The Complete Works of Richard Crashaw, Volume I
Part 1
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Transcriber's note:
In two places there is text enclosed by equal signs. That text is in bold face. Elsewhere equal signs are used as equal signs.
The Fuller Worthies' Library.
THE COMPLETE WORKS OF RICHARD CRASHAW.
In Two Volumes.
VOL. I.
MEMORIAL-INTRODUCTION. STEPS TO THE TEMPLE. CARMEN DEO NOSTRO. THE DELIGHTS OF THE MUSES. AIRELLES.
London: Robson and Sons, Printers, Pancras Road, N.W.
The Fuller Worthies' Library.
THE COMPLETE WORKS OF RICHARD CRASHAW.
For the First Time Collected and Collated with the Original and Early Editions, and Much Enlarged with
I. Hitherto unprinted and inedited Poems from Archbishop Sancroft's MSS. &c. &c.
II. Translation of the whole of the Poemata et Epigrammata.
III. Memorial-Introduction, Essay on Life and Poetry, and Notes.
IV. In Quarto, reproduction in facsimile of the Author's own Illustrations of 1652, with others specially prepared.
Edited by the
REV. ALEXANDER B. GROSART,
St. George's, Blackburn, Lancashire.
In Two Volumes.
VOL. I.
Printed for Private Circulation. 1872.
156 copies printed.
TO THE VERY REVEREND
JOHN HENRY NEWMAN, D.D.
AS AN EXPRESSION OF GRATITUDE FOR FUNDAMENTAL INTELLECTUAL AND SPIRITUAL QUICKENING AND NURTURE FOUND IN AND SUSTAINED BY HIS WRITINGS EARLIER AND LATEST, THIS EDITION OF A POET HE LOVES AS ENGLISHMAN AND CATHOLIC IS DEDICATED BY ALEXANDER B. GROSART.
CONTENTS.
Those marked [*] are printed for the first time from MSS.; those marked [+] have additions for the first time given in their places.
PAGE
Dedication v
Preface xi
Memorial-Introduction xxvii
Note xl
The Preface to the Reader xlv
SACRED POETRY: I. _Steps to the Temple, and Carmen Deo Nostro_, 1-181.
+Sainte Mary Magdalene, or the Weeper 3
Sancta Maria Dolorvm, or the Mother of Sorrows: a patheticall Descant upon the deuout Plainsong of Stabat Mater Dolorosa 19
+The Teare 25
+The Office of the Holy Crosse 29
Vexilla Regis: the Hymn of the Holy Crosse 44
The Lord silences His Questioners 47
Our Blessed Lord in His Circumcision to His Father 48
On the Wounds of our crucified Lord 50
Vpon the bleeding Crucifix: a song 51
+To the Name above every name, the Name of Iesvs: a hymn 55
Psalme xxiii 65
Psalme cxxxvii 68
+In the Holy Nativity of ovr Lord God: a hymn svng as by the Shepheards 70
New Year's Day 76
+In the gloriovs Epiphanie of ovr Lord God: a hymn svng as by the three Kings 79
To the Qveen's Maiesty 91
Vpon Easter Day 94
Sospetto d'Herode 95
The Hymn of Sainte Thomas, in Adoration of the Blessed Sacrament 121
Lavda Sion Salvatorem: the Hymn for the Bl. Sacrament 124
+Prayer: an Ode which was prefixed to a little Prayer-book given to a young Gentle-woman 128
To the same Party: Covncel concerning her Choise 134
Description of a Religiovs Hovse and Condition of Life (out of Barclay) 137
On Mr. George Herbert's Booke intituled the Temple of Sacred Poems: sent to a Gentle-woman 139
+A Hymn to the Name and Honor of the admirable Sainte Teresa 141
+An Apologie for the foregoing Hymn, as hauing been writt when the Author was yet among the Protestants 150
+The Flaming Heart: vpon the Book and Picture of the seraphical Saint Teresa, as she is vsvally expressed with a Seraphim biside her 152
A Song of Divine Love 157
+In the gloriovs Assvmption of ovr Blessed Lady 158
+Upon five piovs and learned Discourses by Robert Shelford 162
Dies iræ, dies illa: the Hymn of the Chvrch, in meditation of the Day of Ivdgment 166
Charitas Nimia, or the dear Bargain 170
S. Maria Maior: the Himn, O gloriosa Domina 173
Hope [by Cowley] 175
M. Crashaw's Answer for Hope 178
SACRED POETRY: II. _Airelles_, 183-194.
