The Lucasta Poems online

TO THE NOBLEST OF OUR YOUTH AND BEST OF FRIENDS,
CHARLES COTTON, Esquire.

BEING AT BERISFORD, AT HIS HOUSE IN STAFFORDSHIRE.
FROM LONDON.

A POEM.

Sir, your sad absence I complain, as earth
Her long-hid spring, that gave her verdures birth,
Who now her cheerful aromatick head
Shrinks in her cold and dismal widow'd bed;
Whilst the false sun her lover doth him move
Below, and to th' antipodes make love.

What fate was mine, when in mine obscure cave
(Shut up almost close prisoner in a grave)
Your beams could reach me through this vault of night,
And canton the dark dungeon with light!
Whence me (as gen'rous Spahys) you unbound,
Whilst I now know my self both free and crown'd.

But as at Meccha's tombe, the devout blind
Pilgrim (great husband of his sight and mind)
Pays to no other object this chast prise,
Then with hot earth anoynts out both his eyes:
So having seen your dazling glories store,
It is enough, and sin for to see more.

Or, do you thus those pretious rayes withdraw
To whet my dull beams, keep my bold in aw?
Or, are you gentle and compassionate,
You will not reach me Regulus his fate?
Brave prince! who, eagle-ey'd of eagle kind,
Wert blindly damn'd to look thine own self blind!

But oh, return those fires, too cruel-nice!
For whilst you fear me cindars, see, I'm ice!
A nummed speaking clod and mine own show,
My self congeal'd, a man cut out in snow:
Return those living fires. Thou, who that vast
Double advantage from one-ey'd Heav'n hast,
Look with one sun, though 't but obliquely be,
And if not shine, vouchsafe to wink on me.

Perceive you not a gentle, gliding heat,
And quick'ning warmth, that makes the statua sweat;
As rev'rend Ducaleon's black-flung stone,
Whose rough outside softens to skin, anon
Each crusty vein with wet red is suppli'd,
Whilst nought of stone but in its heart doth 'bide.

So from the rugged north, where your soft stay
Hath stampt them a meridian and kind day;
Where now each A LA MODE inhabitant
Himself and 's manners both do pay you rent,
And 'bout your house (your pallace) doth resort,
And 'spite of fate and war creates a court.

So from the taught north, when you shall return,
To glad those looks that ever since did mourn,
When men uncloathed of themselves you'l see,
Then start new made, fit, what they ought to be;
Hast! hast! you, that your eyes on rare sights feed:
For thus the golden triumph is decreed.

The twice-born god, still gay and ever young,
With ivie crown'd, first leads the glorious throng:
He Ariadne's starry coronet
Designs for th' brighter beams of Amoret;
Then doth he broach his throne, and singing quaff
Unto her health his pipe of god-head off.

Him follow the recanting, vexing Nine
Who, wise, now sing thy lasting fame in wine;
Whilst Phoebus, not from th' east, your feast t' adorn,
But from th' inspir'd Canaries, rose this morn.

Now you are come, winds in their caverns sit,
And nothing breaths, but new-inlarged wit.
Hark! One proclaims it piacle to be sad,
And th' people call 't religion to be mad.

But now, as at a coronation,
When noyse, the guard, and trumpets are oreblown,
The silent commons mark their princes way,
And with still reverence both look and pray;
So they amaz'd expecting do adore,
And count the rest but pageantry before.

Behold! an hoast of virgins, pure as th' air
In her first face, ere mists durst vayl her hair:
Their snowy vests, white as their whiter skin,
Or their far chaster whiter thoughts within:
Roses they breath'd and strew'd, as if the fine
Heaven did to earth his wreath of swets resign;
They sang aloud: "THRICE, OH THRICE HAPPY, THEY
THAT CAN, LIKE THESE, IN LOVE BOTH YIELD AND SWAY."

Next herald Fame (a purple clowd her bears),
In an imbroider'd coat of eyes and ears,
Proclaims the triumph, and these lovers glory,
Then in a book of steel records the story.

