Unless thy lady prove unjust,

Press never thou to choose anew:

When time shall serve, be thou not slack
To proffer, though she put thee back.
The wiles and guiles that women work,
Dissembled with an outward show,
The tricks and toys1 that in them lurk,
The cock that treads them shall not know.
Have you not heard it said full oft,
A woman's nay doth stand for naught?

Think women still to strive with men,
To sin, and never for to saint:
Here is no heaven; they holy then
When time with age shall them attaint.
Were kisses all the joys in bed,

One woman would another wed.

But, soft! enough,-too much, I fear;
For if my mistress hear my song,

Live with me, and be my love,
And we will all the pleasures prove
That hills and valleys, dales and fields,
And all the craggy mountains yields.
There will we sit upon the rocks,
And see the shepherds feed their flocks,
By shallow rivers, by whose falls
Melodious birds sing madrigals.

There will I make thee a bed of roses,
With a thousand fragrant posies,
A cap of flowers, and a kirtle
Embroider'd all with leaves of myrtle.

A belt of straw and ivy buds,
With coral clasps and amber studs;
And if these pleasures may thee move,
Then live with me and be my love.

Lean'd her breast up-till3 a thorn,

And there sung the dolefull'st ditty,

That to hear it was great pity:

66

'Fie, fie, fie," now would she cry; "Tereu, tereu," by and by; That to hear her so complain, Scarce I could from tears refrain; For her griefs, so lively shown,

Made me think upon mine own.

Ah, thought I, thou mourn'st in vain!
None takes pity on thy pain:

Senseless trees they cannot hear thee;
Ruthless beasts they will not cheer thee:
King Pandion, he is dead;

All thy friends are lapp'd in lead;
All thy fellow birds do sing,
Careless of thy sorrowing.
Even so, poor bird, like thee,
None alive will pity me.
Whilst as fickle Fortune smil'd,
Thou and I were both beguil'd.

Every one that flatters thee

Is no friend in misery.

Words are easy, like the wind;

Faithful friends are hard to find:

Every man will be thy friend

Whilst thou hast wherewith to spend;
But if store of crowns be scant,
No man will supply thy want.
If that one be prodigal,
Bountiful they will him call,
And with such-like flattering,
"Pity but he were a king;"
If he be addict to vice,
Quickly him they will entice;

If to women he be bent,

They have him at commandment:

3 Up-till=on.

4. Line 107: DOWLAND to thee is dear.-John Dowland (1563-1625, but the dates are not quite certain), "a chearful person," says Fuller, "passing his days in lawful merriment," was the most famous of Elizabethan and Jacobean musicians. He published in 1597 The First Book of Songs or Airs of four parts, with Tableture for the Lute, and a Second Book of Songs or Airs in 1600, while he was composer at the Danish court. His Third and Last Book appeared in 1603, and a Pilgrime's Solace in 1612. Very frequent in dramatic literature are the allusions to his Lachrymæ, or Seven Teares figured in seaven passionate Pavans (1605); amongst many such references note the following:-The Maid of Honour, i. 1:

Such music as will make your worships dance
To the doleful tune of Lachryma.

-Cunningham's Massinger, p. 254;

The Picture, v. 3:

No, good George, let's ha' Lachrymæ. -Beaumont and Fletcher, Mermaid ed. i. p. 422. In The Returne from Pernassus, v. 2, a character says: Haue you neuer a song of Maister Dowlands making? There is a good account of Dowland by Mr. Barclay Squire in the National Dictionary of Biography; see, too, the introduction to Mr. Bullen's Lyrics from Elizabethan Song-books, pp. ix. x.

5. Line 121: a STEEP-UP hill.-First hyphened by Sewell; cf. Sonnet vii. 5.

6. Lines 131, 132: Sweet rose, fair flower, &c.—See note on Venus and Adonis, 1114, with the quotation from Milton.

8. Lines 151-156: "Even thus," &c.-In Griffin's Fidessa these lines are represented by the following verses: But he a wayward boy refusde her offer, And ran away, the beautious Queene neglecting; Shewing both folly to abuse her proffer,

And all his sex of cowardise detecting.

O that I had my mistres at that bay,

To kisse and clippe me till I ranne away!

See the Cambridge Shakespeare, vol. ix. p. 668.

