Part 7

'Disdainefull wretch, how hath one bold sinne cost Thee all the beauties of thy once bright eyes! How hath _one black eclipse cancell'd and crost The glories that did gild thee in thy rise! Proud morning of a perverse day_, how lost Art thou unto thy selfe, thou too selfe-wise Narcissus! foolish Phaeton, who for all Thy _high-aym'd hopes, gaind'st but a flaming fall_.'

Literally in Marino:

'O wretched Angel, once fairer than light, How thou hast lost thy primeval splendour! Thou shalt have from the eternal Requiter Deserved punishment for the unjust crime: Proud admirer of thy honours, Rebellious usurper of another's seat! Transformed, and fallen into Phlegethon, Proud Narcissus, impious Phaethon!'

Milton takes from Crashaw, not Marino, in his portrait of the Destroyer:

'From Death's sad shades to the life-breathing ayre This mortall enemy to mankind's good Lifts his _malignant eyes, wasted with care, To become beautifull in humane blood_.' (st. xi.)

Literally in Marino:

'He from the shades of death to the living air, Envious in truth of our human state, Lifted aloft his eyes by where The hollow vent-hole opened straight down.'

Well-nigh innumerable single lines and words are inevitably marked: _e.g._

'the rebellious eye Of sorrow.' (st. xlix.)

So the eyes of Satan:

'the sullen dens of Death and Night Startle the dull ayre with a dismal red;' (st. vii.)

for Marino's

'Negli occhi ove mestizia alberga e morte, Luce fiammeggia torbida e vermiglia;'

literally:

'In the eyes where sadness dwells and death A turbid vermilion-coloured light shines.'

Again: the sun is seen by the Tempter to

Make proud the ruby portalls of the East;' (st. xvi.)

for 'la Reggia Oriental.' Crashaw has the same vivid fancy in the Hymn for Epiphany:

'Aurora shall set ope Her ruby casements.'

Finally, to show that even where our Translator keeps closest to the original, he yet gives the creative touches of which I have already spoken, read his st. v. beside this literal translation:

'Under the abysses, at the very core of the world, In the central point of the universe, Within the bowers of the darkest deep, There stands the fiendly perverse Spirit: With sharp thongs an impure group Binds him with a hundred snakes athwart: With such bonds girds him for ever, The great champion who conquered HIM in Paradise.'

Thus we might go over the entire poem, and everywhere we should gather proofs that he was himself all he conceived in his splendid portraiture of the true Poet's genius:

'no rapture makes it live Drest in the glorious madnesse of a Muse, Whose feet can walke the Milky Way, Her starry throne, and hold up an exalted arm To lift me from my lazy urn and climbe Upon the stooped shoulders of old Time, And trace eternity.' (vol. i. p. 238.)[38]

Fully to estimate Crashaw's own grander imaginative faculty the Reader must study here the now-first-printed and very Miltonic poems on Apocalypse xii. 7 (Vol. II. pp. 231-3) and 'Christe, veni' (_ib._ pp. 223-5). It is profoundly to be regretted that our Poet should have limited himself to Book I. of the 'Strage degli Innocenti,' viz. 'Sospetto d'Herode.' Book VII. especially, 'Della Gerusalemme Distruta,' would have demanded all his powers. The entire poem was 'done in English,' and it is '_done_' (by T.R. 1675).

With reference to our own Translations of Crashaw, if in some instances we have enlarged on our original, and adventured to fill-in what in the Latin the Poet is fettered in uttering, may we apologise by pleading his own example as a Translator, though with unequal steps and far off? I would specify the very remarkable 'Bulla,' in which, indeed, I find Crashaw's highest of pure poetic faculty within the region of Fancy in its delicatest and subtlest symbolisms; also the scarcely less remarkable address 'To the Reader' ('Lectori'); and his 'Fides &c. &c.' and his classical legends of 'Arion,' and his University 'Laments' and 'Appeals' for Peterhouse. Throughout, my co-workers and myself have aimed to give the _thought_ of Crashaw; and, unless I egregiously mistake, we have together earned some gratitude from admirers of our Worthy.

