PART I.

PAGE Dedication 3 Verses addressed to the Author 5

I. Poems Addressed or Relating To Lucasta.

Song. To Lucasta. Going beyond the Seas 25 Song. To Lucasta. Going to the Warres 26 A Paradox 27 Song. To Amarantha, that she would Dishevell her Haire 29 Sonnet 31 Ode. To Lucasta. The Rose 31 Love Conquer'd. A Song 33 A Loose Saraband 34 Orpheus to Woods 37 Orpheus to Beasts 37 Dialogue. Lucasta, Alexis 39 Sonnet 41 Lucasta Weeping. Song 42 To Lucasta, from Prison. An Epode 43 Lucasta's Fanne, with a Looking-glasse in it 46 Lucasta, taking the Waters at Tunbridge 48 To Lucasta. Ode Lyrick 50 Lucasta paying her Obsequies to the Chast Memory of my Dearest Cosin Mrs. Bowes Barne[s] 51 Upon the Curtaine of Lucasta's Picture, it was thus Wrought 53 Lucasta's World. Epode 53 The Apostacy of One, and but One Lady 54 Amyntor from beyond the Sea to Alexis. A Dialogue 56 Calling Lucasta from her Retirement 58 Amarantha, a Pastoral 60

II. Poems Addressed to Ellinda.

To Ellinda, that lately I have not written 74 Ellinda's Glove 75 Being Treated. To Ellinda 76 To Ellinda, upon his late Recovery. A Paradox 79

III. Miscellaneous Poems

To Chloe, courting her for his Friend 81 Gratiana Dauncing and Singing 82 Amyntor's Grove 84 The Scrutinie 89 Princesse Loysa Drawing 90 A Forsaken Lady to her False Servant 92 The Grassehopper. To My Noble Friend, Mr. Charles Cotton [the elder] 94 An Elegie on the Death of Mrs. Cassandra Cotton 97 The Vintage to the Dungeon. A Song 99 On the Death of Mrs. Elizabeth Filmer. An Elegiacall Epitaph 100 To My Worthy Friend Mr. Peter Lilly 102 The Lady A[nne] L[ovelace]. My Asylum in a Great Extremity 104 A Lady with a Falcon on her Fist. To the Honourable my Cousin A[nne] L[oveace] 108 A Prologue to the Scholars 110 The Epilogue 111 Against the Love of Great Ones 113 To Althea, from Prison 117 Sonnet. To Generall Goring, after the Pacification at Berwicke 120 Sir Thomas Wortley's Sonnet 122 The Answer 123 A Guiltlesse Lady Imprisoned; after Penanced 124 To His Deare Brother Colonel F[rancis] L[ovelace] 125 To a Lady that desired me I would beare my part with her in a Song 126 Valiant Love<TOC.1> 131 La Bella Bona Roba. To My Lady H. 133 Sonnet. "I Cannot Tell," &c. 134 A la Bourbon 135

The Faire Begger 136 A Dialogue betwixt Cordanus and Amoret 138

<This is approximately the original location of footnote <TOC.1>. This footnote has been moved to a position after the poem 'La Bella Bona Roba.'>

IV. Commendatory and Other Verses, prefixed to Various Publications between 1638 and 1647.

An Elegie. Princesse Katherine Borne, Christened, Buried in one Day (1638) 140 Clitophon and Lucippe translated. To the Ladies (1638) 143 To My Truely Valiant, Learned Friend; who in his Booke resolv'd the Art Gladiatory into the Mathematicks (1638) 146 To Fletcher Reviv'd (1647) 148

PART II.

I. Poems Addressed or Relating to Lucasta.

Dedication 155 To Lucasta. Her Reserved Looks 157 Lucasta Laughing 157 Night. To Lucasta 158 Love Inthron'd 159 Her Muffe 160 A Black Patch on Lucasta's Face 162 Another 163 To Lucasta 165 To Lucasta 165 Lucasta at the Bath 166 The Ant 168

II. Miscellaneous Poems.

Song. Strive not, &c. 170 In Allusion to the French Song: "N'entendez vous pas ce Language" 171 Courante Monsieur 173 A Loose Saraband 174 The Falcon 176 Love made in the First Age. To Chloris 180 To a Lady with Child that ask'd an Old Shirt 183 Song. In mine own Monument I lye, &c. 184 Another. I did believe, &c. 184 Ode. You are deceiv'd, &c. 185 The Duell 187 Cupid far gone 188 A Mock Song 190 A Fly caught in a Cobweb 191 A Fly about a Glasse of Burnt Claret 193 Female Glory 196 A Dialogue. Lute and Voice 197 A Mock Charon. Dialogue 198 The Toad and Spyder. A Duell 199 The Snayl 207 Another 209 The Triumphs of Philamore and Amoret 211 Advice to my best Brother, Coll: Francis Lovelace 218 Paris's Second Judgement 221 Peinture. A Panegyrick to the best Picture of Friendship, Mr. Pet. Lilly 222 An Anniversary on the Hymeneals of my Noble Kinsman, Thomas Stanley, Esq. 227 On Sanazar's being honoured with 600 Duckets by the Clarissimi of Venice 229