9. Lines 165-167: Age, I do ABHOR THEE, &c.—No doubt Dekker was thinking of this when he wrote: "Sweet purse, I kiss thee; Fortune, I adore thee; Care, I despise thee; Death, I defy thee" (Old Fortunatus, i. 1, end of scene).

10. Line 167: 1 do DEFY thee.-Defy reject, despise; so Romeo and Juliet, v. 3. 68:

I do defy thy conjurations.

11. Line 179: blemish'd ONCE'S FOR EVER lost.-So most editors. The 1599 and 1612 edd. have once, for ever. A natural suggestion is once, for ever's.

12. Line 200: DARK DISMAL-DREAMING night.-So Malone and most editors. The edd. of 1599, 1612, read darke dreaming night, where it seems clear from the measure of the verse that some word has dropped out.

13. Line 207: seems a moon.-This is Steevens' conjecjecture. The edd. 1599, 1612, have houre, an obvious repetition of the previous line.

14. Line 211: It WAS, &c.-Compare for the opening, As You Like It, v. 3. 17:

It was a lover and his lass.

15. Line 238: from thy THORN.-So Malone, from the version in England's Helicon; see Bullen's Reprint, p. 74. The edd. 1599, 1612, have throne.

16. Lines 245-298.-The old editions arrange the poem in three stanzas, each of twelve lines. The verses as printed in the editions of 1599 and 1612, in Weelkes's Madrigals and England's Helicon, are full of unimportant verbal variations, which I forbear to chronicle. Mr. Bullen thinks that the poem was written by Richard Barnfield; see introduction to his reprint of England's Helicon, p. xxi.

17. Line 271: can sound NO DEAL.-In Titus Andronicus, iii. 1. 245, we have:

To weep with them that weep doth ease some deal. Deal, of course, is the German theil.

18. Line 300: And STALL'D the DEER, &c. - Compare Cymbeline, iii. 4. 111, 112:

when thou hast ta'en thy stand,

Th' elected deer before thee.

19. Line 302: As well as FANCY'S PARTIAL MIGHT.-The edd. 1599, 1612, have fancy (party all might); the 1640 ed. differs from them only in reading partly. The Cambridge editors print fancy, partial wight; the Globe edition marks the line as corrupt. It has always seemed to me that fancy's partial might would suit the context, and this I have ventured to adopt.

20. Line 306: Smooth not thy tongue with FILED talk.For filed = polished, see Sonnet lxxxv. 4.

21. Line 340: A WOMAN'S NAY doth stand for NAUGHT. -There was a proverb (see Thiselton Dyer, Folklore of Shakespeare, p. 432) "Maids say nay, and take it," to which Heywood alludes in his Wisewoman of Hogsdon, i. 2:

Come, come, I know thou art a maid; say nay, and take them. -Heywood's Plays, Mermaid ed. p. 260. Compare Two Gentlemen of Verona, i. 2. 55, 56; and the

following couplet from a poem in Bullen's Elizabethan Lyrics, p. 129:

Women's words have double sense:

Stand away!-a simple fence.

22. Line 349: to ROUND me i the ear.-Schmidt explains round to whisper; but can it not mean "strike me on the ear?" The sense requires some such interpretation, and we still talk of rounding on a person, i.e. turning sharply on him. Various emendations have been hazarded, to little purpose.

23. Line 353.-See Merry Wives of Windsor, iii. 1. 15-26. Mr. Bullen, in his edition of Marlowe, remarks: "This delightful pastoral song was first published, without the fourth and sixth stanzas, in The Passionate Pilgrim, 1599. It appeared complete in England's Helicon, 1600, with Marlowe's name subscribed. By quoting it in the Complete Angler, 1653, Isaac Walton has made it known to a world of readers" (vol. iii p. 283). The different versions of the immortal lyric are rife with variant readings (of no particular importance), for which the curious reader must consult Mr. Bullen's collation of the texts (Marlowe, vol. iii. pp. 283-285).

The Phoenix and the Turtle first appeared in 1601 as one of the additional poems to Chester's Love's Martyr; or, Rosalin's Complaint. The poem was signed with Shakespeare's name. Attempts have been made, quite uselessly of course, to explain the alle

gory; no clue to the events hinted at has survived. Chester's Love's Martyr, described as an extremely rare volume by the Cambridge editors (see vol. ix. Introduction, p. xviii.), has been reprinted by the New Shakspere Society.

Let the priest in surplice white,
That defunctive music can,
Be the death-divining swan,
Lest the requiem lack his right.