And now a youth of more than god-like form
Did th' inward minds of the dumb throng alarm;
All nak'd, each part betray'd unto the eye,
Chastly: for neither sex ow'd he or she.
And this was heav'nly love. By his bright hand,
A boy of worse than earthly stuff did stand;
His bow broke, his fires out, and his wings clipt,
And the black slave from all his false flames stript;
Whose eyes were new-restor'd but to confesse
This day's bright blisse, and his own wretchednesse;
Who, swell'd with envy, bursting with disdain,
Did cry to cry, and weep them out again.

And now what heav'n must I invade, what sphere
Rifle of all her stars, t' inthrone her there?
No! Phoebus, by thy boys fate we beware
Th' unruly flames o'th' firebrand, thy carr;
Although, she there once plac'd, thou, Sun, shouldst see
Thy day both nobler governed and thee.
Drive on, Bootes, thy cold heavy wayn,
Then grease thy wheels with amber in the main,
And Neptune, thou to thy false Thetis gallop,
Appollo's set within thy bed of scallop:
Whilst Amoret, on the reconciled winds
Mounted, and drawn by six caelestial minds,
She armed was with innocence and fire,
That did not burn; for it was chast desire;
Whilst a new light doth gild the standers by.
Behold! it was a day shot from her eye;
Chafing perfumes oth' East did throng and sweat,
But by her breath they melting back were beat.
A crown of yet-nere-lighted stars she wore,
In her soft hand a bleeding heart she bore,
And round her lay of broken millions more;
Then a wing'd crier thrice aloud did call:
LET FAME PROCLAIM THIS ONE GREAT PRISE FOR ALL.

By her a lady that might be call'd fair,
And justly, but that Amoret was there,
Was pris'ner led; th' unvalewed robe she wore
Made infinite lay lovers to adore,
Who vainly tempt her rescue (madly bold)
Chained in sixteen thousand links of gold;
Chrysetta thus (loaden with treasures) slave
Did strow the pass with pearls, and her way pave.

But loe! the glorious cause of all this high
True heav'nly state, brave Philamore, draws nigh,
Who, not himself, more seems himself to be,
And with a sacred extasie doth see!
Fix'd and unmov'd on 's pillars he doth stay,
And joy transforms him his own statua;
Nor hath he pow'r to breath [n]or strength to greet
The gentle offers of his Amoret,
Who now amaz'd at 's noble breast doth knock,
And with a kiss his gen'rous heart unlock;
Whilst she and the whole pomp doth enter there,
Whence her nor Time nor Fate shall ever tear.
But whether am I hurl'd? ho! back! awake
From thy glad trance: to thine old sorrow take!
Thus, after view of all the Indies store,
The slave returns unto his chain and oar;
Thus poets, who all night in blest heav'ns dwell,
Are call'd next morn to their true living hell;
So I unthrifty, to myself untrue,
Rise cloath'd with real wants, 'cause wanting you,
And what substantial riches I possesse,
I must to these unvalued dreams confesse.

But all our clowds shall be oreblown, when thee
In our horizon bright once more we see;
When thy dear presence shall our souls new-dress,
And spring an universal cheerfulnesse;
When we shall be orewhelm'd in joy, like they
That change their night for a vast half-year's day.

Then shall the wretched few, that do repine,
See and recant their blasphemies in wine;
Then shall they grieve, that thought I've sung too free,
High and aloud of thy true worth and thee,
And their fowl heresies and lips submit
To th' all-forgiving breath of Amoret;
And me alone their angers object call,
That from my height so miserably did fall;
And crie out my invention thin and poor,
Who have said nought, since I could say no more.

Charles Cotton the younger, Walton's friend. He was born
on the 28th of April, 1630. He married, in 1656, Isabella,
daughter of Sir Thomas Hutchinson, of Owthorp, co. Notts, Knight.
See Walton's ANGLER, ed. 1760, where a life of Cotton, compiled
from the notes of the laborious Oldys, will be found. The poet
died in 1687, and, two years later, his miscellaneous verses were
printed in an octavo volume.

i.e. the shadow of myself.