I leave to other Scholars to deal critically with the Latin and Greek of these Poems and Epigrams now first translated. Read unsympathetically, I fear that very often his quantities and versification will be regarded as barbarous; but we have done something, it is believed, to neutralise Turnbull's most discreditable misprints herein, as in the English Poems. In the places (vol. ii. pp. 5-6, 244, and 332) we have recorded some of his more flagrant blunders; but besides we have silently corrected as many more of the original and early editions.

That Crashaw was not an accurate scholar the Greek Epigrams (as well as some of the Latin ones) furnish sufficient proof. Of the many obvious errors in quantity and construction, I have only corrected such as may have been mere oversights, some of them perhaps caused by his MS. having been misread; in other cases I have followed the original editions, and corrected the numerous errors made by Turnbull from his not being able to read the Greek ligatures &c. It may be well to indicate a few of the typical corrections that I felt obliged to make, and note other lapses which I did not feel justified in altering.

In XI. last line, {aperrhipton} for {aporrhipton}; CXXI. last line, {een} for {ee}; CXXV. line 5. {kein'} for {kein}; CLXXX. line 1 has {plane} as if the penult were long instead of short, and {alemi} an unused form, so that the line offends both quantity and usage--it might be amended thus, {Heis men ego, he mou te plane periegen, alomai}; CLXXXII. line 1, {epeballen} for {epiballen}; CLXXXIII. line 2, {sykomore} should be {sykomore}, but altered for scansion; line 3, {ekkremnes} should perhaps be {ekkremnas}; line 4, unscanable; and in CXXV. line 4, {dasiois} should be {dasesin}. {ouranos}, the penult of which is short, he uses as either long or short.

I must add, that the accentuation was as often wrong as right. I have carefully corrected it throughout. And this seems to me to be the only allowable way of reproducing Crashaw. An Editor cannot be held responsible for his Author writing imperfect Greek or Latin, any more than for his mistakes either in opinion or in matters-of-fact or taste.

Anderson's and Chalmers' Poets, and Peregrine Phillip's Selections, and Turnbull's edition in Russell Smith's 'Old Authors' and that in Gilfillan's Poets (a selection only), are our predecessors in furnishing Crashaw's Poetry. We confess to a feeling of just pride (shall we say?) in being the first worthily and adequately to present as remarkable Poetry, in its own region, as is anywhere to be found. RICHARD CRASHAW has assuredly not yet gathered all his fame.[39]

ALEXANDER B. GROSART.

Latin Poems.

PART FIRST. SACRED.

I.

EPIGRAMMATA SACRA.

(1634-1670.)

NOTE.

The earliest appearance of CRASHAW as a poet was in the University Collections of Latin Verse on the (then) usual conventional occasions of royal births and deaths, and the like. These pieces will be found in their places in the present volume. The place of honour herein we assign to his own published volume of 1634, of which the following is the title-page, within a neat woodcut border:

EPIGRAM-

MATUM

SACRORUM

LIBER.

University Printer's ornament, with legend, 'Hinc. Lvcem. Et. Pocula. Sacra.' and 'Alma Mater.'

Cantabrigiae, Ex Academiae celeberrimae typographeo. 1634.

This is a small duodecimo. Collation: Title-page--Epistle-dedicatory to LANY, with the poems, 'Salve, alme custos Pierii gregis,' &c.--Venerabili viro Magistro Tournay, Tutori suo summe observando--Ornatissimo viro Praeceptori suo colendissimo, Magistro Brook--Lectori (verse and prose), seven leaves: Epigrammata Sacra, pp. 79.

A second edition of this volume appeared in 1670. Its title-page is as follows:

RICHARDI CRASHAWI

POEMATA

et

EPIGRAMMATA,

Quae scripsit Latina & Graeca, Dum _Aulae Pemb._ Alumnus fuit, Et Collegii _Petrensis_ Socius.

Editio Secunda, Auctior & emendatior.

{Heineken eumathies pinytophronos, hen ho Melichros Eskesen, Mouson ammiga kai Chariton.} {Anthol.}

[Printer's ornament, as before.]

