41), and then resume at _The
Extasie_
(p.
John Donne
The Westmoreland MS.
was secured, Mr.
Gosse writes me, when the library of the Earls of Westmoreland
was disposed of, about the year 1892. 'The interest of this
library was that it had not been disturbed since the early
part of the seventeenth century. With the Westmoreland MS.
of Donne's Poems was attached a very fine copy of Donne's
_Pseudomartyr_, which contained, in what was certainly Donne's
handwriting, the words "Ex dono authoris: Row: Woodward" and
a motto in Spanish "De juegos el mejor es con la hoja". There
can be no doubt, I think, that these two books belonged to
Rowland Woodward and were given him by Donne. ' But is it
likely that after 1617 Donne would give even to a friend a
manuscript containing the most reprehensible of his earlier
_Elegies_ and the _Epithalamion made at Lincolns Inn_? It
seems to me more probable that the manuscript contains two
distinct collections, made at different times. The one is
a transcript from an early collection, quite probably
Woodward's, containing Satires, Elegies, and one Epithalamion.
To this the Divine Poems have been added. ]
[Footnote 18: With the grouping of _1635_ I have adopted
generally its order within the groups, but the reader will see
quite easily what is the order of the _Songs_ in _1633_ and
in _D_, _H49_, _Lec_, if he will turn to the Contents and,
beginning at _The Message_ (p. 43), will follow down to _A
Valediction: forbidding mourning_ (p. 49). He must then turn
back to the beginning and follow the list down till he comes
to _The Curse_ (p.
41), and then resume at _The Extasie_ (p.
51). If the seven poems, _The Message_ to _A Valediction_:
_forbidding mourning_, were brought to the beginning, the
order of the _Songs and Sonets_ in _1635-69_ would be the same
as in _1633_.
The editor of _1633_ began a process, which was carried on
in _1635_, of naming poems unnamed in the manuscripts, and
re-naming some that already had titles. The textual notes
will give full details regarding the names, and will show that
frequently a poem unnamed in _D_, _H49_, _Lec_ remains unnamed
in _1633_. ]
[Footnote 19: There is one exception to this which I had
overlooked. In _D_, _H49_, _Lec_, _The Undertaking_ (p. 10)
comes later, following _The Extasie_. ]
[Footnote 20: When in 1614 Donne contemplated an edition of
his poems he wrote to Goodyere: 'By this occasion I am made a
Rhapsoder of mine own rags, and that cost me more diligence
to seek them, than it did to make them. This made me aske to
borrow that old book of you,' &c. _Letters_ (1651), p. 197. ]
[Footnote 21: Five are to the Countess of Bedford--'Reason
is', 'Honour is', 'You have refin'd', 'To have written then',
and 'This Twy-light'. One is to the Countess of Huntingdon,
'Man to Gods image'; one to the Countess of Salisbury, 'Fair,
great and good'; and one to Lady Carey, 'Here where by all. ']
[Footnote 22: In citing this collection I use _TC_ for the two
groups _TCC_, _TCD_. ]
[Footnote 23: Additional lines to the _Annuntiation and
Passion_, 'The greatest and the most conceald impostor', 'Now
why should Love a footeboys place despise', 'Believe not him
whom love hath made so wise', 'Pure link of bodies where
no lust controules', 'Whoso terms love a fire', _Upon his
scornefull Mistresse_ ('Cruel, since that thou dost not fear
the curse'), _The Hower Glass_ ('Doe but consider this small
Dust'), 'If I freely may discover', _Song_ ('Now you
have kill'd me with your scorn'), 'Absence, heare thou my
protestation', _Song_ ('Love bred of glances'), 'Love if a god
thou art', 'Greate Lord of Love how busy still thou art', 'To
sue for all thy Love and thy whole hart'.
Gosse writes me, when the library of the Earls of Westmoreland
was disposed of, about the year 1892. 'The interest of this
library was that it had not been disturbed since the early
part of the seventeenth century. With the Westmoreland MS.
of Donne's Poems was attached a very fine copy of Donne's
_Pseudomartyr_, which contained, in what was certainly Donne's
handwriting, the words "Ex dono authoris: Row: Woodward" and
a motto in Spanish "De juegos el mejor es con la hoja". There
can be no doubt, I think, that these two books belonged to
Rowland Woodward and were given him by Donne. ' But is it
likely that after 1617 Donne would give even to a friend a
manuscript containing the most reprehensible of his earlier
_Elegies_ and the _Epithalamion made at Lincolns Inn_? It
seems to me more probable that the manuscript contains two
distinct collections, made at different times. The one is
a transcript from an early collection, quite probably
Woodward's, containing Satires, Elegies, and one Epithalamion.
To this the Divine Poems have been added. ]
[Footnote 18: With the grouping of _1635_ I have adopted
generally its order within the groups, but the reader will see
quite easily what is the order of the _Songs_ in _1633_ and
in _D_, _H49_, _Lec_, if he will turn to the Contents and,
beginning at _The Message_ (p. 43), will follow down to _A
Valediction: forbidding mourning_ (p. 49). He must then turn
back to the beginning and follow the list down till he comes
to _The Curse_ (p.
41), and then resume at _The Extasie_ (p.
51). If the seven poems, _The Message_ to _A Valediction_:
_forbidding mourning_, were brought to the beginning, the
order of the _Songs and Sonets_ in _1635-69_ would be the same
as in _1633_.
The editor of _1633_ began a process, which was carried on
in _1635_, of naming poems unnamed in the manuscripts, and
re-naming some that already had titles. The textual notes
will give full details regarding the names, and will show that
frequently a poem unnamed in _D_, _H49_, _Lec_ remains unnamed
in _1633_. ]
[Footnote 19: There is one exception to this which I had
overlooked. In _D_, _H49_, _Lec_, _The Undertaking_ (p. 10)
comes later, following _The Extasie_. ]
[Footnote 20: When in 1614 Donne contemplated an edition of
his poems he wrote to Goodyere: 'By this occasion I am made a
Rhapsoder of mine own rags, and that cost me more diligence
to seek them, than it did to make them. This made me aske to
borrow that old book of you,' &c. _Letters_ (1651), p. 197. ]
[Footnote 21: Five are to the Countess of Bedford--'Reason
is', 'Honour is', 'You have refin'd', 'To have written then',
and 'This Twy-light'. One is to the Countess of Huntingdon,
'Man to Gods image'; one to the Countess of Salisbury, 'Fair,
great and good'; and one to Lady Carey, 'Here where by all. ']
[Footnote 22: In citing this collection I use _TC_ for the two
groups _TCC_, _TCD_. ]
[Footnote 23: Additional lines to the _Annuntiation and
Passion_, 'The greatest and the most conceald impostor', 'Now
why should Love a footeboys place despise', 'Believe not him
whom love hath made so wise', 'Pure link of bodies where
no lust controules', 'Whoso terms love a fire', _Upon his
scornefull Mistresse_ ('Cruel, since that thou dost not fear
the curse'), _The Hower Glass_ ('Doe but consider this small
Dust'), 'If I freely may discover', _Song_ ('Now you
have kill'd me with your scorn'), 'Absence, heare thou my
protestation', _Song_ ('Love bred of glances'), 'Love if a god
thou art', 'Greate Lord of Love how busy still thou art', 'To
sue for all thy Love and thy whole hart'.