A crime, from the Latin PIACULUM which, from meaning
properly AN ATONEMENT, was afterwards used to express WHAT
REQUIRED an atonement, i.e. an offence or sin.

The sky in the early part of the morning, before it is
clouded by mists.

Phaeton.

0riginal reads, OF MILLIONS BROKEN MORE. The above is
certainly preferable; but the reader may judge for himself.
It should be borne in mind that the second part of LUCASTA
was not even printed during the poet's life. If he had survived
to republish the first portion, and to revise the second perhaps
we should have had a better text.



ADVICE TO MY BEST BROTHER,
COLL: FRANCIS LOVELACE.

Frank, wil't live unhandsomely? trust not too far
Thy self to waving seas: for what thy star,
Calculated by sure event, must be,
Look in the glassy-epithete, and see.

Yet settle here your rest, and take your state,
And in calm halcyon's nest ev'n build your fate;
Prethee lye down securely, Frank, and keep
With as much no noyse the inconstant deep
As its inhabitants; nay, stedfast stand,
As if discover'd were a New-found-land,
Fit for plantation here. Dream, dream still,
Lull'd in Dione's cradle; dream, untill
Horrour awake your sense, and you now find
Your self a bubbled pastime for the wind;
And in loose Thetis blankets torn and tost.
Frank, to undo thy self why art at cost?

Nor be too confident, fix'd on the shore:
For even that too borrows from the store
Of her rich neighbour, since now wisest know
(And this to Galileo's judgement ow),
The palsie earth it self is every jot
As frail, inconstant, waveing, as that blot
We lay upon the deep, that sometimes lies
Chang'd, you would think, with 's botoms properties;
But this eternal, strange Ixion's wheel
Of giddy earth ne'er whirling leaves to reel,
Till all things are inverted, till they are
Turn'd to that antick confus'd state they were.

Who loves the golden mean, doth safely want
A cobwebb'd cot and wrongs entail'd upon't;
He richly needs a pallace for to breed
Vipers and moths, that on their feeder feed;
The toy that we (too true) a mistress call,
Whose looking-glass and feather weighs up all;
And cloaths which larks would play with in the sun,
That mock him in the night, when 's course is run.

To rear an edifice by art so high,
That envy should not reach it with her eye,
Nay, with a thought come neer it. Wouldst thou know,
How such a structure should be raisd, build low.
The blust'ring winds invisible rough stroak
More often shakes the stubborn'st, prop'rest oak;
And in proud turrets we behold withal,
'Tis the imperial top declines to fall:
Nor does Heav'n's lightning strike the humble vales,
But high-aspiring mounts batters and scales.

A breast of proof defies all shocks of Fate,
Fears in the best, hopes in worser state;
Heaven forbid that, as of old, time ever
Flourish'd in spring so contrary, now never.
That mighty breath, which blew foul Winter hither,
Can eas'ly puffe it to a fairer weather.
Why dost despair then, Frank? Aeolus has
A Zephyrus as well as Boreas.

'Tis a false sequel, soloecisme 'gainst those
Precepts by fortune giv'n us, to suppose
That, 'cause it is now ill, 't will ere be so;
Apollo doth not always bend his bow;
But oft, uncrowned of his beams divine,
With his soft harp awakes the sleeping Nine.

In strictest things magnanimous appear,
Greater in hope, howere thy fate, then fear:
Draw all your sails in quickly, though no storm
Threaten your ruine with a sad alarm;
For tell me how they differ, tell me, pray,
A cloudy tempest and a too fair day?

One of the younger brothers of the poet. In the
year of the Restoration he filled the office of Recorder of
Canterbury, and in that capacity delivered the address of the
city to Charles II. on his passage through the place. This
speech was printed in 1660, 4to, three leaves. The following
extracts from the CALENDARS OF STATE PAPERS (Domestic Series,
1660-1, page 139), throw a little additional light on the
history of this person: -

"1660, July 1. - Petition of Fras. Lovelace, Recorder of Canterbury,
to the King, for the stewardship of the liberties of St. Augustine,
near Canterbury, for himself and his son Goldwell. Has suffered
sequestration, imprisonment, and loss of office, for his loyalty.
WITH A NOTE OF THE REQUESTED GRANT FOR FRAS. LOVELACE.

