THE COMPLETE POEMS OF SIR JOHN DAVIES.

EDITED,

WITH

Memorial-Introduction and Notes,

BY THE

REV. ALEXANDER B. GROSART.

[Pg iii]

IN TWO VOLUMES.—VOL. II.

London: CHATTO AND WINDUS, PICCADILLY. 1876.

[Pg iv]

Contents.

Those marked with [*] are either printed for the first time, or for the first time published among Davies' Poems.

[Pg v]

ERRATA.

[Pg xi]

A very few 'slips' have met my eyes on a final reading. They are—as says an ancient Divine—"as easily corrected as espied." Nevertheless they are here recorded that the Reader of his charity may put them right, and any others that may have escaped Editor and Printer. In Nosce Teipsum, the heading and head-line (Vol. I., pp. 25, 26 onward) has 'Immortalitie' misprinted 'Immortalite'—a common contemporary spelling—but it is 'tie' in the title-page (p. 5): ib. p. 80, l. 15, read 'be best.' In Hymnes to Astræa, ib. p. 147, l. 3, remove period (.) after 'rayes.' In Orchestra, ib. p. 181, st. 53, l. 7, read 'perfect-cunning': p. 185, foot-note 7, put G. at end: p. 192, st. 81, l. 7, 'Ply' = entwine (omitted): p. 194, foot-note 7, is 'coach,' not 'couch': p. 202, l. 10, 'shoe' was the contemporary spelling: p. 204, st. 113, l. 6, insert 'it' before 'shine.'—G.

[Pg xii]

[Pg 1]

IV. EPIGRAMS, WITH ADDITIONS.

[Pg 2]

NOTE.

I am indebted to the Bodleian copy—among Malone's books—for my text of these 'Epigrams.' I have preferred this edition to the two others that preceded, inasmuch as, while it, like them, bears the imprint of 'Middlebourgh,' there seems no reason to doubt that it was printed in London: therefore most probably under the author's eye. The volume is a small 12mo. and the following is the title-page:—

[Pg 3]

All OVIDS ELEGIES 3 Bookes By C. M. EPIGRAMS BY J. D. At Middlebourgh.

Malone has filled in in MS. 'Christopher Marlowe and John Davis.' Cf. Collier's Bibliographical Account of Early English Literature: Vol I. s.n.

The Rev. Alexander Dyce in his collective edition of the Works of Marlowe, has given Davies' "Epigrams" in extenso, with a painstaking collation of the various readings from the other two editions (both undated) together with similar various readings from a Manuscript discovered by him in the Harleian Collection (1836.) Mr. Dyce with reference to his reprint of the 'Epigrams,' and the foregoing MS. says, "I have given them with the text considerably improved by means of one of the Harleian MSS." ('Some[Pg 4] Account of Marlowe and his Writings: p. xl: edition 1862.) I must demur to this alleged 'improvement.' The MS. has no authority whatever, the Scribe being an extremely ignorant and blundering one. These nine examples out of many, taken at random, will suffice to prove this:

[1] Epigram 1, line first.

he actually reads, spite of its heading 'Ad Musam'

[2] Epigram 2, line 14

he gives, to neglect of the rhyme with 'yeare'

[3] Epigram 3, line 5, for 'fry' he stupidly reads 'cry.'

[4] Epigram 13, line 9, for 'sectaries' he gives nonsensically 'scituaries.'

[5] Epigram 15, line 3.

he transmogrifies into

[6] Epigram 26, line 11, he substitutes 'sweete' for 'hot' oblivious of the rhyme with 'petticoat.'

[7] Epigram 36, line 19, for 'rarifie' he reads 'ratiffie'[!]

[8] Epigram 41, line 2,

he gives thus

[Pg 5]

[9] Epigram 43, line 3, for 'Paris-garden' he has 'Parish-garden;' and so on ludicrously, with numerous proper names.

Any one capable of perpetrating such stupidities as these, ought not in my opinion, to be allowed to displace a text printed for the Author, more especially his cannot for a moment be allowed to over-bear the third edition, our text.