Cantabrigiae, Ex Officina _Joan. Hayes_, Celeberrimae Academiae Typographi. 1670.

This is an 8vo. Collation: Title-page--and to Brook, as before; then these additional Latin poems: In Picturam Reverendissimi Episcopi D. Andrews--Votiva Domus Petrensis pro Domo Dei--In caeterorum Operum difficili Parturitione Gemitus--Epitaphium in Gulielmum Herrisium--In Eundem--Natalis Principis Mariae--In Serenissimae Reginae partum hyemalem--Natalis Ducis Eboracensis--In faciem Augustiss. Regis a morbillis integram--Ad Carolum Primum, Rex Redux--Ad Principem nondum natum, Regina gravida. Bastard-title, 'Epigrammata Sacra, quae scripsit Graeca et Latina'--Lectori (as before), nine leaves: Epigrammata Sacra, pp. 67.

The additions to the second edition--besides the Latin poems enumerated--were in the Epigrams these: No. 1, Pharisaeus et Publicanus, Greek version--No. 11, Obolum Viduae, ib.--No. 53, Ecce locus ubi jacuit Dominus, ib.--No. 120, In descensum Spiritus sancti, ib.--No. 124, In S. Columbam ad Christi caput sedentem, ib.--No. 141, Ad D. Lucam medicum, ib.--No. 148, In stabulum ubi natus est Dominus, ib.--No. 161, Hic lapis fiat panis, ib.--No. 177, In die Ascensionis Dominicae, ib.--No. 178, Caecus implorat Christum, Latin and Greek--No. 179, Quis ex vobis, &c. ib.--No. 180, Herodi D. Jacobum obtruncati, ib.--No. 181, Caeci receptis, &c. ib.--and No. 182, Zaccheus in sycomoro.

A third edition was issued in 1674. It is identical with that of 1670, save in the date on title-page, printer's ornament, and this line at bottom: 'Prostant venales apud _Joann. Creed_.' Probably consisted of 'remainders' of 1670 edition.

As the edition of 1634 was published during the author's residence in the University, and so under his own eye, I have made it the basis of our text, though with a vigilant eye on the later corrections; but have given from the edition of 1670 the Greek versions of certain of the Epigrams, and those added (as above). The Epistle-dedicatory to Lany, and related introductory poems of 1634, alone, I prefix to the Epigrammata Sacra, assigning the other poems more fittingly to the Secular Poems (as annotated in the places). The Editor of the second edition, 'auctior et emendatior,' has not been transmitted. For more on the editions of the Epigrammata Sacra, see our Essay and Notes and Illustrations. As explained in our Prefatory Note, the translations of the Latin Poemata et Epigrammata, as of the others, follow the originals successively. A. denotes the translator to be THOMAS ASHE, M.A., Ipswich; B., CLEMENT BARKSDALE (from 'Epigrammata Sacra selecta, cum Anglica Versione. Sacred Epigrams Englished. London: Printed for John Barksdale, Bookseller in Cirencester. 1682.' 12mo); CL., Rev. J.H. CLARK, M.A., West Dereham, Norfolk; CR., CRASHAW himself; G., myself; W., Rev. W. ARIS WILLMOTT (from his 'Lives of the Sacred Poets,' s.n. Crashaw); and R. WI., Rev. RICHARD WILTON, M.A., Londesborough Rectory, Market Weighton. In the present and succeeding division those Epigrams translated by Crashaw himself are given under the related Latin--all from the original text of 1646, as before. They consist of Nos. 1, 2, 8, 9, 11, 14, 15, 20, 21, 26, 29, 36, 40, 42, 43, 47, 49, 51, 54 (two), 56, 57, 63, 64, 68, 85, 91, 93, 101, 104, 106, 108, 115, 117, 140, 157, 160, 164, 169, 184, and 185 in the present, and of Nos. 21, 22, 28, 42, 46, and 55 in next section.

