93. Time, p. 139. Line 19, this it is: i.e. the fact that our souls will be conveyed as above-this antecedent being, as often in old writers, not formally expressed in words, but implied in them.

94. Gratefulnesse, p. 140. Line 1,0.' Ei her the 'O' is wrong, or we must scan that hast giv'n' as one foot or two syllables a form not occurrent in Herbert elsewhere. I have ventured to omit it, and read not 'O Thou,' but simply Thou.' 95. Peace, p. 141. Line 15, Crown Imperiall.' 'The flower with that name. Cowley, in his hymn to Light, has a beautiful allusion to it:

"A crimson garment in the rose thou wear'st;

A crown of studded gold thou bear'st;

The virgin lilies in their white

Are clad but with the lawn of almost naked light.":

(Willmott.)

96. Confession, p. 143. Line 5, till' money-drawer. Line 15, foot.' To 'foot' it, is to walk. Here it seems to mean to get on the footsteps or track of.

97. Giddinesse, p. 144. Line 11, 'snudge:' 'to walk along [or go generally] as it were wrapped in oneself, without regarding persons or things that may be in the way.' Dyche. Also, to go as one full of business. Greene, at the end of his Menaphon, says that Doron, having discovered the high degree of the lady he had loved, 'snudged him selfe up, and jumpte a marriage with his old friend Carmela,' where it seems to mean, betook himself to his own rural business, and settled down to it. The noun means a country churl, and like many living apart, a curmudgeon, a miser; and snudging was the miserly way of a miser. To'snudge' also signified to go slily or sneakingly, and hence the noun also meant a sneaking fellow.

Line 19, Dolphin.' Not the sea-mammal, the porpoise, or Delphinus, that carried Arion and others (Pliny, N. H. 1. ix. c. 8), but the fish Coryphaena hippuris, whose brilliant hues show variously during his swift course and bendings, and whose colours still remaining brilliant, change and vary in hue when, taken out of the water, it is allowed to die.

Line 20, desires.' 'If his outward appearance changed like his mind, and as often.' Willmott. But the belief that the dolphin changed its hues according to its desire is erroneous, nor do I know where Herbert found it. The chameleon may, perhaps, do so.

98. The Bunch of Grapes, p. 145. Line 4, vogue.' Properly free course of a vessel with a fair wind and open sea, when not constrained by the wind to a particular line, but going free, and able to alter its direction. Hence secondarily sway, authority (the action expressed in swaying a sceptre illustrating the similar senses in hich sway is used). Afterwards the esteem, estimation, or credit which anything had by common or general consent, as a fashion in vogue. Latterly-and later than Herbert's time it has been used as nearly synonymous with fashion. Herbert here uses it as a free course with full sail; and hence his use of the word 'air' in the immediate context.

Line 10, 'spann'd'= measured out. The usual punctuation of a period (.) after renown obscures the meaning. Herbert says a deed that is single, and without consequences, is of small renown: but God's works are not so; they are wide, and are types bearing the future within themselves. Hence I place a semicolon (;) only, and perhaps a comma had been better still.

99. Love-unknown, p. 146. Line 38,' to spread and to expatiate.' An example of an idiomatic tautologic usage, much seen in our older writers (Shakespeare included), of using synonyms derived from the different languages of which our own is formed. Here, by reason of the ex = abroad, the Latinate word is a little the stronger.

Line 70, 'quick' in opposition to 'dull' (1. 66); but Herbert makes use of its double sense to imply the deeper sense of living-in Christ.

101. The Storm, p. 150. Line 6, 'object'=' throw forward, so as to comfort them.' Willmott. See our margin-explanation.

Line 7, Starres have their storms.' The allusion seems to be to meteor-showers; but it is more difficult, perhaps, to understand why this and the next line are, as it were, interpolated here. The conceit is, that as there are storms in heavenly places, so our forceful storms, meeting not with a contrary region, but with one of like character, are able to ascend to Heaven's doors.

=

103. The Method, p. 152. Line 6, 'move :' used much as it is in Parliament, &c. So 'motion' is used further on (11. 19 and 23). 104. Divinitie, p. 153. Line 11, 'fine' had it been a fashionably-cut garment. The metaphor was suggested, no doubt, by the quaintly-carved, cut, slashed, and paned dresses of Herbert's time.

Line 25, epicycles.' In the Ptolemaic astronomy, when it

was found that movement in circles would not accord with the observed positions of the planets, and as the circle, as the only supposedly perfect curve, was obliged to be retained, epicycles -circles upon or within the original circles-were added and superadded, to keep the earth-standing and sphere-circling theory in agreement with the more and more correct observations that were made. See Note on 146. The Foil, 1. 2. 105. Ephes. iv. 30, p. 154. Line 30, crystal.' The conceit is based on the 'clear stream.' If a clear stream, which typifies purity and sin washed away, run continually, why should not I, muddied with sin, run more continuously, that as a stream in its course cleanses itself, so may I? This is set to music by J. Blow, in 'Harmonia Sacra.'

6

106. The Familie, p. 156. Line 1, noise.' As shown by 'part,' the word is here used in its then sense of a set or company of musicians; e.g. Sneak's noise (Shakespeare) or Rupert's noise meant Sneak's or Rupert's set of players or band. Cf. 144. Aaron, 1. 8.

Line 3, 'loud' and the rest of the context show that 'pulling' is puling (as in margin).

