive reprints (usually facsimile reproductions) of rare seventeenth and eighteenth century works. The editorial policy of the Society remains unchanged. As in the past, the editors welcome suggestions concerning publications. All income of the Society is devoted to defraying cost of publication and mailing. All correspondence concerning subscriptions in the United States and Canada should be addressed to the William Andrews Clark Memorial Library, 2205 West Adams Boulevard, Los Angeles 18, California. Correspondence concerning editorial matters may be addressed to any of the general editors. The membership fee is $3.00 a year for subscribers in the United States and Canada and 15/- for subscribers in Great Britain and Europe. British and European subscribers should address B. H. Blackwell, Broad Street, Oxford, England. * * * * * Publications for the seventh year [1952-1953] (At least six items, most of them from the following list, will be reprinted.) _Selections from the Tatler, the Spectator, the Guardian._ Introduction by Donald F. Bond. BERNARD MANDEVILLE: _A Letter to Dion_ (1732). Introduction by Jacob Viner. M. C. SARBIEWSKI: _The Odes of Casimire_ (1646), Introduction by Maren-Sofie Roestvig. _An Essay on the New Species of Writing Founded by Mr. Fielding_ (1751). Introduction by James A. Work. [THOMAS MORRISON]: _A Pindarick Ode on Painting_ (1767). Introduction by Frederick W. Hilles. [JOHN PHILLIPS]: _Satyr Against Hypocrits_ (1655). Introduction by Leon Howard. _Prefaces to Fiction._ Second series. Selected with an introduction by Charles Davies. THOMAS WARTON: _A History of English Poetry: An Unpublished Continuation_. Introduction by Rodney M. Baine. Publications for the first six years (with the exception of NOS. 1-6, which are out of print) are available at the rate of $3.00 a year. Prices for individual numbers may be obtained by writing to the Society. * * * * * THE AUGUSTAN REPRINT SOCIETY _WILLIAM ANDREWS CLARK MEMORIAL LIBRARY_ 2205 WEST ADAMS BOULEVARD, LOS ANGELES 18, CALIFORNIA Make check or money order payable to THE REGENTS OF THE UNIVERSITY OF CALIFORNIA. *** END OF THE PROJECT GUTENBERG EBOOK A HISTORY OF ENGLISH POETRY *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.