It only remains that I add here, instead of noticing in their places, the following more flagrant errors of Turnbull in the 'Epigrammata' and related 'Poemata Latina et Graeca.' Similar lists will be found in the introductory notes to the several divisions of this volume.

In the Epistle to Lany, line 18, avidi _for_ avide; line 29, amore _for_ amare; in the Ode, st. ii. line 1, ipsi _for_ ipse. In the address 'Lectori,' line 7, abi _for_ alis; line 29, putre _for_ putri; line 48, mens _for_ meus; line 53, fingit _for_ finget; line 70, graves _for_ gravis; line 97, tota dropped out; line 120, negat _for_ neget; in succeeding prose, line 29, Acygmanos _for_ acygnianos.

The misprints in the Epigrammata are so numerous, that it is deemed expedient to tabulate them according to our numbering. On the errors in the Greek, see our Preface to the present Volume.

No.

1, line 4, ille _for_ hic.

2, heading, Victorem _for_ vectorem.

3, l. 1, ori _for_ oris.

6, l. 2, meae _for_ mea.

7, l. 4, tanto _for_ tanti.

8, l. 1, vulnere _for_ vulnera.

10, l. 1, tumidus _for_ timidus.

12, heading, Luc. x. 30 _for_ x. 39; and so often.

19, l. 4, decas _for_ decus.

30, l. 3, Te ne _for_ Tene.

31, heading, credebunt _for_ credebant.

44, l. 1, tumere _for_ tenuere.

45, l. 2, mala _for_ male.

48, l. 1, Christe _for_ Christi.

60, l. 4, fecere _for_ fuere.

65, l. 7, adnixus _for_ ad nixus.

67, l. 1, Infantes _for_ infantis.

69, heading, meditur _for_ medetur.

78, l. 2, pati _for_ peti.

101, l. 4, aqua _for_ aquas.

108, l. 8, oculos _for_ oculus.

111, l. 3, natalis _for_ natales.

114, l. 2, utere _for_ uteri.

115, l. 4, queas _for_ queat.

120, heading, Domini _for_ Dominicam.

" l. 6, Phoebe _for_ Phoebo.

122, heading, traduit _for_ traderet.

123, l. 2, nescis _for_ nescio.

125, l. 1, volueris _for_ volucris.

126, heading, Divi _for_ Divo.

132, heading, Christo _for_ Christi.

135, heading left out.

140, l. 2, illa _for_ ille.

149, l. 2, quae _for_ qua.

153, l. 3, colubres _for_ colubros.

155, heading, Domini _for_ Dominicae.

158, l. 3, par _for_ per.

161, l. 8, fieris _for_ fieres.

" l. 12, solis _for_ solio.

164, l. 1, Daemone _for_ Daemona.

169, heading, lavante _for_ lavanti.

" l. 2, virginea _for_ virgineae.

170, l. 5, decies _for_ denis.

172, l. 1, vidis _for_ vides.

176, l. 16, dominum _for_ dominam.

" l. 73, ista _for_ iste.

177, l. 20, metu _for_ nutu.

182, l. 2, fide _for_ fida.

The whole of these, with others belonging to Crashaw himself and his first editors, are carefully corrected in our edition. G.

REVERENDO ADMODUM VIRO

BENJAMINO LANY,[40]

SS. THEOLOGIAE PROFESSORI, AULAE PEMBROCHIANAE CUSTODI DIGNISSIMO, EX SUORUM MINIMIS MINIMUS,

R. C[RASHAW]

CUSTODIAM COELESTEM

P.