*Mary seeking Jesus when lost 185
*The Wounds of the Lord Jesus 187
*On ye Gunpowder-Treason 188
*Ditto 190
+Ditto 192
SECULAR POETRY: I. _The Delights of the Muses_, 195-276.
Musick's Duell 197
In the Praise of the Spring (out of Virgil) 207
With a Picture sent to a Friend 208
+In praise of Lessius's Rule of Health 209
The Beginning of Heliodorus 212
Cupid's Cryer (out of the Greeke) 214
Vpon Bishop Andrews' Picture before his Sermons 217
Vpon the Death of a Gentleman 218
Vpon the Death of Mr. Herrys 220
Vpon the Death of the most desired Mr. Herrys 222
Another 225
His Epitaph 228
+An Epitaph vpon a yovng Married Covple, dead and bvryed together 230
Death's Lectvre and the Fvneral of a yovng Gentleman 232
An Epitaph vpon Doctor Brooke 234
On a foule Morning, being then to take a Journey 235
To the Morning: Satisfaction for Sleepe 237
Love's Horoscope 240
A Song (out of the Italian) 243
Out of the Italian 245
Out of the Italian 246
Vpon the Frontispeece of Mr. Isaackson's Chronologie 246
On the same by Bishop Rainbow 248
An Epitaph vpon Mr. Ashton, a conformable Citizen 250
Out of Catullus 251
Wishes 252
+To the Queen: an Apologie for the length of the following Panegyrick 259
To the Queen, vpon her numerous Progenie: a Panegyrick 260
Vpon two greene Apricockes sent to Cowley by Sir Crashaw 269
Alexias: The Complaint of the forsaken Wife of Sainte Alexis: three Elegies 271
SECULAR POETRY: II. _Airelles_, 277-303.
*Upon the King's Coronation 279
*Ditto 280
*Vpon the Birth of the Princesse Elizabeth 282
*Vpon a Gnatt burnt in a Candle 284
*From Petronius 286
*From Horace 287
*Ex Euphormione. 289
*An Elegy vpon the Death of Mr. Stanninow, Fellow of Queen's Colledge 290
*Upon the Death of a Friend 292
*An Elegie on the Death of Dr. Porter 293
+Verse-Letter to the Countess of Denbigh 295
Ditto from Carmen Deo Nostro 301
ILLUSTRATIONS, _in the illustrated Quarto only_: Vol. I.
1. The Weeper: engraved by W.J. Linton, Esq., after the Author's own Design 4
2. Sancta Maria Dolorvm; or the Mother of Sorrows 19
3. The Office of the Holy Crosse 29
4. The Recommendation 43
5. To the Name above every name, the Name of Iesus 55
6. The Hymn of Sainte Thomas 55
7. The 'irresolute' Locked Heart 55
8. In the Holy Nativity of ovr Lord God 71
9. In the gloriovs Epiphanie of ovr Lord God. 79
10. Head of Satan: drawn and engraved by W.J. Linton, Esq. 95
11. Sainte Teresa 141
12. Dies iræ, dies illa 166
13. Maria Maior, O gloriosa Domina 173
14. A second Illustration from the Bodleian copy 173
15. The Dead Nightingale: drawn by Mrs. Blackburn, engraved by W.J. Linton, Esq. 197
Nos. 2, 3, 4, 5, 6, 7, 8, 9, 11, 12, 13, 14 are reproduced in facsimile from the author's own designs of 1652, by Pouncey of Dorchester, expressly for our edition of Crashaw. Besides the above there are a number of head- and tail-pieces by W.J. Linton, Esq.
