Robert Herrick

A Cavalier Poet, Herrick is often associated with a carpe diem theme because of his poem "To the Virgins, Make Much of Time," a poem that ETS holds in high regard.

His reputation rests on his Hesperides, a collection of lyric poetry, and the much shorter Noble Numbers, spiritual works, published together in 1648. He is well-known for his bawdy style, referring frequently to lovemaking and the female body. Many of his bawdy poems focus on the character of "Julia."

“To the Virgins, To Make Much of Time” (often compared to Marvell’s ‘Coy Mistress’)

GATHER ye rosebuds while ye may,
Old time is still a-flying:
And this same flower that smiles to-day
To-morrow will be dying.

The glorious lamp of heaven, the sun,
The higher he's a-getting,
The sooner will his race be run,
And nearer he's to setting.

That age is best which is the first,
When youth and blood are warmer;
But being spent, the worse, and worst
Times still succeed the former.

Then be not coy, but use your time,
And while ye may go marry:
For having lost but once your prime
You may for ever tarry.

“UPON JULIA'S CLOTHES”

WHENAS in silks my Julia goes,
Then, then, methinks, how sweetly flows
That liquefaction of her clothes.

Next, when I cast mine eyes and see
That brave vibration each way free;
O how that glittering taketh me!

"Upon Julia’s Breasts"

DISPLAY thy breasts, my Julia—there let me
Behold that circummortal purity,
Between whose glories there my lips I'll lay,
Ravish'd in that fair via lactea.

“The Night Piece, to Julia"

HER eyes the glow-worm lend thee,
The shooting stars attend thee;
And the elves also,
Whose little eyes glow
Like the sparks of fire, befriend thee.

No Will-o'-th'-Wisp mislight thee,
Nor snake or slow-worm bite thee;
But on, on thy way,
Not making a stay,
Since ghost there's none to affright thee.

Let not the dark thee cumber:
What though the moon does slumber?
The stars of the night
Will lend thee their light
Like tapers clear without number.

Then, Julia, let me woo thee,
Thus, thus to come unto me;
And when I shall meet
Thy silv'ry feet
My soul I'll pour into thee.

“Corinna’s Going A-Maying”

it begins:

GET up, get up for shame, the blooming morn
Upon her wings presents the god unshorn.
See how Aurora throws her fair
Fresh-quilted colours through the air:
Get up, sweet slug-a-bed, and see
The dew bespangling herb and tree.

Ben Jonson (1572 – 1637)

English Renaissance dramatist, poet and actor. He is best known for his plays Volpone and The Alchemist, his lyrics, his influence on Jacobean and Caroline poets, his theory of humours, his contentious personality, and his friendship and rivalry with William Shakespeare.

“To the Memory of My Beloved Master William Shakespeare”