Suus est et florum fructus; quibus fruimur, si non utilius, delicatius certe. Neque etiam rarum est quod ad spem Veris, de se per flores suos quasi pollicentis, adultioris anni, ipsiusque adeo Autumni exigamus fidem. Ignoscas igitur, vir colendissime, properanti sub ora Apollinis sui, primaeque adolescentiae lascivia exultanti Musae. Tenerae aetatis flores adfert, non fructus serae: quos quidem exigere ad seram illam et sobriam maturitatem, quam in fructibus expectamus merito, durum fuerit; forsan et ipsa hac praecoci importunitate sua placituros magis: tibi praesertim quem paternus animus, quod fieri solet, intentum tenet omni suae spei diluculo, quo tibi de tuorum indole promittas aliquid. Ex more etiam eorum, qui in praemium laboris sui pretiumque patientiae festini, ex iis quae severunt ipsi et excoluerunt, quicquid est flosculi prominulum, prima quasi verecundia auras et apertum Jovem experientis arripiunt avide, saporemque illi non tam ex ipsius indole et ingenio quam ex animi sui affectu, foventis in eo curas suas et spes, affingunt. Patere igitur, reverende custos, hanc tibi ex istiusmodi floribus corollam necti; convivalem vero: nec aliter passuram sidus illud oris tui auspicatissimum, nisi, qua est etiam amoenitate, remissiore radio cum se reclinat, et in tantum de se demit. Neque sane hoc scriptionis genere, modo partes suas satis praestiterit, quid esse potuit otio theologico accommodatius, quo nimirum res ipsa theologica poetica amoenitate delinita majestatem suam venustate commendat. Hoc demum quicquid est, amare tamen poteris, et voles, scio: non ut magnum quid, non ut egregium, non ut te dignum denique, sed ut tuum: tuum summo jure, utpote quod e tua gleba, per tuum radium, in manum denique tuam evocatum fuerit. Quod restat hujus libelli fatis, exorandus es igitur, vir spectatissime, ut quem sinu tum facili privatum excepisti, eum jam ore magis publico alloquentem te non asperneris. Stes illi in limine, non auspicium modo suum, sed et argumentum. Enimvero Epigramma sacrum tuus ille vultus vel est, vel quid sit docet; ubi nimirum amabili diluitur severum, et sanctum suavi demulcetur. Pronum me vides in negatam mihi provinciam; laudum tuarum, intelligo: quas mihi cum modestia tua abstulerit, reliquum mihi est necessario ut sim brevis; imo vero longus nimium; utpote cui argumentum istud abscissum fuerit, in quo unice poteram, et sine taedio, prolixus esse. Vale, virorum ornatissime, neque dedigneris quod colere audeam Genii tui serenitatem supplex tam tenuis, et, quoniam numen quoque hoc de se non negat, amare etiam. Interim vero da veniam Musae in tantum sibi non temperanti; quin in hanc saltem laudis tuae partem, quae tibi ex rebus sacris apud nos ornatis meritissima est, istiusmodi carmine involare ausa sit, qualicunque:

Salve, alme custos Pierii gregis, Per quem erudito exhalat in otio; Seu frigus udi captet antri, Sive Jovem nitidosque soles.

Non ipse custos pulchrior invias Egit sub umbras Aemonios greges; Non ipse Apollo notus illis Lege suae meliore cannae.

Tu, si sereno des oculo frui, Sunt rura nobis, sunt juga, sunt aquae, Sunt plectra dulcium sororum (Non alio mihi nota Phoebo).

Te dante, castos composuit sinus; Te dante, mores sumpsit; et in suo Videnda vultu, pulveremque Relligio cineremque nescit.

Stat cincta digna fronde decens caput: Suosque per te fassa palam Deos, Comisque, Diva, vestibusque Ingenium dedit ordinemque.

Jamque ecce nobis amplior es modo Majorque cerni. Quale jubar tremit Sub os! verecundusque quanta Mole sui Genius laborat!

Jam qui serenas it tibi per genas, Majore coelo sidus habet suum; Majorque circum cuspidatae Ora comis tua flos diei.

Stat causa. Nempe hanc ipse Deus, Deus, Hanc ara, per te pulchra, diem tibi Tuam refundit, obvioque It radio tibi se colenti.

Ecce, ecce! sacro in limine, dum pio Multumque prono poplite amas humum, Altaria annuunt ab alto; Et refluis tibi plaudit alis

Pulchro incalescens officio, puer Quicunque crispo sidere crinium, Vultuque non fatente terram, Currit ibi roseus satelles.

Et jure. Nam cum fana tot inviis Moerent ruinis, ipsaque, ceu preces Manusque non decora supplex Tendat, opem rogat, heu negatam!