III. Commendatory Verses, prefixed to Various Publications between 1652 and 1657.

To My Dear Friend, Mr. E[ldred] R[evett] on his Poems moral and divine 241 On the Best, Last, and only Remaining Comedy of Mr. Fletcher, "The Wild-Goose Chase" (1652) 245 To My Noble Kinsman Thomas Stanley, Esq.; on his Lyrick Poems composed by Mr. John Gamble (1656) 247 To Dr. F. B[eale]; on his Book of Chesse (1656) 249 To the Genius of Mr. John Hall (1657) 250

Translations 253

Elegies on the Death of the Author 279

INTRODUCTION.

There is scarcely an UN-DRAMATIC writer of the Seventeenth Century, whose poems exhibit so many and such gross corruptions as those of the author of LUCASTA. In the present edition, which is the first attempt to present the productions of a celebrated and elegant poet to the admirers of this class of literature in a readable shape, both the text and the pointing have been amended throughout, the original reading being always given in the footnotes; but some passages still remain, which I have not succeeded in elucidating to my satisfaction, and one or two which have defied all my attempts at emendation, though, as they stand, they are unquestionably nonsense. It is proper to mention that several rather bold corrections have been hazarded in the course of the volume; but where this has been done, the deviation from the original has invariably been pointed out in the notes.

On the title-page of the copy of LUCASTA, 1649, preserved among the King's Pamphlets in the British Museum, the original possessor has, according to his usual practice, marked the date of purchase, viz., June 21; perhaps, and indeed probably, that was also the date of publication. A copy of LUCASTA, 1649, occasionally appears in catalogues, purporting to have belonged to Anne, Lady Lovelace; but the autograph which it contains was taken from a copy of Massinger's BONDMAN (edit. 1638, 4to.), which her Ladyship once owned. This copy of Lovelace's LUCASTA is bound up with the copy of the POSTHUME POEMS, once in the possession of Benjamin Rudyerd, Esq., grandson and heir of the distinguished Sir Benjamin Rudyerd, as appears also from his autograph on the title.<1.1>

In the original edition of the two parts of LUCASTA, 1649-59, the arrangement of the poems appears, like that of the text, to have been left to chance, and the result has been a total absence of method. I have therefore felt it part of my duty to systematise the contents of the volume, and, so far as it lay in my power, to place the various pieces of which it consisted in their proper order; all the odes, sonnets, &c. addressed or referring to the lady who is concealed under the names of LUCASTA and AMARANTHA have now been, for the first time, brought together; and the copies of commendatory and gratulatory verses, with one exception prefixed by Lovelace to various publications by friends during his life-time, either prior to the appearance of the first part of his own poems in 1649, or between that date and the issue of his Remains ten years later, have been placed by themselves, as an act of justice to the writer, of whose style and genius they are, as is generally the case with all compositions of the kind, by no means

favourable specimens. The translations from Catullus, Ausonius, &c. have been left as they stood; they are, for the most part, destitute of merit; but as they were inserted by the Poet's brother, when he edited the posthumous volume, I did not think it right to disturb them, and they have been retained in their full integrity.

Lovelace's LUCASTA was included by the late S. W. Singer, Esq., in his series of "Early English Poets;" but that gentleman, besides striking out certain passages, which he, somewhat unaccountably and inconsistently, regarded as indelicate, omitted a good deal of preliminary matter in the form of commendatory verses which, though possibly of small worth, were necessary to render the book complete; it is possible, that Mr. Singer made use of a copy of LUCASTA which was deficient at the commencement. It may not be generally known that, independently of its imperfections in other respects, Mr. Singer's reprint abounds with the grossest blunders.

The old orthography has been preserved intact in this edition; but with respect to the employment of capitals, the entirely arbitrary manner in which they are introduced into the book as originally published, has made it necessary to reduce them, as well as the singularly capricious punctuation, to modern rules. At the same time, in those cases where capitals seemed more characteristic or appropriate, they have been retained.

It is a singular circumstance, that Mr. Singer (in common with Wood, Bliss, Ellis, Headley, and all other biographers,) overlooked the misprint of ARAMANTHA for AMARANTHA, which the old compositor made, with one or two exceptions, wherever the word occurred. In giving a correct representation of the original title-page, I have been obliged to print ARAMANTHA.

