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Notes
(Cambridge, Mass., 1927), p. xvii. My references to poem, page, and line numbers in the Paradise follow this edition throughout.
The hand of this transcript matches Herbert's notes in MS. Douce 265, ff. 1-1v, and less closely, his letter on f. 411 of MS. Montague d.7. My identifications of handwriting by Francis Douce and George Steevens in MS. Douce e.16 rest upon comparison with holograph letters by Douce in Harvard MS. Eng. 1177, Nos. 129 and 130, and by Steevens in Harvard MS. TS 940.6, Vol. I, facing p. 38. I am grateful to Dr. D. M. Rogers and Dr. A. C. de la Mare of the Bodleian Library for supplying useful information about the format and provenance of the manuscript, and to the Bodleian Library's Keeper of Western Manuscripts for permission to print the collations.
The watermark resembles No. 3148, datable to 1745 in Edward Heawood's Watermarks (1950), p. 134, and Nos. 84, 95, and 98 (1746-1808) in W. A. Churchill's Watermarks in Paper in Holland, England, France (1935), p. 69.
No record of Douce's acquisition of the manuscript occurs in either his "Diary of Antiquarian Purchases, 1803-1834" (typescript catalogue, Bodleian Library), or in his holograph notebook of books given him between 1797 and 1814 (MS. Douce e.69), nor does it seem to be mentioned in his list of books sent to be bound, 1797-1801 (MS. Douce e.71). He may have obtained the volume privately before or shortly after Herbert's death in 1795, for it is not mentioned in either catalogue of the sales of Herbert's library: A Catalogue of Part of the Library of the Late Mr. Herbert (1796); A Catalogue of a Choice and Valuable Library . . . To Which is Added the Genuine and Very Curious Collection of Manuscripts of That Eminent Antiquary, the Late Mr. William Herbert (1798).
Percy A. Scholes, The Life and Activities of Sir John Hawkins (1953), p. 157. Hawkins cites only the 1577 Paradise in his General History of the Science and Practice of Music (1776), III, 417; V, 481.
Anecdcotes of Literature and Scarce Books, I (1814), 248. Beloe changes the substance of this list only by noting that Steevens' copies of the 1596 and 1600 editions had passed to the Duke of Roxburgh's collection.
E.g., errors in common with the edition of 1576 include "wrough" for wrought (11.8), "stauche" for stanche (49.24), and "emong" for among (58.22); the transcript and the 1578 edition agree in error with "pagnes" for pangs (38.20) and "Edimions" for Endimions (83.5). The transcript agrees with both the 1576 and 1578 texts in the corrupt first line of poem No. 84, "I am not as seem to be".
E.g., Herbert corrects "aduance" to "aduaunce" (36.22), "here" to "heere" (40. 26), "see" to "se" (73.25), and "sugerd" to "sugred" (90.7).
The references to numbered leaves in this edition's errata list suggest that it was correctly foliated by the printer, as is the transcript; but none of Disle's other editions are consistently paged or foliated, and the b's marking versos in the MS are almost certainly Herbert's additions.
The first four leaves of the 1576 edition were signed with italic A 1-4, and followed by black-letter A-L4. In Disle's extant editions after the first, the signatures are continuous alphabetically, A-M, as I assume they were in 1577. In the Typographical Antiquities (III, 1792), Herbert ignored the title page and following leaf (as he did in foliating his transcript) and described the 1577 Paradise as composed of forty-six leaves.
Folios 35 and 37 on ff. 87 and 91 of the MS are indicated in the right margins owing to speaker prefixes which occupy the left margins.
Nos. 36, 49, 58, 61, 68, 70, 76, 78, 80, 86, 92 and 97 in the first edition were omitted in 1577. In 1577 the poems were arranged in the order 1, 5, 100, 3, 48, 2, 6-11, 4, 12-22, 23/101, 24-27, 102, 28-29, 103, the unique text by Hunnis, 30-35, 104, 37-38, 40-43, 45, 44, 46-47, 105, 50-57, 106, 59-60, 62-65, 75, 66-67, 69, 107-108, 71, 72/109, 73-74, 77, 79, 81-85, 111-112, 87-91, 113, 93-96, 39, 98-99. The edition of 1578 orders the poems in the same way except No. 56 precedes Nos. 111-112. Nos. 1, 75, and 71 were unnumbered in the second edition; beginning with No. 5 the poems were numbered 1-44, 46-48, 47, 49-53, 58-99.
C. C. Stopes, "William Hunnis and the Revels of the Chapel Royal," in Materialien zur Kunde des älteren Englischen Dramas, 29 (1910), 219.
Unless Hunnis' name was transformed into the Master "Hewson", whose elegy on Pembroke was licensed to Henry Bynneman, the only entry among the six which could be his is that registered by Richard Jones (Arber, I, 412). Pembroke's other identifiable elegists were David Rowland, George Coryat (see Stopes, p. 310), and at least two contributors to the Paradise besides Hunnis, Richard Edwards and Thomas Churchyard. A third possibility is Lodowick Lloyd, author of Paradise poem No. 103, for the elegy on Pembroke in Inner Temple MS. Petyt 538.10, ff. 1-1v, was apparently copied from print and is signed "L. Ll." No elegy by someone with these initials occurs in the Stationers' Registers, however, so this too could be the work licensed to Jones.
The list appears after 4.23; bracketed references in the left margin locate each correction in Rollins' edition.
Nos. 48, 59, 60, 63, 105, 106, 111, and 112. The first four appeared in the edition of 1576, while the rest were new in 1577. Herbert recorded the first six corrections and the ninth one marginally; he did not mark the seventh or eighth, which are ambiguous, and he apparently overlooked the tenth.
Stopes, p. 187. Poem No. 4 was assigned to "E. S." in 1576, to "W. R." in 1577-1580, but to Hunnis in the edition of 1585. The text, however, lacks the spate of variant readings between the first two editions which characterizes the other poems attributed to Hunnis, and it seems doubtful that he would have overlooked a single poem of his own in the collection. Similarly, two poems assigned to Hunnis in 1576, Nos. 61 and 70, were no doubt omitted from the 1577 and subsequent editions at Hunnis' request because they were not his.
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