' But if, to
supplement the picture, inevitably imperfect, which this gives, we turn
to Herrick's own book, we learn little, biographically, except the
names of a few friends,--that his general sympathies were with the
Royal cause,--and that he wearied in Devonshire for London.
supplement the picture, inevitably imperfect, which this gives, we turn
to Herrick's own book, we learn little, biographically, except the
names of a few friends,--that his general sympathies were with the
Royal cause,--and that he wearied in Devonshire for London.
Robert Herrick
The spelling is at once arbitrary
and obsolete. Lastly, the complete reproduction of the original text,
with explanatory notes, edited by Mr Grosart, supplies materials equally
full and interesting for those who may, haply, be allured by this little
book to master one of our most attractive poets in his integrity.
In Herrick's single own edition of HESPERIDES and NOBLE NUMBERS, but
little arrangement is traceable: nor have we more than a few internal
signs of date in composition. It would hence be unwise to attempt
grouping the poems on a strict plan: and the divisions under which they
are here ranged must be regarded rather as progressive aspects of a
landscape than as territorial demarcations. Pieces bearing on the poet
as such are placed first; then, those vaguely definable as of idyllic
character, 'his girls,' epigrams, poems on natural objects, on character
and life; lastly, a few in his religious vein. For the text, although
reference has been made to the original of 1647-8, Mr Grosart's
excellent reprint has been mainly followed. And to that edition this
book is indebted for many valuable exegetical notes, kindly placed at
the Editor's disposal. But for much fuller elucidation both of words
and allusions, and of the persons mentioned, readers are referred to Mr
Grosart's volumes, which (like the same scholar's 'Sidney' and 'Donne'),
for the first time give Herrick a place among books not printed only,
but edited.
Robert Herrick's personal fate is in one point like Shakespeare's.
We know or seem to know them both, through their works, with singular
intimacy. But with this our knowledge substantially ends. No private
letter of Shakespeare, no record of his conversation, no account of the
circumstances in which his writings were published, remains: hardly
any statement how his greatest contemporaries ranked him. A group of
Herrick's youthful letters on business has, indeed, been preserved;
of his life and studies, of his reputation during his own time, almost
nothing. For whatever facts affectionate diligence could now gather.
Readers are referred to Mr Grosart's 'Introduction.
' But if, to
supplement the picture, inevitably imperfect, which this gives, we turn
to Herrick's own book, we learn little, biographically, except the
names of a few friends,--that his general sympathies were with the
Royal cause,--and that he wearied in Devonshire for London. So far as is
known, he published but this one volume, and that, when not far from his
sixtieth year. Some pieces may be traced in earlier collections; some
few carry ascertainable dates; the rest lie over a period of near forty
years, during a great portion of which we have no distinct account where
Herrick lived, or what were his employments. We know that he shone with
Ben Jonson and the wits at the nights and suppers of those gods of our
glorious early literature: we may fancy him at Beaumanor, or Houghton,
with his uncle and cousins, keeping a Leicestershire Christmas in the
Manor-house: or, again, in some sweet southern county with Julia and
Anthea, Corinna and Dianeme by his side (familiar then by other names
now never to be remembered), sitting merry, but with just the sadness of
one who hears sweet music, in some meadow among his favourite flowers of
spring-time;--there, or 'where the rose lingers latest. ' . . . . But 'the
dream, the fancy,' is all that Time has spared us. And if it be curious
that his contemporaries should have left so little record of this
delightful poet and (as we should infer from the book) genial-hearted
man, it is not less so that the single first edition should have
satisfied the seventeenth century, and that, before the present, notices
of Herrick should be of the rarest occurrence.
The artist's 'claim to exist' is, however, always far less to be looked
for in his life, than in his art, upon the secret of which the fullest
biography can tell us little--as little, perhaps, as criticism can
analyse its charm. But there are few of our poets who stand less in need
than Herrick of commentaries of this description,--in which too often we
find little more than a dull or florid prose version of what the author
has given us admirably in verse. Apart from obsolete words or allusions,
Herrick is the best commentator upon Herrick. A few lines only need
therefore here be added, aiming rather to set forth his place in the
sequence of English poets, and especially in regard to those near his
own time, than to point out in detail beauties which he unveils in his
own way, and so most durably and delightfully.
