Lucasta [81]
A hard toasted crust.
<90.11> A fee or gratuity given to a poet on a mournful occasion, and made more liberal by the circumstances of affliction in which the donors are placed.
<90.12> Generally, a mere coxcomb or dandy; but here the poet implies a man about town who is rich enough to indulge in fashionable luxuries.
<90.13> The ribbon by which the star of an order of knighthood was attached to the breast of the fortunate recipient. It sometimes also stood for the armlet worn by gentlemen in our poet's day, as a mark of some lady's esteem. See Shirley's POEMS (Works, vi. 440).
<90.14> A crude anagram.
<90.15> An imperfect acrostic. Few readers require to be told that anagrams and acrostics were formerly one of the most fashionable species of composition. Lovelace here pictures a poetaster "stewing" his brains with a poem of this description, which of course demanded a certain amount of tedious and minute attention to the arrangement of the name of the individual to whom the anagram or acrostic was to be addressed, and this was especially the case, where the writer contemplated a DOUBLE acrostic.
<90.16> Original reads IS.
<90.17> Ovid. EL. 15.
<90.18> Unwitting.
<90.19> The Lovelaces were connected, not only with the Hammonds Auchers, &c., but on the mother's side with the family of Sandys. See Berry's KENT GENEALOGIES, which, however, are not by any means invariably reliable. The subjoined is partly from Berry:--
Edwin Sandys, === Cecilia, da. of Thomas Archbishop of ! Wilford, of Cranbrook, York, ob. 1588. ! Co. Kent, Esq. ob. 1610. ! -------------------------------------------- ! ! ! [Sir]===(4thly)Catherine, George, trans- Anne===Sir William Edwin ! da. of Sir R. lator of the Barnes, of Sandys ! Bulkeley, of Psalms, &c., Woolwich, ! Anglesey. ob. 1643-4, the poet's ! Lovelace's maternal ! GREAT-uncle. grandfather. ! Richard Sandys Esq.===Hester, da. of Edwin Aucher, second son of Anthony Aucher, Esq., of Bishopsbourne.
<90.20> [George] Sandys published, in 1615, his "Relation of a Journey Begun A.D. 1610," &c., which became very popular, and was frequently reprinted.
<90.21> "There was Selden, and he sat close by the chair; Wainman not far off, which was very fair." Suckling's SESSION OF THE POETS.
<90.22> "Hales set by himself, most gravely did smile To see them about nothing keep such a wil; APOLLO had spied him, but knowing his mind Past by, and call'd FALKLAND, that sat just behind. He was of late so gone with divinity, That he had almost forgot his poetry, Though to say the truth (and APOLLO did know it) He might have been both his priest and poet." Suckling's SESSION OF THE POETS.
Lord Falkland was a contributor to JONSONUS VIRBIUS, 1638, and was well known in his day as an occasional writer.
<90.23> SULLEN is here used in the sense of MISCHIEVOUS. In Worcester's Dictionary an example is given of its employment by Dryden in a similar signification.
<90.24> Thomas Decker, the dramatist and poet, whom Jonson attacked in his POETASTER, 1602, under the name of CRISPINUS. Decker retorted in SATIROMASTIX, printed in the same year, in which Jonson appears as YOUNG HORACE.
<90.25> An allusion to the lines:
"Come, leave the loathed stage, And the more loathsome age,"
prefixed to the NEW INNE, 1631, 8vo. Jonson's adopted son Randolph expostulated with him on this occasion in the ode beginning:--
"Ben, doe not leave the stage, 'Cause 'tis a loathsome age." Randolph's POEMS, 1640, p. 64.
Carew and others did the same.
<90.26> Katherine Philips, the MATCHLESS ORINDA, b. 1631, d. 1664. Jeremy Taylor addressed to her his "Measures
<90.11> A fee or gratuity given to a poet on a mournful occasion, and made more liberal by the circumstances of affliction in which the donors are placed.
<90.12> Generally, a mere coxcomb or dandy; but here the poet implies a man about town who is rich enough to indulge in fashionable luxuries.
<90.13> The ribbon by which the star of an order of knighthood was attached to the breast of the fortunate recipient. It sometimes also stood for the armlet worn by gentlemen in our poet's day, as a mark of some lady's esteem. See Shirley's POEMS (Works, vi. 440).
<90.14> A crude anagram.
<90.15> An imperfect acrostic. Few readers require to be told that anagrams and acrostics were formerly one of the most fashionable species of composition. Lovelace here pictures a poetaster "stewing" his brains with a poem of this description, which of course demanded a certain amount of tedious and minute attention to the arrangement of the name of the individual to whom the anagram or acrostic was to be addressed, and this was especially the case, where the writer contemplated a DOUBLE acrostic.
<90.16> Original reads IS.
<90.17> Ovid. EL. 15.
<90.18> Unwitting.
<90.19> The Lovelaces were connected, not only with the Hammonds Auchers, &c., but on the mother's side with the family of Sandys. See Berry's KENT GENEALOGIES, which, however, are not by any means invariably reliable. The subjoined is partly from Berry:--
Edwin Sandys, === Cecilia, da. of Thomas Archbishop of ! Wilford, of Cranbrook, York, ob. 1588. ! Co. Kent, Esq. ob. 1610. ! -------------------------------------------- ! ! ! [Sir]===(4thly)Catherine, George, trans- Anne===Sir William Edwin ! da. of Sir R. lator of the Barnes, of Sandys ! Bulkeley, of Psalms, &c., Woolwich, ! Anglesey. ob. 1643-4, the poet's ! Lovelace's maternal ! GREAT-uncle. grandfather. ! Richard Sandys Esq.===Hester, da. of Edwin Aucher, second son of Anthony Aucher, Esq., of Bishopsbourne.
<90.20> [George] Sandys published, in 1615, his "Relation of a Journey Begun A.D. 1610," &c., which became very popular, and was frequently reprinted.
<90.21> "There was Selden, and he sat close by the chair; Wainman not far off, which was very fair." Suckling's SESSION OF THE POETS.
<90.22> "Hales set by himself, most gravely did smile To see them about nothing keep such a wil; APOLLO had spied him, but knowing his mind Past by, and call'd FALKLAND, that sat just behind. He was of late so gone with divinity, That he had almost forgot his poetry, Though to say the truth (and APOLLO did know it) He might have been both his priest and poet." Suckling's SESSION OF THE POETS.
Lord Falkland was a contributor to JONSONUS VIRBIUS, 1638, and was well known in his day as an occasional writer.
<90.23> SULLEN is here used in the sense of MISCHIEVOUS. In Worcester's Dictionary an example is given of its employment by Dryden in a similar signification.
<90.24> Thomas Decker, the dramatist and poet, whom Jonson attacked in his POETASTER, 1602, under the name of CRISPINUS. Decker retorted in SATIROMASTIX, printed in the same year, in which Jonson appears as YOUNG HORACE.
<90.25> An allusion to the lines:
"Come, leave the loathed stage, And the more loathsome age,"
prefixed to the NEW INNE, 1631, 8vo. Jonson's adopted son Randolph expostulated with him on this occasion in the ode beginning:--
"Ben, doe not leave the stage, 'Cause 'tis a loathsome age." Randolph's POEMS, 1640, p. 64.
Carew and others did the same.
<90.26> Katherine Philips, the MATCHLESS ORINDA, b. 1631, d. 1664. Jeremy Taylor addressed to her his "Measures