"Grant to Fras. Lovelace, of the office of chief steward of the
Liberties of the late monastery of St. Augustine, near Canterbury."

Unless the poet is advising his brother, before the latter
ventures on a long sea voyage, to look in the crystal, or beryl,
so popular at that time, in order to read his fortune, I must
confess my ignorance of the meaning of "glassy-epithete."
See, for an account of the beryl, Aubrey's MISCELLANIES,
edit. 1857, p. 154.

Than.



PARIS'S SECOND JUDGEMENT,

UPON THE THREE DAUGHTERS OF MY DEAR
BROTHER MR. R. CAESAR.

Behold! three sister-wonders, in whom met,
Distinct and chast, the splendrous counterfeit
Of Juno, Venus and the warlike Maid,
Each in their three divinities array'd;
The majesty and state of Heav'ns great Queen,
And when she treats the gods, her noble meen;
The sweet victorious beauties and desires
O' th' sea-born princess, empresse too of fires;
The sacred arts and glorious lawrels torn
From the fair brow o' th' goddesse father-born;
All these were quarter'd in each snowy coat,
With canton'd honours of their own, to boot.
Paris, by fate new-wak'd from his dead cell,
Is charg'd to give his doom impossible.
He views in each the brav'ry of all Ide;
Whilst one, as once three, doth his soul divide.
Then sighs so equally they're glorious all:
WHAT PITY THE WHOLE WORLD IS BUT ONE BALL!

Second son of Sir John Caesar, Knt., who was the second
surviving son of Sir Julius Caesar, Knt., Master of the Rolls.
Mr. Robert Caesar married the poet's sister Johanna, by whom
he had three daughters, co-heirs - Anne, Juliana, and Johanna.
These are the ladies commemorated in the text. See Lodge's
LIFE OF SIR JULIUS CAESAR, 1827, p. 54.

Original reads SPLENDORS.

This word is here used to signify simply RESEMBLANCE or
COPY.

i.e. quartered. CANTON, in heraldry, is a square space
at one of the corners of a shield of arms.

Bravery here means, as it often does in writers of and
before the time of Lovelace, A BEAUTIFUL OR FINE SPECTACLE,
or simply BEAUTY. BRAVE in the sense of FINE (gaudy or gallant)
is still in use.



PEINTURE.

A PANEGYRICK TO THE BEST PICTURE OF FRIENDSHIP,
MR. PET. LILLY.

If Pliny, Lord High Treasurer of all
Natures exchequer shuffled in this our ball,
Peinture her richer rival did admire,
And cry'd she wrought with more almighty fire,
That judg'd the unnumber'd issue of her scrowl,
Infinite and various as her mother soul,
That contemplation into matter brought,
Body'd Ideas, and could form a thought.
Why do I pause to couch the cataract,
And the grosse pearls from our dull eyes abstract,
That, pow'rful Lilly, now awaken'd we
This new creation may behold by thee?

