in 1599 from Barnfield's publication, printed by John Jaggard in 1598. In 1612 W. Jaggard went even more boldly to work; for in the impression of "The Passionate Pilgrim" of that year, he not only repeated Barnfield's poems of 1598, but included two of Ovid's Epistles, which had been translated by Thomas Heywood, and printed by him with his name in his "Troja Britannica," 1609. The epistles were made, with some little ambiguity, to appear, in "The Passionate Pilgrim" of 1612, to have been also the work of Shakespeare. When, therefore, Heywood published his next work in 1612, he exposed the wrong that had been thus done to him, and claimed the performances as his own. (See the Reprint of "The Apology for Actors," by the Shakespeare Society, pp. 62 and 66.) He seems also to have taken steps against W. Jaggard; for the latter cancelled the title-page of "The Passionate Pilgrim," 1612, which contained the name of Shakespeare, and substituted another without any name, so far discrediting Shakespeare's right to any of the poems the work contained, although some were his beyond all dispute. Malone's copy in the Bodleian Library has both title-pages.

To what extent, therefore, we may accept W. Jaggard's assertion of the authorship of Shakespeare of the poems in "The Passionate Pilgrim," is a question of some difficulty. Two Sonnets, with which the little volume opens, are contained (with variations, on

was not concerned in the second edition of Barnfield's "Encomion," as he had been in the first it was printed by W. I. (probably W. Iaggard, the very person who had committed the theft in 1599) and it was "to be sold by Iohn Hodgets." Both editions contain the tribute to Spenser, Daniel, Drayton, and Shakespeare the lines to the latter would hardly have been reprinted in 1605, if Barnfield had supposed that Shakespeare had in any way given his sanction to the transference of two pieces from the "Encomion" to "The Passionate Pilgrim."

3 On the title-page it is called "the third edition," but no second edition is known, although it is very probable that it had been republished in the interval between 1599 and 1612.

4 Nicholas Breton seems to have written his "Passionate Shepherd," 1604, in imitation of the title and of the style of some of the poems in the "Passionate Pilgrim." The only known copy of this production is in private hands. It is very possible that a second edition of "The Passionate Pilgrim" (that of 1612, as we have observed, is called "the third impression") came out about 1604, and that on this account Breton was led to imitate the title, and the form of verse of some of the pieces in it. As "The Passionate Shepherd" is a great curiosity, not being even mentioned by bibliographers, and as it is thus connected with the name and works of Shakespeare, an exact copy of the titlepage may be acceptable :—

"The Passionate Shepheard, or The Shepheardes Loue: set downe in Passions to his Shepheardesse Aglaia. With many excellent conceited Poems and pleasant Sonnets, fit for young heads to passe away idle houres. London Imprinted by E. Allde for Iohn Tappe, and are to bee solde at his Shop, at the Tower-Hill, neere the Bul-warke Gate. 1604." 4to.

which account we print them again here) in Thorpe's edition of "Shakespeare's Sonnets," 1609: three other pieces (also with changes) are found in "Love's Labour's Lost," which had been printed the year before "The Passionate Pilgrim" originally came out:-another, and its "answer," notoriously belong to Marlowe and Raleigh; a sonnet, with some slight differences, had been printed as his in 1596, by a person of the name of Griffin; while one production appeared in "England's Helicon" in 1600, under the signature of Ignoto. The various circumstances attending each poem, wherever any remark seemed required, are stated in our notes, and it is not necessary therefore to enter farther into the question here.

It ought to be mentioned, that although the signatures at the bottom of the pages are continued throughout, after the poem beginning, "Lord, how mine eyes throw gazes to the east!" we meet with a new and dateless title-page, which runs thus :-" Sonnets to sundry Notes of Musicke. At London Printed for W. Iaggard, and are to be sold by W. Leake, at the Greyhound in Paules Churchyard." Hence we may infer that all the productions inserted after this division had been set by popular composers: that some of them had received this distinction, evidence has descended to our day: we refer particularly to the lyrical poem, "My flocks feed not," (p. 572) and to the well-known lines," Live with me and be my love," (p. 576) the air to which seems to have been so common, that it was employed by Deloney as a ballad-tune. See his "Strange Histories," 1607, p. 28 of the reprint by the Percy Society.

One object with W. Jaggard in 1612, when he republished "The Passionate Pilgrim" with unwarrantable additions, was probably to swell the bulk of it; and so much had he felt this want in 1599, that, excepting the three last leaves, all the rest of the volume is printed on one side of the paper only, a peculiarity we do not recollect to belong to any other work of the time: by the insertion of Heywood's translations from Ovid, this course was rendered unnecessary in 1612, and although the volume is still of small bulk, it was not so insignificant in its appearance as it had been in 15995. Only a single copy of the edition of 1599, we believe, has been preserved, and that is among Capell's books in the library of Trinity College, Cambridge. No other copy of "The Passionate Pilgrim" of 1612 has the two title-pages, with and without the name of Shakespeare, but that formerly belonging to Malone, and bequeathed by him, with so many other valuable rarities, to the Bodleian Library.