From a confused inscription on the first page of the MS. its probable writer is ascertained. It is as follows "Ex spoliis Richardi Wharfe, ex...... It is much trouble and much.... Ex spoliis R. W." Underneath is the book-plate of John, Duke of Newcastle. The general title runs "Epigramma in Musam, like Buckminster's Allmanacks servinge generallie for all England: but especiallie for the meridian of this famous Cittie of London." I regret that besides these (mis-called) 'improvements,' so admirable an Editor should have modernized throughout, the ORTHOGRAPHY equally of Marlowe and of Davies: and all the more, that in his 'Notes' he adheres to the original orthography whenever he quotes from his wealth of illustrative extracts. The annotation condemns the text. Without any hesitation therefore, I have set aside Mr. Dyce's reprints, and returned (as supra) to Davies' own text and orthography, saving a slight reduction of capitals and italics. None the less do I owe thanks to Mr. Dyce for his kind permission kindly given, to use any 'Notes'

that might be deemed interesting.[Pg 6] Those that I have taken are marked with his initial, D. I have to add another important correction of Mr. Dyce. After describing the Harleian MS. he observes "Though it is of a date considerably posterior to the first appearance in print of Epigrams by I. D., perhaps all the pieces which it exhibits are from the pen of Davies. (page 353.) Homer nods here: for on reading these additional 'Epigrams' thus assigned to Davies, I at once discovered that they consisted merely of a like blundering transcript of the "Satyricall Epigrams" of Henry Hutton, Dunelmensis, that were appended to his "Follie's Anatomie or Satyres" (1619.) The oversight is the more noticeable in that all these were reprinted in 1842, (edited by Rimbault), for the Percy Society, whereof Mr. Dyce was one of the most effective members of Council.

I confess that it was far from a disappointment to find that the 'Epigrams' of Davies were not to be increased to the extent they would have been had I accepted Mr. Dyce's opinion, and failed to discover the Hutton-authorship of nearly all those in the Manuscript, additional to his acknowledged ones. Nevertheless in the Appendix to our reprint of the 'Epigrams' I give certain additions from this Manuscript, that are found neither in Davies's nor Hutton's publications, but which seem to me to have the ring of Davies in them. The remainder—prefixed and affixed—may well be left in Manuscript. See the Memorial-Introduction for more on these Epigrams. G.

[Pg 7]

Epigrammes.

Ad Musam. 1.

Of a Gull. 2.

[Pg 10]

In Ruffum. 3.

In Quintum. 4.

In Plurimos.[15] 5.

[Pg 12]

In Titam.[21] 6.

In Faustum. 7.

In Katum.[28] 8.

In Librum. 9.

In Medontem. 10.

In Gellam. 11.

In Quintum. 12.

In Severum. 13.

In Leucam. 14.

In Macrum. 15.

In Fastum.[43] 16.

In Cosmum. 17.

In Flaccum. 18.

[Pg 19]

In Cineam. 19.

[Pg 20]

In Gerontem. 20.

In Marcum. 21.

In Ciprum.[56] 22.

In Cineam. 23.

In Gallum. 24.

In Decium. 25.

[Pg 26]

In Gellam. 26.

[Pg 27]

In Syllam. 27.

In Sillam. 28.

[Pg 29]

In Haywodum.[81] 29.

[Pg 30]

In Dacum.[84] 30.

[Pg 31]

In Priscum. 31.

In Brunum. 32.

In Francum. 33.

In Castorem. 34.

In Septimium. 35.

Of Tobacco. 36.

[Pg 35]

In Crassum. 37.

In Philonem. 38.

In Fuscum. 39.

In Afram. 40.

In Paulum. 41.

[Pg 40]

In Licum. 42.

In Publium. 43.

In Sillam. 44.

In Dacum.[121] 45.

[Pg 43]

In Marcum. 46.

Meditations of a Gull. 47.

Ad Musam. 48.

Finis. I. D.

[Pg 47]

Appendix to Epigrams:

(FROM THE HARLEIAN MSS. 1836.)

As explained in the Note, page 6 ante, I have gleaned a few additions to these Epigrams. At close of those of Hutton,—in the MS. marked 60 and in Hutton's own volume 56,—on folio 15d, is the word 'finis.' Immediately under this, the MS. is continued in the same handwriting on to folio 19, whereon 'finis' is again placed: and on folios 19 and 20 Lines 'of Tobacco' with 'finis' once more. These Lines on 'Tobacco' are curious: and somewhat resemble those on 'Moly' given in the Hitherto Unpublished Poems of Davies, onward. G.

1. In Superbiam. Epi. 4.

[Pg 48]

2. Epi. 5.

CORNIX:. by adding COR to NIX.

