The Complete Works of Richard Crashaw Volume I Part 1

The Complete Works of Richard Crashaw.

Volume I.

by Richard Crashaw.

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 ma.s.ses of snow and ice, with abiding touches of beauty and perfume, as though they had been sheltered within walls and gla.s.s. 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 Ill.u.s.trations 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 t.i.tles 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 t.i.tles. 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 a.s.sign the editors.h.i.+p 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 t.i.tle-page was as follows: 'Epigrammatum Sacrorum Liber. Cantabrigiae, ex Academiae celeberrimae 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 cla.s.ses, Sacred and Secular, the latter with a separate t.i.tle-page. In the Note which follows this Preface, the t.i.tle-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 pa.s.se 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 a.s.signed their own places in the new edition of 1648. With two exceptions, we have adhered to the cla.s.sification 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 t.i.tle-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 t.i.tle-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 combined 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 t.i.tle 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-composed 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 Sufficed him: and may we guesse his hart 25 By what his lipps brings forth, his onely part Is G.o.d and G.o.dly thoughtes. Leaues doubt to none But that to whom one G.o.d 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 Ma.n.u.script 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 t.i.tle 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 Ill.u.s.trations 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 n.o.blest 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 Createur 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 n.o.bis 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 c.u.m 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 Pa.s.sion, holding the dead Saviour in her arms.

8. 'Hymn of St. Thomas.' A Remonstrance. 'Ecce panis Angelorum.'

9. 'Dies Irae.' The Last Judgment. 'Dies Irae, 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?