5 It is as small a poetical volume as we remember to have seen, excepting a copy of George Peele's "Tale of Troy," which was reprinted in 1604, of the size of an inch and a half high by an inch broad. It contains some curious variations from the text of the first edition in 1589. 4to.

"The Passionate Pilgrim," 1599, concludes with a piece of moral satire, "Whilst as fickle fortune smil'd," &c., and we have followed it by a poem found only in a publication by Robert Chester, dated 1601". Malone preceded "The Phoenix and the Turtle," by the song "Take, O! take those lips away:" this we have not thought it necessary to repeat, because we have given the whole of it, exactly in the same words, in "Measure for Measure,” Vol. ii. p. 67. The first verse only is found in Shakespeare, and the second, which is much inferior, in Beaumont and Fletcher's "Bloody Brother." It may be doubted, therefore, whether Shakespeare wrote it, or, like Beaumont and Fletcher, only introduced part of it into his play as a popular song of the time.

6 It is called "Love's Martyr, or Rosalin's Complaint." Of the author or editor nothing is known; but he is not to be confounded with Charles Chester, called Carlo Buffone in Ben Jonson's "Every Man out of his Humour," and respecting whom see Nash's "Pierce Penniless,” 1592, (Shakespeare Society's reprint, pp. 38. 99) and Thoms's "Anecdotes and Traditions," (printed for the Camden Society) p. 56. Charles Chester is several times mentioned by name in "Skialetheia," a collection of Epigrams and Satires, by E. Guilpin, printed in 1598, as well as in "Ulysses upon Ajax," 1596.

THE PASSIONATE PILGRIM.

I.

WHEN my love swears' that she is made of truth
I do believe her, though I know she lies,

That she might think me some untutor'd youth
Unskilful in the world's false forgeries.
Thus vainly thinking that she thinks me young,
Although I know my years be past the best,
I smiling credit her false speaking tongue,
Out-facing faults in love with love's ill rest.
But wherefore says my love that she is young?
And wherefore say not I that I am old?
O! love's best habit is a soothing tongue,
And age, in love, loves not to have years told.
Therefore I'll lie with love, and love with me,
Since that our faults in love thus smother'd be.

II.

Two loves I have of comfort and despair,
Which like two spirits do suggest me still:
The better angel is a man, right fair,
The worser spirit a woman, colour'd ill.

1 When my love swears--] This sonnet is substantially the same as sonnet cxxxviii. in the quarto published by Thorpe in 1609. There are, however, many verbal differences, and as it was printed ten years before the collection of "Shakespeare's Sonnets was printed, we give it here from the earliest copy, and by referring to p. 536, the reader will be able to compare the two.

2 Two loves I have-] This sonnet is also included in the collection of 1609 (Sonnet exliv.), but with some verbal variations, which the reader may ascertain by comparison. See p. 539.

To win me soon to hell, my female evil
Tempteth my better angel from my side,
And would corrupt a saint to be a devil,
Wooing his purity with her fair pride :
And whether that my angel be turn'd fiend,
Suspect I may, but not directly tell;
For being both to me, both to each friend,
I guess one angel in another's hell.

The truth I shall not know, but live in doubt,
Till my bad angel fire my good one out.

III.

Did not the heavenly rhetorick of thine eye3,
'Gainst whom the world could not hold argument,
Persuade my heart to this false perjury?
Vows for thee broke deserve not punishment.
A woman I forswore; but I will prove,
Thou being a goddess, I forswore not thee:
My vow was earthly, thou a heavenly love;
Thy grace being gain'd cures all disgrace in me.
My vow was breath, and breath a vapour is:
Then thou fair sun, that on this earth dost shine,
Exhale this vapour vow; in thee it is:
If broken, then it is no fault of mine.

If by me broke, what fool is not so wise
To break an oath, to win a paradise?

/ IV.

Sweet Cytherea, sitting by a brook,

With young Adonis, lovely, fresh and green,
Did court the lad with many a lovely look,

Such looks as none could look but beauty's queen.
She told him stories to delight his ear*;

She show'd him favours to allure his eye;

This sonnet is found in

Did not the heavenly rhetoric of thine eye,] "Love's Labour's Lost," (Vol. ii. p. 333) but with some slight variations: that play was published in 1598, the year preceding the appearance of the first edition of "The Passionate Pilgrim," but, perhaps, W. Jaggard employed some manuscript copy.

- to delight his EAR;] The editions of 1599 and 1612 both read ears, evidently an error.