3. Epi. 6.

4. In Amorosum. Epi. 7.

5. Epi. 9.

6. Epi. 10.

[Pg 50]

[Pg 51]

V. GULLINGE SONNETS.

[Pg 52]

[Pg 53]

NOTE.

These 'Gullinge Sonnets' were first printed in my reproduction of the Dr. Farmer MS. for the Chetham Society (2 vols. 4to., 1873) in Part I. pp. 76-81. There seems no question that these Sonnets belong to Sir John Davies. Besides the "J. D." and "Mr. Dauyes" of the MS., his most marked turns of thought and epithet are readily discernible in them. See critical remarks on them and their probable motif in Memorial-Introduction.

The Sir Anthony Cooke to whom these Sonnets are dedicated descended from the Sir Anthony who was Preceptor to King Edward VI., and for Letters from whom whoso cares may consult the "Reformation" correspondence of the Parker Society. His daughter Mildred was second wife of Lord Burleigh, and his daughter Anne was mother of the Bacon. His son and heir, Richard Cooke, died in 1579, and was succeeded by his son Anthony (this Sir Anthony), who was knighted in 1596 by the Earl of Essex at the sacking of Cadiz. He was buried at Romford, Essex, on the 28th December, 1604. G.

[Pg 54] [Pg 55]

[Dedicatory Sonnet.]

TO HIS GOOD FREINDE SR ANTH. COOKE.

[Pg 56] [Pg 57]

Gullinge Sonnets.

[Pg 61]

[Pg 63]

[Pg 64] [Pg 65]

VI. MINOR POEMS.

Minor Poems.

I. Yet other Twelve Wonders of the World.[138]

I. The Courtier.

[Pg 66]

II. The Divine.

[Pg 67]

III. The Souldier.

IV. The Lawyer.

V. The Physition.

VI. The Merchant.

[Pg 69]

VII. The Country Gentleman.

VIII. The Bacheler.

IX. The Married Man.

X. The Wife.

XI. The Widdow.

[Pg 71]

XII. The Maid.

[Pg 72]

II. A CONTENTION

Betwixt a Wife, a Widdow, and a Maide.[144]

[Pg 87]

III. A LOTTERY.[158]

Presented before the late Queenes Maiesty at the Lord Chancelors House, 1602.[159]

A Marriner with a Boxe vnder his arme, contayning all the seuerall things following, supposed to come from the Carrick,[160] came into the Presence, singing this Song:

[Pg 89]

And the Song ended, he vttred this short Speech:

God saue you faire Ladies all: and for my part, if euer I be brought to answere for my sinnes, God forgiue my sharking, and lay vsury to my charge. I am a Marriner, and am now come from the sea, where I had the fortune to light upon these few trifles. I must confesse I came but lightly by them, but I no sooner had them, but I made a vow, that as they came to my hands by Fortune, so I would not part with them but by Fortune. To that end I haue euer since carried these Lots about me, that if I met with fit company I might deuide my booty among them. And now, (I thanke my good Fortune,)! I am lighted into the best company of the world, a company of the fairest Ladyes that euer I saw. Come Ladies try your fortunes, and if any light upon an unfortunate Blanke, let her thinke that Fortune doth but mock her in these trifles, and meanes to pleasure her in greater matters.

The Lots.

1. Fortunes Wheele.

[Pg 90]

2. A Purse.

3. A Maske.

4. A Looking-Glasse.

5. A Hankerchiefe.

6. A Plaine Ring.

7. A Ring, with this Poesie As faithfull as I find.

[Pg 91]

8. A Pair of Gloues.

9. A Dozen of Points.[165]

10. A Lace.

11. A Paire of Kniues.

12. A Girdle.

[Pg 92]

13. A Payre of Writing-Tables.

14. A Payre of Garters.

15. A Coife and Crosse-Cloth.

16. A Scarfe.

17. A Falling Band.

18. A Stomacher.

[Pg 93]

19. A Pair of Sizzers.[169]

20. A Chaine.

21. A Prayer-Booke.

22. A Snuftkin.[171]

23. A Fanne.

[Pg 94]

24. A Pair of Bracelets.

25. A Bodkin.

26. A Necklace.

27. A Cushinet.

28. A Dyall.

29. A Nutmeg with a Blanke Parchment in it.

[Pg 95]

30. Blanke.

31. Blanke.

32. Blanke.

33. Blanke.

34. Blanke.

[Pg 96]

IV. CANZONET.

A Hymne in Praise of Musicke.[173]

[Pg 99]

V. TEN SONETS TO PHILOMEL.[175]

SONNET I.