To draw no envy, SHAKSPEARE, on thy name,
Am I thus ample to thy book and fame;
While I confess thy writings to be such,
As neither Man nor Muse can praise too much.
'Tis true, and all men's suffrage. But these ways
Were not the paths I meant unto thy praise;
For seeliest ignorance on these may light,
Which, when it sounds at best, but echoes right;
Or blind affection, which doth ne'er advance
The truth, but gropes, and urgeth all by chance;
Or crafty malice might pretend this praise,
And think to ruin where it seemed to raise.
These are, as some infamous bawd or whore
Should praise a matron; what could hurt her more?
But thou art proof against them, and, indeed,
Above the ill fortune of them, or the need.
I therefore will begin: Soul of the age!
The applause! delight! the wonder of our stage!
My SHAKSPEARE rise! I will not lodge thee by
Chaucer, or Spenser, or bid Beaumont lie
A little further, to make thee a room:
Thou art a monument without a tomb,
And art alive still while thy book doth live
And we have wits to read, and praise to give.
That I not mix thee so my brain excuses,
I mean with great, but disproportioned Muses:
For if I thought my judgment were of years,
I should commit thee surely with thy peers,
And tell how far thou didst our Lyly outshine,
Or sporting Kyd, or Marlowe's mighty line.
And though thou hadst small Latin and less Greek,
From thence to honour thee, I would not seek
For names: but call forth thund'ring Aeschylus,
Euripides, and Sophocles to us,
Pacuvius, Accius, him of Cordova dead,
To life again, to hear thy buskin tread
And shake a stage: or when thy socks were on,
Leave thee alone for the comparison
Of all that insolent Greece or haughty Rome
Sent forth, or since did from their ashes come.
Triumph, my Britain, thou hast one to show
To whom all Scenes of Europe homage owe.
He was not of an age, but for all time!
And all the Muses still were in their prime,
When, like Apollo, he came forth to warm
Our ears, or like a Mercury to charm!
Nature herself was proud of his designs,
And joyed to wear the dressing of his lines!
Which were so richly spun, and woven so fit,
As, since, she will vouchsafe no other wit.
The merry Greek, tart Aristophanes,
Neat Terence, witty Plautus, now not please;
But antiquated and deserted lie,
As they were not of Nature's family.
Yet must I not give Nature all; thy art,
My gentle Shakspeare, must enjoy a part.
For though the poet's matter nature be,
His art doth give the fashion: and, that he
Who casts to write a living line, must sweat,
(Such as thine are) and strike the second heat
Upon the Muses' anvil; turn the same,
And himself with it, that he thinks to frame;
Or for the laurel he may gain a scorn;
For a good poet's made, as well as born.
And such wert thou! Look how the father's face
Lives in his issue, even so the race
Of Shakspeare's mind and manners brightly shines
In his well torned and true filed lines;
In each of which he seems to shake a lance,
As brandisht at the eyes of ignorance.
Sweet Swan of Avon! what a sight it were
To see thee in our waters yet appear,
And make those flights upon the banks of Thames,
That so did take Eliza, and our James!
But stay, I see thee in the hemisphere
Advanced, and made a constellation there!
Shine forth, thou Star of Poets, and with rage
Or influence, chide or cheer the drooping stage,
Which, since thy flight from hence, hath mourned like night,
And despairs day, but for thy volume's light.

“To Penhurst”