In the hope of discovering the exact date of Lovelace's birth and baptism, I communicated with the Rev. A. J. Pearman, incumbent of Bethersden, near Ashford, and that gentleman obligingly examined the registers for me, but no traces of Lovelace's name are to be found.

W. C. H.

Kensington, August 12, 1863.

<1.1> Mr. B. R. was a somewhat diligent collector of books, both English and foreign. On the fly-leaves of his copy of Rosse's MYSTAGOGUS POETICUS, 1648, 8vo., he has written the names of a variety of works, of which he was at the time seemingly in recent possession.

BIOGRAPHICAL NOTICE.

With the exception of Sir Egerton Brydges, who contributed to the GENTLEMAN'S MAGAZINE for 1791-2 a series of articles on the life and writings of the subject of the present memoir, all the biographers of Richard Lovelace have contented themselves with following the account left by Anthony Wood of his short and unhappy career. I do not think that I can do better than commence, at least, by giving word for word the narrative of Wood in his own language, to which I purpose to add such additional particulars in the form of notes or otherwise, as I may be able to supply. But the reader must not expect much that is new: for I regret to say that, after the most careful researches, I have not improved, to any large extent, the state of knowledge respecting this elegant poet and unfortunate man.

"Richard Lovelace," writes Wood, "the eldest son of Sir William Lovelace<2.1> of Woollidge in Kent, knight, was born in that country [in 1618], educated in grammar learning in Charterhouse<2.2> School near London, became a gent. commoner of Gloucester Hall in the beginning of the year 1634,<2.3> and in that of his age sixteen, being then accounted the most amiable and beautiful person that ever eye beheld; a person also of innate modesty, virtue, and courtly deportment, which made him then, but especially after, when he retired to the great city, much admired and adored by the female sex. In 1636, when the king and queen were for some days entertained at Oxon, he was, at the request of a great lady belonging to the queen, made to the Archbishop of Canterbury [Laud], then Chancellor of the University, actually created, among other persons of quality, Master of Arts, though but of two years' standing; at which time his conversation being made public, and consequently his ingenuity and generous soul discovered, he became as much admired by the male, as before by the

female, sex. After he had left the University, he retired in great splendour to the court, and being taken into the favour of Lord George Goring, afterwards Earl of Norwich, was by him adopted a soldier, and sent in the quality of an ensign, in the Scotch expedition, an. 1639. Afterwards, in the second expedition, he was commissionated a captain in the same regiment, and in that time wrote a tragedy called THE SOLDIER, but never acted, because the stage was soon after suppressed. After the pacification of Berwick, he retired to his native country, and took possession [of his estate] at Lovelace Place, in the parish of Bethersden,<2.4> at Canterbury, Chart, Halden, &c., worth, at least, <pounds>500 per annum. About which time he [being then on the commission of the peace] was made choice of by the whole body of the county of Kent at an assize, to deliver the Kentish petition<2.5> to the House of Commons, for the restoring the king to his rights, and for settling the government, &c. For which piece of service he was committed

[April 30, 1642] to the Gatehouse at Westminster,<2.6> where he made that celebrated song called, STONE WALLS DO NOT A PRISON MAKE, &c. After three or four months' [six or seven weeks'] imprisonment, he had his liberty upon bail of <pounds>40,000 [<pounds>4000?] not to stir out of the lines of communication without a pass from the speaker. During the time of this confinement to London, he lived beyond the income of his estate, either to keep up the credit and reputation of the king's cause by furnishing men with horses and arms, or by relieving ingenious men in want, whether scholars, musicians, soldiers, &c. Also, by furnishing his two brothers, Colonel Franc. Lovelace, and Captain William Lovelace (afterwards slain at Caermarthen)<2.7> with men and money for the king's cause, and his other brother, called Dudley Posthumus Lovelace, with moneys for his maintenance in Holland, to study tactics and fortification in that school of war. After the rendition of Oxford garrison, in 1646, he formed a regiment for the service of the French king, was colonel of it, and

wounded at Dunkirk;<2.8> and in 1648, returning into England, he, with Dudley Posthumus before mentioned, then a captain under him, were both committed prisoners to Peter House,<2.9> in London, where he framed his poems for the press, entitled, LUCASTA: EPODES, ODES, SONNETS, SONGS, &c., Lond. 1649, Oct. The reason why he gave that title was because, some time before, he had made his amours to a gentlewoman of great beauty and fortune, named Lucy Sacheverell, whom he usually called LUX CASTA; but she, upon a stray report that Lovelace was dead of his wound received at Dunkirk, soon after married.<2.10> He also wrote ARAMANTHA [Amarantha], A PASTORAL, printed with LUCASTA.<2.11> Afterwards a musical composition of two parts was set to part of it by Henry Lawes,<2.12> sometimes servant to king Charles I., in his public and private music.