Line 10, 'plaies.' 'Plays upon it like a musical instrument, and brings it into tune.' Willmot. It seems more agreeable to colloquial idiom and to the next line to interpret it as=' acts as, takes the part of the soul, and like it regulates the whole commonwealth of man.' Cf. The Church Porch, st. lxviii. 'Play the Man.'

Line 20, shrill.' Clear speaking without harshness: so we read of the waking of Adam from sleep:

"Which the only sound

Of leaves and fuming rills, Aurora's fan,
Lightly dispersed; and the shrill matin song
Of birds in every bough."

(Paradise Lost, v. 6.)' Willmott.

107. The Size, p. 157. Line 39. I insert a missing line, =[If they did] 'At all times fall.' Curiously enough the lacking rhyme-line with 'all' has not been observed hitherto. In the singular мs. of most of The Temple described in our Essay, the verse runs:

'Wherefore sit down, O my good heart,

Grasp not at much, lest thou lose all;

If comforts after our desert

Upon us at all times should fall,
They would no doubt great frosts and cold
With many whiter snows destroy:

For we in counting should be bold

To reckon up since the last joy.'

I have made the inserted line to correspond with the others throughout; but (;) has been inadvertently omitted.

Line 40, great frosts.' Probably suggested by some great frost. There was a very great and destructive one in 1614, which would be remembered for some years and counted from.' By the last lines, Herbert is speaking of himself and his feelings, not generally; and here, believing like David in his Christian integrity, and yet cast down, he says, 'Content yourself, my heart; if God's rule were comfort on earth according to desert, then would my frosts and snows have vanished; but it is not so.' Line 43, opened' = as a pocket.

108. Artillerie, p. 158.

in Vol. II.

Lines 1, 2. Cf. new Latin Poems

110. Justice, p. 161. Line 7, ' dishes'=scales of the weightholders.

Line 9, 'scape'=the upright in the middle of the beam, or that part of it which is, as it were, an index.

Line 10, ‘tort'ring.' Pickering (1853), Bell and Daldy (1865), Willmott misprint 'tottering.' It is 'tort'ring' in 1632-3, Bodleian and Williams Ms. torturing, which alone gives Herbert's meaning.

111. The Pilgrimage, p. 162. Line 147. Willmott in his introduction to his edition of Herbert writes on this: The characteristic of Herbert's fancy is fruitfulness. The poetry, like the theology of that age, put all learning into an abridgment. A course of lectures flowed into the rich essence of a single sermon. A month's seed bloomed in an ode. The 17th was the contradiction of the 19th century, the object being then to give the most thought in the smallest space, as now to sow the widest field with the frugallest corn. Herbert's "Pilgrimage" is an example. Written, probably, before Bunyan was born-certainly while he was an infant-it contains all the Progress of the Pilgrim in outline. We are shown the gloomy Cave of Desperation, the Rock of Pride, the Mead of Fancy, the Copse of Care, the Wild Heath where the Traveller is robbed of his gold, and the Gladsome Hill that promises a fair prospect, but only yields a lake of brackish water on the top. Such a composition would scarcely escape the notice of that Spenser of the people, who afterwards gave breadth and animation and figures to the scene' (pp. xxv.-vi.).

VOL. I.

QQ

Line 14, the wold.' Query-in calling the wild of passion a 'wold' or wasted place, did Herbert characteristically pun on the wold-the 'would,' that which one willed?

Line 17, 'angel'—a play on the double meaning of ' angel'— one of Herbert's characteristic equivoques. Whether the angel be Faith, Hope, Grace, or any other, each must decide.

114. The Discharge, p. 165. Line 3, licorous.' Though a licorous eye may become tempting to one also licorous, its true meaning is not tempting or inviting, and is not and cannot be so here. It is probably taken from the licking of the lips of men and animals when slavering and greedy-desirous, and is metaphorically applied to the eyes, &c. Lecherous is in fact the same word, but more confined by present custom to one form of desire.

Lines 13-14. A simile suggested, probably, by the 'pillar of cloud,' though the meaning be in part different. He sends crosses in joy and joy in crosses, darkness in light and light in darkness, yet all in love and guiding.

Line 23, 'future brow' beat in perplexity thy brow, endeavouring to forecast the future.

Line 32, breaks the square.' The reverse of going upon or acting on the square acts disloyally, breaks the agreement that the present is his, and the future his God's.

Line 36, 'environs and surrounds' explained by ll. 33-35. 45, out an end'-draw it out to the full, or to the dregs. The phrase is taken from tilting a cask on end to get all out of the tap.

115. Praise, p. 167. Line 7, 'working' labouring.

116. An Offering, p. 168. Lines 11, 12. The crimes or the faith of one may bring a judgment or a blessing upon a whole people; as in the case of David.' Willmott. This is again incorrect, in that there is not, and from the nature of the poem cannot be, a reference to the sin of one affecting a whole nation, but a reference only to the blessing that such one can be. The usual full-stop at 'nation' is clearly an error for (,)—an error most common in the printed texts of Herbert.

Line 22,All-heal.' Marvell daintily introduces 'all-heal' into his 'Damon the Mower,' as follows:

'Alas! said he, these hurts are slight

To those that dye by Love's despight.

With shepherd's purse, and clown's all-heal,

The blood I stanch and wound I seal.'

Whereon, in the place, I have this note: . . . . the latter, in