To thy victorious pencil all, that eyes
And minds call reach, do bow. The deities
Bold Poets first but feign'd, you do and make,
And from your awe they our devotion take.
Your beauteous pallet first defin'd Love's Queen,
And made her in her heav'nly colours seen;
You strung the bow of the Bandite her son,
And tipp'd his arrowes with religion.
Neptune as unknown as his fish might dwell,
But that you seat him in his throne of shell.
The thunderers artillery and brand,
You fancied Rome in his fantastick hand;
And the pale frights, the pains, and fears of hell
First from your sullen melancholy fell.
Who cleft th' infernal dog's loath'd head in three,
And spun out Hydra's fifty necks? by thee
As prepossess'd w' enjoy th' Elizian plain,
Which but before was flatter'd in our brain.
Who ere yet view'd airs child invisible,
A hollow voice, but in thy subtile skill?
Faint stamm'ring Eccho you so draw, that we
The very repercussion do see.
Cheat-HOCUS-POCUS-Nature an assay
O' th' spring affords us: praesto, and away!
You all the year do chain her and her fruits,
Roots to their beds, and flowers to their roots.
Have not mine eyes feasted i' th' frozen Zone
Upon a fresh new-grown collation
Of apples, unknown sweets, that seem'd to me
Hanging to tempt as on the fatal tree,
So delicately limn'd I vow'd to try
My appetite impos'd upon my eye?
You, sir, alone, fame, and all-conqu'ring rime,
File the set teeth of all-devouring time.
When beauty once thy vertuous paint hath on,
Age needs not call her to vermilion;
Her beams nere shed or change like th' hair of day,
She scatters fresh her everlasting ray.
Nay, from her ashes her fair virgin fire
Ascends, that doth new massacres conspire,
Whilst we wipe off the num'rous score of years,
And do behold our grandsire[s] as our peers;
With the first father of our house compare
We do the features of our new-born heir:
For though each coppied a son, they all
Meet in thy first and true original.
Sacred! luxurious! what princesse not
But comes to you to have her self begot?
As, when first man was kneaded, from his side
Is born to's hand a ready-made-up bride.
He husband to his issue then doth play,
And for more wives remove the obstructed way:
So by your art you spring up in two noons
What could not else be form'd by fifteen suns;
Thy skill doth an'mate the prolifick flood,
And thy red oyl assimilates to blood.
Where then, when all the world pays its respect,
Lies our transalpine barbarous neglect?
When the chast hands of pow'rful Titian
Had drawn the scourges of our God and man,
And now the top of th' altar did ascend
To crown the heav'nly piece with a bright end;
Whilst he, who in seven languages gave law,
And always, like the Sun, his subjects saw,
Did, in his robes imperial and gold,
The basis of the doubtful ladder hold.
O Charls! a nobler monument than that,
Which thou thine own executor wert at!
When to our huffling Henry there complain'd
A grieved earl, that thought his honor stain'd:
Away (frown'd he), for your own safeties, hast!
In one cheap hour ten coronets I'l cast;
But Holbeen's noble and prodigious worth
Onely the pangs of an whole age brings forth.
Henry! a word so princely saving said,
It might new raise the ruines thou hast made.
O sacred Peincture! that dost fairly draw,
What but in mists deep inward Poets saw;
'Twixt thee and an Intelligence no odds,
That art of privy council to the gods!
By thee unto our eyes they do prefer
A stamp of their abstracted character;
Thou, that in frames eternity dost bind,
And art a written and a body'd mind;
To thee is ope the Juncto o' th' abysse,
And its conspiracy detected is;
Whilest their cabal thou to our sense dost show,
And in thy square paint'st what they threat below.
Now, my best Lilly, let's walk hand in hand,
And smile at this un-understanding land;
Let them their own dull counterfeits adore,
Their rainbow-cloaths admire, and no more.
Within one shade of thine more substance is,
Than all their varnish'd idol-mistresses:
Whilst great Vasari and Vermander shall
Interpret the deep mystery of all,
And I unto our modern Picts shall show,
What due renown to thy fair art they owe
In the delineated lives of those,
By whom this everlasting lawrel grows.
Then, if they will not gently apprehend,
Let one great blot give to their fame an end;
Whilst no poetick flower their herse doth dresse,
But perish they and their effigies.

An allusion is, of course, intended to Pliny's
NATURAL HISTORY which, through Holland's translation,
became popular in England after 1601.

i.e. in our globe.

A term borrowed from the medical, or rather surgical,
vocabulary. "To couch a cataract" (i.e. in the eye) is to
remove it by surgical process.

An allusion to Lely's pictures of Venus and Cupid.

Falsely portrayed.

A glimpse.