Thou art not, PENSHURST, built to envious show
Of touch, or marble; nor canst boast a row
Of polish'd pillars, or a roof of gold:
Thou hast no lantern whereof tales are told;
Or stair, or courts; but stand'st an ancient pile,
And these grudg'd at, art reverenced the while.
Thou joy'st in better marks, of soil, of air,
Of wood, of water; therein thou art fair.
Thou hast thy walks for health, as well as sport:
Thy mount, to which thy Dryads do resort,
Where Pan and Bacchus their high feasts have made,
Beneath the broad beech, and the chestnut shade;
That taller tree, which of a nut was set,
At his great birth, where all the Muses met.
There, in the writhed bark, are cut the names
Of many a sylvan, taken with his flames;
And thence the ruddy satyrs oft provoke
The lighter fauns, to reach thy lady's oak.
Thy copse too, named of Gamage, thou hast there,
That never fails to serve thee season'd deer,
When thou wouldst feast or exercise thy friends.
The lower land, that to the river bends,
Thy sheep, thy bullocks, kine, and calves do feed;
The middle grounds thy mares and horses breed.
Each bank doth yield thee conies; and the tops
Fertile of wood, Ashore and Sydneys copp's,
To crown thy open table, doth provide
The purpled pheasant, with the speckled side:
The painted partridge lies in ev'ry field,
And for thy mess is willing to be kill'd.
And if the high-swoln Medway fail thy dish,
Thou hast thy ponds, that pay thee tribute fish,
Fat aged carps that run into thy net,
And pikes, now weary their own kind to eat,
As loth the second draught or cast to stay,
Officiously at first themselves betray.
Bright eels that emulate them, and leap on land,
Before the fisher, or into his hand,
Then hath thy orchard fruit, thy garden flowers,
Fresh as the air, and new as are the hours.
The early cherry, with the later plum,
Fig, grape, and quince, each in his time doth come:
The blushing apricot, and woolly peach
Hang on thy walls, that every child may reach.
And though thy walls be of the country stone,
They're rear'd with no man's ruin, no man's groan;
There's none, that dwell about them, wish them down;
But all come in, the farmer and the clown;
And no one empty-handed, to salute
Thy lord and lady, though they have no suit.
Some bring a capon, some a rural cake,
Some nuts, some apples; some that think they make
The better cheeses, bring them; or else send
By their ripe daughters, whom they would commend
This way to husbands; and whose baskets bear
An emblem of themselves in plum, or pear.
But what can this (more than express their love)
Add to thy free provisions, far above
The need of such? whose liberal board doth flow
With all that hospitality doth know!
Where comes no guest, but is allow'd to eat,
Without his fear, and of thy lord's own meat:
Where the same beer and bread, and self-same wine,
That is his lordship's, shall be also mine.
And I not fain to sit (as some this day,
At great men's tables) and yet dine away.
Here no man tells my cups; nor standing by,
A waiter, doth my gluttony env_:
But gives me what I call, and lets me eat,
He knows, below, he shall find plenty of meat;
Thy tables hoard not up for the next day,
Nor, when I take my lodging, need I pray
For fire, or lights, or livery; all is there;
As if thou then wert mine, or I reign'd here:
There's nothing I can wish, for which I stay.
That found King JAMES, when hunting late, this way,
With his brave son, the prince; they saw thy fires
Shine bright on every hearth, as the desires
Of thy Penates had been set on flame,
To entertain them; or the country came,
With all their zeal, to warm their welcome here.
What (great, I will not say, but) sudden chear
Didst thou then make 'em! and what praise was heap'd
On thy good lady, then! who therein reap'd
The just reward of her high huswifry;
To have her linen, plate, and all things nigh,
When she was far; and not a room, but drest,
As if it had expected such a guest!
These, Penshurst, are thy praise, and yet not all.
Thy lady's noble, fruitful, chaste withal.
His children thy great lord may call his own;
A fortune, in this age, but rarely known.
They are, and have been taught religion; thence
Their gentler spirits have suck'd innocence.
Each morn, and even, they are taught to pray,
With the whole household, and may, every day,
Read in their virtuous parents' noble parts,
The mysteries of manners, arms, and arts.
Now, Penshurst, they that will proportion thee
With other edifices, when they see
Those proud ambitious heaps, and nothing else,
May say, their lords have built, but thy lord dwells.

“On My First Son”

Farewell, thou child of my right hand, and joy;
My sin was too much hope of thee, lov'd boy.
Seven years thou wert lent to me, and I thee pay,
Exacted by thy fate, on the just day.
Oh, could I lose all father now! For why
Will man lament the state he should envy?
To have so soon 'scaped world's and flesh's rage,
And if no other misery, yet age!
Rest in soft peace, and, asked, say, Here doth lie
Ben Jonson his best piece of poetry.
For whose sake henceforth all his vows be such
As what he loves may never like too much.

Volpone

Volpone, or The Fox (in Italian: "Big Fox"), is a black comedy by Ben Jonson first produced in 1606, and considered one of the finest comedies of the Jacobean period.

Volpone fakes a long illness to pique the expectations of all who aspire to his fortune. Mosca tells each of them, Voltore, Corbaccio, and Corvino, in their turns, that they are to be named Volpone's heir, thanks to Mosca's influence. Mosca then announces Volpone's impending death. The hopeful heirs shower Volpone with gifts. Corbaccio disinherits his own son in Volpone's favour; Corvino offers Volpone his wife. Complications ensue, and just as Volpone is about to be outsmarted by Mosca, he reveals all in open court and the characters are punished according to their crime and station.

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