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part. From Reliquiæ Wottoniana; also printed in Davison's Poet. ical Rhapsody, 1602.
PAGE 672, No. 666 Glide soft, ye silver floods. From Britannia's Pastorals, 1616, Bk. II., Song i., lines 242-280. This song is a tribute to the memory of William Ferrar, third son of Nicholas Ferrar, an eminent London merchant, who was interested in the adventures of Hawkins, Drake, and Raleigh, and brother of the well-known Nicholas Ferrar (1592-1637), of Little Gidding, in Huntingdonshire. He died young at sea.
Wither introduces him, under the pastoral name of " Alexis,” in The Shepherd's Hunting Line 4, Let no bird sing: Keats was evidently well acquainted with Browne's poetry; witness how excellently he uses this line in La Belle Dame Sans Merci.
PAGE_674, No. 667 - Glories, pleasures, pomps, delights and ease. From The Broken Heart, 1633.
PAGE 674, No. 668 --Come, you whose loves are dead. From The Knight of the Burning Pestle, 1613.
PAGE 675, No. 669 Oh no more, no more, too late. From The Broken Heart, 1633.
Page 675, No. 670 — Can we not force from widow'd Poetry. For absolute sincerity of feeling for bereavement that is more religious than personal this Elegy is, perhaps, , equalled or sure passed by only two in the language - Tennyson's In Memoriam, and Whitman's When Lilacs last in the Dooryard Bloom'd. I do not in the least wish to diminish the glory that haloes Shelley's Adonais, Arnold's Thyrsis, or Swinburne's Ave Atque Vale, but after all, is it not three-fourths art, and but one-fourth the mar, which keeps these things singing in men's memories? In the case of Carew, Tennyson, and Whitman, the man's life whose death they celebrate stands forth as the manifestation of their great virtues, giving a form to art. Who the dead man was, we do not, we can not forget. Whatever is of elusiveness in either Carew's, Tennyson's, or Whitman's elegy, is that of human nature, which after all is something greater than art.
Donne died March 31, 1631. Carew's poem was first published in the first edition of Donne's Works, 1633. Of this elegy Prof. Saintsbury writes (History of Elizabethan Literature, 1887): “ By this last (the Elegy) the reproach of vain and amatorious trilling which has been often levelled at Carew is at thrown back and blunted. No poem shows so great an influence on the masculine panegyrics with which Dryden was to enrich the English of the next generation, and few are fuller of noteworthy phrases, The splendid epitaph which closes it .. is only the best passage, not the only good one, and it may be matched with a fine and just description of English, ushered by a touch of acute criticism (Thou shalt yield to their soft melting phrases).
And it is the man who could write like this that Hazlitt calls an ele. gant court trifler.'' Line 4, Dough-baked: This ugly word is Bonne's. Cf. His Letter to the Lady Carey and Mistress Esses Rich, from Amiens:
In dough-baked men some harmlessness we
Line 25, The Muses' garden, with pendantic weeds, etc.:
So affects my muse now, a chaste fallowness,
CORSERIS, corselet, encircling. CORAL, a toy made of coral, usu
ally with the addition of bells. CORDIWIN, Spanish leather made
originally at Cordova. CORONEMUS Nos Rosis ANTE
QUAM MARCESCANT, Let us
before they wither.
A · FORROW,
Echone, each one.
tree, kind of thread.
chaun, a pigmy sprite. LYTHE, light.
marchpane, a kind of sweet
almonds and sugar. MARVIS, well-known thrush
HAIRTIS, hart or red deer, hearts.
HAWS, fruit of wild
IN DIE NATIVITATIS, On the Day
of Nativity. INGENRIT, born. IN IMAGINE PERTRANSIT HOMO,
Man passes into the shadow. IN OBITUM M. S., X. Mais,
1614 - 1667, On death of M.
S., May 10, 1614-1667.
common in Europe.
MON BEL AMI,
tiful friend. Nox Nocti INDICAT SCIENTIAM,
Night unto night showeth
the Holy Land.
Sweet_drawing in equal yoke.
Lady - cow, lady bug.