"After the murther of king Charles I. Lovelace was set at liberty, and, having by that time consumed all his estate,<2.13> grew very melancholy (which brought him at length into a consumption), became very poor in body and purse, was the object of charity, went in ragged cloaths (whereas when he was in his glory he wore cloth of gold and silver), and mostly lodged in obscure and dirty places, more befitting the worst of beggars and poorest of servants, &c. After his death his brother Dudley, before mentioned, made a collection of his poetical papers, fitted them for the press, and entitled them LUCASTA: POSTHUME POEMS, Lond. 1659,<2.14> Oct., the second part, with his picture before them.<2.15> These are all the things that he hath extant; those that were never published were his tragedy, called THE SOLDIER or SOLDIERS, before mentioned; and his comedy, called THE SCHOLAR,<2.16> which he composed at sixteen years of age, when he came first to Gloucester hall, acted with applause afterwards in Salisbury Court. He died in a very mean lodging in Gunpowder

Alley,<2.17> near Shoe Lane,<2.18> and was buried at the west-end of the church of S. Bride, alias Bridget, in London, near to the body of his kinsman Will. Lovelace, of Gray's Inn, Esq., in sixteen hundred fifty and eight,<2.19> having before been accounted by all those that well knew him to have been a person well versed in the Greek<2.20> and Latin<2.21> poets, in music, whether practical or theoretical, instrumental or vocal, and in other things befitting a gentleman. Some of the said persons have also added, in my hearing, that his common discourse was not only significant and witty, but incomparably graceful, which drew respect from all men and women. Many other things I could now say of him, relating either to his most generous mind in his prosperity, or dejected estate in his worst state of poverty, but for brevity's sake I shall now pass them by. At the end of his Posthume Poems are several elegies written on him by eminent poets of that time, wherein you may see his just character."

Such is Wood's account; it is to be regretted that that writer did not supply the additional information, which he tantalizes us by saying that he possessed, and could have published, had he not been afraid of being tedious. His love of brevity is, in this case, most provoking.

As might be expected, the Journals of Parliament cast additional light on the personal connexion of Lovelace with the Kentish Petition of 1642, which was for the GENERAL redress of existing grievances, not, as the editor of the VERNEY PAPERS seems to have considered, merely for the adjustment of certain points relative to the Militia. Parliamentary literature has not a very strong fascination for the editors of old authors, and the biographers of Lovelace have uniformly overlooked the mine of information which lies in the LORDS' AND COMMONS' JOURNALS. The subject was apparently introduced, for the first time, into Parliament on the 28th March, 1642, when a conference of both Houses took place, respecting "a petition from Kent, which, praying for a Restoration of the Bishops, Liturgy and Common Prayer, and other constitutional measures, was voted seditious and against privilege and the peace of the kingdom;" on the same occasion, Lord Bristol and Mr. Justice Mallett were committed to the Tower for having in their possession

a copy of the document. On the 7th April it was ordered by both Houses, that the Kentish Petition should be burned by the hands of the common hangman.

On the 28th April, the Commons acquainted the Upper House, by Mr. Oliver Cromwell, "that a great meeting was to be held next day on Blackheath, to back the rejected Kentish Petition."<2.22>

Two days later, a strange scene occurred at Westminster. Let the Commons' Journals tell the story in their own language:—

"30 April, 1642. The House being informed that divers gentlemen of the county of Kent were at the door, that desired to present a petition to the House;

"They were called in, presented their Petition, and withdrew.

"And their Petition was read, and appeared to be the same that was formerly burnt, by order of both Houses, by the hands of the common hangman. Captain LEIGH reports that, being at the Quarter Sessions held at MAIDSTONE, he observed certain passages which he delivered in writing.

"Captain Lovelace, who presented the Petition, was called in; and Mr. Speaker was commanded to ask him, from whose hand he had this Petition, and who gave him warrant to present it.

"'Mr. GEO. CHUTE delivered him [he replied] the Petition the next day after the Assizes.'

"'The gentlemen [he continued], that were assembled at BLACKHEATH, commanded him to deliver it.'

"[The Speaker then inquired] whether he knew that the like was burnt by the order of this House, and that some were here questioned for the business.

"'He understood a general rumour, that some gentlemen were questioned.

"'He had heard a fortnight since, that the like Petition was burned by the hand of the common hangman.

"'He knew nothing of the bundle of printed petitions.'

"He likewise said, 'that there was a petition at the Quarter Sessions, disavowed by all the Justices there, which he tore.'

"Sir William Boteler was likewise called in, [and] asked when he was at Yorke.

"[He] answered, 'On Wednesday last was sevennight, he came from Yorke, and came to his house in London.

"'He heard of a petition that was never delivered.

"'He never heard of any censure of the Parliament.