When our Muses, silent or sick for a century and more after Chaucer's
death, during the years of war and revolution, reappeared, they brought
with them foreign modes of art, ancient and contemporary, in the forms
of which they began to set to music the new material which the age
supplied. At the very outset, indeed, the moralizing philosophy which
has characterized the English from the beginning of our national
history, appears in the writers of the troubled times lying between the
last regnal years of Henry VIII and the first of his great daughter.
and obsolete. Lastly, the complete reproduction of the original text,
with explanatory notes, edited by Mr Grosart, supplies materials equally
full and interesting for those who may, haply, be allured by this little
book to master one of our most attractive poets in his integrity.
In Herrick's single own edition of HESPERIDES and NOBLE NUMBERS, but
little arrangement is traceable: nor have we more than a few internal
signs of date in composition. It would hence be unwise to attempt
grouping the poems on a strict plan: and the divisions under which they
are here ranged must be regarded rather as progressive aspects of a
landscape than as territorial demarcations. Pieces bearing on the poet
as such are placed first; then, those vaguely definable as of idyllic
character, 'his girls,' epigrams, poems on natural objects, on character
and life; lastly, a few in his religious vein. For the text, although
reference has been made to the original of 1647-8, Mr Grosart's
excellent reprint has been mainly followed. And to that edition this
book is indebted for many valuable exegetical notes, kindly placed at
the Editor's disposal. But for much fuller elucidation both of words
and allusions, and of the persons mentioned, readers are referred to Mr
Grosart's volumes, which (like the same scholar's 'Sidney' and 'Donne'),
for the first time give Herrick a place among books not printed only,
but edited.
Robert Herrick's personal fate is in one point like Shakespeare's.
We know or seem to know them both, through their works, with singular
intimacy. But with this our knowledge substantially ends. No private
letter of Shakespeare, no record of his conversation, no account of the
circumstances in which his writings were published, remains: hardly
any statement how his greatest contemporaries ranked him. A group of
Herrick's youthful letters on business has, indeed, been preserved;
of his life and studies, of his reputation during his own time, almost
nothing. For whatever facts affectionate diligence could now gather.
Readers are referred to Mr Grosart's 'Introduction.
' But if, to
supplement the picture, inevitably imperfect, which this gives, we turn
to Herrick's own book, we learn little, biographically, except the
names of a few friends,--that his general sympathies were with the
Royal cause,--and that he wearied in Devonshire for London. So far as is
known, he published but this one volume, and that, when not far from his
sixtieth year. Some pieces may be traced in earlier collections; some
few carry ascertainable dates; the rest lie over a period of near forty
years, during a great portion of which we have no distinct account where
Herrick lived, or what were his employments. We know that he shone with
Ben Jonson and the wits at the nights and suppers of those gods of our
glorious early literature: we may fancy him at Beaumanor, or Houghton,
with his uncle and cousins, keeping a Leicestershire Christmas in the
Manor-house: or, again, in some sweet southern county with Julia and
Anthea, Corinna and Dianeme by his side (familiar then by other names
now never to be remembered), sitting merry, but with just the sadness of
one who hears sweet music, in some meadow among his favourite flowers of
spring-time;--there, or 'where the rose lingers latest. ' . . . . But 'the
dream, the fancy,' is all that Time has spared us. And if it be curious
that his contemporaries should have left so little record of this
delightful poet and (as we should infer from the book) genial-hearted
man, it is not less so that the single first edition should have
satisfied the seventeenth century, and that, before the present, notices
of Herrick should be of the rarest occurrence.
The artist's 'claim to exist' is, however, always far less to be looked
for in his life, than in his art, upon the secret of which the fullest
biography can tell us little--as little, perhaps, as criticism can
analyse its charm. But there are few of our poets who stand less in need
than Herrick of commentaries of this description,--in which too often we
find little more than a dull or florid prose version of what the author
has given us admirably in verse. Apart from obsolete words or allusions,
Herrick is the best commentator upon Herrick. A few lines only need
therefore here be added, aiming rather to set forth his place in the
sequence of English poets, and especially in regard to those near his
own time, than to point out in detail beauties which he unveils in his
own way, and so most durably and delightfully.
When our Muses, silent or sick for a century and more after Chaucer's
death, during the years of war and revolution, reappeared, they brought
with them foreign modes of art, ancient and contemporary, in the forms
of which they began to set to music the new material which the age
supplied. At the very outset, indeed, the moralizing philosophy which
has characterized the English from the beginning of our national
history, appears in the writers of the troubled times lying between the
last regnal years of Henry VIII and the first of his great daughter.