PREFACE.
I have at last the pleasure of seeing half-fulfilled a long-cherished wish and intention, by the issue of the present Volume, being Vol. I. of the first really worthy edition of the complete Poetry of RICHARD CRASHAW, while Vol. II. is so well advanced that it may be counted on for Midsummer (_Deo favente_).
This Volume contains the whole of the previously-published English Poems, with the exception of the Epigrams scattered among the others, which more fittingly find their place in Vol. II., along with the Latin and Greek originals, and our translation of all hitherto untranslated. Here also will be found important, and peculiarly interesting as characteristic, additions of unprinted and inedited poems by CRASHAW from Archbishop SANCROFT'S MSS., among the TANNER MSS. in the Bodleian. These I have named 'Airelles,' after the little Alpine flowers that are dug out beneath the mountain masses of snow and ice, with abiding touches of beauty and perfume, as though they had been sheltered within walls and glass. The formerly printed Poems have been collated and recollated anxiously with the original and other early and authoritative editions, the results of which are shown in Notes and Illustrations at the close of each poem. Many of the various readings are of rare interest, and collation has revealed successive additions and revisions altogether unrecorded by modern editors. In their places I have pointed out the flagrant carelessness of the last Editor, W.B. TURNBULL, Esq., in Smith's 'Library of Old Authors.'
As was meet, I have adhered to the first titles of 'Steps to the Temple' and 'The Delights of the Muses,' the former embracing the SACRED, and the latter the SECULAR Poems. The original Editor (whoever he was), not the Author, gave these titles. In the Preface to 'the learned Reader,' he says, '_we stile_ his sacred Poems, Steps to the Temple.' At one time I was disposed to assign the editorship of the volumes of 1646 and 1648 to SANCROFT; but inasmuch as both contained Bp. RAINBOW'S verses prefixed to ISAACSON'S 'Chronologie,' while the piece is not in the SANCROFT MS., it seems he could not have been the editor. His pathetic closing words reveal much love: 'I will conclude all that I have impartially writ of this learned young Gent. (_now dead to us_) as hee himselfe doth, with the last line of his poem upon Bishop Andrewes' picture before his Sermons, _Verte paginas_--Look on his following leaves, and see him breath.'
I would now give an account of previous editions of our Worthy, and our use of them. The earliest of his publications--excluding minor pieces in University Collections as recorded in our Essay--was a volume of Latin Epigrams published at Cambridge in 1634 in a small 8vo. The name of CRASHAW nowhere appears, but his initials R.C. are appended to the Dedication to his friend LANEY. The title-page was as follows: 'Epigrammatum Sacrorum Liber. Cantabrigiæ, ex Academiæ celeberrimæ typographo, 1634.' Besides the Epigrams, this now rare volume contained certain of his 'Poemata' before the Epigrams. A second edition was published in 1670 with a few additional Epigrams, and those in Greek. A third edition appeared in 1674. Fuller details, with collation of each, are given in Vol. II. in their places.
Nothing more of any considerableness was published until 1646, two years after the Poet's ejection. Then appeared a small volume of Poems, chiefly English, arranged in two distinct classes, Sacred and Secular, the latter with a separate title-page. In the Note which follows this Preface, the title-pages of the volume will be found, along with those of the subsequent editions of 1648 and 1670. With reference to the volume of 1646, a mistake in the printing was thus pointed out: 'Reader, there was a sudden mistake ('tis too late to recover it): thou wilt quickly find it out, and I hope as soone passe it over; some of the humane Poems are misplaced amongst the Divine.' These 'humane' poems, that belonged not to the 'Steps' but the 'Delights of the Muses,' were fifteen in all. They were assigned their own places in the new edition of 1648. With two exceptions, we have adhered to the classification of the 1648 edition: the exceptions are, that we have placed 'Vexilla Regis' immediately after the 'Office of the Holy Crosse,' as belonging properly to that composition; and the 'Apologie' for the Hymn to TERESA after the first, not after the second Hymn, seeing the 'Apologie' is only for the first. The new edition bore on its title-page the announcement: 'The second Edition, wherein are added divers pieces not before extant.' Our contents of the present Volume (immediately following our Dedication) shows these additions, which were important and precious; viz. twenty-nine new English Poems and eighteen new Latin Poems.