Tibi ipsa voti est ora sui rea. Et solvet. O quam semper apud Deum Litabis illum, cujus arae Ipse preces prius audiisti!

[TRANSLATION. Prose G.; verse CL.]

_To the very reverend man_ BENJAMIN LANY, _Doctor of Divinity, most worthy Master of Pembroke College [Cambridge], the least of the least of those that are his, R[ichard] C[rashaw] implores the divine protection._[41]

Even flowers have their own peculiar fruit, which we enjoy, if not so profitably, yet in a manner more refined. Nor is it unusual that, in accordance with the hope of Spring, making promises for herself as it were by her flowers, we demand credit for the maturer year, and even for Autumn itself. Forgive, then, most Reverend Sir, the Muse hastening into the presence of her Apollo, and exulting in the wantonness of earliest youth. She offers the flowers of a tender age, not the fruits of a late one, which flowers indeed it were unreasonable to demand in accordance with that late and sober maturity which we rightly look for in fruits--flowers which are more likely to be pleasing from the very fact of their precocious importunity,--to thee above all, whom a fatherly mind, as it is wont to happen, holds watching for every dawning of its hope, by which you may give yourself assurance of anything respecting the genius of your sons; after the manner also of those who, in haste for the reward of their labour and the price of their patience, from what they have themselves sown and tended, snatch greedily whatever part may project a little of a floweret, which, as with early bashfulness, is making trial of the airs and the open sky, and attach an odour to it, not so much from its own nature and character as from the inclination of their own mind, which fosters in it their own anxieties and hopes. Suffer then, Reverend Master, this little garland, made of flowers of such a sort, to be bound on thee; a festal one assuredly, and not able to endure that most auspicious star of thy countenance in any other way than--for it is even of such a graciousness--when it draws back with milder ray, and so far subtracts from itself. Nor assuredly than this kind of writing, provided it have sufficiently discharged its proper functions, could anything be more suitable to theological leisure; for in it without doubt the very substance of theology being overlaid with poetic grace, sets off its grandeur by loveliness. Finally, whatever this may be, you will nevertheless, I know, be able and willing to be lovingly disposed towards it; not as anything great or uncommon; not, in short, as anything worthy of you, but as your own--your own by highest right as having been called forth from your soil, by your light, and, in fine, into your hand. As for what fortune awaits this little book, deign to be persuaded, most worshipful Sir, not to scorn when addressing you now in a more public style him whom you have welcomed in private with so ready an affection. May you stand on its threshold, not only as its good omen but also as its subject! In very truth that countenance of yours is a Sacred Epigram, or teaches what it should be, where forsooth severity is tempered with love, and sanctity is mellowed by sweetness. You see me inclined towards a sphere denied to me--that of sounding your praises, I mean; which since your modesty has taken from me, it remains of necessity that I should be brief: yes indeed, I am too diffuse, seeing that the very subject is cut off from me in which alone I was, and even without irksomeness, able to be prolix. Farewell, most cultured of men, and do not disdain me, so insignificant a suppliant, for daring to honour your tranquil genius, and, since divinity even does not forbid this respecting itself, also to love it. But in the mean while give pardon to the Muse, to such a degree unrestrained as to have dared for this part at least of your praise, which is most due to you on account of sacred things that have been honoured amongst us, to fly towards you with a strain of such kind as this, whatever it may be:

Kind Guardian of the Muses' flock, Through whom it breathes in learn'd repose, Whether it choose the dripping rock, Or where the open sunshine glows.

Not fairer he through trackless shade Who led Aemonia's flocks of old; Not even Apollo, when he play'd, With defter touch could charm the fold.

If thou the eye serene dost grant, Green fields are ours, and streams and hills, And, since no Phoebus else we want, The Muses with their dulcet quills.

Religion too with modest grace Through thee assumes a gentler mien; Through thee again can show her face, No more in dust and ashes seen.

Her brows crown'd meetly, and, through thee, Her God in sight of all confess'd, She gives in her divinity Meaning and law to garb and vest.