page 28, line 24, note that an angel was also the name of a coin.

XIX. p. 30. Sir A. Gorges. Sir Arthur Gorges was Raleigh's kinsman; had been captain of Raleigh's own ship in the island voyage, when he was wounded by his side in the landing of Fayal; and has left a history of that expedition which is of material importance in Raleigh's biography. Some verses written by him will be found in Part III., No. xxx. He is the "Alcyon" of Spenser's "Colin Clout's come home again," Collier's "Spenser," vol. v. p. 45; cf. "Daphnaida," ib., 229. For further details, see Oldys' "Life of Raleigh,” p. cxi., sqq.; Malone's “ Shakespeare" by Boswell, ii. 245-8.

xx. p. 31. Continuation of Cynthia. Some remarks on the general drift of this obscure but important fragment will be found in the Introduction to this volume. I confine myself here to a brief comment on the text. The MS. was fully described by Mr. C. J. Stewart in his catalogue of the Cecil MSS., at Hatfield, and was mentioned by Mr. Edwards, who was prevented by an accident from printing it (see the Introduction to his "Life of Raleigh,” p. xxxix). I have to thank both for their courtesy in answering my questions on the subject; and I am deeply indebted to the Marquis of Salisbury for giving me access to the MS., and to Mr. R. T. Gunton for his assistance in completing and revising the transcript, and in supplying me with minute details on the readings. The whole is in Raleigh's autograph; and the main portion is written with that "extreme precision and neatness of hand" which Mr. Edwards (vol. ii. p. 258) describes as characteristic of his

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later papers; but it is obviously unfinished and unrevised, and the construction and meaning are often perplexed and doubtful. The spelling is peculiar, even for that age; which may, perhaps, be partly connected with the fact mentioned by Aubrey ("Letters from the Bodleian," vol. ii. p. 519), that Raleigh "spake broad Devonshire to his dying day." Thus sun is always "soonn or soon;" earth is "yearth," earthquakes "yearthquakes," air "eayre," evening "yeveninge," evil "yevill," even "yeven,” and uneven “unyeven.” "Worlds" is twice made a dissyllable (page 38, line 17, and page 47, line 2); as is also " worn in the phrase, "the sorrow-worren face" (page 49, line 10); sighs are “sythes,” and sighing “sythinge." The termination le is always given broad and full: "exampell, feebell, gentell, idell, isakells, littell, marbell, middell, mirakells, puddells, simpell, stubbell, trebell," and "unabell." This peculiarity runs through his letters, as edited by Mr. Edwards; where, beside the constant occurrence of the form with adjectives ("capabell, charetabell, cumfortabell, forsibell, honorabell, nobell," and the like) we find "castells, eagell, peopell, saddell, scrupell, stabells," and "trobell." The letters also teach us that "mich" means much, "nire" near, and " one, and give many parallels to such forms as "diing" and "fliing." Other spellings are merely odd; as Scinthia" (twice), and “ perrellike" (pearl-like). These peculiarities would have greatly deepened the obscurity to the general reader, or I should have preferred to print this poem in its original dress. In style and metre, the piece is not unlike Spenser's "Colin Clout's come home again," which gives us the best account remaining

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on

of the poem "Cynthia," now, I fear, irrecoverably lost. Raleigh's accents and words are often the same as Spenser's; e. g., among those just mentioned, Spenser also makes "worlds" a dissyllable, and uses 66 on" for "one" (Collier, vol. iv. p. 295). Add the accent of "captíved," "envý," and some other words; and the familiar use of "recure" and "fordone," the former twice, the latter thrice in this one poem; and such words as transpersant, reave, vild, intentive, brast," and several others.

Page 32, line 14. The meaning is, "As though the dead did unfold to the dead."

Page 33, line 5. The MS. has "frutfull," which must have been an error in writing. Compare "those healthless trees" just below; and page 41, stanza 2,

"So far as neither fruit nor form of flower

Stays for a witness what such branches bare."

