that Clement would wait to pardon him until he had learned the full circumstance. 5. 4. II. Who be these, etc. The reception of Bridget, the bride, is more fully and enthusiastically described in F than Q. The Latin quotation is omitted to good purpose (cf. note on Q5. 1. 396). The allusion to the earlier news of the marriage is of course found only in F (cf. note on F 5. 3. 92). Q5. I. 423. Quinil potest sperare desperet nihil. Thi passage occurs in Seneca's Medea (ed. Bradshaw) 1. 162. The utterance is Medea's, and occurs in the conversation between her and the nurse after her long soliloquy at the beginning of the second act. She has heard of the marriage of Jason and Creusa, and is in a furious rage. The nurse seeks to restrain her, but is obliged to admit that hope reveals no way to one so unfortunate ('Spes nulla monstrat rebus afflictis viam'). Medea replies with the words of the quotation Jonson has borrowed : 'He who can hope for nothing, should despair of nothing.' This is omitted in F. Q 5. I. 426. and will noe sunshine on these lookes appear. It is difficult to determine whether these quasi-quotations are genuine or are simply improvised by Jonson. Cf. Q5. 1. 452, F 5. 5. II; Q5. I. 459; Q 5. I. 484; Q 5. I. 553; Q 5. 1. 606, F 5.5.79. I have been unable to locate these cited. I. Q5. 1. 427. since there is such a tempest towarde, ile be the porpuis, ile daunce. 'A large school of porpoises in rough weather charging down upon a sailing-ship is an impressive sight. Once the sea around was covered for miles with them, and they gambolled about our ship, swiftly passing and repassing her bows, as though encouraging her progress.'Beavan, Fishes I have known, p. 57. Q5. I. 432. Well sonne Lorenzo, this dayes worke of yours hath much deceiued my hopes, etc. It is to be questioned whether Jonson did not lose by omitting this speech in F. It is in keeping with old Knowell's character, and his son surely needed this much of a rebuke. 5.5. 1. We are the more bound to your humanitie, sir. This and the following speeches, up to line 9, take the place of a longer passage in Q (424-448). Q5. I. 447. Dic mihi musa virum. This is a Latin transliteration of the first line of the Odyssey. "Ανδρα μοι ἔννεπε Μοῦσα. More immediately, it occurs in Horace's De Arte Poetica (ed. Wickham, 1. 141). This was doubtless its source in Jonson. 5.5. 11. Mount up thy Phlegon muse. Phlegon was one of the horses of the Sun. See Smith's Dict. Gr. and Rom. Myth. 3. 337. Cf. Ovid, Met. (ed. Merkel) 2. 153: Interea volucres Pyrois et Eous et Aethon, Solis equi, quartusque Phlegon hinnitibus auras Cf. note on Q 5. I. 427. Q5. I. 459. From Catadupa and the banks of Nile. Catadupa [L. Catadupa = Gr. Karádvлo] was the name for the celebrated cataract of the Nile, near Syene, on the borders of Egypt, now Chellal. See Harper's Latin Dictionary. Cf. Cicero's De Re Publ. (ed. Mueller) 6. 18. 19: 'Hoc sonitu oppletae aures hominum obsurduerunt; nec est ullus hebetior sensus in vobis, sicut, ubi Nilus ad illa, quae Catadupa nominantur, praecipitat ex altissimis montibus, ea gens, quae illum locum adcolit, propter magnitudinem sonitus sensu audienti caret'; Macrobius, Somn. Scip. 2. 4. 14: 'Nam, si Nili Catadupa ab auribus incolarum amplitudinem fragoris excludunt, quid mirum, si nostrum sonus excedit auditum quem mundanae molis inpulsus emittit'; Sidney, Defense of Poesy, p. 58: 'But if .. you be born so near the dull-making cataract of Nilus, that you cannot hear the planet-like music of poetry.' Cook notes that the story is told by Montaigne, Bk. I. ch. 22. 5. 5. 15. Hee is not for extempore, etc. Clement's second attempt at extemporaneous versifying in Q is omitted here, and a comment on young Knowell's method of composition substituted for it. Q reads 'lets This idea has 5.5. 17. search him for a tast of his veine. intreat a sight of his vaine then' at this point. already been given in the last of Wellbred's previous remark. Clement's new remark is appropriate, since young Knowell is actually searched for the poetry he has upon his person. See tast in Glossary. 5. 5. 18. You must not denie the Queenes Iustice. Cf. Introduction, pp. lxiv, lxvi, lxviii. 5. 5. 23. Vnto the boundlesse Ocean of thy face, etc. Whalley pointed out that these lines are parodied from the first stanza of Daniel's Sonnet to Delia. Q, at this point, prints the first four lines of the original poem, with an alteration in the last line, and has Matthew say: 'I translated that out of a booke, called Delia.' The fourth line in Daniel runs : 'Which here my loue, my youth, my plaints reueale.' For a full discussion of Jonson's relation to Daniel, see Small, Stage Quarrel, pp. 181 ff. Fleay and Penniman have developed elaborate theories regarding Daniel's participation in the famous stage-quarrel and Jonson's animosity toward him, many of which Small distrusts. It is sufficient, at this point, to suggest but a few illustrations of Jonson's ridicule of Daniel, about which there is little question. Two allusions in the Conversations with Drummond show that the two men were not on the best of terms. See Jonson's Wks. 9. 