Vpon Loues entring by the eares.

Of his owne, and his Mistresse sicknesse at one time.

Another of her sicknesse and recovery.

[Pg 102]

Allusion to Theseus voyage to Crete, against the Minotaure.

Vpon her looking secretly out at a window as he passed by.

[Pg 104]

To the Sunne of his Mistresse beauty eclipsed with frownes.

Vpon sending her a gold ring with this Posie.

Pure and Endlesse.

The hearts captivitie.

[Pg 107]

VI. TO GEORGE CHAPMAN ON HIS OVID.[176]

I. D. of the Middle Temple.

[Pg 108]

VII. REASON'S MOANE.[177]

[Pg 112]

VIII. ON THE DEATH OF LORD CHANCELLOR ELLESMERE'S SECOND WIFE IN 1599.[179]

[Pg 113]

Yr. Lps in all humble Duties and condoling with yr. Lp. most affectionately

Jo. Davys.

[Pg 114]

IX. TITYRUS TO HIS FAIRE PHILLIS.[180]

[Pg 115]

UPON A COFFIN BY S. J. D.

From "The Curtaine-Drawer of the Worlde ... by W. Parkes, Gentleman ... 1621.[181]

[Pg 116]

X. EPITAPH AND EPIGRAM.

Sir John Davies had a son who became, if he were not born, an idiot. Anthony-a-Wood states "The son dying, Sir John made an epitaph of four verses on him, beginning

It is much to be wished that these 'four verses' were recovered. Further, he had a daughter named 'Lucy'; and of her the same authority writes: "So that the said Lucy being sole heiress to her father, Ferdinando, Lord Hastings, (afterwards Earl of Huntingdon) became a suitor to her for marriage; whereupon the father made this Epigram:

On this Watts remarks: "This is a remarkable anagram of Lucy Davies. See as remarkable ones on the mother Eleanor Davies, Reveal O Daniel, by herself, the other made on her by Dr. Lamb,—Dame Eleanor Davies, Never so mad a Lady. Heylin's Life of Laud p. 266." Wood's Athenæ, (edn. by Bliss) Vol. II. p. 404. G.

[Pg 117]

[Pg 118]

VII. HITHERTO UNPUBLISHED POEMS.

[Pg 119]

METAPHRASE OF SOME OF THE PSALMS, &c.

NOTE.

The Manuscript Volume from which the following hitherto unpublished Poems are taken, is the property of David Laing, Esq., LL.D., Edinburgh, who purchased it, or perhaps obtained it in exchange many years ago from the Rev. John Jamieson, D.D., author of the "Scottish Dictionary" and other learned works—a scholar of full learning and to be held in honour in many respects. It was parted with to his like-minded friend as containing the hitherto unprinted 'Psalms,' &c., by Sir John Davies; but no memorial remains to ascertain the quarter from whence Dr. Jamieson obtained the Volume. Mr. Laing states that, if anything was said at the time on the subject, it has escaped his recollection; and this cannot be wondered at, as it must have been from thirty to forty years ago.

Along with eminent Experts I have carefully compared this Manuscript with undoubted holographs of Sir John Davies, preserved in Her Majesty's State Paper Office (State Papers: Domestic. James I. Vol. 173. No. 54: Oct. 18, 1624, etc., etc.) and among the Harleian MSS. in the British Museum—the former being preferable as being of the same year-date with ours: and I feel constrained to pronounce it throughout non-autograph. There are at least FIVE handwritings in the volume—as more particularly[Pg 120] described in locis: but none bears a resemblance to Sir John Davies'. The Manuscript, therefore, belongs to a class that abounds at the Period, viz, a Scribe's transcript and which closely resembles that of MS. Speeches and other writings of Davies preserved among the Harleian MSS. This is further, in accord with Sir John Davies' practice, as appears by 'The Egerton Papers' of Mr. Collier, (Camden Society, 1840, I Vol. 40.) where in a letter to Ellesmere (pp. 410-16) he apologizes for his own 'ill hand' and substitutes his 'man's.' The evidence for Davies' authorship of these Poems is

EXTERNAL and INTERNAL.