The next edition was published in PARIS in 1652. In our Note (as _supra_) the title-page is given. This volume is an elegant one, and is adorned with twelve dainty engravings after the Author's own designs, though we possess a copy without the engravings, having blanks left. This exceedingly rare book contains most of the Sacred Poems and some of the more serious of the Secular Poems; but as the contents (as _supra_) show, there were large omissions, notably the Sospetto and Musick's Duel. It was edited by THOMAS CAR, who prefixes two poems of his own, as follows:
I. CRASHAWE, THE ANAGRAMME 'HE WAS CAR.'
Was CAR then Crashawe; or was Crashawe Car, 1 Since both within one name combinèd are? Yes, Car's Crashawe, he Car; 'tis loue alone Which melts two harts, of both composing one. So Crashaw's still the same: so much desired 5 By strongest witts; so honor'd, so admired; Car was but he that enter'd as a friend With whom he shar'd his thoughtes, and did commend (While yet he liu'd) this worke; they lou'd each other: Sweete Crashawe was his friend; he Crashawe's brother. 10 So Car hath title then; 'twas his intent That what his riches pen'd, poore Car should print; Nor feares he checke, praysing that happie one Who was belou'd by all; disprais'd by none: To witt, being pleas'd with all things, he pleas'd all, 15 Nor would he giue, nor take offence; befall What might, he would possesse himselfe, and liue As deade (deuoyde of interest) t' all might giue Desease t' his well-composèd mynd; fore-stal'd With heauenly riches; which had wholy call'd 20 His thoughts from earth, to liue aboue in th' aire A very bird of paradice. No care Had he of earthly trashe. What might suffice To fitt his soule to heauenly exercise Sufficèd him: and may we guesse his hart 25 By what his lipps brings forth, his onely part Is God and godly thoughtes. Leaues doubt to none But that to whom one God is all; all's one. What he might eate or weare he tooke no thought; His needfull foode he rather found then sought. 30 He seekes no downes, no sheetes, his bed's still made; If he can find a chaire or stoole, he's layd. When Day peepes in, he quitts his restlesse rest, And still, poore soule, before he's vp, he's dre'st. Thus dying did he liue, yet liued to dye 35 In th' Virgin's lappe, to whom he did applye His virgine thoughtes and words, and thence was styld By foes, the chaplaine of the virgine myld, While yet he liued without. His modestie Imparted this to some, and they to me. 40 Liue happie then, deare soule! inioy the rest Eternally by paynes thou purchacedst, While Car must liue in care, who was thy friend, Nor cares he how he liue, so in the end He may inioy his dearest Lord and thee; 45 And sitt and singe more skilfull songs eternally.[1]
II. AN EPIGRAMME
Vpon the Pictures in the following Poemes, which the Authour first made with his owne hand, admirably well, as may be seene in his Manuscript dedicated to the Right Honourable Lady the L. Denbigh.
