the air or the earth"; it creeps by him on the waters, and then draws him into the interior of the island. It is made by Arie! and his attendant Sprites, who take up the 'burthen' of the song, imitating the baying of watch-dogs and the crowing of

invisible cocks.

Metre.-The exquisite musical quality of this song is largely produced by the alternation of iambic with trochaic lines. The brisk movement of the trochaic lines (1, 3, 5-6) is answered, as it were, by the slower iambic movement of the others. Rhyming verses of four accents in Shakespeare are chiefly put into the mouths of supernatural beings-e.g. the witches in Macbeth, the fairies in Midsummer Night's Dream and The Tempest.

3, 4. These lines are often punctuated with a comma after "kiss'd," ," "The wild waves whist" being taken independently to mean 'The wild waves being silent.' It is much better to take the two lines closely together, 'kissed the waves into stillness,' i.e. ‘kissed partners (immediate prelude to the dance), and thereby hushed the noisy waves into attention.' Professor Herford points out that this rendering is confirmed by the punctuation of the folios, and by Ferdinand's statement that the music "allayed the fury" of the waters "with its sweet air." whist, participle for whisted,' from the verb 'to whist '='to command silence' (Abbott, S.G., § 342). So in Milton's imitation, Nativity Ode (G. T., LXXxv. 64):

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"The winds, with wonder whist,
Smoothly the waters kist.'

5. featly, neatly, gracefully: adverb formed from the O.E. adjective, feat, used by Shakespeare, as in Cymbeline, v. v. 88, Never master had a page so feat." Cp. feateously in Spenser's Prothalamion, No. 74. 27. The expression 'foot it featly' has been traced to Lodge's Glaucus and Scilla, 1589: "Footing it featlie on the grassie ground.' Shakespeare uses 'foot it' for 'dance' in Romeo and Juliet, I. v. 28, "A hall, a hall! give room and foot it, girls."

6. burthen. "The burden of a song, in the old_acceptation of the word, was the base, foot, or under-song. It was sung throughout, and not merely at the end of a verse. Many of these burdens were short proverbial expressions, such as"Tis merry in hall when beards wag all.' Other burdens were mere nonsense words that went glibly off the tongue, giving the accent of the music, such as hey nonny, nonny no [cp. Nos. 11 and 20]" (Chappell, Popular Music of the Olden Time, pp. 222-223).

4. Phoebus, arise

WILLIAM DRUMMOND is always known as "of Hawthornden," from the beautiful manor-house on the banks of "the murmuring

Esk," near Edinburgh, where he was born in 1585, and died in 1649 (G. T., CCLXXXI. 32). It was here that he wrote his poems, his History of Scotland under the Five Jameses, and his political pamphlets; and here that he entertained Ben Jonson, making careful notes, which have been preserved and published, of the dramatist's conversation. He was a great student; and, as in some other cases, it is difficult to say whether he injured the inspiration of his muse by reading the imitations, especially of Shakespeare, are almost too obvious in his work-or owed his success to patient study. But the extracts given in this volume, and one or two other sonnets, have a permanent place in English literature. The poets Drayton and W. Alexander were among his correspondents.

If there are echoes of Shakespeare and other poets in this Summons to Love, there is also an anticipation of that majesty of diction and rhythm, that grandeur, richness, and fulness of sound, os rotundum, which was presently to be revealed in Milton, the "God-gifted organ-voice of England.”

Metre.-Iambic. The length of the lines and order of the rhymes is irregular, but the irregularity is so skilfully managed as to increase the charm of the melody. In Mr. Palgrave's text, 1. 33 is left without a rhyme through the omission of a line after 1. 34.

1. Phoebus, Apollo, the Sun-God of the Greeks.

2. sable. A favourite word with Milton. Cp. Comus, 221, "Was I deceived or did a sable cloud ...?"

4. Rouse Memnon's mother. "Awaken the Dawn from the dark Earth and the clouds where she is resting. This is one of that limited class of early mythes which may be reasonably interpreted as representations of natural phenomena. 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 greyness" (F.T.P.).

5. career, course. Cp. Milton, Il Penseroso (G. T., cxLv. 121), "Thus, Night, oft see me in thy pale career.

6. each-where, every-where. "The adjectives all, each, both, every, other, are sometimes interchanged and used as pronouns in a manner different from modern use (Abbott, S. G., § 12). Every is really a strengthened form of each,'=' ever-each.'

7. make, imperative.

دو

11. decore, decorate. Examples of the form 'to decore' are quoted in N.E.D. from writers of the fifteenth, sixteenth, and seventeenth century. The Lat. verb is decoro, decoratus being

the participle. 'Decorate' in English was originally a participle. It was then used as a verb, and a fresh participle, 'decorated,' was formed from it.

14. but, only. But is a contraction of 'by-out' (cp. 'without'), and its first meaning is 'except.' From 'except' the meaning often passes to 'only,' where a negative can be easily supplied: not except '='only' (Abbott, S.Ğ., § 128).

18. The influence of the stars is often referred to in Elizabethan poetry. Cp. No. 41. 5-8.

20. white. Cp. Tibullus' birthday ode to Messalla (1. vii. 63-4): At tu, Natalis, multos celebrande per annos Candidior semper candidiorque veni.

("Birthday, to be honoured for many years, come thou ever white and still more white"). But 1. 21 seems to show that the classical passage in Drummond's mind was Persius, II. 1-2: Hunc, Macrine, diem numera meliore lapillo, Qui tibi labentes apponit candidus annos.

("This day, Macrinus, mark with a stone of more auspicious hue, the white day, which adds to your account each year as it glides away"-Conington). Lucky days were marked by the Romans with white chalk or a white stone or jewel: see the references given by Bentley on Horace, Odes, I. XXXVI. 10, or Ellis on Catullus, LXVIII. 148.

