This was
evidently
written in 1622-3.
Ben Jonson - The Devil's Association
(3) Charis is Lady Hatton.
Fleay believes that _Charis_, part
1, in which the poet speaks of himself as writing 'fifty years', was
written c 1622-3; but that parts 2-10 were written c 1608. In reference
to these parts he says: 'Written in reference to a mask in which
Charis represented Venus riding in a chariot drawn by swans and doves
(_Charis_, part 4), at a marriage, and leading the Graces in a dance
at Whitehall, worthy to be envied of the Queen (6), in which Cupid had
a part (2, 3, 5), at which Charis kissed him (6, 7), and afterwards
kept up a close intimacy with him (8, 9, 10). The mask of 1608, Feb.
9, exactly fulfils these conditions, and the Venus of that mask was
probably L. Elizabeth Hatton, the most beautiful of the then court
ladies. She had appeared in the mask of Beauty, 1608, Jan. 10, but
in no other year traceable by me. From the Elegy, G. 36, manifestly
written to the same lady (compare it with the lines in 5 as to "the
bank of kisses" and "the bath of milk and roses"), we learn that Charis
had "a husband that is the just excuse of all that can be done him".
This was her second husband, Sir Edward Coke, to whom she was married
in 1593'.
Fleay's theory rests chiefly upon (1) his interpretation of _The
Celebration of Claris_; (2) the identity of Charis and Mrs.
Fitzdottrel. A study of the poem has led me to conclusions of a very
different nature from those of Fleay. They may be stated as follows:
_Charis_ 1.
This was evidently written in 1622-3. Jonson plainly says:
'Though I now write fifty years'. Charis is here seemingly identified
with Lady Purbeck, daughter of Lady Hatton. Compare the last two lines
with the passage from _The Gipsies_. Fleay believes the compliments
were transferred in the masque at Lady Hatton's request.
_Charis_ 4 and 7 have every mark of being insertions. (1) They are in
different metres from each other and from the other sections, which in
this respect are uniform. (2) They are not in harmony with the rest of
the poem. They entirely lack the easy, familiar, half jocular style
which characterizes the eight other parts. (3) Each is a somewhat
ambitious effort, complete in itself, and distinctly lyrical. (4) In
neither is there any mention of or reference to Charis. (5) It is
evident, therefore, that they were not written for the _Charis_ poem,
but merely interpolated. They are, then, of all the parts the least
valuable for the purpose of identification, nor are we justified in
looking upon them as continuing a definite narrative with the rest of
the poem. (6) The evident reason for introducing them is their own
intrinsic lyrical merit.
_Charis_ 4 was apparently written in praise of some pageant, probably a
court masque. The representation of Venus drawn in a chariot by swans
and doves, the birds sacred to her, may have been common enough.
1, in which the poet speaks of himself as writing 'fifty years', was
written c 1622-3; but that parts 2-10 were written c 1608. In reference
to these parts he says: 'Written in reference to a mask in which
Charis represented Venus riding in a chariot drawn by swans and doves
(_Charis_, part 4), at a marriage, and leading the Graces in a dance
at Whitehall, worthy to be envied of the Queen (6), in which Cupid had
a part (2, 3, 5), at which Charis kissed him (6, 7), and afterwards
kept up a close intimacy with him (8, 9, 10). The mask of 1608, Feb.
9, exactly fulfils these conditions, and the Venus of that mask was
probably L. Elizabeth Hatton, the most beautiful of the then court
ladies. She had appeared in the mask of Beauty, 1608, Jan. 10, but
in no other year traceable by me. From the Elegy, G. 36, manifestly
written to the same lady (compare it with the lines in 5 as to "the
bank of kisses" and "the bath of milk and roses"), we learn that Charis
had "a husband that is the just excuse of all that can be done him".
This was her second husband, Sir Edward Coke, to whom she was married
in 1593'.
Fleay's theory rests chiefly upon (1) his interpretation of _The
Celebration of Claris_; (2) the identity of Charis and Mrs.
Fitzdottrel. A study of the poem has led me to conclusions of a very
different nature from those of Fleay. They may be stated as follows:
_Charis_ 1.
This was evidently written in 1622-3. Jonson plainly says:
'Though I now write fifty years'. Charis is here seemingly identified
with Lady Purbeck, daughter of Lady Hatton. Compare the last two lines
with the passage from _The Gipsies_. Fleay believes the compliments
were transferred in the masque at Lady Hatton's request.
_Charis_ 4 and 7 have every mark of being insertions. (1) They are in
different metres from each other and from the other sections, which in
this respect are uniform. (2) They are not in harmony with the rest of
the poem. They entirely lack the easy, familiar, half jocular style
which characterizes the eight other parts. (3) Each is a somewhat
ambitious effort, complete in itself, and distinctly lyrical. (4) In
neither is there any mention of or reference to Charis. (5) It is
evident, therefore, that they were not written for the _Charis_ poem,
but merely interpolated. They are, then, of all the parts the least
valuable for the purpose of identification, nor are we justified in
looking upon them as continuing a definite narrative with the rest of
the poem. (6) The evident reason for introducing them is their own
intrinsic lyrical merit.
_Charis_ 4 was apparently written in praise of some pageant, probably a
court masque. The representation of Venus drawn in a chariot by swans
and doves, the birds sacred to her, may have been common enough.
