Stanza
6 was probably inserted by Izaak Walton.
6 was probably inserted by Izaak Walton.
Golden Treasury
Aurora in the old mythology is mother of
Memnon (the East), and wife of Tithonus (the appearances of Earth and
Sky during the last hours of Night). She leaves him every morning in
renewed youth, to prepare the way for Phoebus (the Sun), whilst Tithonus
remains in perpetual old age and grayness.
_by Peneus' streams_: Phoebus loved the Nymph Daphne whom he met by the
river Peneus in the vale of Tempe. This legend expressed the attachment
of the Laurel (Daphne) to the Sun, under whose heat the tree both fades
and flourishes. It has been thought worth while to explain these
allusions, because they illustrate the character of the Grecian
Mythology, which arose in the Personification of natural phenomena, and
was totally free from those debasing and ludicrous ideas with which,
through Roman and later misunderstanding or perversion, it has been
associated.
_Amphion's lyre_: He was said to have built the walls of Thebes to the
sound of his music.
_Night like a drunkard reels_: Compare Romeo and Juliet, Act II. Scene
3: "The gray-eyed morn smiles," etc. --It should be added that three
lines, which appeared hopelessly misprinted, have been omitted in this
Poem.
Poem 4.
_Time's chest_: in which he is figuratively supposed to lay up past
treasures. So in Troilus, Act III. Scene 3, "Time hath a wallet at his
back," etc.
Poem 5.
A fine example of the high-wrought and conventional Elizabethan
Pastoralism, which it would be ludicrous to criticise on the ground of
the unshepherdlike or unreal character of some images suggested.
Stanza
6 was probably inserted by Izaak Walton.
Poem 9.
This Poem, with 25 and 94, is taken from Davison's "Rhapsody," first
published in 1602. One stanza has been here omitted, in accordance with
the principle noticed in the Preface. Similar omissions occur in 45, 87,
100, 128, 160, 165, 227, 235. The more serious abbreviation by which it
has been attempted to bring Crashaw's "Wishes" and Shelley's "Euganean
Hills" within the limits of lyrical unity, is commended with much
diffidence to the judgment of readers acquainted with the original
pieces.
_Presence_ in line 12 is here conjecturally printed for _present_. A
very few similar corrections of (it is presumed) misprints have been
made:--as _thy_ for _my_, 22, line 9: _men_ for _me_, 41, line 3: _viol_
for _idol_, 252, line 43, and _one_ for _our_, line 90: _locks_ for
_looks_, 271, line 5: _dome_ for _doom_, 275, line 25:--with two or
three more less important.
Poem 15.
This charming little poem, truly "old and plain, and dallying with the
innocence of love" like that spoken of in Twelfth Night, is taken with
5, 17, 20, 34, and 40, from the most characteristic collection of
Elizabeth's reign, "England's Helicon," first published in 1600.
Poem 16.
Readers who have visited Italy will be reminded of more than one picture
by this gorgeous Vision of Beauty, equally sublime and pure in its
Paradisaical naturalness. Lodge wrote it on a voyage to "the Islands of
Terceras and the Canaries"; and he seems to have caught, in those
southern seas, no small portion of the qualities which marked the almost
contemporary Art of Venice,--the glory and the glow of Veronese, or
Titian, or Tintoret, when he most resembles Titian, and all but
surpasses him.
_The clear_: is the crystalline or outermost heaven of the old
cosmography. For _resembling_ other copies give _refining_: the correct
reading is perhaps _revealing_.
_For a fair there's fairer none_: If you desire a Beauty, there is none
more beautiful than Rosaline.
Memnon (the East), and wife of Tithonus (the appearances of Earth and
Sky during the last hours of Night). She leaves him every morning in
renewed youth, to prepare the way for Phoebus (the Sun), whilst Tithonus
remains in perpetual old age and grayness.
_by Peneus' streams_: Phoebus loved the Nymph Daphne whom he met by the
river Peneus in the vale of Tempe. This legend expressed the attachment
of the Laurel (Daphne) to the Sun, under whose heat the tree both fades
and flourishes. It has been thought worth while to explain these
allusions, because they illustrate the character of the Grecian
Mythology, which arose in the Personification of natural phenomena, and
was totally free from those debasing and ludicrous ideas with which,
through Roman and later misunderstanding or perversion, it has been
associated.
_Amphion's lyre_: He was said to have built the walls of Thebes to the
sound of his music.
_Night like a drunkard reels_: Compare Romeo and Juliet, Act II. Scene
3: "The gray-eyed morn smiles," etc. --It should be added that three
lines, which appeared hopelessly misprinted, have been omitted in this
Poem.
Poem 4.
_Time's chest_: in which he is figuratively supposed to lay up past
treasures. So in Troilus, Act III. Scene 3, "Time hath a wallet at his
back," etc.
Poem 5.
A fine example of the high-wrought and conventional Elizabethan
Pastoralism, which it would be ludicrous to criticise on the ground of
the unshepherdlike or unreal character of some images suggested.
Stanza
6 was probably inserted by Izaak Walton.
Poem 9.
This Poem, with 25 and 94, is taken from Davison's "Rhapsody," first
published in 1602. One stanza has been here omitted, in accordance with
the principle noticed in the Preface. Similar omissions occur in 45, 87,
100, 128, 160, 165, 227, 235. The more serious abbreviation by which it
has been attempted to bring Crashaw's "Wishes" and Shelley's "Euganean
Hills" within the limits of lyrical unity, is commended with much
diffidence to the judgment of readers acquainted with the original
pieces.
_Presence_ in line 12 is here conjecturally printed for _present_. A
very few similar corrections of (it is presumed) misprints have been
made:--as _thy_ for _my_, 22, line 9: _men_ for _me_, 41, line 3: _viol_
for _idol_, 252, line 43, and _one_ for _our_, line 90: _locks_ for
_looks_, 271, line 5: _dome_ for _doom_, 275, line 25:--with two or
three more less important.
Poem 15.
This charming little poem, truly "old and plain, and dallying with the
innocence of love" like that spoken of in Twelfth Night, is taken with
5, 17, 20, 34, and 40, from the most characteristic collection of
Elizabeth's reign, "England's Helicon," first published in 1600.
Poem 16.
Readers who have visited Italy will be reminded of more than one picture
by this gorgeous Vision of Beauty, equally sublime and pure in its
Paradisaical naturalness. Lodge wrote it on a voyage to "the Islands of
Terceras and the Canaries"; and he seems to have caught, in those
southern seas, no small portion of the qualities which marked the almost
contemporary Art of Venice,--the glory and the glow of Veronese, or
Titian, or Tintoret, when he most resembles Titian, and all but
surpasses him.
_The clear_: is the crystalline or outermost heaven of the old
cosmography. For _resembling_ other copies give _refining_: the correct
reading is perhaps _revealing_.
_For a fair there's fairer none_: If you desire a Beauty, there is none
more beautiful than Rosaline.