(a) The existence of the 'Metaphrase of the Psalms'—which composes the greater portion of the Manuscript—has long been on record. Thus Anthony-a-Wood in his Athenæ states "Besides the before-mentioned things (as also Epigrams, as 'tis said) which were published by, and under the name of Sir John Davies, are several MSS. of his writing and composing, which go from hand to hand, as (I) Metaphrase of several of K. David's Psalms...." (edn. Bliss ii., 403.) The original of the Psalms' MS. was in possession of Sir John's own daughter, the Countess of Huntingdon, as I found in the Carte MSS. Bodleian, Oxford.

The others are MSS.—some in part since published—which Wood describes as formerly in the Library of Sir[Pg 121] James Ware, and then in that of the Earl of Clarendon.

(b) The handwriting of the Manuscript is exactly correspondent with that of its date '1624.' It is uniform from Psalm I. to L.

(c) Throughout the 'Psalms' and other Poems, favourite words of Sir John Davies' occur: in part peculiar to him or used in a peculiar way. I must refer the Student to the Poems themselves for the great majority of examples: but note here half-a-dozen—all the references being to our own edition of the previous Poems.

1. 'Withall': "... that sinne that we are borne withall." ('Nosce Teipsum' page 57, stanza 5th, line 4th.) So in the 'Psalms': "Be merciful and hear my prayer withall." (Ps. 4th, line 4th.)

2. 'Wight': "... this World below did need one wight." (page 60: stanza 4th, line 1st.) So in the 'Psalms': "... measures Iustice vnto euery wight." (Ps. 9th, line 16th.)

3. 'gray Winter': "Here flow'ry Spring-tide and there Winter gray." (page 63, stanza 1st, line 4th.) So in 'A Maid's Hymne in praise of Virginity': "To whome graye Winter neuer doth apeare." (line 7th.)

4. 'On' meaning 'o'er': "Will holds the royall scepter on the soul" ('Nosce Teipsum,' page 79,[Pg 122] stanza 2nd, line 3rd.) "And on the passions of the heart doth raigne." (page 79, stanza 2d, line 4th.) So in the 'Psalms': "Let not my foes trihumph on mee againe." (Ps. 35th, line 37th). "In that my foe doth not trihumph on me." (Ps. 41st, line 22d.)

5. 'Detruded': "... such as me detruded downe to Hell." (page 110, stanza 1st, line 1st.) So in the 'Psalms': Therefore although my soule detruded were euen to Hell's gates.... (Ps. 23rd, line 7th.)

6. 'Center' meaning 'Earth': "Suruey all things that on this center here." (page 25th, stanza 1st, line 4th.) So in the 'Psalms': "And all that dwell on his round Center here." (Ps. 23rd, line 16th.)

It were easy to multiply these instances from the 'Psalms' and the other Poems.

(d) The secular Poems contain personal allusions that authenticate their authorship. In the 'Elegie of Loue' and in the lines "To the Kinge vpon his Maties first comming into England" these are of singular interest and value. The latter harmonizes with the fact that Sir John Davies proceeded North to meet the King: and it has a direct reference to his 'Nosce Teipsum.' Speaking of his Muse he exclaims,

[Pg 123]

Another personal allusion is found in his address to the "Ladyes of Founthill" in his native Wilts.

(e) The "Verses sent to the Kinge with ffiges" is inscribed "by Sir John Davis" and the "Elegiacal Epistle" which immediately follows these 'Verses' naturally closes a Volume containing the compositions of our Worthy. 'Davis' is his own spelling in the 1608 edition of 'Nosce Teipsum,' and in Davison's 'Rhapsody.'

(f) Exclusive of the 'Psalms'—the Davies' authorship of which admits of no doubt—the other Poems have Sir John Davies' characteristics in choice of subjects and style, and specific wording, as above. 'Elegie' is herein used as in the title-page of 'Nosce Teipsum.'

The Manuscript is a thin folio of forty-one leaves and one page: but verso of 35th leaf consists of Memoranda headed "The State of England before the Conquest, briefely. By Henry, Lord Hastings, amongst his Notes found": and leaves 36 and 37 and page 38 (verso blank) contain 'Notes' on "William Bastarde, the Norman Conquerour of England." The former is in a handwriting different from all the rest: the latter the same as the Poems that follow "Part of an Elegie in prayse of Marriage." There are a number of contemporary and of more recent blank leaves. It is bound in dark calf, with tooled ornament in the centre.