Some picture by Lely, in which the painter introduced
a spring landscape, is meant. The poet feigns the copy of Nature
to be so close that one might suppose the Spring had set in
before the usual time. The canvass is removed, and the illusion
is dispelled. "Praesto, 'tis away," would be a preferable reading.

i.e. if my appetite, &c. Lovelace's style is elliptical
to an almost unexampled degree.

The same story, with variations, has been told over and
over again since the time of Zeuxis.

Original edition has FILES.

HAIR is here used in what has become quite an obsolete
sense. The meaning is outward form, nature, or character.
The word used to be by no means uncommon; but it is now,
as was before remarked, out of fashion; and, indeed, I do not think
that it is found even in any old writer used exactly in the way
in which Lovelace has employed it.

Original reads TO.

Charles V.

Henry VIII.

A story too well known to require repetition. The Earl
is not mentioned. - See Walpole's ANECDOTES OF PAINTING, ed. 1862,
p.71.

i.e. no difference. A compliment to Lely's spirituality.



AN ANNIVERSARY ON THE HYMENEALS OF MY NOBLE KINSMAN,
THO. STANLEY, ESQUIRE.

I.
The day is curl'd about agen
To view the splendor she was in;
When first with hallow'd hands
The holy man knit the mysterious bands
When you two your contracted souls did move
Like cherubims above,
And did make love,
As your un-understanding issue now,
In a glad sigh, a smile, a tear, a vow.

II.
Tell me, O self-reviving Sun,
In thy perigrination
Hast thou beheld a pair
Twist their soft beams like these in their chast air?
As from bright numberlesse imbracing rayes
Are sprung th' industrious dayes,
So when they gaze,
And change their fertile eyes with the new morn,
A beauteous offspring is shot forth, not born.

III.
Be witness then, all-seeing Sun,
Old spy, thou that thy race hast run
In full five thousand rings;
To thee were ever purer offerings
Sent on the wings of Faith? and thou, O Night,
Curtain of their delight,
By these made bright,
Have you not mark'd their coelestial play,
And no more peek'd the gayeties of day?

IV.
Come then, pale virgins, roses strow,
Mingled with Ios as you go.
The snowy ox is kill'd,
The fane with pros'lyte lads and lasses fill'd,
You too may hope the same seraphic joy,
Old time cannot destroy,
Nor fulnesse cloy;
When, like these, you shall stamp by sympathies
Thousands of new-born-loves with your chaste eyes.

Lovelace was connected with the Stanleys through the
Auchers. The Kentish families, about this time, intermarried
with each other to a very large extent, partly to indemnify
themselves from the consequences of gravelkind tenure (though
many had procured parliamentary relief); and the Lovelaces,
the Stanleys, the Hammonds, the Sandyses, were all more or less
bound together by the ties of kindred. See the tree prefixed
by Sir Egerton Brydges to his edition of HAMMOND'S POEMS, 1816,
and the Introduction to STANLEY'S POEMS, 1814. Sir William
Lovelace, the poet's grandfather, married Elizabeth, daughter
of Edward Aucher, Esq., of Bishopsbourne, near Canterbury, while
Sir William Hammond, of St. Alban's Court, married, as his second
wife, Elizabeth, daughter of Anthony Aucher, Esq., of
Bishopsbourne, by whom he had, among other children, Mary,
who became the wife of Sir Thomas Stanley, of Cumberlow, father of
Thomas Stanley, the poet, historian, and translator of Bion, &c.

See THE POEMS OF WILLIAM HAMMOND, 1655, edited by
Sir E. Brydges, 1816, p. 54, where there is a similar poem
on Stanley and his bride from the pen of Hammond, who also claimed
relationship with the then newly-married poet. The best account
of Stanley is in the reprint of his Poems and Translations, 1814,
8vo.

Meaning that the earth had made 5000 revolutions round
the sun; or, in other words, that the sun was 5000 years old.

Original reads AND THOU OF NIGHT.



ON SANAZAR'S BEING HONOURED WITH SIX HUNDRED DUCKETS