And thou treble-dated crow,

That thy sable gender mak'st

With the breath thou giv'st and tak'st,
'Mongst our mourners shalt thou go.
Here the anthem doth commence:-
Love and constancy is dead;
Phoenix and the turtle fled
In a mutual flame from hence.

So they lov'd, as love in twain
Had the essence but in one;
Two distincts, division none:
Number there in love was slain.

20

Hearts remote, yet not asunder;
Distance, and no space was seen
"Twixt this turtle and his queen:
But in them it were a wonder.
So between them love did shine,
That the turtle saw his right
Flaming in the phoenix' sight;
Either was the other's mine.

Property was thus appall'd,
That the self was not the same;
Single nature's double name
Neither two nor one was call'd.

Reason, in itself confounded,
Saw division grow together,
To themselves yet either neither,
Simple were so well compounded;

That it cried, How true a twain
Seemeth this concordant one!
Love hath reason, reason none,
If what parts can so remain.
472

vi. 105

And, metrical value of; Merch.

viii. 392

Accents, lines with four; All's Wl.

Accidents; Oth. 46.

Accost; Tw. Nt. 24.
Accosting; Tw. Nt. 261.

Ache (punningly); Ado, 240 ...iv. 251
Achés; Tim. 31

vii. 59

Achitophel; 2 Hen. IV. 66.....iii. 487
Acquaintance; Oth. 219. ...vi. 102
Across, to break; All's W1. 70..v. 65
Act (in stage sense); Rich. III.

249.

Action; Ado, 51

as trisyllable; Hen. VIII.
80...

Actors' Names, introduction of;

Adder, tongue of; Rich. II. 203..ii. 471

Adders, deafness of; 2 Hen. VI.

188...

Troil. 127

Addition; Coriol. 89.

Macb. 37...

Aggravate; Merry W. 78

Aim, to give; Tit. A. 161
at; Ado, 202..

Airy (devil); John, 155..
Ajax, blockish; Troil. 90

madness of; Love's L. 106... 60
mother of; Troil. 153....

Alabaster; Merch. 22

Oth. 244

skin; Lucr. 31..

Alarum'd; Macb. 94.

..v. 410
Alas the while; Merch. 117....iii. 307
Alchemy; Ant. 84.
vi. 190
Alder-liefest; 2 Hen. VI. 28.. .ii. 77
Alderman's thumb-ring; 1 Hen.
IV. 174..
.iii. 402
Ale alehouse; Two Gent. 56...i. 168
Alehouse (guest); Rich. II. 282..ii. 476
announcements; Ado, 46..iv. 229
Alençon dismounts the King; Hen.
V. 254..
.iv. 82
Duchess of; Hen. VIII. 186, viii. 244
Alexander the Great, Arms of;
Love's L. 207

3 Hen. VI. 295

(in replies); Coriol. 249.... vi. 310
redundant; Lear, 261.... .vi. 416
number of; 3 Hen. VI. 54...ii. 176
Andren, vale of; Hen. VIII. 34 viii. 231
Andromache, introduction

Troil. 311

=coin; Merch. 180

of;

V. 336

iii. 312

2 Hen. IV. 88.

iii. 488

Adelphi of Terence, parallel in;

Merch. 131..

Adj., proleptic use of; Cymb.

241

Admiration, without; Cymb.36, vii. 150
Admired Miranda; Temp. 146..vii. 242
Admiring of; Mids. Nt. 38.....ii. 365
Adonis' Gardens; 1 Hen. VI. 107.i. 328
Advance; Temp. 89....
vii. 237

All-hallowmas; Merry W. 15..iv. 150
All-hallown summer; 1 Hen. IV.

Advanc'd, swords; Coriol. 76...vi. 295
Advantage; 1 Hen. VI. 203. ...i. 338
Advantaging; Rich. III. 541...iii. 136
Advertisement; Ado, 327.
Advice; Hen. V. 107.

Meas. 3.....

iv. 262

Temp. 172...

Antiochus, death of; Per. 128.. viii. 321

jealousy of; Per. 31......viii. 312
Antonio, anger of; Ado, 336...iv. 262
and question of security;
Merch. 39....

iii. 302

sadness of; Merch. 1.... iii. 299
Shylock's estimate of; Merch.
iii. 313
-unselfishness of; Merch 185 iii. 312
treatment of Shylock by;
Merch. 94.....

..iii. 306