'Twixt pen and pensill rose a holy strife 1 Which might draw Vertue better to the life: Best witts gaue votes to that, but painters swore They neuer saw peeces so sweete before As thes fruits of pure Nature; where no Art 5 Did lead the vntaught pensill, nor had part In th' worke ... The hand growne bold, with witt will needes contest: Doth it preuayle? ah no! say each is best. This to the eare speakes wonders; that will trye 10 To speake the same, yet lowder, to the eye. Both in their aymes are holy, both conspire To wound, to burne the hart with heauenly fire. This then's the doome, to doe both parties right: This to the eare speakes best; that, to the sight. 15
THOMAS CAR.[2]
It is clear from these lines in the former poem--
'Car was but he that enter'd as a friend With whom he shar'd his thoughtes, _and did commend_ (_While yet he liu'd_) THIS WORKE___________________ ____________________________________________________ So Car hath title then; '_twas his intent That what his riches pen'd, poore Car should print_'--
that the volume of 1652 carries the authority of CRASHAW with it as his own Selection from what he had written. So that I have had no hesitation in accepting its text of the Poems previously published (in 1646 and 1648): understanding that the Selection was regulated by his desire only to offer the COUNTESS OF DENBIGH those he himself most valued. There are inevitable misprints and a chaos of punctuation; but the text as a whole is a great advance on those preceding, as our Notes and Illustrations to the several poems prove. There are some very valuable additions throughout, entirely overlooked by modern Editors. Our text of all not in 1652 volume is based on that of 1648 collated with 1646.
The engravings celebrated in the Epigram of CAR--of whom more, and of the origin and purpose of the Volume, in our Essay--are as follows:
1. 'To the noblest and best of ladyes:' a heart with an emblematical lock. Beneath is printed 'Non Vi' ( = not by force), and the following lines:
'Tis not the work of force but skill To find the way into man's will. 'Tis loue alone can hearts vnlock: Who knowes the Word, he needs not knock.
2. 'To the name above every name.' 'Numisma Urbani 6.' A dove under the tiara, surrounded with a glory. The legend is, 'In unitate Deus est.'
3. 'The Holy Nativity.' The Holy Family at Bethlehem. Beneath are these lines in French and Latin:
Ton Créateur te faict voir sa naissance Deignant souffrir pour toy des son enfance.
Quem vidistis, Pastores, &c. Natum vidimus, &c.
4. 'The Glorious Epiphanie.' The adoration of the Magi-kings.
5. 'The Office of the Holy Crosse.' Christ on the Cross. Beneath (from the Vulgate),
Tradidit semetipsum pro nobis oblationem et hostiam Deo in odorem suavitatis.--Ad Ephe. 5.
6. 'The Recommendation.' The ascended Saviour looking down toward the Earth. Above, this line,
Expostulatio Jesu Christi cum mundo ingrato.
Beneath, a Latin poem of thirteen lines, which appears in its place in our Vol. II.
7. 'Sancta Maria Dolorum.' The Virgin Mary under the Cross with the instruments of the Passion, holding the dead Saviour in her arms.
8. 'Hymn of St. Thomas.' A Remonstrance. 'Ecce panis Angelorum.'
9. 'Dies Iræ.' The Last Judgment. 'Dies Iræ, dies illa.'
10. 'O Gloriosa Domina.' The Virgin Mary and Child. Angels hold a crown over her head, surmounted by the Holy Dove. Beneath:
S. Maria Major. Dilectus meus mihi, et ego illi, Qui pascitur inter lilia. Cant.
11. 'The Weeper.' A female head, showing beneath, a bleeding and burning heart, surrounded by a glory. This couplet is below:
Lo, where a wounded heart, with bleeding eyes conspire: Is she a flaming fountaine, or a weeping fire?
12. 'Hymn to St. Teresa.' Portrait: scroll above, inscribed 'Misericors Domini in æternum cantabo.' Beneath, 'La Vray Portraict de Ste. Terese, Fondatrice des Religieuses et Religieux réformez de l'ordre de N. Dame de mont Carmel: Décédée le 4e Octo. 1582. Canonisée le 12e Mars 1622.'
Besides these TWELVE, I discovered another in illustration of 'O Gloriosa Domina,' substituted for No. 10 in the very fine copy of the volume in the Douce Collection in the Bodleian. I have the satisfaction of furnishing admirable reproductions in fac-simile of Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, and 12, and by the kindness of the Bodleian Trustees, the unique illustration for No. 10. No. 11 by my friend W.J. LINTON, Esq. The whole of these belong exclusively to our illustrated quarto edition, and the impressions taken have been strictly limited thereto, and a very few for my own gift-use.