21. should. The relative 'that' is omitted in this and the preceding line.

27. by Penéus' streams. "Phoebus loved the nymph Daphne whom he met by the river Peneus in the vale of Tempe [in Thessaly]" (F.T.P.). Cp. Frederic Myers' description of Mr. G. F. Watts' picture:

'Or she whose soft limbs swiftly sped

The touch of very gods must shun,
And, drowned in many a boscage, fled
The imperious kisses of the sun."

28. Mr. F. T. Palgrave has here omitted two lines which he believed to be "hopelessly misprinted":

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'Nay, suns, which shine as clear

As thou when two thou did to Rome appear."

The poem loses little or nothing by their omission, but there does not seem to be any misprint. The phenomenon of a double sun is twice mentioned by Livy among the prodigies that occurred during the Second Punic War, XXVIII. 11 (B. c. 206), XXXIX. 14 (B.C. 204). Mr. Quiller-Couch, in his note on these lines, also quotes Pliny, Natural History, II. 31.

31. Amphion's lyre. "He was said to have built the walls of Thebes to the sound of his music" (F.T.P.).

33. Zephyr, the personification of the west wind. Cp. Milton, Paradise Lost, v. 16, "With voice Mild as when Zephyrus on Flora breathes"; L'Allegro (G.T. CXLIV. 18-19), "The frolic wind that breathes the spring, Zephyr, with Aurora playing.”

34. play. After this word the original text of Drummond gives only a comma, followed by a line which Mr. F. T. Palgrave omitted:

Kissing sometimes these purple ports of death.” The line is obscure, but seems to mean 'Kissing her lips for the sake of which men are ready to die.' Mr. Quiller-Couch notes that Drummond elsewhere speaks of the lips as "those coral ports

of bliss" and "Lips, double port of love." Port-gate, Lat. porta so used in Shakespeare, Coriolanus, v. vi. 6, "The city ports by this hath entered," and Milton, Paradise Lost, IV. 778, "And from the ivory port the Cherubim Forth issuing.'

36. chair, chariot. Cp. Milton, Paradise Lost, II. 930, "As in a cloudy chair ascending rides."

37. Ensaffroning, making saffron-coloured; a fine expression for the yellow light of dawn. (Pronounced here, metri gratia, as a tri-syllable.)

39, 40. An echo of Shakespeare, Romeo and Juliet, II. iii. 4: "And flecked darkness like a drunkard reels

From forth day's path and Titan's fiery wheels."

Cp. also Shakespeare, Sonnet, VII., of the Sun :

"But when from highmost pitch with weary car,
Like feeble age, he reeleth from the day."

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42. orient, bright. A favourite word in this sense in the Elizabethan and seventeenth century poets. Cp. No. 19. 31, "orient pearl"; No. 36. 10; also Herrick in G. T., CXVIII. 22, "some orient pearls" (of the dew); Milton, Nativity Ode, G. T., LXXXV. 231, an orient wave. Tennyson revived the word in its etymological sense of rising' (Lat. oriens)—“The life reorient out of dust" (In Memoriam, cxvI.). Shakespeare uses Orient for 'the East,' the quarter of the rising sun, Sonnet, VII. 44. She. Cp. Crashaw in G. T., CIII., Wishes for the Supposed Mistress:

"Whoe'er she be,

That not impossible she,

That shall command my heart and me.”

For lines 42-44, the 1616 edition of Drummond's poems, the

last printed in his lifetime, substitutes a more common-place ending:

"The clouds bespangle with bright gold their blue :

Here is the pleasant place,

And everything, save her, who all should grace."

5. When I have seen by Time's fell hand defaced

Shakespeare's Sonnets, LXIV. See Appendix C to this volume. 1. Time's fell hand. Cp. "Devouring Time," Sonnet XIX. i.the Tempus edax rerum of Ovid, Metamorphoses, XV. 234; "Time's injurious hand," Sonnet LXIII. 2.

2. cost, abstract for concrete, 'costly tombs.' Cp. the opening of Sonnet LV., "Not marble, nor the gilded monuments Of princes shall outlive this powerful rhyme."

3. sometime, at some time,' 'at one time'; 'towers once lofty.'

4. brass eternal recalls Horace's monumentum aere perennius ("a monument more lasting than bronze"), Odes, III. xxx. 1. mortal rage, the destructive rage of war, rage that brings mortality. Cp. Sonnet lv.:

"When wasteful war shall statues overturn,

And broils root out the work of masonry,

Nor Mars his sword nor war's quick fire shall burn
The living record of your memory."

So 'mortal thoughts' in Macbeth, 1. v. 42='murderous thoughts.' 7. win, used absolutely. Cp. King John, II. i. 569, "He that wins of all, Of kings, of beggars, old men, young men, maids.”

watery main. Cp. Merchant of Venice, v. i. 97, "the main of waters." 'Main' is properly an adj., and the full phrase is 'the main sea. In King Lear, III. i. 6, 'main' = mainland, as in Bacon's "In 1589 we turned challengers and invaded the main of Spain." In No. 41. 5, "Nativity, once in the main of light"= in the main flood of light.

With this quatrain cp. Tennyson, In Memoriam, CXXIII. : "There rolls the deep where grew the tree.

O earth, what changes hast thou seen!

There where the long street roars, hath been

The stillness of the central sea.

state, the Lat. status, from stare 'to stand,' properly denotes a fixed condition. "When I have seen . state itself confounded to decay" means, therefore, ‘When I have seen that there is no such thing as fixity of condition.' The sentiment is that expressed in the saying of the early Greek philosopher Heracleitus, πáντа þeî, “Everything flows."