Page 33, line 6. MS. "hands," in spite of the rhyme. So below, page 49, line 17, we have "sand" rhyming with "bands," and page 50, line 12,"blasts" with "brast."

Page 33, line 24. "Transpersant"=transpiercing; and the line means, "O piercing eyes, the bait of my affection."

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Page 33, line 25. "My fancy's adamant"= magnet; compare as iron to adamant;" "Troilus and Cressida," iii. 2.

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Page 34, line 11. The MS. may be read either affecting or "effecting."

Page 34, stanza 5. The construction is, " When I was gone to seek new worlds," &c.

Page 35, line 22. MS. " depting," with a mark of contraction: "departing," or "depicting"? The

latter (though that is not much) approaches nearest to a rhyme with " 'sythinge," sighing; and seems to make an easier sense.

Page 36, line 16. MS. "lymes," limbs; apparently mis-written for “lynes." The meaning is, "her memory embalmed my lines."

Page 36, stanza 6.

See above, No. víïï. p. 13.

=

Page 39, line 17. MS. "wounders," might mean wonders; but apparently refers to "the tyrants that in fetters tie their wounded vassals," just above. Page 40, line 6. "Fordone" undone in Spenser, "a fordone wight;" "a virgin desolate, fordone." ("F. Q.," I. v. st. 41, and x. st. 60.) We have it twice again in this poem, page 45, line 21, and page 51, line 7, meaning, as here, departed.

Page 41, after stanza 1. scribbled over and illegible.

Two lines in the MS.

Page 41, line 10. MS. "reves." To reave is to take away, as in bereave. Here used apparently for draws, or derives.

Page 42, line 3, and page 44, line 5. "Belphœbe;" see Spenser, "F. Q." III. v. st. 27, &c., and for the allegory of "Belphobe and Timias," in which Raleigh was supposed to be concerned, see “ F. Q." IV. vII; VI. v. st. 12.

Page 43, line 12. “Incarnate”-flesh-coloured ; hence pink, as in carnation. See below, page 47, line 28, "the incarnate rose." The phrase "snowdriven white" must be taken together; and with the inversion we may compare page 45, line 3, "after worthless worlds"-worthless after-worlds.

Page 43, line 13. "Who" for which; compare "Merchant of Venice,” ii. 6 (altered by Dyce); "The first, of gold, who this inscription bears," &c. "The second, silver, which this promise carries." Q

Page 44, stanza 3. Three lines scribbled over and illegible. They completed the stanza of which the fourth line only is left; the middle line apparently ending with "abydinge." On this page I have used the modern forms, "forepast" and "forethought." "Forthought" (as in the MS.) would mean repented.

Page 48, after stanza 4. Two lines scribbled over and illegible.

Page 48, line 20. So the MS. We might have expected unprisoned and unpent.

Page 49, stanza 6. I follow the MS., but some. thing seems wanting to complete the sense. What is required is an instance of futile labour, like seeking moisture in the Arabian decert, and the sun after sunset; or of disappointment, like the failure of Hero's light. The dots after "set" are in the MS. and it is not likely that in stanza 7, line 1, "where" and "were" have been confounded, as the MS. spells the former "wher," and the latter, as here, "weare."

Page 49, last line. "Shee sleaps thy death," MS.; as though, varying from the usual story, he made Hero sleep through the fatal storm, after withdrawing her light.

Page 50, line 14. “Brast"=burst, as in Spenser. XXI. p. 52. Petition to the Queen. This petition, which has been preserved in the transcript of Drummond of Hawthornden, resembles the Hatfield fragment in the stiffness of its rhythm, and partly in its metre. In stanza 3, line 3, the MS. has "vearye," which I take to mean very. In stanza 5, line 2, the MS. has "descriu'd;" i. o., descrived for described. Compare the first Sonnet which I have given from Sidney, page 138, line 4,