366: Samuel Daniel was a good honest man, had no children; but no poet; and ibid., p. 378: 'Daniel was at jealousies with him.' In Every Man Out 3. 1, p. 176, Fastidious Brisk, in speaking of his mistress, says: ... You shall see sweet silent rhetorick, and dumb eloquence speaking in her eye; but when she speaks herself, such an anatomy of wit, so sinewized and arterized, that 'tis the goodliest model of pleasure that ever was to behold.' This parodies lines 128-130 of Daniel's Complaint of Rosamond: Sweet silent rhetoric of persuading eyes, Dumb eloquence, whose power doth move the blood Fleay and Small agree in thinking that the poetical epistle to Elizabeth, Countess of Rutland, printed in the Forest, contains a reference to Daniel, who in 1603 addressed a long poetical epistle to Lucy, Countess of Bedford, and in the same year was recommended by her to James as a good writer for the court: You, and that other star, that purest light. Than which a nobler heaven itself knows not; Yet for the timely favours she hath done To my less sanguine muse, wherein she hath won I have already used some happy hours, To her remembrance. Jonson's 'less sanguine muse' is probably an allusion to Daniel's Civil Wars, the first five books of which appeared in 1595. Q5. I. 475. No, sir, I translated that out of a booke, called Delia. This definite avowal of indebtedness to Daniel's Delia is omitted in F, as well as the line found in a ballad (1. 486). F contents itself with calling it an absurd parody. Q5. I. 491. Call you this poetry? This passage up to I. 531 is peculiar to Q. All that Jonson allows to remain of it in F is Clement's tribute to poetry (5. 5. 37 ff.) and Edward Knowell's remark: 'Sir, you have sau'd me the labour of a defence' (5. 5. 47). There is nothing finer in either version than this. It would be difficult to conceive of a higher conception of poetry. It is a 'sacred inuention', belongs to the eternal order, and is desecrated by empty spirits, and all but 'graue and consecrated eyes.' This, as Sidney suggests (Defense, p. 43), is reminiscent of Plato. 'For the poet is a light and winged and holy thing, and there is no invention in him until he has been inspired and is out of his senses, and the mind is no longer in him: when he has not attained to this state, he is powerless and is unable to utter his oracles.... And therefore God takes away the minds of poets, and uses them as his ministers, as he also uses diviners and holy prophets, in order that we who hear them may know that they speak not of themselves who utter these priceless words in a state of unconsciousness, but that God is the speaker, and that through them he is conversing with us.'-Plato, Ion 534 (Jowett 1.224). Cook adds the following note from Spenser, Shepherd's Calendar, October, Argument: 'In Cuddie is set out the perfect pattern of a poet, which, finding no maintenance of his state and studies, complaineth of the contempt of poetry, and the causes thereof; specially having been in all ages, and even among the most barbarous, always of singular account and honor, and being, indeed, so worthy and commendable an art; or rather no art, but a Divine gift and heavenly instinct not to be gotten by labor and learning, but adorned with both, and poured into the wit by a certain vdovaraoμòs and celestial inspiration, as the author hereof elsewhere at large discourseth in his book called "The English Poet", which book being lately come to my hands, I mind also, by God's grace, upon further advisement, to publish.' Cf. Shelley's Defense of Poetry (ed. Cook, pp. 10; 38): A poem is the very image of life expressed in its eternal truth.... Poetry is indeed something divine.' 5. 5. 34. Sic transit gloria mundi. 'Sequence sung at the enthronization of a new pope, and accompanied with the burning of tow to signify the transitoriness of earthly grandeur.'-King, Classical and Foreign Quotations. Cf. Thomas à Kempis, De Imitatione Christi 1. 3. 6: 'O quam cito transit gloria mundi.' 5. 5. 35. There's an embleme for you. Gifford remarks that this application of the justice's emblem to his son is well timed and judicious, since he had warned him earlier against the study of 'idle poetry.' Q5. I. 532. I Lorenzo, but election is now gouernd altogether by the influence of humor, etc. This long speech is divided into two in F, and is materially condensed. The language and style of the revised passages are much simpler. Individual differences are mentioned in the following notes. Q5. I. 537. she must haue store of Ellebore, giuen her to purge these grosse obstructions. 'Hellebore foetidus was in past times much extolled as an anthelmintic, and is recommended by Bisset (Med. Ess., pp. 169 and 195, 1766) as the best vermifuge for children; J. Cook, however, remarks of it (Oxford Mag., March 1769, p. 99): "Where it killed not the patient, it would certainly kill the worms; but the worst of it is, it will sometimes kill both."-Encyc. Brit. 13. 236. Cf. Plautus' Pseudolus 4.7. 1184 (ed. Leo): 'Elleborum hisce |